For landscape photography, summer is a curse. Harsh, bright light and blue skies give some photographers nightmares. They stay inside and read Fstoppers articles. Probably. No one really knows—they keep so quiet. Maybe they should read this article, because summer just so happens to be a fabulous time of year to grab a camera and wander into town for a spot of street photography.
The number of times I’ve been called to a restaurant, hotel, or food manufacturer to photograph food on location, with only tired-looking tables or bar tops to work with, I can’t count on two hands. Or fresh white linen with nasty big creases. I think that’s even worse. Luckily, V-Flat World has the answer with DuoBoards.
Landscape photography has become boring. How many more photos do I have to scroll through on social media of the same old locations? Those must-have photos of the red houses in Hamnøy, Lofoten; the waterfall at Kirkjufellsfoss, Iceland; the lone tree at Buttermere in the Lake District. It’s like looking through a schoolboy’s stamp collection. Every kid has exactly the same stamps because they’re the easiest ones to find and buy with your pocket money.
Street photography has grown hugely in popularity over the past couple of years. For me, it’s become one of my favorite photography genres because it’s easy to do, a lot of fun, and so accessible. Most of us live in or near a large town or city, so a spontaneous outing is feasible without planning. I like that. And you don’t need a lot of fancy, expensive gear.
We like to buy ourselves little luxury indulgences once in a while that make us feel good—something as small as a fancy bar of Swiss chocolate, or maybe a new piece of jewelry or a designer shirt. So my thinking is, why not do that with camera accessories? It makes sense. After all, you’re likely to use your camera more than you’ll wear a shirt, and too much chocolate is bad for you. When I treated myself to my Leica Q2 Monochrom, I did just that. I bought the perfect luxury accessory for it: a Hawkesmill strap, proudly handmade in England.
Don’t expect a tech review where I list a whole bunch of numbers and stats—and copy and paste lines oozing hyperbole written by young copywriters looking to impress—from the media release. I’m bored just thinking about that. No, I’m reviewing this neat and rather unique little wireless mic from Shure from the perspective of an actual vlogger and filmmaker. Because, well, that’s exactly what I am.
I have two photography scenarios that maybe you can relate to. I like to travel and spend a day or two exploring a new destination but don’t want to carry much—maybe a couple of lenses, some filters, and spare batteries. What I do carry is heavy enough that a backpack makes sense, making photography easier. If I pop out for a few hours to wander around doing street photography, I have one little camera and lens, a filter, and a spare battery. I may have my reading glasses and phone too. I only need a small bag for that, where I can stow the camera if the weather gets bad. Otherwise, the camera is around my neck, so the bag is virtually empty.
I enjoy environmental portraits more than anything else because it’s something you can do anywhere, indoors or outdoors, across many genres of photography. The obvious opportunities arise with travel and street photography. So what exactly is an environmental portrait compared to a normal portrait? And where do you start?
A circular polarizer (CP) and a mist filter are two filters that, in my opinion, everyone should own. And PolarPro makes some lovely CP and mist filters. I’ve been using their CP for the past couple of years. From travel photography to tabletop food photography in the studio, it’s a great filter. So, with an already great CP and mist filters to their name, why did PolarPro launch new versions?
Since Apple's iPhone 16 was launched with the ability to shoot 4K 120 fps video with Dolby Vision, improved stabilization, and a new 48 MP ultra wide camera, iPhones have become more popular among content creators. At the very least, an iPhone is a great vlogging camera. So, of course, with all the great tech comes a hefty price tag. Well, that beautiful titanium phone needs protection.
YouTube is a great place to learn about photography. You can discover how to do something, research gear, and get inspiration. However, the problem with most photography content is that it’s structured around selling you stuff you don’t need. The latest example—a huge example—is the idea that you might need a 100-megapixel medium format camera.
There are three pieces of really bad “pro advice” that have cropped up more than once on YouTube channels. We need to talk about this to help you avoid wasting time and losing money unnecessarily if you’re thinking about making a living from your camera.
Panasonic has launched the Lumix S1R II. After sitting through the media briefing, I wondered if I had been daydreaming. On paper, the Lumix S1R II is possibly the best hybrid camera on the market. The specs are simply incredible. Potentially, it’s a creator’s dream come true. Let’s take a look at why.
Leica first made their Summilux-M 50mm f/1.4 in 1959. It’s a classic focal length, arguably an essential lens for most genres of photography. This recent rebirth is based on the optical calculations of the second Summilux-M 50mm f/1.4, produced from 1962 to 2004.
If you want to improve your photography, experimenting with new techniques to achieve more creative and interesting results is the way to go. I did just that recently while out doing street photography by playing with a slow shutter speed while shooting handheld.
You’ve been a photographer for many years, and you’re curious about making videos. After all, your camera likely has some amazing video capabilities. But moving to video is daunting; there’s so much more involved than still photography. Here are a few thoughts to help you get started.
The Decisive Moment is arguably one of the greatest photography books ever published, featuring photos from Henri Cartier-Bresson that capture the precise instant when all elements in a scene come together perfectly to create a powerful and meaningful image.
After 38 years of making a living in photography—either behind the camera or directing other photographers—I’ve come to the conclusion that, for many, it might be best to keep photography as a hobby. It’s something I’ve been thinking about of late because photography in recent years has been elevated to such a glamorous career choice. Now it seems everyone wants to be a pro photographer and turn their hobby into a career. So allow me to share a few thoughts about this.
If you own a Leica Q3 or Fuji X100 series camera, you’ll fit into one of two camps: those who love the simple, old-school design of the cameras and are happy to use them as is, or those who don’t like the lack of grip. Up until now, there have been very few options to help those wanting a more comfortable solution when holding their little retro-styled cameras. But fear not, PolarPro has just launched a few products to solve this issue. And one of those options is rather sexy too!
Why would you need one? I wondered that a year ago, and now I’m obsessed with mist/diffusion filters. It happened when I started taking filmmaking seriously. I use very sharp modern lenses for my filming and photography and wasn’t happy with the crisp, sterile results I was getting. I wanted a more natural, organic feel. I’ve tested many kinds of mist/diffusion filters, and now I’ve finally found one I really love.
You’ve got your new upgraded camera, maybe a new lens, and Santa delivered a cool new magnetic filter kit. Now you’re all set this year to take sharper photos, faster, without reflections. But is this enough to help you become a better photographer in 2025? Spoiler: No. It may actually make you a worse photographer.
I’ve noticed that dramatic photos, full of bright colors from a sunset or a scenic view, get the most likes on social media. People aren’t liking the photographer’s skillful technique; they’re liking what they’re seeing—the colors, the location, etc. Of course, many of these photos are taken by photographers solely because of the colors or the view, with no other reason.
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.
I read a quote recently that stated, “Buying a Z8 over a Z9 is a no-brainer.” Er, excuse me, may I add my two cents? Or maybe I should say, allow me to weigh in (you’ll get that pun later)…
We all want to improve our photography and create amazing images, right? We want to become more creative. Should we use technology to help us? Can it help us? I have some thoughts.
Rumor has it landscape photography on bright sunny days with blue skies is not a good idea. I would disagree. Here are a few ideas for editing photos shot in the midday sun that might just inspire you to go out and shoot more in bright conditions.
Someone on social media stated “A pro would never use a Z50!” If you’re not familiar with Nikon, this is their crop sensor entry-level camera, costing $860. I’ve heard similar statements dozens of times—matter-of-fact assertions about what pros do, usually made by photographers who aren’t actually professionals.
I love prime lenses—they’re always my preference—but I had to travel across Spain recently to make a documentary film and was traveling light. I had to pick my lenses carefully, so I chose the 24-70mm as my main lens. I quickly discovered it was the perfect travel lens.
Modern lenses are perfectly sharp and crisp. But perfection is overrated and can be rather boring. I have a solution to add some character back into my photography and videos.
Do we even need a unique voice in our photography? Is having our own style really necessary? I have a few thoughts to share about this.
Is buying a Leica akin to strutting around with the latest ridiculously priced Louis Vuitton handbag? Is it all hype and image? Is it mandatory that Leica owners place their camera on the table in a coffee shop and spend more time taking photos of it—with their phone, I assume—than actually photographing with it?
Why do artistic creative types love melancholy so much?
