📸 SNAPSHOT - Issue 121
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Brightin Star’s New 14mm f/2.8 Lens
Brightin Star has officially announced the new MF 14mm f/2.8, a manual-focus ultra-wide-angle lens for landscape, architecture, interior, and astro photographers. The new full-frame lens combines a 116-degree field of view with a relatively fast f/2.8 aperture, close-focusing capabilities, and support for square filter systems.
As you would expect from a lens like this, the 14mm focal length/116-degree angle of view is the headlining feature. According to Brightin Star, the lens has been designed to keep distortion to a minimum despite the wide perspective.
The optical design consists of 13 elements arranged in nine groups, including two aspherical elements, five high-refractive-index elements, and three extra-low-dispersion elements. Brightin Star says the design is intended to maintain strong sharpness across the frame while reducing chromatic aberration and preserving detail from corner to corner.
The lens also features the company’s Star Nano IMC multi-layer coating, which is designed to help reduce flare and ghosting while maintaining contrast and colour accuracy. For astrophotography, Brightin Star says the coating helps keep stars and other point light sources cleaner while reducing unwanted reflections during night shooting.
A 10-blade aperture diaphragm is also part of the design, allowing the lens to produce pronounced 10-point starburst effects around bright light sources when stopped down.
One feature that will probably appeal to landscape photographers is support for 82mm square ND and CPL filter holders. The filter holder also doubles as a lens hood, allowing you to use filters while still helping shield the lens from stray light.
Close focusing distance is listed at 20 centimetres, making it possible to place foreground subjects relatively close while still capturing a large portion of the surrounding scene. The lens measures 93.5mm in length and weighs around 570g.
The Brightin Star MF 14mm f/2.8 is available for full-frame Sony E, Canon RF, Nikon Z, and L-Mount mirrorless camera systems, priced at $240.
A few sample shots:
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Interview with Sinya Pic
This week’s Interview with Sinya, a talented photographer from South Korea. 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: @sinya_pic
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
I am a photographer from South Korea, and street photography has become a very important part of my life over the years. Most of my free time is spent walking around the city with a camera, exploring different neighborhoods, and looking for interesting moments that other people might pass by without noticing. What I enjoy most is seeing how people interact with the spaces around them. Sometimes it is a busy crossing filled with movement, and sometimes it is just one person standing alone in a simple scene.
How did you first get into photography?
My introduction to photography was very simple. Like many people, I started because I wanted to keep memories from places I visited and moments I experienced. At that time, I was not thinking about composition, style, or anything artistic. I just enjoyed taking pictures and looking back at them later. As time passed, I found myself carrying a camera more often. I started going out alone and spending time walking through different parts of the city. That was when street photography began to catch my attention. I liked the fact that every day felt unpredictable. You never know what kind of scene is waiting around the next corner. Some days I would walk for hours and come home with nothing I liked. Other days I would find one photo that made the entire day worthwhile. The more I photographed, the more I wanted to improve. What started as a casual hobby slowly became something much more meaningful and rewarding.
Why black and white photography?
Black and white photography has always felt more natural to me. When color is removed, I can focus more on the important parts of a photo. I pay attention to shapes, contrast, light, and the way different elements work together inside the frame. Everything feels a little cleaner and more direct. I also enjoy the mood that black and white can create. Sometimes a scene that looks ordinary in color can feel completely different when converted to monochrome. It encourages people to focus on the moment itself rather than the colors in the scene. I think it allows viewers to notice details that they might otherwise overlook. I appreciate great color photography and enjoy looking at the work of photographers who shoot in color, but when I photograph for myself, I almost always think in black and white. It feels like the best way for me to express how I see the streets.
How do you decide where to go and shoot?
I do not spend much time planning. Of course there are some places that I enjoy visiting regularly, but most of the time I simply grab my camera and start walking. I like giving myself the freedom to explore without having a specific goal. Sometimes I return to familiar locations because I know they have interesting light or strong activity. Other times I wander into completely new areas just to see what I can find.
What does photography mean to you?
Photography has become much more than a hobby for me. It is something that helps me stay curious and connected to the world around me. I also enjoy the feeling of being fully focused while photographing. When I am looking for moments, I stop thinking about many other things and become completely present in what is happening around me. It is both relaxing and exciting at the same time. I do not think about photography in a very complicated way. For me, it is simply something I enjoy deeply. It gives me a reason to explore, observe, and keep learning. Even after many years, it still feels rewarding every time I make a photo that I am happy with.
What gear do you use?
I currently use a Leica M11 Monochrom. I enjoy using it because it is simple and allows me to focus. The monochrome sensor is also one of the reasons I enjoy using it because black and white is such a big part of my photography.
Do you prefer shooting in busy streets or quieter spaces?
Both have their value. Busy streets are exciting because there is always something happening. People are constantly moving, and there are endless possibilities for unexpected moments. The challenge is finding order within all that activity. Quieter spaces offer something different. They allow me to focus more on the environment and create simpler compositions. If I had to choose, I would say I enjoy the balance between the two. My favorite photos often happen when an interesting person enters a clean and well-organized scene. That combination creates the kind of image I am always looking for.
What are your favourite shooting conditions?
I do not really have one favorite condition because every situation offers something different. Bright sunlight can create strong shadows and dramatic contrast. Rain can add reflections and make the streets feel completely different. Cloudy days can create a softer atmosphere that works well for certain scenes. Instead of waiting for perfect conditions, I try to work with whatever I have. Some of my favorite photos were taken on days when I originally thought the conditions were not very good.
Do you see yourself more as a street photographer or architectural photographer?
I think I am somewhere in the middle. People usually describe my work as street photography because there are often people in my photos, but architecture also plays a very important role in how I see a scene. I pay a lot of attention to buildings, lines, shapes, and how they interact with the people moving through them. What interests me most is the relationship between people and their surroundings. A person can really change the feeling of a space, and a space can completely change how a person appears in a photograph. That connection is what I enjoy exploring.
Do you only shoot black and white or also colour?
Almost all of my personal work is in black and white. It is the way I naturally see scenes when I am walking with a camera. I often find myself paying attention to contrast, shadows, shapes, and composition before I even think about color. I do occasionally take color photos, especially when I see a scene where color is an important part of the image. There are some photographers who use color in incredible ways, and I always enjoy studying their work. For my own photography, though, black and white feels more comfortable and more consistent with what I am trying to achieve.
How did you find your unique photography style?
I think it happened naturally through repetition and experience. In the beginning, I photographed many different subjects and experimented with different approaches. I did not have a clear style at all. After spending years shooting the streets, I started noticing patterns in the photos I liked most. I was always drawn to strong compositions, clean backgrounds, shadows, and people. Without realizing it, I kept returning to the same visual ideas. Over time those preferences became part of my work. Style develops slowly as you continue photographing and begin to understand what genuinely interests you.
What role does storytelling play in your work?
Storytelling is important, but to me probably not in the traditional sense. I am usually not trying to tell a complete story with a beginning, middle, and end. Instead, I like creating photos that leave room for interpretation. Sometimes a single gesture, expression, or interaction can make people wonder what is happening in the scene. Different viewers may see different stories in the same photograph, and I think that is one of the interesting things about photography.
If you could travel anywhere in the world, where would it be?
There are many places I would love to visit, but I am especially interested in cities with a strong street culture and a mix of old and new architecture. Places where different generations, styles, and histories exist together often create interesting situations for photography. Cities like Tokyo, Hong Kong, New York, or some European cities would be very exciting because there is so much visual variety.
What is the most challenging thing about photography for you?
The biggest challenge is staying fresh and avoiding repetition. After photographing for many years, it becomes easy to fall into habits. You start noticing the same kinds of scenes and composing photos in familiar ways. Because of that, I always try to keep an open mind when I go out shooting. I want to stay curious and continue seeing things differently. Some days that is harder than others.
In what photography genre would you place yourself?
If I had to describe my work, I would call it geometric street photography. That seems to be the label that fits best. At the same time, I do not spend much time thinking about genres. Labels can be useful, but they do not really change the way I photograph. I simply focus on creating images that interest me. Whether people call it street photography, geometric photography, or something else is not very important. The work itself matters more than the category.
What is your favourite subject to shoot?
People are definitely my favorite subject. More specifically, I enjoy photographing people when they become part of the composition. I am always looking for moments where a person enters the frame in exactly the right way. It could be their position, their movement, or the way they interact with the light or the surrounding architecture.
Are you a professional or a hobbyist?
I am still a hobbyist. Photography is not my full-time profession, but I take it very seriously and dedicate a lot of time to it. In some ways, being a hobbyist gives me freedom. I can focus entirely on the kind of work I enjoy making without worrying about commercial expectations or client demands. At the same time, I always try to improve and push myself forward. Even though photography is not my career, I approach it with a lot of dedication and respect.
Are there photographers or artists that inspire you?
Of course there are many photographers whose work I admire, but I do not try to follow one particular person too closely. I think it is important to learn from others while still developing your own way of seeing. Inspiration can come from many places. Sometimes it comes from photography books, exhibitions, films, architecture, or even everyday life. I often find inspiration simply by spending time on the streets and observing people. The more experience I gain, the more I realize that personal observation is one of the most valuable sources of inspiration.
How do you know when you have nailed the shot?
It is actually difficult to explain. Sometimes I look at the back of the camera and immediately feel that everything came together. The timing feels right, the composition feels balanced, and there is something special about the image. Other times I do not realize it until much later when I review the photos at home. A photograph that seemed ordinary at first can suddenly stand out.
How important is composition in photography?
Composition is extremely important to me. It is probably one of the first things I think about when I see a scene. A strong composition helps organize the frame and guide the viewer’s attention. It creates balance and gives the photograph structure. Even a very simple scene can become interesting if the composition is strong. But different scenes require different approaches, and sometimes breaking the rules can lead to interesting results.
What advice would you give to someone starting monochrome photography?
My advice would be to slow down and learn to observe carefully. When you remove color, other elements become much more important. You start paying attention to contrast, light, shadows, shapes, and how different parts of the frame work together. I also think it helps to study great black and white photographers and understand why their images are effective. Looking at good work can train your eye and help you develop your own understanding of monochrome photography. Most importantly, be patient. Learning to see in black and white takes time, and it becomes easier the more you practice.
How important is lighting in photography?
Lighting is very important because it affects the mood and appearance of a scene. Good light can transform an ordinary moment into something much more interesting. That being said, I do not think photography is only about dramatic light. Composition, timing, and subject matter are just as important. Great light alone does not automatically create a great photograph. I try to understand the light that is available and use it in a way that supports the image. Sometimes strong shadows work well. Other times softer light is a better choice. It depends on the situation.
Is there a photography genre you have not tried yet but would like to explore?
At the moment I am still very focused on street photography because I feel there is a lot more for me to learn and improve within this genre. In the future, I would like to spend more time exploring documentary photography. I am interested in creating longer-term projects and telling deeper stories about people and everyday life. Street photography has taught me how to observe moments, but documentary work offers the opportunity to spend more time with a subject and explore it in greater depth. That is something I would love to challenge myself with one day.
How often do you go out with your camera?
I try to go out as often as my schedule allows. Some weeks I can shoot several times, while other weeks I have less free time because of work and other responsibilities. Even when I cannot go out specifically for photography, I still find myself observing the world around me in the same way.
What is the first thing you notice in a scene?
Most often it is the overall composition. Before I notice details, I usually see the larger structure of the scene. I look at how different elements are arranged and whether there is potential for balance or tension. After that, I start paying attention to people and timing.
What kind of photos do you enjoy looking at from other photographers?
I enjoy photographs that feel personal. Of course, I appreciate strong composition and good technique, but what really catches my attention is when I can feel the photographer’s personality in the image. I like photographs that show a unique way of seeing the world rather than simply following trends or trying to impress people with technical skill.
Do you ever feel nervous photographing strangers?
When I first started shooting street photography, I definitely felt nervous. Pointing a camera toward strangers can feel uncomfortable in the beginning because you worry about how people will react. I think almost every street photographer experiences that feeling at some point, especially when they are still building confidence. In South Korea, people are generally very respectful and considerate of others, and I think that influences the way I approach street photography as well. There is a strong sense of being aware of the people around you and trying not to disturb them unnecessarily. Because of that, I have always tried to photograph with respect and consideration. My goal is never to invade someone’s privacy or make them uncomfortable.
What do you hope people feel when they look at your photographs?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Excire Foto 2027 Is Here
Excire Foto 2027 is here. The latest version of the photo-management software adds a range of new features that are meant to help photographers organise, search, and cull large image libraries more efficiently
Like previous versions, Excire Foto continues to run entirely on a user’s computer rather than relying on cloud processing, which means photo libraries stay local and private.
One of the biggest additions in Excire Foto 2027 is OCR-based text recognition. The software can now identify and search for visible text inside photos, making it possible to locate images containing things like street signs, storefront names, jersey numbers, menus, license plates, or other information.
Another new addition is a World Map View. Rather than browsing folders or dates, you can navigate your libraries through an interactive map, making it easy to revisit trips, assignments, and projects based on where the photos were actually captured.
The update also expands Excire’s filtering and search tools. A new AI-powered filter bar and timeline graph allow you to narrow down large collections based on date, subject matter, and visual characteristics.
Culling workflows have also received some attention. A new Survey Mode introduces a side-by-side comparison view that resembles a traditional light table, making it easier to review groups of photos without constantly switching between individual images. Focus Peaking has been added to help quickly evaluate sharpness, while a Rule of Thirds overlay can be used to assess composition during the selection process.
The software also adds several new organisational tools. Folder names can now be automatically converted into keywords, helping you build metadata without manually tagging every image. Duplicate detection remains part of the package, and Excire continues to generate AI-assisted tags in the background to improve searching and organisation.
Cloud sharing has been expanded as well, with support for Microsoft OneDrive and Nextcloud. Other updates include a refreshed interface with adjustable side panels and new video export options.
Excire Foto 2027 is available for Windows and macOS. The software is sold as a one-time purchase and is priced at $249.
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: @dmnk.visuals
Let’s Analyse this Photo
Composition & Framing
What works well:
The composition is pretty good. The strongest element is the natural tunnel created by the trees. All the branches arching over create a nice frame that pulls your eye deeper.
The trees themselves act as leading lines, starting from the left foreground, the trunks and branches guide you naturally toward the person standing further down the shoreline. Another great leading line is the subtle corner of the river bank (I think that is how it is called, even though it is not technically a river) → it pretty much points exactly to our subject.
Depth is also nice. We have the immediate foreground plants and fallen leaves, then the tree trunks, then the person, then the lake, and finally the distant shoreline and background. It creates a nice 3D effect.
The ‘placement’ of the person is really effective. They are small enough to emphasise the scale, yet large enough to become an important focal point.
The reflections in the water help extending the visual flow downward.
What could be better:
The scene is very rich in detail. There is so much texture, colour, foliage etc. that the eye can occasionally get lost before finding the subject.
The frame is very top-heavy. Most of the visual interest sits in the upper half, particularly in the canopy (though as mentioned, the reflection helps offset that).
The brighter opening around our subject is effective (good subject/background separation), but it also creates a bit of a bottleneck where all attention can get trapped in one area.
Light & Atmosphere
What works well:
The glow in the trees/foliage creates a very nice ‘mythical’ atmosphere. Some of the leaves almost look like they are lit from within.
The reflections in the water amplify the warm light and help spread it throughout.
There is an obviously a strong sense of season. You immediately know this is autumn.
What could be better:
Some brighter foliage areas are approaching the point where detail starts getting lost.
Some shadow areas inside the canopy (particularly to the left) become quite dense and lose detail.
The brightest foliage/leave patches attract so much attention that they occasionally compete with the person.
Colour & Tone
What works well:
Color is one of the photo’s greatest strengths. The warm oranges, golds and browns completely dominate and create a very strong mood.
The cooler blues and greys in the water and distant background provide some contrast to stop the photo from becoming way too warm.
The reflections carry those autumn colours nicely into the water.
What could be better:
The photo is heavily dominated by orange and gold tones. Some people may find the palette slightly one-dimensional.
A little more separation between some of the warm tones could help certain areas feel less visually dense.
The warm colours are so dominant that the eye can get somewhat fatigued after prolonged viewing.
The cooler tones in the water are relatively subtle and could perhaps play a stronger balancing role.
Texture
What works well:
The bark on the trees, the leaves on the ground, the foliage overhead and the ripples in the water all provide different kinds of texture.
The reflected light on the water creates nice little patterns that add visual interest without distracting from the main scene.
The fallen leaves add another layer of detail and texture.
What could be better:
Because there is so much texture everywhere, some areas can feel visually crowded/ texture occasionally competes with the subject for attention.
Balance
What works well:
Balance is relatively strong despite the visual weight of the foliage/tree branches up top.
The water on the right creates negative space that helps offset the dense trees on the left as mentioned before.
The person acts as a small but important anchor point near the center of the scene.
What could be better:
The right side (upper) canopy is still very dominant and can pull attention away from the rest of the composition.
The lower right water area feels visually lighter than the upper canopy, creating a slight (top/bottom) imbalance.
The left side tree trunks and right side foliage do balance themselves out relatively evenly, so the vertical (left/right) balance is pretty good.
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Photographer of the Week
Photographer of the week goes to: Jonathan Varjabedian
You can find him on Instagram as: @framethestreetsdotcom
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
