Godox, a company popularly known for photography lighting equipment, has recently released a couple of mini TTL flashes – the Godox iT20 and iT22, that are ultra compact and will easily fit into your pocket. These camera flashes are perfect for both indoor and outdoor photography use, and come with magnetic accessories for quick switching between light effects.
Image via Godox
The mini flashes are almost identical with the iT20 slightly smaller than the iT22 and come in an ultra compact design and weigh only 45g (iT20) and 52g (iT22), which means they can be carried in your pocket, ready to be grabbed and used when needed. There is a dedicated button that allows the user to toggle between manual and TTL modes. Real time settings are displayed, so one can view them for any adjustments required.
Image via Godox
The accessories that come with the flash like the light spreader or diffuser and two color filters, are all magnetic, so they can be easily snapped on to the flash when required. There are also other optional accessories that can be purchased, like diffuser, gels and honeycomb grids which are magnetic. These accessories help with capturing creative and atmospheric effects in your photograph.
Image via Godox
The flash intensity can be adjusted across 6 stops in steps of 1/3. The recycling time for the flashes is 1.5s at full power and a single charge lasts more than 700 flashes. The built-in lithium battery can be charged quickly (approximately 1h 10mins) with a USB-C cable.
Another optional accessory is the “Hot Shoe Riser” that helps to lift the flash by 30mm, so it has clear spread of light without blockage, when using wide angle or long lenses. There is also a 0 – 90 degrees tilt adjustment that helps to bounce light off the flash when required.
The flash is compatible with Canon E-TTL II, Nikon i-TTL, Sony, Fujifilm, OM System and Panasonic TTL systems, supporting both auto flash and High-Speed sync functions. More details about the flash can be found here.
The flash is available to pre-order and costs less than $50.00. We have more news for you to read if you are interested at this link here.
Introducing the Sigma Aizu Prime line of cinema lenses – designed from the ground up to provide speed, sharpness, and subtle character.
As an ICG Local 600 Director of Photography working on everything from scripted to comedic stage shows to wildlife to true crime, I ask a lot out of the technology I film my projects with.
As a Sigma Ambassador, I have also been immersed in all things Sigma since 2017, and I’ve used dozens of different focal lengths and different types of zooms as I’ve bounced from project to project. The Full-Frame High Speed Primes in particular have been a staple for me with their consistent sharp look and gorgeous bokeh (especially that 105mm). Lately, I’ve been finding a home for Art line lenses as well, such as the 28-105mm F2.8 DG DN | Art and 28-45mm F1.8 DG DN | Art on my various Sony E-mount documentary rigs.
The new Aizu Primes are something special — the result of over two years of work by engineers in at the Sigma factory in… you guessed it… Aizu, Japan! Unlike the High Speed prime lenses, which were based on the beloved Art line of photo lenses, the Aizu Primes are entirely new — though the rugged engineering will feel comfortably familiar to fans of Sigma’s existing cine lenses.
Our factory in Aizu, Japan is the pride of the company, which is why we named our most premium line of lenses after the region.
Some quick specs: 95mm front diameter, 3.6 pounds average weight, 0.8 pitch gears (with a uniform placement from focal length to focal length) and a luminous paint job on all markings (helpful for dark sound stages) make these primes camera department approved. We can move fast when switching matte boxes and follow focuses, and that means a lot as camera teams everywhere have been asked to deliver more with less. I’m also happy that the set includes both a 27mm and a 32mm — two focal lengths that I’ve often wished more manufacturers embraced.
These twelve lenses (8 at launch, 4 more coming in 2026) are the world’s first T1.3 primes covering large-format camera sensors (especially Alexa Mini LF in Open Gate). But being first for the sake of being first means nothing if the lenses don’t perform optically. And, perform they do.
The initial 8 Aizu Primes shipping in mid-202527mm T1.3 Aizu Prime attached to ARRI ALEXA Mini LF
I was lucky enough to receive a few Aizu focal lengths for testing on a recent shoot for NBC’s Wild Kingdom as well as a commercial shoot, and I immediately threw them into the mix. There is indeed an organic feel to their look, but it is the three-dimensional nature of their look that first stood out to me. Lens nerds of all kinds call this feel different things — for example, this look could be called “pop” or “separation” too.
Utilizing the Sigma Aizu Primes (pre-production) in the field showed me how versatile this lens line can be, with a look that works in so many situations.
In short, there is a beautiful three-dimensional feel that separates the in-focus foreground subject and the background. I love it, and it’s one of my favorite things about the Aizu Primes. Pair that with a modern and flattering level of sharpness that your on-camera talent will love, and you have a look that isn’t too aggressive but sharp enough to bring out the details in any situation.
The close focus performance with this set is also extraordinary, with the 25mm close focus landing at just 1 foot (31cm), for example. That’s not measured from the front of the lens — that’s 1 foot from the sensor of the camera. This simply means you are reaching for your macro lens less.
Close focusing ranges from just 1 foot (31cm) with the 25mm lens, to 2.5 feet (73cm) with the 75mm lens.
With the Aizu Primes, there can be some subtle flare from light sources, but that too isn’t overwhelming. If you want a flare in your scene you can make it happen, but you don’t need to be afraid that every light source will lead to a flare that may distract from the performance of your subject. The flare handling is a great balance.
Flare is handled nicely, resulting in a look that is neither too sterile nor too far into “vintage” territory.
Oftentimes, we associate different looks with different genres (for better or for worse) — for example, the current in-vogue look in true crime tends to be cooler, darker and sharper. Rom Coms tend to be more warm and saturated. The Sigma Aizu Primes work in both worlds and a wide spectrum in between, and that also means, for me, they are safer choices to own. Simply put, they work in more circumstances and thus the investment makes more sense to me as an owner/op or from a rental house perspective.
The Zeiss eXtended Data port based on Cooke’s i/Technology protocol also future proofs the Aizu Prime line for owners and users. You may or may not work with post VFX teams currently, but the post team will love access to lens characteristics data to help their environments feel more real. All you need is a 4-pin LEMO cable going from the lens to your favorite camera body with a compatible port. Again, you may not need it on every project, but you’ll be surprised how quickly this functionality becomes “mandatory” for a variety of different departments.
LEMO connector port for Zeiss eXtended Data functionality
We don’t talk about this enough, but I also know that Sigma has my back from a service perspective. Having worked in military planes and even on the side of F1 tracks in Austria, I know that stuff happens and there is a level of comfort knowing that if I need a repair I can make that happen quickly and keep on filming.
The Aizu Prime line of lenses checks a lot of boxes for cinematographers, especially those who want consistency and unwavering quality. Of course, if you’re looking for more versatility, Sigma’s upcoming AF Cine Line — which includes the aforementioned 28-45mm and 28-105mm lenses, revamped for cine applications — is going to be another impressive addition. As an avid E-mount user, I’m going to keep my eyes open for more news there.
The Aizu Prime line represents the best of Sigma’s optical production capability, and we hope it finds a home in cinematographers’ kits all over the world.
It isn’t lost on me that there is a lot of choice in the cinema lens market. For me, beyond the gorgeous look of the Aizu Primes, it comes down to trust. Having worked with Sigma lenses for years now, I know I can take these new lenses into the snow, jungle and desert with confidence.
Flowers are the easy subjects to come by and to photograph, even close to home. You can go to local park or find a flower bed downtown or at the mall. You can visit a botanical garden, there is one in every major city. You can ask the neighbors if you can photograph in their garden. You can also just go the flower shop and buy potted or cut flowers, and set them up in your living room.
The easiest way, as I discovered this year, is to plant small flower garden in front of your house. Even for the sole purpose of having a photographic subject handy, they do not require that much work, especially if you choose the local wild flowers. The diversity in types and colors will help keeping you interested and returning often to add to the collection of images. Each day, the flowers will looks different, some will be already dying, and some will just start to bloom. There are new and different photos to be taken each and every day.
Don’t Forget to Check The Weather!
Weather is going to be your worst enemy. Sun and wind are two ingredients you need to be aware of at any moment.
They say that macro photography of flowers (and other plants) is the one type of photography allowed in the midday harsh light. Don’t believe it. It will at times create as much contrast between your highlights and shadows as for any other subject. Unless of course your flower subjects are in the shade or under a scrim. Pay attention to the light, and either photograph during “golden hour” or at times when the sun in on opposite side of the house. It will create far more beautiful images.
It is going to be quite difficult to avoid the wind. Even a small breeze can shake high stem flowers enough to result in blurry images. Especially if you photograph in the shade, with stepped down aperture (large f/ stops) for increased depth of field, the shutter speeds will be slow and the slightest movement of the flower will be magnified in your photograph. There is not much you can about it. Check the wether and pick the day of the week and the time of the day with the calmest conditions. Pick the side of house for your garden opposite to prevailing wind direction in your area. But also, you can just incorporate the movement into your photographs for fresh, creative look.
What Gear Do You Need for Flower Photography?
Photography of flowers is oftentimes at borderline of close-up and macro work.
If you have a point and shoot camera, many have excellent macro mode, which will allow you to get close. Turn it on.
On a dSLR, you will get the best results from dedicated macro lens. They come in few focal lengths, which vary by manufacturer. I found the Nikkor 85 mm works well for me and my shooting style. In fact, all images in this post but one were take with this lens. You can rent and try different lenses from one of several reputable online services (like BorrowLenses.com, LensRentals.com, LensProToGo.com) or check in local camera store before investing your money in one. Also consider that many all-in-one zoom lenses, like the Nikkor 18-200 mm or Sigma 18-300 mm I use, will allow you to focus from just few inches away. Other options include extension tubes and macro filters. This last option is the least recommended, but the least expensive at the same time.
Use These Settings for Best Results
The camera settings you choose will have strong effect on the final image. Play with them, if your camera allows it.
The ISO is best left alone on the highest setting you are comfortable on your camera. The higher the ISO, the shorter your shutter speed will be, but the more noise you will get. On most dSLRs, 400 or 800 is the best choice.
The other parameter you probably don’t need to worry much is the white balance. First, most dSLRs are quite good on the Automatic mode. Secondly, if you shoot RAW, you will have the most flexibility to change it afterwards. Third, the flower images are usually fine art not documentary, and as such are subject to artistic freedom. You might even try changing the white balance to warmer or colder for some artistic reason.
The Aperture priority or Manual mode will give you the most control over remaining settings. But stay away from really wide open apertures like f/1.8, or even f/5.6. Many beginners enjoy the shallow depth of field, especially shortly after upgrading from point-and-shoot which typically have unlimited depth of field. When you are close to the subject, the depth of field is too narrow and just not enough for any part of the flower to be in sufficient focus. You will quickly realize that anything starting from f/11 or even f/14 gives enough depth of field to avoid the feeling of out-of-focus, blurry image. Many times it is best to go as high as lens allows, up to f/22 or f/32 depending on the lens. Be also careful in how you position the camera in relation to the flower. The more parallel the sensor and the part of flower you want in sharp focus are, the easier it will be to achieve crispy look.
At the same time, the stepped down aperture might cause your background to come in focus and make the image too cluttered. To avoid it and have more control over the aesthetic of your background, replace it with your own. Take several different out of focus photographs- of cloudy sky, trees in several shades of green etc. If it is not single, solid color, it will look more natural. Print them as 11×14, and glue them onto foam core for more sturdiness and use as on-demand background. The more color choices, the more flexibility.
Getting Better Flower Photos With Precision
The last two pieces of advice in this post are going to have the most impact on your flower photography. These are also the two things too many of beginning photographers ignore, thinking they will be just fine without them. The results are mediocre instead of excellent.
First, put the camera on tripod. Really. It does not need to be fancy setup with ball head and removable center column, although it helps. What it has to be, however, is sturdy enough to keep the weight of the your camera. I am using Manfrotto 055XPROB with 488RC2 ball head. I went through several cheap, plastic tripods before giving up and finally investing into it. Avoid my mistake.
Secondly, use manual focus. Even with stepped down aperture, the depth of field will still be narrow. With the stabilized tripod, now you can make the decision if the middle of the flower or the petals are where you want viewers to look first.
I hope those few basic tips will get you interested in finding some flowers now and photographing them. Be creative. Have fun. And if you feel there is anything important I forgot, please ask a question or add your tips in the comments section.
For those brave enough to photograph sharks in their natural environment, the visual rewards can often be quite stunning. Some photographers even make their entire reputation about underwater photography and their creative approaches. As part of the Shark Week 2025 movement we thought we’d show some of our favourite photographs of sharks for a little bit of inspiration. We certainly are not saying you should go out and shoot these yourselves without a lot of experience, but sharks are a huge part of our natural diversity and deserve this spot in the photography pantheon.
Michael Worden
Ishan @seefromthesky
Kinø
Amanda Bear
Elizabeth Villalta
The common thread that units all of these wonderful photographs of sharks is that these particular ones all have exceptional composition. With very clearly defined centres of interest and lots of negative space to draw your eye to that centre of interest it’s a skill that makes for a very compelling photograph. If you would like to get some tips on your own compel compositions then don’t forget to check out our composition drills here.
Gerald Schömbs
Michael Worden
Gabriel Dizzi
Jonathan Lackey
Owen Harding
Chase Baker
Ali Maah
Kris-Mikael Krister
Gerald Schömbs
Oleksandr Sushko
Jared Rice
Jonas Allert
It’s wonderful that the Discovery Channel has started this annual tradition of celebrating sharks and given us an opportunity to take a look at some of the inspirational images photographers can take with this wonderful subject. Hopefully this collection has given you a few things to think about.
Photographer Jillian Lenser with models and crew, capturing BTS on a fashion shoot (crew credits at end of article)
The Sigma BF camera has become my unexpected companion on set. When I normally juggle multiple cameras for different casual use cases, this chic aluminum unibody camera now efficiently handles all of my behind-the-scenes needs.
The Sigma BF is not just easy to use, it’s visually striking, perfect for use in a studio or on set.
At its core is a 24.6 megapixel full-frame sensor delivering files crisp enough to blend seamlessly with my main camera’s output when needed. Its video capabilities are surprisingly high-quality for such a compact body: 6K at 30fps for primary footage and 120fps in Full HD when you need that slow-motion moment. It won’t replace dedicated cinema gear, but it exceeds expectations for quick clips and social content.
The 230GB internal storage might be my favorite practical feature. Say goodbye to that sinking feeling when you realize you’ve left your cards at home. When the day wraps, one USB-C cable handles both file transfers and recharging — a small but meaningful workflow improvement. No more juggling multiple memory cards and card readers.
Simple and intuitive, with a fast workflow (and no accessories and attachments to lose).
Sigma embraces minimalism with the streamlined menu, shutter button, a single dial, and just a handful of essential buttons. The uncluttered screen allows for thoughtful and accurate composition. For lower lift shoots, I typically offer a second camera to an assistant to snap some BTS. The simple interface of the BF means they catch on fast, letting me focus on the main project.
With no viewfinder or tilt/swivel screen, the fixed LCD screen initially threw me off. But what seemed like a limitation actually became liberating as it forced me to break my usual patterns and discover new perspectives. This disruption to my workflow pushed me to engage with subjects more intentionally, something that’s easy to lose when you’re operating on photographer autopilot. It’s definitely not for everyone, but this constraint ultimately refreshed my own creative approach.
The Sigma BF — beautiful from all angles and easy for anyone to pick up and use.
As an L-Mount camera, the BF plays nicely with lenses from Sigma, Leica, and Panasonic. I’ve been pairing it with a classic 50mm prime for straightforward BTS work, but Sigma’s variety of zoom lenses provide versatility when capturing wider sets or working in a smaller studio.
Battery life typically handles a full day of stills, though heavy video recording will drain it faster. The ability to charge via fast USB-C keeps things moving when I’m recording extensively.
A few standouts from the 13 color modes available are Standard, Rich, Teal & Orange, and Monochrome. The color modes offer creative options you can quickly cycle through to customize each photo without post-processing. I generally stick with the Rich color mode which warms up the image without drastically distorting colors, but having all of the alternatives helps match any specific mood or lighting situation.
The simplicity and design are the obvious standouts of the BF, but arguably more importantly is how this camera facilitates human connection. Its distinctive design sparks conversations, and its approachable interface encourages others on set to pick it up and capture moments themselves. This collaborative aspect creates more authentic behind-the-scenes content than I could manage alone.
In an industry where content deliverables now often include BTS video or social-friendly extras, having a camera like the BF feels less like a luxury and more like a smart adaptation. It seamlessly transitioned from being just a tool on set to becoming the camera I reach for in my personal life too. It’s so effortless to use that I find myself grabbing it for weekend walks, dinners with friends, or travel moments I used to leave undocumented.
It’s rare for a camera to feel equally at home in both work and life, but the Sigma BF has genuinely brought back the simple joy of photography for me. No overthinking settings, no menu diving… just seeing, composing, and shooting. It reminded me why I fell in love with photography in the first place.
This camera won’t replace your professional level gear, or those needing dual card slots or built-in viewfinders, because it’s not supposed to.
What it offers instead is something increasingly rare: photography stripped back to its essence of seeing and capturing, consistently delivering beautiful results.
Night sky is an addictive subject to photograph and if you look closer, there are many night sky objects that you can photograph, other than the moon and the Milky Way. On very clear nights, you will be able to see a lot of nebulae, star clusters, cloud complexes and even a galaxy without the aid of a telescope.
Right now it is the Milky Way season in the Northern Hemisphere, but for those who live in the Southern Hemisphere, there are many objects in the Winter sky that are worth photographing. If you are new to astrophotography, start by photographing the moon and then move on to photograph the Milky Way, before working towards photographing deep space objects.
Grab your Milky Way Photography Blueprint for free righthere.
In this article here, we have put together a collection of tutorials that are highly detailed and provide you with every information you need to photograph the sky at night. Don’t forget to check out the “Further Reading” section.
Let us start with the Moon which is the natural satellite to our planet Earth and it is one of the closest and brightest subjects in the night sky, that you can easily photograph. If you observe the moon over a few weeks, you will get an understanding of the phases of the moon, its rising and setting time, etc. You just need to do a little bit of planning to get the best shot.
Graphic by Light Stalking
If you are wondering what if you do not have a camera yet, but only a smartphone that you use to capture photos right now? Smartphone technology has advanced quite a lot in the recent years and they can be used to capture beautiful images of the moon and some brighter objects in the night sky. Especially if you are a a beginner in astrophotography, with some practice and knowledge, you can capture interesting photos of the moon with your smartphone.
Photo by Dahlia Ambrose using Samsung Galaxy S22 – 20x digital zoom. ISO 25, 69mm, -0.2 ev, f/2.4, 1/583s. Cropped to fill the frame.
And, did you know that the moon is not just white, but has some colours due to the mineral deposits on its surface? If you zoom in on live view with a long lens, on a very clear night, you will be able to observe these colours faintly. You can photograph the moon and bring in those beautiful colours and this article will help you achieve that. It is interesting and can be done during any phase of the moon, but remember that you will have to take a series of shots to get the best results in terms of colours and details.
Photo by Dahlia Ambrose
We have heard of rules for correctly setting exposure for certain subjects in photography, rules that do not need to be followed as such, but rules that can help you get started initially and then can be refined further according to the situation. One such rule to capture the moon is the Looney 11 rule which can be a start to estimate exposure times. We will summarise the rule here:
Set aperture to f/11 and shutter speed to the reciprocal value of ISO.
Check out the article to learn more about this rule.
Graphic by Light Stalking
We live in the Milky Way galaxy and it is one of the easiest subjects to photograph, after the moon. Depending on the time of the year, you will be able to photograph only specific areas of the Milky Way galaxy. The core is the most stunning region and it is above the horizon at night, a few months every year. So keep an eye on the weather forecast and find the darkest location possible and photograph the Milky Way with the camera you have in hand.
Photo by John Lemieux
If you want to go a bit further after some experience and photograph a nebula, the Orion Nebula is one of the easiest to capture and one that is most commonly photographed too. You can use the camera that you have in hand and a moderate focal length lens to capture the frames and then with some detailed post processing, you will have a beautiful image. You will need to capture a series of shots including calibration frames and everything is explained in detail in this article.
Photo by Dahlia Ambrose
Now, similar to the rule we mentioned above to set exposure for moon photography, if you are a beginner and not sure where to start in terms of settings for your night sky photography like stars, nebulae, etc., start with the 500 rule. It is not very accurate, but is a great start to get an image of the stars, galaxies and the Milky Way. Here is the rule summarised below:
Set your camera to ISO 3200 or 6400, your Aperture to f/2.8 (or as wide as possible) and your shutter speed to 500 divided by the focal length of your camera, taking into account the crop factor of your camera.
There is also a 600 rule where you replace the 500 above with 600 and see if it works better than the above setting.
Snapwire at Pexels
With more advanced cameras and sensors, sometimes the 500 or 600 rule may not get you the best results, especially if you want to have a large print. Sometimes there may be some trailing in the stars instead of point sharp stars. To avoid this situation, the photographer needs to calculate exposure based on the type of camera and lens combination.
A formula was devised by Frédéric Michaud for the Société Astronòmique du Havre called the NPF rule which is quite complex, where
N stands for aperture, the letter N is used to represent aperture in optics.
P for photosites or pixel density or pixel pitch (distance between two pixels)
F for focal length
If you have an app called PhotoPills, you can easily calculate exposure times using the NPF rule on that app.
Screenshot from PhotoPills App showing different exposure times for two different full frame cameras
Star photography is easy, but in order to get the best results like sharp and noise free images, there are a few things that you will need to keep in mind. It also requires you to choose the right location, weather conditions, keep an eye on the moon phases and use the right tools and accessories to get the best shot. Last but not the least, patience and practice is key to perfect star images.
Photo by Skeeze
Cameras come with noise reduction features called high iso noise reduction and long exposure noise reduction. Many photographers seem to be confused if they need to leave these settings on for astrophotography, in order to get the best results. Depending on what you are shooting, these features can cause some delay in sequences, can cause heat, and also remove faint star details. Read to find if you should leave these settings on or off for astrophotography and why.
Image by Benjamin Voros
When capturing night sky or dep space object, you are working with very little light and longer exposure times. Factors like heat due to long exposure and high iso can induce thermal and/or digital noise in these photographs that can leave unwanted effects/artifacts in the images that also greatly reduce the sharpness and quality of the image. Here are some ways in which noise can be reduced in your night sky images.
This is how noise looks in photographs – this is for illustration purposes only. Image by MartinThoma
We’re happy to announce the winner of June’s competition “June 2025 Photo Contest Winners: Minimalism and Simplicity.”
For those who don’t know, the Light Stalking Monthly Photography Competition carries a $100 People’s Choice Award and a $100 Overall Winner Award. The People’s Choice Winner is selected by a vote of the community, whereas our guest judge selects the overall winner.
The “Minimalism and Simplicity” Photo Contest
Minimalism in photography is about reducing the number of elements, minimising or even eliminating patterns and textures to capture a simple image with a strong composition that is visually appealing and can keep the viewer engaged. As you gain experience in photography composition, looking at a scene will give you ideas on whether it will work for minimal photographs, but sometimes you can also just focus on a part of a grand scene and capture minimal photographs.
Less is more in minimalist photography and the concept for this type of composition is simplicity. Just eliminate unnecessary elements and focus on a single element or subject in the frame and it will be a great start to minimalism and simplicity in photography. Using negative space can be a powerful compositional tool in this case and converting images to black and white can emphasise minimalism further and add a timeless and classic touch to the photos.
The contest theme for June was, “Minimalism and Simplicity” and participants submitted their interpretations of this theme through interesting and visually striking photographs. Landscapes, wildlife, portraits, nature, still life, macros of flowers, bugs, objects, and many other subjects were captured and submitted for June’s contest.
When choosing the winning photos, we wanted to make sure that the decision process was based on a good interpretation of the theme, followed by other factors like light, composition, story, details, creative vision and thought, etc. The results are entirely subjective and there are no losers in any competition as we all know.
Here are June’s winners:
First Place: “Family” by Elin Laxdal
Common loon – Copyright Elin Laxdal
Elin submitted a beautiful photo of a common loon with her babies, titled “Family.” The composition in this photo is minimal with the focus on just the bird and the chicks. The photo also portrays a sweet story – the bond between the parent and the babies.
Elin also used the reflection of the loon in water to her advantage, as a leading line which is a powerful compositional tool. Also, her choice to convert the image to black and white has eliminated anything distracting in terms of colours, that may have taken away some attention from the subject. The image is perfectly exposed with details in both the dark and bright areas and the eye of the bird is also perfectly in focus.
Congratulations on the win Elin, this is a brilliant shot that portraits minimalism and simplicity in photography.
Second Place: “Mantid” by Tersha
Mantid – Copyright Tersha
Tersha’s take on the photo of a mantid is very clever and the way the photo is composed is unique. Not many photographers would think about cropping off an insect’s head in the image, but Tersha’s choice to keep the abdomen and just a pair of legs in the frame arouses curiosity, while also being visually interesting.
The image is even more simplified with a monochrome theme which is green. The textures in the background are soft and minimal and hence not distracting. The legs of the mantid serve as leading line and also as a frame to bring focus on the mantid’s abdomen. The abdomen itself is interesting, with patterns that are of visual interest. The soft side lighting technique has added depth to make the image even more interesting.
Congratulations on this creatively framed and captured image Tersha.
Third Place: “Serenity Floats” by Pat Garrett
Serenity Floats – Copyright Pat Garrett
Pat shared this very minimal photo of a leaf floating on water, titled “Serenity Floats.” The scene indeed looks very serene with the waters looking calm and the leaf floating still on the surface. The golden hour has beautifully backlit the leaf, revealing some of its textures and emphasizing the warm colours. Also the reflection of the golden sky in the water adds visual interest and a perfectly warm atmosphere for this serene shot.
Pat has chosen to eliminate any other distraction in the scene in terms of colours, objects and other elements. The serene atmosphere itself is a minimal concept in the frame, and the colours, light are soft allowing the viewer to focus on the subject. Pat has also exposed the image perfectly to capture details on all parts of the leaf including the underside.
Congratulations on this beautifully captured image Pat.
People’s Choice Award Winner
Our monthly photo contests also come with a People’s Choice Award. The winner of this part of the contest receives $100 worth of store credit on Lightstalking which they can spend as they please on our blueprints, drills, courses or Presets.
Mechanized Symmetry – Copyright Frogdaily
The most popular photo for June, voted by the contestants was “Mechanized Symmetry” by Frogdaily, which has won the people’s choice award. Frogdaily has made use of simple subjects and composition to capture this beautiful photo.
The light illuminating the subject, the beautiful reflection and the soft bokeh, make this image visually appealing. This image is also an example of how still life can also be captured with minimal elements and a simple composition. Congratulations Frogdaily on the win.
We are about two weeks into this month’s photo contest and still have a few days left to submit photos to our July’s monthly contest. It has already seen some interesting submissions. This month, our theme is “Textures and Layers.”
Sony electronics has announced the third generation camera in its RX1R series, the RX1R III, which is a full frame compact camera featuring a 61 megapixel sensor and a Zeiss 35mm F2 lens. With the RX1R series being a popular one among select photographers, Sony decided to release a new model.
Sony has used a back-illuminated CMOS image sensor combined with the BIONZ XR image processing engine, that produces high quality images and low noise. The sensor comes with anti-reflective coating which helps to eliminate the optical low-pass filter, resulting in better image quality.
Image via Sony
As with most of Sony’s professional cameras in the Alpha series, the RX1R III comes with an AI processing unit that can recognise movements of most subjects, making tracking subjects easy even when their face is not visible. Even though the camera comes with a fixed 35mm lens, the Step Crop shooting function will allow the user to switch between three equivalent focal lengths – 35 mm, 50 mm and 70 mm through assigned buttons/dials. The camera lens also comes with a macro ring, that enables switching to macro mode instantly.
Following Sony’s “Road to Zero” initiative, the RX1R III and other of Sony’s imaging products are manufactured at facilities that operate on 100% renewable energy. The packaging also comes in environmental friendly material.
Here are some of the most important features of the Sony RX1R III:
Sensor – 61MP full-frame Exmor R CMOS sensor
ZEISS Sonnar T 35mm F2 lens – fixed
BIONZ XR processor
Macro ring for instant macro mode switching – 20 cm minimum focus distance
Anti-reflection coating on sensor
Step Crop Shooting – 35mm, 50mm, 70mm equivalent
693 phase-detection AF points
High iso sensitivity
Advanced AI for subject recognition and AF tracking
12 creative presets and 3 film style looks
Touch LCD screen
Compact and lightweight
Battery life: 300 still images
USB Type-C port
If you wish to watch the product video, check the YouTube video below:
If you have followed my ramblings for a while here at Light Stalking, you will know there is one technique that I really like as a way to improve creativity.
That technique is to restrict yourself.
That can be done in different ways. Using a single prime lens is one that I talked about recently. Restricting the number of shots you take is another, as is revisiting the same location multiple times.
Today, I would like to talk about another restrictive technique that I think really boosts your creativity. Limiting yourself to just one hour. I tried it out recently for a YouTube video I was creating and found it a very compelling way to get more creative, and the images I have used in this article were taken in that one period. Let me explain a little more.
Restricting yourself in photography, in general, might seem a counterintuitive way of doing things. After all, digital gave us the freedom to shoot as much as we liked for as long as we wanted (given enough batteries).
That, however, is the problem. That freedom to continue shooting everything can often come at the cost of creativity. We speed up, we shoot everything and anything, our photography becomes less considered, less patient, and in my opinion, less creative. I have a disdain for photographers who boast on social media about how many shots they got on a particular shoot. I would rather have 5 good shots than 500 average shots.
Adding any of the restrictions I mentioned above, you will tighten up your compositions, take more time, and get better shots.
When we go out with no fixed time frame in which to capture images, we can get lazy. We can overthink a single image, or conversely, we can try to capture far too much without thinking creatively. We can get a good shot, but ignore the fact that the light is going to improve in 5 minutes, missing out on a great shot. In short, we lose focus on what’s important.
Many of us live busy lives, and often that can mean that when we do get the chance to take some photos, we tend to try and shoot as much as we can.
As I mentioned, restricting yourself in general can be a very good thing in photography. Restricting yourself to one hour has some very specific and perhaps surprising results.
The first thing that you will notice is that you start to think and compose quicker. You start to notice things faster and, in turn, see more of the details in a shot. You may well start to see the light differently, how it can change minute by minute at a given location.
Another thing that you may well notice is that you don’t actually feel rushed. You are not trying to cram in as many shots as you can, rush around from location to location. That lack of haste is actually a creativity boost. You will find yourself slowing down despite the time restriction.
So, how would you go about a one-hour photo shoot?
The first thing is to manage your expectations. Not just about what you will capture but the location and the weather as well. The concept works best without too much preplanning.
Pick a location that you think will be suitable. It could be a district of a city or town, a beach, or perhaps a mountain landscape. Choose a time to go and shoot, and don’t worry too much about the weather.
In terms of equipment, don’t weigh yourself down with loads of kit. Like having too much time, having too much gear leads to indecision on what lens to use, whether to set up a tripod, etc. I like to restrict myself to one camera, one lens, which can be a prime or zoom. My preference is for zooms when shooting in just one hour.
Get to the location and take a few minutes just to relax and look around. Then set a timer on your phone for exactly one hour and just wander. Try not to look at the timer; doing so can introduce haste. Instead, take your time to observe, compose and shoot. The key to a one-hour photo shoot is not the quantity, but the quality.
If a particular shot or location is working, don’t feel the need to rush it and move on; instead, simply enjoy what you are doing. I would also advise not to chimp your photos, trust your instinct and enjoy the fruits of your labour when you get home. Often, chimping can lead us to continually retake the same shot, as well as delete shots that might not have worked. Those poor shots are worth keeping as they show us where we went wrong.
When the timer alarm goes off, stop shooting, regardless of what you are taking at that moment. Put the camera away, perhaps get a coffee, relax and think back over the shots that you have taken.
In a single one-hour shoot, you will learn not to rush and to take time with individual compositions rather than shooting everything you see. However, if you use the one-hour technique on a regular and frequent basis, you will learn much more.
The first and perhaps most important thing is that you will become much more instinctive with your camera controls. The simple act of raising the camera, choosing the settings, and shooting will become second nature.
You will find yourself scanning a scene much more carefully, yet picking out good compositions much quicker. You will also find yourself working on a single composition instead of hunting for many.
Perhaps most importantly, you will find yourself gaining confidence. Confidence not only in your ability with the camera, but also with the work you are capturing.
Restricting your photography to just one hour might seem counterintuitive; however, if you try it out regularly, you will soon find your creativity improving and your ability with the camera getting more instinctive. That can only be a good thing considering the limited time you need to put into it.
Welcome to another wrap-up of the wonderful Light Stalking photography community for this week. It’s been another epic week of our members capturing incredible photographs and displaying their creativity. Let’s jump straight in and look at some of the highlights.
The theme for the weekly photography challenge to now has been “Faces of Depth” – and as usual, giving people artistic license on a particular theme has produced some wonderful results.
As usual, Patrick managed to freak us all out with his creativity but this time in a bit of a spooky way.
Pat Garrett had a more conventional approach to the same theme and came up with this lovely portrait.
Robert Apple decided to pull out the macro lens — and I think you’ll agree, the results were well worth the effort.
Elin Laxdal always keeps the quality of her images extremely high, and her approach to the theme this week continues that same spirit and quality.
And we can’t not mention Patrick’s new little friend — who got quite a lot of love on the forum this week too.
Photo of the Week
Coincidentally, Michael submitted this image to the weekly photography challenge and managed to snag the Photograph of the Week. This one was judged by Federico, who has shown a real affection for pushing visual boundaries through artistic creativity lately — and I think this image is a perfect example of that. Well done to Michael.
There were also a few other non-challenge related images that are worth a callout.
Daniel Kreuger gave us this great attempt at bug macro photography that I thought was well worth another look.
Another one that needed to be called out was by Light and Shadow, who has been experimenting with his black-and-white work lately.
What are your thoughts on AI and photography?
Personally, I’m starting to get a little bit freaked out. I did an experiment after reading somebody else’s attempt at AI photography on TikTok and immediately shot a selfie with no setup whatsoever. I simply took it where I stood and uploaded it with a detailed prompt to ChatGPT. Here are the before and after:
Don’t get me wrong — it’s not perfect — but wow, that is an incredible outcome and has me a little bit worried for some elements of our craft.
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