📸 SNAPSHOT - Issue 78
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Ricoh’s New GR IV Compact Camera - A Closer Look
Ricoh has finally taken the wraps off the GR IV, the latest in its popular compact camera line. At first glance it doesn’t look all that different from the GR III, but Ricoh has actually reworked both the body and what’s inside. The new model is a bit slimmer, the thumb grip has been reshaped to feel better in hand, and the back controls have been rearranged. The old mode lever is gone, replaced with a dial for easier handling. The body is still made from magnesium alloy, so it stays light while feeling solid.
Inside, things have had a refresh too. The GR IV comes with a new 25.7-megapixel APS-C sensor paired with the latest GR Engine 7. The fixed 18.3mm f/2.8 lens (28mm equivalent) has been redesigned as well, now built with seven elements in five groups, including aspherical and low-dispersion glass for sharper shots and fewer optical issues. Ricoh has also added an antistatic coating to the sensor’s IR-cut filter, which should make it better at keeping dust away.
The resolution bump over the GR III isn’t huge, but it does make the crop modes more useful. At a 35mm equivalent you get 15-megapixel images, and at 50mm it outputs 7 megapixels. The ISO range now stretches from 100 all the way to 204,800, with Ricoh’s accelerator unit working to keep noise under control. Images can be saved as 14-bit RAW (DNG) or JPEG, and you’ve got both a microSD card slot and 53GB of internal memory to work with.
Video isn’t really the focus here (it still tops out at 1080p/60) but still shooters get a few upgrades. The in-body stabilization system has gone from three-axis/four stops to five-axis/six stops, which should make handheld shooting noticeably steadier. Autofocus is also faster and more accurate, especially in low light, and the start-up time has been cut to just 0.6 seconds, the quickest of any GR yet. Switching into macro mode, shutting down, and refocusing are all quicker, too.
On the exposure side, Ricoh has added a Program Auto Ex function, which lets you jump into aperture priority or shutter priority just by turning the front or rear dials. A new Snap Distance Priority AE mode also makes zone focusing easier for street shooters. Creative options get a boost with a new Cinema effect mode that mimics the look of old film stock, complete with adjustable grain, colour, and tone. You can also process RAW files directly in the camera if you want to generate new JPEGs on the go.
To make sharing easier, the GR IV connects to Ricoh’s new GR World app via Bluetooth or Wi-Fi. From there you can transfer images to your phone, add geotags, or even control the camera remotely. Ricoh is also rolling out some new accessories alongside the camera, including the GF-2 compact flash, an adapter for the GW-4 wide conversion lens, cosmetic parts like a metallic ring cap and hot shoe cover, a new battery with a dual charger, and a finger strap for easier carrying.
The GR IV is set to hit shelves in mid-September at $1,499.95.
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Interview with Peter Kalnbach
This week’s Interview with Peter Kalnbach, a legend in the street photography scene. I am truly honoured to have had the opportunity to interview him!
You can find him on Instagram as: @street.nomad_
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
My name is Peter, I’m from Hamburg, Germany, and I see myself as a visual storyteller. My work gravitates toward dark and moody atmospheres with a strong neo-noir vibe. I’ve been into street photography for around eight years now, and over time it’s become much more than a hobby. It’s the way I process my surroundings. I’m not really interested in bright, perfect, postcard-like images. I want to show the city in its rawness cinematic, and often solitary. That’s the kind of mood I’m drawn to both in photography and in other art forms, so naturally it became the style I work in.
How did your photography journey begin?
I was always fascinated by New York City, the atmosphere, the look of the streets, the history of it in movies. But my first trips there were disappointing in terms of photography. I came back with nothing more than cliché tourist shots that didn’t reflect the way the city made me feel. Before my third trip, I decided to really learn the basics of photography, composition, framing etc. That trip changed everything. I finally came home with photos that meant something to me, and I even made a photobook out of them. Looking back, the style was very different to what I do now, but it was the turning point where photography became serious for me.
How do you develop your own unique style as a photographer, and what sets your work apart from others?
I’ve always leaned toward darker, melancholic art. So when I started shooting seriously, my style naturally went in that direction. Most of my photos take place in moody or low-light conditions because that’s the atmosphere that speaks to me. I was heavily inspired by films showing gritty New York in the 70s and 80s, as well as the work of other photographers with a neo-noir edge. Over time I realized solitude became my trademark. I often frame a single person in a large city environment, usually small in the frame, often silhouetted, never really identifiable. It creates a sense of loneliness and isolation in contrast with the overwhelming scale of the city. Add to that my obsession with details and composition, and I think that combination is what makes my work stand out a little from others.
How do you approach lighting in your photography, and what techniques do you find most effective?
Since Hamburg doesn’t have bright billboards or the neon overload of Tokyo, I had to learn how to work with very little light. That forced me to pay close attention to small light source. I usually build my composition around that light source, then wait for the right subject to walk into the frame. Technically, I always expose for the highlights because I don’t like blown-out spots in my images. I don’t use filters like Pro-Mist at night either, I prefer to keep the scene crisp and let the atmosphere come through naturally.
What do you think makes a photograph successful, and how do you measure the success of your own work?
For me, a successful photograph is one where all the elements come together (light, subject, timing, composition) and it actually says something. I’m very critical of my own work. I can take hundreds of shots in one outing and maybe only one or two make the cut. That self-criticism is part of my process. If I look at a photo and it doesn’t give me that feeling of “yes, this works,” then it doesn’t go anywhere. Measuring success is tricky, but for me it’s less about likes and more about whether the photo holds up when I look back at it weeks or months later.
What has been your most rewarding experience as a photographer, and why?
There are two that stand out. The first is when I received feedback from photographers whose work had inspired me right at the beginning. To have those people recognize my work meant a lot, it felt like a sign that I was on the right path. The second was having my photos featured by brands like Sony and Adobe Lightroom. That was a huge moment, especially considering I used Adobe software for years back when I worked as a graphic designer. To collaborate with them now, but as a photographer, was a kind of full-circle moment.
What gear do you use?
I shoot on the Sony system, and right now my main body is the A7 IV. I use several prime lenses, but my two favorites are the 55mm 1.8 and the 35mm 1.8. I’m about to switch to the 35mm 1.4 GM because I find myself using that focal length more and more. I like primes because they force me to move and think about composition instead of just zooming. They also give me the sharpness and low-light performance I need for night shooting.
What is your favourite editing software and how much time do you spend editing?
Editing is a really important part of my process, it’s where the final mood of the image comes together. I do almost everything in Adobe Lightroom, with occasional touches in Photoshop if needed. I can spend hours on a single photo, creating different versions and testing out variations of tones and contrast until it feels right. Sometimes I come back days later and rework an image with fresh eyes.
What are your favourite locations to shoot, and what makes them special?
I’m drawn to places that feel cinematic and slightly gritty. Industrial areas, older parts of cities, underpasses, staircases, anything that feels like it could be part of a scene from a movie. In terms of cities, New York is at the top of my list, always. The mix of light, atmosphere, and energy there is unmatched. Chicago is another favorite, with its elevated trains and architecture, and London has plenty of moody spots too.
Do you have any advice for beginners?
My advice is pretty simple: go out and shoot, as often as you can. Don’t be afraid of bad photos, you’ll learn more from those than from the ones that go right. Be demanding with yourself, push for improvement, and don’t settle too easily. Also, connect with other photographers. Having a community, whether online or in person, helps you stay motivated and gives you a chance to learn from people on the same path.
If you could only choose one lens for everything, which one would you choose?
A while ago, I would have said the 55mm 1.8 without hesitation. But recently I’ve been more into 35mm. It gives me just enough context of the environment while still allowing me to focus on the subject. It feels like the right balance for how I want to tell stories right now.
New York or Hamburg?
Always New York. Hamburg is my home, and I love it, but New York is the city that inspires me the most. It has the energy, the atmosphere, and the visual variety that never stops giving me ideas.
Do you plan your shoots or do you just go out and hope for the best?
I’d say about two-thirds of my shots are planned. I like scouting scenes, finding a frame that works, and then waiting there for the right subject to appear. It’s more rewarding for me than just running around hoping something happens. Of course, sometimes you get lucky on the move, but I enjoy the discipline of waiting and letting the scene play out.
What is your dream location to shoot?
Besides New York and Chicago, Tokyo is at the top of my photography list. I’m planning a trip there again soon, and I can’t wait. The mix of neon, density, and surreal atmosphere is perfect for the kind of photography I do.
Do you ever print your work, or do you mainly keep it digital?
I print quite a lot. Seeing your photo as a print is a completely different experience than on a screen. You notice details, tones, and imperfections you’d miss digitally. I like making small series or books for myself, as it makes the work feel more permanent.
What’s the strangest thing that’s ever happened to you while out shooting?
One night in Hamburg, I was setting up a shot near a dark alley when a guy suddenly walked up and asked if I was filming him. He was convinced I was part of some surveillance team. I had to show him my photos to calm him down. Encounters like that are rare, but they remind you how different people perceive a photographer with a camera.
How do you deal with creative burnout?
Burnout happens to me like it happens to everyone. Sometimes I just don’t feel like picking up the camera. In those times, I don’t force it. I give myself a break, watch movies, look at photo books. Usually after a while, the urge to shoot comes back stronger. I think the key is not to panic, every photographer has dry spells, and it’s normal.
Do you ever shoot during the day, or is it strictly nights?
I do shoot during the day, but rarely. When I do, I usually look for harsh light and deep shadows, conditions that mimic some of the drama of night photography. But honestly, daytime doesn’t excite me the same way. I like when a city feels a little mysterious, and that’s harder to get in full daylight.
What’s one non-photography skill that makes you a better photographer?
Patience. I’ve always been a patient person, and in photography that really helps. I can stand in one spot for an hour waiting for the right subject or light. Some people get restless, but I enjoy the process. Without patience, I’d miss most of my best shots.
Have you ever deleted photos you later wished you had kept?
The rest, 6 more questions, of this Interview are for Premium subscribers only.
The Nikkor Z 24-70mm f/2.8 S II Is Here
Nikon has unveiled their first second-generation Z-mount lens, the Nikkor Z 24-70mm f/2.8 S II. The new version is lighter, focuses faster, and introduces a internal zoom design, making it quite a different lens from the original Z 24-70mm f/2.8 S that debuted back in 2019.
At 675 grams (1.49 pounds), the Z 24-70mm f/2.8 S II is not only 130 grams lighter than its predecessor but also the lightest full-frame 24-70mm f/2.8 zoom on the market. It even undercuts Sony’s GM II by 20 grams, while Canon, Sigma, and Panasonic’s equivalents all come in significantly heavier. Nikon managed this weight reduction while also making the lens internally zooming, which means it keeps the same length no matter where it’s set in the focal range. That’s a first for this class of lens, and it should make the design more stable on gimbals and better sealed against dust and moisture.
The new lens measures 142mm long and 84mm across, a bit longer than the old version but slightly narrower. The filter thread has been reduced from 82mm to 77mm, and Nikon has added a small window to the supplied hood so photographers can adjust circular polarizers or variable NDs without having to remove it.
Inside, Nikon has dropped the number of optical elements from 17 to 14, spread across 10 groups. It has also added its latest coatings, including Meso Amorphous and ARNEO, to help suppress flare and ghosting. The aperture diaphragm has been redesigned with 11 blades instead of nine, which should help produce smoother out-of-focus rendering. Minimum focus distance varies by focal length, from 0.24m at the wide end to 0.33m at 70mm, with a maximum reproduction ratio of 0.32x at the telephoto end, a marked improvement over the first version.
The autofocus system has had a major overhaul as well. Nikon is using its new Silky Swift VCM motors for the first time in a lens, claiming AF that is five times faster than before and the best performance of any Nikon lens to date. Tracking while zooming is said to be about 60% better, which could be a real asset when shooting fast-moving subjects, even if this lens isn’t a traditional sports option.
For video, Nikon says the lens has been tuned to suppress focus breathing more effectively and has introduced a control ring that can be clicked or de-clicked depending on whether the user prioritizes tactile feedback or silent operation. One feature that hasn’t made the cut from the first generation is the OLED info display, which some photographers valued for at-a-glance settings but others rarely used.
The Nikon Z 24-70mm f/2.8 S II will hit shelves in mid-September at $2,799.95. That’s a significant price increase compared to the first-gen lens, which currently sells for $2,396.95.
A few sample shots:
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Photography Tip of the Week
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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: @blowithand
Let’s Analyse this Image:
Light & Atmosphere
What works well:
The light in this shot is amazing. The sun coming in from the top gives the entire scene a lot of atmosphere and it stretches out those shadows across the pavement in a very striking way.
I like how the light only cuts across part of the scene. It picks out the walkway while leaving the rest in shadow, so your eye instantly knows where to go.
The light on the pavement pulls out a lot of nice texture and detail in the stones.
What could be better:
The highlights at the far end of the walkway are very bright. They do anchor the light source, but they’re strong enough that they pull your eye away from the couple. Dialing them back a little would keep the focus where it should be.
Right at the source of the light, the detail gets washed out. You lose a bit of potentially nice texture. A touch more control there would make it feel less blown.
On the right side, some areas fall completely into darkness. That works for mood, but you could open them up a touch just to show a bit more environment, however that concentration does make for a more unique shot.
The Sephora ad on the right is a bit of a distraction. Bright sign, big faces, you can’t help but look at it. If the light there was pulled down a bit, it would stop competing so much with our subjects.
Composition & Framing
What works well:
Shooting from above works perfectly here. You get a clear view of the couple, their shadows get the chance to stretch out in a way that the viewer can actually see them.
The shadows themselves basically become leading lines. They stretch down through the frame and pull you straight back up to the couple.
The pavement lines also help with this, they sort of ‘‘echo’’ the light path and shadows, so everything in the frame is kind of working together to guide the eye.
The architecture on both sides gives you these strong shapes that ‘'physically’’ funnel everything into that strip of light.
The couple sits nicely in the frame. It leaves plenty of room above for the light to keep leading your eye deeper in but also the shadows have enough breathing room below them.
What could be better:
The image feels slightly right-heavy because of the dark architecture on that side. Shifting the framing a bit left could balance things better, or just lighting up that area a bit.
The very top of the frame has a lot going on (stairs, people, signs). Cropping a bit tighter could clean that up and keep the focus a bit stronger.
Emotion & Story
What works well:
The couple walking hand-in-hand gives the photo a nice element. Combined with the golden light, it feels warm and intimate, even though it’s in a busy city spot.
Their long shadows almost act like characters of their own. It adds drama and makes the moment feel more intense than it is (but this also has its negatives, more on that below).
What could be better:
The couple is the subject, but they’re pretty small in the frame compared to everything else. A little more focus on them, either in cropping or subtle dodging, would make them pop.
Their body language is fine, but it’s neutral. If there’d been a stronger stride or even a little interaction between them, it could have added more personality.
The photo, in general, feels more about form and light than an actual story. That’s not necessarily bad, but if you want emotion, you’d need more gesture, context and detail
The shadows are an interesting point: they are definitely cool, add drama etc. but they also depersonalise the couple. Instead of enhancing the story, they kind of take over, and you end up looking at the shadows more than the people themselves.
Color & Tone
What works well:
The warm tones in the light are lovely, especially the way they reflect off the pavement.
The warm vs cool balance works nicely too. The warm sunlight against the cooler, shadowed areas adds depth and balance.
The couple’s clothes catch just enough of that light to separate them from the background, which is key in a darker scene like this. And it also helps the viewer connect with them better.
What could be better:
The warmth leans a little orange in a few spots. Pulling it back toward a more neutral gold would feel more natural.
As noted before, the shadows are strong, which makes for a nice mood, but they are heavy. Lifting them a touch would add more tonal depth.
The colour is another interesting point, because there’s not much variety going on it almost gives monochromes vibes, if that makes sense (so instead of black and white you have gold and black). This by itself is not really a problem, the issue is more that inside this ‘‘monochrome’’ you do find very slight touches of other colour like the red of the Sephora ad, or the colour of the man’s shirt etc. I personally think the better choice would have been to go either fully ‘‘duo-tone’’ or in general embrace the rest of the colours more, because like this it just feels a bit undecided.
Photographer of the Week
Photographer of the week goes to: Jonathan Varjabedian
You can find him on Instagram as: @framethestreetsdotcom
A few photos of his:
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The Rest of this Issue is for Premium Subscribers
