Photography News

A portfolio is not a gallery of your favorite photos. It is a sales tool, and its only job is to answer one question in a potential client's mind: can this person deliver the specific thing I need, done well? Most portfolios fail at that job not because the photography is bad, but because of a handful of avoidable mistakes in how the work is chosen, ordered, and presented. A viewer forms an impression in well under a second and decides whether to keep looking or move on within a few images. Here are eleven mistakes that quietly cost you that decision, each with a fix. 

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People keep asking me what it's like photographing the anti-ICE protests outside Delaney Hall in Newark.

 

The general perception is of a nonstop war zone. That's probably the biggest misconception people have after scrolling through photographs online. They see the pepper spray, the flashbangs, the clouds of CS gas drifting through the street, officers in riot gear, protesters in zip ties, and they imagine the whole day unfolds like an action movie stuck on repeat.

It doesn't.

Most of the day is waiting.

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Every photographer who has thought about photographing a public space knows the low-humming anxiety of the "worst-case scenario." The fear of someone seeing and confronting us remains one of the steepest mental hurdles to actually getting started in street photography. For years, it was mine. We convince ourselves that the moment we are noticed, the world will grind to a halt and anger will follow. But what actually happens when the nightmare comes true?

 

On a summer Saturday morning, I had the dubious pleasure of finding out.

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There is a particular kind of expectation that follows you when you say you are in a country hosting a World Cup. It is not always spoken out loud, but it sits there in the background of conversations, in messages, in assumptions that come almost automatically, as if geography alone were enough to place you inside the flow of the event.

 

You are here, therefore you are inside it.

It sounds logical until you actually walk through the city.

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Your best portrait gear does nothing if the person sitting in front of the lens looks stiff and posed. That truth reshapes how you approach every shoot, and it costs nothing to apply. 

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Red eye's caused by the flash illuminating blood vessels in the eye and when the light bounces back, you get red eyes. Some people are more likely to get red-eye than others but if you're one of these people or you have a family member who does, here are a few methods you can try to fix it so it doesn't spoil your family holiday shots. 
 

 

1. Compact Cameras

Most compact cameras have a red-eye reduction mode that can help reduce the size of the pupils, minimising the red that appears in their eyes.

2. Don't Look At The Flash

Asking your subject to not look directly at the flash can also work but this does mean they may not be looking in your direction when you view the shot.
 

3. Look Outside

If it's a sunny day, get your subject to look out of the window for a few seconds as this will give their eyes time to adjust to bright light before you fire the flash at them. Of course, never let them look directly at the sun or any other light source that could damage their eyes.
 

4. Move The Flash

If you're using a flashgun move it so it's not directly facing the person you're photographing.
 

5. Add More Light

If you're working indoors add more light into the room you're working in. 
 

6. Use A Continous Light Source

A continuous light source will allow your subject's eyes to adjust properly to the light before the shot is captured. 

  7. Edit The Images

If you don't have time to retake your shot or you didn't notice the red-eye before you viewed it on your computer screen, you can use editing software such as Photoshop to fix the problem. Some programs have a red-eye remover option that does the job for you, while software such as Photoshop has a brush designed to remove red-eye or you can fix the problem manually if you prefer.

Here's how to fix it in Photoshop/Photoshop Elements: Open your image and select the Red Eye Tool. It's under the same tool menu as the healing tools so if you have one of these visible in your toolbox just click and hold it to bring up the menu with the other tools in. In the toolbar at the top, you can adjust two options: Pupil Size and Darken Options. But it's best to use the brush before making any changes to see if any alterations need to be made.

To use the brush just position your cursor over the pupil, click your mouse button and wait for Photoshop to make the changes.
 

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

 

A wonderful example of macro nature photography has been crowned our 'Photo of the Week' (POTW) on ePHOTOzine this week.

Captured by Prizm and titled 'Macro Moments', it's a shot that really stayed with us. We love the detail in this shot, from the fine hairs on the body to the fine lines running through the wings, right down to the big eye caught in full clarity. The dragonfly is nice and sharp too, resting on its reed with the background falling away into a soft blur of greens and browns. Plus, the warm golden and orange colors help the insect stand out in the frame, keeping the focus entirely on this creature.

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! 

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

If you open the main compartment of your backpack during the day, your packing system is working against you. Every zipper you fumble with, every sack you dig through, and every rain cover you peel off burns energy you could spend covering ground. 

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Getty Images has killed its $3.7 billion merger with Shutterstock, refusing a condition set by UK regulators that would have forced Shutterstock to sell off its entire editorial photography business. The deal had already cleared US antitrust review with no strings attached, which makes the UK objection the single reason two of the biggest names in stock photography will stay separate.

 

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Having a blurry image isn't always a bad thing. In fact, when it's used in the right place, it can actually make your photos better. Here are a few examples of when blur can be used and a few tips on how to produce the shots.
 

1. Water / Waterfalls

 

1. Use shutter-priority so you can control how long the shutter is open.
2. The slower the speed you choose the more blur there will be.
3. The speed you need will change depending on how much blur you want, how much water there is and the distance between the camera and your subject.
4. Start between 1/8sec to 1/15sec and just adjust until you get the blur you're looking for.
5. If you struggle to get the shutter speed low enough try fitting an ND filter to your lens. 
6. Always use a tripod to prevent shake spoiling your shot and if possible use a remote / cable release. 
7. Meter carefully as large areas of light tones can fool the camera into underexposing your shot.
8. Slow shutter speeds will blur anything that moves so if you don't want what's surrounding your subject to be blurred, try taking two shots: one with the slower shutter speed then the other with a speed that will freeze movement. You can then combine these in editing software such as Photoshop.
9. Try blurring the movement of waterfalls, rapids, waves breaking along the coastline, a fast-flowing river and water flowing from a tap

  2. Action Photography

 

1. For people, animals or vehicles which are moving, adding a touch of blur to the image can give the impression of speed, emphasising motion and creating a sense of drama in the shot.
2. If you use too higher shutter speed you'll just freeze the motion, too slow and there can be too much blur and the background and your subject will seem like they're merging together. So it's worth experimenting with a variety of shutter speeds to get it right.
3. Try panning with the subject as they move. Start panning, release the shutter button and then continue the pan even after the camera's captured the image. If you get it right the subject will appear sharp as it hasn't moved position in the viewfinder, but the background will be blurred making the subject look as though it's hurtling along.
4. Try to get enough blur so the background isn't distracting and the movement of the wheels on the vehicle you're photographing are blurred to create the sense of motion in the shot. This will also help the eye focus on what it's meant to.
5. Try using slow sync flash which is where you use a slow shutter speed and flash together to freeze your subject but blur the background. The low shutter speed continues to record the ambient conditions and further subject movement. It's used mostly by sports photographers recording cycling events or motorsports but can also be creative in any environment that has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing.

 

3. Light Trails 

 

1. Do not try and drive the car and work the camera at the same time. Get yourself a driver or you drive and get a friend to operate the camera.
2. Make sure the windscreen is very, very clean otherwise smears will spoil the final shot.
3. Make sure the tripod is secure before you set off so the camera doesn't get broken from it falling over during the drive.
4. Try positioning the camera so you can only see the view through the windscreen but don't worry if you have the roof or dashboard in shot as you can always crop it out. The lights and shape of the dashboard can also add an extra element of interest to the image, giving the trails something to contrast against.
5. Focus on the distance - you want the lights sharp ideally.
6. Use a small aperture to give you front to back sharpness. It'll also mean you can use longer shutter speeds.
7. 10-30 second exposure will capture the light trails. If you want longer shutter speeds, use the B setting.
8. Use a remote trigger, cable release or self-timer to fire the shutter.
9. Twilight is a good time and you need a location with a variety of light sources.
10. Towns are good locations for this as they'll be streaks of light on various levels and of several shades on offer. Motorways are also good but here you'll get more continuous long light streaks.

 

 

4. Abstract Shots 

 

1. Sometimes you don't need anything to be sharp and in focus to make an interesting image.
2. If you're using lines try to find a location that gives you a shot that has lines that vary in size and colour. Bolder lines will have more impact than small, faint ones and do remember they will still guide the eye through the shot and tell the viewer where they should be looking.
3. Shapes are obviously softened so make sure you're photographing something that's interesting and bold, otherwise your image won't have any impact.
4. Strong, bold colours work well because you're losing texture and detail you see in sharp shots. Make sure your tones don't clash and check to see if any shades are overpowering certain areas of the frame.

 

5. Drag Landscapes 

 

1. Overcast days are perfect for this technique.
2. Find a scene that has strong lines – fences with flowers in front of them and trees work well.
3. Basically, you need to press the shutter button and as the exposure processes, dragging your camera up, down left or right as it does.
4. Don't stop panning until you're past your subject as you won't get the blurry lines you're looking for.

 

6. Zoom Blur

 

1. You have to get the zoom right – too much and you won't be able to make out your subject, too little and it will just look like a normal shot.
2. Use a small aperture to get the slower shutter speed that's needed. Use a low ISO too. This is particularly important when your subject is backlit.
3. Fit a neutral density filter or a polarising filter if you can't get a slow enough shutter speed.
4. Make sure you meter from your main focus point.
5. You need to set the zoom to either the short or long end of the focal length range, open the shutter, wait for a while then in one, smooth, quite quick movement, zoom out. By pausing at the start your subject will have a little definition before the blur kicks in.
6. Stained glass windows are good subjects for this technique but try it in a forest with the light that flows through the trees too.

 

7. Remove Distracting Backgrounds 

 

1. If you're working somewhere that has a busy background use a larger aperture to throw it out of focus. This blur will hide whatever was distracting the eye, allowing all focus to fall on your subject.
2. If you're using a compact camera try switching to the appropriate mode (portrait for people, macro for close up work) so the camera knows you want to throw the background out of focus.

 

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

You stand in front of something stunning, a valley flooded with evening light, a city skyline at dusk, and you press the shutter sure you have captured it. Then you look at the file and the magic is gone. The colors are flatter, the sky is blown out or the ground is a muddy mess, the mountain that loomed over you looks like a small bump, and the whole thing feels ordinary. The instinct is to blame the camera, or your skill, or to start shopping for a better lens. Usually none of those is the real culprit.

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A bull bison charged an older man walking with his grandson at a Yellowstone campground on Friday evening and threw him roughly eight feet into the air. The man landed on his side with serious injuries, and the animal stood over him afterward instead of running off. 

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I've been looking for new ways to exhibit my photo and video work, ways that aren't tied to white walls or interior spaces. That search led me toward projectors, and I found one that fits. The appeal of something untethered is obvious in the fact that you can take your work almost anywhere. I initially expected I'd need a separate power station, but instead I found a quality projector with a built-in battery, making the whole setup far simpler than I'd imagined. 

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"How you make a picture is much easier to articulate than why you make a picture." I read this statement in a comment under one of my articles here on Fstoppers, and it inspired me to talk about this in more depth.

 

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A flat, cold panorama of a cloud over farmland becomes a dark, dramatic storm scene using nothing but contrast adjustments. The difference comes down to knowing which sliders control contrast globally and which ones do it locally, then applying each in the right place. 

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Custom film built to one photographer's exact wishes, coated by hand sounds like a dream, and this version is wildly unusual. Film that behaves this way rejects almost every rule commercial stock follows, and it opens up a way of working most shooters never consider. 

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I've always wondered what goes through someone's mind when they decide to become a hater. Being a hater is a kind of job: you have to create fake accounts, which guarantee anonymity, and then, from those accounts, launch attacks against the object of your hatred.

 

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Whether it's a line of lampposts on a dark street, light glowing from the windows on the front of your house, a night sky bursting with stars or a panoramic cityscape showing the twinkling lights from the homes, shops and streets that fill the city, there's something for every photographer, no matter where you live, to photograph at night.

 

1. Kit Choices

Your most important piece of kit if you're heading out at night is a tripod as it's impossible to work hand-held when you're dealing with very long exposures. If you have one, pack your remote release to help minimise shake or make use of the camera's self-timer if you don't. Your standard lens will do just nicely but take a telephoto along to get you close to lights on top of buildings and illuminated signs. Pack a torch, wear suitable clothing and take a watch along for timing when using the B setting. Do have fun experimenting with Bulb as you'll be able to produce some interesting and creative results. 

 

2. How Dark?

It doesn't have to be totally dark for you to have a try at night photography. Late dusk, when there's still a little light left in the sky, will give you scenes with less contrast as the light that's still in the sky will illuminate areas not lit by artificial lights. If you do want to head out when most people are tucked up in bed take someone else with you for safety and they can keep you entertained while your long exposure ticks along. If you're not very patient you could, of course, use a higher ISO, however, sticking to ISO100 or 200 will give you better quality images.

 

 

3. Long Exposures & Timing

How long your exposure is will depend on what you're photographing. If the light, such as street lamps, is your focus you'll have a much shorter exposure than if you were photographing an illuminated building when you're photographing light that's reflected. If you have both types of light in one scene go for the longer exposure as if you don't, the only detail will be the lights, you won't see a building. This does mean you'll get flare from the street lights, but this isn't necessarily bad.

Overexposed street lamps, particularly if it's a damp night, can look really good.

 

4. Metering & White Balance

You may get a few metering problems as areas of darkness which are occasionally illuminated by bright lights can confuse your camera. If you find your scenes too dark or the lights have washed the scene out, use the compensation setting to adjust the exposure and try again. Don't meter from a dark area either as this will just cause lights to be overexposed.

Keep an eye on your white balance as different lights can have different colour casts. Shop windows will be fluorescent while street lamps and buildings lit by floodlights are often tungsten which gives a yellowish cast to images. But you may find the colour cast adds to your image anyway.

 

Other techniques to try at night include:

• Light trails of moving traffic
• Light painting
• Star trails 
• Fairgrounds at night – use a slow shutter speed to create pictures a wash of vivid colours.
• Cityscapes taken from an elevated point to give you a sweeping shot of twinkling lights.

 

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

Artemis II in Eclipse. Credit: NASA

 

NASA has shared a shot from the Artemis II mission called "Artemis II in Eclipse", captured by the crew using a Nikon Z9 during the lunar flyby back in April. The image shows the Sun eclipsed by the Moon from inside the spacecraft, with Saturn and Mars visible off to the side. What makes this even more interesting is that researchers at Tokyo City University have since used the photo, shot handheld on a commercially available camera, to study the structure of the inner zodiacal cloud, proving that consumer camera gear can contribute to real astronomical research.

  From Nikon:

NASA has released a spectacular image from its Artemis II mission, where Nikon's flagship camera, the Nikon Z9, was used by the crew to capture one-of-a-kind interstellar imagery from the historic lunar flyby. Titled "Artemis II in Eclipse", the picture offers a unique perspective of the Sun eclipsed by the Moon from inside the spacecraft.

This fantastic shot was captured in April using the Nikon Z9 mirrorless camera, paired with a 35mm f/2D lens at an aperture of f/2, an exposure time of 2 s, and ISO 1600.

With this rare vantage point, the Artemis II crew witnessed the Sun hiding behind the Moon for almost an hour at a close distance (4,067 miles at closest approach) where the Moon appeared much larger than the sun. The astronauts also captured Saturn and Mars, visible to the right of the Moon within the majestic shot.

Hiroyuki Ikegami, Nikon Senior Executive Vice President, General Manager of Imaging Business Group says: "Seeing the images from the Artemis II mission return to Earth is a profound honour for all of us at Nikon. This latest research from Tokyo City University acts as a powerful reminder of what imaging can make possible when science, exploration, unrelenting effort and human curiosity come together."

"For more than five decades, from Apollo 15 to the Artemis program, Nikon has been privileged to support NASA with cameras and lenses designed for exceptional clarity and reliability in the most demanding environments. The Nikon Z9's high resolution, expansive dynamic range and outstanding low-light performance are helping crews capture incredible details."

Additionally, researchers at Tokyo City University analysed solar corona images taken by the astronauts with the Nikon Z9 during the Artemis II mission. They found that the Z9's high resolution, wide dynamic range and low-noise performance made it possible to capture even the faintest light around the sun with stunning clarity – contributing to this remarkable scientific discovery in space exploration.

 

Figure 3. Left: a normalized green channel image produced by masking the Moon and bright stars from the original art002e009301 image to extract the structure of the diffuse background emission. Right: a diffuse ZL map for the same field calculated using ZodiSURF (R. O'Brien et al. 2026) with the same normalization. Intensity contours of the diffuse light at levels of [0.01, 0.03, 0.1, 0.3] are overlaid for both images.

 

Their study demonstrates that opportunistic observations from crewed lunar missions can provide valuable insights into the structure of the inner zodiacal cloud.

Kohji Tsumura, Associate Professor, Tokyo City University (currently Associate Professor, Frontier Research Institute for Interdisciplinary Sciences, Tohoku University) says: "I was amazed to learn that this remarkable image was captured by an astronaut using a commercially available Nikon Z9 with an exposure time of just two seconds—a true testament to how far digital camera technology has come. Although I was initially sceptical about analysing a JPEG image, the quality proved comparable to data used in professional astronomical observations. Astronomy is unique in that amateurs and professionals alike can make meaningful contributions, and as high-performance cameras become more accessible, I believe images taken by amateur photographers will increasingly lead to unexpected scientific discoveries. I am delighted that this research offers one such example."

Ko Arimatsu, Co-author of the study;  Senior lecturer, National Astronomical Observatory of Japan (NAOJ) says: "In this study, we investigated the properties of the F-corona—interplanetary dust scattering sunlight near the Moon—using images taken by an astronaut with a commercially available Nikon Z9. The findings demonstrate that scientifically valuable data can be extracted from consumer camera images when properly calibrated and analysed. This suggests that high-performance consumer cameras could serve not only for documentation during future space exploration, but also as tools for unexpected scientific discoveries."

For more information, please visit the Nikon website.

GoPro's founder and CEO is lending his own company $20 million to keep it running while its board looks for a buyer. The action camera maker warned last month that it might not survive the next 12 months without new money or a sale.

 

 

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