Articles written by Zhen Siang Yang

Photography has never been more accessible than it is today. With easy access to high-speed internet leading to endless online resources, tutorials, and social media platforms, we would assume that learning photography has become easier than ever. However, my recent observation, coming from the experience of trying to learn a specific technical approach, proved otherwise. Instead of directly finding clear, in-depth guidance, I found myself drowning in an ocean of clickbait titles, surface-level explanations, and misleading information. This stark contrast to my early learning days made me realize that learning photography from the internet is now harder than it was a decade ago.

It’s been an exciting few weeks for photography-gear enthusiasts, with product-announcement rumors coming in from every direction. But among all the speculation, as you might already know, DJI has officially entered the 360-degree-camera market with the launch of the Osmo 360.

The leader of the drone market has spoken. Answering the gap in the market, DJI officially steps into the 360-degree camera arena with the Osmo 360—a bold move, and perhaps an overdue one, considering the brand’s legacy in imaging innovation. This isn’t just another consumer-grade spherical camera. It’s DJI’s statement piece, a professional imaging tool armed with 1-inch 360° imaging and the first 360° camera with native 8K 50fps video capabilities.

As a practicing professional photographer, I evaluate my gear from time to time and make necessary upgrades to improve the efficiency of my workflow. After my recent crashing experience with the DJI Mini 4 Pro, I have decided to take a step back again to reevaluate whether this ultra-light drone is truly suitable for professional use or if I should just take the opportunity to get another drone.

They say there are as many 50mm lenses as there are cups of coffee in a photographer’s lifetime—and for good reason. This classic focal length continues to hold a special place in every photographer’s bag, often with more than one variant in rotation.

The DJI Mini 4 Pro is undeniably a marvel of modern drone technology. It is currently the best compact sub-250 g drone that money can buy. Packed with tons of new features such as omnidirectional obstacle sensing, true vertical shooting, and 4K video recording up to 120 fps, it is clearly designed for creators who demand both performance and portability—and for working professionals like me who prefer a smaller drone for easier flight access in most areas. It's easy to see why it's a popular choice among drone enthusiasts.

If you’re a one-person crew or working with a small team on photo production, you’ll know the pain—especially when it comes to lighting setups. It can be one of the most frustrating parts of a shoot. It’s not just about turning a light on. It’s the constant need for micro-adjustments: tilt it a little more, feather it to the edge, raise it higher—only to realize the angle’s off and you have to bring it back down again. When your light is way up there, you never really know how much to tilt until it’s already in the air.

DJI has long been a household name when it comes to drones and camera stabilization, consistently pushing the boundaries of what compact gear can achieve. With the launch of the DJI Osmo Mobile 7 (OM7), the company has decided to bring a highly capable gimbal to the hands of beginners without the usual high price tag. While many smartphone gimbals are often geared toward enthusiasts or semi-pro users, the OM7 is designed to be a true entry-level option that doesn’t feel basic. It offers minimal compromise in functionality while still packing in big capabilities, making it one of the most approachable and reliable tools for new content creators to elevate their mobile shooting game.

The recent launch of the Fujifilm GFX100RF has stirred quite a debate in the photography community. Many Fujifilm fans were frustrated by the decision to equip the camera with a fixed f/4 lens instead of a faster option like f/2.8 or even f/2. This backlash got me thinking: does a faster lens always make a camera better? And more importantly, does it help us produce a better image? The more I think about it, the more I realize that the obsession with wider apertures might not be that beneficial for visual output, but rather for bragging rights that often overlook crucial trade-offs.