credits: Godox Godox has introduced the new EazyFlow Beauty Dish, a collapsible light modifier that combines the classic lighting characteristics of a traditional beauty dish with the portability of a folding softbox. Instead of the rigid metal construction used by conventional beauty dishes, the EazyFlow has a quick-release frame that opens and locks into place with the push of a button. Pressing a second button collapses it back down into a slim profile that (according to Godox) is compact enough to fit into the side pocket of a camera backpack. The EazyFlow comes in 65cm and 85cm sizes, with a choice of either a silver or white interior. The silver version produces a more contrasty, directional light, while the white interior creates a softer look. Godox includes a Bowens-mount speedring as standard, although interchangeable speedrings are available for systems including Profoto and Broncolor. The modifier is designed primarily for flashes with an exposed flash tube, such as the Godox AD300Pro IIand larger models, and the company notes that light characteristics may vary when used with more compact flash units. Each EazyFlow Beauty Dish also includes a double-sided central reflector, a two-layer white reflector, a front diffuser, and a grid, giving you a few options for changing and controlling the light. Depending on the version, the modifier weighs between 1.12kg and 1.42kg. The 65cm models are priced at $68, while the larger 85cm versions cost $82.

credits: Samyang After first being shown at CP+ in late February and teased again a couple of weeks ago, LK Samyang and Schneider-Kreuznach have officially unveiled their new AF 60-180mm f/2.8 full-frame telephoto zoom. The lens completes the companies’ Compact Zoom Series, joining the previously released AF 14-24mm f/2.8 and AF 24-60mm f/2.8. One of its biggest highlights is the weight, coming in at 730g, making it noticeably lighter than many other f/2.8 telephoto zooms in its class. Compared to lenses such as the Sony FE 70-200mm f/2.8 GM II, which weighs 1,045g, or the Tamron 70-180mm f/2.8 Di III VC VXD G2 at 855g, the new Samyang is significantly lighter, partly thanks to its slightly shorter 180mm maximum focal length. The lens measures 149mm when retracted and extends to 174.4mm when fully zoomed. It also features a 77mm filter thread, weather sealing throughout the barrel and mount, and a linear stepping motor for autofocus. Maximum magnification is 0.26x (1:3.8), making it suitable for close-up work, while Samyang says its floating focus system helps maintain image quality throughout the zoom and focusing range. Inside, the lens uses a 17-element, 14-group optical design that includes seven ED elements, two aspherical elements, and one high-refractive index element. According to LK Samyang, the goal of the Compact Zoom Series has been to offer a lighter alternative to traditional f/2.8 zooms while covering focal lengths from ultra-wide to telephoto. The AF 60-180mm f/2.8 is now shipping for Sony E-mount, but retailers have not yet listed it for sale, so the price remains unknown. An L-Mount version is apparently also on the way.

credits: Tamron Tamron has finally brought its 17-70mm f/2.8 Di III-A VC RXD to Canon RF and Nikon Z, expanding availability of the APS-C zoom to all four major mirrorless systems. The lens first launched for Sony E-mount in 2020 before arriving for Fujifilm X-mount in 2022, and has since become one of Tamron’s most popular APS-C standard zooms. With the addition of RF and Z versions, Canon and Nikon users now have access to a fast standard zoom option that has been missing from both lineups. On Nikon cameras, the lens provides a 35mm-equivalent field of view of 25.5-105mm, while Canon users get an equivalent range of 27.2-112mm. That gives it more reach at the telephoto end than lenses such as the Sigma 18-50mm f/2.8 or Nikon’s own Z DX 16-50mm. The optical design remains unchanged from the existing Sony and Fujifilm versions, featuring 16 elements in 12 groups, including two GM elements, one aspherical element, and two LD elements. Minimum focusing distance is 19cm at the wide end and 39cm at the telephoto end, while Tamron’s VC image stabilisation and RXD autofocus motor are also carried over. There are a few small differences between the two new versions. The Canon RF model includes dedicated AF/MF and VC ON/OFF switches, which are absent from the Nikon version. Both lenses feature a USB-C port for firmware updates, a 67mm filter thread, weather sealing, and a fluorine coating on the front element. Weight comes in at 530g for the RF version and 540g for the Z version, with only minor differences in overall size (roughly 75 × 120 mm for both). Tamron also says focus breathing has been minimised, although the company notes autofocus performance may be less responsive while zooming during video recording. The Tamron 17-70mm f/2.8 Di III-A VC RXD for Canon RF and Nikon Z will be available from July 2, 2026, priced at $749.

credits: Adobe Adobe’s promised creative agent, or agentic AI, is here. Powered by Adobe Firefly, the new assistant is designed to take care of repetitive editing and organisational tasks through simple text prompts. Rather than making creative decisions for you, Adobe says the AI is there to handle the more routine parts of the workflow while leaving the final creative choices in the hands of photographers, designers, and editors. In Photoshop, you can ask the AI Assistant to do things like remove backgrounds from a batch of photos, resize multiple images, or carry out other repetitive edits that would normally have to be done one by one. In Premiere Pro, it can import footage, organise clips into bins, rename files, identify interview questions within video clips, and help speed up the early stages of an edit. Adobe also says the assistant can walk users through more advanced editing techniques step by step, which could make it a useful learning tool for photographers and creators who are still getting familiar with Photoshop. Adobe’s AI Assistant is available now for Premiere Pro, Photoshop, Illustrator, InDesign, and Frame.io.

credits: ObscuraFlex ObscuraFlex is expanding beyond its original smartphone-based workflow, adding support for dedicated compact cameras as digital capture devices for its large-format camera system. Designed to function as both a digital viewfinder and a full-frame digital back for cameras such as 4×5 field cameras and adapted vintage systems, ObscuraFlex has traditionally relied on smartphones for photo capture. The company says that decision came down to practical advantages such as compact size, large touchscreens, image orientation tools, and access to high-resolution RAW files. Still, one question kept coming up from photographers, why not use a dedicated camera instead of a phone? Now, ObscuraFlex is moving in that direction. The first cameras to gain support are the Ricoh GR III and Ricoh GR IV, while compatibility with the Ricoh GR II is also being explored. The GR IIIx will not be supported due to optical alignment constraints. To make the system work, ObscuraFlex has developed a new camera-specific mounting cradle that attaches to the camera’s accessory bayonet mount and also secures to the standard 1/4-inch tripod socket for added stability. The design includes a rotational adjustment mechanism that allows you to fine-tune horizon alignment. Depending on demand, future support could extend to cameras such as the Leica D-Lux 7, Leica D-Lux 8, and selected Panasonic Lumix models, including the recently announced Lumix L10. According to ObscuraFlex, the Ricoh GR series is a particularly good fit thanks to its compact size and strong high-ISO performance. Early testing has focused on the Ricoh GR IV Monochrome, which the company says works especially well with the character of its ground-glass-based system. Test photos captured with a Graflex 4×5, an ObscuraFlex adapter, and the GR IV Monochrome reportedly produced files measuring around 6192 × 4128 pixels, roughly equivalent to a 5K × 4K output after cropping. While ObscuraFlex notes that modern smartphones can still offer higher raw resolution in ideal conditions, early results show that the Ricoh setup delivers more consistent tonal rendering within this hybrid large-format workflow. Compatible camera cradles are available now for both new and existing ObscuraFlex users.

credits: Fujifilm New rumours are shedding more light on the long-awaited Fujifilm X-T6, which is currently expected to be announced in September 2026. While Fujifilm has yet to confirm any details, a combination of retailer listings (now taken down), registrations, and reports from trusted sources has provided an early look at what the next-generation APS-C flagship could bring. The camera is also rumoured to arrive alongside two new X-mount lenses. At the centre of the rumours is a 40MP X-Trans CMOS sensor, although some reports have suggested Fujifilm may be exploring a higher-resolution option based on technology used in its GFX cameras. Most leaks, however, continue to point to a 40MP sensor paired with a new X-Processor 6. Other rumoured specifications include 60fps electronic burst shooting, improved autofocus with enhanced subject detection, 8-stop image stabilisation, a 200MP Pixel Shift mode, and advanced video features such as 8K/30p recording, F-Log2, and external RAW support. Some sources are also speaking of a possible internal cooling solution, but that remains unconfirmed. Beyond performance upgrades, the X-T6 could also bring a number of changes to the body itself. Multiple sources have mentioned a fully articulating LCD, replacing the three-way tilt screen that has long been associated with the X-T series. Improved weather sealing, revised top-plate dials, Wi-Fi 6 connectivity, and a larger NP-W255 battery have also been rumoured. Fujifilm is additionally said to be working on a new film simulation featuring “really deep and strong colours”. Pricing is expected to be around $1,699–$1,999.

Leaked photo Leica is expected to announce a new photography focused SL3-P camera and two new SL lenses on June 25, and a fresh round of leaks has provided a clearer picture of what may be on the way. According to rumours, the SL3-P will use a 44.3-megapixel BSI CMOS sensor with dual-resolution technology, based on the sensor found in the Panasonic S1R II. The camera is said to deliver the fastest sensor readout of any Leica model so far, reportedly 156% faster than the SL3-S, while also offering 14 stops of dynamic range, an ISO range of 50-200,000, a 176-megapixel multishot mode, and shooting speeds of up to 40fps. Autofocus is also expected to receive a significant upgrade, with rumours pointing to 819 AF points and performance that surpasses the SL3-S. The camera will sit between the 60MP SL3 and 24MP SL3-S in Leica’s lineup, while borrowing much of its body design and user interface from Panasonic’s latest generation of cameras. Current leaks place the price at around $6,700. Leica is apparently also launching two new SL lenses alongside the camera. The APO Macro Elmarit SL 100mm f/2.8, reportedly made in Japan, is expected to feature a 9-blade aperture, 30cm minimum focusing distance, and 67mm filter thread, with a rumoured price of $2,900. The second lens, the Summilux SL 50mm f/1.4 ASPH, is said to be manufactured in Germany, has weather sealing, an 11-blade aperture, 50cm minimum focusing distance, and the same 67mm filter size. Pricing is expected to land at roughly $5,750.

credits: NiSi NiSi’s new 16mm f/2.8 Ultra-Wide-Angle lens for Fujifilm GFX and Hasselblad XCD systems is here. With a 35mm-equivalent focal length of roughly 12.6mm and a wide 118-degree diagonal field of view, it joins a fairly small group of ultra-wide medium format lenses. While it is not quite the widest non-fisheye option available, that title still belongs to Laowa’s 15mm f/4.5 Zero-D, the NiSi does stand out by offering a much faster f/2.8 aperture, making it one of the fastest ultra-wide lenses currently available for medium format cameras. The lens uses a 16-element, 12-group optical design that includes three aspherical elements and four ultra-low dispersion elements. According to NiSi, the design was developed to maintain strong image quality across the frame while keeping coma under control. The lens also features the company’s SA+ ultra-low reflection coating, which is designed to reduce flare, ghosting, and stray reflections. Other specifications include weather sealing, low distortion, minimal focus breathing, and chromatic aberration control that NiSi says approaches APO-level performance. An eight-blade aperture is also included, producing eight-point sunstars when stopped down between f/4 and f/22. At 835g, the lens is not particularly lightweight, although that is to be expected given its combination of medium format coverage and a fast aperture. NiSi says the lens has been optimised for sensors up to 100 megapixels and features a 180-degree focus throw for more precise manual focusing. It is also worth noting that the lens is manual focus only. The NiSi 16mm f/2.8 Ultra-Wide-Angle Medium Format Lens is available for Fujifilm GFX and Hasselblad XCD mounts and is priced at $1,499.

Street photography is one of the most exhilarating and challenging forms of image making. It captures the raw, unscripted essence of human life in public spaces the decisive moments, the fleeting gestures, the interplay of light and shadow on bustling streets. Whether youre a beginner with a smartphone or an experienced shooter chasing the next Henri Cartier Bresson masterpiece, improving your street photography skills comes down to mindset, technique, and consistent practice. In this comprehensive guide, well dive deep into 5 quick tips to improve your street photography. These arent overly complex theories but actionable strategies you can implement immediately on your next outing. Each tip is packed with practical advice, real world examples, gear recommendations, common mistakes to avoid, and exercises to level up your eye. By the end, youll have a solid framework to create more compelling, authentic, and impactful street images. Why focus on these tips? Street photography rewards simplicity and boldness. Overcomplicating your process with too much gear or hesitation often leads to missed opportunities. These five tips emphasize getting out there, observing keenly, and refining your craft without needing expensive equipment. Expect to walk away inspired to shoot more, think less, and see the world differently. Tip 1: Get Closer Than You Think Embrace Proximity for Intimacy and Impact One of the most repeated yet transformative pieces of advice in street photography is to get closer. Legendary photographer Robert Capa famously said, "If your pictures arent good enough, youre not close enough." This tip remains foundational because distance creates emotional barriers in your images. Why closeness matters in street photography: When you shoot from afar, subjects appear small and disconnected from their environment. Getting within 5 10 feet (or closer) fills the frame with emotion, detail, and context. It transforms a snapshot into a story. Viewers feel the energy, the expressions, the textures whether its the sweat on a runners brow or the intricate patterns on a street vendors stall. How to apply this tip practically: Start with the 10 foot rule: Set your focus to around 10 feet (or use zone focusing at f/8 f/11) and practice approaching subjects confidently. Walk slowly and commit to the shot only when youre close enough for the frame to feel intimate. Use a prime lens: A 35mm or 28mm focal length is ideal for street work. These lenses encourage physical movement rather than zooming, forcing you to engage with the scene. Avoid telephotos initially they flatten perspective and detach you from the action. Overcome fear: Hesitation is normal, especially for beginners. Blend in by dressing neutrally (dark colors, no flashy logos), move naturally, and act like youre photographing the environment rather than people. If confronted, smile and explain youre working on a street project. Most people are flattered or indifferent. Common mistakes to avoid: Staying too safe on the sidewalk opposite the action or relying on cropping in post (which reduces resolution and quality). Also, dont invade personal space aggressively respect cultural norms and ethics. Exercise for improvement: Dedicate a session to "close quarters only." Set a rule: no shots wider than arms length. Review your images and note how proximity adds layers foreground interest, expressions, and environmental storytelling. Over time, this builds confidence and sharper instincts. Real world example: Imagine photographing a busy market. From 20 feet, you capture the crowd vaguely. Up close, you frame a vendors hands exchanging money with dramatic sidelight, capturing the transactions tension and humanity. Expanding on this: Dive into history Cartiers Bressons work often features tight framing. Study masters like Garry Winogrand or Bruce Gilden, who thrived on proximity. Experiment with shooting from the hip for candids when direct aiming feels intimidating. Use your cameras tilt screen for low angles without drawing attention. Gear tip: Compact cameras or mirrorless with silent shutters (e.g., Leica, Fujifilm X series, or even high end smartphones) minimize disruption. Practice manual settings: Sunny 16 rule for bright days (f/16 at 1/ISO shutter speed) keeps you ready. This single tip can dramatically elevate your portfolio. Aim for 200 300 close frames per outing initially. You will notice immediate improvement in impact and viewer engagement. Tip 2: Master Light and Shadows Use Available Light to Create Drama and Mood Light is the soul of photography, and in street photography, natural light and shadows are your primary tools for mood, separation, and storytelling. Learning to "see" light transforms ordinary scenes into extraordinary ones. Understanding light in urban environments: Golden hour (early morning/late afternoon) offers soft, warm light with long shadows. Harsh midday sun creates strong contrasts perfect for graphic compositions. Backlight silhouettes subjects dramatically, while reflected light in alleys adds subtle glows. Night street photography with neon and storefronts opens entirely new creative avenues. Practical techniques: Hunt for contrast: Position yourself so subjects move from shadow into light or vice versa. This creates natural separation and highlights gestures. Play with direction: Side lighting emphasizes texture and form (faces, clothing). Front light is flatter but great for vibrant colors. Experiment with dappled light through trees or buildings. Weather matters: Overcast days provide even, soft light ideal for portraits. Rain adds reflections and mood dont stay indoors! Settings: Use aperture priority or manual with Auto ISO. Keep shutter speed above 1/125s to freeze motion, or go slower (1/30s or below) for intentional blur that conveys energy. Advanced applications: Look for "light traps" areas where light pools, like doorways or under awnings, and wait for subjects to enter. Use shadows as negative space or leading lines. In post, subtle adjustments to contrast and highlights can enhance but never replace great capture. Exercises: Spend a full session chasing light only. Note times, angles, and results. Compare images from different lighting conditions. Challenge: Create 10 images using only shadows as the main subject or element. Common pitfalls: Ignoring changing light (clouds move fast) or over relying on post processing to "fix" flat light. Always expose for the highlights in high contrast scenes to retain detail. Examples from the field: A pedestrian crossing a sunlit patch amid shadows tells a story of isolation in the crowd. Or rain slicked streets at dusk reflecting city lights for moody, cinematic feels. This tip rewards patience and observation. Over weeks, your images will gain depth, emotion, and professionalism. Tip 3: Nail Composition and Framing Build Strong Visual Stories Great street photos arent just about the moment theyre about how you frame it. Strong composition guides the viewers eye and amplifies the narrative. Key principles adapted for streets: Rule of thirds and leading lines: Place subjects off center. Use architecture, roads, or crowds as lines drawing attention. Layers and depth: Foreground, midground, background elements create complexity. A person in foreground interacting with distant action adds dynamism. Framing within the frame: Use doorways, windows, or reflections to contain your subject naturally. Negative space and minimalism: Sometimes less is more empty space emphasizes solitude or tension. Juxtaposition: Contrast elements like old vs. new, rich vs. poor, motion vs. stillness for irony or commentary. Techniques to practice: Shoot in bursts for timing. Use zone focusing for quick reaction. Move your feet constantly zoom with your legs. Try vertical orientations for social media and dynamic portraits. Avoiding clutter: Busy streets are chaotic simplify by choosing clean backgrounds or waiting for clean moments. Review histograms on camera to check exposure. Creative exercises: One hour challenges only geometric compositions, or only reflections. Study books like "The Street Photographers Manual" or online galleries. Analyze your favorites: What makes them work compositionally? This tip turns good shots into keepers. Combine with proximity from Tip 1 for powerful results. Tip 4: Cultivate Patience and the Decisive Moment Anticipate and Linger Street photography isnt sprinting its strategic waiting. Patience and anticipating the "decisive moment" separate amateurs from masters. Strategies: Find a spot and linger: Choose a strong background with good light and wait for interesting subjects or interactions. "Fishing" for moments in prime locations. Observe patterns: People move predictably in flows crosswalks, markets, cafes. Predict gestures, glances, or convergences. Slow down: Walk deliberately, scan 360 degrees. Dont chase every potential shot. Mindset: Treat the street as a stage. Be present, camera ready, distractions minimal. Building timing skills: Practice panning for motion blur. Use continuous autofocus (AF C) for tracking. Review contact sheets to study what you missed and why. Common error: Constant movement without focus, leading to generic images. Or impatience causing rushed, blurry shots. Examples: Waiting for a perfect silhouette against a billboard, or the exact second two strangers paths cross dramatically. Dedicate sessions purely to waiting. Your hit rate will soar. Tip 5: Edit Selectively and Develop Your Style Curate and Refine Shooting is only half the battle. Selective editing and consistent post processing define your voice. Workflow tips: Cull ruthlessly: Keep only images with strong subject, light, composition, and emotion. Aim for 5 10% keepers. Basic adjustments: Exposure, contrast, crop, white balance. Enhance but dont fabricate. Tools like Lightroom or free alternatives. Develop a style: Consistent black & white conversion, color grading, or grain. Study your influences. Storytelling series: Group images into projects or sequences rather than singles. Ethical considerations: Minimal manipulation for authenticity. Tools and habits: Rate images in camera. Batch process. Share selectively on platforms for feedback. Print favorites to evaluate differently. Avoid over editing (halo artifacts, crushed blacks) or shooting everything in JPEG without RAW flexibility. Conclusion: Put These Tips into Action and Keep Shooting These 5 quick tips to improve your street photography getting closer, mastering light, strong composition, patience, and selective editing form a complete starter kit. Street photography is a lifelong journey of observation, courage, and creativity. The more you shoot, the better youll become. Start today: Grab your camera, head to a lively area, and apply one tip per session. Track progress in a journal or blog. Join communities, study masters, and most importantly, enjoy the process. The streets are full of stories waiting for your lens. Share your improved shots in the comments or tag us wed love to see your progress. For more guides on techniques, gear, and inspiration, explore our other photography resources.

credits: Profoto The Sony a9 III’s 24-megapixel global shutter sensor already offers some unique advantages for photographers, from blackout-free shooting to very fast burst rates. One of its most interesting features, though, is the ability to synchronise flash at virtually any shutter speed. Thanks to a new firmware update from Profoto, that capability has now become much more useful for photographers who rely on studio and location lighting. Profoto released firmware updates for eight of its lighting products, adding native support for flash synchronisation with the Sony a9 III at shutter speeds all the way up to 1/80,000 second. The update applies to the Profoto A10, A2, B20, B30, D30, Pro-D3, Pro-B3, and Pro-11. While many flash systems already support High-Speed Sync (HSS), that approach typically comes with a reduction in flash output as shutter speeds increase. Because the a9 III uses a global shutter, the entire sensor is exposed simultaneously rather than line by line, eliminating many of the limitations that traditional shutters impose on flash photography. According to Profoto, photographers can now use full flash power at any shutter speed (up to 1/80,000 second) without the output penalties normally associated with HSS. That opens up a range of possibilities. Most cameras are limited to flash sync speeds around 1/200 or 1/250 second, forcing you to make compromises when shooting with flash in bright daylight. With the a9 III and updated Profoto lights, it is possible to shoot at very wide apertures such as f/1.2 while still maintaining control over ambient light and flash exposure. The update also gives you much more flexibility when working outdoors, where balancing flash and daylight has traditionally been one of the bigger challenges. The new firmware updates are available now for all the supported Profoto lighting systems.

credits: Wahei Optical Wahei Optical has announced the Peace 35mm f/1.4, a new M-mount lens that takes clear inspiration from classic Leica designs. Vintage-style lenses have become increasingly common in recent years, but the Peace 35mm f/1.4 specifically draws from the famous Leica 35mm f/1.4 Steel Rim, which first appeared in 1961. According to Wahei Optical, the goal was not to create a lens that gives you maximum sharpness or perfectly uniform image quality, but rather one that delivers the kind of character and rendering many photographers associate with older optics. The company says the lens delivers a softer, more atmospheric look when used wide open at f/1.4, before becoming noticeably sharper as it is stopped down. Optically, it uses a 7-element, 5-group design based on a double Gauss formula, along with a 10-blade aperture. Wahei Optical also describes the lens as offering different rendering characteristics depending on aperture and shooting conditions, essentially allowing you to choose between a more ‘vintage look’ or a cleaner, more polished photo. Physically, the lens has a brass barrel, a rangefinder-coupled manual-focus design, and a compact body with a 41mm filter thread. Weight comes in at 210g and like other M-mount lenses, it can be easily adapted to a wide range of modern mirrorless cameras. The Wahei Optical Peace 35mm f/1.4 E41 Classical Silver Chrome is priced at $1,329.99.

credits: VSCO VSCO has launched Studio Pro, a new photo editing app for iPhone, with a macOS version planned for later this year as well. The initial release is meant for photographers working in areas such as weddings, portraits, events and sports photography, where maintaining a consistent editing style across hundreds or even thousands of photos can become one of the most time-consuming parts of the job. One of the main features is the ability to edit up to 100 photos at once using a single adjustment or preset. The app includes access to more than 200 VSCO presets, along with manual controls for settings like exposure, contrast, white balance, film grain, tone, sharpening, and more. Studio Pro also introduces an AI-powered Style Match feature, which can analyse a reference photo and apply a similar colour palette, tone, and overall look across a selected batch of images. At launch, Studio Pro includes said batch editing, reference-based style matching, and the ability to share finished work through VSCO Galleries. However, some other features that you might expect are not yet available. Support for RAW files, importing directly from memory cards, advanced export controls, organisation tools, manual culling, and star ratings are all planned for future updates. VSCO says additional editing tools such as auto-levelling, curve adjustments, and deeper integration with its broader platform are also in development. Studio Pro is available on iOS for free, although access to the full feature set, including the complete preset library, requires a paid VSCO subscription.