Today, I begin a series of five articles going in depth into my experience shooting with the Fujifilm GFX 50S medium format mirrorless camera for an entire month.

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.

As a photographer that does a lot of non-profit work internationally, I have always been on the look out for traveling with my gear in the safest yet most affordable way. Typically, my cameras, lenses and lighting equipment (strobes and powerpacks) travel with me as carry-ons in two Pelican 1514 cases. As for my grip gear, well, I was mostly limited to what I could throw into my checked bag with my clothes, which typically would be one Manfrotto Magic Arm, a Photek Softlighter and a small softbox or

The EOS R5 is probably the most eagerly anticipated camera that Canon has ever announced. The initial rumors were mostly scoffed at and described as nonsense, and I assumed the same. As more and more information gets released about this camera, concerns about its performance and specifications continue to be dispelled.

One of the questions that crops up often on photography forums, sites, and even in photography conversations over a pint is "which lens should I buy next?" It is said with such sincerity and met with so many recommendations that are, in the end, mostly meaningless. It even rears its ugly head in the form of "What is the best lens for 'X' photography?", as though somehow, another person's answer will guide the asker to greatness.

Magnum photographer Alec Soth has issued an apology after the New York Times commissioned and published a series of images that closely resembled a long-term research project by photographer Tonika Johnson.

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.

There is such a lot of talk going around about branding. But what exactly is your brand, and how do you use it to help you reach a wider audience and market your photography? Your brand is the core of your marketing, the central theme around your photography. Your brand is not your logo or your company name, unless of course you are Apple or Nike.

With the wedding season right around the corner, it is time to find a solution to improve last year’s workflow. Most event photographers complain about the same thing: culling. It can quickly become a very time-consuming task, and it is far from being the most interesting part of the job. Although, there are a few ways to help speed up the process while retaining a solid quality control.

It’s easy to be astounded by statistics such as 14 fps and ISO 3,000,000. But when you put everything that Nikon’s latest flagship body offers together, you get a machine that is the first of its kind, and that's really thanks to the combination of two features Nikon obviously pushed to new heights: autofocus, and — yes — ISO sensitivity (which has itself been a point of controversy for the Nikon D5).