DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Photo by Joshua Waller

 

Aperture is very important when it comes to portraiture as it controls how much of the background and foreground is in focus, which has an effect on how much of the focus is on the subject of your portrait. 

 

1. Depth-Of-Field

There is an amount of front and back sharpness in front of and behind the main focus point of your image and this is referred to as the depth-of-field.

The amount of depth-of-field within an image depends on several factors:

• The distance between the camera and the subject - The closer the subject the more shallow the depth-of-field. With distant scenes, therefore, there is plenty of depth-of-field.
• Choice of lens aperture - The wider the lens aperture (ie /2.8, f/4) the shallower the depth-of-field, and the smaller the aperture (f/16, f/22) the greater the depth-of-field.
• Focal length - Contrary to popular belief a wide-angle lens does not give greater depth-of-field than a telephoto lens if the subject magnification is the same. You can test this for yourself. Take a frame-filling headshot with a wide-angle lens (you will have to get close to the subject, so warn them!) and then do the same frame-filling shot with a telephoto – this means backing away from the subject. Use the same aperture for both and you will see that the depth-of-field is the same.

Some cameras come equipped with a depth-of-field preview button, letting you see how much depth-of-field you have before taking the shot, but you can just experiment with depth-of-field and preview the shots on-screen to see what works best if your camera doesn't have this particular function. 

 

Photo by Joshua Waller

2. Photographing People

In terms of portraits, especially outdoors, wider lens apertures are often best because they throw the background nicely out of focus. How effective this is depends on the scene and focal length as well as aperture choice. If your subject is standing quite close to a distracting background even shooting at f/2.8 or f/4 will not throw the background out of focus but bringing the subject forward a couple of metres should work nicely.

If you do use a wide aperture for your portraits, do make doubly sure that the subject's eyes are in focus. With the shallow depth-of-field created by wide apertures, even a small error can mean unsharp eyes and you do not want that in your portraits.

 

Photo by Joshua Waller

3. Bokeh Backgrounds

How the background is thrown out of focus depends on the lens. Bokeh is the term used to describe the pictorial quality of the out of focus blur. Lens design and aperture shape play a large part in how effective its bokeh is, so do try it with your own optics. A good test is shooting a close-up portrait outside against a background with some bright pinpoints of light, ie sun glinting off water, car lights, streetlamps etc.

Of course, you might prefer greater sharpness in your backgrounds and that is when small apertures are used. The important thing is to keep your eye on the background and if it looks messy or cluttered use wide apertures rather than small ones.

 

Photo by Joshua Waller

 

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If you're searching for inspiration for a set of photographs, choose a colour and go out and take a series of pictures of that colour, it can be similar objects or totally different subjects, but the linking colour theme means that they can hang together as a panel. 

 

Themes To Choose

Try writing down a colour and then listing as many things as possible that are of that colour. As a suggestion, try some of the following:

• Red: Poppies, phone boxes, post boxes, tomatoes, peppers.
• Yellow: Melons, bananas, daffodils, buttercups.
• Green: Fruit & vegetables, grass, trees.

Other items (cars, doors, cladding on buildings, bottles etc.) come in a huge variety of colours and can be included in any group. There's literally nothing that can't be included.

 

Composition Is Key

When you take a single colour as a subject, you need to ensure that the composition, in terms of shapes, textures and lines to counteract the lack of colour range, so look carefully and spend time composing your images. Also, try going abstract, perhaps using camera movement to take away "reality" and emphasise the "colour".

 

Work On Several Themes

If it's something that appeals to you, try having a number of "themes" on the go at once – it's not something that you have to go out and shoot in a day, but can be built up over weeks or months. The results can be a very powerful set (or sets) of images.

I, for example, spent some time at the coast and walking along the seafront, loved the countless different coloured beach huts; but to photograph a mass of different huts and colours wouldn't have given as coherent a set of images. Having wandered up and down the promenade, I decided that blue would be a good choice, as there was plenty of variety, with all blue elements and strong blues set against more neutral tones (white).

While working on the blue huts, I still made a point of photographing other colours, which can go in collections of other colours at another time.

 

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  What’s New

 

With the 2025 update to Luminar Neo, you’ll find a range of very useful improvements that make your editing process faster, smoother, and more intuitive. One of the most helpful features we’ve seen is the simplified layer merging—you can now select multiple layers and combine them into one with a single click. It’s a great way to keep a busy workspace organised and edits streamlined. The upgraded Vignette tool also gives you more creative control, letting you choose whether to apply the effect before or after cropping. And if you rate your images in-camera, you’ll certainly appreciate that Luminar Neo now reads those star ratings automatically, making it easier to sort and find your premier shots.

This top-notch update also expands compatibility with new cameras, including the Fujifilm X-M5, Nikon Z50 II, several Panasonic models (like the DC-G100D and DC-GX880), and the Sony A1 II. Alongside that, refreshed lens profiles improve the accuracy of automatic corrections, enabling you to get the most out of your gear. You’ll also notice smoother scrolling in the filmstrip library, making it a breeze to browse large batches of images quickly and without any lag.

Preset management has been improved, giving you fabulous control over how you organise your editing tools. Now, sort your Preset collections more easily and see counters showing how many Presets and Collections you have. The new “Recently Added” category helps you locate the latest downloads instantly, and Presets from X-Membership are clearly labelled. You can even rearrange or remove Preset collections in your Favourites or My Presets, customising your workspace to fit your style. These refinements add up to a more fluid and efficient editing experience overall.

 

 

App Functionality

The Luminar Neo mobile app brings many of the desktop version’s powerful AI tools right to your fingertips. You can make smart, precise edits on your phone or tablet using features like Enhance AI, Relight AI, Sky AI, and Skin AI. Whether you're adjusting brightness, replacing skies, or refining details, the app makes it easy to get marvelous results quickly. It supports RAW file editing and includes must-have tools such as crop, erase, and curves. If you're using an iPad or Apple Vision Pro, you’ll benefit from Apple Pencil support for precise, hands-on control.

To streamline your workflow, you can use the Luminar Share companion app to transfer photos wirelessly between your mobile device and desktop. Start editing on the go, finish it on your computer, or send final versions back to your phone for quick sharing. It’s a flexible setup that keeps you connected to your creative projects wherever you are, at any time.

 

 

Core Features

Luminar Neo provides a powerful suite of AI-driven tools that simplify editing without compromising quality. With tools like Relight AI, Sky AI, and Enhance AI, you can quickly balance lighting, swap out skies, and enhance details with just a few clicks. The software also offers full support for layers and masking, allowing you to create advanced composites or selectively adjust specific areas of your image. Built-in Presets and creative assets help you experiment with different looks and speed up your workflow.

Luminar Neo seamlessly integrates into your typical editing approach. A cross-device subscription lets you work across desktop and mobile platforms, so you can stay productive whenever inspiration strikes. If you already use Photoshop or Lightroom, Luminar Neo also functions as a plugin, making it easy to integrate into your existing workflow. Whether you’re editing portraits, landscapes, or anything in between, Luminar Neo is built to support your creative process every step of the way.

 

Pricing & Plans

 

• Luminar Neo Lifetime (desktop only) $119
  • Including Luminar Neo + free 100 creative add-ons + free Neo video course worth $79

 

• Cross-device Lifetime (desktop and mobile) $159
  • Including Luminar Neo desktop + Luminar mobile + free 100 creative add-ons + free Neo video course worth $79

 

• Cross-device Lifetime (desktop and mobile) + X membership (presets, luts and courses for 1 year) $169
  • Including Luminar Neo desktop + Luminar mobile + free 100 creative add-ons + free Neo video course worth $79 + X membership

 

Additional 20% discount at checkout with coupon code ePHOTOzine20.

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Bokeh is the term used to describe how good the out of focus blur, which is usually in the background, looks. Good bokeh will show attractive out of focus highlights and how the lens you're using is designed and the shape of its aperture play an important role in creating bokeh that works. Different apertures and how far you are from your subject also affect how good the bokeh will look in your shot.

 

1. Lens Choices

The shape of your lens aperture will change depending on how many blades are used and what shape they are. These blades are what open and close to let more/less light through onto the sensor. The more blades there are, the rounder the opening will be which can mean the shape of the out-of-focus highlights in the background of your shot (the bokeh) will be more circular. Generally, the more expensive lenses have more blades and as a result, they generally create bokeh that's more pleasing. Longer lenses tend to produce better results too, however, some lenses will produce better bokeh in some situations than others so try putting your lens to the test, shooting close up portraits against a background that has highlights that can be thrown out of focus.
 

2 Depth Of Field

You may think that using the maximum aperture will give you the best results but sometimes it's worth using a slightly smaller aperture so you can still make out some of the shapes in the background of the shot. Make sure you focus on your subject at the front of the frame too so everything behind can fall nicely out of focus. Putting a little distance between your subject and the background will also help enhance the effect. If you don't have a subject in the foreground and are going for a more abstract shot you'll need to focus manually.

 

 

3. Play With Shapes

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape cut it out of the card then fast 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. Get Out At Night

During the evening, the glow coming from various colourful lights in towns and cities make perfect backgrounds for this technique. Just remember to use a longer lens with a wide aperture, focus on your subject and everything in the background of your shot should glow. Keep an eye on your shutter speeds when working in low light as if you drop too low it can cause the lights in the background to blur rather than glow so you may need to increase your ISO.

 

 

5. Other Suggestions

Try shooting close-up portraits against a background of foliage where the speckles of light can be turned into out of focus highlights. Sun glinting off water and glass can also be turned into blurry circles of light too. You can also use fairy lights indoors to create out of focus coloured circles.
 

6. So Remember:

• Use a longer focal length
• Switch to a wider aperture
• Focus on your subject
• Put a little distance between your subject and the background
• Backgrounds with individual, glowing points of light work well

 

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Photo by Joshua Waller

1. Start With The Basics

Once you get your camera out of its bag it's easy to keep clicking the shutter button and forget you need to check backgrounds, subject position etc. Always look for shooting locations where the background isn't full of distracting objects that clutter the scene and where possible, put some distance between your subject and the background. This will not only add depth but it'll also make it easier to throw the background out of focus. If you're using a compact this can be done via Portrait mode. For those with more advanced cameras, this means choosing a wider aperture. It's also important to focus on your subject's eyes and even if you're shooting a friend or family member, don't forget to keep giving direction.
 

2. Natural Light Is Free

Where possible it's best to avoid using your camera's built-in flash for portraits as most of the time, the results won't be very professional-looking. Instead, make the most of window light which will help you create portraits to be proud of. North facing windows are perfect but you can use any that aren't in the direct path of the sun. Overcast days are great for this as light is naturally diffused but you can get a similar effect by hanging voile or something similar. 

If your house lights are on, switch them off and do clean the window before you begin!

A reflector will come in handy for adding light to the side of your model's face not next to the window, balancing the exposure in the process. You can buy reflectors but they can just as easily be created from a piece of white card, foil etc.

Try spot metering off your model's face then have fun experimenting with composition. Tight crops on the face work well but do try using the window to help frame a couple of your shots. 
 

3. Want More Impact?

Full-length portraits work well but for something that has more 'Pow' behind it, move in close. If your subject and yourself are comfortable doing so this could mean physically moving closer together or reach for a longer zoom lens if your model feels more comfortable with a wider working distance. Something around the 85-135mm mark is a popular choice for headshots but do be careful with your shutter speeds when using longer lenses if working hand-held.

Photo by Joshua Waller
 

4. Don't Want To Give So Much Direction?

The simple answer is to try a candid approach and shoot often so you don't miss any moments.

Try using a wider lens when working outdoors or at busy events such as a wedding as people won't think you're taking their photo if the lens isn't directly pointed at them so will stay relaxed. Longer lenses will allow you to stay out of sight but still give you the chance to focus on one or two individuals. For compact users, why not switch to P mode so you can focus on getting the shot rather than on what settings you need.

If you're working with children you could give them a task to do such as build a tower with bricks or kick a ball around outside to give you the opportunity to shoot some fun, in-the-moment photos which they won't even notice you're doing as they'll be too distracted with the task in-hand.
 

5. Get Creative

Whether it's adding fun props, creating interesting backgrounds with bokeh or using art filter and frames, there's plenty of ways to get creative with your portraits. Many cameras feature Art Filters which will give your portraits a twist. This could be adding a vignette, changing the images to black and white or simply adding a sepia tone and grain to give it a vintage feel. 

To have fun with bokeh you can head out at night or use some colourful stringed lights (the type you dig out of the loft at Christmas) and drape them over a dark background. You then need to put a few meters between the background and your subject to increase the bokeh effect.

 

You need to use your lens at its widest aperture and focus on your subject. A small portable light is handy for illuminating the front of your subject but do be careful with the positioning of the light as you don't want any light to shine on the background. Watch your white balance then experiment with framing to change the pattern created by the lights in the background. 
 

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Landscapes taken in colour are great but if you convert or shoot your landscapes in mono, textures shapes, patterns etc. appear more prominently and have a stronger impact on the viewer. Mono's not something that works for every shot, as we'll explain alongside a few other tips that'll help make your mono work shine.

1. Depth Of Field

As with all landscape subjects, before taking your shot, know if you want a shallow or wide depth of field. Wider is good when you have several points of interest throughout the image as you need everything in the frame to be sharp.

2. In-Camera Or Conversion?

It is up to you whether you shoot black & white in-camera or make your mono conversions on the computer when you're back home. Just remember if you shoot monochrome Jpegs you won't be able to get the colour back later if you don't like the black & white shot so it's worth considering shooting in raw which takes us nicely onto point 3.

3. Consider Using Raw

Switching to raw from Jpeg will increase the range of tones recorded, plus you can rescue more detail from an under- or overexposed shot when you open a raw file up on your computer.

4. Composition & Shapes

Clean, simple composition is the way to go when you're working in monochrome as the conversion of tones from colour to black & white don't always stand out as well and it can be hard to distinguish between different parts of the shot. If you don't use strong structures and familiar shapes such as trees, rocks and architecture, your shot can lose impact and as a result, not be as interesting.
 

5. Patterns & Lines

Look for repetitive patterns and strong lines that can help draw people into the image while strong foreground interest and lead-in lines will further help guide the eye from the front to the back of your shot.

6. Colour & Tones

Do remember that some tones which can easily be picked out when you're working in colour, such as light blues and yellows, will look almost the same when you convert them to monochrome.

7. Cloud Detail

Skies dotted with white clouds are perfect for black & white landscapes as the contrast between the white clouds and what turns into a dark grey or even black sky creates plenty of mood.

8.Time Of Day

Although black & white shots are slightly more forgiving than coloured shots when it comes to shooting closer to midday, the best time of day to shoot is either is just after dawn or before dusk, to get low angled glancing light. An hour or two before sunset when the sun is slightly lower in the sky will give more definition to the shapes that sit in your foreground.

 

9. Get The Exposure Right

Keep an eye on your meter readings as it's easy to over- / underexpose the shot, losing the mood and detail you're looking for as a result. Your histogram can be a useful tool if you find it tricky to see if a shot is under or overexposed. It's worth turning on your camera's highlight warning option, too so you can see if any areas of your shot are 'blinking' and as a result, you'll know you need to adjust your exposure.

10. Editing Images

Thanks to the digital age, tweaking images so they're a little darker or lighter in places is something we can all do. To add more contrast to your monochrome images make a simple S-Curve adjustment or try to adjust colours individually so you can, for example, darken the blue of the sky but make the grass slightly lighter. Another way to adjust the shadows/highlights in your shot is with the Dodge and Burn tools. The Dodge tool will lighten parts of the image while the Burn tool will darken the shot. You use them just as you do the Paintbrush tool, changing the brushes' strength, opacity and size as needed. Work slowly with these brushes as if you're too heavy-handed the results can be a little too strong.

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Interesting skies can pop up at any time of the day, at any point during the year so really it's just about keeping an eye out on the weather forecast and sticking your head out of the window to see what's happening. If you're out and find one spot you particularly like it might be worth setting up for the day to just see what happens. You never know you could end up with a series of shots that feature a brilliant sunrise and interesting cloud formations all from the same place.

 

1. What Gear Do I Need?

A wide-angle lens will help you make the most of big, interesting skies. Just keep an eye on what's creeping in at the edges of the shots as the wide view can mean less interesting parts of the sky end up in the frame. Pack tripod in the car and pocket an ND Grad to help you capture a more balanced exposure and a solid ND filter for when you're just shooting the sky.

2. Look At The Sky Before You Take Your Shot

If the sky's boring and flat don't let it dominate the scene. Instead, move the horizon up slightly so you have more foreground interest. For times when the sky really does sing do the opposite and move the horizon down, cutting more of the foreground out so all attention falls on the clouds, sunset colours or whatever other feature makes the sky stand out.

 

3. Get The Exposure Right

Getting the exposure right can be a little tricky due to the differences in contrast between the sky and ground. It could even be the ground that's a lot lighter than the ground, rather than the usual bright sky syndrome many people usually have to face. This will happen when there's a storm brewing or just after the rain's stopped falling.

When it comes to metering, most of the time you just need to focus on the highlighted areas of the image (which is usually the sky) and the darker areas will sort themselves out. However, if you find the foreground ends up too dark use exposure compensation to increase the exposure by one stop.

 

 

4. Tips On Using Filters

If you find the sky's still a little too bright fit a Graduated Neutral Density filter to even out the exposure. If it's the ground that's too light try rotating the filter so the dark part of the graduation sits over the ground.

 

5. Use Clouds In Your Shots

If you have a sky full of interesting cloud formations the key is to make 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 bright-ish day you'll need to fit an ND filter so you can use the slower shutter speeds without too much light reaching the sensor.

 

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Historical ruins such as churches, castles and abbeys decorate our countryside and seaside towns but you'll also find a few smaller, but still impressive ruins closer to home. Walls, arches and columns are still dotted around a few towns and villages which are still photogenic even if there's not much of the structure left to photograph. If you're off on your travels, have a look online and at local tourism centres to find out what ruins are near to where you're staying.

 

1. What Gear Do I Need? 

For general shots of the building and the surroundings you'll need a wide-angle lens but take your longer zoom along too for getting in close to interesting architectural detail. A tripod's handy but if you want to travel light, try taking something smaller such as a tabletop tripod and use a wall to help you steady your shot. If there are any windows left in your building of choice a polarizer will reduce reflections and the blue of the sky will be enhanced giving your image more contrast.

 

2. Do Your Homework

Many of our abbeys and other ruins are now looked after by the National Trust or English Heritage so you could be charged to walk around them, they'll have specific opening times and there may be restrictions if you want to use your images commercially so it's worth a quick look on the internet or a chat on the phone to find out everything you need to know. That way you won't waste your petrol money.

 

 

3. Take A Walk

The first thing you should do when you arrive is stretch your legs on a walk around the ruin. This will give you the chance to scout for interesting detail and look for the best angle. Don't just stand and photograph the first pile of rubble you see as this won't give your viewer any clue into what the building is or what it was used for. Look for areas that have a more definite shape and if you can, parts where nature hasn't completely taken over. Of course, some walls look great with roots growing through them and it can really emphasise how ruined the building is, so keep that in mind.

 

4. Look Closer

Look for unique parts that make the building stand out from any other and if the outside isn't very interesting you could always take a peek inside to see if the hidden details give more of an idea of what the function of the building was. If the building still has an inside watch your exposures and check your histogram before you move on to make sure it's OK. Try shooting inside out through a broken window or use a long corridor to lead the viewer's eye through the image.

Signs are a direct way to explain more about the building you're photographing and they can often be quite interesting in their own right with features such as peeling paint and rusty bolts worthy of a quick photograph.

 

5. Tall And Wide

If you're working with a particularly tall building converging verticals may be a problem but by shooting from a height this can easily be rectified. Steps, hills or shooting from another building are all ways you can correct the distortion or you could try stepping further back which gives you the opportunity to use the surroundings to give the building context.

If the grounds really do add to your image try shooting a panorama. Some cameras come with this function built-in but if yours doesn't just shoot several images moving from right to left or left to right and stitch them together with specifically designed software when you get back to your computer.
 

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1. Heading To The Beach?

A popular destination when on your travels abroad or even just for the weekend when the sun's showing its face in the UK is the beach which is full of photographic potential. Even though you may enjoy yourself by the sea it's not a place that's great for your camera and other photography gear. Grains of sand can get into parts of your camera it shouldn't be in and it can scratch your lens if you're not careful. A UV filter will help stop sand scratching your lens and is a less expensive option than replacing your glass. When you're not using your kit, make sure you store it in your camera bag and if you want to change lenses, try and do it off the beach and out of the wind.

If you're planning on taking a tripod and use it in the sea, make sure you wipe it down when you get home and leave it to dry. A lens cloth can also be handy for wiping sea spray off your gear.

2. Check Temperatures

If you're venturing somewhere that's going to be particularly hot then make sure your camera equipment (memory cards, batteries etc.) will operate to the best of their ability still. You can usually find information on operational limits of specific products on manufacturers' websites and in manuals.

 

3. Going Inside And Out

An air-conditioned room or vehicle may be good for you to cool down in but if you have your camera out and take it from a cool to warm environment you'll end up with a fogged-up lens as condensation will have formed. Either ensure your gear's in your bag or just wait five or ten minutes for the lens to clear. You can wipe the lens with a lens cloth, but this could cause smears and marks that'll spoil your shot so look at your lens carefully before hitting the shutter button. If moisture gets inside your lens, ensure the outside of it is dry then leave the lens to dry out before using it.

 

4. Think About You

As well as looking after your gear, don't forget to look after yourself. It may seem obvious now, but it's easy to get away with taking photos and the small things such as reapplying sunscreen and having a drink of water can be forgotten.

 

 

5. Viewing Screens

Previewing your shot on your camera's LCD screen can be difficult when outdoors in sunny conditions. You can adjust the brightness of most screens, but this doesn't always solve the problem. You can use LCD hoods (flip-up caps) that shade screens from glare and as an additional benefit, they also protect the screen too.

 

6. Avoid Hot Parts Of The Day

Again, seems obvious and it's not always easy to do as you could be on an organised excursion, for example. However, getting up early or staying out later does have it's advantages as the light's usually better and you'll be able to avoid crowds at busy tourist sites. Don't forget your lens hood if you're heading out during the day as they can help reduce the amount of light reaching your lens.

 

7. Find Some Shade

Ideally, you should not take photographs when the sun is too high in the sky, particularly for portraits as people can end up with deep shadows under their eyes and nose. If your subject's wearing a floppy hat this will shade the face, and help create the shade you need. If not, find a shaded area that won't cause the light to appear dappled. Instead, find a shaded spot where the light's more even and they won't end up squinting.

If you're photographing a family member or a stranger who's given you permission to shoot, you can try using flash to add extra light that'll even out your scene. A touch of flash will also help create catchlights in your subject's eyes but it's much easier to just position your subject so they're facing the light source and/or use a reflector to bounce the light into your shot.
 

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Orientation names suggest that landscapes should be landscape format and portraits should be portrait format and even though there are times when the subject will dictate the orientation, there are scenes where switching to portrait will benefit the shot. 

Landscapes are very different when they are upright; they have much more depth and tend to emphasise the contrast between foreground and background.

The height of the picture allows you to make more definite use of perspective, especially if the foreground has a linear quality about it such as a field with ploughed furrows. The shape also gives you a more obvious opportunity to choose the position of your horizon. The rules of composition favour placing the horizon at a third from the top or bottom (actually three-eighths from top or bottom – which is fairly accurately the ‘golden ratio’). However, do experiment with more extreme framing to see what happens: placing the horizon right at the top or near the base of the picture.          
Depth of field in landscape is rarely a serious issue, but if you like to play with focus then the emphasis that the format places on the perspective will also give you opportunities to exploit shallow depth of field. Of course, you can do this in a horizontal picture too, but it seems to crop up more often this way round.
Do remember that not all of us get it right every time and being able to change the orientation of a picture by cropping can change the dynamic of the shot entirely so it's always worth having a look at your images once home to see if a quick crop will improve your shot.    

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Meike has released its new Pro Series 35mm F1.8 autofocus lens for full-frame cameras. It supports E, Z and L mounts.

Please see the specifications below:

• Model Name: MK-3518FFSTM-E/Z/L
• Aperture Range: F1.8–F16
• Focal Length: 35mm
• Minimum Focusing Distance: 0.35m
• Filter Thread Size: 58mm
• Diaphragm Blades: 9
• Lens Construction: 12 elements in 10 groups
• Weight: Approx. 400g
• Focus Mode: Autofocus
• Angle of View (Full Frame):
  • Diagonal: 64.8°
  • Horizontal: 55.5°
  • Vertical: 38.2°
• Angle of View (APS-C):
  • Diagonal: 44.6°
  • Horizontal: 37.4°
  • Vertical: 25.2°
• Suggested Retail Price: $379

The lens is lightweight and well-suited for travel, landscapes and street photography. It features dust/moisture resistant seals that help protect against the elements during outdoor shooting.

For additional product details or to place an order, please visit the Meike website.

 

Summer has finally landed here in the UK (we hope we've not spoken too soon) and that means many will be heading for the beach. If your camera will be packed along with the buckets, spades and sunblock, take a look at these 5 tips so your shots of the beach look as good as the real thing.

 

1. Switch From Auto Mode

When shooting with Auto you may find your beach scenes look a little darker than you expected and that's because your camera is seeing the light coloured sand and is confusing it for a scene that's bright. As a result, it's adjusting the exposure accordingly and the sand appears dark when you preview the image.

Do make sure other areas of the shot aren't overexposed when you make your adjustment. Some camera models allow you to check for under- / over-exposed parts of the image on the display (these generally appear as coloured blinking areas). You can also use the built-in histogram to see if any peaks are to the far ends of the graph.

If you can manually control the exposure use exposure compensation and set a + figure as this should give you an image that's more true to life. You can also use the Beach and Snow setting and the camera will automatically make adjustments.

  2. Send A Digital 'Postcards'

Postcards are great but they can take forever to reach their recipient, plus they're not all that personal. Instead, why not make use of technology and send snaps of your trip straight to friends and family instead? Many compacts now have built-in WI-FI capabilities so users can either send photos straight to their smartphones which can then be shared with family and friends or some brands allow you to download apps to your camera so you can link directly to Facebook etc. to share your images with the world at the touch of a button. For those with compacts that don't have WI-FI built-in, you can purchase an EyeFi card which will quickly and reliably transfer your pro images to your computer, smartphone or tablet devices.

 

 

3. Use Beach & Sea Ready Cameras

Many cameras are now designed with coastal locations in mind. Some compacts are water-, shock-, crush- and cold-proof. Having said that, it's still worth giving your equipment a wipe down after a day of photography on the beach to remove any salt residue present. By using a 'tough' camera you'll be able to capture a few holiday/beach shots for the album that have a slightly different angle. Try capturing underwater shots or how about a half-and-half image that shows what's both under and above the waves? 

 

4. Boost Colours Of Sunsets & Sunrises

Depending on your location you may have the chance to capture a sunrise or sunset. These subjects are techniques all of their own but we will say that a quick way to give your shots more impact is by adjusting the white balance setting on your camera. Try the cloudy setting if you want colours to be more vibrant while compact users can put the sunset mode to the test.

 

5. Go For A Different Angle

Busy shots of sand-castle building action and donkey rides are great for the family album but for something a little different, why not have a go at macro photography or shoot some abstracts? If you don't have a small tripod or bean bag, use your camera bag or even a rolled-up towel for support and get down in the sand to capture the best angles. Zoom in close and use the built-in macro mode (usually a flower symbol) so the camera knows you want to use a wide aperture to throw backgrounds out of focus. Back on your feet, walk to the water's edge and instead of shooting out to sea, turn around and shoot what's behind you. People can often forget to do this when they get sucked in by the view that's out to sea and in front of them.

 

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Carnival and festival season is once again upon us and these events give photographers great opportunities to photograph colourful, vibrant and exciting shots.

 

1. What Gear Do I Need:

• A compact with a longer zoom will fit easily in your pocket when moving around the busy streets or pack a DSLR combined with a zoom lens.
• Zoom lens, with a good range – means you can photograph people without getting in their faces and capture a few wide shots of the whole parade. It also means you're not carrying several lenses with you all day which can get tiring.
• Camera Bag – Don't take anything too big as it will just get in the way and make sure you have it with you at all times. You don't want to create a security threat and you don't want anyone to steal your stuff either.
• Memory – Pack spare memory cards and plenty of them. You can end up taking lots and lots of shots at events like these. It doesn't hurt to carry spare batteries, too.
• Support – There won't be room for a tripod so if you really do want some extra support take a monopod with you. Although, at big carnivals such as Notting Hill there may not be the space for one and you can end up getting in the way.

  2. Elbow Room

If you have lots of space to work in without others pushing you or getting in your shot you're very lucky. You can try to arrive very, very early to get a spot at the front of the curb and just be ready for the pushes who try to steal your spot. By arriving early, it also gives you the chance to scout around the parade route to see if you can find the participants setting up. If you do find them, it'll give you a chance to shoot a few portraits before the crowds arrive. Don't be afraid to ask people if you can shoot a few portraits as the majority of them will be happy to stop what they're doing for you and as the parade still hasn't started at that point, their hair and make-up should be perfect, too. If you don't fancy the elbow fight, try and find a spot that gives you a little height over the crowd. This could be steps leading up to a doorway or something in the street you can stand on. Either way, you'll be able to stay in this one location, photographing the parade as it passes without others knocking you or getting in your shot.

  3. Light Problems

Your kit won't like soggy, wet days but bright, sunlight won't do you any favours either as you can end up with shots full of harsh shadows and washed-out colours. Couple with those exposure problems and you can find yourself fighting to get a decent shot. Later in the afternoon the light's lower and more even but the buildings which often run along the sides of the streets the parade makes its way around will start to leave long shadows. If you have exposure problems try bracketing and add a pop of flash to fill in shadows that dance across the faces of those involved in the parade. This works particularly well when they're wearing hats and large headpieces that shade the face.

  4. Don't Miss The Action 

There will be a lot of movement for you to capture and if you want to freeze the dancers in your frame you'll need a quick shutter speed. If you want to be more creative, use slower shutter speeds to blur their movements so the speed they're moving at is exaggerated.

  5. Wide Shots

Wider shots, showing the crowds, street, stalls and parade can be interesting but try not to overrun your shot with too many focal points. If the eye doesn't have something to focus on the shot can be rather confusing and look too busy.

  6. Detail

Costumes often take hours if not days to put together so take the time to focus in on the colours and decorations on them. These close up shots work well when positioned against larger shots of the parade.

  7. Street Candids

Try shooting from the hip to see what shots of the crowd you can capture and don't forget about the food stalls, merchandise booths and even the long, long queues for the toilets which all help you create a great, overall account of the carnival.
 

 

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    1. Use The Sky

A popular shot to capture when you're photographing beach huts is to use a wide-angle lens to get a full line of these colourful structures in the frame. If you plan on doing this, try to get a large expanse of sky in the shot too. Be careful if you're using a particularly wide lens as you can end up with objects creeping into frame that you didn't want to capture and keep an eye on your exposure.

Most of the time you'll find the sky will come out lighter than the foreground and you may need to use a graduated ND filter to balance the light levels in the shot. In some cases, you might even find the foreground to be brighter than the sky, such as when there's a storm brewing behind the huts. The highlight detail is our main focus so make sure you meter from this (usually the sky) and leave the shadow areas to their own devices. If you find your foreground looks a little dull after doing this try using +1EV and reshoot. For shots where the sky's really interesting try lining the roofs up along the bottom of the frame.

 

2. Get In Close

An alternative option is to move in close for a more abstract viewpoint. You won't have to move your feet very far to find ropes, padlocks, panels, signs, ornaments, cobwebs etc. You could even shoot a few photos of peeling paint and rust which can be used as textures in other shots. If you want to be more focused pick a theme, colours work well and shoot it. This isn't something that just has to be restricted to one day either as you can build your collection up over a few weeks then combine them to make an interesting piece of wall art.

Make sure you move in close and concentrate on balancing the shot so the composition works. You can shoot close up shots on any days, but overcast ones are easier to work in, giving you a more balanced look to the tonal range.

 

3. Include People

If the owners of the beach huts are home, ask if you can shoot a few portraits of them. For more candid shots try working further away with a wider lens so you can look like you're photographing something else but still capture the person you want in the frame. If the huts are open you could also ask if you could shoot a few shots inside them as you'll find some that are well decorated and full of trinkets or other items worth a quick shot for the album.

 

4. Out Of Season

When summer ends head back to the coast when everything is boarded up as the tired exteriors and the peeling paintwork on the lonely beach huts will still make interesting photographic subjects even if there's not much going on in the rest of the seaside town.

Winter light is low and will give colourful beach huts more punch. If you're lucky to visit on a sunny day, a blue sky will lift a shot taken at the coast during winter while a sky full of rain will help emphasis the sense of loneliness and abandonment.

 

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Photography has a fantastic ability to isolate things: details, shapes, colours or patterns. You can remove a subject from its distracting surroundings in just the same way that you can place it there; by thoughtful framing. During your travels see if you can find patterns in the places you visit that will remind you of the trip later.

 

1. Gear Choices

There is no special equipment needed to photograph pattern, though standard and slightly longer lenses can make the framing easier, but you do need to look carefully at what you are shooting. Very long lenses are also useful since they will flatten the perspective of distant shapes which often uncovers the patterns they make. Try and fill the frame aligning the pattern carefully. A tripod makes this easier but is not essential. You can crop out distractions later, but it is better to get it right ‘in camera’.

 

2. Patterns Are Everywhere

 

Patterns can be quite addictive: once you start seeing them it is hard to stop. Look for quantities of a single item and see how they fit together, regularly or random. In nature, this could be stones on a beach or marks in the sand, clouds or a flock of birds, even the leaves on a tree. In towns, look along streets at how the buildings fit together, sometimes just the steps leading to the door of a building make a good pattern.

Markets and Souvenir Shops are great places to find patterns: stockpiled high or artfully displayed is a gift to a photographer. Whether it is tourist tat or delicious-looking local produce it is likely to work as both a reminder of your holiday and an interesting composition. Look out especially for shops selling lots of versions of a similar thing; they often fit together really nicely. Don’t be afraid to get right in close.

Buildings and architecture by their very nature are full of patterns, but look beyond the obvious: bricks and tiles work, but so do whole buildings if viewed from the right angle. If you can get above the roof level of a town the rooftops will often make beautiful patterns. The great thing about patterns is that they do not have a particular scale; they can be vast or macro, but to make a good picture out of a pattern, the pattern needs to be the star.

 

3. How To Capture Patterns Successfully

 

There are no rules other than that you should crop tight to fill the frame. You may like to avoid irregularities (though I rather like them since they seem to emphasize the pattern). You can shoot square on or oblique and, if you are shooting oblique, you can shoot wide open to isolate a detail in the shot or stop down to keep it all sharp, so set the camera to aperture priority to make life easier. Whatever you choose make it a definite choice, very narrow depth of field or very deep, otherwise, it won’t look intentional.

You will generally only need to add a little extra contrast to emphasize the pattern, this can be achieved with a simple curves adjustment. But the graphic nature of patterns means that they are often ideally suited to image manipulation if you want to.

Even the most mundane subject can give you a good picture; you just need enough of it to make a strong pattern.

 

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Always an interesting subject for photographers, standing stones and stone circles have fascinated people for centuries; but what is the best way to photograph them?

 

1. Lens Choice

Use a wider angle lens 16-20mm (about 24-30mm in 35mm terms)
 

2. Focus On Parts Of The Circle

Try isolating two or three of the stones and shoot from a low angle.

3. Get Up High

Find a vantage point at a distance where you can shoot the entire ring from a higher point to show its shape.
 

4. Check The Weather 

Shoot on a bright day for contrast and texture in the stones, but watch for shadows.
 

5. Get Down Low

Shoot from a low viewpoint to make the stones appear large and dominating.

 

 

6. Go Mono

Try switching to black & white or shoot in infrared for a more moody result.
 

7. Use Filters

Use a polariser to darken the blue sky to give the shot more impact.
 

8. Try HDR

Bracket the exposure and merge using HDR technique rather than using a graduated filter as the filter will darken the top half of the stone.
 

9. No People

Avoid shots with people if you don't want to date the photograph.
 

10. Create Scale

Include people if you want to show a sense of scale.

 

 

11. Look For Angles

Walk around a few times without taking pictures to get a feeling for the stones and the best angles.
 

12. Early Or Late?

Light is usually better at the start or towards the end of the day, however as fewer people prefer early starts, photographers tend to have to get up early if they want to capture people-free shots.
 

13. Think About The Sky

If you're trying to capture the whole circle, you'll need an interesting (large) sky to add balance to your shot as the foreground will appear to be long and thin.
 

14. Give Panoramas A Try

Try shooting a panorama where you take a series of images that can be joined in post-production (or most cameras have this feature built-in) to capture the whole circle.
 

15. Do Your Research

For inspiration and to find out the location of some of the most photogenic stone circles do you research before you leave your house. We have an article listing some of the most popular stone circles in the UK, you can read it here: Stone Circle Locations

 

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  1. What's A Catchlight?

A catchlight is simply a light's highlight reflected off the surface of your subject's eyes. They subtly breathe life into portraits by adding a little more depth to the eyes and are something that painters were using in portraits long before photography was a popular pastime.

 

2. How Do I Create Them?

What light source you're using, how strong it is and how far it is from your subject will change the shape and size of the catchlight. The larger the light source, the bigger the catchlight will be and if you have multiple light sources, you can end up with more than one catchlight appearing on the eyes.

You can use artificial or natural light to create catchlights, just remember that direct flash will produce a much smaller catchlight than flash that's reflected off a brolly and if you're working outside, the catchlights can have a slight blue tint to them. When working indoors with fill-in light as well as a key / main light source, your additional, fill-in light may create an additional set of catchlights in your subject's eyes. Some people like the effect so if you're one of these, just make sure one is dimmer than the other so they're not too distracting. You can always try removing one set in your editing software too, but it's always easier to get it right in-camera first rather than relying on Photoshop.

 

 

3. Where To Position The Catchlights?

If you look at the eye as if it was a clock you should try and get the catchlight to sit, ideally, at 10 or 12 o'clock but anywhere between a quarter to and quarter past should work just as well. Of course, this isn't set in stone and you may prefer to use a lower position. Placing your light source above your subject's head will also help you get the positioning of the catchlights right.

 

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Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

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Ulanzi, a global provider of photography accessories, ranked No.1 by Sales Volume of Photography Accessories in the World, announces the release of its latest tripod models, the GlideGo JJ06 and JJ05. Designed to meet the practical needs of videographers and photographers working across varied scenarios, both models offer a stable, lightweight build and enhanced cinematic camera movements for more dynamic shot composition.

 

Visit the Ulanzi official website for GlideGo JJ05/JJ06: bit.ly/40AerQv. There is a 4-year warranty for purchases on the Ulanzi official website!

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Ulanzi is offering $30 off for 2 weeks from July 28th for these two products!

You will save an extra 5% when you use the code “1536.”

 

Features

 

• Dual-Stage No-Remove Horizontal Center Column Design - Both tripods include a foldable, horizontal centre column that transitions smoothly between standard, inverted, and overhead positions. This no-remove design enables cinematic camera movements like pan, tilt or dolly. Also, this design allows the tripod to reach a maximum height of 1.87 meters, allowing users to shoot in more scenes.

 

 

• Dual Panoramic Control - Panoramic heads are located on both the column and tripod head. This feature enables subtle sliding movements and smoother directional control for precise framing.

 

 

• Material & Build - The tripods utilize CNC-machined aluminum alloy paired with 3K twill weave carbon fiber legs. All metal components are precisely crafted using CNC machining, ensuring tighter tolerances and improved part accuracy. This results in greater rigidity and reliability across the entire structure. The total weight remains low at 1.56 kg (3.44 lbs), making the setup portable without compromising strength.

 

• Stability Improvements - Compared with previous models, the GlideGo series improves structural stability by 35%. The leg locks have been upgraded with a quick-flip design, increasing locking force by 28%. This allows for secure height adjustment with faster setup and repositioning, especially in outdoor environments.

 

 

• Quick-Release System - The Uka Quick-Release System replaces traditional knob-style locks with a mechanical clip, allowing faster mounting and dismounting. It is compatible with Uka and F38 quick release plates, enabling seamless transitions between equipment setups while maintaining secure and reliable connections.

 

Pricing & Availability

 

• JJ05 GlideGo Travel Tripod (Ball Head) — $269
• JJ06 GlideGo Video Tripod (Video & Ball Head 2-in-1) — $299

 

Customers who order the Ulanzi GlideGo JJ05 or JJ06 tripod within the first two weeks of release will receive a limited-time launch discount of $30 USD for both models. For more details, visit Ulanzi’s official website.

 

  Key OS Differences Affecting Everyday Use

The battle between iOS and Android continues to define the smartphone landscape. iOS, available only on Apple devices, offers a closed, highly optimised system with deep integration across its own ecosystem. Android, meanwhile, powers a wide variety of handsets from Samsung, Google, OnePlus, and others, offering more choice, customisation, and price flexibility.

iOS typically presents a smoother learning curve for users accustomed to simplicity and a polished interface. Android, however, appeals to those who value granular control, with options to personalise everything from the home screen layout to app automation.

 

Photography Tools & Camera Performance

While hardware varies widely across Android models, flagship devices such as the Samsung Galaxy S24 Ultra and Google Pixel 8 Pro now compete head-to-head with the latest iPhone 15 Pro in photographic performance.

• Android highlights: Multiple lens setups, higher-resolution sensors, and extensive manual controls in native apps.
• iOS strengths: Apple’s computational photography and ProRAW capabilities offer exceptional results for those editing in post.

For photographers, the availability of professional apps like Lightroom Mobile, Snapseed, and Halide on both platforms ensures high-quality editing on the go. However, iOS still holds an edge in third-party app optimisation and smoother workflow integration with macOS devices.

 

Security, Ecosystem, and Smart Features

iPhones are widely seen as the more secure option, thanks to Apple’s strict App Store policies and hardware-level encryption. However, Android has made significant strides with regular security updates and sandboxed app access, especially on Google Pixel devices.

Smart assistant integration also differs. Android leads with Google Assistant’s superior contextual understanding and smart home integration. Siri, though improving, still lags in flexibility and command interpretation.

Photographers using smart displays, voice-activated editing reminders, or cloud storage tools may find Android a more fluid experience, though Apple’s iCloud Photo Library offers seamless syncing across devices.

 

 

App Compatibility and File Management

For those working with RAW files, large image libraries, or cloud-based editing apps, Android's openness offers more flexibility in file handling and storage management. iOS users benefit from more intuitive, app-centric workflows but may find file transfer or cross-platform sharing slightly more restrictive.

That said, both platforms now support RAW editing, 10-bit HDR playback, and integration with cloud platforms like Dropbox, OneDrive, and Adobe Creative Cloud.

 

Price and Upgrade Considerations

Android phones come in a wide range of prices, from entry-level models under £200 to ultra-premium devices exceeding £1,200. iPhones, by contrast, occupy a narrower, more premium range. However, Apple devices retain higher resale value and typically receive OS updates for longer.

For buyers looking to stretch their budget, discount platforms like Discoup.com list promotional codes and offers for both iOS and Android devices across a range of UK retailers, allowing users to access flagship tech at more accessible prices.

 

Final Thoughts

Whether upgrading your smartphone for better photo performance or switching ecosystems entirely, the decision between Android and iOS should go beyond brand loyalty. Consider your photography needs, editing workflow, device compatibility, and long-term value.

For many creatives, the choice comes down to flexibility vs. integration, and both platforms now offer compelling tools for mobile photographers at every level.