10 Handy DIY Photography Tricks & Hacks To Learn Today
Not everyone's a fan of DIY but building your own camera and creating your own filters can be fun, plus it's usually cheaper and who doesn't like to save a pound or two? So, here are 10 DIY photography tricks & hacks for you to try on a rainy day.
This one does involve spending slightly more than just a few quid but at the end of it, you do get a camera that's fully functional. The Bigshot DIY Camera and Lomography Konstruktor are a couple of examples of the kind of kits you can purchase.
Filters, particularly DIY ones, can be used with all types of cameras (including phones) and they can help you create interesting effects without having to break the bank or learn a new photo editing technique. Something as simple as a sweet wrapper (think Quality Streets) wrapped around your lens and secured in place with an elastic band can add colour to your shots while a pair of tights cut to size and pulled over your lens will give you a soft focus effect.
Who doesn't like a bit of Bokeh? But you don't just have to settle for circular out of focus highlights as you can use a few tools and your creativity to change the appearance of the shapes that appear. You need to get a black piece of card, decide on a shape, cut it out of the card then fasten the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot.
Macro lenses are great for getting close to subjects, but as with all lenses, they're an investment and aren't something all of us can go out and purchase. However, with the help of a reversing ring, you can shoot close-up work in an inexpensive way. You simply attach the reversing ring to the filter thread of your lens which then allows you to attach your lens to your camera in reverse. They can be tricky to use but they do offer one of the cheapest ways of capturing macro shots. For more tips on working with reversing rings, have a read of this article: Reversing Your Lens For Ultra Close-Ups
5. Use A Magnifying Glass & Shoot Macros
Another way to shoot macros without a macro lens is by taping a magnifying glass to the front of your camera. You can use most magnifying glasses as close up lenses as long as the magnifier is big enough to cover the front of your lens. For more tips, have a read of this: Macro Photography With A Magnifying Glass
6. Make Your Own ReflectorNothing beats the tin foil sheet that you'd normally wrap the turkey up into throw masses of light back into your subject. You just need to cut out a piece of card, apply glue or tape to it, carefully roll the tin foil over the glued cardboard, smooth out the tin foil with a sponge or cloth and leave to dry. You may need to trim the edges and you can apply tape around it too if you want it to look a little neater.
A tripod is usually the support photographers turn to but when you want to travel light or venture to places where tripods and similar supports aren't allowed to be used, you have to look for an alternative. One of these alternative options is a beanbag and even though you can purchase ready-made models, they're not hard to make yourself and the materials aren't expensive either. Basically, you just need some fabric, beans/polystyrene balls and a sewing machine or needle and thread. There are plenty of tutorials online with step-by-step instructions on how to construct a beanbag, including these found on Instructables: Camera Bean Bag Instructions
A flash diffuser is a useful tool but why buy one when you can create your own at home? Click the following link to view a tutorial that will take you through the steps for making your own interchangeable flash diffuser, with changing filter options, for whatever light source you come across when taking photos: Build A Flash Diffuser
9. Building A DIY Modular Flash System
Flash accessories can be made for next to nothing, all that is needed is a little creativity and a little spare time, as site member Paul Morgan explained in this tutorial: Building A DIY Modular Flash System
10. Get Creative With Light With An Old Lens
There's a technique you may not have come across called Lens Wacking and the idea is you allow more stray light to reach the sensor and to do this you shoot with the lens detached from and held in front of the camera body. It can be tricky to master but can create some really interesting, dream-like lighting effects and bokeh with just the help of an old, cheap manual lens you have at home. For more tips on how to perfect this technique that gives your images a cinematic feel, have a read of the Lens Wacking tutorial on Pentax User.
If you have any DIY photography tips or hacks others should have a go at, feel free to post them in the comments below.
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Evoto Expands All-in-One AI Photography Ecosystem Across Desktop, Instant, Mobile, iPad, and Video
Evoto has released an updated ecosystem brief presenting its products as a connected shoot-to-delivery workflow rather than separate editing apps. The structure links capture, culling, retouching, cloud sync, and publishing across multiple devices and product surfaces.
Key Takeaways
- Evoto’s ecosystem includes Desktop, Instant, Mobile, iPad, and Video products with role-based workflow handoff.
- Evoto Desktop v7.1.0 extends AI Lab (Smart Removal, People Removal, AI Scene) alongside Personalized AI Looks and Perfect Shot.
- The system is designed for photography teams that need repeatable editing quality across high-volume projects.
- Product messaging emphasizes automation for repetitive tasks while keeping final creative control with photographers and editors.
All-in-One AI Photo Editing Platform for 2026 Workflows
In the current positioning, Evoto Desktop remains the main post-production environment for large projects, while Evoto Instant is the delivery endpoint for online galleries and access-controlled sharing. Evoto Mobile and Evoto iPad support on-site and in-transit workflows, and Evoto Video extends finishing work into motion deliverables.
This ecosystem framing follows a pattern seen in current media coverage of imaging software: clear role assignment by device and stage, with less emphasis on broad AI claims and more emphasis on production continuity.
Seamless Workflow for Professional AI Photography
Evoto describes a five-stage operating flow:
1. Capture and ingest
Images enter through tethered shooting or import pathways, then are assigned to project-level structures.
2. Selection and grouping
AI-assisted culling helps flag technical rejects and organize similar frames for faster review.
3. Editing and consistency
Teams apply shared portrait and color logic in batch, while keeping the option for manual adjustments on individual frames.
4. Delivery and access
Approved outputs are routed into sharing workflows, including gallery-based distribution through Evoto Instant where enabled.
5. Video extension
Projects that require motion output can continue through Evoto Video for visual alignment with photo deliverables.
This sequence is aimed at reducing workflow breaks between tools, especially in event and school scenarios where deadlines are tight and image volume is high.
AI Culling and Retouching Tools for Pro Photographers
Across the suite, Evoto emphasizes AI as an assistant layer for repetitive operations:
- automated pre-sorting to reduce manual culling load
- batch-oriented portrait retouching and color handling
- consistency controls across multi-image sets
- optional cross-device continuation when projects move from desktop to delivery channels
Evoto also references recent Desktop-side feature evolution in v7.1.0 as part of the wider ecosystem value rather than isolated features. The Desktop draft aligns three feature groups:
1. AI Lab
A creative module for AI-assisted cleanup and scene composition workflows. The current AI Lab scope in this draft includes:
- Smart Removal: removes selected distractions with subject protection options in supported scenes.
- People Removal: detects and removes passersby or extra people in eligible images.
- AI Scene: supports subject cutout, background replacement, and layered foreground setup for controlled visual staging.
2. Personalized AI Looks
A style-training workflow that allows users to build reusable looks from their own edited image sets, then apply those looks across future projects.
3. Perfect Shot
A group-photo workflow that helps replace expressions from adjacent images when subjects blink or miss gaze direction.
Real-Time Tethered Shooting and Delivery for Events
For event and location work, Evoto positions Mobile and iPad as practical companions to Desktop rather than replacements. The workflow message is: capture and review in the field, then consolidate in Desktop for volume editing, then publish through Instant for client-facing access.
The Instant layer is presented as a delivery workflow rather than only a gallery viewer, including project sharing paths, branding controls, and participant-oriented access options depending on setup.
This cross-product chain is particularly relevant for:
- school portrait operations
- event photographers handling rapid turnaround
- studio teams requiring collaborative post pipelines
- hybrid teams delivering both photo and short-form video outputs
Professional Photo Editing Ecosystem With Cloud Sync Features
Evoto describes cloud sync as the connective mechanism across products. In operational terms, this means teams can maintain a central project logic while switching execution context by device and task.
The company notes that not every feature is universally available in every context. Plan tier, region, hardware support, image format, and release channel can all affect capability access.
Who This Workflow Is For
Based on current product documentation and positioning language, the ecosystem is primarily targeted at:
- portrait professionals handling repeatable edits at scale
- studios with multi-editor throughput requirements
- photographers who need on-site review plus later desktop finishing
- teams that want a single ecosystem across capture, edit, and delivery
Availability
Official product channels:
- https://www.evoto.ai/ai-photo-editor
- https://instant.evoto.ai/
- https://www.evoto.ai/ipad
- https://www.evoto.ai/evoto-mobile
- https://video.evoto.ai/
About Evoto
Evoto is a software company that builds AI-assisted imaging tools for professional photographers, retouchers, and visual production teams. Its product line spans desktop editing, cloud gallery and delivery (Evoto Instant), mobile and tablet apps, and video finishing—designed so studios can move from capture through batch retouching to client delivery in one connected workflow. The team focuses on high-volume portrait and event use cases, with an emphasis on workflow speed, repeatable quality, and user-controlled creative decisions.
In 2026, user-review platforms Capterra and Software Advice recognized Evoto AI across multiple photo-editing and AI software categories, including ease of use, value, recommendation, and customer support. Profiles: https://www.capterra.com/p/10015499/Evoto-AI/ and https://www.softwareadvice.com/product/515822-Evoto-AI/.
More information is available at https://www.evoto.ai/
Top Tips On Capturing Arty Style Flower Photographs
If you're a fan of black & white photography, with a twist of fine art and macro flower photography thrown in, you've come to the right article as we're teaching you how to get all Mapplethorpe at home with one flower and a few photography tools.
Light & EquipmentThe location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake.
Backgrounds
The background needs to be plain and a piece of black material will work fine. The examples shown here were shot against a black fleece draped over the back of a chair and some on black slate slabs which goes to show you really can use anything!
Focusing was done manually, which is always best for macro work when the lens can search for focus and aperture-priority was used, along with the exposure compensation facility to fine-tune the result. With a white lily against a black backdrop, the risk of poor exposure is quite high, so you may need to make minor adjustments as you go along.
For the above shot, the lens was set to its smallest aperture (f/36) for maximum depth-of-field which gave a shutter speed of 2secs. All the pictures here were done at ISO200.
Next, the flowers were moved closer to the camera and the lens was opened to its maximum aperture to throw the closer flower out of focus.
Closer still, these shots focus on the flower's stamen, with the shot to the right excluding the black backdrop completely. Depth-of-field, when you’re this close to the subject, is minimal even at a small aperture, as the images to the right shot at f/36 shows.
Quite a few cameras have a multiple exposure feature which will allow two or more exposures to be captured on the same frame. To create the effect shown in the following shot you need to capture one exposure sharp and one totally defocused.
If photographing the flower straight-on doesn't produce the look you're trying to create, try laying it down on a plain surface. The flower in the following shot had to be held in place with a piece of tape to open up the petal.
Black & White
Most digital cameras, even modest compacts, have a monochrome mode, which offers a quick way to enjoy black & white photography. However, convenient though this mode is, the image file straight out of the camera can lack contrast and may need some work in your editing software if you’re going to get the most from it.
The shot on the left is the JPEG monochrome file straight out of the camera and it looks a little flat. The right image is the same shot but the Levels were tweaked in Photoshop which gives more intense blacks and brighter whites.
It’s worth remembering that if you’re shooting in JPEG format, images shot in the monochrome setting will record in black & white only and you can’t produce a colour image should you change your mind later. Shoot Raw and even though the camera monitor might show the mono result you have the full-colour file at your disposal. The best option, if your camera has it, is to shoot in Raw and fine quality JPEG at the same time.
Many cameras have the option of letting you modify your shots using contrast filters (yellow, orange and red are the most popular), toning effects and Art Filters. Some of which can work well with this type of photography so it's worth experimenting with.
Used sparingly, toning monochrome images is a very effective technique and if your camera doesn't allow you to apply effects while shooting, you can always adjust your shots in image editing software.
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How to Recover RAW Photos from Camera (Step-by-Step)
When you accidentally remove the RAW photos, they're not totally lost but still on your camera's SD card, not showing themselves. With the right RAW image recovery tools and a little patience, you can get them back.
Here's what you need to know: how RAW photo recovery actually works, what causes files to disappear, and the smartest ways to bring those photos back - no matter what camera or storage device you're using.
Can You Recover RAW Photos from a Camera
Yes. Most times, it is possible to retrieve RAW images from a camera - if the files have not been replaced by newer recordings. Recovery depends on whether fresh media has written over the original data.
Deleting a RAW image or wiping a memory card entirely does not erase it instantly. That space gets flagged as "available" - yet the photograph remains hidden underneath. Only once new data moves in does it truly disappear.
Data recovery software like EaseUS Data Recovery Wizard takes advantage of this. It scans your camera memory card (whether it's an SD card, CF card, whatever), then looks for the unique signatures of RAW files like CR2, NEF, or ARW. With some luck, it can pull those deleted photo pieces back together and let you recover them entirely.
Common Reasons People Lose RAW Photos
Knowing how you lost your photos makes recovery a lot easier. Here's what usually happens:
- Accidentally delete files sometimes right from the camera or on your computer.
- Formatting the memory card wipes out everything fast, whether it's a quick format or a full one.
- If the SD card or its file system gets corrupted, it often becomes unreadable, appears as "RAW," and locks you out.
- If you remove the camera card without safely ejecting it on a computer, it can easily mess things up.
- Cameras show errors like "Card not formatted" or "Cannot read card," and that's never a good sign.
- Viruses or malware sometimes sneak in when you use the card on different devices.
- Suddenly powering down while taking or saving RAW photos just leaves you with incomplete files.
Common RAW Photo Format by Camera Brands
Different camera manufacturers use proprietary RAW formats. A reliable recovery method must support all major types.
Popular Camera Brands & Their RAW Formats
- Canon: CR2 / CR3
- Nikon: NEF
- Sony: ARW
- Fujifilm: RAF
- Panasonic: RW2
- Olympus: ORF
- Leica: DNG
- GoPro: GPR
Camera Types Covered
- DSLR cameras
- Mirrorless cameras
- Compact digital cameras
- Action cameras
RAW files are slightly more complex to recover, but modern tools can handle them effectively.
How to Recover RAW Images from Digital Cameras
When you accidentally lose RAW photos from your camera, don't panic. The best way to get them back is with a reliable data recovery program, and EaseUS Data Recovery Wizard is one of the top choices.
This professional RAW image recovery tool handles almost all RAW formats like CR2, NEF, ARW, RAF, and DNG. Whether you're using an SD card, microSD, or CF card, the software works across the board. It recovers files from formatted cards and even from corrupted (RAW) SD cards.
Follow these steps to recover deleted RAW photos from the camera:
Step 1. Open the camera, remove the memory card gently. Connect it to the computer using a compatible reader device. Wait for the system to recognize the storage unit before proceeding.
Step 2. Begin by opening the EaseUS Data Recovery Wizard. Once active, locate the storage device from the available drives. Choose the memory card shown in the menu. Proceed with initiating a scan. The process begins after selection is confirmed.
Step 3. As the scan runs - or once it finishes - narrow outcomes using file categories to locate your CR2, NEF, ARW, or any required RAW format. Focus shifts here naturally when sorting begins.
Step 4. Now preview the available files, picking only those pictures you need before starting recovery. To avoid complications, store them on a different drive instead of using the initial memory card again. A new location reduces risk - simple choice, a better outcome.
Alternative Ways to Restore Missing RAW Photos from Cameras
You don't always need professional camera recovery software to restore missing RAW photos from camera SD cards. Here are a few other options that sometimes do the trick:
Restore from Backup
If you're good about backing up your photos, you're in luck. Just check wherever you usually store your backups, maybe it's Google Drive, Google Photos, iCloud, Dropbox, an external drive, or a NAS. Restoring from a backup is by far the easiest way, as long as you actually made one before your photos disappeared.
Try Built-in Backup & Recovery Tools
Windows has File History, and Macs have Time Machine. If you set them up beforehand, you can pull lost files right from there. Just remember, these tools won't help if you never turn them on.
Deal with a RAW SD Card (After Recovery)
If your SD card suddenly shows up as RAW, save your files first. Use recovery software to grab your data, then go ahead and repair the SD card; something like CHKDSK can help on Windows.
Conclusion
Most photo recovery works best when you move fast, especially with RAW images straight from your camera. EaseUS Data Recovery Wizard handles such RAW formats well, making restoration smoother if you move fast after data loss.
To improve your chances of recovering lost RAW images:
- Immediately cease operation of the memory card or storage device.
- Use trusted recovery software.
- Keep regular backups.
If you follow these tips, you'll protect your photos and spend less time stressing over lost RAW images.
Camera RAW Photo Recovery FAQs
1. Can I recover RAW photos after formatting an SD card?
Recovered RAW images remain possible after formatting if new information has not overwritten the old ones. File structure links vanish during formatting; however, underlying data often stays intact initially. Tools that support deep scan may detect and rebuild lost photographs. Acting quickly increases the chances significantly.
2. Why does my SD card show as RAW?
A RAW SD card means the file system is corrupted or unrecognized by the operating system. This can happen due to improper ejection, a virus attack, or a sudden power failure. In this state, the card becomes inaccessible, but the data may still be recoverable. You should recover files first before attempting any repairs.
3. Can permanently deleted RAW photos be recovered?
Yes, even permanently deleted RAW photos can often be recovered using advanced data recovery software. These tools scan the storage device for leftover file signatures and reconstruct the files. However, if new data has overwritten the original files, recovery may not be possible. That's why immediate action is critical.
Imagen Video Brings Adaptive AI Color Grading to Professional Video Editors
The AI platform trusted by over 100,000 photographers now delivers professional, style-consistent color grading across every clip - directly inside Adobe Premiere Pro or DaVinci Resolve.
Today, Imagen Video officially launches out of beta. Imagen, the AI-driven editing platform that has transformed post-production for photographers globally, announced the official launch of Imagen Video at NAB Show 2026. After exiting beta, Imagen Video now offers advanced AI color grading seamlessly integrated into Adobe Premiere Pro or DaVinci Resolve, enabling video editors to enjoy automated efficiency while maintaining full creative control. Attendees can experience Imagen Video live at Imagen's NAB booth, April 18-22.
Color grading has long been one of the most technically demanding and time-consuming stages of video post-production. For editors working across multiple cameras, varied lighting conditions, and tight delivery deadlines, achieving a consistent, professional look can consume hours of manual work per project. Imagen Video eliminates that grind.
By combining AI Profiles trained on professional color styles with full support for custom LUTs, Imagen Video analyzes each clip individually, adjusting for lighting shifts, white balance inconsistencies, skin tones, and camera sensor differences, delivering a consistent, polished baseline grade up to 10 times faster than manual correction, helping editors meet tight deadlines with ease.
Unlike generic color correction tools, Imagen Video adapts to each editor's individual creative signature. Editors can apply their own LUTs or choose from professionally designed AI Profiles, and Imagen's AI handles the clip-by-clip adjustments needed to keep that look consistent across an entire sequence, empowering editors to stay true to their vision regardless of camera or lighting changes.
"Color grading is where a project either comes together or falls apart. And for most editors, it's also where hours disappear. We didn't build Imagen Video to replace the editor's eye. We built it to handle everything that doesn't require one: the technical corrections, the clip-by-clip adjustments, the camera matching. Imagen Video is the co-pilot every editor deserves; it handles the technical work, so you can stay focused on the creative," said Yotam Gil, co-founder and CEO of Imagen.
The results are already speaking for themselves. Tyler Hergott, an interior design videographer, put Imagen Video to a direct test against his own manual grade:
"I sent the client three versions: one converted through Adobe, one with my own manual color grade, and one color-graded by Imagen. I didn't tell her which was which. The designer selected the Imagen-graded version," says Tyler, interior design videographer.
One of the most common and costly pain points for event, wedding, and documentary videographers is matching footage across multiple camera bodies. Even cameras from the same manufacturer can produce shots that look noticeably different when cut together. Imagen Video's AI automatically harmonizes footage across sensors, lenses, and ISO settings - delivering a unified sequence without requiring editors to leave Premiere Pro or DaVinci Resolve.
"I'll shoot interviews with two or three cameras - all Sony, using Sony glass - but they never match perfectly. It's really hard to get them to match when cutting back and forth. Imagen does it flawlessly. I can't see going back to my old way of doing things," says Joe, a non-profit and event videographer.
Imagen Video runs natively in Adobe Premiere Pro and DaVinci Resolve, so editors can stay in their existing workflow from first cut to final grade. There is no round-tripping, no file export, and no separate application to manage, ensuring a smooth transition that respects their established process and expertise.
Within Premiere Pro or DaVinci Resolve, editors can apply their own LUTs or select from AI Profiles trained on professional color styles. From there, Imagen handles the technical layer automatically: correcting white balance and matching footage across different camera sensors and lenses so that editors can focus on the creative grade rather than the corrective one.
Imagen Video is available now as a full release, with comprehensive support and training resources to help users maximize its features. Detailed pricing and plan information are available at imagen-ai.com.
About Imagen
Imagen is the personal AI platform for professional photographers and videographers. The pioneer in AI-powered photo editing since 2020, Imagen helps over 100,000 photographers worldwide save time on editing, reduce costs, and deliver consistent, professional results at any scale. During beta, thousands of video editors graded hundreds of projects on Imagen Video, validating its performance across real-world workflows before today's full release. The platform serves studios, agencies, and independent professionals across weddings, events, schools, sports, and commercial photography and videography. For more information, visit imagen-ai.com.
Long Exposure Dance Photography Wins 'Photo Of The Week'
A stunning long exposure dance photo has won our Photo of the Week award. Taken during a one day workshop, this image by chataignier titled Persistance of vision workshop shows just how much you can do with shutter drag and long exposures to capture movement. By combining flash with stage lighting, the photographer froze the dancers' expressions while the golden fabric swept and swirled across the frame. We love how the soft, trailing motion creates a sense of rhythm and energy that feels dreamlike and beautiful. The warm tones against the deep black background make the dancers stand out, while the tiny particles caught in the light add an extra layer of magic to the scene. It is a creative and skilful shot that perfectly captures the artistry of experimental lighting.
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!
Fun Photography Challenge: How To Photograph Numbers And Letters With Everyday Objects
If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!
What Can I Photograph?
If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.
When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.
If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.
More Ideas
When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.
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How To Photograph Lighthouses In The Landscape
The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.
1. What Kit?
Take your camera and all your usual lenses and you will not go far wrong. You may find a camera with a smaller body more useful as they can be often fit in jacket pockets or if you prefer to carry your gear in a bag, it'll take up less room leaving space for a flask of tea and your packed lunch!
A tripod is needed if you intend getting there early or staying in late. Other than that, it is perfectly fine to shoot handheld. Filters are also definitely worth packing, especially the polariser that can be used to cut-down glare to enrich colours and saturate blue skies.
In terms of lenses, wide-angle and telephotos are equally valid. Wides let you use more of the foreground while telephotos let you pull in detail and are also excellent at putting the lighthouse within its environmental context.
2. Do Your Research
If you're looking for lighthouses have a look at the Trinity House website for more information and locations close to you. Have a look at where other photographers have visited too, plus a quick online search will find you visitor information as well as GPS coordinates and directions quickly.
Use your feet! Walking around your subject is always advised and is especially effective with using lighthouses. That way you can put your subject into context of the beach or town that the lighthouse is situated.
3. Time Of Day & Weather
Many lighthouses are still in use so a good time to shoot them is at dawn or at dusk when there is colour in the sky and the lighthouse's lamp is on. Do remember the lamp will be considerably brighter than the whole scene and you can end up with a light that's overexposed if you don't meter correctly.
At this time of day, there's not much light around so you will need the tripod and a remote release. If you set a sufficiently slow enough shutter speed you will get a complete rotation of the lamp.
Low light and stormy skies shouldn't be overlooked either, particularly if you can capture the waves crashing against the lighthouse or rocks nearby.
Lighthouses look photogenic in most lighting situations, but bright sun can be tricky because of high contrast problems – white is a popular lighthouse colour. Bland white skies are also an issue for the same reason. Other than that, get shooting.
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There Is No Such Thing As Bad Weather: Top Landscape Photography Tips For Rain Or Shine
The right light is an interesting concept. I am a firm believer that there is no such thing as bad weather – only different types of lighting. I get annoyed at the number of articles that say you can only take creative landscape photographs in the hour after sunrise and the hour before sunset. To me, that leaves a whole chunk of the day with a camera sitting unused in a bag!
It's Wet Out!
Certainly, though, certain subjects work better in particular lighting conditions and when the rain is hammering on my office window I'm fairly happy to be sitting in front of the computer rather than trying to capture landscape photographs! That said, I have been at the side of Buttermere in torrential rain and high winds and still managed to work with the conditions.
Mist and fog also create ideal light for pastel, almost painterly pictures, easily isolating foreground elements from the background; and while these conditions are certainly more prevalent early morning, they can happen at other times. Heavy snowfalls can also create monotoned, isolated elements, even resulting in pen-and-ink style pictures that are perfect for black and white.
The Sun's Out
When the sun does shine through, make the most of the textures, shadows and lighting angles; and even that doesn't always mean early or late in the day, I have a number of Lake District locations where the sun offers excellent graze lighting, really bringing out the textures of barn walls or dry-stone walls even in the middle of the day.
The best way to know where the sun works best in any location is to know the location well, and photograph it regularly; ideally even knowing which month offers the best elevation as well as the angle of the sun. If you're new to a location check on a map – remembering that the sun rises in the east and sets in the west. Even Google maps can provide some help if there is a road anywhere near your chosen location. Computer-based maps can give a good idea of the terrain and are sometimes easier to realise the contours than a traditional map.
Certainly early and late in the day offers low lighting angles which can naturally create longer shadows, but to truly reap the benefits, you need to either have side-lighting or even be shooting into the sun.
By all means, plan some of your shots before you go out, but always be ready to adapt to the conditions - don't come back without any photos because the light wasn't exactly what you had planned, but adapt to the lighting that's there. Only by doing that will you train your eyes to see opportunities that otherwise would be so easy to miss.
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ePHOTOzine Daily Theme Winners Week 2 April 2026
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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 James124 (Day 16- Bridges).
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 9Stone Circles
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Day 10
Woodland
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Day 11
Creative Flare
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Day 12
Full-Length Portraits
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Day 13Stained Glass Windows
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Day 14
Garden Landscapes
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Day 15
Flowers
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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.
3 Quick Top Tips On Why You Should Use People In Your Landscapes
2. Create A Connection
An empty shot of a forest or a mountainous landscape may be inspiring and pleasant to look at but if you add people to the shot the viewer can become more connected with the image as the person/people can help create more of a story. A sunset shot with a couple sat to one side of it will feel romantic while a rock climber scaling a cliff wall that's sat in your wide, landscape shot will create a totally different feeling.
People can also help create a sense of scale within an image, for example, a backdrop of mountains suddenly turn into dominating structures that tower above two walkers or a lake stretches out for miles past a single man out fishing for the day.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Westcott Launches the S18 Mini Flash
Westcott has introduced the S18 Mini Flash, a compact and accessible flash for shooters at every level. Weighing just 100 grams, it packs 18Ws of output, a tilting head for bounce flash, and a built-in USB-C rechargeable battery into a pocket-sized package. Small enough to fit in your pocket but powerful enough to get the shot, the S18 is built for photographers who want better light without the hassle.
From Lumesca Group:
Westcott, a leading manufacturer of professional photography lighting equipment, announced the launch of the S18 Mini Flash, a compact flash designed to give photographers of all skill levels a simple, affordable way to take better photos when natural light isn’t enough.
The S18 combines a tilting flash head, 19-step manual power control, and a built-in USB-C rechargeable battery into a package that weighs just 100 g and measures 2.4 x 2.1 x 0.9 inches.
The S18 is designed to remove every barrier that keeps photographers from trying flash for the first time. The price, the size, the simplicity — all of it is intentional. We wanted to create something that delivers real results from the very first shot. – Brandon Heiss, President of Westcott
More Light Where You Need It
The S18 delivers 18Ws of flash output with a Guide Number of 16 (ISO 100), producing significantly more light than the built-in flash found on most cameras. Paired with a native sync speed of 1/250s and recycle times ranging from 0.01 to 2.5 seconds, the S18 is ready for indoor portraits, street photography, events, and low-light scenes where available light falls short.
Bounce Flash or Direct Flash
The S18’s tilting flash head adjusts from -3° to 72°, giving photographers the option to bounce light off ceilings and walls for softer, more flattering results rather than pointing the flash directly at a subject. Multiple optical slave modes support multi-flash configurations for photographers ready to explore more advanced setups.
Built-In Battery with USB-C Charging
The S18 features an internal 3.7V 1250mAh lithium battery that delivers up to 500 full-power flashes per charge and recharges via USB-C in approximately 2.5 hours. The S18 also supports charging while in use, eliminating the need for disposable batteries and keeping photographers shooting through long events and sessions.
Easy to Control
Simple onboard manual controls and a clear display screen provide quick access to all flash settings. Power adjusts across 19 steps in a 7-stop range (3.0–9.0) with 0.3-stop increments, making it straightforward for beginners to learn flash fundamentals while giving more experienced photographers the precision they expect.
Ready to Shoot, Right Out of the BoxThe S18 mounts to most Canon, Nikon, Sony, Fujifilm, Panasonic Lumix, Olympus, and Leica cameras via a universal single-pin hot shoe. The kit includes five colour gels (Diffusion, CTO, 1/2-CTO, Yellow, and Red), a travel case, and a USB charging cable.
Availability
The Westcott S18 Mini Flash is available through authorised Westcott retailers and at fjwestcott.com.