The smell of fry bread and livestock hits you first at the Sanpete County Fair. Kids in dusty boots weave through the crowd with ribbons in hand, 4-H leaders shout instructions over the hum of the rodeo announcer, and the late-afternoon sun cuts sharp shadows across the midway.
Adapters are the bridge between today’s mirrorless bodies and yesterday’s affordable glass, but not all bridges feel the same underfoot. This guide explains how adapters work in practice, what usually delivers the best autofocus, which types of adapters exist (and when to use each), plus the real-world pitfalls that trip people up.
Before you drop $3,000+ on another mirrorless body, consider these five DSLRs that still solve real jobs better than the spec sheet suggests. From IBIS in a DSLR and 153-point AF at 10 fps to base ISO 64 dynamic range and built-in Astrotracer, these proven bodies deliver client-ready files, deep lens ecosystems, and prices that leave room for glass.
Computational photography has long been a staple of smartphone photography, enabling tiny sensors to punch above their weight and perform some neat tricks, but is the technology at the point where it can replace traditional methods of photography?
Yes, there's really a rock in the shape of a heart in Joshua Tree National Park! This is the story behind this night photo, including how I went about lighting it.
What Is Light Painting?
Photographers are often asked about their “worst bridezilla” stories. My answer is always the same: I don’t use that term. I don’t appreciate its sexist origins, and I don’t believe it reflects reality. The bridezilla stereotype paints brides as self-centered, high-maintenance figures on their wedding day.
Spec sheets can look like alphabet soup—ED, ASPH, OIS, STM, USM, MFD, 0.5×—but each line quietly predicts how a lens will behave on a job. This guide strips out the marketing and shows you what matters, why it matters, and how to make smarter buys from your desk. No test charts needed; just practical translation from spec to outcome.
Every so often, a product launch doesn’t just release something new. Rather, it changes the tone of an entire ecosystem. This is what Sigma has just done with two lenses that, on their own, would be remarkable, but together feel like a tectonic movement. And they show that the big three (Canon, Nikon, and Sony), might be on notice.
Specs aren’t everything. There are factors beyond what we can see in spec sheets that matter more when it comes to choosing gear, and we should always keep them in mind.
Photographer Brownie Harris has spent five decades capturing both the famous and the ordinary, with a portfolio that stretches from John F. Kennedy Jr. to factory workers and Hollywood sets. Earlier this year, Harris released Brownie Harris Retrospective 1970–2020, a book that brought together a lifetime of images and stories.
Every few months, the internet decides that “this” is the future of cameras. Lately, that “this” is global shutter—a sensor that reads the entire frame at once, promising zero skew, perfect flash sync, and freedom from LED banding. It’s impressive technology, but for most photographers and hybrid creators, it isn’t the upgrade that moves the needle.
Golden hour is a great start, but learning to use light well goes far beyond the time of day. Here are three things about light I learned the hard way—and that I hope will help you make stronger landscape photographs.
Come on, hop in those comments and tell me why I'm wrong.
Some say film photography is better than digital. Film has a more organic, natural look. Shooting with an analogue camera is a better experience and a purer form of photography. Others say digital photography is better because computer technology makes photography easier. You can shoot more frames and focus quicker, and experiment more by shooting more without the need for a second mortgage.
I reviewed PanoVolo last year and found it excellent Windows or Mac software for creating panoramic images, even 360-degree ones.
Now, PanVolo is back with some much-desired improvements and enhancements.
Most photographers chase headline specs and flagship hype. Here are five “wrong” opinions that are usually right in the field.
Most photographers obsess over megapixels, autofocus points, and dynamic range when shopping for new gear. But while you're comparing sensor specs and lens sharpness charts, you're probably overlooking the features that could actually revolutionize how you shoot.
Last week, OpenAI CEO Sam Altman said that photos and AI-generated imagery will converge. Given that his intellect receives so much acclaim, it’s alarming that he has no understanding of photography and its function within society, not to mention the far-reaching implications.
With the most recent announcement of the Sony RX1R III, the scarcity of the Fuji X100VI, and the popularity of the Leica Q, are we seeing a renaissance of the small compact camera?
Today, I’d like to explore a question that comes to mind often whenever I get a chance to meet my film and photography heroes.
While pixel-peepers obsess over sharpness charts and bokeh samples, the smartest photographers know that certain overlooked lens features can help you get that elusive shot. Here are five hidden gems you should look for in your next lens.
Wedding photographers are seeing a dramatic increase in ghosted inquiries. Couples are sending out initial messages but only responding if they feel an immediate and undeniable connection, and if the pricing works for them. For many in the industry, this shift has created an unpredictable and often frustrating sales process.
Every photographer dreams of that pristine lens collection, but many end up with expensive glass gathering dust while scrambling to find the lenses they actually need. The brutal reality is that lens purchases gone wrong hurt because good glass costs so much and directly determines whether you can accept paying jobs.
You're about to drop thousands on a new camera system, convinced that flagship body will transform your photography overnight. But here's the brutal truth: most photographers sabotage their success before they even click the shutter, making expensive mistakes that leave them with gear they can't use effectively and budgets too depleted to fix the problem.
Demarchelier. Eggleston. Avedon. Penn. Mann. Leibovitz. These names are etched into the history of photography. They are the figures whose work appears in museum retrospectives, on coffee tables, and in academic textbooks. But will photography ever produce universally recognized legends like this again?