credits: Viltrox Viltrox has officially rolled out its new AF 56mm f/1.2 Pro lens for APS-C mirrorless cameras, available in Sony E, Fujifilm X, and Nikon Z mounts. On APS-C bodies, it works out to about an 84mm equivalent, which makes it basically a super-fast 85mm portrait prime. For Fujifilm shooters, it goes head-to-head with the XF 56mm f/1.2 R WR, while Sony and Nikon users finally get a native fast portrait option that hasn’t been in their APS-C lineups until now. Optically, the lens is built with 13 elements in eight groups, including one ultra-large aspherical, one ED element, and three high-refractive pieces of glass. That setup is aimed at keeping chromatic and comatic aberrations under control while minimizing distortion. An 11-blade aperture should deliver smooth, round bokeh, and Viltrox says sharpness holds up well across the frame even wide open at f/1.2. Autofocus is handled by the company’s “HyperVCM” motor, designed to be fast, quiet, and precise. The lens can focus as close as half a meter, giving 0.13x magnification, and focus breathing is said to be minimal. In terms of handling, the E and Z versions include a function button, AF/MF switch, and a de-click option for the aperture ring, while the X-mount version skips those extras. All versions are weather-sealed, built from metal, and take 67mm filters. They measure just over 90mm long and weigh between 570 and 590 grams depending on mount. The Viltrox AF 56mm f/1.2 Pro is available for $580. You can see full details and sample shots on Viltrox’s website here

credits: Novachips' Novachips, a South Korean memory manufacturer, has launched a new 400GB CFexpress Type A card for Sony users. The biggest selling point, according to the them, is the price: at $140, the card undercuts many high-end SD cards while offering faster performance and nearly double the capacity. By comparison, SanDisk’s 256GB V90 card sells for about $180, Lexar’s comes in at $175, and ProGrade’s is closer to $200. While SD cards have long been the standard for photographers and filmmakers thanks to their low cost and reliability, they’ve been struggling to keep pace with the data demands of modern cameras. Sony cameras remain relatively flexible when it comes to storage, but some of their higher-end video modes require CFexpress Type A media. That’s where the new Novachips card could prove especially useful. It delivers sustained write speeds up to 800 MB/s and carries a VPG400 certification, meaning it won’t drop below 400 MB/s even under stress. Novachips also points out that the card uses custom hardware and firmware designed to keep thermal performance in check during long shoots, along with advanced over-provisioning (a feature more common in enterprise SSDs) to improve endurance and stability over time. The Novachips 400GB CFexpress Type A card is available for $140.

What Is High-Speed Photography? High-speed photography is about freezing moments that normally just happen too fast for us to see. Things like a water balloon exploding, a strawberry hitting a glass of water, a droplet splashing into water etc. Basically stuff that (to the naked eye) is just a blur, but with the right technique, you can catch it in crisp detail. Two Main Ways to Do It There are two approaches, depending on your setup/surroundings: Fast shutter speeds (daylight or bright light): Just crank the shutter up—> 1/2000s, 1/4000s, even faster if your camera allows. Perfect for anything from sports to wildlife (especially birds) or classic water splashes outdoors.

credits: Rollei Rollei Analog has resurfaced on Instagram after nearly four years of silence, teasing “big plans” and “new projects” that have sparked plenty of speculation in the film photography community. The post features a stark black-and-white zebra portrait with the words “We are back!” and Rollei’s familiar logo, followed by a short message thanking fans for sticking around and promising “plenty of analog inspiration” to come. Of course, some skepticism remains. In March 2023, a fake “Rollei comeback” hoax circulated online, so many film photographers are approaching this teaser with caution. This time, though, the message comes directly from Rollei Analog’s official account, which is run by Hans O. Mahn GmbH & Co. KG. That company is responsible for Rollei-branded analog products, including black-and-white and colour film, darkroom paper, and chemistry and occasionally even single-use cameras. Rollei itself has had a complicated history since its founding in 1920. The original camera manufacturer was sold multiple times over the decades, with Rollei Analog emerging as a separate branch focused on film products. In recent years, the company’s offerings have mainly consisted of repackaged emulsions from other manufacturers under the Rollei brand. Whether the new “projects” teased in this comeback are more of the same, or something entirely fresh, remains unclear. For now, Rollei is keeping things vague, but judging by the excited comments on its Instagram, plenty of photographers are ready to see what the company has planned.

photo by: @beansmeanshiorns

credits: Venus Optics Fresh leaks have shed more light on Venus Optics’ upcoming Laowa AF FF 200mm f/2 C-Dreamer, a lens that could mark a big moment for modern mirrorless systems. The 200mm f/2 has always been a bit of a unicorn in photography, Canon and Nikon built legendary versions for DSLRs, but so far the mirrorless world has mostly gone without. According to new information, the C-Dreamer will be a full-frame autofocus lens weighing in at around 1.6 kilograms. That makes it lighter than Nikon’s DSLR-era 200mm f/2 G VR II (2.9 kg) and Canon’s EF 200mm f/2L IS (2.5 kg), while still considerably larger than typical 135mm f/1.8 lenses like Sony’s GM or Nikon’s Plena. The optical design hasn’t been detailed yet, but it’s said to rival Sigma’s new 200mm f/2 DG OS Sports lens in sharpness and control of aberrations. On top of that, the Laowa will reportedly support 43mm drop-in filters, a handy feature for variable ND or CPL use, and it will accept teleconverters for extra reach. The leaked specs also mention features such as weather sealing, an AF/MF switch, focus limiter, de-clicked aperture ring for video, and a customisable function button. With its bright f/2 aperture, the lens should excel for indoor sports, wildlife, and portrait work, where subject isolation and bokeh are critical. Mount options are said to start with Sony E, Nikon Z, and Canon EF, with Fujifilm X and GFX versions in development. A release is rumoured for October 2025, which would make this the first new 200mm f/2 prime in years and potentially the only one available natively for mirrorless.

credits: AstrHori AstrHori has added a rather unusual lens to its lineup: a 6mm f/2.8 circular fisheye for full-frame mirrorless cameras. With a 220-degree field of view, it’s about as wide as lenses get, producing a fully circular image inside the frame. The lens is ment for photographers and videographers looking for something more experimental, whether that’s night skies, exaggerated landscapes, architectural shots that lean heavily into distortion or simply good old skating videos. The lens design is fairly straightforward. It’s manual focus only, with 10 elements in eight groups and an eight-bladed aperture that runs from f/2.8 to f/16. It focuses down to just over three inches (0.08 meters), which opens the door for some dramatic close-ups with plenty of perspective stretch. The compact barrel measures 61mm in length and 64.8mm in diameter, and depending on the mount, it weighs around 340 grams. Unsurprisingly, the lens doesn’t support filters given the large front element and extreme angle of view. As a circular fisheye, the AstrHori 6mm produces heavy distortion by design, filling the frame with a perfectly round image and leaving black borders around it. It’s not going to be an everyday lens of course, but it fills a gap for those who want to experiment. The lens is available for Sony E, Canon RF, Nikon Z, and L-Mount, priced at $299. You can see full details and sample shots on AstrHori’s website here

credits: Leica Leica looks set to shake things up with their long-running M series. Word from Leicarumors is that the company is about to launch the Leica M11-V later this year, and it will be the first M camera to ditch the rangefinder, which has been the hallmark of the M series for decades, in favour of a permanently built-in electronic viewfinder. If the leaks are right, it could arrive as soon as October 2025. The specs floating around mention a 0.5-inch EVF with 5.76 million pixels and 0.76x magnification, plus manual focus aids and diopter correction. There’s also talk of a new “frame selection lever” that now doubles as a function button, though exactly how that will work is still a bit unclear. On the outside, the design will be pared back, no rangefinder window on the front, with cleaner lines and a new diamond-pattern leather trim. Oddly, no images have leaked yet, which is unusual considering the launch seems so close. Inside, the M11-V is expected to use the same BSI full-frame sensor with Leica’s Triple Resolution tech, giving you the choice of 60, 36, or 18 megapixels. It’ll run on the Maestro III processor, backed up by 64GB of internal storage. Leica is also said to be adding Content Credentials to verify image authenticity, something we’re seeing more brands adopt. The M11-V isn’t meant to replace the classic M either, Leica is reportedly working on the M12 with a traditional rangefinder for later. Instead, the M11-V looks like Leica’s way of offering an M body with modern EVF convenience while still holding onto its heritage.

You can find Andy on Instagram as: @andyvitali Enjoy the amazing Interview ;) Andy, can you tell my readers about yourself? I'm Andy. I was born in Milan, Italy, but I spent ten years living in the Alps before recently moving to Toronto, Canada. The contrast between these places has shaped a lot of how I see the world and, by extension, how I approach photography. Besides photography, music is a huge part of my life. I'm a songwriter and producer, and I see a lot of similarities between creating music and capturing images—both are about composition, rhythm, and emotion. How did you get into street photography or photography in general? I’ve been fascinated by photography since I was about 14 years old. I started by playing around with an old Olympus compact camera, just experimenting without really knowing what I was doing. When I was 20, I discovered my dad’s Olympus OM-2, a classic film camera. That’s when I really started learning the fundamentals of photography—shutter speed, aperture, ISO. Film photography forces you to be deliberate because you can’t just take a hundred shots and delete the bad ones. It helped me develop a more intentional approach. I always carried a camera on my trips and vacations, capturing whatever caught my eye, but street photography only became a real passion in 2018. That was when I started going out specifically to document life as it unfolds, rather than just capturing memories. Since then, it’s become an obsession. You live in Toronto, how do you deal with tough weather conditions and what preperations do you take before going out to shoot? Honestly? I love tough weather conditions. If the weather is too nice, it often makes for boring photos. Rain, fog, snow—these elements add drama, mood, and depth to an image. Some of my favorite shots have come from braving the worst conditions. Of course, it's not always comfortable. Preparation is key: Protecting the camera – I use a plastic bag taped around the lens hood to keep my gear dry. Simple but effective. Dressing properly – Warm, waterproof clothing is a must in Toronto’s winter. Layers are your best friend. Gloves – You need something that keeps your hands warm but still lets you operate the camera. Shooting mindset – When you're freezing, it’s easy to rush, but you need to stay focused and take your time to get the shot. In your opinion what are some qualities for a good photographer? You need to train your eye, meaning the ability to compose the picture in original or more professional or cinematic way. And the readiness to get the shot when a banger appears before your eyes. Sometimes it's just a metter of luck. But sometimes you need to be very patient. What gear do you use? I use a LumixG9 mainly with a 25mm f1.7, an Olympus 45mm f1.8 and 40-150mm R. In my bag there are a Sigma 16mm f1.4, a Sigma 60mm, a Laowa 7.5mm F2 as well. And sometimes for videos I use some vintage Olympus lenses. What editing software do you use and how much time do you spend editing? II use Lightroom for most of my edits. My workflow is pretty fast—I spend about 5-10 minutes per shot if I’m starting from scratch. If I need to do heavy retouching, like removing cables or distractions, I’ll take it into Photoshop, but I don’t do that often. I like to keep things natural. What makes or brakes a photo? It could be the right framing, some light or colour details in the picture. The right subject. Especially when all these things are in the shot.

This week’s Interview with Martijn Jebbink, a very talented Photographer. I have known him for quite a while actually and I had the pleasure of watching his photography evolve over the years. You can find him on Instagram as: @martijnjebbink_photography His website: martijnjebbink.com Enjoy the amazing Interview ;) Can you tell us a bit about yourself ?  Hi everyone. I am Martijn, a Dutch street-, landscape and architecture photographer. Since 3 years I live in Rome with my family. I grew up in a small town in the Netherlands, surrounded by an impressive forest. In that environment I developed my way of looking at the world. At first, I didn’t see my own place in it, it just seemed odd to me. I couldn’t connect. However, as I grew older, I developed a keen eye for composition, both in social settings and the natural world, and found my own path. I enjoy creating photos that evoke questions or a sense of mystery — fragments of a little story, with ample space for your imagination. As you'll see on my website and Instagram, I have a fondness for skies filled with clouds, and for some reason, birds often appear in my photos, seemingly out of nowhere. Of course, there are people too, not as the centerpieces of the universe (I don’t believe we are) but as silhouettes, immersed in a larger context. How did you get into photography?  Well, first I should answer the question when I started to really look and to use my senses. In a tough period in my early life, I learned that the world around me, filled with immense creativity, could give me strength and joy. The only thing I had to do, was to feel and see both the light and the darkness. When I picked up my first camera a few years later, like so many of us I frantically started to document my surroundings, family and friends. However, it was only 5 years ago when I realized photography offered so much more than documentation. I started experimenting with different types of cameras and lenses. Lately my photography has become more and more personal, because (on a good day) I am not recording just a scene with a piece of technology, but trying to communicate with you and others. How do you approach storytelling through your photos? Photos can tell stories on different levels at the same time, I think. Visible stories about the people or things captured, like a couch drifting by in the Tiber river, or two people arguing on the street. If we capture these things, and I do that often, it’s more about documenting than about telling stories if you ask me. To me it becomes more interesting if there is a second layer, with a hidden story in the photo too, about something that may or may not have happened before the moment the shot was taken, or a future action you imagine when looking at the shot. As a photographer I am always trying to sense these hidden stories too. And then there is a third level I think, when you can feel a certain photo also tells you something about the photographer. The fact that you can imagine her or his thoughts and feelings, but can never be sure, makes it all the more interesting. How do you define street photography in your own terms? For me, an important starting point for street photography is that, now that everyone has a camera in their pocket, a photo should have a sense of urgency. So when I am walking the streets I keep asking myself ‘what story wants to be told here?’ And second, street photography in my opinion is quite intrusive (I really recommend reading what Susan Sontag has written on this), so I always try to look at bigger scenes, at context and composition, not just individuals. I think it would be a big waste when 50 years from now we look back on this period, to find only portraits with blurred backgrounds. Black&White Photography or Color? And why? That really depends, my preferences evolve as I change as a person. For quite some time, black and white has been my favorite for its power of undistracted storytelling. Colours can absorb much of our attention, so when I want to tell a straightforward story with not much more than light, scene and composition, I often leave the colours out. However, lately I am having a lot of fun with more abstract colour photography, using different types of cinematic filters. With colour photography, I have to work harder and to use my senses in a more intense way to feel which parts (and therefore colours) of a scene should be included, and which ones can be left out without losing the whole point. How do you capture emotion in your photos? That’s a very good question. And maybe using the language of words is not going to help me here. Because that’s one of the things you begin to realize when you look at photos, that the ‘why’ of a certain image that touches you is just very hard, if not impossible, to put into words. It’s all about feelings, and feelings are so very personal, dependent on who you are and how your life has evolved. I don’t really know on a cognitive level why I am taking certain photos, I just feel it’s what I do. But as I said earlier, magic happens, and emotions can move between me and you, through a photograph. If someone says they are touched by a photo you took, it’s very interesting to ask them what it is that moves them. Of course it’s never the exact same thing as what moved you, but I think that’s really beautiful too. What gear do you use? Oh, I am afraid this will be embarrassing.. because I use quite a few different types of gear. But okay, here we go: for most photos, I use my full frame mirrorless camera (a Sony Alpha 7R) with a 20-70mm lens and one or two prime lenses (especially 35 and 50mm). And recently I am using more pocketable cameras with fixed lenses too, I have 35 and 40mm types from Fuji and Ricoh, both with telelens converters (to reach 50 and 60mm). What are your favourite subjects to shoot? Well, I guess the Silhouettes are my personal favourites. The people in these photos may seem a bit lonely or isolated, but they are always on their way to arrive somewhere. To me, there's immense strength in our fragility, trying to live our lives and to be happy in this crazy, beautiful world. In my artwork I like to show us humans in a bigger environment, overwhelming and protecting us at the same time. Is there a type of photography or genre you haven’t explored yet but would like to? In the future I would love to learn all about portrait photography, especially portraits of women. I think there is still a lot of photography being made – especially by men - that in my opinion does not do justice to the personality and identity of the women, and there seems to be a lot of typecasting. I think it’s about time for male photographers to enter the modern world. What does photography mean to you? Photography means the world to me! What shall I say, it’s a very very important part of my life, of my longing for meaning, of expressing myself, of connecting with other people, of enjoying the immense beauty of this world. I don’t think I will ever stop loving photography, reading about photography, looking at the work of others, creating new things and experimenting with photography myself. How did you find your photography style? Haha, I don’t believe in that idea of having a defined genre or style. Of course, when you look at my photos, there might be a certain kind of consistency visible – and others will probably see this much clearer than I do. But for me, it just doesn’t work like that. I go out, and I don’t have a clue about the types of photos I will come home with. I have tried sometimes to force myself in making a certain pre-determined type of shots, but they are usually very boring. So now I am basically just following up on what I feel. The Italians have a very beautiful word for this: ‘sentire’. It means ‘to feel’, but it also means ‘to hear’, ‘to listen’ or ‘to sense’. So yes, I am making very sentimental photos! How important is lighting in photography? Photography is (literally) drawing or writing with light, and to me the use of (natural) light has a direct link to the strength of a photo. If you change the exposure or ISO in your camera for example, you will immediately feel a big difference in the way you perceive a certain scene. As photographers I think we should for example not be afraid of creating negative space – and the use of light plays an important role in that. The process of balancing the shadows and highlights in my visual work gives me great pleasure, and I find much inspiration in the old masters in painting like Caravaggio, Rembrandt and Vermeer. How important is composition? For me personally, composition is a very big thing. I have learned over the years to always look for lines and compositions that really contribute to the scene. Today these aspects are always in my mind when taking photos, but more on an intuitive level (just like the cameras I use are now part of my unconscious mind). Taking wider shots can also help you with the composition, because you can change your ideas in the editing process (as long as your shot is not too tight or too unbalanced, of course). As you can see, I really like strong diagonal lines, so I need to take those into account when I am out on the street. Recently, I am using composition more loosely, to create more abstract images.

You can find him on Instagram as: @klucaptures Can you introduce yourself to our readers? Hi, I’m Kevin, a photographer born and raised in London, UK. My main focus is architectural photography, but I also love capturing landscapes whenever I manage to escape the hustle and bustle of city life. London’s mix of old and modern architecture constantly inspires me. I enjoy reinterpreting familiar landmarks and finding new angles or perspectives that people might not have considered before. How did your photography journey start? My journey began in 2010 when I bought my first camera—a Canon 550D. I had it for about two years before eventually selling it. At the time, photography was more of a casual interest rather than a passion. It wasn’t until 2021 that I truly returned to photography with fresh motivation. The break gave me a different perspective, and when I picked up a camera again, I approached it with a more serious and artistic mindset. What do you think is the most important factor in capturing a great photo? For me, it’s all about unique framing/composition. Finding an interesting composition elevates an image and adds a personal touch. Even a common subject can feel fresh when viewed from an unexpected perspective. I also love reflection shots—they add depth and symmetry, which can create striking visuals. But more than anything, I think the key to great photography is exploration and experimentation. The more you try new angles, techniques, and compositions, the more you refine your creative style. What do you do when you feel like there’s nothing new to shoot? Creative ruts happen to everyone, but I’ve found a few ways to push through: Seeking inspiration – Looking at the work of other photographers often sparks new ideas. I take inspiration but always add my own spin to it. Traveling to new locations – Visiting nearby towns or the countryside can shift my perspective and challenge me to adapt my style to different settings. Trying different photography genres – Even if I specialise in architecture, experimenting with portrait, street, or macro photography gives me new skills and ideas that I can incorporate into my work. How do you balance creativity with technical knowledge? I believe that both are crucial in photography. Technical knowledge is essential—it helps you shoot effectively in different environments and lighting conditions. You need to understand exposure, composition, and how to use your gear to its full potential. Creativity is what makes your work stand out. Two photographers can use the same camera in the same location, but their vision and approach will result in completely different images. Gear is just a tool—knowing how to use it is important, but your creativity is what truly defines your photography. How do you approach post-processing to achieve a specific look or style? I usually have a general idea of what I want an image to look like before I start editing. From there, I fine-tune the details until I achieve the desired result. I use Adobe Photoshop and Lightroom, which allow me to enhance colours, adjust tones, and refine composition. Editing time varies—I can spend anywhere from 5 minutes to over an hour on a single image, depending on the complexity of the edit. How do you use lighting in your photos? Lighting is one of the most important elements in photography, and I approach it differently depending on the subject: For architecture – If I’m shooting in low-light situations, I’ll use long exposure to capture more details and create a more dynamic image. For portraits or street photography – I always try to use natural light to create a more authentic look. What do you think sets your work apart from others in the industry? I believe my work stands out because of the way I reimagine everyday scenes. Even though I’ve shot London’s landmarks countless times, I always challenge myself to find a fresh perspective. Whether it’s through unique compositions, reflections, or framing, I aim to create images that feel timeless and thought-provoking. I also like to play with concepts of time and spatial orientation—making familiar places feel new again. What has been the most rewarding experience as a photographer? For me, photography is about connection—both with other photographers and with the audience who sees my work. Meeting like-minded creatives has been incredibly inspiring. Photography is often a solo pursuit, but being part of a creative community pushes me to grow and evolve. Being approached for paid projects is also rewarding. It’s a great feeling when someone values your work enough to commission or license it. What tips do you have for people who are just starting out with photography? Just start shooting. Don’t overthink it—go out and take photos as much as possible. Learn manual mode. Mastering the exposure triangle (ISO, aperture, shutter speed) will give you complete control over your camera. Don’t get obsessed with gear. A better camera won’t make you a better photographer—understanding light, composition, and storytelling will. Be patient. Developing your personal style takes time. The more you experiment, the more confident you’ll become. What gear do you use? I shoot with a Sony A7III, and my go-to lenses are: Sigma 24-70mm f/2.8 DG DN Sony 70-200mm f/2.8 GM Samyang 12mm f/2.0

You can find Toky Candid on Instagram as: @tokyocandid Can you introduce yourself to our readers? I’m Hal S., a Japanese office worker based in the Tokyo area, navigating the ups and downs of life in my mid-forties. I was born and raised in Japan, but I also spent two and a half years living in New York City and San Francisco as a college student. That experience deeply influenced my perspective—not just in life, but also in how I see photography. When I’m not behind the camera, I enjoy spending time with my family and watching pro wrestling. You might even see the occasional wrestling photo pop up in my feed—just another passion of mine. How did your photography journey begin? It all started with the film “Lost in Translation” by Sofia Coppola. The movie beautifully captures a feeling of loneliness and disconnection within a foreign culture, even while appreciating its beauty. That really resonated with me because I’ve experienced something similar—being a Japanese person who has lived overseas. I asked myself: Should I capture Japan’s famous landmarks? Should I present Japan as a local or as an outsider? The answer was no to both. Instead, I wanted to capture Tokyo from a unique perspective—one that exists between Japanese and foreign viewpoints. My goal is to find and express moments that feel "lost in translation." That concept has shaped my approach to photography ever since. Do you prefer to shoot alone or with company? I prefer to shoot alone. Most of my photos are taken after work, just before heading home. That time is like a reset button for me, a moment of solitude and creativity after a busy day. Shooting with company sounds fun, but I worry that I wouldn’t be able to fully concentrate on my surroundings while talking to others. When you go out to shoot, do you have specific shots in mind, or is it all freestyle? 80% freestyle. I love the serendipity of photography—the way all the elements (lighting, weather, shadows, people, timing) can unexpectedly come together to create a perfect moment. These moments don’t happen often. Even though I take photos almost every day, I only experience that "perfect shot" feeling 2-3 times a year. It’s rare, but that’s what keeps me going. It’s like buying a lottery ticket every day—hoping for that one incredible, unpredictable win. Do you use presets, or do you edit from scratch every time? What software do you use? I use Adobe Lightroom and a few custom-made presets. Rather than starting from scratch, I usually pick a preset that fits the mood of the image, then fine-tune the color grading and adjustments until it feels just right. What gear do you use? Most of my work is shot on a Sony A7RV with Sigma Art series lenses. I used to shoot with a Canon EOS R5, so I still use some Canon lenses with a Mount Converter MC-11. Some of my favourite lenses: Sigma Art 35mm f/1.2 DG DN – My current favourite for its perfect field of view and bokeh. Sigma Art 40mm f/1.4 (Canon version). I have several lenses, and I rotate them daily—I love them all like different children. How do you stay motivated when photography feels repetitive? I actually don’t believe in staying 100% motivated, 24/7. Life is full of other responsibilities—work, family, daily stress. Some days, my focus isn’t on photography. Maybe I’m thinking about my salary, what to drink at the izakaya, or helping my kids with their exams. And that’s okay. When I do have time to fully immerse myself in photography, I do. But I don’t force it. That balance is what keeps me going. What are some of the biggest challenges facing photographers today, and how do you address them? Hahaha, I’d say family cooperation! Since the pandemic lockdowns ended, we can travel freely again. But every time I want to go shoot, I have to ask my wife: “Can I go to Osaka this weekend?” “How about Shinjuku tonight?” “Shibuya okay?” Her answer is always: “Sure, just let me know if you’ll be home for dinner.” She’s not into photography, but she respects my passion. And I love her for that. Do you have any advice for photographers who are just starting their journey? Trust your own feelings. Be honest with yourself. Even at a famous photo spot, I try to shoot from my own perspective, not just copy what others have done. I don’t want to duplicate someone else’s vision—I want to discover my own. After you take a photo, ask yourself:“Is this really the moment I wanted to capture today?” If the answer is yes, then you’re on the right path. Do you ever shoot film, or only digital? Right now, I’m all digital, but I have deep respect for film. If I ever slow down from daily shooting, I’d love to experiment with medium format film photography. What’s your dream location to shoot outside of Japan? I’d love to return to New York City and see how my photography perspective has changed since I lived there as a student.