credits: Nikon Nikon has officially announced the Nikkor Z 70–200mm f/2.8 VR S II, an updated version of one of the system’s most important zoom lenses. The company is obviously continuing its push to refresh the classic trinity of f/2.8 zooms, following last year’s 24–70mm update. This new model sheds a noticeable amount of weight, coming in at 998 grams without the tripod collar or 1,180 grams with it, roughly a 26% reduction compared to the original version. Even with the lighter build, it keeps an internal zoom design, which helps the lens stay balanced and keeps its length from physically changing while you zoom. Inside, the lens uses a complex 18-element, 16-group optical formula that includes ED, Super ED, aspherical, aspherical ED, fluorite, and SR elements to keep aberrations under control throughout the range. Nikon has also applied its Meso Amorphous Coat along with ARNEO coating to cut down on flare and ghosting, plus a fluorine coating on the front element to repel dust and smudges. The aperture runs from f/2.8 to f/22 using an 11-blade diaphragm designed to produce smooth, rounded background blur. Minimum focus distance is 0.38 meters at 70mm (0.3× magnification) and 0.8 meters at 200mm (0.25×). Autofocus is handled by Nikon’s updated ‘‘Silky Swift’’ VCM linear motor system, which is said to be much faster than before, especially while zooming. The lens also offers up to six stops of optical vibration reduction, works with Nikon’s 1.4× and 2× teleconverters, and includes a customisable control ring that can be clicked or de-clicked for video use. Nikon has also added Arca-Swiss cutouts directly into the removable tripod foot. The Nikkor Z 70–200mm f/2.8 VR S II is scheduled to ship in late March 2026 for $3,199.95. You can see full details and sample shots on Nikon’s website here

credits: Asus Asus is expanding its ProArt lineup with the CaliContrO MCA02, a compact 3-in-1 colorimeter for photographers and other creatives who rely on accurate colour for editing, design, or video work. The device combines colour measurement, calibration, and basic display control in a single unit. It supports software calibration across a wide range of displays (including LED, OLED, and Mini-LED panels) using ASUS’ ProArt Calibration software, which creates ICC profiles at the operating system level. The software runs on Windows 11 or later and macOS 12 or later. Beyond ICC profiling, the MCA02 can perform hardware calibration on supported ProArt monitors by writing calibration data directly to the display’s internal LUT. That means colour accuracy stays consistent even if the monitor is plugged into a different computer. ASUS also includes a Colour Correlation feature that lets you match the device to a reference colourimeter, which is useful for studios running multiple calibration tools. The unit can measure brightness up to 10,000 cd/m² for HDR work, with chromaticity accuracy rated at ±0.005 x,y and luminance accuracy at ±5 percent. It also measures ambient light and supports common white points such as D50, D55, and D65. It also doubles as a physical control device. A 5-way navigator and shortcut buttons can operate a monitor’s on-screen display with vibration feedback, and ASUS Dial support allows custom controls inside compatible creative apps. The unit connects via USB-C, draws up to 5 watts of power, measures roughly 6.2 × 4.0 × 6.2 cm, and weighs about 170 grams. Pricing is at $250.

credits: Zeiss Almost one year after unveiling the Otus ML 50mm f/1.4 and Otus ML 85mm f/1.4 manual focus primes, Zeiss is back with its third new Otus prime for mirrorless cameras, the Otus ML 35mm f/1.4. The new lens focuses from 0.3 meters (about one foot) to infinity and delivers a maximum magnification of 1:5.7. Optically, it is a complex design with 15 lens elements arranged in 11 groups, along with a 10-bladed aperture. Like the other Otus ML models, it uses a purely mechanical focusing system rather than focus-by-wire, meaning the position of the focus ring is directly linked to the optical elements. The focus ring rotates 257°, giving very fine control for precise manual focusing. Physically, the lens is large but not unusually so for a high-end f/1.4 optic. Length varies slightly depending on mount, ranging from about 112 to 116mm, with a maximum diameter of 77mm. Weight also differs by version, the Sony E-mount is the lightest at 698g, the Canon RF version weighs 717g, and the Nikon Z mount is the heaviest at 737g. The lens accepts 67mm front filters, the same size used by the Otus ML 50mm f/1.4, while the larger 85mm f/1.4 in the series requires 77mm filters. Interestingly, this is the first 35mm lens ever released under the Otus name. The earlier DSLR Otus lineup skipped this focal length entirely, offering 28mm, 55mm, 85mm, and 100mm f/1.4 lenses instead, all significantly larger and heavier, with the 28mm alone weighing over 1.3 kilograms. The new Otus ML 35mm f/1.4 will ship this spring for $2,299 and will be available in Sony E, Canon RF, and Nikon Z mounts. You can see full details and sample shots on Cosina’s website here

credits: Canon Unconfirmed reports about a Canon EOS R3 Mark II are making the rounds again, this time sparked by speculation tied to images from a Canon Professional Services room at the Milan Winter Olympics. A photo shared by Olympic photographer Jeff Cable showed shelf labels that some people interpreted as references to unreleased gear, specifically a possible successor to the EOS R3. Since then, the story has largely snowballed, even though there is still very little concrete evidence that a new flagship sports camera is actually on the way. Most of the rumoured specifications come from a Weibo account called “Camera Beta,” which has a mixed track record when it comes to accuracy. According to that source, the R3 Mark II would use a back-illuminated stacked CMOS sensor with a switchable dual native resolution. 54 megapixels for maximum detail or 24 megapixels for speed and low-light shooting. That setup would supposedly allow continuous shooting at around 40 fps at full resolution or up to 90 fps at the lower setting. The same post also mentions “Triple Native ISO,” pixel binning for better sensitivity, and a Quad Pixel CMOS AF system capable of phase detection in multiple directions across the entire sensor. Not everyone is buying it though. Canon Rumors editor Craig Blair says none of his contacts have heard anything about such a camera and believes the rumours may be based on a misunderstanding. Even the mysterious shelf label “FV120” is thought to refer simply to firmware version 1.2.0 for the EOS R1 rather than a secret product code. While a dual-resolution sensor is not out of the question (Leica already offers selectable resolutions in some cameras) there is currently no solid proof that Canon is preparing an EOS R3 Mark II with these kinds of specs, so do not get your hopes up too much.

Slow Shutter Speed Technique (After Alexey Titarenko) This technique is inspired by the work of legendary photographer Alexey Titarenko, known for his haunting long-exposure photos of people (often crowds) that dissolve into ghost-like forms while the architecture around them remains solid. Up top I included some photos from other photographers recreating his technique, if you want to see the real thing however (highly recommended) you can visit Titarenko’s website here. The idea behind the technique is actually pretty simple → You use a very slow shutter speed so moving people smear together or become transparent silhouettes, while anything stationary remains sharp. Titarenko used this approach to convey atmosphere, history, and especially collective movement → for example (what I mean by this) he often used this technique at metro stations during rush hour. What Makes This Different From Normal Long Exposure Lots of long exposures blur motion, but this style has a very specific look Stationary elements remain clean Moving people become layered ghosts Motion accumulates rather than it creating streaks Repeated foot traffic builds up a density (again, I highly recommend checking out his actual work) How to Shoot in This Style STEP 1: Find the Right Scene The location matters more than almost anything else. Look for places where: People move through the frame continuously Architecture is strong and stable There are natural paths or flow lines (the idea is to find a spot where people get naturally ‘funnelled’) The background tells a story (not technically necessary, but its a ‘nice to have’) Some good location examples, many of which Titarenko used: Public squares, subways or metro entrances, staircases, bridges, markets (→ you want movement that repeats) STEP 2: Lock the Camera Down Sharp stationary elements are crucial Use a sturdy tripod Turn off stabilization Avoid touching the camera during exposure Use a remote or self-timer if you have that STEP 3: Slow the Shutter Dramatically You can experiment, but a typical range is: 5–30 seconds for moderate ghosting 30 seconds–2 minutes for very dense crowd textures → try lots of variations and see what works for you! STEP 4: Let the Crowd Do the Work After you set everything up, let the people do the work for you. Wait for steady movement Avoid large groups standing still in one spot (again, make sure to pic your location carefully) Look for repeated paths (stairs, entrances, as mentioned are perfect), because people walking through the same space again and again creates that effect.

credits: Sigma Sigma’s upcoming 15mm f/1.4 DC DN Contemporary and 35mm f/1.4 DG II Art lenses have leaked ahead of their expected CP+ 2026 debut, with images and detailed specifications now making the rounds online. The 15mm appears to be designed specifically for APS-C mirrorless cameras, with a strong focus on keeping size and weight down. For Sony E-mount, it measures just 64.8mm long and weighs around 220 grams, which is much lighter than Sigma’s older 16mm f/1.4. The optical design includes 11 elements in 13 groups with a 9-blade diaphragm, and the filter thread drops to 58mm. That fast f/1.4 aperture should make the 15mm useful for low-light shooting, astrophotography, and video work where you want a wide field of view without cranking ISO. Sigma is also said to have worked on reducing focus breathing, which matters for video shooters trying to keep framing consistent during focus pulls. Mount options are expected to include Sony E, Canon RF, and Fujifilm X, covering most major APS-C mirrorless systems. Alongside it, the full-frame 35mm f/1.4 DG II Art looks like a significant update to one of Sigma’s most popular primes. The new version uses a 12-element, 15-group optical design with an 11-blade diaphragm and dual HLA linear motors for fast autofocus. The Sony E-mount version weighs about 525 grams, with the L-mount version slightly heavier at 530 grams. Minimum focus distance is listed at 28cm, allowing for fairly tight shots with a maximum magnification of 1:5.4. Both lenses are expected to be officially announced on February 26 at CP+ 2026.

credits: Tamron Tamron has announced Tamron-Link, a small Bluetooth accessory that plugs into the USB-C port built into many of its newer mirrorless lenses, letting you change lens behaviour wirelessly from a phone or tablet. You can think of it as a bridge between the lens and the Tamron Lens Utility mobile app, which now finally works on iOS and iPadOS as well. At launch, the dongle supports 16 Tamron lenses for Sony E-mount, Nikon Z-mount, and some APS-C Canon RF models, with more lenses (including the 28-75mm f/2.8 G2 for Nikon Z and the 35-150mm f/2-2.8 for Sony) expected to be added via firmware updates later this year. Once connected, the app gives fairly deep control over how the lens behaves electronically. You can remap buttons, reverse the direction of the focus or aperture rings, switch between linear and non-linear focus response, and define how far a ring needs to turn. For video shooters, it goes a step further. You can store A/B focus points and set how quickly the lens racks between them, which makes repeatable focus pulls much easier without touching the barrel. You can also set electronic limits so rings do not overshoot. Photographers get some useful tools too. The system allows very precise focus presets for time-lapses or astrophotography, where tiny adjustments matter and focus-by-wire can be frustrating. Firmware updates can also be installed wirelessly. Android users can still connect via cable without the dongle, but iPhone and iPad owners need Tamron-Link for mobile control. The dongle is priced at $50. You can see full details on Tamron’s website here

credits: Adobe Another compatibility update for Adobe Camera Raw, Lightroom, and Lightroom Classic is here, adding support for several newly announced cameras and lenses. Among the newly supported bodies are the OM System OM-3 Astro and the Ricoh GR IV Monochrome, both extremely recent announcements, and in some cases not even widely available yet. That quick turnaround means early buyers won’t have to wait long to process their RAW files properly, which has often been an issue with niche cameras. Lens support has also been expanded across a broad mix of brands, including Canon, Leica, Sigma, Sony, and Viltrox. Newly supported lenses include Canon’s RF 7-14mm f/2.8-3.5L Fisheye STM and RF 14mm f/1.4L VCM, Leica’s Noctilux-M 35mm f/1.2 ASPH., Sigma’s 14mm f/1.4 DG DN Art for L-mount, the 28-105mm T3 full-frame cine lens, Sony’s updated FE 28-70mm f/3.5-5.6 OSS II, and several ultra-wide Viltrox primes. These profiles allow the software to automatically correct distortion, vignetting, and chromatic aberration based on each lens’s design. The update also includes the Leica Noctilux-M 35mm f/1.2 ASPH., Leica’s first 35mm lens to carry the Noctilux name, as well as support for several recent smartphones, including models from Oppo and Xiaomi released in China late last year. As usual, the complete compatibility list can be found on Adobe’s official support pages. You can see the list on Adobe’s website here

credits: Mandler Chinese newcomer Mandler first announced its debut lens back in May, and it is now officially available. The Mandler 35mm f/2 “7 Elements” is a compact manual-focus prime for Leica M and LTM mounts, modelled after the classic Summicron formula. Mandler takes its very name from Leica’s rich history, the company is named after Dr. Walter Mandler (1922–2005), who designed more than 45 of Leica’s most beloved lenses. Optically, the lens uses a traditional double-Gauss layout with seven elements in five groups. It takes small E39 filters, focuses from 0.7 meters to infinity, and measures 34mm long. Weight is 138 grams for an aluminium version or 210 grams for a brass model. Mechanically, the lens is fully manual and rangefinder-coupled, with no electronic contacts at all. The focusing helicoid uses a relatively short throw, which makes quick distance changes easy. The preset aperture system uses two rings, one sets the aperture you want to use, while the other opens or closes the diaphragm instantly between wide open and that preset value. It is an old-school design, but still very practical for zone focusing or fast shooting. The 10-blade diaphragm keeps the opening fairly round across most settings, which helps avoid harsh polygonal highlights when you stop down. Field curvature is present but gradual, so sharpness falls off smoothly toward the edges instead of dropping off abruptly. Chromatic aberration is reasonably well controlled thanks to modern glass and coatings, and distortion stays under one percent, so straight lines do not look warped. The lens is priced at $348 USD. You can see full details on Mandler’s website here

credits: Fujifilm Anyone hoping for the Fujifilm X-Pro4 anytime soon will probably need a bit more patience. New reports suggest the long-awaited rangefinder-style camera is not coming in the immediate future, and definitely not before the Fujifilm X-T6. Since the X-T6 is widely expected to show up around September 2026, that pushes the earliest possible timing for the X-Pro4 to October 2026 or later. Given that the X-Pro3 launched back in 2019, that would mean roughly a seven-year gap between generations, which is unusually long even for Fujifilm. As for specs, the rumours point to a substantial update. The camera is expected to use the 40.2-megapixel X-Trans CMOS 5 HR sensor along with the X-Processor 5, the same combo found in several of Fujifilm’s newer high-resolution models. That setup should bring noticeably more detail, better noise control than older sensors, and more advanced autofocus, including AI-based subject recognition. In-body image stabilisation is also rumoured, which would be a first for the X-Pro series. Other reported changes include a tilting rear screen in place of the X-Pro3’s hidden LCD, plus an upgraded hybrid optical/electronic viewfinder that could reach around 5.76 million dots in EVF mode. Video specs may extend to 4K/60p and possibly even 6.2K, although the X-Pro line has always been meant primarily for photos. New film simulations are also expected, potentially with a dedicated dial.

credits: Cosina The Voigtländer Portrait Heliar 75mm f/1.8, which first launched last May for Sony E-mount, is now also available for Canon RF and Nikon Z mirrorless cameras. Like most Cosina-made Voigtländer lenses, it is fully manual focus and has a traditional aperture ring. What sets this lens apart, though, is the additional spherical aberration control ring, which lets you directly influence the character of the bokeh and overall rendering. That third ring adjusts how the lens handles spherical aberration. When set toward undercorrection, photos take on a softer look with more glow in highlights and smoother, creamier background blur. When dialled toward overcorrection, the lens becomes clearer and more contrasty, and the bokeh changes toward a more defined, ‘bubble’-like appearance. Cosina notes that changing the aberration setting also shifts focus slightly, so you will need to refocus after making adjustments. It can also affect the effective f-stop and increase vignetting in certain settings, meaning exposure and post-processing corrections may be necessary depending on how far you push the effect. Optically, all three mounts share the same design, six elements in three groups and a nine-blade aperture diaphragm. Minimum focus distance is 0.7 meters, with a maximum magnification of 1:7.4. The lens is about 90mm long and takes 62mm filters. Weight comes in at roughly 570g for RF, 580g for Z, and slightly less for E-mount. The suggested retail price is $999.