How to Nail a Silhouette Shot Find a Strong Light Source The best silhouettes happen when your subject is backlit—meaning the light is behind them. Think sunsets, sunrises, bright windows, or even streetlights at night. The bigger and brighter the light source, the better. Pick a Subject with a Clear Shape Silhouettes are all about outlines, so pick something with a distinct shape. People work great—especially if they’re doing something dynamic, like jumping or holding an interesting pose. Trees, animals, bikes, and city skylines also make awesome silhouettes. Expose for the Background, Not the Subject Your camera will try to balance the light, but you want your subject to be dark. Set your exposure for the bright background (tap on the sky if using a phone) If needed, lower the exposure manually until your subject turns into a solid shadow. Shoot in Manual Mode for More Control ISO: Keep it low (100-200) to avoid noise. Aperture: f/8 to f/11 for deep focus, or f/2.8 if you want a softer background. Shutter Speed: Adjust based on lighting—usually 1/250s or faster for sharp edges. Pose & Frame for Maximum Impact Avoid clutter—silhouettes work best with clean, open backgrounds. Get your subject to separate their limbs (a person standing with arms at their sides looks like a blob). Try side angles, jumping shots, or creative hand gestures for cool shapes.

cc: Laowa The Laowa 15mm f/5 Review. The Cookie is an ultra-wide pancake lens designed for photographers who want a lightweight and portable option without sacrificing image quality. Weighing just 4.9 ounces (158g) and measuring only 15.25mm (0.6 inches) in length, it’s one of the most compact full-frame wide-angle lenses available. Its small size makes it ideal for travel, street, and architectural photography, though handling may be a challenge for those with larger hands. Build and Design Despite its compact size, the lens is well-constructed with a mix of metal and plastic components. The engraved focus distance scale and metal lens mount contribute to a solid build, while a rubber gasket around the mount provides some weather resistance. The manual focus ring is functional, but its small size may take some getting used to. The lens is available in Sony E, Nikon Z, Canon RF, L-Mount, and Leica M mounts, with auto aperture control for Sony and Nikon users. Image Quality and Performance For an ultra-wide lens at this price point ($399), the Laowa 15mm f/5 delivers good overall image quality. Some softness is noticeable at wider apertures, but the lens performs well for its class. Flare control is impressive, even when shooting into direct light sources, and the lens produces well-defined starbursts at f/16 and f/22. Distortion is present, as expected for a 15mm lens that is not part of Laowa’s “zero distortion” series. Photographers shooting architecture or interiors may need to correct perspective in post-processing. Conclusion The Laowa 15mm f/5 Cookie is a strong option for photographers looking for a compact, budget-friendly ultra-wide lens.

Michiel Alleman David Mc Elwee What Is Infrared Photography? Infrared (IR) photography captures light beyond the visible spectrum—specifically, infrared wavelengths. Regular cameras block most of this light, but with the right setup, you can create surreal, high-contrast images that look like they’re from another planet. How to Shoot Infrared Photos Use an Infrared Filter/a Converted Camera IR Filters (like the Hoya R72) block visible light and only let infrared light through. These work on most cameras but require long exposures since so little light gets in. Converted IR Cameras : Some cameras can be modified to remove the IR-blocking filter, allowing you to shoot infrared without long exposures. Shoot in Bright Sunlight Infrared works best in midday sunlight, when there’s a ton of IR light bouncing around. Green foliage reflects IR light, making trees and grass turn white or glowing. Blue skies absorb IR, making them look dark blue/black. Use Manual Focus Most cameras struggle with autofocus in infrared, so switch to manual focus. Some lenses produce "hot spots" (weird bright spots in the center), so test different ones, gotta get a little lucky. Adjust Your Camera Settings Shoot in RAW (as always) for maximum flexibility. Use long exposures (if using an IR filter)—start at 10-30 seconds and adjust as needed. Set a custom white balance (point your camera at grass/leaves and set it as the reference). Edit for the Best Results IR photos come out looking red/magenta—fix this (or not) in post-processing. Swap the red and blue channels in Photoshop to turn skies blue and foliage white (the classic IR look) or leave it magenta, also an incredible look in my opinion. Play a little with contrast and sharpness to enhance the dreamlike quality.

Can you tell us a bit about yourself? ”I am a Swedish hobby photographer, 57 years old living in the middle part of Sweden with my family and 2 dogs. I am working full time as a IT-manager.” How did you get into photography? ”My father was a photographer and a journalist, so I am more or less raised with an analog dark room…I started with digital photography on a more professional lever when iPhone came and a camera was always accecable.”  What role does composition play in your photos? ”It´s essential, cruisal. A minimalistic photo with a less great composition is often pretty boring. I think my compositions are one of the key ingredients to my success.”  What do you think sets your work apart from others in the industry?  ” I am not sure, but one difference is that as many photographers try to get as much as possible INTO the frame, I do the opposite, trying to get as much as possible out of the frame to create the picture I want”. How do you stay inspired and motivated to continue creating new and uniqe photographs?  ”For me it has to be fun, being a hobby it has to be joyful to create my works. Without pressure. But some days it is harder to try to tell as much as possible, with as less as possible.” What are some of the most important qualities for a great photographer to have, in your opinion? ”I dont know really, for me I am a mix of an artist and a businessman. I focus on both the artistic  side as the commercial. A quality that I appreciate in other photographers are if they have a uniqe style and if they stick to it.” What gear do you use?  ” I use a Canon M50 with various lenses and a DJI Mini 3 Pro, all choosen for its small size and easy to carry and travel with.” What is your editing software of choice and much time do you spend editing? ” I usually use Pixelmator and Affinity Photo for the most, I haven´t learned Photoshop since I have thought it was to complicated, but now with the new version with the AI generative fill, I have started to explore also Photoshop. Some of my works are more or less direct out of the camera roll, some others are heavily edited where I have spend many hours on just one picture.” How did you find your signature photography style? /editing style ?  ” It was pure coincident , I was with my family at a public pool facility where I took a shot of a pair of orange sunglasses hanging on a hook on a big green wall. When I posted it on Instagram, I discovered that many liked it, thats how it all started. And when Instagram picked med as a suggested  user and I gained many thousands new followers, then it really took off” Reels or photos? And why? ” Both. I am not that much into that debate, egen though IG started as a platform for photos, I do understand the focus on reels, thats what people want/ are used to from Tik-Tok etc. But absolutely, I follow photographers that mainly work with photos. Thats where I get my inspiration.” What does photography means to you? ”Its a hobby so 90% for fun when it comes to my own works. I really appreciate photography as an artform and try to visit as many photo exhibits/museums as possible”. How would you describe your photography style in a few words? ”Minimalistic aesthetic and simple, but powerful and calming” Do you prefer shooting alone or with company?  ” Alone ! ” And tips for beginners?  The rest, 4 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here

cc: SanDisk SanDisk just dropped a new "Creator Series" storage lineup, but here’s the catch: they’re basically reskinned versions of existing SanDisk products—just in a blue gradient and at a higher price. For example, the new 1TB V60 SD card costs $280, while the identical older version is $260. The 8TB Desk Drive? $600 vs. $550 for the same thing in black and red. The 4TB portable SSD has a slightly different port (USB 3.2 Gen 2x2), but most computers won’t take advantage of it, and it’s still $100 more than the original. Oh, and let’s not forget SanDisk’s recent SSD failure fiasco—they never really owned up to it. If you’re shopping for storage, there are better (and cheaper) options out there.

The Brand New OM System OM-3 OM Digital Solutions has finally pulled back the curtain on the OM System OM-3, a camera that mixes old-school charm with modern tech. If the design looks familiar, that’s because it’s straight-up inspired by the Olympus OM-1 film camera. At first glance, the OM-3 looks like something straight out of the 1970s. It’s got that classic, elegant design with plenty of dials and buttons, which should make any old-school photography fan happy. The only giveaway that it’s not a film camera? The digital sensor and that 3-inch vari-angle display on the back. Speaking of dials, there’s something special making a comeback: the Color Profile control dial. The last time we saw this was on the Olympus PEN-F, and it gives photographers quick access to customizable color and monochrome profiles. You can fine-tune saturation across 12 different color channels, tweak highlights and shadows, and even add grain and toning effects in black-and-white mode for that classic film look. There are built-in presets, but let’s be real—most photographers will want to dial in their own custom looks. Size-wise, the OM-3 is slightly wider but also much thinner than the OM-1 II, measuring 139.3 x 88.9 x 45.8 mm (or 5.5 x 3.5 x 1.8 inches, if that makes more sense). It’s also noticeably lighter, weighing just 496 grams (17.5 ounces) with the battery and memory card. That’s a good 100 grams lighter than its flagship sibling, making it a great option for people who want something more compact without sacrificing too much in the performance department. And yes, it still comes with modern perks like IP53-rated weather sealing, so it’s built to handle tough conditions. While the outside is all vintage, the inside is fully modern. The OM-3 has the same 20.37-megapixel stacked BSI Live MOS sensor and TruePic X processor as the OM-1 II, which means you’re getting serious speed. It can shoot up to 120 frames per second with locked focus or 50 fps with continuous autofocus (as long as you’re using a compatible lens). The autofocus system is no joke either, with 1,053 cross-type phase-detect points ensuring fast and accurate focusing. And if you’re into action photography, Pro Capture Mode can save up to 70 frames before you even press the shutter, so you never miss the perfect shot. That said, there are some trade-offs compared to the OM-1 II. The OM-3 has only one UHS-II SD card slot instead of two, which might be a dealbreaker for some. The in-body image stabilization is slightly less effective, offering 6.5 stops instead of 8.0. And while the electronic viewfinder is fine, it’s definitely a downgrade from the OM-1 II’s—it has a lower resolution at 2.36 million dots and a smaller magnification range. The good news? The 3-inch vari-angle LCD screen is the same, so no complaints there. The OM-3 also packs plenty of computational photography features like High-Res Shot (80MP tripod, 50MP handheld), Live ND, HDR, and Focus Stacking. It also offers solid video options, including C4K up to 60p and log recording, plus two new OM Cinema profiles for a polished look straight out of the camera. The OM System OM-3 starts shipping in late February 2025. The body alone will set you back $1,999.99 in the U.S. or $2,799.99 in Canada. If you want to grab it with the M.Zuiko Digital ED 12-45mm f/4 Pro lens, that’ll run you $2,299.99 in the U.S. or $3,199.99 in Canada. Image credits: OM System Interview with Marcus Cederberg This week’s Interview with the incredible Marcus Cederberg, a well known photographer, whose style is immediately recognisable. I absolutely love his images! You can find him on Instagram as: @marcuscederberg Enjoy the amazing Interview ;) Can you tell us a bit about yourself? I am a Swedish hobby photographer, 57 years old living in the middle part of Sweden with my family and 2 dogs. I am working full time as a IT-manager. How did you get into photography? My father was a photographer and a journalist, so I am more or less raised with an analog dark room…I started with digital photography on a more professional lever when iPhone came and a camera was always acceptable. What role does composition play in your photos? It´s essential, crucial. A minimalistic photo with a less great composition is often pretty boring. I think my compositions are one of the key ingredients to my success. What do you think sets your work apart from others in the industry?  I am not sure, but one difference is that as many photographers try to get as much as possible INTO the frame, I do the opposite, trying to get as much as possible out of the frame to create the picture I want. How do you stay inspired and motivated to continue creating new and uniqe photographs?  For me it has to be fun, being a hobby it has to be joyful to create my works. Without pressure. But some days it is harder to try to tell as much as possible, with as less as possible. What are some of the most important qualities for a great photographer to have, in your opinion? I don’t know really, for me I am a mix of an artist and a businessman. I focus on both the artistic  side as the commercial. A quality that I appreciate in other photographers are if they have a unique style and if they stick to it. What gear do you use?  I use a Canon M50 with various lenses and a DJI Mini 3 Pro, all chosen for its small size and easy to carry and travel with. What is your editing software of choice and much time do you spend editing? I usually use Pixelmator and Affinity Photo for the most, I have not learned Photoshop since I have thought it was to complicated, but now with the new version with the AI generative fill, I have started to explore also Photoshop. Some of my works are more or less direct out of the camera roll, some others are heavily edited where I have spend many hours on just one picture. How did you find your signature photography style? /editing style ?  It was pure coincident , I was with my family at a public pool facility where I took a shot of a pair of orange sunglasses hanging on a hook on a big green wall. When I posted it on Instagram, I discovered that many liked it, thats how it all started. And when Instagram picked med as a suggested  user and I gained many thousands new followers, then it really took off. What are your thoughts about AI in photography?  Interesting and somewhat scary. I have started to experiment with some AI basen works where I develope it further. Its fun. AI will be a total game changer both for photographers and the society in general. Do you prefer shooting alone or with company?  Alone ! And tips for beginners?  The rest, 4 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here Nikon’s Z-Mount 35mm f/1.2 S Nikon has finally unveiled the long-awaited Nikkor Z 35mm f/1.2 S, a lens that’s been on the company’s roadmap for a while and had photographers wondering if it would ever see the light of day. This new 35mm f/1.2 S is designed to deliver a balance of sharpness and dreamy, creamy bokeh. It follows the same high-end philosophy as Nikon’s 50mm f/1.2 S and 85mm f/1.2 S lenses, making it a natural extension of their premium lineup. Inside, it packs 17 elements in 15 groups, including three extra-low dispersion elements and one aspherical extra-low dispersion element to keep color fringing under control. The 11-bladed aperture helps create that soft, out-of-focus blur that portrait and street photographers love. To keep image quality top-tier, Nikon has thrown in its best coatings—Meso Amorphous Coat, Nano Crystal Coat, and ARNEO Coat—to cut down on ghosting and flare. Autofocus is powered by a multi-focus stepping motor system, designed for speed and precision. For videographers, the lens includes a clickless control ring and is built to suppress focus breathing, making it a solid option for cinematic work. Two customizable L-Fn buttons on the barrel offer extra flexibility for different shooting styles. And, of course, it’s sealed against dust and moisture for durability in tough conditions. A couple sample images: The Nikkor Z 35mm f/1.2 S isn’t cheap—this level of optical performance rarely is. It’s set to launch in late February 2025 for $2,799.95. Image credits: Nikon Photo Analysis Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;) Photo by: @laura.gzo Composition What’s awesome: The hiker’s placement is spot on . Sitting in the lower left third, they add a good sense of scale against that mountain. The way the ridge leads your eye toward the peaks makes the whole scene feel balanced and intentional. What could be better: There’s not much to complain about, but the foreground at the bottom feels a little empty compared to the crazy detail in the mountain/top half. Maybe just a bit more texture or something to break it up would’ve helped. (however in that case its not really in your hands haha) Lighting What’s awesome: The lighting is very good. It’s soft, moody, and hits all the right places, making the snow-covered path pop. The way it interacts with the mist gives everything this really dreamy, cinematic quality (incredibly done). What could be better: Some (very few) of the highlights on the snow are a little too bright, which makes them lose some detail. If they were toned down just a bit, you’d keep all that nice texture in the snow. Colors What’s awesome: The cool tones work beautifully, making the scene feel properly cold and intense. And then there’s that yellow jacket—perfect contrast. It instantly pulls your eye to the hiker without feeling out of place. What could be better: The whole image leans pretty heavily into the blue tones, which makes sense for the mood, but maybe just a tiny bit of warmth in the highlights could make it even richer. Depth & Atmosphere What’s awesome: That mist is brilliant. It adds so much mystery and mood, making the whole scene feel surreal. It also helps separate the layers in the image, giving it that deep, 3D look. What could be better: In some spots, the mist softens the mountain’s details a little too much. A slight boost in sharpness there could help keep that epic, rugged texture without losing the atmosphere. Mood & Storytelling What’s awesome: This shot feels like an adventure. It’s the kind of image that makes you want to be out there, experiencing the moment yourself. What could be better: Not much, honestly. If anything, a slight sense of movement—like a bit of disturbed snow from the hiker’s steps—could add even more life to the scene. (however thats almost nitpicking at this point hahah) Photography Tip of the Week The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers. Subscribe to the Premium Version here Photographer of the Week Photographer of the week goes to: Max McNeil You can find him on Instagram as: @captured_for_posterity_ A few of his images: A Leica Photographer’s Field Jacket? Leica is marking the 100th anniversary of its iconic Leica I 35mm camera with a bunch of collaborations, and the latest one is actually useful—no fancy collectibles, just a seriously well-designed field jacket made for photographers who spend time in the elements. The Shackleton Frank Hurley Field Jacket was created with input from Leica and photographer Levison Wood, and it’s built to handle tough conditions. It’s fully waterproof, with sealed seams and Aquaguard zippers, plus a hood that extends far enough to keep both you and your camera dry. There’s an insulated pocket to stop your batteries from dying in the cold, roomy cargo pockets for extra gear, and even a built-in lens cloth on a retractable lanyard. The elbows, shoulders, and seat are reinforced so it holds up against backpacks, harnesses, and whatever else you put it through. This isn’t the first time Leica and Shackleton have teamed up—they released a heavy-duty down parka back in 2019. Both jackets are named after Frank Hurley, the Australian photographer who captured Sir Ernest Shackleton’s legendary ‘Endurance’ expedition to Antarctica. When the ship was crushed by ice and started sinking, Hurley dove into freezing water to rescue his film plates. Shackleton made him smash most of them to save weight, but he managed to keep around 150. Hurley later went on to photograph both World Wars, pioneering composite photography to show the scale of battle in a way a single frame couldn’t. If you want to channel some of that adventurer energy, the Shackleton x Leica Frank Hurley Field Jacket is available now for $950. It comes in black, in sizes small through extra-large. If it’s anything like Leica’s last photographer’s jacket—a $795 collaboration with Aether that sold out in hours—it won’t be around for long. Image credits: Leica x Shackleton The Rest of this Issue is for Premium Subscribers The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price. Explore Premium