DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Excire has launched version 2027 of its photo-management software, adding several new features to help photographers organize and cull through large image libraries. The update is available now for Windows and macOS. It's a one-time purchase with no monthly subscription, and the software runs locally on your computer so your photos stay private.

 

New Features on Excire Foto 2027

The update introduces a handful of major workflow upgrades to help you navigate large collections:

• Text recognition in images: The new AI text search can actually read words inside your images. You can type in a word to instantly pull up photos containing specific street signs, store names, or sports jerseys.
• World Map View: You can now browse your library geographically using an interactive map. This makes it easy to look through your travel history and find photos based on exactly where you took them.
• Survey Mode and Better Culling: Built to mimic old-school analog light tables, the new Survey Mode lets you compare images side by side without distractions. It also adds focus peaking to instantly check image sharpness and a Rule of Thirds overlay to evaluate composition.
• Smart filters and timeline tools: A new AI-powered filter bar and a visible Timeline Graph let you sift through thousands of images by date or content with far fewer clicks.
• Cloud Sharing and Interface Upgrades: The software now supports direct cloud sharing through Microsoft OneDrive and Nextcloud. It also features a cleaner layout with adjustable side panels and video export options.

The software still includes its older search and organization tools: prompt search, facial recognition, similarity search, automatic keywording, and duplicate detection.

 

 

Pricing and Availability

Excire Foto 2027 is available now for a one-time license fee of $249 / €229 / £229 / CHF 229, but a limited-time launch promotion drops that cost down to $219 / €199 / £199 / CHF 199.

If you are already using an older version of the software, you can skip the full price. Upgrades cost $99 / €99 / £99 / CHF 99 for Excire Foto 2024 users and $79 / €79 / £79 / CHF 79 for Excire Foto 2025 users. A 14-day free trial is also available if you want to test out the features first.

For more information, please visit the Excire website.

Not having the horizon in the right place or focusing so much on other aspects that you forget to check that the horizon is actually straight is an easy mistake that many will hold their hand up to making.

This doesn't mean you can't experiment with horizon angles but if you do, you need to make it obvious as a small tilt will just look like you didn't check the viewfinder before hitting the shutter button. The same goes for the positioning of the horizon as if it's positioned badly, it can distract the viewer as well as spoil the composition of your shot.

 

1. How To Keep Horizons Straight

 

To stop your landscapes looking like they're going to slide out of the side of the frame, consider investing in a small spirit level (if your tripod doesn't already have one) that can be attached to your camera or, if your camera has one, use the grid intended for helping with the rule of thirds as a guide as even though this isn't really what they were designed for, they're made up of straight lines so can be helpful when struggling to tell what level is.

  2. Where To Put The Horizon?

 

It's important that your horizon doesn't cut through the centre of your image If the sky's more interesting move it down and if the land's what the viewer should be looking at move it up. That way, they'll know where their focus is meant to be.

If you're at the coast, shooting the sea and the sky has particularly interesting cloud formations or it's an amazing sunset, lower the horizon so the sky fills most of the frame. But if you want to include some foreground interest or create the sense of distance in your image, move the horizon up. Just remember to use a small aperture so you get front-to-back sharpness.

Of course, there are times when breaking the rules do work, such as when your photo includes an eye-catching reflection in a lake, so don't dismiss putting your horizons in the centre of your images completely.

There may be a time when you're shooting a landscape where the shapes and patterns of the land are enough to hold the viewer's attention so removing the horizon completely from the shot would work, too. 

 

3. How To Adjust The Horizon's Position

 

You can either tilt the camera, move its position higher or lower or take your shot as normal and crop the image later when you're in front of your computer.

If you have lots of vertical shapes such as trees and tall buildings in your shot, tilting the camera can cause perspective problems. However, if you're at the coast without a building in sight you should be fine.

To give your camera more/less height adjust your tripod's legs. Just make sure the locks are secure before you start taking your shot as you don't want your camera to start sliding down while you're trying to frame-up. If you need more height you can adjust the centre column but do adjust the legs first before doing this as the legs offer a more stable base to work with.

 

4. How To Fix Horizons In Old Photos

 

If you do take your shot and get home before you realise it's slanting to one side or you look back at landscapes you've taken previously and notice the horizon's not quite right don't worry; a simple crop in Photoshop will have your image back upright. You can also crop your shot to shift the position of the horizon, too.
 

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- Partner Content - 

 

 

Tamron’s reputation as a manufacturer of top-quality lenses for enthusiast and professional photographers is second to none. Its current line-up includes primes and zooms such as the ultra-wide 16-30mm f/2.8 Di III VXD G2, the super versatile 25-200mm f/2.8-5.6 Di III VXD G2 and the powerful 50-400mm f/4.5-6.3 Di III VC VXD. Whatever your photographic interest, Tamron has a lens for you. 

First featured on the 28-75mm f/2.8 Di III VXD G2 and 35-150mm f/2-2.8 Di III VXD launched in 2021 and now making a regular feature on its products is a USB-C port, which lets users customise the lenses.

Using the Tamron Lens Utility desktop app – available for Windows and Mac - with the lens connected to the computer, firmware updates are possible directly without the need of a separate dock and different tasks and focus ring behaviour can be adjusted to suit the user’s preferences. It’s a very powerful feature and available on 19 of Tamron’s current lens family.

 

The Tamron-Link TL-01 is tiny and weighs just 2g so there’s no handling impact on the lens it’s plugged into.

 

Tamron recently introduced the Tamron-Link TL-01, which exploits the feature even more. Plug this tiny unit into the USB-C port of a compatible lens, pair it with the free Tamron Lens Utility mobile app - available for Android and iOS - on your smart device using Bluetooth and you have wireless communication and control. 

There’s an impressive range of lens features you can adjust wirelessly.

 

 

 

Tamron-Link TL-01: Quick verdict

It’s a powerful, affordable device that suits stills and video shooting with plenty of creative potential. The Tamron-Link TL-01 will clearly appeal to existing Tamron owners but it’s also a serious attraction for aspiring Tamron lens owners too, offering features not available on competitor lenses.

 

+ Pros

• Great price
• Tiny, so doesn’t impair lens handling
• Stable Bluetooth
• Digital Follow Focus features
• Mobile app is good to use and has plenty of support
• Can be used with multiple lenses

- Cons

• Lens firmware updating still needs a computer

 

 

The process of pairing the Tamron Lens Utility app on your smart device to the Tamron-Link is straightforward. The key thing is to check the ID number printed on the Tamron-Link itself.

 

Tamron-Link TL-01: Setting-up

Pairing the Tamron-Link TL-01 is easy enough and takes a few minutes. The first time you use the TL-01 with a lens necessitates setting up a password and then inputting the Tamron-Link TL-01’s ID details, which are printed on the device itself. Just follow the instruction screens on the app, and you’ll be set up and ready to go in no time. There’s also no need to worry about charging the device because it draws power from the camera’s battery.

Once the lens is connected, the Tamron-Link enables a wide range of features to be called upon wirelessly, which is obviously much more convenient than having to hook it up to a computer.

 

Tamron-Link TL-01: In use

Key handling changes include the ability to change the rotating direction of the focus barrel. The default is anticlockwise direction towards infinity (as seen from behind the camera) which matches Sony lenses, but to suit Nikon users, the direction can be changed to clockwise. The focusing barrel can also be set to cover the entire focusing distance with different amounts of rotation, with the options of 90°, 180°, 270° and 360°.  Another option is the choice of linear focus, which mimics the focusing action of traditional lenses, or non-linear, which is focusing by wire, so focusing speed depends on how quickly the focus barrel is adjusted.

Several Tamron lenses have a three position Custom Switch, and each position can be assigned to a range of features that are brought into play by pushing the Focus Set button. In the Tamron Lens Utility app, there’s a scrolling menu of options, including Select AF/MF, which toggles between autofocus and manual focus operation and Assign Function from Camera, which enables a camera function to be brought into play with the Focus Set button.

 

The Custom Switch (shown here on the 35-100mm f/2.8 Di III VXD) has a positive and firm click and the Focus Set button is on the left.

 

There are several creative features too, including Focus Time Lapse, which works together with the camera’s interval timer, Astro FC-L, which sets infinity focus at a push of the Focus Set button and Ring Function (Focus/Aperture), and this allows aperture or focus ring adjustment wirelessly, so handy when you can’t get at the lens’s controls.

On the app, there is a page called DFF, which stands for Digital Follow Focus and it’s here you can set up the focus features that suit stills and video shooting. For instance, Focus Time Lapse means you can shoot video time lapse and adjust focus at the same time, while in stills, it can be used for focus bracketing. 

For video DFF lets you pull focus with three focus points, and the speed and transition can be adjusted to suit the shot.

Using the TL-01 takes a little practice, but it’s not complicated and the app’s help menu is very good.

A range of features can be assigned to the Tamron Custom Switch and brought into play by pushing or holding (depending on what you have set) the Focus Set button.

 

Tamron-Link TL-01: Specifications

• Price: £59.99
• Length: 25.3mm
• Height: 6.6mm
• Weight: 2g
• Bluetooth class: Class 2
• Bluetooth version: 5.4
• Range Max: 5m
• Operating temperature: 0-40°C
• Operating humidity: 85% or less
• Contact: www.tamron.eu
• Click here for Tamron-Link page
• Click here to check lens compatibility with Tamron-Link 
• Click here to download iOS Tamron Lens Utility
• Click here to download Android Tamron Lens Utility 

 

Tamron-Link TL-01: Verdict

An outlay of £59 is modest when you consider what it offers with compatible Tamron lenses. Indeed, the Tamron-Link TL-01 is a bargain, so whether you already own a suitable Tamron lens or are thinking about buying one, it’s well worth having in the camera bag.

 

Tamron-Link TL-01 Pros

• Great price
• Tiny, so doesn’t impair lens handling
• Stable Bluetooth
• Digital Follow Focus features
• Mobile app is good to use and has plenty of support
• Can be used with multiple lenses

 

Tamron-Link TL-01 Cons

• Lens firmware updating still needs a computer

 

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1. What Gear Do I Need?

 

• Tripod – If you're working your way around the outside of the structure you'll need a light tripod, one with a spirit level will help.
• Wide-angle lens – Get all of the castle in one shot. Take a look at our 'top wide-angle lenses' for recommendations. 
• Longer lenses – Focus in on detail or if the castles further away, use the long reach to zoom in on the castle so it fills the frame.
• Camera bag – You need a bag that will fit all of your kit but not get you stuck when you're trying to navigate small stairwells.
• ND graduated filter – Help balance exposures when you're shooting wide, scenic views.

 

2. Do Your Research

Pre-planning can mean the difference between a successful day of shooting and only returning home with a handful of shots because you spent most of the day walking around trying to find good spots to shoot from. Have a look at how other photographers have shot the castle you're visiting. You should find plenty of advice online but if you're still stuck for ideas, have a quick look in the castle's gift shop for postcards as these should give you plenty of ideas on what angles work and won't don't.

 

3. Watch Those Verticals

If you're shooting uphill or are closer to the castle walls and are shooting up it can end up looking like the walls are sloping in on your final shot. You can buy lenses specifically designed to stop this, but they're expensive so unless you're going to shoot architecture professionally, or on a more regular basis, you're better off just correcting the shot in Photoshop after. You can also find a higher spot to shoot from and there should be plenty of windows or tops of towers you can take your photos from.

4. Include The Surroundings Or Shoot Up Close?

If the castle has particularly majestic surroundings include it but if your castle now sits surrounded by more modern buildings, crop in. For sites where there are only a few walls left standing try some close-up photography. Look for walls that are full of cracks and moss as you'll get a few shots for your texture collection.

 

 

5. Make A Frame

You won't be short of windows, doorways and arches that can be turned into frames for your photos. Just remember to include your 'frame' at the edge of the photo and, where possible, shoot straight on so your frame doesn't sit wonkily.
 

6. Lead The Eye In

Bridges over moats and corridors which seem to stretch on forever can be used to lead the viewer's eye from one point of the shot to another. If they're several archways or columns that line the corridor walls even better as they often form symmetrical patterns that will add further interest to your shot.
 

7. Inside The Castle 

If you can take your tripod inside the castle do as the darker conditions will mean you need longer shutter speeds and you can get shake in your images with you take them hand-held. 

Stairs curving up and around with the old walls make great subjects but as there's very little light, you may want to try shooting several shots at different exposures and merging them together once you're home. For more tips on HDR take a look at our previous article: HDR Tips.

If it's a particularly busy day longer shutter speeds can help 'remove' some of the tourists from your shot. Or, you could try using a shutter speed that turns the visitor's movement into ghost-like streaks for a more abstract approach.
 

8. Photograph People

At larger castles such as Warwick, you'll find people in costumes and there are often days when special events such as jousting take place. For tips on photographing re-enactments take a look at our previous articles on jousting and living museums.
 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to mmart (Day 28 - 'Hot-Air Balloon').

 

Daily Theme Runners-Up

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

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

  Day 24

Holiday Memories

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Day 25

Garden Macro Shots

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Day 26

Summer Landscapes

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Day 27

Historic Buildings

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  Day 29

Pond Life

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Day 30

Travel Shots

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Day 31

Sunrise

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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.

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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 AdventureDriver (Day 9 - 'Outdoor Full-Length Portraits').

 

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 10

River

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Day 11

Patterns & Shapes

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Day 12

People In Groups/Crowds

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Day 13

Interesting Angle Theme

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  Day 14

Event Photography

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Day 15

Plane

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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.

 

When you're enjoying the sand, sea, sun and sangria chances are, you won't be thinking about getting up during the 'golden hours' to shoot some portraits. Instead, you'll be trying to snap photos of your kids while they're dashing in and out of the pool and eating ice cream as the sun's beaming down. However, shooting at midday, when the light's directly above can cause heavy shadows to be cast on your subject's face. To solve this, it's tempting to switch positions so the sun sits behind you but this can cause your subject to squint which doesn't make a particularly pleasant holiday portrait. But don't fear, there are a few steps you can take to stop funny faces and deep shadows spoiling your shots.
 

1. Use Fill-In Flash

If you notice shadows appearing under your subject's nose and eyes try using your flash as a fill-in light. The extra burst of light can make the background appear slightly darker which helps make your subject 'pop' out of the frame. It also creates catchlights in the eyes and if the sun's behind your subject, the natural light can create an almost halo effect around them while the flash ensures the face is well lit.

2. Look Out For Red Eye

The problem with using flash is that it can cause red-eye, a problem which plagues many family holiday snaps. Many compacts have an anti-red-eye mode or if you're using off-camera flash try bouncing it off something rather than firing it at your subject directly. You can also correct the image in post-production when you get home, too.

3. Shoot In A Shaded Spot 

When we say shade we don't mean somewhere with no light, just a space that's evenly lit where no pockets of bright light can shine on your subject's face. Palm trees have big leaves but they often have gaps in the leaves that let light through so look for areas such as outdoor eating and drinking places or hotel entrances where taxis pull up instead as these will have a solid cover overhead. Just remember to double-check your white balance and adjust your exposure for the slightly darker conditions. If you're by the pool or on the beach a sun parasol will work just as well, just watch your backgrounds to make sure there's nothing distracting or any clutter in the way. If there are no brollies but your subject's wearing a floppy hat this will shade the face, and help create the shade you need. Positioning them so they're side on to the sun can help, too.
 

4. Add Extra Light 

Not everyone will pack reflectors but you'll find plenty of objects at your holiday location that can work as one. Any white surface - patio tables, walls, white t-shirts...etc. will reflect light onto your subject. You could even use aluminium foil if you can get your hands on some!

5. Capture Shots Of Your Kids

As children don't really sit still for very long switch your compact to Sports mode to give you the higher ISO and faster shutter speeds needed to help freeze their movement. If you're using a DSLR you can do this manually. Using the continuous shooting mode will also increase your chances of capturing a good portrait and you could always use several frames to create an action sequence.

 

 

6. Shoot Some Candids

Not all your portraits have to be posed shots. Try capturing your kids splashing in a pool or playing games on the beach.
 

7. Tighten Your Framing

For a more intimate shot fill the frame with your subject. This could be a shot that captures them waist up or for more impact, fill the frame with their face. This technique's particularly useful when you're in busy places where backgrounds can be distracting.
 

8. Get Creative

When you have your basic shots in the bag try shooting different angles, create silhouettes or add a touch of lens flare to your portraits. It's easier to create lens flare earlier in the day but it is possible in the afternoon, you just have to work from a lower angle. Make sure you're working in manual as if you trust the camera's meter, it'll turn your subject into a silhouette. You may need to manually focus too as your camera may try to focus on the brightest part of the image which won't be your subject. Don't overlook close-ups either as shots of hands playing with buckets and spades or feet paddling along the shore will look just as great in an album.
 

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

 

During the summer, there are all sorts of agricultural events held all around the country and they are great occasions to capture some good images. There are the events themselves, the animals and the people to photograph. It is a great day out too. Usually, there are also plenty of stalls to browse around so there are chances to spend a few quid too.

 

1. Gear Choices

Your camera and a couple of lenses is a perfect outfit, ie pairing of a standard zoom and a telephoto zoom would be a very versatile combination. If you want to travel light, a camera and a superzoom are worth a thought. If you want to travel lighter still, take a zoom compact or one of the mirrorless style cameras.

 

2. Light Can Be Tricky

With luck, the sun will be shining but that can mean exposure and contrast problems. You might find that your camera slightly under and overexposes in contrasty light, so a few test shots to start with is a good idea. If, for example, you find that your camera consistently leans towards overexposure, set -0.3 EV, -0.7EV or even -1EV on your camera so get a more balanced exposure.

 

3. Try Capturing Images In RAW 

Shooting in RAW format is a good idea too, so if you do have exposure or contrast problems they can be controlled during the RAW workflow process. RAW conversion software allows you to adjust exposure, brightness and contrast very easily – and you can do it non-destructively.

 

4. Arrive In Plenty Of Time

For the events, you might have to find a spot early if you do not want to be shooting over people's heads. Often, there is plenty of room to find a decent viewpoint where you can get an unhindered view. Depending on the show, you might find displays of shire horses, carriage driving, dog agility and much more. The dog agility events are great fun to photograph, firstly because there is plenty of action but also there are brilliant candid moments of the owners to be photographed too. Just find yourself a good spot - close to the see-saw, weave poles or a fence - and just get ready for some frenetic action.
 

5. Messy Backgrounds Spoil Shots

Some events and participants are more photogenic than others, but one common problem you may experience is messy backgrounds and you may find avoiding them quite challenging. Stripey or white marquees, enclosures and fellow visitors can all spoil your shots so keep an eye on the background and use your feet and zoom lens to exclude as much clutter as possible. Using your telephoto lens at wide apertures for shallow depth-of-field is a technique to try to minimize bold subjects coming out too sharp.

 

6. Don't Forget Close-Ups And Detail

Concentrating on details within the scene is another photographic approach to consider. Close-ups of shire horses decked out on their finery can look excellent, just take care with exposure. Very dark horses can cause overexposure so appear lighter than they are, while light/white horses can cause underexposure and appear grey. Just use exposure compensation to ensure a good result.

 

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

Gunshot punctures, from the series Guilty Grounds, 2023 © Steffi Reimers, courtesy Contour Gallery

 

Nikon is delighted to announce that the Photo London x Nikon Emerging Photographer Award has been awarded to Steffi Reimers. The announcement was made during a special ceremony which took place in the Nikon Gallery, Olympia, during Photo London 2026.

Steffi Reimers is a Dutch photographer whose work explores themes of transience, history, and loss — narratives that often remain hidden from view. Through long-term projects, she is establishing herself as one of the new voices in contemporary Dutch photography. Reimers’ series asks the question: What memory does a landscape hold when it witnesses a crime? In Guilty Grounds, Steffi Reimers investigates the landscapes of Calabria, Southern Italy, revealing  them as silent witnesses to the unsettling crimes and pervasive influence of the ‘Ndrangheta’.

Reimers’ work engages not only with landscape but also with forensic traces, employing specialised lighting to reveal subtle marks, textures, and traces left behind, echoes of human violence that the eye might otherwise miss. Through this forensic approach, the photographs capture hidden details: scars on the earth, remnants of past activities, and the silent testimony of spaces that have witnessed crimes.

Launched in 2015 during Photo London’s first edition, The Emerging Photographer Award was set up to nurture and champion the career development of up-and-coming artists, helping to elevate the profiles of new, young lens-based storytellers. 

Photographers who enter are shortlisted by the Photo London 2026 Curatorial committee, comprised of some of the field’s most esteemed curators, critics and museum directors. This year’s final shortlist included: Sebastián González, Edward Rollitt, Steffi Reimers, Sal Taylor Kydd, Baud Postma, Devin Oktar Yal, Akshay Mahajan and Ci Demi.

The winner will be awarded a Nikon Z camera and a choice of two NIKKOR Z lenses, with specialist training from Nikon School to help take advantage of the capabilities that Nikon’s Z range has to offer.

Lucy Brice, Head of Marketing for Nikon Northern Europe says: “We are thrilled to announce Steffi Reimers as this year’s Photo London x Nikon Emerging Photographer Award winner. Her forensic approach to landscape photography reveals stories that might otherwise remain unseen, highlighting the impact imagery can have on our understanding of the world. Championing emerging talent is central to Nikon’s mission: by equipping and training the next generation of visual storytellers, we hope to amplify bold new voices and help them push the boundaries of craft and conscience. Congratulations to Steffi and all of this year’s shortlisted artists on their remarkable work.”

Sophie Parker, Fair Director of Photo London says: “A huge congratulation to Steffi Reimers on winning the 2026 Photo London x Nikon Emerging Photographer Award. It is incredibly important to us at Photo London to champion the work of every artist, from those who are established household names to artists just starting their careers. Previous winners of the award have gone on to make outstanding contributions to photography, and the future looks no different for Steffi, we are very excited to witness the trajectory of her career.”

Find out more about the winners here.

 

When the sun's out us Brits pack the car up with buckets, spades, the dog and family members and head to the beach. But as well as eating ice cream and playing the odd game of cricket or rounders take some time out to take a few beach photos. It doesn't even have to be a gloriously sunny day for photography either as waves crashing against the sea wall will look just as good as a family snap on the front.

  1. Gear Suggestions

You won't need a huge bag full of your fancy gear - you'll have enough to carry with all of the cool boxes and beach gear anyway! Your interchangeable lens camera and a zoom lens are fine or even a point-and-shoot camera will be enough if you're really lacking on space. Make space in your bag for a hotshoe flash for when the sun begins to set and if you're worried about saltwater or sand getting into your camera put it in waterproof housing or if you're using a point-and-shoot make it a waterproof one. Pack a blower to gently remove grains of sand that will land on your lens and have a microfibre cloth ready to wipe away sea spray.

 

2. Capturing Portraits

It's most likely that your number one subject at the beach will be your family but you don't always have to take shots of them grinning like Cheshire cats at you. Candids of them resting, playing in the sand, swimming or eating ice cream will work just as well, if not better than a posed, family portrait.

 

3. Lighting Tips 

Make sure you pay attention to where the sun is. It may work well for the sun to be behind you but this will only make your subject squint. Instead, move your subject into the shade of a brolly or have the sun behind them and use flash to fill in the shadows. Also, if you can, avoid taking photos at midday as the light's harsh and causes long shadows.

 

 

4. Check Your Backgrounds

Keep away from distracting backgrounds and make sure you take a good look around the viewfinder before you take your shot as the odd bit of rubbish, which can spoil a shot, is easy to miss when you're surrounded by so many interesting things. Make sure your subject fills the frame to stop attention going elsewhere and even though it may sound a little clichéd, silhouette shots of people do work well. Try using a telephoto lens to help you compose tightly and have your tripod to hand for those longer, evening exposures.

 

5. Don't Forget Your Basic Beach Shots 

As well as people shots try a sweeping shot of the sea and beach, stretching out for miles. Early morning or later in the evening after all the tourists have gone will give you an empty beach to work with. However, not everyone has kids who will get out of bed early so if the only shot you can take is full of brollies and windbreakers in the afternoon do it. A busy beach, particularly if there's not even standing room left, will always get a smile or you could try to clone them all out if you prefer a more natural shot.

 

6. Capturing Sunset Scenes 

Sunsets are, of course, a holiday snapshot favourite but as the sun's not setting until late on you may want to head off for some food then return to the beach later once your stomach's full.

If you do plan on photographing the sun as it sets DO NOT look at it through the camera lens and wait until it's very low in the sky and diffused by the haze caused by pollution or clouds. If the sun's your main focus, have it slightly off centre to make your final image more compositionally pleasing and don't forget that having foreground as well as background interest works well in sunset shots.

 

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A wildlife photo of two gannets together has won our 'Photo of the Week' (POTW) accolade.

This image, titled "Gannets Bonding" by Debmercury, captures two gannets against a soft, blurred background, full of emotion and texture. The composition and timing come together really well to create a nice photo. It's a great example of wildlife photography that catches a real moment between two birds. Congratulations to Debmercury on this superb capture.

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

To see more of our POTW winners, visit the POTW Gallery.

 

If you're jetting off to warmer shores this summer and want to capture a few shots out of your plane's window, here are a few tips to help you ensure your images are good enough for the start of your holiday photo collection. 

1. Don't Get Carried Away With Kit 

Do be considerate of those sitting next to you which means you can't empty all of your kit into your lap from your bag. Turn beeps and other noises off as these will just annoy those around you and don't take photos during takeoff, landing or when electronic equipment isn't allowed to be used. Most smartphones have decent cameras on them now and these are slightly more discreet than a DSLR but do remember to activate airplane mode before takeoff if you do plan on using your phone's camera. 
 

2. Choose Your Seat

The majority of airlines now let you pick your seat so if you really do want to take top shots from your seat, think about your selection carefully as not all seats will give you a clear view. Of course, you'll need to make sure you have a window seat as a stranger won't appreciate you leaning over them. Towards the front or back of the plane will give you the best view but do remember you do get the odd seat that only has half a window as it's in between two seats. Try to avoid sitting directly over the wing too as all you'll be able to take photos of is the wing. Once on board, if you can't position yourself so the window frame isn't in shot, take your photo anyway and just crop it out once you're in front of your computer.
 

3. Be Aware Of Camera Shake & Reflections 

When at zoos, museums or other locations where glass can mean reflections spoil your shots you'd normally put your lens against the glass to prevent this but on a plane, this will just result in shake, caused by the plane's engines, to spoil your shots. Instead, use a lens hood and get as close to the glass as possible without touching it or cup your hand around the lens to shield it. You'll also want to avoid using flash and turn off your overhead light if it's on to minimise the amount of reflection you see on the pane. 

 

 

4. Use Manual Focus

Some windows will be badly scratched which can make focusing tricky. Switching to manual focus can help but sometimes they'll be so badly scratched that anything you take will be slightly fuzzy but you won't know this until you sit in your seat. If you're using a compact, to stop it focusing on the window, set it to infinity focus or switch on the Landscape mode.
 

5. Wait For The Right Angle

Due to the small window and the angle, you'll be sat at it can be tricky to take photos of the ground but if you have your camera ready for when the plane banks you'll be given the perfect opportunity to capture ground shots. 

 

 

6. What To Photograph

Try not to get carried away taking the same shots over and over again, instead look for interesting cloud formations, patterns created by fields, roads etc., sunsets and other planes. The wing, especially if you have a brilliant blue sky behind it, can make an interesting shot, too. 
 

7. Take Your Shots Early In The Flight

If possible, shoot earlier rather than later as condensation and ice tend to build up on plane windows the longer it is in the air. If there's something you want to capture that's closer to your destination consider shooting it on the return journey rather than shooting through a window with condensation. 
 

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  Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.   1. Pay Attention To How It 'Looks'

A scene can look very different depending on what time of day you're looking at it. For this reason, when possible, it's worth visiting a location at various points a day or so before you want to take your photos as this will give you the opportunity to judge when it looks at its best. Of course, this isn't always possible but a little research on the internet may uncover some information on your chosen location you can use to your advantage.

Don't always think you have to shoot in the 'golden hours' either as you some subjects, such as close-up work for creating textures, look better when photographed at other points during the day. Having said that, early morning or late sun can transform a scene which appears flat and not very inspiring during the middle of the day. 
 

2. Light Direction

By changing your shooting position or moving your subject (if possible) you can alter the direction the light falls. The relationship between the direction of light and your subject is important as it can change your image from a good shot to a great one. Think about light direction when setting up and decide if front, side or backlight is perfect for the scene. Side lighting often produces the best highlights and shadows which is key for giving shots a dimensional feel. 

 

 

3. Reflect Light

Reflectors come in many shapes, sizes and colours. Predominantly though they are white, silver or gold and each type of colour will reflect light slightly differently. White reflectors are a safe bet but if you want a brighter light, use a silver reflector, while gold ones produce a warmer light. 

Why do you need to use a reflector? Well, it's a simple and reasonably inexpensive way to bounce light where it's needed. Try not to hold the reflector too low and remember that light will bounce back off a reflector at the same angle it hit it at. Also, the closer the reflector is to your subject, the stronger the light reflecting off it will be. 
 

4. Diffuse Light 

When working indoors with window light, curtains can be used as barn doors or flags to control the 'spill' of the light and a net or something similar can be used to diffuse and soften the light.  

If you're working outdoors ask your subject to move into a shaded area where the light will be more even and as a result, your portrait will be more flattering. 

 

 

 

5. Post Processing

Even though we strive to get everything right in camera, often shots need a slight tweak during post-production to balance the tonal range. We know this isn't about working with natural light when out in the field but it's about making the natural light balance correctly throughout the image. 
 

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When you're on your travels, if you find a festival will be happening in or near to the place you're staying do take your camera to it as these events, even though they can be sometimes tricky to photograph, give you the opportunity to capture vibrant images that are full of energy and life.
 

1. Have A Plan

The problem with these types of events is there's usually so much to capture that you can easily end up snapping shots of anything and everything. This approach will get you the odd shot that's good, but your day will run much more smoothly if you have some sort of plan.

If you know what to expect you can make a detailed shot plan then work on getting different angles and viewpoints once you've ticked your list off. However, if you're heading to a show where the details are a bit vague, you can create a more general shot list that'll stop you from getting sidetracked once you're in the middle of the action.

A basic list could include:

Introduction – Take shots that set the scene and tell the viewer where you are, who is there, why etc. However, try not to overrun your shots with too many focal points as if the eye doesn't have something to focus on the shot can be rather confusing and look too busy.

Portraits – As well as taking photos of people who are part of the festival, shoot portraits of those who are there to enjoy the event. Candids work well in crowds but posed shots of the people you're attending the event with can be as equally interesting. Try shooting from the hip to see what shots of the crowd you can capture. It's a bit of a hit-and-miss approach but it can work well when you fall lucky with the framing.

Detail – After you have captured wider shots that set the scene focus your lens on small detail such as frame-filling shots of costumes and food. Costumes often take hours if not days to put together so take the time to focus in on the colours and decorations on them. These close up shots work well when positioned against wider shots of the event.

Creative – Most of the time you'll want your images to be completely sharp and in focus, however as these events usually involve dancing and parades, you can use slower shutter speeds to blur motion which will create a sense of pace and energy in your shots. If you want to freeze the dancers in your frame you'll need a quick shutter speed.

Ending – A row of actors taking a bow, dancers in a parade moving off into the distance or a table now decorated with empty glasses and plates all show the ending of the event you're taking photos at and are a good way, if you're creating an album or photo book, to conclude your travel tale with.
 

 

3. Preparation is Key 

If you're making your own way to the event rather than going on a coach, make sure you arrive for the start or if you can, get there before the event begins so you can find a good spot early. If you don't, you could end up shooting over people's heads. If you have time to scout the area for the best vantage points do as once the crowd starts building, finding good spots for taking photos from will get harder. If you don't fancy the elbow fight try and find a spot that gives you a little height over the crowd.

If the event's one that's popular and you know you'll be attending before you get on the plane have a look on the internet and in guide books, for tips and examples of shots other photographers have taken. You may get some clues into where's best to shoot from and what's worth capturing.

4. Be Cautious

Some of the following tips may seem obvious now but when you get in among crowds of people and there's so much going on that you don't know where to look, the basic pieces of advice or what tends to be forgotten.

Never leave your gear unattended and only take the necessities as if you take too much gear, moving around and switching lenses will become hard work. A tripod will more than likely get in the way but you may find a monopod will take up less room and will be easier to walk with at crowded events. If you're working hand-held a camera strap will stop your camera getting knocked out of your hands, however, be careful if you walk around a crowded location with it around your neck as not only will it get in the way, you could also injure yourself if it gets tugged off your neck.

 

 

3. Be Aware Of The Lighting

Bright sunlight won't do you any favours as you can end up with shots full of harsh shadows and washed-out colours. Couple that with exposure problem and you can find yourself fighting to get a decent shot. Later in the afternoon and into the evening the light's lower and more even which is good news for those going to events which have a later starting time. If you do find yourself out in the middle of the day you can try bracketing and add a pop of flash to fill in shadows that dance across faces. This is particularly useful if the people you're photographing have brimmed hats on or are wearing large headpieces that shade the face partially.
 

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As we dream of jetting off to warmer climates in search of sea, sun and some scenic shots to photograph, we thought we'd put together a collection of top travel tutorials you really should have a look at before you head off with your case packed and photographic gear ready.

 

1. How To Improve Your Travel Photography Portraits Instantly

We share our tips on how to successfully photograph the people who live in the place you're travelling to with kit advice, tips on framing and more. 

  2. Six Awesome Travel Food Photography Tips For That Perfect Instagram Shot

As well as portraits and shots of beaches why not take a few photos of the plates of food you purchase? After all, getting your smartphone out before you chow down is the normal thing to do nowadays, isn't it?

 

3. How To Photograph Ruins in 5 Easy Steps

Historical ruins such as churches, castles and abbeys decorate our countryside and seaside towns but you'll also find a few smaller, but still impressive ruins closer to home. Walls, arches and columns are still dotted around a few towns and villages which are still photogenic even if there's not much of the structure left to photograph. If you're off on your travels, have a look online and at local tourism centres to find out what ruins are near to where you're staying.

 

 

 

4. How To Keep Shooting During Those Hot, Sunny Days

If you're heading off on holiday here are a few tips to help you keep taking photos when it's hot outside. Plus, as well as looking after your gear, don't forget to look after yourself. It may seem obvious now, but it's easy to get away with taking photos and the small things such as reapplying sunscreen and having a drink of water can be forgotten.

 

5. Ten Safety Tips For When Traveling With A Camera 

Here's a quick list of quick but essential tips to help you keep your camera safe while on holiday. 

 

6. Learn To Convey A Sense Of Place And Culture With Your Travel Shots

When shooting travel images, as well as showing people back home that you had a really great time and that it was sunny every day, try capturing shots that convey a sense of place and culture as well. 

 

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  Before you take your shot, take a good look around the viewfinder to make sure everything that's in the frame needs to be. If it doesn't, here are a few ways you can remove the unwanted object(s) and some ideas on what things you should avoid capturing in your frame.  

 

What Should I Be Looking Out For?    1. Check The Frame For Unsightly Objects

Items such as rubbish bins, dead trees, shopping trolleys in rivers and broken benches do have significance and a place in some photographs but most of the time they're on the 'try to avoid list'. You don't want a microwave or mattress spoiling your idyllic landscape shot. 

  2. Make Sure Poles Aren't Sticking Out Of Heads

If you're shooting portraits outdoors make sure you don't position your subject so it looks like they have a lamppost, telephone pole, tree or any other object sticking out of the top of their head. In some cases, it can look quite amusing but more often than not it's just a distraction.
 

3. Look Out For Distracting Highlights

Areas of an image that are overexposed or particularly bright will draw the eye away from what it should be looking at to it. To stop this, make sure the image is exposed correctly and look out for reflective or other bright surfaces that could cause you problems. The same goes for particularly shadowy areas, too.

 

4. Be Careful With Bright Colours

As with highlights, if you have an object that's brightly coloured that isn't your main focus of the shot it can pull the eye to it. Yellowjackets that officials wear at races and other events are a good example of this. Most of the time you won't want them to be the focus of the shot, but they will be in the background and their bright coloured jackets stand out like spotlights, pulling the focus of the image to them.

5. Be Aware Of Busy Backgrounds

When you're shooting portraits, of any kind, unless the background adds to the shot you'll probably want to blur it out of view. This is true for macro work too such as when you're working in the garden, focusing on one flower that's sat against a background of garden equipment and other distracting objects.

 

 

How Do I Fix The Above Problems?    1. Move Your Subject

If you can't move the object that's causing the problem the easiest way to get the empty background you're looking for is to move your subject. This doesn't mean picking a new location to shoot in as moving them a couple of steps to the left or right of where they first stood could fix your problem.

 

2. Move Yourself

If you have to shoot against the particular part of the background you positioned your subject against then pick up your kit and move yourself so the object that's causing the distraction is no longer in the frame.

 

3. Change Angle

Can you shoot from higher up or lower down? You may find a change in angle gives you a new take on a shot that's overdone. This technique works particularly well for flowers as you can use the sky as a clutter-free background for your images if you're garden's full of distracting objects.

  4. Create Your Own Background

For small subjects such as plants, you can use pieces of card and material as backgrounds for your shots, hiding the scene in front of you behind it.

 

5. Use A Different Focal Length

If you've got a variety of lenses to hand or have packed a zoom lens, try cropping in to remove whatever is distracting the eye.

 

 

 

6. Change Orientation

If you don't have a variety of focal lengths to-hand try switching from landscape to portrait orientation.

 

7. Blur The Background

If you don't need the background to be in focus use a wider aperture to throw it out of focus. If you're using a compact camera switch to macro mode for close-up work as your camera will select a larger aperture so the background's thrown out of focus. If you're shooting portraits with a compact select Portrait Mode as, again, your camera will know it needs to use a larger aperture so the background's out of focus.

 

8. Use Foreground Detail As A Frame

If it's branches and leaves that are causing you problems why not blur them to create a soft, out of focus frame for your image? For more tips on framing take a look at our previous article: Ten Top Ways To Use Frames In Your Images.
 

9. Experiment With Longer Shutter Speeds In Cities

If you're working in a place that's full of people and you don't want them in your shot, use longer exposures to remove them. This works particularly well at night and is the same technique photographers use to capture light trails in night shots.

The problem with using longer shutter speeds in the daytime is the amount of light that will reach your camera's sensor and you can end up with very overexposed shots. But try using a small aperture such as f/22 and find a location which is slightly shaded and experiment to see if it'll work. Using an ND filter will also help you get the slower shutter speeds you need. If you're photographing city streets at night and only want the lights, traffic and buildings to appear in the shot, this technique works particularly well at removing people from the scene.

 

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In most cases, when manufacturers moved from DSLRs to mirrorless cameras, this also meant a new mount to accommodate the reduced back focus distance. No longer did lenses have to be designed with the DSLR mirror box in mind. The main consequence is that we might be left with an impressive collection of fine DSLR lenses with a dwindling supply of new bodies to use them with. As technology developed further, we would need new lenses along with the resulting expense. The answer is, of course, a lens adapter, enabling the old lenses to be used on the new cameras. Ideally, that would include transmission of data and full operation of AF and exposure information.

The Canon solution is the EF-EOS R AF Mount Adapter, at a price as we might expect. Enter Meike, with their own version of the adapter range, plus quite a few additional filters of their own. The Meike adapter range is much more affordable, and Meike has a growing and impressive reputation for efficient, well made kit, so this makes a very interesting proposition.

Armed with the 26MP Canon EOS RP body plus the very fine Canon EOS EF 50mm f/1.8 lens, let's see how the Meike adapter brings these two together.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Handling and Features

The version of the adapter provided for review is the MK-EFTR-C, with a drop-in filter facility and two drop-in filters provided. These are the V-ND, a variable neutral density filter, plus a clear filter. Including the V-ND, the adapter weighs in at a featherweight 136.8g. Dimensions are a trim 73.0mm x 24.7mm. 

There are electronic connections and AF is fully supported. It is quite clear that the adapter is very well made, from the look and feel of the components to the smooth action when bayoneting either lens to the adapter or the adapter to the R body. Although tempting perhaps to think an adapter contributes little of its own and is just an interface, in fact, there is much more to it than that. Apart from the need for precision in manufacture, of which more in a moment, there is the need for rapid AF performance and correct transmission of EXIF and other data.

 

 

To ensure absolute precision in the connection of the lenses, a couple of shims are provided and these can be used if the tolerances should happen to be slightly out. There was no evidence of that, so they were not needed, but it's good to know that should it be necessary, the point is well covered.

There are several versions of the Meike adapter. The one provided for the review is the MK-EFTR-C, which includes a drop-in filter V-ND plus a clear filter. V-ND is a variable neutral density filter ND-3 to ND-500 mounted in a beautifully designed drop-in system that is compatible with the original Canon version. There is also available an MK-EFTR-B, which is a version with the control ring. A third option is MK-EFTR-CPL, with a drop in polarising filter. The plastic case for the storage of filters not in use is another design gem. This all adds up to a very efficient way of storing and changing filters. This is so much easier than using screw in front filters and, of course, also means just one set of filters regardless of the lens in use. 

 

 

Rotating filters are especially easy to use, as a small wheel is provided that enables adjustment. The obvious application would be the polariser, or as in the case of the version provided, a variable ND. This also extends to a whole series of filters from Meike and the leaflet provided in the box lists some 22 options. Admittedly, these are mostly various ND filters, plus the variable ND, the clear filter and the C-PL. The “Creative filters” include various star, streak and rainbow effects.

However, the basic application is, of course, the ability to use Canon EF and EF-S lenses on the new Canon R bodies, specifically EOS-R, RP, R5, R6, R7, R10, C70 and Red Komodo. Let's now have a look at how the adapter performs in use and see whether we have a viable and reliable alternative to the Canon original product.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Performance

First job is to align the correct colour of dot with the EF (red) or EFR-S (white) index on the mount, and the lens smoothly clicks into place. The fitting end of the adapter, with its generous seal, offers a moisture and dust resistant interface with the camera body. After that, we can use our EF or EF-S lenses as they were intended, and of course, there are many fine lenses that have long working lives ahead of them yet.

The drop-in filter system is magnificent, so easy to use and such an excellent idea. The filters themselves do not seem to create any CA effects, perhaps the very slightest sign of an increase in fringing at the mid point of the V-ND, but even then very difficult to induce. As we rotate the V-ND, the colour balance does not seem to be severely affected, certainly not in any way that is obvious to the eye, although a slight shift might be expected at high values approaching the maximum.

AF operation is also unimpaired and the camera operates just as it would normally be expected to.

The instructions suggest that the filter should be removed before installing on the camera, something that might easily be forgotten. The idea that a filter should always be installed is a more obvious one. Failing to do this would result in light leaking in to the side of the lens, running the risk of creating flare effects.

 

MEIKE Drop-in Filter Mount Adapter MK-EFTR-C Sample Photos 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 kit as provided, the [AMUK]Meike MK-EFTR-C Drop-in Filter Mount Adapter|Meike+MK-EFTR-C+Drop-in+Filter+Mount+Adapter[/AMUK] with V-ND and Clear filters, is priced at £135.99.

There are other kit versions:

• [AMUK]MK-EFTR-B with Control Ring|Meike+MK-EFTR-B[/AMUK], £79.99
• [AMUK]MK-EFTR-CPL Circular Polarising Filter for MK-EFTR-C|Meike+MK-EFTR-CPL[/AMUK], £55.99
• [AMUK]MK-EFTR-VND Variable ND filter|Meike+MK-EFTR-VND[/AMUK], £55.99

To put this in perspective, some Canon original options:

• Canon mount adapter with control ring, £239
• Canon drop-in filter mount adapter with C-PL filter A, £359
• Canon drop-in filter mount adapter with V-ND filter A, £499

Those figures are pretty dramatic and in terms of pricing the Meike looks very attractive indeed.

 

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Verdict

Meike is pitching in here with an excellent product at a very attractive price point compared to the OEM version from Canon. There may be those who, regardless, will always opt for the manufacturer's original version for any and all accessories, and that's fair enough, although we know it comes at a price. Manufacturers such as Meike compete with keen pricing, but at a quality level that does the job and does it well. The irony is that often the after market items have features that extend and even improve on the original. Meike is a manufacturer that does this very well, and this latest adapter is a great example of a really well designed and manufactured item that can hold its head high, at a price level that brings it into range for many more photographers.

The Meike adapter is Highly Recommended.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Pros

• Very well designed and made
• Efficient and reliable operation
• Keenly priced
• Enables full use of DSLR lenses on mirrorless bodies
• Moisture and dust resistance

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Cons

• Some slightly fiddly instructions re shims, should they be needed

 

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Tadpoles tend to be more prevalent at this time of year and, as they take about 12 weeks or so to become froglets, it's a good time to take some photographs.

 

1. What Gear Do I Need? 

A macro lens of 90 to 100mm is perfect, providing you have access to get close to the surface of the water. If not you will need a longer lens with a close focus facility. A tripod is handy to keep the camera steady as you take the photo, but you'll need one that has legs that splay out so you can get the camera closer to the pond's surface when using a macro lens. It's also better if the centre column swivels over 90-degrees to act as a macro arm so you can position the camera over the water's edge and not at an angle. It may be easier to lay down on the floor (use a waterproof sheet to keep you dry) and use your arms as support. A polarising filter will reduce any surface reflections allowing you to see more clearly under the water.

 

2. Follow One Tadpole

Tadpoles tend to be quite active but move around in spurts. One minute they stop to presumably rest and then swim off to another spot. When they're active you need to hone in on one and follow it around, taking shots as it rests. Use a fast shutter speed to prevent tail blur, and increase the ISO if you need a smaller aperture.

Also, watch for tadpoles taking in air - they swim quickly to the surface and gulp air in. At this point, you can get a head-on shot with mouth wide open, but you often have to be quick as it's fast action.

 

3. Make It Easy For Yourself

Look around the edges of the pond for the easiest shots. It's here where the tadpoles will be feeding off vegetation around the side of the pond, especially when they have no legs as they are not yet meat-eaters.  In the shot above the tadpole was slowly pecking away at the edge of the pond causing debris to burst back. This microscopic activity comes to life when a macro lens is at its extended range.

If the sun is out, make sure you don't get the distracting rim where the water touches the side. This will appear as a white burnt out outline. Take the shots slightly away from the edge pointing inwards to conceal this outline. Shoot when the tadpoles are nearer to the surface to prevent the cloudy water making the image look dark.

4. Older Tadpoles

When the tadpoles have legs they become carnivorous (meat-eaters) so you can pop the odd worm, snail or piece of chicken in and watch them gather around in a feeding frenzy.
 

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  1. Not Doing Your Research 

How much you research and what you research will depend on the purpose of your holiday. Are you going to a place with photography in mind or is photography something that you'll just be occasionally doing on the odd excursion? If photography is the main purpose of your trip you'll need to do slightly more planning/research than if you plan on laying by a pool for the majority of your holiday, but that's not to say research still isn't important as research and knowledge about the location you're travelling to will always make your holiday run more smoothly.

Where's your hotel? How easy is it to travel to other locations from it? What rules/ customs do you need to be aware of etc. are all important questions you should be asking. When photography is your main goal you'll need to do slightly more work to find out the best locations/opportunities that are perfect for photography. As well as the internet, chat to hotel staff and if the place you're staying in has one, the local tourist office as you'll likely find useful information not necessarily listed in a guide book. Do plan correctly for the weather, terrain etc. you'll be facing on trips out, too. 

The more information you collect before your trip, the more productive you'll find it to be. In fact, if you make a shooting plan or note down a few ideas in a notebook you can take the notes with you so you're not always searching for shooting suggestions.

 

 

2. Not Leaving The Tour Group

Organised excursions can be fun but they're not always great for capturing unique shots. Coaches will stop in a layby halfway up a mountain road to give tourists the chance to snap images of the picturesque view in front of them, but everyone will tend to stand in the same place and capture the same shot. If you have time, look to see if there's somewhere else you can take your images from to give you a more unique angle that others may not have taken. When in towns or other locations where there's plenty of people to capture portraits of try to break away from the group (if it's safe to do so) as having several people stick a lens in your face can be intimidating when everyone's focusing on just one individual. If you want to stay close to the group, or a few individuals, pick a different subject to start with then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group's moved on to something else.

 

 

3. Not Approaching People

It's easy to shoot candidly and we're not saying you can't capture interesting shots this way, but you'll be able to take much more intimate portraits by actually talking to the person you want to photograph.  Plus, it's more polite to ask permission so do take the time to learn how to say 'hello, 'thank you' and 'please' in the language of the country you're visiting to help with your conversations and don't forget to smile. Interact with them and take the time to learn a bit about them, as a result, you'll put them at ease and you may be able to capture shots that have much more character in them. Your job is to make your subject feel comfortable so always give them eye contact and once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out.

If your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens.

 

 

4. Not Really Thinking About Composition

When you're on tours where schedules have to be kept or are out with the family who don't want to wait around for you to take the perfect shot, not thinking about composition enough can be an easy mistake to make. Simple things such as a wonky horizon can spoil what should be a great picture and something like this can be easily rectified by simply slowing down and checking the frame. Think about the different rules of photography, look for interesting foreground detail as well as breath-taking backgrounds, keep an eye out for clutter and consider changing your angle or perspective. By thinking as a photographer rather than a tourist who's excited to be visiting a new place you'll soon be capturing images that have meaning and tell a story rather than a collection of snaps that just show you got a bit carried away with the shutter button. 

 

5. Taking 'The Shot' Everyone Has Of A Landmark

Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible. We're not saying you should avoid taking them completely as a few good shots of the 'postcard' view are easily recognisable and will probably be something others will appreciate seeing but there are plenty of opportunities to capture something a bit different, too. For more tips, have a read of this: Photographing Famous Landmarks

If you want to add to our list, please leave your tip in the comments. 
 

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AI video effects can help photographers turn ordinary images into more immersive visual stories. Instead of showing a single moment, they can create movement, emotion, and a stronger connection with viewers.

• Subtle camera zooms that make still photos feel more dynamic.
• Motion effects that bring landscapes and city scenes to life.
• Cinematic lighting adjustments for stronger visual impact.
• Animated transitions between images in a photo series.
• Atmospheric effects such as rain, snow, or glowing lights.
• Creative filters that match different storytelling styles.

For photographers who want an easy way to create these effects, AI Inspo offers a range of tools designed for visual content creation. It can help users add motion, cinematic elements, creative transitions, and visual enhancements that transform static images into engaging video content.

 

 

How AI Video Effects Enhance Visual Storytelling

AI effects allow photographers to present stories in ways that feel more vivid and memorable. Instead of simply displaying images, they can guide viewers through a visual journey. Let’s look at some real-life ways this helps photographers:

 

Case 1. Travel Photography

A photographer can turn a collection of travel photos into a short cinematic video. Smooth motion effects and transitions help viewers feel as if they are experiencing the destination rather than just looking at individual images.

 

Case 2. Portrait Photography

AI video effects can add subtle movement and lighting changes to portrait images. This creates a stronger emotional connection and helps communicate the subject's personality more effectively.

 

Case 3. Wedding Photography

Wedding photographers often capture hundreds of meaningful moments. AI-powered effects can transform selected photos into a story-driven highlight video that feels more engaging for couples and their families.

 

Case 4. Nature and Landscape Photography

A beautiful landscape image can become more immersive with animated skies, moving clouds, or gentle environmental effects. These additions help communicate the atmosphere and mood of the original scene.

 

 

5 Practical Ways for Photographers to Use AI Video Effects

AI video effects are not only creative tools but also practical solutions for modern content creation. They can help photographers expand the value of their work and reach wider audiences without spending hours on video editing.

 

Create Social Media Content from Existing Photos

Many photographers already have large photo libraries. AI video effects make it easy to turn these images into short videos suitable for Instagram Reels, TikTok, YouTube Shorts, and other social platforms.

 

Build More Engaging Client Presentations

Instead of delivering only static galleries, photographers can create video presentations that showcase key images with motion and visual effects, providing a more memorable viewing experience.

 

Enhance Portfolio Displays

Adding video versions of selected projects to a portfolio can help photographers stand out. Dynamic presentations often capture attention more effectively than still images alone.

 

Tell Complete Stories with Photo Series

When several images are connected by a theme or event, AI video effects can help organize them into a clear narrative with a beginning, middle, and end.

 

Repurpose Existing Content for Marketing

Photographers can use AI video effects to refresh older projects. A photo series from a previous shoot can become new promotional content without requiring another session.

 

To Sum Up

Photography continues to evolve as audience preferences change. While still images remain important, video content is becoming an essential part of visual communication. AI video effects provide photographers with a simple way to add motion, emotion, and creativity to their work.