FStoppers

That bargain client who seemed like easy money might be the most expensive mistake you'll ever make. While premium clients pay well and respect your time, cheap clients create a cascade of hidden costs that can destroy your photography business faster than a dropped camera.

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If you shoot weddings or portraits, you already know how an 85mm changes the look of a frame. The right 85mm gives you crisp eyes, soft backgrounds, and the working distance to keep moments natural.

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It may sound bold, but I do believe Leica M-mount lenses are making a quiet resurgence, not just among loyal Leica shooters, but across the broader mirrorless world. A statement like that probably needs some explanation, so hear me out.

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The Sony FE 50-150mm f/2 GM lens offers constant f/2 across a hugely useful range, giving you tighter framing and background separation without jumping to primes. Can it replace all those primes?

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If you shoot high-resolution stills and need reliable video on the side, the Sony a7R V mirrorless camera sits in a tempting spot. You get 61 megapixels, a superb EVF, and autofocus that lets you focus on the scene instead of fighting the camera.

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Wide angle zooms are tricky. You want width without warping faces, speed without bulk, and autofocus that doesn’t miss when your subject moves. That’s why a 16–30mm f/2.8 that stays sharp, balances on a gimbal, and holds focus in tough light matters if you like working close, shooting environmental portraits, city scenes, or video where you walk and talk.

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Getting into video production? Want to record a podcast? Maybe interview someone for a vlog? There are microphone solutions for all of these individual audio scenarios, but there isn’t any one handy solution that covers them all. Until now.

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Every photographer's journey starts with boundless enthusiasm and a camera, but most beginners unknowingly sabotage their progress with costly mistakes that could easily be avoided. These ten brutal truths about amateur photography will save you thousands of dollars, countless hours of frustration, and help you skip the painful learning curve that destroys so many creative aspirations.

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The conventional wisdom says you should stick with Sony or Canon when buying your first full frame camera. This advice might actually cost you money and limit your creative potential in ways you haven't considered.

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Here's something a little different to display your photos. It's the Aluratek ePaper frame. Photos look like printed photos, and this 13.3" Wi-Fi-connected frame can run for about a year after a charge through its built-in USB-C port.

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The Brightin Star 50mm f/0.95 lens turned a lot of heads when it first hit the market because of its extremely fast aperture and attractive price point. Here's a look at how it performs in the real world.

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The Canon RF 35mm f/1.4 L VCM promises significant upgrades if you're looking to step up from the popular RF 35mm f/1.8. Here's a look at what you can expect.

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If you've been considering a high-quality portrait lens without overspending, the Viltrox AF 85mm f/1.4 Pro FE lens could be exactly what you're looking for.

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Today, I’ll talk about three key reasons you might want to consider the NIKKOR Z 28-135mm f/4 PZ power zoom lens.

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Canon’s RF 24-105mm f/2.8 L IS USM Z lens has stirred plenty of interest with its big aperture, power zoom, and substantial price tag. But does it justify the investment?

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You don't need to spend thousands to capture magazine-worthy photos and television-worthy videos that rival expensive professional equipment. These 10 modern cameras (no DSLRs!) prove that exceptional image quality, advanced autofocus systems, and professional features are now accessible to photographers on any budget.

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For anyone who’s serious about capturing detailed, crisp images with smooth, beautiful backgrounds, lens choice can change everything. This lens looks like a fantastic option.

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Choosing the right 50mm lens can dramatically impact both image quality and day-to-day usability. The Canon RF 50mm f/1.4 L VCM lens has entered the scene promising high-end performance in a lighter package, raising questions about whether it's worth replacing the heavier but highly respected RF 50mm f/1.2 L.

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If you shoot weddings or events, you’ve likely hit the wall where 24mm just isn’t wide enough. Tight prep rooms, crowded dance floors, and sweeping venue shots demand a true ultra-wide that still works when you move in close.

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The question becomes: how does a photographer think? I don’t know how everyone else thinks, but I can tell you my process.

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