Canon has a lot of amazing but expensive RF lenses. If you can’t afford these L lenses or don’t want to spend that amount of money, you can also choose the more affordable versions. I took three primes on a trip to France to find out how they perform in real life.
The Voigtlander 18mm f/2.8 Color-Skopar lens for Fujifilm X mount is worth a look. Its combination of compact size and unique optical character provides an experience many photographers crave but rarely find in modern lenses.
There is a particular kind of frustration that comes in the early months of learning photography. You see images online that move you, you understand on some intuitive level what makes them work, and then you pick up your camera and the results look nothing like what you had in your head. The gap between your taste and your ability feels enormous, and the sheer volume of technical information available online makes it worse rather than better.
At first sight, the Canon EOS R6 Mark II doesn’t seem to be much different compared to its predecessor. But looks are deceiving. Perhaps it’s the best mirrorless camera for a reasonable price you can buy at this moment. Canon Netherlands gave me this camera for a review.
If one argument gets photographers riled, it’s whether one should protect the front element of a lens with a UV filter. Should we instead use a lens hood? Let’s settle the argument with this definitive answer by testing an Urth Plus+ pro filter.
There is a hidden force that can elevate your photography massively. I know about it because, after 35 years in photography, I stumbled upon it accidentally. And I get goosebumps just thinking about it.
Photography gear costs have skyrocketed. New Z-mount lenses regularly exceed $2,000, putting professional optics out of reach for many photographers. But there's good news: the used F-mount market overflows with incredible glass that performs brilliantly at accessible prices.
“What made you come to Imaging USA?” the videographer asked me on the bustling expo floor, with the mic placed on my lapel. I raced back in my mind to a few months ago when I declined Imaging USA’s invitation. I’m just so swamped; I don’t have time. I fast-forwarded under pressure to what made me change my decision. I realized that I didn’t have time not to come to Imaging USA. Let me explain.
Nowadays, it seems that every YouTube photography celebrity has a batch of presets that they want you to buy. This begs the question: is it worth handing over your hard-earned cash when you might be better off investing your time rather than your money?
I recently noticed that a handful of photographers were producing images that had a look as if they were stills captured from films. A couple of the most well known photographers of this genre are based here in New York so I got them together and challenged them to not only come up with a dynamic personal project on the fly incorporating this cinematic look, but to share with us how it is achieved. Read on to find out how it all went down...
Choosing between objective and subjective camera coverage is one of the most consequential decisions you make when planning a scene. The difference between showing an audience what's happening and making them feel it from the inside can transform a competent scene into an unforgettable one.
Do you have a lens in your collection that brings you joy every time you use it? One that begs to be used because of how beautifully it renders the world around you, and you can’t help but wonder how a specific subject might look when photographed with it? I recently found that lens for myself with the Zeiss Milvus 50mm f/1.4, and to be honest, it has been an unexpected love affair.
Printing from an 11-megapixel file in 2025 sounds like a recipe for soft, pixelated results, but modern AI upscaling has changed what's actually possible. The gap between what a low-resolution file contains and what you can put on a large print is now much smaller than it used to be.
For me, there are two heavy hitters in the AI retouching market: Evoto and Retouch4me. But is one better than the other?
Whether you want to record clean audio, or you want a quite room to enjoy music in, room treatment is imperative and usually extremely expensive. Costco just brought the price way down.
Choosing a 35mm f/1.4 lens for Sony E-mount means navigating a short but competitive list, and the Sigma 35mm f/1.4 DG DN Art just reshuffled that list significantly. The Mark II version makes a strong case against both its predecessor and Sony's own G Master offering.
There's a strange misconception in street photography: that more is more. More chaos. More layers. More subjects. More "decisive moments."
We all know the concept of a skinny mirror or fat mirror but lighting is really what can change your appearance in photos, especially when defining muscles.
Fringing around hair and fur is one of the most stubborn problems you'll run into when cutting out subjects in Photoshop. No matter how clean your layer mask looks, switching to a new background can expose a halo of the original background color that ruins the shot.
The Fujifilm X-Pro series holds a peculiar place in the camera market. It is simultaneously beloved by its devoted users and seemingly abandoned by its manufacturer. As we approach what should be the natural lifecycle endpoint for the X-Pro 3, there is no official announcement and no widely corroborated leak from primary outlets suggesting that Fujifilm has any urgency to release its successor. The delay is now long enough that it demands an explanation beyond the standard "product cycles take time" dismissal. I believe the answer lies in an uncomfortable reality: the X-Pro line is being held hostage by its more popular sibling, the X100VI.
Ten years ago I decided to start using filters for my landscape photography again. In those days the best choice was Hitech or Lee, and I chose the latter. I was very content with those filters and I shot many beautiful landscapes with it. But ten years left some serious traces of use. It was time to replace the filters… I chose Kase filters.
Coming in at nearly five times larger than a full frame sensor, the RZ has resolution for days and can produce tack-sharp images, making it great for landscape work.
Modern mirrorless lenses are beautifully crafted technological masterpieces. Yet, these lenses come at an expense. What if investing in older technology provides a comparable, if not more pleasing, result at a fraction of the price of its modern-day equivalent?
Zone focusing is an essential skill to learn, particularly for street, travel, and documentary photography. Even the latest autofocus technology on new expensive cameras can’t beat this method of getting photos quickly and in perfect focus.
Jennifer's heart rate spiked the moment she saw the camera. Her shoulders tensed, her smile became forced, and her natural warmth disappeared behind a mask of visible discomfort. The photographer, confused by her sudden transformation, kept shooting while Jennifer grew increasingly rigid and self-conscious. By the session's end, both parties felt frustrated—the photographer couldn't understand why such a vibrant person became wooden in front of the camera, while Jennifer felt embarrassed about her obvious discomfort and disappointed with the stiff, unnatural results.