DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

H.H. Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai and Patron of HIPA, honours American photographer Scott Kelby, recipient of the Photographic Research/Report Award in HIPA’s 4th Season, Life in Colour.

 

The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) has finished judging its 15th season, with 'Family' as its theme. The award has now received more than one million photographs from over 500,000 photographers from 209 countries. Winners will be honored on 10 November 2026 at Dubai's Museum of the Future.

 

From HIPA:

 

The Board of Trustees of the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) has announced the completion of the judging process for the award’s 15th season, themed ‘Family’.

The announcement was made during a Board of Trustees meeting at HIPA’s headquarters in Dubai, where members reviewed annual performance reports, strategic initiatives, development plans and preparations for the season’s awards ceremony which will take place on 10 November 2026 at the Museum of the Future.

This season featured five categories: Family, Portfolio (Story-Telling), Sports Photography, General and Dreams Through AI.

The Board also revealed that HIPA has now received more than one million photographs submitted by over 500,000 established and aspiring photographers from 209 countries, reinforcing its position as one of the world’s most influential photography platforms and the largest active international photography community.

 

H.H. Sheikh Mansoor bin Mohammed bin Rashid Al Maktoum, President of the UAE National Olympic Committee with the winners of HIPA’s 14th Season, Power.

 

A Global Platform Born in Dubai

 

H.E Abdulrahman Bin Mohamed Al Owais, Minister of State for Federal National Council Affairs and Chairman of HIPA’s Board of Trustees, highlighted the transformative vision of H.H. Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, Deputy Prime Minister, Minister of Defence and Patron of HIPA.

He said, “The award has redefined the global photography landscape by establishing Dubai as an international centre for visual culture and creativity. Through its sustained investments in photographers and creative talent, HIPA has created life-changing opportunities for visual storytellers around the world, empowering them to document humanitarian, environmental and social issues while pursuing sustainable careers.”

He added that the award has played a significant role in supporting creative industries, strengthening visual culture and advancing sustainable development through the power of photography.

 

A Living Global Visual Archive

 

Hala Badri, Director General of Dubai Culture and Arts Authority and Vice Chairperson of HIPA’s Board of Trustee, described the award’s collection as a unique cultural and documentary resource.

“With more than one million photographs from 209 countries, HIPA has evolved into a remarkable visual archive that documents human, environmental and social transformations across the globe,” she said.

“This collection represents an invaluable artistic and anthropological record of the 21st century, and Dubai is proud to be its home.”

 

Hala Badri, Director General of Dubai Culture and Arts Authority and Vice Chairperson of HIPA’s Board of Trustees, honours American photographer Karim Iliya.

 

The World’s Largest Photography Community

 

Ali Bin Thalith, Secretary General of HIPA, said the organisation’s achievements extend far beyond the competition itself.

“Reaching half a million photographers and receiving more than one million images are milestones that place HIPA along the world’s most influential photography initiatives,” he said. “Our community spans 209 countries, creating an unparallel platform for visual dialogue, cultural exchange ad artistic excellence."

Bin Thalith added, “HIPA has delivered more than 230 specialised training programmes, benefitting over 10,000 photographers, while also providing dedicated initiatives for government employees, People of Determination and inmates in correctional institutions.

He noted that the award’s educational efforts include hundreds of published articles and visual programmes designed to promote photography culture and professional development throughout the UAE and the wider Arab world.

“The rising international visibility of photographers from the UAE and the Gulf region reflects the lasting impact of HIPA’s workshops, mentorship opportunities and engagement with world-class judging panels,” he said.

 

Photography as a Universal Language

 

Board of Trustees member Majid Al Bastaki said “HIPA has achieved a remarkable level of cultural globalisation by proving that photography is one of humanity’s most powerful common languages,” he said. It transcends borders cultures and languages while fostering understanding and connection among people.”

He added, “The international media and photography communities continue to recognise HIPA’s transparent judging process, robust intellectual property protections and blind evaluation system.”

 

Building Creative Human Capital

 

Board of Trustee member and renowned artist Matar Bin Lahej said, “HIPA’s impact extends well beyond recognising winners. Many awards end when the prizes are presented. HIPA continues creating value through education and capacity building. By investing in photographers and developing their skills, the award contributes to the long-term sustainability of the photography sector and strengthens Dubai’s position as a regional centre for photography education.”

 

Renowned sports photographer and HIPA judge Laci Perényi (GER)

 

International Recognition

 

Members of this season’s judging panel also praised HIPA’s global influence.

Award-winning American photo editor Kurt Mutchler noted that US media reports directly compare HIPA to leading American photojournalism and documentary photography awards, such as the Pulitzer and POYi. HIPA is recognised for its ability to attract entries from over 200 countries, owing to its inclusive nature and lack of restrictive entry barriers. He also highlighted the American media's praise for the humanitarian dimensions of the award’s annual themes—such as ‘Family’, ‘Diversity’ and ‘Hope’—and how they align with global cultural trends focused on human connections, social justice, and environmental protection.

Renowned German sports photographer, Laci Perényi, stated that European photographers view HIPA as a launchpad for international stardom; the visual impact of the winning images propels photographers into the ranks of stars with both power and confidence. He also noted that the European photography community regards HIPA as successful in sparking human engagement and fostering international interest in major global issues.

Polish documentary photographer Tomasz Tomaszewski remarked that HIPA has successfully utilised photography as a universal language to unite peoples and bridge cultures. He highlighted how the European arts press refers to HIPA as the "Oscars of Photography," citing its significant role in enabling winning creatives to achieve professional independence and dedicate themselves to environmental and humanitarian projects, in addition to the prestigious media exposure gained through their association with the award.

 

About the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA):

 

The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) is an internationally renowned photography competition. It was launched in 2011 by His Highness Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, the Crown Prince of Dubai. The award enjoys a social and legal stature as a tool for promoting Dubai’s vision of artistic and cultural excellence. On a local level, the award hopes to develop and increase awareness of the art of photography amongst the local Emirati population. For more information visit www.hipa.ae

 

As the weather's getting cooler and trees are losing their green tint to shades which are much warmer we thought it would be a good idea to bring ten of our popular autumn photography tutorials together in one place. That way when you're planning a day of autumn photography you don't have to go all over the web searching for ideas and suggestions.
 

1. Autumn Macro Tips With A Compact Camera

Just because you're using a compact camera doesn't mean you can't shoot some interesting, autumn-themed macro shots. Here are some tips and hints to help compact users perfect their technique.

 

2. Photographing Reflections During Autumn

With such bold colours on offer, autumn's the perfect season for capturing reflections. We have tips on capturing a mirror-like reflection as well as advice on shooting more abstract style shots.

  3. Autumn Garden Photography Tips

Your garden is full of autumn photography subjects which means you can stay close to home and still capture the season with your camera and lens.

 

4. Tips On Shooting Autumn Landscapes

Capture the autumn season with your wide-angle lens and you'll soon have a collection of autumn landscapes that really pack some punch.

 

5. Autumn Shooting at Arboretums

Here are a few tips on photography in an Arboretum. With trees all around and wildlife and flowers abundant, there's no excuse not to break the camera out!   

 

Imagen's newest experience adds a built-in editor, introduces a faster way to get from idea to edit, and reshapes the workflow around how photographers actually work.

 

September 29, 2026 – Imagen today launched its newest update, challenging an assumption the photo editing industry has built around for years: that culling, editing, and delivery have to happen in a fixed order. Imagen’s Intelligent Studio, an adaptive post-production workspace, removes that order entirely. Photographers can cull first, start editing before making final selections, pull together a client preview from a handful of key moments, or move between all three as a project develops.

 

A full editor, built in At the core of the new experience is a new editor that brings full manual editing directly into Imagen for the first time. Photographers can work with RAW and JPEG files, with the same range of manual control they'd expect from a dedicated editing program: tone and color, detail and clarity, lens and perspective corrections, and creative finishing touches. Every adjustment happens in the same workspace as the rest of the shoot, no exporting to a separate program to make a change or see the result. For photographers who want Adobe Lightroom in their process, that workflow remains supported. Imagen gives them another option: they can now complete more of the project inside Imagen, from the original files through final export. Photographers can also apply an additional AI Profile to selected images directly within the edit, giving them more control over how Imagen's learned editing style is used across a gallery.

 

Intelligence that works alongside the photographer

Imagen also introduces new ways to find and work with images across a shoot. Imagen's new Assistant lets photographers complete multiple steps from a single instruction. Instead of finding a set of images, selecting them, making an adjustment, and preparing them for review one step at a time, a photographer can describe what they want in plain language. For example: “find the bride in the ceremony photos and increase highlights” or “create duplicate versions of these photos with a black and white base I can work from”. Imagen can handle those steps together, shortening the path from editing to delivery. 

AI filters run on that same underlying intelligence, surfacing photos by people, scenes, or moments without manual tagging. A gallery that used to take an hour to sort through by eye can be narrowed to the handful of shots that matter in seconds. Photographers still decide how far to take it: lean on Imagen for the first pass, or keep every selection by hand, and switch between the two from one project to the next.

 

 

Personalization that evolves with you

Imagen has consistently centered its AI development on the idea that a photographer's style, judgment, and eye are valuable assets to safeguard, not replace. While many in the industry aim to make AI handle more tasks independently, Imagen chose a different approach: building AI that adapts to how each photographer already works. The new version continues that philosophy, with a proprietary Editor model that learns how a photographer edits inside Imagen itself. 

This shifts the AI's role from merely a tool to an adaptive assistant that evolves alongside the photographer, one that's beginning to recognize patterns like a recurring sneak peek style, remember fixes made before rather than flagging the same thing generically, and tell the difference between a photographer's general style and the specific choices made for one shoot.

Imagen is positioning itself as a builder shaping the next stage of post-production. This is the foundation for that future, and the beginning of where the workflow goes next.

“Photographers don't all work the same way, and we don't think their software should expect them to,” said Yotam Gil, co-founder and CEO of Imagen. “Imagen gives photographers the tools to build the process that works for them. They decide what they want to do themselves, where AI can help, and how the final work should look. Our job is to give them more control over that process, not define it for them.”

 

Availability and Pricing

Imagen offers two plans: pay-as-you-go, with a $7 monthly minimum plus usage-based charges, and Limitless, a flat monthly rate for photographers who'd rather not track individual charges.

Pricing changes with Imagen’s Intelligent Studio for pay-as-you-go customers: instead of paying for each AI action, photographers can explore and continue editing freely, then pay for the images they ultimately export.

The update begins rolling out to customers in stages starting September 29. To learn more, please visit imagen-ai.com

 

About Imagen

Imagen is an AI-powered post-production platform for professional photographers and videographers. The company builds AI that learns each photographer's individual editing style and applies it consistently across their work, rather than treating every photo the same way. Imagen supports the full post-production process, from culling and editing to retouching and delivery, and is used by photographers and videographers worldwide across wedding, portrait, real estate, and commercial work. imagen-ai.com

In our busy modern lives, it is often complicated to find the time to shoot great autumnal images, considering the amount of research, walking and perseverance that is often involved. Big hitters like the New Forest and The Lake District are often out of reach for city dwellers, especially with a family in tow. So this coming autumn has a go at visiting an arboretum, as they make a brilliant and easy alternative, keeping the kids amused with throwing leaves at each other while you take some breathtaking opportunities to capture autumnal photography.

1. What kit is best?

When it comes to kit, fit a medium telephoto lens to your DSLR as it'll be particularly handy for capturing leaf and branch detail. Make sure you pocket your macro lens too. Don't forget your wellies when you visit an Arboretum as they do get a lot of visitors and the ground gets well-trodden.  

2. Why are arboretums so good as photographic locations?

Right, back to arboretums! As they are collections of trees from various continents, this can be just the ticket to an easy shoot. Horticultural planners include sensational visual displays to attract visitors in their thousands, to places like Westonbirt Arboretum in Gloucestershire to name one of the UK’s favourites. Yet it's not as simple as falling off a log, you need good sunshine and a well-timed visit to get the best from the colours and the day.

3. Any particularly stunning trees I should look out for?

There are two tree species to look out for - Maples and Acers. Most arboretums have these trees in their collection and they feature heavily in annual publicity shots (hence generating a huge car parking revenue each year, vital to the arboretum's upkeep). Westonbirt is not cheap to get in, but consider where this money is actually going.

4. What conditions are best?

It's best to wait for sunshine to give dimension to the trees, but if the day starts a bit flat and dull, all is not necessarily lost. Concentrate on staging some ideas, such as putting leaves on interesting textures or making arrangements of leaves themselves.

Also, try the good old zoom burst technique. Put an ND filter on the lens, set an aperture of f/16 and the ISO as low as possible. This should give a long shutter speed, maybe a few seconds. Set the camera's two-second timer, press the shutter and then zoom into the shot and create a wonderful vortex of colours. It's easy to do and is very effective.   

- Partner Content -

  What to Expect from Graphic Design in 2027: Key Trends and Predictions

 

 

In anticipation of the new year, we all dream of what we hope to achieve in the coming months, both personally and professionally. However, the uncertainty around us clouds the future. What helps are predictions and trends that give us a glimpse into what lies ahead.

As we look to 2027, it promises us many graphic design innovations, a revival of traditional designs, and a focus on maximalism. What else can we expect from graphic design next year? Read on to learn more about the visual trends that will dominate the industry in 2027.

 

What are graphic design trends?

Graphic design trends refer to the styles, colors, and approaches popular in the design industry during a given period. They are influenced by many factors, including popular aesthetics, social and political changes, as well as advancements in technology and graphic design.

Sometimes it happens that design trends do not follow current events, but try to go against them. For example, in times of uncertainty, design trends lean towards minimalism as a way to bring a sense of order.

 

Who predicts the future of design?

Annual visual trends are a window into the future of graphic design. They are usually defined by industry professionals who track consumer preferences, gather expert opinions, and observe patterns to predict what will be popular in the coming year. Among them are DeposiPhotos.com, 99designs, Behance, VistaPrint, and Creative Boom.

 

Color trends in design in 2026

To act on the graphic design trends of 2026, one must first get familiar with the design color forecast for the coming year. So, while the rest of the world is discovering new visual trends, you can create your next project in the color of now.

Depositphotos, one of the world’s largest stock content marketplaces, predicts that a mix of intense and subtle colors will dominate the design landscape this winter. These include Aged Wine (#481623) and Dark Copper (#532906) shades, as well as Matcha Latte (#D6DF9F) and Stardust (#C1BCB6) hues. 

The Pantone Color Institute, one of the most respected sources in color forecasting, suggests basing your designs on the shade Mocha Mousse (#A47864) next year. However, WGSN and Coloro made their choice two years ago, when they named Future Dusk (#474972) the color of 2025.

 

 

Top 8 design industry predictions and trends for 2026-2027

 

1. Graphic design innovations with AI assistance 

The level of tech development has always played a key role in the evolution of graphic design. Looking ahead to 2027, it is clear that artificial intelligence will become an integral part of design processes. If you tried to ignore AI before, it will be impossible to do so in the future.

2026 is the year to embrace AI-powered tools to stay competitive in the creative industry. New solutions are making it easier to develop visual concepts, refine ideas, and create visual content with less manual effort. One example is the Depositphotos AI Assistant, which combines AI-powered search and creative capabilities with access to a vast library of licensed visual content, helping users turn ideas into visual concepts and streamline the creative process more efficiently.

 

2. The revival of naturalism in design 

To balance the spread of AI-fueled designs, some visual artists will turn to nature. The revival of naturalism in design will focus on organic shapes, earthy color palettes, and textures that mimic natural elements. It will be clearly visible in product packaging and branding.

To grasp this trend, take a look at nkm — a sustainable cosmetics brand with environmentally-friendly packaging. You can see how they conveyed the new visual trend and the company’s philosophy in their choice of design elements, such as floral motifs and earth-toned colors.

 

 

3. Abstract gradients

Gradients in designs have been trending for the past few years, but now, they will take a more abstract and artistic direction. Instead of traditional horizontal gradients, designers will experiment with more unique and unpredictable directions and color combinations. To make it look even more on-trend, add some noise and texture to your gradient pictures.

 

Abstract, colorful, and grainy gradient background

 

Reeded glass effect

Another way to make your designs stand out is to incorporate a reeded glass effect. This textured effect adds a modern touch to any visual, whether it's a photo, graphic art, or website layout. Therefore, it’s ideal for projects with a futuristic aesthetic. 

But the best part is that the reeded glass effect easily combines with other design trends. You can use it alongside nature-inspired images to balance natural motifs with modern design elements. Or, utilize the reeded glass effect with colorful gradients for a dynamic look.

 

4. Minimalist maximalism

Some call it minimalist maximalism, while others refer to this trend as bold minimalism. However, the name doesn’t change the essence of the trend, which is all about striking a balance between simplicity and extravagance.

Minimalist maximalism is the future of graphic design we deserve. It pushes the boundaries of traditional design norms while adhering to its core principles—simplicity and functionality. So, get ready to see vivid colors and bold contrasts alongside clean lines and sleek typography.

 

5. Vibrant color schemes

The graphic design community has embraced maximalist color schemes since 2022. They are eye-catching, fun to look at, and add a dynamic element to any design. Needless to say, this is exactly what brands are looking for to get the attention of potential customers. 

In 2026, we will once again experience the popularity of attention-grabbing colors in design. Brat green, hot pink, electric blue, and vivid orange will be the go-to choices for designers looking to make a statement.

 

6. The renaissance of artisanal design

In contrast to colorful and flashy visuals, we will also see more serene designs based on natural materials and earthy tones. They will signify the renaissance of artisanal design that focuses on craftsmanship, simplicity, and sustainability.

This trend is backlash against the widespread use of AI and the mass production of both physical and digital products. Digital saturation has reached its peak, so now people want to reconnect with more authentic and meaningful creations.

 

Geometric design with abstract nature

 

Dark aesthetics

A fair share of people who feel uncertain about the future will gravitate toward dark aesthetics in design. The familiarity of deep, rich colors and moody atmospheres will bring comfort and a sense of stability in chaotic times. The return to dark shades is also a response to flashy designs and constantly changing microtrends and aesthetics.

 

Wrapping up

Whether to move forward and embrace AI-fueled visuals or take a step back to appreciate timeless designs, you decide. 2027 will also offer many options between innovation and tradition, comfort and boldness, familiarity and novelty. However, ultimately, it is you who will shape the future of design with your decisions.

 

The new AI feature curates smartphone photos automatically and privately into albums, helping people rediscover their buried camera roll moments

 

No generation has documented life this thoroughly, yet no generation looks back on less of it. That’s the paradox Popsa Memories - launched by memory curation app Popsa - is designed to solve.

Now available on Popsa's iOS and Android apps, Memories launches in two beautifully designed collections: Popsa Rewinds, which curates your highlights from the past month or year into one story, and Popsa Journeys, which instantly resurfaces forgotten holidays and day trips. 

The scale of our buried photos on our smartphones is stark. The Memory Economy report, Popsa's survey of 8,000 global consumers conducted earlier this year, found that:

• 70% of smartphone photos are never revisited
• Only 16% have looked back at even a quarter of their own camera roll in the past year
• 49% say their camera roll actively stresses them out

“The camera roll has become an archive system rather than a reminiscing experience, and our research shows that sorting them is a common issue for users” says Liam Houghton, CEO and Founder of Popsa. “In fact, I started Popsa after realising I had over 250,000 photos on my own phone. I was documenting my life, but I had no way to actually make sense of any of it.”

Memories is Popsa's answer: An AI that runs privately on the customer's device, automatically resurfacing and curating the best moments buried in a camera roll. AI photo curation isn't new - Apple and Google have both offered versions of it for years. What's new is where Popsa does it, and how it organises the results.

Built on PrivateContext, Popsa's on-device intelligence layer developed over a decade of machine learning work, Popsa Memories automatically detects the people, places and activities most present in someone’s life. It recognises when something worth remembering happened while letting users hide any memories that they don’t want to see. Entirely on device, nothing is ever uploaded and no one at Popsa ever sees the photos - photos only leave a device when a customer chooses to print them.

“We decided early on that understanding someone’s photos should never require uploading them,” says Liam Houghton. “PrivateContext does all of that work on the device, so some of the most personal data people own stays in their hands.”

Early beta data shows the appetite is real: Popsa has generated more than 33 million Memories since January, each a curated set of 128 photos on average, surfacing more than 4.2 billion individual photos that customers would otherwise have been unlikely to see again. Roughly one in seven people who opened a Memory went on to create a printed product from it.

Memories is free to use - no subscription, no ads - and it’s now rolled out to all Popsa users across available markets in the latest version of its iOS and Android mobile apps. Two new articles on the company’s Perspectives blog detail How Popsa Memories Works and how the company protects users’ privacy while accessing the app.

For more information, please visit the Popsa website.

ePHOTOzine members can enjoy exclusive savings on PortraitPro 24 from Anthropics Technology.

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This week's 'Photo of the Week' accolade has been awarded to 'Californian Poppies' by chase, a still life full of warm tones and rustic glass that creates a quiet, cozy atmosphere.

We love the detail in this image and the obvious care that went into setting up each piece. There's real thought in how the flowers and foliage are arranged across the three bottles, with the vintage glass complementing the golden and orange petals perfectly. The fallen petal on the wooden table adds a natural touch, and the soft daylight creates a simple, balanced composition that ties everything together.

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. See the terms & conditions and prize procedure for more information.

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.

 

The beauty of this time of year is that the sun rises at a more reasonable hour so an early morning jaunt to the woods isn't as painful as it was a few weeks ago. To top this already good news off, the chances of you finding mist circling around the trees is a lot higher at this time of year and when you mix this with your rising sun, you have the chance to capture strong beams of light as they burst through the trees.

 

1. Hope The Mist Is Right

You have to have the right type of mist for this - too thick and you won't be able to see the end of your nose let alone a sunbeam but if it's too thin there won't be enough moisture in the air for the light to reflect off. Read up on fog and mist techniques to become an expert at dealing with it. 

 

2. Take A Good Look At The Trees

It can be a little hit and miss but when the right density of mist does appear, you'll be able to capture some cracking shots as long as you have the right number of trees. Too many and you'll have broken, uneven patches of light but if there's too few the light will flood the open spaces leaving you with plenty of light but no beams. Your best bet is to quickly move to several locations to judge what looks the best before setting up camp. We say move quickly as the mist can vanish and the light can change quickly.

This also means you need to work quickly so do be familiar with your camera's controls and how you can adjust apertures etc. quickly to maximise your opportunities. Some cameras have dedicated dials you can assign specific controls to or offer ways you can access a particular setting more quickly.    3. Position Yourself In The Right Place For this to work properly you need to be shooting into the sun. Of course, this means you could have problems with flare but if you position yourself so the sun's hidden by a tree or foliage the light won't be as bright.
  4. Metering Tips

Metering is another tricky subject when you're working with direct sunlight and shadowy areas you don't want to lose too much detail in. To keep as much detail as possible don't meter from the direction of the sun instead, pick an area away from the light then compose your shot.

 

Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.

 

1. Safety First 

This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

2. Pack Your Filters

Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.

If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.

The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.

 

 

3. Lens Choices 

The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.

 

4. Capture Distance And Height 

When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.

 

 

5. Use Small Apertures 

The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."

 

6. Creating The 'Wow' Factor When shooting from the mountain you want the viewer to gain a sense of the place, so when they look at the shot they almost feel like they were actually there with you. To do this, as well as using a wide-angle lens, use a panoramic composition as this will help the viewer appreciate the scale of the location but again, it doesn’t emphasise the dramatic height of the mountain, something we'll discuss further down the page.      

 

7. Correct Exposures 

If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.

 

8. Off The Mountain 

This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.

When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details. 

In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.

 

A good support is a particularly important tool for landscape photographers. Even if you're a compact camera user you should consider purchasing a tripod. If you're still not convinced that fastening a tripod to your rucksack isn't a good idea when you're off on your walk, have a read of our ten reasons why we believe you should.

 

1. Use longer lenses more comfortably with a tripod

If you planning on taking some long as well as wide lenses out with you they tend to be more prone to camera shake so having a tripod will keep your shots sharp. However, if you do want to work hand-held make sure you don't use a shutter speed that's lower than your focal length. Some take this further and say your shutter speed should be at least double the focal length you're using.

  2. Easily adjust height

If you have a sky that's bursting with colourful sunset shades and want to make more of a feature of it, adjust the height of your tripod so more sky is in frame than land. We know you can just raise your hands up higher but holding your hands up in the air isn't very comfortable and any movement, even a small sway, could add unwanted blur to your shot. If you do want to adjust the height, make sure you pull all the legs out to their maximum length before using the centre column. Why? Well, even though it's easier to adjust than three legs, the support won't be as sturdy.

  3. Create slower shutter speed images easily

If you're planning on taking photos that turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. The problem with slower shutter speeds is they're not a great choice when working hand-held as you have to stay very still to stop shake and if you don't, blur will creep into your shot. However, stick your camera on a tripod and you can set shutter speeds that are many minutes long and shake won't factor into it. While we are talking about shake, try using a remote release or the camera's self-timer to fire the shutter to stop any small movement that you moving your hand away from the camera may create.

 

 

4. Create multiple exposures

If you're shooting a scene where the camera can't handle all of the different exposure levels present, you may want to try shoot a series of separate shots that each focus on the dark, middle and light parts of the image which are then combined to create one balanced exposure. If you're unsure whether the location you're at will work better with HDR, take a few sample shots and have a look at the areas that are in shadow. If you think there's detail that's lost in these darker areas that will improve your photograph then have a try at HDR.

A tripod is essential for this type of photography as the smallest of movements can adjust your framing which means your shots won't line up when you try to merge them together. As a result, once you've framed up, lock your camera's position, ensuring all screws are fastened tightly and that all leg locks won't come loose.

  5. Create smooth panoramas

If you want to shoot some landscape panoramas, having a tripod will help keep your shots steady and make them easier to stitch together once back in front of the computer. Start at either the left or right of the image, whichever you're more comfortable with, and allow for some overlap between each frame. It's always worth doing a 'dummy run' so you can make sure everything you want in the scene can be captured and to double-check you have enough overlap between each shot. It is important that focus is not adjusted during the panorama so take care not to touch the focus barrel once you have focused and set your white-balance manually so you don't have to make small tweaks to individual shots once back home. For scenes with details much closer to the front of the frame you'll need to use a panoramic head.

 

6. Take your time to compose properly

We know it's been said quite a few times but it doesn't hurt to mention it again, particularly to those who are new to landscape photography. What are we talking about? Well, the actual process of setting up your tripod, putting your camera through it and looking through the viewfinder does take some time and as a result, it slows you down and makes you think more about the shot you're taking. If you didn't have a tripod with you it would be very easy to take your camera out of its bag, fire off a few shots quickly and move on to a new location without really giving much thought about composition and the overall shot you're trying to achieve.

 

  7. More stability in windy weather 

If you find the weather turns a little blustery you'll need a sturdy tripod as unlike us photographers, they're better at balancing so won't get blown and pushed around as easily. If you find you need a little more weight and your tripod features a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still.

 

8. Set up low angle landscapes

For something a little different, adjust your tripod legs so you can shoot lower to the ground. This can give foreground detail more emphasis, really changing the feel of your landscape shot.

  9. Set up in water, use a remote trigger 

Sometimes you have to get your feet wet to get the shot you want but trying to stand upright in water that's moving on what can be slippy rocks is hard enough on your own, without a camera in your hands. To minimise the chances of you dropping your camera in the water, put it on a tripod. If the tripod doesn't have to be too far in the water you could also use a remote release/cable to fire the shutter from the water's edge rather than getting in yourself. Do make sure your tripod won't topple over and if you have them, use spiked feet to bed the tripod into the floor. If you're shooting at the coast, remember to clean your tripod after dunking it in the sea as saltwater will rust it.

  10. Capture images with low light minus movement blur

Shooting at sunrise, sunset or during the night so you can capture a sky full of stars, requires the use of slower shutter speeds, which, as mentioned, means you'll have to use a tripod as working hand-held can result in shake spoiling your shot. You can try nudging your ISO up to quicken your shutter speed but not all cameras produce good-quality shots when higher ISOs are used so the safest option is to take your tripod with you so you can use longer shutter speeds.

 

Photo by Joshua Waller

 

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset. 

 

1. Gear Choices

Pack a wide lens for capturing the big picture and a telephoto for singling out individual buildings and pulling distant objects towards you on your evening jaunt. Taking a tripod with you is advised but do leave your flashgun at home and turn your on-camera flash off as if it fires, it can ruin your skyline shot.

Most cameras, even compacts and smartphones are capable of producing night shots of decent quality but if you're planning on using much lengthier exposure times, you'll want to pack a more advanced camera. 

 

2. Where To Stand With Your Kit

While on holiday (if you have a room with a view) make use of the balcony to give you a high vantage point of the city. You'll also find buildings with observation decks, bridges to stand on and if you're in a city such as Sheffield which has the peak district on its doorstep, try heading for the hills to give you a sweeping shot of the whole city. From high locations you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as city dwellers switch on their lights at home. Street lights look particularly good twinkling against the deep blue sky still lit by the setting sun. Just be careful where you meter from as you don't want the sky or building lights to 'blow out'. Keep an eye on your histogram and take a reading from a darker part of the frame. Another option is to take multiple exposures of the same view so you can combine them to create a shot with a balanced exposure where there's not under- or over-exposed areas in the image. 

 

3. Taking Photos Through Glass

If you've got to capture your image through glass do check for marks and smudges that will spoil your shot. If you can't remove them, experiment with your aperture to see if one particular f-number will remove them from the shot. You'll also need to put the lens as close to the glass as possible and cup it with your hand, a cloth or whatever else you have that will reduce the amount of interior light reaching your lens. If you don't, you'll end up with reflections and flare could spoil your shots. 

 

Photo by Joshua Waller

 

4. Depth Of Field 

You'll want to use an aperture that gives your shot plenty of depth of field, around f/8 is a good place to start, and try to stick to lower ISOs where possible. You may find you need to adjust this to increase shutter speeds but if you're using a tripod, longer exposures won't be an issue. If you have it available, the depth of field preview button can help ensure your shot is sharp from front to back. 

Foreground interest can add another level interest and 'fill' empty space that can occur when focusing on subjects in the distance. However, do make sure it's not stealing the spotlight and pulling the viewer's attention away from the skyline. 

 

5. Shoot Silhouettes 

Silhouetted cityscapes are popular subjects and they work well against a plain but bright background. Even though they're a little clichéd sunsets do work well particularly if it's one that's rich with colour. To create your silhouette you need to expose for the background and not the buildings you want to silhouette. You may need to fool your camera when it comes to metering as using the camera's automatic metering won't always give you the silhouette you're after. Try half-pressing the shutter button while focused on the brightest part of your scene before moving back to frame the shot but this means your camera will focus on this and not your subject. Manual focus or using a smaller aperture can combat this problem. Talking of manual focus, you should consider using this even when not shooting silhouettes as it'll always produce better results, plus auto-focus tends to struggle as light levels fall. 

 

6. Shots At Street Level

As well as getting up high working at street level can work well in the evening too. Try using long exposures (20-30 seconds) to set the dark sky and buildings against the streak of lights that come from the traffic as it moves through the city streets. You could even combine multiple traffic streak shots to increase the sense of speed and movement in your city shot. Another way to add a creative twist to your city skyline shots is by incorporating reflections from rivers, lakes or even wet pavements after it's rained. 

 

7. Tall Buildings & Straight Horizons

Pay attention to your horizon and the angle of the buildings as you don't want them to be slanting to one side of the image. A tripod with a spirit level can be handy although many cameras now have these or gridlines built-in. When home, check your city shots for distortion but this is something that can be easily fixed in image editing software. Playing around with the colour balance can enhance and evoke mood, too so don't be afraid to experiment with this. 

 

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

 

Anyone who shoots regularly ends up with the same problem: a stack of external drives, each holding a pile of different projects, but none of them labelled well enough to trust. Finding one file often means plugging drives in one at a time until you get lucky. And knowing whether a project is safely backed up in two places usually means guessing, which is why so many photographers keep everything on the Mac far longer than they should, unsure what can be deleted and what can't.

Niklas Fischer, the developer behind Tusk, knows the feeling. "I've never had a drive crash or break, so that was something I didn't worry about too much. What was worse for me was the anxiety when I wanted to delete files from my Mac. I was often not sure which files were safe to delete and wanted one app that shows me exactly where a project lives, instead of plugging in drives one by one to check."

 

 

Tusk is that app. Released in August 2026 after a two-month public beta with photographers and video editors, it combines two jobs that have usually needed two separate tools: backing files up, and keeping track of where they went. "There are great tools like NeoFinder and Carbon Copy Cloner that each do cataloguing or backup well," says Fischer. "Before Tusk, nothing did both."

The setup is short. You pick a project folder, choose one or more backup destinations (external drives, NAS, Google Drive, Dropbox or S3-compatible storage such as Backblaze B2), and Tusk copies everything across, verifying each file with a checksum. From then on it watches the folder and backs up new and changed files as they appear, so a fresh export lands on the backup drive without you doing anything.

 

 

Every file gets a status per destination, and that status stays visible after the drive is ejected. Open a project from two years ago and Tusk shows which drive holds the master files, whether that copy was verified, and when it was last checked. Search covers the whole catalogue, whether the drives are connected or not.

 

 

That catalogue is also what makes it safe to free up space. Once a file has verified copies elsewhere, Tusk lets you delete the local copy. It checks the physical backups first and blocks the delete if anything is missing or unverified. Restore brings files back from the fastest connected copy in one click, for a whole project or a single folder.

 

 

Photographers with years of existing backups do not need to start over. Point Tusk at a drive that already holds your archive, select the folders, and it catalogues and verifies them in place, without recopying. A second drive with partial copies of the same shoot can be brought in the same way: Tusk matches what is already there and copies only what is missing. On a shoot day it can also offload a memory card to two or more destinations in a single pass, with a checksum report at the end.

Fischer built the first version as a command-line tool for his own course recordings. "When talking to other photographers and videographers, I realised that I'm not the only one struggling with this problem. I then decided to turn it from a terminal tool into a real desktop app, in close collaboration with some of my videographer and photographer friends."

Everything Tusk knows about your files stays on your Mac. No signup is required, and neither your files nor the catalogue is uploaded anywhere. Cloud backups go straight from your Mac into your own accounts. Tusk is focused on project-level backups, so it does not replace whole-Mac backup software such as Time Machine or Backblaze, and it runs on macOS only.

Tusk is available now from tuskbackup.com for macOS 12 and later, on Apple Silicon and Intel Macs, as a signed and notarised download (it is not on the Mac App Store). A 14-day trial starts on first launch with no signup or card. A licence is a one-time purchase of $79 (USD); at launch, the first 100 licences are offered at $49. It covers up to five Macs and includes one year of updates, and the app keeps working after that.

 

Previously, we've spent some time looking for interesting shop fronts to photograph but now we want you to lift your eyes a little higher in search of a good shop sign and pay more attention to what's actually on display in the windows. 

Displays in shop windows are designed to grab our attention and steer us towards the entrance of the shop in hope we'll part with our money. Some stores, particularly at Christmas, spend hours planning and then preparing their window displays. A lot of thought goes into how to use the space, what colours the mannequins should wear and how they should be posed making them an interesting photographic project as you walk down the High Street.
 

1. What Gear Do I Need?

A medium zoom lens will get you close to the signs without you having to borrow some ladders off a window cleaner and it'll also work for capturing shop windows too. You'll also need to carry a tripod if you plan on returning later in the evening when the neon's get switched on. It'll also help if you have a camera that performs well in low light and if you don't want the street reflected in your shot take a polariser along as well.  

 

2. Have A Walk Along The High Street

There are lots and lots of shops on the High Street which means you don't just have to settle for the first shop you come across. Spend some time really looking at the displays paying attention to the colours, poses and other items they use to really make the window stand out. Remember, a more interesting display will give you a better-looking image so a short observation walk is worth it. See if you can find shops that aren't chains. In Sheffield, there are several retro clothing stores and a joke shop which always have unique and sometimes entertaining window displays. Fancy dress shops are another one that's almost guaranteed to have a loud and amusing window display to photograph.

 

3. Minimise Reflections

Unless you want a photo that shows the display as well as what's happening on the street, which can work well sometimes, you'll need a way to minimise the reflection. Stepping further away from the window and using your zoom lens to fill the frame can help but the simplest and if you're on the edge of a road also the safest way to do it is to fit a polarising filter. This will reduce the reflection and give you a clear shot of what's inside. If you find the sun causes glare just move your feet to remove the problem or if that doesn't work come back later on when the sun's changed position.  

 

4. Work From A Higher Level

When it comes to signs when you stand on the street and look up at them, it's fine when you're looking for the nearest bakery but in your photos, it won't always work. To combat this, just step a little further back or better still find something to stand on that will give you a little more height. You could try holding the camera above your head but this won't help you with framing unless you have a camera that features a vari-angle LCD screen. 

 

5. To Zoom Or Not To Zoom? 

If a sign's particularly interesting or amusing zoom right in and fill the frame with the sign. Or are you going to put them into context showing some of the street or the shop front in the shot? If you do include the store pop on a polariser so you don't catch your reflection in the windows. This works particularly well with old buildings or with unique stores that have displays that will add to the image.

Standing at one end of the High Street quite close to the buildings looking up will give you the chance to capture several signs all in one shot or try waiting until the sun's began to set and photograph the many neon signs that decorate our streets. Just watch for camera shake as you'll be using slightly longer exposures and take a look around your image to see if there's any flare from some of the lights. Having said that, this can work well sometimes, especially on wet evenings.  

In busy towns and cities, you'll find plenty of signs, often grouped together, along the tall buildings that line the streets. If possible, find a higher spot, as you do when shooting a cityscape, and use a wider focal length to capture the signs and buildings in one image. They can look busy, but the bright signs and bustling surroundings will really sum up the feeling of a busy city. 

 

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

© Nikon

 

Nikon has introduced the Z5IIC, a full-frame mirrorless camera combining accessible operation with excellent image quality. The 24.5-megapixel camera features touchscreen control, a portable flat-top design, and autofocus that recognises fish, people, pets, vehicles and birds. In-body stabilisation and ISO up to 64000 handle low-light shooting, with the camera available from October 2026 at £1,349.

 

From Nikon:

 

Sales Start Date: October 2026

Recommended Retail prices:

• Z5IIC Body - £1,349 (UK), €1,649 (ROI)
• Z5IIC Lens Kit (w/ 24-50mm) - £1,609 (UK), €1,959 (ROI)
• Z5IIC Lens Kit (w/24-200mm) - £2,049 (UK), €2,479 (ROI)
• Z5IIC Lens Kit (w/24-70 f/4 S) - £1,879 (UK), €2,279 (ROI)

 

Nikon announces the Z5IIC, a powerful beginner-friendly full-frame mirrorless camera that lets people shoot with confidence from day one. By pairing familiar touchscreen operation with acclaimed Nikon Z technology and flexible creative features, the Z5IIC makes it easy to achieve stunning photos and video in any light. Even if it's someone's first full-frame mirrorless camera, they'll feel in control from the very first shot.

With its streamlined, flat-top design, the Z5IIC is a truly portable full-frame camera that meets people where they're at and stays with them as their skills grow. The 24.5 MP FX image sensor and powerful EXPEED 7 processor ensure stunning full-frame image quality that goes beyond everyday smartphone photography.  Colours, textures, and details won't get lost in low light, backlit scenes can be captured in all their glory, and in-camera image stabilisation keeps handheld shots sharp. Focusing on subjects as they move, even in dim light, is beautifully simple thanks to an intelligent autofocus system that can recognise people, pets, vehicles, and birds, and the Z5IIC is the first Nikon Z camera to recognise fish as well.

Touchscreen operation makes controlling the Z5IIC feel instinctive, while the high-resolution Vari-angle monitor unlocks all the angles and provides a clear view of the frame. To attain beautiful results quickly, 15 scene modes optimise settings for different subjects and moods, and Nikon's Imaging Recipes and Film Grain feature make it simple to experiment with the look of photos and video in-camera. Meanwhile, automatic firmware updates simplify keeping the camera up to date and, wherever someone's interests lie, there's a NIKKOR Z lens ready to capture the beauty they see.

Zurab Kiknadze, Product Manager, Nikon Europe says: "With Z5IIC, we wanted to make full-frame photography feel effortless and approachable, without compromising image quality or creative freedom. It's a camera you can pick up and take anywhere as you grow your skills. Wherever you're at in your creative journey, you can trust it to deliver great-looking images and video."

 

© Nikon

 

Summary of key features: Z5IIC

 

Stunning full-frame image quality: a 24.5-MP FX sensor with wide dynamic range renders richer detail, deeper colours, and smoother bokeh.

Simple, intuitive operation: familiar touchscreen control and a high-resolution Vari-angle screen make it simple to capture photos and video from creative angles.

15 scene modes: from vivid sunsets and neon nightscapes to playful pets, scene modes optimise camera settings to suit different subjects and moods for beautiful results.

Superb portability: the streamlined flat-top design makes it easy to slip this full-frame camera into a bag, and right back out again. A well-shaped grip provides a comfortable, confident hold whether carrying the camera or shooting with one hand.

Intelligent autofocus: people, pets, vehicles, birds, and now even fish. Multi-subject detection and sensitivity down to -10 EV1 lets the AF system focus reliably on subjects, even after dark.

Powerful in-body image stabilisation: up to 7.52 stops of in-camera Vibration Reduction keeps handheld shots steady, and Focus Point VR keeps subjects sharp anywhere in the frame.

Brilliant low-light shots: ISO sensitivity goes all the way up to ISO 64000 for stills and ISO 51200 for video. Intelligent noise reduction ensures clear results even at high ISOs.

Fast burst speeds: photographers can shoot at up to 14 fps to capture active subjects, then select the perfect frame or keep the whole sequence.

Richly detailed 4K video: video shooters can upload high-quality footage straight from the camera, or record 4K/60p3 footage in N-RAW and edit it later.

Nikon Imaging Cloud: Z5IIC users can experiment with colour by downloading image recipes from Nikon, RED, and Nikon creators straight to the camera.

Film Grain: recreates the nostalgic look of analogue film by adding a grainy effect to photos or video, and it can be paired with Imaging Recipes.

Rugged build: a tough yet lightweight magnesium alloy frame protects the Z5IIC, and the camera is sealed to keep dust and moisture out.4

NIKKOR Z lenses: a world of new perspectives and creative possibilities awaits with Nikon's wide range of interchangeable full-frame mirrorless lenses.

For more information, please visit the Nikon website.

 

FOOTNOTES:

1 In Photo mode using Single-servo AF (AF-S), Single-point AF (centre), at ISO 100 equivalent and a temperature of 20°C/68°F with a f/1.2 lens.

2 Up to 7.5-stop VR based on CIPA 2024 Standard. Yaw/Pitch/Roll compensation performance when using the NIKKOR Z 24-120mm f/4 S (telephoto end, NORMAL mode).

3 4K/60p video recording is available in DX crop mode.

4 Complete dust- and drip-resistant performance is not guaranteed in all situations or under all conditions.

© Sony World Photography Awards / World Photography Organisation

 

Organisers of the Sony World Photography Awards have revealed the jury panel and official exhibition dates for the landmark 20th edition. Set to return to London’s Somerset House from 15 April to 3 May 2027, the flagship showcase celebrates two decades of global visual storytelling. Independent curator Monica Allende returns as Chair of the Jury alongside a distinguished panel of international gallery directors, curators, and editors who will oversee the 2027 competition.

 

From Sony:

 

• Judges for the 20th edition of the Sony World Photography Awards announced
• 2027 exhibition opens at Somerset House, London from 15 April – 3 May 2027
• 2026 travelling exhibition is open in Milan until 4 October, in Johannesburg until 22 January 2027, and opens in Berlin on 8 October

 

The Sony World Photography Awards announce today the jury and London exhibition dates for the landmark 20th edition.

In their two-decade-long history, the Sony World Photography Awards have become the definitive reference point for contemporary visual storytelling, honouring the remarkable creativity and dedication of photographers working today. A celebration of the stories and images shaping our culture, the Awards show the diverse possibilities of the medium.

Organised by Creo, the Awards form the core part of its photography programming strand, the World Photography Organisation. Sony supports the Awards to give an international platform to artists working in photography, and to push forward the global discourse on the medium today.  

 

2027 JUDGES

 

Following the success of the 2026 edition, which received over 430,000 images, and now entering their second decade, the Awards are open for entries and free to all photographers. For the landmark 20th edition, the Awards welcomes back Monica Allende as Chair of the Jury for the Series competition and curator of the London exhibition at Somerset House.

Allende is accompanied by a panel of specialists in the visual arts from across the globe, all contributing their unique expertise, insights and perspectives. The 2027 jury comprises: 

 

Series Competition:

• Monica Allende, Independent Curator and Photography Consultant, Chair of the Jury, UK
• Santiago Escobar-Jaramillo, Photographer & Editor at Raya Editorial, Colombia
• Peipei Han, Director of Exhibitions, Fotografiska Shanghai, China
• Candice Jansen, Manager, New Archival Visions Programme, University of the Western Cape, South Africa
• Amanda Renshaw, Independent Curator, Writer and Publishing Consultant, UK
• Pauline Vermare, Phillip and Edith Leonian Curator of Photography, Brooklyn Museum, USA

 

Single Image & Youth competitions:

Maja Dyrehauge Gregersen, Managing Director, Copenhagen Photo Festival, Denmark

 

Student competition:

Menno Liauw, Founder and Director of the FUTURES Foundation, Netherlands

 

NEW IN 2027

 

The 2027 edition broadens the Awards’ range through new categories across the competitions, presenting expanded opportunities for fresh perspectives on visual storytelling. The Series (previously Professional) and Single Image (previously Open) competitions are re-named, further defining and clarifying their scope. Photographers are welcome to enter different projects to both competitions, enabling those with diverse portfolios to enter work from across their practice, be it a series or a striking single photograph.

 

New Series competition Category

Histories: This category invites photographers to explore how histories - personal, cultural, and collective - shape our world today, from traditions and everyday rituals to the events and forces that have left their mark on nations and peoples. This category is for projects that engage, explore, or re-examine the past, as well as work that looks at the contemporary through a historical lens. We welcome archival and found image interventions that revisit, re-contextualise, or breathe new life into the past. 

 

New Single Image competition Category

Animal Portraits: This category celebrates the beauty, personality, and spirit of animals through portraiture. Judges are looking for images that capture the subject’s expression and character, from beloved pets to majestic wildlife and marine life, to reptiles and insects; portraits that honour and showcase the remarkable diversity of the animal kingdom. 

 

2027 LONDON EXHIBITION AND 2026 TRAVELLING EXHIBITION DATES 

 

The Sony World Photography Awards 2027 exhibition begins its international journey at Somerset House, London, from 15 April to 3 May 2027. A fixture of the cultural calendar in London, the acclaimed exhibition, curated by Monica Allende, features a selection of winning and shortlisted images from the 2027 Awards, as well as special presentations by the Photographer of the Year 2026 Citlali Fabián and the Outstanding Contribution to Photography 2027, to be announced in November.

The Sony World Photography Awards 2026 is currently on view in Johannesburg, South Africa (until 22 January 2027), at the Roger Ballen Centre for Photography, marking the Awards’ debut presentation in South Africa. The exhibition then continues to travel to other destinations: 

• Milan, Italy, 10 June - 4 October 2026
• Berlin, Germany,  9 October 2026 - 7 February 2027
• Matera, Italy, 14 November - 10 December 2026
• Bisceglie, Italy, 12 - 30 December 2026 

 

2027 DEADLINES AND PRIZES 

 

The Sony World Photography Awards opened to submissions on 1 June 2026. Full competition and category descriptions can be found at worldphoto.org.

Deadlines for submission to the four competitions are as follows:

• Series: 12 January 2027 16:00 GMT
• Single Image: 5 January 2027 16:00 GMT
• Student: 27 November 2026 16:00 GMT
• Youth: 5 January 2027 16:00 GMT

All category winners of the Series, Single Image, Youth and Student competitions receive Digital Imaging equipment from Sony. The prestigious Photographer of the Year receives a cash prize of $25,000 (USD) as well as a solo presentation of their work as part of the Sony World Photography Awards exhibition in London the following year. The Single Image Competition Winner and the winner of the Sustainability Prize each receive $5,000 (USD). All winning and shortlisted photographers’ projects are exhibited at the annual Sony World Photography Awards exhibition in London, and will then tour internationally. The winning images are also published in the annual Awards’ book, sold at the exhibition and available online. Series competition category winners and finalists are invited to Insights, a day of tailored sessions with leading industry figures in London. Coming from commercial, curatorial, and institutional backgrounds, these experts offer the photographers specialised guidance on expanding their network and practice. 

For more information about the Sony World Photography Awards and upcoming announcements and events, please visit worldphoto.org.  

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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 kenwil (Day 22 - River).

 

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 17

Night Architecture

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Day 18

Cats

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Day 19

Textures

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Day 20

Safari

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  Day 21

Ducks

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Day 23

Mist / Fog

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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.

 

One aspect of photography that is often misunderstood is that when you take a picture you are not capturing an instant but rather a period in time. During this period things happen and the choices you make when taking your picture will fundamentally change the results you get. Movement in photographs should be captured deliberately, making sure that it looks like that was the plan. A picture that is just a little blurred will usually look just that, a little blurred. 

Any camera can capture movement but the amount of control you have will determine the amount of movement that you are able to show. The longer the shutter speed the more movement can be captured. Consider the best camera modes to use for your situation. 

For most pictures featuring movement, you should use a tripod but there will be times when just shooting plenty of pictures hand-held will be a better strategy.
 

1. Techniques to adopt

The technique you need to adopt will depend upon what you are trying to say. Digitally you can shoot and review what is happening and if the movement is too much use a faster speed; if they are too ‘static’ use a slower speed. Typically you should try shooting at about 1/15th or 1/30th with a reasonably fast subject. Panning can be done on a tripod, but the results will be quite different. It is essential if using a tripod (or monopod) that the camera should be able to follow the action accurately if the moving action is at an angle to the camera movement you will struggle to get usable pictures. 

 

2. Blur can be good

However, this doesn't mean you have to keep the subject sharp. In this shot of the Tour de France, nothing is really sharp, but there is a clear difference between the blurriness of the crowd and the slightly sharper rider and this makes the picture more dynamic. 
 

3. But does the camera need to move?

Sometimes it is not necessary for the camera to be moving at all. Fixing the camera on a tripod and letting the subject move will give an altogether different result. This same technique can be used at night to get car lights on the roads which can be a very effective way of showing movement. Machinery is also a good source of subject as they often look much more interesting in action than at rest – or frozen with flash. Panning can help you to keep the subject sharp.

In some situations, flash can be used though; if you set the camera to slow-sync you can have the combination of a blurred image with a sharp one overlaid on it. If possible set the camera to ‘rear’ or ‘second curtain’ sync or the subject will appear to be moving backwards.

Whatever you approach, though, try and make the movement you capture to say something about the subject – that is what will make the picture work.
   

Aritz Arambarri Goenaga – Vistas Desde El Abandono (2026)

 

The World Sports Photography Awards 2027 is now open for entries, accepting free submissions from sports photographers across 24 categories. Entrants can submit up to 10 images captured between December 2025 and November 2026 before the November 23, 2026 deadline. The 2027 edition also updates category structures and continues the 'Canon Emerging Talent' award, with eligibility adjusted to focus on emerging photographers under 25.

 

From Canon:

 

World Sports Photography Awards sponsored by Canon and celebrated as the world's foremost showcase of sports photography, has today opened entries for its much-anticipated 2027 edition. Entry remains free, with the awards honouring the most gifted sports photographers from around the globe and celebrating images that convey the drama, emotion, and physicality at the heart of sport. Judged by leading figures spanning sport, media, photography, branding, and the broader creative sector, the World Sports Photography Awards continues to stand as the world's biggest celebration of sports photography.

The 2026 edition marked a breakthrough year, attracting over 4,200 entries from photographers in 123 countries and spanning more than 60 sports. Extensive international media coverage, coupled with support from leading sports organisations, underlined the awards' continued global growth and rising influence.

Commenting on Canon's sponsorship of the awards and what we can expect for 2027, World Sports Photography Awards Co-Founder, Simon Burton, said: "Canon has been the perfect partner for the World Sports Photography Awards, and there's no name more synonymous with sports photography. Building on such a fantastic first year together, we're thrilled to continue this relationship as we head into year two. It's been another remarkable year for sport around the globe, and we can't wait to see the images photographers submit this year, capturing the passion and drama of sport across every discipline and every corner of the world."

Canon has a long and proud history in sports photography, equipping generations of photographers with the tools to capture iconic sporting moments that have defined eras. The introduction of the 'Canon Emerging Talent' award in the 2026 edition has shown amazing success and looks to bring along the next era of great sports photographers once again in 2027. This dedicated category will continue recognising young and upcoming talent, with the age of the award dropping slightly to under the age of 25 to better capture the essence of the award.

Richard Shepherd, Product Marketing Senior Manager, Imaging at Canon Europe, adds: "Canon has a proud legacy of supporting professional sports photographers and helping them capture the moments that define sporting history. Following the success of the 'Canon Emerging Talent' award in 2026, we're delighted to continue our support for the next generation of sports photographers in 2027. By recognising emerging talent and giving young photographers a platform to showcase their creativity and passion, we hope to help them take the next step in their careers and tell the powerful stories at the heart of sport."

With this announcement, the 2027 awards are now officially open for entries. Participants from across the industry and globe are invited to submit their work and gain recognition on one of the most celebrated stages in the field.

For 2027, photographers are invited to submit up to 10 images captured between December 2025 and November 2026 across 24 sports categories. Submissions are free of charge and close on 23 November 2026. Please note that images entered in the 2026 competition are not eligible. We have also made some adjustments to the categories, which we ask photographers to be aware of when entering.

 
Key details:

• Entries open: 09 September 2026
• Submission deadline: 23 November 2026
• Eligibility: Up to 10 images taken between December 2025 – November 2026
• Categories: 24 sports categories
• Cost: Free of charge

 

The World Sports Photography Awards, sponsored by Canon, continue to celebrate the art of sports photography – showcasing the images and photographers that inspire audiences around the world.

For rules and regulations, please visit the Rules page, T&C's and other FAQs here.

For more information and to enter, visit: www.worldsportsphotographyawards.com

© OM SYSTEM

 

OM SYSTEM has unveiled the new PEN camera, the first PEN series model under the OM SYSTEM brand. The compact rangefinder design pairs an electronic viewfinder with IPX1-rated dust and splashproof construction, a first for the PEN series. It combines a 20.37MP Live MOS sensor with computational photography features including High Res Shot, Live ND, Focus Stacking, and HDR, plus 121-point autofocus with AI Subject Detection.

 

From OM SYSTEM:

 

OM Digital Solutions Corporation proudly announces the launch of the new OM SYSTEM PEN, the first PEN series camera introduced under the OM SYSTEM brand. Combining the timeless rangefinder-style PEN design with modern imaging technology, the camera is designed for photographers seeking a compact, lightweight companion for everyday creativity, travel, and visual storytelling.

Building on the PEN series heritage dating back to 1959, the OM SYSTEM PEN introduces several important advancements, including an integrated electronic viewfinder and, for the first time in the PEN series, dust- and splashproof performance. Combined with OM SYSTEM's renowned computational photography capabilities, the camera delivers a versatile and intuitive shooting experience for enthusiasts and newcomers alike.

 

Designed to Inspire Everyday Photography

The OM SYSTEM PEN is built to encourage users to take their camera everywhere. Its compact and lightweight form factor is paired with an electronic viewfinder for a more immersive shooting experience and an IPX1-rated dust- and splashproof construction that offers reliability in changing weather conditions. Powered by the TruePic IX image processor and a 20.37MP Live MOS sensor, the camera delivers outstanding image quality while benefiting from 5-axis image stabilization. Creative photographers can explore Color Profile Control and Monochrome Profile Control modes, allowing film-inspired looks and highly personalized image styles directly in-camera. In addition, the dedicated CP button provides fast access.

 

© OM SYSTEM

 

Key Features

• First OM SYSTEM camera in the PEN series, featuring a classic rangefinder-style design with integrated electronic viewfinder.
• First PEN series camera with IPX1-rated dust- and splashproof construction.
• Color Profile Control and Monochrome Profile Control for film-inspired creative expression.
• Dedicated computational photography features including High Res Shot, Live ND, Focus Stacking, HDR and Multiple Exposure.
• 121-point all cross-type phase-detection autofocus.
• AI Subject Detection AF for people and animals.
• Starry Sky AF and Pro Capture shooting up to 30fps.
• 5-axis image stabilization and support for the extensive Micro Four Thirds lens ecosystem.

 

Product Availability & Pricing

OM SYSTEM PEN Body RRP:  £849.99

OM SYSTEM PEN + M.ZUIKO DIGITAL 14-42mm F3.5-5.6 III Kit RRP:  £949.99

Available in Silver and Black, with availability scheduled for late September / early October 2026.

For more information, please visit the OM SYSTEM website.