Fstoppers

If you’re looking at standard zooms, you’ve probably noticed the choice between the 24-70mm f/2.8 and the 24-105mm f/4. The first is faster and sharper on paper, but there’s more to choosing a lens than just speed and sharpness.

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The Nikon Z 14-30mm f/4 S and the Tamron 16-30mm f/2.8 G2 both cover the wide angle range you need for landscapes, travel, and even astro work. Deciding between them matters because the choice affects not only sharpness and weight but also what conditions you can shoot in without carrying multiple lenses.

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Shorebirds in Australia are striking, not just for their beauty but for the skill it takes to capture them. They move fast, they appear and disappear with the tides, and if you don’t know their feeding habits, you’ll come home with empty memory cards.

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Golden hour is a great start, but learning to use light well goes far beyond the time of day. Here are three things about light I learned the hard way—and that I hope will help you make stronger landscape photographs.

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The OM SYSTEM OM-1 Mark II mirrorless camera is designed to solve one of the biggest challenges you face in the field: balancing performance with portability. When you spend long hours outside carrying heavy gear, every pound matters, and having the right setup can mean the difference between getting the shot or missing it.

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Come on, hop in those comments and tell me why I'm wrong.

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Lightroom is full of small controls that can quietly ruin your images if you don’t understand how they interact. The difference between an artificial edit and a clean, natural one often comes down to how you balance the simplest tools. When you know which sliders are tricking you, you can stop fighting the program and start getting results that feel intentional.

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A single lens that can move from wide landscapes to close wildlife without weighing down your bag is always worth your attention. When you want to capture fleeting moments without swapping glass, the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD lens is built for that purpose.

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The Nikon FE2 isn’t just another film camera sitting on a shelf. It’s one of those rare tools that carries history in its mechanics, a companion that shapes how you see the world through a viewfinder. Film cameras like this remind you that the way you shoot is often as important as the images you make.

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Some say film photography is better than digital. Film has a more organic, natural look. Shooting with an analogue camera is a better experience and a purer form of photography. Others say digital photography is better because computer technology makes photography easier. You can shoot more frames and focus quicker, and experiment more by shooting more without the need for a second mortgage. Buckle up, this might get ranty.

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I reviewed PanoVolo last year and found it excellent Windows or Mac software for creating panoramic images, even 360-degree ones.

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As someone who first picked up a camera at 10 years old and has been shooting professionally for the last 20 years, I thought I had everything I needed in my kit bag. That is, until I came across the NEEWER PS099S Mini V Mount Battery, now an essential kit item that I don’t plan location shoots without.

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Most photographers chase headline specs and flagship hype. Here are five “wrong” opinions that are usually right in the field.

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The Sigma 17-40mm f/1.8 DC Art lens is a rare kind of zoom. It covers popular focal lengths like 24mm and 35mm, both staples in everyday shooting, while offering a wide maximum aperture that replaces several primes at once. Having this kind of flexibility in a single compact lens can change how you carry your kit and how you approach different types of work.

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Street photography demands a camera that can keep up with quick changes in light, busy crowds, and fleeting moments. The Sigma BF is built with a unique design and an unusual feature set that makes it stand out in this kind of environment.

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Sony just dropped a compact full frame camera with a 61-megapixel sensor and a fixed 35mm f/2 lens, priced at $5,100. Can a point-and-shoot, no matter how nice, really justify that cost?

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Commercial photography looks glamorous from the outside, but the real question is whether it actually pays enough to make a career of it in 2025. Money isn’t the only reason you do the work, but knowing what’s possible helps you decide if the effort, the risk, and the uncertainty are worth it.

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Most photographers obsess over megapixels, autofocus points, and dynamic range when shopping for new gear. But while you're comparing sensor specs and lens sharpness charts, you're probably overlooking the features that could actually revolutionize how you shoot.

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A camera can feel like an extension of your job, or it can feel like something you carry because you want to. The difference matters because it changes whether you’re shooting for yourself or only to meet deadlines and expectations.

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Last week, OpenAI CEO Sam Altman said that photos and AI-generated imagery will converge. Given that his intellect receives so much acclaim, it’s alarming that he has no understanding of photography and its function within society, not to mention the far-reaching implications.

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