Photo competitions offer a fantastic opportunity to showcase your work to an international audience, enhance your portfolio, and, ideally, advance your photographic career. At the same time, the winning images of many competitions often seem intimidating.
The gear keeps getting smarter, but that doesn’t make photographers better. Here are the timeless skills no camera will ever master for you.
I recently shot a roll of side-by-side photos in the Ricoh GR1 and the Minolta TC-1. I loaded both of these compact classics with Kodak Portra 160 and shot the images around Brisbane.
We’ve reached the limits of physics, but not of imagination. The next great leap in photography will come from computation, not optics.
For photographers seeking the perfect balance between in-camera creativity and personal style, the quest often leads to a crossroads. On one hand, you have the instant gratification of in-camera film simulations offered by brands like Fujifilm, which deliver stunning, ready-to-share images straight out of the camera.
This article isn’t just another swipe at fluffy branding. It’s about building an authentic photography brand that actually feels believable to potential clients. It’s about tone of voice, copy that works, and knowing the difference between being real and being repeatable.
I entered the field and profession of photography in 1978, having worked as a photographer’s assistant for two years.
In 2025, Pentax is no longer shaping the mainstream camera conversation. Canon, Nikon, Sony, and Fujifilm dominate the industry’s attention, while Olympus has reinvented itself as OM System and Panasonic has carved a strong reputation with its video-centric shooters. Pentax, meanwhile, has taken a quieter path.
While new lenses aim for perfection, many think they are too sterile. The flaws of vintage glass have become unexpectedly sought after. The problem is that shooting with them is an expensive and impractical endeavor. This new plugin for DaVinci Resolve aims to solve this problem. Can it deliver?
Most photographers imagine their kit as a toolbox: an ultra wide for sweeping scenes, a zoom for everyday life, a telephoto for reach, and maybe a fast prime for creative flair. That setup promises flexibility. But what if the very act of having so many choices is holding you back?
Eleven years ago, I bought the Canon EF 70-200mm f/4L (non-IS). It wasn’t the lens most people in sports photography recommended. It didn’t have the aura of the f/2.8 — the sideline king, the badge of seriousness, the one that whispers “pro” when you sling it over your shoulder.
But for me, it was enough. More than enough.
Every few years, camera companies roll out something meant to grab attention. Sometimes, those ideas turn into revolutions: autofocus, in-body stabilization, and mirrorless mounts all began as risks that paid off.
I’m putting the Rose FX Filter by Prism Lens FX to the test to see how it changes the color and tone of an everyday outdoor portrait shoot. Is the World Better Through Rose-Colored Glass? That’s exactly what I wanted to find out when I got my hands on the Rose FX Filter.
The news landed with the weight of a supertelephoto hitting the studio floor: Canon has discontinued the Canon EOS-1D X Mark III. Just like that, after 35 years of continuous evolution, the flagship DSLR line that defined professional photography for generations has reached its terminus.
In professional photography, every detail matters. Being able to view an image large and live while shooting, and adjust immediately, is a real game changer. Traditionally, tethering meant long cables, bulky monitors, and staying locked to one spot. Now, it’s far easier: wireless tethering.
I’ve shot with a lot of cameras, film and digital—but if there’s one that’s been through it all with me, it’s the Canon 6D. This isn’t a pixel-peeping review comparing MTF charts or arguing about dynamic range. This is a look back at a decade spent with one of Canon’s most underrated full frame DSLRs.
Photography gear culture used to thrive on mystery, and that mystery was part of the fun. Online forums and rumor sites once operated like detective agencies, parsing blurry prototype photos, dissecting obscure patents, and arguing endlessly about what Canon or Nikon might do next.
Strategically placing people in landscape photos can create deeper emotional connections, but it also comes with surprising risks when using this powerful technique.
For years, the phrase “the best camera” was practically shorthand for a math equation. Reviewers and gearheads would line up spec sheets side by side, comparing megapixel counts, autofocus points, ISO charts, and dynamic range graphs as though the entire art of photography could be boiled down to who had the biggest number in the right column. Not anymore.
Landscape photography is not just an art, it is also an act of endurance, exploration, and personal vision. This is especially true in Patagonia.
Cameras still act like they’re living in 2008: closed boxes that capture files and little else. Meanwhile, smartphones became cultural powerhouses by embracing apps, and the gap is only getting wider.
They used to be the punchline of every gear forum. Now, superzooms might just be the smartest lenses you can buy.
Compact cameras were once the lifeblood of photography’s middle ground. They bridged the gap between bulky interchangeable-lens systems and casual point-and-shoots. They were the cameras you could throw in a bag, carry on a long walk, or bring along on a trip without worrying about extra weight.
For as long as digital photography has existed, full frame has been treated as the gold standard. Camera marketing has hammered home the idea that “serious” photographers need the biggest sensor, the fastest zoom, and the heaviest glass. That narrative worked for a while, but in 2025, it’s looking increasingly out of touch.
Micro Four Thirds has been declared “dead” so many times you’d think it was a cat working its way through nine lives. Year after year, people predict its collapse, citing smaller sensors and the dominance of full frame. And yet, here we are in 2025, with OM System unveiling one of the most audacious lenses in recent memory.