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Nikon’s New Lenses

Nikon just announced two new lenses for its APS-C Z-mount lineup, the Nikkor Z DX 16-50mm f/2.8 VR and the Nikkor Z DX MC 35mm f/1.7. One is a bright, all-purpose zoom that’s meant to replace the standard kit lens, while the other is a compact macro-style prime designed for close-ups and general everyday shooting.

Let’s start with the 16-50mm f/2.8 VR. This one is meant for people looking for something a little more capable than the typical kit lens that comes bundled with Nikon’s DX cameras. The previous version (the 16-50mm f/3.5-5.6 VR) was fine for casual use, but this new version brings a constant f/2.8 aperture, which makes a big difference.

You get much better low-light performance and a shallower depth of field for portraits or subject isolation. On an APS-C body, that 16-50mm range translates to about 24-70mm full-frame equivalent.

Nikon says the new zoom delivers excellent sharpness from edge to edge while maintaining smooth, natural bokeh when shot wide open at f/2.8. It is also equipped with five stops of Vibration Reduction (VR), which helps keep handheld shots steady. Inside, there is a stepping motor (STM) that promises fast, quiet autofocus, which is especially handy for hybrid shooters who bounce between photo and video.

The second lens, the Nikkor Z DX MC 35mm f/1.7, is what Nikon calls a “micro” lens, basically its term for a macro-capable design. It has a 0.67x reproduction ratio, but since this is on an APS-C sensor, that works out to roughly 1:1 life-size magnification, letting you get up close and capture fine details. It can focus as close as 6.2 inches (0.16 meters), so you can really fill the frame with small subjects.

But Nikon doesn’t see this lens as just a macro tool. The f/1.7 aperture makes it great as an all-around prime for portraits, street photography, or low-light shooting. The 35mm focal length gives a very natural field of view (close to what the human eye sees) which makes it feel intuitive and versatile for everyday use.

Both lenses are built with Nikon’s modern Z-mount design, which means they are compact and lightweight but still designed to perform well on high-resolution sensors. They are also both made to pair nicely with Nikon’s smaller DX bodies like the Z 30, Z 50, and Z fc cameras.

The Nikkor Z DX 16-50mm f/2.8 VR and the Nikkor Z DX MC 35mm f/1.7 are expected to hit stores in late October 2025. Pricing is set at $899.95 for the zoom and $449.95 for the 35mm prime.

A few sample shots:

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Interview with Miro Marsik

This week’s Interview with Miro, a talented photographer based in Prague. I am truly honoured to have had the opportunity to interview!

You can find him on Instagram as: @miromarsik

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself? 

Hey! I’m Miro. I am a photographer, video maker and content creator based in Prague, Czechia. I’m originally from Slovakia, but I moved here to study software engineering, which is still my main job. Alongside photography and video, I also compose cinematic music and play guitar in a pop-rock band.

How did you first get into photography?

My first attempt at photography was just capturing memories on my phone, like most people do. Everything changed when I discovered Instagram in 2016. At that time I was mainly focused on music and I saw photos and later videos as a way to create visuals for what I was doing. I pushed myself to make the images look as good as possible to support my music, but over time I realized that photography and video felt even more natural to me than music itself.

What are your favourite photography spots in Prague?

If I had to choose just a couple, my main go-to spots are Charles Bridge and Petřín Hill. When the conditions are perfect in the morning, that’s usually where I head first. But Prague has countless beautiful corners and I’m always trying to discover new places beyond the well-known landmarks.

How do you decide where to go and shoot?

It really depends on the time of year, the time of day and the weather conditions. Some locations work best at sunrise, others at sunset. Certain places have a magical vibe in rain or fog, while others feel truly special in autumn. I try to match the spot with the atmosphere that will bring out its character the most.

What does photography mean to you?

It’s a way of slowing down and noticing details that most people walk past. Photography gives me creative freedom, but it’s also the way I communicate with others and share my vision and creativity with the world.

What is your go-to gear setup?

My main camera is the Fujifilm X-H2S and I use the Fujifilm X100VI as my everyday companion. When I hit the streets, I usually carry both of them plus at least one telephoto lens, either the Fujinon 50–140mm f/2.8 or the 100–400mm f/4.5–5.6. This setup works for most situations, but from time to time I like to switch things up just for a change of perspective.

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

I definitely prefer quieter spaces with just a few people around or even nobody at all. That’s one of the reasons why I love shooting at sunrise rather than sunset. For me cities reveal their real magic when they’re empty, without the crowds.

What are your favourite shooting conditions? (Rain, day, night, sunny days etc.)

My favorite conditions are always the ones that feel unusual. Fog, heavy rain or a dramatic sunrise or sunset. Those are the moments when you can create truly unique photos that stand out from the everyday. Clear sunny days are great to walk in but not that exciting to photograph. I like when the atmosphere challenges me.

Do you prefer shooting street photography or architecture photography?

I love both because they feed into each other. Architecture gives me structure, and street photography brings movement and emotion into that structure. Prague’s architecture is stunning, I could shoot it forever and never get bored, but when you add a human element to it, even a silhouette or someone holding an umbrella, it instantly becomes more alive. For me, the perfect photo is where the city and the people in it meet halfway.

Do you prefer day or night?

Neither, I love the transitions between them. Those few minutes around sunrise or sunset have a special kind of magic. The light changes constantly, and the mood can shift from calm to dramatic in seconds. At sunrise especially, the city feels completely different.

How did you find your unique photography style?

I believe a photography style is something that’s always evolving. I’ve always been drawn to everything cinematic, that’s why I first started with cinematic music and now I translate that feeling into photography through cinematic color grading. Of course, there are many small nuances that keep changing over time. I do things differently now than I did two years ago, even if most people wouldn’t notice those details at first glance.

What role does storytelling play in your work?

I’ve never really thought about it that way. For me, it’s not my role to invent a story in a photo, but rather to capture something authentic that allows each viewer to create their own story. I think that’s the beauty of photography. 

If you could travel anywhere in the world where would that be and why?

When it comes to travel, I love both cities and nature and I’m always curious to learn about new cultures. Right now, my dream destinations are Namibia, New Zealand and Costa Rica for their landscapes and wildlife. And from the cities, I would definitely pick New York. I’ve never been there and it feels like one of those places every photographer should experience at least once.

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

Photographing strangers is still the most challenging part for me. I’m naturally a bit introverted, so approaching people doesn’t always come easily. But I’m slowly pushing myself to step out of that comfort zone :)

In what photography genre would you put yourself? And why?

I would put myself somewhere between cityscape and street photography, with a strong cinematic influence. I’m fascinated by the atmosphere of the city. Its light, architecture and the small human moments that bring it to life. For me, it’s not about documenting reality, but more about creating images that feel like scenes from a movie.

What is your favourite subject to shoot?

The old red Prague trams, without question. They’re iconic, and they bring so much character to the city. I’ve shot them countless times, and they never feel repetitive. Every time, the light and the mood make them look new again.

You do sell your images as prints as well, what is your experience with selling prints?

I sell prints worldwide and I’ve had a very good experience with it. I print on high-quality Fujifilm paper and I really love seeing my photos this way. You notice so many details on paper that you just don’t see on a small screen. Selling prints isn’t my main focus, so I don’t actively promote it. Most of the time I only print when someone reaches out to me on Instagram, but it always makes me happy to know that someone wants to have my work on his wall.

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

When I started, I was heavily inspired by Peter McKinnon, his cinematic approach and storytelling. These days, inspiration comes from everywhere. It can be a random photo I see online, a movie scene, or just the way sunlight hits a building. I don’t really have one favorite photographer anymore, I think the best kind of inspiration sneaks up on you when you’re not even looking for it.

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

I think it’s that feeling every photographer knows. When you’re on your way home and you can’t wait to see one particular photo. You just know you’ve captured a moment or conditions that don’t come around very often.

How important is composition in photography?

Composition is crucial for me. It’s the absolute foundation. At this point I don’t even consciously think about it, because a photographer should develop an instinctive sense of composition. That way, you can fully focus on capturing the right moment.

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

My advice is to take photos that you personally enjoy. At the beginning it can be helpful to go out with someone else, but over time you’ll realize that your best photos often come when you’re alone, unhurried and patient enough to wait for the right moment.

How important is lighting in photography?

Lighting is what can transform a good composition into a perfect photo. And it doesn’t matter whether it’s natural or artificial light. Working with light is the true art. Learning composition is like learning to drive a car, but mastering light is like driving a rally. It’s just another level.

Is there a photography genre you haven’t tried yet, that you would like to explore?

I’d like to experiment more with black and white. It’s such a pure form of expression, no distractions, just light and emotion. It makes you focus on texture, contrast, and story. I’ve done a few black-and-white edits, but one day I’d love to do a whole project that way, something more personal and minimal.

I see that you also do video work, can you tell us a bit more about that?

Besides photography, I also create videos. From product videos for various brands to social media content and drone footage. What I really enjoy is combining these visuals with my own cinematic music, which I mentioned earlier, to create a complete atmosphere.

Do you ever feel creative burnout? How do you deal with it?

Yes, for sure. Every artist hits that wall now and then. When I feel stuck, I usually stop and just live a little. Go for a walk without a camera, watch movies, or take a short trip. Sometimes creativity comes back when you are not actively looking for it. I have learned that inspiration comes in waves. The trick is to ride them when they are high and not panic when they are low.

Can you tell us a bit about your photo workshops/photo walks?

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TourBox’s New Dynamic Panel

TourBox, the company behind the TourBox Elite creative editing console, has released a new update for photographers who use Adobe Lightroom Classic. The company has introduced a Dynamic Panel, designed to work with TourBox’s hardware controllers to make editing more streamlined and less cluttered.

Anyone who edits RAW photos in Lightroom Classic knows how much space the program’s sidebars and panels can take up. They are useful for adjustments like exposure, tone, and colour, but they also eat into the workspace, especially on laptops or single-screen setups. The new TourBox Dynamic Panel addresses that issue by moving Lightroom’s tools into floating, customisable panels that only appear when needed and fade away when not in use.

You can move the panels around the screen, customise which tools show up, and choose how they behave. The goal is to make it easier to focus on your image without constantly opening and closing menus. Combined with the TourBox’s physical dials and buttons, it gives you a way to make adjustments, without relying as much on a mouse or keyboard shortcuts.

TourBox says the Dynamic Panel gives users more control over how they organise their workspace. It comes with a default layout that includes basic editing options such as exposure, tone curves, HSL sliders, and colour grading, but it can be customised further. There’s also support for more complex tools, like Lightroom’s masking panel, where photographers can assign quick access to local adjustments or refinements.

The Dynamic Panel works with all TourBox consoles, from the TourBox Lite (around $95) up to the wireless TourBox Elite Plus, which sells for $300. For now, it is available only for Lightroom Classic, though TourBox says support for Lightroom CC, Adobe Camera Raw, and Capture One is planned for future updates. The software is free, but it does require TourBox hardware to run.

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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: @sg.lc

Let’s Analyse this Image: 

Composition & Framing

What works well:

• The composition is pretty good. The leading lines are doing a lot of work —> every plank and the entire curve of that bench guide your eye straight toward the Opera House.

• The framing of the Opera House is really nice as well, it is almost ‘‘tucked inside’’ this little dent that the bench creates.

• Balance wise, the dramatic sky is powerful yes, but it is grounded by the heavy bench and dark wall on the left. They act sort of as visual anchors, keeping the whole frame steady and solid.

What could be better:

• The lamps (on the right) and that little bin on the left side of the Opera House are a bit distracting, they pull your eye slightly, but honestly, that is just the nature of the environment, not much you can do unless you edit them out or reposition, BUT —> the bench framing is so strong and creative here (in my opinion) that it is worth keeping despite those minor distractions, so I would not reposition so to say.

• The left side feels a bit weighty with the dark wall, but again, it adds that grounding element that helps balance the drama up top.

Light & Atmosphere

What works well:

• The light (and colour) is pretty dramatic, the glowing sunset light fills the whole scene with a lot of warmth and drama. The sky almost looks like it is on fire, full of pinks, purples, and golden tones that definitely pull you in.

• The wet boardwalk reflecting the same light is a nice touch, all those subtle reflections and glimmers give the photo extra depth and texture.

• The atmosphere is quite peaceful yet still rich. The combination of rain, empty benches, and glowing sky gives it that special atmosphere.

What could be better:

• The light is great, but it is a bit intense, the pink tone dominates almost everything, which makes the photo feel slightly overwhelming. A little more tonal variation would have made it more balanced.

• The lamps on the right start blending into the sky’s brightness a bit too much, toning down the highlights slightly would give it more of a ‘‘natural’’ look.

• The bench looks good under this light, but the way it catches the pink hue could be softened just a bit to make it feel less monochrome (the pink really spills over everything).

Colour & Tone

What works well:

• The colours are very rich, the pinks and purples in the sky blend in with the warm tones in the bench and reflections/pier. It is cohesive (maybe a bit too much, more on that down below) and feels cinematic.

• The tones, overall, are smooth and consistent, with no harsh shadows or completely weird colour clashes. Everything feels like it is glowing together under the same sunset light.

What could be better:

• The colours (their intensity), are probably the most divisive part of this photo. They are super dramatic and almost overwhelming, the pink kind of takes over the whole image.

• It is one of those edits where it really depends on your philosophy as a photographer. Some people love that level of exaggeration, it is bold and expressive. But for others, it just feels a bit too much, especially since it turns the whole scene into one dominant tone.

• Personally, I would say tapping into that drama here and there is fine, especially with a sky like this, just don’t do it all the time.

Texture & Sensory Detail

What works well:

• The textures here are nice. The slightly rough, wet bench with the raindrops is obviously the star.

• The wooden pier also adds a nice, subtle texture that complements the bench, together they create this feeling that the sky is basically everywhere.

• The glassy reflections and on the wood as well as the raindrops make everything look alive and energetic, not flat.

What could be better:

• The wall on the left could have had a bit more texture brought out, it is quite dark and doesn’t add much visual interest.

• The lamps and the Opera House are pretty smooth, which works, but maybe a bit of micro-detail there would have helped balance all that texture in the immediate front.

Balance

• The balance is good overall, the left side carries most of the visual weight, but the first lamp on the right and the Opera House help even it out nicely + then comes the dramatic sky that is predominantly on the right.

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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