Photography News

Be it a Sunday lunch you've cooked at home, a selection of groceries found on a stall or a collection of spices you've taken out of your kitchen pantry, food is something that's easily accessible which makes it a great subject for photographers. You can create still life pieces, get creative with props or just really focus in on the food item itself. Don't be afraid to experiment and remember to upload your fab food shots to the ePHOTOzine gallery or the competition forum to win top prizes.

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To get you thinking about food as a photographic subject, we've brought our food photography related pieces together so you can brush-up on your technique before raiding the fridge for interesting food items worth photographing.

  1. Food Photography: Top Tips For Instagram Food Photography Likes

 

Helge Kirchberger and 2-star Michelin-chef Jörg Bruch, with the help of the COOPH team, take you back to basics to show you how subtle changes can make all the difference in your food photos.

 

2. Seven Top Creative Ways To Use Coffee In Your Photos

 

You can eat coffee beans so we're rolling with this one! Coffee might be a lovely drink that powers you through the day but when the weather's a bit grey outside, it can also keep you warm indoors as you can focus your lens on beans and grains rather than fighting the chill outdoors. 

 

3. How To Take Awesome Travel Food Photography Shots

 

Instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

4. Serve Up Beautiful Food Photography With The Help Of Hugh Johnson

© Hugh Johnson

If you're one of the many astronomic photography fans who enjoy sharing the culinary delights online, you'll probably be interested in perusing this article with tips from renowned food photographer Hugh Johnson.  

 

5. Man Vs Food: The Difference Between Photographing People & Plates

 

Although my university training prepared me for portraits, still lifes, landscapes and anything else you can imagine, I’ve definitely noticed an increasing emphasis on food photography and have adapted and expanded my skills to capture Cuban sandwiches, crab Benedicts and vibrant vegetable platters. While many of the skills necessary for attractive human portraiture applies to food, there are also some key differences we’ll explore here. 

 

6. Food Photography Basics For Smartphone Photographers

 

Taking good food photos isn't as hard as you may think. In fact, with the right light and a few homemade accessories, even your smartphone can help you capture images that look good enough to eat.

 

7. Ten Top Tips For Taking Better Photos Of Food

 

Here we share 10 basic but essential tips to help you capture better photos of the food on your plate. If you're at a restaurant, generally, you'll find food is well presented so you don't have to worry about playing the role of a food technician, however at home, it's a different story. 

 

8. Food Photography Lighting Tips From Taylor Mathis

 

You don't need expensive lighting gear to take beautiful pictures of your food. Using the powers of the sun, you can create captivating and mouthwatering images.

 

9. Jamie Oliver And David Loftus' Food Photography Tips

 

Photographing food is a trend that has swept across social media sites over the past year, and the topic is a firm favourite with bloggers all over Europe, so how can you get the most out of your DSLR to make your food photos look good enough to eat, and impress your food-loving friends?

 

10. Creative Fruit Photography Tips & Tricks

 

Photographer Markus Pettersson has captured a series of vibrant still life images with his Hasselblad H5D-40 and he's put a pretty awesome tutorial together on how you can capture similar shots

 

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

                                                                                                                           

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When we stretch the concept of the superzoom full frame lens from 28-200mm, we end up with this fine looking Tamron 25-200mm. This is a significant advantage for those who require a wider field of view, whilst maintaining a very useful 200mm at the telephoto end. This is the 2nd Generation version of this lens. It looks good, balances well with the 42MP Sony A7R III used in this review, and the focal length range seems ideal for general purpose shooting, wildlife, landscapes and travel. The wide f/2.8 aperture at the 25mm end also bodes well for use in low light. Let's see if the lens lives up to its potential, both in the studio tests as well as the great outdoors.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Handling and Features

Weighing in at a modest 575g and measuring just 121.5mm x 76.2mm, the moisture sealed body sits well on the Sony A7R III. If we start our tour of the lens at the front, we have a provided petal lens hood that bayonets smoothly into place, with a positive click stop that ensures it stays put with no need for a retaining catch. Within the bayonet fitting is a conventional 67mm filter thread. Most of the Tamron mirrorless lenses utilise the same filter thread, useful in avoiding having to stock several sizes of filter or lens cap. The hood will be most efficient at 25mm, whilst avoiding any vignetting, and less so as we move towards the telephoto settings, but this cannot be helped, and it also has the very useful function of protecting the front of the lens against knocks. Regardless of flare reduction, there is a strong case for always using a lens hood.

 

 

There is a wide, easy to grip, zoom ring that is clearly marked with accurate settings of 25mm, 35mm, 50mm, 70mm, 100mm, 135mm and 200mm. The ring is smooth in operation and does extend the lens barrel, so there is some mass of lens to move. It will never be electronic-smooth as a consequence, but it is definitely well damped, a cut above the norm. A lock switch is provided just behind the ring but the lens showed little sign of extending whilst being carried. There is also an AF lock button at the opposite side of the barrel at the same point.

The final ring is slimmer, is electronic and is used for manual focus. All the usual Sony focus options are supported and these are selected via the camera menu.

Focusing is down to 0.16m (6.3”) at 25mm, for a maximum magnification of 1:1.9. or around half life size. At 200mm this becomes 0.8m (31.5”), for a maximum magnification of 1:3.9, or around one quarter life size. Whilst most current macro lenses focus to 1:1, this zoom lens focuses as close as vintage half life size macros traditionally would be expected to do. This is very useful and confirms the universal applications that it is aimed at.

 

 

Optical construction is 18 elements in 14 groups, coated using Tamron's BBAR-G2, the second generation of their Broad Band Anti-reflection coatings. The front element also has a Fluorine treatment to help repel dirt, grease and moisture. A series of internal seals completes the moisture resistant construction. The diaphragm comprises 9 blades and results is a nicely rounded aperture. This raises our expectation of some ultra smooth bokeh.

Last but certainly not least is a USB-C socket, used for connection to a smartphone and also on the PC version for updating the lens software. Tamron Lens Utility Software enables various control functions. Usefully, the AF lock button can also be programmed via this route to toggle between AF and MF.

In use, the lens behaves impeccably. AF via the VXD (Voice coil eXtreme-torque Drive) voice coil motor is fast, accurate and virtually silent. With the Sony body even focusing between bars of a cage is possible much of the time, something that many cameras and lenses can be totally defeated by. For universal use when travelling, this lens is just so versatile and so easy to use that it should cover almost every conceivable eventuality.

Now let's see how well things hold up in the technical tests.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Performance

Sharpness is looked at first, and the images in general look crisp, colourful and have plenty of contrast. They look good, and for most users that totally fulfils what they might expect.

At 25mm, central sharpness is very good at f/2.8 and f/4, rising to excellent from f/5.6 all the way through to f/16. The edges are consistently very good all through the range, from f/2.8 to f/16.

At 70mm, central sharpness is very good from f/4.5 right through to f/16, just dropping to good at f/22. The edges are good at f/4.5, very good from f/5.6 to f/16 and good at f/22.

At 140mm, central sharpness is fair from f/5.6 to f/11, good at f/16 and f/22 and fair at f/32. The edges are fair right through the range from f/5.6 to f/32.

As with many wide range zoom lenses, the longest focal lengths drop off in sharpness, but the Tamron, given a small amount of Photoshop sharpening still delivers great looking nature shots even at 200mm and f/5.6. This is always the dilemma – some lenses are able to deliver the goods in the field but are not really designed for the closer distances of lens testing charts.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 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 Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary.

Distortion measures just -0.81% barrel at 25mm, +0.10% pincushion at 70mm and +0.12% pincushion at 140mm. This renders the lens suitable for copying and for architectural shots and is again very impressive, particularly so in a zoom lens.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 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 Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. 

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 25mm 70mm 140mm f/2.8 -1.8     f/4 -1.4   f/4.5   -1.1   f/5.6 -1.3 -1.1 -0.7 f/8 -1.3 -1 -0.6 f/11 -1.2 -1 -0.6 f/16 -1.2 -1 -0.5 f/22   -0.9 -0.4 f/32     -0.3

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Sample Photos Previous Next

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 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]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

There are no obvious alternatives that match the exact specification, but even looking at the lens in isolation, it looks terrific value for money.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Verdict

The original 28-200mm lenses were a revelation in their day, offering incredible versatility and probably focusing closer than most alternatives as well. Quality and fine detail may have been less on the optical engineers' minds, as the technology of the day did have its limitations. Fast forward to today, though, and we can now see extended ranges such as this very fine 25-200mm from Tamron. Sharper, faster focusing, closer focusing and even more versatile at a very reasonable price point. What's not to like?

As with all lenses, it's important to understand what they are designed for, what they will do well and what they are not best suited for. This lens is a fantastic travel companion, with a wider than average field of view, focusing closer than most and with a fast, bright f/2.8 aperture. Tonal quality is excellent and images have punch and impact. At the longest focal lengths sharpness does fall off, as is almost always the case, but the lens still delivers sharp, punchy images well suited to wildlife, nature and portraiture.

In summary, a very fine lens that delivers very satisfying results and handles with consummate ease, all at a price that is impressively keen. Highly recommended.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Pros

• Good to excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Versatile extended zoom range
• Moisture and dust sealing
• Magnification 1:1.9 at 25mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Cons

• Loses fine detail at longest focal lengths

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Punchy results from this easy to use and universally useful lens, all at a very keen price.|E_id=8027[/REVIEW_FOOTER]

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You erased some videos from an SD card by mistake, or maybe they just vanished for no reason. Perhaps you removed them on purpose, felt proud of your cleanup skills, but now you need them immediately. So, how to recover deleted videos from SD card easily and quickly? Fret not! There are 6 free ways for SD card video recovery on Windows and Mac in 2026, and we’ll be shedding light on each one.

 

Part 1: SD Card Video Recovery Tips You Should Know First

Before trying any solution, you can actually improve your chances of SD card video recovery by following these simple steps:

1. Stop using the SD card right away: Don’t record, save, or copy anything to it, as new data can overwrite deleted videos and make them impossible to recover.
2. Remove the SD card carefully: Take it out of the device gently and avoid bending or damaging it. Keep it in a safe place.
3. Do not format the SD card: Formatting can erase data and reduce the chance of recovery. Thus, avoid both quick and full formats.
4. Make a backup image of the card: Create a full copy of the SD card before recovery. This helps protect your data, especially if the card has errors.

 

Part 2: 6 Ways to Recover Deleted Videos from SD Card for Free

Here’s how to recover deleted SD card videos for free in 7 ways. But each method is for a different scenario. So pick accordingly:

 

Way 1: Employ a SD Card Recovery Tool

When you don’t possess a backup and your video files are permanently erased from the memory card, you can try a free SD card recovery tool for Windows and Mac. For instance, 4DDiG Data Recovery supports both platforms. 

It offers to recover deleted videos from SD card for free up to 2GB for Windows users. Other than videos, the tool supports 2000+ file formats and targets numerous data loss scenarios rather than just deletion. Here we shine a light on its benefits:

• The tool offers a high SD card video recovery rate and selective file retrieval, e.g., you can retrieve videos only.
• The software has a clear, intuitive, and easy-to-use interface.
• The tool offers a free preview for recovered videos.
• The program can first create an image of the card and then recover lost data from it.
• It can repair recovered photos or videos that cannot be opened.

Here’s how to recover deleted SD card videos with the aid of this tool:

Step 1: Attach your problematic memory card to your computer. Then, execute the SD video recovery tool on the same PC. Choose “SD Card” on the tool. Tap “Video” as the file type to only retrieve the videos from the card. Hit “Scan.”

 

 

Step 2: You can finish, or pause the scan once you find your desired videos. Preview the recovered videos.

 

 

Step 3: Adjust the filter tags or type keywords in the search field to find the exact videos.

Step 4: Select the videos you want back. Hit “Recover” to move to your computer or cloud drive.

 

 

Way 2: Look for Existing Backups

If you possess a backup, then it’s quite easy to recover lost videos from SD card. Simply check all the places you think the backup could be, such as:

1. Check your local backups first: Look on external hard drives, USB drives, or other storage where you may have saved the videos.
2. Check cloud storage: Review cloud services like iCloud, Google Drive or Dropbox for uploaded videos.
3. Check device-specific cloud services: If you use a GoPro or similar device, check its cloud account. With an active subscription, you can restore videos using the app (for GoPro, use the Quik app).

 

Way 3: Check the SD Card’s Trash Folder

When you erase videos from an SD card, they skip the Recycle Bin. This happens because Windows treats SD cards and USB drives as removable storage, not internal drives. However, the erased videos might be temporarily stored in a hidden “.Trashes” folder on your card. 

So, you can recover deleted videos from SD card for free by unhiding that folder. To do so:

 

On Windows:

Step 1: Attach your problematic memory card to your computer. Open “File Explorer.” Then, head to the “View” tab. Tick mark “Hidden items.”

 

 

Step 2: Afterward, open the SD card. Look, if the “.Trashes” folder is revealed now.

Step 3: If it does, open it. Next, look for your desired footage. Then, undelete video from SD card ".Trashes” folder.

 

On Mac:

Step 1: Attach your problematic memory card to your computer. Open “Finder.” Then, head to your SD card’s main folder. 

Step 2: Press “CMD + Shift + .” to reveal hidden files. This will unhide the “.Trashes” folder.

Step 3: Open the “Trash” folder inside “.Trashes. Search for your erased videos. Right-click. Next, select “Put Back” to restore them.

 

Way 4: Restore to a Previous Versions

The Previous Versions feature in Windows saves older copies of files so you can recover lost videos from SD card if they’re erased. While this feature is mainly used for files on internal drives, it can help you undelete video from SD card. But only if its previous version was once saved on your computer. Here’s how to recover deleted videos from SD card with Previous Versions:

Step 1: Attach your problematic memory card to your computer. Then, open “File Explorer.” 

Step 2: Open your memory card. Then, the folder where your erased videos once existed. Right-click. Next, choose “Properties.”

Step 3: Tap “Restore previous versions.” Afterward, pick a version that contains the erased videos. Hit “Restore.”

 

Way 5: Use Windows Backup

You can also recover deleted videos from SD card for free if you’ve activated the Windows Backup & Restore feature.  Here’s how to recover deleted SD card videos with Backup & Restore:

Step 1: Attach the problematic SD card to your computer. Then, type “con” in the Windows search. Execute “Control Panel.”

Step 2: Tap “System and Security.” Then, choose “Backup and Restore.” Click “Restore my files.” 

 

 

Step 3: Look for your erased videos in the backup. Next, choose a location to save it.

 

Way 6: Undelete Video from SD Card via Time Machine

If you’re a Mac user and have activated the Time Machine backup with the SD card videos also included in it, you can restore them easily. The Time Machine tool can make multiple versions of your files on an external drive, so you can restore them later on from a particular timeline. Here’s how to recover deleted videos from SD card with the Time Machine:

Step 1: Attach the external drive with the Time Machine backup to your computer. Then, open “Finder.” Pick your SD card.

Step 2: Click the “Time Machine” icon in the “Dock.” Next, tap “Browse Time Machine Backups.” 

 

 

Step 3: Browse through the timeline to find videos you want. Hit “Restore.”

 

Part 3: Why SD Card Video Recovery Is More Challenging?

Compared with other file types, it's more difficult to recover deleted videos from an SD card. Video files are usually much larger in size and are written to the memory card continuously across multiple sectors during recording. If even a small portion of this data is overwritten or damaged, the entire video file may become unplayable.

Another factor that makes SD card video recovery more difficult is the use of proprietary data formats by some camera manufacturers. These custom formats are not always recognized by standard recovery tools, which means the corresponding video files may not be detected during a scan.

 

Part 4: How to Keep Data Safe on an SD Card?

Now you should no longer need to worry about how to recover deleted videos from SD card for free. However, in the future, there might still be a risk of losing data from an external drive like an SD card due to any number of reasons. You can lower the chances of loss by taking concrete measures, such as the following:

1. Back up often: Save files to cloud storage or an external drive, especially when traveling.
2. Choose good-quality cards: Use trusted brands and carry extra cards as backups.
3. Use multiple memory cards: Switch cards during long shoots so you don’t lose everything if one fails.
4. Protect your data: Use encryption to keep files safe from malware or hackers.
5. Follow the 3-2-1 rule: Keep three copies on two different storage types, with one kept offline.

 

Conclusion

SD card video recovery is viable on Windows and Mac, but by using the correct method according to the reason for the loss. Stop using the card right away to prevent overwriting data. Then try free options like checking backups and hidden folders. But if no backup exists and the videos are fully erased, a tool like 4DDiG Data Recovery is a good choice.

 

For today's tutorial, we thought we'd bring together all of the features and techniques ePHOTOzine has published on sports photography so next time you're at a match or trackside, you'll have the knowledge you'll need to shoot some top sports imagery.

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If you already have some sports shots you want to share or are heading to a game/race over the next few days, why not post your images in the Competition forum? You never know, you may have an award-winning shot that'll give you the opportunity to win our competition prize this week. 

 

18 Top Sports Photography Tutorials:

1. Top Tips On Shooting Water Sports Photography
2. How To Capture The Action At Running Events
3. Why Use A Support For Motorsport Photography?
4. Tips On Photographing Athletics
5. Photographing Polo
6. Sport Photography Tips
7. 10 Things To Do When Photographing Parkour
8. Cricket Photography Tips
9. How To Photograph Wakeboarders & Waterskiing
10. Photographing  Kitesurfing
11. Bowls Photography
12. Capturing Cricket
13. Football Photography
14. Photographing Snowboarding
15. Surf Photography Technique
16. Top Of The League Sports Photography
17. Throw The Winning Punch With Your Boxing Photography

 

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

Image Credit: Canon

 

Canon expanded its professional optics range with two specialized L-series ultra-wide lenses designed to give photographers and filmmakers fresh creative perspectives. The RF 7-14mm F2.8-3.5L FISHEYE STM was announced as the world’s first fisheye zoom covering a 190-degree angle of view, featuring a lightweight build and an integrated drop-in filter system. The RF 14mm F1.4L VCM debuted as a high-speed hybrid prime, pairing a bright maximum aperture with specialized glass for astrophotography, landscapes, and video production. Both lenses carried weather-sealed construction and focus breathing suppression for reliable performance in professional environments. They go on sale on the 26th of February 2026.

 

From Canon:

Canon today expands its professional RF lens range with two new ultra-wide lenses that invite photographers and filmmakers to unleash their creativity and capture the world in dynamic new ways. With their fast apertures, compact sizes and outstanding optical quality, the RF 7-14mm F2.8-3.5L FISHEYE STM and RF 14mm F1.4L VCM are worlds apart from ordinary wide-angle lenses.

 

Introducing the world’s first 190° fisheye zoom lens1

 

The RF 7-14mm F2.8-3.5L FISHEYE STM is a unique ultra-wide RF zoom lens for dramatically different images and video. Paired with a full-frame EOS R System camera, the RF 7-14mm F2.8-3.5L FISHEYE STM delivers two distinctive looks: an ultra-wide 190° circular fisheye image at 7mm and a frame-filling 180° diagonal fisheye image at 14mm. On APS-C cameras, the maximum wide angle can be set to approximately 8.7mm for frame-filling 180° diagonal fisheye images2.

Building on the success of the pioneering EF 8-15mm f/4L Fisheye USM, the RF 7-14mm F2.8-3.5L FISHEYE STM has a wider, faster, lighter design and enhanced edge-to-edge image quality. An innovative drop-in filter system improves convenience by allowing real- time adjustment of optional circular polarising and variable ND filters, giving photographers and filmmakers precise control over lighting in any situation.

 

Image Credit: Canon

 

Designed for professionals who want their work to stand out, the RF 7-14mm F2.8-3.5L FISHEYE STM creates a striking look across a wide range of genres – from action sports and astrophotography to landscapes and expressive portraits. Focusing as close as 0.15m, this versatile zoom lens enables even greater exaggeration of creative distortion to set your work apart.

While offering photographers the freedom to explore a bold fisheye perspective in imaginative new ways, image quality remains tightly controlled through an advanced optical design. This includes two replica aspherical elements to suppress spherical aberrations, five UD elements to reduce chromatic aberrations, and ASC coatings to cut ghosting and flare.

Quiet leadscrew-type STM autofocus coupled with focus breathing suppression makes the RF 7-14mm F2.8-3.5L FISHEYE STM an accomplished lens for creative video as well as stills. Circular fisheye videos captured on a compatible camera can be converted to 2D 180° VR files via EOS VR Utility3, for immersive viewing using a VR headset. With its equidistant projection, the RF 7-14mm F2.8-3.5L FISHEYE STM keeps image detail consistent from the centre to the periphery. This ensures high resolution throughout, even when the image is stretched for 2D VR – so every view stays clear and captivating.

 

Image Credit: Canon

 

Key features of the RF 7-14MM F2.8-3.5L FISHEYE STM:

• World’s first fisheye zoom lens that covers a 190° angle of view1
• 7mm circular and 14mm diagonal fisheye for two different looks on a full-frame camera
• Circular fisheye with equidistant projection for easy conversion to 2D 180° VR with official Canon app3
• Aspherical and UD elements for high image quality across the frame
• Bright f/2.8-3.5 aperture for action and low-light shooting
• Drop-in filter support
• Durable L-series design with dust- and moisture-resistant construction4
• Lightweight at approx. 476g for ultra-portable convenience

 

RF 14mm F1.4L VCM: Extraordinary speed, exemplary sharpness

 

The RF 14mm F1.4L VCM sets a new benchmark for wide-angle excellence. Ultra-wide, ultra-fast and ultra-light, this latest addition to Canon’s hybrid prime lens lineup is designed to inspire photography and video production on a grand scale.

With its expansive 114° diagonal angle of view, the RF 14mm F1.4L VCM is a great choice for capturing sweeping landscapes as well as indoor spaces. An exceptionally bright f/1.4 aperture offers greater flexibility while shooting in low light or when using a shallow depth of field to help isolate your subject.

Despite its ultra-wide design and fast aperture, the RF 14mm F1.4L VCM remains lightweight, making it a highly practical lens for outdoor and travel photography, or working from a drone. Weighing around 578g, it’s built for shooting on the move, and the durable L-series construction ensures it is ready for demanding assignments.

 

Image Credit: Canon

 

Delivering remarkable image quality from the centre to the corners, even wide open at f/1.4, the RF 14mm F1.4L VCM achieves a level of performance rare for such a wide, fast design, thanks to the extensive use of specialised lens elements and coatings. Three glass-moulded (GMo) aspherical elements suppress sagittal coma flare for finely rendered point light sources such as stars, while Fluorite, BR and UD lenses reduce chromatic aberration. Ghosting and flare are minimised though the use of Canon’s sophisticated SWC and ASC coatings.

The superb edge-to-edge precision at f/1.4 is one reason the RF 14mm F1.4L VCM excels at astrophotography. The large maximum aperture lets you use faster shutter speeds to reduce star trails, while keeping image quality high and ISO levels manageable. Thanks to its ultra-wide angle of view, it is also an ideal lens for professional landscape and architecture photography or for shooting tight interiors. Additionally, the hybrid design of the RF 14mm F1.4L VCM, which incorporates smooth, precise AF tracking capability along with focus breathing suppression, 11-blade circular aperture and dedicated Iris Ring6, makes it an outstanding lens for photographers who also need to shoot video.

 

Image Credit: Canon

 

Key features of the RF 14MM F1.4L VCM:

• High-quality rectilinear ultra-wide hybrid prime lens
• Fast f/1.4 maximum aperture for shallow depth of field and greater freedom in low light
• Outstanding sharpness and image quality right across the frame, with aspheric, UD, BR and Fluorite elements
• Voice Coil Motor5 for smooth, quiet and precise autofocus, with focus breathing suppression
• Designed for professional photographers, with added hybrid features for advanced video performance
• 11-blade circular aperture for cinematic bokeh and 22-point starburst effects
• Smooth action Iris Ring6, Control Ring and Lens Control button for intuitive manual control
• L-series build quality with dust/moisture resistance4
• Compact and lightweight for a 14mm f/1.4 lens, at approx. 578g

 

1. First lens for interchangeable lens cameras compatible with 35mm full-frame sensors. As of February 4, 2026; research by Canon.

2. 180° diagonal fisheye photography is possible on EOS R System cameras with APS-C sensors when the ‘C’ mark on the zoom ring is aligned with the C index (at approximately 8.7mm). The location of the zoom limit/lock switch at wide-angle does not guarantee a diagonal fisheye image for APS-C size.

3. To record circular fisheye videos that can also be remapped into the equirectangular projection by Canon’s EOS VR Utility for 2D 180° VR viewing, you will need a compatible camera that supports Open Gate video recording.

4. Lenses with dust/moisture resistance are fitted with a rubber ring on the lens mount which may cause slight abrasion of the camera mount. This in no way effects either the lens or camera performance.

5. Important: The Voice Coil Motor in the lens emits a low-level magnetic field. While generally safe to use, we advise consulting your doctor if you have a pacemaker or any other medical device to address any concerns. When the lens is not connected to the camera or when the camera is off may cause internal noise from the lens’s components. This is normal and not a malfunction. Minor movements during transportation do not affect performance.

6. Various limitations apply to some cameras; we recommend installing the latest Firmware update on your camera for best performance. Even with latest Firmware update on EOS R, RP, Ra, R3, R5, R6, R6 Mark II, R7, R8, R10, R50, R100 and EOS R5C when shooting still photos, the aperture value cannot be set using the iris ring.

 

For more information, please visit the Canon UK website.

Image Credit: Canon

 

To celebrate 30 years since the debut of the PowerShot 600 in 1996, Canon announced a limited edition PowerShot G7 X Mark III. The release featured a graphite body, a twill-patterned front ring, and a commemorative logo, while retaining the G7 X Mark III’s 1.0-inch stacked CMOS sensor with approximately 20.1 million effective pixels and 4.2x optical zoom lens. The launch marks the brand’s evolution from early stabilization milestones to modern vlogging tools, with availability scheduled for April 2026 at a retail price of £859.99 / €979.99.

 

From Canon:

2026 marks the 30-year anniversary of Canon's PowerShot compact digital camera line. To celebrate this, an Anniversary Edition PowerShot G7 X Mark III with a new colour body and logo will be released in April 2026.

Since the launch of the original PowerShot 600 in July 1996, the PowerShot range evolved its lineup to meet the diverse needs of its users, most recently with the PowerShot V10 and PowerShot V1. The PowerShot brand, launched with the aim of making it easier to create high-quality images and videos, is popular among a wide range of users, from camera beginners to professionals.

Over the past 30 years, Canon’s PowerShot range has continually progressed, responding to changing consumer needs with industry-leading advancements and refined design. Highlights include the introduction of lens image stabilization in the 2001 PowerShot Pro90 IS, RAW shooting in the G Series, and the innovative PowerShot V1 – the first compact model with an integrated cooling fan for longer 4K recording sessions.

Today, Canon delivers a range of cameras loved by creators. The PowerShot G Series offers high image quality and multifunctionality in a compact form, the PowerShot V Series enables effortless, fully-fledged video, and the PowerShot SX Series empowers users with impressive high magnification zoom capabilities.

 

Image Credit: Canon

 

PowerShot G7 X Mark III 30th Anniversary Edition

This Anniversary Edition model introduces a new limited graphite colour for the camera body, and the front ring has a twill pattern while maintaining the same features and performance that made the model popular. A 30-year anniversary logo is printed on the body, and the camera is presented in a specially designed anniversary box.

The G7 X Mark III Anniversary Edition retains the 1.0-inch stacked CMOS sensor with approximately 20.1 million effective pixels1 and a large aperture and bright 4.2x optical zoom lens for versatile video expression. In addition to still image shooting, the "Video Blog" shooting mode, designed especially for Vlogging, supports comfortable and intuitive video creation.

 

1 The total number of pixels is approximately 20.9 million.

For more information, please visit the Canon website.

Transport is, probably, one of the easiest photographic subjects to find but with so much choice, how do you go about capturing the best shots of cars, trains and planes you can? That's where this article comes in as we've listed 10 top tips to help you perfect your transport photography skills. 

 

1. Not Just Cars

 

Cars are probably the first mode of transport that comes to mind when you think of transport photography but there are plenty of other subjects that are worth a shot or two. Bikes, trains planes and boats can be slightly more challenging to capture but can produce good results.

Trains are predictable as they have to follow a track, leave and arrive at certain stations and have a schedule they have to follow. Finding a spot to shoot from should be quite simple then all you have to do is perfect your technique. If you need a few tips on shooting trains, take a look at our technique: Railway Photography

Most of us don't have to go that far to photograph boats. We are usually not a million miles from the coast, rivers with boats, canal and inland waterways or even water-sports centre to be able to photograph this form of transport. For tips on shooting boats, take a look at these tutorials: Boat Photography and A Guide To Boat Photography

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For plane photography, airshows are probably the best place to perfect your technique and there's usually planes on the ground you can photograph too if you don't fancy photographing them while up in the air. Have a look at ePHOTOzine member, David Pritchard's Air Show Photography Guide for more tips on plane photography.

If you fancy trying your hand at sports photography, motocross is a great event to try. It's fast-paced, interesting to watch and there are plenty of events held around the country which means you shouldn't have to travel far to shoot some action shots. For tips on photographing motocross, take a look at our tips: Shoot Motocross Action

2. 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. Start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.
 

3. Look For Detail

 

As well as shooting photos where you get the whole car, plane or train in the frame, take some close-up shots of the patterns, badges, paintwork and other detail the vehicle has.
 

4. Continuous Auto Focus

 

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.

 

5. Capture Light Trails

 

For more creative shots, try shooting light trails in towns and cities at night. Dusk is a good time as there's still usually a good amount of traffic around and there will still be detail in the sky. For tips on shooting light trails, have a look at this tutorial: Photographing Light Trails

 

6. Location, Location, Location 

 

Think about your location carefully - a 4X4 will look great at the top of a mountain but stick a little car up there and it can look lost. If you live on a busy street, move your car to another location as a messy background will just distract the viewer. For more advice on shooting locations, have a look at this technique: Car Portrait Advice

 

7. Use A Support

 

When using long lenses, as you do for many shots of transport, having some sort of support handy will stop you straining your arms and shoulders. A tripod can be used, however, if you're at a busy air show or by the track where there's not much space, a monopod is much more useful.

Panning plays a big part in some transport photography and even though you can pan quite easily without the help of support, some photographers do prefer to use a tripod or monopod, it's really down to personal preference.

  

8. Work With Angles

 

Doing something as simple as crouching down can make your shots more exciting so do take the time to walk around the vehicle you're shooting to look for angles, shapes and lines that will really help improve your shots.

9. Use Reflections

 

As mentioned in our 5 Ways To Be More Creative With Transport Shots article, there are various ways to use reflections in transport shots. You can use car mirror's, reflections in bodywork or look away from the vehicle for puddles and other reflective surfaces.

10. Back At Home

 

When it comes to photo editing, you really can spend hours tweaking and changing your shots. You can add emphasis with a vignette, darken skies to add mood, give older transport a vintage feel with lomo tweaks or by turning them black and white or how about having a go at HDR? Take a look at ePHOTOzine's techniques for some inspiration.
 

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

Top Gear and Preparation Tips for Starting Out in Travel Photography

 

 

Embarking on a journey into travel photography is more than just taking pictures in exotic locations—it's about capturing stories, understanding cultures, and being equipped with the right tools and mindset. When exploring vibrant markets, remote landscapes, and bustling cities, having the best gear for travel photography and being well-prepared can significantly impact your results.

In this guide, we'll cover essential travel photography gear, practical tips for beginners, and tricks to maintain your equipment while on the move.

 

Explore DepositPhotos for licensed travel photos for your creative projects.

 

How to prepare for a travel photography job as a beginner creator

 

Landing your first travel photography job can be both exciting and overwhelming. The key lies in preparation, consistency, and adaptability.

 

Research your destination

Before heading to popular travel photography hotspots, learn about the local culture, climate, and accessibility. Understand the best times for natural lighting and golden hour shots, and what locations might be sensitive to photography.

Consider these aspects:

• Seasonal light patterns' impact on landscapes;
• Local festivals showcasing vibrant traditions;
• Off-the-beaten-path locations for authentic storytelling;
• Cultural taboos to respect while photographing people;
• Optimal times for capturing iconic landmarks;
• Local markets and their unique visual elements.

 

Build a shot list

A shot list will guide your creative process and show professionalism, especially if you're handling commissioned travel photography jobs. Consider these categories to enhance your visual storytelling:

• Dawn patrol. Early morning cityscapes;
• Local artisans. Traditional craftsmanship;
• Hidden gems. Lesser-known locations;
• Night scenes. Vibrant after-dark moments;
• Architectural contrasts. Old meets new;
• Cultural rituals. Unique local traditions;
• Street food. Culinary experiences.

A well-planned list serves as your visual roadmap, ensuring you capture key moments while allocating time for spontaneity.

 

Check your legal and logistical needs

Ensure you have travel documents, photography permits, and insurance coverage for health and travel photography gear. Investigate permit requirements for protected areas and landmarks. Secure necessary visas, especially for commercial work. Familiarize yourself with local photography laws and cultural sensitivities. Consider these crucial aspects:

• Research drone regulations and no-fly zones;
• Obtain model releases for portrait subjects;
• Respect copyright laws for artwork and performances;
• Review customs regulations for equipment transport;
• Understand privacy laws in public spaces;
• Check restrictions on tripod use in crowded areas;
• Be aware of photography bans in religious sites.

 

 

The best gear for travel photography

 

Choosing the best gear for travel photography means balancing performance, durability, and portability. Here's a breakdown of what you should consider packing as a beginner:

 

Best cameras for travel photography

Compact mirrorless cameras are now a top choice among professional and beginner photographers. They offer compact size without sacrificing professional features. Here are a few standout options:

1. Fujifilm X-T5. Lightweight with excellent image quality and film simulation features.
2. Sony Alpha a7 IV. A full-frame powerhouse with advanced autofocus and video capabilities.
3. Canon EOS R8. A strong entry-level full-frame option for high-resolution travel shots.

These are among the best cameras for travel photography because they offer superior image quality while remaining compact enough for daily travel.

 

Versatile lenses

For beginners, a versatile 24–70 mm f/2.8 zoom covers everything from wide-angle vistas to portraits, while a fast 35 mm f/1.8 prime excels in low-light and street scenes. As your skills (and itinerary) expand, build a travel-ready lens kit that balances scope and portability: a 16–35 mm wide-angle for landscapes and architecture, the trusty 24–70 mm for everyday flexibility, and a 70–200 mm telephoto zoom to bring distant wildlife or compressed cityscapes closer.

To round out your creative arsenal, you might also pack:

• Ultra-wide fisheye—dramatic, curving distortions for unique perspectives;
• Macro lens—crisp, close-up detail of flora, food, or textures;
• Tilt-shift lens—perspective correction and miniature effects in urban settings;
• Fast prime—wide aperture for atmospheric, low-light street shots;
• All-in-one zoom (18–300 mm)—space-saving versatility when you can carry only one lens.

 

Accessories to enhance workflow

Enhance your travel photography workflow with these essential accessories:

• Versatile camera bag. Protect gear and organize efficiently;
• Lightweight tripod. Ensure stability for sharp images;
• High-capacity memory cards. Capture more without interruption;
• Spare batteries. Extend shooting time in remote locations;
• Portable hard drive. Backup photos securely on-the-go;
• Remote shutter release. Minimize camera shake for crisp shots;
• Polarizing filter. Reduce glare and enhance colors;
• Cleaning kit. Maintain equipment for optimal performance.

 

 

How to take care of your travel photography gear during trips

 

Protecting your investment in travel photography gear is essential, especially when facing varied climates and rugged terrains.

 

Weatherproof your equipment

Protect your gear from the elements with quality rain covers and dust-proof cases. While weather-sealed cameras like the Canon 5D Mark IV offer protection, caution is still necessary. Consider these tips:

• Use silica gel packets to combat humidity;
• Wrap gear in microfiber cloths for added protection;
• Acclimate equipment gradually in temperature extremes;
• Keep spare dry bags for sudden weather changes;
• Invest in waterproof camera straps for added security.

 

Routine cleaning

Maintaining your travel photography gear requires a consistent cleaning routine. Implement these techniques for optimal performance:

• Use microfiber cloths to gently remove smudges from lenses;
• Dislodge dust from sensors with a rocket blower;
• Clean camera bodies carefully, avoiding buttons;
• Apply lens cleaner sparingly for stubborn marks;
• Inspect and clean lens contacts for reliable connections.

 

Smart packing and transport

Invest in a padded camera bag to shield your gear from impacts. Always carry essential equipment as hand luggage when flying. Avoid exposing gear to extreme temperatures and use hotel safes for secure storage during exploration.

 

Conclusion

Starting a career or hobby in travel photography demands more than a love for travel and visuals—it requires the right gear, thoughtful preparation, and ongoing care. From choosing the best cameras for travel photography to discovering new travel photography hotspots, every step of your journey adds to your visual storytelling toolbox. As you land more travel photography jobs, this article's foundational habits will continue to support your success.

 

 

Retouch4me recently expanded its lineup of automated tools by introducing a neural network-driven plugin designed to tackle the repetitive task of fixing messy hair. By targeting flyaways and misplaced strands that usually need meticulous manual brushing, the software aims to drop significant time from the post-production process for busy portrait and wedding photographers. The tool fits right into existing workflows as a Photoshop extension or standalone app, so photographers can clean up large batches of images locally while keeping everything looking natural.

 

From Retouch4Me

Retouch4me, a developer of AI-based software for photo and video editing, has introduced Retouch4me Stray Hairs, a neural network–powered plugin that automatically removes flyaway hairs and smooths messy hair. The software targets one of the most time-consuming tasks in portrait retouching, saving photographers up to 15 minutes per image.

Removing stray hairs manually requires zooming in, sampling background areas, and carefully painting over each distracting hair. For a single portrait with visible flyaways, this process can take up to 15 minutes. For wedding photographers and other pros handling high-volume shoots, those minutes quickly add up to hours of repetitive post-production work.

Unlike manual Photoshop workflows that require adjusting each image separately, Retouch4me Stray Hairs processes entire batches automatically while keeping hair looking natural and consistent across the set. The neural network was trained on professionally retouched portraits and learned how professional retouchers identify and remove unwanted hairs. The plugin handles three specific tasks: cleaning flyaways along the hair edges, removing hairs crossing the face, and offers optional mask adjustments for precise control when needed.

“Repetitive tasks like stray hair removal are among the most time-consuming parts of post-production, which is why we’re excited to help photographers automate this step,” said Oleg Sharonov, founder of Retouch4me. “Our goal is simple: let photographers focus on their creative vision while the AI-based software handles cleanup. Retouch4me Stray Hairs is a natural extension of our mission to remove repetitive retouching from photographers’ workflows.”

 

 

Workflow and Compatibility

Retouch4me Stray Hairs works as a standalone application or Photoshop plugin for Windows and macOS. In Photoshop, it generates layers, allowing photographers to make further adjustments while keeping the original intact. All processing happens locally on the user’s PC, and batch mode allows photographers to retouch hundreds of images in one run, without changing their existing workflow.

  Availability and Pricing

Retouch4me Stray Hairs is available for $124 as a perpetual license with free updates. No subscription is required. A free trial version is available at https://retouch4.me/stray-hairs

 

About Retouch4me

Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, its software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. We believe that combining AI and human creativity helps achieve superior results. Retouch4me improves the workflows of creatives in over 115 countries. Discover how to elevate yours at https://retouch4.me

 

If you were given a camera as a gift at Christmas or have just decided to treat yourself so you can learn a new skill, you're probably wondering where to start with your new kit. One of the best ways to improve and learn how to use your new camera is to actually get out and use it but we thought it would also be helpful to have a page where photography beginners can find all of our introductory tutorials in one place. So, below you'll find all our beginner photography tutorials written to-date but do also keep an eye on our techniques and features sections as new tutorials are added regularly. 

 

Learn what basic camera settings can help you freeze movement. 

  Digital Camera Settings 

• The Absolute Beginner Guide To Camera Preset Shooting Modes
• What Are Drive Modes?
• Beginner's Guide To Geotagging
• Beginner's Guide To White Balance Mode
• Introduction To Metering Modes
• Quick Beginner Tips About Focus Lock
• Digital Zoom: A Beginner's Guide

 

Learn the basics of aperture. 

  Understanding Exposure

• Creative Aperture / Depth Of Field
• Beginner's Tips: How To Make A Manual Exposure
• Beginner's Introduction To Depth Of Field
• Beginner's Tips: Shutters and Apertures Anyone?
• Beginner's Tips: How To Use ISO
• Beginner's Guide To DSLR Photography: Creative Apertures

 

 

  Taking The Shot

• Essential Beginner Photography Tips: Think About Your Focus
• Creative Children Portraits On A Budget
• Panoramas For Beginners
• Beginner's Tips - How To Capture Motion In Your Images
• How To Make Sure Your Subject Is The Main Point Of Interest
• 5 Tips For Someone New To Portrait Photography
• Beginner's Guide To Sunrise Photography
• Ten Top Tips To Teach Photography Newbies
• Beginner Wildlife Photography Tips
• Beginner Street Photography Tips
• Beginner's Guide On Photographing Children
• Beginner's Guide To Photo Composition
• Understanding Lenses And Focal Lengths

 

 

Seasonal Tutorials 

• Snow Photography Tips For Beginners
• Beginner's Tips For Christmas Photography
• Tips On Using Your Compact Camera At Christmas

 

Learn the basics of lighting objects.

Basic Lighting Tips

• Beginner's Guide to Light Part One
• Beginner's Guide To Light - Part Two
• Beginner's Introduction To Built-In Flash

   

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

 

We're a bit off from Spring but that doesn't mean you can't photograph flowers as florists and supermarkets will be bursting with interesting flowers that you can photograph in your own home. To get you started, we've put together quick, basic and helpful tips that will aid you in creating a simple still life set-up at home so you can begin capturing floral themed images. 

 

1. Simple Backgrounds 

Flowers can look great when simply lit by sunlight. However, if you're working indoors next to a window they often look out onto gardens, streets and other distracting objects which don't make great backgrounds and can spoil the shot. You can, of course, remove the background with editing software but by simply placing a plain object behind your subject you'll save yourself a lot of time. A simple piece of card or cloth will work just fine.

 

 

2. Don't Block Too Much Light 

You have to be careful where you place your new background as it can block the sun but by holding it or, if you can, getting someone else to hold it, the background can be moved around while you look through the viewfinder to see what position works the best. The trick is to move it as high up behind the object without any sun being shielded. Don't position the object you're photographing too close to the background either as no light will be able to get to it. If you enjoy doing these sort of photos you could even create a purpose-built set up that could be used again and again for indoor still life shots.

If you have to position your camera/background so some of the window creeps in at the top don't worry; you can crop it out later when you get your image onto the computer. 

 

3. Shutter Speeds & F-Stops 

When holding the flower take care with your shutter speed as going too slow will result in shake and as you're working with direct light, going too slow will leave you with a shot that's over-exposed. Don't use a too wider aperture as the petals towards the front and back of the image will start to lose focus. Try starting with f/8 and reduce/increase from there.

 

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

 

“Photo North festival has something magical - this may sound like a cliche but it's different to other photography festivals. There is an atmosphere of equality, informality and mutual support and of course, a great programme of exhibitions and talks.” Visitor

 

Credit: Anne Worthington/Photo North Festival

From the series, Young Skins

 

Photo North Festival is back.

 

World renowned and emerging artists prepare to exhibit at Photo North Festival #7, 13-15 March 2026, The Carriageworks Theatre, Millennium Square, Leeds, UK.

 

As the winter ebbs away, the photography industry prepares to shine on the historically proud and culturally vibrant city of Leeds for the seventh edition of Photo North Festival.

Exhibitions by legends of the profession will be on display alongside up and coming photographers against a backdrop of talks, competitions, portfolio reviews, workshops, networking, screenings, book singings, food & drink and more…

 

EXHIBITIONS AND ARTISTS HIGHLIGHTS

 

The Leeds International African Arts Festival (LIAAF)

Guest curators LIAAF are bringing their vibrant celebration of African photography to the festival with an exhibition themed Earthwise- An Exhibition of Creativity, Community Reflections and Renewal, featuring multiple photographic artists including Arteh Odjidja, Tobi Dosumu and Ruth Agbolade.

 

Credit: Soulla Petrou/Photo North Festival

Sophie Ellis-Bextor

 

REWIND by Soulla Petrou

Rewind is a photobook by award-winning photographer Soulla Petrou, showcasing 15 years of work in the UK music scene from 1994 to 2009. Shot mainly on film, it captures the raw energy of a defining era in club and youth culture. ?? images will be exhibited from the book including a pre-famous Gerri Halliwel, Sophie Ellis-Bextor and Damon Albarn.

 

Jaywick Sands Happy Club by David J Shaw

Jaywick, Essex, is a village that sits within the constituency of the leader of Reform UK MP Nigel Farage, and will be heavily affected by climate change-related sea level rise. The village has an infamous reputation as ‘Britain’s most deprived area’ with many journalists and YouTuber content creators regularly coming to the village to continue this portrayal.  Made closely with the people the images represent, Jaywick Sands Happy Club aims to reframe the narrative of the village by providing a balanced view of a community in the UK that faces challenges that are echoed internationally.

 

This is Also Motherhood by Carolyn Mendelsohn and the Maternal Mental Health Alliance

Portraits of Mental Health, Strength and Survival. This exhibition reveals the often-hidden realities of motherhood and maternal mental health through portrait photography, still life, and audio. Created by artist Carolyn Mendelsohn in collaboration with 10 women with lived experience. It invites us to look, listen and understand.

 

Credit: Joanne Coates/Photo North Festival

From the series, Greenvoe and the Anti-Idyll

 

Greenvoe and the Anti-Idyll by Joanne Coates

This body of work draws deeply from the poetic vision of George Mackay Brown, particularly his novel Greenvoe, exploring the enduring tensions between progress and preservation in rural island life. Through photography, Coates explores the changing landscapes of Orkney—both physical and cultural—by leaning into the notion of the anti-idyll: the disruption of the pastoral dream and the confrontation with modernity on the margins.

Gurushots global community will host their Art of Photography and Street Photographer of the Year photo-challenge winners. 

 

Smoke and Mirrors by Seamus Murphy

Smoke and Mirrors is a powerful photographic exhibition by award-winning photojournalist Seamus Murphy, featuring an extended photo essay centred on the West Bank city of Nablus. Captured over two periods of time, the first in 2004 during the second intifada while working on the acclaimed Palestinian feature film Paradise Now. This commission allowed Murphy to explore how the carefully staged scenes on the film set often echoed the real-life drama and rituals playing out on the streets of Nablus. The second are photographs from spring 2025, connected by stories from 2004  which reflect on the ongoing realities of occupation and the strength and endurance of the Palestinian people. 

 

Credit: Mike Goldwater/Photo North festival

Tombstoning from Ramsgate east pier. From the series, ISLAND

 

ISLAND by Mike Goldwater

ISLAND is a documentary project about the Isle of Thanet, at the eastern tip of Kent. Thanet, once an island cut off from the mainland by the River Wantsum, is a place of deep history, rich ecologies and shifting human tides. The photographs pay tribute to the beauty, challenge and unique character of this special place. The photographs for ISLAND were taken between 2019 and 2024.

 

Ian Parry Photojournalism Grant

A presentation of work by the 2025 recipient of the Ian Parry Grant, Omar Ashtawy, who is living and working in Gaza. The Ian Parry Photojournalism Grant supports young and emerging photographers as they embark on their career.

 

FOUNDERS

 

Festival co-founder & curator, Peter Dench, says: ‘We recognise people are passionate about photography. Photo North Festival aims to introduce or advance understanding of the medium through our programme of exhibitions - to inspire and engage debate. We have one perfect venue, with headline events and renowned photographers confirmed and the list is growing. The creativity in planning the festival format, talks and screenings is something unique to offer people in the north of England and beyond.’

Sharon Price, co-founder & curator, says: ‘We’ve chosen thought-provoking works that provide relevant social commentary on some quite hard-hitting issues. We also have the beautiful and the poignant, that will appeal not only to enthusiasts seeking to be challenged, but also to those seeking a feast for the senses.’ 

Sharon and Peter have secured the sensational line up to deliver a thought-provoking, lively and inclusive festival that will appeal to the professional photographer, photo-enthusiast, keen amateur and anyone who wishes to engage with the timeless appeal of the medium.

Once again, Photo North Festival promises to be one of the most exciting and engaging European photo events.

13-15 March 2026 -  The Carriageworks Theatre, Millennium Square, Leeds UK.

 For more information about the Photo North Festival, please visit the event website.

Buying a monitor for photo editing feels a lot like reading the back of a memory card package: numbers everywhere, most of them meaningless without context, and manufacturers betting you won't ask follow-up questions. The difference is that a memory card mistake costs you convenience, while a monitor mistake costs you accurate color judgment on every image you edit. Here's what you need to know.

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The NIKKOR Z 24-105mm f/4-7.1 is Nikon’s latest attempt at the do-it-all full frame zoom that stays small, light, and relatively cheap. If a single lens lives on the camera most days, this one raises a very specific question: how much performance do you give up to get that kind of range in such a lightweight package?

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Let’s explore the often-overlooked significance of editing in photography and how it transforms raw images into compelling visual stories. We will break down the two stages of editing and provide examples that highlight the creative process involved in crafting mood and atmosphere.

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Light distance is the quiet setting that can wreck an otherwise solid portrait in minutes. Move a light a little, and the subject looks fine while the background suddenly turns muddy, or the exposure slides off without an obvious reason.

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The Canon EOS R6 Mark III sits in that uncomfortable spot where the spec sheet looks like an easy “yes,” but real use can still surprise you. If you shoot fast subjects, record serious video, or expect one body to cover both without excuses, the R6 Mark III is the kind of camera you want judged by what it does under pressure.

Coming to you from Christopher Frost, this careful video puts the Canon EOS R6 Mark...

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Gear advice gets loud when landscapes get quiet, and the loudest claim is that a superzoom can’t handle “serious” work. That idea pushes you into swapping lenses, second-guessing focal lengths, and leaving shots behind when the weather turns awkward.

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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.
 

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