DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

1. Heading To The Beach?

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

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

2. Check Temperatures

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

 

3. Going Inside And Out

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

 

4. Think About You

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

 

 

5. Viewing Screens

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

 

6. Avoid Hot Parts Of The Day

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

 

7. Find Some Shade

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

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

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The Develop module in Lightroom, as the name suggests, is where you "develop" your images and to quicken the process up, there are several keyboard shortcuts available which allow the user to access and edit tools with a few key combinations - improving the speed at which you can process your images - and greatly improve your workflow.

 

As there are quite a few keyboard shortcuts we'll be breaking the list up into parts and we're starting with 19 basic but essential shortcuts for photo editing. 

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  1. Undo - Ctrl + Z 

If you want to go back a step as you don't like a particular edit, press Ctrl + Z on your keyboard to save you time moving your mouse, clicking the 'Edit' tab and selecting 'Undo'. 

 

  2. Auto Tone - Ctrl + U

If you want Lightroom to have a crack at balancing your exposure this is the tool for you. With the click of two keys on your keyboard the Exposure, Contrast, Highlights, Shadows, Whites and Blacks sliders are adjusted by the software to create a more balanced exposure. The results can be quite good but you can always use the keyboard shortcut we've just talked about to undo the changes if you don't like them.

 

  3. Auto White Balance - Ctrl + Shift + U

Again, this allows Lightroom to adjust settings automatically for you. This time, the Temp and Tint sliders are tweaked. You may not like the way your image looks after the automatic changes but you can always press Cntrl + Z to go back a step. 

4. Increase/Decrease Selected Slider In Small Increments - Arrow Keys

When making changes to a particular adjustments option you can use your mouse to adjust the slider's position, increasing or decreasing the effect as a result. You can also write a value into the numeric box at the side of it but for more control, make use of your keyboards arrows. Left and down decrease the effect while the up and right arrows increase it. It also means your focus stays on the image rather than having to look where your mouse is positioned on the slider then flick your attention back to the image to see how it looks. 
 

5. Increase/Decrease Selected Slider In Larger Increments - Shift + Arrow Keys

This works the same way as the above controls, but the increments at which the sliders/figures can be altered is increased. 
 

6. Move Up And Down Through Basic Panel Settings - . (full stop) + , (comma)

The Basic Panel Settings section is where you'll find options to edit white balance alongside other tonal adjustments. You'll probably find you flick between a few of these options so instead of moving and clicking your mouse to select a different slider, just use the full stop and comma keys to circle through the various options available. 

7. Select White Balance Tool - W

To quickly access the white balance tool (looks like a pipette) from any module, just press 'W' and it will instantly be selected to make quick and white balance adjustments. 

8. Select The Crop Tool - R

The crop tool is a really useful function that can be accessed from any module with the 'R' key. In Lightroom, the crop tool combines as a handy rotational tool, too. Press 'R' again to deactivate this option. 

9. Select The Spot Removal Tool - Q

The Spot Removal tool has various useful features including the ability to remove dust spots and fix skin blemishes. It's found under the Histogram tab but can be quickly accessed by pressing 'Q'. 

10. Select The Adjustment Brush Tool (from any module) - K

The Adjustment Brush allows you to make a variety of changes to your images in a much more precise way. For example, you may want to brighten someone's teeth without changing the exposure of the whole shot. To access this tool quickly, press 'K'. 

  11. Select The Graduated Filter Tool - M

The Graduated Filter in Lightroom is a very useful tool for balancing exposures (simulating the effect of a graduated ND filter photographers place in front of their camera lenses) and can be selected by pressing 'M' on your keyboard. 

12. Increase/Decrease Brush Size - ] / [

These controls work with various tools in Lightroom and are a quicker way to adjust the size of the brush you're working with rather than having to move your mouse to select and move a slider. [ decreases the brush size while ] increases it. 

 

13. Increase/Decrease Brush Feathering - Shift + ] / Shift + [

To alter how hard/soft the brush you're using is you can use two commands: Shift + [ to decrease the feathering and Shift + ] to increase the feathering. 

  14. Rotate Photo - Ctrl + ] Ctrl + [

To quickly change to orientation of the image you have selected use Ctrl + ] to turn it clockwise and Ctrl + [ to turn it counterclockwise. 

15. Zoom In / Zoom Out - Ctrl +  / Ctrl  -

When you want to work on a particular area of a photo you can use Ctrl + to zoom in then press Ctrl - to zoom back out. 

16. View Before And After Left/Right - Y

To compare your edited shot with the original side-by-side press 'Y'. 

17. View Before And After Top/Bottom - Alt + Y

To compare your edited shot with the original one above and one below press 'Alt + Y'. 

 

18. View Before And After In A Split Screen - Shift + Y

To compare your edited shot with the original on a split-screen so you see the original on one half of the shot and the edited version on the other half-press 'Shift + Y'

19. Edit in Photoshop - Ctrl + E

There may be times when you need to take a photo into Photoshop to finish the edit and to do this quickly without having to save your image and reopen it again, you can press Ctrl + E in Lightroom and it'll be opened in Photoshop automatically. 

 

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

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

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

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

 

1. Take A Walk 

You probably already know where you can find buildings with good reflective qualities in your town, but it's still worth having a walk around at different times of the day to find out when it's the best time to shoot.

 

2. Time Of The Day 

Surprisingly, with modern buildings bright sunlight can work really well so don't think your hunt for reflections is only limited to early and late parts of the day. However, weekend mornings are a good time if you don't want people in your shots but if there are people around, which may include security guards, and they ask you what you're doing just polity tell them as it's easier than having an argument and then them calling the police.

If you get a particularly spectacular sunset it's worth hanging back as the colours look really good when reflected in modern glass. The same goes for blue skies and white fluffy clouds. In fact, if you have a building that stands away from the rest of the high risers you can almost lose it in the sky.

 

3. Make The Ordinary Look Fab

Reflections are a great way of making the ordinary look extraordinary too and items we see every day such as trees, colourful signs and lamp posts suddenly turn into an abstract image of wavy lines, shapes and colour. They also give you the opportunity to photograph a well-known building in a different way.

 

 

4. Where To Stand

You can photograph the building almost straight on to produce a simple reflection or see if there's the opportunity to line up a shot where the real building meets the reflection so you can create a whole building from the two halves. The contrast of old vs new is something that's always worked well and it's not something that should be ignored here. A big, glass skyscraper reflecting an old, battered, slightly wonky pub can look really great.

 

5. Converging Vertical Issues

Don't get too hung up about converging verticals as with some modern buildings they can create an interesting composition. It may distort your reflection though so it's best to just experiment and see.

 

6. Go Wide & Add Detail 

If you do opt for using wides try giving your image a little foreground detail to fill what can be a big empty space and if you find you have a problem with glare at any time, just adjust your position until it's no longer in the shot.

 

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

 

1. Switch From Auto Mode

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

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

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

  2. Send A Digital 'Postcards'

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

 

 

3. Use Beach & Sea Ready Cameras

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

 

4. Boost Colours Of Sunsets & Sunrises

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

 

5. Go For A Different Angle

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

 

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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.

 

 

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

 

1. What Gear Do I Need:

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

  2. Elbow Room

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

  3. Light Problems

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

  4. Don't Miss The Action 

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

  5. Wide Shots

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

  6. Detail

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

  7. Street Candids

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

 

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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.

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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

 

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A lovely shot of a cuckoo in flight has picked up the POTW accolade this week.

The image, taken by ePz member Nick_w, is titled 'Cuckoo Calling', and the timing on it is great. Wings fully up, tail fanned right out, you get a proper look at all that barring and the white tail spots. It's even got something caught in its beak, along with a blade of grass, which adds another point of interest to the shot.

The plain, soft background really helps too, with nothing to compete with the bird. Its bright orange eye and orange feet stand out against the grey plumage, while the sharp detail makes this an impressive image. Cuckoos are not the easiest birds to photograph in flight, making this a well-earned POTW winner.

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.

When shooting travel images, as well as showing people back home that you had a really great time and that it was sunny every day, try capturing shots that convey a sense of place and culture as well. By doing so you'll have a much more memorable record of your trip and you should gain a collection of shots which are much more varied. To help you out, here are a few pointers that should help you improve your travel photography.

 

1. Do Your Research

 

If you're going on holiday to shoot photos every day rather than spending time sitting by the pool or building sandcastles on the beach with your kids you need to choose your location and work out when would be the best time to visit. For example, some locations have a monsoon season or there will be times when temperatures are way too high for visitors to be out, wandering around with cameras. By doing your research before you arrive will save you time and also allow you to plan correctly for the weather, terrain etc. you'll be facing.

You can take a look in online galleries to see where another photographer's visited and review travel guides so you can make a note of the places you want to visit and the type of images you want to create.

The more information you collect before your trip, the more productive you'll find it to be. In fact, if you make a shooting plan or note down a few ideas in a notebook you can take the notes with you so you're not always searching for shooting suggestions. Of course, there will be tourist information centres, maps and reps you can find more information from once you arrive at your chosen destination.

 

2. It's In The Details

 

As well as shooting sweeping vistas and portraits, use your zoom to shoot frame-filling, close-ups of detail. These detailed shots will help sum-up the essence of the location you're shooting in and you're more likely to capture something unique if you focus your attention on smaller items and detail rather than wider, popular shots. Small details such as spices on a market stall or strings of chillies drying in the sun are often very colourful and make interesting close-up subjects.

 

3. How Many Shots?

 

If you enjoy visiting new locations every year it'll probably be a while before you return to the same location so make sure you shoot plenty. However, we don't mean just point and click as you still need to think about good composition etc. Just remember to try different angles of the same subject and always have your camera ready to shoot the unexpected.

 

4. Don't Overlook Landmarks

 

Many places around the world have well-known landmarks that when photographed will instantly tell the person who's looking at your photograph where you went on your week off. It's always worth taking a shot or two of these landmarks during your break but do look for new ways to shoot them. This could include getting closer, shooting a panorama or using crowds of tourists to add another level of interest to your shot.

 

5. Capture Culture

 

Get away from main shopping and tourist areas and you'll often find the culture of the country/town becomes more prominent. Do be careful though and keep an eye on your gear as you will stand out and tourists do sometimes get targeted by thieves.

See if there are any festivals, ceremonies or other events happening that'll be worth photographing. You'll be able to capture lively shots and if you shoot with a telephoto lens, you'll be able to throw backgrounds out of focus more easily which should blur tourists and other distractions, allowing all attention to stay with your subject.

 

6. Photograph People

 

Even though candid shots of people in crowds, at work etc. do have a place, generally, it's advised and polite to ask permission before you take a photo of a stranger. Having said that, when people play a minor part in your image asking permission to shoot, particularly if it's a large crowd, can be impossible as there are just too many people.

If language is a barrier try smiling and pointing to your camera you should soon have a quick nod or shake of the head in response.

Always give your subject eye contact when you're talking to them between shots, smile and don't forget your manners. Try to learn what hello, please and thank you are in the language of the country you're visiting and if your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens. If you have a willing subject who tenses up and becomes a little too rigid when you put the camera to your eye take the shot any way then quickly snap another when they think you've finished capturing a moment when they're more relaxed.

Once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out. You can find out how much people generally ask for in tips before heading out on the street and you can barter if you think the fee is too high.

7. Time Of Day

 

Shooting early morning or later in the evening will give you the best light for landscapes and architectural shots. In a morning, the sun is at a lower angle so your shots won't have large, deep shadows running through them. There will be fewer people around at this time too as many holidaymakers enjoy staying in bed a little longer when they are away. Don't dismiss shooting a few shots of a busy beach though as a scene where no sand can be seen because of towels and deckchairs will be just as interesting.

 

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

 

1. Gear Choices

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

 

2. Patterns Are Everywhere

 

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

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

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

 

3. How To Capture Patterns Successfully

 

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

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

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

 

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

 

 

1. Where To Find Them?

The horizon has to be the most popular horizontal line photographers shoot. It's easy to find and most of the time rather simple to shoot. Just remember to not cut your image in half, position the horizon in the top or bottom third of the image, keep it straight and try to break it up with other shapes to give your shot more interest. Fallen trees and people laid down will give you horizontal lines that are a little less obvious while frame-filling shots of lots of horizontal lines together, such as boards on sheds or even lines on stripy jumpers, will give you more abstract shots that focus on the pattern the lines create.

 

2. Which Orientation?

Generally, lines which are obviously flowing in a particular direction such as left to right or up and down are best photographed in the same orientation. However, flipping to portrait when you're photographing horizontal lines can create the impression that there's so many and they're so wide that they can't fit in the frame. Where possible, shoot straight on for more impact and make sure shadows from surrounding objects, including yourself, aren't in the shot. Talking of shadows, if you're photographing something such as wooden panelling, bright sunlight can form deep shadows along the ridges of the individual planks, enhancing the shapes or even adding more lines to your frame.

 

3. Keep It Straight

Horizontal lines need to be straight or as straight as you can possibly get them for your shot to work. If they're wonky it'll just annoy the person who's viewing your shot and make them tilt their head to one side. Check the horizon is level with your frame before hitting the shutter, using a grid line that's built into most cameras or by using a tripod with a built-in spirit level. If your tripod doesn't have one you can buy spirit levels that sit on your camera's hot shoe. You can also correct any tilting horizons in Photoshop.

 

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

 

1. Lens Choice

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

2. Focus On Parts Of The Circle

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

3. Get Up High

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

4. Check The Weather 

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

5. Get Down Low

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

 

 

6. Go Mono

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

7. Use Filters

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

8. Try HDR

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

9. No People

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

10. Create Scale

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

 

 

11. Look For Angles

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

12. Early Or Late?

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

13. Think About The Sky

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

14. Give Panoramas A Try

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

15. Do Your Research

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

 

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If you're looking for a way to improve your photography skills then a challenge is probably right up your street. To give you some inspiration on how you can challenge yourself next time you're heading out with your camera here are 6 shooting suggestions that'll get your grey matter working a little harder: 

  1. Use One Lens /Focal Length

Basically, we want you to select one lens, yes just one, go for a walk, visit a museum etc. and see what images you can capture. Try to make it a lens you've not used for a while as this should make your work even harder. 

A lens with a fixed focal length would be our choice for this but if you only have a zoom take that along and pick just one focal length to use. If you don't, it won't be much of a challenge!

Before you start snapping away you really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.
 

2. Limit The Shots You Take

As memory cards are reasonably priced and can hold hundreds if not thousands of images, it's easy to just click the shutter button continuously and pick the best shots when you're back home. However, by taking just one shot of each subject you plan on photographing you'll have to really think about your composition, framing etc. as you don't have the option of having another shot to correct your mistakes with. If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

 

3. Photograph Just One Colour

Pick a colour, it can be any colour, and stick with it. It can be similar objects or totally different subjects, but their colour must link. You can write down a colour then make a note of possible subjects that fit the theme or just head out and search for potential subjects with your camera in-hand. The final results can give you a great set of images that you can also use in a panel for your wall. 

 

4. Focus On One Subject 

Instead of taking many photos of a variety of subjects why not spend a day, or longer if you wish, photographing just one subject. Take a tree, for example, you can photograph the whole thing, get in close with a macro lens, capture shots of leaves, stand further back with a wide-angle lens and capture it in its landscape etc. Visit your subject at different times of the year or at different times of the day and pay attention to how the light changes and when it's at its best. Venture out on foggy mornings, when the clouds are grey or when snow has covered the ground. You'll end up with lots of images and not all will be great but there will be some gems and they could be from ways you've not considered photographing a particular subject before. 

  5. Get Out Of Your Comfort Zone

It's easy to stick with the familiar but by getting away from what you're used to, you'll discover new things and improve as a photographer in the process. So, if you tend to shoot landscapes, why not try photographing portraits instead? You'll be shooting with different settings, lenses and in different ways, learning as you go and expanding your creativity. You'll pick up new tips and more than likely learn more about the settings/options your camera has to offer, too. 

 

6. Enter A Photography Competition

If you're out taking photos that are specifically for a competition you'll probably think that bit longer about composition, lighting etc.to improve your chances of getting your hands on the top prize. It's also a good way to find new subject inspiration for your shots as a vast number of themes are used in competitions right across the web as well as in magazines.

 

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

 

The Samsung 990 SSD delivers robust performance with a sequential read speed of up to 7,250 MB/s and 38% improved power efficiency over its predecessor

The 1TB and 2TB options widen PC upgrade choices for consumers ranging from everyday use to gaming and content creation

 

Samsung Electronics announced the launch of its new 990 SSD, available in 1-terabyte (TB) and 2TB capacities. Delivering exceptional sequential performance and enhanced power efficiency, the Samsung 990 SSD is designed as a balanced storage solution optimized for gaming, creative workloads, and daily PC use.

"Samsung’s new 990 SSD is an excellent solution for a wide range of users looking to expand their storage for heavy workloads, immersive gaming, high-resolution content creation, and DIY PC builds," said Tommy (Hyoungsuk) Kwon, Vice President of Memory Brand Product Biz Team at Samsung Electronics.

Thanks to PCIe 4.0 support and the latest NAND technologies, the Samsung 990 SSD 2TB model delivers a sequential read speed of up to 7,250 megabytes per second (MB/s), while the 1TB model reaches up to 7,150 MB/s. Both models provide sequential write speeds of up to 6,450 MB/s, enabling fast file transfers and reduced loading times.

For random performance, the 2TB model delivers up to 850K read and 1,200K write IOPS, while the 1TB model reaches read and write speeds of up to 700K and 1,100K IOPS, respectively. These capabilities help users experience faster application launches, responsive gameplay, and efficient handling of large-scale workloads.

The expanded storage capacity also allows users to store large amounts of high-quality content and the latest AAA games. The 2TB model can store up to 30 large-scale games based on an average size of 64GB1, making it an ideal solution for gamers and creators managing increasingly sizable files and applications.

The Samsung 990 SSD has also achieved significant improvements in power efficiency. Compared to its previous 990 PRO model, the power efficiency has improved by up to 38%2, allowing users achieve high performance with lower power consumption.

The Samsung Magician Software helps ensure SSDs—including the Samsung 990—maintain optimal performance. It supports seamless data migration and drive health monitoring, enabling users to benefit from customized performance optimization and robust data protection.

The Samsung 990 SSD will be available in 1TB and 2TB models from July 14, 2026, with an MSRP of £212.19 and £411.99, respectively. Availability may vary by market.

 

Samsung 990 SSD Interface PCIe® 4.0 x4 NVMe™ 2.03 Form Factor M.2 (2280) Storage Memory Samsung V-NAND Controller Samsung in-house Controller Capacity4 1TB 2TB Sequential Read/Write Speed5 Up to 7,150 MB/s, 6,450 MB/s Up to 7,250 MB/s, 6,450 MB/s Random Read/Write Speed (QD32) Up to 700K IOPS, 1,100K IOPS Up to 850K IOPS, 1,200K IOPS Management Software Samsung Magician Software Data Encryption AES 256-bit Full Disk Encryption, TCG/Opal V2.0, Encrypted Drive (IEEE1667)- Total Bytes Written 400TB 800TB Warranty Three-year Limited Warranty6

 

1 Based on an average game size of 64.3GB – calculated using the top 12 titles from Steam’s “Best of 2025: New Releases” list https://store.steampowered.com/charts/bestofyear/2025

2 SSD 990 sequential read/write 1,686/1,697 MB/s per Watt, 990 PRO sequential read/write 1,221/1,255 MB/s per Watt based on the internal test result of the 2TB capacity model.

3 The NVM Express® design mark is a registered trademark of NVM Express, Inc.

4 1GB = 1,000,000,000 bytes by IDEMA. A certain portion of capacity may be used for system file and maintenance use, thus the actual available capacity may differ from the labeled capacity. 

5 Sequential and random performance are based on 1Ometer1.1.0 Performance may vary based on SSD's firmware version, system hardware & configurations. Test System: AMD Ryzen 9 7650X 16-Core Processor CPU@4.50GHz, DDR5 4800MHz (16GBx2), OS-Windows 11 Pro 64bit, ChipsetASRock-X670E-Taichi. Sequential and random write performance was measured with Intelligent TurboWrite technology being activated. Intelligent TurboWrite operates only within a specific data transfer size. For detailed information, please contact your local service center.

6 Samsung Electronics shall not be liable for any loss, including but not limited to loss of data or other information contained on Samsung's products or loss of profit or revenue which may be incurred by the user. Warranty provides coverage for the stated time period or the TBW (Total Bytes Written), whichever comes first. Please refer to the detailed warranty statement here at http://www.samsung.com/samsungssd

For more information, please visit the Samsung UK website.

  1. What's A Catchlight?

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

 

2. How Do I Create Them?

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

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

 

 

3. Where To Position The Catchlights?

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

 

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© Hasselblad

 

Hasselblad has revealed the seven winners of the prestigious Hasselblad Masters 2026 competition, chosen from over 108,000 global submissions for their exceptional technical and creative vision. These photographers receive the "Hasselblad Master" title, carrying the distinction throughout their careers, along with a 100-megapixel medium format camera, two XCD lenses, and a €5,000 creative fund, for their work across categories including Landscape, Portrait, and Project//21.

 

From Hasselblad:

Hasselblad is pleased to announce the winners of the Hasselblad Masters 2026 competition. Selected from 70 finalists across the globe, seven photographers have been named the next Hasselblad Masters for their technical mastery and strong personal vision.

Widely regarded as one of the world's most prestigious professional photography competitions, the Hasselblad Masters was created to celebrate creative excellence and bring together established and emerging talent from around the world. This year, the competition received more than 108,000 image submissions from photographers in 160 countries and regions across seven categories: Landscape, Architecture, Portrait, Art, Street, Wildlife and Project//21. 

The finalists were evaluated by the Hasselblad Masters Grand Jury, with public voting considered as part of the overall judging process. The Grand Jury selected one winner in each category based on conceptual strength, originality, creativity, and technical excellence.

Kalle Sanner, Executive Director at the Hasselblad Foundation and Grand Jury Chair, commented, "What this year's Hasselblad Masters submissions demonstrated, with rare consistency, is that the most compelling photography does not simply record, it constructs. Across categories, the strongest work operated on more than one level simultaneously: legible on first encounter, yet resistant to easy interpretation. These are images that require attention, that continue to unfold the longer you stay with them. What unites the winners is a shared understanding that photography's real power lies not in what it shows, but in what it withholds, reframes, and quietly insists upon."

The seven winners earn the title of "Hasselblad Master," joining the distinguished community of past Masters and carrying the distinction throughout their careers. They will receive a Hasselblad 100-megapixel medium format camera, two XCD lenses, and an expanded creative fund of EUR 5,000. The winners will also participate in a collaborative project with Hasselblad, with their work featured in the commemorative Hasselblad Masters book and across Hasselblad's global channels. 

 

THE HASSELBLAD MASTERS 2026 WINNERS

 

© Yudha Kusuma Putera | Hasselblad

ART

Yudha Kusuma Putera | Waste Colonialism (Sapi-Sapi Piyungan) | Indonesia
 
Rooted in everyday life and inspired by its complexity, Yudha Kusuma Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.
 
The winning images are part of a project examining how developed nations export their waste to developing countries, where labour and costs are lower. This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Yogyakarta's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill. He photographed the backs of these cows stacked together, with their forms mirroring the landscape of trash around them. The work does not seek to assign blame, but to invite collective reflection on the waste we produce, and the futures we are building from it.
 
"On the surface, the images appear direct and unambiguous, and yet they consistently resist easy reading, generating a sense of visual uncertainty that keeps the viewer engaged and questioning. The images do not announce themselves loudly, but reward sustained attention with a slow-building sense of strangeness that is both intellectually stimulating and visually striking," says Kalle Sanner, Executive Director at the Hasselblad Foundation.
 

© Kevin Boyle | Hasselblad

 

ARCHITECTURE

Kevin Boyle | DaySleeper | Movieland | Canada

 
Kevin Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear. For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal "portrait" of once important gathering places. Through his lens, these forgotten spaces become vibrant, glowing symbols of community heritage and shared human connection.

"The composition, and the fact that the images are empty of people, triggers our imaginations, taking us back to a time when these buildings would have thrived with the community meeting for evening entertainment. By making this series, the photographer invites us to consider the myriad of small venues that make up the social fabric of small communities," says Sonia Jeunet, Photography Consultant and Education at Magnum Photos.

 

© Svetlana Jovanovic | Hasselblad

 

PORTRAIT

Svetlana Jovanovic | Otherness | The Netherlands

With a psychology background, Svetlana Jovanovic's portraiture is driven by a deep curiosity about identity — how we experience the world, construct our sense of self, and see ourselves through the eyes of others. Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning. 

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work. Each portrait is a collaboration, shaped as much by the relationship between the twins as by the photographer's own vision, inviting viewers to reflect on how we define ourselves both apart from, and through, one another. 

"Through precise use of light and composition, this portrait series explores the themes of mirroring and duality. Whether capturing two sides of the same face or the closeness of two kindred souls, the images reveal subtle layers of emotion with quiet precision," says RongRong, Co-founder and Artistic Director at The Three Shadows Photography Art Centre.

 

© Rohan Reilly | Hasselblad

 

LANDSCAPE

Rohan Reilly | Ephemeral Visions | Ireland

Rooted in the discipline of a composer, Rohan Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness. His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation. The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned. 

This winning series captures a row of poplar trees planted along the banks of the River Po in Italy, which are natural guardians against flooding, now standing immersed in perfectly still water beneath soft, diffused light. What was once a purely functional landscape transforms into something surreal and dreamlike. In this quietly breathtaking scene, the photographer's vision can find its fullest expression: nature distilled to its core, and time momentarily held still.

"A forest of poplar trees could be a monotonous subject. But these photographs are hypnotic objects of meditation, creating something expansive through repetition and ostensible sameness," says Zack Hatfield, Managing Editor at Aperture Magazine.

 

© Panitbhand Paribatra Na Ayudhya | Hasselblad

 

PROJECT//21

Panitbhand Paribatra Na Ayudhya | Dwellers of the Night | Thailand
 
Panitbhand Paribatra Na Ayudhya is a young underwater photographer and scuba diver from Thailand. His work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.
 
His winning series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness. Using slow shutter speeds to capture the elegant motion of his subjects, and carefully chosen coloured lighting to reveal their form and beauty, he illuminates a world rarely seen. For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject — crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.
 
"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating. There's a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction." says Alex Pollack, Director of Photography at National Geographic.
 

© Gosse Bouma | Hasselblad

 

STREET

Gosse Bouma | Morning Ritual | The Netherlands

Gosse Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather. Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.

"The photographer understands atmosphere, scale and timing. The small lit kiosks within the vast blue urban emptiness create images that feel both intimate and monumental. Here, genuine photographic tension emerges. The series uses colour structurally, not decoratively. Mist, artificial light and architecture form one coherent world," says Aya Musa, Senior Curator at Foam.

 

© Alfred Minnaar | Hasselblad

 

WILDLIFE

Alfred Minnaar | The Forest I Roam | South Africa

Alfred Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behaviour, environment, and relationship with the surrounding ecosystem. Over a decade of global exploration, his fine-art philosophy has evolved from a traveler's passion into a powerful voice for conservation, capturing fleeting deep-sea and wildlife narratives to inspire the preservation of our planet.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer. Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

"The vibrancy of the palette immediately draws you in, and the way the small fish are framed against their environments creates a sense of scale that almost reads as landscape. There's a nice balance here between detail and composition, with the micro subjects holding their own within a larger, almost abstracted environment," says Alex Pollack, Director of Photography at National Geographic.

 

HASSELBLAD MASTERS 2026 GRAND JURY

• Kalle Sanner, Executive Director, Hasselblad Foundation
• Alex Pollack, Director of Photography, National Geographic
• Aya Musa, Senior Curator, Foam
• Paul Lachenauer, Managing Photographer, The Metropolitan Museum of Art
• Rebecca Swift, Senior Vice President, Creative, Getty Images
• RongRong, Co-founder and Artistic Director, Three Shadows Photography Art Centre
• Sonia Jeunet, Photography Consultant and Education, Magnum Photos
• Zack Hatfield, Managing Editor, Aperture Magazine  

 

For more information, please visit the Hasselblad website.

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Beachcombers find all sorts of treasures that make perfect photographic subjects. So while you're at the coast, take a walk along the beach to see what interesting objects you the sea has washed up for you to photograph.

 

1. What Gear Do I Need? 

A good zoom lens with a macro feature or good close-focusing ability will help you get in close to the various items washed up onshore. A proper macro lens will get you in even closer.

If you're out with the family at a time when the sun's high in the sky a polarising filter will reduce reflection, glare and boost the colours of the items you discover.

If you need some extra support a monopod is more convenient than a tripod, but generally, as you'll be on the move, it's easier to capture these shots hand-held. It all depends on who you are with and how much time you have got to linger. By the way, if you do use a monopod or tripod, wash the feet when you get home to get rid of the sand and salt.

  2. Safety And The Sea

Before we cover what there's to photograph we need to talk about safety. The sea can be a very dangerous thing and it needs treating with respect. Make sure you know when high tide will be and always be aware of the incoming tide so you don't get swept away or stranded. Broken glass, nails and other sharp objects can be washed up so take care to not cut or injure yourself.

Walking along the coast, searching for washed-up items can become rather addictive and before you know it you'll have been out on the beach for a couple of hours so don't forget your sun cream and if it's particularly sunny a hat!

 

 

3. Follow The Tide Lines

To find the most interesting objects you need to follow the tide lines just after a good storm or strong winds have blown in. head out not too late after high tide to give you the best chance of uncovering some photo treasures before they get picked up or the surrounding sand's spoilt with footprints.

 

4. More Subject Suggestions 

Seashells, fossils, shards of pottery and glass objects, driftwood and large plastic objects thrown overboard all wash up on shore and all have photographic potential. The key is to get in close to photograph the scratches, marks and cracks that make these objects unique. If you find larger items such as driftwood try taking a step back to give the item context. You could even collect lots of smaller items up and shoot a seaside themed still life. Obviously we do not encourage you remove stones, pebbles and the like.

 

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