📸 SNAPSHOT - Issue 125
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 26mm f/2.8 Pancake Lens
Viltrox has announced the new AF 26mm f/2.8 EVO, an ultra-compact pancake lens for full-frame Sony E- and Nikon Z-mount cameras. Even though it is less than an inch (2.5cm) thick, the lens still manages to squeeze in autofocus along with separate aperture and focus rings, something that is relatively uncommon in a pancake design.
The lens measures 66mm in diameter and 23.8mm in length while weighing around 130 grams, depending on the mount. It is small enough that most photographers will likely leave it on the camera full-time, especially when paired with one of today’s small full-frame mirrorless bodies.
Despite its compact size, Viltrox has included both a dedicated aperture ring and a separate focus ring, giving you more direct control than most pancake lenses offer. Autofocus is powered by an STM stepping motor, which is designed to provide smooth, quiet focusing for both stills and video.
The lens can focus as close as 0.2 meters and offers a maximum magnification of 0.2x. While it is not designed for macro photography, that close focusing distance does allow you to get much closer to your subjects than you might expect from a lens like this.
Inside, the AF 26mm f/2.8 EVO uses an optical design of eight elements in six groups, including two aspherical elements and one high-refractive element. Viltrox says the design helps maintain sharpness while keeping distortion under control. The lens also supports in-camera lens corrections on both Sony and Nikon cameras for improved rendering.
Other features include a magnetic front lens cap, a standard 43mm filter thread, and a built-in USB-C port for firmware updates and connection to the Viltrox Lens app.
The Viltrox AF 26mm f/2.8 EVO is available for Sony E- and Nikon Z-mount cameras and is priced at $299.
A few sample shots:
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Interview with Quan Vu
This week’s Interview with Quan Vu, a talented photographer based in Japan. 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: @quan.vu.photography
Enjoy the amazing Interview ;)
Can you introduce yourself to our readers?
Hello, my name is Quan. I’m Vietnamese and currently living in Japan. I’ve only been doing photography seriously for a few years, but I first got interested in it back in 2012 when I lived here for the first time. At the beginning, I just took casual photos of my trips with my phone. Then in 2014, I bought my first camera and started carrying it everywhere, photographing anything that caught my eye. After returning to Vietnam in 2015, I took fewer photos for a while, but when I came back to Japan in 2019, I rediscovered my passion, this time focusing on landscapes and nature scenes across the country.
What initially drew you to nature and landscape photography?
I’ve always loved being in nature. Hiking, climbing, or simply being outdoors is my way of disconnecting from the noise of modern life. I find peace there, and I think that shows in my photos. I’m also very conscious of the environment, I never want my photography to harm the places I visit. I always make sure to leave no trace, to treat nature with the respect it deserves. For me, photography is not just about capturing beauty but also about appreciating and protecting it.
How do you approach planning for a shoot in the wild? Do you rely more on spontaneity or preparation?
I’m definitely someone who enjoys planning. Before almost every trip, I spend a lot of time researching potential locations, checking weather forecasts, studying maps, looking at the position of the sun or Milky Way, and thinking about possible compositions. I like arriving with a clear vision of what I’m hoping to capture because it helps me make the most of the time I have in the field. That said, I’ve learned over the years that nature rarely follows your plans. Because of that, I always try to stay flexible. I usually prepare several backup locations and alternative compositions in case my original plan doesn’t work out. If conditions completely change, I’ll adapt instead of forcing the photograph I had imagined. Some of my favorite photos were never planned at all. They happened because I remained open to what nature was offering instead of trying to control every situation. Good preparation gives me confidence, but flexibility is what allows me to create something unique when things don’t go according to plan.
Can you walk us through your creative process when you’re in the field? How do you decide on the perfect moment to capture?
I don’t think there’s such a thing as the “perfect” moment. I move around a lot, trying different angles and compositions, paying attention to how the light changes and how the scene feels. Sometimes I take hundreds of photos, but when I get home, I always pick the one that best matches the feeling I had while being there. That emotional connection matters most to me.
What challenges do you often face when photographing in remote or difficult environments, and how do you overcome them?
Shooting in remote areas is exciting but also demanding. You deal with unpredictable weather, tricky terrain, and sometimes language or cultural barriers. I always research ahead of time, not just for the best spots but also to understand the local environment and rules. I make sure my gear is versatile and that I have backups for anything important. And when I can, I connect with local photographers who know the area. They often share tips that make a big difference. In the end, you have to be prepared but also adaptable. Nature doesn’t wait for you.
Can you share a memorable experience or adventure you have had?
One that I’ll never forget is the first time I photographed fireflies. I had to drive deep into the forest, down a narrow, rough road that felt endless. At the end of it stood an old, abandoned temple surrounded by trees. When night fell, thousands of fireflies appeared, lighting up the forest like stars. It was quiet, magical, and a little surreal, one of those moments that reminds you why you do this in the first place.
How do you handle unpredictable weather or lighting conditions?
The key is to stay flexible. Like I said, I always have backup locations and backup plans, but sometimes I just have to wait. If the light changes, I might move to another spot, or if the weather turns bad, I’ll use that to my advantage. A cloudy sky or rain can sometimes make a photo far more interesting than perfect sunlight. And if nothing works, I simply come back another day. Nature has its own schedule, and it’s better to adapt to it than fight it.
What role does patience play in your work?
Patience is everything. There’s one photo I’ve been trying to take for years on a snowy mountain near where I live. It’s a two-hour drive and a three-hour climb to the top. I’ve gone nine times already and failed every single time because of the weather. But instead of getting frustrated, I try to enjoy the process, each trip brings something new, some unexpected beauty. I’ll keep going back until I get the shot I imagine, but also those “failed” climbs have given me some of my favorite photos.
Any tips for beginners?
Be yourself, feel and draw inspiration not only from photography, and above all experiment. Don't try to imitate a style or force yourself to create one, it doesn't work that way. Have patience, the journey into the world of photography is long and torturous and goes hand in hand with our daily life and our experiences. Photography speaks of ourselves, not of others. Finally, stay safe, stay healthy, enjoy and make the best of every situation.
What do you think about AI in photography?
I think AI can be a great tool when used wisely. I use it mainly for masking in Lightroom, it makes editing faster and more precise, especially when adjusting exposure or color in specific parts of an image. It’s useful, but I still prefer to do most of the editing myself. I like being hands-on, paying attention to every detail, and shaping the photo the way I felt it in real life. For me, the creative process should still belong to the photographer.
How do you choose the locations you shoot?
I always start with a story in mind, what emotion or atmosphere I want my photos to express. Once I know that, I look for places that fit the mood. I usually have a few primary locations planned and some backups just in case the weather changes. Sometimes I’ll revisit the same place many times until I capture it exactly how I imagine it. It’s not about ticking places off a list, but about understanding them deeply.
What gear do you use?
I shoot with a Sony A7R III, and for landscapes I mostly use the Tamron 28–200mm. For wildlife, I switch to the Sigma 150–600mm, and for night photography, I use either a 50mm or an 85mm lens. I also have a DJI Mini 3 Pro drone for aerial shots. My setup covers pretty much everything I need, from close details to distant mountain views. I like keeping things simple but reliable.
What is your all-time favourite photo location?
That would be the Kansai region in western Japan. It has almost everything I love, Kyoto’s cherry blossoms in spring, the fiery autumn colors, the misty forests, and those magical firefly scenes in Hyogo during summer. Every season there feels like a completely different world. Even though I’ve been back many times, I still have certain lighting and weather conditions I want to capture, so I’ll keep chasing those visions until I get them.
What editing software do you use?
I mainly use Lightroom for most of my workflow, and then Photoshop for fine-tuning. I also use the Nik Collection plug-in to adjust contrast and color. My editing style is quite subtle, I don’t like over-processing. I want the final photo to look natural, like you could have been standing right there with me.
What role does composition play in your images?
Composition is one of the most important parts of photography for me. It’s what guides the viewer’s eye and tells the story within the frame. In the field, I always try different compositions, changing perspective, height, or angle and later I choose the one that feels the most balanced and emotional. Good composition isn’t about rules; it’s about how the image feels when you look at it.
How important is light in photography?
Photography is to draw with light, and without it, nothing else matters. Light defines the tone, the depth, and the emotion of an image. Whether it’s the soft light at sunrise, the harsh light at noon, or the golden tones of sunset, each creates a completely different mood. Understanding light is a lifelong lesson for every photographer.
How did you find your signature style?
I don’t know if I have a “signature style,” but I try to make every photo feel true to the moment I experienced. I plan my shots carefully, then edit them in a way that recreates both the scene and the emotion I felt. I want my photos to look natural but still carry my perspective. Over time, I think that honesty has shaped my style more than anything else.
What are some qualities a photographer should have?
Patience and Flexibility. No matter what profession you work in, patience (lots of it) is always an essential quality to have. Especially in photography, you need to be patient enough to wait for the perfect light. And most of all, you need to be patient enough to keep trying when you can't get the right shot. In addition to patience, you also need to be flexible. These two qualities go hand in hand - you need to be patient enough to deal with whatever comes your way, and you need to be flexible enough to make the most of unexpected conditions. Detail-Oriented. Alway pay close attention to detail and capture all valuable aspects. In contrast, they can also help in removing details from photographs during post-production which are not suitable for the photo. Curious and ready to face difficult situations. Always be like a child who is always curious to explore the world around them and you will always find something interesting. Difficulties always appear and when you overcome them you will receive special results.
Do you prefer shooting alone or with company?
I always prefer shooting alone. Photography, for me, is a form of meditation. When I’m alone, I can move at my own pace, think clearly, and take in the environment. When I shoot with other people, I tend to rush or get distracted. I like having the time to wait, sometimes for hours, until the scene feels right.
What inspires you outside of photography?
I actually find a lot of inspiration outside of photography. Spending time in nature is probably the biggest one, but I also enjoy hiking, traveling, and simply exploring places I’ve never been before. Sometimes inspiration comes from watching how the seasons change or how different weather changes a familiar landscape. I also enjoy looking at paintings, watching films, and reading about places I’d like to visit one day.
What goes through your mind while waiting for the right moment?
I’m usually just enjoying being there. Of course I’m watching the light and thinking about composition, but I’m also appreciating the environment around me. I listen to the wind, the birds, or the sound of water nearby. Those moments are part of why I enjoy landscape photography so much.
How do you prepare physically for long hikes with camera equipment?
Landscape photography can be surprisingly demanding physically. Carrying camera gear for several hours through mountains isn’t always easy, so I try to stay reasonably fit through regular hiking. I also think carefully about what equipment I actually need before every trip. Bringing unnecessary gear only makes the hike more difficult. Good hiking boots, appropriate clothing, enough food and water, and understanding the route are just as important as the camera itself.
Do you enjoy photographing wildlife as well?
Yes, although landscapes are still my main focus. Wildlife photography requires a completely different mindset because you have much less control over what happens. Patience becomes even more important, and respecting the animals always comes first. I never want to disturb wildlife simply to get a photograph.
What keeps you motivated to continue?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
The Kodak EC35 35mm Film Camera
Reto, the company behind the viral Kodak Charmera and the Snapic A1, has announced the new EC35, a compact 35mm film camera. It uses a fixed-focus 25mm f/10 lens, a fixed shutter speed of 1/100 second, and manual film advance and rewind. In other words, it is very similar to the experience of shooting with a disposable camera, but in a reusable body.
The camera also includes a built-in electronic flash powered by a single AA battery. Aside from loading the film, winding it on, and deciding when to use the flash, there is very little to think about, which is kind of the idea.
Physically, it weighs 102 grams and measures 119 × 65 × 41.5mm, making it small enough to slip into a jacket pocket or bag. The optical viewfinder is positioned above the lens in a classic point-and-shoot layout.
While the specifications are simple, the design is where Reto has put most of its attention. The EC35 will be available in seven colours. Midnight Black, Vanilla White, Butter Yellow, Lavender, Powder Blue, Blush Pink, and Avocado Green.
One of its more distinctive features is the built-in sliding lens cover. When closed, it protects both the lens and the viewfinder without needing a separate lens cap. It is a feature that was common on compact film cameras years ago but has become much less common today, and it also adds a satisfying tactile feeling every time the camera is opened or closed.
The EC35 is available on its own or as part of a bundle that includes the camera, a wrist strap, and a 24-exposure roll of Kodak Ultramax 400 film. Interestingly, this is one of Reto’s closest collaborations with the Kodak brand so far, pairing the camera with genuine Kodak-manufactured film rather than simply licensing the Kodak name.
The Reto EC35 is priced at $35 by itself or $45 for the bundle.
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: @jccabral_color
Let’s Analyse this Photo
Composition & Framing
What works well:
The composition draws us in quite nicely. The cobblestone road naturally acts as a leading line (especially that thick line in the middle), gently curving toward the person before continuing deeper into the back. It is not an aggressive leading line, but it works very naturally and suits the rest of the scene.
The buildings on both sides create a strong tunnel effect. They frame the street direct your attention toward the person walking through the middle.
The depth is great. We start with the cobblestones in the foreground, then slowly move toward the person, followed by the brighter buildings in the distance and finally the sky above. Even though this is a fairly narrow street, it feels spacious because every layer is clearly separated (we can also see that in the building on the right → you as the viewer jump/look from one entrance and window to the next → and this step by step progression is what creates this feeling that it ‘‘takes time’’ to go through that space → which gives the feeling of depth.
I also like the slight bend in the road. Instead of being a perfectly straight street, the curve keeps your eye moving and adds a little more visual interest.
The person is positioned nicely within the brightest section of the street, which makes them the focal point pretty much immediately (remember → the viewer’s eye always goes to where to light is). The man’s blue jacket also separates well from the otherwise warm and neutral surroundings.
What could be better:
The brightest part of the sky is very strong and slightly overpowers the upper part of the composition. Pulling those highlights back a little could help keep more attention lower in the frame where our subject is (right now I feel like you jump up too quickly).
Personally, I also think the manhole cover in the foreground catches the eye a little more than it needs to because it sits close to the centre of the lower frame + it also catches the light just a bit too much which makes it pop out that much more. Slightly repositioning could have solved that problem, but maybe that is just me.
Light & Atmosphere
What works well:
The lighting creates a nice atmosphere. The soft backlight coming from the end of the street gives the scene a calm early morning or late afternoon feeling.
I like that the photographer did not try to brighten all the shadows. Leaving the sides of the street a bit darker creates depth and naturally pushes your attention toward the brighter centre.
The light wraps softly around the buildings and other details instead of producing harsh contrast, which suits the old architecture really well.
What could be better:
The highlights in the sky are blown out quite a bit, so some cloud detail is lost. Recovering a little more information there would improve the overall balance.
While yes, I do like the shadows in the streets, some of them (especially on the left side) become extremely dark, hiding detail that could still contribute to the photo without hurting the mood and depth.
Colour & Tone
What works well:
The colours are very restrained. Nothing feels oversaturated or artificial.
The warmer sunlight contrasts nicely with the cooler blue jacket of our subject, creating just enough colour contrast to make the person stand out naturally.
The earthy tones of the buildings and cobblestones give the photo a timeless look that suits the historic surroundings.
What could be better:
The overall colour palette is fairly muted. A little more warmth in the sunlit buildings or slightly richer tones in the stone could have made the atmosphere even stronger, especially when it comes to these (naturally) colourful Portuguese buildings/streets
As mentioned before, some of the darker buildings lose colour information because of the deep shadows.
Balance
What works well:
The composition feels well overall. The darker buildings on both sides naturally frame the brighter centre.
The man acts as a visual anchor in the middle, preventing the bright background from becoming the only point of interest.
What could be better:
The left side carries slightly more visual weight because of the large dark building occupying much of the frame. Now, → do the balconies, textures, windows, doorframes etc. help balance that out? Yes! But is it entirely enough? In my opinion there is still a bit missing (but truly only a bit).
The bright sky at the top competes a little with our subject → 1. since it is so bright 2. because it rises up very high → that pulls the viewer’s attention up and away from our subject. Reducing its brightness slightly would help with that.
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Photographer of the Week
Photographer of the week goes to: Zak Mogel
You can find him on Instagram as: @zakmogel.pov
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
