📸 SNAPSHOT - Issue 119
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Light Lens Lab’s New 75mm f/1.5 ‘Z21’ Lens
Light Lens Lab has unveiled the new Light Lens Lab 75mm f/1.5 Z21, a manual focus mid-telephoto portrait prime designed for Leica M-Mount cameras. The new lens builds on last year’s 50mm f/1.5 Z21, although unlike that lens, this one is not intended as a recreation of a historic design.
While the earlier 50mm was heavily inspired by the rare P. Angenieux S21 from the 1950s, the new 75mm f/1.5 is an entirely new optical design developed internally by Light Lens Lab. According to the company, the lens was created through ‘studying and expanding the rendering style and visual character associated with the Z21 lineup’ rather than recreating an existing optic.
The 75mm focal length naturally pushes the lens more toward portrait work compared to its 50mm sibling. Combined with the bright f/1.5 aperture, the lens is built around shallow depth of field, strong subject separation, and the sort of rendering many rangefinder photographers tend to gravitate toward with longer fast primes.
Optically, the lens uses a relatively simple six-element, four-group design covering full-frame 35mm sensors (24×36mm). Like the 50mm f/1.5 Z21 before it, the new lens includes a lanthanide-infused optical element, something that has become part of the visual identity of the Z21 lineup.
Light Lens Lab says one of the bigger goals this time was improving technical performance based on feedback from the earlier lens. According to the company, the new 75mm prioritises improved corner sharpness, stronger edge-to-edge resolution, and a larger image circle to better support modern full-frame cameras and adapted mirrorless setups.
The lens offers an aperture range from f/1.5 down to f/22 and uses a 10-blade diaphragm with preset aperture control and full-increment locking positions. Focus range extends from one meter to infinity, which is fairly standard for Leica M rangefinder lenses at this focal length.
The lens uses a Leica M quick-change bayonet mount and accepts standard E55 filters. Light Lens Lab also includes an E55 screw-on lens hood. Physically, the lens measures approximately 71mm long by 63.5mm wide and weighs around 454 grams without accessories. Construction uses aluminium alloy throughout.
And while the Light Lens Lab 75mm f/1.5 “Z21” is a native Leica M-mount lens, it can also be adapted to other systems. Using simple mechanical adapters with no optical elements required for infinity focus, the lens can be adapted to Sony E-mount, Canon RF, Nikon Z, Leica L-mount, Fujifilm X-mount, and even Fujifilm GFX medium format cameras.
The Light Lens Lab 75mm f/1.5 Z21 is priced at $999, with shipping expected to begin on June 30.
A few sample shots:
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Interview with Marcus Cederberg
This week’s Interview with Marcus, a talented minimalism photographer from Sweden. 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: @marcuscederberg
Enjoy the amazing Interview ;)
Can you tell a bit about yourself?
I’m a 57-year-old hobby photographer from Sweden, living in the middle part of the country together with my wife, family, and our two dogs. Outside photography, I work full-time as an IT manager, which means most of my days are filled with meetings, deadlines, planning, budgets, and solving technical problems. It’s a world that is very structured and logical, which is probably one of the reasons photography became so important to me. Photography gives me something completely different. It forces me to slow down, observe, and think creatively instead of analytically. I wouldn’t call myself a professional photographer, but I do take photography seriously because it has become such an important part of my life. What started as something I mostly did for myself slowly turned into something much bigger through social media, exhibitions, and meeting people from around the world who connect with my work. Photography gives me balance. It gives me something that belongs entirely to me outside work and everyday responsibilities. It’s still a hobby, and I want it to stay that way, but it’s definitely much more than simply a hobby too.
How did you get into photography?
My father was both a photographer and a journalist, so cameras were always around while I was growing up. Some of my earliest memories are from watching him work in the darkroom under red light while images slowly appeared on blank sheets of paper. As a child it felt like magic. At that age I obviously didn’t understand exposure or chemistry or any technical side of photography, but I remember being fascinated by the process itself. Later in life, when digital photography became more accessible, I started experimenting myself. But strangely enough, it wasn’t until smartphones became common, especially the iPhone, that photography really became part of my everyday life. Suddenly I always had a camera with me. That completely changed things because I started photographing small moments constantly rather than waiting for special occasions. Eventually I noticed patterns in what I enjoyed photographing. I kept returning to simplicity, shapes, clean compositions, strong colors, and minimal scenes. Looking back now, photography didn’t suddenly appear one day. It was probably always there, just waiting for the right moment.
What role does composition play in your photos?
Composition is probably the most important part of my photography. I genuinely believe you can have beautiful light, interesting subjects, or amazing colors, but without strong composition the image simply won’t hold attention for very long. Minimal photography is especially demanding because there’s nowhere to hide mistakes. When you remove details and simplify a scene, every remaining element suddenly becomes important. The placement of a single object, negative space, proportions, colors, balance, everything matters more. I don’t think composition should feel like mathematics however. It’s more about developing an eye for balance and learning what feels visually satisfying. Over time it becomes more instinctive, but I still think about composition constantly whenever I shoot.
What do you think sets your work apart from others?
I think my focus on subtraction makes my work stand out. Many photographers want to capture as much as possible in a single frame, every detail, every color, every movement. I go the other way, trying to reduce and simplify until only the essentials remain. It’s about creating a strong mood with as little as possible. Maybe it’s a very Scandinavian approach, influenced by design and architecture around me, where simplicity is valued highly. I also believe consistency has played a role. Over the years, I’ve stuck to a minimal, calm aesthetic. People who follow my work often tell me they can recognize my photos instantly. That, for me, is the best compliment, that I’ve created a style that feels personal and recognizable.
How do you stay inspired and motivated?
Because photography is a hobby for me, I think protecting the enjoyment is extremely important. The moment photography starts feeling like obligation or pressure, I know something is wrong. Some days inspiration comes easily. You walk outside and immediately notice interesting colors, light, shapes, or compositions. Other days absolutely nothing seems interesting. I think accepting both situations is important. When inspiration feels low, I try not to force results. Instead, I focus on enjoying the process itself. Taking the dogs for a walk with a camera, exploring somewhere new, or simply observing more carefully often helps much more than actively searching for “good photos.”
What qualities do you think make a great photographer?
I think one of the most important qualities is developing a unique style and sticking with it. There are so many photographers today, especially on social media, and what makes someone stand out is consistency. I also believe passion and patience are important. Photography takes time, both in practice and in waiting for the right moments. For myself, I’d say I’ve always been a mix of an artist and a businessman. I care about the creative side, but I also think about how to share and present my work so people can discover it. In others, I appreciate when they’re authentic, when you can look at their work and feel it truly represents who they are.
What gear do you use?
I use a Canon M50 with different lenses and a DJI Mini 3 Pro drone. The main reason for this setup is that it’s light, small, and easy to bring anywhere. I like being able to walk freely without carrying a huge bag of gear. That’s important for me, because photography should feel enjoyable, not like a workout. Of course, sometimes I look at other photographers’ gear and think about what I’d buy with an unlimited budget. But my current equipment has never let me down. I believe the person behind the camera matters much more than the gear. The Canon M50 might not be the most “professional” out there, but it fits perfectly with my style and my way of working.
What software do you use and how long do you spend editing?
I mainly use Pixelmator and Affinity Photo. For many years I avoided Photoshop because it always felt overly complicated for my needs, although recently I’ve started experimenting more with it, especially because some newer AI tools can actually speed up certain parts of editing. Editing time varies enormously. Sometimes a photo works almost immediately. Those are wonderful moments because very little adjustment is needed. Other times I spend hours making small refinements. Changing colors slightly, adjusting shapes, simplifying distractions, trying different crops. Minimal images can actually require a surprising amount of editing because small details become much more noticeable. Sometimes the most difficult part is simply knowing when to stop.
How did you find your style?
By accident, actually. I was with my family at a public pool and took a photo of a pair of orange sunglasses hanging on a hook against a big green wall. It was such a simple shot, but when I posted it on Instagram, it got a strong response. That was the moment I realized minimalism, color, and composition could create something powerful. Later, when Instagram featured me as a suggested user, my following grew quickly, and I felt motivated to keep refining that direction. Over time, I noticed that I always returned to simple, minimal scenes with strong lines and colors. That became my style.
Reels or photos?
I enjoy both, but photos will always be closest to my heart. Instagram started as a photography platform, and that’s where I feel most at home. Reels have become important because of how people use social media now, influenced by TikTok, but I see them more as a way to complement my photos. They allow me to show a bit of process, behind-the-scenes, or to create movement from stills. But inspiration, for me, still comes mostly from photographers who work with photos. That’s the format where I find the most creativity, and it’s also where I feel my work belongs.
What does photography mean to you?
Photography is difficult to describe because it became much bigger than I originally expected. It’s my hobby, but also much more than that. It’s a way to relax, to explore, and to connect with others. I’d say 90% of my shooting is just for fun, but the process itself is meaningful. I also appreciate photography as an art form. I visit exhibitions and museums as often as I can, because seeing how others approach the medium is inspiring.
How would you describe your style?
Minimalistic, calm, simple, aesthetic — but hopefully still emotionally strong. I want my photos to feel peaceful without becoming boring. The challenge with minimalism is always that simple photos can easily become empty photos. The goal is finding enough simplicity to create calm while still keeping enough interest to hold attention. Like I said, the nicest compliment I receive is when someone says: “I immediately knew this photo was yours.”
Do you prefer shooting alone or with company?
Always alone. For me, photography is very personal and also quite meditative. When I’m alone, I completely disappear into the process. I can walk slowly, stop whenever I want, wait ten minutes for better light, change direction suddenly, without feeling like someone else is waiting for me.
What do you think about AI in photography?
I think AI is both exciting and slightly frightening at the same time. Recently I’ve experimented with some AI tools myself, mostly out of curiosity. Some things are genuinely useful. Removing distractions faster, simplifying or helping with editing, all these things can save time. At the same time, I personally separate AI-generated images from photography. Photography, at least for me, still starts with going outside, observing, finding light, waiting for moments, and creating something from reality. That experience itself matters. AI will definitely change art and photography enormously. We’re already seeing that happen. But I don’t think real photography disappears because of that. People still value vinyl records. People still shoot film. People still print books. Authenticity still matters.
Any tips for beginners?
The most important thing is to find your own style and stick to it. Don’t get lost in comparing yourself to others. Be active on social media, interact with your followers, and join communities that inspire you. Think about your work from the perspective of others too: what story are you telling, and what do people take away from your photos? And most importantly, keep it fun. If you enjoy it, you’ll keep going, and that’s how your photography will naturally improve.
How do you decide when a photo is “finished”?
Mostly gut feeling. Sometimes I immediately know when I see the photo on screen. Everything feels balanced and nothing bothers me. Other times it takes much longer. I might try different crops, adjust colors repeatedly, leave the image for several days, then come back again with fresh eyes. Usually I know a photo is finished when I stop wanting to change anything. Not because it became perfect. But because further changes stop improving it.
Do you ever collaborate with other artists?
I usually work alone because photography for me is very personal and also quite solitary by nature. But I’ve done some collaborations with other photographers and even artists from different fields, and it’s always interesting to see how different visions can come together. Sometimes we shoot the same subject and end up with completely different interpretations, which is inspiring. Other times I’ve contributed photos for projects that included design or writing, and it’s exciting to see how my work can live in another context.
What is your long-term goal with photography?
For me, the main goal is to keep enjoying it. Photography started as a hobby and I want it to remain fun and meaningful, not just another obligation. Beyond that, I would love to do more exhibitions, because showing your work in print and sharing it in person is a very different experience than posting online. A photo book is also something I’d really like to create one day, a collection that ties together my minimal style and the themes I’ve worked with over the years. But most importantly, I don’t want to lose the joy of it. As long as photography continues to give me that sense of curiosity, discovery, and freedom, that’s already success for me.
Do you think living in Sweden affects your style?
Yes, absolutely. Sweden and Scandinavia in general is very minimal in its design and its landscapes, and I think that influence is visible in my photography. The long winters with muted light, the wide open spaces, and the quiet atmosphere all play into the way I compose and edit. Even when I travel to other countries, I often end up seeking the same kind of simplicity. I think it’s partly cultural too. Scandinavian design has always valued calm, clean lines and balance, and without even trying, I find myself looking for the same qualities in my photos.
Has social media changed how you take photos?
In some ways, yes. Posting regularly on Instagram and seeing how people respond has made me think more about how an image reads at first glance. Social media rewards strong, instantly recognizable photos, so sometimes I consider that when I choose which images to share. At the same time, I try not to let trends dictate my work. I’ve seen how easy it is to start chasing likes, but if you do that, you risk losing your own voice. For me, the most important thing is that my photos stay authentic and true to my style. If they resonate with an audience, that’s great. If not, that’s okay too. Social media is a tool, it gives visibility and connections I would never have had otherwise, but I want the photos to feel honest, not just tailored for an algorithm.
What is your favourite part of the creative process?
I love the moment when I see something ordinary and suddenly recognize its potential as a minimalistic photo. That “click” when you realize you’ve found something special is amazing.
What do you usually do when you arrive in a new city with your camera for the first time?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
DaVinci Resolve 21 Officially Released
DaVinci Resolve 21 is officially out, bringing one of the biggest updates the software has seen in years. The release adds a completely new Photo page for still-image editing, a range of AI-powered tools, workflow improvements across editing, colour grading, and visual effects, along with expanded support for additional camera formats and codecs.
The update follows an extensive public beta period and brings hundreds of new additions to both the free and Studio versions of Resolve. While video editors will find changes throughout the software, one of the bigger changes this time is Blackmagic moving further into photography workflows.
Photographers can now import, organise, edit, and export photos directly inside Resolve while using the same node-based tools existing users already know. The Photo page includes album management, ratings, favourites, tagging, collections, and organisational tools designed to create a more dedicated editing environment rather than simply treating photos like frames of a video.
Blackmagic has also added native RAW support for major camera manufacturers, Lightroom catalog importing, Apple Photos integration on macOS, and GPU-accelerated batch exports.
Probably the biggest change for photographers is that Resolve’s full grading workflow now works directly with still images. You can work with curves, qualifiers, power windows, LUTs, ResolveFX effects, and grading panels to create highly targeted adjustments that would normally require dedicated photo editing software.
Resolve 21 also adds several AI-powered tools that are ment to automating parts of the workflow and reduce repetitive tasks. One of these tools is IntelliSearch, which allows you to search for photos and content using intelligent search tools rather than manually digging through projects. Blackmagic has also introduced CineFocus, an AI-assisted tool designed to adjust focal emphasis after footage has already been captured. Additional AI tools focus on facial refinement and portrait adjustments.
Colourists also receive a fairly substantial update. Resolve 21 adds layer-list node graph views, support for up to eight-layer node stacks, improved ACES workflows, Adobe RGB colour space support, and expanded HDR monitoring controls.
Blackmagic has also expanded camera and file support across the platform. DaVinci Resolve 21 adds native decoding support for Canon CR3, Panasonic Lumix RW2, Fujifilm RAF, and Apple ProRAW files while introducing support for compressed Sony ARW files captured by cameras beginning with the Sony a7 V generation and newer.
The update also improves Nikon NEF support, expands HDR image compatibility across photo formats, and adds support for Sony Burano Version 3 footage.
Outside the bigger features, Blackmagic has also spent considerable time refining workflow efficiency all together. Project settings and preferences can now be searched directly, media pools receive tabbed layouts and expanded metadata handling, and Blackmagic says cloud synchronisation speeds are now up to three times faster compared to previous versions.
DaVinci Resolve 21 is available as a free download. DaVinci Resolve 21 Studio, which unlocks additional AI tools, editing beyond 4K, and full-resolution photo exports, costs $295.
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: @d.grade
Let’s Analyse this Photo
Composition & Framing
What works well:
The composition itself is definitely very strong, especially with all the leading lines/elements → The stairs, railings, escalators, walls, lift-tower, reflections, handrails → almost every line points/converges toward the middle section on the ground floor. Your eyes basically have no choice where to go (the only obvious issue however is that there is nothing that ends up catching your attention in that convergence point, but more on that later).
The general symmetry is also very nice + the architecture and lights give this whole scene/photo a very futuristic look.
Depth is another strong point. We our have immediate foreground with the stairs/railing → middle stair section → lower platform → lift structure → background architecture. It does create a really strong sense of space and a very obvious 3D effect (that being enhanced even further by the tunnel-like architecture).
The small person on the bottom platform helps a lot in terms of communicating scale.
What could be better:
As I mentioned, we do have a lot of very great leading lines → and all of them converge nicely in the middle → the issue is that there is nothing to ‘collect’ all that attention. There is no person standing there, no other leading line maybe picking up that attention and guiding us further etc. This is one of those times where waiting a few more extra minutes on location and looking for someone/something to enter that leading line convergence point would have paid off immensely.
The handrail in the centre is very effective, but because it is so thick and large in the foreground (+ it is also pretty glossy and thus picks up even more attention) it does take up a lot of visual space. Some people may find it slightly overpowering.
The small person helps scale + they add a bit of life to this otherwise ‘empty’ architectural shot yes, but they are almost too small to function as a proper subject → if they had ended up in the leading line convergence spot → that would have been different. (admittedly though, the off centre person does break up the symmetry a bit and gives this slightly more ‘character’ and tension)
Light & Atmosphere
What works well:
The lighting works pretty well because it reinforces the futuristic/modern feeling of the architecture.
The cold artificial light creates a very sterile, almost sci-fi/spaceship atmosphere.
The reflections from the glass surfaces help bounce light around and prevent some darker areas from feeling dead.
There is some nice balance here and there between brighter illuminated areas and darker structure.
What could be better:
Some lights are very bright and slightly overpower parts of the photo, especially around the glass reflections there.
Because the lighting is so even and artificial, emotionally the scene can feel a little cold/detached.
Texture
What works well:
Texture plays a important role here.
The stair textures are pretty great and give the foreground lots of detail.
All the metallic surfaces, rails and wall panels all create an interesting industrial/glossy/sharp feel.
Because the scene is so geometric overall, texture helps prevent it from feeling too flat.
What could be better:
Some textures in the brighter reflective glass areas disappear because of strong highlights.
Certain smoother surfaces blend together due to the similar tones and colours.
Balance
What works well:
Balance is very strong because of the symmetry. The left and right sides almost perfectly mirror each other.
The lift structure in the centre anchors everything visually.
The bright reflections and darker structures distribute visual weight pretty evenly.
What could be better:
Because balance is almost perfect, the photo risks feeling slightly static, but as I mentioned before → this is exactly where the person on the bottom comes in nicely.
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Photographer of the Week
Photographer of the week goes to: Lisa Waddell
You can find her on Instagram as: @lisa_marie_waddell
A few photos of hers:
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The Rest of this Issue is for Premium Subscribers
