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Meike’s New 85mm f/1.8 Lens

Meike has rolled out an updated version of its budget portrait prime, the 85mm f/1.8 SE II, a full-frame autofocus lens now available for Sony E, L-Mount, and Nikon Z. It replaces the original AF 85mm f/1.8 from 2022 and continues a line that actually goes back to Meike’s first autofocus lens in 2018, which was an 85mm for Canon DSLRs. This new version keeps the same general idea as earlier models but brings a handful of practical upgrades that should make it a bit nicer to use day-to-day.

Meike says the SE II has better control over chromatic aberration, cleaner overall image quality, faster autofocus, and a noticeably shorter minimum focusing distance. The lens can now focus down to 0.65 meters (2.1 feet), shaving about 20 centimeters off the previous version. That may not sound dramatic, but it gives a bit more flexibility for portraits and close details where the older one felt slightly limiting.

The internal design has been reworked too. The SE II moves from nine elements in six groups to 11 elements in seven groups, and the aperture now uses 11 blades instead of nine, which should help with smoother out-of-focus areas. Even with the added glass, the lens ends up a little lighter than before (369 grams instead of 386 grams) and the filter thread shifts to 62mm.

Meike’s own description of the rendering leans into the usual language about sharp details and soft backgrounds, though the real appeal here is that it offers the classic 85mm f/1.8 look without requiring a big investment. The shorter focusing distance, new aperture design, and faster AF all help round out a lens that aims to be accessible without feeling like a bare-bones compromise.

In the broader landscape, the SE II sits up against first-party 85mm lenses from Sony, Nikon, and Panasonic, all of which cost several times more. Those models are known for their consistency and image quality, but they are also priced in a different bracket entirely.

The Meike 85mm f/1.8 SE II is available now for $229.99.

A few sample shots:

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Interview with Moses Aurelius

This week’s Interview with Moses, a talented photographer based in Sydney. 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: @moses.aurelius

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

Hey, I’m Moses, I’m a photographer based in Sydney, and I’ve been taking photography seriously for about three years now. The funny thing is, I never expected this to become such a big part of my life. I’ve always loved movies, music, late–night drives, neon lights, anything with atmosphere and I think that naturally pushed me toward photography without me even realising it.

I shoot a mix of genres night, street, portraits but recently I’ve been leaning more and more into abstract street photography. I like isolating shapes, silhouettes, reflections, shadows… anything that lets me turn reality into something a little strange or cinematic. I enjoy when people look at one of my photos and pause for a second because they aren’t exactly sure what they’re looking at. That moment of confusion or curiosity is kind of the whole point for me. Photography has become this outlet that blends creativity, problem–solving, storytelling and a bit of escapism into one hobby or I guess calling it a “hobby” isn’t accurate anymore. It’s definitely part of who I am now and I do it semi professionally too.

What got you started with photography?

I picked up a camera right before COVID hit, which was honestly the perfect time in hindsight. Before that, I was in a pretty aimless phase of life where nothing felt exciting or meaningful. I just knew I needed something that would give me structure and a sense of direction. When I tried photography for the first time, something just clicked. I didn’t even know what I was doing, but I loved the feeling of walking around with a camera, noticing things I never paid attention to before. During lockdowns, when the streets were empty and the world felt weirdly still, I had the time to experiment. I’d wander around at night capturing reflections, shadows and strange little moments that only happen at that time. So yes, photography kind of found me at exactly the right moment. It filled a gap in my life with something creative and challenging.

When you go out to shoot, do you have specific shots in mind or is it all freestyle?

For street and abstract work, it’s almost entirely freestyle. I usually have a loose idea of where I want to walk like a neighbourhood or a certain block that gets nice reflections after rain but I rarely go out with a storyboard in my head. If I try to force a specific shot, I usually end up disappointed or frustrated. The best moments always show up when I’m not expecting them. My shooting routine is more like: pick a direction, start walking, and let the night decide what happens. I look for interesting shapes, glow, silhouettes, weird colour combinations. Sometimes I’ll walk for an hour without taking a single photo, and then suddenly I’ll find three shots in the same location.

With portraits or paid work, I plan more. I’ll think through poses, lighting, and mood boards. But even then, if a new idea comes during the shoot, I’ll follow it. Balance is where the magic usually happens.

What are your favourite shooting conditions?

Rainy nights and it’s not even close. Rain transforms the city into this reflective playground. Everything feels softer, moodier, almost cinematic without trying. The colours feel richer, the streets emptier, the light more dramatic. It’s the perfect environment for abstract street photography because you can distort reality naturally. Everything becomes more interesting when it’s wet. I also love fog, but we don’t get it often here. Fog turns the city into a giant light diffuser and that’s like gold for someone who loves silhouettes and long lenses. But yeah, give me rain at night, and I’m in my element.

What gear do you use?

I shoot on a Canon R5, which has honestly been the best camera for the way I work. It’s fast, reliable, and handles low light like a champ, which is exactly what I need. I pair it mainly with RF lenses and a couple Sigma primes. Each lens has its own personality, but my current obsession is the RF 70–200mm f/2.8. That lens changed the way I compose. It compresses scenes beautifully and lets me isolate tiny details from far away. It forces me to look deeper and find little pockets of atmosphere that you’d miss with a wider lens. I also love the Sigma primes for when I want shallow depth and more of a dreamy, cinematic vibe. Gear isn’t everything, but having tools that match your vision does make a huge difference.

What is your favourite editing software and how much time do you spend editing?

Lightroom Classic is my home base. I use Photoshop too, but Lightroom is where the actual look of my images comes together. Because my style leans toward atmospheric and abstract, editing is a huge part of the process for me. I love taking a raw file and slowly shaping the mood. Some photos take 20–30 minutes, but the more complex ones can take hours. Sometimes I’ll export a version, stare at it for a day, and then go back and redo half the edit. It’s all about finding a balance where the image feels surreal but still grounded in reality. Editing isn’t a chore for me, though. It’s more like painting. I genuinely enjoy the process of sitting down with a coffee and tuning the colours and tones until everything works.

What keeps you motivated?

Other photographers keep me motivated. The community is full of people who genuinely love creating and that energy is infectious. When someone messages me saying a photo inspired them to go shoot, that is amazing. It makes all the late-night walks and long editing sessions feel worth it.

I’m also motivated by the challenge of trying to outdo myself. Photography is one of those things where you never really “arrive.” There’s always something new to learn, new techniques, new lighting conditions, new ways to see everyday scenes. That keeps me excited.

What do you try to transmit through your work?

These days, I try to create images that feel like scenes from a dream or a dystopian film. A lot of my photos focus on a single isolated subject in an environment that feels slightly off. I don’t usually try to force a message. I prefer when people look at my work and interpret it through their own emotions and experiences. Some people say my photos feel lonely. Others find them peaceful. Some even say they look like movie stills from a sci-fi film, some think they are AI generated (I can assure you they are not). I enjoy that diversity because it means the images trigger genuine reactions.

Who or what inspires you?

A lot of my inspiration comes from filmmakers like Christopher Nolan, Denis Villeneuve, Ridley Scott, Wong Kar–wai. They’re masters of mood and visual storytelling. I love how they use colour, silence, shadows, and perspective.

Photography–wise, @henrifilm and @wrapped.nil have pushed me to experiment more and lean deeper into abstraction. The way they break rules and distort reality resonates with what I’m trying to explore. But inspiration isn’t always external. Sometimes it comes from wandering the city at night and seeing a random light reflection that looks like something from another planet. The streets offer endless inspiration if you actually stop and take a look.

Any tips for beginners?

Shoot as much as you can. Don’t overthink gear. Master your camera so deeply that it becomes an extension of you. Try different genres, because each one teaches you something unique. And most importantly, don’t chase trends. Build your own way of seeing the world. The goal isn’t to copy your favourite photographers, it’s to figure out what YOU are drawn to, even if you can’t explain it yet.

How do you balance shooting for yourself vs. shooting for social media?

It’s tricky. Social media is this weird mix of inspiration and pressure. It’s easy to fall into the trap of shooting for the algorithm, especially when you see what people respond to the most. But I try to keep a clear line, the stuff that matters the most to me is the work I shoot for myself, the images that feel personal or strange or experimental. And honestly, a lot of my favourite shots aren’t even the ones that do well online. I’ve learned to treat Instagram like a gallery, not a scoreboard. If people like it, cool. If not, also cool. As long as I’m excited about what I’m creating, I’m happy. And ironically, the more I shoot for myself, the better my work gets and the more people connect with it naturally.

Do you think photography changed the way you experience your city?

Definitely, before photography, I used to walk through Sydney automatically, like anyone else going from point A to point B. But once you start shooting, your brain rewires itself. You stop seeing buildings and sidewalks and start seeing shapes, colours, patterns, shadows. Even rain feels less annoying because you know it’s about to make the entire city look magical.

What part of your creative process takes the most effort?

The hardest part is finding originality in environments I’ve shot a million times. Sydney is big, but when you shoot often, you eventually overlap routes and locations.

How do you know if a photo idea is actually going to work?

I don’t, not until I’m home editing. Something that looks incredible in the moment can end up looking flat or messy once it’s on the screen. And sometimes the photo I took “just for fun” ends up being the best shot of the night.

What’s a photography goal you hope to achieve in the next few years?

I’d love to eventually put together a photo book, something that showcases the abstract side of my street work in a way that feels cohesive and cinematic. And creatively, I want to experiment more with combining abstract photography with portraiture.

What’s something you used to do when you started photography that you’d never do now?

When I first picked up a camera, I tried to shoot everything, sunsets, food, pets, random objects in my room, basically anything. I didn’t know what I liked yet, so I was just experimenting with everything. Now, I’m way more intentional. I know I’m drawn to atmosphere, mood, abstraction, silhouettes. I also used to copy trends without thinking. Everyone was doing teal-and-orange so I did teal-and-orange. Everyone was shooting wide, so I shot wide. Today, I only shoot what feels right to me.

How do you keep your abstract shots from becoming too “random”?

This is something I had to learn. The trick is letting chaos exist, but giving it structure. When I shoot abstract scenes I still anchor the frame with something intentional like a person, a line, a light source, or a strong shape. That anchor stops the image from feeling messy. People look at the abstract elements because they have a stable point to hold onto.

What’s something non-photography related that has influenced your style?

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SanDisk’s ‘Plug-and-Stay’ 1TB SSD

SanDisk’s latest release is the Extreme Fit 1TB USB-C Flash Drive, a storage device that stands out mostly because of how small it is. It is being marketed as a “plug and stay” drive, essentially something you plug into a laptop and then forget about, and its size makes that a realistic use case.

Before getting into what the drive offers, it is worth remembering that SanDisk is still dealing with the reputation damage from its portable SSD failures over the last couple of years. Many users had no issues at all, while others lost data, so reactions to any new SanDisk product naturally vary.

With that context out of the way, the Extreme Fit is genuinely small. The 1TB version weighs 3 grams and measures 18.5 x 13.7 x 16 mm, small enough that the USB-C connector looks like it could almost swallow the rest of the device. It works with both macOS and Windows machines, though its glossy design feels a bit loud next to a MacBook’s more understated look. The whole idea here again is leave it plugged in and treat it like a semi-permanent extension of your laptop’s storage rather than a drive you constantly remove and reinsert.

Of course, shrinking a flash drive down this far comes with limitations. The Extreme Fit runs on USB 3.2 Gen 1, which tops out around 400 MB/s on all but the smallest capacity. That’s fast enough for offloading photos, moving project folders, or keeping backups handy, but it is nowhere near what you would want for video editing or anything that requires sustained high-speed access.

SanDisk’s Extreme Fit USB-C Flash Drive is already available. The 64GB version starts at $14.99, while the 1TB model, the one that showcases the drive’s main selling point, comes in at $109.99.

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Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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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: @capital.shutter

Let’s Analyse this Image: 

Composition & Framing

What works well:

• Our subject is nicely centred and framed by all the buses, they all form a natural tunnel that squeezes your eye right to the silhouette.

• The glowing light path on the wet ground acts like a visual funnel, guiding your eye straight into the centre of the image where the subject is standing/walking.

• The layering is great as well, foreground bus, mid-ground bus, deeper bus, then the person. That stacked structure gives it depth and a the 3D look.

• The iconic red London buses also instantly communicate place, you basically don’t even need to see anything else to know where this is.

What could be better:

• The left side is a little heavy, the one giant bus is visually massive and takes up a lot of space, making the frame feel slightly lopsided. A tiny step to the right would have balanced the it better while still keeping the silhouette perfectly framed/if not even framing it better.

• Some small objects in the lower-left foreground (like that box/bin thing) or maybe the couple signs on the right feel a bit distracting and don’t add much, but there is not a lot you can do about that.

• The ceiling is interesting structurally but so dark that it becomes almost dead space instead of usable compositional weight.

Light & Atmosphere

What works well:

• The light peaking through is probably one of the biggest reasons that make this photo work. It instantly adds mood and pulls your eye straight toward the silhouette.

• As touched on before, the wet pavement is perfect as well, it reflects the sunlight in a very golden and shimmery way that softens all the hard edges of the scene and it also brings out a lot of texture which is always a plus.

• The overall vibe is pretty cinematic. Dark, urban and gritty shadows mixed with the warm, glowing highlights gives it this film-like, timeless quality. Very atmospheric overall.

What could be better:

• The shadows are very heavy in some areas, especially up top around the ceiling and the edges, so some nice detail just disappears completely. Lifting them slightly wouldn’t ruin the mood.

• The sun flare is nice, don’t get me wrong, but slightly borders on “too much,” like it is about to blow out the whole centre. A slightly softer flare might have looked even cleaner.

• Some of the buses fall into darkness very quickly, losing readability. A little mid-tone lift could have helped.

Emotion & Story

What works well:

• The small silhouette against all the big buses creates a classic ‘small human vs. big city’ moment.

• The warm sunlight behind gives the moment this hopeful or transitional feeling, maybe the person is a bus driver starting their shift or judging by the light, finishing it.

What could be better:

• Since we only get a silhouette, we can’t read anything about who the person really is, no clothing details, no gesture clarity, nothing to really tell us more, we don’t know are they really a bus driver, or just a person that is walking through here etc. (obviously given the setting it is most likely a bus driver but we cant know for sure).

Colour & Tone

What works well:

• The palette works well overall —> deep red buses, warm golden sunlight, and cooler shadows. It is a pleasing tri-tone mix.

• The reds pop without feeling oversaturated, which keeps the whole photo grounded and still natural.

• The warm light on the ground adds life and contrast.

What could be better:

• Again, some shadows are crushed a bit too far, losing texture and making the blacks feel slightly empty.

• The highlights around the sun glow are close to blowing out, pulling them back a tiny bit could have added detail while still keeping the punch.

• Exposure feels slightly uneven, the buses in the back are noticeably darker than the one in front. Matching them more evenly might have smoothed it out better.

Balance

• The overall balance works thanks to the bright central glow acting as a magnet, but again the left side is a bit heavier because that huge bus dominates the frame.

• The glowing road helps anchor the bottom half of the image and prevents it from feeling top-heavy.

• The silhouette is placed perfectly and adds a much-needed visual anchor in the middle.

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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:

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.