DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Here are 16 photography projects for you to tick off your photo list this Autumn. Think we've missed one? Add your suggestions in the comments. You can also find tips related to each subject by clicking on the headings. 

 

1. Autumn Wide-Angle Landscapes 

When the landscape is full of burnt oranges, warms yellows and other Autumnal shades, take advantage of this warm colour palette and capture some autumn-themed vistas with your wide-angle lens.

  2. Focus On A Single Tree This Autumn

When you've captured your shots of forests and national parks, focus your attention on one tree, shooting under the canopy or try using a lonely tree in a wide, sweeping landscape shot of a crop field. 

 

3. How To Photograph Abstracts

Instead of focusing on scenes as a whole, look for areas where you can strip your image back to shape, patterns and form which will give you an image that's still very much Autumn themed but it's different from the norm. Why not go against the rule that everything has to be sharp and create an Autumnal drag landscape? The warm shades of leaves which turn into long lines of colour help create striking pieces that are perfect for wall art. 

 

4. Top Tips On Photographing Reflections

Reflections are something you can shoot all year round but as bright colours and bold shapes make the most interesting reflections, autumn's the perfect season to try this technique.

 

  5. 10 Top Tips For Taking Better Photos Of Trees

When in the woods with your camera kit look upwards and capture a shot of the trees with a wide-angle lens. When you do, you'll produce a shot that looks as if the trunks of the trees are almost falling out of the image due to the effect wide-angle lens have on verticals and the trees will seem a lot taller, too. This technique can produce great results at all times of the year but when you have the orange tones set against a blue sky it's particularly eye-catching. 

You could also apply this technique in towns and cities where parks can be surrounded by tall modern structures that contrast well against the trees. 

 

6. Add An Interesting Sky

Use slower shutter speeds to turn the movement of the clouds to create leading lines to guide the eye through the photograph or how about waiting for a colourful sunset to compose your Autumn scene against? 

7. Play With Back Light

One way to exaggerate the colours of Autumn is with backlit leaves. Plus, it'll really make the intricate pattern of veins stand out and focus the viewer's attention. You can also shoot some Autumn themed outdoor portraits with backlight to make your subject 'pop' from the frame. 

  8. How To Photograph Fallen Leaves

Make the most of the fallen leaves starting to decorate the land and use them in your landscape shots. If you're working by water where leaves are decorating the land surrounding it or are floating along the surface of the water as it flows downstream, experiment with longer exposure times to blur the water's movement.

 

  9. Top Tips On Photographing Birds

Some birds begin to migrate at this time of year which means you may have new species visiting your garden.

 

10. Capture Photos of Dew Drops

As evening temperatures begin to fall the sight of morning dew decorating grass and other plants is something that will become a regular occurrence. As dew can add extra interest to your macro garden shots, it's well worth getting up early and taking some shots of morning dew. 

 

11. Shoot Sunbeams On Autumn Days

When you mix early morning fog with the rising sun you get a recipe for strong beams of sunlight appearing in woodland areas. These beams of light bursting through trees make an early morning rise from your bed covers well worth it.

 

12. Still Life Photography Can Be Autumn-Themed

Pumpkins, leaves, conkers and berries can all be used in still life set-ups when you're looking for something to keep you occupied on a rainy day. Play around with compositions, props and backgrounds to see what interesting still life creations you can create. 

 

 

13. Top Tips On Using Lens Flare Creatively 

 You can use flare in your shots to add a little romanticism, mystery and warmth to your autumn shots.

  14. Top Frost Photography Tips

The cooler evening temperatures and clear nights mean frost will soon be making an appearance once again and it's a great photographic subject for both landscape and macro photography fans. 

 

15. How To Use Paths And Roads In Your Photos

Paths, lines and long roads will always be excellent composition tools but when combined with lines of Autumnal trees your landscapes suddenly become even better. 

  16. Top Halloween Photography Tips 

As well as landscapes and close-up shots of leaves Autumn brings Halloween.  It's a perfect time to shoot some portraits and capture the other fun details of this event. 

   

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

‘Sexy Mantis’

© Diego Perez/Nikon Comedy Wildlife Awards

 

The 2026 finalists for the Nikon Comedy Wildlife Awards have been announced, chosen from more than 10,000 entries from 112 countries. The finalist images include a caiman wearing a wig, a handstanding leopard, a strutting white-tailed eagle and a polar bear appearing to chat with a seagull. The awards work with the Born Free Foundation to support wildlife conservation, and all entries must capture genuine moments, with no AI or digital manipulation permitted.

 

From Nikon:

 

Nikon is delighted to announce the highly anticipated finalists for the 2026 Nikon Comedy Wildlife Awards. This year’s shortlist features 40 Individual Finalists, 3 U16 Category Finalists, 4 Portfolio Category Finalists and 9 Video Category Finalists – a spectacular collection of mesmerising, feel-good and laugh-out-loud moments that celebrate the wonder of wildlife in all its glory.

Among the hilarious hopefuls vying for this year’s top prizes are a caiman wearing a wig, a handstanding leopard, a strutting white-tailed eagle, and a polar bear appearing to chat to a seagull. The 2026 competition has attracted more than 10,000 entries from 112 countries, the highest number in the Awards’ history.

Entrants are competing for an incredible line-up of prizes, including Nikon’s Z6III full-frame mirrorless camera, Z50II mirrorless camera and the Nikon ZR compact cinema camera. The overall winner will also embark on a once-in-a-lifetime safari with Alex Walker's Serian in the Masai Mara, while other prizes up for grabs include some of the best-selling photography rucksacks from ThinkTANK.

Founded in 2015 by professional photographers Paul Joynson-Hicks MBE and Tom Sullam, the Awards celebrate outstanding wildlife photography through the universal power of humour, while shining a light on the importance of protecting the wildlife and habitats our planet depends on. Authenticity remains at the heart of the competition, with all images capturing genuine moments in the wild and no AI or digital manipulation permitted.

Comedy Wildlife is once again delighted to be working with the Born Free Foundation, an international charity dedicated to rescuing and protecting wild animals from exploitation, while conserving threatened species and their natural habitats for generations to come. An inspiring mission which the Awards are proud to support.

Stefan Maier, Nikon Europe Senior General Manager Marketing says: “Nikon is proud to see the Comedy Wildlife Awards continue to grow in impact, with this year’s competition attracting more entries than ever before. With more than 10,000 hilarious and heartfelt images capturing the character and vibrancy of our natural world, the competition also pulls into focus the vital importance of conservation. Congratulations to all the finalists."

Tom Sullam, Comedy Wildlife Competition Co-founder says: “The Comedy Wildlife Photography Awards started very gently, somewhere out on the vast plains of the Serengeti. What began as a small effort to raise awareness of wildlife conservation has grown into something far bigger than we ever imagined. The competition is now truly global, and a decade or so on, we want to make it even bigger, funnier, and more far-reaching than ever.  We use humour to get people to feel empathy towards wildlife, and it's that empathy that creates behavioural change for the better.”

The Overall Winner, Category and Highly Commended Winners will be announced on Tuesday 8th December at a dedicated awards evening in London. This will be followed by a one-week, free exhibition from 19th-13th December, where Nikon will showcase the 2026 Award Finalists at the Gallery@Oxo.

 

'The Secret Kiss'

© Jeetendra Chaware/Nikon Comedy Wildlife Awards

 

Competition categories include: 

• Alex Walker’s Serian Mammals Category 
• Spectrum Photo Birds Category 
• ThinkTANK Reptiles and Amphibians Category 
• Fish and Other Aquatic Species 
• Insects Category 
• Nikon Young Photographer (up to 25yrs.) 
• Nikon Junior Category (up to 16 yrs.) 
• Amazing Internet Portfolio Category 
• Nikon Video Category 

 

The Sterna’s People’s Choice Award will be open from 10th December until March 1st 2027 for the public to vote on their favourite.

This year’s shortlist will be reviewed by Nikon Creators Cameron Whitnall, Hannah Stitfall and Roxy Hemadani, alongside Nikon Ambassador Daisy Gilardini. New to the judging panel for 2026 are author and presenter Roma Wells, wildlife photographers Will Fortescue and Jamie Smart, and climate comedian Stuart Goldsmith. Completing this year’s expert line-up are TV presenter Kate Humble, actor and comedian Hugh Dennis, renowned wildlife photographer Will Burrard-Lucas, and co-founder of the Born Free Foundation, Will Travers OBE.

For more information, please visit the Nikon Comedy Wildlife Awards website.

 

Retouch4me, a developer of AI-powered photo and video editing software, has released Retouch4me Lab, a color correction and visual effects application for the stage between RAW conversion and retouching. Retouch4me Lab brings every frame in a shoot to one consistent color baseline, then gives the photographer the tools to add their own style.

Color in post-production divides into two jobs: repairing the source and applying a style. Presets and LUTs deal with the style. The repair is the manual part, and it grows with the size of the shoot. The most frequent scenario is where lighting changes from frame to frame. Lab automates that stage across a full set of images.

Lab is built to produce color that looks finished. Under-saturated color is one of the signals that an image was left half-done, so the correction stays inside the range a professional would choose manually. Lab's neural networks learned from the work of professional photographers and retouchers, which holds the result to that standard on unfamiliar materials and across different camera systems.

An even baseline is also what makes a personal style transfer. A preset lands the same way across a shoot when the frames beneath it start from a similar place. Lab brings them there, so a photographer's own presets and LUTs behave consistently on every image.

 

Retouch4me Lab includes:

• AI color correction that evens out a full set of images automatically
• Basic correction: exposure, white balance and tone
• Color tools: HSL, curves and a color matrix
• Support for LUTs and saved styles
• Local masks for selective adjustments
• Three optical effects: halation, bloom and chromatic aberration
• An intensity control on every adjustment, with settings that carry from frame to frame

 

 

How Retouch4me Lab works:

• Control. Applying the automatic correction is optional, the automation offers a starting direction, and every adjustment has an intensity control.
• Processing. Retouch4me Lab runs locally on the photographer's computer, so image files stay on the machine.
• Workflow. Retouch4me Lab covers the color stage and works alongside RAW converters such as Adobe Lightroom and Capture One.
   

“In 2013 I built a color grid to simplify color correction for photographers, because every program I opened treated hue, saturation and luminosity as three separate sliders, when in a photograph they move together,” said Oleg Sharonov, co-founder of Retouch4me and creator of 3D LUT Creator. “Lab does that job with AI now, automating the base layer of color correction. It takes a raw shoot and brings every frame to a good starting point. I am looking forward to seeing it make color work simpler for photographers.”

Retouch4me Lab is available now at USD 145. A free demo is at https://retouch4.me/lab

 

About Retouch4me

Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, its software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. Retouch4me improves the workflows of creatives around the world. Discover how to elevate yours at https://retouch4.me/

 

 

There is no doubt that the general perception of focal lengths has led us to wider and wider lenses being considered mainstream. Much of this shift also has its origins in significant leaps in manufacturing ability and, of course, increased sophistication in lens design. Alongside this, the price also falls and eventually brings things to within a more accessible reach. And here we are with a full frame 20mm f/2.5 L-mount lens, plus the 24MP Panasonic Lumix S9 camera body to try it out on. It makes a stylish looking package, the spec is interesting and the price is within range, so let's see if the images it produces live up to the same standards and our expectations.

 

Panasonic Lumix S 20mm f/2.5 Handling and Features

We have probably long put aside any idea that mirrorless cameras are expected to be significantly smaller than the DSLRs they have been steadily replacing. In general, the lenses are the same size and weight they have always been and the bulk is such that a camera bag is still needed to carry even the basic kit. However, Panasonic is certainly doing their bit here as the new lens is weighing in at a very modest 142g. The 40.9mm x 69.4mm dimensions are chunky, but the use of plastics has kept that weight down. Construction quality is of a high order and the one focusing/control ring is smooth in operation.

 

 

There is no lens hood provided, a shame especially with a wide angle lens. One can be purchased and will need to use the 62mm standard filter thread. The front element is quite small, but not particularly vulnerable. It has a Fluorine coating to repel dust, moisture and grease, and this makes it easier to keep clean. The lens is also dust, splash and freeze resistant. The operational range is from -10C to +40C.

There are a couple of switches around the lens barrel. The first is the usual AF/MF switch and the second is the AF focus lock. This latter button can also be programmed from the choices in the camera menu.

 

 

Closest focus is 0.18m (0.59') for a maximum magnification of 0.15x. This is usefully close, helping to make compositions with dramatic foregrounds so much easier to produce.

Optical construction is 11 elements in 9 groups, including 3 aspheric and 3 ED (Extra Low Dispersion). The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. There is no built-in IS, so shake reduction is deferred to whatever camera body is being used.

Thus finally we arrive at the beautifully polished metal lens mount. Reassuringly held in place by 5 screws (where some lenses only have 3), this is all solidly made and looks as if it will offer long service. It is a firm action that will hopefully ease up a little with use. Overall, the lens has little in the way of controls and also little in the way of vices. The lens is a pleasure to use, so now let's look at the technical performance to see if that matches up with the splendid handling.

 

 

Panasonic Lumix S 20mm f/2.5 Performance

Central sharpness is outstanding from f/2.5 through to f/5.6, excellent from f/8 to f/16 and still very good at f/22. The edges are fair at f/2.5 and f/2.8, very good at f/4, excellent at f/5.6, very good at f/8 and f/11, good at f/16 and fair at f/22. Apart from the slight softness at the edges wide open, this is a very crisp and satisfying lens. There is a weakness at wider apertures and close distances, shown in the text images provided, but otherwise a superb result.

 

Panasonic Lumix S 20mm f/2.5 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is well under control. There is virtually no CA at the centre of the image, and even the edges show little sign of colour fringing.

 

Panasonic Lumix S 20mm f/2.5 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com).

 

Some barrel distortion is evident, measuring just -0.74%, another excellent result.

Bokeh is a more aesthetic response and cannot be directly measured, but we know the best results when we see them. Despite the lens being ultra-wide and also extremely sharp, the bokeh remains soft and natural. It is much better in this respect than was anticipated.

Flare is not a problem in normal use. Artefacts can be generated under extreme lighting conditions, but the intrusion into the image is minimal.

Vignetting is minimal, the actual figures are very impressive, especially for such a wide lens.

 

Aperture   f/2.5 -1.1 f/2.8 -0.9 f/4 -0.7 f/5.6 -0.5 f/8 -0.5 f/11 -0.5 f/16 -0.5 f/22 -0.5

 

Panasonic Lumix S 20mm f/2.5 Sample Photos Previous Next

 

Panasonic Lumix S 20mm f/2.5 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 Panasonic Lumix S 20mm f/2.5 is priced at £429.00

Looking at currently available L-mount lenses of around 20mm, the following are possible alternatives:

• [AMUK]Sigma 20mm f/1.4 DG DN Art|Sigma 20mm f/1.4 DG DN Art[/AMUK], £899
• [AMUK]Sigma 20mm f/2 DG C|Sigma 20mm f/2 DG C[/AMUK], £659
• [AMUK]Sigma 17mm f/4 DG DN C|Sigma 17mm f/4 DG DN C[/AMUK], £509
• [AMUK]Lumix S 18mm f/1.8|Lumix S 18mm f/1.8[/AMUK], £699

There are even more choices if we also include zoom lenses, but at somewhat higher prices. The new lens is well priced and excellent, so definitely worth serious consideration.

 

 

Panasonic Lumix S 20mm f/2.5 Verdict

In terms of dramatic, sweeping foregrounds and deeply immersive positioning, the ultra-wide lenses are powerful tools that make the photographer seem very much a part of the scene we are observing. This does not just apply to landscapes, but to architecture, street, fashion, even portraiture. It is of course essential that the camera is taken in close, otherwise we end up with just empty foreground and a background reduced in size and stature. As a generality, we need to move in close, then closer...although there are plenty of fine images that break all the rules. A fine example of this is the use of ultra-wide lenses in the trendy Carnaby Street fashion of the “Swinging Sixties” onwards.

The potential is huge, and all delivered in a compact, light and absolutely excellent lens. Without doubt, Highly Recommended.

 

Panasonic Lumix S 20mm f/2.5 Pros

• Outstanding sharpness, especially centrally
• Very low distortion
• Smooth bokeh
• Low CA
• Low flare
• Fast, accurate and virtually silent AF
• Dust, splash and freeze resistant

 

Panasonic Lumix S 20mm f/2.5 Cons

• No Vibration Reduction
• No hood provided

 

 

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The punchy shades of autumn give a photographer the perfect opportunity to capture images with a much more arty feel. For those who enjoy playing around with Photoshop there's a way to turn your autumn forest shots into streaks of bold colour in a few easy steps, or you can create a similar look in-camera if you prefer. If you're out on a breezy day there's a third way you can create autumn abstracts by capturing the movement of leaves. 

 

1. Move Your Camera And Lens

This technique is better known as a drag landscape and we have tips on how to do this in a previous article we published back in the spring. To summarise, you set the exposure going then drag/pan the camera in a particular direction. By doing so the trees will be turned into strong lines of colour that give a twist to the normal autumn shot.

You can also focus in on the leaves and play around with your panning directions to create movement in the image. Moving in a circular motion can work particularly well when you're working with the canopy which tends to have less prominent lines and hard edges. Experiment with the size of the circle you 'draw' as again, this will alter the shapes in the image. 

  2. Create The Look In Photoshop

If you've got a few autumn shots hiding away in your computer's folders you can recreate the look the above technique creates in Photoshop. For step-by-step tips on how to do this, take a look at this tutorial: Abstract Autumn Shots In Photoshop

While you have Photoshop open, why not turn your Autumn drag landscapes into a Triptych too? 

  3. Take Your Images On A Windy Day 

Instead of worrying about wind movement of trees spoiling your shot, take advantage of the weather and emphasise the movement. A long exposure will render the autumn leaves into a creative blur. If you're going for a landscape shot where trees are featured but you do have other parts of the scene you don't want to be so blurred, do make sure you take plenty of images as you don't want to head home and find out nothing was actually sharp in frame. You can then just delete the ones you don't want to keep. You will also have to experiment with shutter speeds to ensure you get movement in the leaves but not in other parts of the image. You could achieve the desired result with multiple exposures, too.    

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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 pamelajean (Day 27 - Mountain 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 24

Market Stalls

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Day 25

Motion

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Day 26

Good Weather

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Day 28

Forests

[COMMENT_IMG]portfolio|11912|3715732[/COMMENT_IMG]

  Day 29

Arboretum

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Day 30

Autumn Close-Ups

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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. Gear Suggestions

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

  2. When To Take Your Shots

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

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

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

3. Where To Go

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

 

 

4. White Balance

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

5. Look For Contrast

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

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

 

6. Foreground Interest

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

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

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

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

H.H. Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai and Patron of HIPA, honours American photographer Scott Kelby, recipient of the Photographic Research/Report Award in HIPA’s 4th Season, Life in Colour.

 

The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) has finished judging its 15th season, with 'Family' as its theme. The award has now received more than one million photographs from over 500,000 photographers from 209 countries. Winners will be honored on 10 November 2026 at Dubai's Museum of the Future.

 

From HIPA:

 

The Board of Trustees of the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) has announced the completion of the judging process for the award’s 15th season, themed ‘Family’.

The announcement was made during a Board of Trustees meeting at HIPA’s headquarters in Dubai, where members reviewed annual performance reports, strategic initiatives, development plans and preparations for the season’s awards ceremony which will take place on 10 November 2026 at the Museum of the Future.

This season featured five categories: Family, Portfolio (Story-Telling), Sports Photography, General and Dreams Through AI.

The Board also revealed that HIPA has now received more than one million photographs submitted by over 500,000 established and aspiring photographers from 209 countries, reinforcing its position as one of the world’s most influential photography platforms and the largest active international photography community.

 

H.H. Sheikh Mansoor bin Mohammed bin Rashid Al Maktoum, President of the UAE National Olympic Committee with the winners of HIPA’s 14th Season, Power.

 

A Global Platform Born in Dubai

 

H.E Abdulrahman Bin Mohamed Al Owais, Minister of State for Federal National Council Affairs and Chairman of HIPA’s Board of Trustees, highlighted the transformative vision of H.H. Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, Deputy Prime Minister, Minister of Defence and Patron of HIPA.

He said, “The award has redefined the global photography landscape by establishing Dubai as an international centre for visual culture and creativity. Through its sustained investments in photographers and creative talent, HIPA has created life-changing opportunities for visual storytellers around the world, empowering them to document humanitarian, environmental and social issues while pursuing sustainable careers.”

He added that the award has played a significant role in supporting creative industries, strengthening visual culture and advancing sustainable development through the power of photography.

 

A Living Global Visual Archive

 

Hala Badri, Director General of Dubai Culture and Arts Authority and Vice Chairperson of HIPA’s Board of Trustee, described the award’s collection as a unique cultural and documentary resource.

“With more than one million photographs from 209 countries, HIPA has evolved into a remarkable visual archive that documents human, environmental and social transformations across the globe,” she said.

“This collection represents an invaluable artistic and anthropological record of the 21st century, and Dubai is proud to be its home.”

 

Hala Badri, Director General of Dubai Culture and Arts Authority and Vice Chairperson of HIPA’s Board of Trustees, honours American photographer Karim Iliya.

 

The World’s Largest Photography Community

 

Ali Bin Thalith, Secretary General of HIPA, said the organisation’s achievements extend far beyond the competition itself.

“Reaching half a million photographers and receiving more than one million images are milestones that place HIPA along the world’s most influential photography initiatives,” he said. “Our community spans 209 countries, creating an unparallel platform for visual dialogue, cultural exchange ad artistic excellence."

Bin Thalith added, “HIPA has delivered more than 230 specialised training programmes, benefitting over 10,000 photographers, while also providing dedicated initiatives for government employees, People of Determination and inmates in correctional institutions.

He noted that the award’s educational efforts include hundreds of published articles and visual programmes designed to promote photography culture and professional development throughout the UAE and the wider Arab world.

“The rising international visibility of photographers from the UAE and the Gulf region reflects the lasting impact of HIPA’s workshops, mentorship opportunities and engagement with world-class judging panels,” he said.

 

Photography as a Universal Language

 

Board of Trustees member Majid Al Bastaki said “HIPA has achieved a remarkable level of cultural globalisation by proving that photography is one of humanity’s most powerful common languages,” he said. It transcends borders cultures and languages while fostering understanding and connection among people.”

He added, “The international media and photography communities continue to recognise HIPA’s transparent judging process, robust intellectual property protections and blind evaluation system.”

 

Building Creative Human Capital

 

Board of Trustee member and renowned artist Matar Bin Lahej said, “HIPA’s impact extends well beyond recognising winners. Many awards end when the prizes are presented. HIPA continues creating value through education and capacity building. By investing in photographers and developing their skills, the award contributes to the long-term sustainability of the photography sector and strengthens Dubai’s position as a regional centre for photography education.”

 

Renowned sports photographer and HIPA judge Laci Perényi (GER)

 

International Recognition

 

Members of this season’s judging panel also praised HIPA’s global influence.

Award-winning American photo editor Kurt Mutchler noted that US media reports directly compare HIPA to leading American photojournalism and documentary photography awards, such as the Pulitzer and POYi. HIPA is recognised for its ability to attract entries from over 200 countries, owing to its inclusive nature and lack of restrictive entry barriers. He also highlighted the American media's praise for the humanitarian dimensions of the award’s annual themes—such as ‘Family’, ‘Diversity’ and ‘Hope’—and how they align with global cultural trends focused on human connections, social justice, and environmental protection.

Renowned German sports photographer, Laci Perényi, stated that European photographers view HIPA as a launchpad for international stardom; the visual impact of the winning images propels photographers into the ranks of stars with both power and confidence. He also noted that the European photography community regards HIPA as successful in sparking human engagement and fostering international interest in major global issues.

Polish documentary photographer Tomasz Tomaszewski remarked that HIPA has successfully utilised photography as a universal language to unite peoples and bridge cultures. He highlighted how the European arts press refers to HIPA as the "Oscars of Photography," citing its significant role in enabling winning creatives to achieve professional independence and dedicate themselves to environmental and humanitarian projects, in addition to the prestigious media exposure gained through their association with the award.

 

About the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA):

 

The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) is an internationally renowned photography competition. It was launched in 2011 by His Highness Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, the Crown Prince of Dubai. The award enjoys a social and legal stature as a tool for promoting Dubai’s vision of artistic and cultural excellence. On a local level, the award hopes to develop and increase awareness of the art of photography amongst the local Emirati population. For more information visit www.hipa.ae

 

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

1. Autumn Macro Tips With A Compact Camera

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

 

2. Photographing Reflections During Autumn

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

  3. Autumn Garden Photography Tips

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

 

4. Tips On Shooting Autumn Landscapes

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

 

5. Autumn Shooting at Arboretums

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

 

Imagen's newest experience adds a built-in editor, introduces a faster way to get from idea to edit, and reshapes the workflow around how photographers actually work.

 

September 29, 2026 – Imagen today launched its newest update, challenging an assumption the photo editing industry has built around for years: that culling, editing, and delivery have to happen in a fixed order. Imagen’s Intelligent Studio, an adaptive post-production workspace, removes that order entirely. Photographers can cull first, start editing before making final selections, pull together a client preview from a handful of key moments, or move between all three as a project develops.

 

A full editor, built in At the core of the new experience is a new editor that brings full manual editing directly into Imagen for the first time. Photographers can work with RAW and JPEG files, with the same range of manual control they'd expect from a dedicated editing program: tone and color, detail and clarity, lens and perspective corrections, and creative finishing touches. Every adjustment happens in the same workspace as the rest of the shoot, no exporting to a separate program to make a change or see the result. For photographers who want Adobe Lightroom in their process, that workflow remains supported. Imagen gives them another option: they can now complete more of the project inside Imagen, from the original files through final export. Photographers can also apply an additional AI Profile to selected images directly within the edit, giving them more control over how Imagen's learned editing style is used across a gallery.

 

Intelligence that works alongside the photographer

Imagen also introduces new ways to find and work with images across a shoot. Imagen's new Assistant lets photographers complete multiple steps from a single instruction. Instead of finding a set of images, selecting them, making an adjustment, and preparing them for review one step at a time, a photographer can describe what they want in plain language. For example: “find the bride in the ceremony photos and increase highlights” or “create duplicate versions of these photos with a black and white base I can work from”. Imagen can handle those steps together, shortening the path from editing to delivery. 

AI filters run on that same underlying intelligence, surfacing photos by people, scenes, or moments without manual tagging. A gallery that used to take an hour to sort through by eye can be narrowed to the handful of shots that matter in seconds. Photographers still decide how far to take it: lean on Imagen for the first pass, or keep every selection by hand, and switch between the two from one project to the next.

 

 

Personalization that evolves with you

Imagen has consistently centered its AI development on the idea that a photographer's style, judgment, and eye are valuable assets to safeguard, not replace. While many in the industry aim to make AI handle more tasks independently, Imagen chose a different approach: building AI that adapts to how each photographer already works. The new version continues that philosophy, with a proprietary Editor model that learns how a photographer edits inside Imagen itself. 

This shifts the AI's role from merely a tool to an adaptive assistant that evolves alongside the photographer, one that's beginning to recognize patterns like a recurring sneak peek style, remember fixes made before rather than flagging the same thing generically, and tell the difference between a photographer's general style and the specific choices made for one shoot.

Imagen is positioning itself as a builder shaping the next stage of post-production. This is the foundation for that future, and the beginning of where the workflow goes next.

“Photographers don't all work the same way, and we don't think their software should expect them to,” said Yotam Gil, co-founder and CEO of Imagen. “Imagen gives photographers the tools to build the process that works for them. They decide what they want to do themselves, where AI can help, and how the final work should look. Our job is to give them more control over that process, not define it for them.”

 

Availability and Pricing

Imagen offers two plans: pay-as-you-go, with a $7 monthly minimum plus usage-based charges, and Limitless, a flat monthly rate for photographers who'd rather not track individual charges.

Pricing changes with Imagen’s Intelligent Studio for pay-as-you-go customers: instead of paying for each AI action, photographers can explore and continue editing freely, then pay for the images they ultimately export.

The update begins rolling out to customers in stages starting September 29. To learn more, please visit imagen-ai.com

 

About Imagen

Imagen is an AI-powered post-production platform for professional photographers and videographers. The company builds AI that learns each photographer's individual editing style and applies it consistently across their work, rather than treating every photo the same way. Imagen supports the full post-production process, from culling and editing to retouching and delivery, and is used by photographers and videographers worldwide across wedding, portrait, real estate, and commercial work. imagen-ai.com

In our busy modern lives, it is often complicated to find the time to shoot great autumnal images, considering the amount of research, walking and perseverance that is often involved. Big hitters like the New Forest and The Lake District are often out of reach for city dwellers, especially with a family in tow. So this coming autumn has a go at visiting an arboretum, as they make a brilliant and easy alternative, keeping the kids amused with throwing leaves at each other while you take some breathtaking opportunities to capture autumnal photography.

1. What kit is best?

When it comes to kit, fit a medium telephoto lens to your DSLR as it'll be particularly handy for capturing leaf and branch detail. Make sure you pocket your macro lens too. Don't forget your wellies when you visit an Arboretum as they do get a lot of visitors and the ground gets well-trodden.  

2. Why are arboretums so good as photographic locations?

Right, back to arboretums! As they are collections of trees from various continents, this can be just the ticket to an easy shoot. Horticultural planners include sensational visual displays to attract visitors in their thousands, to places like Westonbirt Arboretum in Gloucestershire to name one of the UK’s favourites. Yet it's not as simple as falling off a log, you need good sunshine and a well-timed visit to get the best from the colours and the day.

3. Any particularly stunning trees I should look out for?

There are two tree species to look out for - Maples and Acers. Most arboretums have these trees in their collection and they feature heavily in annual publicity shots (hence generating a huge car parking revenue each year, vital to the arboretum's upkeep). Westonbirt is not cheap to get in, but consider where this money is actually going.

4. What conditions are best?

It's best to wait for sunshine to give dimension to the trees, but if the day starts a bit flat and dull, all is not necessarily lost. Concentrate on staging some ideas, such as putting leaves on interesting textures or making arrangements of leaves themselves.

Also, try the good old zoom burst technique. Put an ND filter on the lens, set an aperture of f/16 and the ISO as low as possible. This should give a long shutter speed, maybe a few seconds. Set the camera's two-second timer, press the shutter and then zoom into the shot and create a wonderful vortex of colours. It's easy to do and is very effective.   

- Partner Content -

  What to Expect from Graphic Design in 2027: Key Trends and Predictions

 

 

In anticipation of the new year, we all dream of what we hope to achieve in the coming months, both personally and professionally. However, the uncertainty around us clouds the future. What helps are predictions and trends that give us a glimpse into what lies ahead.

As we look to 2027, it promises us many graphic design innovations, a revival of traditional designs, and a focus on maximalism. What else can we expect from graphic design next year? Read on to learn more about the visual trends that will dominate the industry in 2027.

 

What are graphic design trends?

Graphic design trends refer to the styles, colors, and approaches popular in the design industry during a given period. They are influenced by many factors, including popular aesthetics, social and political changes, as well as advancements in technology and graphic design.

Sometimes it happens that design trends do not follow current events, but try to go against them. For example, in times of uncertainty, design trends lean towards minimalism as a way to bring a sense of order.

 

Who predicts the future of design?

Annual visual trends are a window into the future of graphic design. They are usually defined by industry professionals who track consumer preferences, gather expert opinions, and observe patterns to predict what will be popular in the coming year. Among them are DeposiPhotos.com, 99designs, Behance, VistaPrint, and Creative Boom.

 

Color trends in design in 2026

To act on the graphic design trends of 2026, one must first get familiar with the design color forecast for the coming year. So, while the rest of the world is discovering new visual trends, you can create your next project in the color of now.

Depositphotos, one of the world’s largest stock content marketplaces, predicts that a mix of intense and subtle colors will dominate the design landscape this winter. These include Aged Wine (#481623) and Dark Copper (#532906) shades, as well as Matcha Latte (#D6DF9F) and Stardust (#C1BCB6) hues. 

The Pantone Color Institute, one of the most respected sources in color forecasting, suggests basing your designs on the shade Mocha Mousse (#A47864) next year. However, WGSN and Coloro made their choice two years ago, when they named Future Dusk (#474972) the color of 2025.

 

 

Top 8 design industry predictions and trends for 2026-2027

 

1. Graphic design innovations with AI assistance 

The level of tech development has always played a key role in the evolution of graphic design. Looking ahead to 2027, it is clear that artificial intelligence will become an integral part of design processes. If you tried to ignore AI before, it will be impossible to do so in the future.

2026 is the year to embrace AI-powered tools to stay competitive in the creative industry. New solutions are making it easier to develop visual concepts, refine ideas, and create visual content with less manual effort. One example is the Depositphotos AI Assistant, which combines AI-powered search and creative capabilities with access to a vast library of licensed visual content, helping users turn ideas into visual concepts and streamline the creative process more efficiently.

 

2. The revival of naturalism in design 

To balance the spread of AI-fueled designs, some visual artists will turn to nature. The revival of naturalism in design will focus on organic shapes, earthy color palettes, and textures that mimic natural elements. It will be clearly visible in product packaging and branding.

To grasp this trend, take a look at nkm — a sustainable cosmetics brand with environmentally-friendly packaging. You can see how they conveyed the new visual trend and the company’s philosophy in their choice of design elements, such as floral motifs and earth-toned colors.

 

 

3. Abstract gradients

Gradients in designs have been trending for the past few years, but now, they will take a more abstract and artistic direction. Instead of traditional horizontal gradients, designers will experiment with more unique and unpredictable directions and color combinations. To make it look even more on-trend, add some noise and texture to your gradient pictures.

 

Abstract, colorful, and grainy gradient background

 

Reeded glass effect

Another way to make your designs stand out is to incorporate a reeded glass effect. This textured effect adds a modern touch to any visual, whether it's a photo, graphic art, or website layout. Therefore, it’s ideal for projects with a futuristic aesthetic. 

But the best part is that the reeded glass effect easily combines with other design trends. You can use it alongside nature-inspired images to balance natural motifs with modern design elements. Or, utilize the reeded glass effect with colorful gradients for a dynamic look.

 

4. Minimalist maximalism

Some call it minimalist maximalism, while others refer to this trend as bold minimalism. However, the name doesn’t change the essence of the trend, which is all about striking a balance between simplicity and extravagance.

Minimalist maximalism is the future of graphic design we deserve. It pushes the boundaries of traditional design norms while adhering to its core principles—simplicity and functionality. So, get ready to see vivid colors and bold contrasts alongside clean lines and sleek typography.

 

5. Vibrant color schemes

The graphic design community has embraced maximalist color schemes since 2022. They are eye-catching, fun to look at, and add a dynamic element to any design. Needless to say, this is exactly what brands are looking for to get the attention of potential customers. 

In 2026, we will once again experience the popularity of attention-grabbing colors in design. Brat green, hot pink, electric blue, and vivid orange will be the go-to choices for designers looking to make a statement.

 

6. The renaissance of artisanal design

In contrast to colorful and flashy visuals, we will also see more serene designs based on natural materials and earthy tones. They will signify the renaissance of artisanal design that focuses on craftsmanship, simplicity, and sustainability.

This trend is backlash against the widespread use of AI and the mass production of both physical and digital products. Digital saturation has reached its peak, so now people want to reconnect with more authentic and meaningful creations.

 

Geometric design with abstract nature

 

Dark aesthetics

A fair share of people who feel uncertain about the future will gravitate toward dark aesthetics in design. The familiarity of deep, rich colors and moody atmospheres will bring comfort and a sense of stability in chaotic times. The return to dark shades is also a response to flashy designs and constantly changing microtrends and aesthetics.

 

Wrapping up

Whether to move forward and embrace AI-fueled visuals or take a step back to appreciate timeless designs, you decide. 2027 will also offer many options between innovation and tradition, comfort and boldness, familiarity and novelty. However, ultimately, it is you who will shape the future of design with your decisions.

 

The new AI feature curates smartphone photos automatically and privately into albums, helping people rediscover their buried camera roll moments

 

No generation has documented life this thoroughly, yet no generation looks back on less of it. That’s the paradox Popsa Memories - launched by memory curation app Popsa - is designed to solve.

Now available on Popsa's iOS and Android apps, Memories launches in two beautifully designed collections: Popsa Rewinds, which curates your highlights from the past month or year into one story, and Popsa Journeys, which instantly resurfaces forgotten holidays and day trips. 

The scale of our buried photos on our smartphones is stark. The Memory Economy report, Popsa's survey of 8,000 global consumers conducted earlier this year, found that:

• 70% of smartphone photos are never revisited
• Only 16% have looked back at even a quarter of their own camera roll in the past year
• 49% say their camera roll actively stresses them out

“The camera roll has become an archive system rather than a reminiscing experience, and our research shows that sorting them is a common issue for users” says Liam Houghton, CEO and Founder of Popsa. “In fact, I started Popsa after realising I had over 250,000 photos on my own phone. I was documenting my life, but I had no way to actually make sense of any of it.”

Memories is Popsa's answer: An AI that runs privately on the customer's device, automatically resurfacing and curating the best moments buried in a camera roll. AI photo curation isn't new - Apple and Google have both offered versions of it for years. What's new is where Popsa does it, and how it organises the results.

Built on PrivateContext, Popsa's on-device intelligence layer developed over a decade of machine learning work, Popsa Memories automatically detects the people, places and activities most present in someone’s life. It recognises when something worth remembering happened while letting users hide any memories that they don’t want to see. Entirely on device, nothing is ever uploaded and no one at Popsa ever sees the photos - photos only leave a device when a customer chooses to print them.

“We decided early on that understanding someone’s photos should never require uploading them,” says Liam Houghton. “PrivateContext does all of that work on the device, so some of the most personal data people own stays in their hands.”

Early beta data shows the appetite is real: Popsa has generated more than 33 million Memories since January, each a curated set of 128 photos on average, surfacing more than 4.2 billion individual photos that customers would otherwise have been unlikely to see again. Roughly one in seven people who opened a Memory went on to create a printed product from it.

Memories is free to use - no subscription, no ads - and it’s now rolled out to all Popsa users across available markets in the latest version of its iOS and Android mobile apps. Two new articles on the company’s Perspectives blog detail How Popsa Memories Works and how the company protects users’ privacy while accessing the app.

For more information, please visit the Popsa website.

ePHOTOzine members can enjoy exclusive savings on PortraitPro 24 from Anthropics Technology.

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This week's 'Photo of the Week' accolade has been awarded to 'Californian Poppies' by chase, a still life full of warm tones and rustic glass that creates a quiet, cozy atmosphere.

We love the detail in this image and the obvious care that went into setting up each piece. There's real thought in how the flowers and foliage are arranged across the three bottles, with the vintage glass complementing the golden and orange petals perfectly. The fallen petal on the wooden table adds a natural touch, and the soft daylight creates a simple, balanced composition that ties everything together.

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. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

 

The beauty of this time of year is that the sun rises at a more reasonable hour so an early morning jaunt to the woods isn't as painful as it was a few weeks ago. To top this already good news off, the chances of you finding mist circling around the trees is a lot higher at this time of year and when you mix this with your rising sun, you have the chance to capture strong beams of light as they burst through the trees.

 

1. Hope The Mist Is Right

You have to have the right type of mist for this - too thick and you won't be able to see the end of your nose let alone a sunbeam but if it's too thin there won't be enough moisture in the air for the light to reflect off. Read up on fog and mist techniques to become an expert at dealing with it. 

 

2. Take A Good Look At The Trees

It can be a little hit and miss but when the right density of mist does appear, you'll be able to capture some cracking shots as long as you have the right number of trees. Too many and you'll have broken, uneven patches of light but if there's too few the light will flood the open spaces leaving you with plenty of light but no beams. Your best bet is to quickly move to several locations to judge what looks the best before setting up camp. We say move quickly as the mist can vanish and the light can change quickly.

This also means you need to work quickly so do be familiar with your camera's controls and how you can adjust apertures etc. quickly to maximise your opportunities. Some cameras have dedicated dials you can assign specific controls to or offer ways you can access a particular setting more quickly.    3. Position Yourself In The Right Place For this to work properly you need to be shooting into the sun. Of course, this means you could have problems with flare but if you position yourself so the sun's hidden by a tree or foliage the light won't be as bright.
  4. Metering Tips

Metering is another tricky subject when you're working with direct sunlight and shadowy areas you don't want to lose too much detail in. To keep as much detail as possible don't meter from the direction of the sun instead, pick an area away from the light then compose your shot.

 

Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.

 

1. Safety First 

This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

2. Pack Your Filters

Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.

If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.

The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.

 

 

3. Lens Choices 

The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.

 

4. Capture Distance And Height 

When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.

 

 

5. Use Small Apertures 

The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."

 

6. Creating The 'Wow' Factor When shooting from the mountain you want the viewer to gain a sense of the place, so when they look at the shot they almost feel like they were actually there with you. To do this, as well as using a wide-angle lens, use a panoramic composition as this will help the viewer appreciate the scale of the location but again, it doesn’t emphasise the dramatic height of the mountain, something we'll discuss further down the page.      

 

7. Correct Exposures 

If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.

 

8. Off The Mountain 

This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.

When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details. 

In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.

 

A good support is a particularly important tool for landscape photographers. Even if you're a compact camera user you should consider purchasing a tripod. If you're still not convinced that fastening a tripod to your rucksack isn't a good idea when you're off on your walk, have a read of our ten reasons why we believe you should.

 

1. Use longer lenses more comfortably with a tripod

If you planning on taking some long as well as wide lenses out with you they tend to be more prone to camera shake so having a tripod will keep your shots sharp. However, if you do want to work hand-held make sure you don't use a shutter speed that's lower than your focal length. Some take this further and say your shutter speed should be at least double the focal length you're using.

  2. Easily adjust height

If you have a sky that's bursting with colourful sunset shades and want to make more of a feature of it, adjust the height of your tripod so more sky is in frame than land. We know you can just raise your hands up higher but holding your hands up in the air isn't very comfortable and any movement, even a small sway, could add unwanted blur to your shot. If you do want to adjust the height, make sure you pull all the legs out to their maximum length before using the centre column. Why? Well, even though it's easier to adjust than three legs, the support won't be as sturdy.

  3. Create slower shutter speed images easily

If you're planning on taking photos that turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. The problem with slower shutter speeds is they're not a great choice when working hand-held as you have to stay very still to stop shake and if you don't, blur will creep into your shot. However, stick your camera on a tripod and you can set shutter speeds that are many minutes long and shake won't factor into it. While we are talking about shake, try using a remote release or the camera's self-timer to fire the shutter to stop any small movement that you moving your hand away from the camera may create.

 

 

4. Create multiple exposures

If you're shooting a scene where the camera can't handle all of the different exposure levels present, you may want to try shoot a series of separate shots that each focus on the dark, middle and light parts of the image which are then combined to create one balanced exposure. If you're unsure whether the location you're at will work better with HDR, take a few sample shots and have a look at the areas that are in shadow. If you think there's detail that's lost in these darker areas that will improve your photograph then have a try at HDR.

A tripod is essential for this type of photography as the smallest of movements can adjust your framing which means your shots won't line up when you try to merge them together. As a result, once you've framed up, lock your camera's position, ensuring all screws are fastened tightly and that all leg locks won't come loose.

  5. Create smooth panoramas

If you want to shoot some landscape panoramas, having a tripod will help keep your shots steady and make them easier to stitch together once back in front of the computer. Start at either the left or right of the image, whichever you're more comfortable with, and allow for some overlap between each frame. It's always worth doing a 'dummy run' so you can make sure everything you want in the scene can be captured and to double-check you have enough overlap between each shot. It is important that focus is not adjusted during the panorama so take care not to touch the focus barrel once you have focused and set your white-balance manually so you don't have to make small tweaks to individual shots once back home. For scenes with details much closer to the front of the frame you'll need to use a panoramic head.

 

6. Take your time to compose properly

We know it's been said quite a few times but it doesn't hurt to mention it again, particularly to those who are new to landscape photography. What are we talking about? Well, the actual process of setting up your tripod, putting your camera through it and looking through the viewfinder does take some time and as a result, it slows you down and makes you think more about the shot you're taking. If you didn't have a tripod with you it would be very easy to take your camera out of its bag, fire off a few shots quickly and move on to a new location without really giving much thought about composition and the overall shot you're trying to achieve.

 

  7. More stability in windy weather 

If you find the weather turns a little blustery you'll need a sturdy tripod as unlike us photographers, they're better at balancing so won't get blown and pushed around as easily. If you find you need a little more weight and your tripod features a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still.

 

8. Set up low angle landscapes

For something a little different, adjust your tripod legs so you can shoot lower to the ground. This can give foreground detail more emphasis, really changing the feel of your landscape shot.

  9. Set up in water, use a remote trigger 

Sometimes you have to get your feet wet to get the shot you want but trying to stand upright in water that's moving on what can be slippy rocks is hard enough on your own, without a camera in your hands. To minimise the chances of you dropping your camera in the water, put it on a tripod. If the tripod doesn't have to be too far in the water you could also use a remote release/cable to fire the shutter from the water's edge rather than getting in yourself. Do make sure your tripod won't topple over and if you have them, use spiked feet to bed the tripod into the floor. If you're shooting at the coast, remember to clean your tripod after dunking it in the sea as saltwater will rust it.

  10. Capture images with low light minus movement blur

Shooting at sunrise, sunset or during the night so you can capture a sky full of stars, requires the use of slower shutter speeds, which, as mentioned, means you'll have to use a tripod as working hand-held can result in shake spoiling your shot. You can try nudging your ISO up to quicken your shutter speed but not all cameras produce good-quality shots when higher ISOs are used so the safest option is to take your tripod with you so you can use longer shutter speeds.

 

Photo by Joshua Waller

 

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset. 

 

1. Gear Choices

Pack a wide lens for capturing the big picture and a telephoto for singling out individual buildings and pulling distant objects towards you on your evening jaunt. Taking a tripod with you is advised but do leave your flashgun at home and turn your on-camera flash off as if it fires, it can ruin your skyline shot.

Most cameras, even compacts and smartphones are capable of producing night shots of decent quality but if you're planning on using much lengthier exposure times, you'll want to pack a more advanced camera. 

 

2. Where To Stand With Your Kit

While on holiday (if you have a room with a view) make use of the balcony to give you a high vantage point of the city. You'll also find buildings with observation decks, bridges to stand on and if you're in a city such as Sheffield which has the peak district on its doorstep, try heading for the hills to give you a sweeping shot of the whole city. From high locations you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as city dwellers switch on their lights at home. Street lights look particularly good twinkling against the deep blue sky still lit by the setting sun. Just be careful where you meter from as you don't want the sky or building lights to 'blow out'. Keep an eye on your histogram and take a reading from a darker part of the frame. Another option is to take multiple exposures of the same view so you can combine them to create a shot with a balanced exposure where there's not under- or over-exposed areas in the image. 

 

3. Taking Photos Through Glass

If you've got to capture your image through glass do check for marks and smudges that will spoil your shot. If you can't remove them, experiment with your aperture to see if one particular f-number will remove them from the shot. You'll also need to put the lens as close to the glass as possible and cup it with your hand, a cloth or whatever else you have that will reduce the amount of interior light reaching your lens. If you don't, you'll end up with reflections and flare could spoil your shots. 

 

Photo by Joshua Waller

 

4. Depth Of Field 

You'll want to use an aperture that gives your shot plenty of depth of field, around f/8 is a good place to start, and try to stick to lower ISOs where possible. You may find you need to adjust this to increase shutter speeds but if you're using a tripod, longer exposures won't be an issue. If you have it available, the depth of field preview button can help ensure your shot is sharp from front to back. 

Foreground interest can add another level interest and 'fill' empty space that can occur when focusing on subjects in the distance. However, do make sure it's not stealing the spotlight and pulling the viewer's attention away from the skyline. 

 

5. Shoot Silhouettes 

Silhouetted cityscapes are popular subjects and they work well against a plain but bright background. Even though they're a little clichéd sunsets do work well particularly if it's one that's rich with colour. To create your silhouette you need to expose for the background and not the buildings you want to silhouette. You may need to fool your camera when it comes to metering as using the camera's automatic metering won't always give you the silhouette you're after. Try half-pressing the shutter button while focused on the brightest part of your scene before moving back to frame the shot but this means your camera will focus on this and not your subject. Manual focus or using a smaller aperture can combat this problem. Talking of manual focus, you should consider using this even when not shooting silhouettes as it'll always produce better results, plus auto-focus tends to struggle as light levels fall. 

 

6. Shots At Street Level

As well as getting up high working at street level can work well in the evening too. Try using long exposures (20-30 seconds) to set the dark sky and buildings against the streak of lights that come from the traffic as it moves through the city streets. You could even combine multiple traffic streak shots to increase the sense of speed and movement in your city shot. Another way to add a creative twist to your city skyline shots is by incorporating reflections from rivers, lakes or even wet pavements after it's rained. 

 

7. Tall Buildings & Straight Horizons

Pay attention to your horizon and the angle of the buildings as you don't want them to be slanting to one side of the image. A tripod with a spirit level can be handy although many cameras now have these or gridlines built-in. When home, check your city shots for distortion but this is something that can be easily fixed in image editing software. Playing around with the colour balance can enhance and evoke mood, too so don't be afraid to experiment with this. 

 

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Anyone who shoots regularly ends up with the same problem: a stack of external drives, each holding a pile of different projects, but none of them labelled well enough to trust. Finding one file often means plugging drives in one at a time until you get lucky. And knowing whether a project is safely backed up in two places usually means guessing, which is why so many photographers keep everything on the Mac far longer than they should, unsure what can be deleted and what can't.

Niklas Fischer, the developer behind Tusk, knows the feeling. "I've never had a drive crash or break, so that was something I didn't worry about too much. What was worse for me was the anxiety when I wanted to delete files from my Mac. I was often not sure which files were safe to delete and wanted one app that shows me exactly where a project lives, instead of plugging in drives one by one to check."

 

 

Tusk is that app. Released in August 2026 after a two-month public beta with photographers and video editors, it combines two jobs that have usually needed two separate tools: backing files up, and keeping track of where they went. "There are great tools like NeoFinder and Carbon Copy Cloner that each do cataloguing or backup well," says Fischer. "Before Tusk, nothing did both."

The setup is short. You pick a project folder, choose one or more backup destinations (external drives, NAS, Google Drive, Dropbox or S3-compatible storage such as Backblaze B2), and Tusk copies everything across, verifying each file with a checksum. From then on it watches the folder and backs up new and changed files as they appear, so a fresh export lands on the backup drive without you doing anything.

 

 

Every file gets a status per destination, and that status stays visible after the drive is ejected. Open a project from two years ago and Tusk shows which drive holds the master files, whether that copy was verified, and when it was last checked. Search covers the whole catalogue, whether the drives are connected or not.

 

 

That catalogue is also what makes it safe to free up space. Once a file has verified copies elsewhere, Tusk lets you delete the local copy. It checks the physical backups first and blocks the delete if anything is missing or unverified. Restore brings files back from the fastest connected copy in one click, for a whole project or a single folder.

 

 

Photographers with years of existing backups do not need to start over. Point Tusk at a drive that already holds your archive, select the folders, and it catalogues and verifies them in place, without recopying. A second drive with partial copies of the same shoot can be brought in the same way: Tusk matches what is already there and copies only what is missing. On a shoot day it can also offload a memory card to two or more destinations in a single pass, with a checksum report at the end.

Fischer built the first version as a command-line tool for his own course recordings. "When talking to other photographers and videographers, I realised that I'm not the only one struggling with this problem. I then decided to turn it from a terminal tool into a real desktop app, in close collaboration with some of my videographer and photographer friends."

Everything Tusk knows about your files stays on your Mac. No signup is required, and neither your files nor the catalogue is uploaded anywhere. Cloud backups go straight from your Mac into your own accounts. Tusk is focused on project-level backups, so it does not replace whole-Mac backup software such as Time Machine or Backblaze, and it runs on macOS only.

Tusk is available now from tuskbackup.com for macOS 12 and later, on Apple Silicon and Intel Macs, as a signed and notarised download (it is not on the Mac App Store). A 14-day trial starts on first launch with no signup or card. A licence is a one-time purchase of $79 (USD); at launch, the first 100 licences are offered at $49. It covers up to five Macs and includes one year of updates, and the app keeps working after that.