credits: 7Artisans 7Artisans’ AF 25mm, 35mm, and 50mm f/1.8 LITE lenses are here. It is a trio of autofocus primes designed for APS-C mirrorless cameras with Sony E, Fujifilm X, and Nikon Z mounts. All three share the same external dimensions at 67mm in diameter and 51mm in length, use metal housings, and weigh just under 200 grams. Looking closer at the optical designs, there are some meaningful differences between the focal lengths. The 25mm f/1.8 uses an 8-element, 5-group construction and delivers the widest field of view at 58.3 degrees, with a minimum focusing distance of 0.25 meters. The 35mm version drops to 7 elements in 6 groups, offers a 44-degree angle of view, and focuses down to 0.35 meters. The 50mm f/1.8 is the simplest design of the three, with 6 elements in 5 groups, a 31.4-degree angle of view, and a minimum focus distance of 0.55 meters. All three lenses use nine aperture blades and stop down to f/16. From a practical standpoint, the shared 58mm filter thread across the entire LITE series is a nice touch, making it easy to reuse ND or polariser filters without adapters. Autofocus and manual focus are both supported, and internal focusing helps keep the lens length constant. All three lenses, are priced at $125 each, regardless of mount. You can see full details on 7Artisans’ website here

credits: Canon Canon is celebrating 30 years of the PowerShot series, by rolling out a limited-edition version of its most successful compact to date, the PowerShot G7 X Mark III. The PowerShot line goes all the way back to July 1996 with the original PowerShot 600, a very different kind of camera by today’s standards, with a fixed 50mm-equivalent lens and a tiny 0.57-megapixel CCD sensor. Fast forward to early 2026 and Canon has released around 200 different PowerShot models in the US alone, showing just how long-running and varied the series has become. Inside, the PowerShot G7 X Mark III 30th Anniversary Edition is exactly the same camera Canon launched back in 2019. That means a 20-megapixel 1-inch stacked CMOS sensor, DIGIC 8 processor, and 4K video recording at up to 30p. It also keeps the same built-in 24–100mm equivalent f/1.8–2.8 zoom lens. What makes this anniversary version ‘different’ is mostly about presentation. Canon has given it a new graphite finish, added a dedicated 30th Anniversary logo on the top plate, and bundled it in special packaging. In the US, Canon is also including a limited-edition Peak Design wrist strap and a 32GB SD card. The camera is set to go on sale in April 2026 in very limited numbers, though Canon has not said exactly how many units will be made. The price is $1,299, which is a $419 premium over the standard G7 X Mark III.

credits: nikon Exciting rumours are swirling around a possible new Nikon camera, and it looks like 2026 could be busier than expected for the brand. Until now, most of the talk has centred on two models, the long-rumoured Nikon Z9 II and a new APS-C body. But according to multiple sources, there is a third camera in the pipeline, a full frame camera that is ‘‘made for photographers’’. The idea seems to be a photo-focused sibling to the Nikon ZR, sharing a similar design language and overall footprint but optimised for stills. The body is said to be extremely slim, somewhere in the range of 2.2 to 2.5 centimetres thick, which would actually make it one of Nikon’s thinnest full-frame cameras, ever. According to the same reports, this camera would not include an electronic viewfinder. For many photographers, that is a tough pill to swallow, and the Nikon community has been quick to react. Some are hoping Nikon could squeeze in a small corner EVF, similar to Fujifilm’s X-E series, or at least offer an optional external viewfinder. So far, though, the rumour is firm, no EVF. Still, general interest appears strong. In a Nikonrumors poll with around 2,400 participants, 53% said they would be interested in a “ZR-style” camera for photographers, while 32% were not convinced and 15% said they needed more details before deciding.

credits: Light Lens Lab Light Lens Lab says its upcoming 75mm f/2 SP-II for Leica M-mount has now reached the final prototype stage, and production is just around the corner. The company plans to start building the lens once it finishes shipping its current backlog of the 35mm f/1.4 Aspherical “11873,” which should be wrapped up in March. Preorders for the new 75mm are scheduled to open on March 1. This lens has been a long time coming. Light Lens Lab first teased the 75mm f/2 SP-II back in 2023 as part of its goal to gradually fill out the SP-II lineup with more focal lengths. Like the existing 50mm f/2 SP-II, the new lens is inspired by the classic Cooke Speed Panchro Series II 75mm T2.2 cinema lens. Optically, it sticks to a Double-Gaussian layout with apochromatic elements, using eight elements in five groups and a 12-blade aperture. The idea is to keep the vintage-leaning rendering while still delivering strong resolution when needed. Based on early sample images from pre-production units, the lens behaves much like you would expect. At f/2, it shows smooth transitions, noticeable character, and some cat’s-eye bokeh toward the edges. Stop it down to f/2.8 or further, and you get much higher sharpness across the frame. One interesting technical detail is that the lens covers a 44×33mm image circle, making it adaptable to Fujifilm GFX and Hasselblad X cameras. It focuses down to 0.7m, weighs about 310g, and measures 73mm long. Pricing is set at $749 for a chrome version and $799 for black paint, with deliveries expected to begin around March 20.

credits: Hasselblad Hasselblad has rolled out version 4.0.0 of its Phocus Mobile 2 editing app, and it is a pretty nice update if you edit on an iPhone or iPad. The headline addition is a new Mask feature, which finally brings localised adjustments. Until now, Phocus Mobile 2 was mostly about quick, global adjustments so this update definitely pushes the app closer to being a more serious mobile editing tool, especially for photographers working with large medium-format files. Version 4.0.0 adds three different mask types, Linear Gradient, Radial Gradient, and Brush. Linear Gradient masks are meant for broad areas like skies or foregrounds, with adjustable falloff and an easy way to flip the gradient direction. Radial Gradient masks are better for isolating subjects, and they can be inverted to affect everything outside the selected area. The Brush mask gives you manual control, with adjustable size and flow for more detailed selections. You can apply multiple masks to a single image, duplicate them, or delete them as needed. Within each masked area, you can also adjust exposure, highlights, saturation, temperature, and tint. Hasselblad mentioned that getting this to work smoothly on mobile was not easy. Medium-format files can be pretty big (often 100 megapixels with lots of colour data) and early versions reportedly struggled with memory usage and performance. According to the company, optimisation work led to performance improvements of three to five times compared to the beginning. The interface itself is kept fairly clean, with consistent behaviour across all mask types to reduce friction on smaller screens. Hasselblad sees this release as a starting point rather than a finish line, with plans to keep expanding Phocus Mobile 2 into a more complete “mobile studio” in the near future.

Photo by: @giovannaphotography Let’s Analyse this Photo Composition & Framing What works well: Right from the start we can see, we have a few layers → first, the fisherman in the left foreground, then comes the water behind him, after that, the two men with their boats on the right → behind them the grass/landscape/rest of the water/river→ it all creates a nice sense of depth and leads the eye naturally. The water/river itself kind of guides your eye too, (along with the light) → you start with the fisherman on the left first and then naturally go upward where the light is, you land on the two men on the right → and then you sort of follow the river section further back into the distance. It all has a very natural and pleasant flow. I will briefly touch on the balance, which is actually very nice here (pointing that out since I always cover it at the end). Yes, the foreground fisherman on the left is larger and visually heavier (+ we see more of his boat etc.), but he is balanced out well by the two other fishermen and their boats on the right as well as the empty water itself. The spacing between our subjects (the fishermen) is well judged, nothing overlaps awkwardly, and everyone has room to breathe. The negative space created by the water keeps the frame from feeling busy, even though there is quite a lot going on conceptually. What could be better: The horizon and land-water transition is very soft due to haze, which slightly weakens the overall structure of the frame. The composition is very centred vertically, which does make the frame feel calm yes, but also slightly static. Playing a bit more with the framing → Shifting the is lower or higher maybe, could have added more tension. There is no strong visual anchor in the far background, so the eye eventually kind of drifts around without a ‘satisfying’ endpoint (but honestly that is almost nit picking). Light & Atmosphere What works well: The light is definitely doing a great job here. That soft, hazy morning glow wraps everything in a calm, meditative (almost spiritual) mood. It feels quiet, early, and unhurried (just like fishing itself ;)). The haze, I would say, is a plus. It naturally simplifies the scene, reduces the background clutter, and keeps the focus on the fishermen. → BUT → it still gives you the chance of exploring more detail in the background if you as the viewer want to do so. The stillness of the water reinforces the calm atmosphere, no harsh reflections, no chaos, just a few ripples and soft light. What could be better: The highlights in the brightest parts of the misty sky are still a bit pushed. Pulling them back slightly could add more tonal separation without losing the softness. Because the atmosphere is so even and gentle, the scene lacks a strong contrast punch, it is beautiful, but very subtle overall (but as always it depends on what kind of atmosphere you want to create). Colour & Tone What works well: Colour is very interesting, the overall palette is very restrained and cohesive → everything is sort of ‘dipped’ in that pale yellow, cream, and soft brown tone, which of course limits the palette, but it does give it a very cool vintage type of look which I personally really like (might not be for everyone → some people would have preferred more colour → bring out the green of the grass, the colour of the water, the dark browns of the boats etc.) The tint, as just touched on, unifies the water, grass, clothing, wood, landscape making the photo feel very timeless. (again not everyone’s cup of tea and something like that obviously does not work for every photo) What could be better: Because everything leans into the same warm tone, you lose some natural colour variation. Water, wood, clothing etc could look more distinct with a bit more separation. A slight cooling of shadows might help balance the warmth a bit more, without breaking the look. Texture What works well:

credits: Canon Canon has added two new ultra-wide lenses to its RF lineup. Alongside the RF 7–14mm f/2.8–3.5L Fisheye STM (which we will take a closer look at in this week’s Sunday magazine issue), Canon has officially unveiled the RF 14mm f/1.4L VCM, making it the sixth lens in its hybrid-focused f/1.4L VCM prime series. This line started in mid-2024 with the RF 35mm f/1.4L VCM and has since expanded quickly, covering focal lengths from 20mm all the way to 85mm. From a design standpoint, the RF 14mm f/1.4L VCM largely sticks to the established VCM formula. It shares the same general barrel diameter, control ring placement, and overall balance as the other f/1.4L VCM lenses. The main visual difference is the built-in petal hood, which is necessary due to the bulbous front element. That front design also means there is no standard filter thread, instead, the lens supports rear gelatine or polyester filters. Technically, this is one of Canon’s most ambitious wide-angle primes. The optical design uses 18 elements in 13 groups, including a fluorite element, a BR optic, an ultra-low dispersion element, and three molded aspherical elements. Canon says this combination is meant to control chromatic aberration and maintain sharpness at f/1.4. The lens uses an 11-blade aperture and a VCM autofocus system for fast, quiet focusing, with a minimum focus distance of 0.24 meters and a maximum magnification of 0.11×. The RF 14mm f/1.4L VCM is scheduled to go on sale later this month with a price tag of $2,599.

credits: Sony New Sony a7R VI camera rumours and leaked specs are making the rounds, and if they hold up, this could be one of Sony’s more interesting high-resolution cameras in a while. The a7R VI is rumoured to arrive before November 2026, landing ahead of the next Alpha 7S model. It is also said to already be in limited testing, which usually means Sony has moved beyond early concepts and is now fine-tuning how the camera behaves in the real world. Inside, the a7R VI is expected to feature a fully stacked full-frame sensor with roughly 80 megapixels. That sensor would be paired with a new BIONZ XR2 processor and up to 8.5 stops of in-body image stabilisation. Continuous shooting is rumoured at up to 30 fps with 14-bit RAW, along with RAW pre-capture and 60 fps AE/AF tracking. Sony also seems to be pushing further into computational photography, with talk of 16-frame high-resolution composites and up to 32-frame noise-reduced composite shooting. In terms of handling, the grip is said to be deeper (more like the A1 II) and the rear screen is reportedly about 50 percent brighter as well. Video looks solid but clearly not the main focus. There is no open-gate recording, no RAW video, and no 6K HEVC. Instead, the rumoured/leaked specs include full-frame 10.9K oversampled 8K 30p, APS-C 7.1K oversampled 4K 60p, and full-frame 5.5K pixel-binned 4K 120p. For photos, dynamic range is said to edge out the a7R V in electronic shutter mode, with 16+ stops available when using the mechanical shutter. Pricing will likely be in the $3,999–$4,499 range.

credits: Leica Leica seems to be working on another camera, and early signs point to something a bit more approachable in the SL lineup. A model with the internal designation 3403 has shown up in an Indonesian certification database. The filing confirms it is a digital camera made in Germany, but beyond that, Leica is not giving anything away yet. What makes it particularly interesting is how different that number is from Leica’s recent releases. Cameras like the M EV1 and Q3 Monochrom use completely different internal codes, so “3403” feels like it belongs to something completely new. Current rumours point toward a more affordable SL camera, possibly using a 44-megapixel sensor and sitting below the 60-megapixel SL3. If that turns out to be accurate, it would make the SL system easier to get into for photographers who like the SL design and handling but do not necessarily need the highest resolution Leica offers. All of this is happening while Leica has a lot going on behind the scenes. Earlier this year, Andreas Kaufmann confirmed that Leica has been developing its own image sensor again, with the first in-house chip expected to appear in the M12 around 2027. At the same time, Bloomberg reported that Blackstone and Kaufmann are considering selling a controlling stake in the company, with interest from investment groups like HSG and Altor and a valuation of around one billion euros. Let’s see what the future holds!

credits: 7Artisans New details about the upcoming 7Artisans AF 40mm f/2.5 full-frame lens are here, with the company sharing additional technical information ahead of its official announcement (promised very soon). The lens is positioned as a compact and lightweight standard prime for full-frame mirrorless cameras, sitting between traditional 35mm and 50mm options. On the inside, the lens features an 11-element, 14-group optical construction and an 11-blade aperture diaphragm, a combination intended to balance sharpness with smooth out-of-focus rendering. Minimum focusing distance is listed at approximately 32 centimeters, allowing for close-up framing without entering macro territory. Autofocus is handled by an STM motor, promising quiet and steady focus performance suitable for both stills and video work. The lens also supports eye autofocus and EXIF data transmission via electronic contacts. Physically, the 7Artisans 40mm f/2.5 remains compact and thin, measuring roughly 62 × 35 millimetres and weighing around 90 grams. It uses a 62mm filter thread and incorporates internal focusing. The barrel appears to be metal and includes an aperture ring, a customisable function button, and a USB-C port for firmware updates. Pricing and final mount availability have not yet been confirmed.

credits: Canon A new rumour suggests Canon may be preparing a notable update to its L-series zoom lineup, specifically around autofocus technology. According to multiple sources, the company is working on a high-end L-series zoom lens that would use Voice Coil Motor (VCM) autofocus. If this turns out to be true, it would be a first for Canon, since VCM has so far only appeared in a handful of recent RF prime lenses, not in zooms. VCM autofocus is designed for speed and smoothness, with the added bonus of being extremely quiet. Up to now, most L-series zooms have relied on ring-type USM motors, which are great for normal photos but not always ideal for smooth focus pulls on video. STM motors help in that regard, but they can feel a bit sluggish. Bringing VCM into a zoom lens would suggest that Canon is trying to better balance photo and video performance, rather than clearly favouring one over the other. As for what this mystery lens actually is, details are still pretty vague. The rumour points to a wide-angle zoom arriving as early as March 2026, but there is no word yet on focal length or aperture. Some speculation mentions a possible RF 24–70mm f/2.8L IS VCM, though that is far from confirmed. Canon already offers several VCM-equipped primes from 20mm to 85mm f/1.4, so expanding the tech to zooms would make sense. There is also talk of a second L-series lens launching around the same time. With CP+ happening in late February, we may not have to wait long to learn more.