📸 SNAPSHOT - Issue 114
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Thypoch’s New 28mm f/2.8 Pancake Lens
Thypoch’s Eureka 28mm f/2.8, which was first teased late last year, is now officially here. Like a lot of Thypoch’s recent releases, this one leans heavily on vintage inspiration while trying to deliver more modern optical performance.
In this case, the reference point is pretty specific. The lens is modeled after the built-in optic from the Ilford Advocate, a 35mm camera introduced in 1949 and later updated with the Dallmeyer Anastigmat 35mm f/3.5 lens. That original lens barely protruded from the camera body, and the Eureka follows the same idea, keeping things very compact.
The Leica M version measures roughly 20 millimeters in length and weighs under 140 grams, while the Fujifilm X version is slightly longer at just under 27 millimeters. Either way, it is a very small lens, much closer to a pancake design than a typical prime. Despite that, it uses a solid brass barrel with a lacquered finish, which gives it a bit more weight and a more rigid feel than the size might suggest.
Optically, the lens is built around seven elements in four groups, including one aspherical element and three high-refractive elements. Thypoch says this setup is meant to deliver modern levels of sharpness while keeping aberrations, flare, and ghosting under control. Vignetting is present but described as relatively restrained.
The 28mm focal length works out to about 42mm equivalent on APS-C, which puts it in a fairly flexible range. It is not particularly wide, not quite standard either, but somewhere in between, which makes it usable across a range of situations like street, travel, or more casual portrait work.
The lens is manual focus only and can focus down to 0.4 meters. As you focus closer, the lens extends slightly by a couple of millimetres, so it is not a fully internal focusing design.
In terms of rendering, Thypoch is also leaning into a bit of character. The lens produces octagonal starburst effects and is said to deliver relatively smooth background blur, though it is still an f/2.8 lens, so it is not pushing into extreme shallow depth of field territory.
Visually, the design sticks closely to its inspiration. There’s a narrow front element and a very slim overall profile, and the silver version includes a white front ring that directly references the original Ilford Advocate’s look. A matte black version is also available for something more understated.
The Eureka 28mm f/2.8 is available in Leica M and Fujifilm X mounts. There is also a bundle option that pairs the M-mount version with an M-to-X adapter. Pricing is set at $459 for the lens on its own, or $479 for the kit with the adapter.
A few sample shots:
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Interview with Peter Kalnbach
This week’s Interview with Peter, a talented photographer from Germany. 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: @street.nomad_
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Peter, I’m from Hamburg, Germany, and I’d describe myself as a visual storyteller more than anything else. I’ve been shooting street photography for around 10 years now, and over time it’s become a central part of how I process the world around me.
My work naturally leans toward darker, more atmospheric scenes with a strong neo-noir influence. I’m not drawn to clean, bright, postcard-style images. What interests me is the raw side of a city, the quiet moments, the tension, the feeling of being alone in a place that’s otherwise full of life. That contrast is something I keep coming back to. Photography isn’t just about documenting for me, it’s about translating a mood or a feeling into something visual that others can connect with.
How did your photography journey begin?
I’ve always been fascinated by New York City, especially the way it’s portrayed in films. There’s this very specific atmosphere I connected with, something gritty, cinematic, almost timeless.
But when I first went there and started taking photos, I came back with nothing that matched that feeling. It was all very surface-level, typical tourist shots that didn’t reflect what I actually experienced. That disconnect pushed me to take photography more seriously. Before my next trip, I spent time learning the fundamentals, composition, framing, light.
That third trip changed everything. I came back with photos that finally felt honest to me, and I even turned them into a photobook. Looking back, the style was still developing, but that was the moment where photography stopped being casual and became something I wanted to really commit to.
How do you develop your own unique style as a photographer, and what sets your work apart from others?
I don’t think style is something you decide on directly. For me, it came from the kind of things I was naturally drawn to. I’ve always preferred darker, more melancholic aesthetics, whether in films, music, or photography. So when I started shooting consistently, my work just moved in that direction without forcing it.
Over time, certain elements became consistent. Solitude is probably the strongest one. I often place a single person within a large urban space, usually small in the frame, sometimes silhouetted, rarely identifiable. That creates a sense of isolation that contrasts with the scale of the city. On top of that, I’m very detail-oriented. Composition plays a huge role, and I spend a lot of time refining that. I think that combination, mood, solitude, and structure, is what defines my work the most.
How do you approach lighting in your photography, and what techniques do you find most effective?
Living in Hamburg means you don’t have the luxury of constant neon or strong artificial light sources like in some other cities. So I had to learn to work with very limited light early on. That actually helped me a lot, because it forced me to pay attention to smaller, more subtle light sources.
Most of the time, I build the image around light. I’ll find a scene where the light creates something interesting, a highlight, a shadow, a contrast, and then I wait for a subject to enter that space.
I always expose for the highlights. I don’t like blown-out areas, so I’d rather let the shadows fall into darkness. That’s where a lot of the mood comes from anyway. I also avoid using diffusion filters at night. I prefer a clean, crisp look and let the atmosphere come from the scene itself.
What do you think makes a photograph successful, and how do you measure the success of your own work?
For me, it’s when everything comes together naturally. Light, subject, timing, and composition all working in sync. If even one of those elements feels off, the image usually doesn’t hold up. I’m very critical of my own work. It’s normal for me to shoot a lot in one session and only keep one or two images. That’s just part of the process. I don’t measure success by numbers or reactions online. It’s more about longevity. If I can come back to an image weeks or months later and it still feels strong, then it’s a successful photo for me.
What has been your most rewarding experience as a photographer, and why?
There have been a few moments that really stood out. One was getting feedback from photographers whose work influenced me when I started. That meant a lot, because those were the people I was looking up to early on.
Another big moment was being featured by brands like Sony and Adobe Lightroom. That was quite special, especially because I used Adobe tools for years in my previous work as a graphic designer. To then collaborate with them as a photographer felt like a full-circle moment.
What gear do you use?
I shoot with the Sony system, currently the A7 IV. I mainly use prime lenses, especially the 55mm 1.8 and the 35mm 1.8. Lately, I’ve been leaning more toward 35mm, so I’ll probably switch to the 35mm 1.4 GM soon. I prefer primes because they force you to move and think more about composition. You can’t just zoom and fix things, you have to position yourself properly.
What is your favourite editing software and how much time do you spend editing?
I do most of my editing in Adobe Lightroom, and sometimes I use Photoshop for small adjustments if needed. Editing is a big part of the process for me because that’s where the final mood comes together.
Time-wise, it really depends. Some images come together quickly, but others I’ll revisit multiple times. I might create different versions, step away, and come back later with fresh eyes. It’s not something I rush.
What are your favourite locations to shoot, and what makes them special?
I’m drawn to places that already feel cinematic. Industrial areas, older parts of cities, underpasses, staircases, anything with a bit of texture and atmosphere. New York is still at the top for me. The combination of light, structure, and energy is hard to match. Chicago is another favorite, especially with the elevated trains and architecture. London also has a lot of moody spots that work well for my style.
Do you have any advice for beginners?
The most important thing is to just go out and shoot. You won’t improve by staying at home. At the same time, don’t be afraid of failure. Most of what you shoot won’t be great, and that’s completely normal. Be patient with yourself, but also be demanding. Don’t settle too quickly. And if possible, connect with other photographers. Having a community helps you stay motivated and learn faster.
If you could only choose one lens for everything, which one would you choose?
Right now, I’d go with 35mm. It gives enough context of the environment while still allowing you to isolate a subject. It feels like a good balance for storytelling.
New York or Hamburg?
New York, always. Hamburg is home and it has its own character, but New York has a level of energy and visual variety that constantly inspires me. There’s always something happening there.
Do you plan your shoots or do you just go out and hope for the best?
I’d say most of my shots are planned to some extent. I like finding a scene that works compositionally and then waiting there for the right moment. That approach is more rewarding to me than just wandering and hoping something happens. That said, I’m still open to spontaneous moments. You can’t control everything, and sometimes the best images come unexpectedly.
You’ve been known for your darker, night-driven work, but recently you’ve started shooting more during the day. What sparked that?
Yeah, that’s something that’s changed a bit over time. For a long time, I was very focused on night photography because that’s where I felt most comfortable. The mood, the shadows, the artificial light, it all aligned naturally with the kind of images I wanted to create.
But at some point, I felt like I was getting a bit bored. Not necessarily in a bad way, but I noticed I was relying on the same kind of conditions to create that atmosphere. So I challenged myself to step out of that and see what I could do during the day, where you don’t have the same obvious tools to create mood. It wasn’t about abandoning night photography, more about expanding the way I see and work. I wanted to see if I could bring that same feeling into daylight situations.
Do you feel like your style translates well into daylight, or did it take time to adapt?
It definitely took time. At first, I struggled a bit because the results didn’t feel like “my work.” They were technically fine, but they didn’t have that same emotional weight I was used to.
Over time, though, I started to realize that the style doesn’t have to depend on darkness. It’s more about how you use light, how you compose, and what kind of moments you choose. You can still create a sense of isolation or tension in broad daylight, it just looks different. Now I think it actually complements my night work. It gives me more flexibility and keeps things interesting.
You’ve travelled quite a bit over the years. Which places stood out to you the most for street photography, and why?
I’ve been lucky to shoot in quite a few different places, and each one leaves a very different impression on you. It’s not even really about which one is “better,” it’s more about how each city forces you to see differently.
New York is still king, and I don’t think that will change anytime soon. It’s just endless. The scale of the city, the way the light moves between the buildings, the constant flow of people, it all comes together in a way that’s hard to match anywhere else. You can plan shots there, but at the same time, you can just walk and react for hours. There’s always something happening, and even the “boring” corners can suddenly give you something if the light hits right or the right person walks through.
Morocco was a completely different experience. The colors, the textures, the narrow streets, it’s visually rich in a way that almost feels overwhelming at first. The light is very strong and direct, especially in the medinas, which creates these beautiful contrasts between light and shadow. At the same time, photographing people there is more sensitive, so you have to be more aware and respectful, which changes how you approach scenes.
Kolkata is probably one of the most intense places I’ve shot in. It’s chaotic, loud, crowded, and full of life. Everywhere you look, something is happening. But that also makes it challenging, because you have to filter through all that information and find something that actually works visually. When it comes together, though, it’s incredibly rewarding.
Cambodia felt a bit quieter in comparison, at least in the areas I explored. There’s still a lot going on, but the pace is different. The light there can be very soft and warm, especially in the mornings and late afternoons, and that gives you a completely different kind of mood to work with. I found myself shooting more slowly there, paying more attention to smaller moments rather than big, obvious scenes.
Egypt had this mix of chaos and history that’s hard to describe. On one hand, you have these incredibly busy streets, full of movement and noise, and on the other, you’re surrounded by architecture and history that feels incredible. It creates this strange contrast where modern life and something much older exist right next to each other. Visually, that gives you a lot to work with, but again, it requires patience to make sense of it.
Venice was interesting because it’s probably one of the most photographed cities in the world. You’re constantly aware that almost everything has been shot before. So the challenge there isn’t finding a subject, it’s finding a different way to look at it. Once you move away from the main tourist routes, it becomes a lot more interesting.
London is very versatile. You get a bit of everything, modern architecture, older streets, unpredictable weather, which I actually like. The light changes quickly, and that keeps things interesting. It’s also a city where you can easily switch between very clean, minimal scenes and more chaotic environments depending on where you are.
Paris, for me, is more subtle. It’s not as aggressive visually as some of the other cities. It has a rhythm to it that you kind of have to tune into. The light can be beautiful, but it’s less about dramatic moments and more about quieter observations.
I have also been to Tokyo, Amsterdam, Porto, Bangkok, Lisbon, Vienna, Naples and many other places, but in the end, every place teaches you something different.
Do you ever print your work, or do you mainly keep it digital?
I print quite a lot. Seeing an image as a print is completely different from seeing it on a screen. You notice details, tones, and even flaws more clearly. It also makes the work feel more permanent.
What’s the strangest thing that’s ever happened to you while out shooting?
One night in Hamburg, I was setting up a shot near a dark alley when someone approached me and thought I was filming him for surveillance. He was pretty convinced about it, so I had to show him my photos to calm him down.
How do you deal with creative burnout?
When it happens, I don’t force anything. I step away from the camera and focus on other things, watching films, looking at books, just taking a break. Usually, the motivation comes back naturally after some time. I think it’s important not to panic when it happens. It’s part of the process.
What’s one non-photography skill that makes you a better photographer?
Patience. I can stay in one spot for a long time waiting for the right moment, and I actually enjoy that process. Without patience, most of my photos wouldn’t exist.
Have you ever deleted photos you later wished you had kept?
Yes, especially in the beginning. I used to delete images too quickly if they didn’t impress me right away. Later, I realized some of them had potential.
Now I keep much more. Even if an image isn’t great, it can still be part of the learning process.
What kind of daylight conditions do you find most inspiring?
I’m not really a fan of flat, overcast daylight where everything looks evenly lit. It just doesn’t give me much to work with. What I really like is strong, directional light. Early morning or late afternoon when the sun is low and creates long shadows. That’s probably the closest you can get to that cinematic feeling during the day.
Do you ever delete photos on the spot, or keep everything until editing?
I never delete in the field. The camera screen isn’t reliable enough to judge an image properly. I prefer to review everything later on a bigger screen.
Your photos often feel very controlled and minimal. How much do you remove from a scene mentally before you even shoot?
A lot, actually. When I look at a scene, I’m not just seeing what’s there, I’m already filtering it. I’m trying to simplify it down to the core elements that matter. Most streets are visually chaotic, especially in a city, so if you just photograph everything as it is, it becomes noise. I’m always asking myself what the image is really about. Is it the light? The subject? The geometry?
Once I have that answer, I try to eliminate everything that doesn’t support it, either by changing my position, adjusting the framing, or simply waiting for distractions to disappear.
How important is repetition in your process? Shooting the same kind of scenes over and over?
I personally think it is very important. Repetition is how you refine your eye. When you keep shooting similar scenes, you start noticing smaller differences, better timing, cleaner compositions. It’s like training your instincts. Some people worry about repeating themselves, but I think that’s part of developing consistency. Over time, those small improvements add up, and that’s what defines your style.
Do you think this shift toward daytime shooting will continue, or is it more of a temporary phase?
The rest, 5 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Silence Corner’s New Viperpod
Silence Corner announced the Viperpod, a tripod that takes a different approach to how camera support usually works. Instead of relying entirely on standing on the ground, this one is designed to also work suspended, using a built-in hook system and a flip-out centre column.
The idea is pretty simple, but it changes how the tripod behaves. The hook is integrated into the centre column, which can be flipped outward and locked into place. Once that is done, the whole system can hang from things like railings, door frames, or branches. In that setup, the weight of the camera is no longer distributed across the legs, but instead runs through the column and hook. It shifts the centre of gravity and turns the tripod into more of a hanging support system than a grounded one.
That opens up some different shooting positions, especially in places where a normal tripod just does not fit or cannot be placed securely. It is not something most people will use all the time, but it does make certain angles a lot easier to get without improvising a setup.
At the same time, it still works like a regular tripod when you need it to. The legs are made from carbon fiber and use a multi-section design with quick-adjust locks, so height and positioning work the same way as most modern tripods. You are not locked into using the hook system if you do not want to.
The center column is doing most of the work here. Besides acting as the mounting point for the hook, it can also function as a kind of handle when flipped out. That gives you a way to do basic pan and tilt movements by hand. The included head is a ball head on a panning base, so it is not a full fluid head, but it should be enough for simple video movements or repositioning.
There are two versions of the Viperpod. The standard model weighs about 1.16 kilograms, folds down to 45 centimetres, and extends up to 157 centimetres. It is rated to carry up to eight kilograms, which puts it in the range of handling a full-frame camera with a decent-sized lens. The lighter version is a bit smaller and drops the load capacity to six kilograms. Both versions are carbon fibre.
They both also use an Arca-Swiss-compatible mount, so they should work with most existing plates and setups without needing extra adapters.
One thing that is a bit different compared to normal tripods is how stability works in suspended mode. Instead of relying on leg spread and ground contact, it depends more on how solid the mounting point is and how the weight is balanced through the system. That can be useful, but it also means setup matters a bit more, especially outdoors where things can move.
The Viperpod is currently on Kickstarter and has already passed its initial funding goal. Early pricing starts at $279 for the lighter version and $309 for the standard model, with shipping expected around September 2026.
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: @takumi_0491
Let’s Analyse this Photo
Composition & Framing
What works well:
The leading line is obviously the first thing you notice here. It is very effective and immediately pulls you into the frame. What is nice is that it does not lead directly to the subject but it more throws you into that general area, that actually works in this case because it keeps the balance in tact while still having that specific leading line element → the woman is not right at the leading line, if she were (so the photographer had waited a bit), the balance would be off (much more towards the left side)
The little shimmer on the railing makes the leading line effect even stronger.
The framing is also quite nice. We have this darker, enclosed foreground that opens up into the brighter background, kind of like stepping out of a tunnel into the scene.
Depth is pretty good too. We move from the dark foreground → mid-ground walkway → subject → background buildings, which gives the photo a nice sense of space + you can really feel the length and ‘‘depth’’ of that railing.
What could be better:
Even though our subject is placed pretty much perfectly (for this specific scene), the left side is sill a bit heavier visually. It takes up a lot of space and is quite dark, which can feel a bit overpowering.
That reflection of that wall element on the left side is a bit distracting. It catches your attention a bit more than it should and pulls focus away from our subject (probably would not be that ‘problematic’ on its own, however together with the visual weight on the left and the already shining railing → it just all adds up) a slight reposition while shooting could have fixed that.
Light & Atmosphere
What works well:
The contrast between the dark foreground and the bright background is really nice. It creates this sort of “reveal” effect where the subject sits in the light and as we all know → your eye goes where the light is.
The light on our subject is soft and natural, which helps her stand out without feeling artificial.
What could be better:
The foreground shadows (especially on the very left) are very deep and lose quite a bit of detail. It works stylistically, but it is maybe a touch heavy.
The lighting is not super dramatic, it is more subtle, which can make the photo feel slightly flat compared to more high-contrast scenes (but of course, you have to work with what is there).
Colour & Tone
What works well:
The colours are very natural and very restrained. Nothing feels over-processed.
There is a nice balance between the cooler tones in the shadows and the warmer tones in the background.
Our subject’s darker clothing helps separate her from the lighter environment.
What could be better:
The overall palette is a bit muted. It does not really “pop” in any particular way.
The background has some colour variation like the signs, buildings, but it is not fully utilised to add some more visual interest.
Story & Emotion
What works well:
This feels like a very everyday moment. A woman walking through the city, maybe adjusting her hair or reacting to something
We can see her dress, her heels, her bag → I am guessing that she is an office worker on her way home/on her right side she is (I think) carrying a shopping bag, so maybe she went shopping after her office day + she is also looking at her phone → all those little clues and details can paint a pretty detailed story if you look closely.
What could be better:
We don’t get a strong emotional connection with her because she stays anonymous and we can’t see her expression.
Balance
What works well:
Our subject on the right definitely helps counterbalance the heavy left side to some extent.
The bright background area balances the darker foreground nicely (sort of a diagonal balance going on).
The horizontal and vertical lines keep the photo structurally stable.
What could be better:
The left side still dominates quite a bit. It just feels heavier than the rest of the frame.
As mentioned, the woman does not carry enough visual weight to fully balance that large dark area on the left.
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Photographer of the Week
Photographer of the week goes to: Gary Bravo
You can find him on Instagram as: @garybravophotography
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
