DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

This is Sigma's latest AF f/1.4 small prime lens, and at 12mm is the widest such optic anywhere for mirrorless cameras. This is primarily intended for APS-C crop sensor cameras, giving it a "35mm format equivalent" of 18mm. The lens can be used on full frame cameras, but ideally in the crop mode. This results in the test camera, the Full Frame 42MP Sony A7R III, delivering 18MP as used for the purposes of this review. The ultra-wide view should be interesting, opening up quite a few possibilities for architecture, landscape, and reportage. Let's see how it all works out, both in the studio for the technical tests and out in the field for the sample images.

 

Sigma 12mm f/1.4 DC Contemporary Handling and Features

 

The lens is compact and light, the actual values depending on the camera mount chosen:

 

Sony E 68mm x 69.4mm 225g Fujifilm X 68mm x 69.7mm 235g Canon RF 69mm x 67.4mm 250g

 

The lens is solidly made, using high quality plastics, and all the controls are slick in operation. This adds to the feeling of high quality. There is a provided petal lens hood that bayonets smoothly into place and happily stays put without any need for a locking catch. Within the bayonet is a standard 62mm filter thread. The front element is water and dust repellant. The whole lens is also dust and splash resistant.

There are few controls. The wide manual focus ring is electronic and ultra smooth as expected. AF is fast, accurate and virtually silent, driven by a stepping motor. Closest focus is 17.2cm, for a maximum magnification of 1:8.4.

 

 

The aperture ring has gentle but positive click stops and feels well engineered. A slight drawback is that there is no lock system to select either the A setting or the aperture values. When set to A, so the aperture can be controlled via the camera, there is a tendency for the setting to be nudged off. This might only be noticed when the aperture value fails to change when required.

Optical construction is 14 elements in 12 groups, including 2 SLD (Super Low Dispersion) and 3 Aspherical. The diaphragm consists of 9 blades, clearly with an eye to improving bokeh.

 

 

Out and about, the lens could not really handle any better than it does. It has few controls to get in the way of pure photography. Focusing is close enough to be useful, not a macro lens maybe but still making it easy to include close up foreground in our pictures. Empty foregrounds can be a pitfall with ultra-wide lenses, and we need to be able to get in close to make the most of their dramatic potential.

Turning now to the technical results, let's see how the lens performs.

 

Sigma 12mm f/1.4 DC Contemporary Performance

Central sharpness is very good at f/1.4, outstanding at f/2 and f/2.8 and then excellent all the way through to f/16. The edges are fair at f/1.4, excellent from f/2 to f/4 and very good from f/5.6 to f/16.

 

Sigma 12mm f/1.4 DC Contemporary 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 using Imatest. Want to know more about how we review lenses?

 

CA is highly corrected at the centre, but less so at the edges. With some high contrast edges against bright sky, for example, some fringing may be noted. However, for most subjects, this is not obtrusive.

Distortion measures +0.01% pincushion, so we really might as well say totally rectilinear. This is great for architectural subjects in particular.

 

Sigma 12mm f/1.4 DC Contemporary 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 using Imatest.

 

Bokeh is the smoothness of the out of focus areas in an image and the general gradation of such areas. It is not the main raison d'etre of the ultra-wide lens, but still, the results are pleasing enough. 

Flare is handled extremely well, and even shooting right into severe lighting does not faze the lens at all. It is all but impossible to generate artefacts. Contrast also holds up well.

Vignetting is present, but considering the wide angle, very well controlled. In any event some modest corner darkening can actually enhance many subjects and will deal with blue skies better than a polarising filter will. Polarisers tend to show banding effects on wide expanses of sky, but a bit of vignetting does not.

 

Aperture Vignetting f/1.4 -1.7 f/2 -1.5 f/2.8 -1.3 f/4 -1.3 f/5.6 -1.3 f/8 -1.3 f/11 -1.2 f/16 -1.2

 

Sigma 12mm f/1.4 DC Contemporary Sample Photos Previous Next

 

Sigma 12mm f/1.4 DC Contemporary 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 12mm f/1.4 DC Contemporary|Sigma+12mm+f/1.4+DC+Contemporary[/AMUK] lens is priced at £519, in any of its mount options.

There are alternative AF 12mm lenses, but not at f/1.4.

• [AMUK]Zeiss Touit 12mm f/2.8|Zeiss+Touit+12mm+f/2.8[/AMUK], £644
• [AMUK]Samyang AF 12mm f/2|Samyang+AF+12mm+f/2[/AMUK], £295

This puts the new Sigma lens at a very fair pricing point, so excellent VFM.

 

 

Sigma 12mm f/1.4 DC Contemporary Verdict

This is a lens that I could very happily use, and it is just another example of how Sigma are producing some beautiful lenses at very competitive prices. There is little to fault about the 12mm f/1.4, just the lack of a lock on the aperture ring, but that just needs watching and with care will be largely an avoidable hazard. 

12mm on APS-C is a very exciting focal length, ideal for architecture, landscape and reportage. Handling of an ultra-wide does need some careful composition to get the best out of the lens - just shooting from a normal distance will result in huge blank areas. We need to get in close, and then closer still, to give proper emphasis to dramatic foregrounds and sweeping vistas. This is an issue of photographic style, and if this suits the photographer, then this lens should be high on the list of possible choices.

Highly recommended.

 

Sigma 12mm f/1.4 DC Contemporary Pros

• Impressive and even sharpness
• Well controlled central CA
• Excellent flare resistance
• Modest vignetting
• Very well made
• Virtually rectilinear
• Moisture and Dust resistant
• Smooth bokeh
• Slick handling

Sigma 12mm f/1.4 DC Contemporary Cons

• No lock on aperture ring
• Some edge CA

 

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When you head off on your holidays you'll probably spend some time at the beach and when the sun begins to set and the sky fills with those warm, summer shades, you and every other person on the beach will be pulling their camera out of its bag. The low sun may make great landscape shots but put anything in between you and the sun and it'll turn into a dark silhouette lacking shape and texture.

However, this isn't always a bad thing. For summer silhouettes to work you need a strong, recognisable shape so if you're headed to the beach with your family, why not use one or all of them in your shot? You could also spend time shooting other people as they walk along the shore or stand to watch the sunset.

 

1. Set-Up

Make sure you know what time the sun will be setting and in what direction as you don't want to turn up at a beach to find you can't actually see the sun setting from it. Once you have your chosen location make sure you arrive in plenty of time, which shouldn't be a problem if you've had a day out at the beach, but if you haven't been on the sand, at least an hour or two before the sun is due to set. Do check out tide times too as you don't want your kit and your family swept out to sea!

 

2. How To Shoot

Once you have a willing subject position them so your light source is behind them and it can help if you set yourself up so you’re shooting from a slightly lower angle, although this isn't a must. Take a test shot and have a look at the image on the back of the screen. Chances are unless you're working manually, you'll have shot a silhouette. If you don't get the desired look, try using exposure compensation and dial in a -1 or -2 setting. Using spot or centre-weighted metering will also help you capture a silhouette, although can still use multi-zone metering, you just need to aim the camera up at the sky and use exposure lock to take a reading from the brighter sky. Then all you have to do is recompose and take your image. 

 

3. What To Photograph

As mentioned strong shapes work well so get your subject to try and make different shapes while stood on the sand. This should be quite easy with kids but you may have to be more persuasive with adults!

If you have a group of people, get them to jump in the air so you can capture the shapes they create at the top of their jump. Try capturing a couple holding hands as they watch the sun go down or introduce props to keep your kids busy and more relaxed. Giving them a ball to throw or a bucket and spade to carry will create more interesting shapes and as a result, you'll have a more dynamic shot.

Experiment with angle and how far you crop in too to see how it can make a more interesting picture. If you're photographing someone's head, for example, shoot them as a profile rather than face on as you'll be able to see more features. Don't have too many objects too close together either as they'll all merge into one indistinct shape and the effect won't work as well.
 

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  1. Community

Villages provide plenty of photo opportunities and most of us have one just a short drive away. The village community is one area to focus on, there's usually a few local speciality shops - maybe a hardware store or cobbler.

 

2. Portraits

Pluck up the courage to ask to photograph the employees at work. The worse that can happen is they say no, but if they accept you will have a brilliant opportunity to shoot environmental portraits. Try shooting with a wide-angle lens to include as much background while catching the owner at work. If it's fruit and veg you could have them weighing up a purchase, carrying a sack into the store, arranging the fare or even handwriting a display price ticket. While a cobbler could be banging at a heel or shaping a key. A butcher could be hacking away at a joint or arranging slices of meat.

Take this idea outdoors and follow the locals around catching them at the bus stop, crossing the road, chatting to neighbours over a fence. Whatever you do respect their privacy. It's best if you get chatting to them first and ask for permission, then you won't feel awkward and no one gets into trouble.

 

3. Flower Photography

Villages tend to have interesting flower displays, especially those who aim to win best-kept village awards. So if you're looking for colourful chocolate box style shots check out the local regions of the Campaign To Protect Rural England (CPRE) website. Use a wide-angle lens from a viewpoint close to the flower display and include the houses/street scene in the background. Or shoot with a telephoto to compress perspective and focus totally on the flowers.

Many Derbyshire villages have a summertime activity called Well Dressing, where they dress a well in pictures made of flowers and petals. This is a great opportunity for colourful shots.

 

 

4. Activities And Events

Look out for village activities, many have charity events at the local church. It may be a bring and buy sale, a flower or cake stall, jumble sale, book or record fair. All offer great photojournalism style options. Shoot with a telephoto lens to catch people unaware in a candid fashion. Shoot with a wide-angle to get the hall with all the stalls in. Use ambient light for more atmospheric photos.

  5. Chocolate Box Views

To get some ideas about which villages have good photographic potential look at calendars in stationery shops or jigsaws in toy shops. The popular calendars and jigsaws will have pretty village scenes – thatched cottages, quaint river scenes, floral street scenes. They usually have the location printed on them. You can plan a trip and take in two or three villages in one region.

Look out for vintage life in a village. It's the place you're likely to find a Victorian post box, there may be old street signs, and architectural details found in old buildings or monuments. Villages often have war memorials that make good focal points.
 

5. Pubs

The village's local pub might have an interesting pub sign to photograph. Shoot from further away with a longer lens to avoid a distorted shape. Nip inside and you could find a warm fire and local characters. Rest the camera on a table to take ambient light shots.

Once you've done your excursion, consider making prints of your best shots into postcards and selling them in the local cafe/gift shop/post office.

 

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Optical distortion is something that affects all lenses to some extent. However, the effect is more pronounced in certain lenses and can be used to give a different spin on an otherwise 'normal' view of an object. 

Although it distorts images, it is not always a negative effect and it can be used in different situations to create abstract or more creative shots of subjects.

Below, we've listed what types of optical distortion there are and how they can affect your images, either in a negative or positive way. 

• What is Curvilinear distortion?
• What is Pincushion distortion?
• What is Mustache distortion?
• What is Chromatic aberration / purple fringing?
• What is Vignetting?

 

What is Curvilinear distortion?

This is where lines that should be straight in your image appear curved or bowed in some way. There a quite a few different types of this distortion, but the most common you will come across is barrel distortion, where vertical lines appear to curve outwards like a barrel. This type of distortion is most common in wide angle or fisheye lenses. The effect will be really pronounced in the fisheye as the effect is more deliberate here.

This can be used in portrait images to create unique looking images where the facial features are stretched and warped, this works equally well with humans and animals. 

 

 

 

What is Pincushion distortion?

Pincushion distortion is the opposite of barrel distortion, as the lines bow inwards. The effect is usually quite subtle and can only really be seen in square or rectangular objects when they are shot straight on, such as architecture with windows and doors, and other straight lines. This effect tends to be more of an issue in long telephoto lenses. Pincushion distortion is a lot less pronounced than barrel distortion and so it is often not noticeable in images unless you look really closely. However, it can also be corrected quite quickly and easily in photo editing software. The majority of modern cameras will provide built-in options to correct for this as well.

 

Extreme example of pincushion distortion, from an uncorrrected image, from the Sony E 18-105mm lens - you can see corrected versions in the review.

 

 

What is Mustache distortion?

Mustache distortion is basically a combination of barrel and pincushion distortion. Some lenses display both at the same time. It is most commonly seen in wide angle zooms and makes straight lines in images appear wavy. It can be noticed on the horizon, for example when photographing seascapes, particularly if the horizon is near the top or bottom of the frame.  

 

 

What is Chromatic Aberration?

Chromatic Aberration creates colour fringing on an image, usually around the lines and edges on the image, but it can also be present in other areas of the shot, where there are areas of high contrast, for example a black tree branch, against a bright sky. It usually appears as a purple, glowing halo giving "purple fringing", or can appear as red/magenta lines, often with green/cyan lines as well.

 

An example of chromatic aberration can be seen above, note the megenta and cyan / green lines on the edges of the window frame. You can see an example of purple fringing below, where the gravestone is up against a bright (blown out) sky. 

This can often be corrected either in camera automatically in modern cameras, or in photo editing software, such as Adobe Photoshop, and Adobe Lightroom.

 

Purple fringing can be seen around the top of the gravestone.

 

 

What is Vignetting?

All lenses have a little vignetting - it's the term used when the image is darker at the edges than in the centre, due the curvature of the lens. Vignetting can sometimes be used to your advantage as a stylistic tool, to highlight the main aspect of your image in the centre. Most modern cameras will automatically correct for vignetting, depending on the lens used, and this can be corrected in photo editing software quickly and easily, or alternatively added to give a creative effect and style to your photo. See our guide on how to add a vignette to a photo in Photoshop.

 

Severe vignetting can be seen in this image.

 

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As Times Square is a popular location for tourists, it can be hard to shoot photos, particularly panoramas as people will often get in front of your lens, movement becomes blurred and when trying to stitch shots together, people often end up looking like they've got sliced in half. There are times when the square isn't so full of tourists but as photographer David Clapp explains, the photos aren't as interesting: "Even though shooting at busy times proved to be very complex and very stressful both in the field and in post-processing, I didn't want to go out 5am when there was no one about as it ruins the buzz intensity."

There are a set of steps which you can stand at the top of and shoot down onto the square, however if it rains no one sits on the steps, blocking the view and you're not allowed to use a tripod at the top of the steps as you will be told it's a 'safety hazard'.

A way to shoot Times Square without having to fight the crowds is to shoot up at the tower blocks and billboards that decorate the square.

Here's one David took looking vertically up at the tower blocks:

 

 

Moving your lens away from crowd level removes one problem but it's replaced with another and that's adverts changing constantly. If you want to blend images together, as David did for the above shot which is made up of three images, getting your timing right is crucial.

"The only way to do this is to shoot with the camera in Live View mode and wait until some kind of 'rest' occurs before capture. You can see I caught the 'eye' in the bottom left half way through transition. Still, it works. However, I am not altogether happy with the lighting of this image. The weather was so unstable that it made dusk shooting a lottery."

A way to really exaggerate the size of the structures in a city is with a fisheye lens. In the shot below, David moved down a few streets away from Times Square to shoot these buildings at a crossroads.

 

 

"I opted for the same technique I tried a few days before, using a faster shutter speed to capture two images for a blend, so the adverts wouldn't change between images. It works really well, but in the end the ambient light was good enough that I could process the image from just one RAW file."

For the next shot, David had to position half of his tripod on the pavement and the other on the road (watching for traffic in the process).

 

 

"This fabulous subway sign helps to set the scene even further, giving a title to the cluster of buildings rising upwards into the sky," he explained.

David increased the brightness in the centre of the photo with a circular gradient fill on a curves adjustment layer. He did this to give the impression that the lighting was consistent all the way up to the top of the tower blocks, which it wasn't.

This was shot following exactly the same concept but this time David twisted the camera and lens downwards, to show the full tower block above the road.

 

 

"These buildings are a riot of colours and lines. I love the cross-shaped gap in the middle, in particular," said David. "The image potential in Times Square is huge, all these shots were taken from the same place, give or take a few feet, but it does take serious refining."

To see more of David's work, visit his website: www.davidclapp.co.uk

 

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- Partner Content - 

 

The EOS RF mount’s inner diameter is 54mm, which is the same as the EOS EF mount. But with no reflex mirror, the back focus distance of the mirrorless mount is much shorter, which makes new lens designs possible.

 

The full frame or 36x24mm format became popular for stills photography around 100 years ago, with Leica leading the way in the 3:2 format’s growth. Later in 1934, Kodak gave the format a huge lift by introducing the pre-loaded 135 film cassette.

In the early days of digital system cameras, full-frame took a backseat as consumer models adopted the APS-C format, but it wasn’t long before it caught up. The full-frame Canon EOS 5D arrived in 2005, just two years after the APS-C format EOS 300D, the first consumer-level digital DSLR.

 

The relatively low lit interior of IWM Duxford was not an issue for the EOS R with its good high ISO skills. The exposure was 1/160 sec at f/8 using ISO 25,600 and the noticeable noise vanished after treatment with Adobe Lightroom’s denoise tool. Image by Will Cheung.

 

Canon’s full-frame mirrorless journey started with the EOS R, which was released in 2018. Despite its vintage in digital camera terms, it remains a capable model with much to commend it, and that’s why we have based our £2000 full-frame kit on it.

MPB has excellent condition samples of the EOS R in the £744-809 price range. That compares with current Canon full-frame models; the 26.2 megapixel EOS RP is £1049 and the 24.2 megapixel EOS R8 is £1629 (all body only prices). Of course, those two cameras are more recent and thus offer superior performance in some areas, but nevertheless the EOS R has plenty going for it.

At the EOS R’s heart is a 30.3 megapixel Dual Pixel CMOS AF sensor, which uses advanced phase detection with 5655 AF positions (in single point AF mode) for quick and accurate autofocus for stills and video, even in challenging lighting conditions.  

The EOS RF lens mount plays a significant part in the impressive AF performance of all EOS R cameras. With 12-pin connections compared with the 8-pins of the EOS EF mount, that allows faster communication and data transfer. 

Another notable benefit of the new EOS RF mount and its shorter back focus is that EOS EF mount lenses can be used on EOS R mirrorless cameras without losing functionality via an adaptor. With the vast number of EOS EF lenses around, new and used, it means those photographers new to the EOS R system are not limited when it comes to lens choice.

 

In terms of controls and layout the EOS R has a similar design and feel to Canon’s long established and massively popular DSLR cameras.

 

The EOS R saw the debut of the Touch Bar, a customisable touch control. It wasn’t generally well received by reviewers but it has potential once you get used to it.

 

As you’d expect, image quality out of the EOS R is first-rate, typically Canon with a rich but lifelike colour rendition and low levels of noise at all speeds until you get to ISO 3200 and beyond. Images shot at ISO 1600 and 3200 are very smooth and raws look great even without denoising. In fact, even shots taken at ISO 25,600 can recover very nicely with software denoising and fine detail isn’t too badly impacted, which is a remarkable performance given the extreme ISO.

Let’s move on to lens choice. Since the RF system’s arrival, Canon has progressed quickly on its lens system and there’s an extensive range to choose from. There are a few gaps and many of Canon’s RF lenses are beyond our theoretical budget, which limits our options. Also, right now there are no third party autofocus options for Canon’s full-frame mirrorless cameras, which is a negative point to bear in mind, although, hopefully, this might change in time.

For our £2000 full-frame outfit, we have spent £744 on a decent condition EOS R body, which leaves £1256 for lenses. Naturally, it is a matter of personal taste but with Canon’s RF lenses, there is the possibility of going for primes or zooms or a combination of the two types.

 

Raw files from the EOS R have plenty of scope when it comes to recovering highlights and shadows in editing software. Shot with the RF 24-105mm f/4 L IS USM on the EOS R using an exposure of 1/200sec at f/4 and ISO 3200. Image by Will Cheung.

 

In terms of primes in our price range, there is a good choice in the wide-angle and standard focal lengths but at telephoto, there is just the RF 85mm f/2 Macro, which from MPB costs in the range of £434-469. Add the RF 24mm f/1.8 Macro IS STM at £524 and RF 50mm f/1.8 STM £159-189, and you have a good three prime lens kit that is photographically reasonably versatile with the benefit of fast apertures and comes within our budget.

If having a more powerful telephoto lens is important, a mix of primes and zooms would work. For example, our £1256 budget would allow the RF 28mm f/2.8 STM, RF 50mm f/1.8 STM and RF 100-400mm f/5.6-8 IS USM. At current MPB prices, that trio would cost around £1024, which leaves enough for protection filters and a spare camera battery. Such an outfit would be portable and suit a wide range of subject genres.

For maximum flexibility, there’s the option of a three lens zoom outfit. Taking the RF 15-30mm f/4.5-6.3 IS STM, RF 24-105mm f/4-7.1 IS STM and RF 100-400mm f/5.6-8 IS USM at MPB’s used prices – going for good condition samples – that powerful three lens outfit would cost in the order of £1227. While the maximum apertures of these three zooms are nothing special, that is offset by having focal length coverage from 15mm ultra-wide to 400mm telephoto, which means a very broad range of subjects can be covered.

 

The RF 24-105mm f/4 L IS USM is a great photographic all-rounder. The interior of Peterborough Cathedral was taken with a handheld EOS R using an exposure of 1/15sec at f/4 and ISO 200. Image by Will Cheung.

 

A final option to consider is to keep it simple and just go for one lens to partner the EOS R. A used RF 24-240mm f/4-6.3 IS USM from MPB would cost £729, leaving enough for a few accessories. The other single zoom option is the RF 24-105mm f/4 L IS USM. Of all the zooms discussed here, this is probably the most capable performer and it’s priced accordingly, £764-1079 from MPB, but it’s still comfortably within our budget with funds left over for a protection filter and a nice bag. 

MPB’s vast stock of used imaging gear is checked over by experts, comes with a free 12 month warranty and each item is individually photographed, so what you see on its website is what you get. With MPB’s help, buying a versatile full-frame outfit with our £2000 budget is no problem, and there are many options when it comes to deciding which optics to go for.

 

With the EOS R’s 30.3 megapixel resolution there’s ample potential for large prints and cropping without software interpolation. The exposure was 1/400sec at f/6.3 and ISO 100. Image by Will Cheung.

 

At a glance: Canon EOS R

 

Announced 2018 Sensor 30.3 megapixels, Dual Pixel CMOS Format 36x24mm, 6720x4480pixels ISO range 100-40,000 (expansion to ISO 50, 51,200, 102,400) Continous shooting 8fps, 5fps with AE/AF tracking Video 4K UHD, Full HD Weather sealing Yes MPB price range EOS R body, excellent condition £744-809

 

The EOS R’s compact body feels great in the hands and the contoured handgrip allows a secure hold and key controls are readily accessible.

 

 

 

News from MPB: Shoot creative wide aperture landscapes and hone your nature photography skills

MPB is the world’s largest retail platform for imaging gear but it offers so much more with buying guides, interviews with experts, videos and podcasts and technique advice. 

Two recently published features on MPB’s website cover two hugely popular genres, landscape and nature. 

In Learn: Top 5 Tips for Nature Photography Beginners, MPB chats with five leading exponents of the genre. Aimed at newcomers to the subject, there’s plenty to get you on the road to successful photos with essential camera and technique advice. Click here to enjoy this feature. 

Traditionally, landscape photography is all about small f/stops and extensive depth-of-field but this MPB feature breaks convention and looks at the creative potential of shooting with fast aperture lenses. Outdoor shooter James Popsys shows what can be achieved with two f/1.4 prime lenses so check out his technique-packed feature here.

 

MPB Explained

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

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

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

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

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

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

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

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

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

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

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

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
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To help you give your urban photography an abstract feel, here are 8 top tips on what, how and where to take your photos when out exploring a town or city. 

 

1. Focus On What's Interesting

When you find something that catches your eye, think about how you can compose the shot to take the subject away from its surroundings so it becomes abstract rather than a great city shot with several interesting elements. The key to capturing an image that works is to create an image out of something ordinary that you wouldn't normally see while still creating an appealing shot.

 

2. More Than One Point Of Interest

When you have a subject that has multiple points of interest you have the opportunity to capture various elements, some which may not have seemed so obvious as working in an abstract way at the start.

 

3. Create Scale

Just because you're capturing abstracts doesn't mean you always have to work up-close. Think of it as cropping out unwanted elements rather than using your lens to zoom in. Use surrounding elements to emphasise size but still frame the image so the building's surroundings are removed, giving emphasis to its shapes and patterns rather than it having context. 

 

4. Use Colour

By using a single bright colour in a shot that's mostly of the same shades can give the viewer of the image a point of focus that can also be used to guide and lead the eye to other points in the shot. This is even more so when the area is limited and contrasts so greatly with the rest of the image. Strong blocks of colour can also work well but you don't want one to overpower the other so the viewer doesn't pay attention to the rest of the frame. 

 

 

5. Look For Shadows 

This isn't something our eyes tend to see but when arranged in the frame properly, they can be a great subject matter on their own or enhance the shapes/patterns of an object you're making your point of focus. 

 

6. Lines Work Well

 If you want to use lines in your image, try to find a location that gives you a shot that has lines that vary in size and colour. Bolder lines can have more impact than small, faint ones and do remember they will still guide the eye through the shot and tell the viewer where they should be looking. Don't think lines have to be straight either as a curved line will still guide the viewer's eye. 

 

7. Shoot Through Other Objects

If you find a rain-covered window or even a water feature that can be used to capture a distorted reflection thanks to the ripples in the water, use them to your advantage. Keep an eye out for coloured glass, reflective buildings and any other items you think will give your city shots that abstract feel you're searching for. 

 

8. People Like Patterns & Symmetry 

As humans, we like to see repeating patterns and symmetrical objects so take advantage of this. Patterns can guide the eye across an image as well as make your abstract shot more interesting thanks to the shapes they create. 

 

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Summer feels like it was made for photography, doesn’t it? The days stretch long, the light is warm, and everywhere you look, colour and energy are waiting to be captured. Whether it’s golden sunsets, sparkling water, lively festivals, or family adventures, summer moments deserve to be photographed. Get ready with your phone or camera—every day holds a frame-worthy memory waiting to be preserved and enjoyed.

However, as magical as summer light can be, it also presents challenges. Bright sunshine can cast harsh shadows, create faded skies, or produce unnatural skin tones. Look to Zoner Studio with its sensational editing tools, and you’ll find that tricky lighting conditions become easy to handle. 

With just a few clicks in the Zoner Studio interface, you can recover detail in bright highlights, lift shadows, and balance colours. Use the lights and shadows sliders and gradient filters to adjust white balance and sharpness. Built-in presets and retouching tools assist with everything from exposure correction to removing backgrounds, letting you transform your images without spending hours at the computer. 

 

 

Let’s look at the Color Reconstruction slider, for example. Take that recent beach shot of the family that lost its detail due to overexposure. Darken light areas, highlight contours, adjust brightness and contrast, and more, all with this easy-to-use tool. Then, that shot will soon be a treasured capture of a fun-filled holiday. This fantastic photo enhancement tool can be used on photos shot in RAW and only for those with blowouts.

Want to recover shadows, tone down bright areas, or fine-tune lights and shadows even more? If you’re working with RAW files, you’ll get the best results. Use the Black Point and White Point sliders to fine-tune contrast, the Lights and Shadows sliders in the Dynamic Range panel (these let you recover details in bright skies or dark areas without affecting the whole photo). Or simply adjust the Contrast slider for a broader effect. These tools help you balance your photo while bringing out highlights, colours, and details in the shadows. The Dynamic Range panel will allow even finer control.

 

 

Taking lots of photos is part of summer fun with its holidays and sightseeing ventures. This can also mean ending up with hundreds—sometimes thousands—of images. Sorting through them can feel overwhelming; allow Zoner Studio to make the culling process painless. Perhaps you're a professional photographer, looking for a fast workflow to process those magnificent wedding photos. Zoner Studio is the ideal solution.

Do you want to quickly spot your best work while filtering out duplicates or weaker shots? A terrific side-by-side comparison feature allows you to review images such as versions of the same beach wedding ceremony sunset and instantly choose the one you prefer. Customisable workflows and keyboard shortcuts will have you organising your photos in minutes. Use Zoner Studio’s autostacking function to group similar images, including continuous mode and your favourite panoramas. Click the Autostacking icon in the Navigation toolbar, where you’ll open the Autostack options, such as Exposure Bracketing and Panorama.

Once your photos are ready, storing them safely is just as essential a task as editing. Zoner Studio makes the entire process straightforward and enjoyable. With Zoner Cloud, you can upload images straight from Zoner Studio. Your favourite photos will be kept secure and neatly organised while making them accessible on any device. Whether it’s your summer vacation album, a handful of beach day shots, or an entire series of wedding day images, your photos are always backed up and within quick reach. 

 

 

How can Zoner Studio help you save your images easily and permanently? Zonerama—Zoner Studio’s innovative free online gallery—allows you to display your work without using up valuable storage space, as there’s no space limit with this gallery. View your stored albums privately, with family, or share them with your clients; share or show only what you want, the choice is entirely up to you. 

At the end of the day, summer is about capturing life’s brightest, most colourful moments, and having the right tools makes all the difference. Named EISA Photo Software 2025–2026 Best Photo Software of the Year, Zoner Studio is your ultimate companion for editing, organising, storing, and sharing. This summer, use Zoner Studio to help your creativity shine. Turn your experiences into fabulous memories you can view over and over. You can try it for a week, no strings attached here.

 

Always an interesting subject for photographers, standing stones and stone circles have fascinated people for centuries; but what is the best way to photograph them?

 

1. Lighting

Although standing stones change little through the day, the prime factors for photographing standing stones are lighting, atmosphere and, preferably an absence of people. Lighting can be good at either end of the day, but the absence of people usually restricts the keen photographer to an early start.

 

2. Wide Circles

The problem with many stone circles – including my local circle, Castlerigg, just outside Keswick, is that they are relatively low in height, and very extensive in width – so if you are to include the whole circle, you need a really interesting sky to balance the long, thin foreground. A graduated filter can be of enormous use here, as the stones early in the day may be in fairly low light, but the sky might be three or four stops lighter; without a grad, exposure for the sky will give a very underexposed foreground, conversely, exposure for the foreground will severely overexposed sky. An alternative would be to bracket exposures and join them using HDR software.

Compositionally, it's often best when trying to get the whole circle in either to take a series of overlapping pictures and join them as a panorama or by using a fairly wide lens, to give the foreground stones more dominance in the picture. 

 

3. Focus On A Part Of The Circle

An alternative way of portraying standing stones is by capturing part, rather than the whole. I spend a great deal of time looking at the relationship of the stones with each other, and their background, in order to create a picture that is well balanced. This technique also works well if there are other people present as it is much easier to select a few stones free of people than to wait for the whole circle to clear. This is particularly important if a group of stones – or their background – might benefit from afternoon light when there are more people present.

 

4. Try Black & White

Consider also the best way to portray the stones – whether colour or black & white, unless there is great sky colour present, such as sunrise or sunset, I like the timeless quality of black & white on standing stones, to simplify the image and render them as a set of neutral tones.

So next time you find yourself near a stone circle, set your alarm and capture the timeless quality of these ancient sites.
 

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Image Credit: Nikon

 

Nikon is pleased to announce the release of firmware version 2.00 for its full-frame mirrorless camera, the Nikon Z6III. This marks the first major update since the launch of the Z6III and introduces several features equivalent to those found in the flagship Nikon Z9 and Nikon Z8.

This first major update since the release of the Z6III, with its already incredible high-speed performance, adds the long-awaited [Birds] mode to subject detection, offering an enhanced shooting experience for stills and videos. When [Birds] mode is selected, the camera automatically tracks birds in flight with great precision, keeping them in focus even against complex, high-contrast backgrounds such as forests and rocky mountains.

Firmware version 2.00 also adds the Auto Capture function, enabling automatic shooting under pre-configured conditions, supporting flexible shooting styles tailored to various situations. This allows users to specify the subject type, direction of movement, and shooting distance range to capture previously difficult scenes, such as those that require shooting in places or positions where photographers would disturb their subject.

What's more, for the first time as a Nikon product, the Z6III supports the "Nikon Authenticity Service", a solution primarily aimed at media organisations and creators who require a high level of trustworthiness in their work. The service is compatible with the C2PA (Coalition for Content Provenance and Authenticity) standard, clearly recording provenance information from shooting through to editing to ensure greater transparency and reliability of content.

The list of functions made accessible thanks to firmware version 2.00 doesn't end there. The full list, along with access to download, can be found on the Nikon download centre.

Nikon will continue to enhance its products through firmware updates that address user needs, while also fostering an environment in which all photographers and creators can engage in creative and professional activities with confidence and peace of mind.

For more information, please visit the Nikon website.

 

 

Using long exposure can create some cracking shots when used correctly but the smooth, almost dry-ice look using longer shutter speeds gives to water isn't everyone's cup of tea or idea of fun when they're heading off for a day of photography outdoors. So, if you've never tried this technique before and are wondering if it's for you, have a think about the following questions to help you decide.

 

1. Are you a fan of the outdoors?

This technique is all about leaving the shutter open long enough to turn movement into creative streaks and blur to give you a landscape with an almost graphical twist. For this reason, many types of these shots are taken where there's a wide expanse of water (the coast mainly) but you can also capture inland landscapes when you have a sky dotted with clouds or scenes with waterfalls that can add a feeling of movement and direction to the shot when taken with longer shutter speeds. The coast does give you many other still objects you can use to guide the eye and add interest to your shots though. Think tall piers sat in a mist of water, rocks adding foreground interest and several groynes or even a jetty leading the eye.

If you prefer city shooting, you can use the same technique to create streaks of colour from traffic.

 

2. Do you have a tripod?

If the answer to this is 'no' and you don't intend purchasing one anytime soon then long exposure photography isn't for you. Why? Well, with exposures in access of 30 seconds, these types of images aren't something you can really successfully take hand-held as shake will just ruin your shots.

 

3. Do you have a remote / cable release?

This isn't as important as owning a tripod but owning and using one will mean you don't have to actually touch the camera's shutter button, reducing the chances of shake spoiling the shot. However, if you want to use your camera's Bulb mode, you really need to have a remote / cable release in your kit collection. If you have a camera you've purchased more recently then it may have the option for the shutter to be controlled via an app from your Smartphone, eliminating the need for a remote to be purchased.

 

4. Do you have an ND filter?

To get the really long exposures, particularly when working out of the hours of dawn and dusk, you'll need an ND filter. These come in various strengths and will extend your shutter speeds to the length needed for capturing silk-like water and clouds streaked across the sky.

If you don't own an ND filter but do have a polariser you can still try this technique but you'll have to do it at the start or end of the day when light levels are lower. You'll also need to use a low ISO and keep your apertures small.

Polarising filter can work if just starting out or shoot at dusk with a low ISO and narrow aperture.

 

 

5. Do you have patience?

This technique isn't for someone who likes to take a quick snap and move onto the next thing as you will end up standing around for a while waiting for your camera to capture and process the image. With exposure times that can often extend well beyond a minute, you can find yourself twiddling your thumbs quite a lot of the time. However, if you enjoy quiet moments of contemplation or just like to watch the world go by, then maybe playing around with longer shutter speeds is for you.

 

6. Do you have an eye for composition?

When working with longer shutter speeds, landscape scenes can often take on a more graphical feel/composition and you have to ensure there are elements in the frame which will show movement as well as items to guide the eye and add balance. Without clouds moving across the sky or some form of water element, there won't be any movement which when combined with a slower shutter speed is what gives you the nice streaks and soft, blurry water effect.

 

7. Do you mind working out calculations?

Although this statement isn't relevant to everyone any more, if you don't own a smartphone or forget to take it out with you, you'll find yourself scribbling down shutter speed calculations when working with Bulb mode. So, if you're not a fan of maths, you'll need to invest in one of the many apps that will work out calculations for you.

  8. Do you have Live View?

Cameras that have a Live View function make the set-up for this technique much simpler as it often still works even with a strong ND filter attached to your lens. If you look through a viewfinder with an ND filter attached you won't be able to see anything which means to set-up, you have to remove the filter to compose and focus (manually) before carefully fitting the filter back in-place which is obviously doable but not as straightforward as using Live View.  

 

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Sigma, the renowned Japanese manufacturer of high-performance cameras and lenses, is proud to announce the opening of its exclusive pop-up store in Bloomsbury, just steps away from the British Museum. Running from 13 to 22 September 2025, the store offers visitors a rare opportunity to experience the critically acclaimed Sigma BF camera firsthand. Opening hours are 10am to 6pm daily.

Celebrated for its minimalist design and exceptional performance, the Sigma BF has quickly become a favourite among professional image creators. Engineered with a powerful full-frame sensor and crafted for intuitive handling, the BF delivers stunning image quality while maintaining a sleek, user-friendly form. Since its debut, the camera has earned top honours including Best Camera at the Monocle Design Awards 2025 and Best Full Frame Professional Camera at the TIPA World Awards 2025, praised for its “austere beauty, technical prowess and ease of use.”

Hand-built at Sigma’s sole factory in Aizu, Japan, the BF exemplifies the brand’s dedication to precision and craftsmanship. Each camera features a unibody design milled from a single aluminium ingot—a meticulous process that takes over seven hours and ensures uncompromising quality. Visitors to the pop-up will also have the chance to explore Sigma’s full range of professional-grade stills and cine lenses, trusted by photographers and filmmakers worldwide. 

Sigma will also be running six free photo walks during the week, all of which start and end at the store. Each one is led by a professional photographer, who will be able to show you how to shoot more meaningful and beautiful images in a busy urban setting. There is no obligation to use Sigma equipment, but you’re very welcome to borrow gear if you wish during the walk. This includes BF cameras and matching I series lenses (subject to numbers). No booking is required on the walks, but we are limiting numbers of some of the walks so places will be allocated on the day on a first-come-first-served basis.

 

The store address is:

33 Museum Street, London WC1A 1LH

 

For more information, please visit the Sigma website.

 

Shooting in stormy weather can produce some great shots, but you need to know a few things before you start hitting the shutter button.

 

1. Safety First

Firstly, be very careful if there's thunder and lightning as this can potentially be very dangerous for you and your equipment. Make sure you are a safe distance away from the storm and don't stray too far away from your car or home, just in case. It's always worth reading up on lightning safety tips and if it's possible, consider shooting from inside.
 

2. Long Exposures

As you'll increase your chance of capturing lightning if you use a longer exposure, a tripod will be needed to stop shake spoiling your shots. If your camera has a Bulb setting, and you have a way to keep the shutter open, use this method to increase your chances further. If not, around a 30-second exposure should be fine.

Storms can occur at any time of day but trying to use longer exposures during the day can lead to overexposed skies so wait for an evening storm when the sky's darker.
 

3. Timing

The process of shooting storms can be a bit hit and miss, however, as Pete mentioned in a previous article, you can determine roughly when to fire the shutter by working out the direction of which the storm is moving.

Pete said: "In nature, light travels faster than sound, so lightening strikes first followed by thunder, but us photographers can reverse the process (wait for thunder then count the time between that and a lightning strike) to time a shot and predict roughly when lightning will strike.

When you hear thunder count in seconds the gap before the lightning strike(s). If after the next rumble the lightning strike's quicker, it's likely that the storm is moving towards you and strikes will become more frequent until it passes over."
 

4. Lightning

To capture lighting, you need patience. Set your camera up on a tripod and aim it at where the storm seems to be. Look where the lightning appears and set your camera up facing that general area as lightning tends to strike intermittently in the same area. You should use a small aperture, f/16 or f/22 if possible. Use a long exposure as mentioned earlier to increase your chances of capturing lightning. You may find you need to focus manually as autofocus can struggle in dark conditions.

You'll need a piece of card to cover the lens which you can remove when you think lightning's about to strike and hold back in place when it's happened. Timing is everything but after a few strikes, you should get the hang of it. 

 

5. Clouds

It isn't all about lightning though, storm clouds can also make very provoking photos too. To add more interest, use objects such as trees on the horizon line. This will also add scale to the shot, further enhancing the size of the storm clouds above.
 

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Launch offer: Now just $15 for the first month of the Aftershoot Pro plan following a 30-day free trial.

 

Aftershoot recently announced the launch of Instant AI Profiles, a breakthrough feature that allows photographers to transform their Lightroom presets into adaptive AI-powered editing profiles in less than 60 seconds. Instant AI Profiles make AI editing accessible from day one – just your own presets turned into consistent, personalized edits.

While creating a Professional AI Profile requires a large, consistent editing library, many photographers instead rely on Lightroom presets that still need manual fine-tuning – Instant AI Profiles transform those presets into a smarter, scalable AI-powered workflow.

 

Instant AI Profiles: Key Benefits

• Smarter Than Presets Alone – applies your style intelligently per image with context, adapting to lighting, camera, and scene.
• No Uploads Required – Builds an AI profile in minutes, without needing a single photo upload.
• Consistent, Branded Results – Delivers a signature look at scale from day one.
• Room to Grow – Start with Instant AI Profiles, then seamlessly upgrade to Professional AI Profiles for maximum precision as you edit more.

 

“With Instant AI Profiles, we’re removing wait time that arises due to lack of training datasets photographers can provide from the get-go,” said Justin Benson, Co-Founder of Aftershoot. “In just a minute, photographers can see their look intelligently applied across a gallery. It’s the fastest way to get from preset to adaptive edits, while still opening the door to future growth with Pro AI Profiles.”

Harshit Dwivedi, Founder and CEO of Aftershoot, added: “We built Instant AI Profiles to make AI editing accessible to more photographers. Until now, creating a custom AI profile required Lightroom Classic catalogs with at least 2,500 edited photos, which left many relying on marketplace profiles that didn't always reflect their style. With Instant AI Profiles, photographers can transform their own presets into adaptive editing styles – better than presets alone, and tailored to their look.”

Unlike Lightroom’s presets, which apply a fixed look across every photo, Instant AI Profiles apply your style dynamically – adjusting for lighting, camera model, and scene context to deliver smarter, more tailored edits. That means less manual correction and more consistency from the start.

 

 

How It Works

Creating an Instant AI Profile takes just a few minutes:

1. Upload your own Lightroom preset (.xmp).
2. Personalize your AI Profile with a simple 3-step visual guide, adjusting exposure, temperature, and tint to your style.
3. Click “Generate Profile” – and your Instant AI Profile is ready to use across the entire galleries.

Instant AI Profiles are included with Aftershoot Pro and above, available starting August 26, 2025. To celebrate the launch, new users can claim a 30-day free trial plus their first month of Aftershoot Pro for just $15 (usually $48/month).

For existing trial users, the special $15 first-month offer is also available as part of a limited-time campaign running through September 9, 2025.

To try Instant AI Profiles, please visit the Aftershoot website.

 

Most of the time, when you're out taking photographs, even if it's a quick snap, make sure your shot has a strong point of interest as if it doesn't, you'll find anyone who looks at your image will look at the image, their eyes won't find anything to settle on and they'll simply move on to look at another shot. Without a focal point, there's nothing to draw them into the photograph so they'll simply lose interest with it. Of course, the more interesting the focal point is, the better your shot will be but there are a few other things you can do to make sure your focal point draws the viewer's attention.

 

1. One Main Focus Point

Images can have various points of interest but don't let them pull the attention from the main subject as your shot will just become confusing and the viewer will be unsure what to look at. Less attention-grabbing points of interest can be used on lines to draw the eye to a final resting point.

 

2. Lead In Lines

As mentioned above, by placing minor points of interest along a line you can guide the eye to your main point of interest. Straight lines such as fences or paths work well but other shapes, as talked about in our beginner's composition guide, can work equally as well. The spiral of a staircase will guide the eye up or down while positioning items along an S curve with the main point of focus at the end will lead the eye through the image. There's also the triangle where key features appear along the sides and points of the shape and when it's used correctly, you can create balance in your shot and also guide the eye through the photograph. Repetitive or symmetrical objects such as lamp posts lining either side of a street, a line of palm trees, statues or a series of arches can also be used to guide the eye to a single point.

 

3. What's In Focus

By using a larger aperture if you're working manually or by selecting Portrait Mode or Macro Mode if you're working close-up, which lets the camera know you want to use a larger aperture, you'll be able to throw the background out of focus, leaving all the attention on your main subject which will be sharp. By putting more distance between your subject and the background you'll be able to make the effect more prominent too. If you're a DSLR user, switching to a longer lens (zoom or prime) with wider maximum apertures will make it easier to get the blurry backgrounds you're looking for.

 

Photo by Joshua Waller 

 

4. Blur

When your main subject is moving, be it a pet, a person running, a car or bike, try using a slower shutter speed and pan with them, blurring the background into streaks but leaving them sharp. This will mean all focus falls on your main subject and the sense of speed is increased thanks to the horizontal streaks the background now has.

 

5. Size

A more obvious way to make sure you have one main point of focus is to fill the frame with it. This works particularly well when photographing flowers but can be applied to portraits too.

Photo by Joshua Waller 

6. Colour And Pop

Use contrasting colours or take it one step further and have a go at colour-popping, where you leave your main point of focus in colour and turn the rest of the image black & white. If you're shooting portraits, positioning your subject against a dark background will really make them 'pop' from the image.

 

7. Frame

By adding a frame you guide the eye to one main focal point in the scene that you want highlighting. You can also hide other objects you don't want to be in the shot behind your frame and it does have the added effect of just making your image more interesting generally.

 

8. Crop

If you have images on your computer that seem a little busy try cropping it to see if removing some of the elements makes it less busy and as a result, you get a main point of focus.
 

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Canals were once used to transport goods to towns and cities right across the UK and as a result, there are still plenty of waterways running through our city streets. The long canals, bridges and lock gates that once supplied goods now supply ample photography opportunities and as they all have public walkways, you're not going to upset anyone if you spend an hour two with your camera at the side of one.

 

1. Gear Suggestions

When you're heading out of the door make sure you have your wide-angle and telephoto lens with you. A tripod would also be handy if you want to try and smooth the waterfall of water that sometimes flows over the lock gates. You may also want to check you've got your polarising filter as this can help eliminate the problems you get with reflections when photographing water.
 

2. Go Wide 

If you want to include some of the homes, offices and bars in your shot take out your wide-angle lens. You'll be able to capture the urban setting and also exaggerate the length of the canal or any of the longboats that are on it. If the canal's your main point of interest use your telephoto lens to bring the boats, locks or any other background interest to you. You can get a great shot by standing on a bridge over the centre of the canal.
 

3. Look For Locks 

Locks are an attractive feature on the canal so try and focus your attention on one as a boat passes through or slow down your shutter speed and make the water gushing over the lock your focus of the image. If you have a series of lock gates they're perfect for bringing symmetry to your shot.

 

 

4. Leading Lines 

As the canal's a straight line of water you've got several leading lines to help you with your composition. Try framing up so you have the canal entering from one corner, leading the eye into and through the image. It's a great way to guide the viewer to a particular focal point in the city. You can use the bridges that stretch over the canals to frame parts of the city too just watch your exposure and bracket if you need to.
 

5. People Watching 

It's trendy to have a bar or home by the water which gives you the opportunity to include people in your scene. Places such as the Victoria Quays in Sheffield or the more famous Camden Lock have bars, restaurants and apartments surrounding the water and they're often buzzing with activity. Try shooting some candids of people relaxing by the lock or take a walk around, shooting from the hip as you stroll.
 

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Shooting an A to Z photo project is a more versatile area of photography than you might first think. You can, of course, shoot items that begin with each letter of the alphabet, but it's much more fun and testing at times if you shoot things that are shaped like letters.

 

What Gear Do I Need?

As letters can be found in various locations at different heights and angles you'll probably want to take a zoom lens out on your journey with you so you can shoot wide and also at longer focal lengths without the added weight of multiple lenses weighing your bag down. 

 

The Search

Some letters will jump out of the subject at you with ease while others will take a little more thinking about. Make sure you carry a checklist to keep a track of letters you've captured and you may find it easier to think about one letter at a time rather than hunting for several in one go. 

This project will have you walking all over so wear a comfy pair of shoes and of you have kids, this is a great thing to get them involved in, too.

 

Some Suggestions 

Branches make good candidates and also rocks with holes in can make great 'A's or 'P's. Anything that looks even remotely like a letter will create a quirky and fun piece of photography. A lamp-post, for example, will make a great 'I' while the end of a bench looks like an 'L' if you look closely enough. Once you've found all of your letters, try turning them into one big collage that you can hang on your wall. You'll probably find yourself capturing the near and far, the small and large, the straight and the curved, in sunshine and shade so this project is a great way to challenge yourself and your photography skills.

 

 

A Twist On The Theme

The other thing that you could try with this theme is an A - Z of photography styles. B for Black and White, S for sepia, etc. This is probably suited to more experienced photographers who know more terminology, though.

Another more fun thing you can try is getting a group of friends to pose as all the letters of the alphabet or as mentioned above, capture objects that begin with each letter of the alphabet. If you've already tried an alphabet project why not take on a number challenge instead? 

Be experimental with this - there are no real rules other than that the photos must represent the alphabet in some way. You could make it more challenging by limiting yourself to inside or outside objects, for example. But most importantly, though, it's about having fun and enjoying your photography!

 

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1. Where To Go? 

Meadows with wildflowers growing in abundance are great places for photographing butterflies but please don't trespass on other people's property. You could also visit one of the many nature reserves or public gardens found right across the UK.

If you can't get out and about to photograph butterflies it's worth growing plants in your garden or window boxes etc. that will attract butterflies. These include Aubrieta, Buddleia, Primrose, Honeysuckle, Lavender, Lilac, Marigold, Phlox, Mint, and Thyme. Get to know which plants caterpillars feed upon, too, as you can plant them in your garden or look out for them on your travels.
 

2. Buy A Guide

A butterfly guide book can be very useful in identifying the species whilst out in the field. Occasionally, you may come across a species which is rare or not even native to the UK, it’s handy to know if you have spotted a rare species or even one in decline so you can report your sighting. Of course, you can also use the internet once back home for your research. 

 

 

3. Time Of Day

The best time of day to maximise your chances of photographing butterflies will be early morning or in the evening as they don't move around as quickly. At these times, you may even be lucky enough to see one emerging or covered in dew which can make for that extra special photograph. 

Try to stand/approach them so your shadow doesn't cover them as they'll tend to fly off in search of a sunnier spot. 

If you start out early and temperatures are relatively cool then you may get lucky and find a few sleeping. By approaching slowly and quietly you may be able to move distracting stems etc. out of the way without disturbing your subject, to help with a more pleasing composition. Do take care not to destroy their habitat as many species are declining in numbers.
 

4. Shutter Speeds & Set-Up

Another way to increase your chances of capturing a good shot is by switching to burst mode / continuous shooting. By doing so your camera will rapidly take a series of shots.

Instead of chasing a butterfly around your garden, it can be easier to find a plant you know they like and set up nearby. Then you just have to wait patiently for your subject to land on the part of the plant you're framed upon. It can be a little hit and miss and you will, more than likely, end up waiting a while but on a warm summer's day, having to sit out in your garden isn't really a bad way to pass a few hours!

 

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A view of the Mekong River in Laos features a balanced composition and natural light.

Titled Mekong Views Laos and taken by Backabit, the photo places the river in the foreground, with trees along the banks and steep limestone cliffs rising behind. Additional layers of trees and hills extend into the distance, enhancing the sense of depth. The light is soft and even, bringing out detail across the scene. There’s a stillness to the image that feels grounded—calm, enduring, and true to the landscape.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

 

Line Up by Scooby10 shows the Red Arrows parked at Norwich Airport. The aircraft are arranged in a symmetrical formation, with tail fins aligned in a consistent pattern. The angle of the shot shows the jets in a clear, orderly layout.

The composition emphasizes structure and simplicity, with repeated shapes and clean lines creating a visually balanced scene.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!