Photography News

More and more photographers are slowing down on social media, and a growing number are quitting it outright. The shift traces back to a single change in how these platforms decide what gets seen, and it affects anyone trying to build an audience around their work. 

[Read More]

You can win a photo competition shooting JPEGs on full auto, never touching a computer, and uploading straight to a tablet. That claim sits at the heart of a debate every shooter eventually runs into: does technical mastery matter, or does creative vision carry the whole thing? 

[Read More]

Pancake lenses promise to shrink your camera down to something you'll actually carry, but the gap between the marketing and real-world performance can be wide. Five slim options exist for Fujifilm X-mount cameras, and their prices, quality, and quirks vary far more than their similar shapes suggest. 

[Read More]

 

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

 

1. Switch From Auto Mode

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

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

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

  2. Send A Digital 'Postcards'

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

 

 

3. Use Beach & Sea Ready Cameras

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

 

4. Boost Colours Of Sunsets & Sunrises

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

 

5. Go For A Different Angle

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

 

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

There are two completely different ways to use AI in a photography business, and clients react to them in opposite directions. Confusing the two is the fastest way to talk yourself out of a tool that would save you ten hours a week, or into a practice that quietly costs you the trust your business runs on. The distinction has become the central survival question for working photographers, and it is simpler than the noise around AI suggests. One kind of AI runs your business and speeds up your production. The other kind changes what your pictures show.

[Read More]

Sony has announced the FX5, a full frame Cinema Line camera built around a newly developed image sensor, with Open Gate shooting and internal raw recording that mark firsts for the FX series. 

[Read More]

The Fujifilm X half is a machine for time travel, and the destination is roughly 1997. It takes the experience of a cheap, cheerful point-and-shoot film camera, the kind you took on school trips and to parties and then left in a drawer, and rebuilds the whole thing in digital form: the vertical half-frame photos, the wind-on lever, the roll you have to finish before you can see anything, even the little date stamp burned into the corner. It is not trying to make better pictures than your phone.

[Read More]

There is a peculiar type of confidence that thrives in photography today, and it usually arrives wearing the expression of a man who has just discovered absolute truth through a combination of autofocus charts, affiliate links, and an aggressively edited YouTube thumbnail. He speaks with conviction about lenses as if discussing racehorses or religious doctrine. One focal length is cinematic. Another is immersive. One possesses "magic." Another is dead on arrival.

[Read More]

Standing in front of a person with a camera and no plan is one of the fastest ways to freeze up on a shoot. Having a small set of reliable frames to fall back on keeps you moving and gives every session a solid starting point. 

[Read More]

Masking inside Lightroom Classic separates a rough edit from a clean one, and wildlife images demand that precision more than most subjects. Feathers, reflections, and busy backgrounds all fight for attention, and a sloppy mask shows immediately. 

 

[Read More]

Two 85mm portrait lenses, one costing $1,948 and the other $569, produce photos so close in sharpness that even a 200% crop of a model's eye barely separates them. That kind of price gap between near-identical results forces a real question about what you're actually paying for when you buy first-party glass. 

[Read More]

 

Standing on a clifftop surveying a gorgeous vista can lift your spirits as high as the summer breeze. It doesn’t take much effort to sit still for half an hour listening to the gentle sounds of lazy waves, distant boats and calling sea birds and forget all about why you were there – to photograph a coastal panorama.

Coastal cliff top scenes or images shot from the shoreline can add that real something else to your portfolio and today’s software is very capable of helping you achieve your vision.  

Many people believe they need specialist tripod heads and other tools, but for a simple coastal vista, all you need is a correctly levelled tripod and a spirit bubble hot shoe level. It's also worth remembering that shooting manually (white balance, focus and exposure) will make life easier in the long-run as you probably won't have to spend extra time adjusting each image before stitching.

Before starting your panorama, do take a look at the foreground as if you have elements which are much closer to the camera you may want to consider moving to a different spot as the final image won't look right or stitch well unless you're using a purpose-built panoramic tripod head.

 

 

How To Capture The Perfect Panorama:

1. Ensure the tripod is set on sturdy ground. Alter the leg length for comfort, and then alter the length for a second time using the tripod's spirit bubble (most have this built-in), so that the tripod head will rotate on a horizontal plane.

2. Attach the camera with lens in either landscape or portrait orientation (depending on your view and the overall size you want your panorama to be) and check everything is level. When shot in landscape orientation, panoramas tend to be much more narrow but this can work well with some shots so do experiment. 

3. Look at the scene you are trying to capture and decide on a start and endpoint for your image.

4. Ensure the scene hasn’t got a speeding boat or the white line left from the wake that could occur in more than one image, as this will make the task of stitching the images together extremely difficult and could ruin the panorama. 

5. Quickly shoot the entire scene, making accurate movements. If you can imagine you have a protractor on the scene in front of you try to take a shot every 10-15 degrees. Always leave some overlapping (around one-third approximate overlap between each frame)  and use a remote / cable release if you have one to prevent shake as you don't want to get home to find that one out of the several images you've taken isn’t sharp. You may also want to shoot a little wider than necessary as the stitching process can often leave the end result requiring some cropping.

Couples are posting videos accusing their wedding photographers of secretly using AI, and the reaction from shooters has split into two loud camps. The confusion this creates makes it harder for engaged couples to find a photographer they trust, and it puts working shooters on the defensive over tools they already rely on. 

[Read More]

 

 

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

 

1. What Gear Do I Need:

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

  2. Elbow Room

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

  3. Light Problems

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

  4. Don't Miss The Action 

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

  5. Wide Shots

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

  6. Detail

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

  7. Street Candids

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

 

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

 

The Armadex OZC-3 compact camera is both familiar and also breaking new ground for an ePHOTOzine review. It is familiar in that it is based on the OM System TG-7 Shockproof and Waterproof camera, previously reviewed and recommended. It breaks new ground as it gives us a rare glimpse into a different photographic world, where requirements can be extremely specific and require appropriate testing and certification. Let's have a closer look at the ATEX zone 2/22 Explosion Proof Camera Armadex OZC-3, as far as we can do without being able to work directly in its specialised field of the construction industry.

 

Armadex OZC-3 Features

The camera is supplied with its own hard case that contains all the paperwork, the OM System TG-7 Basic manual and the Armadex variation leaflet that defines where the specification deviates from the basic model. Wherever there is a contradiction between the two, the Armadex instructions apply.

 

 

The most obvious difference is that the Xenon flash unit is totally disabled. This is a camera specifically designed as being Intrinsically Safe in ATEX zone 2/22 hazardous areas. The flash is disabled as any spark could potentially ignite any gas or flammable dust that may be present. The definitions for ATEX zones are complex, but in essence, the ones the camera is intended for are areas of relatively low and transient risk that relate to gases (zone 2) and flammable dust (zone 22). There is a wide range of construction and manufacturing situations where hazardous and potentially explosive situations may occur. The camera use will also be subject to whatever site rules may apply and the instructions specify that users should have a basic competence and understanding.

As mentioned above, the basic camera is the same as the OM System TG-7, weighing in at 249g with battery and memory card. Two protective 40.5mm UV filters are added and are intended to be left permanently in place. These filters create an air gap that should reduce the chance of misting of the lens if there are large temperature variations, such as entering the tropical section of a glasshouse. Dimensions are 113.9mm x 65.8mm x 65.8mm.

 

 

One of the most relevant sections of the menu is to be found under Scene mode. Once it has been switched on in the main menu, a Construction menu becomes available and offers several options where the camera sets up the appropriate camera settings. 

The Construction menu comprises:

• Construction 1 for standard construction scenes. Reduces white spots from dust or rain
• Construction 2 effective if C1 images are too dark. More resistant to camera blur
• Construction 3 for backlit scenes. Reduces dust influences
• Indoor – set for using flash but deactivated for this camera as the flash is deactivated. 
• Slow Shutter for night or dark scenes with tripod. Use of self timer suggested to reduce shake from pressing the shutter button
• Documents for shooting A3 or A4 documents. Makes lines of documents or drawings clearer
• Panorama for panoramic shots of the whole site. Follow the camera's instructions for panning the shot

 

Key Features of Armadex OZC-3

• Based on OM System TG-7
• Xenon flash unit de-activated
• LED light source can be used to replace flash
• For use in ATEX zone 2/22
• Two Hoya Prime XS UV filters for constant use, creating air gap
• Supplied in airline style hard protective case
• Examination and Certificate of Conformity 
• Construction Menu in Scenes setting
• Time stamp
• Macro mode
• Microscope mode
• Environmental logging
• OI Share App
• Sensor shift IS
• Waterproof to 15m
• OM System 4.5-18mm f/2-4.9 Zoom lens (“35mm equivalent” 25-100mm)
• CALS settings for standardised images for local authority work

 

Armadex OZC-3 Handling

My initial thought for this camera was that places such as oil rigs and chemical processing sites could be its areas of use, but a little investigation reveals that there are more applications than that. Explosive atmospheres can be found even in food manufacture, places with high levels of wood dust and areas with transient high gas levels but otherwise fairly well ventilated. There is also, of course, the more everyday construction industry where the tough water and dust proofing may be a challenge easily met. 

The two filters provided are intended to be used together, something that seems a little counter-intuitive in terms of expected quality. However, as regards image quality, it seems it makes no difference at all. There would appear to be no detriment in adding two stacked quality filters. However, the emphasis is on quality filters and the Hoya Prime XS used are of exemplary quality.

Flare resistance was looked at and directly compared with a regular OM System TG-7 and also the Pentax WG-8. All three cameras showed no flare in most shots, but all three showed a magnificent display of artefacts when there was a bright light source in the frame. This is our standard extreme flare test. In the case of the OZC-3, the effects are identical with and without the two filters, the conclusion being that the filters cause no reduction in performance of any kind and can be quite happily left in place.

There will always be a place for dedicated equipment and the OZC-3 is a perfect example of how standard kit can be developed and applied to specific,  specialised areas.

 

Armadex OZC-3 Sample Photos Previous Next

 

Value For Money

The Armadex OZC-3 is priced on their website at £1497.32 for the UK. This is the complete kit in its case.

There is no real comparison in that the regular waterproof/freezeproof cameras are not Intrinsically Safe in hazardous environments, so could not really be considered as alternatives. Just to put things into perspective, the pricing for the regular top of the line models is:

• OM System TG-7, £449
• Pentax WG-8, £429

Looking for advice and comments from those active in the construction area, the cost was not seen by them to be an issue. If the camera fulfilled its function, which it clearly does, then the price would be covered.

 

Armadex OZC-3 Verdict

Given the defined areas that the camera is designed for, the OZC-3 is defined as  Intrinsically Safe. This, in its turn, is defined as not being a potential source of ignition when in areas 2/22, but also keeping its non-incendiary status even if it develops a fault. By comparison, a non-inductive product would not continue to be safe once damaged nor faulty.

Apart from that, the camera has various features that enhance performance in the given situations, as well as, if required, operating in the same way as the OM System TG-7 that it is based upon. The exception here is that there will never be any flash capability as one of the safety features is the total removal of the Xenon flash. An LED light makes up for this.

This is all very specific and if its special features are needed, then the kit can be Highly Recommended.

 

Armadex OZC-3 Pros

• Intrinsically Safe
• Suitable for hazardous areas ATEX zone 2/22
• Construction Menu options
• Waterproof
• Crushproof
• Freezeproof
• Shockproof
• Good image quality
• Extensive underwater options
• Compact design

 

Armadex OZC-3 Cons

• Some features can only be found in menu settings

 

[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=An Intrinsically Safe camera for use in ATEX zone 2/22 hazardous areas.|E_id=8016[/REVIEW_FOOTER]

 

View the Armadex OZC-3 camera specs in the equipment database.

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

When it comes to photography, light is the photographer's friend but during the summer the light can be a little harsh and colours in images can end up looking blown out but there are a few ways you can prevent this from happening.

 

1. Try A Different Metering Mode

Cameras have various metering modes (Spot etc.) so you can pick the one that produces the best result when shooting in situations where there are bright sunlight and shadows to deal with. When working against a strong backlight (such as a bright sky and sand at the beach) use spot metering to ensure your portraits are correctly exposed.

 

2. Add A Little Flash

It doesn't matter if you're a compact user with a camera that has a built-in flash or are a DSLR owner who fits a flashgun to your camera's hot shoe, both light sources can come in useful when shooting portraits in the summer sunlight. Why? Well, faces can end up with deep shadows on them, particularly under the nose and chin, so by setting your flash to fire, a splash of light will illuminate your subject's face and remove unattractive shadows.

 

Photo by Joshua Waller

3. Use Exposure Compensation

In bright situations, cameras can be fooled and shots can end up looking underexposed as the camera’s exposure system attempts to create a mid-tone exposure. To stop this, have a look through your camera's menu for the exposure compensation feature. By using this mode you'll be able to set a + or - exposure, depending on the camera's results, and produce an image that's correctly exposed. For example,  if the sand in a seaside landscape looks darker then it is, set a + exposure compensation. Various stops are available so it's worth shooting a few images to ensure you get the results you require.

 

4. Make The Most Of Scene Modes

Try using your compact's (Beach & Snow) Scene Mode to capture correctly exposed images when on the beach. With this mode, the exposure is automatically compensated so the sand doesn't appear underexposed.

 

5. Use A Reflector

If you think flash is a little harsh for your summer portraits you can use a reflector to bounce extra light into your images. You can purchase purpose-built models, but home-made reflectors can work just as well. A bit of white card and foil will help you add light to shadows, resulting in a more pleasing portrait. 
 

Photo by Joshua Waller

 

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

Almost nobody needs a dedicated camera anymore. That is the uncomfortable truth sitting underneath every camera launch in 2026, and the sooner the industry says it out loud, the better its decisions get.  

[Read More]

Rejoice, all Nikon ZR users. Today, I’ll give you the inside scoop on a low-cost app that might just be the answer to your prayers. 

[Read More]

There are cameras people buy because they are new, and cameras people keep because they matter.

I think the Canon 5D belongs to the second category. Long after mirrorless systems took over conversations, long after spec sheets became the dominant language of photography, the 5D series continues to occupy a strangely untouchable space. Not merely respected. Not simply remembered. Mythologized. And perhaps that is the real story, because the Canon 5D was never just a camera. It was a permission slip.

 

[Read More]

Someone was offered a free camera with one condition attached: they had to commit to learning and using manual exposure. Was it worth it? 

[Read More]