📸 SNAPSHOT - Issue 113
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
7Artisans’ New 35mm f/2.8 Lens
7Artisans has introduced a new compact prime for rangefinder shooters, the 7Artisans M 35mm f/2.8, designed for both Leica M and Leica Thread Mount (L39) systems.
The 35mm focal length has always been a bit of a go-to for everyday photography. It sits right in that middle ground where you can capture a subject while still keeping some of the environment around it. On a full-frame camera, this lens gives you a 61.8-degree angle of view, which makes it a solid option for things like street photography, travel, or just general day-to-day shooting.
It tops out at f/2.8, which is definitely on the slower side compared to a lot of modern primes. But that seems like a deliberate choice here.The focus is more on keeping the lens small and easy to carry, so it is not really built for low-light work or heavy background blur.
The lens weighs 88 grams and is about 28mm long, with an all metal construction. It has a 34mm filter thread and comes with two lens hoods, a larger one for flare and a smaller one that works more like basic protection.
Inside, it uses a seven-element, five-group optical design based on the classic double Gauss formula. That has been around for decades, and here it is paired with modern coatings to help with contrast and flare control compared to older lenses built the same way.
It does not seem like 7Artisans is going for super clinical sharpness here. The rendering is more about balance, keeping things reasonably sharp while still holding onto a bit of that older, more character-driven look.
The aperture runs from f/2.8 down to f/22 and uses a seven-blade design, so there is some flexibility for when it comes to depth of field and exposure, even if it is not going to give you ultra-shallow backgrounds.
Like most lenses in this category, it is manual focus only. On Leica M cameras, it is fully rangefinder-coupled from 0.7 meters to infinity. On some L39 bodies, that coupling might start a bit farther out, around one meter, depending on the camera.
One useful detail is that it supports both M mount and L39 without needing adapters, which keeps things simple and avoids any alignment issues. Its small size also helps keep the viewfinder clear, even if you are using one of the included hoods.
It is not limited to modern Leica cameras either. It will work with older Leica Thread Mount bodies, including Barnack models, as well as other compatible rangefinders from brands like Voigtländer and Canon. And like most rangefinder lenses, it can be adapted pretty easily to mirrorless cameras.
The 7Artisans M 35mm f/2.8 is priced at $428, with versions for Leica M and L39 mounts.
A few sample shots:
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Interview with Viewfinderthis
This week’s Interview with JT, a talented photographer from New York City. 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: @viewfinderthis
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
Hi, my name is JT. I’m a street photographer, but more than anything I’d say I’m someone who’s constantly chasing moments shaped by light, atmosphere, and timing. A lot of people associate my work with shooting in the rain, and that’s definitely a big part of it, but it’s not the full picture. I’m just as drawn to bright spring days when the colors are alive, or quiet summer evenings when the light cuts through the streets in a very specific way.
How did you get into photography?
Before photography, my whole life was in the kitchen. I was a French-trained Executive Chef, and that was everything I knew. Then I had a serious accident and ended up breaking my back. That led to four major surgeries, and I couldn’t walk for about four years. That kind of situation changes your perspective completely. During that time, I remembered reading about another chef who picked up a camera while going through something similar, just to stay creative and fight depression.
In 2019, I finally acted on that. I bought a used camera off eBay with no real expectations. I just needed something to focus on, something to build again. Photography gave me that. It started as therapy, honestly. But over time, it became something much bigger. It gave me a reason to get outside again, to move, to observe, to create. And from that point on, I just kept going.
What role does lighting play in your photos?
Lighting is everything for me. Whether I’m shooting in the rain, in snow, or on a clear summer day, I’m always looking at how light interacts with the scene before anything else. In the rain, light reflects and spreads, creating mood and depth. But in sunlight, especially in spring or summer, it does something completely different. It creates strong shadows, contrast, and separation. You get these really clean compositions where light defines the structure of the photo. Some of my favorite moments actually come from those bright conditions where everything feels alive and colorful, but still controlled.
So for me, it’s not about one type of light being better than another. It’s about understanding how each condition changes the way a scene feels and learning how to work with it instead of against it.
What do you think sets your work apart from others in the industry?
I think early on, it was the consistency of shooting in conditions that most people avoided, like heavy rain or snow. That definitely helped me find my voice. But over time, I’ve realized it’s not really about the conditions themselves, it’s about how you see them.
What probably sets my work apart now is the way I approach light and atmosphere across different environments. Whether it’s a snowy night, a bright spring day with cherry blossoms, or a quiet street with long shadows, I’m always trying to create something that feels cinematic but still real. I’m not trying to make things look overly dramatic or forced. I’m just reacting to what’s there and trying to simplify it into something that feels photogenic.
How do you stay inspired and motivated to continue creating new and unique photographs?
A lot of my inspiration comes from film. Directors like Christopher Nolan, Denis Villeneuve, or the Wachowskis have a way of using light, color, and atmosphere to tell a story without needing too much explanation. That’s something I think about a lot when I’m out shooting. But honestly, my biggest motivation is still very personal. There was a time when I couldn’t walk, couldn’t go outside, couldn’t experience any of this. So now, every time I step out and I’m able to move, explore, and create, I don’t take that lightly.
What are some of the most important qualities for a great photographer to have?
Curiosity hands down. If you’re not curious about what’s around you, it’s very hard to create something meaningful. You have to want to look deeper, to notice small things, to explore different conditions and not just wait for perfect ones. Another big one is patience. Not every outing is going to give you something great, and that’s fine. You have to be okay with that and keep showing up anyway. And then there’s the willingness to experiment. Some of the best things I’ve learned came from trying things that didn’t work at all. At the end of the day, it really comes down to enjoying the process. If you’re not having fun with it, it becomes something else entirely.
What gear do you use?
I keep my setup pretty simple. I mostly shoot with a Sony A7III paired with an 85mm f/1.4 and a 35mm f/1.4. Those two lenses cover almost everything I need.
What is your editing software of choice and how much time do you spend editing?
I use Lightroom Classic for all my editing. The time I spend really depends on the image. Some photos come together quickly because everything was already there in-camera, the light, the composition, the mood. Others take a bit more time because I’m trying to match the feeling I had when I took the shot. I don’t like rushing the process. Editing, for me, is just about refining what’s already there, not creating something completely new.
How did you find your signature photography/editing style?
It wasn’t something I decided on consciously. It just developed over time through repetition and experimentation. Early on, I was trying a lot of different things, different edits, different subjects, different approaches.
Eventually, I started noticing patterns in what I was drawn to. Certain types of light, certain moods, certain compositions. I leaned into those things more, and over time, that naturally became my style. I think style is really just a reflection of what you’re consistently interested in. It’s not something you force, it’s something that reveals itself if you keep shooting and stay honest with what you like.
What is your opinion on watermarking your images?
I think it’s a personal choice. For me, I include it, but it’s not something I overthink. It’s just part of my export process at this point. I understand why some people choose not to use watermarks because they want the image to stand on its own without distractions. At the same time, I don’t think a small, subtle watermark takes away from the image if it’s done properly.
It really comes down to what you’re comfortable with and how you want your work to be presented.
What does street photography mean to you?
Street photography, for me, is about being fully present. It’s one of the few times where I’m not thinking about anything else. I’m just reacting to what’s happening in front of me. It doesn’t always have to be dramatic. Sometimes it’s something very simple, someone walking through a patch of light, or sitting quietly in a scene. Other times it’s more chaotic. But either way, it’s about capturing something that feels real and unrepeatable. Every moment is different, and once it’s gone, it’s gone.
Do you prefer shooting alone or with company?
When I’m really focused on creating, I prefer being alone. It allows me to move at my own pace, follow whatever catches my attention, and stay fully in that mindset without distractions.
Any tips for beginners?
The most important thing is to just go out and shoot. It sounds simple, but that’s really where everything starts. You’re not going to learn by watching videos or reading about it endlessly. You have to be out there experiencing it yourself.
At the same time, don’t put too much pressure on yourself to create something amazing right away. Focus on understanding light, observing your surroundings, and experimenting with different approaches. Try shooting in different conditions, bright sun, rain, early morning, night, everything. Over time, you’ll start to see what you’re naturally drawn to, and that’s when things begin to click.
Your work changes a lot between heavy atmosphere and very clean, bright scenes. How do you balance those two visually?
I don’t really think about it as balancing, it’s more about reacting to what’s in front of me. Some days the conditions are naturally moody, like snow, rain, or low light, and those scenes kind of build themselves. Other days, especially in spring or summer, everything feels open, bright, and full of color, and I try to lean into that instead of forcing it to look darker or more dramatic than it actually is.
How important are seasons to your photography?
Seasons play a huge role for me. They completely change the way a city looks and feels. Spring brings color and softness, especially with things like cherry blossoms, which create natural framing and depth. Summer has stronger light, deeper shadows, and more contrast. Fall brings warmth and texture, and winter, especially with snow, adds mood and atmosphere. Each season has its own character, and I try to adapt to that instead of forcing a consistent look across everything. That’s what keeps it interesting for me, the fact that the same location can feel completely different depending on the time of year.
How do you approach color in your work, especially in brighter scenes?
I try to keep color natural but controlled. I don’t like pushing saturation too far because it starts to feel artificial. Instead, I focus more on balance, making sure the colors work together without competing too much. In brighter scenes, especially in spring or summer, there’s already a lot going on color-wise, so it’s more about simplifying. I’ll tone things down slightly and focus on the key colors that define the image.
Your framing often uses foreground elements like branches or structures. How intentional is that?
It’s very intentional, but it’s also something that’s become instinctive over time. I’m always looking for ways to add depth to an image, and foreground elements are one of the easiest ways to do that. They help guide the viewer’s eye and make the scene feel more layered. With something like blossoms or branches, it also softens the frame and adds texture without distracting too much from the subject. It creates that feeling of looking into a scene rather than just at it. I don’t always use it, but when the opportunity is there, I definitely take advantage of it.
Do you ever go out with a specific shot in mind, or is everything reactive?
It’s mostly reactive, but there are times when I have an idea or a type of shot I want to get. For example, if I know there’s a certain location that works well in a specific light or season, I might go there with that in mind.
But even then, I try not to force it. If it doesn’t happen, it doesn’t happen. Some of my favorite shots came from moments I didn’t plan at all. So I think it’s good to have an idea, but you have to stay open to everything else that might happen.
Do you ever revisit the same locations?
Yeah, all the time. I actually think that’s really important. A location doesn’t give you everything in one visit. Light changes, seasons change, people change. The same spot can give you completely different images depending on when you go back. Revisiting also helps you understand a place better. You start to notice patterns, where the light falls at certain times, where interesting moments tend to happen. That makes it easier to anticipate shots instead of just reacting to them.
How do you handle harsh sunlight in street photography?
I actually like harsh sunlight. A lot of people avoid it, but it creates strong contrast and interesting shadows. You just have to work with it differently.
Instead of trying to expose everything evenly, I’ll often let parts of the image fall into shadow and focus on the highlights. That creates a more dramatic look and simplifies the scene. It’s not about avoiding difficult light, it’s about learning how to use it.
Do you think your work is more about people or environment?
It’s a mix of both, but I think the environment plays a slightly bigger role. The setting creates the mood, and the person adds life to it. Without the right environment, the subject doesn’t stand out the same way. But without the subject, the scene can feel empty. So it’s really about how the two interact with each other.
How do you approach shooting in unfamiliar cities?
I try to walk as much as possible and not rely too much on planning. The first few hours are usually just about observing and getting a feel for the place.
What role does patience play when you’re waiting for a moment?
Patience is huge. A lot of the time, the scene is already there, you’re just waiting for the right person or movement to complete it. I’ve stood in the same spot for a long time waiting for that one moment. Sometimes it happens, sometimes it doesn’t. But when it does, it’s worth it. That’s part of the process.
How do you know when to stop shooting for the day?
Usually when I feel like I’ve lost focus or I’m just shooting without really seeing anymore. There’s a point where you’re not as aware, and that’s when it’s better to stop. Sometimes it’s also just about the light being gone or the conditions changing. I’d rather end on a good note than keep pushing and not get anything meaningful.
What still excites you about photography today?
The fact that no two days are the same. You can go out to the same place and get something completely different every time.
There’s always something new to notice, whether it’s the light, the people, or just a small detail you didn’t see before. That’s what keeps it interesting for me.
Do you ever miss shots?
Every photographer does. That’s just part of it. You see something, react too late, or hesitate for a second, and it’s gone. You can’t really dwell on it. There’s always another moment coming. The key is to stay ready and not let one missed shot affect the rest of your session.
How do you decide where to position yourself in a scene?
The rest, 5 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Godox’s New Macro Twin Flash
Godox just announced the MF-T76S Macro Twin Flash, a dedicated lighting system built for macro and close-up photography. It is meant for situations where precise lighting control matters, so shooting insects, food, plants, jewelry, small product details etc.
The system is made up of two parts, a controller that mounts on the camera’s hot shoe and a dual-head flash unit that attaches directly to the front of a lens using included adapter rings, covering sizes from 49mm to 77mm. Once mounted, the two flash heads can be positioned independently around the subject, which gives you more control over how light is applied compared to a single-source macro flash.
The MF-T76S supports TTL flash for automatic exposure, along with High-Speed Sync for shooting in brighter conditions or at wider apertures. It also includes both first and second curtain sync modes for more control over motion rendering.
Each flash head can tilt between 0 and 150 degrees, allowing for a wide range of lighting angles. Output can be adjusted from full power down to 1/256, which provides fairly fine control, especially when balancing light between the two heads.
The system has a guide number of 73.4 feet at ISO 100. It also includes two built-in modeling lamps with 10 brightness levels, mainly to assist with focusing and to give a basic preview of how the light will fall on a subject.
In terms of operation, the setup is pretty straightforward. The controller mounts directly to the camera, and there is no need for additional cables or triggers. Power comes from a rechargeable lithium battery rated for around 550 full-power flashes, with a recycle time of about 1.2 seconds. Charging is handled via USB-C.
The flash also integrates with Godox’s 2.4GHz X wireless system, making it compatible with other Godox lighting equipment if needed. It offers 32 channels to help avoid interference in multi-light setups.
The system includes a set of accessories such as adapter rings, diffusers, and colour filters. An optional dental polarising filter is also available for more specialised use, particularly in scenarios where controlling reflections is very important.
The Godox MF-T76S Macro Twin Flash is priced at $249.
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: @riki_shinagawa
Let’s Analyse this Photo
Composition & Framing
What works well:
The framing is very nice. Using the window as a natural frame for Mount Fuji works really well and immediately gives the photo some structure.
With a subject like Mount Fuji that has been photographed countless times and is all over Instagram, it really comes down to doing something a bit different, and this approach does exactly that. It feels more intentional and a bit more creative rather than just another straightforward shot (you could argue that even these ‘framing Mount Fuji though a window shots’ are quite common, and yes they are, but here the inclusion of the lamp adds another more ‘‘special’’ element).
The layering is also very strong which adds a lot of depth. We move through the scene from the lamp and foreground frame → the lake → the small hill on the left → the fields → Mount Fuji → and finally the sky. All of that gives the photo a really nice sense of depth and structure.
Mount Fuji sits nicely centred within our frame, which reinforces its importance as the subject.
What could be better:
The lamp, even though it adds more to that ‘creative’ part, is quite dominant and maybe a bit distracting. It definitely cuts into the scene and starts competing with the mountain just a bit.
The framing is very symmetrical and safe. It works, but it also makes the photos feel a bit more predictable.
The lower part of the scene (the lake and buildings) feels a bit ‘underutilised’ compositionally (they could also have helped balance out the lamp better).
Light & Atmosphere
What works well:
The light on the mountain is very nice. That soft golden highlight on the peak gives it a really nice presence + your eye naturally goes there (it functions like a magnet).
The overall atmosphere feels calm and quiet, which fits perfectly with the subject/location.
The slight haze in the distance helps separate the layers and adds some depth.
What could be better:
The foreground frame is very dark, which creates a strong contrast yes, but is also feels a bit heavy.
Again. the lower half of the photos is quite subdued and lacks the same visual energy as the mountain (not saying it should be identical, Mount Fuji the subject after all, but if would certainly help a bit more with balance).
Colour & Tone
What works well:
The colour palette is very natural and restrained. Nothing feels overdone.
The warm highlight on the mountain contrasts nicely with the cooler tones in the shadows and the lake.
The tones feel soft and slightly muted, which again fits the calm mood of the scene.
What could be better:
As touched on before, the darker tones in the foreground frame are quite deep and lose detail.
And the midtones in the town and lake are a bit flat and could use more separation.
Story & Emotion
What works well:
It just feels like a moment of looking out and taking in the view. The window framing adds this subtle narrative of → you are inside, observing the landscape from a distance, maybe you are a traveller who always wanted to see Mount Fuji and now you finally made it.
Mount Fuji itself carries a lot of emotional and cultural weight, which certainly adds to the photo.
What could be better:
There is not a lot happening in terms of storytelling beyond the view itself (but not every photo needs an intricate story)
Balance
What works well:
The central placement of the mountain creates a stable and grounded composition.
The vertical frame elements balance each other well on both sides.
The darker (immediate) foreground contrasts nicely with the brighter mountain, helping it stand out.
What could be better:
The top part of the frame feels heavier because of the (size of the) lamp.
The lower portion in general does not carry as much visual weight, making the balance slightly top-heavy.
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Photographer of the Week
Photographer of the week goes to: Jonathan Varjabedian
You can find him on Instagram as: @framethestreetsdotcom
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
