Photography News

 

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

 

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.

 

Exclusive Code For FREE Entry:

Pre-register using code EPFREE to receive FREE Trade Show entry. Offer valid until 12 January 2026.

Register for FREE tickets!

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits
• Weddings
• Lighting
• Wildlife
• Macro
• Post-production
• Creative storytelling
• Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

Exclusive Offer

Save 10% with code epz10 on all class tickets!

  The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Save the Dates

Full Convention: 14–17 January 2026

FREE Trade Show: 15–17 January 2026

Venue: Novotel London West, Hammersmith, W6 8DR

 

Join thousands of photographers for the ultimate start to 2026.

Masterclass Passes and Superclasses available now.

Book your tickets now!

 

 

If you enjoyed our technique on cross polarisation photography have a look at this variation. As it is winter I thought we'd take an icy deviation to the standard plastic cross polarising effect. Here we've still used plastic but added a colourful background to a frozen texture.
 

Gear Suggestions

All you need is a CD case, some tape and a little bit of pre-planning, along with the essential hardware comprising of a camera with any lens (ideally with a close up mode), LCD computer monitor and a polarising filter. Oh, and a steady support for the camera.

It doesn't matter if your camera doesn't have a filter thread (often the case when using compact cameras) as you can hold the filter over the lens when taking the shot.
 

The Set-Up 

First the preparation. Prise out the CD retaining tray (the bit with the clips that go through the centre of the cd to hold it in the jewel case) out of a standard CD jewel case. Use the Album type not the slimline or clam case. Close the case and tape around all the edges where there are gaps to make the sides and base water tight. Make sure the top gap is open so you can pour water in. Fill it with water through the gap on top and insert it into your fridge's ice box.

When it's frozen set up your mini studio set. Turn on the computer monitor and set it so the background is uncluttered. A standard mid grey desktop is perfect, avoid a fancy pattern. If you don't have one and cannot work out how to change your windows desktop pattern open up a mid-grey image in an image editing program and expand it to fill the screen. 

As the ice will melt quickly in the tray it's best to set up using a different CD case so you can arrange everything and switch to the icy one when you're ready to take a photo.  So position your stand-in CD case about 20-30cm in front of the screen. I used a McClamp, but you could use any form of support or even just pile up some books and balance it on top. Remember that the ice will melt as you take photos so you'll need some sheet to protect books and a cloth to mop up excess water. If you're quick you won't end up with much mess.

Position the camera in front of the CD case with the lens set to fill the frame with a portion of the case. If your camera doesn't focus close enough to fill the frame shoot as close as you can and crop the picture when taken. Again you can use books as a support and stack them to the necessary height. Alternatively use a tripod which gives a sturdier and much more versatile support.
 

 

Add The Ice

When everything is set up, switch from stand-in CD to the real ice-filled CD. Take the front of the case so you have the ice layer and then the back of the case. Balance on your support and make sure the camera back is parallel to the case so you maximise sharpness.

Now, adjust the camera position to frame in on a specific are of the ice. Areas with cracks or large bubbles can look best. The ice slab will provide lots of different textures and by rotating the polariser you can deliver different colours from the same position.

Focus carefully on the bubbles so they look really clear. You can shoot on automatic as the metering should be pretty accurate.

If you're using a camera without a filter thread hold the polariser to your eye and rotate around until the screen goes black. keep the filter in that position and move it in front of the lens.  The shutter speed will probably be slow so set the camera to the self-time mode and take pictures using that. The 2 or 10-second delay is enough to allow the camera to be still before the photo is taken.

Take pictures until the ice begins to melt fast. You have about 10 - 20 minutes before a puddle will appear.

A New Year has begun and with it comes new opportunities to better your photography. So, with a whole year ahead of you, what will you be doing differently this year? Do you want to try a new genre of photography, do you want to shoot with your smartphone? Or, quite simply, do you just want to enjoy the hobby of photography more? Whatever your plans, we've got a few New Year's Resolutions for photographers to get you thinking about your year of photography that's to come.

1. I Will Know My Gear Well

If you've got a new camera for Christmas or have fallen into the trap of switching to Auto as it's just easy to use, make this year the year you get to grips with your camera. Take the time to learn why shutter speeds are important, how apertures can change the look of your photo and why setting your white balance manually can improve your shots. Of course there are more modes, techniques and settings than listed here and you can find plenty of advice on various aspects of photography over in ePHOTOzine's techniques section. Don't overlook sitting down and reading your camera's manual too as they are usually full of good advice.
 

2. I Will Try Something New

Learn how to use a new piece of editing software or how about trying a different photography technique? There's plenty of subjects out there and you won't know if you enjoy photographing them if you don't try. If you're looking for tips, head over to ePHOTOzine's techniques section, ask your question in our forums or take a look at some of the photography books that are on offer.
 

3. I Will Take My Camera With Me More Often

Many of us are guilty of leaving the camera at home a little too often when really if we had it in the car or even in our bag, we'd take more photos. In fact, with a large amount of smartphones on the market, why not make more use of the camera that's on your phone and most likely with you all of the time? Yes, there is a chance many won't be great but you can use the shots to learn from and improve the shots you take at a later date.
 

I Will Make The Most Of The Gear I Have

Just because you don't own an expensive DSLR and a long lens doesn't mean you can't take good photos. You just have to think more about what the gear you have is capable of capturing and focus your energy into taking good shots of that with it. Plus, if you do want to photograph a particular subject but don't think you have the right gear, there are often ways to get around it. For example, for wildlife photography, you'll need longer lenses, a tripod etc. when taking your shots out in the wild which means it's not an ideal subject for compact users. However, you can capture wildlife shots at a zoo or wildlife park where you can get closer to the wildlife, making it easier for you to capture frame-filling shots.

What photographic themed resolutions have you made? Share them in the comments below. 

© Beate Ammer / Nikon Comedy Wildlife Awards

 

Nikon has announced this year's winner of the Nikon Comedy Wildlife Awards. Mark Meth-Cohn, a keen amateur wildlife photographer from the UK – and a finalist in last year's awards - took home the top prize for his hilarious image, 'High Five'.

"High Five" is a perfectly timed capture of a gorilla dancing through a forest clearing, taken in Rwanda earlier this year. The comical photograph stood out among a record-breaking 10,000 entries from 109 countries – the highest number in the Awards' illustrious eleven-year history. From this extraordinary collection, 44 of the very best entries, including videos, were shortlisted for the judging panel to select their favourites. The competition was as fierce as ever; however, Mark's photograph emerged as a clear favourite among the judges – with the shot also claiming the Mammals Category Award.

Mark Meth-Cohn says: "We spent four unforgettable days trekking through the misty Virunga Mountains in search of the gorilla families that call them home. On this particular day, we came across a large family group known as the Amahoro family, they were gathered in a forest clearing where the adults were calmly foraging while the youngsters were enthusiastically playing. One young male was especially keen to show off his acrobatic flair: pirouetting, tumbling, and high kicking. Watching his performance was pure joy, and I'm thrilled to have captured his playful spirit in this image."  

Stefan Maier, Senior General Manager of Marketing at Nikon Europe, says: "We are so thrilled to celebrate the incredible talent and creativity showcased in this year's Nikon Comedy Wildlife Awards. All of our category winners use joy, skills and imagination to capture the natural world, and Mark's winning image perfectly represents the playful spirit of wildlife. At Nikon, we are incredibly proud to support these visual storytellers and provide them with the tools to share their unique perspectives, inspiring audiences everywhere to connect with and care for our planet's remarkable wildlife."

As the overall winner of the competition, Mark Meth-Cohn will enjoy an unforgettable safari experience in the Maasai Mara, Kenya, thanks to Alex Walker's Serian. He will also receive a stunning handmade trophy crafted by the Wonder Workshop in Tanzania and a premium photography bag from the renowned THINK TANK.

Commenting on the moment he found out he had won the top prize, Mark said, "Doing well in any competition shows that the images you are producing are working. The Nikon Comedy Wildlife Awards are one of the major competitions of the year, easy to enter and fun but with a seriously committed underlying ethos and, after reaching the finals last year, I'm absolutely delighted to have gone one step further and win the competition this year."

There were several other category winners this year, with special recognition for the generation of wildlife photographers. Grayson Bell from the USA won the Nikon Young Photographer Award (16 & under) and the Reptile, Amphibian & Insect Category with his striking close-up of two frogs wrestling in the water, and will receive a Nikon Z50II kit as his prize. Further celebrating the photographers of tomorrow, Paula Rustemeier from Germany triumphed in the Nikon Junior Category (25 & under) with her playful fox image "Hit the dance floor", earning a Nikon Z6III kit. Meanwhile, Tatjana Epp, also from Germany, won the Video Category with a captivating clip of a surfing heron and will receive a Nikon ZR kit.

The winners were announced on Tuesday 9th December, and the announcement is followed by a free, week-long exhibition from the 10th -14th December, where Nikon will showcase the exceptional work of the 2025 Award Finalists at the Oxo Galery in London.

This year, in collaboration with our valued partners - paper sponsor, Hahnemühle, and printing sponsor, Metro Imaging - we're proud to share that the entire Nikon Comedy Wildlife Exhibition has been curated with sustainability at its heart. All the stunning images you see on display at the exhibition have been printed by Metro on Hahnemühle's Bamboo paper – the world's first inkjet paper made from 90% bamboo fibres and 10% cotton, offering a fast growing, environmentally friendly alternative. By choosing materials that minimise environmental impact, we are ensuring that the exhibition's strong conservation message is reflected not only in the imagery but also in every aspect of its presentation. We are delighted to champion both creativity and sustainability, setting a new standard for eco-conscious exhibitions.

Nikon is also pleased to announce that voting is open from 10th December for the People's Choice Award, where the public to get to choose their favourite Finalists from 2025. The public can cast their vote at www.comedywildlifephoto.com until March 1st 2026 and the Winner of this Award will be announced on March 14th.

© Leica

 

Leica Camera AG has introduced firmware version 4.0.0 for the Leica SL-System and Leica Q3 family, bringing important upgrades that improve speed, precision, and ease of use. These updates are designed to give photographers and videographers a smoother and more creative shooting experience.

For the Leica SL3 and SL3-S, the new firmware delivers faster hybrid autofocus with more accurate detection of people and animals. System speed has been improved, and the new Multishot mode allows images to be captured at up to 240 megapixels. Direct cloud connection to Adobe Frame.io also supports a seamless professional workflow.

The Leica Q3 family benefits from a completely refreshed user interface inspired by the SL3. The update introduces redesigned icons, a clearer menu structure, faster navigation, and enhanced touch controls. With improved autofocus and customizable Leica Looks, users can enjoy a more personal and intuitive experience.

Firmware version 4.0.0 is available now and can be installed through the Leica FOTOS App or via SD card.

For more details, please visit the Leica website.

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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 Leedslass1 (Day 29 - Night Winter Shots)

 

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 24

Urban Portraits

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Day 25

Christmas

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Day 26

Fill-In Flash Portraits

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  Day 27

'Technology' Theme

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Day 28

Mountains In Winter

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Day 30

Black & White Winter Theme

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Day 31

Paths & Lines In Cities

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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.

  Close-ups of textures can make interesting images on their own, but they are most useful for blending with other images to add interest to plain backgrounds or to give a particular shot a different look/feel. Towns and cities are great places for hunting down textures and once you start looking at detail rather than buildings as a whole, you'll soon find a variety of textures to fill your memory card with. Walls, steps, doors, sheds, modern metal structures, roof tiles and windows are just some of the locations you'll find interesting textures at.    What kit is best?

When it comes to kit choices for this subject, zoom lenses are useful for selective cropping while a macro lens will get you close to the patterns you're capturing. Pick up a telephoto lens when you want a tighter perspective. A tripod is handy for when you're using a telephoto lens and will also help ensure your shot's straight. A remote release or the camera's self-timer are tools you'll be using quite often, too. 

 

Look for patterns

Subjects that have a pattern that repeats such as a brick wall or the lines found in wooden planks and doors look great but don't think they all have to be symmetrical. Having a variety of colours and lines can work well especially if you have two contrasting objects to work with. Try to find somewhere new buildings meet old and see if any of the strong metal structures overlap or cross the older, softer structures. Head out after it's rained too as surfaces take on a different feel/look when they're damp and covered in water drops.

Don't zoom in too much as often a shot that's taken with a little more distance between you and the subject will look better and that way there's always the option to crop the photo when you're in front of your computer back home.

 

Cut out the distraction

If there's a distracting object, shadow or mark in the frame either move your feet to find a different angle or use your zoom to cut out of the frame. Try shooting straight on to make your texture as flat as possible before moving on to experiment with different angles as these types of shots are often great for adding to other images and the flatter the surface is the easier it is to use. To emphasise the shapes/textures, position yourself so your light is on one side. This will create a strong shadow and give your shot extra depth.

If you're working on a new building watch out for glare and reflections which can easily be removed by simply moving your feet a little and finally, pay attention to your white balance as you may find the cloudy or shade options produce better results.

So, you've waved goodbye to your photo journeys of last year are raring to get the new photographic year off the starting line with a bang but you're not sure where to start... Well, how about getting stuck into a photo project that can take you right through from 1 January to New Year's Eve? A 365-project is an obvious choice but there are other options for those who don't want to commit as much time to a project or if you'd like more of a challenge, there's an even more time-intense task you can take on. Have a read of our suggestions below and see which creative project appeals the most. You could even use ePz's blog system to share your project with other members on site. 

 

1. 365 Day Project

Photo Joshua Waller 

 

Even though this is something many will have done, it's still worth a mention but be warned; it's not as easy as it sounds! Basically, you need to take a photo every day for a year. Sounds straightforward but when you've done a few, inspiration could start to wear thin. The key is to not think too grand all of the time. Yes, it would be great to have 365 cracking landscape shots but it's just not feasible most of the time. Look at small details, get creative with apps, get out of your comfort zone and try something new...these are all ways you can keep your 365 project both creative and interesting. Another point to remember is to always carry a camera with you. This doesn't have to be a DSLR but do make sure you have your Smartphone, compact or even a film camera (if that's your thing) with you so you never miss an opportunity. If you do miss a day, don't beat yourself up too badly, just take two shots the following day (we won't tell anyone you bent the rules slightly). 

  2. 52 Week Project

Photo Joshua Waller 

 

If taking a photo every day seems a little daunting how about one a week? This could be of anything and everything or how about giving it a theme? Take a portrait shot every week for a year or how about taking a photo of a dinner at least once a week? There's plenty of things to try, you just need to get those grey cells working and think of something that really gets you excited about the project so you see it through to completion. 

 

3. 12 Hour Photo Project 

 

 

Pick a day and take a photo every hour for 12 hours. A workday may prove to be difficult but a day out at the coast, a day while you're on your annual vacation or a weekend in the city should provide you plenty of opportunities to take a photo every hour. It'll give you the opportunity to expand your photographic skills, taking photos in various lighting situations, locations and from a variety of angles. 

 

4. Photograph 1 Item / Object

 

If you don't want to set yourself time limits you could focus your attention on one object/item for a year. This, for example, could be a particular tree in your garden or landscape that you take a shot of from the same spot for an X amount of times. You could also pick an item and take it to various locations throughout the year to photograph. Timelapse could also be an option, especially in spring when you can capture flowers blooming in your garden. For broader themes, think of items you'll be able to capture images of in one place such as shop signs in towns. 

 

5. Take On An A-Z Challenge

 

This is one that can be completed in an afternoon while you take a walk around your local town so won't be too time-consuming but it will still challenge you to look at the world through a more creative eye. This project is something we've actually discussed before so won't go into much detail but basically, you capture shots of items around you that are shaped like letters of the alphabet. For more tips, have a read of this: Kickstart Your Creativity With An A - Z Photo Project

 

6. Think In Colour

 

This is project that you can shoot over several days, weeks or even months and the key is to focus just on one colour which means you can capture photos of various subjects so long as the colour theme matches. It's also a great project to keep running alongside your other photography pursuits. 

 

7. Self Portrait Project

 

'Selfies' are all the rage and can be captured with any camera and anywhere (they've even been captured in the International Space Station!). Take on the 'daily self-portrait' project for a week, month or even a year and you'll have an interesting collection of images that document your face, clothing choices etc. for a small pocket in time. 

 

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

Photo by Joshua Waller

Living in the UK, most of the best clothing in our wardrobes is probably winter stuff so why not encourage people to get out and about with their favourite coats, hats and scarves and have fun shooting some outdoor winter portraits.

 

Think about different lighting sources

During the Winter months, strobe lighting can help bring out details and highlights that might not be captured without it but this doesn't mean it should be given prevalence over natural or tungsten lighting. By not overusing one particular light source, you can produce a variety of images, giving your subject more choice at the end of the shoot. 

Sometimes you'll find the flash, colour balance and ambient light will conflict but in the right settings, this can give fashion type portraits a great look. Try playing around with the white balance setting on your camera to give surrounding daylight a cool blue tone. For portraits with a warmer feel, set your white balance to cloudy. 

Don't forget to pack a good reflector as these can be really useful for redirecting winter sun and take your longer lens along which can be used at wider apertures to create sparkling highlights in the background of your shots – Bokeh to those who like the technical words. A spare battery or two are useful and if you want to shoot some indoor shots after walking around outside for a while do remember that moving from outside to inside on cold, damp days could mist up your lens and camera eyepiece up and some acclimatising time will be needed.

 

 

Photo by Joshua Waller

 

Plan your shoot before the day

Rural or urban locations can both work with Christmas lights adding further interest to town and city shoots at this time of year. It's a good idea to have a route in mind so have a look for potential shoot locations before the shoot day actually arrives and it's also worth factoring in a cafe or bar stop along the way where you can make a pitstop. This will give you the chance to warm up, apply fresh make-up etc. If you're heading for woodland, bright clothing can work well as it'll contrast against the trees which are starting to take on their winter appearance. 

Think of ideas and adjectives that'll help you portray a theme to your subject and do remember to help them relax so they don't feel so self-conscious when you're taking their photograph.

 

What Are Paths And Lines And Why Do It?

Basically, when you look at a photo, your eye is naturally drawn to a certain point and to make sure the viewer of your shot focuses on the right spot in your image, you can create a "path" for the eye to follow through the scene. This won't work for every shot but do consider it before hitting the shutter button.

 

Photo by David Clapp

  What To Use As Paths?  When shooting outdoors, there are lots of elements that can be used to achieve this effect fairly easily.

Examples of paths:

• Lines in crop fields
• Roads
• Fences
• Streams
• Trails
• Walking Paths 

These are just a few of the things you can use to guide the eye through a shot. The image above illustrates this well, with the lines leading the eye through the image to the castle in the background.

For tips on using converging verticals and lines, read this tutorial: When Are Converging Verticals And Lines A Good Thing?


  Guide The Eye With Blur If using lines won't work, try using blur to guide the eye to a particular point of focus. For example, this could mean using a shallow depth of field to make your person 'pop' from the frame. For more tips on using apertures creatively, have a look at this tutorial: Creative Aperture / Depth Of Field

We also have this tutorial with a few focusing tips to get you thinking about your photography more creatively: Think About Your Focus

Photo by David Clapp - www.davidclapp.co.uk
  Give Moving Objects Space

If you are photographing moving objects, consider which way they are heading. For example, if the object is on the left side of your shot and heading out of the frame, rather than into the centre, this will ultimately lead the eye away from the main body of the image and can also frustrate the viewer with its mystery destination. Having the object, or objects, heading towards the middle of the frame will make the image more pleasing to the eye and will stop the object from guiding the viewer's eye out of frame. For more tips, take a look at this tutorial: Looking/Moving Space.

© Paul Morgan

 

It is with deep sadness that we share the news of the passing of long-time ePHOTOzine member Paul Morgan, who died on 15 November 2025 after battling pancreatic cancer. Paul was a valued part of our community and will be remembered for his creativity, generosity, and love of photography.

In a tribute shared by his son, Leon Morgan:

Paul Conrad Morgan sadly passed away on the 15th November 2025, after battling Pancreatic cancer for much of this year.

Paul was born in London in 1964 before moving to Reading. He was creative and used photography to express this. He would always have a camera with him. He had a love of black and white photography and at one point had a makeshift darkroom set up in the bathroom, and a studio set up in the living room.

He loved the photography community here on ePHOTOzine and would often spend hours browsing users’ portfolios.

Paul would volunteer for the British Thyroid Foundation and received an award for his charity work from Nationwide.

He indulged in his hobby right up to his final days, and has passed it on to myself, his son.

Paul will be remembered fondly in all his photographs he took during his life.

Paul’s dedication to photography and his kindness toward others left a lasting impression on everyone who knew him. His work continues to inspire, and his presence in the community will be greatly missed.

For those who wish to pay their respects, please visit his MuchLoved memorial page or explore his ePHOTOzine profile to see the photographs that defined his journey.

Our thoughts are with Paul’s family, friends, and loved ones at this difficult time.

Photo by Peter Bargh. Gear Suggestions:

• A macro lens is very useful but not essential
• Tripod – one where the centre column can be turned horizontal is useful so you can get right in over the surface you’re working on. You could also use a table top tripod.

  Technique:

Before you start you need to make sure your cutlery is clean and that your egg doesn’t have any imperfections.

You need to work where there’s plenty of light so position yourself near a window/ patio doors. Plain backgrounds, particularly reflective ones, work best. Still life tables that have a perspex base work well but try using a piece of white card or plastic tray if you don’t have one. If you have white plastic windowsills try setting your still life up on it but you may need to place a sheet of paper, netting or cloth on the glass to diffuse the light slightly.

When it comes to placement, experimentation is key as there are various ways to arrange your props for a successful shot. However, one that works particularly well is where you balance the egg inside two crossed over forks. Shooting this straight on produces perfectly good results but do try adjusting the angle of your setup or move your feet so you're shooting from a different position.

Make sure your camera focuses on the correct point so you don’t end up with a blurry egg, watch your white balance and if you have a problem with unwanted shadows creeping into your shot, try moving your set-up or any objects nearby that could be casting them.

You can keep your shot in colour or to give more focus to the shapes and structure of the shot, convert it to black & white and / or use a slight vignette to draw the eye to the middle of the photograph.

When you first think of a snowy day captured in an image, black & whites tones are probably not what first spring to mind. However, in the right conditions and with the right subjects,  working in monochrome on snowy days can work well and give you a collection of winter images that are rather eye-catching. To get you thinking more about mono, here's 5 tips to get you started on your journey into black & white snow photography. 

 

Photo by David Clapp

 

1. The Weather Matters

When skies aren't a brilliant blue, turn your attention to the black & white medium as when your shot has a heavy snow-filled sky in it, your image will have much more punch to it if captured in black & white. Mist can help to separate foreground detail from background too. Make sure you wrap up in severe cold weather.

 

2. Strong Shapes Are A Must

As with most forms of black & white photography, you need strong, recognisable shapes in your shot for it to work. The skeletal trees of winter create interesting shapes which are perfect for snow-themed black & white landscapes. Livestock, rock formations and stone walls all work well as foreground interest, too.

 

3. Foreground Interest Is Important

If you just have a blanket of white snow, generally your image won't really work as there won't be any depth to it. The reason we say 'generally', however is because a blanket of snow can work in abstract images where you just have one main focus point that's starkly different to the pale snow (as shown in David's shot above). Find something that will lead the eye through the image or if there's nothing to guide the eye, just ensure there's at least one part of the foreground that adds texture and interest to your shot. 

 

4. Converting To Black & White 

There's always the option to take your shots in colour then convert them when back home in front of your computer. When converting images to black & white it's important to pay attention to the colour channels, as John Gravett explained in a previous article where he said: "Look at each of the red, green and blue colour channels to see which gives the best effect. Often, if you have a broad landscape with a blue sky, the red channel will darken the sky and give the picture real impact, it will also have the benefit of cutting any distant haze in the picture."

 

5. Stay Warm And Safe

This one isn't really about your photos but your safety. It will be bitterly cold when snowing so don't spend too long outside and always dress appropriately. Tell people where you are going and don't put yourself in danger for the sake of the perfect image. 

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Quick Verdict

The Fujifilm X-E5 is a classic design, combining traditional controls and functions with the latest high quality 40MP sensor. This is all in a likeable rangefinder-style format that will appeal to traditional photographers as well as those who love modern technology. Handling is superb, the quality is sublime and this could well be an ideal travel companion.

 

Fujifilm have a long and impressive history of producing solid, reliable and versatile cameras and lenses of the highest quality. The new X-E5 continues this tradition, with a classic rangefinder-style layout, a compact form factor and all housed in a solid camera body packed with the latest technological advances. We couple this up with the recently reviewed Fujinon XF 23mm f/2.8 R WR lens, an impressive looking package. Let's see if it all lives up to expectations, both in the technical tests and in the field.

 

Fujifilm X-E5 Features

Starting with the machined Aluminium top plate, the first impression is of solid, precision manufacture. Finish is excellent. The style is one of conventional physical controls for the most used functions, rather than having to delve constantly into the menus. The film simulation modes are controlled by a small dial at the back of the top plate, the selection being shown in a small clear window. There are several commonly used settings from the dial, the option to save our own favourite and a setting that provides access to the full range in the menus. Moving along the top plate, we have the hotshoe, a generously sized shutter speed dial, on/off switch, unmarked button that is the Fn menu and an exposure compensation dial. Just in front of the on/off switch, at the top of the front of the top plate, are the dial for directly setting the ISO and a switch that selects a Surround View function. Toggle this switch to engage the digital teleconverter, either with the surrounding image area still visible (like a rangefinder camera would show) or as a magnified image. Pixel counts will be smaller as we “zoom” in. 

 

 

At the back of the top plate, we have buttons for Drive, Play, AE-L and the dial to make changes to a selected parameter. The useful Q menu has a well recessed button that has no tendency to be vulnerable to accidentally being engaged. The dial is also firmer in action than some Fujifilm models, so is more reliable in action.

The back panel has a joystick, rather small but effective, a menu/OK button and a Display/Back button. The 3” tilt touch sensitive LCD is bright and clear. There are 1.04M dots.

The viewfinder is a 0.39” OLED EVF with a more generous 2.36M dots. 

The weather-sealed body is solid, weighing in at 445g with battery and card. There is just one card slot. The built in 5 axis IBIS gives a 7 stop advantage at the centre of the field and 6 stops at the periphery. 

The 40.2MP X-Trans CMOS 5 HR sensor is capable of producing lovely image quality, along with impressively low noise levels. There are also various routes to connectivity. The physical interfaces are USB-C, HDMI Micro D, 3.5mm jack for mic/remote and the hotshoe. Connection is also possible via WiFi and Bluetooth. There is also a very useful Fujifilm X App.

 

 

Fujifilm X-E5 Key Features

•  X Mount APS-C format
•  Machined Aluminium top plate
•  Surround View function
•  40.2MP X-Trans CMOS 5 HR sensor
•  X-Processor 5
•  5 Axis IBIS, 7 stops centre, 6 stops periphery
•  Mechanical shutter 30secs to 1/4000sec
•  Electronic shutter 30 secs to 1/180000sec
•  AF sensitivity -4 EV Contrast detection, -7 EV Phase detection
•  AI-powered subject detection - animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones
•  Native ISO range 125-12,800, extendable to ISO 80-51,200
•  20 Film Simulation modes
•  Film Simulation Dial
•  1 SD card slot – UHS-I, UHS-II, SD, SDHC, SDXC
•  Video speed class V90
•  NP-W126S battery 310 frames/400 frames (economy mode)
•  3in LCD touch screen tilt type monitor 1.04M dots
•  0.39” OLED EVF, 2.36M dots
•  6.2K/30P internal recording in 4:2:2 10-bit quality
•  High speed video at 4K/60P and 1080/240p
•  WiFi, Bluetooth
•  Fujifilm X App
•  USB-C, HDMI Micro D, 3.5mm mic/remote jack, hotshoe
•  Body measures 124.9mm x 72.9mm x 39.1mm
•  445g with battery and SD card
•  Operating temperature 0C to +40C

 

Fujifilm X-E5 Handling

With plenty of physical dials and buttons operating the key features, this is a camera that will appeal to traditional photographers as much as those used to more menu driven designs. The instant access to shutter speeds, aperture (via the lens aperture ring with the provided pancake lens), ISO, exposure compensation and selected film simulation modes is quick and efficient. The bulk of the camera is sufficient to make handling much easier, rather than having awkward grips and the tendency to operate controls by accident. The X-E5 suffers from none of that.

Other adjustments can be accessed quickly using the Fn and Q menus, and these are selected by the joystick and then adjusted using the rear control wheel. As mentioned, this wheel is firm enough to ensure adjustments are reliably made every time.

The tilting rear screen is useful and seems sturdily made to withstand long term use. The camera body as a whole is solid but not overly heavy. Dimensions are small enough to contemplate it being carried, complete with pancake lens, in a large coat pocket. 

There is no obvious video switch, but this feature is activated as a setting in the drive menu. Once found and engaged, the actual shooting of impromptu videos of high quality is very easy. Sound quality is also good. Not primarily a video camera perhaps, but still very capable when needed.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X-E5 Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Fujifilm X-E5 Sample Photos Previous Next

 

Lens Performance – The Fujifilm XF 23mm f/2.8 R WR pancake lens was supplied with the X-E5 and has recently been reviewed. A summary of the lens performance:

Central sharpness is excellent from f/2.8 right the way through to f/11 and is still very good at f/16. The edges are very good from f/2.8 to f/11 and good at f/16. This is a great performance, and the images look sharp and crisp across the frame.

CA (Chromatic Aberration) is minimal at the centre and still well under control at the edges. Colour fringing is not a problem in most images. Further correction could be made in the software in extreme instances, but it is doubtful that this would be required.

Distortion is just -0.20% barrel, straight lines remaining straight.

Bokeh is relaxed and easy on the eye.

Flare control is excellent, as is the norm with Fujifilm lenses. In very extreme lighting, it is just possible to see some slight artefacts, but we have to work at it to achieve such effects.

Vignetting is visible, particularly at wider apertures, but not obtrusive in general photography. In any event, a slight corner darkening can be a useful effect in many images, concentrating the eye towards the centre.

The pancake lens is a great companion for the X-E5, offering superb quality and making the combination ideal for travelling light.

 

Fujifilm X-E5 ISO test images Previous Next

 

ISO Performance – Noise is virtually absent from ISO 80 right through to ISO 800. The very first whisper of noise and the very slightest reduction in edge sharpness occurs at ISO 1600, although at this point, quality is still high. At ISO 3200 and ISO 6400, noise is just starting to be more obvious and edge sharpness is reduced, but these values are still fully usable. ISO 6400 and ISO 12800 see a jump in noise levels, and the edges of the test target boxes are starting to show signs of becoming feathery rather than crisp. At ISO 25600, sharpness falls off and noise becomes quite obtrusive. At ISO 51200, noise levels are moderately high and edge sharpness is quite poor. However, the darkest test target boxes can still be differentiated from the background, so this is overall a solid performance.

 

Fujifilm X-E5 White-balance test images Previous Next

 

White Balance – White balance pre-set options are auto white priority, auto, auto ambience priority, 3 custom settings, K colour temperature setting, daylight, shade, 3 fluorescent settings, incandescent and underwater. Most of the images shot for this review used the auto ambience setting, which gives good colour balance but does not destroy the subtleties of the ambient light. The shade setting is useful for dark woodlands and helps to record natural colours of fungi in particular. The missing one is, as mentioned previously with Fujifilm cameras, a cloudy setting, the digital equivalent of the 81A or cloudy filter. Almost all other marques include this, so it would be useful for those who like warm images. Otherwise, the presets offered work very well.

 

Fujifilm X-E5 Digital filters Previous Next

 

Digital Filters – As with the recently reviewed X-T30 III, there are two avenues of approach to the 20 film simulations. The dial on the back of the top plate controls the readily accessible options. The selection made can be seen in the small window on the top plate. This enables direct access to a small selection of simulations, three custom selections plus an Acros setting that points to the Acros simulation but can be re-programmed to anything the user wishes. The C setting refers the user to the menus to select an option. The 20 choices are Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg. Hi, Pro Neg. Std, Classic Neg., Nostalgic Neg,. Eterna/Cinema, Eterna Bleach Bypass, Acros, Acros+Ye filter, Acros+R filter, Acros+G filter, Monochrome, Monochrome+Ye filter, Monochrome+R filter, Monochrome+G filter and Sepia.

The dual names such as Velvia/Vivid would be self explanatory to those who are familiar with the film types, but if not then the description gives an explanation. This versatility in choosing image styles makes good sense and gives a direct expectation to those who shoot or have shot film.

 

Video –  Although primarily a stills camera, the X-E5 has a sensible specification:

• 6.2K/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Open Gate recording
• MOV (HEVC/H.265 or H.264)
• MP4 H.264

Shooting basic FHD video is pretty straightforward, and impromptu results are smooth, also with good quality sound. The tracking AF follows its subject effectively. The sound is clear. The stability of the video stabilisation also helps when the camera is unsupported, even when walking.

Video sample coming soon.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Fujifilm X-E5|Fujifilm+X-E5[/AMUK] body only is priced at £1249.00. Add the XF 23mm f/2.8 R WR lens, and the cost becomes £1499.00

This is a similar price level to the [AMUK]Fujifilm X100VI|Fujifilm+X100VI[/AMUK] with its fixed 23mm f/2 lens, priced at £1599.00

These are cameras intended to appeal to those who want the compact rangefinder style, rather than the DSLR style of mirrorless cameras. Not only that, but also we have a very compact form factor that brings these into the realm of pocketable, providing we are talking about large coat pockets.

The only other direction, fixed lens again, might be the [AMUK]Leica Q|Leica+Q[/AMUK] cameras, but then we are looking at a very different pricing level.

Overall, the new Fujifilm X-E5 looks to be sound VFM.

 

Fujifilm X-E5 Verdict

There is much to like about the X-E5. The rangefinder style will appeal to many, but there is so much more about this camera. It is solid, full of features, the quality is superb and the handling vastly improved with its dial orientated approach. The pancake lens completes the concept of a travel compact camera, but of course, here we also have the ability to use other lenses available in Fuji X mount. This is where the camera instantly scores above the X100VI with its fixed lens. 

Whilst there are many similarly priced alternatives, they do not have the same thin profile and usually are supplied with small but protruding zoom lenses. This is a different direction from the slim profile of the X-E5.

If the form factor appeals, then the camera works extremely well and it can be Highly Recommended.

 

Fujifilm X-E5 Pros

• Excellent image quality
• Light and compact
• Image Stabilisation
• Weather resistance
• Film simulation options
• Subject detection options
• Competitive price
• Fantastic high quality lens range

 

Fujifilm X-E5 Cons

• Cold operation only down to 0C

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact and high quality with superior handling|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X-E5 camera specs in the equipment database.

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“Target Practice” by ZenTony has been chosen as our Photo of the Week (POTW) this week on ePHOTOzine.

With its use of focus and framing, this image turns a straightforward subject into something impactful. The central target stands out clearly, while surrounding tones and textures add atmosphere.

The details are clear, and the strong light and shadow create a bold, defined setting. Great composition and timing elevate this ordinary interior into an eye-catching photo. Well done ZenTony – excellent capture.

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!

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A subscription brings readers into the heart of outdoor photography. Every edition explores the craft from multiple angles: from mastering natural light and refining composition to understanding changing seasons, weather patterns and the unique challenges of shooting in remote environments. Readers can discover new ways to elevate their skills, develop their artistic eye and build confidence in capturing the world more meaningfully.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

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There's nothing quite like picking your way around the edges of a lake which is just beginning to freeze and photographing great abstract pictures of ice details. Similarly, icicles at the edges of streams and in waterfalls can lift otherwise ordinary shots into a whole new dimension.

On really cold mornings, lake edges start to freeze, providing abstract patterns with overlapping layers of ice just beginning to form. Pop a macro lens on your camera, fix it on the tripod and look closely for patterns in the ice. The edge of the ice can give great shapes, too. Look for leaves caught on or in the ice as well, or bubbles given off by underwater plant life that has frozen in the ice surface.

To see through some of the icy layers to the details below, a polarising filter can be useful to reduce reflection from the surface of the ice.

For a waterfall to freeze, it needs to get really cold, but where waterfalls, or tumbles over rocks, it creates turbulence and splashes up over surrounding rocks and vegetation. These areas freeze into crystal-like caps over rocks, icy stalagmites on grass or chandelier-like structures on large waterfalls. Even where water drips off the edges of peat bog into streams, in cold spells, these can form wonderful icicles which, after water levels drop slightly, hang magically above the surface of the water.

Where there is still moving water in the photo, try a range of shutter speeds to contrast the frozen ice with the flow of the water - or even the ripples in the stream. Use of a polarising filter will take reflections off the water to show it as darker, contrasting with the whiteness of the ice, although sometimes reflections in the water are just as important as the ice itself! A telephoto zoom may help you to crop close without risking a slip and fall into very cold water.

Remember, where there is a predominance of white tones, they are likely to confuse your camera meter, so be prepared to add about a stop exposure. Conversely, highlights on ice against a dark background may blow easily, so keep a close eye on your histograms.

Ice will hang about more in shaded areas, so watch your white balance to avoid your whites turning out with a blue cast.

Finally - watch your step, scrambling around icy edges of lakes, or near waterfalls in sub-zero temperatures can be very slippery underfoot, so be careful not to fall in, or worse, let your camera topple in either; but find some icy margins and create some exciting pictures.

Article by John Gravett of Lakeland Photographic Holidays.

As the sun's still setting before most of us get home from work, now is the perfect time to have a go at night photography. Various types of photography are possible when the nights begin to draw in. Here's our guide to what you can do and what kit you'll need to do it.
 

Photo by David Pritchard

 

Essential Equipment:

 

Tripod

Aside from your camera, a tripod is the single most essential item in night time photography, when low shutter speeds are in use as hand-held photography is virtually impossible. It's a good idea to find a model that's lightweight and compact enough to carry around with ease.

 

Fast Lenses

When it comes to lenses, wide angle is often the way to go - the faster the better. An aperture of at least f/2.8 throughout the entire focal length is recommended as available light will be at a minimum. 

 

Filters, Lens Hoods And Rain Sleeves

A filter is not essential, however a UV filter can be used to protect your lens from the elements. In harsh weather conditions a lens hood can protect the front of your lens from rain while a rain sleeve will protect your camera body.

 

Flash Gun

An additional flash is a useful tool when working outdoors at night, and it's important to find one that's suited to your particular camera. Most flash guns will fit most cameras, but unless it's dedicated it won't work with the camera auto settings and could result in an incorrect exposure.

 

Light Meter

Night photography can be tricky and your camera's built-in metering system may not be accurate enough to get the correct exposure, which is where a light meter will be useful. One that has an illuminated LCD would be best as it'll make viewing easier in low light. Various brands create light meters who have various models which are lightweight, small in design and feature LCD displays.

 

Clothing

Waterproof and warm clothing is essential if you are going to be outdoors during winter for long periods. A waterproof jacket with a hood is ideal. Do wear layers instead of one thick jacket as you can always add or remove items if hot/cold. Wearing a good pair of walking boots and gloves is also a good idea.

 

Remote Shutter Release

Also consider adding a Remote shutter release to your kit. A remote control will activate the shutter release without any need for contact with the camera, eliminating the risk of blur caused by camera movement. Do check that the remote release is compatible with your camera.

Your camera's self-timer can also be used as an alternative, preventing the need for contact at the time of the shutter release.

 

Camera Bag

A weatherproof camera bag will keep your equipment dry and well protected from the elements, and backpacks are generally easier to carry and more comfortable than any other type of bag. Take a look at our review section to find a bag that's suitable for you.

 

Accessories

Depending on where you are planning to go to carry out your photography, a torch might be good idea as some areas will not have the benefit of street lighting. For those who prefer to keep their hands free consider packing a head torch.

If you are going to be outdoors for a while, a flask of hot tea or coffee may be a good idea.

 

Photo by Joshua Waller 

 

What To Photograph:

 

Buildings At Night

Shooting buildings at night can create a very different feel from the way they would look during daylight. Cityscapes are always a good choice, as are churches. Useful equipment for this type of photograph includes: Tripod, flashgun, wide lenses, light meter, torch and filters. Click the following links for tips on shooting buildings at night:

• Advice On Shooting In Towns And Cities At Night
• Photographing Night Time Urban Scenes
• Town / City Night Photography Tips
• Tips On Photographing Buildings At Night
• Photographing Architecture In Singapore

  Moving Cars And Fairground Rides

Moving cars and fairground rides are easy to find and can create some stunning streams of lights and patterns when done after dark. Experiment with different shutter speeds to see what effects can be created.

Useful equipment includes: Tripod, monopod, flashgun, light meter, shutter remote release and warm clothing.

 

Moon And Moonlight

Landscapes need not stop when then sun goes down. Try using the moon as a source of light to produce some dramatic as well as eerie effects. Click here to see the ePHOTOzine guide to photographing the moon. Useful equipment includes: Tripod, telephoto lenses and warm clothing.

 

Night Portraits

Outdoor portaits at night may be slightly more tricky than portraits during the day, but the results can be much more effective. Useful equipment includes: Tripod, light meter, flashgun and warm clothing.

 

Wildlife

A whole new world of wildlife emerges after dark. Disguise yourself in a hide and see what turns up! Useful equipment includes: Tripod, camera trigger, flashgun, hide, warm clothing and a flask.

 

Star Trails

Even though it takes a while, the effort is worth it as the effects captured can be amazing. For more tips, take a look at these tutorials: Photographing star trails part one and two.

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Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

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There are plenty of great mountain ranges scattered around the UK that are well worth a photo at any time of year but in winter, when a covering of snow's fallen or a hard frost has settled they tend to look even more impressive.

The cool, clean air of winter is good for capturing mountainscapes as everything seems much more clear with distant subjects appearing crisp. However, snow, ice and cold plus a mountain equals conditions you have to be extremely careful in. Make sure you dress correctly, have a route planned, carry the right equipment (map, compass, phone etc.) and tell someone where you're going.
 

What kit will be useful?

You'll find both a wide-angle and longer lens useful so make room for both in your camera bag and don't forget your tripod or monopod as a support is a must. A polarising filter will cut down on glare/reflections while an ND Grad filter will balance out the contrast between the sky and ground.

Sweeping shots from the tops, especially with snow and a crisp, blue sky look great but if you go too wide with your lens choice the sense of grandeur can be lost so be careful and check your frame before hitting the shutter button.

Think about scale

For shots that give the mountain(s) more depth compose your shots from a spot where you can make the most of their size from. Don't forget that foreground interest such as the mountain's ridge help give your image scale and can be used to lead the eye through the shot.

For shots with foreground and background interest where front to back sharpness is needed you'll need to use smaller apertures which can mean longer exposure times are needed so make sure you have your tripod or monopod with you.

Consider a panorama for impact

Don't forget about panoramas as they work particularly well for shots of mountain ranges. It won't give you shots that really show off the mountain's height, but it will emphasise how far the landscape stretches out into the distance for. For tips on panoramas, have a look at our previous articles.

Shots of the mountain are what really show how tall these natural structures are, rather than photos taken from the top of them - good news for those that are a little less intrepid! You can use a wide lens but you have to be closer than you think to the mountain(s) to create any sense of height and more often than not, whatever is in the background tends to lose impact with the foreground taking centre stage. It's much easier to use a longer telephoto that pulls the distant mountain to you, filling the frame and as a result, giving the shot more impact.