Fstoppers

I am now the proud owner of a Nikon ZR. But as I’ve put it through some early paces, it’s led to some surprising questions.

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Photography is full of surprising history, weird technical quirks, and fascinating stories that even experienced photographers might not know. From the mathematical precision behind f-stops to cameras abandoned on the moon, these facts reveal just how wild the world of photography really is.

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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 2025, 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.

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Pushing into serious wildlife and nature work means dealing with long focal lengths, unstable weather, and subjects that do not care about your comfort. Pairing a compact body with the right two-lens kit can be the difference between missing a fleeting bird and walking away with a sharp frame from a safe distance.

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The sensor in any modern camera shapes what you can do in low light, fast action, and uneven lighting. Here's a look at what you can expect from the new Canon EOS R6 Mark III.

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The Hasselblad X2D II 100C medium format mirrorless camera is built as a stills-only body for when you want an art tool rather than a hybrid spec sheet trophy. This review focuses on how it actually changes the way you shoot, from waist-level landscapes and cars to tracking subjects that don’t stand still.

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When you come home with a file where the sky is blown out and the shadows are empty, the real culprit is usually dynamic range. Understanding how much brightness your camera can actually record is what lets you keep a bird sitting in both sun and shade looking believable.

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Bags used for travel should always offer a lot of flexibility in terms of use, and that’s even more true when photographers use them. Carrying camera gear must mean keeping it protected and, at the same time, efficient with space.

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New lenses landed fast in 2025, and not all of them earned a spot in a working kit. Here are the best and worst lenses of the year.

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Before the "Big Two" dominated professional photography, there was a "Big Five." Canon, Nikon, Pentax, Olympus, and Minolta all competed for market share in the film era, and among them, Minolta wasn't just a player. They were arguably the most innovative of the entire pack.

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Wedding photography looks crowded, stressful, and hard to break into, especially if you are trying to turn it into a full-time income. In this video, a seasoned pro argues that most of the pressure disappears once you treat weddings like a repeatable business and workflow instead of a one-off creative gamble.

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Canon is pushing its mid-tier hybrid line hard, and the EOS R6 Mark III is where that strategy becomes very real. If you shoot portraits, events, or weddings and want one body that can track eyes at high speed while still offering serious video options, this one sits in a very specific sweet spot.

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Tilt-shift lenses are one of the most direct ways to control perspective instead of fixing it later on a screen. If you ever point a camera at a building and hate how it seems to fall backward, this is the type of tool that changes how you work.

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When your wildlife images all start to look the same, it usually comes down to a few habits you repeat without noticing. Breaking those habits matters if you want your time in the bush to produce more than documentary shots of animals.

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Photography isn’t being replaced by algorithms, but by its own predictability. Spend a day watching how most professionals shoot, and you’ll see the real issue: automation isn’t coming—it’s already in their hands. Even the safest niches are already changing because curiosity has been replaced by habit. Photography doesn’t need protection from the future; it needs a clear look at what it has already turned into.

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Not so long ago, a 40mm prime lens was an uncommon sight. When selecting a standard focal length prime lens, the choice was 35mm or 50mm. So why are we seeing so many 40mm primes now? And more importantly, why would we need one?

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You've got $1,000 saved. You're on B&H, late at night, your credit card within arm's reach. Your cart has that shiny new f/1.4 prime lens sitting in it. You know the one. You've watched 10 YouTube reviews. You've pixel-peeped the sample images. You can already imagine the creamy bokeh, the low-light performance, the look it will give your photos. That characteristic rendering everyone talks about in the forums. You are one click away from that hit of dopamine, that feeling of a fresh start, the promise that this piece of glass will finally unlock your creative potential.

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If you spend hours in Lightroom Classic, every extra click adds up. Tightening your workflow means more time out shooting and less time stuck at a desk.

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Nailing a dramatic close-up in the studio and then watching it fall apart the second you zoom out to a full-length frame is frustrating. You get harsh falloff on the legs, dead backgrounds, and a look that feels accidental instead of controlled. Here's how to fix that.

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Choosing a standard zoom in the $1,300 range quietly decides how your everyday kit feels in your hand and how long you can stay fresh on a long shoot. When you put a compact 24–50mm against a heavier 24–70mm, you are really choosing how you want to move, react, and work.

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