DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

1. Why Photograph Vertical Lines?

Lines going up and sometimes out of the frame can convey a sense of growth, strength and power as well as create interesting patterns within your images.
 

2. Shoot Portrait Or Landscape?

Switching from landscape to portrait mode lengthens the frame you're working with, emphasising the length/height of the vertical lines. Turning the camera back around to horizontal format works well when you have multiple vertical lines going through the frame as you'll be able to get more in the shot and it can help create the impression that the objects you're photographing are so tall that you can't fit them all in the frame.
 

3. Straight Lines

Make sure your vertical lines run parallel to the sides of your frame as wonky, slopping lines will mean your shot lacks impact. Keep an eye out for converging verticals too. If you find you're having a problem with them try and work from higher up to put you more in line with the object you're photographing, switch to a focal length that's not as wide or you can take the shot and adjust the photo in Photoshop or another similar piece of editing software later on.

 

 

4. Framing

Putting a vertical line in the centre of the frame will cut your image in half which does create a strong impact and maybe something you like, however most of the time it's best to position the object/shape more to the left of right of the image.
 

5. Get Repetitive

Repeating patterns and symmetry works well when you have multiple vertical lines in your shots. Just remember to have a play around with the orientation of the shot to see which way emphasises the pattern you're trying to create more.
 

6. Adds Depth

When you have lots of the same object in a line, take a line of trees along a path, for example, you can stand at the top of the path, point your lens down it and you'll see the trees, or whatever lines the edge of your shot, create depth as they vanish towards the back of your image. Just remember the items creating the vertical lines need to be of roughly the same height.

 

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For hybrid content creation, for vlogging, for video, and last but certainly not least for stills photography, here we have Canon's new RF 20-50mm f/4L IS USM PZ full frame lens. Rather than having a separate attachment PZ zoom, for the first time for Canon, we have an internal power zoom. So there are many video possibilities, but also a focal length range that can be very useful for stills photographers. So we set out into the weekend of 1940s re-enactments and even a full day of blazing sun at the Lytham Vintage Car event, using the new full-frame 32.5MP Canon R6 V plus a more conventional 26.2MP Canon RP. Cameras and lenses held up without a glitch; let's see what we learnt from the unusual experience of shooting a review in the sun and heat of a relentless heat dome.

 

Canon RF 20-50mm f/4L IS USM PZ Handling and Features

There is a provided petal lens hood that bayonets smoothly into place. There is a retaining catch to ensure it does not come adrift in use. The bayonet fit surrounds a standard 67mm filter thread. The front element is Fluorine treated to help repel water, dust and grease. The lens is chunky but not overly heavy, weighing in at a modest 420g. Dimensions are 79.9mm x 98.4mm.

 

 

The various control rings do not protrude beyond the diameter of the lens but are easily gripped thanks to the texture on the surface. First up is the usual programmable control ring, followed by the manual focus ring and then the zoom ring. The zoom ring reveals something new, having two distinct sections, PZ and MZ. These can be toggled using the release catch further back along the lens barrel. PZ is the built-in PZ zooming, operating much like any compact camera’s motorised zoom, albeit silky smooth, virtually silent and adjustable in speed. If zooming during filming, this should yield smooth transitions without any juddering or instability. Combined with the near silent nano USM AF system, this will no doubt be welcomed by videographers.

The control ring and the focusing ring are electronic and totally smooth in operation. The zoom ring is obviously smooth when set to PZ. From here, the zoom action can be operated via a switch on the camera or by turning the zoom barrel. If moved into the MZ section, then the lens has a normal manual zoom action. This is not electronic, but is still commendably smooth. There are clear and accurate focal length markings at 20mm, 24mm, 28mm, 35mm and 50mm. As these actions do not extend the lens barrel and the balance remains the same, an advantage when using gimbals.

 

 

The only other switches are the AF/MF and Stabiliser on/off. The stabiliser gives a potential 6 stops advantage, rising to 8 stops if combined with IBIS. 

Optical construction is 13 elements in 11 groups, including 3 UD (Extra Low Dispersion) and 2 Gmo Aspherical (Glass Moulded aspherical). The diaphragm comprises 9 blades. Reduced focus breathing will assist videographers. The extra wide 20mm setting does mean that immersive filming and compositions are enhanced, bringing the lens right into the action. This can be applied to street and reportage photography, creating the feeling that the image maker is a part of events rather than just an observer of them. To assist with this, the lens focuses down to 0.24m, resulting in a magnification of 0.14x at 20mm and 0.33x at 50mm. The converse is less true, as the lens is not compatible with extenders.

At the core of all this lies the performance, so let's now have a close look and see how the lens performs in the technical tests.

 

 

Canon RF 20-50mm f/4L IS USM PZ Performance

At 20mm, central sharpness is outstanding from f/4 through to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 to f/11, good at f/16 and fair at f/22. 

At 28mm, central sharpness is outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 right through to f/16 and fair at f/22.

At 50mm, central sharpness is excellent from f/4 through to f/11, very good at f/16 and good at f/22. The edges are excellent from f/4 through to f/8, very good at f/11 and f/16 and good at f/22.

This is a highly accomplished performance indeed.

 

Canon RF 20-50mm f/4L IS USM PZ MTF Charts Previous Next

How to read our MTF charts

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

For this review, the lens was tested on a 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is under control throughout, but especially so at the centre of the image. In real-life photos, there is little sign of colour fringing.

Distortion is very close to zero, and we could happily consider the lens to be rectilinear throughout the range, comfortably exceeding even the performance of many macro lenses. The actual figures are -0.10% barrel at 20mm, -0.07% barrel at 28mm and +0.10% pincushion at 50mm.

 

Canon RF 20-50mm f/4L IS USM PZ Chromatic Aberration Charts Previous Next

How to read our CA charts

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

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

For this review, the lens was tested on 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. The lens has pleasant bokeh, but not utterly buttery smooth like some. There is just a tinge of feathery edges where there could be silky gradation. It is a very minor difference, though, and for most purposes, the out of focus effects are pleasant enough.

The flare performance is excellent in all general photography. Where bright light sources are within the frame, artefacts can be generated, but it must be said that they can look rather good as well. This not only applies to stills photography, but perhaps especially to the primary video intent of the lens. Some dramatic flare can look rather good in videography.

Vignetting is well within reasonable levels and returns figures that not so long ago would have been considered exceptional.

 

Aperture 20mm 28mm 50mm f/4 -1.4 -1.3 -0.9 f/5.6 -1.3 -1.3 -0.9 f/8 -1.2 -1.3 -0.9 f/11 -1.2 -1.3 -0.9 f/16 -1.1 -1.3 -0.8 f/22 -1.1 -1.3 -0.8

 

Canon RF 20-50mm f/4L IS USM PZ Sample Photos Previous Next

 

Canon RF 20-50mm f/4L IS USM PZ Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Canon RF 20-50mm f/4L IS USM PZ|Canon+RF+20-50mm+f/4L+IS+USM+PZ[/AMUK] lens is priced at £1439.00.

The only option that comes close to the PZ function is the APS-C format 18-135mm lens with the optional Canon PZ-E1 adapter, not full frame and hardly an elegant option by comparison.

Perhaps the closest, non PZ, option might be the [AMUK]Canon 15-35mm f/2.8L IS USM|Canon+15-35mm+f/2.8L+IS+USM[/AMUK], priced at £1173.00

Considering the quality and the features, though, the new lens does seem to be priced fairly and no doubt that price will settle over time.

 

 

Canon RF 20-50mm f/4L IS USM PZ Verdict

There is no doubting the quality of the RF 20-50mm PZ lens, and no doubting that the focal length range makes it a strong option for those who like to get in close, for an immersive experience. The features are geared towards the videographer and the hybrid content creator, but for general photographers, we also have a simply superb wide standard zoom lens.

Two camera bodies were used in the review, as mentioned in the introduction, and both performed without any problems at all. In the unrelenting sun of our heatwave, it must be said that it is easier to precisely compose using the eye-level viewfinder of the RP. Using the rear screen only, R6 V is fine in duller light or under studio conditions, but in full sun, it is almost impossible to check that nothing unwanted is creeping into the edge of the frame.

Whatever the camera style, it is clear that the 20-50mm f/4 L IS USM PZ lens is a very fine lens indeed that will not disappoint.

 

Canon RF 20-50mm f/4L IS USM PZ Pros

• Excellent to Outstanding sharpness
• Virtually rectilinear (no distortion)
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Internal power zoom
• Modest vignetting
• IS 6 stops
• IS + IBIS 8 stops

 

Canon RF 20-50mm f/4L IS USM PZ Cons

• Some flare in extreme situations

 

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1. Ask Permission

If you're planning on working up close so a person is the main focus of your photo you should always ask them if it's OK to take their photograph. This is even more important if you plan on snapping a couple of shots of children playing as it can anger parents if you just start taking photographs of their kids. 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. 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. The same goes for shots of shows you may go and watch while on your holiday. Of course, if there are signs or information on your ticket which says you're not allowed to take photos then don't but otherwise, you should, generally, be OK to shoot without asking. Just remember these people will have dressed up for the stage so, for something more authentic, you need to get out onto the street.

2. Be Polite

Your job is to make your subject feel comfortable so always give them eye contact when you're talking to them, 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. Using longer focal lengths will put more distance between you and them which means you can take a couple of photos without invading their personal space. 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.

3. Understand Their Culture

Make sure you know what's acceptable and what isn't and respect the views/practices of the people you're visiting. Remember laws differ around the world too and there may be more restrictions on photography in the place you're visiting than in the UK so it's best to check before you start shooting.

 

 

4. Out With Tour Groups

If it's safe to do so, head out with one or two people instead of a large group as lots of people sticking a lens at you can be intimidating. If you're heading out on an organised trip, you can stay close to the group but don't crowd just one person. Instead, pick another subject then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group moves on to something else.
 

5. What To Photograph

If the surroundings/background will give your shot context, as the above example does, use it. Make sure it's not overpowering though as attention still needs to fall on the person you picked for the portrait. If it's not really worth photographing or it's a little messy, use a wider aperture to throw it out of focus. Darker backgrounds will really help your shot 'pop', making your subject really stand out from the rest of the shot.

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 anyway then quickly snap another when they think you've finished capturing a moment when they're more relaxed.

For more intimate shots, tighten your frame by either moving your position so you're working closer to your subject or use the longer focal lengths on your zoom lens to fill their frame with their face. The second method is often preferred as it means your subject stays relaxed as you're not invading their space. Just make sure you focus on the eyes and check everything is sharp before you hit the shutter button.

If your subject is selling, making or buying something try and take a few shots of them 'in action'. A candid approach is often the way to go for this which means you need to shoot lots and often. Setting your camera to continuous shooting mode will mean you can take a quick series of shots, increasing your chances of capturing an interesting expression/look. If you want to get closer to people but don't fancy aiming your lens at them try shooting from the hip. This approach can be a little hit and miss, but you can get the odd, surprisingly good result from trying it.

 

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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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It might seem strange to be out on the beach at night with your camera but you can get some interesting pictures so delay the visit to the pub for a little longer and do some night-time coastal photography once you have your sunsets in the bag.

  1. When To Shoot

The usual thinking for low light work is to shoot while there is still some colour in the sky and this helps avoid those stark black backgrounds. This is definitely good advice and helps you avoid pictures with too much light pollution, which comes out a yucky yellow and can look horrible. But after you've got your sunset shots, stay out after the twilight hour and continue shooting to even later.

You can try this photography at any time of the year, however you may prefer to wait until later in the year when the sunset isn't as late so you don't have to stay out for as long or late.

 

2. What To Shoot

As the sun sets, try shooting silhouettes or if the sky is particularly impressive, make this your focus. Later on, what you shoot is dependent on where you are. If you are at a traditional seaside resort with some nightlife there may be a pier and amusements that are worth shooting. On night's that are clear and the moon is full, try shooting some seascapes decorated in moonlight.

 

 

3. White Balance

The colours you get with different artificial lamps can vary, and you can get orange or green colour casts depending on the light type. Leave the camera in auto white balance and see how it copes with the light source. If you do not like the look of the results, try setting the colour temperature manually. To be honest, though, do not worry too much about weird colour casts because they can embellish the moodiness of the scene.

 

4. Flashguns

You could introduce your own light to close-by subjects thanks to flashguns. The flashgun on the camera hot-shoe will work fine for many scenes but beware of glare off glossy surfaces. 

 

5. Longer Exposures

Another way is to have the camera on the tripod, open the shutter on a long exposure setting of a few seconds or use the Bulb setting with a remote release to keep the shutter open while you fire the flash several times to light up foreground features. If you're working on the sand do make sure your tripod is balanced and secure.  This painting with light technique is fun and will need several attempts to perfect so don't expect to get it right straight away. When trying this technique, do not stand between the subject and the camera and fire the flash because your ghostly image will show. 

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Boulevardier (Day 8 - 'Panoramas').

 

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 1

Villages & Towns

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Day 2

Underwater

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Day 3

Beachcomb

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Day 4

Any 'Colour'

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  Day 5

Horizontal Lines

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Day 6

Capture Culture

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Day 7

'Summer' Theme

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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.

 

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.

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Leon88 (Day 20 - 'Dog').

 

Daily Theme Runners-Up

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

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

  Day 16

Summer Show

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Day 17

Castles

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Day 18

Close-Up Portraits

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Day 19

Puddles

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  Day 21

Family Vacation

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Day 22

Statues & Sculptures

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Day 23

Stately Homes

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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.

 

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.

 

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

 

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

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Stately homes are, in many cases, open to the public. Some are still lived in, with sections cordoned off from public viewing, but the rest is accessible, often with restrictions - no touching, often no flash and sometimes no photography. For those properties that do allow photography, you have the opportunity to photograph grand designs, walls with magnificent paintings, and rooms with exquisite furniture and other items.

1. What Gear Do I Need?

You will need an ultra-wide-angle lens to record interior room scenes something in the region of 10-20mm is best. For more detailed shots of the various trophies, antique collections and paintings you'll need a longer lens of around 100mm. Your standard zoom will be fine for most of the finer details. Tripods can't always be used so do check before you pack yours in the car. You're often asked to leave rucksacks and bags at reception areas so make sure you have a comfortable strap. A polarising filter will be very useful as many antique displays will be behind glass and the filter will help reduce reflections allowing the items behind the glass to be recorded clearly. 

  2. The Entrance

When you enter a stately home the first area is the reception area. This is usually a grand affair with a huge central or split staircase. There's often plenty of window light for illumination and often lots of wall decorations. If you're charged an entrance fee there's likely to be a ticket table to obstruct a full view and it's the area where you'll find the most visitors wandering around and getting in the way too. So timing is important and finding the best angle for a wide-angle shot. It's worth hanging around for a quiet moment to get the best shot.

  3. Around The Home

You're then usually ushered along in a certain direction around the house. Attendants will be in many of the rooms keeping an eye on possessions while helping visitors with facts about the house. If a 'no-camera' rule is present they will be vigilant in preventing your photography. If not feel free to fire away, but try to avoid getting helpers in shots. Watch for mirrors in back walls of rooms that will reflect the tourists and also try to avoid getting barrier ropes in shot. It can be quite challenging. Ropes can often be cloned out, but stand on tiptoes to make sure the rope is lower to the ground and not obscuring some important element that would be harder to clone out than a section of floor or carpet.

 

  4. Photographing Detail

In rooms that have glass, cabinets make sure your polarising filter is attached to reduce reflections and glare. For birds and stuffed animals try to crop tight on one creature. Focus on intricate carvings you'll find on furniture. Shoot the ceilings as patterns. If you include a chandelier watch the exposure - they are bright while the rest of the room will be dark and come out underexposed if you're not careful. If you can hold the camera steady (use a door or wall as support ) take a bracketed exposure sequence and combine in an HDR program later.

5. Indoor ISOs

If the room is dark increase the camera's ISO setting as far as you can without noise. Most cameras can safely go up to ISO800 without too much noise. Don't forget to turn it back when you go outside or into much brighter rooms.

 

 

6. Outdoor Architecture Shots

For outside shots of architecture and statues use a tripod to keep the camera steady. Look for positions where sculptures can be positioned in front of the grand architecture and shoot with a wide aperture to throw the background building out of focus - frame tightly for even more impact. Use the polarising filter if the statue or building is set against a blue sky as the filter will make the blue darker and the stone will stand out better.

Try walking around the grounds to find the best vantage points for an overall view of the house. At Chatsworth House, for example, you can get a shot from the gardens with the fountain and lake in front. While a walk onto the road into the estate provides a view from the bridge and climbing down to the edge of the riverbank gives a view with the bridge arch as a frame.

  7. Grounds & Gardens

Stately houses usually have magnificent gardens often designed by landscape gardeners and may include spectacular water features of cascades and fountains. Shoot into the light to get a backlit spray of water. Use a slow shutter speed to blur the path. Focus in close on gargoyles as the water spurts out of the mouth.

Visit the herb garden and shoot from a low viewpoint to get the sprigs of flowers against the sky. Then visit the greenhouses for more exotic plants and cacti. Depending on the time of year you will find a vibrant range of spectacular colours in the well-kept gardens of stately homes.
 

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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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1. Where To Go

Finding statues is easy. Most churchyards, within walking distance from your home, will have one or two amongst the gravestones. Parks often house statues that iconise mythical figures or historical figures while larger tourist cities will have them scattered all over the place to celebrate famous people who have lived there and politicians. Sculpture parks provide an opportunity to find several interesting objects all in one location and often make a great day out too.

2. Angles

The first thing to do is look at the angle. In most cases, you're going to be shooting from a low viewpoint as the statues often raised on a plinth and way above eye level. To fill the frame you'll often end up shooting from a low angle and the statue will look distorted, big at the bottom and smaller at the top. A better approach is to stand a bit further back and use the longer setting of your zoom lens to crop tighter. This will produce a photo with a more natural angle. Ideally, if you can find a position where you can gain height so you are on a level will improve the shot even further. Steps of a nearby building is often a good option or, if you're agile, a nearby wall can improve your height.

3. Shooting Direction

You should also consider the shooting direction. Walk around the statue where possible and check the background and the features on the statue. Not only will you start to discover the best viewpoint to allow arms to be seen along with the face or symbolic features, but you'll also find that a background can influence the exposure and overall feel of the image. A cloudy sky may help to create mood in the photo but the bright areas can affect the meter reading.

If you have a shot where the camera captures most of the scene correctly but it results in the statue appearing as a silhouette, you can take a second shot, pointing down at the ground and locking the exposure so the statue is exposed correctly. However, this will most likely result in a sky that's washed out. However, all is not lost as if you use a tripod to ensure the camera doesn't move, you could combine both shots during post-production to produce the perfect exposure. Of course, you could also just change your viewpoint to get a better background to work with and sometimes you'll find it gives you a more suitable composition of the statue. If you're not sure, take several photos from different angles and choose the best one later.

4. Turn Your Flash Off

If you try to photograph a statue in low light with an automatic camera that has a built-in flash, it will automatically fire. As a result, you'll lose shadows which give the object its shape and your image won't have any depth. To avoid this switch the flash off and use your tripod to stop shake spoiling your shot.

5. Blur The Background

The background can be thrown out of focus if you select a suitable aperture. Further blur can be added in Photoshop but a similar result can be achieved by using a longer focal length. Just remember to use a tripod as blur caused by shake is exaggerated when you use longer lenses.

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A simple and calm shot titled 'Rock in the Mist' by Diggeo has won our 'Photo of the Week' (POTW) award on ePz.

We really like the black and white treatment this photograph has received because it helps the distinct shapes and textures stand out. The lack of colour lets the rugged rock formation take centre stage, while the thick mist and the trees in the background add a quiet, peaceful feel to the scene. It's a lovely example of how simplicity and mood can come together to create an atmospheric image.

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.

      1. Make A Checklist

Before you leave for the airport make a list of all the equipment you're taking with you, writing down the serial and model numbers, too. It'll also help if you take photos of your equipment for your records.

2. Check Your Insurance

Make sure you have the right insurance just in case your equipment's stolen or damaged. If you're unsure if your equipment's covered, read your policy or ring your insurer.

3. Put Your Equipment In Your Hand-Luggage 

Camera gear is fragile so don't pack it in the case you plan on checking in at the airport. If you do, you run the risk of equipment getting damaged. Do remember to check the size and weight restrictions on luggage with the company you're travelling with as airlines tend to have different rules/restrictions when it comes to luggage you can carry-on.

4. Don't Take Trips On Your Own

If you're planning a few day trips don't go alone. That way, when you're framing up your shot, your 'buddy' can watch your camera bag and any other equipment you have.

5. What's Your Bag Look Like?

Don't use a bag that screams: "Look! I have a very expensive camera in here."

 

6. Don't Put Your Bag Down

Even when you're taking a photo don't leave your bag on the floor and never leave it unattended. When you're in busy locations such as markets, carry the bag on your front as if it's on your back, there is the chance that someone could access it without you knowing. You may think you look a little silly but that's better than finding all of your gear's gone.

7. Carry Spare Memory Cards

Don't just take one memory card with you as if it's stolen or lost that's it. Always carry a spare in your bag and keep one locked away in your hotel room too, just in case.

8. Try To Fit In

Having confidence and looking like you know where you're going (even if you don't) will mean you're less likely to be bothered. Try to blend in rather than stand out as a tourist.

9. Put Your Equipment In A Net

You can buy safety nets which you place your equipment in and then you fasten the net to a solid object that's fastened down.

10. Use A Safe

Most rooms have safes that will fit memory cards, chargers, a smartphone or a small DSLR body in. If you have lots of kit or there's no safe in your room, ask at reception to see if they have them available at the desk. Just make sure you make a note of everything you hand over and take images so you have proof if anything goes missing. 

If you have any tips for photographers heading off on holiday, add them to the comments.

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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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Every dog owner likes taking their dog to the seaside. Some beaches do stop dogs going on the sand so check before you step foot on it.

 

1. How To Start?

Your approach will be dictated to a degree by your pet. Some dogs will sit and pose happily for hours for a treat; others need to be worn out with exercise before staying put for any period of time. Take the approach that suits you best.
 

2. Think Like You Would For A Shot Of A Person

Treat photographing dogs as you would a person. Consider the background and the composition as well as the subject itself. Use camera settings to make the most of the opportunity too. Wide apertures to throw the background out of focus and slow shutter speeds for deliberate blur. Relatively slow shutter speeds work well too if your dog has gone for a dip and emerges to shake itself dry. Add some backlighting, perhaps with a blip of flash from the camera's onboard unit, and you have a nice picture.

 

 

3. Capture Movement

For action shots of your pet running, try manually pre-focusing on a particular spot and when your dog runs into it, press the shutter. You'll also need a reasonably fast shutter if you want to capture them running along the beach.

Having someone with you will definitely help when you're trying to capture action shots as you can ask them to call for the dog while you concentrate on shooting.
 

4. Longer Lenses

You may find that using a long zoom makes it easier to capture shots of your dog as they will be less aware of what you're doing and won't try and play with your camera and lens. With longer lenses, use a wider aperture to create a shallow depth-of-field.
 

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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

© 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.