12 Top Beach Photography Tips For Your Next Vacation
1. What Gear Do I Need?
- Camera – Compact or DSLR
- Camera bag – Keep your gear safe from sand and sea salt when you're not using it.
- Tripod – Something lightweight and portable will be perfect as it won't take up too much room in the car and your arms won't ache after carrying it around all day.
- Polarising filter – Help reduce reflections and boost contrast.
- UV filter – Protect your lens from scratches.
- Hurricane blower and lens cloth – Make sure your lens is free of sea spray and keep grains of sand out.
You might enjoy a day out at the beach but your photography gear won't. Make sure you wipe all of your gear down when you get home and leave it to dry out completely. Spiked feet will stop your tripod slipping into the sand as you're trying to frame up while a UV filter will help stop sand scratching your lens. When you're not using your camera, remember to put it back in your bag and if you're using a DSLR and want to change lenses, try and do it off the beach and out of the wind so sand doesn't get blown where it shouldn't be.
3. What About Time Of Day?
The warm light of an evening will give you better results than midday sun or if you're a morning person, get up early when the sun's at a lower angle so your shots will be more evenly lit without large, deep shadows running through them. There will be less people around at this time too as most of the day-trippers will have left if it's later in the evening or not arrived if you're up at the crack of dawn. Don't dismiss shooting a few shots of a busy beach though, particularly if it's a hot weekend and the sand can't be seen for towels and seats.
4. Don't Just Look Out To Sea
Sweeping vistas of the ocean and cliffs do look great but do try turning around with your camera and photograph the scene that's unfolding behind you. Just be careful who you point your lens at as there is a chance it will upset some parents who'll want to know why you're photographing their children. Try capturing shots that help tell the story of what happened at the beach – close-ups of sun cream bottles, buckets, spades and dropped ice cream cones make great 'fill-in' shots for photo albums and photo books.
When you do shoot out to sea try giving the shot a focal point in the foreground otherwise it can look a little empty. Driftwood, rocks and footprints are just three things you could use to add an extra element of interest to your shot. Just check you're using a small aperture before you take your shot to ensure front-to-back sharpness.
To turn the waves into a smooth, dry ice-like motion you need to set your camera on a tripod and dial down to a slow shutter speed. How slow you need to go will depend on the movement of the waves and how bright it is so some experimentation will probably be needed. If you're struggling to get the speeds you need use a polarising or ND filter to reduce the amount of light entering the lens.
7. Change Your View
If there's a pier get on top of it to give yourself some height. You'll then be able to get more of the beach scene in shot. If you're using a compact camera that has a tilt-shift mode, getting up on the pier will give you the chance to turn the people sat on the beach into model-like characters. If there isn't a pier try extending the centre column on your tripod to give you more height. You may want to pack a remote release in case you can't reach the camera's shutter button when your tripod's extended. It'll also help reduce the chances of shake spoiling your shot.
8. Check Your Horizons
You need to make sure your horizon's straight and try moving its position to draw the viewer's attention to a particular part of the shot. See our previous piece on Horizons for more tips.
9. Shoot A Sunset / Sunrise
You can't go to the coast without photographing a sunrise/sunset (depending on which coast you're on). Just remember to have yourself at your chosen location an hour or so before sunset/rise and make sure you pack your tripod as working hand-held in these low light situations will only cause shake. For more tips on this, take a look at our previous articles:
10. Capture Some Close-UpsShells and pebbles are just two subjects you can use for a spot of close up photography on the beach. For more ideas and tips, take a look at our previous piece: Close Up Work With Compacts.
11. How To Deal With Exposure Problems
The problem with sand sat against a light sky is that it can confuse your camera into underexposing the shot so try using exposure compensation to deliberately overexpose the scene. It can be tricky getting the whole scene exposed correctly and bracketing can help, however, if you have subjects that can't stay still, your shots won't line up when you're back in front of your computer.
If you're working with a compact camera switch it to Beach scene mode from the camera's scene mode or picture mode menu. The Beach scene mode will increase the exposure slightly to compensate but also adjusts the white balance to make the sand look more natural.
To capture your kids running around switch to fast shutter speeds and continuous shooting mode. If you want to slow things down try getting them to do something that'll keep them in one place such as building a sandcastle you'll be able to get some great frame-filling shots of their faces to show their expressions but do zoom out a little too as this will give the shot context. If you find the sun's casting shadows on their face try adding a little fill-in flash and avoid positioning the sun behind you as this will only make them squint. For more tips on shooting portraits at the coast take a look at this article: Holiday Portraits.
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Nikon Nikkor Z 70-200mm f/2.8 VR S II Lens Review
The 70-200mm f/2.8 lenses have been staple fare for many years, an undeniably useful range of focal lengths. They are also likely to be one of the best lenses from any manufacturer's range, pushing the quality towards the technically possible limits of current optical design. When the first version of this new Nikkor Z lens was reviewed some six years ago, it might have seemed that there was very little improvement that could realistically be made, but then here we are with a second generation version II. Faster and quieter focusing, improved VR, 12mm shorter, 362g lighter, better balanced for hand held use and mounting on gimbals, ARCA-SWISS tripod foot, de-clickable control ring; the tweaks and improvements are extensive. Yes, a slightly higher price, but that is relatively small compared to the expected service life of the lens. It's all very enticing, so let's see how it all works out, using the classy 45MP Nikon Z8 camera body, an ideal camera to challenge the new lens's capabilities.
Nikon Nikkor Z 70-200mm f/2.8 VR S II Handling and Features
Current 70-200mm f/2.8 lenses are not small, but the new lens is significantly more compact than its initial form, weighing in at just 998g without the tripod foot and 1180g if the foot is attached. The foot is easily removed and there is a cover sleeve provided that fits in its place, offering protection to the finish of the lens barrel. Measurements are 90mm x 208mm, not exactly svelte but well balanced, a handling improvement when shooting handheld or using a gimbal.
A bayonet fit petal lens hood is provided and this clicks smoothly and positively into position. There is a locking catch. The hood also has a small window that allows access to the rim of filters, so, for example, a polarising filter can be rotated without having to remove the hood. This useful idea has been around for a while. The sliding cover, however, is rather easily operated and may be found to be open when not needed. As this slightly reduces the effectiveness of the hood it would perhaps be a good idea to make the cover firmer in action. Within the bayonet mount for the hood is a standard 77mm filter thread.
First up is the smooth zoom ring, clearly marked at 70mm, 85mm, 105mm, 135mm and 200mm. The action of zooming does not change the length of the lens, but there are groups of elements being shifted so this is a physical control rather than an electronic one. There seems little impact on the balance of the lens.
The four L-Fn2 buttons are next in line, and these can be programmed from the camera body. The focusing ring is electronic, as smooth in action as we would expect, and can be operated to fine tune the AF position once the AF has locked on. This may well be rarely necessary as the super-fast AF system seems to lock on exactly where required with unfailing speed and accuracy. Some of the sample bird shots were actually shot through metal grills and the AF system had no problem dealing with this, locking on every time through the gaps. With a wide aperture, the bars just disappear in the image. This could not be said of other marques being used at the same time that failed to focus most of the time. Beyond this, there are also the four L-Fn buttons, also programmed via the camera.
The thin control ring can also be programmed from the camera body and was set to change the aperture for this review process. There is a switch to engage or switch off the clicks, and as they would certainly be heard when shooting video, the de-clicking facility is essential. The A/M switch selects between AF and MF in the usual way and the focus limiter gives an option to restrict the AF to between 5m and infinity. The implication is that Nikon expect the lens to be used for longer range photography, but an option to set a close limit as well would be logical given the close focusing ability of the lens.
Closest focusing depends upon the focal length selected:
70mm 0.38m 1.25' 0.3x 85mm 0.38m 1.25' 105mm 0.5m 1.64' 135mm 0.6m 1.97' 200mm 0.8m 2.63' 0.25x
Just behind the control ring is the tripod foot, solid but not overly large and having an ARCA-SWISS design. This is very convenient when using ARCA-SWISS style tripod connections. The ring allows the camera to be rotated from landscape to portrait orientation. When the ring is removed, there is a protective collar provided that covers the connection area around the barrel.
Focusing is driven by Nikon's Silky Smooth VCM motors and is indeed super-fast, as well as being staggeringly accurate and virtually silent. Focus breathing is minimised with videographers in mind. VR (Vibration Reduction) offers a 6 stop advantage, although this does nothing at all for subject movement, so for wildlife, a high shutter speed may well still be needed. Synchro VR is available with selected bodies and this optimises the VR between the centre of the images and the peripheral areas. Compatible bodies are currently Z9, Z8, Z6 III, Z5 II, Zf and ZR.
Optical construction is 18 elements in 16 groups, including 1 ED, 1 Super ED, 2 Aspherical, 1 Aspherical ED, 1 Fluorite and 1 SR. The use of fluorite, an expensive option, indicates a serious intent to aim for the highest quality. ARNEO and Super Integrated coatings are used, along with meso amorphous coatings. There is also the fluorite coating for the front element to repel dust, grease and moisture. The lens as a whole is sealed against dust and moisture. The diaphragm comprises 11 blades and produces a nicely rounded aperture.
There is also compatibility with both of the Nikon Z teleconverters. TC-1.4x offers a maximum reach of 280mm. TC-2.0x offers a maximum reach of 400mm. These offer a convenient way to carry a longer lens with a minimum of bulk, although there is a loss of speed, the 1.4x converter losing one stop and the 2.0x converter losing two stops. The converters were not included and are not part of this review.
Handling is very comfortable and the only real drawback is the weight of the lens. It may be lighter than the first version but it still has a fair bit of bulk about it. However, just feel the quality of the results, and it's perhaps a small price to pay for such excellence.
Nikon Nikkor Z 70-200mm f/2.8 VR S II Performance
At 70mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent from f/2.8 right through to f/16 and are still very good at f/22.
At 105mm, central sharpness is outstanding from f/2.8 to f/5.6 and excellent from f/2.8 to f/22. The edges are excellent from f/2.8 to f/16 and very good at f/22.
At 160mm, central sharpness is excellent from f/2.8 to f/16 and very good at f/22. Likewise, the edges are excellent from f/2.8 to f/16 and very good at f/22.
It's pretty obvious that sharpness is just about as good as it gets and Nikon continues at the top of its game.
Nikon Nikkor Z 70-200mm f/2.8 VR S II MTF Charts Previous Next
How to read our MTF chartsThe blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.
For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?
CA (Chromatic Aberration) is highly corrected for and there is no sign of any colour fringing, even when the lighting and subject conditions are severe.
Distortion is virtually banished and the lens is as close to being rectilinear as makes no difference. Many macro lenses are not this good. Figures are almost zero, being actually zero at 70mm, +0.06% pincushion at 105mm and +0.02% pincushion at 160mm.
Nikon Nikkor Z 70-200mm f/2.8 VR S II Chromatic Aberration Charts Previous Next
How to read our CA chartsChromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.
Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.
For this review, the lens was tested on a Sony A7R III body using Imatest.
Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, and this new lens gives us some very beautiful bokeh indeed. It is relatively unusual to see smooth bokeh along with such high resolution, but Nikon manage it with apparent ease.
The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections.
Vignetting is very well controlled.
Aperture 70mm 105mm 160mm f/2.8 -0.8 -1.4 -1.2 f/4 -0.6 -1.3 -0.6 f/5.6 -0.5 -1.1 -0.5 f/8 -0.5 -1.1 -0.4 f/11 -0.5 -1.1 -0.4 f/16 -0.5 -1.1 -0.4 f/22 -0.5 -1.1 -0.4
Nikon Nikkor Z 70-200mm f/2.8 VR S II Sample Photos Previous Next
Nikon Nikkor Z 70-200mm f/2.8 VR S II Aperture range Previous Next
You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.
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Value For MoneyThe [AMUK]Nikkor Z 70-200mm f/2.8 VR S II|Nikkor+Z+70-200mm+f/2.8+VR+S+II[/AMUK] lens is priced at £2999.00
There is a wide array of options for this specification, and to see where the pricing falls, here is a selection of them from all marques. These will not necessarily fit Nikon Z cameras, but still offer a benchmark for pricing.
- [AMUK]Nikkor Z 70-200mm f/2.8 VR S|Nikkor+Z+70-200mm+f/2.8+VR+S[/AMUK], £2599
- [AMUK]Canon RF 70-200mm f/2.8 IS USM|Canon+RF+70-200mm+f/2.8+IS+USM[/AMUK], £2999
- [AMUK]Panasonic Lumix S Pro 70-200mm f/2.8 OIS|Panasonic+Lumix+S+Pro+70-200mm+f/2.8+OIS[/AMUK], £1991
- [AMUK]Sigma 70-200mm f/2.8 DG OS HSM|Sigma+70-200mm+f/2.8+DG+OS+HSM[/AMUK], £1199
- [AMUK]Sony FE 70-200mm f/2.8 GM OSS II|Sony+FE+70-200mm+f/2.8+GM+OSS+II[/AMUK], £2600
Although at the high end of the range, the pricing seems about right.
Nikon Nikkor Z 70-200mm f/2.8 VR S II Verdict
Smaller, lighter, sharper, faster, better balanced, what's not to like about this new version of an already superb optic? It all has to be weighed up against the increased cost, but that is probably worth it for the improvements and the better handling for videographers as well as stills photographers. We do lose the small OLED display of the original lens but that is a very small price.
In the end, the enjoyment of the quality kicks in and the perception is of absolutely impeccable results, at a price of course, but that is inevitable. It is true that Nikon produces many lower-cost lenses that are also incredibly good, but these have slower apertures and do not offer the versatility of the new lens.
It's a clear and definite Editor's Choice.
Nikon Nikkor Z 70-200mm f/2.8 VR S II Pros
- Outstanding sharpness
- Virtually no distortion
- Fast, accurate and virtually silent AF
- Excellent flare resistance
- Almost zero CA
- Moisture and dust sealing
- 0.3x magnification at 70mm
- 6 stops VR
- Synchro VR with compatible bodies
- Modest vignetting
- Beautiful bokeh
Nikon Nikkor Z 70-200mm f/2.8 VR S II Cons
- Price
[REVIEW_FOOTER]R_features=5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – Pricey but Superb quality, a truly top of the line telephoto zoom lens.|E_id=8027[/REVIEW_FOOTER]
.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }10 Handy DIY Photography Tricks & Hacks To Learn Today
Not everyone's a fan of DIY but building your own camera and creating your own filters can be fun, plus it's usually cheaper and who doesn't like to save a pound or two? So, here are 10 DIY photography tricks & hacks for you to try on a rainy day.
This one does involve spending slightly more than just a few quid but at the end of it, you do get a camera that's fully functional. The Bigshot DIY Camera and Lomography Konstruktor are a couple of examples of the kind of kits you can purchase.
Filters, particularly DIY ones, can be used with all types of cameras (including phones) and they can help you create interesting effects without having to break the bank or learn a new photo editing technique. Something as simple as a sweet wrapper (think Quality Streets) wrapped around your lens and secured in place with an elastic band can add colour to your shots while a pair of tights cut to size and pulled over your lens will give you a soft focus effect.
Who doesn't like a bit of Bokeh? But you don't just have to settle for circular out of focus highlights as you can use a few tools and your creativity to change the appearance of the shapes that appear. You need to get a black piece of card, decide on a shape, cut it out of the card then fasten 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.
Macro lenses are great for getting close to subjects, but as with all lenses, they're an investment and aren't something all of us can go out and purchase. However, with the help of a reversing ring, you can shoot close-up work in an inexpensive way. You simply attach the reversing ring to the filter thread of your lens which then allows you to attach your lens to your camera in reverse. They can be tricky to use but they do offer one of the cheapest ways of capturing macro shots. For more tips on working with reversing rings, have a read of this article: Reversing Your Lens For Ultra Close-Ups
5. Use A Magnifying Glass & Shoot Macros
Another way to shoot macros without a macro lens is by taping a magnifying glass to the front of your camera. You can use most magnifying glasses as close up lenses as long as the magnifier is big enough to cover the front of your lens. For more tips, have a read of this: Macro Photography With A Magnifying Glass
6. Make Your Own ReflectorNothing beats the tin foil sheet that you'd normally wrap the turkey up into throw masses of light back into your subject. You just need to cut out a piece of card, apply glue or tape to it, carefully roll the tin foil over the glued cardboard, smooth out the tin foil with a sponge or cloth and leave to dry. You may need to trim the edges and you can apply tape around it too if you want it to look a little neater.
A tripod is usually the support photographers turn to but when you want to travel light or venture to places where tripods and similar supports aren't allowed to be used, you have to look for an alternative. One of these alternative options is a beanbag and even though you can purchase ready-made models, they're not hard to make yourself and the materials aren't expensive either. Basically, you just need some fabric, beans/polystyrene balls and a sewing machine or needle and thread. There are plenty of tutorials online with step-by-step instructions on how to construct a beanbag, including these found on Instructables: Camera Bean Bag Instructions
A flash diffuser is a useful tool but why buy one when you can create your own at home? Click the following link to view a tutorial that will take you through the steps for making your own interchangeable flash diffuser, with changing filter options, for whatever light source you come across when taking photos: Build A Flash Diffuser
9. Building A DIY Modular Flash System
Flash accessories can be made for next to nothing, all that is needed is a little creativity and a little spare time, as site member Paul Morgan explained in this tutorial: Building A DIY Modular Flash System
10. Get Creative With Light With An Old Lens
There's a technique you may not have come across called Lens Wacking and the idea is you allow more stray light to reach the sensor and to do this you shoot with the lens detached from and held in front of the camera body. It can be tricky to master but can create some really interesting, dream-like lighting effects and bokeh with just the help of an old, cheap manual lens you have at home. For more tips on how to perfect this technique that gives your images a cinematic feel, have a read of the Lens Wacking tutorial on Pentax User.
If you have any DIY photography tips or hacks others should have a go at, feel free to post them in the comments below.
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What To Photograph Around The UK Hedgerows
If you're on the hunt for insects and flowers take your macro lens along but if you want to photograph the many birds and small mammals that live in the hedgerow you'll need a telephoto or zoom lens so you can observe and take your photographs from a distance that won't scare them off.
A tripod or even a beanbag will give your arms a rest and stop you shaking the camera when you're working on those frame-filling shots. Use a remote release or if you don't have one make use of the self-timer as this will give you enough time to press the shutter and move away so your movement won't blur your shot. As it's dark and shadowy inside a hedgerow take a reflector out with you to add and direct light into the shot.
If you're going to be working on the ground it's worth taking a gardener's kneeling pad with you to keep your knees dry and a little comfier.
Capturing Shots Of Flowers
Whatever time of year you do your hedgerow flower photography, if you use your lens' minimum aperture to give your flower shots greater depth of field, remember this will slow your shutter speed down so watch out for camera shake.
Top Tips On Bird Photography
If it's birds you're searching for wrens and thrushes are just two of the species you'll find nesting in the dense cover. This can make them hard to spot, but most birds prefer taller, mature hedges where there are plenty of trees around they can perch on so keep an eye out for areas like this. Also, spend enough time around these older, well-developed areas and you may even spot shy blue tits, owls and even bats if you're out late enough. Keep your ears open for bird song too as this will give away even the smallest of birds locations.
If your focus is a particular branch have your lens focused and exposure locked in place so when the bird lands you can quickly snap your shot. You may find continuous shooting's useful and keep an eye on your exposure as a bright sky and a dark subject can confuse the camera into thinking it needs to underexpose the shot.
Make sure you don't disturb any nests and don't trespass! Stick to public paths or better still, your own garden.
Shoot From A Bird's Eye View
If you live near a hill or can get to higher ground try photographing a group of fields. The patchwork of colour, particularly towards the summer with rapeseed, separated by rows of hedges makes a great looking photograph. Try doing a year-long hedgerow safari too as the flora and wildlife will continuously change so there'll be ample to photograph.
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Evoto Expands All-in-One AI Photography Ecosystem Across Desktop, Instant, Mobile, iPad, and Video
Evoto has released an updated ecosystem brief presenting its products as a connected shoot-to-delivery workflow rather than separate editing apps. The structure links capture, culling, retouching, cloud sync, and publishing across multiple devices and product surfaces.
Key Takeaways
- Evoto’s ecosystem includes Desktop, Instant, Mobile, iPad, and Video products with role-based workflow handoff.
- Evoto Desktop v7.1.0 extends AI Lab (Smart Removal, People Removal, AI Scene) alongside Personalized AI Looks and Perfect Shot.
- The system is designed for photography teams that need repeatable editing quality across high-volume projects.
- Product messaging emphasizes automation for repetitive tasks while keeping final creative control with photographers and editors.
All-in-One AI Photo Editing Platform for 2026 Workflows
In the current positioning, Evoto Desktop remains the main post-production environment for large projects, while Evoto Instant is the delivery endpoint for online galleries and access-controlled sharing. Evoto Mobile and Evoto iPad support on-site and in-transit workflows, and Evoto Video extends finishing work into motion deliverables.
This ecosystem framing follows a pattern seen in current media coverage of imaging software: clear role assignment by device and stage, with less emphasis on broad AI claims and more emphasis on production continuity.
Seamless Workflow for Professional AI Photography
Evoto describes a five-stage operating flow:
1. Capture and ingest
Images enter through tethered shooting or import pathways, then are assigned to project-level structures.
2. Selection and grouping
AI-assisted culling helps flag technical rejects and organize similar frames for faster review.
3. Editing and consistency
Teams apply shared portrait and color logic in batch, while keeping the option for manual adjustments on individual frames.
4. Delivery and access
Approved outputs are routed into sharing workflows, including gallery-based distribution through Evoto Instant where enabled.
5. Video extension
Projects that require motion output can continue through Evoto Video for visual alignment with photo deliverables.
This sequence is aimed at reducing workflow breaks between tools, especially in event and school scenarios where deadlines are tight and image volume is high.
AI Culling and Retouching Tools for Pro Photographers
Across the suite, Evoto emphasizes AI as an assistant layer for repetitive operations:
- automated pre-sorting to reduce manual culling load
- batch-oriented portrait retouching and color handling
- consistency controls across multi-image sets
- optional cross-device continuation when projects move from desktop to delivery channels
Evoto also references recent Desktop-side feature evolution in v7.1.0 as part of the wider ecosystem value rather than isolated features. The Desktop draft aligns three feature groups:
1. AI Lab
A creative module for AI-assisted cleanup and scene composition workflows. The current AI Lab scope in this draft includes:
- Smart Removal: removes selected distractions with subject protection options in supported scenes.
- People Removal: detects and removes passersby or extra people in eligible images.
- AI Scene: supports subject cutout, background replacement, and layered foreground setup for controlled visual staging.
2. Personalized AI Looks
A style-training workflow that allows users to build reusable looks from their own edited image sets, then apply those looks across future projects.
3. Perfect Shot
A group-photo workflow that helps replace expressions from adjacent images when subjects blink or miss gaze direction.
Real-Time Tethered Shooting and Delivery for Events
For event and location work, Evoto positions Mobile and iPad as practical companions to Desktop rather than replacements. The workflow message is: capture and review in the field, then consolidate in Desktop for volume editing, then publish through Instant for client-facing access.
The Instant layer is presented as a delivery workflow rather than only a gallery viewer, including project sharing paths, branding controls, and participant-oriented access options depending on setup.
This cross-product chain is particularly relevant for:
- school portrait operations
- event photographers handling rapid turnaround
- studio teams requiring collaborative post pipelines
- hybrid teams delivering both photo and short-form video outputs
Professional Photo Editing Ecosystem With Cloud Sync Features
Evoto describes cloud sync as the connective mechanism across products. In operational terms, this means teams can maintain a central project logic while switching execution context by device and task.
The company notes that not every feature is universally available in every context. Plan tier, region, hardware support, image format, and release channel can all affect capability access.
Who This Workflow Is For
Based on current product documentation and positioning language, the ecosystem is primarily targeted at:
- portrait professionals handling repeatable edits at scale
- studios with multi-editor throughput requirements
- photographers who need on-site review plus later desktop finishing
- teams that want a single ecosystem across capture, edit, and delivery
Availability
Official product channels:
- https://www.evoto.ai/ai-photo-editor
- https://instant.evoto.ai/
- https://www.evoto.ai/ipad
- https://www.evoto.ai/evoto-mobile
- https://video.evoto.ai/
About Evoto
Evoto is a software company that builds AI-assisted imaging tools for professional photographers, retouchers, and visual production teams. Its product line spans desktop editing, cloud gallery and delivery (Evoto Instant), mobile and tablet apps, and video finishing—designed so studios can move from capture through batch retouching to client delivery in one connected workflow. The team focuses on high-volume portrait and event use cases, with an emphasis on workflow speed, repeatable quality, and user-controlled creative decisions.
In 2026, user-review platforms Capterra and Software Advice recognized Evoto AI across multiple photo-editing and AI software categories, including ease of use, value, recommendation, and customer support. Profiles: https://www.capterra.com/p/10015499/Evoto-AI/ and https://www.softwareadvice.com/product/515822-Evoto-AI/.
More information is available at https://www.evoto.ai/
Top Tips On Capturing Arty Style Flower Photographs
If you're a fan of black & white photography, with a twist of fine art and macro flower photography thrown in, you've come to the right article as we're teaching you how to get all Mapplethorpe at home with one flower and a few photography tools.
Light & EquipmentThe location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake.
Backgrounds
The background needs to be plain and a piece of black material will work fine. The examples shown here were shot against a black fleece draped over the back of a chair and some on black slate slabs which goes to show you really can use anything!
Focusing was done manually, which is always best for macro work when the lens can search for focus and aperture-priority was used, along with the exposure compensation facility to fine-tune the result. With a white lily against a black backdrop, the risk of poor exposure is quite high, so you may need to make minor adjustments as you go along.
For the above shot, the lens was set to its smallest aperture (f/36) for maximum depth-of-field which gave a shutter speed of 2secs. All the pictures here were done at ISO200.
Next, the flowers were moved closer to the camera and the lens was opened to its maximum aperture to throw the closer flower out of focus.
Closer still, these shots focus on the flower's stamen, with the shot to the right excluding the black backdrop completely. Depth-of-field, when you’re this close to the subject, is minimal even at a small aperture, as the images to the right shot at f/36 shows.
Quite a few cameras have a multiple exposure feature which will allow two or more exposures to be captured on the same frame. To create the effect shown in the following shot you need to capture one exposure sharp and one totally defocused.
If photographing the flower straight-on doesn't produce the look you're trying to create, try laying it down on a plain surface. The flower in the following shot had to be held in place with a piece of tape to open up the petal.
Black & White
Most digital cameras, even modest compacts, have a monochrome mode, which offers a quick way to enjoy black & white photography. However, convenient though this mode is, the image file straight out of the camera can lack contrast and may need some work in your editing software if you’re going to get the most from it.
The shot on the left is the JPEG monochrome file straight out of the camera and it looks a little flat. The right image is the same shot but the Levels were tweaked in Photoshop which gives more intense blacks and brighter whites.
It’s worth remembering that if you’re shooting in JPEG format, images shot in the monochrome setting will record in black & white only and you can’t produce a colour image should you change your mind later. Shoot Raw and even though the camera monitor might show the mono result you have the full-colour file at your disposal. The best option, if your camera has it, is to shoot in Raw and fine quality JPEG at the same time.
Many cameras have the option of letting you modify your shots using contrast filters (yellow, orange and red are the most popular), toning effects and Art Filters. Some of which can work well with this type of photography so it's worth experimenting with.
Used sparingly, toning monochrome images is a very effective technique and if your camera doesn't allow you to apply effects while shooting, you can always adjust your shots in image editing software.
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5 Top Transport Photography Tips & Techniques To Try
When you first think of transport photography you probably think of cars but trains, boats and planes are just as interesting and with the right planning, can be photographed. In this article, we list popular transport photography tutorials and offer a few tips on the gear you may want to consider using.
Photographing Cars - Gear Choices & Our Top Tutorials
A standard lens is fine as you can move around the car to alter the angle and position. You'll also want to use a polarising filter to reduce reflections just remember shutter speeds will be slower so you may want to use a tripod.
- Five Ways To Take More Creative Shots Of Cars
- How To Photograph Your Car Successfully
- Tim Wallace's To Car Photography Tips
A standard zoom of the 35-80mm range is fine, although you may prefer a longer lens 80-200mm if the boat is further away. Make sure you use a polarising filter to reduce reflections/deepen blue skies and pack a tripod but if you plan on taking your shots at the coast or will be walking along a canal for a lengthy period of time, a light-weight tripod that still offers good rigidity will be easier to carry, particularly after you've been walking for a while.
- Everything You Need To Know About Boat Photography
- How To Take Good photos From A Boat
- More Boat Photography Tips
A lens with a focal length between 50mm and 100mm is ideal. Better still, use a zoom lens with a range that covers 28-105mm so you don't have to waste time changing lenses. For shots away from stations, use a tripod with a pan head to follow the train and on the platform use a monopod as they can get busy and you don't want to get in anyone's way.
Even More Top Transport Photography Tips
If you want even more transport themed photography advice, we have 10 more top tips to help you take better photos of trains, planes, cars and other modes of transport.
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How to Recover RAW Photos from Camera (Step-by-Step)
When you accidentally remove the RAW photos, they're not totally lost but still on your camera's SD card, not showing themselves. With the right RAW image recovery tools and a little patience, you can get them back.
Here's what you need to know: how RAW photo recovery actually works, what causes files to disappear, and the smartest ways to bring those photos back - no matter what camera or storage device you're using.
Can You Recover RAW Photos from a Camera
Yes. Most times, it is possible to retrieve RAW images from a camera - if the files have not been replaced by newer recordings. Recovery depends on whether fresh media has written over the original data.
Deleting a RAW image or wiping a memory card entirely does not erase it instantly. That space gets flagged as "available" - yet the photograph remains hidden underneath. Only once new data moves in does it truly disappear.
Data recovery software like EaseUS Data Recovery Wizard takes advantage of this. It scans your camera memory card (whether it's an SD card, CF card, whatever), then looks for the unique signatures of RAW files like CR2, NEF, or ARW. With some luck, it can pull those deleted photo pieces back together and let you recover them entirely.
Common Reasons People Lose RAW Photos
Knowing how you lost your photos makes recovery a lot easier. Here's what usually happens:
- Accidentally delete files sometimes right from the camera or on your computer.
- Formatting the memory card wipes out everything fast, whether it's a quick format or a full one.
- If the SD card or its file system gets corrupted, it often becomes unreadable, appears as "RAW," and locks you out.
- If you remove the camera card without safely ejecting it on a computer, it can easily mess things up.
- Cameras show errors like "Card not formatted" or "Cannot read card," and that's never a good sign.
- Viruses or malware sometimes sneak in when you use the card on different devices.
- Suddenly powering down while taking or saving RAW photos just leaves you with incomplete files.
Common RAW Photo Format by Camera Brands
Different camera manufacturers use proprietary RAW formats. A reliable recovery method must support all major types.
Popular Camera Brands & Their RAW Formats
- Canon: CR2 / CR3
- Nikon: NEF
- Sony: ARW
- Fujifilm: RAF
- Panasonic: RW2
- Olympus: ORF
- Leica: DNG
- GoPro: GPR
Camera Types Covered
- DSLR cameras
- Mirrorless cameras
- Compact digital cameras
- Action cameras
RAW files are slightly more complex to recover, but modern tools can handle them effectively.
How to Recover RAW Images from Digital Cameras
When you accidentally lose RAW photos from your camera, don't panic. The best way to get them back is with a reliable data recovery program, and EaseUS Data Recovery Wizard is one of the top choices.
This professional RAW image recovery tool handles almost all RAW formats like CR2, NEF, ARW, RAF, and DNG. Whether you're using an SD card, microSD, or CF card, the software works across the board. It recovers files from formatted cards and even from corrupted (RAW) SD cards.
Follow these steps to recover deleted RAW photos from the camera:
Step 1. Open the camera, remove the memory card gently. Connect it to the computer using a compatible reader device. Wait for the system to recognize the storage unit before proceeding.
Step 2. Begin by opening the EaseUS Data Recovery Wizard. Once active, locate the storage device from the available drives. Choose the memory card shown in the menu. Proceed with initiating a scan. The process begins after selection is confirmed.
Step 3. As the scan runs - or once it finishes - narrow outcomes using file categories to locate your CR2, NEF, ARW, or any required RAW format. Focus shifts here naturally when sorting begins.
Step 4. Now preview the available files, picking only those pictures you need before starting recovery. To avoid complications, store them on a different drive instead of using the initial memory card again. A new location reduces risk - simple choice, a better outcome.
Alternative Ways to Restore Missing RAW Photos from Cameras
You don't always need professional camera recovery software to restore missing RAW photos from camera SD cards. Here are a few other options that sometimes do the trick:
Restore from Backup
If you're good about backing up your photos, you're in luck. Just check wherever you usually store your backups, maybe it's Google Drive, Google Photos, iCloud, Dropbox, an external drive, or a NAS. Restoring from a backup is by far the easiest way, as long as you actually made one before your photos disappeared.
Try Built-in Backup & Recovery Tools
Windows has File History, and Macs have Time Machine. If you set them up beforehand, you can pull lost files right from there. Just remember, these tools won't help if you never turn them on.
Deal with a RAW SD Card (After Recovery)
If your SD card suddenly shows up as RAW, save your files first. Use recovery software to grab your data, then go ahead and repair the SD card; something like CHKDSK can help on Windows.
Conclusion
Most photo recovery works best when you move fast, especially with RAW images straight from your camera. EaseUS Data Recovery Wizard handles such RAW formats well, making restoration smoother if you move fast after data loss.
To improve your chances of recovering lost RAW images:
- Immediately cease operation of the memory card or storage device.
- Use trusted recovery software.
- Keep regular backups.
If you follow these tips, you'll protect your photos and spend less time stressing over lost RAW images.
Camera RAW Photo Recovery FAQs
1. Can I recover RAW photos after formatting an SD card?
Recovered RAW images remain possible after formatting if new information has not overwritten the old ones. File structure links vanish during formatting; however, underlying data often stays intact initially. Tools that support deep scan may detect and rebuild lost photographs. Acting quickly increases the chances significantly.
2. Why does my SD card show as RAW?
A RAW SD card means the file system is corrupted or unrecognized by the operating system. This can happen due to improper ejection, a virus attack, or a sudden power failure. In this state, the card becomes inaccessible, but the data may still be recoverable. You should recover files first before attempting any repairs.
3. Can permanently deleted RAW photos be recovered?
Yes, even permanently deleted RAW photos can often be recovered using advanced data recovery software. These tools scan the storage device for leftover file signatures and reconstruct the files. However, if new data has overwritten the original files, recovery may not be possible. That's why immediate action is critical.
Imagen Video Brings Adaptive AI Color Grading to Professional Video Editors
The AI platform trusted by over 100,000 photographers now delivers professional, style-consistent color grading across every clip - directly inside Adobe Premiere Pro or DaVinci Resolve.
Today, Imagen Video officially launches out of beta. Imagen, the AI-driven editing platform that has transformed post-production for photographers globally, announced the official launch of Imagen Video at NAB Show 2026. After exiting beta, Imagen Video now offers advanced AI color grading seamlessly integrated into Adobe Premiere Pro or DaVinci Resolve, enabling video editors to enjoy automated efficiency while maintaining full creative control. Attendees can experience Imagen Video live at Imagen's NAB booth, April 18-22.
Color grading has long been one of the most technically demanding and time-consuming stages of video post-production. For editors working across multiple cameras, varied lighting conditions, and tight delivery deadlines, achieving a consistent, professional look can consume hours of manual work per project. Imagen Video eliminates that grind.
By combining AI Profiles trained on professional color styles with full support for custom LUTs, Imagen Video analyzes each clip individually, adjusting for lighting shifts, white balance inconsistencies, skin tones, and camera sensor differences, delivering a consistent, polished baseline grade up to 10 times faster than manual correction, helping editors meet tight deadlines with ease.
Unlike generic color correction tools, Imagen Video adapts to each editor's individual creative signature. Editors can apply their own LUTs or choose from professionally designed AI Profiles, and Imagen's AI handles the clip-by-clip adjustments needed to keep that look consistent across an entire sequence, empowering editors to stay true to their vision regardless of camera or lighting changes.
"Color grading is where a project either comes together or falls apart. And for most editors, it's also where hours disappear. We didn't build Imagen Video to replace the editor's eye. We built it to handle everything that doesn't require one: the technical corrections, the clip-by-clip adjustments, the camera matching. Imagen Video is the co-pilot every editor deserves; it handles the technical work, so you can stay focused on the creative," said Yotam Gil, co-founder and CEO of Imagen.
The results are already speaking for themselves. Tyler Hergott, an interior design videographer, put Imagen Video to a direct test against his own manual grade:
"I sent the client three versions: one converted through Adobe, one with my own manual color grade, and one color-graded by Imagen. I didn't tell her which was which. The designer selected the Imagen-graded version," says Tyler, interior design videographer.
One of the most common and costly pain points for event, wedding, and documentary videographers is matching footage across multiple camera bodies. Even cameras from the same manufacturer can produce shots that look noticeably different when cut together. Imagen Video's AI automatically harmonizes footage across sensors, lenses, and ISO settings - delivering a unified sequence without requiring editors to leave Premiere Pro or DaVinci Resolve.
"I'll shoot interviews with two or three cameras - all Sony, using Sony glass - but they never match perfectly. It's really hard to get them to match when cutting back and forth. Imagen does it flawlessly. I can't see going back to my old way of doing things," says Joe, a non-profit and event videographer.
Imagen Video runs natively in Adobe Premiere Pro and DaVinci Resolve, so editors can stay in their existing workflow from first cut to final grade. There is no round-tripping, no file export, and no separate application to manage, ensuring a smooth transition that respects their established process and expertise.
Within Premiere Pro or DaVinci Resolve, editors can apply their own LUTs or select from AI Profiles trained on professional color styles. From there, Imagen handles the technical layer automatically: correcting white balance and matching footage across different camera sensors and lenses so that editors can focus on the creative grade rather than the corrective one.
Imagen Video is available now as a full release, with comprehensive support and training resources to help users maximize its features. Detailed pricing and plan information are available at imagen-ai.com.
About Imagen
Imagen is the personal AI platform for professional photographers and videographers. The pioneer in AI-powered photo editing since 2020, Imagen helps over 100,000 photographers worldwide save time on editing, reduce costs, and deliver consistent, professional results at any scale. During beta, thousands of video editors graded hundreds of projects on Imagen Video, validating its performance across real-world workflows before today's full release. The platform serves studios, agencies, and independent professionals across weddings, events, schools, sports, and commercial photography and videography. For more information, visit imagen-ai.com.
Fun Photography Challenge: How To Photograph Numbers And Letters With Everyday Objects
If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!
What Can I Photograph?
If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.
When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.
If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.
More Ideas
When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Candid Old Boys Portrait Wins 'Photo Of The Week'
A wonderful candid monochrome portrait, Two Old Boys from Daisymaye, is one that is well worth a closer look.
The image features two older gentlemen, both wearing caps and sunglasses, looking off into the distance in what feels like a quiet and natural moment between friends. The subject nearest to the camera is sharp and detailed, while his companion softens gently out of focus behind him, producing a fine sense of depth within the frame.
The monochrome treatment is a very fitting choice, removing all distraction and letting the mood, the detail, and the character of the scene come through with great clarity. It is a fine and thoughtful piece of candid photography.
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!
Top Tips On How To Photograph Lighthouses And The Detail On Them
1. Gear Suggestions
Your normal kit is fine for many shots, but if you can't get close you will find that the telezoom might be worked harder than your wide-angle or standard zoom. Because the sky will almost certainly feature in your compositions, you should find room in the camera bag for a polariser. A warm-up would be handy too.
If you're taking shots inside a lighthouse there may not be room for a tripod, however, there should be plenty of room for a support outside it. Something light-weight will be easier to manage than a heavier model, especially when walking upstairs with it in or fastened to your bag. Talking of bags, as space could be tight, you want a bag that's easy to access and doesn't take up too much room.
2. What Time Of Day Is Best?
At this time of year, the light can be quite harsh and as most lighthouses are white (and red or black) the high contrast can be a real nightmare. On really bright sunny days, you might be best advised not to waste your time until the sun is shielded by some cloud or just waiting until later in the day. Obviously, much depends on how much time you have to hang around.
Lower, warmer light will undoubtedly give a more attractive end result and you and enhance that warmth with a warm-up filter while a polariser will enrich a blue sky. Late in the day and exposing for a brightly lit structure you might find that a saturated sky will result anyway so keep an eye on the preview image.
3. What Detail Will I Find?
Zooming in with a telephoto and picking on detail is fun to do, although if you shooting externally you might find that there is precious little detail to enjoy apart from a few windows. If you are on a tour visit you have more opportunities – except that you might not have that much time and space because of being in a group. Shoot quickly in this instance and do your best to crop out fellow visitors.
Other techniques to try might be to shoot sections of the lighthouse for a 'joiner' image when you get home to the computer. You could also shoot a vertical panorama and merge the images during post-production. For a vertical stitch, you probably need to be further back with the telephoto to get a straight-on perspective rather than angling the camera upwards.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
How To Photograph Lighthouses In The Landscape
The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.
1. What Kit?
Take your camera and all your usual lenses and you will not go far wrong. You may find a camera with a smaller body more useful as they can be often fit in jacket pockets or if you prefer to carry your gear in a bag, it'll take up less room leaving space for a flask of tea and your packed lunch!
A tripod is needed if you intend getting there early or staying in late. Other than that, it is perfectly fine to shoot handheld. Filters are also definitely worth packing, especially the polariser that can be used to cut-down glare to enrich colours and saturate blue skies.
In terms of lenses, wide-angle and telephotos are equally valid. Wides let you use more of the foreground while telephotos let you pull in detail and are also excellent at putting the lighthouse within its environmental context.
2. Do Your Research
If you're looking for lighthouses have a look at the Trinity House website for more information and locations close to you. Have a look at where other photographers have visited too, plus a quick online search will find you visitor information as well as GPS coordinates and directions quickly.
Use your feet! Walking around your subject is always advised and is especially effective with using lighthouses. That way you can put your subject into context of the beach or town that the lighthouse is situated.
3. Time Of Day & Weather
Many lighthouses are still in use so a good time to shoot them is at dawn or at dusk when there is colour in the sky and the lighthouse's lamp is on. Do remember the lamp will be considerably brighter than the whole scene and you can end up with a light that's overexposed if you don't meter correctly.
At this time of day, there's not much light around so you will need the tripod and a remote release. If you set a sufficiently slow enough shutter speed you will get a complete rotation of the lamp.
Low light and stormy skies shouldn't be overlooked either, particularly if you can capture the waves crashing against the lighthouse or rocks nearby.
Lighthouses look photogenic in most lighting situations, but bright sun can be tricky because of high contrast problems – white is a popular lighthouse colour. Bland white skies are also an issue for the same reason. Other than that, get shooting.
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How To Photograph Dandelions Creatively
Before you dig up the humble dandelion, have you ever thought about photographing it? If you haven't, here's a straightforward guide on how you can capture a rather fun and creative image of one without too much effort on your part. You can also create your own backdrops and swap them in and out for an extra level of creativity, too.
All the photos show above are of the same dandelion taken from the same standing position with the stalk held at arm's length. The starting point was facing down with a green grass background and I then raised my arm towards the sky and took pictures at several positions on its journey.
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The Set-Up- Pick a dandelion that has a full seed head.
- Hold it at arm's length in your non-camera hand with it positioned in front of grass (you can use a tripod as this will free both hands, making adjustments easier).
- With your camera manually set to close focus and held to your eye, move the dandelion closer to the camera until it fills the frame and is in focus, then take a photo.
- Adjust the exposure if the dandelion is too bright or too dark. If your camera is automatic take the photo when it's focused.
Experiment With Backgrounds
You can repeat the process but positioning the dandelion against different backgrounds. Each shot will look different and no doubt one will be preferred.
Here are just a few of the backgrounds you could use:
- Trees
- Blue sky
- Cloudy sky
- Coloured paper
- Textured walls
- Carpets
- Silhouetted against the sun
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There Is No Such Thing As Bad Weather: Top Landscape Photography Tips For Rain Or Shine
The right light is an interesting concept. I am a firm believer that there is no such thing as bad weather – only different types of lighting. I get annoyed at the number of articles that say you can only take creative landscape photographs in the hour after sunrise and the hour before sunset. To me, that leaves a whole chunk of the day with a camera sitting unused in a bag!
It's Wet Out!
Certainly, though, certain subjects work better in particular lighting conditions and when the rain is hammering on my office window I'm fairly happy to be sitting in front of the computer rather than trying to capture landscape photographs! That said, I have been at the side of Buttermere in torrential rain and high winds and still managed to work with the conditions.
Mist and fog also create ideal light for pastel, almost painterly pictures, easily isolating foreground elements from the background; and while these conditions are certainly more prevalent early morning, they can happen at other times. Heavy snowfalls can also create monotoned, isolated elements, even resulting in pen-and-ink style pictures that are perfect for black and white.
The Sun's Out
When the sun does shine through, make the most of the textures, shadows and lighting angles; and even that doesn't always mean early or late in the day, I have a number of Lake District locations where the sun offers excellent graze lighting, really bringing out the textures of barn walls or dry-stone walls even in the middle of the day.
The best way to know where the sun works best in any location is to know the location well, and photograph it regularly; ideally even knowing which month offers the best elevation as well as the angle of the sun. If you're new to a location check on a map – remembering that the sun rises in the east and sets in the west. Even Google maps can provide some help if there is a road anywhere near your chosen location. Computer-based maps can give a good idea of the terrain and are sometimes easier to realise the contours than a traditional map.
Certainly early and late in the day offers low lighting angles which can naturally create longer shadows, but to truly reap the benefits, you need to either have side-lighting or even be shooting into the sun.
By all means, plan some of your shots before you go out, but always be ready to adapt to the conditions - don't come back without any photos because the light wasn't exactly what you had planned, but adapt to the lighting that's there. Only by doing that will you train your eyes to see opportunities that otherwise would be so easy to miss.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
ePHOTOzine Daily Theme Winners Week 4 April 2026
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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 Arkwright (Day 30- 'Frames').
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 24Watersports
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Day 25
'Mood' Theme
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Day 26
Interesting Horizons Theme
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Day 27
Public Gardens
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Day 28'Home' Theme
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Day 29
Bluebells
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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.
How To Choose The Ideal Camera Bag: 4 Simple But Essential Questions Answered
When it comes to picking a bag to carry your camera and other bits of kit around in, it can take a while to come to a final decision as there's plenty of top brands and styles to choose from. Some photographers will have a go-to bag for all occasions while others will choose to have a few different designs that have different uses.
To help you decide what camera bag is perfect for you, we've put together a few tips on what to look out for and we'll also be asking questions you'll probably be thinking about next time you're shopping for a camera bag.
By thinking about the above question, you should be able to narrow down your choices. For example, a landscape photographer will find a backpack style more appropriate than a shoulder bag but someone who travels on planes a lot may want a roller case they can use as hand luggage but will pack a smaller bag inside it which they can use when they arrive at their destination.
2. What Will You Be Carrying?For the majority of shooters, it's important to keep the weight of your bag to a minimum, even more so if you're heading off on a long walk in a National Park. A Body and two or three good all-around lenses should be fine for most but if you do need to carry more, make sure there's plenty of dividers in your bag to keep your gear snug and safe. Look for pockets that are easy to access so you can quickly grab memory cards, spare batteries etc. and a tablet/laptop pocket is a feature more and more of us are needing in our camera bags, too.
A good camera bag will allow you to access your camera gear quickly and easily. If you're shooting in busy locations where you don't want to have your camera out around your neck constantly, such as in popular tourist locations or in towns and cities, a sling design may be better than a rucksack as they're easier to swing around to your front so you can access equipment without removing your bag. Shoulder bags can also be accessed easily while on the move but do take care not to overload this style of bag if carrying it on one shoulder.
4. What Features Should You Look Out For?
1. Comfort
No matter what your planned shoot for the day is, be it a long photo walk or a short trip to the local park, your camera bag needs to be comfortable as you don't want to injure yourself and if something's annoying you, it can distract you from your photography as well as irritate you. If possible, try your bag out before you buy it to test where straps sit etc.
2. Material
You want your bag to last so look for models made from hard-wearing fabrics and pay attention to how the bag is sealed. Waterproof covers can be very useful and many bags now come with them built-in. It's also important to pay attention to small details such as zippers as plastic ones can be less durable than those made from metal.
3. Internal Dividers
Having a bag that allows you to customise the interior will give you more flexibility when it comes to the gear you carry and how you carry it. Some bags feature inserts that can be removed when not needed, giving the user a bag that reverts to everyday use which is useful when travelling on planes when weight is limited so taking two bags may not be an option.
4. Protection
Your bag doesn't want too much padding so it's bulky but you do want to make sure there's enough to provide protection for your gear in the right places. Make sure you pay attention to the bottom of the bag to see if feet or a protective layer are provided.
For more information on camera bags, take a look at ePHOTOzine's guide to camera bag types.
ePHOTOzine Daily Theme Winners Week 2 April 2026
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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 James124 (Day 16- Bridges).
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 9Stone Circles
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Day 10
Woodland
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Day 11
Creative Flare
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Day 12
Full-Length Portraits
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Day 13Stained Glass Windows
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Day 14
Garden Landscapes
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Day 15
Flowers
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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.
3 Quick Top Tips On Why You Should Use People In Your Landscapes
2. Create A Connection
An empty shot of a forest or a mountainous landscape may be inspiring and pleasant to look at but if you add people to the shot the viewer can become more connected with the image as the person/people can help create more of a story. A sunset shot with a couple sat to one side of it will feel romantic while a rock climber scaling a cliff wall that's sat in your wide, landscape shot will create a totally different feeling.
People can also help create a sense of scale within an image, for example, a backdrop of mountains suddenly turn into dominating structures that tower above two walkers or a lake stretches out for miles past a single man out fishing for the day.
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16 Top Town & City Photography Ideas To Get The Mind Thinking
To give you some inspiration next time you're out in a city with your camera, we've put together a list of 16 top photographic subjects you can find in a city / town, plus links to top tutorials that'll help you perfect your shots of them. But first, let's take a look at some of the kit you may want to consider taking next time you're off for a photography walk around a city's streets. What Gear Will I Need?
Of course, you're going to need a camera and this can be anything from a DSLR to a smaller compact. If you're planning on taking some shots after the sun has set you may want to consider carrying a support, particularly if you're going to be capturing light streaks. Do remember that some locations, such as cathedrals and stations, won't allow you to use a support so do take this into consideration when planning your day.
ND and polarising filters don't take up too much room and could come in useful as too would a variety of lenses if you're not planning on using a compact camera. Consider taking a wide, tele-zoom and macro lens along if you have room in your camera bag for them. When it comes to bag choices, everyone is different so the best advice we can give you is take a bag that's comfortable, will hold all the kit you'll need easily and that's easy to access. Sling style bags are popular in city locations due to how easy it is to access kit without having to remove the bag but an everyday backpack will be just as fine.
What Should I Photograph?
1. You Can't Ignore Architecture
Buildings, old and new, surround our streets so you can't really visit a city and not shoot some building-themed images. Click the link above for more tips on photographing architecture or visit the technique section to see the full list of architecture photography techniques we have on site.
2. Have A Go At Street PhotographyA busy city can be the perfect location to experiment with street portraits, particularly as you can blend into the crowds and shoot from the hip to capture some interesting candids.
3. Photograph A Landmark
Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible.
4. Get Up High
One of the simplest ways to change the way your city image looks is to get up high. So climb a mountain, stand on some steps or use a lift to get to the top of a tower to give your images a different perspective.
5. Capture Shots Of Traffic & Transport
City streets are busy places with buses, cars, cyclists and more getting from A-to-B giving you ample opportunity to get creative with your transport shots.
6. Get Creative And Add Some Light Trails To Your City Shots
Did you wonder how people get car lights to streak through their images? Well click the above link to find the answers.
7. Photograph A Church, Cathedral Or Other Place of Worship
These structures make great subjects for architectural shots but if the weather turns or you want a break from walking along the streets with your camera gear, the inside of these buildings is well worth capturing, too.
8. Visit A Museum
Museums are not only educational and interesting, but they offer plenty of photographic opportunities. Plus, many are free to enter which is always a bonus! Have a look around the outside of the museums too for interesting architectural shots worth capturing.
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9. Search For Interesting Architectural PatternsStop looking at buildings as whole structures and focus on the small pockets of interesting patterns and shapes they're made up of.
10. Capture Reflections In Buildings
Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in.
11. Photograph A Station
There are few towns and cities that do not have a station and they are fantastic places to take pictures. Interesting architecture, people to capture candids of and close-ups of interesting detail are just some of the shots you can capture around these locations.
12. Look For Stairs And Steps
Stairs may sound a little boring but if you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied.
13. Photograph A Bridge
Bridges come in all sorts of shapes and sizes, plus you can capture them from all angles making them a subject you can spend quite a while on.
14. Spend Some Time By A Canal
Canals were once used to transport goods to towns and cities right across the UK and as a result, there are still plenty of waterways running through our city streets. The long canals, bridges and lock gates that once supplied goods now supply ample photography opportunities and as they all have public walkways, you're not going to upset anyone if you spend an hour two with your camera at the side of one.
15. Go For A Walk In A Town / City Park
The green spaces found in towns and cities are a haven for many and are a great place to take your camera when you want a break from the busy streets.
16. Capture Shots Of Shop Windows & Signs
Spend some time in your town and capture some interesting images of displays and signs. They'll be plenty of interesting signs, plus head back out at night and the shop fronts will have a completely different look to them.
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