This week’s Interview with JT, a very talented Photographer from New York City. You can find him on Instagram as: @viewfinderthis Enjoy the amazing Interview ;) Can you tell us a bit about yourself? Hey, I’m JT, a photographer with a deep love for shooting in the rain. There’s something about the reflections, the mood, the chaos—it all speaks to me. How did you get into photography? Photography came into my life during one of my darkest periods. I was a French-trained executive chef, and that was my world—until I suffered a severe back injury. I had to undergo four major open-back surgeries, and for four years, I couldn’t walk. While I was recovering, I read a story about another chef going through something similar. He picked up a camera to deal with depression and creative frustration. That story stuck with me. In 2019, I decided to do the same—I bought a used camera on eBay, and that moment changed everything. I had found a new outlet, a new way to create, and a way to slowly rebuild myself. What does street photography mean to you? Street photography is my way of letting go of everything else. When I’m out in the streets, I’m fully present, reacting to the moment, watching people move through space and time. It’s fast, unpredictable, and real. There’s a kind of peace in the chaos—it becomes meditative. Do you prefer shooting alone or with others? Alone. When I’m out to create, I need to be in the zone, completely focused on what’s happening around me. If I’m with other people, it becomes more of a social hangout, which I enjoy—but it’s a different vibe. When I’m alone, I’m fully immersed. How did you develop your style—both in shooting and editing? Style, to me, is something that evolves over time. You can’t force it. It comes from shooting constantly, and from spending time learning your editing tools inside and out. I use Lightroom Classic, and I’ve spent hours just playing around, seeing what happens when I tweak something just a little. Eventually, certain colors, tones, and moods start to feel like you . What role does lighting play in your photography? Lighting is everything—especially when I’m not shooting in the rain. I think of it as the invisible subject that helps reveal everything else. It adds emotion, clarity, or even mystery. Whether it’s a single beam of light on a busy street or the soft glow of city reflections in a puddle—light tells the story just as much as the people do. What sets your work apart from others in the field? Honestly, not many people shoot in the rain all the time, and that’s become a big part of what makes my work stand out. It’s unpredictable, messy, and uncomfortable—but that’s also where the beauty is. Rain transforms the street. It adds drama, mood, and movement. What inspires you creatively? I’m a huge film buff, and I draw a lot of inspiration from directors like Christopher Nolan, Matt Reeves, the Wachowskis, and Denis Villeneuve. The way they build atmosphere, tension, and emotion—it’s cinematic storytelling, and I try to bring a bit of that into every photo. But more than anything, what pushes me is this: I couldn’t walk for four years. So every single day I wake up and my legs work, I get out and create. That’s my fuel. What gear do you use? I keep it simple: Sony A7iii with an 85mm f/1.4 and 35mm f/1.4 Those two lenses give me all the range I need—compression, intimacy, and context. I don’t carry a lot of gear; I want to move light and stay present. What’s your editing process like? I use Lightroom Classic, and I don’t really time myself when editing. Some shots come together quickly, others take longer. I like to take my time with each image, listen to what it wants to be, and not rush the process. What’s your take on watermarking? Totally personal choice. I choose to add a watermark to my images. It’s easy—just a one-click export setting for me. It adds a little signature to my work and helps keep things connected back to me. What qualities do you think make a great photographer? First: have fun. Second: never stop learning. There’s always something new to try, some skill to sharpen, some mistake to learn from. If you stay curious and open, your work will always grow. Any tips for people just starting out? Just get out and shoot as much as you can. Don’t overthink it. Don’t obsess over gear. Focus on the joy of creating. That’s where everything begins.

This week’s Interview with Jürgen Feichter, a very talented Event Photographer from Austria. You can find him on Instagram as: @jfkfeichter Can you introduce yourself? Hello! My name is Jürgen Feichter, also known as JFK. I’m an award-winning photographer based in Kaprun, Austria, specializing in sports, landscape, portrait and travel photography. My passion also extends to drone photography, weddings, and events. I’ve had the privilege of sharing my expertise as a Canon ProForum Speaker, inspiring others in the field of photography. How long have you been photographing events, and what types of events have you covered? I’ve been photographing events professionally since 2007. In 2008, I co-founded EXPA Pictures with a colleague, allowing us to focus on capturing high-profile events and unique moments. Over the years, I’ve had the privilege of covering the Olympic Winter Games, various World Championships, UEFA European Football Championships, Formula 1, MotoGP, and many other sports disciplines. In addition to large-scale international events, I also enjoy working at smaller festivals and local gatherings, which offer their own unique charm and energy. My goal is always to tell a story through my lens, no matter the size or scale of the event How would you describe your photography style? I would describe my photography style as uniquely “JFK Style.” Over the years, I’ve developed an approach that sets my work apart from other photographers. I strive to capture unconventional angles and perspectives while maintaining a clear focus on the essence of the moment. My goal is to combine creativity with storytelling, ensuring that every image stands out and tells a compelling story. Do you adapt it for different types of events? Absolutely. It’s essential to tailor my approach to the type of event I’m photographing. Every event has its own unique atmosphere and requirements, so I make a conscious effort to adapt my style accordingly. Whether it’s the fast-paced action of a sporting event, the vibrant energy of a festival, or the intimate moments of a wedding, I ensure my photography reflects the essence of the occasion. What’s your preparation process for an event? My preparation process for an event always begins with research. I take the time to understand the event, study the location, and even consider details like the position of the sun to optimize lighting. I also plan specific shots in advance that I want to capture to ensure I don’t miss any key moments. From a technical perspective, I like to work with a variety of focal lengths to create diverse and dynamic compositions. This combination of planning and adaptability helps me deliver the best possible results. How do you ensure you’re ready for any scenario? Preparation is key to being ready for any scenario. I rely heavily on thorough pre-planning and adhering to the personal standards I’ve developed over the years. This helps me anticipate most situations and stay focused. That said, you can never be fully prepared for the unexpected. A perfect example is during the Euro 2016 in Marseille, at the England vs. Russia match. In an instant, I had to switch from photographing a football game to capturing sudden riots when a Russian hooligan appeared right next to me. Situations like these teach you to adapt quickly, stay composed, and let experience guide you through unpredictable moments. What kind of equipment do you use, and why do you prefer it for event photography? Canon—simply Canon. I’ve been using Canon equipment since the beginning of my career, and it’s always felt like home to me. The colors, the handling, and the overall performance perfectly suit my style and needs. Currently, I shoot with the Canon R5 Mark II and always carry two bodies with me. This setup allows me to work efficiently, especially since I primarily use prime lenses. The combination of reliability, precision, and image quality makes Canon my go-to choice for event photography. How do you handle lighting in different event settings, especially in low light or outdoor venues? Over the years, camera technology has advanced significantly, making high ISO settings like ISO 6400 no longer an issue. I primarily focus on observing where the light is coming from and use it as the foundation for my compositions. Whether in low-light environments or outdoor venues, understanding and utilizing available light allows me to create natural, dynamic, and visually compelling images. If necessary, I complement the ambient light with subtle artificial lighting to enhance the atmosphere without overpowering the scene. What’s your approach to capturing candid moments versus posed shots at events? My approach is to let moments unfold naturally. In sports photography, posed shots aren’t an option, so it’s essential to anticipate what could happen next. Understanding the flow of the event and being prepared for key moments allows me to capture authentic, candid emotions and actions. This mindset also influences how I approach other events, where I focus on creating genuine, unscripted images that truly reflect the atmosphere and energy of the moment. How do you interact with clients during the event to ensure they are satisfied with the coverage? I always start with a detailed discussion to understand exactly what the client wants from the event coverage. Clear communication is key. My clients appreciate that I stay true to my photography style and approach, which is why they trust me to deliver authentic and high-quality results. During the event, I remain attentive and adaptable, ensuring that any specific requests are addressed while still capturing the event naturally and creatively. What’s your backup plan if there’s an equipment failure during an event? Equipment failure can happen, especially in challenging conditions like rain, snow, or extreme cold. The key is to stay calm and adapt to the situation. That’s why I always carry two cameras and a selection of lenses to ensure I can continue shooting without interruption. This backup setup allows me to quickly switch gear if needed and keep capturing important moments without compromising the quality of my work. What has been the most challenging event you’ve photographed, and how did you overcome it? One of the most challenging events I’ve photographed was the Red Bull Air Race in Spielberg. I had the incredible opportunity to shoot the race from a helicopter, capturing the planes and the action from above. The challenge? I have a fear of heights. I was harnessed and standing on the skids of the helicopter, photographing straight down, which made me extremely nauseous. However, I overcame this by fully focusing on the task at hand—capturing the perfect shots. Shifting my concentration to the photography helped me push through the discomfort and deliver the results. Do you do your own post-processing? Absolutely, I handle all of my post-processing myself. I exclusively use Adobe Lightroom to ensure that each image reflects my personal style and meets the highest quality standards. This allows me to maintain full creative control over the final look and feel of my work. However, when real-time delivery is critical, I work with three carefully selected editors who are trusted to match my editing style. This allows me to provide fast, professional results without compromising on quality. How much editing do you typically apply to event photos? I apply my own color grading to all my event photos, which I occasionally adjust slightly to suit the mood or setting of the event. Beyond that, I keep the editing minimal to preserve the authenticity and natural atmosphere of the moments I capture. My goal is to enhance the images subtly without altering their genuine feel. What is your typical turnaround time for delivering photos after an event? I typically deliver photos in real-time during the event. For example, during a football match, I send 30–60 images while the game is still in progress. This quick turnaround ensures that clients have immediate access to key moments for live updates, social media, or press releases. Fast and efficient delivery is a key part of my workflow.

This week’s Interview with Yu, a very talented Photographer based in NYC. You can find him on Instagram as: @yushi.95 Enjoy the amazing Interview ;) Can you tell us a bit about yourself? My name is Yu and I’m a photographer based in New York City. I currently specialize in street, cityscape, and landscape photography and love spending my days exploring the city. What makes photography exciting for me is getting to capture images that make the viewer want to visit new places or places they know from a different perspective.  How did you get into photography? I got into photography during my graduation year 2015. My high school had a photography club. I didn’t join the photography club. I joined a coding club. I got inspired by the students who joined the photography club. They took very nice photos. I decided to use my phone to take photos and post on instagram. After I graduated, I got my first Nikon D7100 camera. My photography journey started in summer of 2015. What role does composition play in your photos? Composition is everything. It's like the silent guide that tells people where to look and what to feel. I’m always thinking about leading lines, framing, symmetry, reflections—those little details that subconsciously pull you into the image. Without strong composition, even the most beautiful scene can fall flat. What do you think sets your work apart from others in the industry? I think what makes my work different is the way I approach perspective. I’m constantly looking for angles that aren’t obvious—the kind of viewpoints that make people stop and think, “Wait, how did he even see that?” What gear do you use? Right now, my main gear lineup is the Sony A7IV and the Sony 7CR. For quick shots or when I'm traveling light, I’ll also shoot with my iPhone 15 Pro Max—because honestly, the camera on that phone is insane. And when I’m going for action shots or want something waterproof and durable, I’ll bring the GoPro. How do you stay inspired and motivated to continue creating new and unique photographs? I explore new locations, both near and far, seeking out unique cityscapes, and architecture that inspire me to pick up my camera and capture the world around me. And I collaborate with other creatives, such as models, stylists, and fellow photographers, to exchange ideas, share inspiration, and push each other to new heights creatively. I continuously seek out opportunities to learn and grow as a photographer, whether through online courses or studying the work of other photographers. This ongoing pursuit of knowledge fuels my creativity and keeps me motivated to improve. What are some of the most important qualities for a great photographer to have, in your opinion? The ability to think outside the box and see the world from unique perspectives allows photographers to create compelling and original images that stand out. Be patient, great photographers are willing to invest the time and effort required to capture the perfect shot, whether it means waiting for the right moment, experimenting with different techniques, or overcoming challenges in the field. What is your editing software of choice and how much time do you spend editing? Lightroom for me. It’s just the most intuitive and powerful tool for what I do. Depending on the complexity of the shot, editing can take anywhere from 30 minutes to over an hour—especially if there’s a lot of fine-tuning involved. For videos and reels, I use CapCut. It’s fast, flexible, and surprisingly powerful for something that’s so easy to use. Most video edits take me about 30 minutes or so, depending on how crazy I get with transitions and cuts. How did you find your signature photography/editing style? Honestly, it was a lot of trial and error. In the beginning, I didn’t lock myself into any one genre, I explored everything. Street, landscape, portraits, even random abstract stuff. I wanted to figure out what felt the most me . Same thing with editing: I played around with tons of styles, color grades, techniques until something clicked. Over time, you start to notice the little patterns in what you’re drawn to, and that’s how your personal style starts to take shape. Reels or photos? And why? I love photos (so that is my official answer), but if you’re trying to grow your page right now, reels are where it’s at. The algorithm just favours video content more. I’d definitely tell anyone trying to build an audience to focus on reels, stay consistent, and stick to one visual style at first so people know what you’re about. What does photography mean to you? Photography, to me, is all about storytelling. It's the way I capture emotions, memories, and tiny little moments that would otherwise just slip away. When I shoot, I'm not just taking pictures. I'm trying to freeze time for a second. It’s also a way of connecting with people, even if we don’t speak the same language or come from the same place. A photo can cross all those barriers without even trying. What are your thoughts on AI in photography? Don’t rely on AI. It’s ok if you use an AI tool to remove little things on your photos. Just don’t use it to help you create photos. And add many things to the photo. I like to go out explore the world. That is photography to me. - In my opinion. Any tips for beginners? Understand the fundamental concepts of photography, such as aperture, shutter speed, ISO, and composition. Familiarize yourself with your camera's settings and functionalities. Don't be afraid to get creative with your angles and perspectives. Try shooting from high above or down low, or experiment with different vantage points to capture unique and interesting compositions. Be patient, great photographers are willing to invest the time and effort required to capture the perfect shot, whether it means waiting for the right moment, experimenting with different techniques, or overcoming challenges in the field.

credits: Nikon Nikon has released firmware version 2.00 for its Z6 III, marking the first major update since the camera launched last summer. The Z6 III made headlines with its unique partially stacked sensor and strong autofocus, and this update builds on that foundation with new autofocus modes, expanded automation, and Nikon’s first step into content authenticity. The most notable addition is the Nikon Authenticity Service, a C2PA-compatible system that lets photographers embed digital certificates into image files. These certificates confirm the origin of an image, flag whether it has been altered, and record when and where it was captured. Nikon says this feature, will strengthen trust in digital photography. The Z6 III becomes the first Nikon camera to offer this, with the Z9 and Z8 still waiting for their promised implementation. Beyond authenticity, Nikon has also expanded the camera’s shooting capabilities. A new ‘Birds’ mode has been added to subject detection, designed to better track birds in flight even against complicated backgrounds. The firmware also introduces Auto Capture, borrowed from the Z9 and Z8, which allows the camera to automatically trigger when specific subjects or movements are detected, turning the Z6 III into a customisable remote or even a wildlife camera trap. Other improvements include the ability to use JPEG fine with Pre-Release Capture, a focus limiter for tighter AF control, USB streaming without extra software, and streamlined updates through Nikon Imaging Cloud. You can see full details on Nikon’s website here

credits: Hasselblad Hasselblad has officially introduced a new standard zoom to its XCD lineup: the XCD 35-100mm f/2.8-4 E. On Hasselblad’s medium format bodies, that translates to roughly a 28-76mm equivalent in full-frame terms, giving it a slightly longer reach on both ends compared to the classic 24-70mm zoom. Inside, the lens is built with 16 elements in 13 groups, including three aspherical and five extra-low dispersion elements to keep sharpness and control aberrations across the zoom range. The new lens was designed with the new X2D II 100C in mind, taking full advantage of its recently added continuous autofocus. Hasselblad says this is the fastest-focusing XCD lens yet, thanks to a newly developed stepping motor. It can focus as close as 0.4 meters at the wide end and 0.5 meters at the tele end, which should be enough for general close-up shooting but won’t replace a true macro lens. Physically, the zoom comes in at 138mm in length and weighs just under 900 grams, with an internally focusing design that helps with handling and balance. Like other modern XCD lenses, the 35-100mm f/2.8-4 E includes a built-in leaf shutter, offering speeds up to 1/4000s and full flash sync at any shutter speed. It takes large 86mm filters, and Hasselblad is also rolling out matching UV, ND8, and CPL filters alongside the release. Hasselblad says the new zoom is sharp edge-to-edge and essentially replaces the need to carry multiple primes in its range. The XCD 35-100mm f/2.8-4 E is available for $4,599 (€4,800). A closer look at Hasselblad’s new lens, X2D II camera and filters will follow in this week’s Sunday magazine issue ;) You can see full details on Hasselblad’s website here

Photo by: @takumi_0491 (instagram)

credits: Hasselblad Hasselblad has officially unveiled the X2D II 100C, its newest medium format flagship, and it finally delivers some of the features photographers have been waiting years for. The big headline is continuous autofocus, something missing from every X camera since the first X1D back in 2017. The new system combines on-sensor phase detection with a built-in LiDAR module on the front of the body, plus an AF assist lamp to help in low light. Not every XCD lens will take advantage of it, but many will, including the brand-new 35-100mm f/2.8-4 E zoom. On top of that, Hasselblad has added subject detection powered by machine learning, so the camera can track people, animals, and vehicles more reliably. Hasselblad has also given the body some much-needed refinements. For the first time, there’s a proper joystick for moving AF points or navigating menus, joined by a new custom button that brings the total up to eight. The rear OLED screen has been upgraded too, it’s now brighter at 1,400 nits, supports HDR, and covers the P3 colour gamut. The EVF remains large and sharp but can now show HDR previews as well. Physically, the X2D II comes in a new matte grey finish with a redesigned grip texture and is about 7.5% lighter than the original. Inside, the camera still uses a 100-megapixel BSI CMOS sensor, but Hasselblad says it’s been improved with better colour depth (16-bit) and a bump in dynamic range to 15.3 stops. Base ISO now starts at 50. The big new trick, though, is a full end-to-end HDR workflow: the camera can shoot HDR JPEG and HEIF files straight out of camera, while RAW HDR processing works in Hasselblad’s Phocus software and even Lightroom. To make handheld shooting more practical, stabilisation has been beefed up, the five-axis IBIS now claims 10 stops of corrections. The X2D II 100C is available for $7,399 (€7,200). You can see full details on Hasselblad’s website here

credits: ProGrade ProGrade Digital has rolled out a hefty new addition to its PG10 External SSD lineup, a 16TB version that now holds the title of the highest-capacity USB 4.0 bus-powered drive on the market. The PG10 line is designed to balance speed and compatibility. While Thunderbolt drives can be faster, USB 4.0 offers a wider range of support across Thunderbolt 3 and 4, plus older USB-C standards, so you’re less likely to run into issues on different machines. ProGrade says the drive can hit read speeds of up to 2,500 MB/s and writes up to 2,000 MB/s. In real-world testing, the new 16TB model leaned more towards faster reads (around 2,168 MB/s) but a bit slower writes (around 1,559 MB/s). Even during long transfers filling the entire drive, it stayed warm rather than hot, something not all high-capacity SSDs can manage. Physically, the 16TB version keeps the same design as the smaller models, including a dual heat sink setup for cooling. There’s also a magnetic base and an included metal plate so you can fix it to a surface. ProGrade also claims the unit is shock and x-ray proof, adding to its durability. Of course, 16TB of solid-state storage doesn’t come cheap, the PG10 16TB is priced at $2,999.99. You can see full details on B&H’s website here

credits: Mitakon Zhong Yi Optics has introduced a new addition to their Mitakon lineup, the 55mm f/2.8 1–5x Macro lens, for photographers who want extreme close-up capabilities. Unlike most macro lenses that top out at 1:1 reproduction, this one goes all the way to 5:1, meaning it can project a subject onto the sensor at five times its actual size. The lens itself is built around an optical design of 13 elements in eight groups, with coatings designed to keep chromatic aberrations under control while maintaining sharpness across the frame. It is a manual-focus lens with a nine-bladed aperture diaphragm and works with both full-frame and medium-format sensors. At lower magnifications, the working distance is somewhat practical (about 150mm at 1:1) but at 5:1 it drops to just 65mm. In other words, lighting can be difficult when working at the higher end, so Zhong Yi has included a USB-C powered LED ring light that attaches directly to the front of the lens. Physically, the 55mm f/2.8 is fairly substantial for its focal length, measuring up to 162mm long at maximum extension and weighing 690 grams. It accepts 58mm filters and comes with a detachable Arca-Swiss tripod foot. The lens comes in a wide range of mounts, including Canon EF, Canon RF, Fujifilm X, Fujifilm GFX, L-Mount, Nikon F, Nikon Z, Sony E, and Hasselblad XCD. Pricing for this lens sits at $399. You can see full details and sample shots on Mitakon’s website here

credits: Sigma Sigma doesn’t seem to be slowing down anytime soon. After very recently announcing the 200mm f/2 DG OS Sports and the 12mm f/1.4 DC, the company will soon unveil yet another lens, this time a 135mm f/1.4. According to a teaser image posted by Sigma China, titled “Master of Optics”, the official launch is expected to take place on September 9, 2025. That lines up with earlier leaks suggesting the company has been working on this new telephoto prime for a while. The lens is said to weigh around 1,320 grams and use a hefty 105mm filter thread, which makes sense given its f/1.4 maximum aperture. Sources familiar with the lens claim the rendering is particularly smooth, producing soft, round bokeh that sets it apart from more common portrait options like 85mm f/1.4 lenses. As expected, the 135mm will be available for both Sony E-mount and L-Mount, giving photographers on either system a new option for portraits, events, and even more creative telephoto work. There’s also talk that Sigma could use the September event to show off more than one lens. A 20–200mm f/3.5–6.3 zoom has been rumored, along with a second-generation 35mm f/1.2 Art. Whether those appear alongside the 135mm is unclear, but the timeline suggests we won’t have to wait long to find out.

credits: TTArtisan TTArtisan has added a new ultra-wide option to its lineup with the 14mm f/2.8 ASPH, a fully manual prime built for full-frame cameras. Available in Sony E, Nikon Z, Canon RF, and L-mount, the lens delivers a 114° field of view, making it well-suited for landscapes, interiors, and architectural work. Thanks to its f/2.8 maximum aperture, it also opens the door for night photography and astrophotography. The optical design includes 13 elements in 10 groups, with two aspherical elements tasked with keeping distortion and edge softness under control. Ultra-wide lenses are notorious for bending lines and losing detail in the corners, so the addition of dual ASPH elements should help ensure straighter rendering and stronger edge-to-edge sharpness. An eight-blade aperture also means the lens can produce crisp sunstars when stopped down. On the physical side, the 14mm f/2.8 ASPH comes in a full-metal build made from 5052 aerospace-grade aluminum. Depending on the mount, the lens weighs between 437 and 445 grams and includes a clicked aperture ring. The minimum focusing distance is 0.2 meters and the lens accepts 77mm filters via a round holder, which is a nice touch since many ultra-wides don’t take standard filters. Pricing for this new lens, across all four mounts, is at $196. You can see full details and sample shots on TTArtisan’s website here