The Phoblographer

Ready to take your smartphone photography to the next level?

Smartphone photography isn’t easy. Despite the advancements of the cameras in the likes of the iPhone and Google’s Pixel line, making images with such devices has its limitations. For example, they’re not as responsive as mirrorless and DSLR cameras. And the way they feel in hand can make usability a little restricted. Using a smartphone camera is a skill in itself. If you’re looking to improve your skills, and want to take better photos, then the YouTube videos below will surely help.

The Best in Smartphone Photography

Before we get into the core of the article, we want to inspire you with photographers who are making fantastic smartphone photographs. We also want to share some smartphone cameras and accessories that have impressed us over the past 12 months.

Now let’s check out the videos!

1. Peter McKinnon: S10+ Smartphone VS Pro DSLR

When it comes to photography, Peter McKinnon is in the elite tier of YouTube creators. In the above video, he puts the Samsung S10+ up against the Canon 1DX Mark II. Of course, the latter is an absolute powerhouse. And in no way can the Samsung S10+ compete, despite how it good the camera is. But the point of the video isn’t really about the cameras. Instead, it’s more to do with what you, as a photographer, can do with the gear you have in your hand.

The video should inspire those who just want to use the smartphone in their pocket. Because, as you will see in the video, you can still make quality photos, and McKinnon shows how.

2. Sorelle Amore: How to Take Better Self-Portraits

Let’s face it; we are fully immersed in the world of the selfie. We all want to look our best as we show off where we are in life. Taking a good selfie – or self-portrait as we say in the industry – is an art.

In this video, popular YouTuber, Sorelle Amore, takes you through some simple (but effective) tips to get the most out of your self-portrait. From posing yourself to using a tripod, she covers a lot of ground to help you feel more confident when taking the shot. As a bonus, she’s funny too. Her personality makes the video more engaging and you’re less likely to get bored while absorbing technical information!

3. The Bite Shot: How to Shoot Food on Your Phone

We had to take a break from this video to stuff our faces full of goodness, because, well, food photography makes us hungry! And that’s the point. Good food photography is meant to get viewers drooling. And while all commercial food photography is done with the best mirrorless and DSLRs, it doesn’t mean smartphone photography needs to be pushed aside.

In this video, you’ll learn about the importance of composition, shutter speed, and setting up your scene. The result is that you’ll be able to create tasty looking food pics with your smartphone!

4. The iPhone 11 and Moment Lenses

As the popularity of the smartphone photography genre has increased, so has the number of accessories available to photographers. If you’re looking for more than the hardware in your smartphone, third party lenses are a great option.

A popular brand, and one we rate highly, is Moment. They make a range of lenses and all of them are sure to provide sharper images and more compositional options. Don’t just take our word for it either. In the above video, you’ll see exactly what each lens can do, and how to get the most out of them when creating images.

5. Roman Fox: Street Smartphone Photography

A smartphone camera is perfect for street photography because everyone is shooting on their phone, and fewer people will suspect you’re making a photo of them.

In the above video, Roman Fox takes you through 10 tips for better street photography with your phone. He dedicates a good chunk of time talking about the importance of understanding light. Because of the small sensor on your smartphone camera, knowing how to get the most out of good light is essential. Another tip we appreciated is how to hold your camera. Smartphones can ...

The Leica M9 is truly a joy of a camera to use, even in 2021.

There aren’t that many iconic digital cameras. But if you had to pick one, everyone would agree about the Leica M9. It was the first mirrorless full-frame camera ever made. And it stood out from the pack with a CCD sensor that looked like chrome film. This was much different from lots of the other sensors going for better low light quality. The look the Leica M9 delivered is yearned for by many photographers today. If you happen to get your hands on one, we recommend you snag these lenses from the Leica Camera store.

Leica 28mm f5.6 Summaron-M: A Classic for Street Photographers

Let it shine: The Leica 28mm f5.6 Summiron-M is a fantastic lens in so many ways. On the Leica M9 and other Leica M bodies, it will be the quintessential pancake lens. Plus, it has beautiful character and a short focus throw that makes it perfect for street photography. All of this is made possible partly because of how special this lens is. It’s a reissue of the 1955 lens!

“When the Leica Summaron-M 28mm F5.6 first came in for review, I wasn’t sure what I’d think of it. However, I’ve been making an effort to review more Leica lenses and I have to say this is one of my favorites by far. It’s at a decent price point and for that price point you’re getting a whole lot of adaptability, classic image quality, low profile and some solid build quality. I genuinely like the Leica Summaron-M 28mm F5.6 and one day when it hits the used market, I’ll probably pick one up.”

Buy Now: $2,795

Leica 21mm f3.4 Super Elmar-M: The Essential Landscape Lens for the Leica M9

Let it shine: This is the landscape photography lens you need on your next hike. Grab your Leica M9, this lens, and shoot at ISO 100. That’s all you need! The Leica M9 has a sensor that delivers image quality like slide film, and this lens is near perfect for that look. What makes this lens stand out even more is just how small it is. The philosophy of the Leica M system is to be super small, and nothing feels better than a small lens on a Leica.

“There isn’t really any reason to expect anything different from Leica, but really, it’s a very impressive lens. It is razor sharp in the center, and that sharpness continues all the way out to the edges, where many super wide angle lenses begin to fall apart. There is, of course, some very minor stretching towards the edges, but the image remains sharp and crisp, and shows very little distortion overall.”

Buy Now: $3,395

Leica 50mm f1.4 Summilux ASPH: Let the Leica M9 See the Light!

Let it shine: Let this be your next lens! The Leica 50mm f1.4 Summilux will make the most of the older Leica sensor. It will do that by giving the sensor a lot more light. Perfect for zone focusing and shooting candids, this lens is often regarded as one of Leica’s most versatile. As you’re photowalking around with your Leica M9, this could be the perfect companion for it.

“The 50mm f1.4 Summilux is essentially the perfect 50mm lens for me. The out of focus area is gorgeous, it is sharp from corner to corner, there is an aperture ring, the manual focusing is smooth and it isn’t too heavy or large.Additionally, the collapsible hood on the lens is great as it protects it from almost anything except for direct contact.”

Buy Now: $4,795

Leica 75mm Noctilux f1.25 ASPH: Delicious Bokeh

Let it shine: This lens is a fantastic portrait focal length. Lots of folks these days go for 85mm instead. But if you came from shooting on APS-C, you’ll probably understand the 75mm focal length a bit better. Further, if you’re really into vintage Leica gear, you’ll share that affinity. We tested it with Kodak Ektachrome, which looks pretty similar to the Leica M9’s output.

In our review, we said:

“What’s to love about the Leica 75mm f1.25 Noctilux? The all-metal build. That fast aperture. The click of the aperture ring. The beautiful image quality that it can render. The smooth turn of the focusing knob. And most importantly, knowing that ...

70-200mm lenses are great for more than just portrait photography.

When you think about 70-200mm lenses, you probably think of portrait photography. You’re not wrong. These lenses have been used to capture portraits for years, but they can do so much more than that. 70-200mm lenses are also perfect for landscape and cityscape photography. Being able to zoom in to isolate one area of a scene can be incredibly beneficial. The extra levels of compression these telephoto lenses offer can also help create dramatic images easily. If you’re looking for a lens that can help create dramatic landscape and cityscape images, you should check out these five lenses after the break.

Sony 70-200mm f4 OSS

“I totally understand that not everyone is a portrait shooter: so for landscapes, sports, and general shooting, you should know that this is an excellent lens. In all honesty, you can’t go wrong with purchasing it no matter what you shoot.

Buy now: $1,298

Canon 70-200mm f4 L IS USM II

“The Canon 70-200mm f4 L IS USM II has to be one of the best lenses I’ve seen Canon put out in years. It amazes me as I’ve known the company to place more emphasis on their zooms than their primes. So what makes the Canon 70-200mm f4 L IS USM II so great? It has weather sealing, nice bokeh, great autofocusing abilities, sharp image quality, and it’s very light. In the hand, it feels great, and you can easily carry it around with you all day if you wish. In fact, I did that a number of times.”

Buy now: $1,299

Pro Tip: Landscape photography is one of the most rewarding genres, but there is more to it than just pointing and shooting. Learning how to compose your image and understanding why you should include foreground elements is vital. If you’re new to landscape photography and want to create some stunning landscape images, check out this affordable tutorial. You’ll be making beautiful images in no time.

Tamron 70-210mm f4 Di VC USD

“The Tamron 70-210mm f4 Di VC USD has fantastic image quality. In fact, you seriously can’t complain about it. When the focus is nailed, the images will sing with quality.”

Buy now Canon EF: $599

Buy now Nikon F: $557.07

Fujifilm XF 50-140mm f2.8

“Image quality was consistent throughout the zoom range. Whether it was portraiture, architectural, or street photo, the 50-140mm performed better than I could have hoped for.”

Buy now: $1,599

Olympus 40-150mm f2.8 PRO

In our review, we said:

Chris Gampat – Editor In Chief

“We spent five days with this aggressively designed piece of glass. Among any of the Olympus zoom lens offerings that we’ve tested, the 40-150mm f2.8 PRO is the one that I loved the absolute most and almost didn’t want to send back. It’s lightweight, fairly small for what it is, fast to focus, offers crisp image quality, is weather sealed, and won’t fail you when working.”

Buy now: $1,499

All images by JP Stones. Used with permission.

“I started looking for answers to the deeper questions in photography,” explains JP Stones. He adds, “questions I had never really had time to accommodate.” He certainly put the global lockdown to good use. Not content with remaining creatively stationary, Stones has instead developed a deeper relationship with his craft. What’s more impressive is how he communicates his thoughts on photography. For anyone looking to develop their skills in the art form, keep reading. Stones offers one of the most insightful and educational interviews we’ve published.

Phoblographer: It’s been a challenging year for the world. How have you adapted to ensure you remain focused and active with photography?

JP Stones: It certainly has been challenging. I found the first few months the hardest. Suddenly I had to contend with a bunch of cancellations and an empty schedule. Those early days were tough, as I kept regressing into an unproductive panic mode. Eventually, I learned to replace what would have been shooting time with self-education. I stopped pushing back against my introspective mood and instead let it guide me.

I started looking for answers to the deeper questions in photography. Questions I had never really had time to accommodate. That path has taken me into fascinating areas like biology, psychology, and maths and given me a much deeper and broader appreciation of photography that informs the way I plan photoshoots.

Phoblographer: We saw you’ve created images of a fighter. Talk us through how you design a shoot like that – what image/message do you want to convey?

JP Stones: We were about a month into lockdown when I came up with this idea. Typically, Dan (my friend/photo assistant) and I shoot outdoors, in the jungle that surrounds the Mexican town we live in. As this was no longer an option, I’d been getting progressively more frustrated and was searching for ways to create exciting cinematic imagery without leaving my studio. It turns out that a fog machine and various other household props can be really effective camouflage.

We managed to create images that looked like they were from a snowy day, a rock concert, and – my favorite idea by far – a dusty underground fight. Once the lockdown restrictions eased, I decided to photograph this with some real fighters. One of my friends, himself a former national champion, owns a gym in town. So that part came together very easily.

My planning process, particularly when I’m photographing a subject matter I know very little about, starts with research. That includes visual research, of course (creating mood boards) and studying the actual subject matter. I do this because creating aesthetically pleasing photos is only part of my goal. I’m always hoping to create images with emotional depth. And for that, you need to have an emotional connection to the subject matter yourself.

The most honest way, I think, to gain that connection is to really deep dive into what you are photographing. So I started reading autobiographies of boxers, looking for the parts where they describe being in a fight: how it felt, what they noticed, what they focussed on. I also watched every Rocky film again.

It was intense – I would have made a terrible boxer – but it did help me set a mood. I decided to shoot this as if the camera was a part of the fight. I was hoping to create a claustrophobic feel, with visuals that would echo what it might feel like to be inside the mind if the fighter: disorientated, unsteady, breathless, tunnel vision.

Next, I started sketching the key images I wanted to get out from the shoot. As I know next to nothing about boxing, it was important for me to find a balance between being creative, and being realistic.⁠ Chatting with both models, who are professional fighters, definitely helped this process. Without their input, the final images would have been closer to a superhero shoot than a fight.

All that was left was to cart our gear to th...

The Fujifilm XE4 feels like a point-and-shoot, yet it has the image quality of a camera that costs twice as much.

The smaller a camera is, the more likely photographers will carry it with them everywhere. The Fujifilm XE4 is one of the smallest mirrorless bodies from Fujifilm yet. Paired with a newly announced 27mm kit lens, and the XE4 feels almost like packing a point-and-shoot. At $850 body-only (or $1,050 with the kit), the XE4 is one of the more affordable Fuji mirrorless cameras. Even with that price, the XE4 still packs in the same sensor and processor as the Fujifilm XT4. So, what did Fujifilm cut to get to that sub-$1000 price point?

While image quality will be the same as a camera that costs twice as much, the XE4 lacks in-body stabilization. The camera also isn’t weather-sealed and has fewer controls. But, the XE4 evokes a bit of nostalgia with its rangefinder-style viewfinder, demands to be taken everywhere with its small size, and sits as an affordable entry to mirrorless. I spent two weeks shooting documentary-style photography with the XE4 to see how this $850 camera performs.

Too Long, Didn’t Read

The Fujifilm XE4 is a good, affordable camera that doesn’t sacrifice image quality. It does omit stabilization and weather-sealing, while tracking autofocus also needs improvement. However, it’s not a bad buy for photographers on a budget — and particularly those yearning for the look and feel of a film camera.

Fujifilm XE4 Pros and Cons

Pros

The same sensor and processor as the pricier XT4

Compact design

Classic look and feel

Addition of a P mode

Cons

No in-body stabilization

No ISO dial

No weather-sealing

Autofocus tracking is sub-par

Gear Used

I tested the Fujifilm XE4 with the 27mm f2.8 R WR.

Innovations

The Fujifilm XE4 is a refresh on a budget model: unsurprisingly, it’s not a groundbreaking camera. But, the XE4 is Fujifilm’s smallest and lightest X body, and that’s something.

Fujifilm XE4 Tech Specs

These tech specs are a much-shortened version of what’s available on Fujifilm’s website:

26.1 Megapixel X Trans 4 sensor

X Processor 4

2.36 million dot EVF

3-inch touchscreen

180-degree tilting LCD screen

18 film simulations.

8 fps burst in the mechanical shutter.

20 fps burst in electronic shutter

Autofocus: Intelligent Hybrid AF; -4 EV, -7 EV with XF50mm f1.0

4K video at up to 30 fps, 1080p at 240p

Bluetooth and Wi-Fi

Battery life: 460 frames

Ergonomics

With the new pancake 27mm lens on the front, the XE4 feels almost like working with a point-and-shoot. The Fujifilm XE4 actually fit inside the pocket of my coat. I don’t recommend storing a mirrorless camera in your pocket, but Fujifilm’s pocketable claims aren’t lies (with larger jacket pockets, not jeans pockets). The body is just 1.28 inches deep and under three inches high. If you stacked three iPhones together, the iPhones would be bigger. I slung it around my neck for a three-mile hike and could almost forget it was there.

While the XE4 has the classic look of Fuji’s high-end mirrorless cameras, it doesn’t house all the same controls. The ISO dial is missing (you get an unlabeled button at the top that brings up the ISO controls on the screen). The top also houses an exposure compensation dial, shutter speed dial, a quick menu shortcut button, the hot shoe slot, and, of course, the shutter release with an on-off switch.

The back of the camera also feels very minimal. There are no arrow buttons to navigate the menu with. Instead, you get a little joystick. I didn’t miss the menu buttons; the joystick is faster and works well to select the autofocus point. The rear of the camera also houses playback controls, menu options, and an autofocus and auto exposure lock. Unlike the X-E3, there’s no second dial at the back.

The three-inch touchscreen tilts using a hinge system. Of course, the XE series’s hallmark is that rangefinder-style viewfinder situated in the upper left corner, so you can keep one eye on the scene and the other looking at your shot. While the ...

Sigma makes good quality optics, but it pretty much stops there.

There are loads of reports right now on the new Sigma 35mm f1.4 DG DN Art Lens. It’s easy to get tempted. If you’re experienced with their lenses, though, you’ll understand that they’re the McRib of lenses. When the McRib drops every year, there’s tons of hype about how wonderful it is. But it always just ends up being mediocre. Yet every year, folks swarm to McDonald’s to experience the shame and regret. That’s how I’ve felt buying Sigma lenses over the years. And I predict that the Sigma 35mm f1.4 DG DN Art Lens is probably going to be the same.

Sony Alpha Rumors cites these specs from Nokishita

● Lens construction: 15 elements in 11 groups, with 1 FLD, 1 ELD, 2 SLD, and 2 aspherical elements● Internal focusing● Compatible with high-speed autofocus● Stepping motor● Compatible with lens-based optical correction* Function available on supported cameras only.

Available corrections may vary depending on the camera model.● Super Multi-Layer Coating● Water and oil-repellent coating (front element)● Aperture Ring● Aperture Ring Click Switch● Aperture Ring Lock Switch*When turned ON at the position A, the aperture ring is locked at A. When turned ON at a position other than A, it is locked within the range between the maximum to minimum apertures and will not engage at the position A.● AFL button● Focus Mode Switch● Support DMF, AF+MF● Dust and splash proof structure● Petal type hood with lock● Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)● Designed to minimise flare and ghosting● Every single lens undergoes SIGMA’s proprietary MTF measuring system “A1”● 11-blade rounded diaphragm● High-precision, durable brass bayonet mount● ‘Made in Japan’ craftsmanship

Our Predictions for the SIGMA 35mm f1.4 DG DN Art

Over the past five years, we’ve reviewed almost every lens Sigma has made. In fact, we’ve reviewed every single prime lens of Sigma’s for the last decade. Our Sigma prime lens guide is the most complete, independent, non-sponsored guide on the web. A few years ago, I fell for the Sigma 35mm f1.2 DG DN Art. I reviewed it on the L mount. And there, it was a bit more balanced. I messed up though, and bought it in E-mount. Here’s a quote from our review:

“With durability usually comes a price though, and the weight perhaps adds to the already pricey lens. On Sony cameras, it is a bit heavy. On Panasonic cameras, it makes me feel as if I’m shooting with an old Canon 5D Mk II. I thought I left those days long behind. But with the Panasonic S1R, I feel it all over again with the sloth-like autofocus and the heaviness.”

To summarize a tweet we were mentioned in regarding Sigma lenses, “Why do I feel like I’m working out…” Indeed, the Sigma 35mm f1.2 DG DN Art is bound to be big and heavy. Overall, Sigma just tends to do this. The Art series gives you weather sealing, nice bokeh, and a heavy lens. The Contemporary series is where they purposely butcher their products. They eliminate almost all weather sealing. And the sports lineup is one that we barely hear anything about.

So here’s my big point. I’m going to reiterate what I said a long time ago. Why buy a lens you’re never going to use? Why would you buy a lens that’s bound to be too heavy for your camera? Sony’s philosophy is all about making cameras smaller and lighter. The Sigma 35mm f1.2 DG DN Art bound to be massive on almost any Sony body except for the Sony a1.

Sigma, however, is part of the L mount alliance. So it might go well on my Leica SL2s. But even there is where I sometimes question what will happen. For years, we’ve talked about how Sigma’s autofocus fails compared to other brands. Sigma has always told us to blame the other brands, but last year, when we tested the Sigma fp, the autofocus was awful. What’s more, we tested Sigma lenses on it. So overall, we’ve just concluded that Sigma’s autofocus isn’t all that great. In fact, there are differences between the entire L mount. L...

It’s always super fun to use infrared cameras, and right now is the best time to get one!

If you’ve been taking long hikes to get away from it all, infrared cameras might be for you. They deliver a look that you can’t easily get otherwise. The entire way you work with them is much different. So if you’re heading out on a hike, one of these cameras might be great! You’ll be able to get that surreal, ethereal look that is otherwise just not possible. We delved into our reviews index to share reviews of some of our favorite cameras. And luckily, the folks over at KEH have them converted to infrared!

Sony a7: A Perfection Conversion Choice for Mirrorless Camera

As a longtime Sony shooter, the A7’s easily navigable, and the amount of control Sony provides is immensely satisfying. The Fn button provides access to all the essential functions that would be a bit more difficult to find in the dense menu system. This camera’s meant to be used in Manual mode, and it’s designed in such a way that the necessary dials (aperture & shutter speed) are immediately accessible by your right thumb and index finger.

Buy Now: $752.89 at KEH

Nikon D810: Details Galore!

“When it comes to image quality, the Nikon D810 is surely a beast. For starters, let’s begin with the small stuff: the color rendition of this sensor is different from those of previous Nikon DSLRs. Nikon, Canon, Sony and Fujifilm have colors from their sensors that make you look at an image and know that it came from them. To put this in better perspective, Fujifilm has always been very film-like, Nikon is very vivid but color neutral, Sony leans towards the purple side of the tint scale, while Canon is very warm and saturated. The sensor from this camera tends to lean very heavy towards the blues in great daylight and otherwise color neutral but not as vivid and punchy as other sensors have been. Perhaps Nikon did this to help photographers get an extra boost in their workflow from the start by giving them as much of a neutral slate as possible.”

Buy Now: $1,259.62 at KEH

Pro Tip: Infrared cameras are a different beast. Be sure to bring along a tripod! We’ve interviewed folks who like to get the look of Kodak Aerochrome. Check out our previous interviews with some of these folks.

Nikon D800: Obviously, a Solid Choice

In our review, we stated:

“In conclusion I don’t need to do a conclusion. It should be quite obvious that I am beyond satisfied with the camera. I don’t see another in my future at the moment and consider this an upgrade worth its cost. In many areas there are significant improvements in each aspect of the camera that make the choice simple. Yes there are a few things about the camera that make me frustrated but I have years to become accustomed.”

Buy Now: Starting at $728.05 at KEH

Editor’s Note: This is a sponsored blog post by KEH! If you’re looking for affordable infrared cameras, look no further. KEH has a few fantastic infrared cameras in stock!

Creating dramatic seascapes is easy with the powerful and versatile Tamron 28-200mm f2.8-5.6 Di III RXD.

Wouldn’t it be nice to have just one lens that you can take with you on your travels? What a dream that would be. Well, that dream has come true thanks to Tamron. The Tamron 28-200mm f2.8-5.6 Di III RXD covers wide and telephoto photography. It has a moisture-resistant design, sharp optics, and weighs just 20.3 oz! It’s the perfect lens to travel with, making it ideal for a trip to the beach to create dramatic seascapes. Find out more about this versatile lens and how to create seascape images that will make jaws drop after the break.

This post is presented by Tamron. Maximize your creative potential with the Tamron 28-200mm f2.8-5.6 Di III RXD. The first all-in-one Mirrorless zoom that starts at f2.8. Be sure to pick one up!

Tamron 28-200mm f2.8-5.6 Di III RXD Offers Unprecedented Optical Performance and Versatility

If you want one lens that can do it all, the Tamron 28-200mm f2.8-5.6 Di III RXD could be the lens for you. Designed from the ground up for Sony E mount cameras, this weather-sealed lens is perfect for all types of photography, including dramatic seascapes. This lens is compact, lightweight, has top-quality optics, and is rugged, with seals throughout the barrel and one at the mount. Here’s a quick look at some tech specs:

4.6-inches long and only 1.26lbs

The first all-in-one zoom lens for full-frame mirrorless cameras to offer f2.8.

LD and XLD lens elements minimize chromatic aberrations

Broad-Band Anti-Reflection coating offers high anti-reflective benefits and reduces ghosting and flare

Minimum focusing distance of 7.5-inches at 28mm 31.5inches at 200mm

RXD motors for fast autofocus performance

18 elements in 14 groups with 7 bladed aperture design

Just $729!

What Makes the Tamron 28-200mm f2.8-5.6 Di III RXD Ideal for Seascapes?

If you’re going to be making images of waves crashing upon the shore or of the sun rising or setting over the ocean, you’re going to need a lens that’s built to last. Beaches are treacherous places for lenses that aren’t weather-sealed. Fortunately, the Tamron 28-200mm f2.8-5.6 Di III RXD is weather-resistant. If you wanted to, you could get closer to the water to create more dramatic seascapes. The lens will be able to take a splash with no ill effects. On top of the moisture-resistant construction is the great focal range. From 28mm all the way to 200mm, you have ample room to be as creative as you like.

You can create gorgeous wide dramatic seascapes that capture the seafront, sunsets, and sunrises. On the longer end of the lens, you can zoom in and focus on one element that stands out. A boat out on the water with the sun behind its sails, or a distant rock formation jutting out about the sea. With this range, you’ll have the creative freedom to do what you want. The fast aperture of f2.8 at 28mm will enable you to capture more light. This is perfect for when you want to make dramatic blue hour images of the ocean. The 67mm filter thread means you’ll also be able to get high-quality polarizers and ND filters that won’t break the bank. The sheer versatility and great optics make this lens great.

How to Create Dramatic Seascapes

Dramatic seascapes can be made at any time. However, the golden hours are ideal. Golden hues will add warmth to your images. You should try shooting with the sun just slightly off to one side while it’s just above the horizon. This way, you’ll be able to backlight waves as they crash onto the shore or over rocks. You could also wait for stormy weather too. The ominous clouds and dark colors can add lots of drama. If you shoot during the day, make sure there are clouds in the sky to break up blue skies.

Try your hand at long exposures with a tripod too. You can use longer exposures to create smooth water, which can look dream-like. You can also use shutter speeds of one-half to three seconds to create a rushing water effect.

When composing your images, t...

All images by Tom Bendelow. Used with permission. Images of the model are also used with permission.

My name is Tom Bendelow. I make art to slow down, take a breath, and allow myself to focus on only one thing. I find peace by working and eliminating the noise of the outside world. In my artwork, I try to recreate this same sense of focus and provide my viewer with a moment isolated from reality. I like to shoot out “on-location,” somewhere that is outside of my everyday life. I really love to shoot underwater. It’s a completely different space with a whole new set of challenges for me to overcome. When I first look through the viewfinder, I consider what the final version of my image will look like. I try to preconceive what I will do to the image, how I will edit it.

My main camera is a Nikon D500, and my go-to lens is 18-55mm. Additionally, I use a Nikon D90 for some of my underwater shoots. The 18-55 is such a versatile lens, whether you want to get a nice wide landscape or close in tight around a subject with a shallow depth of field for a portrait. I aspire to invest in a larger underwater housing since the one I currently use is essentially a glorified plastic bag. Along with the housing, it’s my goal to also have a 10-17mm fisheye lens. This will allow me to get closer to a subject to get more detail without losing much of the surrounding area. When I bring a piece into the digital darkroom, I like to experiment; I go through a basic editing process and then add or subtract elements. No matter what I do, though, I never change the primary focus of an image. I try to adapt the rest of the piece to either complement or highlight that subject.

With a foundation in analog photography, I approach the digital darkroom manipulating each tool as though it were a physical object in my hand.I do some very basic corrections: I fix exposure, color, contrast, etc., to make my work easier down the line. Once I have a good starting point, I dive deeper into the editing process, figuring out the best way to add rendered elements. When creating a rendered piece, the key is to take your time. If you rush it, then you’ll end up having to redo work. Depending on what I have and the complexity of my idea, a piece can take anywhere from a day to months to complete. When my audience views my work, I hope they find their own sense of peace. Ideally, I can block out the world and allow them to feel the calm I find in my subject. I want them to spend time with each image, asking questions and allowing themselves to experience a moment of tranquility away from the noise of their daily life.

I think that it would be fascinating for the readers to see the work of high school students. For them to see the beginnings of artistic talents and visions. How different students are exploring new topics, such as underwater photography, and how these students are sharing their message.

Why did you get into photography?

Tom Bendelo: My interest in media began as an interest in videography when I was younger, but I soon learned that I was able to create more complex scenes and images from scratch through photography. Photography also allows me to capture a single moment by creating emotions, movement, and the ability to draw the viewer’s eye to one specific subject or part of the image, all from my own head.

Which photographers are your biggest influences? How did they affect who you are and how you create?

Tom Bendelo: My teacher, Rebecca A. Kandel-Scott, has had a huge impact on who I am as a photographer. She has taught me a lot of the skills I know and helped create my own style of photography. Additionally, one photographer who influenced part of my style is Peter McKinnon. I took a lot of inspiration from both his style of work and his process. Another photographer who I have recently started following the work of Jason Washington, an underwater photographer based in the Cayman Islands. I have yet to really explore underwater photography, but I have ...

With the new Fujifilm Digital Camera Control Software Development Kit, many cool things could manifest.

There’s been a push to make cameras a heck of a lot more useful. Manufacturers worked to build webcam integrations into them. And for the most part, they’ve done a good job. Fujifilm just took that to another level. They announced the Fujifilm Digital Camera Control Software Development Kit. Other brands such as Sony, Canon, and Olympus have done similar things. There are surely lots of possibilities, but also some perplexing decisions.

I’m going to admit, I’m in love with the idea of using AI ethically to boost human potential. We use it a whole lot here at The Phoblographer to augment what our writers do. To that end, I’ve done a lot of research into computer vision and AI camera use. Lots of developers prefer to use lower megapixel, smaller sensor cameras. The reason for this is that it’s just easier to develop for. The more megapixels and the larger surface area make scanning scenes very slow. Of course, if you’re using powerful processors, that’s a different story.

With this new Fujifilm developer kit, the company is letting folks basically develop for Mac and Windows-based programs. But, that’s where it’s very perplexing. We’re a very mobile world. And the only major uses I can think of for this apply to being used out in the world. Tethering a camera to a computer or a laptop in the field sort of complicates things.

So what could be done? A lot of it probably has more to do with B to B applications. Some of the first things that come to mind are security cameras and augmented reality. Arguably, lots of computer programs already have that built-in. Wiring a Fujifilm camera to a computer with something like AI Body tracking seems tough to do. To be clear, Fujifilm already has tracking built in to their cameras. But they don’t use AI. They also don’t have things like animal and bird detection. Practically speaking, though, I couldn’t imagine myself hauling a MacBook Pro out to do that. It’s a bit ridiculous to think about. Could you imagine a wildlife photographer using a Fujifilm camera with computer-based AI? I’d think that’s a tad superfluous. If that’s the case, you’d be better off buying a Sony or Canon camera instead.

I think we’d be better served with Fujifilm letting developers create apps with easy mobile integration. Connecting to my X Pro 3 wirelessly through an app would be much more practical. I’d be able to do things like sit in a cafe and have it track all the adorable dogs who walk by. Then it could snap a photo of them! It would also be super cool to use with Facetime. I understand it could be pretty difficult to do, so in that case I think tablets like the iPad are probably a more ideal option.

What Fujifilm has working for it is that loads of people bought computers in the pandemic. So loads of people can come up with something, at least. However, at the moment, I’m not totally sure what could work with a computer for the consumer world.

Alternatively, I think Fujifilm could easily have its own app store community. Of all the brands, the Fuji community fosters an incredible amount of passion. Imagine a store that was similar to the Sony Playmemories apps store many years ago! So much more could have been possible.