Everybody photographs this square. There is probably no square in Europe with a worse ratio of photos taken to photos worth keeping. I stood there anyway, with the sun sitting somewhere behind the Týn towers, and shot into it. The light was wrong. That’s the whole thing. Late afternoon, sun behind the church, every façade on that side of the square dropped into shadow while the sky stayed loud. The camera hated it.

Sony already sells a 100-400mm. The GM version has been around since 2017, weighs about 1,395g, and still asks roughly $2,500. The new SEL100400 covers the identical focal range at 654g and $849.99, shipping in September. Canada gets it at $1,079.99. The money came out of the aperture. The GM opens at f/4.5-5.6. This one starts at f/5.6 and closes to f/8 by the long end. That is the whole trade, and whether it matters depends entirely on where you shoot.

A leopard walking straight down the middle of a dirt track, head low, eyes locked on the lens. It is the frame everyone wants and the one most people blow, because the animal is doing the one thing telephoto gear handles worst: closing distance along the axis of the lens while the light is flat and the vehicle is still rolling. Focal length is a distance problem, not a prestige problem The reflex is to buy the longest lens available.

Count the frame. Four sets of legs planted in the dirt, and most of the people standing behind them are holding their cameras in their hands anyway. Nobody is doing anything wrong. That is just what a workshop looks like in the ninety percent of the day that isn’t the shot. The tripod is the most bought and least used piece of equipment in the hobby. It gets carried because the packing list said so, and because there is a lingering sense that serious photography happens on sticks.

There are at least four different light sources in this frame and no single white balance setting is correct for any of them. The residential streets below are running on old sodium, somewhere around 2000K, which is the deep amber you see across most of the lower half. The port is lit with newer floodlights, considerably cooler and closer to neutral. Office windows are fluorescent green. And the searchlight cutting across the bay is xenon, up past 6000K, which is why it reads as blue against everything else.

Tamron confirmed today that it has received a non-binding proposal from Sony to become a wholly owned subsidiary of the Sony Group. The company has set up a special committee to look at the offer alongside other options. Sony confirmed the approach and declined to put a number on it. Japanese outlet Diamond reported the figure first, at roughly 200 billion yen, about 1.2 to 1.3 billion dollars. Tamron’s market cap sat at 1.

Golden hour advice assumes you control the clock. Event photography doesn’t work that way. A race start goes off at noon because the organiser sold noon to a broadcaster, and you shoot the sponsor arch, the stewards and the podium hosts in whatever light is falling at that moment. In this part of the world that means a near-vertical sun, a scene brightness range around ten stops, and shadows with edges hard enough to cut on.

I bought into Canon on purpose. Not once — twice. The R8 for full frame, the R100 for the days I want something I won’t cry about dropping. I like Canon’s color science, I like where Canon puts its buttons, and I have defended the RF system in conversations where defending it made me look like a hostage. Nobody tricked me into this mount. I walked in. So understand that what follows isn’t brand tribalism.

A photographer running two Canon mirrorless bodies, an EF-to-RF adapter, and a pair of fast EF telephoto primes sits in one of the most common upgrade traps in the adapted-lens world: the kit already works, the next lens is legendary, and nobody can quite explain what it would actually change. The specific case here is an EOS R8 and an EOS R100 paired with the EF 85mm f/1.8 USM and the EF 100mm f/2 USM, with the EF 135mm f/2L USM as the candidate purchase.

Some subjects simply don’t cooperate with eye level. Arches, coffered ceilings, hanging signage, and upper facade details all sit above the natural sightline of a standing photographer, and craning the neck back only gets you so far before the framing falls apart. The fix doesn’t require a ladder or a stepstool. It requires raising the camera itself. Why Overhead Framing Works A camera lifted above the head changes the geometry of the shot without changing your physical position.