DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Transport is, probably, one of the easiest photographic subjects to find but with so much choice, how do you go about capturing the best shots of cars, trains and planes you can? That's where this article comes in as we've listed 10 top tips to help you perfect your transport photography skills. 

 

1. Not Just Cars

 

Cars are probably the first mode of transport that comes to mind when you think of transport photography but there are plenty of other subjects that are worth a shot or two. Bikes, trains planes and boats can be slightly more challenging to capture but can produce good results.

Trains are predictable as they have to follow a track, leave and arrive at certain stations and have a schedule they have to follow. Finding a spot to shoot from should be quite simple then all you have to do is perfect your technique. If you need a few tips on shooting trains, take a look at our technique: Railway Photography

Most of us don't have to go that far to photograph boats. We are usually not a million miles from the coast, rivers with boats, canal and inland waterways or even water-sports centre to be able to photograph this form of transport. For tips on shooting boats, take a look at these tutorials: Boat Photography and A Guide To Boat Photography

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For plane photography, airshows are probably the best place to perfect your technique and there's usually planes on the ground you can photograph too if you don't fancy photographing them while up in the air. Have a look at ePHOTOzine member, David Pritchard's Air Show Photography Guide for more tips on plane photography.

If you fancy trying your hand at sports photography, motocross is a great event to try. It's fast-paced, interesting to watch and there are plenty of events held around the country which means you shouldn't have to travel far to shoot some action shots. For tips on photographing motocross, take a look at our tips: Shoot Motocross Action

2. Continuous Shooting

 

To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots. Start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.
 

3. Look For Detail

 

As well as shooting photos where you get the whole car, plane or train in the frame, take some close-up shots of the patterns, badges, paintwork and other detail the vehicle has.
 

4. Continuous Auto Focus

 

Most cameras feature quick and accurate AF (Auto Focus) systems making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.

 

5. Capture Light Trails

 

For more creative shots, try shooting light trails in towns and cities at night. Dusk is a good time as there's still usually a good amount of traffic around and there will still be detail in the sky. For tips on shooting light trails, have a look at this tutorial: Photographing Light Trails

 

6. Location, Location, Location 

 

Think about your location carefully - a 4X4 will look great at the top of a mountain but stick a little car up there and it can look lost. If you live on a busy street, move your car to another location as a messy background will just distract the viewer. For more advice on shooting locations, have a look at this technique: Car Portrait Advice

 

7. Use A Support

 

When using long lenses, as you do for many shots of transport, having some sort of support handy will stop you straining your arms and shoulders. A tripod can be used, however, if you're at a busy air show or by the track where there's not much space, a monopod is much more useful.

Panning plays a big part in some transport photography and even though you can pan quite easily without the help of support, some photographers do prefer to use a tripod or monopod, it's really down to personal preference.

  

8. Work With Angles

 

Doing something as simple as crouching down can make your shots more exciting so do take the time to walk around the vehicle you're shooting to look for angles, shapes and lines that will really help improve your shots.

9. Use Reflections

 

As mentioned in our 5 Ways To Be More Creative With Transport Shots article, there are various ways to use reflections in transport shots. You can use car mirror's, reflections in bodywork or look away from the vehicle for puddles and other reflective surfaces.

10. Back At Home

 

When it comes to photo editing, you really can spend hours tweaking and changing your shots. You can add emphasis with a vignette, darken skies to add mood, give older transport a vintage feel with lomo tweaks or by turning them black and white or how about having a go at HDR? Take a look at ePHOTOzine's techniques for some inspiration.
 

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

 

Retouch4me recently expanded its lineup of automated tools by introducing a neural network-driven plugin designed to tackle the repetitive task of fixing messy hair. By targeting flyaways and misplaced strands that usually need meticulous manual brushing, the software aims to drop significant time from the post-production process for busy portrait and wedding photographers. The tool fits right into existing workflows as a Photoshop extension or standalone app, so photographers can clean up large batches of images locally while keeping everything looking natural.

 

From Retouch4Me

Retouch4me, a developer of AI-based software for photo and video editing, has introduced Retouch4me Stray Hairs, a neural network–powered plugin that automatically removes flyaway hairs and smooths messy hair. The software targets one of the most time-consuming tasks in portrait retouching, saving photographers up to 15 minutes per image.

Removing stray hairs manually requires zooming in, sampling background areas, and carefully painting over each distracting hair. For a single portrait with visible flyaways, this process can take up to 15 minutes. For wedding photographers and other pros handling high-volume shoots, those minutes quickly add up to hours of repetitive post-production work.

Unlike manual Photoshop workflows that require adjusting each image separately, Retouch4me Stray Hairs processes entire batches automatically while keeping hair looking natural and consistent across the set. The neural network was trained on professionally retouched portraits and learned how professional retouchers identify and remove unwanted hairs. The plugin handles three specific tasks: cleaning flyaways along the hair edges, removing hairs crossing the face, and offers optional mask adjustments for precise control when needed.

“Repetitive tasks like stray hair removal are among the most time-consuming parts of post-production, which is why we’re excited to help photographers automate this step,” said Oleg Sharonov, founder of Retouch4me. “Our goal is simple: let photographers focus on their creative vision while the AI-based software handles cleanup. Retouch4me Stray Hairs is a natural extension of our mission to remove repetitive retouching from photographers’ workflows.”

 

 

Workflow and Compatibility

Retouch4me Stray Hairs works as a standalone application or Photoshop plugin for Windows and macOS. In Photoshop, it generates layers, allowing photographers to make further adjustments while keeping the original intact. All processing happens locally on the user’s PC, and batch mode allows photographers to retouch hundreds of images in one run, without changing their existing workflow.

  Availability and Pricing

Retouch4me Stray Hairs is available for $124 as a perpetual license with free updates. No subscription is required. A free trial version is available at https://retouch4.me/stray-hairs

 

About Retouch4me

Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, its software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. We believe that combining AI and human creativity helps achieve superior results. Retouch4me improves the workflows of creatives in over 115 countries. Discover how to elevate yours at https://retouch4.me

 

Top Gear and Preparation Tips for Starting Out in Travel Photography

 

 

Embarking on a journey into travel photography is more than just taking pictures in exotic locations—it's about capturing stories, understanding cultures, and being equipped with the right tools and mindset. When exploring vibrant markets, remote landscapes, and bustling cities, having the best gear for travel photography and being well-prepared can significantly impact your results.

In this guide, we'll cover essential travel photography gear, practical tips for beginners, and tricks to maintain your equipment while on the move.

 

Explore DepositPhotos for licensed travel photos for your creative projects.

 

How to prepare for a travel photography job as a beginner creator

 

Landing your first travel photography job can be both exciting and overwhelming. The key lies in preparation, consistency, and adaptability.

 

Research your destination

Before heading to popular travel photography hotspots, learn about the local culture, climate, and accessibility. Understand the best times for natural lighting and golden hour shots, and what locations might be sensitive to photography.

Consider these aspects:

• Seasonal light patterns' impact on landscapes;
• Local festivals showcasing vibrant traditions;
• Off-the-beaten-path locations for authentic storytelling;
• Cultural taboos to respect while photographing people;
• Optimal times for capturing iconic landmarks;
• Local markets and their unique visual elements.

 

Build a shot list

A shot list will guide your creative process and show professionalism, especially if you're handling commissioned travel photography jobs. Consider these categories to enhance your visual storytelling:

• Dawn patrol. Early morning cityscapes;
• Local artisans. Traditional craftsmanship;
• Hidden gems. Lesser-known locations;
• Night scenes. Vibrant after-dark moments;
• Architectural contrasts. Old meets new;
• Cultural rituals. Unique local traditions;
• Street food. Culinary experiences.

A well-planned list serves as your visual roadmap, ensuring you capture key moments while allocating time for spontaneity.

 

Check your legal and logistical needs

Ensure you have travel documents, photography permits, and insurance coverage for health and travel photography gear. Investigate permit requirements for protected areas and landmarks. Secure necessary visas, especially for commercial work. Familiarize yourself with local photography laws and cultural sensitivities. Consider these crucial aspects:

• Research drone regulations and no-fly zones;
• Obtain model releases for portrait subjects;
• Respect copyright laws for artwork and performances;
• Review customs regulations for equipment transport;
• Understand privacy laws in public spaces;
• Check restrictions on tripod use in crowded areas;
• Be aware of photography bans in religious sites.

 

 

The best gear for travel photography

 

Choosing the best gear for travel photography means balancing performance, durability, and portability. Here's a breakdown of what you should consider packing as a beginner:

 

Best cameras for travel photography

Compact mirrorless cameras are now a top choice among professional and beginner photographers. They offer compact size without sacrificing professional features. Here are a few standout options:

1. Fujifilm X-T5. Lightweight with excellent image quality and film simulation features.
2. Sony Alpha a7 IV. A full-frame powerhouse with advanced autofocus and video capabilities.
3. Canon EOS R8. A strong entry-level full-frame option for high-resolution travel shots.

These are among the best cameras for travel photography because they offer superior image quality while remaining compact enough for daily travel.

 

Versatile lenses

For beginners, a versatile 24–70 mm f/2.8 zoom covers everything from wide-angle vistas to portraits, while a fast 35 mm f/1.8 prime excels in low-light and street scenes. As your skills (and itinerary) expand, build a travel-ready lens kit that balances scope and portability: a 16–35 mm wide-angle for landscapes and architecture, the trusty 24–70 mm for everyday flexibility, and a 70–200 mm telephoto zoom to bring distant wildlife or compressed cityscapes closer.

To round out your creative arsenal, you might also pack:

• Ultra-wide fisheye—dramatic, curving distortions for unique perspectives;
• Macro lens—crisp, close-up detail of flora, food, or textures;
• Tilt-shift lens—perspective correction and miniature effects in urban settings;
• Fast prime—wide aperture for atmospheric, low-light street shots;
• All-in-one zoom (18–300 mm)—space-saving versatility when you can carry only one lens.

 

Accessories to enhance workflow

Enhance your travel photography workflow with these essential accessories:

• Versatile camera bag. Protect gear and organize efficiently;
• Lightweight tripod. Ensure stability for sharp images;
• High-capacity memory cards. Capture more without interruption;
• Spare batteries. Extend shooting time in remote locations;
• Portable hard drive. Backup photos securely on-the-go;
• Remote shutter release. Minimize camera shake for crisp shots;
• Polarizing filter. Reduce glare and enhance colors;
• Cleaning kit. Maintain equipment for optimal performance.

 

 

How to take care of your travel photography gear during trips

 

Protecting your investment in travel photography gear is essential, especially when facing varied climates and rugged terrains.

 

Weatherproof your equipment

Protect your gear from the elements with quality rain covers and dust-proof cases. While weather-sealed cameras like the Canon 5D Mark IV offer protection, caution is still necessary. Consider these tips:

• Use silica gel packets to combat humidity;
• Wrap gear in microfiber cloths for added protection;
• Acclimate equipment gradually in temperature extremes;
• Keep spare dry bags for sudden weather changes;
• Invest in waterproof camera straps for added security.

 

Routine cleaning

Maintaining your travel photography gear requires a consistent cleaning routine. Implement these techniques for optimal performance:

• Use microfiber cloths to gently remove smudges from lenses;
• Dislodge dust from sensors with a rocket blower;
• Clean camera bodies carefully, avoiding buttons;
• Apply lens cleaner sparingly for stubborn marks;
• Inspect and clean lens contacts for reliable connections.

 

Smart packing and transport

Invest in a padded camera bag to shield your gear from impacts. Always carry essential equipment as hand luggage when flying. Avoid exposing gear to extreme temperatures and use hotel safes for secure storage during exploration.

 

Conclusion

Starting a career or hobby in travel photography demands more than a love for travel and visuals—it requires the right gear, thoughtful preparation, and ongoing care. From choosing the best cameras for travel photography to discovering new travel photography hotspots, every step of your journey adds to your visual storytelling toolbox. As you land more travel photography jobs, this article's foundational habits will continue to support your success.

 

If you were given a camera as a gift at Christmas or have just decided to treat yourself so you can learn a new skill, you're probably wondering where to start with your new kit. One of the best ways to improve and learn how to use your new camera is to actually get out and use it but we thought it would also be helpful to have a page where photography beginners can find all of our introductory tutorials in one place. So, below you'll find all our beginner photography tutorials written to-date but do also keep an eye on our techniques and features sections as new tutorials are added regularly. 

 

Learn what basic camera settings can help you freeze movement. 

  Digital Camera Settings 

• The Absolute Beginner Guide To Camera Preset Shooting Modes
• What Are Drive Modes?
• Beginner's Guide To Geotagging
• Beginner's Guide To White Balance Mode
• Introduction To Metering Modes
• Quick Beginner Tips About Focus Lock
• Digital Zoom: A Beginner's Guide

 

Learn the basics of aperture. 

  Understanding Exposure

• Creative Aperture / Depth Of Field
• Beginner's Tips: How To Make A Manual Exposure
• Beginner's Introduction To Depth Of Field
• Beginner's Tips: Shutters and Apertures Anyone?
• Beginner's Tips: How To Use ISO
• Beginner's Guide To DSLR Photography: Creative Apertures

 

 

  Taking The Shot

• Essential Beginner Photography Tips: Think About Your Focus
• Creative Children Portraits On A Budget
• Panoramas For Beginners
• Beginner's Tips - How To Capture Motion In Your Images
• How To Make Sure Your Subject Is The Main Point Of Interest
• 5 Tips For Someone New To Portrait Photography
• Beginner's Guide To Sunrise Photography
• Ten Top Tips To Teach Photography Newbies
• Beginner Wildlife Photography Tips
• Beginner Street Photography Tips
• Beginner's Guide On Photographing Children
• Beginner's Guide To Photo Composition
• Understanding Lenses And Focal Lengths

 

 

Seasonal Tutorials 

• Snow Photography Tips For Beginners
• Beginner's Tips For Christmas Photography
• Tips On Using Your Compact Camera At Christmas

 

Learn the basics of lighting objects.

Basic Lighting Tips

• Beginner's Guide to Light Part One
• Beginner's Guide To Light - Part Two
• Beginner's Introduction To Built-In Flash

   

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

 

We're a bit off from Spring but that doesn't mean you can't photograph flowers as florists and supermarkets will be bursting with interesting flowers that you can photograph in your own home. To get you started, we've put together quick, basic and helpful tips that will aid you in creating a simple still life set-up at home so you can begin capturing floral themed images. 

 

1. Simple Backgrounds 

Flowers can look great when simply lit by sunlight. However, if you're working indoors next to a window they often look out onto gardens, streets and other distracting objects which don't make great backgrounds and can spoil the shot. You can, of course, remove the background with editing software but by simply placing a plain object behind your subject you'll save yourself a lot of time. A simple piece of card or cloth will work just fine.

 

 

2. Don't Block Too Much Light 

You have to be careful where you place your new background as it can block the sun but by holding it or, if you can, getting someone else to hold it, the background can be moved around while you look through the viewfinder to see what position works the best. The trick is to move it as high up behind the object without any sun being shielded. Don't position the object you're photographing too close to the background either as no light will be able to get to it. If you enjoy doing these sort of photos you could even create a purpose-built set up that could be used again and again for indoor still life shots.

If you have to position your camera/background so some of the window creeps in at the top don't worry; you can crop it out later when you get your image onto the computer. 

 

3. Shutter Speeds & F-Stops 

When holding the flower take care with your shutter speed as going too slow will result in shake and as you're working with direct light, going too slow will leave you with a shot that's over-exposed. Don't use a too wider aperture as the petals towards the front and back of the image will start to lose focus. Try starting with f/8 and reduce/increase from there.

 

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

 

“Photo North festival has something magical - this may sound like a cliche but it's different to other photography festivals. There is an atmosphere of equality, informality and mutual support and of course, a great programme of exhibitions and talks.” Visitor

 

Credit: Anne Worthington/Photo North Festival

From the series, Young Skins

 

Photo North Festival is back.

 

World renowned and emerging artists prepare to exhibit at Photo North Festival #7, 13-15 March 2026, The Carriageworks Theatre, Millennium Square, Leeds, UK.

 

As the winter ebbs away, the photography industry prepares to shine on the historically proud and culturally vibrant city of Leeds for the seventh edition of Photo North Festival.

Exhibitions by legends of the profession will be on display alongside up and coming photographers against a backdrop of talks, competitions, portfolio reviews, workshops, networking, screenings, book singings, food & drink and more…

 

EXHIBITIONS AND ARTISTS HIGHLIGHTS

 

The Leeds International African Arts Festival (LIAAF)

Guest curators LIAAF are bringing their vibrant celebration of African photography to the festival with an exhibition themed Earthwise- An Exhibition of Creativity, Community Reflections and Renewal, featuring multiple photographic artists including Arteh Odjidja, Tobi Dosumu and Ruth Agbolade.

 

Credit: Soulla Petrou/Photo North Festival

Sophie Ellis-Bextor

 

REWIND by Soulla Petrou

Rewind is a photobook by award-winning photographer Soulla Petrou, showcasing 15 years of work in the UK music scene from 1994 to 2009. Shot mainly on film, it captures the raw energy of a defining era in club and youth culture. ?? images will be exhibited from the book including a pre-famous Gerri Halliwel, Sophie Ellis-Bextor and Damon Albarn.

 

Jaywick Sands Happy Club by David J Shaw

Jaywick, Essex, is a village that sits within the constituency of the leader of Reform UK MP Nigel Farage, and will be heavily affected by climate change-related sea level rise. The village has an infamous reputation as ‘Britain’s most deprived area’ with many journalists and YouTuber content creators regularly coming to the village to continue this portrayal.  Made closely with the people the images represent, Jaywick Sands Happy Club aims to reframe the narrative of the village by providing a balanced view of a community in the UK that faces challenges that are echoed internationally.

 

This is Also Motherhood by Carolyn Mendelsohn and the Maternal Mental Health Alliance

Portraits of Mental Health, Strength and Survival. This exhibition reveals the often-hidden realities of motherhood and maternal mental health through portrait photography, still life, and audio. Created by artist Carolyn Mendelsohn in collaboration with 10 women with lived experience. It invites us to look, listen and understand.

 

Credit: Joanne Coates/Photo North Festival

From the series, Greenvoe and the Anti-Idyll

 

Greenvoe and the Anti-Idyll by Joanne Coates

This body of work draws deeply from the poetic vision of George Mackay Brown, particularly his novel Greenvoe, exploring the enduring tensions between progress and preservation in rural island life. Through photography, Coates explores the changing landscapes of Orkney—both physical and cultural—by leaning into the notion of the anti-idyll: the disruption of the pastoral dream and the confrontation with modernity on the margins.

Gurushots global community will host their Art of Photography and Street Photographer of the Year photo-challenge winners. 

 

Smoke and Mirrors by Seamus Murphy

Smoke and Mirrors is a powerful photographic exhibition by award-winning photojournalist Seamus Murphy, featuring an extended photo essay centred on the West Bank city of Nablus. Captured over two periods of time, the first in 2004 during the second intifada while working on the acclaimed Palestinian feature film Paradise Now. This commission allowed Murphy to explore how the carefully staged scenes on the film set often echoed the real-life drama and rituals playing out on the streets of Nablus. The second are photographs from spring 2025, connected by stories from 2004  which reflect on the ongoing realities of occupation and the strength and endurance of the Palestinian people. 

 

Credit: Mike Goldwater/Photo North festival

Tombstoning from Ramsgate east pier. From the series, ISLAND

 

ISLAND by Mike Goldwater

ISLAND is a documentary project about the Isle of Thanet, at the eastern tip of Kent. Thanet, once an island cut off from the mainland by the River Wantsum, is a place of deep history, rich ecologies and shifting human tides. The photographs pay tribute to the beauty, challenge and unique character of this special place. The photographs for ISLAND were taken between 2019 and 2024.

 

Ian Parry Photojournalism Grant

A presentation of work by the 2025 recipient of the Ian Parry Grant, Omar Ashtawy, who is living and working in Gaza. The Ian Parry Photojournalism Grant supports young and emerging photographers as they embark on their career.

 

FOUNDERS

 

Festival co-founder & curator, Peter Dench, says: ‘We recognise people are passionate about photography. Photo North Festival aims to introduce or advance understanding of the medium through our programme of exhibitions - to inspire and engage debate. We have one perfect venue, with headline events and renowned photographers confirmed and the list is growing. The creativity in planning the festival format, talks and screenings is something unique to offer people in the north of England and beyond.’

Sharon Price, co-founder & curator, says: ‘We’ve chosen thought-provoking works that provide relevant social commentary on some quite hard-hitting issues. We also have the beautiful and the poignant, that will appeal not only to enthusiasts seeking to be challenged, but also to those seeking a feast for the senses.’ 

Sharon and Peter have secured the sensational line up to deliver a thought-provoking, lively and inclusive festival that will appeal to the professional photographer, photo-enthusiast, keen amateur and anyone who wishes to engage with the timeless appeal of the medium.

Once again, Photo North Festival promises to be one of the most exciting and engaging European photo events.

13-15 March 2026 -  The Carriageworks Theatre, Millennium Square, Leeds UK.

 For more information about the Photo North Festival, please visit the event website.

Glass – we look through it or drink out of it every day, but rarely look upon it as a subject for photography. The equipment you need will vary as much as the subject you're shooting, but usually, a long lens (and tripod) are good for the best results.

 

1. Focus On Glass Objects

Photo © Markus Pettersson

 

With glass as a subject, there are many ways to shoot or light it. I took a wine glass full of white wine, and simply put it on a window sill, the inverted image of some trees outside the window lifted the simple composition and made the glass more interesting. 

To photograph glass indoors, it always looks best lit through the glass, I stood a lightbox on its side and placed a glass sheet in front of it – I actually used an old fish tank, this allowed the glasses to be lit from below and behind all with the same light source, to bring out the shape by highlighting the edges of the glasses. A good way of really emphasising the edges is by bringing dark panels in at the sides, which reflect and emphasise the shape still further.

 

2. Turn Your Attention To Glass In Buildings And Windows

Whether we photograph from the inside of the building through the glass, or from the outside, capturing reflections, shooting glass is often about simplifying.
 

Stained Glass Windows 

 

Stained glass windows in churches make a great subject, but people often fall into a couple of easy mistakes. Firstly they try to get all the window, including all the surrounding stonework in, and secondly, they stand too close.

Trying to get too much in the shot typically results in too much small detail, failing to bring across the real detail within the window. The surrounding area of dark stone usually records no detail, and by affecting the meter reading also causes blown-out highlights in the window. Standing near the window and pointing the lens up to get the whole window in creates converging verticals which need too much adjustment later in Photoshop.

I try to find the element, pattern or scene in the window that I find appealing, and by using a long lens, from as far back in the church as I can get, point the camera up as little as possible. These techniques make metering easier (although if the window has a few clear areas, you might need to use -1/3rd stop compensation to avoid losing detail in those); and will minimise converging verticals. I have used up to a 400mm lens at the far end of a church for window details. If it is important for you to keep detail in the surrounding stonework, you may find it necessary to bracket exposures and combine them using HDR software for the best results.

With stained glass, the weather makes a big difference too; a sunny day with the sun streaming in the window is about as bad as it gets – the best time for stained glass is on an overcast day when the shadows of the protective mesh that is so often fitted outside do not show. If the sun is shining through the window, try shooting the abstract patterns of light that the sun creates.
 

Office Blocks 

 

Windows in modern office blocks can reflect the most amazing reflections and abstract patterns. Again, it's not necessary to get the whole building in the shot, in fact, it often works well when juxtaposing two adjacent buildings of slightly different styles. Try a longish lens to help isolate detail, a 70–200mm would be ideal.

 

Rainy Days

 

Another technique for glass could be shooting through a window on a rainy day when the raindrops create a pattern in their own right. As an added dimension, try to get something appropriate through the window, as it can give a feeling of what you'd like to be doing if it wasn't raining.

Glass in all its forms can clearly make for an interesting and varied subject, with no real limitations – so get out and give it a go.
 

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

 

In a report from the Camera & Imaging Products Association (CIPA), the global camera market was shown to have grown steadily in 2025, with shipments rising 6.6% and overall value climbing close to $20bn. The fastest-growing category was fixed-lens cameras, which surged 30% in volume and 49% in value, now making up more than a quarter of all new cameras shipped worldwide. This reflected rising demand for premium compacts and high-end fixed-lens models that combine portability with advanced specifications, driving higher average prices and reshaping the market mix. MPB noted that fewer entry-level releases and more selective buying reinforced the importance of trusted used platforms, while looking ahead to 2026 with expectations of continued single-digit growth across both cameras and lenses.

 

From MPB:

 

• Global camera shipments grew 6.6% in 2025, with total market value growing by 4% to just under $20bn
• Fixed-lens cameras emerged as the fastest-growing segment, now accounting for just over a quarter of all new cameras shipped globally
• Shifting product mix and fewer entry-level model releases are reinforcing the role of accessible, circular routes to high-quality equipment

 

New data from the Camera & Imaging Products Association (CIPA) shows the global new camera market continued its steady growth trajectory in 2025, with unit shipments growing 6.6% year-on-year while overall market value grew to just under $20bn.

In 2025, volumes of Digital Interchangeable Lens Cameras (DILC), including mirrorless and DSLR models, increased by around 6%, while lens volumes grew by approximately 3%. Despite sustained underlying demand throughout the year, value within the interchangeable-lens segment remained broadly flat, as pricing dynamics in some markets offset volume gains.

Against this backdrop, fixed-lens (compact) cameras emerged as the standout growth story of 2025. CIPA data shows compact camera shipments increased sharply by 30% year-on-year, with market value rising at an even greater pace of 49%. Fixed-lens cameras now account for 26% of all new cameras shipped globally.

This growth reflects rising demand for premium fixed-lens cameras that combine advanced specifications with highly portable form factors.  From high-end compacts to APS-C and medium-format fixed-lens models, these cameras offer flexibility and performance that complement interchangeable-lens systems rather than replacing them. The premium nature of many new fixed-lens models has also driven higher average selling prices in this category, reinforcing their growing importance within the overall camera market.

Across the wider market, product mix played an increasingly important role in shaping performance in 2025. Mirrorless camera volumes continued to grow, with shifts in model mix influencing how value accumulated across the category. MPB analysis suggests this reflects fewer entry-level releases and more considered purchasing decisions, reinforcing the importance of trusted used platforms in broadening access to high-quality equipment.

Looking ahead to 2026, MPB expects the new camera market to continue delivering single-digit year-on-year growth in both volume and value, supported by continued demand across both cameras and lenses. Premium fixed-lens cameras are expected to remain an important growth driver, complementing ongoing strength in interchangeable lens systems and reinforcing the role of trusted used platforms for photographers seeking flexibility and value.

Commenting on the data, Matt Barker, CEO of MPB, said:

“2025 was another strong year for the camera market, with broad-based growth across mirrorless cameras, premium lenses and fixed-lens `models, which have become an increasingly important part of the category. We continue to see content creator demand evolve, with kitbags expanding to include a wider range of specialist and premium equipment.”

“This evolution of demand underpins the importance of platforms like MPB. By offering access across categories and price points, we help creators build the kitbags they need to compete in today’s creator economy, without compromising on quality or performance.”

For more information, please visit the MPB website.

 

In January, we asked you to hit the 'like' button on your favourite 2025 POTW images to help us choose our 'Photo of the Year.' Now the votes have been counted, and we’re pleased to reveal that ZenTony with the image ‘Pensive' takes the title of 'Photo of the Year.' Congratulations!

89 'likes' were awarded to the stunning shot. The ePHOTOzine team noted, “The image captures a man with a contemplative expression and subtle, engaging presence. This capture stands out for its superb use of light and monochrome finish, with simplicity and depth allowing emotions and textures to shine through.” We crowned it our 'Photo of the Week' in February 2025. 

 "A superb monochrome portrait with excellent use of light and a contemplative expression." - ePHOTOzine. 

As well as the 'Photo of the Year' title, Tony wins a Samsung Portable 1TB SSD T7 Shield from our 'Photo of the Week' supporter, Samsung. 

The competition now starts again. All 'Photo of the Week' winners from 2026 will be included. Be sure to upload your photos for a chance to win! Once the year ends, we'll compile a list of 52 winners in our forum. Then, we ask you to cast your votes.

Thank you to everyone who voted, our supporter Samsung, and those who continue to upload incredible photos to our Gallery.

 

Take a walk around your town or local park and you'll soon find a statue or monument. They don't move, or complain so are a perfect subject for a photographer and most are so well sculptured that you have the opportunity to shoot several varied photographs of them.

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1. Gear Suggestions

Unless you're a particular fan of the carvings that decorate the tops of churches you'll only need a standard zoom lens which means this is a project you can do with your DSLR or compact camera. If you want a little bit more stability take a tripod along but you can quite happily work hand-held.

 

2 The Statue's Position

When you come across a statue the first thing you should do is take a walk around it to look at the angle. As most statues have a dominating position raised up on plinths, shots of statues can often end up looking a little distorted due to the low angle you shoot from. To combat this just stand further back and use a longer focal length to fill the frame. To improve your shot further, if there are steps or a wall nearby stand on them to give you more height or if you don't mind the trial and error approach you could always put your camera up above your head and take your photo - you may get some surprisingly good results.

 

 

3. Think About Backgrounds

As well as looking for the right angle to photograph the statue pay attention to the background as this can change the overall look of the image. A messy background's distracting while a bright sky can affect the meter reading and leave you with a silhouetted statue. Metering from a darker part of the scene can wash the sky out completely so try using exposure compensation if you find metering to be a problem. If you've found an angle you just have to photograph but the background's spoiling the shot, use a wider aperture to throw the background out of focus.

 

4. Working In Shade

If your statue's in a shaded area, such as under trees, make sure your flash is off as this will blast light into the scene and all the shadows which emphasis the statue's shape will be lost. You may need to use a slightly longer shutter speed so make sure you hold your camera steady or pop it on a tripod to prevent camera shake.

 

5. Other Locations

When you've walked the length of your town searching for statues there are plenty of sculpture parks across the UK that give you the opportunity to capture several interesting pieces of art in one location.

 

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

 

A superb black and white shot of the River Clyde, captured by andymcdonald and titled Bells Bridge and SEC Campus, has picked up our 'Photo of the Week' award.

The image shows Bells Bridge leading over to the SEC Campus in Glasgow, where you can see the Armadillo and the OVO Hydro. It uses a simple mono treatment to show off the shapes and clean lines of the buildings against the dark sky. The light catches the straight lines of the bridge and the curved roofs of the campus really well, giving it an almost sci-fi feel. By taking away the colour, andymcdonald has turned this city scene into something very moody and modern.

It is a lovely piece of work that shows how good framing and contrast can make urban architecture look amazing.

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!

    If you work full time, it can be difficult to still find time to fit in your photography so we've come up with some top tips for fitting photography in around your work. Whether you commute by car or train, or walk to work, there are still photographs to be taken! [HOOK]position_1[/HOOK]  1. Candid Tube/ Train Photography

If you commute of a tube or train, there are some great opportunities for candid portrait photography. Candids on the carriages showing people's emotions, feelings and behaviour can make for interesting shots.

Focus on the face and try to capture the mood of the person, to make the photo feel more personal. If you're on the tube, there is a lot more open space and room for more varied shots. A line of people sat down, if the tube isn't too crowded, will work well to illustrate your journey to work.

If you don't want to photograph people how about the platform, signals, trains or old stations? More tips on photography in stations can be found here. Do remember there are certain rules you have to follow when it comes to photography in certain locations so do make sure you do your homework before taking your camera out of its bag. 

 

2. Transport Photography

One thing you'll see a lot of on your commute is transport. Be it cars, bikes or trains, there will be plenty of opportunities to shoot transport. Keep your eyes open for anything unusual, like a rare or old car that you can photograph for that little something different to the norm. Use a quirky angle or take a macro shot if possible, to emphasise an interesting part of the vehicle.

 

3. Light Trails

These are relatively easy to capture as long as you have a tripod and if you can stop at the side of the road safely on your way home (obviously we don't want you to block roads are park where you shouldn't be!). Light trails work great when shot at the side of busy roads, however, if you can get high up and look down on the road, this will work well too, capturing a bird's eye view. Slow shutter speeds will be necessary to capture those all-important trails of light. Take a look at our article on light trail photography for more information.

 

4. Architectural Photography

If you work in the city, then there will be some great opportunities for architectural photography around you. Whether your subject is the busy city centre shops or the skyscrapers in the business district, some great effects can be achieved.  If you're looking for architecture photography advice then take a look at this top list of tutorials.

 

  5. On The Way To Work Documentary Style 

If you're really keen on taking photos on your way to work, then why not document your experience in photos? Photograph interesting and memorable points from your commute to create a documentary-style record of your experiences. Repeat this monthly, and see how the world around you changes over the passing of time.

Often, you won't think to take your camera along with you to work. But as this article shows, there may be some great photo opportunities you are missing by not having it with you just in case.

 

6. Sunrise / Sunset

If you set off to work early, and return just as it is getting dark, depending on the season you'll be able to get some great shots of the sunrise and sunset. You need to be ready for those all-important minutes of the sun's rays coming up over the horizon. 

  7. Landscapes, Fields And Crops

In the summer, when all the crops are out, you can take some great sweeping field vistas of oilseed rape. You can easily photograph fields from the roadside on your way home if you commute through the open country. Some great abstract and macro shots can also be taken, as well as the traditional landscape. Take a look at this tutorial for more tips: How To Photograph Crop Fields Creatively.

 

You've read the technique now share your related photos for the chance to win prizes: Photo Month 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 kenwil (Day 27 - Frost).

 

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 25

Amazing Views

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Day 26

Waterfall

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Day 28

Mountain Photography

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  Day 29

Trees

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Day 30

Pets

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Day 31

Action Shots

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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 - 

Fast aperture prime lenses have always been in fashion, sought after by photographers keen to enjoy the photo opportunities they bring. They are exciting optics, but they come with baggage. Depending on the format, they are often big and hefty and then there’s the price which can be considerable. Comparing like-for-like focal lengths, a lens that is just a fraction of an f/stop faster can mean a big enough price difference to make the hardened photographer weep. 

Are fast primes worth the cash? Well, that’s only a question you can answer but if you like the idea of shallow depth-of-field, shooting in poor light and using low ISOs, then a fast lens or two in the kit bag is a compelling option. Of course, the other thing with primes is that they demand a more disciplined photographic approach and that’s a good thing too. 

So, if a fast prime is on your wish list it makes sense to check out used gear specialist MPB first. With great service, competitive prices and expert-checked stock, MPB will help you make the most of your budget, and the camera kit is covered by a warranty too.

In this shopping trip, we have assumed a £3000 spend with the aim of equipping ourselves with a three fast prime lens outfit together with a high resolution, full-frame camera.

As for which brand, it was a choice between Nikon, Panasonic and Sony, with Canon sidelined being limited to its own AF lenses. Panasonic full-frame cameras use the L-Mount, which is well supported. The Nikon Z mount is gaining ground among independent lens makers, but we plumped for Sony. Its E-mount currently has the broadest choice of its own and third-party optics.

For the body, the Sony Alpha A7RIV appealed. Its AF might not be quite up to the level of its newer brothers but it’s still very capable and it has 61 megapixels under its bonnet to enjoy. High resolution is a big attraction, but this classy camera also has 10fps continuous shooting with AF tracking, weather-sealing, impressive video capability and plenty of customisation potential.

Typically Sony, the top plate controls are nicely placed and there’s plenty of customisation potential with camera set-up.

 

A quick search on MPB’s website showed A7RIV body options from £1239, which was in good condition but with a shutter count of over 150,000. Committing a further £200 of our budget to the body gave the option of an A7RIV in excellent condition and a shutter count of just over 14,000. It’s a good choice for £1439.

Onto lenses, choosing which three focal lengths to go for was a challenge because obviously, much depends on what you like to photograph. After a little internal deliberation, the idea of a wide-angle, a standard and a short telephoto seemed a great outfit capable of dealing with a wide breadth of subject matter.

 

Wide-angle lenses mean you can include plenty of environment to give pictures context. Image credit: Will Cheung.

 

For the wide, the 24mm focal length had the greatest all-round appeal, with the 20mm perhaps too wide for general shooting and the 28mm not quite wide enough. Anyway, at the time of our stock search, MPB didn’t have any stock of the 20mm or 28mm lenses from Sigma, but in this situation what you can do is create a stock alert - it can be cancelled at any time - by supplying an email address and as soon as the relevant item comes into stock, you’ll receive notification. 

 

The 24mm focal length means foreground can be exploited in landscape pictures. To blur the water in this scene, the exposure used was 2 secs at f/11 and ISO 100. Image credit: Will Cheung.

 

MPB had a couple of Sigma 24mm f/1.4 DG HSM Art lenses in excellent condition at £354. It’s not quite as good as the current 24mm f/1.4 DG DN Art, but it’s not far behind and the attractive price meant we had more budget to complete our outfit. 

Sigma Art lenses have a great reputation, and we stayed with Sigma for the 50mm lens. MPB had two 50mm f/1.4 DG DN Art in stock, both in ‘Like new’ condition at £674 and £699. We went for the cheaper option which took our spend so far to £2467, which leaves £533 for a short 85mm telephoto, a focal length that would suit portraits, street and scenes.

 

A fast 50mm lens is just the ticket for available light portraits and means high quality shots are possible without having to push ISO too far. This portrait was exposed at ISO 1600. Image credit: Will Cheung.

 

Having £533 to spend on a high spec short telephoto doesn’t give much room for manoeuvre. More recent 85mm lenses f/1.4 from Samyang and Viltrox were not in stock from MPB at the time, while f/1.4 alternatives from Sigma and Sony bust the budget. One 85mm f/1.4 option was the Sirui Aurora with a single sample priced at £394.

Zooms dominate the lens market but there’s a very healthy interest in primes, especially high spec models with fast apertures.

 

Another route was to go for an 85mm f/1.8 which brought quite a few options into play. The difference between f/1.8 and f/1.4 is a little over half-a-stop so significant but not huge. In practice, having to use a marginally higher ISO would have minimal negative impact on the Sony A7RIV, especially with the possibility of noise reduction in editing. Pictorially, an f/1.8 lens used wide open will still give a nicely blurred background and be very slightly less critical when it comes to focus.

 

The 85mm focal length is extremely versatile and having a fast maximum aperture is a big advantage too. This was shot at f/3.5 and the background is still nicely blurred. Image credit: Will Cheung.

 

MPB had an excellent condition Zeiss Batis 85mm f/1.8 at £514. Taking the route of a Sony FE 85mm f/1.4 at £289 for an excellent condition model would save money, and that could be used for protection filters for the three lenses. In the end, though, the thought of having a Zeiss lens in the bag makes the option more compelling.

So, with MPB’s help, we have a solid, general purpose three prime lens outfit comprising a 24mm f/1.4, 50mm f/1.4 and 85mm f/1.8 together with a recent Sony 61 megapixel full-frame camera. That sounds good and a fabulous way to kick off 2026.

 

  News from MPB

Keep right up to date with the latest camera techniques and buying advice with MPB. Two In the Field shooting guides were recently posted, using Canon EF lenses for Astrophotography and the Nikon Z8 for Landscape Photography. For hardware buying tips, check out MPB’s Selects guides. A recent story was Top Camera Gear for Wildlife Photography.

Click here to take you to the Photo and video kit guides web page.

  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

 

1. Know What You'll Be Using It For

Before you make your purchase, make sure you think about where and what you'll be using your tripod for. For example, you don't want to set out walking through the countryside to find the tripod you've purchased is heavy or impractical.
 

2. What Type Of Tripod?

A full-sized tripod extends to eye level, offer rigid support and tend to stay standing when used on windy days. Some models can be a little bulky and heavy but some companies have tripods which are made out of aluminium alloy making them light and easy to transport.

A compact tripod is similar to the full-size version except it but collapses to a very small size making it easier to carry around. There are also mini pods and tabletop tripods available. For times when a tripod would get in the way, such as when shooting in a crowd, the next best thing that gives you the same height but without the bulky splayed legs is a monopod.
 

3. Check The Height Of The Legs

If you're buying the tripod from a shop on the high street, make sure you extend the legs fully so you can check to see if they go to the height you need. Obviously, you can't do this online but most sites have a section where more details such as height, weight etc. of the product you're interested in can be found.
 

 

 

4. Have A Look At The Head

Most tripods do come with a head but tripod manufacturers do stock heads which you can buy separately. Most tripod heads will shoot in a vertical format as well as horizontal. If you're going to be shooting panoramas, move the head so you can see how freely/smoothly it'll pan. If you're buying online just have a read of the tripod's features for more information on how well the model pans and moves.
 

5. How Quick Is The Quick Release System?

Many tripods now feature a quick release system which uses a plate that can be permanently fastened to your camera to lock it in position on your tripod. Check how easy it is to fasten and remove your camera to the tripod as you don't want to be fighting with your equipment when out in the field.

 

6. Legs And Locks

Make sure the legs are fully out before you put your camera on the tripod and always extend the thickest part of the legs first before moving on to adjust the smaller parts as this will give you a more rigid support. Before extending the height of the centre column do check the legs are at their maximum height because even though it's quick and easy to adjust the centre column, it's not a good habit to get into and you'll have a much more sturdy base to work with if you adjust the legs first.

As well as securing your tripod, locks should be quick to adjust and easy to use. Locks are either levers or twist grips. Twist grip locks are very secure while the lever lock option is faster to use but do make sure they are locked tight before taking your shot as you don't want the tripod to slip mid-exposure.

 

 

7. The Feet

Most tripods have rubber feet which absorb shock and offer good grip on most terrain. Some models feature spiked feet which are useful in situations where you need to sink your tripod into the ground such as at the beach or on a windy, wet hillside.

 

8. Clean Your Tripod

You want to make sure your gear is always ready to go and in a good condition so keep it clean and free of rust. This is even more important when you've spent the day at the coast as saltwater will corrode tripod legs and feet so always rinse them off in fresh water once home.

   

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

 

1. The Kit For For Frost Photography 

With a cool, clear night comes morning frost and it's a subject that works well for both close-up work and wider landscape shots. For your close-ups of the patterns frost creates, you'll need a macro lens or a 70-200mm zoom lens with extension rings will work just as well if you don't own a macro lens.

A tripod's handy for the times you'll be working in shaded areas and a lens hood attached to your lens will help prevent flare when shooting in the direction of the sun. Take a reflector out with you (a piece of card covered in foil will do fine) as they're useful for bouncing light into shaded spots and remember to slip a few spare batteries into your pockets if you're planning on venturing out for a while. It's also worth remembering to wrap up warm as you'll soon feel the cold when you're stood waiting for those long exposure times to complete. 

 

2. Be An Early Riser & Head For Space 

If the weatherman tells you it's going to be a cloudless night set the alarm clock to go off early, before the sun rises is a good time, as the lack of cloud cover means there's nothing to keep heat in so there's more chance of frost appearing. Head for open spaces (fields) rather than places that are sheltered (forests) as the canopy, or whatever is creating the shelter, can prevent frost from forming.
 

3. Metering Problems 

Like snow, frost, particularly when it's a thick covering, can fool your camera's meter to think the scene's much lighter than it actually is and it will underexpose the shot. If this happens, use exposure compensation and shoot half to one and a half stops over what your camera thinks is correct. You should always check your histogram to ensure the exposure's correct.

 

4. Lighting Tips  

Side and direct light will help emphasise the way the frost glistens and sidelight, in particular, can help add depth to your scene. Try shooting directly into the sun so the frost glistens, you just need to use a lens hood to minimise the chances of flare spoiling your shot.

 

 

5. Look For Shade 

Frost will last longer in shaded areas, but you'll need to use a reflector to bounce much-needed light into the shot. This will add the sparkle you expect to see when you look at frost and help remove the blue cast that's common with shade.

For shots that capture the patterns and textures frost creates, get in close and avoid using flash.

  6. White Balance Tips 

Adjusting your white balance to create a cooler colour temperature can further enhance the feeling of cold in your shot. You can also adjust the contrast of the image during post-production to give more definition to the patterns the frost has created.
 

7. Care For Your Kit 

Once home, don't take your camera out of your bag as soon as you get through the door as condensation can form on your camera/lens. Instead, leave it in your bag while it acclimatises.

 

 

8. You Can Stay Close To Home

If you don't want to venture too far have look for frost on your windows as the patterns it produces are great for macro work. Out in the garden, icy blades of grass are worth capturing early in the morning and look for fallen leaves that are covered with frost while you're out there too. Use a small aperture to make sure more of your image is sharp but if you're working with a leaf that's still on a tree, try using a wider aperture to throw the background out of focus, isolating the leaf in the process. While you're looking at branches look for frost covered berries as the reds contrast well with the white coloured frost.
 

9. Landscapes With Water 

Around ponds, reservoirs, rivers and lakes, look for frosted up reeds and branches above and around the water. They make interesting close-up studies but do take your wider lens with you too to capture a frosted landscape.
 

10. Frosted Webs 

Finally, don't forget about capturing the popular frosted spiders web. Look for webs on or facing hedges, fences and other plain, dark backgrounds as this will help the web stand out. Use a large aperture too so the darker backgrounds also thrown out of focus. If you find using autofocus doesn't give you sharp enough images, switch to manual as if the focus isn't right, your shot will lose impact and can be spoilt.

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

© Leica

 

Leica expanded its legendary Noctilux line with the launch of the Noctilux‑M 35 f/1.2 ASPH, the first in the series to feature a 35mm focal length. Built in Wetzlar for M-Cameras with high-resolution sensors, the lens delivered the signature subject isolation, smooth background rendering and film-like quality that photographers love, while offering the ability to focus as close as 50cm. Compact at just 5cm in length and weighing 416g, it combined speed, precision and portability, making it a versatile choice for portraits, reportage and street photography. The Noctilux-M 35 f/1.2 ASPH is available worldwide through Leica Stores, the Leica Online Store and authorised dealers, priced at £7,700 / €8,950 / $9,650.

 

From Leica

Since first being introduced in 1966, the name ‘Noctilux’ has represented the pinnacle of optical craftsmanship at Leica. The name is made up of the Latin words ‘noctu’ and ‘lux’, meaning ‘night’ and ‘light’, and refers to the exceptional speed of this lens series. With a maximum aperture of up to f/0.95, Noctilux lenses are considered to be the epitome of optical development, allowing creative possibilities beyond the ordinary and delivering images with an unrivalled visual aesthetic. With the new Noctilux-M 35 f/1.2 ASPH., Leica Camera AG is presenting the first Noctilux M-Lens in the company’s history to feature a 35 mm focal length.

Like all Noctilux lenses, the latest addition to the family impresses with its exceptional speed and superior imaging performance. The new, compact Noctilux-M 35 f/1.2 ASPH. produces clear, high-contrast images characterised by a distinctive look. The shallow depth of field at a wide aperture precisely separates subject and space, creating a velvety soft bokeh and lending images tangible depth as well as a cinematic atmosphere. Stopping down the aperture allows you to selectively increase the depth of field. A floating element within the complex optical construction ensures consistent performance across the entire focusing range, from the close focus distance to infinity.

 

© Leica

 

Up until now, the strength of Noctilux glass has been leveraged exclusively for 50 mm and 75 mm focal lengths, but the new Noctilux-M 35 f/1.2 ASPH. now makes this strength available for the versatile 35 mm focal length for the very first time. The perfect combination of a wide aperture and natural perspective makes it ideal for outstanding portrait, reportage, available-light and street photography. Subjects are clearly in focus thanks to precise separation, while retaining their context thanks to harmonious transitions to the background.

This new lens is the first Noctilux to feature an extended close focus distance down to 50 cm. When used with the new Leica M EV1 and its high-resolution integrated electronic viewfinder, focusing is particularly convenient across the entire focusing range. M-Cameras with a rangefinder can focus to a distance of 70 cm via the optical viewfinder. In the close-up range of 70–50 cm, focusing is carried out via Live View on the rear LCD panel or the Visoflex 2 clip-on viewfinder. The large focusing angle of the Noctilux-M 35 supports this, thereby enabling precise and sensitive work.

 

© Leica

 

The new Leica Noctilux-M 35 f/1.2 ASPH. has been optimised for M-Cameras with high-resolution image sensors, in addition to having been completely redesigned and handcrafted in Wetzlar. Decades of experience and state-of-the-art production technologies have gone into its development. This includes processing special glass materials and aspherical lens elements manufactured in Wetzlar using innovative Precision Glass Moulding (PGM) technology, which shapes lenses in a highly precise process, achieving exceptional quality standards. The optical design comprises ten lenses in five groups, including three aspherical lenses, and a floating element which ensures consistent imaging performance over the entire focusing range. The integrated lens hood reduces glare and reflections, ensuring high contrast and brilliant colour rendering, even with backlighting. Measuring just 5 cm in length, with a diameter of 6.5 cm, and weighing only 416 g, the new lens also impresses with its remarkably compact size.

The Leica Noctilux-M 35 f/1.2 ASPH. will be available worldwide as of the 29th of January 2026 from Leica Stores, the Leica Online Store and authorised dealers. The recommended retail price is £7,700.00 (incl. VAT.) / €8,950 (incl. VAT.) / $9,650.00.

A lens cap will also be available separately for an RRP of £70.00 / $95.00.

For more information, please visit the Leica website.

 

At this time of year, across the UK, snow can start appearing in our landscape. But, it's not the easiest of subjects to photograph, so we have answered some of the most frequently asked questions to help you out when snow's filling your landscape shots. 

1. Why does the snow look blue/grey in my shot?

This is because your camera's metering system is fooled by the highly reflective tones of the white snow, which makes the image appear darker than it should be. Blue snow in pictures occurs where the snow is receiving no direct sunlight but is simply being lit by the sun reflecting off the blue sky (hence the cast). 

All cameras have built-in metering systems that are designed to deliver a perfect picture assuming the contrast range is normal. They do this by scrambling the tones and then adjust so the scrambled colour brightness is mid-grey or average. This is fine when the subject has a wide tonal range with everything from black to white being present, but when the subject is predominantly white, such as snow, the camera underexposes so that the white becomes grey.

If you are using a compact camera it most likely has a snow scene mode and by switching to this, your once grey snow should appear white. For those using more advanced cameras, you can get around this by adjusting the exposure compensation setting to either plus 1 or two stops depending on the amount of snow in the picture. If your camera has the exposure lock feature, which is usually set by half-pressing the shutter button, point it at a mid-tone in your scene, lock the exposure then recompose your shot.

To fix a blue cast in-camera you'll need to switch your white balance settings to either shade or custom if you want to create a custom white balance from the snow. If working in sunny conditions the snow shouldn't appear blue but your shadows may but if you try and correct the image in-camera to remove the cast from the shadows you'll alter the colour of the snow so generally, it's best to leave the blue in the shadows so your snow is crisp and white. Plus, there's always the option to adjust the image in your image editing software once home. 

 

 

2. Why does my snow shot look boring? 

When snow covers most of your shot it can make the scene look a little bland, especially with a snow-filled sky as there won't be that much definition between the sky and the ground. Try stopping down a little to add more depth to your shot, or if this doesn't work, try adjusting your position to include a stone wall perhaps, or a lone tree, to add a little more to the shot. To darken light skies so your shots are a little more moody fit a graduated filter to the front of your lens. 

 

3. Falling snow is ruining my shot. How can I minimise the appearance of the flakes? 

The simple answer to this is to wait until it stops snowing. If this is not an option, make sure you're not using your flash, as this can cause the light to reflect off snowflakes nearer to the lens, causing the rest of your shot to look really dull and grey. A better way to capture snow falling is to put your camera on a tripod and use slower shutter speeds. 

 

4. Why has my lens steamed up?

This is because you've moved from a warm house to the freezing cold outside, resulting in condensation. To avoid this, let your camera acclimatise in its case or bag for a while. Don't be tempted to wipe the lens with a cloth as this will cause smudges and marks which will spoil your image. 

   

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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.
 

Switch To AF

Most cameras feature quick and accurate AF (Auto Focus) systems, making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.
 

Manual Focus

You can try and focus manually but this isn't particularly easy to do with fast moving subjects but it can be useful if you plan on pre-focusing.
 

Pre-Focus

This is a little more tricky but once you get the hang of it, it can be a useful trick to know. It's not a very useful technique for subjects whose movement is unpredictable but get at the side of a track or a road where you know a car will have to pass through a certain point and it's extremely helpful.

Written down the technique sounds simple: Switch to manual, focus on a spot you know your subject will pass through, lock your focus and then just before you know your subject's about to pass through the point you focused on, hit the shutter. You need to hit the shutter just before as shutter lag can cause you to miss the shot if you hit it at the point they pass through your focus point.
 

Continuous Shooting

To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots, increasing your chances of capturing the shot you're looking for. Again, start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.

Correct Shutter Speed

You don't want to use a shutter speed that's too high as this will just freeze everything and the shot will look static but you don't want to go too low either as you'll just end up with a shot that's full of blur. Sometimes lots of blur can give you something that's a little more artistic but most of the time it's worth firing off a few test shots to get your shutter speed spot on before the main action starts.

 

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