The 5-Step Landscape System That Stops You From Missing Shots
You can hike all day, reach a location with a clean view, and still walk away with nothing because you rushed the setup. This video is about building a repeatable process so the light doesn’t decide whether you get a usable frame.
175+ Cameras and Virtual Chains: Inside Sony’s Massive Super Bowl LX Tech Blitz
Whether you’re a die-hard football fan or just watching Super Bowl LX for the multi-million-dollar commercials and the halftime show, there is one thing we can all agree on: the sheer scale of the production is staggering. This weekend, Super Bowl LX kicks off in San Francisco, and Sony is bringing an insane mountain of gear to ensure every single moment is captured in high definition.
Viltrox AF 56mm f/1.2 Pro APS-C: Big Glass, Serious Results
Fast portrait primes for APS-C often force a compromise between price, build, and image quality. The Viltrox AF 56mm f/1.2 Pro aims to sidestep that trade-off by delivering flagship-level optics at a price that undercuts most competitors. But how big can APS-C glass go and still work for the system?
The Canon RF 24-105mm f/2.8 L IS USM Z: The Lens That Tries to Replace Everything
A 24–105mm zoom that stays at f/2.8 the whole way is the kind of lens idea people talk about for years, then hesitate to buy the moment it exists. If you shoot weddings, events, portraits, or travel on a Canon RF body, this specific range can replace a two-lens routine, but only if the real-world tradeoffs work out.
NIKKOR Z 35mm f/1.2 S vs f/1.8 S vs f/1.4: Which 35mm Earns a Spot in Your Bag?
Choosing between Nikon’s three current 35mm Z-mount primes can quietly change how your portraits look, even when the framing stays the same. If you shoot people, travel, or weddings, the wrong 35mm can leave you fighting background texture, missed focus, or a bag that feels heavier every hour.
AI-Generated Photography vs Real Shoots: The 4-Hour Test
Artificial images are moving into places that once depended on real shoots, real light, and real decisions, and that shift is already changing how work gets commissioned and valued. If you make images for clients or personal projects, the pressure to compete with fast, cheap AI output is no longer abstract.
Lens Specs Decoded: What MTF Charts, Element Counts, and Aperture Ratings Actually Mean for Your Photography
Camera specifications have become reasonably standardized over the years, but lens specifications are a different animal entirely. Optical performance resists easy quantification, and manufacturers have learned to fill that void with impressive-sounding terminology that obscures more than it reveals. This guide cuts through the jargon to explain what each specification actually measures, when it genuinely affects image quality, and how to read between the lines when comparing options.
You’re Not Waiting for Better Light—You’re Missing It
Being a landscape photographer usually consists of a set routine: check the weather apps, check PhotoPills, arrive an hour before golden hour to find your compositions, and shoot until the end of blue hour.
Stop Booking More Clients Until You Fix Your Average Booking Price
You can hustle for more bookings and still feel broke, especially when every job expands to fill your calendar. This video is about raising your Average Booking Price (ABP) so the same number of shoots can pay like a real business instead of a grind.
How to Get That Color-Flow Poster Style With a Simple Photoshop Setup
You can get a striking, modern poster look in Photoshop without fancy plug-ins, but only if you stop guessing and start building the effect in a logical order. The video focuses on a specific recipe: a clean silhouette, controlled motion blur, and color that behaves like light instead of paint.
The Painterly Photo Recipe That Actually Works
Chasing that painted look usually breaks down in post or gets derailed by gimmicks, especially when you’re trying to balance mood with detail in Lightroom and Photoshop. The video focuses on a handful of choices that change the feel fast, without wrecking the file or turning everything into mush.
Five Fujifilm Lenses That Shape Better Photos Over Time
Gear comes and goes, but a few pieces end up shaping most of your best work. This video lays out five lenses he says he will not sell, then hints at a pattern between one specific lens and his strongest images.
Geared Precision Without the Unnecessary Bulk: We Review the Leofoto G4 Geared Tripod Head
The head of the tripod that you use can greatly affect your efficiency in shooting, which can indirectly affect your creative output. Geared heads often seem too complicated and cumbersome, but this one from Leofoto might be worth a try.
Canon RF 7-14mm f/2.8-3.5 L Fisheye STM: The Real Trick Is the “Zoom”
A fisheye zoom is one of those tools that can either sit untouched for years or quietly become the reason your images look nothing like everyone else’s. The question isn’t whether distortion is “good,” it’s whether you can control it when the shot has real constraints like space, speed, and framing.
Canon RF 14mm f/1.4 L VCM: The Ultra Wide Prime Canon Shooters Kept Asking For
Canon just dropped a new ultra wide prime that aims straight at night skies, tight interiors, and fast-moving video, and the price puts it in serious territory. If you’ve been waiting for a 14mm that doesn’t feel like a special-purpose brick, this one raises a few questions worth watching play out.
The $50 Lens vs. The $2,000+ Lens: What You’re Actually Paying For
A 50mm lens can cost $50 or it can cost over $2,000, and both can take photos you’d happily keep. The real question is what you’re paying for when the focal length stays the same, and whether any of it changes what you can shoot tomorrow.
The Fujifilm GFX100 II After 1 Year: The Real Costs Nobody Mentions
A year with the Fujifilm GFX100 II can either make you fall in love with stills again or make you regret every storage decision you’ve ever made. The video lays out the real tradeoffs of living with a 102-megapixel medium format body when you’re shooting work, not just testing it for an afternoon.
Why Hard-to-Use Cameras Often Make Better Photos
Your camera is too good. I mean that as a genuine problem, not a humble brag about your gear. That $2,500 mirrorless body sitting in your bag can identify human eyes at 30 meters, track a subject across the frame while firing 30 frames per second, and deliver usable images at ISOs that would have been science fiction a decade ago. It is, by every measurable standard, a miracle of engineering. And it might be making you a worse photographer.
Canon Celebrates 30 Years of PowerShot With Limited Edition G7 X Mark III
Canon is marking 30 years of its PowerShot compact digital camera line with a limited edition version of the PowerShot G7 X Mark III, scheduled to ship in April 2026. The anniversary model adds cosmetic and bundled accessories to Canon’s existing 1.0-inch compact camera platform while commemorating the long-running PowerShot brand.
Canon’s RF 7-14mm f/2.8-3.5 L Brings Native Fisheye Zoom to RF Mount
Canon has announced the Canon RF 7-14mm f/2.8-3.5 L Fisheye STM, a new L-series zoom designed for full frame EOS R cameras and RF-compatible Cinema EOS models. The lens expands Canon’s RF lineup with a dedicated fisheye zoom that covers both circular and diagonal fisheye imaging in a single optic.