DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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A good photograph can capture a moment, but sometimes a still image does not fully show the feeling behind it. With video becoming a common way to share creative work, creators are looking for simple ways to give their existing photos more life.

AI photo animation offers one practical solution. Instead of taking new footage, creators can use AI to add natural movement to a single image. The key is to add motion while keeping the original subject, style, and visual details intact.

 

 

Why More Creators Are Exploring AI Photo Animation

 

AI photo animation technology is changing how creators work with existing visual assets. A single photograph can now become the starting point for a short video, giving creators more ways to share their work without starting every project from scratch.

For photographers, this can extend the value of a finished photo shoot. A portrait, landscape, or event image can be animated for social media, a portfolio, or a short presentation. The original photograph remains the foundation, while AI adds movement around it.

The same idea is useful for other creators. Designers, marketers, travel creators, and social media users can animate still images to create short-form content. This makes it easier to turn existing visual assets into fresh content for different platforms.

 

How AI Is Changing the Way Creators Animate Still Images

 

Traditional photo-to-video editing can involve keyframes, transitions, and motion settings. For creators who want to turn a single image into a short clip, this manual process can add unnecessary steps to a simple project. 

This is where AI image animation tools such as AIReel can simplify the workflow. Creators can upload an image and generate a video with smooth motion, without building every effect manually. It also offers a range of models and formats for different creative needs.

 

 

• From single images to short videos: Existing photos can become ready-to-share video content.
• From manual editing to AI-assisted motion: Creators can reduce the need for detailed keyframe work.
• From one asset to multiple formats: A single image can be reused for different social platforms.
• From reshoots to content repurposing: Older photos can become new creative assets.
• From complex workflows to simple creation: Users can focus more on the visual idea and less on technical settings.

 

5 Practical Ways to Animate a Photo With AI Without Losing the Original Look

 

Animating a still image works best when the added movement follows the logic of the original photograph. The aim is not to make every part of the image move, but to introduce motion where it supports the subject, composition, and mood.

 

 

1. Start With a Photo That Has Clear Visual Structure

Choose an image with a clear subject, good focus, and enough detail. Photos with strong foreground and background separation are often easier to animate because the main subject can remain stable while movement is added to other areas.

 

2. Match the Motion to the Original Scene

Consider what would naturally move in the photograph. Clouds, water, hair, fabric, and tree branches can support gentle movement, while a slow camera push can work well for portraits or architecture. The motion should follow the scene rather than compete with it.

 

3. Protect Faces, Hands, and Fine Details

Small changes can be very noticeable when a person or a detailed object is the main subject. Before using an AI animation, check the eyes, facial features, fingers, text, and product edges. Keeping these areas stable helps the result stay close to the original photograph.

 

4. Use Camera Movement to Add Depth

A subtle zoom, pan, or forward movement can make a flat image feel more cinematic without changing the subject itself. When the composition already has clear foreground and background elements, controlled camera movement can also create a stronger sense of depth.

 

5. Keep the Animation Short and Review Every Frame

Longer clips give unwanted changes more time to appear. For most photo-based content, a short animation can be enough to add movement while preserving the original look. Review the complete clip before publishing and compare key frames with the source image.

 

To Sum Up

 

AI photo animation gives creators a practical way to get more value from the images they already have. Instead of replacing photography, it can add another layer of motion and help still images work in video-first spaces.

The best results come from using AI as a creative tool rather than letting it take over the image. With a strong original photo, suitable motion, and careful checking, creators can animate pictures with AI while keeping the look and character of the original work. Tools such as AIReel make this process easier, helping turn photos into simple, engaging videos without a long editing workflow.

 

Fog and mist give instant mood, adding an extra level of environmental interest to your shots. You actually do not have to do anything special apart from just being out in it with your camera. So, whether you are walking the dog or on your daily commute to work, it is worth having a camera with you for those unmissable mist images.
 

1. Camera Choice

Any camera is good for mist photography and you can use any lens too, so just stick to your favourite combination. There is nothing wrong with using a top-end compact if carrying a DSLR around with you is not feasible.
 

2. Lens Options

In terms of lens choice, a wide-angle lets you show the tonal differences between foreground and misty background in a gradual way. Look for bold foreground detail and strong lines (rocks, trees, pathways, rivers etc) to make the most of this effect.

The foreground is just as important with [AMUK]telephoto lenses|telephoto+lens+lenses+zoom[/AMUK]. Shoot a misty scene with no foreground and there is no perspective, no sense of depth. This can work fine but most scenes need some foreground interest to give that three-dimensional quality and the tonal transition is much more abrupt.

3. Ultra-Violet Or Skylight Filter?

You probably already have your lenses fitted with an ultra-violet or skylight filter; if you don't it is a worthwhile consideration if you bear in mind that a filter is cheaper to replace than a lens.  On misty days when you can have tiny water droplets settling on your lens this will affect image sharpness, so being able just to wipe them off without being too delicate is a bonus.

 

 

4. Use A Tripod

If you have the room it's a good idea to pack your tripod as exposures can be on the long side as not much sunlight will be able to get through the fog/mist you're photographing. It should also help you keep horizons straight too, although some cameras feature a level or some sort of grid-guide that can help you level your camera for straight horizons. 

 

5. Valleys And Low-Lying Areas

Mists forms in low-lying areas (valleys, for example) and over water so if you fancy the idea of shooting mists, those are the sorts of places to head for. To add a touch of mysticism or eeriness to your work head for thickly wooded areas where fog and mist will weave around the trees.
 

6. Meters Can Be Fooled

Camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy which usually looks better. Setting +0.5EV or +0.7EV will help avoid this. In strongly backlit scenes you might need up to a +1 or +2 exposure value to record the delicacy of the mist.

Shooting in Raw and doing the adjustment later is an option but it makes sense to get it right in the first place.
 

7. Work Quickly

Finally, remember to get there in plenty enough time so if there is a mist, you have time to scout a few good spots and then decide which is best. Conditions can change very rapidly, so shoot quickly, perhaps bracketing exposures, and then move on.

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[Image source: https://www.katebackdrop.com/]

 

You don't need a huge studio to shoot good portraits. A spare room, home office or corner of the living room can work perfectly well, but limited space does mean you need to think a little more carefully about where everything goes.

Before filling the room with stands and lighting kit, work out what the photograph actually needs. These five tips will help you get more from a smaller portrait setup.

 

1. Work Out Your Framing First

Before setting up the background or lights, decide whether you're shooting a headshot, half-length portrait or something wider.

Put your subject roughly in position, pick up the camera and check the frame. This will quickly tell you whether you have enough camera-to-subject distance and whether your chosen focal length makes sense.

It's much easier to move a chair or change a lens at this stage than after you've built the whole setup and discovered you can't step back far enough.

 

2. Make Use Of The Light You Have

Got a decent-sized window? Start there.

Turn your subject towards and away from the light and watch what happens to the shadows across their face. You may find that window light and a reflector are all you need, particularly for a simple head-and-shoulders portrait.

Also keep an eye on ceiling lights. Mixing daylight with warm room lighting can leave you dealing with different colour temperatures later.

In a tight room, another light stand or large modifier also takes away valuable working space, so don't add kit unless it is actually helping the picture.

 

3. Keep The Background Simple

Small rooms have a habit of putting everything into the frame: shelves, door frames, furniture, cables and pictures on the wall.

Look through the viewfinder before reaching for more equipment. Sometimes shifting the camera a little, moving your subject or taking something out of the room is enough to tidy things up.

If the surroundings still feel too busy, a solid colour backdrop gives you a simpler background and lets the subject do the work.

Don't choose the background in isolation, though. Think about the subject's clothing, the lighting and how much of the background will actually appear in the finished shot.

 

[Image source: https://www.katebackdrop.com/]

 

4. Move Your Subject Away From The Background

Space may be tight, but try not to put your subject straight against the background if you can avoid it.

Moving them forward even a little can help with separation and gives you more control over shadows falling behind them. It may also make it easier to soften background detail with your choice of aperture and focal length.

You don't need to chase an extremely blurred background every time. What matters is that whatever sits behind your subject isn't competing for attention.

 

5. Keep Things Easy To Move

A small portrait space often needs to change during a shoot. One minute you're taking a seated headshot and the next you want a looser standing portrait.

Leave yourself somewhere to work. Avoid putting stands across the route you or your subject will need to use, and think twice about any bit of kit that has to be moved every time you change the composition.

If the room isn't a permanent studio, or you regularly shoot at different locations, a collapsible backdrop can also make sense when you need a controlled background that can be packed away afterwards.

The best small-space setups are usually the ones with the least unnecessary equipment. Sort out your framing, light and background first, then add only what the photograph actually needs.

 

Rivers make a wonderful subject for the outdoor photographer, yet people rarely set out with the intention to photograph them. Rivers offer an abundance of opportunities from grand sweeping vistas to detailed abstracts to wildlife as well as being fantastic places to enjoy the outdoors. Here are 6 key pointers to help you achieve better river and open water landscapes.

  1. What is the unique character of the river?

As river locations have their own unique character, one role of the photographer is to identify and emphasise this character. You can do this by asking a series of questions when you first arrive at a location:

• Is this a large and impressive river or a small natural bubbling stream?
• Is this a setting people might describe as being idyllic and picturesque or is it more of an urban or industrial setting?
• Is the river clean and pure or dirty and full of litter?
• Does the setting convey a feeling of tranquillity and calm or are there other emotions it sparks and if so what?
• Is the river fast-moving and powerful or more slow and sedate?
• Is the water surface rough and broken by rocks or flat, calm and full of reflections?

 

2. Shutter speeds

Give some consideration to the shutter speed you will be using. Don’t just stop down to a small aperture for good depth of field and accept the shutter speed. Increase the ISO a little if you need to as the shutter speed can be a big influence the character of the image you create.

Long shutter speeds give smooth water and reflections, which all add to a sense of calm and tranquillity. Fast shutter speeds freeze the water and can really emphasise the feeling of power and strength in the water.

 

 

 

3. Use a remote shutter 

With the remote shutter, you could position your tripod in a shallow part of the river to get a shot with a different angle without having to be stood for a long time in the cold water. Obviously, you need to be very careful if you want to try this as you don't want your camera or yourself going for a swim! The remote control is also useful when photographing wildlife that lives around the river as you'll be able to set your camera up and move away, increasing your chances of shy wildlife coming back to the spot your camera is in.  
 

4. Make the most of the weather

The weather conditions, time of day and time of year all help in determining the type and quality of light you will have to work with. It may sound obvious but you can’t do too much about these factors so look to create photographs that make the most of the light you have available.

Immediately after a rainstorm, when the weather breaks can also produce magical lighting. The clearing rainstorm in the image above produced very dramatic lighting, despite being shot at midday. The rain also helped swell the river to give a great cascading effect over the rocks.

The weather condition that is one of the best for adding mood and character is mist and fog. Rivers in autumn are often great locations for mist early and late in the day. Such conditions tend to be best around sunrise and sunset, often catching the colour of the early morning sun. Look for the larger slow-moving rivers located in open fields as these often give rise to the best mist.

 

 

5. Consider the time of day 

Early morning and late evening light is probably what most photographers think of as being the best light. Typically the sky is colourful and with larger, slower-moving rivers, this great light will be reflected making the river appear to glow. Shutter speeds will be longer at this time of day which also helps smooth out the surface of the river. This is probably the best lighting conditions to create a mood of calm and tranquillity. It’s not always easy to organise yourself to be out photographing at this time of day but it is immensely rewarding in terms of images and the sheer pleasure of watching a sunset or sunrise.

Midday light, at least outside the winter months, tends to be a little harsh and it can be difficult to reflect the character of the river in its setting. If however, the river is in an urban landscape this type of lighting can still work well at it can be used to emphasise the unattractive elements. Also, if the river is strong and powerful you can use the bright lighting to freeze the action. If you find yourself trying to work under harsh lighting conditions that don’t suit your location, try to seek out wooded areas where there is plenty of shade or focus in on capturing detail shots.

Autumn is also a great time of year to photograph rivers and streams in woodland areas. Trees will be changing colour making for vibrant scenes. Leaves will be falling into the river, often gathering in pools around rocks. Here be on the lookout for opportunities to shoot swirling patterns caused by leaves caught in the river's current. With longer shutter speed this slow movement can be recorded as a swirling pattern. Consider using a polarizing filter to give a longer shutter speed but also to emphasise and saturate the vibrant autumn colours.

 

6. Think about where you stand

The direction in which you shoot the river can also have a huge impact on the character of you convey in your photograph. Shooting across a river tends to create a rather static image that flows in on one side of the composition and out on the other. If you have to compose with the river flowing horizontally across the image try to include something in the foreground of the frame to create a feeling of depth to the image.

Often large areas of the riverbank are nothing but grass. In these situations, there is little to hold the viewer's attention. Try to find locations where there is something to include in the foreground such as rocks and reeds.

Shooting along the river from its bank offers more potential especially where the river tends to bend and meander. Long straight rivers are less photogenic but can offer some potential. Look for long stretches where the perspective of the river can be emphasised using a wide-angle lens. The best positions, however, tend to be on bends as this lets you show off the bend and lead the eye into the image. Curves are more photogenic and pleasing to the eye than straight lines. Bends also allow you to position yourself so you look like you are shooting from in the river. This can further be enhanced by a long lens to ensure there is no foreground. When doing this though remember to include a point of interest to focus the viewer’s eye and attention.

 

A moody coastal scene with a row of beach huts standing in calm water, titled 'Just before the heavens opened' by PhilNewberry, has been chosen as our Photo of the Week.

There's plenty to love about this image, but the mirror-like reflections in the calm water, the varied soft tones of the huts, and that moody, overcast sky are what really stood out. The huts stretching back give the picture great depth, and the overcast weather adds a calm, peaceful mood to the scene.

It's a calm, minimalist coastal landscape that's definitely worthy of our Photo of the Week accolade.

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. See the terms & conditions and prize procedure for more information.

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.

   

Feeding ducks is something everyone enjoys but next time you head off for your Sunday morning stroll around your local pond, pocket your camera as well as the treats you take for the Mallards and Swans.

 

1. An opportunity to get close to wildlife

As ducks are used to people visiting with goodies they're not usually skittish so getting close to them shouldn't be a problem. Even still, taking along a small bag of birdseed to scatter will keep the ducks in front of you for longer increasing the chances you have of getting a good shot.

Flat banks are the perfect location for photographing ducks as the low angle gives you a shot that has more of a duck's eye view. If you don't want to work hand-held, take along a light-weight tripod or beanbag to sit your camera on.
 

2. Which season is best?

Winter's a great time to head to the water's edge as the sun sits at a lower angle for longer which means you don't have to get up at the crack of dawn for softer light. You'll also get mist rolling over the water – perfect for silhouetting a bird against. For a bit of variety try shooting their reflections or look for interesting behaviour such as fighting or preening activities.

 

3. Need more details?

If you find their feathers are lacking in detail try adding a little fill-in flash. Just remember for birds such as Swans that have lighter feathers you'll need slightly stronger light. This time of year when lakes can be slightly frozen light will be reflected off the icy surface back under the duck, highlighting detail in their plume. For particularly gloomy days switch to a slightly higher ISO so you can use a quicker shutter speed. If you're out when the sky is rather bright keep an eye on your exposure if Swans are around as a white bird against a bright sky may mean your camera underexposes the shot.

For shots of birds in flight make sure you're on continuous focus and get the focus locked on the bird straight away. To freeze their movement in the air or when they're splashing on the water try a shutter speed of around 1/500sec but if you want to be a little more creative try to blur the motion of the wings with a slower speed of around 1/30sec.   

 

 

With half-term coming up in October, you may be looking for something that'll keep the kids entertained but still give you the opportunity to take a photo or two. One location that's worth considering is a safari park as there are some excellent ones based in the UK that'll give you the opportunity to capture frame-filling images of Lions and other animals usually seen on an African plane. 

 

1. Photographing wildlife from your car or a bus 

As you're going to be stuck in your car, or the safari park's transport service, a long lens is a must. Something like a 70-300mm telephoto will do nicely but if you have a longer one take that along too as smaller subjects such as birds will look tiny otherwise. The inside of a car isn't the place for a tripod but having something to support your camera when you're working with long lenses is a good idea. You can get window-mounted tripods but a beanbag is a cheaper and easier way to go. Simply place it on a surface, rest your camera on it and click away. As you're shooting through glass pack a lens hood and/or a polarizer filter as they'll both help minimise reflections. 

 

 

2. Use queueing to your advantage

People moan about having to queue but if you're a photographer at a safari park this could work to your advantage as it means you'll have time to observe your surroundings. If you can wait in one position for a while to snap interesting behaviour. If you're visiting the park to see one particular animal make sure you've done your research so you know what time of day they'll be out and most active. Keep an eye on the weather too as this can make some animals retreat to cover and you'll be left with empty shots of fields. However, if you do get to the park when it's raining don't get too down-hearted as some animals don't mind the rain and raindrops on the fur and the reflection of light on wet surfaces can create very moody photos.

 

3. Small changes make a big difference 

As you're in a small space it can be tricky to move and find different angles to shoot from but there are plenty of other things you can do to improve your shots. Always make sure the eye is in focus and when it is don't click the shutter straight away – wait for the glint in the eyes that can make both human and animal portraits come to life. Sometimes you'll have to wait for the animal to move to get this but all you have to do is keep re-adjusting your framing until the moment arrives. If it's portraits you're particularly after make sure you zoom in to make them frame-filling and if you have cars or other distracting items in the background wait until you've changed position to take the shot or blur it out of sight with a large aperture. If it's a group of lions or a herd of elephants you're photographing use a smaller aperture such as f/22 to limit the blur to get the whole group in the shot.

When you're in a hurry it's easy to forget about composition so you'll put your subject slap bang in the centre of the image. For some shots this will create a strong portrait but try to resist doing it every time and really think about the rule of thirds when framing up. You also need space for your animal to walk into and don't amputate an animals extremities – a lion missing the tip of its tail won't look right.

As you have to keep your windows up you'll be shooting through glass so to minimise reflections make sure you have your lens against the window. If you have one, try using a lens hood or you could put your spare hand above or to the side of the lens to help minimise reflection. As the engine will be running you'll find the glass will be vibrating so speed up the shutter speed to minimise shake. You may also find manual focus handy as glass can sometimes fool a camera.

One more, very important point is to observe the rules. We don't want to hear any stories of ePz members who were turned into lunch!

 

Our landscape is abundant with rocky views from the gneiss rocks of Scotland, through the limestone pavements of the Yorkshire Dales, to the rocky Jurassic coastline of Dorset. Move-in closer and their patterns and textures provide fabulous abstract opportunities for photographers.

 

1. Gear Choices 

The beauty of this technique is any camera/lens combination can be used. No special kit is needed - just a good eye for the best viewpoint and artistic flare to determine the best composition. You could use a tripod to be sure of a rock (excuse the pun) solid view, especially when shooting patterns on the ground, as it can be harder to hold the camera rigid when you're pointing downwards. If you do use a tripod make sure it has an option to splay the legs out wide so you don't get them in the shot.

A standard lens is ideal, especially for rocks patterns below your feet - either a fixed 50mm or short zoom from around 35-70mm range is fine. Use a longer lens if you can't get close enough to the rock face. This is ideal for distant coastal cliff faces or mountainsides. A lens with a close focus will be handy when the texture is more important...you can focus in close on the more intricate details of the rock's composition.

 

2. When To Take Your Photos 

Shoot in overcast light if you want less contrast, but this can reduce the impact of the photo. Sunlight casts shadows making the patterns of rugged rocks become almost 3D. You can use the flash from your camera set to fill to reduce the shadows. If you use a camera that has flash control set the flash compensation to -1 in sun-behind-clouds situations and -2 in bright sunlight. The result will be a reduction in the density of shadow areas, but still enough to give the necessary 3D effect.

 

3. Where To Look

Some of the best patterns can be seen in strata, layers of rock that have been formed by layer upon layer of rock or soil millions of years ago. These layers have become exposed by erosion from the sea or natural earth movement or from being cut away to make roads.

Some of the best viewpoints for photography can be found on the coastline. Go to any rocky coastline and you're likely to find interesting rock patterns and textures, whether on the cliff faces or the natural pavement you walk on. Cliff faces provide head-on views and show the strata with the most dramatic lines while the ocean bed, exposed at low tide, can provide smoother more interesting shapes.

Look for rocks covered on lichen - coastal and exposed mountain moorland areas or dense woodland where it's likely to be regularly damp are ideal for this sort of texture. Use the lens on close focus to crop in on the minute detailed textures and patterns.

 

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    1. Be Patient  Photographing lively animals like cats is all about patience – try not to get frustrated if your animal won't do what you want. Remember, it is at heart a wild animal and they won't always do what you want them to do. You might want to sit around with your camera without taking photos a few times too so they get used to seeing the camera and won't attack it or run away when you take it out of its bag.   2. Be Ready The most difficult thing about photographing animals, no matter how large or small, is that they move at the most inopportune moments. Setting your camera to continuous shooting mode may help you capture a good shot as they run off in a different direction. DSLRs feature quick continuous shooting modes but don't worry if you're not a DSLR owner as many compacts also have a continuous shooting mode built-in. Compact camera owners can also switch to sport/action mode to increase your chances of getting a blur-free shot.    

 

3. Ask For Assistance 

If you are looking to capture some action or movement shots, get someone else to play with your cat, distracting them so you can get some shots of them swiping and jumping without them going for your camera. Try getting your cat to run by throwing a toy or treat, and snap it in full run. Quicker shutter speeds or switching to sports/action mode will help you freeze your cat's movement. To further enhance the feeling of speed, pan your camera, following your cat as they run. This will, hopefully, keep your cat sharp while the background is thrown nicely out of focus. If you don't want to have a go at panning, pre-focus on a spot where you know your cat will run through and hit the shutter button when they come into frame.

 

4. Candids & Close-Ups

Another technique, to create a more wild effect, is to watch your cat outside for a while and snap more candid style shots of it hunting or climbing on a wall. Try shooting side-on so you can get a shot just as it leaps into action.

If you want some close-up shots of your feline friend, try dangling a toy above it to get it to look up from the ground. You could also try getting your cat to paw at you to give the impression that it's leaping. Dangling a toy will also encourage your cat to keep still and keep its attention focused, to stop it from wandering off. For less action-based shots, why not try capturing it lying down or stretching. Some really lovely shots can be taken while they're resting/sleeping, for example.

 

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Remember when you could look at a photo and know that it was, well, a photo?

If this year’s AI announcements from Apple, Google and Samsung left me with anything, it’s the certainty that those days are well and truly behind us.

From the 2023 discovery that Samsung was using AI to “enhance” photos of the moon taken on its flagship phones, to the latest round of generative tools added to Apple’s Photos app, the now-clichéd question “What is a photo?” has never been more complex or more necessary to answer.

For the record, my favourite answer to that question is the old superstition that when your photo is taken, a part of your soul is taken with it. Presumably, as you’re reading this, you don’t agree.

I must admit that the demoed results of these AI features do look good, and the only real effect of removing a lamppost from a photo of your kids is a marginally nicer snap to show their grandparents. Nonetheless, the argument that photography has a negative effect on the soul has never been stronger.

Enter Photosynthesis, an iPhone camera app that promises to enhance the user’s photos using zero generative AI. And it delivers the goods.

The idea behind Photosynthesis is simple: the app takes photos with two of the iPhone’s lenses simultaneously, then stitches the results together into a seamless composite. This resulting photo, therefore, combines the detail of the closer lens with the context of the wider, giving users the rather pithy “best of both lenses”.

It’s an idea so simple that it’s hard to believe no one has done it in the 10 years since Apple brought out their first two-lens model (the iPhone 7 Plus, which paired the regular 1x lens with a 2x telephoto).

Photosynthesis is the second app from British indie developer Sam Shepherd, who came up with the idea as a shutter-happy new parent looking to take the best photos without upgrading his phone and, understandably, without AI generating his son’s first steps. Now, after what he describes as “days of prototyping, weeks of building, months of refinement, and over 2,000 test photos”, the results speak for themselves.

 

A band performing on stage, shot from the crowd.

 

A map board, shot from several metres away.

 

Tower Bridge in London, shot from Blackfriars station, 2km away.

 

Users with an iPhone Pro (three rear lenses) can choose to pair the 1x with the zoom lens, or with the 0.5x ‘ultra-wide’, or even combine them all (’All 3’ currently in beta), while the standard iPhone (two rear lenses) can pair the 1x and 0.5x.

When shooting, the viewfinder helpfully indicates where each lens sits within the field of view, then the in-app editor comes with a heap of features designed for composite photos. While the aim of the app is to automatically produce a seamless result from just one tap of the shutter, the ability to ‘paint’ through one lens to the other is a useful tool to correct any remaining parallax artefacts.

 

The viewfinder, with green brackets to indicate the zoom lens framing.

 

The reveal tool, allowing users to ‘paint’ through one lens to the other.

 

The align tool, allowing users to tweak the relative position of the lenses.

 

Photosynthesis then offers a range of export options, from HEIC, PNG and JPEG, to layered Photoshop documents, 3D options, and a custom ‘Photosynthesis’ file that maintains editability while showing as a normal photo in other apps.

‘Photosynthesis: 2-Lens Camera’ is available to download for free on the iPhone App Store, with a 14-day unlimited free trial, after which you can keep using it for free with some limits to exports and customisation options, or pay a reasonable amount to keep everything unlimited.

And as for taking two photos at once, hopefully the slivers of soul stolen by each lens cancel each other out.

 

Neurapix has launched Studio Crop, an AI-powered Lightroom plugin feature that automatically applies consistent crops across entire portrait series. Photographers set a single crop specification with their preferred framing, aspect ratio, and eye alignment, then the AI applies it to all images at once. It's particularly useful for school, sports, and event photographers who previously had to crop hundreds of similar shots individually. The feature is included free with Neurapix Unlimited plans.

 

From Neurapix:

 

Neurapix has released Studio Crop, a new feature for its Lightroom plugin. The AI developed by the Göttingen-based company can now crop portraits according to predefined specifications - while it is already editing the images in the photographer's individual style.

The development of the new feature was prompted by school, kindergarten and sports photographers who previously had to set every crop individually across large series of images. They now get near-identical crops across entire shoots. To do so, Neurapix Studio Crop is simply checked in the usual editing dialog, and the whole series then runs through without any further input.

Photographers themselves determine how tightly the subject sits in the frame - with a little room around the subject, as a half body or as a three-quarter portrait. The AI recognizes the person in the picture (without capturing any biometric data) and applies the chosen framing to every photo in the series.

 

Aspect ratios & alignment to the eyes

The aspect ratio can be chosen freely as well: classic 2:3 or 4:5, square 1:1, or 9:16 right away, for instance when clients need images for social media stories and reels. With the "Align to eyes" option, the eye line also sits at the same height in every image of a series - a detail that creates a consistent overall result particularly for class and team photos.

 

 

"Photographers have asked us again and again to develop an AI crop that positions subjects consistently across large series," says Neurapix co-founder and CEO Nils Sauder. "We have delivered on that with Neurapix Studio Crop. For school photographers, for example, the feature is a real game changer, because it saves them a considerable amount of additional time. And the image editing happens automatically along the way."

 

Free with Neurapix Unlimited

Studio Crop is part of the Neurapix plugin for Lightroom Classic and is available automatically after an update of the plugin or a first installation. On the Neurapix Unlimited plan the feature is included at no extra charge. On Pay-per-Picture, an additional 1 cent per image applies - as with all other optional features - bringing the cost to a maximum of 5 cents per photo.

The existing Neurapix AI crop, which optimizes image composition in general, remains unchanged. It continues to be particularly well suited to reportage photography, while Neurapix Studio Crop is tailored to portrait series.

 

About: Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. For more information, please visit the Neurapix website.

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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 JonnyNI (Day 14 - Lights).

 

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 9

Bridges In The Landscape

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Day 10

Music Photography

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Day 11

Shopping

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Day 12

City Skylines

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  Day 13

Stairs & Steps

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Day 15

High-Up

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Day 16

Rugged Landscape

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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 buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

1. Composition - Don't Forget The Basics 

When shooting upwards expect the building to slope inwards at the top, especially when a wide-angle lens is used. Move to a higher position to reduce the distortion or use a special shift lens that's designed to correct perspective but these are expensive and aren't really a sensible option for the casual shooter.

Try to include the whole building by using a wider angle lens or stepping back to a more suitable viewpoint. Choose the position carefully. The same building could be shot head-on, at an angle of, say, 3/4 or by using a telephoto to capture a section with a more graphical feel. Don't forget you can zoom with your feet as well as your lens, too. When it comes to focusing, manual is your best option. 

  2. Exposures

When the sun goes down the light changes in two ways; firstly the exposure time required increases and secondly the colour of the light becomes warmer. Let's first look at the exposure. In low light, the shutter speed that's necessary to ensure a good exposure will usually be too long to avoid camera shake when hand-holding the camera. Using a tripod enables you to shoot at these long exposure times of between 1/15sec and several seconds or even minutes. If you don't have a tripod you can usually find a wall, lamppost or tree to support the camera, which can help considerably. Or you can try switching to a higher ISO as most cameras now cope well in the higher ranges. This means that in low light situations, such as shooting buildings at night, you can take photos with minimal noise or blurring. You'll also want to put your camera's self-timer into action or use a remote release if you have one as even pressing the shutter button can introduce shake that'll leave your with blurry shots. Consider using the Mirror Lock-up function, too which can be accessed via your camera's menu. 
 

3. Metering

Low light can also fool the camera's meter and this happens because it looks at the mass of dark and tries to compensate to make it mid-grey. By doing so, you get an exposure time that is too long for all the illuminated parts of the scene, such as neon lights, street lights or spotlit areas of a building as they become grossly overexposed.

To avoid this, you need to compensate for it. As a guide, use your exposure compensation setting to reduce the exposure by a couple of stops when most of the area is in darkness and by one stop when the building has a medium coverage of illumination.

 

4. Colour Balance

Illuminated buildings offset against a dark sky can look great, but you have to be careful with the colour as there can be a slightly orange or yellow cast created. Buildings illuminated by artificial light can also be problematic, depending on the lighting used in them. Two popular types are Fluorescent and Tungsten. Fluorescent tend to be used inside in offices and Tungsten in spotlights that part illuminates buildings.

With digital cameras, you can preview the image to check the colour balance and if it doesn't look right, just change the white balance setting you're using. Cloudy will warm your shots up while the Tungsten options will give your images a more blue tone. 

  5. Security

Take care when carrying a camera around at night, especially if you're venturing off the beaten track. Keep alert and where possible, take a friend with you.

  6. What To Capture 

Look for tall buildings you can shoot from. From up high you'll be able to shoot skylines as well as focus on single buildings. For something different, try to shoot the same location in daylight and in the evening. You'll soon see how buildings have a very different feel at night. Cropping in on illuminated buildings can make the image more striking and reduce the black from the surrounding, unlit areas. To give streetlights a 'starburst' use a small aperture which will also give you front-to-back sharpness in your shots too. Exposure times will be longer but if you have your tripod, this won't be an issue. If people are still exploring the city you can use them to add more interest to your shots. Get creative with silhouettes against well-lit structures or how about using slightly longer shutter speeds, say 1/2 a second, to blur the movement of people who pass through your shot. Don't increase your exposure times too much if you want to keep the patterns people create passing through your images though as anything above 15 seconds will probably remove them from your image. Bridges can be used to draw the eye through the image to a particular structure or focus your attention on famous buildings and landmarks which are guaranteed to be lit-up at night.

 

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© Fujifilm

 

Fujifilm has introduced the instax Pal 2, a compact digital camera designed to work seamlessly with the instax printer ecosystem. The upgraded Pal series includes an optical viewfinder and instax Animation mode alongside traditional photo capture, with images transferring via Bluetooth to compatible instax printers and hybrid cameras. Users can choose between instax mini, SQUARE or WIDE instant film formats before adding filters, text and stickers through the camera's built-in interface.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its unique, ultra-portable instax Pal™ digital camera series - instax Pal 2™ digital camera (hereafter Pal 2). Pal 2 brings a host of new features to the Pal lineup, like an optical viewfinder and new filters and shooting modes.

"When designing Pal 2, we gathered extensive customer feedback on the original Pal," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "It's new look is reminiscent of a classic analogue camera, complete with an optical viewfinder, and the ability to send/post images digitally or print images via instax™ smartphone printers or any of our Evo hybrid cameras, Pal 2 puts options in the palm of your hand."  

The dedicated instax Pal™ app lets the user's smartphone act as a remote shutter for hands-free photography. The app also lets users store and transfer their photos via Bluetooth®, while the built-in USB Type-C connector on the camera allows users to connect their smartphone directly to transfer photos into the app. Users can also review their image before transferring via Pal 2's 1.0-inch LCD Screen on the top of the camera.

Users can make their photos personal with any of Pal 2's five filter themes, each with six unique effects. Options also include the ability to switch between instax™ mini, SQUARE, or WIDE instant film and frameless formats before adding filters, text, and stickers. 

Pal 2 includes the instax Animation™ shooting mode – a new way to capture 10 frames and turn them into a playful, flipbook-style animation. Switching modes is quick and intuitive, making it easy to move from still images to animations. To print, users can choose their favourite shot and transfer it directly to any compatible, connected instax™ smartphone printer or hybrid instant camera (sold separately).

 

© Fujifilm

 

Key Features Recap:

• Portable digital camera
• Palm-sized design
• Pal 2 does not print photos - users can print images using instax™ Link series smartphone printers, instax mini LiPlay™ or instax mini Evo™ devices (sold separately). Free smartphone download of the app relating to the applicable instax™ device required. instax™ instant film required for image printing (sold separately). Prints photos in instax™ mini, SQUARE or WIDE formats. 
• Authentic Optical Viewfinder 
• 1.0-inch LCD Screen 
• Capture photos at up to 10 megapixels
• Camera Angle Adjustment Accessory included 
• Five filter themes, each with six unique effects 
• Download of the free instax Pal™ app required for use 
• Holds up to 100 photos at a time before required transfer to free, downloadable instax Pal™ app 
• instax Animation™ shooting mode 
• Wireless Bluetooth® 5.1 smartphone connectivity 
• Built-in USB Type-C connector
• Accepts microSD Card (not included) 
• Includes USB Type-C Cable, Hand Strap, Camera Angle Adjustment Accessory and 1-Year Limited Warranty 

 

© Fujifilm

Pricing and Availability

The instax Pal 2™ digital camera is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99. Pal 2 will be available in sleek Black or stylish White colour options.  

The instax Pal 2™ digital camera will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/instax-pal-2/

© Fujifilm

 

Fujifilm has unveiled the instax Link WIDE 2™ smartphone printer, introducing exciting new ways to print and personalize wide-format photos. Upgrading from its popular predecessor, the new printer features an intuitive Photo Mixer™ for quick collages and scannable QR code integration to embed links, audio, and locations. Read the full release below for complete details on features, pricing, and availability.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its WIDE-format smartphone printer - the instax Link WIDE 2™ smartphone printer (hereafter Link WIDE 2). Building on the popularity and success of the original instax Link WIDE™ smartphone printer that debuted in 2021, Link WIDE 2 brings a variety of new, interactive features to fans of instax™ WIDE instant photography.

"Our instax™ WIDE products are always highly sought after by a very dedicated fan base within the instax™ ecosystem," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "We listened to what our WIDE fans wanted, and what we heard most often and resoundingly was them asking when a new WIDE printer was coming out. Link WIDE 2's new features are designed to make each image distinctly personalised through the accompanying instax Link WIDE™ app. We're excited to see how our WIDE fans get creative with this cool new printer and app." 

A key new feature of Link WIDE 2 is its Photo Mixer™ app feature. Users can pick favourite images from their smartphone's camera roll and with a touch of the "Mix it" button, the app will generate a selection of collage-style layouts to choose from. Users can remix up to five times, then fine-tune with custom edits before quickly printing instax™ WIDE photos or sharing online.

Also, within the instax Link WIDE™ app, users can access a multitude of expressive frames, filters, emojis, colour modes, and text to customise their instax™ photo prints before printing or sharing them. Users can further personalise their images with over 1,600 in-app stickers.

In the app, users can add smartphone-scannable QR codes[1] to their instax™ WIDE photos to share links, locations, hidden messages, or even sound clips related to their images. 

 

© Fujifilm

 

Key Features Recap:

• For use with instax™ WIDE instant film (sold separately) 
• Prints instax™ WIDE photos (approximately 86mm x 106mm) 
• Download of the free instax Link WIDE™ app required 
• Wireless Bluetooth® 5.1 smartphone connectivity - print directly from the instax Pal™ or FUJIFILM X-T30 III digital cameras 
• Intuitive postcard-style collages via the Photo Mixer™ app feature 
• Print still images from video using the instax Link WIDE™ app 
• Use QR Print Mode to add URLs, sounds, locations, and messages 
• Add expressive frames, stickers, emojis, and text 
• Two distinct colour modes: instax-Rich Mode™ or instax-Natural Mode™ 
• USB-Type C port for easy charging 
• Includes USB Type-C Cable, Quick Start Guide and 1-Year Limited Warranty 

 

Pricing and Availability

The instax Link WIDE 2™ smartphone printer is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99 (including VAT). Link WIDE 2 will be available in two colours, Duo Beige or Duo Blue.

The instax Link WIDE 2™ smartphone printer will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/printers/link-wide-2/

 

[1] QR Print 'Record sound' and 'Hidden message' data are securely stored for up to two years

 

When using a tripod on terrain that is rocky, uneven, or hilly, there are a few things that you can do to make sure your tripod is as stable as it can be. Some of these tips may seem like common sense, but they will hopefully help prevent any accidents such as your camera taking a plunge in a river!

 

1. Weight And Load

Before you venture out make sure you're using a tripod that can support the weight of your gear. Also, if you're buying a new tripod and are planning on getting larger heavier lenses in the future do take this into consideration when making your purchase. Look for a light tripod rated for the highest weight as you'll soon notice the weight of your tripod once you're halfway up a wet, uneven hillside. 

 

2. Assess Your Environment

It's always better to be safe than sorry, so make sure that the area is stable enough to stand your tripod on before setting up. If you're working on very rocky terrain or near the edge of a big drop, make sure the tripod is not liable to slip.

It can also take a while to set your tripod up so it's always a good idea to find your location and have some ideas about composition before putting your camera on its support. 

 

3. Legs Before Column

When setting up, extend the legs before extending the centre column. Extending just the centre column is one quick operation and you are ready to shoot, but it is not good technique and can leave you with an unstable base to work with.

 

 

4. Adjust The Legs

Extend the fattest leg section first and keep the thin, spindly legs till last for when you really need the height. Having a wider base to work with is always a wise decision as they are more stable. Many tripods now offer various angle settings that lock at different degrees.

 

5. Ensure Your Tripod Is Level

Many tripods and tripod heads have built-in spirit levels to help you keep the tripod level. If your tripod hasn't, buy a spirit level to fit onto the camera's accessory shoe.

 

6. Position Of Your Tripod's Legs

Point one of the legs towards your subject so you have room for your feet between the two other legs. This will mean you have one less thing you have to worry about falling over when working on tricky terrain. 

 

 

7. What Feet Does Your Tripod Have?

Most tripods have rubber feet which absorb shock and offer good grip, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one. They're particularly useful for outdoor photographers as most of the time you'll end up working on loose soil, dirt, and other surfaces that will be uneven. 

8. Keep It Stable On Windy Days

Some tripods have a hook which you can feature a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. Another option is to take a heavy camera bag and wrap the strap(s) around the tripod's head to add extra weight. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still, they're particularly useful when working at the coast to stop waves knocking your gear into the sea. 

Another option is to use a piece of string or some nylon webbing can add extra stability. Tie one end to the centre column and have the other tied in a loop. Next time in a strong wind, have the string/webbing hanging down and slip your shoe into it and lean down. Your body weight will give extra stability.

   

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The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

1. Gear Choices

A telephoto lens is useful for pulling distant scenes to you while a wide lens is great when you're trying to get a whole town/city in the shot. A tripod's also handy if you're using longer lenses but not always a necessity and they won't be allowed in some locations. If shooting at night, a camera with good low-light capabilities will come in handy. 

  2. Locations

Don't look for your nearest skyscraper, get in a lift, ride to the top floor and start snapping shots of the city. You'll cause more trouble than it's worth, and there are plenty of other places that don't have huge panes of glass between you and the view.

If you're away you probably have a balcony you can get a few shots from or if your hotel has a roof terrace head up there with your kit and set up somewhere out of the way. Just ask if it's OK to do this first otherwise you could raise a few eyebrows. Look out for observation decks, bridges and even the big wheels that are popping up in cities. These usually take an hour to complete a full circle giving you ample time to get a few cracking shots.

 

3. New Look

Shooting straight down on a building that's been photographed hundreds and hundreds of time will instantly make your shot stand out and it will give you the opportunity to include the nearby streets to highlight the shapes and patterns not usually seen. You'll also be able to see how shadows are elongated and help add texture to your image. If you're not far enough away from the town/city all the buildings could appear to be all on the same level so you'll have nothing that distinguishes between foreground or background interest. To combat this problem look for something you can have in your foreground to help break up the shot.

 

 

4. Not So High

If heights aren't your thing why not try climbing a few steps or even standing on a wall to escape the standard view we usually see in shots. Looking over the bannister of a spiral staircase, for example, works well but it is something that's overdone and a little clichéd so be warned. Try taking a walk up a hill in the countryside near a city and you'll be able to shoot down to capture a cityscape.
 

5. Close-Up Work

Look out for buildings which stand out and use your telephoto lens to home in on them. These could be well-known landmarks, churches or even football stadiums.
 

6. Keep Your Feet On The Ground

If you want a series bird's eye view why not try a spot of kite photography? Some have even tried throwing their camera up in the air to put a unique twist on photography from a height. Although, this isn't something we'd recommend doing! 

   

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

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The image, by BillRookery, is titled 'The Warmth Before Winter' and is a very natural capture of this morning landscape. The early 5am start provided just enough soft light to give an impression of a calm sunrise across the scene.

The golden and amber tones in the sky add a warm colour to the scene, while sunlight hitting the tall grass highlights the slope of the hill. A single sheep eating quietly in the grass also adds something special. The large tree standing at the top of the hill brings the whole morning view together.

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. See the terms and conditions for more information.

 

If you're looking for lighting advice, be it for capturing portraits on a sunny day or shooting landscapes in summer, we probably have a tutorial to help you.

 

1. Five Top Tips On How To Control & Work With Natural Light

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.

 

2. Photographing Low Light Portraits

Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family.

 

3. Six Top Natural Light Portrait Tips For Beginners

Get back to basics and make the most of natural light by capturing portraits without flash or studio lights.

 

4. Five Top Tips On How To Use Window Light For Indoor Portraits

Daylight is free and it is wonderful for portrait work as not only is it flattering and photogenic but it's really easy to work with so it's a good place for beginners to start. You don't need a fancy studio, either, as you can pick a location outdoors or simply set-up next to a window in your own home.  

 

5. Three Top Tips On Using Fill-In Flash For Portraits

Fill-in flash can give images that extra bit of 'pop' they need as we explain in this article.

 

 

6. A Basic Introduction To Outdoor Photography: 4 Top Outdoor Lighting Tips

Light's an important tool for photographers and knowing how to make it work to your advantage when capturing photographs outdoors is essential.

 

7. How To Use Built-In Camera Flash Successfully

Flash can give images that extra bit of 'pop' they need and many cameras feature several flash modes for you to pick from so we're going to talk through the various modes available and how they work. 

 

8. Top Portrait Photography Tips That Use Just One Light

With just 1 studio light, the COOPH team demonstrate how you can create different/unique portraits by manipulating how the light falls to enhance portraits and, as a result, greatly improve your overall results. 

 

9. Three Top Tips On Controlling And Using Flare In Your Photos

If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

 

10. Nine Portrait Photography Light Hacks In 90 Seconds

We've got 9 lighting hacks to share with you which you can use the next time you're capturing portraits.

 

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