đ¸ SNAPSHOT - Issue 116
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
Sponsored by
In this Issue
Sonyâs New A7R VI Camera - A Closer Look
A few days ago, Sony officially unveiled the Sony a7R VI, the companyâs latest high-resolution full-frame mirrorless camera. This time though, Sony is not just focusing on resolution anymore. Speed is clearly a major part of the story as well.
The a7R VI has been a long time coming and marks the first genuinely new sensor in the R series since the a7R IV back in 2019. The camera has an all-new fully stacked 66.8-megapixel Exmor RS full-frame sensor, moving away from the older backside-illuminated design used in both the a7R IV and a7R V.
That change alone dramatically alters what this camera is capable of. For years, Sonyâs a7R lineup was built around maximum resolution, while speed and overall responsiveness were left to the A1 and A9 series. The a7R VI changes that balance quite a bit. The new camera can now shoot full-resolution 14-bit RAW files at up to 30 frames per second, three times faster than the previous model, while Sony says rolling shutter has been reduced by roughly 5.6 times compared to the a7R V.
The camera also shoots blackout-free at 30fps and now includes Pre-Capture shooting to help photographers catch unpredictable moments before the shutter is fully pressed.
While it still does not completely replace the role of the Sony A1 II, especially for sports and wildlife shooters who need the absolute fastest readout speeds possible, the gap between the two cameras is much smaller than before.
The new performance comes not only from the stacked sensor itself, but also from Sonyâs newer Bionz XR2 processor, first introduced in the Sony A7 V. Usually, stacked sensors involve at least some tradeoff in image quality or dynamic range, but Sony says the opposite is true here. The a7R VI keeps the same base ISO 100 while now claiming up to 16 stops of dynamic range, slightly improving on the roughly 15-stop performance of the a7R V.
Autofocus has also been updated. The a7R VI uses an upgraded 759-point Real-time Recognition AF+ system that improves tracking for partially obscured, distant, or very small subjects. AI subject detection now supports humans, animals, birds, insects, cars, trains, and airplanes, along with a new automatic subject-recognition mode.
Sony has also continued expanding its computational shooting features. The camera supports Pixel Shift Multi Shooting modes capable of generating massive 265.8-megapixel composite files using four or 16 shifted RAW exposures. HDR composite modes and Noise Reduction composite shooting are also included, although these workflows still require Sonyâs Imaging Edge Desktop software.
The in-body stabilisation system has also been improved slightly. Sony now rates the camera for up to 8.5 stops of stabilisation in the centre of the frame and seven stops toward the edges.
Physically, there are quite a few hardware changes too. The grip has been redesigned again, likely partly because Sony has moved away from the long-running Z battery system in favour of a new SA-series battery. The new battery offers slightly higher capacity, increased voltage, and battery health monitoring support.
The EVF has also been upgraded. Resolution remains at 9.44 million dots, but Sony says the new panel is three times brighter than before while covering the full DCI-P3 colour space. The EVF also supports HDR viewing, 120Hz refresh rates, and maintains the same 0.9x magnification.
One of the more unexpected additions is illuminated buttons. The a7R VI becomes the first Alpha camera to include backlit controls, something nightscape and astrophotographers will probably appreciate immediately. Buttons like C1, C3, AF-ON, Menu, Fn, Playback, and Delete all light up white after pressing the dedicated illumination button on the top plate.
Video performance has also taken a major step forward. The a7R VI records 8K30p video with noticeably reduced rolling shutter compared to the previous generation. Thereâs still a slight 1.2x crop in 8K, but full-width 4K recording is now available using 5K oversampling. Sony has also added 4K120p recording, although that mode does involve a small crop.
The camera also introduces a new Dual Gain readout mode available up to 4K30p recording, which Sony says improves both dynamic range and overall image quality for video work. The Sony a7R VI will begin shipping in early June for $4,499.
Alongside the new camera, Sony also introduced the Sony FE 100-400mm f/4.5 GM OSS, a new professional telephoto zoom for wildlife, sports, and photojournalism.
Interestingly, Sony decided not to call this lens a âMark II,â even though most photographers will probably see it as a direct successor to the existing Sony FE 100-400mm f/4.5-5.6 GM OSS.
One of the biggest changes is the move to a constant f/4.5 aperture throughout the zoom range. That makes the lens two-thirds of a stop faster at 400mm than the older model, helping with both subject separation and low-light shooting at the long end.
The new lens also switches to a fully internal zoom design, meaning the lens no longer physically extends while zooming. Besides improving handling and balance, internal zooming is generally preferred by many wildlife and sports photographers because it keeps the centre of gravity more stable during use.
Optically, the lens uses a fairly advanced design that includes two Super ED elements, three standard ED elements, one XA element, and Sonyâs new ED XA element designed to reduce chromatic aberration while also helping suppress onion-ring bokeh artifacts. Sony also includes Nano AR Coating II to help control flare and ghosting.
The lens features an 11-blade circular aperture, two more blades than the older version, which Sony says improves bokeh rendering. Autofocus is driven by four XD Linear Motors, and Sony claims major gains in tracking and focusing speed compared to the previous 100-400mm GM. According to Sony, autofocus is now up to three times faster while subject tracking performance improves by around 50 percent.
The lens can focus as close as 0.64 meters at 100mm and 1.5 meters at 400mm, resulting in a maximum magnification ratio of 0.25x. The change to a constant aperture and internal zoom design does make the new lens noticeably larger and heavier. The FE 100-400mm f/4.5 GM OSS weighs 1,840 grams, up from 1,495 grams on the older lens.
Sony also includes a fairly extensive set of physical controls, including four Focus Hold buttons, a rotating tripod collar with selectable click stops, a customisable function ring, SteadyShot controls, a drop-in filter slot, and full dust- and moisture-resistant sealing. The Sony FE 100-400mm f/4.5 GM OSS will begin shipping in early June for $4,299.99. That makes it roughly $1,500 more expensive than the existing 100-400mm f/4.5-5.6 GM OSS.
Learn The Art Of Photography
Get full and free access to my Creator University - The Worldâs Best Online University for Photographers & Creatives: Get access to hundreds of amazing photography courses, learn from professional photographers, connect with students and much more!
Interview with Konta Nomura
This weekâs Interview with Konta, a talented photographer from Osaka, Japan. 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: @konta_bnw
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Konta, and Iâm a photographer based in Osaka, Japan. Most of my free time is spent walking through the city with a camera in my hand, usually without a strict destination in mind. I still feel like Iâm at the beginning of my photography journey, which is exciting because it means Iâm constantly discovering new things and refining the way I see. Photography has changed the way I experience everyday life. Before, I would walk through the city without paying attention to details, but now I notice the shape of shadows on a wall, reflections in windows, or how a single person changes the balance of a scene. Outside of photography, I live a fairly ordinary life, but when I am behind the camera, I feel like I step into a different world where I can slow down, observe, and appreciate things I might otherwise overlook.
How did you first get into photography?
It happened almost by accident. A friend gave me a used DSLR camera one day, and until that point I had no interest in cameras whatsoever. On trips, I would take just a few snapshots as keepsakes, but nothing more. When I started experimenting with that DSLR, however, I discovered how different it felt to intentionally frame a scene. At first, I didnât know what I was doing, but I enjoyed the process of trial and error. Slowly, I began to realize that photography could be more than just a record, it could be a way of expressing how I see the world.
Why black and white photography?
Black and white felt natural to me from the very beginning. My photography is heavily focused on light, shadow, shapes, and solitude, and monochrome strengthens those elements in a way color often cannot. When color disappears, the viewer starts paying more attention to structure, balance, and emotion inside the frame. That simplicity is what attracts me most. I also think black and white creates a certain timeless feeling. Modern cities are full of distracting colors, advertisements, and visual noise, but monochrome strips all of that away and leaves only the essential atmosphere behind. In many ways, it allows me to show the city not as it literally looks, but as it feels emotionally.
How do you decide where to go and shoot?
Most of the time, I simply walk aimlessly through the city and see what I find. I like the unpredictability of this approach. But I also do research beforehand, I sometimes use Google Maps to look for architecture that might produce interesting shadows or lines. YouTube has also been surprisingly helpful for discovering buildings or corners of Osaka I didnât know about. Iâve even been inspired by music videos from artists I admire, sometimes a location appears for just a few seconds, and it makes me want to find it and photograph it in my own way.
What does photography mean to you?
Photography has become one of the most important parts of my life because it changes the way I experience the world around me. It gives me a reason to slow down and pay attention to details that most people donât even see. Without photography, I think many moments would simply pass by unnoticed for me. What I enjoy most is the feeling of capturing a scene that matches the image I imagined in my head. It doesnât happen often, but when everything aligns correctly, light, composition, and subject, it feels incredibly satisfying. Sharing those photos with other people adds another layer of meaning because I enjoy seeing how viewers interpret the images differently. Photography has also connected me with people all over the world. Even without speaking the same language, photographers understand each other through images. During difficult periods in my life, photography became something stable that I could always return to.
What gear do you use?
I currently use the SONY Îą7C II, and my most frequently used lens is the G 16â25mm wide-angle zoom. But to be honest, I donât obsess about gear. I think itâs easy to believe that equipment will solve everything, but what matters most is how you see and what you notice. I try to make the most of whatever camera I have with me.
Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?
I personally prefer the quieter moments. I like standing in one place, observing, and waiting for a subject to appear, it gives me time to think about what Iâm trying to capture and how the elements fit together. But I also shoot in busier areas, and there I try to find brief moments of stillness or isolation within the chaos. Both environments have their challenges, but both can also surprise you.
What are your favourite shooting conditions?
My favorite conditions are definitely clear early mornings. The light is sharp, shadows are long, and the streets still feel calm before the city fully wakes up. Thereâs a certain atmosphere during those hours that disappears later in the day. I especially love when sunlight creates strong geometric shadows between buildings. Since my work depends heavily on contrast and silhouettes, those conditions are ideal for me. The challenge is that Iâm not naturally a morning person, so waking up early is always difficult. But every time I actually go out, I remember why I enjoy it so much.
Do you only shoot black and white or also colour, and why?
I mostly work in black and white because thatâs how I naturally visualize scenes in my mind. Even when Iâm standing in front of a colorful environment, Iâm usually thinking about contrast, shapes, and light first rather than the colors themselves. Occasionally I do experiment with color, especially during certain weather conditions or at night when artificial lighting creates interesting atmospheres. But even then, my approach stays very similar to monochrome photography. Iâm still focusing more on mood and composition than on vibrant color itself. Right now I feel like I still have a lot to learn about black and white photography, so I want to continue refining that style before moving more seriously into color work. I think monochrome suits the emotions I want to express best at this stage of my journey.
Do you see yourself more like a street photographer or architectural photographer?
I definitely consider myself a street photographer, even though architecture plays a huge role in my images. What interests me most is not the buildings themselves, but the relationship between people and space. A photograph can completely change emotionally once a person enters the frame. Even a tiny silhouette can add tension, scale, mystery, or loneliness to an otherwise static scene. That human element is what makes street photography exciting for me.
How did you find your unique photography style?
I think my style developed very gradually through experimentation and observation. In the beginning, I was heavily inspired by photographers I discovered online, especially creators on YouTube and Instagram who focused on monochrome street photography. I studied how they used light, composition, and negative space, and naturally some of those influences appeared in my own work. Over time though, I started noticing patterns in the kinds of images I personally enjoyed making most. I was always drawn toward scenes with strong shadows, isolated subjects, and quiet atmospheres. Even without realizing it, I kept returning to the same visual language again and again. Eventually, those repeated choices slowly became my style. I donât think style is something you suddenly âfind.â It develops naturally through repetition, influences, mistakes, and personal taste. Even now, I still feel like my work is evolving. I hope it never fully stops evolving, because that constant process of discovery is part of what makes photography exciting for me.
What role does storytelling play in your work?
For me, storytelling comes after the photo is taken. I donât go out looking to tell a specific story, I go out looking for moments that feel beautiful or intriguing. Later, when someone sees the photo, the story is formed in their mind. I try to guide that by emphasizing solitude or mystery, but I also like that every viewer might interpret the scene differently.
If you could travel anywhere in the world where would that be and why?
Thatâs a difficult question because there are so many cities Iâd like to see. But in general, I want to capture urban environments. New places give me fresh energy and new ideas. Walking through a city Iâve never been to before is always inspiring, everything feels new, even ordinary corners.
Whatâs the most challenging thing about photography for you?
Patience is probably the biggest challenge for me. I often find a composition with perfect light and shadows, but then I need to wait for the right subject to enter the frame. Sometimes that moment happens quickly, but other times I can stand in one spot for a very long time and leave without getting the image I imagined. That process can become frustrating because street photography depends so much on timing and luck. You can prepare the composition perfectly, but you still canât fully control what happens in front of the camera.
In what photography genre would you put yourself? And why?
I would probably describe my work as fine art street photography. My photos are rooted in real street environments and moments, but I try to present them in a more refined way. What interests me most is reducing scenes down to essential elements like light, geometry, balance, and atmosphere. Iâm less focused on showing exactly what happened in a literal sense, and more interested in creating emotional or visual impact. I think the fine art aspect comes from how much attention I place on composition. Many of my photos are carefully structured around shadows and architecture. But at the same time, they still depend on real moments happening naturally in the street, which keeps them connected to street photography.
What is your favourite subject to shoot?
I love silhouettes because they reduce people to pure form and allow me to study light and shadow in the clearest way. They also add a sense of mystery, viewers start to imagine who that person is or where they are going. I also enjoy photographing umbrellas, especially in the rain. The shapes and textures add a nice accent against minimal backgrounds.
Are you a professional or a hobbyist?
At the moment, Iâm still a hobbyist, and Iâm happy with that. Photography is something I do because I love the process, not because I feel pressured to produce work. Keeping photography separate from financial pressure allows me to experiment freely and focus only on what interests me personally. I can spend hours waiting for a single shot without worrying whether itâs commercially useful or not. Of course, itâs always exciting when people appreciate my work or opportunities appear because of photography, but I try to protect the enjoyment I feel when walking through the city with my camera. Right now, that freedom is very important to me.
Who are some photographers or other artists that inspire you?
One of the first photographers who inspired me was @Takahiro_bnw on YouTube. Watching his videos helped me understand how light and composition could completely transform ordinary street scenes. His work had a big impact on the direction I eventually moved toward. Iâm also inspired by photographers like @black.nouvellevague and @Sinya_pic because of the way they use shadows and minimalism. And of course, Fan Ho remains one of the greatest inspirations for me. His understanding of light and geometry feels timeless. Beyond photography, Iâm inspired by cinema, architecture, and graphic design as well. I think all visual art forms influence each other in some way. Sometimes inspiration comes from something very small, like a scene in a film or the shape of light inside a train station.
How do you know when youâve nailed the shot?
Usually itâs when the subject enters the frame exactly the way I was hoping. I often set up my composition in advance, so I know what I want the picture to look like. When it happens as I imagined or sometimes even better I feel it instantly.
How important is composition in photography?
For me, composition is probably the most important part of photography. Since my style depends heavily on minimalism and geometry, every element inside the frame matters. Even small changes in positioning can completely affect the balance of an image. I donât always consciously follow strict composition rules, but I do pay very close attention to visual balance, negative space, and leading lines. Over time, some of those instincts become natural through repetition and practice.
Whatâs your advice for someone who wants to start exploring monochrome photography?
I think silhouettes are one of the best ways to begin because they immediately teach you to see contrast and shape rather than color. Try slightly underexposing scenes and paying attention to how shadows and highlights interact with each other. Another important thing is studying the work of other photographers. Black and white photography has so many different styles. Looking at different artists helps you understand how flexible monochrome can actually be. Most importantly though, donât become discouraged early on. Black and white photography can initially feel difficult because you lose the visual impact of color, so composition and light become even more important. But once your eye adjusts to seeing, it becomes very rewarding.
How important is lighting in photography?
Lighting is absolutely the foundation of my photography. In most cases, I start by looking for interesting light first, even before composition. Once I find strong shadows or beautiful contrast, I begin building my composition around that. Without the right light, the photo doesnât work.
Is there a photography genre you havenât tried yet, that you would like to explore?
Iâm still exploring photography in general, so I try to stay open-minded about where my interests might go in the future. Right now, monochrome street photography feels closest to me, but I donât want to limit myself too much creatively. I think travel photography could become something I explore more seriously one day because unfamiliar cities always inspire me. Iâm also curious about experimenting more with color in the future, even though black and white still feels most natural to me right now.
What do you usually think about while waiting for a subject to enter the frame?
The rest, 5 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Really Right Stuffâs New Carbon Fibre Tripods
Really Right Stuff has announced a new âCore Lineâ of carbon fibre tripods, introducing the Benchmark and Benchmark Inverted support systems alongside several bundled kits meant for photographers shooting outdoors with heavier mirrorless or DSLR setups, especially for landscape, wildlife, telephoto, and long-exposure work.
The Benchmark uses a more traditional four-section tripod design, while the Benchmark Inverted uses a three-section inverted layout that places the twist locks closer to the apex instead of down near the feet. According to RRS, that helps keep dirt, sand, snow, and water away from the locks during outdoor shooting while also improving overall rigidity by concentrating more of the structure near the top of the tripod.
Both tripods include four leg-angle positions (24, 44, 64, and 84 degrees) along with new magnetic self-ratcheting adjustment tabs designed to make setup a bit faster and easier, especially when working with gloves on.
RRS also redesigned the apex platform so it works more smoothly with the companyâs wider lineup of tripod heads and accessories. The apex includes integrated QD sockets and accessory ports while keeping compatibility with RRSâs Arca-based ecosystem.
The Benchmark weighs 3.8 pounds (1.7 kilograms) and extends to a maximum height of 69.7 inches (177 centimetres). The lighter Benchmark Inverted weighs 3.6 pounds (1.6 kilograms) and reaches 61.1 inches (155.2 centimetres).
The new Really Right Stuff Core Line tripods are pretty expensive though. The Benchmark Carbon Fibre Tripod is priced at $945, while the Benchmark Inverted costs $795. Bundles with the Really Right Stuff BH-40 LR II start at $1,215.
Photography Tip of the Week
The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.
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: @fredrik.axling
Letâs Analyse this Photo
Composition & Framing
What works well:
The leading lines and depth created by them are probably the strongest aspects of the photo. The sidewalk, the curb, the building edges/lines, the very long shadows of the people walking all pull your eye directly toward the sun in the distance.
The perspective works really well because the building stretches so deeply into the distance, creating a very strong sense of depth and direction.
Our subject placement is also nice. Having the girl leaning against the wall instead of standing in the middle of the walkway keeps space for the shadows and light to fill out the space + her as an anchor point pulls out attention to the wall which then leads into the distance/sun.
We also have some nice layering with the foreground pavement â subject â people further down â horizon and buildings in the back. It all gives a lot of depth.
What could be better:
The brightest area around the sun is very strong and slightly blown out, which obviously pulls some attention away from our subject.
The girl is placed well, but because she is relatively dark and small, she does not dominate as much as she maybe should (though to be fair I think that the sun and the shadows are âsubjectsâ here as well).
The right side with the parked cars feels a bit less refined compositionally compared to the left side.
Light & Atmosphere
What works well:
The light is, I would say, the identity of this photo. The warm golden hour glow bouncing across the building and pavement creates a really nice atmosphere.
The long shadows and warm reflections on the wall add a lot of mood and depth.
The sunlight hitting the building at such a low angle creates really nice dimensionality in the textures and windows.
What could be better:
As mentioned before, the highlights near the sun are pushed very far and lose detail.
Some of the darker areas on the left side are maybe a bit too crushed, losing texture and information.
Colour & Tone
What works well:
The warm tones are really strong here and fit the scene. Everything is dipped in this golden-orange glow that feels very immersive and special.
The reflections in the windows add subtle colour variation and keep the building visually interesting.
What could be better:
The photo obviously leans heavily into warm orange tones, which slightly reduces colour variety + for some people this just is ââtoo much orangeââ.
Some cooler tones in the shadows could maybe have balanced the palette a bit more.
Texture
What works well:
Texture is actually very nice here, especially on the pavement and the building wall. The low sunlight really carves out all the small details.
The reflections in the windows add another layer of texture and visual interest (this soft of glossy texture is always interesting).
The sidewalk texture becomes even more pronounced because of the shallow angle of the light.
What could be better:
Some of the textures in the darker left side shadows disappear because the blacks are quite deep.
Balance
What works well:
The heavy building on the left is balanced nicely by the bright sun and open street on the right.
Our (main) subject in the middle helps stabilise the frame and prevent it from feeling too empty.
The glow in the distance acts as a strong visual counterweight to the bit more darker foreground.
What could be better:
I would say that the photo is slightly right-heavy because of how bright the sun area is + all the lines are pushing you there.
Something You Have To Check Out
Do your searches always hit dead ends?
Nearly half of users abandon a search without getting the result they wanted. Instead, theyâre stuck in a loop of irrelevant results, slow-to-load articles and contradicting advice.
heywa is a whole new way of searching. It gives your result as visual & concise stories, meaning you get answers at a glance.
And if you want to explore your topic further, you can tap through your search journey without having to re-prompt and start again.
Join Our Photographer Group!
Get access to the best photographer group/community for networking, collaborating, gear talk, feedback on your work and so much more!
Photographer of the Week
Photographer of the week goes to: Dan Castledine
You can find him on Instagram as: @dancasphotographic
A few photos of his:
Also want your photos featured in the magazine? Become a member here!
The Rest of this Issue is for Premium Subscribers
