đ¸ SNAPSHOT - Issue 88
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
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In this Issue
Skylumâs Luminar Neo Fall Update
Skylum has released its Fall 2025 update for Luminar Neo, bringing a series of new features and refinements that aim to make the software more integrated and practical for everyday use. The biggest addition is the Luminar Neo Ecosystem, which connects mobile and desktop devices into a single, unified editing environment. This means you can start editing a photo on a phone while out in the field and then continue the same project on a computer later, without manually transferring files or losing any edits or metadata in the process.
Alongside that, Skylum is introducing a feature called Spaces, which provides a way to publish curated web galleries directly through Luminar Neo. It is available to users with the Ecosystem Pass as well as Cross-Perpetual and Max-Perpetual licenses. Spaces is intended as a simple, built-in platform for photographers who want to share their work online without maintaining a separate website or relying on third-party tools.
Galleries can be personalised to showcase client work, creative portfolios, or collaborative projects. According to Skylum, the goal is to make sharing straightforward and immediate, giving photographers more control over presentation and privacy while reducing the amount of time spent on setup.
A major addition in this release is âRestorationâ, an AI-powered feature designed to repair and revitalise old or damaged photographs. The tool can automatically remove cracks, stains, discoloration, and fading, all while maintaining the texture and fine details of the original image. It works on both colour and black-and-white photos, restoring tonal balance and subtle colour accuracy without making the result look artificial. It is included with the Ecosystem Pass, the 2025/2026 Upgrade Pass, and both Cross-Perpetual and Max-Perpetual licenses.
The update also adds a new AI Assistant, which analyses each photo in real time and offers targeted editing suggestions. It can recommend changes to exposure, white balance, or contrast and even provide creative ideas when a composition feels unfinished.
Rather than automating the process entirely, the assistant is meant to act as a guide or second opinion, helping you refine your edits faster, especially when working through large sets of images like wedding shoots, events, or studio sessions. For newcomers, it can also serve as a learning tool that demonstrates how small adjustments affect a final image.
Another key change in this update is the introduction of âLight Depthâ, a complete replacement for the older Relight AI tool. Light Depth allows photographers to adjust lighting within an image in a more natural, three-dimensional way. Users can control the direction and intensity of virtual light sources, refine shadow transitions, and highlight specific subjects or areas of interest. The result is finer control over how depth and mood are represented in an image, without needing to move between multiple tools or plugins.
The Fall 2025 update, including the new Ecosystem features, will begin rolling out in early November. To coincide with the launch, Skylum is offering temporary discounts on upgrade passes and perpetual licenses. The Perpetual Desktop License is priced at $99 USD (âŹ92), the Cross-device Perpetual License at $139 USD (âŹ129), and the Perpetual Max License at $159 USD (âŹ147), with regular pricing set to return after the Black Friday promotion ends.
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Interview with Quan Vu
This weekâs Interview with Quan, a talented photographer from Vietnam. 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: @quan.vu.photography
Enjoy the amazing Interview ;)
Can you introduce yourself to our readers?
Hello, my name is Quan. Iâm Vietnamese and currently living in Japan. Iâve only been doing photography seriously for a few years, but I first got interested in it back in 2012 when I lived here for the first time. At the beginning, I just took casual photos of my trips with my phone. Then in 2014, I bought my first camera and started carrying it everywhere, photographing anything that caught my eye. After returning to Vietnam in 2015, I took fewer photos for a while, but when I came back to Japan in 2019, I rediscovered my passion, this time focusing on landscapes and nature scenes across the country.
What initially drew you to nature and landscape photography?
Iâve always loved being in nature. Hiking, climbing, or simply being outdoors is my way of disconnecting from the noise of modern life. I find peace there, and I think that shows in my photos. Iâm also very conscious of the environment, I never want my photography to harm the places I visit. I always make sure to leave no trace, to treat nature with the respect it deserves. For me, photography is not just about capturing beauty but also about appreciating and protecting it.
How do you approach planning for a shoot in the wild? Do you rely more on spontaneity or preparation?
I love planning. Most of my time is spent researching locations, weather, compositions, and techniques. I like to have a clear idea of what I want before I even leave home. But nature doesnât care about plans, it changes whenever it wants, and sometimes the best moments happen when you least expect them. So I prepare as much as possible, but once Iâm out there, I stay flexible. If something unexpected appears, I go with the flow and capture what feels right in that moment.
Can you walk us through your creative process when youâre in the field? How do you decide on the perfect moment to capture?
I donât think thereâs such a thing as the âperfectâ moment. I move around a lot, trying different angles and compositions, paying attention to how the light shifts and how the scene feels. Sometimes I take hundreds of photos, but when I get home, I always pick the one that best matches the feeling I had while being there. That emotional connection matters more to me than technical perfection.
What challenges do you often face when photographing in remote or difficult environments, and how do you overcome them?
Shooting in remote areas is exciting but also demanding. You deal with unpredictable weather, tricky terrain, and sometimes language or cultural barriers. I always research ahead of time, not just for the best spots but also to understand the local environment and rules. I make sure my gear is versatile and that I have backups for anything important. And when I can, I connect with local photographers who know the area. They often share tips that make a big difference. In the end, you have to be prepared but also adaptable. Nature doesnât wait for you.
Can you share a memorable experience or adventure youâve had?
One that Iâll never forget is the first time I photographed fireflies. I had to drive deep into the forest, down a narrow, rough road that felt endless. At the end of it stood an old, abandoned temple surrounded by trees. When night fell, thousands of fireflies appeared, lighting up the forest like stars. It was quiet, magical, and a little surreal, one of those moments that reminds you why you do this in the first place.
How do you handle unpredictable weather or lighting conditions?
The key is to stay flexible. I always have backup locations and backup plans, but sometimes I just have to wait. If the light changes, I might move to another spot, or if the weather turns bad, Iâll use that to my advantage. A cloudy sky or rain can sometimes make a photo far more interesting than perfect sunlight. And if nothing works, I simply come back another day. Nature has its own schedule, and itâs better to adapt to it than fight it.
What role does patience play in your work?
Patience is everything. Thereâs one photo Iâve been trying to take for years on a snowy mountain near where I live. Itâs a two-hour drive and a three-hour climb to the top. Iâve gone nine times already and failed every single time because of the weather. But instead of getting frustrated, I try to enjoy the process, each trip brings something new, some unexpected beauty. Iâll keep going back until I get the shot I imagine, but honestly, those âfailedâ climbs have given me some of my favorite photos.
Any tips for beginners?
Be yourself. Donât chase trends or try too hard to copy someone elseâs style. Take inspiration from the world around you, not just from other photographers. Experiment constantly, and donât worry if it takes time to find your voice, thatâs part of the journey. Photography should grow with you and reflect who you are. And most importantly, stay patient and enjoy every moment. The best photos come from passion, not pressure.
What do you think about AI in photography?
I think AI can be a great tool when used wisely. I use it mainly for masking in Lightroom, it makes editing faster and more precise, especially when adjusting exposure or color in specific parts of an image. Itâs useful, but I still prefer to do most of the editing myself. I like being hands-on, paying attention to every detail, and shaping the photo the way I felt it in real life. For me, the creative process should still belong to the photographer.
How do you choose the locations you shoot?
I always start with a story in mind, what emotion or atmosphere I want my photos to express. Once I know that, I look for places that fit the mood. I usually have a few primary locations planned and some backups just in case the weather changes. Sometimes Iâll revisit the same place many times until I capture it exactly how I imagine it. Itâs not about ticking places off a list, but about understanding them deeply.
What gear do you use?
I shoot with a Sony A7R III, and for landscapes I mostly use the Tamron 28â200mm. For wildlife, I switch to the Sigma 150â600mm, and for night photography, I use either a 50mm or an 85mm lens. I also have a DJI Mini 3 Pro drone for aerial shots. My setup covers pretty much everything I need, from close details to distant mountain views. I like keeping things simple but reliable.
What is your all-time favourite photo location?
That would be the Kansai region in western Japan. It has almost everything I love, Kyotoâs cherry blossoms in spring, the fiery autumn colors, the misty forests, and those magical firefly scenes in Hyogo during summer. Every season there feels like a completely different world. Even though Iâve been back many times, I still have certain lighting and weather conditions I want to capture, so Iâll keep chasing those visions until I get them.
What editing software do you use?
I mainly use Lightroom for most of my workflow, and then Photoshop for fine-tuning. I also use the Nik Collection plug-in to adjust contrast and color. My editing style is quite subtle, I donât like over-processing. I want the final photo to look natural, like you could have been standing right there with me.
What role does composition play in your images?
Composition is one of the most important parts of photography for me. Itâs what guides the viewerâs eye and tells the story within the frame. In the field, I always try different compositions, changing perspective, height, or angle and later I choose the one that feels the most balanced and emotional. Good composition isnât about rules; itâs about how the image feels when you look at it.
How important is light in photography?
Light is everything. Photography literally means âdrawing with light,â and without it, nothing else matters. Light defines the tone, the depth, and the emotion of an image. Whether itâs the soft light at sunrise, the harsh light at noon, or the golden tones of sunset, each creates a completely different mood. Understanding light is a lifelong lesson for every photographer.
How did you find your signature style?
I donât know if I have a âsignature style,â but I try to make every photo feel true to the moment I experienced. I plan my shots carefully, then edit them in a way that recreates both the scene and the emotion I felt. I want my photos to look natural but still carry my perspective. Over time, I think that honesty has shaped my style more than anything else.
What are some qualities a photographer should have?
Patience and Flexibility. No matter what profession you work in, patience (lots of it) is always an essential quality to have. Especially in photography, you need to be patient enough to wait for the perfect light. And most of all, you need to be patient enough to keep trying when you can't get the right shot. In addition to patience, you also need to be flexible. These two qualities go hand in hand - you need to be patient enough to deal with whatever comes your way, and you need to be flexible enough to make the most of unexpected conditions.
Detail-Oriented. Alway pay close attention to detail and capture all valuable aspects. In contrast, they can also help in removing details from photographs during post-production which are not suitable for the photo.
Curious and ready to face difficult situations. Always be like a child who is always curious to explore the world around them and you will always find something interesting. Difficulties always appear and when you overcome them you will receive special results.
Do you prefer shooting alone or with company?
I always prefer shooting alone. Photography, for me, is a form of meditation. When Iâm alone, I can move at my own pace, think clearly, and take in the environment. When I shoot with other people, I tend to rush or get distracted. I like having the time to wait, sometimes for hours, until the scene feels right.
What kind of music or atmosphere helps you get into a creative mindset?
The rest, 6 more questions, of this Interview are for Premium subscribers only.
Harloweâs New Portable Lights
Harlowe has introduced two new continuous LED lights, the Max Air 40 and the Pro 300 Spectra for photographers and filmmakers who work in both studio and on-location environments.
The Max Air 40 is a compact 40-watt light that runs on battery power and is built for portability. It outputs around 3,500 lumens through a fixed 23-degree lens and allows colour temperature adjustment between 2,700 K and 6,500 K. The light uses swappable 55Wh and 99Wh batteries, both rated for weather resistance, which makes it suitable for outdoor use.
Accessories like barndoors, gels, and diffusers attach magnetically, and the light can be controlled through Bluetooth using the Harlowe app. Despite its small size, it keeps the same build quality and design details seen in Harloweâs larger lights, including the brown vegan-leather finish.
The Pro 300 Spectra is a more powerful model in the companyâs Pro lineup. It uses a 300-watt LED engine and offers a wide colour range (from 1,700 K to 10,000 K) as well as over 36,000 possible colours. Brightness can be adjusted continuously from 0 to 100 percent.
The head can rotate 360 degrees, and a quiet 28 dB fan keeps it cool during use. The light can run on AC power or two 99Wh Max Battery Packs, giving it flexibility for studio and field work. It includes a Bowens-compatible mount for modifiers and can be controlled either through a detachable control panel or the app.
Harlowe is selling the Pro 300 Spectra in two versions: the Standard Kit for $1,999 USD and the Creator Kit for $2,499 USD, which includes a softbox and carbon fibre stand. The Max Air 40 is priced at $549 USD.
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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: @leanderhoefler
Letâs Analyse this Image:
Composition & Framing
What works well:
The framing is pretty smart, minimal yet balanced. The bridge sits perfectly in the upper third, cutting the photo cleanly, and the woman is placed beautifully right below it â> that placement creates a strong compositional link between our subject and the bridge.
The timing here is obviously great, catching the woman right where the bridge pillar visually âpointsâ down to her feels very satisfying. It is a subtle but really strong compositional moment especially because the rest of the frame is pretty empty, so that compositional detail really stands out.
The buildingâs roof cutting into the top left corner is a nice touch too. It fills the space, breaking up the emptiness of the sky and adding an extra layer. That small element gives the photo more depth/a 3D effect.
The leading line here is interesting, there is really just one dominant one (that points to our subject), that vertical pillar of the bridge, as noted before it naturally guides the viewerâs eye down toward the woman.
What could be better:
The womanâs position could use just a tiny bit more space below, she is a bit close to the bottom of the frame. Letting her âbreatheâ visually would open up the scene a bit more.
The top-left roof works compositionally yes, but it might feel a little heavy for some, slightly reframing it could help make it feel less dominant while keeping the nice layering (which is definitely a plus!).
Light & Atmosphere
What works well:
The light is very clean and even. It is bright but not harsh, which really suits the minimalist tone of the scene.
The soft blue of the sky and the natural light reflecting off the water create a very calm/ââweightlessââ atmosphere. It feels just feels peaceful in my opinion
The edit keeps the natural feeling alive, there is no over-contrasting or added warmth, it just looks like it was shot and gently refined.
What could be better:
The light could use just a hint more contrast in the foreground, bringing out some subtle shadow and texture in the pavement would help give the scene a little more dimensionality.
Everything is lit very evenly. A bit of gradient (maybe a softer falloff toward the water or sky) could add a touch more visual depth.
Emotion & Story
What works well:
We have one person walking alone by the water, surrounded by clean geometry and open space. It feels peaceful, quiet, reflective.
The bridge adds a sense of connection and place, even without necessarily knowing the location (itâs Lisbon, Portugal). The size of the bridge compared to the woman gives a nice feeling of scale as well.
It definitely has a street photography vibe just with a minimalist touch, which is not that common. Street photography usually ââimpliesââ rush, business, chaos etc.
What could be better:
Strictly storytelling-wise, it is a bit limited because we canât see much of the woman herself. We donât know what she is carrying, her facial expression etc. we can only guess she is maybe out for a walk or just lost in thought. A little more visible detail about her could have added narrative depth.
Colour & Tone
What works well:
The colours are very natural and balanced â> soft blues, whites, and the warm reddish-orange bridge popping just enough to add contrast. The tones feel fresh, like the kind of palette you get in actual daylight with no filters.
The bridge colour pops nicely without being distracting, it is vibrant enough to catch your eye, but still fits naturally into the environment. It adds energy without overpowering the calm mood.
The soft, pastel-like tones of the water and sky pair really well with the clean architecture model architecture in the foreground, it keeps everything minimal but not sterile and cold.
What could be better:
The photo could maybe use a slightly richer tonal range, just a bit more depth in the shadows or warmth in the highlights would give it a stronger presence, but it really depends on what you are going for.
The skyâs colour is lovely but very flat, a slight gradient or tonal variation would have added more visual interest and depth.
A subtle bump in contrast could help the woman stand out a bit more from the pale surroundings, especially since everything is so tonally close.
Balance
The photo is balanced pretty well. The calm and open sky counterbalances the more detailed foreground, and the strong horizontal line of the bridge stabilises the whole frame.
The woman anchors the lower third and the bright red bridge keeps your eye moving upward and outward.
The roof at the top left adds weight (maybe a tiny little touch too much) but it definitely also gets balanced out by pavement down below + it adds a bit of symmetry which is always nice to have.
Photographer of the Week
Photographer of the week goes to: iso
A few photos of his:
The Rest of this Issue is for Premium Subscribers
