TTArtisan’s new 25mm f/2 lens for APS-C mirrorless costs just $55

TTArtisan After announcing a $69 50mm f/2 mirrorless lens six weeks ago, TTArtisan is kicking off fall with a new $55 25mm f/2 lens. This budget-friendly, all-manual prime is available for a wide range of crop-sensor mirrorless systems (unlike the 50mm, which was a full-frame lens). And you can get one right now from TTArtisan’s… Continue reading TTArtisan’s new 25mm f/2 lens for APS-C mirrorless costs just $55

How to score an awesome garage sale camera

Not quite sure what I was thinking when I pulled the trigger on this beauty. Stan Horaczek This post on garage sale cameras has been updated. It was originally published on May 17, 2016. As you walk through a local garage sale, your eyes bounce from a pile of ugly jackets to a bin full… Continue reading How to score an awesome garage sale camera

After a decade of decline, say goodbye to the compact camera

Most major brands have ceased compact camera development and manufacturing. Getty Images Point-and-shoot cameras are dead, according to Nikkei. Not only has the market collapsed to a fraction of its former size but nearly every major manufacturer has either discontinued its compact range or just not made a new model in years. While smartphones get… Continue reading After a decade of decline, say goodbye to the compact camera

For the film lover: How to choose your camera and film type

In 2017, Kodak brought back Ektachrome color-positive film; in 2018, they revived T-Max P3200 B&W film. In 2019, FujiFilm announced they’d bring back black and white film, launching Neopan 100 Acros II in both 35mm and 120 formats. And this year, Kodak brought back the 120 version of Gold 200. It’s safe to say that… Continue reading For the film lover: How to choose your camera and film type

New gear: Sigma 20mm & 24mm f/1.4 full-frame primes

The new lenses will be available in E- and L-mount. Sigma You can start your week with some good news if you’re in the market for a wide-angle lens and shoot a full-frame E-mount or L-mount camera: Sigma has just announced two new Art-series, wide-angle primes—the Sigma 20mm f/1.4 DG DN and Sigma 24mm f/1.4… Continue reading New gear: Sigma 20mm & 24mm f/1.4 full-frame primes

The Laowa 10mm f/4 ‘Cookie’ lens looks mighty tasty

We know one Sesame Street character who’d be all over this. Laowa Apparently, it’s wide-angle, crop-sensor mirrorless lens week and we didn’t get the memo. Having just finished telling you about Meike’s new 10mm f/2 lens for APS-C mirrorless cameras, we now have another crop-sensor 10mm prime to share with you. Yet, although it’s aimed… Continue reading The Laowa 10mm f/4 ‘Cookie’ lens looks mighty tasty

Sigma 20mm f/2 DG DN Contemporary: Beautifully Crafted

The seventh of Sigma’s I series of prime lenses, the Sigma 20mm f/2 DG DN Contemporary follows the same exquisite design language. Does it also inherit the excellent performance of the others in this series? K Madhavan Pillai puts it to the test. The Sigma 20mm f/2 DG DN | C, available for the Sony… Continue reading Sigma 20mm f/2 DG DN Contemporary: Beautifully Crafted

Meike’s new 10mm f/2 is a fast, wide-angle prime for crop-sensor cameras

Meike Hong Kong’s homegrown lens brand Meike has been on an absolute tear this year, releasing new lenses at a truly astounding rate. Last month alone, the company launched five new lense—including an incredibly affordable 85mm f/1.8—and in the first half of the year, it has already announced a total of nine lenses and two… Continue reading Meike’s new 10mm f/2 is a fast, wide-angle prime for crop-sensor cameras

How to effectively capture texture in your commercial content (Part 2)

More than a decade ago, the camera brand Leica revealed an eye-catching print and outdoor ad campaign in Switzerland, featuring photographs of various textures found throughout everyday city life: wood, metal, bricks, and more. The ads were installed on real-life walls of the same texture, revealing the up-close details of each surface. The goal was… Continue reading How to effectively capture texture in your commercial content (Part 2)