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In this Week's Issue

• Cosina’s Voigtlander Nokton

• Get your Photos featured in this Magazine for Free

• Interview with Alex Schönberg

• Instagram Launches ‘Trial Reels’

• Adobe’s New Reflection Removal Tool

• Rode’s Next-Gen Version of the Wireless Go Mic

• Photography Tip of the Week

• Photographer of the Week

• There is no AI without Photographers

• Subscribe and get amazing Benefits

Cosina’s Voigtlander Nokton

Cosina is kicking off the new year with an exciting addition to its Voigtlander Nokton lineup—a 28mm f/1.5 prime lens for Sony E-mount cameras. If you’re into fast, manual lenses with top-tier optical performance, this one’s worth a closer look. It’s designed for full-frame sensors and packs some impressive features, making it a solid choice for everything from landscapes to street photography, travel, and even portraits.

Sitting between the 21mm and 35mm Nokton primes, the new 28mm f/1.5 offers a slightly longer take on wide-angle photography. Inside, the lens is built with ten elements in eight groups, including two aspherical elements and two abnormal partial dispersion elements. What does that mean in plain terms? It’s engineered to deliver sharp, high-resolution images across the frame while keeping color shifts and distortion in check.

Bokeh lovers will appreciate the 12-bladed circular aperture, which produces beautifully soft, rounded out-of-focus areas—no harsh polygons here. And for those who like getting up close, the lens has a minimum focusing distance of just 0.28 meters (11 inches) and a magnification ratio of 1:1.5. That’s pretty close to macro-level performance, giving you even more creative flexibility.

The build quality is exactly what you’d expect from a Voigtlander Nokton lens. It’s got that classic, all-metal construction with a diamond-knurled focus ring, depth-of-field markings, and a semi-gloss finish that screams retro-cool. The manual aperture ring can also be de-clicked, which is great news for video shooters. Despite its sturdy feel, it’s compact and lightweight at just 55mm in length and 320 grams. You can even use standard 49mm filters with it.

Although it’s a fully manual lens, Cosina has included electrical contacts so the lens can communicate EXIF data to your camera. It’s also compatible with Sony’s in-camera lens corrections, which is a nice bonus for a manual lens. And yes, it comes with a matching lens hood, so you’re covered there too.

The Voigtlander Nokton 28mm f/1.5 is set to hit shelves in January 2025. Pricing for the U.S. hasn’t been announced yet, but in Japan, it’s available for preorder at 115,000 yen, which works out to about $750. That puts it in line with other lenses in the Nokton family, making it a competitive option for anyone looking to expand their kit with a high-quality manual prime.

A couple sample Images by Takashi Koike:

Image credits: Voigtlander

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Interview with Alex Schönberg

Welcome to another Interview. This week I interview the amazing street photographer Alex Schönberg from Germany.

You can find him on Instagram as: @schoenberg.alexander

Enjoy this amazing interview ;)

Can you tell us a bit about yourself?

I am Alex Schönberg, 45 years old and living in Hamburg, Germany.

How did you first get into street photography? Was it love at first click?

That was at the beginning of October 2015, when I had already been producing music and writing lyrics for 15 years, when a doctor unexpectedly recommended that I ‘just go for more walks’.

I immediately realised that I was getting bored of just walking around... I didn't think twice, went into a shop and bought a camera straight away. And so began my journey into the world of photography.In the beginning, I photographed all kinds of things. Street photography was also part of it. But I realised that street photography challenges me the most and offers a lot of creative possibilities. Street photography is a much bigger ocean of possibilities for me than landscape photography, for example.

What’s the wildest or most unexpected thing you’ve captured on the street?

It was a foggy morning in Hamburg, sporadically the sun came through the clouds, the atmosphere was incredible! I was near the Elbphilharmonie and on the bench I noticed a man holding an analogue medium format camera in his hands, we got talking.... Every now and then I looked in the direction of the Elbphilharmonie and saw a naked woman in one of the hundreds of windows, posing or doing some kind of gymnastics. I was stunned at first and thought she was posing for me and started taking photos of her. Then the man came up to me again and said to me: ‘How could you see her, you have an incredible eye, because it's so far away...?’ I said to him: ‘I'm a street photographer, I see things like that...’

I think the most interesting aspect of street is that the most beautiful and coolest photos come unexpectedly, you should just get out and take pictures, just be there

How do you decide where to go and shoot? Is it planned or more spur-of-the-moment?

When I visit another city, I try to photograph a kind of reportage and visit the important places and squares that make up the city.

But most of my photos are taken because I see the situation at that moment.

I really like to feel and experience a new city without

What’s your go-to gear setup when you hit the streets?

in 90% sony A9II with sony 24-70mm f2.8 GM and for the night sony 35mm f1.4 and 135mm f1.8. Sometimes analog with minolta xd7 and 50mm 1.4

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

I always try to be as variable as possible, but I feel a little more comfortable in chaos))

How do you approach people on the street if you want to include them in your shots?

I also like the photos with the people from behind more than the frontal ones, they look more mystical, more faceless...

Are there any tricks you use to stay unnoticed when shooting?

In most cases, I first look for or see an interesting place/background, then I check the surroundings and the lighting situation and ask myself what would have to happen here (e.g. where would a person have to walk past here...) so that it all makes a good photo? It's often the case that people see you and don't want to disturb you while you're taking a photo, so they stand still... For an outsider, I usually behave as if I'm simply waiting for someone at this spot and happen to be holding my camera in my hand or pretend that I'm simply photographing a certain detail on the wall, i.e. as if it's not about ‘the passers-by’ at all...

What’s the most challenging thing about street photography for you?

Street is a labour of patience! You have to try to keep an overview of a lot of things:

Choose the right background

wait for the right moment

keep moving yourself, things often develop very dynamically...

Often it has a lot to do with anticipating what might happen...

Thinking in advance about whether it's worth taking a photo of this person or not.

How do you decide whether a photo is better in black and white or colour?

If the colours in the photo distract from the main message or are rather distracting, then black and white is better.

But there are actually no specific rules as to when black and white is better.

For me, the more graphic the image is, the more likely it is to be converted to black and white.

How do you know when you’ve nailed the shot? Is it instinct or something else?

It happens all the time that I take photos that I haven't planned, you can't really plan much in the street.

You should always be awake, see, anticipate, look for interesting spots, find unusual light situations, weigh things up and be in the right place at the right moment!

I often instinctively realise that this is the shot, but there are often photos that only open up to our eyes at second glance.

...And some have to mature on the hard disc for a few years before they are ready :)

Have you ever had a shoot that just didn’t go as planned? How did you deal with it?

The rest, 8 more questions, of this Interview are for Premium subscribers only.

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Instagram Launches ‘Trial Reels’

Instagram just launched a new feature called “trial reels,” and it’s basically a playground for creators to test out new content without worrying about their followers judging them. Think of it as a way to dip your toes into something new before committing to a full dive.

Here’s how it works: when you’re making a reel, you can choose the “Trial” option. Instead of showing up on your main grid or reels tab, the video will be pushed out to people who don’t follow you. For 24 hours, it quietly does its thing, and you can check out how it’s performing—views, likes, comments, shares, the whole deal. If it’s getting good engagement, you can flip the switch and share it with everyone, including your followers.

Even better? Instagram has an automation option. If you turn it on, Instagram will decide for you. If your trial reel is doing well within its first 72 hours, the platform can automatically share it with your followers. Don’t like the idea of Instagram playing content matchmaker? You can turn this off whenever you want.

The feature started rolling out this week and should be available to all eligible creators worldwide pretty soon. That said, if someone shares a trial reel directly with a follower, they might still see it, even though it’s technically meant for non-followers.

Image credits: Instagram

Adobe’s New Reflection Removal Tool

Reflections in photos can be a real pain, but Adobe is tackling the issue with a new AI-powered tool in Adobe Camera Raw. This feature, called Reflection Removal, makes it easier than ever to clean up unwanted reflections from glass surfaces in just one click.

Traditionally, photographers relied on polarizing filters to deal with reflections, but not everyone carries one around. Fixing the problem after the fact has always been tedious and often ineffective. With this new tool, Adobe uses artificial intelligence to separate the reflection from the intended scene, rescuing images you might otherwise discard.

Reflections are essentially two overlapping images: the scene you want and the reflection of what’s behind the camera. Adobe trained its model on thousands of clean photos and layered in reflections to teach the AI how to separate the two. While it’s not perfect, the tool provides a slider so you can fine-tune how much of the reflection is removed.

The feature is designed for major, unintended reflections—like those you’d encounter when shooting through a window at a museum, an airplane, or a zoo. It doesn’t target minor or artistic reflections, like sky reflections on water, which are often part of a photo’s charm.

Currently, the tool only works with RAW files, but Adobe plans to extend support to JPEG and HEIC formats in the future. It’s available now as a Technology Preview in Adobe Camera Raw and will roll out to Lightroom soon.

Image Credits: Adobe

Rode’s Next-Gen Version of the Wireless Go Mic

Rode has unveiled the Wireless Go (Gen 3), the latest update to what it proudly calls “the world’s most popular wireless microphone.” This next-generation mic brings a host of upgrades designed to make life easier for creators, while staying true to the versatility and ease of use that made the original Wireless Go a hit.

The Wireless Go (Gen 3) works seamlessly with a variety of devices, thanks to both digital (USB-C) and analog (3.5mm TRRS) outputs. Whether you’re using it with a camera, smartphone, laptop, or even a RodeCaster Pro II, the system is designed to fit into just about any workflow. Rode’s signature clip design returns, making it easy to attach the mic to your clothing, gear, or rig. It’s as comfortable in a home studio as it is on a mirrorless camera or smartphone setup.

At its heart, the Gen 3 system is a compact dual-channel wireless mic that uses Rode’s Series IV 2.4 GHz digital transmission with 128-bit encryption. This promises a stable connection with impressive range—up to 260 meters (853 feet) in ideal conditions. The onboard battery powers the mic for up to seven hours per charge, and its 32-bit float recording ensures you can rescue clipped or overly quiet audio with ease.

Other standout features include 32GB of internal storage on the receiver, intelligent GainAssist for better output control, and safety channel recording—a second track at a lower volume in case your primary audio gets too loud. You can also monitor audio via headphones, adding another layer of control.

For those who want even more control, the Wireless Go (Gen 3) pairs with the Rode Central companion app, which lets you tweak settings and access advanced features. Rode has also introduced the Charge Case+, a travel-friendly case that not only protects the mic system but also provides two full recharges. It’s sold separately for $89.

The Rode Wireless Go (Gen 3) is available now for $299, with shipping expected in early January. While the limited-edition colors aren’t in stock yet, fans can join a waitlist to snag their favorite shade.

Image credits: Rode

Photography Tip of the Week

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

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Photographer of the Week

Photographer of the week goes to: Vanessa

Congratulations on your lucky feature ;)

Her Instagram: @unc.over.lay

Don’t forget to check out the advertisement up top and also the one down below 😉 ⬆️⬇️

There is no AI without Photographers

Generative AI tools like image generators wouldn’t exist without real-world data, and that’s where photographers come in. According to Dr. Alessandra Sala, Senior Director of AI and Data Science at Shutterstock, photographers are essential to how AI learns and evolves. “High-quality, ethically sourced photographs are the bedrock upon which AI models learn and grow,” she says. “Photographers will always play a key role in shaping the future of AI.”

AI might be great at spotting patterns and mimicking styles, but it can’t work without a foundation of real images to draw from. Dr. Sala puts it simply: photographers provide that foundation. “AI thrives on what photographers capture,” she explains. Without fresh, diverse, and authentic images, AI would start to stagnate. “It’s photographers who bring creativity, capturing the nuances of the real world that AI alone can’t replicate.”

The need for new, high-quality content is constant. Trends, cultural shifts, and world events—like the sudden demand for photos of people wearing masks during the pandemic—are things AI doesn’t predict on its own. Photographers keep AI systems relevant and up-to-date by documenting the world as it evolves.

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