The Phoblographer

“There is no better feeling in the world than having that happen,” explains Matthew Jordan Smith when talking about how impressed a client was with his work. He adds, “when my client received the images, he liked them so much he told me he couldn’t decide which image was his favorite!” Smith found himself in a very privileged position. Because after a client saw one of his personal projects, they asked him to create the same aesthetic for their brand. Smith’s Still...Motion series caught our attention too. Not just because of how well-executed the images are, but because we wanted to know exactly how he created them. In this interview, he gladly agreed to share his creative secrets, providing a valuable education for photographers wanting to improve their skillset.

Matthew Jordan Smith’s Essential Gear

Nikon D810

Nikon Z7

Nikkor 105mm

Nikkor Z7 II

Phoblographer: Please tell us how the concept for Still...Motion first materialized.

Mathew Jordan Smith: I was born in Brooklyn, New York, and to be honest, I think I’ve always seen images like this in my head. It feels so natural to me. I’m not sure when the idea first hit me to bring the image to life because these images have been in my head for decades. I can tell you this, however. I began working on the first Still...Motion images in 2014. I’ve been going to visit parts of Japan since 2008, and at times I would see images of someone being still in the midst of a sea of movement.

I wanted to bring those images to life, so I started experimenting with the idea. I made my first attempt at the concept in Los Angeles on Redondo beach. Thankfully, I had a buddy in town visiting from Chicago, and I convinced him to help me test my idea. We shot for an entire afternoon and finally felt I had my approach down. The next month, I went back to Japan for another trip and did my first image in Shibuya. I was hooked, and I’ve been doing these images all over the world ever since.

Phoblographer: So you have a majority of the scene blurred and out of focus, yet your subjects are sharp. Are these double exposures? Photoshop? Please let us into your creative secrets.

Mathew Jordan Smith: I’ve never been a big fan of “fix it in post,” and I guess that’s because I came up in a time when you had to figure it out. Plus, I really love the art of creating the image in-camera. These images are 100 percent creations made in camera. There is no photoshop, no double exposure, just pure old-fashion photography.

I love creating the images in bright sunlight because that’s the most difficult way to create these images, and it’s also what I think makes them special. It’s difficult to create images with a slow shutter speed in bright sunlight, so it took a moment to figure it out.

I use a light meter, a 10-stop and 16-stop ND filter, a tripod, and fast lenses for my images. If there is a secret, it’s that I look to shoot my images between f/1.4 and f/2.8, but my sweet spot is f/2.0. I want to have a very shallow depth of field first, and then I want also to have a very slow shutter speed. Add the ND filters to the mix, and you have the recipe. I enjoy doing these images, and now that I’ve worked out all the kinks, I can do them in my sleep.

Phoblographer: Although you do most of the work in camera, Do you do any editing at all? What’s that process like?

Mathew Jordan Smith: For the most part, the images are SOC, but I’ll add a bit of contrast, a slight vignette, and then I’m done. I’m not a big fan of post-processing in my personal work, and this is what I do for fun. Because I live in Toyko, several locations are very congested and offer the ideal conditions for this type of photograph. I’ve gone to other cities like London, New York, and other locations, but I really like Tokyo the best for my Still...motion series.

Phoblographer: Talk us through your process of shooting. For example, did you work quickly or shoot all day?

Mathew Jordan Smith: The prep time takes the longes...

Whether you like wide or telephoto lenses, there are E mount primes that will satisfy your needs and your wallet.

Photographers who shoot with Sony cameras are certainly spoiled for choice when it comes to lenses. There are tons of E mount primes that range from ultra-wide to telephoto. These lenses vary in price from incredibly affordable to I think I need to sit down. Here, we’re going to focus on five E mount primes that will make your wallet and your eyes happy. The lenses we have picked here are all fantastic, they’re under $600, and they scored very well in our reviews. Whether you’re looking for a wide-angle lens for landscapes. A standard focal length for everyday photography, a prime for portraits, or even macro, this roundup has you covered.

Samyang 18mm F2.8 (For Landscapes and Cityscapes)

In our review, we said:

“Now here’s where I’m most in love with this lens. The colors! Samyang colors have always been saturated and contrasty. They look and feel very unique and this is no exception at all.”

Chris Gampat – Editor In Chief

Buy now: $329

Tamron 24mm F2.8 Di III OSD M1:2 (For Street Photographers)

In our review, we said:

“The Tamron 24mm f2.8 Di III OSD M1:2 (Model F051) is an affordably priced lens for Sony Full Frame Mirrorless cameras. It combines outstanding image quality and robust weather sealing with a compact and lightweight form factor.”

Buy now: $199

Rokinon 50mm F1.4 AF FE (For the Everyday Photographer)

In our review, we said:

“Rokinon’s optics have always been top-notch and this is no exception. The colors are bold, the contrast is there, the images are sharp, and the bokeh is gorgeous.”

Chris Gampat – Editor In Chief

Buy now: $369

Pro Tip: These affordable E mount primes are so good you’ll be using them all the time. This means that your lens will get dirty quickly. Keep an affordable lens cleaning kit with you at all times. This way, you can clean the front element and lens body easily. Every couple of weeks, give your lens a deep clean. Doing this will ensure your lens will work for years to come. This lens cleaning kit is affordable and has everything you need.

Sony 85mm f1.8 FE (For the Portrait Photographer)

In our review, we said:

“This is, in many ways, the absolute most perfect portrait lens for most Sony camera users. If you don’t need the 85mm f1.4 G Master lens, the Sony 85mm f1.8 FE lens is a fantastic option. It’s sharp, has less saturated colors (only the Loxia is less saturated than this), focuses pretty well with most cameras (the Batis is fastest), and has weather resistance. But it’s also small and offered at a pretty affordable price point.”

Chris Gampat – Editor In Chief

Buy now: $598

Samyang 100mm F2.8 Macro (For the Macro Photographer)

In our review, we said:

“The bokeh is very creamy and positively beautiful. There are zero complaints here from me on that. I wish that other manufacturers made bokeh like this.”

Chris Gampat – Editor In Chief

Buy now: $425.53

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If you’ve read this site for a long time, you know my feelings about the photo industry. I love cameras. I adore what’s creatively possible with them. And I believe that while the lower end has risen up, the higher end has too. But cameras and the photo industry is in a tough state. Manufacturers have blamed smartphones for their decline since 2013. They’ve adapted to work with smartphones but have also fought them in many ways. The technology world of the photo industry will undergo massive changes in the next decade out of necessity.

A reader discussed with me once that he finds that cameras are a lot like calculators. No one brings one around with them these days. But instead, they’ve become professional instruments. The Ti-83 that I used in high school is still very relevant. But I like to compare cameras more to watches.

I like to call this the climate change crisis of the photo industry. If we don’t fix the climate soon, we’re all screwed. And the same applies to the photo industry. But we don’t have a lot of time to do so.

The watch industry went through a ton of issues. The quartz crisis was the first one, but they adapted and survived. Then in 2001, 9/11 happened. Shortly after, every parent bought their kid a cell phone. This was a precautionary measure, just in case. So no millennial back then really needed a watch anymore. Need the time? Look at a clock on the wall or check out your phone. The Razer, Nokia, and Nextel helped kill the watch for much of my generation. We’re in 2021 now. And in the past few years, the watch industry has really seen a new revival. My generation is older now and can afford nice things, sort of. So we spend money on pricey watches if we can. Or we get cool tech,

The photo industry didn’t really start to get gutted by smartphones until maybe 2012 or 2013. We’re nearly a decade out from those years. And camera manufacturers cling to the idea of their superior technology. But most people don’t care. They want simple. They want quick. They want connected devices. At least, that’s what the masses of them want. The watch industry parallels created ample space for every player to compete and be healthy. A $45 Timex watch can be your beater watch. But your Omega Seamaster can be the luxury cult product you worship because of your affinity for James Bond movies. They all have their places to play. And tons of watch brands still exist and create products today.

But the photo industry has few players. And the next decade is really going to determine who adapts. The only way we can is to sustainably diversify while trimming the fat. Offering cameras for the low end, the professional tools, and the luxury product world are all going to be paramount. And each company is going to have to cater to those markets.

Further, there’s the idea of long term support. And with 3D printing, I don’t know why Canon couldn’t create parts for their old QL17 camera. Sure, they won’t be the same quality as the original, but they’ll support it for a price! And there are few cameras as iconic as the Nikon F! Crafting a new top plate through 3D printing could be a cool way to support those older cameras and continue to make incremental income. I know it sounds insane. But there’s something to be said for a product that can be handed down from generation to generation with lifetime warranties.

The graduated ND filter is one of the best things for landscape photographers to use.

A graduate ND filter is one of the most challenging types of filters to use. Slotting it into just the right spot can mean a big difference to the landscape photographs you make. Keeping them clean is also crucial to better final images. Landscape and seascape photographers often find these filters very useful. And with the transition from DSLRs to Mirrorless cameras in recent years, there have been significant changes. The addition of the exposure preview feature has changed the way we shoot, and having a graduated ND filter in front of the lens also affects things.

The most significant deviation has to do with the exposure preview. One would think that turning off the exposure preview and adding a graduated ND filter would render the scene to look the way it would with a DSLR. But that’s not the case. Instead, you need the exposure preview setting enabled. This way, you’ll be able to see the effects of the filter on the scene. You can use this to create a more balanced shot. I’d also look at the histogram and the overall exposure, and then consider your camera’s dynamic range. Some cameras shoot with sensors more akin to slide film, so there’s less tonality in the file. But some cameras have RAW files that can be pushed for forever. Give it a shot and always shoot in manual mode or aperture priority.

“The most obvious examples of their use are for horizon photos and images shot during the golden hour. When combined with a low ISO and a narrow aperture, they can also allow the photographer to capture long and dreamy exposures. Way before the age of digital photography, film photographers would use graduated ND filters before doing any sort of dodging and burning in the darkroom.”

How to Use a Graduated ND Filter for Landscape Images

We also recommend locking your white balance. Some graduated ND filters say they’re color neutral. But we haven’t always found that to be the case. If you’re shooting a sunset or sunrise, white balance to daylight. If you want to dial in the Kelvin levels, set the camera to 5500 Kelvin. After that, you can fine-tune it however you’d like in post-production.

For the uninitiated, these filters are much different than variable Neutral Density filters. While Variable NDs control the entire scene, graduated NDs have control over a smaller area. They work in different ways, which is why Graduated NDs are great for high contrast scenes. If you’re shooting with the brightest brights and the darkest darks, then you’re going to have a tough time shooting. But the graduated ND filter makes things easier.

Where this becomes most challenging is when shooting with a Leica rangefinder. If you’re doing this, then switch the camera to Live View mode. You’re not going to see the effects of the scene through the viewfinder at all. Of course, if you’re using the EVF on the camera, you’ll see them. But either way, the exposure preview setting is necessary. Lastly, we recommend making long exposures: that’s where you’ll get the most use of graduated ND filters and also have the most dreamy images. Combine this with a high megapixel camera body, and you’ll have a picture worthy of a print. You can also do this to avoid having to do HDR imagery. Instead, you’ll get it all in a single RAW file. Cool, huh?

Also, be sure to check out our Lens Filter Guide. As always, the Phoblographer’s Cheat Sheets are made with Visme.

All images by Benoit Lapray. Used with permission.

“I think my Monuments series is the most successful and impactful project I have done so far,” says Benoit Lapray. He adds, “It’s the one that gives me the greatest sense of pride.” Lapray’s unique series is a large scale project. Not working alone, he built a team of creatives to help execute his concept. Shot in Paris, Monuments adds a splash of character to the well-known monuments around the French capital. It’s a concept that first came to his mind five years ago, however, it’s only recently he has been able to bring it to life. We caught up with Lapray to find out what it was like working with a team and how he feels about the series so far.

Benoit Lapray’s Essential Gear

Horsman Folding 6×9 Camera

Pentax 67 II

As far as the photographic equipment is concerned, I used two medium format film cameras to make this series. An old Horseman folding 6×9 and a Pentax 67II perfect for freehand pictures (as it is forbidden to put a tripod in Parisian parks, I had to find a solution.

When I started the series, I used digital cameras, but I didn’t like it. I thought the images were too clean and a bit too smooth. The whole thing lacked character. Using film allowed me to get more interesting renderings and add a few things to the story I wanted to tell.

Benoit Lapray

Phoblographer: You first had the idea for Momentums in 2015. You didn’t start it until 2018. What were the reasons for the three-year wait?

Benoit Lapray: It took me a few years before I could start this series because I didn’t have the financial means to make it. I set up as a freelance photographer in Paris in 2014, and it took me four years before I had the resources to be able to produce this kind of work.

It’s a very expensive series to create. Between the purchase of the specific photographic equipment for this series (two medium format film cameras, as well as my lenses,) the purchase of the figurines, and some service providers that I had to pay (notably for the CGI modelling, and the High Res scans of films,) the cost starts to build up. That’s why it all took so long. It’s not all about having ideas. You still need to have the means to make them come true.

Phoblographer: There are many characters to choose from in Pop Culture. Please tell us how you selected which ones you wanted to add to your images.

Benoit Lapray: Indeed there are many emblematic characters of Pop Culture, and choices had to be made. It hasn’t been easy. And that was probably the longest part of the job. First, I had to find the figurines of the characters I wanted to represent. That allowed me to make the first selection. Some of the characters are indeed untraceable. The figurines are no longer published. So I had to fall back on characters I could find.

Then I had to make sure that the figurines, especially the characters’ position, would match the set photos I had taken. All this made me choose some characters and not others. But the series is far from over, and I will try to make the list of these cult characters as long as possible. There are so many others that I would like to direct.

Phoblographer: What process do you enjoy more, making the original photos or editing them for the final version?

Benoit Lapray: For this kind of work, the most interesting part of the job is clearly the field shooting. When we arrive on the spot, when we take out all the equipment, when we see that the light is good, that’s when we really enjoy it. And making photographs with film adds to the pleasure.

Phoblographer: This was a collaborative project. Please tell us who else was involved, how you met them, and what it was like working as a team.

BL: It’s the first time I’ve made a series in collaboration with other people and it’s been a real experience for me. I’m used to doing everything myself, because I like to control my images from A to Z (I’m a photographer and a photo retoucher). Still, in this case, I had to ...

Digital Photography has given us so much good, but pixel peeping is consuming far too many photographers.

Do you pixel peep? Be honest with yourself. I’ll admit, I used to be terrible about pixel peeping, but I pulled myself out of the web it spins. Pixel peeping is one of the bad things that has come from digital photography. We can sit in front of computers and zoom in to 300% or more to see the tiniest details. Sometimes, we can even have a hard time figuring out what we’re looking at. The ability to do this is great, but the problems that come with pixel peeping will do you no good. After the break, we will explore why pixel peeping is a thief of joy and why you should stop.

Film photographers used to use a loupe gave photographers a chance to look at their negatives a little closer. The practice of taking a closer look at our images is really nothing new. The big problem now is that thanks to photo editing software, we can magnify our images to ridiculous extremes. I get it. It can be fun to zoom in on an image you just made. However, if over analyze everything, you’ll end up in a deep rabbit hole.

What Is Pixel Peeping?

Pixel Peeping is when someone zooms in to see details in an image that they have created with a digital camera. Zooming in to 100% to get a closer look at things is okay. This technique does allow us to see and eliminate issues such as dust spots, chromatic aberration, and fringing, so some good does come from it. The problems start when you pixel peep in the quest for perfection. As soon as you start doing this, it can be hard to stop.

Pixel peeping is inherently bad. You will quickly find yourself becoming obsessed with small details that take up a lot of your time. You’ll over analyze noise, and you’ll see things that aren’t even a problem. All because you have zoomed-in to unrealistic levels and are honestly expecting too much.

Pixel Peeping Causes G.A.S

Pixel Peeping is prime fuel for G.A.S (gear acquisition syndrome) because you will nitpick every little issue your gear introduces. Take lenses, for example. There’s no such thing as a perfect lens. There will always be flaws. Pixel peeping will make you find them, and you will become discouraged. Zooming in to the extremes can also make your images look soft, for example, when they aren’t at all.

Cameras won’t be safe from your all-seeing zoomed-in eyes either. When pixel peeping, you will become hypercritical of grain and noise. You’ll find yourself spending hours trying to remove artifacts that aren’t a big problem. They only look like a big problem because you’re at 200%, 300%, and 400% magnification. You’ll also start to dislike the way your camera renders noise. Just like with the lenses, you’ll be wanting a new camera too.

The level of unhappiness pixel peeping causes will make you believe your gear is inadequate. Before long, you will purchase another lens or camera, in the hopes that it’s better. But guess what? You’ll find flaws with them too, and the cycle will continue. Meanwhile, your bank account will be crying and pleading for help.

Your Stress Levels Will Skyrocket

I cannot say this enough. Pixel peeping is stressful. Every time you get home from an event, any paid gig, or a fun shoot, the process of over-analyzing will start again. You won’t give yourself one second to enjoy the whole image. You won’t appreciate the bigger picture because you will be consumed with tiny details that nobody but you cares about. We do this to ourselves so that we can fix minor issues before others can spot them (which they likely won’t). You’ll end up putting so much stress on yourself to create perfect images that the joy of photography will escape you.

If you peep pixels too much, you’ll even start questioning if you’re a good enough photographer. You’ll wonder why your images never look like other photographers’ pictures do. You’ll never be happy. The other downside is that you will become so used to doing this that you’ll d...

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We’re huge fans of printing here at The Phoblographer. We believe every photographer should be printing their images instead of just viewing them digitally. Thankfully, the printer market is alive and well, and there are many options. We recently had the chance to test and review the new Epson SureColor P900. An update to the P800, the P900 boasts a new 10 channel print head and a 4.3-inch touchscreen display. Still, is this a printer you should be reaching out for at $1,295? Find out in our full review.

Pros and Cons

Pros

Incredibly easy to set up

The touchscreen and UI make the P900 easy to use

Gorgeous print quality up to 17×22

Inks are easy to access and load

Priced at $1,295, the P900 isn’t cheap, but you’re getting a lot for your money

Cons

The ink is quite expensive

We wish the resolution of the LCD could be a little better, but this is us nitpicking

Gear Used

We used the Epson SureColor P900 with various print media including Ultra Premium Luster, Baryta II, Glossy, and Exhibition Fiber paper.

Technical Specs

All of the technical specifications here are taken from the official Epson website:

Printing Technology: Advanced MicroPiezo AMC 10-channel, drop-on-demand printhead with ink-repelling coating technology

Maximum Print Resolution: 5760 x 1440 dpi

Maximum Printable Area: 17′′ x 129′′

Print Speed: 8.5′′ x 11′′ print: 1 min 29 sec, 13′′ x 19′′ print: 2 min 23 sec

Minimum Ink Droplet Size: 1.5 picoliters; Variable Droplet Technology can produce up to three different dot sizes per line

Nozzle Configuration: Color and monochrome heads; 180 nozzles x 10

Ink Type: UltraChrome PRO10 pigment ink; 10-ink, 10-color Cyan, Light Cyan, Vivid Magenta, Vivid Light Magenta, Yellow, Gray, Light Gray, Violet, Photo Black, and Matte Black

Fade Resistance / Print Longevity: Color: up to 200 years; Black-and-white: up to 400 years3

Single Roll-to-Roll / Top-loading Roll: 17′′ roll

Media Core:2′′ or 3′′ core

Maximum Paper Width: 17′′, Max. cut-sheet size 17′′ x 22′′

Minimum Cut-sheet Size: 3.5′′ x 5′′

Printer Language: Epson ESC/P® raster photographic drivers standard

Interfaces: Hi-Speed USB 3.0 (1 port), 100Base-T Ethernet (1 port), 2.4 GHz (802.11n) and 5 GHz Wireless (IEEE802.11 b/g/n/ac)6, Wi-Fi Direct®6, AirPrint®, Google Cloud PrintTM, Epson Print Layout for iOS

Sheet Loading: Main Top-loading Up to 17′′ x 22′′; up to 120 sheets plain paper, 30 sheets photo paper, and single sheet loading of thicker fine art paper

Front Media Path Up to 17′′ x 22′′; single-sheet manual feeder, designed for thicker papers up to 1.5 mm thick

BorderFree Print Widths:3.5′′ x 5′′, 4′′ x 6′′, 5′′ x 7′′, 8′′ x 10′′, A4 (8.3′′ x 11.7′′), letter (8.5′′ x 11′′), 11′′ x 14′′, B (11′′ x 17′′), A3 (11.7′′ x 16.5′′), Super B (13′′ x 19′′), 16′′ x 20′′ and C (17′′x 22′′)

Sound Level: Approx. 41 dB(A) according to ISO 7779

Dimensions: Printing: 24.2′′ x 35.6′′ x 20.5′′ (W x D x H)

Storage: 24.2′′ x 14.5′′ x 7.8′′ (W x D x H)

Weight: 35.3 lb

“This beast of a printer also weighs in at a hefty 35.3lbs. You’ll need a sturdy desk and a nice chunk of real estate to house it .”

Brett Day – Gear Editor

Epson SureColor P900 – Ergonomics

As you can see from the image above, you’re going to need a fair amount of room to house the Epson SureColor P900. This should come as no surprise though as it’s the bigger of the two SureColor P series printers. If you need something smaller, you might consider the Epson SureColor P700. The overall dimensions of the Epson SureColor P900 are 2 feet by 2.9 feet by 1.7 feet. This beast of a printer also weighs in at a hefty 35.3lbs. You’ll need a sturdy desk and a nice chunk of real estate to house it.

The biggest feature that will stand out on this black hunk of plastic is the LCD touch panel. The panel can fold flat, or it can be angled for easier viewing when you...

There isn’t a thing a 35mm lens can’t do, and it’s great for portrait photography!

Why are 35mm portrait lenses so good at shooting portraits? There are lots of ways to answer that. They’ve become outstanding over the past few years. It’s arguably hard to take bad photos of people with them. One of the best things about 35mm lenses is that you need to keep a distance. They’re fantastic at shooting someone full-body style or doing an environmental portrait of some sort. And if you need a slower shutter speed, they’re typically easy to handhold. Here are some essential tutorials just for you.

Check out some of our Favorite 35mm Lenses for Portraits in our Amazon Camera Shop.

A Cheat Sheet: Shooting Portraits with a 35mm Lens

A while back, we made this cheat sheet for photographers that tells you all about some of the most important things to worry about. Something that we’re not talking about in this post is lighting, but lighting is everything in portraiture. Lighting helps you find ways to tell stories, and it tells people where to pay attention.

Proximity Distortion

This has various names, but the basic concept is to keep a distance. Get too close, and suddenly someone’s nose will look huge. Even with newer lenses, it’s bound to happen just because of what the focal length is. The 35mm lens is best suited for photographs of at least 1/4th of a person.

In our tutorial, we state:

“Remember that when you shoot with a 35mm lens, whatever is closest to the frame will be distorted. In some cases, that’s okay and it can be rather acceptable. Depending on who you ask about the image above, the distortion of the subject’s arm is either perfectly fine (no distortion), or there is some and it’s unflattering. All of this has to do with posing.”

Be Wary of Bulges

Everyone has bulges and curves: be wary of them and how they stick out with a 35mm lens. Change up your subject’s pose to adjust how these appear in photographs. Keep an eye on all parts of your subject. Look at what the problem is and figure out how to fix it.

In our tutorial, we state:

“...but you’d be amazed at how much a lens can emphasize them. For example, if your subject is sitting back in a seat, then the weight is being put on not only their buttocks but also on their thighs, which makes them look larger. So it’s always a great idea to have them sit on the edge of the seat.”

The Center of the 35mm Frame Is King

Generally speaking, the center of the frame is the best place to position your portrait subjects. It’s the least distorted area of the frame, and it’s also always going to look wonderful. If you need to, forget about the rule of thirds: just focus on making someone look great!

In our tutorial, we state:

“When using 35mm primes for portrait photography, it is best to keep your subject as close to the middle of the frame as possible. The reason for this is distortion. I’m not talking about distortion from being too close to your model, I’m talking about the natural distortion wider lenses will have around the edge of the frame. This is not as big of a problem as it used to be, and most distortions can be corrected during post, but you want to do all you can to minimize distortions that can affect the size and shape of your subject. So, remember, subject, center, profit!”

In Pro Camera Reviews, we recently discussed our requests from Camera Manufacturers

You’re all very bored. And trust us, we are too. So, we were looking for inspiration in our own pieces. We looked at a number of photography projects that photographers do when they’re bored or commit to a project. On our Flipboard, we rounded up a few things. There are photographers doing projects at home, fun projects, dealing with anxiety creatively, taking early morning walks, and seeing what photographers are doing now. And we discussed that in our recent episode of Pro Camera Reviews.

In This Episode:

How to Find Inspiration for Photography Projects in the Pandemic

Like many of you, we feel creatively challenged. So, we’ve looked through lots of our backlog of photographers we’ve interviewed. Plus, we’ve searched other places for inspiration. After that, it’s just a matter of finding the time and the space to go shoot. We’re going to talk about how we’re shooting in the pandemic. For more, check out our Flipboard where we round up a ton of Photography Projects.

On the Next Episode

The Cameras We Use for Fun: We get to test, use, and review lots of different cameras and lenses here at The Phoblographer. And while it may look like fun, it’s hard work. We’re analyzing and focused on the camera more so than the fun side of photography. We do all of this on top of our own professional photoshoots too. How do we unwind from doing what we do and what cameras do we use in our personal lives for fun? Join us on our live show to see what members of the review team use when we want to go out and just have fun with photography. You might be surprised by our choices.

A Closer Look at the Prism FX filters: We’re bored in the pandemic. So, EIC Chris Gampat decided to purchase a number of these filters. On recommendation from a friend, he spent a lot of money on them. He’s finding that they deliver a whole lot so far. These filters give the look Chris has wanted for a very long time from his lenses. It’s easy and very fun to play with them. In this episode, we’re going to go over a few of them and show what they’re capable of doing. Who knows, you’ll probably find a way to spice up your photos!

About Pro Camera Reviews

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

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.

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.

Third-party lenses from Sigma and others add so much to the industry.

It was just the other week when we outlined what we wanted to see from Sigma in the coming year. We talked about how we looked forward to Canon RF and Nikon Z mount lenses. We even pleaded with Sigma for new Foveon based cameras. Well, it looks like our prayers have been received. Sigma CEO Kazuto Yamak talks about lenses and cameras and what direction the company will be taking going forward in a new interview. Just how important are players like Sigma and Tamron to the industry? Let’s talk about that.

The interview Sigma’s CEO, Kazuto Yamak, with ICAN Management Review is eye-opening. Entitled ‘The Path of the Little Samurai,’ the piece talks about why Sigma has waited so long to make RF and Z mount lenses. They give their opinions about the photography industry and when they think the market will settle. They even talk about cameras and how they are still working on bringing new Foveon sensor-based cameras to the market.

Sigma Is Playing the Waiting Game

In the case of lenses for Canon’s and Nikon’s Mirrorless systems, Kazuto Yamak stated that they wanted the systems’ user base to grow before making lenses for them. Sigma now sees value in the platforms, and because of this, lenses for these mounts are a possibility. This should be music to the ears of Canon and Nikon fans. The current cost of first-party lenses keeps many photographers from picking up Canon’s and Nikon’s Mirrorless cameras. I’m still hoping that one day Fujifilm allows Sigma and Co. to create lenses for X mount cameras too. Fujifilm has nothing to be scared of; their lenses are great. A little competition never hurt anyone. At the end of the day, I guarantee more people would look Fujifilm’s way if they opened up their AF systems to others.

As for new Sigma cameras with Foveon sensors (something the stale camera market needs badly), Kazuto Yamak says that Sigma wants to control the entire workflow between the camera and lens. Sigma is indeed working on new Foveon based cameras. A Full-Frame L mount camera with a Foveon sensor mated to Sigma’s newest DG DN lenses? Yes, please! That’s a camera that would really shake up the market. Make it happen, Sigma. Variety is the spice of life, and the photography industry certainly needs some spice.

Third-Party Manufacturers Are the Photography Industry’s Glue

The heading of this section says it all, and it really is true. Companies like Sigma, Tamron, Rokinon/Samyang, Lensbaby, and others keep first-party manufacturers on their toes. These companies continually make lenses that put some first-party options to shame, and they keep their products affordable. There have been many times in my career when I have needed a new lens but simply couldn’t afford the first-party options. The great thing is that I didn’t have to ‘settle’ because I knew that the third-party options were just as good or better than lenses from the likes of Canon, or Sony. I know I am not the only photographer who has to look toward third-party options. Honestly, if it wasn’t for the Sigma’s and Tamron’s of the world, we could simply be priced out of the industry.

So, just how important are these players? They’re everything. When some photographers use the term ‘third-party,’ they use it in a derogatory way. It’s like they believe the lenses aren’t good enough, or the photographers are too good for them. That’s a real shame. Sigma, Tamron, Zeiss, Rokinon, and others have done more for the photography industry than many people give them credit for. Their continued research, development, and lens innovations have driven the industry forward. They’ve also helped many photographers keep things together. We would be in a much worse place without them.

How do you feel about third-party lenses. Do you lean towards them or will you only use first-party options? Let us know in the comment section below.