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The Latest News:

Canon’s RF 75-300mm f/4-5.6 Lens

Canon has officially priced and dated the new RF 75-300mm f/4-5.6, a lens that’s basically a modern mount version of the long-running EF 75-300mm f/4-5.6 III from 1999. The RF update brings no new optics or features but does bring the telephoto zoom into the RF ecosystem, and for $219.99 it’s one of the cheapest full-frame zooms Canon has ever offered for its mirrorless system.

This lens is clearly aimed at entry-level shooters using Canon’s APS-C RF bodies like the EOS R50 or R100. On those cameras, the 75-300mm translates to a reach of 120-480mm. Still, the tech inside is dated: no image stabilization, a basic DC motor, and the same 13-element, 9-group layout as the EF version. It doesn’t include a control ring either, which is now common on Canon’s modern RF lenses.

Canon is also bundling the lens into a new double zoom kit with the EOS R100, replacing the longer RF-S 55-210mm with this full-frame optic. The $799.99 bundle includes the 18-45mm standard zoom and makes for nice starter package. That said, anyone picking up the RF 75-300mm should manage expectations, it’s a budget lens that was originally built over two decades ago. The new/updated lens is set to arrive in stores this month.

You can see full details on Canon’s website here

Moment’s New CineBloom VND Filter

Moment has introduced a new filter that combines two popular tools into one: the CineBloom Variable ND. This new release merges the company’s well-known CineBloom diffusion glass with a built-in variable ND filter offering a 2–5 stop range. The diffusion strength, unlike the ND adjustment, has to be chosen when you buy the filter, you can pick between a 10% or 20% diffusion option.

The filter is made up of two layers of glass. One is Schott B270 cinema-grade glass that handles the neutral density part, and the other is Moment’s HD Glass for the bloom effect. The diffusion layer is left uncoated to maximize that dreamy glow around highlights, while the ND glass is coated to reduce reflections, resist smudges, and maintain color accuracy. It’s all housed in a machined aluminum frame with Moment’s usual red anodised finish and features hard stops at each end to prevent cross-polarisation.

There are also some nice practical touches, like the ND markings being angled toward the photographer so they’re easy to see while shooting. The CineBloom VND is available in 67mm, 77mm, and 82mm sizes. Because of its thickness (just over 9mm), Moment recommends using it on lenses 16mm or longer to avoid vignetting. Preorders are open, with each version priced at $199.

You can see full details on Moment’s website here

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: Joao Bernardino

You can find him on Instagram as: @joao.bernardino

Let’s Analyse this Image:

Light & Atmosphere

What works well:

• The light is very delicate. It doesn't pour in, but it hovers in (soft, indirect, and diffused), likely thanks to overcast weather and that partial roof overhead.

• There's a slight haze/smoke in the air, especially in the background near the tunnel, which keeps the eye with our main subject (the woman in the white coat).

• The shadows aren’t harsh, they roll off gently, helping to maintain a calm mood rather than something dramatic or high contrast.

• That little hint of red light inside the tunnel is a nice surprise. It adds a touch of unease or expectation that sort of breaks the softness. (Some would argue however that I steals attention away from our main subject.)

What could be better:

• While the haze is beautiful, the far wall and tunnel opening could be just a notch clearer. It wouldn't take much, just a bit more separation to enhance the tunnel’s depth and pull.

Structure & Composition

What works well:

• The leading lines are great. The yellow tactile paving guides the eye straight toward the woman in white, and the train on the left gives the frame weight, movement and also acts as a leading line (almost like a ‘‘leading frame’’). Another cool (unconventional) leading line (or leading symbol) ore those two arrows on the signage, which actually point at our subject and lead your eyes. It is a nice touch once you notice it.

• The alignment is tight. Our main subject is framed beautifully between the columns and train, in the distance where the eye naturally settles.

• The use of layers is good: foreground (man with mask), midground (train, platform, woman), and background (tunnel) all stack up to create dimension.

• Vertical elements (poles, signage, columns) add nice rhythm without being distracting. They hold the frame in place.

What could be better:

• The man in the foreground is slightly blurred, which works and adds depth, but his placement is a bit dominant. If he were just a step further right, he’d open the scene a bit more.

• The roof structure above curves nicely, however it might benefit from being pulled into the composition a little more prominently to sport of ‘‘echo’’ the tunnel’s shape.

Colour & Tone

What works well:

• The palette is rich but understated. The reds of the train are worn and muted, giving the image a nostalgic feel.

• The white of the coat stands out just enough. It draws the eye without being loud, it is a perfect anchor point in that sea of mid-tones.

• There's a steel-blue/greenish undertone in the columns and shadows, which balances the warmth of the bricks and train. It keeps the photo feeling cool, but not cold.

What could be better:

• The contrast overall could be pushed just a little more in the darker areas (especially the train’s undercarriage and the shadowed walkway) to add some subtle drama.

• The skin tones of the man in the foreground are cool, and while it fits the mood, a tiny touch of warmth there might ‘‘humanise’’ him just a bit more.

Story & Emotion

What works well:

• The woman walking in her long coat is the emotional core of the image. Her solitude feels deliberate, not lost, not hurried, just moving slowly and getting on with her day.

• The man in the foreground, wearing a mask, immediately situates the photo in time. It’s the pandemic-era.

• The photo definitely feels observational. You're not intruding, you're just witnessing a moment.

What could be better:

• The photo sort of hovers between intimacy and detachment. A slight change in focal point (sharpening our subject in the distance just a bit more) might push it into more emotional clarity.

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