After some false starts, Apple has gone all out for the upcoming iOS 27, due this fall. There's a greatly improved Siri, based on Google's Gemini, and a host of AI features. Our readers will be most interested in the new photo-taking and editing features in iOS 27, and I was able to download the developer beta for a quick look around.
I know I've talked about my renewed interest in old film cameras before. Therefore I won't go over old ground in detail. I'll just say the main reason was the desire for a pure photography experience once again, without technology getting in my way. The only new digital camera that has given me that so far is a Leica Q2 Monochrome I purchased three years ago. I've enjoyed the experience so much, in fact, I craved more. Well, really I should say, I craved less!
When I first started learning photography, ISO was probably the setting I understood the least.
Shutter speed made sense because I could see movement blur or freeze. Aperture made sense because I could see depth of field changing in the image. ISO, however, felt far more abstract. I knew it made the image brighter or darker, but beyond that I mostly treated it as a setting to avoid touching unless absolutely necessary.
The camera industry designs products for a narrow band of humanity. Browse the marketing material from Canon, Nikon, Sony, Fujifilm, or any other manufacturer and the target buyer is consistent: a 25-to-45-year-old enthusiast or professional, fit enough to carry a kilogram of gear on a mountain, dexterous enough to operate tiny buttons in the dark, and technically literate enough to navigate a 400-item menu system. The cameras are excellent for this person. They are less excellent for the two populations on either side of that band: the photographer over 60 whose hands, eyes, and patience have different requirements than they did at 35, and the child under 12 who wants to take real photographs with a camera that can survive being a child's possession.
Photography publications, including this one, spend most of their editorial energy on exciting lenses. The fastest aperture in the category. The sharpest optic in the lineup. The new release that leapfrogs last year's model. The GM, the Art, the L-series, the S-Line flagship. These are the lenses that generate press coverage, forum arguments, and YouTube thumbnails with wide-eyed reviewers holding glass that costs more than a used car.
One of the biggest changes in my photography did not come from buying new gear, learning a complicated editing technique, or traveling to better locations. It came from something much simpler. I stopped relying on the idea that I could fix everything later in editing.
Acapulco at night feels less like a city and more like a stage set designed by a casino architect having a mild nervous breakdown. Palm trees multiply in every direction. Floodlights blast the sand with the subtlety of a prison yard. Massive hotels rise from the coastline pretending time still moves the way it did decades ago, as if glamour could survive indefinitely through architecture and denial alone.
Beyond the gesture lies the question of what survives the movement. This part moves from the mechanics of the camera to the discipline of the image, identifying the "points of failure" where structure, color hierarchy, and spatial layers collapse into visual mud. It defines the "indexical anchor" as the boundary between a durable photographic image and a decorative dissolve.
Over the years, I've looked at a ridiculous number of photography websites. Partly because I'm nosy, partly because I do website critiques, and partly because during lockdown, I worked for a marketing agency and did a lot of UX work. After a while, patterns start appearing.
The camera industry is built on a ladder. At the bottom, there is a $600 to $800 entry-level body with a kit zoom, often no in-body stabilization, a single card slot, a plastic build, and a thin lens ecosystem. At the top, there is a $3,000 to $6,000 professional body with IBIS, dual card slots, weather-sealing, a magnesium alloy chassis, and an extensive lens lineup. In between, there are two or three rungs spaced at $500 to $1,000 intervals, each one adding features the rung below deliberately omitted. The structure is obvious when you look at it from above: every camera in the lineup is designed to make you want the one above it.
The Sony a7R VI arrived this month with 66.8 megapixels, a fully stacked sensor, 30 frames per second, and 8.5 stops of stabilization. The spec sheet is extraordinary. But the feature that will matter most to photographers who use their cameras after dark is one that does not appear in any resolution or burst-speed comparison: the rear buttons glow.
The first mistake people make when photographing Día de Muertos is thinking they already understand it.
I remember so vividly the excitement of when I first started taking pictures. It was all new, new, new. "Oh my God, what's this? Did you just see that?" No matter what it was I photographed, I felt a rush of pure exhilaration. Even now, 24 years later, I am thrilled to say that I still feel that rush.
Almost nothing is more fundamental and important than shutter speed. Here's everything you need to know about it.
Photography has always occupied a curious position. It can be art, journalism, testimony, or obsession. But before any of that, it is memory made visible. And nowhere does that become more apparent than in the family photograph.
Every camera manufacturer in 2026 can build a sensor that resolves fine detail, an autofocus system that tracks a bird in flight, and a video engine that records 4K at 60 frames per second. The engineering on the headline specs is genuinely impressive across the board. And then you buy the camera, try to charge it from the same cable you use for your laptop, and scream into a pillow.
There is a particular kind of psychological illness that affects photographers after enough years behind a camera.
Macro and close-up photography is something we can all do, anywhere. We can find objects at home to photograph, or head outside into a local field or forest. It's a very enjoyable genre of photography. One of the more popular subjects to photograph is wildflowers.
Dear Lisa,
I've loved photography for years and have always treated it as a hobby. Over time, friends, family, and people they know have asked me to photograph birthdays, couples, small events, and the odd portrait session. I never really advertised myself; it just sort of happened.
Instagram has started testing an "AI creator" label, an account-level badge that tells viewers a profile "posts content that was generated or modified with AI." It is clearer than the vague "AI info" tag Meta already sprinkles on some posts, and it reads like a step toward honesty in a feed increasingly clogged with synthetic images and video. There is one detail that undoes all of it. The label is entirely optional.
The view from a window seat at cruising altitude is one of the few genuinely unique perspectives available to anyone with a camera and a boarding pass. Mountain ranges, river deltas, coastlines, city grids, cloud formations, and weather systems reveal themselves at a scale and angle that no drone, helicopter charter, or hiking trail can replicate. The light at altitude behaves differently than it does on the ground: cleaner, less diffused by low-altitude haze, with color gradients at the horizon that shift from warm gold to deep indigo across a span of sky you cannot see from the surface. And the compositions are constantly changing, because you are moving at several hundred miles per hour through a landscape that rearranges itself every few seconds.
The best camera upgrade you make this year isn't a new lens, side grip, or lens filter. This camera upgrade makes you a better photographer because it gives you more control over how you see.
Growth in photography often feels like a series of overwhelming choices. We look at different genres and techniques, trying to find a starting point that feels right. But the most effective roadmap for development is found in a classic idea you've probably heard: great artists don't just copy, they steal.
While some of us were indoors spraying Windex on our groceries during the COVID-19 pandemic, others took the time to explore how to visually relate to that time through passion projects. Photographer and author John Lazzaro did just that, spending those years and then some exploring, photographically, the history of sanatoriums in the United States to produce his latest book, Sanatorium.
Post-processing has long been the most time-consuming part of a photographer's workflow, and the numbers back that up. According to the 2026 Zenfolio State of the Photography Industry report, about 70% of photographers spend between 26% and 75% of their working time on editing. Only 5% of photographers surveyed feel they are managing the stress of running their business well.