credits: Adobe Photoshop version 27.2 is here, an update that mostly brings familiar tools into places where they arguably should have been all along. According to Adobe, the focus is on reducing friction for photographers and creatives who already spend a lot of time inside Photoshop, especially when moving between Camera Raw-style adjustments and layer-based editing. The biggest additions are the new Clarity and Dehaze and Grain adjustment layers. These tools have long been staples of Adobe Camera Raw, but they can now be applied as fully non-destructive, maskable adjustment layers directly in Photoshop. This makes it easier to fine-tune local contrast, cut through atmospheric haze, or add controlled grain without committing changes early in the edit. Because they behave like standard adjustment layers, they can be stacked, masked, and changed at any stage, which should feel more natural for people who rely on layered workflows. The update also brings incremental improvements to Firefly-powered tools. Generative Fill, Generative Expand, and the Remove tool now produce higher-quality 2K outputs with cleaner detail and fewer visible artifacts. Adobe has also refined how reference images influence generative results, making it easier to maintain a consistent look when extending or compositing images. Rounding things out is Dynamic Text, currently in beta, which allows text layers to be quickly reshaped into curves or circular forms while preserving spacing and readability. Photoshop 27.2 is available now to Creative Cloud subscribers, with the beta tools accessible through the Creative Cloud app.

Photo by: @herzawg Let’s Analyse This Image Composition & Framing What works well: The leading lines are pretty great. The tram tracks are doing exactly what they should, pulling you straight into the photo and guiding your eye directly toward the man. The low viewpoint really helps here, it exaggerates the rails and makes the leading lines feel even stronger and more intentional. Subject separation works well too, the man’s dark clothing against the generally lighter street and background makes him stand out well. The buildings on both sides create a strong tunnel effect, creating a nice sense depth and giving the photo a clear direction (along with the leading lines). Repeating things like red signs, balconies, lanterns etc. along the street, help create depth as well. What could be better: Our subject, the man, is quite centred, which works of course, but a slight offset could have added more visual tension and ‘‘excitement’’ (however that might have come at the loss of the really strong ‘direct’ leading lines effect from the tracks). The blown-out background weakens the tunnel/depth effect a bit, all the lines lead you there, but the detail disappears (it sort of creates a blown out wall). That being said, the brightest area being in the distance does actually pull the eye away, which DOES help with depth. → Optimal would be light in the distance but not blown out. The foreground blur helps keep attention on the subject, but it also reduces the ‘‘fell’’ of texture at the very there. Light & Atmosphere What works well: The light is soft and fairly neutral, which works with the street scene. It doesn’t feel harsh or overly dramatic, and that keeps everything grounded and realistic. The subtle shimmer on the tram tracks is a really nice detail. It catches just enough light to make the rails pop which again accentuates the leading effect. The overall atmosphere feels calm, just a quiet moment in the city where nothing special is happening (and that is kind of the point I guess). What could be better: As mentioned before, the background further down the street is quite blown out. Because the brightest area sits (close to) right behind our subject, it competes a little with him instead of supporting him. The light overall is pleasant but very safe, adding a bit more contrast between foreground and background could give the scene a little more punch. Emotion & Story

credits: Rollei Rollei has announced its new AF 24mm f/1.8 lens for Sony E-mount full-frame cameras, arriving just days after the company introduced its 35mm sibling. From a technical standpoint, this is a fairly conventional modern wide-angle prime, built around an 11-element, 14-group optical design. That layout suggests an emphasis on controlling aberrations, especially toward the edges of the frame. The maximum aperture is f/1.8, stopping down to f/16, and the diaphragm uses 11 blades, which should help keep out-of-focus highlights round as the lens is stopped down. Autofocus is driven by an STM motor, which should give you quiet and smooth focus transitions. This makes sense given the lens supports face and eye AF on Sony bodies and is intended to work equally well for stills and video. Focusing is internal, so the physical length does not change and the front element does not rotate. Minimum focusing distance is 32 cm, allowing for relatively tight framing for a 24mm lens, though maximum magnification remains modest, as expected for this focal length. The lens also includes electronic contacts for full EXIF data, in-camera corrections, and firmware updates via a built-in USB-C port. Physically, the lens uses a metal housing and weighs about 477 grams, which puts it on the heavier side compared to some compact 24mm primes. Dimensions come in at roughly 9.2 × 8 × 8 cm, and it uses a 62mm filter thread. The angle of view is approximately 84 degrees on full frame. An aperture ring is included for direct exposure control. The Rollei AF 24mm f/1.8 is priced at $325.

After an extended period of speculation, more concrete technical details are beginning to emerge around Canon’s long-rumoured retro-style mirrorless camera, commonly referred to as the EOS RE-1. The timing aligns closely with the 50th anniversary of the Canon AE-1 in April 2026, which strongly suggests a commemorative release. Current info suggests the RE-1 will use the same 32.5-megapixel full-frame CMOS sensor found in the EOS R6 Mark III and EOS C50, paired with Canon’s DIGIC X processor. Autofocus would come via Dual Pixel CMOS AF II with AI-based subject detection. Continuous shooting is rumoured to top out around 20 frames per second using the electronic shutter, while in-body image stabilisation could offer up to seven stops of correction. Video appears intentionally dialled back, with un-cropped 4K/30p expected, but no higher-end options like 7K or open-gate recording. Elsewhere, the spec list is fairly straightforward. An electronic viewfinder around 2.36 million dots, a vari-angle touchscreen, a single UHS-II SD card slot, and battery life in the neighbourhood of 500 shots. The body itself is expected to be compact and relatively light at roughly 450 grams, with basic dust and moisture sealing. Pricing is still unofficial, but the most mentioned figure is around $1,999. One open question is lenses, a retro-styled body would make a lot more sense if Canon paired it with matching glass, perhaps classic-looking versions of the RF 35mm f/1.8 and RF 50mm f/1.8 to complete the package.

credits: Brightin Star Chinese lens maker Brightin Star is teasing a new macro lens that is set to be officially announced tomorrow, on January 29. While the company has not shared everything yet, enough details are already out there to get a fairly clear picture of what is coming. The lens is called the Brightin Star MF 60mm f/2.8, and as the name suggests, it is a fully manual-focus macro lens. The MF 60mm f/2.8 is designed specifically for APS-C sensors, which helps explain its broad mount support. Brightin Star plans to offer it for Canon RF-S, Sony E, Nikon Z, Micro Four Thirds, and even Canon’s discontinued EF-M mount. On Canon APS-C bodies, the lens works out to an effective focal length of about 96mm, while on other systems it lands closer to 90mm. That puts it in short-telephoto territory, which is a common and practical range for macro work. The lens is rated for 2:1 maximum magnification, meaning it can reproduce subjects at up to twice life size on the sensor. Other confirmed details include a clicked aperture ring and a minimum focusing distance of 0.182 meters, or roughly seven inches. Brightin Star already offers a full-frame 60mm f/1.8 macro lens with a similar overall concept, so this APS-C version looks more like a scaled, system-flexible alternative than a completely new design. Pricing has not been announced yet, but since the full-frame version sells for around $170, it would not be surprising to see the APS-C model land in a similar range once it is officially revealed.

credits: Godox Godox has expanded its outdoor flash lineup with the AD800 Pro, a battery-powered mono-light that sits above the AD600 series in terms of output and sustained performance. The flash is rated at 800 watt-seconds and uses a 28.8V / 2900mAh lithium battery, which Godox claims is good for roughly 300 full-power flashes per charge. Recycle times range from about 0.01 seconds at lower power levels up to around 1.5 seconds at full output. The unit includes an active cooling fan, which is important here, since sustained high-power use is part of the intended workload. From a flash performance perspective, the AD800 Pro offers a wide range of control. Output is adjustable over a 10-stop range from 1/512 to full power in 0.1-stop increments. Flash duration varies significantly depending on mode. In normal operation, t0.1 ranges from roughly 1/350s to 1/11,400s, while Freeze mode pushes that as far as 1/35,710s for motion-stopping applications. A Stable Colour Temperature mode limits colour drift to ±100K, which can matter for long shoots or multi-light setups where consistency is critical. The guide number is rated at 110 (ISO 100, meters) with the standard reflector. The AD800 Pro integrates fully into Godox’s 2.4GHz X wireless system, supporting TTL, manual, and multi modes across Canon, Nikon, Sony, Fujifilm, OM System, Panasonic, Leica, and Pentax when used as a receiver. It offers 32 channels, 16 groups, and ID control, with a stated wireless range of about 100 meters. Physically, the flash uses a native Bowens mount and supports the optional H600P extension head to relocate the flash tube. A 40W bi-color modeling lamp (2800K–6000K, CRI ~97) is built in. With battery, tube, and reflector attached, the unit weighs around 3.7 kg. Pricing is set at $1,200.

What Is Whip Pan Photography? In cinema, a whip pan is a fast camera movement used to create a streaked, blurry transition between scenes. In still photography, the idea is very similar, however, instead of transitioning between shots, you are using a slow shutter speed combined with a sudden camera movement to capture motion blur inside a single frame. The result is a photo that feels energetic and cinematic, where light stretches across the frame and the subject is frozen inside (just like in the shot above). How To Do It Here is a practical guide on how to shoot a whip pan photo, step by step. Dial In Your Ambient Exposure Because motion is the whole point of a whip pan, shutter speed is your starting point. Begin by slowing your shutter until ambient light starts to register clearly. Start around 1/10s to 1/2s Adjust aperture and ISO afterward to fine-tune exposure Keep ISO as low as possible while still exposing properly of course Exact settings will depend on many things, including available light, time of day, how bright the background is, how much motion blur you want etc. Add Off-Camera Flash (Technically Optional, But Powerful) Adding an off-camera flash is not mandatory, but it gives you much more control, especially if people (as your subjects) are involved. Placing a flash behind or slightly off to the side of the subject does two important things → Nr 1. It creates a rim light that separates the subject from the background; Nr 2. It helps freeze the subject despite the slow shutter speed. A Quick tip → if you want warmer skin tones at night, make sure to add a CTO gel to the flash. This lets you warm the subject while keeping the ambient background cooler. Direct the Subject Because the shutter will be open longer than usual, subject movement matters a lot. So, If you are photographing people, use a stable, simple pose + ask them to hold as still as possible → small movements will show up quickly at slow shutter speeds. Capture a Clean Plate Shot

Recent reports suggest Leica Camera AG could be heading toward a meaningful ownership change. According to Bloomberg, financial investor Blackstone, which has owned roughly 45 percent of Leica since 2011, is considering selling its stake, potentially alongside majority shareholder Andreas Kaufmann. The company is said to be valued at around one billion euros, a number that shows just how far Leica has come over the past decade. While nothing has been officially confirmed, the news has already stirred plenty of conversation. Blackstone originally joined Leica to help push the brand’s global expansion, especially in Asia, and by most measures that strategy worked. Leica has stayed financially healthy while doubling down on the premium end of the market. Even so, any hint of new ownership naturally raises questions, particularly given Leica’s very deliberate approach to products and long-term development. This all comes at a time when Leica has also show interest in returning to in-house sensor development. Potential buyers mentioned include HongShan Capital Group, a major Chinese investment firm, and Altor Equity Partners from Northern Europe. For now, these talks appear to be early and exploratory. Importantly, Andreas Kaufmann could remain involved, which would mean things continue largely as they are rather than Leica suddenly heading in a completely new direction.

credits: Rollei Rollei has announced a new autofocus 35mm f/1.8 prime for full-frame mirrorless cameras, available for Nikon Z and Sony E mounts. The lens is based on the existing 7Artisans 35mm f/1.8 optical platform, but with Rollei’s own feature set and firmware. From a technical perspective, the lens uses an 11-element, 8-group optical construction that includes ED, HR, and aspherical elements to control chromatic aberration and maintain edge-to-edge sharpness. The maximum aperture is f/1.8, with close focusing down to 0.4 meters. There is a 62mm filter thread up front and the lens measures roughly 9.3 × 8cm with an all metal construction. Autofocus is driven by an STM stepping motor, which should make for smooth and quiet operation, particularly for video and continuous AF. Rollei also includes a USB-C port on the lens barrel for firmware updates, something that is becoming increasingly common with third-party lenses. Physical controls include an AF/MF switch, a customisable function button, and (depending on mount) an aperture ring. Pricing is at $350/€299.

credits: Nikon In 2025, Nikon introduced two exciting new cameras, the Z5 II and the ZR, and naturally attention is already shifting to what 2026 could look like. At this point, there is very little that could be called solid evidence, so most discussions about upcoming Nikon bodies are based on rumours and educated guesswork. Still, a few models keep coming up again and again. At the top of that list is the Nikon Z9 II. Talk of a successor to Nikon’s flagship has been circulating for a long time, but recent reporting suggests it won’t arrive as early as once hoped. A launch sometime in autumn 2026 now seems more realistic, though it would not be surprising to see early units tested by professionals around major events like the summer FIFA World Cup. On the APS-C side, a Nikon Z30 II looks far more likely. By spring or summer 2026, the original Z30 will be approaching its fourth birthday, and with the Z50 II already out, a refresh makes sense. There is also speculation that the Z30 II could borrow some video-oriented ideas from the ZR, though nothing concrete backs that up yet. Along similar lines, an APS-C ZR C is not out of the question either, especially if Nikon wants to build out its video and cinema lineup further. A Z fc II is theoretically possible as well, given its age, but so far there has been no real signal that it is coming. Beyond that, things get even less certain. A Z7 III still feels plausible on paper, especially as a high-resolution, slower-paced body meant for landscape and architecture shooters, but Nikon’s current full-frame lineup is already pretty crowded. An APS-C flagship like a Z90 or Z500 successor remains the longest of long shots. Still, competition has a way of forcing decisions, and if rivals raise the bar, Nikon could always surprise us.

credits: NIkon Nikon has now commented publicly for the first time on the reported lawsuit against Viltrox, following a lot of speculation. A few days ago, reports surfaced that Nikon had filed a legal case in China over alleged patent infringements related to Viltrox Z-mount products, including unpaid licensing fees. While early talk suggested the dispute mainly centres on Viltrox’s 2× Z-mount teleconverter, some sources have hinted that Z-mount lenses could also be caught up in the issue. In a short statement, Nikon did not directly confirm or deny the lawsuit, but the wording is telling. “Nikon has always worked with officially licensed partner companies to expand the Z-mount ecosystem,” the company said, adding that it supports third-party lenses that are properly licensed. Nikon repeats the idea of licensing more than once, which many see as a not-so-subtle signal that Viltrox is not considered one of those partners. At the same time, rumours continue to circulate that this may not be an isolated case. Japanese site Asobinet and Chinese social media sources claim the Z-mount 2× teleconverter could be the flashpoint, especially since it launched first for Sony E-mount and later appeared in a Z-mount version. There are also reports that Nikon has contacted other third-party Z-mount lens makers with cease-and-desist warnings, though no additional lawsuits have been confirmed so far. The key date to watch is March 2, 2026, when the Viltrox case is to be heard. Whether this ends in a market ban, a licensing deal, or some other settlement is still very much up in the air.

credits: 7Artisans 7Artisans is teasing a new lightweight lens, weighing in at 90 grams, with an official announcement scheduled for January 27. Based on what has been shared so far, most people speculate this to be the previously rumoured full-frame autofocus 40mm f/2.5 prime. Sony and Viltrox already offer lenses at this focal length and aperture, so it is a familiar spec on paper, but 7Artisans seems to be leaning more towards compactness. The company has confirmed the lens measures roughly 62mm in length and about 35mm in height, which puts it in pancake territory for a full-frame AF lens. Beyond its size, details are still thin. No optical formula, mount list, or performance claims have been shared yet. What we do know is that it is expected to compete directly with the Viltrox 40mm f/2.5 AF, which has already found a niche as a small, everyday prime. The Viltrox lens measures about 68 × 55.9mm, so the 7Artisans option appears both shorter and narrower. Design-wise, there is also a clear philosophical split. The Viltrox 40mm keeps things very minimal, offering just a focus ring. The teased 7Artisans lens, based on leaked product photos, includes a manual aperture ring, a physical AF/MF switch, and a dedicated focus ring, all packed into a smaller body. No word on pricing yet.