📸 SNAPSHOT - Issue 95
Welcome to a brand new Issue of my Magazine. A truly brilliant one, enjoy the read :)
In partnership with
In this Issue
Brightin Star’s 24mm f/1.8 Lens - A Closer Look
This week, Brightin Star quietly added a new autofocus prime to its growing lineup with the release of the AF 24mm f/1.8 for Sony E and Nikon Z mounts. It is a full-frame wide-angle lens meant for photographers who want something fast, reasonably compact, and relatively affordable.
A 24mm focal length has long been a popular choice for photographers who want a wide view that still feels natural, and Brightin Star leans into that idea here. The lens offers a field of view that works well for layered street scenes, interiors, and landscapes, while also being close enough for environmental portraits. The minimum focusing distance of 0.32 meters lets you get in tight when needed, which opens the door to more dynamic wide-angle compositions where the subject and surroundings share equal importance.
In terms of size and weight, the AF 24mm f/1.8 comes in at around 444 grams and measures roughly 75mm in diameter and 88mm in length. Optically, the lens uses a 14-element, 11-group design that includes ED and aspherical elements to help control distortion and maintain sharpness across the frame. Brightin Star says the goal is consistent performance from center to edge, especially important for architectural and landscape work. One notable detail is the 14-blade aperture, which stands out at this price point. The extra blades are intended to produce smoother, rounder bokeh and a gentler transition between in-focus and out-of-focus areas, even when the lens is stopped down slightly.
The f/1.8 maximum aperture plays a big role in the lens’s appeal too. It allows for more flexibility in low-light situations and gives you the option to isolate subjects when working close, even with a wide-angle perspective. Brightin Star describes the rendering as sharp but not overly clinical, with a smoother roll-off that leans toward a more cinematic look straight out of camera rather than an aggressively contrasty one.
Autofocus is handled by an STM motor, which Brightin Star says is tuned for both photography and video. The motor is designed to be fast and quiet, and the company highlights near-zero focus breathing as a key feature. That is particularly relevant for videographers who want stable framing when pulling focus, making the lens a more dependable option for handheld or gimbal work. For long-term usability, a USB-C port built into the lens barrel allows firmware updates without relying on camera-based updates.
The lens is available now for Sony E and Nikon Z mounts at $309.99. Brightin Star notes that availability may vary by region, with additional retail details expected to roll out through its official channels and partner stores.
Looking at this lens in context, it lands in a fairly competitive corner of the market where a few other relatively affordable autofocus wide-angle primes already exist. One of the most obvious comparisons is the Viltrox AF 24mm f/1.8, which is available for the same mounts and usually sells for a bit more, though still under the $400 mark. The Viltrox option is noticeably lighter and slightly more compact, which makes it appealing for photographers who prioritize portability above all else. Optically, it delivers solid sharpness and reliable autofocus, but its simpler aperture design and overall rendering tend to feel a bit more utilitarian.
Another lens that often comes up in this price range is the Samyang AF 24mm f/1.8, also sold under the Rokinon name in some regions. This lens has built a reputation as a dependable, wide-angle prime for street and travel photographers, with quick autofocus and respectable image quality for the money. That said, its optical character is more neutral and technical, and while it performs well (according to several reviews), it doesn’t lean as heavily into the cinematic rendering or close-focus flexibility that Brightin Star is emphasising with its new design.
A few sample shots from Brightin Star’s 24mm lens:
Learn The Art Of Photography
Get full and free access to my Creator University - The World’s Best Online University for Photographers & Creatives: Get access to hundreds of amazing photography courses, learn from professional photographers, connect with students and much more!
Interview with Tommi Viitala
This week’s Interview with Tommi, a talented photographer from Finland. I am truly honoured to have had the opportunity to interview him again, this time with a closer look at his newer work!
You can find him on Instagram as: @tommiviitala
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself?
I’m Tommi Viitala, a street photographer based in Helsinki, Finland. I’ve worked in the creative industry for a long time, so visual thinking has always been part of my everyday life. Street photography came a bit later, but once it did, it stuck. I’ve been seriously exploring street photography for a little over four years now, and it has become one of the most important creative outlets for me. What attracts me most is the contrast between order and chaos in city life. I’m drawn to strong light, deep shadows, and small moments that most people pass without noticing. Helsinki is a great place for that, the light changes dramatically with the seasons, and the city has a quiet rhythm that suits the way I see things.
How did you get into photography?
I started photographing with film cameras back in the 1990s. At first, it was more about curiosity than intention, learning how a camera works, how light behaves, and how an image comes together. Photography was always there in the background while I worked in creative fields, but I didn’t yet have a clear direction. Street photography came later, when I realized I was more interested in everyday life than controlled setups. Walking through cities with a camera helped me slow down and pay attention. Over time, that turned into a need to document moments that felt honest and unplanned. Street photography gave me the freedom to react instinctively, without expectations, and that’s when photography became something more personal and meaningful.
How do you approach storytelling through your photos?
I don’t try to tell a fixed story. Instead, I focus on creating an image that suggests something. A moment, a feeling, a question. I like leaving space for the viewer to complete the narrative in their own way. For me, that’s much more interesting than spelling everything out. Light, contrast, and composition are my main tools. I often use shadows to hide information rather than reveal it. That tension between what you see and what you don’t see is where storytelling happens for me. A single gesture, a silhouette, or a person passing through a beam of light can be enough to trigger an emotional response. If the image stays in your mind for a moment longer than expected, then it’s doing its job.
How do you define street photography in your own terms?
Street photography is about paying attention to real life as it unfolds in public spaces. It’s not staged, not controlled, and often unpredictable. You react to what’s happening rather than trying to impose your own ideas on it. You train your eye to notice patterns, light, and moments, but you also accept that you can’t control the outcome. Sometimes nothing happens. Sometimes everything aligns in a split second.
What attracts you to street photography compared to other types of photography?
In street photography there are no second takes, no rehearsals, no perfect conditions. You work with what’s there, in real time. That makes every photograph a small risk and that’s exciting. I also enjoy the challenge. Finding something visually strong in an ordinary environment forces you to be creative. You can’t rely on exotic locations or dramatic subjects. You have to see differently. That constant problem-solving keeps me engaged and motivated.
How do you capture emotion in your photos?
Emotion often comes from small details. Body language, posture, distance between people, or the way someone moves through a space. I pay close attention to those things, especially when combined with strong light or shadow. I rarely focus on facial expressions alone. Sometimes a silhouette or a partial figure can say more than a clear portrait. Shadows help simplify the scene and remove distractions, which makes the emotional content stronger.
What gear do you use?
I mainly use a Fujifilm X100F. It’s compact, quiet, and has a fixed 23mm lens, which suits my way of shooting perfectly. I like working within limitations, and a fixed focal length forces me to move and think more carefully. The camera doesn’t get in the way, and that’s important. I want to blend into the environment and stay unnoticed. The less attention the camera draws, the more natural the moments I can capture.
What are your favourite shooting conditions?
I enjoy all kinds of weather, but if I had to choose, strong sunlight with deep shadows is my favorite. Harsh light creates structure and contrast, which fits my style very well. Early mornings and late afternoons are ideal, when the light is directional and the streets are quieter. That said, overcast days also have their own beauty. Soft light can simplify scenes and highlight shapes in a different way. Each condition offers something unique if you’re open to it.
How do you approach photographing strangers in public spaces?
I usually shoot discreetly. I prefer candid moments because they feel more honest. I try to stay respectful and aware of my surroundings. That’s also why I rarely shoot direct portraits. If I do photograph someone more directly, I usually ask for permission afterward. Respect is essential. Street photography should never feel intrusive or aggressive.
Is there a genre you haven’t explored yet but would like to?
I’m very interested in longer documentary-style projects. Something more structured, where you stay with a subject or a place for a longer period of time. That kind of work requires patience and commitment, but it allows for deeper storytelling.
What does photography mean to you?
Photography is a way to slow down and observe. It helps me see the world more clearly. It’s also a personal archive of how I experience cities, light, and people at different moments in time. It’s not about productivity or output for me. It’s about staying curious and connected to my surroundings.
How did you find your photography style?
It happened gradually. By looking at my own images and noticing patterns, what I kept returning to, what felt natural. Strong contrasts, symmetry, shadows, and minimal compositions kept appearing, so I leaned into that. Influences matter, of course, but self-reflection matters more. Over time, you learn what feels honest to you and what doesn’t.
Do you have a favourite city for street photography?
Budapest is very special to me. The light, the architecture, and especially the metro stations create incredible opportunities. There’s a quiet drama in that city that really resonates with my way of seeing.
What are your thoughts on AI in photography?
AI can be useful for workflow and technical tasks, but photography is still about human perception. The decision of when to press the shutter, what to include, what to leave out, that’s human. AI should support creativity, not replace it.
Any tips for beginners?
Stay curious. Don’t rush to define your style. Walk a lot. Observe more than you shoot. And don’t be afraid to fail, mistakes are how you learn.
How important is lighting in photography?
Lighting is absolutely essential. It shapes the mood, defines the subject, and gives depth to an image. I especially enjoy working with natural light, using shadows and highlights to create tension and atmosphere within the frame.
How important is composition?
Composition is how you guide the viewer’s eye and create balance within the chaos of the street. A strong composition can turn an ordinary moment into something visually compelling and memorable.
What editing software do you use and how long does it take you to edit a shot?
I use Adobe Lightroom for editing. My approach is very subtle, and editing usually takes anywhere from five to fifteen minutes per image. Honestly, I’m quite lazy when it comes to editing street photos. I prefer to get as much right as possible in-camera and keep post-processing minimal.
Do you listen to music while shooting?
Sometimes I do, sometimes I don’t. Music can help set a rhythm when walking, but I also like hearing the city, the footsteps, conversations, and ambient noise. It depends on my mood and what kind of headspace I want to be in that day.
How do you deal with creative blocks?
The rest, 5 more questions, of this Interview are for Premium subscribers only.
Benro’s Electronic Variable ND Filter
Benro has introduced the NE1, an electronic neutral density filter system that lets users adjust ND strength electronically instead of by physically rotating the filter. The system is designed to cover a range from roughly ND3 to ND64 and is meant for photographers and videographers who regularly work in changing light.
So far, Benro hasn’t shared full technical documentation for the NE1. As noted by CineD, the company has released a general overview and a set of key features ahead of the product’s official launch.
Unlike traditional variable ND filters, which rely on rotating glass elements to change density, the NE1 adjusts exposure electronically. It supports both manual control and an automatic mode. In auto mode, a built-in optical sensor reads the surrounding light and adjusts the ND level in real time to keep exposure consistent as conditions shift. The system also includes Bluetooth support, allowing users to control the filter remotely with a dedicated wireless controller.
For photographers, this could be especially useful for timelapse work or long shoots where light changes gradually. Automatic adjustment may help reduce flicker or exposure jumps between frames. The same setup can also be used for long-exposure photography or for keeping apertures wide open in bright daylight without constantly swapping filters.
On the video side, variable ND filters are already a standard tool for maintaining consistent shutter speeds, especially when following a 180-degree shutter angle. With a conventional variable ND, exposure changes usually require manually turning the filter while recording. The NE1 removes that step, allowing the filter to adjust on its own or via remote control during a take.
Electronic ND systems aren’t new. Some cinema cameras, including several Sony models, already use built-in electronic ND filters. Liquid crystal ND solutions have also existed in high-end cinema gear for years, though they often cover a narrower density range.
Benro says the NE1 uses multi-layer Corning optical glass with nano-coatings designed to reduce flare, maintain colour accuracy, and avoid noticeable colour casts. The filter mounts using a spring-loaded holder that fits lenses with filter threads from 67mm to 82mm, meaning one unit can cover a wide range of lenses without step-up rings.
The company has not shared a release date or pricing yet, but interested users can sign up on the company’s website to receive updates as more details become available.
Get your Photos featured in this Magazine for Free
I am currently testing a new feature, where everyone can get a completely free chance to be featured in my magazine and get seen by thousands of photographers.
Advertisement (Absolutely make sure to check it out) ⬇️
This newsletter you couldn’t wait to open? It runs on beehiiv — the absolute best platform for email newsletters.
Our editor makes your content look like Picasso in the inbox. Your website? Beautiful and ready to capture subscribers on day one.
And when it’s time to monetize, you don’t need to duct-tape a dozen tools together. Paid subscriptions, referrals, and a (super easy-to-use) global ad network — it’s all built in.
beehiiv isn’t just the best choice. It’s the only choice that makes sense.
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: @schoenberg.alexander
Let’s Analyse this Image:
Composition & Framing
What works well:
The runner is caught at a perfect moment —> mid-air, legs apart → which instantly elevates the shot and makes it look special. It genuinely has that “Jordan logo” look almost hahah.
The shadow not connecting to the runner is such a strong visual detail in my opinion. It almost creates two subjects, the runner himself and his shadow. That separation is incredibly satisfying.
His long shadow stretches diagonally across the frame and acts as a powerful compositional element on its own (sort of like a leading line pointing at the runner).
The overall layout of the street works well, with lines and markings guiding your eye naturally through the frame.
The depth is also pretty great. As just touched on, you basically have multiple lines leading from I would say the bottom right to the top left in the distance (so diagonally) which creates a really nice depth effect. Also the fact that the sun is in the top left and all the lines also go into the top left is really nice compositionally speaking since that is already where you as the viewer will naturally end up looking -> the eyes always go where to light is.
What could be better:
The frame might be a bit wide, which slightly reduces the visual impact of the runner. A tighter crop could have made the moment feel even stronger.
A few elements on the left side especially (traffic lights, signs) pull attention away from the clean geometry and the runner himself (but that is obviously tuff to manage in a given space).
Light & Atmosphere
What works well:
The golden-hour light is handled really nicely overall. Yes, the sun in the top-left corner is a bit blown out, but the glow itself feels controlled and intentional rather than overpowering.
What really works and what I really like is that not everything is drowned in yellow. You still get colour separation (the red bike lane, the green trees, the neutral asphalt) so the scene keeps some balance instead of turning fully monochrome/yellow tinted.
The sun being this low creates those insanely long shadows, and that’s honestly the magic of the shot. It gives the photo a ton of drama and visual interest.
The atmosphere feels very calm and open, very early morning vibes.
What could be better:
The highlights around the sun are definitely pushed a bit. Pulling them back slightly would help recover some detail without losing the mood.
Some of the side areas (especially one the right) fall into very deep shadow, which hides a bit more of the environment than necessary.
The light dominates the scene a lot, which works, but it does mean everything else has to fight harder for attention (I don’t know how it is for you but for me personally I almost look at the sunlight first and only then the runner).
Emotion & Story
What works well:
The running alone tells most of the story. You immediately read → runner, early morning, calm, ‘‘before the city really wakes up’’ etc.
The more or less empty street gives the runner basically full ownership of the space, making the moment feel a lot more personal and isolated.
What could be better:
We don’t get any emotional cues from the runner himself no face, no expression, which normally always helps in painting a better picture. In this shot we mostly create the narrative through the atmosphere.
Colour & Tone
What works well:
As mentioned before, the colour balance is solid. Even with the strong sunlight, you still get variation across the scene.
Again → the red in the street and the green trees help break up the warm tones and keep things visually interesting.
There is a bit of warm-cool interplay between light and shadow which adds depth and dimensionality.
What could be better:
Some shadow areas lean a bit too dark and lose a bit of tonal detail.
The brightest highlights could be softened slightly for a smoother tonal transition.
The runner blends a bit into the road tonally, a touch more contrast could help him pop even more and help him compete better with the sun.
Balance
The balance works largely because the shadow carries so much visual weight across the frame.
The runner and his shadow counteract the openness of the street really well.
Check Out Simple Photo Gallery
*advertisement
Turn your photo folders into a modern, clean portfolio page in minutes - without touching a website builder. Upload your work, organize it into galleries, and present each set the way it was meant to be seen. Add captions and rich descriptions to give viewers context, highlight the details you care about, and create photo stories worth sharing. Then send a single link to clients, friends, or anyone who loves photography.
Photographer of the Week
Photographer of the week goes to: Irene Ruysch
You can find her on Instagram as: @irene.ruysch
A few photos of hers:
The Rest of this Issue is for Premium Subscribers
