KENDALL CAMERA CLUB BLOG FEED

The Wacom MovinkPad 11 represents an interesting pivot for a company known primarily for professional-grade tethered displays. By moving into the standalone Android space, Wacom is targeting the "on-the-go" artist who wants the legendary Wacom pen feel without being chained to a desk. However, after spending time with the device, it becomes clear that while it excels in certain professional niches, it faces stiff competition from more versatile hardware.  [Read More] Original link(Originally posted by Jason Vinson)

Can the new NIKKOR Z 70-200mm f/2.8 VR S II truly redefine your portrait workflow, or are the gains marginal? Let's see how a professional photographer puts the new lens to the test in real-world conditions to find out if it is worth the investment.  [Read More] Original link(Originally posted by Mujahid Ur Rehman)

Mounting a vintage 85mm lens on a modern medium format body sounds like a recipe for compromise. Pair it with the Hasselblad X2D 100C, and you start asking harder questions about sharpness, rendering, and whether old glass can really handle 100 megapixels.  [Read More] Original link(Originally posted by Alex Cooke)

These days, it’s becoming easier and more affordable to photograph our night sky. The introduction of smart telescopes has opened the door for keen amateurs and hobbyists to get started in astrophotography at a fraction of the cost of a high-end professional setup. The ZWO Seestar S30 Pro is making the growing smart telescope space even better.  [Read More] Original linkOriginal author: Fred van Leeuwen

How does a professional photographer transform a flat, raw file into a breathtaking wildlife masterpiece without falling into the trap of over-processing? Let us explore the structured mindset that transforms chaotic editing into a deliberate, artistic workflow.  [Read More] Original link(Originally posted by Mujahid Ur Rehman)

For the past few weeks, I have been testing the Antigravity A1, the first drone I have ever used with a built in 360 degree camera. I expected a gimmick. What I got was something  genuinely innovative surprisingly fun.  [Read More] Original linkOriginal author: Lee Morris

I know nothing about laser cutter/engravers, and when I offered one to review, I was excited to try. Would I be smart enough to learn how to use it? Would I be creative enough to find a use for it?   First Mistake: Smoke Everywhere Like an idiot, I assumed I could set the Falcon A1 Pro on my office desk, plug it in, and start engraving. Within minutes, my office was filling with smoke. [Read More] Original link(Originally posted by Lee Morris)

ZEISS has announced the ZEISS Otus ML 35mm f/1.4, the third lens in the company's Otus ML series designed for modern mirrorless camera systems. The new 35mm joins the existing ZEISS Otus ML 50mm f/1.4 and ZEISS Otus ML 85mm f/1.4, completing a three-lens set of manual focus f/1.4 primes available in Sony E, Canon RF, and Nikon Z mounts.   This is also the first time ZEISS has ever produced a 35mm focal length in the Otus family; the original DSLR-era Otus lineup consisted of 28mm, 55mm, 85mm, and 100mm options. [Read More] Original linkOriginal author: Alex Cooke

A next generation workhorse arrives today with Nikon’s announcement of its new NIKKOR Z 70-200mm f/2.8 VR S II.   [Read More] Original link(Originally posted by Christopher Malcolm)

The Sigma 15mm f/1.4 DC DN Contemporary takes over from the long-running 16mm f/1.4 and tightens the formula in ways that affect how you shoot. If you use an APS-C body and want a bright wide angle that balances well and handles video, this one shifts the conversation.  [Read More] Original link(Originally posted by Alex Cooke)

Real estate photography has long been one of the most consistent forms of paid work for photographers. Add video, floor plans, and immersive drone-style marketing content, and you quickly become that one trusted professional who can handle everything with reliable, high-quality results.  [Read More] Original linkOriginal author: Kim Simpson

The difference between a snapshot and a portfolio image often comes down to one thing: whether you meant to make it. Understanding how instinct and intention work together changes how you approach every shoot.  [Read More] Original link(Originally posted by Alex Cooke)

Photography has been around long enough to accumulate a thick layer of conventional wisdom, and much of it is wrong. These myths get passed from forum to forum, YouTube comment to YouTube comment, and camera-store counter to camera-store counter with the confidence of established fact. The problem isn't that they're entirely baseless; most contain a grain of truth buried under decades of misapplication. The problem is that they cost photographers money, waste their time, and actively prevent them from improving. Here are ten of the most persistent offenders.  [Read More] Original link(Originally posted by Alex Cooke)

What do you do when you're planning a shoot in the woodlands during winter, but you live in a region that doesn't see much snow or fog? You walk for hours in this unforgiving environment, trying to find a decent composition, and you end up feeling frustrated that nothing is working.  [Read More] Original link(Originally posted by Fred van Leeuwen)

The Sigma 35mm f/1.4 DG DN Art Mark II updates one of the most popular focal lengths you can mount on a full frame camera. A 35mm lens at f/1.4 earns its place fast, whether you shoot events, portraits, street, or video.  [Read More] Original link(Originally posted by Alex Cooke)

Sigma has announced the Sigma 35mm F1.4 DG II | Art, a redesigned version of its established 35mm f/1.4 Art prime. Positioned as the Type II successor to the Sigma 35mm F1.4 DG DN | Art, the new lens focuses on reducing physical size and weight while introducing a revised optical formula and updated autofocus system. The lens will be available for L-Mount and Sony E-mount cameras.  [Read More] Original link(Originally posted by Alex Cooke)

Sigma has announced the Sigma AF Cine 28-105mm T3 FF, the second lens in its autofocus-compatible cinema series. The lens is scheduled for release on April 16, 2026, and will be offered in L-Mount and Sony E-mount. Sigma states that the lens is derived from the optical design of its still photography counterpart, the Sigma 28-105mm f/2.8 DG DN | Art, while incorporating cinema-oriented mechanics and control features.  [Read More] Original link(Originally posted by Alex Cooke)

Most night photographers use ultra-wide angle lenses when night falls. And for good reason. If they are photographing the Milky Way, it arcs over a wide expanse of sky. But night photographers shouldn’t sleep on these three lens categories, which can crank up your creativity.  The following lenses offer amazing creative opportunities and can help separate your photography from the pack. Even better, they're often great to pull out of your camera backpack when you're feeling stuck or need a creative jolt. [Read More] Original link(Originally posted by Ken Lee)

The post Meitar Award for Excellence in Photography 2026 Celebrating a Decade appeared first on Digital Photography School. It was authored by Sime. The Meitar Award for Excellence in Photography, a distinguished collaborationbetween PHOTO IS:RAEL and the Zvi and Ofra Meitar Family, marks its tenthanniversary this year. This prestigious prize recognizes a cohesive body of work thatexemplifies superior photographic practice and profound artistic vision. The 2026 edition is a significant milestone for us. Since its inception in 2016, the MeitarAward has evolved into a vibrant global beacon of excellence, annually attractingthousands of creators who challenge and expand the boundaries of the medium. Overthe past decade, it has cultivated a vital space for multicultural dialogue, serving as adefinitive home for the most...

I was an early mirrorless adopter. Not in the “influencer early” sense, but back when using mirrorless for professional work still meant explaining yourself. Other photographers said I was crazy, that I was just betting on a passing technology.  Around 2010, I switched to mirrorless because it made sense to me: smaller cameras, lighter kits, fewer mechanical parts, and a clear direction toward the future. For years, mirrorless systems were my primary working tools. Over a decade, I have worked with cameras made by Panasonic, Olympus, Canon, Ricoh, Leica, and Fujifilm. [Read More] Original link(Originally posted by Alex Coghe)