DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

- Partner Content - 

 

 

Imagen is an AI-powered, cloud-based workflow solution for busy photographers offering fast and efficient culling, professional-standard editing and secure storage.  All this and more in one, easy to use platform with a choice of packages to suit photographers of all levels.

Digital capture is wonderful because it gives complete shooting and creative freedom. The downside is the copious amount of time, effort and energy needed post-shoot to sort and edit all your brilliant shots. 

Imagen could be the answer with the potential of cutting down your editing time by up to 96%. The first step to a faster workflow is to sign up – you get up to 1500 free Imagen edits as a reward – and download the Imagen app.

In the app, start building your Personal AI Profile by uploading some of your previously edited shots and you can do this from existing catalogues. Imagen works seamlessly with Adobe Lightroom, Lightroom Classic, Photoshop and Capture One so you don’t have to learn a new software. A minimum of 3000 images is needed and any tweaks you make over time will refine your profile further, so you’ll get consistent results that’ll match your style and vision, and all in a few minutes.

 

 

To start using Imagen immediately, you can create a Lite Personal AI Profile by uploading your favourite preset and answering a few questions. Another quick start option is to use one of the pre-built Talent AI Profiles which have been made by leading photographers using Imagen, and these are available free within the app.

Once you have a Personal AI Profile, Imagen has the ability to adjust editing characteristics and to take Talent AI Profiles and refine them to match your vision.

Of course, image editing is time consuming but so too is culling, and it’s arduous too. Going through thousands of high res RAWs, rating, flagging and deleting, is a trudge. Imagen’s Culling Studio streamlines the process with its advanced AI skills. Duplicates, blurred photos and shots with people blinking or with eyes shut are automatically removed.

Your images and all the editing that’s linked to them are valuable assets but here again, Imagen has a solution. Its Cloud Storage automatically backs up your projects, and you don’t have to do anything extra in the workflow. Edits are saved alongside your full-size RAW files so if there is any issue with your own storage, the Imagen-edited work is safe.

If Imagen sounds like your ideal workflow solution, sign up and download the app, which is available for Mac and Windows. The process is quick, no credit card is needed and you can start uploading files straightaway. As an ePHOTOzine user, sign up here and you will get 1500 free Imagen edits to get you on the road to a faster workflow.

 

 

Three pricing plans are on offer so just choose the one that suits your budget and needs best. The no-commitment, Pay-as-you-go option is the most popular and this offers unlimited Personal AI Profiles, access to Talent AI Profiles, 24/7 support and 100GB free storage for three months.

Click here to read more about Imagen and to take out the Black Friday 50% off workflow essentials deal. 

Grab the deal now

When it comes to group shots, there's not just one genre of photography it sits under. From weddings and Christmas parties to school events and sports, there are many occasions when a group shot will be needed. However, getting them right so no one's blinking, looking the wrong way or are hidden from view by someone else in the shot can be a little tricky so here are a few tips to help you perfect that group shot.

 

Start Small If You're Unsure

The less people there are in your group the easier they are to co-ordinate so if you've not done group shots before, try splitting the people you have into smaller groups rather than shooting them all together.

If you are working with a big group where you have lots of lines of people stood one in front of another, do check that everyone is in focus. If they're not, use a smaller aperture to keep everyone sharp. If you're struggling to get everyone in shot, try shooting from a higher vantage point. Not only will it help you get everyone in frame, it'll give you an interesting twist to your group shot.

Be A Director

Don't let the group take control, you're the one behind the lens after all so can see what works and what doesn't. Don't be afraid to give instruction and actually walk people into position if needs be. Generally, tall people wander towards the back and those who are shorter tend to find a position towards the front of shots but this isn't set in stone. If you have a person who is the main focal point (birthday girl, top scorer etc.) try to position them towards the centre of the shot. To be more creative, try to position the rest of the group so they're looking at them or change your aperture to blur some of the group out of focus slightly, leaving your main subject sharp.

Enjoy Yourself

If you smile and seem relaxed, your subjects are more likely to be. Talk to them and don't be afraid to have a bit of fun as the more relaxed your subjects are, the better the photos will look.
 

Lighting

If you're working outdoors, a slightly overcast day's good for portraits, however if you're working outdoors on a bright day, pose your group with the sun behind them and use a pop of fill-in flash to fill in any shadows.
 

Backgrounds

As with all portraits, you don't want a background that'll distract from your main subject so take a good look around the frame to make sure there's nothing to the sides, front or above the group that'll pull the eye, taking the viewer's attention away from the people in your shot. Having said that, don't be afraid to use a background that adds to the shot. For example, a swim team at the side of a pool or a family at Christmas stood near the tree and fire surrounded by stockings etc.
 

Make Sure It Looks Like They Know Each Other

You may need to squash people a little closer together as what they think is close may not look very close in-camera. Try to fill the frame but take care not to remove anyone's limbs by accident as it's easily done to people who are at the side of the frame.
 

Shoot Lots And Often

People have a habit of talking, moving, pulling odd faces and blinking when you don't want them to so make sure you take plenty of shots. Switching your camera to continuous shooting mode will help increase your chances of getting a good shot as you'll usually find the first shot isn't that great, but shot two or three could be a winner.

 

 

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Just because you don't have an expensive lighting set-up or a studio doesn't mean you can't shoot interesting portraits of your children. To help you out, we've put together a list of quick tips made up of low-cost techniques to help the beginner out.
 

Which camera should I use?

Smaller, pocketable cameras right up to bigger DSLRs can be used to shoot portraits.

You can even use a less-expensive toy camera which may produce low-quality images but the levels of saturation and strong vignetting some produce can create interesting effects. As the shot below, taken with a VistaQuest VQ1015 camera, demonstrates:

 

I Don't Have A Lighting Kit

Commercial photographers, such as those who shoot in schools, tend to use lighting they can move and position around a room, making flash less harsh when fired. If you're working with a camera that has a built-in flash, however, you don't have this luxury and if you hit the shutter with the flash switched on, the light from it tends to be too harsh.

So, What Should I Do?

Your best and easiest option is to turn the flash off and use the light around you. This could mean using your household lights but keep an eye on your white balance if you do this as shots tend to look a little warmer and have an orange tone to them when shot under household lights. Easier still, set up near a window or patio door if you have one and use natural light. Sidelight works well but don't be afraid to experiment with different positions. Shooting with the window to their back so you can shoot straight on, for example, can create silhouettes. Don't overlook shooting on cloudy days either as clouds act as a giant softbox, diffusing light.

A support, ideally a tripod, should be kept in reach for times when your camera needs to use longer shutter speeds due to low light levels. If you try and shoot hand-held it can result in shake which will spoil your shot. You can try setting a slightly higher ISO to increase your camera's shutter speed but with some cameras, this can result in noise appearing in your shots. This isn't always a bad thing though as you could try enhancing the noise further so it appears like old film grain, similar to this shot below:

  What Time Is Best?

The time of day and where your window is positioned will effect light falling through it. At this time of year the sun is quite low in the sky for most of the day, however, midday is still when the sun is at its highest so avoid shooting then if possible. The golden hours, early morning and early evening, tend to give you softer light but you can further diffuse light with tissue paper, or a thin curtain/piece of material. If you do this, try to avoid using coloured material/paper as this can create a colour cast in your images.

Of course, if shooting indoors isn't producing the results you're looking for, there's always the option to get outside, shooting in your garden or at your local park.
 

Backgrounds Are Distracting

Professional photographers use purpose made background rolls or frames on stands but when you're on a budget and working at home, you don't have this luxury.

Shooting at home can mean you have backgrounds full of clutter or distracting wallpaper, even if you do use a larger aperture (or portrait mode on a compact that tells the camera you want to use a larger aperture) to throw it out of focus. To fix this, have a look around your home for items you can use as backgrounds. Black velvet works well, so do plain sheets of material or use a plain wall if you have one.
 

Have A Conversation

Most of the time the 'say cheese' approach won't work as you'll just get shots with big grins and squinting eyes. Instead, try talking to the children you're photographing, asking them questions and making them laugh. As a result, you'll soon see them creating expressions and poses that are much more interesting. Try setting your camera on continuous shooting mode to increase your chances of capturing a creative shot. This mode, which is available on many cameras will let you take a burst of images in quick succession which you can then pick out the best from.
 

Framing

Don't think your subject has to always be slap-bang in the middle of your frame. By positioning them slightly off centre you'll create a much more striking composition.

If you want to try photographing your subject so they are looking out of frame do leave some 'looking space' as it creates a more pleasing shot and your subject won't look like they're squashed into a small frame.
 

My Shot's Too Dark Or Light

If you're shooting on auto and find the balance of highlights and shadows isn't right there are a few things you can do to correct it. If the face is too washed out, set a faster shutter speed or smaller aperture. This could mean switching to sports mode if your compact has one so it knows you want to use a quicker shutter speed. If the detail is too dark set a slower shutter speed or wider aperture.

If your camera has exposure compensation, check your manual if you're unsure, set it to -1 or -2 for shots that are washed out and +1 or +2 for shots that are too dark.
 

Post-Production

There are a few free pieces of editing software available such as Gimp or you could purchase Photoshop Elements which isn't quite as expensive as the CS range. Cropping, playing with tools such as Dodge & Burn, adding vignettes and turning shots to black & white are all things you can do during post-production to enhance images. Take a look at ePHOTOzine's technique section for more tips and tutorials on this subject.

Photo by Peter Bargh. 

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!

  Photo by David Clapp - www.davidclapp.co.uk

 

What Gear Do I Need?

When it comes to gear choices, your first thoughts might be to pick up a macro lens but shooting with a wide-angle zoom will give you a larger area you can crop into later. You'll also need a tripod as well as an ND and polarising filter.

 

When Can I Shoot Abstract Landscapes? 

If your landscape shooting plans are put on hold by a grey overcast day, still head out as you can shoot some abstract landscapes instead. As shadows, which can help create perspective, aren't something we need in abstract landscapes you can shoot when the sun's hidden by cloud. After it's rained, when the sky's still decorated with grey clouds, is a perfect time to head out as the light will still be even and everything will be damp and drying which means they'll be plenty of different shades to capture.

 

What Subjects Make A Good Abstract Landscape? 

Basically, you need to frame your shot so it removes it from its surroundings, focusing on the patterns, shapes, texture and colours. Here are a few examples:

• Wet, colourful pebbles on a beach.
• The patterns the tide creates in the sand.
• Close-ups of rusty objects.
• Lines found at the bottom of reservoirs after they've dried up.
• Areas where water has pooled, as the rocks and foliage they collect can make an interesting study. (You'll probably need a polarising filter to reduce the amount of glare coming off the water's surface.)

 

How Should I Position My Camera? 

You need to stand parallel to your subject so if you're shooting pebbles on a beach, for example, you need to stand directly above them and shoot down. Just remember to have a look around the viewfinder before you take your shot as the wide-angle view can mean your feet end up creeping in at the edge of the frame.
 

What About Aperture Choices? 

For front to back sharpness try using an aperture around f/8 which on an overcast day does mean you'll end up with slightly longer exposure times so using a tripod is a must. If the tides coming back in, filling channels it originally cut going out or you're at the side of a stream that's meandering round and over a group of rocks, dial down to a smaller aperture to give you an even slower exposure so you can blur the movement of the water, adding further interest to your shot.

Photographers, this is the one you’ve been waiting for.

The Nikon Z6 III — Nikon’s latest hybrid mirrorless camera — has just dropped in price on Amazon, and it’s turning heads across the photography community. Whether you shoot landscapes, weddings, wildlife or high-end video, this deal gives you a chance to get a next-generation full-frame camera at one of the lowest prices we’ve seen yet.

Today’s Amazon Deal Details

• Current Price: Check live price on Amazon →

• Savings: Typically retailing at $2,496.95, this model is now significantly discounted.

• Retailer: Amazon (Official Nikon seller)

• Availability: Limited stock discounts like this rarely last beyond a few days.

• Prime Eligible: Fast delivery with free returns for Prime members.

Why This Deal Matters

The Nikon Z6 III sits right in the sweet spot between Nikon’s professional Z8/Z9 and the more budget-friendly Z5 or Z50.
It offers an incredible combination of speed, image quality, and cinematic video capability, all packed into a compact, rugged body that’s built for real-world shooting.

For photographers who’ve been waiting to go full-frame without spending flagship money, this deal is the perfect moment to jump in.

Nikon Z6 III Specifications ManufacturerNikon Image Sensor Pixels24.5Mp (Megapixels)Pixels (W)No DataPixels (H)No DataSensor TypeCMOSSensor SizeNo DataSensor Size (width)No DataSensor Size (height)No DataAspect Ratio

• 3:2
• 16:9
• 1:1

LCD Monitor LCD Monitor3.2inScreen resolutionNo DataTouch ScreenYes Focusing Focusing modes

Exposure Control Shutter speeds shortestNo DataShutter speeds longestNo DataBulb modeNo DataExp modes

• Program
• Aperture-Priority
• Shutter-Priority
• Manual
• A

Metering

• Centre-weighted - Average
• Partial
• Spot

ISO sensitivity100 - 64000White balance

• Auto
• Cloudy
• Incandescent
• Fluorescent
• Shade
• Flash

Exposure CompNo Data Viewfinder Viewfinder ResolutionNo DataMagnificationNo Data Shooting Options Continuous shootingNo Data Video Movie modeNo DataVideo Resolution

• 1920x1080 FullHD
• 4K
• 6K

Video FPSNo DataStereo SoundNo DataOptical Zoom with VideoNo Data Other Features Image StabilisationYes Interface HDMIYesUSBUSB 3Wi-FiNo Data Storage Card Type

• SD
• SDHC
• SDXC
• XQD
• CFexpress (Type B)

File Type

• RAW
• JPG
• HEIF

Power Source Battery TypeEN-EL15c Rechargeable Lithium-IonBattery Life (CIPA rating)380shots Box Contents Box ContentsNo Data Dimensions Weight760gWidthNo DataHeightNo DataDepthNo Data

View Full Product Details

These specs place the Z6 III right at the top of the mid-range full-frame category — it competes directly with the Canon EOS R6 II and Sony A7 IV, yet undercuts both in price when on offer.

Real-World Performance

Photographers who’ve tested the Z6 III consistently praise its autofocus accuracy and dynamic range.
Thanks to Nikon’s subject-detection algorithms (borrowed from the Z8 and Z9), it locks onto eyes, animals, vehicles, and even birds in flight with stunning precision.

In video, the Z6 III shines with its internal 10-bit N-Log and H.265 recording, giving filmmakers serious flexibility in post-production. Combined with the bright EVF and deep grip, it’s a true hybrid workhorse designed for creators who switch between stills and motion.

“This camera feels like Nikon finally nailed the hybrid formula — it’s powerful, compact, and makes no compromises,” said one early reviewer on ePHOTOzine’s test bench.

Who This Camera Is Perfect For

If you fit into one of these categories, the Nikon Z6 III deal deserves your attention:

• Hybrid shooters who record both high-end video and stills.

• Wildlife or sports photographers who need 120 fps bursts.

• Landscape photographers looking for excellent dynamic range in a lightweight setup.

• Upgraders from DSLR — especially Nikon D750 or D780 owners ready for mirrorless performance.

Nikon Z6 III vs Z6 II — What’s New?

If you already own or have been eyeing the previous-gen Z6 II, here’s what makes the Z6 III worth upgrading to:

Feature Z6 II Z6 III Processor EXPEED 6 EXPEED 7 (Much Faster) Autofocus Good AI-trained subject tracking from Z8/Z9 Burst Rate 14 fps 120 fps (JPEG) Video 4K/60p 6K/60p + 4K/120p + RAW Screen Tilting Vari-angle fully articulating EVF 3.69 M-dot 5.76 M-dot 4000 nits (brighter than Z8)

This is a generational leap, not just a refresh — making the current discount even more compelling.

Why Buy from Amazon?

• Official Nikon Seller — full manufacturer warranty applies.

• 30-day returns on most items.

• Fast, trackable shipping (with free Prime delivery for members).

• Verified customer reviews to back up your decision.

When buying camera gear online, Amazon remains one of the safest and most convenient platforms, especially when combined with an active Nikon warranty.

Expert Tip from ePHOTOzine

If you’re investing in the Z6 III, don’t forget to check out the Nikkor Z 24–70 mm f/4 S or Nikkor Z 35 mm f/1.8 S — both pair perfectly with this body and are often bundled with discounts. You can also adapt your older F-mount lenses using the FTZ II adapter, which works seamlessly with autofocus and VR.

Don’t Wait Too Long

Amazon deals like this rarely stay active for more than a few days — especially on new-release Nikon bodies. If you’ve been holding off, now’s the time to act before prices return to RRP.

Check the Nikon Z6 III Deal on Amazon →

 

A superb action shot of an Osprey lifting off with its catch has earned FOXTROTT1 this week’s ‘Photo of the Week’ title.

The image shows the bird at just the right moment, with wings wide open, talons gripping a freshly caught fish, and water splashing around. Every detail is clear, from the feathers to the droplets still hanging in the air. The soft background helps keep the focus on the osprey’s strength and sharp movement.

One member describes it as “Right Time, Right Place, Fast reactions” – and it truly shows. With perfect timing and clear focus, this photo really stands out as our ‘Photo of the Week’.

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

 

A compelling mono image by saltireblue, titled The Lone Descent, has been selected for feature on ePHOTOzine.

The woman descending the stairs forms the focus of the scene. The strong contrast brings out the lines of the stairway, while the deep shadows give the scene a cold, quiet feel. The composition is excellent, and the lighting is well-handled. The result is a notable shot that shows how quick reactions can still produce work of real quality.

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

 

Photo by David Pritchard

 

With the days growing shorter, there are great opportunities for night photography in the city. Urban and city areas can be accessed in the dark, often at rush hour when there are amazing shots to be had in relative safety.

Article Sections:

• Gear
• Set-up
• Safety
• Locations
• Skylines
• Wet weather
• Long exposures
• Exposure
• Time of day
• Colour

 

Gear

Click on the links below to find gear options to purchase - by cliking on these links and buying anything, you are helping to support the site at no extra cost to you - thank you. 

• Tripod - You can get by with other forms of support but they are never as good as a solid tripod. Many of your exposures are probably going to be 5-10 seconds or more.
• Cable/Remote Release - This will help prevent vibration and camera shake.
• Light meter/card with exposure durations written on it at 1/3 intervals - Exposures can get quite lengthy at night, especially for film users where reciprocity failure becomes a problem. As the longest exposure most cameras can calculate is 30 seconds, you will often find situations where this is exceeded. I find it useful to have a light meter which will cope with much longer exposures.
• Camera - One that lets you work at higher ISOs and has low noise.

 

Checklist

1. Ensure your lenses and sensor are clean. Night shooting tends to emphasise dust and flare from dirty equipment. You will be surprised at just how dirty your kit is once you start shooting at night.
2. Check to see if your camera has a mirror lock function (usually this is in the cameras custom functions) or be prepared to shoot in live view if your camera has this. Personally I like live mode / view as it’s very effective at seeing in the dark.
3. Getting the exposure right at very slow shutter speeds can be very tricky and often involves guessing. Shooting in RAW format can help give you a little more flexibility in post processing.

 

Safety

Before looking at possible subjects, just a quick word on safety. It might still be early but you still need to be sensible and keep personal safety in mind. Where possible work with a friend or two and look out for each other. Avoid being out too late as drunks seem to find cameras unusually attractive especially when mounted on those strange metal legs we know as a tripod. Stick to areas with good lighting and lots of people. These tend to make for better images but are also usually safer.

 

Photo by David Pritchard

 

Locations

Now you have your kit prepared, start to think about the type and location of the shots you want to take. It’s tempting to turn up somewhere and then look for something to shoot. A better option is to think about the type of work and then pick a suitable location. Sometimes however you just get lucky and providing you are prepared you can get some good shots.

 

Skylines

City skylines are the obvious targets for night photography as many office buildings tend to have lighting for the night. Monuments such as churches often have night lighting also as do many industrial sites which work 24 hours. If you do decide to photograph industrial sites stay a good distance from the location as you don’t want to be suspected as a terrorist. I was however surprised when I went around London at night armed with a camera and Gorillapod. I thought that I dare not be seen with a tripod at night. What I found were lots of other photographers all carrying full tripods and using them openly in the streets.

 

Wet weather

Don’t rule out poor weather as wet pavements can be particularly attractive as they reflect the lights of buildings and traffic. When shooting moving objects you should consider what effect you are trying to create and what a suitable shutter speed is to achieve this. If for example you are shooting a car, the headlights will show up well, but when the car is moving fast and the shutter speed is long, the only thing that can be seen are the light trails. With shorter exposures you will probably retain some of the car in the image as well as the light trails.

 

Long exposures

You can use longer exposures to your advantage, for example when photographing people at night perhaps outside bars. People sat or stood may look relatively well defined whilst those moving past don’t show up at all.

 

Photo by David Pritchard

 

Exposing

When exposing your shot, be sure to cover the back of the viewfinder to stop light entering and affecting the exposure times. Different cameras seem to have different levels of susceptibility to this but every camera I have used has underexposed if I haven’t blocked the viewfinder during a long exposure. Getting the correct exposure is quite a task and open to guess work, so if in doubt just take the camera's exposure. If you like to judge exposure based on the camera histogram be aware that the histogram is likely to be clipped at both ends. Areas will become pure black and other areas of bright light will have no detail. Sometimes it’s worth bracketing shots a stop either way to ensure you have one you are happy with.

 

Time of day

It may sound strange but the time of day, or rather night can be quite important. The temptation is often to time our shooting for the night when the sky appears inky black. Whilst this might provide a stark contrast to the lighting on the building it also means there is no interest in the sky so you probably need to minimise its inclusion. Earlier in the day however the lighting on buildings doesn’t appear quite so strong although there might still be some colour in the sky which is more appealing. So when considering your subject give some thought to the time of the day and also consider this when selecting your composition.

  Colour of the lights

Another interesting aspect of night photography is the colour of the lights used in many settings. Street lighting for example is usually yellow and Fluorescent and mercury vapour lighting (often found in industrial settings) has a green appearance. Whilst these mixed lighting scenes can appear attractive in the image, you sometimes need to take extra steps to deal with these conditions. The most obvious step is to ensure your camera is set to AWB but even this doesn’t correct all the situations you come across. Film users might face an even steeper challenge as long exposures can cause unpredictable colour shift in the film although this can be quite attractive.

In summary, use the correct equipment with good technique, pick your subject, composition and approach and you will be able to capture some great night images in your city. Most of all, remember to keep to the busy areas and stay safe.

 

 

Photo by David Pritchard

 

Words and images by Robin Whalley from Lens Craft.

See how painting the scene with light has improved the image of the mushrooms on the left, adding mood and interest to the shot on the right. 

 

When you think of light painting your first thoughts will probably be of people drawing pictures and writing words but you can use it to breath a little more creativity into your still life work too.

As you'll be using longer exposure times or even Bulb mode, a DSLR or an advanced smaller camera will probably the type of camera you think is best for this sort of technique. However, that's not to say you can't use a compact as many do offer longer shutter speed ranges. As well as your camera, make sure you have a tripod to hand and you'll need a torch for 'painting' light with. A piece of black card can be useful as you'll be able to create a cone-shaped from it to direct light more and translucent coloured paper (sweet wrappers will work fine) can be used to alter the colour of the light you're painting with. 

When it comes to the set-up, place your camera on a tripod so you can control the torch with one hand while hitting the shutter button with the other then focus and set the camera on focus lock so that it isn't fooled by the uneven light. If the camera struggles to focus, use your torch to light your subject so the camera can adjust. Any standard torch will do and you can either hold it still or move it around to illuminate different areas of your object. Changing the position of the torch will also prevent hot spots appearing in the image.

 

Photo by David Pritchard. 

 

It's best to slowly build up the amount of light you paint onto your subject so you don't overexpose a particular area. You'll need a long-ish shutter speed if you're not using the B-setting and as a torch has a colour temperature that's warmer than daylight, you could end up with images that have an orange tint. Of course, you may think the warmer tones work but if you don't, auto white balance should be able to remove it or you can always edit your images after if shooting in RAW. 

If you find the light isn't directional enough, try using a cone made from black card and secure it to the torch to give you more precise control over it. 
  More photography tips and tutorials    

• Ultimate guide to indoor photography
• 10 DIY Photography Tricks & Hacks

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Leedslass1 (Day 21 - Ice)

 

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 16

Colourful Architecture

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  Day 17

City Lights At Night

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Day 18

Cutlery

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Day 19

Different Angles

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  Day 20

'Laughter'

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Day 22

Stormy Weather

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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.

Photo by David Burleson

Add A Vignette

To create mood and to add emphasis apply a vignette to your transport shots. For more information on how to do this, take a look at our tutorial: Creating Vignettes.

Shoot Inside

As well as shooting the outside, if you can, open the doors of the car, truck or of whatever transport you’re photographing and capture some interior shots. You can go wide, capturing the whole of the interior or use a close-up lens to focus on detail such as dials, buttons and badges.
 

Fill The Frame

To really add emphasis so the car is the only focal point of the shot, fill the frame with it. This, however, doesn’t mean it has to be positioned in the centre of the shot. Move your position slightly to the left or right and you’ll see how it can make a really big difference to the overall image. Just make sure you don't clip off a wing mirror or a wheel in the process.

Photo by David Burleson

Use Reflections

Try using the car’s mirrors or some part of its bodywork to capture a reflection of another part of the car in. Just have a good look at the reflection to make sure you or any passers-by aren’t captured in the shot as you’ll have to spend time cloning them out later if you do.

Away from the car look for puddles and other reflective surfaces you can photograph. New buildings, which are full of glass and steel, are great backdrops to position new cars against.

Stepping further back so you can see the reflection of the horizon down the side of the car can also work brilliantly, particularly at sunset or if you're in a picturesque location.

Photo by David Burleson

Change Angles

Take a walk around the mode of transport you’re photographing and look for the angles, shapes and little details that make it unique. 

Get low to headlight level to make it look intimidating while shooting from the side will give you the chance to follow the lines of the car’s bodywork which will help guide the eye through the shot.

Shoot up high so you can show the car’s overall shape, just make sure the sky’s not overexposed. You can always fit an ND grad to darken the sky, creating more mood. For wider shots, make sure you can’t see what’s behind the car from underneath it as this will be distracting.
 

Church interiors are difficult to photograph because they usually have huge bright windows and dark nooks and crannies with the rest being a mix of tones illuminated by tungsten light or candles. Automatic exposure cameras will often deliver a photo with a well exposed interior, but no detail in the windows. Fortunately, with digital photography and modern software there is a solution, it's called HDR (high dynamic range) photography. Using HDR can really make your architecture shots pop.
 

   

Most modern cameras will have a HDR mode built-in, however if this is not the case, then here are some basic instructions.

 

Creating a HDR image

To create a HDR shot you need to take several shots of the same scene at different exposures, each one from the same position. These are then merged into one photo using HDR software (see ePHOTOzine's technique section for articles on how to do this). To ensure the photos are in an identical position it's best to use a sturdy tripod which will keep everything aligned and steady. It's worth using a cable-release too to trigger the shutter when the camera is on the tripod, but with a static subject such as a church you can get away using the camera's self timer.
 

Use a wide lens

A wide-angle lens is best for church interiors and ideally you want one that's really wide. With a lens like this you can usually shoot the interior from wall to wall if you stand back far enough. The camera you use can be a DSLR or compact so long as it has a manual exposure mode or at least exposure compensation to override the automatic settings.

As exposures are long in churches they can soon flatten your camera battery so always carry a spare just in case. Also, when shooting HDR, every picture you take requires several exposures so you may need extra memory cards.

HDR exposures should have a fixed aperture so that the depth of field is the same for each shot. Set the camera to f/8 and before setting up the shot take a meter reading for the lightest area. If the shot has a stained glass window in view this will usually be the brightest part. These are usually very decorative and beautiful works of art so you need to record those with an exposure that gives 100% detail. Use the camera's spot meter and position the camera so the window is in the centre of the viewfinder where the meter takes the reading. Take a shot and preview the result on the LCD If it's good make a note of the shutter speed. Now take a meter reading for the darkest area and make sure that the resulting photo has detail in it. Make a note of the shutter speed.

 

Your HDR exposure should have a range of shots that covers from the speed needed for the window to the speed for the dark areas. Let's say the window was 1/15 sec and the dark area was 8 seconds. The full shutter speed options would be 1/15sec, 1/4sec, 1/2sec, 1 second, 2 seconds, 4 seconds and 8 seconds. So you could take seven photos or as most HDR software can get what it needs from two stop intervals you could take four shots at 1/15sec, 1/2sec, 2 seconds and 8 seconds.

With this new information, adjust the position of the camera on the tripod compose the photo, including the previously metered elements in the frame and take a sequence of pictures, making sure no one walks into frame and the light doesn't change, sun comes out, floodlight goes on inside etc., at the shutter speeds calculated earlier.

Try this technique all around the church, in bigger churches/cathedrals there are lots of smaller rooms and chapels to discover.

Here are some of the tutorials you'll find in ePHOTOzine's technique section on HDR photography

• HDR Buildings
• Creating HDR Images
• Post Processing HDR Images
• Using Oloneo PhotoEngine For HDR
• HDR Landscape Photography

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Kenwil (Day 06 - Creative White Balance)

 

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

National Parks

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  Day 2

'Win' Theme

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Day 3

Fireworks

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Day 4

Races

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  Day 5

Photo Walk

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Day 7

Panoramas

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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.

- Partner Content - 

In the case of the OM System Olympus OM-1, beauty is much deeper than skin deep and it’s an outstanding, capable and feature-rich camera.

 

The Micro Four Thirds (MFT) format is based on a 17.3x13mm sensor so roughly the same image size as the 110-snapshot film format. However, while the ultimate quality possible from the 110-film format leaves a great deal to be desired, that is not the case with digital and the MFT format is capable of pro-quality results. 

OM System and Panasonic MFT cameras are very popular with enthusiasts and expert photographers and with the help of MPB, we went shopping with £3000 to spend on a fully-fledged zoom lens outfit to suit photographers who enjoy a wide range of subject genres, from people to nature and landscapes to macro. 

We went for the OM-1 as the crux of our system. The OM-1 was produced by OM System and was the last camera to bear the Olympus badge, and when it came out in 2022, it was 50 years after the trend-setting classic 35mm film camera of the same name. 

 

Its small stature and slick handling make the OM-1 ideal for grab shooting on the street. Exposure was 1/100sec at f/5.6 and ISO 400. Image by Will Cheung.

 

The OM-1 had a 20.4-megapixel sensor at its heart and as befits a flagship camera, its feature list makes for impressive reading. The stacked CMOS sensor had 1053 quad-pixel AF sensor points, which gave excellent and accurate performance whether shooting upright or horizontal-format shots and almost regardless of the scene’s content. Speaking of content, the OM-1 has a very capable and versatile subject-based focus detect and tracking focusing system and this is enhanced further with the ability to create custom AF patterns to suit your favourite subjects. For example, if birds in flight or airplanes are your favourite subjects you can make a fat letter-box AF pattern to suit their shape.

 

Scenes with extreme contrast hold no fears to the OM-1 and the Raw file in this case had plenty of editing potential. Exposure was 1/100sec at f/11 and ISO 200 80mm on 40-150mm. Image by Will Cheung.

 

Supporting the camera’s AF skills is the OM-1’s remarkable burst shooting capabilities. Olympus was the first camera brand to come out with an innovative pre-capture feature called Pro Capture. This allowed shots to be captured and held in a buffer and were only committed to the memory card upon full shutter button press. It made capturing instances such as a bird or dragonfly taking flight achievable even for those photographers with poor reactions. What makes Pro Capture amazing is that on the OM-1, you can shoot full Raws at 50fps with AE/AF tracking and 120fps with fixed AE/AF. To give this OM feature some context, one camera brand has pre-shot capability but only with JPEGs.

 

The OM-1 range of computational modes lets you achieve images in-camera.

 

Assisting good shots in poor weather and dodgy light, the IP-53 weather-sealed body is image-stabilised with a system rated with 7-stops benefit and 8-stops with compatible OM optics. 

We haven’t even mentioned handheld and tripod high res shooting modes, in-body focus stacking and Live shooting modes, so you can appreciate that we have only scraped the surface when it comes to the OM-1’s great photo features and that’s why we’ve chosen it as our lightweight system centrepiece.

 

Like other OM System/Olympus cameras, the OM-1 has a full complement of Art Filters for creative in-camera JPEG output. This was the Diorama filter. Exposure for this was 1/250 sec at f/11 and ISO 200. Image by Will Cheung.

 

The OM-1’s launch price was £2000 body only, but now it’s tremendous value on the used market with MPB having excellent condition bodies (at the time of writing) within the range of £789-859. 

Naturally, the MFT lens mount is supported by OM System and Panasonic, so there is plenty of choice in terms of primes and zooms but in addition, there is a huge selection of independent autofocus and manual focus lenses available from brands including Sigma, Laowa and Zeiss at a wide range of prices.

The smaller MFT format has an image area nearly one quarter the surface area of full-frame but on the important format diagonal, MFT is half that of 35mm so there’s a 2x crop factor and that is a huge benefit especially when it comes to long telephoto lenses. So, for example, a MFT 150mm lens gives the same field of view as 300mm in full-frame and, aperture for aperture, more depth-of-field by around two f/stops.

Of course, lens choice is very much a personal matter but here we wanted to cover a wide subject range with our lens system, so chose OM System optics that covered from ultra-wide to long telephoto taking in macro along the way. With our generous budget limit of £3000 in mind, that’s enough for a versatile four lens kit and some latitude with lens speed.

Searching MPB’s website, there was a huge choice available when it came to lens model and condition, although a couple of our choices had limited stock at the time. Of course, in the rapidly changing world of used kit that is to be expected, so when you do go shopping with MPB, if a product catches your eye and stock is limited, it pays to strike quickly before an item is snapped up.

 

There’s a huge range of lenses available for Micro Four Thirds format cameras. On the left, there’s the OM System 8-25mm f/4 sitting next to the 12-40mm f/2.8 II (lenses not shown to scale).

 

Okay, this is what we went for. For an ultra-wide zoom, the choice was the 8-25mm f/4 PRO at £589 which is a significant saving on its £949 new price. This 16-50mm full-frame equivalent is a lovely lens, even though the f/4 maximum aperture might mean resorting to higher ISOs in poor light. That said, with the potential of denoising in software, shooting at ISO or even 3200 is not an issue.

The standard zoom we went for was the 12-40mm f/2.8 PRO II available in ‘like new’ condition at MPB for £639. Small, portable and highly capable, this is the perfect lens for general shooting.

 

The petite OM 60mm f/2.8 Macro lens gives up to lifesize magnification. This close-up portrait of a marbled white butterfly shows its potential. Exposure was 1/400sec at f/2.8 and ISO 800. Image by Will Cheung.

 

To tackle close-up subjects, we went for the 60mm f/2.8 Macro at £249 in excellent condition. This lens focuses close enough to give lifesize magnification and is a delight to use, being so compact and capable.

Our outfit was completed with the 40-150mm f/2.8 PRO. MPB had plenty of stock and an excellent condition sample was on offer at £814. This telezoom gives the view of a full-frame equivalent 80-300mm and is a favourite with MFT shooters.

Well, that's £3000 spent on a four lens MFT system which can cope with most subjects with no problem and won’t break your back on long days of photography. If the notion of down-sizing appeals, check out what’s possible with MPB.

 

  News from MPB

As consumers, we want value, choice and outstanding service and you get all that and more with MPB, so the brand deserves all the plaudits it deserves. But MPB is a forward-looking business and has a vision way beyond looking after its customers. 

MPB has recently released its FY25 Impact Report on its Sustainability. Headlines include 615,000 cameras, lenses and accessories (9% from 564,000 last year) have been recirculated and zero waste was sent to landfill with the Brighton site achieving a 92% recycling rate. There is much more in the report so if you want to learn about MPB’s sustainability strategy, you can read – and download - it here.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

Remembrance Sunday is a day that commemorates the sacrifices of armed forces and civilians in times of war and artificial poppies are bought and worn as a mark of respect. Although the 11th is the actual Remembrance Day, a two-minute silence is observed at war memorials and other public spaces across the UK at 11am on Remembrance Sunday. At these locations and for weeks after you will see decorative wreaths of poppies placed at these memorials which can make an interesting subject for photographers.

 

What sort of kit is best?

Any compact camera can be used to photograph memorials and artificial poppies. As long as it has a lens with a fairly close focus you will be able to shoot closer shots of individual poppies or wreaths, and a wide angle will help you take a more overall view of the scene.
 

The main thing you need is imagination.

Respect your surroundings

At all times respect the location. These are areas marked for people who lost their lives and people come to pay their respects. The last thing they want is a disrespectful photographer interrupting their moment.  

Memorials are often grand structures and dwarf the wreaths placed below them so consider moving in closer with a tighter crop of the scene. Use a wide-angle lens and move in close placing the memorial to one side and allow the background scenery/cityscape to contrast against the scene.
 

Utilise the colour of the poppies

Consider the bright colour of the poppies against the often cold dark tones of the memorial and underexpose slightly so the darker areas become a stark contrast behind the vibrant red of the poppies. You can adjust the contrast and colour saturation using your image editing program to enhance the poppy colour.

Try focusing on a single poppy and isolate it from the rest of the scene. Placing one strategically on a part of the memorial will give an interesting still life set. Use a polarising filter to prevent reflections from the statue or polished marble.
 

Be creative with your angles

Hone in on a single poppy in a wreath and use a wide aperture to throw the rest out of focus. Choose the right angle and the rest will be a blur of red as a background.

Many of the memorials have very poignant messages engraved in the marble. Try including one of these in the shot with a wreath. Have the wreath on the foreground and the message tailing off to the distance. Photography the message head-on and cropped so just a few of the words are visible with a single poppy laid over them.

 

Don't forget the people at the ceremonies

Candid shots of old war veterans wearing poppies can make good photographs. Again, respect the person. Asking if you can take a photograph is polite and then you don't have to grab the moment. You can spend a few minutes composing the shot and making sure the viewpoint is good. If the person is in a wheelchair get down to their level for a better perspective.

A photo of a person placing a poppy on the memorial could look good from the right angle. Again, take from a low viewpoint and makes sure the face and the poppy are in frame. 

Photo by David Pritchard

 

 

1. 'There's No Such Thing As Bad Weather'

Top landscape photographer John Gravett once said: "There is no such thing as bad weather – only different types of lighting," and he couldn't be more correct. Just because the light's dull doesn't mean you still can't capture good shots, you just have to think a bit differently. The same goes for rain which, in fact, can help you capture cracking landscapes. Try to not leave the door with the mindset that you'll be battling bad weather instead, think how you can use it to your advantage. 

 

2. Dress For The Weather

Staying dry will keep you in a more positive frame of mind so make sure you have waterproof clothing protecting you from head-to-toe. Without it, you'll just get soaked when it's raining which will just make you miserable and taking photos will probably not be at the top of your list. A coat with a hood, waterproof trousers and a good pair of boots should keep you dry. A decent pair of socks and layers will keep you warm but it's down to personal choice if you wear a pair of gloves or not as fleece gloves will just become sodden and not pleasant to wear. 

 

3. Take The Right Bag

You can buy water- and weatherproof camera bags that'll keep your gear dry, plus many styles of camera bag now come with a waterproof cover built-in. If you're using a bag that doesn't have this feature, it's really worth spending a few pounds and investing in one. After all, a waterproof cover is cheaper to buy than new equipment! Check out our complete guide to camera bags.

 

4. Protect Your Camera And Lenses

Many companies are now bringing weather-sealed equipment to the market, but it's always worth adding a waterproof cover just in case. You can purchase rain sleeves which fit over your camera and lens, plus some are made to measure for your specific kit. Some photographers have used plastic bags to protect their gear in the past but obviously, this isn't the best method and will certainly not work in heavy downpours.

On wet weather days when it's humid, you can get condensation build-up on the inside of the cover as too can putting damp hands inside the cover to adjust your lens, which means water will be sat against your kit so do pack a cloth you can wipe your kit with if needs be. 

 

5. Take A Tripod Out With You

Lighting levels will be lower on cloudy, rainy days which means exposures will be longer so a tripod is an essential piece of kit. Plus, if you're using a rain cover, they don't tend to fit round camera straps very well so using a tripod is your best option. 

 

6. Pack A Lens Cloth

You may want to capture rain-filled images, but this doesn't mean you want water droplets to sit on your lens. Rain on your lens will spoil your shots so do take the time to dry the lens before hitting the shutter button. If you're going to be out for a longer period of time you'll want to pack several lens cloths as you won't achieve much if you try and dry a lens with an already damp cloth.

 

 

Photo by David Pritchard

 

7. Choosing Lenses 

Landscapes aren't just about wide-angle lenses as telephoto lenses can really help you capture some interesting images. In a previous article, John Gravett said: "Rain is wonderful at creating recession, in landscape pictures. Using a telephoto lens to compress perspective along with the recessive nature of the weather can create some truly striking images."

 

8. Try Working In Black & White 

A shot that looks dull and boring in colour can be transformed into a great moody mono. Plus, you'll be able to emphasise texture and tones, enhancing the mood and elements in your shots by shooting in black and white. 

 

9. Foreground Interest

Adding foreground interest to landscape images is something that should always be considered and this becomes even more important when shooting in the rain, as John Gravett explains: "Landscapes can often look moody and impressive when photographed in bad weather. Similarly, they can also look pastel and delicate – particularly when shooting over lakes or bodies of water. I generally try to include some foreground interest or dark element within the picture as a contrast to the overall light tones of a drizzly day. Make sure your expose "to the right" - firstly, it will maximise your data, and secondly, it will give you a high key feel rather than a dull, grey overcast look; that alone will make your thumbnails on your computer more appealing....Heavy rain can totally obscure background elements in a landscape, changing the emphasis from the overall landscape to elements in the foreground, which can so often get overlooked."