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The Latest News:
Tamron’s Upcoming 25-200mm f/2.8-5.6 Lens
credits: Tamron
Tamron has officially announced that it’s developing a new all-in-one zoom, the 25-200mm f/2.8-5.6 Di III VXD G2 (Model A075), for Sony full-frame E-mount cameras. The lens follows up on the well-regarded 28-200mm f/2.8-5.6 Di III RXD (Model A071), but this time Tamron is pushing things a little wider at the short end. Moving from 28mm to 25mm may not sound like much on paper, but in practice it makes a real difference for wide-angle shooting, especially for landscapes, interiors, or travel photography.
Like its predecessor, the new lens keeps the fast f/2.8 aperture at the wide end and closes down to f/5.6 at 200mm. Tamron says the G2 version won’t just be a minor refresh, autofocus performance has been upgraded thanks to the company’s VXD (Voice-coil eXtreme-torque Drive) linear motor, and optical performance is promised to be sharper across the frame. The lens should also deliver strong close-up capabilities, with a 1:1.9 maximum magnification ratio at 25mm.
As with Tamron’s other recent G2 releases, the new 25-200mm features a 67mm filter thread and a more refined exterior design. Full specifications, along with size, weight, and pricing details, are still unknown, Tamron says those will come closer to launch. For context, the current 28-200mm f/2.8-5.6 sells for $699 (currently discounted from its original $799 price).
You can see full details and sample shots on Tamron’s website here
Datacolor’s Screen Calibrator For Photo Editing
credits: Datacolor
Datacolor is rolling out a new entry-level calibration tool, for reliable colour accuracy, called SpyderExpress. It promises a full monitor calibration in about 90 seconds and supports up to three displays at once. It’s compatible with most modern screens, including Apple’s newer mini-LED panels like the MacBook Pro M4.
One noteworthy aspect is the way Datacolor is handling upgrades for the calibrator. Instead of releasing multiple standalone devices, the company is moving to a single hardware platform that unlocks features through software updates. Out of the box, the SpyderExpress covers the basics, but users can add functions such as soft proofing, video-specific tools, or support for OLED displays later on by paying for upgrades.
The device itself is compact, ships with both USB-A and USB-C support, and includes a built-in lens cap for travel protection. System requirements are 1GB of RAM and 500MB of disk space, plus an internet connection for activation. Alongside the Express version for $119, Datacolor is introducing a $169 mid-tier model with higher brightness calibration and ambient light adjustments, and a $269 SpyderPro with more advanced tools, including projector support and 3D LUT workflows.
You can see full details on Datacolor’s website here
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Photo Analysis
Welcome to a new addition to the magazine: the photo analysis, where I will analyse a photo and talk about the composition, lighting what’s positive, what’s negative etc. so that you can learn and better your own photography from it ;)
This week’s photo by: Jarvisl L.
You can find him on Instagram as: @jarvisl.photography
Let’s Analyse this Image:
Composition & Framing
What works well:
The leading lines of the rails are really good, they pull you straight into the photo and right to the tram.
The way the tunnel frames the tram works really well, it almost acts like a natural vignette but ‘inside’ the photo.
The tram is centred, which feels deliberate, balanced and appropriate because of the symmetry of the tracks.
The leaves form a natural frame at the top, enclosing the scene and making it almost feel like we are exploring a secret little world. The leaves also balance out the rails at the bottom nicely.
What could be better:
The leading lines could have been exaggerated even more by getting closer to the ground. That lower perspective would have made the tracks more dramatic and added even more depth.
The tunnel shadows being so dark weaken the leading lines/’’pull in effect’’ overall, if there was more visible texture and structure, the rails and walls would feel like they are truly pulling you through the tunnel rather than into a sort of flat block of darkness.
One small touch that could bother some people is the little sign on the left next to the tram. Some might find it adds character, others might feel it pulls attention. Whether or not editing it out is the right choice, depends on the philosophy of each individual.
Light & Atmosphere
What works well:
The light shining through the trees at the top is a nice touch. Those warm leaves glowing, create a strong mood right away.
One good thing about the contrast between the bright tram and the shadowy surroundings is that it gives the photo a cinematic vibe.
The atmosphere and light create layers and that actually helps with the depth problem —> you have got the autumn colours, the dark area of the tunnel, and then our bright subject at the end pulling you through.
What could be better:
The light on the tram itself is a bit flat compared to the dramatic light in the trees. A bit more contrast there would help it pop even stronger.
As touched on before, the shadows in the tunnel area are very dark, to the point where the tunnel loses depth and texture. Because of that, the photo takes on more of a 2D look when it could have been a much richer 3D effect. With lifted shadows that reveal the tunnel’s structure, we could have gotten much more of that “tunnel effect,” which would have added a lot more depth and interest.
The highlights in the leaves are pushed a little strong. Pulling them back slightly would give them more texture and avoid them feeling too “hot.”
The left side is a bit overpowering because of the light spill and the heavier amount of leaves and flowers. That one structure on the right technically balances it, but since it is so deep in shadow you don’t really notice it at first. That makes the image lean slightly left-heavy.
Colour & Tone
What works well:
The warm orange leaves (as well as those lavender flowers) against the cool dark tunnel make for an interesting colour contrast.
The red of the tram is bold and anchors the frame nicely, it pops against all the dark tones without feeling unnatural.
What could be better:
The highlights on the tram’s roof are a bit too strong, which burns out some of the texture and detail there.
Again, the shadows go very close to black, which flattens the tonal depth. Lifting them just a little would add more richness.
Emotion & Story
What works well:
The tram itself is the story here, it sort of symbolises a moment of arrival or the start of a journey.
The autumn leaves add seasonal context, which gives the photo more of a narrative feel.
The darkness of the tunnel vs. the bright tram has a natural storytelling element/symbol —> moving from shadow into light. (So yes, the darkness also has its positives)
What could be better:
The absence of people makes the story feel less personal and human. A passenger, clearly visible in the window (or maybe even the tram operator) would have added life and made the moment easier to connect with. Of course, that is not something the photographer can control, if nobody’s there, nobody’s there.
The autumn colours suggest warmth, but the overall composition leans more cold and shadowy. That kind of mismatch makes the mood feel a little conflicted.
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