📸 SNAPSHOT - Issue 120
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Viltrox’s New AF APS-C EVO Lenses
This week, Viltrox announced two new additions to its Evo series lineup, the AF 75mm f/1.8 Evo and the AF 90mm f/2.2 Evo, both designed for APS-C mirrorless cameras. The lenses are available for Sony E, Nikon Z, and Fujifilm X mounts, and expand Viltrox’s portrait-focused lineup with a pair of lightweight telephoto options that cover slightly different shooting styles.
The 75mm f/1.8 delivers an equivalent focal length of roughly 112.5mm, while the 90mm f/2.2 goes a bit further to around 135mm equivalent, giving you a bit more compression and subject separation.
Both lenses are built around the same overall design approach. They use STM autofocus motors designed for quiet, smooth operation, making them suitable for both still photography and video work.
Each lens also includes an AF/MF switch, a customisable function button, a click or de-click aperture ring depending on mount version, a USB-C port for firmware updates, and a minimum focusing distance of 0.7 meters.
The AF 75mm f/1.8 Evo is positioned as the more versatile of the two. Its focal length works well for portraits, street photography, and general telephoto shooting, while the bright f/1.8 aperture provides a good amount of subject separation and low-light flexibility.
The lens uses an optical design consisting of 11 elements arranged in nine groups, including two extra-low-dispersion (ED) and two high-refractive-index (HR) elements. Viltrox says the design is intended to maintain sharpness while reducing distortion and chromatic aberration, even when shooting wide open.
Despite the focal length and aperture, the lens remains relatively compact, weighing just over 300 grams depending on mount version. It also accepts 58mm filters and includes a redesigned lens hood.
The AF 90mm f/2.2 Evo takes a slightly different approach. With its longer focal length, it delivers an equivalent field of view of approximately 135mm on APS-C cameras, making it a more traditional portrait lens for tighter framing, headshots, and stronger background compression.
Its optical design consists of 10 elements in eight groups and also incorporates ED and HR elements to help control aberrations and maintain image quality. Combined with the longer focal length, the f/2.2 aperture is designed to produce shallow depth of field and stronger subject isolation.
Like its sibling, the 90mm includes STM autofocus, a customisable Fn button, USB-C firmware support, and the same 0.7-meter minimum focusing distance. It also accepts 58mm filters and weighs around 300 grams depending on mount.
The Viltrox AF 75mm f/1.8 Evo is priced at $329, while the AF 90mm f/2.2 Evo is priced at $369.
A few sample shots:
AF 75mm f/1.8 Evo
AF 75mm f/1.8 Evo
AF 75mm f/1.8 Evo
AF 90mm f/2.2 Evo
AF 90mm f/2.2 Evo
AF 90mm f/2.2 Evo
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Interview with Santiago Duarte
This week’s Interview with Santiago, a talented street photographer based in Sydney. I am truly honoured to have had the opportunity to interview him!
You can find him on Instagram as: @santiagoduarte_sydney_
Enjoy the amazing Interview ;)
Can you introduce yourself to our readers?
My name is Santiago Duarte. I’m a photographer based in Sydney, Australia, but I was born in Uruguay. My photography is mostly focused on street scenes, people, rain, light, and the atmosphere of the city at night. I’m very drawn to cinematic moods, especially those moments where the city feels almost like a movie scene. I like photographing people in public spaces, but I don’t always see them as the only subject. For me, the city, the weather, the reflections, the light, and the person all work together. When those elements align, that’s when a photo becomes interesting to me.
How did your photography journey begin?
I think I always had an eye for detail, even before I really understood photography properly. My background is in architecture, and that definitely influenced the way I see cities. Architecture teaches you to look at lines, scale, space, rhythm, and how people move through an environment. As a young guy, I fell in love with cities and people, and I’ve always been fascinated by those small moments that happen quickly and then disappear. Photography became a way to freeze time, to hold on to a moment before it’s gone. At the beginning, I was probably just taking photos of things that looked interesting, but over time I started understanding what I was really drawn to.
What does street photography mean to you?
Street photography is a place where I find rest. That might sound strange because the street can be busy, noisy, and unpredictable, but for me it creates peace. I work in a corporate environment, so much of my daily life is structured, planned, and full of responsibility. Photography gives me something completely different. When I’m walking alone with the camera, I can slow down and just observe. I don’t have to answer emails, attend meetings, or think about work. I can be present in the city and react to what’s happening around me. That’s refreshing for me.
What do you do when you get the feeling that there’s nothing new to shoot?
Sydney can feel quite small after photographing it for a long time. You start seeing the same streets, the same corners, the same tram stops, and sometimes it feels like you’ve already photographed everything. But I think that feeling is also part of the challenge. When a city becomes familiar, you have to work harder to see it differently. I try to change my perspective. Sometimes that means going out in different weather, especially rain, because it completely transforms the streets. Other times it means using a different lens, standing on the opposite side of the road, shooting from a lower angle, or waiting for a different kind of subject.
What characteristics or personality traits do you think make the best photographers?
I think the best photographers are people who have a deep connection with themselves. That sounds simple, but I think it’s very important. If you don’t know what moves you emotionally, it’s difficult to create work that feels personal. A strong photographer isn’t only someone who understands settings or owns good gear. It’s someone who knows what they’re looking for, even if they can’t always explain it. I also think photographers need to be willing to take risks. Creative risks, I mean. You have to be willing to fail, to try something different, to go out in bad weather, to wait when nothing is happening, and to keep shooting even when you feel uninspired.
How do you approach photographing people in public spaces, and what ethical considerations do you take into account?
The majority of my shots are very candid, but I always try to photograph people with respect. I’m not interested in invading someone’s private space or making anyone feel uncomfortable. Most of the time, I’m photographing people as part of a wider scene, not isolating them in a way that feels intrusive. I’m very lucky to live in Sydney, where people are generally friendly and relaxed, and that makes street photography easier. But still, I think the photographer has a responsibility to read the situation. If someone clearly doesn’t want to be photographed, I don’t push it.
What gear do you use?
I currently use a Sony A7III. It has been a very reliable camera for me, especially for the kind of conditions I enjoy shooting in. A lot of my work happens at night or in rain, so I need something that handles low light well and still feels comfortable to use while walking for long periods. My favorite lens has been the Sony Zeiss 55mm f/1.8. I really like that focal length because it gives me a natural perspective but also allows me to isolate subjects in a way that feels cinematic. It’s sharp, light, and works beautifully at night. I also recently bought the Sigma 35mm f/1.4, and I’m excited to use it more because it gives me a wider view of the environment.
What is your favourite editing software and how much time do you spend editing?
I only use Lightroom. I like keeping my editing process simple and focused. Usually, I spend around 15 to 30 minutes on one photo, but it really depends on the image. Some photos come together very quickly because the light and colors are already there. Others take much longer because I’m trying to find the exact mood I remember from the moment. I’m not always happy with the outcome, and I think that’s normal. Editing can be frustrating because sometimes the photo almost works, but something feels slightly off. With my work, color is very important. I often work with blue, cyan, orange, and red tones because those colors naturally appear in the city at night, especially in rain.
What is your dream equipment?
I enjoy Sony a lot, so most of the time when I think about gear, I stay within that system. I’m comfortable with it, and I like how reliable it is for low-light photography. Of course, like most photographers, I sometimes think about newer bodies or lenses, especially gear that would make night photography easier or help with autofocus in difficult weather. But recently I’ve also been considering getting a Fuji camera for travelling. There is something appealing about having a smaller, lighter setup when walking through a new city all day.
Rain appears in a lot of your work. What keeps drawing you back to it?
Rain changes everything I like about a city. It gives the street more texture, more depth, and more emotion. When the ground is dry, light usually stays where it is. But when the pavement is wet, the light spreads everywhere. It reflects, stretches, doubles, and creates layers that don’t exist on a normal night. Of course, shooting in rain is uncomfortable. You have to protect the camera, wipe the lens, deal with low visibility, and accept that you’re going to get wet. But when the photo works, all of that disappears.
How much of your photography is planned, and how much is spontaneous?
It’s a mix, but probably more planned than people imagine. A lot of the time, I already know a location has potential. I might see a street with good lights, tram lines, reflective pavement, or a background that feels cinematic, and I keep it in my mind for later. Then when the weather changes or the light looks right, I go back.
Do you see your photos as street photography or cinematic photography?
I think they are both, they come from street photography because the moments are real and usually candid. I’m photographing people in public spaces, reacting to what happens naturally. But the way I see and edit the photos is definitely influenced by cinema. I’m interested in mood, color, light, and atmosphere.
How do you protect your gear when shooting in heavy rain?
I try to keep things practical. I don’t want to carry too much because that slows me down, but I also need to be careful because rain can damage your gear. I usually use basic protection and try to keep the camera covered when I’m not shooting. I also wipe the lens often because water drops can ruin a frame if they land in the wrong place. At the same time, I don’t want to be so worried about the gear that I miss the photo. There has to be a balance. Sometimes a few drops or imperfections can even add to the atmosphere, but you need to know the difference between creative texture and a ruined image.
What role does colour play in your photography?
Color is one of the most important parts of my work. I’m very drawn to the contrast between cool and warm tones. The blues and cyans from city lights, trams, and night reflections work beautifully against red traffic lights, orange signs, and warm building lights. That combination creates a cinematic mood that I really enjoy.
Do you have any tips for beginners?
Practice, practice, practice. That is still the best advice I can give. You can read all the books and watch all the tutorials, but nothing replaces going out and shooting consistently. The more you photograph, the more you begin to understand light, timing, composition, and your own taste. At the beginning, don’t be afraid of bad photos. Everyone takes bad photos. I still take plenty of them. That’s part of the process. I also think Instagram can be a great platform if you use it in a healthy way. There are so many great artists there, and many are willing to share valuable information if you ask respectfully. Don’t be afraid to ask questions..
Have you ever missed a shot that still stays in your mind?
Many times. Street photography is full of missed moments. Sometimes you see a perfect frame forming, but you’re too slow. Sometimes the camera settings are wrong. Sometimes someone steps into the frame and ruins the composition. It can be frustrating, but I think missed shots are part of learning. They teach you to be faster and more prepared next time. Some missed photos stay in my head for a long time because I know they could have been strong. But I try not to dwell on them too much. The street always gives another chance eventually. You just have to keep going out.
What is the biggest misconception people have about street photography?
I think some people believe street photography is only about photographing people. For me, it’s much broader than that. It’s about light, timing, city life, emotion, architecture, weather, movement, and atmosphere. People are important, but they are not always the only subject. Sometimes the real subject is the mood of the street. Another misconception is that street photography has to be aggressive or confrontational. I don’t agree with that. My approach is quiet. I prefer to observe and let moments happen naturally. You can create strong street photos without disturbing anyone. In fact, I think the best moments often happen when people don’t notice you at all.
Where do you see your photography going in the future?
I don’t have a strict plan, but I want to keep improving and keep developing my visual language. I’d like to travel more and photograph other cities with the same atmosphere I look for in Sydney. I’m interested in how different places react to night, rain, light, and people. I also want to keep refining my editing and maybe try different color grading styles.
How do you know when to stop shooting for the night?
Usually I stop when I feel like I’m no longer seeing clearly. There’s a point where you become tired, wet, cold, or mentally distracted, and then you start forcing photos. When that happens, it’s better to stop. Sometimes I also stop when I feel I already have one strong image from the night. I don’t always need many photos. One good photo can be enough.
What do trams and public transport add to your street scenes?
Trams add a lot visually, especially in Sydney. The lines on the road create strong composition, and the tram itself brings light, movement, and structure into the frame. Public transport also gives a sense of city life. People waiting, crossing, checking their phones, standing under umbrellas, all of that creates small stories. I like photographing around tram stops because people often pause there, and that gives me time to compose. The tram lights and reflections also create beautiful colors in rain.
How do you deal with creative frustration?
Creative frustration is normal. There are nights where I go out in great conditions and still come back with nothing I like. That can be disappointing, especially when I had a strong idea in my mind. But I’ve learned not to take it too seriously. Photography is partly about chance. You can control your preparation, but you can’t control the street. If nothing happens, nothing happens. I try to remind myself that even unsuccessful walks are useful. I learn something about a location, about light, or about what doesn’t work.
If you could photograph one city for the rest of your life, would it still be Sydney?
That’s a difficult question. Sydney will always have a special place because it’s home and because I know it so well. But if I’m being completely honest, I’d probably choose a city with even more density and atmosphere. Places like Tokyo, Hong Kong, or New York offer endless visual possibilities.
What is one thing people would be surprised to learn about your photography process?
I think a lot of people would be surprised by how much waiting is involved. When they see a finished photo, especially one taken in heavy rain with a person perfectly positioned in the frame, they often assume I walked by, saw it, and captured it instantly. In reality, many of those photos involve standing in the same place for twenty or thirty minutes, sometimes longer, waiting for the right subject to enter.
Do you ever leave the house without a camera?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Lomography’s New Fusion Colour Sprocket Rockets
Lomography added two colour versions to its long-running Sprocket Rocket 35mm panoramic film camera.
The new “Fusion” editions come in Mint Fusion and Strawberry Fusion colorways. Both feature contrasting front and rear panels, with matching accents around the lens. Mint Fusion pairs a mint-green front with a beige rear section, while Strawberry Fusion mixes soft pink and bright yellow. The latter has a colour combination that feels oddly familiar, almost like the old strawberry-banana Sobe bottles some people might remember.
Beyond the new colours, everything else remains the same. Both cameras use the same design and feature set as the existing black and white Sprocket Rocket models that have been around for years.
The Sprocket Rocket shoots standard 35mm film but captures panoramic photos by stretching across the width of two frames. The result is a 3:1 aspect ratio photo, meaning a typical 36-exposure roll produces 18 panoramic shots.
One of the camera’s signature features is that it exposes the film’s sprocket holes as part of the final image. It is a distinctly analog look that has become closely associated with the Sprocket Rocket over the years.
The camera uses a built-in 30mm f/10.8 wide-angle lens that can also be stopped down to f/16.
Like most Lomography cameras, the Sprocket Rocket keeps things pretty simple. It uses a fixed 1/100-second shutter speed for normal shooting, although a Bulb mode is available for long exposures. There is also a reverse film advance system for creating multiple exposures, and a tripod mount is built into the body.
The camera is fully mechanical, requires no batteries, and works with any standard 35mm film stock. Pricing is at $69.
a few sample shots:
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: @beansmeanshiorns
Let’s Analyse this Photo
Composition & Framing
What works well:
I think the first thing that stands out here are obviously the leading lines. We have the bright/lit up platform edge/strip, the train itself, the roof structure above and even the repeating train windows all guide us toward the person (in that case, a Japanese ‘oshiya’ (train pusher) who helps people onto packed trains) in the distance.
The curve of the train is particularly effective here because it feels very natural. Instead of a straight line shooting directly at our subject, it slowly pulls you through the frame in a very clam motion.
The person sits right at the point where all those lines converge, making them feel like the destination of the composition.
Depth is also great, we start with the foreground train and platform, then move along the curve, arrive at the person, and finally reach the bright station exit and very distant structures behind. It creates a very strong sense of space and a nice 3D/tunnel effect (strengthened by the fact that the train in the station basically creates a tunnel itself).
The repeating windows and train doors create rhythm throughout the frame and reinforce the perspective.
What could be better:
The bright area in the distance is very blown out, which causes some detail loss there.
Out subject is pretty small, but they pop very well, extremely well even → this can create a sort of unwanted photoshop/composite photograph look (where the person was not actually there and got put in later in photoshop). In our specific case this was not done, however it does start to look a bit like that.
The train on the right takes up a very large portion of the photo. It works compositionally, but some people may find it slightly overpowering.
A slightly lower viewpoint could perhaps have exaggerated the curve and leading lines even further (but that aspect is already pretty strong).
Light & Atmosphere
What works well:
The bright backlight creates a very strong spotlight effect around our subject.
The contrast between the dark station and the bright exit creates a lot of visual drama.
The glow running along the platform edge is especially effective because it acts as both a light source and a compositional tool.
The silhouette of the person as mentioned before, stands out nicely because of the bright background behind them.
What could be better:
The brightest highlights are pushed quite far and lose detail.
Some shadow areas on the left side become extremely dark and lose texture.
Colour & Tone
What works well:
The warm sunlight mixed with the cooler station shadows creates a nice contrast.
The palette feels pretty restrained and natural rather than overly edited.
The warm reflections on the train add a nice touch of colour without becoming distracting.
What could be better:
The photo relies heavily on light contrast rather than colour contrast, so the palette is relatively limited.
Some of the darker areas become slightly muddy because of the strong tonal compression.
Texture
What works well:
The platform texture is pretty great, especially where the sunlight is.
The metallic surfaces of the train catch light nicely and create subtle texture without becoming busy.
The repeating train windows, platform tiles and roof structure all add small layers of detail.
What could be better:
A lot of texture obviously disappears in the darkest parts of the station.
The blown highlights in the distance remove texture from the brightest area of the frame.
Balance
What works well:
The photo balances relatively well despite the large visual weight of the train on the right → the darker station structure on the left counterbalances the bright train surfaces.
Our subject acts as a visual anchor in the middle distance, preventing the eye from simply sliding out of the frame.
What could be better:
The right side is visually heavier because of the large train simply occupying so much space.
The blown-out areas in the distance and on top attract a big amount of attention and sometimes competes with the subject + they can sort of start ‘throwing you out’ of the composition a bit.
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Photographer of the Week
Photographer of the week goes to: Lutz Jonaitis
You can find him on Instagram as: @leibundseelephotography
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
