Photography News

Photo by Joshua Waller

 

1. What Is It?

Environmental portrait photography has nothing to to with global warming or looking after the planet. It is all about photographing your subject in their natural environment. This can be anywhere from where they work, where they live, or anywhere where they like to spend their time. It is all about portraying something of the character of your subject through where they are in the photo.

 

2. Find A Location

It can be difficult to set up a shot properly with environmental photography. But persevere until you find the perfect location for your subject, and you will be rewarded. So how is the perfect destination for a shot found? Firstly, you have to get to know your subject. You need to find out what they like to do in their spare time, what their hobbies are, where they enjoy going etc. When you know this, you can then add together what you have found out to place them in their own perfect photographic location, which also portrays who they are as a person. Think of it as a candid shoot with a studio approach when it comes to some of your shooting and the setting up of the scene.

 

3. Backgrounds

There should be some background detail, to add character to a picture, but not so much that it overpowers the presence of the person in the shot. The idea behind this method of photography is that the background subtly adds to the feel of the portrait yet does not become the main feature. If you find the background to be too distracting, try using a wider aperture to blur the background so you can still make out what's there but the eye is immediately drawn to the person instead. You could also try cropping the shot when you're back at your computer or simply move your subject to a place where the background isn't so distracting. Remember, you want your location to relate to your subject and add interest to the shot without actually pulling attention away from your main point of focus.

 

4. What To Wear

You want your subject to be relaxed and comfortable so don't dress them in something that will make them uncomfortable. Keeping their hands busy is a good way to distract them so bring along some props, so long as they fit the theme and don't distract the viewer's attention too much.

 

5. How To Pose

Posing your subject but still getting them to look natural so it looks almost candid takes some work but with directions and guidance from you, your subject should find a pose that works in no time. Try to make them as relaxed as possible as any tension will be visible on their face. A simple chat will help ease their worries so you're then free to ask them to create whatever expression suits the scene you're working with.

This technique can be challenging at times, but once you get used to the methods of taking environmental photos, you will love the results it gives you. A lot of photographers love it because it is more than a picture, it's an insight into someone's personality and life. Why not have a go yourself, and see what amazing and expressive results you can achieve?

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Mike43 (Day 18 - 'Panoramics').

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 16

Vignettes

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Day 17

Silhouettes

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Day 19

'Blue' Theme

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Day 20

Beach Huts In The Landscape

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  Day 21

Nature In The Summer

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Day 22

Insects

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

    1. Research

Before you leave your hotel, make sure the market's open and have a quick glance at the weather forecast as it won't be much fun walking around a market when it's raining rather heavy. Although fewer people will venture out to open-air markets when it's wet so you'll have more room to work. If you're going on a market trip that's organised by an excursion company you won't have much say in when you can visit the market. Plan your own trip, however, and you can arrive for when it opens, giving you more room to work and the produce will be fresher which means your shots will look more appetising. If it is really, really busy step back or find a higher spot to work from and shot a few wide shots of the hustle and bustle.
 

2. Be aware of your surroundings

Don't leave your camera bag unattended and if it's really busy, it's a good idea to do the tourist trick of spinning your bag to your front. Yes, you may look a little silly but it's better than finding all of your gear's gone from your bag. Taking a bag that doesn't scream: 'look I'm carrying expensive equipment' is a good idea too. 

It's important not to get distracted by one particular stall either. Market's are generally big places and they'll be more than one location that's worth getting your camera out of its bag for.

 

 

3. Light Source

As most markets you find on your travels will be outdoors you'll need to watch your exposure as the contrast between a stall which will probably be undercover and the open space around can change drastically. As a result, your camera will see the bright surroundings and underexpose the shot, making the stall appear a lot darker than it actually is. You may find using the exposure lock function and then re-composing as necessary should fix the problems that may occur. If you're indoors exposure shouldn't be a problem but you will need to watch your white balance to make sure the lights aren't tinting the tone of your image.

When it comes to flash, it's best to avoid using it, particularly as you most likely will only have the one that's built into your camera and the harshness of it can ruin the atmosphere of the scene you're trying to capture. You're better off just using a slightly ISO and getting the monopod out if you have problems with shake.
 

3. Wider Shots

Stepping away from the cover of the stalls to somewhere higher up, if possible, will give you the chance to shoot some shots that establish exactly where you are. If it's in a square surrounded by buildings try and get these in your shot and use the long lines created by the stalls to lead the eye through the image too.

4. Close-Ups

The beauty with markets is the stallholder wants to sell their products so usually they present them well, which means all you have to do is take the shot. Look out for colours that complement each other, interesting patterns and the textures on offer in the products on display.
 

5. People

If you want to shoot portraits always ask before you take your photos, be polite and don't get in the stall holder's way. If they say no don't argue and keep pushing as this will only annoy them and you'll probably find someone else will be more than happy for you to take their photo on another stall. If you're finding communication's a problem a big smile and holding your camera up can often get your message across quite easily.
 

 

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Three barn owls photographed in a stone opening have won this week's POTW award. The image, called 'Three's a crowd' by ePz member KBan,is a neatly arranged photo where three barn owls sit squeezed together inside an opening in an old stone wall. The soft white and tan feathers of the birds contrast nicely with the rough, rustic stonework.

The tight fit gives the photo a cute family feel, with the middle owl tucked between the two larger owls. Overall, it is a clean composition that captures a fun wildlife moment set within the stone opening.

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 2027, we'll crown our 2026 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!

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners. See the terms and conditions for more information.

The camera in your bag right now, the one built for sweeping vistas, might already be a capable wildlife machine. Landscape and wildlife shooting used to demand two completely separate kits, but that line has blurred to the point where the same body and a long zoom can do both jobs well.

 

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Two photos of the same subject, shot by the same person with nearly identical gear, can read completely differently: one holds your eye instantly, and the other leaves you scanning corners for something to land on. That gap comes down to a single skill, and once you name it, you start seeing it everywhere in your own work.

 

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Britain's bursting with structures and buildings that photographers are naturally drawn to thanks to their postcard-perfect looks and history. It also helps that many of the buildings are in locations that are perfect for a day out, making them subjects photographers can shoot and their families can enjoy too.
 

1. Do Your Research

It's worth finding out who the home, castle etc. belongs to before you carry your kit out to it as some organisations have rules on what can be photographed, what they can be used for and what kit's allowed inside. A quick phone call or a check on their website should give you the answers you're looking for. Some places won't allow you to use a tripod while others may have rules on the type of bag, if any, you can take in with you. There may also be a rule that says no flash photography is allowed so do keep an eye out for signs and ensure the flash built into your camera is switched off.  
 

2. Castles

 

From ruined hill forts to beautifully preserved country houses, castles provide majestic architectural delights for us photographers. For more tips on photographing castles, have a look at these guides where we share a few tips to help you take better photos of these fortified structures:

• A Guide To Photographing Castles
• Castle Photography Tips

 

3. Stately Homes

 

Many Stately Homes found in the UK open their doors to the public, giving photographers the chance to capture interesting interiors as well as shots that show the extensive grounds and buildings. Take a look at our article on Photographing Stately Homes for advice on what to photograph and how.
 

4. Churches

 

Small rural churches and grand cathedrals have decorated our nation's skylines for a very long time and they're well worth photographing. If you can, take your camera inside these magnificent structures (you may be charged a small fee) as they are often even more impressive on the inside.

ePHOTOzine has several articles on photographing churches, both on the inside and out, which can be found here:

• Photographing Church Interiors
• Tips On Photographing Stained Glass Windows
• Church Photography At Night
• Tips On Creating HDR Exposures In Churches
• How To Take Photos Inside Churches

  5. Villages

 

Even though this isn't about just one structure, scenic villages are popular tourist destinations and they make good subjects for photographers. Picturesque streets and the famous 'chocolate box' style houses make them a worthwhile stop-off, plus there's usually ample chance to capture a fair few candids too.

Have a look at ePHOTOzine's Guide To Photographing Villages for more tips. For more architectural photography tips, take a look at ePHOTOzine's technique section. 

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Photo by Joshua Waller

 

If you're thinking of trying nature or wildlife photography, as well as a camera it's worth investing in a telephoto lens. Why? Well, this is something we'll move on to shortly but first, you need to decide which telephoto lens will work best for you. 

A medium telephoto can be useful for shots taken in and around zoos and wildlife parks but if you're capturing smaller subjects such as birds, even if it's in your own garden, you'll need a telephoto that has much more reach (300mm +). For shots of swans and ducks in the park, a shorter telephoto lens will be fine. 

 

Why A Telephoto? 

 

Reason 1: Bring The Subject Closer

Apart from the odd swan at the park who is used to people feeding it bread, most wildlife is wary of humans and they will move away, sometimes never returning when people get too close. For this reason, a telephoto lens is needed to bring your subject to you. With a telephoto lens, you'll be able to take shots that look like you were just a few steps away from your subject when really there was quite a bit of distance between you and them. It also means you won't have to waste energy chasing your subject around all day. Instead, set up in a hide, wait patiently and use the pull of your longer focal length to create frame-filling wildlife shots. 

 

Photo by Joshua Waller

Reason 2: Safety

Having the ability to capture images from further away makes it safer for the photographer when capturing images of what could be considered as a dangerous animal or when your subject's behaviour, such as male deer fighting during mating season, would put you in danger up close. The distance also means the animal is less likely to be startled which will stop them bolting away quickly which could cause them or other animals that are around them injury if they begin to panic. 

 

 

Reason 3: Pleasing Perspective

When shooting with telephotos it can be easier to produce shots where the subject is separated from the background as the zone of sharpness is more restricted.
 

 

Reason 4: Shoot 'Through' Fences

Wildlife parks and zoos make it easier for photographers to get closer to wildlife, but mesh fences can be a particular annoyance and can ruin a great shot. However, if you're using a lens with a longer focal range, it can be quite easy to eliminate fences from shots. Similar results can be produced on lenses with wider apertures on offer, meaning users with lenses that have smaller focal lengths can still produce mesh-free images. Basically, you need to set a wide aperture, place the lens over one of the gaps and once there's some distance between your subject and the fence, click the shutter button. 

 

 

Points To Remember When Using A Telephoto

 

Point 1: Shake

Telephotos have a habit of magnifying the slightest bit of camera shake so either use a support such as a tripod or monopod or stick to higher shutter speeds. Switching up the ISO will help you achieve quicker shutter speeds or you could invest in a faster lens. 

 

Point 2: Focus 

When working with a subject in the distance, the autofocus system can get easily confused by blades of grass etc. that may be positioned closer to your lens and it'll focus on these rather than the bird etc. in the distance. This is why it's often worth switching to manual focus so you can have full control over what's your main focal point. 
 

Photo by Joshua Waller

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With Autumn rapidly approaching, they'll soon be ample opportunity to unpack your macro lens so you can capture images of fungi and close-up patterns of leaves as the golden shades take hold. Outdoor macro photography, particularly during the Autumn months, can be very rewarding but as you'll most likely be doing some walking, you may be wondering if fastening a tripod to your camera bag is really necessary as, after all, they can be heavy and a bit awkward to carry. Well, the quick answer to this question is 'yes' but here are 6 reasons that'll further explain why you'll be annoyed at yourself if you don't pack your tripod when heading out of the door. 

 

1. Stability

The most obvious reason for using a tripod is for added stability. Camera shake is more noticeable when working close to your subject so the use of a tripod's recommended. To minimise movement further, use your camera's self-timer or use a remote / cable release so you're not actually touching the camera when the exposure begins.

 

2. Low Angles And Awkward Spots

Not all macro subjects are in places which are easy to reach so use a tripod with a centre column that can be moved to a horizontal position or even turned the opposite way around as they make it easier to get into tight spots. It also helps if your tripod can get low to the ground. You can use various tripod heads but a ball head can be more flexible than other models as their range of movement means more camera positions can be achieved. They can take some getting used to so do have a play around with one at home before heading out into the field.

 

3. Longer Shutter Speeds

A tripod, bean bag or whatever support you're using will become even more important when you start using longer shutter speeds as if you try hand-holding the shots, you'll probably find shake causes blur to appear. You'll find longer exposure times are needed in woods where fungi thrive but not much light gets through the tree canopy. 

 

 

4. Composing Your Shots

Having a tripod with you when out shooting means you can get your framing right then make adjustments to white balance, aperture, shutter speed etc. without the camera's position changing. It also means your hands are free to adjust/remove distracting objects from the frame without the camera having to be put down. This could be moving a branch out of the way, removing stray twigs etc. 

 

5. Pre-Focus

This points more for the warmer months when butterflies and other flying insects are more likely to be around as speed is of the essence when working with small, fast subjects like these. To increase your chances of capturing a subject that moves quickly and doesn't hang around for long, try pre-focusing on the spot where you expect your subject to land. The reason you need a tripod for this is that even the smallest of nudges can change the focus. It also keeps your hands free for making minor adjustments (if needed) to the lens so you can reach your required focal plane once your subject is in the frame.
 

6. Focus Stacking

This technique is excellent for any static macro subjects. It's not recommended for use on live subjects such as insects as these tend to move. For the technique to work, you need to use editing software to combine several shots, where the focus is set at different points in each image, to effectively extend the depth of field of one shot. A tripod's needed as all the images need to line up perfectly for the technique to work successfully. For more information on Focus Stacking, take a look at John Gravett's article: Focus Stacking Images In Photoshop
 

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1. What Is A Triptych? 

A triptych is an image that consists of three different images that usually relate in some way. Why three? Well, items grouped in odd numbers are usually more compositionally pleasing and you can use three shots of different things or split one image up onto three separate panels. Generally, the image is presented so each shot is given the same space/shape to sit in on the canvas and they are evenly spread out. 

Triptychs are a great way to combine multiple viewpoints of the same place into a single shot so you can better tell the story of the scene you captured. It's also a good way to present images of a similar theme you've captured over time. 

 

2. What Photos Should I Use?

The images you use need to link to each other some way, but this doesn't necessarily mean it has to be of the same subject. They could be linked by colour, for example, or you could have applied the same treatment to them during post-production to make them appear similar. Images taken at the same focal length tend to appear more balanced when put together however, this rule isn't set in stone. You could also try linking them by movement, with three shots showing someone/something moving closer to the front of the frame or further away. 

 

3. Get Creative

Another way you could create a Triptych is to use several parts of the same scene in three separate images, capturing a wider view in the first then focusing on detail in the two that follow. Taking shots of the same scene at different times of the day or even the year can work effectively. For example, you could capture images of a tree during summer and autumn to show the contrast in colour/weather. 
 

4. Photograph Portraits

When shooting portraits, these types of shots tend to work better when your person, animal or object is looking into the frame rather than out as having them looking out of the shot will draw the viewer's attention away from the centre of the image. You can change the direction of which your subject is facing during post-production if you so wish. You could also have your subject creating three different facial expressions or poses a technique that can work particularly well with children. 
 

5. Fun With Photoshop

The easiest way to create a triptych is with editing software and we have a tutorial on creating triptychs in Photoshop over in our technique section: Create A Triptych For Your Photographs
 

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Use a tripod when shooting macro work to reduce the chances of shake creeping into the shot.

Camera shake, which can occur when you're not holding/supporting the camera correctly, can really spoil your shots but it's a problem that can be easily fixed. Most cameras now have features that help them prevent camera shake, however, there are still a few things the photographer can do to limit or even remove the shake that blurs your shots completely.

 

1. Use A Tripod

This may seem like an obvious response, but sometimes it may not be your first thought to use a tripod. A tripod will make a big difference to images if camera shake is a recurring issue. If you're travelling light, even a small tripod/stand that you can keep attached to the bottom of the camera will be handy for placing the camera down without worrying about scratching the bottom.

 

2. Shutter Speeds 

If you're working handheld, try and use the fastest shutter speed possible to minimise the risk of blur. If you're working in low light, try upping the ISO a little to enable you to shoot with faster shutter speeds, too. If your camera doesn't tend to produce good-quality shots when higher ISOs are used, take your tripod with you so you can use longer shutter speeds without having to worry about shake spoiling your shots. 

 

 

3. Remote Release

A remote release will enable you to trigger the shutter without physically pressing the shutter button and causing minute vibrations which can cause shake. Some cameras also allow you to trigger the camera using a connected smartphone or tablet device, which will work just the same as the remote release to stop vibrations. You can also use your camera's self-timer if you don't have one as even though you're still touching the camera, the timer should mean the camera's stopped moving by the time the exposure begins. 

 

4. Stance and Breathing

The way you hold your camera can have a big effect on the amount of blur caused by your own movement. Hold the camera with two hands close to your body and make sure your feet are shoulder-width apart. If composing with the screen, keep your elbows tucked in as you'll stand a better chance of capturing a steady image. Being conscious of your breathing can further minimise shake. Some suggest taking a deep breath, holding it, taking your shot and exhaling while others prefer to do it the other way around. It's not something that's recommended for very long exposures, though! 

 

5. Use Objects For Support

You may find leaning against a tree or a wall useful to steady your images. Do use the built-in level if you do this, however, to make sure that your horizon stays straight, as leaning can cause wonky images. You could also take a beanbag out with you or if you're really struggling to find a support, see if your camera bag will help. 

 

 

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DJI has officially introduced the Osmo 360 II at IFA 2026, marking a significant advancement in panoramic imaging technology. According to DJI, the Osmo 360 II was developed based on the company’s extensive product background: distortion control in aerial photography, stabilization from the Ronin handheld gimbal systems, and color science from successive generations of Osmo Action cameras.  

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The zoom ring on a modern 70-200mm traces back to a viewfinder accessory the US Army Signal Corps clipped onto its 35mm combat movie cameras. Frank Back, the Austrian-born engineer who designed it, spent the war improving cameras and lenses for the Signal Corps and then turned the same optical trick into the first zoom lens that caught on. That kind of lineage runs through more of a modern kit than most people expect, and it runs shorter and less often than the retellings suggest.

 

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Leica is in a tricky position when it comes to creating a new M camera. The fanbase welcomes new models, but Leica knows that if they stray too far from the essence of the M, users may reject the new model. The M5, introduced in 1972, made dramatic changes from the design of the previous M4 model and met relatively weak demand. Leica later returned to the more traditional, minimalist M approach, culminating in cameras such as the M6.

  

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Light gets talked about like it comes in two flavors, good and bad, and that framing quietly limits what you shoot. Treating every kind of light as workable, rather than sorting it into keepers and mistakes, opens up scenes most people walk past.

 

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Light trails on a road can turn a flat night shot into something with real energy, but capturing them all in one clean frame is harder than it looks. Time blending lets you combine several exposures so the streaks flow together the way a single long exposure rarely manages.

 

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Yosemite gives you waterfalls, granite walls, and postcard viewpoints that practically shoot themselves. The harder task is walking away with something nobody else made, and that starts with subtraction rather than addition.

 

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Remove a person from the middle of a group photo, close the gap as if they were never there, and do it all without touching Photoshop. That option is now sitting inside Lightroom for anyone who has never gotten comfortable with layers and masks.

 

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A bare, uncoated air-to-glass surface sends roughly 4 percent of the light striking it back the way it came, and a current professional 24-70mm f/2.8 zoom stacks about 30 of those surfaces in a row. Uncoated, less than a third of the light entering the front would reach the sensor as part of the image. Most of the rest heads back out the front of the lens, and flare is what happens when the fraction that turns around again lands on your picture.

 

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There is something I have been thinking about recently, and it was not until I returned to a location I had photographed many years ago that it really started to bother me. We spend so much of our time as photographers looking for new locations, searching maps, saving places on Google Maps, watching videos, and scrolling through social media looking for somewhere we have never photographed before. We are always looking for the next location, the next composition, and the next photograph.

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