Photography News

When Hurricane Camille filled the Gulf of Mexico in August 1969, satellites watched it the entire way in. The storm came ashore on the Mississippi coast as a Category 5 with sustained winds of 175 mph and a storm surge of more than 24 feet, and it killed more than 250 people. It would have killed many more if forecasters had not seen it coming from space. The Weather Bureau later estimated that the warnings and evacuations enabled by modern tracking and forecasting may have saved as many as 50,000 lives. 

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Wildlife photography is a popular photographic subject, but it's not one of the easiest photography types to master. Subjects are fast, shy and can be tricky to capture, plus precision and patience are a must which means it's not something we can all get right. With this in mind, we've put together a list of 5 common mistakes along with advice on how to avoid them. 

 

1. Your Subject Is Too Small In The Frame

Wild animals are easily spooked which means getting close to them is usually out of the question. As a result, you may find that your wildlife shots tend to have more of what's surrounding your subject in shot, with your subject looking tiny and lost in its environment. There are times when shooting an environmental portrait of your animal will work but most of the time you'll want to capture frame-filling shots that show sharp eyes. For this, you need a telephoto lens (200mm +) as you'll be able to zoom in but still keep a decent distance. If you don't want to rely on super-long lenses, spend an extra half-hour getting closer to the subject instead. Consider investing in a hide or camouflage gear as this will allow you to work closer to your subject without scaring them off.
 

2. You Didn't Do Your Research

Understanding your subject and knowing where you need to be and at what time is essential if you want to capture a top wildlife shot. Where does your subject call home? What do they eat? When are they most active and for your own safety, it's worth knowing how they'll react if they feel you're a threat. 
 

3. You Didn't Wait Long Enough

Wildlife shots aren't something you can just capture successfully in a couple of off-the-cuff shots because as we've said, animals/birds are easily spooked and it can take some species a while to get used to your presence. Be quiet, sit still and be as inconspicuous as possible. Even if you're using a hide it will still take a while for your subject to feel comfortable so patience is very much the key. If you're photographing birds in your garden consider setting the hide up the day before you want to use it so your garden visitors get used to it. 


 

4. Your Subject Isn't Sharp

Keep longer lenses supported on a monopod or tripod to prevent camera shake spoiling your shots and make sure you're using a fast enough shutter speed to freeze movement. Even small garden birds will move quicker than you think, especially when they're sat still but their heads are continuously twitching. You may also find that depth of field is restricted when using wider apertures so do make sure enough of your subject is sharp. Increasing the ISO will mean you can use a smaller aperture but do be aware of noise. Do zoom in when previewing your shots to check the sharpness of your subject, too. 
 

5. Composition Isn't Great

As you do when photographing a person, always think about your composition before taking your shot. Wait for their heads to turn towards the camera or at least until their face is visible. If they are looking towards the edge of the frame, make sure there's actually space to look into, especially if they're moving. Again, it's important to be patient and be prepared to take more bad photos than good ones as wildlife are unpredictable so you will capture shots that are spoilt by flapping wings, head turns and other movements. Check that you've not clipped a tail or wing with the edge of the frame and try to avoid centred compositions where possible as they tend to look uninteresting. 

 

 

The Panasonic L10 lands in a genuinely narrow space: a compact camera with a large sensor, a zoom lens, and serious video features. If you've wanted something between a Ricoh GR IV and a full-blown mirrorless kit, this camera makes a real case for itself. 

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Trying to land photography clients before you're ready doesn't just waste your time, it burns opportunities you might never get back. First impressions with potential clients are permanent, and if you approach them too early, they won't come back even after you've improved. 

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Retouched skin that looks great up close but goes flat the moment you zoom out is one of the most common problems in portrait editing. There's a technique built into Photoshop's frequency separation workflow that can fix this, and most people walk right past it. 

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Gear won't fix a bad composition. No matter how sharp your lens or how many megapixels your sensor has, if you don't understand how to arrange a frame, the image falls flat. 

 

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Bodyscape photography sits at the intersection of portraiture and abstract art, and it's more accessible than most people assume. With minimal gear and a basic understanding of light angles, you can produce images that look like they required a full studio production. 

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Us Brits are well known for moaning about the water that often falls from the skies above the UK but even rain should be welcomed sometimes as without it, we wouldn't have cascading waterfall, rivers and streams to photograph. So, to carry on with the watery theme, here's 5 water-based photography subjects you should try and capture with your camera this year. 
 

1. Water Droplets

If you don't have the time to find a river or stream, wait for it to rain and use a macro lens to capture raindrops on a window at home. The upside-down projection of the world outside always make interesting images or wait until the rain stops falling and head outside, into the garden, to photograph the drops of rain that can be found on plants. Focus on the end of a leaf, background blurred, so when the droplet falls you're ready to capture it, pin-sharp. Just remember to use a tripod as the slightest shift in camera position can drastically change the composition and it will reduce the risk of camera shake too.

  2. Waterfalls And Rivers

If you want to have a go at blurring waterfalls or the movement of a river head out on an overcast day it's easier to get the slower shutter speeds you need to make this technique work. Make sure you have your tripod with you when you leave the house and a remote cable release (if you have one) to stop shake ruining your shot and take care when you're metering as your camera can be fooled into thinking the scene's too bright so all your shots could come out underexposed. Bracket a stopover and under or fit an ND filter to stop as much light entering the camera.

There is no right or wrong shutter speed to use when photographing waterfalls as this depends on how far you are from your subject, how much blur you want, the amount of water you're photographing and the speed at which it's flowing. But if you want a starting point, a speed of 1/15sec is a good place to begin. If you're at the coast, this same technique can be used to photograph waves. Once you have your smooth, flowing water shots, set a faster shutter speed, 1/250sec or higher, and make your watery scene seem frozen in time.

For rivers, get down low with your wide-angle lens to demonstrate how the river narrows to the vanishing point or look for higher ground and show it meandering through the scene.

 

 

3. Reflections

Lakes and reservoirs provide plenty of potential for photographing reflections. A sunny day by a calm lake will give you an almost mirror-like image of your surrounding landscape but don't forget to try and shoot somewhere there's foreground detail to prevent the scene looking boring. If you're not near a lake, a puddle or wet pavement will work just as well.

  4. The Sea 

While at the coast you can either use a slow shutter speed to blur the waves or a fast one to freeze them in their tracks. If you go for the fast approach wait until the wave is at a peak and shoot. Slow speeds are great for creating lava-style flows of water as waves break on the beach. 

 

 

5. Water Bubbles

Capturing water bubbles is fun, challenging and can leave with you with a series of abstract shots well worth hanging on your wall. You'll need quick shutter speeds and ideally, work manually to give you more control. 

 

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The Neewer Q120 is a compact 120 Ws TTL pocket strobe aimed at photographers who want more power than a speedlight without carrying a full-size studio flash. After using it for outdoor portraits and location shoots, I found it surprisingly capable for its size. Compact and lightweight, the Q120 is clearly designed for outdoor and location shooting, but is it worth adding to your kit bag? 

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Yes, hate is a strong word, but it would be accurate in this instance. In the words of the great Dion DiMucci, "Here's my story, it's sad but true, about a tripod that I once knew." I think that was how the song went. 

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If you think the 7Artisans 35mm f/2.8 M Mount lens looks like it belongs to another era, you'd be quite correct. It was inspired by the compact optics used on Leica's early Barnack cameras in the 1930s. This tiny beauty, weighing just 88 g, embraces simplicity, portability, and character in a way that many modern lenses have forgotten.

 

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Manfrotto released the ONE Photo tripod, expanding its ONE platform with a model designed specifically for photographers working with stills. The release follows the earlier ONE Hybrid tripod and brings a photography-first approach with precision, stability, and speed for stills workflows.

Designed and built in Italy, the ONE Photo features a non-round leg profile engineered to improve torsional rigidity, producing sharper images when using high-resolution mirrorless cameras and longer lenses while remaining lightweight and portable. The tripod's XTEND mechanism deploys all leg sections simultaneously for rapid setup and height adjustment. A sliding centre column supports precise height adjustments and ground-level shooting, while the Q90 mechanism converts the tripod from vertical to horizontal orientation instantly. This enables overhead, flat-lay, macro, and product photography without disassembly.

The ONE Photo is available in three configurations: the ONE Photo Aluminium Tripod for photographers who prefer to pair it with their own head, the ONE Photo Aluminium Tripod with XPRO Ball Head for general photography, and the ONE Photo Aluminium Tripod with XPRO 3-Way Head for studio and architectural work requiring independent axis control.

All versions support professional accessories via the Easy Link connector system, allowing lights, reflectors, and other equipment to attach directly to the tripod.

 

 

Availability

The Manfrotto ONE Photo range is available now through authorised Manfrotto dealers.

For more information, please visit the Manfrotto website.

 

About Manfrotto

Manfrotto is a global leader in the design and manufacture of innovative camera and lighting support solutions for the imaging industry. For over 50 years, Manfrotto has set the standard in delivering high-quality, reliable products that empower photographers and videographers to bring their creative visions to life.

 

If you've been wondering if you should purchase a telephoto lens, here are 7 reasons why, we think, they're a worthwhile investment. Still not sure? Have a read of our lens buying guide and we also have a top list of telephoto lenses that's well worth a peruse. 

 

1. Out Of Focus Background

 

Telephoto lenses are useful for producing shots that have a shallow depth of field which means your backgrounds will be nicely out of focus allowing all attention to fall on your subject.

2. Capturing Portraits

 

Shooting portraits with longer lenses means you still fill the frame with your subject's face without making them feel uncomfortable by invading their personal space. Longer focal lengths also give a more pleasing perspective and the good bokeh they create, as mentioned previously, helps isolate your subject so they 'pop' from the frame. Finally, the compression longer lenses offer, especially when you're using a wide-ish aperture, helps flatter their features – something all subjects want.

3. Shoot Landscapes

If you have distant and foreground interest you should pull out your longer lens from your bag. Just make sure you're using a small aperture as you'll need front to back sharpness in your shot. This works well with interesting rock formations, trees etc. but also consider using an object such as a fence or path that can lead the eye from the front of the image to a point of interest in the distance. The perspective longer lenses create also mean you can almost stack distant and objects closer to your lens so they appear to be much closer to each other than they are, adding impact and extra interest as you do. This can work particularly well on misty mornings when distant hills can be turned into lines of stacked shapes.

If you have a lot of open, boring space between you and the mountains you want to photograph use the longer focal length to pull the mountains to you, removing the empty foreground as you do. You can also pick out detail such as a waterfall, tree or distant structure that a wide-angle lens wouldn't be able to capture in the same way.

 

4. Photograph Buildings

 

Longer lenses will help you highlight patterns and shoot interesting detail you'd miss with a wide-angle lens. It also means that if you can't access the roof to get close to the statues/carvings that sit around the building you're photographing, you can use the longer lens from the ground to bring the detail to you. Do remember though that when longer lenses magnify distant objects the tiniest of movements can create a large amount of blur in your photograph so make sure you stick to quicker shutter speeds when possible and carry a lens that features vibration reduction. For more stability work with a tripod.

 

5. Capture Shots Of Wildlife

 

Try and get close to a lot of wildlife and they'll have ran or flown off before you've got your camera out of its bag. Instead of playing a game of cat and mouse all day, find a spot that you won't scare the wildlife off from and use the pull of a telephoto lens to bring the animal/bird to you. Using a longer lens will also mean you're not putting yourself in danger if you're trying to capture shots of something known to bite!

6. Photograph Action / Sporting Events 

Unless you have a press pass, getting close to the action at many sporting events isn't possible so you'll need your long lens. For tips on shooting action take a look at ePHOTOzine's technique section.

 

7. Shoot For The Moon

 

If you try and photograph the moon without a telephoto lens (you may also need a teleconverter too) it will just like a small bright circle sat against a blanket of black sky. For tips on shooting the moon take a look at our previous articles in the technique section.

 

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

Starting in film photography means making a choice before you ever press the shutter: which film to load. The wrong stock can make a beginner's early rolls frustrating and expensive, full of muddy colors and missed exposures. The right stock is forgiving, widely available, affordable enough to shoot freely, and consistent enough that you learn from your mistakes instead of wondering whether the film was the problem.

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Teleconverters can quietly destroy your keeper rate before you even realize what's happening. Sharpness drops, autofocus consistency gets unreliable, and tracking falls apart — all from one small piece of glass between your lens and body. 

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Photoshop's Camera Raw filter is genuinely one of the most underused tools for color grading, and most people treat it like a raw file converter rather than a full editing engine. If you've been doing your color work purely in curves or Hue/Saturation, you're leaving a lot of control on the table. 

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Summer light is some of the most challenging light to work with for portraits. It's bright, contrasty, and full of harsh shadows that flatten your subject instead of flatter them. 

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Street photography is genuinely hard, and most people don't tell you that upfront. Mike Chudley spent a year producing work that looked fine on Instagram but left him personally unsatisfied, and that tension between taste and ability is something most people never stop to examine. 

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Canon's oldest EF mount lenses are worth a second look now that they adapt so cleanly onto modern mirrorless bodies. The Canon EF 50mm f/2.5 Compact Macro is one of the more interesting cases: a lens from 1987 that regularly sells for under $100 on eBay and still communicates fully with current Canon R-series cameras, including in-body stabilization and in-camera corrections. 

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1. What Gear Should I Use? 

To feel connected to the person in the image, you need to get in close without invading personal space the easiest way to do this is with a telephoto zoom. Working hand-held is fine but if you prefer you can use a tripod. 
 

2. Be Polite

If you're not working on a portrait shoot, it's always polite to ask when photographing someone, especially when your focus is their face. After all, you don't want them to suddenly turn around and scowl at you because they didn't know you were taking their picture.
 

3. Eyes Need To Be Sharp

To really pick out the details that make a portrait captivating blur your background and always, always make sure the eyes are in focus. To stop the portrait looking lifeless make sure there's a catch light in the eyes. A small burst of flash or having a light source behind the camera, facing the subject will help you do this.
 

4. Make Conversation 

Most people when they're asked if they can have their photo taken become quite self-conscious and will grin like the Cheshire cat until you've finished. To combat this, you need to talk to them, and this is not only about what you're trying to achieve but also ask them, about their life, what they do etc. Keep this conversation going, giving them pointers, and if it helps, compliments while you snap away. This will help them relax and soon they'll have forgotten about the lens they have pointing their way.

 

5. Give Guidance 

If you can, position your subject at a 45-degree angle and get them to turn their head to the camera as this can produce flattering results. However, directing them to look away, down or up will convey a completely different tone in the image. A sombre expression on a face that's looking away from the camera can appear reflective while someone looking up or into the distance will have a sense of determination and strength.

 

6. Think About Backgrounds 

Your subject always has to be the centre of attention so if you do want to use surrounding scenery make sure it compliments the portrait and isn't distracting. Back-lighting the subject can help with this as you'll get a halo-like effect on your subject's hair and body which will help them stand out from your background. If you're using the sun as your backlight you'll need to bounce light into the image to stop your subject appearing as a silhouette. To rectify this, bounce light onto your subject's face with a reflector or you could use fill-in flash but you'll need to make sure it's stopped down so your portrait still looks natural.

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