DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

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.

 

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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.

 

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

© 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.

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

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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.

 

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

 

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

 

1. Capture More Close-Up Shots

 

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

 

2. Use Fast Shutter Speeds

 

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

 

3. Go Abstract - Shoot Bubbles

 

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

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

 

4. Head Out On 'Bad' Weather Days

 

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

 

5. Do A Black & White Conversion 

 

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

 

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

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

 

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

 

Daily Theme Runners-Up

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

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

  Day 9

Skyscrapers

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Day 10

'Fast' Theme

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Day 11

Vertical Lines

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

 

Day 13

'Out Of Focus'

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  Day 14

Summer Trees

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Day 15

Street Photography

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

© Benro

 

Benro has unveiled a new range of support accessories designed to maximise the performance and stability of its aluminium and carbon fibre tripods and monopods. Arriving in the UK in August 2026, the launch features two comprehensive 30-piece precision shim kits for easy gear servicing, alongside three sets of interchangeable rubber and stainless steel spiked feet built to handle everything from smooth studio floors to rugged outdoor terrain.

 

From Benro:

Benro introduces a new range of support accessories designed to keep tripods and monopods performing at their best across every shooting environment. The launch comprises two precision shim kits and three sets of interchangeable feet, giving photographers and videographers a simple way to service, customise and adapt their Benro gear.

 

ALS001 & CFS001 Shim Kits

Designed for the range of current Benro aluminium and carbon fibre tripods and monopods, but excludes Cyanbird and Blackbird, the ALS001 Aluminium Shim Kit and CFS001 Carbon Fibre Shim Kit include shims for every leg and leg-section configuration. Each kit contains 30 shims covering all required sizes – not every shim is used on every model, so leftover shims may remain after servicing. A Shims & Feet Compatibility List is available for dealers / retail allowing them to show clearly which products work with each option.

 

Interchangeable Rubber & Spiked Feet

Benro’s interchangeable feet improve stability, traction and adaptability while maintaining compatibility across multiple tripod series. The RF002 Rubber Feet (3/8″) are designed for 2, 3 and 4 Series tripods, improving grip on smooth indoor surfaces while helping protect floors. The RF001 Rubber Feet (M8 thread) suit 0 and 1 Series tripods with smaller leg diameters. For the outdoors, the SF001 Stainless Steel Spiked Feet (3/8″-16) dig into dirt, grass, ice and uneven terrain to deliver maximum stability on location. All feet are supplied as sets of three.

“These accessories give dealers and customers an easy way to keep Benro tripods and monopods in peak condition and ready for any surface – from studio floors to rugged outdoor terrain.” said Helen Gibbs Benro Marketing Manager

 

Key Features

• Interchangeable feet let tripods adapt to different shooting surfaces
• Rubber feet improve traction and protect indoor flooring
• Spiked feet provide superior grip outdoors and on uneven ground
• Shim kits cover every leg and leg-section configuration (30 shims per kit)
• Multiple thread options support compatibility across Benro tripod series
• Shims & Feet Compatibility List included to simplify dealer and customer selection

 

Pricing (inc. VAT)

• ALS001 – Benro Shims for Aluminium Tripods – £10.00
• CFS001 – Benro Shims for Carbon Fibre Tripods – £10.00
• RF001 – Benro #0 Rubber Feet (M8, set of 3) – £10.00
• RF002 – Benro #1 Rubber Feet (3/8″, set of 3) – £15.00
• SF001 – Benro Stainless Steel Spiked Feet (set of 3) – £15.00

 

Availability: UK stock expected August 2026. Consumer and website launch 5th August 2026.

For more information, please visit Benro's website.

[COMMENT_IMG]direct|320788|320788_1782731926.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to dke (Day 29 - 'The Colour 'Red').

 

Daily Theme Runners-Up

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

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

  Day 24

Battle Re-Enactment

[COMMENT_IMG]direct|348899|348899_1782289237.jpg[/COMMENT_IMG]

 

Day 25

Twilight Photography

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Day 26

Travel Portraits

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Day 27

Living Museums

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  Day 28

City Night Shots

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Day 30

Coastal Close-Ups

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  1. What Gear Is Needed? 

If you plan on taking your none-waterproof camera underwater you'll want to fix a wide-angle or even fisheye lens to it and secure it in a waterproof housing. There are also several waterproof compacts available which don't need housing as they're designed to survive a swim to certain depths.

 

2. How Well Do You Know Your Camera? 

Finding and changing your camera's settings underwater, particularly if your camera's in a waterproof housing, can be really hard work so if you don't want to miss a shot, set your camera up before you put the camera in the water. Fish move quickly, too so if you're fiddling about with your camera, chances are you'll miss the opportunity to capture your shot. Once you've taken your photos do remember your camera, even if it is waterproof, isn't a great fan of saltwater so wipe and dry it down.

 

3. What Are The Weather/Conditions Like? 

You need water that's clear as possible so avoid underwater photography on choppy days when visibility can be poor due to sand and other debris getting churned around in the swell. Light's less even and there's not that much of it underwater so you'll need higher ISOs and wider apertures. You'll also want to put as little distance between you are your subject as you can, otherwise, you'll have blurry shots where you can't make out if you've captured a fish or a piece of seaweed. Water has a habit of refracting light which can mean your subject appears closer and larger than it really is, too.

 

4. Is It Possible To Shoot Near The Surface?

If you can work closer to the surface do as colours are more vibrant as light is less diffused and the reflections on it, like when working above water, can add extra interest to your underwater shots. When you do venture into deeper water do remember to secure your camera correctly, after all, you don't want to watch it sink away from you.

 

 

5. Is Flash Needed? 

You can use your camera's built-in flash to add more light to your shot but it won't work if you're not working close to your subject as it'll light up any tiny pieces of matter floating around which can cause blob-like shapes to appear around your image. Instead of using the built-in flash try taking a more powerful strobe underwater with you as you can move these around the scene so the blobs of light won't make an appearance. You'll also be able to create different effects, adding more light to some areas and creating shadows in others.

Unless you're close to the surface where it's a little lighter, you'll most likely need flash to freeze the movement of the fish and plants you're photographing. Flash is also handy when you're taking a macro shot of coral.

 

6. Are White Balance Adjustments Needed? 

Unless you change your white balance your underwater shots will have the familiar blue/green cast to them. Adding flash can help remove it but the best way to control it is by manually setting the white balance. All you have to do is take a reading off something light and when you alter your depth, take another reading as variables change.

 

7. Is There A Method For Approaching Fish Without Scaring Them? 

If you have the time to learn a little about the fish species that will be around the place you're visiting do as knowing which species will be more willing for you to get close and understanding the behaviour of the more shy species will help you produce more, frame-filling, interesting results.

If you didn't plan on venturing out under the waves just move in gradually when you spot a fish you'd like to photograph and see how it reacts to you. Don't suddenly start flapping your arms or kicking your legs though as this will just cause them to turn around and head to safety. The bubbles you make from breathing out can also scare them but we're not suggesting you hold your breath! Just try and breath out in a different direction to where the fish is. Weights and a buoyancy compensator can help you keep still but these are generally used by more serious underwater photographers.

 

8. What About Backgrounds? 

Where possible, keep the background plain and clutter-free after all, a lot of creatures are designed to camouflage with their surroundings but you don't want your friends to be playing 'spot the underwater creature' when you show them your shots. The best plain background you'll find is the huge amount of water above your head. To get it in shot simple shoot from a low angle. This will also help your subject look more dominant.

 

For more hints and tips, have a look at our complete guide to underwater photography.

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