The Nikon Z 24-200mm f4-6.3 VR captures images that don’t look like they were shot with a budget lens.

As a series that’s just a few years old, the Z mount doesn’t have the wealth of coverage and specialty optics as the F mount. But, the Nikon Z 24-200mm f4-6.3 VR covers a ton of focal lengths in a single lens. At $799, it offers a lot of focal lengths for a reasonable price. But, cramming lots of focal lengths in one lens can be disastrous for image quality — and that’s coupled with a narrower variable aperture.

But, the Nikon Z 24-200mm f4-6.3 VR actually delivered a few surprises. While it won’t hold a candle to pricier lenses like the Z 70-200mm f2.8, it doesn’t sabotage image quality in the name of versatility and budget. It’s a lens I can easily see beginners and hobbyists enjoying, as well as those using a crop sensor Z-body, where the lens will reach 300mm.

Too Long, Didn’t Read

While the Nikon Z 24-200mm f4-6.3 VR doesn’t quite offer the same level of sharpness as the high-end S line, this versatile zoom manages image distortion well and offers plenty of versatility. As a result, it’s a good option for beginners and users of the Z 50.

Pros and Cons

Pros

Versatile zoom range

Lightweight

Weather-sealed

Minimal distortion

Good color

The fun flare that doesn’t wreak havoc on contrast

Affordable

Cons

Narrower variable aperture

Minimal controls

Not as sharp as some other Z lenses

Gear Used

I used the Nikon Z 24-200mm f4-6.3 VR with the Z7 II (firmware 1.20). The pet portraits below were also shot with the Flashpoint XPLOR 100 light, diffused with an umbrella. Gear was stashed in the updated Wandrd PRVKE II backpack.

Innovations

The Nikon Z 24-200mm f4-6.3 VR brings several Nikon technologies into a versatile lens that covers the gamut from wide-angle to telephoto. While the lens has tech like a stepping motor, ARNEO coating, and VR, the most innovative aspect of this lens is the zoom range. 70-200mm is the more common lens, though Sony and Canon have a 24-240mm, and Tamron has an 18-200mm.

Tech Specs

According to Nikon, the Z-mount 24-20mm has these specifications:

Mount Type: Nikon Z Mount

Focal Length Range: 24 – 200mm

Zoom Ratio: 8.3x

Maximum Aperture: f4-6.3

Minimum Aperture: f/22-36

Format: FX

Maximum Angle of View (DX-format): 61˚

Minimum Angle of View (DX-format): 8°

Maximum Angle of View (FX-format): 84˚

Minimum Angle of View (FX-format): 12°20′

Maximum Reproduction Ratio: 0.28x

Lens Elements: 19

Lens Groups: 15

VR (Vibration Reduction) Image Stabilization: Yes Lens shift using voice coil motors (VCMs) Diaphragm Blades: 7 Rounded diaphragm opening ARNEO Coat: Yes

ED Glass Elements: 2

Aspherical Elements: 2

Aspherical Extra-low Dispersion Glass Elements: 1

Fluorine Coat: Yes

Super Integrated Coating: Yes

Autofocus: Yes

AF Actuator: STM (stepping motor)

Internal Focusing: Yes

Minimum Focus Distance:

1.64 ft. (0.5m) at 24mm zoom position

1.78 ft. (0.54m) at 35mm zoom position

1.81 ft. (0.55m) at 50mm zoom position

1.91 ft. (0.58m) at 70mm zoom position

2.14 ft. (0.65m) at 105mm zoom position

2.24 ft. (0.68m) at 135mm zoom position

2.30 ft. (0.7m) at 200mm zoom position

Focus Mode: Autofocus, Manual

Filter Size: 67mm

Approx. Dimensions (Diameter x Length): 3.1 in. (76.5 mm) x 4.5 in. (114 mm) Distance from camera lens mount flange, Based on CIPA guidelines Approx. Weight: 20.2 oz. (570 g) Based on CIPA guidelines

Ergonomics

I’ve shot with most of the Z series lenses, and the 24-200mm atheistic fits right in with the rest of the series. The lens weighs 20.2 ounces, which is light for such a wide zoom range. That makes the Z7 II just slightly front-heavy, but it was a comfortable combo to hike with.

Nikon Z lenses typically fall into one of two categories: advanced lenses with lots of controls and LED info panels, or basic lenses with barely any controls. The Z 24-200mm f4-6.3 VR falls into the latter category. There are just two controls and a lock switch on the lens. The first control is the custom control ring – a t...

The Nikon MC 105mm f2.8 VR S and Nikon MC 50mm f2.8 lenses are the first Z mount macro optics.

The Nikon Z system is continuing to shape to look more attractive to professional photographers. The latest news furthering their progress is for two new Macro lenses. Today, they’re announcing the Nikon Z MC 105mm f2.8 VR S and Nikon Z MC 50mm f2.8 macro lenses. The announcement fills in a gap in the young series lens coverage as the first lenses to offer macro capabilities for the Z series bodies without using an F-mount adapter.

Nikon has launched lenses and Z system bodies steadily since the series launched over two years ago. The Z mount family now totals 20 lenses native to the wider Z mount. We’ve reviewed most of these lenses, and you can follow our Nikon Z Mount lens guide. Before today, the series didn’t have any specialty lenses without a macro, fisheye, or tilt-shift lens. The series (and most others) still lacks the latter two. The Z mount also has a noticeable gap in telephoto lenses, with the longest full-frame Z mount lens at 200mm. Right now, the system requires a teleconverter or mount adapter to reach farther. (The DX crop series lenses go up to a 250mm zoom). Maybe Nikon will tackle this next.

Nikon Z Macro Lenses: Nikkor Z MC 105mm f2.8 VR S

The much-needed Nikon Z MC 105mm f2.8 VR S is enticing as a lens that can shoot both macro and portraits. The 105mm is an ideal focal length for portraits. Its F-mount predecessor was a favorite of many Nikon DSLR users. While it’s not the f1.8 or f1.2 of non-macro primes, the ability to use the lens for more than one type of shot could sway some photographers. Wedding photographers — like myself — may be tempted by a lens that can shoot both ring shots and portraits, freeing up space in the camera bag and costing under $1,000.

The 105mm is part of the S series, which means it gets Nikon’s high-end design. Think of this like Canon’s L lineup or Sony’s G Master lineup. The lens uses Nano Crystal Coat and ARNEO coating and is designed for edge-to-edge sharpness, Nikon says. In addition, the lens delivers 4.5 stops of 5-axis stabilization when coupled with in-body systems.

STOP READING RIGHT HERE AND THINK ABOUT THIS!!! If look at your camera’s light meter, that means that you can shoot at a really slow shutter speed and get up to 4.5 stops of extra shake compensation. Now, apply the reciprocal rule of shutter speeds. You’d basically shoot this lens at 1/100th or 1/125th to compensate. However, with 4.5 stops of vibration compensation, you can go further. In fact, we’re estimating that Nikon is claiming you can shoot at a bit slower than 1/4 of a second. That’s quite a claim with a 105mm lens. If you’re a wedding photographer photograping at a macor range, this could be great. Of course, you have to have a lot of control. And most professionals will probably end up using a flash instead of using ambient light.

The lens houses Nikon’s dual STM motors, which the company says improves both close focusing and improves image quality. As a result, the lens can focus as close as 0.29 meters. As you focus closer, the lens will stop down. At the closest focusing distance, the lens won’t stay at f2.8. Instead, it will become f4.5. Realistically speaking, f4.5 at a macro distance is pretty thin. But if you’re using a flash, you’re of course going to need over an extra stop of power.

As part of the S series, the 105mm also takes on more design features than the more minimalist lenses. The display panel at the top will show the macro reproduction ratio for the current focus — a new for the Z series. It can also show focal distance or aperture just like many of the other lenses with the top panel. In addition, it houses a focus limiter switch, AF to M switch, lens Fn button, and customizable control ring in addition to the manual focus ring.

The lens weighs 638 grams. Paired with the Z6 II or Z7 II, that’s 400g lighter than the equivalent F-mount lens paired with the D850.

But, perhaps one...

Canon is being a tease — the company just shared their second peek on what features the upcoming EOS R3 will offer.

The upcoming Canon EOS R3 will be able to focus in the moonlight, maybe even without a tripod. That’s what the latest specs on the still-under development camera seem to suggest. Canon teased a handful of new details on the upcoming Canon EOS R3. It’s a high-end mirrorless that mixes the R5 and 1D X Mark III DSLR features. The key details coming from today’s announcement shed light on the camera’s autofocus and image stabilization system, but raise questions about who exactly is making the camera’s sensor.

Canon EOS R3: What We Know So Far

Here’s a quick recap of what we know about the still-developing Canon EOS R3, including details from today and from the first teaser:

First full-frame back-illuminated stacked sensor “developed by Canon”

Electronic shutter up to 30 fps with AE/AF tracking

Improved eye and face AF; sports tracking for motor vehicles

Autofocus to – EV expanded

Speed Lites will be compatible with the electronic shutter

Weather-sealed, magnesium alloy body with multi-controller and vari-angle LCD

Integrated vertical grip with three dial operation

CFExpress and SD card slots

Wired LAN and 5 GHz Wi-Fi

Same battery as EOS 1D X Mark III

Video: Canon Log, oversampled 4K, RAW internal recording, AF tracking

Better Low-light AF Than Sony a9 II?

The list of specifications includes details on low light performance. The camera, Canon says, will focus in low light down to -7 EV, which is basically shooting in moonlight. It’s an expanded range, so it’s unclear if this capability will need a specific focus mode or slow down performance like Nikon’s Z series low light AF mode. Notably, this is twice the Sony a9 II’s -3 EV autofocus range limit.

The R3 will also have eight stops of stabilization. The two features combined should help make the camera a powerful low-light performer. I’ve shot 30-second exposures handheld with 7 stops of stabilization and a wide-angle lens, so this very well could be a camera rarely needs a tripod.

The R3 autofocus system will also have subject recognition for motorsports, cars, and bikes, which feels like a copycat of the Olympus E-M1X. That AF tracking will also work with video. Canon blew me away with the autofocus on the R6: I was actually able to focus on a glass jar full of fireflies at dusk. If they’re able to put that into a camera that has 30 fps, it could be an earnest camera for even low-light indoor sports.

A Sensor “Developed by” Canon

But, we haven’t heard enough about the sensor, and we’ve heard almost nothing about the processor yet to get really excited. Canon says that the full-frame sensor will be “developed by Canon.” It’s the first backlit stacked sensor to be developed by Canon. But, they’ve always worded this as “designed and manufactured by Canon” in previous cameras. Canon has edged around our questions on the sensor: they haven’t come out and said that they are manufacturing the sensor, but they haven’t denied it either.

Canon is one of the few interchangeable lens camera systems that uses their own sensor instead of one developed by Sony or another company like Tower Jazz. It’s what gives Canon images a bit of a different look, particularly in the color science. If Canon develops but doesn’t manufacture the sensor, will that change?

If Canon is going to impress with the R3, the company will need to set the camera and resulting images apart from the Sony a9 II. If the Canon R3 has a stacked sensor produced by the same factory as the stacked a9 sensor, this may be harder to do. However, the 30 fps (to the a9 II’s 20 fps) and the -7 EV low light autofocus (to the a9 II’s -3 EV) may be enough, especially with the innovation of eye focusing.

Innovations with the Canon EOS R3

During the first teaser, Canon shared that the mirrorless will be gaining the eye-focusing ability that their film cameras in the 90s had. The viewfinder will essentially use a sensor to...

KONO is at it again with three brand new film emulsions and one is unlike anything we’ve seen.

KONO is a brand we’ve known and loved for several years. They create some cool, quirky film we’ve only truly appreciated after we looked around at the entire landscape. Digital photography is capable of so much. It even emulates the look of many films. So to get something unique, film manufacturers have to create a look you can’t get digitally. And that’s what KONO is doing with some of their new films announced today. Later today, you’ll be able to pick up emulsions like KONO Delite Art 100 at Freestyle Photographic or on KONO’s website directly.

KONO Delite Art 100

KONO Delite Art 100 is an ISO 100 color negative film. It’s only coming in Medium format 120. KONO says this film is based on a professional film stock, but they’ve tinted it to provide a different saturation, hue, and contrast. It’s an ISO 100 film that delivers some really cool looks that are hard to get digitally.

This is the film we’re most excited to test. It’s one of the few we’ve heard of in the 120 format only. I mean, think about it. How would it look through a Mamiya RB67? Or what about the Pentax 67? Or the Fujifilm GW 690 III? I’ll be using it with a Mamiya 6, so I’m very excited to see what comes of this film.

I think it’s going to provide an intriguing challenge for scanning and exposing. You’ll probably think the colors will be one thing, but they’ll render another way instead. You’ll need to really use color filters on your lenses or just embrace the look. What I’m also super curious about is how it reacts to flash. From the sample images, we can already see what it does for blues. Of course, this is a daylight-balanced film, but how will it look with all the trippy colors?

From what KONO tells us, the effect will be more muted if you overexpose the film. But if you underexpose it, it’s going to become more intense.

Sample Images

KONO Monolit 3

KONO Monolit 3 is a black and white film coming in 35mm. It’s specifically an ISO 3 orthochromatic film with 36 exposures, so it’s really, really slow. You’re not going to get a film this slow. You’re essentially going to be shooting very long shutter speeds. Film like this used to be used for displaying text in a movie.

We expect photographers to take this into landscapes and deserts to work with it. It’s not a portrait film unless you’re using some crazy powerful lighting packs. It’s also not a city photography film unless it’s a clear sky. But this is clearly a landscape film. And it’s going to be beautiful to see what it does on a cloudy day with a graduated ND filter.

KONO Monolit 3 Sample Images

KONO Monolit 100

KONO Monolit 100 is a black and white panchromatic film. It comes in 35mm format and has 36 exposures. This is a more conventional film and it’s easier to use. You can use it for landscapes, portraiture, daytime shooting, etc. What’s going to be fascinating to find out is how it differentiates itself from other emulsions and why you’d choose it over Acros or Earl Grey films.

KONO makes a lot of references to vintage cinema film for this one. If that’s the case, it’s going to be fascinating to work with then. I think Leica R or Leica M lenses might be best. Otherwise, using Zeiss primes could render a gorgeous look. I believe that some Japanese optics might be a bit too sharp for it, or they’ll lack character. But we’ll have to test it out to be sure.

KONO Monolit 100 Sample Images

“I didn’t even know what that was, but it sounded fun,” is what she told me.

There have been times where I’d bring around three cameras just for fun. One camera would be digital. But the other two were either Instax or Film. Instant film has always been a big part of my life. I remember seeing Polaroids of me and McDonald’s Grimace together. There’s a Polaroid of Goosebumps author RL Stine and I together too. But a few years ago, I decided that it would be a great way to bring women into that part of my life. The Instant film Photowalk indeed was and always will be one of my favorite activities, with a date or not.

How the Instant Film Photowalk Started

To preface this, I’m now 34 years old. I started off with the instant film Photowalk as an idea in the mid-2010s. Her name was Amy, and she was positively wonderful. Amy was a designer and recently got onto the Alcoholics Anonymous program. For some of you, that’s a red flag, but none of us are perfect. I mean, I’m the legally blind Editor in Chief of a large photography blog. How much more of a paradox is there? I’m also a creative who doesn’t party hard or drink heavily.

Typically, I’d meet women, and we’d get drinks or dinner after lots of texting. Amy was different. She really liked to call, and she’s probably the one who planted that in me. I now prefer to call women before we go on a date to see if we actually have chemistry.

So what do we do since NYC is a city that’s all about drinking and partying?

“What do you think of a Photowalk, but we do it with Polaroids?”

She was intrigued but nervous because she thought I’d be a snob about photography. But I wasn’t. So we met up on a day after it snowed in Brooklyn. There was ice everywhere. Amy came in heeled boots and dressed very nicely. I did the same, minus the heels. She was 30, and I was probably 26. We shared an avocado toast. My closest friends know how much I hate avocado, but that’s not important.

At the brunch spot we met at, people immediately began noticing us playing with Fuji Instax cameras. Then they started to piece things together and realized who I was. We had several interruptions during that date, but it started with an amusing idea. We’d walk across four neighborhoods, acting like tourists in our backyard in Brooklyn. And then we’d find things and make photos. This was happening on a cold day with ice on the ground.

It was a simple enough idea, except both of us often nearly slipped on the ice. So to keep each other supported, we held hands the entire walk except for when we shot photos. Now that I’m older and more experienced, I can confidently say that holding hands is a physically awkward experience. But somehow, it worked so well that day. There was a point where Amy wanted a photo at a higher vantage point. Coming down from an ice-covered hill wasn’t easy. So for her to come down, she literally had to jump into my arms. If there were a camera filming us, it would’ve been cinematic gold. But we wouldn’t have ventured to those points if we weren’t shooting instant film.

We ended up warming up and snuggling at a cafe together and watching our photos develop. She liked all of them at the time. We ended up shooting photos of each other and giving each other the photos but keeping one.

We didn’t last long together, but I’ve always proposed the Instant Film Photowalk to women I date. It doesn’t always happen, but no one is ever put off by the idea. They enjoy the time together, and they realize I’m a good guy with layers and emotions like everyone else. More importantly, I’ve kept the photos from every one of those dates. And in the post-pandemic world, I’ll keep doing these dates and I’ll always keep the photos. It’s a nice way to not always stay huddled inside.

The Instant Film Photowalk, and Why It’s So Great for Dating

The Instant Film Photowalk combines two things that young humans love doing: exploring and taking photos. Shooting photos enhances our experience of an event as long as they’re not pos...

All images by Ivan Tsupka. Used with permission.

“…you’re right, the market needs it rarely,” says photographer Ivan Tsupka to us in an interview. Ivan shoots fashion these days, but we’ve featured Ivan’s work before. A series you folks really loved is his Construction series. But his experimental portraits are unlike anything else. While Ivan’s work has changed due to the market, his more experimental side is what truly fascinates us. And if anything, it makes us wonder why modern fashion photography isn’t more experimental.

I’ve handled all features of Ivan on the site. When I look at his work, I’m inspired. If you dive into Facebook groups, Instagram, or a photographer’s website, you don’t see work like this. These days, it seems photographers are shooting more to satisfy an algorithm. That’s not photography to me: that’s social influence. And it’s essential that people are aware of the difference. Ivan’s work is completely different. He doesn’t just take a beautiful model and tell them to vibe on-camera. While it’s evident they’re collaborating, at the end of the shoot, Ivan is still the creator-in-charge.

This is why I wish more photographers truly embraced the tools they can use in-camera. Photoshop is cool, but it’s not everything. Lots of folks are photo editors more than they are photographers. Experimenting with flash and the various flash techniques make you a much better shooter. You can express yourself in ways you never thought possible. And that’s just part of why I’ve adored Ivan’s work.

Phoblographer: Where did the inspiration come from for this super cool series?

Ivan Tsupka: I’ve experimented with multiple exposures and long exposure tricks for a long time, and I got the idea to combine these techniques. I had some free time in the studio while shooting an editorial for a small local magazine and asked the model to help me with such an experiment.

Phoblographer: So was this a multiple exposure process or second curtain flash or both?

Ivan Tsupka: This is a combination of constant lighting, approximately two-second exposure, and manually controlled flashes firing at the beginning and end of the exposure.

Phoblographer: Ever wanted to experiment with stroboscopic flash?

Ivan Tsupka: I’m still going to try to experiment with stroboscopic flash, thanks for the reminder. I will definitely try soon and share the images if I get interesting results.

Phoblographer: How do you feel the black dress on the black background added to the effect? Would you have done anything different today?

Ivan Tsupka: The black dress was just on the model at that time for the main shooting. If the dress were of a different color, we would probably have done a different choreography of poses. The key to this kind of shooting is a fairly dark background. It must be noticeably different from the skin color of the model to get the effect of fluid movement. Shootings for small local magazines taught me to use existing situations more and plan less.

Phoblographer: This was the work you used to do, and it varies a lot from what you do today. Have you found that the market just doesn’t want the more experimental, trippy, cool stuff?

Ivan Tsupka: Currently I am passionate about simpler things inspired by modern fashion photography. Such as clothing styles and working with models, emotions, etc. And from time to time I use some more experimental techniques even on commercial shootings. But you’re right, the market needs it rarely.

You can check out more of Ivan’s work over at his Instagram: @tsupka

All images by Laurence Bouchard. Used with permission.

“I like the idea of building up a body of work that’ll exist when I don’t,” says street photographer Laurence Bouchard. And he will certainly be leaving behind a strong body of work. His street photography caught our eye because it’s clean and well-executed. Is it fine art? Is it raw and edgy? Or is it all of the above? Let’s take a look.

Editors Note: All opinions shared in this article are of the photographer and are not representative of The Phoblographer’s views.

Phoblographer: Hey! Tell us about you and how you first got into photography?

Laurence Bouchard: I’m from Bath in the UK and have been living in Tokyo for about 10 years now. I really got into photography when I moved to Tokyo in 2009 and got an iPhone. I joined Instagram and started to realize how good the iPhone camera was. I started following Mimo Khair, Michael Kistler and Brendan Ó Sé and was inspired by the photos they were posting just with their iPhones (back then there was this view that Instagram should be just for mobile photography). Also, being in a new country was very inspirational. Then in 2016, I was approached by Apple to represent Tokyo for their iPhone 7 campaign. That was a lot of fun, and through that, I met more photographers who had a big influence on me. I then invested in a Sony a7rii as I wanted to be able to shoot at night more.

Phoblographer: What does street photography offer that makes you enjoy it so much?

Laurence Bouchard: For me, street photography gave me something that I used to get from futsal (5 a side football). In futsal, like other sports, you are really in the moment and there is something kind of meditative about that. It’s the same with street photography – being in the moment. So in some ways, it’s akin to a sport.

Phoblographer: What does street photography teach you about life and the world we live in?

Laurence Bouchard: It teaches me to observe – particularly light and people. It teaches me to be patient and to get used to disappointment. The number of times I’ve gone somewhere to take photos but the weather wasn’t right etc. It also teaches me to take advantage of a good situation when it arises and to think outside the box and try new things, and I can apply that to life—question everything.

And you can also apply that to what’s happening right now with the useless PCR tests driving forward this plandemic that is engulfing the world. And psychopaths like Bill Gates openly speaking about depopulation via vaccines on Ted Talks and now he’s pushing for the whole planet to be vaccinated with experimental, untested vaccines. The world is in a crazy space right now.

Phoblographer: I know you shoot with mirrorless and smartphone. What’s your setup and how do you decide which camera you want to use?

Laurence Bouchard: I shoot a lot more with the Sony these days, although I still like to take a few iPhone shots and compare them later. Sometimes I’ll get home and prefer the iPhone shots. In the daytime, I like to shoot with the Sony and the 16-35mm. At night I only shoot with the Sony and I use primes like the 24mm, 55mm and 85mm.

Phoblographer: On your Instagram, I only see black and white photography. Yet on your Facebook, I see splashes of color. Why is that?

Laurence Bouchard: Well, I noticed on Instagram that there wasn’t so much growth when I posted color photos, so I decided to make a separate color account for that. Maybe it is due to the algorithm. It’s clear that if you deviate from a photography narrative on Instagram, it’s not rewarded, which is frustrating. Other platforms seem to be more accepting of variation. Followers on Flickr seem to be a lot more open to variation.

Phoblographer: Allowing you to critique yourself, what improvements would you like to make?

Laurence Bouchard: Mainly technical improvements. I hate manuals, but I know there are a lot of functions my camera has that might make shooting easier. Also, I would like to shoot different subj...

All images by Shady William. Images used with permission.

“I am usually attracted to subjects who have incredible stories but their voices are hard to hear,” says photographer Shady William, “a man travelling hundreds of miles just to touch a shrine for a quest precious to his heart, or a farmer who is also a great horse rider.” Inspired by people and different cultures, Shady William embarked on a cultural quest near Luxor, Egypt. His series, Horses & Knights, documents one of the world’s oldest fencing competitions between local tribes living there. At the same time, it documents an important cultural tradition. In Al-Marmah, locals ride for pride and the sake of tradition, demonstrating the incredible speed and power of their fantastic horses.

Here’s how you can have your photo project featured. We look forward to seeing your work!

The Phoblographer: Tell us how this project came to be, your connection to Egypt, and the sport?

Shady William: I have been working on [an ongoing] project for the past three years, and a part of it included covering religious festivals. I had known that Al-Marmah, which is the name of the sport (derived from the word meaning “running fast”) is held up in Upper Egypt at certain times of the year. I managed to plan a trip to Luxor… Due to Covid-19 I wasn’t sure [the contest] will happen until a friend who worked at one of the sites told me that it was held on a smaller scale, and I arrived at the end of two hours of it.

The Phoblographer: How did you get into photography? What subjects did you start out photographing?

Shady William: During [a] 2017 summer vacation, I took off abroad for a student exchange program. It was the first time I actually held a camera, and I enjoyed the ability to share my perspective of things with others. After returning to Cairo, I couldn’t help but holding the camera again and starting to capture every special corner for me in Egypt.

The Phoblographer: Your work feels incredibly special from a cultural standpoint. What subjects would you say interest you the most?

Shady William: I am usually attracted to subjects who have incredible stories, but their voices are hard to hear. A man traveling hundreds of miles just to touch a shrine for a quest precious to his heart, or a farmer who is also a great horse rider. People and cultures have compassionate and factual stories to tell, so I try to capture the cohesion of the subject’s emotions with as good compositions and framing as I can get.

The Phoblographer: What were some of the most exciting moments shooting the Horses & Knights series? This surely isn’t like any other sport out there!

Shady William: To tell you the truth, I didn’t know what to expect. I have photographed multiple festivals before but never one with such a sport. For me personally, the most exciting moment was this race and dance between two knights, and my guess they were famous, everyone was watching them.

The Phoblographer: What was your approach when it came to composition? The riders in the foreground look vivid and clear, but you’ve also managed to capture the crowds of spectators we can see through big clouds of dust.

Shady William: I didn’t have an exact strategy. I usually try as much as I can to convey the emotions emitted or surrounded by the subject. One of the very strong things you can feel in the place is the respect of the crowd and the prestige of a rider. I was lucky as well because the space was relativity small and… the dust coming from the horse’s movement gave an extra layer before the audience or whatever is in the back.

The Phoblographer: Can you tell us about what the crowd is like? This is a totally different spectator sport!

Shady William: The crowd in that celebration were merely the residents of the area, although very diverse in terms of age… Al-Marmah, revives the elders’ cultural heritage of upper Egypt. Training hard to compete in the ritual, the youth [show] their horseback riding skills, bonding over culture rituals...

These tools are great for the photographer who isn’t stuck in the Mac ecosystem.

Many photographers have felt a little burned by Apple in the past few years. So, we experimented with various computers, printers, and monitors to cater to this. Many photographers end up never jumping ship because they don’t even know where to start. They care about a few things: ergonomics, the performance of their favorite programs, and ease of use. For the past few years, we dove into exploring some of the best computers for creatives. But we didn’t stop there: we look at printers and monitors too. Here are some of the best tools we’ve used in the past year. We’ve used these to deliver the best images to clients and also for our coverage.

The Phoblographer’s various product round-up features are done in-house by the staff. 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 we’ve thoroughly reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance that 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.

Tips on Delivering Your Best Images to a Client

Here are some essential tips to help you get the best photos for your client.

Calibrating your screen is important if you’re not using an Apple device. Generally speaking, all Apple devices are pretty consistent: we’ve never found a major reason to calibrate. But if you’re using PCs, it’s a different story. The images that look really cool on your display will look really warm on someone else’s computer.

Printing your images is underrated. You should do it a lot more often. Canvas prints work in a variety of places in your home.

Most modern laptops are great with external monitors, but they’re not full replacements for bigger computers.

Never underestimate how wonderful a touchscreen can be when editing photos.

Epson SureColor P900: Editor’s Choice Award Winner

“If you’re a photographer who makes and sells their prints often, the Epson SureColor P900 is a printer you cannot afford to overlook. At $1,295, it’s not cheap, and the inks (at $41.99) are a little spendy. Still, you’ll easily make your money back with the number of prints you’ll get out of a set of cartridges.”

HPZBook Firefly G8: The Essential Laptop in PC Form

“The HP ZBook Firefly G8 offers both the quick speed and beautiful screen photographers need at a reasonable price. And, it’s wrapped up in a laptop that’s lightweight for traveling with.”

BenQ PD3420Q: A Fantastic Monitor for Your Best Images

In our review, we said:

“The smaller monitor may be the better option for more color profiles and eliminating SD card dongles. But, the larger real estate of the PD3420Q is ideal for photographers looking for a multitasking monitor that will easily go from photo-editing to gaming to web browsing. With the real-estate to have two or even three applications open at one time, the BenQ PD3420Q is a good option for mutlitasking creatives.”

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Making your photos look like paintings is pretty simple to do.

We do more than enough capturing. It’s truly time for photographers to start creating rather than capturing. One easy place to start is with in-camera paintings. If you do light painting, this is sort of that idea. But in this case, we’re embracing the flaws of camera shake. The photo industry does so much to prevent it. But the thing is that we’re engineering the fun out of photography. So if you want to make paintings using your camera, try this. You’ll have so much fun!

Step 1: Turn Off Image Stabilization to Make Paintings Using Your Camera

Most modern-day cameras have image stabilization built into the sensor. If you don’t, then you have nothing to worry about. You could also ensure that it’s turned off in the lens. Otherwise, the camera system will fight your shake and the entire method. To make paintings using your camera, you have to embrace camera shake and blur. It’s crazy to think that these cameras have all that tech to ensure you get a sharp photo. But this time, it really won’t help.

Step 2: The Vivid Image Setting

I personally really like my in-camera paintings to look like oil paintings. So that’s why I choose to use a vivid setting. You could say that you could do this in post-production. But trust me when I say that it’s not at all the same. If you’re shooting with Fujifilm and use the Velvia Film simulation, the effects will be much different. Capture One does a much better job at working with camera manufacturers than Lightroom does.

Think of it this way: You wouldn’t put raisins in raisin bread after it’s finished baking. You’d do it beforehand. In this case, your baking process is post-production. That’s where you should really just fine-tune the colors and maybe the exposure. But the vivid setting will give you the most color data to start with.

Step 3: Exposure Settings to Make Paintings Using Your Camera and the Process

Now here’s the secret formula to make paintings using your camera: A low ISO, a narrow aperture, and a slow shutter speed. Let’s break that down even more.

A Low ISO: Ideally, you’ll shoot at the lowest ISO setting your camera has. But this all greatly varies. If you’re shooting at night, you might want to go for ISO 400 instead. That will let you speed the shutter up just a bit.

A narrow aperture: you need to have the scene mostly in focus anyway. You’re going to create your own blur.

A slow shutter speed: The best thing to do is to shoot at 1/15th and below.

Now you’re ready to shoot.

Start out by using autofocus and focusing on your subject. You’re probably choosing a landscape, a cityscape, a building, a still life, or a portrait subject.

With the focus locked, tilt your camera upward, changing the composition.

Slowly swing the camera downward. And when you think you’re about to get the composition, shoot while still swinging the camera down.

Observe the results. This is what it’s like to make paintings using your camera.

Step 4: Adjust

From here, you can swing from the right, the left, pivot, do circles, whatever you wish. Just do it in-camera rather than trying to get this look in post-production. It’s a million times more authentic this way. You’re probably also wondering why can’t you just shoot the sharp image in the first place and adjust later? Well, why can’t you shoot the sharp image and the blurred photo and adjust later? Do it in-camera and make your mind do something else. Create! Don’t just capture. Work for the image instead of making the camera do it all for you. In other words, go make paintings using your camera!