Choosing between the Tamron 35-100mm f/2.8 Di III VXD and the Nikon NIKKOR Z 24-120mm f/4 S comes down to tradeoffs that show up the moment you start shooting. The differences in reach, aperture, and handling shape how you work in travel, portraits, and day-to-day carry.  [Read More]

Photo fakery has existed since the darkroom days, with photographers removing poles from people’s heads or positioning dead bodies in photos for impact. But the fakery has shifted to the one place it never should have: the government itself.  [Read More]

Photography is usually described as a visual medium, but a lot of the work around it happens in sound. Learning, editing, and reviewing work all benefit from being able to control what you hear — or don't hear — while you're working. That's where a good pair of headphones becomes less of a convenience and more of a practical tool. For photographers, cutting out the world with headphones makes a noticeable difference to how work gets done. Add noise-canceling properties to that mix and you are now working at a level of productivity that is hard to beat. [Read More]

The Canon EF 70-200mm f/2.8L IS III USM sits at the end of Canon’s DSLR era, and it still tempts anyone who wants reach, speed, and flexibility in one lens. If you use a Canon body, especially mirrorless, the question is simple: should you adapt this classic and save money, or move to RF and carry less weight?  [Read More]

The Sony 16-35mm f/2.8 GM II promises better sharpness, lighter weight, and faster autofocus than the original. When a lens costs $2,300, those claims need to show up in real use, not just on a spec sheet.  [Read More]

The age of AI has been widely viewed as a direct attack on photographers and artists, and while off-the-cuff advice like "adapt or die" may seem practical, it misses the greater picture. Working photographers need to redefine their value by showing where their humanity and vision shine through in ways technology cannot replicate.  [Read More]