The Phoblographer

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Wow, we’ve almost made it to the end of 2020. What a wild year this has been. Still, even with everything that has been going on, we were blessed with lots of new cameras. And you, our readers, have been busy adding new gear to your collections. If you didn’t know, we recap what the most popular cameras have been at the end of every month. These roundups are compiled based on how many units of each camera our readers have purchased. Now, we’re ready to show you the most popular cameras of 2020. Some of the most popular cameras will come as no surprise. Still, there are some fascinating inclusions on this list.

There’s a good mix of Mirrorless and DSLR cameras in this roundup of most popular cameras. You’ll see that Micro Four Thirds, APS-C, and Full-Frame cameras have all been selling well. There are two clear favorite manufacturers, though. Surprisingly, the most popular cameras are not all of the latest and greatest models. In fact, quite a few of the most popular cameras are now a few years old. Jumping up to the newest offerings isn’t something that many of you want to do. The list is presented to you in order of popularity, with the best selling camera listed first. Check out the most popular cameras with our readers below.

Fujifilm X100V

In our review, we said:

“The Fujifilm X100v is the closest thing that we have to a perfect point and shoot on the market. It’s got great autofocus capabilities, wonderful image quality, weather sealing, a revamped lens, and a simple interface. What more could you need?”

Chris Gampat – Editor In Chief

Buy now: $1,299

Sony A7 II

In our review, we said:

“The Sony A7 Mk II seems to be built better than the A7, but indeed the same level of splash and dust resistance as the A7 is present. The camera overall feels very solid, and we took it out for a walk in the rain where it held its own like a pro.”

Chris Gampat – Editor In Chief

Buy now: $898

Sony a7 III

In our review, we said:

“During my testing with the Sony A7 III, I found the autofocus to be positively fantastic. The Sony A7 III, along with the Sony 55mm f1.8, were able to focus in near darkness. This is great for photographers who want to capture moments with no autofocus assist lamp coming on because the Sony A7 III did just that.”

Chris Gampat – Editor In Chief

Buy now: $1,698

Fujifilm X-T3

In our review, we said:

“The price tag is actually very reasonable when you consider everything that Fujifilm has packed into the X-T3, and it’ll even give Full Frame mirrorless cameras like the Sony A7 III a run for its money with the X-T3 having slightly higher resolution power (26.1 MP in the Fujifilm X-T3 vs 24.2 MP in the Sony A7 III).”

Paul Ip – Former Reviews Editor

Buy now: $999

Sony A7R IV

In our review, we said:

“The Sony A7R IV is a remarkable, Swiss army knife of a camera that comes packed with features that will benefit many professional photographers.”

Paul Ip – Former Reviews Editor

Buy now: $2,998

Sony a6000

In our review, we said:

“At the time of writing, the Sony A6000 hands down has what could arguably be called the best autofocusing system out there. While it isn’t the fastest, it by far is the smartest and the most responsive–putting some DSLRs to shame in our tests for sure.

Chris Gampat – Editor In Chief

Buy now: $498

Canon EOS M50

In our review, we said:

“The JPEGs from the Canon M50 are very good. With confidence, you can beam them to your phone and then to Instagram. Personally speaking, I’m smitten with their monochrome rendition of images providing that you’ve also locked your white balance.”

Chris Gampat – Editor In Chief

Buy now: $649

Sony A7r Mk II

In our review, we said:

“When it comes to image quality, it puts the Canon 5Ds to shame. Beyond this, there is the spot on AF system, WiFi/NFC, 4K video, 5 fps, and a great overall experience when i...

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Our weather sealing tests tend to go one way or another with manufacturers. They’ll say that things are dust-proof, splashproof, moisture resistant, debris-resistant, etc. And when that happens, we hold them to their marketing claims. That’s what anyone should do. But every now and again, we get folks who say that the cameras or lenses would probably be fine either way. This recent test from Fujifilm’s Brandon Remler is proof of just that. In our Fujifilm XS10 review, Gear Editor Brett Day didn’t take it out into the rain or snow. The reason: It’s not claimed to be weather resistant. However, Brandon’s test outdoes even our own.

All images and the video are used with expressed permission from Brandon Remler. Please respect the fact that we got permission to share these. We always try to do what’s right, and we have for over a decade.

NYC and the surrounding areas recently experienced a very heavy snowstorm. Some places are reported to have gotten two feet of snow! So Brandon used this as a test to show off just how durable the Fujifilm XS10 is.

Brandon took the Fujifilm XS10 and put it on what looks like a table. He left it overnight during the recent blizzard. You should note that the Fujifilm 50mm f2 R WR is attached. That lens is weather resistant. In fact, Fujifilm’s WR lenses have survived major rainstorms and snow when we’ve gone out with them. For reference, the below image is what we did with the Fujifilm RF 30mm f3.5 R WR.

How Weather-Sealed is the Fujifilm XS10?

Brandon’s test put ours to shame, though. We’re actively using the camera and lens in the snow. But let’s take a look at what Brandon did.

Please click and watch the video below.

As you can see, the camera was completely covered in snow overnight. More than that, it was fully encompassed in ice too. Ice and snow covered the camera on the bottom, the top, front, and back. There is no protective covering on it at all. However, the hot shoe cover was in place. A hot shoe is a place where we’ve always known water can get in. But Fujifilm’s products are pretty solidly built.

Brandon uncovers the snow from the table. Then he gets to the camera. He digs the camera out, shakes it off, and powers it up. The Fujifilm XS10 turned on just fine. In fact, it kept taking photos too.

Professionally speaking, I’d never go ahead and recommend that anyone does this with their camera. It’s a great way to void your warranty. It’s not something that we’d ever say or test for either because they go against manufacturer claims. Lots of people wouldn’t dare take their cameras into the rain. But chances are that they can resist a bit of it for sure.

Further, we’d never recommend that anyone goes ahead and does this with their camera at home. But if your camera is weather-sealed, take advice from us:

Use a hot shoe cover. Personally, I barely do because I use flashes all the time.

Close the battery port door fully.

Make sure you’re using a weather-sealed lens with rubber gaskets at the mount.

Close the SD card port doors

Close all doors for ports like HDMI, USB, etc.

If the lens you’re using isn’t fully weather-sealed, attach a UV filter to the front of it.

The Fujifilm XS10 is available without a lens for $999.99. And for more, we encourage you to check out our full review.

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Instant cameras are always a ton of fun to use. Still, we’ve always wished that more instant cameras on the market offered full manual controls. MiNT believes this is important too. MiNT has been making instant cameras with manual controls for a while now. In fact, we’ve reviewed two of their previous cameras before: the MiNT SLR670-S and the MiNT InstantFlex TL70 2.0. And we loved both of them. Now, MiNT has a new Kickstarter campaign to bring their version of the legendary Polaroid SX-70 to life. MiNT’s version, the InstantKon SF70, is a full manual control instant camera that uses Fujifilm’s Square Instax film. We have to say that it looks fantastic and we’re super excited about it. Head on past the break for all the juicy deets!

MiNT’s Kickstarter campaign for the InstantKon SF70 has just gone live, and we have to say we’re pretty excited about it. After a decade of repairing Polaroid SX-70’s, the team at MiNT came up with the InstantKon SF70. This new camera contains the best features of the Polaroid SX-70, and it improves upon it with features for the modern-day photographer.

The InstantKon SF70 Takes Instant Cameras Up a Notch

The MiNT InstantKon SF70 keeps all the things we love about instant cameras and then takes things up a notch. They do this by including manual controls for aperture, shutter speeds, and manual focus. The camera also features handmade bellows, a 6-bladed lens design, a built-in flash, and a split image rangefinder that’s bright and very easy to use. The InstantKon SF70 is also for those who just want to pick up and snap away without messing around, thanks to its full auto mode. The camera uses Fujifilm’s square Instax film, which is readily available. Here’s a list of all the features:

Built-in flash for nighttime or fill flash

2.5mm audio jack for triggering external studio flash

A film eject lever lets you do unlimited multiple exposures

Light meter for detecting ambient light

LCD display for ND recommendations

B mode for up to 10-minute ultra-long exposures

Compatible with standard cable releases

Tripod socket for standard tripods

Multi-layer coated lenses

Incredible 5-year warranty

Unlimited Free Films program on Instagram

The camera is small too. With a width of 160mm, a height of 120mm, and a depth of 64mm, the camera is smaller than a paperback book. It also weighs just 679g (1.49lbs). If you buy the MiNT InstantKon SF70 you’ll also become a member of the Unlimited Free Films Movement (UFF): a lifelong program for SF70 owners. You can enjoy unlimited free films after you get the camera. That’s pretty sweet!

The Camera Market Is Calling Out for Innovation Like This

To say we’re pretty stoked about the MiNT InstantKon SF70 would be an understatement. It’s so refreshing to see a company innovate in the camera market. For too long, all we have been seeing is incremental updates to cameras that really don’t add up to much. However, MiNT has seen a segment with room to grow. They have taken a product and made it exponentially better. As mentioned above, they have done this with instant cameras before. We can honestly say we had more fun with those cameras than with many others. Not only are those cameras fun to use, but the image quality is also the best we’ve seen from instant cameras. It looks like the image quality from the new InstantKon SF70 will be just as great. Take a look at the sample images below.

If you’re just as excited as we are about the MiNT InstantKon SF70, head to MiNT’s Kickstarter page. There, you’ll be able to find out more information about the camera and info about pricing and shipping dates. We can’t wait to get our hands on one.

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“This was kind of breaking free from the monotonous life I was having due to the virus,” explains photographer Achuth Krishnan to us in an interview. “This shoot was done after almost four-five months of being stuck at home because of the pandemic. And I needed to get out and start shooting.” Indeed, Achuth joins the great list of photographers who found new ways to be creative in the pandemic. Best of all, Achuth did these multiple exposures with very little Photoshop. We asked him how he did it.

The Essential Photography Gear of Achuth Krishnan

Canon 1Dx Mark II

Canon 50mm f1.8 STM

Godox AD600 Flashes

Dazed and Expositio are two sets of images from a single shoot. Both were shot on the Canon 1Dx Mark II and the Canon 50mm 1.8 STM on a tripod and lit by two Godox AD600 Flashes. I have been using Canon gear for around 6 years now and I am comfortable and familiar with my camera system. So, whenever I set out to shoot something like this it is easy for me to set-up and play around with the camera settings without too much trouble.

Talk to us about how you first got into photography.

It was right after school, and I was about to start college. I had a lot of time on my hand, and I started off shooting pictures as a hobby. I met my mentor during that time. And then I started doing this more seriously, putting in more time and effort into making myself better.

What made you want to shoot portraiture?

I love meeting new people, talking and getting to know the subject, and portraying them the way they are. I strive to make those pictures look true to themselves and something they can show as their own.

These double exposures seem a lot different from the stuff you normally show on Behance. What made you want to try your hand at this technique?

I never shoot for platforms. I got out and shoot what I find interesting and upload them. This was just one of them. And I’m always trying to find interesting ways to shoot portraits.

How’d you go about doing this? Did you have a concept in mind to start? Did you shoot the portraits, then the layers and start stacking them in-camera?

I had a basic idea beforehand with a few reference images so that I could communicate with the model on what we would be shooting and the technique to be used during the shoot.

And I started off with a few simple portraits and then moved on to shooting the concept. Even with the references and ideas, almost half of it was improvised due to location limitations and the likes.

How did you explain to your model what the final results were going to look like?

I had a few similar images conveying the idea, ready at hand. It was easy as showing her what kind of images we would be shooting. And we have shot together in the past too, which makes the process of communication easier.

You seem to have a lot of contrast in dark and light here. Did that make this process easier for you?

I knew I had to have a lot of contrast in the dark and light because we would be having a busy foreground, and I wanted the attention to be on the model. This made the process tricky because I did not have a black backdrop and had to move around to get the desired black background.

What made you choose the specific color palette in these two sessions?

We planned on Yellow on dark and Brown on dark combinations. I chose yellow and brown because I knew we would be shooting in the dark, and I wanted to move away from the usual reds that are paired with the dark. I was playing around with the color schemes and did not restrict myself to anything.

How do you feel you’re expressing yourself creatively?

This shoot was done after almost 4-5 months of being stuck at home because of the pandemic. And I needed to get out and start shooting. This was kind of breaking free from the monotonous life I was having due to the virus. This was one of the first shoots I did...

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My name is Kent Corley. I’m a fairly grizzled, middle-aged photographer that first found a passion for still photography in the last days before the digital revolution started. Before I knew what street photography was or what the possibilities of the medium were, I was wandering streets at home (North Carolina) and abroad taking candids of people and situations that meant something to me. I can still recall the first three images I ever made that hinted at the idea that I was finally finding a medium that could help me express something I couldn’t otherwise. To finally feel like I might be reasonably good at something and have an interesting perspective was huge.

Later in the 90’s I was seduced by the business/financial possibilities of photography and fell into commercial/catalog and event work that paid quite well at the time. What I didn’t foresee was that to work on project after project after project that ultimately meant very little to me as a photographer would diminish my passion for the medium.

“As a lifetime southerner who finds himself at odds with the prevailing culture of The South, it’s a bit of a struggle to keep the cynicism and judgment at bay. I aspire to understanding and empathy over judgment and dismissal.”

In the 21st century, I find myself often grappling with the how and why. How to sustain yourself as a photographer and make images that mean something rather than just sending more static out into a world that is already filled with it. Now I’m back to bringing my own perspective to people, places, and situations that I find worth exploring. Often my themes are psychological and from a bit of a darker perspective – especially in 2020.

I photograph to find meaning, make connections, and elevate conversation (hopefully). I photograph to stay sane in a world I find difficult to make sense of. In the current situation, that means exploring my immediate environs more than ever. As a lifetime southerner who finds himself at odds with the prevailing culture of The South, it’s a bit of a struggle to keep the cynicism and judgment at bay. I aspire to understanding and empathy over judgement and dismissal.

For commercial work, I shoot Canon and Nikon primarily, but my personal work has migrated to the Fuji X series (XT3/XT1 with a variety of lenses) and vintage Polaroid SX-70. I use lights from Buff, Profoto, Speeedotron, and Godox and love to work in available light (this time of year in particular).

I got into photography because it gave me a license to explore. I was always into testing boundaries, and with a camera in my hand I could test them further and come back with a tangible document of the experience. Hopefully an artful one.

My have a myriad of photographic influences. David Alan Harvey opened my eyes once again in 2017 through a workshop I took with him in NYC. I was suffering from burnout and needed a new fire lit beneath me. I got more than I bargained for. I came away with a new passion for making personal work, printing and digging deeper for meaning and story. Beyond David, I deeply admire Fan Ho, Alec Soth, Todd Hido, Antoine D’Agata, Lori Vrba, Salgado, Gilden... each for their own reasons.

I’ve been actively shooting since 1995 and have evolved immensely over the years – aesthetically and philosophically. Most importantly, 25 years on, I’m more aware than ever of how much there always is to learn. I was classically young and arrogant in my early days, and though it got me a little mileage, I ‘wish I had known then what I know now’.

My photographic identity? Wow. I am an explorer. I aim to find meaning and beauty and order in a chaotic world. I hope to embody empathy even in looking hard at difficult subjects. My greatest goal is to make images with heart and meaning that can actually make people stop and think and possibly make a change.

As far as gear is concerned, I’ll ad...

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We’ve said it before, and we’ll say it again; a camera platform is only as good as the lenses available for it. Canon and Nikon have gone about creating gorgeous first-party lenses for their Mirrorless platforms. However, a lack of competition has seen their prices remain sky-high. These high prices have put off many photographers from jumping into both the RF and Z mount systems. However, we hear Sigma might finally start developing lenses for these Mirrorless platforms in 2021. This is fantastic, people. Let’s talk about it more after the break.

According to a post on Photo Rumors, Sigma has decided to take the plunge into RF and Z mount lenses. Back in February, Sigma said they were still unsure about what they would do. However, it seems as though new camera releases from Canon and Nikon and increased interest in the platforms have pushed Sigma over the edge. Honestly, Canon and Nikon should be thanking their lucky stars. It will be a blessing that Sigma Art and Contemporary lenses might soon be available for their cameras.

Competition from Sigma Will Be a Good Thing

Sony has seen great success in the Mirrorless race because of the sheer amount of lens options for their cameras. Sigma, Tamron, Rokinon, and others all adopted the E Mount early on. Their lenses helped drive competition that kept prices low. These lenses also gave us options. More options when it comes to lenses is always a great thing. Believe me, I would love to shoot with a Canon again. Still, I can’t afford the $10,000 it would take to get the four staple first-party lenses I need for my business. However, now that Rokinon/Samyang have joined the RF and Z mount fray (see our review of the Samyang RF 85mm f1.4), and now that Sigma could be joining in, suddenly both RF and Z mount cameras sound much more appealing.

Others Will Likely Follow Suit

As mentioned above, you can already grab some autofocusing Rokinon/Samyang lenses for Canon RF cameras. You can even get some manual focusing Rokinon/Samyang lenses for Nikon Z mount cameras. You can also find some Lensbaby lenses for them too. It’s exciting to think we may finally see Sigma pushing their 85mm f1.4 DG DN for Canon and Nikon Mirrorless cameras. The 14-24mm f2.8 DG DN would be welcomed to the platforms, as would many of their other fine prime lenses. Other manufacturers like Tamron will probably also join in on the fun as well.

There will be many purists out there who bad mouth third party lenses. However, competition, as we’ve seen, is a good thing in the end for everyone. Canon and Nikon’s Mirrorless platforms will get more recognition. We, the photographers, will get the spoils of consumer war, which means more options and better prices. It’s a win-win situation. If Canon and Nikon really want to start closing the gap on Sony, they’d be wise to play nice with Sigma and other third party lens manufacturers. So, Canon and Nikon, the ball’s in your court. Seriously, let these guys in on your AF systems secret sauce so they can get these lenses to market pronto.

What do you think about Sigma and other lens manufacturers pushing out lenses for Canon RF and Nikon Z mounts? Which third-party lenses on these platforms would you look forward to the most? Would you switch to either Canon or Nikon with increased lens support? Let us know in the comment section below.

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How much do you have to spend to get prime lenses that will do a top job for you? $1,000? $2,000? $3,000? More? Nope, think lower, as in hundreds, not thousands of dollars. Modern manufacturing processes and advances in technology have made it so that affordable prime lenses can do a spectacular job. Sure, these more affordable prime lenses might not have the very best, tippy-top optics, but they’re still fantastic. They might not have weather sealing (although some do), and they may be made from plastics (but so are some lenses that cost thousands). But, the five prime lenses we’re going to share after the break are more than good enough for most photographers out there. We’re positive you’ll love the images you create with them.

Canon RF 35mm f1.8 USM IS

In our review, we said:

“If these images aren’t sharp, then I’m not sure what are. This lens is less than $500 on the market, and with a flash can deliver sharp enough photos that are more than usable for any professional project.”

Chris Gampat – Editor In Chief

Buy now: $499

Tamron 20mm f2.8 Di III OSD

In our review, we said:

“This lens has great image quality with nice bokeh (when possible), very good sharpness, and beautiful colors. On top of all that, it’s lightweight and built like a tank. Best of all, the price and portability are things you’ll be very happy with.”

Chris Gampat – Editor In Chief

Buy now: $299

Fujifilm 23mm f2 R WR

In our review, we said:

“The speed when focusing with this lens on the X Pro 2 is very impressive. It’s by far the absolute best lens in Fujifilm’s lineup for street photography and candid shooting due to its autofocus speed.”

Chris Gampat – Editor In Chief

Buy now: $449

Pro Tip: These prime lenses will make you interact with the world differently compared to zoom lenses. So, if you’re new to photography and you still need guidance and help to get the most from your gear, have no fear. If you want to learn how to get the most out of your new lens, there are guides to help you create gorgeous images in no time at all.

Sigma 16mm f1.4 DC DN Contemporary

In our review, we said:

“It’s sharp, has nice bokeh, contrast, manageable fringing, and autofocuses at a fair speed. Plus, it has weather sealing. There isn’t a whole lot to hate with the Sigma 16mm f1.4 DC DN Contemporary. If you’re the type of photographer who shoots wide, does documentary-style work, and needs a reliable lens in their bag, this is one of the best options you’ve got if you’re a Sony shooter.”

Chris Gampat – Editor In Chief

Buy now Canon EF-M: $379

Purchase now M4/3: $398.60

Buy now Sony E: $369.95

Nikon 50mm f1.8 Z S

In our review, we said:

“We found the Nikon 50mm f1.8 Z S’s image quality to be very good in our tests. It is sharp, has very pleasing bokeh, doesn’t exhibit any major problems, and has an overall beautiful look to it.”

Paul Ip – Former Reviews Editor

Buy now: $496.95

The more I’ve thought about how photography has become a niche for hobbyists, the more I believe that camera manufacturers didn’t do enough to support the film community.

In the year 2020, I think photographers would be seriously overjoyed to hear about a brand new film camera released by one of the big companies. Or better yet, they’d love to hear about a film camera being reissued in some way or another. It would be something much different, and we all wouldn’t be as jaded as we are with the numbers war that camera manufacturers play with one another. Instead, it would be about creating: something incredibly crucial to zennials and millennials both. We’ve wanted something brand new that no one else is doing. We’ve wanted a unique experience. And if we keep going to eBay to support the used camera community, then clearly there’s a market for something new.

Let’s think about this carefully. If any of the following cameras were reissued from the list below, you’d probably see a market for it:

Canon F1

Canon EOS 33

Canon AE1

Nikon F

Nikon FM2

Pretty much any Nikon F mount camera

Nikon AF35

Fujifilm Natura S

Fujifilm GW690 III

Pentax Spotmatic

Pentax K1000

Leica M4P

Leica M6

Think about it! Any of these cameras would cause a stir, but the camera manufacturers don’t think there is a market for it. However, Fujifilm saw enough demand for ACROS to come back, and there are tons of cameras on the market right now being sold used. But film shooters would like a new, exciting reason to shoot with them. Film development can be done at home for the most part, and almost everyone has a digital camera that can scan the negatives.

Of course, this game isn’t all about just bringing back film emulsions, either. It’s also about creating something people will want to use over and over again. Something that’s specifically difficult to create from digital. I think Lomography is doing an excellent job with that right now, but other emulsions are needed.

Personally speaking, I’m not sure how much longer Kodak has. But Fujifilm could do it. So too could ILFORD. I’d have a ton of faith in them to get it done.

Let me be clear here; I’m not saying that the manufacturers should ditch digital. I think the hobbyist market needs to really lean into how not functional cameras are vs. phones. I believe the professional market needs to showcase how much better it is than the mobile market. And I think the analog market needs to sell the experience that everyone else will miss out on if they don’t choose to commit. We already see it with Instax and Polaroids.

With all the innovations that have happened over the years, I could see how these companies could make some positively incredible film cameras. The last one of note that I saw was the Leica M-A. Anything else that has been Kickstarted has basically ended up being vaporware. And that’s disappointing.

Before I finish this post, I’ll mention the idea of a hybrid camera. Lots of folks have wanted one. And if anyone could have done it, I’d say it would be Sony, Phase One, Fujifilm, or Tamron. Phase One is basically Mamiya. Tamron made the Bronica cameras years ago. Sony is a technology powerhouse that was brave enough to do things like bring back the walkman in some ways. But analog worked well in the music world to the point of revival, and I think the photo world needs to take the same leap.

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“Most of the pictures of this series were the reward after a long and strenuous hike, which made it harder to go back to places & shoot them again if I was not happy with the result,” says photographer Roland Kramer to us in an interview. “You have to constantly keep up with the weather forecasts, so you don’t get caught in a storm on high altitude.” Tack onto that all the difficulties with shooting infrared images. Roland saw this project as an evolution of his Strange Series photography project.

Since the Strange Series, it looks like you’ve continued your Infrared process. But what made you want to leave the city?

While shooting the ’Strange Series,’ I already knew that I want to apply this technique to the art of landscape photography. I left the urban environment as I was going on a road trip through Europe with my girlfriend during the summer.

We were visiting a lot of national parks and spent a lot of time in nature. That’s why I mostly focused on mountain sceneries during the Coral Mountain Series. It was a beautiful feeling to be able to sort of travel again after this rough & bumpy start into 2020. Being on the road definitely made me feel creatively refreshed. Shooting images of nature, which I love the most.

I find this series so fascinating. In the city, you were surrounded by vivid colors. And here, I feel everything is very muted. How did you feel about this? Usually, one would expect vibrancy outside of the city.

This has a lot to do with how I approached the editing process of this series. While editing the images of the Strange Series I had a rather experimental approach to it. I was going with the flow & didn’t really care how the colors are going to look in the end. The approach to the Coral Mountain Series has been a lot less experimental as I already had the knowledge from editing my first infrared project.

When I started editing the first couple of images for the Coral Mountain Series, I already kind of knew in which direction I wanted the edit to go. I wanted to create a more cohesive looking series in a rather classic infrared look with red/pink looking grass and blue looking sky. The use of this one main color has been the common thread throughout the whole project & also ended up giving the series its name.

These are the reasons why the Strange Series looks rather colorful compared to the Coral Mountains Series.

When I look at this series, it sort of looks like we’re staring at Mars. Elon Musk would be proud. When you were editing the series down to these images, what made you specifically choose them?

These images just happened to be the last ones during my selection process. Some of those images I chose because of an interesting composition. Some I chose because they had interesting objects, patterns, or structures that I liked. Others I chose because they showcased great use of contrast. The next ones I chose because the red color adds to the scenery perfectly. I also chose images because they complimented the flow of the series.

As you can see, there have been several factors which made me choose an image or not. For me, the selection process of the images for the final series is as important as shooting the images in the field. You can immensely enhance the quality of your project by your selection, but you can also destroy it. It’s a difficult process and I always try to be as meticulous and careful as possible while selecting the images. I take my time from the first selection to the final one and try out as many combinations as possible.

I definitely wanted to create an unusual or even strange look. The goal of this series was to turn places I know into unknown places. I wanted to achieve this goal by a visual alienation.

What were some of the biggest challenges about photographing here vs in the city?

Probably the pressure of getting the shot in a limited time frame. ...

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When it comes to prime lenses, none are more celebrated than trusty nifty fifties. 50mm primes are loved by the masses thanks to their exceptional ability to comfortably shoot just about any genre you can think of. These versatile lenses are great for street photography, landscapes, portrait photography, event photography, wedding photography, documentary work, and more. The field of view from 50mm primes is also close to what most (but not all) people see with their own eyes. This is just one of the reasons why images shot with these lenses are so pleasing. However, not all 50mm primes are made equal. After the break, we’ll share five premium 50mm primes with you that will delight you image after image.

Canon RF 50mm f1.2 L USM

In our review, we said:

“This lens exhibits beautiful bokeh, sharp images, micro-contrast, a medium format look, weather sealing, fast focusing, etc. In many ways, this is perhaps Canon’s most perfect prime lens within a standard workable focal length that they’ve put out in years.”

Chris Gampat – Editor In Chief

Buy now: $2,025.66

Fujifilm GF 50mm F3.5 R LM WR

In our review, we said:

“The Fujifilm GF 50mm f3.5 R LM WR is one of those lenses that you can slap on your camera and just leave it there. You’ll get amazing results with it, and it will not hamper you in any way, thanks to its small size and overall performance. Couple this with the fact that this is a sub $1000 lens, and you have a winner on your hands.”

Brett Day – Gear Editor

Buy now: $999

Olympus 25mm f1.2 PRO (50mm Equivalent)

In our review, we said:

“It renders beautiful bokeh, sharp images that are best done with a flash, pretty good colors, has incredibly fast and accurate autofocus capabilities, and very durable weather sealing.

Chris Gampat – Editor In Chief

Buy now: $1,149

Pro Tip: These 50mm primes lend themselves well to many different genres of photography. However, they’re exceptional for full and 3/4 length portraits. Still, if you truly want to create gorgeous portraits, you need to know the secrets of posing. Try this: have your subject relax, and ask them to just be themselves. Communicate your idea, and have your subject play around with it. You’ll find that you’ll get much more natural, organic captures this way.

Fujifilm 50mm f1 R WR

In our review, we said:

“You’re going to get nice, natural colors out of the Fujifilm 50mm f1 R WR. This is a boon for portrait photographers as it means skin tones render perfectly. The colors rendered aren’t muted, but they aren’t oversaturated either. They strike a perfect balance. When it comes time to edit your images you’ll just be able to skip over messing with colors. They’re that good.”

Brett Day – Gear Editor

Buy now: $1,499.95

Sony Zeiss 50mm f1.4

In our review, we said:

“One of my favorite things about this lens is how it handles colors. For everyone that believes Sony’s colors are too vivid and almost like a painting, this lens will prove you wrong. This lens offers a tad less saturation than even the 85mm f1.4 G Master lens and far less than the 35mm f1.4 Sony Zeiss comparatively speaking. If you like to shoot portraits and really care about skin tones, then this lens may be a must-have.”

Chris Gampat – Editor In Chief

Buy now: $1,498