Photography News

 

Britain is full of wildlife, and autumn's a great time to get out and capture a few shots of the small mammals, birds, deer and other creatures that can be found here.
 

1. Birds

As we head towards winter it gets harder for birds to find natural food so by placing feeders in your garden with different types of food in (fat and nuts) you'll be able to attract different species of bird that you can photograph. An important side note to remember is to not remove the feeders when you've finished as the birds may have become reliant on your garden as a source of food.

Capturing shots of these small, shy creatures isn't as easy as dashing out into your garden with your camera and snapping a quick shot. You need to place branches near feeders to give you more natural-looking shots, wait patiently and quietly for your subject to land and you'll need to know your gear well before heading out onto your lawn. Long lenses are essential if you want to capture frame-filling shots and for pin-sharp images, a tripod is a must.

For more in-depth tips on photographing birds, take a look at these articles:

• Photographing Garden Birds
• How To Photograph Birds In Your Garden
• Tips On Photographing Garden Birds
• Tips On Photographing Robins

  2. Spiders And Webs

Spiders seem to be everywhere at this time of year and they make great photographic subjects themselves (if you don't mind getting close) but for those who like to keep a bit more distance, have a go at photographing their webs instead. They're very photogenic on a frosty morning or after it's rained. For more tips, take a look at this technique: Spider Web Photography.
 

 

3. Mammals

Many of the mammals, big and small, are shy so long lenses, patience and the ability to stay hidden are generally a must when photographing them.

Squirrels, who'll be on the hunt for food at this time of year, are a popular photographic subject but do take something waterproof with you when heading out to photograph them as you can end up laying on the damp ground to get a shot of them foraging for food. Using bait is a good way to attract squirrels and you can place it in front of less busy backgrounds so you capture a better-looking shot. Fore more squirrel photography tips, take a look at this article: Photographing Red Squirrels.

It's mating season for deer which means there are plenty of action shots waiting to be captured of males fighting. Their antlers look particularly impressive at this time of year and their shape can look great when silhouetted against the morning light. Throw in some mist and autumnal shades and you have the recipe for a successful wildlife shoot starting to come together. You will need a long lens so you don't spook them and it's safer for you to work with quite a bit of distance between you and your subject anyway. Remember to approach from downwind and if you have it, camouflage clothing will help you blend in with your surroundings more.

October to December is breeding season for a lot of seal colonies around the shores of Britain and this is when they come to shore, making locations like Donna Nook on the east coast very popular with wildlife photographers. If you are planning a trip to photograph pups and their mothers please always put the animals' welfare first and respect the location you're photographing. You'll generally need a telephoto lens to capture a decent image, although some seals can be found close to paths. Take a monopod if you're planning on walking and don't always shoot from a standing position as getting low down will give your shots a better perspective.

For more seal photography tips, take a look at these articles:

• Photographing Seals
• Seal Photography  

The DJI Mavic 4 Pro promises speed, safety, and image quality that rivals ground-based cameras. After real-world testing in demanding conditions, I discovered where this flagship drone excels and where it still leaves room for improvement.

[ Read More ]

[COMMENT_IMG]direct|332115|332115_1759733502.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to AndyPedant (Day 6 - 'Orange' Colour).

 

Daily Theme Runners-Up

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

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

  Day 1

Autumn Landscapes

[COMMENT_IMG]portfolio|161002|3715731[/COMMENT_IMG]

 

Day 2

Autumn Abstracts

[COMMENT_IMG]portfolio|32616|3428523[/COMMENT_IMG]

 

Day 3

Spider's Web

[COMMENT_IMG]direct|151822|151822_1759480193.jpg[/COMMENT_IMG]

  Day 4

Gardens In Autumn

[COMMENT_IMG]direct|18094|18094_1759569471.jpg[/COMMENT_IMG]

 

Day 5

Rainy Days

[COMMENT_IMG]direct|339957|339957_1759645556.jpg[/COMMENT_IMG]

 

Day 7

Autumn Reflections

[COMMENT_IMG]direct|202577|202577_1759955507.jpg[/COMMENT_IMG]

 

Day 8

Creative Indoor Shot

[COMMENT_IMG]direct|289105|289105_1759906991.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.

 

One aspect of photography that is often misunderstood is that when you take a picture you are not capturing an instant but rather a period in time. During this period things happen and the choices you make when taking your picture will fundamentally change the results you get. Movement in photographs should be captured deliberately, making sure that it looks like that was the plan. A picture that is just a little blurred will usually look just that, a little blurred. 

Any camera can capture movement but the amount of control you have will determine the amount of movement that you are able to show. The longer the shutter speed the more movement can be captured. Consider the best camera modes to use for your situation. 

For most pictures featuring movement, you should use a tripod but there will be times when just shooting plenty of pictures hand-held will be a better strategy.
 

1. Techniques to adopt

The technique you need to adopt will depend upon what you are trying to say. Digitally you can shoot and review what is happening and if the movement is too much use a faster speed; if they are too ‘static’ use a slower speed. Typically you should try shooting at about 1/15th or 1/30th with a reasonably fast subject. Panning can be done on a tripod, but the results will be quite different. It is essential if using a tripod (or monopod) that the camera should be able to follow the action accurately if the moving action is at an angle to the camera movement you will struggle to get usable pictures. 

 

2. Blur can be good

However, this doesn't mean you have to keep the subject sharp. In this shot of the Tour de France, nothing is really sharp, but there is a clear difference between the blurriness of the crowd and the slightly sharper rider and this makes the picture more dynamic. 
 

3. But does the camera need to move?

Sometimes it is not necessary for the camera to be moving at all. Fixing the camera on a tripod and letting the subject move will give an altogether different result. This same technique can be used at night to get car lights on the roads which can be a very effective way of showing movement. Machinery is also a good source of subject as they often look much more interesting in action than at rest – or frozen with flash. Panning can help you to keep the subject sharp.

In some situations, flash can be used though; if you set the camera to slow-sync you can have the combination of a blurred image with a sharp one overlaid on it. If possible set the camera to ‘rear’ or ‘second curtain’ sync or the subject will appear to be moving backwards.

Whatever you approach, though, try and make the movement you capture to say something about the subject – that is what will make the picture work.
   

Your camera can connect to Wi-Fi. It can pair with Bluetooth. It can talk to your phone, your computer, and your cloud storage through various cables, dongles, and apps that work half the time. But here's what it can't do natively: connect directly to cellular networks the way your phone, your tablet, your smartwatch, and even your car already can.

[ Read More ]

Move over compact point-and-shoots. There’s a new in-demand camera on the scene — and it’s so small it fits in the palm of your hand. The hype surrounding the Kodak Charmera is real. Pre-orders have sold out not once, not twice, but three times in the last month. On the second-hand market, they’re selling for 2–5 times retail price, and camera stores are begging people to stop messaging them.

[ Read More ]

Choosing between the Canon RF 100-500mm f/4.5-7.1L IS USM and the RF 200-800mm f/6.3-9 IS USM can feel like trying to choose between power and practicality. One gives you reach that borders on absurd, while the other makes every outing lighter and easier. The decision isn’t just about specs; it’s about how you shoot and what kind of day you want in the field.

[ Read More ]

Headshots live or die on small posture cues and what you do with hands. If you shoot people for business or branding, avoiding a few common posing traps saves you time and retouching headaches.

[ Read More ]

The Sony FE 100mm f/2.8 Macro GM lens gives you something few lenses do: true macro precision with portrait-level rendering. It’s not just a tool for bugs and textures but a versatile upgrade that replaces one of Sony’s most beloved lenses, the 90mm Macro. If you’ve relied on that classic lens and started feeling its age, this new version brings back the excitement.

[ Read More ]

You want a single answer on the “best” Sony APS-C lens, but the right choice depends on what you shoot and how you shoot. This video sorts the chaos into real scenarios and shows what actually works when you’re moving fast or building a small kit.

[ Read More ]

 

There are several places in the UK, and the rest of the world, where you may find your tripod easily fits into three small holes already made by fellow photographers with their kit. Joking aside, there are several locations that are considered to be honeypots for photographers, and often tourists, which means it can be difficult to shoot something that's different to every other shot produced in that particular location. 

You can, of course, head off in search of your own locations but this can take time and these popular, honeypot locations are popular for a reason: they're very photogenic so why should you ignore them? Instead, we've thought of a few simple things you could try to make your shot slightly different to everyone else’s. 

 

1. Change Focal Length Or Orientation

The majority of landscapes are shot with wide-angle lenses, however, if you switch your wideout and replace it with a telephoto lens you will start to shoot photos of a popular location in a slightly different way. 

Telephoto lenses allow you to be much more selective with what you include in-frame. You'll be able to focus on detail that would be lost in a wider shot, plus telephoto lenses make it easier to crop out a blank, boring sky. 

By standing back and zooming in with a telephoto lens you'll be able to compress perspective so objects in the background will appear to be closer to your foreground subjects than they do with the eye. This means mountains can look like they are towering over foreground detail, almost as if they are stacked on top of one another. 

Do take your tripod with you when using telephoto lenses as they do make camera shake more prominent. 

If you're not using a DSLR with interchangeable lenses you can switch from a landscape orientation to portrait to give your shot a different perspective and feel. 

2. Move Your Feet

It's worth scouting out your chosen location for viewpoints that show the popular spot in a different way. This could mean climbing a near-by hill, moving further down a beach or changing the side of a lake you take your photos from. 

 

 

3. Weather

In a previous article, photographer John Gravett said: “There is no such thing as bad weather, only different types of lighting.” With this in mind, try heading to a popular photographic location on days when the weather's not playing ball. Stormy days with heavy skies, rain and mist work well at the coast while foggy mornings can add an extra level of interest to an over photographed scene, particularly if you can get up high so you can shoot down over it. Landscapes can often look moody when photographed in bad weather and you can enhance the mood further by converting your shots to black & white.

Do remember to protect your equipment correctly when heading out in the rain with a waterproof cover and keep a microfibre cloth handy for drying surfaces. It's also worth packing a few lens cloths, as rain on the lens can spoil photos taken on rainy-days. 

 

4. Season

If you do a quick search online for the location you want to take your photos in you'll soon see what season most people visit it in. Do take the time to shoot at the same time of year as everyone else as some subjects, such as woods in autumn, do look particularly great during certain times of the year. However, don't be afraid to approach the same location during other months to get a shot others may not have. 

 

5. Time Of Day

If you don't want to wait for a whole season to pass, you could just try visiting your chosen location at a different time during the day. Instead of shooting a sunset, get out of bed early and use the cooler morning light in your shots. Another bonus of early mornings is there will be less people around so you won't be fighting for space and you shouldn't get people walking through your shot. In towns and cities, venture out in the evening as the sun sets to capture the outline of buildings that have shape thanks to their lights rather than shooting in the day. 

 

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.

 

9) Further Information

 

The organiser of the LPA Futures Competition is Lisa Pritchard Agency. For more information and to enter the competition, please visit the LPA website.

Peakto is releasing a 2.5 update to its excellent media management tool that frees it from the cloud while allowing robust search of all your media assets and enabling team sharing.

What's in the Update?

With new server and web features, the Peakto Mac application enables teams and creators to collaborate, search with local AI, and share media libraries—without sending files to the cloud.

Here's what the company says about this new version:

Traditionally, creatives faced a dilemma: choose the cloud to enable remote...

[ Read More ]

How good is a $40 flash? We kick the tires on the Powerextra DF-400, a budget hot-shoe flash intended for DSLR and mirrorless shooters who want more power and flexibility than a built-in flash without breaking the bank. It offers only manual control plus a couple of simple wireless trigger modes.

[ Read More ]

The photography community is in the midst of an existential crisis. Open any photography forum, Facebook group, or Reddit thread, and you'll find photographers convinced that artificial intelligence is about to obliterate their careers. Meanwhile, others dismiss these concerns entirely, insisting that "real photography" will always matter. The truth, as usual, lives somewhere in the middle.

[ Read More ]

At the end of 2024, SmallRig, in collaboration with YouTuber Potato Jet, released a unique hydraulic video tripod. This tripod now has a successor, the Second Edition. You can read more about this tripod in this review.

[ Read More ]

Today, we’ll have a look at the brand-new color calibration tool from Datacolor: the Spyder Express.

[ Read More ]

The right edits can turn a dull sunset into a showstopper. Color, light, and local adjustments all work together to create warmth and contrast that feel alive. This tutorial walks through how to transform a flat raw file into a vibrant sunset image with rich tones and clean detail.

[ Read More ]

The release of the Tamron 70-180mm f/2.8 Di III VC VXD G2 lens for the Nikon Z mount completes something people have been waiting on: a full f/2.8 G2 zoom lineup that covers everything from wide to telephoto. You get the range, the light, and the stabilization that makes handheld shooting easier across situations from portraits to wildlife.

[ Read More ]

Masks in Lightroom Classic are no longer niche tools. If you shoot wildlife, landscapes, or portraits, smart masking decides whether an edit looks polished or clumsy.

[ Read More ]