📸 SNAPSHOT - Issue 122
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Leica’s New SL3-P Camera Is Here
Leica’s new ‘photography centred’ SL3-P is here. It is a 44-megapixel full-frame L-Mount camera that the company says is the highest-performing camera it has ever built. Combining a new backside-illuminated sensor, much faster autofocus, and burst speeds of up to 40 frames per second, the SL3-P brings a number of significant upgrades over previous SL models.
Made in Germany, the SL3-P features an all-metal body with an IP54 weather-sealing rating and a slightly refined grip for improved handling. Leica has also taken a more understated approach to the design by removing its iconic red dot, which has already sparked some controversy.
At the heart of the camera is a new 44-megapixel backside-illuminated full-frame sensor that delivers up to 14 stops of dynamic range. The faster sensor readout allows the electronic shutter to capture 12-bit RAW images at up to 40 frames per second or 14-bit files at 25 frames per second. Using the mechanical shutter, the camera can shoot at up to seven frames per second while recording 15-bit images.
Autofocus is one of the biggest upgrades. The new 819-point hybrid autofocus system combines phase detection, contrast detection, and object recognition, with support for tracking people, animals, and vehicles. Native ISO ranges from 50 to 200,000.
The camera also includes support for Content Credentials using the C2PA standard, allowing you to embed secure provenance information directly into your files. The feature is designed to help verify image authenticity and provide a transparent editing history, something that is becoming increasingly relevant for editorial and professional photographers.
Leica has also refreshed the user interface. The menus automatically switch when changing between landscape and portrait orientation, while photo and video settings are separated with colour-coded menus. As with previous Leica cameras, the controls remain minimalist, with unlabeled buttons and dials that you can customise to fit your own shooting style.
Video capabilities have also been expanded. The SL3-P can record open-gate 8K video at up to 30fps, 4K at up to 120fps, supports anamorphic desqueeze, and records Apple ProRes footage at up to 5.8K. Leica has also added two new LUTs—Leica Pure and Leica Cine—for use with its L-Log colour profile.
The camera features a 5.76-million-dot electronic viewfinder and a partially articulated 2.3-million-dot rear touchscreen. Dual card slots support both CFexpress Type B and SD cards, including UHS-II compatibility.
Connectivity has also been improved through the Leica Fotos app, which allows you to transfer DNG, JPEG, and video files directly to a mobile device while also editing images and applying Leica Looks. Native tethering is supported in both Adobe Lightroom Classic and Capture One.
The new Leica SL3-P is priced $6,800.
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Interview with Thomas Fotomas
This week’s Interview with Thomas, a talented photographer from France. I am truly honoured to have had the opportunity to interview him!
You can find him on Instagram as: @thomasfotomas
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
I live near Bordeaux in the southwest of France, not too far from the Atlantic coast. I’ve always been someone who needs a creative outlet. I’m passionate about sports, graphic arts, music, and everything that stimulates the imagination. I would describe myself as a highly sensitive person, which means I tend to absorb a lot from the world around me. Photography gives me a way to channel all of that energy into something visual. Before photography became such a big part of my life, I spent years involved in graffiti and music production as a beatmaker. I’ve been shooting with a DSLR since 2012, but I’ve been working with digital imagery much longer than that. I started using Photoshop back in 1998, so creating visual art through a computer has always been part of my creative identity as well.
How did you first get into photography?
My photography journey really began after moving to the Landes region. The environment completely changed the way I looked at the world. Suddenly I was surrounded by forests, beaches, huge skies, and an endless coastline. At first, I wasn’t interested in specializing in one genre. I wanted to learn everything. I photographed street art because of my graffiti background. I photographed dancers. I experimented with architecture, infrared photography, long exposures, night photography, and many other styles. Every genre taught me something different. Over time, however, I realized I was always returning to the ocean. The beach seemed simple at first glance, but the more time I spent there, the more complex it became.
How important is colour in your photography?
Colour is probably the most important visual element in my work. For me, colours behave almost like music or fragrances. They trigger memories, emotions, and sensations that are difficult to explain with words. When people look at one of my photos, I want them to feel something before they even understand what they’re looking at. The colours are often responsible for that first emotional reaction. I’m fascinated by how certain combinations of colours can create calmness, excitement, nostalgia, or even mystery. In many ways, my editing process revolves around colour exploration. I spend a huge amount of time experimenting with palettes, softening tones, pushing certain colours, reducing others, and trying to create an atmosphere that feels dreamlike.
It looks like your work focuses mostly on surfers and waves. Do you shoot other subjects as well?
Not at all. I actually photograph many different subjects, but my Instagram and portfolio only shows a very small part of what I do. Surf photography has simply become the strongest and most recognizable part of my portfolio. The reason I keep returning to it is because it combines everything I love in photography. It has movement, unpredictability, nature, colour, atmosphere, and human performance all in the same frame. Every surfer is different. Every wave is different. Every sunset is different. The ocean gives you endless variations of the same theme.
What does photography mean to you?
Photography is a way of preserving moments that would otherwise disappear forever. In some ways, I see it like sampling in music. When a music producer samples a sound, they capture a fragment of reality and transform it into something new. Photography works the same way for me. I capture a fraction of a second and then reinterpret it through my own vision. Beyond that, photography allows me to express emotions and ideas that are difficult to communicate verbally.
What gear do you use?
For surf photography, my main setup is a Canon 5D Mark IV paired with a Tamron 100-400mm G2 lens. I’ve used many cameras over the years, but this combination gives me the flexibility and reach I need for photographing surfers from the beach. Surf photography often requires working at significant distances, and having a reliable telephoto lens is essential. The Canon system has always felt comfortable and intuitive to me.
I think you also use drones for some of your photos. How does your approach differ from shooting with a normal camera?
Yes, I use drones regularly, and they change the way I see the coastline. When I’m shooting from the ground, I’m working within the limitations of human perspective. A drone allows me to step outside of that perspective and discover patterns, shapes, and compositions that would otherwise remain invisible. The creative process is very different from shooting with a DSLR because you’re no longer reacting to what’s directly in front of you. Instead, you’re exploring geometry, scale, and perspective. Drones have opened up an entirely new visual language for me and continue to inspire new ideas.
Can you walk us through your editing process?
I spend a lot of time simplifying the scene and reducing it to its essential elements. I often use motion-based techniques, directional blur effects, colour blending, and various forms of pixel stretching to transform the ocean, sky, and reflections into smooth horizontal bands of colour. At the same time, I carefully preserve the surfer and the wave so they remain the visual anchor of the image. The challenge is finding the right balance between abstraction and reality. With colour, I always experiment with different palettes, pushing colours, softening them, and rebuilding them until the image creates the emotion I’m looking for. Sometimes I spend more time working on colour than anything else.
Do you collaborate with the surfers that you shoot, or are these just random people?
Most of the time, the surfers are not planned subjects. Surf photography is interesting because the right conditions naturally attract the best surfers. If the waves are good, talented surfers will appear. It’s as simple as that. Over the years, I’ve built relationships with some surfers and occasionally share images with them, but very little is organized in advance.
What are some of your favourite photography techniques and why?
I’ve always loved experimenting with photography. Long exposures have been a huge part of my work for years because they allow me to transform reality into something more abstract and emotional. I also enjoy working with filters, creative lighting, motion blur, and other techniques that push photography beyond simple documentation. In surf photography, however, the approach changes slightly. When the waves are perfect, I become much more focused on capturing the decisive moment rather than experimenting too much. Conditions can change quickly, and opportunities disappear within seconds. In those situations, I prioritize getting strong images first and experimenting second.
How did you find your unique photography and editing style?
My style developed very gradually over many years. It definitely wasn’t something I planned from the beginning. When I first started photography, I was experimenting with everything. I tried many different genres, many different editing styles, and many different ways of seeing. Over time, I realized I was naturally attracted to simplicity. I found myself removing more and more elements from my compositions. I became less interested in showing everything and more interested in showing only what was essential. At the same time, I was spending a lot of time in Photoshop, changing colours, simplifying shapes, and creating cleaner visual structures. My background in graffiti and graphic arts probably played a huge role in this evolution. I’ve always loved strong visual impact, clean lines, and bold colour combinations. Eventually, all these influences merged together.
Do you see yourself as a landscape photographer, fine art photographer, surf photographer…? And why?
Labels have never been very important to me, but if I had to choose one, I would probably call myself an author-photographer or visual artist. Surf photography is obviously a big part of what I do, but when I look at my work, I don’t see the surfer as the primary subject. I see colour, movement, atmosphere, emotion, and design. The surfer is often just one element within a much larger visual composition. That’s why I don’t completely identify with the traditional surf photography world. At the same time, I don’t consider myself purely a landscape photographer either because the human element remains important. Fine art photography probably comes closest, but even that doesn’t fully describe what I do. I like the idea of being an artist-reporter, someone who documents reality but transforms it into something more personal and interpretive.
How do you decide whether a photo works better in black and white or colour?
Colour is usually my first language. Most of my work is built around colour relationships, so black and white is relatively rare for me. However, there are moments when removing colour makes the image stronger. Sometimes a scene contains only a few colours that don’t contribute much emotionally. In those situations, black and white can simplify the image and emphasize the structure, movement, or emotion instead. Every photo tells me what it needs.
What is the most challenging thing about photography for you?
Without hesitation, it’s being in the right place at the right time. Photography is often presented as something technical, but in reality, luck and timing play a huge role. You can have perfect equipment, perfect skills, and perfect preparation, but if the conditions don’t align, there is no photo. Surf photography makes this challenge even bigger because you’re dealing with so many variables at once. The waves need to work. The light needs to work. The weather needs to cooperate. The surfers need to be in the right position. Everything has to come together for a fraction of a second.
Can you walk us through a typical shooting day?
A typical shooting day usually starts very early. I like arriving before sunrise because the first light often produces the most interesting colours and atmosphere. Once I’m on the beach, I begin observing. I watch the ocean, the surfers, the clouds, and the changing light. Sometimes I spend more time watching than shooting. If conditions are promising, I stay for hours. Surf photography requires patience because the best moments don’t happen every minute. Throughout the day, I move around, looking for different angles, backgrounds, and compositions. During sunset, the colours often become extraordinary, and that’s usually when I become even more focused. Many days end long after the surfers have left the water. I often stay behind photographing the landscape, experimenting with long exposures, or capturing the stars over the ocean. O really like experiencing the entire environment from morning until night.
What is your favourite subject to shoot?
My favourite subject is definitely athletes performing at a high level. There is something incredibly beautiful about watching someone express years of dedication and training through movement. In surfing, every wave becomes a stage where athletes improvise and react in real time. No two rides are ever the same. I love capturing those brief moments where skill, timing, balance, and creativity all come together. Looking at many of my photos, the surfer appears small within, but that small surfer carries an enormous amount of energy. The athlete provides scale, emotion, and narrative inside an otherwise abstract composition. That’s a combination I never get tired of photographing.
Do you listen to music during any part of your creative process?
Music has always been a huge part of my life. Before photography became my primary creative outlet, I spent years producing beats and experimenting with sound. That background still influences everything I do. When I’m editing photos, music is almost always playing. It helps me concentrate, but more importantly, it helps me create a specific emotional atmosphere.
Who are some photographers or other artists that inspire you?
I don’t really have specific photography heroes. Of course, I admire talented photographers, but inspiration comes from many different places. Athletes inspire me because they dedicate themselves completely to mastering their craft. Cinema is another huge source of inspiration. Great films teach you about colour, atmosphere, pacing, and visual storytelling. Music has probably influenced me as much as photography itself. I find inspiration everywhere. In graphic design, architecture, street art, advertising, and even everyday life.
How do you know when you have nailed the shot? Is it instinct or something else?
Part of it is technical and part of it is instinct. The technical side is easy to verify. Modern cameras allow you to zoom in and check sharpness, positioning, and exposure immediately. But that’s only half of the story. Sometimes a technically perfect photo feels completely empty. Other times a photo with small imperfections feels incredible. That’s where instinct comes in. Usually, I know almost immediately when something special has happened. There’s an emotional reaction. The image stays in my mind long after I’ve taken it.
How important is composition in photography?
Composition is important, but maybe not in the way many people think. In surf photography, you often have very little control over what happens. Waves change shape. Surfers move unpredictably. Light changes. Because of that, I think framing is often more important than traditional composition rules. My job is to create a visual environment where something magical can happen. The surfer then enters that environment and completes the image. Looking at my work, especially the more abstract photos, you’ll notice that many compositions rely on simplicity, balance, and negative space.
What is your advice for someone who wants to start photography?
The first thing I would say is to train your eye before worrying about equipment. Watch films. Read books. Visit exhibitions. Study graphic design, painting, architecture, and cinema. All of those things will improve your photography more than buying a new camera. Today, many people spend too much time comparing gear and not enough time developing their visual identity. A unique idea is far more valuable than expensive equipment. Try many different genres. Experiment constantly. Most importantly, don’t be afraid of making mistakes.
How important is lighting in photography?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Moment’s New Mobile II Lenses
Moment has announced its new T-Series Mobile II lens lineup, a collection of smartphone lenses for mobile photographers that brings updated optics across the range along with an all-new SuperTele 240mm.
According to Moment, the entire Mobile II lineup has been redesigned from the ground up with more optical glass, improved sharpness, and updated optical designs. The series now includes the SuperTele 240mm, Tele 58mm II, Wide 16mm II, Fisheye 8mm II, Anamorphic 1.33x II, Anamorphic 1.55x II, Macro 10x II, and Macro 75mm II.
The biggest addition is the new SuperTele 240mm. Unlike most smartphone add-on lenses, this one is designed specifically to work with the latest periscope telephoto cameras rather than a phone’s main camera. It is compatible with the telephoto cameras on the iPhone 15 Pro Max, iPhone 16 Pro, iPhone 16 Pro Max, iPhone 17 Pro, and iPhone 17 Pro Max.
The lens uses cinema-grade optical glass inside a CNC-machined aluminium body with a blackened interior to help reduce internal reflections. It also accepts standard 67mm filters, allowing photographers to use ND, polarising, or diffusion filters when shooting.
The rest of the Mobile II lineup has also been updated. The new Tele 58mm II, Wide 16mm II, Fisheye 8mm II, both Anamorphic lenses, and the two Macro lenses all feature redesigned optics meant to image quality while maintaining the distinct look each lens is known for.
Like previous T-Series lenses, the new lineup uses Moment’s proprietary bayonet mount, so the lenses require a compatible Moment phone case. Those cases are available for a range of smartphones and typically cost between $45 and $55 depending on the model.
SuperTele 240mm
Most of the T-Series Mobile II lens lineup is priced at $150, while the Anamorphic 1.55x version costs $200 regardless of whether you choose the Natural, Gold Flare, or Blue Flare option.
A few more sample shots:
Wide 16mm II
Macro 75mm II
Macro 10x II
Fisheye 8mm II
Tele 58mm II
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: @bb_frames
Let’s Analyse this Photo
Composition & Framing
What works well:
The composition pretty much immediately grabs your attention because of the isolated pool of light around our subject. Even though the street itself is pretty empty, that bright area creates an instant focal point.
There are several small/subtle leading lines. The curb, sidewalk, traffic light arm, road markings and even the edge of the (illuminated) storefront all guide your eye toward the subject.
The negative space of the empty road actually does strengthen the composition here. It gives our subject much more room to breathe and emphasises just how alone he is in the city late at night.
The framing is very clever actually. It starts with the traffic light pole that arches over our subject (that can be seen as the first framing instrument). The second framing instrument is actually much more interesting and cool → the light in the scene → the (green) traffic light on the left + the (red) traffic light/street crossing light on the right + the lit up store sign → create a triangle of light sources which frame our subject very nicely-
What could be better:
The green traffic light is very bright and it competes a bit too much with the man. While yes, it does make sure that your eye lands/stays in that general area (remember guys → the viewer’s eye always goes where the light is), the light on the ground from the shop already does plenty of that work by itself so the very bright green light from the traffic light is not ‘needed’ in that sense. Reducing that bigness there slightly would have helped (but still keeping that previously described framing effect)
The lower foreground crosswalk occupies quite a lot of space without adding much to the story. A slightly tighter crop from the bottom might have strengthened the composition.
The left side overall is much emptier than the right, making the composition lean slightly toward the storefront side.
Light & Atmosphere
What works well:
The light is one of the strongest aspects. It really feels like we have a theatre spotlight shining directly onto the man.
The contrast between the cool blue street lighting and the warmer shop lighting creates a very cinematic atmosphere.
The surrounding darkness isolates the illuminated area beautifully and reinforces the feeling of loneliness.
The glow from the storefront spreads nicely onto the pavement, making the pool of light feel very ‘natural.’
What could be better:
Some highlights around the shop signage are close to clipping.
Large parts of the photo fall into deep shadow, causing texture and detail to disappear.
Colour & Tone
What works well:
The colour palette is very good, blue tones dominate while the red traffic lights and warmer storefront lighting provide just enough contrast.
The green traffic light adds another accent that keeps the photo from feeling monochromatic.
The relatively restrained colours fit the night atmosphere perfectly.
What could be better:
The warm storefront lighting and cooler street lighting transition a little abruptly in places.
The overall photo is intentionally subdued, but a touch more tonal separation in the darker buildings could make it feel a little less flat.
Story & Emotion
What works well:
Storytelling is another strong part of the photo. The man walking through an otherwise empty street immediately creates a narrative.
We can see him well enough to recognise his clothing and posture, but not enough to know exactly where he is going or coming from, leaving room for interpretation (my guess is he is a store owner going home (maybe THE store owner since he appears to be holding a key or something in his hand → maybe he is closing up)).
The empty intersection reinforces the feeling that this is very late at night when most people have already gone home.
The Chinese storefronts + the street signs and the “Manhattan Br” sign give a very strong sense of place. Anyone familiar with New York will immediately recognise this as Chinatown in Manhattan.
What could be better:
Although we see the subject, we still cannot really connect emotionally through facial expression (it would add a lot to the story for example if we could clearly see that he is tired from a long day of work).
Overall the story remains relatively broad, we almost understand the mood more than the individual person.
Balance
What works well:
The composition still balances relatively well considering the bright storefront occupies only one side.
Our illuminated man acts as the visual anchor that ties everything together.
The large dark road on the left balances the denser architecture on the right.
The red and green traffic lights distribute small points of colour across the composition, preventing everything from feeling concentrated in one place.
What could be better:
The right side is still a little heavier because of the storefront, signs and traffic light pole.
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Photographer of the Week
Photographer of the week goes to: Dario Bonetto
You can find him on Instagram as: @dario_bonetto_clickalps_photo
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
