Photography News

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

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

 

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

 

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

 

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

 

4. Edwin Brosens Shares His Top Tips On Capturing Seascapes

 

 

5. Coastal Compact Camera Close-Up Photography Tips

 

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

 

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

    8. Top Flotsam Photography Tips For You To Read

  9. Five Tips To Improve Your Coastal Landscape Shots

 

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

 

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

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

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

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

What Should I Photograph? 

 

1. You Can't Ignore Architecture

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

  2. Have A Go At Street Photography

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

 

3. Photograph A Landmark 

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

 

4. Get Up High 

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

 

 

5. Capture Shots Of Traffic & Transport 

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

 

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

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

 

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

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

 

8. Visit A Museum

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

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9. Search For Interesting Architectural Patterns

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

 

10. Capture Reflections In Buildings 

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

 

11. Photograph A Station

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

 

12. Look For Stairs And Steps 

Stairs may sound a little boring but if you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied.

 

13. Photograph A Bridge

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

 

 

14. Spend Some Time By A Canal

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

 

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

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

 

16. Capture Shots Of Shop Windows & Signs

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

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

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

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

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

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

 

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

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

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

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

 

1. Where Will You Be Taking Your Photos? 

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

2. Think About Presentation 

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

 

 

3. Consider Using Repetition 

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

  4. Backgrounds Shouldn't Distract

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

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

 

 

5. Stick To Natural Light

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

 

6. Get Out On The Street 

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

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

 

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

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

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

Damn you, Eddie.

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

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

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

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Tamron are producing some very different and exciting lenses, primarily zooms, that do not necessarily follow the norm for focal length ranges. However, they all make sense when the intended applications are defined. This new 35-100mm optic is indeed an unusual choice of range, however, for arts, sports, people and travel photography, it could just be the compact, fast and efficient companion that is needed. Less expensive and more compact than the well liked 35-150mm, there is considerable potential for especially travel and general photography. There is much to be said for travelling light. Let's couple the new lens up with the 42MP Sony A7R III body and see how it fares across various Yorkshire locations, including Whitby, Pickering and Hutton-le-Hole, both in rain and sun.

 

Tamron 35-100mm f/2.8 Di III VXD Handling and Features

First, our tour of the lens, starting with the provided petal lens hood. This bayonets cleanly into place and remains firmly attached even without any locking catch. Within the bayonet fit for the hood is a standard 67mm filter thread, a size that many Tamron zooms have in common. The front element is treated with a Fluorine coating to help repel dust, grease and moisture. The lens is weather sealed and it stood up well to the usual Whitby rain.

This Sony FE full frame version weighs in at a modest 565g. The Nikon Z version weighs slightly more, at 575g. Dimensions are 80.6mm x 119.2mm (FE) and 80.6mm x 121.5mm (Z). 

 

 

The manual focusing ring has just the right amount of resistance, electronic in operation and so, as might be expected, utterly smooth. Behind this is the focus set button and also a three position switch to allocate three custom settings. Closest focus is 0.22m at 35mm, for a maximum magnification of 1:3.3, and 0.65m at 100mm, for a maximum magnification of 1:5.9. AF is driven via Tamron's VXD motor, which stands for Voice coil eXtreme torque Drive. This is virtually silent and locks on with speed and accuracy.

The zoom ring does extend the lens, but is still impressively smooth and does not upset the balance of the camera/lens combination. There are clear and accurate markings at 35mm, 50mm, 70mm, 85mm and 100mm. Whilst it is no doubt true that the range is somewhat narrower than many options, we gain close focusing, a compact form factor and a fast and constant f/2.8 maximum aperture. If the need was felt, then a small prime wide angle could be the most obvious choice for a companion lens. In use, the need for this was not felt and choosing the shooting position appropriately seemed more than satisfactory.

 

 

Optical construction is 15 elements in 13 groups, including 1 XLD (Extra Low Dispersion), 2 LD (Low Dispersion) and 3 GM (glass moulded aspheric). There are 9 blades to the diaphragm and the result is a very well rounded aperture, even when closed down. Tamron's excellent and well proven BBAR-G2 multi-coating is utilised.

There is also a USB-C connection, and as is increasingly the case, this allows the lens to be customised and operated via the Tamron Utility App, for iOS, Android and PC. The PC version allows firmware updates. As well as a cable connection, the new Bluetooth device TAMRON-LINK can be used to connect remotely. This is unobtrusive and may be a more convenient way to connect.

Although designed for Sony or Nikon full frame mirrorless cameras, the lens can also be used on the crop sensor bodies. The “35mm equivalent” would then be 52.5-150mm. This is arguably not as useful a range, but it is technically possible. As it is, the balance of the lens on the Sony A7R III is excellent and the operation is smooth and faultless. For general shooting, it works well and produces some gorgeously crisp, colourful images. 

Now on to the technical tests to see how the lens performs.

 

 

Tamron 35-100mm f/2.8 Di III VXD Performance

At 35mm, central sharpness is excellent from f/2.8 right through to f/11 and remains very good at f/16 and f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and still good at f/22. The edges are likewise excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 100mm, central sharpness is very good at f/2.8, excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22. The edges are very good from f/2.8 to f/8 and fair from f/11 to f/22.

This is a superb performance that is also well maintained even close up. Kudos to Tamron for producing such a well balanced and high quality optic.

 

Tamron 35-100mm f/2.8 Di III VXD MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary. There is virtually no sign of colour fringing.

Distortion is very close to zero. Some barrelling can be measured, but the figures are very low, -0.24% at 35mm, -0.09% at 70mm and -0.06% at 100mm.

 

Tamron 35-100mm f/2.8 Di III VXD Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. To combine this smoothness alongside the very high degree of sharpness at the focused plane is a skilled trick to carry off, and Tamron's designers seem to be able to hit the spot with consummate ease.

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 35mm 70mm 100mm f/2.8 -1.6 -1.3 -1.3 f/4 -1.3 -1.2 -1.1 f/5.6 -1.3 -1.1 -1.1 f/8 -1.2 -1 -0.9 f/11 -1.2 -1 -0.9 f/16 -1.1 -1 -0.9 f/22 -1.1 -1 -0.9

 

Tamron 35-100mm f/2.8 Di III VXD Sample Photos Previous Next

 

Tamron 35-100mm f/2.8 Di III VXD Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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  Value For Money

The [AMUK]Tamron 35-100mm f/2.8 Di III VXD|Tamron+35-100mm+f/2.8+Di+III+VXD[/AMUK] lens is priced at £799.

A few possible alternatives, but with a variety of different specifications. FE lenses are for Sony full frame and Z lenses are for Nikon Z full frame. 

• [AMUK]Samyang FE 35-150mm f/2-2.8|Samyang+FE+35-150mm+f/2-2.8[/AMUK], £854
• [AMUK]Sigma 28-105mm f/2.8 DG DN Art|Sigma+28-105mm+f/2.8+DG+DN+Art[/AMUK], £1399
• [AMUK]Sony FE 50-150mm f/2 GM|Sony+FE+50-150mm+f/2+GM[/AMUK], £3699
• [AMUK]Sony FE 24-105mm f/4 G OSS|Sony+FE+24-105mm+f/4+G+OSS[/AMUK], £899
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Tamron 35-150mm f/2-2.8 Di III VXD|Tamron+35-150mm+f/2-2.8+Di+III+VXD[/AMUK], £1599
• [AMUK]Tamron 20-200mm f/3.5-6.3 DG Contemporary|Tamron+20-200mm+f/3.5-6.3+DG+Contemporary[/AMUK], £799
• [AMUK]Nikkor Z 24-70mm f/2.8 S II|Nikkor+Z+24-70mm+f/2.8+S+II[/AMUK], £2299
• [AMUK]Nikkor Z 24-120mm f/4 S|Nikkor+Z+24-120mm+f/4+S[/AMUK], £849

VFM does include price, performance, handling and is not just a question of one of these. Overall, the new Tamron lens looks excellent VFM in all of these different respects.

 

 

Tamron 35-100mm f/2.8 Di III VXD Verdict

The lens acquits itself extremely well as a travel companion and general purpose optic. It can cover events, portraits, small groups, close ups and even maintains its performance when shooting flat text or documents. The offset is, of course, a relatively restricted focal length range, taking us back to the long gone days when 35mm was considered the standard wide angle lens. Wide angle photographers might just look for a different lens, or carry a small, wider prime lens to cover situations where 35mm is just not wide enough. Likewise, at the telephoto end, if it isn't long enough, then perhaps a different choice.

Having said that, as a travel companion that delivers superb quality in a compact package, these things may not in reality be much of an obstacle. This reviewer found the lens to be a very likeable companion and not at all restrictive in terms of focal length. The results were beautiful and obtained without carrying around a mass of kit.

Combining ease of use, value for money, a compact form factor and superb results, the lens has to be an Editor's Choice.

 

Tamron 35-100mm f/2.8 Di III VXD Pros

• Excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Magnification 1:3.3 at 35mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 35-100mm f/2.8 Di III VXD Cons

• Modest focal length range

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – A high class performance from this versatile, compact and fast zoom lens, perfect for travel, sports and people.|E_id=8027[/REVIEW_FOOTER]

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1. Why Use A Frame? 

Frames are a great tool for drawing attention to an image. Be it a frame we hang on the wall, one we create on the computer, in-camera or with the elements in the scene we are photographing, frames are a very effective tool that all photographers can use.

 

2. Adding A Frame In-Camera 

Frames created while taking your shots will help lead the eye through the shot, add depth to images and help give a photo context. There's also the added bonus of using frames to hide objects you don't want to appear in the shot and they can make your images generally more interesting. They can also be used to give the viewer more information on the location you've taken the shot in. 

 

 

3. What Can Be Used As Frames? 

Windows and archways are obvious choices for frames but tree branches and leaves can also work well. Frames don't have to cover four sides either - one or two branches curving around part of the image can work just as well. It's also worth considering if you want the frame to be in focus or not. If you're at a party, why not use people as your frame to draw attention to a particular person or group? You can also use frames which are positioned towards the back of the shot to frame foreground interest, too. 
 

4. Frames Don't Always Work

There are times when creating a frame within your image won't add anything to the shot so do think about your composition and if you really do need a frame before hitting the shutter button. You don't want the frame to pull attention away from your main subject either so do make sure it's not too distracting. 

 

 

5. Creating A More Traditional Frame

More traditional style frames can be added during Post Production and ePHOTOzine has various tutorials on adding a variety of frame styles to shots in the technique section of the site.

There's also a third option and that's to add a frame to your image in-camera from one of the various creative filter options cameras offer. Apply built-in frames, use vignettes or why not combine multiple shots in one frame? 

 

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As with every fast-paced, tech-driven industry, the cycle time for each incremental update in photography equipment seems to get shorter and shorter. Though it has become better for the past few years, each product launch is still not given sufficient time to mature before the next iteration is shoved down our throats. While this might contribute to a better-looking balance sheet from a business standpoint, in the long run, it might lead to a massive disconnect between what camera manufacturers are building and what the market actually demands. 

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Photography has spent most of its digital era chasing technical perfection. Sharp focus, clean files, controlled lighting, smooth skin, perfect exposure across the dynamic range. The pursuit was reasonable. Each generation of cameras and editing software made these standards more achievable, and working photographers who failed to meet them risked looking unprofessional. By 2020, a wedding photographer delivering a slightly soft image was apologizing for it. A portrait photographer leaving visible skin texture was risking client complaints.

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There is a kind of photography that pretends to be neutral. Flat surfaces, clean lines, ordinary spaces. Nothing dramatic, nothing loud, nothing that asks to be looked at twice. It's often dismissed as cold, detached, even empty. But that reading is too easy. What we call indifference is rarely indifference. It is a position. 

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Film photography costs money at every step, and if you shoot both film and digital, keeping a consistent look across both can be a real headache. Knowing how to replicate that film aesthetic in post gives you control over the final result without being locked into a single workflow. 

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Canon's new RF 20-50mm f/4L IS USM PZ covers ultra-wide to standard focal lengths in a compact, lightweight body with a powered zoom and optical stabilization. At around $1,400, it sits in a competitive price bracket where Canon already has some well-established options. 

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The Sony FE 100-400mm f/4.5 G Master is Sony's answer to what a professional telephoto zoom should look like when price is no object. At roughly $4,300, it sits in a category where the competition is thinner and the stakes are much higher. 

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