The New Viltrox AF 35mm f/1.2 LAB - A Close Look

This week Viltrox dropped its second LAB series lens for full-frame cameras, and it looks like a real workhorse. The new AF 35mm f/1.2 LAB is a fast autofocus prime lens aimed at photographers who want top-tier image quality without completely emptying their wallets. It follows the impressive 135mm f/1.8 LAB, which turned heads for its performance and price, but this time Viltrox is going for something a bit more versatile.

While the 135mm was a portrait specialist, this 35mm f/1.2 has a broader range. It’s wide enough for street photography and travel but still fast enough for night scenes and shallow depth portraits. It’s not your typical “portrait lens” in the 85mm+ range, but it can definitely pull off some creative looks, especially at f/1.2.

Inside, the lens has 15 elements in 10 groups, including ED glass, high-refractive elements, and some fancy ultra-high-precision pieces. Viltrox says it keeps colors rich, contrast punchy, and aberrations under control, even wide open. There’s also a multi-layer nano-coating that’s supposed to help with flare and ghosting — a nice bonus for shooting into the light.

Autofocus looks solid too. It’s powered by Viltrox’s own HyperVCM motor setup, which the company claims is 150% faster than your average STM system. They also say it can shift focus from close to infinity in 100 milliseconds, which should be snappy enough for street shooters and event work. It’s also compatible with face and eye AF if your camera supports it.

For close-ups, the minimum focus distance is about 34cm (just over a foot), with a max magnification of 0.17x — not macro, but useful for tight shots.

There are also a bunch of nice usability touches: a custom control ring, two assignable function buttons (configurable through an app), an AF/MF switch, a de-click switch for the aperture ring, and even a little screen on the side of the lens to display aperture or distance info. The build is full-metal and weather-sealed, and despite the chunky glass, it still keeps a relatively compact profile at under 5 inches long and just over 2 pounds.

A few sample images:

Right now, it’s available for Sony E-mount, and it’s priced at $999. Not cheap, but considering what’s packed into it, it’s likely going to be a solid option for folks who want a fast, pro-level 35mm without jumping into much higher price brackets.

Image credits: Viltrox

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Interview with Juan Carlos Escobar Salazar

This week’s Interview Carlos, an incredibly talented Photographer based in NYC.

You can find him on Instagram as: @ohmnivalent

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

My name’s Juan Carlos Escobar Salazar, but honestly, I just go by Carlos—it’s easier and feels more like me. I’m originally from Mexico and moved to New York City when I was twelve. So I’ve kind of lived between two cultures most of my life, which I think shaped how I see the world. I just recently took the leap into doing photography and cinematography full time. It's still kind of wild to say that out loud, because for the longest time, this was just something I was experimenting with.

How did you get into photography?

Ever since I was a kid I always loved to paint and write. I worked in an antique store from when I was 14 until I was 24, selling paintings, sculptures and antiquities. So I have always been a huge lover of the arts. I've also played music in a few bands, most specifically Metal and Indie rock as a guitarist and composer. I started photography 3 years ago during the COVID pandemic. I had more free time so I started walking around NYC, first capturing flowers, then buildings, then people. It transformed into cinematic street photography. Then 1 year later I started doing reels. Now it is my full time job. 

What role does composition play in your photos?

Composition is utterly important to my photography, besides the technical and aesthetic aspect of the piece, it allows you to tell the story of a scene in the way that you envision. And that is the whole point of being a photographer in my opinion, to tell a story and to document the reality of everyday life, whether it is beautiful or ugly, painful or pleasurable. With that being said, it is through composition that one can literally change the narrative, the mood, the scale and the importance of the elements in a scene. I still have a lot to master in composition.

What do you think sets your work apart from others in the industry?

Despite what it may seem, I am still relatively new to the whole art medium that is photography. 3 years so far, and although my work shows a consistency in mood, color, composition and narrative, I feel like I haven't quite captured photographs that I think would set me aside from many fellow photographers. It is not my intention to appear humble but I sincerely believe that I still have way too much to learn, and I haven't reached the level that I want to reach. With that being said, every single artist sees things differently so no one will produce the same result even if they are being inspired by the same thing.

How do you stay inspired and motivated to continue creating new and unique photographs?

I am really lucky because I have never experienced issues with inspiration. There are always new scenes in the streets, always new emotions. Also NYC is the perfect city to live in as a photographer, as an artist in general. Watching movies with incredible cinematography is utterly inspirational. Music gives me a lot of motivation to walk around and shoot. And of course the words of encouragement from fellow photographers and enthusiasts are hugely motivational. 

What are some of the most important qualities for a great photographer to have, in your opinion?

Be consistent, be determined and definitely be hungry for growth, you cannot remain stuck doing the same thing, you don't even have to post it, as long as you are experimenting, dipping your toes into different waters. Never be afraid to try something new but also learn about your camera and try to aim for stronger work. Also try to be humble and remember that there is always a lot to learn.

What gear do you use?

I get this question a lot, gear definitely helps but it is not the most important thing. Knowing how to use your device is what makes it a cool useful tool. I started with the A7RIII and the sigma 24-70 2.8 great beginner lens, super versatile and cheap if you can find it. Then a year ago I bought the a7IV with the GM 70-200mm f2.8 mkII, so far the most expensive lens I own. The lens I use the most is the GM 35mm f1.4. For crazy wide angles I have the GM 14mm f1.8. And just a month ago I bought the Sony FX3 for video.

What is your editing software of choice and how much time do you spend editing?

I use Lightroom for images, the best editing software for me. Very few times do I use Photoshop, and for video I use Final Cut Pro. I don't really spend a lot of time editing a photo, perhaps between 2 to 6 minutes depending on how much masking there needs to be done. 

How did you find your signature photography/editing style?

When I arrived to NYC I was utterly fascinated by the buildings and by the rain and how cinematic the city was, but it wasn't until I came across the photos of great cinematic photographers such as Nick Millers that I knew there was a name for this kind of photography, when I saw this work about 3 years ago I didn't know what ISO, Aperture or Shutter speed were, but I knew I loved darkness, and the way the city looked when it rained. So I just kept doing it. However I am venturing now into different styles, so my style may change eventually who knows. 

Reels or photos? And why?

That’s a tough one. I’d say both, but for different reasons. Reels are obviously the thing that people are watching most these days. They’re dynamic, quick, emotional—they hit fast. But photos… there’s just something timeless about a still image. It freezes a moment in a way that feels more sacred. Lately I’ve been making more reels because they help my work reach more people, but I always try to balance it out by still making time to shoot photos.

What does photography mean to you?

Photography and cinematography are everything to me, I have found my calling, and it's honestly what I want to always do, it is a lot of work and requires a lot of dedication, energy, time and passion. But it is truly an artform that I want to get really good at.

How would you describe your photography style in a few words?

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Sigma’s New Packaging & Rebrand

When Sigma introduced the ultra-minimalist BF camera back in February, it wasn’t just about the hardware. The company also took the opportunity to completely rebrand—new logo, new website, new wordmark, and yes, new packaging. And the packaging? It’s really something.

Most people probably don’t think twice about the box a lens or camera comes in. You open it, take out your gear, and toss the cardboard. But Sigma’s new design makes that harder to do. The boxes are simple, clean, and honestly kind of beautiful. Cameras and lenses now arrive in understated colors—black, beige, blue, olive, or gray, depending on the product. The type is embossed, the design language is calm and classy, and even the accessories—like straps and chargers—come in a rich goldenrod yellow.

It’s a striking change from the loud, flashy packaging a lot of tech products still come in, but Sigma isn’t just going for style points here. The redesign is also part of a bigger push toward sustainability. The company has ditched plastic where possible, swapped in vegetable-based inks, and is minimizing unnecessary pack-ins. If you’ve ever bought a camera and been overwhelmed by the layers of foam, bags, ties, and leaflets, you’ll probably appreciate the cleaner, simpler approach.

What’s nice is that this doesn’t feel like greenwashing. Sigma’s not just saying, “Hey, we care about the planet”—they’ve actually redesigned their entire product experience to reflect that. And instead of making it feel bare or clinical, they’ve made it feel premium in a totally different way.

It’ll take a bit before every Sigma product arrives in the new packaging since switching over all the inventory would be wasteful, but going forward, this is the new look. And it works—Sigma’s packaging now feels like a quiet celebration of the object inside. Thoughtful, minimal, and refreshingly not covered in marketing slogans. Just clean design and a bit of warmth.

Image credits: Sigma

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: @adamhliva

Let’s Analyse this Image

Composition

What works well:

• That floral framing is very nice. The cherry blossoms wrap around the edges like a natural vignette, leading the eye to the bridge and river in the middle.

• Depth-wise, it’s spot on. You’ve got layers: foreground flowers, midground bridge, and background city. It creates a good sense of being tucked into the moment as well as a nice 3D effect.

• The bridge cuts diagonally through the frame which adds a little tension and energy, without feeling chaotic. It balances out the soft flowers with a solid, grounded shape.

What could be better:

• A few of the flowers in the lower right are just a little too dominant, they pull your eye a bit more than they should. If they were slightly less bright (or angled differently), it would help the centre pop more.

• The dead space in the lower left corner could use a little touch of interest (and more balancing weight), maybe more blossoms or just a bit more detail from the city or riverbank. (now that of course is an unfortunate situation since you cant just ‘‘add more blossoms’’ however maybe repositioning yourself to catch another angel to ‘‘fill out’’ the space would have been an option).

Colour & Lighting

What works well:

• This color palette is dreamy. You’ve got warm golden hour light brushing everything in soft oranges and pinks, and the green bridge pops just enough to give it some spice.

• The light hitting the petals ads a nice touch. Some of them are semi-translucent, glowing from behind like tiny lanterns. That backlighting is doing a lot of emotional work.

• The reflection in the river gives everything a painterly feel. A very nice detail once you notice it.

What could be better:

• Some highlights on the petals are almost blown out. Not a deal-breaker, but just pulling those back a touch could give them a bit more detail and richness.

• The sky is nice, but it might benefit from a hint more gradient or subtle cloud texture. It’s just a tad too flat compared to how textured the rest of the scene is. (some could maybe argue that that creates balance thought)

Framing & Perspective

What works well:

• The shot feels like you’re peeking through the trees from a hidden spot. It has got that ‘‘local’s-eye-view’’ energy, not touristy at all.

• Framing the bridge with the blossoms gives it context and mood, now it’s not just a structure, it’s part of a scene, a season, a moment.

• The mix of the rigid architecture and wild, flowing nature gives the shot a nice balance and charm.

What could be better:

• One tiny nitpick: the far right side of the image feels slightly cramped. A bit more breathing room there would’ve let the flowers fall off more gracefully. (And as touched on before, the right side feels heavier than the left.)

Mood & Storytelling

What works well:

• This picture all about emotion, it doesn’t just show a place, it makes you feel like you’re living that moment. Warm air, birds chirping, soft sunlight hitting your face.

• Even though it is a seasonal image it still is quite timeless.

• The blossoms feel alive. They give softness and interest to what would otherwise be a fairly static cityscape.

What could be better:

• It could tell more of a human story. Even a single person walking across the bridge (or a tram going over (I think it’s a bridge for trams)) would add a ton of narrative depth. Right now it’s more mood than story—but still strong.

A Contrast Between Permanence and Ephemerality

What’s interesting here:

• There’s this quiet conversation happening between the steel bridge and the cherry blossoms. The bridge is solid, heavy, and permanent, it’s built to last for decades, maybe even centuries. Meanwhile, the blossoms? They will be gone in a few days. They show up for this tiny moment, explode in beauty, and vanish just as quickly.

• That contrast adds depth without you even realising it. The softness of the blossoms against the hard iron of the bridge makes the whole image feel like a visual philosophy on time, change, and what we choose to notice.

• And the fact that this fleeting moment is being framed so intentionally makes it even more special. It’s literally as if the photo itself is saying, "Hey, stop scrolling for a second and look how beautiful and lovely this all is."

Why it matters:

• This tension between the fleeting and the fixed gives the image emotional weight. It’s not just pretty—it’s poignant. It invites the viewer to reflect a little, not just admire. An incredible quality an image can have.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Dave

You can find him on Instagram as: @dv3pix

A few of his images:

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