The Phoblographer

As each year goes by, we’re happy to see more and more women photographers get the recognition they deserve. The Phoblographer has long been committed to highlighting female photographers’ skills, and in 2020 we’ve been lucky to feature some inspirational work. It’s hard to put a list together of the best, especially when the standard is so high! But we spent our time separating the very best from the rest to show you the great women photographers of 2020.

Also be sure to enter our contest on Women Who Inspire You with Leica. You can win a Leica Q2.

Great Women Photographers of 2020 / Chinelle Ro

We are partial to some splendid self-portraits. We were very excited when the work of newly named Fujifilm X-Photographer, Chinelle Ro, came our way. Honestly, they’re some of the best self-portraits we’ve seen. They are full of color, character, and meaning. Really inspiring work!

Great Women Photographers of 2020 / Katarina Premfors

We were so impressed by the work of Katarina Premfors that we featured her twice in 2020. Once as a regular feature, and another as part of our successful Visual Momentum series. Aside from creating amazing images, Premfors has the knack for storytelling. A worth entry in our list of great women photographers of 2020.

Great Women Photographers of 2020 / Barbara Cole

Barbara Cole is the perfect example of when photography becomes pure art. You could easily mistake her photographs for paintings. Shooting underwater, Cole makes images rich in color and flowing with movement. Not only do they belong in publications around the world, but they’re also perfect for a print to hang up on the wall!

Great Women Photographers of 2020 / Shanyn Fiske

Shanyn Fiske describes herself as a fashion photographer that doesn’t belong. She told The Phoblographer, “I’m 45 years old. I’m a petite Asian woman. I don’t fit the mold of the fashion photographer in this country in any way, shape, or form.” Regardless of who she is, her work speaks for itself— she’s a talented fashion photographer who knows her stuff. We’re thrilled she has been able to carve a name of for herself in our industry.

Great Women Photographers of 2020/ Lena Weisbek

Sometimes photos don’t immediately have to stand out for you to notice their worth. Instead, you must spend some time with them to appreciate their full impact. Munich-based photographer Lena Weisbek has a series of images that slowly lure you into their beauty, offering you a peaceful state of mind. They’re calming, minimalist images that make her one of our great women photographers of 2020.

Our Street Photography Contest Winner / Nina Welch-Kling

In 2020, The Phoblographer was pleased to have our own street photography contest. We had a large number of entries, and the overall winner really stood out from the pack. Nina Welch-Kling is a street photographer based in NYC. She creates timeless black and white street images (with the odd dash of color) that shows the greatness of New York. A worthy winner and a top draw street photographer in 2020!

Awesome Astrophotography / Isabella Tabacchi

We adore astrophotography. And we honestly wish more women were represented in this genre. One of the great women photographers in 2020 flying the flag for astrophotography was Isabella Tabacchi. Her images are breathtaking. They’re perfect for a screen saver on a high-res screen. Combining the beautiful night sky and its lights, with beautiful silhouettes of the trees, Tabacchi has found her photographic voice, and we were thrilled to share it with our readers.

Dance Photographer / Tatiana Wills

Tatiana Wills is a dance photographer that uses medium format film. Her weapon of choice is the Mamiya RZ67, and with it, she creates beautiful still portraits of dancers. Often shot in front of a colorful backdrop, her subjects show their strength and prowess through the images Wills makes. We love seeing her doing her own thing, and she had some of the most stand-out work in 2...

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Canon used to be the king of high megapixel cameras. Team Canon wowed photographers the world over when they released both the Canon EOS 5DS and the 5DSR. These 50.4 Megapixel cameras were way ahead of their time. The amount of detail they could capture was unmatched. Still, Sony has since taken the Full-Frame crown when it comes to high megapixel sensors. The 61.2 Megapixel sensor in the Sony a7r IV is currently the pound-for-pound Full-Frame resolution king. However, this may change in the not too distant future. New reports of a high-resolution camera, the Canon EOS R5S, have surfaced. Find out all the juicy details about it, and see what we think it needs to feature to be successful after the break.

Some sources apparently approached Canon Rumors and told them that they have exciting details about the upcoming Canon EOS R5S. If these snippets of information turn out to be true, we’re in for a treat. Not only could this camera be real, we might even hear about it early next year, which is even better.

Canon EOS R5S Alleged Specs

A 90MP sensor

A “Pixel-shift like feature” that could help generate 300+ Megapixel images

A nearly identical camera in terms of design as the EOS R5

Dumbed down video features

There may be a slight revision to the IBIS system

It will feature a similar price to the Canon EOS R5 ($3,899)

Just those few specs alone are enough to make any photographer’s shutter finger quiver. How accurate these specs are is anyone’s guess, but they don’t sound too far fetched. I could definitely see the camera’s price remaining the same as the R5, as it would be suicide to price it any higher. A pixel shift mode is the logical next step for Canon’s new IBIS system too. To be a real success, though, Canon needs to add a few more features to really take it over the edge.

What We Want to See in the Canon EOS R5S

So just how do Canon take the Canon EOS R5 and improve upon it further other than jamming a whopping new big sensor into it? To start with, they need to rework the ergonomics of the camera body. Canon was so close to creating an ergonomically perfect camera with the EOS R5 and EOS R6. However, we would not be opposed to the camera body being slightly larger so that the jog dial can fall in a more natural position. Currently, you have to contort your thumb to reach it. Canon really needs to move the joystick too: it was in a peculiar spot on the R5 and R6.

The autofocus system in the EOS R5 and EOS R6 is leaps and bounds better than the system in the original EOS R. However, we’d like to see more processing power so that the camera can do an even better job at human and animal eye tracking. Perhaps even take a page out of Olympus’s book and incorporate subject detection too. Think along the lines of cars, trains, planes, specific wildlife and so on. We’d like to see even better dynamic range performance in the Canon EOS R5S. Again, the R5 and R6 were leaps and bounds better than many previous Canon cameras. Still, With the EOS R5S being targeted at fine art, high-fashion, and landscape photographers, any improvement in DR would be welcome.

With the Canon EOS R5S, Resolution Is King

Along with a massively enhanced sensor, we’d like to see higher resolutions carried over to the EVF and the LCD. Canon, give us the highest resolution LCD to date. This camera will be about capturing the tiniest of details. Give us an LCD that can let us see those details out in the field. Still, the same thing can be said about the EVF. The EVF on the Sony a7s III, which I reviewed, was the closest any manufacturer has come to making an EVF feel like an OVF with the added benefits of screen overlays. It’s a work of art, and it’s the only EVF that hasn’t triggered crazy headaches for me when using it. Perhaps push refresh rates up to 240hz instead of 120hz too, to really make it an over-the-top performer.

It’s ...

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‘You can’t create nice bokeh with APS-C cameras!’ This phrase has been muttered a million times by those who have been blinded by Full-Frame cameras. This tends to happen a lot, and the ignorance seems to be getting worse. However, we’re here to tell you that you can create gorgeous bokeh with APS-C cameras, and it’s not difficult at all. If you’re a portrait photographer rocking an APS-C camera, read on. We’ve rounded up four APS-C portrait lenses that will create some of the nicest, creamiest, smoothest bokeh you’ll ever see.

Samyang 50mm f1.2

In our review, we said:

“This lens is razor-sharp, has a decent build quality, a very smooth focusing ring, gorgeous bokeh, and has a fantastic price attached to it. If you’re an APS-C camera user, then you’ll be hard-pressed to find something better for portraits.”

Chris Gampat – Editor In Chief

Buy now: $380.04

Sigma 56mm f1.4 DC DN Contemporary

In our review, we said:

“Thanks to the Sigma 56mm f1.4’s 9 bladed rounded aperture design, the defocused areas of the frame are velvety smooth and help isolate your subject as a result. The transition between focused and defocused is pleasant and gradual, with light sources in the background becoming beautifully rounded bokeh balls.”

Paul Ip – Former Reviews Editor

Buy now Canon EF-M: $429

Buy now Sony E: $385

These APS-C portrait lenses will definitely help you create fantastic images. Still, having a great lens is only half the story. If you truly want to create a gorgeous portrait, 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 56mm f1.2

In our review, we said:

“Fujifilm’s 56mm f1.2 is the sharpest mirrorless camera lens that we’ve tested. Not only that but it exhibits beautiful bokeh, pretty good color rendition, almost no distortion, focuses quickly, and is built well.”

Chris Gampat – Editor In Chief

Buy now: $999

Fujifilm 90mm f2 R LM WR

In our review, we said:

“The bokeh is creamy as ever here, which makes this an excellent lens for headshots and portraits. In fact, that’s what it was designed for. With all of this said, photographers of all types will love this lens for the bokeh. Professionals will value that they can photograph their clients with a lens wide open and get them perfectly in focus while the enthusiasts will sit there and cuddle with the lens day after day.”

Buy now: $949

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Dear Chris,

My name is Gennaro Bassolino I am a photographer from Florida but have been living in Asia for the past 10 years before COVID 19 forced me to return. I was living in Malaysia when I picked up a used Fujifilm X100s and that was when I really started shooting everything I could. It is one of those cameras that begs to be picked up. Its manual dials trained me in the basics of photography moving me away from automatic settings and into really taking control of all the variables.

The reason my wife and I had been living abroad for so long is we do volunteer work, so naturally, it’s the people that I am really drawn to, and I think that’s the biggest influence on my photos. My two main influences for my street photography is Steve McCurry as he also loves to photograph the human condition, but also Shane Taylor, whom I appreciate in that he always presents those he photographs in a way that if they saw their photo, I think they would appreciate the photograph. That is what I strive to do, take candid shots of people who would enjoy seeing that photo of themselves if they came across my work.

I have been shooting now for about four years, and as my photography is people-focused, I have continually elongated the focal length with which I shoot. First I added a teleconverter to my X100s that made it into a 35mm or 50mm equivalent on a crop sensor. I wanted more control, so I then jumped into the interchangeable lens domain by getting a second hand Fujifilm X-t20 with a 7Artisans 55mm f1.2 lens. I really love the size and feel of that lens, and also manual focusing with the Fuji focus peaking system, but the lens has horrible chromatic aberration, so most of my series that I will share with you was shot on a Rokinon 50mm f1.2 and a Rokinon 85mm f1.4.

As a street photographer, I do it more for the love of taking everyday things and showing that these are moments worth coming back to. So my gear reflects that process, I use manual focus and shoot fully manual, it’s a slower process but I am not in a rush, because street photography time is my time to enjoy the places that I am in at that moment. I find it also allows me to get it right in-camera, which allows me to shoot in jpeg, saving time in post-processing which I do all in mobile software – earlier in Snapseed but now in Lightroom. Quickly my process for most of my shooting is I shoot using Fujifilm Velvia Film simulation then I work with a Lightroom preset called golden and make some slight exposure, shadow, highlight, and other local adjustments.

In 2019 my wife and I arrived in India, and we made our base in Mumbai, and from there we traveled the country. However, I instantly fell in love with the Local Trains in Mumbai for various reasons.

1. The train is a great equalizer when it comes to people the train is so affordable that the poorest of the city can get from point A to point B but at the same time the train is filled with middle-class families and business professionals. So it’s a dream for my genre of photography.

2. Photographically the train has so many interesting options when it comes to lighting. Sometimes the subject is framed in front on the open train doors, which makes for great framing. Also, I love photographing people who have the window seat, as window light makes for beautiful highlights and shadows. And when the sun goes down, you get the people standing under the overhead neon lights, which also create magical moments.

So my project that I want to feature and that I am currently featuring on my Instagram feed is called Blood Lines. I chose the title because The Mumbai Local trains feed life into Mumbai and the surrounding areas, literally the veins, and arteries of the massive city. It’s a compilation of over 100 photos shot between May 2019 to March 2020 right before COVID shut the train’s normal working schedule down. It feature...

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Street photography isn’t easy. That’s why so many people struggle to execute it to a high standard. It’s not just the creative aspect that’s difficult; it’s also the practical side. To do street photography well, you need a lot of confidence. Some have it right away, while others need to build confidence up over time. For those of us who have been shooting street photography for many years, there are some clear signs of a street photographer lacking in confidence. Let’s take a look at them.

Street Photography / Photos from Behind

One of the biggest barriers to fluid street photography is the fear of getting caught. The idea of people spotting you taking their picture without them knowing can give new street photographers crippling anxiety. That’s why so many make photos of people from behind. Sure, there are times this can work artistically, but for the most part, it shows you’re still struggling with your confidence. In this case, you just have to take the plunge and make photos of people’s faces. Give yourself a pep talk, tell yourself you can do it, and make it happen.

Street Photography / Taking Photos from Far Away

To avoid getting too close and personal, many street photographers opt to use a telephoto lens. While there’s no fixed rule as to what gear you should use for street photography, you will lose lots of emotion if you’re standing far away from your subject. When we see compression in your image, we know you’re using a telephoto lens. Whereas if you use something like a 28mm (or wider), we will see a little distortion if you’re in nice and close to your subject. The closer you are to your subject, the more emotion you get in your photographs.

Street Photography / Blurry Photos

Blurry photos are not a bad thing. In fact, they give some lift to your images as they communicate motion. But, if all your images are blurry, it tells us two things are happening. Firstly, you’re not correctly setting your exposure. And secondly, you’re rushing the shot because you don’t want to get caught. Ideally, when you’re shooting a scene, you want to stand with your camera held firmly to your eye and then take multiple exposures of the scene. But if you’re rushing your street photography, rapidly lifting your camera up and down, your images will often be out of focus and blurred. Train yourself to take your time, stick with the scene, and get the shot you want.

Taking Photos of Women/Elderly

This point may be slightly controversial, but it’s true, especially for male street photographers. If you only make photos of women (who may or may not be able to kick your ass) and older people, it’s a sign you’re only willing to make photos of people you don’t see as a threat. It makes sense to some degree, especially if you’re worried about a physical altercation, but the reality is you’re limiting yourself. Most people won’t ever know you took their photo, so make photos of people from all walks of life.

It Takes Time to Overcome

There’s nothing wrong with lacking confidence. But if you want to become a solid street photographer, you have to find ways to overcome your barriers. Don’t beat yourself up if you currently lack confidence. It takes time to build, and you can also enjoy the process of improving yourself. The result, in the long run, will be higher self esteem and better street photographs!

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Do you have a photographer in your life? Are you struggling to come up with gift ideas for the upcoming holiday season? If so, you might want to check out these stylish yet very affordable and versatile camera bags. Camera bags are a must-have accessory. They make carrying gear around from shoot to shoot a breeze. They will even protect expensive gear when it’s not in use. We have selected five camera bags from our reviews index that all scored well. The best part: they all cost less than $150, and some are much less than that.

BAGSMART Camera Backpack

In our review, we said:

“This is a fantastic camera bag all around. It can hold a lot of stuff, protect your gear, give you ample yet safe access, and is comfortable enough in most instances. It can also hold a heck of a lot of stuff. Whether you’re hiking or going about your business in the city, the BAGSMART Camera Backpack is a solid choice.”

Chris Gampat – Editor In Chief

Buy now: $62.99

Vanguard Havana 48 Blue Backpack

In our review, we said:

“We took the Vanguard Havana 48 through rain, which, in addition to the NYC commute on the L train (and others), was the toughest thing that we put it through. This bag survived it all without even needing to bring out the rain cover.”

Chris Gampat – Editor In Chief

Buy now: $79.33

Tarion M-02

In our review, we said:

“A feature that I found to very nice is the overall size. It stays compact and doesn’t become a super large pod on your back. Instead, it’s very versatile to keep on your back while in the crowded NYC subway.”

Chris Gampat – Editor In Chief

Buy now: $59.89

Pro Tip: Looking for more gift ideas other than camera bags? Perhaps pick up the photographer in your life some SD Cards, a camera cleaning kit, or some weatherproof camera and lens covers. No matter what, don’t forget to further your education by looking around for tutorials, too. See, us photographers really aren’t that hard to shop for.

Portage Supply Mariner Messenger Bag

In our review, we said:

“The Portage Supply Mariner Messenger Bag is really easy to use and again, it basically takes what the photo industry has been doing for years and improves on it in slight ways–mostly being materials and little things like moving where the laptop sleeve is.”

Chris Gampat – Editor In Chief

Buy now: $59

Promaster Jasper Halfpack

In our review, we said:

“If you’re on a budget, then the Promaster Jasper Halfpack is a great camera bag. For many photographers, I’d probably even consider it to be overkill. It can hold a lot of gear, but it won’t give you the full support of a chest and waist strap. This is a camera bag for an outdoor photographer – a photographer that will spend all day outside with no flash. But instead, you’ll use a camera, lenses, filters, a tripod, etc. And at the top, you’ll hold snacks, a jacket, and other essentials. As you stick with it through the mud and rain, it will continue to stand up to the elements.”

Chris Gampat – Editor In Chief

Buy now: $149.95

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My name is Helder Matias, I’m a 29-year-old artist from Toronto, Canada. I came across your article & am very excited to submit my work to you as I am a big fan of the blog!

I am a first-generation Canadian as both of my parents moved here from Portugal when they were young. I would say I am very fortunate to have the opportunity to pursue my passion for photography due to their hard work. I first picked up a digital camera as a hobbyist about 10 years ago & since then I have started my own business & currently work at a film studio developing film. As a photographer, I seek to work with people on bringing an idea to life, also just capturing moments of my life to show my perspective. I essentially like to use my photos as an expression of myself & how I feel. Over the years I have collected quite a few cameras (it’s a bit of a problem lol) but the main cameras I use these days are my: Leica m4-2, Hasselblad 503cx, Yashica T4 & my Fujifilm XT2.

My lenses range from macro to very fast 50mm & tight frame 120mm. I try not to limit myself with one lens. With film I’ve experimented on far too many to list, it really depends on what I plan on photographing. When doing portrait work I love the trusty Portra line, when shooting city/ street photography I like to use the Cinestill stock & with landscape I really like Kodak Ektar. Recently I came across old expired disposable cameras from the ’90s & I removed the film from them & use it on my cameras with very cool results!

Photography for me is an escape. When exploring with a camera it really slows me down & helps me appreciate my surroundings more. I focus on details that I would not have noticed otherwise which is such a gift considering all the beauty around us. When working with people, photography helps me connect with them. I love peeling back the layers as we get to know each other throughout the process which then helps me photograph them in their preferred way & bring their vision to life.

Although there are many photographers who I’ve studied & learned from such as Ansel Adams, Vivian Maier & current photographers like Theo Skudra & Gunner Stahl. I would say my biggest inspiration is music. Listening to my favorite artists’ words & sounds I then create images based off of my interpretation.

I’ve been shooting for about 10 years now, 4 of them professionally. I would say I’ve gotten more confident in my style & product that when I do photoshoots I do not hold back & limit myself creatively which leads to some great results. (sometimes not so great haha)

My identity is that I focus very much on connecting with my subject, I want them to feel completely comfortable & confident that our vision will come to life.

These days I’ve been shooting mostly film & developing it myself. I also have a small darkroom set up at home where I print my work which has led to a much fuller understanding of the medium. I choose film because of the unpredictability of the outcome and also the fact that there are limited shots which leads me to focus much more & make each shot count.

Natural light all the way! I love how the time of day affects the temperature and harshness of the light. Artificial lights will do at night lol.

Photography is important to me because it serves as a creative outlet, which especially these days is so important. Also, I love capturing people & places that one day may not be around so that future generations can appreciate as I have with photos from before my time.

I would say I’m more of a documenter, creating is definitely a big part of what i do however life offers so many moments worthy of a photograph that photography has helped me slow down & capture these moments the way they are. As crazy as it may sound I find people are more receptive to film cameras & display a more authentic version of themselves for the image. So I using vintage cameras has ...

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The Mirrorless age has delivered many fantastic cameras over the last decade or so. One fantastic quality that we appreciate so much is smaller camera sizes. You might think that these small cameras would be lacking under the hood, but you’d be wrong. Some brilliant small cameras on the market pack a massive punch when it comes to features and image quality. Some have the fastest autofocus systems in the world. A few have IBIS that beat the competition. All of them have incredibly impressive sensors. Perhaps one of the best things about these small cameras is their prices. After the break, we’ll share five small cameras that pack all the bells and whistles of their bigger-bodied camera cousins while costing much less.

Olympus OMD EM5 Mark III – Perfect for All Kinds of Weather

In our review, we said:

“The EM5 Mark III’s autofocus is quick and accurate, the weather resistance is top-notch, and the image stabilization is arguably one of the best in the industry (having a smaller sensor helps). For the photographers happy to just shoot JPEGs, the wealth of built-in Art Filters will likely be all the editing they’ll ever need. Those preferring instead to shoot raw and finish their images during post-processing will find lots to love about the EM5 Mark III’s highly versatile raw files as well.”

Paul Ip – Former Reviews Editor

Buy now: $899

Fujifilm X100V – An APS-C Powerhouse

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 has 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 a6100 – One of the Best for Action Photography

In our review, we said:

“Sony claims that the Sony a6100 features the fastest autofocus system in the world and that the camera can find focus in just 0.02 seconds. I have to say that they may just be right. While the AF system is nowhere near as advanced as the systems found in the a7 III, a7r IV, or the a9 II, this little camera has seriously impressed me. Having autofocus as good as this in a camera that costs this little is unheard of.”

Brett Day – Gear Editor

Buy now: $748

Pro Tip: These small cameras can go everywhere with you. If you want to learn how to get the most out of your new small cameras, and you want to level up your photography game, these guides will help you create gorgeous images.

Olympus Pen F – Perfect for Documentarians

In our review, we said:

“The Olympus Pen f has a heck of a lot going for it. Amongst the good things: stellar autofocus in most situations, great high ISO output, pretty versatile RAW files, incredibly almost perfect ergonomics, a great EVF and LCD screen, and the list can go on. In many ways, it’s the almost perfect camera for many photographers.”

Chris Gampat – Editor In Chief

Buy now: $899

Ricoh GR III – A Street Photographers Dream

In our review, we said:

“One of the best things about the lens on the Ricoh GR III is the sharpness of the lens. It’s great even at f2.8. Combine this with the details that the sensor can render, and there is no reason to complain.”

Chris Gampat – Editor In Chief

Buy now: $884

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There’s nothing wrong with the way the traditional Leica camera worked. If anything, the Leica M series makes the photographer more aware of what’s around them. But let’s be honest, autofocus is very useful. And the Leica SL2s is probably the camera that answers the needs of the modern journalist the best. At the heart of the Leica SL2s is what Leica claims to be a newly developed 24MP BSI sensor. This variant of the Leica SL2 maintains the IP54 weather sealing rating, but it also received a speed boost.

Pros and Cons

Pros

The fastest autofocus on a Leica ILC I’ve seen

Autofocus profiles are cool!

Solid build quality

Easy to use

Beautiful image quality

People detection is wonderful.

Functionality-wise, the buttons are fantastic with a good layout and give you everything you need.

A camera that you truly want to carry around with you everywhere

Both Panasonic and Leica lenses have comparable autofocus speeds.

Raw files are pretty versatile in Lightroom.

FANTASTIC high ISO print capability

Cons

A tad pricey. But when you consider the weather sealing, it’s not bad.

I wish it did Qi wireless charging.

Still not outdoing Sony, Canon, or Fujifilm on autofocus speed. But it’s about on par with Nikon in low light.

I wish this had dedicated animal face detection

There should be an option to never let the display time out. This is especially true for the EVF-Extended mode.

It needs the right strap to be comfortable for long photo walks

Still no multiple exposure mode

I wish the menu was touch-capable and that it either flipped or tilted/pivoted.

Gear Used

We tested the Leica SL2s with:

Leica 35mm f2 Summicron SL

Leica 24-90mm f2.8-4 SL

Panasonic 24-70mm f2.8 Lumix S Pro

Panasonic 16-35mm f4 Lumix S Pro

Tech Specs

A new 24 Megapixel CMOS BSI full-frame sensor. This sensor is image stabilized.

25fps in the electronic shutter mode, and 9fps in mechanical

4GB of internal memory

Up to ISO 100,000

96MP Multishot mode

4K 30p/60P video, Cinema 4K video at 30p/60p

No 29 minute filming limit

Capture One 21 support

5.76 Megapixel EVF

IP54 weather sealing rating and you can shoot with it down to 14 degrees Fahrenheit

Dual UHS II SD Card slots

Top display

USB C

Ergonomics

The Leica SL2s is pretty much identical to the SL2. The big difference is the blacked out Leica logo up top. But otherwise, this camera is very similar to its sibling. It’s still milled from a block of aluminum.

The front of the Leica SL2s has a few controls. There are two buttons near the lens release that are customizable.

Up top there are a few controls. The biggest things are the wonderful diopter control, the LCD screen, the exposure dial, shutter button, and two other buttons. We set these to ISO and white balance.

The back of the camera has little going on. It’s dominated by a large LCD screen. The left has a play button, function button, and a menu button. The power on/off switch is also located here. On the right there is another button that I set to the view mode. Plus, there’s the joystick.

And of course, a camera wouldn’t be a professional grade camera without dual card slots. And this camera has them. On the other side are other ports and the USB C terminal.

Build Quality

The Leica SL2s has an IP54 weather sealing rating. According to the web, that means it can take splashes from any direction and resist a bit of dust. Indeed, the Leica SL2s is one of the toughest and most rugged cameras on the market. I’d argue that it’s the most rugged for a photojournalist. Its predecessor quite literally saved the life of an Italian journalist. The build quality of the Leica SL2s has strengthened my beliefs in better cameras. And quite honestly, the next camera I purchase needs a solid IP rating. I currently own Canon, Fujifilm, and Sony gear. I don’t see Sony sealing their products th...

You couldn’t pay me to shoot film.

I don’t miss buying film and paying for processing. I don’t miss fixing crappy, dirty scans. And I certainly don’t miss manually focusing my old Mamiya 645. I love embracing all the advantages of digital photography which give me the freedom to blast 1,000+ frames an hour. But I do miss one thing about film, and it’s not those beautiful medium format negatives. What I miss is the anticipation of getting back my contact sheets or prints, and the surprise of seeing my actual results. I have a plan to bring that thrill to digital photography. In fact, I’ll give this idea for FREE to any camera manufacturer that wants it (not that anyone will be courageous enough to take me up on it). I call it ‘Ultimate Film Simulation Mode.”

How ‘Ultimate Film Simulation Mode’ Works

Lots of people love stuff like Fujifilm’s classic film emulations, Olympus’ Art Filters, and analog-themed Lightroom Presets and Capture One Styles. But they don’t go far enough. So I’m proposing an all-new film mode that goes way beyond visuals, and and brings back the anticipation and surprise I miss so much. This is how it works:

You activate ‘Ultimate Film Simulation’ mode on your shiny new digital camera.

You choose one film-like look for your images, like high grain black & white, cross processed color, instant film, or whatever else you like.

Next, you choose your aspect ratio, which also determines the number of images you get. For example, choosing a 3:2 aspect ratio gives you 36 shots like standard 35mm camera.

And a square aspect ratio gets you 12 shots like a vintage Hasselblad or Rolleiflex.

So you’ve locked in your look, aspect ratio, and the number of shots you get in your digital ‘roll.’ And maybe depending upon the options you choose, you lose autofocus.

But here’s what it gets interesting: your camera will not let you review your images as you shoot them. And once your digital ‘roll’ is finished, you can’t see the photos for 48 hours. After two days, your digital ‘roll’ gets ‘processed,’ and you see your pictures. So we lose the instant gratification of digital completely, and we get back the anticipation of film without the expense and logistical hassles of shooting film.

The only question is, who’s going to step up and make it? I’m guessing Fujifilm’s the only company imaginative enough, but I’m not holding my breath. Let me know in the comments: is this a good idea? Or a GREAT idea?

This is a syndicated blog post from On Portraits. Be sure to check out their free resources.