[COMMENT_IMG]direct|350680|350680_1783531620.jpg[/COMMENT_IMG]

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to 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

[COMMENT_IMG]direct|11912|11912_1782896201.jpg[/COMMENT_IMG]

Day 2

Underwater

[COMMENT_IMG]portfolio|274663|3168808[/COMMENT_IMG]

Day 3

Beachcomb

[COMMENT_IMG]direct|37703|37703_1783084408.jpg[/COMMENT_IMG]

Day 4

Any 'Colour'

[COMMENT_IMG]portfolio|301037|3872900[/COMMENT_IMG]

Day 5

Horizontal Lines

[COMMENT_IMG]portfolio|324638|3923372[/COMMENT_IMG]

Day 6

Capture Culture

[COMMENT_IMG]portfolio|229889|3923439[/COMMENT_IMG]

Day 7

'Summer' Theme

[COMMENT_IMG]direct|163790|163790_1783385067.jpg[/COMMENT_IMG]

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

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

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.

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=An Intrinsically Safe camera for use in ATEX zone 2/22 hazardous areas.|E_id=8016[/REVIEW_FOOTER]

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

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

1. Try A Different Metering Mode

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

2. Add A Little Flash

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

Photo by Joshua Waller

3. Use Exposure Compensation

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

4. Make The Most Of Scene Modes

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

5. Use A Reflector

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

Photo by Joshua Waller

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

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. 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.

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

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.

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

© Benro

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

From Benro:

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

ALS001 & CFS001 Shim Kits

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

Interchangeable Rubber & Spiked Feet

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

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

Key Features

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

Pricing (inc. VAT)

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

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

For more information, please visit Benro's website.

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

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

Daily Theme Runners-Up

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

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

Day 24

Battle Re-Enactment

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

Day 25

Twilight Photography

[COMMENT_IMG]portfolio|154993|3935569[/COMMENT_IMG]

Day 26

Travel Portraits

[COMMENT_IMG]direct|158870|158870_1782467639.jpg[/COMMENT_IMG]

Day 27

Living Museums

[COMMENT_IMG]portfolio|7853|3898420[/COMMENT_IMG]

Day 28

City Night Shots

[COMMENT_IMG]direct|332115|332115_1782662776.jpg[/COMMENT_IMG]

Day 30

Coastal Close-Ups

[COMMENT_IMG]portfolio|349762|3936598[/COMMENT_IMG]

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

© Benro

Benro has 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.

© Benro

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 Benro's website.

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.

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

© Benro

Benro has introduced the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod designed for photographers and videographers who want smooth motion, quick adjustments, and reliable support in a lighter, travel-friendly package. It features a 6‑section build that reaches 165cm yet folds down to 42cm, a rotating foot with a bearing for fluid pans, and a 40kg load capacity at just 0.50kg.

From Benro

Benro introduces the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod engineered for shooters who need durability, speed and fluid movement in a compact, travel-ready design. Slightly slimmer and shorter than larger models in the lineup, it delivers professional strength and handling without unnecessary bulk – supporting payloads up to 40kg while weighing just 0.50kg.

Fast, One-Handed Control

Featuring all-metal twist locks paired with a CNC-machined aluminium flip lock, the MSD36CB allows fast, one-handed height adjustments while shooting. Its compact 6-section design extends to a full 165cm (65.7 inches) for comfortable tracking without stooping, yet collapses down to just 42cm (16.5 inches) for easy transport.

© Benro

Smooth Panning, Anywhere

At the base, a rotating rubber foot with a built-in V-shaped bearing enables smooth, gliding pans without lifting the monopod. For uneven or outdoor terrain, the foot can be swapped with the included spike foot.

“This is a monopod for photographers and videographers who move fast and shoot on the go. It delivers smooth motion, quick adjustments and reliable support in a lighter, more portable package – so you can stay focused on capturing the moment, not fighting your gear.” said Helen Gibbs, Benro Marketing Manager.

Key Features

• Carbon fibre construction – lightweight, rigid and strong enough for heavy camera and lens setups
• Compact yet capable – 165cm (65.7″) maximum height, 42cm (16.5″) folded length
• Fast, one-handed adjustments via a CNC-machined aluminium flip lock and all-metal twist locks
• Smooth panning from the bearing-equipped rubber foot, with a spike foot included for outdoor use
• 40kg load capacity at just 0.50kg – rugged build designed for frequent, demanding use

Pricing & Availability

The Benro MSD36CB SupaDupa Black Diamond is priced at £150.00 (inclusive of VAT). UK stock is expected to arrive in August 2026, with the official consumer and website launch scheduled for 5th August 2026.

Fore more information, please visit Benro's website.

© Johanna Alarcón

The Marilyn Stafford FotoReportage Award has named its 2026 winner as it celebrates a decade of supporting powerful documentary photography. This year the award goes to the project When the Earth Gives Birth, which explores Indigenous midwifery in Ecuador. By documenting maternal healthcare, cultural resilience, and community solutions, the project highlights how these stories confront inequality and protect ancestral knowledge through compelling visual storytelling. Managed by FotoDocument and supported by Nikon Europe, the award continues to champion narratives that spark meaningful change.

From NIKON:

Photographer Johanna Alarcón has been awarded the prestigious Marilyn Stafford FotoReportage Award for 2026, for her photo essay When the Earth Gives Birth. The winning project documents Indigenous maternal healthcare in Ecuador through the stories of midwives, apprentices, and patients from AMUPAKIN and Partera di Anaku - the first Indigenous midwifery schools and hospitals in the Amazon and Andes.

The Marilyn Stafford FotoReportage Award, facilitated by FotoDocument and supported by Nikon Europe, is celebrating its 10th edition. To mark the occasion, there will be a special event taking place from 18–20 September at POST, Brighton & Hove's new centre for photography and film. The programme will feature a retrospective display showcasing highlights from the past decade of winning projects, including an exhibition of work by the 2026 Award Winner, Johanna Alarcón, accompanied by an Artist Talk.

When the Earth Gives Birth documents midwifery as a response to maternal healthcare inequalities, racial discrimination, land dispossession, and the loss of ancestral knowledge across Ecuador. The project highlights Indigenous-led solutions as acts of reproductive sovereignty, cultural preservation, territorial defense, and resistance, offering globally relevant models for women's, children's, and Indigenous rights.

"It is with great joy that we announce that the 2026 Marilyn Stafford FotoReportage Award goes to Johanna Alarcón, says Nina Emett, FotoDocument founder, MSFA juror "The entire shortlist deserves recognition, and we are delighted to have awarded several Honourable Mentions. Johanna's work stood out for the strength of its imagery, the original approach to storytelling, the under-reported subject, and her commitment to creating meaningful impact through close collaboration with grassroots Indigenous organisations. We are very proud to support the continued development of this remarkable body of work."

Ruby Nicholson, Senior Communications Manager for Nikon Northern Europe, says: "Nikon is proud to support the Marilyn Stafford FotoReportage Award – now in its tenth year – which champions photographers creating impactful, solutions-focused stories. Johanna Alarcón's inspiring work shines a light on Indigenous women's resilience and the preservation of vital cultural knowledge, and exemplifies the kind of storytelling we are committed to supporting. We celebrate her dedication and look forward to seeing her project spark meaningful conversations worldwide."

On receiving the award, Johanna Alarcón says: "Thank you FotoDocument and Nikon - I receive this award with the deep joy of knowing that what I love most co-exists - photography, motherhood, and spirituality - coming together in this project to give birth to an intimate story about the work of women and Indigenous peoples to sustain life in a context that destroys it.

Motherhood transformed the way I understand everything. The rage in the face of obstetric violence, the fear of loss, the feeling of not being heard. Becoming a mother taught me that the body, like the land, holds a memory that knows no borders and whose rights are constantly under threat. But it also gave me the love of an army of women who sustain life.

My deepest thanks also go to the communities and organizations AMUPAKIN and Partera di Anaku for opening their doors to this story, and to the Ayün Fotógrafas collective, with whom we began this collective project on access to maternal healthcare in Latin America with the support of Eco Vist Projects and Plena Productions. Thanks for believing in me. Onward we go!"

Johanna Alarcón - An Ecuadorian independent visual storyteller and educator, Johanna Alarcón (1992) is a National Geographic Explorer, World Press Photo Award winner, CatchLight Global Fellow, Magnum Foundation Fellow, and is a member of Ayün Fotógrafas. Her practice is rooted in long-term collaborative processes that explore collective memory, spirituality, and the relationship between community and territory. Her work seeks to challenge stereotypes and the enduring effects of colonial structures, focusing on the experiences of women, Indigenous peoples, Afro-descendant communities, and incarcerated populations. Through intimate and community-centered narratives, she explores resilience, memory and humanity.

HONOURABLE MENTIONS

• Ana Caroline de Lima
• Natela Grigalashvili
• Ranita Roy

SHORTLIST

• Ana Caroline de Lima
• Birte Kaufman
• Ginevra Bonina
• Johanna Alarcón
• Laura Pannack
• Lea Greub
• Natela Grigalashvili
• Ranita Roy
• Sara Swaty
• Valeria Luongo

For more information, please visit the Marilyn Stafford Photography website.

Manfrotto is renowned as the market leader when it comes to premium quality camera and video support with its extensive range of tripods, monopods, lighting stands and heads. June 2025 saw the introduction of the Manfrotto ONE Hybrid tripod, its innovative design concept aimed at photo and video creators. Its XTEND leg locks allowed fast set-up, there was an integrated head levelling mechanism and heads could be swapped quickly and securely with its XCHANGE system. Add the option of aluminium or carbon-fibre legs and the Manfrotto ONE Hybrid is a support for the busy content creator.

A year on, the Manfrotto ONE Photo has been unveiled. Sharing the same build quality and taking key features such as the XTEND leg locks from the Hybrid, the ONE Photo is targeted at still photographers who demand high level stability but without compromising set-up speed and versatility.

Grip and twist the ONE’s spider when it’s set up and there is barely any movement. It’s impressively sturdy.

Manfrotto ONE Key Features & specifications

• Three leg sections
• Aluminium legs
• 20°, 50°, 81.5° leg angles
• XTEND flip leg locks
• Max height 164cm, with XPRO Ball head 175.4cm 
• Max height (centre column down) 134cm, with XPRO Ball head 145.4cm
• One bubble level
• Min height 10cm
• Closed length 65.5cm, with XPRO Ball head 76.8cm
• 12kg payload 
• 7kg payload with Q90 used
• Easy Link compatible
• Rubber or spiked feet
• Legs only weigh 3.1kg, with XPRO Ball head 3.6kg
• Manfrotto.com

Manfrotto ONE Photo Features

The Manfrotto ONE Photo is a tripod designed for fast set-up but without compromising stability and versatility. It’s common for tripod legs to have a round profile but the ONE Photo is different, and its aluminium legs have been designed with maximum stiffness and rigidity in mind. Another innovation is the XTEND leg lock mechanism which deploys and locks all leg sections in one action. At the end of each leg, there is the option of rubber and spiked feet.

The ONE Photo is equipped with Manfrotto’s Q90 mechanism which means the centre column can be quickly reconfigured to give a shooting down (or up) position so ideal for flatlays, still-life and macro work. Used in this manner, the maximum payload rating is 7kg so no problem with heavy camera/lens combinations.

This tripod’s legs can be set to three angles including 81.5° which means it’s possible to achieve a low camera position. With the column set at right angles using the Q90 mechanism and the XPRO Ball head fitted, the camera platform in horizontal alignment was just 18cm off the ground. The centre column is one section and while it can be removed, there is no short column option currently available.

At the other extreme, the ONE Photo with the XPRO Ball head reaches a very useful camera platform height of 145cm with the centre column down and 175cm with the centre column extended. Camera steadiness remains impressive even with the centre column fully up.

The ONE Photo boasts Manfrotto’s Q90 feature making overhead (astro, architecture) or downward (flatlays, macro) shooting easy.

A key point of difference between the ONE Hybrid and the ONE Photo is that the latter does not have the integrated quick release XCHANGE mechanism which allows quick head swapping. However, that function is available with the XCHANGE Quick Release System which costs £39 and comes with a quick release plate. For head swapping, you will need an extra release plate for the second head and that costs £15.95. 

Removing the rubber feet, which takes a little effort, reveals small, spiked feet.

Set-up technique one: Hold the tripod at the required height, with or without the camera mounted, splay the legs if you prefer, release the leg locks and each leg will drop down into position. Lock the legs and you’re ready to shoot.

Set-up technique two: rest the ONE on the ground, release the XTEND locks and lift the camera or tripod head to the required height. The legs stay in place as you do this, so lock the legs and you’re done.

Manfrotto ONE Photo Handling and performance

To set-up a traditional tripod means operating the twist-grips or lever leg locks, pulling out the legs to give the required height and then tightening each lock in turn. It’s a way of working that has proved itself over time. With the XTEND system, you need to revise your approach because if you grip the tripod and unlock the legs as you would normally, the legs just slide out and you have no control. 

With the ONE Photo, I found two ways of working. One was to hold the tripod at the required height with the legs splayed and then open the XTEND locks. The legs just slide out thanks to gravity, and you just lock them in place. The other option is to put the ONE on the ground with the legs open, undo the XTEND locks and lift the camera or tripod head to the required height before locking the legs. Both methods work well and are much faster than the traditional method. Fine-tuning leg length to level the tripod is equally quick and easy.

Once deployed, the ONE Photo is solid. Gripping a tripod’s spider and firmly twisting it usually reveals a degree of movement or whip on most models but doing the same with the ONE Photo shows barely any flex even with the tripod fully extended.

For this review, the ONE Photo came with the XPRO Ball head in the box, but I also got the XPRO 3-way head for this review, so I got the chance to try head swapping with the XCHANGE system. I found it worked well and the automated locking action was reliable and secure and the process can even be done single-handed if you need to. 

Swap tripod heads quickly and safely with the XCHANGE system. The inset image shows the locking flanges of the XCHANGE head more clearly.

The XCHANGE base simply screws on to the tripod’s 3/8in thread and the plate screws onto the head. To mount the head, just offer it up to the base and push down, and the locking mechanism of the XCHANGE base automatically activates to secure the head. To remove the head, slide the locking lever, rotate the base anticlockwise and the head lifts from the base. 

To test stability, I tried the ONE Photo with a Sony A1 II and 400-800mm zoom, a combination that weighs in at 3.2kg, and a Fujifilm GFX100S with a 100-200mm zoom. The latter weighs around 2kg, so well within the payload capacity of this tripod. But fitted with a filter system, this combination is very susceptible to wind judder and camera shake during long exposures is a serious risk on mildly breezy days even when fixed to a high-end carbon fibre tripod with a pro standard ball head. 

I took shots on both including a couple of four minute exposures on the Fujifilm mounted on the ONE Photo at its full standing height with the centre column down. To be fair, during those long exposures, the summer breeze wasn’t too stiff, but I had no problem getting perfectly sharp shots.

The XTEND flip leg locks are big making them easy to grip even if you’re wearing gloves and are reassuringly positive in use.

Value for money

Manfrotto has an extensive line-up of tripods, and the ONE Photo is one of the more expensive photo models in the range. However, given the tripod’s build quality, slick handling and versatility, I’d rate it as very good value for money. If you already own a good quality head, the ONE Photo legs costs £269, which is a very respectable price for a tripod of this quality. If you prefer, the ONE Photo is available with either the XPRO 3-Way head or the XPRO Ball head, both at £399.

Of course, this high level of stability and rigidness comes at a price and in this case, it’s weight and the ONE Photo with XPRO Ball head is a little over 3.6kg, which lessens its appeal as a location or travel tripod.

The Manfrotto ONE Photo is a first-rate and versatile tripod.

Manfrotto ONE Photo Verdict

The Manfrotto ONE Photo is a seriously substantial piece of kit and not one for the half-hearted tripod user. However, if your photography demands ultimate stability and you want to squeeze every last drop of quality from your high megapixel camera and expensive lenses, the ONE Photo is in a league of its own. Not only is the ONE Photo a rock-solid camera support, its XTEND locking legs make it quick to deploy and Q90 column mechanism opens up more photo opportunities. On the downside, it’s weighty and big so more suited to home or studio use, or if you’re working close to the car.

The XCHANGE system is worth a mention too. It works well and speeds up head swapping without compromising security, so if you do need to move from a photo set-up to a video one quickly, this device does the job reliably.

The Manfrotto ONE Photo comes as legs only or with the XPRO 3-Way head (left) or XPRO Ball head for £399.

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=The Manfrotto ONE Photo is a seriously capable tripod so if you need no-compromise stability, you have got to give it a look.|E_id=8016[/REVIEW_FOOTER]

Going on holiday with your family and your camera isn't the same as going on a photographic holiday. So here are a few tips on how you can still go out and enjoy your photography but keep the peace with your family at the same time:

1. Pick The Right Gear

A DSLR and a variety of lenses packed in a case are OK for photographic holidays but it can get a little heavy when you're heading out with bags of sun cream, hats, buckets and spades, too. If you want to use a DSLR try fitting a zoom lens that gives you a variety of focal lengths in one lens or pocket a compact or mirrorless camera so you can still capture the shots you want but in a less obtrusive way. Point-and-shoot cameras are easier to pack too as they don't take up too much room and many can fit in a pocket so can be accessed quickly if needs be.

2. Balance Your Time

Just because you're on holiday with your family doesn't mean you can't enjoy a few hours here and there taking photographs. It helps if you have an understanding partner, friends or whoever is travelling with you, as they can watch the children for half an hour while you take your photos. Try heading out while everyone else is still sleeping at sunrise, for example, but don't get too carried away with your photo taking as, after all, you're on a family holiday and not a photographic one.

3. Allocate Time

Set yourself certain times to go and enjoy your photography. Plan these into the trip so your family know about them to save arguments and set time restraints so you don't find yourself vanishing for a day with your camera. By doing so, you'll find you'll think more about what and how you're going to photograph your chosen subject and your hobby will also annoy your family less.

4. Have A Plan

Doing your research and making a plan will mean you can put the locations and subjects that really interest you at the top of your 'to do' list. Then if you have to forget about some of your lists, you'll have the important ones, hopefully, already in the bag. Having ideas on what angles work, what don't and what time of day your chosen location looks its best will stop you making wasted journeys and using the time that you could have spent playing around in the pool or on the beach.

5. Visit Places You All Want To Go

A little bit of compromise goes a long way so if you want to go on some day trips, pick ones which you'll all enjoy. That way you'll be able to go out and take some photos while the rest of the family will still be entertained.

6. Get Your Family Involved

See if you can get them taking photographs with you and if that fails, make them your main subject for most of your shots. This doesn't mean you have to pose them all the time though.

7. Be More Relaxed About Your Photography

You'll probably find that the process of you putting a tripod up then working out every setting to make sure your shot's as perfect as it can be is what your family get bored of waiting around for so instead of always worrying about everything having to be just right, work a little off the cuff to get fewer complaints. Try shooting from the hip or instead of posing your family every time you want to photograph them, shoot some candids of them eating ice cream and playing in the sand. By working more spontaneously, you'll probably find you'll have fewer complaints.

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

If you're planning a day-trip at the coast you don't have to take your DSLR and a bag full of lenses to get good close-up shots. The majority of compact cameras and smartphones now have macro modes, some better than others, which can produce good results. The cameras are also smaller and usually lighter too making them easier to carry when you have arms full of buckets, spades and seaside treats. Plus, only shooting macro/close up shots really makes you stop and think about what you can photograph.

1. Macro Mode

Find your camera's shooting modes and select the Macro Mode. This is generally the one that looks like a flower and by selecting it, your camera will know you'll be working with objects close to the lens and it will also use a larger aperture so the background's out of focus. How close you can focus to your subject will depend on the camera you're working with as they all have various close focus distances.
 

2. Tripod

Even if you're using a point-and-shoot camera using a tripod for close-up/macro work is a sensible idea. When you're working at close focusing distances any shake/movement is amplified and as a result, is more noticeable. As mentioned above, a tripod will reduce the chances of shake spoiling your shot and you'll be forced to slow down, so you think more about the shot you're trying to produce. 

3. Self Timer

Even though you're using a tripod, when you press the shutter button it can shake the camera so use your compact's self-timer to stop movement spoiling your shot.
 

4. Focus

It may sound obvious but do make sure the right part of your shot's in focus. If your compact has the option, switch to manual focus to have more control over what's sharp and what isn't. Once you've taken your shot, use your screen to view the image, zooming in to make sure all the bits that need to be sharp are.
 

5. Backgrounds

If possible, use a simple background that's not cluttered. This is easy on the beach when you can use the sand or position yourself so you're facing out to sea and use the water/sky as your backdrop. In busier locations such as harbours, this is a little more tricky to do but by putting space between your subject and the background it'll be easier for the camera to throw the background out of focus. You could also create your own background with a piece of card or even a jacket. 

6. Extra Light

Flash may seem the obvious way to go but as the flash on compact cameras is fixed, it's a bit too direct and can add too much light to the scene. If your camera allows it, you can dial down the flash but most of the time you'll be better off just shooting when there's plenty of natural light around. You can always use a reflector to direct the light and use a piece of card to shield your subject if you find there's too much light in the scene.

7. Subject Choices

• Shells
• Pebbles
• Patterns/footprints in the sand
• Crabs
• Seaweed
• Interesting flotsam
• Water bubbles
• Chipped/cracked paint on boats
• Rust on railings
• Bolts
• Patterns in wood 
• Get in close to lobster pots and ropes to photograph the patterns
• Sticks of rock
• Jars of old-fashioned sweets

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

[SECTION]INTRODUCTION[/SECTION]

The R6 V is definitely a video camera first. No viewfinder, no mechanical shutter, all the dedicated and programmable buttons set by default to video functions. There are plenty of video options, of course, but here we add the PZ lens compatibility, highly efficient IBIS and of course, the 7K 60p RAW internal recording. There is a huge list of essential features on this extraordinary camera and we set out into the heatwave currently gripping the UK to see how it all pans out.

Canon R6 V Features

First glance and handling of the camera give a strong impression of a well made, solid piece of kit. Construction is mostly Magnesium alloy for the body and chassis, with some use of polycarbonate with glass fibres. This is undeniably solid, yet still weighs in at just 598g, or 668g with battery and CFExpress Type B card. Dimensions are a good, chunky 141.8mm x 83.3mm x 79.7mm that leaves room for a mass of buttons and dials. This is a good thing as it does aid handling.

Any Canon user will be instantly at home with the basic layout, although there are a few variations as a consequence of prioritising video shooting. Most obviously, there is no viewfinder. There is a 7.5cm 1.6M dot TFT LCD touch sensitive screen, fine in lower light and in the studio but less fine in the blazing sun, where it is a struggle to see much at all. The vari-angle screen protrudes further than usual as there has to be room for the cooling fan and its exhaust, an indication that the camera is serious about video shooting.

Previously, the motorised zoom was the purview of compact cameras, or external devices that simply rotated the zoom ring on the lens. This facility is now built in and supports the PZ capability of the matching Canon 20-50mm f/4L IS USM PZ lens. The zoom lever is a rocker dial that surrounds the shutter release button. The motorised PZ facility can also be operated on the lens itself, alternatively, lenses can be zoomed manually in the usual way.

Let's now summarise the key features of the camera.

Canon R6 V Key Features

• Full frame
• IBIS up to 7.5 stops centre
• 32.5MP CMOS sensor
• DIGIC X Processor
• Electronic shutter 30s – 1/16,000s
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +21EV
• Metering range -3EV to +20EV
• ISO range 50-102,400 (Extended)
• 7.5cm Vari-angle touch sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• Multi function shoe
• USB-C
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 698g with battery and CF Express Type B card
• Battery LP-E6P, approx 640 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• Camera Control App

Canon R6 V Handling

Although handling can be a very personal thing, Canon has impressively given us a myriad of options and possibilities to use and control the camera. There is a considerable amount of duplication, where more than one control alters a parameter. This is especially true within the extensive menus, where the top control wheel, the secondary control wheel and the rotary dial around the set button may all be utilised as we prefer. This is all fine as we simply choose the one we want to use. Dials and wheels can be reprogrammed as required and the camera can be set up to the individual photographer with ease. Spending time to set up things optimally will reap rewards in faster and more intuitive operation.

Thus far, that is exactly where we were with the R6 Mark III, but now with much more available. There are 12 dedicated and numbered buttons that, by default, are set to alter various video parameters. However, all of these can be reprogrammed via the camera menus, so it should be possible to have whatever functionality we desire. Add to this the vari-angle screen, active cooling system, extensive video capability and solid engineering and we have a workhorse of a camera indeed.

There are a few considerations, the major one being the lack of a viewfinder. This soon becomes a glaring disadvantage in bright outdoor locations. In bright sun, there is little chance of seeing much on the screen apart from vague shapes. Precise composition is all but impossible. There is no issue indoors or in the studio, with or without the Canon Camera Control App.

Depending on how the user carries the kit, in some circumstances, it is possible for the on/off switch to be nudged. This also applies to the mode dial and the control dial next to it. It does not happen often, but does merit checking before starting to shoot important images.

[SECTION]PERFORMANCE[/SECTION]

Canon R6 V Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Canon R6 V Sample Photos

Lens Performance – The camera was provided with the matching Canon 20-50mm f/4L IS USM PZ lens, and the full review of the lens can be found here. The camera is fully compatible with the new lens and the zoom can be controlled by a rocker switch around the shutter release button. Using this, the camera/lens combination effectively becomes a giant compact camera in terms of style of operation, for stills at least. The zoom can also, with or without motorisation, be adjusted directly using the zoom ring on the lens.

(Below you'll find images demonstrating the aperture range of the lens.)

Canon R6 V Lens test images

Canon R6 V ISO test images

ISO Performance – Another excellent result, similar to the R6 Mark III. Detail and noise levels are very impressive all the way up to ISO 12800. At ISO 25600, the image noise suddenly increases and the details soften. Results beyond that point are increasingly mushy, the darker boxes of the test target disappearing in a sea of noise. Overall, though, a very impressive performance.

Canon R6 V White-balance test images

White Balance – There are a number of preset options for white balance, and various adjustments can be made to these. AWB has the usual options between white and ambience priority. To this we can add Daylight, Shade, Cloudy, Tungsten light, Fluorescent light, Flash, Custom and four slots for specific colour temperatures. AWB is useful for mixed lighting and general use, but to keep the colours of a scene, the other presets do a great job. Cloudy is very close to the Cloudy or 81A filters we used on film, and this setting warms portraits very attractively. Shade is perfect for those purple-hued woodland shadows and is especially effective for fungus hunting.

Canon R6 V Digital filters

Digital Filters – The R6 V deviates from the R6 Mark III, with a different set of digital filters. It's interesting to see what has been retained and what left out. 

Scene Modes are Portrait, Smooth Skin, Panoramic Shot, Food and Handheld Night Scene. 

Picture Styles are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined slots.

This is a curtailed list of digital filters, and gone are all the fanciful and exotic variations in styles and colours.

Video –  Given that the priority of the R6 V is video, it is no surprise to find an extended set of video options. Initially, the intent is clear as all 12 dedicated buttons are set by default to video features, although all buttons can be reprogrammed via the menus.

• 7K 60p RAW internal recording
• 7K Open Gate
• Oversampled 4K 60p
• Uncropped 4K 120p Slow Motion
• Vertical tripod socket
• Active cooling system
• 4 Channel audio support
• Canon Log2
• Canon Log3
• Formats: RAW, C-RAW, JPEG, HEIF, CRM RAW Video, XF-HEVC S, XF-AVC S

Because of the video priority, there is no viewfinder, relying instead on the 7.5cm 1.62M dot touch sensitive TFT LCD screen.

[SECTION]VERDICT[/SECTION]

Value For Money

The [AMUK]Canon R6 V|Canon+R6+V[/AMUK] is priced at £2399, body only. Add the 20-50mm f/4L IS USM PZ lens and this becomes £3549. The kit price is actually a very good deal, as the lens on its own is priced at £1439. As part of the kit, we are paying just £1150 for the lens.

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] has a viewfinder and may be the choice for photographers who cannot manage with just the back screen. This is priced at £2799.

Another option is the [AMUK]Canon EOS C50|Canon+EOS+C50[/AMUK], priced at £3299, and it is in this instance an entry-level camcorder.

The VFM equation falls well for the new camera, but this does depend very much on the requirements of the photographer/videographer/creator/vlogger...

Canon R6 V Verdict

The absence of an EVF is one of the major factors that will decide whether or not this camera fits the user. For studio based or even location based video work, with perhaps the use of the Canon Camera Connect App, then the R6 V may be a sound choice for videographers and content creators. The cost is lower than an R6 Mark III, for example, as there is no EVF, but the technical performance under the skin is virtually identical.

For stills photographers, this is less clear, but the current heatwave in the UK does reveal very strongly that the screen is no match for the blazing sun. It can be very difficult to see the subject clearly, never mind checking the details, so that unwanted elements do not intrude on the edge of images. Holding a full frame camera as if it is a compact camera is also less than ideal for many users.

The conclusion is that the R6 V is a camera with a niche of its own, and within that area is a very fine camera that delivers the goods. For a general purpose camera, Canon offers many choices and the R6 Mark III may be a safer bet. Within its own area of expertise, the R6 V is a very strong contender and good, solid VFM. With the anticipated usage in mind, Highly Recommended.

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=A powerful hybrid camera, aimed primarily at video, content creatives and vloggers but also giving accomplished results for stills.|E_id=8016[/REVIEW_FOOTER]

View the Canon R6 V camera specs in the equipment database.

A beautiful landscape with stone buildings, wrapped up in soft mist, titled “Tuscan Mist” by ePz member Tonyd3, was named POTW this week.

The image captures wonderful light and atmospheric conditions. A gentle glow falls across the rolling hillside, creating a pleasing contrast against the sky above as a low layer of white mist cuts across the golden fields. It is a calm, quiet shot that really shows off the peaceful beauty of the place, making it a great example of landscape photography.

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! 

To see more of our POTW winners, visit the POTW Gallery.

Red eye's caused by the flash illuminating blood vessels in the eye and when the light bounces back, you get red eyes. Some people are more likely to get red-eye than others but if you're one of these people or you have a family member who does, here are a few methods you can try to fix it so it doesn't spoil your family holiday shots. 
 

1. Compact Cameras

Most compact cameras have a red-eye reduction mode that can help reduce the size of the pupils, minimising the red that appears in their eyes.

2. Don't Look At The Flash

Asking your subject to not look directly at the flash can also work but this does mean they may not be looking in your direction when you view the shot.
 

3. Look Outside

If it's a sunny day, get your subject to look out of the window for a few seconds as this will give their eyes time to adjust to bright light before you fire the flash at them. Of course, never let them look directly at the sun or any other light source that could damage their eyes.
 

4. Move The Flash

If you're using a flashgun move it so it's not directly facing the person you're photographing.
 

5. Add More Light

If you're working indoors add more light into the room you're working in. 
 

6. Use A Continous Light Source

A continuous light source will allow your subject's eyes to adjust properly to the light before the shot is captured. 

7. Edit The Images

If you don't have time to retake your shot or you didn't notice the red-eye before you viewed it on your computer screen, you can use editing software such as Photoshop to fix the problem. Some programs have a red-eye remover option that does the job for you, while software such as Photoshop has a brush designed to remove red-eye or you can fix the problem manually if you prefer.

Here's how to fix it in Photoshop/Photoshop Elements: Open your image and select the Red Eye Tool. It's under the same tool menu as the healing tools so if you have one of these visible in your toolbox just click and hold it to bring up the menu with the other tools in. In the toolbar at the top, you can adjust two options: Pupil Size and Darken Options. But it's best to use the brush before making any changes to see if any alterations need to be made.

To use the brush just position your cursor over the pupil, click your mouse button and wait for Photoshop to make the changes.
 

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

Whether it's a line of lampposts on a dark street, light glowing from the windows on the front of your house, a night sky bursting with stars or a panoramic cityscape showing the twinkling lights from the homes, shops and streets that fill the city, there's something for every photographer, no matter where you live, to photograph at night.

1. Kit Choices

Your most important piece of kit if you're heading out at night is a tripod as it's impossible to work hand-held when you're dealing with very long exposures. If you have one, pack your remote release to help minimise shake or make use of the camera's self-timer if you don't. Your standard lens will do just nicely but take a telephoto along to get you close to lights on top of buildings and illuminated signs. Pack a torch, wear suitable clothing and take a watch along for timing when using the B setting. Do have fun experimenting with Bulb as you'll be able to produce some interesting and creative results. 

2. How Dark?

It doesn't have to be totally dark for you to have a try at night photography. Late dusk, when there's still a little light left in the sky, will give you scenes with less contrast as the light that's still in the sky will illuminate areas not lit by artificial lights. If you do want to head out when most people are tucked up in bed take someone else with you for safety and they can keep you entertained while your long exposure ticks along. If you're not very patient you could, of course, use a higher ISO, however, sticking to ISO100 or 200 will give you better quality images.

3. Long Exposures & Timing

How long your exposure is will depend on what you're photographing. If the light, such as street lamps, is your focus you'll have a much shorter exposure than if you were photographing an illuminated building when you're photographing light that's reflected. If you have both types of light in one scene go for the longer exposure as if you don't, the only detail will be the lights, you won't see a building. This does mean you'll get flare from the street lights, but this isn't necessarily bad.

Overexposed street lamps, particularly if it's a damp night, can look really good.

4. Metering & White Balance

You may get a few metering problems as areas of darkness which are occasionally illuminated by bright lights can confuse your camera. If you find your scenes too dark or the lights have washed the scene out, use the compensation setting to adjust the exposure and try again. Don't meter from a dark area either as this will just cause lights to be overexposed.

Keep an eye on your white balance as different lights can have different colour casts. Shop windows will be fluorescent while street lamps and buildings lit by floodlights are often tungsten which gives a yellowish cast to images. But you may find the colour cast adds to your image anyway.

Other techniques to try at night include:

• Light trails of moving traffic
• Light painting
• Star trails 
• Fairgrounds at night – use a slow shutter speed to create pictures a wash of vivid colours.
• Cityscapes taken from an elevated point to give you a sweeping shot of twinkling lights.

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

Old artefacts aren't the only things to photograph in museums. At places such as Beamish and the Black Country Living Museum, you'll find people dressed in period clothing, acting out specific historical roles who are perfect subjects for a quick snap of times gone by. If you don't fancy heading to a museum there are also plenty of re-enactments held right across the UK where you'll find plenty of people in character who are more than happy to be photographed (a subject we'll be looking at later this month). 

1. What Gear Do I Need? 

When shooting portraits in large museums where buildings and locations vary, you'll need a versatile zoom lens which allows you to move from a wide-angle to a mid-range focal point easily, even if in a busy crowd. A shorter zoom or prime lens such as 50mm can be used in more controlled environments.

Unless it's really impossible to do so, use a tripod as they slow you down and give you the chance to think about composition more and a reflector would be handy, although don't get in anyone's way with one, especially inside shops and other indoor locations where space can be lacking. 
 

2. Do Your Research 

Make good use of the internet to search for places of interest but always keep a lookout for notices in local shops and venues advertising events as these tend to be based more locally, saving you time and money. 
 

3. Take Your Photos At Less Busy Times

To avoid crowds, arrive as early as you can or stay later. By doing so you'll be able to capture images without a queue of people waiting behind you, meaning you can take your time and as a result, produce better shots. 
 

4. Take A Walk Around 

When you arrive at the museum have a look around and see what's where and who's around to photograph. If possible, find a good subject then go and look for a fitting background. However, most of your subjects will already be in locations that fit their character such as in shops, workshops etc. so you may not need to do this. Do remember though that getting the background right in the shot is much easier than editing one in. 

Do look for 'that person' other photographers aren't surrounding which is easier said than done sometimes but it will give you a shot that, hopefully, not many others will have captured. 

5. Always Be Polite

When you do find someone you want to photograph always ask permission first, even if the people there expect to be photographed it's always better to ask. Be confident and always act professionally. You may need to give direction but some will automatically create a pose they like or have held on several occasions before. You can capture them in this pose but do try and persuade them to change their stance a little to give you something a little more unique. It's also important to keep them chatting as this put them at ease and allow a bit of their personality/character to come through.
 

6. Double-Check The Scene Before Hitting The Shutter Button

Small details make a huge difference so do check your frame carefully before taking your shot. Asking someone in a polite way to not smile so much or open their eyes wider may seem like a small thing but it will make a big difference to your final image. 
 

7. Think About The Lighting 

You may find that there's either not enough light or too much electric/artificial lighting and this is where moving a subject will help, but you will need their cooperation so that's why it's always worth chatting to them first.
 

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

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

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

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.

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

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

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

[HOOK]position_1[/HOOK]

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.

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – A simply superb wide standard lens with inbuilt PZ zoom control.|E_id=8027[/REVIEW_FOOTER]

Image Credit: Leica Camera

Leica just dropped the SL3-P, a sleek full-frame powerhouse built for pro photographers and hybrid creators. This all-metal beast packs a new 44MP BSI sensor, intelligent hybrid autofocus, 8.1K video, and built-in Content Credentials to help verify image authenticity. Plus, it’s launching together with two new lenses: a more compact 50mm f/1.4 and a razor-sharp 100mm f/2.8 macro.

From Leica Camera:

When Leica launched the SL-System in 2015, they set a new standard for creative photography and video production. Based on the L-Mount, the system combines technological innovation with the precision and quality that the company is known for. Developed in close consultation with professional users, the SL-System continues to be refined, drawing on practical experience. The result is an expanding full-frame system that meets the highest photographic and cinematic standards, while also offering non-professional users easy access to high-quality image and video production thanks to its convenient, intuitive operation. Looking to the future, Leica is now significantly strengthening the SL-System by presenting the Leica SL3-P, the brand’s most comprehensive full-frame camera to date, alongside the innovative Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8 lenses. 

The New Leica SL3-P

At the heart of the SL3-P’s features are a new sensor and a new hybrid autofocus system. The 44megapixel BSI full-frame sensor provides an ideal balance of high resolution and exceptional image quality. With a dynamic range of up to 14 aperture stops, even the finest tonal gradations are captured. The Multishot mode delivers extremely high-resolution, detailed images with up to 176 megapixels, whilst the ISO range of 50 to 200,000 ensures high image quality and flexibility, even in challenging lighting conditions. The new hybrid autofocus system combines three focus technologies – phase detection (PDAF), depth mapping (object detection AF) and contrast detection (contrast detection AF) – to achieve quick, precise and reliable focusing. With continuous shooting at up to 40 frames per second with full autofocus support, improved tracking performance with 819 AF points, and smart subject recognition, the SL3-P can handle even the most dynamic of subjects with ease.

In terms of video, the latest addition to the SL3 family enables recording at resolutions of up to 8K. This includes 8.1K Open Gate in 3:2 format at up to 24p, HDMI RAW 8K Open Gate and 8K at 30p using the full size of the sensor. For smooth motion rendering, the camera offers 5.9K recording at up to 60 frames per second, as well as detailed slow-motion footage in 4K at 120p. Integration of the Apple ProRes codec at up to 5.8K guarantees outstanding image quality, and together with the two new incamera LUTs – Leica Pure and Leica Cine – for the L-Log colour space, this provides maximum freedom in professional post-production. This not only makes the SL3-P suitable for demanding film productions but also for high-quality hybrid workflows. It allows footage to be optimised for various channels and formats, and framing to be determined retrospectively without any loss of quality.

Image Credit: Leica Camera

Manufactured in Germany, the SL3-P features a deliberately minimalist design with black control elements and without the red Leica logo. Its solid, full-metal body ensures maximum stability and reliability, while IP54 certification provides effective protection against dust and water splashes. The SL3-P also features the L-Mount, offering maximum flexibility for photography and filming with the exceptionally wide range of compatible lenses from L-Mount Alliance partners.

The SL3-P offers a unique combination of outstanding image quality, precision, feel, reliability and speed, as well as an unrivalled Leica user experience. This is based on well-conceived ergonomics, fully customisable controls and a captivatingly clear user interface. The minimalist icon and menu design, which strictly separates photo and video modes, ensures particularly efficient navigation. A special colour code – red for photos and yellow for videos – visually distinguishes between the two modes. In addition, the user interface automatically adapts to the camera’s orientation, displaying all information clearly and legibly on the high-resolution tilting screen in both vertical and horizontal positions. The exceptional Leica user experience is maintained through ongoing, uncompromising development. Regular firmware updates based on customer feedback are conveniently made available for the SL3-P via the Leica FOTOS App. This means that the camera embodies both modernity and longevity – from the choice of materials and continuous enhancements to the software. It is a future-proof investment that offers a complete Leica experience from the very first use.

The SL3-P’s comprehensive connectivity ensures a seamless professional workflow. The Leica FOTOS App uses fast Wi-Fi, Bluetooth and USB-C connections to link the camera directly to mobile devices. This enables fast downloads of DNG, JPG and video files as well as full remote control via a smartphone or tablet.

Leica Looks can be applied as soon as the shutter is released, and their intensity can be adjusted either in the camera or later in the Leica FOTOS App. Native tethering support for Lightroom Classic and Capture One provides a stable, direct connection between the camera and computer, facilitating immediate image review in the studio. With Camera-to-Cloud via Adobe Frame.io, photos and videos can be transferred directly from the camera to the cloud, making them available for post-production immediately. In addition, the SL3-P is equipped with pioneering Content Credentials technology, developed in line with the Content Authenticity Initiative (CAI), which enables images to be signed with tamper-proof metadata if desired, thereby protecting creative professionals’ intellectual property. 

The New Summilux-SL 50 f/1.4 ASPH.

The Leica SL-System is renowned not only for its high-performance cameras, but also for its range of lenses offering exceptional optical quality. The arrival of the Leica the Summilux-SL 50 f/1.4 ASPH. once again demonstrates its innovative strength in lens manufacturing by presenting the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4. The large aperture lets you capture high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh. Its compact dimensions are the result of state-of-the-art manufacturing processes, ensuring ‘Made in Germany’ finesse. With a diameter of 74 mm, a length of just 75.5 mm and a weight of 584 g, it combines maximum portability with the exceptional image quality for which Leica is renowned. Eleven aperture blades, two aspherical lens elements and perfectly matched, high-quality glass types produce the lens’s distinctive image aesthetics. The fast autofocus enables rapid operation and focuses by means of a particularly quiet mechanism. With a close focus distance of just 50 cm, an E67 filter thread and an L-Mount, the new Summilux-SL is a highly versatile standard focal length lens. The precision-crafted, full-metal lens body forms a unit with SL-Cameras that is protected against dust and water splashes as per the IP54 standard. The AquaDura coating also ensures reliable protection even under demanding conditions. 

Image Credit: Leica Camera

The New APO-Macro-Elmarit-SL 100 f/2.8

The Leica APO-Macro-Elmarit-R 100 f/2.8 was a milestone in optical craftsmanship when it was released in 1987. To honour this classic lens, Leica is now introducing the new APO-Macro-Elmarit-SL 100 f/2.8. Like its predecessor, this SL-System macro lens delivers outstanding imaging performance right to the edges thanks to apochromatic correction. With a close focus distance of just 30 cm and a maximum reproduction ratio of 1:1, this lens reveals details that are invisible to the naked eye. It is also ideal for use as a telephoto lens in portrait photography. The nine-blade aperture, in conjunction with the entire optical design, ensures a harmoniously rendered background. The robust, full-metal LMount body is 137.6 mm long and weighs 862 g, including the supplied lens hood. The front element is protected from external influences by an AquaDura coating, while the E67 filter thread opens up additional creative possibilities.

Starting on the 25th of June 2026, the Leica SL3-P will be available worldwide from Leica Stores, the Leica Online Store and authorised dealers. The recommended retail price is £5,150.00 / €5,990.00 including VAT. and $6,690.00 excluding VAT.

Image Credit: Leica Camera

Leica is also offering three attractive kit deals for the SL3-P to mark its launch. These are the SL3-P 28–70 Vario Kit, priced at £6,100.00 / €6,990.00 including VAT and featuring the Vario-Elmarit-SL 28–70 f/2.8 ASPH.; the SL3-P 24–70 Vario Kit, priced at £6,480.00 / €7,490.00 including VAT and featuring the Vario-Elmarit-SL 24–70 f/2.8 ASPH.; and the SL3-P 24–70 & 70–200 Vario Kit, priced at £8,560.00 / €9,790.00 including VAT and featuring both the Vario-Elmarit-SL 24–70 f/2.8 ASPH. and the Vario-Elmarit-SL 70–200 f/2.8 ASPH.

The Leica Summilux-SL 50 f/1.4 ASPH. and the Leica APO-Macro-Elmarit-SL 100 f/2.8 will be available worldwide from Leica Stores, the Leica Online Store and authorised dealers from the end of 2026. The recommended retail prices are £3,890.00 / €4,500.00 including VAT for the Summilux-SL 50 f/1.4 ASPH. and £2,110.00 / €2,450.00 including VAT for the Leica APO-Macro-Elmarit-SL 100 f/2.8.

For more information, please visit the Leica Camera website.

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.

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

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

[COMMENT_IMG]direct|36043|36043_1781950734.jpg[/COMMENT_IMG]

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to 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

[COMMENT_IMG]portfolio|189602|3744847[/COMMENT_IMG]

Day 17

Castles

[COMMENT_IMG]portfolio|271877|3923813[/COMMENT_IMG]

Day 18

Close-Up Portraits

[COMMENT_IMG]portfolio|274663|3601990[/COMMENT_IMG]

Day 19

Puddles

[COMMENT_IMG]portfolio|115557|3904239[/COMMENT_IMG]

Day 21

Family Vacation

[COMMENT_IMG]portfolio|70323|3920159[/COMMENT_IMG]

Day 22

Statues & Sculptures

[COMMENT_IMG]direct|161002|161002_1782134193.jpg[/COMMENT_IMG]

Day 23

Stately Homes

[COMMENT_IMG]portfolio|324638|3933595[/COMMENT_IMG]

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.