📸 SNAPSHOT - Issue 127
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Venus Optics’ New Macro Lenses
Venus Optics has announced the new Aksen Ultra Macro Series, introducing two full-frame macro zoom lenses that push magnification well beyond what most photographers are used to. The lineup includes the Aksen 45mm f/2.8 1–5x Ultra Macro APO and the Aksen 17.5mm f/1.7 5–10x Ultra Macro APO, with the latter being the first commercially available 5-10x ultra macro zoom lens.
Both lenses are designed for extreme close-up photography, but one of their biggest selling points is that they are parfocal. That means focus stays locked as the magnification changes, so you do not have to constantly refocus while zooming. The lenses also maintain a fixed working distance throughout the zoom range, with the 45mm offering 40.35mm and the 17.5mm 22.48mm, while the internal zoom mechanism keeps the physical length of the lens unchanged.
Venus Optics says both lenses have been designed to deliver excellent optical quality despite operating at such high magnifications, where chromatic aberration often becomes much more noticeable.
The Aksen 45mm f/2.8 1–5x Ultra Macro APO uses 13 elements in 9 groups and features an 11-blade aperture with an aperture range from f/2.8 to f/11. It accepts 56mm front filters, while the PL mount version also supports 37mm rear filters. The lens measures 70.2 × 121mm and weighs 599 grams.
The more unusual Aksen 17.5mm f/1.7 5–10x Ultra Macro APO is built from 17 elements in 12 groups and also uses an 11-blade diaphragm, although its aperture range runs from f/1.7 to f/5.6. It accepts 42mm front filters, measures 70.2 × 127.5mm and weighs 570 grams.
One feature unique to the 17.5mm lens is a built-in coaxial optical system, a technology more commonly found in industrial machine vision equipment. According to Venus Optics, this design provides more even, shadow-free illumination while increasing edge contrast, making it particularly useful for photographing very small subjects at extreme magnifications.
Both lenses ship with a specially designed tripod collar that mounts directly to Arca-Swiss compatible tripod heads. They also include 15mm support rods for attaching additional accessories, while the 17.5mm lens comes with an 8mm Coaxial Light Adapter as standard.
The new Aksen Ultra Macro Series will be available for Arri PL, Sony E, Nikon Z, Canon RF, Leica L, Canon EF, Fujifilm X, and Micro Four Thirds mounts. Both lenses can be purchased in either a photography or cinema version. The photography models are priced at $749, while the cinema versions cost $1,499.
A few sample shots:
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Interview with Darren Sacks
This week’s Interview with Darren, a talented photographer based in London. I am truly honoured to have had the opportunity to interview him!
You can find him on Instagram as: @sacks
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
Hi, I’m Darren. I originally grew up in South Africa, but I’ve been living in the UK for the past ten years, and I’m currently based in London. By profession, I’m a UX designer, so creativity has always been a big part of both my work and my hobbies. I think design and photography actually complement each other quite well because both involve paying attention to details, composition, and how people experience what they’re looking at. Outside of photography, I enjoy playing tennis whenever I get the chance. It’s a great way to switch off, clear my head, and balance out the long hours I sometimes spend walking around with a camera or editing photos.
How did you first get into photography?
I’ve always enjoyed taking photos. Growing up, I usually had a small compact camera with me, and I’d take snapshots whenever my family travelled or whenever something caught my attention. At the time I wasn’t thinking about photography as an art form, I just enjoyed documenting moments. Everything changed in 2012 when I was planning my first trip to New York City. I’d been saving up to buy my first Nikon DSLR because I wanted something that gave me more creative control. That trip completely changed everything. Walking around New York with a proper camera made me see the city differently, and that’s when photography stopped being just a casual hobby and became something I genuinely wanted to improve at.
What are your favourite shooting conditions?
Without a doubt, sunny days and rainy nights. They might sound like complete opposites, but both create the kind of light that I naturally look for. On bright sunny days, I love the strong contrast between light and shadow. Harsh sunlight can turn an ordinary street into something much more graphic and interesting. At night, it’s almost the opposite. Rain transforms the city by creating reflections everywhere, and suddenly ordinary streets become full of colour and atmosphere. There’s also something incredibly peaceful about walking around with a camera while it’s raining. The streets are usually quieter, people behave differently, and everything just feels a little more cinematic.
I see you shoot a lot of abstract, cinematic, and creative street photography. Can you tell us a bit about that?
I’ve always been much more interested in creating photographs that encourage people to stop and look a little longer rather than simply documenting what was in front of me. I’m constantly drawn to reflections, layers, vibrant colours, and the way light interacts with architecture and people. Those elements allow me to transform an ordinary scene into something that feels a little unexpected. I enjoy finding different ways to photograph places that thousands of people walk past every day. If someone looks at one of my photos and doesn’t immediately recognize how it was made, I actually quite like that. It means I’ve managed to show something familiar from a completely different perspective.
What does photography mean to you?
Photography has become a huge part of my life over the years. Beyond simply taking pictures, it’s something that constantly challenges me to look at the world more carefully. I love the idea that you can create something completely new from an ordinary moment just by noticing the right light or the right composition. That’s what keeps photography exciting for me. It’s also introduced me to an incredible community of photographers from all over the world. I’ve met so many talented and genuinely supportive people through photography, many of whom have become close friends. Looking back, it’s amazing to think that picking up a camera has opened so many doors that I never expected.
What gear do you use?
At the moment my main camera is the Sony A7 IV, and my most-used lens is definitely the Sony 85mm f/1.8. I love the way it compresses a scene and allows me to isolate details, especially when I’m working with reflections or layering different elements together. I also regularly use the Tamron 70–180mm f/2.8 because that extra reach gives me even more creative possibilities when building complex compositions. Recently I picked up the lightweight Sony 28–70mm as an everyday carry lens, and I’ve also added a Ricoh GR IIIx to my bag. It’s incredibly compact, which makes it perfect for days when I just want to head out without carrying much gear.
Do you prefer shooting in chaotic scenes or more calm, intimate spaces?
I generally prefer quieter environments because photography is one of the ways I relax. Walking around with my camera gives me a chance to slow down and really observe what’s happening around me, and that’s often easier when I’m not surrounded by huge crowds. That said, I don’t avoid busy places completely. Even in the middle of London, where everything can feel loud and hectic, I find that photography helps me block out the noise. Once I become focused on the light, reflections, or an interesting composition, everything else seems to disappear. In a strange way, photography creates its own sense of calm, even in the busiest locations imaginable.
Can you walk us through your editing process?
My editing process is actually quite simple because I try to get as much right as possible while I’m out shooting. Once I get home, I upload everything to the cloud first so I always have a backup. After that, I only download the images that immediately catch my attention instead of importing hundreds of files. Those selected photos go into Lightroom, where I start with one of a few base presets I’ve built over the years. From there, it’s just about making small adjustments until the image feels right. I don’t like over-editing. I want the final photo to enhance what I saw rather than completely transform it into something different.
How do you decide on what moments to capture and which ones not?
Most of the time it comes down to instinct, but certain things naturally catch my eye before anything else. I’m always looking for interesting light, whether that’s harsh sunlight creating strong shadows or neon lights reflecting across wet streets at night. Reflections and layers are probably the biggest things that attract me because they immediately make me curious about the possibilities. Once I find a scene I like, I rarely take a photo straight away. I’ll move around, try different angles, and watch how people move through the frame. Sometimes I wait several minutes because I know the right person or gesture could completely transform the composition.
What are some of your favourite photography techniques and why?
I love using reflections, layers, strong light and shadow, silhouettes, and occasionally intentional camera movement. What I enjoy about all of those techniques is that they allow you to create something that isn’t immediately obvious to the viewer. A simple reflection in a window can suddenly combine two completely different scenes into one photograph, while strong shadows can completely change the mood of an ordinary street. I also enjoy layering because it gives people something to explore every time they look at the image. Instead of seeing everything instantly, they gradually notice new details, and I think that’s what makes a photograph more rewarding to come back to.
How did you find your unique photography style?
It was definitely a gradual process rather than something that happened overnight. Looking back, I can almost divide my photography into different chapters. When I first moved to the UK, I photographed the London Underground a lot because I found the architecture and atmosphere really interesting. Later I attended a street photography walk, which introduced me to candid photography and photographing people. After that I became fascinated with harsh light and shadows, then colour, reflections, layers, and eventually more abstract compositions. I don’t think any of those phases were wasted because each one taught me something different. My current style is really a combination of everything I’ve explored over the years.
Do you see yourself as a street photographer, creative photographer, abstract photographer…? And why?
I don’t spend much time thinking about that, I’ve never felt the need to fit my work into a specific category. Some of my photographs are very much street photography, others lean towards abstraction, while some are almost architectural or graphic in nature. Rather than chasing a particular genre, I simply photograph what interests me. If a scene inspires me, I’ll take the picture regardless of whether someone would describe it as street, creative, abstract, or fine art. At the end of the day, I’d rather people recognise my work because of the way it looks than because of the category it belongs to.
How do you decide whether or not a photo is better in black and white or colour?
For me, colour plays such an important role that I almost always keep my photographs in colour. I’m naturally drawn to vibrant scenes, colourful reflections, and the way different colours interact with one another, so removing that would often take away part of what attracted me to the scene in the first place. That said, I don’t completely rule out black and white. Every now and then I’ll come across an image where colour feels unnecessary or even distracting. In those cases, converting it to black and white allows the viewer to focus more on the composition, shapes, and light.
What Is the most challenging thing about photography for you?
The biggest challenge for me is staying motivated during creative blocks. I think every photographer experiences periods where nothing feels exciting anymore, and you start questioning whether you’re improving or simply repeating yourself. It can be frustrating, especially when you go out expecting to create something great and come home without a single photo you’re happy with. Over time, though, I’ve learned not to fight those moments too much. Instead of putting pressure on myself, I simply keep going out with my camera and enjoy the process. Usually, the inspiration comes back naturally once I stop expecting every outing to produce an amazing photograph.
Can you walk us through a typical shooting day?
Lately I’ve been trying to spend more time photographing outside of Central London, so I’ll usually decide the evening before which area I’d like to explore. I don’t make a strict plan because I enjoy leaving room for surprises. Once I arrive, I simply start walking and see where the light, colours, or interesting reflections take me. Quite often I’ll meet up with one or two friends, which makes the day even more enjoyable because we all notice different things and inspire each other. Some days I come home with several photographs I really like, while other days I don’t capture much at all. Either way, I always enjoy the experience of spending time outside with my camera.
What is your favourite subject to shoot?
Without a doubt, reflections and layers. They’ve fascinated me for years because they allow you to create photographs that aren’t immediately obvious. I love how a simple reflection in a window can combine completely different scenes into a single frame, almost creating a second reality. Layers work in a similar way because they encourage people to spend more time looking at the image and discovering details they didn’t notice at first. I enjoy that challenge of bringing several different elements together without making the photograph feel confusing. When everything aligns properly, the final image feels much richer than what was actually happening in front of the camera.
Do you listen to music during any part of your creative process, and if yes, how do you think it influences you?
I mostly listen to music while I’m editing rather than when I’m out shooting. Editing can sometimes take quite a while, so having music on in the background helps me stay relaxed and focused. I wouldn’t say it directly influences the way I edit or changes my creative decisions, but it definitely makes the whole process more enjoyable. It’s almost become part of my routine. Once I sit down to edit, I’ll usually put on a playlist before I even open Lightroom. It creates a nice atmosphere and helps me settle into a creative mindset without feeling like I’m working through a long list of photos.
Who are some photographers or other artists that inspire you?
Saul Leiter has probably had the biggest influence on my photography. The way he used colour, reflections, layers, and partially obscured scenes was decades ahead of its time, and I still find myself discovering something new every time I look at his work. I also really admire how humble he was despite creating such iconic photographs. Another huge inspiration is Alex Webb. His ability to work with light, shadow, colour, and incredibly complex compositions is something I really look up to. Beyond photography, I also enjoy looking at films, architecture, and graphic design because inspiration can come from almost anywhere if you’re paying attention.
How do you know when you have nailed the shot? Is it instinct or something else?
It’s a bit of both, but a lot of it comes from instinct that’s developed through experience. Quite often I’ll find an interesting composition first and then simply wait. While I’m standing there, I usually ask myself what the perfect version of that photograph would look like. Maybe it’s one person walking into the frame, a reflection lining up perfectly, or someone wearing a bright colour that balances the composition. Having that image in my mind helps me stay patient instead of taking dozens of random frames. When everything finally comes together, you usually know immediately. There’s a feeling that all the elements have aligned exactly the way you imagined they would.
How important is composition in photography?
For me, composition is one of the most important parts of photography because it’s what brings everything together. Since I often work with reflections, layers, and abstract elements, a strong composition helps create order within what could otherwise feel quite chaotic. It guides the viewer through the frame and makes even a complex scene easier to understand. I think composition is also what separates a photograph from simply recording what was in front of you. Over time it becomes more instinctive, but I’m always thinking about balance, spacing, and how different elements interact with each other. Even the smallest adjustment can completely change how a photograph feels.
What Is your advice for someone who wants to start photography?
The best advice I can give is simply to get out and shoot as often as you can, regardless of what camera you own. It’s very easy to spend hours watching YouTube videos or reading about photography, but nothing teaches you more than actually going outside and taking photos. The more time you spend shooting, the more naturally you’ll begin noticing interesting light, compositions, and moments. I’d also recommend joining the photography community if you can. There are so many great street photography groups on Instagram that organise walks and meetups. Not only will you improve much faster, but you’ll also meet people who share the same passion and can inspire you in different ways.
How important is lighting in photography?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
7Artisans’ Upcoming Fisheye Lens
The 7Artisans AF 10mm f/2.5 MAX was originally expected to launch on July 28, but despite that date coming and going, the company has yet to officially announce the lens. While there has been no explanation for the delay, several leaks have surfaced over the past couple days, giving us a fairly good idea of what to expect once it finally arrives.
The upcoming lens is expected to be a full-frame autofocus fisheye with an ultra-wide 10mm focal length and a bright f/2.5 maximum aperture. It will reportedly deliver a 185-degree angle of view, making it well suited for creative photography, immersive landscapes, architecture and even astrophotography.
According to the leaked specifications, the optical design consists of 11 elements arranged in 8 groups, including two extra-low dispersion (ED) elements and one aspherical element to help reduce distortion, chromatic aberration, and other optical imperfections as much as possible for a fisheye design.
The lens is also expected to feature a 9-blade aperture diaphragm, allowing it to produce 18-point sunstars when stopped down.
Autofocus will be handled by a silent STM stepping motor, which should provide fast and quiet focusing for both still photography and video recording. The lens apparently also has a dedicated AF/MF switch, an aperture ring, and firmware update support.
One particularly impressive spec is the minimum focusing distance of just 0.15 meters, allowing you to get very close to subjects while exaggerating perspective in the way fisheye lenses are known for.
Despite covering a full-frame sensor, the lens is expected to remain relatively compact. Leaks talk of a full-metal construction with a weight of around 510 grams.
The 7Artisans AF 10mm f/2.5 MAX will launch for Sony E, Nikon Z, and Leica L mounts. For now, though, the biggest question is when it will actually be announced.
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: @walterleung
Let’s Analyse this Photo
Composition & Framing
What works well:
The street pretty much runs perfectly through the centre, creating a very strong vanishing point that naturally pulls your eye all the way in.
The person with the umbrella is placed exactly in the middle of that central corridor + the empty wet road surrounding them isolates them → all this immediately establishes them as the main subject.
The rows of market stalls on both sides work like leading lines, they funnel your attention inward before the tall apartment buildings continue carrying your eye toward the bright opening in the background.
Depth is my favourite part. We first have the foreground market stalls, then the person, followed by the repeating stalls stretching very deep into the distance, then the apartment blocks, the hazy hillside in the background and finally the bright overcast sky. The photo just has tremendous depth.
The repeating balconies, windows and air-conditioning units add rhythm and complexity without becoming too chaotic. They also reinforce the dense look that Hong Kong is so well known for.
I also like how the buildings to create a sort of canyon. They naturally frame the street and make the person feel even smaller, emphasising the scale of the city.
What could be better:
The brightest part of the sky is completely blown out. While yes, it helps create separation from the buildings and adds to the mood, recovering some highlight detail would make the transition between the skyline and the buildings much smoother.
The subject is very centrally placed. That suits the symmetry well, but it is nothing ‘groundbreaking’ i think we have all seen this exact composition with that famous Hong Kong market, from the same vanishing point, many times before.
The left building (buildings) wrapped in green construction netting catches the eye pretty fast because of its unusual colour. It fits the environment, but it also slightly distracts from the otherwise very neutral palette, so a slight desaturation there could help.
Some of the darker buildings lose detail because of the heavy shadows, making parts of the architecture blend together.
Light & Atmosphere
What works well:
The combination of rain, wet pavement and fog creates an nice cinematic mood.
The wet road reflects the soft daylight beautifully, forming a natural spotlight around our subject. It, again, immediately separates them from the darker surroundings.
The haze gradually reduces contrast toward the distance, making the city feel larger than it actually is.
What could be better:
The sky is very bright compared to the rest and slightly dominates the upper portion (that runs the risk of the viewer’s attention going up too soon).
As touched on before, some shadow areas inside the buildings become very dark, hiding interesting architectural detail that could still contribute to the overall scene.
Colour & Tone
What works well:
The colour palette suits the weather, the cool blue-grey tones reinforce the rainy atmosphere.
The restrained colours allow the composition, depth and mood to become the main focus.
What could be better:
The colours are intentionally subdued, but some of the buildings merge together tonally because they all sit within a similar grey range. A little more local contrast could separate them better.
Balance
What works well:
The photo is very well balanced overall, mostly thanks to the natural symmetry that is already there.
The bright road acts as a visual spine running through the centre, holding the entire composition together.
Although the architecture is pretty busy, the empty road gives enough breathing room, preventing the photo from feeling overwhelming.
What could be better:
The left side carries a bit more visual weight because of the large green construction netting. It stands out quickly compared to the more neutral right side.
The bright sky also competes a little with our subject. Reducing those highlights slightly would keep even more attention on the person with the umbrella.
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Photographer of the Week
Photographer of the week goes to: Mitsuru Yanagisawa
You can find him on Instagram as: @326photo.m
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
