Starting October 1, any company that lets New York City residents sign up for a subscription online will have to let them cancel it the same way. That covers streaming services, gym memberships, and the creative software many of you pay for every month.
A headshot has one job: to make a person look like the best, most confident version of themselves, and to do it in the fraction of a second a viewer spends forming a first impression. That is a narrow target, and it is easy to miss. What helps is that these failures repeat.
The single biggest mistake in real estate photography has nothing to do with your camera or your marketing budget. Getting good before getting busy separates a business that lasts from one that burns out fast.
A single sunset photo, edited three different ways in the same frame, is the kind of thing that changes how you think about white balance. The trick lies in treating the sky and the water as separate zones instead of pushing one warm slider across the whole image.
A 15-year-old camera with no USB-C charging, no eye sensor, and dated video specs still earns a spot in a working photographer's bag for a trip to the Italian coast. That says something about what actually keeps a camera in rotation years after its spec sheet stops mattering.
Tamron has announced the 12-20mm f/2.8, a fast-aperture ultra-wide angle zoom for Sony E-mount and Nikon Z mount full frame mirrorless cameras. The Sony E-mount version goes on sale July 30 at $1,699, and the Nikon Z mount version follows on August 27 at $1,799.
The announcement itself was straightforward enough. On July 2, Hasselblad and Capture One confirmed that Hasselblad's .3FR raw files now open natively in Capture One, with dedicated color profiles for the X2D II 100C, the X2D 100C, and the CFV 100C digital back, and lens profiles covering 19 XCD lenses. Tethered capture is planned for later in 2026.
Picking one full frame camera for travel means weighing color, size, stabilization, and price against each other, and the differences rarely show up on a spec sheet. Three cameras in the same price range can feel like completely different tools once you actually carry them through a city all day.
Impostor syndrome hits almost every creative person at some point, and if you shoot photos, you know the feeling: you look at work you admire and wonder why you even bother picking up a camera. Jesse Senko has a surprisingly practical answer to that spiral, and it comes from an unlikely source.
For years, Nikon's f/1.8 S-line lenses stood almost alone: premium optics at a maximum aperture where you rarely find premium anything. That comfortable spot is now under real pressure, and a head-to-head test shows exactly how much.
Meta built an AI detection tool to catch images made by its new Muse Image generator, then failed a basic test with its own pictures. When those AI images were cropped, the tool missed more than half of them.
A portfolio is not a gallery of your favorite photos. It is a sales tool, and its only job is to answer one question in a potential client's mind: can this person deliver the specific thing I need, done well? Most portfolios fail at that job not because the photography is bad, but because of a handful of avoidable mistakes in how the work is chosen, ordered, and presented.
Your best portrait gear does nothing if the person sitting in front of the lens looks stiff and posed. That truth reshapes how you approach every shoot, and it costs nothing to apply.
If you open the main compartment of your backpack during the day, your packing system is working against you. Every zipper you fumble with, every sack you dig through, and every rain cover you peel off burns energy you could spend covering ground.
Getty Images has killed its $3.7 billion merger with Shutterstock, refusing a condition set by UK regulators that would have forced Shutterstock to sell off its entire editorial photography business. The deal had already cleared US antitrust review with no strings attached, which makes the UK objection the single reason two of the biggest names in stock photography will stay separate.
You stand in front of something stunning, a valley flooded with evening light, a city skyline at dusk, and you press the shutter sure you have captured it. Then you look at the file and the magic is gone. The colors are flatter, the sky is blown out or the ground is a muddy mess, the mountain that loomed over you looks like a small bump, and the whole thing feels ordinary.
A bull bison charged an older man walking with his grandson at a Yellowstone campground on Friday evening and threw him roughly eight feet into the air. The man landed on his side with serious injuries, and the animal stood over him afterward instead of running off.
A flat, cold panorama of a cloud over farmland becomes a dark, dramatic storm scene using nothing but contrast adjustments. The difference comes down to knowing which sliders control contrast globally and which ones do it locally, then applying each in the right place.
Custom film built to one photographer's exact wishes, coated by hand sounds like a dream, and this version is wildly unusual. Film that behaves this way rejects almost every rule commercial stock follows, and it opens up a way of working most shooters never consider.
GoPro's founder and CEO is lending his own company $20 million to keep it running while its board looks for a buyer. The action camera maker warned last month that it might not survive the next 12 months without new money or a sale.
Meta has removed the feature in its new Muse Image tool that let anyone generate AI images from your public Instagram photos, just three days after switching it on. The company said the feature "missed the mark" and is no longer available.
Landscape photography looks like it should be easy. You find a beautiful place, point the camera at it, and press the shutter. Then you get home, look at the files, and the magic that was right in front of you has somehow drained out of the picture. Almost always, the cause is not your gear or the location. It is a handful of specific, fixable habits that nearly every beginner falls into.
A $200 lens outperforming a Zeiss on corner sharpness is exactly the kind of result that shows how fast optics have moved. The 24mm focal length gives you a wide field of view with just enough drama to hold onto your subject, and paired with a bright aperture, it delivers backgrounds that fall away beautifully.
Most slow shutter advice sends you straight to a tripod, a waterfall, and a 30-second exposure. There's a whole range of shutter speeds you can shoot handheld that keeps part of your frame sharp while letting motion streak through it.
Nikon is reportedly close to launching a fast, high-end, professional APS-C camera, with an announcement expected in the next couple of months. The most talked-about spec is a 45-megapixel stacked sensor in a body built for speed.
Meta's new AI image generator lets anyone pull photos from a public Instagram account and feed them into AI creations, without asking the account owner or telling them afterward. The feature is switched on by default for public profiles.
Update: Per 9 to 5 Mac, Meta has removed the feature after swift backlash.
Roughly 650 freelance photographers who work for The Wall Street Journal have refused to sign a new contract they say could funnel their images into AI training. The fight centers on two changes: who owns the photos you shoot on assignment, and the paper's new right to license those photos to third parties without asking you first.
There is a belief that follows almost every beginner around: that real photographers shoot in manual mode, and that the semi-automatic modes on the dial are a kind of training-wheels embarrassment you are supposed to outgrow as fast as possible.
Editorial work once brought in 75% of one photographer's income. Today it accounts for about 5%, and the shift wasn't forced on him by failure.
Abandoned slate quarries hold more than dramatic scenery. Some hide names carved into stone over a century ago, tools left where workers dropped them, and connections to people you'd never expect.
Twenty years behind a camera can lock you into fixed ideas about what gear delivers the results you want. A long-held bias against Micro Four Thirds is exactly what gets challenged here, and the reasons have less to do with specs than with how you actually shoot.
Three days, two nights, and a mattress thrown in the back of a car with no sheets on it. That's the entire kit behind a photography trip along the northern coast of Spain, where the real work turns out to be finding angles that cooperate.
You may have noticed that photography lenses are marked in f-numbers, f/1.4, f/2.8, f/8, while cinema lenses are marked in T-numbers, T1.5, T2.9, and wondered whether they mean the same thing. They are closely related, they sit in the same spots on the aperture ring, and a T-number looks just like an f-number with a different letter in front.
The Fujifilm X100VI has a cult following for good reason: it packs an optical viewfinder, IBIS, a built-in ND filter, and a fast fixed lens into a body small enough to carry anywhere. The catch is the price, and increasingly, the availability.
Choosing between a wider aperture and a longer zoom range is one of the most common trade-offs in APS-C lens selection, and few comparisons make that tension as concrete as the Tamron 17-70mm f/2.8 versus the Sigma 17-40mm f/1.8.
