DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

A – Aperture

When it comes to picking an aperture, you don't want to go too wide as this will shorten your shutter speeds so choose an aperture around f/8 or f/11 to start and go from there.

 

 

B – Bulb

Using the BULB setting will keep the shutter open until you take your finger off the shutter button (this is when a release is handy as you can keep the shutter open without having to touch the camera). This can be useful for light trails as you'll be able to take more control over the length of the exposure, stopping and starting it more precisely.

 

C – Compact Camera

If you're an owner of a newer compact camera you may be thinking you won't be able to try this technique but you could be wrong as many modern compacts now offer longer shutter speed ranges.

 

D – DSLR

Even though you can use a compact you're probably still better using a DSLR or an advanced smaller camera that has the power of a DSLR without the body size. This way you can guarantee you'll have the longer shutter speeds needed, plus the option of using Bulb mode (model depending).

 

E – Exposure times

There's no exposure time that's set in stone for this technique so you'll need to experiment until you find a shutter speed that gives you the results you're looking for. Although, a 10-30-second exposure should capture light trails perfectly.

 

F – Find A Location

It's often worth scouting for locations in the daytime so you're not wasting time when the sun's setting searching for ideal spots.

 

Photo by David Pritchard

 

G – Guide The Eye

Compositional rules still apply here so don't forget the power of using lead-in lines in your shots. The light trails can be used as a line to lead the eye through the image to a point of interest which could be a town, city or building glowing in the background.

 

H – Height

Find a spot, after the sun begins to set, where vehicles will pass under/by you with their lights on. The most obvious is a bridge but any high vantage point will work. You could also find a spot that looks over a road that winds down the side of a hill so car lights are turned into sweeping s shapes. 

 

Photo by Joshua Waller

 

I – In The Car

Give the light trail technique an extra twist by shooting from a moving car. Obviously, you can't drive and control the camera at the same time so you'll need a willing friend to help you with this technique. For more tips on this form of light trail photography, have a read of this: Photographing Light Trails From A Car

 

J – Juxtaposition

To really create a sense of movement and pace, shoot your light trails in a built-up area where you can juxtapose still buildings, trees and other objects with the light trails created by traffic.

 

Photo by Joshua Waller

 

K – Keep Checking The LCD

As you'll be experimenting with shutter speeds you should view your images on the LCD screen after capture to see if the shutter speed you used was long enough. For example, you may find the light trail ends half way through the image rather than carrying on until the car has exited the frame which means you need a slightly longer exposure time to capture the full length of the light trails.

 

L – Low ISO

Keep your ISO as low as possible (100 if you can) so noise doesn't cause you too many problems.

 

M – Mount Your Camera On A Support

Due to the length of the shutter speeds you need to use some kind of support. A Tripod's best but you can use a monopod if you prefer.

 

N – Night

You may think that well after the sun has set is a good time for capturing images of light trails and there's nothing wrong with capturing shots at this time, however twilight and just after the sun has set can produce some rather cracking results. Not only will there be more ambient light but there will also be more traffic around which means more chances to get the shot right.

 

Photo by David Pritchard

 

O – Overexposed

Keep an eye out for spots of light such as street lamps overexposing as these bright dots of light spoil your images.

 

P – Patience

You can't expect to set-up, press the shutter and have the perfect shot so patience is very important for this technique. You could find yourself waiting a while for traffic to actually pass through your frame or for the ambient light to be just right, plus with the trail and error approach you could be outside a while.

 

 

Q – Traffic Queues

Find points in your town where you can guarantee large amounts of traffic will flow through. Crossroads can be perfect as they will create lines that criss-cross and move around each other in various directions.

 

R – Roundabouts

Instead of straight lines, why not set-up near or above a roundabout which will give you the opportunity to capture circular patterns of light in your shots.

 

S – Street Level

To give your light trail shots a different twist, don't head for a high vantage point. Instead, take a stroll around the streets, looking for locations where you'll be able to capture light trails from lower angles.

 

Photo by David Clapp

 

T – Trigger – Remote Or Cable

To reduce camera shake, trigger your camera without actually touching it via a remote / cable release. If you don't have one, you can use your camera's self-timer on its shortest setting.

 

U – Underexposed

If you find the shot's underexposed open up the aperture and just make it smaller if it's too bright. Try not to go too wide with your apertures, though, as this will result in more of the shot appearing out of focus. If you find the light trails to be too short you'll need to use a longer shutter speed to extend them through your shot.

 

V – Very Warm Clothing

Don't forget your warm clothing as temperatures are starting to drop lower as we head towards winter.
 

W – Wide-Angle Lens

If you're working from a car, you need to fix the camera, with a wide-angle lens on a tripod into the passenger seat well or back seat of the car. This will mean you'll be able to see the whole windscreen through the viewfinder. When using wider lenses out in the field for this technique, a lens hood will be useful for shielding the lens from ambient light.

 

X – X-Factor

Light trail photography is a great way to add drama and punch to your night-time urban shots and with a little practice, it's rather simple to master.

 

Photo by David Clapp

 

Y – You Should Consider Using Manual Focus

Due to the low light level and lack of contrast, your camera lens may end up continuously searching if you try to use auto focus so switch to manual for more control.

 

Z – Zooming & Panning

Get creative and experiment with zoom or try panning after pressing the shutter to introduce different effects. After all, this is a fun technique, plus you want to capture something original.  

 

   

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

 

Datacolor continues to invest in the ongoing development and enhancement of its SpyderPro software. Following the major feature upgrade introduced last year, its flagship display calibration solution now receives another significant enhancement: Deep Calibration mode. This new technology delivers an even higher level of color accuracy and elevates display calibration to a standard previously associated primarily with professional reference and proofing solutions.

In November of last year, Datacolor introduced the largest software update in SpyderPro's history. Key additions included 3D LUT export for calibrating external video monitors, support for modern display technologies such as OLED, QD-OLED, Mini-LED, and Apple XDR displays, the introduction of Device Preview Plus for simulating content appearance on smartphones, tablets, printers, and other output devices, as well as the integration of Content Credentials to increase transparency in digital content.

With the introduction of Deep Calibration, Datacolor takes the next important step forward in display calibration technology.

 

A New Standard for Color Accuracy

 

SpyderPro's existing Standard Calibration already delivers outstanding color accuracy, achieving an average Delta E00 of 1.26. A Delta E value between 1 and 2 is widely recognized throughout professional image editing, photography, and graphic design as the benchmark for color-critical applications.

The new Deep Calibration mode improves this result to an average Delta E00 of 0.83. This enables SpyderPro to surpass the Delta E00 1.0 threshold, below which color differences become virtually imperceptible to the human eye. Such performance is typically associated with high-end reference displays and professional proofing workflows.

 

How Does Deep Calibration Work?

 

The new calibration mode utilizes a significantly higher number of measurement points across the entire grayscale range. This allows color deviations to be detected and corrected with much greater precision.

 

Key benefits include:

• Improved red-green neutrality
• Reduced blue-yellow color casts
• Higher white point accuracy
• Enhanced grayscale precision
• Cleaner shadow detail
• A more comprehensive calibration report

 

In extensive comparison tests across a wide variety of displays, including OLED, Mini-LED, XDR, and traditional LED-LCD monitors on both Windows and macOS systems, Deep Calibration delivered measurable improvements on every display tested. On average, grayscale accuracy improved by 30%, while some displays achieved improvements of more than 50%.

 

Speed or Maximum Precision? The Choice Is Yours.

 

With the introduction of Deep Calibration, SpyderPro now offers two calibration modes designed to meet different workflow requirements.

 

Standard Calibration

• Professional color accuracy
• Average Delta E00 of 1.26
• Fast calibration process

 

Deep Calibration

• Advanced measurement methodology with significantly more measurement points
• Average Delta E00 of 0.83
• Approximately 30% higher accuracy

 

Users can now choose whether they prefer to achieve excellent calibration results quickly or require the highest possible level of color precision for the most demanding workflows.

 

Free Upgrade for Existing SpyderPro Customers

 

The new Deep Calibration mode is provided free of charge to existing SpyderPro owners as part of the latest software upgrade. Users of Spyder, SpyderX, or SpyderExpress can upgrade to SpyderPro via the Datacolor website and take advantage of these advanced calibration capabilities.

With the introduction of Deep Calibration, Datacolor once again demonstrates its commitment to continuously enhancing its products and delivering meaningful value to customers long after purchase through powerful software updates. For photographers, videographers, content creators, designers, and prepress professionals, this new feature unlocks a level of color precision that until now has only been achievable with significantly more expensive reference-grade solutions.

 

About Datacolor

Datacolor, a global leader in color management solutions, provides software, instruments, and services that ensure the accurate reproduction of colors in materials, products, and images. Leading brands, manufacturers, and creative professionals around the world have trusted Datacolor's innovative solutions for more than 50 years to consistently achieve the right color. The company provides sales, service, and support in more than 100 countries throughout Europe, the Americas, and Asia. For more information, visit www.datacolor.com.

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macOS 27 Golden Gate has just arrived in September, but recovery software has not moved at the same pace. If camera footage, project clips or exported videos disappear from a Mac or memory card, these five tools cover very different recovery jobs — from simple deleted-file scans to fragmented camera video and unfamiliar file formats.

Losing video is rarely a small problem. A single deleted MOV may contain an entire interview, while one formatted SD card can wipe out a day's shoot. The best video recovery software for Mac should therefore do more than find files: it needs to work with current Macs, recognise common camera storage, preview results where possible and give you a safe way to recover to another drive.

 

macOS 27 Has Changed the Mac Recovery Picture

 

Apple released macOS 27 Golden Gate on 14 September 2026. Golden Gate is available only for Macs with Apple silicon, while Intel Macs remain on earlier macOS versions. That means older utilities need a closer compatibility check before you depend on them.

There is another change worth knowing about. Apple's macOS 27 release notes say that if Rosetta was already installed, it is not automatically restored after the upgrade. Rosetta itself is still available, but an older Intel-only utility may not launch until the translation layer is installed again. That is relevant to free tools such as PhotoRec, whose official macOS download is still offered as an Intel 64-bit build.

For MacBook data recovery, the storage device matters just as much as the operating system. Deleted footage on an SD card or external hard drive may still be recoverable if its blocks have not been overwritten. Deleted data on an internal Mac SSD is a harder case because TRIM can make those blocks unavailable to recovery software. 

 

Before You Install Any Recovery Software

 

Recovery software cannot undo new data written over the old footage. Before choosing an app, stop using the storage device that held the missing video. If it is a memory card, remove it from the camera. If it is an external drive, disconnect it until you are ready to scan.

On a Mac, check Trash and any backup before starting a full recovery scan. Videos managed through Photos may also have another copy in iCloud or another synced library. If Time Machine was enabled, check the relevant backup or local snapshot. If the file is no longer available through any of those routes, this guide to recover permanently deleted videos covers the broader options across Mac and other devices.

Avoid installing the recovery app onto the same drive that contained the missing files, and never save recovered footage back to that source during the first pass. Both actions create new writes. For a failing or unstable drive, a byte-for-byte image or clone is preferable because it lets you work from a copy rather than repeatedly reading the original hardware.

If the footage came from a camera card, there is no need to repeat every SD-card recovery step here. ePHOTOzine already has a dedicated guide on how to recover deleted videos from SD card.

 

How We Chose These Mac Video Recovery Tools

 

We compared current Mac recovery tools on the things that decide whether footage comes back, rather than on feature-list length: product documentation, Mac compatibility, free-tier limits, video-specific features, disk-imaging options, file-system support and pricing.

Video recovery also needs a slightly different test from ordinary document recovery. Large camera files are often fragmented, so finding a MOV or MP4 signature is not always enough to rebuild a playable clip. Preview matters, as does the ability to work from an image when the source drive is questionable. And for photographers using newer cameras, support for an unusual file type can matter more than the total number of formats printed on a product page.

For a wider comparison beyond video, this current round-up of mac recovery software covers more general Mac data-loss scenarios.

 

Best Video Recovery Software for Mac: Five Picks

 

Tool Best For Latest macOs publicly listed Free recovery Starting paid price Disk Drill 6 Camera, drone and fragmented video macOS 27 Golden Gate Scan, preview and protected-file recovery; standard deleted-file recovery requires PRO $89/year PhotoRec Completely free signature-based recovery macOS 27 via Homebrew; official Mac download is Intel 64-bit Unlimited Free R-Studio for Mac Advanced scans, disk images and complex storage macOS 26 Tahoe on current download/help pages Demo has recovery limits $79.99 DMDE Low-cost recovery and disk imaging Not stated by version Up to 4,000 files from one selected directory per request $20/year Data Rescue 6 Unusual or unsupported file types Mac version available; check current OS compatibility before use Up to 1 GB for new users $79 for 30 days

 

1. Disk Drill 6 — Best for Camera and Drone Footage

 

Disk Drill 6 is the most video-focused general recovery app in this group. CleverFiles lists full support for macOS 27 Golden Gate, and the Mac version works on current Apple silicon hardware. Its normal scan can recover deleted files from APFS, HFS+, exFAT, FAT and other file systems, but the more relevant feature for ePHOTOzine readers is Advanced Camera Recovery.

 

 

That mode is designed for video recorded by cameras, drones and action cameras, where a large clip may be split across non-contiguous areas of a memory card. Instead of treating the file as one simple block, the software attempts to reconstruct the fragmented recording. That is particularly useful when a conventional raw scan finds an MP4 or MOV but produces a file that will not play correctly.

Disk Drill also lets you create a disk image of a memory card or drive before scanning it, so you can work from a copy rather than repeatedly accessing the original storage device. On Mac, the free edition can scan and preview recoverable files, and it can restore data protected in advance by its recovery-protection features. The important catch is that recovery of ordinary unprotected deleted files requires PRO on macOS. 

Ideal for: photographers and videographers recovering footage from SD cards, action cameras and drones, especially when fragmented video is a concern.

Platforms and pricing: Mac and Windows. On Mac, scanning and preview are free; full recovery of standard lost files requires a paid licence.

 

2. PhotoRec — Best Free Option

 

PhotoRec is the answer if the budget is zero. It is open-source, has no recovery-volume limit and uses file signatures rather than depending on a healthy file system. That makes it useful when a card has been reformatted or its directory information is badly damaged.

The trade-off is usability. PhotoRec runs in a text-based interface, and signature recovery does not normally preserve the original filenames or folder structure. A card with hundreds of clips can therefore come back as a large collection of generically named files that you need to inspect afterwards. There is also no polished preview workflow comparable with the commercial apps above.

macOS 27 adds a compatibility wrinkle: CGSecurity's current 7.3-WIP Mac download is labelled Intel 64-bit, although the page notes that M1 Macs can run it. On Apple silicon, the cleaner route is Homebrew: brew install testdisk installs PhotoRec and TestDisk, and Homebrew currently provides a Golden Gate bottle for Apple silicon. This makes PhotoRec a viable free Mac video recovery option on the newest OS without relying on the vendor's Intel archive.

 

 

Ideal for: technically comfortable users who need free video recovery software for Mac with no recovery-size cap.

Platforms and pricing: macOS, Windows and Linux. Free and open-source.

 

3. R-Studio for Mac — Best for Advanced Recovery

 

R-Studio is less friendly than Disk Drill, but it gives experienced users far more control over how a scan is performed. The Mac edition supports APFS, HFS+, HFSX, exFAT, NTFS and several Linux and Unix file systems, and it can work with disk images, damaged partitions and RAID layouts. For a mixed studio environment, that breadth can be useful.

Its raw-file search can also be extended with user-defined known file types, which helps when a standard signature database does not cover a format you need. That said, this is still general-purpose Mac data recovery software rather than a dedicated camera-video reconstruction tool. If the main problem is a fragmented action-camera clip, a specialised camera mode may be the better first attempt.

 

 

Compatibility deserves a note this year. R-Studio's current download page and system-requirements documentation list macOS 26 Tahoe, while its main product information has not yet been fully updated to macOS 27 Golden Gate. The application is a native Apple Silicon build, so this looks like a documentation lag rather than a technical barrier — but if you have already upgraded, run the demo before you buy.

Ideal for: advanced users dealing with disk images, complex partitions, RAID or several file systems rather than one straightforward deleted clip.

Platforms and pricing: separate Mac, Windows and Linux editions. R-Studio for Mac starts at $79.99 for a permanent licence.

 

4. DMDE — Best Low-Cost Recovery Option

 

DMDE sits in an unusual place between free recovery utilities and expensive professional software. Its interface is dense, but the free edition is much less restrictive than many commercial trials: it can recover up to 4,000 files from one selected directory per request, and DMDE says there is no limit on how many times you repeat that operation.

For video work, that can be enough when a card contains one shoot folder and you only need a manageable set of clips. DMDE supports APFS, HFS+, exFAT and FAT among other file systems, offers raw signature recovery, and includes free disk-imaging and cloning tools. That last feature is useful when you want to preserve a card or questionable external drive before experimenting with scans.

The catch is the interface. DMDE exposes low-level disk and partition tools alongside recovery functions, so if you are not sure what an option does, do not randomly click it. Express is $20 for one year and Standard is $48 for a perpetual licence. For users comparing low-cost data recovery software for Mac, it offers more actual free recovery than most scan-only trials.

 

 

Ideal for: users who want a capable free tier, disk imaging and low-cost paid recovery, and do not mind a technical interface.

Platforms and pricing: macOS, Windows, Linux and DOS. Free edition available; paid options start at $20.

 

5. Data Rescue 6 — Best for Unusual Camera File Types

 

Data Rescue 6 earns its place for a FileIQ feature. If Deep Scan does not recognise a particular file type, FileIQ can analyse several healthy samples of that same type and look for a repeatable pattern that Data Rescue can use as a custom file module. The documentation recommends at least three sample files.

That can be useful with less common camera outputs, proprietary containers or a new workflow that is not yet in a recovery tool's built-in signature database. It is not magic — FileIQ does not work with every file type, and a learned signature cannot restore data that has already been overwritten — but it gives you another route when the problem is recognition rather than the storage device itself.

Data Rescue also includes a clone workflow, which fits the safer approach of working from a copy when the source drive is unstable. Its current Mac pricing gives new users up to 1 GB of recovery for free. The Standard licence is $79 and provides unlimited recovery for 30 days, while the Professional tier is sold annually.

 

 

Ideal for: photographers dealing with an unsupported or unusual file type for which they can provide healthy sample files from the same camera workflow.

Platforms and pricing: Mac and Windows versions are available. New Mac users can recover up to 1 GB free; Standard costs $79 for 30 days of unlimited recovery.

 

What "Free Video Recovery for Mac" Really Means

 

The word “free” is unusually slippery in this category. Some apps are free to download but charge before they write a recovered file to disk. Others let you restore a small amount of data, which may be fine for documents but almost useless for a 4K video clip.

PhotoRec is the clearest example of genuinely free Mac video recovery: there is no paid edition and no recovery-size cap. The cost is time and convenience. You work in a text interface and may lose original names and folder structure.

DMDE takes a different approach. Its free edition limits each recovery request to 4,000 files from the active directory rather than imposing a small gigabyte allowance. For a memory card with a few hundred clips, that can be surprisingly practical.

Data Rescue 6 gives new users up to 1 GB, which is enough to test the recovery path or retrieve shorter clips but can disappear quickly with high-bitrate footage. Disk Drill's free Mac edition is strongest as a diagnostic tool for unprotected deleted files: scan, filter and preview first, then decide whether the files are worth paying to restore. R-Studio also offers a demo, but its restrictions make it more useful for evaluating what the software can see than for recovering a full video archive.

So if you are searching for Mac video recovery software free of charge, look past the download button. The useful question is how much data the app will actually write back, whether preview is available before payment, and whether the free tool can handle the file system and camera format involved.

 

Why a Recovered Video Sometimes Won't Play

 

Finding the filename is only half the job. Video files are large, and cameras often write them across multiple areas of a card as recording continues. A basic raw recovery scan may recognise the beginning of an MP4 or MOV but fail to rebuild every fragment in the correct order. The result can have a plausible filename and file size yet still refuse to open, freeze after a few seconds or show damaged frames.

This is why trying another recovery engine can make sense. Different tools reconstruct files differently, and a camera-specific recovery mode may succeed where simple signature carving does not. If the source card is valuable, create an image first and run those experiments against the image rather than repeatedly scanning the physical card.

There is also a point where recovery ends and repair begins. If recovery itself worked but the MOV or MP4 still will not open, an open-source tool untrunc can use a healthy reference clip — ideally from the same camera — to rebuild parts of the damaged container. On macOS it is more technical than the five apps above and may need to be built with Homebrew dependencies, so it is not a general recovery pick. But it is a useful free option when the file exists and the remaining problem is playback rather than deletion.

 

When Mac Video Recovery Software Won't Help

 

There are two cases where continuing to scan is usually the wrong move.

The first is permanent deletion from an internal Mac SSD. Modern SSDs use TRIM to tell the drive which blocks are no longer needed. Once those blocks have been cleared or made unavailable, a recovery app cannot recreate the original video from nothing. Backups and local snapshots become much more important in that scenario. The same issue appears repeatedly in a recent Mac recovery discussion, where users point back to Time Machine, local snapshots and the limits imposed by TRIM. The thread is anecdotal rather than formal documentation, but the practical lesson is sound: internal SSD recovery is not the same as undeleting a file from an SD card.

The second is physical failure. If a hard drive clicks, repeatedly disconnects, disappears from Disk Utility, becomes unusually hot or produces severe read errors, repeated DIY scans can put more stress on it. If the footage is important enough to justify professional recovery, stop using the device and get the hardware assessed before it deteriorates further.

 

Which Mac Video Recovery Tool Should You Try First?

 

It depends on where the footage was and what you are willing to spend.

Deleted clips on an SD card or from a camera or drone: start with Disk Drill, which handles fragmented footage best of the five. No budget at all: PhotoRec, accepting the Terminal and the lost filenames. Somewhere in between, with a real free allowance: DMDE. Reformatted volumes, RAID or a drive you need to image first: R-Studio. A file type nothing seems to recognise: Data Rescue 6 and FileIQ.

And if the loss was on your Mac's internal SSD, check your backups and snapshots before you run a single scan.

 

Architecture photography is something that's accessible to all and with so many ways to capture structures that line our streets, it's a project that you probably won't get bored of anytime soon. You can shoot skylines at night, look for interesting patterns in small detail, use the height of skyscrapers to add drama to your shots or how about simply making a project about your own home? Don't just think this is a town or city project either as you'll find interesting structures at the coast as well as statues and monuments that are well worth capturing images of. Whatever you decide to do, here are 36 tutorials crammed full of tips to help you improve your architectural photography skills. 

 

1. 6 Top Architectural Night Photography Tips

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

2. Tips On Taking Photos From Heights In Cities

The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

3. Why Stairs & Steps Draw People To Photograph Them

Stairs and steps may sound boring, however, when you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied. Be it a graphical shot of an industrial set of steps leading up the side of a metal structure or a spiral staircase in a grand house, if you keep your eyes open, you'll soon realise there are many interesting sets of steps and stairs around you that will make an interesting image.

 

4. Guide To Capturing Better City Skyline Shots

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset.

 

Photo by Joshua Waller

 

5. Nine Top Tips For Better Bridge Photography

Most of us use bridges every single day and while it is true that many - big and small, old and new - of them aren’t worth photographing, there are a great many that are extremely photogenic. These are impressive structures that often dominate the area in which they are situated.

 

6. Capturing The Best Of Britain's Architecture 

Britain's bursting with structures and buildings that photographers are naturally drawn to thanks to their postcard-perfect looks and history. It also helps that many of the buildings are in locations that are perfect for a day out, making them subjects photographers can shoot and their families can enjoy too.

 

7. Master Urban Abstracts With These 8 Tips

Capture something you may not have normally noticed by shooting abstracts in the city. To help you out, here are a few tips to get you thinking more creatively about buildings and how you can focus on patterns, textures and shape rather than the structure as a whole. 

 

8. Four Top Tips On Exploring The Urban Jungle

For many of us, when we decide to get out and about with our cameras we automatically turn to the countryside. But with the majority of the population living within easy reach of a major Town or City, is that really the right decision? It’s great fun just walking around a city taking shots of literally everything but if you want to capture great images you need to go with a plan and a bag of kit including a couple of lenses and a tripod.

 

 

9. Give Your City Shots A Creative Twist With These 6 Tips

Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in. 

 

10. Five Tips On Shooting Beach Huts Shots With A Twist

Who said the buildings and structures you capture only have to be inland? Beach huts are a popular feature of the British coastline and provide photographers with colourful detail that's often overlooked. While many of us shoot with a wide-angle and get the huts dramatically stacked in a row under a broody sky there's an alternative option of moving in close for a more abstract shot.

 

11. Seven Easy Ways To Improve Your Stately Home Shots

Stately homes are, in many cases, open to the public. Some are still lived in, with sections cordoned off from public viewing, but the rest is accessible, often with restrictions - no touching, often no flash and sometimes no photography. For those properties that do allow photography, you have the opportunity to photograph grand designs, walls with magnificent paintings, and rooms with exquisite furniture and other items.

 

12. How To Approach Statue Photography In 5 Steps

From the earliest known relic, some 8000 years old, to the latest metallic monstrosities, statues are waiting to be photographed. You could visit a museum or sculpture park but as statues decorate our city streets, local parks and even churchyards, you don't have to venture too far if you don't want to. 

 

 

13. Learn How To Capture Cracking Castle Shots

Want to bring a bit of history and heritage to life? Well, capturing images of one of our many castles is a good way to start. Here are a few tips to help you perfect your castle photography technique. 

 

14. How To Capture Top Shots Of Historical Buildings

When we think of historical buildings we often think of castles and churches, but there's much more to explore. Our towns and villages are brimming with architectural delights from banks to factories to inns and market halls, all waiting to be photographed outside and sometimes (if you're lucky) inside. All you need is a little local knowledge

 

15. Photographing Lighthouse Details

Zooming in with a telephoto and picking on detail is fun to do, plus it's a great way to capture lighthouse shots with an original twist. 

 

16. Five Top Tips On Photographing Bridges

Here are 5 more essential tips on photographing the bridges that dominate our towns, cities and countryside. We look at what time of day is best, what lenses to use, how to give your shots a creative edge and more. 

 

 

17. Tips On Photographing Stained Glass Windows

Stained glass windows are a photogenic subject but they can be a nightmare to photograph. Here are a few tips to help you perfect your technique.

 

18. Photographing Church Interiors

To make the most of what our churches have to offer we have to get inside them which can be trickier than you think. Larger churches and cathedrals may have photographic restrictions (a fee payable to use a tripod, no flash etc.) and certain opening hours but generally smaller, local churches are more willing to give you access any time of the day. 

 

19. Even More Tips On Creative Capturing Castle Shots 

From ruined hill forts to beautifully preserved country houses, castles provide majestic architectural delight that we look in more detail here. 

 

20. Photographing Textures On Buildings

Towns and cities are great places for hunting down textures and once you start looking at detail rather than buildings as a whole, you'll soon find a variety of textures to fill your memory card with. Walls, steps, doors, sheds, modern metal structures, roof tiles and windows are just some of the locations you'll find interesting textures at. 

 

 

21. Church Photography In Low Light

Turn your attention to the local church – or at least one that is lit up. Not every church is so you may have to drive around to find one if you do not already know of a suitable location.

 

22. Tips On Creating HDR Exposures In Churches

Church interiors are difficult to photograph because they usually have huge bright windows and dark nooks and crannies with the rest being a mix of tones illuminated by tungsten light or candles. Fortunately, with digital photography and modern software, there is a solution, it's called HDR (high dynamic range) photography.

 

23. How To Shoot Wide Angle Shots In Cities And Towns

Take a short walk through your town and you'll find a thousand and one things to photograph but instead of walking around for hours photographing trees, postboxes and buildings one at a time try getting your wide-angle lens out to capture and emphasise a wider area of the town.

 

24. Photographing Night-Time Urban Scenes

The nights are drawing in again which means most of us are now driving home from work in the dark. It's a stark reminder that winter's on its way but all's not that bad as it does mean you can shoot some nighttime shots in and around your town before you head home for your evening meal.

 

 

25. Twilight City Photography Tips

Head to a city as the sun sets and get ready to capture twilight themed imagery that will give your architectural shots an interesting, creative twist. 

 

26. How To Shoot Patterns In Architecture

The key to this type of photography is to stop looking at buildings as whole structures and focus on the small pockets of interesting patterns and shapes they're made up of. Don't overlook the ugly looking buildings either as most of the time, once you're zoomed in and focused on one part, you'll find they're perfect subjects when you're on the hunt for architectural patterns.

 

27. Tips On Photographing Interesting Shops With Character

For a while now people have voiced how they're bored of seeing the same line of shops in every town that have repetitive signs, the same window displays and products on offer. But even though these giants are all over the country you can still find the quirky shops with interesting frames and signs to photograph.

 

28. Tips On Photographing Your Town At Night

Here's a quick tutorial that will show you how to photograph urban nightscapes. You'll find kit suggestions as well as tips on how and what to take photos of. 

  29. Infrared Architectural Photography Tips

Infrared photography isn't everyone's cup of tea, however, this technique can add a distinct and interesting twist to your city shots that others may not have thought of. 

 

30. Capture Shots Of Cathedrals And Churches With Ease

Here are a few things to remember when you're heading out on your church photography day trip. Just remember to respect your surroundings when capturing these magnificent structures.  

 

31. Quick Twilight Town Photography Tips 

Everyone likes a sunset but instead of packing your gear up once the sun's set wait around for when the sun has vanished below the horizon and you'll have the chance to capture some really creative images.

 

32. New York Times Square Photography Tips

As Times Square is a popular location for tourists, it can be hard to shoot architectural photos that aren't dominated by people. However, there are a few things you can do to capture shots that aren't so focused on the people visiting this city. 

  33. Quick Tips On Photographing The Brooklyn Bridge

Skyline shots and photos of iconic structures are something all photographers strive to shoot when in Manhattan, New York and David Clapp has headed to one of the most iconic structures in the city - Brooklyn Bridge.

 

34. Practical Photography Tips For Cities And Towns

To help you capture the magic of cities, here are a few tips on photography in general and more specific tips on photographing Krakow in particular.

 

35. Photographing Lighthouses In The Landscape

The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.

 

36. Pier Photography Tips 

You can't visit a seaside town that has a pier without photographing this interesting and often historic architectural structure that heads out to sea. 

© SIGMA

 

Sigma has announced the FP2, a compact full-frame camera equipped with a 24.5-megapixel partially stacked CMOS sensor, continuous shooting at up to approximately 20fps, and support for 6K OpenGate recording and ProRes RAW. A dedicated switch on the top of the body toggles between STILL and CINE modes. Sigma has also announced a new external electronic viewfinder, the EVF-21, along with other dedicated accessories. The FP2 is scheduled for release on November 11, 2026.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce  the Sigma FP2, which combines full-fledged shooting capabilities and flexible expandability in the world’s smallest*1 body. Carrying over the concept of the original fp series while enhancing every function, Sigma has perfected the FP2 as a “Small, Powerful, Adaptable” camera.  Its pocket-sized, lightweight body is equipped with powerful shooting features, from a high-performance full-frame sensor to switching between still and cine modes, each with its own dedicated UI. The Sigma FP2, a one-of-a-kind compact system camera that offers a high degree of user-oriented adaptability, will be available on Wednesday, November 11, 2026.

 

Product name: Sigma FP2

Launch: Wednesday, November 11, 2026

* Product appearance and specifications are subject to change.

 

Key Features

 

• Top-class performance in the world’s smallest body
• A full-fledged cinema camera at the flip of a switch
• Accessories for greater expandability

 

Top-class performance in the world’s smallest body

 

Full-frame expressive power and wide dynamic range

At the heart of the Sigma FP2 is an advanced full-frame sensor that captures images with exceptional resolution, rendering power, depth of color and subtle tonal gradation. Its uncompromising performance gives photographers the freedom to capture any scene or subject, no matter the shooting conditions.

 

Color modes for creative freedom in photography

Thirteen color modes, selectable with the dedicated “Color” button, enable intuitive and unrestricted creative expression . Developed on the basis of Sigma’s own color science, this diverse range of preset modes lets photographers craft the tone of their work, capture the atmosphere of the moment and bring out the full appeal of their photography.

© SIGMA

 

A true evolution of the fp series

The Sigma FP2 inherits the innovative concept of the original fp, along with the distinctive character that made it one-of-a-kind.  At the same time, every element and function of the camera has been reexamined and refined to create a more intuitive and expressive shooting experience, making the FP2 a true evolution of the fp series.

 

Tilting LCD for broader perspectives

While keeping its compact body, the Sigma FP2 features a tilting LCD that tilts up 90° and down 45°. From low angles to high angles, it broadens the photographer’s perspective.

 

Dedicated external electronic viewfinder for focused shooting

Easily attached to and detached from the camera via a single USB-C port, the high-resolution, high-luminance electronic viewfinder helps photographers feel deeply immersed  in their photography. Its tilting mechanism angles upward by up to 90°, making it comfortable to shoot not only at eye level but also at waist level.

 

24.5-megapixel partially stacked CMOS sensor

The high-performance partially stacked CMOS sensor delivers outstanding rendering power, advanced AF performance and excellent dynamic range. Its high-speed readout significantly reduces rolling shutter distortion, enabling even faster continuous shooting and video recording at high frame rates.

 

Advanced AF performance

With improved accuracy, speed and low-light performance, the sophisticated AF system captures subjects reliably, so decisive moments are never missed. In addition to people and animals, the advanced subject detection function now also recognizes birds.

 

High-speed continuous shooting at up to approx. 20fps

The Sigma FP2 can shoot continuously at up to approx. 20fps, for up to 200 frames in a single burst. Even in critical moments where a split second makes all the difference , it captures the shot with confidence.

 

High-capacity battery

While maintaining the compact size that defines the fp series, the Sigma FP2 achieves approximately 30% longer battery life than the original fp. Its high-capacity battery can capture approximately 370 still images or about 130 minutes of video, enabling extended shooting sessions.

 

70GB of internal storage

In addition to an SD card slot, the Sigma FP2 features 70GB of internal storage that supports high-speed writing. It allows recording to continue seamlessly when the memory card is full and ensures comfortable shooting in situations that call for additional capacity.

© SIGMA

 

A full-fledged cinema camera at the flip of a switch

 

The Sigma FP2 is both a still camera and a full-fledged cinema camera. A single dedicated switch on the top of the body instantly toggles between STILL mode and CINE mode, each with functions, a user interface and a workflow fully optimized for that mode. Optimized for the creative production process  and highly customizable, the FP2 is a true cinema camera capable of cinema-quality imagery, offering both mobility and performance in an exceptionally compact and lightweight body.

 

A compact, dedicated cinema camera

Transforming to suit its setup, the Sigma FP2 serves as a compact full-frame digital cinema camera for a wide range of video production. With a wealth of functions packed into its compact body, it covers every type of production, from personal vlogs and fly-on-the-wall documentaries  to high-end film and TV productions.

 

6K OpenGate recording

The Sigma FP2 supports 6K OpenGate recording, capturing every bit of information from the full-frame sensor. Footage can be adapted to a variety of formats with different aspect ratios while maintaining high image quality, supporting video production in the multi-platform era.

 

Up to 14.1 stops*2 of dynamic range

Designed with ample highlight headroom, the Sigma FP2 delivers rich tonal gradation even in high-contrast environments. With 7 stops of headroom secured at ISO 1250 and above, it offers greater freedom for color grading in post-production.

 

32-bit float audio recording*3

The Sigma FP2 supports 32-bit float audio recording, reducing noise at low volumes and clipping at high volumes for recording with a wide dynamic range.

© SIGMA

 

Support for advanced post-production

The Sigma FP2 supports ProRes RAW, which combines a high degree of editing flexibility with the efficient data handling of compression. It also supports L-Log from Leica Camera AG , which can be edited directly in a wide range of grading software, accommodating a diverse range of workflows.

 

Director’s Viewfinder function

The Sigma FP2 is equipped with a Director’s Viewfinder function that can simulate the shooting ranges of various brands’ cinema cameras. In addition to the desqueeze display mode for use with anamorphic lenses, the FP2 now supports the latest equipment, including the ARRI ALEXA 35 and Sony VENICE 2 / BURANO. The LCD Viewfinder LVF-21 (sold separately) is also available, allowing users to reliably check the view on the optical axis.

 

Accessories for greater expandability

 

The expandability of the Sigma FP2 is ensured by the screw holes for the strap holders on the left and right sides of the body and the tripod screw hole on the bottom. Standardizing all of these screw holes to the common 1/4-inch size allows a wide variety of Sigma’s own and third-party accessories to be attached. New dedicated accessories have also been added for the Sigma FP2, opening up even more possibilities for expansion and customization.

 

ELECTRONIC VIEWFINDER EVF-21

The ELECTRONIC VIEWFINDER EVF-21 is an external electronic viewfinder designed exclusively for use with the Sigma FP2. The attention to detail is evident in its tilting mechanism, eye sensor, supplied large eye cup and other features , all designed to ensure convenience and comfort during use. With its 0.5-inch OLED panel with approx. 5.76 million dots, this high-resolution, high-luminance viewfinder helps users feel more deeply immersed in their photography and makes shooting an even more enjoyable experience.

 

HOT SHOE UNIT HU-21

The HOT SHOE UNIT HU-21 is an attachable hot shoe unit featuring a flash communication terminal shared with the OM SYSTEM / LUMIX .

 

BASE PLATE BPL-21

The BASE PLATE BPL-21 is a base plate designed exclusively for the Sigma FP2. In addition to being used to attach the LCD Viewfinder LVF-21, it allows standard video accessories to be connected using its 3/8-inch screw.

 

LCD VIEWFINDER LVF-21

The LCD VIEWFINDER LVF-21 is a viewfinder designed exclusively for the Sigma FP2 that mounts over the camera’s LCD monitor and cuts out extraneous light. It has a built-in diopter adjustment mechanism with a range of −2 to +1 (dpt). Magnifying the LCD monitor 2.5x*4, it helps photographers check focus and decide on composition. The specially designed high-performance lens and coating ensure excellent visibility.

 

BATTERY CHARGER BC-91

The BATTERY CHARGER BC-91  is a dedicated charger for the LI-ION BATTERY PACK BP-91 supplied with the camera. It allows for charging in approximately 175 minutes when used with a commercially available USB PD-compatible AC adapter.

 

DC CONNECTOR CN-91

The CN-91 is a connector for connecting the camera body to an AC adapter or external power supply.

 

*1 As of October 2026, by Sigma.

*2 When using 4K FF L-Log.

*3 When the optional HU-21 hot shoe unit is attached and the Panasonic DMW-XLR2 and DMW-DMS1 are used.

*4 The magnification value is calculated according to the definition generally used for loupe magnification.

 

For more information, please visit the Sigma website.

© SIGMA

 

Sigma has announced the 50mm F1.4 CL DG Contemporary, the first lens in a new lineage of primes within its I series. The lens combines a bright F1.4 aperture with a compact metal body, smooth bokeh and intentionally controlled aberrations for soft rendering and gradual background transitions. It also has a newly developed RDD autofocus actuator, automatic switching to manual focus when the focus ring is turned during autofocus, and a dust- and splash-resistant structure. The lens is scheduled for release in early spring 2027 for L-Mount and Sony E-mount cameras.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce  the Sigma 50mm F1.4 CL DG | Contemporary. Housed in a small, lightweight and premium metal body, the lens combines a bright F1.4 aperture with rich textured rendering that gives images a unique expressive character. The CL, which is the start of a new lineage in Sigma’s I series line, harnesses the latest technology to achieve a classic aesthetic with beautiful tonal gradation, and is scheduled for release in early spring 2027.

 

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH520-04B / LH520-04S, Front Cap LCF-52 IV, Magnetic Metal Lens Cap LCF52-02MB / LCF52-02MS, Rear Cap LCR III, Pouch

Launch: Early spring 2027

 

* Product appearance and specifications are subject to change.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* L-Mount is a registered trademark of Leica Camera AG.

 

Key Features

 

• Aberrations intentionally controlled with the latest simulation technology for soft rendering of texture that helps the subject stand out
• Exceptionally compact for a large-aperture F1.4 prime, with the newly developed RDD autofocus actuator
• A new lineage for the I series primes designed to maximize the joy of shooting

 

Aberrations intentionally controlled with the latest simulation technology for soft rendering of texture that helps the subject stand out

 

The Sigma 50mm F1.4 CL DG | Contemporary is a premium compact prime lens that delivers a bright F1.4 aperture and rich textural rendering in a small and lightweight metal body. Its authentic optical system, housed in a barrel that is exceptionally small by the standards of today’s mirrorless lenses, was designed by making full use of the latest optical technology. Through exhaustive simulations, aberrations have been intentionally controlled to achieve a gentle softness within the in-focus plane, smooth and attractive bokeh, and characterful background rendering that helps the subject stand out. Conveying warmth and a natural sense of three-dimensionality across the entire frame, the lens is ideally suited to portraits and snapshots in particular. Its body distills the pure enjoyment of shooting with dedicated photographic equipment, while the latest technology perfects its impressive image quality, with supple rendering of texture and rich tonal gradation. Sigma hopes that the CL, the first in a new lineage of I series primes will help you discover and capture more beauty and joy in your everyday life.

 

© SIGMA

 

Exceptionally compact for a large-aperture F1.4 prime, with the newly developed RDD autofocus actuator   Beautiful bokeh and three-dimensionality only a large-aperture prime can deliver

The lens features a classic optical construction of 9 elements in 6 groups with a whole-lens extension focusing mechanism. 3 aspherical elements and 1 FLD glass element are effectively arranged to achieve a compact and lightweight design. The optimal placement of the aspherical elements also successfully suppresses ghosting, which is difficult to avoid in small, lightweight lenses. Aberrations are precisely controlled while internal reflections are eliminated. The lens is designed so that its bokeh is at its most beautiful and its three-dimensionality at its richest at the maximum aperture of F1.4, offering superb rendering, especially in the beautiful, gradual transitions of its background bokeh.

 

New RDD (Rotary Direct Drive) actuator

To keep the overall length of the lens short, Sigma chose whole-lens extension focusing rather than an inner focus design. To handle the heavier focusing unit this creates, Sigma developed a powerful autofocus actuator in which coils and magnets, as used in the HLA (High-response Linear Actuator), are arranged in a circle to match the shape of the lens barrel. This minimizes any increase in outer diameter, resulting in a slim, high-torque autofocus mechanism.

 

Instant AF/MF switching with the focus ring

Taking advantage of RDD’s ability to drive the focusing optics directly, the lens temporarily switches to manual focus automatically when the focus ring is turned during autofocus operation. This allows photographers to work quickly in fast-changing conditions without needing to adjust AF/MF settings using a switch.

© SIGMA

 

A new lineage for the I series primes designed to maximize the joy of shooting

 

All-metal body with premium quality and a pleasing feel in operation, the hallmark of the I series

As the latest chapter in the I series, the “Premium Compact Primes” that pursue the joy of owning a photographic tool, the CL carries on the series’ all-metal body. Not only the knurled hood, focus ring and aperture ring but also the supplied magnetic metal lens cap  have been inherited as signature elements of the I series identity.

 

Depth-of-field scale

The CL series features a distance scale that runs from the minimum focusing distance to infinity, together with a focus ring that rotates in direct sync with focusing. It is also equipped with a depth-of-field scale, which lets photographers visually check how the depth of field changes with the aperture value. These scales also serve as an icon of the CL, combining the very latest functionality with a classic aesthetic.

 

Dust- and splash-resistant structure* / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, allowing photographers to shoot without concern even in harsh outdoor environments. 

 

* The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction.

 

For more information, please visit the Sigma website.

 

Cities are well known for having a 'buzz' that's created by the people and traffic that move through their streets. But how do you capture this busyness? Well here are four ways to do just that.

 

1. Find Popular Spots

Sounds obvious, we know, but finding a spot full of people, such as Times Square in New York, will make your job easier. Do be warned though, sometimes places can get too busy and you'll spend more time fighting crowds than you will be taking photos. You can try visiting at various times during the day to check for less busy times but don't expect to be able to turn up early in the morning and the same buzz intensity be there as chances are, most tourists/residents will still be in bed.

 

2. Movement

Long lines of traffic, underground trains or even crowds of people moving home after a day at work can all be captured to emphasise the busyness of a town or city.

Try panning with your subject, keeping your feet slightly apart, creating a sturdy base for you to shoot from. Lock your focus and use continuous focusing if your lens struggles to focus on your subject and switch to burst mode to increase your chances of capturing the shot you're after.

To really add a sense of pace to your shots, use a little bit of blur. Blurring the background while your subject stays sharp is often the approach most go for but it can be tricky to get right... How good you are at panning, what shutter speed you use, how fast your subject's moving and how much light's around will make this harder/easier each time you try it, however, it's worth persisting with as you can create some cracking shots with this technique. Just remember to pick the right shutter speed as if you go too high your subject will look static, too slow and there could be too much blur.

Don't overlook adding a little blur to your subject as this will emphasise motion and add more drama to your shots. We say 'a little' as if you add too much, it can look like you just took a bad photo.

Try experimenting with zoom burst to deliberately add blur to your shot by twisting your zoom lens. As well as emphasising movement it can help make your subject, who's not blurred, 'pop' from the frame. A burst of light from a flashgun will help freeze your subject and add sharpness to the image. It's a fun but tricky technique that can take quite a few attempts to get right. For more tips on creating zoom blur, take a look at our Zoom Burst Photography Article.

 

 

3. Light Trails / Traffic

Towns and cities are full of traffic and by using long exposures to turn headlights into long streams of colour's another way to create a sense of pace. To do this successfully you need to find a spot at night where vehicles will pass under/by you with their lights on. You then need to put your camera on a tripod, set a long exposure and wait for the lines of traffic to turn into streaks of colourful lights. For more tips, have a look at our previous article on Photographing Light Trails.

 

4. Alternative Vantage Points

Try getting in a lift and shooting from the top of a building (if possible) or, if you're on a city break and are staying in a hotel, shoot from your own window or make use of your balcony (if you have one). Look out for observation decks, bridges and even the big wheels that are popping up in cities. These usually take an hour to complete a full circle giving you ample time to get a few shots of the city below. By doing so you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as traffic moves through the streets.

© Neurapix

 

Neurapix has launched Flow, a new workflow automation service that starts with image import into Lightroom Classic. With Flow Live, photos upload over Wi-Fi the moment the shutter is released, then the Neurapix AI edits them using the photographer’s SmartPreset and delivers them to Lightroom Classic within seconds. Flow Card starts an automatic import when a memory card is inserted into the computer.

 

From Neurapix:

 

Photos edited straight from the camera and transferred to Lightroom in real time: With the launch of Flow, German AI photo editing company Neurapix is taking another major step toward an automated workflow. Whether via Wi-Fi or SD card, photos arrive fully edited and ready for delivery in Lightroom Classic.

Flow is Neurapix's new umbrella for workflow automation, and the company's first move beyond editing and culling into the steps that come before and after. The initial focus is on image import, with two possible routes photographers can take depending on their use case.

Flow Live is Neurapix's name for the direct Wi-Fi upload of photos from the camera. After a one-time setup*, every image is transferred automatically the moment the shutter is released. Once uploaded, it is edited by the Neurapix AI in the photographer's individual style using their SmartPreset and delivered straight to Adobe Lightroom Classic within seconds. The images are ready for culling and delivery before the shoot is over.

Flow Card describes the import via SD card, for example, when swapping cards during a shoot or when handling very large volumes of data. As soon as the memory card is inserted into the computer, the import into Lightroom Classic starts automatically. All images are then edited with Neurapix and prepared for culling with Neurapix Culling.

 

For everyone who needs (or wants) to deliver fast

Delivery speed is becoming the deciding factor in more and more photography segments. That's exactly what Neurapix Flow was developed for:

• Event and sports photographers send finished, stylistically consistent images to their agency or editorial desk while the event or game is still underway. No card reader, no all-nighter.
• Wedding photographers know the race against "Uncle Bob": minutes after the first dance, the guests' smartphone photos are already on WhatsApp or social media. With Neurapix Flow, the professionally edited photos land in Lightroom Classic while the party is still going. The first images can be handed over to the couple during the celebration itself.
• Family and portrait photographers show their clients a first selection of finished images at the end of the session, which turns same-day delivery into a bookable premium service.
• Content creators focused on social media have publication-ready photos in Lightroom Classic in real time so they can shoot, select and post while the moment is still trending.

 

Photographers stay in full control

As with every Neurapix edit, nothing is "burned" into the photo files: the AI simply sets the Lightroom sliders and the crop for each individual image. Photographers can continue editing every photo exactly where the AI left off right in Lightroom Classic.

"Whoever delivers first wins. That's as true at the sports desk as it is at a wedding reception," says Neurapix co-founder and CEO Nils Sauder. "With Neurapix Flow, images edited in the photographer's own style are available seconds after the shutter is released. At the same time, photographers retain full control. Neurapix Flow turns shooting and editing into a single step."

The new service is available to all Neurapix users after updating the Lightroom Classic plugin or installing it for the first time, and costs nothing extra for now. That means it is free on the Neurapix Unlimited plan, and on the Pay-per-Picture plan images are billed at the usual rate of 4 to 5 cents each.

* Neurapix Flow works with any camera that supports FTP transfer, as well as with the major camera manufacturers' cloud services. For more details, please visit the Neurapix Flow website.

 

About: Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. More information: www.neurapix.com

 

You've probably never considered your kitchen as a location for photography or as a place you can find tools that will actually help you better your photography skills but after reading this article, you'll soon realise it is. Things like pots and pans, colanders and even a trivet can be pressed into service as subjects.

Here's a list of items found in your kitchen that can help you better your photography or can make interesting subjects for your indoor shots. 

 

1. Aluminium Foil

Aluminium foil isn't very expensive and it can help you create interesting backgrounds as well as bounce extra light into your shots. Add creases and lines to the foil to create textured backgrounds or get a little creative and make your own reflector by sticking silver foil to something that'll give it a bit more rigidity such as a piece of card. You could make a variety of sizes so you have reflectors that are suitable for a variety of subjects including portraits and Autumn macro work. 

  2. Metal Colander

You can bounce light from your flashgun into this kitchen utensil that'll widen the light, making it less harsh than direct flash alone. The humble colander can also be used as a photographic subject, cropping in close to focus on its shape. For the shot above, the camera was switched to incandescent white balance to create the blue cast and the lens was pulled back to include the sink which makes an interesting background. Foil was used to fill in shadows. 

 

3. Cutlery 

Spoons and forks can be used in still life images as well as in arty kitchen-themed images on their own. 

Before you start, you need to make sure your cutlery is clean and pick your backgrounds carefully. When it comes to placement, experimentation is key as there are various ways to arrange your props for a successful shot. For more tips, have a read of these articles:

• Tips On Photographing A Simple Still Life Shot
• Tips On Shooting Utensils And Cutlery In The Kitchen
   

4. Backgrounds

Worktops, wooden chopping boards and even the kitchen sink can be used as backgrounds for your shots. In fact, objects can be simply arranged on the worktop in various compositions, with the camera and lens simply aimed downwards.

 

5. Greaseproof Paper

Used by bakers normally, greaseproof paper can be used to diffuse light either from windows or flashguns. 

 

6. Food Photography 

Raid the fridge and you'll soon have plenty of items worth photographing. For tips on how you can improve your food photography shots, have a read of this: 10 Top Tips For Taking Better Photos Of Food.   

 

When it's cloudy, dull and looking like rain, the last thing most of you will want to do is head outside with your camera. But when you add Autumn into the mix, things do start to get a little better.  Dark skies full of rain clouds can work as a brilliant backdrop for trees covered in the warm shades of the season, colours contrast extremely well and a sky filled with rain clouds, plus the reds and yellows of Autumn, give you the chance to capture some great moody shots.

 

1. Find Some Colour

When shooting on dull days, colour will 'pop' from the grey, stormy sky and add much-needed interest to your shot. It could be a block of colour such as a wide shot of a forest decorated with Autumnal shades or a smaller colourful focus point such as a single tree or even a leaf snapped in your own back garden. If you want to enhance the sky, try fitting an ND Grad Filter to the front of your lens.
 

2. Be In The Right Place At The Right Time

If you're heading out, it's worth noting down a few locations you know will look great in this sort of weather so when the low winter sun does breakthrough and adds a stream of light to your scene, you're there and ready to take the shot. This could mean you end up setting up when the rain's still falling which means you need to protect yourself and more importantly your gear from the elements. Pack a waterproof cover, keep your gear in your camera bag for as long as possible and have a lens cloth to hand to wipe any drops that fall on your lens. If your camera is waterproof or splashproof the wet weather shouldn't bother it too much but once you're home, remember to unpack your gear and leave it out to dry fully. Another bonus of working just after it's rained is everything looks naturally more saturated because it's wet.

 

 

3. Get Rid Of The Sky

If the sky is really too boring, you can always remove it from the shot by either cropping it out during post-production (if you can without spoiling the shot) or by using a telephoto to pull your subject to you, excluding the sky as you do.

 

4. White Balance

Instead of shooting with auto white balance, which can remove some of the punch the autumn shades have, try setting it manually so the colours are as vibrant as you can make them. Then, if you want to give the shot more punch, you can always adjust the image during post-production.

  5. Work Under The Forest Canopy

A good covering of cloud will make the light under the forest's canopy more even so it's a good time to shoot some close-up shots of mushrooms, bark and autumn leaves that have fallen to the floor.

© FUJIFILM

 

Fujifilm Europe has announced the instax SQUARE 2, the latest camera in its square-format instant range. It has automatic exposure, automatic flash, a built-in selfie mirror and a new Mood Filter Switch that lets you choose a Warm tone, a Cool tone or the standard instax film look. It comes in Slate Blue, Misty White and Brick Red, and is expected in the UK in late October 2026. Fujifilm is also launching instax SQUARE Soft Haze film, which has reduced saturation and contrast for a softer look. Each pack contains 10 exposures.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, today announced the launch of its instax SQUARE 2™ instant camera (hereafter SQUARE 2), the latest iteration in its iconic and popular instax™ SQUARE product lineup. SQUARE 2 brings a refreshed look and new features to fans of square instant photos. 

“Our instax™ SQUARE products have always been a much-loved part of the instax™ range, offering a format that feels both classic and timeless.” said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe. “We’ve heard from our customers that they’ve been looking for a new SQUARE camera, so we’re really excited to introduce a fresh design with brand new features. It brings something different to the SQUARE lineup while retaining everything people love about the format.”

In addition to Automatic Exposure and Automatic Flash features, SQUARE 2 features the new Mood Filter Switch, which allows users to adjust the overall colour, tone, or mood of their photos. Users can choose Warm for a subtle golden tone, Cool for crisp, blue-toned colour, or Off for the classic instax™ film look. 

 

© FUJIFILM

 

Key Features Recap:

• Clean, new sculpted body design 
• Built-in Selfie Mirror 
• Automatic Exposure 
• Automatic Flash 
• Intuitive twist-to-operate controls, including selection of three shooting modes: Close-up Mode, Landscape Mode & Standard Mode  
• Two Mood Filters (Cool or Warm) 
• Prints on instax™ SQUARE instant film (instax™ SQUARE instant film sold separately) 
• Available in 3 colours: Slate Blue, Misty White or Brick Red 
• Includes: Hand Strap, Quick Start Guide, (4) AA Batteries and 1 Year Limited Warranty

 

© FUJIFILM

 

New Film Variety

Accompanying the introduction of SQUARE 2, Fujifilm is also announcing a new instax™ SQUARE instant film, SOFT HAZE. Featuring colour tone with reduced saturation and contrast, this new instant film creates an overall softer look to the photos with glowing highlights and warm, diffused shadows. Each instant film pack contains 10 exposures.

 

Pricing and Availability

FUJIFILM instax SQUARE 2™ instant camera is expected to be available in the UK in late October 2026 at a Suggested Retail Price of £94.99 (including VAT). instax™ SQUARE Soft Haze instant film is also expected to be available in the UK in late October 2026 at a Suggested Retail Price of £9.99 (including VAT). 

 

The instax SQUARE 2™ will be available from following retailers: 

• FUJIFILM House of Photography*
• FUJIFILM eShop
• John Lewis & Partners
• Boots
• Argos
• Amazon*
• Currys
• Jessops*
• London Camera Exchange*
• Wex Photo Video*
• Harvey Norman*

(* Denotes pre-order is available)

For more information, please visit the official Fujifilm instax website.

 

About instax™

Since its original launch in 1998, the instax™ series of instant cameras has embraced trends and evolving technologies with time and expanded its lineup to include not only analogue instant cameras, but also hybrid instant cameras using digital technology, smartphone printers and a palm-sized digital camera. instax™ continues to offer diverse ways to enjoy photography, broadening the user base in more than 100 countries.

 

UREVO, a global leader in smart fitness technology, today spotlights its CyberPad for Office and Foldimax 5L smart walking pads as practical companions for autumn, helping people maintain regular movement as temperatures drop and outdoor exercise becomes less appealing. UREVO is a global innovator in smart fitness technology, dedicated to creating high-quality solutions that empower individuals to lead healthier lives.

The FoldiMix 5L is available now in the UK on Sale for £399.99 (RRP £499.99) on the UREVO website and in the US on Sale for $311.99 (RRP $499.99) on the UREVO website. 

The CyberPad for Office is available now in the UK On Sale for £399.99 (RRP £499.99) on the UREVO website and in the US for $429.99 (RRP $479.99) on the UREVO website.

For many people, colder autumn weather can make outdoor walks, runs and cycles harder to fit into the day. Whether it is fitting in an active break between meetings, walking while watching a programme at home, or taking on a more challenging incline session in the evening, these two UREVO walking pads are designed to make indoor activity easier to incorporate into a busy routine.

The CyberPad for Office is designed for workspaces and under-desk movement, combining a compact 42.9-inch by 22.8-inch frame with a 2.5HP dual brushless motor and 0 to 14 percent automatic incline. Its 39.4-inch by 16.5-inch walking surface supports speeds from 0.6 to 4.0 MPH, while the UREVO app provides activity tracking and workout controls. With a stated maximum load of 400lbs, the CyberPad offers an office-friendly option for building regular movement into the working day.

 

 

For those looking for an at-home walking solution with a stronger focus on incline training, the Foldimax 5L combines a built-in desk that supports use as a standing desk with a 2.5HP dual brushless motor and nine levels of automatic incline, reaching up to 9 percent. The unit offers speeds of 0.6 to 4.0 MPH, a 39.4-inch by 15.8-inch belt, a stated 300lb maximum user weight and a 12-point shock-absorption system. Connected UREVO app features include World Tour routes, HIIT workouts and activity tracking, helping users set tangible goals as the season changes.

Autumn does not need to mean losing momentum. By bringing movement indoors, people can maintain fitness routines through colder weather while staying comfortable at home or at work. With app-connected tracking, compact footprints and adjustable inclines, the CyberPad for Office and Foldimax 5L provide flexible options for staying active as temperatures drop.

• UREVO CyberPad for Office: 2.5HP dual brushless motor; 0 to 14 percent auto incline; 0.6 to 4.0 MPH speed range; 39.4-inch by 16.5-inch walking area; 400lb stated maximum load; app connectivity; 42.9-inch by 22.8-inch by 6.3-inch product
• UREVO Foldimax 5L: built-in desk for standing-desk use; 2.5HP dual brushless motor; nine-level auto incline up to 9 percent; 0.6 to 4.0 MPH speed range; 39.4-inch by 15.8-inch walking belt; 300lb stated maximum user weight; 12-point shock absorption; UREVO app support.

The FoldiMix 5L is available now in the UK on Sale for £399.99 (RRP £499.99) on the UREVO website and in the US on Sale for $311.99 (RRP $499.99) on the UREVO website. 

The CyberPad for Office is available now in the UK On Sale for £399.99 (RRP £499.99) on the UREVO website and in the US for $429.99 (RRP $479.99) on the UREVO website.

 

About UREVO

UREVO is a global innovator in smart fitness technology, dedicated to creating high-quality solutions that empower individuals to lead healthier lives. With a focus on advanced engineering and sleek design, UREVO products integrate into modern lifestyles, making fitness accessible and enjoyable for all.

 

 

Views over valleys - pretty straightforward isn't it - get high, find a valley, point the camera and take the picture. If only it was that straightforward – let's look at some of the other things you should consider when photographing vistas: 

  1. Check the weather

Firstly, and most significantly, the weather. Check weather forecasts (Check them on-line twice a day - as they change regularly) and don't assume that a sunny day is best. It depends upon the area and time of day - low, raking sun across a misty early-morning landscape can be fabulous, as can afternoon sun, casting tree shadows and picking out dry-stone walls across rolling fields. However, a landscape topped with a stormy sky can similarly look really impressive. The only type of skies to avoid might be a plain grey overcast, which gives both no detail in the sky and no texture across the land; or a clear blue sky in the middle of the day, which offers little modelling to the landscape. Blue sky with clouds allows cloud shadows to break up the otherwise flat lighting.

  2. Check the direction of the light 

The direction of light is also important, shooting distant views can look very flat and uninspiring with the light behind you. Far better to have cross-light coming from the side or contra-jour lighting. Even with stormy skies, better cloud shapes can occur when the light is shining through them. So either get to know the area – and the best times of day, or take a map and compass. 

Clear conditions can allow impressive detailed views over many miles, which with good lighting and texture can be effective, on the other hand, misty or hazy lighting conditions can provide an ethereal, delicate landscape and emphasise the depth within the scene.

 

 

3. Consider an ND Grad Filter 

If your landscape shot includes the sky, you might find that an ND graduated filter will help you control the contrast between land and sky. A polarising filter can darken blue skies and often can cut through slight haze – giving better clarity and even reduce the hazy blue cast, warming up the image at the same time. A good way of excluding excessive sky and foreground is to stitch a series of pictures to create a panorama.

 

4. Think about foreground and midground interest as well as the background

One of the biggest problems with distant landscapes is maintaining enough interest through the photo, whilst the distant landscape might be interesting in itself, if there is nothing in the foreground, or no way for the viewer to be visually led into the photograph, it will lack impact. Always be on the lookout for foreground detail, which might be a tuft of long grass, a rock, gate or barn. Good mid-ground interest, perhaps a set of overlapping dry-stone walls, a spotlit copse of trees, or even – at a larger scale, a set of overlapping hills.

Even the getting high bit need not be all climbing. Again take a look at your maps, many good landscape views are accessible by road, or by level paths from high roads. Even one of the most famous of all landscapes, inspiration point in Yosemite National Park, is best taken from the car park! However, there is still a certain sense of achievement of having carried kit and tripod up a fell to be rewarded with a stunning view.
   

 

A macro image of water droplets on moss, called October, by ePz member KristinaZvinakeviciute, has been awarded the Photo of the Week accolade.

This is a superb close-up image with great lighting, and the soft, warm glow at the top of the frame gives the whole scene a dreamy feel. The tiny drops cling to the moss capsules and pick up the colors of their surroundings, while the creamy bokeh in the background adds extra interest.

The shallow depth of field keeps the central stems and drops nicely sharp, with the rest of the moss softening into green tones. It’s a beautiful macro image.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

 

Cross polarising effect is where you use a pair of polarising filters - one on the camera and one on the light source (behind the subject) to show stress in plastic which appears as wonderful multicoloured pattern. It used to be quite difficult as the filter needed for the backlight needed to be large and polarising gels are not only hard to find but also quite expensive. But there is a modern-day solution and it's staring right at you! Your LCD computer monitor. Yes, this can be used as the light source and even though you didn't realise - it has the polariser built-in.

You'll need to use a camera with a polarising filter either attached or positioned in front of the lens. Of course, you'll need a monitor and a steady support will also be useful. A tripod is ideal but it could be something as simple as a pile of books just so long as the camera is set to the correct height.

Some clear hard plastic items - filter cases, plastic cutlery, plastic glasses, cassette and cd cases or geometry sets are a few options - will also be needed as well as something to hold the plastic item steady in front of the computer monitor. Where possible ensure your items are scratch-free as these can spoil the effect. 

 

Step-by-step cross polarisation photography instructions:

1. Turn the monitor on and remove any desktop clutter and change the screen saver to a neutral colour. The other option is to create a plain mid-grey image about 800x600 pixels and call it grey.jpb. Drag this to the web browser to display it and then hit the f11 key to display the browser full-frame without menus. And then hold down the ctrl key and tap the + key until the grey image fills the monitor window.

2. Position the plastic item in front and in the centre of the monitor. A clamp is a useful tool for this but really, whatever you use just has to get the area you want to photograph in the centre of the monitor.

3. Attach the polarising filter to your camera and position the camera in front of the plastic so all you see is an area of the plastic with the grey image totally filling the background. If you can't get close with your camera use the lens at its telephoto setting to fill the frame and avoid edges of the monitor showing. If you still can't get close enough you will have to crop off areas you don't want later.

4. Rotate the polarising filter and watch the colours of the plastic become stronger and the grey goes darker. If you have it set up correctly the grey monitor will go totally black, and the colours in the plastic will be brilliant.

You can use any exposure mode and shooting at the metered setting should be fine. Underexpose a little if you want even more dramatic colours.

For an extra level of abstractness bring a second item even closer to the lens to make the whole image have a multicoloured filter. By experimenting you can often find undiscovered gems.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to TonyMat1 (Day 10 - British Wildlife).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 11

Movement

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Day 12

Mood

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Day 13

Self Portraits

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Day 14

Coast Out Of Season

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  Day 15

Fungi

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Day 16

Fallen Leaves

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Day 17

Autumn Macros

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

    The colours of Autumn are really what make our images sing and one way to exaggerate the golds, yellows and reds is with backlight. Plus, it'll really make the intricate pattern of veins stand out and focus the viewer's attention.   Backlighting, where the light comes from behind your subject towards your camera, can make semi-translucent subjects such as Autumn leaves really 'pop' from the frame. Colours tend to glow more and the detail found in leaves, such as the veins, really stand out. Plus, if you can position your subject against a darker background you'll enhance the effect. Just make sure your lens is shielded to prevent flare with a lens hood, your hand or use your surroundings to create a cover for your lens. While we're talking about light, it's worth mentioning that you can actually create this effect with the sun to the left or right of your frame, so long as it's at a low angle.    1. Think about lens choice

Working close with wide-angle lenses can give creative results, however, flare will be more of a problem. A macro or telezoom lens is ideal but still fit a lens hood to prevent flare. Do check the frame to make sure the lens hood hasn't crept into the frame though. 

If you find the leaf is silhouetting against the sky just add a little fill-in flash. You can also position the flash behind the leaf to create your backlight if the sun's not playing ball or when at home, use a window or even a lamp as your light source. You just need to place a piece of tape over the leaf's stalk and stick it flat against a window. You won't have to worry about wind blowing your subject around at home either.

  2. Leave space between the subject and the background for good bokeh

Having space between your leaf and its background will help create the distraction-free blurry background we're after. Using an aperture to throw other leaves out of focus can help too.

When it comes to metering it's best to take a reading from the leaves to ensure they are correctly exposed and switching to spot metering will help. If the background's dark you may need to reduce the exposure by about half to one stop to ensure it stays dark. If it's light, open up half to one-stop and bracket if you are unsure. Check your histogram too to make sure your shot is correctly exposed. To make the light around the edge of your subject 'sparkle' you may need to overexpose the shot slightly.

After Autumn gives way to Winter you can use this backlighting technique to enhance the sparkly appearance of frost and ice which works particularly well when working with plants. 

 

Autumn is the perfect time for capturing close-up/macro shots and this is something you can do even if you're a compact user who doesn't have an arsenal of lenses at their disposal. Be on the lookout for subjects that have interesting textures or are full of colour, plus look on the ground as well as up at the trees as you'll find conkers and other interesting items that make the perfect subject for an Autumn macro shot. 

 

Use the close focus mode

To get started, you're going to need a compact camera that has a close focus. Around 10cm is fine, however many modern compacts focus much closer now. The macro mode is usually indicated by a flower icon and you need to ensure this is selected otherwise your camera won't know you want to shoot macro shots. Plus, this mode will also usually mean your camera picks a larger aperture (small f-number) so you get backgrounds that are nicely thrown out of focus. 

A tripod will help prevent camera shake and if you plan on shooting fungi and other subjects that are close to the ground, one that has a reversing centre column will help but it's not essential. A beanbag or even your camera bag can be used as a support for a quick snap if you don't own a tripod.

 

1. Working with low light conditions

For locations where there's not much light, such as in woods, you may need a small reflector to bounce more light on to your subject. If you don't own one try making your own from a piece of card and silver foil. You can use your camera's built-in flash but it tends to be a little harsh which can result in fungi looking a little too shiny and can take away from the overall atmosphere of the shot. Do try taking a few shots with it, though and see what you think. You never know, you may prefer the shots with flash rather than without. 

So you don't cause camera shake by pressing the shutter button you can use your camera's self-timer on its shortest setting. By doing so, you'll not be pressing the shutter button as the exposure begins, reducing the chances of shake spoiling your shot. 

 

2. What Can I Photograph? 

Autumn means lots of gorgeous coloured leaves falling off trees and they can make interesting macro shots on their own or you can use your macro leaf shots as textures in other photos. Look for different patterns and shapes but this doesn't mean they have to be perfect as little imperfections can add interest to your shot. Make the most of backlight to really make your images 'pop'. 

As the leaves fall off the trees, they become bare, and this gives you the chance to capture shots of bare branches and bark which again, make great textures for background montages. Also, consider textures that can be printed as triptychs - three photos framed in panels side by side.

 

3. Look for the first frost

In the Autumn, the first frost of the year usually appears and can make interesting photos when it covers leaves or grass. Head for open spaces (lawns and fields) rather than places that are sheltered, which can stop frost from forming. Side and direct light will help emphasis the way the frost glistens and it will last longer in shaded areas but you'll need to use a reflector to bounce extra light into the shot. For shots that capture the patterns and textures frost creates, get in close and avoid using flash.

Conkers are becoming ripe and falling so be on the lookout for them. Don't just go for brown ones either as they look just as good when popping out of their bright green shells. They are perfect subjects for an Autumn still life when used alongside leaves and even berries. If you do use berries you may need to adjust your shooting position as reflections can be a problem due to them having an almost shiny surface.

 

4. Focus on the small details

To give your close-up work a more abstract feel remove your subject from its surroundings by focusing on a small part of it. Look for interesting shapes and textures that you can focus a tight crop on. Overcast days are good for this sort of technique as the diffused light will help bring out detail in the shapes, lines and form you're capturing.     

 

When you had out in autumn, the first thing that you're likely to be greeted with is fallen leaves on the floor. Take advantage of these and create some great photos!

It's worth packing a polarising filter as one of these will enhance autumn shades and help reduce glare. Then basically, all you need to do is find some autumn leaves, arrange them if you wish then photograph them. Try and get a mix of varieties if you can and if you can wait until the next morning to photograph them, they'll be covered in droplets of morning dew or if you wait until the temperature drops a little more they'll have a dusting of frost, giving you the chance to shoot some abstract Autumnal shots.

 

1. Look for interesting patterns Don't have any trees at home? Well, you can collect some fallen leaves from the park or venture out early and do your photography there. Look out for scenes where fallen leaves have created interesting patterns without you having to move them or where they’re decorating a particularly picturesque scene. A blanket of leaves around the trunks of trees will always make a great shot that really sums up autumn. Look for objects in your garden or around the park that you can use in shots with the leaves you've collected to make a more interesting composition.    2. Go close-up and abstract You can position yourself a little further off the ground and photograph the whole pile of leaves but by getting in close to one or two of them, playing with several compositions you can end up with some surprisingly interesting shots. Try just focusing on the tip or stalk of one leaf or focus on the centre of one so blur creeps in at the edges. Try using a wider aperture so you get a shallow depth of field that allows detail to be to focus of the shot. Do watch out for shake creeping into your shots as it does become more noticeable when working with close focusing. Always use a tripod and make use of your camera's self-timer so you aren't touching the camera as the exposure begins. Better still, use a cable / remote release or even your SmartPhone as the trigger if your camera allows it.   
  3. Backlight the leaves Back home, if you have a lightbox you can use it to backlight your leaf so all the detail stands out. If you're using a camera that has Live View it's worth using it to check the overall sharpness of your close up shots. It also comes in handy when you're taking shots where putting your eye to the viewfinder is a little tricky. 

If you're working by water where leaves are decorating the land surrounding it or are floating along the surface of the water as it flows downstream, experiment with longer exposure times to blur the water's movement. We say experiment as several factors will affect what length of shutter speeds you'll need to achieve your desired result.

 

4. Experiment with settings

Experiment with your camera's white balance settings to find the best colour balance for your shot and if you feel the autumn tones need more depth, use your camera's exposure compensation control and dial a - stop in. You don't need to go too low, a half or one-stop should be fine. Having said that, if you shoot in RAW you can always give the colour in your shots a boost when you're back on your computer. 

- Partner Content -

 

 

Talking-head ads often have one obvious problem after AI enhancement: the person starts looking too polished. Skin becomes unnaturally smooth, small facial details disappear, and the final video can have that familiar "AI plastic" look. 

That can hurt an ad, especially when the goal is to make the speaker feel REAL and trustworthy.

Vmake Labs' Portrait Pro scene is designed for this kind of footage. It can sharpen and improve facial details without pushing skin toward an overly smooth finish. That makes it worth testing for creator ads, founder videos, product explainers, and other campaigns where the person on screen needs to look clear without losing natural texture.

 

Why talking-head ads fail after basic enhancement

 

A talking-head is harder to enhance than a product-only shot. The person has skin, hair, eyes, teeth, fabric, and a product label in the same frame, and all of them move. Basic enhancers treat them the same. They crank sharpness and smoothing globally. The result is predictable:

• Skin loses pores and fine lines, then looks waxy.
• Hair turns into a solid helmet, especially curly or fine hair.
• Product in hand gets softer while the face gets too smooth.
• Background starts to buzz or pulse when you export to 4K.

Viewers notice it fast. In a creator ad or founder video, trust drops when the person does not look like themselves. 

So, the better enhancement approach is to treat the face as a separate visual priority. Facial details need enough sharpening to restore clarity, while skin needs to retain its natural variation. Hair and eyes need their own level of detail too.

That is the main reason Portrait Pro in Vmake Labs can make sense for talking-head ads. Instead of relying on a general enhancement pass, it puts more attention on the portrait area. This can help to enhance video quality when the original footage is slightly soft, compressed, shot in poor lighting, or recorded with a phone camera.

 

What Portrait Pro does differently

 

Vmake Labs is an AI social video studio for small businesses that need help to generate, enhance, and optimize video to capture attention and drive sales. It is built for social operators, SMB owners, and UGC creators who have to turn product clips into post-ready social video fast.

Inside that studio, enhancement is split into tiers and scenes so you don't use a hammer for every job.

• "Fast" for quick cleanup
• "Quality" for an AI-powered rebuild with richer details
• "Master" for cinema-grade polish at 2K, 4K, and 8K, when the clip needs to hold up as a hero ad

Then the scenes handle intent. The "Studio" gives real footage a more cinematic look. "Portrait Pro" is specifically for people. If your video is 80% face, that is the one you want.

 

 

Think of it as a larger model that knows the difference between skin and other surfaces. 

When you use it:

1. Skin keeps texture. Instead of smoothing everything, it preserves small details — pores, fine lines, eyebrow hairs — while cleaning compression blocks. The face looks clearer, not airbrushed.
2. Product in hand stays sharp. When a creator holds your tote, serum, or gadget, Portrait Pro keeps label type and material definition. So the eye can read the product while still believing the person.
3. Large areas stay stable. White desk, studio paper, or a blurred room behind the speaker does not band or flicker when you push to 4K or 8K.

That combination matters because most talking-head ads are shot on a phone in mixed light. You want the bump to 8K for the homepage hero, but you do not want the "beauty filter" look that kills credibility.

 

A practical workflow that keeps skin natural

 

Small teams who live on TikTok, Reels, and Shorts do not have time to re-shoot. They reuse authorized assets they already own. Here is how they fit Portrait Pro into a real day:

 

1. Clean your own clips first

 

If your best testimonial has an old editing app logo that is semi-transparent in the corner, or old captions baked over the product, run it through Vmake Labs ai watermark remover first.

Vmake Labs watermark remover tool now has Smart Pro feature, which is built for hard cases — moving, animated, or semi-transparent text that sits on top of complex backgrounds like canvas or skin.

 

 

It detects more of those fine, moving marks and blends the background with finer edge repair, so you do not get a big blur patch where the text was. Only use it on footage you own or have explicit rights to edit.

 

 

2. Pick the right mode and scene

 

Next, upload the cleaned clip to the Video Enhancer. Choose:

Mode: Quality for most talking-heads, Master if this is going to be your main ad for a week or you need to crop it to multiple ratios

Scene: Portrait Pro

 

 

That is it. 

Don't stack extra sharpening on top in another app. Let Portrait Pro do the skin work. If you need to enhance video quality for background details too, Master will give you more headroom at 4K without pushing the face into that waxy look.

 

 

3. Check at 100% before you export

 

Pause on three frames: eyes open mid-sentence, a slight smile, and a side turn. Zoom to 100% on your phone.

• Do you still see pores on the cheeks and forehead?
• Do eyebrows and eyelashes stay separate, not clumped?
• Does the background get cleaner while the skin stays soft but real?

If yes, you are done. If skin still looks too smooth, you probably had beauty mode on during recording. Re-record with it off and run Portrait Pro again — it preserves texture, it does not invent it from nothing.

 

When to test Portrait Pro

 

• Founder ads: You are on camera explaining why you made the product. You need to look clear, not filtered.
• Creator UGC: You have permission to reuse a creator's review. Their face is the thumbnail. Plastic skin hurts click-through.
• Product explainers: Face in corner, product in hand. Both need detail at the same time.
• Paid cuts you will run for a week: If you are spending on it, the extra minute for Master + Portrait Pro pays back in credibility.

What Portrait Pro is not for: product-only spins, flat-lays, or catalog videos where no person is present. There, Studio in Master gives you that more cinematic product look without worrying about skin.

Talking-head ads work because a real person says a real thing. The job of enhancement is to make that person easier to watch, not to make them look like someone else. Portrait Pro is Vmake Labs' answer for that — more natural skin texture, sharper product when it shares the frame, and less of that AI plastic that makes viewers scroll away.