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Canon’s New RF 75-300mm f/4-5.6 - A Closer Look

Canon has reintroduced a familiar piece of kit with the RF 75-300mm f/4-5.6 lens — essentially a re-mounted version of the EF 75-300mm f/4-5.6 III that’s been around since 1999.

While it technically works on full-frame bodies, the real sweet spot here is with APS-C cameras like the EOS R50 or R100. On those, it gives you an equivalent focal length of 120-480mm, a nice reach for things like wildlife, casual sports photography, or even just getting a tighter shot from across the park. Despite the long zoom range, it’s surprisingly light, weighing just over 500 grams. And at about 146mm long when not extended, it’s compact enough to toss in a small bag without too much hassle.

Optically, the lens is the same as the old version. It’s built with 13 elements in 9 groups, and it uses a 7-blade circular aperture that can help give your background highlights that soft, rounded bokeh look (as long as you're not expecting anything creamy or magical, this isn’t an L lens, after all). There’s a Super Spectra coating on the glass to help with color accuracy and reduce flare and ghosting, which should keep your shots looking clean even in tricky lighting.

Autofocus is handled by a basic DC motor. It’s not lightning-fast or dead silent, but it does the job well enough for stills. Minimum focusing distance is 1.5 meters, which gives you a bit of room to work with when zoomed in all the way, and at 300mm, you can get some decent subject separation. Just don’t expect any kind of built-in image stabilisation, the lens doesn’t have it. If you’re using it on a body without IBIS (like the R100), you’ll want to keep your shutter speed up or use a tripod for the longer focal lengths.

The build is plastic, but that’s part of what keeps the weight down. It takes 58mm filters, and while it comes with a front and rear lens cap, you’ll have to buy the hood and lens pouch separately if you want them. Pricing for the lens is at $219.99.

A few sample shots:

Image credits: Canon

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Interview with Hiroki Harada

This week’s Interview with Hiroki Harada, a street photographer from Tokyo. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @funky_side_of_town

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

My name is Hiroki Harada, and I was born in Tokyo, Japan. I grew up in a shopping district on the outskirts of the city, where narrow alleys twisted between mom-and-pop stores and family-run restaurants. That environment shaped not only my view of the world but also, unknowingly, my photographic eye. Now I work as a photographer primarily focused on street scenes, trying to capture that same sense of intimacy, rhythm, and unnoticed beauty that surrounded me growing up. I didn’t go to art school or study photography in a formal setting, everything I do comes from a personal place.

How did you get into photography?

It started very simply, without any ambition. I was in Kyoto one evening, walking through an alleyway after dinner. I took out my smartphone and snapped a photo, I didn’t even think much of it at the time. But later, when I looked at that image, I felt something unfamiliar. It was like discovering a secret I hadn't known was there. That moment led me to start taking more photos, at first with my phone, and eventually with a camera. The more I shot, the more I fell in love with photography.

What role does lighting play in your photos?

I don’t use lighting equipment, and I rarely even use a flash. For me, the most powerful light is the one that already exists in the environment, the soft glow of a vending machine, the cold flicker of a neon sign, or the warm tones just before dusk. I try to pay close attention to how time of day, weather, and season affect the light in a given place. In Japan, the streets themselves are part of the lighting design, reflections from glass, rain-slicked roads, they all contribute.

What do you think sets your work apart from others in the industry?

I think it has a lot to do with where I come from. I grew up in typical Japanese shopping street, where life unfolded in these intimate, sometimes chaotic spaces. There’s a quiet poetry in that kind of everyday environment. I’m not chasing the grand or dramatic scenes, I’m looking for small beauty, unnoticed moments, and delicate contrasts. Many photographers focus on technique or technical perfection. I think what makes my work different is the emotion I try to preserve.

How do you stay inspired and motivated to continue creating new and unique photographs?

For me, inspiration is everywhere, especially when I slow down and pay attention. Of course, I look at the work of other photographers, but I try not to mimic them. Instead, I ask myself why I’m drawn to certain images. What feeling do they awaken in me? Then I try to find that feeling in my own life, in my own streets. Sometimes I wander without a camera, just observing how the light falls or how people move through space. That’s also part of the process. And above all, it’s the feeling of fulfillment when I create something that matches what I saw in my mind, that keeps me going.

What are some of the most important qualities for a great photographer to have, in your opinion?

I often compare photographers to cooks. A good cook starts with good ingredients, knows how to process them, and then adds their own special seasoning—something that makes the dish uniquely theirs. For photography, that means observation, patience, technical skill, and finally, a personal sense of taste. You have to learn the rules, then slowly begin to break them in your own way. Good photographers are curious, emotionally sensitive, and deeply observant. And they keep going even when the results don’t come easily.

What gear do you use?

I use a SONY mirrorless camera, usually paired with a small prime lens. I like to keep things light and unobtrusive. The gear is just a tool for me, what matters more is how it helps me get closer to what I see in my head. I don't change cameras often; I prefer to get to know one setup deeply so that it becomes almost invisible to me while I shoot.

What is your editing software of choice and how much time do you spend editing?

I use Adobe Lightroom and Photoshop. I don’t like to over-edit, so my process is usually quite fast, most photos take less than an hour. The editing is there to support the mood, not to change the image drastically. I adjust the tones, contrast, maybe crop slightly, and do some color grading. I want the final photo to reflect what I felt when I took it, not just what I saw.

How did you find your signature photography/editing style?

It evolved naturally, I think. As I mentioned earlier, my upbringing and the places I’ve lived have shaped the way I see. I also shoot a lot, and by doing that, I started to recognize patterns in my own work: certain tones, compositions, subjects that I was repeatedly drawn to. Over time, those patterns became a style. It’s not something I forced or planned, but something that emerged from shooting honestly.

Reels or photos? And why?

Photos, always. A single still frame can say so much without moving. I love the idea of stopping time and preserving a slice of space. With photography, I can pause the world just long enough to show someone else what I felt. That’s powerful.

What does photography mean to you?

To me, photography is a beloved being, something that has become part of who I am. It gives me a reason to walk, to observe, to engage with the world in a meaningful way. It brings me joy, comfort, and a way to express things I can’t put into words.

If you could only choose one photography genre and you had to stick with it for the rest of your life, what would it be and why?

Street photography. There’s so much variety in it, people, places, mood, architecture, weather. It’s never the same twice. Street photography reflects real life, in all its chaos and beauty, and that’s what I want to keep exploring.

Do you prefer shooting alone or with company?

I prefer to shoot alone. There’s a calmness to it, a kind of meditative state where I can completely focus on the scene in front of me. When you’re alone, you can move at your own pace, wait as long as you want, or wander off without explanation. It creates the right mental space for discovery.

Any tips for beginners?

Set a clear goal for yourself. Ask what you want to express with your photography. Don’t just shoot because you think you should. Also, shoot a lot, in all kinds of conditions, and take time to look at your photos afterward. Try to understand what works and what doesn’t. And above all, stay curious.

What kind of scenes or moments are you instinctively drawn to?

I’m drawn to quiet tension scenes that feel like they hold a story just beneath the surface. An empty alley with a single light on, a passerby pausing in front of an old sign, reflections on wet pavement.

Do you plan your shots in advance or shoot more spontaneously?

Mostly spontaneously. I like to let the city lead me. Of course, I have favorite spots that I revisit, but I rarely go out with a fixed idea in mind. I prefer to react to what I see and feel in the moment. That keeps the process fresh and honest.

How do seasons affect your photography?

Seasons are incredibly important. In Japan, the seasonal shifts are very noticeable, the light changes, the colors, even how people move and of course how they dress. Autumn, with its long shadows and warm tones, is probably my favorite. But winter fog and summer rain also bring amazing mood. I adjust my shooting approach depending on the season.

How do you feel when people interpret your work differently from how you intended?

I welcome it. Once a photo is out in the world, it no longer belongs only to me. Each viewer brings their own memories and emotions to it. Sometimes they see something I hadn’t noticed myself.

Is there a location you’d love to shoot but haven’t had the chance to yet?

Yes, I would love to shoot in Istanbul. The mixture of old and new, East and West, seems incredibly rich. The textures, the architecture, the history, I think I could spend weeks just walking the streets there.

Do you ever feel pressure to keep producing or posting new work?

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IDSworks Announced A New Modular Base Plate

IDSworks has announced a new modular base plate and L-bracket system designed for a wide range of Sony full-frame mirrorless cameras, including the A1, A9 III, A7R V, A7R IV, A7 IV, A7 III, and A7S III. The system is built around a lightweight base plate that adds just 5mm of height and weighs only 24 grams, while still offering ARCA-type tripod compatibility, quick battery access, and support for additional accessories.

Unlike traditional L-plates, which often use thin sliding arms and can limit port access, IDSworks has designed its vertical L-bracket as a separate module that seamlessly slides into the base plate. The two components together weigh only 100 grams and add a total of 11mm to the camera height. The connection between the vertical and horizontal plates is reinforced, making it sturdy enough to support added weight and accessories without flexing.

The L-bracket includes a standard 38mm ARCA profile, allowing for easy tripod mounting in both horizontal and vertical orientations. The base also includes a standard 1/4-20 mounting thread for use with a wide range of tripod heads or accessories. It’s also compatible with the Peak Design Capture Clip v2, and doesn't block the screen from flipping upward.

For photographers and filmmakers, this new system opens up a few interesting possibilities. The optional “Lens Down” bracket, which allows for secure lens-down camera carrying, can be mounted either on the bottom or side of the bracket system. For those shooting long-form video, an external battery pack can also be attached via standard mounting points.

There’s also support for attaching third-party left-hand grips, such as the one from TILTA recommended by IDSworks. This grip can double as a flash holder, shifting the flash off the camera’s hot shoe for better balance and safety, especially useful in dynamic environments. With the detachable L-plate module, you can quickly switch from an on-camera flash to an off-camera lighting setup without having to completely reconfigure their rig.

The top of the L-bracket also includes a 38mm ARCA-style mounting surface, allowing for even more flexibility, users could mount a flash, wireless receiver, or even an umbrella bracket directly to the vertical section for quick lighting changes on set.

In essence, the IDSworks system seems designed with a lot of flexibility in mind. Pricing for the full sets sits at $240.

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Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @apollo.dubs

Let’s Analyse this Image: 

Light & Atmosphere

What works well:

• The golden haze is what makes this photo. It feels like early morning warmth mixed with city dust and fog, and it definitely sets the mood.

• The way the backlight turns the person and the dog into silhouettes is effective, it keeps the focus on shape and movement.

• There’s this lovely softness to how the light fades down the hill. It doesn’t hit the frame and stops, it moves with the slope, even guiding the viewers eye through the image.

• The fog adds just the right amount of atmosphere without muddying things up too much.

What could be better:

• The haze is beautiful, but it’s kind of swallowing the bridge a little as well as the few buildings on the left (it washes out detail). Just a bit more definition in that mid-background would help anchor the scene better.

• The shadows in the lower half of the image (on the right side) are so dark that they almost feel like dead space. Even a hint of detail or light bleed would help it feel more alive.

• The warmth is gorgeous but very dominant. A touch of cooler contrast might help the light feel less like a filter and give it more of a natural feeling.

Structure & Composition

What works well:

• The layers are doing a ton of work here. Starting with the immediate foreground: the rails, then the foreground/’’mid-midground’’ (with the person, dog and cable car), the middle (bridge), and the background (sky) are all giving depth without crowding each other.

• That uphill slope is creating drama. You can almost feel the tension in the climb, like the moment is suspended at the top with our subjects (person and dog).

• The person and the dog are placed nicely. Right at the crest, just stepping across, it makes the scene feel very natural.

• The tracks lead the eye straight to the subjects without being over-obvious.

• Framing the bridge between those tall buildings is a solid choice, it turns the architecture into a backdrop and a framing device.

What could be better:

• Again, the right side, where the cable car sits, is super dark. It kind of turns into a visual black hole. If there was just a bit more light or detail there, it would feel more balanced (to be fair though it sort of balances out the light coming from the left upper corner).

• The crop is bold and vertical, which works, but the left edge feels slightly tight. Giving it a little more room would let the image breathe a bit better.

Story & Emotion

What works well:

• The moment feels real. It’s not staged, not performative. Just someone walking a dog on a hill with a streetcar paused in the background.

• You immediately know it’s San Francisco. The bridge, the tram, the hill they all say “this is here” without needing to explain it.

• That little dog adds a lot. It's a small detail, but it changes the whole emotional temperature, makes it softer, creates connection.

What could be better:

• It’s a beautiful moment, but it’s a little distant. You’re watching something lovely happen, but you're not quite in it. A tighter focus on our subjects might pull you closer.

• The cable car is kind of a character in this scene, but it’s visually sidelined. More light or contrast there could give it some of the personality it deserves (however then it could compete too much for attention, so treat carefully).

Colour & Tone

What works well:

• The palette is strong and cohesive. That mix of warm orange glow and deep shadows is bold, but it fits.

• The warm tones don’t feel forced. They match the time of day and the natural atmosphere. While it definitely looks edited, it is still not ‘‘overbaked’’.

• The silhouettes work great with the limited palette. They cut clean shapes out of the orange without getting messy or muddy.

• Even the tram fits in tonally. It doesn’t distract, it blends right into the palette.

What could be better:

• The tram’s signage is almost unreadable, which is a missed opportunity. Sharpening or brightening that area just a bit could give the image even a better sense of place (but again to be fair it already does it quite well as noted before).

• Everything is orange. It’s beautiful, yes, but there’s a real risk of tonal monotony. Again, a splash of cooler color, even subtly, could give the image more contrast and bite.

Timing

What works well:

• The timing is very nice. That mid-stride moment (dog slightly ahead, leash taut, foot just lifted) it feels like the center of a real second.

• The person isn’t rushing or posing. They’re just in their day, and the photo captures that beautifully.

What could be better:

• While it’s timed well, the overall mood is a little static. Just a hint more tension or movement (maybe in the background) might push it further into something cinematic.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Jonathan Varjabedian

You can find him on Instagram as: @framethestreetsdotcom

A few of his photos:

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