DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

As we're heading towards the time when we climb up into the loft to drag out the Christmas decorations and lights, we thought we'd show you how you can add interest to portraits with the help of a few Christmas lights. This technique can also be used outdoors at night with street lights or cafe lights etc. You just need to get the lighting right on your subject.

Bokeh Christmas light shots are popular and rightly so as this technique can help you create some really beautiful indoor portraits. It can take a little experimentation but as you don't need much kit or props, it's a technique everyone can have a go at and it's a lot of fun!

Any camera where you can control the aperture will be fine for this technique, however a camera with a bright aperture, say a f/1.4 - f/2.0 compact camera would be ideal. If you use a mirrorless or Digital SLR it should be easier to achieve the effect.

The brighter the lens you're using the more impressive the effect should be, making a lens and the larger the sensor the greater the effect will be too.

Your Christmas lights need to be placed on or against a dark background and you need to position your subject or model as far away from the background as possible, while still keeping the lights in the background.

To keep the black background as dark as possible, switch off your room lights and use a smaller, portable light to ensure your subject is correctly illuminated. We didn't use the studio flash for this, instead we just used the prop lighting, but any lighting should be suitable, and incandescent lighting will give the subject a warm feel.

 

Make sure you position the model light towards your subject at an angle, so as to not throw any light from this front light onto the background area.

Occasionally the lights in the background (if bright) can confuse the camera and cause it to under-expose the subject, so it's important to try and get the foreground lighting nicely balanced.

You may need to be careful with white balance settings, so shooting in RAW will help if you have any problems or you could use a grey card and manually set white balance based on the model's lighting. We used a white card to manually set the white balance, with the model holding the card in front of her face where the strongest lighting was.

You need to use your lens at its widest aperture to focus on the subject or model and keep the Christmas lights as far away as possible for increased blur / bokeh effect in the lights.

Keep the model or subject closer to the camera and adjust your framing depending on where you want the lights and the subject to be lined up / arranged. The closer the subject to the camera, the closer the focus distance is, and the more the camera and lens will throw the background out of focus (see the example below). â€‹

You can alter the shapes of the Christmas lights with Bokeh kits or you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fasten the card around your lens like you would a lens hood.

Different lenses will give different effects as well, for example you could use an old lens with an adapter on an SLR to see what different lenses do.

   

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

 

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The intent of this small zoom lens seems very clear, that is, a compact form factor that is ideal for travelling light, yet with no compromise on image quality. It sits well on the new compact Fujifilm X-T30 III camera body, offering a very significant move upwards from smartphones. Versatility in a compact form. Aiming at beginners, although obviously perfectly usable as a compact alternative for more experienced photographers and videographers,  it all looks the part but will the lens deliver the quality that it aspires to? We couple it up with the 26.1MP X-T30 III to test its mettle and find out.

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Handling and Features

The lens is indeed very light, weighing in at just 125g, measured without caps. No hood is provided, but the 49mm filter thread affords the means to attach one if desired. This is always a good idea, not only to protect from flare but also to add some protection against impact to the front of the lens. 

It is physically small, especially when retracted for carrying or storage,  measuring 61.9mm x 37.5mm. If we forget to extend the lens ready for use, the camera will display a message to remind us. Set at 13mm, the measurements are 61.9mm x 55.6mm. Set to 33mm, this becomes 61.9mm x 57.2mm, still extremely compact.

 

 

13-33mm is on the face of it, an unusual choice of focal lengths, but makes perfect sense when we see the “35mm-format equivalent” becomes 20-50mm. In terms of field of view, this is an ultra-wide to standard lens.

There are a few controls, just the manual focus ring followed by the wider zoom ring. Focal lengths of 13mm, 16mm, 23mm and 33mm are clearly marked and are close to the actual values. The Fuji X mount is plastic, which is fine with such a light lens and should be expected to give good service. The fit is certainly smooth and positive.

AF is fast, accurate and virtually silent. Focusing is down to 20cm, giving a maximum magnification of 0.25x (1:4) at 33mm. This is usefully close, not quite to macro distances but nonetheless very practical and versatile. It is also useful that the closest focusing is available at the longest focal length, allowing more space for lighting and also ensuring the front element is not almost touching the subject.

 

 

Optical construction is 10 elements in 9 groups, including 4 Aspherical and 3 ED (Extra Low Dispersion). The lens diagram on the Fuji website seems to indicate that in reality, this is 3 aspherical, 2 ED and one Aspherical ED. Pedantry aside, the important thing is how this relates to image quality, and we shall see the details of this below. To aid bokeh, there are 9 blades to the diaphragm, helping to create a rounded aperture opening.

One missing feature is WR (Weather Resistance), which is a pity, but this is a low cost XC lens and that is part of the trade off against cost. There is a shake reduction in the form of optical OIS, and the quoted benefit is 4 stops. This is not as spectacular as some, but still very useful. One interesting point, found out by this reviewer the hard way, is that the instruction book tells us to switch OIS off when using a tripod. Very often with newer cameras/lenses, this makes no difference whatsoever, but in this case they really mean it. Having shot all the resolution shots once, it was obvious that it all had to be done again with OIS switched off.

Having learned that reading and believing the instructions might be a Good Idea, in all other respects, the time spent with this lens was extremely enjoyable and totally hazard free. It works exactly as expected, reliably and smoothly. Now let's see how this translates into the technical performance.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Performance

At 13mm, central sharpness is excellent from f/3.5 right through to f/11, very good at f/16 and just fair at f/22 as diffraction really bites. The edges are less sharp, but still very good from f/3.5 to f/5.6, good at f/8 and f/11 and fair at f/16 and f/22.

At 16mm, central sharpness is outstanding from f/3.9 to f/8, excellent at f/11, very good at f/16 and good at f/22. The edges lag behind, but are good at f/3.9, very good from f/4.5 to f/8, good at f/11 and fair at f/16 and f/22.

At 33mm, central sharpness is excellent from f/6.3 to f/11, very good at f/16 and fair at f/22. The edges are good at f/6.3, very good at f/8 and f/11, good at f/16 and fair at f/22. 

The performance is geared very much towards the centre of the field, but if middle apertures are used, then there is plenty of sharpness centre to edge and images look crisp.

Distortion is almost perfectly rectilinear, measuring just -0.84% barrel at 13mm, -0.26% barrel at 16mm and -0.12% barrel at 50mm. It is almost certain that this is achieved by using the camera and lens in combination and applying suitable correction, but what matters is the end result and the end result is very impressive.

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a X-T30 III body using Imatest. Want to know more about how we review lenses?

 

CA is very well controlled, especially at the centre. There is a bit of a peak at the edges, wide open at 33mm, but otherwise it is unlikely that further correction will be needed.

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a X-T30 III body using Imatest.

 

Bokeh is pleasant, very acceptable but not exceptional. Busy backgrounds could perhaps be rendered a bit more smoothly than they are. For some subjects, this may not matter too much.

Flare is minimal, even with bright light sources in frame, despite the lack of a hood. 

Vignetting is impressively low and visually not intrusive. At 33mm, it is close to zero.

 

Aperture 13mm 16mm 33mm f/3.5 -0.9     f/3.9   -1.2   f/4 -0.9     f/4.5   -1.1   f/5.6 -0.7 -1   f/6.3     -0.3 f/8 -0.6 -1 -0.3 f/11 -0.6 -1 -0.3 f/16 -0.6 -0.9 -0.3 f/22 -0.5 -0.9 -0.3

 

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Sample Photos Previous Next

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS|Fujifilm+Fujinon+XC+13-33mm+f/3.5-6.3+OIS[/AMUK] lens is priced at £329, which is excellent value. If bought as part of the X-T30 III camera kit (£999), then the effective price for the lens is just £170, an absolute bargain.

There is no direct alternative for Fuji X mount, but a number of prime lenses do exist, mostly fast optics with much higher price tags. A few stand out as a means of establishing the price point:

• [AMUK]Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ|Fujifilm+XC+15-45mm+f/3.5-5.6+OIS+PZ[/AMUK], £239
• [AMUK]Fujifilm XC 35mm f/2|Fujifilm+XC+35mm+f/2[/AMUK], £159
• [AMUK]Laowa Argus 33mm f/0.95 CF APO|Laowa+Argus+33mm+f/0.95+CF+APO[/AMUK], £439
• [AMUK]Samyang AF 12mm f/2|Samyang+AF+12mm+f/2[/AMUK], £339

The new lens is pitched at a very fair price, and becomes a no-brainer, a real bargain when included with the X-T30 III body.

 

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Verdict

If we want or need to travel light, but without compromising on quality, then the Fujifilm XC 13-33mm f/3.5-6.3 OIS lens could be just perfect for the job. It is light, compact, fast and reliable in operation, easy to handle, and stretches the wide end of the zoom range to a very useful 13mm (20mm equivalent). OK, it's not perfect, edge sharpness does lag behind central sharpness. Even so, this is partly because the centre is pretty much universally excellent or even outstanding, so what might be considered a very high edge performance is somewhat eclipsed. Overall, images look crisp edge to edge, so in the real world where we are not constantly pixel-peeping, it is very satisfactory.

Probably the biggest negative for me is the lack of weather resistance, but then those who are routinely shooting images in sunnier climes than the UK will probably not see that as a problem.

Considering the aim of the X-T30 III with this new lens is a beginner's kit, then  it is hard to find fault with this super little lens, which as a result is Highly Recommended.

 

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Pros

• Excellent to outstanding central sharpness
• Very low CA
• Modest vignetting
• Close focusing
• 4 stops OIS
• Low distortion
• Keenly priced
• Compact and light

Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Cons

• No weather resistance
• No hood provided as standard

 

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As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.

By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
 

 

It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!

Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
 

How to make a leaf ice block Place your leaf, vibrant autumn colours work the best, face down in the container, add water and put it in the freezer. If you can, pick leaves with splayed tips so light can shine through them. After about 30-40 minutes check your container as the leaves may have floated to the surface and moved position. Once it's frozen take the container outside and start shooting.   Make a support for your ice block

If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.

 

Camera settings

 

Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.

As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.   

 

Photo by Joshua Waller

Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family. Shots of kids converted to black and white or shots of women in candlelight can be really atmospheric. Just remember to have your tripod to hand as you'll be using long exposure you won't be able to hand-held without it looking like you took your shot in the middle of an earthquake.

 

Photo by Joshua Waller

If I need to use a light, which kind should I go for?

When it comes to picking a light source a studio flash is always an option but if you're working from home try using a torch, light from a window or a table lamp to add a little light to your scene. If you find the light's a little too harsh, try moving your subject further away from it or if you're using a window, diffuse the light with material such as muslin or parchment paper. If you're using flash try fitting a softbox or use barn doors to direct the light to where you want it to be.

Having the light to one side of your subject will mean one side of their face will be really bright while the other's hidden in shadow. For something less dramatic use a reflector to bounce light into your shot, adding detail where it was originally lost. If you want to add more light move the reflector closer to your subject and experiment with different reflector shades to change the colour balance of the light. To create really strong shadows try positioning your light source under your subject. Just be warned that this won't work with everyone!

One final note: Don't take your exposure reading from the dark part of your set-up as this will cause the lighter parts of the image to appear overexposed.
 

Photo by Joshua Waller

   

 

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As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

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When it comes to group shots, there's not just one genre of photography it sits under. From weddings and Christmas parties to school events and sports, there are many occasions when a group shot will be needed. However, getting them right so no one's blinking, looking the wrong way or are hidden from view by someone else in the shot can be a little tricky so here are a few tips to help you perfect that group shot.

 

Start Small If You're Unsure

The less people there are in your group the easier they are to co-ordinate so if you've not done group shots before, try splitting the people you have into smaller groups rather than shooting them all together.

If you are working with a big group where you have lots of lines of people stood one in front of another, do check that everyone is in focus. If they're not, use a smaller aperture to keep everyone sharp. If you're struggling to get everyone in shot, try shooting from a higher vantage point. Not only will it help you get everyone in frame, it'll give you an interesting twist to your group shot.

Be A Director

Don't let the group take control, you're the one behind the lens after all so can see what works and what doesn't. Don't be afraid to give instruction and actually walk people into position if needs be. Generally, tall people wander towards the back and those who are shorter tend to find a position towards the front of shots but this isn't set in stone. If you have a person who is the main focal point (birthday girl, top scorer etc.) try to position them towards the centre of the shot. To be more creative, try to position the rest of the group so they're looking at them or change your aperture to blur some of the group out of focus slightly, leaving your main subject sharp.

Enjoy Yourself

If you smile and seem relaxed, your subjects are more likely to be. Talk to them and don't be afraid to have a bit of fun as the more relaxed your subjects are, the better the photos will look.
 

Lighting

If you're working outdoors, a slightly overcast day's good for portraits, however if you're working outdoors on a bright day, pose your group with the sun behind them and use a pop of fill-in flash to fill in any shadows.
 

Backgrounds

As with all portraits, you don't want a background that'll distract from your main subject so take a good look around the frame to make sure there's nothing to the sides, front or above the group that'll pull the eye, taking the viewer's attention away from the people in your shot. Having said that, don't be afraid to use a background that adds to the shot. For example, a swim team at the side of a pool or a family at Christmas stood near the tree and fire surrounded by stockings etc.
 

Make Sure It Looks Like They Know Each Other

You may need to squash people a little closer together as what they think is close may not look very close in-camera. Try to fill the frame but take care not to remove anyone's limbs by accident as it's easily done to people who are at the side of the frame.
 

Shoot Lots And Often

People have a habit of talking, moving, pulling odd faces and blinking when you don't want them to so make sure you take plenty of shots. Switching your camera to continuous shooting mode will help increase your chances of getting a good shot as you'll usually find the first shot isn't that great, but shot two or three could be a winner.

 

 

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Just because you don't have an expensive lighting set-up or a studio doesn't mean you can't shoot interesting portraits of your children. To help you out, we've put together a list of quick tips made up of low-cost techniques to help the beginner out.
 

Which camera should I use?

Smaller, pocketable cameras right up to bigger DSLRs can be used to shoot portraits.

You can even use a less-expensive toy camera which may produce low-quality images but the levels of saturation and strong vignetting some produce can create interesting effects. As the shot below, taken with a VistaQuest VQ1015 camera, demonstrates:

 

I Don't Have A Lighting Kit

Commercial photographers, such as those who shoot in schools, tend to use lighting they can move and position around a room, making flash less harsh when fired. If you're working with a camera that has a built-in flash, however, you don't have this luxury and if you hit the shutter with the flash switched on, the light from it tends to be too harsh.

So, What Should I Do?

Your best and easiest option is to turn the flash off and use the light around you. This could mean using your household lights but keep an eye on your white balance if you do this as shots tend to look a little warmer and have an orange tone to them when shot under household lights. Easier still, set up near a window or patio door if you have one and use natural light. Sidelight works well but don't be afraid to experiment with different positions. Shooting with the window to their back so you can shoot straight on, for example, can create silhouettes. Don't overlook shooting on cloudy days either as clouds act as a giant softbox, diffusing light.

A support, ideally a tripod, should be kept in reach for times when your camera needs to use longer shutter speeds due to low light levels. If you try and shoot hand-held it can result in shake which will spoil your shot. You can try setting a slightly higher ISO to increase your camera's shutter speed but with some cameras, this can result in noise appearing in your shots. This isn't always a bad thing though as you could try enhancing the noise further so it appears like old film grain, similar to this shot below:

  What Time Is Best?

The time of day and where your window is positioned will effect light falling through it. At this time of year the sun is quite low in the sky for most of the day, however, midday is still when the sun is at its highest so avoid shooting then if possible. The golden hours, early morning and early evening, tend to give you softer light but you can further diffuse light with tissue paper, or a thin curtain/piece of material. If you do this, try to avoid using coloured material/paper as this can create a colour cast in your images.

Of course, if shooting indoors isn't producing the results you're looking for, there's always the option to get outside, shooting in your garden or at your local park.
 

Backgrounds Are Distracting

Professional photographers use purpose made background rolls or frames on stands but when you're on a budget and working at home, you don't have this luxury.

Shooting at home can mean you have backgrounds full of clutter or distracting wallpaper, even if you do use a larger aperture (or portrait mode on a compact that tells the camera you want to use a larger aperture) to throw it out of focus. To fix this, have a look around your home for items you can use as backgrounds. Black velvet works well, so do plain sheets of material or use a plain wall if you have one.
 

Have A Conversation

Most of the time the 'say cheese' approach won't work as you'll just get shots with big grins and squinting eyes. Instead, try talking to the children you're photographing, asking them questions and making them laugh. As a result, you'll soon see them creating expressions and poses that are much more interesting. Try setting your camera on continuous shooting mode to increase your chances of capturing a creative shot. This mode, which is available on many cameras will let you take a burst of images in quick succession which you can then pick out the best from.
 

Framing

Don't think your subject has to always be slap-bang in the middle of your frame. By positioning them slightly off centre you'll create a much more striking composition.

If you want to try photographing your subject so they are looking out of frame do leave some 'looking space' as it creates a more pleasing shot and your subject won't look like they're squashed into a small frame.
 

My Shot's Too Dark Or Light

If you're shooting on auto and find the balance of highlights and shadows isn't right there are a few things you can do to correct it. If the face is too washed out, set a faster shutter speed or smaller aperture. This could mean switching to sports mode if your compact has one so it knows you want to use a quicker shutter speed. If the detail is too dark set a slower shutter speed or wider aperture.

If your camera has exposure compensation, check your manual if you're unsure, set it to -1 or -2 for shots that are washed out and +1 or +2 for shots that are too dark.
 

Post-Production

There are a few free pieces of editing software available such as Gimp or you could purchase Photoshop Elements which isn't quite as expensive as the CS range. Cropping, playing with tools such as Dodge & Burn, adding vignettes and turning shots to black & white are all things you can do during post-production to enhance images. Take a look at ePHOTOzine's technique section for more tips and tutorials on this subject.

Photo by Peter Bargh. 

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!

  Photo by David Clapp - www.davidclapp.co.uk

 

What Gear Do I Need?

When it comes to gear choices, your first thoughts might be to pick up a macro lens but shooting with a wide-angle zoom will give you a larger area you can crop into later. You'll also need a tripod as well as an ND and polarising filter.

 

When Can I Shoot Abstract Landscapes? 

If your landscape shooting plans are put on hold by a grey overcast day, still head out as you can shoot some abstract landscapes instead. As shadows, which can help create perspective, aren't something we need in abstract landscapes you can shoot when the sun's hidden by cloud. After it's rained, when the sky's still decorated with grey clouds, is a perfect time to head out as the light will still be even and everything will be damp and drying which means they'll be plenty of different shades to capture.

 

What Subjects Make A Good Abstract Landscape? 

Basically, you need to frame your shot so it removes it from its surroundings, focusing on the patterns, shapes, texture and colours. Here are a few examples:

• Wet, colourful pebbles on a beach.
• The patterns the tide creates in the sand.
• Close-ups of rusty objects.
• Lines found at the bottom of reservoirs after they've dried up.
• Areas where water has pooled, as the rocks and foliage they collect can make an interesting study. (You'll probably need a polarising filter to reduce the amount of glare coming off the water's surface.)

 

How Should I Position My Camera? 

You need to stand parallel to your subject so if you're shooting pebbles on a beach, for example, you need to stand directly above them and shoot down. Just remember to have a look around the viewfinder before you take your shot as the wide-angle view can mean your feet end up creeping in at the edge of the frame.
 

What About Aperture Choices? 

For front to back sharpness try using an aperture around f/8 which on an overcast day does mean you'll end up with slightly longer exposure times so using a tripod is a must. If the tides coming back in, filling channels it originally cut going out or you're at the side of a stream that's meandering round and over a group of rocks, dial down to a smaller aperture to give you an even slower exposure so you can blur the movement of the water, adding further interest to your shot.

Photographers, this is the one you’ve been waiting for.

The Nikon Z6 III — Nikon’s latest hybrid mirrorless camera — has just dropped in price on Amazon, and it’s turning heads across the photography community. Whether you shoot landscapes, weddings, wildlife or high-end video, this deal gives you a chance to get a next-generation full-frame camera at one of the lowest prices we’ve seen yet.

Today’s Amazon Deal Details

• Current Price: Check live price on Amazon →

• Savings: Typically retailing at $2,496.95, this model is now significantly discounted.

• Retailer: Amazon (Official Nikon seller)

• Availability: Limited stock discounts like this rarely last beyond a few days.

• Prime Eligible: Fast delivery with free returns for Prime members.

Why This Deal Matters

The Nikon Z6 III sits right in the sweet spot between Nikon’s professional Z8/Z9 and the more budget-friendly Z5 or Z50.
It offers an incredible combination of speed, image quality, and cinematic video capability, all packed into a compact, rugged body that’s built for real-world shooting.

For photographers who’ve been waiting to go full-frame without spending flagship money, this deal is the perfect moment to jump in.

Nikon Z6 III Specifications ManufacturerNikon Image Sensor Pixels24.5Mp (Megapixels)Pixels (W)No DataPixels (H)No DataSensor TypeCMOSSensor SizeNo DataSensor Size (width)No DataSensor Size (height)No DataAspect Ratio

• 3:2
• 16:9
• 1:1

LCD Monitor LCD Monitor3.2inScreen resolutionNo DataTouch ScreenYes Focusing Focusing modes

Exposure Control Shutter speeds shortestNo DataShutter speeds longestNo DataBulb modeNo DataExp modes

• Program
• Aperture-Priority
• Shutter-Priority
• Manual
• A

Metering

• Centre-weighted - Average
• Partial
• Spot

ISO sensitivity100 - 64000White balance

• Auto
• Cloudy
• Incandescent
• Fluorescent
• Shade
• Flash

Exposure CompNo Data Viewfinder Viewfinder ResolutionNo DataMagnificationNo Data Shooting Options Continuous shootingNo Data Video Movie modeNo DataVideo Resolution

• 1920x1080 FullHD
• 4K
• 6K

Video FPSNo DataStereo SoundNo DataOptical Zoom with VideoNo Data Other Features Image StabilisationYes Interface HDMIYesUSBUSB 3Wi-FiNo Data Storage Card Type

• SD
• SDHC
• SDXC
• XQD
• CFexpress (Type B)

File Type

• RAW
• JPG
• HEIF

Power Source Battery TypeEN-EL15c Rechargeable Lithium-IonBattery Life (CIPA rating)380shots Box Contents Box ContentsNo Data Dimensions Weight760gWidthNo DataHeightNo DataDepthNo Data

View Full Product Details

These specs place the Z6 III right at the top of the mid-range full-frame category — it competes directly with the Canon EOS R6 II and Sony A7 IV, yet undercuts both in price when on offer.

Real-World Performance

Photographers who’ve tested the Z6 III consistently praise its autofocus accuracy and dynamic range.
Thanks to Nikon’s subject-detection algorithms (borrowed from the Z8 and Z9), it locks onto eyes, animals, vehicles, and even birds in flight with stunning precision.

In video, the Z6 III shines with its internal 10-bit N-Log and H.265 recording, giving filmmakers serious flexibility in post-production. Combined with the bright EVF and deep grip, it’s a true hybrid workhorse designed for creators who switch between stills and motion.

“This camera feels like Nikon finally nailed the hybrid formula — it’s powerful, compact, and makes no compromises,” said one early reviewer on ePHOTOzine’s test bench.

Who This Camera Is Perfect For

If you fit into one of these categories, the Nikon Z6 III deal deserves your attention:

• Hybrid shooters who record both high-end video and stills.

• Wildlife or sports photographers who need 120 fps bursts.

• Landscape photographers looking for excellent dynamic range in a lightweight setup.

• Upgraders from DSLR — especially Nikon D750 or D780 owners ready for mirrorless performance.

Nikon Z6 III vs Z6 II — What’s New?

If you already own or have been eyeing the previous-gen Z6 II, here’s what makes the Z6 III worth upgrading to:

Feature Z6 II Z6 III Processor EXPEED 6 EXPEED 7 (Much Faster) Autofocus Good AI-trained subject tracking from Z8/Z9 Burst Rate 14 fps 120 fps (JPEG) Video 4K/60p 6K/60p + 4K/120p + RAW Screen Tilting Vari-angle fully articulating EVF 3.69 M-dot 5.76 M-dot 4000 nits (brighter than Z8)

This is a generational leap, not just a refresh — making the current discount even more compelling.

Why Buy from Amazon?

• Official Nikon Seller — full manufacturer warranty applies.

• 30-day returns on most items.

• Fast, trackable shipping (with free Prime delivery for members).

• Verified customer reviews to back up your decision.

When buying camera gear online, Amazon remains one of the safest and most convenient platforms, especially when combined with an active Nikon warranty.

Expert Tip from ePHOTOzine

If you’re investing in the Z6 III, don’t forget to check out the Nikkor Z 24–70 mm f/4 S or Nikkor Z 35 mm f/1.8 S — both pair perfectly with this body and are often bundled with discounts. You can also adapt your older F-mount lenses using the FTZ II adapter, which works seamlessly with autofocus and VR.

Don’t Wait Too Long

Amazon deals like this rarely stay active for more than a few days — especially on new-release Nikon bodies. If you’ve been holding off, now’s the time to act before prices return to RRP.

Check the Nikon Z6 III Deal on Amazon →

 

A superb action shot of an Osprey lifting off with its catch has earned FOXTROTT1 this week’s ‘Photo of the Week’ title.

The image shows the bird at just the right moment, with wings wide open, talons gripping a freshly caught fish, and water splashing around. Every detail is clear, from the feathers to the droplets still hanging in the air. The soft background helps keep the focus on the osprey’s strength and sharp movement.

One member describes it as “Right Time, Right Place, Fast reactions” – and it truly shows. With perfect timing and clear focus, this photo really stands out as our ‘Photo of the Week’.

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!

 

A compelling mono image by saltireblue, titled The Lone Descent, has been selected for feature on ePHOTOzine.

The woman descending the stairs forms the focus of the scene. The strong contrast brings out the lines of the stairway, while the deep shadows give the scene a cold, quiet feel. The composition is excellent, and the lighting is well-handled. The result is a notable shot that shows how quick reactions can still produce work of real quality.

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!

 

Photo by David Pritchard

 

With the days growing shorter, there are great opportunities for night photography in the city. Urban and city areas can be accessed in the dark, often at rush hour when there are amazing shots to be had in relative safety.

Article Sections:

• Gear
• Set-up
• Safety
• Locations
• Skylines
• Wet weather
• Long exposures
• Exposure
• Time of day
• Colour

 

Gear

Click on the links below to find gear options to purchase - by cliking on these links and buying anything, you are helping to support the site at no extra cost to you - thank you. 

• Tripod - You can get by with other forms of support but they are never as good as a solid tripod. Many of your exposures are probably going to be 5-10 seconds or more.
• Cable/Remote Release - This will help prevent vibration and camera shake.
• Light meter/card with exposure durations written on it at 1/3 intervals - Exposures can get quite lengthy at night, especially for film users where reciprocity failure becomes a problem. As the longest exposure most cameras can calculate is 30 seconds, you will often find situations where this is exceeded. I find it useful to have a light meter which will cope with much longer exposures.
• Camera - One that lets you work at higher ISOs and has low noise.

 

Checklist

1. Ensure your lenses and sensor are clean. Night shooting tends to emphasise dust and flare from dirty equipment. You will be surprised at just how dirty your kit is once you start shooting at night.
2. Check to see if your camera has a mirror lock function (usually this is in the cameras custom functions) or be prepared to shoot in live view if your camera has this. Personally I like live mode / view as it’s very effective at seeing in the dark.
3. Getting the exposure right at very slow shutter speeds can be very tricky and often involves guessing. Shooting in RAW format can help give you a little more flexibility in post processing.

 

Safety

Before looking at possible subjects, just a quick word on safety. It might still be early but you still need to be sensible and keep personal safety in mind. Where possible work with a friend or two and look out for each other. Avoid being out too late as drunks seem to find cameras unusually attractive especially when mounted on those strange metal legs we know as a tripod. Stick to areas with good lighting and lots of people. These tend to make for better images but are also usually safer.

 

Photo by David Pritchard

 

Locations

Now you have your kit prepared, start to think about the type and location of the shots you want to take. It’s tempting to turn up somewhere and then look for something to shoot. A better option is to think about the type of work and then pick a suitable location. Sometimes however you just get lucky and providing you are prepared you can get some good shots.

 

Skylines

City skylines are the obvious targets for night photography as many office buildings tend to have lighting for the night. Monuments such as churches often have night lighting also as do many industrial sites which work 24 hours. If you do decide to photograph industrial sites stay a good distance from the location as you don’t want to be suspected as a terrorist. I was however surprised when I went around London at night armed with a camera and Gorillapod. I thought that I dare not be seen with a tripod at night. What I found were lots of other photographers all carrying full tripods and using them openly in the streets.

 

Wet weather

Don’t rule out poor weather as wet pavements can be particularly attractive as they reflect the lights of buildings and traffic. When shooting moving objects you should consider what effect you are trying to create and what a suitable shutter speed is to achieve this. If for example you are shooting a car, the headlights will show up well, but when the car is moving fast and the shutter speed is long, the only thing that can be seen are the light trails. With shorter exposures you will probably retain some of the car in the image as well as the light trails.

 

Long exposures

You can use longer exposures to your advantage, for example when photographing people at night perhaps outside bars. People sat or stood may look relatively well defined whilst those moving past don’t show up at all.

 

Photo by David Pritchard

 

Exposing

When exposing your shot, be sure to cover the back of the viewfinder to stop light entering and affecting the exposure times. Different cameras seem to have different levels of susceptibility to this but every camera I have used has underexposed if I haven’t blocked the viewfinder during a long exposure. Getting the correct exposure is quite a task and open to guess work, so if in doubt just take the camera's exposure. If you like to judge exposure based on the camera histogram be aware that the histogram is likely to be clipped at both ends. Areas will become pure black and other areas of bright light will have no detail. Sometimes it’s worth bracketing shots a stop either way to ensure you have one you are happy with.

 

Time of day

It may sound strange but the time of day, or rather night can be quite important. The temptation is often to time our shooting for the night when the sky appears inky black. Whilst this might provide a stark contrast to the lighting on the building it also means there is no interest in the sky so you probably need to minimise its inclusion. Earlier in the day however the lighting on buildings doesn’t appear quite so strong although there might still be some colour in the sky which is more appealing. So when considering your subject give some thought to the time of the day and also consider this when selecting your composition.

  Colour of the lights

Another interesting aspect of night photography is the colour of the lights used in many settings. Street lighting for example is usually yellow and Fluorescent and mercury vapour lighting (often found in industrial settings) has a green appearance. Whilst these mixed lighting scenes can appear attractive in the image, you sometimes need to take extra steps to deal with these conditions. The most obvious step is to ensure your camera is set to AWB but even this doesn’t correct all the situations you come across. Film users might face an even steeper challenge as long exposures can cause unpredictable colour shift in the film although this can be quite attractive.

In summary, use the correct equipment with good technique, pick your subject, composition and approach and you will be able to capture some great night images in your city. Most of all, remember to keep to the busy areas and stay safe.

 

 

Photo by David Pritchard

 

Words and images by Robin Whalley from Lens Craft.

See how painting the scene with light has improved the image of the mushrooms on the left, adding mood and interest to the shot on the right. 

 

When you think of light painting your first thoughts will probably be of people drawing pictures and writing words but you can use it to breath a little more creativity into your still life work too.

As you'll be using longer exposure times or even Bulb mode, a DSLR or an advanced smaller camera will probably the type of camera you think is best for this sort of technique. However, that's not to say you can't use a compact as many do offer longer shutter speed ranges. As well as your camera, make sure you have a tripod to hand and you'll need a torch for 'painting' light with. A piece of black card can be useful as you'll be able to create a cone-shaped from it to direct light more and translucent coloured paper (sweet wrappers will work fine) can be used to alter the colour of the light you're painting with. 

When it comes to the set-up, place your camera on a tripod so you can control the torch with one hand while hitting the shutter button with the other then focus and set the camera on focus lock so that it isn't fooled by the uneven light. If the camera struggles to focus, use your torch to light your subject so the camera can adjust. Any standard torch will do and you can either hold it still or move it around to illuminate different areas of your object. Changing the position of the torch will also prevent hot spots appearing in the image.

 

Photo by David Pritchard. 

 

It's best to slowly build up the amount of light you paint onto your subject so you don't overexpose a particular area. You'll need a long-ish shutter speed if you're not using the B-setting and as a torch has a colour temperature that's warmer than daylight, you could end up with images that have an orange tint. Of course, you may think the warmer tones work but if you don't, auto white balance should be able to remove it or you can always edit your images after if shooting in RAW. 

If you find the light isn't directional enough, try using a cone made from black card and secure it to the torch to give you more precise control over it. 
  More photography tips and tutorials    

• Ultimate guide to indoor photography
• 10 DIY Photography Tricks & Hacks