Playing the Part of a Veteran Shooter

The most delightful moment for a photographer is when you put on a serious face, pretending to be a veteran shooter, and the other person knows you’re just playing the part of a master but doesn’t call you out. But it’s not just photography—how many serious things in life start with stumbling steps and a bit of posturing? That’s what makes street photography so captivating. It’s got a touch of missed focus, a dash of haste, and a sprinkle of solemnity, all coming together to make everything suddenly, beautifully alive.

Photography: Gear Play, Childlike Joy

In a childhood classroom, the teacher asked us, “What’s your favorite color?” It was the first time I’d heard such a question, and I was puzzled. Why would grown-ups care to differentiate colors? In a daze, I picked yellow, but later, as I mulled it over, I realized I didn’t dislike any color. Perhaps that’s how the habit of comparison begins—unintentionally sparked in moments like these.

Now, driven by material desires, I find myself comparing this lens to that camera, testing and reviewing endlessly. It’s overwhelming, cluttered, and exhausting. But I’ve come to believe every piece of gear has its own value. When we let go of comparisons and return to a childlike curiosity, photography becomes pure joy—like being a kid again.

Every Lens Has Its Ideal Shooting Distance

The quest for the perfect lens—and the peace of mind that comes with using it—seems to be the ultimate goal for many gear enthusiasts. Yet, before that goal is even reached, the habit of acquiring new equipment often takes hold. There’s always a lingering feeling that the lens you don’t yet own might just be the flawless one you’ve been dreaming of.

Each brand’s lenses tend to share a consistent character, shaped by its design philosophy and principles. Buying multiple lenses from the same brand often means reinforcing a specific strength or compromising on a particular weakness. One lens might lean slightly more toward one advantage, another slightly less, but the core differences are usually minimal.

However, one key distinction stands out: lenses within the same brand often have different optimal shooting distances and ideal apertures. Instead of chasing the next purchase, consider mastering the lenses you already own. Discover their strengths and find their sweet spot—the distance where they truly shine. Let them serve your photography. That’s where the real joy of gear comes in, not in comparing which lens is sharper or which one handles bokeh better.

Light Is Colorless, Black and White Is True Photography

They say light is colorless. I set my camera’s JPEG to black and white, initially as a playful experiment, but I’ve kept it that way ever since. Not out of laziness, but because money’s tight. I heard they’re releasing another black-and-white camera, and the price is steep—Leica’s black-and-white models are still far from cheap. But honestly, I think the black-and-white JPEGs from a color camera are pretty good too. To put it dramatically, light is colorless—black and white is what photography is all about.

Wherever the Eyes Reach, There Lies Poetry

Gear enthusiasts love to chase focus, but I believe the focus should be in the heart. When the heart has focus, everything you see carries profound meaning. Sometimes, having no focus at all is its own kind of romance. This is why I love manual lenses—I enjoy the process. Sometimes, I focus them in the frame; sometimes, I focus them in my heart.

Blur is the Delightful Pop Music of Photography

Sharp photos are great—like classical music, they demand more attention, objectivity, and a discerning audience. Blurred photos, on the other hand, are like pop music: casual, subjective, and effortlessly appealing to the masses. I embrace both styles. Especially in this scorching summer heat, a bit of blur mimics the shimmering haze, amplifying that sizzling seasonal vibe.