FStoppers

Lightroom can make a flat landscape feel like it has a clear subject, but only if you control where the light goes. This video shows how simple masks can push attention without turning the edit into a fake-looking mess.

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Photography arguments don’t stall because people are uninformed. They stall because professionals, hobbyists, and spectators speak from different realities while using the same language. This text maps the fault lines that make most debates structurally impossible.

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I have long wavered between being a "bag 'o primes" shooter and a zoom lens shooter in my personal work. Sure, as a photojournalist and sports photographer, the choice was always easy: zooms. But for everything else, are zooms the best choice?

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If you use Lightroom Classic, masking is the line between “good enough” and an edit that looks intentional. This video focuses on the masking tools that let you target light, color, and texture without pushing the whole frame in the same direction.

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A wedding job can look like a Saturday with a camera, until someone vanishes and couples are left staring at a calendar with no plan. The video takes that nightmare scenario and turns it into a blunt checklist for how you avoid becoming the person everyone warns about.

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Getting a landscape file to feel deep and directional often comes down to what you do in editing, not what you did in the field. This matters to photographers who want edits that look intentional without turning every frame into a loud, crunchy mess.

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Fujifilm has built an empire on it. Nikon proved it works at full frame. Canon is openly entertaining the idea, with an AE-1 tribute rumored for this year. And Sony, the company that defined modern mirrorless photography, is nowhere to be found.

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Working the ICE story in Minneapolis meant relying on others—friends, colleagues, total strangers even. It meant leaning on the community and knowing how to sift good information from bad—and by the end of my time there, there was a lot of the latter.

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Are you a smartphone photographer or videographer? Then the Haida MagSafe Magnetic Filter Holder and smartphone filters might be a nice addition, giving you some extra creative options. I received a set from Haida to try out. Curious? Read about my findings in this review.

Using a smartphone as a camera is, of course, perfectly fine. The quality can be surprisingly good, especially with high-end models. Just like with real cameras, filters can also be used on smartphones. This offers extra creative possibilities.

Haida has also entered the market for smartphone photography...

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Among the many AI-powered image enhancement tools, the one we show in this article is the first to come close to a one-click solution for print preparation, with nearly no additional cleanup required.

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Sony's a7 V sounds like the obvious upgrade if you want a faster, more responsive full frame body without jumping to a flagship price. The catch is that a spec sheet won’t tell you where the real compromises hide.

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If you’re trying to earn more from photography in 2026, you’re juggling two fights at once: getting better at the work and staying visible in places like Instagram without wasting your week.

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You’re probably eyeing the Sony a1 II because you want one body that can handle sports, wildlife, portraits, and serious video without feeling like a compromise. The catch is that it’s priced like a long-term decision, so small differences in handling, tracking, and video tools turn into real wins or real regret.

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A single-lens travel setup sounds simple until you try to cover 25mm through 200mm without hating the compromises. The Tamron 25-200mm f/2.8-5.6 Di III VXD G2 aims straight at that problem, and the details in this review land right where your real-world shooting gets messy.

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Nikon has just announced a new firmware update for their Nikon ZR cinema camera. Let’s have a look at some of the coming updates.

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Have you ever gone back to look at older images you created? Whether they’re from six months ago or six years ago, there are often elements worth revisiting. As our eyes mature and technology advances, we’re able to see opportunities to refine those images in ways we simply couldn’t before.

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If you’ve ever looked at National Geographic’s “Your Shot” favorites and thought, “I could never compete with that,” you’re not alone—and you’re also probably aiming at the wrong target. Most photographers assume editors are hunting for the sharpest file, the cleanest composition, or the most technically “correct” exposure. A picture editor’s job isn’t to find the most perfect photograph. It’s to find the photograph that can carry attention, meaning, and credibility—fast—and still feels worth returning to later.

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Proof that you don't need to spend $2,000 to get professional results.

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Standing in front of a landscape that feels unreal can make your brain short-circuit, and your photos often show it. This video breaks down a method for getting past that frozen, everything-is-important feeling without turning the moment into a checklist.

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You can shoot the same subject twice and still end up with two completely different photographs when the conditions change, especially when snow rewrites every edge and shadow. This video follows an ultra-large format camera shoot where the stakes are simple: get it right before the light fades and before you ruin the scene by walking through it.

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