New ASUS Ryzen, Intel-powered PCs, and a new monitor with a unique feature will be released early in 2021.

We talk a lot about new cameras and lenses, but we seldom discuss the importance of your editing rigs. With cameras becoming more powerful and file sizes becoming bigger, having a pretty beefy PC is important. Having color-accurate monitors is also vital if you want your work to look its best. CES 2021 is virtual this year, but it doesn’t stop us from looking at the new gear that will be arriving. ASUS is looking to continue helping photographers and creators with new PCs. There’s even a new monitor that should help speed up editing as well. Join us after the break for all the details.

CES (the Consumer Electronics Show) has been one we’ve looked forward to for years. However, due to Covid-19 and the ongoing pandemic, this year’s event is all digital. Still, that doesn’t mean you have to miss out on the announcements. If your current PC isn’t cutting it anymore, or if you need a top of the line display, ASUS believes they have what you need. Indeed, a few of their new computers are squarely aimed at creators, and they look pretty tasty. Let’s take a closer look.

ZenBook Pro Duo 15 OLED (UX582)

We have reviewed Zenbooks in the past. ASUS’s flagship laptops have come a long way since then, though. The new ZenBook Pro Duo 15 with a 15.6′′ OLED display can be maxed out with a high-performance Intel Core i9 processor, an NVIDIA GeForce RTX 3070 laptop GPU, and up to 32 GB RAM. With specs like this, the Zenbook Pro Duo 15 should make light work of demanding workflows. Throw in the 14-inch 4K UHD ScreenPad Plus, which has an improved brightness of 400 nits, and you get a creator’s dream machine. Both displays support the latest 4096-pressure-level devices, including the bundled ASUS Pen. You’re also going to get ultrafast storage with up to a 1 TB PCIe 3.0 x4 SSD. This is the first ZenBook Pro with NVIDIA GeForce RTX 30 Series laptop GPUs. These GPU’s offer acceleration for ray tracing, artificial intelligence, and video encoding. Available in April.

VivoBook 14/15 and ASUS Zen AiO 24

If you’re looking for a new PC that’s more affordable but still capable of doing a great job when it comes to photo editing, look at the VivoBook line. The new VivoBook 14 and VivoBook 15 both deliver enhanced productivity with Ryzen 5000 U-Series Mobile Processors. They can also come with up to 16 GB of DDR4 memory. Then there are dual-storage options with up to a 512 GB PCIe SSD and a 1 TB HDD. Finish it off with ultrafast Wi-Fi 6 for superb all-round performance. These VivoBook’s also feature a three-sided NanoEdge FHD display. This provides an 85% screen to body ratio for immersive viewing, with wide viewing angles and exceptional color reproduction for vivid visuals. Available from February.

There’s also a new 24′′ ASUS Zen AiO. Powered by the latest Ryzen 5 processors, this desktop PC is for those who want a top-quality PC that stays in their office or studio. The new AiO Zen features an elegant new look. You’ll also find an off-center metal stand and fabric-covered front-firing speakers that are certified by Harman Kardon. A built-in HD camera (with a privacy shutter) and array microphone are included for seamless video calls. The 23.8-inch HD LCD NanoEdge display offers a 93% screen-to-body ratio for immersive visuals. Available in early 2021.

ASUS ProArt Display PA148CTV

The new ASUS ProArt Display (PA148CTV) is a 14-inch FHD IPS portable monitor with an anti-glare panel. This display features a capacitive 10-point multitouch panel. ASUS says the display has been designed for creators and that it features the ASUS Dial and Virtual Control Panel. Still, we’re not sure if this dial is a gimmick or if it will actually help speeds things up. These two features should provide productivity-enhancing shortcuts and programmable hotkeys that work with Photoshop, Lightroom, Premiere Pro, and After Effects. The ASUS ProArt displa...

Don’t let the size fool you; the lightweight Sony 35mm f1.4 GM captures high-end images.

Wide apertures create spectacular bokeh but cumbersome lenses. The newly launched Sony FE 35mm f1.4 GM defies the norm, weighing in at only a touch over a pound. A lens that just fits into the palm of my hand, the glass mixes an exceptionally bright aperture and near-perfect sharpness at a low distortion focal length. The result? Excellent images that capture a scene yet deliver the soft backgrounds typically reserved for longer lenses.

While nearly twice the weight of Sony’s f1.8 of the same focal length, Sony’s rendition of the f1.4 35mm is roughly 20 percent lighter than Sigma’s for the same mount. The full-frame E-mount lens also weighs less than similar lenses from Nikon, Zeiss, Canon, and Tamron. The tug on the neck strap from this lens felt little more substantial than a cheap, lightweight DSLR and kit lens. Yet, the images it captures feel anything but lightweight. I spent a weekend shooting landscapes and portraits with the Sony FE 35mm f1.4 GM and here’s what I found.

Pros and Cons

Pros

Lighter than competing lenses

Fits in the palm of my hand

Spectacular images

Weather-sealed

De-click aperture ring

Cons

Pricey

Some photographers won’t like the bokeh.

Gear Used

I spent four days shooting landscapes and portraits with the lens mounted to a Sony A7R IV. I also used a Sony Tough 32 GB Class 3 SD card. The sample photos were shot without filters, both with and without the included lens hood.

Sony 35mm f1.4 GM Tech Specs

Taken directly from Sony, the Sony 35mm f1.4 GM lists these specs:

67mm filter thread

76mm by 96mm

524 grams

2 XA elements

1 ED element

11 aperture blades

f16 minimum aperture

Nano AR II and a fluorine coating

Dust and moisture-proof

14 elements in 10 groups

XD linear motor (electro-magnetic and frictionless, one focus group)

0.27-meter minimum focus distance

.23 maximum magnification

Ergonomics

Despite the wider aperture, the Sony 35mm f1.4 GM fits in the palm of my hand. While it’s no pancake lens, the size is impressive for the f1.4 aperture. It will take up roughly a 3.7-inch slot in a camera bag. What’s even more impressive, however, is the weight. It scales 18.4 ounces. The lens was comfortable to carry, didn’t pull on my neck, and didn’t risk added camera shake. By comparison, Nikon’s 35mm f1.4 weighs 21.2 ounces, Zeiss’ 22.2, Sigma’s (Sony E-mount) 23.4, Canon’s 26.8, and Tamron’s (Nikon mount) 28.4. While the lens will feel heavy for photographers stepping up from an f1.8, it’s impressively light for an f1.4.

The control closest to the mount is an aperture ring. The aperture ring is nicely labeled. Each setting adjusts with a firm, tactile click, which helps you feel the settings change rather than just see them in the viewfinder. Resting near the right hand is an aperture de-click switch that will turn the tactile feel off. With the switch off — a setting often favored by videographers — the aperture ring turns smoothly with no clicks or hesitations.

Sandwiched between the aperture and focus rings, the lens houses a single button. Near the G logo, the button is set by default to lock the AF and be adjusted in the custom settings as an AF On control. Under that button, a switch swaps between auto and manual focus. The focus ring sits at the very end of the lens and has a smooth-as-butter feel.

The lens front has a 67mm filter thread. A short lens hood is included. The hood has a small locking button so that the hood can’t rotate and accidentally fall off.

Build Quality

As part of Sony’s high-end G Master series, the lens is sealed against dust and moisture. I sprinkled the lens with a handful of snow and, even once melted, the lens was unfazed. I can’t say the same for the uncovered hot shoe slot. Always use a hot shoe cover when shooting with a Sony in inclement weather. The review sample body did not ship with one.

While the lens i...

A beauty dish is an excellent tool for photographers who want a soft but punchy look.

We’re pretty sure that the work of most photographers these days is done with a beauty dish of some variant. They are now some of the most popular light modifiers out there. Because of their design, they deliver the best of many worlds. Photographers adore umbrellas for their inefficient light spill. Meanwhile, softboxes are loved for their efficient and soft approach to lighting. But beauty dishes make the best of both worlds. Just like all light modifiers, the bigger they are, the better they can be. So let’s understand a bit more about why they’re so awesome.

The Science Behind the Light

Our cheat sheet infographic explains how beauty dishes work. But here’s a better understanding.

A flash goes in the back

The flash head fires light at a reflector

The reflector spreads the light around the dish

The light that has bounced off the reflector and the dish interior finally exits the beauty dish

This gives you a very soft light. We’ve got a lot more on this over here at this tutorial.

“Beauty dishes have one thing in common with all other light modifiers: the larger they are the softer the light output can be. They’ve all got this very dish-like shape. Some are more rounded and off the sides in design (like an umbrella) while others are more about being very direct and forward.”

A quote from Lighting Basics: How to Light Portraits with a Beauty Dish

Using a Beauty Dish

Beauty dishes are fun to use. And quite honestly, all depend on the shape of the person. It also depends on the light you want to deliver. Typically you should start with the middle of the light above the eye level, then have it face down towards them a bit. Take a look at the area the beauty dish is covering. Sometimes it can give off a harsh light that’s really beautiful. The shadows will be dark, and the subject will look really good. Some other tips include positioning the light at a 45 degree or 30-degree angle between you and the subject.

“A beauty dish is in some ways like a softbox and an umbrella. They take light, bounce it off of a plate, let that light reflect back towards the subject and typically don’t control it. Adding a grid or a diffusion sock will target it more, but they’re not usually used this way.”

A quote from Umbrella vs Softbox vs Beauty Dish: Unraveling What Light Modifier to Use

Our favorite beauty dishes are the small collapsible ones like the RoundFlash Dish. They can be put on a light stand pretty easily with a little hot-shoe flash with a radio. That’s sometimes just enough light, and you don’t need anymore. The only significant problems with beauty dishes are their shape. Generally speaking, I’d only use them for lone subjects. I’ve never used them for couples, and I don’t think I ever would unless they’re huge. Umbrellas do a much better job at that. Softboxes can work well too if they’re big enough. But beauty dishes work a bit like umbrellas if you take off the diffusion sock on the front. You’ll need to adjust the power output then.

The Phoblographer’s Cheat Sheets are powered by VisMe.

My eyes widened with disbelief when I was this Fujifilm Instax SQ6.

I think we can agree that the cool thing about vintage camera lust is the thrill of the hunt. You’re on the lookout for something cool and unique that no one else has. When you find it, you’re thrilled. And that’s the case right now with this unique Modified Fujifilm Instax SQ6. It’s available on eBay for the bargain price of only around $450. Most importantly, it does what so many of us want: manual exposure with an Instax camera using good glass!

The camera is listed by seller jonabalagta0. We’re not sure if they modified it themselves, but we’re very sure of the results. Their listing claims sharp images, and that’s very true! They cite that everything is manual. Of course, that means the focus, the aperture, the shutter speeds, etc. Instax film is set to a flat ISO 800, so that’s not going to change. The lens has the shutter and aperture built into it. I’m not exactly sure how you’d use it. That’s because the Instax SQ6 had an electronically coupled shutter. Still, it’s surely capable.

The Fujifilm SQ6 is popular since it uses the square format. But it’s also just the right size for most users. Here’s what we said in our review:

“For only a bit less than $130, you’re getting a solid camera. I like it. It’s plain. It’s everything most people will need. I really wish there was an option with full manual controls, but there isn’t. However if you just want something for fun, the Fujifilm Instax Square SQ6 is the way to go.“

A quote from our review

Indeed, the Modified Fujifilm Instax SQ6 seems like a fine camera. My biggest problem was the soft, plastic lens. Of course, some would love that. It’s very hard for someone to look bad with Instax film cameras because of the plastic lenses. Plus, the Instax Square format is a bit larger than 6×6 medium format. Together, they’re great for portraits. If you put a glass lens on there, the sharpness is going to come out. In that case, don’t stop down a whole lot. Let the beautiful bokeh and out of focus areas do their thing!

If you’re shooting landscapes, then this is going to be fantastic. Stop the lens down, focus out, and have fun!

So, why would you want this? Well, there’s a ton of reasons. There aren’t many manual Instax options on the market. MiNT makes the only ones. Lomo has an Instax back for large format cameras. And you’ll have something completely different than what most people have. Better yet, this is affordable. Shooting with this lens and camera lets you do so much that you can’t with standard Instax cameras. Most of all, you’ll have new creative options. Have you ever asked someone for their portrait? If you want to, it’s nice to offer them an Instax print as a thank you. Plus, they remember you better that way. Of course, there’s no real reason to do that in a pandemic. But you can do some gorgeous early morning landscapes!

We encourage you to check this out. And the price is low enough where it’s easy for you to go grab it without any hesitation. If you don’t like it, you can probably flip it for more money.

All images are from the listing by jonabalagta0

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I’m not going to lie; I have a major soft spot for ultra-wide zooms. Ultra-wide zooms force you to look at your surroundings in a completely new way, and you’ll have untold amounts of fun doing it. Trust me when we say you need one in your arsenal. There are many ultra-wide zooms on the market that are cheaper than the lenses we have selected here. I have used them all, and they’re great. However, if you want to capture images that absolutely sing with every click of your shutter, these are the five premium ultra-wide zooms you need to take a closer look at. Whether you want to capture landscapes, cityscapes, architecture, astrophotography, or more, you will not be disappointed.

Canon RF 15-35mm f2.8 L IS USM

In our review, we said:

“The Canon RF 15-35mm f2.8 lens is going to quickly become just as important to Canon’s RF series cameras as the EF 16-35mm f2.8L became to their old school DSLR’s. It’s wonderfully constructed, the image output is outstanding, and it’s just so darn fun to shoot with. Wide-angle lenses force you to capture the world in a completely different way than other lenses, and that’s what makes them so great to use. I truly believe this lens is a must-have for any photographer who owns an RF mount camera.”

Brett Day – Gear Editor

Buy now: $2,299.99

Nikon Z 14-24mm f2.8 S

In our review, we said:

“The Nikon Z 14-24mm f2.8 S is a fantastic lens. It’s one of the first Nikon Z lenses that truly made me say, “Wow.” The Nikon Z 14-24mm f2.8 S is a genuine contender for the top dog award in this lens category. It’s smaller and lighter than options on other full-frame platforms. It has stellar image quality, it controls distortions, flares, and CA very well, and it renders nice colors and interesting yet pleasing bokeh. This is an incredibly fun lens to use and it’s hard to fault.”

Brett Day – Gear Editor

Buy now: $2,396.95

Sony 12-24mm f2.8 GM

In our review, we said:

“The faults with this lens are really so minor that this lens deserves five out of five stars. Distortions are well controlled, chromatic aberrations are almost non-existent, images are sharp and have natural colors, and the lens is built like a tank. At $2,998, it’s not cheap, but that’s the price you pay for innovation when coupled with a G Master designated lens.”

Brett Day – Gear Editor

Buy now: $2,998

Pro Tip: These ultra-wide zooms are so much fun, you’ll be using them all the time. This means that your lens will get dirty quickly. These premium ultra-wide zooms aren’t cheap, so you’re going to want to keep them clean. 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 affordable and has everything you need.

Olympus 7-14mm f2.8 PRO

In our review, we said:

“This lens is absolutely incredible. It handles distortion well, it’s sharp, has great colors, focuses quickly, has a small form factor that makes it a true companion lens, and is so very capable for many photojournalists. It’s also great for landscapes, food, interior, and oh so much!”

Chris Gampat – Editor In Chief

Buy now: $1,199

Fujifilm 8-16mm f2.8 R LM WR

In our review, we said:

“The quality of the images are sharp, crisp, well-colored no matter what film simulation you use, and just overall gorgeous. Throughout my time with the Fujifilm 8-16mm f2.8 R LM WR I created some images I ended up really, really liking.”

Chris Gampat – Editor In Chief

Buy now: $1,999

This storage tech from Kingston is great, but it seems like the future of photo editing and creating will be pricey.

New technology is always fantastic. We have been spoiled quite a bit in the photography industry over the last few years in this regard. There’s no doubt about that. More powerful cameras with larger sensors than ever before are here, and they’re relatively affordable. However, we often overlook our computers and just how powerful they have to be to deal with the files that these cameras create. Dealing with large file sizes from photography and cinematography can be tricky. Still, Kingston is working towards dealing with this issue. Their new Ghost Tree PCIe 4.0 NVMe promises blazing fast read and write speeds (7,000MB/s), but at what cost? Join us as we talk about the new drive and discuss just how expensive photo editing may become in the near future.

As you know, CES 2021 is currently in session. This year’s show is an all-digital affair due to the ongoing pandemic. Still, that isn’t stopping manufacturers from showing off their new goods. Kingston, a memory and storage solution leader, has just announced the fastest PCIe Gen 4.0 NVMe to date. Codenamed “Ghost Tree,” this new blazing fast NVMe will have read and write speeds up to 7,000MB/s. The new drive will have storage capacities ranging from 1TB-4TB. This announcement will no doubt please photographers who have to deal with large file transfers in their current workflows. We’re also sure this news will be music to the ears of cinematographers as well. However, one thing that has not been announced by Kingston is the price of this new NVMe.

Get Your Wallets Ready For Kingston

Relatively modest PCIe 3.0/4.0 NVMe drives in the 1TB-4TB range cost anywhere from $100-$900. My guess is that this Kingston drive will be pricey. I built my PC for $1,100 in mid-2020. My specs are Intel i5 10400, 32GB DDR42666 RAM, 1TB PCIe NVMe, Radeon 5700XT GPU. So, with that in mind, the potential price of the Kingston Ghost Tree NVMe is eye-watering. In fact, the cost of having even a decent editing PC or Mac is alarming. My current build is no slouch. However, throwing larger RAW files at it will make it stutter, and that’s a problem as I will soon have to do some upgrades to deal with larger RAW files.

Still, the Kingston Ghost Tree isn’t targeted at those who do a small amount of editing and transfers. It’s most definitely for creators who need to be as efficient as possible when dealing with vast amounts of data. However, with rising file sizes, it won’t be too long until the speeds that the Kingston Ghost Tree offers will be needed by all. Cameras like the a7r IV, the Canon EOS R5, Nikon’s D850, the Fujifilm GFX 50R, and GFX 100 already produce massive file sizes. Chances are that in 2021 we’ll see cameras with even larger sensors and even bigger files. Get ready, folks. If your current editing PC is struggling, you may need to plan to upgrade now. Head on over to Kingston’s official website for more information about the Ghost Tree PCIe 4.0 NVMe and other products that have been announced at CES 2021.

The Fujifilm X30 was the last, nearly perfect compact point and shoot camera with a zoom lens.

I’m not sure how many of you remember the older Fujifilm X30 camera, but in my eyes, it was the last good compact camera with a zoom lens. Sony has the RX10 series of cameras which are great, but they’re pretty big. The Fujifilm X30 was, in my eyes, something very unique. Similar to the Panasonic LX100 series of cameras, the Fujifilm version was smaller and used a smaller sensor. But I think Fujifilm needs to bring this series of the camera back with some significant updates. Considering all they’ve done with the X100 series, I’m sure Fujifilm could create a new series of travel camera that passionate photographers will fall in love with all over again.

Weather Sealing

We are now in an age where weather sealing is pretty mandatory in a camera. Fujifilm has done it with most of their lineup, and it only makes sense for them to do it with a Fujifilm X30 successor. Weather sealing will ensure that their cameras continue to work in the travel environments that people usually buy them for. It will ensure durability when people go about their daily lives. And most of all, it will keep their customers happy. Why not buy a camera that just works reliably over and over again? If the Fujifilm X30 successor were to come back, then it would need weather sealing to stand out from the pack. It would be up against options from Canon, Sony, and Panasonic. And that’s a big part of how it would differentiate itself and win over customers.

An APS-C X Trans Sensor

The Fujifilm X30 had a tiny sensor. Like, it was smaller than a 1-inch sensor. It’s time for APS-C to come forward a bit more and for Fujifilm to create a camera with an X Trans sensor, a small zoom lens, and some serious image quality. Fujifilm has always been known for its prime lenses, but a little travel zoom with an EVF would be so incredible! Fujifilm shouldn’t do a 1-inch sensor as everyone else does that. A compact, APS-C sensor would so much better.

A Fast Zoom Lens

Let’s go into this a bit more. The Fujifilm X30 successor doesn’t need the furthest zoom range. A 24-70mm equivalent is fine as long as it has a fast aperture range throughout and is collapsible. Fujifilm doesn’t have much like this already, but I think that they can create it. I’m not asking for a fixed aperture, as I totally understand that it would need a variable aperture. But this, combined with some image stabilization would be something so many consumers would want. Keep the retro aesthetics too!

Maybe a Bit Larger

The Fujifilm X30 was pretty small, and that helped make it awesome. Making it a big larger could make it seem like a smaller version of the X100 series. And that’s fine. In fact, that would probably make people buy even more of them. Fujifilm doesn’t really have lots of options to compete in the point and shoot market. But as a working journalist, sometimes that’s all that you need. This could be an every day and an everything camera. Their image quality is undoubtedly up to snuff. Why not do it?

With the SanDisk Extreme Pro Portable SSD being announced today, I’m scratching my head a bit.

It’s CES 2020. And that means that new tech is being announced. The photo industry isn’t doing a whole lot. But everyone else is. Take today’s latest perplexing announcement. The SanDisk Extreme Pro Portable SSD lineup has been popular and respected for years now. We’ve tested the predecessors, and they surely do the job you need. But they’re surely frustrating in the long term. Maybe I’m spoiled by LaCie’s rugged RAID drives. However, it’s baffling to me why the SanDisk Extreme Pro Portable SSD isn’t adding this one crucial thing for photographers.

SanDisk Extreme Pro Portable SSD Specs

These specs have been summarized from the Western Digital website.

IP 55 rating, which is far better than most cameras. According to the association’s website, “An IP55 rated product is protected against dust ingress that could be harmful for the normal operation of the product but is not fully dust-tight. It is protected against solid objects and water jets projected by a nozzle (6.3mm) from any directions.”

Promising a read and write speed of 2000 megabytes a second

It can be dropped from around 6 feet high

Aluminum chassis

Password protection

USB C

USB 3.2 Gen 2 x 2

It’s a little longer than 4 inches and slightly wider than 2 inches. These things are typically very thin.

They can have anywhere from 1 terabyte to 4 terabytes of storage.

We’re not sure about the price point yet.

It’s Missing This

Make no mistake. I think that the SanDisk Extreme Pro Portable SSD lineup is a fantastic idea. And I also genuinely believe that they’re handy tools, if not a bit annoying. Here’s the thing: photographers have to bring around enough cables and dongles. Lots of us still use Apple devices. Sure, there is a fair share of you who use PCs and read this site. But do we really need more cables with us? On a standard business trip, I’d bring a charging cable for my phone, one for my watch, one for my computer, one for my camera, a surge protector with an international converter if needed. one cable for my beard trimmer, another to keep my headphones charged, another for a hard drive, etc. But why? This is the age of superfluous cables and dongles that Apple and the others have left us with.

That’s bringing me finally to my big point. SanDisk, please build a cable into this device. I’ve asked for you folks to do that in previous coverage. Besides the performance specs internally, hard drives are pretty much all the same devices. Of course, that’s usually based around the genres. My Drobo 8D doesn’t work like the LaCie Rugged Raids or the SanDisk Extreme Pro Portable SSD. The SanDisk is really hitting home on portability. But they could’ve done a better job by making it a bit thicker and having a cable or sliding male USB plug inside. If they kept this in addition to the USB port, photographers would have more versatility. They could connect to a USB-C device or others with an optional cable.

Arguably though, the SanDisk Extreme Pro Portable SSD are some of my favorite options. LaCie’s drives in the past few years have failed me so much. They’ve caused an unnecessary amount of mental anguish during some of the busiest seasons. But the SanDisk drives don’t do that. I’ve never had one fail on me, and that’s wonderful.

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Are you ready to take the next steps in your portrait photography journey by adding a flash or a monolight to your workflow? If so, congratulations! We commend you for wanting to learn a new skill. Many photographers think mastering flash photography is hard, but we’re here to tell you that’s simply not true. Adding external lighting to your workflow is an easy way to add drama and extra dimension to your images. The best part is you don’t have to spend a fortune to get started if you don’t want to. We have rounded up some of our favorite lights that we have reviewed over the years and have put them in one place for you. These lights are great for portrait photography beginners and even for pros.

Interfit Honey Badger Monolight

In our review, we said:

“There isn’t a whole lot to complain about the Interfit Honey Badger monolight. It’s small, compact, can be used easily as a constant light, has enough flash output for most photographers, comes with a softbox, and has consistent light output. What more can a studio photographer ask for?”

Chris Gampat – Editor In Chief

Buy now: $367.98

Flashpoint eVOLV 200 Pro TTL

In our review, we said:

“With the Flashpoint eVOLV 200 Pro, you’re able to bring studio-quality strobe lighting on location in situations that traditionally would’ve limited you to speedlights. This is very helpful when shooting solo or with a skeleton crew.”

Buy now: $349

Pro Tip: Using flash and off-camera flash can seem for portrait photography complicated. However, you need to remember just a few things to create images that will wow your models and clients. The biggest thing to remember is to expose your image for the background. Once you have found the perfect settings, you then adjust the flash’s power output to illuminate your subject. Still, you’ll find many more hints and tips in this awesome tutorial from Scott Kelby. The best part is that this guide is under $20!

Profoto B10

In our review, we said:

“The Profoto B10 deserves an Editor’s Choice award. It’s fairly priced when you consider what you’re paying for: reliability, a small size, power, and peace of mind. I’m perfectly okay with that as a working professional journalist who needs to ensure that things get done in little time. The Profoto B10 is for a photojournalist, but it can also work well for weddings, on-location portrait shooting, editorial work, etc.”

Chris Gampat – Editor In Chief

Buy now: $1,695

Flashpoint Zoom Li-on X R2 TTL

In our review, we said:

“With just 75 watt-seconds of light output, the Flashpoint Zoom Li-on X R2 is obviously nowhere near as powerful as traditional studio strobes. This doesn’t mean you won’t be able to produce pleasing images with it, though. As long as you understand how the size and intensity of light work in photography, you’ll be able to create some pleasing results using the Flashpoint Zoom Li-on X R2 as a light source.”

Buy now Canon: $225

Purchase now Fujifilm: $249

Buy now Nikon: $229

Purchase now Olympus/Panasonic: $249

Buy now Pentax: $249

Get one now Sony: $259

Flashpoint XPLOR 400 Pro TTL Rechargeable Monolight

In our review, we said:

“This light is honestly just about perfect for every photographer. Whether you’re a studio shooter, or if you do a lot of work outside, this monolight will not let you down. With enough power to shoot in full sun, this light will open many doors for photographers who don’t want to drop four figures on lighting equipment. The build quality is excellent overall, the battery life is fantastic, and its consistent performance means you can just shoot and don’t have to worry about what you’re going to get from it.”

Brett Day – Gear Editor

Buy now: $584

The ring flash is one of my favorite tools as a photographer, and it can surely become one of yours too.

There used to be a time when I used a ring flash like crazy. I loved it, and to be honest, I still do. It gives the look and feel of the direct flash so many photographers love while adding more pop to the image. It provides a lot more even lighting too. And it’s desirable. I mean, look at how many people love taking selfies with ring lights. Why wouldn’t you like a ring flash? If you think it’s tacky, I’d recommend you give it a shot and embrace it for what it is.

What Makes a Ring Flash So Special?

Ring flashes were tools initially designed for dentists. They helped a dentist get nice, even lighting on a subject. Then it became popular with macro photographers. Eventually, it became even more significant and began to be used by portrait shooters. But it’s far more special than other light because it does something no other lights can do: it creates a ring-shaped catchlight in the eye. Arguably, that can be done with an octabank, an umbrella, or a beauty dish, but it won’t be as pronounced as it will with a ring flash. A ring flash provides a distinct look that’s very valued by folks.

Should you use it all the time? I’m inclined to say no. It’s best for portraits of a single person. But it could be used at a party for sure to achieve a particular look.

What Is Ring Flashes Used For?

These days, I honestly don’t see them used very often, but ring flashes are used to give a subject pop. The catchlight in the eyes is very attractive. Ring lights are used by influencers and by anyone that wants to take selfies often. The light is even and beautiful, and it helps remove flaws. And for you to use a ring flash, you can get a similar look but with a bit of pop and harshness. Imagine the Terry Richardson, American Apparel, Amy Lombard look to your images. (I hate putting wonderful Amy’s name in the same sentence as those other two.) Still, the aesthetic is similar when it comes to lighting.

How to Use a Ring Flash

Using a ring flash is pretty simple. Lots of photographers try to find a muted, shadowless look to the photos. That’s the more traditional approach. But the newer approach is to make the flash output a bit harsher and more direct. You want the harsh shadows. You also want that signature pop in the eye. Primarily, you shoot with it firing directly at your subject with the ring around the lens. And that’s it. You set the lighting output all by yourself. Dedicated ring flashes are much better than hot shoe flash modifiers. Don’t even bother with the modifiers these days.

The best part about using a ring flash is that your lighting will stand out. There’s so much of the off-camera light that’s used these days and not enough of something different. However, while most laypeople won’t understand an umbrella or a softbox, they’ll totally understand a ring light. If you talk to them about a ring flash, they’ll probably also be a bit more excited to shoot with you. Just be sure to give them breaks.