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.

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.

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.

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.

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.

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.

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.

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.

Back in September 2024, I sat down to write an article for Fstoppers called What I Wish I Knew Earlier. I had no idea it would eventually become a trilogy of books. At the time, it was simply an opportunity to reflect on some of the lessons landscape photography had taught me over the years. Not the technical lessons that can be found in camera manuals or specification sheets, but the things that only seem to reveal themselves after countless early mornings, long drives, missed opportunities, and disappointing photographs.

Have you ever wished for a photography accessory or tool and dreamed of making it yourself? If you're the kind of photographer who likes finding neat solutions, 3D printing might be worth checking out.

Bokeh is one of those words you hear constantly in photography and almost never hear defined. People use it to mean "blurry background," they use it to mean "expensive lens," and they use it as a compliment without being able to say what they are complimenting. So let us clear it up, because once you understand what bokeh actually is, you can stop chasing it blindly and start using it on purpose.

Knowing what you want to make and actually making it are two very different problems. The gap between them isn't talent or equipment; it's the mental framework you're using to approach creative work.

Stacking a polarizing filter with an ND filter on a wide angle lens creates serious vignetting issues, and that's exactly where this long exposure edit begins. Knowing how to work through that kind of technical constraint while still landing on a warm, airy, high-key result is a skill worth building.

Patience is the crucial skill that separates wildlife shots you'll actually keep from the ones you delete. No lens upgrade fixes leaving a location too early.

Most Fujifilm shooters either ignore the Grain Effect entirely or crank it to Strong/Large, decide it looks too noisy, and turn it off again. That pattern makes sense if you've never seen what the setting can actually do when used correctly.

For most of digital photography's history, medium format meant one thing: a five-figure investment, a deliberate studio pace, and a tool reserved for commercial shooters whose clients paid for the absolute ceiling of image quality. The format was the opposite of mainstream by definition. It was the thing you rented for the shoot, not the thing you owned and carried.

I am, by training and inclination, a black and white photographer. My very first exposure to black and white photography, as an artful medium, was a photograph that I saw when I was in art school many years ago that was entitled "Monolith, the Face of Half Dome." At that time I was studying to become a Board Illustrator, which would have been a bored illustrator. The moment I saw that one photograph became a transformative one for me. Of course, when that happened the only option in terms of doing photography was to use film (this was way before digital was available), and my goal was to use black and white photography as my means of artistic expression.

Getting better wildlife photos doesn't require buying anything. The gap between forgettable shots and compelling ones almost always comes down to technique, not equipment.

Buying a 50mm lens for under $100 sounds like a deal until you see what you're actually getting. The TTArtisan AF 50mm f/1.8 Neo hits that $89 price point on full frame, and the question isn't whether it's cheap. It's whether cheap is cheap enough to matter.

Finding a fast prime with an apochromatic design under $400 is almost unheard of, and that's exactly what the Viltrox 35mm f/1.8 Evo claims to be. Apochromatic lenses correct chromatic aberration by aligning all three color wavelengths to the same focal plane, a feature you typically only find in lenses costing several times more.

Getting genuine, relaxed-looking images from couples at weddings has less to do with knowing the right poses than most people assume. The mental shift behind how you approach directing people is what separates stiff, uncomfortable photos from ones that look effortless.

Landscape photography has a reputation as a gear-hungry genre, and it is easy to believe you need a closet full of equipment before you can shoot a decent mountain. You do not. The genre actually rewards a small, deliberate kit more than almost any other, because you are usually on a tripod, working slowly, with time to think. This guide walks through the categories that matter, points you toward solid current options in each, and is honest about what you can skip.

As photographers, we're inundated with images all day — ads, social media, billboards. Which ones actually inform our work, and where should we be looking?

Lightroom Classic 15.4 shipped with a duplicate finder, improved AI masking, and smarter culling tools, and at least a few of these updates will change how you manage and edit images day to day. If your library has grown to tens of thousands of files, one of these features alone is worth knowing about.

7Artisans has built its reputation on cheap manual focus glass, so releasing autofocus lenses puts the company in direct comparison with brands that have been doing this for years. The bar for autofocus in 2024 is high, and whether a budget brand can clear it is a real question.