📸 SNAPSHOT - Issue 126
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Shoten Kobo’s Lailens LTM 50mm f/1.1 KP
Shoten Kobo Co., Ltd. has announced the Lailens LTM 50mm f/1.1 KP, an ultra-fast manual focus lens inspired by one of the rarest pre-war cinema lenses ever made, the Hugo Meyer Kino Plasmat 5cm f/1.5. The new lens wants to recreate the distinctive, soft rendering that made the original so sought after by collectors and photographers.
Recreating classic vintage lenses has become increasingly popular in recent years, but the LTM 50mm f/1.1 KP stands out because it is based on an exceptionally rare optic that very few photographers have ever had the chance to use.
Interestingly, the project did not originally begin as a commercial product. It started as a custom commission for a single customer before eventually growing into a limited production run that we have now.
Wide open at f/1.1, the company says the lens is designed to produce a dreamy, painterly look with soft contrast and a distinctive vintage character. Sample photos released by the company certainly lean into that (see down below).
Despite the bright aperture, the lens remains fairly compact. It measures 44.5mm in length, weighs approximately 308 grams, and accepts standard 52mm filters. As expected, focusing is fully manual. The minimum focusing distance is 0.5 meters, although rangefinder coupling is limited to either 0.7 or 0.9 meters depending on the camera body being used.
Shoten Kobo has not shared many details about the optical formula itself, instead focusing on the rendering characteristics. It has confirmed that the lens features a 13-blade aperture diaphragm, helping produce smooth out-of-focus areas and maintaining its vintage-inspired look across different aperture settings.
The lens covers a full-frame image circle and is available in Leica M mount. It also ships with an L39 adapter ring, giving you additional mounting flexibility. The Lailens LTM 50mm f/1.1 KP is limited to just 70 units worldwide and is priced at 138,000 yen, which works out to roughly $940 USD at current exchange rates.
For comparison, the original Hugo Meyer Kino Plasmat 5cm f/1.5 is an extremely valuable collector’s item. One example sold for $12,300 during the 19th Leitz Photographica Auction back in 2011, and its value has likely increased considerably since then.
A few sample shots (Lailens LTM 50mm f/1.1 KP):
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Interview with Fernando Salgado
This week’s Interview with Fernando, a talented photographer based in the beautiful city of Prague. 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: @fernando_pedro_salgado
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
I’m originally from Buenos Aires, Argentina, although I’ve been living in Prague for the past few years. Moving here completely changed the way I experience photography because Prague has such a unique atmosphere. Every neighborhood has its own character, and no matter how many times I walk through the same streets, I always notice something new. Outside of photography, I’m just a normal guy. I love coffee, long walks, and I’m always listening to music while shooting, mostly instrumental because it helps me focus. Photography started as a side thing for me, but it slowly became something I can’t go a day without doing.
How did you first get into photography?
Like most people, I didn’t start with any grand plan of becoming a photographer. I simply enjoyed taking pictures when I was out with friends or traveling. I had no idea what I was doing, shoot random stuff, and try to make it look “cool.” But at some point I realized I was more interested in the photos than anything else. I would come home and spend time editing, even if the shots were terrible. Around that time, I also discovered black-and-white photography, and something clicked.
Why black and white photography?
It removes all the distractions and lets you focus on shape, light, and feeling. Color is beautiful, but it can also overwhelm the eye. When everything is stripped down, there’s more room for interpretation. Also, I think black and white suits how I see the world. When I shoot in black and white, I’m paying attention to how the light hits someone’s face, how a shadow crosses a street, how the atmosphere feels. Also I have always been drawn to older photos, films, and documentaries, so maybe that’s part of it too.
How do you decide where to go and shoot?
Most days, I just start walking. I might have a rough idea of where the light will be good or where something interesting is happening, but I try not to overplan it. The best shots usually come when I stumble into something unexpected. I keep track of places I like specific corners, reflections, buildings that look amazing when the sun is low and revisit them under different conditions. Prague changes a lot with the seasons and weather, so the same place can feel completely different.
What does photography mean to you?
Some days it’s an escape, other days it’s how I make sense of things. I’ve never been great with words, so photography became a way to express myself without talking. It also keeps me grounded, when I’m out shooting, I’m not thinking about deadlines, bills, or whatever’s going on in my head. I’m just present. It’s addictive in the best way.
What gear do you use?
I switch between Fujifilm, Canon, and Nikon. It depends on what I’m shooting and how I feel that day. Fujifilm is my favorite for street photography, it’s small, quiet, and the image quality feels very natural. The Canon is great for portraits or anything where I need extra control, and the Nikon is just a workhorse. That being said, I’m really not obsessed with gear. I don’t believe better equipment automatically creates better photographs. Most of the time I carry just one camera with either a 35mm or 50mm prime lens and focus on seeing rather than constantly changing equipment.
Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?
That depends on my mood. Some days I want movement and noise but other days I prefer silence, Prague at sunrise is perfect for that. The streets are empty, but there’s still this quiet hum of life waking up. I think both kinds of shooting feed different parts of me. The chaos helps me stay quick and spontaneous, while the calm moments let me slow down and really observe. Both are essential to street photography.
What are your favourite shooting conditions?
Rain and fog. I know a lot of photographers prefer sunny days, but I find bad weather way more interesting. Rain adds reflections, texture, unpredictability, fog simplifies everything. Those conditions also change how people behave. They move differently, hunch over, walk faster. Everything feels more alive. Of course, I also love sunrise and sunset for their light, but honestly, if the weather’s too perfect, it can be boring. A bit of imperfection always makes things more beautiful.
Do you only shoot black and white, or also colour?
I mostly shoot black and white, but I’ll switch to color if something demands it. Some scenes just don’t work without color. But my mind naturally thinks in monochrome now. When I’m out shooting, I’m already imagining how the tones will translate in black and white. It’s not that I dislike color, I just find it easier to express emotion through shades of light and shadow. Every once in a while I’ll post a color image, but it’s rare.
Do you see yourself as a street photographer, architectural photographer, black and white photographer…?
I’d say I’m a street photographer before anything else. That’s where I feel at home. Architecture plays a big role in my images, but only as part of the story. I’m drawn to how people interact with their surroundings. The street is like an open studio, it’s unpredictable, full of emotion, and constantly changing. Every time you go out, it’s different. You never know who you’ll meet or what kind of scene will appear. I like that.
How did you find your unique photography style?
It took a long time. In the beginning, I tried to copy everyone I liked. I’d look at photos from people like Alan Schaller or Fan Ho and think, how the hell do they make it look so effortless? But over time, I realized you can’t really imitate that. You have to shoot a lot, fail a lot, and slowly start noticing what feels like you. I think your style finds you when you’re honest about what you actually like shooting, not what you think you should shoot.
What role does storytelling play in your work?
I don’t think of my photos as stories in a traditional sense, I’m not documenting events or telling a clear narrative. I like photos that feel like they could be part of a bigger story, but you don’t know what that story is, it’s up to the viewer to imagine. I think that’s what keeps an image interesting, when there’s space for interpretation. Everyone brings their own experiences and emotions to a photo, so two people can interpret the exact same photograph in completely different ways.
If you could travel anywhere in the world, where would that be and why?
Japan. I’ve wanted to go for years. I think it’s one of the few places where every photographer wants to go. I’d also love to shoot in Hong Kong, but Japan feels more in tune with how I see things. I’m drawn to places that have a strong sense of identity. And I’m also obsessed with Japanese cinema, like Kurosawa and Ozu.
What’s the most challenging thing about photography for you?
For me, the biggest challenge is staying creative over the long term. When you spend years photographing the same city, it’s easy to feel like you’ve already seen everything. Sometimes you start questioning whether you’re still improving or simply repeating yourself. I think every photographer experiences that feeling sooner or later. Whenever that happens, I try not to force inspiration because that usually makes things worse. Instead, I slow down, explore different neighborhoods, revisit old locations with fresh eyes and music, or simply take a break. I’ve learned that creativity comes and goes naturally, and sometimes the best thing you can do is give it a little space.
What are the best photography locations in Prague?
Malá Strana is probably my favorite, quiet, with narrow alleys and soft light that hits the old walls beautifully. The Charles Bridge is a classic, but I prefer it at dawn before the crowds arrive. You get that mist coming off the river and it feels like stepping into a dream. I also love the smaller side streets near the Vltava River, especially after it rains. The reflections and textures are incredible.
What is your favourite subject to shoot?
People, especially when they’re unaware of being photographed. I love catching those unguarded moments when someone’s lost in thought or rushing somewhere with the wind in their coat. I also love the relationship between people and architecture, because I think the city itself becomes another character in the photograph, adding context, balance, and atmosphere.
Are you a professional or a hobbyist?
I’m technically a professional now, since I take on paid projects and sell prints, but I still treat photography like a passion first. I never want it to become something mechanical. Once you start thinking only about clients or followers, you lose that spark that made you start in the first place. I’ve had times where I felt burned out from overthinking my work, and the only way to fix that was to go back to shooting just for myself, no expectations, no deadlines, just walking around and enjoying the process. I think that’s important, even for professionals. You need to protect that sense of play and curiosity. Otherwise, it just becomes another job, and that’s not what photography is supposed to be.
Who are some photographers or other artists that inspire you?
There are a lot of people whose work has influenced me over the years. Alan Schaller is definitely one of them because his understanding of light, contrast, and composition is incredible. Phil Penman has also been a huge inspiration, especially the way he captures everyday life with so much emotion and authenticity. But I don’t only look at photographers. I get just as much inspiration from filmmakers like Andrei Tarkovsky, David Fincher, and Christopher Doyle, who all have an amazing sense of atmosphere and visual storytelling. I also draw from painters like Edward Hopper and Caravaggio, because they understood mood and negative space better than anyone.
How do you know when you have nailed the shot?
It’s one of those moments you just feel. You press the shutter, and there’s a kind of silence in your head, like you know it clicked, literally and figuratively. Usually, it’s when all the elements line up perfectly for half a second. Sometimes you don’t realize it until later when you review your shots, but there’s often that gut feeling.
How important is composition in photography?
It’s essential, but I try not to think about it too much while shooting. If you overthink composition, you lose spontaneity. After enough time, it becomes second nature, your eye starts framing automatically. I’m drawn to clean lines, symmetry, and negative space, but I also love when something slightly breaks that order. That’s what makes a photo interesting. It’s like music, you need harmony, but you also need tension. In street photography, you don’t have time to move people around or adjust things, so you have to react instantly.
Do you enjoy photographing famous landmarks, or do you prefer ordinary streets?
I definitely lean towards ordinary streets. Famous landmarks are beautiful, but they’ve already been photographed millions of times from almost every possible angle. What interests me much more are the quiet streets between those famous places, where everyday life unfolds naturally. That’s where you find unexpected moments and photographs that feel more personal. Having said that, I do hang around Charles Bridge quite a lot too, haha. It’s impossible not to. The trick is that I’m usually not photographing the bridge itself. I’m waiting for the right light, an interesting person, or a moment that transforms such a familiar place into something that feels unique.
How important is lighting in photography?
Lighting sets the mood before anything else does. Each type of light has its own personality. What matters is learning to see it and knowing how it works and changes. It’s fascinating how the same corner can look completely different at 8 a.m. versus 4 p.m. Once you start noticing that, you can anticipate moments instead of just reacting to them.
Is there a photography genre you have not tried yet that you would like to explore?
I’d love to try editorial or cinematic portrait work at some point, something that blends street realism with a bit of direction and storytelling. I think my experience in street photography would translate well, because I’m used to working fast and noticing details that others might miss. I’d also like to experiment with black-and-white film again, maybe medium format this time.
What is a normal day like for you when you are out shooting?
The rest, 5 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
TerraMaster’s New D8 Hybrid 2
TerraMaster’s D8 Hybrid 2 is here. It is a new eight-bay direct-attached storage (DAS) enclosure that combines high-capacity hard drives with fast NVMe SSDs in a single unit. Meant for photographers, videographers, and other creative professionals, the enclosure supports up to 152TB of storage and transfer speeds of up to 1,020MB/s over USB 3.2 Gen 2.
Unlike traditional DAS enclosures that rely entirely on hard drives, the D8 Hybrid 2 uses a hybrid design with four SATA HDD or SSD bays alongside four M.2 NVMe SSD slots. This lets you keep active projects on fast NVMe drives while storing finished work and backups on larger-capacity hard drives without needing multiple storage devices.
The enclosure supports up to four 30TB hard drives and four 8TB NVMe SSDs, giving it a maximum capacity of 152TB depending on the drives installed.
According to TerraMaster, the hybrid setup is built around ‘modern creative workflows’. Frequently used files can stay on the NVMe SSDs for faster editing and file access, while completed projects and long-term archives can be stored on the hard drives to maximise capacity at a lower cost.
Using USB 3.2 Gen 2 with 10Gbps bandwidth, the D8 Hybrid 2 can reach read speeds of up to 1,020MB/s with a single NVMe SSD installed. TerraMaster also says RAID configurations using four hard drives can deliver speeds of up to 980MB/s, making the enclosure suitable for demanding 4K and 8K video editing as well as large RAW photo libraries.
The D8 Hybrid 2 also introduces TerraMaster’s new TPM (TerraMaster Power Management) technology, which is designed to improve power efficiency, reduce drive wake-up times, and maintain stable performance during long workloads.
Installing drives is tool-free, SATA drives slide into the enclosure using TerraMaster’s Push-Lock trays, while the NVMe slots are accessed through a sliding side panel and secured with hand-tightened screws.
Cooling is handled by a temperature-controlled Fluid Dynamic Bearing (FDB) fan that is rated for more than 50,000 hours of operation. TerraMaster says the updated chassis also improves airflow while keeping noise levels down during use.
The enclosure works with macOS, Windows, Linux, and TerraMaster NAS systems without requiring additional drivers. It also supports common file systems including NTFS, APFS, EXT4, FAT32, and exFAT.
Beyond direct-attached storage, the D8 Hybrid 2 can also be used as an expansion unit for TerraMaster NAS devices running TOS 5 or TOS 6, adding extra storage pools, RAID arrays, and snapshot support. It is also compatible with Windows Server, Proxmox, TrueNAS, Linux, and Unraid environments.
For backups, Windows users receive TerraMaster’s TPC Backupper software with incremental and differential backup support, while macOS users can rely on Apple’s built-in Time Machine.
The TerraMaster D8 Hybrid 2 is priced at $300.
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: @nickmillers
Let’s Analyse this Photo
Composition & Framing
What works well:
There is a very nice use of the long shadow, it acts like a big leading line, starting in the foreground and pointing directly toward the person + after that, the road itself becomes another leading line → the bright strip of sunlight runs all the way into the distance, guiding your eye from the foreground toward the upper part of the photo (+ the natural funnel created by the street also helps with that).
Depth is another great aspect. We begin with the foreground crosswalks and asphalt, then move toward the man crossing the road, followed by the rows of parked cars, and finally the distant buildings fading into the distance. Every layer is easy to distinguish, giving the photo a strong 3D look.
The elevated viewpoint works very well because it simplifies the scene. Instead of looking at street level, we are able to appreciate the geometry of the road, the parked cars and the long shadow all at once.
The person is positioned nicely within the illuminated section of the road. The silhouette stands out well, and the surrounding empty space helps isolate them despite the relatively busy environment.
The repeating parked cars create a nice rhythm, along the left side of the street especially, helping reinforce the perspective + strengthening the leading line effect.
What could be better:
The composition is slightly heavier toward the left side because of the dense row of parked cars (+ simply the fact that the sunlight illuminates them a lot/it really makes them shine). The right side contains much more empty asphalt, making the balance lean a little left.
There are several secondary people near the bottom right corner that slightly compete for attention once you have explored the frame, but given the fact that yes, they are in the shadows it does not hurt the composition that much, especially on that first look.
Light & Atmosphere
What works well:
The light is the strongest part of the photo. The low golden sun creates that very long shadow, which immediately becomes the defining feature of the photo. Without that shadow, the photo would lose much of its impact.
I also really like how the sunlight reflects off the asphalt. The road starts looking more metallic, giving the entire street a nice glow while still keeping enough detail in the highlights.
The warm light against the darker buildings creates strong contrast without feeling overly harsh. It naturally separates the subject from the environment.
What could be better:
Some shadow areas here and there become very dark, hiding architectural details that could still contribute to the photo.
The brightest reflections on the road (especially that one section below the one traffic light) are approaching the point where they dominate the frame slightly. Pulling them back just a little in post could allow the eye to settle on the person even faster/help not compete with the person too much.
Colour & Tone
What works well:
Warm golden light dominates the road while the surrounding buildings remain fairly neutral, creating a nice contrast without becoming oversaturated.
The darker tones surrounding the lit-up road help concentrate attention exactly where it belongs.
What could be better:
The colours are intentionally subtle, but some of the darker buildings lose a little colour information because of the heavy shadows.
Introducing just a touch more local contrast in the midtones could make the surrounding architecture feel a bit richer.
Balance
What works well:
The composition is balanced relatively well all things considered. The long shadow helps distribute visual weight across the lower half of the photo rather than concentrating everything around the subject.
The bright strip of sunlight running up the road balances the darker buildings on the left and right, preventing the photo from feeling too heavy in general.
The parked cars create a continuous visual rhythm that stabilises the left side, while the open road provides some breathing room on the right.
What could be better:
The left side still carries slightly more visual weight because of the buildings and parked cars.
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Photographer of the Week
Photographer of the week goes to: Roman Zumdiek
You can find him on Instagram as: @roman_extramore
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
