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The New Canon RF-S 14-30mm f/4-6.3 IS STM PZ

Canon just dropped a new wide-angle power zoom lens, the RF-S 14-30mm f/4-6.3 IS STM PZ, built to pair perfectly with the EOS R50 V, their latest camera aimed at video creators. It’s lightweight (181g), compact, and super versatile, covering a 22-48mm equivalent focal range, which makes it great for vlogging, live streaming, and cinematic video.

The big deal? Power zoom. Instead of manually adjusting zoom like a regular lens, this one lets you control zoom speed electronically with 15 different settings, so you can get smooth, precise zooms—especially handy for gimbal work. Plus, since it’s a fixed-length zoom, the lens doesn’t extend or retract when you zoom, which helps keep your setup balanced.

You also get image stabilization, fast Nano USM autofocus, and a seven-blade aperture for smooth backgrounds. It’s not weather-sealed and has a plastic mount, so it’s not built like Canon’s high-end L-series, but for $329.99, it’s a solid, budget-friendly option.

You can see full details on Canon’s Website here

Ricoh’s GR III Sucessor

The Ricoh GR III has been out for six years, and photographers have been eagerly waiting for a GR IV. At CP+ in Japan, Kazunobu Saiki, Ricoh’s Camera Division GM, made it clear that while the company is always working on improvements, however that doesn’t mean a new GR will drop anytime soon. The GR III is still selling like crazy, often out of stock worldwide, and Ricoh seems in no rush to replace a camera that’s already a hit.

That said, Saiki emphasized that compact size, speed, and image quality are the pillars of the GR series, and any new model will have to improve on those. He also pointed out that Ricoh takes its time—since 1996, only three digital GR cameras have been released. So, will we see a GR IV soon? Maybe. Maybe not.

But Saiki had a sense of humour about it: “I don’t know if the new GR will come before or after I die, but it will come someday.”

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The 60 Seconds Review

Welcome to a new part of the Bite Size Magazine, the 60 seconds Review. Here I will review a piece of photography gear every week (so camera, lens, filter, tripod etc.) and write it together in a compact format which you will be able to read in 60 seconds or less.

This time in Review: The TTArtisan 10mm f/2

The TTArtisan 10mm f/2 is a tiny, all-manual ultra-wide-angle lens that punches above its weight. It feels solid in the hand, has no electronics (so no autofocus or auto-exposure), and comes with a wide filter mount because the front element is too bulbous for regular filters. If you want to use one, you’ll need a 72mm filter.

Handling and Build

For a budget lens, it feels well-made. The focus ring is smooth and easy to use, but the aperture ring is another story—it’s crammed right up against the focus ring, making adjustments a bit awkward. Still, the lens is light, compact, and easy to carry around, especially without the filter mount.

Shooting Experience

Using this lens is a mix of fun and frustration. It’s great for landscapes, architecture, and tight interior shots where that extreme wide-angle can shine. The depth of field is forgiving at medium apertures, but focusing manually takes some patience. Some photographers have found that the corners are a little soft at f/2-f/4, but things sharpen up nicely around f/8-f/11.

Image Quality

The center of the frame is sharp, and distortion is surprisingly well-controlled for such a wide lens. There’s some vignetting in the corners, but it’s nothing a quick tweak in Lightroom can’t fix. The lens flare creates a sunstar effect that some people love and others find distracting. And while this isn’t a macro lens, it does let you get pretty close—just don’t expect much magnification.

Who’s It For?

This lens is for anyone who wants an ultra-wide look without spending a fortune. At $169, it’s a steal, as long as you’re okay with manual focusing and setting your exposure manually. It’s a bit quirky, but if you’re up for the challenge, it can deliver some seriously cool shots.

The Surprise Factor

One unexpected perk? This lens is just fun to use. There’s something about shooting with an ultra-wide, all-manual lens that makes you slow down and think more about composition. It’s not just about getting everything in the frame—it’s about making that crazy perspective work for you. And when you nail it, the results can be pretty stunning.

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.