Photography News

The head of the tripod that you use can greatly affect your efficiency in shooting, which can indirectly affect your creative output. Geared heads often seem too complicated and cumbersome, but this one from Leofoto might be worth a try. 

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A fisheye zoom is one of those tools that can either sit untouched for years or quietly become the reason your images look nothing like everyone else’s. The question isn’t whether distortion is “good,” it’s whether you can control it when the shot has real constraints like space, speed, and framing. 

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Canon just dropped a new ultra wide prime that aims straight at night skies, tight interiors, and fast-moving video, and the price puts it in serious territory. If you’ve been waiting for a 14mm that doesn’t feel like a special-purpose brick, this one raises a few questions worth watching play out. 

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A 50mm lens can cost $50 or it can cost over $2,000, and both can take photos you’d happily keep. The real question is what you’re paying for when the focal length stays the same, and whether any of it changes what you can shoot tomorrow. 

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A year with the Fujifilm GFX100 II can either make you fall in love with stills again or make you regret every storage decision you’ve ever made. The video lays out the real tradeoffs of living with a 102-megapixel medium format body when you’re shooting work, not just testing it for an afternoon. 

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Your camera is too good. I mean that as a genuine problem, not a humble brag about your gear. That $2,500 mirrorless body sitting in your bag can identify human eyes at 30 meters, track a subject across the frame while firing 30 frames per second, and deliver usable images at ISOs that would have been science fiction a decade ago. It is, by every measurable standard, a miracle of engineering. And it might be making you a worse photographer. 

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Canon is marking 30 years of its PowerShot compact digital camera line with a limited edition version of the PowerShot G7 X Mark III, scheduled to ship in April 2026. The anniversary model adds cosmetic and bundled accessories to Canon’s existing 1.0-inch compact camera platform while commemorating the long-running PowerShot brand. 

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Canon has announced the Canon RF 7-14mm f/2.8-3.5 L Fisheye STM, a new L-series zoom designed for full frame EOS R cameras and RF-compatible Cinema EOS models. The lens expands Canon’s RF lineup with a dedicated fisheye zoom that covers both circular and diagonal fisheye imaging in a single optic. 

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Canon has announced the RF 14mm f/1.4 L VCM, an ultra-wide prime for the RF mount aimed at full frame EOS R and Canon RF-mount cinema cameras. The lens combines a fast f/1.4 maximum aperture with an L-series build, and Canon positions it as a tool for landscape, astro, architecture, real estate, and video production work. 

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Transport is, probably, one of the easiest photographic subjects to find but with so much choice, how do you go about capturing the best shots of cars, trains and planes you can? That's where this article comes in as we've listed 10 top tips to help you perfect your transport photography skills. 

 

1. Not Just Cars

 

Cars are probably the first mode of transport that comes to mind when you think of transport photography but there are plenty of other subjects that are worth a shot or two. Bikes, trains planes and boats can be slightly more challenging to capture but can produce good results.

Trains are predictable as they have to follow a track, leave and arrive at certain stations and have a schedule they have to follow. Finding a spot to shoot from should be quite simple then all you have to do is perfect your technique. If you need a few tips on shooting trains, take a look at our technique: Railway Photography

Most of us don't have to go that far to photograph boats. We are usually not a million miles from the coast, rivers with boats, canal and inland waterways or even water-sports centre to be able to photograph this form of transport. For tips on shooting boats, take a look at these tutorials: Boat Photography and A Guide To Boat Photography

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For plane photography, airshows are probably the best place to perfect your technique and there's usually planes on the ground you can photograph too if you don't fancy photographing them while up in the air. Have a look at ePHOTOzine member, David Pritchard's Air Show Photography Guide for more tips on plane photography.

If you fancy trying your hand at sports photography, motocross is a great event to try. It's fast-paced, interesting to watch and there are plenty of events held around the country which means you shouldn't have to travel far to shoot some action shots. For tips on photographing motocross, take a look at our tips: Shoot Motocross Action

2. Continuous Shooting

 

To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots. Start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.
 

3. Look For Detail

 

As well as shooting photos where you get the whole car, plane or train in the frame, take some close-up shots of the patterns, badges, paintwork and other detail the vehicle has.
 

4. Continuous Auto Focus

 

Most cameras feature quick and accurate AF (Auto Focus) systems making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.

 

5. Capture Light Trails

 

For more creative shots, try shooting light trails in towns and cities at night. Dusk is a good time as there's still usually a good amount of traffic around and there will still be detail in the sky. For tips on shooting light trails, have a look at this tutorial: Photographing Light Trails

 

6. Location, Location, Location 

 

Think about your location carefully - a 4X4 will look great at the top of a mountain but stick a little car up there and it can look lost. If you live on a busy street, move your car to another location as a messy background will just distract the viewer. For more advice on shooting locations, have a look at this technique: Car Portrait Advice

 

7. Use A Support

 

When using long lenses, as you do for many shots of transport, having some sort of support handy will stop you straining your arms and shoulders. A tripod can be used, however, if you're at a busy air show or by the track where there's not much space, a monopod is much more useful.

Panning plays a big part in some transport photography and even though you can pan quite easily without the help of support, some photographers do prefer to use a tripod or monopod, it's really down to personal preference.

  

8. Work With Angles

 

Doing something as simple as crouching down can make your shots more exciting so do take the time to walk around the vehicle you're shooting to look for angles, shapes and lines that will really help improve your shots.

9. Use Reflections

 

As mentioned in our 5 Ways To Be More Creative With Transport Shots article, there are various ways to use reflections in transport shots. You can use car mirror's, reflections in bodywork or look away from the vehicle for puddles and other reflective surfaces.

10. Back At Home

 

When it comes to photo editing, you really can spend hours tweaking and changing your shots. You can add emphasis with a vignette, darken skies to add mood, give older transport a vintage feel with lomo tweaks or by turning them black and white or how about having a go at HDR? Take a look at ePHOTOzine's techniques for some inspiration.
 

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

 

Retouch4me recently expanded its lineup of automated tools by introducing a neural network-driven plugin designed to tackle the repetitive task of fixing messy hair. By targeting flyaways and misplaced strands that usually need meticulous manual brushing, the software aims to drop significant time from the post-production process for busy portrait and wedding photographers. The tool fits right into existing workflows as a Photoshop extension or standalone app, so photographers can clean up large batches of images locally while keeping everything looking natural.

 

From Retouch4Me

Retouch4me, a developer of AI-based software for photo and video editing, has introduced Retouch4me Stray Hairs, a neural network–powered plugin that automatically removes flyaway hairs and smooths messy hair. The software targets one of the most time-consuming tasks in portrait retouching, saving photographers up to 15 minutes per image.

Removing stray hairs manually requires zooming in, sampling background areas, and carefully painting over each distracting hair. For a single portrait with visible flyaways, this process can take up to 15 minutes. For wedding photographers and other pros handling high-volume shoots, those minutes quickly add up to hours of repetitive post-production work.

Unlike manual Photoshop workflows that require adjusting each image separately, Retouch4me Stray Hairs processes entire batches automatically while keeping hair looking natural and consistent across the set. The neural network was trained on professionally retouched portraits and learned how professional retouchers identify and remove unwanted hairs. The plugin handles three specific tasks: cleaning flyaways along the hair edges, removing hairs crossing the face, and offers optional mask adjustments for precise control when needed.

“Repetitive tasks like stray hair removal are among the most time-consuming parts of post-production, which is why we’re excited to help photographers automate this step,” said Oleg Sharonov, founder of Retouch4me. “Our goal is simple: let photographers focus on their creative vision while the AI-based software handles cleanup. Retouch4me Stray Hairs is a natural extension of our mission to remove repetitive retouching from photographers’ workflows.”

 

 

Workflow and Compatibility

Retouch4me Stray Hairs works as a standalone application or Photoshop plugin for Windows and macOS. In Photoshop, it generates layers, allowing photographers to make further adjustments while keeping the original intact. All processing happens locally on the user’s PC, and batch mode allows photographers to retouch hundreds of images in one run, without changing their existing workflow.

  Availability and Pricing

Retouch4me Stray Hairs is available for $124 as a perpetual license with free updates. No subscription is required. A free trial version is available at https://retouch4.me/stray-hairs

 

About Retouch4me

Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, its software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. We believe that combining AI and human creativity helps achieve superior results. Retouch4me improves the workflows of creatives in over 115 countries. Discover how to elevate yours at https://retouch4.me

 

 

We're a bit off from Spring but that doesn't mean you can't photograph flowers as florists and supermarkets will be bursting with interesting flowers that you can photograph in your own home. To get you started, we've put together quick, basic and helpful tips that will aid you in creating a simple still life set-up at home so you can begin capturing floral themed images. 

 

1. Simple Backgrounds 

Flowers can look great when simply lit by sunlight. However, if you're working indoors next to a window they often look out onto gardens, streets and other distracting objects which don't make great backgrounds and can spoil the shot. You can, of course, remove the background with editing software but by simply placing a plain object behind your subject you'll save yourself a lot of time. A simple piece of card or cloth will work just fine.

 

 

2. Don't Block Too Much Light 

You have to be careful where you place your new background as it can block the sun but by holding it or, if you can, getting someone else to hold it, the background can be moved around while you look through the viewfinder to see what position works the best. The trick is to move it as high up behind the object without any sun being shielded. Don't position the object you're photographing too close to the background either as no light will be able to get to it. If you enjoy doing these sort of photos you could even create a purpose-built set up that could be used again and again for indoor still life shots.

If you have to position your camera/background so some of the window creeps in at the top don't worry; you can crop it out later when you get your image onto the computer. 

 

3. Shutter Speeds & F-Stops 

When holding the flower take care with your shutter speed as going too slow will result in shake and as you're working with direct light, going too slow will leave you with a shot that's over-exposed. Don't use a too wider aperture as the petals towards the front and back of the image will start to lose focus. Try starting with f/8 and reduce/increase from there.

 

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

The skills that made you valuable in 2020 are now automated. Here is what matters now. 

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Technical skill is no longer a filter. What remains of photography begins where execution stops protecting the work, leaving only judgment and intent. 

AI didn’t kill photography; it exposed it. Now that the technological process is complete, technical thresholds no longer function as a professional filter. This shift began long before artificial intelligence, but AI brings it to its logical endpoint—removing the last barriers separating mere competence from true intention.

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A 24-105mm f/4 zoom lens looks like the practical pick until you start worrying that it will leave you stuck with flat light and busy backgrounds. This video makes a sharper point: the zoom isn’t the limitation, the way you drive it is. 

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Buying a monitor for photo editing feels a lot like reading the back of a memory card package: numbers everywhere, most of them meaningless without context, and manufacturers betting you won't ask follow-up questions. The difference is that a memory card mistake costs you convenience, while a monitor mistake costs you accurate color judgment on every image you edit. Here's what you need to know.  

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