DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Zoom burst photography is a photography technique that is achieved by zooming your lens in or out whilst the exposure is being taken. It's a great technique for exaggerating movement or for just adding an abstract feel to an image. Colourful subjects or scenes with patterns work well as they help create a really striking zoom burst that's full of bright, colourful lines.

 

1. Equipment Check List

To get the desired effect, you'll need your zoom lens and a tripod, to keep the image steady, plus this will allow you to have your hands free to smoothly control the zoom. A zoom with a good range to play with will mean you can get a really even effect, with some nice long streaks guiding the eye through the image. You'll also need a remote or cable release to eliminate any shake caused by pressing the shutter. If you don't have one, then use the self-timer setting on your camera. Using the flash on your camera or an external flash gun can help to add sharpness and freeze the image too.

 

2. Get The Zoom Right

The key to success with this technique is to get the amount of zoom burst right. If the zoom is too obvious then it may disguise the subject. If you don't zoom enough, then the image won't have the desired effect. You don't want your exposure to be too long, otherwise, your shots will be overexposed, but it needs to be long enough to enable you to create the zoom effect.

To create the effect you can zoom in or out, most people choose to zoom out. Press the shutter and wait for a while, around half to three-quarters of the exposure should do it, and then you need to zoom out in a smooth and fast manner. Leaving the image to develop for half to three-quarters of the exposure beforehand allows some definition to be captured in the image before the zoom is added. Try somewhere between 1-3 seconds for your starting exposure length and extended if it's needed. If you can, it's worth locking the focus, too so it stays constant.

Use a small aperture and an ISO of 100 or 200 for the best results. If you find that your images come out overexposed, it's probably best not to make the exposure time shorter as this will make it more difficult to fit the zoom in. Fit a polarising filter or ND filter instead and try again.
 

3. Experiment & Try Again

It's then quick and easy to see on the screen if your attempt was successful. If it wasn't, you can try again straight away. Experiment with the shutter speed and zoom timing until you find something that works for you and your subject. You may find you need to crop the shot for better composition but as the vanishing point will be in the middle of the frame, this won't cause any problems.

To be different, why not zoom in, try a shorter zoom, experiment with city lights at night or rotate the lens to add circular shape to your lines? If one idea doesn't work just delete the image and try again.

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

 

A lovely shot of a cuckoo in flight has picked up the POTW accolade this week.

The image, taken by ePz member Nick_w, is titled 'Cuckoo Calling', and the timing on it is great. Wings fully up, tail fanned right out, you get a proper look at all that barring and the white tail spots. It's even got something caught in its beak, along with a blade of grass, which adds another point of interest to the shot.

The plain, soft background really helps too, with nothing to compete with the bird. Its bright orange eye and orange feet stand out against the grey plumage, while the sharp detail makes this an impressive image. Cuckoos are not the easiest birds to photograph in flight, making this a well-earned POTW winner.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! 

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

 

Photography has a fantastic ability to isolate things: details, shapes, colours or patterns. You can remove a subject from its distracting surroundings in just the same way that you can place it there; by thoughtful framing. During your travels see if you can find patterns in the places you visit that will remind you of the trip later.

 

1. Gear Choices

There is no special equipment needed to photograph pattern, though standard and slightly longer lenses can make the framing easier, but you do need to look carefully at what you are shooting. Very long lenses are also useful since they will flatten the perspective of distant shapes which often uncovers the patterns they make. Try and fill the frame aligning the pattern carefully. A tripod makes this easier but is not essential. You can crop out distractions later, but it is better to get it right ‘in camera’.

 

2. Patterns Are Everywhere

 

Patterns can be quite addictive: once you start seeing them it is hard to stop. Look for quantities of a single item and see how they fit together, regularly or random. In nature, this could be stones on a beach or marks in the sand, clouds or a flock of birds, even the leaves on a tree. In towns, look along streets at how the buildings fit together, sometimes just the steps leading to the door of a building make a good pattern.

Markets and Souvenir Shops are great places to find patterns: stockpiled high or artfully displayed is a gift to a photographer. Whether it is tourist tat or delicious-looking local produce it is likely to work as both a reminder of your holiday and an interesting composition. Look out especially for shops selling lots of versions of a similar thing; they often fit together really nicely. Don’t be afraid to get right in close.

Buildings and architecture by their very nature are full of patterns, but look beyond the obvious: bricks and tiles work, but so do whole buildings if viewed from the right angle. If you can get above the roof level of a town the rooftops will often make beautiful patterns. The great thing about patterns is that they do not have a particular scale; they can be vast or macro, but to make a good picture out of a pattern, the pattern needs to be the star.

 

3. How To Capture Patterns Successfully

 

There are no rules other than that you should crop tight to fill the frame. You may like to avoid irregularities (though I rather like them since they seem to emphasize the pattern). You can shoot square on or oblique and, if you are shooting oblique, you can shoot wide open to isolate a detail in the shot or stop down to keep it all sharp, so set the camera to aperture priority to make life easier. Whatever you choose make it a definite choice, very narrow depth of field or very deep, otherwise, it won’t look intentional.

You will generally only need to add a little extra contrast to emphasize the pattern, this can be achieved with a simple curves adjustment. But the graphic nature of patterns means that they are often ideally suited to image manipulation if you want to.

Even the most mundane subject can give you a good picture; you just need enough of it to make a strong pattern.

 

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

 

An exciting black and white shot of a little girl that's full of energy with a great sense of speed has won our 'Photo of the Week' (POTW) award on ePHOTOzine.

'In a Spin' was captured by PeterDavidson and we loved the spot-on timing, composition and genuine feeling of this fun action portrait. The fast motion blur in the background makes it stand out and conveys thrill and excitement in a very authentic way. It hooks you immediately and once you spot the image in the Gallery, you naturally keep looking right at the girl's wide-eyed face. There is often beauty in a candid moment and this photo is an excellent example of this.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! 

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

 

The longer reach of telephoto lenses is a brilliant thing for photographers who want to photograph shy wildlife, pull far away subjects closer or simply want to fill the frame to create an attention-grabbing shot. 

To show you just how versatile a telephoto lens can be, we've got a top list of 8 ways these long lenses can be used. Plus, should you be in the market for a new telephoto lens, we have quite a few top telephoto lenses featured in our top lists which include both Telephoto Prime Lenses and Telephoto Zoom Lenses. 

If you're not sure if you should purchase a zoom or prime lens, have a read of this tutorial: Prime Vs Zoom Lenses

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Here Are Our 8 Top Ways To Use A Telephoto Lens:
1. Bring Far Subjects Close

© Joshua Waller

 

The telephoto effect these lenses have make objects, that may actually have quite a lot of distance between them, appear as if they're sat close together. The longer your focal length, the more obvious the effect will be. It's useful when you have a city skyline or mountains in the background which will give you a more interesting and pleasing shot if they're pulled a little closer to the object closer to your lens e.g. the bridge, building or boulder that's your main point of focus.

 

2. Fill The Frame

© Joshua Waller

 

When you want to exclude some part of what's in your frame e.g. a boring grey sky that's in the background of your landscape shot, use a telephoto lens to focus in on the colourful tree line rather than having the trees and sky in shot. It'll also pull a distant subject closer to you, which means you can get frame-filling shots of shy wildlife or of a particular aspect of the landscape that's too far for you to get to.

 

3. Pick Distant Subjects Out

© Joshua Waller

 

If you want to draw attention to a particular aspect that would be lost if shot with a wider focal length, use a telephoto lens to isolate your subject. You can do this with shorter focal lengths, but the longer reach of a telephoto means you can isolate a subject that's some distance away from where you're shooting from.

 

4. Capture Shots Of Wildlife

© Richard Hanson

 

As a telephoto lens closes the distance between you and whatever you're photographing, it's an ideal lens for photographing wildlife. With a telephoto lens you'll be able to take shots that look like you were just a few steps away from your subject when really you were some distance away. This distance means your subject won't be scared off and if you're shooting what could be considered as a dangerous animal, the distance makes it safer for you.

    5. Photograph The Moon

© Joshua Waller

 

Your shots won't be as good as those who use telescopes, but you can still get excellent shots of the moon with a long telephoto lens. As well as a very long lens you also need a tripod, clear skies, good weather, remote/cable release, a few hours to spare and good technique. You can even take a number of shots, and combine multiple shots to produce a sharper image.

 

6. Portraits

© Joshua Waller

 

Shooting head or head and shoulder shots with a longer focal length can give a better perspective and allows for a tighter crop when working further away from your subject. This distance also means you don't have to work too close to your subject and as a result, they'll be more comfortable, and you'll have more natural-looking portraits. You'll also be able to capture shots without any distortion and backgrounds are more easily thrown out of focus, even when they are just a couple of meters behind your subject, meaning all focus falls directly on your subject. Just keep an eye on your shutter speed if working hand-held, though, as you don't want shake spoiling your shot. Find more tips on shooting portraits.

 

7. Shallow Depth Of Field

© Joshua Waller

 

As mentioned above, telephoto lenses make it easier to get the blurry backgrounds in photos that isolate your subject and really make them the focus of your shot. You don't want a distracting background detail competing for the viewer's attention and a shallow depth of field will make sure this doesn't happen.

 

8. Capture Action

© Joshua Waller

 

For fast-paced action that you can't get close to e.g. motorsport and flying events, you'll need the longer focal lengths telephotos give you as most of the time, it'll be impossible to get close to the action. To create a sense of pace, use your telephoto lens to shoot a few shots where your subject is sharp but the background is nicely thrown out of focus. How good you are at panning, what shutter speed you use, how fast your subject is moving and how much light's around will make this task harder / easier every time you head to the track, but do it a few times and you'll soon perfect your technique.

  More Top Tips

How about picking up some top composition tips that will help you perfect the shots you capture with your telephoto lens? There are also hundreds of top tutorials to read in our 'How To' section of the site. 

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to TheShaker (Day 30 - 'Beautiful Bokeh').

 

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 25

'Hot' Theme

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Day 26

Ruins

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Day 27

Big, Bold Skies

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Day 28

Black & White Buildings

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  Day 29

Eyes

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Day 31

'Yellow' Colour Theme

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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.

 

Always an interesting subject for photographers, standing stones and stone circles have fascinated people for centuries; but what is the best way to photograph them?

 

1. Lens Choice

Use a wider angle lens 16-20mm (about 24-30mm in 35mm terms)
 

2. Focus On Parts Of The Circle

Try isolating two or three of the stones and shoot from a low angle.

3. Get Up High

Find a vantage point at a distance where you can shoot the entire ring from a higher point to show its shape.
 

4. Check The Weather 

Shoot on a bright day for contrast and texture in the stones, but watch for shadows.
 

5. Get Down Low

Shoot from a low viewpoint to make the stones appear large and dominating.

 

 

6. Go Mono

Try switching to black & white or shoot in infrared for a more moody result.
 

7. Use Filters

Use a polariser to darken the blue sky to give the shot more impact.
 

8. Try HDR

Bracket the exposure and merge using HDR technique rather than using a graduated filter as the filter will darken the top half of the stone.
 

9. No People

Avoid shots with people if you don't want to date the photograph.
 

10. Create Scale

Include people if you want to show a sense of scale.

 

 

11. Look For Angles

Walk around a few times without taking pictures to get a feeling for the stones and the best angles.
 

12. Early Or Late?

Light is usually better at the start or towards the end of the day, however as fewer people prefer early starts, photographers tend to have to get up early if they want to capture people-free shots.
 

13. Think About The Sky

If you're trying to capture the whole circle, you'll need an interesting (large) sky to add balance to your shot as the foreground will appear to be long and thin.
 

14. Give Panoramas A Try

Try shooting a panorama where you take a series of images that can be joined in post-production (or most cameras have this feature built-in) to capture the whole circle.
 

15. Do Your Research

For inspiration and to find out the location of some of the most photogenic stone circles do you research before you leave your house. We have an article listing some of the most popular stone circles in the UK, you can read it here: Stone Circle Locations

 

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

 

It's the school summer holidays here in the UK which means many will be heading to the coast either on day-trips or for a longer holiday which gives us photographers the chance to capture a few coastal landscapes. If you do have coastal landscapes on your summer shoot agenda, here are a few tips to think about.

  1. Time Of Day

You can capture coastal landscapes at any time of the day, however, most photographers favour the light during the 'golden hours'. You get this light regardless of where you are, but it is where it falls that is important. On the east coast, the land gets warm light early in the day but not later when the sea gets the benefit. On the west coast, it is the other way round. But this is a massive generalisation because of the way the coastline is not made up of straight lines. Check an OS map to see the potential of the coastline you're visiting and do your research online to ensure you don't miss the best light.

It's also worth noting that everything from blue skies dotted with white clouds to brewing storm clouds can work well at the coast, you just have to be out at the right time of day with the right gear which includes waterproofs and protection for your camera gear if you're heading out when the heavens have opened.

 

2. Pack The Right Accessories

Wide-angle lenses will be what we tend to reach for first when landscapes are in-mind and a tripod is an essential piece of kit no landscape photographer should be without. As you could be working with lower light levels and slower shutter speeds you may want to consider taking a remote / cable release to reduce the risk of camera shake and make sure image stabilisation is switched off when supporting your kit on a tripod otherwise shake could be introduced. To balance the exposure, you may find an ND grad filter handy as the sky tends to be a lot brighter than other areas of your shot.

 

3. Foreground interest

There's nothing wrong with a photo of an empty beach stretching out for what seems to be miles but by adding some foreground interest you'll give your image more depth, help guide the eye through the shot and keep people interested in your photo for longer. A low angle and a wide-angle lens will help exaggerate the perspective of the shot and anything from rocks and wood that's washed up after a storm to jetties, lobster pots and patterns in the sand can be used to add interest the foreground of your shot. Just remember you'll need a smaller aperture to get everything from the front to the back of the shot in focus. This could increase the exposure time, particularly if you're shooting during the 'golden hours', so make use of your tripod.

Reflections can be used as foreground interest to add more depth to a scene. They'll also help brighten your foreground, making the overall shot more evenly lit. Look for puddles left by the receding tide or try using the water sat in rock pools to capture reflections of a cloud-dotted or sunset sky.

 

 

4. Long exposures

If you're working when the light's lower or just like the 'misty' water effect, you're going to need to use slower shutter speeds. For this, you need a strong, sturdy tripod and you must make sure it's not going to topple over if a wave circles it. Try pushing the legs into the sand slightly to anchor its position; just remember to wash the feet when you get home to get rid of the sand and salt. If it's a particularly bright day you'll need an ND filter to reduce the amount of light reaching the camera's sensor and remember to use low ISOs as well as a small aperture. If you don't want to capture the 'blurred' water shot, you'll need to use quicker shutter speeds, wider apertures and you may need to increase your ISO level. Alternatively, visit the location earlier / later (depending on the time of day) when there's still plenty of light in the sky.

A blurry sky dotted with clouds will give you the chance to create patterns as the longer exposures cause the cloud's movement to stretch across the sky and if you wait until the sun's set you could capture the movement of the stars as trails above the ocean, but this is a wholly different technique in itself.

 

5. Horizons

You don't want it to look like the sea and sand's about to slide out of shot so make sure the horizon's straight and don't put it in the centre of the frame. If the sky's more interesting move the horizon down but if there's more interest in the foreground lose some of the sky and move the horizon up. If you are going to deliberately slope the horizon make sure you make it obvious otherwise it'll just look like you've not looked through the viewfinder to check if the horizon's level or not.

 

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  1. What's A Catchlight?

A catchlight is simply a light's highlight reflected off the surface of your subject's eyes. They subtly breathe life into portraits by adding a little more depth to the eyes and are something that painters were using in portraits long before photography was a popular pastime.

 

2. How Do I Create Them?

What light source you're using, how strong it is and how far it is from your subject will change the shape and size of the catchlight. The larger the light source, the bigger the catchlight will be and if you have multiple light sources, you can end up with more than one catchlight appearing on the eyes.

You can use artificial or natural light to create catchlights, just remember that direct flash will produce a much smaller catchlight than flash that's reflected off a brolly and if you're working outside, the catchlights can have a slight blue tint to them. When working indoors with fill-in light as well as a key / main light source, your additional, fill-in light may create an additional set of catchlights in your subject's eyes. Some people like the effect so if you're one of these, just make sure one is dimmer than the other so they're not too distracting. You can always try removing one set in your editing software too, but it's always easier to get it right in-camera first rather than relying on Photoshop.

 

 

3. Where To Position The Catchlights?

If you look at the eye as if it was a clock you should try and get the catchlight to sit, ideally, at 10 or 12 o'clock but anywhere between a quarter to and quarter past should work just as well. Of course, this isn't set in stone and you may prefer to use a lower position. Placing your light source above your subject's head will also help you get the positioning of the catchlights right.

 

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

Photo by Joshua Waller

 

Aperture is very important when it comes to portraiture as it controls how much of the background and foreground is in focus, which has an effect on how much of the focus is on the subject of your portrait. 

 

1. Depth-Of-Field

There is an amount of front and back sharpness in front of and behind the main focus point of your image and this is referred to as the depth-of-field.

The amount of depth-of-field within an image depends on several factors:

• The distance between the camera and the subject - The closer the subject the more shallow the depth-of-field. With distant scenes, therefore, there is plenty of depth-of-field.
• Choice of lens aperture - The wider the lens aperture (ie /2.8, f/4) the shallower the depth-of-field, and the smaller the aperture (f/16, f/22) the greater the depth-of-field.
• Focal length - Contrary to popular belief a wide-angle lens does not give greater depth-of-field than a telephoto lens if the subject magnification is the same. You can test this for yourself. Take a frame-filling headshot with a wide-angle lens (you will have to get close to the subject, so warn them!) and then do the same frame-filling shot with a telephoto – this means backing away from the subject. Use the same aperture for both and you will see that the depth-of-field is the same.

Some cameras come equipped with a depth-of-field preview button, letting you see how much depth-of-field you have before taking the shot, but you can just experiment with depth-of-field and preview the shots on-screen to see what works best if your camera doesn't have this particular function. 

 

Photo by Joshua Waller

2. Photographing People

In terms of portraits, especially outdoors, wider lens apertures are often best because they throw the background nicely out of focus. How effective this is depends on the scene and focal length as well as aperture choice. If your subject is standing quite close to a distracting background even shooting at f/2.8 or f/4 will not throw the background out of focus but bringing the subject forward a couple of metres should work nicely.

If you do use a wide aperture for your portraits, do make doubly sure that the subject's eyes are in focus. With the shallow depth-of-field created by wide apertures, even a small error can mean unsharp eyes and you do not want that in your portraits.

 

Photo by Joshua Waller

3. Bokeh Backgrounds

How the background is thrown out of focus depends on the lens. Bokeh is the term used to describe the pictorial quality of the out of focus blur. Lens design and aperture shape play a large part in how effective its bokeh is, so do try it with your own optics. A good test is shooting a close-up portrait outside against a background with some bright pinpoints of light, ie sun glinting off water, car lights, streetlamps etc.

Of course, you might prefer greater sharpness in your backgrounds and that is when small apertures are used. The important thing is to keep your eye on the background and if it looks messy or cluttered use wide apertures rather than small ones.

 

Photo by Joshua Waller

 

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Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

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

 

 

If you're searching for inspiration for a set of photographs, choose a colour and go out and take a series of pictures of that colour, it can be similar objects or totally different subjects, but the linking colour theme means that they can hang together as a panel. 

 

Themes To Choose

Try writing down a colour and then listing as many things as possible that are of that colour. As a suggestion, try some of the following:

• Red: Poppies, phone boxes, post boxes, tomatoes, peppers.
• Yellow: Melons, bananas, daffodils, buttercups.
• Green: Fruit & vegetables, grass, trees.

Other items (cars, doors, cladding on buildings, bottles etc.) come in a huge variety of colours and can be included in any group. There's literally nothing that can't be included.

 

Composition Is Key

When you take a single colour as a subject, you need to ensure that the composition, in terms of shapes, textures and lines to counteract the lack of colour range, so look carefully and spend time composing your images. Also, try going abstract, perhaps using camera movement to take away "reality" and emphasise the "colour".

 

Work On Several Themes

If it's something that appeals to you, try having a number of "themes" on the go at once – it's not something that you have to go out and shoot in a day, but can be built up over weeks or months. The results can be a very powerful set (or sets) of images.

I, for example, spent some time at the coast and walking along the seafront, loved the countless different coloured beach huts; but to photograph a mass of different huts and colours wouldn't have given as coherent a set of images. Having wandered up and down the promenade, I decided that blue would be a good choice, as there was plenty of variety, with all blue elements and strong blues set against more neutral tones (white).

While working on the blue huts, I still made a point of photographing other colours, which can go in collections of other colours at another time.

 

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

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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 AndyPedant (Day 12 - 'Signs).

 

Daily Theme Runners-Up

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

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

  Day 9

Skyscrapers

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Day 10

'Fast' Theme

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Day 11

Vertical Lines

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Day 13

'Out Of Focus'

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  Day 14

Summer Trees

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Day 15

Street Photography

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

1. Sit Down

Be it on the floor, or on a seat, sitting immediately gives you a lower perspective and therefore new photo opportunities. Trees and people, for example, can tower over you when sat down for that overbearing feel. Often photographing children look more natural from a seated position too, as you're at their level rather than shooting down on them.

 

 

2. Go Out To Sea

While on your travels, if you have a waterproof camera try turning round to face the beach. If you don't fancy getting wet, just walk towards the water and stand at the edge, shooting up the beach rather than out to sea as most people do. You could also get on a boat of some sort and see what spectacular pictures of the coast you can get while out there. An organised boat trip will also give you a fantastic opportunity to capture some amazing wildlife photos while you're at it, too. If you do head out to sea, taking a weather-resistant camera will mean it's protected against sea spray but do remember to wipe your kit down once back home to remove any residue. Here are some more tutorials on photographing the sea.

 

3. Climb Up High

Head for the nearest tower or hill to get a stunning view of a town or landscape below you. Night vistas of cities work well as do misty mornings in the countryside where valleys are filled with fog and only the peaks above can be seen. To give your shot even more impact, capture a panorama, a topic discussed further down the page. If landscape photography takes your fancy, then here are 10 Quick Landscape Photograph Tips.

 

4. Take A Stepladder Out

It might sound silly but if you're trying to take photos at a busy event where there's a big crowd, you'll be able to shoot above them. It will help you avoid getting people's heads in shots and give you a great opportunity to get a general overview of the scene. A stepladder will also get you closer to items that are slightly too high for you to shoot from the ground and offer a slightly alternative angle to everyday objects that are shot straight-on most of the time.

  5. Go Underwater

If you have the right equipment, shooting underwater is well worth a try. You don't even have to go diving, you could simply buy an underwater camera and have a go in a pool or at the beach in shallower water. This is a fun one for kids to have a go at, too. 

 

  6. Hold Your Camera Up High

The easiest way to change your view is by simply holding the camera up above you to give you a different perspective of the scene. Cameras with a tiltable screen let you see everything comfortably when you shoot - even from very high angles. 
 

7. Go Wide

Why settle for a standard 4 x 6 shot when you can shoot a panorama? With built-in panorama modes, it's now easier than ever to take these wider shots. All you have to do is select the Panorama Mode and sweep your camera in the direction you want to create your panorama. The camera then stitches the images together so you have a sweeping shot of the scene you're shooting.
 

  8. Lie Down

Again, this can get you some funny looks but it's worth it as you'll get an ant's eye view that can give surprisingly good photographic results. Use a small aperture to maximise depth of field and keep an eye on your exposure if you're including the sky in your shot. This position is also great for macro and close-up shots of insects and plants, and any other small items on the ground.

  9. Shoot From Under/Below Things

This involves positioning your camera so it's low to the ground but facing up towards the sky. This can produce some great images of flowers, for example, as it makes it look like they're leaning over your lens and provides a unique opportunity to get a lot of sky in the picture too.

  10. Use Reflections

Reflections can be great tools for changing perspective. As well as the obvious choices such as landscapes reflected in mirror-like lakes, look for puddles you can reflect people with umbrellas in, new buildings made of glass which can reflect slightly older structures and more abstract shots when the winds blowing so the water's surface isn't still.

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Bokeh is the term used to describe how good the out of focus blur, which is usually in the background, looks. Good bokeh will show attractive out of focus highlights and how the lens you're using is designed and the shape of its aperture play an important role in creating bokeh that works. Different apertures and how far you are from your subject also affect how good the bokeh will look in your shot.

 

1. Lens Choices

The shape of your lens aperture will change depending on how many blades are used and what shape they are. These blades are what open and close to let more/less light through onto the sensor. The more blades there are, the rounder the opening will be which can mean the shape of the out-of-focus highlights in the background of your shot (the bokeh) will be more circular. Generally, the more expensive lenses have more blades and as a result, they generally create bokeh that's more pleasing. Longer lenses tend to produce better results too, however, some lenses will produce better bokeh in some situations than others so try putting your lens to the test, shooting close up portraits against a background that has highlights that can be thrown out of focus.
 

2 Depth Of Field

You may think that using the maximum aperture will give you the best results but sometimes it's worth using a slightly smaller aperture so you can still make out some of the shapes in the background of the shot. Make sure you focus on your subject at the front of the frame too so everything behind can fall nicely out of focus. Putting a little distance between your subject and the background will also help enhance the effect. If you don't have a subject in the foreground and are going for a more abstract shot you'll need to focus manually.

 

 

3. Play With Shapes

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot.
 

4. Get Out At Night

During the evening, the glow coming from various colourful lights in towns and cities make perfect backgrounds for this technique. Just remember to use a longer lens with a wide aperture, focus on your subject and everything in the background of your shot should glow. Keep an eye on your shutter speeds when working in low light as if you drop too low it can cause the lights in the background to blur rather than glow so you may need to increase your ISO.

 

 

5. Other Suggestions

Try shooting close-up portraits against a background of foliage where the speckles of light can be turned into out of focus highlights. Sun glinting off water and glass can also be turned into blurry circles of light too. You can also use fairy lights indoors to create out of focus coloured circles.
 

6. So Remember:

• Use a longer focal length
• Switch to a wider aperture
• Focus on your subject
• Put a little distance between your subject and the background
• Backgrounds with individual, glowing points of light work well

 

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For many of us, when we decide to get out and about with our cameras we automatically turn to the countryside. But with the majority of the population living within easy reach of a major Town or City, is that really the right decision? It’s great fun just walking around a city taking shots of literally everything but if you want to capture great images you need to go with a plan and a bag of kit including a couple of lenses and a tripod.

 

1. Think About Your Equipment

 

Don’t take lots of equipment just in case you might miss a shot, rather modify your subject matter and shooting style to suit the kit you have with you. This minimalist approach to shooting can help improve your success ratio.

2. Don't Get Overwhelmed 

 

Cities have so much variety to offer the photographer that it’s easy to become overwhelmed with the choice. My favoured approach is to pick one or possibly two themes and then explore an area looking to fulfil this self-imposed brief. 

 

3. Stay Safe

 

Where possible I like to shoot with a second person, especially if going out of the main shopping areas. Camera equipment is expensive and pulling out a new DSLR with a huge lens makes you stand out. Whilst I often like to carry my gear in a backpack I will also use a shoulder bag which I always ensure has my head through the strap as well as my shoulder. This makes it easily accessible and less of a target for potential thieves.

 

4. Theme Choices 

 

Dereliction is a popular choice and you don’t always need to leave the main area. The above shot also demonstrates how buildings reflect the way we live with the covering of posters, which is another possible theme.

There are many old and new iconic buildings and these can produce some great images especially if the light is right. Watch out also for the past icons that have become worn and faded. 

Patterns are another great subject. Cities are literally awash with patterns everywhere you look. For example, a simple set of steps and handrails probably won’t win any prizes but it's the perfect example of how patterns can be found in the simplest of objects. 

Follow your common sense and you will have a great day and capture some wonderful images.

 

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

A big, heavy but keenly designed powerhouse of a camera from Leica. It handles well, produces superb results and should stand up well to the harshest uses and environments.

 

It seems several themes have been emerging in the Leica family. We have the M series rangefinder style, the DSLR/Mirrorless style and cameras with or without that famous Red Dot. The new 44.9MP SL3-P combines the understated (no red dot) and the bold and brash LEICA name emblazoned on what would have been the front of the pentaprism in a DSLR. A hybrid in many senses of the word, let's see if this new Leica hits the spot, not only for photographers but also for videographers.

 

Leica SL3-P Features

First impressions are that this is a large camera/lens combination. Although we start with a reasonable 768g for body only, if we add the battery, an SD card and the Vario-Elmarit-SL 24-70mm f/2.8 ASPH lens, we are now wielding a rather heftier 1702g. That does not even include the metal lens hood, which was not sent with the review sample. The size of the camera is part of this bulk, but of course its all metal Magnesium/Aluminium construction clinches it. It may be heavy, but it is solidly made. Leica are confident to offer IP54-rated dust and moisture resistance. Operation is from -10C to +40C, so a wide range of conditions can be handled. Dimensions are 141.2 x 108.0 x 84.6mm.

There is a full-frame 44.9MP BSI CMOS sensor, plus Leica's Maestro IV processor. 5-axis IBIS is improved and now offers a 5 stop advantage. Speed is also increased to 40fps with full AF.

 

 

There are two card slots, one for CF Express Type B (recommended) and one for SD cards. SD/SDHC/SDXC, UHS-I and UHS-II (recommended) SD cards are supported. Connectivity is via the ISO Accessory Shoe, HDMI 2.1 Type A, USB 3.1 Gen2 Type-C, plus a communication interface in the baseplate for the multifunctional handgrip.  Bluetooth and WiFi are included. The Leica FOTOS App offers remote control, fast data transfer, geotagging and firmware updates. There is camera-to-cloud with Adobe Frame.io plus native tethering for Capture One and Lightroom Classic. There is also a synch jack/timecode interface.

The top plate carries a small info screen plus two large dials. These actually work extremely well, the left dial controlling ISO and the right dial controlling exposure compensation. Aperture is via a thumb wheel and being able to adjust how the controls operate means matching the direction of travel of the dials with other cameras that might be owned makes for faster and more intuitive handling. There are two small buttons, the first for toggling the info screen display and the second to bring up a menu covering the white balance settings.

 

 

The OLED EVF is simply brilliant, with its 5.76M dots showing masses of detail without any strain on the eyes. Frame rate is 60fps or 120fps, so fast action can be followed. The 100% view has a magnification of 0.76x. The 3.2” tilting monitor is touch sensitive and has 2,332,800 dots.

The back of the camera is also sheer simplicity in its approach. Play, FN and Menu buttons cover most areas, plus the small joystick that is neatly tucked away at the top to avoid accidental operation. The monitor is also touch sensitive.

The large lithium ion battery is housed in the baseplate but only offers 383 shots (CIPA standards), although this is an improvement on the Leica SL3-S.

The camera may be heavy, but there is no doubting the solidity of the construction. However, ergonomically everything is well designed and the working procedures are smooth and efficient. Switching from Photo to Video gives a whole new set of parameters that are video appropriate. The camera temperature may be a limiting factor here as there is no cooling system provided.

 

 

Leica SL3-P Key Features

• L Mount
• 44.9MP BSI CMOS sensor
• 40fps with full AF
• 176MP multi-shot mode
• Maestro IV processor
• Shutter speeds 1/8000s to 60m (mechanical shutter)
• Shutter speeds 1/16000 to 30s (electronic shutter)
• 5-axis IBIS 5 stops
• Subject detection: Human eye/face/body; Human eye/face; Animal body; Animal eye/body; Car; Car parts
• ISO range 50-200,000 (Extended)
• CF Express Cards Type B (recommended)
• SD Memory Cards: UHS-II (recommended), UHS-I, SD/SDHC/SDXC
• OLED EVF 5.76M dots
• Tilt 3.2” LCD Touch screen 2,336,800 dots
• Top display 1.28” Mono LCD 128 x 128 pixels
• WiFi
• Bluetooth
• Synch jack/timecode interface
• 8K Open Gate video recording
• ProRes
• Leica Content Credentials
• Leica FOTOS App (Remote control, fast data transfer, geotagging and firmware updates)
• Leica Looks presets
• Camera-to-cloud with AdobeFrame.io
• Native tethering for Capture One and Lightroom Classic
• Operating range -10C to +40C
• 141.2 x 108.0 x 84.6mm
• 768g (no card, battery or cover)
• IP54 dust and water sealing
• Battery Leica BP-SCL6, 383 shots

 

Leica SL3-P Handling

There is certainly something to be said for a large, heavy camera. This does tend to equal solidity and stability and it may be easier to handhold such a camera without causing shake. The reverse of this means the irony of a small, light camera being potentially more in need of a tripod than the Leica is. Apart from the test shots and anywhere a consistent composition is needed (such as the series of bokeh shots) there seems little pressing need for carrying a tripod when travelling with the SL3-P.

The camera is a fine example of minimalism, lowering even its obvious credentials by removing the famous red spot. It must be said though that this is undone rather by emblazoning the front of the body with a large, very obvious white LEICA. Subtlety goes out of the window...No matter, nobody commented unless they were just pretending not to notice.

The various controls can be adjusted as to function, direction of travel, and thus the camera can be personalised to suit. Having done this, it really does all fit together extremely well and the ergonomics of the design are solid.

The one thing I might change is the firmness of the small joystick. It did not prove to be a problem, but its gentle resistance could be increased to bring it more into line with the other controls.

 

[SECTION]PERFORMANCE[/SECTION]

 

Leica SL3-P 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.
 

Leica SL3-P Sample Photos Previous Next

 

Lens Performance – The lens provided for this review was the Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH and the full review can be found here. The lens was a superb performer, summarised below:

At 24mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/5.6. Excellent at f/8 and f/11, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/11, very good at f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, rising to outstanding at f/5.6, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

Wide open, close up flat subjects such as text do suffer a lack of sharpness at the edges, but stopped down this soon clears and the results become crisp. 

CA (Chromatic Aberration) is not a problem and there is virtually no sign of colour fringing. 

Distortion is virtually zero. We measure this to two decimal places, and at 24mm pincushion distortion yields a result of just +0.01%. At 50mm and 70mm, the result is actually zero. Clearly the lens is very suitable for architectural photography.

Bokeh is smooth and satisfying. The out of focus areas make a beautiful backdrop, especially for portraits and flower studies.

Flare is minimal, with no sign of artefacts even in the most severe lighting conditions.

 

Leica SL3-P ISO test images Previous Next

 

ISO Performance – Noise levels become lower and lower and the freedom this gives the photographer is a powerful tool. Coupled with image stabilisation, there are many situations where the tripod can almost be banished into the realms of history. Up to ISO 1600 images are clean. ISO 3200 to 12500 are showing slight noise levels but are very usable. Above that, the darker areas of an image merge more and more into the background noise and these highest settings are only really suitable for emergency use. A noisy but sharp image may still be preferable to a low noise mushy effect.

 

Leica SL3-P White-balance test images Previous Next

 

White Balance – There are various white balance presets. On offer are AWB, Daylight, Cloudy, Shadow, Tungsten, HMI, Fluorescent warm, Fluorescent cool, Flash, Greycard Pipette, Grey Card and Manual K setting. All the settings can be tweaked to taste. HMI refers to a specific range of continuous lighting and there is merit in the idea of having this very specific white balance available as a preset. Daylight and Cloudy are useful to preserve unusual lighting effects, the latter especially attractive when warming portraits. The shade setting is ideal for those hunting fungi in dark woodland, thus avoiding the usual purple cast that can be found. All the white balance presets seem to be on the warm side, giving an attractive look to images.

 

Leica SL3-P Digital filters Previous Next

 

Digital Filters – There are few options provided in terms of digital filters, being restricted to a selection of film styles: standard, vivid, natural and monochrome. We can now add to this Leica Looks, a selection of image style "recipes" that can be downloaded via the Leica FOTOS App.

 

Video –  The list of video specs is long, but the basics are:

• 8K Open Gate recording in 3:2 native format
• Vertical formats
• 5.9K 60p
• 4K 120p
• HDMI 2.1 Type A
• USB 3.1 Gen2 Type-C
• Synch jack/timecode interface
• Audio output/input 3.5mm jack
• ISO accessory shoe
• Video formats:     MP4 h.265 AAC 48kHz/16-bit

                                                 MP4 h.264 AAC 48kHz/16-bit

• Video colour space: Rec 709/Rec 2020 (HLG/L-Log)

Whilst clearly being video capable, there is no cooling system in the camera, so recording times may be relatively limited to 25 minutes or so.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Leica SL3-P|Leica+SL3-P[/AMUK] is priced at £5150, body only. There are three kit options:

• with 24-70mm, £6480
• with 24-70mm and 70-200mm, £8560
• with 28-70mm, £6100

Competitive mirrorless cameras include:

• [AMUK]Leica SL3|Leica+SL3[/AMUK], £5920
• [AMUK]Leica SL3-S|Leica+SL3-S[/AMUK], £4500
• [AMUK]Nikon Z8|Nikon+Z8[/AMUK], £2749
• [AMUK]Nikon Z9|Nikon+Z9[/AMUK], £4399
• [AMUK]Sony A7 V|Sony+A7+V[/AMUK], £2799
• [AMUK]Sony A1 II|Sony+A1+II[/AMUK], £5699
• [AMUK]Sony A9 III|Sony+A9+III[/AMUK], £5699

Value at these levels is all about perceptions and whether or not a camera fulfils its desired function. If used professionally, then differences in price will soon be forgotten as the kit earns its living.

 

Leica SL3-P Verdict

With its generous 44.9MP sensor, fast operation and encouraging video capability, the Leica SL3-P has much to offer both stills photographers and videographers. There is no doubting Leica's ability to manufacture cameras and lenses of the highest calibre and the expertise as regards the electronics has been equally well mastered. The best of the SL3-P can be realised using the Leica FOTOS App, a sign of the times, but a direction that offers continuing cutting-edge capability.

The price is of course high, but in fact other marques are now pricing their own high end kit at similar levels, so the Leica becomes more affordable compared to its peers. It may be big, it may be heavy but it has many attractive design details that make the Leica experience a very satisfying one. It can be Highly Recommended.

  Leica SL3-P Pros

• Superb manufacturing quality
• 44.9MP CMOS sensor
• Hybrid design
• IP54 Dust and Moisture resistance
• Ultra fast 40fps shooting with full AF
• 8K Open Gate video
• Leica Content Credentials
• Leica Looks
• Leica FOTOS App
• 5 Axis IBIS
• Leica image quality

 

  Leica SL3-P Cons

• Bulk and weight
• Price

 

[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=Leica quality with fast and responsive operation for both stills and video.|E_id=8016[/REVIEW_FOOTER]

 

View the Leica SL3-P camera specs in the equipment database.

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Photo by Joshua Waller

1. Start With The Basics

Once you get your camera out of its bag it's easy to keep clicking the shutter button and forget you need to check backgrounds, subject position etc. Always look for shooting locations where the background isn't full of distracting objects that clutter the scene and where possible, put some distance between your subject and the background. This will not only add depth but it'll also make it easier to throw the background out of focus. If you're using a compact this can be done via Portrait mode. For those with more advanced cameras, this means choosing a wider aperture. It's also important to focus on your subject's eyes and even if you're shooting a friend or family member, don't forget to keep giving direction.
 

2. Natural Light Is Free

Where possible it's best to avoid using your camera's built-in flash for portraits as most of the time, the results won't be very professional-looking. Instead, make the most of window light which will help you create portraits to be proud of. North facing windows are perfect but you can use any that aren't in the direct path of the sun. Overcast days are great for this as light is naturally diffused but you can get a similar effect by hanging voile or something similar. 

If your house lights are on, switch them off and do clean the window before you begin!

A reflector will come in handy for adding light to the side of your model's face not next to the window, balancing the exposure in the process. You can buy reflectors but they can just as easily be created from a piece of white card, foil etc.

Try spot metering off your model's face then have fun experimenting with composition. Tight crops on the face work well but do try using the window to help frame a couple of your shots. 
 

3. Want More Impact?

Full-length portraits work well but for something that has more 'Pow' behind it, move in close. If your subject and yourself are comfortable doing so this could mean physically moving closer together or reach for a longer zoom lens if your model feels more comfortable with a wider working distance. Something around the 85-135mm mark is a popular choice for headshots but do be careful with your shutter speeds when using longer lenses if working hand-held.

Photo by Joshua Waller
 

4. Don't Want To Give So Much Direction?

The simple answer is to try a candid approach and shoot often so you don't miss any moments.

Try using a wider lens when working outdoors or at busy events such as a wedding as people won't think you're taking their photo if the lens isn't directly pointed at them so will stay relaxed. Longer lenses will allow you to stay out of sight but still give you the chance to focus on one or two individuals. For compact users, why not switch to P mode so you can focus on getting the shot rather than on what settings you need.

If you're working with children you could give them a task to do such as build a tower with bricks or kick a ball around outside to give you the opportunity to shoot some fun, in-the-moment photos which they won't even notice you're doing as they'll be too distracted with the task in-hand.
 

5. Get Creative

Whether it's adding fun props, creating interesting backgrounds with bokeh or using art filter and frames, there's plenty of ways to get creative with your portraits. Many cameras feature Art Filters which will give your portraits a twist. This could be adding a vignette, changing the images to black and white or simply adding a sepia tone and grain to give it a vintage feel. 

To have fun with bokeh you can head out at night or use some colourful stringed lights (the type you dig out of the loft at Christmas) and drape them over a dark background. You then need to put a few meters between the background and your subject to increase the bokeh effect.

 

You need to use your lens at its widest aperture and focus on your subject. A small portable light is handy for illuminating the front of your subject but do be careful with the positioning of the light as you don't want any light to shine on the background. Watch your white balance then experiment with framing to change the pattern created by the lights in the background. 
 

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Trees are something nearly all photographers use in their images at some point. They add interest to landscapes, are used as backgrounds for fashion shoots and nature photographers get up close to the bark and leaves which are various animals and insects call their home. If photographing a tree's not something you've done before or you're looking for a little inspiration on how you can shoot them differently take a look at our top ten list of effective/interesting ways to photograph trees.

 

1.Include The Foreground

 

Before you head for the centre of the forest take the time to walk around the edge of it to find a good spot where you can capture a few shots that have foreground interest. By adding detail in the foreground you add depth to the image and give the shot a sense of scale which gives the composition more impact.

If you're working with just one tree try positioning it in the left or right third of the frame. As well as using a field as your foreground, which works particularly well in winter when there's a fresh covering of snow, try and find a lake or large pool of water which can add another dimension to the image with the reflection of the forest in it.

 

2. Take A Look At The Roots

 

Look out for patterns created by roots, especially those from beech which are often unearthed from weather erosion of the soil. For a more unusual perspective, use a wide-angle lens as in the shot below to curve the background. You can get colour cast from the green canopy above your head as the image below right demonstrates. If you find a tree on its side try to fill the frame with the patterns created by the overlapping/twisting roots. You may also find insect activity you can photograph in among them.
 

3. Get In Among The Trees

 

Use a long lens in dense wood to create a dramatic perspective, making the tree stumps look as though they are stacked on top of each other. These areas will make interesting patterns just remember to use a telephoto lens to compress the trees. Overcast days when the light is soft are good for this but don't overlook misty/foggy mornings later on in the year. This works particularly well when the wooded area's particularly thick but as fog acts like a softbox and can lower the contrast of your surroundings, you can end up with rather long exposure times. Trees in mist can look great silhouetted too but do take care with your exposure. Try opening up by one stop to prevent a dark grey sky appearing and a complete silhouette forming.

 

4. Add People, Buildings Or Other Structures

 

Give your image scale by adding other objects or people into the scene and look for man-made objects such as benches or even statues as these will contrast well against the soft colours of nature. If you're in a park try shooting a few candid portraits of the people walking through and under the trees. This will add an extra element of interest and get the viewer thinking about who they are, where they're going etc.

 

5. Focus On The Bark

 

The patterns in the bark vary from tree to tree. The smooth grey of beech, to the peeling white of silver birch, the cracked patterns of the pine and the deeply rutted elm. Try framing very tightly so you don't see the edges of the tree stump and use a small aperture to cope with the rounded shape and ensure it's all in focus. Trunks made up of particularly thick bark that has deep lines make interesting patterns when you shoot with a tight frame. Bark also makes great textures which you can overlay with other shots. Finally, if you're using a compact camera remember to switch to Macro mode to get closer to the bark.

 

6. Take A Look At The Leaves

 

From the trunk, move up to the branches and focus on the leaves. Again you could move in really close and create patterns from the veins or step back slightly and record the whole shape. Maple like leaves of trees such as sycamore is the most interesting with their five tips, but great results can also be achieved from more ordinary oval and round leaves.

Try shooting with the sun behind the leaves which will make them glow. Position yourself so the sun is shielded from the camera by a branch to avoid flare or use your hand or lens hood to provide protection. Backlit leaves can look particularly amazing during the autumn months when the leaves take on their yellow and orange shades. Other close-ups that are gagging to be photographed are the fruit, berries and cones.

 

7. Look For A Single Tree

 

 

Trees can be used as points of interest in wide, sweeping landscape shots of fields. They break up long, flat horizons, adding interest and giving scale to the shot. Just remember to keep the space around the tree clean and empty. Vibrant greens or fields of bright flowers or golden crops will give the image more punch while a stormy sky sat behind the lone tree will further enhance the feeling of isolation in the shot.

 

8. Get Up High

 

Gain a high vantage point and shoot a woodland canopy, again depending on the time of year you could either create a lush green spread or a wildly varied collection of browns in autumn. Try shooting from a nearby hillside and use a small aperture to ensure everything from the foreground to the background is sharp.

 

9. Try A Different Angle

 

Some nature reserves with woodland areas have bridges which take you along the top of the trees. Take advantage of this, shooting through the branches and leaves. You can use them as a natural frame to guide the eye to another focus point or just fill the frame with the interesting patterns you find from the branches twisting and overlapping.

If it's safe to do so and you're brave enough, you could try climbing up a smaller tree but don't put yourself in danger. Back on the ground look for trees decorated with dappled light or get low to the ground and shoot up into the canopy. If you have a blue sky, green leaves will contrast well against it and by using a wide-angle lens, the trunks of the trees will look like they're almost falling out of the image due to the effect wide-angle lens have on verticals. Don't think this is a bad thing as actually it can make a really interesting shot.

 

10. Timelapse / Seasonal Shots

 

Capturing the changes in the leaves as we move from season to season is an interesting project that just needs a bit of patience and a spot you can return to again and again to take your shots. It's often easier to focus on just one leaf but you can record more if you so wish. Make sure you use a tripod and try and make a note of the exact point you took your first shot from or, if you're in your own garden, you could always make a mark so you know where your tripod needs to be. It'll also help if the spot you pick is sheltered so the project doesn't come to an end too early if the wind blew the leaf off the tree prematurely.

Once you're set up you can record the leaves changing from the rich green shades we see in summer to the golden shades of autumn before it falls off during the winter months. As spring arrives and the buds break, you could try recording a sequence of photographs showing the various stages of the bud appearing, breaking and the leaf unfolding. Taking things a stage further find a position where you can fill the frame with the whole tree and photograph it as a lush green canopy, then the vivid autumn browns and finally a snow-covered version in winter.