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The Echolens Camera Is Here

Earlier this month, I reported on the upcoming Echolens, a new digital point-and-shoot camera that leans hard into the charm of analog compact cameras. It’s now officially launched on Kickstarter, and with that comes a few new details about the quirky little camera.

Visually, the Echolens wears its inspiration on its sleeve. The design clearly borrows from Leica’s style, including a circular logo on the front, though in this case, it’s orange instead of red. The camera has a fixed 35mm-equivalent lens, an old-school optical viewfinder, and no LCD screen at all. Controls are kept minimal, and in true throwback fashion, there’s even a fake film-winding crank, more like the spin dial you’d find on a disposable camera than a fully mechanical lever.

The camera is the brainchild of three friends from Southern California, who say they bonded over capturing real-life moments away from their phones. That’s the spirit behind the Echolens, a device that feels nostalgic but is built for today. You won’t find a spec sheet packed with cutting-edge tech here. In fact, the Kickstarter campaign is pretty light on technical details altogether. Earlier versions of the company’s website suggested it uses an 8-megapixel CMOS sensor, which seems plausible given the $99 early bird price tag. And the size of the lens strongly hints that we’re talking smartphone-level hardware here, not anything larger.

But that’s kind of the point. The Echolens isn’t trying to be the sharpest tool in the shed, it’s trying to be fun. The creators mention the resurgence of casual, handheld cameras and a growing interest in grainy, imperfect images that look more like memories than photos.

There’s no screen, no instant feedback. You shoot 54 photos per “roll,” then transfer the batch to your phone via a companion app over Wi-Fi. That means you won’t know exactly what you got until the roll is done, kind of like real film photography. It’s a bit of gamification, sure, you even have to fake-wind the crank between shots, but that’s part of the fun.

The camera comes with four built-in film emulations: Kodagrain, Dreamroll, B&W, and Rosebyte, each offering a different vibe and tone, so you can add a bit of that dreamy, vintage look straight out of the camera.

People on the internet have mixed feelings about the camera. One described it as “a crippled phone in a fake camera body”. Others are more into it, calling it a fun toy or a low-stakes creative tool, something you buy for entertainment, or maybe pass along as a gift. A lot of people aren’t thrilled about relying on an app to access their images or tweak settings or they miss the tactile experience of real film, loading it, shooting carefully, and actually waiting for scans.

A few sample shots:

As of now, the camera is available on Kickstarter starting at $125. The retail price is expected to be $200. Shipping is planned for October, and with over 650 backers and $74,000 already pledged (more than double the original goal) it looks like this fun little camera is well on its way.

Image credits: Echolens

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Interview with Benny Van Den Bulke

This week’s Interview with Benny Bulke, a Belgian (black&white) street photographer. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @bennybulke

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Benny van den Bulke—a Belgian photographer specializing in fine‑art street photography, with a strong preference for black & white. I bought my first DSLR in 2013, initially to photograph my kids, but quickly got hooked creatively. My background in graphic design trained my eye for lines, shapes and light, which became essential to my signature compositions. I also run workshops and share presets, so photography is far more than a hobby—it’s become my vision, passion and way of life

How did you first get into street photography? Was it love at first click?

It wasn’t immediate love at first click—it began with portraits, kids and landscapes. But I found myself repeatedly drawn to street: candid city scenes that combine geometry, light and mood. Once I began exploring street, it became the genre I kept returning to .

What’s the wildest or most unexpected thing you’ve captured on the street?

I’m more drawn to subtle décisive moments—shadows, lone figures, graphical interplay. Perhaps one of the more unexpected shots was at Liège station: a single person perfectly aligned within its architecture, light and structure all coming together.

How do you decide where to go and shoot? Is it planned or more spur‑of‑the‑moment?

Some parts are planned mostly location wise, but when I'm on the go i try to keep an open mind. If a scene catches my attention, I’ll stay for a period of time waiting for the perfect alignment of lines, light and a subject

Do you have a favourite city or spot for street photography? Why?

Yes—Gare de Guillemins in Liège, Belgium. That station’s architecture with sweeping lines and dramatic light inspired me to define my own street style. I try to shoot there at least once a year

What’s your go‑to gear setup when you hit the streets?

My gear has often been evolving as my taste for photography did, nowadays i use a nikon Z7² with mostly a range of wide angle lenses and a few primes, and recently itryed out a Leica Q2 monochrome, wich I've gotten very fond of! A dedicated bnw sensor has some really great perks!

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

Honestly, I enjoy both—it really depends on my mood that day. Some days I’m drawn to the silence and minimalism of an empty architectural space, where one person passing through is enough. Other times, I feed off the energy of a busy street and enjoy the challenge of finding order and rhythm in the chaos. Each environment brings its own kind of inspiration.

Black and white or colour? And why?

Black & white, always. It strips away distraction, emphasizing geometry, contrast and mood. It aligns perfectly with my background in a graphic scooling and my interest in shapes, lines and dramatic lighting

What’s your take on the ethics of street photography—like shooting strangers without asking?

I shoot candidly and discreetly—silent mode, no visible lights, minimal disruption. I believe in respecting privacy and capturing real moments without drawing attention to myself, when i am spotted shooting them, i always keep on a possitive vibe and just be friendly, always works!

Are there any tricks you use to stay unnoticed when shooting?

Yes—mostly silent mode, turning off lights, tilting screen, casual demeanor. I make myself blend into the environment to capture authentic moments when people are unaware. I change the sorts of tricks as the situation requires, so being some sort of street cameleon is required in streetphotography i suppose ;-)

Your photos often seem quite abstract—why do you choose this style?

My graphic art background makes me drawn to abstraction: shapes, lines, geometry and negative space. I search for scenes where light and structure turn a simple street moment into something more visual and minimalist approach,often adding a hint of mood offcourse

What role does storytelling play in your work?

Storytelling is key—but it’s often conveyed through mood and atmosphere rather than narrative. Solitude, introspection, quiet moments: those stories resonate more than explicit action.

Do you have a favourite image you’ve taken, and what’s the story behind it?

One of my favourites is from Liège station: a solitary figure, bathed in light, framed by architecture. I’d returned to that spot multiple times until everything—lines, light, subject—aligned in that one powerful frame.

What’s the most challenging thing about street photography for you?

Staying in that mindset of invisibility—being patient, letting scenes reveal themselves. Also, achieving technical perfection (composition, lighting, clarity) while staying spontaneous .

There is usually just one person in your shots—why is that?

I prefer minimalism. One person in frame allows focus on form, mood, composition and storytelling without visual clutter. It highlights the human element in abstract space.

Do you feel like your style has evolved over time? How so?

In the beginning I tried a bit of everything—I was experimenting, exploring. Over time, I’ve developed a clearer focus. My eye is now more tuned to clean compositions, strong lines, and subtle details. I’ve also started seeing more potential in different kinds of light—harsh, soft, reflected—and how it interacts with architecture or people. My work has become more refined, but I still stay open to discovery.

Who are some street photographers or other artists that inspire you?

Vivian Maier, Henri Cartier‑Bresson, Stephan van Fleteren his early work, and Thomas Leuthard stand out. Their mastery of light, composition and storytelling inspires my approach

How do you know when you’ve nailed the shot? Is it instinct or something else?

It’s mostly instinct. Sometimes I just feel it the moment I press the shutter—something clicks, both in the camera and in me. Other times, it takes seeing the image on a big screen to realize it works. It's not always the shot I expected, but when the elements fall into place—light, composition, timing—I just know. It’s like a quiet “yes” in my head… and sometimes, if it’s really good, maybe even a small fist pump when no one’s watching.

How important is composition in photography?

Crucial. My graphical background taught me the power of visual balance, geometry and structure. Composition turns an everyday scene into an art piece.

What’s your advice for someone who wants to start exploring street photography?

Get out and shoot—a lot! Learn techniques, practice composition and study light. Edit your work to find your style. Try, fail and most of all... Enjoy the journey! Let creativity guide you in your personal path

How important is lighting in photography?

Lighting is everything. It reveals shapes, mood, drama. Its the light that makes images something you can ‘feel something’ when watching them I often get inspired just by a shift in light—that guides where and when I shoot.

How do you stay inspired when you hit a creative block or feel stuck?

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Leica Continues Celebrating

To celebrate the 100th anniversary of the Leica I (the first series-produced 35mm camera) Leica is going all-in with a range of highly limited, meticulously crafted special edition gear.

Leading the charge is the Leica M11 100 Years of Leica ‘Wetzlar Germany’, a glossy black and chrome rangefinder designed not just as a tool but as a tribute. Only 100 units will be made, each individually numbered and available exclusively in Germany. It’s the most symbolic of the city-themed M11 editions released this year, since Wetzlar is Leica’s hometown and the origin of its century-long legacy.

The camera itself mirrors the internals of a standard M11 — 60MP BSI CMOS sensor, M-mount, and rangefinder with 0.73x magnification — but the exterior tells a different story. Unlike the production model’s aluminum, this one features solid brass top and bottom plates designed to patina over time. There’s a black chrome-plated hot shoe cover, silver-chromed dials, and a red-dot-free cowhide wrap.

The celebration doesn’t stop there. Leica is also preparing for 2025 with a special M11-D 100 Years of Leica and an accompanying Centenary Set that includes two lenses designed to echo Leica’s earliest glass.

First is a modern reimagining of the original 50mm f/3.5 Leitz Anastigmat, the very lens that debuted with the Leica I back in 1925. The new version preserves the retractable, compact design of its predecessor, but it’s now M-mount ready, built from aluminum, and finished in a nickel-colored anodization to mirror the original.

Alongside that is a special edition Leica Summilux-M 50 f/1.4 ASPH., which adds vintage-style cross knurling to its aperture ring and wears the same nickel-hued aluminum finish.

Both lenses will be included in a Centenary Set with equally considered accessories: a classic leather-style protector with carrying strap, a minimalist SD card case, and a high-gloss black wooden presentation box.

Leica’s homage to its roots also includes two more accessible anniversary releases. First is the Leica D-Lux 8 100 Years of Leica, a compact Micro Four Thirds camera that channels the styling of the Leica I.

The thumb rest has been removed for a cleaner silhouette, the red dot omitted for stealth, and the top controls carry cross knurling — the whole body dressed in newly textured black leatherette and nickel accents. While the tech remains the same (22MP sensor, 24–75mm f/1.7–2.8 lens), the design language is a deliberate callback. It’s priced at $2,150.

Then there’s the Leica Sofort 2 100 Years of Leica, the brand’s hybrid instant camera, now clad in all black with a nickel-toned lens cap and glossy black photo frame. It includes Leica’s anniversary logo and can both print from its 28mm-equivalent fixed lens or pull from your phone.

It retails at $499 and offers a more playful but still collector-worthy take on the festivities.

Image credits: Leica

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: @takumi_0491

Let’s Analyse this Image: 

Framing & Perspective

What works well:

• The curve of the wall and light trail is masterfully composed. It draws your eye through the frame in a smooth, controlled way and land exactly at our subject, that’s elegant and cinematic.

• The off-center subject placement adds tension and visual interest, it’s not symmetrical or anything, but the balance works.

• The slight tilt of the wall enhances the scale, making the wall feel massive and the viewer feel small.

What could be better:

• The bottom-left corner is a little heavy and empty. There’s a lot of dead space that doesn’t contribute much, cropping slightly or including just a hint of detail might improve balance, but

• The person is well-placed but almost too small. If the photographer were just a step or two closer, it might increase the subjects visual weight. But then again, the person being small adds to the sense of scale.

Light & Atmosphere

What works well:

• The lighting is very nice. That warm, amber wall really glows, creating a rich, almost backdrop that dominates the scene in a good way.

• As noted, the in-floor lights guide the viewer’s eyes perfectly, pulling them in along the curved path toward our subject at the end. They create a glowing breadcrumb trail through the darkness, truly great in my opinion.

• The contrast between the warmly lit wall and the deep shadows on the floor give the image drama and mystery. It feels like the entrance to some futuristic opera house.

What could be better:

• The ambient light near the ceiling is a bit flat. A touch more highlight or variation up top might help add vertical depth and avoid feeling too top-heavy.

• The light around the person is clean, but slightly more separation (perhaps a bit of dodge or glow around the doorway) could help the subject pop more clearly.

• Some of the in-floor lights near the foreground feel slightly blown out, toning down the brightness on the closest few might help maintain consistency along the curve, but it’s minor.

Architecture & Design Language

What works well:

• The architecture plays a lead role in this photo. The sweeping curve of the wall is elegant and monumental and it creates this very distinct look almost abstract look.

• The rhythm created by the vertical wooden slats gives the image texture and structure. It actually almost feels like a giant musical instrument, like we are inside a guitar or something.

• The minimalism is deliberate and effective. There’s almost no clutter (signage, distractions), just form, light, and motion.

• The way the floor lights and stripes next to them, curve in parallel with the wall adds a sense of harmony. You feel like you’re inside a well-composed piece of architecture.

What could be better:

• The far doorway (up the stairs in blue) kind of breaks the illusion or rhythm, simplicity and coherence. Slightly reframing could have preserved the photo’s immersive design aesthetic. (not if that door were lit up in orange/brown it probably would have been alright, but the blue just pops out too strong, it even draws your eyes away from our subject)

Emotion & Storytelling

What works well:

• There’s a beautiful sense of solitude sophistication. The lone man walking into the corridor feels almost like a character in a sci-fi movies (mainly thanks to the architecture).

• The mood is clean, elegant, and a little mysterious—you’re not sure where the man is going, but you want to follow him.

• The grand architecture and lighting give the whole scene a feel of importance, like something meaningful is happening behind those doors (well behind the corridor the man is walking into).

What could be better:

• The person’s posture is very neutral. A slight movement (turning his head, a swaying coat, a gesture) could introduce more emotion or narrative energy.

• While the elegance is strong, it borders on feeling clinical (when you look at it long enough it kind of starts to give hospital (luckily thanks to the warm wall it still kind of grounds the hospital look, if the scene had a more cold feel/colour it definitely would have felt like a hospital)). A small imperfection, like a smudge on the wall, an out-of-place object, might ground the space better and add realism without hurting the aesthetic. However as always that is not really up to the photographer (its not like you can (well should) smug the wall)) the only thing you can do is be attentive and look for such details before taking the shot.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Manufacture

You can find him on Instagram as: @manudit

A few of his photos:

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The Rest of this Issue is for Premium Subscribers

The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price.