DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.

 

1. Safety First 

This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

2. Pack Your Filters

Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.

If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.

The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.

 

 

3. Lens Choices 

The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.

 

4. Capture Distance And Height 

When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.

 

 

5. Use Small Apertures 

The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."

 

6. Creating The 'Wow' Factor When shooting from the mountain you want the viewer to gain a sense of the place, so when they look at the shot they almost feel like they were actually there with you. To do this, as well as using a wide-angle lens, use a panoramic composition as this will help the viewer appreciate the scale of the location but again, it doesn’t emphasise the dramatic height of the mountain, something we'll discuss further down the page.      

 

7. Correct Exposures 

If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.

 

8. Off The Mountain 

This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.

When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details. 

In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.

 

Canon Europe has announced the RF 85MM F1.4L VCM, a professional portrait lens that extends the Hybrid RF prime range, delivering greater reach and versatility for creative photography and filmmaking.

Uncompromising optical quality and a flattering 85mm focal length that gently compresses facial features make the RF 85MM F1.4L VCM ideal for portraiture. Its ultra-wide f/1.4 maximum aperture ensures striking separation of the subject and background, while UD and aspheric lens elements, combined with Super Spectra and ASC coatings, achieve remarkable sharpness exactly where it matters.

Photographers working in weddings, events, low-light and product photography will also benefit from the RF 85MM F1.4L VCM's exceptional artistry and precision.

Smooth and silent Voice Coil Motor (VCM) AF technology provides precise focusing with minimal focus breathing. Combined with a dedicated smooth action Iris Ring and a customisable Lens Control Ring and Lens Function Button, the RF 85MM F1.4L VCM equips filmmakers with a flexible and reliable tool. It shares a consistent design with Canon's RF F1.4 hybrid primes, allowing it to be used seamlessly with the rest of the range for an efficient shooting workflow.

At approximately half the size and weight of the RF 85mm F1.2L USM, the RF 85MM F1.4L VCM is built for shooting on the move. Its L-series construction, featuring well-placed weather seals3 and an oil-repellent fluorine coating, provides reassurance in adverse conditions.

With its high-performance prime lens design, fast f/1.4 aperture and hybrid features, the RF 85MM F1.4L VCM is the professional's choice for distinctive portrait images and video.

Key features of the RF 85MM F1.4L VCM:

• Classic 85mm portrait focal length for full-frame EOS R System and Cinema EOS cameras (RF mount)
• Bright f/1.4 maximum aperture offers creative depth-of-field control and low-light performance
• High image quality, with an advanced optical design featuring UD and aspheric lens elements
• Voice Coil Motor for quiet, ultra-responsive autofocus and focus breathing suppression
• 11-blade circular aperture for cinematic bokeh and highlights
• Smooth action Iris Ring, Control Ring and Lens Control button for intuitive manual control
• Durable L-series build quality with dust/moisture resistance
• Compact and lightweight at approximately 636g, measuring 76.5mm (W) x 99.3mm (L)

For more information, please visit the Canon website.

 

This autumn, Leitz Photographica Auction will sell the most extraordinary charity lot in its history to date - a unique Leica M-A camera with a Leica Noctilux-M 1:1.2/50mm ASPH. lens, which were personally presented to Pope Francis by Leica Camera AG in 2024. Both camera and lens of the set bear the serial number 5,000,000. All proceeds from its sale will be directed to the personal charity institution of His Holiness. The charity lot is one of many highlights – including a Leica I Mod. A Luxus from 1929 and the Leica MP-114 black paint from 1958 - of Leitz Photographica Auction 47, which will take place on the 22nd of November at the Hotel Imperial in Vienna.

Leica products with a distinctive serial or fabrication number are very popular with collectors and deeply rooted in the company's history. Over the past 100 years, Leica Camera AG has awarded these exceptional products to distinguished personalities in recognition of their achievements. In keeping with his commitment to charity and social causes, Pope Francis chose to auction the Leica set, with all proceeds directed toward helping those in need.

The unique camera is finished in silver chrome, with a special white covering, and a white paint on the base plate, back doors, as well as some of the controls. The engravings on camera and lens are yet another highlight. The flash cover is adorned with the Keys of Peter, while the back of the top plate bears His Holiness Pope Francis' motto, 'Miserando atque eligendo', meaning 'lowly but chosen.' The special engravings are filled with white, gold, and black paint. The Noctilux lens is finished in chrome, with engravings filled with gold and white paint. The body cap and the lens cap are engraved with the Coat of Arms of the State of Vatican City. Both the camera and the lens are additionally engraved with the year His Holiness Pope Francis received this gift, inscribed in Roman numerals: A.D. MMXXIV. 

Complementing this unique camera is a uniquely exquisite presentation box with a matching key, and a photograph of Pope Francis receiving the camera. Bidding for the set starts at 30,000 Euros, with an estimate of 60,000 to 70,000 Euros. 

 

 

Black paint and gold

Leica was the first manufacturer to serially produce 35mm cameras as early as 1925. Eventually, these cameras would turn photography into a mass phenomenon. They revolutionised photojournalism first, and as more and more reporters used these compact devices, Leica adapted some of its new products to meet their needs. Photojournalists Alfred Eisenstaedt and David Douglas Duncan, for example, expressed the wish to use their M3 cameras with a Leicavit – a rapidwinder that had previously been available for the Leica IIIf only. In response, Leica presented a corresponding variation of the M3, the Leica MP, in 1956. Just about 400 of these were produced, and only 141 of them in black paint. The Leica MP-114 is one of these 141 cameras and estimated to fetch 700,000 to 800,000 Euros.

Luxury variations of well-known camera models have been a Leica tradition for almost a hundred years. In 1929, the company began producing the Leica I Mod. A Luxus, an extravagant variation of its first series camera. Due to its rarity and its conspicuous gold-plated body, the Leica I Mod. A Luxus proves particularly appealing to collectors of historical cameras today. The camera auctioned on the 22nd of November is one of the first Luxus-Leica cameras ever produced. Its estimate ranges from 300,000 to 360,000 Euros.

For more information, please visit the Leica website.

 

The 2025 UK Photographic Roadshow Tour has wrapped up after a hugely successful series of nine events that brought together photographers, industry experts, and leading brands in a celebration of creativity, learning, and community.

Kicking off in April in Motherwell and travelling through Kendal, Walsall, Wetherby, Nottingham, Worcester, Somerset, Reading, and Kent, the Roadshows once again proved themselves as a must-attend highlight on the UK photography calendar.

Each venue offered a vibrant, welcoming atmosphere where photographers could connect with peers, test the latest equipment, and leave with fresh ideas to elevate their craft.

 

 

Inspiring Speaker Line-Up

This year’s programme featured an outstanding roster of speakers including Scott Johnson, Simon Burfoot, Jeff Brown, Alex Denham, Oliver Wheeldon, Raj Khepar, Gary Hill, Rebecca Douglas, Mr Whisper, and Luke Davis. Covering everything from wedding photography and creative lighting to business growth and personal branding, their sessions inspired delegates and provided valuable takeaways for photographers at every stage of their journey.

 

 

Exhibitor Highlights

The trade areas were packed with innovation and hands-on opportunities.

• Nikon ZR made its UK public debut at the September Roadshows, drawing huge interest from delegates.
• Click Backdrops unveiled their brand-new foldable fabric backdrops, which quickly became a talking point on the show floor.
• Canon, Sony, Fujifilm, and Nikon all showcased their latest cameras and lenses, giving photographers the chance to test-drive cutting-edge technology.
• Other standout exhibitors included 3 Legged Thing, Elinchrom, Permajet, Camera Centre UK, MagMod, Gomatic, Loxley Colour, Aaduki Multimedia Insurance, Graphistudio, Evoto, The Society of Photographers, Praetego, Bump2Baby, and Professional Imagemaker.

 

 

The Roadshow Experience

Delegates enjoyed live demonstrations, exclusive show offers, and the chance to network with fellow professionals. The mix of expert talks, product showcases, and a friendly community spirit reinforced why the Roadshows remain such an important fixture for UK photographers.

Thank You

The organisers extend a heartfelt thank you to every speaker, exhibitor, venue, and delegate who contributed to the 2025 Roadshow’s success. Your enthusiasm and support are what make these events possible.

Looking Ahead: London Photo Convention & Trade Show 2026

Next year’s flagship event, the London Photo Convention & Trade Show 2026, will take place at Novotel London West, Hammersmith, 14–17 January 2026.

Highlights include:

• Trade Show (15–17 Jan) – Pre-register before 1 January 2026 for FREE entry, or pay £10 on the door.
• Four days of Masterclasses covering lighting, editing, business, and creative storytelling.
• Exclusive Superclasses – small-group, hands-on workshops for photographers wanting to push their skills further.
• Business School – a one-day intensive designed to help photographers grow profitable, sustainable businesses.
• 20×16” Print Competition – with live judging sessions and a gallery of merited images.
• Awards Presentation Evening – a glamorous celebration of photographic excellence.

For more information, please visit The Society of Photographers website.

Photo by Joshua Waller

 

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset. 

 

1. Gear Choices

Pack a wide lens for capturing the big picture and a telephoto for singling out individual buildings and pulling distant objects towards you on your evening jaunt. Taking a tripod with you is advised but do leave your flashgun at home and turn your on-camera flash off as if it fires, it can ruin your skyline shot.

Most cameras, even compacts and smartphones are capable of producing night shots of decent quality but if you're planning on using much lengthier exposure times, you'll want to pack a more advanced camera. 

 

2. Where To Stand With Your Kit

While on holiday (if you have a room with a view) make use of the balcony to give you a high vantage point of the city. You'll also find buildings with observation decks, bridges to stand on and if you're in a city such as Sheffield which has the peak district on its doorstep, try heading for the hills to give you a sweeping shot of the whole city. From high locations you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as city dwellers switch on their lights at home. Street lights look particularly good twinkling against the deep blue sky still lit by the setting sun. Just be careful where you meter from as you don't want the sky or building lights to 'blow out'. Keep an eye on your histogram and take a reading from a darker part of the frame. Another option is to take multiple exposures of the same view so you can combine them to create a shot with a balanced exposure where there's not under- or over-exposed areas in the image. 

 

3. Taking Photos Through Glass

If you've got to capture your image through glass do check for marks and smudges that will spoil your shot. If you can't remove them, experiment with your aperture to see if one particular f-number will remove them from the shot. You'll also need to put the lens as close to the glass as possible and cup it with your hand, a cloth or whatever else you have that will reduce the amount of interior light reaching your lens. If you don't, you'll end up with reflections and flare could spoil your shots. 

 

Photo by Joshua Waller

 

4. Depth Of Field 

You'll want to use an aperture that gives your shot plenty of depth of field, around f/8 is a good place to start, and try to stick to lower ISOs where possible. You may find you need to adjust this to increase shutter speeds but if you're using a tripod, longer exposures won't be an issue. If you have it available, the depth of field preview button can help ensure your shot is sharp from front to back. 

Foreground interest can add another level interest and 'fill' empty space that can occur when focusing on subjects in the distance. However, do make sure it's not stealing the spotlight and pulling the viewer's attention away from the skyline. 

 

5. Shoot Silhouettes 

Silhouetted cityscapes are popular subjects and they work well against a plain but bright background. Even though they're a little clichéd sunsets do work well particularly if it's one that's rich with colour. To create your silhouette you need to expose for the background and not the buildings you want to silhouette. You may need to fool your camera when it comes to metering as using the camera's automatic metering won't always give you the silhouette you're after. Try half-pressing the shutter button while focused on the brightest part of your scene before moving back to frame the shot but this means your camera will focus on this and not your subject. Manual focus or using a smaller aperture can combat this problem. Talking of manual focus, you should consider using this even when not shooting silhouettes as it'll always produce better results, plus auto-focus tends to struggle as light levels fall. 

 

6. Shots At Street Level

As well as getting up high working at street level can work well in the evening too. Try using long exposures (20-30 seconds) to set the dark sky and buildings against the streak of lights that come from the traffic as it moves through the city streets. You could even combine multiple traffic streak shots to increase the sense of speed and movement in your city shot. Another way to add a creative twist to your city skyline shots is by incorporating reflections from rivers, lakes or even wet pavements after it's rained. 

 

7. Tall Buildings & Straight Horizons

Pay attention to your horizon and the angle of the buildings as you don't want them to be slanting to one side of the image. A tripod with a spirit level can be handy although many cameras now have these or gridlines built-in. When home, check your city shots for distortion but this is something that can be easily fixed in image editing software. Playing around with the colour balance can enhance and evoke mood, too so don't be afraid to experiment with this. 

 

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A good support is a particularly important tool for landscape photographers. Even if you're a compact camera user you should consider purchasing a tripod. If you're still not convinced that fastening a tripod to your rucksack isn't a good idea when you're off on your walk, have a read of our ten reasons why we believe you should.

 

1. Use longer lenses more comfortably with a tripod

If you planning on taking some long as well as wide lenses out with you they tend to be more prone to camera shake so having a tripod will keep your shots sharp. However, if you do want to work hand-held make sure you don't use a shutter speed that's lower than your focal length. Some take this further and say your shutter speed should be at least double the focal length you're using.

  2. Easily adjust height

If you have a sky that's bursting with colourful sunset shades and want to make more of a feature of it, adjust the height of your tripod so more sky is in frame than land. We know you can just raise your hands up higher but holding your hands up in the air isn't very comfortable and any movement, even a small sway, could add unwanted blur to your shot. If you do want to adjust the height, make sure you pull all the legs out to their maximum length before using the centre column. Why? Well, even though it's easier to adjust than three legs, the support won't be as sturdy.

  3. Create slower shutter speed images easily

If you're planning on taking photos that turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. The problem with slower shutter speeds is they're not a great choice when working hand-held as you have to stay very still to stop shake and if you don't, blur will creep into your shot. However, stick your camera on a tripod and you can set shutter speeds that are many minutes long and shake won't factor into it. While we are talking about shake, try using a remote release or the camera's self-timer to fire the shutter to stop any small movement that you moving your hand away from the camera may create.

 

 

4. Create multiple exposures

If you're shooting a scene where the camera can't handle all of the different exposure levels present, you may want to try shoot a series of separate shots that each focus on the dark, middle and light parts of the image which are then combined to create one balanced exposure. If you're unsure whether the location you're at will work better with HDR, take a few sample shots and have a look at the areas that are in shadow. If you think there's detail that's lost in these darker areas that will improve your photograph then have a try at HDR.

A tripod is essential for this type of photography as the smallest of movements can adjust your framing which means your shots won't line up when you try to merge them together. As a result, once you've framed up, lock your camera's position, ensuring all screws are fastened tightly and that all leg locks won't come loose.

  5. Create smooth panoramas

If you want to shoot some landscape panoramas, having a tripod will help keep your shots steady and make them easier to stitch together once back in front of the computer. Start at either the left or right of the image, whichever you're more comfortable with, and allow for some overlap between each frame. It's always worth doing a 'dummy run' so you can make sure everything you want in the scene can be captured and to double-check you have enough overlap between each shot. It is important that focus is not adjusted during the panorama so take care not to touch the focus barrel once you have focused and set your white-balance manually so you don't have to make small tweaks to individual shots once back home. For scenes with details much closer to the front of the frame you'll need to use a panoramic head.

 

6. Take your time to compose properly

We know it's been said quite a few times but it doesn't hurt to mention it again, particularly to those who are new to landscape photography. What are we talking about? Well, the actual process of setting up your tripod, putting your camera through it and looking through the viewfinder does take some time and as a result, it slows you down and makes you think more about the shot you're taking. If you didn't have a tripod with you it would be very easy to take your camera out of its bag, fire off a few shots quickly and move on to a new location without really giving much thought about composition and the overall shot you're trying to achieve.

 

  7. More stability in windy weather 

If you find the weather turns a little blustery you'll need a sturdy tripod as unlike us photographers, they're better at balancing so won't get blown and pushed around as easily. If you find you need a little more weight and your tripod features a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. 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.

 

8. Set up low angle landscapes

For something a little different, adjust your tripod legs so you can shoot lower to the ground. This can give foreground detail more emphasis, really changing the feel of your landscape shot.

  9. Set up in water, use a remote trigger 

Sometimes you have to get your feet wet to get the shot you want but trying to stand upright in water that's moving on what can be slippy rocks is hard enough on your own, without a camera in your hands. To minimise the chances of you dropping your camera in the water, put it on a tripod. If the tripod doesn't have to be too far in the water you could also use a remote release/cable to fire the shutter from the water's edge rather than getting in yourself. Do make sure your tripod won't topple over and if you have them, use spiked feet to bed the tripod into the floor. If you're shooting at the coast, remember to clean your tripod after dunking it in the sea as saltwater will rust it.

  10. Capture images with low light minus movement blur

Shooting at sunrise, sunset or during the night so you can capture a sky full of stars, requires the use of slower shutter speeds, which, as mentioned, means you'll have to use a tripod as working hand-held can result in shake spoiling your shot. You can try nudging your ISO up to quicken your shutter speed but not all cameras produce good-quality shots when higher ISOs are used so the safest option is to take your tripod with you so you can use longer shutter speeds.