Ever since I started photography, I've carried a camera with me constantly, switching between 35mm film and digital cameras. You might wonder why I opt for a dedicated camera when smartphones offer impressive capabilities nowadays. For me, it’s about the tactile experience—adjusting shutter speed, aperture, and ISO with physical controls rather than tapping on a screen.

Over the last year, I've reviewed a lot of different cameras, from 4-thirds to DSLRs and full-frame models from various brands. While I've enjoyed testing and learning about these cameras, understanding their pros and cons, I've decided to simplify my gear for 2025. I'm committing to using just one camera and one focal length for the entire year.

I have owned the DJI Action 4 for nearly a year, and my primary purpose for this camera has been to record both POV footage for street photography and vlog-style shots while shooting street photography. Having owned three different GoPros in the past, I believe DJI has elevated the action camera category to another level. More recently, they released the Action 5 Pro, which I have yet to try. From what I've seen, I don't see many reasons to upgrade from the Action 4.

A little while ago, I was sent the 7Artisans 35mm f/1.4 by 7Artisans, around the same time as a few other lenses they have made recently. This particular lens stands out among their more recent releases as a photography-centric, manual focus, wide aperture lens. This is the family of lenses they originally started making, focusing on more affordable manual focus options, but this particular model represents a nice step up.

I am extremely impressed that this lens comes from Viltrox because, for a while, their prime lenses were significantly larger than those from first-party or other third-party manufacturers. It is refreshing to see them going in the opposite direction and creating super small pancake lenses. This lens, along with the 40 millimeter f2.5, are probably the two most usable primes of theirs that I have personally had the opportunity to review and test.

However, I do have some complaints about the A7C as a content creator, starting with the lack of improvement in the electronic viewfinder (EVF). The EVF has been a source of frustration for me on the original A7C and the A6700, as all three of these cameras in Sony's high-performance rangefinder style have relatively lackluster LCD displays. It seems to be an area where they save costs, which is why Canon cameras tend to be more expensive. I find it quite annoying how dim and low-resolution their LCD displays are. While they are usable, they are frustratingly low resolution given the technology available today.

One drawback I want to discuss regarding the A7S III, compared to some of Sony's other cameras, is the inability to shoot in crop, Super 35 mode in 4K. This is an interesting issue. I have become accustomed to this feature on the Sony A7C, and I currently use it on the A7C II. The A7C allows cropping in 4K to Super 35 mode, as well as clear image zoom. The Sony A7S III still has clear image zoom, which allows you to zoom in by up to 1.5 times in 4K with seemingly no loss in video quality. However, the ability to switch to Super 35 mode is not available on the A7S III, and I would assume the FX3 and ZV-1 as well.

Getting into photography with the a7C, this is an area where people may mistakenly judge this camera. It only has a 24-megapixel full-frame sensor, but in my experience, that has been plenty for street photography and freelance photography. One disappointing aspect is that when we crop into APS-C mode, we go down to 10 megapixels. Fortunately, in video mode, in 4K and 1080p, we can switch to Super 35 mode, which is APS-C mode, and also add clear image zoom to crop in by an additional 1.5 times. This means you can achieve extra focal length and reach from your lenses without needing to change them. For example, if you have a 28mm lens, the 1.5 times crop of Super 35 mode will give you 42mm, and the additional clear image zoom will take you up to 64mm.

Looking back, that nifty fifty was one of the best, most affordable upgrades we ever made. It’s funny how the joy of that moment lingers, while each subsequent upgrade—a new camera or lens—feels a bit less thrilling. With new innovations often just trickle-down features from professional models, it can feel like we’re not getting anything fresh or unique in our smaller cameras.

When it comes to ergonomics, the G2 shines. The slightly larger grip and improved texture make it a pleasure to hold. The redesigned controls, including a back dial for shutter and aperture adjustments, are a thoughtful touch, enhancing the shooting experience. And while the drive selector can lead to some accidental self-timer shots, those little quirks are part of the charm of using older gear.

I've been using the Sony RX1 for nearly two months now, and it's been a delightful journey. One of my main frustrations with fixed lens cameras used to be cleaning the sensor—any dust and you’re stuck. But with interchangeable lens cameras, you can easily remove the lens and clean the sensor. However, the RX1’s leaf shutter—a series of overlapping blades inside the lens—means you get the benefits of a mechanical shutter without the hassle. It’s nearly silent and reduces the chances of rolling shutter effects when you're capturing fast-moving subjects.

When you’re starting out in photography, you’re at the beginning of a learning curve. You snap photos of everything, experiment, and learn as you go. But as you progress, you start to think, “If only I had that f/1.4 lens,” or “I need that flash, those filters, that tripod.” So, you buy more gear, thinking it’ll enhance your creativity. In reality, though, it just makes the hobby more expensive without adding much to your results.

You know that classic, trusty nifty 50? Well, what if I told you there's a new contender in town that's breaking all the rules? Enter the Viltrox 40mm f/2.5, or as I like to call it, the "Naughty 40." It's not quite a nifty 50mm, but this 40mm gem is redefining what a standard lens can be, with just the right amount of sass.

Interestingly, the Lumix GX80 shares the same sensor format and is roughly the same age as the Olympus OM-D E-M10 Mark II. I reviewed the E-M10 Mark I about a year ago, and while there are similarities in the images you get from these two cameras, the form factor and usability of the GX80 have won me over.

So, I somehow found myself with the Sony a7R III in my hands—a camera that's honestly overkill for most people, including myself. It’s a beast of a camera, no doubt. And today, I’m sharing what makes this camera both exciting and, quite frankly, challenging for my style of street photography.

Today, these compact cameras are more than just a nod to vintage aesthetics. Sure, they fit right in with the retro “Indy Sleaze” vibe, but for me, as a photographer and filmmaker, they represent so much more. These cameras offer a tactile, engaging experience that smartphones just can’t replicate. They bring back the joy of simply taking a picture—without the pressure of perfection or the distraction of notifications.

Sony’s RX1 came with a lot of features that were both ahead of their time and surprisingly quaint by today’s standards. For example, it didn’t have a touchscreen. In fact, Sony hadn’t yet hopped on the touchscreen trend, so navigating through menus was a bit of a dance with the D-pad. Still, this hasn’t stopped me from capturing fast-moving scenes with it. And later, I’ll share a trick that makes focusing a lot more manageable than you might think.

I have owned the Sony A6700 for a while now, I pre-ordered the camera and received it long before Adobe Lightroom could edit the RAW image files. In that time I have used the camera extensively for photography and videography, it is certainly a very capable camera in the APSC hybrid camera category, but it has a few issues which can cause headaches in both photo and video use cases.