DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Photo by Joshua Waller

 

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

 

1. Depth-Of-Field

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

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

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

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

 

Photo by Joshua Waller

2. Photographing People

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

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

 

Photo by Joshua Waller

3. Bokeh Backgrounds

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

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

 

Photo by Joshua Waller

 

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

ePHOTOzine members can enjoy exclusive savings on PortraitPro 24 from Anthropics Technology.

Edit whole shoots in just minutes. Highly rated by leading industry publications, PortraitPro 24 is the world’s first intelligent retouching software, powered by advanced Generative AI and smart tools for fast, professional results.

 

"It is in the creation of flawless skin and perfect make-up that PortraitPro excels."

Professional Imagemaker

 

 

Repair mouth and teeth with Generative AI, remove glasses reflections, recover blurry faces, and do lots more, in a fraction of the time.

 

"Anthropics PortraitPro offers photography editing tools that are easy to use and surprisingly effective."

Creative Bloq

 

 

Enhance your portrait work for pro-style portraits with powerful features:

 

Key New Features:

• New gender and age detector
• Mouth inpainting & teeth replacer
• Face recovery
• Skin and hair masks
• Glasses reflection remover

  Improved Workflow:

• Seamlessly switch between faces in group shots.
• Effortlessly share presets.
• Utilise a streamlined preset search box.
• Explore more image save options.
• (Exclusive to Studio Max) Apply multiple presets to each picture.

 

 

 

Turn hours of retouching into minutes. Try PortraitPro for free today.

The 50% OFF sale is on now, plus you'll get an EXTRA 40% OFF at checkout with your exclusive coupon code EPZSS. And, you'll receive a FREE SOFTWARE GIFT with any PortraitPro new purchase or upgrade.

Buy or Upgrade now.  Don't miss the huge discounts on our Bundles.

 

 

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

 

1. Capture More Close-Up Shots

 

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

 

2. Use Fast Shutter Speeds

 

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

 

3. Go Abstract - Shoot Bubbles

 

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

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

 

4. Head Out On 'Bad' Weather Days

 

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

 

5. Do A Black & White Conversion 

 

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

 

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

 

 

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

 

Themes To Choose

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

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

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

 

Composition Is Key

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

 

Work On Several Themes

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

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

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

 

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

[COMMENT_IMG]direct|332115|332115_1783844761.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to AndyPedant (Day 12 - 'Signs).

 

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 9

Skyscrapers

[COMMENT_IMG]direct|350704|350704_1783853001.jpg[/COMMENT_IMG]

 

Day 10

'Fast' Theme

[COMMENT_IMG]portfolio|89636|3782207[/COMMENT_IMG]

 

Day 11

Vertical Lines

[COMMENT_IMG]portfolio|70323|3724322[/COMMENT_IMG]

 

Day 13

'Out Of Focus'

[COMMENT_IMG]direct|345095|345095_1783928679.jpg[/COMMENT_IMG]

  Day 14

Summer Trees

[COMMENT_IMG]direct|161002|161002_1784036835.jpg[/COMMENT_IMG]

 

Day 15

Street Photography

[COMMENT_IMG]portfolio|51734|3896169[/COMMENT_IMG]

 

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.

1. Sit Down

Be it on the floor, or on a seat, sitting immediately gives you a lower perspective and therefore new photo opportunities. Trees and people, for example, can tower over you when sat down for that overbearing feel. Often photographing children look more natural from a seated position too, as you're at their level rather than shooting down on them.

 

 

2. Go Out To Sea

While on your travels, if you have a waterproof camera try turning round to face the beach. If you don't fancy getting wet, just walk towards the water and stand at the edge, shooting up the beach rather than out to sea as most people do. You could also get on a boat of some sort and see what spectacular pictures of the coast you can get while out there. An organised boat trip will also give you a fantastic opportunity to capture some amazing wildlife photos while you're at it, too. If you do head out to sea, taking a weather-resistant camera will mean it's protected against sea spray but do remember to wipe your kit down once back home to remove any residue. Here are some more tutorials on photographing the sea.

 

3. Climb Up High

Head for the nearest tower or hill to get a stunning view of a town or landscape below you. Night vistas of cities work well as do misty mornings in the countryside where valleys are filled with fog and only the peaks above can be seen. To give your shot even more impact, capture a panorama, a topic discussed further down the page. If landscape photography takes your fancy, then here are 10 Quick Landscape Photograph Tips.

 

4. Take A Stepladder Out

It might sound silly but if you're trying to take photos at a busy event where there's a big crowd, you'll be able to shoot above them. It will help you avoid getting people's heads in shots and give you a great opportunity to get a general overview of the scene. A stepladder will also get you closer to items that are slightly too high for you to shoot from the ground and offer a slightly alternative angle to everyday objects that are shot straight-on most of the time.

  5. Go Underwater

If you have the right equipment, shooting underwater is well worth a try. You don't even have to go diving, you could simply buy an underwater camera and have a go in a pool or at the beach in shallower water. This is a fun one for kids to have a go at, too. 

 

  6. Hold Your Camera Up High

The easiest way to change your view is by simply holding the camera up above you to give you a different perspective of the scene. Cameras with a tiltable screen let you see everything comfortably when you shoot - even from very high angles. 
 

7. Go Wide

Why settle for a standard 4 x 6 shot when you can shoot a panorama? With built-in panorama modes, it's now easier than ever to take these wider shots. All you have to do is select the Panorama Mode and sweep your camera in the direction you want to create your panorama. The camera then stitches the images together so you have a sweeping shot of the scene you're shooting.
 

  8. Lie Down

Again, this can get you some funny looks but it's worth it as you'll get an ant's eye view that can give surprisingly good photographic results. Use a small aperture to maximise depth of field and keep an eye on your exposure if you're including the sky in your shot. This position is also great for macro and close-up shots of insects and plants, and any other small items on the ground.

  9. Shoot From Under/Below Things

This involves positioning your camera so it's low to the ground but facing up towards the sky. This can produce some great images of flowers, for example, as it makes it look like they're leaning over your lens and provides a unique opportunity to get a lot of sky in the picture too.

  10. Use Reflections

Reflections can be great tools for changing perspective. As well as the obvious choices such as landscapes reflected in mirror-like lakes, look for puddles you can reflect people with umbrellas in, new buildings made of glass which can reflect slightly older structures and more abstract shots when the winds blowing so the water's surface isn't still.

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

 

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

 

1. Lens Choices

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

2 Depth Of Field

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

 

 

3. Play With Shapes

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot.
 

4. Get Out At Night

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

 

 

5. Other Suggestions

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

6. So Remember:

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

 

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

 

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.

 

1. Think About Your Equipment

 

Don’t take lots of equipment just in case you might miss a shot, rather modify your subject matter and shooting style to suit the kit you have with you. This minimalist approach to shooting can help improve your success ratio.

2. Don't Get Overwhelmed 

 

Cities have so much variety to offer the photographer that it’s easy to become overwhelmed with the choice. My favoured approach is to pick one or possibly two themes and then explore an area looking to fulfil this self-imposed brief. 

 

3. Stay Safe

 

Where possible I like to shoot with a second person, especially if going out of the main shopping areas. Camera equipment is expensive and pulling out a new DSLR with a huge lens makes you stand out. Whilst I often like to carry my gear in a backpack I will also use a shoulder bag which I always ensure has my head through the strap as well as my shoulder. This makes it easily accessible and less of a target for potential thieves.

 

4. Theme Choices 

 

Dereliction is a popular choice and you don’t always need to leave the main area. The above shot also demonstrates how buildings reflect the way we live with the covering of posters, which is another possible theme.

There are many old and new iconic buildings and these can produce some great images especially if the light is right. Watch out also for the past icons that have become worn and faded. 

Patterns are another great subject. Cities are literally awash with patterns everywhere you look. For example, a simple set of steps and handrails probably won’t win any prizes but it's the perfect example of how patterns can be found in the simplest of objects. 

Follow your common sense and you will have a great day and capture some wonderful images.

 

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

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

A big, heavy but keenly designed powerhouse of a camera from Leica. It handles well, produces superb results and should stand up well to the harshest uses and environments.

 

It seems several themes have been emerging in the Leica family. We have the M series rangefinder style, the DSLR/Mirrorless style and cameras with or without that famous Red Dot. The new 44.9MP SL3-P combines the understated (no red dot) and the bold and brash LEICA name emblazoned on what would have been the front of the pentaprism in a DSLR. A hybrid in many senses of the word, let's see if this new Leica hits the spot, not only for photographers but also for videographers.

 

Leica SL3-P Features

First impressions are that this is a large camera/lens combination. Although we start with a reasonable 768g for body only, if we add the battery, an SD card and the Vario-Elmarit-SL 24-70mm f/2.8 ASPH lens, we are now wielding a rather heftier 1702g. That does not even include the metal lens hood, which was not sent with the review sample. The size of the camera is part of this bulk, but of course its all metal Magnesium/Aluminium construction clinches it. It may be heavy, but it is solidly made. Leica are confident to offer IP54-rated dust and moisture resistance. Operation is from -10C to +40C, so a wide range of conditions can be handled. Dimensions are 141.2 x 108.0 x 84.6mm.

There is a full-frame 44.9MP BSI CMOS sensor, plus Leica's Maestro IV processor. 5-axis IBIS is improved and now offers a 5 stop advantage. Speed is also increased to 40fps with full AF.

 

 

There are two card slots, one for CF Express Type B (recommended) and one for SD cards. SD/SDHC/SDXC, UHS-I and UHS-II (recommended) SD cards are supported. Connectivity is via the ISO Accessory Shoe, HDMI 2.1 Type A, USB 3.1 Gen2 Type-C, plus a communication interface in the baseplate for the multifunctional handgrip.  Bluetooth and WiFi are included. The Leica FOTOS App offers remote control, fast data transfer, geotagging and firmware updates. There is camera-to-cloud with Adobe Frame.io plus native tethering for Capture One and Lightroom Classic. There is also a synch jack/timecode interface.

The top plate carries a small info screen plus two large dials. These actually work extremely well, the left dial controlling ISO and the right dial controlling exposure compensation. Aperture is via a thumb wheel and being able to adjust how the controls operate means matching the direction of travel of the dials with other cameras that might be owned makes for faster and more intuitive handling. There are two small buttons, the first for toggling the info screen display and the second to bring up a menu covering the white balance settings.

 

 

The OLED EVF is simply brilliant, with its 5.76M dots showing masses of detail without any strain on the eyes. Frame rate is 60fps or 120fps, so fast action can be followed. The 100% view has a magnification of 0.76x. The 3.2” tilting monitor is touch sensitive and has 2,332,800 dots.

The back of the camera is also sheer simplicity in its approach. Play, FN and Menu buttons cover most areas, plus the small joystick that is neatly tucked away at the top to avoid accidental operation. The monitor is also touch sensitive.

The large lithium ion battery is housed in the baseplate but only offers 383 shots (CIPA standards), although this is an improvement on the Leica SL3-S.

The camera may be heavy, but there is no doubting the solidity of the construction. However, ergonomically everything is well designed and the working procedures are smooth and efficient. Switching from Photo to Video gives a whole new set of parameters that are video appropriate. The camera temperature may be a limiting factor here as there is no cooling system provided.

 

 

Leica SL3-P Key Features

• L Mount
• 44.9MP BSI CMOS sensor
• 40fps with full AF
• 176MP multi-shot mode
• Maestro IV processor
• Shutter speeds 1/8000s to 60m (mechanical shutter)
• Shutter speeds 1/16000 to 30s (electronic shutter)
• 5-axis IBIS 5 stops
• Subject detection: Human eye/face/body; Human eye/face; Animal body; Animal eye/body; Car; Car parts
• ISO range 50-200,000 (Extended)
• CF Express Cards Type B (recommended)
• SD Memory Cards: UHS-II (recommended), UHS-I, SD/SDHC/SDXC
• OLED EVF 5.76M dots
• Tilt 3.2” LCD Touch screen 2,336,800 dots
• Top display 1.28” Mono LCD 128 x 128 pixels
• WiFi
• Bluetooth
• Synch jack/timecode interface
• 8K Open Gate video recording
• ProRes
• Leica Content Credentials
• Leica FOTOS App (Remote control, fast data transfer, geotagging and firmware updates)
• Leica Looks presets
• Camera-to-cloud with AdobeFrame.io
• Native tethering for Capture One and Lightroom Classic
• Operating range -10C to +40C
• 141.2 x 108.0 x 84.6mm
• 768g (no card, battery or cover)
• IP54 dust and water sealing
• Battery Leica BP-SCL6, 383 shots

 

Leica SL3-P Handling

There is certainly something to be said for a large, heavy camera. This does tend to equal solidity and stability and it may be easier to handhold such a camera without causing shake. The reverse of this means the irony of a small, light camera being potentially more in need of a tripod than the Leica is. Apart from the test shots and anywhere a consistent composition is needed (such as the series of bokeh shots) there seems little pressing need for carrying a tripod when travelling with the SL3-P.

The camera is a fine example of minimalism, lowering even its obvious credentials by removing the famous red spot. It must be said though that this is undone rather by emblazoning the front of the body with a large, very obvious white LEICA. Subtlety goes out of the window...No matter, nobody commented unless they were just pretending not to notice.

The various controls can be adjusted as to function, direction of travel, and thus the camera can be personalised to suit. Having done this, it really does all fit together extremely well and the ergonomics of the design are solid.

The one thing I might change is the firmness of the small joystick. It did not prove to be a problem, but its gentle resistance could be increased to bring it more into line with the other controls.

 

[SECTION]PERFORMANCE[/SECTION]

 

Leica SL3-P Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Leica SL3-P Sample Photos Previous Next

 

Lens Performance – The lens provided for this review was the Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH and the full review can be found here. The lens was a superb performer, summarised below:

At 24mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/5.6. Excellent at f/8 and f/11, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/11, very good at f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, rising to outstanding at f/5.6, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

Wide open, close up flat subjects such as text do suffer a lack of sharpness at the edges, but stopped down this soon clears and the results become crisp. 

CA (Chromatic Aberration) is not a problem and there is virtually no sign of colour fringing. 

Distortion is virtually zero. We measure this to two decimal places, and at 24mm pincushion distortion yields a result of just +0.01%. At 50mm and 70mm, the result is actually zero. Clearly the lens is very suitable for architectural photography.

Bokeh is smooth and satisfying. The out of focus areas make a beautiful backdrop, especially for portraits and flower studies.

Flare is minimal, with no sign of artefacts even in the most severe lighting conditions.

 

Leica SL3-P ISO test images Previous Next

 

ISO Performance – Noise levels become lower and lower and the freedom this gives the photographer is a powerful tool. Coupled with image stabilisation, there are many situations where the tripod can almost be banished into the realms of history. Up to ISO 1600 images are clean. ISO 3200 to 12500 are showing slight noise levels but are very usable. Above that, the darker areas of an image merge more and more into the background noise and these highest settings are only really suitable for emergency use. A noisy but sharp image may still be preferable to a low noise mushy effect.

 

Leica SL3-P White-balance test images Previous Next

 

White Balance – There are various white balance presets. On offer are AWB, Daylight, Cloudy, Shadow, Tungsten, HMI, Fluorescent warm, Fluorescent cool, Flash, Greycard Pipette, Grey Card and Manual K setting. All the settings can be tweaked to taste. HMI refers to a specific range of continuous lighting and there is merit in the idea of having this very specific white balance available as a preset. Daylight and Cloudy are useful to preserve unusual lighting effects, the latter especially attractive when warming portraits. The shade setting is ideal for those hunting fungi in dark woodland, thus avoiding the usual purple cast that can be found. All the white balance presets seem to be on the warm side, giving an attractive look to images.

 

Leica SL3-P Digital filters Previous Next

 

Digital Filters – There are few options provided in terms of digital filters, being restricted to a selection of film styles: standard, vivid, natural and monochrome. We can now add to this Leica Looks, a selection of image style "recipes" that can be downloaded via the Leica FOTOS App.

 

Video –  The list of video specs is long, but the basics are:

• 8K Open Gate recording in 3:2 native format
• Vertical formats
• 5.9K 60p
• 4K 120p
• HDMI 2.1 Type A
• USB 3.1 Gen2 Type-C
• Synch jack/timecode interface
• Audio output/input 3.5mm jack
• ISO accessory shoe
• Video formats:     MP4 h.265 AAC 48kHz/16-bit

                                                 MP4 h.264 AAC 48kHz/16-bit

• Video colour space: Rec 709/Rec 2020 (HLG/L-Log)

Whilst clearly being video capable, there is no cooling system in the camera, so recording times may be relatively limited to 25 minutes or so.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Leica SL3-P|Leica+SL3-P[/AMUK] is priced at £5150, body only. There are three kit options:

• with 24-70mm, £6480
• with 24-70mm and 70-200mm, £8560
• with 28-70mm, £6100

Competitive mirrorless cameras include:

• [AMUK]Leica SL3|Leica+SL3[/AMUK], £5920
• [AMUK]Leica SL3-S|Leica+SL3-S[/AMUK], £4500
• [AMUK]Nikon Z8|Nikon+Z8[/AMUK], £2749
• [AMUK]Nikon Z9|Nikon+Z9[/AMUK], £4399
• [AMUK]Sony A7 V|Sony+A7+V[/AMUK], £2799
• [AMUK]Sony A1 II|Sony+A1+II[/AMUK], £5699
• [AMUK]Sony A9 III|Sony+A9+III[/AMUK], £5699

Value at these levels is all about perceptions and whether or not a camera fulfils its desired function. If used professionally, then differences in price will soon be forgotten as the kit earns its living.

 

Leica SL3-P Verdict

With its generous 44.9MP sensor, fast operation and encouraging video capability, the Leica SL3-P has much to offer both stills photographers and videographers. There is no doubting Leica's ability to manufacture cameras and lenses of the highest calibre and the expertise as regards the electronics has been equally well mastered. The best of the SL3-P can be realised using the Leica FOTOS App, a sign of the times, but a direction that offers continuing cutting-edge capability.

The price is of course high, but in fact other marques are now pricing their own high end kit at similar levels, so the Leica becomes more affordable compared to its peers. It may be big, it may be heavy but it has many attractive design details that make the Leica experience a very satisfying one. It can be Highly Recommended.

  Leica SL3-P Pros

• Superb manufacturing quality
• 44.9MP CMOS sensor
• Hybrid design
• IP54 Dust and Moisture resistance
• Ultra fast 40fps shooting with full AF
• 8K Open Gate video
• Leica Content Credentials
• Leica Looks
• Leica FOTOS App
• 5 Axis IBIS
• Leica image quality

 

  Leica SL3-P Cons

• Bulk and weight
• Price

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Leica quality with fast and responsive operation for both stills and video.|E_id=8016[/REVIEW_FOOTER]

 

View the Leica SL3-P camera specs in the equipment database.

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !impor

Photo by Joshua Waller

1. Start With The Basics

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

2. Natural Light Is Free

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

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

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

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

3. Want More Impact?

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

Photo by Joshua Waller
 

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

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

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

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

5. Get Creative

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

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

 

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

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

 

Trees are something nearly all photographers use in their images at some point. They add interest to landscapes, are used as backgrounds for fashion shoots and nature photographers get up close to the bark and leaves which are various animals and insects call their home. If photographing a tree's not something you've done before or you're looking for a little inspiration on how you can shoot them differently take a look at our top ten list of effective/interesting ways to photograph trees.

 

1.Include The Foreground

 

Before you head for the centre of the forest take the time to walk around the edge of it to find a good spot where you can capture a few shots that have foreground interest. By adding detail in the foreground you add depth to the image and give the shot a sense of scale which gives the composition more impact.

If you're working with just one tree try positioning it in the left or right third of the frame. As well as using a field as your foreground, which works particularly well in winter when there's a fresh covering of snow, try and find a lake or large pool of water which can add another dimension to the image with the reflection of the forest in it.

 

2. Take A Look At The Roots

 

Look out for patterns created by roots, especially those from beech which are often unearthed from weather erosion of the soil. For a more unusual perspective, use a wide-angle lens as in the shot below to curve the background. You can get colour cast from the green canopy above your head as the image below right demonstrates. If you find a tree on its side try to fill the frame with the patterns created by the overlapping/twisting roots. You may also find insect activity you can photograph in among them.
 

3. Get In Among The Trees

 

Use a long lens in dense wood to create a dramatic perspective, making the tree stumps look as though they are stacked on top of each other. These areas will make interesting patterns just remember to use a telephoto lens to compress the trees. Overcast days when the light is soft are good for this but don't overlook misty/foggy mornings later on in the year. This works particularly well when the wooded area's particularly thick but as fog acts like a softbox and can lower the contrast of your surroundings, you can end up with rather long exposure times. Trees in mist can look great silhouetted too but do take care with your exposure. Try opening up by one stop to prevent a dark grey sky appearing and a complete silhouette forming.

 

4. Add People, Buildings Or Other Structures

 

Give your image scale by adding other objects or people into the scene and look for man-made objects such as benches or even statues as these will contrast well against the soft colours of nature. If you're in a park try shooting a few candid portraits of the people walking through and under the trees. This will add an extra element of interest and get the viewer thinking about who they are, where they're going etc.

 

5. Focus On The Bark

 

The patterns in the bark vary from tree to tree. The smooth grey of beech, to the peeling white of silver birch, the cracked patterns of the pine and the deeply rutted elm. Try framing very tightly so you don't see the edges of the tree stump and use a small aperture to cope with the rounded shape and ensure it's all in focus. Trunks made up of particularly thick bark that has deep lines make interesting patterns when you shoot with a tight frame. Bark also makes great textures which you can overlay with other shots. Finally, if you're using a compact camera remember to switch to Macro mode to get closer to the bark.

 

6. Take A Look At The Leaves

 

From the trunk, move up to the branches and focus on the leaves. Again you could move in really close and create patterns from the veins or step back slightly and record the whole shape. Maple like leaves of trees such as sycamore is the most interesting with their five tips, but great results can also be achieved from more ordinary oval and round leaves.

Try shooting with the sun behind the leaves which will make them glow. Position yourself so the sun is shielded from the camera by a branch to avoid flare or use your hand or lens hood to provide protection. Backlit leaves can look particularly amazing during the autumn months when the leaves take on their yellow and orange shades. Other close-ups that are gagging to be photographed are the fruit, berries and cones.

 

7. Look For A Single Tree

 

 

Trees can be used as points of interest in wide, sweeping landscape shots of fields. They break up long, flat horizons, adding interest and giving scale to the shot. Just remember to keep the space around the tree clean and empty. Vibrant greens or fields of bright flowers or golden crops will give the image more punch while a stormy sky sat behind the lone tree will further enhance the feeling of isolation in the shot.

 

8. Get Up High

 

Gain a high vantage point and shoot a woodland canopy, again depending on the time of year you could either create a lush green spread or a wildly varied collection of browns in autumn. Try shooting from a nearby hillside and use a small aperture to ensure everything from the foreground to the background is sharp.

 

9. Try A Different Angle

 

Some nature reserves with woodland areas have bridges which take you along the top of the trees. Take advantage of this, shooting through the branches and leaves. You can use them as a natural frame to guide the eye to another focus point or just fill the frame with the interesting patterns you find from the branches twisting and overlapping.

If it's safe to do so and you're brave enough, you could try climbing up a smaller tree but don't put yourself in danger. Back on the ground look for trees decorated with dappled light or get low to the ground and shoot up into the canopy. If you have a blue sky, green leaves will contrast well against it and by using a wide-angle lens, the trunks of the trees will look like they're almost falling out of the image due to the effect wide-angle lens have on verticals. Don't think this is a bad thing as actually it can make a really interesting shot.

 

10. Timelapse / Seasonal Shots

 

Capturing the changes in the leaves as we move from season to season is an interesting project that just needs a bit of patience and a spot you can return to again and again to take your shots. It's often easier to focus on just one leaf but you can record more if you so wish. Make sure you use a tripod and try and make a note of the exact point you took your first shot from or, if you're in your own garden, you could always make a mark so you know where your tripod needs to be. It'll also help if the spot you pick is sheltered so the project doesn't come to an end too early if the wind blew the leaf off the tree prematurely.

Once you're set up you can record the leaves changing from the rich green shades we see in summer to the golden shades of autumn before it falls off during the winter months. As spring arrives and the buds break, you could try recording a sequence of photographs showing the various stages of the bud appearing, breaking and the leaf unfolding. Taking things a stage further find a position where you can fill the frame with the whole tree and photograph it as a lush green canopy, then the vivid autumn browns and finally a snow-covered version in winter.

 

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

1. Depth Of Field

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

2. In-Camera Or Conversion?

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

3. Consider Using Raw

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

4. Composition & Shapes

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

5. Patterns & Lines

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

6. Colour & Tones

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

7. Cloud Detail

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

8.Time Of Day

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

 

9. Get The Exposure Right

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

10. Editing Images

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

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

The Excire Foto 2027 interface is dominated by the central area to show off your images in Gallery view shown here. There is also a new feature called Survey view which shows selected images in an uncluttered environment.

 

It doesn’t matter if you're a photo enthusiast or a working professional, your photographs are invaluable and you should take care of them. Part and parcel of this process is rating, filing and culling your output and any software that helps you do this with greater efficiency and minimal stress is worth knowing.

We tested the award-winning Excire Foto 2025 recently and were impressed by its skills. Uniquely, it uses AI technology to analyze, rate and automatically keyword images and boasts a host of powerful search tools. Check out that review here. It’s a standalone app and for those using Adobe’s Lightroom Classic there is the option of Excire Search 2026 which works as a plug-in. 

The big news is the arrival of Excire’s Foto 2027, a software available for Mac and Windows that includes the core capabilities of Excire Foto 2025 but has added even more ways of searching for images and gives an even better user experience.

Excire Foto 2027 is available at a special launch price of £199 / $219 with the standard price being £229 / $249.

 

Quick Verdict

Excire Foto 2027 is an impressive software that is definitely several steps on from its predecessor, Excire Foto 2025. Survey view, Map view and AI text search are more than useful new features while the core search tools such as Find by Text Prompt, Find Faces and Find by Keyword remain central to the core proposition of Excire Foto 2027. For busy image creators, it’s a software that deserves a serious look.

 

+ Pros

• Works quickly even with massive image collections
• The uncluttered Survey view is excellent
• Map view will appeal to travel and landscape photographers
• Excire Foto 2027 runs locally so your data remains safe
• Excire Foto 2027 is a one-off purchase
• Suits stills and video
• Powerful search tools – text prompt, keyword, GPS, faces, people, similarity, duplicate
• Find by Text is a new search tool that works well
• Auto keywording saves time
• AI-assisted culling
• Aesthetic ratings can save time
• Video playback within the app

 

- Cons

• Excire Foto 2027 is a significant investment 
• Initialising large photo collections takes time but it’s a once only job
• Auto keywording works well with people shots but less well with general shots and scenics
• Aesthetic ratings won’t appeal to everyone

 

 

 

 

Excire Foto 2027 is the new kid on the block but that doesn’t mean Foto 2025 has gone. It remains available at the lower price of £159 for an outright purchase which is good value. So, for example, if you don’t need Map view or text search in Foto 2027 you could save yourself money by buying the older software which we know to be a very capable program that works quickly and has excellent search skills.

However, if Excire Foto 2027 appeals, try it before buying; it’s available on a free 14-day trial.

 

The interface’s top section has a new look in Excire Foto 2027. There’s a content search bar with the options of searching by text in photos, content or metadata. There’s also a timeline graph – the blue columns here.

  Excire Foto 2027 Getting started 

Open Excire Foto 2027 and you are greeted with an interface dominated by a large central area to view images or the map in Map view. This is surrounded by tools and icons but the interface is not as daunting as it is in some apps, probably because Excire has no image editing skills so there’s less to fit in.

You can’t enjoy the benefits of Excire Foto 2027 until your images are initialised which means images are analyzed by AI and keywords and aesthetic ratings are applied.

With Excire Foto 2027 open, go to File>Add folders or use the + symbol in the top left of the interface and that brings up the Add Folder dialogue box with options including Analyze photos and Include Subfolders. 

With a big collection of images, the initialisation process takes time and Excire suggests running the process overnight. That is advice worth heeding especially as you can’t do much in the software while images are being processed. You could of course have initialisation running in the background while you’re working in other apps. 

With the amount of time needed to initialise images I did it in stages. In one session, 127,614 photos took 31 seconds shy of 12 hours. This is a once-only process so once you have initialised your archive adding new images is much quicker. For example, a day’s shoot of 3884 images took just under 16 minutes.

One thing you need to do at the beginning is select a hard drive for Excire’s database. The options come up under File>Open database>Create Folder for new database. The database will grow as images are added so you need a decent amount of hard drive capacity. During this test my database grew to 439,357 images and that took up 108GB. 

You can have more than one database. For example, have one for personal images and another for commissioned work. In my test, I had one big database, and the software was always quick at producing previews with no time lost waiting for previews to sharpen up or even appear, which happens with large Lightroom Classic catalogues.

In my workflow, I store catalogues on an external 2TB NVMe SSD drive in a fan-cooled enclosure connected to the computer’s Thunderbolt 4 port. For this test, I used a M2 Max Mac Studio 32GB RAM running Tahoe 26.2.

 

Survey view can show from a single or several frames to many images. I selected 150 images and I got a view of 103 thumbnails on my 32in screen (right) with the remainder in a queue. If you have several images on show, the remaining previews grow larger as images are rejected.

 

Excire Foto 2027 Key Features

• One-off purchase, no subscription option
• Selection of search tools: Text in photos, text prompt, duplicate, GPS, people, faces, keyword, similar
• Survey view shows selected images against a plain black backdrop
• Organising tools: AI keywording, duplicate search, face-tagging
• Timeline viewing which goes down to days 
• AI-assisted culling 
• Focus peaking feature
• Map view for images with GPS co-ordinates
• Face-sharpness detection
• AI Aesthetic scores
• Ratings, keywords and aesthetic ratings can taken into Lightroom Classic 
• Fast preview rendering
• Raw, PSD, JPEG, TIFF files compatible with Excire Foto 2027 including large files
• Available for Mac and Windows

 

At a glance: Main updates in Excire Foto 2027 compared with Excire Foto 2025

• Text in photos search tool
• Map view
• Survey view for viewing images without distractions
• New Smart filter bar and Timeline Graph
• Focus peaking feature 
• Improved prompt search capabilities

 

New in Excire Foto 2027 is the ability to check critical using focus peaking which has an adjustable threshold. 

 

Excire Foto 2027 Map view

During initialisation, Excire Foto 2027 takes the GPS data from your images and places them on a map so you can see where you took pictures, how many you shot and clicking on the map point shows what you took at that spot. It’s a cool feature.

However, for this test I was stuck because only my iPhone snaps have GPS data, and I had no camera Raws with GPS co-ordinates. I downloaded the Sony Creator app to my iPhone, linked it with the camera by Bluetooth and went out and shot pictures.

Clicking on the Map view icon, which sits at the bottom left of the interface. Zooming in, I could see I had been photographing in London and the number in the single black dot showed I’d shot 491 photos. I had taken many more but for some technical reason (or user error!) the GPS data had not been recorded. This is not an Excire issue and it shows you need to get the technology set up correctly for reliable results. GPS data can be added in Excire Foto 2027’s metadata editor, which is easy to do in bulk although you won’t get street-level detail.

Zooming in much further into street view and the single black blob became many more and I could see how many shots I had taken and where. Location accuracy seemed pretty good although there were some inaccuracies due to GPS issues, but it was more than good enough for general location details.

 

I did a photo walk around London’s Covent Garden. Clicking on each map point, which shows how many were pictures were taken at that spot, changes it from black to blue and the images are shown along the bottom of the interface.

 

This is the maximum magnification of Excire’s map. Accuracy is pretty good but that of course depends on the GPS recording device rather than Excire.

 

Excire Foto 2027 Find by Text in Photos

A big new feature in Excire Foto 2027 is the ability to search by Text in Photos. If, for example, you were searching for a location you may find it, but you could be looking for a shop name, an event or a sponsor’s logo.

I went to Hong Kong last year and I know where the images are but as part of the test I tried a Text in Photos search looking for the words ‘Hong Kong’. Where text is found Excire places a yellow box over the word/s and hitting the space bar hides the yellow box. This search took a few seconds and Excire Foto 2027 found 277 images with the words ‘Hong Kong’, some were large and obvious, but many were small in the frame or even very faint thanks to poor exposure.

More randomly I tried the word ‘toilet’ and this occasion I got 26 images including the one shown below (which just happened to be in Hong Kong) and Excire Foto 2027 found it even though it was small and dark in the frame.

Searching by visible text showed itself to be a welcome addition to Excire Foto 2027’s search armoury with plenty of potential.

 

Searching for the words ‘Hong Kong’, Excire Foto 2027’s Text in Photos found them even when they are overexposed in the image. The inset shows how faint the original word was.

 

Showing what Text in Photos is capable of, a search for the word ‘toilet’ found it in this image even though it was tiny and in the shadows. The inset shows how small the original word was.

 

Excire Foto 2025 Find tools and the Timeline Graph

Excire Foto 2027 sees the arrival of the Timeline Graph. Checking out what you shot by date is possible with the Timeline/People icon on the left of the interface and this works down to days. The other option is to click on the Timeline Graph button in the top bar and zooming into the graph again means you can view what you shot by month, week and day.

The Find by text prompt we tested in Foto 2025 but for those who didn’t read that review (click here to see it) it’s worth a recap. Basically, when using Find by text prompt just type what you are looking for and Excire searches your database for images conforming to what you asked for. The search can be narrowed or broadened, and you can choose to limit the number of images to view.

You might search for a specific subject such as bridges, black cabs or airplanes but you can also search for photos that depict an emotion and a mood you want photos to illustrate. 

In another search, I needed some photos that showed creative use of depth-of-field, so I searched for ‘images that show the use of depth-of-field’ and in my database Excire Foto 2027 found 19,930 images in around 30 seconds, mostly showing selective focusing at wide lens apertures. You can see a sample of what was found in the screenshot below.

As with all the searches in Excire Foto 2027, the results can be rated or flagged, and searches are saved as collections that you can revisit later.

 

Using Text in photos, I searched for ‘images that show the use of depth-of-field’ and got 19,930, mostly viable, candidates.

 

 

Two examples of Excire Foto 2027’s automatic keywording and Aesthetic rating capabilities. It’s interesting that Excire gave the portrait of the blond model Dolly the keywords of Bride and Wedding. Incorrect in both cases but you can appreciate why those keywords were added. With Big Ben it was correctly identified.

  Excire Foto 2027 Keywording and more

During the initialisation process, Excire Foto 2027 gives your shots an Aesthetic rating and adds keywords. Hit the Excire icon on the right side of the interface and you can view ratings and keywords for each image.

How deep Excire’s keywording goes depends on the subject. Often, with people shots there is much more detail with keywords so for a portrait of a woman you might get eyes open, face, female, smiling and hair colour and more. The keywords applied to an architecture shot can also be useful and might include window, skyscraper and city. You’ll probably get fewer keywords with scenic, nature and location shots although it‘s the case that famous sites and birds such as kingfishers are recognised and keyworded accurately. For example, for photos of Big Ben it was correctly keyworded and additional keywords include clock, travel, tower, sight, city and building.

 

Excire Foto 2027 Verdict

Excire Foto 2027 is an excellent image management program and its new headline features – Map view, Survey view and Text in photos search tool – work well and add even more functionality to what was already an awesome package. 

How you would work with Excire Foto 2027 is obviously your call but having one huge database with powerful search tools is a seriously big benefit that could save you a lot of time. The same applies to Excire’s ability to efficiently rate and cull shoots before taking the ‘keepers’ into Lightroom or any other post-processing program for editing. 

For busy image creators, Excire Foto 2027 is definitely worth serious consideration.

 

Excire Foto 2027 Pros

• Works quickly even with massive image collections
• The uncluttered Survey view is excellent
• Map view will appeal to travel and landscape photographers
• Excire Foto 2027 runs locally so your data remains safe
• Excire Foto 2027 is a one-off purchase
• Suits stills and video
• Powerful search tools – text prompt, keyword, GPS, faces, people, similarity, duplicate
• Find visible text in photos is a new search tool that works well
• Auto keywording saves time
• AI-assisted culling
• Aesthetic ratings can save time
• Video playback within the app

 

Excire Foto 2027 Cons

• Excire Foto 2027 is a significant investment 
• Initialising large photo collections takes time but it’s a once-only job
• Auto keywording works well with people shots but less well with general shots and scenics
• Aesthetic ratings won’t appeal to everyone

 

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Fast, easy to use and offering plenty of search methods, Excire Foto 2027 is a powerful workflow software with much to recommend it.|E_id=8016[/REVIEW_FOOTER]

 

Peak District Inversion, a stunning photograph by edrhodes, capturing a mist-filled valley at sunrise, has taken our Photo of the Week award.

There is plenty to admire in this image. A bare tree sits on the steep, grassy ridge up front. Chrome Hill and Parkhouse Hill stand above the blanket of low-lying cloud. The golden light of the sun just coming over the peaks creates a nice contrast with the darker clouds above and the cooler mist below, giving a calm morning atmosphere.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! 

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

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

1. Water / Waterfalls

 

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

  2. Action Photography

 

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

 

3. Light Trails 

 

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

 

 

4. Abstract Shots 

 

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

 

5. Drag Landscapes 

 

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

 

6. Zoom Blur

 

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

 

7. Remove Distracting Backgrounds 

 

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

 

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

 

We have for review two exciting Leica products that can be bought as a kit or separately. The Leica SL3-P brings a hybrid stills/video offering to the table, and the Vario-Elmarit-SL 24-70mm f/2.8 Asph completes the picture. First, the lens, with the camera review hot on its heels as I write. A Leica quality standard zoom lens that pushes the wide angle to a very useful 24mm is a very attractive proposition. Couple that up with the 44.9MP Leica SL3-P body as a package that is equally at home with stills and video and this looks to be an exciting voyage of discovery indeed. Let's get straight to it and see how it all works out.

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Handling and Features

The lens looks big and chunky, weighing in at a solid 856g without the hood, and 906g with the metal hood. No hood was provided with the loan sample but one should be expected in the box when purchased. Some lenses still perform well without a hood, but it's always a good idea to use one even if only to protect the front of the lens from impact damage. Dimensions are 123mm x 88mm. The illusion of size is probably partially caused by the large, chunky lettering.

Starting our tour of the lens, within the bayonet fit for the hood is a conventional 82mm filter thread. Just behind this is the focusing ring, electronic and absolutely as smooth as silk. AF is driven by a very fast and virtually silent stepping motor, and focusing speed is aided by just one element being moved during the AF process. Closest focus at 24mm is 18cm, for a maximum magnification of 1:2.9; at 70mm this becomes 38cm for a maximum magnification of 1:4.5. It is a pity that the greatest magnification is found at the widest setting as this means an uncomfortably close working distance that can make lighting the subject more difficult.

 

 

Optical construction is 19 elements in 15 groups, with a total of 6 aspherical surfaces, plus elements with anomalous partial dispersion. The diaphragm comprises 11 blades, aiming to improve the bokeh. The lens as a whole is dust and splash water sealed, something that is by now almost a requirement for any lens intended to be seriously used outdoors.

The lens description follows and then the boldly labelled zoom ring. There are accurate markings provided at 24mm, 35mm, 50mm and 70mm. The zoom action physically moves the lens, so although smooth, it does need more effort to move as it extends the length.

Finally, the metal L mount fits positively on to the Leica SL3-P camera body and there are no glitches either in terms of mechanical fit or in terms of electronic communication.

Just about the only handling caveat is that of weight and bulk. Metal and glass equals heavy lenses and camera bodies, and Leica does not shy away from the consequences. However, this is accompanied by finesse in quality, so the operation of all controls is smooth and slick. It is also a million miles away from the diminutive form factor of, say, an M series rangefinder. The Leica name in itself demands something special, so let's have a look at the performance and see if this expectation is borne out in practice.

 

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Performance

At 24mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/5.6. Excellent at f/8 and f/11, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/11, very good at f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, rising to outstanding at f/5.6, very good at f/16 and good at f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

Wide open, close up flat subjects such as text do suffer a lack of sharpness at the edges, but stopped down this soon clears and the results become crisp.

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. MTF Charts Previous Next

How to read our MTF charts

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

For this review, the lens was tested on a Leica SL3-P body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is not a problem and there is virtually no sign of colour fringing.

Distortion is virtually zero. We measure this to two decimal places, and at 24mm pincushion distortion yields a result of just +0.01%. At 50mm and 70mm, the result is actually zero. Clearly the lens is very suitable for architectural photography.

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Chromatic Aberration Charts Previous Next

How to read our CA charts

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

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

For this review, the lens was tested on a Leica SL3-P body using Imatest software (www.imatest.com).

 

Bokeh is smooth and satisfying. The out of focus areas make a beautiful backdrop, especially for portraits and flower studies.

Flare is minimal, with no sign of artefacts even in the most severe lighting conditions.

Vignetting is very modest for such a zoom lens.

 

Aperture 24mm 50mm 70mm f/2.8 -1 -0.9 -0.8 f/4 -0.6 -0.6 -0.5 f/5.6 -0.6 -0.6 -0.5 f/8 -0.6 -0.6 -0.5 f/11 -0.6 -0.6 -0.5 f/16 -0.6 -0.6 -0.5 f/22 -0.6 -0.6 -0.5

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Sample Photos Previous Next

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH|Leica+Vario-Elmarit-SL+24-70mm+f/2.8+ASPH[/AMUK] is priced at £2590

Possible alternatives in L mount:

• [AMUK]Leica Vario-Elmarit-SL 28-70mm f/2.8 ASPH|Leica+Vario-Elmarit-SL+28-70mm+f/2.8+ASPH[/AMUK], £1750
• [AMUK]Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH|Leica+Vario-Elmarit-SL+24-90mm+f/2.8-4+ASPH[/AMUK], £4900
• [AMUK]Sigma 24-70mm f/2.8 DG DN II Art|Sigma+24-70mm+f/2.8+DG+DN+II+Art[/AMUK], £1129

Certainly in terms of bald cost, the Sigma lens looks rather attractive, but the solidity of the Leica version and the match with the Leica camera bodies will for many be a major consideration. This is an area where “want” and “need” may be poles apart.

 

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Verdict

What price quality and what price that revered Leica name? Frankly, if we can afford the Leica camera body, then it is to be hoped that we can also afford the Leica lens to match its style, its quality and its performance. There is no doubt that the Leica lens plus the Leica SL3-P body sent for review match each other beautifully, producing exciting quality images that do “sing” and are an aesthetic pleasure. However, realistically, some will find the Leica too bulky and too heavy and exciting images can be produced by much less expensive kit. It is about perceptions, and about the enjoyment and satisfaction that can be felt when using cameras and lenses that gel with the photographer/videographer.

Price aside, the lens is a joy to use and the results are great. It is Highly Recommended.

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Pros

• Very Good to Outstanding sharpness
• Fast f/2.8 constant aperture
• Well controlled CA
• Virtually distortion-free
• Very good flare resistance
• Dust and water splash sealing
• Close focusing
• Excellent AF performance
• Ultra-wide 24mm very useful

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Cons

• Weaker edges close up at open aperture

• Closest focus at widest focal length

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=5|R_value=4|R_overall=4|A_level=4.5|A_text=Highly Recommended – A beautiful standard zoom lens that gives beautiful results.|E_id=8027[/REVIEW_FOOTER]

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }

 

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

 

1. What Gear Do I Need?

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

2. Look At The Sky Before You Take Your Shot

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

 

3. Get The Exposure Right

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

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

 

 

4. Tips On Using Filters

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

 

5. Use Clouds In Your Shots

If you have a sky full of interesting cloud formations the key is to make sure the clouds aren't too bright. Check your histogram if you're unsure. Make sure you're ready to shoot an interesting formation as soon as you see it as they change shape quickly and if the clouds are rather breath-taking remember to lose some of the ground to make the sky your focus.

Blurring the movement of the clouds is an interesting effect that can also help create leading lines to guide the eye through the photograph. If you're shooting on a bright-ish day you'll need to fit an ND filter so you can use the slower shutter speeds without too much light reaching the sensor.

 

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

[COMMENT_IMG]direct|350704|350704_1784875567.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to snursey (Day 24 - 'Portrait Landscape').

 

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 16

Interesting Angles

[COMMENT_IMG]portfolio|293533|3943207[/COMMENT_IMG]

 

Day 17

Waterfall Close-Ups

[COMMENT_IMG]direct|154993|154993_1784257985.jpg[/COMMENT_IMG]

 

Day 18

Close-Up Faces

[COMMENT_IMG]direct|16262|16262_1784335646.jpg[/COMMENT_IMG]

 

Day 19

Stone Circles

[COMMENT_IMG]direct|43722|43722_1784442039.jpg[/COMMENT_IMG]

  Day 20

Repetitive Patterns

[COMMENT_IMG]portfolio|44582|3933536[/COMMENT_IMG]

 

Day 22

Carnival Photography

[COMMENT_IMG]direct|23199|23199_1784703493.jpg[/COMMENT_IMG]

 

Day 23

Sunsets By The Sea

[COMMENT_IMG]portfolio|20585|3845599[/COMMENT_IMG]

 

 

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.

 

Signs aren't the most difficult subject in the world to photograph but there are a few things you can do to ensure your shots are perfect.

 

1. Why Photograph Signs?

Signs can be interesting and/or funny in their own right and they can give the person who's viewing your work more information about the areas you visited too. Older parts of towns will have signs that look a little more battered while newer signs which look less worn and more modern will suggest you spent quite a lot of time in newer areas of town. They also suggest if you've ventured beyond the tourist areas as signs tend to just have the language of the country you're visiting once you're over the edges of the tourist trap. These, in particular, are the signs that can be funny too due to the different language or images used to illustrate what the signs telling people. You may also find people have added their own diagrams to the signs which can often bring to odd grin or two.

 

2. Give Your Collection Direction

As well as having them as photos that sit among your collection you can use signs to organise your galleries, albums and portfolios. They make great headings that will help the viewer understand they're moving into a new collection of images.

 

 

 

3. To Zoom Or Not?

If the sign is particularly interesting or tells a story on its own without its surroundings you'll want to fill the frame with it, making use of your zoom if you can't physically get close to the sign. If you're using the sign within its surroundings you'll probably want to use a small aperture to ensure front to back sharpness. Double-check you can still see what's on the sign too as, after all, it's still our focus. Where possible, try shooting straight on to the sign too so it's easier to read.

  4. Reflections

Modern signs are more likely to have a reflective surface and when you're working with bright sunshine or flash, glare can bounce back off the sign spoiling the shot. As a result, it's usually best to turn the flash off or if you're using a flashgun leave it in the bag. If sunlight is your problem then try a different position to see if the glare goes away or return later or come back early the next day when the sun's moved positions.

  5. Shop Signs

If you come across an interesting shop sign chances are it'll be high up and shooting from the ground, looking up won't look right in the final shot so if you can, find something to stand on to give you more height or stand further back if that's not possible.

 

 

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

 

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

 

1. What Gear Do I Need? 

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

 

2. Do Your Homework

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

 

 

3. Take A Walk

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

 

4. Look Closer

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

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

 

5. Tall And Wide

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

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

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