Photography News

    1. What Gear Do I Need?

Pack your telephoto zoom when you're heading out as you'll be able to get close to the swans without having to get your feet wet. It's also handy for photographing them as they fly off or for capturing the splash as they come into land.

For particularly bright days you'll find a polariser filter useful as it will reduce the glare and reflections you get from the water.

If you're going out with the family when photography is not necessarily your main focus, use your smartphone to capture photos of kids feeding the ducks and shots of the swans closer to the bank.
 

2. Where Will I Find Them? 

If you're in a particularly rural place where not many people venture and a swan sees you it probably means you won't be seeing it for much longer! But if you're at your local park where people often feed them you'll find it much easier to snap a swan's portrait. Nature reserves do have public hides you can sit and wait in but as we've said, if you're in a place where the swans are used to seeing people you can leave your camouflage gear at home. Early mornings and later afternoon until the sun goes down are the best times for catching swans which is good news if you're hoping to catch them in flight as there will be less contrast between the swans and sky which will give you a more balanced exposure.

 

3. Can I Capture A Shot Of Them In-Flight? 

Swans are big enough to focus on and slow enough to keep up with as they pass you by so they're perfect subjects for photographers who haven't photographed birds in flight before. A good point to remember is swans turn into the wind when they're about to take off so keep an eye out for that. If the sun's shining in the same direction as the wind's blowing position yourself with the sun behind you for a front-lit shot of a swan taking off. If you're parallel to the swan make sure you press the shutter when the wings are fully up or down so you can see the head.

If you spot a flock or single swan in the sky don't frame up with them in the centre as you'll probably miss the shot or if you do manage to capture them, they'll look a little squashed. Instead, move so they're to the edge of the frame giving them space to, essentially, fly into. By doing this you'll also be able to use the centre focusing point. Make sure you're on continuous focus and get the focus locked on the bird straight away, even if this does mean missing some of the action.

If you want to freeze motion try a shutter speed of around 1/500sec but if you prefer to blur the motion of the wings try 1/30sec. Keep an eye on your exposure as a bright sky and a white bird may mean your camera underexposes the shot. Check regularly to see if you need to overexpose by one or two stops.
 

4. What Other Shots Can I Try?

If capturing a swan in-flight seems a little daunting there are plenty of other shots to try closer to the ground. Try shooting the reflections of the swans on the pond or focus on just the head, blurring the background so you can really pick out the detail and colours of the beak and face. Get the family involved and shoot some portraits of them feeding or watching the swans or how about a shot of the swans out of the water on the bank? If you do this, be aware of your surroundings as you don't want parked cars and other objects spoiling your shot.

 

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The idea of shooting old and new can be applied to various subject matter but one of the easiest ways to find subjects which can be used to interpret the theme is in the city. In most cities, new buildings are going up around older structures all of the time so it won't take you long to find a vantage point that gives you the chance to capture something new and something old in one frame.
 

Where To Start?

 

Out in your town/city, it's probably easier to look at buildings as a whole first, searching for old structures that stand next to or across from new structures made of metal and glass. How about looking for new shops in old buildings such as the stalls in Camden's stable market? Or looking for building sites where new buildings are getting created in front of structures that have stood for a long time?

After photographing whole buildings look a little closer for reflections of old brick-work in glass or new signs sat next to or even on older structures. You could try having a look through archives or even your relatives' photo albums to see if you can find shots of buildings you can go and re-create now and sit them alongside each other to show how much/little it's changed.

 

Keep It Simple

 

Try to eliminate as much of what's surrounding your old and new items as possible. This means cropping in with your lens or using your editing software to remove some of the distracting objects once you're back at your computer.

 

What Else Is There To Photograph?

 

1. People - Look for young and old people, a grandparent sat with their grandchildren for example.
2. Vehicles - Look for an older car sat in a line of more modern models or how about shooting a scrap yard with the piles of old, rusted cars and the employee's newer cars out the front? Don't enter the scrap yard though, just shoot from the road.
3. Technology -  Try shooting someone sat talking on a smartphone with an old fashioned telephone in the background. If you have an old games console in your loft, get it out and try a few still life shots of it next to a Playstation.

 

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

If you have spent any time reading about photography, you have encountered the word "stop" used in a way that makes no apparent sense. A lens is "two stops faster." A photo is "one stop underexposed." Image stabilization gives you "five stops of compensation." Somebody on a forum says they "opened up a stop and a half" and everyone nods like that means something. 

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You know, there is a difference between a good photograph and one that stays. Not louder, not more dramatic, not even technically better. Just… harder to forget. 

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Shooting in harsh midday light near water is a situation where photos fall apart fast. Without a reflector or an assistant, that direct sun creates unflattering shadows and a dynamic range that's nearly impossible to manage in a single exposure. 

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Shooting unfamiliar terrain forces you to adapt fast. When the dramatic mountain backdrops you rely on aren't there, the images you make either show your range or expose your limits. 

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Booking weddings consistently is one of the hardest parts of running a photography business, and most of the problems aren't about your camera or your shooting skills. They're about how you're running your operation, and the fixes are more straightforward than you might expect. 

 

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Shooting the same iconic locations as everyone else is a trap most fall into without realizing it. This video makes a compelling case that the most memorable images aren't the ones that show everything perfectly; they're the ones that leave questions unanswered. 

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We have plenty of woodlands to photograph and as rain showers are common at this time of year, greens will be more vibrant so now is a perfect time to photograph them. Plus, you can use these tips in Autumn, Winter and Spring, too, giving you a plethora of images to capture. 

 

1. Gear Suggestions

 

You can use a variety of lenses from wide-angle to shorter telephotos, you could even use a compact camera if you so wish. Make sure you pack a sturdy tripod as light can be low in dense woodland areas and, plus you'll need one for macro work you'll find a polarising filter handy as they boost colours and reduce reflections if you happen to be near water. If you're headed for a long-ish walk consider taking a backpack as these bag styles offer plenty of room for outdoor essentials as they tend to have side mesh pockets for water bottles and smaller compartments for guides, food etc. Invest in a remote release or, if you prefer, make use of your camera's self-timer for close up work and have a lens cloth to hand to wipe any smears or smudges off your lens.

 

2. Head For The Woods

 

We're never too far away from trees, in fact, many of us will have them in our gardens or on our streets. But even though we have good specimens close to home, to get really cracking shots, you need to venture to the woods or local gardens. Woods are welcoming for photographers but some gardens and other sites don't allow tripods so check before you lug it all that way. For shots of groups of trees, step back and photograph the whole woodland scene or crop in for a more arty feel.

 

3. Time Of Day

 

Even under the forest canopy light in the middle of the day can cause too much contrast so you're much better off heading out early or waiting for the sun to drop a little. Don't think you should stay in on overcast days either as these are perfect for some close-up photography.

 

4. Patterns And Textures 

 

Single trees look good isolated but if you're in the middle of the woods it's better to get closer. Look lower and you'll be able to add some texture to your images by focusing on the trunk. Make sure you look for patterns in the bark then turn your attention to bigger patterns searching for lines of trees that create strong, symmetrical images.

 

5. Other Objects 

 

Look for man-made objects such as benches or even statues too as these will contrast well against the soft colours of nature.

 

6. Leaves

 

If you have a bright blue sky look up at the canopy and concentrate on the leaves. Greens contrast well against a blue sky or you could crop in and really focus on the details of the veins. Just make sure you're not photographing ones that have been half-chewed by a bug! A 100mm macro lens will get you in close enough but if you want to create more detailed shots try using an extension tube or coupling rings on two lenses.

When you're out looking for leaves don't pick up ones that are too thick as light won't shine through them enough and select ones that have different patterns otherwise your job will get a little repetitive.
 

Photographing Leaves At Home

On rainy days, you can shoot images of leaves in the comfort of your own home. You just need a lightbox or you could use a window and tape your leaf to it. You can shoot one leaf, making the patterns created by the veins your focus or try placing a collection of leaves together to create a busier look. You'll see that backlight highlights the leaves' shape beautifully and really punches the veins out. You'll also find the colour appears to be more vibrant, and as there's no breeze, you can take all the time in the world to frame and get your shot right.

Do clean the leaf with a little water before you photograph it and make sure you dry it gently as you don't want it to split. Finally, once you've shot your images, run them through some editing software to check for imperfections before you hit print. 

 

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

 

Colour management just got more accessible for Mac-based creatives. Calibrite has revealed that its Display Plus HL colorimeter has received Apple approval for use with Apple's built-in display calibration system, a first for any colorimeter on the market. This level of hardware-level precision was previously reserved for high-end spectroradiometers used in dedicated colour facilities, yet the Display Plus HL brings that same capability to working photographers, filmmakers, and designers at a fraction of the cost.

 

From Calibrite:

Calibrite, the leader in colour management solutions trusted by photographers, filmmakers, and colourists worldwide, announced today that the Calibrite Display Plus HL has received Apple approval for use with Apple’s built-in display calibration system.

It is the first colorimeter to achieve this distinction.

The approval enables hardware-level calibration for Apple Studio Display, Studio Display XDR, Pro Display XDR, and supported MacBook Pro models, working natively within Apple’s macOS calibration workflow.

 

Calibration Written to the Display, Not Layered on Top

Unlike profile-based adjustment, Apple’s display calibration system writes settings directly to the display, refining white point, luminance, and colour accuracy at the source. A single calibration session updates every reference mode simultaneously, delivering consistent, reliable colour across the full brightness range, from SDR to HDR content up to 2,000 nits peak brightness.

Until now, this level of hardware-level precision required professional spectroradiometers designed for dedicated colour facilities; instruments priced well beyond the reach of most working creatives. At £309, Calibrite Display Plus HL changes that.

 

"This is a genuinely exciting moment for us at Calibrite. Calibrite Display Plus HL is now Apple Approved for hardware-level display calibration, working natively within Apple’s built-in macOS workflow across the full range of supported Apple displays. Until now, that level of precision required professional instruments priced for dedicated colour facilities. At under £400, Calibrite Display Plus HL brings it within reach of every serious creator on Apple hardware. For anyone serious about colour on Apple hardware, this changes what’s possible, and what’s affordable." -Stefan Zrenner, General Manager of Calibrite

 

Built for Apple’s Evolving Colour Standards

Calibrite Display Plus HL is designed to work with Apple’s latest colour technologies, including Apple CMF 2026, Apple’s next-generation Colour Matching Function that advances beyond the dated CIE 1931 standard, ensuring accurate and dependable results as display technology continues to evolve.

For professionals who require a comprehensive colour management workflow, Calibrite Display Plus HL works alongside Calibrite PROFILER software for ICC profiling, validation, and reporting, providing a complete end-to-end solution.

 

Availability

Calibrite Display Plus HL is available at £309 RRP through authorised retailers and calibrite.com. It is currently on offer at £249 until 30 June 2026.

 

Supported displays include:

• Apple Studio Display (2022 and 2026)
• Apple Studio Display XDR
• Apple Pro Display XDR
• Supported MacBook Pro models (M1-M5 Pro/Max and later)

 

For more information, please visit the Calibrite website.

 

About Calibrite

Calibrite is committed to providing the very best colour control solutions for Colour Perfectionists; photographers, filmmakers, designers, and content creators who love color and demand the very best tools for their colour critical creative workflow. From display calibration to ICC profiling and beyond, Calibrite builds tools for those who demand precision.

 

 

1. What Gear Do I Need?

• Camera – Compact or DSLR
• Camera bag – Keep your gear safe from sand and sea salt when you're not using it. 
• Tripod – Something lightweight and portable will be perfect as it won't take up too much room in the car and your arms won't ache after carrying it around all day.
• Polarising filter – Help reduce reflections and boost contrast.
• UV filter – Protect your lens from scratches.
• Hurricane blower and lens cloth – Make sure your lens is free of sea spray and keep grains of sand out.

  2. How To Protect Your Gear

You might enjoy a day out at the beach but your photography gear won't. Make sure you wipe all of your gear down when you get home and leave it to dry out completely. Spiked feet will stop your tripod slipping into the sand as you're trying to frame up while a UV filter will help stop sand scratching your lens. When you're not using your camera, remember to put it back in your bag and if you're using a DSLR and want to change lenses, try and do it off the beach and out of the wind so sand doesn't get blown where it shouldn't be.
 

 

3. What About Time Of Day? 

The warm light of an evening will give you better results than midday sun or if you're a morning person, get up early when the sun's at a lower angle so your shots will be more evenly lit without large, deep shadows running through them. There will be less people around at this time too as most of the day-trippers will have left if it's later in the evening or not arrived if you're up at the crack of dawn. Don't dismiss shooting a few shots of a busy beach though, particularly if it's a hot weekend and the sand can't be seen for towels and seats.

 

4. Don't Just Look Out To Sea

Sweeping vistas of the ocean and cliffs do look great but do try turning around with your camera and photograph the scene that's unfolding behind you. Just be careful who you point your lens at as there is a chance it will upset some parents who'll want to know why you're photographing their children. Try capturing shots that help tell the story of what happened at the beach – close-ups of sun cream bottles, buckets, spades and dropped ice cream cones make great 'fill-in' shots for photo albums and photo books.

 

 

5. Look For A Focal Point

When you do shoot out to sea try giving the shot a focal point in the foreground otherwise it can look a little empty. Driftwood, rocks and footprints are just three things you could use to add an extra element of interest to your shot. Just check you're using a small aperture before you take your shot to ensure front-to-back sharpness.
 

6. Focus On The Water 

To turn the waves into a smooth, dry ice-like motion you need to set your camera on a tripod and dial down to a slow shutter speed. How slow you need to go will depend on the movement of the waves and how bright it is so some experimentation will probably be needed. If you're struggling to get the speeds you need use a polarising or ND filter to reduce the amount of light entering the lens.

 

 

7. Change Your View

If there's a pier get on top of it to give yourself some height. You'll then be able to get more of the beach scene in shot. If you're using a compact camera that has a tilt-shift mode, getting up on the pier will give you the chance to turn the people sat on the beach into model-like characters. If there isn't a pier try extending the centre column on your tripod to give you more height. You may want to pack a remote release in case you can't reach the camera's shutter button when your tripod's extended. It'll also help reduce the chances of shake spoiling your shot.

 

8. Check Your Horizons

You need to make sure your horizon's straight and try moving its position to draw the viewer's attention to a particular part of the shot. See our previous piece on Horizons for more tips.

 

 

9. Shoot A Sunset / Sunrise

You can't go to the coast without photographing a sunrise/sunset (depending on which coast you're on). Just remember to have yourself at your chosen location an hour or so before sunset/rise and make sure you pack your tripod as working hand-held in these low light situations will only cause shake. For more tips on this, take a look at our previous articles:

• Photographing Sunsets
• Sunrise Photography Advice

  10. Capture Some Close-Ups

Shells and pebbles are just two subjects you can use for a spot of close up photography on the beach. For more ideas and tips, take a look at our previous piece: Close Up Work With Compacts.
 

 

11. How To Deal With Exposure Problems

The problem with sand sat against a light sky is that it can confuse your camera into underexposing the shot so try using exposure compensation to deliberately overexpose the scene. It can be tricky getting the whole scene exposed correctly and bracketing can help, however, if you have subjects that can't stay still, your shots won't line up when you're back in front of your computer.

If you're working with a compact camera switch it to Beach scene mode from the camera's scene mode or picture mode menu. The Beach scene mode will increase the exposure slightly to compensate but also adjusts the white balance to make the sand look more natural.
 

12. Photograph People

To capture your kids running around switch to fast shutter speeds and continuous shooting mode. If you want to slow things down try getting them to do something that'll keep them in one place such as building a sandcastle you'll be able to get some great frame-filling shots of their faces to show their expressions but do zoom out a little too as this will give the shot context. If you find the sun's casting shadows on their face try adding a little fill-in flash and avoid positioning the sun behind you as this will only make them squint. For more tips on shooting portraits at the coast take a look at this article: Holiday Portraits.

 

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

 

There is a specific feeling that I am going to try to describe, and I am not sure I will succeed. It is the feeling of being nine years old in 1996, holding a plastic Kodak FunSaver on a wrist strap, with the flash recycling and the little red ready light blinking on and off, knowing that I had 27 chances to take a picture and that I would not see any of them until my mom got the envelope back from the grocery store a week later.

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There was a moment recently when I realized the digital noise became too loud. Influencers and brands constantly talking about the latest technology and how it can improve your image quality. Menus became complicated. Firmware upgrades necessary. Increasingly faster eye-tracking and endless focus modes you never asked for. At some point, you start to miss something simpler—something quieter. Something that feels like photography again. 

Cue film photography discussions.

And that's also when people—typically younger people—start telling you that you need a Leica.

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Whether you want to record clean audio, or you want a quite room to enjoy music in, room treatment is imperative and usually extremely expensive. Costco just brought the price way down.   

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Choosing between a 35mm and 85mm prime for portraits is one of the most common debates in portrait shooting, and most people assume you need both. This video makes a strong case that a single 50mm prime not only covers the middle ground but can actually outperform the two-lens setup in more situations than you'd expect. 

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I realized at some point that most of the photographs I was making came from leaving too early — not physically, but mentally. 

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Improving as a landscape photographer has less to do with mastering technical settings and more to do with building the life skills that get you out the door, keep you in the field longer, and make your images mean something when you share them. These aren't camera skills. They're human skills that happen to make your photography better as a side effect. 

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Selecting a subject in Photoshop has always required some combination of patience and compromise, but AI depth masking changes the math on that. Instead of identifying edges or colors, it reads the three-dimensional depth of your scene and lets you select based on where things actually sit in space. 

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Shooting architecture with a wide angle lens is harder than it looks. Converging verticals, contrast extremes, and the question of what clients actually want from your images all collide in ways that catch a lot of people off guard. 

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You all see the classic e-commerce shots on any fashion designer's website, but seldom do you get to see the full behind-the-scenes of what it takes to make them. Recently, I did an e-com photo and video shoot for a brand that I work with. Here is the process, how I lit it, how I shot it, as well as the overall behind-the-scenes look at what goes into a relatively simple shoot like this. 

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