FStoppers

Lightroom and Photoshop solve different problems, and knowing where each one shines saves time and gives you cleaner results. If you juggle hundreds of files from a shoot, the choice you make here changes how quickly you get to selects worth sharing or printing.

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The Nikon NIKKOR Z 24-70mm f/2.8 S II lens is built as a workhorse, and the update matters. This is the kind of lens you can keep on your camera for most situations, whether that’s video, weddings, or travel. Nikon trimmed the weight, refined the build, and packed in features aimed at both still shooters and video creators.

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Anyone who’s ever dropped a lens knows the sound—the crunch of glass, the instant nausea, the sinking thought of money disappearing in shards. But what happened in Cleveland during today’s Wild Card matchup takes that familiar dread and multiplies it by six figures.

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Here are 10 features that should be standard on every camera regardless of price point, but somehow still aren't.

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Every photographer has heard this advice before: pack light. But on a multi-day wilderness shoot, it’s about more than cameras and lenses. Your survival kit matters just as much as your gear.

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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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Understanding the histogram is essential for any landscape photographer who wants to master exposure and achieve their creative vision. The histogram provides a visual representation of the tonal range in your image, allowing you to make informed decisions in-camera and during post-processing.

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Sony has announced the FE 100mm f/2.8 Macro GM OSS, a new medium-telephoto macro lens for its full frame E-mount system. Positioned within the company’s high-end G Master lineup, the lens is built to deliver sharp rendering with smooth bokeh, advanced macro-specific controls, and enhanced autofocus performance.

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Replacing skies in post-production is one of those skills that can make or break an image. When the sky is dull or blown out, the entire photo suffers, no matter how strong the subject or composition is. Knowing how to swap in a new sky while keeping the edit believable changes how your work looks and feels. Matching light, color, and perspective is what separates a natural-looking composite from one that screams “Photoshop.”

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DxO has updated its film emulation package to version 8, and it's a major update. This latest version introduces two standout features: Time Warp Mode, a new interactive way to explore photography’s past, and full integration with Adobe Photoshop, giving photographers direct access to FilmPack’s creative palette.

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Flash is one of the trickiest but most rewarding parts of portrait photography. The way you use it can completely change the look of an image, and without at least a basic understanding, it’s easy to miss out on control you could have over your shots.

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Back in the day, if you wanted a full frame 14mm f/2.8 lens, the price tag was hard to swallow. Today, you can get one for a fraction of the cost, which is why this new budget option has drawn attention.

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Walk into any thrift store today and you might see it: a teenager with blue hair and earbuds thumbing through a dusty bin of film cameras, holding up a Canon AE-1 like it’s a time machine. For Gen Z, film was the cool rebellion—the antidote to megapixels and algorithms. They rediscovered what their parents left behind, turned Kodak Gold into an Instagram aesthetic, and made a $50 point-and-shoot worth five times that on eBay.

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There was a time when professionals swore by a format that gave them speed, reach, and reliability in ways nothing else could. A decade later, it’s little more than a ghost in photography’s memory.

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Great pictures aren't enough anymore, at least not if you want to survive as a photographer today. One strong image might once have been the end of the process, but now it feels more like the beginning of a much larger chain of expectations. Content. Reels. Behind-the-scenes clips. YouTube.

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The Hasselblad 907X and CFV 100C medium format mirrorless camera is one of the most unique systems you’ll come across. It takes the retro waist-level shooting style of film cameras and pairs it with modern digital features, all while packing in a massive 100-megapixel sensor. The combination creates a slower, more deliberate shooting process that can change how you approach your work.

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When you start out, it’s easy to believe that more lenses, more megapixels, and more gear will make your photos stronger. Over time, you realize the opposite often holds true. The way you see and think while shooting carries far more weight than how much equipment you bring with you.

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The Fujifilm GF 50mm f/3.5 R LM WR stands out because it makes medium format shooting far more practical than it used to be. You can carry it on hikes, toss it into a bag for travel, or leave it on a camera at home without it feeling like a burden. That opens the door to using medium format in places you’d normally default to a smaller camera.

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Prime lenses can look similar on paper but behave very differently once mounted. Differences in size, sharpness, and focusing speed end up shaping how you actually shoot.

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One of the most important things we can do when we are engineering our photographs is to control, or to direct, where we want the viewer’s eyes to go—what it is that we want them to see. To do that, we must use the architecture of the image to bring visual interest up in the areas that are most important and find ways to diminish what we either want to hide or at least subdue in interest.

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