Tamron has announced the 16-50mm F2.8 A (Model B091), a fast-aperture standard zoom made specifically for APS-C mirrorless cameras. It comes in four mounts (Sony E, Canon RF, Nikon Z and Fujifilm X) and pairs a constant F2.8 aperture with a body that weighs from just 305g.

On an APS-C camera, the 16–50mm range gives a 24–75mm full-frame equivalent (25.6–80mm on Canon RF), taking you from genuinely wide to short telephoto without swapping lenses. Here’s a closer look at what the Tamron 16-50mm F2.8 brings to everyday photography and video.

A Standard Zoom from a Wide 16mm: Landscapes, Group Shots and More with One Lens

Starting at 16mm (24mm equivalent) gives this lens more width than many everyday zooms, and it makes a real difference. It’s wide enough for expansive scenes such as rolling farmland in the Overberg or a big open sky over the Highveld near Pretoria.

The wide end also comes into its own indoors, where you can’t simply step back. Fitting the whole family into one frame in a

Tamron has unveiled the 20-40mm F/2.8 Di III VXD (Model A062), a fast-aperture standard zoom designed for Nikon Z mount full-frame mirrorless cameras. With a constant F2.8 aperture, a fresh 20–40mm focal range and a body that weighs just 380g, it’s built for photographers and creators who want serious image quality without the bulk usually associated with fast zooms.

Tamron describes the lens as class-leading in compactness and weight among F2.8 standard zooms for full-frame mirrorless cameras (based on Tamron’s own research as of August 2026). Its global launch date is 22 October 2026. Below, we unpack what the Tamron 20-40mm F/2.8 offers and where it fits into a South African photographer’s kit.

Class-Leading Compactness: The Tamron 20-40mm F/2.8 Doesn’t Weigh You Down

Fast standard zooms have traditionally asked for a trade-off: you get the bright aperture, but you also get size and weight that make you think twice about packing the lens. The Tamron 20-40mm F/2.8 tips that balance the

Run your hand over the bark of an old yellowwood and you can feel every ridge and fissure. Capturing that same sense of touch in a photograph is what texture is all about. Every subject has its own surface character, from rough and weathered to smooth and glossy, and when you record it well, your images feel more real and immediate. This guide explains what texture in photography means, the main types and the subjects that show it off, and the shooting and lens choices that help you capture it.

What is texture in photography?

Texture in photography describes how the surface of a subject looks as though it would feel: the cracks and moss on a fallen branch, the velvety softness of a flower petal, the cool gloss of polished metal. Closely related is surface quality, sometimes discussed as photo surface quality, which refers to the overall impression of what a subject is made of, whether stone, glass, fabric or skin. When both are rendered well, a photograph conveys a tactile sense of reality

Point your camera towards the harsh Highveld summer sun and the result can be a frame washed out with haze, dotted with coloured shapes or split between pure white and solid black. If you are new to photography, it is easy to assume something is wrong with your camera. In most cases, though, these effects are not faults at all but natural results of how lenses and sensors handle light. This guide explains what causes lens flare, ghosting and related effects, how to control them and how to use them to your advantage.

A photograph that uses ghosting creatively

Lens flare and other effects that change image quality

The way cameras and lenses handle light can produce effects you did not intend. The most common are:

•        Lens flare, where strong light washes out the image and lowers contrast

•        Ghosting, where rings, ovals or aperture-shaped spots of light appear in the frame

•        Vignetting, where the corners of the image turn darker than the centre

•        Blown-out

Stand at the side of a straight Karoo road and photograph it at eye level, and the result can look surprisingly flat. Crouch low with a wide-angle lens, let the road’s edges race away towards the horizon, and the same scene suddenly has depth and drama. The difference is perspective. Understanding how it works can solve two of the most common complaints in photography: images that look flat and images that lack impact. This guide covers the meaning of perspective, the techniques behind it and how to apply them to different subjects.

What is perspective in photography? The meaning of perspective

What is perspective?

TAMRON 17-50mm F4 (Model A068) Focal length: 17mm　Exposure: F6.3　Shutter Speed: 1/25sec　ISO: 100

The meaning of perspective in photography is the sense of depth and distance created by the relative size and position of objects in the frame, and by their distance from the background. So what is sense of depth? It is the impression that a flat photograph extends back into

Point a camera at something and press record, and you have footage. Decide how that camera moves, where it sits and when it stays still, and you start to have a story. That difference is camera work, and it is what separates video that simply documents a moment from video that makes people feel something. This guide walks through camera work from first principles to more cinematic camera work techniques, with plenty of practical examples along the way. Whether you are filming a family holiday, a promo for a small business or your first short film, the same principles apply, and none of them require expensive gear to get started.

What is camera work? The meaning behind the moves

At its simplest, camera work describes how you position, angle and move the camera while you film. It covers the static shot as much as the sweeping one, because choosing to hold still is as much a decision as choosing to move. Understanding the meaning of camera work starts with recognising that every placement