DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Churches are something the majority of us will have in our towns and villages and they're a great location for a spot of photography as they're just as interesting on the inside as they are on the outside. Plus, you might have a graveyard to explore as well. Whatever your style of photography, a church will probably have something to grab your attention. 

 

1. Getting Access 

 

To make the most of what our churches have to offer we have to get inside them which can be trickier than you think. Larger churches and cathedrals may have photographic restrictions (a fee payable to use a tripod, no flash etc.) and certain opening hours but generally smaller, local churches are more willing to give you access any time of the day. Just phone in advance to let the vicar or whoever holds the key know that you'd like to take some photographs inside the church. In many smaller towns churches are left unlocked during the day. 

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In buildings of this size, you might as well keep your flash in your bag as it will only add light to objects a few feet in front of you. Instead, you need to get your sturdy tripod out, fasten your camera to it and use a long exposure.

As exposures can be several seconds long, the smallest of nudges can cause the camera to shake so try using a remote / cable release or the camera's self-timer option to reduce it. You could even use your Smartphone to trigger the shutter if you have a camera which can be controlled remotely via smart devices. When it comes to lenses, anything goes. Telephoto lenses can be used to capture the details found on the roof, wide-angle lenses for the wider architectural scenes and macro lenses for close up details of pews, columns and altars.

 

2. Respect Your Surroundings & Fellow Visitors 

 

Before we discuss shooting suggestions do please remember churches, particularly smaller ones, are quiet places so try to make as little noise as possible as you move around. Be respectful of others around you who are there to pray etc. too.

If you're visiting a church that's popular with tourists do remember that others will want to take photos too so work quickly or plan your visit for first thing in the morning or nearer closing time when less visitors will be around. 

 

3. Shooting Suggestions 

 

Try shooting down the aisle to capture the lines of pews, altar and everything else people think of when you ask them to describe a church. Find a comfy pew or a part of the floor you can lie on (don't worry about the funny looks) and focus your lens on the roof which often has interesting patterns and features. Don't be afraid to get in close to objects either.

Reflections off windows, cases and even abstract shots of blurred lines of pews up close can create interesting images. Although if you're trying to capture images of objects protected by cases you won't want reflections or glare spoiling your shot. Try using an ND, polarising filter or cupping your hand around your lens to cut down on reflections and have a cloth handy to remove any fingerprints that have been left on the case.

The large stained glass windows found in most churches look great when lit up by sunlight and they also work well as zoom burst subjects, something we've covered previously on the site. 
 

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

 

A stunning English countryside shot capturing snow-dusted hills glowing in soft pink and amber morning light has won our 'Photo of the Week' (POTW) award.

'March Morning's Glow' by BillRookery is a real beauty. The snow-dusted hills catching that first light of the day is gorgeous, and the puddles in the foreground reflecting it all back makes it even better. That old stone viaduct tucked behind the bare winter trees ties the whole scene together nicely. A brilliant capture, well deserved!

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we’ll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

© Joshua Waller

 

If you fancy trying your hand at portrait photography, you will need a model. If you have the money you could go to an agency and hire one – at least, that's the theory - but there are plenty of other options that aren't quite as expensive and you can do the leg work yourself.

Find tips on where you can find models, how to contact them and what all of the acronyms models/photographers use mean.

Below you'll find 8 tips/ideas/suggestions on where you should start your search as well as tips on working with 'pros vs new models' and what exactly MUAs, TFCD, TFP stand for. 

 

1. Join A Model Community Website

© Joshua Waller

 

A really great alternative to using a model agency is joining a model community website. There are several good ones and joining at the lowest membership level is free so there is no risk. In time, if you feel being a member has benefits you can pay a subscription and get more benefits. These usually include being to include more portfolio images, the ability to send more personal messages, for example.
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2. Modelling Sites That Are Worth Joining 

© Joshua Waller

 

These sites usually let you search for models in your locality and also in the styles or ‘levels’ that you want to shoot. If you want to do glamour, topless or fine art nude, you can specify that or if you are after models within a certain age range. Check the sites below for details.

• www.net-model.com
• www.modelmayhem.com
• www.purpleport.com
• www.madcowmodels.co.uk
• www.starnow.co.uk

 

3. Get Down With The Lingo 

© Joshua Waller

 

When you first join a modelling website, it can be very daunting. There are strange expressions (togs, MUAs, TFCD, TFP, for example) and it is all a little scary. By the way, togs are photographers, MUAs are make-up artists, TFCD is time for CD and TFP is for time for prints. TFCD and TFP are really important and means the model will give their time and pose in return for CD or prints of the shoot. 

 

4. Not Everyone Will 'Work For Pictures' 

© Joshua Waller

 

A professional model is unlikely to work with you in return for pictures unless you can benefit their portfolio with some amazing shots. In time, this could be you but you are probably not there just yet.

 

5. Where To Begin?

© Joshua Waller

 

So how do you start? If you are new to model photography, it makes sense to find a model also just starting out. This means you can learn your respective trades together and expectations are lower. As mentioned above, some will work with you in return for photos, too, or they'll charge less than someone with a lot more years of modelling under their belt. 

 

6. Pros Of Using A Pro 

© Joshua Waller

 

On the other hand, working with a more experienced model will make it is easier for you in that they can create poses without too much instruction from you. They will probably be more knowledgeable about make-up for photography - again it is unlikely you will be using a make-up artist at this stage.

 

7. Making Contact 

© Joshua Waller

 

Once you find a model or two you like the look of – as in terms of experience, cost etc. or literally – send them an email, explaining what you are about and what you want and go from there. If you are new to this, say so. If you have some pictures already, post them on your profile and ask prospective models to look at your look.

It is worth saying that the odds are that you are not going to get a response from every model you approach and this is true even if a model is looking for photographers. The important thing is not to take it personally and it can be for any number of reasons.

 

8. Don't Forget The Shoot! 

© Joshua Waller

 

It's rare, but you can arrange a shoot with a model and they not turn up – it happens the other way round, too, with photographers so don't be that person! Make sure you arrive with plenty of time and do contact the mode if you're going to be late. 

To prevent 'no shows', it is worth reading feedback on the site from fellow members. Unreliable models/photographers will have negative feedback.

 

More Advice On Working With Models

• 10 More Tips On Finding And Working With Models
• How To Pose Your Friends Like Models
• 7 Top Tips For New Models
• Model Shoot Advice
• 16 Top Model Photography Tips

• Growing Opportunities For Mature Models

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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 saxon_image (Day 2 - Spring).

 

Daily Theme Runners-Up

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

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

  Day 1

Daffodils

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Day 3

Creative Horizons

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Day 4

Sky

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  Day 5

Sense Of Scale

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Day 6

Movement

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Day 7

Outdoor Portraits

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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.

- Partner Content - 

 

Standard and wide-angle focal length primes can be remarkably compact and portable, as these three Nikon Z primes illustrate.

 

There was a time when zoom lenses were considered second class citizens, optically inferior to their fixed focal length brethren. As optical design advanced, zooms got better, so much so that when it comes to performance, a high-end zoom can match or even surpass what a prime lens can deliver. Put simply, the choice of prime or zoom lens is no longer a consideration of optical performance and there are other factors that come into play.

There’s no right or wrong when it comes to lens choice, it just depends on what you want, your budget and how you prefer to work.

 

A fast wide-angle such as the Sony FE 16mm f/1.8 suits interior work and more specialist subjects such as astro photography. For people photography, the Sony 85mm f/1.4 is just the ticket.

 

Zooms are hugely flexible when it comes to framing the photograph and a wide variety of different compositions can be achieved without changing camera position and that’s a major attraction. In addition, you may be shooting in a cramped space and unable to step back or you physically can’t move closer, but with a zoom, that’s easily solved. 

Zooms also have a logistical benefit with one lens replacing a bagful. In theory, a 24-105mm standard zoom could displace a 24mm, 28mm, 35mm, 50mm, 85mm and 100mm in the bag, so there’s a significant saving in weight and money. The recently arrived Sigma 20-200mm f/3.5-6.3 DG zoom does an even better job in this respect.

 

Using a fast telephoto at its widest aperture gives a very shallow depth-of-field, so focusing must be done very carefully. Shot with an OM System 45mm f/1.8 lens (equivalent to 90mm in full frame) with an exposure of 1/50sec at f/1.8 and ISO 800. Image by Will Cheung.

 

For days out with the camera, when you want a lightweight yet versatile package, or if you’re travelling, a wide-ranging zoom has a compelling appeal. 

Of course, it’s not all one-way traffic and primes have several pluses too. Not all zooms are made equal and while high-end zooms turn in superlative image quality, that is not the case with cheaper models especially when used at their wider apertures. 

Speaking of apertures, this is one area where primes hold sway. Fast aperture zooms do exist, but they are often expensive. The Sigma 28-45mm f/1.8 DG DN Art is a fast aperture standard zoom that sells at £1039 in like new condition from MPB, while for Sony users, the FE 50-150mm f/2 GM is a remarkable optic which MPB has samples available at £3299 in like new condition.

 

Tripod-free night photography is a big benefit of fast lenses. Shot with a Fujifilm XF 35mm f/1.4 R with an exposure of 1/70sec at f/1.4 and ISO 1600. Image by Will Cheung.

 

The recent resurgence in primes has been fuelled by the appeal of fast maximum apertures. In practical terms, this means the possibility of using lower ISO speeds for optimum image quality, faster shutter speeds and shooting at wide apertures for a shallow depth-of-field and attractive background bokeh. It’s using fast lenses at their wide settings that can give your photos a distinctive look which distinguishes them from zoom lens photos. On a point of technique, though, with such limited depth-of-field, shooting at such wide f/stops means focus must be spot-on. The camera’s AF confirmation aid might be telling you focus has been achieved but it’s still worth double-checking.

Fast primes are available from all the camera brands as well as independent manufacturers. When you start shopping for primes, one thing that will be immediately obvious is how much more you have to pay for a fraction of an f/stop. Taking two Sony lenses for example, a new FE 50mm f/1.4 GM is £1399, which is £600 less expensive than the superfast FE 50mm f/1.2 GM. Only you can decide whether it’s worth paying so much more for an extra half-a-stop. At the time of writing, MPB does not have stock of either lens so in this situation, you can create an alert – which can be cancelled at any time - by submitting your email address and you’ll be contacted when stock becomes available.

 

No light, no problem with a fast lens. This was shot with a Fujifilm XF 35mm f/1.4 R lens wide open with an exposure of 1/40sec and ISO 3200. MPB has samples of this lens at £409 in excellent condition. Image by Will Cheung.

 

Getting the best from a prime means modifying your shooting approach, which can be a challenge to start with. You can’t zoom for a tighter or broader composition so you have to move your feet, but the process does have the benefit of making you think more about the picture and that can improve the result. 

The ideal system building option for most photographers is to concentrate on zooms but add a prime or two to complement them. You might be a keen nature shooter so adding a dedicated macro lens would make sense. For Canon users, there’s the RF 100mm f/2.8 L Macro IS USM which is £1209 from MPB in like new condition and this lens can get close enough to give 1.4x life-size magnification without any extra accessories. The Sony FE 100mm f/2 Macro GM OSS has the same potential and this is available from MPB at £1299 in like new condition.

 

A lightweight prime is the perfect companion for a day’s street photography. Taken with Zeiss Touit 50mm f/2.8 lens with an exposure of 1/80sec at f/8 and ISO 200. Image by Will Cheung.

 

If your zoom collection comprises lenses with modest maximum apertures, a good move would be a fast prime which gives options when light levels drop. Canon users could go for the RF 24mm f/1.8 Macro IS STM at £419 in like new condition. Its fast aperture suits street and general shooting while its close focusing skills add an extra dimension. For Fujifilm X-System owners, there’s the choice of two 50mm lenses which give the equivalent of 75mm in full-frame so ideal as portrait lenses. The Fujifilm XF 50mm f/1.0 is available from £804 in excellent condition but you can sacrifice the speed and go for the more compact and cheaper XF 50mm f/2 R WR on sale from MPB at £259 in excellent condition.

If you’re tempted by going prime, make MPB your first port of call. As the world’s leading used gear dealer, MPB has a huge range of imaging gear on its books and incoming kit is thoroughly checked by its experts before being offered for sale. On most lenses, there is a wide choice available with the price set according to the item’s condition. Check out your trading options now on the MPB website.

 

 

News from MPB

With spring in the air, it’s time to consider your outdoor photography options so if you need any help making the most of the cash, check out MPB’s Best Cameras for Landscape Photography here. MPB’s Connor Redmond offers essential advice if you’re keen to up your landscape game. Whether you’re looking for a DSLR, mirrorless, compact or medium-format, this feature is a great place to start your buying journey.

  MPB Explained

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

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

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

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

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

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

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

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

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

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

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

Get A Quote From MPB Today

 

About MPB

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

Visit The MPB Website

 

When photographers turn their attention to using lengthy shutter speeds at the coast, the sea takes on a silky, mist-like quality that meanders and contrasts against dark rocks and other strong static subjects found in the coastal landscape. These images are popular with landscape fans and with the right gear and a little bit of know-how, you too can capture these types of eye-catching imagery.  

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1. Time Of Day 

Early morning is a time that's favoured by photographers and it's also the perfect time when trying to create this particular effect as lower light levels increase exposure times. The downside is that ideally, you do have to get up really early, we're talking before dawn, however, if you have an ND filter in your bag, you don't have to worry about setting your alarm clock too early if you prefer later starts. 

 

2. Using ND Filters 

For those who are wondering, an ND filter will stop as much light reaching your camera's sensor and as a result, increase your exposure times. This means you can use longer shutter speeds even at times when normally, you wouldn't be able to as your shots would turn out overexposed. ND filters are available in a variety of strengths and the stronger the filter, the longer your shutter speeds will be. Variable NDs are useful when you're not sure what strength you'll need but normally, exposure times of around 30 seconds or more will really blur the motion of the water.

The problem with ND filters which have a greater density is they're very dark which can make it tricky to compose your shots through your viewfinder or when using LiveView but you can sort your settings and composition before fitting the filter under these circumstances. It's also worth noting that some cameras allow you to boost the image when using LiveView so it's worth checking your camera settings. 

Another filter you might find useful is an ND Grad for when the sky is appearing too bright when the land is correctly exposed. By fitting one in front of your lens, the exposure will be balanced and the final image is closer to how the eye sees the real thing. 

 

LiveView without the filter in place.

 

LiveView with the filter in place.

 

3. Carry Your Tripod 

Make sure you use a tripod as you'll just end up with shaky shots if you try to work without one when using longer shutter speeds. Plus, a tripod will help you ensure your horizon's straight along with your camera's grid or even a small spirit level fitted to your camera's hot-shoe. A remote or cable release will minimise shake and if your camera has the feature, put LiveView into good use but do keep an eye on your battery levels as power will be depleted quickly and you don't want the battery to die half-way through your long exposure. Finally, pack a lens cloth to keep your lens/filter sea-spray free and always clean your equipment when back home. 

 

4. Location, Location, Location

If you get the chance, scout a few locations out before you head off with your kit. Obviously, you need to be along the shore but lookout for locations where foreground detail such as rocks and driftwood will add interest to your image. Try using lower angles to exaggerate the size of rocks etc. sitting in your foreground and don't forget about your main focal point. You could even use foreground interest to guide the eye through the shot to the lighthouse, pier etc. 

 

 

5. Tide Times 

Noting the tide times is not only important from a safety perspective but you also want the water level to be at the right point along the shore. Plus, if you can time your visit for when the tide's going out, the sand will still be damp and decorated with patterns created by the receding tide and rocks will have more definition thanks to the wet surface creating shine. If you don't mind a little trial and error, you can also use the line created by the sea as it moves back out to guide the eye to your main point of interest.

 

6. Apertures, Autofocus & ISO

Narrow apertures (try f/11 or f/16 and go from there) are what you're aiming for and stick to lower ISOs. Frame up and check your composition carefully, without the filter attached if it's particularly dense. Use the autofocus function to focus on your main focal point, although the low light levels can mean your lens keeps searching so you may need to use a torch to highlight part of the scene so it can focus on it. Once happy, lock your focus, making sure you don't knock the focusing ring on your lens in the process.

 

 

7. Test Shots

Again, if you are working with a particularly dense filter, now's the time to take a test shot and check your histogram as well as the image on the screen to ensure the exposure is correct (no blinking highlights or shadows). Make a note of the shutter speed and attach the filter. You then need to use this shutter speed to help you calculate the correct exposure length. Most filters come with an information chart/conversion table to help with this or you can download an app that'll provide the same information.

If there's some of the scene visible when using LiveView it's worth just checking your composition once more before hitting your shutter release. You won't be able to make/see tiny adjustments but if something's not quite right with the overall composition, you should be able to adjust for it. If you find you need a shutter speed that's longer than the maximum shutter speed that your camera provides, use Bulb mode but make sure you have a remote / cable release to-hand so you don't introduce shake. 

If you're using a filter that's lighter (around 1-5EV stops) you should still be able to see the scene through the viewfinder or when using LiveView so you shouldn't have any problems working in aperture priority, focusing and composing your image with the filter fitted.

  8. Try Again 

If you don't get the results you want straight away, try decreasing the aperture further, use a denser ND filter or wait for slightly darker lighting conditions if you don't own another ND filter. If you don't own an ND filter at all, decrease the ISO (if possible), use an even smaller aperture and keep decreasing the shutter speed until you gain the correct exposure. Again, keep an eye on your histogram and be patient!   

 

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

                                                                                                                           

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

Edit whole shoots in just minutes. Highly rated by leading industry publications, PortraitPro 24 is the world’s first intelligent retouching software, powered by advanced Generative AI and smart tools for fast, professional results.

 

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• (Exclusive to Studio Max) Apply multiple presets to each picture.

 

"This feature alone (Glasses Reflection Remover) would pay for the upgrade after repairing just a couple of shots spoiled by the reflections in a subject's glasses, mainly in time saving."
 

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Download your free trial today and discover what PortraitPro can do for your portraits!

 

 

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Some people put their pets before family and have images of their favourite dog sat alongside their wedding, holiday and children's pictures. This might be you too! Of course, you are stuck if you do not have a dog, but the odds are you know someone with one so if you are really keen, finding a subject is not an issue.
 

1. Kit Suggestions 

 

In terms of kit, all you need is a camera with a lens or two. Or you could try something like using a Lens Baby for a different effect. If you're heading to a dog show consider taking a smaller camera bag as space can be a premium and leave the tripod at home. 
 

2. Do They Like The Camera?

 

Having a trained dog that's used to being in front of a camera will make things easier. You don't want to get your camera out to find they either want to eat it or won't come near you because they're unsure about it. Some dog could not give two hoots; others will just scamper away.

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3. Get Them Running Around 

 

Pet photography is a popular subject, but most people tend to snap their dog when sitting, rather than capturing the active moments dogs are well known for.

Shots of your pet running and chasing around are far more interesting than a static shot of them sat on a rug in front of the fire. But to capture them it takes some planning and dogs running around are fast and they can be unpredictable. Having someone with you (your partner? Kids?) definitely will be a help because you can ask them to call for the dog while you concentrate on shooting.

Try autofocus with continuous shooting and see if it can track the subject. It might cope well but as dogs move quickly and their coats are low contrast, autofocus can be tricky so try manually pre-focusing on a particular spot and when your dog runs to it, press the shutter.

You'll need a reasonably fast shutter but not so fast that the dog is frozen in the image. Having a mix of sharpness and blur can work well, or just use an even slower shutter speed for more blur to exaggerate its movement. 
 

4. Get Down Low 

 

We're used to standing and looking down on dogs so a shot from this height is nothing special. So instead, try getting down to your dog's eye level or even lower. Kneel, lie (but there's no need to roll over!) to produce a much more dynamic and interesting shot. With features like LiveView, getting a composition from ground-level is easy enough. Of course, there are times when shooting from a higher angle works well such as in the shot at the top of the article.

  5. Exposure Tips 

 

Expose for the dog and not the surroundings. If you have a particularly dark or light dog you may find exposure compensation helps the camera meter correctly. As with human portraiture, it's also important for the eyes to be sharp but again, due to the speed they move, this can be difficult to perfect.
 

6. Natural Light Is Your Friend

 

Natural light is good but as with humans, dogs look less good in contrasty light. For maximum detail in the coat, a bright sky when the sun is gently diffused by high cloud can work well. If the day is quite dull, try fitting the flashgun to lighten the shadows or try underexposing the daylight so your lit subject stands out proudly from a darker sky - it can be a great look.
 

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

 

Sigma lenses are divided into groups: Art, Contemporary and Sports. The Art group are lenses that aim to reflect the pinnacle of the lens makers' art, billed to be the cream of the crop, the best that can be delivered. This is a claim that has been upheld very well, continuously and reliably. Sigma have been consistently making some very fine lenses indeed. Of course, there are many companies who offer very fine lenses, so the competition is fierce. Let's see if Sigma have offered here something that is indeed a cut above the rest and can take on even the very expensive top marque optics. To take us on this voyage of discovery, we have  the lens plus the very capable 42MP Sony A7R III body. Let battle commence....

 

Sigma 35mm f/1.4 DG II Handling and Features

The lens is solid, but not onerously so, using Aluminium and Thermally Stable Composite. These materials work well together as they have the same coefficient of expansion. Weight is a reasonable 525g, and dimensions measure 73.0mm x 96.0mm. This is much larger than a traditional 35mm f/1.4 lens would have been, but is in keeping with current design and manufacturing parameters. The whole is dust and splash resistant. The front element also has an oil and water repellent coating in addition to Sigma's AAC (Advanced Amorphous Coating) multi-coating. 

There is a provided petal shaped lenshood that clips smoothly and securely into place. A flush locking catch ensures that it stays there, and this cannot be easily pushed by accident so there is little chance that the hood could be accidentally displaced. Within the bayonet fit for the hood is a standard 67mm filter thread.

 

 

First up is the generously sized focusing ring, utterly smooth in operation as befits its electronic nature. Behind this is a selection of buttons and switches. There is the usual AF/MF switch. All the usual Sony focusing options are available – AF-S (Single shot), AF-A (Auto selection), AF-C (Continuous), DMF (Direct Manual Focus) and MF (Manual Focus). DMF enables tweaks to the focus position to be made manually when AF is active. This can be particularly useful for close up shooting where the desired point of focus may be offset from where the AF system settles.

There are two AF-L buttons, a click on/off that refers to the aperture ring click stops and an aperture ring lock. This lock can be operated when the ring is set to A, preventing it from being nudged off that setting. It can also be set when using the aperture ring values, thus preventing A being selected in error. This is a very logical and useful arrangement. The aperture ring itself is clearly marked in one third of a stop steps and is very slickly engineered.

Focusing is down to 28cm, or 11.1”, for a maximum magnification of 1:5.4. This is in line with what we might expect from a 35mm lens intended as a standard lens. AF is driven by dual HLA (High Response Linear Activator) motors using a floating focus system. AF is smooth and virtually silent as well as being fast and accurate. 

 

 

Optical construction is 15 elements in 12 groups, including 2 SLD (Super Low Dispersion) and 4 Aspherical. The diaphragm comprises 11 blades for an impressively rounded aperture. This suggests that we might be finding some gorgeous bokeh.

There is no IS built into the lens. This is provided by the Sony camera body, and is still highly effective despite the A7R III not being the latest incarnation. It does the job extremely well.

The mount is the usual high quality Sigma, the fit being firm on this A7R III. It may not be the smoothest fit, but it is solid and does the job. There are Sony FE and L mount versions of the lens, the latter fitting the Sigma USB Dock UD-11. 

There are a few places where a well-established manufacturer such as Sigma could go astray with a quality prime lens such as this, and indeed, Sigma delivers the goods very effectively. The controls are high quality and operate flawlessly. Is this quality of construction and ergonomics matched by its technical performance? Time to find out.

 

 

Sigma 35mm f/1.4 DG II Performance

Central sharpness is excellent all the way from f/1.4, right through to f/11. It is still very good at f/16. The edges are also excellent from f/1.4 through to f/5.6 and then still very good from f/8 to f/16. This is a truly great performance.

 

Sigma 35mm f/1.4 DG II MTF Charts Previous Next

How to read our MTF charts

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

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

 

CA (Chromatic Aberration) is very well controlled throughout, and colour fringing is unlikely to be an issue.

Distortion is just -0.11% barrel, an impressively low figure. The slight residual barrel distortion is the right choice anyway, as that is what our eyes expect from wide-angle lenses.

 

Sigma 35mm f/1.4 DG II Chromatic Aberration Charts Previous Next

How to read our CA charts

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

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

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

 

Bokeh is a subjective assessment of the quality of the out-of-focus areas in an image. This new lens is beautifully smooth, aided by the 11-blade construction of the diaphragm and the rounded aperture. Lovely.

Flare control is about as good as it gets and even the most harsh lighting is easily handled without any sign of artefacts.

Vignetting is present wide open, albeit not excessively so, and thereafter well under control.

 

Aperture   f/1.4 -1.6 f/2 -1.3 f/2.8 -1.3 f/4 -1.3 f/5.6 -1.3 f/8 -1.3 f/11 -1.3 f/16 -1.2

 

This all represents a very high standard of performance, definitely up there with the best.

 

Sigma 35mm f/1.4 DG II Sample Photos Previous Next

 

Sigma 35mm f/1.4 DG II Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Sigma 35mm f/1.4 DG II Art|Sigma+35mm+f/1.4+DG+II+Art[/AMUK] lens is priced at £849. It is possible that stocks of the original Mk I lens might be found at £769.

Some alternatives for Sony FE fit:

• [AMUK]Samyang AF 35mm f/1.4 Prima|Samyang+AF+35mm+f/1.4+Prima[/AMUK], £528
• [AMUK]Sony FE 35mm f/1.4 GM|Sony+FE+35mm+f/1.4+GM[/AMUK], £1429
• [AMUK]Sony FE 35mm f/1.4 Distagon T” ZA|Sony+FE+35mm+f/1.4+Distagon+T”+ZA[/AMUK], £999

VFM is not only about price, so adding in the performance level, which is very strong, then this is excellent VFM.

 

 

Sigma 35mm f/1.4 DG II Verdict

For full-frame cameras, the 35mm lens has always represented an alternative standard lens for those photographers who prefer something a little wider than the ubiquitous 50mm. Many classic compact cameras have had fixed 40mm lenses, or thereabouts. For the experienced photographer, it brings the opportunity to step in a bit closer and feel more included and intimate with the subject matter. This is particularly ideal for street/reportage shooting and brings us into a more inclusive style of street photography, becoming a part of the events unfolding rather than just an observer. Beginners may appreciate a slightly wider view that avoids clipping the edges of the subject, allowing a little more space.

The new Sigma lens is a superb performer, fitting the hands well, delivering the quality at the highest level and yet being reasonably priced. The ergonomics is a lesson in good design, and the Sigma engineers can be truly proud of the fine lens that is the fruit of their labours. It duly receives the accolade of Editor's Choice.

 

Sigma 35mm f/1.4 DG II Pros

• Excellent central and edge sharpness
• Low distortion
• Low CA
• Fast, accurate and virtually silent AF
• Dust and splash-resistant construction
• Low vignetting
• Low flare
• Excellent handling

 

Sigma 35mm f/1.4 DG II Cons

• No IS inbuilt

 

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Outdoor portraits add levels of interest to a shot you can't always get from an indoor shoot and as this time of year particularly, it's the perfect excuse to wrap up in layers and pose in front of snow-filled scenes. No snow? Well, your highstreet at night can be an equally cool location as can be your local woods or even your backyard should you not want to walk as far. 

To kick-start your outdoor photoshoot, we've put a few easy to understand but rather essential outdoor portrait tips together for you to peruse. Plus don't forget to share your examples of outdoor portraits in our Gallery or Daily competition forum. 

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1. Get Your Lighting Right 

Once you've found a model brave enough to go out, possibly in the cold, you need to sort out your lighting. It is a good idea to have a friend or fellow photographer on hand. This applies to both male and female photographers and an extra pair of hands can be really handy to hold flashguns and look after things during the shoot.

If working a night, a powerful torch will help you focus. Just shine the light at the subject – not directly into the model's face and focus. It is worth considering shooting using manual focus for this subject because autofocus might continually adjust and throw the subject out of focus once the torch is switched off. Flash modifiers, coloured filters and lighting stands will find a use too. 

One of the big problems of using flash at night – apart from the attention (sometimes unwanted) that it attracts – is that a flashgun can pump out too much light and burn out the subject. You need to watch this and use flash exposure compensation to cut down the amount of light if that is the case. 

Another important thing to remember is the inverse square law – double the distance between the flash and the subject and the power output falls by a factor of four, not two as you might expect.

As well as on-camera type flashguns, there are several studio-quality flash units that run off portable batteries. These are more powerful than a typical flashgun and worth trying.
 

 

2. Tripod Or No Tripod? 

Your tripod is handy here too, especially if you want to mix flash and ambient lighting. That said, blurring the ambient light can be an effective technique. Any tripod will be fine, although if you have to walk some distance to your chosen shoot location you may want to consider packing a light-weight model. Carbon fibre models are lighter than those made of aluminium, although they can be cold to the touch but many tripods feature thick foam on the legs that enable a secure grip and stop you having to touch the cold surface.

 

 

3. Poses & Direction 

Make sure you've primed the model regarding poses, clothing and the location that you will be shooting in. You need to think of their comfort, dealing with the weather, keeping warm in between shots and so on. Conversation can help with the flow of the shoot but if you're not very good at banter, just be concise with your posing instructions and don't try to be something you're not. 

You can find plenty of ideas about posing in lighting in fashion magazines and in ePHOTOzine's gallery but just don't simply copy someone else's work, always put your own 'stamp' on it. You need to shoot quickly and have fresh batteries in the flashgun. Minimal messing around is a good idea too and show the model the effects you are getting as you go along. 

 

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Waterfalls, no matter their size, are a pretty awe-inspiring naturally occurring element that stand tall in the landscape and are well worth a photo or two. With this in mind, here are some quick-fire ideas you can think about next time you're lucky enough to be photographing one. 

 

Do It Differently 

 

Instead of starting with slow shutter speeds and blurry water (we'll get to this in a bit) why not take the time to think how you can shoot the waterfall you've found on your travels differently?

1. Try standing on the curve of a riverbank so you can use the s-curves created by the flowing water to lead the eye to the waterfall. Look at the scenery to the sides of the waterfall. Do the wet rocks have particularly interesting patterns? Is the foliage particularly vibrant and as a result will make a colourful frame?

2. Closer to the waterfall take your wellies, waders and macro lens with you and photograph the bubbles that are formed.

3. When winter comes around again a few days of really cold weather can turn waterfalls into interesting ice structures and icicles on the edge of banks can turn an ordinary-looking shot into something more spectacular.

 

4. Enhance the power of the waterfall with fast shutter speeds then finally turn your attention to everyone's favourite technique - blurring water with slow shutter speeds. You need your tripod and your camera set to shutter priority. Then, pick a slow-ish shutter speed of around one to two seconds, check your composition and take your shot. If you find your shot's overexposed use a polarising filter or switch to aperture priority mode but then it can take you a while to find the right shutter speed. You can also go back to your chosen location at sunrise or sunset when the light's not as bright.

 

For more tips on photographing waterfalls, have a look at these tutorials:

• Ten Top Tips On Photographing Waterfalls
• Waterfall Photography For Beginners
• Capture Movement In Your Landscape Shots
• Photographing Waterfalls

 

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

  Wondering what the point of using a tripod is when your arms do a great job of holding your camera? Here are our eight reasons why you should consider popping a tripod on your 'must-have' photography kit list. 

 

1. A Tripod Frees Your Hands

 

Using a tripod leaves you to have your hands free, making it easier to tweak and adjust your lens, camera settings and composition. You can also set the camera up and move away from its position which means you can capture shy animals or position your tripod where you may not want to stand such as in a pool of water that sits in front of a waterfall. 

 

2. Helpful For Panning

 

If you want to create a sense of speed when capturing action shots such as cars racing around a track or bikes speeding around a course you'll want your sharp subject to be sat against a blurred background. To do this you need to pan your camera, following the subject as they move through your frame and although you can do this hand-held, some photographers find it easier to use a tripod or monopod to help them capture the perfect pan. Monopods can move with the turn of your body while if you choose to use a tripod, a pan or ball head will make the task easier.

 

3. Create Different Angles

 

By using a tripod, you can get to new higher or lower angles that you wouldn't be able to reach as easily or comfortably if working hand-held. For example, macro and flower photography is easier if you have a tripod where the centre column can be moved from zero to 180-degree angles. You can then use your camera facing the ground or at 90-degrees if you're shooting into a flowerbed. Some tripods also have special low lever legs and macro arms that mean you can position the camera at almost ground level. 

 

4. You Can Do Time Lapse Photography

 

Time-lapse photography is all about capturing a sequence of shots a few seconds, minutes, hours or even days apart. These shots are then combined to form a series of images that can be played back as a short video. As any movement of the camera will cause your final piece to appear jaunty you'll need a support for your camera. Take a look at this tutorial for more tips: Time Lapse Photography

 

5. Play Around With Longer Exposures     

If you're planning on taking photos at sunset or in the evening you'll need to use slower shutter speeds so enough light can reach the sensor for the image to expose correctly. But working with slower speeds hand-held can mean shake will blur your shot. A tripod will help reduce this and keep your hands free to hold a cup of tea when you're using really long exposures to capture evening shots such as light trails!

Don't think you just need your tripod in the evening though as to turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. 

  6. Get Your Horizons Straight

 

Most tripods feature spirit levels which will show you if your tripod's straight and you can also buy spirit levels which can be clipped to your camera's hot shoe. Tripods also make it easier to adjust the position of your camera which in turn will move where the horizon sits in your shot. For more tips on why this is important, take a look at this article: Photographing Horizons

 

7. Capture Panoramas

 

Panoramas are created by stitching a series of shots together (either in-camera or during post-production) that you've captured by moving your camera from one side of the frame to the other, allowing for a little overlap between each frame. A tripod will keep your shots steady and level which means they'll be easier to stitch together if you're doing it manually. 

 

8. Shoot Self Portraits

 

Working with your arm outstretched so you can be in frame isn't practical and won't produce award-winning shots anytime soon. For this reason, it's important to have a support so you can frame up, ensuring your horizon is straight if out on location before you take your shot. The same goes for group shots at parties, weddings and other gatherings you attend where you want to be in the frame. It also means you can shoot self-portraits in the studio, leaving the camera framed-up on the spot you want to position yourself in once you've set the camera up. 

 

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The Moon. We've walked on it, watched it eclipse the sun and many of us will have spent many an evening looking at it as it sits above us in the night's sky. Another popular moon-related activity is to photograph it and with the right kit, a little understanding on how cameras 'see' and a bit of patience, it's actually not that tricky to capture a decent image of this giant lump of rock that we see every night. 

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1. Camera, Lenses & A Tripod

Obviously, you won't get very far without a camera and while most will reach for long lenses and their more advanced camera, it is possible to capture a half-decent image of the moon with a compact so long as it has a good zoom range on it. If you are going for the interchangeable lens option, reach for something around the 300mm plus mark and you'll capture much more frame-filling shots. A tripod and remote release are handy, especially if you plan on capture multiple shots to blends together, and do wrap up warm. 

 

2. Overexposed Moon 

Once your kit's out and you've taken your first shot, you'll probably see an image that has a very dark sky with an extremely bright, white circle in it. This happens because of the large amount of black surrounding the moon confuses your camera's light meter. To fix this, dial down the exposure compensation or you can try using Spot metering (or meter manually) as this will tell the camera to take an exposure reading just from the moon.

It'll also help if you use a smaller aperture (try a few test shots around the f/11 mark and adjust from there), particularly if you're noticing small spots on the moon which are appearing brighter than others as you'll be able to keep adjusting your settings (shutter speed, aperture, ISO) until most are removed. It's also worth remembering that using a smaller aperture will mean less light reaches your camera's sensor and as a result, you may need to reduce your shutter speeds slightly but we're not talking so much that the movement of the moon is blurred (the moon moves quicker than you think). Try something around the 1/125sec mark and tinker from there.

You'll also need to work rather quickly as spend too long messing with settings and you'll find the moon will have already moved out of the frame and you'll have to adjust your tripod's position again.

 

 

3. Bracketing Your Shots 

Right, back to exposure. What we've mentioned previously is great if you just want to capture a frame-filling image of the moon set against the night's sky but it won't really work for images where you want to capture some foreground interest as well. For this, you'll need to bracket your shots. Many cameras have a feature that automates this process but if your camera doesn't, you can do it manually. In a nutshell, bracketing is where multiple shots of different exposures are captured and merged together, either in-camera or manually on a computer, to create one image that has all the elements you want to feature in your shot correctly exposed. Take a look at ePHOTOzine's 'Inspiration' section for more tips on this technique. 

 

4. Location, Location, Location 

If it's possible, you'll want to get away from towns and cities as light pollution can reduce the amount of detail you'll see in your moon shots and don't always think the sky has to be completely dark either as the blue of twilight can add an interesting twist to your moon imagery. The weather, how cold it is and levels of pollution can also change how your final image will look so do take plenty of shots and consider taking images on different nights, too. 

 

 

5. Half Moon Or Less

Your idea of the perfect moon shot will probably be of a full moon and there's nothing wrong with this, but to really capture the shapes and lines of the craters, wait until there's half or less of the moon visible. By doing so, you'll see how shadows and light emphasis shape and really enhance to 3-D feel thanks to the side-on light the sun creates during this phase. Using an app or having a look online for a moon phase calendar will help you figure out when will be the best time to set your camera gear up outside. 

 

6. Boost Contrast 

You may find you need to boost contrast levels in your editing software or have a play with curves to pull detail that might have become lost but don't be tempted to adjust the size of the moon in your shot as this will just look unnatural and spoil the composition of your image. 

 

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

Accidentally formatting an SD card in-camera renders stored images immediately inaccessible - a scenario familiar to photographers who have mistakenly initiated a format after a critical shoot.

However, formatting does not permanently delete your image data. In most cases, the files remain intact on the card and are recoverable. This guide outlines the professional process for recovering photos from a camera after accidentally formatting the SD card, using EaseUS Data Recovery Wizard.

 

Why Formatting Doesn’t Destroy Your Photos Immediately

To understand why recovery is possible, you need to understand what "formatting" actually does. 

When you format an SD card in your camera, you aren't wiping the data clean like a whiteboard eraser. Instead, you are simply clearing the "address" in the file system that tells your camera where the photos are located.

The camera marks that space as available to write new data over, but the original photo file data remains physically on the card. Therefore, as long as you don’t write new data that occupies the “available space”, your deleted or formatted photos can be restored via EaseUS Data Recovery Wizard.

 

The Golden Rule of SD Card Recovery: Stop & Protect

The chances of formatted SD card recovery are extremely high, provided you follow one non-negotiable rule: 

1. Stop using your camera immediately! Do not take more pictures or record new videos on the formatted SD card. Why? Using the card after formatting writes new data, which overwrites the original files. This process can partially or completely corrupt the data, rendering previously recoverable images irretrievable.
2. Remove the SD card from your camera right now. If you need to continue shooting, switch to a different card.

 

How to Recover Photos from a Camera After Accidentally Formatting the SD Card

For photographers, a truly reliable recovery tool goes deeper than a standard undelete function. It must understand the intricate file structures of various camera systems and possess the capability to reconstruct fragmented data directly from an SD card.

EaseUS Data Recovery Wizard stands out as the best solution for photographers due to its unparalleled success rate with RAW formats (CR3, NEF, ARW) and its intuitive, stress-free interface.

Here’s how to recover photos from a camera after accidentally formatting its SD card:

Step 1. Remove the formatted SD card from the camera and connect it to your computer using a direct card reader for a stable connection.

Step 2. Launch EaseUS Data Recovery Wizard and select your SD card in the left panel. Then, click “Search for Lost Data".

The software will immediately begin analyzing the formatted SD card. Depending on your card's size and speed, this may take several minutes.

Step 3. Find and preview the lost photo you want. This is where EaseUS truly shines for photographers: With its graphic interface, you can filter the results by type, specifically "Pictures" and "Videos", and then click to preview the photo/video you want.

Before you spend a dime or commit to saving files, you can double-click a file to preview it, and verify that your Canon CR3 files are intact or that your Sony ARW files are sharp. This confirmation is an invaluable piece of mind.

Step 4. Once you've confirmed photos from the formatted SD card are recoverable, select them and click to recover.

The only thing you should notice is that never save the recovered photos back to your camera's card. Why? Doing so risks overwriting the very fragments of data you're trying to rescue, potentially causing permanent corruption.

Always save your files to a safe storage location, ideally, a folder on your computer's external backup drive.

 

Why EaseUS is the Go-To Choice for Photographers

While free tools exist (like the notoriously complex PhotoRec), they often come with hidden costs: lost filename structures, jumbled folders, and a steep technical learning curve.

For professional work where organization is key, EaseUS offers distinct advantages. It consistently outperforms competitors in recovering and correctly rendering complex RAW formats from Canon, Nikon, and Sony.

What’s more, EaseUS company introduces SmartSector Rebuild and Deep Video Construct technologies in EaseUS data recovery software, which enhance fragmented-file recovery capabilities by over 30% and significantly improve success rates for restoring camera photos and videos.

These advancements mitigate the critical issue of recovering corrupted files that appear intact but remain unviewable, ensuring that recovered media remains fully accessible and structurally sound.

 

Conclusion

Suppose you accidentally format your camera's SD card without realizing that important photos are on it. First, stop using the camera and remove the card, then use the reliable and trusted SD card recovery tool, EaseUS Data Recovery Wizard, to restore your photos.

 

 

Photos are an important part of family history. We look back on them to remember our childhood. We think of times that we can't go back to. Regrettably, time inflicts its damage. Photos crack, stains appear, and colors go from bright and vivid to faded and dull. Restoring old photos is a way to bring back a part of family history, but without the right methods, you could damage them beyond repair. Many people want to know how to restore old photos, but some people are apprehensive about how the restoration process may affect the photograph.

In the past, old photo restoration was time-consuming and expensive because it required professional editing and the use of expensive tools. With the advancement of AI, everything is digitized, and new-age software can perform repairs to old photos automatically. In this article, we will discuss the reasons why old photos become damaged, the difficulties of restoring damaged photos, some tips to prepare, and the process to restore old photos using HitPaw FotorPea.

 

Why Old Photos Get Damaged Over Time

The first step to restore old photos is understanding the damage. Most old photos are printed on paper. Light, heat, and moisture damage that paper. Sunlight can fade photos and cause yellow tones. Heat and humidity can cause stains, mold, and even curling edges. If photos are stored in poor conditions, there can be scratches, cracks, and torn corners.

Careless handling can damage photos. Finger oils can leave permanent marks. Dust can settle on the photo and will make it look less clear. Some people try to edit old photos and don't know what they are doing. As a result, they remove important parts of the photo.

Digital restoration is therefore superior to physical restoration. You can keep the original photo safe by creating a digital version of it.

 

Common Problems People Face in Old Photo Restoration

People think restoring old photos is pretty easy, but that's not the case for many people. They lack skills and time and are afraid of damaging their memories, which makes the entire process stressful, especially with the use of manual editing tools.

 

Manual Editing Takes Too Much Time

Fixing scratches, stains, cracks, and faded areas requires patience and a level of expertise that beginners usually don’t have, and they often end up spending hours on a single image and still don’t get it to look right or like a complete photo.

 

Faces Are Difficult to Restore Naturally

Old photos can have blurry facial features, faded tones, or details that are simply missing. Changes made manually can change expressions, remove key facial features, or make the subject's face look overly smooth and unrealistic.

 

Over-Editing Reduces Photo Quality

When a lot of filters are applied to a photo, it may seem clearer, but many details and textures are lost. This can result in many of the emotions and the essence in the photo being ruined.

 

Large Photo Collections Become Overwhelming

Restoration of just a single photo may seem easy, but it gets really tiring when it comes to large family albums. Because of the required time, someone may just entirely give up restoring old photos.

 

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How to Restore Old Photos with HitPaw FotorPea (Step by Step)

Old photos can be challenging to restore when they are scratched, faded, or blurry. Manual editing can be time-consuming and ruin crucial parts of the image. HitPaw FotorPea is designed to restore old photos using AI. It automatically fixes damage, improves the clarity, restores color, and brings back facial features. This makes HitPaw FotorPea user-friendly for photo editing novices.

 

Key Features and AI Models for Restoring Old Photos

HitPaw FotorPea uses advanced and powerful AI models that have been designed and developed for old photo restoration. Each feature is designed to address one of the most common issues that we find in photos that have been damaged or aged over time.

 

Key Features

• Removes scratches, cracks, and visible damage from old photos
• Enhances clarity in faded or low-quality images
• Restores natural tones in dull or washed-out photos
• Colorizes black-and-white photos with realistic colors
• Recovers facial details like skin texture, eyes, and expressions

 

AI Restoration Models

• AI Portrait Restoration: Repairs old or damaged portraits
• Scratch and Damage Repair: Fixes worn and scratched areas
• Blur Removal and Clarity Enhancement: Sharpens blurry photos
• Black-and-White Photo Colorization: Adds natural color
• Natural Color Enhancement: Improves tone and balance

 

These AI models work in unison to edit and restore old photos, while maintaining the integrity of the original image and not over-editing it.

 

How to Restore Old Photos 

Step 1: Download and install HitPaw FotorPea on your computer.

 

 

Step 2: Open the software and click on “Image Restoration”.

 

 

Step 3: Upload the old photo by clicking the “+” button, or simply drag and drop the image.

 

 

Step 4: Select the right AI restoration model according to your image.

 

 

Step 5: Click “Export“ to save the restored photo, or click “Enhance” if you want to further improve the image quality.

 

 

Tips to Get the Best Results When Restoring Old Photos

Keep edits light and keep it looking as natural as possible to get the best results. Small changes and careful previews can improve clarity, detail, and balance without ruining the original look.

• Start simple: Let AI do touch-ups first. Fix scratches, blur, and fading first.
• Preview often: Before and after views can help achieve more natural results.
• Face balance: Face enhancement can distort natural and real expressions so use with caution.
• Avoid over-editing: Too many effects can make editing photos look fake.
• Save versions: Saving different versions of the photo helps you see the difference between all the edits.
• Protect originals: Make sure you do not lose the original image file.
• Natural finish: Make sure you aim for a natural soft look where the original image can still be appreciated.
• Final review: Make sure to check the details before saving the image, while zoomed in.

 

Conclusion

Restoring old photos isn't as hard or time-consuming as it once was. With AI tools, anyone can repair damages, improve clarity, and revitalise faded photos. For example, HitPaw FotorPea allows users to restore old photos quickly and easily. Its automatic features let users fix scratches, details in faces, and photo blurriness. If you're looking for an inexpensive and straightforward way to restore old photos, using HitPaw FotorPea is the best option.

 

Why Do We Need To Do This?

When you're working with tall structures such as a mountain range, it can sometimes be difficult to grasp how tall they really are but if you add an object the viewer recognises the scale of, it's much easier for them to understand how big the other object is. As a result, your shot will have various points of interest that can lead the eye through the frame, depth and scale. Another reason for doing this is to give your shot impact. For example, when you see an image of the desert with a person mid-frame you are suddenly reminded of the sheer size of the landscape which often results in a 'Wow' moment.

 

What To Use?

People work well as they are an easily recognisable shape that's easy to grasp the size of. In turn, this makes it easier for the viewer of the image to understand how vast the area is that's surrounding the person. Of course, you can use other objects that are easily recognisable or even part of a subject. This works well with very large man-made objects such as cruise liners as it suggests they are so big, they can't be fitted into the frame. Add holidaymakers walking next to it and suddenly you're realising that it's a huge piece of engineering.

 

 

Where To Position Your Person / Object?

Positioning your secondary subject roughly anywhere from the middle to the back of the shot will make it easier for the viewer of your image to grasp the size of the mountains, dunes trees or whatever else sits in the surrounding shot.

If it's difficult for your subject to reach this area of the shot move further back if you can or if you have to, position them in the foreground without pulling focus from the landscape. If you position your secondary subject too close it can distort the perspective as your foreground subject will appear larger in the frame but this still shouldn't be a problem if you're using a person.

 

 

Change Perspective With Your Lens

The lens you choose to use and its focal length can change the perspective of your shot too.

By moving the position you're shooting from, altering the zoom or by using a different type of lens altogether will change how the final image looks and in some cases the distance that appears to be between objects in the frame. For example, you may be shooting a landscape that has a single house or tree in it and by using a wide-angle lens you can include more of the scene around the object, creating a sense of isolation and demonstrating how small it is compared to what else is in the frame. Go the opposite way and zoom in or use a telephoto lens to pull the object to you and it will fill the frame, becoming more of a focus rather than a way to express the size of its surroundings.
 

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The camera displays the error message "Card cannot be accessed." Formatting the SD card would wipe data out and fix the problem. If the card has many images and videos, discover the best ways to resolve the "card cannot be accessed" issue.

 

Why Your Card Cannot Be Accessed

Examine the following section to determine the main reasons why your SD card cannot be accessed on the camera:

• Inadequate Physical Contact: You can't read from or write to your devices if your SD card isn't inserted correctly.
• Compatibility issues: It might arise when a user's file system is incompatible with the device they are using.
• Software bugs: Viruses that infect the SD card may eventually destroy files and images or render them unreadable.
• Physical Damage: SD cards most often sustain physical damage for unknown reasons, which can eventually lead to complete data loss.
• SD card locked. Any modifications or access are prevented if the card's lock switch is turned on.
• Incorrect format. Recognition problems arise when using a card that is not prepared for Canon cameras.

 

How to Fix the 'Card Cannot Be Accessed' Error on Canon

These targeted fixes address the most common underlying causes—from SD card corruption to camera firmware issues.

 

Fix 1. Inspect the SD Card for Physical Damage

A damaged SD card will trigger the 'Card Cannot Be Accessed' error on Canon cameras, even if the card works on a computer. Carefully inspect the SD card for signs of physical harm that can disrupt the camera’s ability to read it:

• Check the gold contact pins on the back of the SD card for scratches, oxidation, dust, or dirt. Wipe the pins gently with a clean, dry microfiber cloth to remove debris.
• Inspect the card body for cracks, bends, or a broken lock switch.
• Check for water damage or discoloration on the card, which indicates internal corrosion.

If the SD card has visible physical damage, replace it. Damaged cards cannot be reliably fixed and risk data loss during use.

 

 

Fix 2. Repair the SD Card’s File System Errors on a Computer

If your Canon camera still shows the 'Card Cannot Be Accessed' error after reinsertion and camera formatting, the SD card may have deep file system corruption that the camera’s built-in formatter can’t fix. You can repair these errors using a computer, then reinsert the card into your Canon to test.

1. Connect the SD card to your Windows PC using a card reader.
2. Open “This PC” and locate the SD card’s drive letter.
3. Right-click the drive and select “Properties”, then go to the “Tools” tab.
4. Click “Check” to scan the SD card for file system errors and repair them automatically.
5. Once the scan is complete, safely eject the SD card from the PC and reinsert it into your Canon camera.

 

 

Fix 3. Update Your Canon Camera’s Firmware

Outdated camera firmware can cause compatibility issues with newer SD cards or trigger SD card read errors such as 'Card Cannot Be Accessed'. Canon regularly releases firmware updates to fix bugs, improve SD card compatibility, and add features.

1. Canon’s firmware update process is universal for all models:
2. Visit the “Canon Support” website, search for your camera model, and navigate to the “Firmware” section.
3. Download the latest firmware file and save it to a formatted SD card.
4. Insert the SD card with the firmware file into your Canon camera, then power the camera on.
5. Navigate to the “Setup” menu, select “Firmware Update”, and follow the on-screen prompts to install the update.
6. Do not turn off the camera during the update.
7. Once the update is complete, the camera will restart. Insert your original SD card and check if the error is gone.

 

Recover Lost Photos from the Card that Cannot Be Accessed

We advise you to follow this procedure to recover images from the corrupted SD card to a safe location, provided that your files on the Camera SD card are important. 

We recommend using EaseUS Data Recovery Wizard, which provides a variety of scanning choices to serve a wider audience. SD cards, CF cards, and other memory card types, both new and old, can all have their lost data restored using this tool.

Step 1. Select the SD card to scan

• Download and install EaseUS Data Recovery Wizard on your Windows PC.
• Use the proper way to connect your SanDisk/Lexar/Transcend SD card to the computer. 
• Open EaseUS SD card recovery software and choose SD Card Recovery on the left panel. All connected drives will display here. Select your SD card and click "Scan for lost data".

 

 

Step 2. Check for scan results

• Wait for the scanning process to complete.
• Specify one or several file types to show up, like Pictures or Videos.
• Click "Preview" to check if they are the wanted files.

 

 

Step 3. Recover SD card data

• Preview the recovered files and click "Recover".
• Choose a different location to save the recovered files instead of the original SD card.

 

 

Preventing Pictures from Being Lost on the Failed SD Card 

Preventing this error is far simpler than fixing it, and these easy habits protect your Canon camera and SD cards, ensuring you never miss shots due to SD card issues.

• Use Canon-recommended SD cards: Check your camera’s manual for supported brands, speeds, and capacities. Stick to high-quality options from SanDisk, Lexar, or Kingston, and avoid cheap counterfeit cards that easily corrupt.
• Handle the card and camera carefully: Never remove the SD card or turn off the camera while the memory card light is blinking.
• Keep camera firmware up to date: Regularly check Canon’s support website for firmware updates that fix SD card compatibility issues and add support for new SD card models. A quick check every 3-6 months is enough for hassle-free use.

 

Conclusion

The 'Card Cannot Be Accessed' error on Canon cameras is frustrating, but it is almost always caused by simple SD card issues, improper handling, or minor firmware bugs—not a faulty camera.  If the error persists across multiple compatible SD cards, the issue may be with the camera’s SD card slot or outdated firmware. Physical damage to the SD card or camera slot is the only rare case that requires replacement or professional repair.

 
 

Photographing a flower head on a black background is a simple but effective way to make yourself a piece of wall art. The bright petals against a stark, dark background make a vibrant image that wouldn't look out of place on the shelves of stores that are designed to fill your home with accessories and decorations.

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1. Gear Suggestions

• Macro lens 
• Window for light or two constant light sources placed either side of your set-up
• Black background
• Flower(s)
• Tape
• Container to hold your flower
• Tripod - keep your hands free so you can adjust the position of the flower head etc.

  2. Constant Light Source 

If it's a sunny day you'll have plenty of free light falling through your windows to work with, however, if it's a gloomy and really overcast you'll need a couple of constant light sources to place at either side of your set-up. You want just enough light so the petals have contrast and don't blend together. Take a look at the edge of the flower too as you don't want it to vanish into the background too much.
 

3. Background Choices

You can use whatever you have to hand as long as it's black and not reflective. As holding a flower still is rather hard work, we used a plastic cup as a stand and taped the flower to it but a vase or any other container will work just as well.

  4. Do & Don't

Don't use an aperture that's too wide as you'll lose too much detail towards the edges of the flower and if you're shooting straight on make sure the centre of the flower is sharp. Experiment with your shooting distance, taking shots of just the centre of the flower or try changing the position of the flower to shoot it on a slight angle.
 

5. Photo Editing 

Once you have your shots why not get creative in Photoshop? Take a look at ePHOTOzine's technique section for Photoshop, Lightroom, Elements and GIMP editing tutorials. 

 

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© Skylum

 

Skylum is celebrating four years of Luminar Neo, reflecting the impressive evolution of its AI-powered photo editing software since its 2022 launch. A standout achievement came in late 2025 when Luminar Mobile received Google Play’s Best Multi-Device App Award, recognizing its smooth and consistent experience across phones, tablets, and desktops. To thank its growing community, Skylum is offering new customers discounts of up to 74%, creative anniversary gifts, and a special video message from the team.

 

From Skylum:

The software company Skylum is celebrating four years of Luminar Neo. The AI-powered photo editing software enables access to professional photo editing for both experienced photographers and beginners with just a few clicks. To mark the anniversary, Skylum’s development team has released a dedicated video. It particularly honors the creativity of Luminar Neo users and serves as a thank-you for the shared journey so far.

The video is available here:

 

From Desktop App to Ecosystem

Since its launch, Luminar Neo has evolved from a standalone desktop application into a fully developed cross-platform ecosystem seamlessly connecting PC, iOS, Android, and ChromeOS. The software synchronizes photo editing across all devices, allowing users to edit photos on the go using a smartphone or tablet and finalize them later on a desktop if desired. Advanced AI technologies can be used to automatically analyze image content as well as add or remove elements. This makes editing significantly faster, more precise, and more intuitive.

 

Google Awards 2025: Best Multi-Device App

A major highlight of the past year: Luminar Mobile was named Best Multi-Device App at the Google Play Best of 2025 Awards. The award particularly recognizes the seamless cross-platform use of the Android app, including Chromebook support, as well as its integration into desktop workflows. This category honors apps that provide an especially consistent and high-quality user experience across multiple devices.

“Four years of Luminar would not have been possible without our loyal community. We thank all our users for their trust, creativity, and valuable feedback, which plays a key role in the ongoing development of our software. Our goal is to continuously improve Luminar so that professional photo editing remains as simple, intuitive, and accessible as possible for everyone in the future,” says Yevhenii Tymoshenko, CMO at Skylum.

 

Benefits for New Customers

Skylum is currently offering various licenses with discounts of up to 74% as well as an anniversary gift. More information about the deals and pricing information for your region is available at: https://skylum.com/luminar/pricing

 

About Luminar Neo

Luminar Neo (skylum.com/luminar) is a powerful, AI-driven photo editing software developed by Skylum, a global company specializing in imaging technology. The software combines an intuitive user interface with advanced AI technologies to make professional-level photo editing accessible to everyone—whether beginners or experienced photographers. Thanks to Generative AI, users can effortlessly remove elements, extend backgrounds, or replace objects in just a few clicks. Enhance AI brings together more than 20 adjustments in a single tool, automatically optimizing color, detail, and exposure, while tools such as Relight AI and Atmosphere AI enable precise control over lighting moods and depth effects. Luminar Neo also offers non-destructive editing, RAW support, layers and masking features, as well as seamless integration into existing workflows. From portrait retouching and landscape enhancement to creative photo compositions, Luminar Neo revolutionizes photo editing with cutting-edge AI and unlocks entirely new creative possibilities for photographers.

As a comprehensive ecosystem, Luminar Neo also enables cross-device editing between desktop and mobile devices, allowing projects to be continued anytime, seamlessly. With integrated web galleries via “Spaces,” AI-powered photo restoration for old or damaged images, and an intelligent AI Assistant that provides personalized editing suggestions, the software supports creatives throughout the entire workflow—from the initial idea to the final presentation.

You can wait for hours, days or months for the right sky and still be disappointed. But don't get too downhearted as a little bit of digital processing will give your image the sky it needs.
 

Photograph The Sky Whenever & Wherever 

Before we get to this stage we need a sky to import and having a library of stormy, bright blue and sunset-coloured skies is a time-saving idea that's practical and easy to create. In other words, just shoot interesting skies whenever you see one and do so with wide-angle, standard and telephoto lenses. Also, consider the many varieties of lighting - back, frontal, side, for example - so you build a library of sky images to cover all creative options.

  Quick Gear Checklist 

For most skies in the open, all you need is a wide-angle or standard zoom lens but a long telephoto lens can be useful too. If you're planning on taking several images of the sun LiveView is crucial as you don't want to be looking down the lens with it burning back into your eyes. A strong neutral density filter will help reduce the sun's glare and a polariser is perfect for creating saturated blue skies.

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Fill The Frame With Sky 

Usually, you're told to remove some of the sky but this time it's our focus so you want to shoot from a position that allows you to get plenty of it in the frame and be in a location where there are no distracting objects such as trees, buildings and long grasses.

Pay attention to which direction the light is coming from and note it down as you don't want to use a sky with light coming from the left when shadows on your original image lay in the opposite direction.

Don't ignore the clouds either as they can alter the light and make certain areas of the shot darker than others. For sunsets, which work well dropped into shots of people or buildings silhouetted, you need to fill the shot with the sun but don't stare at it through the lens as this will damage your eyes. Use LiveView, point and press.

Stormy skies are perfect for atmospheric shots where castles or any other old building are your centrepieces. Watch for breaks in the clouds where long streaks of sunlight burst through for more interesting images.

For more tips on replacing skies or shooting images where the sky is your main focus, have a look at these tutorials: 

• Shooting Landscapes With Interesting Skies
• Create A Dramatic Sky In Photoshop
• Enhancing Sky In Photoshop
• How To Replace A Sky In Elements
• Adding A Sky Behind A Lighthouse
• Photographing Beach Huts With A Big Sky

 

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