Photography News

I know the first thing some people will ask: 'why?' Well, to be fair, that is a perfectly sound question and yes, why bother standing in a stream and shoot water bubbles. To me, it is because you can and with digital there is no cost. It is also a nice break from the usual blurred water shots that many of us love. So, while you are out there doing waterfalls, spend a few minutes afterwards trying this subject.
 

"It is fun, challenging and you may even like the results. In fact, if you want some abstracts to hang up, this technique is worth trying", ePHOTOzine.

Of course, you can shoot water bubbles in the bath, should you feel that way inclined. However, this idea is water bubbles in a babbling brook or at the foot of a waterfall. Health and safety point here: Please take care on slippery rocks and obviously take care of your kit.

  1. Take A Support

You could, of course, use a tripod and position the camera so it is pointing down. Tripods that have a centre column that can be swung round to horizontal make it easier to shoot down onto the water's surface as well as offering more support than working hand-held will. Do make sure your tripod is secure and balanced so it won't fall over, camera first into the stream or river you're photographing.
 

2. Pick The Right Lenses

Lens-wise, try your lens's macro feature or use a macro lens. A macro lens used close up is perfect, but there won't be a great deal of depth-of-field at such fast shutter speeds. Setting a high ISO is an option, but that depends on the noise performance of your camera.

3. Dress Appropriately

Wear sturdy boots, making sure they are waterproof if you're planning on standing in a stream. Wellies or waders mean that you have more freedom regarding camera position but you can just find a suitable spot by keeping your feet dry and standing on a rock or something. You'll also need a warm, waterproof jacket, particularly at this time of year when a rain shower is a common thing. Various jackets and photographer's vests are available on the market.
 

4. Choose The Right Shutter Speeds

Find yourself a good spot in the stream. This can be in a sunbeam or it can be in the shade. However, very fast shutter speeds are the order of the day, so check the lighting and if you are getting 1/1000sec or more, great. It is an opportunity to explore those speeds of 1/2000sec and 1/4000sec. As with blurring flowing water, try different shutter speeds. Flash is worth a try too.

  

5. Let's Talk About Focus And Exposure

Exposure and focusing are technical challenges. Your camera is not going to manage to autofocus – water bubbles do not hang around waiting for your AF to kick in. The best thing is to focus manually and then change the camera position to get sharp focus. The reject rate will be high.

Exposure can be tricky because you have a bright, sunlit bubble against a dark background, and the scene is constantly changing. Like focusing, taking the manual option is worth serious thought. Meter manually, shoot some frames and make adjustments. Once you have metered for a particular lighting situation, it is time to start shooting.
 

6. Don't Stop Shooting

Shoot lots. You are not going to get the perfect picture in a couple of frames. You will find that the micro landscape in front of you is never the same twice – miss a shot and you are not going to get another identical shot. Put in a positive way, every shot you take will be unique – no question. You can also play around with your images in Photoshop, flipping images to create interesting patterns etc. 

 

 

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

 

When it comes to picking a bag to carry your camera and other bits of kit around in, it can take a while to come to a final decision as there's plenty of top brands and styles to choose from. Some photographers will have a go-to bag for all occasions while others will choose to have a few different designs that have different uses.

To help you decide what camera bag is perfect for you, we've put together a few tips on what to look out for and we'll also be asking questions you'll probably be thinking about next time you're shopping for a camera bag.
 

1. What Type Of Photography Do You Enjoy?

By thinking about the above question, you should be able to narrow down your choices. For example, a landscape photographer will find a backpack style more appropriate than a shoulder bag but someone who travels on planes a lot may want a roller case they can use as hand luggage but will pack a smaller bag inside it which they can use when they arrive at their destination. 

  2. What Will You Be Carrying?

For the majority of shooters, it's important to keep the weight of your bag to a minimum, even more so if you're heading off on a long walk in a National Park. A Body and two or three good all-around lenses should be fine for most but if you do need to carry more, make sure there's plenty of dividers in your bag to keep your gear snug and safe. Look for pockets that are easy to access so you can quickly grab memory cards, spare batteries etc. and a tablet/laptop pocket is a feature more and more of us are needing in our camera bags, too. 

 

 

 

3. How Quickly Will You Need To Access Gear? 

A good camera bag will allow you to access your camera gear quickly and easily. If you're shooting in busy locations where you don't want to have your camera out around your neck constantly, such as in popular tourist locations or in towns and cities, a sling design may be better than a rucksack as they're easier to swing around to your front so you can access equipment without removing your bag. Shoulder bags can also be accessed easily while on the move but do take care not to overload this style of bag if carrying it on one shoulder.

 

 

 

4. What Features Should You Look Out For?

 

1. Comfort

No matter what your planned shoot for the day is, be it a long photo walk or a short trip to the local park, your camera bag needs to be comfortable as you don't want to injure yourself and if something's annoying you, it can distract you from your photography as well as irritate you. If possible, try your bag out before you buy it to test where straps sit etc. 

 

2. Material 

You want your bag to last so look for models made from hard-wearing fabrics and pay attention to how the bag is sealed. Waterproof covers can be very useful and many bags now come with them built-in. It's also important to pay attention to small details such as zippers as plastic ones can be less durable than those made from metal.

 

 

3. Internal Dividers 

Having a bag that allows you to customise the interior will give you more flexibility when it comes to the gear you carry and how you carry it. Some bags feature inserts that can be removed when not needed, giving the user a bag that reverts to everyday use which is useful when travelling on planes when weight is limited so taking two bags may not be an option. 

 

4. Protection

Your bag doesn't want too much padding so it's bulky but you do want to make sure there's enough to provide protection for your gear in the right places. Make sure you pay attention to the bottom of the bag to see if feet or a protective layer are provided. 

For more information on camera bags, take a look at ePHOTOzine's guide to camera bag types. 

For roughly twenty years, the working photographer's purchase logic was simple. The flagship body was the right answer for demanding work, and the mid-range body was the right answer for everything else. Working pros bought flagships because their work demanded it. Wedding photographers shooting in dim churches, photojournalists in unpredictable conditions, sports photographers tracking fast subjects, wildlife photographers waiting for a single decisive moment, commercial photographers needing absolute reliability across long shoot days.

[Read More]

In the age of being able to take care of a lot of production needs with AI, are professional models becoming irrelevant? And even beyond AI, why is using a professional model such a necessity for professional photo shoots, especially in the fashion space? 

[Read More]

Spending $15,000 on a single lens is not a decision you make lightly, and getting it wrong is an expensive mistake. Tom Mason owns the Nikon Z 600mm f/4 TC VR S and has put it to work as a professional wildlife shooter for years, but he's the first to admit it might not be the right call for everyone. 

[Read More]

Choosing a single focal length and following rigid systems might feel like the opposite of creativity, but Brian Eno built a career proving otherwise. His framework for making music turns out to map almost perfectly onto how the best street photography work gets made. 

[Read More]

Choosing a 35mm lens for wedding and portrait work is genuinely difficult when the options range from compact primes to heavier, more ambitious glass. The Viltrox AF 35mm f/1.2 Lab II lands squarely in that debate, and it's making a strong case for itself. 

[Read More]

Picking the right cinema camera for run-and-gun work is rarely straightforward, and the Nikon ZR raises real questions about whether its feature set justifies its size and complexity for everyday shooting. This video puts that to the test not on a studio set or controlled shoot, but on a full movie-location road trip through Flagstaff, Arizona. 

[Read More]

A day out at the coast gives you a good excuse to get your camera out of its bag. It doesn't matter if you're going on a family day-trip or with a group of fellow photographers as you'll be able to capture a decent amount of imagery with whoever you go with, although your family probably won't want to see you looking down your view-finder all of the time!

In this article, we list 10 popular photography tutorials which are all about taking photos at the coast as well as offer some advice on what gear you might want to consider packing next time you head for the beach.

 

1. Beach Photography Tips - 5 Top Ways To Shoot Beach-Themed Images

 

2. Photography Tips For Shooting At The Coast  As And After The Sun Has Set 

 

  3. Tips And Kit Suggestions For Photographing Piers At The Coast 

 

4. Edwin Brosens Shares His Top Tips On Capturing Seascapes

 

 

5. Coastal Compact Camera Close-Up Photography Tips

 

6. Step Down Onto The Sand And Under The Pier For A Spot Of Pier Photography

 

7. How To Capture Lighthouse Landscape Shots On Your Coast Visit

    8. Top Flotsam Photography Tips For You To Read

  9. Five Tips To Improve Your Coastal Landscape Shots

 

10. Ten Top Tips To Help You Improve Your Seaside Photography

 

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

  A city or town offers a photographer a plethora of potential photographic subjects, making them a great location for an afternoon, morning or even a whole weekend of photography.

To give you some inspiration next time you're out in a city with your camera, we've put together a list of 16 top photographic subjects you can find in a city / town, plus links to top tutorials that'll help you perfect your shots of them. But first, let's take a look at some of the kit you may want to consider taking next time you're off for a photography walk around a city's streets.      What Gear Will I Need?

Of course, you're going to need a camera and this can be anything from a DSLR to a smaller compact. If you're planning on taking some shots after the sun has set you may want to consider carrying a support, particularly if you're going to be capturing light streaks. Do remember that some locations, such as cathedrals and stations, won't allow you to use a support so do take this into consideration when planning your day.

ND and polarising filters don't take up too much room and could come in useful as too would a variety of lenses if you're not planning on using a compact camera. Consider taking a wide, tele-zoom and macro lens along if you have room in your camera bag for them. When it comes to bag choices, everyone is different so the best advice we can give you is take a bag that's comfortable, will hold all the kit you'll need easily and that's easy to access. Sling style bags are popular in city locations due to how easy it is to access kit without having to remove the bag but an everyday backpack will be just as fine. 

What Should I Photograph? 

 

1. You Can't Ignore Architecture

Buildings, old and new, surround our streets so you can't really visit a city and not shoot some building-themed images. Click the link above for more tips on photographing architecture or visit the technique section to see the full list of architecture photography techniques we have on site. 

  2. Have A Go At Street Photography

A busy city can be the perfect location to experiment with street portraits, particularly as you can blend into the crowds and shoot from the hip to capture some interesting candids.

 

3. Photograph A Landmark 

Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible. 

 

4. Get Up High 

One of the simplest ways to change the way your city image looks is to get up high. So climb a mountain, stand on some steps or use a lift to get to the top of a tower to give your images a different perspective. 

 

 

5. Capture Shots Of Traffic & Transport 

City streets are busy places with buses, cars, cyclists and more getting from A-to-B giving you ample opportunity to get creative with your transport shots. 

 

6. Get Creative And Add Some Light Trails To Your City Shots 

Did you wonder how people get car lights to streak through their images? Well click the above link to find the answers. 

 

7. Photograph A Church, Cathedral Or Other Place of Worship

These structures make great subjects for architectural shots but if the weather turns or you want a break from walking along the streets with your camera gear, the inside of these buildings is well worth capturing, too. 

 

8. Visit A Museum

Museums are not only educational and interesting, but they offer plenty of photographic opportunities. Plus, many are free to enter which is always a bonus! Have a look around the outside of the museums too for interesting architectural shots worth capturing. 

[HOOK]position_1[/HOOK] 

9. Search For Interesting Architectural Patterns

Stop looking at buildings as whole structures and focus on the small pockets of interesting patterns and shapes they're made up of.

 

10. Capture Reflections In Buildings 

Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in.

 

11. Photograph A Station

There are few towns and cities that do not have a station and they are fantastic places to take pictures. Interesting architecture, people to capture candids of and close-ups of interesting detail are just some of the shots you can capture around these locations.

 

12. Look For Stairs And Steps 

Stairs may sound a little boring but if 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.

 

13. Photograph A Bridge

Bridges come in all sorts of shapes and sizes, plus you can capture them from all angles making them a subject you can spend quite a while on. 

 

 

14. Spend Some Time By A Canal

Canals were once used to transport goods to towns and cities right across the UK and as a result, there are still plenty of waterways running through our city streets. The long canals, bridges and lock gates that once supplied goods now supply ample photography opportunities and as they all have public walkways, you're not going to upset anyone if you spend an hour two with your camera at the side of one.

 

15. Go For A Walk In A Town / City Park 

The green spaces found in towns and cities are a haven for many and are a great place to take your camera when you want a break from the busy streets. 

 

16. Capture Shots Of Shop Windows & Signs

Spend some time in your town and capture some interesting images of displays and signs. They'll be plenty of interesting signs, plus head back out at night and the shop fronts will have a completely different look to them. 
 

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

The 24-70mm f/2.8 has been the default first professional lens purchase for at least 25 years. Almost every working photographer has owned one. Every photography forum recommends one to every newcomer asking what to buy after the kit lens. Every wedding educator names it as the foundation of a working kit. Every camera store stocks it at eye level. The lens has been so culturally dominant within working photography that the question of whether it should still be the default has rarely been asked seriously. It should be asked now.  

[Read More]

If you dream of owning a Hasselblad XPan, you might want to consider this much more affordable alternative. Or, given how stupid it is, maybe not. 

[Read More]

Today, I'll have a look at the new Laowa CF 4.5-10mm f/2.8 Fisheye Zoom and share a few thoughts. 

[Read More]

The biggest hurdle many photographers face when jumping into off-camera flash isn't the gear or the settings; it's the "where." We often find ourselves in a beautiful location with boring light, and we struggle to know how to fix the issue. If you've ever looked at a scene and felt stuck because the lighting didn't match your vision, the solution isn't more gear. The solution is learning how to "see" light patterns and then recreating them from scratch. 

[Read More]

Choosing the right ISO setting is one of those decisions that quietly shapes every photo you take in low or mixed light. Get the thinking wrong, and you either miss the shot or spend years avoiding conditions that could actually produce your best work. 

 

[Read More]

Choosing a camera system and committing to a focal length are decisions most serious shooters obsess over, but this approach to both is refreshingly straightforward. After 18 years of shooting, burning out, stepping away, and coming back, this perspective on gear, creative ruts, and where to find compelling images cuts through a lot of the noise. 

[Read More]

The Lumix L10 is a compact camera built around a 26 MP Micro Four Thirds sensor, a fixed Leica-branded zoom lens, and a spec sheet that will make you question whether Panasonic even knows how to make a simple camera. At $1,500, it sits in a crowded space occupied by cameras like the Fujifilm X100VI, and the question worth asking is whether it can hold its own. 

[Read More]

Thypoch built its reputation on manual focus prime lenses, so when the company announced an autofocus zoom, nobody saw it coming. The Thypoch 24-50mm f/2.8 is not only the brand's first zoom lens, it's the first autofocus zoom lens to come out of China entirely, and it lands at $619 on Sony E-mount, undercutting the Sony 24-50mm f/2.8 G by roughly half. 

[Read More]

    It's coming up to that time of year when many families start to think about jetting off to warmer climates or simply heading to the Britsh coast to escape reality for a while. An accessory that's guaranteed to be packed is a camera but instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

1. Where Will You Be Taking Your Photos? 

Where you're working can sometimes determine what equipment you can use. If you're in a busy restaurant there's probably not room for a tripod so you'll have to work hand-held or use a smaller support that can fit on the table. But if you're out in the street photographing food stalls and the people who run them, they'll be more room to use a tripod, although if you plan on moving around a lot, you'll probably better taking a monopod with you as they're easier to walk with and take up less room.
 

2. Think About Presentation 

Restaurants want to impress you so food is, generally, presented and displayed well already which means you don't have to play the role of the designer. Do look out for attractive produce though, particularly if you're at a hotel where you can serve yourself. Make sure fruit isn't bruised and colours are vibrant. If you're photographing meat make sure it's not overcooked and lookout for herbs and pepper grinders as a sprinkling of pepper or a few green leaves can make your photograph looking more appetising. Also, look out for crumbs and sauce that may be sat on the side of the plate as this can distract the viewer.

 

 

3. Consider Using Repetition 

If you can pick your own food, repetition works well and three items on a plate will often look better than two. Don't think you always have to centre your subject and if you're working with tall items such as ice creams and coffees in glasses, switch your orientation to portrait.

  4. Backgrounds Shouldn't Distract

Try and keep your background uncluttered but if you're in a busy restaurant where this isn't possible, just use a wide aperture to throw the background out of focus or you could try placing a plain jacket/cloth over a chair and positioning so it sits in the background of your shot. If the chairs are too low use the back of a menu, so long as it's plain, as your background, placing it behind your plate. If it's coloured make sure there's no colour cast on your food/plate, particularly if the crockery is white and a shallow depth of field will help keep all attention on the food in the foreground of your shot.

Don't forget to take some wider shots of the serving area too. In hotels particularly you'll find several buffet carts, chefs preparing food and guests deciding what to eat which can make interesting shots. 

 

 

5. Stick To Natural Light

Use natural light where possible so if you can pick where you sit, choose a window seat or better still, sit outside. You need to avoid using direct flash as your food won't look very appetising so make sure you've switched it off, particularly in low light situations where some flashes will automatically fire.

 

6. Get Out On The Street 

Away from restaurants, you can find small stalls, especially in markets, that make and sell food. If you want to snap a few shots of the stallholder it can help if you actually show some interest in the food they are producing. It's not always advised to eat the food they're cooking but you can ask them questions and spend some time actually appreciating their skill. If you're working close up never shoot without asking permission first and if they say no, just move on to another stall instead of arguing with them. For those who do agree, fill the frame with their face as you'll find they'll create plenty of interesting expressions when concentrating on getting their creation perfect.

If your subject is working under a canopy your camera can get confused by the brighter space that surrounds them and your shot can end up a little dark. If this is the case, just lock your exposure and recompose the shot.

 

If the weather's not playing ball or you're on a street that's shaded from the sun don't be tempted to use your flash as this can destroy the feeling/atmosphere you're trying to create. Just try using a wider aperture or a higher ISO and if you find the higher ISOs make your shot a little grainy, try turning the shot black and white as it can work rather well.

Another option is to use a tripod and slower shutter speeds which will blur the movement of anyone who passes through your shot, however, if you're focusing on someone who is moving between a chopping board and a stove, the blur can emphasise the speed they're working at. The slower shutter speeds can also be used to capture a few closer shots of flames, just make sure you don't burn yourself and don't catch any hot plates and pans by mistake.
 

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

More cameras, fewer photographers. As this new day dawns outside my window, I pose a simple yet profound question: Is there still truth in photography? 

Damn you, Eddie.

“People believe them, but photographs do lie, even without manipulation. They are only half-truths.”

Eddie Adams said that. You can read it for yourself in his 1998 short-piece Eulogy: GENERAL NGUYEN NGOC LOAN for Time Magazine.

That particular handful of words have rattled around in my head since the first reading. It's like some bad connection dialing up a phone call across time.

[Read More]