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“I look for authentic body language and real emotions. I think body language says a lot without exposing people’s identities and facial features.”, says Shuko Kawase of Japan, about her street photography. Having studied arts in various cities worldwide, she is currently based in Barcelona, Spain, with her husband Nicanor Garcia (also a commercial photographer). Late last year, Fujifilm Spain contacted them to produce a visual project using their newly launched camera – the X-S10. The couple spent 2 months testing it out as a street photography camera, focusing on the IBIS and its ability to help produce shake-free images.

In addition to the visual and technical challenges that street photography poses, it also puts up ethical and personal questions when there are people in the frame. Is it right to take pictures of people from afar, without their knowledge? Is it any different if you stick a camera in their face and walk away with a photo? Even if the laws of your country allow you to photograph strangers, would you delete their images if they request you to? Smiles, frowns, poker faces, poses – I’ve received them all when I take my camera out during my travels. People around the world react differently to street photographers.

A large part of this may have to do with the laws and the cultural sensitivities of the country itself. In regions of the Middle East where I live, it is considered highly offensive and illegal to take a photograph (or video) of anyone in public without asking their permission first. In other parts of the world, photographers taking pictures of passersby and commuters is fairly common. I’ve been to many cities where strangers come up to me and ask to be photographed, many times just for the feeling of being in front of a professional camera for a moment. Whenever possible, I carry around a Fujifilm Instax SP-1 printer during photo walks around the city. Being able to immediately give a photo print to those who have pleasantly posed always brings smiles to those on both sides of the camera. Shuko has traveled to various countries around the world, and she tells us how the Fujifilm X-S10 improved the technical and emotional aspects of her street photography.

Also, be sure to check out our review of the Fujifilm X-S10.

A quote from our Fujifilm XS10 review.

“The colors captured and rendered are glorious. Use the film sims and camera filters, and you’ll be overjoyed with the results. We’re also thrilled that the RAW files pack a ton of detail too.”

The Phoblographer: Tell us a bit about your background and how you got into photography

Shuko Kawase: I studied art even outside of school since I was a child, and when I was in high school, I was admitted into an arts summer school in New Jersey in the US. It was there that I got to be in a BW photography darkroom for the first time, and I just adored it.

The Phoblographer: When did Fuji express an interest in having you test out and present the X-S10, and what was the main idea behind that project?

Shuko Kawase: In November 2020, just before the X-S10 came out, Fujifilm Spain contacted me and my husband to tell us they were interested in having both of us test the camera for several weeks and present the content in our Instagram channels. The main idea was to give our audiences a first look at what the camera could do and what we thought about it.

The Phoblographer: Apart from the X-S10, what were the other lenses and accessories you used for this project?

Shuko Kawase: I used these Fujinon lenses: XF 23mm F2 R WR, XF 18-55mm F2.8-4 R LM OIS, XF 10-24mm F4 R OIS, and XF 56mm F1.2 R.

The Phoblographer: Take us through your favourite images from this series. What ideas did you come up with before you shot them and how did you narrow down locations?

Shuko Kawase: We decided to go to Sitges for a change of pace after being stuck in Barcelona all year due to the pandemic. It was refreshing to experience...

Tamron Lenses are at a great price right now, but only for a limited time.

It needs to be said: the photo industry creates a whole lot of sterile-looking lenses. The past two decades have engineered the soul out of photography. But with Tamron lenses, you’ll get a bit of that spark back. These lenses have beautiful, vivid colors. They’re also very sharp. What’s more, many of them are built exceptionally. But the cherry on top of all that is the affordable prices. Want to make your Sony a7r IV have better colors than you’ve ever seen? Try one of these lenses.

Sony Mirrorless Lens Deals by Tamron

We’ve got some great news for you. First off, these lenses are available at great prices. But more importantly, we’ve reviewed every single one of these lenses. So if you want to see what they’re capable of, you should check out our reviews. The product names are hyperlinked with our reviews. And the prices have a link to the Tamron store on Amazon.

Personally speaking, I own the 17-28mm f2.8 Di III RXD and it’s been incredibly useful. It’s a great lens for video. I usually use 35mm, but 28mm is a good enough option. Plus, I need to go wider often. So this lens fits a whole lot of essential roles that I need as a journalist.

Tamron 17-28mm f2.8 Di III RXD: $799

Tamron 28-75mm f2.8 Di III RXD: $799

Tamron 70-180mm f2.8 Di III RXD: $1099

Tamron 28-200mm f2.8-5.6 Di III RXD: $649

Tamron 35mm f2.8 Di III OSD: $199

Tamron 24mm f2.8 Di III OSD: $199

Tamron 20mm f2.8 Di III OSD: $249

Canon and Nikon DSLR Lens Deals by Tamron

Just like with the mirrorless camera lenses, we’re hyperlinking the names to our reviews. So check out the reviews in the hyperlinked names. The prices, once again, are hyperlinked. Want to enjoy some birding? Well, their 150-600mm might be right up your alley!

Tamron 18-400mm f3.5-6.3 DI-II VC HLD: $599

Tamron 18-200mm f3.5-6.3 Di-II VC: $199

Tamron SP 70-200mm f2.8 Di VC USD G2: $1,199 for Canon or Nikon

Tamron SP 150-600mm f5-6.3 Di VC USD G2: $1,199 for Canon or Nikon

Editor’s Note: This roundup is sponsored by Tamron.

Photography and cameras are a personal thing that needs to be experienced–like a good fitting shirt!

We often say there are lots of cameras on the market feel and act the same. And that’s true. In fact, many even share the same sensor. So to differentiate them all, manufacturers have tried new things. The big differences are ergonomics, autofocus, menu systems, and more. And overall, the thing needs to feel right in your hands. The right camera needs to jive with your mind. Most of all, you can’t get over buyer’s remorse.

Manufacturers say that you’ll get over it as time goes on. But that doesn’t really come true. Many years ago, I bought a Nikon camera. It just didn’t work for me. And I accepted that. But I acknowledge that they make good products despite doing so many things backward. And I also think that they do work for someone else. As a reviewer, I have to try pretty much every camera on the market. But I’ve only ever purchased into three systems. I bought Sony because of the autofocus performance and versatility. I bought Canon for the lenses. And I bought Fujifilm for the ergonomics and the unique image quality. I own Leica film cameras for their unique feeling. And I’d probably buy another Leica or a Panasonic camera easily.

But I’m not like most folks. Most photographers stick to one camera system. Lots of new shooters like the marketing that Sony does. And they’re fine enough with the camera bodies. But if you’re more experienced, you’re probably not a fan of the very-computer driven interface. If you’ve shot Canon for many years, then you’ll like what the Canon RF cameras are.

And it’s totally okay to move in and out of systems. As you change, they will too. Being a creator is important. If a system just isn’t working for you, then you should move. It’s often made me wonder what would truly work for me. If I wasn’t a camera reviewer and had to start back all over from scratch, what would you buy? Would you want Sony for their small, quality lenses and bodies? Would you prefer Canon for their lens innovations? Would you want Nikon because of the feeling? Or how about Fujifilm for the look and ergonomics? Or would you want Olympus for the small size? Or Panasonic because you care so much about video?

I think people can spend $1,000 on their camera and realize that they don’t like it. Certain things just feel right in your hands. And that’s why I think that everyone needs to try a ton of cameras and lenses out. We all know that every photographer is particular about the lenses they use.

This is a bigger reason for every camera manufacturer to try harder without violating trust. Look at phones! You can go iOS or Android. But if you go Android, you’re probably best with one system. And if you go iOS, you’re better off being in the whole Apple ecosystem.

Of course, the same goes for computers. I love Apple’s keyboards. And every time I use Lenovo’s keyboards, I want to scream. Similarly, you won’t ever really get over buyer’s remorse. It’ll just get worse.

Again, pick the system that’s right for you. Put them all in your hands. And go make mistakes.

Optyx A.I. Photo Manager can help speed up culls for big shoots — but don’t fall for the idea that you can be done in mere seconds.

Culling photos from a big shoot such as a wedding is a process that typically takes hours. For me, the photo cull is a boring task that’s best tackled with Netflix and some snacks. But, can artificial intelligence turn that hours-long process into a few minutes? Optyx A.I. Photo Manager is an app that uses artificial intelligence to ease the bore of the cull. Using A.I., the app groups photos together, then searches for the sharpest one. But, mixing artificial intelligence with art is a precarious teeter-totter. Can A.I. really find your best shots?

When I first downloaded Optyx. I didn’t expect to really like the app. I was worried that, by integrating A.I., I would be losing the ability to pick a photograph based on emotional impact alone. But, Optyx works best with some manual input — and doesn’t really judge a photo beyond anything but sharpness. Optyx may have just found the perfect balance between speed and overlooking too many great shots.

Too Long, Didn’t Read.

Optyx does a good job of selecting the sharpest shot in a group of similar photos. It doesn’t select the best lighting or expressions, but the manual culling tools allow a good blend between the speed of A.I. and the eye of an actual human. It’s a good app for burst shooters, but photographers who only take a shot or two of the same subject won’t save time.

Pros and Cons

Pros

Finds your sharpest photos

Groups similar shots automatically

Allows for quick manual culling

Cons

Group view applies changes to every image

Doesn’t consider lighting or facial expression

Another app to import to. Sigh.

Gear Used

I used the Optyx app on my 2015 MacBook Pro. I tested culling both on the local disk and on on a LaCie external hard drive. A pop-up warns that Optyx works best with images that are stored locally.

Main Features

Optyx is based on several A.I. features. Here’s how Optyx says the software works:

Focus detection: The app looks at each face to evaluate for sharpness, choosing shots with the sharpest focus on faces.

A.I. Autocull: This feature groups similar images together, so you can easily pick the best of the bunch.

Fast previews: Optyx says that previews are fast so that you can also manually cull faster than Lightroom’s previews load.

Ease of Use

Optyx starts out much like any RAW file manager — you need to import your photos. The process starts by creating a new shoot, then adding your photos. This process is similar to Lightroom and Capture One. 150 photos took about 5-10 minutes, but 650 took about half an hour.

Optyx, however, analyzes photos as it imports. In the import screen, the app gives you options to customize this analysis. You can turn face detection and advanced analysis off for landscapes, for example, to speed up the process.

If you’re unsure what an option does, hovering over the little “i” icon either offers a quick explanation or brings up a webpage with more details. That makes the program easy to jump into. I didn’t need to search the web for help. What wasn’t self-explanatory was explained in those little hoover over icons or the one web page that popped up.

“This process is similar to Lightroom and Capture One. 150 photos took about 5-10 minutes, but 650 took about half an hour.”

After the import and analysis, the app groups and auto culls. On this next screen, you can start by customizing your workflow settings. You can choose how conservative or aggressive to group shots. You can also tell it to cull using star ratings, flags, or colors. These workflow profiles allow you to save your settings and get started with the cull faster.

You can further adjust the workflow settings using a trio of sliders. A similarity slider chooses how loosely to apply the groups, where photos can be a little similar or a lot similar. A time slider lets you to consider when the photo was taken when creating those groups. A third ...

In terms of specs, the Sony a7 III is probably the best all round Full-Frame mirrorless or DSLR camera today.

When mirrorless cameras became mainstream by about 2014 or so, I observed two kinds of photographers who moved over to this system from other brands’ DSLRs. Those who weren’t too worried about sensor size, and loved film emulations switched to the Fuji X Series. Others who stood firm about a larger sensor requirement moved to the Sony offerings. Many DSLR users of Nikon and Canon who got tired of waiting for them to bring out competing models, eventually moved to one of the aforementioned mirrorless brands. Even Olympus managed to win over older photographers who got tired of lugging around heavy DSLRs and lenses.

What could Sony bring to the a7 IV to extend their lead at the top of the mirrorless sales charts?

In 2013, the photography world stood up and took notice when Sony introduced the a7 and a7R. These were the first mirrorless interchangeable-lens cameras with a Full-Frame sensor in them. With the launch of the RX1R in 2012, Sony proved that small mirrorless bodies could house more than just APS-C and m43 sensors in them. It took nearly 5 years for – Canon and Nikon – to finally introduce their first models in the Full-Frame mirrorless interchangeable-lens segment. Sony’s R&D and production teams were so quick that by then they had already brought out two iterations of the a7 and a7R. In addition, there are two iterations of the a7s models. Then there is the flagship A9 and A1 series. Now a report from Sony Alpha Rumors states that the Sony a7 IV could be released in September 2021. While the report doesn’t say anything about the possible specs of this model, here’s a list of specs that Sony could introduce to indefinitely stay at the top of the global mirrorless camera sales list

A Massive Upgrade or a Minor One?

Positioned between the a7s series (a champion of low light) and the ultra high-resolution a7R series, the a7 and its 2 iterations were a balanced middle ground for those who wanted to get their first Full-Frame mirrorless camera. With these improvements over the existing a7 III, the release of the IV iteration could see Sony’s sales skyrocketing by the end of 2021

All 3 models of the Sony a7 have so far had a 24 megapixel sensor. I’m hopeful that this could increase to 30 or 32 MP in the upcoming model; with continued use of its Exmor backlit sensor technology.

IBIS enhancements to go beyond the current 5.0 step shutter speed abilities

4K video at 60 fps (at least), without any crop. Or maybe just surprise us with 120 fps (again, without crop please).

Full HD video at 240 fps. We all love watching slow-mo videos

Significant improvements in the already class-leading Eye AF and Animal Eye AF tracking speeds

12-15 fps continuous shooting (12 with the mechanical shutter and up to 15 on the electronic shutter). This could even go up to 20 if the a9iii comes out with a faster frame rate

Imagine being able to manually set a shutter speed for your exposure using the menu system. I’d like for the Sony a7 IV to provide this feature when it comes to long exposure photography. Let’s move the lower limit of 30 seconds out of the way and let photographers be able to set custom values for exposures

Improved viewfinder resolution (at least 3.6 million dots)

A fully articulating LCD. Even if the a7 IV won’t be marketed as a vlogging camera, there’s no reason cameras today shouldn’t have this feature as a standard

Support for the latest Bluetooth v5.2; I wonder if this could help pair headphones to the camera (for audio monitoring during video recording). Wouldn’t need a 3rd party Bluetooth transmitter on your camera then

Can they do better than the existing 693 phase-detect and 425 contrast-detect AF points? As a shooter who likes single point AF shooting, I am not a fan of too many focus points, but it seems like brands are using this as a bragging right these days, similar to the megapixels wars.

Better video spec...

It’s apparent the world moved on from what this Sony lens can do, and they need to supersede everyone else!

The Sony system is currently the best choice for a professional photographer, working journalist, or creative. There are lots of third-party lens options and fantastic flash/lighting support that are lightweight, small, and reliable enough. Durability aside, the system can reliably do anything you really need it to. No other camera system can say that at the moment. But where the rest have pulled ahead is with lenses. One lens of particular contention is the Sony 24-70mm f2.8 G Master. These days, it’s questionable whether or not you’d buy it, but if Sony really wants to pull ahead of the pack, the Sony 24-70mm f2.8 G Master II needs to be fantastic.

For the record, there are great options for the Sony system. The Sigma 24-70mm f2.8 DG DN Art lens is affordable but has autofocus and weight issues. As an aside, it’s also far lighter and more balanced on Leica L mount bodies. You can check out our review of the Sigma 24-70mm f2.8 DG DN Art lens here. The best choice is arguably the Tamron 28-75mm f2.8 lens. It’s light, fast to focus, accurate, and has unique image quality. Plus, it’s more affordable. That’s the one I’d buy today. Take a look at our Tamron 28-75mm f2.8 review.

Dual Motors for Autofocusing

This is a relatively new design that camera and lens companies have started using. Some companies use a single element to handle focusing, and those designs are positively brilliant. But it’s not possible for every lens. When there are lots of focus groups, it makes more sense to have dual motors. That is what will make the autofocus even faster. Granted, Sony’s autofocus is already speedy. But we’re sure that the Sony 24-70mm f2.8 G Master II can be even faster.

A New Design: Internal Zoom or a Lighter Body with Better Balance

This is where I’m really excited about what’s possible for the new Sony 24-70mm f2.8 G Master II. Just imagine a 24-70mm lens that doesn’t zoom externally. Sure, the overall size would be larger, but it would also probably be alright. It could potentially give more balance to the body and lens.

If that’s not possible, a lighter lens body would be very welcome. My idea for this comes from what Leica did with the Sigma 24-70mm. Leica’s variant is slightly heavier and larger, but you’d probably not really notice the difference. It also feels much more balanced because of what Leica did with it.

An Aperture Ring? Yes Please!

Sony typically puts aperture rings on their higher-end prime lenses only, but since the Sony 24-70mm f2.8 G Master II would be a constant aperture lens, why not give it to this one too? This aesthetics thing would make the Sony 24-70mm f2.8 G Master II feel more like an actual photography lens than a soulless product.

Give. Us. Lens Character.

One of the biggest things Sony does is engineer the fun out of their lenses. They do so much to get rid of lens flare and other fun things we’d like to have. For anyone whop says that you can do it in post-production, consider the following. First, there’s the fact that the entire industry worked to get rid of the fun in lenses. It’s happened in both post-production and in the product itself. This is so much of the case that you can easily engineer any flaws out of images using the software. But if you want to get that look back, you need to spend hours in front of a computer and pay for extra software. Why not just listen to Gen Z and Millenials and give us the looks we want?

Image Stabilization

Imagine if the Sony 24-70mm f2.8 G Master II had image stabilization? Yes, their camera bodies have it. But where I’ve seen this really shine is with Canon. The combined stabilization of the lens and camera is unlike anything else. Better yet, Canon did it all while keeping the product small.

So let’s hope that the Sony 24-70mm f2.8 G Master II is a real winner. What do you want to see from it?

If you’re a nomadic soul, these pieces of gear are perfect for travel photography.

We know how it is. You spend time on the internet looking at glorious travel photography from around the world. You ask yourself, “How can I make photos like that?” You’re going to need the skills and the tools that allow you to utilize them. Tripods, lightweight cameras, and the right lenses are essential for the perfect travel trip. Here’s what we recommend.

The 3 Legged Thing Ray Is Ideal for Travel Photography

“Overall, I have to say that the 3 Legged Thing Ray tripod and Airhed VU ball head have been a delight to use. I’m a big fan, so much so that I will start carrying a tripod around with me again on my adventures. The 3 Legged Thing Ray is stylish, easy to use, lightweight, and folds down into a beautiful compact unit that is easy to carry around. “

The Portable Vanguard VEO 2 235CB Is Perfect for Travel Photography

“The Vanguard VEO 2 235CB is a pretty damned good tripod. It’s higher quality than many of the house brands retailers sell and Vanguard does it at a bargain of a price point. At a bit under $200, you’re getting a solid deal. If you’re a landscape photographer, travel photographer or an urban explorer, this is the tripod that you’ll most likely want to bring with you”

The Gitzo Légende Tripod Is Eco-Friendly

“If you’re in the market for a new tripod, the Gitzo Légende tripod is a solid choice. The design is minimalistic. The silver and black color scheme looks nice. The controls are all well placed and easy to use. The legs feel nice and sturdy, even on uneven ground. The included ball head can carry a big load. I never had any issues with it in regards to stability. I love the friction control, which enables you to make precise movements. This is something that’s often overlooked.”

Canon EOS M6 Mk II Is Wonderfully Compact

“Photographers who are hobbyists will seriously enjoy it. But in addition to that, a professional looking for something smaller to simply toss around will be very satisfied. The camera not only takes excellent images but has a very satisfying shutter sound. I can’t get over it. It sounds and feels like an old school film camera in some ways. “

Explore New Lands with the Panasonic S5

“The Panasonic S5 is a good camera…The majorly innovative thing about it is the addition of Live composite. It’s one of the smallest DSLR style mirrorless cameras on the market. Plus, it’s incredibly lightweight.”

The Canon EOS RP

“There is a lot to like the Canon EOS RP. It’s a simple and fun camera if you’re more inclined to the world of automation. But even so, with the right settings and a bit of patience it can be a great camera in the hands of someone who has a creative vision. You’ll just need to take your time with it. The Canon EOS RP is also really, stupidly affordable. With a full frame sensor at the heart, it’s going to appeal to anyone that says “Oh well full frame is better.”

The Fujifilm 16mm f2.8 Is for Those Who Need Adventure!

“…this is a lens for the user who wants an affordable autofocus lens with weather sealing. And for that user, Fujifilm is delivering.”

The Sony 24mm f1.4 G Master Is Super Lightweight

“Marrying a petite footprint with a feather-like body, the Sony 24mm f1.4 G Master is capable of creating stunning images with razor sharp detail and dreamlike bokeh. A marvelous union of technological advancement and optics engineering, as far as 24mm f1.4 lenses goes, Sony simply did it better, smaller, and lighter than the competition.”

The Canon 35mm f1.8 Offers Amazing Quality at an Affordable Price Point

In our review, we said:

“The Canon RF 35mm f1.8 USM IS is a lens that photographers will pick up if they’re looking for a good 35mm lens for the Canon system that has image stabilization. In addition to that the image quality is also very sharp for what it is. Then consider the bokeh and the fact that you can not only get this from a 35mm lens, but the f1.8 aperture lets you really blow your backgro...