Fstoppers Photographer of the Month (April 2026): Radek Pohnan
The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community.
The CLA Map: Where to Send Your Film Camera (and What You Can Safely Fix Yourself)
I learned early that a lot of "broken" film cameras aren't broken—they're just stuck. The symptoms were always the same: you'd cock the shutter, press the release, and nothing would happen… or it would fire once and then lock up like it was offended you asked it to work in 2026. Sometimes it wasn't a dramatic failure, just that dead, sluggish feeling of old grease turning into glue.
The Tamron 35-100mm f/2.8 Might Replace Your 24-70mm
The Tamron 35-100mm f/2.8 sits in an interesting spot: it's compact and light enough to travel with, but fast enough to handle portraits, events, and low-light shooting. At around $899, it's priced to compete with other mid-range zooms, and whether it delivers enough to justify that price is genuinely worth understanding before you buy.
7 Photography Mistakes That Can't Be Fixed in Post
Editing on the wrong monitor, shooting at the wrong ISO, working in 8-bit — any one of these mistakes can quietly wreck an otherwise solid photo. Some of them can't be fixed in post.
Is the Sigma 35mm f/1.4 DG DN Art Mark II Better Than the Sony G Master?
Choosing a 35mm f/1.4 lens for Sony E-mount means navigating a short but competitive list, and the Sigma 35mm f/1.4 DG DN Art just reshuffled that list significantly. The Mark II version makes a strong case against both its predecessor and Sony's own G Master offering.
What Happens When You Limit Yourself to One Battery for an Entire Country?
Shooting all of Bolivia on a single camera battery is either a brilliant creative constraint or a fast track to missing the best light of the trip. Brendan Van Son set out to find which one it was.
We Review the DJI Osmo Pocket 4: A Small-Size Pocketable Camera With Huge Capabilities.
Since the debut of the first Osmo Pocket series, launched seven years ago, it has quickly grown its user base with its one-of-a-kind design, tapping into a niche market segment by offering quality stabilized video at a pocketable size. While it wasn't perfect back then, it offered an innovative solution for the market's pain point, and it's commendable that they took the risk to do things out of the norm. Fast forward to 2026, the DJI Osmo Pocket 4 is currently at its 4th iteration of product development, keeping the same design language.
The Secret to a Full Calendar Is Answering Your Damn Email
There is an entire industry selling photographers the idea that their booking problems are marketing problems. Instagram strategies, SEO courses, funnel templates, lead magnets, content calendars, brand refreshes, niche-defining workshops, and $2,000 mentorships that promise to "unlock the pipeline." Photographers buy them, implement them, and wait for the calendar to fill. For most photographers, it does not.
Lumaprints: Where Quality and Affordability Finally Meet
Photographers print their work less often nowadays. It's not because they don't care; it is due to one fundamental issue: whom do you trust?
I love printing my work. It's the last step in the creative process, but this step can also become the most overwhelming. Why? It's because some internet sites promote themselves as the best printers for your work. Unfortunately, that is not always the case. Three printing companies struggle for every successful one. So who do you trust? Lumaprints.
Ten Questions with Landscape Photographer Erin Babnik on Gear, Museums, and When Fixing It in Post Isn't Cheating
Erin Babnik is known internationally as a part of the nature photography team Photo Cascadia. Her work grew from experiences as an art historian and archaeologist, photographing in museums and at archaeological sites throughout Europe and the Middle East. Here she discusses her must-have gear, the value of museums, and when fixing it in post isn't cheating.
Does Turning Your Photography Passion Into a Career Actually Ruin It?
Turning your passion into a career is one of the most debated decisions in creative work, and the answer is rarely as clean as either side makes it sound. Scott Choucino from Tin House Studio has been living this question for years, and his take is more nuanced than the usual "follow your dreams" pitch.
Photoshop's Brush Tool, Remove Tool, and Selection Features Explained in One Video
Photoshop has dozens of tools, but a handful of them do most of the heavy lifting in real editing work. Knowing how the brush, remove, and selection tools actually behave is the difference between fighting Photoshop and actually using it.
How to Decide If Your Photo Should Be Black and White
Knowing when to convert a photo to black and white is one of those decisions that separates a thoughtful edit from a forgettable one. Get it wrong and you strip out color that was doing real work; get it right and you reveal something the color was actually hiding.
How to Add Smoke to Your Photo Shoots Without Setting Off the Fire Alarm
Adding smoke to a shoot can completely change the feel of an image. It builds depth, amplifies drama, and when you're working with colored backlights, it's often the only way to make that color visible in the atmosphere rather than just on your subject's skin.
Why 28mm, 35mm, and 50mm Shaped the Way We Photograph Cities
In photography, style is often discussed in terms of subject matter, color, or composition. Certainly important aspects to consider, but much less frequently do we talk about something equally decisive: focal length. Yet if you look closely at the history of urban landscape photography, focal length reveals itself as a kind of quiet grammar.
The Real Reason Photographers Are Leaving Adobe
For most of the past decade, Adobe was not a choice. It was the default. Lightroom and Photoshop were where photographers learned to edit, where the workflows lived, where the presets came from, and where the entire industry quietly agreed to standardize. The price hikes were annoying. The subscription model was annoying. But the alternative was unthinkable, because there was no real alternative.
Tamron's 35-100mm f/2.8 Is a Different Kind of Standard Zoom: Here's the Tradeoff
The Tamron 35-100mm f/2.8 Di III VXD is a fast standard zoom for Sony E-mount and Nikon Z-mount cameras, priced at $899 for Sony and $929 for Nikon. That longer reach comes at a direct cost: you lose the wide end compared to a typical 24-70mm, and whether that tradeoff works for you depends entirely on how you shoot.
The Nikkor Z 50mm f/1.8 S vs. Viltrox 55mm f/1.8: A Dead-Even Fight With a Clear Winner for Most Buyers
Picking a 50mm lens for your Nikon Z system just got more complicated. The Viltrox 55mm f/1.8 from the Evo series is an apochromatic lens priced at $370, and it's gunning directly for the Nikkor Z 50mm f/1.8 S.
Fujifilm XF 16-55mm f/2.8 II vs. 16-50mm: Is the Price Difference Worth It?
The Fujifilm XF 16-55mm f/2.8 R LM WR II is a significant lens for anyone shooting in the X system. It's a red badge lens, which means Fujifilm's highest standard, and the original version set a high bar that this new iteration has to clear.
Flash Photography Mistakes Most Beginners Don't Know They're Making
Flash photography has a surprisingly short list of things that will quietly ruin your shots, and most beginners hit several of them before they even realize there's a problem. Knowing what those mistakes are before they cost you time, money, or a shoot you can't redo is worth more than most gear upgrades.