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Tamron’s 18-300mm Is Coming To New Mounts

Tamron’s 18-300mm f/3.5-6.3 Di III-A VC VXD all-in-one zoom lens is officially set to arrive for APS-C Canon RF and Nikon Z mirrorless cameras on September 26. The company first mentioned plans for these mounts back in April, but until now there wasn’t a set launch date.

The lens itself is the same design that Tamron released for Sony E and Fujifilm X mounts in 2021, so the performance and handling should be very familiar. The market, however, has shifted a bit since then. Earlier this year, Sigma introduced its own 16-300mm f/3.5-6.7, priced at $769 and available for E, L, RF, and X mounts, but not for Nikon Z.

The Tamron’s 16.6x zoom range covers everything from wide landscapes to distant subjects without having to swap lenses. On Nikon Z APS-C bodies, that translates to a 35mm-equivalent range of 27-450mm, while on Canon APS-C cameras it stretches slightly further to 29-480mm.

Autofocus is handled by Tamron’s VXD linear motor, which is designed to be quick and accurate, and the built-in VC optical image stabilisation helps keep shots sharp when shooting handheld. The lens can focus as close as 0.15 meters at the wide end with a 1:2 magnification ratio, and 0.99 meters at 300mm with a 1:4 ratio, making it capable of getting in close even at telephoto distances.

In terms of size and build, the lens is roughly 125 millimeters long and weighs about 630 grams, although this can vary slightly depending on the mount. The Canon RF version includes a dedicated AF/MF switch on the barrel, while Nikon Z users will have to switch focus modes through the camera’s menus. Both versions are weather-sealed and take 67mm filters Pricing for the lens will be at $629 (for both new mounts).

A few sample shots:

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Interview with MKaptured.uk

This week’s Interview with Mike, a photographer from London. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @mkaptured.uk

Enjoy the amazing Interview ;)

Can you introduce yourself to our readers?

My name’s Mike, I’m a UK-based photographer living just outside London. I focus mainly on night photography, with a style that leans toward fine-art. Before picking up a camera, I worked as a freelance graphic designer for over a decade, with clients like Warner Music and Atlantic Records. That background in design definitely plays a huge role in how I approach my images. I’m always thinking about composition, colour balance, and how the final image will “feel” rather than just what it shows. Photography for me is the perfect mix of the technical side I enjoy and the creative side I need.

How did your photography journey start?

Near the end of 2021 I started to watch POV style YouTube videos, of people doing street photography in London and in January 2022 I decided to go out and try it for myself. I instantly got drawn to going out at night where I started to play around with long exposure images and street photography using natural light sources such as street lights or neon signs in windows etc. From there, that, mixed with my previous history of graphic designing, I started to produce some really unique shots of London!

What do you think is the most important factor in capturing a great photo?

For me, it’s perspective. I like to shoot from lower angles because it changes the way the viewer experiences the scene. A low perspective can exaggerate the sense of depth, especially when you’ve got something like a blurred foreground leading into sharp detail further back. It makes the photo feel more immersive. Of course, composition is king, you can have amazing lighting and subject matter, but if the composition isn’t strong, it falls flat. I’m always looking for leading lines, framing opportunities, or something that draws your eye through the shot.

What do you do when you feel like there’s nothing new to shoot?

I’ve been lucky in that I don’t hit that wall too often. London’s huge, and I cover a lot of ground when I go out. If one spot feels dead, I just move somewhere else. Sometimes a different street or even crossing the river can completely change the mood. And honestly, if I’m not feeling it, I don’t force it. I’d rather pack it up and come back with fresh energy than grind out shots I know I won’t be happy with.

How do you balance creativity with technical knowledge?

A lot of my images are based on symmetry so when I’m out shooting, I’m always looking for things such as leading lines that draw you in to the subject. When it comes to long exposure photography, where you are catching light trails from vehicles, you can get vastly different results by using different shutter speeds. If your shutter speed is around 1-3 secs, the trails will be shorter but thicker and more vibrant, if it’s longer, around 6-20secs the light trails will appear longer, but thinner.

How do you approach post-processing to achieve a specific look or style, what is your software of choice and how much time do you spend editing?

So my post processing starts in Lightroom where I’ll make minor lighting/colour adjustments, crop and straighten the image. Then it’s into photoshop where about 90% of the edit takes place. Here is where I implement the look I want to give the image. I often manipulate the image to create my own symmetry, or to remove any distractions. I love the dark and moody tones and it’s a vital part to almost every image I produce. The time spent on each image varies, but typically on average about an hour.

How do you use lighting in your photos?

As a night photographer, any light source is important. When out shooting, I’ll take advantage of Street lights and lights from shop fronts etc. When it comes to post processing, in photoshop I use the dodge and burn tools as they work extremely well when it comes to adjusting the highlights, midtones and shadows individually. To be fair, recently I have been going out during the day a lot more!

What gear do you use?

I use the Sony A7iii & A7Riii. My go to lenses at the moment are the 35mm 1.4 from Sigma and the 85mm 1.8 from Sony. I also have a 14-24mm 2.8 and 24-70 2.8 both from Sigma as it’s handy to have a wide angle lens and the 24-70 is an extremely versatile lens to own if you want to only take one lens out with you.

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

I think for me it’s my creativity, especially when it comes to post processing. I’m always eager to try something new, and I’m always trying to create images that no one would have seen before!

What was the most rewarding experience as a photographer?

The most rewarding thing for me is being able to help other people. On a daily basis I receive messages asking for tips or advice and I’m always more than happy to help if I can. Second to that, it would be my most recent collaboration, with Adobe, where I was able to showcase what shapes my creativity. For someone who has used their software for almost 16 years for graphic design, this was an amazing achievement, especially in my first year of photography!

What tips do you have for people who are just starting out with photography?

Go out and shoot as much as you can. That’s the only way you’ll really improve your skills. Try various types of photography as well, portrait, automotive, product etc. You’ll enjoy some more than others but there will be one that one you’ll just click with and then you know where to focus your time!

Is a good photograph a matter of expensive gear, skill, or… ?

Definitely not expensive gear. It’ll help, but you can capture incredible photos even on camera phones these days! I think especially if you’re just starting out, focus more on building your knowledge and skills before building an expensive camera/lens collection. A good photograph mostly comes from the composition, and for that, the type of camera is irrelevant.

How do you deal with unpredictable conditions, like rain or sudden changes in lighting?

For me, those unpredictable moments are actually a big part of the fun. Rain, for example, can turn an average scene into something incredible. Wet streets reflect light in ways that make the whole environment feel more cinematic, and that’s perfect for the style I like to shoot. Of course, you’ve got to be prepared, keeping a microfibre cloth handy for the lens, having weather-sealed gear where possible, or at least a decent camera cover. Lighting changes can be trickier, but I work with what I’m given.

Do you think social media has helped or hurt photography as an art form?

It’s a bit of both. On one hand, platforms like Instagram have made it easier than ever to get your work in front of people all over the world. I’ve connected with photographers I would never have met otherwise, and I’ve been able to share my work instantly with people who appreciate it. On the other hand, the pressure to post constantly and chase likes can be damaging to creativity. It’s tempting to play it safe and only share the kinds of shots you know will perform well, but that can stop you from experimenting. Personally, I try to keep my focus on producing work I’m genuinely happy with, even if it doesn’t “perform” as well online.

What’s your take on shooting handheld versus using a tripod for night photography?

I almost always shoot with a tripod at night, because it lets me do long exposures without worrying about camera shake. That said, I’m not against shooting handheld, it can actually give you a totally different kind of image. Handheld forces you to embrace higher ISOs and faster shutter speeds, which often results in grittier, more candid-looking shots. A tripod gives you control and precision, but handheld gives you flexibility and speed. For me, the choice depends on the scene.

Do you prefer shooting in black and white or colour?

I enjoy both, but lately I’ve been a lot more into black and white because it strips the image down to its essentials. Without colour, you’re forced to pay closer attention to composition, light, and texture. It’s almost like you’re looking at the skeleton of the scene, and that can make the mood hit even harder. I also find that black and white has this timeless quality, it removes a lot of the visual noise that comes with city lights and lets you focus on the story or emotion in the frame.

What is your favourite accessory?

I honestly use one accessory and that’s my wrist strap from peak design! I do have a CPL filter for my 24-70 lens, however I rarely use that lens!

Do you prefer shooting alone or with other photographers?

I mostly prefer shooting alone because it allows me to fully get into my own rhythm without feeling like I’m holding anyone up or being rushed. When I’m on my own, I can spend 20 minutes on one composition if I feel like it, or walk for an hour without taking a single shot until something really grabs me. That said, shooting with other photographers can be fun and motivating, especially if they have a different style or way of seeing things.

Best photospots in London?

Tower Bridge, St Paul’s, Piccadilly and Chinatown are probably my favourite areas!

Do you aim for your photography to be considered fine art?

The rest, 5 more questions, of this Interview are for Premium subscribers only.

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Xencelabs’ Pen Display For Creatives

Xencelabs has introduced the Pen Display 24+, the first drawing display to feature built-in Calman Ready colour calibration. Developed in partnership with Portrait Displays, this hardware-level calibration system is integrated directly into the display, trying to give creative professionals, including photographers, consistent, highly accurate colour without the usual calibration headaches.

By connecting a supported colorimeter such as the Portrait Displays C6 HDR5000 to Calman Professional software, users can bypass complex OS-level adjustments and instead calibrate directly to industry-standard color spaces like Adobe RGB, DCI-P3, Rec. 709, Rec. 2020, and sRGB. The display also supports Pantone-validated colours and SkinTones.

While the calibration tech is the headline feature, the Pen Display 24+ carries over many of the strengths of the earlier model. Its 23.8-inch 4K panel delivers over 1.07 billion colors, with 99% coverage of both Adobe RGB and sRGB, plus 93% DCI-P3. The glass surface has a Super AG Etching finish designed to mimic the feel of paper, paired with a tuned pressure curve for precise pen control.

Brightness peaks at 330 nits, so the display isn’t HDR-capable, but it is well-suited for most photo and design workflows. The active area measures 527 by 296.5 millimeters, and the unit weighs six kilograms without the tilt stand. It’s fan-less for quiet operation, uses a metal backplate to stay cool during long sessions, and comes with a Quick Keys Remote featuring an OLED screen, eight keys, multiple dial modes, and up to 44 application-specific shortcuts.

For photographers who rely heavily on local adjustments, retouching, or brush work, using a pen directly on a display can make the editing process far more natural than a mouse or trackpad. It launches at $1,899, the same price as the original Pen Display 24, and is compatible with macOS, Windows, and Linux.

Photography Tip of the Week

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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: @eugeniahanganu

Let’s Analyse this Image: 

Light & Atmosphere

What works well:

• The fog is very nice. It softens everything, takes the edge off the buildings in the background, and makes the lights glow in a way that feels completely natural.

• The warm light from the building in the back and the line of lamps on the bridge break up all the cooler grey-blue tones. And the way those bridge lights reflect on the wet surface just beneath them, works nicely as a path that pulls you right through the frame.

• The mist keeps the light gentle, even the brighter spots hold their glow without going harsh or blown out.

What could be better:

• The fog looks great, but it also hides a lot of detail in the background. I’d probably bring back just a touch of clarity in the building and bridge structure behind so you still get that depth without losing the atmosphere.

• The person with the umbrella disappears a bit into the darker tones of the bridge. A little spotlight around them in post would help them stand out more. Also bringing out more texture here could help them pop more (like a 3D effect). However, generally it all depends on whether you are going for a silhouette look or not, and if that fits the background and mood. The real issue with shot is, it’s sort of a mix here: it is too silhouetted to read detail and texture, but it is not silhouetted enough to be a true silhouette (you can for example still see the person’s backpack and some slight detail of the coat).

Composition & Framing

What works well:

• The bridge is what makes this shot. The railings, the repeating overhead supports, those street lights and even the curve of the structure pull your eye straight into the shot. The way everything narrows into the fog gives the scene a huge sense of depth, and the fact that the lines disappear into the mist makes it feel like it could go on forever.

• The person’s placement feels balanced. They’re far enough in that the pattern of the lights and supports has kicked in, but not so far that they get lost in the haze or that they appear too small.

• There’s enough of the background buildings visible to place the scene, so it’s not just a random bridge with no context (although to be fair this bridge is quite iconic on its own).

What could be better:

• The person could sit slightly higher in the frame to take a bit of weight off the empty space above, however with that position the photographer was standing at, this would have been hard to achieve (the railing blocks the person) and repositioning would have come at the cost of loosing the amazing lines of the bridge.

• The right side of the frame fades into a block of fog with not much happening. Tightening the crop or teasing out some faint detail there could help balance it.

• This ties in with the point just before: The buildings on the far right are barely visible. Brightening or adding a touch of contrast there could stop that side from feeling like it’s disappearing.

Emotion & Story

What works well:

• Having a single person with an umbrella immediately gives the photo a human anchor and balances the architecture.

• The lack of a visible face keeps them anonymous, so the viewer can project themselves or anyone else into that spot which is always good.

• It is a photo of a situation most people are familiar with: a gloomy, cold evening.

What could be better:

• The person’s posture is pretty neutral. A slight lean forward or a moment of adjusting the umbrella could add more life to the moment. But that is not really up to the photographer, the only thing he/she can do is observe and be ready once something like this happens.

Color & Tone

What works well:

• The cool greys and blues are a good match for the scene, and the warm lights cut through just enough to keep it from feeling flat and they balance it out.

• The tones are soft but still give you definition between the shadows and highlights. It doesn’t all just sit in the midtones, which often happens with foggy shots.

• The warm lights on the building don’t overpower the rest of the scene, they just add depth and contrast without pulling too much attention.

What could be better:

• Some shadow areas lean a bit too cyan. Warming them slightly could make the whole scene feel a bit more natural and less digital.

• The deep shadows in the lower foreground of the bridge hide a lot of nice structural detail. Lifting those shadows just a touch would bring that out and add to the depth from bottom to top.

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Photographer of the Week

Photographer of the week goes to: Nat Allen

You can find him on Instagram as: @35millstreet

A few photos of his:

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The Rest of this Issue is for Premium Subscribers

The Premium Version of this Magazine is now on a ‘‘Pay What You Want’’ model. Meaning you get to decide the price.