Photography News

Every few years, camera companies roll out something meant to grab attention. Sometimes, those ideas turn into revolutions: autofocus, in-body stabilization, and mirrorless mounts all began as risks that paid off. But for every real innovation, there’s a graveyard of gimmicks — features and products that sounded futuristic, won headlines, and then died in obscurity. Here are five of the quirkiest gimmicks that promised to change photography but went nowhere.

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The Call for Entries is now open for LPA Futures Competition 2026-28!

Are you an emerging commercial photographer? Then don't miss this chance to win an agent for 2 years,  plus lots of other incredible prizes to kickstart your career.

All you need to do is enter 10 images and answer 5 questions by October 19th. Entry is free. 

Please find all the details below on how to enter, the judges, the prizes and the terms. Go for it and good luck! 

 

Terms and Conditions:   1) Eligibility

 

ENTRANTS MUST:

1. Be over 18 years old.
2. Be based within the UK or Channel Islands.
3. Only submit work that was produced after October 2020.

 

WINNERS MUST:

1. Agree to the LPA contract (a standard industry photographers/agents contract), which will be provided to all shortlisted photographers who make it through to Round 2 of the judging process.

 

2) Entry Procedure

 

To enter the Competition please submit a total of 10 images (no less and no more) via the entry form here or email question answers and images to futures@lisapritchard.com.

Please only submit work that you feel demonstrates a consistency in your style and is potentially relevant commercially, for example to brands and businesses, advertising and design agencies. Please see the LPA website for more specific examples of commercial work by the LPA photographers and past and current LPA Futures winners.

You will receive confirmation that your entry has been received.

There is no entry fee.

Closing date for entries midnight 19th October 2025.

 

3) Judging Procedure

 

ROUND 1

A panel of industry judges as specified on the Call for Entries, will select a shortlist of photographers online to go through to Round 2.

All shortlisted photographers will be contacted via email by November 3rd. Please note that unsuccessful entrants will not be contacted.

 

ROUND 2

A group discussion will be held by the judges to decide the 3 winners. The final 3 will be contacted via email and/or telephone by EOP December 2nd or sooner depending on Round 2 judging.

The judges’ decision is final and no further discussion will be entered into.

We will also contact the unsuccessful entrants that went through to Round 2 including the 10 runners up who will receive a free 30 minute video portfolio review by Lisa.

 

4) Criteria

 

The goal is to select 3 photographers who demonstrate the potential to be successful commercial photographers. 

We are looking for emerging photographers who have the potential to gain commissions from communication agencies and businesses directly to advertise and promote their products and services. In our experience, photographers who succeed in this area have a recognisable or 'signature’ style, their work has a strong identity and often evokes an emotion or a mood. Aside from having a good eye and being technically faultless, good commercial photographers have a certain something that makes their photography memorable and engaging, whether that's defined by an aesthetic or a subject matter, or both, the viewer often finds something in the images that resonates and that they can connect with. 

We are judging the photography on the portfolio of 10 stills images we have asked the photographers to submit. If the photographer also shoots moving image, that is something that we can also promote during the 2 year representation period and it can be mentioned in the entry form if you feel relevant. However we won’t be selecting the 3 winners based on moving image at this stage.

 

5) Winners

 

Upon signing the LPA Futures contract, photographers will be represented by LPA Futures for a period of 2 years, subject to the terms of the LPA contract. LPA will contact the 3 winning photographers via telephone or email by December 2nd. 

Please note that unsuccessful entrants still in this round but not one of the 3 winners, will not be contacted, aside from the next 7 photographers in the top 10 overall. We will contact these 7 runners up regarding their free 30 minute video portfolio review by Lisa by December 5th. Should any of the selected photographers’ circumstances have changed, we will ask the judges to revote to replace them. 

Upon signing the LPA Futures contract, photographers will be represented by LPA Futures for a period of 2 years for January 2026-January 2028, subject to the terms on the LPA contract. Both parties reserve the right to terminate the agreement with one month notice throughout the 2 year term.

 

6) The Prizes

 

- Representation by LPA for 2 years subject to contract

- A 12-month licence to Bikinilists, a leading global database of photography commissioners

- £300 towards a specialist photographic insurance policy from the UK’s most established photographic insurance broker Williamson Carson

- CAA (Creative Assistants Agency) will provide one creative crew member for up to a day for a test shoot/personal project. This could be a wardrobe, props or set stylist, an assistant, a make-up artist or a home economist and is subject to CAA selecting appropriate crew and availability. CAA and the artist/crew reserve the right to be credited and to use the imagery for their own promotion

- A dedicated feature in Spotlight (category of choice) or Showcase UK Magazine from Production Paradise, plus a two-year international directory listing and global promotion through their newsletter and social channels

- A shoot space for a personal project, provided by JJ Spaces Ltd the UK’s top location resource for photoshoots. This is subject to JJ Spaces Ltd sourcing the appropriate space and availability. JJ Spaces Ltd and the location owner reserve the right to be credited and to use the imagery for their own promotion

- Professional talent for a test shoot from Gingersnap Models. This is subject to Gingersnap Models sourcing appropriate talent and availability. Amount of talent sourced for this test shoot is the ultimate decision of Gingersnap Models. Gingersnap Models and the talent reserve the right to be credited and to use the imagery for their own promotion

- The next 7 photographers in the shortlist (from the top 10) will also be offered a free 30 minute video portfolio review by Lisa Pritchard at a mutually agreeable time

- All entrants will receive a 10% discount to join the Production Paradise directory if they fit the criteria of Production Paradise entry requirements. Please note that Production Paradise is a curated platform, so all new members’ portfolios are reviewed ( by Production Paradise) to ensure they meet commercial relevance and quality standards

All prizes need to be redeemed within the 2 year period January 2026-January 2028

 

7) Copyright/Usage of Images

 

Copyright remains with the photographer at all times. All work must be the photographer’s own original work. The selected 3 photographers must have the full right to allow their work to be reproduced in the LPA Futures exhibition and associated press, publicity and promotional material in all media worldwide, including but not limited to the LPA blog, social media and website, plus external press and publicity for the Competition. LPA may crop the image to fit the design. Each entrant warrants that they own the entire copyright worldwide in their work and that all necessary model releases and other third-party clearances have been obtained so all images can be used for the promotional purposes outlined above. Images by entrants not selected will not be used for publicity without prior written consent. There will be no additional usage of images by winners without prior written consent.

 

8) Indemnity

 

Entrants agree to indemnify Lisa Pritchard Agency against all expenses, damages, claims and legal costs arising out of their breach of any of the warranties in paragraph 7 above.

 

8) Further Information

 

The organiser of the LPA Futures Competition is Lisa Pritchard Agency. To enter the competition, please visit the LPA website.

I’m putting the Rose FX Filter by Prism Lens FX to the test to see how it changes the color and tone of an everyday outdoor portrait shoot. Is the World Better Through Rose-Colored Glass? That’s exactly what I wanted to find out when I got my hands on the Rose FX Filter.

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GFX versus X series isn’t a spec-sheet feud. It’s a question about your back, your budget, and how you move during a 10-hour wedding while still wanting that medium format look. The video takes that tension head-on with real wedding use, not desk-bound theory.

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Panasonic has introduced the LUMIX S 100-500mm f/5-7.1 O.I.S., the first ultra-telephoto zoom lens in the LUMIX S Series. Designed for the L-Mount system, the lens extends the lineup’s reach to 500mm and supports optional teleconverters for focal lengths up to 1,000mm.

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The idea of a single lens that covers nearly every situation is hard to ignore. When you carry a full frame camera, weight and size matter, and lenses are usually the limiting factor. A lens that balances reach, width, and portability solves a real problem when traveling or shooting outdoors.

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Most cameras today can capture both raw and JPEG files, but many smaller travel-friendly models only give you JPEG. That means you lose some flexibility when editing, yet with the right setup, you can still come away with strong results. The key is knowing how to make your JPEGs as clean and workable as possible before you ever open them on a computer.

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A small, metal-bodied Micro Four Thirds camera that shoots 50 MP handheld high-res and 80 MP on a tripod changes what you can do in mixed photo-and-video workflows. If you care about fast setup, deep depth of field at lower ISO, and a compact kit that doesn’t feel like a compromise, this one hits a specific sweet spot for photographers who value mobility and control.

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Markets are full of photographic opportunities thanks to the colourful array of products and people that pass through them. However, they can also be a little daunting, especially in foreign locations but if you remember a few simple steps, you shouldn't have too many problems. These include asking to take close-up portraits, not getting in the way of those running a business and the most important but simple step: be polite.

 

1. Lenses for photographing candid market images

Wide lenses will give you the opportunity to capture stallholders and customers in their environment while a longer lens can be useful if you'd prefer to shoot more candidly. Consider a telephoto zoom for more flexibility.

2. Flash can make photos look less natural

Try to avoid flash as not only can it be distracting, it can also spoil the atmosphere you're trying to capture. As indoor markets tend to be low on light this can mean working with higher ISOs but most DSLRs cope with this fine so you can still capture great low light imagery.

Leave the tripod at home as the legs will just get in the way of other visitors. If you find you really do need a support, find a flat, solid surface you can rest your camera on. It's also worth keeping an eye on your white balance as some indoor lighting can leave a coloured tint in your shots. 

 

 

3. Interact with people to gain their trust

Capturing portraits of people at work or shots of those visiting the market, buying goods, is the best approach to take. Shooting candidly is fine but for portraits with impact, take the time to ask the stallholders if you can take some shots of them up close. If language is a barrier, try smiling and pointing to your camera as this will often get the message across. Always thank your subject and take the time to show them the result. It'll also help if you can learn how to say 'hello', 'please' and 'thank you' in the language of the country you're visiting, if venturing away from home. 

If someone looks uncomfortable because you're taking their photograph make sure you stop and walk away and always read up on what's acceptable and what isn't and respect the views/practices of the country you're visiting.
 

4. Capture as much as you can

Remember to shoot lots and often as lots can happen in a market. Switching to continuous shooting mode can help, but it's not essential, you could also try shooting from the hip if you don't want to draw as much attention to yourself. 
 
When you do have the opportunity to work more closely, try a slightly tighter framing to see what results are produced. If you have particularly large stalls to deal with that have lots of produce between you and the seller this could mean using the power of a zoom lens to pull them to you rather than you moving your feet. 

If you're making a special trip to a particular market do remember to check:

• Opening times
• Busy times
• Restocking times (so that you're not in the way)

Let’s admit it. Social media platforms now favor video content, and it’s not enough to just post your output anymore. Video content can be a way to tell potential clients more about what we offer, but it’s no walk in the park to produce.

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The news landed with the weight of a supertelephoto hitting the studio floor: Canon has discontinued the Canon EOS-1D X Mark III. Just like that, after 35 years of continuous evolution, the flagship DSLR line that defined professional photography for generations has reached its terminus. The last units are shipping from warehouses, repair parts are being stockpiled, and Canon's focus has irrevocably shifted to the mirrorless future.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Leedslass1 (Day 22 - River).

 

Daily Theme Runners-Up

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

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

  Day 16

Rugged Landscape

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Day 17

Night Architecture

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Day 18

Cats

[COMMENT_IMG]direct|42656|42656_1758169450.jpg[/COMMENT_IMG]

  Day 19

Textures

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Day 20

Safari

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Day 21

Ducks

[COMMENT_IMG]direct|48973|48973_1758470179.jpg[/COMMENT_IMG]

 

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.

In professional photography, every detail matters. Being able to view an image large and live while shooting, and adjust immediately, is a real game changer. Traditionally, tethering meant long cables, bulky monitors, and staying locked to one spot. Now, it’s far easier: wireless tethering.

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You want a compact that actually changes how you shoot, not just stats on a page. Daily carry, quieter presence in public, and stabilization for low light are the levers that move your results.

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Color grading shapes the mood of an image in a way that goes beyond simple editing. Small shifts in hue or saturation can change the entire feel of a photograph, giving you the ability to move from cinematic drama to soft romance with just a few adjustments. If you want more control over how your photos communicate emotion, learning how to do this in Photoshop is worth your time.

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When you buy your first camera, it usually comes with a basic kit lens. That lens is a good starting point, but it won’t be long before you start wondering what to add next. The choice matters because your second or third lens often shapes how your photography develops.

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Another year, another iPhone, but the new iPhone 17 Pro brings with it a significant set of new features that might be of interest to photographers.

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Fog and mist give instant mood, adding an extra level of environmental interest to your shots. You actually do not have to do anything special apart from just being out in it with your camera. So, whether you are walking the dog or on your daily commute to work, it is worth having a camera with you for those unmissable mist images.
 

1. Camera Choice

Any camera is good for mist photography and you can use any lens too, so just stick to your favourite combination. There is nothing wrong with using a top-end compact if carrying a DSLR around with you is not feasible.
 

2. Lens Options

In terms of lens choice, a wide-angle lets you show the tonal differences between foreground and misty background in a gradual way. Look for bold foreground detail and strong lines (rocks, trees, pathways, rivers etc) to make the most of this effect.

The foreground is just as important with [AMUK]telephoto lenses|telephoto+lens+lenses+zoom[/AMUK]. Shoot a misty scene with no foreground and there is no perspective, no sense of depth. This can work fine but most scenes need some foreground interest to give that three-dimensional quality and the tonal transition is much more abrupt.

3. Ultra-Violet Or Skylight Filter?

You probably already have your lenses fitted with an ultra-violet or skylight filter; if you don't it is a worthwhile consideration if you bear in mind that a filter is cheaper to replace than a lens.  On misty days when you can have tiny water droplets settling on your lens this will affect image sharpness, so being able just to wipe them off without being too delicate is a bonus.

 

 

4. Use A Tripod

If you have the room it's a good idea to pack your tripod as exposures can be on the long side as not much sunlight will be able to get through the fog/mist you're photographing. It should also help you keep horizons straight too, although some cameras feature a level or some sort of grid-guide that can help you level your camera for straight horizons. 

 

5. Valleys And Low-Lying Areas

Mists forms in low-lying areas (valleys, for example) and over water so if you fancy the idea of shooting mists, those are the sorts of places to head for. To add a touch of mysticism or eeriness to your work head for thickly wooded areas where fog and mist will weave around the trees.
 

6. Meters Can Be Fooled

Camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy which usually looks better. Setting +0.5EV or +0.7EV will help avoid this. In strongly backlit scenes you might need up to a +1 or +2 exposure value to record the delicacy of the mist.

Shooting in Raw and doing the adjustment later is an option but it makes sense to get it right in the first place.
 

7. Work Quickly

Finally, remember to get there in plenty enough time so if there is a mist, you have time to scout a few good spots and then decide which is best. Conditions can change very rapidly, so shoot quickly, perhaps bracketing exposures, and then move on.

I’ve shot with a lot of cameras, film and digital—but if there’s one that’s been through it all with me, it’s the Canon 6D. This isn’t a pixel-peeping review comparing MTF charts or arguing about dynamic range. This is a look back at a decade spent with one of Canon’s most underrated full frame DSLRs. From dusty MiLB diamonds and fluorescent-lit engineering offices to golden hour family portraits and rain-soaked street photography, my 6D has quietly been the backbone of my professional and personal work.

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Astrophotography is growing rapidly in popularity. Better and more reasonably priced equipment, computer control, and a heightened interest in what is in the night sky have all combined to expand the number of photographers who do night sky imaging. Some create landscapes, better termed “nightscapes,” while others focus on capturing planets, nebulae, and galaxies.

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