Photography News

Landscape photography's a wide topic, however, there are certain key elements which appear in various shots, taken by many different photographers, as they help add an extra level of interest or give shots mood and more impact.

  1. Capture Images Of Trees

 

A subject which is photogenic at any time of the year, trees, either on their own or stood shoulder-to-shoulder in a large forest, are strong structures that add interest to wide landscapes and become dominant and striking when photographed on their own. They can give images a sense of scale and when photographed up close, make excellent textures for adding to other photos at later dates.

For more tips on shooting trees, take a look at this tutorial: Ten Top Ways To Photograph Trees

 

2. Shooting Interesting Skies

 

The sky, and how much of it is in-frame, will change the overall focus and feeling of the image you're trying to take. Dark, rain-filled clouds will add drama while white clouds sat against a blue sky will create a completely different feeling altogether. Interesting skies can occur at any time of year and at any time of day so you just have to be aware of the conditions and keep an eye on what’s happening.

If you have a sky full of interesting cloud formations the key is to making sure the clouds aren't too bright. Check your histogram if you're unsure. Make sure you're ready to shoot an interesting formation as soon as you see it as they change shape quickly and if the clouds are rather breath-taking remember to lose some of the ground to make the sky your focus.

Blurring the movement of the clouds is an interesting effect that can also help create leading lines to guide the eye through the photograph. If you're shooting on a brightish day you'll need to fit an ND filter so you can use the slower shutter speeds without too much light reaching the sensor.

As briefly mentioned above, if the sky is really impressive, shift the horizon down so the sky dominates the frame. It does still help to have some land in the image, though as this adds foreground interest as well as scale to the shot.

For more tips on shooting skies, take a look at this article: How To Photograph Interesting Skies. We also have an article on Capturing Mood In Your Photos as well as a Top Ten On Photographing Sunsets.

  3. Use Water In All Its Forms 

 

Be it lakes, rivers, streams or ponds, water often plays a big part in landscapes. It can be used to add a sense of movement to what would be a static image, reflections on its surface can add depth and in winter, frozen water adds another element of interest to landscape shots.

For more tips on shooting water in the landscape, take a look at these tutorials:

• How To Blur Water
• Top Reflection Photography Tips
• Photographing Rivers
• Ice Photography Advice

 

4. Capture Patterns And Textures

 

Taking the time to emphasise shapes, patterns and textures that appear in nature can help create a strong image when isolated from what's around them. This works particularly well for black and white shots when you need ways to separate the different elements in your frame. Why? Well, when taking landscapes in colour, it's easy to see different elements in the landscape but once the colours are taken away, the various elements tend to blend together more as the tones are similar once converted to black and white. Seek out strong shapes in the landscape such as walls and trees that might provide a leading line into the landscape. Strong distinctive shapes are easier for the eye to pick out and understand even when the tones are similar.

Strong, side-light will enhance textures so head out early or late in the day when the sun's decided it doesn't want to hide behind clouds.

For more tips on using textures and patterns, take a look at these tutorials:

• What Looks Good In Black And White?
• How To Photograph Black And White Landscapes
• Photographing Textures On Buildings
• Tips On Photographing Textures

 

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

Celebrating 25 years of LUMIX, the Panasonic LUMIX L10 successfully integrates emotional creative qualities with fine technical performance, all in a relatively compact form factor and at a reasonable, affordable price point.

 

25 Years is definitely something worth celebrating, so here, we have the new Panasonic Lumix L10 compact camera, in three attractive colours. Choose between black, silver and the commemorative Titanium Gold Special Edition. We can add to this the fine signature saffiano leather-textured finish and we have an undeniably impressive looking jewel of modern manufacturing. It is also very tasteful, with none of the impractical excess of some marques' gold plated or even platinum plated special editions. Special editions that we are afraid to use for fear of reducing their collectable value are one thing but the new Lumix is firmly in the camp of being a current, usable camera that combines the aesthetic joy of ownership with the solid practicality of being a valid photographic tool. 

So now, having established the desirability, all that remains depends on the performance. Will it match the rhetoric? Let's find out.

 

Panasonic Lumix L10 Features

The LUMIX L10 is a moderately compact fixed lens camera, aimed at the highest levels of performance and as such is also bristling with features. It is fairly compact at 127.1mm x 73.9mm x 66.9mm, although perhaps slightly too large for most jacket pockets. Given the lack of weather resistance, a small protective bag could well be a good idea. The camera weighs in at a modest 508g, including the battery and an SD card.

Starting at the top plate, we have several direct controls. The on/off switch is a lever by the mode dial, all beautifully finished. Exposure compensation is found as a small button and the nearby control dial has a central button that directly accesses the Picture Style controls. This encourages the use of these settings rather more than having to access the camera menus. Zooming is achieved with a toggle switch around the shutter release button. The feel of this is light enough to avoid camera shake and positive enough to avoid accidental release. The shutter release button on the Special Edition is also threaded for use with supplemental shutter buttons. There is a 25th Anniversary button, supplied free for those who order the Special Edition at launch. This makes no difference to the photographic merits of the camera, but at 25 years, perhaps we should indulge Panasonic in a moment of pride.

 

 

The front panel has no controls other than the lens. The fixed LEICA DC Vario-Summilux 24-75mm f/1.7-2.8 is labelled with the “35mm equivalent” focal lengths. No doubt there are some who will find this slightly irritating, as the actual focal length is 10.9-34mm. However, the reason is clear enough in that few people will identify what 10.9-34mm might mean in terms of field of view, whereas 24-75mm instantly identifies the practical situation. With compact cameras having so many different sizes of sensors, it is arguably justified on the grounds of clarity.

Switching on the camera extends the lens very quietly, so videographers should not hear much in the way of noise from the zoom motor. There is an aperture ring, and a fairly firm click stop holds the setting into an A position if required, or out of A if the ring is in use. The control ring behind this is for manual focus. Closer to the camera body, there are two further slider switches. The side switch selects AF, MF and macro settings. The top slider selects the crop in use. Choices here are full 4:3, 3:2, 16:9 and 1:1 and it is highly convenient to have direct switchable access to this feature.

The left side of the camera gives access to the stereo mike jack, plus the USB-C connection where the camera can be charged.

 

 

The back of the camera has the LVF viewfinder window, the articulated screen and the usual camera controls. These operate with just the right amount of pressure, so there is little chance of anything being pressed in error. This can be the bane of compact cameras, but not so here due to careful design.

Finally, looking at the lens more fully, the optical construction is 11 elements in 8 groups, including 5 aspherical with a total of 8 aspherical surfaces. The maximum aperture varies from f/1.7 to f/2.8 but the minimum aperture is stopped at f/16. The diaphragm comprises 9 blades and delivers some very pleasant bokeh. It also delivers some spectacular flare effects when bright light sources are included in the frame. This has no real effect on general photography but it is something that is a definite quirk that could be used creatively. Lenses can be highly sought after for this effect, which is rarely seen in current designs.

 

Panasonic Lumix L10 Key Features

• 20.4MP 4/3 BSI CMOS sensor
• 3” free angle TFT screen, 1,840,000 dots with static touch control
• 0.39” OLED LVF with 2.36M dots
• Power OIS Shake Reduction
• ISO range 50 – 25600 (Extended)
• One SD card slot, SD, SDHC, SDXC (UHS-I/UHS-II)
• Phase detect/Contrast AF
• Focusing -5 to 18 EV
• Mechanical shutter: 60s – 1/2000s, up to 11fps
• Electronic shutter: 60s – 1/32000s, up to 30fps
• WiFi 2.4GHz, 5GHz
• Bluetooth v5.0
• 127.1mm x 73.9mm x 66.9mm
• 508g with battery and card
• Battery life 460 shots (using rear monitor)
• Battery life 410 shots (using LVF)
• Battery life 4K/60p 50mins
• Battery life FHD/30p 70mins
• Fixed LEICA DC Vario-Summilux 24-75mm f/1.7-2.8 Lens
• Actual focal length 10.9-34mm

 

Titanium Gold Special Edition Special Features

• Signature saffiano leather-textured finish
• Metal exterior
• Magnesium alloy front case
• Titanium Gold Photo Style
• Screw thread in shutter release
• Auto lens cap
• Shoulder strap
• Dedicated lens cloth
• Available from Panasonic Store and selected outlets

 

Panasonic Lumix L10 Handling

There is much to be said for using compact cameras in many situations. Street/reportage photography can make the photographer look much less threatening than carrying a huge DSLR or mirrorless system camera. It may also be easier to take into venues that are sensitive to anything that they deem to be a “professional” camera. The LUMIX L10 is every bit as professional as anything else might be, and it may nonetheless slip past where others cannot.

Handling is a pleasure with the L10. It may be compact but not so compact as to make operation difficult. Controls are well thought out and operate with just the right amount of firmness. There are a few compact cameras that can offer such a confident operational feel, one that can compete with smaller interchangeable lens cameras.

There are compromises, and it would be good to have two SD card slots, just in case. To be fair, I have never had a failed SD card, but a belt and braces approach is always sensible wherever possible. More important is the lack of weather sealing, so in wet weather, a thoughtful approach is needed. This means sheltering the camera from rain as much as possible and wiping it dry if it receives any splashes. Wiping the lens barrel dry before allowing it to retract is an obvious precaution that should avoid drawing water inside the optics.

The ISO performance is very impressive and low-light shooting is not a problem. Overall image quality is also excellent and in the centre of the field, the lens performance can rise to being outstanding. The general handling is sweet and it is easy to buy into Panasonic's extolling of the aesthetic and creative possibilities.

The L10 is a great camera to use, so now let's look more closely at how it actually performs from a technical point of view.

 

[SECTION]PERFORMANCE[/SECTION]

Panasonic Lumix L10 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.
 

Panasonic Lumix L10 Sample Photos Previous Next

 

Lens Performance – The “Holy Grail” of compact cameras is the quest for a performance that matches that of a DSLR or a mirrorless system camera. The lens was tested using Imatest to see how this Leica branded optic performs.

At 24mm, central sharpness is very good at f/1.7, excellent at f/2 and f/2.8, outstanding at f/4 and f/5.6, excellent at f/8 and f/11 and very good at f/16. The edges are good at f/1.7, very good from f/2 right through to f/11 and fair at f/16. 

At 75mm, central sharpness is very good at f/2.8, excellent at f/4, outstanding at f/5.6 and f/8, excellent at f/11 and good at f/16. The edges are very good at f/2.8 and f/4, outstanding at f/5.6, excellent at f/8 and f/11 and good at f/16.

This is a fantastic performance, and this translates into bright, sharp and highly detailed images.

 

CA – Chromatic aberration is measurable, but at very low levels, hovering around one quarter of a pixel or less. There is no colour fringing visible in even some quite severe lighting conditions.

 

Distortion – The L10 and Leica lens deliver very low distortion figures. At 24mm, -1.12% barrel distortion can be measured. At 75mm, we find +0.52% pincushion distortion. These figures are very close to rectilinear.

 

Flare – In general use, flare is not obtrusive and the lens sees through backlight well, maintaining sharpness and contrast. Put a bright light source in the frame though and we see a magnificent star effect that in some quarters could make the L10 highly sought after for that alone. 

 

Bokeh – The smooth gradation of out of focus areas in an image is described as bokeh and lenses do vary enormously. This cannot be objectively measured but can be described subjectively. Considering the aesthetic emphasis placed by Panasonic on the ethos of the L10, the smooth bokeh will no doubt score highly in the list of many merits of the camera and lens.

 

(Below you'll find images demonstrating the aperture range of the lens alongside CA and MTF charts.)

 

Panasonic Lumix L10 Lens test images Previous Next

Vignetting – A modest amount of vignetting does not impinge on the visual appeal of the images. At 24mm, corner darkening measures a steady -1.4 stops all the way through the aperture range. At 75mm, this becomes -1.2 stops. A modest amount of corner darkening can often be an advantage anyway, concentrating our attention on the main subject.

 

Panasonic Lumix L10 ISO test images Previous Next

 

ISO Performance – ISO performance is just excellent. We reach ISO 3200 before a whisker of noise starts to degrade the image slightly and ISO 6400 before the edges of the test target boxes start to become lost in the background. This continues at ISO 12800 and ISO 25600, which is where the darker parts of the image start to lose detail and sharpness.

 

Panasonic Lumix L10 White-balance test images Previous Next

 

White Balance – The usual selection of white balance presets comprises AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1-4 and Colour Temperature setting 1-4. Unusually, there is no fluorescent setting.

 

Panasonic Lumix L10 Digital filters Previous Next

 

Digital Filters – Described as Photo Styles, there is a wide range of digital filters: Standard, Vivid, Natural, L.Classic, L.ClassicNeo, L.ClassicGold, Flat, Landscape, Portrait, Monochrome, L.Monochrome, L.Monochrome D, L.Monochrome S, LEICA Monochrome, Cinelike A2, Cinelike D2, Cinelike V2, Like709, V-Log, Standard (HLG), Monochrome (HLG), REAL TIME LUT, Hybrid Log Gamma, My Photo Style 1-4 (5-10). 

In addition, there are more Digital Filters: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Cross Process, Bleach Bypass, plus the LUT Library.

REAL TIME LUT means that custom LUTs can be loaded directly into the camera. MAGIC LUT means creating a LUT from a favoured image, so for example, if the lighting and colour looked unique, a custom LUT can be created.

 

Video –  A nice touch to start us off is the gentle and shudder free operation of the shutter release button when starting a video. This requires the video selection switch to be set accordingly. However, there is also a small button nearby on the top plate and this starts a video recording independently, even when the camera is set to stills. Useful when the situation evolves into the need for a quick, unplanned start.

An extensive range of video capability includes a basic specification of 5.6K/60p, 4K/120p, FHD/300p. Recording file formats are:

• MOV: H.264/MPEG-4 AVC, H.265/HEVC
• MP4: H.264/MPEG-4 AVC, H.265/HEVC
• MP-4(Lite): H.265/HEVC

Basic audio format is Linear LPCM (2 channel stereo) 48kHz/24-bit, 96kHz 24-bit when a microphone or DMW-XLR2 is attached. Many more possibilities such as Float format are possible when 4 channel audio recording is switched on.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Panasonic LUMIX L10|Panasonic+LUMIX+L10[/AMUK] is priced at £1299, generally available in black or silver. The Commemorative Titanium Gold Special Edition is available in limited quantities direct from Panasonic. The similarities with the [AMUK]LEICA D-Lux8|LEICA+D-Lux8[/AMUK], priced at £1450, are obvious, but the specification of the new LUMIX L10 leapfrogs the LEICA so the comparison is not exact.

Other alternatives might be:

• [AMUK]Canon Powershot G7 X|Canon+Powershot+G7+X[/AMUK], £899
• [AMUK]Fujifilm X100 VI|Fujifilm+X100+VI[/AMUK], £1599
• [AMUK]Panasonic LUMIX TZ300|Panasonic+LUMIX+TZ300[/AMUK], £869
• [AMUK]Ricoh GR IV|Ricoh+GR+IV[/AMUK], £1199
• [AMUK]Sony Cybershot RX100 VII|Sony+Cybershot+RX100+VII[/AMUK], £1049

VFM looks sound, not the most expensive but offering one of the highest levels of performance.

 

Panasonic Lumix L10 Verdict

The Panasonic LUMIX L10 is without doubt a special camera, offering the highest quality in a compact camera form. Having been on the retreat for some years, in the face of the onward march of the smartphone, compact cameras do seem to be making something of a comeback. They do this by appealing to the concept of quality and versatility that the smartphone cannot match. That is the point at which the L10 hits. The fixed 24-75mm lens is a great lens and is capable of producing quality images. Some photographers may not move far beyond their original kit lens purchase even where interchangeable lens cameras offer the facility to spread their wings. The L10 covers the most essential focal lengths and even extends the focusing range down to distances that approach macro photography. Features such as digital filters give plenty of room to experiment and are readily accessible, not hidden in complex menus. Larger sensor size generally means it is easier to reduce noise levels without the heavy processing that some smartphones might inflict.

Panasonic makes a point of discussing the aesthetics and emotion of creativity and the L10 makes access into those areas more a natural part of the workflow. In other words, a camera that encourages the joy of photography and all its creative potential. The LUMIX L10 is Highly Recommended.

 

Panasonic Lumix L10 Pros

• Excellent to outstanding lens performance
• Tactile, physical controls
• Beautiful bokeh
• Interesting flare potential
• Low distortion
• Extensive Digital Filter options
• Articulated rear screen
• Shake Reduction
• Very high manufacturing quality
• Highly specified
• Fair pricing
• Option of stylish Commemorative Titanium Gold Special Edition

 

Panasonic Lumix L10 Cons

• Compact but still needs a camera bag
• Only 1 SD slot
• Fixed lens may be a limitation
• No weather resistance

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Superb quality, intuitive design and a compact form factor make the L10 a very desirable camera|E_id=8016[/REVIEW_FOOTER]

 

View the Panasonic Lumix L10 camera specs in the equipment database.

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Whether you accidentally deleted photos mid-shoot, formatted your SD card in a panic, or faced an abrupt battery death during saving, losing RAW ARW files and high-resolution JPEGs can ruin a perfect photoshoot. 

It is a common misconception that photos deleted or formatted from a Sony camera are gone forever. The answer is clear: you can recover deleted photos from Sony cameras in most cases, even after accidental deletion, quick formatting, or minor SD card corruption.

 

Why Sony Camera Photos Are Recoverable After Deletion

After testing dozens of recovery methods for Sony’s full camera lineup, including the popular A7M4, A7C, ZV-E1, A6700, and RX100 series. 

When you delete photos on your Sony camera or format an SD card, the device does not permanently erase your image data.

Sony cameras use FAT32 or exFAT file systems on SD cards, which are highly compatible with professional recovery software. Unlike permanent data erasure, standard in-camera formatting and manual deletion only mark storage space as "available for new data." The only way to lose your photos permanently is to take new pictures or record new videos that overwrite the original data.

This is the golden rule for all Sony camera users: stop using your camera and SD card immediately once you notice missing photos.

 

 

How to Recover Deleted Photos from Sony Camera

Before starting any SD card recovery operation, follow these four non-negotiable rules to avoid permanent data loss:

• Halt all shooting activity: Do not take new photos or videos with your Sony camera to prevent data overwriting.
• Avoid repeated formatting: Never reformat the problematic SD card repeatedly, as this deepens file structure damage.
• Use a high-quality card reader: Always connect the SD card via a reliable card reader instead of direct camera USB connection for more stable scanning.
• Recover files to a different drive: Never save recovered photos back to the original Sony SD card to avoid secondary overwriting.

 

Fix 1. Restore from Sony’s Recently Deleted Folder

You can recover deleted photos from the Creators' Cloud (Sony Cloud) recycle bin first.

• Step 1. Open Sony's Creators' App and go to "Cloud".
• Step 2. Tap the top right corner … (More) or your account avatar.
• Step 3. Find and enter the "Trash".
• Step 4. Select the photo you want to restore and tap "Restore".

Limitations: This method can only recover photos deleted in the cloud. Photos should have been successfully uploaded to Creators' Cloud beforehand. 

 

 

Fix 2. Recover the SD Card with EaseUS Data Recovery Wizard

For formatted SD cards or permanently deleted photos that are not in the cloud, EaseUS Data Recovery Wizard is our top-tested solution for Sony camera users. 

After comparative testing against 20+ recovery tools, its recovery success rate for Sony’s exclusive ARW RAW files far exceeds generic free tools. Tailored for photographic file recovery, it fully supports all Sony camera image and video formats, including JPEG, ARW, XAVC S, and MP4.

 

Key Advantages for Sony Photographers:

• Specialized decoding for Sony ARW RAW files, avoiding unopenable recovered files.
• Free full preview of photos before recovery, ensuring intact image quality.
• Compatible with all Sony camera SD cards (FAT32/exFAT) and Windows/macOS systems. Read more for Mac SD card recovery.

 

Step 1. Select the SD card to scan

• Download and install EaseUS Data Recovery Wizard on your Windows PC.
• Use the proper way to connect your SanDisk/Lexar/Transcend SD card to the computer. 
• Open EaseUS SD card recovery software and choose SD Card Recovery on the left panel. All connected drives will display here. Select your SD card and click "Scan for lost data".

 

 

Step 2. Check for scan results

• Wait for the scanning process to complete.
• Specify one or several file types to show up, like Pictures or Videos.
• Click "Preview" to check if they are the wanted files.

 

 

Step 3. Recover SD card data

• Preview the recovered files and click "Recover".
• Choose a different location to save the recovered files, rather than the original SD card.

 

 

Fix 3. Restore Photos from SD Card with Existing Backups

Backup restoration is the safest zero-risk solution for users with regular backup habits. If you have saved your Sony photos to local folders, external hard drives, Google Drive, or other cloud storage, you can retrieve lost files directly without third-party tools. 

Mac users can rely on Time Machine backups, while Windows users can restore via File History. This method is safe and preserves original photo quality, with no risk of file corruption.

 

Fix 4. Restore Photos from Sony Cameras with Data Recovery Services

If you need more professional solutions to recover your valuable photos from a Sony camera, using a dedicated manual data recovery service is often more dependable than ordinary SD card recovery programs.

Professional data recovery solutions like EaseUS data recovery services deliver a personalized operation mode that regular software can hardly replicate. With manual recovery, experts can concentrate on retrieving your lost files efficiently and ensure essential data gets full attention.

To achieve stable recovery results and avoid permanent data damage, entrusting your Sony camera memory card to the professional team from EaseUS is a secure and highly efficient decision.

 

 

Tips to Avoid Sony Camera Photo Loss

For professional photographers, prevention is always superior to recovery. Follow these tips to protect your valuable shots:

• Always format SD cards on your Sony camera rather than on a computer to maintain compatible file structures.
• Back up all photos to cloud storage or external drives immediately after each photoshoot.
• Use high-quality V60/V90 U3 SD cards designed for high-resolution Sony camera shooting.
• Enable dual-card recording if your Sony camera supports it for added security.
• Eject the SD card safely after file transfer to avoid file system damage.

 

Conclusion

Losing photos from your Sony camera is not a permanent disaster. In major deletion or formatting scenarios, your JPEG and ARW files remain recoverable with timely and correct operation. The core of successful recovery is stopping all camera shooting immediately to avoid data overwriting. 

For formatted, corrupted, or long-lost photos, EaseUS Data Recovery Wizard stands out as the most professional solution for Sony camera users, with reliable RAW file support, high recovery rates, and beginner-friendly operation.

 

Here are 10 quick landscape photography tips to help you take better landscape shots which includes points you may not have thought of such as using negative space and looking for natural frames. 

 

1. Use A Tripod

A tripod is a tool a landscape photographer shouldn't be walking out of the house without. Not only do they help reduce shake and assist with those popular blurry water techniques, but they also slow you down, giving you chance to think more about the scene in front of you and as a result, help improve your composition. You'll also be more likely to stay in one location for longer as you won't be supporting the weight of a camera and a lens meaning you can sit and watch the light change, clouds move or the sun dip below the horizon until the moment you want to capture presents itself.
 

2. Lines & Shapes Are Your Friend

Learn to look for shapes, lines or patterns which can help add direction, interest and depth to your shots. These could be paths, fences, patterns in a frozen lake, long lines of trees...etc.
 

3. Don't Be Afraid Of Negative Space

If used correctly, the empty space you leave in your shots (negative space) can make your photograph more interesting and easier to focus on rather than trying to fill every inch of the frame with interest.

 

4. Find A Frame

When used correctly, frames can help focus the viewer's eye on the main subject and they don't always have to be full frames either as a hanging branch, for example, can work just as successfully at guiding the eye. Look for arches created by paths of trees, leaves/hedges you can blur into an out of focus frame...etc. 

 

 

5. Move The Horizon

As well as keeping the horizon straight you need to avoid sitting it right in the middle of your frame as this just cuts the image in two and isn't very interesting (most of the time). When you have skies bursting with colour pull the horizon down and make more of it but if its the land that's your shining star shift the horizon up so the sky takes up less space. Of course, there are times when this rule doesn't apply but it's something you need to keep in mind when setting your shot up. 

 

6. Emphasize Size

By adding something to the shot the viewer can use to gauge a sense of scale from, they'll be able to grasp how vast/large the landscape really is, exaggerating the 'wow' factor as a result. 

 

7. Interesting Skies Are Great

Be it cloud formations, a storm coming in off the sea or a striking sunset, the sky is a great tool for adding extra interest to your landscape shots. Don't be afraid of the rain as moody clouds can give your landscapes an interesting twist and windy days will help you add a sense of movement to your usually still landscape shots. Sometimes you'll have to be patient and wait for the light but it's worth it in the end. 

 

8. Look For Lone Subjects

A single subject in a wide landscape shot will always work well. A lonely tree, a tractor or barn are just three examples that spring to mind but no matter what you pick, you can guarantee it'll help you create a striking yet simple composition. 

 

 

9. Create Depth And Dimension

You don't want a big, boring, empty space of nothingness in the foreground of your shot as this will just result in a boring example of landscape photography. To improve your photos, include some sort of foreground interest. By doing so you'll create depth, guide the eye and give your 2D image a 3D feel. If you find there's too much of the middle of your shot that's still empty try shooting from a lower angle. 
 

10. Filters Are Your Friends 

If you are only going to carry two filters with you they should be a Graduated ND and Polarising filter. A Graduated ND filter will help you produce a more balanced exposure while a Polarising filter will help colours appear more vibrant, deepening blue skies and giving foliage more punch. This filter can also help reduce reflections and cut down on the sheen coming off fur and skin.
 

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

Photography publications, including this one, spend most of their editorial energy on exciting lenses. The fastest aperture in the category. The sharpest optic in the lineup. The new release that leapfrogs last year's model. The GM, the Art, the L-series, the S-Line flagship. These are the lenses that generate press coverage, forum arguments, and YouTube thumbnails with wide-eyed reviewers holding glass that costs more than a used car. 

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One of the biggest changes in my photography did not come from buying new gear, learning a complicated editing technique, or traveling to better locations. It came from something much simpler. I stopped relying on the idea that I could fix everything later in editing. 

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Today, I decided to try something new. So, join me on a walk through the park with the NIKKOR Z MC 105mm f/2.8 VR S macro lens. 

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The Panasonic Lumix L10 lands in a crowded field of compact everyday-carry cameras, but it takes a noticeably different approach from most of its competition.  

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Acapulco at night feels less like a city and more like a stage set designed by a casino architect having a mild nervous breakdown. Palm trees multiply in every direction. Floodlights blast the sand with the subtlety of a prison yard. Massive hotels rise from the coastline pretending time still moves the way it did decades ago, as if glamour could survive indefinitely through architecture and denial alone.

 

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Lightroom skin tone editing is one of those things that separates a gallery that looks cohesive from one that looks like a collection of individual images. Get it wrong and even technically sharp, well-exposed portraits look off in ways clients can't always name but will absolutely feel. 

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The Viltrox AF 75mm f/1.8 is a short telephoto portrait lens for APS-C mirrorless cameras, giving you a full frame equivalent of around 113mm. At $329, it sits in a price range where quality can vary wildly, and whether Viltrox has delivered something genuinely worth the money is exactly what this review puts to the test. 

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Lighting choices age or youth your subject more than any retouching tool. Three specific decisions, made on every shoot, determine whether someone looks weathered or fresh, and most people make them without fully understanding what they're doing. 

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1. Camera Choices

If you have one, use an interchangeable lens camera but compact or smartphone users shouldn't think this means they can't shoot good portraits. Select Portrait Mode as this will tell the camera you want to use a wider aperture to throw the background out of focus. It also helps if you use the telephoto end of the zoom, just keep the camera steady as shake can be emphasised when working closer to your subject.
 

2. Lens Options

You want to throw the background out of focus and using a telephoto lens will make this job easier. A telephoto lens also creates a more flattering perspective.

  3. Should I Use A Tripod?

Longer lenses may create a more pleasant and natural-looking portrait but when you're working hand-held shake can be a problem. To combat this, don't let your shutter speed value drop lower than your focal length when working hand-held or just put your camera on a tripod.

 

4. Sun Direction

Soft morning or evening light is good for portraits but sometimes we don't have a choice but to shoot when the sun's more direct and high in the sky. Most people will position themselves so the sun sits behind them, facing their subject but this will only cause them to squint. Instead, position your subject so the sun sits behind them. This will diffuse the light and make yoke subject 'pop' out of the frame by creating a halo of light around their head. Just remember you'll need to meter from your subject's face to get your exposure right as if you meter manually from the background, you'll end up with a silhouetted subject.

 

 

5. Shadows

Shooting with the sun behind your subject can leave unsightly shadows under the nose and eyes. A pop of flash will remove them but this can look a little artificial, particularly if you're using a compact camera where the flash is more direct, so try using a reflector to bounce extra light into the shot. If you're working alone you'll need to compose your shot and set the camera on a self-timer or use a remote release to set the exposure going so you can hold the reflector in place. If your subject's hands aren't going to be in the shot you could get them to hold it or rope a friend into being your assistant if you can. If you do want to use flash, take it off your hotshoe (if using a DSLR) and bounce it off a reflective surface to diffuse it.

 

6. Find Shade

The light in shaded areas is more even and is less likely to have spots of bright light and harsh shadows, making them easier to work with.

 

7. Background

Even though you're outdoors you don't want the background to overshadow your subject so make sure it's not too busy and throw it out of focus. A wider aperture and putting some distance between your subject and the background will help you achieve this.

  8. Natural Props

You're in the outdoors so use the trees, leaves and flowers around you in your portraits. Subjects sometimes don't know what to do with their hands and can look awkward as a result. To stop this, give them something to hold/lean on. Ask them to lean on a tree trunk or hold a branch. How about getting them to blow on dandelions? Or framing their faces with branches and leaves?

 

 

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Beyond the gesture lies the question of what survives the movement. This part moves from the mechanics of the camera to the discipline of the image, identifying the "points of failure" where structure, color hierarchy, and spatial layers collapse into visual mud. It defines the "indexical anchor" as the boundary between a durable photographic image and a decorative dissolve. 

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Over the years, I've looked at a ridiculous number of photography websites. Partly because I'm nosy, partly because I do website critiques, and partly because during lockdown, I worked for a marketing agency and did a lot of UX work. After a while, patterns start appearing. 

Interestingly, most of the problems I repeatedly see have very little to do with photography itself. In a lot of cases, the actual work is great. The problem is how everything is being presented.

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The Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary sits in an awkward middle ground that most people dismiss without thinking too hard about it. Street shooters call it too big. Wildlife photographers call it too short. Row thinks they're both wrong. 

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Welcome to the June Critique the Community!  For this contest/critique, we are doing another abstract theme that should allow more photographers to enter. For this month we want to see your best photograph that feature "Motion Blur". If you have images that showcase fast moving subjects, camera shake, long shutter speeds, or anything else that epitomizes motion blur, we would love to see them!

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For good garden photos your garden needs to be looking at its best and the light has to be right. But as you look out of the window at it every day, you'll see when your plants and flowers look their best and you can easily be out there with your camera in minutes snapping that perfect garden shot.

  1. What Gear Do I Need? 

Your standard zoom is fine but if you want to get closer to the flowers to hide the weeds you need a macro lens. If it's very bright attach a polariser to your lens to reduce glare and consider using a tripod that has a centre column that can be used in a horizontal position to get closer to flowerheads. A small reflector will help direct light to where it's needed and you don't even have to purchase one as you can create your own from foil and card. 
 

2. Avoid Bright, Sunny Days 

To be honest, bright days when the sun is high in the sky can be awkward as the colours will be too harsh and you'll have deep, dark shadows. A lot of flower photographers prefer early mornings, but a still evening's just as good. In fact, why not get outside after work and enjoy the warmth of the evening while you take your photographs? Hazy days when it's a little cloudy but the sun's still shining are perfect, though, as the clouds act as a giant softbox, diffusing the light.
 

3. Dealing With Windy Days 

If there's a gentle breeze in the air crank up the shutter speed or stick your camera on a tripod and slow the speed right down if you fancy taking some experimental shots.

 

4. How Green Is Your Garden? 

If your garden's too green you may need to narrow your focus as even though your eyes can see the spots of colour your camera might not. Getting in closer will also hide the weeds and broken shed windows you want to disguise or you could use them as subject as weeds can be just as photogenic as roses.

 

 

5. Create Paths And Frames 

If you have a path use it to guide the viewer's eye from the front to the back of the image, creating depth. A small aperture will give plenty of depth-of-field. Give your garden a 'frame' too as with portraits, they can be improved with one. Entrances, arches, gates, hedges and overhanging trees all work well. Also, look beyond your garden hedge and fence to see if you have a view that can add to your garden landscape.

 

6. Shoot Some Macro Work 

If you do get your macro lens out make sure you fill the frame and blur the background with a larger aperture. Flowers are nice but look for interesting leaves too as these often have textures flowers don't have. Keep your eye out for insects such as butterflies who can be found on a cool morning with their wings open warming up too.

 

7. Make The Most Of Showers 

If a gentle shower's fallen get outside as you can get great images. Close-ups of water droplets on blooms can look great. Of course, if you haven't had any rain for a while, fill a water spray or even a watering can and provide your own 'dew' or 'rain'.

 

8. Take Garden Photos All Year Round 

Don't think this is just a one evening project either as different seasons, mood and light give you endless photographic opportunities right on your doorstep.

 

 

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