Everybody loves a good pancake. A pancake lens, that is. Though some pancake lenses sacrifice quality for the sake of size, this new EVO lens begs to differ. 

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A 15-year-old camera with no USB-C charging, no eye sensor, and dated video specs still earns a spot in a working photographer's bag for a trip to the Italian coast. That says something about what actually keeps a camera in rotation years after its spec sheet stops mattering. 

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Tamron has announced the 12-20mm f/2.8, a fast-aperture ultra-wide angle zoom for Sony E-mount and Nikon Z mount full frame mirrorless cameras. The Sony E-mount version goes on sale July 30 at $1,699, and the Nikon Z mount version follows on August 27 at $1,799. 

The lens covers a 12mm to 20mm focal range and holds a constant f/2.8 maximum aperture across the entire zoom. Tamron is positioning the wide 12mm end and the bright aperture toward astrophotography and interior work, where both the extra field of view and light-gathering matter.

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The announcement itself was straightforward enough. On July 2, Hasselblad and Capture One confirmed that Hasselblad's .3FR raw files now open natively in Capture One, with dedicated color profiles for the X2D II 100C, the X2D 100C, and the CFV 100C digital back, and lens profiles covering 19 XCD lenses. Tethered capture is planned for later in 2026. After years of forum threads and feature requests, the wait ended with a software update. 

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Speeding down Highway 371, I received a call. The two photographers who knew the way around Bisti Badlands weren't going to show tonight. This was a problem. I had never been there, and it was basically Mother Nature's escape room.

Bisti has no trails, no signs, no landmarks, and no cell signal. Just thousands of hoodoos and winding canyons. I'd have to find my way to some of the features, then find my way back to my car in the dark in a place I'd never been before. It would just be me and my navigation app. Here's how it went.

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One of the arguments I hear most often against street photography has very little to do with photography itself.

"If you're going to photograph someone, why not just talk to them?"

Sometimes it comes from photographers who have never been interested in candid work. Sometimes it comes from people who are uncomfortable with the idea of photographing strangers in public at all. Sometimes the conversation drifts toward privacy, ethics, or consent, as if every photograph made in a public space begins with the assumption that someone has been wronged.

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