DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Local parks are one of the best places to find a wide variety of photographic subjects. Plus, you'll be enjoying the outdoors and getting some exercise at the same time so what's not to like?
 

1. Gear Choices 

If you're just going for a quick walk around the park pocketing a compact will be fine but for those who will be taking their camera and interchangeable lenses along, pack your telephoto lens for shots of dog walkers, animals and long shots of the park with your town in the background. For close up work with flowers and leaves pocket your macro lens.

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2. Grey Days Are Good Days

An overcast day, when the light is gently diffused, is the perfect time to capture flowers and foliage. They look even better after a light rain shower as the vibrant greens will jump right out of your frame. If you spot a squirrel while looking through the trees and bushes keep your distance and use a telephoto lens to fill the frame with the cute animal. For those of you who have streams, ponds or even lakes in the park you're visiting why not have a go at duck/swan photography. In most locations, the ducks are used to people so getting close to them shouldn't be a problem. 

If it's a fine day there should be plenty of people for you to snap a few candids of as they pass by. Try shooting from the hip or if someone such as a park warden tidying up really catches your eye, remember to ask them if they mind you taking their photo before you snap away.
 

3. Guide The Eye

Paths and lines of flowerbeds can be used to guide the eye through the image while repetitive patterns such as lines of trees, street lighting and fencing can add symmetrical interest to your shots.
 

4. Go Down To The Woods

If your park has wooded areas you could have a go at capturing beams of light bursting through the trees but this usually means you'll need an early start and shooting on a misty morning is a must.  
 

5. Statues, Water Features & Architecture 

Don't forget that statues, monuments and water features make great photographic subjects and most parks will have one if not all of these on display somewhere. Try looking for glimpses of buildings in your town through the leaves on the trees or gaps in the hedges. The contrast of green or even the golden colours of Autumn later on in the year against the glass and concrete of the town can work extremely well. Then, when you leave the park, find a hill to climb and photograph the patchwork of greens that break up the grey lines of the town.
 

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As the above image shows, with lenses designed for macro photography attached to a more advanced camera, you can capture great outdoor flower shots. However, just because you're a compact user doesn't mean you shouldn't shoot outdoor flower shots. In fact, with these few tips, you'll soon be on your way to capturing an excellent example of flower photography. 

  1. White Balance

Compact cameras come with various white balance presets that tell the camera what type of light source you are taking your photographs under. Some settings vary from camera-to-camera but there are four you'll see on all models which are: Auto, Daylight, Cloudy, Tungsten and Fluorescent. When working outdoors, try the Daylight setting (usually a sun symbol) when working on bright days and the Cloudy setting for overcast days. 

  2. Use Macro Mode

If you want to make one flower your subject rather than focusing on a group, switch to macro mode. The Macro mode, which has a flower head icon, can be found either on the mode dial if your camera has one, or, in your camera's menu system. Some compacts focus within millimetres of your subject while others have a minimum focusing distance of a few centimetres. However, results can still be excellent. 

 

 

3. AF Mode

If you struggle to get the camera to focus on the point you want then switch your focus mode. Various modes are available and different modes suit different purposes. Spot can be useful when you have one specific flower to focus on as this mode is fixed more towards the centre of the screen. You can position your camera so the target marker is over your the subject you want to focus on then all you have to do is half-press the shutter button to focus then take your shot. 

 

4. Try Using Exposure Compensation

Dark backgrounds are great for shooting lighter coloured flowers against as it'll allow them to 'pop' from the frame. However, a large dark background which only has a small area of highlight in can fool your camera into thinking the scene is darker than it actually is and as a result, it can end up looking overexposed. Switching to spot metering can help with this but you may also need to have a play with exposure compensation to produce a more balanced exposure.

 

 

5. Think About Distance

By Zooming in closer to your subject, it'll fill the foreground of the frame and chances are the background will be thrown nicely out of focus so it's blurred. This is because the depth of field becomes shallower. Ensuring there's distance between your subject and background will also make it easier for your camera to throw the background out of focus. By doing so, the background won't be a distraction and all attention will fall on your flower rather than what's around or behind it. 

 

6. Learn To Use The Histogram

LCD screens can be used to preview images on but when it's sunny it can be hard to judge if the exposure is correct and this is where the histogram comes in useful.

Basically, you don't want the graph to be touching the left or right border and you want it to peak more in the middle and get lower towards either end. There are times when this won't apply but generally, it works. 

 

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Canon has received eight accolades at the 2026 iF Design Awards, marking thirty-two years of consecutive recognition for the company's industrial design. This year's awards were granted to a range of products within Canon's portfolio, including mirrorless cameras, digital cinema equipment, and industrial printing solutions. These honors reflect the brand's ongoing participation in global design standards and its ability to deliver products across multiple technology sectors.

 

From Canon:

Canon announces that eight Canon Group product designs were recognised by iF International Forum Design GmbH at the iF Design Award 2026. This year marks the 32nd consecutive year in which Canon designs have won iF Design Awards. Canon Medical Systems Corporation's Aquilion Rise CT scanner was selected for an iF Gold Award, the highest distinction.

iF Design Award 2026 Gold winning product

 

  Product name Full-body CT scanner Aquilion Rise (Canon Medical Corporation)

 

iF Design Award 2026 winning products

 

  Product name Mirrorless camera EOS R50 V Compact digital camera PowerShot V1 3D lens RF-S7.8mm F4 STM DUAL Digital cinema camera EOS C400 Digital cinema camera EOS C50 Industrial inkjet label press LabelStream LS2000 Large-format hybrid printe
Colorado XL-series
(Canon Production Printing Netherlands B.V.)

 

iF Design Award 2026 Gold winning product 

 

Aquilion Rise, full-body CT scanner

 

iF Design Award 2026 winning products

 

RF-S7.8mm F4 STM DUAL, 3D lens

 

PowerShot V1, compact digital camera
 

EOS R50 V, mirrorless camera (shown with RF-S14-30mm F4-6.3 IS STM PZ lens attached)

 

EOS C400, digital cinema camera (shown with CN-R85mm T1.3 L F lens attached)

 

EOS C50, digital cinema camera (shown with RF85mm F1.4 L VCM lens attached)

 

Colorado XL-series, large-format hybrid printer

 

LabelStream LS2000, industrial inkjet label press

 

About the iF Design Award

Established in 1953, the iF Design Award is one of the most prestigious design awards in the world. It recognizes outstanding industrial designs worldwide. This year, international design experts judged over 10,000 entries from 68 countries and regions across nine disciplines: product, packaging, branding & communication, service design, architecture, interior design, concept, user experience, and user interface.

For more information, please visit the Canon UK website.

 

Lambs are not only cute, but they're also a sign Spring is well-and-truely on its way so they make us doubly happy. Cuteness and happiness aside, they're great subjects for outdoor photos as not only do they make people go 'ahh' they're also pretty active so you can capture some great action shots as well as images that are a little calmer. 

To set you up for your lamb-themed photography shoot, we've got 5 essential tips to share with you. 

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1. Don't Trespass

Shooting from a roadside, lay bay or on a public path that has right of way through a field is fine but don't venture on to someone's land without asking permission first.

2. When To Photograph Them?

In some places, lambs are starting to appear in fields now and if the farmer started lambing early, some start in December, they should be starting to become more active which will give you the chance to capture more interesting shots.

Dull days might not be your favourite time to head out into the countryside, however, days like this can give the best sort of light which makes grass appear saturated and you'll be able to see plenty of detail in the lamb's coat.

 

3. Wrap Up Warm

Even though we do get sunny days, it's still rather cool out there and when you're standing around for lambs to move a little closer to you, you'll soon start to feel the cold if you're not dressed correctly. Sheep are generally very wary of people so once they've done a runner, it can take them quite some time to build up the confidence to come and graze near you again.

 

 

4. Find One Subject

If possible, zoom in and focus on just one lamb. Not only will this give you the 'ahh' factor but it'll also give your shot more impact. Your shot must be sharp and exposed well and if you can, use a wide aperture to throw the background out of focus so nothing distracts the eye away from the lamb.

Getting down to the lamb's level can give a more interesting viewpoint, however, you need to pay more attention to the background – posts growing out of heads is never a good look and other items can just be distracting.

If you're subject's slightly older, they'll have more energy and will be braver so are more likely to be jumping around. Adding a small amount of blur to your action shots with slower shutter speeds can work well but don't go too slow as you still need to be able to see what your subject is.

 

5. Group Shots

Singling out one lamb can be tricky in a field full of sheep so if you struggle, go for the group shot instead. Look for interesting patterns and formations the sheep create and if get a small cluster of sheep together, wait until they're all looking your way and snap the shot.
 

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Image Credit: LK Samyang

 

LK Samyang has launched the AF 35mm F1.8 P FE, the latest lens to join its growing Prima Series lineup. Tailored for hybrid creators who prioritize mobility without sacrificing image quality, the lens packs a bright F1.8 aperture, advanced 10-element optics, Linear STM II autofocus, and weather sealing into a lightweight body with a 62mm filter thread. Rounding out its feature set are UMC II coating for cleaner shots in tricky light and USB-C support for straightforward firmware updates. UK availability is anticipated toward the end of April.

 

From LK Samyang:

LK Samyang, a global leader in optical innovation, proudly announces the launch of the AF 35mm F1.8 P FE, a new addition to the Prima Series designed for hybrid creators and everyday photographers. The latest addition to the Prima Series builds on the momentum established with the launch of the AF 35mm F1.4 P FE in 2024, followed by the AF 16mm F2.8 P FE and AF 85mm F1.8 P FE in 2025. Guided by a commitment to portability, practicality, and ease of use, the Prima Series is designed to meet the needs of modern creators. Each lens in the lineup combines a compact, lightweight form factor with dependable optical performance, making them well-suited for both photography and video applications. Continuing this vision, the AF 35mm F1.8 P FE delivers a versatile, everyday shooting solution—offering an ideal balance of image quality, portability, and creative flexibility.

 

A Versatile 35mm Lens for Everyday Creativity

The 35mm focal length is widely valued for its natural perspective and versatility, making it ideal for everything from street and travel photography to portraits and cinematic content. The AF 35mm F1.8 P FE is designed as a practical everyday lens, combining a bright aperture with a compact, lightweight design and reliable autofocus performance. Offering a more portable alternative to the AF 35mm F1.4 P FE, it delivers an excellent balance of image quality and mobility - perfect for creators on the go. 

 

Image Credit: LK Samyang

 

Key Features

 

Compact and Lightweight Design

Designed for everyday carry, the AF 35mm F1.8 P FE features a compact form with a 62mm filter size, pairing seamlessly with lightweight full-frame cameras for travel, street, and hybrid shooting.

 

Bright F1.8 Aperture

A fast F1.8 aperture delivers strong low-light performance and smooth, natural bokeh, making it ideal for both photography and video.

 

Advanced Optical Performance

A 10-element design, including aspherical and XHR elements, ensures sharp resolution and reduced aberrations in a compact build.

 

Image Credit: LK Samyang

 

Enhanced Coating Technology

UMC II coating minimizes flare and ghosting, delivering improved contrast and clarity in challenging lighting conditions.

 

Fast, Quiet Autofocus

Powered by Linear STM II, the lens offers quick, precise, and silent autofocus for both stills and video. 

 

Built for Real-World Use

Weather sealing and USB-C connectivity provide durability and easy firmware updates, supporting reliable performance on the go.

 

Craig Harrison, Senior Product Manager, Holdan, commented:

“I’m really excited about the latest addition to Samyang’s Prima series. The 35mm F1.8 delivers that ideal balance of performance and value, and with the stylish, contemporary design and feature-rich build of the Prima lineup, this new lens is sure to impress.”  

 

Availability: Stocks are expected to start in the UK towards the end of April. 

For more information, visit https://www.holdan.co.uk/brand/Samyang

 

Gear Suggestions 

• Standard zoom (35mm-80mm range is fine) – wide enough to get the whole boat in but long enough to focus in on the detail.
• Longer lens (80-200mm) - shoot small detail on boats further away. 
• Polarising filter – reduce reflections on the water and in paintwork and deepen blue sky.
• Tripod - extra support when working on uneven surfaces such as wet sand.

 

Pick A Sunny Day

If you want to capture the postcard shot of colourful boats lined up, reflecting in the water while a bright blue sky frames them from behind you'll have to head out on a sunny day when there's not much of a breeze in the air so the water's still. Make sure you use a polarising filter to saturate the colours and enhance the sky.

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The Tide Is Out

If you get to the harbour and find the tide is out don't think you need to head for fish and chips while the water trickles back in. Instead, photograph the boats which are now stuck in the mud and take advantage of the mooring ropes which are now fully visible, using them as lead-in lines for your photograph. A small aperture is needed to ensure everything from the front of the rope to the distant boat(s) or other objects are sharp.

 

 

Don't Clutter Your Scene

Harbours are bursting with photographic potential but don't make your scene too busy. If you can, single out one boat and place it near the foreground of your shot as this will give the photo more impact and will certainly be better than a shot of several boats that are fighting for your eye's attention.

Further Inland

Away from the coast, you'll still find plenty of boats on canals, rivers and in reservoirs waiting to be photographed. Canals create leading lines that will help with composition while the winding curves of a river will guide the viewer through the image to a boat making its way through the bends. If there's a bridge find a position where you can use it to frame a boat passing under it, just watch your exposure as the light under the bridge will be lower than the outside and it's easy to end up with a shot that's underexposed if the camera's meter reads from the brighter part of the scene. Switch to spot metering where possible, taking a meter reading from the sidewall of the bridge and use that as the starting point.

 

Activities On And Around The Boat

Barges found on canals are often very colourful and feature flower pots and other accessories that are worth a quick snap. Just remember to use a wide aperture to blur the background. Round the harbour, you can crop in on sails, boat hulls, lifebuoys and fishing nets.

 

  Action

For those who like things to be a little more fast-paced head for a water-sports centre where water-skiing, jet-skiing and other adrenalin-pumping activities take place. A camera which has fast autofocus will help you capture action shots where your subject is pin-sharp. A little blur in the background can enhance the sense of movement/speed in your shots, however. 
 

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  Macro and close-up photography allows us to see the world from a different viewpoint and sometimes, shots can be almost magical with what they unveil. Plus, with so many subjects waiting to be captured, you really can put your macro photography skills to the test and, you don't have to venture much further than your own garden either.    To get you started, here are our 10 top tips on capturing images with close-up/macro lenses.  [HOOK]position_1[/HOOK]  1. Make Sure Your Subject Is Perfect

 

When you're working at such close focusing distances any imperfections become more noticeable and they can end up distracting the viewer or spoiling what could be an excellent shot. However, taking the time to look at your subject, making sure the butterfly you're photographing doesn't have a damaged wing or your fungi specimen isn't dirty or had a bite taken out of it, will mean you won't be disappointed when you review your shots on your computer once home.

2. Get Up Early

 

Not everyone's a fan of early starts but if you want to shoot macro photography out in the field, it's something you should get used to doing. Some subjects tend to be less active in the morning, especially when it's still a little chilly, making them easier to photograph and plants, flowers and other foliage are less likely to have had a bite taken out of them early on, too. Mornings can bring a sprinkling of dew which adds another level of interest to your shots and morning light is softer and warmer too.
 

3. Try Backlighting

 

Low, morning light makes it easier to backlight your subjects which can give your macro shots an interesting twist. Objects which are slightly translucent such as leaves, flower petals and butterfly wings look really good when light shines through them from the back. Keep a close eye on your shots though as the light levels can fool your camera into thinking the scene's too bright and it will underexpose the shot. If you do have problems just use exposure compensation to fix it.
 

4. Switch To Manual Focus

 

When working close to a subject, autofocus tends to end up searching backwards and forwards for something to focus on. Eventually, it may focus on the right point but it's much quicker to switch over to manual where you'll be able to focus more precisely. If you're not used to using manual focus it can take a little bit of practice but if you try shooting flowers, fungi and other objects which are less likely to fly or runoff, you don't have to rush so can take your time in getting your focusing spot-on. Then, once you're used to working manually, move on to more tricky subjects such as insects and other wildlife.
 

5. Try Pre-Focusing

 

Some macro subjects such as insects move fast and scare easily so pre-focusing your lens before they come into frame can increase your chances of capturing a good shot. Find something that's of a similar size of your subject and position it the same distance away as your subject will be when it lands.

 

6. Pack A Polarising Filter

 

A polarising filter can be fitted to a lens to ensure the colours captured are the same as the real thing, giving your shots more punch in the process. Attaching a polarising filter to your lens will slow your shutter speeds down, however, so make sure you're using a tripod to stop shake which can spoil your shot when working hand-held.
 

7. Avoid Shake

 

Camera shake is more noticeable when working close to your subject so always use a tripod. If you have one, use a remote release to fire the shutter button so you don't have to touch the camera or if you don't have one, use the camera's self-timer or your Smart Device if you have a camera that'll allow you to control it this way. Making sure your image stabilisation is on and using quicker shutter speeds, which you can get by switching to a higher ISO if you're working in low light, will help keep movement to a minimum but it's still best to fasten your camera to a tripod.
 

8. Windy Days Are Your Enemy

 

As already mentioned, any movement in the frame is exaggerated when working at such close focusing distances so what may seem like a small breeze to you can look like a strong, winter gale blowing through your image.

You can hold your subject in place with plamps etc. or if you're patient, just wait for the wind to stop blowing. You can also try and shelter the plant you're photographing with a make-shift shield. Card works well but if you're out in the field try using your camera bag or even your own body to shield your subject from the wind. Also, using a slightly quicker shutter speed will freeze motion but this isn't always possible, especially when working in darker locations such as woods.
 

9. Get In Close Then Add Some Space

 

By isolating part of a flower, insect or leaf you can create strong, abstract shots. So find detail that interests you and really zoom in close, filling the frame with striking shapes and interesting patterns.

Don't forget to try the opposite too so your subject has some space to 'breath'. Why? Well, it can help give your image context as well as create a sense of scale in your shot. Do keep your background simple if you do this though as you don't want it to distract from your main subject.
 

10. Light Your Shot Well

 

Where possible, try to use natural light, however, there are times when this isn't possible such as working in the woods where light levels are lower or when you're working with subjects that move quickly.

Rather than using your camera's built-in flash which is harsh and often too direct, try using a ring flash which can give a more even spread of light. Watch out for overexposed 'hotspots' appearing on your subject and when using natural light, make sure your own shadow isn't caught in-frame. You may also need to use a reflector to bounce much-needed light into dark areas of the shot. You can buy reflectors, but one made from a piece of card and silver foil can work just as well.
 

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Motion, movement and action are wide and varied photographic subjects and as a result, there are many ways a photographer can create a sense of action, motion or movement in their shots. ePHOTOzine has written many tutorials that cover motion/action in some shape or form and as a result, we've decided to group the most popular tutorials together so you can find all of the inspiration you need in one place. 

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Our 10 Top Action, Movement & Motion Photography Tutorials:

 

1. A - Z Of Light Trail Photography Tips

Night + city = the perfect opportunity to capture light trails. Plus, you get to practise your long exposure photography technique while shooting the colourful lines created by traffic weaving through the city streets. 

 

2. Tips To Help You Shoot Sharp Action Shots

When it comes to action and sports photography, one of the main problems you face is your subject moves quick and they don't tend to stay in the same place for very long. As a result, it can be a bit of a challenge to try and get a sharp photo where your subject is in focus, however, there are a few things you can do to capture your moving subject perfectly.

 

3. Tips On Shooting Water Sports Photography

 

Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.

 

4. How To Capture The Action At Running Events

 

Many sports take place some way from the spectators which makes taking decent pictures without long lenses a challenge. However, accessible sports photography comes in the form of road running events. Something which can be captured right up and down the country. Plus, good action shots can be captured with modest gear at local events because you just stand by the roadside - often there are no barriers or anything to get in the way.  

 

5. 7 Top Tips On Using Blur To Create A Sense Of Action In Your Photos

 

Contradictory to what you're told when you first pick up a camera, it is OK to have blur, and quite a lot of it, in your shots when you're photographing the right subject and want to emphasise speed or create a sense of motion. When we say it's OK we don't just mean a shot you accidentally took out of focus will pass off as something creative, you have to deliberately adjust your camera's settings or know how a quick twist of your lens will give you the blur that's needed to add a sense of action to your shot.

 

6. Photographing Fairground Rides At Night

 

If you want to shoot general wide shots of the fair then head out just as the lights are coming on when there's still a touch of colour in the sky. That way you'll be able to get the lights, stalls and other foreground interest of the fair set against a deep blue sky. Leave the flash at home though as it can kill the atmosphere you're trying to create. For more abstract images, wait until the sky's a little darker and turn the rides into streams of light patterns. Look for rides that spin quickly or are bursting with colour as these tend to produce the better results. 

 

7.  Top Long Exposure Subjects For You To Photograph

 

See how long exposures can turn what can be described as ordinary into something much more interesting. From atmospheric shots to northern lights and, of course, blurry water, plenty of topics are covered in this tutorial. 

 

8. Waterfall Photography Tips: 3 Ways To Photograph Waterfalls

 

When it comes to photographing waterfalls, you can either capture the power and intensity of every cascade or you can slow things down and make the movement the focus of your photo.

 

9. 10 Top Tips On Adding Blur To Water For A Creative Effect

 

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

 

10. 5 Top Ways You Can Add Creative Movement To Your Landscape Shots

 

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

 

Bonus Top List: Best Action And 360 VR Cameras

To help you capture all of the action, an Action or 360 camera might be useful and as there are so many action cameras available, we've put a handy guide together which talks you through action cam features as well as what's currently available on the market. 

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Mike43 (Day 21 - Rivers & Waterfalls).

 

Daily Theme Runners-Up

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

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

  Day 15

Spring Landscapes

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Day 16

Small Mammals

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Day 17

Towns At Night

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  Day 18

Macro Photography

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Day 19

Low Light Photography

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Day 20

Moon

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Day 22

Seascapes

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Day 23

Faces

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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.

 

With good cameras becoming more reasonably priced and nearly all phones having one built-in, photography's something that most people can now easily dabble in. Even though this is true, there are still people out there, kids for example, who haven't picked up a camera before and need a little guidance. So, that brings us on to our ten basic photography tips to teach someone new to photography.

1. Hold The Camera Correctly

This may seem like a really obvious thing to be telling someone, but camera shake, which can occur when you're not holding the camera correctly, is a problem those who are new to photography face. In fact, those who use mobile phones to take photos and hold one hand out while trying to press the shutter button will know all too well how it can result in blurry, wonky shots. To stop this, hold your camera/smartphone with two hands, quite close to your body, position your feet shoulder-width apart to give yourself a more stable base to shoot from.
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If you're using the LCD to compose your shot don't stick your arms out too far in front of you and keep your arms/elbows tucked in when possible.

Before you take your shot, make sure your fingers aren't over the flash (if using it) or blocking the lens and keep a firm grip of your camera but don't squeeze too tightly as you can cause the camera to move, resulting in shake.
 

2. Support

Having your arms tucked close to your sides and standing as still as possible will stop any blur caused by movement from spoiling your shot. Don't move your camera/phone away as soon as you've clicked your shutter button either as shutter lag can mean your camera's still processing the shot so you'll end up with a blurry photo of another part of the scene rather than the person or object you want a photo of.

Using a tripod will keep the camera still and help keep shake to a minimum. There are various light-weight, easy to use models which are designed to be used with smaller cameras.

If you don't have a tripod, use a nearby solid object as a support or lean against a wall, tree or whatever object you can find that won't move. 
 

3. Breathing

Being conscious of your breathing can further minimise shake. Some suggest taking a deep breath, holding it, taking your shot and exhaling while others prefer to do it the other way around. It's not something that's recommended for very long exposures though!

4. Hold The Camera Straight

Check the framing of your shot before hitting the shutter button as having a photo where it looks like everything's about to slide out of frame's easily done. Having said that, there are times when shooting on an angle can work really well but most of the time, you'll want your horizons to be straight. Using a tripod can help as some models have built-in spirit levels which can tell you when the tripod's not straight. There are the occasions where the spirit level will tell you the shot's wonky but your eye will know different so trust your instincts on these occasions.

 

5. Different Modes

Camera modes are there to help you capture the best possible images you can so learn what they're for and switch to them when needed. There's also aperture and shutter priority which give you more control over how your camera takes photos and are a great way to start your journey into the manual world. For more tips take a look at these tutorials:

• Camera Modes
• Aperture Priority and Shutter Priority

As well as using different modes for different situations, have a go at shooting from different angles and positions too.

 

 

6. Shutter Button

Don't be too heavy-handed with the shutter button as this can cause the camera to move which can mean you end up with a slightly blurred shot.

Another important thing to learn about the shutter button is that it can be pressed halfway to focus your shot. This can be used in all shooting situations but is particularly important for shots where your camera doesn't know what your main focus point is and as a result, you end up with blur in the wrong part of the shot. An example of this would be when you position your subject to the left or right of the shot, leaving more space towards the centre and opposite side. As your subject is off-centre your camera may not think they're what you want to focus on and as a result, they'll be blurry while you'll have a background that's nicely in focus. However, using focus lock (half-pressing the shutter) will stop this from happening. Have a look at our previous tutorial for more tips on how to use this: Focus Lock.

7. Backgrounds

Check the background for unsightly items and objects sticking out of your subject's head. If you're not planning on throwing your background out of focus (some drive modes do this automatically) so it's blurred, make sure it's not too distracting or cluttered.

 

8. Fill The Frame

Use the optical zoom on your camera to bring your subject closer, filling the frame and creating more interest. A person can look dwarfed in a wide landscape or surrounded by buildings so use your zoom so you don't lose them in the frame. If you're using a camera phone which doesn't have an optical zoom use your feet to move you closer to your subject rather than using the digital zoom which can lower the quality of the shot. 

 

9. Focus Point

A shot needs a focal point otherwise your eyes will be left searching the image and they won't find anywhere to settle. You can have more than one focal point but make sure the point that's secondary doesn't fight your main focal point to be the centre of attention. Once you know what your main focal point is there are various compositional tricks you can perform which includes using various elements within the frame to draw the eye to one focus point, you can adjust your framing to make a more pleasing composition or zoom in to really focus on your subject, eliminating other items in the process.

 

10. Shoot Different Subjects

Many professional photographers focus on one type of photography, but this isn't something you need to do straight away. Experiment with various subjects, learning how each needs to be approached differently in the process. It'll also give you the chance to find out which you enjoy shooting the most so if you do want to start shooting more regularly, you'll have a particular subject you can work on perfecting.

Don't be afraid to take lots of shots either as getting out there and actually pressing the shutter button is the best way to learn. Do take the time to evaluate your work too so you know what needs to be improved and just as importantly, know what techniques work successfully. You can also ask other photographers, family members and friends for their feedback too as sometimes they'll see things you've missed. Finally, make sure you have fun and enjoy taking photos! 
 

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

 

Nikon Europe has introduced a free extended five-year warranty on all newly purchased NIKKOR Z mount lenses, offering photographers added confidence and long-term protection. The warranty applies to all Z mount lenses, including kits and teleconverters, purchased from authorised Nikon retailers, the Nikon Store, and Nikon Plazas across most European countries. This initiative highlights Nikon’s trust in the enduring quality of its NIKKOR lenses, built on more than 90 years of optical innovation.

 

From Nikon:

Nikon Europe announces an extended, free five-year warranty on all newly purchased NIKKOR Z mount lenses.

Purchasing a new NIKKOR Z mount lens now comes with added peace of mind, as the lens will be covered against faults that might occur within the first five years of ownership.1

The new warranty is applicable in most European countries2 and covers NIKKOR Z lenses purchased from authorised Nikon retailers, Nikon Store and Nikon Plazas in Europe.

All NIKKOR Z mount lenses are covered by the new warranty, including kit lenses and teleconverters. If a claim fulfils the conditions during the extended warranty period, the lens will be repaired free of charge by authorised Nikon technicians.

Customers simply need to register their NIKKOR Z lens product within 90 days of purchase via an easy online process and it will be covered for five years from the date of purchase.

Nikon has been designing and manufacturing NIKKOR lenses for more than 90 years, pushing innovation in optical science alongside a dedication to the highest possible quality products. This extended free warranty reflects Nikon's confidence in the enduring quality of NIKKOR lenses.

For more information, please visit the Nikon Europe website.

 

1 Terms and conditions apply

2 See terms and conditions for the full list of applicable countries

 

When you look out of your window and you see your lawn covered in morning dew, sparkling in the sunlight you need to get out of your PJs, pick up your camera and get outside to photograph it. If you can't face getting up quite so early you can try using a spray bottle on your plants and shrubbery as this will create the same kind of effect.

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1. Macro Lens Is A Must 

You'll need a macro lens as you're going to be working at close focusing distances but if you're a compact user you should switch to macro mode (usually a flower symbol on your mode dial) to let your camera know you're going to be working close to your subject).
 

2. Find Your Tripod 

If you have a tripod with a centre column that can be turned horizontally or upside down, set it up, otherwise, you might find a bean bag more useful. If you have one, use a cable release or remote release as even the slightest touch on the camera can cause enough camera shake to blur your image. Alternatively, a two-second self-timer gives you enough time to press the button and let go or, if your camera supports it, use your Smart Device to trigger the shutter.
 

3. Aperture Choices

A mid-range aperture will give you a decent depth of field, throwing the background out of focus while the subject stays ultra-sharp. Keep an eye on your shutter speed as you don't want a blurry photo. Do try a larger aperture too but if you find it blurs more of the shot then you intended, just change the size.
 

4. Focus On The Drop

Make sure your focus is on the drop(s) so you get a nice clear shot of them. You may have to sacrifice foreground sharpness as a blurry drop will just distract the viewer.
 

5. Refraction Photography

Dewdrops falling down blades of grass look great but another cool and simple trick is to get an image inside the dewdrop. To do this take another flower or grass blade and move it behind your subject until you can see it in your viewfinder. Do remember that everything you see is reversed in the dewdrop though so if you want to centre the object that's to the left you need to move it more to the right.

 

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

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!   

 

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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.
 

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