Photography News

 

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.

Owing to the growing popularity of Leica cameras in recent years, a bunch of new lens manufacturers have sprung up to provide much cheaper alternatives to Leica lenses. And what's particularly exciting is that, with the aid of modern technology, many rare and desirable Leica lenses from the past can now be reproduced with incredible accuracy.

  

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After years of shooting with various "crappy" cameras, I realized they're not always as bad as many would think.

 

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Welcome to the July installment of the Critique the Community!  This month's critique theme is going to be "Augmented with Artificial Intelligence," and we want to see your best photographs that have been enhanced using Artificial Intelligence. This could be headshots that have been retouched using Ai, architectural images that use Ai to clean up landscaping, real photoshoots that were planned or designed with the help of Ai, or simply photos that have been re-rendered using an Ai image generator.

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The Armadex OZC-3 compact camera is both familiar and also breaking new ground for an ePHOTOzine review. It is familiar in that it is based on the OM System TG-7 Shockproof and Waterproof camera, previously reviewed and recommended. It breaks new ground as it gives us a rare glimpse into a different photographic world, where requirements can be extremely specific and require appropriate testing and certification. Let's have a closer look at the ATEX zone 2/22 Explosion Proof Camera Armadex OZC-3, as far as we can do without being able to work directly in its specialised field of the construction industry.

 

Armadex OZC-3 Features

The camera is supplied with its own hard case that contains all the paperwork, the OM System TG-7 Basic manual and the Armadex variation leaflet that defines where the specification deviates from the basic model. Wherever there is a contradiction between the two, the Armadex instructions apply.

 

 

The most obvious difference is that the Xenon flash unit is totally disabled. This is a camera specifically designed as being Intrinsically Safe in ATEX zone 2/22 hazardous areas. The flash is disabled as any spark could potentially ignite any gas or flammable dust that may be present. The definitions for ATEX zones are complex, but in essence, the ones the camera is intended for are areas of relatively low and transient risk that relate to gases (zone 2) and flammable dust (zone 22). There is a wide range of construction and manufacturing situations where hazardous and potentially explosive situations may occur. The camera use will also be subject to whatever site rules may apply and the instructions specify that users should have a basic competence and understanding.

As mentioned above, the basic camera is the same as the OM System TG-7, weighing in at 249g with battery and memory card. Two protective 40.5mm UV filters are added and are intended to be left permanently in place. These filters create an air gap that should reduce the chance of misting of the lens if there are large temperature variations, such as entering the tropical section of a glasshouse. Dimensions are 113.9mm x 65.8mm x 65.8mm.

 

 

One of the most relevant sections of the menu is to be found under Scene mode. Once it has been switched on in the main menu, a Construction menu becomes available and offers several options where the camera sets up the appropriate camera settings. 

The Construction menu comprises:

• Construction 1 for standard construction scenes. Reduces white spots from dust or rain
• Construction 2 effective if C1 images are too dark. More resistant to camera blur
• Construction 3 for backlit scenes. Reduces dust influences
• Indoor – set for using flash but deactivated for this camera as the flash is deactivated. 
• Slow Shutter for night or dark scenes with tripod. Use of self timer suggested to reduce shake from pressing the shutter button
• Documents for shooting A3 or A4 documents. Makes lines of documents or drawings clearer
• Panorama for panoramic shots of the whole site. Follow the camera's instructions for panning the shot

 

Key Features of Armadex OZC-3

• Based on OM System TG-7
• Xenon flash unit de-activated
• LED light source can be used to replace flash
• For use in ATEX zone 2/22
• Two Hoya Prime XS UV filters for constant use, creating air gap
• Supplied in airline style hard protective case
• Examination and Certificate of Conformity 
• Construction Menu in Scenes setting
• Time stamp
• Macro mode
• Microscope mode
• Environmental logging
• OI Share App
• Sensor shift IS
• Waterproof to 15m
• OM System 4.5-18mm f/2-4.9 Zoom lens (“35mm equivalent” 25-100mm)
• CALS settings for standardised images for local authority work

 

Armadex OZC-3 Handling

My initial thought for this camera was that places such as oil rigs and chemical processing sites could be its areas of use, but a little investigation reveals that there are more applications than that. Explosive atmospheres can be found even in food manufacture, places with high levels of wood dust and areas with transient high gas levels but otherwise fairly well ventilated. There is also, of course, the more everyday construction industry where the tough water and dust proofing may be a challenge easily met. 

The two filters provided are intended to be used together, something that seems a little counter-intuitive in terms of expected quality. However, as regards image quality, it seems it makes no difference at all. There would appear to be no detriment in adding two stacked quality filters. However, the emphasis is on quality filters and the Hoya Prime XS used are of exemplary quality.

Flare resistance was looked at and directly compared with a regular OM System TG-7 and also the Pentax WG-8. All three cameras showed no flare in most shots, but all three showed a magnificent display of artefacts when there was a bright light source in the frame. This is our standard extreme flare test. In the case of the OZC-3, the effects are identical with and without the two filters, the conclusion being that the filters cause no reduction in performance of any kind and can be quite happily left in place.

There will always be a place for dedicated equipment and the OZC-3 is a perfect example of how standard kit can be developed and applied to specific,  specialised areas.

 

Armadex OZC-3 Sample Photos Previous Next

 

Value For Money

The Armadex OZC-3 is priced on their website at £1497.32 for the UK. This is the complete kit in its case.

There is no real comparison in that the regular waterproof/freezeproof cameras are not Intrinsically Safe in hazardous environments, so could not really be considered as alternatives. Just to put things into perspective, the pricing for the regular top of the line models is:

• OM System TG-7, £449
• Pentax WG-8, £429

Looking for advice and comments from those active in the construction area, the cost was not seen by them to be an issue. If the camera fulfilled its function, which it clearly does, then the price would be covered.

 

Armadex OZC-3 Verdict

Given the defined areas that the camera is designed for, the OZC-3 is defined as  Intrinsically Safe. This, in its turn, is defined as not being a potential source of ignition when in areas 2/22, but also keeping its non-incendiary status even if it develops a fault. By comparison, a non-inductive product would not continue to be safe once damaged nor faulty.

Apart from that, the camera has various features that enhance performance in the given situations, as well as, if required, operating in the same way as the OM System TG-7 that it is based upon. The exception here is that there will never be any flash capability as one of the safety features is the total removal of the Xenon flash. An LED light makes up for this.

This is all very specific and if its special features are needed, then the kit can be Highly Recommended.

 

Armadex OZC-3 Pros

• Intrinsically Safe
• Suitable for hazardous areas ATEX zone 2/22
• Construction Menu options
• Waterproof
• Crushproof
• Freezeproof
• Shockproof
• Good image quality
• Extensive underwater options
• Compact design

 

Armadex OZC-3 Cons

• Some features can only be found in menu settings

 

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

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

1. What Gear Do I Need?

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

  2. The Entrance

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

  3. Around The Home

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

 

  4. Photographing Detail

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

5. Indoor ISOs

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

 

 

6. Outdoor Architecture Shots

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

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

  7. Grounds & Gardens

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

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

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

You frame a landscape with a striking rock in the foreground and mountains on the horizon, you focus on the mountains because that is your subject, and when you get home the foreground rock is soft. Or you focus on the rock, and the mountains go mushy. The scene your eye saw as sharp from front to back will not cooperate. The fix is more than a century old and it is one of the most useful, and most misunderstood, ideas in landscape photography: the hyperfocal distance. 

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Choosing the right light is one of the most misunderstood skills in portrait photography, and most advice online focuses on the wrong things entirely. Gear and camera settings have almost nothing to do with why certain portraits feel alive while others fall flat. 

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Choosing between flash and continuous LED lighting is one of the more consequential decisions you'll make when building out a studio kit. The gap between the two has narrowed, but it hasn't closed, and understanding where each system breaks down in real-world conditions changes how you spend your money. 

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The Canon EOS R6 V is Canon's first full frame V-series hybrid camera, priced at $2,500 body only. It's built for video makers who still need serious stills capability, and at that price, it competes in a range of the market where buyers are making real commitments. 

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The Leica 35mm Summilux-M f/1.4 ASPH has been around for 16 years, and it was never designed with a 60-megapixel sensor in mind. Whether it holds up on something like the Leica M11 is a real question, and the answer is more nuanced than you might expect. 

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

 

1. Try A Different Metering Mode

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

 

2. Add A Little Flash

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

 

Photo by Joshua Waller

3. Use Exposure Compensation

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

 

4. Make The Most Of Scene Modes

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

 

5. Use A Reflector

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

Photo by Joshua Waller

 

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

Pull focus on a video clip from a near subject to a far one and watch the edges of the frame. On many lenses, the image seems to subtly zoom in or out as the focus shifts, as if the lens is quietly inhaling and exhaling. That is focus breathing, and once you have noticed it you cannot unsee it. For photographers it is usually a footnote. For anyone shooting video, it is one of the defining differences between a photo-first lens and a lens built for video or cinema, and it explains a large part of why true cinema lenses cost what they do. 

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Let's begin with the usual disclaimer:

I am not affiliated with Canon in any way. No sponsorships. No ambassador contract. No free gear raining from heaven. This is simply the perspective of a working photographer who has spent years using multiple systems professionally across documentary, editorial, portrait, and street photography.

 

And after all that?

I still choose Canon.

Not because it's the most fashionable brand in 2026. Quite the opposite.

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The Sigma 17-40mm f/1.8 for Fujifilm X sits in an interesting spot. It's faster than Fujifilm's own XF 16-55mm f/2.8, covers a narrower zoom range, and costs less, and for event shooters who live in dark rooms, that aperture difference isn't trivial. 

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If you shoot wildlife and you've never looked at which focal lengths you actually use most, you're probably making lens decisions based on guesswork. Jan Wegener and Duade Paton did exactly that analysis, and what they found challenges some of the most common assumptions about which lenses wildlife shooters actually need. 

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

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

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! 

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

 

1. Where To Go

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

2. Angles

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

3. Shooting Direction

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

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

4. Turn Your Flash Off

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

5. Blur The Background

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

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

The best landscape compositions have an expiration date, and most people don't realize it until the scene is gone. Sea defenses get completed, piers collapse further into the ocean, buildings get renovated, and the shot you kept putting off simply disappears. 

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Vintage lenses have made a serious comeback, and the question of whether a 50-year-old glass can hold its own on a modern mirrorless body is one worth asking seriously. The Minolta MD 35-70mm costs around $60 used, and if it can genuinely work as a daily walk-around lens, that changes the math on what you actually need to spend on glass. 

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