credits: Meike Meike has announced a new AF 56mm f/1.7 Air lens for APS-C Sony E-mount cameras, adding another lightweight option to its lineup. On APS-C, that 56mm works out to roughly an 85mm equivalent, so it sits right in that classic short telephoto range that is often used for portraits. Looking at the specs, the lens uses an 11-element, 7-group optical design and has a 9-blade aperture, which should help with smoother background rendering. The aperture runs from f/1.7 to f/16, so it covers both low-light shooting and stopping down when needed. The minimum focusing distance is 0.55 meters, which is pretty typical for this kind of lens. It also uses 52mm filters. Physically, it is pretty compact at 66.5mm × 59.2mm and weighs around 190 grams. Meike also released an MTF chart along the announcement, which gives a rough idea of what to expect. At f/1.7, sharpness looks strong in the centre, but there is a visible drop-off toward the edges, especially in the higher frequency lines, which usually means softer corners wide open. By f/8, things look a lot more even across the frame, with better overall consistency. The Meike AF 56mm f/1.7 Air is priced at $169 and comes in black and white. You can see full details and sample shots on Meike’s website here

New Sony A7R VI rumours and leaks just dropped, and there is quite a bit to go through. The camera is still said to be in limited testing, with a release expected sometime around June 2026, likely coming before the next Alpha 7S model. The biggest talking point is a new 67-megapixel partially stacked sensor, although some reports also mention an 80MP fully stacked version, which suggests Sony might still be deciding on the final setup. Readout speeds are rumoured to hit 60fps, which would help cut down rolling shutter and make the camera feel a lot more responsive overall. In terms of performance, the camera is expected to use a new BIONZ XR2 processor, paired with up to 8.5 stops of image stabilisation. Continuous shooting is listed at 30fps in 14-bit RAW, with things like RAW pre-capture and 60fps AE/AF tracking also showing up in the leaks. There are also multi-shot modes, including 16-frame high-resolution composites and up to 32-frame noise-reduced shots, which feels very in line with Sony’s push toward squeezing as much image quality as possible out of processing. Dynamic range is also expected to improve, with some reports pointing to 16+ stops when using the mechanical shutter. Video specs are a bit all over the place depending on the source, but the general idea includes 8K recording, likely oversampled from higher resolutions, along with 4K up to 120p. Some leaks go further and mention 10K/30p and 8K/60p, while others suggest more conservative limits like 8K/30p and no RAW video or open gate. The body is also rumoured to get a redesign, including a deeper grip similar to the A1 II, plus a brighter and higher-resolution screen.

credits: TTArtisan TTArtisan has announced the AF 17mm f/1.8 Air, a compact APS-C wide-angle prime that focuses on keeping size and weight down while still offering autofocus. The lens weighs 161 grams and has a full metal body. It is designed around a 17mm focal length, equivalent to roughly 25mm on full-frame systems, with an 81-degree angle of view. On the inside, it uses a 14-element, 10-group design, which is actually pretty complex for something this small. That kind of setup is usually meant to keep things like edge sharpness and distortion in check, even though TTArtisan does not mention any special elements. The aperture goes up to f/1.8, which is more useful for low light and a bit of depth of field control than for heavy background blur at this focal length. Minimum focusing distance is 0.2 meters. Autofocus is handled by an STM (stepping motor), which typically means smoother and quieter focus transitions, especially useful if you are shooting video. It also takes standard 52mm filters, which is always nice to see. The lens is available for Sony E and Fujifilm X mounts, priced at $148. You can see full details and sample shots on TTArtisan’s website here

credits: Eizo Eizo has announced the ColorEdge CS3200X, a new 31.5-inch 4K UHD (3840 × 2160) monitor for photographers who need consistent, accurate colour for editing and print work. It is the largest model in the current CS Series lineup, and the main difference here is simply the extra space. Compared to smaller displays, it gives you more room to work with high-resolution files while still keeping your tools visible. The monitor covers 99% of Adobe RGB, which is good news if you are working towards prints. It also covers 96% of DCI-P3, so it still fits into mixed photo and video workflows. The panel delivers 10-bit colour using a 16-bit LUT, which helps with smoother gradients and more precise colour adjustments, particularly when working with RAW files. The 4K resolution is spread across 31.5 inches, which should provide a solid balance between detail and usability. There are some video-focused features built in too, like preset colour modes and automatic adjustments based on the input signal. Brightness tops out at 350 nits, which is fine for editing photos but not too great for HDR work. It includes USB-C, DisplayPort, and HDMI, along with several USB ports for things like calibration tools, and it comes with a light-shielding hood to help keep lighting consistent. The CS3200X is expected to ship in June, with pricing still to be announced (for reference, the 27-inch Eizo ColorEdge, which lacks some of the CS3200X’s features, is $1,597).

credits: OM System The Micro Four Thirds system has had a pretty turbulent few years. Olympus stepped away from the camera business, Panasonic shifted a lot of its attention to full-frame, and for a while it felt like MFT was slowly fading out. But recently, both OM Digital Solutions and Panasonic have started sounding a bit more optimistic again, and this time there are some more concrete signs behind it. One of the bigger changes is that OM System CEO Shigemi Sugimoto is now the majority shareholder, replacing Japan Industrial Partners. That could mean faster decisions and more direct investment, and the fact that Sugimoto is taking that step himself suggests a certain level of confidence. All this is also showing up in what OM System is saying publicly. The company is in a stable financial position and able to invest in new products. A new PEN camera is already in development, with the design phase underway and progress apparently going well. At the same time, OM System seems to be softening its stance on compact cameras. A year ago, the idea was mostly dismissed, but now the company is acknowledging that demand has been picking up again, especially from people who find system cameras too expensive. On the lens side, the focus is on smaller wide-angle and prime lenses, which fits with what MFT has always been about. Panasonic is also pushing back on the idea that MFT is being phased out. Even with its strong focus on full-frame, the company says it is still actively developing Micro Four Thirds and sees it as an important part of its lineup. The emphasis is still on mobility and speed, which comes from the smaller bodies and lenses. At the same time, Panasonic is fairly open about the limits of the format, especially when it comes to pushing resolution higher. Instead, the focus seems to be on improving things like dynamic range and noise performance through processing and newer sensor tech. None of this guarantees a major comeback, but compared to the silence of the past few years, it does suggest there is some wind back in the sails.

credits: Skylum Skylum is marking Luminar Neo’s fourth anniversary with a spring update, and version 1.27 brings a handful of new AI tools, mostly focused on portrait editing. One of the more practical additions is in the Skin AI section, where a new blemish removal slider has been added. Instead of just toggling the effect on or off, you can now control how aggressively things like pimples or skin imperfections are removed. There is also a new slider that lets you soften not just the face, but the body as well, which gives a bit more control over how the final photo looks. The Face AI tool has also been updated, especially when it comes to removing dark circles under the eyes. Skylum says the results should look more natural this time, addressing a common issue where earlier versions would overcorrect or affect areas that did not need adjustment. Another change is to Bokeh AI (previously called Portrait with Bokeh AI), which is no longer limited to portraits. It now works on any subject, using a depth map to simulate background blur. There are also different bokeh shapes available, including round, oval, hexagonal, and even more stylised options like heart or star shapes. Outside of portraits, there are a couple of smaller workflow updates. A new mask blur slider helps soften transitions at the edges of masks, and there is now an option to zoom in and out while working on mask selections. On the mobile side, the app has been renamed to simply Luminar, dropping the “Mobile” branding, and now includes many of the same AI tools found on desktop, including face adjustments, shine reduction, and blemish removal. Skylum also says syncing edits between mobile and desktop should now take less than a minute. The update is rolling out starting April 9 (so today), for all users.

credits: Brightin Star Brightin Star has officially announced the MF 11mm f/2.8 II, a follow-up to its ultra-wide prime that keeps the same extreme field of view but updates both the design and optics. The lens delivers a 182-degree angle of view, which puts it among the widest options you can get for full-frame cameras. That kind of coverage is really about capturing as much of a scene as possible in one frame, often with noticeable distortion, making it more suited for landscapes, architecture, or more creative/experimental shots. On the technical side, the lens has an f/2.8 to f/22 aperture range and uses an eight-blade diaphragm, which helps create defined starburst effects when you stop it down. The optical design is made up of 11 elements in 8 groups, with IMC coating to help keep flare under control and improve contrast. Brightin Star says the updated optics should deliver better sharpness and overall image quality compared to the first version, though this is still very much a lens that prioritises character over technical perfection. The lens uses a full aluminium body and weighs around 550 grams. It is fully manual, with a focus ring and a stepless aperture ring, which can be useful for video work. Minimum focusing distance is about 0.2 meters. The MF 11mm f/2.8 II is available for Sony E, Nikon Z, Canon RF, and L-Mount, and is priced at $249.99. You can see full details and sample shots on Brightin Star’s website here

credits: Hasselblad Hasselblad had a big year in 2025, largely thanks to the success of the X2D II 100C. The camera did not just look good on paper, it picked up a lot of attention online and even managed to top sales charts in places like Japan, which is pretty unusual for a medium format system. At the same time, the long-running rumours about a mirrorless camera from DJI, Hasselblad’s parent company, are starting to pop up again. Some of those ideas range from a medium format DJI camera (which would be kind of a strange move) to a more realistic L-Mount mirrorless system. With DJI facing major restrictions in the US drone market, it would not be surprising to see the company put more focus on traditional cameras. On the sensor side, there are reports that Sony has developed a new 180-megapixel medium format sensor, which would likely end up in new Hasselblad cameras. The current 100MP sensor used in models like the X2D II has been around for a while now, so an update feels overdue. A jump to 180MP might sound like a lot, but it is not that far-fetched. Canon and Phase One have already entered similar territory, and with resolution steadily increasing across the board, this seems more like the next step than anything unusual. As for where that sensor could actually show up, it probably won’t be anytime soon in the X2D line, especially given how new and successful the current camera still is. A more likely option would be a new generation body, something like an X3D, or possibly an update to the 907X system with a new digital back. There are already hints that the CFV 100C could be refreshed with features like improved autofocus and better dynamic range. More advanced features, like LiDAR, would likely stay tied to the main X system, keeping a clearer split between a studio-focused setup and a more portable, all-in-one camera.

credits: Canon Canon once again addressed the long-running question of third-party RF lenses, this time with a more direct message than before. Speaking in a recent interview with Phototrend, Go Tokura, Executive Vice President and head of Canon’s imaging division, confirmed that collaboration with third-party lens manufacturers will intensify. That is a stronger statement than what Canon has said in the past, especially given how cautious the company has been around opening up the RF mount. That said, there are still some clear limits. Tokura made it clear that while cooperation will grow, it will still be shaped by Canon’s broader business strategy. He also pointed out that Canon is not involved in the actual development of third-party lenses, meaning companies like Sigma or Tamron decide for themselves what to build. Interestingly, when asked why third-party autofocus lenses have so far only appeared for APS-C RF cameras and not full-frame, Tokura pushed back slightly, saying Canon does not officially differentiate between the two, even though, in practice, that is exactly what is happening right now. That leaves things a bit open-ended. Canon did not provide any details about licensing agreements or whether full-frame third-party RF lenses are on the way. When asked directly, Tokura avoided giving a clear answer, talking instead about the company’s existing lineup of nearly 70 RF lenses and saying that feedback from users will direct future decisions. So while the tone has changed toward more openness, the key question of when (or if) third-party full-frame RF lenses with autofocus will arrive, is still unanswered.

credits: LensBaby LensBaby has officially announced the Twist 28, a manual focus 28mm lens with a fixed f/3.5 aperture, built into a small pancake-style body. The feature that makes this lens a bit more special is its Petzval-style rendering, where the centre of the photo stays relatively sharp while the outer areas fall off into that characteristic swirling blur instead of a smooth, even background. On the technical side, the lens uses a fairly simple four-element optical design with anti-reflection coatings. Compared to modern lenses, that is a stripped-down setup, which is part of why it produces that distinct look rather than correcting for things like field curvature or edge sharpness. The fixed aperture means there is no way to adjust depth of field through the lens itself, so exposure and look are controlled through shutter speed, ISO, and subject distance. It also does not have filter threads. The Twist 28 is designed for full-frame cameras, where it gives a 90-degree field of view, and it can also be used on APS-C bodies, where that drops to about 64 degrees. It is available for RF, X, Z, E, and Micro Four Thirds mounts, and weighs 140 grams. The lens will begin shipping later this month for $189.95. You can see full details and sample shots on Lensbaby’s website here

credits: SmallRig The Fujifilm X-E5 is already a pretty beautiful camera, arguably one of the best-looking new models released last year, and SmallRig wants to make it even more stylish and functional with a new wooden grip and Arca-Swiss tripod plate attachment. The new grip mount plate comes in black or silver metal finishes to match the camera body, paired with either an ebony or rosewood wooden grip. It also includes a set of matching accessories, like a wooden shutter release button and a hot shoe cover, which continue the same look across the camera. In terms of weight, the grip adds 51 grams. It also integrates an Arca-Swiss-compatible base, meaning it can go straight onto a tripod without needing an extra plate, and it keeps cutouts for battery access. Functionally, the added grip is probably the more practical part here. The X-E5 has a relatively slim body with only a minimal front grip, which works fine with smaller lenses but can feel a little less secure with heavier ones. This attachment gives you a bit more to hold onto without making the camera noticeably bulkier. The grip is expected to start shipping on April 21 for $50, and SmallRig is also offering the wooden shutter button and hot shoe cover separately in finishes like rosewood, walnut, and ebony for $13.99.

credits: Brightin Star Brightin Star is teasing a new lens, and the company is calling it a “new chapter of ultra-wide.” The teaser points to the upcoming Brightin Star MF 11mm f/2.8 II, a follow-up to its existing fisheye lens. As usual with early teasers, details are pretty limited, but the company is obviously trying to build some anticipation with a slightly cryptic message about what the lens “sees” and “how it feels.” Reading between the lines, there are a few things that seem fairly clear already. The lens is labeled MF, so it is going to be manual focus, and the markings on the barrel confirm it is a fisheye design. Given the focal length, it is safe to expect a 180-degree field of view, similar to the original version. The teaser image also shows what looks like a built-in lens hood, which is typical for fisheye lenses like this. The reference to “how it feels” likely has to do with the build quality, and since the first version had a metal construction, it would not be surprising to see that continue here. The original 11mm f/2.8 was often used for astrophotography, thanks to its wide field of view and relatively fast aperture. It also featured an eight-blade diaphragm designed to produce distinct starburst effects when stopped down, although it is not clear yet if the second version will keep that same design. Beyond that, Brightin Star has not shared much, no confirmed mounts, pricing, or release date yet. The old lens, if that’s any indication, is for L Mount, Canon RF, Nikon Z, and Sony E Mount and retails for about $230.