đ¸ The Magazine For Photographers
Another Sunday, another brand new Issue of my Magazine. A truly amazing one, enjoy the read :)
In this Week's Issue
Cosinaâs Voigtlander APO-Lanthar 50mm f/3.5 VM
Cosina is set to launch three limited-edition Voigtlander APO-Lanthar 50mm f/3.5 VM lenses next month, each with a bold and unique design. These special versions retain the same top-notch specs as the standard model released earlier this year but stand out with vibrant new color options.
The lenses are compact and lightweight, measuring just 45mm (1.8 inches) long and weighing 235 grams (8.3 ounces). Theyâre built with a solid all-metal construction, including a smooth manual focus helicoid for precise adjustments. The 10-bladed aperture is manually controlled, and the lens offers a close focusing distance of 0.45 meters (17.7 inches), making it versatile for a range of shots. Inside, youâll find eight elements in six groups, including four special glass elements designed to tackle pesky chromatic aberrations and deliver exceptional image quality.
But the real showstopper here is the design. These limited-edition lenses come in three striking colorways: olive green, medium gray, and blue. Each features a vibrant focus ring paired with a classic silver body and includes matching lens hoods and pouches. Only 250 units will be made in each color, and each lens will have its unique edition number engraved, adding to the exclusivity.
Cosina is releasing these lenses to celebrate 25 years of collaboration with Voigtlander. Priced at 125,000 yen (about $808), theyâre aimed at collectors and photography enthusiasts alike. While designed for M-mount cameras, they can also be adapted to Sony E, Fujifilm X, and Nikon Z systems using Cosinaâs adapters. That said, the company notes that theyâre optimized for M-mount sensors, so performance might differ slightly when adapted.
If youâre looking for a lens that combines high performance with eye-catching style, these limited editions could be worth considering.
Image credits: Cosina
Interview with Quan Vu
This weekâs interview with the one and only Quan Vu, a landscape photographer I personally have been a fan of for a huge amount of time.
His Instagram: @quan.vu
Enjoy this amazing Interview (one of my all time favourites) and also enjoy his brilliant pictures ;)
Can you introduce yourself to our readers?
Hello. My name is Quan, I am Vietnamese and currently living in Japan. I've only been doing 'serious' photography for a few years. I became interested in photography while living in Japan in 2012-2015. At first, I just took photos of the trip with my phone and in 2014 I bought my first camera. At the time, I would carry my camera around with me all the time and pretty much shoot anything that caught my eye. In 2015, I returned to Vietnam for many reasons and took fewer photos. I returned to Japan for the second time in 2019, I started taking photos of landscapes and cityscapes throughout Japan.
What initially drew you to nature and landscape photography?
I have always loved nature and the great outdoors. Hiking and climbing â being outside, away from busy, modern life is my way of relaxing
I am a hug advocate of protecting nature and the environment.
I ensure that no actions will harm nature or leave any traces when leave a location.
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 coming up with ideas and plans for my photography projects like researching locations, weather, composition, techniques, etc. But nature is unpredictable and extraordinary scenes sometimes appear when least expected, so at such times simply go with the flow to capture the unexpected.
Can you walk us through your creative process when youâre in the field? How do you decide on the perfect moment to capture?
Nothing is perfect. I'm always experimenting with shooting different angles, compositions, and moments. And finally I chose a photo that I was most satisfied with.
What challenges do you often face when photographing in remote or difficult environments, and how do you overcome them?
Taking photos in remote or difficult environments is both exciting and challenging. You may encounter obstacles ranging from cultural barriers to harsh weather conditions.
I always research the area ahead of time for potential photography spots, weather conditions, and local regulations. Carry versatile equipment suited for various environments and ensure you have backups for essential gear. Then, connect photographers who know the area well; They can provide valuable insights and safety advice. Finally, always be adaptable and ready to adjust your plan based on available lighting and conditions.
Can you share a memorable experience or adventure youâve had while shooting in a particularly stunning or unique location?
Every photo shoot is a memorable experience. The most memorable was probably the first time I went to photograph fireflies, I had to go deep into the forest on a narrow, old and dangerous road. And the reward at the end of the road is an abandoned temple in the middle of the forest. When night falls, thousands of fireflies fly around the temple, creating a magical scene.
How do you handle unpredictable weather or lighting conditions that can drastically change the scene you intend to photograph?
Flexibility is key when shooting in unpredictable weather conditions. I am always willing to change plans and adapt to conditions. This could mean being willing to move to another location, waiting for the right moment when the light is ideal, or even rescheduling if necessary.
What role does patience play in your work, and how do you stay motivated when conditions arenât ideal for capturing the image you envision?
I have a few photos I want to take on a snowy mountain peak 2 hours drive from where I live and it takes 3 hours to climb to the top. I have climbed 9 times - all failed due to the weather. But instead of being upset, I enjoyed those moments and took some beautiful pictures beyond my plans. And I will continue to pursue until I take the photos I want.
Any tips for beginners?
Be yourself, feel and draw inspiration not only from photography, and above all experiment. Don't try to imitate a style or force yourself to create one, it doesn't work that way. Have patience â the journey into the world of photography is long and torturous and goes hand in hand with our daily life and our experiences. Photography speaks of ourselves, not of others.
Finally, stay safe, stay healthy, enjoy and make the best of every situation.
What do you think about AI in photography?
AI has improved my workflow quite a bit in terms of image editing, especially with the masking tools in Lightroom. The software can identify objects very easily, making it easy to expose or color correction to part of an image a breeze. Personally, I don't use AI tools more than that, I like to edit myself and pay attention to every detail in each photo.
How do you choose the locations you shoot?
Before choosing a location, I always consider what story my photos will tell, what makes my photos special. I then look for primary locations and backup locations in case of bad weather
What gear do you use?
The rest, 7 more questions, of this Interview are for Premium subscribers only.
Leicaâs New, Glossy, Black Vibe
Just a day after reporting its highest revenue ever, Leica introduced sleek new glossy black editions of its M11 digital rangefinder camera and the iconic Noctilux-M 50mm f/1.2 ASPH lens. According to Leica, these designs are a tribute to the brand's timeless style and meticulous craftsmanship that have defined its legacy.
This year marks the 70th anniversary of Leicaâs legendary M-System, which began with the launch of the M3 in 1954. To honor this milestone, Leica has unveiled what it calls the "purest and strongest expression of the classic Leica look" with these glossy black paint finishes. Unlike typical camera wear, Leicaâs black paint models are prized for their charm, as the brass body beneath the paint slowly reveals itself over time, creating a one-of-a-kind patina. Leica first introduced its black paint finish to the public in 1962 with a special version of the M3, and it has been a collectorâs favorite ever since.
The glossy black paint M11 stands apart from the standard version with its brass top deck and engraved Leica logo, replacing the plain aluminum top found on the original. The shutter release button is now a shiny silver, and the control dials feature a distinctive cross-hatch knurling instead of vertical ridges. Leica has also removed its signature red dot logo from the front, opting for a sleek black screw instead.
Inside, the glossy black M11 is identical to its standard counterpart. It boasts a 60-megapixel BSI CMOS sensor with Triple Resolution Technology, a 0.73x optical viewfinder, 64GB of internal storage, and support for UHS-II SD cards. The camera has a native ISO range of 64 to 50,000, offering exceptional versatility for photographers.
Leica has also released a glossy black version of its Noctilux-M 50mm f/1.2 ASPH lens to perfectly complement the M11. Known for its superb image quality, stunning light performance, and dreamy bokeh, this lens retains the same optical design as the standard version. It features six elements in four groups, including two aspherical elements, to deliver a slightly vintage, soft rendering thatâs beloved by enthusiasts. To complete the look, the lens includes a glossy black round hood, matching lens caps, and distinctive red âfeetâ markings on the focus scale, replacing the orange found on the standard black model.
Both products are available now. The Leica M11 glossy black paint edition is priced at $9,195, a $200 premium over the standard model. The Noctilux-M 50mm f/1.2 ASPH glossy black edition retails for $8,295, $300 more than the regular black version.
Image credits: Leica
Want to reset your Instagram Feed?
cc: Meta
Instagram is rolling out a new feature called âRecommendations Resetâ that lets you wipe the algorithmâs memory and start fresh. The idea is simple: if youâre tired of the content Instagram thinks you want to see, you can reset it, and the platform will rebuild your feed based on what you interact with going forward. While this feature is for everyone, Meta, Instagramâs parent company, is highlighting its benefits for teens, helping them create a safer, more personalized experience.
The reset doesnât stop the algorithm from learningâit just gives you a clean slate. Over time, recommendations will start tailoring themselves to your new activity. Alongside this, Instagram also lets you review and unfollow accounts you no longer enjoy, giving you more control without starting completely over.
This is part of a bigger push by Instagram to give users more ways to shape their experience. You can already switch to a chronological Following feed or create a Favorites list to prioritize certain accounts. Teens also have tools like Close Friends for controlling Story visibility and a âYour Activityâ section to manage their digital footprint.
The Recommendations Reset is expected to roll out globally soon, giving everyone a chance to refresh their Instagram and make it better reflect their current interests.
However keep in mind that with all things Meta/Instagram its either a cop or flop.
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The Sony 28-70mm f/2
When Canon introduced the RF 28-70mm f/2 L USM lens in 2018, it turned heads as a trailblazing zoom lens with a constant f/2 aperture. Now, Sony has stepped into the spotlight with its own take: the FE 28-70mm f/2 G Master. This lens not only challenges Canonâs dominance but offers a fresh perspective on what a fast-aperture standard zoom can deliver.
The similarities between the two lenses are hard to ignore, but Sonyâs approach stands out in several key ways, starting with its more compact and lighter design. At 918 grams (32.4 ounces), the Sony lens trims over half a kilogram compared to Canonâs 1,430 grams (50.4 ounces), making it a more practical choice for photographers who value portability. Itâs slightly slimmer, too, with a 92.9mm diameter versus Canonâs 103.8mm, and accepts a more manageable 86mm filter instead of Canonâs massive 95mm size.
The lens construction is where Sony flexes its expertise. Packed with 20 elements in 14 groups, it uses high-end materials like three extreme aspherical (XA), three Super ED, and one ED element, plus the latest Nano AR Coating II for cutting glare and ghosting. This precision engineering not only keeps the weight down but also promises exceptional image quality. Sonyâs hallmark G Master bokeh, made possible by an 11-bladed diaphragm and advanced optics, ensures that this lens can handle everything from dreamy portraits to cinematic video scenes.
Speed and precision are equally impressive, thanks to four Linear XD motors borrowed from Sonyâs latest high-performance lenses. These motors provide fast, silent autofocus thatâs ideal for everything from high-speed action photography to 4K/120p video recording. A floating focus system further enhances its versatility, allowing close-up shots with a 0.23x magnification ratio at 70mm and a minimum focusing distance of just 15 inches (0.38 meters). For comparison, Canonâs equivalent tops out at 0.18x magnification.
Like other G Master lenses, the FE 28-70mm f/2 includes thoughtful design touches for professionals and enthusiasts alike. Thereâs a de-clickable aperture ring for smooth transitions during video work, precise manual focus controls, and full weather sealing for rugged shooting environments.
Priced at $2,899.99, the FE 28-70mm f/2 G Master is set to hit stores in mid-December. For photographers and videographers eager to push creative boundaries, itâs an enticing new option to explore.
Image credits: Sony
Some other Magazines/Newsletters you might like
Here are some other Magazines/Newsletters that my readers enjoy, have a look you might find something that you will absolutely love:
Ben Affleck is not afraid of AI
Artificial intelligence has been causing a stir in creative industries over the past few years, leaving many uneasy about its potential impact. But Ben Affleck has an interesting take that might ease some of those fears. Speaking on CNBC Television, the actor and filmmaker described AI as more of a âcross-pollinatorâ than a true creator, emphasizing its potential to lower creative barriers by handling technical hurdles and reducing production costs.
Affleck likened AIâs role to that of a skilled craftsman, helping filmmakers execute their visions more easily. âIt will make it easier for people who want to make Good Will Hunting to go out and make it,â he said, referring to the iconic film he co-wrote with Matt Damon. However, he was quick to point out that AI lacks the artistic intuition to replace human creativity. âKnowing when to stop is going to be a very difficult thing for AI tools to learn because itâs taste,â Affleck explained. He added that AIâs inconsistency and lack of control over quality make it more of a helper than a replacement.
Affleck sees AI as a useful tool for fixing mistakes or tweaking small details, like backgrounds, but not something that could take over the human aspect of storytelling. For him, itâs not a matter of if AI will become part of filmmaking but how it will fit into the creative process.
On a more futuristic note, Affleck suggested that AI could even revolutionise TV production by allowing consumers to request personalised episodes of their favourite shows, like Succession. He believes AI has the potential to become an âadditional revenue streamâ for creators, filling gaps left by declining DVD sales.
That said, not all areas of the industry will benefit. Affleck expressed concern for the visual effects sector, which he believes could face challenges as AI tools become more prevalent.
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: Sono
His Instagram: @v1sono
Congratulations on your lucky feature ;)
New chance to be featured will be next week again ;)
Generating Full-Length Videos is Here
Indian startup Invideo has unveiled its V3 model, a tool that allows users to create full-length videos from a single prompt. While it may sound groundbreaking on paper, the reality is far from seamless. Invideo hasnât developed its own AI model; instead, it cobbles together a pipeline of existing models to parse prompts and generate videos. Unsurprisingly, the results leave much to be desired. Even TechCrunch, which often celebrates tech innovation, notes that the AI-generated footage lacks consistencyâa critical flaw for any video production tool.
Invideo markets its product to creators, small businesses, and individuals rather than filmmakers or ad agencies, conveniently sidestepping the high expectations of professional users. The startup claims to simplify the video creation process by eliminating the need for editing skills. But is that really a step forward? By lowering the barrier to entry so drastically, the platform risks flooding the internet with low-quality, cookie-cutter videos designed for platforms like YouTube, Shorts, and LinkedIn.
Founder and CEO Sanket Shahâs enthusiasm for AI video generation feels overly optimistic, if not entirely misplaced. âWeâre ecstatic to bring AI video generation to our platform,â he says, framing the release as a revolutionary tool for storytelling. But the reality is that this kind of technology doesnât elevate storytelling; it simplifies it to the point of mediocrity. When every creator has access to a tool that churns out similar-looking content, the uniqueness of truly compelling video gets lost in the noise.
Shah also touts the platformâs versatility, claiming it can be used for everything from video translation to user-generated ads. However, the current limitations of AI-generated video undermine its usefulness for most of these applications. The inconsistencies in the footage and the heavy reliance on pre-existing AI models highlight just how far this technology still has to go.
Ultimately, Invideoâs V3 model feels less like an innovation and more like a shortcut. While it might attract casual users looking for an easy way to pump out content, it does little to push the boundaries of what video creation could and should be. Instead, it risks contributing to a wave of uninspired, algorithm-driven videos that saturate digital platforms, making it even harder for original content to stand out.
Image credits: invideo