Photography News

Minimalist landscape photography is one of the hardest styles to pull off well. Strip away too much and the image feels empty; leave too much in and you've lost the point entirely. 

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The beloved Ilford Pan F Plus is now available in 4x5 and 8x10 sheet film for the first time, and it's a bigger deal than it might seem at first glance. Sheet film manufacturing isn't as simple as cutting down roll film stock, as the base thickness has to be different to keep the emulsion stable, aligned with the film plane, and practical to load and process, which is exactly why not every emulsion makes it to large format. 

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The Sony a7 V is one of the most talked-about hybrid cameras of the past years. What actually happens when you run it through real paid work over an extended period? 

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The tone curve in Lightroom is one of the most powerful editing tools available, and most people barely scratch the surface of what it can do. Knowing how to use it well separates flat, lifeless edits from images with real depth, color, and punch. 

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B&H Photo is running some aggressive discounts across cameras, lighting, support, storage, and accessories this week. We dug through hundreds of active DealZone listings, sale prices, and lowest-in-180-day markdowns to find 30 that are worth your attention, sorted by a combination of percentage off and absolute dollar savings. These deals are time-limited, most running through the next seven days, so act quickly on anything that catches your eye.

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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

 

The Viltrox AF 35mm F1.2 LAB N FE is a premium Sony mount lens that combines a classic aperture ring with modern, high speed autofocus. Its weather sealed design and advanced 15 element optics ensure sharp results in any environment, serving as a rugged choice for professional photographers and videographers. With a bright F1.2 aperture, it delivers beautiful background blur and excellent low light performance for high quality creative results.

 

From Viltrox:

Viltrox today announces the launch of its AF 35mm F1.2 LAB N FE, a full-frame ultra-large-aperture autofocus prime lens for Sony FE mount cameras. Designed to coexist alongside the original AF 35mm F1.2 LAB, the new version builds on its proven performance while introducing a more streamlined appearance without a display. It’s paired with a traditional aperture ring featuring marked stops that provide precise, tactile control preferred by many photographers.

 

Flagship Lenses & Sophisticated Optical Structure

The flagship 15-element, 10-group optical structure (including 3 HR, 5 ED, and 2 UA elements) delivers exceptional edge-to-edge sharpness, preserving fine detail even under heavy cropping, while effectively controlling chromatic aberration in high-contrast or backlit scenes.

 

Significantly Faster Autofocus with Quad HyperVCM

Powered by Viltrox’s Quad HyperVCM motor system, the lens delivers significantly faster autofocus performance compared to traditional STM systems. With micron-level precision, fast focus transitions, and support for face and eye detection, it ensures reliable subject tracking, which combined with its quiet operation and smooth focus transitions make it well suited for video production.

 

F1.2 Ultra-Large Aperture

The F1.2 aperture affords increased light intake for cleaner low-light imaging and a shallow depth of field, while the 11-blade diaphragm delivers a smooth, rounded bokeh with a natural and pleasing rendering.

 

 

Professional Handling and Workflow Efficiency

Designed for intuitive control, the aperture ring supports click and de-click switching for both photo and video use, while the AF/MF switch enables quick mode changes. Two customizable buttons provide direct access to frequently used functions, improving responsiveness during shooting.

 

Engineered for Durability in Demanding Environments

The lens incorporates a sealed structure to resist dust and moisture, ensuring reliable performance in challenging outdoor conditions. A water- and smudge-resistant front coating enhances usability, while the full-metal housing and precision-plated brass mount provide long-term structural strength.

 

Close-Up Precision and Consistent Focal Sharpness

A minimum focusing distance of 0.34m enables detailed close-up shooting, while the dual floating focus design maintains consistent sharpness and resolution across the focusing range, from close-up to infinity.

 

 

Availability

The AF 35mm F1.2 LAB N FE will be available alongside the original AF 35mm F1.2 LAB, offering photographers and filmmakers the flexibility to choose the control style that best suits their workflow. 

 

More details and how to buy

For more information, please visit: https://viltrox.com/products/af-35mm-f1-2-fe

Amazon Store:

• The US site: https://www.amazon.com/dp/B0GWJ4RP2B
• The European site: https://www.amazon.de/dp/B0GWJ4RP2B

MSRP: 999USD / 999EUR / 869GBP

 

About Viltrox

Viltrox, established in 2009, is a globally-recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. The company’s portfolio includes cinema and autofocus lenses – such as the LAB, Pro, EVO, and Air series, launched since 2018 – along with monitors, adapters, and lighting solutions.

Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide. Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-centered design, empowering content creators in both still and motion photography. For more information, please visit: https://viltrox.com

 

As an island nation, many of us live fairly close to the coast and as well as tidal patterns in the sand, surf, sand dunes, grasses and breakwaters, the coast is host to a certain amount of flotsam. Although, rightly, we consider flotsam as undesirable rubbish, it doesn't necessarily mean that it won't make a good photographic subject. In fact, a day on the beach finding flotsam can be a great photographic challenge.

 

Where To Look For Flotsam

 

Finding flotsam is not too difficult, selecting what to take and making anything of it photographically is the most challenging aspect. Apparently the most common piece of flotsam is the humble cotton bud, but they're not the most exciting photographically. I like to look for shapes and textures – from rubber gloves to tin cans, which work best in close up using parts rather than the whole, giving a more abstract appearance.

I once found a broken plastic "beach" tennis racquet, and a few metres away from a smashed tennis ball – they simply had to go together. A partly submerged skateboard made another great subject – because only the end of it was sticking out of the sand it had a really discarded feel.

Old nets from fishing boats snagged on breakwaters can look good too, and washed up wood that has been eroded into smooth sculpted shapes by the sea can look fabulous.

 

The Best Light

 

Ideal lighting is probably hazy sunlight – enough to give some shape to your subject, but not too much to create harsh shadows – as with everything, there are exceptions, and will be many subjects that suit either very overcast or very sunny conditions. I do find a reflector can help with bouncing light back into shadows.
 

Safety First

More than anything though, be careful on the beach, windblown sand is not the best thing to get inside your camera so make sure lens changing is kept to a minimum, and shield your camera from the wind when you do change lenses. I turn my back to the wind, and use my body to protect the whole camera – I also make sure that I change lenses as quickly as possible, to leave the camera exposed for the shortest possible time.

Tripods, no matter how stable, can sink into the soft wet sand, so ensure they don't fall over, and lastly, be aware of the tide tables, check them on the internet, and don't get caught out by tides coming in fast whilst you're concentrating on pictures.

So next time you're at the beach, keep a lookout for other people's rubbish, which can become your art!

 

 

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

 

The 70-200mm f/2.8 lenses have been staple fare for many years, an undeniably useful range of focal lengths. They are also likely to be one of the best lenses from any manufacturer's range, pushing the quality towards the technically possible limits of current optical design. When the first version of this new Nikkor Z lens was reviewed some six years ago, it might have seemed that there was very little improvement that could realistically be made, but then here we are with a second generation version II. Faster and quieter focusing, improved VR, 12mm shorter, 362g lighter, better balanced for hand held use and mounting on gimbals, ARCA-SWISS tripod foot, de-clickable control ring; the tweaks and improvements are extensive. Yes, a slightly higher price, but that is relatively small compared to the expected service life of the lens. It's all very enticing, so let's see how it all works out, using the classy 45MP Nikon Z8 camera body, an ideal camera to challenge the new lens's capabilities.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Handling and Features

Current 70-200mm f/2.8 lenses are not small, but the new lens is significantly more compact than its initial form, weighing in at just 998g without the tripod foot and 1180g if the foot is attached. The foot is easily removed and there is a cover sleeve provided that fits in its place, offering protection to the finish of the lens barrel. Measurements are 90mm x 208mm, not exactly svelte but well balanced, a handling improvement when shooting handheld or using a gimbal.

A bayonet fit petal lens hood is provided and this clicks smoothly and positively into position. There is a locking catch. The hood also has a small window that allows access to the rim of filters, so, for example, a polarising filter can be rotated without having to remove the hood. This useful idea has been around for a while. The sliding cover, however, is rather easily operated and may be found to be open when not needed. As this slightly reduces the effectiveness of the hood it would perhaps be a good idea to make the cover firmer in action. Within the bayonet mount for the hood is a standard 77mm filter thread.

 

 

First up is the smooth zoom ring, clearly marked at 70mm, 85mm, 105mm, 135mm and 200mm. The action of zooming does not change the length of the lens, but there are groups of elements being shifted so this is a physical control rather than an electronic one. There seems little impact on the balance of the lens.

The four L-Fn2 buttons are next in line, and these can be programmed from the camera body. The focusing ring is electronic, as smooth in action as we would expect, and can be operated to fine tune the AF position once the AF has locked on. This may well be rarely necessary as the super-fast AF system seems to lock on exactly where required with unfailing speed and accuracy. Some of the sample bird shots were actually shot through metal grills and the AF system had no problem dealing with this, locking on every time through the gaps. With a wide aperture, the bars just disappear in the image. This could not be said of other marques being used at the same time that failed to focus most of the time. Beyond this, there are also the four L-Fn buttons, also programmed via the camera.

 

 

The thin control ring can also be programmed from the camera body and was set to change the aperture for this review process. There is a switch to engage or switch off the clicks, and as they would certainly be heard when shooting video, the de-clicking facility is essential. The A/M switch selects between AF and MF in the usual way and the focus limiter gives an option to restrict the AF to between 5m and infinity. The implication is that Nikon expect the lens to be used for longer range photography, but an option to set a close limit as well would be logical given the close focusing ability of the lens. 

Closest focusing depends upon the focal length selected:

 

70mm 0.38m 1.25' 0.3x 85mm 0.38m 1.25'   105mm 0.5m 1.64'   135mm 0.6m 1.97'   200mm 0.8m 2.63' 0.25x

 

Just behind the control ring is the tripod foot, solid but not overly large and having an ARCA-SWISS design. This is very convenient when using ARCA-SWISS style tripod connections. The ring allows the camera to be rotated from landscape to portrait orientation. When the ring is removed, there is a protective collar provided that covers the connection area around the barrel.

Focusing is driven by Nikon's Silky Smooth VCM motors and is indeed super-fast, as well as being staggeringly accurate and virtually silent. Focus breathing is minimised with videographers in mind. VR (Vibration Reduction) offers a 6 stop advantage, although this does nothing at all for subject movement, so for wildlife, a high shutter speed may well still be needed. Synchro VR is available with selected bodies and this optimises the VR between the centre of the images and the peripheral areas. Compatible bodies are currently Z9, Z8, Z6 III, Z5 II, Zf and ZR.

 

 

Optical construction is 18 elements in 16 groups, including 1 ED, 1 Super ED, 2 Aspherical, 1 Aspherical ED, 1 Fluorite and 1 SR. The use of fluorite, an expensive option, indicates a serious intent to aim for the highest quality. ARNEO and Super Integrated coatings are used, along with meso amorphous coatings. There is also the fluorite coating for the front element to repel dust, grease and moisture. The lens as a whole is sealed against dust and moisture. The diaphragm comprises 11 blades and produces a nicely rounded aperture.

There is also compatibility with both of the Nikon Z teleconverters. TC-1.4x offers a maximum reach of 280mm. TC-2.0x offers a maximum reach of 400mm. These offer a convenient way to carry a longer lens with a minimum of bulk, although there is a loss of speed, the 1.4x converter losing one stop and the 2.0x converter losing two stops. The converters were not included and are not part of this review.

Handling is very comfortable and the only real drawback is the weight of the lens. It may be lighter than the first version but it still has a fair bit of bulk about it. However, just feel the quality of the results, and it's perhaps a small price to pay for such excellence.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Performance

At 70mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent from f/2.8 right through to f/16 and are still very good at f/22.

At 105mm, central sharpness is outstanding from f/2.8 to f/5.6 and excellent from f/2.8 to f/22. The edges are excellent from f/2.8 to f/16 and very good at f/22.

At 160mm, central sharpness is excellent from f/2.8 to f/16 and very good at f/22. Likewise, the edges are excellent from f/2.8 to f/16 and very good at f/22.

It's pretty obvious that sharpness is just about as good as it gets and Nikon continues at the top of its game.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II MTF Charts Previous Next

How to read our MTF charts

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

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

 

CA (Chromatic Aberration) is highly corrected for and there is no sign of any colour fringing, even when the lighting and subject conditions are severe.

Distortion is virtually banished and the lens is as close to being rectilinear as makes no difference. Many macro lenses are not this good. Figures are almost zero, being actually zero at 70mm, +0.06% pincushion at 105mm and +0.02% pincushion at 160mm.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Chromatic Aberration Charts Previous Next

How to read our CA charts

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

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

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

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, and this new lens gives us some very beautiful bokeh indeed. It is relatively unusual to see smooth bokeh along with such high resolution, but Nikon manage it with apparent ease.

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

Vignetting is very well controlled.

 

Aperture 70mm 105mm 160mm f/2.8 -0.8 -1.4 -1.2 f/4 -0.6 -1.3 -0.6 f/5.6 -0.5 -1.1 -0.5 f/8 -0.5 -1.1 -0.4 f/11 -0.5 -1.1 -0.4 f/16 -0.5 -1.1 -0.4 f/22 -0.5 -1.1 -0.4

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Sample Photos Previous Next

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Aperture range Previous Next

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

 

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  Value For Money

The [AMUK]Nikkor Z 70-200mm f/2.8 VR S II|Nikkor+Z+70-200mm+f/2.8+VR+S+II[/AMUK] lens is priced at £2999.00

There is a wide array of options for this specification, and to see where the pricing falls, here is a selection of them from all marques. These will not necessarily fit Nikon Z cameras, but still offer a benchmark for pricing.

• [AMUK]Nikkor Z 70-200mm f/2.8 VR S|Nikkor+Z+70-200mm+f/2.8+VR+S[/AMUK], £2599
• [AMUK]Canon RF 70-200mm f/2.8 IS USM|Canon+RF+70-200mm+f/2.8+IS+USM[/AMUK], £2999
• [AMUK]Panasonic Lumix S Pro 70-200mm f/2.8 OIS|Panasonic+Lumix+S+Pro+70-200mm+f/2.8+OIS[/AMUK], £1991
• [AMUK]Sigma 70-200mm f/2.8 DG OS HSM|Sigma+70-200mm+f/2.8+DG+OS+HSM[/AMUK], £1199
• [AMUK]Sony FE 70-200mm f/2.8 GM OSS II|Sony+FE+70-200mm+f/2.8+GM+OSS+II[/AMUK], £2600

Although at the high end of the range, the pricing seems about right.

 

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Verdict

Smaller, lighter, sharper, faster, better balanced, what's not to like about this new version of an already superb optic? It all has to be weighed up against the increased cost, but that is probably worth it for the improvements and the better handling for videographers as well as stills photographers. We do lose the small OLED display of the original lens but that is a very small price.

In the end, the enjoyment of the quality kicks in and the perception is of absolutely impeccable results, at a price of course, but that is inevitable. It is true that Nikon produces many lower-cost lenses that are also incredibly good, but these have slower apertures and do not offer the versatility of the new lens. 

It's a clear and definite Editor's Choice.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Pros

• Outstanding sharpness
• Virtually no distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• Almost zero CA
• Moisture and dust sealing
• 0.3x magnification at 70mm
• 6 stops VR
• Synchro VR with compatible bodies
• Modest vignetting
• Beautiful bokeh

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Cons

• Price

 

[REVIEW_FOOTER]R_features=5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – Pricey but Superb quality, a truly top of the line telephoto zoom lens.|E_id=8027[/REVIEW_FOOTER]

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Somewhere around 2010, camera design stopped mattering to the photography industry. The DSLR era had produced bodies defined by ergonomics rather than aesthetics, and the first mirrorless wave carried forward the same logic. Cameras were tools, tools looked like tools, and any photographer who cared about how a camera looked was suspected of being a poseur. The mainstream press reinforced the assumption.

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Want to reclaim your desk space and maybe even reduce the pain in your neck by optimizing your viewing angle? Consider a monitor arm. Here, we take a look at the HUANUO FlowLift™ Single Monitor Mount (formerly SS6, but still model HNSS6). I also discuss the HUANUO Universal VESA Mount Adapter Kit (Model HNMUA4), which was needed for my particular monitor. How well did they work? How easy were they to install? 

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Choosing a camera system means committing to an ecosystem, and for most systems, that means locking yourself into one manufacturer's lenses. Micro Four Thirds breaks that rule in a way that has real, practical consequences for what you can carry and shoot. 

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The Lumix S1 II sits at $3,200 list price, currently discounted to around $2,900, and it's trying to compete with video-focused cameras from Canon, Sony, and Nikon on both features and value. Whether it actually pulls that off depends heavily on a few specific trade-offs that aren't obvious from the spec sheet. 

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Picking a compact, affordable 35mm lens for Sony full frame is harder than it looks. The Samyang AF 35mm f/1.8 FE sits at around $400 and promises a lightweight option for Sony E-mount shooters, but whether the image quality backs up that price is a different question. 

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Minimalist photography is harder than it looks. When the summit of Pikes Peak closes due to a storm and your backup plan becomes a flat, windswept stretch of Colorado grassland, the only things separating a great shot from a boring one are patience, the right glass, and knowing how to work with almost nothing. 

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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

 

 

Not everyone's a fan of DIY but building your own camera and creating your own filters can be fun, plus it's usually cheaper and who doesn't like to save a pound or two? So, here are 10 DIY photography tricks & hacks for you to try on a rainy day.
 

1. Build Your Own Camera

This one does involve spending slightly more than just a few quid but at the end of it, you do get a camera that's fully functional. The Bigshot DIY Camera and Lomography Konstruktor are a couple of examples of the kind of kits you can purchase. 

  2. Create Your Own Filters

Filters, particularly DIY ones, can be used with all types of cameras (including phones) and they can help you create interesting effects without having to break the bank or learn a new photo editing technique. Something as simple as a sweet wrapper (think Quality Streets) wrapped around your lens and secured in place with an elastic band can add colour to your shots while a pair of tights cut to size and pulled over your lens will give you a soft focus effect. 

  3. Create Your Own Bokeh Effects

Who doesn't like a bit of Bokeh? But you don't just have to settle for circular out of focus highlights as you can use a few tools and your creativity to change the appearance of the shapes that appear. You need to get a black piece of card, decide on a shape, cut it out of the card then fasten the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot.

  4. Reverse Your Lens For Ultra Close-Ups

Macro lenses are great for getting close to subjects, but as with all lenses, they're an investment and aren't something all of us can go out and purchase. However, with the help of a reversing ring, you can shoot close-up work in an inexpensive way. You simply attach the reversing ring to the filter thread of your lens which then allows you to attach your lens to your camera in reverse. They can be tricky to use but they do offer one of the cheapest ways of capturing macro shots. For more tips on working with reversing rings, have a read of this article: Reversing Your Lens For Ultra Close-Ups

5. Use A Magnifying Glass & Shoot Macros

Another way to shoot macros without a macro lens is by taping a magnifying glass to the front of your camera. You can use most magnifying glasses as close up lenses as long as the magnifier is big enough to cover the front of your lens. For more tips, have a read of this: Macro Photography With A Magnifying Glass

 

6. Make Your Own Reflector

Nothing beats the tin foil sheet that you'd normally wrap the turkey up into throw masses of light back into your subject. You just need to cut out a piece of card, apply glue or tape to it, carefully roll the tin foil over the glued cardboard, smooth out the tin foil with a sponge or cloth and leave to dry. You may need to trim the edges and you can apply tape around it too if you want it to look a little neater. 

 

7. Create A Beanbag

A tripod is usually the support photographers turn to but when you want to travel light or venture to places where tripods and similar supports aren't allowed to be used, you have to look for an alternative. One of these alternative options is a beanbag and even though you can purchase ready-made models, they're not hard to make yourself and the materials aren't expensive either. Basically, you just need some fabric, beans/polystyrene balls and a sewing machine or needle and thread. There are plenty of tutorials online with step-by-step instructions on how to construct a beanbag, including these found on Instructables: Camera Bean Bag Instructions

 

8. Make A Home-Made Flash Diffuser

A flash diffuser is a useful tool but why buy one when you can create your own at home? Click the following link to view a tutorial that will take you through the steps for making your own interchangeable flash diffuser, with changing filter options, for whatever light source you come across when taking photos: Build A Flash Diffuser

 

 

9. Building A DIY Modular Flash System 

Flash accessories can be made for next to nothing, all that is needed is a little creativity and a little spare time, as site member Paul Morgan explained in this tutorial: Building A DIY Modular Flash System

 

10. Get Creative With Light With An Old Lens

There's a technique you may not have come across called Lens Wacking and the idea is you allow more stray light to reach the sensor and to do this you shoot with the lens detached from and held in front of the camera body. It can be tricky to master but can create some really interesting, dream-like lighting effects and bokeh with just the help of an old, cheap manual lens you have at home. For more tips on how to perfect this technique that gives your images a cinematic feel, have a read of the Lens Wacking tutorial on Pentax User. 

 

If you have any DIY photography tips or hacks others should have a go at, feel free to post them in the comments below.
 

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