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credits: Canon A newly surfaced Canon patent shows some unusual catadioptric zoom lens designs, and it might offer a hint at how a very fast f/1.4 zoom lens for the RF system could be built without becoming extremely large. Recently there have been multiple reports that Canon is working on a constant f/1.4 zoom, which would fit into the broader trend of increasingly fast lenses. Even Fujifilm has been exploring extremely bright designs, recently floating concepts like a 33mm

credits: Manfrotto Manfrotto has expanded its ONE-series lineup with a new tripod called the ONE Photo, and unlike last year’s ONE Hybrid tripod, this one is meant specifically for photographers. According to Manfrotto, the tripod uses a redesigned structure with a non-rounded leg profile that improves torsional rigidity and overall stiffness. The idea is to provide better stability for high-resolution cameras and long exposures. The tripod incorporates Manfrotto’s XTEND mech

credits: Kase The previously reported Kase 150mm f/5.6 reflex autofocus lens is now officially here. What makes the lens interesting is that it combines a mirror (reflex) optical design with autofocus, something you do not see very often. It is launching for Sony E-mount and Canon EF mount, with the possibility of additional mounts later on. Another more unusual feature is the magnetic front ring, which allows filters and the lens cap to attach magnetically instead of relying

credits: Escura Escura has announced a small cube-shaped camera called Ligar and it is trying something a little different for film photographers. The device attaches to the hot shoe of a film camera and automatically takes a digital photo the moment the camera’s shutter is released. In other words, it captures a digital copy of the moment at the same time the film exposure is made. The idea is partly convenience and partly insurance, if something goes wrong with the film rol

credits: Venus Optics Venus Optics’ new Laowa 17mm f/4 Zero-D Tilt-Shift and Laowa 17mm f/4 Zero-D Shift ultra-wide lenses are here Both are designed for full-frame and medium-format mirrorless cameras and are meant for photographers who work with architecture, interiors, or landscapes where perspective control matters. While Canon and Nikon both produced tilt-shift lenses for their DSLR systems, neither company has introduced equivalent lenses for their mirrorless mounts. Th

What Is Kinetic Photography? When you hear the word kinetic, the first thing that probably comes to mind is motion, and that is exactly what this technique is built around. Kinetic photography, sometimes called camera tossing, is a style where the camera itself becomes part of the movement while taking the photo. Instead of holding the camera steady like we normally would, you intentionally move it. That movement might be a shake, a swing, a bounce, a spin, or in some cases e

credits: TTArtisan TTArtisan has expanded its tilt-shift lineup with the 17mm f/4 tilt-shift lens, which is now also available for Nikon Z, Canon RF, and L-mount cameras. The lens had previously been released for Sony E-mount and Fujifilm GFX systems, and this update simply brings the same design to a wider range of mirrorless mounts. With its ultra-wide 17mm focal length and tilt-shift functionality, it is meant for areas like architecture, interiors, and landscape photograp

credits: Canon A new rumour is causing excitement in the Canon community, suggesting the company could be working on a zoom lens with a constant f/1.4 aperture, possibly arriving as early as late 2026. The rumour site CanonRumors reports that there is “pretty good evidence” that such a lens exists. At this point, though, the details are still extremely limited. There is no confirmed focal length range yet, and there is also no information about pricing. The speculation appear

credits: Harman Technology Harman Technology has introduced a new experimental colour film called Switch Azure, and it does something a little unusual with how colours appear in the final photo. Instead of reproducing colours in the typical way, the film deliberately shifts them around. Blues can show up as orange, yellows may turn into bright azure tones, and reds can shift toward purple or blue. The idea is to create a very distinctive look straight from the film itself, wi

credits: Samyang (3D-printed mock up of 200mm) Samyang seems to have some fairly ambitious lens ideas lined up for the coming years. In a new interview with the French photography publication ‘Phototrend’, Samyang’s head of product planning, Kim Dubin, talked about several concepts the company is currently exploring. Samyang is already working with Schneider-Kreuznach on projects like the upcoming 60–180mm f/2.8 full-frame zoom, but it is also developing a number of lenses in

Zone Focusing for Street Photography If there is one technique that every street photographer has to learn/get familiar with, it is zone focusing. Autofocus is great, it is fast, accurate, and incredibly advanced now. But on the street, moments happen in fractions of a second. And sometimes even the fastest autofocus system is just a little too slow, or it grabs the wrong subject, or it hunts at the worst possible time. Zone focusing removes that delay entirely. Instead of fo

credits: Samyang At the 2026 CP+ show, Samyang unveiled a new AF 35mm f/1.8 P FE full-frame lens designed as part of its compact Prima series. The lens closely follows the design of the existing AF 85mm f/1.8 P FE and AF 16mm f/2.8 P FE, keeping the same small form factor and straightforward design. In the United States and Europe, Samyang lenses are often sold under the Rokinon name, so the lens will likely show up under both brands depending on the market. The AF 35mm f/1.8

credits: Lomography Lomography has released a new Simple Use Reloadable Film Camera that comes preloaded with its LomoChrome Classicolor film, an ISO 200 colour film the company introduced last October. The film is designed to produce realistic colours that still feel ‘‘distinctly analog’’. According to Lomography, the stock delivers natural skin tones and warm colours that pop a bit more, while cooler tones like blues and greens stay more restrained. The camera itself looks

credits: Leica Leica appears to be preparing another addition to its SL lineup. Reports about a 44-megapixel SL camera have been circulating since late last year, and the latest rumours suggest the model will be called the Leica SL3-P. Of course, Leica naming has been known to change right before launch, something we have seen before with cameras like the M EV1, so the final name is not guaranteed yet. The “P” suffix is already familiar within Leica’s lineup. The Leica M11-P,

credits: Cosina Voightländer Cosina Voigtländer is bringing its manual focus Nokton Classic 35mm f/1.4 to Canon RF and Nikon Z full-frame mirrorless cameras. The lens first appeared for Sony E-mount back in 2019, and after several years it is finally being made available for photographers using Canon and Nikon’s mirrorless systems as well. Unlike many modern Voigtländer lenses that aim for maximum sharpness and highly corrected optics, the Nokton Classic 35mm f/1.4 is designe

credits: DxO DxO PureRAW 6 is here, and it is still very much focused on one specific job, cleaning up your RAW files before you bring them into Lightroom, Photoshop, or DxO PhotoLab. Rather than acting like a full editing suite, PureRAW sits at the very start of the workflow. It handles demosaicing, noise reduction, lens corrections, and sensor defect compensation first, so you are working with a technically optimised file before you start making creative decisions. DxO’s ar

credits: Sigma Sigma has officially announced the development of a new 85mm f/1.2 DG Art, a large-aperture medium-telephoto prime for full-frame mirrorless cameras. It joins Sigma’s growing lineup of f/1.2 lenses, including the 35mm f/1.2 DG II Art and the 50mm f/1.2 DG DN Art. With this addition, 85mm becomes the longest focal length in Sigma’s current f/1.2 series, a move that obviously targets portrait photographers who want the ultra-shallow depth of field look. Because t

credits: Canon At CP+ 2026 in Yokohama, Canon gave one of its clearest signals yet that a new compact camera is in development. In an interview, Go Tokura, Executive Vice President and Head of Canon’s Imaging Group, said today’s compact camera buyers aren’t the same customers Canon used to serve. According to him, the next compact will need to bring “new technologies or a new use case” to the table. That is more direct than what we usually hear from Canon, which tends to stic

credits: Schneider-Kreuznach x Samyang Just like they did at last year’s CP+ in Japan, Samyang and Schneider-Kreuznach used CP+ 2026 to show off another full-frame f/2.8 zoom. This time it is an AF 60–180mm f/2.8 for Sony E-mount and L-Mount. While full specifications have not been published yet, the lens was on display at the companies’ joint booth, giving visitors at least a physical look at what is coming. With this addition, the lineup now forms a slightly unusual but com

credits: Lomography Lomography has introduced the Fisheye No. 2 Rodeo Denim, a special 35mm film camera. The body is wrapped in denim with orange accents, but the real focus here is the 10mm fisheye lens, which delivers a full 170° field of view. That means you get circular photos with heavy barrel distortion, curved horizons, and exaggerated perspective. The lens can focus as close as 10 centimetres, ‘‘encouraging photographers to get extremely close to their subject’’ while

credits: Brightin Star Brightin Star used CP+ 2026 in Yokohama to unveil a new full-frame 50mm f/2 Tri-Sight prime lens, and the headline feature is a control ring that lets you switch between three distinct rendering modes, Smooth, Prime, and Foams. Smooth introduces a soft-focus, diffused look with lower contrast, Prime delivers a more conventional, balanced rendering, and Foams pushes the bokeh toward a brighter, bubble-like style. Like other lenses that adjust spherical a