đ¸ SNAPSHOT - Issue 118
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Thypochâs New Simera-C 16mm T1.9 Lens
Thypoch has announced the latest addition to its Simera-C lineup with the new Thypoch Simera-C 16mm T1.9. While this is a cine lens designed primarily for video, lenses like these have also become increasingly popular with photographers looking for the unique look/rendering they often produce.
The Simera-C series first appeared around two years ago with 28mm, 35mm, 50mm, and 75mm primes, while a 21mm version is also expected to join the lineup. With the new 16mm T1.9, Thypoch is going more into ultra-wide territory while keeping the compact design philosophy the series has become known for.
Although the 16mm T1.9 is technically the slowest lens in the Simera-C lineup, where the rest of the series uses T1.5 apertures, a T1.9 aperture at 16mm is still relatively fast compared to many ultra-wide cinema lenses.
Physically, this is the largest Simera-C lens so far, but it still remains fairly compact considering the focal length. The M-mount version measures under 70 millimeters (2.7 inches) long, while the Sony E-mount version stretches slightly further to 79.3 millimeters (3.1 inches).
Weight comes in at 467 grams for the M-mount version and 490 grams for Sony E-mount, making it slightly lighter than the smaller Simera-C 21mm T1.5.
Like the rest of the series, the new lens keeps consistent physical dimensions, making lens swaps easier. It uses the same 67mm front diameter found throughout the Simera-C lineup and includes a 210-degree focus throw for precise manual focusing.
Optically, the lens uses a fairly complex design consisting of 15 elements arranged into 11 groups alongside a 16-blade aperture diaphragm. Like the other Simera-C lenses, it covers a 43.2mm image circle for full-frame compatibility.
According to Thypoch, the optical design focuses heavily on minimising distortion, reducing focus breathing, and maintaining consistent sharpness across the frame. The company claims centre resolution reaches 85 lp/mm.
The company also notes that the M-mount versions can be adapted relatively easily to a wide range of systems, including PL, Canon RF, Nikon Z, and L-Mount systems.
The Thypoch Simera-C 16mm T1.9 is priced at $879 for Sony E-mount and $959 for M-mount.
A few sample photos:
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Interview with Oleg Teply
This weekâs Interview with Oleg, a talented street photographer based in Berlin. 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: @teply.visuals
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Oleg. I was born in Ukraine, but Iâve been living in Germany since my student years. Photography has been a part of my life since childhood. Some of my earliest memories are of my father developing film in a small room with only a red light. Watching those blank sheets of paper slowly reveal images felt like magic to me. That moment never left my mind, and I think itâs where my curiosity for photography began. Over the years, my interests moved through different subjects. At first architecture, then concerts and events, and finally street photography. Each of those stages shaped me in some way. Berlin has been a big influence too itâs a city full of contrast, rhythm, and atmosphere, and living here continues to inspire the way I shoot and see the world.
How did you first get into street photography? Was it love at first click?
Street photography wasnât something I planned to pursue, it just came naturally as my interests evolved. I started with architecture, then I moved into events and concerts, where you have to capture energy. From there, it felt like a short step into the streets. At first it was just small experiments, but I quickly realized how much I enjoyed it. I wouldnât call it love at first click, but it grew into something that now feels essential to me.
You do a lot of nighttime street photography too, any tips for shooting at night?
Night photography is probably what I enjoy the most. Iâve never been a morning person, so it suits me well (laughs). But beyond that, thereâs something about the city after dark that completely changes the mood. Colors are stronger, contrasts are sharper, and the streets feel more cinematic. My main tip would be: donât fight the darkness, work with it. Expose for the highlights the streetlights, the signs, the windows, and let the shadows stay dark. Thatâs where the mystery is. A tripod can be useful, but I often prefer to stay handheld for flexibility. And finally, donât rush. Night photography is about patience, waiting for the light and the subject to line up.
How do you decide where to go and shoot?
It depends. Sometimes I head out with a clear idea in mind a location, a theme, or even just a particular light I want to capture. Other times, I simply wander with no plan at all. I enjoy that just as much. Walking without a fixed goal feels like hunting, you donât know what youâll find, but you stay alert and ready. Even if I donât come back with great photos, the act of walking and observing feels like meditation. It clears my mind and helps me see the city differently.
Do you have a favourite city or spot for street photography? Why?
Every city has its own soul. During the day, a street can feel loud and chaotic, but at night the same street might turn poetic and quiet. That duality is what attracts me. Traveling has shown me that every city has something special, Lisbon, Prague, Kyiv, all of them offered me different moods. So instead of a single âfavorite,â I would say my favorite spot is always the one that surprises me the most that day.
What is your go-to gear setup when you hit the streets?
I shoot full-frame and at the moment Iâm using a Nikon body. My preferred lenses are fast primes, 35mm, 50mm, and 85mm. The 35mm gives me versatility and is probably the one I use the most. The 50mm feels natural for portraits and closer street shots, while the 85mm allows me to isolate subjects and compress the background. Over the years, Iâve learned that gear doesnât matter as much as how you use it, but having reliable tools that fit your style does make a big difference.
Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?
Both. Busy streets have their own energy but they can also feel overwhelming. Quieter spaces allow me to slow down, observe, and really focus on the details that matter. Often, Iâll combine both: for example, finding a quiet frame within the middle of chaos. That balance is something I enjoy searching for.
What are your favourite shooting conditions?
Evenings and foggy days. Evening light has a glow that makes the city feel alive in a very different way than during the day. Fog adds mystery, transforms familiar places, and makes them feel like a film set. But every condition has its value. Rain, snow, harsh sun they all create different moods, and learning how to adapt to each one keeps me creative.
What is your take on the ethics of street photography, like shooting strangers without asking?
Street photography is about capturing real life as it happens. For me, the balance lies in being respectful. I donât intrude on people or invade their space. I prefer to observe quietly, without disturbing the natural flow of a scene. At the same time, I believe itâs important not to overthink it. If youâre always worried about being âallowedâ to take a picture, youâll miss the moment entirely.
Reels or photos, and why?
Both have their place, but reels allow me to build rhythm, to connect images into a flow that feels like poetry in motion. Photos freeze one moment, reels tell a small story with many. I enjoy experimenting with both formats because they push me to think differently about my work.
How has your photography style evolved over the years?
In the beginning, I was about structure and detail, photographing architecture and lines. Then I moved into concerts and events, which forced me to react quickly and capture the energy there. Over time, I felt a need to step away from documenting for clients and focus more on creating mood and atmosphere. Thatâs what led me to street photography. Today, my style leans toward cinematic atmospheres, often dark and moody. I think of it as a mix of everything Iâve learned so far.
What role does storytelling play in your work?
Storytelling is what gives meaning to an image. For me, itâs not about a literal narrative but about atmosphere. A single photo can feel like a scene from a movie, hinting at something before or after that frame. Thatâs the kind of storytelling Iâm after, not answers, but questions that make people pause and imagine.
If you could travel anywhere in the world for street photography, where would it be and why?
Big cities are always the most inspiring for me. They carry energy, history, and so many hidden stories. Iâve seen a lot of Europe, but I still dream of places like New York, Tokyo, and London. They each have their own rhythm, their own visual language. New York, for example, feels like the birthplace of street photography. Tokyo has a futuristic atmosphere that fascinates me. London has its own mix of old and new.
What is the most challenging thing about street photography for you?
The biggest challenge is timing. Everything happens so fast. You see a scene forming, but you only have a second or two to frame it before itâs gone. Sometimes you succeed, sometimes you miss it. That pressure can be frustrating, but itâs also what makes the process exciting.
What is the best location in Berlin for street photography and why?
Itâs hard to name just one best place in Berlin for street photography, because the city offers such a wide palette of possibilities from the historic architecture in Berlin Mitte to the timeless atmosphere of its U-Bahn stations. Personally, I donât like to tie myself to a single spot, but I often find myself around Museum Island, FriedrichstraĂe, and KurfĂźrstendamm, where the mix of people, architecture, and energy always provides something inspiring.
Do you work with photography trends or are you trying to avoid them?
I stay mindful of trends, since they reflect todayâs visual language and what connects with people. But I donât let them dictate my work, I use them as inspiration and adapt them into my own style. For me, photography is about being authentic, not following whatâs popular.
Who are some street photographers or other artists that inspire you?
I wouldnât say thereâs one artist I always look up to. My inspiration comes from many different places, from classic street photographers, from contemporary creators I come across online, and very often from everyday life. I try to keep an open mind, because inspiration can come from anywhere.
How do you know when youâve nailed the shot? Is it instinct or something else?
I like to think that my perfect shot is still ahead of me (smiles). Of course, Iâve captured many beautiful moments already, but I believe thereâs always room to grow. With experience, you start to see the potential of a scene before you even lift the camera, the frame forms in your mind first, long before it reaches the sensor.
How important is composition in photography?
Composition is quite important to me, because it often helps turn an ordinary situation into something interesting. I try not to overload my images with too many details, but instead focus on the key compositional elements that reflect the meaning and idea of the frame. Details should still be present, but in a way that supports the image without distracting from its main focus.
What is your advice for someone who wants to start exploring street photography?
My advice is donât be afraid of mistakes, just keep shooting. Not every photo will work out at first, but thatâs how you learn, and sometimes an imperfect shot can still capture a powerful emotion. Experiment with light and perspective, because they can completely change the mood of a scene. And above all, be patient. Street photography is really about attentiveness and waiting for the right moment.
How important is lighting in photography?
I see light as a language, and discovering how to read it is one of the most fascinating journeys in photography. It doesnât just brighten a scene, it sets the mood, creates atmosphere and guides the viewerâs eye. Soft light can make a moment feel poetic, while strong shadows bring drama. What I love most is how light can turn an ordinary scene into something unforgettable
What makes a scene feel âcinematicâ to you?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Halide Mark III Is Here
Halide Mark III has officially arrived after first being previewed back in late 2024, bringing a major update to one of the more popular third-party camera apps on iPhone. The biggest changes focus on a new image processing pipeline, updated editing tools, and a new system called Looks.
The update builds on âProcess Zeroâ, which Lux introduced last year as an alternative to the heavy computational photography pipelines used by most smartphone cameras these days. Instead of aggressively processing photos through AI-driven enhancements and image stacking, Process Zero wants to produce photos that look closer to what the sensor actually captured.
Valencia Look
According to the Lux, Halide Mark III builds directly on that foundation with an entirely new processing pipeline developed alongside Hollywood colourist Cullen Kelly.
The biggest addition this time, is Looks, which the company describes as alternative rendering designed around different colour and contrast characteristics rather than simply applying filters on top of a photo.
Nova Look
Halide Mark III launches with five Looks. Valencia is for landscapes and city scenes with stronger contrast and richer colours. Rembrandt focuses primarily on portraits and skin tones. Nova leans into warmer highlights and punchier contrast for urban and street photography. Zephyr takes a more neutral approach with softer contrast, while Chroma Noir has a black-and-white rendering inspired by traditional panchromatic film.
Unlike typical smartphone filters, these Looks are integrated into the processing pipeline itself and can work alongside film simulations and optional HDR modes.
Chroma Noir Look
Another new addition is the Photo Lab. If you are shooting RAW, you can experiment with different Looks, adjust exposure, toggle HDR processing, and apply film simulations without leaving the app. Additional editing tools include cropping, colour adjustments, and other basic corrections.
The camera interface itself has also been redesigned. Lux says the update places more emphasis on composition tools, with quicker access to aspect ratios including 3:2, 1:1, panoramic 65:24 formats, and a dynamic Instagram-focused aspect ratio that changes depending on orientation.
The redesign also adopts Appleâs Liquid Glass design language introduced with iOS 26, although people who prefer the previous interface can still switch back to the Mark II layout.
One unexpected addition is support for editing RAW files captured outside the iPhone ecosystem. Halide Mark III can now open and edit RAW files from cameras made by companies including Canon, Sony, Nikon, Leica, Fujifilm, and Hasselblad. This feature however is still technically in beta.
The company says part of the motivation came from realising that many of the Looks and editing tools being developed for iPhone photography also translated well to files captured with dedicated cameras.
Halide Mark III is available now as a free upgrade for existing Halide users and current subscribers. New users can purchase a lifetime license for $59.99 or subscribe annually for $19.99.
A few more sample shots:
Zephyr Look
Valencia Look
Chroma Noir Look
Hasselblad X2D II 100C RAW processed in Halide Mark III
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: @moumarion
Letâs Analyse this Photo
Composition & Framing
What works well:
Compositionally this photo is pretty strong because almost everything naturally funnels us toward our subject â the sidewalks, road markings, parked cars, reflections and even the slope of the street all pull your eye downward toward the person with the umbrella + then even further thanks to that incredible San Francisco slope â and this gets exaggerated even more by the wetness of the road and trams tracks â all this together creates a lot of depth.
Layers are also pretty good. We have our immediate foreground pavement â subject â cars and street elements â buildings â distant traffic, road etc. â this again gives the scene a strong sense of scale and a nice 3D effect.
The subject placement works well enough too. Centring the person with the umbrella here actually works because the street itself is already asymmetrical and busy.
The umbrella also creates a very strong visual anchor in the middle of all the complexity (and yes, there is a lot of it).
What could be better:
There are quite a few competing elements. Parking meters, signs, cars, poles, traffic signs, advertisements, lights it is a somewhat controlled chaos, but still chaos.
The sign on the right (the âNo Parkingâ sign) is relatively bright and does pull attention away from our subject once you start exploring the frame a bit more.
The top/distant part of the photo is very busy. The billboard, buildings, traffic lights and bokeh all compete somewhat â it does start pulling your attention upwards/forwards maybe a bit too soon.
Light & Atmosphere
What works well:
Atmosphere, I would say, is probably one of the strongest aspect. The rain definitely transforms what otherwise could have been a pretty normal city street into something a lot more cinematic.
The wet pavement creates nice reflections everywhere and helps guide your eye deeper into the frame.
The dark exposure works well too because it reinforces the rainy-day mood.
The lights from the cars and street lamps create little pockets of brightness throughout the frame which keep your eyes moving (although, as mentioned in the first point, this can potentially pull the viewerâs attention away from our subject, if it is too much)
What could be better:
Some shadow areas are very dark and lose detail.
As noted, certain highlights, especially some car lights and signs, can feel slightly overpowering compared to the subject itself.
Colour & Tone
What works well:
The colour palette is pretty good. We mostly get cool blue-grey tones mixed with warm reds and oranges. That combination works really well in rainy street photos.
The relatively restrained colours help reinforce the mood. Nothing feels overly saturated.
The red lights become much stronger/they pop much more because the rest is relatively muted.
What could be better:
The overall photo is quite dark and slightly monochromatic outside the red highlights.
Some slightly brighter tonal separation in certain areas could make parts of the photo easier to read.
Texture
What works well:
Texture is definitely a strong point. The rain reflections on the pavement carry a lot of the photo.
The umbrella texture itself is also nice, the raindrops catching light add another layer of realism + it just brings your eye toward the umbrella that much more.
The road surface, wet sidewalks and reflections create lots of small details without becoming distracting.
What could be better:
Some textures in the deeper shadows disappear completely.
Because the scene is dark overall, some building textures get lost.
Balance
What works well:
Balance is surprisingly good considering how chaotic the scene is. Our subject anchors the centre while the surrounding city distributes visual weight diagonally
The bright lights in the distance balance the darker foreground areas nicely.
Cars and buildings on both sides prevent the photo from leaning too much in one direction.
What could be better:
The left side is slightly heavier visually because of the bright red sign (looks like a hat almost, I think it is a restaurant entrance) and denser architecture (those balconies up top especially).
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Photographer of the Week
Photographer of the week goes to: Dimpy Bhalotia
You can find her on Instagram as: @dimpy.bhalotia
A few photos of hers:
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The Rest of this Issue is for Premium Subscribers
