The Phoblographer

France, a nation full of romance, is a beautiful spot to make images. From the cityscapes in Paris to the golden sands of Nice, France doesn’t lack picturesque destinations. Photographers visit from all over the world to create their perception of the Western European nation. Once they’ve made their images and edited them in post, they often send them to us to see if they are worth publication on The Phoblographer. Many of them are, and in this piece, we will show you the best photography in France.

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Damien Hypolite Created Some of The Best Photography in France

Way back in 2014, Damien Hypolite came up with a cool concept that made his photography in France stand out from the pack. While playing Assassin Creed, he took screenshots of Paris in 1789. He then visited all the locations in real life and photographed the contrast between then and now. It remains one of the most original stories we’ve published and one you’re bound to enjoy. Take a look here.

Roland Kraemer Photography in France is Tranquil

Roland Kraemer is a German photographer with an eye for peaceful scenes. While taking a road trip through France, Kraemer used his Sony a7 III and Sigma 100-400mm f5-6.3 DG OS HSM to photograph the calming seas located on France’s beautiful coastlines. The photographs look like paintings; they’re almost too perfect. But Kraemer did most of the work in-camera, which is remarkable. To learn about his story, check out his full interview here.

Martin Ruffin’s Photography in France Is Full of Double Exposures

Dreamy double exposures are what we’re about here at The Phoblographer. When done properly, they can be some of the most compelling photographs. Martin Ruffin, a film photographer based in the UK, turned to nature in France to create his double exposures. Pretty flowers, glorious landscapes, a Nikon FE, and a ton of film roll make up a day in the life of this photographer. You can see more of his work here.

Mike Kandel: Paris in Monochrome

Returning to The Phoblographer’s vault, allow us to once again take you back to 2014. This time, Mike Kandel is the protagonist, and Paris is the location for this entry. Kandel turned the city of love into a deep monochrome space full of wonder. He told us, “Paris is beautiful no matter how you view it, but through a monochrome lens, its true elegance and character become strikingly apparent. Removing color from a place so rich in fashion, art and culture impress a fresh perspective upon both the tourist and seasoned resident.” We couldn’t agree more. Take a look here.

Paul Boomsma Risks It All

Paul Boomsma, a photographer and adventure junky, turned to France to get his fix. Armed with a Fujifilm X-T3, a Fujifilm 18-55mm f2.8 lens, and a Fujifilm 100-400mm f4.5-5.6 lens, Boomsa set out to create images of wildlife and the beautiful French habitat it exists within. Often solo traveling and camping in remote locations, Boomsma takes big risks to create his work. The reward for his investment is access to subjects and environments most other photographers don’t have. And he handles the task of making something of worth extremely well, evidenced through his top-level photography. Take a look here.

Show Us Your Vision of France

France will long continue to be the place where most photographers want to visit. It’s rich in history, and beyond the architecture, there’s always a story to tell. If you have a solid take on French culture and the country itself, send it in using the form below. Also, let us know what you think of the images in this article. We’d love to read your thoughts in the comments. Thanks for reading.

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Lead photo by Martin Ruffin. All images used with permission.

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Film cameras and film, in general, saw an uptick in sales during the pandemic. (I’m not just saying in 2021, but I’m specifically saying in the pandemic because we’ve been going through two years of this nonsense.) In 2021, The Phoblographer saw sales of lots of film cameras and film through affiliate efforts. But it’s also proving to me that this could be the perfect time for film cameras to return. Why? Well, manufacturers are complaining a lot about global supply chain issues. So why not cut down on the materials needed to create something new? Or better, bring back something old! For this reason, I think 2022 is the best time for film cameras to return.

Some of the biggest issues around cameras currently is that there are shortages on things like motherboards, chips, semiconductors, motors, etc. Now, this isn’t sarcasm at all, but just think about it. Why not eliminate the issue of sensor shortages by making a film camera? Why not bring something back from a nostalgic time when we didn’t need to wear masks all the time? If you will dream with me for a minute here:

Bring back the Nikon F series camera lineup that were all metal, glass, etc. Nikon has the lenses made already. Lots of them are out there and they could just make the cameras.

Sony could bring back a Minolta camera or two. I know of a few Sony Artisans that have told Sony to do exactly this.

Canon doesn’t have to make anymore EF lenses at all. There are lots of them already on the market and they still hold value. But they could easily bring back a film SLR of some sort.

Pentax, I mean, come on. A pink Pentax film SLR would be cool.

Fujifilm could bring back a film point and shoot camera of some sort. They basically have all the necessary components within Instax cameras.

Zeiss could bring back the Contax T2.

Leica could bring back the M6, though I know I’m dreaming there.

You might say this is a fad, but it isn’t. Digital photography and film photography can absolutely co-exist. We aren’t in the year 2005 anymore and the methods around film photography have evolved. If you’re wondering why you’d shoot film if you can just get the look digitally, then you’re thinking about film wrong. I too, have sometimes just wanted to shoot digitally just for convenience and to save money. But like many of you, I’m passionate about photography. And there are times when nothing can stop me from picking up my M6. My Fujifilm Natura S is my constant party companion. My Mamiya 6 is just plain fun.

Film photography needs to be treated like a passion product all over again. Film cameras can look like pieces of jewelry that you bring with you everywhere. In fact, I just took a break from writing this article to drool over old refurbished film cameras that have been made to look gorgeous. Modern camera manufacturers could do something very similar. A lot of parts could be 3D printed and made in bulk.

I sincerely think it’s time for camera manufacturers to try something else. Instead of looking so deep into the technology of it all (which they still should do), they should also appeal to anyone with a passion for the product.

Not long ago, reports circulated around the web that Canon wasn’t going to continue the 1Dx series of cameras. Before that, Canon also said they wouldn’t make any more Canon EF lenses unless there were critical demand. It’s a very indirect way of also saying that they will focus on mirrorless cameras for the future. Good! Goodbye and good riddance to an era of cameras that made things difficult and created false gatekeeping. And most importantly, goodbye to the DSLR.

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What do I mean by false gatekeeping? Well, DSLRs made photography very difficult. It’s one of the reasons why I’ve stopped using them for years. The Nikon D850 put the final nail in the coffin for DSLRs and me. As a legally blind photographer, DSLRs limited what was capable. Do you mean that I’d need to put the Canon 1Dx into live view to get face detection? Why can’t I get it right from the camera as it is? Let’s face it, through and through, mirrorless cameras do everything that a DSLR can do, and mirrorless does those things much better.

But I’d like to clarify this statement. I don’t think this sort of tech is all that awful. I just feel that it’s being used in a frivolous way. Instead, Canon could use the EF mount to create some cool, novelty, hype product. Take a look at the video above from Mathieu Stern and keep it in mind as you’re reading. Think about what the camera market is sorely missing. For starters, we’re missing digital TLR style cameras. We’re also missing digital medium format SLR-style cameras. By that, I’m not saying we’re missing digital medium format SLRs. We’ve got lots of those. Instead, I’m saying we’re missing SLR-style. Imagine a Canon SLR with a top-down viewfinder. These are otherwise called waist-level finders. Years ago, Canon made a bunch of them for the Canon F1. Instead of putting it up to your eye, you’d shoot with it from the hip. And there would be a magnifier and all. More importantly, just think about how it would work with the old EF lenses.

A Canon top-down viewfinder SLR could be unique with the old Canon 50mm f1.2 L lenses. It could even work great with a 50mm f1.8 or the Canon 40mm f2.8 pancake lens. At this point, you wouldn’t need to spend Canon 1Dx prices either.

I could share this idea with Canon reps; some would think I’m crazy, while others I know would believe this is a beautiful idea. You might say, “Well why would someone use this,” and I’d reply with a ton of solid arguments. For most people, their primary camera is their phone. Digital mirrorless cameras do what a phone can do very well. But when someone wants to use a camera, they do it because they want a passion product. The photo industry really needs to embrace the idea of passion products. Canon, in this case, could easily take the pictures and tech from the 1Dx series of cameras and turn it into a waist-level viewfinder camera. Customers would want them alongside their mirrorless cameras because they’re a completely different experience. It’s similar to what they do with film cameras.

Personally speaking, I own a film point and shoot, two Leica rangefinders, one fixed lens rangefinder, and a medium format rangefinder camera. They all serve their individual purposes, and sometimes I choose one over the others. But the point is that each provides a different experience. That experience can be done with the same tech that made the Canon 1Dx.

It looked like just another photo backpack when I took it out of its packaging. It had the finishing quality we’re used to seeing from Manfrotto’s products. While they’re better known for their durable tripod range, Manfrotto does have a large variety of camera bags under its brand umbrella. They refreshed their Street camera bag lineup in October this year, and I opted to review the Street Slim Backpack model. Having only ever used larger, heavier backpacks (that I mainly bought for travel) while out on the streets, I was hoping this would be a refreshing change. It didn’t disappoint. But how did the Street Slim backpack hold up during a walk around the streets of old Dubai?

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Table of Contents

Too Long, Didn’t Read

Pros and Cons

Pros

Cons

Innovations

Gear Used

Tech Specs

Ergonomics

Access to the Street Slim Backpack can be configured to your choice

Build Quality

Ease of Use

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

Despite being lightweight, my camera gear felt safe and protected inside. It’s designed for mirrorless cameras and medium-size DSLRs to be housed and can take a large laptop inside too. The lower compartment inside can be moved around to allow access to camera gear from either the front or the rear of the backpack. It comes with an all-new divider system that Manfrotto terms as M-Guard™. Made of high-density EVA foam, these provide a high level of shock resistance to your camera gear. I only wish the upper half of the backpack came with these customisable dividers. Lightweight and stylish, the Street Slim Backpack from Manfrotto is an excellent addition to any street photographer’s bag collection.

Pros and Cons

Pros

Lightweight

Sturdy, shock absorbent EVA foam M-Guard™ dividers

Cameras and lenses can be accessed via front or rear zippers

Padded laptop case can be completely removed from the backpack

Use the provided strap at the back to slide over your trolley handle when you want it off your back at the airport

Water repellent

Cons

Upper half didn’t have a padded compartment. But it doesn’t seem like Manfrotto intended for it to hold camera gear.

Phone holder on the shoulder strap isn’t meant for larger phones (couldn’t hold my 6.4″ screen Huawei)

No sternum strap

Innovations

M-Guard™ Protection System padded dividers. As mentioned in the press release by Manfrotto:

An all new protection system in the form of high-performance modular divider that improve customizability and cushioning of the internal compartments. The M-Guard™ Protection System was specifically designed and laboratory tested to guarantee the highest level of protection and shock resistance especially on areas of the bag where protection is most crucial. M-Guard™ dividers are made of high-density EVA foam that provide exceptional shock absorption while maintaining a super slim profile.

Gear Used

I tested the Manfrotto Street Slim Backpack using the following gear:

Nikon Z6 II

Nikkor Z 50mm f1.8 S lens

Nikkor Z 24-70 f4 S lens

Laowa 10-18mm Z mount lens

M1 MacBook Air 13″

Benro MK10 mini tripod

iPhone SE

Gilet size S

Two spiral notepads

A pen

I wouldn’t recommend carrying more than two additional lenses in the padded insert, because everything would the fit too tightly in there.

Tech Specs

As seen on the webpage for the Manfrotto Street Slim Backpack

Minimum Weight0.8 kgCamera Insert Dimensions25 x 19.5 x 10.5 cmExternal Dimensions29 x 18 x 43 cmColourDark GreenVolume12 LTripod ConnectionYesCompatible Drones ModelsDJI Mavic Pro, DJI Mavic Pro Platinum, DJI Mavic Air, DJI Mavic 2 Pro, DJI Mavic 2 ZoomLaptop Compartment Dimensions25 x 1 x 35 cmMaterialSynthetic FabricPersonal Compartment Dimensions29 x 11 x 21 cmTypes of GearMirrorless, Point & shoot, Tripod, Foldable droneWater RepellentYes

Ergonomics

I like squarish backpacks, and even though the exterior of the Str...

The 40mm lens is seriously something we’ve been happy to see make a comeback in the past few years. Folks over at Sony, Sigma, and other companies have made them. Honestly, the 40mm lens deserves to live right up there with the 35mm, 28mm, 50mm, and other lens offerings. And lucky for you, we’ve reviewed loads of 40mm lenses. We’re highlighting just a few in this roundup we think you’ll like. Take a look with us!

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The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear that we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.

Table of Contents

Pro Tips on Understanding the 40mm Lens

Zeiss 40mm f2 Batis

Nikon 40mm f2 Z

OM System 20mm f1.4 PRO (40mm Lens Equivalent)

Pro Tips on Understanding the 40mm Lens

If you’re interested in using the 40mm lens, then take a look at these tips:

For most photographers, the most legendary 40mm lens is the one Leica and Minolta made together. We’ve reviewed it. It’s lovely, trust us.

The 40mm lens is a nice spot between 35mm and 50mm. It’s also incredibly close to true normal on a full-frame sensor camera.

The options we’re highlighting in this round up are all weather-resistant. So they’ll stand up to any abuse you reasonably send their way.

All of these have beautiful image quality, and they vary in prices.

The 40mm lens is great for street photography, candids, photojournalism, and general shooting. We think you’ll like it.

Zeiss 40mm f2 Batis

In our review, we state:

“So, for the more professional type of work, the Zeiss 40mm f2 Batis will cater to your needs perfectly. Beyond this, the good news is that even Eye AF works in low light pretty well. It’s usable in every situation you could possibly come encounter without moving up to the Sony a9. Sony’s own lenses are still better for autofocus, but the Zeiss 40mm f2 Batis is no slouch.”

Buy Now

Nikon 40mm f2 Z

In our review, we state:

“Can you tell that the Nikon 40mm f2 Z isn’t an S series lens? Well, it’s kind of tough to do that. The S series lenses seem to have this extraordinary aesthetic beauty that I can’t really put my finger on. But so too does the Nikon 40mm f2 Z. With that said, the lens is still clinically well developed.”

Buy Now

OM System 20mm f1.4 PRO (40mm Lens Equivalent)

In our review, we state:

“Oh, man! The image quality from this lens is a two-component thing. Purely by itself, you’ll never want to stop it down. OM Digital Solutions (OMDS) says that the bokeh is “feathered.” And that sort of makes sense. But instead, I think it’s just creamy and has a bit of a gorgeous character to it. If you’re a Fujifilm shooter, it looks like the Fujifilm 35mm f1.4 original. That lens has a Sonnar type design, but I don’t think the OM System 20mm f1.4 has that. It’s also very sharp. And while there’s a minor issue with purple fringing, I believe this can be fixed in post-production or wholly negated.”

Buy Now

If you look at it, there are two schools of thought in photography. There’s gear and photos. Some people are great with gear. Other people are great photographers. Just because you’ve got an expensive camera, it won’t mean that you can shoot a great photo. More importantly, it doesn’t mean that you also understand how to create a great photo, the idea of a moment, etc. I’ve also met a ton of photographers really into their art that barely know how to use their cameras.

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Here are the facts, some people are just into cameras and other people are into photography. There’s a huge difference. Some people are into knives, but they’re not into cooking. Other folks are into gaming, but they’re not into building their own computers. A reasonable amount of people are into cars, but not necessarily driving them. Some folks are into archery, but not necessarily geeks about bows. In the same vein, someone could really like whiskey, but not care about the distilling process.

This is something all of us need to keep in mind. It’s fine if cameras are your hobby. You can own a bunch of cameras because you like them. Cameras are an incredibly fun hobby. If you buy them used, you’re going to probably get a great buy. More so than any other tech besides TVs, cameras are used pretty carefully. You can’t really go wrong when buying a used camera the way you can with a refrigerator or something.

At the same time, photography can also be a hobby. You can be just fine with your 30-year-old camera and just like the act of taking photos. Your phone may be enough and you’d be really into the stories of the photos, looking at them, etc. It’s an enjoyable thing for sure. Some folks on the other hand might really like paging through photos in a book.

Now here’s the bigger thing: it’s wonderful if you’re just into cameras. At the same time, your interest in photography is equally just as wonderful. But I think we all need to go deep down inside of our souls and figure out which one we are. You could say that you’re into street photography, but you may actually just like using cameras. Similarly, you could say you love Sony cameras, but you may have never touched anything else in your time shooting with cameras.

Can you genuinely be into both? Sure, but not a lot of people truly are. If I looked at our staff, I could easily see who is more into cameras and who is more into photography. Some people are a bit of both. If I looked at brand ambassadors, I can easily tell who is into photography, who is into cameras, and who is both. There are people who call themselves photographers that end up just doing tons of layering in Photoshop. At the end of the day, they could do that with any camera. So they’re mostly just into being actual photographers and photo editors.

If you’re making it this far, you’re probably wondering why this matters. I think that it needs to help change the conversations about both cameras and photography. Some cameras are a more tactile experience. You obviously pick up a Leica for a specific experience. But when you look at a bunch of the other cameras on the market, the experience is very similar. Conversely, when you look at the different types of photography, they’re all much different. So why then haven’t camera manufacturers tried to make themselves as diverse as there are photography genres?

If you look on social media, lots of photos have a particular format. Sure, you can share landscape-oriented photos pretty easily. But the ones that take up the most real estate space are vertical images and portrait-oriented images. Photography hasn’t really caught up though. Photography has long been based on the idea that images will be printed onto paper. Then it was oriented towards computer screens. But the dominant devices these days are smartphones. And landscape-oriented imagery on smartphones doesn’t really make sense. Instead, portrait and square photos are more practical. For this reason, I think a square camera sensor could make the most sense.

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Back in 2016, Hasselblad had a concept for the V1D. This was a camera that used a medium format sensor and cropped the image down to a square format. It was weird, but a fascinating idea. While it ended up being vaporware, they were surely onto something. A square sensor format camera could be just what the industry needs right now.

You’re probably saying, but why not just crop the image to begin with? I’d argue back that you should have the image right from the start. A lot of cameras have a square format JPEG image option. It’s very fun to use. But medium format film cameras existed for years that used a 6×6 square format. I think a square format sensor could be the next big, fun thing in cameras.

A square camera sensor would change a lot of things. The body shape wouldn’t need to be so long. Instead, it could be cubed. The way folks composed images would totally change. And if they wanted to create a landscape or portrait-oriented photo, they could use an in-camera stitching method. Sony has a sweep panorama feature, imagine doing it with a square camera sensor.

Specifically, I think that a square camera sensor in a camera body like a Hasselblad 500C with a top-down LCD could be amazing and fun. Every camera these days more or less follow two shapes: a traditional DSLR or a rangefinder style. Sigma has tried and failed with a lot of ideas. But why does the industry continue to ignore a critical part of history? Many photographers have gone back to film to use Mamiya SLR film cameras partially because they love the format and the experience. So why can’t that be done digitally in a completely different way?

I think a square camera sensor device could also be really simple to make lenses for. The camera would basically just use the center area of the lens where the image quality is best. Making a sensor larger than a Fujifilm GFX sensor would be the way to go here.

So who would do something like this? Well, I’d think that Hasselblad would be best. But let’s face it, they barely seem to exist as a camera company anymore. Tamron, years ago, owned the Bronica company. They make a ton of lenses and it would be amazing for them to team up with Sony to make their own square format cameras. Fujifilm might also make sense.

But could this actually happen? Unfortunately, I don’t think so. I think that camera manufacturers often try to be very safe. And for business, that makes sense. But I wouldn’t believe anyone that told me that there isn’t a demand for a square format sensor camera. If it was good, I think folks would totally buy it. It’s perfect for social media. And, again, most photos these days are consumed on social media. This website’s audience is 65% mobile-based.

“We’re closing up shop,” is what they told me. Behind my face mask, my jaw had dropped. But the rest of my body language permeated complete shock and heartbreak. I moved back to Queens in 2020 and 37th Ave Photo had been my local film lab since coming back. But now they’re gone. The knowledge of the old man, his son, and their incredible work has disappeared. In over 12 years of running the Phoblographer, the love story involving film labs has surely had its share of heartbreaks.

When people want to find a film lab, they often ask friends. Everyone has one that they use and like. Lots of folks like CRC for one reason. I personally used to use Luster. A bunch of folks in North Brooklyn adore Kubus. But things change and the quality tends to shift. Kubus might be great at one point of the year and awful at another point while also selling expired film that isn’t refrigerated. CRC might scan your black and whites and have dust all over them. Luster will do a great job but they’ll be incredibly expensive. Duggal will do a great job but cost you an arm and a leg. There’s always something with film labs. But finding the one for you is sometimes more heartbreaking than actual relationship-based heartbreak.

The problem with the film lab industry in NYC is huge. Some of them just send your film to another developer at times. Turnover is also pretty vast. The profit margins are slim because film is such a niche product still. Surely, it’s grown over the years as Fujifilm has cited that Millenials and Gen Z alike use it. It’s unfortunate, as I’ve heard of some wages paid are minimum wage. I don’t think this is the case with bigger labs, but at the smaller ones, it’s probably part of what’s wrong with them.

This is a compound problem that I think is going to get worse. The manufacturers have raised the prices, and I hope that that will go back into developing new film that can’t be duplicated with a digital preset. But when film prices rise, people buy less film. When people buy and shoot less film, they get less developed. So the film labs get squeezed with a big problem.

Have you ever tried scanning your film? It’s an incredibly annoying process. It can take a really long time to get them right too. And believe it or not, I don’t think that film labs charge enough. But if the prices went up, people would complain.

I’m sure some of you are sitting there saying “Just shoot digital.” But no. Digital is a great experience, but film is a completely different type of ceremony. I’ll liken it to vinyl. When you’re listening to vinyl, it makes sense that you’d sit around and do nothing else but listen to the music. After a while, you’re going to need to get up and flip the record over. You obviously don’t have that issue with digital music. Similarly, with film, you have to experience the ceremony of being careful with your shots. Sure, you can do that with digital, but lots don’t. I’ve seen photographers shoot in burst mode and shoot 500 images of one look. You’re not going to do that with film. And a lot of digital photographers don’t shoot digital in the same way they do film.

In the global pandemic, a lot of people became bird photographers. Tons of folks took to the countryside, but a lot of us also stayed in big cities. Believe it or not, big cities are great places to photograph birds. In fact, we reviewed a ton of lenses doing just that. So we’re giving readers some tips on how to photograph birds in cities based on our actual experiences.

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Table of Contents

Set Up a Local Birdbath or Bird Feeder

Start Early in the Day

Walk Around and Notice Their Habits

Tips for Better Bird Photos

Recommended Lenses and Cameras to Photograph Birds in Cities

Set Up a Local Birdbath or Bird Feeder

It might seem like common sense, right? Instead of going out and hunting for the birds, bring them to you! We’ve seen a few different things that people do to get birds to come to their windows or close by. Some folks leave bird seed on their windowsill. We’ve seen other folks leave nuts and fruit on their windows or fire escapes. I personally set up a birdbath on my balcony that I sometimes fill up.

If you don’t have any sort of space to do this, look for local parks, lakes, community gardens, etc. One cool idea is to hang a bird feeder from a line of some sort. If your home has an old-school clothes line, try hanging a feeder from there.

The reason to do these things is to find a way to get the birds to come around at different times of the day. Birds are almost always looking for food. So if you can get birds to come to your home or space and pick up some food, then you’ve got an opportunity to photograph them. Ideally, you want the birds higher up from ground level. We’ve seen folks throw rice away near trees to let sparrows eat the rice. This isn’t always safe, and can’t lead to attractive photos. The backgrounds will be way too busy. Putting berries out on plate on a fire escape or out a window sill is a much better idea.

Start Early in the Day

The first thing you should always know about how to photograph birds in cities is that they’re out and about early in the day. Sometimes you’ll see and hear them around at sunrise. At other times, you’ll see them congregating in certain trees around 9am or 10am. You’ll typically get the best light earlier in the day when people are commuting and going to work.

If you’re in a city, there are lots of different places you can look. Most wildlife and birding photography is talked about in the outdoors and countryside. But the truth is that big cities are where tons of birds go because of the free food sources available. Here in NYC, lots of folks flock (pun intended) to Central Park to photograph birds. But my personal favorite place is Forest Park in Queens, NY.

Look around for fruit and berry trees. Lots of birds like going to these trees and bushes for a snack. In parks, people might sometimes throw a bagel on the floor. If the squirrels don’t get to it, the birds will.

One of the big problems about photographing birds in cities is that you mostly find pigeons or sparrows. But it’s possible to find other birds if you understand their diet.

According to What Birds are in my Backyard, here are some of the most common birds. We’ve done a bit of research to also add in what they eat.

Blue Jay: Peanuts and sunflower seeds. Try to make sure the nuts aren’t salted.

American Robin: Fruits, berries, earthworms.

Northern Cardinal: Sunflower seeds, grains, fruits.

American Crow: Grains, nuts, seeds, berries.

Black-capped Chickadee: Insects, seeds, berries.

Mourning Dove: Sunflower seeds, cracked corn, and shelled peanuts.

American Goldfinch: Seeds

European Starling: Insects, berries, and seeds.

Song Sparrow: Insects, seeds, berries.

Downy Woodpecker: Beatle Larvae.

Red-winged Blackbird: Insects, corn, and wheat.

House Sparrow: Grains and seeds

Common Grackle: Seeds, grains, and rice.

Red-bellied Woodpecker: ...

It’s really, really sad. The world of good point-and-shoot cameras is pretty much gone. And in 2022, I’d be shocked if it comes back. Though honestly, with the major component issues, it wouldn’t be a bad idea to bring them back. They’re an affordable way (for the manufacturers) to get more cameras sold. I know tons of photographers that would love a good point-and-shoot camera. I, myself, have many times wished that I had one on me. And the times that I have the most fun testing cameras is when I use good point-and-shoot cameras.

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According to the October CIPA statistics, DSLRs these days outnumber point and shoot camera sales. Given what The Phoblographer sold via affiliate efforts last year, I’m positive that most of them were the Fujifilm X100v. In the past few years, the Fujifilm X100V (review) and the Leica Q2 (review) are the only really good point and shoots to come out. Panasonic’s last LX100 attempt neglected weather resistance. Canon hasn’t updated to G1x in years. I’m convinced that the Sony RX1R series died because Sony and Zeiss called off their relationship. After all, Zeiss made the ZX1, but no one pays attention to it despite it having a great idea. Nikon had a slew of good point-and-shoot cameras slated to come out that never saw the light of day.

So what happened? Some manufacturers will say that people don’t want point-and-shoot cameras. But I can’t disagree more. In fact, they’re willing to pay a lot of money for them. Don’t believe me? Enter the Contax T2. Indeed, the Contax T2 should’ve been the camera that Zeiss tried to make. Did you know that it goes for an insane price? In fact, I’d be in love with an idea like this. Follow me here:

A small point and shoot with an EVF

It’s got a full touch screen interface

A nice prime lens with a flash on the front like all of those old-school point and shoots

Full-frame or APS-C sensor

Weather resistance

Fully automatic metering. I say this because it will make photographers just point, shoot, and forget about the rest. There are lots of fantastic film point and shoots that do the same thing.

There could be a manual version, but then in that case, I’d say just get an interchangeable lens camera.

Charging via USB-C

Bluetooth and Wifi

Built-in storage, lots of it

Around $2,000

Let’s be honest, a good point-and-shoot camera like this doesn’t need to have the newest and greatest camera sensor. Sony’s older 24MP and 36MP sensors are more than good enough. And this would be a camera that photographers bring with them to parties, have fun with, and don’t worry about all that much. Lots of folks would buy it. And more importantly, photographers would probably use it for a long time. Plus, the camera manufacturer making it could have a long repair program with it.

A good point-and-shoot camera like this would address a really big need for a party camera. Right now a lot of folks like to use Instax cameras. It’s kind of clumsy to bring around an interchangeable lens camera unless you’re being paid to shoot the party or do it in a professional manner. So why not have a good point and shoot that just makes things fun. Why do I have to use my phone? Why did camera manufacturers just give up that battle? Sure, you’re never going to win over the masses of consumers again. But you’ll win over the folks who care about passion products. And unless you’re shooting professionally these days, cameras are passion products. The small, vocal minority of professional photographers are often the ones who define what features folks want. But why? Most people who buy cameras are what manufacturers call hobbyists, but I call passionate photographers.