The Phoblographer

Apple is reported to be introducing a new 14-inch MacBook Pro with the M1 processor and an SD Card Reader.

Most editors here at The Phoblographer have Macbooks. More specifically, we’ve got older ones. Hillary and I haven’t upgraded since 2015 because of the lack of an SD card reader. To boot, we haven’t been delighted with any of the PC offerings out there. But reports of a new 14-inch MacBook Pro seem incredibly intriguing. This would seemingly replace the 13-inch option and perhaps change camera bag design for years to come.

Our sources on this are from MacRumors. The new computer is reported to have Apple’s New M1 chip. Photographers I know who’ve used it on Apple’s current laptops are over the moon about it. One even told me that it runs Lightroom faster than any editing machine he’s owned. That’s quite promising!

According to their post, we’re looking at the following possibilities:

MagSafe’s return

The touch bar removal

Thunderbolt ports

A headphone jack

A possible exit from the dongle life

That last part is fascinating to us. Cable management is one of the stupidest things ever.

Add into this the addition of the SD Card Reader, and we’d be sold! I’d upgrade tomorrow if I could. My aging Macbook Pro screams louder than a vintage Hoover Vaccum. The hope is that Apple doesn’t wire it in the stupid way they did with the 2019 iMac. That card reader has tons of problems if a lot of USB ports are being used. Further, we also hope that the card reader is fast.

More importantly, the SD card reader’s return may mean that LaCie will take it out from their Rugged RAID hard drives. I’ve had literally two fail on me in a year. I stopped buying them, but I adored them when they worked. Since then, I’ve just used a Drobo with IronWolf drives. But I also haven’t done major traveling in a while. We’ll see what comes about in the Rugged category soon!

But where Apple could take this even further is with the screen technology. Apple loves to use glossy screens. Sure, they make everything look better. But what about a matte screen that has touch capabilities? I don’t want to use the iPad Pro for editing. But instead, the MacBook Pro could benefit a lot from it. Combine this with all the gestures that Apple has, and you’d have all you need. Of course, you could also keep the touchpad mouse. That’s surely still useful.

A touchscreen would need to launch with a new version of Apple Big Sur. Or, perhaps, it would need to be a completely upgraded operating system. However, editing in Photoshop, Capture One, and even Final Cut could be so much better. To that end, we hope that the display actually is a real 14 inches going edge to edge. The extra real estate space is desperately needed.

Looking further ahead into the future, I think that Apple needs to work closely with camera manufacturers. Imagine if you could beam images from your GFX 100S using AirDrop. Ideally, you’d star specific images in-camera. Then you’d send them wirelessly to the MacBook Pro, organize and edit. That would be insane and wonderful. But we’re really a long way from there. Of course, the megapixel wars will always make this reality difficult to happen.

All images by Mike Curry. Used with permission.

Mike Curry has been a professional photographer for thirty-nine years. He grew up in Yorkshire, England, and moved to London in 1982. In the last ten years, he has been concentrating on landscape and abstract projects commissioned by his commercial clients. Mike’s work has won awards in international photography competitions and has been published in the Sunday Times Magazine and Outdoor Photography Magazine and had a book published in 2017 by Triplekite Publishing named ‘Fleeting Reflections’. Mike is also a Fellow of the British Institute of Professional Photography.

Have you ever noticed flashes of colors and shapes reflected in the water and considered them not worthy of studying? Well, you may be surprised to know that they probably contain more detail and shapes than you could imagine, or actually even see with the naked eye. In this article, I will explain how, over the last nine years, I first captured my abstract Fleeting Reflections, all created solely in-camera without the use of Photoshop, and how I refined the technique by incorporating my practice of meditation. I believe your readers will be interested as there is nothing quite like it I have seen on the internet.

Kit List

Nikon D500 for density its of AF points over the whole frame and its speed of operation generally

Nikon 70-200mm f4 lens – no need for an f2.8 lens if you are shooting f8 and smaller

Fastest largest memory card you can afford

Patience! Most of my published images were derived from 3-4 hours of solid shooting of one area averaging 2-4,000 shots to create ONE final image experimenting with different exposures and in-camera multiple exposure methods.

I was invited to work on a commercial commission for Canary Wharf Group plc in 2012. They were looking for a new angle on their iconic estate in London’s Docklands and approached me with a view to creating some images for their stock library. Given an “access all areas” pass and carte blanche to work all hours of the day and night in their estate, I had the freedom to visit whenever I could in between other jobs; being local was a real advantage. It was a fantastic opportunity and a very flexible and open-ended brief which was a photographer’s dream. As well as creating more standard stock images for them, I was expected to present them with images that surprised them.

Having taken most of the images I thought they would want, I started looking for something a bit different. Then, one day when it was sunny and still, I noticed a patch of blue on the water – it didn’t look much but I lifted up the camera to take a few snaps of it. I was astounded at what I captured, it looked like nothing I had seen before…. a riot of geometric shapes and colors and all captured in-camera. Something triggered in my head, an enthusiasm and excitement for a possible new project.

I have always thought that, for projects to resonate with you, they have to have deep roots somehow connecting things from perhaps your childhood, or your hobbies, etc. Then I realized what the connection was. I used to love playing with Kaleidoscopes and Spirograph and found them very satisfying and relaxing to play with, keeping me occupied for hours. There was my connection and I was hooked.

Having attended the On Landscape conferences regularly, I had heard some wonderful speakers extol the merits of working locally and the importance of returning to the same spots often, trying again to see something new. The idea being that unless you are enthused by a project, and it is easy to spend time on repeatedly, in a multitude of circumstances, it’s unlikely to flourish.

So, I set about trying to create pieces that resonated with me – I firmly believe that producing images that you love through a process you find enjoyable is the most important thing, it shouldn’t matter to you what other people think of your work.

Early experiments with Fleeting Reflections were a bit hit and miss. I tried variou...

The old Hexar AF is a wonderful camera in so many ways, but this one is just a bit extra special.

The Hexar AF is one of our favorite film point and shoots of all time. It was designed for street photography from the ground up. There’s a lot to love, from the stealthy film advance to the 35mm f2 lens attached. For years, no point-and-shoot camera has ever really come close to being like it. Some may argue that the Sony RX1 Mk II is close, but not the same. For what it’s worth, you should know that prices on the Hexar AF have come down. And if you just want the Konica 35mm f2 Lens in M mount, that’s available too. However, we found one is a bit extra special.

So what could make this lens a bit extra special for street photography? Well, if you’re into the whole street portraiture trend, then check this out! Seller breguetcamera has this listing for a specially modified Hexar AF that shoots half frames. So instead of getting 36 shots a roll, you’d get 72. It does this by shooting only half a vertical frame at a time. The idea was originally put in place by the old Olympus Pen film cameras.

This makes the camera arguably better for portraits if you shoot a lot vertically. In practice, you can shoot holding the camera in landscape mode and get vertical photos. Cool, huh?

Shooting half-frame is an acquired taste. Some of us become savants at it. Photographer Matt Osbourne on Flickr positively slays with the half-frame format. When scanned, the photos are side by side as a 35mm frame.

Of course, this special Hexar AF comes at $6,400. That’s the most pricey we’ve seen this camera. However, it’s understandable. We’ve seen something like this before, but it’s rare. There’s surely a bit of patina, but it works!

We reviewed the Hexar AF a while back. And here’s what we said:

“Where this camera really excels is candid, everyday shooting. At parties, events, weddings, etc is where I personally had the most fun with this camera. Your experience and those of thousands of other photographers may be very different considering that it’s widely known as a street photography camera. Again though, I’ve never been one to trust autofocus when it comes to shooting street.”

“Pretty much anyone can pick this camera up and take great pictures. With a bit of ingenuity, you’ll also be able to find ways to do more with the camera and use it to its fullest potential.”

“It’s totally a camera for a hobbyist, though serious professional work can be done with it too. I’d gladly do documentary, portrait and travel projects with this camera.”

For what it’s worth, if you grab this camera, then make the most of it. The controls can be a bit of a pain to learn. But there are loads of good YouTube videos that taught me how to use it. The lens on it is incredibly sharp when stopped down. I’ve made great use of Tri-X, T-Max 400, CineStill 800T, and other films.

Rumors have long circulated that the lens is a Leica copy. In my tests, I always found black and white images to be sharper. This is especially the case shooting wide open. But if you shoot stopped down, you’ll have no problems at all.

One small quirk: the shutter is maxed out to 1/250th. That means you’re best shooting with slower film realistically for more aperture variance. But we’re sure you’re a photographer skilled enough to give it a good home.

All images from Seller breguetcamera from this listing.

Full-Frame cameras are all the rage, but APS-C cameras can deliver the goods too.

One of the biggest questions in photography is whether you need a Full-Frame camera to be a professional. The answer is no. If you’re able to produce the goods and get paid for them regularly, then you’re a pro. The type of camera you use plays no part in whether you’re professional or not. Many will still tell you that you need a Full-Frame camera to get the most features. Well, this used to be the case, but it’s not anymore. Today’s APS-C cameras are packed with the same features their Full-Frame brothers have. You’ll find IBIS, powerful sensors, incredible autofocus systems, dual card slots, and more. You’ll often find them at more affordable prices too. If you like the idea of having extra reach from a crop sensor camera for your work, check out these four APS-C cameras that are good enough for professional use.

APS-C Cameras – Fujifilm XT4

“The outgoing X-T3 was already a very capable camera (we gave it Editor’s Choice for a reason). The XT4 packs even more under the hood with the addition of in-camera image stabilization, a fully articulating touchscreen, and a larger battery.”

Buy now: $1,699.95

APS-C Cameras – Nikon Z50

Brett Day – Gear Editor

“Now, I have to say that the Nikon Z50 has blown my mind when it comes to high ISO performance. I was shooting ISO 6400 for fun and had no concerns about image quality. At 12,800, I had no concerns about image quality. I even shot at ISO 25,600 and was stunned at the amount of detail the images were retaining. Will you see some color noise as these high ISOs? Yes, of course, but just behold the glory of high ISO images from the Nikon Z50.”

ISO 25,600

Buy now: $856.95

Pro Tip: No matter what cameras you use, you’re going to need to keep them clean if you want them to last a while. Take your cameras out before each session and give them the once over. Check the sensor, clean the screens and buttons, remove any excess dirt or dust that you can. This will prolong the life of your camera, guaranteed. You don’t need an expensive cleaning kit either? This one is under $15 and has everything you need.

Crop Cameras – Sony a6600

“The Sony a6600 has Sony a9’s focusing abilities. To that end, it can track a subject very well. We tested this in a studio with a dancer. She was kept in focus pretty easily. More importantly, her face was in focus. When it wasn’t, it switched to her body. But no matter what, the Sony a6600 delivered very usable images.”

Buy now: $1,398

Crop Cameras – Fujifilm X Pro 3

In our review, we said:

Chris Gampat – Editor In Chief

“The hidden LCD screen is a brilliant innovation that keeps photographers focused on what’s important. Classic Negative and the addition of the Clarity setting will mean that you’re doing less work in post. The multiple exposure setting is one Sony refuses to return to its cameras. Though Olympus put a smaller battery in a newer camera and promised similar battery performance, Fujifilm is actually able to hold themselves to their claims. Though the Fujifilm X Pro 3 uses the same battery as its predecessors, it’s still very efficient when it comes to using the battery.”

Buy now: $1,799.95

The Fujifilm X Pro 1 camera and the Fujifilm X mount will be 10 years old in January 2022.

It’s taken a decade, but Fujifilm will have been dedicated to the X mount for this long. That’s longer than Samsung was dedicated to the NX mount. It’s also longer than Sony has had full-frame mirrorless cameras on the market. Ten years of the X Trans sensor and a specific look. I remember the days before this that Fujifilm was sort of a joke. They weren’t looked at as a serious camera company. But after the Fujifilm X100, everything changed. When the X Pro 1 hit the market, everyone stopped and stared. It was the first time that a rangefinder-style camera has captivated us since the M9.

Fujifilm has had a lot to celebrate.

The first company with a hybrid optical/digital viewfinder that no one else has.

The first company to make small, weather-sealed lenses that were affordable.

The first company to issue relentless firmware updates made everyone else do the same. You bought the X Pro 1, and at the end of the camera’s life, you had a new camera still.

The first company to really, truly embrace the retro aesthetic and stick with it.

The first company to create an autofocus 50mm f1 lens.

The first company to make useable, good medium format mirrorless cameras at an affordable price.

The first mirrorless camera system using an APS-C sensor to prove that it can be professional-grade.

The first company to make claims that it can compete with full-frame, and it was actually accurate.

Fujifilm has had a whole lot to celebrate. And they’ve surely worked toward it. Is Fujifilm perfect? No. They still refuse to open their doors to working with third-party lens manufacturers. Their autofocus still needs revamping. And you’ve probably read my qualms with the X Pro 3 already.

A Fujifilm camera was used by the winner of the 2020 World Press Photo Awards. By all means, it’s the most professional APS-C camera system on the market. My hope, though, is that they start to break away from using Sony sensors. Sony’s sensors are in way too many cameras. And yes, the Film Simulations really help them stand out. But there could be even more.

Fujifilm should also be credited with their efforts overall. Over the past decade, a bunch of manufacturers was barely trying at all. Some of them still seem like they’re phoning it in. But Fujifilm genuinely tried. I’d compare them to the NY Mets, but that would be disrespectful. Fujifilm is seriously one of the best modern camera manufacturers on the market. And I truly hope that they embrace the higher-end future of cameras. After all, everyone needs to try much harder. Innovations need to be that much better. And most importantly, I hope that they never become Pentax. Pentax realized too late that they needed to go full frame. Pentax still has a rich history and good cameras. But we can all admit they make questionable decisions.

With that said, Fujifilm’s decision to not go full-frame is sort of questionable. But I’m hoping that they build the GFX system into something that doesn’t make us even question whether we should go full-frame.

Fujifilm is a company with a rich history in the photography industry. And I hope that they keep finding a way to evolve to support creators. I specifically say, creators. Brett and Hillary are professional photographers. I’m not anymore. I’m a journalist and an Editor in Chief. And I use cameras every single day. They’re an important part of my job.

Fujifilm: please stay strong. Congratulations. And thank you for staying true to the roots of photography while shepherding its future. Just think, it all started with the Fujifilm X Pro 1. Go snag one on eBay if you wish.

The Megapixel wars aren’t doing anyone any favors.

The Megapixel wars that started back in the early 2000s with the rise of digital cameras are still raging today. While many photographers clamor for more megapixels (because more is better, right?), others realize they aren’t everything. Some of those folks include the brains at NASA and CNES (the French space agency). The Perseverance rover that touched down on the red planet last month has already beamed back stunning, detail-filled images that have captivated the world. What might surprise you, though, is that the rover’s camera has a Megapixel count in the single digits. Find out more about the rover’s camera after the break.

A recent post on Image Sensors World talks about some of the cameras that went to Mars onboard the Perseverance rover. As mentioned in the intro, we’ve seen the images that have been beamed back to earth. They look amazing. Surely NASA must have sent a camera to the red planet that has a huge sensor in it to capture so much detail? Well, it might surprise you to know that the images taken on the surface of Mars were made with a camera that sports a 4 Megapixels sensor. That’s right—just 4 Megapixels. It’s time to stop the sob stories about how you only have 24 Megapixels to capture pictures of your food.

Megapixel Wars – Bigger Isn’t Always Better

According to the article mentioned above, the image sensor used is a CMV4000 with a Bayer color array. This sensor sports 4 Megapixels with RGB color filters and microlenses. The sensor was designed by AMS CMOSIS, which is a company qualified by CNES. CNES started researching this camera sensor 10 years ago. Over the last decade, CNES has shown that this Bayer filter imaging sensor is hardy enough to withstand the constant blasts of radiation while in space. On top of this, CNES has found that this sensor is cost-effective while still providing great detail. It’s a technical marvel for sure.

Let It Go

We talk about camera tech all the time here at The Phoblographer. One of the biggest topics in the industry is sensors and how many megapixels they have. In fact, we talked about how basing a purchasing decision on Megapixels alone is crazy on a recent episode of Pro Camera Reviews. You can still do so much with sensors that aren’t packing massive amounts of Megapixels.

That 4 Megapixel camera used by NASA would be able to print an image at 11×16 with great quality, and for online use, it’s way beyond acceptable. Unless you’re printing massive prints, you don’t need cameras with a huge megapixel count. In fact, a 24 Megapixel camera can print a 30×40 image with no issues. So, the next time you feel bad for having a camera with ‘just 24 Megapixels’, don’t. If all you’re doing is sharing images online, be content with what you have. Don’t fall for marketing talk about how more is better when browsing new cameras.

The Phoblographer is now the home of the most original real-world lens reviews.

If you’ve been a long-time reader of the Phoblographer, you probably already know this. Most publications, YouTubers, and bloggers focus on cameras. But we knew early on that’s only part of photography. Lenses and the accessories around them are super important. Today, we’re happy to make a huge, special announcement. The Phoblographer is now home to the most real-world lens reviews. That means that we’ve taken over 700 lenses out and into the wild. We didn’t do lab tests. Instead, we tested them and used them according to what we see you folks doing online. Further, We did them ourselves in-house. Unlike a few other publications, we didn’t syndicate from various sources on the web. We’ve handled, abused, and shot with all of the lenses.

You can check out our revamped Reviews Index and head to the lens section. Or, if you’re looking for a specific lens, then you can use our search in the sidebar. But if you just want to browse, then check out some of our more formalized guides. We update these guides every few months.:

Tamron Prime Lens Guide

Fujifilm X Series Lens Guide

Fujifilm GF Lens Guide

Sony FE Lens Guide

Canon RF Lens Guide

Nikon Z Mount Lens Guide

Leica L Mount Lens Guide

Zeiss Milvus Lenses

Sigma Prime Lens Guide

The Phoblographer is a website for passionate photographers. And we’re evolving to be a cultural hub for imaging. That’s why I use the term passionate photographers. The truth is that you can be a professional photographer who hates your job. So instead, we hope to attract both professionals and hobbyists. A big part of this is the massive undertaking of the Lens Database. Over 20 journalists have worked on it for the past 11 years. Even more brands are featured. You’ll find lots of image samples. But most importantly, these days, you’ll find transparency and honesty. Our reviews are all unpaid. We’re incredibly strict about following FTC laws, and we do not do paid reviews. All the reviews are objective and truly the thoughts of the writers. And all articles go through my eyes before publishing.

In 2009, I started Phoblographer, knowing that I wanted us to be a unique and completely different publication from the rest. And we realized that goal. All of our content is completely original. Even our take on the news is totally unlike what other publications produce. You can get the news anywhere. But you can’t get truly informed opinions and thoughts everywhere. And who better to give their opinions than the folks who’ve used every camera system under the sun?

You’re probably wondering how we do our lens tests? Well, here are a few interesting tidbits:

Every reviewer has to shoot at least three genres of photography with them. We’ve relaxed this in COVID times.

The reviews team literally talks together to come up with parameters for testing. We avoid shooting charts and brick walls at all costs.

We do build quality tests when manufacturers say that their products have some sort of weather sealing.

All of our reviewers have been shooting for many, many years.

We invite you to use us as a resource for your research in the future. And if you’ve got questions about this or The Phoblographer Camera Shop, shoot us an email at [email protected]. We’ll be waiting for your message.

The discount makes the Panasonic Lumix s5 a Full-Frame bargain!

If you’re looking for a Full-Frame Mirrorless camera and want a bargain, have we got a deal for you. The new Panasonic S5 has just gone on sale. There’s a $300 discount on the body only (It’s just $1,697.99) and a $300 discount on the body with the 20-60mm kit lens ($1,997.99). We think that the Panasonic Lumix s5 is the bee’s knees when it comes to Full-Frame L mount Panasonic cameras. Find out more about this camera and the sale after the break.

We’ve raved pretty hard over the s5. It’s one the smallest Full-Frame cameras you can get your hands on, but don’t let the size fool you. This Full-Frame 24 Megapixel camera is loaded with features. Measuring the same size as the Micro Four Thirds Panasonic Lumix G9, the Lumix s5 features killer 4K video features. A fantastic sensor that captures an incredible amount of detail. There’s a brilliant IBIS system, dual card slots, live composition, hi-res image modes, and battery life is great. Find out what we said about it in our review:

I have personally switched to the Panasonic Lumix s5, and it gets used in my professional photography and personal photography lives. The autofocus system after recent updates is stellar. I have easily used this camera for event photography, action, wildlife, birding, portrait, and street photography. Thanks to Sigma, Leica, and Panasonic making lenses for the L mount, you have many lens options that fit a variety of budgets. Check out some of my sample images below.

Panasonic Lumix s5 – Sample Images

As you can see, the images look great! This camera excels at many things without making any compromises. At $1,697.99, the s5 is one of the best Full-Frame Mirrorless camera deals we have seen this year. We’re not sure how long this sale will last. So, if you’re interested, snap one up while you can!

Buy now body only: $1,697.99

Buy now with kit lens: $1,997.99

The 35mm lens is currently experiencing a renaissance, and the Leica 35mm lens is front and center to it!

You love your Leica! Let’s be honest; it’s a badge of honor that you’ve worked hard to get such a high-quality product. You adore the way it feels in your hand. The way that the classic ergonomics suit anyone and everyone is just a wonder to us. And very few lenses are dreamed of like a Leica 35mm lens. Many Leica photographers proclaim their 35mm lenses as the most indispensable in their kit bag. Each of them has something special about it. And we dove into our archives to figure out what that is. Here’s our guide to choosing the best Leica 35mm lens for your needs.

Editor’s Note: This is a sponsored blog post by Leica Camera.

Leica 35mm f1.4 Summilux-M ASPH

The Secret Recipe: The Leica 35mm f1.4 Summilux is a lovely lens for the photographer who craves low light performance. This is THE ONE if you’re smitten with your Leica M9, your Leica M6, or anything older. The f1.4 aperture will let your exposure soak up a ton more light. And the creamy bokeh will be the cherry on top of your sundae.

“In general, I never stop these lenses down beyond f4 or f5.6. And if I stopped the lens down at all, I usually just stayed at f2 or f2.8. The reason why is because these lenses perform so well when shot wide open.”

Buy Now: $5,895 from the Leica Camera Store

Leica 35mm f2 Summicron-M ASPH

The Secret Recipe: The Leica 35mm f2 Summicron-M has been a mainstay for many photographers. It has beautiful bokeh, feels flawless in hand and is incredibly compact. In fact, one of the biggest draws is just how small it is. This lens pairs well with any Leica body and balances well with their ergonomics, perhaps the best of any lens on this list.

With the Leica 35mm f2 ASPH Summicron, you’re getting solid image quality for a pretty affordable Leica price point. For the photographer that is bound to stop the lens down and use it anywhere at around f5.6 or so, you’re going to get solid results consistently.

Buy Now: $3,895 from the Leica Camera Store

Pro Tip: Leica M mount lenses can potentially have a subject in focus faster than autofocus lenses. They have zone-focusing distance markers on them. When you stop one of these lenses down to around f5.6 and focus a few feet away, a whole range of the area will be in focus. All you then need to do is walk that distance away from your subject. This is known as hyperfocal length shooting and zone-focusing. The Leica 35mm lens is perfect for this type of shooting.

Leica 35mm f2 APO Summicron-SL ASPH

The Secret Recipe: The Leica 35mm f2 APO Summicron-SL is a beast of a lens. The SL camera system has IP durability ratings all around it. To that end, this lens can stand up to some of the toughest conditions you’d throw a camera into. On the new Leica SL2-S, it’s also bound to focus very quickly.

“It feels like a small bottle of hairspray chocked full of glass. With all this said, it’s still not as heavy as other primes I’ve used for L mount. And most of all, it’s very well built. The Leica 35mm f2 Summicron SL APO is also weather sealed. So you don’t have to worry about it in the rain or most other situations.”

Buy Now: $5,095 from the Leica Camera Store

Leica 35mm f2 APO Summicron-M ASPH

The Secret Recipe: The new Leica 35mm f2 APO Summicron-M has some seriously cool things happening. It boasts 11 aperture blades, is incredibly small, and focuses the closest of most M-mount lenses. In fact, it can focus just under a foot away. If you need something that’s a complete workhorse of a lens, this is likely it.

In our review, we stated:

“So, what do you get from a lens that costs $8,195? Almost absolute perfection. The image quality is so good that every picture you create will bring a tear to your eye. I have used many 35mm lenses in my days, but none have rendered images quite like the Leica APO Summicron M 35mm f2 ASPH. I went to edit my images and hardly had to touch them. They’re that good. Sharp, contrasty,...

Getty Images has bought Unsplash. This is disappointing, but it shouldn’t be surprising news.

In the race to the bottom, Getty Images always seems to be first. They bought Photo Disc in 1998, one of the first royalty-free photo stock agencies. Then in 2006, they bought iStock, one of the first microstock agencies. If someone is distributing photos for less money, Getty seems to want to buy them. Now, unfortunately, they have an even larger platform, and the only way Unsplash could be cheaper is if photographers paid people to use their photos.

My photographs have value and so do yours. We may not all agree on what that value is, and they may not have value to everyone, but that value exists. A pair of size nine shoes have very little value to me, and I would never buy them. But a pair in size 11.5 that fit have more value to me. If they are a pair I like in that size, I would even spend money on them. Things have a different value for each of us. Some photographs have a value that’s sentimental and difficult to put a dollar amount on. Other photographs have a more easily defined value that directly correlates with increased awareness or sales for a brand or product. Perhaps the value is the joy of hanging it on the wall or understanding another place’s story in the world.

As a photographer, you decide who can use your photos and how they can use them. The pictures you create are yours. Over time, various companies and organizations have been trying to convince us that our photographs’ primary value should be the excitement and ego-boost, knowing that someone else likes those photos and wants to use them. They may argue that the exposure is enough, but as the old joke goes – you can die from exposure. Plus, while they say attribution is encouraged, they don’t require it. Millions of people could see your amazing photo but have no way of knowing it was yours.

It is awesome when someone wants to use one of my photos. It is even more awesome when they pay for that use, especially when using it to make money. I have given people photos at no charge and made photos for no money. But I also actively made each of those choices specific to the use case and my desire to create the photo or help the person or organization using the photo directly. We are creatives, and we want to create. Making photos is wonderful, and sometimes no one makes any money, which can be fine. However, when someone is making money off our photos, we should make money too.

Unsplash came on the scene several years ago as an easy way to upload photos that you (hopefully) own. I have heard stories of people being surprised to find their work on Unsplash. Once uploaded, anyone can download and use that photo for whatever they like – from a new background on their phone to a major international ad.

Unsplash has made and now sold a business that profits off photographers offering their work to people and organizations for free. Not only can these organizations afford to pay for the images, but they also stand to make substantial amounts of money selling goods and services, with those photographs directly helping their bottom line. It does seem easy to make money when you don’t have to pay your suppliers.

This acquisition by Getty is predictable based on the way they have run the business since they started. Over time, Getty has reduced the royalty rate they pay most photographers, and they have eliminated rights-managed images from their catalog. Steps like these have contributed to the slow, sad decline of the stock photo industry.

The people at Getty are in the business to make money, and doubtless, they believe they can make money off the photographs on Unsplash somehow. Perhaps the profit won’t come in by selling the images, but potentially there is a plan that encourages upselling to the other (under-priced) collections. Maybe they will make money with the data they gain from how and what is downloaded. Whatever they have in mind, I am confident profit is the...