Speeding down Highway 371, I received a call. The two photographers who knew the way around Bisti Badlands weren't going to show tonight. This was a problem. I had never been there, and it was basically Mother Nature's escape room.

Bisti has no trails, no signs, no landmarks, and no cell signal. Just thousands of hoodoos and winding canyons. I'd have to find my way to some of the features, then find my way back to my car in the dark in a place I'd never been before. It would just be me and my navigation app. Here's how it went.

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One of the arguments I hear most often against street photography has very little to do with photography itself.

"If you're going to photograph someone, why not just talk to them?"

Sometimes it comes from photographers who have never been interested in candid work. Sometimes it comes from people who are uncomfortable with the idea of photographing strangers in public at all. Sometimes the conversation drifts toward privacy, ethics, or consent, as if every photograph made in a public space begins with the assumption that someone has been wronged.

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Picking one full frame camera for travel means weighing color, size, stabilization, and price against each other, and the differences rarely show up on a spec sheet. Three cameras in the same price range can feel like completely different tools once you actually carry them through a city all day. 

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For years, telephoto performance on smartphones has felt like a compromise, often forcing photographers to choose between reach and image quality. With the global launch of the Huawei Pura 90s Pro Max, Huawei is looking to shift that narrative and establish a new standard for mobile photography by bringing some of the latest imaging tech to the smartphone.  

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Impostor syndrome hits almost every creative person at some point, and if you shoot photos, you know the feeling: you look at work you admire and wonder why you even bother picking up a camera. Jesse Senko has a surprisingly practical answer to that spiral, and it comes from an unlikely source. 

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For years, Nikon's f/1.8 S-line lenses stood almost alone: premium optics at a maximum aperture where you rarely find premium anything. That comfortable spot is now under real pressure, and a head-to-head test shows exactly how much. 

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