The debate of 28mm vs 35mm lens is often confusing for lots of folks.

The 28mm and 35mm lens focal lengths are oddly competitive. The 35mm focal length often wins for most who say they see the world this way. But some of us also see in 28mm. So for newer shooters, the decision can be a bit difficult. The best thing to do is to try both. Ideally, get a kit zoom lens and shoot with both focal lengths for a while. Then from there, pick the best one for you. We’re going to look at a few genres and tell you which one is better in our opinion. So let’s dive into the 28mm vs 35mm lens battle!

Portraits

The issue with portraiture has to do with distortion. Typically we’d embrace it, but it can make folks look pretty awful. So you need to be tactful. No one likes having an elongated or larger nose. And no one likes having a head that looks large. With that said, a 35mm lens is typically easier to work with. (We’re talking about a proper 35mm and not the field of view equivalent.) A lens like this can make people look great, just don’t shoot up close. Instead, go for something wider than half of their body. Also try to keep people within the center of the frame. Ideally, use this for environmental portraits.

Street Photography

The old adage is f8 and be there. And with street photography, we’re pretty torn here. There are lots of times where we’ve enjoyed the 28mm lens. But there are also lots of times where we preferred the 35mm lens. 35mm lets you have a bit more distance between you and a subject. I think that’s necessary now. The old guard who said you should get close to your subject didn’t have to deal with COVID-19. And after a while, all the images start to look the same. Either way, go with a longer focal length. In the case of 28mm vs 35mm, go for the 35mm lens.

Our Choice: 35mm

Landscapes

The thing about landscapes and cityscapes is that any lens can work. Capturing a vast scene is easy to do with a wider lens. Essentially, you can zoom with your feet. Longer telephoto lenses let you really focus in on abstract details. But generally speaking, the wider your focal length, the more potential you have. I’ve never gone wrong with either lens. However, I’ve run into situations where I needed to be wider. And generally speaking, wider is better. In the battle of 28mm vs 35mm lenses, it’s better to have the extra millimeters and not need it.

Candids

The candid shot is a tough genre. Personally speaking, I think having a sense of environment is very important. For that reason, I choose wider focal lengths. If you go to a party, a 28mm lens might be a better choice. You’re going to be packed in anyway. Since you’re that close, you should get more of the environment and what’s happening. If you were using a 24-70mm lens, you’d probably stay at the wider end. So, with candid shooting, 28mm is the best thing.

Our Choice: 28mm

Kit lenses have a reputation for being lackluster. But then, sometimes cameras are paired with lenses that are excellent to consider, even for photographers not investing in a kit. The Fujifilm 27mm f2.8 R WR is one of those lenses. Equivalent to 41mm on a crop camera, the pancake lens makes a good walk-around kit with the XE4. But does the XF 27mm have enough strength to stand alone outside of the kit?

At less than an inch long, the XF 27mm deserves to be called a pancake lens. It’s also weather-sealed. And while Fujifilm certainly has brighter aperture lenses out there, the small size, durable build, and $400 price point may just be worth a spot in many Fujifilm photographer’s bags.

Too Long, Didn’t Read

The Fujifilm 27mm f2.8 R WR is a new lens that’s kit for cameras like the XE4. But, the lens captures images way better than most kit lenses. It’s a tiny, versatile lens that will be great for lifestyle and street photography and, in a pinch, portraits, and landscapes.

Fujifilm 27mm F2.8 Pros and Cons

Pros

Compact

Weather-sealed

Great bokeh, when you get in close

Good center sharpness

Great price

Cons

Some colored fringing

Softer corners

Gear Used

I used the Fujifilm XF 27mm f2.8 R WR with the X-E4 body.

Innovations

The XF 27mm f2.8 R WR doesn’t embody any new technology, but it does squish a lot into a lens that’s less than an inch long, including weather-sealing.

Fujifilm XF 27mm F2.8 Tech Specs

These technical specifications were taken directly from Fujifilm’s website:

Lens configuration: 7 elements in 5 groups (includes 1 aspherical element)

Focal length: f=27mm (41mm in 35mm format equivalent)

Angle of view: 55.5°

Max. aperture: F2.8

Min. aperture: F16

Number of blades: 7 (rounded diaphragm opening)

Step size: 1/3EV (16 steps)

Minimum Object Distance: 34cm

Max. magnification: 0.1x

External dimensions : Diameter x Length*1 (approx.) Ø62mm x 23mm

Weight (approx.): 84g

Filter size: Ø39mm

Ergonomics

The Fujifilm 27mm f2.8 R WR is deserving of the pancake title. It barely takes up space in a camera bag at less than an inch long and under three ounces. I almost felt like I was using a point-and-shoot with it attached to the XE4, one of Fujifilm’s smallest mirrorless bodies.

Of course, that small size leaves little room for controls. The 27mm has a narrow aperture dial that clicks as it turns and an even thinner focus ring at the front of the lens. The aperture ring is nicely labeled, and it has an auto position. This auto spot locks, requiring the button on the side to release it. That’s ideal for newbies who would be scratching their heads if they accidentally bumped the dial off of auto.

The front of the lens accepts 39mm filters. The included lens hood is barely larger than a filter ring.

Build Quality

This pancake is weather-sealed. Because I was shooting with the unsealed XE4, I couldn’t take the duo into inclement weather. I did splash a little on the outside of just the lens, however, and the lens remained functional.

The weather-sealing also helps give the lens a high-end feel. It feels almost metallic. The rings also have a great feel to them, with a solid click on the aperture and a smooth turn to the focus ring. The aperture ring is part flat — to accommodate those labels — and partly textured, but it was still easy to feel for the right ring.

Autofocus

Using this lens with the XE4, the lens did a decent job focusing on still and slow-moving subjects. Even in low light, the lens was occasionally a little slower but capable of grabbing onto the subject. I had a good percentage of keepers from this lens when the subjects were still or slow. Anything at a running pace, however, resulted in a significant number of soft shots. For what this focal length is best for — street, portrait, lifestyle, landscape — the lens will get the job done.

The lens can focus on objects that are a little over 13 inches from the front of the lens. That’s not macro capabilities, but it’s .1x magnification is better than similar lenses li...

All images by Steve Stockhall. Used with permission.

“It was a combination of studying the great contributors to National Geographic and spending time in the wilderness that led me to wanting to be both a guide and a photographer,” says Steve Stockhall, photographer and founder of Earth Ark Travel. Steve has quite the portfolio. He documented Prince Harry’s anti-poaching work protecting some of the destination’s last black rhinos. Plus, he’s photographed chimpanzees in Uganda and gorillas in Rwanda. It’s evident that Steve is passionate about trips that matter. Here, he offers advice for planning the ultimate African photographic safari. That includes what gear to pack and clever field tips that can be practiced at home.

Steve has been guiding photographic safaris for more than 20 years and is a board member of Elephants for Africa. He is also the editor in chief of Botswana Tourism Organization’s annual publication, Discover Botswana. As owner/photographer at Earth Ark Travel, Steve mostly runs photographic safaris. Those safaris are in Botswana, Namibia, and East Africa. Alongside the travel company, there is a small production house based in Maun. Earth Ark Productions produces promotional video content for the safari industry and certain industrial-type applications.

Phoblographer: Tell us how you came to live in Botswana? Did your career start as a field ranger or a photographer?

Steve Stockhall: When we were young, our parents took us on magnificent holidays to the parks and game reserves of South Africa. My father, who was a printer, would come home with stunning coffee-table books from around the globe and subscriptions to National Geographic. It was a combination of studying the great contributors to National Geographic and spending time in the wilderness that led me to wanting to be both a guide and a photographer. A trip to our birthplace in Zimbabwe in 1985 clinched it for me. I really wanted to immerse myself in all aspects of safari and photography and these choices led me to live in Maun, Botswana, on the edge of the Okavango Delta, for the past 22 years. I had found my place and with Zimbabwe to the east and Namibia to the west, I was perfectly located to fulfill all my dreams.

Phoblographer: Have you always photographed animals and wildlife and could you tell us how the commercial and Cameras for Conservation sides of your operation work?

Steve Stockhall: My mainstay has always been working at being a true photographic guide. Taking photographers into the wilderness to explore with our cameras and capture moments has been my greatest reward. Of course, you can’t do this job without a vested interest in conservation. Back then, people in Botswana had no access to what I had set out to achieve. We started Cameras for Conservation to run local photography competitions, nurture creative writing, involve youngsters with trips to the bush and do talks using the winning images as a platform for showcasing the beauty of Botswana. I also undertook to create a course in photographic guiding and to date have mentored over 30 guides in the country. This has certainly worked over the course of time and now as editor of Discover Botswana, I can increase the platform and commercial viability of photography to local photographers and writers.

Phoblographer: Do you have a favorite image you could tell us about?

Steve Stockhall: That’s a tough one. Of course there are many with accompanying tales. Some of my favorites are from photographing the Okavango Delta from the air by helicopter. The ‘land of many rivers’, as it was described to David Livingstone, is best viewed and understood from the air. To see herds of elephants crossing vast floodplains is extraordinary. Another career highlight was spending a week photographing Prince Harry whilst darting eight Black Rhino. That was quite exhilarating, with vets, helicopter and ground crews all bettering the protection of rhinos. And Prince Harry was amazing to spend time with [...

Canon RF cameras and lenses are some of the best in the industry.

Time and time again, this site has been very pleased with Canon’s newest gear. They’ve done a fantastic job and found ways to stay on the cutting edge. Their gear can be pricey or hard to come by though. But at KEH, we found some good prices on gear that you’ll want. Be sure to check out our finds after the jump!

Editor’s Note: This is a Sponsored post from KEH! Grab some of the best Canon RF cameras and lenses around while you can!

Canon RF Cameras at KEH!

Canon EOS R for as low as $1,633.02

Canon EOS R5 for $3,816.48

The Canon EOS RP is going for less than $1,000

Be sure to check out all the Canon RF cameras and mirrorless cameras that KEH has available!

Canon RF Lenses at KEH!

Canon RF 24-105mm (Non-L lens) for as low as $304.62

7Artisans lenses for Canon RF camera bodies are pretty affordable right now!

Rokinon 14mm f2.8 for Canon RF is going for as low as $348.78

Be sure to also take a look at all the Canon glass available for mirrorless cameras!

These 12 Capture One presets include both a light, soft light look and exaggerated shadows for drama.

Presets tend to be either one-click editing wonders or catastrophes. And then, there are the preset packs where you’ll spend hours sorting through styles to find the ones you actually like. Capture One’s newest preset packs take on a minimalist approach, each with just three variations of two styles for a total of six presets in each pack. The Capture One Nordic Editorial and Nordic Lifestyle preset packs are inspired, as the name suggests, by Nordic art and light.

Named after capital cities in Nordic countries, Capture One’s new style packs cost $29 each for the six presets, or $58 if you want all 12. I tested out the Capture One Nordic Editorial and Nordic Lifestyle style packs. Are the presets are worth the cash — or did Capture One go too minimal?

Gear Used

I tried these Capture One presets on my 2015 MacBook Pro with the BenQ SW271C running Capture One 21 Pro. I tested photos shot with the Canon EOS R6, Sony A7R IV, Fujifilm XT4, and Nikon D850 using RAW files and with the Fujifilm XE4 with JPEG files.

Features

Capture One says the presets are inspired by Nordic style. The editorial pack is crafted after, of course, editorial images in magazines. The Lifestyle pack favors soft light and natural beauty. I preferred the Lifestyle pack for outdoor photos, while I would use the Editorial on both indoor and outdoor. Like with any preset, the look you get depends on the light that exists in the photo. The style packs can be applied to the entire image or with a brush.

Nordic Editorial

Copenhagen

This style gives the subject a golden glow and creates dramatic skies. The preset exaggerates oranges in the mid-tones, with a little red in the shadows. Applied to a portrait, Copenhagen gave the image a dramatic, golden glow. It made the subject look tan and brought out the gold in a field of dead grass.

Like the other styles in this collection, Copenhagen has three different variations. Color remains the same between them, but the contrast increases with each. Copenhagen I (my favorite) lowers the whites and exaggerates the shadows just a touch. As a result, blue clouds turned dark and stormy, which created a nice contrast with the golden landscape. Copenhagen II and III each increase the contrast further, using curves.

Oslo

Olso is the cooler sister to Copenhagen. This style adds a little orange to the mid-tones but draws out the blues in the shadows. The result is an almost cinematic coloring. The style also brings out the blacks and shadows.

Oslo I has a smaller but noticeable bump in the shadows. Shadows deepen, and mid-tones widen with each progression through Oslo II and Oslo III.

Nordic Lifestyle

Helsinki

Inspired by soft Nordic natural light, the Helsinki style pack is light and bright. This collection shifts the photograph’s curves towards the right, while the Editorial collection shifts towards the shadows. All colors are desaturated a touch. Oranges and reds, in turn, add some saturation back in individually, heavier on the orange. Blues are also added back in just a bit, while the yellows and greens are further desaturated.

The Helsinki variations feel progressively brighter due to more contrast in each variation.

Stockholm

The Stockholm style is both warm and bright. Unlike Helsinki, most colors have increased saturation except for blue and green. Stockholm tends to create a sky and surrounding greenery that doesn’t distract from the subject. Orange is slightly more saturated, which creates a nice subtle warm glow with skin tones.

Stockholm is a nice, bright preset made for bringing out the beauty of natural light. As you move through the variations, the photos gain more contrast, making the photos feel a bit brighter with more punch.

Ease of Use

Editing presets are, by default, simple to use. But, some of them can require lots of further tweaking. Others apply adjustments that really shouldn’t be part of a preset.

Th...

The Android-based Sony Xperia 1 II makes creating and sharing your images a piece of cake.

Being able to visualize, capture, edit, and share your images instantly is incredible. Being able to do this on a phone that behaves like a traditional camera is even better. The Sony Xperia 1 II is an Android-powered smartphone with incredible amounts of power that can capture, edit, and share your images without breaking a sweat. We have spent the last two months creating with the phone. Thanks to its Sony Alpha-inspired interface, features, and dedicated shutter button, we’ve felt right at home with it. After the break, we’ll show you just how easy it is to create a workflow with the Xperia 1 II that will quickly and easily get your images in front of the masses.

The Sony Xperia 1 II Is a Content Creators Dream

If you’ve ever used Sony Mirrorless cameras, you’ll feel at home with the Sony Xperia 1 II. Installed on the Android phone is an application called Photo Pro. The user interfaces you’ll be greeted with look the same as the menus in most Sony Alpha cameras. This makes the phone easy to use. You’ll also be able to use the huge screen and processing power to edit and share images quickly. Let’s take at the specs of the Sony Xperia 1 II:

16mm f2.4 12MP, 24mm f1.7 12MP, and 70mm f2.4 12MP cameras with Dual Phase Detection AF

0.3 MP 3D depth camera

LED Flash

HDR Mode

Human and animal eye-tracking

8MP f2 Front-facing camera

Dedicated shutter button

Zeiss optics

1/1.7″ sensor that’s 50% larger than the one in the previous Sony Xperia 1

20fps with autofocus and autoexposure when shooting in JPEG mode

A Qualcomm Snapdragon 865 Procesor

Adreno 650 GPU

The Sony Xperia 1 II is loaded with features that will help you create anywhere at any time. We’ve already shown how you can use this phone for street photography, pet photography, and long exposures. Now we’ll show how you can use the phone to create, edit, and share images with the world.

The Sony Xperia 1 II Will Inspire You to Create

A lot has to be said about the ergonomics of cameras and smartphones. If a camera or phone doesn’t feel right, it will not inspire you to create. Fortunately, the Sony Xperia 1 II is designed to take your creativity to a new level. The large 21:9 edge-to-edge screen is gorgeous and displays stunning colors. The dedicated shutter button gives you great control over capturing decisive moments. The Sony Alpha-inspired user interface and manual controls make it feel like you’re using a traditional camera. There’s a lot to love here. Our Editor In Chief, Chris Gampat, and I have used this phone extensively, and we have both thoroughly enjoyed it.

You Can Shoot DNG RAW and JPEG Images

Being able to have this much flexibility from a phone is wonderful. The JPEG files the Sony Xperia 1 II creates are fantastic and ready to post on social media platforms. However, if you want more control over your images, you can shoot RAW and then use the phone’s power to edit as much as you want. Your smartphone images will have never looked better.

Creating Your Personal Workflow

The Android operating system allows you have much more control over the Xperia 1 II. I have the shutter button set to open the Photo Pro app when I hold it down. Once there, I can use the camera’s full manual mode. You swipe to control ISO and shutter speeds. There are options for single and continuous autofocus. There’s even human and animal eye autofocus. Three excellent cameras (16mm, 24mm, and 70mm) make composing images easy. Thanks to all the available screen space, you can see everything you need. This makes creating very easy.

The Android Play Store Is Packed with Photography Apps

There are apps for everyone on the Android platform. I love using Lightroom Mobile as it gives greater control over RAW files. It also allows me to sync my cloud-based images between the phone and my PC. If I’m in a hurry, I use Snapseed, which is another powerful editing tool.

There’s so much screen room to push and...

There’s a special place in our hearts for Fujifilm cameras!

Fujifilm appeals to those of us who love ergonomics, aesthetics, and the retro feel. There are tons of us out there. Plus many of us like the film simulations that the cameras offer. If you haven’t tried them out, then you’re throwing out a large part of what the system is about. If you’re thinking about getting into the system, take a look at what KEH has! And if you’re a veteran, prepare to be tempted by some great deals!

Editor’s Note: This blog post is sponsored by KEH! Head on over and choose a Fujifilm camera to make brand new memories with. Also, take a look at their solid Fujifilm lens selection.

Fujifilm Cameras at KEH

Fujifilm XT100 for as low as $487.62

Fujifilm XT2 for as low as $652.53 or check out this variant!

Fujifilm XH1 for as low as $1,108.30

Fujifilm X100s for as low as $535.95

Fujifilm GFX 50R for $3,354.58

Take a look at all the Fujifilm cameras available at KEH!

Fujifilm Lenses at KEH

Check out these 7Artisans lenses for Fujifilm!

The Fuji 35mm f2 R WR for as low as $347.50

Fujifilm 16-50mm for $165.65

Fujifilm 50-230mm for as low as $143.12

Fujifilm 55-200mm for $442.19

Take a look at the full selection of lenses for Fujifilm over at KEH!

I truthfully never thought I’d see the day this happened, but I was wrong.

Leica has never really struck me as a speedy company. They tend to do things at their own pace and steer clear of competing with other brands. Through and through, they march to their own beat. And today, the Leica SL2s has received a massive firmware update. The firmware slaps the idea that L mount lenses and cameras are slow to focus right in the face. Leica had said a while ago that a big firmware update was coming. Most of the firmware has to do with video, but there are a number of great things for us photographers in here. Specifically for photographers, there’s a huge boost to the Leica SL2s Autofocus system. We’ve updated our review of the Leica SL2s accordingly, so check that out. And head past the jump for more details.

Firmware 2.0 for the Leica SL2s: Our Thoughts on What Photographers Care About

Image overlay is a new feature that superimposes one photo over another. However, you can’t save the superimposed images to be a double exposure. Instead, it’s for making sure that you can get the same shot over and over again. There aren’t many situations that I think folks would use this in. And honestly, this makes more sense on the SL2 with its higher megapixels. This, however, excites me that Leica might finally give the SL2s a multiple exposure mode. It would be the first ever Leica camera made with a proper multiple exposure mode. Of course, there’s a way to do it with Leica M film cameras. But there’s a risk you’ll also rip the film.

The Leica SL2s desperately needs the shutter to come down over the sensor like it does with the M cameras. Using Sigma’s Contemporary lenses, you might get some dust come into the mount. But with Panasonic, Leica, and Sigma art lenses you won’t need to worry about that problem.

The Leica SL2s Autofocus Face and body detection is much improved. We tested it with the Leica SL2s, Sigma 24-70mm f2.8 ART DG DN, and the Panasonic 85mm f1.8. The speed is on par with Canon and Sony. The smarts based on the scene aren’t as great. By that, the system will recognize multiple bodies. You’ll have to move the focusing point to choose which one to focus on–or to give it guidance. The autofocus can surely hold its own next to both Canon and Sony.

The Leica SL2s Autofocus is very fast with the Sigma 24-70mm f2.8. Not always as great with the Panasonic 85mm since it’s a longer focal length and much more shallow. The system, however, had a very easy time focusing on people wearing masks for COVID-19 protection. We tested this at the Cannabis Day Parade in NYC. The system couldn’t determine that human bodies were physically behind banners though.

There is a new cinematic LUT called Classic. It’s designed to look like Kodak film. It’s beautiful, and I hope comes to stills soon.

There is an enhanced viewfinder setting. It gives a major boost in low light when looking through the viewfinder. It works just fine in low light. Leica tells us that because of the excess grain that focus peaking will pretty much be useless. To be fair, the Leica SL2s is much better at magnifying your subject and then letting you focus on it. I wouldn’t use peaking anyway.

The Leica SL2s Autofocus in low light also is much faster and more accurate than before. This applies to the same lenses.

The Leica SL2s Autofocus Eye detection needs a bit of enhancement. The system still tells you that you’re focusing on a face or a body. It by default tries to get the eyes in focus. It’s very solid.

The SL2s is now a much better tool for journalists. Honestly, it’s one of the best considering the durability.

Head on over to check out our updated review of the Leica SL2s. You can find them at Amazon for $4,894.99.

There are brand new Epson printers using their EcoTank technology, and Epson targets them at photographers who work from home.

There truly is an odd divide in printing. If you want to print high-end images, then you need a high-end photo printer. Then if you need to just print documents, you need a different printer for that. But with the new Epson Ecotank printers, Epson wants to do it all in one. Better yet, they’re eliminating ink cartridges. The company’s Ecotank printers have been around for years. But these new ones are catering directly to photographers. The Epson ET-8500 and the Epson ET-8550 are both designed for home office photographers. These are dye-based printers, not inkjet-based. That fact alone may draw some hard lines on who uses these.

The Facts

Epson ET-8500 handles 8.5 x 11 paper. When printing, it’s 15.9 inches by 24.1 inches by 13.7 inches.

1.3mm thick paper

Epson claims that you’ll save around $2,000 on each set

Epson claims you can print for up to two years

Use Epson’s apps to print

Touch display at 4.3 inches

Both printers use six colors: Black, matte black, grey, blue, yellow, and magenta.

The Epson ET-8550 can print up to 13 inches by 19 inches at 1.3mm thick. When printing, it’s 20.6 inches by 29.8 inches by 16.9 inches.

These are all-in-ones: a photo printer, scanner, document printer.

The Epson reps talked about using it to scan film too!

Dye vs. Inkjet

This is where I expect almost every photographer to become very polarized. Truthfully, I don’t know a single working photographer that uses dye ink. But some companies try to get you to do the dye sublimation process. And you can do that with Epson’s Eco Tank printers. The Epson ET-8500 and Epson ET-8550 are, again, both Eco Tank printers. But dye ink really only looks good on very glossy paper. If you’re wondering about what this looks like, think of the prints you get at Costco, Walmart, Walgreens, etc. They’re very glossy, and the texture of the paper feels almost like a plastic coating. Inkjets, on the other hand, are typically hung in museums and galleries. By all means, I think that every self-respecting photographer wants the latter. But the former is great for retail, commercial uses, and for selling prints on location.

Every time I think about dye inks, though, I sort of shudder. Dye inks and the papers themselves aren’t really the problem. It’s more of the connotation and the use cases. Would you really want to give someone a lasting print that was made at Costco? Or would you go to a specialist printer to do it? Most of you who print are probably the latter. In fact, Epson’s Legacy paper is some of the best I’ve ever used–and it’s designed for an inkjet. Dye ink, again, really only looks good on glossy paper. And glossy prints come with their own set of problems. For starters, they only look good with indirect light. Once you shine a light directly on them, they reflect it. So typically, you have to light a glossy print from above.

Of course, that doesn’t mean that they can’t look gorgeous. In fact, they surely can! But I don’t think that I’d personally trust six ink tanks vs. maybe 17 ink cartridges to create a print. But the new Epson ET-8550 and Epson ET-8500 are more for a different type of photographer. They’re giving you the convenience of not needing ink cartridges. These prints will also scan your film.

I have yet to really try one, but I’m not very sold yet. Epson’s interface is light years ahead of Canon’s, though. So they have that surely going for them.

All images by Carlos Ocando. Used with permission.

“I guess I’m using photography as a meditative process, and when I look through the viewfinder, everything disappears…” explains Carlos Ocando. He adds, “it’s just me and nature without all the craziness around.” Ocando is a seasoned photographer with a strong portfolio. His double exposures caught our eye, where his images seem like a visual representation of his relationship with nature. In what he describes as a “life-changing” journey, we caught with Ocando to learn more about his story within photography.

Phoblographer: You write that you’re inspired by the Japanese word “Komorebi”. Please tell us more about that in detail and how it motivates the way you approach photography.

Carlos Ocando: Komorebi is an untranslatable word from the Japanese language, which means sunlight filtering through trees. My relationship with Komorebi goes back to the beginning of my journey as a photographer.

There was this beautiful light filtering through and backlighting the leaves of different species of tropical trees. It was in a small square on my University’s campus. I became enamored with light before I even started to use my dad’s camera as a tool to capture nature’s beauty.

This connection with Komorebi changed the way I approach photography and life in general, it’s hard to put into words, but it’s like feeling a soft breeze in the afternoon that wakes you up from the craziness going around in your environment. It’s a silent moment where you feel everything stops, and it’s just you and nature.

Before that, I didn’t consider myself a photographer, artist or a creative person. But I felt the need to capture this feeling and express it in a way that I could share with the people around me.

Phoblographer: Talk to us more about your relationship with nature. What nature offers you, and how does it inspire your photography and your existence?

Carlos Ocando: Nature is an escape for me, a place where I feel I can be myself. I sing, dance, exercise, meditate and sometimes, I take photos. When I’m walking in nature, I feel I’m back home or waking up from a bad dream.

Nature has no expectations, no hidden agendas or bad intentions. To me, it’s a welcoming space where I can be creative without feeling criticized. A great environment to think, get philosophical, and learn from the cycles and experiences you can observe. I become one with it and allow it to guide me with no expectations or need to come back home with a “winner” photo.

Phoblographer: Your double exposures are beautiful. Please tell us how you create the images from start to finish.

Carlos Ocando: Thanks! I really enjoy making them. I capture these double exposures in-camera using the multiple exposure setting, allowing light, shape and color to blend together in a magical and sometimes unexpected way.

I shoot one image first, maybe a landscape or a small detail in nature, and then I take a photo of my hand. That’s it! The rest is done by light and the camera. It’s a very fun process of creation! There is a lot of experimentation involved, especially at the beginning. But I believe this is the most interesting part. To learn how the images blend together depending on the contrast, exposure, texture and composition.

I like to use the preview setting in my mirrorless camera, which allows me to have an image overlay for better control of the composition. With my DSLR, I have to use the grid lines in the viewfinder as a guide.

I also had to learn how to become a model and a photographer at the same time. I guess I could add hand model to my list of skills!

Phoblographer: What kind of changes do you make when editing?

Carlos Ocando: I don’t like to limit myself in the post-production process. First, I make the initial color correction, exposure, contrast curves and clarity in Lightroom Classic. Then I proceed to work on the image in Adobe Photoshop, here is where I make most of the color work and convert to black and white if needed....