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SG-Image’s New Pancake Lens Is Here

Chinese manufacturer SG-Image has officially unveiled its AF 35mm f/2.2 lens, which first showed up back in January. The lens is part of the company’s “EZICARI Series” and is meant for photographers that want something small and easy to carry, especially for street photography or travel.

The lens weighs 163 grams and is 36.2mm long, making it a good fit for smaller full-frame bodies like the Sony A7C, Nikon Zf, or Panasonic Lumix S9. Despite the size, SG-Image went with a full metal barrel, which should give it a more solid feel in hand compared to a lot of other budget lenses. The autofocus is said to be quiet and precise, and the lens ships with a square metal hood.

Looking at the specs, it is a full-frame autofocus lens with a 35mm focal length and a 66-degree field of view. The optical design is fairly simple, with seven elements arranged in five groups. It also uses a nine-blade aperture, which should help keep out-of-focus areas looking reasonably smooth.

The aperture range runs from f/2.2 to f/16. It is not the fastest 35mm out there, but it should still be usable in lower light and give some subject separation when needed. There is no aperture ring on the lens, so all adjustments are handled in-camera.

Minimum focusing distance is 0.35 meters, with a maximum magnification of 1:7.7, so it is not really a close-up lens, but it can handle general shooting without any issues. The lens uses a 52mm filter thread, which is a pretty standard and convenient size if you already have filters.

In terms of overall size, the lens measures 69mm in diameter and 36.2mm in length.

The AF 35mm f/2.2 will be available for Sony E-mount, Nikon Z-mount, and L-mount cameras. Pricing is set at $149 for the standard version, or $159 if you want the version that includes the lens hood.

A few sample shots:

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Interview with Ashraful Arefin

This week’s Interview with Ashraful, a talented photographer from Bangladesh. I am truly honoured to have had the opportunity to interview him again, this time with a closer look at his newer work!

You can find him on Instagram as: @ashrafularefin

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Ashraful Arefin, a street and travel photographer from Dhaka, Bangladesh. My journey with photography started over a decade ago, but creating visual stories has always been second nature to me. I’m drawn to quiet beauty, fleeting moments, and the magic hidden in everyday life. Whether I’m capturing the energy of a crowded street or the softness of a flower in golden light, my goal is to tell stories that feel honest, emotional, and timeless.

How did you first get into street photography? Was it love at first click?

Street photography came into my life gradually. I started with still life and conceptual work, creating controlled scenes. But I often felt a pull toward the unpredictability of the real world. One day, I went out with my camera and let the streets unfold before me. I was captivated, not just by the subjects, but by how light, emotion, and timing could align to tell a story in a split second. It wasn’t love at first click, but once it happened, it never left me.

How do you get that ‘’magic light’’ look your photos are famous for?

Light is very important to me. I usually shoot during the golden hour or late afternoon when the light feels soft and painterly. But beyond the time of day, it’s about how light interacts with the environment and the subjects, how it falls on textures, reflects off surfaces, or silhouettes a figure. In post-processing, I enhance what was already there to bring out emotion and a sense of timelessness. My aim is always to make the viewer feel the warmth or drama of that moment.

How do you decide where to go and shoot?

It’s often intuitive. Sometimes I plan based on places I’ve scouted or stories I want to tell, but many times I simply wander. I let my curiosity lead. I believe every corner of a city has its own rhythm and mood. I look for spaces with interesting light, human presence, or textures that tell a deeper story. Often, it’s not the grand locations, but the quiet, overlooked places that speak the loudest.

Do you have a favourite city or spot for street photography? Why?

Dhaka will always be special to me because it's home, it’s chaotic, soulful, and layered with stories. But I also have a deep connection to places like Cairo or Kathmandu. Cities with a strong cultural identity, aged architecture, and a sense of poetry in their streets really speak to me. I love it when a place feels timeless, where you can imagine hundreds of stories unfolding at once.

What’s your go-to gear setup when you hit the streets?

I usually shoot with my Nikon D850, and an 85mm, 50mm, and 105mm prime lens is my go-to. They allow me to get close without being intrusive, and they match how I naturally see the world.

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

Both offer something unique. The chaos brings energy, movement, and unexpected moments, it’s like visual jazz! But I often find myself drawn to quieter scenes, where there’s space for emotion to breathe. I love photographing solitary figures in soft light, or fleeting moments of calm in the middle of urban noise. There’s something poetic about stillness within movement.

What are your favourite shooting conditions?

I absolutely love shooting in soft golden light, especially in the late afternoon. But I also enjoy the mystery of rainy days, the reflections, the umbrellas, the textures that come alive when everything is wet. Fog, overcast skies, even night-time neon lights can all become part of the story. Every condition has a mood, and I love the different opportunities.

What’s your take on the ethics of street photography, like shooting strangers without asking?

It’s a delicate balance. Street photography often captures candid, unposed moments that reflect life authentically. I always try to approach it with empathy, respect, and a smiling face. If someone looks uncomfortable, I don’t take the shot. In some situations, especially portraits, I ask for permission or interact with the person afterward. At the end of the day, it’s about storytelling without exploitation. The dignity of the subject matters just as much as the photo.

How do you approach the difference of ‘’fine art’’ and ‘’normal’’ photography? When is a photo ‘’fine art’’ in your opinion?

To me, fine art photography is about intention. It’s not just about documenting what’s in front of you, it’s about expressing something deeper. A fine art image usually carries emotion, mood, and meaning that reflect the artist’s personal vision. It’s not just what you saw, but how you felt and how you want the viewer to feel. When an image evokes emotion, tells a quiet story, and feels timeless, that’s when it moves into the realm of fine art.

How did you find your unique photography style?

It took time. I experimented a lot in the beginning, from still life to portraits to street scenes. But slowly, I started noticing patterns: a love for soft light, a quiet, almost cinematic mood, and storytelling that leaned toward the love for simple moments in life. My style really came together when I started listening to what moved me emotionally. It’s still evolving, but the more honest I am with my work, the more it feels like “me.”

What role does storytelling play in your work?

Storytelling is at the heart of everything I do. I’m not just capturing a scene, I’m trying to capture a feeling, a fragment of a story that leaves room for the viewer to fill in the blanks. Whether it’s a moment on the street or a still object in soft light, I want each image to speak quietly but powerfully.

If you could travel anywhere in the world (for street photography) where would that be and why?

There are so many places, but Morocco has always fascinated me. The colors, textures, culture, and history, everything feels rich with stories waiting to be told. I’m drawn to places where time seems layered, where every face and building holds a sense of memory.

What’s the most challenging thing about street photography for you?

Letting go of control. Unlike studio or still life work, you can’t plan or predict the perfect moment on the street. You have to trust your instincts and be open to the unexpected. It’s both thrilling and humbling, and sometimes frustrating. But I’ve learned that the best moments happen when you stop chasing and just observe.

You also have a travel photography account, what are the best countries a photographer should visit in your opinion? And why?

From the countries I’ve visited so far, I’d say Egypt is incredible if you're looking for a rich blend of history, vibrant street life, and deep-rooted culture. Nepal stands out for its breathtaking landscapes and some of the kindest people I’ve ever met. And India is truly remarkable for its dynamic streets and incredible cultural diversity.

What is your favourite subject to shoot?

People in moments of solitude or reflection. There’s something very powerful about a single figure in a vast space, or a quiet face caught in natural light. It invites the viewer to pause, to imagine a story.

Who are some street photographers or other artists that inspire you?

I’ve always admired Fan Ho for his poetic use of light and geometry and he's been a huge inspiration. Saul Leiter’s color work feels like painting, and Alex Webb’s layering is masterful. Outside of photography, I’m deeply inspired by painters like Rembrandt and Johannes Vermeer.

How do you know when you’ve nailed the shot? Is it instinct or something else?

It’s instinct, but also a feeling. Sometimes I just know in the moment, the alignment of light, expression, and mood feels right. Other times, it hits me later while editing. The best photos have a kind of quiet weight to them, you feel it before you even analyze it.

How important is composition in photography?

Composition is essential. It’s how you guide the viewer’s eye and create harmony within the frame. But it shouldn’t feel forced. I think the best compositions are ones you feel intuitively, not ones you overthink. That’s when the photograph breathes.

What’s your advice for someone who wants to start exploring street photography?

Start by observing. Don’t rush to click. Learn to read light, movement, and emotion. Be patient, be respectful, and allow yourself to fail without pressure. The street teaches you to be present, and the more present you are, the better your photos will be.

How important is lighting  in photography?

Lighting is really important. It sets the tone, reveals texture, and evokes mood. I see light almost as a character in my work. I’m constantly chasing those golden, fleeting moments when light transforms the ordinary into something poetic.

As what sort of photographer do you see yourself as?

I see myself as a visual storyteller. Labels like street or fine art are useful, but I don’t feel confined by them. My work moves between genres, but the core remains the same: emotion, beauty, and story.

Is there a different photography genre you would like to explore?

I’ve always been drawn to the idea of exploring wildlife photography. There’s something incredibly humbling about capturing the raw, soulful presence of wild animals in their natural habitat. It’s a genre that demands both deep patience and understanding, and I’d truly love the opportunity to try it.

Do you ever feel like you miss moments because you hesitate?

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Kodak’s New Ektacolor Pro Films

Eastman Kodak has released a new lineup of daylight-balanced colour negative films under the Ektacolor name, including Ektacolor Pro 160, 400, and 800. On the surface, these look like entirely new additions, but in reality, they appear to be rebranded versions of Kodak’s long-running and beloved Portra films.

For years, Kodak’s professional film stocks like Portra were distributed by Kodak Alaris rather than Eastman Kodak itself. That is now changing. With Ektacolor, Kodak is continuing its push to bring film distribution back in-house, something it started last year with releases like Kodacolor 100 and 200.

The Ektacolor name itself is not new, but it has not traditionally been used for film. Instead, it has been tied to Kodak’s inkjet and photo paper products. That makes the naming a bit confusing, especially since it sits alongside other Kodak film names like Ektachrome, Ektar, and Ektapan.

Despite the new branding, the films themselves line up very closely with Portra. The speeds, formats, and overall image characteristics are essentially the same. Kodak describes Ektacolor as delivering natural skin tones and soft, accurate colour reproduction, which is exactly what Portra has been known for.

On the technical side, the films use T-Grain emulsion, which relies on flat, tabular silver halide crystals rather than traditional cubic ones. In practice, that is meant to reduce grain while keeping resolution high.

The 160-speed version is positioned as the fine-grain option, with wide exposure latitude and clean, smooth highlights. Ektacolor 400 is described as the sharpest and finest-grain 400-speed colour negative film, with flexibility across a wide range of lighting conditions, from bright daylight to lower light scenes. That is a claim Kodak Alaris has long made about Portra 400 as well.

The fastest option, Ektacolor Pro 800, is meant more for low-light shooting, with Kodak saying it maintains balanced colour and natural-looking skin tones even at higher sensitivities.

All three Ektacolor Pro films are available in both 35mm (135) and medium format (120). Pricing starts at $16.99 per roll for 35mm, while a five-pack of 120 Ektacolor Pro 160 is listed at $64.95. The 800-speed version comes in a bit higher, at $19.95 per roll in 35mm and $89.95 for a five-pack in 120.

A few more sample shots:

Photography Tip of the Week

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Photo Analysis

Welcome to the part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @klucaptures

Let’s Analyse this Photo

Composition & Framing

What works well:

• The composition is very dynamic and ‘pleasantly’ layered. We move through the photo in a really natural way starting with the immediate foreground → cyclist → traffic light → bus → Big Ben → sky. That structure gives the photo a lot of depth and visual interest + it is just satisfying that it basically goes from smaller to bigger.

• The cyclist is placed nicely off-center, which keeps this feeling natural rather than something staged.

• The bridge between layers is handled well too, especially with the bus acting as sort of a moving mid-layer and Big Ben locking everything in place as a strong background anchor.

What could be better:

• In my opinion, the scene feels a bit undecided in terms of subject. The cyclist is strong yes, but so is the bus, and both compete for attention (light plays another role here, but more on that later).

Light & Atmosphere

What works well:

• The lighting is really rich here. We have a nice blue hour mix where the artificial and natural light blend nicely.

• What is interesting is that almost everything is lit → the cyclist, the bus, Big Ben, the architecture behind (I think it’s the parliament, or House of Commons or something like that?) even the street. That gives the scene a lot of visual energy.

• The cyclist’s bike also has a small light on it, which instantly pulls your eye towards it and adds another layer of interest.

• The overall mood/atmosphere feels very alive and energetic.

What could be better:

• Because so many elements are lit, it again becomes slightly unclear what the main subject is. Nothing really dominates fully.

• On a technical note, some of the highlights in the bus light trails are a bit strong and slightly blown out.

Colour & Tone

What works well:

• The colour contrast is pretty great, warm yellows and reds from the buildings and bus against the cool blues of the sky and street.

• The red bus and backpack add a strong colour pop + a bit more cohesion.

• The overall tones feel cinematic and rich, especially with the reflections on the wet ground (very nice detail in my opinion).

What could be better:

• Some of the reds in the bus and its light trails are a bit intense and could be toned down slightly.

• The mid section is quite saturated, which reduces some subtle tonal variation.

Story & Emotion

What works well:

• It’s sort of a nice everyday city moment here. The cyclist waiting while traffic rushes past, feels like we have all been there.

• Big Ben gives an instant sense of place, and being able to see the time is a nice extra detail that adds context (fun fact → it is actually ‘the tower of Big Ben’ and not ‘Big Ben’ → Big Ben is the bell inside the tower, which you obviously cannot see from the outside).

What could be better:

• We do not get much emotional connection to the cyclist since their face is not visible.

Balance

What works well:

• The layering helps distribute visual weight across the frame, so nothing feels completely out of place.

• The bright architecture on the right is balanced by the darker tones on the left.

What could be better:

• The bus is very dominant and can overpower both the cyclist and the background depending on where your eye lands first (but again, if the bus was actually meant to be the subject then it’s alright).

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Photographer of the Week

Photographer of the week goes to: Mike

You can find him on Instagram as: @shuttrmike

A few photos of his:

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