DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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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 TheShaker (Day 18- Weather).

 

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 17

People In The Landscapes

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Day 19

Lighthouses

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Day 20

Numbers & Letters

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Day 21

'Arty' Theme

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  Day 22

'Fun' Theme

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Day 23

Flotsam

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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.

amaran has a reputation for creating excellent lighting solutions for today’s image creators. Its latest introduction is the Halo series, a range of great value COB (chip on board) lights. The five-strong family comprises the Halo 60x (63W output), 100x (100W), 200x (200W), 300x (305W) and the top of the range 600x, a 610W unit tested here. With an impressively high output coming from compact, space-saving designs, the Halo series is attractively priced, making great light attainable to content creators of all budget levels.

There’s no denying that the amaran Halo 600x monolight has a handsome profile. Key features include two control knobs on the rear, a light stand mount which doubles as a carry grip and brolly holder, and an internal cooling fan with silent mode.

 

Quick Verdict

If you need a powerful, no-nonsense monolight, look no further than the amaran Halo 600x. It’s solidly built and user-friendly whether using the on-board controls or the amaran app to fine-tune its output. Its design is well thought through too with some nice touches such as its light stand mount, which can accept a brolly spindle and works a comfortable carrying handle.

However, design and ergonomics count for nothing if the Halo 600x didn’t deliver a capable performance, but there’s nothing to worry about on that score. It has a prodigious amount of power that’s tightly controllable in terms of output and colour temperature and its colour performance is impressive too.

 

+ Pros

• Powerful
• Controllable down to 1% output
• 2700-6500K
• Accurate colour temperature output
• Integral cooling fan
• Bowens modifier mount
• Option of app control
• Special effects
• Design and build quality
• Support of amaran’s accessory and modifier system
• DMX control (Digital Multiplex control – remote control)

- Cons

• To be honest, at this price and with this level of performance, nothing
• A carry case would have been nice, but of course, that would impact the price

 

 

 

The amaran Halo series is the perfect companion to amaran’s flagship Ray series which features four monolights; the top of the range Ray 660C has a 660W output. In terms of lighting, the Ray series provides a full-colour output and an even wider colour temperature range (2300-10,000K) powered by the OmniColor light engine. The Ray 660C retails at £694 / $699.

By comparison, the Halo family features bi-colour lights offering core lighting needs in simple to use units that are perfectly at home, on location or in a full-blown professional studio. The Halo range-topping 600x retails at £462 / $469.

amaran offers a full range of Bowens fit lighting modifiers including softboxes (rectangular and octa), spotlights, barn doors and lantern diffusers. 

In this review, we used an amaran Lantern 90 (£104 / $99) and an Octa Dome 60 (£83 / $89).

Unmodified, the Halo 600x’s head gives a light spread of 85° and it accepts Bowens bayonet fit modifiers. The light mount stand has a hole for a lighting brolly stem and is contoured to serve as a carrying handle.

 

amaran Halo 600x Hands on

Pick up the Halo 600x, and I challenge you not to be impressed with its build quality but it’s not heavy, so it’s reasonably portable. The unmodified head gives a light spread of 85°, and it’ll accept Bowens fit lighting modifiers. 

A 5m mains cable with an angled connector comes with the Halo 600x, so just plug this in, and you are ready to go. Turning the unit on and off is done with a push button, and the central TFT screen keeps you informed about power output and colour temperature. Altering output is done with the top right knob and is controllable in 1% steps within the 1-100% power range, while the bottom button handles colour temperature from 2700 to 6700K. There’s no need to dive into a menu.

A free app available for iOS, Android and desktop (Mac and Windows) allows remote control of the Halo 600x via Bluetooth, and there’s a USB-C port for more advanced DMX control. The Halo series is amaran’s first COB light to offer DMX control via USB-C on every model for convenient integration into studio lighting consoles. There’s built-in NFC too.

Hit the bottom left button and that takes you to more settings and functions including the unit’s special effects, that includes fireworks, lightning, paparazzi and strobe.

The modifiers used for the test were the amaran Lantern 90 and the Octa Dome 60. In the Lantern’s case, it’s designed to give a soft, even spread of light across a broad area, while the Octa Dome 50 gives a tighter circle of light and comes with a diffuser cover and a cloth grid. Both are very quick to set up, but the Octa Dome 60 deserves a special mention for its innovative design. Assembling octa-type softboxes is traditionally fiddly and takes effort but to erect the Octa Dome, all you do is push the blue plastic tab into place. No strain and no having to mess around with stiff supporting rods.

I tried the amaran app on my iPhone. Pairing the light and app was easy and re-connected reliably each time I came to use the light. Controlling power, colour temperature and special effects was straightforward, so it was a convenient way of working if you can’t get to the Halo 600x’s control knobs or see the control panel.

Running at a high power for long periods even when a modifier was attached, was no issue. The unit grew warm but not hot, so the cooling fan did a fine job and was quiet too. 

 

The Halo 600x has a range of special effects that can be fine-tuned to suit.

 

amaran Halo 600x Key Features

• Price £462 / $469
• High-power COB light
• Mains powered
• Bi-colour chipset
• Separate brightness and colour temperature knobs
• CCT 2700-6500K output
• Range of special effects
• 96+ CRI
• 97+ TLCi
• Bowens modifier mount
• Beam angle, no modifier 85°
• Built-in active cooling fan
• On-board controls, by amaran app, DMX via USB-C
• Max power consumption 610watts
• Max light output 32,500 lux at 1m, no modifier
• TFT screen
• IP20 weather resistance rating
• Firmware upgradable
• Size including mounting bracket 24.2x14.1x16.5cm 
• Weighs 2.91kg
• Comes with 5m mains cable
• amarancreators.com

 

Simple but efficient, that sums up the Halo 600x’s control panel. The two knobs on the right control colour temperature (top) and output level (below) with the on/off push button (top left) and CCT/effects and other settings (below left). At the centre is the TFT readout panel. Here, it's just showing that a mains lead is connected.

 

amaran Halo 600x Output

Look through the amaran Halo 600x’s long specification list and you’ll see that the bare head at 1m at full power pumps out 32,500 lux at 4300K, the colour temperature that gives maximum output. This sounds impressive but what does that mean in practice? Using a Gossen lightmeter set to ISO 100, I got an exposure reading of 1/30sec at f/16.5 and ISO 100 at 1m and that dropped to f/8 at 3m. That’s an impressive amount of light, but of course, an unmodified head doesn’t give a flattering light, so I turned to amaran’s diffusers for a kinder look.

Adding the Octa 60 fitted with the outer diffuser sheet only, at full power, ISO 100 and at 1m, the meter reading was 1/30sec at f/11.8 and this dropped to f/5.6 at 3m. This remains a very useable amount of light.

Next, it was the turn of the amaran Lantern 90, a larger modifier that produces a lovely light. At 100% output, 4300K, 1m and at ISO 100, the meter gave an exposure reading of 1/30sec at f/11.7, so essentially the same at the Octa Dome 60. Moving out to 3m and the aperture dropped to f/5.6, again the same as the Octa Dome 60.

Trying different output levels showed that the power drop-off was consistent. As an example of this, without any modifier, the Halo 600x at 5600K, 1m and full power gave a meter reading of 1/30sec at f/16.6 and this dropped to f/11.6 at 50% power and f/8.0.7 at 25% power.

The cooling fan has three modes: Smart, High and Silent. My testing was done with the Halo 600x in its High mode, which did a great job of dissipating heat. The head does get warm in use, but not hot, so it’s still comfortable to change modifiers without burning your fingers.

Fan noise is not really an issue, but it is audible in a quiet environment, so if noise is a concern, there’s a silent mode, but this comes at a cost of output. With the Lantern 90 fitted and at 4300K, full power, ISO 100 and 1m, the meter reading was f/30sec at f/4, so that is over three f/stops less power than normal mode. Adjust output from 100% downwards and the output stays constant until you fall below 10%, and then it drops another one f/stop to f/2.8. At 3m, the reading is 1/30sec at f/1.4.3 throughout the output range until you dip below 10%, where the meter reading is 1/30sec at f/1.0. 

The Halo 600x’s two knobs give precise control of output in CCT mode, from 1 to 100%, and colour temperature from 2700 to 6500K.

 

amaran Halo 600x Colour performance

To test its colour performance and stability at different output settings, we used the Halo 600x in a practical scenario, using a simple set-up that included a colour test chart. The Halo 600x was fitted with the amaran Lantern 90 modifier and pictures taken of the test scenes at different output levels - 10%, 25%, 50%, 75% and 100% - and at a range of colour temperatures - 2700K, 3200K, 5500K and 6500K. Two cameras were used, the Canon EOS R5 and the Sony A1 II, and each was set to a manual white-balance value to match the Halo 600x’s colour output.

From this test, it’s safe to say that the Halo 600x gives a more than respectable and stable colour performance through its output range with minimal colour variance.

To see the results in more detail, please click on the thumbnails below.

 

Our test scene comprised test charts, natural colours and neutral tones, so any colour shifts would be easily identified.

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 2700K

Canon EOS R5 manual WB

set to 2700K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 2700K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 3200K

Canon EOS R5 manual WB

set to 3200K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 3200K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 5600K

Canon EOS R5 manual WB

set to 5600K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 5600K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 6500K

Canon EOS R5 manual WB

set to 6500K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 6500K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 2700K

Sony A1 II manual WB

set to 2700K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 2700K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 3200K

Sony A1 II manual WB

set to 3200K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 3200K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 5600K

Sony A1 II manual WB

set to 5600K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 5600K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 6500K

Sony A1 II manual WB

set to 6500K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 6500K, Sony A1 II

 

The amaran Halo 600x has a USB-C port for DMX control, there’s NFC and Bluetooth connectivity for control with the free amaran app.

 

amaran Halo 600x Verdict

The amaran Halo 600x is a powerful, reliable monolight that’s built to withstand the bangs and bumps of everyday photographic life. It performed exceptionally with no issues arising during our test period. 

The Halo 600x ran for several hours with the fan set to its High setting and it didn’t overheat, even when a modifier was fitted. 

In terms of light, the Halo 600x delivered plenty of power even when fitted with a modifier, and that light was colour consistent at different output levels. 

Ultimately, unless you need a full colour RGB light, the amaran Halo 600x is a great value, high performing monolight with much to commend it. With no serious shortcomings to report, it comes highly recommended for creators of all levels.

 

amaran Halo 600x Pros

• Powerful
• Controllable down to 1% output
• 2700-6500K
• Accurate colour temperature output
• Integral cooling fan
• Bowens modifier mount
• Option of app control
• Special effects
• Design and build quality
• Support of amaran’s accessory and modifier system
• DMX control (Digital Multiplex control – remote control)

 

amaran Halo 600x Cons

• To be honest, at this price and with this level of performance, nothing
• A carry case would have been nice, but of course, that would impact the price

 

 

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Due to the size of the UK, we're usually not a million miles from the coast where you'll find fishing boats and tourist boats galore to photograph. Further inland, there are rivers with boats, canal and inland waterways or even water-sports centre where you can capture action-packed images as well as shots of pedalos and canoes.

 

1. What Kit Should I Choose? 

For most boat photography a standard zoom of the 35-80mm range is fine. It's usually wide enough to get the whole boat in shot and long enough to crop in on sails, hull, lifebuoy on the side or other finer detail. You may prefer a longer lens 80-200mm if the boat is further away or to shoot small detail like mini flags, portraits of crew etc. and a lens with a close focus ability is good for detail in ropes, paintwork etc. when the boat is moored.

A polarising filter is a must to ensure reflections are reduced on the paintwork and to deepen a blue sky and cut down on reflections in the water. A graduated filter is useful if the boats are set against a bright sky, although watch for darkening of the mast and upper sails on yachts and such like.

If you plan on shooting panoramic photos of harbours and marinas, pack your tripod. 

 

2. Head To A Harbour 

Harbours conjure up picturesque scenes with colourful boats offset against beautiful blue skies, reflected in the waters below.  To get this sort of picture you need a sunny day with still waters. Use a polarising filter to make the colours more saturated and choose viewpoints without too much clutter. A single boat in the foreground makes a more impressive shot than one where several boats are fighting for your attention.

 

 

3. Wait For The Tide 

As the tide goes out you can photograph moored boats grounded in mud, or on the beach. Use the mooring ropes as a lead-in up through the photo. A small aperture is needed to ensure everything from the front of the rope to the distant boat is sharp. Shots will be more dramatic if you shoot from a low angle and include a brooding sky. Use a graduated grey or ND filter to darken the sky.

 

4. Walk Along A River Bank 

If you aren't near a coastal location you may have a river running nearby that has boats on it. You may get sailing boats, small cargo boats, river authority working boats or even barges. There will usually be speed limits of around 5mph which means that you don't need to worry about panning skills or the need for ultra-fast shutter speeds to shoot boats on rivers. For more impact shoot from a low angle (at the side of the river on a low bank point is best). Try to include interesting landmarks in the background, trees or the odd building at the edge of the frame to hold the viewer inside that frame and focused on the boat.

If there's a bridge find a position where you can use that as a frame as the boat passes under, but watch the exposure. The light under the bridge will be lower than the outside so it's easy to underexpose if your meter picks up the brighter area as the important part. Switch to spot metering where possible and take a meter reading from the sidewall of the bridge and use that as the starting point.

 

 

5. Make A Canal Your Focus

Canals run through many countries too. With these, you not only have boats to photograph but also the activities surrounding them. Barges are usually hand-painted and are very colourful. They often have matching watering cans or flower pots that are crying out to be photographed.  Shoot with a telephoto and wide aperture to blur the background. Focus on small areas of paintwork for patterns and interesting window displays. Find a spot where there's a lock and then you can photograph the activity as the barge is taken to the next water level.

 

6. Interested In Watersports? 

For those who prefer a little more action consider a day out at a water-sports centre. These locations are usually on man-made lakes around the country and offer sports enthusiasts opportunities to sail, water-ski or jet-ski. It's at these locations where you can shoot the speed. For the best results, it helps if you pan with the craft.

Experiment with the shutter speed to get the right amount of motion. Follow the boats and shoot as it reaches a central point of your pan. This will blur the background but if you are keeping at the same speed as the boat as you pan it will be sharp. Try to avoid moving the camera up or down as you pan.

Some have rapids for canoeing. here a fast shutter speed can be used to get the water droplets frozen as they splash around the canoe. Take shots as the canoeist comes up from a 360 roll water will be dripping off his face and he's likely to have a great air gasping expression.

 

 

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The idea of shooting old and new can be applied to various subject matter but one of the easiest ways to find subjects which can be used to interpret the theme is in the city. In most cities, new buildings are going up around older structures all of the time so it won't take you long to find a vantage point that gives you the chance to capture something new and something old in one frame.
 

Where To Start?

 

Out in your town/city, it's probably easier to look at buildings as a whole first, searching for old structures that stand next to or across from new structures made of metal and glass. How about looking for new shops in old buildings such as the stalls in Camden's stable market? Or looking for building sites where new buildings are getting created in front of structures that have stood for a long time?

After photographing whole buildings look a little closer for reflections of old brick-work in glass or new signs sat next to or even on older structures. You could try having a look through archives or even your relatives' photo albums to see if you can find shots of buildings you can go and re-create now and sit them alongside each other to show how much/little it's changed.

 

Keep It Simple

 

Try to eliminate as much of what's surrounding your old and new items as possible. This means cropping in with your lens or using your editing software to remove some of the distracting objects once you're back at your computer.

 

What Else Is There To Photograph?

 

1. People - Look for young and old people, a grandparent sat with their grandchildren for example.
2. Vehicles - Look for an older car sat in a line of more modern models or how about shooting a scrap yard with the piles of old, rusted cars and the employee's newer cars out the front? Don't enter the scrap yard though, just shoot from the road.
3. Technology -  Try shooting someone sat talking on a smartphone with an old fashioned telephone in the background. If you have an old games console in your loft, get it out and try a few still life shots of it next to a Playstation.

 

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

 

The Viltrox AF 35mm F1.2 LAB N FE is a premium Sony mount lens that combines a classic aperture ring with modern, high speed autofocus. Its weather sealed design and advanced 15 element optics ensure sharp results in any environment, serving as a rugged choice for professional photographers and videographers. With a bright F1.2 aperture, it delivers beautiful background blur and excellent low light performance for high quality creative results.

 

From Viltrox:

Viltrox today announces the launch of its AF 35mm F1.2 LAB N FE, a full-frame ultra-large-aperture autofocus prime lens for Sony FE mount cameras. Designed to coexist alongside the original AF 35mm F1.2 LAB, the new version builds on its proven performance while introducing a more streamlined appearance without a display. It’s paired with a traditional aperture ring featuring marked stops that provide precise, tactile control preferred by many photographers.

 

Flagship Lenses & Sophisticated Optical Structure

The flagship 15-element, 10-group optical structure (including 3 HR, 5 ED, and 2 UA elements) delivers exceptional edge-to-edge sharpness, preserving fine detail even under heavy cropping, while effectively controlling chromatic aberration in high-contrast or backlit scenes.

 

Significantly Faster Autofocus with Quad HyperVCM

Powered by Viltrox’s Quad HyperVCM motor system, the lens delivers significantly faster autofocus performance compared to traditional STM systems. With micron-level precision, fast focus transitions, and support for face and eye detection, it ensures reliable subject tracking, which combined with its quiet operation and smooth focus transitions make it well suited for video production.

 

F1.2 Ultra-Large Aperture

The F1.2 aperture affords increased light intake for cleaner low-light imaging and a shallow depth of field, while the 11-blade diaphragm delivers a smooth, rounded bokeh with a natural and pleasing rendering.

 

 

Professional Handling and Workflow Efficiency

Designed for intuitive control, the aperture ring supports click and de-click switching for both photo and video use, while the AF/MF switch enables quick mode changes. Two customizable buttons provide direct access to frequently used functions, improving responsiveness during shooting.

 

Engineered for Durability in Demanding Environments

The lens incorporates a sealed structure to resist dust and moisture, ensuring reliable performance in challenging outdoor conditions. A water- and smudge-resistant front coating enhances usability, while the full-metal housing and precision-plated brass mount provide long-term structural strength.

 

Close-Up Precision and Consistent Focal Sharpness

A minimum focusing distance of 0.34m enables detailed close-up shooting, while the dual floating focus design maintains consistent sharpness and resolution across the focusing range, from close-up to infinity.

 

 

Availability

The AF 35mm F1.2 LAB N FE will be available alongside the original AF 35mm F1.2 LAB, offering photographers and filmmakers the flexibility to choose the control style that best suits their workflow. 

 

More details and how to buy

For more information, please visit: https://viltrox.com/products/af-35mm-f1-2-fe

Amazon Store:

• The US site: https://www.amazon.com/dp/B0GWJ4RP2B
• The European site: https://www.amazon.de/dp/B0GWJ4RP2B

MSRP: 999USD / 999EUR / 869GBP

 

About Viltrox

Viltrox, established in 2009, is a globally-recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. The company’s portfolio includes cinema and autofocus lenses – such as the LAB, Pro, EVO, and Air series, launched since 2018 – along with monitors, adapters, and lighting solutions.

Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide. Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-centered design, empowering content creators in both still and motion photography. For more information, please visit: https://viltrox.com

 

As an island nation, many of us live fairly close to the coast and as well as tidal patterns in the sand, surf, sand dunes, grasses and breakwaters, the coast is host to a certain amount of flotsam. Although, rightly, we consider flotsam as undesirable rubbish, it doesn't necessarily mean that it won't make a good photographic subject. In fact, a day on the beach finding flotsam can be a great photographic challenge.

 

Where To Look For Flotsam

 

Finding flotsam is not too difficult, selecting what to take and making anything of it photographically is the most challenging aspect. Apparently the most common piece of flotsam is the humble cotton bud, but they're not the most exciting photographically. I like to look for shapes and textures – from rubber gloves to tin cans, which work best in close up using parts rather than the whole, giving a more abstract appearance.

I once found a broken plastic "beach" tennis racquet, and a few metres away from a smashed tennis ball – they simply had to go together. A partly submerged skateboard made another great subject – because only the end of it was sticking out of the sand it had a really discarded feel.

Old nets from fishing boats snagged on breakwaters can look good too, and washed up wood that has been eroded into smooth sculpted shapes by the sea can look fabulous.

 

The Best Light

 

Ideal lighting is probably hazy sunlight – enough to give some shape to your subject, but not too much to create harsh shadows – as with everything, there are exceptions, and will be many subjects that suit either very overcast or very sunny conditions. I do find a reflector can help with bouncing light back into shadows.
 

Safety First

More than anything though, be careful on the beach, windblown sand is not the best thing to get inside your camera so make sure lens changing is kept to a minimum, and shield your camera from the wind when you do change lenses. I turn my back to the wind, and use my body to protect the whole camera – I also make sure that I change lenses as quickly as possible, to leave the camera exposed for the shortest possible time.

Tripods, no matter how stable, can sink into the soft wet sand, so ensure they don't fall over, and lastly, be aware of the tide tables, check them on the internet, and don't get caught out by tides coming in fast whilst you're concentrating on pictures.

So next time you're at the beach, keep a lookout for other people's rubbish, which can become your art!

 

 

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1. What Gear Do I Need?

• Camera – Compact or DSLR
• Camera bag – Keep your gear safe from sand and sea salt when you're not using it. 
• Tripod – Something lightweight and portable will be perfect as it won't take up too much room in the car and your arms won't ache after carrying it around all day.
• Polarising filter – Help reduce reflections and boost contrast.
• UV filter – Protect your lens from scratches.
• Hurricane blower and lens cloth – Make sure your lens is free of sea spray and keep grains of sand out.

  2. How To Protect Your Gear

You might enjoy a day out at the beach but your photography gear won't. Make sure you wipe all of your gear down when you get home and leave it to dry out completely. Spiked feet will stop your tripod slipping into the sand as you're trying to frame up while a UV filter will help stop sand scratching your lens. When you're not using your camera, remember to put it back in your bag and if you're using a DSLR and want to change lenses, try and do it off the beach and out of the wind so sand doesn't get blown where it shouldn't be.
 

 

3. What About Time Of Day? 

The warm light of an evening will give you better results than midday sun or if you're a morning person, get up early when the sun's at a lower angle so your shots will be more evenly lit without large, deep shadows running through them. There will be less people around at this time too as most of the day-trippers will have left if it's later in the evening or not arrived if you're up at the crack of dawn. Don't dismiss shooting a few shots of a busy beach though, particularly if it's a hot weekend and the sand can't be seen for towels and seats.

 

4. Don't Just Look Out To Sea

Sweeping vistas of the ocean and cliffs do look great but do try turning around with your camera and photograph the scene that's unfolding behind you. Just be careful who you point your lens at as there is a chance it will upset some parents who'll want to know why you're photographing their children. Try capturing shots that help tell the story of what happened at the beach – close-ups of sun cream bottles, buckets, spades and dropped ice cream cones make great 'fill-in' shots for photo albums and photo books.

 

 

5. Look For A Focal Point

When you do shoot out to sea try giving the shot a focal point in the foreground otherwise it can look a little empty. Driftwood, rocks and footprints are just three things you could use to add an extra element of interest to your shot. Just check you're using a small aperture before you take your shot to ensure front-to-back sharpness.
 

6. Focus On The Water 

To turn the waves into a smooth, dry ice-like motion you need to set your camera on a tripod and dial down to a slow shutter speed. How slow you need to go will depend on the movement of the waves and how bright it is so some experimentation will probably be needed. If you're struggling to get the speeds you need use a polarising or ND filter to reduce the amount of light entering the lens.

 

 

7. Change Your View

If there's a pier get on top of it to give yourself some height. You'll then be able to get more of the beach scene in shot. If you're using a compact camera that has a tilt-shift mode, getting up on the pier will give you the chance to turn the people sat on the beach into model-like characters. If there isn't a pier try extending the centre column on your tripod to give you more height. You may want to pack a remote release in case you can't reach the camera's shutter button when your tripod's extended. It'll also help reduce the chances of shake spoiling your shot.

 

8. Check Your Horizons

You need to make sure your horizon's straight and try moving its position to draw the viewer's attention to a particular part of the shot. See our previous piece on Horizons for more tips.

 

 

9. Shoot A Sunset / Sunrise

You can't go to the coast without photographing a sunrise/sunset (depending on which coast you're on). Just remember to have yourself at your chosen location an hour or so before sunset/rise and make sure you pack your tripod as working hand-held in these low light situations will only cause shake. For more tips on this, take a look at our previous articles:

• Photographing Sunsets
• Sunrise Photography Advice

  10. Capture Some Close-Ups

Shells and pebbles are just two subjects you can use for a spot of close up photography on the beach. For more ideas and tips, take a look at our previous piece: Close Up Work With Compacts.
 

 

11. How To Deal With Exposure Problems

The problem with sand sat against a light sky is that it can confuse your camera into underexposing the shot so try using exposure compensation to deliberately overexpose the scene. It can be tricky getting the whole scene exposed correctly and bracketing can help, however, if you have subjects that can't stay still, your shots won't line up when you're back in front of your computer.

If you're working with a compact camera switch it to Beach scene mode from the camera's scene mode or picture mode menu. The Beach scene mode will increase the exposure slightly to compensate but also adjusts the white balance to make the sand look more natural.
 

12. Photograph People

To capture your kids running around switch to fast shutter speeds and continuous shooting mode. If you want to slow things down try getting them to do something that'll keep them in one place such as building a sandcastle you'll be able to get some great frame-filling shots of their faces to show their expressions but do zoom out a little too as this will give the shot context. If you find the sun's casting shadows on their face try adding a little fill-in flash and avoid positioning the sun behind you as this will only make them squint. For more tips on shooting portraits at the coast take a look at this article: Holiday Portraits.

 

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The 70-200mm f/2.8 lenses have been staple fare for many years, an undeniably useful range of focal lengths. They are also likely to be one of the best lenses from any manufacturer's range, pushing the quality towards the technically possible limits of current optical design. When the first version of this new Nikkor Z lens was reviewed some six years ago, it might have seemed that there was very little improvement that could realistically be made, but then here we are with a second generation version II. Faster and quieter focusing, improved VR, 12mm shorter, 362g lighter, better balanced for hand held use and mounting on gimbals, ARCA-SWISS tripod foot, de-clickable control ring; the tweaks and improvements are extensive. Yes, a slightly higher price, but that is relatively small compared to the expected service life of the lens. It's all very enticing, so let's see how it all works out, using the classy 45MP Nikon Z8 camera body, an ideal camera to challenge the new lens's capabilities.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Handling and Features

Current 70-200mm f/2.8 lenses are not small, but the new lens is significantly more compact than its initial form, weighing in at just 998g without the tripod foot and 1180g if the foot is attached. The foot is easily removed and there is a cover sleeve provided that fits in its place, offering protection to the finish of the lens barrel. Measurements are 90mm x 208mm, not exactly svelte but well balanced, a handling improvement when shooting handheld or using a gimbal.

A bayonet fit petal lens hood is provided and this clicks smoothly and positively into position. There is a locking catch. The hood also has a small window that allows access to the rim of filters, so, for example, a polarising filter can be rotated without having to remove the hood. This useful idea has been around for a while. The sliding cover, however, is rather easily operated and may be found to be open when not needed. As this slightly reduces the effectiveness of the hood it would perhaps be a good idea to make the cover firmer in action. Within the bayonet mount for the hood is a standard 77mm filter thread.

 

 

First up is the smooth zoom ring, clearly marked at 70mm, 85mm, 105mm, 135mm and 200mm. The action of zooming does not change the length of the lens, but there are groups of elements being shifted so this is a physical control rather than an electronic one. There seems little impact on the balance of the lens.

The four L-Fn2 buttons are next in line, and these can be programmed from the camera body. The focusing ring is electronic, as smooth in action as we would expect, and can be operated to fine tune the AF position once the AF has locked on. This may well be rarely necessary as the super-fast AF system seems to lock on exactly where required with unfailing speed and accuracy. Some of the sample bird shots were actually shot through metal grills and the AF system had no problem dealing with this, locking on every time through the gaps. With a wide aperture, the bars just disappear in the image. This could not be said of other marques being used at the same time that failed to focus most of the time. Beyond this, there are also the four L-Fn buttons, also programmed via the camera.

 

 

The thin control ring can also be programmed from the camera body and was set to change the aperture for this review process. There is a switch to engage or switch off the clicks, and as they would certainly be heard when shooting video, the de-clicking facility is essential. The A/M switch selects between AF and MF in the usual way and the focus limiter gives an option to restrict the AF to between 5m and infinity. The implication is that Nikon expect the lens to be used for longer range photography, but an option to set a close limit as well would be logical given the close focusing ability of the lens. 

Closest focusing depends upon the focal length selected:

 

70mm 0.38m 1.25' 0.3x 85mm 0.38m 1.25'   105mm 0.5m 1.64'   135mm 0.6m 1.97'   200mm 0.8m 2.63' 0.25x

 

Just behind the control ring is the tripod foot, solid but not overly large and having an ARCA-SWISS design. This is very convenient when using ARCA-SWISS style tripod connections. The ring allows the camera to be rotated from landscape to portrait orientation. When the ring is removed, there is a protective collar provided that covers the connection area around the barrel.

Focusing is driven by Nikon's Silky Smooth VCM motors and is indeed super-fast, as well as being staggeringly accurate and virtually silent. Focus breathing is minimised with videographers in mind. VR (Vibration Reduction) offers a 6 stop advantage, although this does nothing at all for subject movement, so for wildlife, a high shutter speed may well still be needed. Synchro VR is available with selected bodies and this optimises the VR between the centre of the images and the peripheral areas. Compatible bodies are currently Z9, Z8, Z6 III, Z5 II, Zf and ZR.

 

 

Optical construction is 18 elements in 16 groups, including 1 ED, 1 Super ED, 2 Aspherical, 1 Aspherical ED, 1 Fluorite and 1 SR. The use of fluorite, an expensive option, indicates a serious intent to aim for the highest quality. ARNEO and Super Integrated coatings are used, along with meso amorphous coatings. There is also the fluorite coating for the front element to repel dust, grease and moisture. The lens as a whole is sealed against dust and moisture. The diaphragm comprises 11 blades and produces a nicely rounded aperture.

There is also compatibility with both of the Nikon Z teleconverters. TC-1.4x offers a maximum reach of 280mm. TC-2.0x offers a maximum reach of 400mm. These offer a convenient way to carry a longer lens with a minimum of bulk, although there is a loss of speed, the 1.4x converter losing one stop and the 2.0x converter losing two stops. The converters were not included and are not part of this review.

Handling is very comfortable and the only real drawback is the weight of the lens. It may be lighter than the first version but it still has a fair bit of bulk about it. However, just feel the quality of the results, and it's perhaps a small price to pay for such excellence.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Performance

At 70mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent from f/2.8 right through to f/16 and are still very good at f/22.

At 105mm, central sharpness is outstanding from f/2.8 to f/5.6 and excellent from f/2.8 to f/22. The edges are excellent from f/2.8 to f/16 and very good at f/22.

At 160mm, central sharpness is excellent from f/2.8 to f/16 and very good at f/22. Likewise, the edges are excellent from f/2.8 to f/16 and very good at f/22.

It's pretty obvious that sharpness is just about as good as it gets and Nikon continues at the top of its game.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is highly corrected for and there is no sign of any colour fringing, even when the lighting and subject conditions are severe.

Distortion is virtually banished and the lens is as close to being rectilinear as makes no difference. Many macro lenses are not this good. Figures are almost zero, being actually zero at 70mm, +0.06% pincushion at 105mm and +0.02% pincushion at 160mm.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, and this new lens gives us some very beautiful bokeh indeed. It is relatively unusual to see smooth bokeh along with such high resolution, but Nikon manage it with apparent ease.

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 70mm 105mm 160mm f/2.8 -0.8 -1.4 -1.2 f/4 -0.6 -1.3 -0.6 f/5.6 -0.5 -1.1 -0.5 f/8 -0.5 -1.1 -0.4 f/11 -0.5 -1.1 -0.4 f/16 -0.5 -1.1 -0.4 f/22 -0.5 -1.1 -0.4

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Sample Photos Previous Next

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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  Value For Money

The [AMUK]Nikkor Z 70-200mm f/2.8 VR S II|Nikkor+Z+70-200mm+f/2.8+VR+S+II[/AMUK] lens is priced at £2999.00

There is a wide array of options for this specification, and to see where the pricing falls, here is a selection of them from all marques. These will not necessarily fit Nikon Z cameras, but still offer a benchmark for pricing.

• [AMUK]Nikkor Z 70-200mm f/2.8 VR S|Nikkor+Z+70-200mm+f/2.8+VR+S[/AMUK], £2599
• [AMUK]Canon RF 70-200mm f/2.8 IS USM|Canon+RF+70-200mm+f/2.8+IS+USM[/AMUK], £2999
• [AMUK]Panasonic Lumix S Pro 70-200mm f/2.8 OIS|Panasonic+Lumix+S+Pro+70-200mm+f/2.8+OIS[/AMUK], £1991
• [AMUK]Sigma 70-200mm f/2.8 DG OS HSM|Sigma+70-200mm+f/2.8+DG+OS+HSM[/AMUK], £1199
• [AMUK]Sony FE 70-200mm f/2.8 GM OSS II|Sony+FE+70-200mm+f/2.8+GM+OSS+II[/AMUK], £2600

Although at the high end of the range, the pricing seems about right.

 

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Verdict

Smaller, lighter, sharper, faster, better balanced, what's not to like about this new version of an already superb optic? It all has to be weighed up against the increased cost, but that is probably worth it for the improvements and the better handling for videographers as well as stills photographers. We do lose the small OLED display of the original lens but that is a very small price.

In the end, the enjoyment of the quality kicks in and the perception is of absolutely impeccable results, at a price of course, but that is inevitable. It is true that Nikon produces many lower-cost lenses that are also incredibly good, but these have slower apertures and do not offer the versatility of the new lens. 

It's a clear and definite Editor's Choice.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Pros

• Outstanding sharpness
• Virtually no distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• Almost zero CA
• Moisture and dust sealing
• 0.3x magnification at 70mm
• 6 stops VR
• Synchro VR with compatible bodies
• Modest vignetting
• Beautiful bokeh

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Cons

• Price

 

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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.
 

1. Build Your Own Camera

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. 

  2. Create Your Own Filters

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. 

  3. Create Your Own Bokeh Effects

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.

  4. Reverse Your Lens For Ultra Close-Ups

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 Reflector

Nothing 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. 

 

7. Create A Beanbag

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

 

8. Make A Home-Made Flash Diffuser

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.
 

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

    Hedgerows divide land right across Britain, including many back gardens, and they're home to a wide variety of wildlife making them a perfect place for outdoor photographers. A hedgerow will give you a huge shot collection of flowers, plants, insects, small mammals and birds from just one location. You just need to know where to look and when.   What Gear Should I Take? 

 

If you're on the hunt for insects and flowers take your macro lens along but if you want to photograph the many birds and small mammals that live in the hedgerow you'll need a telephoto or zoom lens so you can observe and take your photographs from a distance that won't scare them off.

A tripod or even a beanbag will give your arms a rest and stop you shaking the camera when you're working on those frame-filling shots. Use a remote release or if you don't have one make use of the self-timer as this will give you enough time to press the shutter and move away so your movement won't blur your shot. As it's dark and shadowy inside a hedgerow take a reflector out with you to add and direct light into the shot.

If you're going to be working on the ground it's worth taking a gardener's kneeling pad with you to keep your knees dry and a little comfier.

 

Capturing Shots Of Flowers

 

Whatever time of year you do your hedgerow flower photography, if you use your lens' minimum aperture to give your flower shots greater depth of field, remember this will slow your shutter speed down so watch out for camera shake.

 

Top Tips On Bird Photography 

 

If it's birds you're searching for wrens and thrushes are just two of the species you'll find nesting in the dense cover. This can make them hard to spot, but most birds prefer taller, mature hedges where there are plenty of trees around they can perch on so keep an eye out for areas like this. Also, spend enough time around these older, well-developed areas and you may even spot shy blue tits, owls and even bats if you're out late enough. Keep your ears open for bird song too as this will give away even the smallest of birds locations.

If your focus is a particular branch have your lens focused and exposure locked in place so when the bird lands you can quickly snap your shot. You may find continuous shooting's useful and keep an eye on your exposure as a bright sky and a dark subject can confuse the camera into thinking it needs to underexpose the shot.

Make sure you don't disturb any nests and don't trespass! Stick to public paths or better still, your own garden.

 

Shoot From A Bird's Eye View

If you live near a hill or can get to higher ground try photographing a group of fields. The patchwork of colour, particularly towards the summer with rapeseed, separated by rows of hedges makes a great looking photograph. Try doing a year-long hedgerow safari too as the flora and wildlife will continuously change so there'll be ample to photograph.

 

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

 

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/

 

 

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 & Equipment 

The 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! 
 

Exposure & Focusing 

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. 
 

In-Camera Edits 

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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When you first think of transport photography you probably think of cars but trains, boats and planes are just as interesting and with the right planning, can be photographed. In this article, we list popular transport photography tutorials and offer a few tips on the gear you may want to consider using.

 

Photographing Cars - Gear Choices & Our Top Tutorials 

 

A standard lens is fine as you can move around the car to alter the angle and position. You'll also want to use a polarising filter to reduce reflections just remember shutter speeds will be slower so you may want to use a tripod.

• Five Ways To Take More Creative Shots Of Cars 
• How To Photograph Your Car Successfully 
• Tim Wallace's To Car Photography Tips

  Photographing Boats - Gear Choices & Our Top Tutorials 

 

A standard zoom of the 35-80mm range is fine, although you may prefer a longer lens 80-200mm if the boat is further away. Make sure you use a polarising filter to reduce reflections/deepen blue skies and pack a tripod but if you plan on taking your shots at the coast or will be walking along a canal for a lengthy period of time, a light-weight tripod that still offers good rigidity will be easier to carry, particularly after you've been walking for a while. 

• Everything You Need To Know About Boat Photography
• How To Take Good photos From A Boat
• More Boat Photography Tips 
   

Photographing Trains  - Gear Choices & Our Top Tutorials 

 

A lens with a focal length between 50mm and 100mm is ideal. Better still, use a zoom lens with a range that covers 28-105mm so you don't have to waste time changing lenses. For shots away from stations, use a tripod with a pan head to follow the train and on the platform use a monopod as they can get busy and you don't want to get in anyone's way.

• Steam Railway Photography Guide 

  Even More Top Transport Photography Tips 

 

If you want even more transport themed photography advice, we have 10 more top tips to help you take better photos of trains, planes, cars and other modes of transport.
 

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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.

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.

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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A wonderful candid monochrome portrait, Two Old Boys from Daisymaye, is one that is well worth a closer look.

The image features two older gentlemen, both wearing caps and sunglasses, looking off into the distance in what feels like a quiet and natural moment between friends. The subject nearest to the camera is sharp and detailed, while his companion softens gently out of focus behind him, producing a fine sense of depth within the frame.

The monochrome treatment is a very fitting choice, removing all distraction and letting the mood, the detail, and the character of the scene come through with great clarity. It is a fine and thoughtful piece of candid photography.

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!

 

1. Gear Suggestions

Your normal kit is fine for many shots, but if you can't get close you will find that the telezoom might be worked harder than your wide-angle or standard zoom. Because the sky will almost certainly feature in your compositions, you should find room in the camera bag for a polariser. A warm-up would be handy too.

If you're taking shots inside a lighthouse there may not be room for a tripod, however, there should be plenty of room for a support outside it. Something light-weight will be easier to manage than a heavier model, especially when walking upstairs with it in or fastened to your bag. Talking of bags, as space could be tight, you want a bag that's easy to access and doesn't take up too much room. 

 

2. What Time Of Day Is Best? 

At this time of year, the light can be quite harsh and as most lighthouses are white (and red or black) the high contrast can be a real nightmare. On really bright sunny days, you might be best advised not to waste your time until the sun is shielded by some cloud or just waiting until later in the day. Obviously, much depends on how much time you have to hang around.

Lower, warmer light will undoubtedly give a more attractive end result and you and enhance that warmth with a warm-up filter while a polariser will enrich a blue sky. Late in the day and exposing for a brightly lit structure you might find that a saturated sky will result anyway so keep an eye on the preview image.

 

 

3. What Detail Will I Find? 

Zooming in with a telephoto and picking on detail is fun to do, although if you shooting externally you might find that there is precious little detail to enjoy apart from a few windows. If you are on a tour visit you have more opportunities – except that you might not have that much time and space because of being in a group. Shoot quickly in this instance and do your best to crop out fellow visitors.

Other techniques to try might be to shoot sections of the lighthouse for a 'joiner' image when you get home to the computer. You could also shoot a vertical panorama and merge the images during post-production. For a vertical stitch, you probably need to be further back with the telephoto to get a straight-on perspective rather than angling the camera upwards.
 

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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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Before you dig up the humble dandelion, have you ever thought about photographing it? If you haven't, here's a straightforward guide on how you can capture a rather fun and creative image of one without too much effort on your part. You can also create your own backdrops and swap them in and out for an extra level of creativity, too. 

All the photos show above are of the same dandelion taken from the same standing position with the stalk held at arm's length. The starting point was facing down with a green grass background and I then raised my arm towards the sky and took pictures at several positions on its journey.

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The Set-Up 

1. Pick a dandelion that has a full seed head.
2. Hold it at arm's length in your non-camera hand with it positioned in front of grass (you can use a tripod as this will free both hands, making adjustments easier).
3. With your camera manually set to close focus and held to your eye,  move the dandelion closer to the camera until it fills the frame and is in focus, then take a photo.
4. Adjust the exposure if the dandelion is too bright or too dark. If your camera is automatic take the photo when it's focused.

 

Experiment With Backgrounds

You can repeat the process but positioning the dandelion against different backgrounds. Each shot will look different and no doubt one will be preferred.

Here are just a few of the backgrounds you could use:

• Trees
• Blue sky
• Cloudy sky
• Coloured paper
• Textured walls
• Carpets
• Silhouetted against the sun

 

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