Photography News

Camera specifications have become reasonably standardized over the years, but lens specifications are a different animal entirely. Optical performance resists easy quantification, and manufacturers have learned to fill that void with impressive-sounding terminology that obscures more than it reveals. This guide cuts through the jargon to explain what each specification actually measures, when it genuinely affects image quality, and how to read between the lines when comparing options. 

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When we stretch the concept of the superzoom full frame lens from 28-200mm, we end up with this fine looking Tamron 25-200mm. This is a significant advantage for those who require a wider field of view, whilst maintaining a very useful 200mm at the telephoto end. This is the 2nd Generation version of this lens. It looks good, balances well with the 42MP Sony A7R III used in this review, and the focal length range seems ideal for general purpose shooting, wildlife, landscapes and travel. The wide f/2.8 aperture at the 25mm end also bodes well for use in low light. Let's see if the lens lives up to its potential, both in the studio tests as well as the great outdoors.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Handling and Features

Weighing in at a modest 575g and measuring just 121.5mm x 76.2mm, the moisture sealed body sits well on the Sony A7R III. If we start our tour of the lens at the front, we have a provided petal lens hood that bayonets smoothly into place, with a positive click stop that ensures it stays put with no need for a retaining catch. Within the bayonet fitting is a conventional 67mm filter thread. Most of the Tamron mirrorless lenses utilise the same filter thread, useful in avoiding having to stock several sizes of filter or lens cap. The hood will be most efficient at 25mm, whilst avoiding any vignetting, and less so as we move towards the telephoto settings, but this cannot be helped, and it also has the very useful function of protecting the front of the lens against knocks. Regardless of flare reduction, there is a strong case for always using a lens hood.

 

 

There is a wide, easy to grip, zoom ring that is clearly marked with accurate settings of 25mm, 35mm, 50mm, 70mm, 100mm, 135mm and 200mm. The ring is smooth in operation and does extend the lens barrel, so there is some mass of lens to move. It will never be electronic-smooth as a consequence, but it is definitely well damped, a cut above the norm. A lock switch is provided just behind the ring but the lens showed little sign of extending whilst being carried. There is also an AF lock button at the opposite side of the barrel at the same point.

The final ring is slimmer, is electronic and is used for manual focus. All the usual Sony focus options are supported and these are selected via the camera menu.

Focusing is down to 0.16m (6.3”) at 25mm, for a maximum magnification of 1:1.9. or around half life size. At 200mm this becomes 0.8m (31.5”), for a maximum magnification of 1:3.9, or around one quarter life size. Whilst most current macro lenses focus to 1:1, this zoom lens focuses as close as vintage half life size macros traditionally would be expected to do. This is very useful and confirms the universal applications that it is aimed at.

 

 

Optical construction is 18 elements in 14 groups, coated using Tamron's BBAR-G2, the second generation of their Broad Band Anti-reflection coatings. The front element also has a Fluorine treatment to help repel dirt, grease and moisture. A series of internal seals completes the moisture resistant construction. The diaphragm comprises 9 blades and results is a nicely rounded aperture. This raises our expectation of some ultra smooth bokeh.

Last but certainly not least is a USB-C socket, used for connection to a smartphone and also on the PC version for updating the lens software. Tamron Lens Utility Software enables various control functions. Usefully, the AF lock button can also be programmed via this route to toggle between AF and MF.

In use, the lens behaves impeccably. AF via the VXD (Voice coil eXtreme-torque Drive) voice coil motor is fast, accurate and virtually silent. With the Sony body even focusing between bars of a cage is possible much of the time, something that many cameras and lenses can be totally defeated by. For universal use when travelling, this lens is just so versatile and so easy to use that it should cover almost every conceivable eventuality.

Now let's see how well things hold up in the technical tests.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Performance

Sharpness is looked at first, and the images in general look crisp, colourful and have plenty of contrast. They look good, and for most users that totally fulfils what they might expect.

At 25mm, central sharpness is very good at f/2.8 and f/4, rising to excellent from f/5.6 all the way through to f/16. The edges are consistently very good all through the range, from f/2.8 to f/16.

At 70mm, central sharpness is very good from f/4.5 right through to f/16, just dropping to good at f/22. The edges are good at f/4.5, very good from f/5.6 to f/16 and good at f/22.

At 140mm, central sharpness is fair from f/5.6 to f/11, good at f/16 and f/22 and fair at f/32. The edges are fair right through the range from f/5.6 to f/32.

As with many wide range zoom lenses, the longest focal lengths drop off in sharpness, but the Tamron, given a small amount of Photoshop sharpening still delivers great looking nature shots even at 200mm and f/5.6. This is always the dilemma – some lenses are able to deliver the goods in the field but are not really designed for the closer distances of lens testing charts.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary.

Distortion measures just -0.81% barrel at 25mm, +0.10% pincushion at 70mm and +0.12% pincushion at 140mm. This renders the lens suitable for copying and for architectural shots and is again very impressive, particularly so in a zoom lens.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. 

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 25mm 70mm 140mm f/2.8 -1.8     f/4 -1.4   f/4.5   -1.1   f/5.6 -1.3 -1.1 -0.7 f/8 -1.3 -1 -0.6 f/11 -1.2 -1 -0.6 f/16 -1.2 -1 -0.5 f/22   -0.9 -0.4 f/32     -0.3

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Sample Photos Previous Next

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

There are no obvious alternatives that match the exact specification, but even looking at the lens in isolation, it looks terrific value for money.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Verdict

The original 28-200mm lenses were a revelation in their day, offering incredible versatility and probably focusing closer than most alternatives as well. Quality and fine detail may have been less on the optical engineers' minds, as the technology of the day did have its limitations. Fast forward to today, though, and we can now see extended ranges such as this very fine 25-200mm from Tamron. Sharper, faster focusing, closer focusing and even more versatile at a very reasonable price point. What's not to like?

As with all lenses, it's important to understand what they are designed for, what they will do well and what they are not best suited for. This lens is a fantastic travel companion, with a wider than average field of view, focusing closer than most and with a fast, bright f/2.8 aperture. Tonal quality is excellent and images have punch and impact. At the longest focal lengths sharpness does fall off, as is almost always the case, but the lens still delivers sharp, punchy images well suited to wildlife, nature and portraiture.

In summary, a very fine lens that delivers very satisfying results and handles with consummate ease, all at a price that is impressively keen. Highly recommended.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Pros

• Good to excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Versatile extended zoom range
• Moisture and dust sealing
• Magnification 1:1.9 at 25mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Cons

• Loses fine detail at longest focal lengths

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Punchy results from this easy to use and universally useful lens, all at a very keen price.|E_id=8027[/REVIEW_FOOTER]

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You erased some videos from an SD card by mistake, or maybe they just vanished for no reason. Perhaps you removed them on purpose, felt proud of your cleanup skills, but now you need them immediately. So, how to recover deleted videos from SD card easily and quickly? Fret not! There are 6 free ways for SD card video recovery on Windows and Mac in 2026, and we’ll be shedding light on each one.

 

Part 1: SD Card Video Recovery Tips You Should Know First

Before trying any solution, you can actually improve your chances of SD card video recovery by following these simple steps:

1. Stop using the SD card right away: Don’t record, save, or copy anything to it, as new data can overwrite deleted videos and make them impossible to recover.
2. Remove the SD card carefully: Take it out of the device gently and avoid bending or damaging it. Keep it in a safe place.
3. Do not format the SD card: Formatting can erase data and reduce the chance of recovery. Thus, avoid both quick and full formats.
4. Make a backup image of the card: Create a full copy of the SD card before recovery. This helps protect your data, especially if the card has errors.

 

Part 2: 6 Ways to Recover Deleted Videos from SD Card for Free

Here’s how to recover deleted SD card videos for free in 7 ways. But each method is for a different scenario. So pick accordingly:

 

Way 1: Employ a SD Card Recovery Tool

When you don’t possess a backup and your video files are permanently erased from the memory card, you can try a free SD card recovery tool for Windows and Mac. For instance, 4DDiG Data Recovery supports both platforms. 

It offers to recover deleted videos from SD card for free up to 2GB for Windows users. Other than videos, the tool supports 2000+ file formats and targets numerous data loss scenarios rather than just deletion. Here we shine a light on its benefits:

• The tool offers a high SD card video recovery rate and selective file retrieval, e.g., you can retrieve videos only.
• The software has a clear, intuitive, and easy-to-use interface.
• The tool offers a free preview for recovered videos.
• The program can first create an image of the card and then recover lost data from it.
• It can repair recovered photos or videos that cannot be opened.

Here’s how to recover deleted SD card videos with the aid of this tool:

Step 1: Attach your problematic memory card to your computer. Then, execute the SD video recovery tool on the same PC. Choose “SD Card” on the tool. Tap “Video” as the file type to only retrieve the videos from the card. Hit “Scan.”

 

 

Step 2: You can finish, or pause the scan once you find your desired videos. Preview the recovered videos.

 

 

Step 3: Adjust the filter tags or type keywords in the search field to find the exact videos.

Step 4: Select the videos you want back. Hit “Recover” to move to your computer or cloud drive.

 

 

Way 2: Look for Existing Backups

If you possess a backup, then it’s quite easy to recover lost videos from SD card. Simply check all the places you think the backup could be, such as:

1. Check your local backups first: Look on external hard drives, USB drives, or other storage where you may have saved the videos.
2. Check cloud storage: Review cloud services like iCloud, Google Drive or Dropbox for uploaded videos.
3. Check device-specific cloud services: If you use a GoPro or similar device, check its cloud account. With an active subscription, you can restore videos using the app (for GoPro, use the Quik app).

 

Way 3: Check the SD Card’s Trash Folder

When you erase videos from an SD card, they skip the Recycle Bin. This happens because Windows treats SD cards and USB drives as removable storage, not internal drives. However, the erased videos might be temporarily stored in a hidden “.Trashes” folder on your card. 

So, you can recover deleted videos from SD card for free by unhiding that folder. To do so:

 

On Windows:

Step 1: Attach your problematic memory card to your computer. Open “File Explorer.” Then, head to the “View” tab. Tick mark “Hidden items.”

 

 

Step 2: Afterward, open the SD card. Look, if the “.Trashes” folder is revealed now.

Step 3: If it does, open it. Next, look for your desired footage. Then, undelete video from SD card ".Trashes” folder.

 

On Mac:

Step 1: Attach your problematic memory card to your computer. Open “Finder.” Then, head to your SD card’s main folder. 

Step 2: Press “CMD + Shift + .” to reveal hidden files. This will unhide the “.Trashes” folder.

Step 3: Open the “Trash” folder inside “.Trashes. Search for your erased videos. Right-click. Next, select “Put Back” to restore them.

 

Way 4: Restore to a Previous Versions

The Previous Versions feature in Windows saves older copies of files so you can recover lost videos from SD card if they’re erased. While this feature is mainly used for files on internal drives, it can help you undelete video from SD card. But only if its previous version was once saved on your computer. Here’s how to recover deleted videos from SD card with Previous Versions:

Step 1: Attach your problematic memory card to your computer. Then, open “File Explorer.” 

Step 2: Open your memory card. Then, the folder where your erased videos once existed. Right-click. Next, choose “Properties.”

Step 3: Tap “Restore previous versions.” Afterward, pick a version that contains the erased videos. Hit “Restore.”

 

Way 5: Use Windows Backup

You can also recover deleted videos from SD card for free if you’ve activated the Windows Backup & Restore feature.  Here’s how to recover deleted SD card videos with Backup & Restore:

Step 1: Attach the problematic SD card to your computer. Then, type “con” in the Windows search. Execute “Control Panel.”

Step 2: Tap “System and Security.” Then, choose “Backup and Restore.” Click “Restore my files.” 

 

 

Step 3: Look for your erased videos in the backup. Next, choose a location to save it.

 

Way 6: Undelete Video from SD Card via Time Machine

If you’re a Mac user and have activated the Time Machine backup with the SD card videos also included in it, you can restore them easily. The Time Machine tool can make multiple versions of your files on an external drive, so you can restore them later on from a particular timeline. Here’s how to recover deleted videos from SD card with the Time Machine:

Step 1: Attach the external drive with the Time Machine backup to your computer. Then, open “Finder.” Pick your SD card.

Step 2: Click the “Time Machine” icon in the “Dock.” Next, tap “Browse Time Machine Backups.” 

 

 

Step 3: Browse through the timeline to find videos you want. Hit “Restore.”

 

Part 3: Why SD Card Video Recovery Is More Challenging?

Compared with other file types, it's more difficult to recover deleted videos from an SD card. Video files are usually much larger in size and are written to the memory card continuously across multiple sectors during recording. If even a small portion of this data is overwritten or damaged, the entire video file may become unplayable.

Another factor that makes SD card video recovery more difficult is the use of proprietary data formats by some camera manufacturers. These custom formats are not always recognized by standard recovery tools, which means the corresponding video files may not be detected during a scan.

 

Part 4: How to Keep Data Safe on an SD Card?

Now you should no longer need to worry about how to recover deleted videos from SD card for free. However, in the future, there might still be a risk of losing data from an external drive like an SD card due to any number of reasons. You can lower the chances of loss by taking concrete measures, such as the following:

1. Back up often: Save files to cloud storage or an external drive, especially when traveling.
2. Choose good-quality cards: Use trusted brands and carry extra cards as backups.
3. Use multiple memory cards: Switch cards during long shoots so you don’t lose everything if one fails.
4. Protect your data: Use encryption to keep files safe from malware or hackers.
5. Follow the 3-2-1 rule: Keep three copies on two different storage types, with one kept offline.

 

Conclusion

SD card video recovery is viable on Windows and Mac, but by using the correct method according to the reason for the loss. Stop using the card right away to prevent overwriting data. Then try free options like checking backups and hidden folders. But if no backup exists and the videos are fully erased, a tool like 4DDiG Data Recovery is a good choice.

Being a landscape photographer usually consists of a set routine: check the weather apps, check PhotoPills, arrive an hour before golden hour to find your compositions, and shoot until the end of blue hour. 

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You can hustle for more bookings and still feel broke, especially when every job expands to fill your calendar. This video is about raising your Average Booking Price (ABP) so the same number of shoots can pay like a real business instead of a grind. 

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You can get a striking, modern poster look in Photoshop without fancy plug-ins, but only if you stop guessing and start building the effect in a logical order. The video focuses on a specific recipe: a clean silhouette, controlled motion blur, and color that behaves like light instead of paint. 

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Chasing that painted look usually breaks down in post or gets derailed by gimmicks, especially when you’re trying to balance mood with detail in Lightroom and Photoshop. The video focuses on a handful of choices that change the feel fast, without wrecking the file or turning everything into mush. 

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For today's tutorial, we thought we'd bring together all of the features and techniques ePHOTOzine has published on sports photography so next time you're at a match or trackside, you'll have the knowledge you'll need to shoot some top sports imagery.

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If you already have some sports shots you want to share or are heading to a game/race over the next few days, why not post your images in the Competition forum? You never know, you may have an award-winning shot that'll give you the opportunity to win our competition prize this week. 

 

18 Top Sports Photography Tutorials:

1. Top Tips On Shooting Water Sports Photography
2. How To Capture The Action At Running Events
3. Why Use A Support For Motorsport Photography?
4. Tips On Photographing Athletics
5. Photographing Polo
6. Sport Photography Tips
7. 10 Things To Do When Photographing Parkour
8. Cricket Photography Tips
9. How To Photograph Wakeboarders & Waterskiing
10. Photographing  Kitesurfing
11. Bowls Photography
12. Capturing Cricket
13. Football Photography
14. Photographing Snowboarding
15. Surf Photography Technique
16. Top Of The League Sports Photography
17. Throw The Winning Punch With Your Boxing Photography

 

You've read the article now share your related photos for the chance to win prizes: Photo Month Forum Competition

Gear comes and goes, but a few pieces end up shaping most of your best work. This video lays out five lenses he says he will not sell, then hints at a pattern between one specific lens and his strongest images. 

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The head of the tripod that you use can greatly affect your efficiency in shooting, which can indirectly affect your creative output. Geared heads often seem too complicated and cumbersome, but this one from Leofoto might be worth a try. 

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A fisheye zoom is one of those tools that can either sit untouched for years or quietly become the reason your images look nothing like everyone else’s. The question isn’t whether distortion is “good,” it’s whether you can control it when the shot has real constraints like space, speed, and framing. 

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Canon just dropped a new ultra wide prime that aims straight at night skies, tight interiors, and fast-moving video, and the price puts it in serious territory. If you’ve been waiting for a 14mm that doesn’t feel like a special-purpose brick, this one raises a few questions worth watching play out. 

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A 50mm lens can cost $50 or it can cost over $2,000, and both can take photos you’d happily keep. The real question is what you’re paying for when the focal length stays the same, and whether any of it changes what you can shoot tomorrow. 

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A year with the Fujifilm GFX100 II can either make you fall in love with stills again or make you regret every storage decision you’ve ever made. The video lays out the real tradeoffs of living with a 102-megapixel medium format body when you’re shooting work, not just testing it for an afternoon. 

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Image Credit: Canon

 

Canon expanded its professional optics range with two specialized L-series ultra-wide lenses designed to give photographers and filmmakers fresh creative perspectives. The RF 7-14mm F2.8-3.5L FISHEYE STM was announced as the world’s first fisheye zoom covering a 190-degree angle of view, featuring a lightweight build and an integrated drop-in filter system. The RF 14mm F1.4L VCM debuted as a high-speed hybrid prime, pairing a bright maximum aperture with specialized glass for astrophotography, landscapes, and video production. Both lenses carried weather-sealed construction and focus breathing suppression for reliable performance in professional environments. They go on sale on the 26th of February 2026.

 

From Canon:

Canon today expands its professional RF lens range with two new ultra-wide lenses that invite photographers and filmmakers to unleash their creativity and capture the world in dynamic new ways. With their fast apertures, compact sizes and outstanding optical quality, the RF 7-14mm F2.8-3.5L FISHEYE STM and RF 14mm F1.4L VCM are worlds apart from ordinary wide-angle lenses.

 

Introducing the world’s first 190° fisheye zoom lens1

 

The RF 7-14mm F2.8-3.5L FISHEYE STM is a unique ultra-wide RF zoom lens for dramatically different images and video. Paired with a full-frame EOS R System camera, the RF 7-14mm F2.8-3.5L FISHEYE STM delivers two distinctive looks: an ultra-wide 190° circular fisheye image at 7mm and a frame-filling 180° diagonal fisheye image at 14mm. On APS-C cameras, the maximum wide angle can be set to approximately 8.7mm for frame-filling 180° diagonal fisheye images2.

Building on the success of the pioneering EF 8-15mm f/4L Fisheye USM, the RF 7-14mm F2.8-3.5L FISHEYE STM has a wider, faster, lighter design and enhanced edge-to-edge image quality. An innovative drop-in filter system improves convenience by allowing real- time adjustment of optional circular polarising and variable ND filters, giving photographers and filmmakers precise control over lighting in any situation.

 

Image Credit: Canon

 

Designed for professionals who want their work to stand out, the RF 7-14mm F2.8-3.5L FISHEYE STM creates a striking look across a wide range of genres – from action sports and astrophotography to landscapes and expressive portraits. Focusing as close as 0.15m, this versatile zoom lens enables even greater exaggeration of creative distortion to set your work apart.

While offering photographers the freedom to explore a bold fisheye perspective in imaginative new ways, image quality remains tightly controlled through an advanced optical design. This includes two replica aspherical elements to suppress spherical aberrations, five UD elements to reduce chromatic aberrations, and ASC coatings to cut ghosting and flare.

Quiet leadscrew-type STM autofocus coupled with focus breathing suppression makes the RF 7-14mm F2.8-3.5L FISHEYE STM an accomplished lens for creative video as well as stills. Circular fisheye videos captured on a compatible camera can be converted to 2D 180° VR files via EOS VR Utility3, for immersive viewing using a VR headset. With its equidistant projection, the RF 7-14mm F2.8-3.5L FISHEYE STM keeps image detail consistent from the centre to the periphery. This ensures high resolution throughout, even when the image is stretched for 2D VR – so every view stays clear and captivating.

 

Image Credit: Canon

 

Key features of the RF 7-14MM F2.8-3.5L FISHEYE STM:

• World’s first fisheye zoom lens that covers a 190° angle of view1
• 7mm circular and 14mm diagonal fisheye for two different looks on a full-frame camera
• Circular fisheye with equidistant projection for easy conversion to 2D 180° VR with official Canon app3
• Aspherical and UD elements for high image quality across the frame
• Bright f/2.8-3.5 aperture for action and low-light shooting
• Drop-in filter support
• Durable L-series design with dust- and moisture-resistant construction4
• Lightweight at approx. 476g for ultra-portable convenience

 

RF 14mm F1.4L VCM: Extraordinary speed, exemplary sharpness

 

The RF 14mm F1.4L VCM sets a new benchmark for wide-angle excellence. Ultra-wide, ultra-fast and ultra-light, this latest addition to Canon’s hybrid prime lens lineup is designed to inspire photography and video production on a grand scale.

With its expansive 114° diagonal angle of view, the RF 14mm F1.4L VCM is a great choice for capturing sweeping landscapes as well as indoor spaces. An exceptionally bright f/1.4 aperture offers greater flexibility while shooting in low light or when using a shallow depth of field to help isolate your subject.

Despite its ultra-wide design and fast aperture, the RF 14mm F1.4L VCM remains lightweight, making it a highly practical lens for outdoor and travel photography, or working from a drone. Weighing around 578g, it’s built for shooting on the move, and the durable L-series construction ensures it is ready for demanding assignments.

 

Image Credit: Canon

 

Delivering remarkable image quality from the centre to the corners, even wide open at f/1.4, the RF 14mm F1.4L VCM achieves a level of performance rare for such a wide, fast design, thanks to the extensive use of specialised lens elements and coatings. Three glass-moulded (GMo) aspherical elements suppress sagittal coma flare for finely rendered point light sources such as stars, while Fluorite, BR and UD lenses reduce chromatic aberration. Ghosting and flare are minimised though the use of Canon’s sophisticated SWC and ASC coatings.

The superb edge-to-edge precision at f/1.4 is one reason the RF 14mm F1.4L VCM excels at astrophotography. The large maximum aperture lets you use faster shutter speeds to reduce star trails, while keeping image quality high and ISO levels manageable. Thanks to its ultra-wide angle of view, it is also an ideal lens for professional landscape and architecture photography or for shooting tight interiors. Additionally, the hybrid design of the RF 14mm F1.4L VCM, which incorporates smooth, precise AF tracking capability along with focus breathing suppression, 11-blade circular aperture and dedicated Iris Ring6, makes it an outstanding lens for photographers who also need to shoot video.

 

Image Credit: Canon

 

Key features of the RF 14MM F1.4L VCM:

• High-quality rectilinear ultra-wide hybrid prime lens
• Fast f/1.4 maximum aperture for shallow depth of field and greater freedom in low light
• Outstanding sharpness and image quality right across the frame, with aspheric, UD, BR and Fluorite elements
• Voice Coil Motor5 for smooth, quiet and precise autofocus, with focus breathing suppression
• Designed for professional photographers, with added hybrid features for advanced video performance
• 11-blade circular aperture for cinematic bokeh and 22-point starburst effects
• Smooth action Iris Ring6, Control Ring and Lens Control button for intuitive manual control
• L-series build quality with dust/moisture resistance4
• Compact and lightweight for a 14mm f/1.4 lens, at approx. 578g

 

1. First lens for interchangeable lens cameras compatible with 35mm full-frame sensors. As of February 4, 2026; research by Canon.

2. 180° diagonal fisheye photography is possible on EOS R System cameras with APS-C sensors when the ‘C’ mark on the zoom ring is aligned with the C index (at approximately 8.7mm). The location of the zoom limit/lock switch at wide-angle does not guarantee a diagonal fisheye image for APS-C size.

3. To record circular fisheye videos that can also be remapped into the equirectangular projection by Canon’s EOS VR Utility for 2D 180° VR viewing, you will need a compatible camera that supports Open Gate video recording.

4. Lenses with dust/moisture resistance are fitted with a rubber ring on the lens mount which may cause slight abrasion of the camera mount. This in no way effects either the lens or camera performance.

5. Important: The Voice Coil Motor in the lens emits a low-level magnetic field. While generally safe to use, we advise consulting your doctor if you have a pacemaker or any other medical device to address any concerns. When the lens is not connected to the camera or when the camera is off may cause internal noise from the lens’s components. This is normal and not a malfunction. Minor movements during transportation do not affect performance.

6. Various limitations apply to some cameras; we recommend installing the latest Firmware update on your camera for best performance. Even with latest Firmware update on EOS R, RP, Ra, R3, R5, R6, R6 Mark II, R7, R8, R10, R50, R100 and EOS R5C when shooting still photos, the aperture value cannot be set using the iris ring.

 

For more information, please visit the Canon UK website.

Image Credit: Canon

 

To celebrate 30 years since the debut of the PowerShot 600 in 1996, Canon announced a limited edition PowerShot G7 X Mark III. The release featured a graphite body, a twill-patterned front ring, and a commemorative logo, while retaining the G7 X Mark III’s 1.0-inch stacked CMOS sensor with approximately 20.1 million effective pixels and 4.2x optical zoom lens. The launch marks the brand’s evolution from early stabilization milestones to modern vlogging tools, with availability scheduled for April 2026 at a retail price of £859.99 / €979.99.

 

From Canon:

2026 marks the 30-year anniversary of Canon's PowerShot compact digital camera line. To celebrate this, an Anniversary Edition PowerShot G7 X Mark III with a new colour body and logo will be released in April 2026.

Since the launch of the original PowerShot 600 in July 1996, the PowerShot range evolved its lineup to meet the diverse needs of its users, most recently with the PowerShot V10 and PowerShot V1. The PowerShot brand, launched with the aim of making it easier to create high-quality images and videos, is popular among a wide range of users, from camera beginners to professionals.

Over the past 30 years, Canon’s PowerShot range has continually progressed, responding to changing consumer needs with industry-leading advancements and refined design. Highlights include the introduction of lens image stabilization in the 2001 PowerShot Pro90 IS, RAW shooting in the G Series, and the innovative PowerShot V1 – the first compact model with an integrated cooling fan for longer 4K recording sessions.

Today, Canon delivers a range of cameras loved by creators. The PowerShot G Series offers high image quality and multifunctionality in a compact form, the PowerShot V Series enables effortless, fully-fledged video, and the PowerShot SX Series empowers users with impressive high magnification zoom capabilities.

 

Image Credit: Canon

 

PowerShot G7 X Mark III 30th Anniversary Edition

This Anniversary Edition model introduces a new limited graphite colour for the camera body, and the front ring has a twill pattern while maintaining the same features and performance that made the model popular. A 30-year anniversary logo is printed on the body, and the camera is presented in a specially designed anniversary box.

The G7 X Mark III Anniversary Edition retains the 1.0-inch stacked CMOS sensor with approximately 20.1 million effective pixels1 and a large aperture and bright 4.2x optical zoom lens for versatile video expression. In addition to still image shooting, the "Video Blog" shooting mode, designed especially for Vlogging, supports comfortable and intuitive video creation.

 

1 The total number of pixels is approximately 20.9 million.

For more information, please visit the Canon website.

Your camera is too good. I mean that as a genuine problem, not a humble brag about your gear. That $2,500 mirrorless body sitting in your bag can identify human eyes at 30 meters, track a subject across the frame while firing 30 frames per second, and deliver usable images at ISOs that would have been science fiction a decade ago. It is, by every measurable standard, a miracle of engineering. And it might be making you a worse photographer. 

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Canon is marking 30 years of its PowerShot compact digital camera line with a limited edition version of the PowerShot G7 X Mark III, scheduled to ship in April 2026. The anniversary model adds cosmetic and bundled accessories to Canon’s existing 1.0-inch compact camera platform while commemorating the long-running PowerShot brand. 

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Canon has announced the Canon RF 7-14mm f/2.8-3.5 L Fisheye STM, a new L-series zoom designed for full frame EOS R cameras and RF-compatible Cinema EOS models. The lens expands Canon’s RF lineup with a dedicated fisheye zoom that covers both circular and diagonal fisheye imaging in a single optic. 

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