credits: Samyang The Samyang AF 14–24mm f/2.8 is now officially coming to L-mount, about a year after the Sony E-mount version first showed up. That means photographers on Leica, Panasonic, and Sigma cameras are getting another option in the ultra-wide zoom range. From a specs standpoint, though, it is basically the same lens as before, just adapted to a different mount. The lens keeps its 15 elements in 11 groups design, including 3 aspherical elements, 5 high-refractive (HR) elements, and 3 ED elements. It has a constant f/2.8 aperture, stopping down to f/22, with a 9-blade diaphragm. The angle of view is pretty wide, ranging from 114.2° at 14mm to 84.1° at 24mm on full-frame (or 91.7° to 62.0° on APS-C). It can focus as close as 0.18 meters, with a maximum magnification of 0.17x at the wide end and 0.26x at the tele end. Autofocus is handled by a Linear STM motor, and there is also an AF/MF switch. It uses a 77mm filter thread, which is always nice to have on an ultra-wide. Of course, there are a couple of small differences. The L-mount version is slightly more compact, measuring around 86.8mm in length and weighing 441 grams, with a maximum diameter of 84mm. It also includes weather sealing, which you would expect here. The L-mount version is set to launch at $1,150, and should start showing up at retailers toward the end of May 2026

credits: Alfie Cameras Alfie Cameras, a small UK-based company, is getting ready to launch its next camera, the Alfie Boxx. It is a pretty unusual concept compared to most cameras today, since it combines both shooting and developing film into a single device. In simple terms, it turns the camera into a sort of portable darkroom. The camera uses a wooden box-style design with a ground glass viewing screen, along with what Alfie calls a “Pocket Darkroom.” Inside, there is a magnetic film holder that lets you go through a full black-and-white reversal process right after taking a photo. That involves several steps, including applying developer, bleach, and clarifier solutions, with rinses in between. After that, the paper is re-exposed to light and developed again to produce a positive image. Each step uses small amounts of chemistry (around 10mL) and requires some manual work, like agitation and timing, so it is definitely not a fully automatic process. In terms of hardware, the Boxx supports a modular lens system, with options like a 100mm f/8 Wollaston lens, a 55mm f/16 Steinheil Periscopic, and a 65mm pinhole lens. Because it uses black-and-white reversal paper, its sensitivity is quite low. Therefore, the company says you will need to pay more attention to lighting conditions than usual. The body itself is made from stained and lacquered hardwood with brass fittings. Alfie Boxx is going live on Kickstarter on May 19.

credits: Light Lens Lab Light Lens Lab has announced a new 50mm f/1.9 “Rigid-ZS6” (Super Six) lens for Leica M-mount, adding another option to its Rigid Series. The lens is built around the original “Super-Six” double-Gaussian optical formula, using a 6-element, 4-group design with full-frame coverage. The goal seems to be keeping that older rendering style, especially in terms of bokeh and colour, while making some adjustments so it works a bit better on modern digital sensors, particularly with improved centre sharpness. There are two versions of the lens. The standard Rigid-ZS6 with a more balanced look, while the Rigid-ZS6* (marked with an asterisk) is a low-contrast version that holds onto more highlight and shadow detail and leans more toward a film-like rendering. Both share the same core specs, including an f/1.9 to f/22 aperture range with a preset diaphragm and half-stop clicks. The focus range runs from 0.7 meters to infinity, and it uses a quick-change M-mount bayonet system. In terms of size and build, it is fairly compact, coming in at 45mm long and 54mm in diameter, and weighing around 263 grams. The lens uses a brass outer barrel with aluminium and brass internals, and it takes E39 filters, with support for an optional A42 clip-on hood. Pricing is set at €695.95 ($750). You can see full details and sample shots on Light Lens Lab’s website here

credits: Canon A bunch of new details about the Canon EOS R6 V have started to come out, and they change quite a bit compared to the earlier rumours. At first, it sounded like Canon might strip things back, especially when it came to stabilisation and cooling. Now, the newer info points in the opposite direction, with the camera actually getting features that make it look like a much more serious hybrid body. One of the bigger updates is IBIS, which is now expected to deliver up to 7.5 stops of stabilisation. That is a pretty significant addition, especially for handheld shooting, and it would separate it from something like the Cinema EOS C50. Cooling has also taken a turn. Instead of just passive vents, the EOS R6 V is now rumoured to include active cooling with a built-in fan, offering three speed settings (low, medium, high). In terms of video, things look quite ambitious, with 7K RAW recording up to 60fps, and Open Gate 7K at 30fps, although it is still unclear if 60fps will be available in Open Gate. Support for Canon Log 2 and Log 3 is also expected. On the photo side, the camera is said to use a 32.3MP full-frame CMOS sensor, which puts it into higher resolution territory compared to previous R6 models. It is paired with 1,053 autofocus points, likely using Canon’s latest subject detection and tracking. The ISO range of 100–64,000 (expandable to 50–102,400) suggests solid low-light performance. The body itself comes in at around 598 grams, with a 3-inch 1.62-million-dot display, weather sealing, and a redesigned grip inspired by the EOS R1 for better handling. The EOS R6 V is expected to be priced at around $2,800, putting it slightly below the rumoured R6 Mark III.

credits: Kase Kase’s new 150mm f/5.6 AF Reflex lens is now officially here, and it is a bit of an unusual one. It is a mirror (catadioptric) lens, which already makes it different from most modern lenses, but the bigger deal here is the fact that it actually has autofocus. That is something you almost never see with this type of design, especially at a relatively short focal length like 150mm. On the inside, the lens uses a 5-element, 4-group optical design that combines mirrors with traditional glass elements. That is what allows it to stay much smaller and lighter than a typical 150mm telephoto. Like most mirror lenses, it has a fixed f/5.6 aperture, so there is no adjustable iris. The minimum focusing distance is 1.5 meters, and it comes with a 67mm filter thread, including support for magnetic filter systems. There is also a magnetic pinch lens cap, which can be used even with a hood attached. In terms of build, the lens has an aluminium alloy body with a grooved focus ring. It also includes an AF/MF switch with manual override. As expected with this kind of design, it produces that classic “donut” bokeh, where out-of-focus highlights show up as bright rings with darker centres, some people love that, some don’t, but it definitely gives photos a more stylised/vintage look. The lens is available for Nikon Z, Sony E, Canon EF, and Fuji G mounts, although availability can vary depending on the system. Pricing is set at $649.

credits: Sony The rumour mill around the Sony A7R VI is really starting to heat up. For a while, it was just talk that the new full-frame camera would show up sometime in May, but now there is a more specific date going around, with the A7R VI expected to be announced on May 13, 2026. If that lines up, it will land right in the middle of a pretty busy period for camera announcements. The biggest talking point is the rumoured 67-megapixel fully stacked full-frame sensor. That is a pretty big deal, since stacked sensors in Sony’s lineup have so far been limited to models like the A1 and A9. A design like that usually means faster readout speeds, which can lead to higher burst shooting, less rolling shutter, and better video performance overall. The A7R VI is also expected to be much closer to the A1 II in terms of speed, rather than just focusing on resolution. On top of that, it is rumoured to include the newer features from the A7 V, along with a redesigned body, although there are not many details yet on what that actually looks like. The catch is likely going to be the price. The A7R VI is rumoured to go well past $5,400, which would make it the most expensive A7R model so far. Alongside the camera, Sony is also expected to announce a new FE 100–400mm f/4.5, which is said to use an internal zoom design, meaning the lens won’t extend when zooming and should offer better balance and sealing. It is also expected to switch to a constant f/4.5 aperture across the entire zoom range, instead of the current f/4.5–5.6, which would improve consistency when shooting.

You can find Jonathan on his Instagram: @framethestreetsdotcom And on his website: https://www.framethestreets.com Can you tell us a bit about yourself? I’m a physician currently living in Orlando, Florida, and I’ve been a photographer since my teens. How did you first get into photography? My father really appreciated photography, and I remember him giving me my first point-and-shoot when I was about 15. A few years later, he gave me his old TLR (twin lens reflex) camera, and that really set me on my path. Photography pretty quickly took over. My first real project was documenting blues and jazz musicians in the Detroit area, where I grew up. From the late 1980s through the mid-1990s, I took thousands of photographs on black-and-white 35mm film. I also did a number of interviews with those same musicians, which ended up becoming a body of work I’m still very proud of. Over time I shifted toward travel photography, and in recent years I’ve focused mostly on street photography What are your favourite shooting conditions? I don't really have a favorite. I'm not particularly fond of harsh mid-day light, but even that can work to your advantage. I do enjoy shooting in the rain. But I think that the most important thing is that I try to shoot every day. The weather isn't a deciding factor for me. You've travelled a lot-what are your favorite locations for street photography? I'm drawn to urban environments. Big cities are ideal for me. New York, London, Tokyo. The big cities have a certain “grit” that I love. But I also love places that are a bit less obvious. Buenos Aires, for example, is phenomenal. The architecture is beautiful, the people are welcoming, and each neighborhood has its own character. Panama City is another favorite. But I try to mix it up. Sometimes, I will go to small towns and try my hand there. It’s a completely different experience and, for me, it is a lot more challenging. But the results can really be rewarding. You don’t have to live in or near a large city to be a street photographer. What does photography mean to you? This is a difficult question for me to answer. I am passionate about it. Photography, for me, is a way of seeing the world. More importantly, it has changed the way that I see the world. What gear do you use? I shoot almost exclusively with a Leica Q3. I've largely moved away from film. I still love film, but I actually prefer the look of digital. That’s not something that most people admit to but, for me, it is the truth. Perhaps because I have already done a lot of film photography, so the lure to return to it just is not there for me. The Q3 has a fixed 28mm lens, which suits the way I see. Using the same camera every day simplifies things. Over time, the camera becomes second nature. It feels like an extension of me. I know what it can do, and I know what I can get out of it. Do you prefer chaos or quieter spaces? For years, I preferred chaos. But over time, I've found myself drawn more to quieter, more intimate moments. Can you walk us through your editing process? I keep it simple. I use Lightroom, usually on my iPad. If an image takes me more than 5 minutes to edit, I usually move on. I am not trying to make something out of nothing. How do you decide what moments to capture? It's not really a decision. It’s more of a response. Something catches my attention, and I react. It could be light, an expression, color, tension, or stillness. There's simply something about the scene that draws me in. What are some of your favourite techniques? I don't really think in terms of techniques. I try to keep things simple and rely on observation. How did you find your style? It evolved naturally. It's not something I consciously constructed. If you photograph consistently, your voice eventually reveals itself. How do you define your photography? For years, I thought of myself as a street photographer, but while I am still a street photographer, I've become less attached to that label. My work is rooted in street photography, but at times it leans toward observational documentary. I prefer not to define it too rigidly. But street photography is my passion. I am proud to be a street photographer. How do you decide between color and black and white? I decide based on what's carrying the image. If it's driven by light, shadow, and structure, I'll go with black and white. If color adds meaning, I will keep it. What's the most challenging thing about photography for you? That's a tough one. I don't really think of photography as a challenge. It's more like a treasure hunt. I love it. Can you walk us through a typical shooting day? I try to shoot every day. The camera is almost always with me, even if I am going to the store to buy groceries. And if I don't leave the house, I'll still photograph something. It’s a daily practice. When I'm in a city and can dedicate the day to photography, I usually start early, shoot until early afternoon, take a break, then head out again. Early in the day, I tend to "hunt"-actively searching for scenes. Later, I shift into more of a "fishing" approach-finding a spot and waiting. Part of the reason for the change is because I think it refreshes me mentally, and the other part is usually to give my feet a break! Also, I think the late in the day shots favor a fishing approach. The light and shadows can get so beautiful, so I usually find a spot with good light, and wait for something to enter the scene. What is your favorite subject? People. Always people. I look for emotion. I want the viewer to feel something. But over time, l've also become interested in scenes where people aren't present, but their presence is implied. But without a doubt, people are my favorite subject. Do you listen to music while shooting? I love music, but I don't listen to it while I'm shooting. I try to stay fully present. Who inspires you? There are so many—Saul Leiter, Fred Herzog, and Ernst Haas all come to mind, especially for their use of color and their ability to elevate everyday moments. Fan Ho is also a major inspiration. The way he captures light and shadow is just achingly beautiful. I think that sensitivity to light is something that has stayed with me and continues to influence how I see and photograph How do you know when you've nailed a shot? I usually don't know right away. I tend to go over my images at the end of the day. Sometimes an image stands out immediately, but other times, it lingers on the mind. I love the photos that have that immediate impact, but I strive for the ones that give you a long burn—you keep thinking about them well after you stopped looking at them. That’s every photographer’s dream, isn’t it? How important is composition? Composition is crucial. If a photograph is going to be readable, it needs structure. But good composition doesn't always draw attention to itself. It supports the image. Think of it like the foundation of a home. Even if you can’t see the foundation, without it, the home falls apart. Advice for beginners? Shoot every day. As often as you can. Don't worry about settings-use program mode if needed. Just shoot. And once you feel limited by the program mode, start to really put the exposure triangle to use and begin to use manual settings. No camera? Use your phone. Just shoot! How important is lighting? Light is everything. It shapes the scene, creates the mood, and often determines whether an image works. I'm usually drawn to light first, and then I wait for something to happen within it. Any genres you'd like to explore? I'm less interested in changing genres and more interested in going deeper. That said, I'm curious about exploring longer shutter speeds. Some of those photographic heroes that I mentioned earlier used really long shutter speeds. They had to, of course, because the Kodachrome they were using had such low ISOs. And I love the results. So, lower ISOs and longer shutter speeds are probably in my future. But, more than anything, I am just trying to get better as a photographer. I want to see better, and not miss what is in front of me.

credits: Nikon New rumours suggest that Nikon’s planned compact full-frame camera could end up with a fixed focal length lens, which would definitely be a bit of a surprise. Back in early February, rumours of a compact Nikon full-frame camera started circulating, possibly based on the Nikon ZR and specifically built for photographers. At the time, the idea was a viewfinder-less system camera with interchangeable lenses. Now there is a new twist, and it is still not clear if this is the same project or something completely different. Some of the earlier details still seem to line up. The camera is said to skip a built-in EVF, but could support an optional external viewfinder via the hot shoe. The body itself is expected to be very slim, somewhere around 22 to 25mm thick, with a tilting OLED display and a couple of physical control dials, one of which may have dual functionality. There is also talk of a high-resolution full-frame sensor, although no real specs have been shared yet. At the same time, the camera is rumoured to drop video recording entirely and won’t include in-body image stabilisation. If this turns out to be accurate, Nikon would be entering a segment that has been getting a lot of attention recently. Fixed-lens compacts like the Fujifilm X100VI and Ricoh GR series have been in high demand, often hard to find in stock. Other brands are also rumoured to be working on similar cameras. Recent CIPA data backs that up, showing a noticeable increase in compact camera shipments over the past year. For Nikon, it would also be reminiscent of its earlier DL series, which was announced but never actually made it to market.

credits: Blackmagic Design Blackmagic Design has released DaVinci Resolve 21 Beta 2, a quick follow-up to the recent public beta. It comes less than a month after the first version and mostly focuses on fixing issues and smoothing things out, especially around the new Photo page. The fast turnaround suggests Blackmagic is paying close attention to early feedback as it continues pushing Resolve further into photo editing. Most of the changes in Beta 2 are about reliability, tools like crop, flip, and rotate for still images have been adjusted to behave more consistently, and there are fixes related to crop resolution metadata, which can affect both accuracy and exports. Support for photo formats has also been improved, including better decoding for RAF and 12-bit NEF files. There is also a small but useful addition for photographers, you can now export stills with their original file names, which makes managing larger batches a bit easier. Other changes include adjustments to retime curves and keyframe behaviour, meant to make edits feel more predictable. Outside of the Photo page, there are a few broader updates. IntelliSearch has been improved to organise media a bit faster and more efficiently, and there are general performance and stability fixes across the app, including in Fusion’s 3D and compositing tools.

credits: Adobe Adobe has rolled out the April 2026 updates for Photoshop and Lightroom, bringing Photoshop to version 27.6 and Lightroom to its latest desktop release, with a mix of AI tools, workflow changes, and performance improvements. A lot of the focus this time is on making everyday editing a bit quicker and less tedious, especially for photographers dealing with large files, layered edits, or big batches of images. In Photoshop, the Remove tool now has an improved “Find Distractions” mode, which can pick up and remove things like people, wires, and general background clutter more reliably, while still letting you check the result before applying it. There is also a new Reflection Removal feature, meant for photos shot through glass, which tries to clean up reflections without messing with the rest of the image. The updated Rotate Object tool also makes compositing a bit easier by letting you adjust perspective directly on the canvas. On top of that, Generative Fill keeps getting expanded, with better natural language prompts and support for multiple reference images, so you can fix or extend parts of a photo without getting too deep into masking. Lightroom gets a more workflow-focused update. AI-assisted culling is meant to help sort through large shoots by looking at things like focus and exposure, which can speed up the selection process. Search has also been improved, so you can use more natural queries to find specific images in your catalog. Alongside that, Adobe is reporting faster slider performance and better support for newer camera formats (including the recent compressed RAW format introduced in the Sony A7 V), which should make general editing feel a bit smoother, especially when working with large RAW files.

credits: Thypoch/Venus Optics There is a lot happening in the Chinese lens market right now, and it is not just about recent announcements. New reports suggest that, alongside Thypoch and Laowa (Venus Optics), two more Chinese manufacturers are preparing to release autofocus zoom lenses. There are no confirmed details yet, neither the brands nor the specs have been revealed, but the expectation is that these lenses could arrive later this year. To put that into context, this follows some recent moves in the same direction. Thypoch has already stepped into the space with its 24–50mm f/2.8 AF zoom, marking a shift away from its usual manual-focus primes. At the same time, Laowa is rumoured to be working on a 14–24mm f/2.8 AF, which would be a first for the brand in terms of autofocus zooms. More broadly, this fits into a pattern that has been building over the past few years. Chinese brands started with affordable manual primes, then moved into autofocus primes, with companies like Viltrox and TTArtisan becoming more competitive on both price and performance. Moving into autofocus zoom lenses is the next logical step, but also a more technically demanding one, especially when it comes to optical design and autofocus systems. If more manufacturers follow through, it could increase competition in a segment that is still dominated by a few established players, particularly in terms of pricing.