DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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

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

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

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

 

 

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

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

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

 

 

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

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

 

 

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

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

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

 

 

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

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

 

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© Adobe

 

Adobe is rolling out new Photoshop tools designed to give creative pros faster workflows and finer creative control. Key updates include non-destructive Light Adjustment Layers, visual Markup controls, and Firefly Image 5 powered prompt masking to protect vital brand assets. Designers can also explore a new beta AI Assisted Editor or use Prompt to Edit directly in the traditional Pro Editor for seamless, text-based image transformations.

 

From Adobe:

 

Great tools amplify your creativity while allowing you to focus on your ideas. That's been our focus since Photoshop's earliest days, and it’s what drives us today, especially as AI reshapes what's possible in creative work.

We're introducing a new set of Photoshop innovations to give you more choice in how you create, more flexibility in how you work, and more control over your results. Whether you're refining details with precision tools or exploring ideas through prompts, these updates are designed to help you work with greater efficiency and confidence so you can stay focused on your creative vision from start to finish.

 

More precision, less friction, greater creative control

As a creative professional, your time is your critical resource, and you want technology that streamlines the busywork without sacrificing the discretion and judgment that defines your craft.

Sharper, more precise editing:

• Light Adjustment Layer gives you professional-grade lighting controls — Exposure, Contrast, Highlights, Shadows, Whites, and Blacks — in a new non-destructive adjustment layer, so you get Camera Raw-level results without ever leaving your Photoshop layers workflow.
• Instruct Edit with Masks, powered by Firefly Image 5, understands the full context of your image so you no longer need to precisely mark every edit area yourself. Just describe the precise edits you’re looking for — such as opening closed eyes or placing a hat on a specific person’s head — with simple prompts. The unmasked areas remain untouched so your other important elements, like faces, logos, or brand assets, are protected.
• Markup lets you visually communicate edits by drawing directly on an image to show the model what you want — select areas to recolor, sketch arrows to indicate position, or brush in rough shapes to suggest new elements — so you can get results that more closely match your vision while reducing the ambiguity of text-only prompts.

 

© Adobe

 

More control, fewer interruptions:

• Dynamic Text, Shapes and Paths extends Photoshop's Dynamic Text to any custom shape or path, allowing text to adapt automatically along curves and freeform layouts so you keep your formatting without manual rework.
• Stock Panel Integration puts more than 900 million Adobe Stock assets right inside Photoshop in a dockable panel, so you can easily discover, preview, and use assets without leaving your workflow.

 

More flexibility in how you work

Everyone moves from idea to execution in different ways, which is why we're adding more choice by bringing in a new optional space in Photoshop to try prompt-based editing outside the familiar Pro Editor workflow.

 

Introducing AI Assisted Editor

The AI Assisted Editor, now in beta, gives you the option of using a dedicated interface and natural-language prompt bar alongside popular generative tools powered by leading AI models, so you can explore ideas and make edits using simple prompts.

 

© Adobe

 

AI Assisted Editor includes:

• Prompt to Edit: Transform images using natural language prompts without complex manual editing.
• Remove Background: Erase backgrounds, refine edges, and customize images in just a few clicks.
• Generative Expand: Extend image dimensions and generate content that blends naturally with your composition.
• Remove Tool: Eliminate unwanted objects and distractions while maintaining realistic image quality.
• Generative Fill: Add, replace, or remove content using simple text prompts.
• Generative Upscale: Increase image resolution while preserving sharpness and visual fidelity.
• AI Markup: Annotate images to communicate edits visually and generate more precise results.

Prefer to keep working in the Pro Editor? Prompt to Edit offers the same natural language editing directly in the Pro Editor's Contextual Task Bar, so you can transform an entire image using simple prompts, with no selection required, right from the context bar you’re already using. Every Prompt to Edit result becomes a generative layer in your layer stack, so your edits stay organized and non-destructive

Whether you prefer prompts, precision tools, or a combination of both, Photoshop offers the flexibility to support the way you create.

Start exploring what’s new in Photoshop today!

© Jennifer Hadley / Nikon Comedy Wildlife Awards

 

Celebrating 10 years of hilarious nature photography, the Nikon Comedy Wildlife Awards are bringing an immersive exhibition to FRAMELESS London on September 12. Running through January 2027, the limited-run gallery projects 91 award-winning photos across seven realistic habitats, complete with surround soundscapes that put you right next to surprised seals and ninja prairie dogs. Created with The Born Free Foundation, this fun display uses humor to highlight the lighter side of nature while raising support for wildlife conservation.

 

From Nikon:

 

• A new retrospective immersive experience celebrating a decade of the Nikon Comedy Wildlife Photography Awards arrives at FRAMELESS this autumn, opening 12 September and running through January 2027.
• The new experience will showcase 91 of the competition's best and funniest photographs of our natural world, reframed through seven unique habitats and environments, with spatial sound placing visitors inside each one.
• The limited-run residency joins FRAMELESS' collection of 40+ immersive artworks across four interactive galleries, all in one ticket.

 

The Nikon Comedy Wildlife Awards, the global competition that has spent a decade using humour to campaign for wildlife conservation, is coming to FRAMELESS, London's largest permanent immersive art experience. Opening 12th  September, a brand-new retrospective experience will bring together ten years of the competition's funniest images presented at full scale inside the habitats where they were captured.

Staged in FRAMELESS' Blank Canvas Gallery, the Nikon Comedy Wildlife Awards Immersive Experience will feature 91 award-winning photographs from the competition's first decade, reimagined as a spectacular 15-minute immersive experience.

The colourful showcase takes visitors through seven different natural habitats, bringing them  face-to-face with some of the most humorous creatures that dwell in these environments. From surprised seals and sassy penguins on beach shores, bewildered bears and chortling mice on forest floors, to dancing monkeys and ninja prairie dogs in vast grasslands, visitors will discover the lighter side of life in habitats often remote from our own.

Each image is placed within the habitat it was captured in with spatial sound shifting around the gallery, from breaking waves on the shoreline to the hush of the forest floor, allowing visitors to feel as though they are walking through each environment as they meet the creatures that live there.

 

© David Parry / Nikon Comedy Wildlife Awards / Frameless

 

Ryan 'Woody' Atwood, Creative Director of FRAMELESS, said: "Nature photography is one of the most precise art forms. Capturing the perfect image as timeless as those featured in this new experience can require months of planning and split-second decision making. For ten years, the Nikon Comedy Wildlife Awards have demonstrated that comedy is a powerful medium for telling important stories about conservation and nature and we're honoured that FRAMELESS is now a part of their journey. Through our signature immersive storytelling, we are reframing some of its best and most hilarious images in their native environments and we hope our audiences will come away with a newfound appreciation for both this artform and our weird and wonderful natural world."

Using humour to inspire wildlife conservation has been the ambition of the Nikon Comedy Wildlife Awards since its inception in 2015. By demonstrating that we are not so different from wildlife as we may expect, the Awards' mission is to broaden our understanding of nature and why biodiversity conservation matters. Every year, the Awards support a grassroots conservation organisation and this year, it is working with The Born Free Foundation, an international wildlife charity working to prevent the exploitation and suffering of wild animals both in captivity and in the wild.

Tom Sullam, Co-founder at the Nikon Comedy Wildlife Awards, said: "Being able to show some of the very best entries from our fantastic collection of images at FRAMELESS is an absolute honour for all involved with this competition. The strength of our message is only as strong as the people that see the images, and this upbeat, positive and enhancing exhibition will be an incredible experience for all visitors. We are genuinely thrilled by this exhibition and can't wait to see the positivity that comes from it!"

 

© Andrea Zampatti / David Parry / Nikon Comedy Wildlife Awards

 

Running through January 2027, the Nikon Comedy Wildlife Awards Immersive Experience comes at a timely moment in the Awards' calendar, which is gearing up to announce the finalists of its 2026 competition in early October. The retrospective experience will take over FRAMELESS' Blank Canvas Gallery, which has hosted some of its most ambitious exclusive residencies, from showcases by up-and-coming artists to collaborations with renowned institutions such as the National Portrait Gallery. Entry to the Blank Canvas Gallery is included in all standard FRAMELESS tickets.

The Nikon Comedy Wildlife Awards experience opens at FRAMELESS on 12 September 2026, running through January 2027. Entry to FRAMELESS begins at £29.50 for adults and £20 for children. Running across October half term and the Christmas holidays, the experience is suitable for all ages and included in every standard ticket. For more information, visit frameless.com/artist-residencies/comedy-wildlife-awards/

 

To help you give your urban photography an abstract feel, here are 8 top tips on what, how and where to take your photos when out exploring a town or city. 

 

1. Focus On What's Interesting

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

 

2. More Than One Point Of Interest

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

 

3. Create Scale

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

 

4. Use Colour

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

 

 

5. Look For Shadows 

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

 

6. Lines Work Well

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

 

7. Shoot Through Other Objects

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

 

8. People Like Patterns & Symmetry 

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

 

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

 

1. Lighting

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

 

2. Wide Circles

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

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

 

3. Focus On A Part Of The Circle

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

 

4. Try Black & White

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

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

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

 

1. Are you a fan of the outdoors?

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

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

 

2. Do you have a tripod?

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

 

3. Do you have a remote / cable release?

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

 

4. Do you have an ND filter?

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

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

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

 

 

5. Do you have patience?

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

 

6. Do you have an eye for composition?

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

 

7. Do you mind working out calculations?

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

  8. Do you have Live View?

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

 

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

 

1. Safety First

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

2. Long Exposures

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

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

3. Timing

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

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

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

4. Lightning

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

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

 

5. Clouds

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

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© GoPro

 

GoPro has expanded its lineup with the MISSION 1 PRO ILS, an ultra-compact cinema camera featuring interchangeable Micro Four Thirds lens support. Built for filmmakers needing professional flexibility in tight setups, the rugged handheld pairs a 50MP 1-inch sensor with GoPro's GP3 processor to capture up to 8K60 video, Open Gate recording, and 10-bit Log color. Launching in tandem with a free iOS monitoring app, the camera provides pro-level tools like focus peaking and LUT previews directly on mobile devices.

 

From GoPro:

 

Now Available for Pre-Order at GoPro.com

MISSION 1 PRO ILS Pairs New 50MP 1" Sensor, 8K60 and Open Gate 8K + 4K Video, and Powerful + Ultra-Efficient GP3 Processor with Interchangeable Micro Four Thirds Lens System

New GoPro MISSION Monitor App Delivers Professional Monitoring Tools Including Focus Peaking, LUT Preview and Zebra Pattern

 

GoPro, Inc. (NASDAQ: GPRO) announced that a third camera in the MISSION 1 Series, MISSION 1 PRO ILS, is available for pre-order at GoPro.com. The camera will be available at retailers in September. Arriving the same day is the new MISSION Monitor app, a free professional video monitoring solution for iPhone and iPad.

Since launching earlier this year, the MISSION 1 Series has earned editor's choice awards and other recognitions across the industry, including from Tom's Guide, Gizmodo, PCMag, Mashable, Digital Camera World, RedShark News, and The Shortcut. MISSION 1 PRO ILS also collected two awards at the pro-focused NAB Show 2026 including CineD's Best-of-Show Award.

 

MISSION 1 PRO ILS: A New Class of Ultra-Compact, Interchangeable-Lens 8K Cinema Camera

MISSION 1 PRO ILS gives content creators and professional filmmakers the legendary versatility of GoPro combined with the creative flexibility to pair it with the best Micro Four Thirds (MFT) compatible lens for the shot. Whether it's intricate macro details, telephoto isolation or wide cinematic framing, MISSION 1 PRO ILS adapts to capture the vision. Built around the same new 50MP 1" sensor and ultra-efficient GP3 processor as MISSION 1 PRO, it weighs just 6.95oz (197g), small enough to rig a lensed camera into tight spaces like the interior of a car with simpler, smaller rigging. The result is the world's smallest, most rugged cinema camera, at a fraction of the cost and size of comparable 8K camera systems.

 

MISSION 1 PRO ILS features include:

• Micro Four Thirds Lens Compatibility: Pair MISSION 1 PRO ILS with a wide variety of manual focus and manual aperture MFT lenses, or use an adapter to attach vintage lenses, PL mount cinema lenses and other specialty glass. Harness shallow depth of field, smooth focus transitions and selective focus for visuals that pull viewers in.1
• New 50MP 1" Sensor + Next-Generation GP3 Processor: The 1" sensor (1.0-type sensor) captures pro-quality results in a compact body, with a Quad Bayer 12MP mode in 4K Open Gate for even better dynamic range and low-light performance.
• Best-in-Class 8K + 4K Video With Open Gate: Capture up to 8K60, 4K240 and 1440p480, plus Open Gate modes up to 8K30 and 4K120 that use the full image sensor for maximum height and width delivering the most post-production flexibility. Switch to Burst Slo-Mo for 10-second 1080p clips at 960 fps for 32x slo-mo.2
• Professional Color and Control: 10-bit color, 10-bit Log encoding with GP-Log2, HLG HDR video, bit rates up to 240Mbps, and Timecode Sync for multi-camera shoots. Extend the camera's capabilities beyond stock modes with GoPro Labs to unlock hundreds of unreleased features, including 300Mbps bit rates and custom image stabilization.
• Focus Assist + Focus Peaking: Focus Assist magnifies the shot up to 8x on the rear touch screen to verify focus before recording. Focus Peaking uses contrasting color overlays to highlight what's in focus, with selectable highlight colors and a High Sensitivity mode for low-contrast and low-light shots.
• Emmy® Award-Winning HyperSmooth Video Stabilization: Get the smoothest possible footage across a wide variety of focal lengths without a gimbal, added gear or special editing software.3
• Built-in Professional Audio: A 4-microphone array delivers improved stereo recording and wind noise reduction, while 32-bit float audio recorded to a separate .wav file virtually eliminates digital clipping. Native multi-track recording, Automatic Gain Control, manual gain and limiting, Bluetooth® 5.3 audio and USB-C microphone support expand flexibility during capture.
• Over 3 Hours of 4K Runtime + Faster Charging: The all-new 2150mAh Enduro 2 battery delivers over 3 hours of continuous 4K30 recording and over 5 hours of 1080p30 recording on a single charge, with rapid charging for less downtime on set.4
• 50MP Photos + 44MP Frame Grabs: Shoot up to 50MP photos in Single, Interval and Burst modes, and pull stunning stills up to 44MP from 4:3 8K video using the GoPro Quik app or the non-linear editor of choice.
• Rugged, Rig-Ready Design: A weatherproof body with GoPro's trademark durability and three mounting options open MISSION 1 PRO ILS up to GoPro's lineup of mounts and accessories, from extension poles and mounting buckles for vehicle-mounted and follow-cam rigs to the Point-and-Shoot Grip, which turns it into a classic handheld camera.5

 

MISSION 1 PRO ILS is available for pre-order today at GoPro.com for $699.99 MSRP and $599.99 for existing GoPro subscribers.6 The camera will be available at GoPro.com and at retailers globally beginning September 2nd. Micro Four Thirds lenses are sold separately.

 

GoPro MISSION Monitor app: Free Professional Monitoring Tool for iPhone and iPad

Made for MISSION 1 Series cameras, the new GoPro MISSION Monitor app is a live preview solution that gives content creators and professional filmmakers the tools they need to compose shots perfectly. It connects the camera to an iPhone or iPad so creators can verify focus on a larger screen and see how a finished shot will look before capturing a single frame. The MISSION Monitor app is free and will be available on the Apple App Store® on September 2nd. Features include:

• Focus Peaking highlights in-focus elements, with the option to adjust sensitivity, intensity and color.
• Focus Assist lets filmmakers pinch to zoom in on the shot and check focus on a larger screen.
• Zebra Pattern overlays diagonal strips over the shot preview in real time as a visual guide to help avoid overexposure and dial in precise settings.
• Real-Time LUT Preview shows how a GP-Log2 shot will look after grading with provided MISSION 1 Series or custom LUTs.
• Shot Overlays display aspect ratios, customizable grid lines, and center point to make it easy to line up and frame the shot for the intended output or platform.
• Integrated Camera Controls let filmmakers start and stop recording and switch capture modes right from their device.

 

Availability

MISSION 1 PRO ILS is available for pre-order today at GoPro.com for $699.99 MSRP, or $599.99 for existing GoPro subscribers, with shipping of pre-orders beginning next week and availability at GoPro retailers globally in September.5 The MISSION Monitor app is free and available for download from the Apple App Store® on September 2nd.

MISSION 1, MISSION 1 PRO, and MISSION 1 PRO Grip Edition are $100 off for a limited time and available now at GoPro.com. MISSION 1 PRO Creator Edition, MISSION 1 PRO Ultimate Creator Edition and the full suite of MISSION 1 Series mounts and accessories are also available now at GoPro.com and at retailers globally. To learn more, visit GoPro.com.

 

Footnotes

1 MISSION 1 PRO ILS is compatible with Micro Four Thirds lenses designed to cover a 1" or larger sensor with manual focus and a fixed aperture (no greater than f/4.5) or manual aperture adjustment. MISSION 1 PRO ILS does not have electronic contacts and is not compatible with lenses that require electronics to control focus, aperture and other camera features. Micro Four Thirds lenses are sold separately.

2Burst Slo-Mo (1080p960) is limited to 8-bit and does not support GP-Log2 encoding.

3 In-camera HyperSmooth video stabilization is supported with five specifically profiled fisheye lenses — Laowa 4mm f/2.8, 7Artisans 6mm f/2, 7Artisans 7.5mm f/2.8, Brightin Star 7.5mm f/2.8 and Meike 7.5mm f/2.8 — and with rectilinear MFT lenses from 6mm to 500mm. GoPro has tested rectilinear lenses up to 50mm for guaranteed performance; lenses longer than 50mm may deliver varied performance. Lenses sold separately.

4 Runtime measured at a temperature of 77°F (25°C) with a wind speed of 0.6m/sec; Bluetooth® and HyperSmooth on; front and rear LCD screens on with a 1-minute screensaver; voice control and GPS off.

5 Accessories sold separately.

6 $100 off is available to yearly subscribers only upon subscription renewal.

 

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

 

1. Gear Suggestions

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

2. Go Wide 

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

3. Look For Locks 

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

 

 

4. Leading Lines 

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

5. People Watching 

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

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

 

1. One Main Focus Point

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

 

2. Lead In Lines

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

 

3. What's In Focus

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

 

Photo by Joshua Waller 

 

4. Blur

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

 

5. Size

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

Photo by Joshua Waller 

6. Colour And Pop

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

 

7. Frame

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

 

8. Crop

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

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Flagship P9 and versatile P7 expand Samsung's portable SSD lineup with USB4 connectivity

Doubled performance at 4,000MB/s supports demanding workflows including 12K direct recording

World's first 8TB USB4 with speeds up of 4,000MB/s, portable SSD combines high-speed, high-capacity storage with broad compatibility and proven durability

 

Samsung Electronics Co., Ltd., a global leader in advanced memory technology, today unveiled the P9 and P7, its next-generation portable solid-state drives (SSDs) featuring USB4 connectivity. The company introduced the new P Series at Gamescom 2026, the world's largest gaming event, held in Cologne, Germany from August 26-30.

Designed to meet rapidly growing storage demands driven by ultra-high-resolution video, AI content and large-scale games, the P Series includes the flagship P9, which delivers high-end performance for professional users, and the P7, designed for fast and convenient storage across everyday use cases.

"As AI-powered content creation and ultra-high-resolution video make large amounts of data part of everyday life, users increasingly expect faster and more reliable storage experiences," said Tommy Kwon, Vice President and Head of Brand Product Biz Team at Samsung Electronics.

"With fast file storage and backup, the P Series is designed to provide professionals and everyday users alike with the performance they need to work efficiently across a wide range of applications."

 

 

P9: Up to Twice the Performance with USB4

Powered by USB4, the flagship P9 delivers sequential read speeds of up to 4,000 megabytes-per-second (MB/s) and sequential write speeds of up to 3,800MB/s, offering industry-leading transfer performance. Its sequential read and write speeds are approximately twice those of the previous generation. For comparison, the 4-terabyte (TB) T9, featuring a USB 3.2 Gen 2x2 interface, delivers sequential read and write speeds of up to 2,000MB/s.

The P9 is also the world's first 8TB USB4 portable SSD supporting speeds of up to 4,000MB/s. For this level of ingenuity and technological capability, the P9 was recognised with a CES 2026 Innovation Award earlier this year.

With strong sustained write performance, the P9 supports 12K direct recording for professional production workflows, enabling creators to capture, store and edit large RAW image files and ultra-high-resolution video.

 

P7: Fast, Versatile Storage for Everyday Use

Also featuring USB4 technology, the P7 is designed to provide fast and convenient storage across work, entertainment, and everyday use. It offers broad compatibility with a wide range of host devices, including desktops, laptops, smartphones, gaming consoles, and cameras.

The P7 has completed 2-metre drop testing as well as shock and vibration durability testing, helping users keep important data protected during travel, outdoor activities, and other mobile environments.

 

 

Availability

The Samsung Portable SSD P Series will be available in 1TB, 2TB, 4TB, and 8TB capacities, with a global rollout beginning August 31.

*Available capacities may vary by market. Certain capacities may be released at a later date.

The P9 will have manufacturer's suggested retail prices (MSRPs) of £296.09 for 1TB, £591.99 for 2TB, £1,184.49 for 4TB, and £2,342.79 for 8TB. The P7 will have (MSRPs) of £246.79 for 1TB, £493.49 for 2TB, £986.99 for 4TB, and £1,952.29 for 8TB.

For more information about Samsung's Portable SSD P Series, please visit the Samsung website.

 

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

 

What Gear Do I Need?

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

 

The Search

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

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

 

Some Suggestions 

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

 

 

A Twist On The Theme

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

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

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

 

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1. Where To Go? 

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

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

2. Buy A Guide

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

 

 

3. Time Of Day

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

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

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

4. Shutter Speeds & Set-Up

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

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

 

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© EISA

 

Nikon's on a roll at the 2026 EISA Awards, landing four accolades that span both camera and lens categories. The recognition covers a solid range of gear, from the specialist ZR video camera to everyday workhorse lenses. The judges clearly valued Nikon's approach to building a complete, capable system. From solo videographers to working photographers, there's something in this award haul worth considering.

 

From Nikon:

Nikon proudly announces its success at the 2026–2027 Expert Imaging and Sound Association (EISA) Awards, receiving four accolades across a range of product categories.

The accolades include:

• The Nikon ZR awarded “Photo/Video Camera 2026-2027"
• The NIKKOR Z 24-70mm f/2.8 S II lens awarded “Lens of the Year”
• The NIKKOR Z DX MC 35mm f/1.7 lens taking home “Standard Lens” award
• The NIKKOR Z 70-200mm f/2.8 VR S II lens receiving the “Telephoto Zoom Lens” award

Nikon's cutting-edge dedicated video camera, the ZR, impressed the judges with its advanced subject-tracking autofocus, built-in 7.5-stop image stabilisation, impressive video quality, excellent audio, and large, bright 4-inch screen. Incorporating advanced video codecs and colour technology from Nikon-owned RED, while providing access to the expansive Nikon Z system, the ZR was praised as a unique tool for ambitious videographers.

Nikon's next-gen NIKKOR Z 24-70mm f/2.8 S II lens was lauded in its category for its lighter design, enhanced optical performance, and video-friendly internal zoom construction. The lens stood out for its more lightweight design, faster autofocus and improved sharpness at close distances, with the judges describing the lens as a “top-class professional lens without any weaknesses”.

Judges were also impressed by Nikon’s compact NIKKOR Z DX MC 35mm f/1.7 lens, citing its versatile macro capabilities, bright f/1.7 aperture, and excellent optical performance in their acclaim. Judges praised it as the perfect second lens for Nikon DX users, offering the versatility of both a standard and macro lens in a lightweight, compact design.

Nikon’s second-generation NIKKOR Z 70-200mm f/2.8 VR S II lens was recognised for its impressive range of improvements, including a lighter design, faster autofocus, and enhanced optical performance. Featuring improved coatings, an 11-blade aperture for beautifully smooth bokeh, and up to 6 stops of image stabilisation when paired with compatible Nikon cameras, the lens delivers outstanding results for both stills and video.

The four awards showcase Nikon’s continued commitment to world-class design and engineering excellence, empowering photographers and videographers with pioneering equipment that allow them to push the boundaries of creativity and achieve exceptional results.

 

© EISA

 

EISA comments for “Photo/Video Camera 2026-2027" award

With the ZR, Nikon has created a dedicated video camera packed with attractive features at a reasonable price. Incorporating advanced video codecs and colour technology from Nikon-owned RED, videographers get a unique tool with access to the expansive Nikon Z system. Impressive video quality, excellent audio, built-in 7.5-stop image stabilisation, Nikon’s advanced subject-tracking autofocus, and a huge, bright 4” screen provide solo creators and ambitious videographers with a complete, highly capable tool with extensive production potential.

 

© EISA

 

EISA comments for the NIKKOR Z 24-70mm f/2.8 S II ”Lens of the Year 2026-2027" award

Nikon has improved its fast standard zoom lens in a number of impressive ways. The Nikon NIKKOR Z 24-70mm f/2.8 S II is 130 grams lighter than its predecessor, and it’s better suited for video thanks to internal zoom construction, which makes it easier to operate on a gimbal. Focusing has become even faster with minimal breathing, while sharpness has been improved at shorter distances. The anti-reflective coating is improved and is now class leading. Overall, this results in a top-class professional lens without any weaknesses. It’s true workhorse for professionals and a real investment in image quality for photo enthusiasts.

 

© EISA

 

EISA comments for the NIKKOR Z DX MC 35mm f/1.7 “Standard Lens” award 2026-2027

The NIKKOR Z DX MC 35mm f/1.7 is a real jewel in Nikon’s lens range. The optical construction is designed for DX (APS-C) sensors, and it functions as both a macro lens for close-ups, and a standard lens with relatively high brightness. Compact size, low weight and great sharpness are among its many attractive features. Linear distortion is almost unnoticeable and there’s little vignetting either. Other practical features are weather sealing and inner focusing. The lens covers the same subject area as a 1:1 macro lens for full frame. It’s the perfect second lens for owners of DX-format mirrorless Nikon cameras.

 

© EISA

 

EISA comments for the NIKKOR Z 70-200mm F2.8 VR S II “Telephoto Zoom Lens”award 2025-2026

This second-generation professional telephoto zoom boasts an impressive array of improvements over its already excellent predecessor. The NIKKOR Z 70-200mm F2.8 VR S II is significantly lighter, focuses faster and closer, is perfectly balanced and ideal for both video and stills. With the uncompromising quality of Nikon’s S series, improved coating and 11 aperture blades, this zoom delivers superb image quality and strikingly fine bokeh, whether you’re shooting portraits or following fast athletes. The detachable tripod foot is now Arca-Swiss compatible, while the optical image stabiliser provides 6 stops shake compensation while working together with the camera’s in-body stabilisation. It’s Nikon’s best zoom yet.

Every year, the EISA Awards celebrate those new products that combine the most advanced technology and desirable features with class-leading performance. The EISA Awards extend from the most affordable, high-value products to the most aspirational expressions of modern consumer electronics. Award categories change from year to year, reflecting the evolution of product design and connectivity, but every EISA Award winner remains the very best in its class. 

For more information, please visit the EISA website.

  If used correctly, the empty space you leave in your shots (negative space) can make your photograph more interesting and easier to focus on rather than trying to fill every inch of the frame with interest. Negative space can play several important compositional roles so here are a few tips to help you think more about making the most of what's not in your scene:  

 

1. Reinforce What's Important

The obvious role of negative space is to show the viewer of your image what is and what isn't important in your shot. If there's nothing else fighting for focus, their eyes will be able to settle on your main subject without searching the rest of the shot first.

2. Balance Your Shot

Negative space can make a shot appear more balanced and as a general rule, you need twice as much negative space to the area taken up by your subject. For example, if you shot a close-up portrait and your subject fills the right third of the frame, you'd want the two thirds to the left to be negative space.
 

3. Give Your Shot Context

Of course, there are times, such as when you're shooting environmental portraits where you want to make the most of the size of the place you're taking photos in, when the above rule won't apply.

With environmental portraits, it's often what's around your subject that gives the shot more interest so filling your frame with your subject would mean the context would be lost.

 

 

4. Space For Your Subject

If you do place your subject to one side of your frame make sure they're looking towards the area of negative space. The same goes for action shots where they're running through the frame as generally, your shot will be more compositionally pleasing if they have space to move into. Of course, if you're wanting them to increase the sense of speed or want to make people wonder what they're looking at, position the negative space behind them, almost pushing them out of the frame.

5. Negative Space Doesn't Have To Be 'Empty'

By using one colour in your background when shooting indoors or by throwing it out of focus if you're shooting outdoors, it won't become a point of focus for your viewer so all attention will fall on your main subject. However, sometimes adding blur to your backgrounds will leave your shot with less impact. For example, if you're out shooting portraits and behind your subject is a mountain scene, shooting with a smaller aperture so you get front to back sharpness will exaggerate the amount of negative space around them, giving the shot more meaning and impact as a result.

6. Exaggerate The Negative Space

Take the idea one step further and strip all the colour out of your shot, leaving just the shapes and space around them to tell your story. You could also remove all the textures from the shot by shooting silhouettes.

 

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

  1. Kit Choices If you're not up for getting your feet wet you'll need a long telephoto to bring the action to you. A monopod or tripod can also be handy, but not everyone finds them useful, especially when you're panning at quite fast speeds.

For those of you who don't mind braving cold, British water get your wetsuit on to get right in among the action. Here, you can use a slightly shorter lens or even a fisheye to capture some unusual action shots. However, if you're new to this type of photography it's worth sticking with a slightly longer focal length, around 100mm, to keep a safe amount of distance between you and the action. Wides also work well when you want to give your shots context but your subject may look a little small in the frame if you use them on-shore so do check your frame and switch lenses if this is the case.

If you do want to head out into the waves please always think about safety and make sure you can be clearly seen by those on land as well as the sailors around you. Don't get in anyone's way and always be aware of your surroundings.

You'll also need a waterproof camera or waterproof housing for your camera that doesn't like getting wet. If you plan on leaving your camera bag near the shore make sure it's fastened up and if you have one, put a waterproof cover on it to stop spray and water that comes off the windsurfers as they exit the water getting on your not so water-friendly kit. Remember to test your waterproof housing without your kit in it to start to make sure there are no leaks and when you do put your camera inside it, place it in shallow water first before heading out deeper just to double-check the seals etc. are working correctly.

If you're heading to the beach to capture shots of surfers rather than spending some time by your local reservoir, try not to change lenses on the sand as you don't want grains getting inside your kit.

 

2. Speed & Action

Windsurfing and other water sports tend to have quite a lot of pace and action which does mean there's plenty to photograph but as bad light, bad weather and the speed at which they move at makes life difficult, it can be tricky to get a perfect shot.

If you've not photographed this kind of subject before try to find a reservoir where beginners practise as these will be moving at a slower pace so will be easier to keep up with. It's also worth focusing and tracking one individual rather than moving your focus from one person to another and while doing so, try not to get others in-frame who may full attention from your main subject.

If you do want to go after the pros you'll need to crank your shutter speeds up to freeze their movement and have your panning perfected before you arrive so you can keep them in shot. Shutter speeds of 1/100 and above are often needed to capture action in your frame and it's worth switching to continuous shooting mode to increase your chances of capturing that perfect action shot. Auto-focus can work so long as it's continuously tracking your subject and try to leave room for your subject to ride into.

If you want to add an extra sense of pace to your photos try selecting a slightly slower shutter speed (half a second should be enough) and pan at the same speed your subject is moving at to blur the background. You could combine the slower shutter speed panning technique with a pop of flash to freeze your subject against a nicely out of focus, blurred background that will enhance the feeling of speed in your shot.

 

Photo by Josh Waller 

 

3. Framing Advice

Always make sure you've filled the frame as unless there's something interesting such as a giant wave they're jumping, a tiny person in the middle of a mass of water's not really interesting and they'll be completely lost in the image. Watch out for wonky horizons too, although these are quite easily corrected in post-production once you're back home and consider shooting in a vertical as well as a horizontal format when the scene suits it.

  4. Metering Tips

Keep an eye on your metering when you're on the edge or out in the water as a bright sky and reflections off the water can confuse the camera into thinking it's brighter than it is and you'll end up with an underexposed image. It's worth checking your histogram and using the highlight clipping feature on your camera to ensure your shot isn't overexposed. You may also want to consider using exposure compensation and dialling down to a negative figure to balance the exposure correctly.

If you happen to be out on a day when the light's really bad your images can look flat and lose impact. However, if you focus your attention more on showing the big waves and cropping in close to show the huge amounts of spray coming off the boards you can still get some decent images.

  5. On Shore

Not everyone will have the kit needed to capture action shots and if this is the case for you, just re-think the shots you're taking and focus your attention onshore. People entering/exiting the water, riders getting kit ready and putting wetsuits on are just a few of the things you can capture without the need for a long lens or getting your feet wet and they can be just as interesting as the shots of the water.

 

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Once you have your tourist, postcard style shots, spend a few hours of your vacation time thinking about how you can do things a little bit differently. (Yes, we know we are talking about not doing this but the reason everyone takes these shots is that they do actually look good, most of the time. Just remember to get up early or stay out late to miss the rush of tourists so you stand a better chance of capturing people-free shots.)
 

1. Use It As A Secondary Point Of Interest

Instead of making the landmark your main point of focus, place another object in the foreground and use the landmark as background detail for your shot. You could use a larger aperture to throw it slightly out of focus but don't go too wide as you still want the landmark to be recognisable. For shots with plenty of depth of field, think like a landscape photographer, standing further back from your landmark so you can add interest in the foreground as well as the middle and background of the shot.

 

2. Find A New Angle

This is an obvious point that's also easier said than done sometimes but even the smallest change in composition can make a big difference to the shot. Try blurring foliage into an out of focus frame, shoot through a window or arch or look for objects your landmark can be reflected in. Shooting down into a puddle of water, particularly on a moody, wet day will give any landmark photo an interesting twist while switching from a wide lens to telephoto so you can crop in will give you a shot that's ever so subtly different but yet, still recognisable to those back home.

Watch for where the crowds go and head off in a different direction, looking for new vantage points to shoot from. This could mean climbing to get above it or trying to get lower to shoot from nearer the ground. We can't guarantee you won't get any funny looks but you should walk away with a set of unique shots. 

 

 

3. Get In Close

As landmarks are well known you don't have to get the whole structure in the frame for people to know what it is. The blue/green shade of the Statue of Liberty will be recognisable no matter how close you zoom in. In fact, the shapes created to form drapes in the statue's clothing could create an interesting abstract shot if you have a lens that can get you close enough.

 

4. Head Out When Other's Don't

A cloudy, rainy day will put most sight-seers off and you should take advantage of this. They'll be less bad weather shots than there are scenes with blue sky and sun. Rainy days also mean you can shoot reflections (as mentioned above). Just remember to protect your equipment as unless it's waterproof, it won't like the rain.

 

 

5. Human Interest

We said above to head out early/late to avoid crowds but including one or two people can give your landmark shot a new angle. By adding people, street vendors setting up near the landmark or people sweeping away rubbish, you add a new level of interest to what would be 'just another tourist shot'. As people have a habit of stopping what they're doing and either grinning or frowning when they see a camera pointed at them you may need to work more like a street photographer to get shots where your subject isn't posed. 

   

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An image taken by ePz member Scottjessuk and titled 'Pink Mornings' was chosen as our POTW winner.

It is a lovely landscape that captures the peace and quiet of an early morning visit. This serene shot of anchored boats has all the elements you need for a perfect calm outdoor image, with still water that mirrors both the boats and the sky above to keep everything balanced. The two anchored boats make for a striking subject, their hulls contrasting softly against the gentle water. The mist rolling across the scene adds to the atmospheric quality, whilst the purple and pink tones cast across everything bring real serenity to the image. It is clearly a location that rewards patience and the right conditions, and this shot certainly demonstrates both.

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! 

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

Photo by Joshua Waller

 

1. What Is It?

Environmental portrait photography has nothing to to with global warming or looking after the planet. It is all about photographing your subject in their natural environment. This can be anywhere from where they work, where they live, or anywhere where they like to spend their time. It is all about portraying something of the character of your subject through where they are in the photo.

 

2. Find A Location

It can be difficult to set up a shot properly with environmental photography. But persevere until you find the perfect location for your subject, and you will be rewarded. So how is the perfect destination for a shot found? Firstly, you have to get to know your subject. You need to find out what they like to do in their spare time, what their hobbies are, where they enjoy going etc. When you know this, you can then add together what you have found out to place them in their own perfect photographic location, which also portrays who they are as a person. Think of it as a candid shoot with a studio approach when it comes to some of your shooting and the setting up of the scene.

 

3. Backgrounds

There should be some background detail, to add character to a picture, but not so much that it overpowers the presence of the person in the shot. The idea behind this method of photography is that the background subtly adds to the feel of the portrait yet does not become the main feature. If you find the background to be too distracting, try using a wider aperture to blur the background so you can still make out what's there but the eye is immediately drawn to the person instead. You could also try cropping the shot when you're back at your computer or simply move your subject to a place where the background isn't so distracting. Remember, you want your location to relate to your subject and add interest to the shot without actually pulling attention away from your main point of focus.

 

4. What To Wear

You want your subject to be relaxed and comfortable so don't dress them in something that will make them uncomfortable. Keeping their hands busy is a good way to distract them so bring along some props, so long as they fit the theme and don't distract the viewer's attention too much.

 

5. How To Pose

Posing your subject but still getting them to look natural so it looks almost candid takes some work but with directions and guidance from you, your subject should find a pose that works in no time. Try to make them as relaxed as possible as any tension will be visible on their face. A simple chat will help ease their worries so you're then free to ask them to create whatever expression suits the scene you're working with.

This technique can be challenging at times, but once you get used to the methods of taking environmental photos, you will love the results it gives you. A lot of photographers love it because it is more than a picture, it's an insight into someone's personality and life. Why not have a go yourself, and see what amazing and expressive results you can achieve?

 

You've read the technique now share your related photos for the chance to win prizes: 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 Arkwright (Day 1 - 'Creative Portraiture').

 

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 2

Coastal Landscapes

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Day 3

The Night Sky

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Day 4

Zoom Burst

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Day 5

Fancy Dress

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  Day 6

Birds Of Prey

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Day 7

Festivals

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Day 8

Speed

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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.