There has been a flurry of reports about Nikon as the second quarter results hit the press, which show the manufacturer fighting to turn around the business but struggling under the impact of COVID-19.

After we graduate from the complete beginner phase of our photography journey and as we start to ask the important questions like "which camera should I buy next," we invariably land on a discussion thread or Fstoppers article lampooning the plebeian zoom lens over its rival prime. "Move with your feet, you lazy so and so" and "look how light my backpack is," cry the baying mob as you hang your not-so-sharp head in shame. But, not all is as it seems.

Wider was always better when I first began photographing landscapes. As an amateur photographer and outdoor enthusiast, all I wanted to do was cut down on weight in my pack when heading off on long, adventure-filled days in the mountains. But slowly my focus shifted from going out to hike, while maybe capturing beautiful moments, to fully focusing my time and attention on capturing beautiful landscapes. Hiking became the mode of transportation while photography became the reason for heading to the mountains.

Let me preface this article by saying that I LOVE Billy and the rest of the team at Resource. I’ve shared quite a few hung-over mornings with you guys at misc. photo conferences and I wouldn’t trade it for the world. I would also like to note that I disagree with much of the article that they just ran.

With July coming to an end, summer in the North East is in full swing and what better time to get out and shoot than the present. Whether you are shooting portraits or landscapes, in the daylight or under the stars, sometimes the best way to stay motivated and make sure you are having fun with your photography is to keep things simple. While I don’t go bare-bones with one camera and a lens, if I am out adventuring, chasing a sunset, or on a day trip hiking through the forest, I like to keep my gear minimal. While each piece of equipment has various uses, here is a look into my camera bag and different ways you can use each piece of equipment.

That’s right, I said it: If you aren’t sharing content on Instagram, you are shutting the door on a world of potential opportunities! With over 200 million users, this social network has the power to become one of your most important means of promoting your photography business.

Have you been feeling the heat this summer? Taking photos out in the sunshine can be a challenge. However, it can be made a lot easier with the right preparation. Here are five of my photography hot weather essentials.

Two days after Donald Trump’s inauguration, I posted a tweet about his use of a low-resolution, potentially unlicensed image being used as his header image on his preferred weapon of choice, Twitter. On technical and professional levels, it was a fail (you can see it at the top of this article). I should have realized it was a sign of things to come.

In any service industry, frustrations can run high. Clients sometimes run late, don't always read contracts, show up with spray tans, don't pick the most beautiful venues for their weddings, fail to understand the cost involved in producing quality images, price shop, compare prices, question your prices, don't love their face in that photo, show up with a whole Pinterest board full of ideas, and expect you to just "fix it in Photoshop."

Photographers who are active on social media often get a lot of questions about the technicalities of photography. Especially about nightscape photography – the subgenre of landscape imaging where you basically have a dark landscape set to some celestial backdrop featuring twinkly stars. Either through commenting on a shared image, a direct message, or an email, people ask about the type of gear that was used to capture a specific shot or any of the numerous variables that make up a given photo. Variables that range from the time of day to how many degrees of rotation on the polarizing filter. But this time I got an email that announced the inevitable demise of the subgenre of nightscape photography. But there’s a strong, intrinsic motivation for nightscape photography that I want to share with you here.

It has been a year since I deleted my Facebook account. Here is why I think other photographers should do the same.

Full frame cameras are generally regarded as the standard option for professional work, but in recent years, crop sensor cameras have come a long way, and their associated ecosystems have filled out to offer photographers and filmmakers a wide range of options suitable for many genres and applications. This interesting video essay discusses three reasons why crop sensors cameras are often a better choice than full frame options.

It's fair to say that the Canon EOS R has had mixed reviews since its release earlier this year, and finding a balanced argument either way hasn't been easy. That's why this video from Steve Huff is refreshing in its honesty and objectivity and might just give you a different view on the EOS R.

Every photographer worth their salt has had that moment when they get a message from an excited friend who just bought their first camera. That friend is absolutely thrilled with their purchase and has become starry-eyed with the prospect of all the amazing photos they will soon create. There is only one problem: they know nothing about photography. That is where you come in. You have the opportunity to mentor them and create a shooting buddy for the indefinite future, so get it right!

Why do some photography businesses fail? Training courses talk about how to make a business work, but overlook the commonplace mistakes. This is how not to run a business, with five lessons from a photography business that stank and sank.

Lenses with wide maximum apertures are extremely popular both for working in conditions with low light and for creating images with very narrow depth of field. In recent years, we have seen an explosion of lenses that push well past traditional thresholds like f/1.4 and into extreme apertures like f/1.0 or even f/0.95 and f/0.85. Are these insanely wide lenses worth it? This insightful video discusses the issue.

I recently read an insightful Instagram post, made by Outside magazine. In this post, creative director Emma Sheffer spoke of a loss of originality and the current saturation of homogeneity in Instagram feeds. With her comments, I couldn't agree more.

Dreaming big is never a bad thing for a photographer. The more imaginative your ideas, the easier it is to stand out amongst your peers. Yet there is often a very real, and very high price tag associated with grand productions. Producing personal projects that you’re passionate about is vital for many photographers in the fashion industry. However, it can be frustrating to lack the funds necessary to bring your vision to life for more ambitious projects. Fortunately, there are many options available to photographers to help them bring that production to life, without breaking the bank in the process.

For those of us who admire and look to gain a foothold into the fashion photography industry, finding reliable quality resources can be invaluable. Being a great fashion photographer goes beyond lighting and encompasses understanding the genre, trends, and the ever evolving industry as a whole. In this article we rank the top online resources for fashion photographers. All of these sites can serve as inspiration and show insight for both new and established members of the fashion photography industry.

As with any first-generation product, there's good and bad when it comes to Nikon's new mirrorless cameras, lenses, and accessories. Here's a little more information about some of the features of the Z6 and Z7 cameras and the system as a whole so you can decide if it's right for you.

[Update]: This is not necessarily Nikon's answer to a completely pro-line mirrorless body (scroll down for update).

For event videographers, shooting in dimly lit conditions can be big challenge to deal with, and in certain cases an on-camera light is the solution. In this review of the LED Science LS-S6-20, I’ll tell you why this light may or may not be a good choice for you.

I always think that knowing a bit about the author is important, especially when reading an article about camera equipment. I work predominantly as a commercial photographer shooting people and food. However, most of my kit was purchased when I was starting out as a wedding photographer. So the reasons I shoot prime lenses apply to both my event work and the more commercial work I shoot now.

There are two things that immediately come to mind when we talk about the new Sigma dp2 Quattro: the new new Foveon X3 sensor (the book), and the shape of the camera (its cover). Do either matter? Are either necessary? Why do/don’t I like it? And overall, should we all go out and buy this camera today? I had some time to myself with the camera for a preliminary review this week. Here are some thoughts.

Ever hear someone say “Don’t worry, we can fix it in post”? This is increasingly both a still photography and motion ‘issue’. We’ve become so accustomed to having the digital tools to ‘fix’ our work, most people see it as a normal part of the process. For personal and business growth, this mindset is like asking to be blindfolded and then getting directions to the nearest minefield. Fixing things in post should not be a standard approrach as it's asking for trouble. Here’s why, and more importantly, what you can do about it.

In recent years Photoshop has garnered more negative attention than any other platform that is utilized for image manipulation. Photoshop can be used to create unnatural product resulting in unrealistic expectations. As photographers and retouchers, we have the power to control what the media perceives as attractive.

Recently, Ted Forbes over at The Art of Photography posted a rather interesting video that challenges the pervasive axiom of the artistic world that the action of making art will inevitably translate to an audience valuing and appreciating your work. Forbes asserts that our society is so saturated with creative content makers that it is nearly impossible to create photography that people care about unless you are pushing beyond the normal limits and expectations of what is already present in the world. I agree with this on the surface; however, I also feel that it doesn't tell the entire story.