Lenses

When Canon's mirrorless system launched, the difficulty was finding the lens you wanted. That problem has reversed. The RF catalogue is now broad enough that the real challenge is narrowing it down — working out which specifications actually matter for the pictures you intend to make, and which are simply numbers on a box. This guide covers both halves of that decision: what the mount is and how it relates to Canon's older standards, then the ten things worth checking before you commit to a lens.

Canon mount types explained

The mount is the mechanical and electronic joint where a lens meets a camera body. Each manufacturer sets its own standard, and those standards are not interchangeable — the diameter, the locking mechanism, the distance to the sensor and the electrical contacts all have to correspond. Canon currently has three in circulation, and knowing how they relate saves a good deal of confusion when you start shopping.

What is RF mount?

RF mount is Canon's standard for its mirrorless

A telephoto lens brings distant subjects close and holds onto fine detail while doing it. That makes it the obvious tool for sport, birds, wildlife and aviation, and it is easy to assume from that list that a telephoto lens is specialist equipment for people who do this for a living.

It is not. A telephoto lens is just as much at home at a school athletics meeting, at a family portrait session in a back garden, or pointed at a ridgeline from a viewpoint an hour outside town. This guide covers what defines a telephoto lens, the three focal-length bands it divides into, the subjects it suits best, how to shoot with one cleanly, and what to weigh up when you are choosing one.

What Is a Telephoto Lens? Four Defining Characteristics

As a general rule, any lens with a focal length of roughly 80mm or more counts as a telephoto lens. Conventions vary between manufacturers and writers — some draw the line at 70mm, others at 85mm — but the working definition is the same: a narrow angle of view that

You own a kit zoom, and probably a fast prime or two. You have been circling an F2.8 zoom for months — reading reviews, watching the price, putting it off. Something keeps stopping you, and it is usually one of two things: what it costs, or what it weighs.

Holy trinity lenses are the three constant-F2.8 zooms that between them cover almost everything: a wide-angle, a standard and a telephoto. They are the professional default for good reasons, and they are also genuinely easy to talk yourself out of.

This article argues both sides. The first half covers why some photographers decide they do not need them, and several of those reasons are sound. The second half covers what you gain if you do buy in, which situations justify it, and what to check before you spend. Focal lengths are given for full-frame, with APS-C equivalents noted where they matter.

What are holy trinity lenses?

The holy trinity is three zoom lenses that each hold a maximum aperture of F2.8 across their entire zoom range:

If your kit is built around prime lenses, or you have gone all-in on a wide-angle for landscapes and a telephoto for wildlife, it is fair to ask whether a standard zoom lens still deserves space in your bag. Plenty of photographers get by without one. But the standard zoom lens has remained the most-used lens in photography for a reason, and that reason tends to announce itself the first time you are halfway up Lion's Head, or standing on a gravel road in the Karoo, with the wrong glass on the camera. This article looks at what a standard zoom lens does well, the shooting situations where it makes the most sense, and what to check before you buy one.

Standard Zoom Lens Basics: What the Range Actually Covers

Roughly 50mm is what the industry calls the standard focal length. A standard zoom lens is simply a zoom built around that point, and most cover the wide-angle end through to short telephoto, letting you move between framings without swapping glass.

The name comes down to how the range

You bought an interchangeable lens camera to take better photos of your children, and somehow the pictures on your phone still look better. It is a common complaint, and it usually comes down to a handful of settings rather than the gear itself. Photographing children well means getting exposure and depth of field to work in your favour, positioning yourself where the light and the eye contact are, and choosing a lens that suits the moment. This guide walks through the settings that matter, the shooting approaches that work in South African conditions, and how to pick a lens for the way your family actually spends its time.

Key points for photographing children with a mirrorless camera

There is no single setting that makes children's photos work. It is a combination of exposure, position, focus and light, and each one is worth understanding on its own. These six make the biggest difference.

1. Getting exposure right

Getting exposure right

Everything starts with exposure. Get it wrong and

Magic hour photography in South Africa rewards anyone willing to plan. Twilight at our latitudes is short. The light that turns the Karoo amber, or drops a deep blue behind the Sandton skyline, arrives quickly and leaves just as fast. Get the timing right and an ordinary street corner in Braamfontein or a stretch of shoreline near Umhlanga becomes something worth printing.

This guide covers what happens to the light during the golden and blue hours, which camera settings suit each, how to compose while the light is falling, and what to look for in a lens when the window is measured in minutes.

What is magic hour photography?

Magic hour photography covers two connected windows: the golden hour and the blue hour. Each produces its own gradient across the sky, and each asks something different of your camera. The golden hour gives you warmth, long shadows and a soft glow around your subject. The blue hour trades that for cool, even light and a sky deep enough to make artificial lighting count.

A macro lens lets you photograph something small at something close to life size. Petal structure, the compound eye of a dragonfly, the crystalline edge of a salt flake: detail that the eye skims past becomes the whole frame. This guide explains what a macro lens is, how it differs from the other lenses in your bag, what to look for when choosing one, and which subjects it suits best.

What is a macro lens?

A macro lens is built for close-up work. It focuses far nearer to the front element than an ordinary lens will, and it holds resolution at that distance instead of going soft the way a general-purpose zoom tends to. Most are prime lenses, which is part of why they render so cleanly and produce such smooth background blur.

There is no formal standard behind the word, but in practice a macro lens means two things together: a short minimum object distance, and a maximum magnification somewhere between 1:2 and 1:1. That combination is what allows a subject only a few centimetres across to

A macro lens changes the way you see the ordinary. A pincushion protea on a Cape hillside, a beetle working its way across an aloe leaf, the seed head of a restio catching late afternoon light — all of it becomes worth photographing once you can fill the frame with it. This guide covers the two subjects most South African photographers reach for first, flowers and insects, and sets out what to look for when you buy your first macro lens.

What makes macro lens photography so rewarding?

Before getting into technique, it helps to understand what actually separates a macro lens from the rest of your kit. Once those differences are clear, the shooting decisions further down this article start to make a lot more sense.

What sets a macro lens apart

Two specifications define a macro lens: a high maximum magnification and a short minimum focusing distance. Together they let you work far closer to your subject than any standard lens allows, so a flower head that would sit lost in the middle of a

A plate of something excellent arrives — lamb off the braai, a slice of melktert, a bowl of curry still steaming — and the phone or camera comes out almost automatically. The frustration is what happens next. The dish looked extraordinary on the table and somehow looks dull, dark and flat on the screen. This guide covers the fundamentals of food photography for beginners: how to read the light, what to set, how to frame it, and which lens will actually help.

What makes food photography look appetising

TAMRON 28-300mm F4-7.1 (Model A074) | Focal length: 28mm | Exposure: F4 | Shutter Speed: 1/50sec | ISO: 100

Good food photography is really about doing justice to something that already looks good. Almost everything else follows from two decisions: where your light is coming from, and whether you have enough of it.

Window light does more for a plate of food than any amount of editing. It renders colour honestly and shows texture the way your eye actually sees it. The softer light of early

The elephant bull is on the far bank of the Sundays River. The flanker breaks away down the touchline at the opposite end of Loftus. A fish eagle sits on a dead branch three hundred metres out across the Vaal. In each case the photograph is right there in front of you — and completely out of reach of the lens on your camera.

This is the problem an ultra-telephoto zoom lens exists to solve. It pulls distant subjects close enough to fill the frame, which matters enormously in South Africa, where the best subjects are so often ones you cannot approach: dangerous, moving at speed, or protected by park regulations that quite rightly keep you inside your vehicle.

This guide covers what an ultra-telephoto zoom lens actually is, the scenes it suits best here at home, how it behaves optically, how to get sharp results from it, and what to look for when you buy one.

What Is an Ultra-Telephoto Zoom Lens?

Photographers generally describe any lens from roughly 80mm upwards as a telephoto. Once the focal