ePHOTOzine Daily Theme Winners Week 4 May 2026
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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to mmart (Day 28 - 'Hot-Air Balloon').
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 24Holiday Memories
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Day 25
Garden Macro Shots
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Day 26
Summer Landscapes
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Day 27
Historic Buildings
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Day 29Pond Life
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Day 30
Travel Shots
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Day 31
Sunrise
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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.
The Ultimate Everyday Carry Camera Bag: Atlas One
If you travel with camera gear even a few times a year, you already know the problem. Sometimes you're heading to a wedding with a full kit and your clothes are checked. Sometimes it's a weekend trip where you need a few lenses and room for a change of clothes. And sometimes you don't need any camera gear at all and you just want a normal bag. The issue is that most bags are built for one of those scenarios, not all of them. So you end up owning three or four bags and playing a guessing game before every trip.
The New Pelican CRATE Doesn’t Know It’s Built for Photographers
Modular. Configurable. Stackable. The Pelican CRATE system could be one of the most rugged photography gear cases on the planet, even if it doesn't realize it yet.
More Than a BoxA box is a box is a box. Right?
I'll admit that when Pelican shipped me their brand-new 90L CRATE case, my expectations were impossible to predict. That's not to say my expectations were low, but judging from the photos in Pelican's press packet, the CRATE system looked like, well, a big box.
How wrong I was.
Bad Weather Is the Best Photography Teacher You’ll Ever Have
You know how it goes. You peel the curtain back just a fraction to get a glimpse of what kind of conditions are in store for you. It's that moment of truth. Beginner photographers might check the forecast for cloudless skies and gentle breezes—the kind of "safe" weather that makes for a pleasant walk. A more experienced photographer is checking for fog, heavy snow, or those unique, brooding storm conditions that most people run away from. Let's talk about the weather.
Hasselblad XCD Lenses Tested: Here's What Separates the Best from the Rest
Shopping for Hasselblad glass is not a casual decision. These lenses sit at the top of medium format photography, and knowing exactly what each one delivers in real-world shooting can save you from a very expensive mistake.
7 Essential Zoo Photography Tips For Your Next Day Out
1. Gear Suggestions
A long zoom lens will be handy as you'll be able to get close to the animals without having to climb into the enclosures. Something around the 70-300mm mark or bigger would be good. Also, consider taking a macro lens along as most zoos have enclosures where you can get close to insects.
A camera with a tilting LCD screen is perfect for zoo photography and you could take a monopod along to raise your camera up above the fences but leave your tripod at home as they don't mix well with crowds.
Pack a brolly as it will most likely rain at some point during your visit and have a lens cloth handy to wipe off raindrops that will blur your shot. As you have limited angles to work with you may have to shoot into the sun so a lens hood would be handy.
A polarising filter will be good when you're shooting through glass as it reduces reflections it will also reduce the amount of bounced light so the textures and tones in fur will stand out.
2. Weather
Pay attention to the weather forecast. When it's raining you'll get drenched kit and most animals will head indoors where you can take photographs, but you'll have glass and crowds in a small space to contend with. If it's gloriously sunny is maybe too bright and you'll get very harsh shadows. You can use fill-in flash but check before you do as it's often not allowed. You're better off sticking with natural light and increasing the ISO instead. Rain's too wet and the sun's too bright but an overcast day's just right. A slight covering of cloud acts like a softbox so you'll have images that have even tones and are well balanced.
3. Plan And Research
Before you set off, go on the zoo's website, find a map and make a plan. Arrive early to beat the rush and try walking around the opposite way to the crowds to give yourself chance to capture shots without the crush. Feeding times are great photographic opportunities but they're popular with visitors so arrive early.
4. Cages And Glass
Unfortunately, zoos are full of cages and there's nothing worse than shooting through wires and bars! Sometimes the gaps are just big enough to poke your lens through but if they're not, get as close to the fence as possible, position your lens so it's pointing through one of the gaps or, when the fence has small gaps, make sure that the face of the animal you're photographing is in a gap, use a wider aperture setting and wait for the animal to move back from the cage. This way the fence will be thrown our of focus so you, hopefully, won't even notice it. If you venture indoors you won't have fencers to contend with but glass full of greasy smudges will certainly be in your way. To minimise reflections attach a lens hood or hold your hand to the side or above the lens. If there's a lot of people touching the glass switch to a slower shutter speed to minimise shake. You may also need to switch to manual focus as cameras can be fooled by glass.
5. Find Good Shooting Spots & Angles
Make sure you take a walk around the edge of the enclosure before you take your photos to find shooting locations that won't leave your image with a distracting background or posts sticking out of the animal's head. Try to avoid shooting down as this can distort features instead get down low, to eye level if possible, to create a more dynamic shot. Use a wide lens setting and crop in later to make sure you don't amputate any limbs by accident – a shot of a monkey missing its tail is very can be very annoying to look at. Don't be afraid to fill the frame with your subject as this will give your shot more impact and it won't be so obvious that you took your photo at a zoo.
6. Focus And Shutter Speeds
Most of the animals won't stay still so use focus lock to prefocus on a certain point and take the shot as the animal enters the zone that's focused. Always focus on the eye and try using continuous shooting mode if you don't manage to get your subject in frame the first time. Try freezing their movement with a fast shutter speed and if you're panning, use a speed between 1/8sec to 1/30sec to blur the background but leave the animal sharp.
7. White Balance
Keep an eye on your white balance when going from indoor and outdoor enclosures and watch out for condensation when moving from the cooler outdoors into the tropical climate of a butterfly house. You'll need to give your camera time to acclimatise otherwise you'll end up with hazy, dream-like shots.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
The Sigma 35mm f/1.4 DG DN Art: One Month of Real-World Use
The Sigma 35mm f/1.4 DG DN Art is one of the most talked-about lenses in the Sony E-mount ecosystem right now, and for good reason. At around $1,000, it sits in a crowded tier alongside the Sony FE 35mm f/1.4 GM and the Viltrox 35mm f/1.2 AF.
The Hater Economy in Photography
You're right. Rule 21 says to use standard header order, which means the top-level section headers should be H2, not H3. I should have promoted them rather than demoting the stray H4 down to match the H3s. Corrected below.
I recently got off the phone with a friend who was just appointed creative director for a legendary celebrity. It's a massive win, a career-defining promotion, and yet—he was hiding it. He was shy about announcing it because he didn't want to deal with the inevitable "chatter" from the sidelines.
The Lomography Petzval 55mm f/1.7's New Design Solves Its Biggest Problem
The Lomography Petzval 55mm f/1.7 is one of the most distinctive lenses you can put on a camera, and its new focus-coupled version changes the case for buying it in ways that aren't obvious at first glance. If you've ever been curious about swirly bokeh lenses but hesitated because of how awkward they are to use, this update is worth your attention.
How Expensive Has It Become to Be a Photographer These Days?
At a thrift shop the other day, I found a couple of relics. No, these weren't the usual camera finds, but rather 16-year-old photography magazines, specifically the now-shuttered Shutterbug and the still-active Professional Photographer. It got me thinking: How expensive has it become to be a photographer these days?
Used Camera Shutter Counts: What the Numbers Actually Mean Before You Buy
Buying a used camera with a high shutter count can feel like a gamble, but knowing what that number actually means changes how you evaluate the risk. Shutter actuations are one of the most commonly misunderstood specs in used camera buying, and getting it wrong can cost you.
Improve Your Snaps Of People Taken On Holiday With These 8 Tips
When you're enjoying the sand, sea, sun and sangria chances are, you won't be thinking about getting up during the 'golden hours' to shoot some portraits. Instead, you'll be trying to snap photos of your kids while they're dashing in and out of the pool and eating ice cream as the sun's beaming down. However, shooting at midday, when the light's directly above can cause heavy shadows to be cast on your subject's face. To solve this, it's tempting to switch positions so the sun sits behind you but this can cause your subject to squint which doesn't make a particularly pleasant holiday portrait. But don't fear, there are a few steps you can take to stop funny faces and deep shadows spoiling your shots.
If you notice shadows appearing under your subject's nose and eyes try using your flash as a fill-in light. The extra burst of light can make the background appear slightly darker which helps make your subject 'pop' out of the frame. It also creates catchlights in the eyes and if the sun's behind your subject, the natural light can create an almost halo effect around them while the flash ensures the face is well lit.
2. Look Out For Red Eye
The problem with using flash is that it can cause red-eye, a problem which plagues many family holiday snaps. Many compacts have an anti-red-eye mode or if you're using off-camera flash try bouncing it off something rather than firing it at your subject directly. You can also correct the image in post-production when you get home, too.
3. Shoot In A Shaded Spot
When we say shade we don't mean somewhere with no light, just a space that's evenly lit where no pockets of bright light can shine on your subject's face. Palm trees have big leaves but they often have gaps in the leaves that let light through so look for areas such as outdoor eating and drinking places or hotel entrances where taxis pull up instead as these will have a solid cover overhead. Just remember to double-check your white balance and adjust your exposure for the slightly darker conditions. If you're by the pool or on the beach a sun parasol will work just as well, just watch your backgrounds to make sure there's nothing distracting or any clutter in the way. If there are no brollies but your subject's wearing a floppy hat this will shade the face, and help create the shade you need. Positioning them so they're side on to the sun can help, too.
Not everyone will pack reflectors but you'll find plenty of objects at your holiday location that can work as one. Any white surface - patio tables, walls, white t-shirts...etc. will reflect light onto your subject. You could even use aluminium foil if you can get your hands on some!
5. Capture Shots Of Your Kids
As children don't really sit still for very long switch your compact to Sports mode to give you the higher ISO and faster shutter speeds needed to help freeze their movement. If you're using a DSLR you can do this manually. Using the continuous shooting mode will also increase your chances of capturing a good portrait and you could always use several frames to create an action sequence.
6. Shoot Some Candids
Not all your portraits have to be posed shots. Try capturing your kids splashing in a pool or playing games on the beach.
For a more intimate shot fill the frame with your subject. This could be a shot that captures them waist up or for more impact, fill the frame with their face. This technique's particularly useful when you're in busy places where backgrounds can be distracting.
When you have your basic shots in the bag try shooting different angles, create silhouettes or add a touch of lens flare to your portraits. It's easier to create lens flare earlier in the day but it is possible in the afternoon, you just have to work from a lower angle. Make sure you're working in manual as if you trust the camera's meter, it'll turn your subject into a silhouette. You may need to manually focus too as your camera may try to focus on the brightest part of the image which won't be your subject. Don't overlook close-ups either as shots of hands playing with buckets and spades or feet paddling along the shore will look just as great in an album.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
Understanding ICM, Part One: Effect vs Technique
The persistent contradiction surrounding ICM is not a matter of taste, but a failure of terminology. By grouping random expressive effects and disciplined photographic technique under a single term, the field masks a fundamental split. This part deconstructs the "collapse of cost" in the digital era and examines why a painterly appearance is too often mistaken for artistic depth.
Nikon Announces Winner of the 2026 Photo London x Emerging Photographer Award
Gunshot punctures, from the series Guilty Grounds, 2023 © Steffi Reimers, courtesy Contour Gallery
Nikon is delighted to announce that the Photo London x Nikon Emerging Photographer Award has been awarded to Steffi Reimers. The announcement was made during a special ceremony which took place in the Nikon Gallery, Olympia, during Photo London 2026.
Steffi Reimers is a Dutch photographer whose work explores themes of transience, history, and loss — narratives that often remain hidden from view. Through long-term projects, she is establishing herself as one of the new voices in contemporary Dutch photography. Reimers’ series asks the question: What memory does a landscape hold when it witnesses a crime? In Guilty Grounds, Steffi Reimers investigates the landscapes of Calabria, Southern Italy, revealing them as silent witnesses to the unsettling crimes and pervasive influence of the ‘Ndrangheta’.
Reimers’ work engages not only with landscape but also with forensic traces, employing
specialised lighting to reveal subtle marks, textures, and traces left behind, echoes of human violence that the eye might otherwise miss. Through this forensic approach, the photographs capture hidden details: scars on the earth, remnants of past activities, and the silent testimony of spaces that have witnessed crimes.
Launched in 2015 during Photo London’s first edition, The Emerging Photographer Award was set up to nurture and champion the career development of up-and-coming artists, helping to elevate the profiles of new, young lens-based storytellers.
Photographers who enter are shortlisted by the Photo London 2026 Curatorial committee, comprised of some of the field’s most esteemed curators, critics and museum directors. This year’s final shortlist included: Sebastián González, Edward Rollitt, Steffi Reimers, Sal Taylor Kydd, Baud Postma, Devin Oktar Yal, Akshay Mahajan and Ci Demi.
The winner will be awarded a Nikon Z camera and a choice of two NIKKOR Z lenses, with specialist training from Nikon School to help take advantage of the capabilities that Nikon’s Z range has to offer.
Lucy Brice, Head of Marketing for Nikon Northern Europe says: “We are thrilled to announce Steffi Reimers as this year’s Photo London x Nikon Emerging Photographer Award winner. Her forensic approach to landscape photography reveals stories that might otherwise remain unseen, highlighting the impact imagery can have on our understanding of the world. Championing emerging talent is central to Nikon’s mission: by equipping and training the next generation of visual storytellers, we hope to amplify bold new voices and help them push the boundaries of craft and conscience. Congratulations to Steffi and all of this year’s shortlisted artists on their remarkable work.”
Sophie Parker, Fair Director of Photo London says: “A huge congratulation to Steffi Reimers on winning the 2026 Photo London x Nikon Emerging Photographer Award. It is incredibly important to us at Photo London to champion the work of every artist, from those who are established household names to artists just starting their careers. Previous winners of the award have gone on to make outstanding contributions to photography, and the future looks no different for Steffi, we are very excited to witness the trajectory of her career.”
Find out more about the winners here.
What Would Happen If You Never Bought Another Camera Again?
As I sat in my kitchen on Memorial Day, once again procrastinating by watching my umpteenth gear review video this week on YouTube, a random thought popped into my head. What would happen if I were to never buy another camera for the rest of my life?
The Composition Technique That Instantly Improves Photos
If you find your photos flat, two-dimensional, maybe lacking impact and interest—there's one technique I use that can change that. It will guarantee to get you much more interesting and pleasing results. And that's sub-framing: creating a frame within a frame. Why is this so good? Well, it creates depth and interest. For those of you who are frustrated with your travel photography and feel it's boring and same-ol'-same-ol', this technique will take photos from tourist snaps to strong images.
Why Fujifilm Understands Its Customers Better Than Any Other Camera Company
Every camera manufacturer makes good cameras. The sensor technology has converged to the point where a modern APS-C body from any major brand produces images that would have been full frame flagship territory five years ago. Autofocus is fast on most current bodies. Video is capable across the lineup. For many mainstream stills shooters, baseline image quality has become less decisive than handling, lens ecosystem, color rendering, and the overall experience of using the camera.
Your Most-Used Focal Length Is Probably Not Your Best One
Most people assume their favorite focal length is their best focal length. Those are two different things, and conflating them is quietly holding back a lot of work.
How To Photograph Action Shots At Running Events
Many sports take place some way from the spectators which makes taking decent pictures without long lenses a challenge. However, accessible sports photography comes in the form of road running events. Something which can be captured right up and down the country. Plus, good action shots can be captured with modest gear at local events because you just stand by the roadside – often there are no barriers or anything to get in the way.
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1, Do Your PlanningIf an event is local to you, walk/cycle/run/drive the course beforehand to find the best vantage points for the day itself. You could check light direction and backgrounds if you have the time. Get to your chosen location early – only relevant at big events – to ensure a good spot. Have all your gear ready the night before so you're not rushing on the morning of the race and take a camera bag that's big enough to carry your gear but won't weigh you down or prevent you accessing lenses quickly.
If you want shots of a large group of runners, these are usually best done at the start because once a race was started runners will soon be strung out. Only in big events will this not be the case.
3. Shutter Speeds & Focus Tips
For sharp pictures keep shutter speeds 1/250sec and above and set the camera to continuous focusing so that the camera tracks focus as the subject gets closer to you. Many continuous AF systems will cope fine with the closing speed of a runner - though you might have to try your camera in different AF sensor configurations to see which works best to suit your shots.
4. Choose The Right Lens
A telezoom will be perfect for frame-filling shots at a local event, but also try a wide-angle lens from a low viewpoint.
If the sun's shining you might find that underexposure will occur. If silhouetted figures are what you need, that's fine. However, if you want some shadow detail set a + exposure compensation value or set manual metering, taking a reading from the road. That should give good shadow details. If your camera has LiveView, use that to help with composition although, depending on your camera, you might find that the autofocusing is less than brilliant so manual focusing is advised.
As well as shots of the athletes, there will be plenty of detail shots and candids to be had. In road races, you will often get drinks stations and they are great places to try something different. You could try to grab shots of cups of water as they are being grabbed, or runners jostling for position to collect their drink.
After the event, you may get runners draped with survival sheets and that can look good for pictures too. The thing is to keep your wits about you and don't pack up shooting and wander off when the leading runners have finished. The fun runners and joggers often make for better pictures.
You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition
He Brought a Car Full of Gear to Scotland and Shot Whatever He Wanted
Shooting for yourself sounds obvious, but most working photographers never actually do it. The pull of stock submissions, print sales, social algorithms, and camera club approval is strong enough that even a planned vacation becomes another workday with a nicer backdrop.