Musings: August 3, 2026

Portrait of God © 2026
Shot on iPhone

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IT’S BEEN AWHILE

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Been quite some time since I’ve posted on the blog.

As I mentioned in a previous post, I want to spend most of this year working and not blogging. While I do enjoy writing posts and sharing updates, I think that we’ve become so accustomed to always sharing what we’re up to in this social media age, we often forget not sharing is an option too. Sometimes it’s better to focus on the work, life, or just being in the moment instead of stopping to make sure you have something to show/share with the world. I’m a firm believer in that your growth, the hard work you’re often doing alone in the lab isn’t always for public consumption. It shifts your focus away from growth to external validation from some perceived audience.

So where have I been the past couple of months?

May through June, I was in South Korea and Japan filming for This Is Sera and I recently got back from a trip to Paris and Italy for the most recent filming. I love traveling, but as you can imagine, the past couple of months have been quite rigirous and have required my full attention, hence the lack of blog posts. But what’s more important? Posting on the blog or focusing on the project I’m most passionate about and making sure everything goes well with it?

Obviously the project is most important and that’s where I’ll continue to put my focus for the rest of the year despite the itch to work on other things from time to time. No, this one get’s my full attention.

For now, here are some musings on a variety of topics you may find interesting.

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RECENT PHOTOGRAPHS

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Model: Ryu Sera @ryuserasera
Studio: L’Atelier & Beyond @latelierandbeyond_studio
Location: Paris, France

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 24-70 f/2.8 GM II AND SONY FE 85MM F/1.4 GM II

Sera in Paris. © 2026

Two recent images of the incomparable Ryu Sera in Paris.

Since filming began on This Is Sera last year, Sera has quickly become my muse. She is easily my favorite person to photograph and film with, full stop. It’s crazy to think I’ve only known her since our first shoot in 2024, but we’ve worked together so much in recent months it feels like we’ve known each other for much longer. She’s quickly adapted to the often odd, spontaneous way I work and I’ve adjusted to how she moves and expresses herself. It’s a fascinating dance when you develop chemistry with someone after working with them for a period of time. There are models I work with that I have this sort of synergy with but not quite at the same level. I think her years of experience being a KPop idol, understanding how production works, and just having great natural instincts help add that extra layer of sophistication to the work we do.

I’d love to work with her on many of my projects well into the future. Like Wes Anderson and Bill Murray, Martin Scorsese and Leonardo DiCaprio, or Alfred Hitchcock and Grace Kelly, if I have a project I can get her in, I’m going to pitch it to her. That would be so cool to have a career like that. Working with your friends, people you like, etc.

Photographing her for the first time back in 2024 was a surreal experience for me. This time also felt surreal, but for different reasons. Instead of Seoul, we were in Paris, working in my favorite studio, L’Atelier & Beyond. It’s a space I consider my artistic sanctuary. A place I often go when I need a creative boost or need to get out of a funk. It’s the primary studio I work out of in Paris and I credit it with being the origin point of my creative evolution over the past couple of years. It was so cool to have her there and work in such a unique space compared to our previous shoots. I think we outdid our previous work and broke new ground. I have a ton of new images from this set that I can’t wait to share. It’s some of our best work.

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GEAR TALK

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Sony Announces the FX5. It’s a pass for me.

The Sony FX5. Cool features, but not for me at the moment.

This will be one of the longer gear talks in a minute so bear with me.

As expected, last week Sony announced the FX3’s successor(?), the FX5. And the internet lost it. Though it looks like an FX3, it’s quite a departure from one of the most beloved cameras on the market.

If you thought the photography community was the most rampant, reactionary group amongst creative communities, then you should take a look at the filmmaking, or should I say content creator community. Immediately all the shill-tubers put up their videos praising all the new features and specs of the camera.

From what I could gather from all the videos, a word-by-word description of the Sony FX5 would be as follows:

• Beast

• Epic

• End Game

• Peak

• Insane

• King

• Incredible

• Pure Cinema

• Most Important Cinema Camera Ever

Followed by videos with explanatory titles such as:

• Why I’m selling the FX3 to buy the FX5

• Why I Pre-Ordered the FX5

The term “slop” has been uttered across the internet at least since 2025 and I have started to have such a disdain for such low-level, click-baitey, shill content. Slop is such an apt word.

These tired disclaimers are usually the mark that you’re about to be sold something:

• “Sony sent me the camera, but they don’t get to approve this video before it goes out.”

• “I’m using a pre-production version of the firmware, so it may change when it releases.”

• “Sony flew us out to <insert fancy country name here> for this review…”

These statements are quickly followed by an utter loss of objectivity and honest reporting on a new item that many will go out and spend their hard earned money on. Every time a new product is announced it’s just a diluge of slop from the usual suspects trying to convince you why you need to buy this new camera. And don’t forget to click the affiliate links.

My Own G.A.S. Experience

G.A.S. = Gear Acquisition Syndrome
A new product comes out and you just feel you have to have it. It’s part fomo, part new shiny object syndrome, and part insecurity.

When Fujifilm released their medium format cameras, I fell into this trap. Coming from years of shooting full-frame, there was always this thought that medium format produced a better, more lifelike image compared to smaller formats. It was the pinnacle of digital photography. Especially in the late 2000’s. The format that showed you were a serious artist. If you shoot medium format, you’ll certainly be working with famous people and shooting ad campaigns!

Fujifilm entering the medium format market in the late 2010’s finally made it approachable for the masses compared to the $15000+ Hasselblads and Phase One digital backs of the past.

GFX 100S with an assortment of big, bulky GF lenses.

In 2021, their most recent option, the GFX 100S, a smaller, more approachable version of their behemoth GFX 100, was calling my name. It was DSLR/Mirrorless size with medium format image quality. Sign me up!

So I sold my Sony A1’s at the time, bought a Fuji GFX 100S and instantly I became Richard Avedon. Yeah, that didn’t happen.

Despite the slight improvement in image quality and noise performance at higher ISO’s, there was no substantial difference to justify the system over what I had been shooting with. But I was already $12,000 invested in the system. I could have made a bunch of sunken cost fallacy excuses to keep it, but instead, I sold it all and switched back to full frame. This time I went with my tried and true Panasonic S1R’s. I loved the image quality and color they offered despite some operational shortcomings. But after shooting with the Sony A1’s(that were brilliant to work with), the S1R’s felt a bit archaic in comparison. Not wanting to switch, I gritted my teeth and stuck with them for a while.

But I still lamented losing medium format for some reason. So when Fuji announced the GFX 100 II in 2023, I sold my Panasonic gear and got one. This one promised a better EVF, phase detect autofocus, and even had impressive video specs. Surely it would be better and make me a better artist? Unfortunately, no.

Fujifilm GFX 100 II. Beautiful camera. Hated using it.
Didn’t make me a better artist.

I don’t know why I was so foolish to think that just by getting this camera, it would catapult my work into the stratosphere. It’s quite silly to think about now. Equipment doesn’t make you a better artist, you still need to practice, educate yourself, learn, try things, and make refinements. You become a better photographer/filmmaker by creating. Not simply because you bought an expensive camera. I guess I had a bit of FOMO and bought into the idea that I needed the latest and greatest to validate myself as an artist. Never again.

Plus, no matter how much I tried, I just never enjoyed shooting with Fuji’s GFX cameras. They were big and slow with an outdated UI and only decent autofocus capabilities compared to other options on the market. And I felt similarly about ALL of Fuji’s other offerings(looking at you Fujifilm X100 VI). Fuji cameras produce a beautiful image, but I hate the process of using them. They just feel clunky to me. I wanted a camera that just got out of the way like my Sony A1’s did which I foolishly sold because I had more money than sense.

And I will openly admit to you, I NEVER took a single image on the GFX cameras that I feel are better than any of the images taken on full-frame. I have so many images captured over the years on full-frame and smaller formats that are career defining or my personal favorites. It never happened on the GFX. I just didn’t click with them.

So I sold the GFX 100S II and made the decision to go crawling back to Sony. I couldn’t afford the A1’s like before so I took a look at the A7R V. And I have to say again and again, it has been photo taking bliss ever since. I love the A7R V. I have had no desire, want, or need to buy another photo camera. It does everything I want, has beautiful image quality that I still marvel at today, focuses fast and accurately, and has paid for itself 10x over in the years I’ve been using it. Its successor, the A7R VI, was announced a few months ago and though it does have some cool new features, it’s not a necessary upgrade for me. It does nothing that my current camera can’t do to create the images I want.

The detachable, titlable EVF is cool.

The all-axis, large rear screen is also cool.

Back to the FX5. It has impressive specs. Internal RAW recording, a detachable EVF, improved autofocus with all the AI stuff, 16-bit color, triple base ISO, and a bigger, multi-axis screen. You’d think based on that alone, I’d be placing a pre-order immediately.

Wrong.

For me, the decision to not purchase the FX5 comes down to a few things, but I’ll start with the major one for me. Ergonomics.

For ergonomics and usability the FX3 > FX5.

All of the shill-tubers and influencers in this space always drone on about specs, but they never spend enough time on usability. And this is generally how I can tell they have no actual experience in the field. Sure you may photograph a model or two, shoot some beautiful footage for your review video, but you’re not producing actual work. At least on a week in, week out basis. No portfolios featuring client work, self-funded, inspired projects, film festival submissions, client lists, etc. They’re mostly reviewers which is fine, but it’s frustrating that they often offer up advice that may not serve their audience or someone interested in making an informed investment into a system. They’re essentially sales people for the camera brands, there to hype up the latest offering.

Their reviews are often extensive reads of the spec sheet coupled with hyperbolic language to make the new thing seem like the most exciting thing ever. I’m sure when they receive the email from the camera brand they’re told to mention certain key features in their “review” like “Triple base ISO!”.

When you work in the field, you’re often working hours, days, even months on a project going from various types of situations. You need gear that is responsive and can keep up with the type of work you do. You also have to meet client expectations which means there’s more stakes involved. You need to be on point and your gear needs to be able to keep up with frequently changing demands.

So sure the camera has great new specs. But what is it like to use for documentary work? Sports? Can I customize it the way I need to? Does it add a cool new feature, but remove a previous one I frequently used? What’s the boot up time? Does it overheat? Lock up? Is the IBIS improved?

Also, for the professional, buying gear is often an investment not a superfluous purchase. Yet, how many videos and posts do we see with people saying, “Why I’m swtiching from <insert brand name here> to <insert other brand name here>”.

For hobbyists with disposable income, you can do whatever you want. It’s not affecting your livelihood to the same degree. But for those trying to run a profitable business, constantly switching systems costs you time and money. It’s generally not worth it unless it’s something groundbreaking or the upgrade has been years in the making like upgrading from an original Panasonic GH5 to the full-frame S1 II for example. Or maybe it’s more utility based like certain features will significantly improve your workflow/efficiency. Otherwise, if the equipment you have is serving you well, you enjoy working with it, clients love the work you do, then you don’t have to switch or upgrade. Don’t fall into the trap.

For years I used DLSR cameras, but when mirrorless matured enough and Eye autofocus got better, I switched and it has definitely made my job easier. Being able to see the exposure and white balance in real time is such an advantage over the EVF-less cameras of the past. That was a worthwhile upgrade for me and easy to justify.

I wasted thousands of dollars and countless hours switching from Panasonic to Sony to Fujifilm back to Panasonic back to Fujifilm then back to Sony. My head is spinning just reading that. Imagine all the returns or having to sell gear and taking a loss on it? It’s wasteful spending and unnecessary to my artistic growth. There was a lesson learned, but it was an expensive one.

Now for ergonomics. I like a lot of the FX5’s new features, but the removal of the rear wheel kills it for me. On the FX3 I have it set to ISO. The documentary I’m filming is often very spontaneous which is perfect for a run-and-gun sort of camera like the FX3. Being able to seamlessly rotate the wheel going from ISO 640 on the low end to 12,800 on the high-end is clutch in many of the situations I find myself in. Going from a dark interior to a midday sunny exterior is done easily by simply rotating the wheel to the ISO I need at the moment. The GFX 100 II and 100S II’s frustrated me with this lack of wheel on the back. It’s such a useful control to have, especially for video. I now require all my cameras to have it.

And mind you, on the FX3(and other Sony cameras) that wheel isn’t just for rotating. It’s also a d-pad.

On each axis of the wheel, you can program up to 4 other buttons giving you even greater control. Removing it has eliminated 4 customizable buttons! I use those buttons to turn on peaking, see my Zebras, and adjust my audio on the fly. I don’t have to dive into a menu to get to the settings. They’re a button press away.

Then since the system has switched from Sony’s colorful Alpha UI to the Cinema UI, you lose the quick function menu which I also use quite regularly to activate/deactivate several features. With the Cinema UI, the FX5 requires more menu diving to get to certain options. So I gain exciting new specs, but at the expense of usability and speed? It’s not a tradeoff I’m willing to make.

And Sony’s cinema camera UI is just bleh to me. The drab gray and yellow palette of the new menu lacks the distinctive color of the Alpha camera UI. That was very helpful in recalling what menu a particular setting is in. It also helps to see your menu when viewing in dark environments.

Other downsides:

• Having to buy the new battery. Batteries are expensive and I have plenty of NP-FZ100’s that work with all my Sony cameras. It’s great to have one set of batteries that work for all your devices.

• Some features will require you to buy CF Express Type A memory cards which are also very expensive.

• Using some features disables other features. Want to shoot in anamorphic? Goodbye autofocus and IBIS!

• The bigger screen is nice, until you realize the active area is the same size as the original. Sony just moved the UI elements off to the sides of the screen in the bezel so they’re no longer sitting on top of the image. So it’s sorta bigger but not really. And we lost the wheel because of it.

• You can’t use the EVF and audio handle simultaneously. At least natively. Actually I don’t understand why Sony made the EVF detachable in the first place. It should have been integrated like the FX2. Then you could use the audio handle with it and not have to keep up with another modular piece of equipment. I think making the camera body slightly bigger to accommodate this would have been understandable.

• They advertise that the FX5 can do 4K 240fps, but that won’t be an actual feature until sometime in 2027. If it isn’t available at launch, don’t talk about it. And what happens when it comes out and there’s some odd compromise associated with it? Like you can only shoot so many seconds before the camera overheats or something. False advertising maybe?

• Oh, you also can’t take photos with the camera. Although it’s built like a hybrid camera, it only does video. No photos whatsoever. It would have been nice to use the new 16-megapixel sensor to snap set photos for example. For someone like me that does both photo and video, it’s a hard sale for this sort of camera at $5,000 that only does video. I want more value for my dollar.

To the last point about it not being a hybrid camera that’s another issue. It’s positioned as a camera that should work alongside one of Sony’s premium cinema options like the Burano or Venice. However, it’s designed like a slightly bigger FX3. Why keep the same body style if you’re not going to take full advantage of that form factor? If not hybrid, then why hybrid shaped?! Make it boxed shape or a traditional video camera shape.

Image quality wise, you’re splitting hairs between it and the FX3. The images are very similar with maybe a color edge going to the FX5 due to it’s 16-bit color offering. Maybe some slight sharpness increase due to the 16 megapixel sensor as well.

It’s an impressive camera, but feels more like an incremental update than a great leap forward. I love the FX3 and it has served me well over the years. I love the image, all the customization options, and how versatile it is for a variety of shooting scenarios. If a new model dropped, all I really wanted was the FX3 with the multi-axis screen, then it would be perfect. Maybe the new screen plus 16-bit color. An integrated EVF would be cool too but not a deal breaker. But definitely keep the rear dial, photo modes, etc.

If you’re on the fence wondering if you should sell your car, house, child to buy one, maybe consider what need it fills. And if it fills a need that your current equipment doesn’t. If it fails to make a case for itself, don’t buy it. Or feel pressured to.

I won’t be getting an FX5. With my options open at the moment, I may go in an entirely different direction. Time will tell.

Last thing. No one outside of the photography/filmmaking community cares what you shot the thing on. Unless it’s a client who requires specific deliverables. Outside of that, if it entertains them, you could have shot it on a potato and they’d still love it. But if it’s boring and uninteresting, it doesn’t matter if you shot it on an ARRI Alexa, no one will care and most damaging, no one will want to watch. Think of all the recent Hollywood flops that are shot on top of the line equipment. If it doesn’t connect with an audience, the equipment matters not.

Driving The Point Home

The following three videos encapsulate what I was just saying. It’s good to see people give a more level-headed take on cameras. Specifically, the FX5. Don’t be eager to buy into the hype when new products are announced. They won’t inherently make you a better artist if the art matters to you. Save and use your money wisely.

You’ll notice they made many of the same points I’ve made in this post. The last one by IglooMoth is also interesting because he too, like me, couldn’t get through Danny Gervitz’s FX5 video. I love Danny’s content and have been a fan of his channel since seeing his running video years ago, but his FX5 “review” video was one of the most shill-tastic, sellout for the brand type of videos I have ever seen. I couldn’t get through the first 2 minutes of it. Just slop.

I think the title of IglooMoth’s video is also apt: “The same 10 guys sell us another camera.”

That’s exactly it. It’s always the same usual suspects that have essentially been hired by the camera brand to promote their product. They are rarely critical even when there are obvious issues (the Canon R5 overheating issue comes to mind) and make these recommendations solely to push the product for the camera company. Not even a level headed, “Hey if you love what you’re getting out of the FX3, you may not need to switch to the FX5. There are things that camera does better than this one and vice versa.”

I’m so glad we’re finally getting to a point as a society that influencers aren’t as relevant as they were at their height.

You guys just aren’t trustworthy anymore.

So What Video Camera Would I Buy Now?

As mentioned above, I am consider other camera options at the moment. We resume filming This Is Sera mid-August, so I can either continue working with the FX3, but there are some things I’ve love to improve production wise. I’d love a more detailed image, more natural color, smoother IBIS, and more professional exposure tools on the camera itself. There are times when I can’t use an external monitor, which I love for having false color and waveforms, but without it I’m limited to Zebras and the camera meter as my main exposure tools on the FX3. Those features being native on the FX5 are a welcome addition, but since I’m not getting that one, what other cameras offer it? So I’ve been doing a bit of research and I think I found a camera that will fit my needs a bit better than the FX3. The choice is utility, not because I want the latest gadget. If I make a decision I’ll share my choice, reasoning, and findings here on the blog.

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FILMMAKING IS FUN(ER)

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What started as me simply dipping my toe into filmmaking has become a bit of an obsession. Don’t get me wrong, I love taking photos, but photography has become so devalued and unappreciated in recent times it has left me feeling a bit dismayed at its long term relevance. That’s a tangent for another post, but I must say filmmaking has been a lot of fun. It’s been feeding my creative soul well over the past months.

For one, it just gives me much greater flexibility as a storyteller where I felt much more limited with photography. Of course, you have to have interesting things/people to film, but when you do, there’s nothing like it. Seeing things unfold in front of the camera in whatever random, unique way is a high that never gets old for me. Of course after long days of filming, carrying gear, moving the camera delicately to avoid camera shake or holding a position so long my arms ache, you feel like it’s the worse thing ever. But when you look at the footage and you nailed it, it’s such a satisfying loop of trial and error. Like playing a Souls-like videogame. When you win, it’s the greatest feeling.

Two, it’s making me think about the image in an entirely different way than photography. The best example I can give is the greater attention I give to focal length and its impact on the image. For filming, I love and prefer the 24mm field of view. But sometimes a different focal length is better for a particular mood or to highlight something of interest. Sometimes wider is more emotional than the closeup and vice versa. I know what the distortion of 24mm looks like 1-2 feet away from the face. I know how 50mm will look for a waist up shot of someone sitting. When Sera and I did the shoot in Paris, I was much more mindful of the focal length I was set to on my 24-70. Before I would just zoom to a width that gave me the composition I wanted. Now it’s more than just composition, it’s also the feeling I want to convey. Choice of focal length matters and filmmaking has given me such a greater appreciation for it.

My enjoyment of filmmaking has caused quite a dilemma though. Sometimes when I’m taking pictures I’m thinking, “Man this would be so cool to film!” And other times when I’m filming, I wish I could stop and capture that moment as a picture. I’m sure this will be a struggle throughout my career. You can’t have it all ya know.

But for now, I’m having a blast learning, growing, and failing.

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SONY GETS RID OF PHYSICAL MEDIA

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Get Playstation 5. Prepare for next generation of gaming. Has no games.

A bit off topic, but relevant to my disdain of shilling for corporations.

Recently, Sony announced they’ll be eliminating physical media for their Playstation platform going forward. So now all your purchases will be locked to an account in which they can abitrarily remove your game or certain features on a whim if they decided to? This just rubs me the wrong way.

One of the reasons I’m not interested in camera brand partnerships because they expect you to be a team player for the brand. They see it as “you need us” and not the other way around. You can’t call them out for obvious faults or any anti-consumer practices. I love Sony’s camera and gear, they make great stuff, but on the entertainment front, they’ve lost me as a customer.

I’ll never buy another Playstation again after this generation. Steam gang till I die. And the Playstation 5 is wack anyway. It’s been 6 years and the first-party library is pitiful. Easily the worst console generation this.

Steam Machine. I already own the Steam Deck, so it’s either this or building a gaming PC.
Console gaming is on its last legs.

The best way to get corporations to take us seriously as consumers is to not support their decisions and refuse to buy their crappy anti-consumer products/services. When Disney insulted fans of Star Wars for valid criticisms of their awful sequel trilogy, I decided then and there I’ll never support Disney Star Wars ever again. Same for Sony. No physical media, no way to have some sense of ownership of your game media? No buy for me. I hope the masses follow suit.

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THE IPHONE AS MY EVERYDAY CAMERA

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A bit late to the party, but I have found myself enjoying my iPhone as my everyday camera. Despite my best efforts I’ve yet to find a small camera that’s small enough to get out of the way yet with the performance I expect from a camera. The last camera that filled that void for me was the Lumix GX9. Small, fast, with interchangeable lenses. Was a such a fun little camera to use though with its own limitations. On this most recent trip, I didn’t want to waste money on a specialist camera for traveling and just opted to use my phone whenever I saw something of interest. It was the best choice.

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The images are beautiful, it’s quick to edit right on the phone, and it feeds into my love of snapshotting. I don’t always want to find a pristine composition. I just want to grab the camera, snap a few quick pics and be back in the moment. It’s perfect for that. I could go down the iPhone lens rabbit hole and try to get even better quality from the images, but you don’t have to turn everything into a project.

Just enjoy things as they are.

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IN CLOSING

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I’ll likely be taking another extended absence from the blog. Not due to disinterest, but I have a pretty loaded schedule over the next month. Maybe I’ll do a few short posts if there’s anything that piques’s my interest or I feel is interesting enough to report. Otherwise, I’m keeping with my goal of focusing more on creating work than talking about it. Even talking about the FX5 and gear related stuff had me feeling like I’m going backwards. It feels good when you commit wholeheartedly to a new direction. I’d advise many of my fellow artists and aspiring ones to follow suit. Don’t get bogged down in gear discussions or feeling that the tech itself is the key to make you a better artist. It may just be you need to practice/learn more. Food for thought.

Feel free to follow me on all the socials if you’d like to keep up with what I’m doing! Until next time.

Hope you enjoyed this post! Feel free to leave your thoughts and comments below!

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Musings: January 15, 2026

The Pillar of Strength © Jamiya Wilson Studio, 2025
One of my favorites images from last year with fantastic model and friend Emma Helena.
Images like this are why I now consider myself solely a portrait and fine art nude photographer.

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NEW BEGINNINGS

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Well hello 2026.

Another year begins which opens opportunities for fresh starts, new beginnings, and new relationships. 2025 was a very interesting year for me. It started with a bang, lulled a bit in the summer, then ramped up again in the fall. It was fraught with emotional moments, sad goodbyes, tear jerking happy moments, and countless surprises. I’ve taken time away from posting not only due to my work schedule but I’ve also been dealing with some personal issues I’ll detail in a future post. Still processing things at the moment, so bear with me. I’m human.

As the first musings post of the year, this one kicks us off with announcements and details about the overall direction for the year. Not only are things changing rapidly in my own life, but all over the world. How do we as artists navigate an ever changing(and ever shrinking) landscape? I hope to have more answers to that question as the year progresses, so stay tuned.

For now, enjoy the first musings of the year.

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RECENT PHOTOGRAPHS

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Model: Layana Devis @layanadevis
Studio: L’Atelier & Beyond Studio @latelierandbeyond_studio
Location: Paris, France

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM

Just one photo this week. I’m still working on images from this set, but this is from my first shoot with the stunning Lana aka Layana Devis. She’s quickly becoming one of my favorite models to work with whenever I’m in Paris. Beautiful features, a friendly demeanor, and always up for shooting, she has been a pleasure to work with.

This image was captured on the Sony 28-70 f/2 GM lens. A lens which I’ve pondered selling from time to time, but I find it irreplaceable for my portrait work. I covered an event at the end of 2025 and didn’t find the focal range as pleasant when compared to the 24-70. Having the 24 on the wide end is still extremely useful so I own both. 28-70 for portrait work, 24-70 for events and video. The 28-70 is my go to for portraits since it essentially replaces a bunch of primes I’d use such as the 35mm or 50mm options. Love the output from this lens.

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GEAR TALK

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The Sony FX3 Is Still The Camera To Beat

The Sony FX3. Been around 5 years and still #1.

The Sony FX3 is still one of, if not the best, video cameras on the market.

I’m currently working on a documentary project(details coming soon) which was greenlit in July 2025. At the time, I didn’t own a dedicated video camera. Already being in the Sony ecosystem, the FX3 was the logical choice for me. However, I did compare it to other available options and honestly none of them appealed to me as much. Panasonic has their S1II’s, Canon has the R5 Mark II and the recent C50, and Nikon came out with their ZR at the end of 2025. All great options but lacking in some area for me. With Panasonic, form factor and company dependability. I shot Panasonic for years and the lack of innovation and/or haste in getting out new products(especially lenses) left me with a sour taste in my mouth. So Panasonic is a no go. Further, I’ve also have been studying the image from Panasonic’s recent cameras and I don’t find it as pleasing as I once did. It looks “waxy” to me. Canon has impressive options, but is expensive and I didn’t want to invest in a completely different system unless it offered substantial benefits over what I have. Plus the C50 doesn’t have IBIS which won’t work for my application. The Nikon ZR looks cool, but isn’t suited for this sort of work. It’s more a prosumer camera than a true workhorse like the aforementioned options. It lacks much of the customization options on the body that more pro level cameras have. Plus, I don’t like Nikon’s colors.

So after all the comparisons, the Sony Fx3 still came out on top for me. The biggest advantage it has over ALL the others, is low-light performance. Shooting doc work, you’ll often find yourself in less than ideal lighting scenarios, so it helps to have a camera that can still produce a clean image even with abnormally low lighting conditions. Add in the small form factor, the amount of buttons and dials I can customize, and I have a camera I can truly call my own. After changing most of the default settings, it actually feels like “my camera”. There are still some odd Sony design philosophy quirks that nag me, but overall I find it a pleasant system to use. It will remain my main camera for the duration of this documentary project. Once it’s completed maybe I’ll consider other options, but for now, it’s been bliss working with the FX3.

Long live this amazing little camera.

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NEW DIRECTIONS

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One of my earliest(and still favorite) beauty images. Fun and frustrating times that era was.

In 2026, I’m saying goodbye to both beauty and swimwear as genres I’m focused on. For those who wish to see that work, you can see it in the Archive menu in the site’s main navigation.

Why abandon beauty photography?

“But Jamiya, you’ve put so much work into it!” I know. However, unless it’s for a commercial client, I’m not interested in shooting beauty. It doesn’t inspire me. I could care less about makeup, hair looks, etc. None of it draws my attention anymore and it lacks the emotional depth and intrigue I can create with portrait photography.

Swimwear was really fun, but time to move on.

Why abandon swimwear photography?

There’s no money in it. It’s fun to shoot beautiful women in beautiful locations. But since the rise of social media, influencer culture, etc. there’s really not a lot of money to be earned shooting swimwear. Brands aren’t hiring photographers for it in droves like they used to. Instead they’re bringing much of it in house. Influencers/models are shooting themselves just to post quick pictures on their stories. And the photos are more than “good enough”. There are about 3-5 photographers I know of that make a decent living shooting swimwear alone. And half of them have to do other things like weddings(*shudder) alongside their swimwear work in order to earn well. So while fun, it’s not moving the needle forward for me in any significant way to warrant focusing on long-term.

Will I ever shoot those other genres again?

Sure! I certainly will if I have an idea or something inspires me. If I just want to go to Miami and shoot swimwear for fun, I’ll definitely do it. Or hit the streets of Tokyo for some street photography, I’m with it. Those genres just aren’t mainstays in my portfolio like they used to be. And I won’t market/promote myself as a photographer in those genres. I don’t want any potential clients getting confused about the style of work I generally offer. Anything outside of portraits and nudes is more of a special case and quoted accordingly.

Where is all this going?

Essentially I’m starting fresh and reinventing myself as an artist. I don’t think some of my older work still serves me, so instead of clinging on to successes of the past, it’s time to embrace the future and focus on the next chapter of my career. On the photography front, I now consider myself simply a portrait and fine art nude photographer. I’m focused on making striking, compelling portraits of people outside of the scope of just shooting with models/actors. I want writers, poets, politicians, musicians, philosophers, CEO’s, etc. This new focus allows me to hone my efforts and really refine my marketing going forward. It also frees up precious time to step more fully into filmmaking and make that a more extensive part of my repertoire.

I want my portfolio going forward to be: Portraits, Nudes, Film/Video.

Expect small changes to happen on the website over the next month as I make the transition. Archiving the old work was step one. Now it’s time to fill out my portfolio a bit with more recent work and make creative projects plans for the year.

Sigh, my job is never done.

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LESS BLOGGING, MORE WORKING

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I won’t be blogging as much this year. Instead my focus will be on working more, improving my style, and growing my business. Blogging isn’t a huge part of my business strategy. It’s more of a place for me to share announcements, thoughts on things, but with minimal engagement it’s not worth wasting useful hours writing posts. 15 years ago, blogging was all the rage. People would actually read, engage in comments sections, etc. But now? Across the web, you’ll see many photography blogs are ghost towns. Comment sections use to be full of insightful discussions, now there are only a handful of comments. The web has shifted more to social media and YouTube and even on those platforms, unless the focus is on gear, engagement isn’t what it once was. Such is the times ya know?

If you’re sensing a theme, I’ll spell it out: I‘m focusing my time on things that excite me and yield greater results for my business. If it takes up too much time, offers little return, and/or I don’t enjoy it, it’s out.

So I’ll still blog occasionally if you’re into that, just not as frequently. 1-2 per month seems sufficient. Maybe I’ll share more from my travels as well. We’ll see!

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IN CLOSING

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I feel it’s important for artists to take greater control over their careers. If you don’t want to do a certain type of work, don’t. Figure out another way. Don’t allow yourself to be pigeon-holed into a miserable existence working on stuff that doesn’t stir your soul. Life is far too short to be wasted on things that demotivate us. Seek out clients/customers who love what you do. Sure it may be more niche, perhaps come with less fanfare, but at least you’re being authentic to yourself. For years I’ve pondered stepping away from beauty in a more official capacity and now I’ve made it so. It feels a bit odd letting go of something you worked on for years, but I’m not one to linger on past successes. I’m seeking deeper, more enriching challenges that make me excited to photograph. In time it will make sense, for now I feel liberated.

Here’s to the new year! May it bring more happy and exciting moments for us all!

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Olivia Linz at Ape Studios in Barcelona II

Model savant, Olivia Linz.

Another set of images from my shoot with model phenom Olivia Linz at Ape Studios in Barcelona.

This set is non-nude for you prudes out there.

I think I’ve really come to find my style as a portrait photographer. From composition to the tones used in my black-and-white work, I feel that my eye is becoming more refined and more easily identifies the elements I prefer to see in my images. And with a faster, more precise regularity. I no longer spend hours in post-production being indecisive about a look for a particular image. The decisions come quicker and in turn, I’m able to release work at a greater pace than in the past. Being indecisive was paralyzing me for a bit, I must admit. Here’s to being on the right track!

As for these images, what I love about them is how soft and feminine they are. Olivia brings this sort of delicate, graceful feel that softens the mood, making the images feel more personal or candid than overly posed, produced images. A more relaxed, candid feel is what I love to see in my portrait work, so I think we accomplished our mission here.

Closing thoughts at the end of this post. Hope you enjoy this set!

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PHOTOGRAPHS

Model: Olivia Linz @oliivaa_linz
Studio: Ape Studios @apestudi0s
Location: Barcelona, Spain

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 85MM f/1.4 GM II AND SONY FE 28-70 f/2 GM LENS

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IN CLOSING

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The three images at the end are some of my favorites. I like images with dramatic highlights and shadows. Many portrait photographers prefer dim, overcast days with even lighting. Personally, I’ve always preferred sunny days for portraits as having the sun gives me a wider variety of looks I can achieve. I can place the subject directly facing the sun, or with the sun to their back for some cool backlighting effects. If I want a more overcast look, I can move them under an overhang so the light’s less harsh and more even. The sun also gives the images a punchier, snappier look that I prefer. We don’t run from the sun, we embrace it!

I was recently in Paris and Olivia and I got the opportunity to work together again. I’m excited to release images from that shoot as well as scenes from a video test we did. You really get a sense of who she is as a person and how talented of a model she is when you see her in motion. We just walked around Paris, hanging out and chatting, but the footage feels so full of life and excitement, you’d think you were watching a movie. Can’t wait to share those!

With that in mind, I’m fully committed to my direction into being a filmmaker. I turned 40 back in March, and that not only was a personal milestone, it gave me perspective on where I’d like my career to be in the next five years. By 45, I see myself as more of a hybrid artist, doing both photography and filmmaking in equal measure. I’ve given so much of my life to photography already, so going forward I’m shifting my focus to directing and writing for film projects. Shooting video content has definitely been frustrating at times, but it’s also been more exciting than creating photographs in many ways. It feels more accurate to the portrayal of life than the single still image, if that makes sense. But I adore photography and will never walk away from it. We’re just splitting our focus. Say 60% photography, 40% filmmaking.

Another thank you to Olivia, and all the models I’ve had the pleasure of shooting with this year. They’ve helped elevate my art to such a degree and now I feel ready to tackle even greater projects.

If I have seen further than others, it is by standing upon the shoulders of giants.
- Isaac Newton

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Rebirth of the Bird at L’Atelier & Beyond Studio in Paris

Claire

I’m headed to Paris tomorrow for probably the last time this year. So in honor of that, here are some portraits I did with model, Claire aka RebirthoftheBird. A brilliant model, Claire has one of the most intense gazes I’ve ever seen, drawing immediate comparisons to alluring actresses like Penelope Cruz or Eva Green. Her look could cut glass! Can’t wait to shoot with her again.

These were taken at my favorite studio in Paris, L’Atelier & Beyond. It was the first studio I’d worked in in Paris and it remains my favorite to this day. Not only for the space itself, but the friendly staff. I consider the owner, Karine, a good friend. She always takes care of me and rolls out the red carpet whenever I’m in town for shoots. It feels like “my space”, a space where I can create at my best. The light feels right and the rustic backgrounds are reminiscent of old Paris. We often talk about gear feeling right to use, but I’ll take that notion farther and apply it to places as well. There are just some places where I feel my creativity can flourish and this is one such space. Honorable mentions being the studios I frequent in Düsseldorf and Prague. Paris as a whole always leaves me feeling inspired. Walking the streets and visiting the places frequented by artistic legends from Picasso to Avedon or Dior to Saint Laurent, fills me with a zest for creating and enjoying the process I don’t get anywhere else.

Closing thoughts at the end of this post. Hope you enjoy this set!

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PHOTOGRAPHS

Model: Rebirth of the Bird @rebirthof.thebird
Studio: L’Atelier & Beyond @latelierandbeyond_studio
Location: Paris, France

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 85MM f/1.4 GM II AND SONY FE 28-70 f/2 GM LENS

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My favorite photo from this set. I told you, her look can cut glass. The intensity!

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IN CLOSING

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This set of images utilized a different approach to post-production than I’ve previously used. Usually I would edit the original in color then convert it to black-and-white in Capture One. However, I’ve found that Capture One alters the RAW image very differently than a .TIFF or .PSD file. Colors and/or tones don’t look the same. So I’m looking at my finished works and they don’t quite have the punch as my adjustments on the RAW files within Capture One.

To outline the old process: Global adjustments in Capture One > Export as a TIFF > Retouch in Photoshop > Bring final TIFF back into Capture One > Apply chosen Style of Preset > Export JPEG at various sizes for desired medium (e.g. social media, website, etc.)

The new process: Global adjustments in Capture One > Apply chosen style of preset > Export as a TIFF > Retouch in Photoshop > Bring final TIFF back into Capture One > Export JPEG at various sizes for desired medium (e.g. social media, website, etc.)

Below are two examples. The image on the left utilizes the old process, the image on the right uses the new process.

New process
Accurate color, contrast, and tones applied to the RAW file in Capture One.

Old process
Notice how faded it looks or the flatness of the white background?

The only downside is, I have to commit to a look. The old process would allow me to get both a black-and-white and color version of the same photo. This new method requires me to commit to one or the other. Or process both a black-and-white and color version which will have to be retouched independently. It’s more work, but yields a higher quality result overall. I’m still tinkering, but wanted to share my findings.

As for the shoot, it was a chill and fun vibe. I like my sessions to be low-stress affairs where people can come in, chat, chill, and create. This is not a high-pressure fashion campaign, but more of a personal, intimate setting which often results in portraits that feel relaxed and most importantly, authentic. As mentioned, I have more to come from this session, but hope you enjoyed these. Not every group of photos I post will be 15-20 image epics. Sometimes it’s just a handful. And sometimes, that’s enough.

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Olivia Linz at Ape Studios in Barcelona

Olivia Linz. Easily one of the greatest models of all-time. I like giving people their flowers while they’re here.

I’ve been fortunate to work with some of the best models in the world. Truly. Maybe they’re not as famous as the supermodel, influencer ilk (not because of talent mind you), but man if these wonderful ladies and gents don’t bring their A+ game to shoots. Olivia Linz is one such person. I think she’s a generational talent. Every pose is effortless, delicate, and considered with the facial expressions to match.

To grow as a portrait photographer, it’s vitally important to work with people that help raise your game. From your team to the model in front of the camera. Especially the model. Olivia’s brilliant for this. No kidding, everytime we shoot, I feel like I go up another level. I approach the picture differently and consider options I may would have overlooked before. A great model can bring that out of you, just like a great photographer can bring something unique or surprising from the subject. That transfer of inspiration not only makes shoots fun, you also feel like you’ve grown as an artist from the experience. Isn’t that a big part of what it’s all about? Constantly pushing ourselves and seeing how we can improve shoot after shoot?

This set is from a previous trip to Barcelona and my first time working in the wonderful Ape Studios. It’s a beautiful space in a great location. The lighting and layout are perfect for my style of working and I really appreciated how clean the space was and how accomodating the staff were for our little shoot. The first time Olivia and I worked together, we were in a tiny studio in Lisbon, so it was great to work in a much larger studio to see what we could really do when giving the proper space. For portraits, a small space is fine, but I like a bit of room when shooting nudes.

I have enough images to create 3-4 sets from this single shoot, so here’s the first. I love these images. Sexy, sensual, yet refined and beautiful. Those four adjectives sum up the goal of my nude work. Or at least the goal I strive for when working.

Closing thoughts at the end of this post. Hope you enjoy this set!

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PHOTOGRAPHS

Model: Olivia Linz @oliivaa_linz
Studio: Ape Studios @apestudi0s
Location: Barcelona, Spain

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 85MM f/1.4 GM II AND SONY FE 28-70 f/2 GM LENS

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This last image is one of my favorites. Just a happy accident when I saw her reflection in the window. Yeah, it’s out of focus, but that’s the whole point.
It was intentional I swear. ;-)

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IN CLOSING

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As you can see, I’m still using the same gear as mentioned in previous posts. I’ve been really happy with my kit, so no need to tread over old ground again.

Regarding the shoot, I had a bit of a struggle with the Instagram police when posting any images from this shoot. If Instagram even sees a hint of nipple or too much skin, my account gets flagged and it won’t show the post. So after removing several images from this set, I ultimately decided to just post a single image and those curious to see the rest can visit me here on the blog. I think we need to convince people to venture out of their social media bubbles anyway. I hate censoring my work on Instagram. Don’t get me wrong, I totally understand why. My work is not for children and my account is public, so in the spirit of decency, we censor to protect the children. And maybe the grandmothers. But it’s disappointing as some people won’t bother to click elsewhere and will only see one frame from the set. Guess I can’t worry about that too much. It’s beyond my control.

Creatively, things just flowed as normal. What differs with this group of images is I’ve change my post-processing style. I think this is the best style yet. I’ve been tinkering around with a new, more contrasty, almost Tri-X like style in Capture One. I love the tones in these. Dark shadows that aren’t muddy. Strong highlights that aren’t blown. Contrast that isn’t over done. Grain that gives the image texture and character. And when the right subject matter is featured? You have a winning combo. I even made a new color style as I’ve yet to be happy with any styles I’ve used that are supposed to have bold color. I basically want the depth and style of my black-and-white images, but in color! Is that so hard?! Thankfully I think I’ve cracked it. Expect to see more color images going forward.

Lastly, I know it’s been quite some time since I’ve posted on the blog. There are many reasons for this and I will go into more detail in a separate post. I haven’t gone anywhere, just had to shift focus for a bit to grow as an artist, but I’ll delve into it next week. An important announcement is coming soon.

A big thank you to Olivia. I’m not exaggerating when I say, it’s models like her that make me a better artist. I can’t thank them enough for sharing their creative energy with me and assisting in my growth. I’m scheduled to work with her again soon and I’m eager to see what we’ll come up with next. More sets from this shoot to come, but I hope you like these as much as I do!

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