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.

 

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.

Us Brits are well known for moaning about the water that often falls from the skies above the UK but even rain should be welcomed sometimes as without it, we wouldn't have cascading waterfall, rivers and streams to photograph. So, to carry on with the watery theme, here's 5 water-based photography subjects you should try and capture with your camera this year. 
 

1. Water Droplets

If you don't have the time to find a river or stream, wait for it to rain and use a macro lens to capture raindrops on a window at home. The upside-down projection of the world outside always make interesting images or wait until the rain stops falling and head outside, into the garden, to photograph the drops of rain that can be found on plants. Focus on the end of a leaf, background blurred, so when the droplet falls you're ready to capture it, pin-sharp. Just remember to use a tripod as the slightest shift in camera position can drastically change the composition and it will reduce the risk of camera shake too.

  2. Waterfalls And Rivers

If you want to have a go at blurring waterfalls or the movement of a river head out on an overcast day it's easier to get the slower shutter speeds you need to make this technique work. Make sure you have your tripod with you when you leave the house and a remote cable release (if you have one) to stop shake ruining your shot and take care when you're metering as your camera can be fooled into thinking the scene's too bright so all your shots could come out underexposed. Bracket a stopover and under or fit an ND filter to stop as much light entering the camera.

There is no right or wrong shutter speed to use when photographing waterfalls as this depends on how far you are from your subject, how much blur you want, the amount of water you're photographing and the speed at which it's flowing. But if you want a starting point, a speed of 1/15sec is a good place to begin. If you're at the coast, this same technique can be used to photograph waves. Once you have your smooth, flowing water shots, set a faster shutter speed, 1/250sec or higher, and make your watery scene seem frozen in time.

For rivers, get down low with your wide-angle lens to demonstrate how the river narrows to the vanishing point or look for higher ground and show it meandering through the scene.

 

 

3. Reflections

Lakes and reservoirs provide plenty of potential for photographing reflections. A sunny day by a calm lake will give you an almost mirror-like image of your surrounding landscape but don't forget to try and shoot somewhere there's foreground detail to prevent the scene looking boring. If you're not near a lake, a puddle or wet pavement will work just as well.

  4. The Sea 

While at the coast you can either use a slow shutter speed to blur the waves or a fast one to freeze them in their tracks. If you go for the fast approach wait until the wave is at a peak and shoot. Slow speeds are great for creating lava-style flows of water as waves break on the beach. 

 

 

5. Water Bubbles

Capturing water bubbles is fun, challenging and can leave with you with a series of abstract shots well worth hanging on your wall. You'll need quick shutter speeds and ideally, work manually to give you more control. 

 

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

 

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

 

Manfrotto released the ONE Photo tripod, expanding its ONE platform with a model designed specifically for photographers working with stills. The release follows the earlier ONE Hybrid tripod and brings a photography-first approach with precision, stability, and speed for stills workflows.

Designed and built in Italy, the ONE Photo features a non-round leg profile engineered to improve torsional rigidity, producing sharper images when using high-resolution mirrorless cameras and longer lenses while remaining lightweight and portable. The tripod's XTEND mechanism deploys all leg sections simultaneously for rapid setup and height adjustment. A sliding centre column supports precise height adjustments and ground-level shooting, while the Q90 mechanism converts the tripod from vertical to horizontal orientation instantly. This enables overhead, flat-lay, macro, and product photography without disassembly.

The ONE Photo is available in three configurations: the ONE Photo Aluminium Tripod for photographers who prefer to pair it with their own head, the ONE Photo Aluminium Tripod with XPRO Ball Head for general photography, and the ONE Photo Aluminium Tripod with XPRO 3-Way Head for studio and architectural work requiring independent axis control.

All versions support professional accessories via the Easy Link connector system, allowing lights, reflectors, and other equipment to attach directly to the tripod.

 

 

Availability

The Manfrotto ONE Photo range is available now through authorised Manfrotto dealers.

For more information, please visit the Manfrotto website.

 

About Manfrotto

Manfrotto is a global leader in the design and manufacture of innovative camera and lighting support solutions for the imaging industry. For over 50 years, Manfrotto has set the standard in delivering high-quality, reliable products that empower photographers and videographers to bring their creative visions to life.

© 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.

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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 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

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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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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 has officially unveiled the VT4 Monopod Base, a rugged three-leg locking base designed for fast-paced photography and video production. Built for demanding environments like sports and wildlife, the new base features a wide stance and a unique foot-activated pedal that lets shooters instantly lock their rig upright or tap to unlock it for fluid tracking.

 

From Benro:

Benro introduces the VT4 Monopod Base, a 3-leg locking base with a foot-activated pedal built for photographers and videographers working in fast-moving, demanding environments such as sports, wildlife, events and video production. It enhances stability and control while keeping shooters reacting quickly to unfolding moments.

  Smooth to Track, Instant to Lock

Designed to allow smooth, articulated movement while tracking action, the VT4 instantly locks the monopod perfectly vertical using a foot-activated 90-degree locking pedal when stability is critical. Tap the pedal again to unlock the ballhead for fluid movement. With a wide stance, adjustable tension ball and rugged metal construction, it provides confidence and balance when shooting for long periods.

 

Built for the Long Haul

A wide 54cm (21.25 inch) base spread improves balance during long events or heavy lens use, while two leg stop positions support controlled leg spread for different scenarios. Machined metal leg cutouts reduce weight while maintaining strength, and rubber feet improve traction on indoor floors, turf, pavement and other flat surfaces. The 3/8″-16 thread attaches directly to Benro monopods, or any compatible 3/8″-16 mount monopod.

“Whether you’re following fast action on the sidelines, tracking wildlife in the field, covering long events or stabilising a video rig, the VT4 delivers the balance, control and reliability needed to shoot longer, react faster and stay steady when it matters most.” said Helen Gibbs Benro Marketing Manager.

Key Features

• Foot pedal activates a 90-degree lock, keeping the monopod perfectly upright on flat surfaces during pauses in action
• Tap the pedal again to unlock the ballhead for smooth movement while tracking subjects
• Tensioning knob fine-tunes ballhead resistance to suit your shooting style
• Two leg stop positions for controlled leg spread
• Wide 54cm (21.25″) base spread for improved balance
• Machined metal leg cutouts reduce weight while maintaining strength
• Rubber feet for traction on indoor floors, turf and pavement
• 3/8″-16 thread for direct attachment to Benro or compatible monopods

 

Pricing and Availability

The Benro VT4 3-Leg Locking Base with Pedal for Monopods is officially priced at £95.00 (including VAT).

The consumer and website launch is scheduled for 5th August 2026, while UK stock is expected in August 2026.

For more details, please visit the Benro's website.

1. What Gear Should I Use? 

To feel connected to the person in the image, you need to get in close without invading personal space the easiest way to do this is with a telephoto zoom. Working hand-held is fine but if you prefer you can use a tripod. 
 

2. Be Polite

If you're not working on a portrait shoot, it's always polite to ask when photographing someone, especially when your focus is their face. After all, you don't want them to suddenly turn around and scowl at you because they didn't know you were taking their picture.
 

3. Eyes Need To Be Sharp

To really pick out the details that make a portrait captivating blur your background and always, always make sure the eyes are in focus. To stop the portrait looking lifeless make sure there's a catch light in the eyes. A small burst of flash or having a light source behind the camera, facing the subject will help you do this.
 

4. Make Conversation 

Most people when they're asked if they can have their photo taken become quite self-conscious and will grin like the Cheshire cat until you've finished. To combat this, you need to talk to them, and this is not only about what you're trying to achieve but also ask them, about their life, what they do etc. Keep this conversation going, giving them pointers, and if it helps, compliments while you snap away. This will help them relax and soon they'll have forgotten about the lens they have pointing their way.

 

5. Give Guidance 

If you can, position your subject at a 45-degree angle and get them to turn their head to the camera as this can produce flattering results. However, directing them to look away, down or up will convey a completely different tone in the image. A sombre expression on a face that's looking away from the camera can appear reflective while someone looking up or into the distance will have a sense of determination and strength.

 

6. Think About Backgrounds 

Your subject always has to be the centre of attention so if you do want to use surrounding scenery make sure it compliments the portrait and isn't distracting. Back-lighting the subject can help with this as you'll get a halo-like effect on your subject's hair and body which will help them stand out from your background. If you're using the sun as your backlight you'll need to bounce light into the image to stop your subject appearing as a silhouette. To rectify this, bounce light onto your subject's face with a reflector or you could use fill-in flash but you'll need to make sure it's stopped down so your portrait still looks natural.

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

  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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