credits: Godox Godox has introduced the V1mid, a new round-head on-camera flash that sits between its basic speedlights and the higher-end V1 models. The idea here is to keep the round-head design and wireless system people like, but shrink the body and simplify things a bit for photographers who want portability. Technically, the V1mid sticks closely to the rest of the V-series. The round flash head is designed to give more even light spread than a traditional rectangular speedlight, with smoother falloff and fewer hot spots. It is compatible with Godox’s AK-R1 magnetic modifiers, so gels, grids, and diffusers can be snapped on quickly, and with the optional S3 bracket it can drive Bowens-mount modifiers. Power comes from a 7.2V 2200mAh lithium-ion battery rated for roughly 650 full-power shots, with recycle times down to about 1.7 seconds. Charging is handled over USB-C. Feature-wise, the V1mid supports TTL, manual, and multi modes, along with high-speed sync up to 1/8000s and both first- and second-curtain sync. Output ranges from 1/256 to full power, with thermal management stepping in during heavy use. It also includes Godox’s 2.4GHz X wireless system for multi-flash setups, plus a 2-inch touchscreen and a small LED modeling light for previewing placement. Versions are available for Canon, Nikon, Sony, Fujifilm, and OM System, with some features varying slightly by mount. Pricing is at $179.

credits: Blazar Blazar has officially announced the Talon 1.5X AF anamorphic lens series, the company’s first autofocus anamorphic system with a 1.5× squeeze. Autofocus anamorphic lenses are not new anymore, 1.33× options have been around for a while, but pushing that squeeze higher while keeping and optimising AF for mirrorless cameras is where Blazar is trying something different. The idea seems to be offering more pronounced anamorphic character without jumping all the way to the heavier, slower, and more demanding 1.8× or 2× lenses. At launch, the Talon lineup includes three focal lengths, 35mm, 50mm, and 75mm. The 35mm is rated at T2.1, while Blazar has not yet shared the T-stops for the other two. All three cover full-frame (36×24mm) and use a 1.5× squeeze that Blazar says visually lands closer to a 1.8× look, with stronger oval bokeh and wider-feeling frames than typical 1.33× lenses. Close-focus distances are fairly reasonable for anamorphic glass, about 0.37m on the 35mm, 0.65m on the 50mm, and 0.73m on the 75mm, and all three lenses use a 16-blade iris for smoother out-of-focus rendering. Physically, each one weighs under 690 grams, shares a 80mm front diameter, and takes 77mm screw-in filters. Autofocus is a core part of the design, with support for subject tracking and eye AF, plus a physical AF/MF switch for quick changes. There are no cine gears, and the focus ring has a long 360-degree rotation, pointing to a hybrid photo-video target audience. For now, the Talon lenses are Sony E-mount only, with pre-orders opening today at $999 per lens.

credits: Nikon It was recently reported that Nikon is suing lens maker Viltrox in China over patents related to the Z mount, and now Viltrox has finally responded publicly. The situation first surfaced a few weeks ago via Chinese sources and quickly spread across the industry, raising questions about what the lawsuit actually covers and what it could mean for Nikon Z users who rely on third-party lenses. Until now, Viltrox had largely stayed quiet, confirming only that a lawsuit exists but offering no real details. Based on available court documents and reporting, the core of the dispute appears to involve Nikon’s Z-mount patent during its provisional period. The prevailing theory is that Nikon believes Viltrox used protected Z-mount technology (likely tied to autofocus or lens communication) before the patent was fully granted. Now that the patent is reportedly approved, Nikon may be seeking retroactive royalties for Z-mount lenses sold during that earlier window. In simpler terms, Nikon is likely arguing that it is owed licensing fees for past sales, not necessarily trying to block Viltrox lenses outright. Viltrox’s official statement, does not address the specifics but does clarify its broader stance. The company says it takes intellectual property seriously, is working with legal advisors, and is handling the matter through proper legal channels. Importantly for photographers, Viltrox says its product roadmap and day-to-day operations remain unchanged. It also emphasised its belief in a diverse lens ecosystem and healthy competition. For now, it is unclear how or when this will be resolved, but the best-case outcome for users would be a licensing agreement that keeps existing and future Viltrox Z-mount lenses fully supported.

What Is Shutter Drag Photography? Shutter drag photography is a technique that combines a slow shutter speed with a flash to capture both motion and sharpness in a single shot. The ambient light records movement and blur, while the flash freezes the subject at one specific moment. The result you get is an image that feels dynamic and alive (lights streaks, motion trails, energy in the background) but with a sharp subject/subjects inside all of it. You will see/can use such shutter drag shots mostly in nightlife, events, dance floors, street photos, and creative portraits, especially in low-light. How It Works Normally, you as a photographer try to avoid slow shutter speeds with a flash. Shutter drag does the opposite. Here is a little rundown of what is happening, technically speaking → The slow shutter records ambient light and motion, then the flash fires briefly, freezing the subject, → both exposures are combined into one frame. This means → you are basically capturing time before and after the flash fires, not just the instant itself. Shutter Drag Tutorial Let us take a look at how to actually do it ;) STEP 1: Set Your Ambient Exposure First Just like with whip pans (I covered those last week), shutter drag starts with ambient light. Switch to Manual mode Slow your shutter speed to let ambient light show up Start around 1/10s to 1 second, depending on the scene Adjust aperture and ISO until the background looks slightly underexposed but visible STEP 2: Add Your Flash to Freeze the Subject Use on-camera flash or off-camera flash (whatever you have) Aim it directly or slightly off-axis Keep the flash power low to moderate (but experiment) STEP 3: Choose Flash Sync

Photo by: Alina Behfar ( @alina.beez ) The Guide to Abstract Street Photography: Finding Art in the Urban Chaos Abstract street photography takes the everyday chaos of city life and turns it into something else entirely. Instead of capturing clear faces, recognizable scenes, or obvious stories, it focuses on shapes, colors, lines, shadows, reflections, blur, and fragments of the urban environment. The goal isn't to document reality—it's to evoke a feeling, create mystery, or simply play with visual elements pulled from the streets. This approach sits somewhere between traditional street photography and pure abstraction. You still work in public spaces with all the movement, light changes, and unpredictability that come with them, but the final image often leaves viewers guessing about what they are actually looking at. Plenty of photographers have explored this territory over the years. Saul Leiter layered reflections and rain-streaked windows to build dreamlike scenes. William Klein embraced high contrast, grain, and motion. More recent work draws from similar ideas but often mixes in intentional camera movement or extreme crops. The beauty is that you don't need rare locations or perfect conditions—just an open mind and willingness to experiment right where you are. What Makes a Street Photo Abstract? An abstract street photo strips away literal context. A person might become a silhouette or a blur of color. A building facade turns into repeating geometric patterns. A puddle reflection distorts the scene into something unrecognizable. The viewer isn't told exactly what happened or who is involved; instead, they respond to mood, rhythm, texture, or pure form. Common ingredients include: Strong emphasis on color blocks or high-contrast monochrome Layers created by glass, water, or overlapping elements Motion that removes detail rather than freezing it Shadows that dominate or create their own shapes Close crops that isolate fragments from the larger scene The result often feels more like painting or graphic design than a straightforward photograph. Alina Behfar Gear Choices That Help (Without Overcomplicating Things) You don't need specialized equipment, but certain tools make the process smoother. Most photographers stick with compact setups for mobility: Mirrorless cameras with good high-ISO performance (Sony A7 series, Fujifilm X-Pro or X100 line, Ricoh GR III) let you shoot discreetly and handle low light well. Smartphones work surprisingly well for quick experiments, especially with apps that allow manual control. Lenses vary depending on your style: Wider angles (24-35mm equivalent) capture layers and distortions in reflections or crowds. Longer focal lengths (85-135mm) isolate details and compress scenes for cleaner abstraction. Primes with wide apertures (f/1.4-f/2.8) help create shallow depth of field to blur backgrounds aggressively. Accessories worth having: A small tripod or monopod for intentional blur experiments. Polarizing filter to cut reflections or deepen colors. Extra batteries—long sessions eat power fast. The key is keeping things light so you can move freely and react without thinking too much about gear. Alina Behfar Core Techniques to Build Abstract Images 1. Reflections and Distortions Windows, puddles, polished metal, and vehicle side mirrors create natural layers. Position yourself so the reflection overlaps or warps the real scene. Rainy days are gold for this—droplets on glass add texture and break up forms. Try shooting through steamed-up bus windows or store displays at night when interior lights mix with street glow. 2. Shadows and Light Play Strong midday sun or low-angle golden-hour light throws dramatic shadows across sidewalks, walls, and people. Expose for the highlights so shadows go deep black, turning walkers into simple shapes. Look for repeating shadow patterns from railings, trees, or architecture. Cast shadows from off-frame subjects can become the main element. 3. Intentional Blur and Motion Slow your shutter speed (1/15s to 1/2s or longer) and move the camera deliberately—up/down for vertical streaks, panning to follow motion, or small circles for swirling effects. This works especially well during blue hour when ambient light allows longer exposures without overexposure. Handheld blur adds a painterly quality that feels alive. 4. Layers and Overlaps Position elements between you and the background—people walking past shop windows, reflections overlapping pedestrians, signs in front of crowds. The more layers, the more complex and less literal the image becomes. Saul Leiter mastered this by shooting through multiple glass surfaces. 5. Extreme Crops and Isolation Zoom in tight or crop heavily in post to remove context. A fragment of graffiti, a repeating tile pattern, or a sliver of neon sign can stand alone as pure form. Fill the frame and let negative space do the work. 6. Color vs. Monochrome Decisions Color adds emotional weight—vibrant urban palettes, complementary contrasts, or muted tones. Monochrome simplifies to pure shape and texture, emphasizing graphic qualities. Try both on the same scene to see which version speaks louder. Alina Behfar Composition Tips Tailored to Abstraction Forget strict rules, but borrow what works: Use negative space aggressively to isolate forms. Look for rhythm in repeating lines, patterns, or shadows. Play with diagonals and asymmetry for tension. Embrace off-kilter framing—slightly tilted horizons or unconventional angles add unease or energy. Simplify ruthlessly—remove anything that pulls focus back to literal reality. Walk slowly and scan for graphic potential before even raising the camera. Train yourself to see shapes first, subjects second. Settings to Get Started Start in aperture priority or manual: Aperture: f/5.6-f/11 for deeper depth when layering; f/2-f/4 for isolating fragments with blur. Shutter speed: 1/250s or faster for sharp abstracts; 1/15s or slower for motion experiments (use a stable hold or tripod). ISO: Keep it low (100-400) in daylight for clean files; push to 1600+ at night if needed. Focus: Manual or single-point AF to control exactly what stays sharp. RAW format gives maximum flexibility for color and contrast adjustments later. Bracket exposures when working with extreme light/shadow contrasts. Finding Subjects in the City Abstract opportunities hide everywhere: Construction sites: Tarps, scaffolding, barriers in bright colors. Shop windows and signage: Layered reflections, typography, mannequins. Public transport: Windows, motion, crowded platforms. Alleys and underpasses: Dramatic light shafts, graffiti textures. Busy intersections: Blurred crowds, traffic lights, wet pavement. Rain transforms ordinary streets—puddles create mirrors, droplets add sparkle. Night brings neon, streetlights, and long-exposure possibilities. Post-Processing for Impact Keep edits subtle but purposeful: Boost contrast to make shapes pop. Adjust white balance for mood—cooler tones for mystery, warmer for energy. Dodge and burn to emphasize key areas. Selective color adjustments to heighten certain hues. Crop aggressively to strengthen composition. Add controlled grain for a film-like feel if shooting digital. Avoid heavy-handed filters—let the abstraction come from the capture, not the edit. Alina Behfar Common Challenges and Fixes Busy scenes overwhelming the frame: Move closer or zoom tighter to isolate. Harsh midday light flattening colors: Embrace the contrast or wait for softer conditions. Fear of looking odd while experimenting: Dress plainly, move confidently—most people don't notice. Images feeling too literal: Crop harder, increase blur, or convert to black and white. Practice regularly in the same familiar area. You'll start seeing potential everywhere. Inspiration from Photographers Look at: Saul Leiter for masterful layering and color use. William Klein for raw energy and experimental blur. Contemporary work from LensCulture Street Photography Awards winners or Minimalist Photography Awards abstract categories. Instagram accounts focused on abstract urban work (search tags like #abstractstreet or #urbanabstract). Books and exhibitions featuring these photographers help train your eye. Final Thoughts Abstract street photography rewards patience and play. Walk without a fixed plan, slow down, experiment freely, and trust your gut when something feels visually interesting—even if you can't explain why. The streets are full of raw material waiting to be reimagined. Grab your camera, head out, and see what emerges. The best part is that every outing teaches you something new about looking.

credits: SmallRig SmallRig has announced a new NP-F970-style battery designed specifically for extreme cold environments, meant for photographers who need reliable power in very low temperatures. It is a niche problem yes, but a very real one for anyone working outdoors in winter conditions or at high altitudes. Lithium-ion batteries generally perform well, but cold weather has always been a weak point. As temperatures drop, capacity falls off quickly, and in severe cold, batteries can stop delivering usable power altogether unless they are actively heated. SmallRig says this new battery variant is engineered to keep discharging reliably at temperatures as low as -40°C, without needing any external warming system. Inside, it is still built around the familiar NP-F form factor, which makes it easy to integrate into existing rigs. That is important, since NP-F batteries are widely used on monitors, lights, wireless transmitters, and cinema accessories. On top of the standard battery contacts, SmallRig has added both USB-C and USB-A ports, effectively letting the battery double as a power bank. There is also support for SmallRig’s NP-F adapter plates, including versions with DC output, which makes it possible to power cameras directly regardless of brand. Capacity is rated at 7,500mAh, and the battery supports USB-C PD fast charging at up to 36W, with a claimed full recharge time of about two hours. Power management is a big part of the design. The USB-C and USB-A outputs run on independent circuits, allowing two devices to be powered at the same time, as long as the combined draw stays under 54W. An OLED screen with touch controls shows remaining capacity and status, and the company also points to internal protection circuits and an intelligent management system meant to improve safety and long-term durability. The battery is priced at $100, with shipping expected to start on February 25.

credits: Viltrox Since Viltrox joined the L-Mount Alliance back in September 2025, L-mount users have been left waiting. The company became an official member, but months passed without a single native lens to show for it. That finally looks like it is about to change. A new teaser image has surfaced online pointing to a February 5, 2026 announcement, with the phrase “Wide Beyond Side” front and centre. It is a pretty strong hint that a wide-angle lens is coming, and it lines up nicely with what has been rumoured over the past few months. Last fall, Viltrox confirmed that its first L-mount lenses would be the AF 16mm f/1.8 and the AF 28mm f/4.5, both of which already exist for other mounts. The teaser image seems to show the silhouette of the 16mm f/1.8, and even the minimum focusing distance shown (0.27 meters) matches that lens exactly. That makes it pretty safe to assume the 16mm f/1.8 will be the first to land. Whether the 28mm f/4.5 will be announced at the same time is still unclear however. For L-mount shooters, this is genuinely good news. Viltrox is entering the system the “right” way, as an official alliance partner, so there is no legal grey area or compatibility drama to worry about (Nikon-Viltrox lawsuit). February 5 should finally give us a clearer picture of what Viltrox has planned ;)

credits: Nikon Rumours suggest Nikon is lining up a fairly busy year for Z-mount lenses in 2026. The most talked-about release is a Nikkor Z 120–300mm f/2.8 TC, which Nikonrumors now expects to arrive toward the end of 2026. This lens has been floating around in rumours for a while, including some uncertainty over whether it would be a 100–300mm or 120–300mm design. The latest info points to a 120–300mm, with a built-in teleconverter. That pretty much confirms it is probably not going to be cheap. The 120–300mm won’t be alone, though. Nikon is also expected to continue refreshing its core professional zooms. After the 24–70mm f/2.8 II arrived in 2025, a new 70–200mm f/2.8 II is reportedly next, which would finally bring the full “Holy Trinity” up to date for the Z system. There is also talk of a new wide-angle lens for 2026, either a 14mm prime or a 14–24mm zoom. This one is expected to land at a more approachable price point. On the prime side, a Nikkor Z 85mm f/1.4 is still said to be on Nikon’s internal roadmap, rounding out the 35mm and 50mm f/1.4 lenses. At the same time, Nikon is believed to be working on new cinema lenses to strengthen the video side of the system, especially for cameras like the ZR.

credits: Lomography Lomography has launched two new Petzval lenses to complete a five-lens series. These are the Joseph Petzval Focus-Coupled Bokeh Control 27mm f/1.7 and 135mm f/2.5 Art. Petzval designs date back to the 1840s and are known less for optical perfection and more for their distinct character, most notably swirling bokeh, heavy fall-off toward the edges, and visible vignetting. Technically, both lenses are manual-focus primes available for Sony E, Nikon Z, and Canon RF. A key feature is the focus-coupled bokeh control ring, which lets you adjust the strength of the swirl across seven continuous levels. Unlike earlier implementations, this system is designed to avoid focus shifts when changing bokeh intensity, which is particularly useful for video work. The rings are de-clicked, gear positions are standardised across the series, and both lenses are compatible with follow-focus systems. Optically, Lomography says the designs are based on recalculations of Joseph Petzval’s original formulas, updated with modern multi-coated glass. The 27mm f/1.7 focuses as close as 0.3 meters, uses a 77mm filter thread, and covers an ultra-wide perspective with strong field curvature. The 135mm f/2.5 stretches the look to the telephoto end, with a 1.5-meter minimum focus distance and a 67mm filter thread. Both lenses stop down to f/22 and use anodized aluminum housings. Pre-orders are open now, with the 27mm expected in April 2026 and the 135mm in June. Each lens is priced at $599. You can see full details on Lomography’s website here