DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

14–17 January 2026 • Novotel London West, Hammersmith

Trade Show 15–17 January – FREE ENTRY

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits • Weddings • Lighting
• Wildlife • Macro • Post-production
• Creative storytelling • Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Join thousands of photographers for the ultimate start to 2026. 14–17 January • London Trade Show FREE Masterclass Passes & Superclasses available now

 

Book your tickets now!

 

© Affinity

 

Affinity has unveiled an all-new design app that brings together photo editing, drawing tools, and layout features in one easy-to-use platform. It’s built to be flexible, so you can set up your workspace the way you like, combine different tools, and even share your setup with others. Whether you're editing pictures, creating graphics, or working on documents, everything is now in one smooth and powerful space.

The best part is that Affinity is now completely free. This full-featured design software used to cost money, but now anyone can use it without paying. The update also comes with a fresh new look and marks Affinity’s next step as part of the Canva family, making high-quality creative tools more accessible to everyone.

 

From Affinity:

When Affinity joined the Canva family last year last year, we made a promise to preserve its power while expanding what’s possible. Today, that vision comes to life with the all-new Affinity: a studio-grade creative app that brings vector, photo, and layout tools together in one high-performance platform. Fully featured. Lightning-fast. And completely free.

For too long, professional designers have had almost no choice in the tools they use, from bloated software that slows them down, to subscriptions that stack up, and workflows that interrupt creativity. Across the creative community, we’ve heard the same frustrations: a call for speed, for power, for freedom. Designers have been asking for the tools they love, so we listened, and we built something better.

 

A new era for Affinity

For ten years, Affinity has been the tool of choice for professionals who care deeply about craft. Designers who value precision, speed, and control, and who expect their tools to keep up.

Now, that legacy enters a new chapter. The all-new Affinity was built in close collaboration with its community of creators, shaped by thousands of conversations, feature requests, and shared ideas. Guided by Canva’s Designer Advisory Board, this release reflects what professionals told us matters most: performance, reliability, and creative freedom.

From the smallest details to the biggest design systems, every feature has been built with respect for the people who use it.

  One app to craft it all

The all new Affinity app brings professional vector, photo, and layout tools together in one powerful space, featuring everything you need to design, edit, and publish without switching apps or breaking flow.

For designers who think in lines, curves, and grids, Affinity’s vector tools deliver precision and speed in perfect balance. Every adjustment happens in real time: paths adjust instantly, shapes snap into place, and even large files pan and zoom smoothly. From comprehensive brand systems to complex illustrations, everything feels responsive and effortless.

Affinity’s award-winning photo editing tools give you the freedom to experiment without limits. Every adjustment, from RAW development to retouching and compositing, is non-destructive, so you can refine endlessly without losing your original work. Plus, GPU acceleration keeps even the most complex files fast and fluid, while intelligent tools like Smart Selections, live filters, and batch processing help speed up repetitive edits.

With Affinity’s layout tools, structure and creativity work side by side. From short brochures to multi-page reports, you can edit images, graphics, and text directly within your document and see every change update live. Smart Master Pages, shared text styles, and advanced typographic controls keep everything consistent while giving you the freedom to experiment.

Whether you’re editing a portrait, building a brand identity, or designing a publication, the all new Affinity keeps you in flow, combining power, precision, and speed in a single studio-grade environment.

 

Design your workspace, your way

Every designer works differently, and now, Affinity does too. The updated app introduces a new level of personalization with fully customizable studios.

Creatives can mix and match tools from the Vector, Pixel, and Layout studios to build a workspace that fits their unique process. Rearrange panels, choose the tools you need, remove the ones you don’t, and save multiple setups for different projects or tasks. Custom studios can also be shared and downloaded, opening new ways for teams and creative communities to exchange workflows and learn from one another.

It’s flexibility built for focus, with professional tools that adapt to you and the way you work best. And no matter how you work, Affinity keeps up. Built on a high-performance engine, every adjustment updates in real time, from instant previews and detailed edits at 10,000,000% zoom to projects with thousands of layers. It’s ultra-fast, super-smooth, and precise down to the last pixel.

While the all-new Affinity has been reimagined, it still feels instantly familiar to those who know it best. The tools, workflows, and precision you rely on are all here – refined but not replaced. Every update builds on what professionals already love, so you can pick up where you left off and feel right at home.

 

© Affinity

 

Free for everyone

From the beginning, Affinity set out to challenge the idea that powerful design tools should come with a hefty price tag. Today, we’re taking that even further.

 

Affinity is now completely free, forever. 

The full, professional-grade Affinity experience, available to everyone.

There’s no catch, no stripped-back version, and no gotchas. The same precise, high-performance tools that professionals rely on every day are now open to all, because creative freedom shouldn’t come with a cost.

Whether you’re an independent designer, a creative studio, or a team building your brand, we believe everyone should have access to the tools they need to create their best work.

 

Affinity and Canva: Stronger together

Affinity has always been built for people who care deeply about design. Professionals who notice the details others might miss, who stay up late perfecting the final pixel, and who take pride in their craft. That hasn’t changed. But we couldn’t launch the all-new Affinity without something special for the Canva community.

For everyone with a Canva premium account, Canva AI’s tools are now accessible directly inside Affinity through the new Canva AI Studio. This includes familiar favorites like Generative Fill, Expand & Edit, and Remove Background – powerful features that speed up repetitive steps while keeping designers in full control of every detail.

Everything that makes Affinity a precision tool for creative professionals remains at its core: the speed, the control, the depth. Now, those same qualities are enhanced by Canva’s technology, giving you new ways to work faster, experiment more freely, and know that your tools will always keep up. Whether you’re refining a complex composite or extending parts of an image, these features work quietly in the background, supporting your process without ever getting in the way of craft.

We know that transparency around AI use and data handling is essential, and your creative work will always remain yours. Canva AI features are built with privacy and control in mind, ensuring that your creative work in Affinity stays secure, runs on the user's device, and work is not accessed to train AI features.

And when you’re ready to collaborate, scale or publish, you can export your Affinity projects into Canva in just a few clicks, to share with colleagues or clients. It’s the first of many steps toward connecting professional design with everyday creation.

This is a new chapter for professional design. We know some of our community may be curious about what this means for Affinity’s identity. It remains exactly what it’s always been: a professional design suite built for people who care deeply about their craft, now strengthened by Canva’s support and resources to take it even further.

You can also bring your existing work with you. Affinity supports PSD, AI, PDF, SVG, TIFF, IDML, and more, making it easy to open, edit, and collaborate without starting from scratch.

Today is just the beginning. We’re continuing to invest in both Affinity’s professional design tools and Canva’s all-in-one platform, building a future where everyone can design at the highest level, without barriers.

The all-new Affinity is available today for Mac and Windows, with iPad coming next year. The Canva community can activate Affinity with their existing account, while existing Affinity customers and new users can create a free Canva account to download Affinity directly.

For more information, please visit the Affinity website.

Halloween - it's a perfect time to shoot some portraits and capture some of the small details that make Halloween so spooktacular.

 

Low Light

Most Halloween themed activities don't start until after the sun's begun to set and that means there's not a lot of light left around to play with. If you're shooting still objects such as pumpkins, you can put your camera on a tripod and use slower shutter speeds but with kids that are running around high on sugar, longer shutter speeds will turn them into streaks of blur. Try using a slightly higher ISO or just shoot your portraits under a porch light or street lamp, to add a little bit of extra light to the scene. You can also head out at dusk when there's still light in the sky but the atmosphere you're trying to capture is just beginning to build.
 

Jack-O-Lanterns

If your flash is set to automatically fire, switch it off as you'll end up with a shiny looking jack-o-lantern that's lost all of its glow. Instead, use a longer shutter speed, making sure you have your tripod with you to stop shake spoiling your shot. If you find the glow from inside the lantern isn't bright enough, use a few more candles or switch the candles for a torch. You'll just have to position yourself so the torch can't be seen in shot. You can also try bracketing if you find metering to be a problem.

 

 

Portraits

There will, of course, be plenty of people in costume and shooting candids while you're out with your kids trick or treating, should give you plenty of interesting shots. If you're taking photos while they're knocking on a door, position yourself so once the door's open, it won't block your view.

For shots with more impact, get down to the child's level before you take your shot and fill the frame. If you have more than one child to photograph, make sure they're stood close together when taking group shots as people have a habit of putting space between themselves and another person.

Take time to study their makeup and costume to see which parts are the most interesting and should be focused on. If they have a particularly interesting mask, shoot a headshot and if you're going for a full body shot, make sure you take a look at their feet before you do as people tend to head out in shoes that aren't Halloween themed and they can spoil the overall feel of the shot.

Don't forget your basic composition rules such as filling the frame, rule of thirds and giving your subject space to look into. 

 

Small Detail

Look out for the spider's webs, decorations and pumpkins as shots of these, combined with shots of people in fancy dress will give you a great overall account of the day's events.
 

Graveyards

If you fancy heading to a graveyard to shoot some close-ups of detail or want to use them as a backdrop for portraits, have a look at our previous technique: Graveyard Photography
 

Have A Play In Photoshop

If you want to give a house a spooky feel, as David did with his image above, or add a ghost to a shot you've already taken, open up Photoshop and have a play around with the various tools and features to see what Halloween-themed image you can create.  

As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.

By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
 

 

It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!

Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
 

How to make a leaf ice block Place your leaf, vibrant autumn colours work the best, face down in the container, add water and put it in the freezer. If you can, pick leaves with splayed tips so light can shine through them. After about 30-40 minutes check your container as the leaves may have floated to the surface and moved position. Once it's frozen take the container outside and start shooting.   Make a support for your ice block

If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.

 

Camera settings

 

Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.

As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.   

 

As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

 

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Photo by Peter Bargh. 

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!

Photographers, this is the one you’ve been waiting for.

The Nikon Z6 III — Nikon’s latest hybrid mirrorless camera — has just dropped in price on Amazon, and it’s turning heads across the photography community. Whether you shoot landscapes, weddings, wildlife or high-end video, this deal gives you a chance to get a next-generation full-frame camera at one of the lowest prices we’ve seen yet.

Today’s Amazon Deal Details

• Current Price: Check live price on Amazon →

• Savings: Typically retailing at $2,496.95, this model is now significantly discounted.

• Retailer: Amazon (Official Nikon seller)

• Availability: Limited stock discounts like this rarely last beyond a few days.

• Prime Eligible: Fast delivery with free returns for Prime members.

Why This Deal Matters

The Nikon Z6 III sits right in the sweet spot between Nikon’s professional Z8/Z9 and the more budget-friendly Z5 or Z50.
It offers an incredible combination of speed, image quality, and cinematic video capability, all packed into a compact, rugged body that’s built for real-world shooting.

For photographers who’ve been waiting to go full-frame without spending flagship money, this deal is the perfect moment to jump in.

Nikon Z6 III Specifications ManufacturerNikon Image Sensor Pixels24.5Mp (Megapixels)Pixels (W)No DataPixels (H)No DataSensor TypeCMOSSensor SizeNo DataSensor Size (width)No DataSensor Size (height)No DataAspect Ratio

• 3:2
• 16:9
• 1:1

LCD Monitor LCD Monitor3.2inScreen resolutionNo DataTouch ScreenYes Focusing Focusing modes

Exposure Control Shutter speeds shortestNo DataShutter speeds longestNo DataBulb modeNo DataExp modes

• Program
• Aperture-Priority
• Shutter-Priority
• Manual
• A

Metering

• Centre-weighted - Average
• Partial
• Spot

ISO sensitivity100 - 64000White balance

• Auto
• Cloudy
• Incandescent
• Fluorescent
• Shade
• Flash

Exposure CompNo Data Viewfinder Viewfinder ResolutionNo DataMagnificationNo Data Shooting Options Continuous shootingNo Data Video Movie modeNo DataVideo Resolution

• 1920x1080 FullHD
• 4K
• 6K

Video FPSNo DataStereo SoundNo DataOptical Zoom with VideoNo Data Other Features Image StabilisationYes Interface HDMIYesUSBUSB 3Wi-FiNo Data Storage Card Type

• SD
• SDHC
• SDXC
• XQD
• CFexpress (Type B)

File Type

• RAW
• JPG
• HEIF

Power Source Battery TypeEN-EL15c Rechargeable Lithium-IonBattery Life (CIPA rating)380shots Box Contents Box ContentsNo Data Dimensions Weight760gWidthNo DataHeightNo DataDepthNo Data

View Full Product Details

These specs place the Z6 III right at the top of the mid-range full-frame category — it competes directly with the Canon EOS R6 II and Sony A7 IV, yet undercuts both in price when on offer.

Real-World Performance

Photographers who’ve tested the Z6 III consistently praise its autofocus accuracy and dynamic range.
Thanks to Nikon’s subject-detection algorithms (borrowed from the Z8 and Z9), it locks onto eyes, animals, vehicles, and even birds in flight with stunning precision.

In video, the Z6 III shines with its internal 10-bit N-Log and H.265 recording, giving filmmakers serious flexibility in post-production. Combined with the bright EVF and deep grip, it’s a true hybrid workhorse designed for creators who switch between stills and motion.

“This camera feels like Nikon finally nailed the hybrid formula — it’s powerful, compact, and makes no compromises,” said one early reviewer on ePHOTOzine’s test bench.

Who This Camera Is Perfect For

If you fit into one of these categories, the Nikon Z6 III deal deserves your attention:

• Hybrid shooters who record both high-end video and stills.

• Wildlife or sports photographers who need 120 fps bursts.

• Landscape photographers looking for excellent dynamic range in a lightweight setup.

• Upgraders from DSLR — especially Nikon D750 or D780 owners ready for mirrorless performance.

Nikon Z6 III vs Z6 II — What’s New?

If you already own or have been eyeing the previous-gen Z6 II, here’s what makes the Z6 III worth upgrading to:

Feature Z6 II Z6 III Processor EXPEED 6 EXPEED 7 (Much Faster) Autofocus Good AI-trained subject tracking from Z8/Z9 Burst Rate 14 fps 120 fps (JPEG) Video 4K/60p 6K/60p + 4K/120p + RAW Screen Tilting Vari-angle fully articulating EVF 3.69 M-dot 5.76 M-dot 4000 nits (brighter than Z8)

This is a generational leap, not just a refresh — making the current discount even more compelling.

Why Buy from Amazon?

• Official Nikon Seller — full manufacturer warranty applies.

• 30-day returns on most items.

• Fast, trackable shipping (with free Prime delivery for members).

• Verified customer reviews to back up your decision.

When buying camera gear online, Amazon remains one of the safest and most convenient platforms, especially when combined with an active Nikon warranty.

Expert Tip from ePHOTOzine

If you’re investing in the Z6 III, don’t forget to check out the Nikkor Z 24–70 mm f/4 S or Nikkor Z 35 mm f/1.8 S — both pair perfectly with this body and are often bundled with discounts. You can also adapt your older F-mount lenses using the FTZ II adapter, which works seamlessly with autofocus and VR.

Don’t Wait Too Long

Amazon deals like this rarely stay active for more than a few days — especially on new-release Nikon bodies. If you’ve been holding off, now’s the time to act before prices return to RRP.

Check the Nikon Z6 III Deal on Amazon →

 

A superb action shot of an Osprey lifting off with its catch has earned FOXTROTT1 this week’s ‘Photo of the Week’ title.

The image shows the bird at just the right moment, with wings wide open, talons gripping a freshly caught fish, and water splashing around. Every detail is clear, from the feathers to the droplets still hanging in the air. The soft background helps keep the focus on the osprey’s strength and sharp movement.

One member describes it as “Right Time, Right Place, Fast reactions” – and it truly shows. With perfect timing and clear focus, this photo really stands out as our ‘Photo of the Week’.

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

 

Photo by David Pritchard

 

With the days growing shorter, there are great opportunities for night photography in the city. Urban and city areas can be accessed in the dark, often at rush hour when there are amazing shots to be had in relative safety.

Article Sections:

• Gear
• Set-up
• Safety
• Locations
• Skylines
• Wet weather
• Long exposures
• Exposure
• Time of day
• Colour

 

Gear

Click on the links below to find gear options to purchase - by cliking on these links and buying anything, you are helping to support the site at no extra cost to you - thank you. 

• Tripod - You can get by with other forms of support but they are never as good as a solid tripod. Many of your exposures are probably going to be 5-10 seconds or more.
• Cable/Remote Release - This will help prevent vibration and camera shake.
• Light meter/card with exposure durations written on it at 1/3 intervals - Exposures can get quite lengthy at night, especially for film users where reciprocity failure becomes a problem. As the longest exposure most cameras can calculate is 30 seconds, you will often find situations where this is exceeded. I find it useful to have a light meter which will cope with much longer exposures.
• Camera - One that lets you work at higher ISOs and has low noise.

 

Checklist

1. Ensure your lenses and sensor are clean. Night shooting tends to emphasise dust and flare from dirty equipment. You will be surprised at just how dirty your kit is once you start shooting at night.
2. Check to see if your camera has a mirror lock function (usually this is in the cameras custom functions) or be prepared to shoot in live view if your camera has this. Personally I like live mode / view as it’s very effective at seeing in the dark.
3. Getting the exposure right at very slow shutter speeds can be very tricky and often involves guessing. Shooting in RAW format can help give you a little more flexibility in post processing.

 

Safety

Before looking at possible subjects, just a quick word on safety. It might still be early but you still need to be sensible and keep personal safety in mind. Where possible work with a friend or two and look out for each other. Avoid being out too late as drunks seem to find cameras unusually attractive especially when mounted on those strange metal legs we know as a tripod. Stick to areas with good lighting and lots of people. These tend to make for better images but are also usually safer.

 

Photo by David Pritchard

 

Locations

Now you have your kit prepared, start to think about the type and location of the shots you want to take. It’s tempting to turn up somewhere and then look for something to shoot. A better option is to think about the type of work and then pick a suitable location. Sometimes however you just get lucky and providing you are prepared you can get some good shots.

 

Skylines

City skylines are the obvious targets for night photography as many office buildings tend to have lighting for the night. Monuments such as churches often have night lighting also as do many industrial sites which work 24 hours. If you do decide to photograph industrial sites stay a good distance from the location as you don’t want to be suspected as a terrorist. I was however surprised when I went around London at night armed with a camera and Gorillapod. I thought that I dare not be seen with a tripod at night. What I found were lots of other photographers all carrying full tripods and using them openly in the streets.

 

Wet weather

Don’t rule out poor weather as wet pavements can be particularly attractive as they reflect the lights of buildings and traffic. When shooting moving objects you should consider what effect you are trying to create and what a suitable shutter speed is to achieve this. If for example you are shooting a car, the headlights will show up well, but when the car is moving fast and the shutter speed is long, the only thing that can be seen are the light trails. With shorter exposures you will probably retain some of the car in the image as well as the light trails.

 

Long exposures

You can use longer exposures to your advantage, for example when photographing people at night perhaps outside bars. People sat or stood may look relatively well defined whilst those moving past don’t show up at all.

 

Photo by David Pritchard

 

Exposing

When exposing your shot, be sure to cover the back of the viewfinder to stop light entering and affecting the exposure times. Different cameras seem to have different levels of susceptibility to this but every camera I have used has underexposed if I haven’t blocked the viewfinder during a long exposure. Getting the correct exposure is quite a task and open to guess work, so if in doubt just take the camera's exposure. If you like to judge exposure based on the camera histogram be aware that the histogram is likely to be clipped at both ends. Areas will become pure black and other areas of bright light will have no detail. Sometimes it’s worth bracketing shots a stop either way to ensure you have one you are happy with.

 

Time of day

It may sound strange but the time of day, or rather night can be quite important. The temptation is often to time our shooting for the night when the sky appears inky black. Whilst this might provide a stark contrast to the lighting on the building it also means there is no interest in the sky so you probably need to minimise its inclusion. Earlier in the day however the lighting on buildings doesn’t appear quite so strong although there might still be some colour in the sky which is more appealing. So when considering your subject give some thought to the time of the day and also consider this when selecting your composition.

  Colour of the lights

Another interesting aspect of night photography is the colour of the lights used in many settings. Street lighting for example is usually yellow and Fluorescent and mercury vapour lighting (often found in industrial settings) has a green appearance. Whilst these mixed lighting scenes can appear attractive in the image, you sometimes need to take extra steps to deal with these conditions. The most obvious step is to ensure your camera is set to AWB but even this doesn’t correct all the situations you come across. Film users might face an even steeper challenge as long exposures can cause unpredictable colour shift in the film although this can be quite attractive.

In summary, use the correct equipment with good technique, pick your subject, composition and approach and you will be able to capture some great night images in your city. Most of all, remember to keep to the busy areas and stay safe.

 

 

Photo by David Pritchard

 

Words and images by Robin Whalley from Lens Craft.

Photo by David Burleson

Add A Vignette

To create mood and to add emphasis apply a vignette to your transport shots. For more information on how to do this, take a look at our tutorial: Creating Vignettes.

Shoot Inside

As well as shooting the outside, if you can, open the doors of the car, truck or of whatever transport you’re photographing and capture some interior shots. You can go wide, capturing the whole of the interior or use a close-up lens to focus on detail such as dials, buttons and badges.
 

Fill The Frame

To really add emphasis so the car is the only focal point of the shot, fill the frame with it. This, however, doesn’t mean it has to be positioned in the centre of the shot. Move your position slightly to the left or right and you’ll see how it can make a really big difference to the overall image. Just make sure you don't clip off a wing mirror or a wheel in the process.

Photo by David Burleson

Use Reflections

Try using the car’s mirrors or some part of its bodywork to capture a reflection of another part of the car in. Just have a good look at the reflection to make sure you or any passers-by aren’t captured in the shot as you’ll have to spend time cloning them out later if you do.

Away from the car look for puddles and other reflective surfaces you can photograph. New buildings, which are full of glass and steel, are great backdrops to position new cars against.

Stepping further back so you can see the reflection of the horizon down the side of the car can also work brilliantly, particularly at sunset or if you're in a picturesque location.

Photo by David Burleson

Change Angles

Take a walk around the mode of transport you’re photographing and look for the angles, shapes and little details that make it unique. 

Get low to headlight level to make it look intimidating while shooting from the side will give you the chance to follow the lines of the car’s bodywork which will help guide the eye through the shot.

Shoot up high so you can show the car’s overall shape, just make sure the sky’s not overexposed. You can always fit an ND grad to darken the sky, creating more mood. For wider shots, make sure you can’t see what’s behind the car from underneath it as this will be distracting.
 

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Kenwil (Day 06 - Creative White Balance)

 

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 1

National Parks

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  Day 2

'Win' Theme

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Day 3

Fireworks

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Day 4

Races

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  Day 5

Photo Walk

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Day 7

Panoramas

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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.

Remembrance Sunday is a day that commemorates the sacrifices of armed forces and civilians in times of war and artificial poppies are bought and worn as a mark of respect. Although the 11th is the actual Remembrance Day, a two-minute silence is observed at war memorials and other public spaces across the UK at 11am on Remembrance Sunday. At these locations and for weeks after you will see decorative wreaths of poppies placed at these memorials which can make an interesting subject for photographers.

 

What sort of kit is best?

Any compact camera can be used to photograph memorials and artificial poppies. As long as it has a lens with a fairly close focus you will be able to shoot closer shots of individual poppies or wreaths, and a wide angle will help you take a more overall view of the scene.
 

The main thing you need is imagination.

Respect your surroundings

At all times respect the location. These are areas marked for people who lost their lives and people come to pay their respects. The last thing they want is a disrespectful photographer interrupting their moment.  

Memorials are often grand structures and dwarf the wreaths placed below them so consider moving in closer with a tighter crop of the scene. Use a wide-angle lens and move in close placing the memorial to one side and allow the background scenery/cityscape to contrast against the scene.
 

Utilise the colour of the poppies

Consider the bright colour of the poppies against the often cold dark tones of the memorial and underexpose slightly so the darker areas become a stark contrast behind the vibrant red of the poppies. You can adjust the contrast and colour saturation using your image editing program to enhance the poppy colour.

Try focusing on a single poppy and isolate it from the rest of the scene. Placing one strategically on a part of the memorial will give an interesting still life set. Use a polarising filter to prevent reflections from the statue or polished marble.
 

Be creative with your angles

Hone in on a single poppy in a wreath and use a wide aperture to throw the rest out of focus. Choose the right angle and the rest will be a blur of red as a background.

Many of the memorials have very poignant messages engraved in the marble. Try including one of these in the shot with a wreath. Have the wreath on the foreground and the message tailing off to the distance. Photography the message head-on and cropped so just a few of the words are visible with a single poppy laid over them.

 

Don't forget the people at the ceremonies

Candid shots of old war veterans wearing poppies can make good photographs. Again, respect the person. Asking if you can take a photograph is polite and then you don't have to grab the moment. You can spend a few minutes composing the shot and making sure the viewpoint is good. If the person is in a wheelchair get down to their level for a better perspective.

A photo of a person placing a poppy on the memorial could look good from the right angle. Again, take from a low viewpoint and makes sure the face and the poppy are in frame.