Master Swan Photography With These 4 Top Tips
Pack your telephoto zoom when you're heading out as you'll be able to get close to the swans without having to get your feet wet. It's also handy for photographing them as they fly off or for capturing the splash as they come into land.
For particularly bright days you'll find a polariser filter useful as it will reduce the glare and reflections you get from the water.
If you're going out with the family when photography is not necessarily your main focus, use your smartphone to capture photos of kids feeding the ducks and shots of the swans closer to the bank.
If you're in a particularly rural place where not many people venture and a swan sees you it probably means you won't be seeing it for much longer! But if you're at your local park where people often feed them you'll find it much easier to snap a swan's portrait. Nature reserves do have public hides you can sit and wait in but as we've said, if you're in a place where the swans are used to seeing people you can leave your camouflage gear at home. Early mornings and later afternoon until the sun goes down are the best times for catching swans which is good news if you're hoping to catch them in flight as there will be less contrast between the swans and sky which will give you a more balanced exposure.
3. Can I Capture A Shot Of Them In-Flight?
Swans are big enough to focus on and slow enough to keep up with as they pass you by so they're perfect subjects for photographers who haven't photographed birds in flight before. A good point to remember is swans turn into the wind when they're about to take off so keep an eye out for that. If the sun's shining in the same direction as the wind's blowing position yourself with the sun behind you for a front-lit shot of a swan taking off. If you're parallel to the swan make sure you press the shutter when the wings are fully up or down so you can see the head.
If you spot a flock or single swan in the sky don't frame up with them in the centre as you'll probably miss the shot or if you do manage to capture them, they'll look a little squashed. Instead, move so they're to the edge of the frame giving them space to, essentially, fly into. By doing this you'll also be able to use the centre focusing point. Make sure you're on continuous focus and get the focus locked on the bird straight away, even if this does mean missing some of the action.
If you want to freeze motion try a shutter speed of around 1/500sec but if you prefer to blur the motion of the wings try 1/30sec. Keep an eye on your exposure as a bright sky and a white bird may mean your camera underexposes the shot. Check regularly to see if you need to overexpose by one or two stops.
If capturing a swan in-flight seems a little daunting there are plenty of other shots to try closer to the ground. Try shooting the reflections of the swans on the pond or focus on just the head, blurring the background so you can really pick out the detail and colours of the beak and face. Get the family involved and shoot some portraits of them feeding or watching the swans or how about a shot of the swans out of the water on the bank? If you do this, be aware of your surroundings as you don't want parked cars and other objects spoiling your shot.
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amaran Halo 600x Review
amaran has a reputation for creating excellent lighting solutions for today’s image creators. Its latest introduction is the Halo series, a range of great value COB (chip on board) lights. The five-strong family comprises the Halo 60x (63W output), 100x (100W), 200x (200W), 300x (305W) and the top of the range 600x, a 610W unit tested here. With an impressively high output coming from compact, space-saving designs, the Halo series is attractively priced, making great light attainable to content creators of all budget levels.
There’s no denying that the amaran Halo 600x monolight has a handsome profile. Key features include two control knobs on the rear, a light stand mount which doubles as a carry grip and brolly holder, and an internal cooling fan with silent mode.
Quick Verdict
If you need a powerful, no-nonsense monolight, look no further than the amaran Halo 600x. It’s solidly built and user-friendly whether using the on-board controls or the amaran app to fine-tune its output. Its design is well thought through too with some nice touches such as its light stand mount, which can accept a brolly spindle and works a comfortable carrying handle.
However, design and ergonomics count for nothing if the Halo 600x didn’t deliver a capable performance, but there’s nothing to worry about on that score. It has a prodigious amount of power that’s tightly controllable in terms of output and colour temperature and its colour performance is impressive too.
+ Pros
- Powerful
- Controllable down to 1% output
- 2700-6500K
- Accurate colour temperature output
- Integral cooling fan
- Bowens modifier mount
- Option of app control
- Special effects
- Design and build quality
- Support of amaran’s accessory and modifier system
- DMX control (Digital Multiplex control – remote control)
- To be honest, at this price and with this level of performance, nothing
- A carry case would have been nice, but of course, that would impact the price
The amaran Halo series is the perfect companion to amaran’s flagship Ray series which features four monolights; the top of the range Ray 660C has a 660W output. In terms of lighting, the Ray series provides a full-colour output and an even wider colour temperature range (2300-10,000K) powered by the OmniColor light engine. The Ray 660C retails at £694 / $699.
By comparison, the Halo family features bi-colour lights offering core lighting needs in simple to use units that are perfectly at home, on location or in a full-blown professional studio. The Halo range-topping 600x retails at £462 / $469.
amaran offers a full range of Bowens fit lighting modifiers including softboxes (rectangular and octa), spotlights, barn doors and lantern diffusers.
In this review, we used an amaran Lantern 90 (£104 / $99) and an Octa Dome 60 (£83 / $89).
Unmodified, the Halo 600x’s head gives a light spread of 85° and it accepts Bowens bayonet fit modifiers. The light mount stand has a hole for a lighting brolly stem and is contoured to serve as a carrying handle.
amaran Halo 600x Hands on
Pick up the Halo 600x, and I challenge you not to be impressed with its build quality but it’s not heavy, so it’s reasonably portable. The unmodified head gives a light spread of 85°, and it’ll accept Bowens fit lighting modifiers.
A 5m mains cable with an angled connector comes with the Halo 600x, so just plug this in, and you are ready to go. Turning the unit on and off is done with a push button, and the central TFT screen keeps you informed about power output and colour temperature. Altering output is done with the top right knob and is controllable in 1% steps within the 1-100% power range, while the bottom button handles colour temperature from 2700 to 6700K. There’s no need to dive into a menu.
A free app available for iOS, Android and desktop (Mac and Windows) allows remote control of the Halo 600x via Bluetooth, and there’s a USB-C port for more advanced DMX control. The Halo series is amaran’s first COB light to offer DMX control via USB-C on every model for convenient integration into studio lighting consoles. There’s built-in NFC too.
Hit the bottom left button and that takes you to more settings and functions including the unit’s special effects, that includes fireworks, lightning, paparazzi and strobe.
The modifiers used for the test were the amaran Lantern 90 and the Octa Dome 60. In the Lantern’s case, it’s designed to give a soft, even spread of light across a broad area, while the Octa Dome 50 gives a tighter circle of light and comes with a diffuser cover and a cloth grid. Both are very quick to set up, but the Octa Dome 60 deserves a special mention for its innovative design. Assembling octa-type softboxes is traditionally fiddly and takes effort but to erect the Octa Dome, all you do is push the blue plastic tab into place. No strain and no having to mess around with stiff supporting rods.
I tried the amaran app on my iPhone. Pairing the light and app was easy and re-connected reliably each time I came to use the light. Controlling power, colour temperature and special effects was straightforward, so it was a convenient way of working if you can’t get to the Halo 600x’s control knobs or see the control panel.
Running at a high power for long periods even when a modifier was attached, was no issue. The unit grew warm but not hot, so the cooling fan did a fine job and was quiet too.
The Halo 600x has a range of special effects that can be fine-tuned to suit.
amaran Halo 600x Key Features
- Price £462 / $469
- High-power COB light
- Mains powered
- Bi-colour chipset
- Separate brightness and colour temperature knobs
- CCT 2700-6500K output
- Range of special effects
- 96+ CRI
- 97+ TLCi
- Bowens modifier mount
- Beam angle, no modifier 85°
- Built-in active cooling fan
- On-board controls, by amaran app, DMX via USB-C
- Max power consumption 610watts
- Max light output 32,500 lux at 1m, no modifier
- TFT screen
- IP20 weather resistance rating
- Firmware upgradable
- Size including mounting bracket 24.2x14.1x16.5cm
- Weighs 2.91kg
- Comes with 5m mains cable
- amarancreators.com
Simple but efficient, that sums up the Halo 600x’s control panel. The two knobs on the right control colour temperature (top) and output level (below) with the on/off push button (top left) and CCT/effects and other settings (below left). At the centre is the TFT readout panel. Here, it's just showing that a mains lead is connected.
amaran Halo 600x Output
Look through the amaran Halo 600x’s long specification list and you’ll see that the bare head at 1m at full power pumps out 32,500 lux at 4300K, the colour temperature that gives maximum output. This sounds impressive but what does that mean in practice? Using a Gossen lightmeter set to ISO 100, I got an exposure reading of 1/30sec at f/16.5 and ISO 100 at 1m and that dropped to f/8 at 3m. That’s an impressive amount of light, but of course, an unmodified head doesn’t give a flattering light, so I turned to amaran’s diffusers for a kinder look.
Adding the Octa 60 fitted with the outer diffuser sheet only, at full power, ISO 100 and at 1m, the meter reading was 1/30sec at f/11.8 and this dropped to f/5.6 at 3m. This remains a very useable amount of light.
Next, it was the turn of the amaran Lantern 90, a larger modifier that produces a lovely light. At 100% output, 4300K, 1m and at ISO 100, the meter gave an exposure reading of 1/30sec at f/11.7, so essentially the same at the Octa Dome 60. Moving out to 3m and the aperture dropped to f/5.6, again the same as the Octa Dome 60.
Trying different output levels showed that the power drop-off was consistent. As an example of this, without any modifier, the Halo 600x at 5600K, 1m and full power gave a meter reading of 1/30sec at f/16.6 and this dropped to f/11.6 at 50% power and f/8.0.7 at 25% power.
The cooling fan has three modes: Smart, High and Silent. My testing was done with the Halo 600x in its High mode, which did a great job of dissipating heat. The head does get warm in use, but not hot, so it’s still comfortable to change modifiers without burning your fingers.
Fan noise is not really an issue, but it is audible in a quiet environment, so if noise is a concern, there’s a silent mode, but this comes at a cost of output. With the Lantern 90 fitted and at 4300K, full power, ISO 100 and 1m, the meter reading was f/30sec at f/4, so that is over three f/stops less power than normal mode. Adjust output from 100% downwards and the output stays constant until you fall below 10%, and then it drops another one f/stop to f/2.8. At 3m, the reading is 1/30sec at f/1.4.3 throughout the output range until you dip below 10%, where the meter reading is 1/30sec at f/1.0.
The Halo 600x’s two knobs give precise control of output in CCT mode, from 1 to 100%, and colour temperature from 2700 to 6500K.
amaran Halo 600x Colour performance
To test its colour performance and stability at different output settings, we used the Halo 600x in a practical scenario, using a simple set-up that included a colour test chart. The Halo 600x was fitted with the amaran Lantern 90 modifier and pictures taken of the test scenes at different output levels - 10%, 25%, 50%, 75% and 100% - and at a range of colour temperatures - 2700K, 3200K, 5500K and 6500K. Two cameras were used, the Canon EOS R5 and the Sony A1 II, and each was set to a manual white-balance value to match the Halo 600x’s colour output.
From this test, it’s safe to say that the Halo 600x gives a more than respectable and stable colour performance through its output range with minimal colour variance.
To see the results in more detail, please click on the thumbnails below.
Our test scene comprised test charts, natural colours and neutral tones, so any colour shifts would be easily identified.
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 2700K
Canon EOS R5 manual WB
set to 2700K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 2700K, Canon EOS R5
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 3200K
Canon EOS R5 manual WB
set to 3200K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 3200K, Canon EOS R5
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 5600K
Canon EOS R5 manual WB
set to 5600K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 5600K, Canon EOS R5
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 6500K
Canon EOS R5 manual WB
set to 6500K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 6500K, Canon EOS R5
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 2700K
Sony A1 II manual WB
set to 2700K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 2700K, Sony A1 II
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 3200K
Sony A1 II manual WB
set to 3200K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 3200K, Sony A1 II
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 5600K
Sony A1 II manual WB
set to 5600K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 5600K, Sony A1 II
Power at 10%
Power at 25%
Power at 50%
amaran Halo 600x at 6500K
Sony A1 II manual WB
set to 6500K, unedited RAW
Power at 75%
Power at 100%
amaran Halo 600x set to 6500K, Sony A1 II
The amaran Halo 600x has a USB-C port for DMX control, there’s NFC and Bluetooth connectivity for control with the free amaran app.
amaran Halo 600x Verdict
The amaran Halo 600x is a powerful, reliable monolight that’s built to withstand the bangs and bumps of everyday photographic life. It performed exceptionally with no issues arising during our test period.
The Halo 600x ran for several hours with the fan set to its High setting and it didn’t overheat, even when a modifier was fitted.
In terms of light, the Halo 600x delivered plenty of power even when fitted with a modifier, and that light was colour consistent at different output levels.
Ultimately, unless you need a full colour RGB light, the amaran Halo 600x is a great value, high performing monolight with much to commend it. With no serious shortcomings to report, it comes highly recommended for creators of all levels.
amaran Halo 600x Pros
- Powerful
- Controllable down to 1% output
- 2700-6500K
- Accurate colour temperature output
- Integral cooling fan
- Bowens modifier mount
- Option of app control
- Special effects
- Design and build quality
- Support of amaran’s accessory and modifier system
- DMX control (Digital Multiplex control – remote control)
amaran Halo 600x Cons
- To be honest, at this price and with this level of performance, nothing
- A carry case would have been nice, but of course, that would impact the price
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Take The 'Old Vs New' Photography Challenge
The idea of shooting old and new can be applied to various subject matter but one of the easiest ways to find subjects which can be used to interpret the theme is in the city. In most cities, new buildings are going up around older structures all of the time so it won't take you long to find a vantage point that gives you the chance to capture something new and something old in one frame.
Out in your town/city, it's probably easier to look at buildings as a whole first, searching for old structures that stand next to or across from new structures made of metal and glass. How about looking for new shops in old buildings such as the stalls in Camden's stable market? Or looking for building sites where new buildings are getting created in front of structures that have stood for a long time?
After photographing whole buildings look a little closer for reflections of old brick-work in glass or new signs sat next to or even on older structures. You could try having a look through archives or even your relatives' photo albums to see if you can find shots of buildings you can go and re-create now and sit them alongside each other to show how much/little it's changed.
Keep It Simple
Try to eliminate as much of what's surrounding your old and new items as possible. This means cropping in with your lens or using your editing software to remove some of the distracting objects once you're back at your computer.
What Else Is There To Photograph?
- People - Look for young and old people, a grandparent sat with their grandchildren for example.
- Vehicles - Look for an older car sat in a line of more modern models or how about shooting a scrap yard with the piles of old, rusted cars and the employee's newer cars out the front? Don't enter the scrap yard though, just shoot from the road.
- Technology - Try shooting someone sat talking on a smartphone with an old fashioned telephone in the background. If you have an old games console in your loft, get it out and try a few still life shots of it next to a Playstation.
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6 Top Tips On Photographing Trees & Leaves
We have plenty of woodlands to photograph and as rain showers are common at this time of year, greens will be more vibrant so now is a perfect time to photograph them. Plus, you can use these tips in Autumn, Winter and Spring, too, giving you a plethora of images to capture.
1. Gear Suggestions
You can use a variety of lenses from wide-angle to shorter telephotos, you could even use a compact camera if you so wish. Make sure you pack a sturdy tripod as light can be low in dense woodland areas and, plus you'll need one for macro work you'll find a polarising filter handy as they boost colours and reduce reflections if you happen to be near water. If you're headed for a long-ish walk consider taking a backpack as these bag styles offer plenty of room for outdoor essentials as they tend to have side mesh pockets for water bottles and smaller compartments for guides, food etc. Invest in a remote release or, if you prefer, make use of your camera's self-timer for close up work and have a lens cloth to hand to wipe any smears or smudges off your lens.
2. Head For The Woods
We're never too far away from trees, in fact, many of us will have them in our gardens or on our streets. But even though we have good specimens close to home, to get really cracking shots, you need to venture to the woods or local gardens. Woods are welcoming for photographers but some gardens and other sites don't allow tripods so check before you lug it all that way. For shots of groups of trees, step back and photograph the whole woodland scene or crop in for a more arty feel.
3. Time Of Day
Even under the forest canopy light in the middle of the day can cause too much contrast so you're much better off heading out early or waiting for the sun to drop a little. Don't think you should stay in on overcast days either as these are perfect for some close-up photography.
4. Patterns And Textures
Single trees look good isolated but if you're in the middle of the woods it's better to get closer. Look lower and you'll be able to add some texture to your images by focusing on the trunk. Make sure you look for patterns in the bark then turn your attention to bigger patterns searching for lines of trees that create strong, symmetrical images.
5. Other Objects
Look for man-made objects such as benches or even statues too as these will contrast well against the soft colours of nature.
6. Leaves
If you have a bright blue sky look up at the canopy and concentrate on the leaves. Greens contrast well against a blue sky or you could crop in and really focus on the details of the veins. Just make sure you're not photographing ones that have been half-chewed by a bug! A 100mm macro lens will get you in close enough but if you want to create more detailed shots try using an extension tube or coupling rings on two lenses.
When you're out looking for leaves don't pick up ones that are too thick as light won't shine through them enough and select ones that have different patterns otherwise your job will get a little repetitive.
Photographing Leaves At Home
On rainy days, you can shoot images of leaves in the comfort of your own home. You just need a lightbox or you could use a window and tape your leaf to it. You can shoot one leaf, making the patterns created by the veins your focus or try placing a collection of leaves together to create a busier look. You'll see that backlight highlights the leaves' shape beautifully and really punches the veins out. You'll also find the colour appears to be more vibrant, and as there's no breeze, you can take all the time in the world to frame and get your shot right.
Do clean the leaf with a little water before you photograph it and make sure you dry it gently as you don't want it to split. Finally, once you've shot your images, run them through some editing software to check for imperfections before you hit print.
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Calibrite Display Plus HL Earns Apple Approval for Hardware-Level Display Calibration
Colour management just got more accessible for Mac-based creatives. Calibrite has revealed that its Display Plus HL colorimeter has received Apple approval for use with Apple's built-in display calibration system, a first for any colorimeter on the market. This level of hardware-level precision was previously reserved for high-end spectroradiometers used in dedicated colour facilities, yet the Display Plus HL brings that same capability to working photographers, filmmakers, and designers at a fraction of the cost.
From Calibrite:
Calibrite, the leader in colour management solutions trusted by photographers, filmmakers, and colourists worldwide, announced today that the Calibrite Display Plus HL has received Apple approval for use with Apple’s built-in display calibration system.
It is the first colorimeter to achieve this distinction.
The approval enables hardware-level calibration for Apple Studio Display, Studio Display XDR, Pro Display XDR, and supported MacBook Pro models, working natively within Apple’s macOS calibration workflow.
Calibration Written to the Display, Not Layered on Top
Unlike profile-based adjustment, Apple’s display calibration system writes settings directly to the display, refining white point, luminance, and colour accuracy at the source. A single calibration session updates every reference mode simultaneously, delivering consistent, reliable colour across the full brightness range, from SDR to HDR content up to 2,000 nits peak brightness.
Until now, this level of hardware-level precision required professional spectroradiometers designed for dedicated colour facilities; instruments priced well beyond the reach of most working creatives. At £309, Calibrite Display Plus HL changes that.
"This is a genuinely exciting moment for us at Calibrite. Calibrite Display Plus HL is now Apple Approved for hardware-level display calibration, working natively within Apple’s built-in macOS workflow across the full range of supported Apple displays. Until now, that level of precision required professional instruments priced for dedicated colour facilities. At under £400, Calibrite Display Plus HL brings it within reach of every serious creator on Apple hardware. For anyone serious about colour on Apple hardware, this changes what’s possible, and what’s affordable." -Stefan Zrenner, General Manager of Calibrite
Built for Apple’s Evolving Colour Standards
Calibrite Display Plus HL is designed to work with Apple’s latest colour technologies, including Apple CMF 2026, Apple’s next-generation Colour Matching Function that advances beyond the dated CIE 1931 standard, ensuring accurate and dependable results as display technology continues to evolve.
For professionals who require a comprehensive colour management workflow, Calibrite Display Plus HL works alongside Calibrite PROFILER software for ICC profiling, validation, and reporting, providing a complete end-to-end solution.
Availability
Calibrite Display Plus HL is available at £309 RRP through authorised retailers and calibrite.com. It is currently on offer at £249 until 30 June 2026.
Supported displays include:
- Apple Studio Display (2022 and 2026)
- Apple Studio Display XDR
- Apple Pro Display XDR
- Supported MacBook Pro models (M1-M5 Pro/Max and later)
For more information, please visit the Calibrite website.
About Calibrite
Calibrite is committed to providing the very best colour control solutions for Colour Perfectionists; photographers, filmmakers, designers, and content creators who love color and demand the very best tools for their colour critical creative workflow. From display calibration to ICC profiling and beyond, Calibrite builds tools for those who demand precision.
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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Be Different And Shoot Lighthouse Silhouettes With The Help Of These 5 Top Tips
Photogenic lighthouses can be found all around the UK's coastline and many of us are close enough to head out for a day trip where a space for photographing a lighthouse, among other things, can be made. However, not all shots need be taken when there's plenty of light in the sky as silhouettes of lighthouses can be just as interesting as ones that capture textures and colour.
You can use any lens for a lighthouse silhouette, depending on the type of image you are wanting to shoot. With a wide-angle, you will need to get in closer and that means converging verticals although that it not a problem with a lighthouse. However, the top will look rather thin and spindly.
From further away, you can frame the lighthouse along the base of the frame and let a colourful sunrise or sunset sky dominate. With a telephoto, you can retreat even further away so it really depends on the effect you are wanting to get.
It's always a good idea to use a tripod for landscapes as you need to ensure your horizons are straight and it makes it easier to adjust your camera settings too.
Always make room for filters as they can come in handy and plenty of camera bags have compartments for accessories such as these, plus they don't take up much room.
2. What Time Of Day Is Best?
Timing your shoot is the key thing here. Of course, you can shoot silhouettes at any time of day, but they often look much better when there is some warmth in the sky, so early or late in the day is best.
Early isn't for everyone, however the advantage of sunrise, though, is that there are not many people around so it depends on the effect you are after.
3. What About The Weather?
You are obviously very dependent on the sky for this technique and you can get good effects in all sorts of conditions – dull, even greyness is when it is not worth the effort.
One word of warning with the sun – you should never look through the camera directly at the sun because you can permanently damage your eyes. For silhouettes like this make sure that the sun is shielded by the lighthouse when you are framing up. Or if you want the sun in the frame, use the camera's Live View feature so you can frame up safely.
5. How Can I Create A Silhouette?
Aim a camera at a brightly backlit scene and a silhouette is often the result anyway. Some multi-zone metering systems will try to avoid that, though, and give you more detail than you might want in the shadows. This is easily sorted by aiming the camera up at the sky and using the auto exposure lock to take a reading off the brighter sky. You could use the spot or centre-weight light measurement modes of your camera but multi-segment should work fine too. Recompose and shoot for the perfect silhouette. Or just set -1EV or even -2EV on the exposure compensation dial.
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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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5 Questions To Ask When Photographing Landmarks
1. What Gear Do I Need?
- Zoom lens - it's easier to carry just one lens
- Support - A support that's lightweight and compact is easier to carry and this could be a tripod or monopod, depending on your preference.
- Camera bag - An everyday backpack which is strong, can carry various pieces of kit and is easy to access is perfect for this type of photography. A rucksack style distributes the weight of kit more evenly, which means you'll be more comfortable when walking for long periods of time.
2. What Research Should I Do?
Having a look through online photo galleries and in travel guides will give you an overall picture of how the landmark(s) you're planning on visiting have been captured before. You'll also be able to find out if there are any costs and the opening/closing times so you can plan your trip around the crowds of tourists that will no doubt flock to your photographic subject. When you arrive at your destination have a look around the tourist information office as you'll find plenty of postcards that feature photos of landmarks and other important buildings which can be a great source for shooting ideas.
3. Is Clichéd OK?
There are shots that every photographer and his dog have taken of well-known landmarks, but this doesn't mean you should avoid them. A good, postcard style shot of a landmark is something you should try and get early on in your trip then spend the rest of the hour, day or week looking for angles that mean the landmark is still recognisable but the shot you produce is slightly different to what someone would usually expect to see.
4. When Should I Plan My Visit For?
The problem with landmarks is they're popular with tourists so unless you want them in the shot, you'll have to arrive early or stay late to avoid them. Of course, changing your angle or working a little closer to the structure will mean tourists become less of a problem. If it's a really busy day, including them in the shot can add an extra element of interest. Particularly if you use a slightly slower shutter speed to blur their movement around the bottom of the structure you're photographing. Just remember to carry your tripod as you will need it if you plan on playing with slower shutter speeds. Panoramas can work particularly well in busy places too.
There's probably a couple of local landmarks that may not be as popular with the tourists but are important to the people who live there so consider capturing them too if you want to work somewhere that's slightly less busy.
5. How Can I Be Different?
Use your feet and take a walk around to find a unique take on the landmark you're photographing. How does it look from underneath? Can you crouch down and shoot up? Or climb some steps or a hill that's close by to give you a little more elevation. Working from a slightly higher angle can help reduce the convergence you get when shooting tall structures too. When you've finished with the front of the structure have you ever considered photographing it from the back? No? Well, not many tourists do either so you'll be able to capture a unique photo.
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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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7 Essential Zoo Photography Tips For Your Next Day Out
1. Gear Suggestions
A long zoom lens will be handy as you'll be able to get close to the animals without having to climb into the enclosures. Something around the 70-300mm mark or bigger would be good. Also, consider taking a macro lens along as most zoos have enclosures where you can get close to insects.
A camera with a tilting LCD screen is perfect for zoo photography and you could take a monopod along to raise your camera up above the fences but leave your tripod at home as they don't mix well with crowds.
Pack a brolly as it will most likely rain at some point during your visit and have a lens cloth handy to wipe off raindrops that will blur your shot. As you have limited angles to work with you may have to shoot into the sun so a lens hood would be handy.
A polarising filter will be good when you're shooting through glass as it reduces reflections it will also reduce the amount of bounced light so the textures and tones in fur will stand out.
2. Weather
Pay attention to the weather forecast. When it's raining you'll get drenched kit and most animals will head indoors where you can take photographs, but you'll have glass and crowds in a small space to contend with. If it's gloriously sunny is maybe too bright and you'll get very harsh shadows. You can use fill-in flash but check before you do as it's often not allowed. You're better off sticking with natural light and increasing the ISO instead. Rain's too wet and the sun's too bright but an overcast day's just right. A slight covering of cloud acts like a softbox so you'll have images that have even tones and are well balanced.
3. Plan And Research
Before you set off, go on the zoo's website, find a map and make a plan. Arrive early to beat the rush and try walking around the opposite way to the crowds to give yourself chance to capture shots without the crush. Feeding times are great photographic opportunities but they're popular with visitors so arrive early.
4. Cages And Glass
Unfortunately, zoos are full of cages and there's nothing worse than shooting through wires and bars! Sometimes the gaps are just big enough to poke your lens through but if they're not, get as close to the fence as possible, position your lens so it's pointing through one of the gaps or, when the fence has small gaps, make sure that the face of the animal you're photographing is in a gap, use a wider aperture setting and wait for the animal to move back from the cage. This way the fence will be thrown our of focus so you, hopefully, won't even notice it. If you venture indoors you won't have fencers to contend with but glass full of greasy smudges will certainly be in your way. To minimise reflections attach a lens hood or hold your hand to the side or above the lens. If there's a lot of people touching the glass switch to a slower shutter speed to minimise shake. You may also need to switch to manual focus as cameras can be fooled by glass.
5. Find Good Shooting Spots & Angles
Make sure you take a walk around the edge of the enclosure before you take your photos to find shooting locations that won't leave your image with a distracting background or posts sticking out of the animal's head. Try to avoid shooting down as this can distort features instead get down low, to eye level if possible, to create a more dynamic shot. Use a wide lens setting and crop in later to make sure you don't amputate any limbs by accident – a shot of a monkey missing its tail is very can be very annoying to look at. Don't be afraid to fill the frame with your subject as this will give your shot more impact and it won't be so obvious that you took your photo at a zoo.
6. Focus And Shutter Speeds
Most of the animals won't stay still so use focus lock to prefocus on a certain point and take the shot as the animal enters the zone that's focused. Always focus on the eye and try using continuous shooting mode if you don't manage to get your subject in frame the first time. Try freezing their movement with a fast shutter speed and if you're panning, use a speed between 1/8sec to 1/30sec to blur the background but leave the animal sharp.
7. White Balance
Keep an eye on your white balance when going from indoor and outdoor enclosures and watch out for condensation when moving from the cooler outdoors into the tropical climate of a butterfly house. You'll need to give your camera time to acclimatise otherwise you'll end up with hazy, dream-like shots.
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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.
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Grey Heron In Action Photo Wins 'Photo Of The Week'
The well-timed photo by NigelKiteley of a Grey Heron has been crowned our Photo of the Week winner on ePHOTOzine. This wild action shot is superb and interesting, and shows the heron with its brown rat prey gripped in its open bill at a lake in Milton Keynes. The sharp focus captures the heron plumage alongside its catch, with the soft blurred background helping isolate the main subject and highlight this incredible moment of British wildlife 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!
How To Photograph Action Shots At Running Events
Many sports take place some way from the spectators which makes taking decent pictures without long lenses a challenge. However, accessible sports photography comes in the form of road running events. Something which can be captured right up and down the country. Plus, good action shots can be captured with modest gear at local events because you just stand by the roadside – often there are no barriers or anything to get in the way.
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1, Do Your PlanningIf an event is local to you, walk/cycle/run/drive the course beforehand to find the best vantage points for the day itself. You could check light direction and backgrounds if you have the time. Get to your chosen location early – only relevant at big events – to ensure a good spot. Have all your gear ready the night before so you're not rushing on the morning of the race and take a camera bag that's big enough to carry your gear but won't weigh you down or prevent you accessing lenses quickly.
If you want shots of a large group of runners, these are usually best done at the start because once a race was started runners will soon be strung out. Only in big events will this not be the case.
3. Shutter Speeds & Focus Tips
For sharp pictures keep shutter speeds 1/250sec and above and set the camera to continuous focusing so that the camera tracks focus as the subject gets closer to you. Many continuous AF systems will cope fine with the closing speed of a runner - though you might have to try your camera in different AF sensor configurations to see which works best to suit your shots.
4. Choose The Right Lens
A telezoom will be perfect for frame-filling shots at a local event, but also try a wide-angle lens from a low viewpoint.
If the sun's shining you might find that underexposure will occur. If silhouetted figures are what you need, that's fine. However, if you want some shadow detail set a + exposure compensation value or set manual metering, taking a reading from the road. That should give good shadow details. If your camera has LiveView, use that to help with composition although, depending on your camera, you might find that the autofocusing is less than brilliant so manual focusing is advised.
As well as shots of the athletes, there will be plenty of detail shots and candids to be had. In road races, you will often get drinks stations and they are great places to try something different. You could try to grab shots of cups of water as they are being grabbed, or runners jostling for position to collect their drink.
After the event, you may get runners draped with survival sheets and that can look good for pictures too. The thing is to keep your wits about you and don't pack up shooting and wander off when the leading runners have finished. The fun runners and joggers often make for better pictures.
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ePHOTOzine Daily Theme Winners Week 2 May 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 Kev8990 (Day 13- 'Birds Of Prey').
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 9Rust Close-Ups
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Day 10
Sunny Days
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Day 11
Silhouettes
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Day 12
Diagonal Lines
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Day 14Fountains
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Day 15
Desserts
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Day 16
Sunsets
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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 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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6 Top Tips On How & Why To Capture Creative Abstract Photos Of Water Bubbles
I know the first thing some people will ask: 'why?' Well, to be fair, that is a perfectly sound question and yes, why bother standing in a stream and shoot water bubbles. To me, it is because you can and with digital there is no cost. It is also a nice break from the usual blurred water shots that many of us love. So, while you are out there doing waterfalls, spend a few minutes afterwards trying this subject.
"It is fun, challenging and you may even like the results. In fact, if you want some abstracts to hang up, this technique is worth trying", ePHOTOzine.
Of course, you can shoot water bubbles in the bath, should you feel that way inclined. However, this idea is water bubbles in a babbling brook or at the foot of a waterfall. Health and safety point here: Please take care on slippery rocks and obviously take care of your kit.
1. Take A Support
You could, of course, use a tripod and position the camera so it is pointing down. Tripods that have a centre column that can be swung round to horizontal make it easier to shoot down onto the water's surface as well as offering more support than working hand-held will. Do make sure your tripod is secure and balanced so it won't fall over, camera first into the stream or river you're photographing.
Lens-wise, try your lens's macro feature or use a macro lens. A macro lens used close up is perfect, but there won't be a great deal of depth-of-field at such fast shutter speeds. Setting a high ISO is an option, but that depends on the noise performance of your camera.
3. Dress Appropriately
Wear sturdy boots, making sure they are waterproof if you're planning on standing in a stream. Wellies or waders mean that you have more freedom regarding camera position but you can just find a suitable spot by keeping your feet dry and standing on a rock or something. You'll also need a warm, waterproof jacket, particularly at this time of year when a rain shower is a common thing. Various jackets and photographer's vests are available on the market.
Find yourself a good spot in the stream. This can be in a sunbeam or it can be in the shade. However, very fast shutter speeds are the order of the day, so check the lighting and if you are getting 1/1000sec or more, great. It is an opportunity to explore those speeds of 1/2000sec and 1/4000sec. As with blurring flowing water, try different shutter speeds. Flash is worth a try too.
5. Let's Talk About Focus And Exposure
Exposure and focusing are technical challenges. Your camera is not going to manage to autofocus – water bubbles do not hang around waiting for your AF to kick in. The best thing is to focus manually and then change the camera position to get sharp focus. The reject rate will be high.
Exposure can be tricky because you have a bright, sunlit bubble against a dark background, and the scene is constantly changing. Like focusing, taking the manual option is worth serious thought. Meter manually, shoot some frames and make adjustments. Once you have metered for a particular lighting situation, it is time to start shooting.
Shoot lots. You are not going to get the perfect picture in a couple of frames. You will find that the micro landscape in front of you is never the same twice – miss a shot and you are not going to get another identical shot. Put in a positive way, every shot you take will be unique – no question. You can also play around with your images in Photoshop, flipping images to create interesting patterns etc.
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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.
10 Top Coast Photography Tutorials To Check Out
A day out at the coast gives you a good excuse to get your camera out of its bag. It doesn't matter if you're going on a family day-trip or with a group of fellow photographers as you'll be able to capture a decent amount of imagery with whoever you go with, although your family probably won't want to see you looking down your view-finder all of the time!
In this article, we list 10 popular photography tutorials which are all about taking photos at the coast as well as offer some advice on what gear you might want to consider packing next time you head for the beach.
1. Beach Photography Tips - 5 Top Ways To Shoot Beach-Themed Images
2. Photography Tips For Shooting At The Coast As And After The Sun Has Set
3. Tips And Kit Suggestions For Photographing Piers At The Coast
4. Edwin Brosens Shares His Top Tips On Capturing Seascapes
5. Coastal Compact Camera Close-Up Photography Tips
6. Step Down Onto The Sand And Under The Pier For A Spot Of Pier Photography
7. How To Capture Lighthouse Landscape Shots On Your Coast Visit 8. Top Flotsam Photography Tips For You To Read 9. Five Tips To Improve Your Coastal Landscape Shots
10. Ten Top Tips To Help You Improve Your Seaside Photography
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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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