đ¸ SNAPSHOT - Issue 83
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Viltroxâs New Spark Z3 TTL Flash
Viltrox has put out a new compact flash, the Spark Z3. It comes in at 144 grams (5.1 ounces) and measures 78 x 67 x 56 millimetres (3.1 x 2.6 x 2.2 inches), so it is quite pocket-sized. Design-wise, it has got this âCyber Mechâ look that makes it stand out since most small flashes are pretty plain, but this one looks a little more playful.
Output is rated at 26 watt-seconds with seven steps from 1/16 up to full. The guide number is 16 meters (52.5 feet) at ISO 100, which is enough for portraits, close-range shots, or using it as a fill outdoors. It supports TTL auto metering if you just want the camera to sort things out, or you can switch to manual for more control.
The built-in Li-ion battery is good for around 650 full-power flashes, and it recharges in about 70 minutes. Recycling is quick too (around one second at max power) so you wonât be left waiting long between shots.
It does have a couple of extras. There are two optical slave modes, so you can drop it into a simple off-camera setup if you want, but itâs mainly built for on-camera use. The head doesnât bounce or swivel, so youâre stuck with direct flash, and thereâs no display screen. Some people will see that as limiting, but for beginners or anyone who just wants something straightforward, the lack of extra stuff keeps it simple.
Controls are minimal but they work. In TTL mode, the camera and flash figure out the exposure for you, which is handy if youâre just starting out with flash. Manual mode gives you seven power levels to play with if you want to experiment more. That balance, again, makes it approachable for newcomers, but still useful as a small backup light for more experienced shooters.
The Viltrox Spark Z3 is available for $54.99 USD / âŹ62.99 EUR / ÂŁ51.99 GBP. The Fujifilm (Z3-F) and Nikon (Z3-N) versions are out first, with Sony (Z3-S) and Canon (Z3-C) models coming soon.
A few flash shots:
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Interview with TomĂĄĹĄ Vlk
This weekâs Interview with TomĂĄĹĄ Vlk, a talented photographer based in Prague. I am truly honoured to have had the opportunity to interview him again, this time with a closer look at his new work!
You can find him on Instagram as: @wolfography_
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
Hello everyone, Iâm TomĂĄĹĄ, 33 years old, and I was born in a small town in the Czech Republic. I moved to Prague in 2017, which was honestly one of the best decisions of my life. Living in Prague gave me not only a bigger city full of inspiration but also a place where I slowly started to shape who I am. Still, after a few years, I feel like Iâve been here long enough and I know deep down that Iâll probably move abroad in the near future. I currently work as a dispatcher, which can be pretty challenging for an introvert like me. Iâve always had a soft spot for art, whether it was music, film, or drawing, and photography eventually became the outlet where all those influences came together.
How did you get into photography?
Iâve always wanted a camera but never really had the money for one. It wasnât until 2020, at the start of quarantine, that I finally bought my first camera. At first, I struggled. I spent a month fiddling with automatic mode, got frustrated, and put it away. A year later, my wife and I went on a trip through Denmark, the Netherlands, Belgium, and France. I thought, âOkay, letâs give this camera another chance.â I switched it to manual mode without having any idea what aperture or shutter speed actually meant. Instead of reading instructions, I just adjusted the values and experimented, because thatâs how I learn, by trial and error, not theory. That trip changed everything. Suddenly, photography wasnât just about snapping pictures, it was about seeing and creating.
How do you approach storytelling through your photos?
I usually pick a location based on the weather. For me, fog, rain, or sunshine completely changes the personality of a place. Iâll check the forecast, see where the sun will rise, and make a plan from there. But Iâm not rigid. Some of my favorite shots happened when I broke my own rules, went somewhere random, and just waited. Street photography is a mix of preparation and spontaneity, you need to be ready, but you also need to let go and see what unfolds naturally.
What attracts you to street photography compared to other types of photography?
Street photography feels like it has the most possibilities. I admire astrophotography, for example, but for me personally, the shots can start to feel similar after a while. With street photography, one street corner can look a hundred different ways depending on the light, the people, the season, or even just your mood that day. It never feels the same twice. That variety, that constant unpredictability, is what pulls me in.
What gear do you use?
For the last two years, Iâve been using the Canon EOS R, and most of the time I pair it with a 35mm prime. I also have a 24â70mm zoom lens, which is useful if I need flexibility. Itâs not the biggest or flashiest setup, but honestly, gear was never the point for me. Even if I had unlimited money, sure, Iâd buy more lenses, but the setup I have now has never let me down. For me, itâs about enjoying the act of shooting, not about collecting equipment.
Iâve seen that you really love England/the UK and Scandinavia. Why is that?
That fascination started when I was a kid. Iâve never liked the heat, but I love the rain, the grey skies, and the atmosphere you find in northern Europe. On top of that, I grew up loving British humor, music, films, and architecture. The real turning point came in 2022, when I finally visited the UK. Iâve been back three more times since then, and every time I go, it feels more like home. The people, the culture, the way of life â it feels completely different from the Czech Republic. And for photography? Itâs endless. The streets, the weather, the light, itâs a bottomless well of inspiration. If it wasnât for Brexit, Iâd already be living there.
Your style is very dark and moody. Do you ever get bored of it or think of changing?
Definitely not. Sometimes Iâll take a lighter, more cheerful photo if the moment calls for it, but the dark, moody style is just who I am as a photographer. Itâs what I connect with the most. The funny part is that outside of photography, Iâm actually a very positive person. But when I pick up a camera, that darker atmosphere is what excites me. Itâs not something I plan to change.
What is your favourite season to shoot in?
Autumn, without question. You get fog, rain, colorful leaves, and golden light, all in one season. Winter comes next for me, especially if it snows. But honestly, every season has its own magic. Even summer, which I usually donât enjoy, has one redeeming quality: it means autumn is on its way.
What does photography mean to you?
For me, itâs creativity and memory. Sure, I want others to feel something when they look at my work, but the real magic is personal. When I look at a photo I took, I remember everything: what I felt in that moment, what happened before and after, what stage of life I was in. Photography keeps those memories alive in a way nothing else does.
Do you think AI will replace photographers?
I donât think so. I hope not, at least. Photography is about capturing real, authentic moments. AI can generate something that looks beautiful, but it canât replace the feeling of being there. People like nostalgia. Thatâs why vinyl and film photography are still around. Sure, AI will change some things, but it wonât replace the human side of it.
Whatâs the one best camera for beginners?
Honestly, I donât think it matters that much. Iâm not a gear expert. If youâre just starting out, grab a cheaper camera and experiment. Figure out if you really enjoy it first, and then upgrade later if you feel the need. Itâs better to start simple and learn to see, rather than obsess over equipment.
Any tips for beginners?
Just try. Take as many photos as you can, and donât be afraid of mistakes. Experiment with angles, reflections, and compositions. There will be times you feel blocked, when nothing works, but that passes. Everyone starts clumsy, everyone compares themselves to others. The important thing is to keep going and find your own style, one that you enjoy, not one that imitates someone else.
Are you a professional or a hobbyist?
This question still hurts a bit. Last year I tried to make a living from photography. I gave it everything, but it didnât work. I couldnât get enough clients to make it sustainable. So right now, itâs still a hobby. Itâs still a dream to make it professional, but Iâve accepted that for now itâll remain something I do for passion, not income.
What do you love most about photography?
The memories, for sure, but also the freedom. Walking through the city early in the morning when itâs empty, thatâs something special. It feels like the city belongs to you for a while. I also love the challenge. When itâs freezing, or pouring rain, or when Iâd rather stay warm at home, pushing myself to go outside and shoot always feels worth it. I used to hate mornings, but now I sometimes wake up at 5 a.m. just to catch a sunrise. Even if the photos arenât great, the fact that I went out and did it matters to me.
How has your style evolved since the beginning?
Two things shaped me most. First, editing. Like a lot of beginners, I started with heavy clarity, texture, and oversaturated colors. Then one day I reduced the clarity instead and fell in love with that softer, moodier look. The second shift came when I started shooting in âbadâ conditions rain, snow, fog, or at 4 a.m. when most people are asleep. Those two things, editing softly and embracing difficult conditions, really define my style today.
What qualities should a photographer have?
Passion, creativity, and patience. Those are the big three. Iâll admit, Iâm not the most patient person. If the conditions are perfect, I run around like crazy trying to capture everything. But I think as long as you have at least one of those qualities, youâll be fine.
How important is expensive gear?
If youâre not a professional, I donât think it matters much. Instagram doesnât require a $5,000 setup. A cheaper camera can be more challenging in low light, sure, but at the end of the day, skill matters way more than money. A talented photographer will take a better shot on an entry-level camera than someone inexperienced with the most expensive gear.
Do you listen to music while editing your photos?
Yes, almost always. For me, editing without music feels strange, like something is missing. The music sets the atmosphere and helps me stay focused. I usually go for darker, more atmospheric genres like post-rock, ambient. Those sounds fit the mood of my photos and keep me in that same headspace while Iâm working. If I put on something too cheerful or fast, it completely clashes with the vibe and I lose concentration. Itâs almost like the music becomes part of the edit. When I look at the photo later, I can sometimes remember exactly what I was listening to when I worked on it, and that memory sticks with me.
Whatâs your biggest weakness as a photographer?
Honestly, impatience. When the conditions are perfect, I run around too quickly trying to shoot everything at once. I donât always give myself enough time to wait for that one moment that could make a shot truly great. Itâs something I know I need to improve. I admire photographers who can stand in one spot for hours until the right subject passes by, but Iâm usually already halfway across the city by then. At the same time, maybe this impatience is also part of my style, I move quickly, and that energy comes through in the way I shoot. Still, Iâd like to slow down more and see what happens when I wait.
Do you enjoy photographing strangers up close or more from a distance?
Iâm not the kind of photographer who walks up to people and shoots right in their face. I prefer silhouettes, figures in motion, people with umbrellas, or someone walking through a beam of light. I want them to feel present in the scene without the photo being directly about them. Itâs less intrusive that way, and it fits better with the mood I like to create. The city itself is the main character in my photos, and the people are like supporting actors who give it life.
How do you balance photography with your day job?
Itâs not easy. My job as a dispatcher can be stressful and mentally draining, so sometimes the last thing I want to do after work is pick up a camera. But at the same time, photography is what helps me reset. On weekends or evenings, Iâll take the camera and head out for a walk, and it feels like Iâm switching into a different world. It gives me something to look forward to and a way to balance the routine of work.
Do you think your personality influences your photography style?
The rest, 6 more questions, of this Interview are for Premium subscribers only.
The Esquisse Camera
A small French startup is trying something bold: building a brand-new Micro Four Thirds camera that mixes the charm of old-school compacts with the performance todayâs photographers expect. The company, Esquisse Camera, was co-founded by photographer CĂ´me Courteault, and while the camera is still a year and a half away from launch, the team has already shared plenty about what theyâre working on.
Their pitch is pretty simple but ambitious, they want the shooting feel of a Leica M, the pocketability of a Ricoh GR, and the speed and performance of a modern digital camera. They landed on the Micro Four Thirds format because it keeps the body small without cutting too much into image quality, and of course, it opens the door to a wide existing lens ecosystem. Courteault admits itâs a big project for a four-person team, but they seem confident and have laid out a clear timeline for development.
The early specs paint a picture of a serious little camera. Expect a 20-megapixel sensor (or better), a native ISO range of 200â25,600, and multi-point autofocus. The body will measure about 105 x 70 x 35 millimetres and weigh 350 grams, heavier than something like Panasonicâs tiny GM5, but still compact. The body will be cut from a single block of aluminium, wrapped in textured leather, and sealed against dust and splashes.
Controls lean heavily into the classic vibe: a proper shutter release, dials for ISO and exposure, a clickable rear wheel, two function buttons, and a three-inch touchscreen with touchpad autofocus. An OLED electronic viewfinder with 3.69 million dots is planned too, which should make it easier to shoot in bright light without relying only on the rear screen. On the inside, youâll find 256GB of built-in storage, Wi-Fi and Bluetooth, USB-C charging, and a battery expected to deliver at least 300 shots.
Price-wise, the Esquisse wonât come cheap. The team says it will likely land somewhere between $1,500 and $2,000, which firmly puts it in the premium category. Courteault has been upfront about that, saying the focus is on build quality, design, and the shooting experience rather than cutting costs.
The plan is to finish prototypes next year, start testing in the middle of 2026, and officially launch in Q4 2026. Unlike a lot of small camera projects, Esquisse doesnât want to rely on crowdfunding. Courteault says theyâd rather keep things privately funded and only open preorders once they have a finished, working product.
For now, the company is letting people sign up on its website for updates, behind-the-scenes news, and early launch details.
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Photography Tip of the Week
The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.
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
Letâs Analyse this Image:
Light & Atmosphere
What works well:
The spotlight effect from the headlights on the man is pretty great, it isolates him perfectly and makes sure your eye goes straight to the subject. The lights literally set the frame/scene.
That same light makes his silhouette very crisp against the glowing street + we actually get to see him in a bit more detail, which is definitely a positive (more on that below, in the storytelling part).
The visible rain in the light adds a ton of atmosphere and makes the whole scene feel moody.
What could be better:
The headlights are a little strong, blowing out parts of the road and killing some detail.
The âAQUILA CLINICâ sign is also a bit bright, so it pulls attention away from the subject, however it does help a lot with the colour balance in this image so I personally would not get rid of it, only tone it down slightly.
The shadows in the upper part of the frame are very deep that you lose any sense of the surrounding buildings or city.
Composition & Framing
What works well:
Again, the man is placed perfectly, right in the beam of light, at the strongest point of the frame.
The diagonal angle of the street running through the shot (as well as the fact our subject is off centre) gives it a nice flow and stops it from feeling static.
The buildings and parked cars also act as framing elements that keep the focus in near our subject, where it belongs.
What could be better:
The top section of the photo feels a little too empty/imbalanced (compared to the bottom) itâs just a block of black space that doesnât add much, again just lifting that darkness there could help a lot.
The cars, as well as all the items on and around the street do make for a cluttered look and that might bother some people. In my opinion though, that is just street photography + it is a documentation of the cities character.
Emotion & Story
What works well:
The man rushing with his umbrella tells a clear little story, you can see his shoulder pulled up, like he is trying to protect himself from the rain, he has a short sleeved T-shirt on so he probably is a bit cold as well + that also maybe means he did not expect it to rain in the first place etc. (this is where a bit more detail on the silhouette pays off â> it just helps the viewer paint/imagine a much clearer story).
The rain itself makes the scene feel more urgent and adds to the mood.
Having just one person makes the narrative simple and strong, your attention doesnât wander.
What could be better:
The man is small compared to the overall frame, so he risks being overshadowed by the lights and sign a little bit.
The story does rely heavily on mood, which works emotionally, but it doesnât go super deep.
Colour & Tone
What works well:
The balance between warm oranges from the headlights and cool blues from the signs is really nice, it is what gives the photo that cinematic/neon sign/asian city at night vibes.
The wet road reflecting the orange tones ties the whole palette together and the overall grading feels rich and dramatic.
What could be better:
The headlights clip (just a bit), so you lose tonal detail in the brightest spots.
Some of the neon blue signs look very electric and bright, almost unnatural compared to the rest of the palette.
The colour range is limited (mostly just orange and blue) which makes the scene feel a bit duotone.
Balance
The subject is well-balanced thanks to the spotlight, all the visual weight points toward him.
The warm/cool colour split helps balance the frame from left to right.
As noted before, most of the visual weight sits in the bottom half of the frame, while the top is almost empty, which tips the balance downward overall.
Photographer of the Week
Photographer of the week goes to: Carl Stevenâs
You can find him on Instagram as: @atl.urbex
A few photos of his:
The Rest of this Issue is for Premium Subscribers
