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The Latest News:

Tamron Is Bringing Two Lenses to RF and Z Mounts

Tamron’s super-popular 18-300mm f/3.5-6.3 telephoto zoom is finally coming to Nikon Z and Canon RF mounts later this year. Originally launched in 2021 for Sony E and Fujifilm X mount, this lens packs a wild 16.6x zoom range into a compact body, basically covering everything from wide-angle to ultra-telephoto in one go. On Nikon Z crop cameras, it gives you the equivalent of 27-450mm, and on Canon crop-sensor EOS R bodies, it’s about 29-480mm.

Tamron hasn’t shared the exact pricing yet for the new versions, but the Sony and Fuji versions go for around $699. Historically, Tamron lenses for Nikon Z have been slightly more expensive, so it might come in a bit higher. Release dates and final prices are still under wraps, but the specs are basically the same: 19 elements in 5 groups, weather-sealed, image stabilisation (VC), a fast and quiet VXD autofocus motor, and close-focusing down to 15cm for half-macro shots.

This is a pretty big deal, especially for Nikon Z and Canon RF users. Neither system currently offers anything close in terms of zoom range. Canon tops out at the RF-S 18-150mm, and Nikon’s best is the 18-140mm.

Epson’s New Large-Format Printers

Epson just dropped two new wide-format printers in its SureColor P-series — the 24-inch P7370 and the 44-inch P9370 — and they’re aimed squarely at photographers, fine artists, and designers. Both printers are built to deliver fast, gallery-worthy prints with rich colour and fine detail, using Epson’s UltraChrome Pro10 ink set. That includes a dedicated violet channel for better blues and purples, plus separate Photo Black and Matte Black inks so you don’t have to waste ink switching when jumping between glossy and matte paper.

The P7370 and P9370 are priced at $3,495 and $5,295, which also makes them more in line with Epson’s older (and now discontinued) P6000 and P9000 printers. And they’re supposedly faster too. On top of the speed and quality boosts, Epson has made these printers easier to live with. They come with a 4.3-inch touchscreen, an interior LED so you can see what’s going on, and a new Black Enhance Overcoat feature that increases black density and contrast, especially useful for glossy media.

Even maintenance should be more user-friendly now, you can clean the print head yourself without calling in a technician. If you’ve been waiting to upgrade your studio printer, this could be the sweet spot between pro-level output and long-term usability.

You can see full details on Epson’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: Lee

You can find him on Instagram as: @leemumfordphotography

Let’s Analyse this Image:

Composition

What works well:

• The sun sitting perfectly behind that truck? That’s what makes this shot, that is what makes people stop scrolling.

• The cables on the bridge add these nice diagonals that guide your eye across the photo without being too busy. Clean, simple, effective.

• The bridge cuts straight through the frame, it keeps everything feeling balanced and grounded.

• And that layering—silhouette, sun, sky - it’s very clean.

What could be better:

• The bottom part of the photo feels just a little empty. A bit more of the landscape, could have helped balancing things better. Now: it is already fairly well balanced - the mountain on the bottom left, the cables on the top right etc. however all in all the right top feels heavier. (some would maybe say that because of the ‘‘filled’’/’’solid’’ mountain that weight is there, however in my opinion it visually isn’t immediately recognisable).

Lighting

What works well:

• The light is doing exactly what you want here. That giant glowing sun basically puts a spotlight on the truck.

• The silhouette is sharp and clean—no overexposed spots or muddy edges.

• That warm gradient in the sky? Gorgeous. Feels natural but still very cinematic.

What could be better:

• The foreground hill is quite dark, almost a silhouette of a silhouette. A little more detail down there could’ve balanced things out a bit.

• A bit of lens flare or atmospheric haze might’ve added a dreamier vibe—but totally depends on the look you’re going for.

Framing & Perspective

What works well:

• The sun framing the truck is what makes this shot.

• The cables give some nice texture and interest to what could’ve been a very static image. They break it up just enough.

• Shooting from a slightly lower position makes the whole thing feel more grand and epic.

What could be better:

• Seeing more of the bridge, maybe the supports or a bit more landscape—could’ve added better scale. Right now, it feels a bit like it’s floating in space.

Storytelling

What works well:

• This image feels like the end of something, maybe a long day, a long drive, or even a chapter in someone’s life. There’s something really cinematic about it.

• The truck makes it more than just a pretty sunset. There’s motion, intention, and maybe a little loneliness in there too, since its the only vehicle on the bridge.

What could be better:

• Right now it leans more into the visual wow-factor than an emotional punch. Which is totally fine—but if you wanted to push it further, as always: a little human element could do the trick. (maybe the silhouette of the truck driver (hard to catch of course))

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