Ephotozine

 

As the weather's getting cooler and trees are losing their green tint to shades which are much warmer we thought it would be a good idea to bring ten of our popular autumn photography tutorials together in one place. That way when you're planning a day of autumn photography you don't have to go all over the web searching for ideas and suggestions.
 

1. Autumn Macro Tips With A Compact Camera

Just because you're using a compact camera doesn't mean you can't shoot some interesting, autumn-themed macro shots. Here are some tips and hints to help compact users perfect their technique.

 

2. Photographing Reflections During Autumn

With such bold colours on offer, autumn's the perfect season for capturing reflections. We have tips on capturing a mirror-like reflection as well as advice on shooting more abstract style shots.

  3. Autumn Garden Photography Tips

Your garden is full of autumn photography subjects which means you can stay close to home and still capture the season with your camera and lens.

 

4. Tips On Shooting Autumn Landscapes

Capture the autumn season with your wide-angle lens and you'll soon have a collection of autumn landscapes that really pack some punch.

 

5. Autumn Shooting at Arboretums

Here are a few tips on photography in an Arboretum. With trees all around and wildlife and flowers abundant, there's no excuse not to break the camera out!   

 

The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

1. Gear Choices

A telephoto lens is useful for pulling distant scenes to you while a wide lens is great when you're trying to get a whole town/city in the shot. A tripod's also handy if you're using longer lenses but not always a necessity and they won't be allowed in some locations. If shooting at night, a camera with good low-light capabilities will come in handy. 

  2. Locations

Don't look for your nearest skyscraper, get in a lift, ride to the top floor and start snapping shots of the city. You'll cause more trouble than it's worth, and there are plenty of other places that don't have huge panes of glass between you and the view.

If you're away you probably have a balcony you can get a few shots from or if your hotel has a roof terrace head up there with your kit and set up somewhere out of the way. Just ask if it's OK to do this first otherwise you could raise a few eyebrows. Look out for observation decks, bridges and even the big wheels that are popping up in cities. These usually take an hour to complete a full circle giving you ample time to get a few cracking shots.

 

3. New Look

Shooting straight down on a building that's been photographed hundreds and hundreds of time will instantly make your shot stand out and it will give you the opportunity to include the nearby streets to highlight the shapes and patterns not usually seen. You'll also be able to see how shadows are elongated and help add texture to your image. If you're not far enough away from the town/city all the buildings could appear to be all on the same level so you'll have nothing that distinguishes between foreground or background interest. To combat this problem look for something you can have in your foreground to help break up the shot.

 

 

4. Not So High

If heights aren't your thing why not try climbing a few steps or even standing on a wall to escape the standard view we usually see in shots. Looking over the bannister of a spiral staircase, for example, works well but it is something that's overdone and a little clichéd so be warned. Try taking a walk up a hill in the countryside near a city and you'll be able to shoot down to capture a cityscape.
 

5. Close-Up Work

Look out for buildings which stand out and use your telephoto lens to home in on them. These could be well-known landmarks, churches or even football stadiums.
 

6. Keep Your Feet On The Ground

If you want a series bird's eye view why not try a spot of kite photography? Some have even tried throwing their camera up in the air to put a unique twist on photography from a height. Although, this isn't something we'd recommend doing! 

   

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

 

A beautiful landscape titled ‘Ridge Light’ by BIGRY1 has been named our latest 'Photo of the Week' (POTW) winner.

The scene carries a strong autumn feel, with warm tones across the hills and a soft golden glow that marks the season. Light breaks through the clouds and falls across the ridge, revealing the rise and fall of the land with striking detail. The contrast between sunlit slopes and shaded valleys builds a sense of depth, while the stone path and fence give the composition order and direction. The superb light and balanced framing create a photograph that reflects the mood of autumn and shows the scale of the landscape.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

In our busy modern lives, it is often complicated to find the time to shoot great autumnal images, considering the amount of research, walking and perseverance that is often involved. Big hitters like the New Forest and The Lake District are often out of reach for city dwellers, especially with a family in tow. So this coming autumn has a go at visiting an arboretum, as they make a brilliant and easy alternative, keeping the kids amused with throwing leaves at each other while you take some breathtaking opportunities to capture autumnal photography.

1. What kit is best?

When it comes to kit, fit a medium telephoto lens to your DSLR as it'll be particularly handy for capturing leaf and branch detail. Make sure you pocket your macro lens too. Don't forget your wellies when you visit an Arboretum as they do get a lot of visitors and the ground gets well-trodden.  

2. Why are arboretums so good as photographic locations?

Right, back to arboretums! As they are collections of trees from various continents, this can be just the ticket to an easy shoot. Horticultural planners include sensational visual displays to attract visitors in their thousands, to places like Westonbirt Arboretum in Gloucestershire to name one of the UK’s favourites. Yet it's not as simple as falling off a log, you need good sunshine and a well-timed visit to get the best from the colours and the day.

3. Any particularly stunning trees I should look out for?

There are two tree species to look out for - Maples and Acers. Most arboretums have these trees in their collection and they feature heavily in annual publicity shots (hence generating a huge car parking revenue each year, vital to the arboretum's upkeep). Westonbirt is not cheap to get in, but consider where this money is actually going.

4. What conditions are best?

It's best to wait for sunshine to give dimension to the trees, but if the day starts a bit flat and dull, all is not necessarily lost. Concentrate on staging some ideas, such as putting leaves on interesting textures or making arrangements of leaves themselves.

Also, try the good old zoom burst technique. Put an ND filter on the lens, set an aperture of f/16 and the ISO as low as possible. This should give a long shutter speed, maybe a few seconds. Set the camera's two-second timer, press the shutter and then zoom into the shot and create a wonderful vortex of colours. It's easy to do and is very effective.   

© OM SYSTEM

 

OM Digital Solutions Corporation has announced the release of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO. Designed in full compliance with the Micro Four Thirds System standard, this model proudly joins the OMSYSTEM line of imaging products.

This large-diameter super telephoto zoom lens features a constant F2.8 aperture throughout the zoom range with a 100-400mm equivalent focal length that goes up to 800mm equivalent1 (when using the M.ZUIKO DIGITAL 2x Teleconverter MC-20), offering truly unique photographic experiences.

This model delivers excellent resolution across the entire zoom range that only the PRO series and its culmination of cutting-edge optical technologies can provide. It is compatible with 5-axis sync IS (up to 7.0 steps2 of compensation) for powerful support during handheld super telephoto shooting. With a maximum image magnification of 0.5x equivalent1, it also offers superb close-up photography capabilities. This high-performance super telephoto zoom lens is designed to meet the demands of photographers across a wide range of genres, from sweeping natural landscapes to fast-moving birds, elusive wildlife to detailed macro shooting. This lens is sold on order basis.

 

Key Features of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO:

• One-of-a-kind high image quality, large-diameter super telephoto zoom lens offering 100-400mm, F2.8 equivalent with the lens alone, and up to 800mm, F5.6 equivalent when using the 2x teleconverter
• 5-axis sync IS for easy handheld shooting with up to 7.0 steps of shutter speed compensation
• Excellent reliability and operation that supports shooting even in harsh natural environments

 

© OM SYSTEM

 

At OM SYSTEM, we have always been a pioneer in optical design. From the beginning, M.ZUIKO lenses have symbolized precision, quality, and reliability. With a heritage dating back to 1936, we continue to innovate for the photographers of tomorrow. The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is a true innovation, offering unmatched range, speed, and portability across a vast array of photographic genres.

 

Pricing & Availability for M.ZUIKO DIGITAL ED 50-200MM F2.8 IS PRO:

The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO will be available from 6th October 2025, at a suggested retail price of £2,999

For more information, please visit the OM SYSTEM website.

 

If you're looking for lighting advice, be it for capturing portraits on a sunny day or shooting landscapes in summer, we probably have a tutorial to help you.

 

1. Five Top Tips On How To Control & Work With Natural Light

Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.

 

2. Photographing Low Light Portraits

Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family.

 

3. Six Top Natural Light Portrait Tips For Beginners

Get back to basics and make the most of natural light by capturing portraits without flash or studio lights.

 

4. Five Top Tips On How To Use Window Light For Indoor Portraits

Daylight is free and it is wonderful for portrait work as not only is it flattering and photogenic but it's really easy to work with so it's a good place for beginners to start. You don't need a fancy studio, either, as you can pick a location outdoors or simply set-up next to a window in your own home.  

 

5. Three Top Tips On Using Fill-In Flash For Portraits

Fill-in flash can give images that extra bit of 'pop' they need as we explain in this article.

 

 

6. A Basic Introduction To Outdoor Photography: 4 Top Outdoor Lighting Tips

Light's an important tool for photographers and knowing how to make it work to your advantage when capturing photographs outdoors is essential.

 

7. How To Use Built-In Camera Flash Successfully

Flash can give images that extra bit of 'pop' they need and many cameras feature several flash modes for you to pick from so we're going to talk through the various modes available and how they work. 

 

8. Top Portrait Photography Tips That Use Just One Light

With just 1 studio light, the COOPH team demonstrate how you can create different/unique portraits by manipulating how the light falls to enhance portraits and, as a result, greatly improve your overall results. 

 

9. Three Top Tips On Controlling And Using Flare In Your Photos

If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

 

10. Nine Portrait Photography Light Hacks In 90 Seconds

We've got 9 lighting hacks to share with you which you can use the next time you're capturing portraits.

 

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

 

The beauty of this time of year is that the sun rises at a more reasonable hour so an early morning jaunt to the woods isn't as painful as it was a few weeks ago. To top this already good news off, the chances of you finding mist circling around the trees is a lot higher at this time of year and when you mix this with your rising sun, you have the chance to capture strong beams of light as they burst through the trees.

 

1. Hope The Mist Is Right

You have to have the right type of mist for this - too thick and you won't be able to see the end of your nose let alone a sunbeam but if it's too thin there won't be enough moisture in the air for the light to reflect off. Read up on fog and mist techniques to become an expert at dealing with it. 

 

2. Take A Good Look At The Trees

It can be a little hit and miss but when the right density of mist does appear, you'll be able to capture some cracking shots as long as you have the right number of trees. Too many and you'll have broken, uneven patches of light but if there's too few the light will flood the open spaces leaving you with plenty of light but no beams. Your best bet is to quickly move to several locations to judge what looks the best before setting up camp. We say move quickly as the mist can vanish and the light can change quickly.

This also means you need to work quickly so do be familiar with your camera's controls and how you can adjust apertures etc. quickly to maximise your opportunities. Some cameras have dedicated dials you can assign specific controls to or offer ways you can access a particular setting more quickly.    3. Position Yourself In The Right Place For this to work properly you need to be shooting into the sun. Of course, this means you could have problems with flare but if you position yourself so the sun's hidden by a tree or foliage the light won't be as bright.
  4. Metering Tips

Metering is another tricky subject when you're working with direct sunlight and shadowy areas you don't want to lose too much detail in. To keep as much detail as possible don't meter from the direction of the sun instead, pick an area away from the light then compose your shot.

 

Sales Start Date: October 2025

Recommended Retail price: £2,199 (UK), €2,449 (ROI)

 

Nikon | RED extends the Z CINEMA line with the addition of the ZR full-frame cinema camera. Built for filmmakers and creators on the move, the ZR is the lightest all-in-one cinema camera around and punches well above its weight in cinematic power. Thanks to its 6K full-frame sensor, renowned RED colour science, large on-camera monitor, and internal 32-bit float audio, users shooting with the all-new ZR can nail stunning footage and clean sound without the need for external gear.

From carefully staged scenes to run-and-gun video footage, the ZR is the perfect tool for storytellers who want to elevate their video output. Up to 6K/60p in-camera recording and a full suite of professional video recording formats provide the flexibility to deliver for practically any platform or workflow. Standout features include an exclusive R3D NE codec, which brings renowned RED colour science to Nikon. Plus, the ZR boasts a Dual Base ISO of 800/6400 which maintains the sensor's 15+ stop dynamic range for maximum detail in highlights and shadows.

For agile set-ups, the ZR's 4-inch Vari-angle monitor is a huge asset. The large, bright display functions as an expansive control hub and it covers the DCI-P3 colour gamut for accurate on-set colour monitoring. Since the picture is only half the story, the ZR also makes its mark as the first camera in the world to offer internal 32-bit float audio recording. The dynamic range of 32-bit audio is so vast that levels won't need to be monitored constantly during filming: sound can be captured freely, and the levels adjusted in post without clipping.

Other professional ZR features include full weather sealing and vast lens choice thanks to compatibility with Nikon and third-party lenses. In addition, the ZR offers extensive system expandability, and Nikon's new ME-D10 digital shotgun mic covers rich directional audio capture in a wide range of recording environments.

Zurab Kiknadze, Product Manager, Nikon Europe says: "Today, we're raising the curtain on the first truly cinematic Nikon camera. Our collaboration with RED is bearing fruit, and the cinematic future looks bright!"

 

 

Summary of key features: ZR cinema camera

• Up to 6K/60p in-camera recording: flexible frame rates and resolutions. From cinematic 24p to 240p extreme slow motion. From richly detailed 6K to crisp, compact 1080p.
• Semi-stacked full-frame sensor: wide dynamic range and fast read-out speeds that effectively minimise rolling shutter distortion.
• Renowned RED colour science: an exclusive R3D NE codec from RED allows immense freedom in post and enables ZR footage to be matched with video shot on a RED camera system.
• Large, bright 4-inch Vari-angle touchscreen monitor: covers the DCI-P3 colour gamut and boasts a generous 16:10 display format. Functions are controlled with soft, quiet screen taps, and up to 10 3D LUTs can be loaded into the camera for viewing on the monitor while filming.
• Dual Base ISO of 800/6400: when shooting in Log3G10. The sensor's wide 15+ stop dynamic range is maintained at both base ISOs.
• In-camera 32-bit float audio recording: capture sound freely using the camera's internal mics, or a compatible external mic, and adjust the levels in post without clipping.
• Cinematic video modes and custom RED Picture Controls: 4 creative video modes and 9 custom RED presets for content with a cinematic look and feel straight out of the camera.
• Fast, intelligent AF: quick, accurate, reliable, and customisable. Intelligent subject detection and tracking, custom wide-area AF, and selectable AF speeds for smooth, repeatable focus transitions.
• 5-axis in-body image stabilisation: Nikon's sensor-shift Vibration Reduction keeps footage steady.
• Focus-breathing compensation: for smoother, more natural-looking transitions.
• Long recording times: an innovative body design efficiently and quietly dissipates heat.
• Light, tough: the ZR weighs approx. 540 g (body only) and is fully weather sealed.
• Z mount for flexibility in lens choice: attach any Nikkor Z lens, any Nikon F-mount lens, and a wide range of third-party lenses.
• Expandable: Nikon and partner brand accessories make it possible to put the ZR at the heart of an extensive video rig.
• New ME-D10 digital shotgun mic: compatible with the 32-bit float audio format and boasts a 77 dB signal-to-noise ratio for distortion-free sound.

 

RED Digital Cinema, Inc. releases the V-RAPTOR XE

RED Digital Cinema, Inc., a subsidiary of Nikon Corporation, is pleased to announce the release of the new V-RAPTOR XE digital cinema camera, which was released on 9th September, 2025. Joining the acclaimed Z CINEMA camera lineup, this streamlined version of the revolutionary V-RAPTOR [X], curates the essential tools for cinematic storytelling. Designed for independent creators who demand uncompromising image quality, the V-RAPTOR XE delivers large format, cinema-grade features at a more accessible price point. The new camera retains RED's industry-leading 8K large format (VV) global shutter sensor found in the V-RAPTOR [X] series, ensuring cinematic image fidelity, dynamic range, and low-light performance that filmmakers around the world trust.  Nikon and RED will meet a wide range of needs in film production with an extensive lineup of cinema-oriented products under the Z CINEMA series.

For more information, please visit the Nikon website.

Image Credit: Tittu Shaji Thomas/tpoty.com

 

• Deadline approaching — enter by October 13, 2025
• £10,000 cash prize package
• NEW - a 7-day cultural journey in Sri Lanka courtesy of Visit Sri Lanka and Jetwing Hotels
• NEW - 5 Rising Talent winners to experience an exclusive international mentorship in Sri Lanka, including with some of the nation’s leading wildlife photographers 
• NEW - Travel Image of the Year automatically selected from all entries
• Free 30-day trial of Radiant Photo software for all entrants — approved within competition rules

 

The Travel Photographer of the Year (TPOTY) awards — widely regarded as the world’s most prestigious travel photography award — are issuing their final call for entries. Now in its 23rd year, TPOTY is a showcase for the very best in travel imagery, attracting entries from more than 158 countries and producing winners representing 57 nationalities for both established and emerging photographers.

 

What sets TPOTY apart:

• A truly global stage — with photographers from every continent represented
• Run by photographers, for photographers, with copyright fully protected
• World-class judging by leading photographers, editors, and industry experts
• A platform that has launched careers, with winning work published in leading international outlets and exhibited around the world

 

Prizes with Impact

This year’s overall Travel Photographer of the Year will receive:

• A significant cash award
• A once-in-a-lifetime 7-day trip to Sri Lanka, supported by Visit Sri Lanka and Jetwing Hotels
• An exclusive portfolio review with a top New York agent

The overall winner is chosen from the portfolio category entries.

 

Image Credit: Roie Galitz/tpoty.com

 

Calling all amateur and semi-pro photographers

In addition, five winners of the Rising Talent category will take part in a mentorship program in Sri Lanka, guided by two of the nation’s leading wildlife photographers, thanks to the generous support of Visit Sri Lanka and Jetwing Hotels.

 

Create impact with your images

To help all entrants prepare and use software which is not AI, sponsor Radiant Photo is offering every participant a 30-day free trial of its image editing software (link on TPOTY website), with all winners receiving a lifetime license. Radiant Photo uses non-generative AI and fully permitted under TPOTY’s competition rules.

 

Categories

Travel embraces many genres so TPOTY showcases the best in contemporary colour and B&W photography in wildlife, culture, landscapes, portraits, climate, adventures, video, and young talent, with awards for both portfolios and single images. Entry is open to everyone and worldwide — whether you’re a seasoned professional or a first-time explorer.

 

Chris Coe, TPOTY Founder, said: “Each year TPOTY reveals new perspectives from every corner of the world. These photographs aren’t just images — they’re invitations to step into someone else’s world.”

Past winner Athanasios Maloukos (Greece) said: “After winning TPOTY, my images were published in 111 publications worldwide. The recognition transformed my career.”

Deadline: October 13, 2025

Entries close soon. Don’t miss your chance to take your place on the world stage.

Enter now!

 

Canon Europe unveiled the expansion of its cinema lens range with the launch of its widest-ever Cine-Servo lens.. With its ultra-wide 11mm focal length and expansive 100-degree angle of view, the Canon CN5x11 IAS T R1/P1 is a flexible choice for confined studio setups and dynamic live events, where framing both the subject and setting is essential. Available in either RF or PL mount, the new lens features the latest e-Xs V Digital Drive Unit for superior control and functionality.

At approximately 3kg, the CN5x11 IAS T R1/P1 is the most lightweight lens in Canon's Cine-Servo lineup – ideal for gimbals, cranes, robotics and wire cams. Camera operators shooting shoulder-mounted will also appreciate its reduced weight.

"With the CN5x11 IAS T R1/P1's diverse capability and balanced build, this super-wide 8K Cine-Servo lens offers exceptional edge-to-edge sharpness and image quality, with mobility for broadcast professionals," says Canon Europe's Product Marketing Specialist Mark Fensome. "Thanks to the built-in 1.5x Extender, this lens is highly versatile – either extending the range when used on a Super 35mm camera or enabling compatibility with Full Frame cameras. It delivers a shallow depth of field that lends a more cinematic look to live production and newsgathering, as well as high-end documentaries and dramas."

Thanks to its removable servo unit, the CN5x11 IAS T R1/P1 can be easily configured for live sports and events or cinema. It is the second Cine-Servo lens to be equipped with Canon's next-generation e-Xs V Digital Drive Unit, which offers more precise and ergonomic servo control, a more responsive iris and USB-C connectivity.

The CN5x11 IAS T R1/P1 is available in RF or PL mount, further enhancing its versatility. In PL mount, the lens supports Cooke /i Technology™ and ZEISS eXtended Data™ for real-time output of metadata, while the RF mount variant brings additional capabilities – including Dual Pixel CMOS AF support for fast and smooth autofocus, plus advanced lens correction data.

 

Key features of the CN5x11 IAS T R1/P1:

• Widest Canon Cine-Servo lens, with an 11-55 mm focal length and 100-degree angle of view
• Super 35mm lens with Full Frame support (via built-in 1.5x extender)
• Approx. 3kg in weight, providing comfortable on-the-shoulder shooting and extensive rigging flexibility
• Premium 8K HDR optical quality with 11-blade iris
• Removable, latest generation e-Xs V digital drive unit, featuring a high resolution 16-bit absolute value encoder with advanced servo control, focus breathing correction and improved ergonomics
• RF or PL mount communication with real-time metadata output, supporting virtual production systems and VFX workflows; RF mount also supports lens distortion correction and Canon's advanced Dual Pixel CMOS AF system
• Versatile design for diverse broadcast and cinematic production

For more information, please visit the Canon website.

 

Canon Europe introduced the new EOS C50, a highly versatile, full-frame, RF-mount hybrid Cinema EOS camera for professional videographers and agile production crews.

As the smallest camera in the Cinema EOS range to date, the EOS C50 fits seamlessly into a wide variety of filming set-ups – from fast-paced shoots to large scale productions. Its compact design, however, conceals a wealth of professional capabilities.

At the heart of the EOS C50's unique design is a new 7K full-frame CMOS sensor which, together with an advanced DIGIC DV 7 processor, delivers outstanding image quality for both video and stills – including internal RAW video recording at up to 7K 60P, high frame rate recording at up to 4K 120P / 2K 180P, and detailed 32MP high-resolution photos.

The EOS C50 is the first Cinema EOS camera to offer open gate recording, which uses the entire area of the sensor for maximum resolution and flexibility. Capturing the full width and height of the sensor using the new Full Frame 3:2 sensor modei provides a larger image that utilises the full image circle of full-frame lenses. Open gate recording offers filmmakers greater flexibility in post-production, enabling horizontal and vertical movie formats to be freely edited from the same footage, with ample room for reframing shots. When paired with anamorphic lenses, the result is a taller image with a wide immersive cinematic look.

For videographers facing fast turnarounds, a full-angle image and a cropped vertical or square version – ideal for social media and advertising – can be captured at the same time using the EOS C50's Simultaneous Crop Recording function. The cropped area can be shifted horizontally for optimum framing and recorded in a different format to meet delivery requirements.

 

Combining high-resolution with hybrid capability for video and stills

As a true hybrid camera, the EOS C50 combines advanced 7K video and 32MP stills capabilities. The display is optimised based on whether the camera is in Video or Photo mode – featuring the familiar Cinema EOS interface for video and classic Canon EOS R menu system for stills.

Videographers and photographers alike can take advantage of Canon's Dual Pixel CMOS AF II, offering high-speed, high-accuracy subject detection and tracking. Precision extends to selecting which eye to prioritise in people, dogs, cats and birds – with additional controls for tuning autofocus speed and tracking response to suit the subject.

 

A unique and versatile design that adapts to dynamic shoots

Built for agility, the EOS C50's lightweight, modular design enables intuitive operation, whether shooting handheld or on a gimbal. With its linear, low-profile body and multiple accessory mounting points, it integrates seamlessly into modern rigging setups. The camera can be mounted either horizontally or vertically, with the display and menu settings automatically adjusting to support vertical orientation.

The EOS C50's detachable handle unit improves control and comfort. It features two full-size 3-pin XLR audio terminals and control dials for professional-quality audio recording, plus a REC button and zoom rocker for convenient, camcorder-style control during fast-paced shoots.

In addition to native support of the diverse range of RF lenses, EF/PL lenses can be attached to the EOS C50 via the optional Canon PL-RF Mount Adapter, which can be securely fastened to the camera body, as well as a selection of Canon EF-EOS R mount adapters.

 

 

Effortless connection options for diverse workflows

An extensive selection of connectivity options ensures that the EOS C50 meets the demands of modern professional productions. In addition to XLR inputs, the camera features a MIC terminal, Timecode terminal, HDMI OUT (Type-A) and USB (Type-C). Dual card slots for CFexpress and SD cards provide a wealth of simultaneous recording options, including different file formats, resolutions and proxy setups.

The EOS C50 includes UVC/UAC support for high-resolution livestreaming at up to 60P/50P via a single USB cable, plus XC Protocol for remote operation of the camera using compatible smartphone applications or hardware accessories such as Canon's RC-IP1000 Remote Controller. Video clips and still images can be transmitted to clients in real time over Wi-Fi or USBii with Canon's professional Content Transfer Professional (CTP) app.

Canon's collaboration with Adobe has been extended to the EOS C50 by making the camera compatible with Frame.io's Camera to Cloud connectivity. Along with the EOS C400 and the EOS C80, this compatibility allows proxy files to be sent directly from the camera to the Frame.io platform, enabling a seamless and reliable path from production to post.

With its robust connectivity, flexible design and powerful full-frame capabilities, the EOS C50 sets a new standard for compact cinema cameras. Building on the success of the EOS R5 C, it delivers uncompromising image quality for both video and still photography.

Canon is also delighted to announce a range of significant free-of-charge firmware updates for existing Cinema EOS cameras coming later this year. This includes the addition of 3:2 Open Gate RAW Recording at 6000x4000 resolution to the EOS C400, View Assist during Playback on the EOS C80, among other improvements to core features such as focus peaking on both cameras, as well as the EOS R5 C and EOS C70.

 

Key features of the EOS C50:

• High-resolution hybrid capability: 7K 60p internal RAW video recording, 32MP still photos
• Advanced 7K full-frame CMOS sensor with open gate video recording
• 7K oversampling for higher resolution 4K movies
• Dual Base ISO support (ISO 800/6400iv), with up to 15+ stops of dynamic range
• Flexible range of professional recording formats, including 12-bit Cinema RAW Light, Canon Log 2, Canon Log 3 and XF-AVC S / XF-HEVC S
• Versatile, compact design with detachable handle unit and extensive rigging capability
• Native RF mount, compatible with mount adapter attachment for EF/PL lenses
• Two XLR audio inputs, Timecode terminal, HDMI OUT (Type-A), USB (Type-C), Multi-function shoe
• Dual slots for CFexpress and SD cards, enabling simultaneous recording of different formats to each card

For more information about the new EOS C50, please visit the Canon website.

Esquisse Camera is developing a premium, ultra-compact digital camera designed to be carried everywhere and used often. It combines a large Four Thirds sensor with a durable, all-metal body, intuitive manual controls, and compatibility with the Micro Four Thirds lens system.

This camera is small enough to fit in a coat pocket and light enough to bring along without a second thought. Built for photographers who value simplicity, quality, and portability, the Esquisse Camera offers an alternative to the bulky and complex systems that are often left behind.

Specifications are targets and may evolve during development.

 

Key Features

 

Simple Controls

The Esquisse Camera features physical dials for ISO and exposure compensation, a clickable control wheel, two customizable function buttons, and a responsive touchscreen. All essential settings are within reach, so photographers can stay focused on the image.

 

Durable Build

Each camera body is milled from a single block of aluminum for strength and longevity. The clean, modern design is accented with fine leather for comfort and grip. It is dust and splash resistant.

 

Designed for Portability

Measuring just 105 × 70 × 35 mm and weighing under 350 grams, the Esquisse Camera is smaller than a deck of cards. It is made to be carried all day, every day.

 

Excellent Image Quality

A 20MP+ Four Thirds sensor delivers strong low-light performance and wide dynamic range. The camera is designed for compatibility with Micro Four Thirds lenses, including autofocus support, giving photographers access to a large selection of high-quality, compact lenses.

Technical Specifications (Targeted)

 

Category Item Intended specifications Sensor & Image Quality

Sensor Type

ISO Range

Autofocus

Dynamic Range

20MP+ Four Thirds CMOS

200 - 25,600

Multi-point AF System

13 stops

Physical & Connectivity

Dimensions

Weight

Battery Life

Connectivity

105 × 70 × 35 mm

350g (body only)

300+ shots

Wi-Fi, Bluetooth, USB-C

Display & Controls

Rear Screen

Viewfinder

Control Layout

 

Weather Sealing

3" touchscreen

3.69M-dot OLED EVF

ISO and exposure compensation dials, clickable wheel at the back, 2 function buttons

Dust and splash resistant

Storage & Mount

Storage

Lens Mount

Lens Compatibility

Body Material

256 GB Internal Storage

Micro Four Thirds

All MFT lenses with full AF support

All aluminum unibody

 

Specifications may change during development.

 

Price and Availability

 

The Esquisse Camera is expected to retail between $1,500 and $2,000 USD (or local equivalent). It is currently in development, with the first production units scheduled for delivery in late 2026.

For more information, please visit the Esquisse Camera website.

 

Stairs and steps may sound boring, however, when you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied. Be it a graphical shot of an industrial set of steps leading up the side of a metal structure or a spiral staircase in a grand house, if you keep your eyes open, you'll soon realise there are many interesting sets of steps and stairs around you that will make an interesting image. Here are a few tips to get you thinking about how you can capture shots of these subjects next time you're out exploring with your camera. 

 

1. Gear Suggestions

A wide-angle lens will exaggerate the twists and turns of a spiral staircase while a telephoto lens is good for bringing staircases on the outside of buildings to you. Pack a polariser for stairs against glass or reflective surfaces and a tripod would be handy to help you make sure that the stairs are perfectly straight.

 

2. Guide The Eye

As stairs take you somewhere they're naturally a great way to lead you into and through an image. They can be used to guide the eye to a particular feature or you could hide the last part of the staircase to leave the viewer wondering where the stairs may go to. Lines are a great way to lead the eye into the image and you don't get a better line than a long bannister so use them to your advantage.

 

3. Spirals

Stand at the top or bottom of a spiral staircase with your wide-angle lens and you can get a great but rather overdone shot of the spiral shape twisting up. Try getting someone to stand or lay at the bottom or carefully peek over the bannister at the top and use the spiralling stairs as a frame.

 

 

 

4. Movement And Size

For your more normal staircases use your wide-angle lens to exaggerate the grandeur of a particularly wide, long set of stairs or use a slow shutter speed if you're in a city and blur the movement of city-goers as they pass through your shot. Zoom in and fill the frame with repeating patterns of stairs to exaggerate their size which will also give your image a more graphical feel. 

 

5. Reflections

Some staircases go up the outside of buildings so use your telephoto lens to bring them to you. This lens is also great if your stairs are reflected to give you symmetry in your shot. Try to stand so you're in the centre of the stairs and reflection to enhance the pattern.

 

6. Be Different

For something different try to shoot through the spindles to the other side of the staircase or if you're outdoors, use them to frame a single building or a shot of showing part of the city. Try altering your angle, shooting lower down to emphasise the height and/or the number of steps in front of you. Many cameras now have vari-angle LCD screens which allow you to frame your subjects from multiple angles with ease. Which means you won't have to get down on your knees or crouch when capturing low-angled shots. Use light and shadows to add depth, shapes and another level of interest to your shots and experiment with colour, too as turning an image black & white can really make the viewer focus on the shapes and textures of an image when the colour's stripped away. 

 

   

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Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.

 

1. Safety First 

This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

2. Pack Your Filters

Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.

If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.

The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.

 

 

3. Lens Choices 

The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.

 

4. Capture Distance And Height 

When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.

 

 

5. Use Small Apertures 

The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."

 

6. Creating The 'Wow' Factor When shooting from the mountain you want the viewer to gain a sense of the place, so when they look at the shot they almost feel like they were actually there with you. To do this, as well as using a wide-angle lens, use a panoramic composition as this will help the viewer appreciate the scale of the location but again, it doesn’t emphasise the dramatic height of the mountain, something we'll discuss further down the page.      

 

7. Correct Exposures 

If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.

 

8. Off The Mountain 

This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.

When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details. 

In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.

 

Canon Europe has announced the RF 85MM F1.4L VCM, a professional portrait lens that extends the Hybrid RF prime range, delivering greater reach and versatility for creative photography and filmmaking.

Uncompromising optical quality and a flattering 85mm focal length that gently compresses facial features make the RF 85MM F1.4L VCM ideal for portraiture. Its ultra-wide f/1.4 maximum aperture ensures striking separation of the subject and background, while UD and aspheric lens elements, combined with Super Spectra and ASC coatings, achieve remarkable sharpness exactly where it matters.

Photographers working in weddings, events, low-light and product photography will also benefit from the RF 85MM F1.4L VCM's exceptional artistry and precision.

Smooth and silent Voice Coil Motor (VCM) AF technology provides precise focusing with minimal focus breathing. Combined with a dedicated smooth action Iris Ring and a customisable Lens Control Ring and Lens Function Button, the RF 85MM F1.4L VCM equips filmmakers with a flexible and reliable tool. It shares a consistent design with Canon's RF F1.4 hybrid primes, allowing it to be used seamlessly with the rest of the range for an efficient shooting workflow.

At approximately half the size and weight of the RF 85mm F1.2L USM, the RF 85MM F1.4L VCM is built for shooting on the move. Its L-series construction, featuring well-placed weather seals3 and an oil-repellent fluorine coating, provides reassurance in adverse conditions.

With its high-performance prime lens design, fast f/1.4 aperture and hybrid features, the RF 85MM F1.4L VCM is the professional's choice for distinctive portrait images and video.

Key features of the RF 85MM F1.4L VCM:

• Classic 85mm portrait focal length for full-frame EOS R System and Cinema EOS cameras (RF mount)
• Bright f/1.4 maximum aperture offers creative depth-of-field control and low-light performance
• High image quality, with an advanced optical design featuring UD and aspheric lens elements
• Voice Coil Motor for quiet, ultra-responsive autofocus and focus breathing suppression
• 11-blade circular aperture for cinematic bokeh and highlights
• Smooth action Iris Ring, Control Ring and Lens Control button for intuitive manual control
• Durable L-series build quality with dust/moisture resistance
• Compact and lightweight at approximately 636g, measuring 76.5mm (W) x 99.3mm (L)

For more information, please visit the Canon website.

 

This autumn, Leitz Photographica Auction will sell the most extraordinary charity lot in its history to date - a unique Leica M-A camera with a Leica Noctilux-M 1:1.2/50mm ASPH. lens, which were personally presented to Pope Francis by Leica Camera AG in 2024. Both camera and lens of the set bear the serial number 5,000,000. All proceeds from its sale will be directed to the personal charity institution of His Holiness. The charity lot is one of many highlights – including a Leica I Mod. A Luxus from 1929 and the Leica MP-114 black paint from 1958 - of Leitz Photographica Auction 47, which will take place on the 22nd of November at the Hotel Imperial in Vienna.

Leica products with a distinctive serial or fabrication number are very popular with collectors and deeply rooted in the company's history. Over the past 100 years, Leica Camera AG has awarded these exceptional products to distinguished personalities in recognition of their achievements. In keeping with his commitment to charity and social causes, Pope Francis chose to auction the Leica set, with all proceeds directed toward helping those in need.

The unique camera is finished in silver chrome, with a special white covering, and a white paint on the base plate, back doors, as well as some of the controls. The engravings on camera and lens are yet another highlight. The flash cover is adorned with the Keys of Peter, while the back of the top plate bears His Holiness Pope Francis' motto, 'Miserando atque eligendo', meaning 'lowly but chosen.' The special engravings are filled with white, gold, and black paint. The Noctilux lens is finished in chrome, with engravings filled with gold and white paint. The body cap and the lens cap are engraved with the Coat of Arms of the State of Vatican City. Both the camera and the lens are additionally engraved with the year His Holiness Pope Francis received this gift, inscribed in Roman numerals: A.D. MMXXIV. 

Complementing this unique camera is a uniquely exquisite presentation box with a matching key, and a photograph of Pope Francis receiving the camera. Bidding for the set starts at 30,000 Euros, with an estimate of 60,000 to 70,000 Euros. 

 

 

Black paint and gold

Leica was the first manufacturer to serially produce 35mm cameras as early as 1925. Eventually, these cameras would turn photography into a mass phenomenon. They revolutionised photojournalism first, and as more and more reporters used these compact devices, Leica adapted some of its new products to meet their needs. Photojournalists Alfred Eisenstaedt and David Douglas Duncan, for example, expressed the wish to use their M3 cameras with a Leicavit – a rapidwinder that had previously been available for the Leica IIIf only. In response, Leica presented a corresponding variation of the M3, the Leica MP, in 1956. Just about 400 of these were produced, and only 141 of them in black paint. The Leica MP-114 is one of these 141 cameras and estimated to fetch 700,000 to 800,000 Euros.

Luxury variations of well-known camera models have been a Leica tradition for almost a hundred years. In 1929, the company began producing the Leica I Mod. A Luxus, an extravagant variation of its first series camera. Due to its rarity and its conspicuous gold-plated body, the Leica I Mod. A Luxus proves particularly appealing to collectors of historical cameras today. The camera auctioned on the 22nd of November is one of the first Luxus-Leica cameras ever produced. Its estimate ranges from 300,000 to 360,000 Euros.

For more information, please visit the Leica website.

 

The 2025 UK Photographic Roadshow Tour has wrapped up after a hugely successful series of nine events that brought together photographers, industry experts, and leading brands in a celebration of creativity, learning, and community.

Kicking off in April in Motherwell and travelling through Kendal, Walsall, Wetherby, Nottingham, Worcester, Somerset, Reading, and Kent, the Roadshows once again proved themselves as a must-attend highlight on the UK photography calendar.

Each venue offered a vibrant, welcoming atmosphere where photographers could connect with peers, test the latest equipment, and leave with fresh ideas to elevate their craft.

 

 

Inspiring Speaker Line-Up

This year’s programme featured an outstanding roster of speakers including Scott Johnson, Simon Burfoot, Jeff Brown, Alex Denham, Oliver Wheeldon, Raj Khepar, Gary Hill, Rebecca Douglas, Mr Whisper, and Luke Davis. Covering everything from wedding photography and creative lighting to business growth and personal branding, their sessions inspired delegates and provided valuable takeaways for photographers at every stage of their journey.

 

 

Exhibitor Highlights

The trade areas were packed with innovation and hands-on opportunities.

• Nikon ZR made its UK public debut at the September Roadshows, drawing huge interest from delegates.
• Click Backdrops unveiled their brand-new foldable fabric backdrops, which quickly became a talking point on the show floor.
• Canon, Sony, Fujifilm, and Nikon all showcased their latest cameras and lenses, giving photographers the chance to test-drive cutting-edge technology.
• Other standout exhibitors included 3 Legged Thing, Elinchrom, Permajet, Camera Centre UK, MagMod, Gomatic, Loxley Colour, Aaduki Multimedia Insurance, Graphistudio, Evoto, The Society of Photographers, Praetego, Bump2Baby, and Professional Imagemaker.

 

 

The Roadshow Experience

Delegates enjoyed live demonstrations, exclusive show offers, and the chance to network with fellow professionals. The mix of expert talks, product showcases, and a friendly community spirit reinforced why the Roadshows remain such an important fixture for UK photographers.

Thank You

The organisers extend a heartfelt thank you to every speaker, exhibitor, venue, and delegate who contributed to the 2025 Roadshow’s success. Your enthusiasm and support are what make these events possible.

Looking Ahead: London Photo Convention & Trade Show 2026

Next year’s flagship event, the London Photo Convention & Trade Show 2026, will take place at Novotel London West, Hammersmith, 14–17 January 2026.

Highlights include:

• Trade Show (15–17 Jan) – Pre-register before 1 January 2026 for FREE entry, or pay £10 on the door.
• Four days of Masterclasses covering lighting, editing, business, and creative storytelling.
• Exclusive Superclasses – small-group, hands-on workshops for photographers wanting to push their skills further.
• Business School – a one-day intensive designed to help photographers grow profitable, sustainable businesses.
• 20×16” Print Competition – with live judging sessions and a gallery of merited images.
• Awards Presentation Evening – a glamorous celebration of photographic excellence.

For more information, please visit The Society of Photographers website.

Photo by Joshua Waller

 

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset. 

 

1. Gear Choices

Pack a wide lens for capturing the big picture and a telephoto for singling out individual buildings and pulling distant objects towards you on your evening jaunt. Taking a tripod with you is advised but do leave your flashgun at home and turn your on-camera flash off as if it fires, it can ruin your skyline shot.

Most cameras, even compacts and smartphones are capable of producing night shots of decent quality but if you're planning on using much lengthier exposure times, you'll want to pack a more advanced camera. 

 

2. Where To Stand With Your Kit

While on holiday (if you have a room with a view) make use of the balcony to give you a high vantage point of the city. You'll also find buildings with observation decks, bridges to stand on and if you're in a city such as Sheffield which has the peak district on its doorstep, try heading for the hills to give you a sweeping shot of the whole city. From high locations you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as city dwellers switch on their lights at home. Street lights look particularly good twinkling against the deep blue sky still lit by the setting sun. Just be careful where you meter from as you don't want the sky or building lights to 'blow out'. Keep an eye on your histogram and take a reading from a darker part of the frame. Another option is to take multiple exposures of the same view so you can combine them to create a shot with a balanced exposure where there's not under- or over-exposed areas in the image. 

 

3. Taking Photos Through Glass

If you've got to capture your image through glass do check for marks and smudges that will spoil your shot. If you can't remove them, experiment with your aperture to see if one particular f-number will remove them from the shot. You'll also need to put the lens as close to the glass as possible and cup it with your hand, a cloth or whatever else you have that will reduce the amount of interior light reaching your lens. If you don't, you'll end up with reflections and flare could spoil your shots. 

 

Photo by Joshua Waller

 

4. Depth Of Field 

You'll want to use an aperture that gives your shot plenty of depth of field, around f/8 is a good place to start, and try to stick to lower ISOs where possible. You may find you need to adjust this to increase shutter speeds but if you're using a tripod, longer exposures won't be an issue. If you have it available, the depth of field preview button can help ensure your shot is sharp from front to back. 

Foreground interest can add another level interest and 'fill' empty space that can occur when focusing on subjects in the distance. However, do make sure it's not stealing the spotlight and pulling the viewer's attention away from the skyline. 

 

5. Shoot Silhouettes 

Silhouetted cityscapes are popular subjects and they work well against a plain but bright background. Even though they're a little clichéd sunsets do work well particularly if it's one that's rich with colour. To create your silhouette you need to expose for the background and not the buildings you want to silhouette. You may need to fool your camera when it comes to metering as using the camera's automatic metering won't always give you the silhouette you're after. Try half-pressing the shutter button while focused on the brightest part of your scene before moving back to frame the shot but this means your camera will focus on this and not your subject. Manual focus or using a smaller aperture can combat this problem. Talking of manual focus, you should consider using this even when not shooting silhouettes as it'll always produce better results, plus auto-focus tends to struggle as light levels fall. 

 

6. Shots At Street Level

As well as getting up high working at street level can work well in the evening too. Try using long exposures (20-30 seconds) to set the dark sky and buildings against the streak of lights that come from the traffic as it moves through the city streets. You could even combine multiple traffic streak shots to increase the sense of speed and movement in your city shot. Another way to add a creative twist to your city skyline shots is by incorporating reflections from rivers, lakes or even wet pavements after it's rained. 

 

7. Tall Buildings & Straight Horizons

Pay attention to your horizon and the angle of the buildings as you don't want them to be slanting to one side of the image. A tripod with a spirit level can be handy although many cameras now have these or gridlines built-in. When home, check your city shots for distortion but this is something that can be easily fixed in image editing software. Playing around with the colour balance can enhance and evoke mood, too so don't be afraid to experiment with this. 

 

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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!