Images by Bruce Gilden. Used with permission.

“I think it’s fine if that’s who they are and as long as they’re comfortable working that way,” says Bruce Gilden when asked how he feels about photographers adopting his style. He continues, “For me, working in that style is natural.” Gilden is a leading mainstay in the street photography community. His work has polarized and revolutionized the candid frame. And as Magnum kicks off its annual Square Print Sale, we thought it was the perfect time to catch up with one of street photography’s most influential players.

Bruce Gilden on the Pandemic

For someone who has practiced photography for as long as Gilden, you would think the limitations of the current pandemic would be difficult to handle. But when asked how he felt about it all, his response was nothing but positive. “I have been photographing a lot during the pandemic,” he tells The Phoblographer. “Surprisingly, new venues have opened up to me. Not only because of the pandemic but also because of the protests that took place after the death of George Floyd.”

Unlike previous years, there’s a distinct change in his subjects. “I had to deal with the fact that people have been wearing masks. In some of my photographs, this became a useful addition, and in other shots, it worked against my photography.” The lesson to be taken here is that skilled, experienced photographers like Gilden constantly adapt to their environment, helping them create the best work possible.

On Sourcing Inspiration

Gilden is an inspiration to many street photographers. That comes with being successful. We were curious to understand where he got his inspiration from over the years. He tells us, “when I started my career, I learned a lot from looking at other photographers’ work. [I read all the] reviews, international photo magazines, and books that I could find.”

When asked if he found inspiration from younger photographers working today, his response, as always, was transparent. “…in the last 10 years, although I have seen a good amount of work by young photographers, I feel that I have been concentrating on how to get the best out of myself.”

Traveling the World and the Power of Print

Gilden’s no-nonsense, direct approach to street photography oozes the culture of New York. Born in Brooklyn, his work often depicts the place he calls home. But he’s also extremely well-traveled. How does photographing in a new space compare to shooting in familiar surroundings? In his words, “photographing in a new space is always welcome to me because you don’t know what you’re going to find there.” He continues, “obviously, some places are better than others.”

Moving the conversation to a topic that divides the industry, we spoke about the power of print vs the digital image. It’s important to remember, Gilden cut his teeth in photography when digital didn’t exist. He held his images, felt them, and understood what it was like to get an exposure worth keeping. It’s no surprise when we asked him how a physical photograph compares to an image on a digital screen, his answer was brief: “There is no comparison.”

You can buy a signed print by Bruce Gilden through the Magnum Square Print sale by clicking here.

On The Power of Street Photography

On Gilden’s website, a quote reads, “…the older I get, the closer I get,” in reference to his subjects. We wanted to know why that was, and what it meant in terms of the relationship he has with other people:

“When I first picked up a camera, I made Robert Capa’s sentence my mantra. And as I get older, my proximity to people has gotten closer. I feel best and more comfortable when I’m in the middle of a situation and very close to my subject, rather than sneaking a picture from far. I have a more intimate relationship with my subjects.”

Despite the close proximity to his subjects, Gilden has often said he is a shy person. Looking for him to give inspiration to others, we asked him how he felt street photography could help someone over...

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If we take a moment to consider some of Canon’s best lenses, lots of films will cite the Canon 135mm f2 L. No matter how far behind it was on resolving their sensors, that lens was magic. It was very difficult to take a bad photo with that lens. Arguably other, third-party options leaped ahead of it. And with the Canon RF lineup, they have a new start. And we really wonder if the Canon RF 135mm L lens will be able to compete.

So Canon hasn’t announced or created an RF 135mm lens yet. (At least, I’m writing this in December right now and know nothing of one.) But there are a lot of players on the market. The Sigma 135mm f1.8 DG Art lens is wonderful. So too is the old Zeiss Milvus 135mm f2! Then from another system, there’s the Sony 135mm f1.8 G Master lens. All are very capable. Lots of folks found the old Canon 135mm f2 L to be the best of many worlds. But personally for me, I fell for the first version of the Zeiss 135mm f2.

Let’s take a delve into the image quality from some of those lenses, shall we?

Zeiss 135mm f2 Original

To me, older digital lenses have a beautiful character and softness to them. You don’t need to Photoshop skin, and part of that is due to the sensors from early digital. Now, you’d need to haze filter in some cases. But these lenses are and always will be wonderful. The first Zeiss 135mm f2 was totally just that! Honestly, I wish manufacturers would make lenses like this again. I don’t totally care for super high sharpness.

Pro Tip: We recommend that you communicate with the person that you’re photographing first to get insight as to what they want. Some headshots are more corporate oriented while others are for comp cards, actor profiles, and dating websites.

Zeiss 135mm f2

Leaning forward, neck upward and creating a straight line with the back. Bring the hair over to one side.

Zeiss 135mm f2 Milvus

Zeiss is following up their original 135mm with the Milvus version. This one upgraded the optics and made it weather sealed. This, too, was a wonderful lens. But to me, the original made skin tones look better. The Milvus lineup is manual focus lenses. And in the late days of DSLRs, Zeiss chose to embrace the vivid look. While nice, it didn’t always do great for someone’s skin.

Zeiss 135mm f2 Milvus. Photo by Simon Chetrit.

Zeiss 135mm f2.8 Batis

The Zeiss 135mm f2.8 Batis was also very good. But it was also sort of an odd lens. Part of this is because of the Sony platform, which makes photos look too clinical. But it’s also a very slow aperture 135mm lens. For what it’s worth, though, the image quality is very beautiful.

Sigma 135mm f1.8 DG Art HSM

The Sigma 135mm f1.8 is a fantastic balance. There isn’t character per se, but there surely is a look. And it has a lot of micro-contrast to give a 3D style render. It’s also very sharp. We used it on the Canon system and the Sony system. In the image below, you can pretty clearly tell the differences.

Sony 135mm f1.8 G Master

The Sony 135mm f1.8 G Master is highly regarded by lots of photographers. Personally speaking again, though, it’s a very clinical look. I’m not always sold on it. But I’ll admit that I’ve seen some wonderful images come from it. I’m not sure, though, that I want to shoot with a lens and camera then spend an hour or so in post-production. I’m at a point where I want to stare at computer screens much less.

Sony 135mm f1.8 Alpha

I’ve heard lots of folks say that they prefer the original Sony 135mm for A-mount more. That’s because of the character. And as you can see from these photos, it really did have a beautiful render to it.

Now, if Canon has all this competition, they need to find a way to outdo all the rest. Ideally, their 135mm needs to be faster or around f1.8. An f1.4 lens would be very cool! But it also needs to have something extra to make people flock to it. Maybe it will be the size? We’re not sure. What I think would be really cool ...

AI is making our lives easier, but is it starting to muddy the waters we wade in?

Artificial Intelligence, or AI for short, has come into the photography world with a vengeance. Not long ago, AI in cameras was limited to merely tracking an object. Now, AI in our cameras can detect and track the eyes of humans and animals. Some cameras have AI that can tell what animal or object you’re tracking. AI can help you focus stack in-camera. It can help create surreal long exposures and so much more. A photographer’s job has never been easier. We ask you this question. Since we’re doing less work, should we still charge as much for our services? Let’s talk about this after the break.

An article on The Next Web talks about how AI is changing thousands of people’s work lives. AI was starting to make its influence known a while back. The pandemic has now thrust it into the limelight. As many people have been left stranded at home, more companies have started to employ AI to do the work of those who cannot make it into work. Or, at the very least, it’s now being used to help those who cannot be in a specific location do their job. The article talks about UBI or Universal Basic Income and whether businesses should pay us UBI while AI does the bulk of the work. While the article isn’t directly related to photography, it made us think. As AI improves, should we charge our clients less? After all, we don’t have to do as much work. So, are clients getting their monies worth?

AI Raises Ethical Concerns

Artificial Intelligence does raise some ethical concerns. Do people give as much for the money they earn as they did before AI made their lives easier? Are employers, or clients, really getting the most out of your expertise? You could easily see why a customer could question whether or not they are getting your all during a shoot. Are you as a photographer doing extra with the AI in your cameras, or are you just offering the same old shoots and doing less work? How does that sit with you? Do you feel like you have earned the same amount of money as before? Something like this will eat away at an honest, professional photographer. Unfortunately, some will just let it slide. Smart photographers, though, will be able to charge as much or even more if they find a way to make the most out of artificial intelligence.

Make Artificial Intelligence Work For You and Charge More Ethically

The answer doesn’t have to be that we should charge less. If you’re one of those photographers who will let AI basically do all the work for you while you just press a shutter, you should question your desire to be a photographer in the first place. Photography is all about creating. Photographers have been creating for decades, and they have made the most of the technology available to them. I think, for the most part, AI will not make this or the next generation of photographers lazier. Sure, there will be a few who will use it as an opportunity to slack off and still rake in cash. Still, this will be the exception, not the norm.

Smart photographers will use AI to their creative advantage. Artificial Intelligence is allowing us to perform more complex shoots. It’s opening up new avenues of creativity that simply didn’t exist before. I could name tons of photographers who are using AI technology in their cameras to create images that simply wouldn’t have been possible before.

The Sony a1 is packed with AI.

The technology in new cameras is there to make our lives easier. There’s no denying that. However, Don’t rest on laurels. Use the extra brainpower saved by not having to worry about focusing on new creative ideas. Come up with new techniques that will make your work stand out from the crowd and still rake in cash ethically. Let AI do the mundane tasks while you visualize the project and inspire your subjects. The only thing holding you back is your imagination. What do you think about the advances of AI and how it’s changing our work as photographers? Let us know in ...

We’re almost done putting the brand new Gitzo Legende backpack through its paces.

Funded in around 30 minutes on IndieGogo, the Gitzo Legende backpack is generating a lot of hype. We have one of around 100 in America right now. And trust us, it’s beautiful! It’s also incredibly weather-resistant. Believe it or not, it’s also surprisingly comfortable. However, it’s got a number of pretty big issues. We discussed that in our recent episode of Pro Camera Reviews.

In This Episode:

Gitzo Legende Backpack Preview

The brand new Gitzo Legende backpack is in for review. This is a positively beautiful camera bag! Currently being funded on IndieGogo, we managed to get one of the 100 units available in America. Targeted clearly to the outdoor photographer, it boasts beautiful green canvas and brown leather. Gitzo is also building this bag with very sustainable materials. That’s good for folks who care about the environment! So far, Chris likes it. But as he’s talked about with Gitzo, there are a few concerns. We’ll discuss in this episode of Pro Camera Reviews!

On the Next Episode

We’re taking a break this week. We’ll see you again soon!

About Pro Camera Reviews

Pro Camera Reviews happens every Sunday. Sign up to join us! Please Register here or join us in the studio.

Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

Please register here or join us in the studio!

If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. Episodes are done on Zoom and are recorded. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.

Here’s your chance to show other photographers how incredible and special your work is.

Something I realized over the pandemic is how many wonderful letters we get from the photographers we feature. We’ve gotten folks more work. We’ve also apparently really made some photographers get a ton of traffic to their websites. We’re happy to find a way to give back to the photo community. And we’re inviting you to help us inspire others and hopefully do something for you too. Here’s how you can get your work featured on Phoblographer.

No Photoshop Series

You can take a look at all the posts we’ve done with the No Photoshop series. You folks love it!

The subject line of your email should be: No Photoshop: (Your name here)

Shoot an email to arts[at]thephoblographer[dot]com. You’ll also probably notice the little call to feature you on the sidebar.

Describe yourself as a photographer. Think about the who, what, when, where, how, and why. Tell us about who you are as a photographer, list what cameras, lenses, lights, films (or plates, or papers), and other gear you use. Tell us about your creative vision when you create and take photos.

Then, answer these questions:

Which photographers are your biggest influences? How did they affect who you are and how you create?

Tell us about your photographic identity. You as a person have an identity that fundamentally makes you who you are. Tell us about that person as a photographer.

Tell us about the gear you’re using. Please give us a list of the gear and the reasons why you choose it. Please be descriptive. We want to know how it helps you translate your creative vision.

Do you feel you’re more of a creator or a documenter? Why? How does the gear help you do this?

Please walk us through your processing techniques. Also, tell us about how you’re achieving your look without Photoshop if you’re comfortable with that.

Tell us about the project or portfolio you’re pitching to us. Be descriptive with the who, what, when, where, how, and why.

Show us up to 10 photos (at 3000 pixels on the long side) that demonstrate some of your best work. Send these as direct attachments or in a WeTransfer link.

List websites and social media pages where folks should follow you.

Incredibly Interesting Photo Project

Subject line of your email should be: Photography Submission: (Your name here)

Shoot an email at arts[at]thephoblographer[dot]com. You’ll also probably notice the little call to feature you on the sidebar.

Describe yourself as a photographer. Think about the who, what, when, where, how and why. Tell me about who you are as a photographer, list what cameras, lenses, lights, films (or plates, or papers) and other gear you use. Tell us about your creative vision when you create and take photos.

Then answer these questions:

Why did you get into photography?

What photographers are your biggest influences? How did they affect who you are and how you create?

How long have you been shooting? How do you feel you’ve evolved since you started?

Tell us about your photographic identity. You know you as a person have an identity that fundamentally makes you who you are. Tell us about that as a photographer.

Tell us about the gear that you’re using. Please give us a list with reasons why you choose it. Please be descriptive. We want to know how it helps you translate your creative vision.

Natural light or artificial light? Why?

Why is photography and shooting so important to you?

Do you feel that you’re more of a creator or a documenter? Why? How does the gear help you do this?

What’s typically going through your mind when you create images? Tell us about your processes both mentally and mechanically? PLEASE BE DESCRIPTIVE

Please walk us through your processing techniques?

Tell us about the project that you’re pitching, or your portfolio that you’re pitching to us. Be descriptive with the who, what, when, where, how, and why.

What made you want to get into your genre?

What motivates you to shoot?

– List a number of yo...

Lens filters are often overlooked, but they should be a part of everyone’s photography kit.

We can sit and talk about which cameras are best for landscape photography all day. However, to get the very best out of them in challenging situations, you really need to use lens filters. Some lens filters will help you create gorgeous images in-camera by exposing them for both shadows and highlights. Other lens filters will help your camera capture images with colors that pop! Many photographers overlook filters, but they really should be a part of your kit. The lens filters we’ll look at after the break are relatively affordable. They’re also durable, and they’ll give you an edge when it comes to creating gorgeous landscape images.

Haida Red-Diamond 10 Stop ND 100x100mm Filter

“Haida’s Red-Diamond 10 Stop ND 100x100mm Filter is well constructed and repeatedly and reliably produces consistently accurate results. Compatible with a wide variety of lenses of varying filter threads, you can mount the filter using Haida’s own M10 Filter Holder System or most industry-standard 100mm wide filter holders available on the market. Although it’s not indestructible (no filter is), those who are accident-prone will be glad to know that the Haida Red-Diamond 10 Stop ND 100x100mm Filter can withstand a fair amount of abuse. Photographers in the market for a 10 Stop ND filter, especially those focusing on architectural, landscape, and travel photography, should definitely consider Haida’s Red-Diamond 10 Stop ND 100x100mm Filter.

Buy now: $152

Pro Tip: If you’d like to learn more about lens filters and what they do, check out our guide about lens filters here. You’ll learn about ND filters, graduated filters, polarizers, and more.

Breakthrough Photography X4 Circular Polarizer

“The X4 CPL is marketed as having the sharpest and most color neutral glass of any circular polarizer. While I appreciate technical quality and occasionally pixel peep, clients pay most attention to image content. I don’t have any specialized equipment to test small quality differences, and, in print, I can’t discern a tangible difference in the sharpness of the glass. However, at about half a stop faster than my older polarizers, a faster shutter speed certainly does equate to sharper pictures.”

Butterfly Race start at the Antigua Classic Yacht Regatta. Take a look at the beautiful deep blues and the clear water. A polarizer helped cut the reflections off of the surface of the water and make it crystal clear.

Buy now: $69 to $159

Haida Red-Diamond 3 Stop Soft-Edge Graduated ND Filter

In our review, we said:

“If you’re a landscape photographer in need of a graduated ND filter, the Haida Red-Diamond 3 Stop Soft-Edge Graduated ND Filter (0.9/8x Density) is worth considering. It’s not the cheapest graduated ND filter out there, but its price is on par with competing offerings on the market at US $169. You’re paying for consistency and reliability, and this filter delivers. Unlike “bargain” filters, you don’t have to worry about weird color casts or loss of sharpness in your images. The filter’s nano-coating makes it easy to clean and gives it a fair bit of scratch resistance as well.

Buy now: $169

Leica announced a price increase recently, and I think that it’s fairly justified.

If you’ve ever owned a Leica, you probably know how wonderful the feeling is. There’s nothing wrong with us rewarding ourselves with something nice. Besides the ecosystem, why do we buy Apple products? Why do we buy top-shelf liquor? Why does someone buy a luxury car? We can sit there geeking out, and it in the same way that all those other genres do. But Leica tends to get a lot of flak that, in recent years, I don’t totally think is deserved. There’s recently been a Leica price increase announced. And quite honestly, I think it’s deserved.

Remember the Trump Tariff and What it Did to Leica?

Remember back in 2019 when Trump put a 25% tariff on European products? It majorly hurt the market, especially when it came to lenses. Leica, in fact, cites that they were absorbing the cost. Only earlier this month was there any indication of things changing between the US and EU. It’s hurt them for sure. A luxury brand already makes fewer products than its competitors. And they also tend to do it on the idea of sustainability. Not to mention that they’re actually doing things differently. They’re one of the few brands that want to IP rate their cameras. And their designs are unlike that of anyone else’s. Are they pricey? Yes. But they’re different, and I’ll gladly give them that.

There’s a Bigger Demand for Parts with Leica

This is a problem all across the photo industry. Factories haven’t been doing so well. In talks with other brands, I learned that they were mostly focusing on keeping stock of selling. For anything else that had pre-orders, they just wouldn’t necessarily work on fulfilling it immediately. That’s because the parts are pretty hard to get right now. That’s the result of the global pandemic. Things may change in the next year. But I also expect the camera industry to actually try much harder than they have before. At least, I hope that that’s the case.

And this brings me to my last point.

Everyone’s Prices are Going Up

Fujifilm has a 100MP medium format camera for under $6,000. Sony has a full-frame monster at $6,500. Let’s look at these closely, though. We’re going to put this up against the Leica SL2 that will cost $6595 instead of the SL2S, which is only going up by $100.

What makes the Fujifilm GFX 100S so awesome? That would be the 100MP medium format sensor, autofocus performance, and the relatively small size. Their lens selection still needs work.

What makes the Sony a1 so worth the price? A 50MP BSI full-frame sensor that shoots 30 fps has AI in the camera and some serious innovation. It’s arguably the most innovative camera of our time. And it’s also Sony’s highest-end offering. There’s a huge selection of lenses too.

So why is the Leica SL2 so high-priced? Well, it starts with the build quality. Sure it lacks in some departments compared to other cameras. The L mount has a massive selection of fantastic lenses too. Comparatively, in terms of imaging sensors, the Panasonic S1R costs $3,697.99. And Panasonic cameras have experienced a ton of different pricing structures.

I know for a fact that Leica cameras are selling. I recently wanted to buy a Leica Q2, but they weren’t available at all. The Leica Q2 Monochrom was, though. I ended up buying the Leica SL2s instead because it’s about time I owned something in L mount for testing.

With all this said, though, I overall think the idea is very justified, especially on lenses. And if they’re not able to keep things in stock, then the economics of it all suffers. They need to keep buying parts to make their cameras. And they do so in smaller numbers. As we’ve recently seen though, they’re producing some awesome new products.

If we have this conversation again in a year, I feel that their prices will probably be normalized. Overall, I actually feel like their prices have come down, and they’ve become more attainable in past years.

We recently finished our review of the Sony 50mm f1.2 G Master.

A little while back, we published our Sony 50mm f1.2 G Master review. The lens is pretty awesome overall. It boasts weather sealing, sharp image quality, beautiful bokeh, lens flare, and fast autofocus. But if you’re aware of what’s out there, you’ll probably be a little tempted to look at the others. At least that’s what we found in our comparison to Canon’s offering. Find out our summation in this latest 5 Minute Camera review.

In This Episode:

Sony 50mm f1.2 G Master Lens Overview

Here’s a quote from our conclusions in the full review:

The Sony 50mm f1.2 G Master is a fantastic lens overall, objectively speaking. The autofocus performance is quick and accurate in lots of cases. It will serve street photographers, portrait photographers, and any other professional or passionate photographer well. As we saw, it’s going to also stand up to the elements pretty well. Within the FE lens lineup, it’s the fastest aperture lens. It also has incredibly smooth bokeh, sharp optics, and decent color. Personally speaking, I like it more on the Sony a7r III more. We don’t need more megapixels. In all my years, I’m personally shocked that I’m finding myself saying that.

If you’re a 55mm f1.8 FE lens owner, you don’t really need this lens. You’ll gain a bit more light, smoother bokeh, more weight, an aperture ring, and less room in your camera bag. Again, I don’t think I’m upgrading. My 55mm f1.8 serves me incredibly well.

If you’re considering coming over to the Sony system from Canon, rest assured that you’re fine. Canon’s competitive lens renders smoother bokeh somehow or another. It’s also got better color. And for what it’s worth, I’ve never shot a portrait with a Canon lens that I didn’t like. It’s impossible to look bad with Canon optics straight out of the camera. But with Sony, you’re going to need to do some skin smoothing for sure.

Do I approve of this lens? Sure. It’s winning our Editor’s Choice award. The Sony 50mm f1.2 G Master gets 5 out of 5 stars. Want one? Check out Amazon for the latest prices.

On the Next Episode

We’re taking a break this week. We’ll see you again soon!

About Pro Camera Reviews

Pro Camera Reviews happens every Sunday. Sign up to join us! Please Register here or join us in the studio.

Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

Please register here or join us in the studio!

If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. Episodes are done on Zoom and are recorded. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.

Weather-sealing and durability are incredibly important to each and every camera user these days; otherwise, we’d just use a phone.

“It can probably survive a rain shower, but we’re not going to say that,” is a common phrase we hear. Some cameras are weather sealed. Some don’t have weather sealing, but they can survive being frozen. And then there are lenses that only have weather sealing at the mount. Why? We’ve done some pretty torturous things to cameras and lenses in the past. I think that camera manufacturers need to start coming clean about the durability of their products. Weather sealing is so incredibly important these days.

The problem here is that almost none of them like to say how durable their products are. Instead, they like to be a bit more conservative. And that’s not a bad thing. It can prevent a customer from possibly being stupid with their brand new camera. But every camera and lens these days needs an IP rating. I find it insane that we’d tell someone to go spend a few hundred bucks on a camera that they can’t take into the rain. Do you really mean to tell me that you’ll say off-the-record that the camera will survive? But when it gets damaged from a rain shower, then it violates my warranty? How do camera manufacturers do this?

And if that’s the case, why would I spend a few hundred bucks on a camera? If anything, I’d be turned off from buying another one again. Some brands like to say the worst moisture and dust-resistant. But they’re never clear on how durable that is. So we as reviewers always find ways to try to test the durability.

Camera manufacturers here don’t need to innovate per se. They just need to catch up! Action cameras and phones, which are far more popular, have durability ratings. Like, actual durability ratings that mean sometimes. And I understand that cameras and lenses have moving parts. But maybe they should all become more durable.

This is why we’re so incredibly happy with what Olympus, Panasonic, and Leica say about IP ratings. We know personally that Canon, Nikon, and Fujifilm gear is very durable. But why not put an IP rating to your name? Show us how proud you are of the product you’re creating! Sony cameras and lenses are still the outliers for the most part. But that’s probably going to change in the next few years.

Here’s my overall thought process:

You weather seal the camera

Weather seal the lenses

Raise the price a bit

Support your third party manufacturers

More people will want to buy them and realize that they’ll last longer

They’ll genuinely get into photography and keep shooting

They’ll keep using the camera instead of their phone

They’ll continue to be customers in the long run.

Maybe they’ll end up buying the higher-end products.

Here’s the thing: camera and lens reps can’t keep saying that their products will survive abuse without the backing of their companies. No matter how little or much truth there is to the statement, the variance is too much. Leica tells us that the M cameras and lenses were designed to be pretty weather sealed. But there are no rubber gaskets or anything else to protect from the elements. However, the L mount series of cameras and lenses is a different story. The same goes for their Q series cameras.

When creating long exposures, you need a sturdy tripod, and these options are definitely that.

Astrophotography season is upon us in the northern hemisphere. Being out under the stars and capturing the beauty of the night sky is hard to beat. However, you have to be prepared. Having a great camera and lens combo is part of the gear equation. The other part is owning a sturdy, reliable tripod. When capturing Milky Way images, you’ll be shooting long exposures. This is where sturdy tripods come into play. A tripod that is tough, durable, stable, and easy to use in dark scenarios is necessary. The sturdy tripods we rounded up after the break will serve any photographer well.

3 Legged Thing Ray Tripod

“Overall, I have to say that the 3 Legged Thing Ray tripod and Airhed VU ball head have been a delight to use. I’m a big fan, so much so that I will start carrying a tripod around with me again on my adventures. The 3 Legged Thing Ray is stylish, easy to use, lightweight, and folds down into a beautifully compact unit that is easy to carry around. The Airhed VU ball head offers ultra-smooth operation and exceptional stability, even when under load.”

Buy now: $429

Fotopro EGL-65 Carbon Eagle Series Tripod with E-6H Gimbal Head

Brett Day – Gear Editor

“Overall, the Fotopro EGL-65 Eagle Series carbon tripod is wonderfully made and a joy to use. You can mount any camera and lens combo on it with complete confidence. The ability to accurately and precisely dial in the exact angle you want for your camera means that any photographer will be able to get the exact composition they’re looking for. Loosen up the head, and you will be able to pan and track objects with ease. This Fotopro Eagle Series tripod will make a wonderful tool for serious photographers who demand the best in terms of build quality and sturdiness.”

Buy now used: from $814

Pro Tip: Astrophotography is an enjoyable genre of photography. Being able to capture the stars is an emotional and rewarding experience. However, if you’re new to it, astrophotography can be a little overwhelming. Sturdy tripods are just one part of being able to capture the stars. Read our Astrophotography guide and learn more about composition, the 500 rule, and more.

Vanguard VEO2 235CB

In our review, we said:

Chris Gampat – Editor In Chief

“What I seriously enjoy about the Vanguard VEO 2 235CB is not only its solid build quality but how simple it is to use. Vanguard gives you a head that just works without any fuss, legs that are quick to deploy, and a tripod slim enough to fit onto the bottom or the side of most photo backpacks.”

Buy now: $171.09