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 mitchellhatpeg (Day 23 - Mist / Fog).

 

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 24

Market Stalls

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Day 25

Motion

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Day 26

Good Weather

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  Day 27

Mountain Landscapes

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Day 28

Forests

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Day 29

Arboretum

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Day 30

Autumn Close-Ups

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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.

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

 

3. Ask For Assistance 

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

 

4. Candids & Close-Ups

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

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

 

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

 

The punchy shades of autumn give a photographer the perfect opportunity to capture images with a much more arty feel. For those who enjoy playing around with Photoshop there's a way to turn your autumn forest shots into streaks of bold colour in a few easy steps, or you can create a similar look in-camera if you prefer. If you're out on a breezy day there's a third way you can create autumn abstracts by capturing the movement of leaves. 

 

1. Move Your Camera And Lens

This technique is better known as a drag landscape and we have tips on how to do this in a previous article we published back in the spring. To summarise, you set the exposure going then drag/pan the camera in a particular direction. By doing so the trees will be turned into strong lines of colour that give a twist to the normal autumn shot.

You can also focus in on the leaves and play around with your panning directions to create movement in the image. Moving in a circular motion can work particularly well when you're working with the canopy which tends to have less prominent lines and hard edges. Experiment with the size of the circle you 'draw' as again, this will alter the shapes in the image. 

  2. Create The Look In Photoshop

If you've got a few autumn shots hiding away in your computer's folders you can recreate the look the above technique creates in Photoshop. For step-by-step tips on how to do this, take a look at this tutorial: Abstract Autumn Shots In Photoshop

While you have Photoshop open, why not turn your Autumn drag landscapes into a Triptych too? 

  3. Take Your Images On A Windy Day 

Instead of worrying about wind movement of trees spoiling your shot, take advantage of the weather and emphasise the movement. A long exposure will render the autumn leaves into a creative blur. If you're going for a landscape shot where trees are featured but you do have other parts of the scene you don't want to be so blurred, do make sure you take plenty of images as you don't want to head home and find out nothing was actually sharp in frame. You can then just delete the ones you don't want to keep. You will also have to experiment with shutter speeds to ensure you get movement in the leaves but not in other parts of the image. You could achieve the desired result with multiple exposures, too.    

 

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

 

1. Composition - Don't Forget The Basics 

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

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

  2. Exposures

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

3. Metering

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

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

 

4. Colour Balance

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

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

  5. Security

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

  6. What To Capture 

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

 

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

 

1. Gear Suggestions

• Wide-angle lens
• Polarising filter – Helps boost colour
• ND Grad filter – Balances the exposure of the sky and foreground
• Waterproofs – It rains a lot in the UK!

  2. When To Take Your Shots

Early morning or the end of the day is perfect for autumnal photography as the warm colour temperatures of the setting or rising sun boost the autumnal shades. The end of the day tends to be warmer than early morning too which is good news for those stuck in offices all day. Keep an eye on the weather forecast for the evening before you plan on heading out as a cool night helps the autumn shades develop.

Another advantage of heading out of the door early in the morning or later in the evening is the light is more diffused which means the difference between light and shadow areas isn't as extreme. It's still worth keeping an eye on your histogram, something which can be done in Live View on many cameras which means you can see the histogram display change as the scene in front of you alters or as you make tweaks to the exposure. This not only saves times but is a lot easier than making changes, taking a shot then checking the histogram. 

If the sky's proving to be a problem as it's too light, fit an ND filter to your lens to balance the exposure. Of course, if you're not an early riser and don't fancy heading out after your tea you can use editing software to boost the autumn colours in your shots too.
 

3. Where To Go

The Lakes, Peak District and the Brecon Beacons look particularly impressive during autumn but really you just need to go somewhere that gives you a little bit of height and a few breath-taking views.

 

 

4. White Balance

Switch from auto to cloudy or shade to add an extra level of warmth to your shots that really boosts the autumn shades.

5. Look For Contrast

If you're shooting sweeping shots of a forest canopy from a hillside have a look for spots where the oranges and yellows are broken up with greens. Lower down, shoot at the forest's edge, using the shades of a field to contrast with the orange tones of the forest.

Golden coloured leaves pack some punch when framed against a blue sky but don't dismiss dark skies either as overcast days can give you moody, richer looking images. Rain clouds look great on the horizon and once the rain has passed, colours naturally become more saturated. If there's a breeze blowing have a go at using slower shutter speeds to capture the movement of leaves and branches as they blow in the wind to give your images a more abstract feel.

 

6. Foreground Interest

For sweeping scenic shots, it's important to have foreground detail to add depth and to fill what can be a big empty space in front of the lens. It can also add a sense of scale to a shot but don't fill it too much as your shot will end up looking too busy and it'll be hard for the viewer of your shot to find a single point of focus on.

Large rocks and tree stumps work well as foreground interest or you could try setting up your composition with an object that can lead the eye from the front to the back of the shot. Paths created by walkers, streams, walls, fences and bridges all work well. Just remember to use a small aperture (bigger f-number) such as f/11 to keep front to back sharpness.

If you don't want to shoot wide pick up the telephoto lens and use it to focus on a particular point of interest, using its pulling power to isolate your subject.

Remember: Get out of bed early or be prepared to stay out later if mornings aren't your thing, use foreground interest, keep it simple and think about composition before hitting the shutter button.
 

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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 Mike43 (Day 13 - Stairs & Steps).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 9

Bridges In The Landscape

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Day 10

Music Photography

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Day 11

Shopping

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  Day 12

City Skylines

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Day 14

Lights

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Day 15

High-Up

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

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

 

1. Weight And Load

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

 

2. Assess Your Environment

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

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

 

3. Legs Before Column

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

 

 

4. Adjust The Legs

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

 

5. Ensure Your Tripod Is Level

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

 

6. Position Of Your Tripod's Legs

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

 

 

7. What Feet Does Your Tripod Have?

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

8. Keep It Stable On Windy Days

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

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

   

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

 

As the weather's getting cooler and trees are losing their green tint to shades which are much warmer we thought it would be a good idea to bring ten of our popular autumn photography tutorials together in one place. That way when you're planning a day of autumn photography you don't have to go all over the web searching for ideas and suggestions.
 

1. Autumn Macro Tips With A Compact Camera

Just because you're using a compact camera doesn't mean you can't shoot some interesting, autumn-themed macro shots. Here are some tips and hints to help compact users perfect their technique.

 

2. Photographing Reflections During Autumn

With such bold colours on offer, autumn's the perfect season for capturing reflections. We have tips on capturing a mirror-like reflection as well as advice on shooting more abstract style shots.

  3. Autumn Garden Photography Tips

Your garden is full of autumn photography subjects which means you can stay close to home and still capture the season with your camera and lens.

 

4. Tips On Shooting Autumn Landscapes

Capture the autumn season with your wide-angle lens and you'll soon have a collection of autumn landscapes that really pack some punch.

 

5. Autumn Shooting at Arboretums

Here are a few tips on photography in an Arboretum. With trees all around and wildlife and flowers abundant, there's no excuse not to break the camera out!   

 

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

1. Gear Choices

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

  2. Locations

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

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

 

3. New Look

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

 

 

4. Not So High

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

5. Close-Up Work

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

6. Keep Your Feet On The Ground

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

   

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

 

A beautiful landscape titled ‘Ridge Light’ by BIGRY1 has been named our latest 'Photo of the Week' (POTW) winner.

The scene carries a strong autumn feel, with warm tones across the hills and a soft golden glow that marks the season. Light breaks through the clouds and falls across the ridge, revealing the rise and fall of the land with striking detail. The contrast between sunlit slopes and shaded valleys builds a sense of depth, while the stone path and fence give the composition order and direction. The superb light and balanced framing create a photograph that reflects the mood of autumn and shows the scale of the landscape.

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

In our busy modern lives, it is often complicated to find the time to shoot great autumnal images, considering the amount of research, walking and perseverance that is often involved. Big hitters like the New Forest and The Lake District are often out of reach for city dwellers, especially with a family in tow. So this coming autumn has a go at visiting an arboretum, as they make a brilliant and easy alternative, keeping the kids amused with throwing leaves at each other while you take some breathtaking opportunities to capture autumnal photography.

1. What kit is best?

When it comes to kit, fit a medium telephoto lens to your DSLR as it'll be particularly handy for capturing leaf and branch detail. Make sure you pocket your macro lens too. Don't forget your wellies when you visit an Arboretum as they do get a lot of visitors and the ground gets well-trodden.  

2. Why are arboretums so good as photographic locations?

Right, back to arboretums! As they are collections of trees from various continents, this can be just the ticket to an easy shoot. Horticultural planners include sensational visual displays to attract visitors in their thousands, to places like Westonbirt Arboretum in Gloucestershire to name one of the UK’s favourites. Yet it's not as simple as falling off a log, you need good sunshine and a well-timed visit to get the best from the colours and the day.

3. Any particularly stunning trees I should look out for?

There are two tree species to look out for - Maples and Acers. Most arboretums have these trees in their collection and they feature heavily in annual publicity shots (hence generating a huge car parking revenue each year, vital to the arboretum's upkeep). Westonbirt is not cheap to get in, but consider where this money is actually going.

4. What conditions are best?

It's best to wait for sunshine to give dimension to the trees, but if the day starts a bit flat and dull, all is not necessarily lost. Concentrate on staging some ideas, such as putting leaves on interesting textures or making arrangements of leaves themselves.

Also, try the good old zoom burst technique. Put an ND filter on the lens, set an aperture of f/16 and the ISO as low as possible. This should give a long shutter speed, maybe a few seconds. Set the camera's two-second timer, press the shutter and then zoom into the shot and create a wonderful vortex of colours. It's easy to do and is very effective.   

© OM SYSTEM

 

OM Digital Solutions Corporation has announced the release of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO. Designed in full compliance with the Micro Four Thirds System standard, this model proudly joins the OMSYSTEM line of imaging products.

This large-diameter super telephoto zoom lens features a constant F2.8 aperture throughout the zoom range with a 100-400mm equivalent focal length that goes up to 800mm equivalent1 (when using the M.ZUIKO DIGITAL 2x Teleconverter MC-20), offering truly unique photographic experiences.

This model delivers excellent resolution across the entire zoom range that only the PRO series and its culmination of cutting-edge optical technologies can provide. It is compatible with 5-axis sync IS (up to 7.0 steps2 of compensation) for powerful support during handheld super telephoto shooting. With a maximum image magnification of 0.5x equivalent1, it also offers superb close-up photography capabilities. This high-performance super telephoto zoom lens is designed to meet the demands of photographers across a wide range of genres, from sweeping natural landscapes to fast-moving birds, elusive wildlife to detailed macro shooting. This lens is sold on order basis.

 

Key Features of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO:

• One-of-a-kind high image quality, large-diameter super telephoto zoom lens offering 100-400mm, F2.8 equivalent with the lens alone, and up to 800mm, F5.6 equivalent when using the 2x teleconverter
• 5-axis sync IS for easy handheld shooting with up to 7.0 steps of shutter speed compensation
• Excellent reliability and operation that supports shooting even in harsh natural environments

 

© OM SYSTEM

 

At OM SYSTEM, we have always been a pioneer in optical design. From the beginning, M.ZUIKO lenses have symbolized precision, quality, and reliability. With a heritage dating back to 1936, we continue to innovate for the photographers of tomorrow. The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is a true innovation, offering unmatched range, speed, and portability across a vast array of photographic genres.

 

Pricing & Availability for M.ZUIKO DIGITAL ED 50-200MM F2.8 IS PRO:

The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO will be available from 6th October 2025, at a suggested retail price of £2,999

For more information, please visit the OM SYSTEM website.

 

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

 

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

Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.

 

2. Photographing Low Light Portraits

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

 

3. Six Top Natural Light Portrait Tips For Beginners

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

 

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

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

 

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

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

 

 

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

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

 

7. How To Use Built-In Camera Flash Successfully

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

 

8. Top Portrait Photography Tips That Use Just One Light

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

 

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

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

 

10. Nine Portrait Photography Light Hacks In 90 Seconds

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

 

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

 

The beauty of this time of year is that the sun rises at a more reasonable hour so an early morning jaunt to the woods isn't as painful as it was a few weeks ago. To top this already good news off, the chances of you finding mist circling around the trees is a lot higher at this time of year and when you mix this with your rising sun, you have the chance to capture strong beams of light as they burst through the trees.

 

1. Hope The Mist Is Right

You have to have the right type of mist for this - too thick and you won't be able to see the end of your nose let alone a sunbeam but if it's too thin there won't be enough moisture in the air for the light to reflect off. Read up on fog and mist techniques to become an expert at dealing with it. 

 

2. Take A Good Look At The Trees

It can be a little hit and miss but when the right density of mist does appear, you'll be able to capture some cracking shots as long as you have the right number of trees. Too many and you'll have broken, uneven patches of light but if there's too few the light will flood the open spaces leaving you with plenty of light but no beams. Your best bet is to quickly move to several locations to judge what looks the best before setting up camp. We say move quickly as the mist can vanish and the light can change quickly.

This also means you need to work quickly so do be familiar with your camera's controls and how you can adjust apertures etc. quickly to maximise your opportunities. Some cameras have dedicated dials you can assign specific controls to or offer ways you can access a particular setting more quickly.    3. Position Yourself In The Right Place For this to work properly you need to be shooting into the sun. Of course, this means you could have problems with flare but if you position yourself so the sun's hidden by a tree or foliage the light won't be as bright.
  4. Metering Tips

Metering is another tricky subject when you're working with direct sunlight and shadowy areas you don't want to lose too much detail in. To keep as much detail as possible don't meter from the direction of the sun instead, pick an area away from the light then compose your shot.

 

Sales Start Date: October 2025

Recommended Retail price: £2,199 (UK), €2,449 (ROI)

 

Nikon | RED extends the Z CINEMA line with the addition of the ZR full-frame cinema camera. Built for filmmakers and creators on the move, the ZR is the lightest all-in-one cinema camera around and punches well above its weight in cinematic power. Thanks to its 6K full-frame sensor, renowned RED colour science, large on-camera monitor, and internal 32-bit float audio, users shooting with the all-new ZR can nail stunning footage and clean sound without the need for external gear.

From carefully staged scenes to run-and-gun video footage, the ZR is the perfect tool for storytellers who want to elevate their video output. Up to 6K/60p in-camera recording and a full suite of professional video recording formats provide the flexibility to deliver for practically any platform or workflow. Standout features include an exclusive R3D NE codec, which brings renowned RED colour science to Nikon. Plus, the ZR boasts a Dual Base ISO of 800/6400 which maintains the sensor's 15+ stop dynamic range for maximum detail in highlights and shadows.

For agile set-ups, the ZR's 4-inch Vari-angle monitor is a huge asset. The large, bright display functions as an expansive control hub and it covers the DCI-P3 colour gamut for accurate on-set colour monitoring. Since the picture is only half the story, the ZR also makes its mark as the first camera in the world to offer internal 32-bit float audio recording. The dynamic range of 32-bit audio is so vast that levels won't need to be monitored constantly during filming: sound can be captured freely, and the levels adjusted in post without clipping.

Other professional ZR features include full weather sealing and vast lens choice thanks to compatibility with Nikon and third-party lenses. In addition, the ZR offers extensive system expandability, and Nikon's new ME-D10 digital shotgun mic covers rich directional audio capture in a wide range of recording environments.

Zurab Kiknadze, Product Manager, Nikon Europe says: "Today, we're raising the curtain on the first truly cinematic Nikon camera. Our collaboration with RED is bearing fruit, and the cinematic future looks bright!"

 

 

Summary of key features: ZR cinema camera

• Up to 6K/60p in-camera recording: flexible frame rates and resolutions. From cinematic 24p to 240p extreme slow motion. From richly detailed 6K to crisp, compact 1080p.
• Semi-stacked full-frame sensor: wide dynamic range and fast read-out speeds that effectively minimise rolling shutter distortion.
• Renowned RED colour science: an exclusive R3D NE codec from RED allows immense freedom in post and enables ZR footage to be matched with video shot on a RED camera system.
• Large, bright 4-inch Vari-angle touchscreen monitor: covers the DCI-P3 colour gamut and boasts a generous 16:10 display format. Functions are controlled with soft, quiet screen taps, and up to 10 3D LUTs can be loaded into the camera for viewing on the monitor while filming.
• Dual Base ISO of 800/6400: when shooting in Log3G10. The sensor's wide 15+ stop dynamic range is maintained at both base ISOs.
• In-camera 32-bit float audio recording: capture sound freely using the camera's internal mics, or a compatible external mic, and adjust the levels in post without clipping.
• Cinematic video modes and custom RED Picture Controls: 4 creative video modes and 9 custom RED presets for content with a cinematic look and feel straight out of the camera.
• Fast, intelligent AF: quick, accurate, reliable, and customisable. Intelligent subject detection and tracking, custom wide-area AF, and selectable AF speeds for smooth, repeatable focus transitions.
• 5-axis in-body image stabilisation: Nikon's sensor-shift Vibration Reduction keeps footage steady.
• Focus-breathing compensation: for smoother, more natural-looking transitions.
• Long recording times: an innovative body design efficiently and quietly dissipates heat.
• Light, tough: the ZR weighs approx. 540 g (body only) and is fully weather sealed.
• Z mount for flexibility in lens choice: attach any Nikkor Z lens, any Nikon F-mount lens, and a wide range of third-party lenses.
• Expandable: Nikon and partner brand accessories make it possible to put the ZR at the heart of an extensive video rig.
• New ME-D10 digital shotgun mic: compatible with the 32-bit float audio format and boasts a 77 dB signal-to-noise ratio for distortion-free sound.

 

RED Digital Cinema, Inc. releases the V-RAPTOR XE

RED Digital Cinema, Inc., a subsidiary of Nikon Corporation, is pleased to announce the release of the new V-RAPTOR XE digital cinema camera, which was released on 9th September, 2025. Joining the acclaimed Z CINEMA camera lineup, this streamlined version of the revolutionary V-RAPTOR [X], curates the essential tools for cinematic storytelling. Designed for independent creators who demand uncompromising image quality, the V-RAPTOR XE delivers large format, cinema-grade features at a more accessible price point. The new camera retains RED's industry-leading 8K large format (VV) global shutter sensor found in the V-RAPTOR [X] series, ensuring cinematic image fidelity, dynamic range, and low-light performance that filmmakers around the world trust.  Nikon and RED will meet a wide range of needs in film production with an extensive lineup of cinema-oriented products under the Z CINEMA series.

For more information, please visit the Nikon website.

Image Credit: Tittu Shaji Thomas/tpoty.com

 

• Deadline approaching — enter by October 13, 2025
• £10,000 cash prize package
• NEW - a 7-day cultural journey in Sri Lanka courtesy of Visit Sri Lanka and Jetwing Hotels
• NEW - 5 Rising Talent winners to experience an exclusive international mentorship in Sri Lanka, including with some of the nation’s leading wildlife photographers 
• NEW - Travel Image of the Year automatically selected from all entries
• Free 30-day trial of Radiant Photo software for all entrants — approved within competition rules

 

The Travel Photographer of the Year (TPOTY) awards — widely regarded as the world’s most prestigious travel photography award — are issuing their final call for entries. Now in its 23rd year, TPOTY is a showcase for the very best in travel imagery, attracting entries from more than 158 countries and producing winners representing 57 nationalities for both established and emerging photographers.

 

What sets TPOTY apart:

• A truly global stage — with photographers from every continent represented
• Run by photographers, for photographers, with copyright fully protected
• World-class judging by leading photographers, editors, and industry experts
• A platform that has launched careers, with winning work published in leading international outlets and exhibited around the world

 

Prizes with Impact

This year’s overall Travel Photographer of the Year will receive:

• A significant cash award
• A once-in-a-lifetime 7-day trip to Sri Lanka, supported by Visit Sri Lanka and Jetwing Hotels
• An exclusive portfolio review with a top New York agent

The overall winner is chosen from the portfolio category entries.

 

Image Credit: Roie Galitz/tpoty.com

 

Calling all amateur and semi-pro photographers

In addition, five winners of the Rising Talent category will take part in a mentorship program in Sri Lanka, guided by two of the nation’s leading wildlife photographers, thanks to the generous support of Visit Sri Lanka and Jetwing Hotels.

 

Create impact with your images

To help all entrants prepare and use software which is not AI, sponsor Radiant Photo is offering every participant a 30-day free trial of its image editing software (link on TPOTY website), with all winners receiving a lifetime license. Radiant Photo uses non-generative AI and fully permitted under TPOTY’s competition rules.

 

Categories

Travel embraces many genres so TPOTY showcases the best in contemporary colour and B&W photography in wildlife, culture, landscapes, portraits, climate, adventures, video, and young talent, with awards for both portfolios and single images. Entry is open to everyone and worldwide — whether you’re a seasoned professional or a first-time explorer.

 

Chris Coe, TPOTY Founder, said: “Each year TPOTY reveals new perspectives from every corner of the world. These photographs aren’t just images — they’re invitations to step into someone else’s world.”

Past winner Athanasios Maloukos (Greece) said: “After winning TPOTY, my images were published in 111 publications worldwide. The recognition transformed my career.”

Deadline: October 13, 2025

Entries close soon. Don’t miss your chance to take your place on the world stage.

Enter now!

 

Canon Europe unveiled the expansion of its cinema lens range with the launch of its widest-ever Cine-Servo lens.. With its ultra-wide 11mm focal length and expansive 100-degree angle of view, the Canon CN5x11 IAS T R1/P1 is a flexible choice for confined studio setups and dynamic live events, where framing both the subject and setting is essential. Available in either RF or PL mount, the new lens features the latest e-Xs V Digital Drive Unit for superior control and functionality.

At approximately 3kg, the CN5x11 IAS T R1/P1 is the most lightweight lens in Canon's Cine-Servo lineup – ideal for gimbals, cranes, robotics and wire cams. Camera operators shooting shoulder-mounted will also appreciate its reduced weight.

"With the CN5x11 IAS T R1/P1's diverse capability and balanced build, this super-wide 8K Cine-Servo lens offers exceptional edge-to-edge sharpness and image quality, with mobility for broadcast professionals," says Canon Europe's Product Marketing Specialist Mark Fensome. "Thanks to the built-in 1.5x Extender, this lens is highly versatile – either extending the range when used on a Super 35mm camera or enabling compatibility with Full Frame cameras. It delivers a shallow depth of field that lends a more cinematic look to live production and newsgathering, as well as high-end documentaries and dramas."

Thanks to its removable servo unit, the CN5x11 IAS T R1/P1 can be easily configured for live sports and events or cinema. It is the second Cine-Servo lens to be equipped with Canon's next-generation e-Xs V Digital Drive Unit, which offers more precise and ergonomic servo control, a more responsive iris and USB-C connectivity.

The CN5x11 IAS T R1/P1 is available in RF or PL mount, further enhancing its versatility. In PL mount, the lens supports Cooke /i Technology™ and ZEISS eXtended Data™ for real-time output of metadata, while the RF mount variant brings additional capabilities – including Dual Pixel CMOS AF support for fast and smooth autofocus, plus advanced lens correction data.

 

Key features of the CN5x11 IAS T R1/P1:

• Widest Canon Cine-Servo lens, with an 11-55 mm focal length and 100-degree angle of view
• Super 35mm lens with Full Frame support (via built-in 1.5x extender)
• Approx. 3kg in weight, providing comfortable on-the-shoulder shooting and extensive rigging flexibility
• Premium 8K HDR optical quality with 11-blade iris
• Removable, latest generation e-Xs V digital drive unit, featuring a high resolution 16-bit absolute value encoder with advanced servo control, focus breathing correction and improved ergonomics
• RF or PL mount communication with real-time metadata output, supporting virtual production systems and VFX workflows; RF mount also supports lens distortion correction and Canon's advanced Dual Pixel CMOS AF system
• Versatile design for diverse broadcast and cinematic production

For more information, please visit the Canon website.

 

Canon Europe introduced the new EOS C50, a highly versatile, full-frame, RF-mount hybrid Cinema EOS camera for professional videographers and agile production crews.

As the smallest camera in the Cinema EOS range to date, the EOS C50 fits seamlessly into a wide variety of filming set-ups – from fast-paced shoots to large scale productions. Its compact design, however, conceals a wealth of professional capabilities.

At the heart of the EOS C50's unique design is a new 7K full-frame CMOS sensor which, together with an advanced DIGIC DV 7 processor, delivers outstanding image quality for both video and stills – including internal RAW video recording at up to 7K 60P, high frame rate recording at up to 4K 120P / 2K 180P, and detailed 32MP high-resolution photos.

The EOS C50 is the first Cinema EOS camera to offer open gate recording, which uses the entire area of the sensor for maximum resolution and flexibility. Capturing the full width and height of the sensor using the new Full Frame 3:2 sensor modei provides a larger image that utilises the full image circle of full-frame lenses. Open gate recording offers filmmakers greater flexibility in post-production, enabling horizontal and vertical movie formats to be freely edited from the same footage, with ample room for reframing shots. When paired with anamorphic lenses, the result is a taller image with a wide immersive cinematic look.

For videographers facing fast turnarounds, a full-angle image and a cropped vertical or square version – ideal for social media and advertising – can be captured at the same time using the EOS C50's Simultaneous Crop Recording function. The cropped area can be shifted horizontally for optimum framing and recorded in a different format to meet delivery requirements.

 

Combining high-resolution with hybrid capability for video and stills

As a true hybrid camera, the EOS C50 combines advanced 7K video and 32MP stills capabilities. The display is optimised based on whether the camera is in Video or Photo mode – featuring the familiar Cinema EOS interface for video and classic Canon EOS R menu system for stills.

Videographers and photographers alike can take advantage of Canon's Dual Pixel CMOS AF II, offering high-speed, high-accuracy subject detection and tracking. Precision extends to selecting which eye to prioritise in people, dogs, cats and birds – with additional controls for tuning autofocus speed and tracking response to suit the subject.

 

A unique and versatile design that adapts to dynamic shoots

Built for agility, the EOS C50's lightweight, modular design enables intuitive operation, whether shooting handheld or on a gimbal. With its linear, low-profile body and multiple accessory mounting points, it integrates seamlessly into modern rigging setups. The camera can be mounted either horizontally or vertically, with the display and menu settings automatically adjusting to support vertical orientation.

The EOS C50's detachable handle unit improves control and comfort. It features two full-size 3-pin XLR audio terminals and control dials for professional-quality audio recording, plus a REC button and zoom rocker for convenient, camcorder-style control during fast-paced shoots.

In addition to native support of the diverse range of RF lenses, EF/PL lenses can be attached to the EOS C50 via the optional Canon PL-RF Mount Adapter, which can be securely fastened to the camera body, as well as a selection of Canon EF-EOS R mount adapters.

 

 

Effortless connection options for diverse workflows

An extensive selection of connectivity options ensures that the EOS C50 meets the demands of modern professional productions. In addition to XLR inputs, the camera features a MIC terminal, Timecode terminal, HDMI OUT (Type-A) and USB (Type-C). Dual card slots for CFexpress and SD cards provide a wealth of simultaneous recording options, including different file formats, resolutions and proxy setups.

The EOS C50 includes UVC/UAC support for high-resolution livestreaming at up to 60P/50P via a single USB cable, plus XC Protocol for remote operation of the camera using compatible smartphone applications or hardware accessories such as Canon's RC-IP1000 Remote Controller. Video clips and still images can be transmitted to clients in real time over Wi-Fi or USBii with Canon's professional Content Transfer Professional (CTP) app.

Canon's collaboration with Adobe has been extended to the EOS C50 by making the camera compatible with Frame.io's Camera to Cloud connectivity. Along with the EOS C400 and the EOS C80, this compatibility allows proxy files to be sent directly from the camera to the Frame.io platform, enabling a seamless and reliable path from production to post.

With its robust connectivity, flexible design and powerful full-frame capabilities, the EOS C50 sets a new standard for compact cinema cameras. Building on the success of the EOS R5 C, it delivers uncompromising image quality for both video and still photography.

Canon is also delighted to announce a range of significant free-of-charge firmware updates for existing Cinema EOS cameras coming later this year. This includes the addition of 3:2 Open Gate RAW Recording at 6000x4000 resolution to the EOS C400, View Assist during Playback on the EOS C80, among other improvements to core features such as focus peaking on both cameras, as well as the EOS R5 C and EOS C70.

 

Key features of the EOS C50:

• High-resolution hybrid capability: 7K 60p internal RAW video recording, 32MP still photos
• Advanced 7K full-frame CMOS sensor with open gate video recording
• 7K oversampling for higher resolution 4K movies
• Dual Base ISO support (ISO 800/6400iv), with up to 15+ stops of dynamic range
• Flexible range of professional recording formats, including 12-bit Cinema RAW Light, Canon Log 2, Canon Log 3 and XF-AVC S / XF-HEVC S
• Versatile, compact design with detachable handle unit and extensive rigging capability
• Native RF mount, compatible with mount adapter attachment for EF/PL lenses
• Two XLR audio inputs, Timecode terminal, HDMI OUT (Type-A), USB (Type-C), Multi-function shoe
• Dual slots for CFexpress and SD cards, enabling simultaneous recording of different formats to each card

For more information about the new EOS C50, please visit the Canon website.

Esquisse Camera is developing a premium, ultra-compact digital camera designed to be carried everywhere and used often. It combines a large Four Thirds sensor with a durable, all-metal body, intuitive manual controls, and compatibility with the Micro Four Thirds lens system.

This camera is small enough to fit in a coat pocket and light enough to bring along without a second thought. Built for photographers who value simplicity, quality, and portability, the Esquisse Camera offers an alternative to the bulky and complex systems that are often left behind.

Specifications are targets and may evolve during development.

 

Key Features

 

Simple Controls

The Esquisse Camera features physical dials for ISO and exposure compensation, a clickable control wheel, two customizable function buttons, and a responsive touchscreen. All essential settings are within reach, so photographers can stay focused on the image.

 

Durable Build

Each camera body is milled from a single block of aluminum for strength and longevity. The clean, modern design is accented with fine leather for comfort and grip. It is dust and splash resistant.

 

Designed for Portability

Measuring just 105 × 70 × 35 mm and weighing under 350 grams, the Esquisse Camera is smaller than a deck of cards. It is made to be carried all day, every day.

 

Excellent Image Quality

A 20MP+ Four Thirds sensor delivers strong low-light performance and wide dynamic range. The camera is designed for compatibility with Micro Four Thirds lenses, including autofocus support, giving photographers access to a large selection of high-quality, compact lenses.

Technical Specifications (Targeted)

 

Category Item Intended specifications Sensor & Image Quality

Sensor Type

ISO Range

Autofocus

Dynamic Range

20MP+ Four Thirds CMOS

200 - 25,600

Multi-point AF System

13 stops

Physical & Connectivity

Dimensions

Weight

Battery Life

Connectivity

105 × 70 × 35 mm

350g (body only)

300+ shots

Wi-Fi, Bluetooth, USB-C

Display & Controls

Rear Screen

Viewfinder

Control Layout

 

Weather Sealing

3" touchscreen

3.69M-dot OLED EVF

ISO and exposure compensation dials, clickable wheel at the back, 2 function buttons

Dust and splash resistant

Storage & Mount

Storage

Lens Mount

Lens Compatibility

Body Material

256 GB Internal Storage

Micro Four Thirds

All MFT lenses with full AF support

All aluminum unibody

 

Specifications may change during development.

 

Price and Availability

 

The Esquisse Camera is expected to retail between $1,500 and $2,000 USD (or local equivalent). It is currently in development, with the first production units scheduled for delivery in late 2026.

For more information, please visit the Esquisse Camera website.

 

Stairs and steps may sound boring, however, when you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied. Be it a graphical shot of an industrial set of steps leading up the side of a metal structure or a spiral staircase in a grand house, if you keep your eyes open, you'll soon realise there are many interesting sets of steps and stairs around you that will make an interesting image. Here are a few tips to get you thinking about how you can capture shots of these subjects next time you're out exploring with your camera. 

 

1. Gear Suggestions

A wide-angle lens will exaggerate the twists and turns of a spiral staircase while a telephoto lens is good for bringing staircases on the outside of buildings to you. Pack a polariser for stairs against glass or reflective surfaces and a tripod would be handy to help you make sure that the stairs are perfectly straight.

 

2. Guide The Eye

As stairs take you somewhere they're naturally a great way to lead you into and through an image. They can be used to guide the eye to a particular feature or you could hide the last part of the staircase to leave the viewer wondering where the stairs may go to. Lines are a great way to lead the eye into the image and you don't get a better line than a long bannister so use them to your advantage.

 

3. Spirals

Stand at the top or bottom of a spiral staircase with your wide-angle lens and you can get a great but rather overdone shot of the spiral shape twisting up. Try getting someone to stand or lay at the bottom or carefully peek over the bannister at the top and use the spiralling stairs as a frame.

 

 

 

4. Movement And Size

For your more normal staircases use your wide-angle lens to exaggerate the grandeur of a particularly wide, long set of stairs or use a slow shutter speed if you're in a city and blur the movement of city-goers as they pass through your shot. Zoom in and fill the frame with repeating patterns of stairs to exaggerate their size which will also give your image a more graphical feel. 

 

5. Reflections

Some staircases go up the outside of buildings so use your telephoto lens to bring them to you. This lens is also great if your stairs are reflected to give you symmetry in your shot. Try to stand so you're in the centre of the stairs and reflection to enhance the pattern.

 

6. Be Different

For something different try to shoot through the spindles to the other side of the staircase or if you're outdoors, use them to frame a single building or a shot of showing part of the city. Try altering your angle, shooting lower down to emphasise the height and/or the number of steps in front of you. Many cameras now have vari-angle LCD screens which allow you to frame your subjects from multiple angles with ease. Which means you won't have to get down on your knees or crouch when capturing low-angled shots. Use light and shadows to add depth, shapes and another level of interest to your shots and experiment with colour, too as turning an image black & white can really make the viewer focus on the shapes and textures of an image when the colour's stripped away. 

 

   

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