The Ricoh GR series has built a reputation for being pocket-sized cameras that don’t compromise on image quality. If you want something compact enough to carry anywhere but still powerful enough to replace your phone, this line has been worth watching. The new GR IV continues that tradition while addressing some of the biggest complaints from earlier models.
The 56mm focal length has long been a favorite for portraits, offering a flattering perspective and natural compression. A lens that brings wide-open sharpness and low-light ability at this focal length is going to attract attention, especially when it’s priced to compete with established options. If you shoot with Sony E or Fujifilm X cameras, a new choice has just arrived that challenges what you might expect from an APS-C lens.
When you’re working on your craft, it’s not always easy to know where you stand. You might think you’re still at the beginner level, but your habits and results may already show you’ve moved on. Recognizing those shifts matters because it changes how you should approach learning and practice.
Who doesn’t love going on a trip to explore a new destination with a camera? However, when we’re traveling, weight can be an issue. If we’re flying, there’s only so much gear we can take in our carry-on luggage. When we reach our destination, a heavy, bulky camera and lenses can be a nuisance to take on a stroll and can get conveniently left in the hotel. While on that stroll, we come across something worth photographing and immediately regret not having a camera with us! The answer is to carry a small, light camera that you barely notice you have with you.
When your photos feel flat or uninspired, it can be tough to know what went wrong. The problem isn’t always your camera or your gear. Often, it’s about how you approach a scene, the way you see light, and the confidence you bring to pressing the shutter more than once.
Photography is in one of the strangest periods of its history. On the one hand, the tools are more powerful, accessible, and versatile than ever. A mid-tier or even beginner mirrorless body today outperforms the flagship DSLRs professionals relied on a decade ago, and software can recover exposures or retouch files in ways we couldn’t have imagined before. On the other hand, the industry itself feels unstable, as if the ground under photographers keeps shifting every six months. Some of those shifts are exciting. Many are corrosive.
Every photographer builds habits over time. Some are good: the little rituals that make your setup faster, your workflow smoother, and your results more consistent. Others are neutral, quirks that don’t matter much one way or another. But then there are the bad habits, the ones that creep in slowly, feel harmless at first, and eventually start sabotaging your work without you even realizing it.
It always feels great when tech accessories step up to be affordable solutions to inconvenient parts of one’s workflow. This all-in-one hub is a great example.
Beach portraits at 2:30 p.m. in blazing sun sound like a recipe for squinting and harsh shadows, yet this shoot shows how to work with shade, backlight, and tight framing to keep skin clean and backgrounds calm. You see how pockets of light and a long lens let you move fast without dragging lights to the shoreline.
A telephoto lens that fits into a jacket pocket changes how you think about traveling with your gear. When you want reach without the burden of a heavy lens, size and weight matter as much as sharpness and build quality.
I've been searching for the perfect portable monitor setup for years. As someone who spends half my time editing photos and the other half buried in code, I need screen space that travels well. My MacBook Pro is powerful enough for anything I throw at it, but that 16-inch display feels cramped when you're jumping between Lightroom panels and multiple code windows.
Leica lenses are known for inspiring loyalty, and the Summicron-M 28mm f/2 ASPH. is one of those pieces of glass that keeps showing up in the bags of serious users. The balance of compact size and striking optical quality makes it stand out, even in a lineup filled with faster lenses.
The Nikon NIKKOR Z 24-70mm f/2.8 S II lens is one of those tools that can shape how you approach a wedding day. It’s versatile enough to carry you through both photography and video, which makes it a practical choice when you want to travel lighter or avoid juggling too many lenses. Weddings move quickly, and the ability to adapt in seconds matters.
Camera makers design their gear for the broadest possible audience. Out of the box, the settings are meant to serve vacationers, hobbyists, and anyone who just wants to point and shoot without digging into a menu. These defaults are tuned for safety, not precision, and they prioritize avoiding disaster over achieving excellence. That makes sense for casual use, but it’s a silent liability once you start working in professional environments.
Layers are the engine of non-destructive editing in Photoshop, and they decide how far you can push an image without breaking it. If you build composites, tweak color, or test ideas for a client, layers let you experiment while keeping the original untouched.
Photographers who like to add a bit of style to their photographic flow can rejoice as Nikon is finally adding a silver option to its line of pocketable street cameras, the Nikon Z f.
In photography, trends come and go faster than you can say “preset pack.” One season, it is all about soft, desaturated tones. The next, everyone is leaning hard into bold, cinematic color grading. But when the dust settles, one thing becomes clear: most clients just want their memories to look the way they remember them.
The Sigma 12mm f/1.4 DC Contemporary lens pushes into territory that gives you portability without giving up image quality. It’s lightweight enough to carry everywhere, which means you’re more likely to actually use it instead of leaving it at home.
Macro photography pushes your camera to the edge of what it can do. The closer you get to your subject, the harder it is to keep details sharp, handle movement, and get enough depth of field to show what matters. Your gear can either make this easier or much harder, and the choice of system has a huge impact on how you work.
The Fujifilm X100VI has quickly become one of those rare cameras that changes the way you think about shooting. It’s compact, unassuming, and yet powerful enough to handle both stills and video without making you feel like you’re compromising.
Floods swallowing cities, buildings set ablaze, and entire landscapes torn apart by quakes aren’t just about spectacle. Here's how these famous effects were made.
A growing number of photographers and creatives, once loyal to Adobe, are walking away. Is this the slow decline of Adobe's monopoly on the creative world?
Do you wish your camera could autofocus on stars—without reframing? Good news. The venerable Pentax K-1 DSLR now has Star AF available in the U.S. Autofocusing on pinpoint stars just got a whole lot easier—and you can forget endless pixel-peeping.
Photography has never been more accessible than it is today. With easy access to high-speed internet leading to endless online resources, tutorials, and social media platforms, we would assume that learning photography has become easier than ever. However, my recent observation, coming from the experience of trying to learn a specific technical approach, proved otherwise. Instead of directly finding clear, in-depth guidance, I found myself drowning in an ocean of clickbait titles, surface-level explanations, and misleading information. This stark contrast to my early learning days made me realize that learning photography from the internet is now harder than it was a decade ago.
Wireless chargers have had a flaw that made them less popular than they deserved to be. This new update in wireless charging, first implemented in UGREEN’s Magflow chargers, just made it worth another look.
The Fujifilm GFX 100S II medium format mirrorless camera promises towering detail and smooth 16-bit color, but real trips expose practical trade-offs in weight, autofocus, and file size. If you want cleaner files and smarter handling without getting tripped up by workflow slowdowns or softer video, this breakdown shows where it helps you and where it might hold you back.
The Fujifilm GFX100 II isn’t a casual pick for portraits. It’s a 102-megapixel medium format body that gives you detail and tonal range most full frame systems can’t match.
Panasonic has added two new cameras to their Lumix S-Series lineup, the S1 II and S1 IIE. For anyone considering Panasonic’s full-frame system, here's how they compare to the popular S5 II and S5 IIX.
Camera companies know how to sell dreams. Every press release is packed with bigger numbers, faster speeds, and dramatic leaps in technical capabilities. On spec sheets, today’s cameras look like science fiction compared to models from just a decade ago. But not every shiny number translates into real-world value.
In 2025, photography has never been faster or more automated. Cameras track eyes at 60 frames per second and send 45-megapixel raws to your phone in seconds. Yet thousands of photographers are loading Kodak and Ilford rolls, proving film isn’t dead—it’s thriving as a cultural counterpunch.
Autofocus has gotten absurdly good. Between face detection, subject tracking, and AF that locks onto animals, planes, or even trains, modern cameras often feel like science fiction compared to DSLRs of the early 2000s. You can hand a mirrorless body to someone who’s barely touched a camera, and it will produce usable shots in conditions that used to make pros sweat. But autofocus isn’t infallible, and it never will be.
Few photographers have stared into the heart of conflict like Sir Don McCullin. For more than two decades, his black-and-white images defined what it meant to document war. Stark, empathetic portraits of soldiers, civilians, and refugees caught in the chaos of Vietnam, Cyprus, Biafra, and Northern Ireland with his unglamorous photographs. They were raw, human, and often unbearable to look at because they demanded that viewers confront the cost of violence.
When shooting macro cinematography, you quickly realize just how much the right lens shapes the storytelling process. Many probe lenses tend to either be too rigid in focal length, difficult to balance, or less practical for fast-paced setups.
The 7Artisans 35mm f/1.8 is designed to balance affordability with performance. With its full frame design and relatively compact build, it’s aimed at people who want dependable image quality at a budget-friendly price point.
School portrait photographers are usually the joke of the photography industry, but did you know that many of them are profiting over a million dollars a year? Years ago, I tried to break into this industry, but it felt impossible. But now, after talking to Heather Crowder, it doesn't just seem possible, it seems easy.
The Meike 35mm f/1.8 Pro AF lens arrives at a price that stands out in a market where fast full frame primes often come at a steep cost. At $379, it promises sharp results, autofocus, and a bright aperture without demanding a large investment. That means a chance to get a versatile lens that can handle everyday shooting without draining your budget.
Over the past decade, the number of self-proclaimed photography “educators” online has exploded. With a few clicks and a decent-looking website, anyone can market themselves as a teacher. Many photographers have turned to education as a side income, and some have built thriving communities and valuable programs. Others, however, are selling generic, recycled advice at premium prices without offering real expertise or ongoing support.
A small, bright, ultra-wide lens can make your kit far more flexible. If you’re shooting landscapes, waterfalls, or night skies, carrying one compact prime instead of a heavy zoom changes how long you can stay out and what you can bring back.
The Viltrox AF 85mm f/1.4 Pro FE lens brings something practical and exciting to portrait work. An 85mm lens at this aperture is often seen as essential because it offers shallow depth of field, flattering compression, and the ability to handle both natural light and controlled setups.
DxO PhotoLab has been the editing choice for many photographers since 2017, specializing in correcting optical defects in camera bodies and lenses. It has a large following, but Adobe, with Photoshop and Lightroom, has always been the 800-pound gorilla commanding much of the market.
This morning, as I opened Instagram, something felt off. My meticulously arranged grid of square thumbnails—the hallmark of the platform since its inception—looked different. Taller. Instagram has officially replaced its iconic 1:1 square grid with a new 4:5 portrait-oriented format, marking a significant shift in the app’s layout.
Wide angle lenses can make the biggest landscapes look small and dull. You’ve seen it yourself: mountains that felt huge when you were standing there shrink to a disappointing background when viewed on your screen. That gap between how it looks in person and how it looks in the photo is the problem this video tackles.
The Sigma 200mm f/2 DG OS Sports lens is one of those rare tools that changes how you think about shooting. Its fast aperture and reach give you creative options you don’t get anywhere else. For portrait work, it can create subject isolation that looks almost unreal. For sports and action, it offers the kind of speed and sharpness usually reserved for the most expensive first-party lenses. The balance between performance and price makes it an option worth serious attention.
Apple's latest M4 MacBook Air is here and I put it head to head against Microsoft’s Surface Laptop 7th Edition. Both laptops are exactly $1,000 and have almost identical specs, but one of them is better in almost every way.
Photographers love to brag about their hours in the edit cave. There’s a strange badge of honor attached to 2 a.m. Lightroom binges, as if suffering through endless slider tweaks somehow makes the work more “serious.” But here’s the truth: clients don’t care how long you sit in front of a monitor. They care about turnaround time, consistency, and whether the final product looks polished. So, why not save time wherever you can?
Introducing Hohem’s latest smartphone gimbal, the iSteady V3 Ultra, an upgraded version of Hohem’s V series gimbal. It brings the functionality of its bigger brother, the M series smartphone gimbal, to this more budget- and consumer-friendly product. This also means that we finally have an affordable AI-powered gimbal that actually allows you to see what it is tracking through the magnetic AI tracker, with the introduction of the detachable touchscreen remote controller.
When it comes to retouching software, many photographers have felt disappointed by the promise of an easy yet professional editing solution. Could Evoto AI be the dream editing suite we have all been waiting for? Today we take a look under the hood.
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.
Wedding photographers have been dodging “Uncle Bobs” for decades, but there is a new guest in the way. The content creator is here, and they are not going anywhere.
