Photography News

    It's coming up to that time of year when many families start to think about jetting off to warmer climates or simply heading to the Britsh coast to escape reality for a while. An accessory that's guaranteed to be packed is a camera but instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

1. Where Will You Be Taking Your Photos? 

Where you're working can sometimes determine what equipment you can use. If you're in a busy restaurant there's probably not room for a tripod so you'll have to work hand-held or use a smaller support that can fit on the table. But if you're out in the street photographing food stalls and the people who run them, they'll be more room to use a tripod, although if you plan on moving around a lot, you'll probably better taking a monopod with you as they're easier to walk with and take up less room.
 

2. Think About Presentation 

Restaurants want to impress you so food is, generally, presented and displayed well already which means you don't have to play the role of the designer. Do look out for attractive produce though, particularly if you're at a hotel where you can serve yourself. Make sure fruit isn't bruised and colours are vibrant. If you're photographing meat make sure it's not overcooked and lookout for herbs and pepper grinders as a sprinkling of pepper or a few green leaves can make your photograph looking more appetising. Also, look out for crumbs and sauce that may be sat on the side of the plate as this can distract the viewer.

 

 

3. Consider Using Repetition 

If you can pick your own food, repetition works well and three items on a plate will often look better than two. Don't think you always have to centre your subject and if you're working with tall items such as ice creams and coffees in glasses, switch your orientation to portrait.

  4. Backgrounds Shouldn't Distract

Try and keep your background uncluttered but if you're in a busy restaurant where this isn't possible, just use a wide aperture to throw the background out of focus or you could try placing a plain jacket/cloth over a chair and positioning so it sits in the background of your shot. If the chairs are too low use the back of a menu, so long as it's plain, as your background, placing it behind your plate. If it's coloured make sure there's no colour cast on your food/plate, particularly if the crockery is white and a shallow depth of field will help keep all attention on the food in the foreground of your shot.

Don't forget to take some wider shots of the serving area too. In hotels particularly you'll find several buffet carts, chefs preparing food and guests deciding what to eat which can make interesting shots. 

 

 

5. Stick To Natural Light

Use natural light where possible so if you can pick where you sit, choose a window seat or better still, sit outside. You need to avoid using direct flash as your food won't look very appetising so make sure you've switched it off, particularly in low light situations where some flashes will automatically fire.

 

6. Get Out On The Street 

Away from restaurants, you can find small stalls, especially in markets, that make and sell food. If you want to snap a few shots of the stallholder it can help if you actually show some interest in the food they are producing. It's not always advised to eat the food they're cooking but you can ask them questions and spend some time actually appreciating their skill. If you're working close up never shoot without asking permission first and if they say no, just move on to another stall instead of arguing with them. For those who do agree, fill the frame with their face as you'll find they'll create plenty of interesting expressions when concentrating on getting their creation perfect.

If your subject is working under a canopy your camera can get confused by the brighter space that surrounds them and your shot can end up a little dark. If this is the case, just lock your exposure and recompose the shot.

 

If the weather's not playing ball or you're on a street that's shaded from the sun don't be tempted to use your flash as this can destroy the feeling/atmosphere you're trying to create. Just try using a wider aperture or a higher ISO and if you find the higher ISOs make your shot a little grainy, try turning the shot black and white as it can work rather well.

Another option is to use a tripod and slower shutter speeds which will blur the movement of anyone who passes through your shot, however, if you're focusing on someone who is moving between a chopping board and a stove, the blur can emphasise the speed they're working at. The slower shutter speeds can also be used to capture a few closer shots of flames, just make sure you don't burn yourself and don't catch any hot plates and pans by mistake.
 

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1. Why Use A Frame? 

Frames are a great tool for drawing attention to an image. Be it a frame we hang on the wall, one we create on the computer, in-camera or with the elements in the scene we are photographing, frames are a very effective tool that all photographers can use.

 

2. Adding A Frame In-Camera 

Frames created while taking your shots will help lead the eye through the shot, add depth to images and help give a photo context. There's also the added bonus of using frames to hide objects you don't want to appear in the shot and they can make your images generally more interesting. They can also be used to give the viewer more information on the location you've taken the shot in. 

 

 

3. What Can Be Used As Frames? 

Windows and archways are obvious choices for frames but tree branches and leaves can also work well. Frames don't have to cover four sides either - one or two branches curving around part of the image can work just as well. It's also worth considering if you want the frame to be in focus or not. If you're at a party, why not use people as your frame to draw attention to a particular person or group? You can also use frames which are positioned towards the back of the shot to frame foreground interest, too. 
 

4. Frames Don't Always Work

There are times when creating a frame within your image won't add anything to the shot so do think about your composition and if you really do need a frame before hitting the shutter button. You don't want the frame to pull attention away from your main subject either so do make sure it's not too distracting. 

 

 

5. Creating A More Traditional Frame

More traditional style frames can be added during Post Production and ePHOTOzine has various tutorials on adding a variety of frame styles to shots in the technique section of the site.

There's also a third option and that's to add a frame to your image in-camera from one of the various creative filter options cameras offer. Apply built-in frames, use vignettes or why not combine multiple shots in one frame? 

 

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Public gardens are bursting at the seams with blooms of colour and as most are free it means you can spend a few hours taking great floral photographs with no extra cost.

Public gardens vary in size and some even attract photographers because they are home to a particular species of flower. When's the best time to visit will depend on what flowers you're trying to capture in your images but generally there's something to capture all year round. Don't overlook photographing topiary, water features, ponds and streams too. 

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What Camera Gear Will I Need? 

When you're heading out the door, make sure you have your camera bag because as well your sandwiches and a flask of tea, you'll also need a few lenses. As you could find yourself changing lenses frequently a sling bag with side access could make it easier and quicker to reach for a particular piece of kit but a camera backpack that's designed to carry several lenses, camera body and accessories will also be fine. 

When it comes to lenses, a wide-angle lens will give you sweeping shots of the colourful gardens while your telephoto will get you close and your macro lens even closer still.

Pack a polariser to stop glare and help enhance the colourful blooms and a reflector will bounce light where it's needed. If it's shade you need your own shadow will work perfectly well but a piece of plain card will also do the trick.

Take a notebook and pen along too as once you're back home all those Latin names will be long forgotten and you'll need to know them so you can title your images correctly.

 

Make Sure You Contact The Garden Staff

If you give the public garden a quick call you'll be able to find out what's blooming and when. You'll also be able to check if there are any restrictions such as: do you need to always stick to the path? Or, can you get close to take a shot of a flower head that completely fills the frame? And, are tripods allowed? If not, you'll need a sturdy hand and very still air to stop blur spoiling your shot. You could also pack a beanbag or use a wall, bench or another type of support that you'll find in the garden.

 

 

What's The Best Time Of Day?

Make sure you arrive early as the light's better, there's less chance of breeze and there will be fewer people to get in the way of your shot.
 

What Type Of Images Can I Take? 

It's very easy to be lazy in a public garden and stay in one place but there's lots of space and plenty to see so make sure you take advantage of that.

Change your focal length, create a different angle and move your point of view. Use a wide-angle to establish where you are but then move in closer for frame-filling shots that burst with colour and detail. Think out of the box a little and be different if you can. Set your camera up on a tripod (if allowed) and shoot a time-lapse series of a bud opening or find some plants which are dying to give your flower photography a different slant.

Look for paths that will draw the eye in and gateways that will frame your shot. These patterns and props are fun to look for but if you ask the garden's staff or do a quick search online you'll soon find a few tips that point you in the right direction as well.

 

 

How To Deal With Wind & Shake

As with all types of flower photography, the wind is your enemy (that's unless you want to create blur of course). A tripod will help reduce camera shake when the wind's blowing and a cable release or the camera's self-timer will also help you take a steady shot. If tripods aren't allowed you'll just have to sit and admire the garden until the wind stops blowing. You could hold the flower steady with a piece of wire but this might be frowned upon so check first.

 

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[SECTION]INTRODUCTION[/SECTION]

 

Quick Verdict

With a few quirks in its design the charismatic Fujifilm X100VI offers outstanding performance in a package that will fit a large jacket pocket. The image quality is superb, as is the amazing hybrid viewfinder, which offers either EVF or an OVF option with extensive digital overlays. This could well become a highly sought after classic in years to come.

 

+ Pros

• Superb lens quality
• Amazing hybrid viewfinder
• 40.2MP sensor
• Low noise
• Useful digital teleconverter
• Quality manufacture
• Plenty of analogue style controls

- Cons

• Extra cost of full weather resistance
• Poor fit of lenscap
• Only one card slot
• Modest video capability

 

Fujifilm understand excellence, in both camera and lens manufacture, so version VI of their premium “compact” camera is going to create some excitement. With our minds attuned to high expectations, let's see how the new camera handles and performs, and just how much quality we can extract from the already highly acclaimed 40.2MP X-Trans CMOS 5 HR sensor.

 

Fujifilm X100VI Features

Initial handling of the X100VI gives a highly favourable impression of a well made, high quality product. The finish is excellent, the engravings razor sharp and the feel solid and reassuring, weighing in at 521g with battery and card and measuring 128.0mm x 74.8mm x 55.3mm. This is not overly large or bulky, and just about compact enough to slip into a jacket pocket.

As we start our tour of the camera we do, however, find a small design fail with something as mundane as the lenscap. Filters and lens hoods cannot be directly fitted to the front of the lens and need an adapter ring AR-X 100. One consequence of this is that the metal lenscap fits rather awkwardly over the control ring of the lens, not seating positively but unevenly wobbling from side to side when fully in position. The idea of the control ring being the gripping point is also potentially inconvenient as removing the cap could result in accidentally changing whatever parameter the ring is set to, the default being the digital zoom. One solution is to turn the control ring off. It does seem a clumsy arrangement, which is a shame when everything else is so clearly well thought through.

The slim control ring on the lens is nicely machined. Tucked up against the camera body we have the aperture ring, as smooth and positive as Fujifilm aperture rings always are. Two small lugs on the ring facilitate gripping it easily, otherwise it would be very fiddly to operate. There is an A setting for the appropriate modes.

The front of the camera houses the front control ring, the built in flash and the control for the viewfinder. The viewfinder is a masterpiece, without doubt. It can be toggled between an EVF and an optical viewfinder with electronic overlay. The EVF is a 0.5” OLED with 3.69M dots, giving a 100% view at 0.66x magnification. Flick the switch and we have an optical viewfinder with an electronic bright frame and info overlay, giving a 95% view at 0.52x magnification. It is easy to see why many photographers prefer optical viewfinders, not only because of the crystal clear view but also the ability to see objects just outside the frame. On the other hand the EVF gives us the precise view that the lens sees. The choice is there, along with a digital rangefinder in the form of a small EVF image that appears in the bottom right of the OVF view if required. This shows a magnified area for manual focus, but it could be debateable whether this is really practical.

 

 

The top plate has the shutter speed dial, along with the A setting for Av mode. Shutter speeds from 1s – 1/4000s plus B and T can be set directly from the dial. The dial rim is lifted and turned to set the ISO value, along with A setting (auto) and C setting (controlled via the camera). This is all familiar to those who use Fujifilm cameras. The shutter release and on/off switch are combined, probably the most efficient way. There is also an exposure compensation dial, again a very efficient way to adjust the overall exposure of an image.

The back of the camera houses the 1.62M dot LCD tilting monitor, which is clear and crisp. The joystick control, menu, playback and drive buttons are some of the controls found here, along with the useful Q menu button. The Q button is separated from the rest and unlikely to be pressed accidentally. The rear control wheel is also located near the top of the camera back. The right side of the camera has an access door to the various connections, including HDMI and USB. Charging is possible via the USB socket. The battery and single card socket are found on the camera base.

Under the skin, the camera houses the excellent 40.2MP X-Trans CMOS 5 HR sensor and X Processor 5. Native ISO range is 125-12800, or 64-51,200 extended. 5 axis IBIS gives a 6 stop advantage. Deep learning AI enables subject recognition of animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones. 

Having a fixed lens, some attempts are made at increasing the versatility. The basic 23mm optic has a 35mm-equivalent field of view of 35mm, and two digital teleconverter modes are available to deliver 50mm-equivalent and 70mm-equivalent. This does result in a loss of resolution, but with a 40.2MP sensor there is some leeway and the 50mm setting is probably very acceptable on this basis. 

Fujifilm has made the inspired choice to include a wide set of film simulation modes in its digital cameras, and it now runs to 20 options. The basic descriptions such as “Vivid” or “Soft” are self explanatory to all users, and those familiar with film characteristics will find some familiar names alongside these basic descriptions. For example, Vivid is the Velvia setting, which is highly appropriate.

 

Fujifilm X100VI Key Features

• 40.2MP X-Trans CMOS 5 HR APS-C sensor
• X Processor 5
• Digital 1.4x and 2x teleconverters
• Shutter speeds 30s – 1/4000s (mechanical leaf shutter)
• Shutter speeds 30s – 1/180,000s (electronic shutter)
• 5 axis IBIS 6 stops
• Subject detection: animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones
• ISO range 125-12,800 (Native)
• ISO range 64-51,200 (Extended)
• SD Memory Cards: UHS-I, SD/SDHC/SDXC
• OLED EVF 3.69M dots, 100%, 0.66x
• OVF Digital bright line + info overlay, 95%, 0.52x
• Tilt 3” LCD Touch screen 1.62M dots
• WiFi
• Bluetooth
• 6.2K/30p 4:2:2 10-bit internal recording video
• Frame.io to Cloud natively
• 20 film simulation modes
• USB and HDMI Micro Connector (Type D)
• Li-ion battery NP-W126S
• E Mode 360 shots (EVF)/450 shots (OVF)
• Normal mode 310 shots (EVF)/450 shots (OVF)
• 6.2K/4K movies 45 minutes
• FHD movies 50 minutes
• 128.9mm x 74.8mm x 55.3mm
• 471g/521g with battery and card
• Supports Fujifilm X App

 

Fujifilm X100VI Handling

Whilst photography is ultimately all about the resulting images, there is still much satisfaction to be found in handling and using various cameras. Some much more than others. There is a lot to like about the X100VI design, especially in the way it handles so beautifully as a fairly pocketable notebook; an ideal companion for travel and street photography. Of course, for those who moved away from basically rangefinder designs to SLR cameras, going back to the X100VI reveals the same drawbacks as before, principally the viewfinder and parallax and the lack of really close focusing. The X100VI actually solves most of this now we have the LCD monitor and the EVF with its precise and very clear view. All the joys of rangefinder design with the snags removed, perhaps? Well, mostly, and ironically, one of the joys of this camera is that incredible hybrid viewfinder. The optical view is amazing and combined with AF and IBIS there is so much versatility built in. There are a couple of niggles such as the lenscap and the way the centre focus point is so easily nudged, but really these are minor things in what is essentially an excellent ergonomic design that works extremely well.

 

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X100VI Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

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Lens Performance – The Fujinon Super EBC 23mm f/2 II fixed lens has a “35mm-equivalent” field of view similar to a 35mm lens on a full frame camera. This is the “wide standard” favoured by so many reportage/street photographers. The digital teleconverter can crop in to this image to give “35mm-equivalent” views of 50mm and 70mm, albeit with reduced pixel counts.

Optical construction is 8 elements in 6 groups, including 2 aspherical. The diaphragm comprises 9 blades. Closest focus is 10cm, or 3.9 inches, creditably close.

There is no filter thread, so an adapter ring AR-X 100 is needed to use 49mm filters. The lenshood is the LH-X100. There is also a wide conversion lens WCL-X100 II 0.8x, for an equivalent view of 28mm. The tele conversion lens TCL-X100 II gives 1.4x for an equivalent view of 50mm.

The lens was put through Imatest, and the results are nothing short of amazing. Centrally, this is one of the sharpest lenses ever tested. The centre is outstanding from f/2 right through to f/8, excellent at f/11 and still very good at f/16. The edges are very good at f/2, excellent from f/2.8 to f/5.6, very good at f/8, good at f/11 and fair at f/16. Well done, indeed.

CA is centrally well under control, and although there is a tinge of colour fringing at the edges wide open, by f/4 this has settled to half a pixel or less. CA is not an issue with most subjects, and there are always software solutions if deemed necessary.

Distortion is very low, measuring just -0.18% barrel. This is very close to rectilinear and it is highly unlikely that more correction would be sought.

It is possible to generate some flare in the most demanding lighting, but this is not a huge issue and does not seem to affect contrast. Fujifilm's EBC coatings are highly effective, even without a lenshood.

Bokeh is very smooth and pleasant.

(Below you'll find images demonstrating the aperture range of the lens alongside CA and MTF charts.)

 

Fujifilm X100VI Lens test images Previous Next

 

Vignetting is also very modest, -0.8 stops wide open and then a consistent -0.6 stops over the entire aperture range.

In summary, an excellent lens with outstanding central sharpness.

 

Fujifilm X100VI ISO test images Previous Next

 

ISO Performance – Images are totally clean up to and including ISO 400. At this point, there is the slightest whisper of noise and this holds good up to ISO 3200. Up to this point any ISO could quite happily be used with confidence. ISO 6400 sees a sudden dip in quality and noise creeps in, becoming even more evident at ISO 12,800. ISO 25,600 is almost overwhelmed by noise and ISO 51,200 is awash with it. These last two high values have little viability for normal use, but could perhaps be used for special effects and in emergencies where some image is better than no image.

 

Fujifilm X100VI White-balance test images Previous Next

 

White Balance – Most of the usual white balance presets are present. The choice is Auto White Priority, Auto, Auto Ambience Priority, 3 custom settings, Colour Temperature, Daylight, Shade, 3 Fluorescent settings, Incandescent and Underwater. All of these are fine, but we still have missing a Cloudy setting, the equivalent of the 81A filter that would probably go very well with the colour slide film simulations.

 

Fujifilm X100VI Digital filters Previous Next

 

Digital Filters – The 20 film simulations offer a wide selection of options that can be taken simply as their descriptions or can relate to the films that they mimic. The beauty of this is, of course, that we have 20 different types of film available at the flick of a switch and we don't have to change the film to move from one type to another.

 

 

Video – The video capability is fairly basic, but the out-of-the-box settings do actually provide a smooth movie experience for the more casual movie maker. 

Options are:

• 6.2K/30p 4:2:2 10-bit internal recording
• 4K/60p
• High Speed 1080/240p

Recording time available from one battery charge is also quite short, at 45 minutes for 6.2K/4K and 50 minutes for FHD.

 

[SECTION]VERDICT[/SECTION]

 

Value For Money

The [AMUK]Fujifilm X100VI|Fujifilm+X100VI[/AMUK] is priced at £1599.00

Other rangefinder type designs might include:

• [AMUK]Leica M11|Leica +lens[/AMUK], £7800
• [AMUK]Leica M11-P|Leica +lens[/AMUK], £8000
• [AMUK]Leica Q3|Leica +lens[/AMUK], £5300

Alternatively, accepting a more conventional DSLR style mirrorless camera, the Fujifilm X-T5 with the XF 16-80mm lens is just £1849. This still offers the 40.2MP sensor and more versatility at the cost of more bulk.

It depends on what we pitch it against, but the quality is there, and compared to, say, the Leica Q3, the price looks very keen.

 

Fujifilm X100VI Verdict

Premium compact cameras are few and far between, and this one certainly nails the quality. The lens and hybrid viewfinder stand out as major advantages. Some issues are not so impressive, for example the poor fit of a clearly well engineered lenscap and the need to purchase the adapter ring to ensure full weather sealing. That the lens needs extras to fit the lenshood or a filter is surprising. It is fortunate that the lens is very resistant to flare, even without a hood. The video capability is also very basic and selecting the feature requires delving into the drive menu, so the camera is clearly not majoring on this.

However, the camera delivers the goods and images are simply excellent. All of this in a package that is, just, pocketable is an attractive proposition and despite its occasional foibles it can be Highly Recommended, especially for photographers who enjoy the rangefinder design of camera.

 

Fujifilm X100VI Pros

• Superb lens quality
• Amazing hybrid viewfinder
• 40.2MP sensor
• Low noise
• Useful digital teleconverter
• Quality manufacture
• Plenty of analogue style controls

 

Fujifilm X100VI Cons

• Extra cost of full weather resistance
• Poor fit of lenscap
• Only one card slot
• Modest video capability

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – Outstanding quality compact camera with a character of its own|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X100VI specs in the equipment database.

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At springtime our thoughts naturally lean towards flower photography, and none more so than bluebells, either as individual subjects or in carpets of blue. Often, but not exclusively found in woodlands, bluebells offer a magnetic attraction to photographers and as almost anything can be used to photograph them, from wide-angles to long telephotos, compact cameras to full-frame DSLRs, it's something photographers of all levels can have a go at. 

 

1. What Type Of Shots Should I Take? 

 

How you treat them photographically depends on how densely-packed they are growing. In a woodland where they provide a carpet of blue flower heads, wide-angles can exemplify the extent of the blooms, and shooting with a small aperture will give a huge depth of field, rendering all the flowers in focus. A macro lens can hone in on details and individual flowers, wait for an insect to land on a bloom to give added interest.

  2. How Can I Focus On Individual Flowers?

 

Telephoto lenses used at wide apertures can also give a narrow band of sharp bluebells amongst a sea of blur, with telephoto compression adding to the effect. This works best from low viewpoints, often only a few inches above the ground. Or your long lens can be well used to isolate individual flowers from their surrounds; often in a mass of bluebells, there will be some rogue colours – the most common being pink and white – focusing on these with a long telephoto at wide aperture will highlight the different colours, making them stand out among a sea of blue.

 

3. How Can I Get Creative? 

 

For a different effect, try experimenting with camera movement, by setting a small aperture to enable a long exposure and panning the camera vertically through the exposure. Try smearing petroleum jelly on an old filter (NOT on the lens itself!) and swirl it round to give an abstract effect. You can also leave a clear patch in the middle to give an area of clarity in the picture, amidst a swirl of colour.

So...no excuses...no special equipment needs, just get out there, find some bluebells and interpret them in countless different ways.
 

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A brilliant focus-stacked image of a Shield Bug, captured by SWMahy has won our 'Photo of the Week' (POTW) accolade.

The image caught the team’s attention with its vibrant colours and the extraordinary detail that SWMahy has managed to encapsulate in the shot. As SWMahy describes, the image was shot using a handheld focus stack technique with a diffused flash.

This image serves as an exceptional example of focus stacking, honing in on the intricate details of a shield bug. The texture and patterns of the bug’s body make it look quite fascinating. The excellent colour and details of the bug further enhance the overall appeal of the photograph, making it a deserving winner of the POTW accolade.

All of our POTW winners will receive a Samsung 128GB PRO Plus microSDXC memory card with SD adapter offering memory storage across multiple devices. Plus, we will also announce our 'Photo of the Year' winner who'll win a Samsung Portable 1TB SSD T7 Shield in January 2024 courtesy of Samsung.

 

Photographing birds of prey in the wild isn't something that's easy to do, however as the UK is home to some excellent birds of prey centres where photographers have the opportunity to shoot up close with these majestic birds when armed with the right kit and technique. 

At centres, the birds are trained to fly close to visitors which gives photographers, with a bit of patience, the chance to capture images of birds of prey in flight as well as photos of other natural behaviour they demonstrate.
 

1. What Gear Will I Need? 

Thanks to the close range, photographers can generally capture shots of larger birds of prey with shorter lenses, however, for shots of birds in flight, you'll need a lens that has a longer reach.

For portraits, use a tripod but when in flight you may find this kind of support doesn't give you the fluidity of movement you need. Plus, these centres are popular locations and you can find yourself in a crowd where tripods won't be a welcomed feature. If you do have room for a tripod, put a ball head on it as this will allow you to adjust the position of the camera quicker and easier. A pistol grip could also be useful as they are ideal for pursuing and capturing fast-moving subjects.

Some places have hides which offer enough space for tripods so you won't be fighting for elbow room. 

 

2. Make Sure You Follow The Centre's Rules

Centres have different rules when it comes to displays. Some allow you to move around while others don't so do check before you start taking your images. It's important to pick a good shooting spot before the display begins so do have a scout around the location well before the scheduled start time.

 

 

3. Capturing Shots Of Birds In Flight

Photographers with fast prime lenses are at an advantage with this but this doesn't mean you shouldn't try if you have a different piece of kit. It can be a little hit and miss and will take some perseverance to get right but there are a few things you can do to increase your chances of capturing a good shot.

Birds tend to take off and land into the wind so if you can position yourself so the wind is blowing from behind you, chances are you'll be able to capture a head-on shot of your subject in flight.

It's also worth manually focusing on a spot you know the birds will fly through/into as with some practice, this should improve your chances of capturing a good shot.

A bird flying across you is easier to track the path of than one flying towards you as you can pan with its movement and its path won't change as quickly. Continuous shooting will increase the chances of you capturing a shot with the bird in-frame, but depending on your camera autofocusing may struggle. 

Aiming to capture a shot just before a bird lands tends to be a little easier, as Linda Wright explained in a previous article: "Birds stall just before they land – slowing almost to a stop and spreading their wings wide – so this is a good moment to aim for and easy to predict."

Do remember that each subject flies at a different speed and often has different characteristics of flight. Understanding this will help you improve and modify your technique accordingly.

For more tips on capturing shots of birds in flight, take a look at this article: Photographing Birds In Flight

 

4. Master Your Shutter Speeds

When it comes to shutter speeds, faster is good, although slower speeds can result in some interesting blurring of wings if you want to take a more artistic approach.

Check your exposure, taking a reading from roughly where you'll be aiming before the action begins can help, and go for a higher ISO rather than risking a wider aperture if you find light levels to be too low. 

 

 

5. Check The Position Of The Sun

Note where the sun is for when you're shooting with your lens towards the sky as you don't want to pan and find it's shining down your lens. It's dangerous to look directly at the sun and can be very painful so do take care. 

 

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This is something everyone can have a go it. It doesn't matter if you live in a mansion or a flat or usually shoot landscapes or portraits as this will give you the chance to think out of the box a little and really help you improve your photography.

Of course, if you live on the coast or in the Highlands or Lakes, you have got it slightly easier than some. But there are pictures to be captured everywhere, you just have to get out there and find them!

If you really don't fancy shooting near your home pick a location you love or know well and see how only having a few meters to work in will make you think differently.

  Gear Suggestions

 

If you're not travelling far you can set out your full array of lenses on your side and return to pick up what you need although your standard zoom will do a perfectly good job.

If you do have a variety of lenses to pick from your macro lens will be good for giving the ordinary a unique twist while a longer telephoto will get you close to birds in the garden without having to be sat on the branch next to them. If you're out in the garden you may need a tripod when using a longer lens but otherwise working hand-held will be fine.

 

What To Shoot?

 

Look at everyday objects differently. See how a fork, TV remote or even a shoelace look close up through a macro lens. Or try setting yourself a little challenge: shoot household objects, certain packets or how about items beginning with a particular letter or number? Try shooting candids of neighbours or how about limiting the number of pictures you take?

You can go on a mini safari in your garden, photograph birds from your window or shoot the flowers that are now decorating our beds. Have a go at photographing micro landscapes on dull days or how about capturing raindrops as they fall down your windows or land on plants? If you don't mind early starts, you can shoot some photos of morning dew or spend some time with your pets, photographing their antics.

 

As the months warm-up you'll be able to spot Ladybirds to photograph but while the weather's still chilly, why not stay indoors and shoot some still life work: kitchen utensils, cutlery and food.
 

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    We've spoken before on how lines are great tools for guiding the eye through an image but don't think these have to always be horizontal or vertical as quite often, diagonal lines can add more interest and depth, guiding the eye across the image.
  1. Where Should I Look For Them? 

Rivers, walls and cracks in the ice are just three examples of how you can create diagonals within your landscape shots. Just remember you may have to alter the angle, height or position you're working at to see these natural elements take on the shape you need.

 

2. Use Diagonal Lines As A Guide

The eye often looks at the bottom left of an image first before working across the shot to the top right corner so by having a line which follows this path, intercepting interesting elements as it goes will unknowingly guide the viewer through your shot. They're particularly useful in shots where you have lots and lots of different elements that without a 'guide' would just look chaotic and the eye wouldn't know what to look at first. Try using multiple diagonals to guide the eye to one spot in the image by intersecting them where you want the attention to fall.

 

 

3. Don't Split Your Shot Into Two

If you position your diagonal so it flows from one corner to another your shot can look like it's split in two and won't work right compositionally. Instead, try shifting the line up slightly so it starts just above the bottom corner instead.

 

4. How Many Are Too Many?

Don't get too carried away using too many diagonals as your shot will just end up looking busy and the eye won't know where to focus. However, a few repetitive lines such as those left by a tractor in a field or the shapes left in the sand by the wind can work well as abstract landscape shots. Just shoot from a higher viewpoint and use a longer focal length with a smaller aperture to maximise depth of field. At the coast, try photographing footprints left in wet sand or the patterns left by the tide as it moves down the beach.

 

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Make the most of the flowers currently in bloom and have a go at a bit of creative flower photography. Below you'll find links to flower photography tutorials with advice on using macro lenses, dealing with messy backgrounds, working on a budget and for when the weather turns, tips on photographing flowers indoors. Each feature also has a picture-perfect flower shot next to it for inspiration - enjoy!  

 

1. Backlighting Flowers For Photography

 

2. Four Ways To Shoot More 'Arty' Themed Flower Images

 

3. Flowers - An Alternative Approach

 

4. Six Outdoor Flower Photography Tips Every Compact User Needs

 

5. 3 Top Tips To Improve Bluebell Photography

 

6. Abstract Flower Photography Tips

 

 

7. 10 Top Tips On Photographing Daffodils

 

8. Take Better Photos Of Public Gardens With These 5 Tips

 

 

9. Eight Techniques To Improve Your Garden Photos

 

10. 4 Essential Tips On Photographing Snowdrops

 

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1. Pick A Strong Subject

As silhouettes don't have any detail and are, essentially, just an outline, picking a subject that has a recognisable shape and strong detail around the edge will produce shots that are more interesting. Possible subject choices include:

• Big wheels at fairgrounds or those found in cities.
• Statues which can be found in most parks and gardens.
• Trees, particularly on misty mornings.
• Tunnels or bridges make great frames for subjects when silhouetted.
• People but remember that shooting them side on will show more shape when still. 
• People in action - if they're jumping or forming an interesting frame with their legs and arms, shooting straight on can work well.

  2. Choose A Light Source 

Any subject that is surrounded by bright tones can easily appear as a silhouette. The most obvious light source to use is the sun as you can use it at the beach, in town, in your garden or even inside as long as you're working near a large window or close to a set of patio doors. But really you can use any light source, you just need to make sure it sits behind your subject.

 

3. Switch The Flash Off

When you take your camera out of its bag and use auto mode to take a shot of your subject sat against a bright background, generally the flash will fire to lighten the foreground and even out the exposure. This is usually fine but as we want to deliberately underexpose our subject, you need to make sure the flash is turned off.

 

 

4. Underexpose Your Shot When working in auto mode, most point and shoot cameras will work out the exposure and where it needs to focus when you press the shutter button halfway. So to trick it into creating a silhouette, simply point the camera at the brightest part of the scene you're photographing, press the shutter halfway down and don't let go of it. Re-frame the shot then press the shutter button the rest of the way to take your shot. This should fool the camera into giving you the exposure you want but you may have to try exposing from different parts of the image to create the silhouette you're looking for. Try using the Sunset Mode too to further enhance the silhouette you're trying to create.
  5. Check The Shot's Focus

The problem with half-pressing the shutter button to get the exposure you need is that the camera will also focus on that spot too which can mean your silhouette can lack crispness. If this happens and you can adjust the focus manually, pre-focus before you take your meter reading. You could try using Landscape mode as this will let the camera know you want to use a small aperture so your shot has front to back sharpness. If your camera features exposure compensation you'll be able to select -1 or -2 to deliberately underexpose your shot. This means you shouldn't have any problems with focusing either as you won't have to move the camera.

 

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    Wonky horizons are the bane of many landscape and cityscape photographers as a horizon that's slightly off-tilt can spoil what's otherwise a perfectly good shot. Of course, there will be times when holding your camera at an angle so the horizon line is deliberately not straight but if you do want to do this, make sure it's really obvious as otherwise, it'll just look like you forgot to check your frame before hitting the shutter button.   How To Straighten Horizons    1. Line it up with the bottom or top of your frame   The easiest way to ensure you have horizontal horizons is to line it up with the bottom or top of your frame, either in your viewfinder or on the LCD screen. Some cameras also have a digital spirit level feature which will indicate to you when the camera is level  - both on the horizontal and vertical planes. It can be displayed in the viewfinder or on the back monitor when using Live View, along with all your other settings. When the marker is in the middle of the gauge and turns green, you know you're level.     2. Rule of thirds grid  If you don't have a digital spirit level, have a look in your camera's menu options to see if there's a rule of thirds grid. We know this isn't designed for this purpose but the grid will have horizontal lines on it that can be a handy guide when you're looking for a quick way to check the horizon.          3. Use a spirit level Another option is to purchase a spirit level that sits on your camera's hot shoe and to use a tripod as you're more likely to move / not hold the camera straight when you shooting hand-held.      4. Post Production  Of course, you can always straighten your images in whatever editing software you use as well but it's good practise to get it right in-camera whenever possible.    

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With warmer weather finally arriving, it's a good time to take your camera on a planned photo walk. This, of course, could be on a paid-for type of course but you can also design your own. Staying as close or venturing as far as you like from your home.

 

1. Check The Weather

Have a look online and on the TV the night before you leave and on the morning of your walk. If you're off hill walking low cloud's not good news if you want to walk higher up and blistering, bright sunshine isn't a photographer's friend no matter where you walk. There's more chance of you dehydrating too on a warmer day so either wait for cooler temperatures or pack plenty of water if you're still going to head out in it.
 

2. Dress For The Weather

Stick your head out of the door and see what the weather's like and if it is sunny do still pack a waterproof just in case.
 

3. Tell People You're Going 

Make sure someone at home knows where you're going and give them an estimated time of when you'll be back so if you do get lost, they'll know to come and find you. Take your mobile with you so they can contact you but do remember you can't get a signal in some remote locations.
 

4. Plan A Route

Don't be over adventurous as you, plus kit and stopping to take photos means, generally, you won't have the time to walk very far. A quick, short route that circles back on itself will be fine, in fact, a one/two-hour walk that takes you into a town/village or just around the area you live in would be perfectly good if you've not tried a photography walk before. If you do want to venture into the countryside you might not want to climb up to many steep hills on your first walk but you don't have to get too high to shoot interesting sweeping vistas. Try walking along the side of a river or through the woods instead.
 

5. Capture A Variety Of Imagery 

Of course, there will be plenty of wide landscapes to capture out of the city but don't overlook shooting a few close up shots too. Look out for flowers, interesting patterns in bark and insects on your trail. If you see something in the distance, a waterfall for example, but don't have the time or energy to get closer to it use the pulling power of a longer focal length to bring it to you. This will help isolate it from the wider scene and also bring detail into the shot that may not have been seen if you shot it with a wide lens. Closer to home get up higher to stop problems with converging verticals and this will also give you the chance to capture some cityscapes. In between the buildings look for reflections and interesting detail/patterns roof tiles, brickwork, fences and other objects create.

 

 

6. Pack The Right Lenses

Wide-angle zooms are good for capturing sweeping landscapes with interesting foregrounds while telephoto zoom lenses are good for picking out detail and compressing perspective. To save on weight pack just one zoom lens that covers all the focal points you need. For close up work, pack a macro lens.

7. A Tripod Is A Must 

It's always a good idea to take a tripod along, particularly for landscapes, where the built-in spirit level will help you ensure your horizons are straight. You'll also need one if you're planning on stopping to shoot some slow shutter speed shots of lakes, rivers and waterfalls. If you're planning a long-ish walk you'll need a light-weight model. Pack your remote shutter release with your tripod too for those slow shutter speed shots where shake will really be noticed.
 

8. You'll Need A Good Pair Of Shoes

You need a pair of shoes/boots that are comfy, it's a good idea to make sure they're waterproof and you'll thank them at the end of your walk if they support your ankles. Having a good sole which gives good traction is also a must if you're heading off the pavement.
 

9. Remember The Filters

Find the room in your camera bag for a polarising filter and an ND filter as they don't take up too much space but are very helpful tools on sunny days when you need to use slower shutter speeds or when reflections are a problem. An ND Grad filter can be useful too for balancing out the exposure of the sky and ground.
 

10. Pick The Right Camera Bag 

If you're off on a long walk, as well as having space for your camera and lenses make sure there's room for spare clothing, water, food and a compass.  But don't carry a bag that's too big, though, as walking is tiring enough on its own without having to carry a large bag that's half empty.

 

 

11. Always Carry Spare Batteries And Memory

You don't want to run out of power or space to store your photos when you're only halfway through your walk so always pack extra.

 

12. Don't Forget The Torch

If you're planning on photographing sunrises you'll be setting your kit up and walking while it's still dark and without a torch, this can be a little tricky. So your hands are free, take a head torch with you to light the way. Of course, if you're staying closer to home you'll have street lights so this item's not something you'll need in your bag.

 

13. Other Essential Accessories You Will Need 

Take a lens cloth to wipe dust and moister off your lens, a lens hood will help stop glare, a compass will guide you along your chosen route and a map will stop you getting lost. If you're heading out for quite a few hours make sure you take food, water and plenty of snacks with you. Make sure the clothing you're wearing is lightweight and it's often better to layer up rather than heading out in just one coat. If it's a sunny day pack your sun cream as even if there's a slight covering of cloud, the sun will still get you if you're out in it all day.

 

14. Find A Friend To Walk With You 

Taking a short walk on your own is fine but if you're going on a four-mile hike take someone else with you so if you do get lost or worse still injured, you won't just have yourself to rely on. If you're going with a none-photographer they may also help you carry your equipment and hold your bag while you're taking your shots. Do go with someone who has a slight interest in photography though as they can help you look for good locations to shoot in/of and if they don't have an interest in photography at all they'll just get bored of stopping and waiting for you to take your photos.
 

 

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© Benro

 

Benro has announced the addition of three new models to the versatile, robust and heavy-duty Mammoth Tripod series.

The new TMTH43C, TMTH33C and TMTH34C join the current Mammoth TMTH44C model, which has proved extremely popular with both landscape and wildlife photographers since its launch. All feature a quick levelling 75mm platform with  3/8" thread which means you can mount any of Benro's flat base photo or video heads, quickly and easily.

Low shooting angles with maximum stability can be achieved through the independent locking, and three-stop adjustable legs, whilst the ergonomic rubber twist locks, allow the user to easily extend or retract the legs with a quick twist meaning set up and breakdown take just a matter of seconds. When shooting outdoors, for even more stability, the rubber feet can be unscrewed and replaced with the included spike feet and further stability can be achieved by adding weight to the hook.

The Benro Mammoth also benefits from three built-in 3/8" accessory mounting threads, so a microphone, monitor or LED light can be attached.

 

Key Features

• Suitable for Photography and video with the quick levelling platform.
• Carbon Fibre construction and Magnesium Alloy
• Working range 13.5 - 160 cm
• Weight Capacity TMTH43C - 25Kg,  TMTH33C & 34C - 18kg
• Product Weight TMTH43C - 2.25Kg,  TMTH33C & 34C - 1.88Kg
• Standard Warranty 2 + 3 years  (with warranty registration)

 

 

 

Price:

TMTH33C           Benro Mammoth Ser 3 Carb 3 Section Tripod    £360 inc vat

TMTH34C           Benro Mammoth Ser 3 Carb 4 Section Tripod    £380 inc vat

TMTH43C           Benro Mammoth Ser 4 Carb 3 Section Tripod    £390 inc vat

 

For more information, please visit the Benro's website.

 

What Is Mood?

Mood essentially relates to the lighting in a shot. Giving something mood usually means we are trying to make it dark and brooding – making it moody. But mood can relate to any lighting situation, to give your photo any mood/feeling.

For landscape photography, mood usually relates to the weather. A cloudy, unsettled day will create mood in a way most of us expect it to be - dark and brooding. Although the opposite, where streaks of the sun break through the cloud to shine light on parts of the green landscape is equally as good, it's just the mood/feeling is different. 

 

Gear Choices

To take good moody landscapes, you're going to need a tripod as dark days may be good for the style of shot you're trying to create but the lack of light can lead to slower shutter speeds and working without a tripod can result in shake. 

 

 

Be Patient

This type of photography requires patience. To get the best shots, you need to wait until there is a break in the weather to get some really interesting lighting effects from the turbulent sky. Of course, mood doesn't have to be cloudy, but with landscapes, it's more of a challenge to portray mood on bright, sunny, cloudless days. 

When the right light does arrive, work quickly as it can be gone again before you know it. The key to this is always to be ready, having your gear out and framing in-mind before the right light does show its face. 
 

Be Prepared

Check the weather forecast the night before as there's no point heading out if you find the weather isn't going to be right. You also need to have the right type of location as you'll find some subjects will work better in dark, moody shots than others. 

 

 

Convert Your Shots

Black and white is another way to create mood in your photography. Taking photos of a gnarly tree, for example, in black and white will look so much more foreboding than a shot in colour. You can shoot black and white in-camera although, if you shoot in colour, you can convert your shots to black and white in your chosen editing software, giving you more control over the tones, highlights and shadows in the shot.

 

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Landscape photography's all well and good, but what do you photograph when the skies are leaden and the rain's really set in for the day. That's when I pick up a tripod and head off for a 'rust fix' and there are plenty of museums and collections around the country that are perfect for this type of day.

 

Think In Textures & Patterns 

The secret when visiting collections of rusty vehicles is to try to forget what it is you are photographing, by that I mean not to look at them as a lathe, excavator, or drill; but to view everything as simply shape, pattern and texture. Indoor locations such as old sheds and workshops should be explored, too, as even though they may seem to be filled with junk, if you look around carefully there will be a wealth of goodies to point your camera at.

It's worth leaving the camera in your bag and walking round for 15 minutes, just looking to see what might work photographically – pick out maybe a pile of spanners sitting on a workbench, or if outside, select one vehicle and look over it carefully, choosing details that will make strong, abstract, colourful and interesting pictures.

Raindrops on the surface add another texture, and wet paint and rust enrich the colours. If you are working inside using light coming through a window behind the items you are photographing, a reflector can be invaluable to bounce light from the window back into the shadows. Be careful not to rush around trying to photograph everything – you will more than likely be disappointed with the results, spend time working around each subject, trying various angles and looking close to create strong, abstract, colourful and interesting pictures.

 

Why's A Tripod An Important Tool?  

Because the 'undercover' work (and if it's pouring with rain, that's probably the best place to be) tends to be in darker locations, a tripod is an essential piece of kit. Lighting levels are low and shutter speeds can be quite long, but I'm not a huge fan of flash in these places – firstly, it tends to kill the natural lighting, second, if there other people looking around, a continual flashing can be annoying for them. I keep my ISO fairly low for this work, as non-moving subjects taken using a tripod are no problem up to 30-second exposures – or beyond if you have a remote release with a timer.
 

Work With Custom White Balance Settings 

Be careful of lighting – often there is a mixture of diffused daylight coming through the windows, and fluorescent lighting in the ceiling. The ideal solution is to turn off the lights, but this wouldn't go down too well with others, so make full use of your camera's custom white balance settings.

 

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[COMMENT_IMG]portfolio|136775|3214966[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to NDODS (Day 2 - 'Quick' Theme).

 

Daily Theme Runners-Up

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

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

  Day 1

City Shoot

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  Day 3

Dandelions

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Day 4

Lighthouse In The Landscape

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Day 5

Trains

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Day 6

Hedgerows

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Day 7

Seaside Captures

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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.

 

 

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.

 

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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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