Sigma Shrinks the f/2.8 Telephoto Zoom for APS-C Cameras
Sigma’s 50-120mm f/2.8 DC OS Contemporary is a stabilized telephoto zoom designed specifically for APS-C cameras, weighing about 400g and costing $799 in Fujifilm X, Sony E, and Canon RF mounts. Tested on a 40-megapixel Fujifilm X-T50, it delivers strong center sharpness, especially around 80mm, while performance at 120mm improves noticeably when stopped down. Autofocus is fast and silent, although roughly 4–5% of test frames were slightly off. Stabilization is highly effective for handheld video, and focus breathing is minimal. The lens is not parfocal, but it regains focus quickly while zooming. Paired with Sigma’s 18-50mm f/2.8, it creates a compact constant-aperture travel kit covering roughly 27–180mm equivalent.
OM System Has New Photography Gloves That Store Your Lens Cap
OM System’s x Foxfire Octamitten Gloves are designed to keep photographers warm without completely sacrificing camera control. Their default form uses relatively thin gloves, while a flap converts them into mittens; the thumb cover can be removed for easier access to command dials and touchscreens, and the fingers can be exposed when necessary. Cordura provides abrasion resistance, while the lining is intended to balance warmth, flexibility, and breathability. A microfleece palm with rubber dots adds grip. One pocket holds a heat warmer, and another near the wrist stores a lens cap up to 72mm. For winter shooters, the convertible design offers a way to alternate between protection and direct control without putting the gloves away.
This amazing picture is one of the most creative wildlife shots I’ve ever seen – but how did the photographer do it?
Andy Rouse tells the story behind a striking image of a black leopard photographed at night in Kenya. The supplied report identifies the subject, location, time, and photographer, but does not provide the camera, lens, lighting setup, exposure, positioning, or post-processing used to make the picture. That limitation is itself useful when assessing wildlife photography coverage: the image’s creative appeal is clear, while the practical method remains undocumented in the available material. Photographers studying the frame should therefore separate what is confirmed from what is only speculation, avoiding assumptions about technique until Rouse’s account supplies those details.