đ¸ The Magazine For Photographers
A New Sunday means a brand new Issue of my Magazine. Another wonderful one enjoy the read :)
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In this Issue
The Canon RF 16-28mm f/2.8 IS STM
Canon just dropped a new lens for their EOS R-series mirrorless cameras, and itâs definitely worth talking about. The RF 16-28mm f/2.8 IS STM is the latest addition to their affordable, lightweight f/2.8 zoom lineup. If youâre into ultra-wide shots but donât want to lug around something massive (or break the bank), this oneâs for you.
First off, itâs tinyâwell, tiny for a full-frame f/2.8 zoom. Weâre talking 445 grams (15.7 ounces) and just 91mm (3.6 inches) long when retracted. For comparison, Canonâs RF 15-35mm f/2.8 L IS is nearly double the weight and significantly longer. And while the pro-level L-series lens will obviously outclass it in performance and build quality, the RF 16-28mm f/2.8 has a different goal: itâs built for creators who want fast glass thatâs light, portable, and a lot more affordable.
Speaking of affordability, this lens lands at $1,149. Sure, thatâs $50 more than its sibling, the RF 28-70mm f/2.8 IS STM, but itâs still a steal compared to the $2,399 RF 15-35mm f/2.8 L. If youâre looking to cover 16mm to 70mm with a constant f/2.8 aperture, you can grab both STM lenses for about $2,250âlighter and cheaper than just one RF 24-70mm f/2.8 L IS USM.
Now, yes, there are compromises. You lose a bit of range compared to the 15-35mm on both ends, and the RF 16-28mm isnât built to the bulletproof standards of the L lenses. That said, Canon has still packed a lot into this little zoom. Itâs got 16 elements in 13 groups, including two aspherical lenses and four UD lenses, so itâs not cutting corners optically. Canonâs also leaning on its in-camera corrections to handle things like focus breathing and vignetting, which can be noticeable, especially at 16mm.
Autofocus is handled by Canonâs STM tech, which is quick, quiet, and smoothâperfect for both stills and video. The lens can get pretty close, too, with a minimum focusing distance of 0.2 meters and a max magnification of 0.26x at the long end. Stabilization is solid, offering 5.5 stops of optical correction, or up to eight stops when paired with a camera that has in-body image stabilization.
Build-wise, itâs dust- and drip-resistant, though not as rugged as Canonâs L lenses. Also, like the rest of Canonâs non-L RF lineup, it doesnât come with a lens hoodâyouâll have to buy that separately if you want one.
Image credits: Canon
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Interview with Roger Janssen
Im very honoured to have had the opportunity to interview Roger Janssen. His photographs often take place in the moody and foggy nights of Amsterdam.
You can find him on Instagram as: @pictorlux
Enjoy the amazing Interview ;)
Can you tell us a bit about yourself ?
My name is Roger. I am Dutch, live in Amsterdam. My dayjob is in IT. One of my hobbies is photography next to travel, scuba diving and the occasional concert-visit as well. Given that I live in a photographic city and nature in the Netherlands isn't that grand, shooting urban scenes has come natural. I enjoy going out in tough weather. Blizzards, dense fog, a bit of rain... love it. But I don't turn down a warm 5:30AM hazy summer sunrise.
How did you get into photography?
My father was a graphic designer and worked for an advertising agency and filmed and photographed a bit on his job... and I regularly needed to be in the frame. Didn't like being in front of the camera but when I got an old box camera, I was sold on it. So from when I was a kid I liked photography but the digital revolution really drew me in because it allowed me to easily do my own "development".
How do you approach shooting in low light situations, and what equipment do you use to achieve the best results?
In my moody night and blue hour shots I don't care much about the darker areas. I am only interested in that little bit of light in the scene (street lights, windows) and make sure I don't blow them. So I always expose for the highlights, often underexpose from -0.7 to -2EV. My subjects are in the lit area, so they will be allright. They are mostly silhouettes so there is no need to preserve details on them. I often shoot wide open creating depth and subject isolation and I have no problem raising the ISO just to make sure my shutterspeed is fast enough.
For this I use either fast weather sealed zooms (ranging from 24mm to 300mm 35mm equivalent) so I have a fast aperture and can shoot in any weather without worrying. Sometimes I just go wild and mount one of my f 0.95 Voigtlander lenses to have a bit of low light fun.
What is your dream shooting location and why?
Not going to limit myself here. New York City is probably top of the list. But Paris and my home town Amsterdam dream material as well. Never been to Lisbon but that is also on that list. Etretat (France) is a dream location. And hey... I would gladly visit the Grand Canyon again now that I am a half decent shooter.
What were the difficulties you encountered first starting photography?
Having no idea what I actually liked to shoot, no focus, no direction. Not having proper skills and always being surprised (disappointed) my shots never looked close to the shots I saw in photobooks. And the cost of the hobby... it is expensive.
Do you think anyone can be a photographer? And if so, what do you think is the most important feature?
Yes... I believe anyone can be a photographer. I think it helps if you have a photographic mind... that when you look at the world you see frames everywhere. That when you look at a scene you immediately know how to transform that into a touching image.
What gear do you use?
I currently use Olympus cameras (MicroFourThirds system). I have three bodies and they all fit into one small backpack, mostly mounted with my fast 24-80mm/f2.8 and 80-300mm/f2.8 zooms and one with my 35mm/f1.2 prime Olympus lenses (focal ranges in 35mm equivalent numbers). And for additional fun I sometimes mount one of my three super fast manual f0.95 lenses. And on occasion I shoot 35mm film as well. I have some Olympus OM2 SLR bodies and some other brand compacts.
What does photography mean to you?
It is a perfect way to be creative, to capture a fleeting moment in time, to meet new people and to get out and explore a location.
How do you use lighting in your photos?
I think lighting is the most important feature in my photos. In my darker moody shots I have artificial lights that often make the image. So they play an important role in the composition... a leading line... negative space. Or they inject some extreme color in the image. My dayshots often have some georgeous golden hour sunlight in them, warm, long shadows. And I like to shoot against the sun!
What do you think makes your work unique?
The rest, 4 more questions, of this Interview are for Premium subscribers only.
Fujiâs Instax Wide Evo
Fujifilm just unveiled the Instax Wide Evo Hybrid Instant Camera, and itâs an exciting mashup of their Instax instant camera lineup and smartphone printer tech, all wrapped into one device. If you liked the Instax Mini Evo that launched in 2022, this is basically its bigger, more feature-packed sibling. The Wide Evo lets you shoot wide-format photos that print onto Instax Wide film while also giving you the flexibility to edit, store, and share your images digitally. Itâs essentially the best of both worlds for instant photography fans.
The camera stands out for having the widest lens ever on an Instax camera, clocking in at an equivalent 16.67mm. Fujifilm has even included an option to shoot in a standard width or go even wider. Just like the Mini Evo, the Wide Evo offers 10 lens effects and 10 film effects, giving you 100 creative combinations to experiment with. Plus, thereâs âDegree Control,â which lets you adjust how intensely each lens effect is applied to your shots.
On top of all that, Fujifilm added five new film styles to mix things up even more: youâve got a cinematic look with those dramatic black bars, a classic film strip vibe, a retro date/time stamp, a vintage collodion-style effect, and even a contact sheet-inspired look. The creative options feel endless, which is perfect for anyone who loves to play around with their photography.
The back of the camera has a 3.5-inch LCD screen because, technically, this is a digital camera too. From the screen, you can edit, apply effects, and print your photos. The Wide Evo can print up to 100 photos on a single charge, and while it has a built-in memory for about 45 images, thereâs also a microSD card slot for extra storage.
One cool feature is that youâre not limited to printing just what you shoot on the camera. With the Instax Wide Evo smartphone app, you can print photos straight from your iOS or Android device. The app also unlocks remote shooting and additional editing tools, making the Wide Evo a versatile hybrid device. Oh, and if youâre feeling social, thereâs a new âDiscoverâ feed in the app where you can check out photos shared by other Wide Evo users.
As if that wasnât enough, Fujifilm also dropped a new Brushed Metallics instant film pack. It comes with dark gradient borders and is compatible with all Instax Wide cameras, the Link Wide printer, and, of course, the Wide Evo. Each pack has 10 sheets and is a nice way to add some extra flair to your prints.
Hereâs the breakdown on pricing and availability: the Instax Wide Evo will come in a black and gray finish (just one style) for $349.95. A matching black case will be sold separately for $49.99. The Brushed Metallics film packs will cost $24.99 each. Everythingâthe camera, the case, and the new filmâis set to hit shelves in February.
Image credits: Fujifilm
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: @stephenhammphotography
Letâs Analyse this Photo
Composition
Pros:
The photo has an incredible leading-line effect: the river pulls the viewerâs eye from the foreground to the glowing light in the distance, perfectly centered.
The symmetry between the canyon walls gives the image a balanced feel.
The reflection of light in the water adds depth and connects the foreground and background beautifully.
Cons:
While the symmetry is striking, it might feel slightly too rigid for some viewers, making it less dynamic.
Lighting
Pros:
The glowing light in the distance creates a magical focal point and adds a sense of wonder.
The transition from the warm glow to the cool tones of the starry sky is seamless and visually stunning.
Cons:
The foreground water is slightly underexposed, losing some detail that could make it even more engaging.
The light at the center could appear a bit overprocessed for some tastes, as it feels slightly unnatural in its intensity.
Color Palette
Pros:
The natural tones of the canyon and water are vibrant but not oversaturated, maintaining a realistic yet impactful look.
The Milky Way adds depth and a sense of scale, introducing purples and whites to the palette.
Cons:
The reflection in the water could benefit from more saturation or clarity to tie it in better with the dramatic sky.
Sky and Background
Pros:
The Milky Way is a show-stopperâitâs crisp, detailed, and adds a sense of vastness and timelessness.
The skyâs transition from deep blue to black blends naturally with the composition, giving a cohesive finish.
Cons:
The Milky Way is so striking that it competes with the glowing canyon light for attention, potentially splitting focus.
Photography Tip of the Week
The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.
Photographer of the Week
Photographer of the week goes to: Rebecca B Traveller
You can find her on Instagram as: @rebeccabtraveller
A couple of her images:
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The Rest of this Issue is for Premium Subscribers
