📸 SNAPSHOT - Issue 124
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Sony’s New RX10V Super-Zoom Camera
Sony’s new RX10 V camera, the long-awaited successor to the RX10 IV, is officially here. Nearly eight years after its predecessor launched, the new bridge camera keeps the same 20-megapixel stacked 1-inch sensor and 24-600mm equivalent Zeiss zoom lens, but brings big upgrades almost everywhere else.
As mentioned, the core imaging setup remains unchanged. Sony is once again using its 20.1-megapixel stacked Exmor RS CMOS sensor paired with the Zeiss Vario-Sonnar T* 24-600mm equivalent f/2.4-4 lens (9.1-210mm actual focal length). For many RX10 fans, that combination was already one of the camera’s biggest strengths, offering a huge zoom range without changing lenses.
Beyond that, though, the RX10 V has changed quite a bit. The camera gets a redesigned body that looks much closer to Sony’s Alpha mirrorless lineup. It has Sony’s latest menu system, a dedicated autofocus joystick, updated controls, and improved handling overall.
The electronic viewfinder has also been upgraded. Sony has replaced the RX10 IV’s 2.36-million-dot EVF with a larger 3.69-million-dot panel offering 0.78x magnification. The rear display also gets a higher-resolution 3-inch screen, although it still only tilts up and down rather than fully articulating.
Battery life should also see a noticeable improvement. Sony has finally replaced the older NP-FW50 battery with the much newer NP-FZ100 battery used across much of its Alpha lineup, increasing battery life by more than 50%.
The camera is only slightly larger than its predecessor, growing by between 0.5mm and 6.3mm depending on the dimension. Weight has also increased only slightly, from 1,095g to 1,111g with a battery and memory card installed. Sony also says the new body offers improved dust and moisture resistance.
Connectivity has been modernised as well. The RX10 V changes Micro USB for USB-C, adds 5GHz Wi-Fi, and now includes Sony’s Multi Interface Shoe for compatible accessories.
Internally, the biggest upgrade is Sony’s newer BIONZ XR image processor, paired with an integrated AI processing unit. Together they power a much more advanced autofocus system with Real-time Recognition AF for people, animals, birds, insects, cars, trains, and aircraft. Real-time Tracking has also been added, allowing you to select a subject directly from the touchscreen and have the camera continue tracking it.
Continuous shooting has increased from 24 frames per second to 30fps, with blackout-free shooting available at the maximum frame rate. One feature that is still missing, however, is Pre-Capture shooting.
Video performance has taken a significant step forward. While the RX10 IV topped out at 4K 30p, the new model records 4K 60p using the full sensor width and 4K 120p with a slight crop. It also adds 10-bit 4:2:2 recording, All-I compression, XAVC HS, XAVC S-I, S&Q recording, S-Cinetone, S-Log3, user LUT support, Active Mode stabilisation, Auto Framing, live streaming at up to 4K 30p, and a vertical shooting interface.
The Sony RX10 V is priced at $2,299. Shipping is expected to begin around August 6.
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Interview with Olivier Caune
This week’s Interview with Olivier, a talented photographer based in Canada. I am truly honoured to have had the opportunity to interview him!
You can find him on Instagram as: @oliviercaune
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Olivier Caune, and I’m a French photographer based in Canada. Before fully dedicating myself to photography, I spent many years working in architecture and design, including more than a decade living in Shanghai, China. Over time, photography evolved from a personal passion into a way of documenting emotion, atmosphere, and the relationship between people and spaces. Today, I primarily work with medium format cameras, creating cinematic and atmospheric imagery.
How did you first get into photography?
Photography has always been part of my life. I got my first camera, a Konica Pop, when I was six years old. Later, I studied photography at university while pursuing arts studies. Even during my years working as an architect and designer, photography remained part of my creative process. Working with rendering software also influenced me because I was constantly thinking about light, framing, and how people interact within a space. I’ve always been fascinated by light, composition, and the emotional impact of environments, and photography became the perfect way to bring those interests together. What started as curiosity gradually became an obsession for me.
What are your favourite shooting conditions?
I’m drawn to imperfect weather. I often feel that the worse the conditions are, the stronger the photographs become. Rain, fog, snow, strong wind, and dramatic skies all create mood and emotion. I also love shooting during early mornings or blue hour, when the light feels softer and more cinematic. Sunny days can also be beautiful if you want to capture the heat and intensity of the sun, but difficult conditions usually tell a more compelling story.
It looks like you shoot a bit of everything. Is that intentional, and what is your favourite genre?
Yes, absolutely. I’ve never liked limiting myself to a single genre because inspiration can come from anywhere. I love night photography, for example, but I would feel creatively trapped if that was the only thing I photographed. I shoot architecture, street scenes, landscapes, documentary-style moments, and more abstract imagery. If I had to define my focus, though, it would be atmospheric storytelling. For me, the emotional impact of an image matters more than the subject itself. I’m especially interested in the relationship between people and space.
What does photography mean to you?
Photography is a way of translating emotions that are difficult to express through words. It’s about preserving atmosphere, memory, silence, tension, and beauty within everyday moments. Sometimes a photograph says more about how a moment felt than what it actually looked like. When you press the shutter, you capture more than what’s visible in the viewfinder, you capture the feeling of the scene, the light, the smell, and the atmosphere. Those senses aren’t literally visible in a photograph, but I believe they can still be felt if the image is done well. Post-production can also help emphasize that emotion.
What gear do you use?
I mainly shoot with the Hasselblad 907X and 503cx system, while also using Sony cameras depending on the project. I’m drawn to medium format because of its depth, tonal transitions, and the slower, more intentional shooting process it encourages. I also enjoy experimenting with different lenses, especially character lenses that bring imperfections and personality to an image.
Do you prefer shooting in chaotic scenes or more calm and intimate spaces?
Probably somewhere in between. I enjoy chaos when there’s hidden structure within it, and I appreciate calm spaces when they carry emotional tension. I’m always searching for balance, a solitary person within a vast environment, silence within movement, or stillness within chaos.
Can you walk us through your editing process?
My editing process is relatively simple. I mainly use Lightroom or Phocus, and I rarely reframe my photographs. The scene I saw is the scene I want to share. I focus more on atmosphere than technical perfection, paying close attention to tones and colour harmony. I often reduce overly strong colours in favour of earthy, cinematic palettes. I prefer subtle editing that enhances the emotion of an image rather than overpowering it.
How do you decide which moments to capture and which ones to let pass?
It’s mostly instinctive. For street photography, I often shoot while riding my bicycle because walking can sometimes make you miss moments before you can reach them. On a bike, I feel like I can anticipate what’s about to happen and position myself in advance to capture it. Vision is the most important thing for me, I constantly see frames in my head. Certain moments immediately trigger an emotional reaction: a gesture, a reflection of light, a particular atmosphere, or the way someone interacts with a space. Over time, I’ve learned that not every beautiful scene needs to be photographed. Often, the strongest images are the ones that feel emotionally honest rather than visually perfect.
What are some of your favourite photography techniques, and why?
I enjoy using natural framing, negative space, reflections, layering, and strong contrasts in light. I’m also drawn to placing a small human presence (or even other subjects) within larger environments because it creates both scale and narrative. More than the techniques themselves, I’m interested in how composition can evoke emotion and guide the viewer’s eye naturally.
How did you develop your unique photography and editing style?
I believe style develops naturally over time through repetition, observation, and personal experience. I’m obsessed with light and the way it caresses the world around us. Living in different countries, especially in Asia, had a significant influence on my visual sensitivity. Gradually, I became drawn to muted colours, beige tones, cool blues, foggy atmospheres, and cinematic lighting because they reflected the emotions I wanted to express.
Do you see yourself as a street photographer, landscape photographer, nature photographer…? And why?
Not really. I prefer not to define myself by a specific genre because my work moves fluidly between several worlds. I see myself more as a visual storyteller or atmospheric photographer. What connects my work is not the subject matter itself, but the mood and emotional language behind it.
How do you decide whether a photo works better in black and white or colour?
It depends entirely on emotion and light. If colour adds emotional depth or atmosphere, I keep it. If colour becomes distracting and the image relies more on shape, contrast, texture, or emotion, black and white often feels more appropriate. Some photographs simply reveal themselves differently without colour, although I mainly share colour work.
What is the most challenging thing about photography for you?
Probably maintaining originality while staying emotionally connected to the work. In the age of social media, it’s easy to fall into repetition or follow trends. I constantly try to create images that feel personal and honest rather than simply aesthetically pleasing. I want to avoid copying others and continue pushing myself creatively. Many photographers shoot the same famous locations that have already been photographed millions of times, but that has never interested me. There’s so much to discover and capture in the world.
Can you walk us through a typical shooting day?
Most of my shooting days begin very early or end very late because I prefer softer light and quieter environments. I spend a lot of time walking, observing, and waiting rather than constantly taking photographs. For me, photography is deeply connected to patience. Sometimes I can spend hours shooting only a few images that truly feel right. I don’t shoot ten frames per second, when I see the scene, I capture it with a single click.
What is your favourite subject to photograph?
Human presence within environments. I’m fascinated by the relationship between people and space, especially themes of solitude, scale, and atmosphere. Even in architectural or landscape photography, I often include a small person because it adds life and emotional connection.
Do you listen to music during your creative process, and how does it influence you?
Yes, very often. Music strongly shapes the emotional direction of my work. Classical music, especially piano, cinematic soundtracks, or even silence can completely change the way I observe a scene. Sometimes an entire series becomes connected to a particular sound or atmosphere.
Which photographers or artists inspire you?
I’m inspired by many different artists, not only photographers. Cinema, painters, architects, poetry, and music all influence my work. Anything connected to art can become a source of inspiration.
How do you know when you have captured the shot? Is it instinct or something else?
Mostly instinct. Usually, I feel it immediately. It’s difficult to explain, but certain images create a kind of emotional silence within me when I look at them. Technical perfection isn’t always essential, sometimes imperfections are exactly what make a photograph feel alive.
How important is composition in photography?
Composition is essential because it shapes how the viewer experiences an image emotionally. Strong composition creates rhythm, balance, tension, and direction. At the same time, it should feel natural rather than forced. The best compositions often appear effortless, even when they are carefully constructed. I sometimes see street photography that feels overly staged, and while staged scenes can create beautiful images, that’s not the magic of street photography for me.
What advice would you give to someone starting out with photography?
Go out and shoot every day. Never leave home without your camera because the moment you need it most is often unexpected. Don’t make excuses like bad weather, boring surroundings, or the need to travel somewhere special. Learn to make ordinary things look beautiful. Even if you can’t move from one spot, you can still create many different images by changing your perspective and observing what’s around you. Practice every single day — no excuses.
For post-production, take one of your worst images and challenge yourself to make it beautiful. Most importantly, photograph what genuinely moves you instead of chasing trends or social media validation. Learn to observe light, atmosphere, and emotion before focusing too heavily on gear. Consistency and personal vision matter far more than expensive equipment.
How important is lighting in photography?
Light is everything. Photography literally means “drawing with light.” Light creates mood, texture, depth, and emotion. Even the most ordinary scenes can become extraordinary under the right light.
Is there a photography genre you have not explored yet that you would like to try?
I’d love to explore more astrophotography and extreme weather photography, especially tornadoes. I’m also becoming increasingly interested in photographing space-related subjects. I’m fascinated by the scale of rockets and by the emotion of people watching a spaceship launch into the sky. I’m drawn to environments that feel both beautiful and slightly hostile. I also want to continue developing more cinematic and documentary-style storytelling in my work.
How important is colour in photography?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Godox’s New PaletteLab Colour Engine
Godox has announced PaletteLab, a new full-spectrum colour engine that makes its debut in three new continuous LED lights.
At the heart of the new PaletteLab colour engine, is a nine-band full-spectrum lighting design that covers the entire visible light spectrum. According to Godox, this allows the lights to achieve CRI values of around 96-98, TLCI ratings of 96-99, a CRI R9 score of 99 for accurate reds, and 92% coverage of the Rec.2020 colour space.
SL300RF
All three lights offer an adjustable colour temperature range from 1,800K to 10,000K, making it possible to switch from warm tungsten-style lighting to cool daylight. You can also choose between three light curves, four dimming curves, and 14 built-in lighting effects depending on the type of shoot.
The lineup consists of the 230W SL200RF, the more powerful 330W SL300RF, and the compact 165W ML150RF. While all three share the same lighting technology, the ML150RF is designed for portability and can be powered by an optional V-mount battery using Godox’s ML-VMA adapter.
SL200RF
Control options are equally broad. The lights support DMX/RDM for professional studio setups, Bluetooth control through the Godox Light app, NFC pairing for faster setup, and wireless CRMX control using the optional TimoLink transceiver.
The SL200RF and SL300RF both have built-in power supplies, so there is no need for an external power brick. All three models use the standard Bowens mount, making them compatible with a wide range of existing light modifiers and accessories. Godox also says the temperature-controlled cooling system is designed to keep fan noise low, even when running at higher output levels.
ML150RF
The ML150RF is priced at $525, the SL200RF comes in at $840, and the SL300RF is $935.
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: @streetmob.lx
Let’s Analyse this Photo
Composition & Framing
What works well:
The composition is built almost entirely around perspective, and it works very well. The tunnel creates a very strong vanishing point, with both walls, the ceiling and the floor all pulling your eye directly toward the person standing near before the stairs there.
The repeating ceiling lights act as great leading lines. Because every light becomes smaller as it recedes into the distance, they naturally guide your attention deeper in.
The reflection on the floor is also great. It pretty much doubles the leading line effect by mirroring the ceiling lights → create a sort of sandwich effect + it creates a pleasing symmetry without the photo actually being perfectly symmetrical.
The person is right in front of the bright exit, creating a natural spotlight effect. They immediately become the focal point.
The layering is simple but still good → we first have the dark foreground, then the floor, then the tunnel itself, followed by the person, the staircase and finally the bright daylight outside. Even though it is a fairly minimal scene, it still feels pretty deep.
What could be better:
The foreground is very dark and occupies a large portion of the photo. While it strengthens the mood, it also means a big amount of the photo contains very little visual information. A slightly higher shooting position could have reduced that dead space without losing the reflection.
The bright exit is great as a focal point, but it is close to clipping. Recovering just a little more highlight detail around the doorway/staircase would make the transition between the tunnel and the outside a little smoother.
Light & Atmosphere
What works well:
The lighting is definitely a strong part of the photo. Everything revolves around the contrast between the dark tunnel and the bright exit. It creates tension and draws your eye exactly where it should go (remember guys → the viewer’s eys/attention always goes where the light is!
The ceiling lights give a nice rhythm across the photo.
As mentioned before, the bright daylight outside acts like a spotlight on the person, making them stand out despite wearing relatively dark clothing (well, dark pants).
What could be better:
Some of the shadows become very deep, especially in the foreground, where almost all texture disappears. Lifting the blacks slightly could reveal just a little more detail while still keeping the dramatic mood.
A few of the ceiling lights are fairly bright and can briefly compete with the subject before your eye settles on the person. Slightly reducing their highlights could improve that.
Colour & Tone
What works well:
We have cool greys and muted (brown-ish) tones which keep all the attention on the composition rather than the colours themselves.
The bit of warm yellow coming from the person’s jacket creates just enough colour contrast to separate them from the otherwise cool environment. It is really small, but it still does something.
The grading feels natural and does not try to oversaturate anything.
What could be better:
A bit more tonal variation in the shadows could prevent some areas from feeling slightly flat.
Texture
What works well:
The polished floor is very nice. Besides giving us the reflections, it also adds a smooth texture that contrasts nicely with the rougher walls.
The subtle texture on the concrete walls and the staircase gives the tunnel enough detail without making it feel cluttered.
The reflections of the ceiling lights create a second visual layer that keeps the lower half of the photo interesting.
What could be better:
The very heavy shadows hide quite a bit of the floor texture in the foreground. Revealing just a little more detail could strengthen the photo without sacrificing the mood.
Balance
What works well:
The photo feels balanced mostly thanks to its near-symmetrical construction. The left wall, right wall, ceiling and floor all work together to create that stable composition.
The bright exit naturally balances the otherwise very dark tunnel, preventing the photo from feeling way too heavy.
The reflection on the floor helps distribute the visual weight between the upper and lower halves.
What could be better:
The lower foreground is visually quite heavy because of the large dark area. While that supports the mood, it does outweigh the brighter upper half.
The bright exit becomes a very dominant anchor point, so much so that very little attention is given to the rest of the tunnel once you have looked at it. Slightly reducing the brightness there (and lifting the shadows in the rest of the scene) could allow the viewer to appreciate more of the surroundings before (or after) landing on the subject.
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Photographer of the Week
Photographer of the week goes to: Marc Hennige
You can find him on Instagram as: @marc.hennige
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
