Whack! Smack! Snap! – Surviving the Toronto Pillow Fight for the Perfect Shot

 "Bear with me, I'm about to get clocked."

"Diplomatic relations have failed. It’s every pillow for themselves."

 "Some came to slay. Others came in a tutu and neon gloves to absolutely slay."

There’s something wildly joyful about watching grown adults (and kids-at-heart) dress up in onesies, grab fluffy weapons, and bash each other with pillows in front of City Hall.

This weekend, I found myself right in the middle of Toronto’s annual International Pillow Fight Day celebration at Nathan Phillips Square. And I didn’t just go to watch—I dove in, camera in hand, fully prepared to get pummelled in the name of street photography.

Let me tell you, getting hit in the head with a pillow while trying to frame a shot is a special kind of challenge. You never really know which direction the next swing is coming from, and autofocus becomes a game of luck. But it’s also an incredible way to catch unfiltered joy, spontaneous movement, and the sort of playfulness that rarely spills into public spaces like this.

The crowd? A glorious mix. There were people in bear onesies, neon tutus, and even someone with a Mohawk peeking out of a panda hood. I spotted groups of friends, strangers turned teammates, and passersby who couldn’t resist jumping in. One woman in a fuzzy purple and yellow jacket grinned ear-to-ear, pillow in hand, while another dressed like a cartoon bear cocked her arm back like a pro. I caught the moment mid-swing—and yes, I took that hit right after the shutter clicked.

Some of the best energy came from the older folks and parents who clearly hadn’t swung a pillow in decades—but once they got going, they didn’t hold back. Kids darted between legs, shouting war cries muffled by down feathers, and I laughed through most of it, ducking, weaving, and snapping like a photojournalist in a very soft war zone.

Was it worth the sore neck? Absolutely. Would I do it again next year? Only if I bring a helmet—or maybe just a bigger pillow.

 

Subway to the Fairway: Toronto Golfers Ride the Rocket to Their Masters

You don’t need a private jet to get to your Masters tournament—not in Toronto. All you need is a full set of clubs, a Presto Card, and the determination to take your swing underground.

This Saturday at Union Station, I spotted two everyday legends making their way through the concrete corridors, golf bags in tow. No chauffeurs, no caddies, just pure hustle. It was as if they were headed to the green, but first—Line 1.

The first golfer looked like he was already mid-round, tapping away on his phone, perhaps checking course conditions or planning his subway-to-bus transfer. His clubs jutted confidently over his shoulder as he walked past the columns of Union Station like a man on a mission.

Then came the second. Dressed in Crocs, joggers, and a patterned fleece, he wasn’t here to impress Augusta’s gallery—he was here for comfort and convenience. With a golf bag slung low and a laser-focus on his destination, he could’ve been heading to the 19th hole or just hoping to find a seat on the next train north.

In a city where golf courses are on the edge of town and green space is always a commute away, these guys weren’t just playing the game—they were navigating it. Fairways by Finch, bunkers near Bloor, par-3's in Parkdale? Who knows. But what’s clear is that they were taking the TTC to tee time.

I couldn’t help but admire it: golf, but make it public transit. A kind of urban pilgrimage, blending two great Toronto pastimes—riding the rocket and chasing the perfect swing.

 

Still burning toast, but getting sharper shots

What Cooking Taught Me About Photography

Still burning toast, but getting sharper shots

I’m not a chef. I barely follow recipes. But I’ve noticed something strange over time—every time I get better at cooking, my photography improves too.

Turns out, the kitchen and the camera have a lot more in common than I thought. So, here’s a lighthearted look at how cooking habits have helped me behind the lens.

1. Recipes = Shooting Styles

When you’re starting out in the kitchen, you follow recipes. Photography works the same way. In the beginning, I stuck to certain styles—black & white street shots, natural light portraits, etc. That structure helped me build a rhythm. Then, just like tweaking a recipe, I started adding my own flair.

Photography tip: Don’t be afraid to follow a “recipe” for your camera settings or editing style—especially when learning.

2. Ingredients = Composition

Every dish is built on a few key ingredients. In a photo, it’s the same: light, subject, background, maybe a strong leading line or shadow. A good photo, like a good meal, feels balanced.

Try composing your photo the way you’d plate a dish—intentionally and with care.

3. Plating = Editing

You can cook a delicious meal, but if it’s just dumped on a plate, it loses something. Photography’s final step—editing—is the same. A crop here, a color adjustment there. It’s not about overdoing it. It’s about seasoning.

My rule? Edit the way I plate food: not too fancy, but enough to make it shine.

4. Timing Is Everything

Miss the timer, and your cake’s burnt. Miss the moment, and your photo’s flat. Cooking taught me to be patient and alert. You’ve got to know when to stir, when to wait, when to snap.

Some of my best shots happened when I almost gave up and walked away.

5. Use What You’ve Got

I’ve made great meals with no fancy ingredients—just what was in the fridge. Same with photos. You don’t always need the perfect gear or golden hour lighting. Use what you have and make it work.

Some of my favorite street shots came from cloudy days, weird angles, or the “wrong” lens.

6. Practice = Flavor

Nobody nails a recipe the first time. I’ve taken hundreds of throwaway photos for every one I keep. But the more I do it, the better my instincts get.

Take the same photo in five different ways. Think of it like trying five variations of pasta sauce.

7. Style Is in the Spice

A dash of chili can change a dish. A hint of shadow or grain can change a photo. Once you know the basics, start experimenting. Add your flavor.

If your photos are your dishes, what’s your signature spice?

8. Slow Down and Stir

Cooking has this great way of slowing you down. You stir, you wait, you taste. Photography is better when you slow down too. Look. Breathe. Observe.

Some of my best photos happened after I just stood still for five minutes and let the scene unfold.

9. Photography Is Sharing

We cook for people we care about. Photography’s the same. I shoot because I want to share—stories, places, moods, fleeting weird little moments.

A photo, like a meal, is better when it’s shared.

Final Thoughts

So yeah—next time you’re cooking something simple, think about how it connects to your camera work. Creativity is creativity, whether you’re holding a ladle or a lens.

And if you ever see me out shooting with flour on my shirt… you’ll know I’m just seasoning my style.

Bon appétit—and happy shooting,

 

What started as casual viewing quickly turned into a creative rabbit hole.

 

How Binge-Watching Portrait Artist of the Year and Landscape Artist of the Year Can Change the Way You Take Photos

Let’s be honest — sometimes we photographers get into creative ruts. We fall back on the same angles, the same subjects, the same editing style. But every so often, something unexpected sparks a shift. For me, it wasn’t a new camera, a workshop, or a trip abroad — it was binge-watching Portrait Artist of the Year and Landscape Artist of the Year.

What started as casual viewing quickly turned into a creative rabbit hole. Before I knew it, I was looking at light, composition, and even my own photography habits in a completely different way. Here’s how a painting competition on TV led me down a whole new path in photography — and how it might do the same for you.

1. Seeing the Subject, Not Just Shooting It

When portrait artists begin their work, they don’t just glance at the sitter and get to it — they study them. They look at bone structure, posture, personality. They observe the character of a face. Watching that, I started thinking: “Do I do that with my portraits? Or do I just raise the camera and click?”

Now, I take a moment before shooting — especially with street portraits — to really see the person. What makes their expression unique? Where does the light fall? What emotion do I want to capture? Suddenly, my portraits became more intentional and expressive.

2. Reframing Landscapes with Mood in Mind

In Landscape Artist of the Year, it’s not just about copying a pretty scene. It’s about capturing the feeling of a place. Some artists paint what they feel rather than what they see — using bold brushstrokes, color exaggeration, or minimalistic shapes.

That cracked something open for me. Why not apply that same idea to photography? I started shifting my mindset from “documenting a location” to “evoking a mood.” I experimented with contrast, shadows, silhouettes, and even white balance to lean into the emotion of the moment — not just the visual facts.

3. Letting Style Emerge Through Play

One of the most inspiring parts of binge-watching both shows was realizing how wildly different each artist’s interpretation was — even when painting the exact same subject. There’s no “right” way to represent a face or a landscape.

That encouraged me to loosen up. I started experimenting more: using in-camera filters, unusual focal lengths, odd framing, even blurring on purpose. Some shots didn’t work. Some surprised me. But out of that playfulness, I started to see my own photographic style take shape in ways I hadn’t before.

4. From Binge-Watching to Photo-Walking

At one point during a binge session, I paused mid-episode, grabbed my camera, and went for a walk. I wanted to see my surroundings with the eyes of a landscape painter. I noticed how tree branches formed brushstroke-like shapes against the sky, how a puddle reflected light like a glaze of paint.

That one walk turned into a series. And now, any time I feel stuck, I revisit an episode and let it rewire my visual brain. It’s like a creative reset button — one that’s fun, relaxing, and sneakily educational.

Final Thoughts: Your Next Breakthrough Might Be on TV

Sometimes we think creative breakthroughs have to come from epic journeys or deep inner reflection. But sometimes? They come from the couch, snacks in hand, binge-watching British painters stress over oil and acrylic.

So the next time you’re aimlessly scrolling, give Portrait Artist of the Year or Landscape Artist of the Year a try. You might come away with a new appreciation for light, a desire to slow down and observe, or even a fresh direction for your photography.

Because when you binge-watch with a creative eye, you’re not wasting time — you’re feeding your vision.

By using the Memory Recall (MR) mode on the Sony A6000, you can refresh your perspective.

Black and white photography has a unique power to transport us. It strips away the distractions of the modern world and allows us to focus on the timeless beauty of our surroundings, especially when capturing historical sites.  This blog celebrates the art of seeing in monochrome, using examples from downtown cityscapes to the historic University of Toronto campus.  Join us as we explore how black and white can unveil the past and refresh your photographic vision.

By using the Memory Recall (MR) mode on the Sony A6000, you can refresh your perspective and bring back the excitement of discovery. Instead of seeing the same streets in the same way, you can switch between three distinct film-inspired black and white styles, transforming how you capture the world around you.

By switching between different black and white film styles in your Memory Recall, you can experiment with how history is interpreted through your lens.

Each setting isn’t just a technical tweak—it’s an invitation to experience the streets differently.

Imagine starting your photo walk in the early morning, when the streets are just waking up. The city feels quiet, but alive, with newspaper vendors setting up and early commuters rushing past. You capture these subtle, everyday moments in a classic, balanced documentary style, focusing on storytelling.

As the day progresses, the light gets stronger, and the shadows deepen. Suddenly, you flip your camera to a high-contrast, bold film look. The same street you walked an hour ago now feels dramatic and cinematic—long shadows stretch across the pavement, and silhouettes of people walking against bright storefronts create stunning compositions.

Later, as the sun starts to set and the city lights flicker on, you switch to a soft, vintage-inspired film look. The hustle of the day slows down, and your focus shifts to timeless scenes—couples walking hand in hand, neon signs reflecting off puddles, or an old bookstore glowing warmly in the twilight.

More Than Just a Setting—It’s an Experience

Using different film-inspired looks isn’t just about achieving a certain aesthetic—it’s about keeping your photo walks exciting and immersive.

Photography is as much about the experience as it is about the final image. The click of the shutter, the feel of the camera in your hands, the anticipation of what’s around the next corner—that’s where the real magic happens.

So next time you’re out for a photo walk, don’t just go through the motions. Challenge yourself to see differently, experiment, and enjoy the process. Load up your Memory Recall settings, take a deep breath, and let the streets surprise you.

 

Same Walk, Different Vision

Same Walk, Different Vision: How Film Simulations & Camera Settings Change the Experience

A photo walk is never just about the location—it’s about how you see it. Two photographers could walk the same street at the same time, but their final images might feel completely different. One might capture gritty, high-contrast city life, while the other finds soft, nostalgic moments in the same scene.

This difference isn’t just about composition or subject choice—it’s also about how a camera interprets the world. Fujifilm cameras, with their film simulations, offer a quick way to switch moods instantly, while Sony, Canon, and other cameras allow custom settings to achieve a similar effect. The beauty of modern digital photography is that you can control the "film" you’re shooting, without swapping rolls—turning a single walk into multiple creative experiences.

Fujifilm’s Film Simulations: Built-In Inspiration

Fujifilm has built its reputation on recreating the looks of classic film stocks directly in-camera. With a simple switch, you can transform how a street, a person, or a building looks—just like choosing a roll of film back in the day.

One moment, you’re shooting a crisp, high-contrast city scene with ACROS.

The minute next, you switch to Classic Chrome for a faded, cinematic feel.

Then, for a completely different mood, you select Nostalgic Neg and capture the same location in a soft, dreamy tone.

This ability to see a scene in multiple ways without changing anything but a setting makes Fujifilm cameras perfect for photo walks where you want variety.

A Simple Example:

Imagine walking through a historic neighborhood.

With Fujifilm’s Monochrome or ACROS simulation, the old stone buildings feel timeless, their textures and shadows becoming the focus.

Switch to Classic Chrome, and the scene feels like it’s straight out of a vintage travel book—muted colors, soft contrast, a sense of nostalgia.

Try Velvia, and suddenly the greenery, old storefronts, and street signs pop with deep, bold colors, making everything feel vibrant and alive.

Same place, same photographer—three completely different stories.

Replicating Film Looks on Sony, Canon, and Other Cameras

If you’re shooting with a Sony A6000, A5000, or even an older NEX-3, you won’t have built-in film simulations like Fujifilm. But that doesn’t mean you can’t create your own “film” look and achieve the same effect by saving settings in Memory Recall (MR) mode or custom picture profiles.

With the right tweaks, you can turn your Sony, Canon, or Nikon into your own film-inspired tool:

Increase contrast for deep shadows (Kodak Tri-X 400 look)

Adjust white balance for warm or cool tones (replicating Classic Chrome or Nostalgic Neg)

Use lower contrast and muted colors for a cinematic feel (like Fuji’s Provia or Classic Negative)

Add grain in-camera or in post to enhance the film-like texture

By saving these settings, just like selecting a film simulation on a Fujifilm camera, you can switch between different creative moods during a walk without needing to adjust everything manually.

The Walk That Changes With Your Vision

Whether you’re using a Fujifilm camera with built-in film simulations or a Sony or Canon camera with custom settings, the real magic is in how these choices affect your experience of the walk.

One moment, the city is dark, moody, and cinematic—full of deep shadows and stark lines.

Minutes later, it’s soft, nostalgic, like an old memory or a scene from a vintage postcard.

Then, it’s sharp, vibrant, full of life—bright colors and crisp contrast making every detail pop.

This is why a single location can always feel new—because photography is never just about what you see, but how you choose to see it.

So next time you go on a photo walk, challenge yourself. Switch film simulations, tweak your settings, and explore how one place can become three, four, or even five different stories.

What’s your go-to film look for photo walks? 

 

A Walk Through Film: Portra 400, Polaroid 600 & Tri-X 400 on the Sony a6000

A Walk Through Film: Portra 400, Polaroid 600 & Tri-X 400 on the Sony a6000

This past week, I went out on a rainy Toronto afternoon with my trusty Sony a6000, but with a twist—I set up three custom picture profiles in-camera to simulate some of my favourite classic films: Kodak Portra 400, Polaroid 600, and Kodak Tri-X 400. No LUTs, no editing afterward—just straight-out-of-camera vibes.

It was one of those photo walks where each scene seemed to match a mood, and each film simulation brought that mood to life.

Portra 400 – Rainy Elegance at Yonge and Bloor

I started my walk near Yonge and Bloor, where the rain had turned the sidewalks into shimmering reflections. The Portra 400 simulation added a soft, natural warmth that worked beautifully with the overcast skies and wet pavement.

A woman walked by with a bright umbrella and a purple coat—exactly the kind of color palette Portra loves. The colors stayed true but gentle, with soft highlights and creamy skin tones. It gave the intersection a dreamlike quality, like a frame from an old movie about the city in winter.

Polaroid 600 – Street Celebration at 509 Yonge

A few blocks south, I stumbled upon HeyTea at 509 Yonge, mid-celebration. Balloons everywhere, and one of the workers was practically hidden behind them. I switched to my Polaroid 600 profile for this one, dialing in those soft tones, low contrast, and creamy blacks.

The result felt nostalgic and playful, like a faded instant photo from a family party in the '90s. The vintage softness made the moment feel lighter, almost like it floated in time.

Tri-X 400 – Noir in the Arcade

The walk ended in a glowing arcade, where neon signs and buzzing claw machines made it feel like I'd stepped into another world. The perfect place to go full monochrome with my Tri-X 400 setup.

Heavy contrast, deep shadows, and punchy whites gave the scene a moody noir edge. A lone figure stood at a machine, silhouetted by light and surrounded by plastic prizes. It felt cinematic, mysterious—even a little bit lonely.

All of these were shot using the Sony a6000’s built-in picture styles. If you’re into getting a filmic look without editing, this approach can be a great way to train your eye and slow down. Let the camera bake in the mood and focus on the moment.

Film simulations are just visual recipes. Fuji provides them built-in, but Sony gives you the ingredients. By understanding tone curves, color shifts, and contrast levels, you can design your own look and bake it into your JPEGs in-camera.

The result? More intentional photography, a more film-like mindset, and straight-out-of-camera results that don’t need editing.

 

A Choir in Toronto: Reminiscent of The Choir TV Series

 

A Choir in Toronto: Reminiscent of The Choir TV Series

During a recent photo walk, I had the unexpected pleasure of stumbling upon a choir rehearsal in the Great Hall at Hart House, one of Toronto’s most historic and atmospheric venues. The scene was captivating: a conductor leading a group of singers in harmony, a pianist accompanying them, and the beautiful Gothic-style architecture surrounding the performance. The moment took me back to the BAFTA-winning TV series The Choir, where Gareth Malone transformed amateur singers into powerful ensembles.

Much like in the show, where a sense of community builds through music, the choir in front of me seemed deeply connected to their performance. Some singers focused intently on their sheet music, while others sang with expressive passion. The conductor, standing on a small platform, guided them with precision and enthusiasm, much like Malone does in his programs.

What stood out to me most was how music has the power to bring people together, whether it's a group of teenagers in a school setting, military personnel, or—like in this case—a diverse group of performers in the heart of Toronto. Seeing them perform in the historic Great Hall, with its towering stained-glass windows and heraldic crests lining the walls, made the experience even more special. Their dedication to their craft was evident, balancing technical skill with emotional depth.

This unexpected encounter also reminded me of the power of photography. Just as The Choir documents the journey of singers finding their voices, photography captures fleeting moments of human connection. The soft lighting, the elegant chandeliers, and the choir’s expressions all came together in a way that felt timeless.

Perhaps that’s the magic of both music and photography—they allow us to feel something bigger than ourselves.

The Day the Toronto Subway Worked Flawlessly (And No One Believed It)

The Day the Toronto Subway Worked Flawlessly (And No One Believed It)

April 1, 2025

This morning, I stepped onto Line 1 of the Toronto subway, fully prepared for the usual chaos—delays, an out-of-service announcement, and at least one guy playing music at full volume with no headphones. But something was... different. The train arrived exactly on time. The doors opened smoothly. People stepped aside to let others exit before boarding.

At first, I thought I was dreaming. Maybe I'd accidentally gotten onto a movie set where they were filming an alternate-reality version of Toronto where the TTC functioned flawlessly. But no—this was real.

The seats were all intact, and for once, none of them were suspiciously damp. The train smelled of—could it be?—fresh air. The AC wasn’t blasting like an Arctic storm, nor was it a sauna of human despair. The announcements were clear, concise, and—most shocking of all—accurate. “Next stop, Dundas.” And you know what? We actually stopped at Dundas!

A man in a blue suit nodded politely at a woman in a hoodie. A teenager gave up their seat for an elderly passenger without being asked. Nobody tried to wedge themselves between the closing doors like they were starring in an action movie. Even the usual subway busker at Bloor-Yonge had upgraded from an out-of-tune guitar to a full jazz ensemble.

Something was up.

I turned to the guy next to me and asked, “Is this really happening? The subway is working?” He looked at me, smiled, and said, “Yeah, it’s weird, eh?”

That’s when I noticed the date on my phone: April 1st.

Of course.

Just as I was about to take a triumphant selfie to prove this miraculous moment to the world, a robotic voice chimed in: “Attention passengers, due to a technical issue, this train will be holding at this station indefinitely.”

And just like that, reality snapped back. The doors refused to open. The air conditioning shut off. Someone started eating an entire meal out of a Tupperware container with their hands.

The dream was over.

Happy April Fools’ Day.

 

Shooting Black and White Film Looks with TTArtisan Lenses on Your Sony Camera

Shooting Black and White Film Looks with TTArtisan Lenses on Your Sony Camera

If you’re looking to capture authentic, film-like black and white photography with your Sony A6000, A5000, or NEX-3, pairing manual TTArtisan lenses with custom B&W film settings is an excellent way to achieve a timeless, vintage aesthetic. TTArtisan lenses offer manual focus, unique optical character, and classic rendering, making them ideal for street photography and artistic black and white work.

Why Use TTArtisan Manual Lenses for Black & White Photography?

Unlike modern autofocus lenses, TTArtisan lenses force you to slow down and compose more deliberately, much like shooting with a classic film camera. The fully manual aperture and focus rings create a hands-on shooting experience, making you more connected to the process.

 Vintage optical rendering – TTArtisan lenses produce unique contrast, glow, and vignetting, enhancing the film-like feel.

 Smooth manual focus – Perfect for zone focusing, a technique often used in street photography.

 Fast apertures (f/1.2 – f/2.8) – Allows for beautiful subject isolation with natural falloff.

 Affordable alternative to classic film lenses – Delivers a retro look without the high price of vintage Leica or Zeiss glass.

Best TTArtisan Lenses for a Film-Like Look

Here are three popular TTArtisan lenses that pair well with black and white street photography:

 TTArtisan 35mm f/1.4 – A perfect street photography focal length, offering a classic film-era rendering with beautiful depth and contrast.

 TTArtisan 50mm f/1.2 – Great for portraits and storytelling, with dreamy bokeh and a soft, glowing highlight roll-off.

 TTArtisan 25mm f/2.0 – A wide-angle lens ideal for documentary-style cityscapes and dynamic compositions.

How to Get a Film Look with TTArtisan Lenses

Pair your manual lens with these custom black and white film settings on your Sony camera to get a true film-inspired aesthetic:

1. Kodak Tri-X 400 (High Contrast & Gritty)

 Best for: Bold, high-contrast street photography.

 Creative Style: B&W

Exposure Compensation: -0.3 EV

Contrast: +2

 Sharpness: +2

 ISO: 800-1600 (adds grain-like texture)

 DRO: Off or Level 1

 White Balance: Daylight (5500K)

 Tip: Use zone focusing with f/8 for classic street photography depth.

2. Ilford HP5+ 400 (Balanced Documentary Look)

 Best for: Natural black and white tones with deep midtones.

 Creative Style: B&W

 Contrast: +1

 Sharpness: +1

Exposure Compensation: 0 EV

 ISO: 400-800

 DRO: Level 2 or 3

 White Balance: Cloudy (6000K)

 Tip: Shoot at f/5.6-f/8 for sharpness while keeping a soft film-like tone.

3. Fujifilm Neopan 1600 (Ultra-High Contrast & Grainy)

 Best for: Dark, moody street shots with neon lights.

 Creative Style: B&W

 Contrast: +3

 Sharpness: +3

Exposure Compensation: -0.7 EV

 ISO: 1600-3200 (for gritty film grain)

 DRO: Off

 White Balance: Tungsten (3200K)

 Tip: Shoot wide open at f/1.4 or f/2 to create strong subject separation.

4. Kodak T-Max 100 (Fine-Grain & Smooth Tones)

 Best for: Soft, fine-art B&W images.

 Creative Style: B&W

 Contrast: -1

 Sharpness: 0

Exposure Compensation: +0.3 EV

 ISO: 100-200

 DRO: Level 3-4

 White Balance: Shade (7000K)

 Tip: Use a tripod and lower ISO for smooth tonal transitions in still photography.

5. Agfa APX 100 (Vintage Film Look)

 Best for: Nostalgic, faded black and white images.

 Creative Style: B&W

 Contrast: -2

 Sharpness: +1

Exposure Compensation: +0.7 EV

 ISO: 100-400

 DRO: Level 2

 White Balance: Fluorescent (4500K)

 Tip: Shoot at f/4-f/5.6 for classic depth-of-field with a vintage feel.

Why This Setup Feels Like Shooting a Film Camera

Pairing a manual TTArtisan lens with custom B&W film settings is as close as you can get to a real film experience on a Sony mirrorless camera.

 Manual focus and aperture control – Feels like classic film photography.

 Custom film presets – Replicates the tones and contrast of famous B&W film stocks.

 No autofocus distractions – Forces you to slow down, frame better, and anticipate the moment.

 Zone focusing for fast shooting – Just like classic rangefinder street photography.

This approach makes digital photography feel more intentional and tactile, much like shooting on a Leica or old-school SLR camera.

Final Thoughts

Using a TTArtisan manual lens with custom black and white settings transforms your Sony A6000, A5000, or NEX-3 into a digital film camera, letting you shoot street photography with a timeless aesthetic. Whether you want high-contrast grit, fine-grain smoothness, or a nostalgic faded look, these settings will bring the soul of analog film to your digital shots.