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.

credits: Xiaomi Xiaomi’s idea of turning a smartphone into something closer to a modular camera system seems to be moving beyond the concept stage. The company first showed its so-called Modular Optical System (MOS) at MWC 2025, and now multiple sources claim that production is already underway, with a possible release this year. Instead of being a simple add-on lens (which there are a few of already), the module is designed as a separate camera unit that attaches magnetically to the back of a compatible phone. The prototype that has been shown publicly uses a Micro Four Thirds sensor with roughly 100 megapixels in a Quad Bayer layout. It is paired with a fixed 35mm equivalent lens with an f/1.4 maximum aperture, plus a physical focus ring and adjustable aperture down to f/11. Data is transferred through Xiaomi’s proprietary LaserLink interface and contact pins, with reported speeds of up to 10 Gbit/s, allowing the phone’s image processor to handle RAW files in real time. The module does not include its own battery or processor, which means it draws power directly from the phone. The first device to support the system will most likely be the Xiaomi MIX 5, whose larger body should better balance the roughly 100 gram module. The camera app is said to integrate the module as if it were a native camera, potentially including Leica-style colour profiles and long-exposure support. Things like pricing, weather sealing, availability remain unclear for now.

credits: Zeiss Zeiss is about to introduction a new 35mm f/1.4 Apo Distagon lens for Nikon Z, Sony E, and Canon RF mounts, with an announcement scheduled just ahead of CP+ 2026, around February 23–24. The lens would become the third model in the Otus ML series, following the 50mm f/1.4 and 85mm f/1.4 that marked Zeiss’s return to the lens market after years of inactivity. Like the existing Otus ML lenses, the 35mm will feature apochromatic correction meant to minimise both lateral and longitudinal chromatic aberrations, especially at wide apertures. The Distagon optical formula points to a retro-focus wide-angle design built for strong edge-to-edge sharpness and well-controlled distortion. A fast f/1.4 maximum aperture would make it suitable for low-light work and shallow depth of field, while Zeiss’s T* coatings are intended to reduce flare and ghosting while maintaining high contrast and colour fidelity. The lens is also expected to retain the series’ fully manual focus construction, including a long focus throw for precise adjustments, a de-clickable aperture ring and an all-metal build. Pricing will probably stay in line with the current Otus ML range. The 50mm f/1.4 sells for about $2,700, and the 85mm f/1.4 for $3,000.

credits: Tamron A few days ago Tamron hinted that something new was coming, and now the cat is basically out of the bag. Images and detailed specifications of the upcoming Tamron 35-100mm f/2.8 have surfaced online. The lens is expected to launch for both Sony E-mount and Nikon Z-mount. According to the leaked specs, the E-mount version measures 119.2mm in length and weighs 565 grams, while the Z-mount version comes in slightly larger at 121.5mm and 575 grams. The lens reportedly offers a constant f/2.8 aperture across the 35-100mm range and uses a 67mm filter thread, in line with many of Tamron’s other recent zooms. It is said to feature Tamron’s VXD (Voice-coil eXtreme-torque Drive) autofocus motor, which should mean fast and precise AF performance for both stills and video. The barrel is described as dust- and moisture-resistant, with a fluorine coating on the front element for easier cleaning. Beyond that, the leaked press material points to an internal optical design optimised for both sharpness and smooth background rendering, with attention to minimising chromatic aberration and maintaining contrast across the zoom range. Support for Tamron Lens Utility software is also included, allowing you to customise functions and update firmware. Pricing will probably land around $900, with an official announcement expected around February 19, 2026.

credits: Canon The release window for the Canon EOS R7 Mark II is getting much clearer, and at the same time, the first early signs of an EOS R10 Mark II are starting to appear. Over the past few weeks, several sources have pointed to a first-half 2026 launch for the R7 Mark II, and that timeframe is now narrowing down even further. May or June 2026 is currently looking the most likely scenario, which also fits with recent FCC filings Canon submitted in the United States, often a very strong sign that an announcement is not too far away. As for the camera itself, the R7 Mark II is rumoured to adopt a body design closer to the EOS R6 series. There is also talk of it using the LP-E6P battery and featuring dual card slots, one CFexpress Type B and one SD slot, which would make it a more serious tool for wildlife and sports photographers. In terms of sensor resolution, 40 megapixels is widely rumoured. Canon reportedly is not planning to launch the R10 successor alongside the R7 this time. The EOS R10 Mark II is said to be scheduled for the fourth quarter of 2026. No solid technical details have leaked yet, but reusing the current 32.5-megapixel sensor from the original R7 would make sense, especially if the new R7 moves up in resolution.

credits: Cosina Cosina has announced the Voigtländer Septon 40mm f/2 Aspherical for full-frame Sony E and Nikon Z mirrorless cameras. It is a relatively compact manual-focus prime, especially in E-mount form, where it measures 30mm in length and weighs 165 grams. The Nikon Z version is slightly larger at 32mm and 205 grams. Both versions use 52mm filters and Cosina continues its habit of giving each mount a slightly different exterior design. The Sony version has a diamond-pattern focus ring, while the Nikon version uses a scalloped grip. The optical design consists of seven elements in six groups and includes an aspherical element. Cosina refers to the layout as an “Orthometer” design, meant to maintain good sharpness across the frame, even at the maximum f/2 aperture. The lens uses a 10-blade diaphragm, which should help keep out-of-focus highlights reasonably round when stopped down. Minimum focus distance is 0.3 meters, giving a maximum magnification of 1:5.3. Since this is a fully manual lens, handling is an important part. Cosina says the all-metal helicoid has been carefully machined and tuned for smooth focus movement with consistent resistance. In Japan, the suggested retail price is 85,000 yen (around $555 at current exchange rates), with availability expected in March. International pricing may vary slightly depending on region.

credits: Ricoh A New firmware update (version 1.11) for the Ricoh GR IV and GR IV HDF is here, and the big news is that the standard GR IV now gets an electronic shutter. That feature was already available on the GR IV HDF and the GR IV Monochrome, and Ricoh had said it would eventually make its way to the regular model. With this update, all three GR IV variants are now up to date when it comes to high-speed shooting. The addition matters because of how the GR IV handles exposure at wide apertures. The mechanical shutter tops out at 1/4000s, but that speed is only fully available at f/5.6 and smaller apertures. At wider apertures like f/2.8 to f/4, the maximum mechanical shutter speed drops to 1/2500s, and to 1/3200s between f/4.5 and f/5. In bright daylight, that can make it difficult to shoot wide open without overexposing. The electronic shutter solves that by extending the maximum speed up to 1/16,000s, which gives a lot more flexibility when working at fast apertures in strong light. There are some compromises, though. As with most electronic shutters, there is a risk of rolling shutter distortion, especially when shooting fast-moving subjects. Vertical lines can lean, and motion can look slightly warped. In addition to the new shutter option, firmware 1.11 also brings general performance and stability improvements to both the GR IV and GR IV HDF, although Ricoh has not gone into detail about what actually changed. You can download the update on Ricoh’s website here

The New Viltrox AF 35mm f/1.2 LAB - A Close Look This week Viltrox dropped its second LAB series lens for full-frame cameras, and it looks like a real workhorse. The new AF 35mm f/1.2 LAB is a fast autofocus prime lens aimed at photographers who want top-tier image quality without completely emptying their wallets. It follows the impressive 135mm f/1.8 LAB, which turned heads for its performance and price, but this time Viltrox is going for something a bit more versatile. While the 135mm was a portrait specialist, this 35mm f/1.2 has a broader range. It’s wide enough for street photography and travel but still fast enough for night scenes and shallow depth portraits. It’s not your typical “portrait lens” in the 85mm+ range, but it can definitely pull off some creative looks, especially at f/1.2. Inside, the lens has 15 elements in 10 groups, including ED glass, high-refractive elements, and some fancy ultra-high-precision pieces. Viltrox says it keeps colors rich, contrast punchy, and aberrations under control, even wide open. There’s also a multi-layer nano-coating that’s supposed to help with flare and ghosting — a nice bonus for shooting into the light. Autofocus looks solid too. It’s powered by Viltrox’s own HyperVCM motor setup, which the company claims is 150% faster than your average STM system. They also say it can shift focus from close to infinity in 100 milliseconds, which should be snappy enough for street shooters and event work. It’s also compatible with face and eye AF if your camera supports it. For close-ups, the minimum focus distance is about 34cm (just over a foot), with a max magnification of 0.17x — not macro, but useful for tight shots. There are also a bunch of nice usability touches: a custom control ring, two assignable function buttons (configurable through an app), an AF/MF switch, a de-click switch for the aperture ring, and even a little screen on the side of the lens to display aperture or distance info. The build is full-metal and weather-sealed, and despite the chunky glass, it still keeps a relatively compact profile at under 5 inches long and just over 2 pounds. A few sample images: Right now, it’s available for Sony E-mount, and it’s priced at $999. Not cheap, but considering what’s packed into it, it’s likely going to be a solid option for folks who want a fast, pro-level 35mm without jumping into much higher price brackets. Image credits: Viltrox Interview with Juan Carlos Escobar Salazar This week’s Interview Carlos, an incredibly talented Photographer based in NYC. You can find him on Instagram as: @ohmnivalent Enjoy the amazing Interview ;) Can you tell us a bit about yourself? My name’s Juan Carlos Escobar Salazar, but honestly, I just go by Carlos—it’s easier and feels more like me. I’m originally from Mexico and moved to New York City when I was twelve. So I’ve kind of lived between two cultures most of my life, which I think shaped how I see the world. I just recently took the leap into doing photography and cinematography full time. It's still kind of wild to say that out loud, because for the longest time, this was just something I was experimenting with. How did you get into photography? Ever since I was a kid I always loved to paint and write. I worked in an antique store from when I was 14 until I was 24, selling paintings, sculptures and antiquities. So I have always been a huge lover of the arts. I've also played music in a few bands, most specifically Metal and Indie rock as a guitarist and composer. I started photography 3 years ago during the COVID pandemic. I had more free time so I started walking around NYC, first capturing flowers, then buildings, then people. It transformed into cinematic street photography. Then 1 year later I started doing reels. Now it is my full time job.  What role does composition play in your photos? Composition is utterly important to my photography, besides the technical and aesthetic aspect of the piece, it allows you to tell the story of a scene in the way that you envision. And that is the whole point of being a photographer in my opinion, to tell a story and to document the reality of everyday life, whether it is beautiful or ugly, painful or pleasurable. With that being said, it is through composition that one can literally change the narrative, the mood, the scale and the importance of the elements in a scene. I still have a lot to master in composition. What do you think sets your work apart from others in the industry? Despite what it may seem, I am still relatively new to the whole art medium that is photography. 3 years so far, and although my work shows a consistency in mood, color, composition and narrative, I feel like I haven't quite captured photographs that I think would set me aside from many fellow photographers. It is not my intention to appear humble but I sincerely believe that I still have way too much to learn, and I haven't reached the level that I want to reach. With that being said, every single artist sees things differently so no one will produce the same result even if they are being inspired by the same thing. How do you stay inspired and motivated to continue creating new and unique photographs? I am really lucky because I have never experienced issues with inspiration. There are always new scenes in the streets, always new emotions. Also NYC is the perfect city to live in as a photographer, as an artist in general. Watching movies with incredible cinematography is utterly inspirational. Music gives me a lot of motivation to walk around and shoot. And of course the words of encouragement from fellow photographers and enthusiasts are hugely motivational.  What are some of the most important qualities for a great photographer to have, in your opinion? Be consistent, be determined and definitely be hungry for growth, you cannot remain stuck doing the same thing, you don't even have to post it, as long as you are experimenting, dipping your toes into different waters. Never be afraid to try something new but also learn about your camera and try to aim for stronger work. Also try to be humble and remember that there is always a lot to learn. What gear do you use? I get this question a lot, gear definitely helps but it is not the most important thing. Knowing how to use your device is what makes it a cool useful tool. I started with the A7RIII and the sigma 24-70 2.8 great beginner lens, super versatile and cheap if you can find it. Then a year ago I bought the a7IV with the GM 70-200mm f2.8 mkII, so far the most expensive lens I own. The lens I use the most is the GM 35mm f1.4. For crazy wide angles I have the GM 14mm f1.8. And just a month ago I bought the Sony FX3 for video. How would you describe your photography style in a few words? The rest, 3 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here Sigma’s New Packaging & Rebrand When Sigma introduced the ultra-minimalist BF camera back in February, it wasn’t just about the hardware. The company also took the opportunity to completely rebrand—new logo, new website, new wordmark, and yes, new packaging. And the packaging? It’s really something. Most people probably don’t think twice about the box a lens or camera comes in. You open it, take out your gear, and toss the cardboard. But Sigma’s new design makes that harder to do. The boxes are simple, clean, and honestly kind of beautiful. Cameras and lenses now arrive in understated colors—black, beige, blue, olive, or gray, depending on the product. The type is embossed, the design language is calm and classy, and even the accessories—like straps and chargers—come in a rich goldenrod yellow. It’s a striking change from the loud, flashy packaging a lot of tech products still come in, but Sigma isn’t just going for style points here. The redesign is also part of a bigger push toward sustainability. The company has ditched plastic where possible, swapped in vegetable-based inks, and is minimizing unnecessary pack-ins. If you’ve ever bought a camera and been overwhelmed by the layers of foam, bags, ties, and leaflets, you’ll probably appreciate the cleaner, simpler approach. What’s nice is that this doesn’t feel like greenwashing. Sigma’s not just saying, “Hey, we care about the planet”—they’ve actually redesigned their entire product experience to reflect that. And instead of making it feel bare or clinical, they’ve made it feel premium in a totally different way. It’ll take a bit before every Sigma product arrives in the new packaging since switching over all the inventory would be wasteful, but going forward, this is the new look. And it works—Sigma’s packaging now feels like a quiet celebration of the object inside. Thoughtful, minimal, and refreshingly not covered in marketing slogans. Just clean design and a bit of warmth. Image credits: Sigma Photo Analysis Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;) Photo by: @adamhliva Let’s Analyse this Image Composition What works well: That floral framing is very nice. The cherry blossoms wrap around the edges like a natural vignette, leading the eye to the bridge and river in the middle. Depth-wise, it’s spot on. You’ve got layers: foreground flowers, midground bridge, and background city. It creates a good sense of being tucked into the moment as well as a nice 3D effect. The bridge cuts diagonally through the frame which adds a little tension and energy, without feeling chaotic. It balances out the soft flowers with a solid, grounded shape. What could be better: A few of the flowers in the lower right are just a little too dominant, they pull your eye a bit more than they should. If they were slightly less bright (or angled differently), it would help the centre pop more. The dead space in the lower left corner could use a little touch of interest (and more balancing weight), maybe more blossoms or just a bit more detail from the city or riverbank. (now that of course is an unfortunate situation since you cant just ‘‘add more blossoms’’ however maybe repositioning yourself to catch another angel to ‘‘fill out’’ the space would have been an option). Colour & Lighting What works well: This color palette is dreamy. You’ve got warm golden hour light brushing everything in soft oranges and pinks, and the green bridge pops just enough to give it some spice. The light hitting the petals ads a nice touch. Some of them are semi-translucent, glowing from behind like tiny lanterns. That backlighting is doing a lot of emotional work. The reflection in the river gives everything a painterly feel. A very nice detail once you notice it. What could be better: Some highlights on the petals are almost blown out. Not a deal-breaker, but just pulling those back a touch could give them a bit more detail and richness. The sky is nice, but it might benefit from a hint more gradient or subtle cloud texture. It’s just a tad too flat compared to how textured the rest of the scene is. (some could maybe argue that that creates balance thought) Framing & Perspective What works well: The shot feels like you’re peeking through the trees from a hidden spot. It has got that ‘‘local’s-eye-view’’ energy, not touristy at all. Framing the bridge with the blossoms gives it context and mood, now it’s not just a structure, it’s part of a scene, a season, a moment. The mix of the rigid architecture and wild, flowing nature gives the shot a nice balance and charm. What could be better: One tiny nitpick: the far right side of the image feels slightly cramped. A bit more breathing room there would’ve let the flowers fall off more gracefully. (And as touched on before, the right side feels heavier than the left.) Mood & Storytelling What works well: This picture all about emotion, it doesn’t just show a place, it makes you feel like you’re living that moment. Warm air, birds chirping, soft sunlight hitting your face. Even though it is a seasonal image it still is quite timeless. The blossoms feel alive. They give softness and interest to what would otherwise be a fairly static cityscape. What could be better: It could tell more of a human story. Even a single person walking across the bridge (or a tram going over (I think it’s a bridge for trams)) would add a ton of narrative depth. Right now it’s more mood than story—but still strong. A Contrast Between Permanence and Ephemerality What’s interesting here: There’s this quiet conversation happening between the steel bridge and the cherry blossoms. The bridge is solid, heavy, and permanent, it’s built to last for decades, maybe even centuries. Meanwhile, the blossoms? They will be gone in a few days. They show up for this tiny moment, explode in beauty, and vanish just as quickly. That contrast adds depth without you even realising it. The softness of the blossoms against the hard iron of the bridge makes the whole image feel like a visual philosophy on time, change, and what we choose to notice. And the fact that this fleeting moment is being framed so intentionally makes it even more special. It’s literally as if the photo itself is saying, "Hey, stop scrolling for a second and look how beautiful and lovely this all is." Why it matters: This tension between the fleeting and the fixed gives the image emotional weight. It’s not just pretty—it’s poignant. It invites the viewer to reflect a little, not just admire. An incredible quality an image can have. Photography Tip of the Week The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers. Subscribe to the Premium Version here Photographer of the Week Photographer of the week goes to: Dave You can find him on Instagram as: @dv3pix A few of his images: The Rest of this Issue is for Premium Subscribers The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price. Explore Premium

The Micro Four Thirds system is getting a new supporter, something we do not see all that often. While the L-Mount Alliance has regularly made headlines by adding new partners, OM Digital Solutions has now confirmed that Shenzhen Sonida Digital Technology Co., Ltd. will officially support the Micro Four Thirds standard going forward. The Chinese company sells products under its own Songdian name and also works behind the scenes as an ODM manufacturer for other brands, mostly focusing on entry-level gear. According to OM Digital’s announcement, Sonida plans to release Micro Four Thirds–compliant products, although no concrete specifications or timelines have been shared yet. At the same time, Songdian shared a teaser on social media, hinting that a Songdian-branded Micro Four Thirds camera could already be in development. The post includes the hashtag #m43kamera and suggests the company is still refining the product, even inviting people to share ideas that could influence the final design. What this likely means in practice is an expansion of the system at the lower end of the market rather than the arrival of a new high-performance body. Songdian’s existing lineup focuses on affordable, beginner-oriented cameras, so expectations should probably be set accordingly. Still, a new manufacturer entering the ecosystem could help broaden accessibility to Micro Four Thirds and of course bring a bit of fresh momentum.

credits: Tamron Tamron is apparently getting ready to introduce a new telephoto zoom for Nikon Z mount, with several reports suggesting an announcement could happen as soon as next week. Nothing has been officially confirmed yet, but the lens is rumoured to weigh around 560 grams, which would make it noticeably lighter than many constant-aperture zooms in this class. What is a bit unusual is the reported focal length of 35–100mm. Most standard zooms stay within the familiar 24–70mm or 28–75mm range, but Tamron seems to be trading some wide-angle coverage for extra reach. Combined with the existing 16–30mm f/2.8 VXD G2, the two lenses would cover roughly 16mm to 100mm at a constant f/2.8 aperture, aside from a small gap between 30mm and 35mm. If released, this would become Tamron’s tenth lens for Nikon Z mount, matching the company’s stated plan to roll out ten new lenses during its 2026 fiscal year. A Sony E-mount version is very likely, given Tamron’s long-standing relationship with Sony, while a Canon RF version remains less certain. There is still no word on pricing or availability, but if the rumours are accurate, the lens could be officially unveiled around February 19.

credits: OM-System OM System has officially announced the OM-3 Astro, a specialised version of the OM-3 built specifically for astrophotography. Inside, the camera uses the same 20.4-megapixel stacked BSI Micro Four Thirds sensor as the standard model, but the key difference is what sits in front of it. The infrared cut filter has been modified to allow full transmission of H-alpha light, which is crucial for capturing the deep reds found in nebulae. On most standard cameras, those wavelengths are filtered out, making nebulae look dull or muted without heavy post-processing or external filters. The company has also added two dedicated colour profiles to the camera. COLOR1, tuned specifically for deep-sky objects like red nebulae, and COLOR2, for wide star-field and night landscape work. The OM-3 Astro also keeps a long list of features that already made the OM-3 appealing for night shooting. Starry Sky AF lets the camera autofocus directly on stars, which can be a huge time saver compared to manual focus. There is also Live Composite for long exposures without blowing highlights, and a Night Vision mode that overlays the interface in red to help preserve your dark adaptation. High-resolution composite modes are another big part. The camera can combine multiple frames into a 50-megapixel image, and OM System points out that using the Handheld High Res mode on a tripod or equatorial mount effectively mimics traditional stacking workflows, while also reducing noise and compensating for star movement. To make things easier, OM System has preconfigured the C1, C2, and C3 modes for different astro scenarios, from deep-sky stacking to handheld starry landscapes. The OM-3 Astro is scheduled to ship in March for $2,499.99.