Five Years Later, the Nikon Z9 Remains the Best Hybrid Camera on the Market
Today, I'm not talking about the newest camera on the market. But I'm talking about one of the best. And, in the end, that's kind of the point.
Doriyan Coleman Sees Poetry on the Streets of Cleveland, and He Has the Exhibition to Prove It
Doriyan Coleman is a Cleveland-based photographer, author, and educator whose work treats the everyday as something worthy of sustained attention. His street photography draws on themes of selfhood, community, and the quiet grandeur of the natural world, and the results feel less like documentation and more like visual verse.
How Contrast in Shape and Texture Can Replace Perfect Light
Shooting in bad light isn't a death sentence for your images. In fact, some of the strongest nature photographs come from conditions most people walk away from. Knowing how to read light, use contrast, and process with intention separates images that resonate from ones that just document a place.
How to Find and Frame Epic Sunset Light Before It Happens
Great light isn't random. After 15 years of landscape photography, William Patino makes the case that almost none of his best work has come down to luck. It comes down to reading the sky, understanding cloud behavior, and knowing exactly what to do once conditions start to break your way.
How Layers of Light Create Depth in Any Photo
Flat photos usually come down to one thing: no sense of depth. Understanding how to build layers into your compositions is one of those skills that quietly separates the work of consistently compelling photographers from everyone else.
3 Top Church Photography Tips
Churches are something the majority of us will have in our towns and villages and they're a great location for a spot of photography as they're just as interesting on the inside as they are on the outside. Plus, you might have a graveyard to explore as well. Whatever your style of photography, a church will probably have something to grab your attention.
1. Getting Access
To make the most of what our churches have to offer we have to get inside them which can be trickier than you think. Larger churches and cathedrals may have photographic restrictions (a fee payable to use a tripod, no flash etc.) and certain opening hours but generally smaller, local churches are more willing to give you access any time of the day. Just phone in advance to let the vicar or whoever holds the key know that you'd like to take some photographs inside the church. In many smaller towns churches are left unlocked during the day.
[HOOK]position_1[/HOOK]In buildings of this size, you might as well keep your flash in your bag as it will only add light to objects a few feet in front of you. Instead, you need to get your sturdy tripod out, fasten your camera to it and use a long exposure.
As exposures can be several seconds long, the smallest of nudges can cause the camera to shake so try using a remote / cable release or the camera's self-timer option to reduce it. You could even use your Smartphone to trigger the shutter if you have a camera which can be controlled remotely via smart devices. When it comes to lenses, anything goes. Telephoto lenses can be used to capture the details found on the roof, wide-angle lenses for the wider architectural scenes and macro lenses for close up details of pews, columns and altars.
2. Respect Your Surroundings & Fellow Visitors
Before we discuss shooting suggestions do please remember churches, particularly smaller ones, are quiet places so try to make as little noise as possible as you move around. Be respectful of others around you who are there to pray etc. too.
If you're visiting a church that's popular with tourists do remember that others will want to take photos too so work quickly or plan your visit for first thing in the morning or nearer closing time when less visitors will be around.
3. Shooting Suggestions
Try shooting down the aisle to capture the lines of pews, altar and everything else people think of when you ask them to describe a church. Find a comfy pew or a part of the floor you can lie on (don't worry about the funny looks) and focus your lens on the roof which often has interesting patterns and features. Don't be afraid to get in close to objects either.
Reflections off windows, cases and even abstract shots of blurred lines of pews up close can create interesting images. Although if you're trying to capture images of objects protected by cases you won't want reflections or glare spoiling your shot. Try using an ND, polarising filter or cupping your hand around your lens to cut down on reflections and have a cloth handy to remove any fingerprints that have been left on the case.
The large stained glass windows found in most churches look great when lit up by sunlight and they also work well as zoom burst subjects, something we've covered previously on the site.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Why "Enjoy the Process" Is Actually Terrible Advice (And What to Do Instead)
Choosing the right gear matters less than most people think. What matters far more is whether the act of making photos actually means something to you, and that turns out to be a harder question than it sounds.
Glowing Morning Scene Wins POTW Award
A stunning English countryside shot capturing snow-dusted hills glowing in soft pink and amber morning light has won our 'Photo of the Week' (POTW) award.
'March Morning's Glow' by BillRookery is a real beauty. The snow-dusted hills catching that first light of the day is gorgeous, and the puddles in the foreground reflecting it all back makes it even better. That old stone viaduct tucked behind the bare winter trees ties the whole scene together nicely. A brilliant capture, well deserved!
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!
How To Find A Model To Photograph - 8 Top Tricks & Tips
© Joshua Waller
If you fancy trying your hand at portrait photography, you will need a model. If you have the money you could go to an agency and hire one – at least, that's the theory - but there are plenty of other options that aren't quite as expensive and you can do the leg work yourself.
Find tips on where you can find models, how to contact them and what all of the acronyms models/photographers use mean.
Below you'll find 8 tips/ideas/suggestions on where you should start your search as well as tips on working with 'pros vs new models' and what exactly MUAs, TFCD, TFP stand for.
1. Join A Model Community Website
© Joshua Waller
A really great alternative to using a model agency is joining a model community website. There are several good ones and joining at the lowest membership level is free so there is no risk. In time, if you feel being a member has benefits you can pay a subscription and get more benefits. These usually include being to include more portfolio images, the ability to send more personal messages, for example.
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© Joshua Waller
These sites usually let you search for models in your locality and also in the styles or ‘levels’ that you want to shoot. If you want to do glamour, topless or fine art nude, you can specify that or if you are after models within a certain age range. Check the sites below for details.
3. Get Down With The Lingo
© Joshua Waller
When you first join a modelling website, it can be very daunting. There are strange expressions (togs, MUAs, TFCD, TFP, for example) and it is all a little scary. By the way, togs are photographers, MUAs are make-up artists, TFCD is time for CD and TFP is for time for prints. TFCD and TFP are really important and means the model will give their time and pose in return for CD or prints of the shoot.
4. Not Everyone Will 'Work For Pictures'
© Joshua Waller
A professional model is unlikely to work with you in return for pictures unless you can benefit their portfolio with some amazing shots. In time, this could be you but you are probably not there just yet.
5. Where To Begin?
© Joshua Waller
So how do you start? If you are new to model photography, it makes sense to find a model also just starting out. This means you can learn your respective trades together and expectations are lower. As mentioned above, some will work with you in return for photos, too, or they'll charge less than someone with a lot more years of modelling under their belt.
6. Pros Of Using A Pro
© Joshua Waller
On the other hand, working with a more experienced model will make it is easier for you in that they can create poses without too much instruction from you. They will probably be more knowledgeable about make-up for photography - again it is unlikely you will be using a make-up artist at this stage.
7. Making Contact
© Joshua Waller
Once you find a model or two you like the look of – as in terms of experience, cost etc. or literally – send them an email, explaining what you are about and what you want and go from there. If you are new to this, say so. If you have some pictures already, post them on your profile and ask prospective models to look at your look.
It is worth saying that the odds are that you are not going to get a response from every model you approach and this is true even if a model is looking for photographers. The important thing is not to take it personally and it can be for any number of reasons.
8. Don't Forget The Shoot!
© Joshua Waller
It's rare, but you can arrange a shoot with a model and they not turn up – it happens the other way round, too, with photographers so don't be that person! Make sure you arrive with plenty of time and do contact the mode if you're going to be late.
To prevent 'no shows', it is worth reading feedback on the site from fellow members. Unreliable models/photographers will have negative feedback.
More Advice On Working With Models
ePHOTOzine Daily Theme Winners Week 1 March 2026
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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 saxon_image (Day 2 - Spring).
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 1Daffodils
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Day 3
Creative Horizons
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Day 4
Sky
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Day 5Sense Of Scale
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Day 6
Movement
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Day 7
Outdoor Portraits
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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.
A Photographer’s First Experience Using a NAS
For years, my photo archive has lived across several external drives. At the beginning, that approach seemed perfectly fine. Each drive was labeled by trip or location, and it was easy enough to remember where things were. But as the archive grew, so did the confusion. I needed a solution.
I had heard photographers talk about NAS systems, but if I am being honest, I never really paid much attention. It seemed complicated. My storage system worked well enough, even if it was far from organized. Like many photographers, I relied on external hard drives for everything.
Leica Lenses Are Expensive: Here's a Smart Alternative From Funleader
Buying a Leica M camera, be it a film or digital model, has become a dream for many. There is immense pleasure in holding a little M rangefinder—it just oozes quality, and using it is one of photography's greatest pleasures. And let's be honest, that red dot gives you some serious street cred.
The problem many of us run into is that once we've scraped enough pennies together to buy a Leica, we then have the issue of buying glass for it. Leica lenses cost a small fortune, and owning two to three focal lengths is often just not financially viable.
10 Photography Clients Every Photographer Has Had
If you've been shooting professionally for more than a year, you've met all of these people. They aren't bad people. Most of them are perfectly lovely humans who simply have no frame of reference for how professional photography works, what it costs, or why you keep making that face when they ask for "just a few small changes."
The prime objective
- Partner Content -
Standard and wide-angle focal length primes can be remarkably compact and portable, as these three Nikon Z primes illustrate.
There was a time when zoom lenses were considered second class citizens, optically inferior to their fixed focal length brethren. As optical design advanced, zooms got better, so much so that when it comes to performance, a high-end zoom can match or even surpass what a prime lens can deliver. Put simply, the choice of prime or zoom lens is no longer a consideration of optical performance and there are other factors that come into play.
There’s no right or wrong when it comes to lens choice, it just depends on what you want, your budget and how you prefer to work.
A fast wide-angle such as the Sony FE 16mm f/1.8 suits interior work and more specialist subjects such as astro photography. For people photography, the Sony 85mm f/1.4 is just the ticket.
Zooms are hugely flexible when it comes to framing the photograph and a wide variety of different compositions can be achieved without changing camera position and that’s a major attraction. In addition, you may be shooting in a cramped space and unable to step back or you physically can’t move closer, but with a zoom, that’s easily solved.
Zooms also have a logistical benefit with one lens replacing a bagful. In theory, a 24-105mm standard zoom could displace a 24mm, 28mm, 35mm, 50mm, 85mm and 100mm in the bag, so there’s a significant saving in weight and money. The recently arrived Sigma 20-200mm f/3.5-6.3 DG zoom does an even better job in this respect.
Using a fast telephoto at its widest aperture gives a very shallow depth-of-field, so focusing must be done very carefully. Shot with an OM System 45mm f/1.8 lens (equivalent to 90mm in full frame) with an exposure of 1/50sec at f/1.8 and ISO 800. Image by Will Cheung.
For days out with the camera, when you want a lightweight yet versatile package, or if you’re travelling, a wide-ranging zoom has a compelling appeal.
Of course, it’s not all one-way traffic and primes have several pluses too. Not all zooms are made equal and while high-end zooms turn in superlative image quality, that is not the case with cheaper models especially when used at their wider apertures.
Speaking of apertures, this is one area where primes hold sway. Fast aperture zooms do exist, but they are often expensive. The Sigma 28-45mm f/1.8 DG DN Art is a fast aperture standard zoom that sells at £1039 in like new condition from MPB, while for Sony users, the FE 50-150mm f/2 GM is a remarkable optic which MPB has samples available at £3299 in like new condition.
Tripod-free night photography is a big benefit of fast lenses. Shot with a Fujifilm XF 35mm f/1.4 R with an exposure of 1/70sec at f/1.4 and ISO 1600. Image by Will Cheung.
The recent resurgence in primes has been fuelled by the appeal of fast maximum apertures. In practical terms, this means the possibility of using lower ISO speeds for optimum image quality, faster shutter speeds and shooting at wide apertures for a shallow depth-of-field and attractive background bokeh. It’s using fast lenses at their wide settings that can give your photos a distinctive look which distinguishes them from zoom lens photos. On a point of technique, though, with such limited depth-of-field, shooting at such wide f/stops means focus must be spot-on. The camera’s AF confirmation aid might be telling you focus has been achieved but it’s still worth double-checking.
Fast primes are available from all the camera brands as well as independent manufacturers. When you start shopping for primes, one thing that will be immediately obvious is how much more you have to pay for a fraction of an f/stop. Taking two Sony lenses for example, a new FE 50mm f/1.4 GM is £1399, which is £600 less expensive than the superfast FE 50mm f/1.2 GM. Only you can decide whether it’s worth paying so much more for an extra half-a-stop. At the time of writing, MPB does not have stock of either lens so in this situation, you can create an alert – which can be cancelled at any time - by submitting your email address and you’ll be contacted when stock becomes available.
No light, no problem with a fast lens. This was shot with a Fujifilm XF 35mm f/1.4 R lens wide open with an exposure of 1/40sec and ISO 3200. MPB has samples of this lens at £409 in excellent condition. Image by Will Cheung.
Getting the best from a prime means modifying your shooting approach, which can be a challenge to start with. You can’t zoom for a tighter or broader composition so you have to move your feet, but the process does have the benefit of making you think more about the picture and that can improve the result.
The ideal system building option for most photographers is to concentrate on zooms but add a prime or two to complement them. You might be a keen nature shooter so adding a dedicated macro lens would make sense. For Canon users, there’s the RF 100mm f/2.8 L Macro IS USM which is £1209 from MPB in like new condition and this lens can get close enough to give 1.4x life-size magnification without any extra accessories. The Sony FE 100mm f/2 Macro GM OSS has the same potential and this is available from MPB at £1299 in like new condition.
A lightweight prime is the perfect companion for a day’s street photography. Taken with Zeiss Touit 50mm f/2.8 lens with an exposure of 1/80sec at f/8 and ISO 200. Image by Will Cheung.
If your zoom collection comprises lenses with modest maximum apertures, a good move would be a fast prime which gives options when light levels drop. Canon users could go for the RF 24mm f/1.8 Macro IS STM at £419 in like new condition. Its fast aperture suits street and general shooting while its close focusing skills add an extra dimension. For Fujifilm X-System owners, there’s the choice of two 50mm lenses which give the equivalent of 75mm in full-frame so ideal as portrait lenses. The Fujifilm XF 50mm f/1.0 is available from £804 in excellent condition but you can sacrifice the speed and go for the more compact and cheaper XF 50mm f/2 R WR on sale from MPB at £259 in excellent condition.
If you’re tempted by going prime, make MPB your first port of call. As the world’s leading used gear dealer, MPB has a huge range of imaging gear on its books and incoming kit is thoroughly checked by its experts before being offered for sale. On most lenses, there is a wide choice available with the price set according to the item’s condition. Check out your trading options now on the MPB website.
News from MPB
With spring in the air, it’s time to consider your outdoor photography options so if you need any help making the most of the cash, check out MPB’s Best Cameras for Landscape Photography here. MPB’s Connor Redmond offers essential advice if you’re keen to up your landscape game. Whether you’re looking for a DSLR, mirrorless, compact or medium-format, this feature is a great place to start your buying journey.
MPB ExplainedYou need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.
MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.
Trading with MPB the process is fair, safe, painless and incredibly easy.
Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.
If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.
It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.
With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.
If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.
Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.
A quote can go down, but it can also increase if the kit’s condition is better than your assessment.
The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.
About MPB
- MPB is the largest global platform to buy, sell and trade used photo and video kit.
- MPB is the simple, safe and circular way to trade, upgrade and get paid.
- MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
- MPB's dynamic pricing engine provides the right price upfront for all items.
- Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
- MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
- MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
- MPB recirculates more than 570,000 products annually
- MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
- MPB's product specialists are trusted by thousands of visual storytellers in the UK.
- MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.
PortraitPro 50% OFF everything + EXTRA 20% OFF with code EPJ26
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"This feature alone (Glasses Reflection Remover) would pay for the upgrade after repairing just a couple of shots spoiled by the reflections in a subject's glasses, mainly in time saving."
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Perfect Your Pet Photography With These 6 Top Tips
Some people put their pets before family and have images of their favourite dog sat alongside their wedding, holiday and children's pictures. This might be you too! Of course, you are stuck if you do not have a dog, but the odds are you know someone with one so if you are really keen, finding a subject is not an issue.
In terms of kit, all you need is a camera with a lens or two. Or you could try something like using a Lens Baby for a different effect. If you're heading to a dog show consider taking a smaller camera bag as space can be a premium and leave the tripod at home.
Having a trained dog that's used to being in front of a camera will make things easier. You don't want to get your camera out to find they either want to eat it or won't come near you because they're unsure about it. Some dog could not give two hoots; others will just scamper away.
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3. Get Them Running Around
Pet photography is a popular subject, but most people tend to snap their dog when sitting, rather than capturing the active moments dogs are well known for.
Shots of your pet running and chasing around are far more interesting than a static shot of them sat on a rug in front of the fire. But to capture them it takes some planning and dogs running around are fast and they can be unpredictable. Having someone with you (your partner? Kids?) definitely will be a help because you can ask them to call for the dog while you concentrate on shooting.
Try autofocus with continuous shooting and see if it can track the subject. It might cope well but as dogs move quickly and their coats are low contrast, autofocus can be tricky so try manually pre-focusing on a particular spot and when your dog runs to it, press the shutter.
You'll need a reasonably fast shutter but not so fast that the dog is frozen in the image. Having a mix of sharpness and blur can work well, or just use an even slower shutter speed for more blur to exaggerate its movement.
We're used to standing and looking down on dogs so a shot from this height is nothing special. So instead, try getting down to your dog's eye level or even lower. Kneel, lie (but there's no need to roll over!) to produce a much more dynamic and interesting shot. With features like LiveView, getting a composition from ground-level is easy enough. Of course, there are times when shooting from a higher angle works well such as in the shot at the top of the article.
5. Exposure Tips
Expose for the dog and not the surroundings. If you have a particularly dark or light dog you may find exposure compensation helps the camera meter correctly. As with human portraiture, it's also important for the eyes to be sharp but again, due to the speed they move, this can be difficult to perfect.
Natural light is good but as with humans, dogs look less good in contrasty light. For maximum detail in the coat, a bright sky when the sun is gently diffused by high cloud can work well. If the day is quite dull, try fitting the flashgun to lighten the shadows or try underexposing the daylight so your lit subject stands out proudly from a darker sky - it can be a great look.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Why I’m Still Holding On to My DSLR Camera
I've been asked more times than I can count when I'm finally going to move on from my DSLR. The assumption is always the same. People think that holding on is a technical decision, or a reluctance to keep up. But the truth is, it has very little to do with technology at all. Read on to find out why my Nikon D850 is still the camera that I reach for most today.
Lightroom Has a Surprising Fix for Lens Flare
Lens flare is one of those problems that can ruin an otherwise great shot, and the usual fixes in Lightroom take time and skill. A trick circulating in the landscape photography community suggests using Lightroom's reflection removal tool, originally designed for shooting through glass, to clean up lens flares instead.
In Good Weather, Pick a Bad Camera
Fog, rain, and low light are the conditions most people pack away their cameras for. This photographer shoots in exactly those conditions on purpose, and the reasoning is worth understanding.
Why Results-Driven Thinking Is Killing Your Love of Photography
Losing the joy of photography is easier than it sounds, and getting it back isn't always about better gear or more exotic locations. Sometimes the problem is entirely mental, and recognizing that is harder than it looks.