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Chris Gampat The Phoblographer Samsung GN58 Flash review product images (1 of 10)ISO 1001-125 sec at f - 3.2

Samsung has been on a roll for a while with new technology in their lenses and cameras, but we should never forget about the other integral part of a camera system: flash. Not long ago, Samsung introduced the ED-SEF580, a Guide Number 58 flash that is meant to be used in the hot shoe of your camera or used off-camera and triggered via infrared transmission.

With enough of them around, a very excellent flash setup can be arranged–though that can become quite costly. For the most part, they’re very on par with what many other manufacturers offer. In general though, we have to be honest and state that at this point in the technology game, we expect much more from Samsung.

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Model: Bec Fordyce

Model: Bec Fordyce

Here on the site, we consistently talk about how shooting manual is key. The truth is that for many photographers that are still growing their chops, yes–it surely is key. These photographers should spend a year or more shooting exclusively in manual mode. But for a moment, we’re going to be incredibly real here.

Not every single situation calls for you to shoot in manual mode and not a single person in the world is going to look at a photo and say, “I hate this image. You know why? Because this idiot didn’t shoot it in manual mode like a true pro.”

The absolute complete truth is that the metering of many cameras these days is good enough (providing you use spot metering) to give you the results that you want providing you use the right spot. But in addition to that, Aperture and Shutter priority are just fine and can help you to ensure that you actually get the shot in the right situation. Shooting street photography? Why not give Aperture priority a go? Sports shooters often use shutter priority to ensure that they can get the Quarterback making that special throw or that incredible tackle.

So when do you need manual mode? If you specifically have a creative vision that needs you to have a specific amount of movement in the scene, a specific depth of field, a specific ISO, or if you’re using a flash. When a flash is added into the equation, you’ve got something totally different happening.

Overall the most important thing is that you need to get the photo. At the end of the day what someone cares about the most is that you have an interesting image. No one cares if you use manual mode, they want to be visually stimulated.

If the mode is there, use it as an available tool to you to help you create a better image.


Announced in 2013, the Olympus EPL6 is only now coming to the US after being available in only Japan and Europe. At a very affordable price of $299, the camera sports a 16MP MOS sensor, TruePic VI engine, a 3 inch 614k dot LCD, 35 AF points, 3 axis in-body IS and a timelapse mode. The camera is positioned below the EP5, EPL7 and the OMD EM10; which both have many more features than the EPL6.

The camera doesn’t have WiFi built in but in Europe and Asia the camera came with a WiFi SD card. According to B&H’s listing, that isn’t included in the box.

At the price point, it’s a great camera for someone looking to get into interchangeable lens cameras.

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All images and text in this story by Beat Belmont. Original concept by the Phoblographer.

I got into photography because of a camera. In late 2012, I saw a Yashica Electro 35 ME on a Swiss auction-website and just wanted it. I didn’t know much about cameras, photography or film. But I thought it could be interesting to go a different way than everybody around me who came back from vacations with a thousand jpegs, only to let them rot on a hard drive.

I got the camera, ran a few rolls through it, had fun and then GAS kicked in. I had just begun to earn some money from newspaper-internships during my journalism-studies. Over the next year I bought about ten different cameras. I didn’t need them, but I still used all of them. For me, that’s one of the amazing aspects of shooting film nowadays – you can pick up all sorts of interesting cameras for a fraction of their original price and they click away just like new ones.

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All images by Ray Dennis. Used with permission.

Photographer Ray Dennis is a 29 year old creative who hails from Ann Arbor Michigan–and who is currently aspiring to own his own real estate photography business. But his beginnings are rooted in photographing car shows for fun. It became more serious and eventually Ray learned more about lighting and conceptual creativity. He came up with ways to create images that look totally surreal and did them without the use of Photoshop. Instead, Ray strived to get it all in the camera.

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Brownie Reflex 20-1959-X3

All images by Douglas Bailey. Used with permission

Photographer Douglas Bailey is not only a photographer, but he’s a collector and a special type of reseller. Like many of us, Doug went through a particular inspirational dry spell that lead him to exploring new things. He discovered the analog world and fell deeply in love with it. “Shooting film causes you to slow down, shoot less, think more about composition because you know every time you push that shutter you’ve just spent real money.” says Douglas. “And there is that edge of excitement not knowing if you got anything worth keeping for days until you get your processed film back.”

Doug’s love of analog cameras turned into a special type of gear acquisition syndrome. He collected cameras, restored them, and eventually found himself with too many. So he started selling a couple. Then he would use the investments to buy new cameras, fix those up, and resell after playing with them for a while.

The story of how Doug found his inspiration in the analog world and how he restores his cameras is after the jump.

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