📸 SNAPSHOT - Issue 128
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
SG-Image’s 35mm f/2.2 Lens For L-Mount
Earlier this year, SG-image introduced the AF 35mm f/2.2, an affordable full-frame standard prime for Sony E and Nikon Z cameras. Now, the compact autofocus lens is also available for L-Mount, giving Panasonic, Leica, and Sigma users another budget-friendly option.
SG-image is still a relatively young Chinese lens manufacturer, but it has expanded at an impressive pace since first making a name for itself in 2024 with the 25mm f/1.8 and the ultra-fast 35mm f/0.95 APS-C lenses. Since then, its lineup has grown to 22 lenses, covering APS-C, full-frame, medium format, and even cinema optics.
The company has remained focused on relatively affordable lenses throughout that expansion, and the AF 35mm f/2.2 follows the same philosophy. The lens is priced at $149 on its own, or $159 when bundled with the optional square metal lens hood.
You can choose between three different finishes. Alongside the standard black version, SG-image also offers a silver model and a Classical Edition, which adds a more retro-inspired look with a knurled focus ring and polished silver accents.
Whichever version you choose, the lens is designed to stay small and lightweight. SG-image even refers to it as a pancake lens, and while it is not quite as thin as the company’s tiny 18mm f/6.3, it is still remarkably compact. The lens measures 36.2mm in length, weighs 163 grams, and accepts standard 52mm front filters.
Inside, the lens uses a 7-element, 5-group optical design along with a 9-blade aperture diaphragm.
The AF 35mm f/2.2 should pair particularly well with compact full-frame and APS-C mirrorless cameras. On APS-C bodies, it delivers a field of view equivalent to roughly 52.5mm.
For L-Mount users, it looks like a particularly nice match for cameras such as the Panasonic Lumix S9 or Sigma BF. The retro-inspired versions also seem like a natural fit for cameras like the Nikon Zf and Zfc, while Sony users with the a7C series or a6700 may also appreciate the combination of small size and low weight.
One of the lens’s biggest strengths is that it does not really have a direct competitor. Most autofocus 35mm lenses feature faster f/1.4 or f/1.8 apertures, but they are also significantly larger and considerably more expensive. Meanwhile, autofocus 35mm f/2.8 options remain fairly limited, especially outside Sony E-mount.
The SG-image AF 35mm f/2.2 is available now for Sony E, Nikon Z, and L-Mount cameras for $149, while the optional retro-inspired square lens hood adds $10.
A few sample shots:
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Interview with Nina Papiorek
This week’s Interview with Nina, a talented minimalist street photographer. I am truly honoured to have had the opportunity to interview her!
You can find her on Instagram as: @ninapapiorek
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Nina Papiorek, and I’m a professional street photographer based in Germany. Photography has been a part of my life for more than twenty years now, and over time it has become much more than simply a profession. It has shaped the way I see the world and the way I travel, observe, and experience new places. My work mainly revolves around black-and-white street photography with a strong focus on minimalism, architecture, and the relationship between people and urban spaces. I’m fascinated by quiet moments in busy cities and by finding order within visual chaos. Even after all these years, I still feel excited every time I head out with my camera because every street, every city, and every day offers completely new possibilities.
How did you first get into photography?
This story is actually pretty boring. I wasn’t one of those photographers who grew up with a camera in the family or spent weekends in a darkroom learning from parents or grandparents. I discovered photography entirely on my own. After finishing my studies, I bought my very first camera because I wanted something better than simple holiday snapshots while travelling. At first, it was purely about documenting places I visited, but before long I realised that I was becoming much more interested in creating photographs than simply recording memories. I started paying attention to composition, light, and the emotions a photograph could evoke. From that point on, photography slowly grew from a travel companion into a real passion that has never left me.
What are your favourite shooting conditions?
Whatever the day brings. I really love fog because it always creates a mystical atmosphere that feels wonderfully quiet. At the same time, the fog swallows distracting elements in the background, automatically making scenes look more minimalist. I like the sun for its sharp contrasts. However, I’ve probably taken some of my personal favorite photos while completely soaked in heavy rain. You have no control over the weather anyway and just have to take it as it comes—so why worry about it?
I see you shoot a lot of minimalistic street photography, can you tell me a bit about that?
Minimalism, for me, is not about photographing empty spaces. It is about removing everything that distracts from the story. Cities are incredibly chaotic environments. There are signs, advertisements, traffic, crowds, and visual noise everywhere. My challenge is to organize that chaos into something calm and balanced. Sometimes this means waiting for a single person to enter a carefully composed architectural scene. Sometimes it means changing my perspective until unnecessary elements disappear completely. The human figure plays a crucial role in my images. People provide scale, emotion, and often a narrative. Even when they appear very small within the frame, they become the element that transforms a architectural shot into a photograph with a story.
What does photography mean to you?
Photography has become my way of understanding the world.It encourages me to slow down, to observe carefully, and to notice beauty in places that many people walk past without a second glance. Every photograph is the result of patience, curiosity, and countless small decisions. More importantly, photography has opened doors I never imagined. It has allowed me to travel the world, meet incredible people, and connect with a global community of photographers. But beyond all the exhibitions, books, and awards, photography remains something deeply personal. It constantly challenges me to grow, not only as an artist but also as a person.
What gear do you use?
I work exclusively with the FUJIFILM GFX system, that’s a medium format system. To most people, the idea of ​​practicing street or travel photography with such large, heavy gear might sound completely absurd. For me, however, there are various reasons, ranging from the brilliance of the sensor to the intended use, such as large-format prints. Ultimately, though, choosing equipment today is always a decision driven by passion rather than technical considerations.
Do you prefer shooting in chaotic scenes or more calm/intimate spaces?
I actually enjoy both because they offer completely different challenges. Large cities are naturally chaotic, and that’s exactly why I find them so fascinating. The challenge is to create calm within that chaos by carefully selecting what stays inside the frame and what disappears outside of it. At the same time, I’m also very drawn to quiet streets early in the morning, especially when there are only one or two people walking through beautiful architecture.
Can you walk us through your editing process?
My editing process varies for every single photo, as each one is shot under different conditions. I actually shoot in color, always using the RAW format as my starting point. All subsequent steps are tailored to the specific image. I still work manually in Photoshop, simply because I started twenty years ago, back before tools like Lightroom even existed. And, well, "never change a running system" ;) My main edits focus on black-and-white tonal values, contrast, and (if necessary) lighting adjustments. Depending on the quality of the source material, a photo might be finished in just a few minutes, or it could take up to an hour.
How do you decide on what moments to capture and which ones not?
I have a very "simple" attitude towards this. I think it’s fundamentally important and right to just go ahead and take every photo! If you miss a moment, it’s gone forever. If you end up photographing something boring, you can always delete it later if need be. I take far too many bad photos myself, but that’s all part of it; you simply can’t expect every shot to be a winner. In my eyes, practicing, and just getting out there and doing it, are the prerequisites for good photography.
What are some of your favourite photography techniques and why?
I don’t have a preferred technique. On the street, you generally have to act quickly; I like to use shutter priority when the situation calls for it, for instance, to avoid motion blur on people. However, I also quite like using underexposure intentionally, such as in harsh sunlight, to anonymize subjects or bring out strong contrasts.
How did you find your unique photography style?
As a beginner, you’re always looking for your photographic "style." But I don't actually think that gets you anywhere. I never chased after anything like that; ultimately, you just do what you personally like, what you find aesthetically or otherwise appealing. And from that, and from growing experience, your personal style eventually emerges, ideally.
Do you see yourself as a street photographer, minimalism photographer, bnw photographer…? And why?
All my shots are candid; I don’t know my subjects, and I don’t ask anyone if they mind walking through my frame or anything like that. Since I shoot on the street, I would describe myself as a street photographer. But in any genre, you inevitably look beyond the boundaries, a solitary tree in the snow can sometimes be just as appealing to me. I don’t believe in letting myself be hemmed in by conventions or clichés.
Do you strictly shoot black and white, and if yes, why is that?
As I’ve mentioned before, I shoot in RAW, and therefore technically in color, but I am usually drawn to black-and-white photography. Colors often feel uncontrollable and distracting to me when there are too many of them in an image. However, I actually really like color photos when the palette is minimalist, for instance, when there are only one or two colors present. Personally, I probably find it far more difficult to create a good color image than a black-and-white one.
What is the most challenging thing about photography for you?
It is about staying creative and not getting lost in the daily grind. As a photographer, you constantly need fresh ideas and must be able to summon a great deal of passion and vision. Personally, I find this comes naturally, as I am always striving for something new and for change. Yet everyone questions their photography and their approach from time to time, and that is the moment when you must be careful not to lose your way.
Can you walk us through a typical shooting day?
I get up before sunrise and head to a place where I can encounter typical city life, where locals are out and about and I can observe the everyday rhythm of the place. The early morning hours are my prime working time; tourists are still in bed, revealing the city’s authentic side. I spend the rest of the day as I please, observing the interplay of light and shadow and looking for interesting locations, backdrops, and stories. You can’t plan everything in street photography, and that’s a good thing!
What is your favourite subject to shoot, like in general?
Without question, quiet city streets, especially when they’re covered in morning fog. There’s something incredibly beautiful about seeing a large city before it fully wakes up
Do you listen to music during any part of your creative process and if yes how do you think it influences you?
I actually don’t listen to music while taking photos because it distracts me. For me, part of the experience is taking in the sounds of the city and the surroundings, it’s all one. I’m a huge music lover, and I tend to get too immersed in the music to stay focused. It’s a different story when I’m editing; then I enjoy listening to music or even watching series in the background.
Who are some photographers or other artists that inspire you?
My favorite photographer and a major source of inspiration is Fan Ho. His black-and-white images from the 1950s and 1960s capture everyday life, alleyways, markets, and the transformation of Hong Kong. It is incredible what Fan Ho created during that era, and I think his influence can also be seen in my own visual style.
How do you know when you have nailed the shot? Is it instinct or something else?
Often, I don't know, or I'm mistaken. You might have a good feeling about a photo, but frequently, it’s only in hindsight that you realize whether it’s truly good. In my opinion, it always helps to let a good amount of time pass between taking the shot and editing or publishing it. We often view our own images too emotionally because the scene and the people are still fresh in our minds; as a result, we often see things that outsiders simply cannot perceive.
How important are composition and lighting in photography?
Photography is all about light, after all, the very word implies nothing else. Of course, there is good light and bad light, yet one can still get the best out of an image even in poor lighting conditions. At the same time, no photo turns out well without successful composition; these two elements are therefore the decisive and essential factors. Developing a feel for image structure and composition should become second nature over the years, to the point where you no longer even have to think about it.
What is your advice for someone who wants to start photography?
The advice is actually very simple: go out and photograph. Practice, practice, practice. There really isn’t a shortcut. So many beginners spend endless hours watching YouTube videos or reading about photography instead of actually taking photographs. Of course it’s useful to learn, but nothing replaces experience. Don’t expect every image to be good, because most of them won’t be, and that’s perfectly normal. Every unsuccessful photograph teaches you something. Be patient with yourself and don’t compare your first few years to someone else’s twenty years of experience. Photography is a lifelong process, not something you master after a few months.
Is there a photography genre you have not tried yet, that you would like to explore?
The rest, 6 more questions of this Interview + an additional exclusive photograph selection, are for Premium subscribers only.
Wescott’s New FJ100 Strobe and Speedlight
Westcott has announced two new additions to its FJ100 lineup, the FJ100 Touchscreen AC/DC Strobe and the FJ100 Touchscreen Speedlight. Both lights are built around Westcott’s new USB-C rechargeable FJ Mini AC/DC Battery, allowing you to use the same battery across both products instead of carrying separate chargers and battery systems.
According to Westcott, the battery delivers more than 700 full-power flashes per charge with the FJ100 Strobe and over 575 full-power flashes with the FJ100 Speedlight.
The FJ100 Strobe measures 15.7 × 12.7 × 7.9cm (6.2 × 5 × 3.1 inches) and weighs 0.7kg, while the FJ100 Speedlight comes in at 19.1 × 7.6 × 7.6cm (7.5 × 3 × 3 inches) and weighs 0.6kg.
Both lights deliver 100Ws of output in portable bodies and include automatic and manual flash zoom control from 24-200mm. They are also compatible with Westcott’s Twist Lock light modifiers, including umbrellas, softboxes, and other accessories.
In terms of performance, both models support TTL, High-Speed Sync up to 1/8000 second, Freeze Sync, Stroboscopic Mode, and recycle times ranging from 0.01 to 1.6 seconds. Westcott also says the lights can keep up with continuous shooting at up to 60 frames per second while maintaining consistent colour throughout the entire power range. Both units also include a built-in LED modeling light.
The FJ100 Strobe adds one exclusive feature called Creative Mask Mode, which allows you to capture up to six different lighting variations without having to reposition either the light or the subject.
Both new lights are fully compatible with Westcott’s existing FJ Wireless System, including its strobes, speedlights, triggers, and receivers. The system supports control of up to 16 lighting groups across 31 channels at distances of up to 100 meters under ideal conditions.
The Westcott FJ100 Touchscreen Speedlight is available in Sony and Multi-Brand versions for $369.90. The FJ100 Touchscreen AC/DC Strobe, which includes the new FJ Mini AC/DC Battery, is priced at $259.90, while additional batteries are available separately for $59.90.
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: @yamaguchi031
Let’s Analyse this Photo
Composition & Framing
What works well:
The first thing you notice is the silhouette of the person, it sit perfectly inside that bright rectangle of light, which immediately separates the person from the background and makes them pop.
The strongest compositional element is definitely the light itself. The big diagonal strip of sunlight running across the foreground works like a leading line (it actually almost looks like an arrow even). It pulls your eye from the bottom of the frame straight toward our subject before continuing upward into the illuminated wall behind them → it all creates a very nice flow.
The layers are simple but still effective. We first have the bright foreground light, then the shadows, followed by the subject standing inside the light pocket, then the wall and finally the darker building behind it. Even with relatively few elements, it still feels 3D enough because of the clear separation between the light and shadow planess.
What could be better:
Our subject is very close to the right edge of the light pocket. Shooting this like half a second earlier may have given the subject slightly more breathing room and a cleaner position inside the rectangle of light.
The large black shadow block on the right side occupies a relatively big portion of the frame. While it helps create the aesthetic, it also feels a little heavy and could perhaps have been reduced slightly by changing position right there on scene.
Shooting from a slightly lower position could have also helped include more of our subject’s silhouette inside the light (right now, the person gets cut of at the knees)
Light & Atmosphere
What works well:
Light is the star of this photo here since it actually creates the entire composition.
The contrast between the deep blacks and the bright highlights is very strong, which gives the scene a dramatic look where our subject appears to step onto a illuminated stage for a moment.
The umbrella also works nicely with the lighting. Its own curved silhouette becomes recognisable easily because it is backlit so cleanly.
What could be better:
Some of the shadow areas are so deep that they lose all texture. That is obviously clearly intentional, but lifting them just a tiny bit could reveal a touch more detail without weakening the look.
The bright doorway/garage door behind the subject is almost at the limit of clipping. Recovering just a little highlight detail would make the wall texture slightly richer.
Colour & Tone
What works well:
Our colour palette is very restrained. There is almost no colour competing for attention, allowing the contrast between light and shadow to be the most important part.
The warm tones in the sunlight give the otherwise pretty neutral scene a nice warmth without feeling too much.
The monochromatic-look also reinforces the graphic nature of the composition. It again puts the emphasis around shapes and not colours.
What could be better:
Colour plays a very small role here, which, like i said, does work with the photograph, but introducing a tiny bit more warmth into the light sections could create slightly more separation between the highlights and the cooler shadows.
The darker areas become almost pure black in places, reducing some tonal variation.
Balance
What works well:
The photo is balanced relatively well despite having such large areas of black, most of that is thanks to the bright diagonal strip of light which counterbalances the heavy shadows.
The subject sits close enough to the left side to help balance the large black mass on the right.
The lit-up foreground also prevents the lower half from becoming too visually heavy.
What could be better:
The right side still carries a bit more visual weight because of the large uninterrupted shadow block. A very small change in camera position may have reduced that imbalance (also, possibly some cropping).
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Photographer of the Week
Photographer of the week goes to: Naozo
You can find him on X/Twitter as: @naozoom3970
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
