FStoppers

Film photography costs money at every step, and if you shoot both film and digital, keeping a consistent look across both can be a real headache. Knowing how to replicate that film aesthetic in post gives you control over the final result without being locked into a single workflow. 

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Canon's new RF 20-50mm f/4L IS USM PZ covers ultra-wide to standard focal lengths in a compact, lightweight body with a powered zoom and optical stabilization. At around $1,400, it sits in a competitive price bracket where Canon already has some well-established options. 

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The Sony FE 100-400mm f/4.5 G Master is Sony's answer to what a professional telephoto zoom should look like when price is no object. At roughly $4,300, it sits in a category where the competition is thinner and the stakes are much higher. 

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Most photographers will tell you the same thing: don't use a fisheye for portraits. 

It distorts faces. It bends lines. It makes people look weird. And honestly, they're not wrong.

But they're also not thinking about it the right way.

For one of our recent shoots, we built an entire portrait concept around the Sigma 15mm f/1.4 DG DN Diagonal Fisheye | Art. Not in spite of what it does, but because of it. Instead of trying to control or minimize distortion, we designed everything to work with it.

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The Canon EOS R6 V sits in a genuinely interesting spot in the lineup, and if you're trying to decide between it, the Canon EOS R6 Mark III, and the Canon EOS C50, the answer is not as obvious as Canon's marketing might suggest. 

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Alongside the EOS R6 V camera body, Canon today announced the RF 20-50mm f/4 L IS USM PZ, the first L-series lens from Canon to include built-in power zoom without requiring an external accessory. The lens is aimed at video shooters and hybrid creators working on gimbals, sliders, and handheld setups, and serves as the native companion to the video-focused EOS R6 V. 

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Canon today announced the EOS R6 V, a new full frame mirrorless camera built around video capture, alongside the RF 20-50mm f/4 L IS USM PZ lens and a set of accessories aimed at solo creators and small productions. The R6 V is the first V-series body to use a 32.5-megapixel full frame sensor, and it slots into Canon's lineup as a video-first counterpart to the still-focused R6 Mark III. 

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In March 2026, the National Republican Senatorial Committee released an online ad featuring a minute-long video of Democratic Senate candidate James Talarico speaking into the camera, reading statements the real Talarico had not spoken on camera. The Talarico in the video was generated entirely by artificial intelligence, voicing content drawn from the candidate's old social media posts. The words "AI Generated" appeared in small text in the corner of the frame at the start, then faded into even smaller text that remained on screen while the fake Talarico continued to speak.  

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Artificial intelligence has quickly become part of the workflow for many photographers. From culling thousands of images to automating complex edits, there's now a tool for almost every part of the process. But not all AI is built for the same job. 

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Chargers are the gear no one thinks about — at least until there is a need. Anker sent their Anker Prime Charging Station (8-in-1, 240W), a smart charger with app control. Who might benefit from this? And why might they need app control? 

The Anker Prime Charging Station (8-in-1, 240W) is a desktop hub that packs serious charging capability into a surprisingly small footprint. You can configure the AC outlets, monitor, and schedule with the app. Here are the key specs:

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Sony has officially announced the new FE 100-400mm f/4.5 GM OSS, a super-telephoto zoom designed for wildlife, birding, sports, and photojournalism work. 

I recently had the good fortune of spending some time with the new lens on the sidelines of an MLS match, shooting the Seattle Sounders — and in my opinion, this is exactly the kind of constant-aperture, long-reach G Master zoom that Sony's professional sports and wildlife shooters have been waiting for. Let's take a look at what makes this lens such a compelling addition to the acclaimed lineup of Sony G Master lenses.

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Sony just released a camera that outperforms their own flagship model and costs $2,000 less. That's not a headline you expect to write, but here we are. 

The a7R VI comes in at under $4,499.99. The a1 II sits at $6,500 and is supposed to be the best Sony has to offer. After spending a week with the a7R VI, using it for family documentary work and studio sessions, and comparing it spec-for-spec against the a1 II, the conclusion is hard to argue with: the a7R VI beats the a1 II in almost every meaningful way.

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Outdoor photographer Rainer Eder has teamed up with Swiss mountain sports brand Mammut to produce Pushing Boundaries, a visually arresting photo series that reimagines what athletic determination looks like when it's taken out of its natural habitat. Instead of pristine alpine settings, elite athletes are placed into unexpected, often industrial environments — spaces that test their physical ability, adaptability, and mindset.

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The Sigma 135mm f/1.4 DG HSM Art is one of the most optically ambitious lenses ever made for portrait work, and it exists almost entirely because Sigma wanted to prove it could be done.  

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The Lumix L10 is a fixed-lens compact camera with a leaf shutter, a viewfinder, a hot shoe, and a Leica-branded 24–75mm f/1.7–2.8 lens on a Four Thirds sensor. If you're weighing compact cameras for travel or daily carry, the spec sheet here is worth a close look. 

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The Leica M11-D is a digital camera with no rear screen, and that single omission is either its greatest flaw or its greatest feature depending on how honest you are with yourself about how you actually shoot. If you've ever told yourself you'd stop chimping and never followed through, this camera calls that bluff immediately. 

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Panasonic has announced the LUMIX L10, a new fixed-lens compact camera built around a Four Thirds sensor and a Leica-branded zoom. The release marks the 25th anniversary of the LUMIX line, and Panasonic is launching the camera in three finishes: Black, Silver, and a limited Titanium Gold Special Edition. 

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Most working photographers have a portfolio problem. The problem is not that the work is bad. The work is usually fine. The problem is that there is too much of it. Portfolios that should have 12 to 18 images contain 40 or 50 or 80. Websites that should load three galleries fast contain eight galleries that load slowly. Instagram grids intended to function as portfolios contain two years of inconsistent work that blurs the photographer's identity rather than sharpening it.

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Hunter S. Thompson is certainly one of my references — not because he ever cared about photography, but because he understood something most photographers avoid. 

Thompson wasn't just a journalist. He was the fracture inside the story, the man who erased the polite distance between observer and event and replaced it with something far more unstable. Gonzo wasn't a style. It was a position. A refusal to stand outside. He didn't look at the world — he entered it and let it deform him.

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Most photographers put the camera away when it rains, but I believe this is a huge mistake. I've found that some of my best photos are made when it's raining, and I make the effort to embrace it. Let's talk about why. 

The images in this article were shot recently on a trip to Bilbao, Spain. Everything was photographed on a Nikon Z6 III, which is weather-sealed and offered plenty of confidence.

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