A headshot has one job: to make a person look like the best, most confident version of themselves, and to do it in the fraction of a second a viewer spends forming a first impression. That is a narrow target, and it is easy to miss. What helps is that these failures repeat. Most weak headshots are not ruined by the camera or the location but by the same handful of mistakes, almost all of them fixable once you know what to look for. Here are ten that quietly kill a headshot, each with the fix. 

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The Photoolex BB Series is a new modular camera battery charging system designed for professional photographers and videographers. Each model supports major battery types, including Sony NP-FZ100, Nikon EN-EL15c, Canon LP-E6P, and Fujifilm NP-W235. 

The flagship of the series, the BB Pro is a high-capacity power hub that doubles as a professional portable charger. It is ideal for field work where wall outlets are unavailable.

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Fujifilm's original XF16-55mm f/2.8 lens has long been considered one of the best in the X-mount lineup, and is a lens I've owned and loved to use for many years. I know from personal experience that it's truly one of the best, whether discussing sharpness, detail, autofocus, build quality, or usability.

So when the new Fujifilm XF16-55mm f/2.8 R LM WR II was announced a while back, I wasn't sure what to expect. Would it be possible for Fujifilm to keep the high quality standards set by the original 16-55mm in a new, smaller, more compact package?

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The single biggest mistake in real estate photography has nothing to do with your camera or your marketing budget. Getting good before getting busy separates a business that lasts from one that burns out fast. 

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Most likely, this won't matter to many people, but I'm writing it and proposing it anyway, also because I'm convinced that there's only one person who will be interested in this piece about an antiquated setup that, in my opinion, still works great today. At least it works for me.

So I finally bought a lens that I really wanted: the Canon EF 40mm f/2.8 STM. 

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A single sunset photo, edited three different ways in the same frame, is the kind of thing that changes how you think about white balance. The trick lies in treating the sky and the water as separate zones instead of pushing one warm slider across the whole image. 

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