FStoppers

Compact bodies change how long you stay out and how quickly you respond to action. The Fujifilm X-M5 mirrorless camera pushes you to chase color and mood straight out of the camera, which matters when you want results without a heavy edit session.

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Photoshop 2026 brings a sharp split between standard tools and cloud-powered premium features that burn credits. If you edit daily and rely on selection, removal, and upscaling, the mix of native models, partner models, and a new “how many credits do I have left?” mindset changes how you plan edits.

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DxO has been very active this year, and this month will not be an exception. The company is pumping out new, enhanced versions of three of its most popular photo-editing applications today.

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Your fancy camera is useless if your display’s colors aren’t accurate. For all you know, you might be looking at an entirely different image. Here’s how the new entry-level Datacolor Spyder Express has come to meet you halfway.

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Sony's G Master lenses are spectacular, but they'll empty your wallet quickly. Many G Master lenses cost $2,000 or more, with flagship zooms pushing $3,000 or beyond. The good news? Third party manufacturers and Sony's own value-focused designs have created professional grade optics at prices that seemed impossible just years ago.

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You may be reaching for the wrong glass to capture those stunning landscapes, trading intentional composition for uninspired vastness. Let's discuss why swapping out your go-to wide angle lens for a telephoto or mid-range lens could be the secret to creating truly compelling, focused photography.

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All-in-one zooms live or die by trade-offs, and stretching to 25mm on the wide end without giving up too much elsewhere is a big ask. If you travel light or want a single lens for walkaround work, this one targets that with a wider start, faster focus, and smarter controls than the first-gen version.

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For the last month, I’ve been deep in the world of ultra-telephoto lenses for Sony full-frame cameras, testing some of the most advanced glass money can buy. But can Panasonic's new 100–500mm f/5–7.1 lens, for a fraction of the price, compete? Surprisingly, it can.

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Let’s discuss crucial errors even experienced photographers make, covering the importance of shooting in bad weather, properly setting shutter speed to optimize ISO, ensuring pin-sharp focus and depth of field, using negative exposure compensation to prevent blown highlights in backlit scenes, and much more.

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Strong gear and clever lighting still fall flat when composition is weak. Real estate work lives or dies on how well you guide attention, manage geometry, and shape the way a space feels.

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You’re looking for a compact ultra-wide zoom that stays small, takes front filters, and still promises strong sharpness. If you shoot interiors, real estate, or city nights, take a look at this option.

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Concerts force you to work in low light with unpredictable motion and strict seating, which makes reach, stability, and restraint matter more than price. This video shows how a cheap tele zoom can handle a concert and still deliver lifelike results that many photographers assume require pro glass.

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For years, I've heard the same argument repeated over and over: micro four thirds cameras just aren't professional enough. The shallow depth of field can't compete, the image quality falls short, and serious photographers should stick with full frame sensors. Honestly, I didn't know if this claim was true or just internet chatter. So when I got my hands on the brand new OM System 50-200mm f/2.8 lens and decided to test it against my Sony a7 IV with the massive Sigma 300-600mm f/4 lens, I knew this was going to be an eye-opening experience.

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Think about the most important photo you want to create. Is it a great wedding photo of celebrities? Maybe documenting a historic event? I've had photos published in National Geographic, had museum exhibitions, and won awards. But it turns out the most important (and romantic) photo I've made was a simple night photo created with a flashlight!

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Fujifilm’s X-E series just got a real upgrade. You’re looking at a compact body with a 40.2 megapixel sensor, in-body stabilization, and a film simulation dial that pushes quick, intentional shooting without menu diving.

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Walk into any camera store with $1,500 to spend, and you'll likely walk out with a $1,200 camera body and a $200 kit lens. It's the default package that manufacturers bundle together, and it seems logical enough. After all, the camera is the brain of the operation, right? The body has all those megapixels, the fancy autofocus system, the brand name emblazoned on the front. The lens is just glass.

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Many people treat a 35mm lens and an 85mm lens like the two ends of a 24-70mm zoom. That habit costs photographers rich, varied storytelling and leaves a lot of strong frames on the table.

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We all know the feeling when a shoot is going perfectly, your model is nailing the poses, and then something goes wrong. Maybe a light fails, a cable gets unplugged, or your tether connection drops mid-shoot. Suddenly, the creative flow evaporates, and you’re scrambling to regroup.

My creative partner, David, and I build wild, surreal sets for every shoot, and my posing is pretty unconventional. On an average shoot, when I’m directing my model, you’ll probably catch me saying things like, “Okay, now can you bend backwards and raise a foot up?” or “Okay, now scream at the top of your...

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Sony’s new 1.4x macro lens changes how close you can get without adapters or cropping. That jump matters when you want texture-level detail and clean working distance while keeping handling familiar.

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Is the secret to tack-sharp photos just an expensive lens, or does it lie in mastering a single, fundamental camera setting? Let's discuss the three overlooked reasons your pictures aren't sharp and how to fix them with a simple adjustment.

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