📸 SNAPSHOT - Issue 59
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
The Ultimate Smartphone For Photographers
Vivo is cooking up something big with the X200 Ultra, and it’s clearly aimed at people who care a lot about mobile photography. The phone’s not fully revealed yet, but between some early leaks and official teasers, we’re starting to get a good idea of what it’s bringing to the table — and it’s looking pretty wild.
First off, the cameras. Vivo’s working with Zeiss again, and the X200 Ultra is apparently going to have a 50MP wide lens (23mm), a 200MP telephoto (85mm), and a 50MP ultra-wide (15mm). Even the selfie camera’s a 32MP ultra-wide. So yeah, nothing basic here. The regular X200 has already been used in National Geographic videos and a travel film project in China, so Vivo clearly wants to keep that “pro-level camera in your pocket” thing going strong.
But the real story here is the accessories. Vivo’s been teasing a new photography kit and a massive zoom lens add-on — and honestly, this stuff looks kind of cool. The kit adds a grip to the phone that makes it look more like a retro-style camera, with actual physical controls: shutter button, dial, video button, even a little spot for a wrist strap. It also has its own battery, so you get a bit more power while shooting. It’s very much in the same vein as Xiaomi’s kit for the 15 Ultra, but maybe with a bit more personality.
Then there’s the zoom lens. It snaps onto the phone using a custom adapter and pairs with the 200MP telephoto camera. It has 13 lens elements and can push up to 8.7x optical zoom and 70x digital zoom. In normal camera terms, you’re getting something like a 200mm lens optically and up to 1,600mm if you crank the digital zoom all the way up. Vivo says the 800mm (35x zoom) sweet spot is still totally usable — the full 70x might be more about bragging rights than everyday shots, but still, it’s kind of crazy what they’ve managed to do with a phone.
Now for the catch: it might only launch in China. At least that’s what the rumors are saying. The X200 Ultra is confirmed for an April 21 release, but if it sticks with Origin OS 5 — Vivo’s China-only operating system — that means no Google apps or services unless you jump through a bunch of hoops. So even if you import it, the user experience might be a bit rough outside of China.
If you still want a killer Vivo camera phone that actually works like a normal phone globally, the X200 Pro is probably the one to look at. It runs Funtouch OS (which supports Google stuff), and it still packs some serious camera chops.
But if you're the type who’s cool with hacking around software issues and just wants the most ridiculous mobile camera setup possible, the Ultra — especially with the accessories — might be worth the hassle.
A couple sample images:
Image credits: Vivo
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Interview with Jürgen Feichter
This week’s Interview with Jürgen Feichter, a very talented Event Photographer from Austria.
You can find him on Instagram as: @jfkfeichter
Enjoy the amazing Interview ;)
Can you introduce yourself?
Hello! My name is Jürgen Feichter, also known as JFK. I’m an award-winning photographer based in Kaprun, Austria, specializing in sports, landscape, portrait and travel photography. My passion also extends to drone photography, weddings, and events. I’ve had the privilege of sharing my expertise as a Canon ProForum Speaker, inspiring others in the field of photography.
How long have you been photographing events, and what types of events have you covered?
I’ve been photographing events professionally since 2007. In 2008, I co-founded EXPA Pictures with a colleague, allowing us to focus on capturing high-profile events and unique moments. Over the years, I’ve had the privilege of covering the Olympic Winter Games, various World Championships, UEFA European Football Championships, Formula 1, MotoGP, and many other sports disciplines.
In addition to large-scale international events, I also enjoy working at smaller festivals and local gatherings, which offer their own unique charm and energy. My goal is always to tell a story through my lens, no matter the size or scale of the event
How would you describe your photography style?
I would describe my photography style as uniquely “JFK Style.” Over the years, I’ve developed an approach that sets my work apart from other photographers. I strive to capture unconventional angles and perspectives while maintaining a clear focus on the essence of the moment. My goal is to combine creativity with storytelling, ensuring that every image stands out and tells a compelling story.
Do you adapt it for different types of events?
Absolutely. It’s essential to tailor my approach to the type of event I’m photographing. Every event has its own unique atmosphere and requirements, so I make a conscious effort to adapt my style accordingly. Whether it’s the fast-paced action of a sporting event, the vibrant energy of a festival, or the intimate moments of a wedding, I ensure my photography reflects the essence of the occasion.
What’s your preparation process for an event?
My preparation process for an event always begins with research. I take the time to understand the event, study the location, and even consider details like the position of the sun to optimize lighting. I also plan specific shots in advance that I want to capture to ensure I don’t miss any key moments.
From a technical perspective, I like to work with a variety of focal lengths to create diverse and dynamic compositions. This combination of planning and adaptability helps me deliver the best possible results.
How do you ensure you’re ready for any scenario?
Preparation is key to being ready for any scenario. I rely heavily on thorough pre-planning and adhering to the personal standards I’ve developed over the years. This helps me anticipate most situations and stay focused.
That said, you can never be fully prepared for the unexpected. A perfect example is during the Euro 2016 in Marseille, at the England vs. Russia match. In an instant, I had to switch from photographing a football game to capturing sudden riots when a Russian hooligan appeared right next to me. Situations like these teach you to adapt quickly, stay composed, and let experience guide you through unpredictable moments.
What kind of equipment do you use, and why do you prefer it for event photography?
Canon—simply Canon. I’ve been using Canon equipment since the beginning of my career, and it’s always felt like home to me. The colors, the handling, and the overall performance perfectly suit my style and needs.
Currently, I shoot with the Canon R5 Mark II and always carry two bodies with me. This setup allows me to work efficiently, especially since I primarily use prime lenses. The combination of reliability, precision, and image quality makes Canon my go-to choice for event photography.
How do you handle lighting in different event settings, especially in low light or outdoor venues?
Over the years, camera technology has advanced significantly, making high ISO settings like ISO 6400 no longer an issue. I primarily focus on observing where the light is coming from and use it as the foundation for my compositions. Whether in low-light environments or outdoor venues, understanding and utilizing available light allows me to create natural, dynamic, and visually compelling images. If necessary, I complement the ambient light with subtle artificial lighting to enhance the atmosphere without overpowering the scene
What’s your approach to capturing candid moments versus posed shots at events?
My approach is to let moments unfold naturally. In sports photography, posed shots aren’t an option, so it’s essential to anticipate what could happen next. Understanding the flow of the event and being prepared for key moments allows me to capture authentic, candid emotions and actions. This mindset also influences how I approach other events, where I focus on creating genuine, unscripted images that truly reflect the atmosphere and energy of the moment.
How do you interact with clients during the event to ensure they are satisfied with the coverage?
I always start with a detailed discussion to understand exactly what the client wants from the event coverage. Clear communication is key. My clients appreciate that I stay true to my photography style and approach, which is why they trust me to deliver authentic and high-quality results. During the event, I remain attentive and adaptable, ensuring that any specific requests are addressed while still capturing the event naturally and creatively.
What’s your backup plan if there’s an equipment failure during an event?
Equipment failure can happen, especially in challenging conditions like rain, snow, or extreme cold. The key is to stay calm and adapt to the situation. That’s why I always carry two cameras and a selection of lenses to ensure I can continue shooting without interruption. This backup setup allows me to quickly switch gear if needed and keep capturing important moments without compromising the quality of my work.
What has been the most challenging event you’ve photographed, and how did you overcome it?
One of the most challenging events I’ve photographed was the Red Bull Air Race in Spielberg. I had the incredible opportunity to shoot the race from a helicopter, capturing the planes and the action from above. The challenge? I have a fear of heights. I was harnessed and standing on the skids of the helicopter, photographing straight down, which made me extremely nauseous. However, I overcame this by fully focusing on the task at hand—capturing the perfect shots. Shifting my concentration to the photography helped me push through the discomfort and deliver the results.
Do you do your own post-processing?
Absolutely, I handle all of my post-processing myself. I exclusively use Adobe Lightroom to ensure that each image reflects my personal style and meets the highest quality standards. This allows me to maintain full creative control over the final look and feel of my work. However, when real-time delivery is critical, I work with three carefully selected editors who are trusted to match my editing style. This allows me to provide fast, professional results without compromising on quality.
How much editing do you typically apply to event photos?
I apply my own color grading to all my event photos, which I occasionally adjust slightly to suit the mood or setting of the event. Beyond that, I keep the editing minimal to preserve the authenticity and natural atmosphere of the moments I capture. My goal is to enhance the images subtly without altering their genuine feel.
What is your typical turnaround time for delivering photos after an event?
I typically deliver photos in real-time during the event. For example, during a football match, I send 30–60 images while the game is still in progress. This quick turnaround ensures that clients have immediate access to key moments for live updates, social media, or press releases. Fast and efficient delivery is a key part of my workflow.
How do you handle client feedback or requests for specific photos or edits?
The rest, 6 more questions, of this Interview are for Premium subscribers only.
Zoner Photo Studio X Spring 2025 Update
Zoner Photo Studio X just rolled out its spring update, and it's actually pretty great — especially if you're a Windows user looking for a Lightroom-style editor that doesn't break the bank.
The big news is the new AI-powered masking tools. You can now select a subject, background, sky, or even specific objects in one click. No more fiddling with selection brushes or zooming in to trace around someone’s hair. Just click and let the AI figure it out. It’s especially handy for stuff like selecting the sky behind trees, which used to be a nightmare.
You can also copy those masks to other photos, which is a huge time-saver if you're editing a bunch of similar shots, like from a wedding or portrait session. The AI even adjusts the mask to fit each image, so you're not just pasting the same one over and over.
They’ve also updated the more traditional masking tools. You can now target things like brightness or color, which makes it easier to fine-tune contrast or do subtle color work — say you want to lighten just the skin tones without messing with the rest of the photo. There’s also more control over clarity, with separate adjustments for shadows and highlights, so you can sharpen up the right areas without overdoing it.
There’s even a new effect that mimics chromatic aberration — you know, that colored fringe you sometimes get with old lenses. This one’s intentional though, for people going for a vintage or film-style vibe.
And once you’ve finished editing, there are new tools for sharing. You can make collages, carousels, or even split a photo into multiple parts for printing or Instagram. It’s a small thing, but super useful if you post your work online.
This is just the first of two big updates coming this year. Zoner does a twice-a-year release cycle, so we’ll probably see more later in 2025. The software costs 59 bucks a year or six bucks a month, and there’s a free trial if you want to give it a spin. Still only available on Windows, though — Mac folks are out of luck for now.
Image credits: Zoner
Photo Analysis
Welcome to the new 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: @monkichi_gram_
Let’s Analyse this Image
Composition
What works well:
That bottle placement is perfect. It’s slightly off-center, which makes the frame feel more dynamic without losing balance.
The low angle gives it this really intimate perspective, like you just stumbled upon this scene while walking home late at night.
The way the lights wrap around the bottle from behind gives it this gentle spotlight effect.
There’s just enough negative space to let your eye breathe, but it doesn’t feel empty. It’s minimal, but not sterile.
What could be better:
The ground texture is a bit flat. A touch more detail or contrast in the foreground might help anchor the scene a little more.
The Coke bottle label could be just a bit sharper. It’s still totally readable, but a small shift in focus might’ve made it pop even more.
Lighting
What works well:
The bokeh is out of this world. Seriously, those soft, glowing orbs create this magical atmosphere. The warm and cool tones mixed together make it feel both cozy and electric.
The reflections on the glass are very clean—not overexposed, not distracting, just the right amount of glimmer.
It’s low light, but it doesn’t feel muddy or grainy. The exposure is well balanced, especially considering the high contrast between the lights and the shadows.
What could be better:
The top part of the frame is ‘almost’ too bright compared to the rest. A little less intensity from the lights might've helped keep more focus on the foreground.
Framing & Perspective
What works well:
Shooting this low to the ground gives the bottle real weight. It doesn’t just feel like an object—it feels like a subject.
The slight tilt of the bottle makes it look like it’s been casually tossed or dropped, which gives a ‘‘human’’ ‘‘unscripted’’ element
The background blur is buttery smooth, but you can still tell it’s a street scene with lights—enough detail to tell a story without being literal.
What could be better:
Maybe a slightly tighter crop could’ve emphasized the bottle even more, especially if the top part of the image isn't adding much new info and weight.
Storytelling
What works well:
This shot feels like a memory. Like that one night out that stuck in your head, the one with city lights, maybe a little heartbreak, maybe a little magic.
The single fallen maple leaf under the bottle? A very nice touch. That tiny red detail adds just the right amount of emotion and seasonal vibe.
What could be better:
The mood is strong, but the story is vague. Which can totally be the point, but if the goal was stronger emotional resonance, just a hint more context could go a long way.
Photography Tip of the Week
The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.
Photographer of the Week
Photographer of the week goes to: Jonathan Varjabedian
You can find him on Instagram as: @framethestreetsdotcom
A few of his images:
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The Rest of this Issue is for Premium Subscribers
