FStoppers

The Sigma 17-40mm f/1.8 DC Art lens is the first zoom of its kind, combining a wide focal range with an unusually fast aperture for APS-C and Super 35 cameras. Here's a look at what you can expect.

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The Fujifilm X100 series has always been wildly popular, and for good reason. Its compact design, fixed lens, and film-like rendering have made it a favorite for people who want a camera that feels simple yet powerful. More than specs, though, what matters is how a camera changes the way you see and photograph, and the X100 has done that for many.

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Ricoh has announced the GR IV, a pocketable APS-C compact that continues the fixed-lens GR line with a higher-resolution sensor, a newly designed 28mm-equivalent lens, expanded in-body stabilization, and much larger internal storage.

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Every so often, a product launch doesn’t just release something new. Rather, it changes the tone of an entire ecosystem. This is what Sigma has just done with two lenses that, on their own, would be remarkable, but together feel like a tectonic movement. And they show that the big three (Canon, Nikon, and Sony), might be on notice.

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Specs aren’t everything. There are factors beyond what we can see in spec sheets that matter more when it comes to choosing gear, and we should always keep them in mind.

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Thomas Heaton drops a quick gut check on the state of film: remember when old point-and-shoots gathered dust in thrift stores, then suddenly became flex pieces on Instagram? Overnight, Contax compacts leapt from a few hundred bucks to nosebleed prices. That wave carried a lot of us back into the darkroom.

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Shooting in harsh midday sunlight is something you’ll probably avoid whenever you can, but sometimes it’s your only option. That kind of light can leave you with dull results, which makes editing an essential part of the process.

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Photographer Brownie Harris has spent five decades capturing both the famous and the ordinary, with a portfolio that stretches from John F. Kennedy Jr. to factory workers and Hollywood sets. Earlier this year, Harris released Brownie Harris Retrospective 1970–2020, a book that brought together a lifetime of images and stories.

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A 200mm f/2 lens isn’t the kind of glass you see every day. Sigma’s new entry changes the equation, bringing a prime of this kind to full frame mirrorless cameras for the first time.

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Sigma has added something unusual to the APS-C lens lineup. A 12mm f/1.4 ultra wide angle lens opens up creative options you don’t normally get at this focal length, especially if you want to work in low light or experiment with depth of field. This means more flexibility whether you’re shooting landscapes, interiors, or even the night sky.

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The Nikon NIKKOR Z DX 18-140mm f/3.5-6.3 VR lens promises to be a versatile option for your APS-C Nikon Z camera. Its wide focal range makes it appealing if you want a single lens that can cover both wide angle landscapes and tighter telephoto shots without breaking the bank.

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Zhong Yi Optics has introduced the Mitakon 55mm f/2.8 1-5x Macro, a $399 manual focus prime built for both full frame and medium format cameras. Offering up to 5x magnification, it gives photographers a chance to capture the smallest details without stepping into prohibitively expensive territory.

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Every few months, the internet decides that “this” is the future of cameras. Lately, that “this” is global shutter—a sensor that reads the entire frame at once, promising zero skew, perfect flash sync, and freedom from LED banding. It’s impressive technology, but for most photographers and hybrid creators, it isn’t the upgrade that moves the needle. Here’s why, plus how to get clean, professional results right now with the gear you already own.

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The Viltrox AF 135mm f/1.8 LAB lens stands out because it combines speed, sharpness, and price in a way that challenges far more expensive options. At this focal length, you’re looking at a tool made for striking subject isolation, making it particularly valuable when you want portraits or detail shots with impact.

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There is a moment in every photographer’s career when a single camera bag is no longer enough. Maybe it starts with one C-stand, then a sandbag, a hard case of lenses, a power station, and before you know it, you are making three trips back to the car. This is the point where you have to stop looking for a bigger bag and start looking for a smarter solution. RockNRoller has long been a staple for road crews, and its new R9 Mighty series is aimed squarely at creatives who want that same level of reliability offroad and on mixed terrain.

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If you’re looking at standard zooms, you’ve probably noticed the choice between the 24-70mm f/2.8 and the 24-105mm f/4. The first is faster and sharper on paper, but there’s more to choosing a lens than just speed and sharpness.

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The Nikon Z 14-30mm f/4 S and the Tamron 16-30mm f/2.8 G2 both cover the wide angle range you need for landscapes, travel, and even astro work. Deciding between them matters because the choice affects not only sharpness and weight but also what conditions you can shoot in without carrying multiple lenses.

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Shorebirds in Australia are striking, not just for their beauty but for the skill it takes to capture them. They move fast, they appear and disappear with the tides, and if you don’t know their feeding habits, you’ll come home with empty memory cards.

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Golden hour is a great start, but learning to use light well goes far beyond the time of day. Here are three things about light I learned the hard way—and that I hope will help you make stronger landscape photographs.

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The OM SYSTEM OM-1 Mark II mirrorless camera is designed to solve one of the biggest challenges you face in the field: balancing performance with portability. When you spend long hours outside carrying heavy gear, every pound matters, and having the right setup can mean the difference between getting the shot or missing it.

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