Photography News

Photographing where you live might feel uninspiring at first glance. It’s easy to think that nothing around you is worth documenting, but with the right perspective, even the most ordinary places can become sources of meaningful stories.

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If you’ve dreamt about editing and retouching on a large screen with a pen, this might be the perfect time to achieve that because new-generation pen displays have arrived, and they’re now as good as, or probably even better than, your computer monitor.

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A good support is a particularly important tool for landscape photographers. Even if you're a compact camera user you should consider purchasing a tripod. If you're still not convinced that fastening a tripod to your rucksack isn't a good idea when you're off on your walk, have a read of our ten reasons why we believe you should.

 

1. Use longer lenses more comfortably with a tripod

If you planning on taking some long as well as wide lenses out with you they tend to be more prone to camera shake so having a tripod will keep your shots sharp. However, if you do want to work hand-held make sure you don't use a shutter speed that's lower than your focal length. Some take this further and say your shutter speed should be at least double the focal length you're using.

  2. Easily adjust height

If you have a sky that's bursting with colourful sunset shades and want to make more of a feature of it, adjust the height of your tripod so more sky is in frame than land. We know you can just raise your hands up higher but holding your hands up in the air isn't very comfortable and any movement, even a small sway, could add unwanted blur to your shot. If you do want to adjust the height, make sure you pull all the legs out to their maximum length before using the centre column. Why? Well, even though it's easier to adjust than three legs, the support won't be as sturdy.

  3. Create slower shutter speed images easily

If you're planning on taking photos that turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. The problem with slower shutter speeds is they're not a great choice when working hand-held as you have to stay very still to stop shake and if you don't, blur will creep into your shot. However, stick your camera on a tripod and you can set shutter speeds that are many minutes long and shake won't factor into it. While we are talking about shake, try using a remote release or the camera's self-timer to fire the shutter to stop any small movement that you moving your hand away from the camera may create.

 

 

4. Create multiple exposures

If you're shooting a scene where the camera can't handle all of the different exposure levels present, you may want to try shoot a series of separate shots that each focus on the dark, middle and light parts of the image which are then combined to create one balanced exposure. If you're unsure whether the location you're at will work better with HDR, take a few sample shots and have a look at the areas that are in shadow. If you think there's detail that's lost in these darker areas that will improve your photograph then have a try at HDR.

A tripod is essential for this type of photography as the smallest of movements can adjust your framing which means your shots won't line up when you try to merge them together. As a result, once you've framed up, lock your camera's position, ensuring all screws are fastened tightly and that all leg locks won't come loose.

  5. Create smooth panoramas

If you want to shoot some landscape panoramas, having a tripod will help keep your shots steady and make them easier to stitch together once back in front of the computer. Start at either the left or right of the image, whichever you're more comfortable with, and allow for some overlap between each frame. It's always worth doing a 'dummy run' so you can make sure everything you want in the scene can be captured and to double-check you have enough overlap between each shot. It is important that focus is not adjusted during the panorama so take care not to touch the focus barrel once you have focused and set your white-balance manually so you don't have to make small tweaks to individual shots once back home. For scenes with details much closer to the front of the frame you'll need to use a panoramic head.

 

6. Take your time to compose properly

We know it's been said quite a few times but it doesn't hurt to mention it again, particularly to those who are new to landscape photography. What are we talking about? Well, the actual process of setting up your tripod, putting your camera through it and looking through the viewfinder does take some time and as a result, it slows you down and makes you think more about the shot you're taking. If you didn't have a tripod with you it would be very easy to take your camera out of its bag, fire off a few shots quickly and move on to a new location without really giving much thought about composition and the overall shot you're trying to achieve.

 

  7. More stability in windy weather 

If you find the weather turns a little blustery you'll need a sturdy tripod as unlike us photographers, they're better at balancing so won't get blown and pushed around as easily. If you find you need a little more weight and your tripod features a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still.

 

8. Set up low angle landscapes

For something a little different, adjust your tripod legs so you can shoot lower to the ground. This can give foreground detail more emphasis, really changing the feel of your landscape shot.

  9. Set up in water, use a remote trigger 

Sometimes you have to get your feet wet to get the shot you want but trying to stand upright in water that's moving on what can be slippy rocks is hard enough on your own, without a camera in your hands. To minimise the chances of you dropping your camera in the water, put it on a tripod. If the tripod doesn't have to be too far in the water you could also use a remote release/cable to fire the shutter from the water's edge rather than getting in yourself. Do make sure your tripod won't topple over and if you have them, use spiked feet to bed the tripod into the floor. If you're shooting at the coast, remember to clean your tripod after dunking it in the sea as saltwater will rust it.

  10. Capture images with low light minus movement blur

Shooting at sunrise, sunset or during the night so you can capture a sky full of stars, requires the use of slower shutter speeds, which, as mentioned, means you'll have to use a tripod as working hand-held can result in shake spoiling your shot. You can try nudging your ISO up to quicken your shutter speed but not all cameras produce good-quality shots when higher ISOs are used so the safest option is to take your tripod with you so you can use longer shutter speeds.

 

Groundbreaking full-frame cinema camera to be showcased for the first time to UK photographers and creators

 

The Society of Photographers is thrilled to announce that visitors to its upcoming Photo Roadshows will be the first in the UK to see Nikon’s revolutionary ZR full-frame cinema camera in person. Following this week’s worldwide launch, Nikon and RED have confirmed that the ZR will be on display at the events—marking a unique opportunity for UK photographers and filmmakers to get hands-on with the new Z CINEMA line.

Unveiled globally on 10 September, the ZR is Nikon’s lightest all-in-one cinema camera, offering 6K/60p recording, renowned RED colour science, 32-bit float audio, and a semi-stacked full-frame sensor with 15+ stops of dynamic range. Designed for creators on the move, it delivers professional-level cinematic power without the need for bulky external gear.

At the September Roadshows, Nikon will also showcase the new ME-D10 digital shotgun mic and host a colour grading setup, allowing visitors to grade ZR footage themselves. While The Society’s events are primarily photo-focused, the ZR’s arrival underscores the growing crossover between stills and video—offering photographers curious about motion work a rare chance to explore high-end filmmaking tools.

 

 

Bruno Murari, Nikon Europe, commented:

“We’re excited to bring the ZR to UK creators for the very first time at The Society of Photographers Roadshows. It’s a perfect environment to introduce this camera to a passionate, photo-centric audience eager to expand into video.”

Roadshow Dates and Locations:

• Tuesday 16 September 2025 – Webbington Hotel & Spa, Somerset
• Wednesday 17 September 2025 – Green Park Conference Centre, Reading
• Thursday 18 September 2025 – Priestfield Stadium, Kent

Book Your Free Tickets:

For more information and to register, visit The Society of Photographers website.

Get Your FREE Tickets Today!

I entered the field and profession of photography in 1978, having worked as a photographer’s assistant for two years. While working as a photographic assistant in a very busy portrait commercial studio, there was an opportunity to learn some of the ins and outs of running and managing a professional studio—things like scheduling sessions, making sure work was delivered in a timely manner, ensuring payment was received on time, managing staff, marketing, etc. There was so much more I needed to know about running a photographic business than simply creating usable, saleable, even stunningly beautiful images.

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In 2025, Pentax is no longer shaping the mainstream camera conversation. Canon, Nikon, Sony, and Fujifilm dominate the industry’s attention, while Olympus has reinvented itself as OM System and Panasonic has carved a strong reputation with its video-centric shooters. Pentax, meanwhile, has taken a quieter path. Instead of chasing trends, it has remained stubbornly dedicated to DSLRs, releasing incremental updates while others pour resources into mirrorless innovation. To outsiders, it looks like Pentax is stuck in the past. To insiders, that refusal to change is the very reason they remain loyal.

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While new lenses aim for perfection, many think they are too sterile. The flaws of vintage glass have become unexpectedly sought after. The problem is that shooting with them is an expensive and impractical endeavor. This new plugin for DaVinci Resolve aims to solve this problem. Can it deliver?

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Most photographers imagine their kit as a toolbox: an ultra wide for sweeping scenes, a zoom for everyday life, a telephoto for reach, and maybe a fast prime for creative flair. That setup promises flexibility. But what if the very act of having so many choices is holding you back?

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Photographers talk a lot about cameras, lenses, and lighting, but the truth is, most of the mistakes that cost you money come from the business side. Misunderstandings about taxes, pricing, and what it means to be a professional can quietly drag your career down if you don’t deal with them.

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Viltrox has just released a new contender in the mini-flash market, and I tested the new Viltrox Spark Z3 TTL on-Camera Mini Flash ahead of its release. I was excited to add some fun back into my photography. What I didn’t expect was for this cool cyberpunk-looking mini flash to win me over so much that I can’t stop talking about it. In this review, I will demonstrate why, as I put this pocket-sized flash through its paces.

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Sigma’s 35mm f/1.2 DG II Art trims real weight and bulk while promising cleaner optics and quicker autofocus than the first version. If you rely on a fast 35mm for portraits, events, or video, this kind of update changes how long it stays on the camera, how backgrounds melt at f/1.2, and how reliably focus lands in low light.

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Two bright APS-C primes with a reputation for bold styling and fast glass get a workout in the real world in this helpful video review. The focus is practical: how f/1.2 affects autofocus, handling, and day-to-day shooting .

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

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

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

1. Techniques to adopt

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

 

2. Blur can be good

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

3. But does the camera need to move?

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

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

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

Eleven years ago, I bought the Canon EF 70-200mm f/4L (non-IS). It wasn’t the lens most people in sports photography recommended. It didn’t have the aura of the f/2.8 — the sideline king, the badge of seriousness, the one that whispers “pro” when you sling it over your shoulder.

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

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

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

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

 

Terms and Conditions:   1) Eligibility

 

ENTRANTS MUST:

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

 

WINNERS MUST:

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

 

2) Entry Procedure

 

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

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

You will receive confirmation that your entry has been received.

There is no entry fee.

Closing date for entries midnight 19th October 2025.

 

3) Judging Procedure

 

ROUND 1

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

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

 

ROUND 2

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

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

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

 

4) Criteria

 

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

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

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

 

5) Winners

 

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

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

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

 

6) The Prizes

 

- Representation by LPA for 2 years subject to contract

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

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

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

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

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

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

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

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

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

 

7) Copyright/Usage of Images

 

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

 

8) Indemnity

 

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

 

9) Further Information

 

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

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

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

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

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

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

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