DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Glass – we look through it or drink out of it every day, but rarely look upon it as a subject for photography. The equipment you need will vary as much as the subject you're shooting, but usually, a long lens (and tripod) are good for the best results.

 

1. Focus On Glass Objects

Photo © Markus Pettersson

 

With glass as a subject, there are many ways to shoot or light it. I took a wine glass full of white wine, and simply put it on a window sill, the inverted image of some trees outside the window lifted the simple composition and made the glass more interesting. 

To photograph glass indoors, it always looks best lit through the glass, I stood a lightbox on its side and placed a glass sheet in front of it – I actually used an old fish tank, this allowed the glasses to be lit from below and behind all with the same light source, to bring out the shape by highlighting the edges of the glasses. A good way of really emphasising the edges is by bringing dark panels in at the sides, which reflect and emphasise the shape still further.

 

2. Turn Your Attention To Glass In Buildings And Windows

Whether we photograph from the inside of the building through the glass, or from the outside, capturing reflections, shooting glass is often about simplifying.
 

Stained Glass Windows 

 

Stained glass windows in churches make a great subject, but people often fall into a couple of easy mistakes. Firstly they try to get all the window, including all the surrounding stonework in, and secondly, they stand too close.

Trying to get too much in the shot typically results in too much small detail, failing to bring across the real detail within the window. The surrounding area of dark stone usually records no detail, and by affecting the meter reading also causes blown-out highlights in the window. Standing near the window and pointing the lens up to get the whole window in creates converging verticals which need too much adjustment later in Photoshop.

I try to find the element, pattern or scene in the window that I find appealing, and by using a long lens, from as far back in the church as I can get, point the camera up as little as possible. These techniques make metering easier (although if the window has a few clear areas, you might need to use -1/3rd stop compensation to avoid losing detail in those); and will minimise converging verticals. I have used up to a 400mm lens at the far end of a church for window details. If it is important for you to keep detail in the surrounding stonework, you may find it necessary to bracket exposures and combine them using HDR software for the best results.

With stained glass, the weather makes a big difference too; a sunny day with the sun streaming in the window is about as bad as it gets – the best time for stained glass is on an overcast day when the shadows of the protective mesh that is so often fitted outside do not show. If the sun is shining through the window, try shooting the abstract patterns of light that the sun creates.
 

Office Blocks 

 

Windows in modern office blocks can reflect the most amazing reflections and abstract patterns. Again, it's not necessary to get the whole building in the shot, in fact, it often works well when juxtaposing two adjacent buildings of slightly different styles. Try a longish lens to help isolate detail, a 70–200mm would be ideal.

 

Rainy Days

 

Another technique for glass could be shooting through a window on a rainy day when the raindrops create a pattern in their own right. As an added dimension, try to get something appropriate through the window, as it can give a feeling of what you'd like to be doing if it wasn't raining.

Glass in all its forms can clearly make for an interesting and varied subject, with no real limitations – so get out and give it a go.
 

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

 

In a report from the Camera & Imaging Products Association (CIPA), the global camera market was shown to have grown steadily in 2025, with shipments rising 6.6% and overall value climbing close to $20bn. The fastest-growing category was fixed-lens cameras, which surged 30% in volume and 49% in value, now making up more than a quarter of all new cameras shipped worldwide. This reflected rising demand for premium compacts and high-end fixed-lens models that combine portability with advanced specifications, driving higher average prices and reshaping the market mix. MPB noted that fewer entry-level releases and more selective buying reinforced the importance of trusted used platforms, while looking ahead to 2026 with expectations of continued single-digit growth across both cameras and lenses.

 

From MPB:

 

• Global camera shipments grew 6.6% in 2025, with total market value growing by 4% to just under $20bn
• Fixed-lens cameras emerged as the fastest-growing segment, now accounting for just over a quarter of all new cameras shipped globally
• Shifting product mix and fewer entry-level model releases are reinforcing the role of accessible, circular routes to high-quality equipment

 

New data from the Camera & Imaging Products Association (CIPA) shows the global new camera market continued its steady growth trajectory in 2025, with unit shipments growing 6.6% year-on-year while overall market value grew to just under $20bn.

In 2025, volumes of Digital Interchangeable Lens Cameras (DILC), including mirrorless and DSLR models, increased by around 6%, while lens volumes grew by approximately 3%. Despite sustained underlying demand throughout the year, value within the interchangeable-lens segment remained broadly flat, as pricing dynamics in some markets offset volume gains.

Against this backdrop, fixed-lens (compact) cameras emerged as the standout growth story of 2025. CIPA data shows compact camera shipments increased sharply by 30% year-on-year, with market value rising at an even greater pace of 49%. Fixed-lens cameras now account for 26% of all new cameras shipped globally.

This growth reflects rising demand for premium fixed-lens cameras that combine advanced specifications with highly portable form factors.  From high-end compacts to APS-C and medium-format fixed-lens models, these cameras offer flexibility and performance that complement interchangeable-lens systems rather than replacing them. The premium nature of many new fixed-lens models has also driven higher average selling prices in this category, reinforcing their growing importance within the overall camera market.

Across the wider market, product mix played an increasingly important role in shaping performance in 2025. Mirrorless camera volumes continued to grow, with shifts in model mix influencing how value accumulated across the category. MPB analysis suggests this reflects fewer entry-level releases and more considered purchasing decisions, reinforcing the importance of trusted used platforms in broadening access to high-quality equipment.

Looking ahead to 2026, MPB expects the new camera market to continue delivering single-digit year-on-year growth in both volume and value, supported by continued demand across both cameras and lenses. Premium fixed-lens cameras are expected to remain an important growth driver, complementing ongoing strength in interchangeable lens systems and reinforcing the role of trusted used platforms for photographers seeking flexibility and value.

Commenting on the data, Matt Barker, CEO of MPB, said:

“2025 was another strong year for the camera market, with broad-based growth across mirrorless cameras, premium lenses and fixed-lens `models, which have become an increasingly important part of the category. We continue to see content creator demand evolve, with kitbags expanding to include a wider range of specialist and premium equipment.”

“This evolution of demand underpins the importance of platforms like MPB. By offering access across categories and price points, we help creators build the kitbags they need to compete in today’s creator economy, without compromising on quality or performance.”

For more information, please visit the MPB website.

 

In January, we asked you to hit the 'like' button on your favourite 2025 POTW images to help us choose our 'Photo of the Year.' Now the votes have been counted, and we’re pleased to reveal that ZenTony with the image ‘Pensive' takes the title of 'Photo of the Year.' Congratulations!

89 'likes' were awarded to the stunning shot. The ePHOTOzine team noted, “The image captures a man with a contemplative expression and subtle, engaging presence. This capture stands out for its superb use of light and monochrome finish, with simplicity and depth allowing emotions and textures to shine through.” We crowned it our 'Photo of the Week' in February 2025. 

 "A superb monochrome portrait with excellent use of light and a contemplative expression." - ePHOTOzine. 

As well as the 'Photo of the Year' title, Tony wins a Samsung Portable 1TB SSD T7 Shield from our 'Photo of the Week' supporter, Samsung. 

The competition now starts again. All 'Photo of the Week' winners from 2026 will be included. Be sure to upload your photos for a chance to win! Once the year ends, we'll compile a list of 52 winners in our forum. Then, we ask you to cast your votes.

Thank you to everyone who voted, our supporter Samsung, and those who continue to upload incredible photos to our Gallery.

 

Take a walk around your town or local park and you'll soon find a statue or monument. They don't move, or complain so are a perfect subject for a photographer and most are so well sculptured that you have the opportunity to shoot several varied photographs of them.

[HOOK]position_1[/HOOK] 

1. Gear Suggestions

Unless you're a particular fan of the carvings that decorate the tops of churches you'll only need a standard zoom lens which means this is a project you can do with your DSLR or compact camera. If you want a little bit more stability take a tripod along but you can quite happily work hand-held.

 

2 The Statue's Position

When you come across a statue the first thing you should do is take a walk around it to look at the angle. As most statues have a dominating position raised up on plinths, shots of statues can often end up looking a little distorted due to the low angle you shoot from. To combat this just stand further back and use a longer focal length to fill the frame. To improve your shot further, if there are steps or a wall nearby stand on them to give you more height or if you don't mind the trial and error approach you could always put your camera up above your head and take your photo - you may get some surprisingly good results.

 

 

3. Think About Backgrounds

As well as looking for the right angle to photograph the statue pay attention to the background as this can change the overall look of the image. A messy background's distracting while a bright sky can affect the meter reading and leave you with a silhouetted statue. Metering from a darker part of the scene can wash the sky out completely so try using exposure compensation if you find metering to be a problem. If you've found an angle you just have to photograph but the background's spoiling the shot, use a wider aperture to throw the background out of focus.

 

4. Working In Shade

If your statue's in a shaded area, such as under trees, make sure your flash is off as this will blast light into the scene and all the shadows which emphasis the statue's shape will be lost. You may need to use a slightly longer shutter speed so make sure you hold your camera steady or pop it on a tripod to prevent camera shake.

 

5. Other Locations

When you've walked the length of your town searching for statues there are plenty of sculpture parks across the UK that give you the opportunity to capture several interesting pieces of art in one location.

 

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

 

A superb black and white shot of the River Clyde, captured by andymcdonald and titled Bells Bridge and SEC Campus, has picked up our 'Photo of the Week' award.

The image shows Bells Bridge leading over to the SEC Campus in Glasgow, where you can see the Armadillo and the OVO Hydro. It uses a simple mono treatment to show off the shapes and clean lines of the buildings against the dark sky. The light catches the straight lines of the bridge and the curved roofs of the campus really well, giving it an almost sci-fi feel. By taking away the colour, andymcdonald has turned this city scene into something very moody and modern.

It is a lovely piece of work that shows how good framing and contrast can make urban architecture look amazing.

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 2026, we’ll crown our 2025 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!

    If you work full time, it can be difficult to still find time to fit in your photography so we've come up with some top tips for fitting photography in around your work. Whether you commute by car or train, or walk to work, there are still photographs to be taken! [HOOK]position_1[/HOOK]  1. Candid Tube/ Train Photography

If you commute of a tube or train, there are some great opportunities for candid portrait photography. Candids on the carriages showing people's emotions, feelings and behaviour can make for interesting shots.

Focus on the face and try to capture the mood of the person, to make the photo feel more personal. If you're on the tube, there is a lot more open space and room for more varied shots. A line of people sat down, if the tube isn't too crowded, will work well to illustrate your journey to work.

If you don't want to photograph people how about the platform, signals, trains or old stations? More tips on photography in stations can be found here. Do remember there are certain rules you have to follow when it comes to photography in certain locations so do make sure you do your homework before taking your camera out of its bag. 

 

2. Transport Photography

One thing you'll see a lot of on your commute is transport. Be it cars, bikes or trains, there will be plenty of opportunities to shoot transport. Keep your eyes open for anything unusual, like a rare or old car that you can photograph for that little something different to the norm. Use a quirky angle or take a macro shot if possible, to emphasise an interesting part of the vehicle.

 

3. Light Trails

These are relatively easy to capture as long as you have a tripod and if you can stop at the side of the road safely on your way home (obviously we don't want you to block roads are park where you shouldn't be!). Light trails work great when shot at the side of busy roads, however, if you can get high up and look down on the road, this will work well too, capturing a bird's eye view. Slow shutter speeds will be necessary to capture those all-important trails of light. Take a look at our article on light trail photography for more information.

 

4. Architectural Photography

If you work in the city, then there will be some great opportunities for architectural photography around you. Whether your subject is the busy city centre shops or the skyscrapers in the business district, some great effects can be achieved.  If you're looking for architecture photography advice then take a look at this top list of tutorials.

 

  5. On The Way To Work Documentary Style 

If you're really keen on taking photos on your way to work, then why not document your experience in photos? Photograph interesting and memorable points from your commute to create a documentary-style record of your experiences. Repeat this monthly, and see how the world around you changes over the passing of time.

Often, you won't think to take your camera along with you to work. But as this article shows, there may be some great photo opportunities you are missing by not having it with you just in case.

 

6. Sunrise / Sunset

If you set off to work early, and return just as it is getting dark, depending on the season you'll be able to get some great shots of the sunrise and sunset. You need to be ready for those all-important minutes of the sun's rays coming up over the horizon. 

  7. Landscapes, Fields And Crops

In the summer, when all the crops are out, you can take some great sweeping field vistas of oilseed rape. You can easily photograph fields from the roadside on your way home if you commute through the open country. Some great abstract and macro shots can also be taken, as well as the traditional landscape. Take a look at this tutorial for more tips: How To Photograph Crop Fields Creatively.

 

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

- Partner Content - 

Fast aperture prime lenses have always been in fashion, sought after by photographers keen to enjoy the photo opportunities they bring. They are exciting optics, but they come with baggage. Depending on the format, they are often big and hefty and then there’s the price which can be considerable. Comparing like-for-like focal lengths, a lens that is just a fraction of an f/stop faster can mean a big enough price difference to make the hardened photographer weep. 

Are fast primes worth the cash? Well, that’s only a question you can answer but if you like the idea of shallow depth-of-field, shooting in poor light and using low ISOs, then a fast lens or two in the kit bag is a compelling option. Of course, the other thing with primes is that they demand a more disciplined photographic approach and that’s a good thing too. 

So, if a fast prime is on your wish list it makes sense to check out used gear specialist MPB first. With great service, competitive prices and expert-checked stock, MPB will help you make the most of your budget, and the camera kit is covered by a warranty too.

In this shopping trip, we have assumed a £3000 spend with the aim of equipping ourselves with a three fast prime lens outfit together with a high resolution, full-frame camera.

As for which brand, it was a choice between Nikon, Panasonic and Sony, with Canon sidelined being limited to its own AF lenses. Panasonic full-frame cameras use the L-Mount, which is well supported. The Nikon Z mount is gaining ground among independent lens makers, but we plumped for Sony. Its E-mount currently has the broadest choice of its own and third-party optics.

For the body, the Sony Alpha A7RIV appealed. Its AF might not be quite up to the level of its newer brothers but it’s still very capable and it has 61 megapixels under its bonnet to enjoy. High resolution is a big attraction, but this classy camera also has 10fps continuous shooting with AF tracking, weather-sealing, impressive video capability and plenty of customisation potential.

Typically Sony, the top plate controls are nicely placed and there’s plenty of customisation potential with camera set-up.

 

A quick search on MPB’s website showed A7RIV body options from £1239, which was in good condition but with a shutter count of over 150,000. Committing a further £200 of our budget to the body gave the option of an A7RIV in excellent condition and a shutter count of just over 14,000. It’s a good choice for £1439.

Onto lenses, choosing which three focal lengths to go for was a challenge because obviously, much depends on what you like to photograph. After a little internal deliberation, the idea of a wide-angle, a standard and a short telephoto seemed a great outfit capable of dealing with a wide breadth of subject matter.

 

Wide-angle lenses mean you can include plenty of environment to give pictures context. Image credit: Will Cheung.

 

For the wide, the 24mm focal length had the greatest all-round appeal, with the 20mm perhaps too wide for general shooting and the 28mm not quite wide enough. Anyway, at the time of our stock search, MPB didn’t have any stock of the 20mm or 28mm lenses from Sigma, but in this situation what you can do is create a stock alert - it can be cancelled at any time - by supplying an email address and as soon as the relevant item comes into stock, you’ll receive notification. 

 

The 24mm focal length means foreground can be exploited in landscape pictures. To blur the water in this scene, the exposure used was 2 secs at f/11 and ISO 100. Image credit: Will Cheung.

 

MPB had a couple of Sigma 24mm f/1.4 DG HSM Art lenses in excellent condition at £354. It’s not quite as good as the current 24mm f/1.4 DG DN Art, but it’s not far behind and the attractive price meant we had more budget to complete our outfit. 

Sigma Art lenses have a great reputation, and we stayed with Sigma for the 50mm lens. MPB had two 50mm f/1.4 DG DN Art in stock, both in ‘Like new’ condition at £674 and £699. We went for the cheaper option which took our spend so far to £2467, which leaves £533 for a short 85mm telephoto, a focal length that would suit portraits, street and scenes.

 

A fast 50mm lens is just the ticket for available light portraits and means high quality shots are possible without having to push ISO too far. This portrait was exposed at ISO 1600. Image credit: Will Cheung.

 

Having £533 to spend on a high spec short telephoto doesn’t give much room for manoeuvre. More recent 85mm lenses f/1.4 from Samyang and Viltrox were not in stock from MPB at the time, while f/1.4 alternatives from Sigma and Sony bust the budget. One 85mm f/1.4 option was the Sirui Aurora with a single sample priced at £394.

Zooms dominate the lens market but there’s a very healthy interest in primes, especially high spec models with fast apertures.

 

Another route was to go for an 85mm f/1.8 which brought quite a few options into play. The difference between f/1.8 and f/1.4 is a little over half-a-stop so significant but not huge. In practice, having to use a marginally higher ISO would have minimal negative impact on the Sony A7RIV, especially with the possibility of noise reduction in editing. Pictorially, an f/1.8 lens used wide open will still give a nicely blurred background and be very slightly less critical when it comes to focus.

 

The 85mm focal length is extremely versatile and having a fast maximum aperture is a big advantage too. This was shot at f/3.5 and the background is still nicely blurred. Image credit: Will Cheung.

 

MPB had an excellent condition Zeiss Batis 85mm f/1.8 at £514. Taking the route of a Sony FE 85mm f/1.4 at £289 for an excellent condition model would save money, and that could be used for protection filters for the three lenses. In the end, though, the thought of having a Zeiss lens in the bag makes the option more compelling.

So, with MPB’s help, we have a solid, general purpose three prime lens outfit comprising a 24mm f/1.4, 50mm f/1.4 and 85mm f/1.8 together with a recent Sony 61 megapixel full-frame camera. That sounds good and a fabulous way to kick off 2026.

 

  News from MPB

Keep right up to date with the latest camera techniques and buying advice with MPB. Two In the Field shooting guides were recently posted, using Canon EF lenses for Astrophotography and the Nikon Z8 for Landscape Photography. For hardware buying tips, check out MPB’s Selects guides. A recent story was Top Camera Gear for Wildlife Photography.

Click here to take you to the Photo and video kit guides web page.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

[COMMENT_IMG]portfolio|161002|3900222[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to kenwil (Day 27 - Frost).

 

Daily Theme Runners-Up

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

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

  Day 25

Amazing Views

[COMMENT_IMG]direct|332115|332115_1769330833.jpg[/COMMENT_IMG]

 

Day 26

Waterfall

[COMMENT_IMG]portfolio|294692|3834264[/COMMENT_IMG]

 

Day 28

Mountain Photography

[COMMENT_IMG]direct|55302|55302_1769610102.jpg[/COMMENT_IMG]

  Day 29

Trees

[COMMENT_IMG]direct|123641|123641_1769683555.jpg[/COMMENT_IMG]

 

Day 30

Pets

[COMMENT_IMG]portfolio|89636|3854005[/COMMENT_IMG]

 

Day 31

Action Shots

[COMMENT_IMG]direct|339957|339957_1769843754.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.

 

1. Know What You'll Be Using It For

Before you make your purchase, make sure you think about where and what you'll be using your tripod for. For example, you don't want to set out walking through the countryside to find the tripod you've purchased is heavy or impractical.
 

2. What Type Of Tripod?

A full-sized tripod extends to eye level, offer rigid support and tend to stay standing when used on windy days. Some models can be a little bulky and heavy but some companies have tripods which are made out of aluminium alloy making them light and easy to transport.

A compact tripod is similar to the full-size version except it but collapses to a very small size making it easier to carry around. There are also mini pods and tabletop tripods available. For times when a tripod would get in the way, such as when shooting in a crowd, the next best thing that gives you the same height but without the bulky splayed legs is a monopod.
 

3. Check The Height Of The Legs

If you're buying the tripod from a shop on the high street, make sure you extend the legs fully so you can check to see if they go to the height you need. Obviously, you can't do this online but most sites have a section where more details such as height, weight etc. of the product you're interested in can be found.
 

 

 

4. Have A Look At The Head

Most tripods do come with a head but tripod manufacturers do stock heads which you can buy separately. Most tripod heads will shoot in a vertical format as well as horizontal. If you're going to be shooting panoramas, move the head so you can see how freely/smoothly it'll pan. If you're buying online just have a read of the tripod's features for more information on how well the model pans and moves.
 

5. How Quick Is The Quick Release System?

Many tripods now feature a quick release system which uses a plate that can be permanently fastened to your camera to lock it in position on your tripod. Check how easy it is to fasten and remove your camera to the tripod as you don't want to be fighting with your equipment when out in the field.

 

6. Legs And Locks

Make sure the legs are fully out before you put your camera on the tripod and always extend the thickest part of the legs first before moving on to adjust the smaller parts as this will give you a more rigid support. Before extending the height of the centre column do check the legs are at their maximum height because even though it's quick and easy to adjust the centre column, it's not a good habit to get into and you'll have a much more sturdy base to work with if you adjust the legs first.

As well as securing your tripod, locks should be quick to adjust and easy to use. Locks are either levers or twist grips. Twist grip locks are very secure while the lever lock option is faster to use but do make sure they are locked tight before taking your shot as you don't want the tripod to slip mid-exposure.

 

 

7. The Feet

Most tripods have rubber feet which absorb shock and offer good grip on most terrain. Some models feature spiked feet which are useful in situations where you need to sink your tripod into the ground such as at the beach or on a windy, wet hillside.

 

8. Clean Your Tripod

You want to make sure your gear is always ready to go and in a good condition so keep it clean and free of rust. This is even more important when you've spent the day at the coast as saltwater will corrode tripod legs and feet so always rinse them off in fresh water once home.

   

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

 

1. The Kit For For Frost Photography 

With a cool, clear night comes morning frost and it's a subject that works well for both close-up work and wider landscape shots. For your close-ups of the patterns frost creates, you'll need a macro lens or a 70-200mm zoom lens with extension rings will work just as well if you don't own a macro lens.

A tripod's handy for the times you'll be working in shaded areas and a lens hood attached to your lens will help prevent flare when shooting in the direction of the sun. Take a reflector out with you (a piece of card covered in foil will do fine) as they're useful for bouncing light into shaded spots and remember to slip a few spare batteries into your pockets if you're planning on venturing out for a while. It's also worth remembering to wrap up warm as you'll soon feel the cold when you're stood waiting for those long exposure times to complete. 

 

2. Be An Early Riser & Head For Space 

If the weatherman tells you it's going to be a cloudless night set the alarm clock to go off early, before the sun rises is a good time, as the lack of cloud cover means there's nothing to keep heat in so there's more chance of frost appearing. Head for open spaces (fields) rather than places that are sheltered (forests) as the canopy, or whatever is creating the shelter, can prevent frost from forming.
 

3. Metering Problems 

Like snow, frost, particularly when it's a thick covering, can fool your camera's meter to think the scene's much lighter than it actually is and it will underexpose the shot. If this happens, use exposure compensation and shoot half to one and a half stops over what your camera thinks is correct. You should always check your histogram to ensure the exposure's correct.

 

4. Lighting Tips  

Side and direct light will help emphasise the way the frost glistens and sidelight, in particular, can help add depth to your scene. Try shooting directly into the sun so the frost glistens, you just need to use a lens hood to minimise the chances of flare spoiling your shot.

 

 

5. Look For Shade 

Frost will last longer in shaded areas, but you'll need to use a reflector to bounce much-needed light into the shot. This will add the sparkle you expect to see when you look at frost and help remove the blue cast that's common with shade.

For shots that capture the patterns and textures frost creates, get in close and avoid using flash.

  6. White Balance Tips 

Adjusting your white balance to create a cooler colour temperature can further enhance the feeling of cold in your shot. You can also adjust the contrast of the image during post-production to give more definition to the patterns the frost has created.
 

7. Care For Your Kit 

Once home, don't take your camera out of your bag as soon as you get through the door as condensation can form on your camera/lens. Instead, leave it in your bag while it acclimatises.

 

 

8. You Can Stay Close To Home

If you don't want to venture too far have look for frost on your windows as the patterns it produces are great for macro work. Out in the garden, icy blades of grass are worth capturing early in the morning and look for fallen leaves that are covered with frost while you're out there too. Use a small aperture to make sure more of your image is sharp but if you're working with a leaf that's still on a tree, try using a wider aperture to throw the background out of focus, isolating the leaf in the process. While you're looking at branches look for frost covered berries as the reds contrast well with the white coloured frost.
 

9. Landscapes With Water 

Around ponds, reservoirs, rivers and lakes, look for frosted up reeds and branches above and around the water. They make interesting close-up studies but do take your wider lens with you too to capture a frosted landscape.
 

10. Frosted Webs 

Finally, don't forget about capturing the popular frosted spiders web. Look for webs on or facing hedges, fences and other plain, dark backgrounds as this will help the web stand out. Use a large aperture too so the darker backgrounds also thrown out of focus. If you find using autofocus doesn't give you sharp enough images, switch to manual as if the focus isn't right, your shot will lose impact and can be spoilt.

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

© Leica

 

Leica expanded its legendary Noctilux line with the launch of the Noctilux‑M 35 f/1.2 ASPH, the first in the series to feature a 35mm focal length. Built in Wetzlar for M-Cameras with high-resolution sensors, the lens delivered the signature subject isolation, smooth background rendering and film-like quality that photographers love, while offering the ability to focus as close as 50cm. Compact at just 5cm in length and weighing 416g, it combined speed, precision and portability, making it a versatile choice for portraits, reportage and street photography. The Noctilux-M 35 f/1.2 ASPH is available worldwide through Leica Stores, the Leica Online Store and authorised dealers, priced at £7,700 / €8,950 / $9,650.

 

From Leica

Since first being introduced in 1966, the name ‘Noctilux’ has represented the pinnacle of optical craftsmanship at Leica. The name is made up of the Latin words ‘noctu’ and ‘lux’, meaning ‘night’ and ‘light’, and refers to the exceptional speed of this lens series. With a maximum aperture of up to f/0.95, Noctilux lenses are considered to be the epitome of optical development, allowing creative possibilities beyond the ordinary and delivering images with an unrivalled visual aesthetic. With the new Noctilux-M 35 f/1.2 ASPH., Leica Camera AG is presenting the first Noctilux M-Lens in the company’s history to feature a 35 mm focal length.

Like all Noctilux lenses, the latest addition to the family impresses with its exceptional speed and superior imaging performance. The new, compact Noctilux-M 35 f/1.2 ASPH. produces clear, high-contrast images characterised by a distinctive look. The shallow depth of field at a wide aperture precisely separates subject and space, creating a velvety soft bokeh and lending images tangible depth as well as a cinematic atmosphere. Stopping down the aperture allows you to selectively increase the depth of field. A floating element within the complex optical construction ensures consistent performance across the entire focusing range, from the close focus distance to infinity.

 

© Leica

 

Up until now, the strength of Noctilux glass has been leveraged exclusively for 50 mm and 75 mm focal lengths, but the new Noctilux-M 35 f/1.2 ASPH. now makes this strength available for the versatile 35 mm focal length for the very first time. The perfect combination of a wide aperture and natural perspective makes it ideal for outstanding portrait, reportage, available-light and street photography. Subjects are clearly in focus thanks to precise separation, while retaining their context thanks to harmonious transitions to the background.

This new lens is the first Noctilux to feature an extended close focus distance down to 50 cm. When used with the new Leica M EV1 and its high-resolution integrated electronic viewfinder, focusing is particularly convenient across the entire focusing range. M-Cameras with a rangefinder can focus to a distance of 70 cm via the optical viewfinder. In the close-up range of 70–50 cm, focusing is carried out via Live View on the rear LCD panel or the Visoflex 2 clip-on viewfinder. The large focusing angle of the Noctilux-M 35 supports this, thereby enabling precise and sensitive work.

 

© Leica

 

The new Leica Noctilux-M 35 f/1.2 ASPH. has been optimised for M-Cameras with high-resolution image sensors, in addition to having been completely redesigned and handcrafted in Wetzlar. Decades of experience and state-of-the-art production technologies have gone into its development. This includes processing special glass materials and aspherical lens elements manufactured in Wetzlar using innovative Precision Glass Moulding (PGM) technology, which shapes lenses in a highly precise process, achieving exceptional quality standards. The optical design comprises ten lenses in five groups, including three aspherical lenses, and a floating element which ensures consistent imaging performance over the entire focusing range. The integrated lens hood reduces glare and reflections, ensuring high contrast and brilliant colour rendering, even with backlighting. Measuring just 5 cm in length, with a diameter of 6.5 cm, and weighing only 416 g, the new lens also impresses with its remarkably compact size.

The Leica Noctilux-M 35 f/1.2 ASPH. will be available worldwide as of the 29th of January 2026 from Leica Stores, the Leica Online Store and authorised dealers. The recommended retail price is £7,700.00 (incl. VAT.) / €8,950 (incl. VAT.) / $9,650.00.

A lens cap will also be available separately for an RRP of £70.00 / $95.00.

For more information, please visit the Leica website.

 

At this time of year, across the UK, snow can start appearing in our landscape. But, it's not the easiest of subjects to photograph, so we have answered some of the most frequently asked questions to help you out when snow's filling your landscape shots. 

1. Why does the snow look blue/grey in my shot?

This is because your camera's metering system is fooled by the highly reflective tones of the white snow, which makes the image appear darker than it should be. Blue snow in pictures occurs where the snow is receiving no direct sunlight but is simply being lit by the sun reflecting off the blue sky (hence the cast). 

All cameras have built-in metering systems that are designed to deliver a perfect picture assuming the contrast range is normal. They do this by scrambling the tones and then adjust so the scrambled colour brightness is mid-grey or average. This is fine when the subject has a wide tonal range with everything from black to white being present, but when the subject is predominantly white, such as snow, the camera underexposes so that the white becomes grey.

If you are using a compact camera it most likely has a snow scene mode and by switching to this, your once grey snow should appear white. For those using more advanced cameras, you can get around this by adjusting the exposure compensation setting to either plus 1 or two stops depending on the amount of snow in the picture. If your camera has the exposure lock feature, which is usually set by half-pressing the shutter button, point it at a mid-tone in your scene, lock the exposure then recompose your shot.

To fix a blue cast in-camera you'll need to switch your white balance settings to either shade or custom if you want to create a custom white balance from the snow. If working in sunny conditions the snow shouldn't appear blue but your shadows may but if you try and correct the image in-camera to remove the cast from the shadows you'll alter the colour of the snow so generally, it's best to leave the blue in the shadows so your snow is crisp and white. Plus, there's always the option to adjust the image in your image editing software once home. 

 

 

2. Why does my snow shot look boring? 

When snow covers most of your shot it can make the scene look a little bland, especially with a snow-filled sky as there won't be that much definition between the sky and the ground. Try stopping down a little to add more depth to your shot, or if this doesn't work, try adjusting your position to include a stone wall perhaps, or a lone tree, to add a little more to the shot. To darken light skies so your shots are a little more moody fit a graduated filter to the front of your lens. 

 

3. Falling snow is ruining my shot. How can I minimise the appearance of the flakes? 

The simple answer to this is to wait until it stops snowing. If this is not an option, make sure you're not using your flash, as this can cause the light to reflect off snowflakes nearer to the lens, causing the rest of your shot to look really dull and grey. A better way to capture snow falling is to put your camera on a tripod and use slower shutter speeds. 

 

4. Why has my lens steamed up?

This is because you've moved from a warm house to the freezing cold outside, resulting in condensation. To avoid this, let your camera acclimatise in its case or bag for a while. Don't be tempted to wipe the lens with a cloth as this will cause smudges and marks which will spoil your image. 

   

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

 

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

 

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

London Photo Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you shoot weddings, portraits, landscapes, content for social, or you’re just passionate about photography – the Trade Show has something for you.

Entry: £10 on the day (free if you pre registered before Tuesday)

Get Your Tickets Now!

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits
• Weddings
• Lighting
• Wildlife
• Macro
• Post-production
• Creative storytelling
• Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

Exclusive Offer

Save 10% with code epz10 on all class tickets!

  The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Save the Dates

Full Convention: 14–17 January 2026

Photo Trade Show: 15–17 January 2026

Venue: Novotel London West, Hammersmith, W6 8DR

 

Join thousands of photographers for the ultimate start to 2026.

Masterclass Passes and Superclasses available now.

Book your tickets now!

 

 

When it comes to action and sports photography, one of the main problems you face is your subject moves quick and they don't tend to stay in the same place for very long. As a result it can be a bit of a challenge to try and get a sharp photo where your subject is in focus, however there are a few things you can do to capture your moving subject perfectly.
 

Switch To AF

Most cameras feature quick and accurate AF (Auto Focus) systems, making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.
 

Manual Focus

You can try and focus manually but this isn't particularly easy to do with fast moving subjects but it can be useful if you plan on pre-focusing.
 

Pre-Focus

This is a little more tricky but once you get the hang of it, it can be a useful trick to know. It's not a very useful technique for subjects whose movement is unpredictable but get at the side of a track or a road where you know a car will have to pass through a certain point and it's extremely helpful.

Written down the technique sounds simple: Switch to manual, focus on a spot you know your subject will pass through, lock your focus and then just before you know your subject's about to pass through the point you focused on, hit the shutter. You need to hit the shutter just before as shutter lag can cause you to miss the shot if you hit it at the point they pass through your focus point.
 

Continuous Shooting

To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots, increasing your chances of capturing the shot you're looking for. Again, start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.

Correct Shutter Speed

You don't want to use a shutter speed that's too high as this will just freeze everything and the shot will look static but you don't want to go too low either as you'll just end up with a shot that's full of blur. Sometimes lots of blur can give you something that's a little more artistic but most of the time it's worth firing off a few test shots to get your shutter speed spot on before the main action starts.

 

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

 

 

With black & white camera modes, apps that can turn your phone shots mono and various black & white editing techniques available, black & white photography is more accessible than ever but if you've never produced a black & white shot, why should you? Well, we've put together a quick list of reasons that may just persuade you to give black & white photography a go, plus we've linked to various black & white tutorials as well as mentioned a few tips further down in the article.

 

1. It Makes You Think About Composition More

 

As Robin Whalley said in a previous article: "To achieve a good black and white image you need to have separation between the elements in the frame. If you can’t distinguish or find it difficult to distinguish between the elements the image will lack impact and the viewer will struggle to understand it."

With this in mind, it makes you search harder for an interesting composition that includes strong foreground interest. Strong shapes and lead-in lines work well as do other strong, distinctive shapes further back in the composition that the eye can easily identify even when everything has a similar tone.
 

2. Interesting Take On Snow Photography

 

As most of us have seen snowfall over the last week, now's a good time to talk about photographing snow in a black & white format. Black & white snow-filled landscapes will not only give you something a little different to what the majority of people photograph but it can also stop shots with pale, snow-laden skies from looking boring and lacking in contrast. As mentioned above, contrast is important so look for strong recognisable shapes that can be easily isolated from the white background. For more tips on black & white snow photography, take a look at John Gravett's article.

 

3. Not As Distracting

 

As colour's stripped away and shots become reliant on tones, texture and contrast, everything seems simpler and there are not as many distractions to contend with. Focus falls on your main subject more easily and when shot right, can have a lot of impact.

 

4. Helps Create Mood

 

Mood essentially relates to the lighting in a shot and when you shoot on a cloudy, unsettled day, working in black & white will give you a shot that's far more foreboding than a shot in colour. It's far easier to create a sense of a dark and brooding landscape with black & white than it is colour.
 

5. Soft Or Strong? 

 

During post-production you can Darken certain areas of your shot while lightening other areas, creating contrast as you do. You can create a soft black & white effect or go all out and apply one that's strong. There are various methods for doing this including applying an S-Curve or using the dodge and burn tools. Take a look at these tutorials for more tips:

• How To Turn A Coloured Landscape Mono
• Make A Moody Black & White In Photoshop Elements
• Turning A Coloured Image Black & White
• Create Black And White Images In Paint Shop Pro
• Convert Your Images To Mono With Gradient Maps

   

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

 

A pet is just like any other subject in terms of photography technique - composition, focusing and exposure being the three main areas to perfect, the fourth, and most problematic, is getting subject participation. If you position your cat/dog then get your camera out their inquisitive nature will drive them to come right up to the camera and sniff the lens. You move away and they'll follow. Sit them in a convenient spot and they'll bounce back. Frustrated? You will be! 

[HOOK]position_1[/HOOK]

You can, of course, spend time training them to obey, but the fact of life is most of us have a pet as a companion and training is the last thing on the agenda. So, what can you do? Here are a few basic tips to get you started: 

  1. Give The Dog A Bone

Give your pet something to take their mind of the camera. The only problem now is they will be chewing or playing around and are highly unlikely to look at you, let alone the camera.

 

2. Use A Squeaky Toy

Use a squeaky toy to attract their attention. Place it behind the camera so they look in the right direction. The bone they're chewing will be more interesting, but at least they will look up long enough for you to fire the shutter. Act quickly and make sure you get the shot in the first or second take as they'll soon get wise or bored of your attention-seeking activity.

 

 

3. Wait Until The Right Moment 

Cats and dogs are easy to catch out when they are sleepy. Time for the squeaky toy again. Just as they're nodding off squeak the toy and you'll get a moment of alertness. Which means you can get two shots: one where they're alert and the other relaxed. 

 

4. Ask A Friend

You could ask someone else to entertain the pet while you walk around taking the photos. Try to keep the person out of the frame and the shots will be more natural.

 

5. Exposure Issues?

Take care when photographing an animal with dark or light fur as their coats can fool your camera's meter. A pet with a white coat can end up looking dull as the camera thinks the scene is too bright while a pet with a black coat can end up looking grey due to your camera thinking the scene is darker than it is. If you find this to be a problem just use exposure compensation to use a + or - exposure depending on your circumstances.

 

6. Focusing Tips 

As with people photography, focus on the eyes for the attention-grabbing shots but don't forget a dog with a long snout will need more depth of field when shooting close up to prevent the tip of the nose is out of focus. Take your shots using a small aperture to avoid this or shoot when their head is turned to one side.

 

 

7. Keep An Eye On Your Backgrounds

Watch out for bright backgrounds that could affect the meter reading. Try to take the shot with a neutral background that isn't distracting and, like people photography, avoid trees and telegraph poles growing out of heads.

 

8. Capture Action Shots

Try using a slow shutter speed with flash and panning with the animal as it moves to create abstract slow sync flash shots that create a sense of action. You can also use flash to freeze the animal as it moves through your frame. For a shot of a dog jumping into the air, for example, follow the dog through its tracks and fire the shutter when its feet are off the ground. Again, it helps if you have a friend with you to help encourage the dog to do tricks while you move around and capture the action.

 

9. Using Flash

Humans are not the only ones who suffer from devilish looking eyes when the flash is used. Pets eyes appear bright green when flash has reflected. Just as you do with people, you can remove the unwanted colour from the eyes in Photoshop.

 

 

10. Photographing Fish

If you have fish in a tank you need to move up close to the glass to avoid reflections and use the natural light to take the photo. In daylight, the shots will come out okay but shoot under the light used to illuminate the tank and you'll get a colour cast.

If you have to step back from the tank to photograph the fish from a distance you will get reflections from the glass. In such cases, a polarising filter will help prevent reflections. Attach it to the camera and rotate until the reflections are minimised and then take the photo. You may find shooting from an angle to the glass will work best.

Fish in outdoor ponds can benefit from the use of a polariser too. Take them when they are near to the surface - feeding time is ideal, and use the polariser to kill the reflections. Shoot from an angle to allow some depth to the fish.

Even in summer, the darkness of the water will make the shutter speed quite slow so shoot when the fish are still and hold the camera very steady to prevent camera shake when working hand-held. 

 

11. Capturing Shots Of Smaller Pets

Let's not forget our small friends such as hamsters guinea pigs and mice who are all cage based and eager to bury themselves in straw. 

The main problem with these pets is one, getting close enough and two, avoiding a picture framed with bars. A good option is to photograph the creature in someone's hand, which gets over the cage problem. Then you need a lens that will go close enough so you can fill the frame with the animal. 

If you don't trust the hand approach move really close to the cage and use a wider aperture to throw the bars out of focus. Or shoot through the cage with the door open. 

Try experimenting with slow speeds on a hamster running on a wheel as you may be able to get the legs blurred and the head sharp, giving a great sense of movement. A shutter speed of around 1/8th sec should be about right for this.

 

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

Most photographers are now "hybrid creators. Besides taking still photos, they also need to create high-quality videos. However, shooting great video is often harder than it looks. Technical issues like low resolution, shaky shots, or digital noise can easily ruin a perfect moment. These common problems often make professional-looking results feel out of reach for many photographers.

Are you also troubled by these issues? This post explores how AI video enhancement can help photographers fix common video problems and streamline their workflow. Let’s get started.

 

 

What are Video Quality Problems Photographers Face

 

Even experienced professionals regularly encounter footage that is technically usable but visually disappointing. In fast-paced commercial, wedding, or travel shoots, there is rarely time for multiple retakes, and lighting conditions are often beyond full control.

Some of the most common video quality problems photographers face include:

• Heavy Digital Noise: When shooting in low-light environments like weddings or indoor events, increasing the ISO often leads to "grainy" video. Unlike film grain, this digital noise looks messy and reduces the professional feel of your work.
• Low Resolution from Older Gear: You might have a great new camera, but your older "B-roll" cameras or drones might only shoot in 1080p. When mixed with 4K footage, these lower-resolution clips look blurry and out of place.
• Soft Focus and Blurry Details: It’s easy to slightly miss the focus on a moving subject. In the past, a soft-focus video clip was a "throwaway," as traditional sharpening tools only made the video look "plastic" and artificial.
• Shaky and Unstable Footage: Handheld shooting adds a nice vibe, but too much camera shake can make viewers feel dizzy. Built-in stabilization often crops the image too much, losing important parts of your frame.

While these problems used to be permanent, the rise of AI technology has started changing the game. Instead of deleting imperfect footage, photographers can now "rescue" it during the editing process.

 

How AI Video Enhancer Improves a Photographer’s Workflow

 

AI video enhancer isn't just about adding a filter; it’s about using smart technology to "rebuild" the missing parts of your video. Let’s look at some real-life ways this helps photographers:

Case 1: The "High-ISO" Rescue. Imagine you shot a beautiful evening ceremony, but the shadows are full of noise. An AI enhancer can analyze the frames to separate noise from real detail, giving you a clean, crisp look that looks like it was shot with a much more expensive lens.

Case 2: Matching Different Cameras. A photographer might use a high-end mirrorless camera for the main interview and a small action camera for a different angle. AI can upscale the action camera’s footage to match the sharpness and 4K resolution of the main camera, making the whole project look consistent.

Case 3: Reviving Family History. Many photographers are asked to help with legacy projects. By taking a grainy, 20-year-old family video and running it through an AI model, you can restore facial details and remove old "tape noise," creating a 4K version that looks like it was filmed yesterday.

To help photographers handle these tasks with ease, many AI video enhancement tools have emerged. A prime example is EaseMate AI‘s video enhancer. It allows creators to instantly convert low-quality videos to 4K clarity. It can sharpen fine details, correct colors, and reduce digital noise automatically, making your footage look more appealing, credible, and professional.

You just need to upload the video you want to optimize into the enhancer, determine the video quality, and hit “Generate”. Then you can preview the video and download it with no watermark.

 

 

Best Practices for Photographers to Use AI Video Enhancers

 

Using AI tools is exciting, but the goal is to enhance your work, not make it look artificial. To get the best results, you need to treat AI as a partner in your digital darkroom. Here are several practical tips to help you maintain a professional, high-quality look while saving time in post-production:

• Enhance before color grading: Run your footage through the AI before adding heavy filters or LUTs. AI works best when it can "see" the original pixels clearly.
• Don't over-sharpen: It’s tempting to dial everything to 100%, but "less is more." Keep some natural texture so your video doesn't look like a video game.
• Preview moving parts: Always check a few seconds of action, like a person walking or water moving. Make sure the AI is keeping the motion smooth and consistent.
• Save your originals: Technology moves fast. Keep your original clips so you can re-process them in the future as AI models get even better.

 

To Sum Up

 

AI video enhancement tools are becoming an important part of how photographers manage increasing video demands. They help photographers rescue flawed footage, accelerate editing workflows, and enable higher-quality video delivery. With thoughtful use and the right software, AI can transform video from a post-production headache into a creative advantage.

 

Previously we've talked about setting yourself a colour challenge but if you want a challenge that's slightly shorter or fancy taking on a few throughout the year, have a go at our one lens challenge. 
 

Basically, we want you to select one lens, yes just one, go for a walk, take a series of shots then share them with ePz. Try to make it a lens you've not used for a while, or one that takes you out of your comfort zone.

A lens with a fixed focal length would be our choice for this but if you only have a zoom take that along and pick just one focal length to use. If you don't, it won't be much of a challenge! If you're not a DSLR owner or you are but don't fancy carrying it around with you, don't worry as a compact will be just as useful for this task.

Above: Will you choose a wide-angle or more telephoto focal length to work with? 

Working hand-held shouldn't be a problem but if it's a particularly dull day or you just like having a little extra support take a tripod along. As you're only using one lens there's no real reason to take a bag along but do pocket some spare batteries and a polarising, UV and ND filter as you never know when they'll come in handy. Polarising filters are great for reducing glare and an ND filter can help slow shutter speeds, too.

Wildlife or going more specific, birds and ducks could be a theme you choose for your project. 

Before you start snapping away you really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.

Try shooting a variety of subjects or why not set yourself a theme? Photograph a series of portraits – your neighbours, butcher, postman or combine two challenges together and only photograph items of a certain colour with a fixed focal length. Try making it even more challenging by only taking a single shot for each of the items/people/animals you pick to photograph.
 

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

 

Now that the trees are bare, they can make better subjects for line-based shots of them as there are no leaves to distract from the trunk.
 

1. A Walk In The Woods

Densely wooded areas can make interesting patterns when shot straight on. Just watch your exposure as it can be a little dark. As a result, you may need slightly longer shutter speeds and for this, you will need to carry your tripod.
 

2. Visit The Park 

Venture to your park and take a walk around the paths and you're sure to find trees at either side of you. If you have a particularly long row of trees where the canopy stretches over the path, try standing at one end and use your telephoto lens to exaggerate the length of the lines. If the canopy is rather thick you may need longer exposure times. Just watch out for blurred leaves if you do opt to use them as anything that moves will be blurred in the final shot.

 

 

3. Guide The Eye

An empty path dusted with autumn leaves surrounded by two lines of trees looks great but make the most of the long lines and use them to guide the eye through the image to an object at the other side. In a park, this could be a museum, bench, a statue or even someone walking their dog. 

A telephoto lens is perfect for this type of photography, as it can make the tree lines look like they last forever, adding a further sense of mystery to the shot.

 

4. Fog & Mist

If you have a misty/foggy day use the weather conditions to bring a bit of mystery to the shot, hiding what's at the end of the path of trees. Try experimenting with slow shutter speeds too as you can turn the fog into a smooth river that circles the trees. This effect will work really well when the trees have shredded all of their leaves leaving the skeleton of branches behind.

 

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

 

Spring may be a long way off but this doesn't mean you have to wait until flowers start raising their heads out of the ground to start photographing them. Your local florist or supermarket will have a selection of flowers you can take home and turn into a photographic subject all year round and the best bit is that you get to stay warm and dry as you can shoot your images from the comfort of your home.

 

1. Gear Choices 

When it comes to gear, a compact with macro capabilities can work just as well as a more advanced camera that uses interchangeable lenses so don't be put off if you don't have a macro lens and DSLR in your camera bag. A tripod's always handy but as you're working indoors you don't have to worry about using anything too robust and you can use a variety of light sources (something we discuss further into the piece).
 

2. Backgrounds

A sheet of white Colormatt makes a good background but you can also use a white sheet of paper, material or anything else you think will work well! A white nylon shower curtain or even unbleached baking paper can work well when using natural light as they can easily be taped to windows. A Wimberley Plamp is useful for holding backgrounds in place as long as you have somewhere sturdy for the other end to clip on to. A Spare tripod or even a light stand will work well as your support for the clamp but if you don't have a clamp, taping your background to the stand can work just as well. Clothes rails also make good stands as backgrounds can be clipped to the horizontal bar you'd usually hang clothes from or you could use a still-life table if you have one. 

 

 

3. Props & Vases

Having a selection of vases and other containers to choose from will be useful as you'll not be stuck with just one option if you find it to be particularly difficult to work with and clothes pegs, masking tape and florist wire are all useful items to add to your collection of tools so you can persuade stems to go in a particular direction or move an unsightly leaf out of view. To add more height, try using plant stands or any other sturdy object that'll give you the boost in height. 
 

4. Natural Light

Working with natural light is often the easiest and cheapest option but if you do have studio lights to hand, do consider using them. If you want to get a little more creative why not try using a desk lamp or similar which has a bendy neck to make the positioning easier? Do check your white balance, though, as depending on the bulb you have in the light it may need adjusting. Reflectors will always be useful and as DIY versions are easy to make, it means you can create a tool that's great for bouncing a bit of light back into your shot rather inexpensively. All you need is a piece of card covered in foil or you could simply try using a white piece of card. 
 

5. Adjust The Flowers 

Once set up, it's important that you spend some time turning the flower(s) and adjust the positioning while looking through the viewfinder or at your camera's screen. Look from above, from underneath, the front, the back, the edge – there’s usually one angle that suddenly stands out and is 'the one' that you should shoot. 
 

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