credits: Tamron A newly published Tamron patent has put a spotlight on a 28–70mm f/2.0 zoom lens design, and it is already getting a lot of attention because it lives in the same space as Sony’s very pricey 28–70mm f/2 GM. On paper, this kind of lens is pretty exciting. A constant f/2 aperture across the standard zoom range means more light, more background blur, and a bit more breathing room in low light compared to the usual f/2.8 zooms. Looking a bit closer at the diagram, Tamron seems to be using multiple moving groups for zooming and focusing. That points to a modern floating-element design, which is typically used to keep sharpness and aberration control steady from close focus all the way to infinity. Fast wide-angle zooms are especially hard to get right, since distortion, vignetting, and soft edges can show up quickly at the wide end. Designs like this usually lean heavily on aspherical and special-dispersion glass, even if the patent itself does not list every material in detail. Of course, a patent is not the same thing as a product launch. Companies file these all the time just to protect ideas, and plenty of them never turn into real lenses. Still, the timing is interesting. Sony has already proven that there is demand for an f/2 standard zoom, even at a very high price. If Tamron ever turns this 28–70mm f/2.0 into a real lens at a lower cost, it could end up being a really tempting option.

credits: Novachips Novachips just announced two new CFexpress Type B card families built around the CFexpress 4.0 standard, the Extreme CX4B and the Express CX4B. Both are meant for high-end photo and video workflows that rely on sustained write speed rather than short peak bursts, and both lines have achieved VPG 800 certification, which guarantees a minimum sustained write speed of 800 MB/s on compatible CFexpress 4.0 hardware. The headline detail is capacity, since Novachips is the first company to pair VPG 800 with cards all the way up to 4TB. The Extreme CX4B series is available in 600GB and 1TB versions and is built using SLC-mode flash memory along with what Novachips calls enhanced internal over-provisioning. In practical terms, this means a portion of the NAND is reserved to keep write speeds stable as the card fills up and during long, continuous recording sessions. These cards are also certified for VPG 400 when used in older CFexpress 2.0 cameras and readers, which is important because CFexpress 4.0 cards fall back to 2.0 speeds in current cameras. Not all CFexpress 4.0 cards maintain a guaranteed sustained write speed in that mode, but Novachips says these do. The Express CX4B line is offered in 2TB and 4TB capacities and is optimised specifically for VPG 800 operation on CFexpress 4.0 systems. Unlike the Extreme series, it does not promise VPG 400 behaviour in backward-compatibility mode, focusing instead on maximum performance with next-generation cameras. Pricing and availability have not yet been revealed, as the company says that they will vary depending on the region.

Median Stacking Photography Median stacking is basically a way of combining multiple photos of the same scene to remove anything that moves. People, cars, waves, clouds, birds → if it is not in the same place in every frame/shot you take, it fades away (well you will make it go away). What is left is a clean, quiet version of the scene that often never actually existed in real life. It is how photographers get those empty tourist spots for example (that are usually packed and FULL of tourists all day every day). What “Median” Actually Means When you stack photos using the median blending method, the software looks at every pixel position across all frames and chooses the value that appears most often. So, a building that is in every frame stays, a person who walks through only a few frames disappears and of course things like cars, birds etc. just vanish. What You Need To do median stacking properly, you only need a few (more or less) basic things: A camera with manual controls A tripod (maybe a remote) The ability to shoot many frames of the same composition Software that supports median blending (Photoshop, StarStaX, Affinity, and many more.) Also → the more photos you have, the cleaner the result will be (always take more than you think as a general rule of thumb). How to Shoot for Median Stacking

credits: Viltrox Viltrox has once again taken to Reddit to discuss some of its future plans. In a reply to a user asking about upcoming gear, the company confirmed that its long-promised 50mm f/1.2 LAB and 85mm f/1.2 LAB lenses are both still on the roadmap and are now expected to arrive this year. The exchange also touched on teleconverters, with Viltrox saying it is currently working on compatibility between its new 2x teleconverter and Sony’s 100mm f/2.8 Macro GM. As for a 1.4x teleconverter, though, Viltrox says there is nothing to share at this point. If these two fast primes arrive as planned, they will join the growing LAB lineup, which already includes the 35mm f/1.2 LAB and the 135mm f/1.8 LAB. Both of those lenses have built a strong reputation for delivering great optical performance without the usual first-party price tag. Reviews have been generally very positive, with praise for sharpness, rendering, and overall build, even if there are a few small quirks when it comes to handling. Like the existing LAB lenses, the new 50mm and 85mm versions will almost certainly arrive first for Sony E-mount, with Nikon Z following shortly after. That is exactly what makes this interesting for Sony and Nikon shooters. Both brands already offer 50mm and 85mm f/1.2 lenses, but they are relatively large, heavy, and expensive. If Viltrox can get anywhere close to that level of performance for less money, these two LAB primes could end up being some of the most talked-about third-party lenses of 2026. You can see the Reddit post here

credits: Canon The Canon EOS R7 Mark II has been popping up more and more in rumours lately, and at this point everyone expects it to land sometime in the first half of 2026. We are probably still a few weeks, or maybe months, away from anything official, but new (and very promising) leaks about what the camera might look like on a spec sheet have started to circulate. Right now, the R7 Mark II is said to be getting a 39-megapixel sensor, likely a new BSI CMOS design. Whether it will also be stacked is still up in the air, with different sources saying different things, and the same goes for whether Canon will bring over its DIGIC Accelerator from higher-end bodies. One thing that does seem to be lining up across multiple reports, though, is speed. 40 frames per second is being mentioned pretty consistently, which would put it well ahead of most APS-C cameras on the market. There are a few other upgrades being talked about too. The in-body stabilisation is rumoured to be rated at around 8.5 stops, and one source even claims it will have the best autofocus of any APS-C camera ever, which is a bold statement if it turns out to be true. On top of that, Canon is said to be giving it a higher-resolution EVF than the current 2.36-million-dot panel, a slightly larger body, support for RAW video, and a CFexpress plus SD card slot setup.

credits: Glyph Glyph has announced two new portable SSDs, the Atom EX20 and Atom EX40. Both drives are NVMe-based and built around the idea of sustained performance, specifically situations where large files are written and read continuously over long periods, such as on-set backups, editing directly from external storage, or just dumping multiple cards after a full and long shooting day. The main technical difference between the two models comes down to interface and sustained speed. The Atom EX20 uses USB 3.2 Gen 2×2 and is rated for up to 2,100 MB/s read and write speeds. That interface is not widely supported, though, especially on Apple Silicon machines, where speeds will top out closer to half that. The Atom EX40 increases things with USB4, delivering up to 4,000 MB/s read and write speeds and full compatibility with Thunderbolt 3, 4, and 5. That should work well enough for high-bitrate video, including 8K and beyond, multi-cam timelines, and large RAW projects. Both drives share the same physical design philosophy, built around a solid aluminium core and shell to raise the thermal ceiling and avoid throttling under heavy loads. Glyph says this allows the drives to maintain speed over time instead of slowing once heat builds up. Capacities range from 1TB to 8TB, and the drives are backed by Glyph’s “3-2-1” warranty structure: three years of hardware coverage, two years of data protection, and one year of full replacement if the drive fails. Pricing starts at $250 for the Atom EX20 and $350 for the Atom EX40. You can see full details on Glyph’s website here

credits: Canon Looking ahead into 2026, Canon’s roadmap is starting to look pretty busy, at least based on the rumours that have been circulating recently. After a relatively contained 2025, photographers are curious about what comes next and If there is one camera that feels almost inevitable, it is the Canon EOS R7 Mark II. Talk of a new APS-C flagship has been persistent, and reports suggest it could land in the first half of 2026. Specs are still tin, but higher resolution (possibly close to 40 megapixels) and even a stacked sensor are both ideas that keep coming up, especially as Canon will want to stay competitive with Fujifilm in the APS-C space. Another model that wouldn’t be a surprise is the long-rumoured Canon EOS RE-1. With the AE-1 turning 50 in April, a retro-inspired digital camera feels like a very ‘Canon’ move. The expectation is that it would sit below the EOS R6 Mark III in terms of performance, especially for video, and land somewhere around the $2,000 mark. Beyond that, Canon could refresh its lower-end APS-C lineup as well. The EOS R10, R50, and R100 are all getting a bit long in the tooth, and even without solid rumours, updated Mark II versions in 2026 wouldn’t be out of character for Canon. At the higher end, the EOS R3 Mark II is another strong candidate. With the original R3 approaching five years on the market and major sporting events like the Winter Olympics and World Cup coming up, a successor being tested behind the scenes makes sense. Add to that the continued resurgence of compact cameras and growing competition in the small cinema and vlogging space, and it is easy to imagine Canon rounding out 2026 with a new photographer-focused compact and a smaller APS-C cinema camera.

credits: Godox Godox updated its smallest battery-powered strobe with the AD100Pro II. This new flash keeps the same 100Ws output and nine-stop power range from 1/256 to full, but the internal design has been revised to better handle sustained use. A new active cooling system with an internal fan allows the AD100Pro II to fire roughly 60 to 100 full-power flashes in sequence without thermal shutdown, depending on conditions. Recycle times are ranging from about 0.01 seconds at low power to roughly 1.5 seconds at full output. Colour consistency is rated at 5600K with a ±200K tolerance, in line with most daylight-balanced strobes, making it easier to integrate into multi-light setups. The flash also includes a built-in 5W LED modeling light with ten brightness levels. While not meant as a primary continuous light, it is useful for checking light direction, shadow placement, and catchlights before firing the flash. Wireless control is handled by an integrated receiver supporting both 2.4GHz and 433MHz, with 32 channels, ID settings from 01 to 99, and multiple groups for more complex setups. TTL, manual, multi, and high-speed sync up to 1/8000s are supported when paired with compatible Godox transmitters across most major camera systems. Usability has been improved with a clearer TFT display and a colour-coded group indicator ring. Power comes from a 3300mAh USB-C rechargeable battery rated for around 490 full-power flashes. Pricing is at $299. You can see full details on Godox’s website here

Photo by: @rems.visuals Composition & Framing What works well: Compositionally, the lamp is a bit of a double-edged sword (more on that down below), but on the positive side it absolutely works as a spotlight device. Your eye goes straight to the lamp first, and from there naturally down to the man underneath it. Framing is solid overall. Our subject sits nicely between two posts, which subtly box him in without it feeling forced. The man and the lamp are both off-centre, which keeps the composition from feeling static or overly symmetrical. There is also a subtle line in the street pointing directly toward our subject, acting as a very quiet/subtle leading line that supports the composition. The layering works really well too → street in the foreground, posts, then the man + lamp, followed by the river, and finally the skyline. This gives the photo strong depth and a nice 3D effect. What could be better: Because the lamp isn’t a strictly overhead light, the pole of it sits directly behind the man. This hurts subject separation quite a bit and makes him blend into the background more than ideal. Background separation on the subject in general is the weakest part compositionally. Not only the thing mentioned above, but also the dark jacket and trousers of the man don’t help. But of course that aspect is obviously not something the photographer can control. The lower foreground might feel a bit visually empty to some people compared to how much is happening higher up. Light & Atmosphere What works well: The warm light against the cold blue sky and snowy environment works beautifully and reinforces the classic winter-(early)evening atmosphere. The overall mood/atmosphere feels calm, quiet, and slightly melancholic, very much a ‘long day is over’ kind of feeling. What could be better: The shadows are a bit heavy in places, especially around the lower half of the frame, which eats into detail. The brightness of the lamp slightly overpowers the rest of the scene, making the balance between subject and light a bit uneven. Emotion & Story What works well: We do get some nice storytelling clues here. It clearly feels cold and late —> the snow, the blue hour light, and the overall quiet street all sell that instantly. The man also carrying a work bag strongly suggests he is heading home after a long day. His posture and the turned-up collar support the idea of cold weather as well. What could be better:

credits: Nikon Nikon has just announced the Nikkor Z 24–105mm f/4–7.1, a new standard zoom for its full-frame Z-mount mirrorless cameras. The lens can be purchased on its own, but it is also being introduced as a new kit option with the Nikon Z5 II, slotting between Nikon’s existing 24–50mm and 24–200mm kit bundles. From a technical standpoint, the 24–105mm f/4–7.1 uses 12 elements in 10 groups, including one extra-low dispersion element to help manage colour fringing and two aspherical elements to keep distortion and edge softness in check across the zoom range. The variable aperture keeps the lens small, while the physical dimensions come in at roughly 73 × 107 mm and about 350 grams. Nikon has also stuck with a 67mm filter thread, which matches many other Z lenses and makes filter sharing easier. A programmable control ring is included and can be assigned to focus, aperture, exposure compensation, or ISO. The lens focuses down to 0.2 meters at 24mm and 0.28 meters at 105mm, reaching a maximum reproduction ratio of 0.5× between 70mm and 105mm. Autofocus is driven by a stepping motor designed for smooth, quiet operation, making it suitable for both stills and video. The lens is scheduled to ship in mid-January 2026 for $549.95, or $2,199.95 as part of the Z5 II kit. You can see full details and sample shots on Nikon’s website here

credits: Meike Meike has now officially released the AF 23mm f/1.4 prime for APS-C mirrorless cameras, available for Sony E, Fujifilm X, and Nikon Z mounts. On APS-C bodies, the lens gives a field of view equivalent to roughly 35mm on full frame, which puts it in the ‘do-everything’ type of category for street, travel, and general use. It is a fairly compact lens too, measuring about 66.5 × 81 mm and weighing just under 300 grams, depending on mount. Looking at the optics, the lens uses a 13-element, 11-group design with a nine-blade aperture. Minimum focusing distance is 25 cm and the lens accepts 58 mm filters. Autofocus is handled by an STM stepping motor, which should keep things quiet and smooth, especially for video. The lens supports eye and face detection where the camera body allows it and passes full EXIF data. On the barrel you will find a physical AF/MF switch, along with a manual aperture ring for direct exposure control. Meike has also added a water- and oil-repellent coating on the front element and a USB-C port for firmware updates. Pricing is at $290.

credits: Godox A few days ago, Godox quietly added a new accessory to its lighting lineup with the release of the XR and XRS TTL 2.4GHz wireless receivers, designed to bring broader TTL compatibility and wireless control to existing speedlights. The idea here is that instead of buying into a single brand ecosystem, the XR receiver lets photographers use Canon, Nikon, or Sony flashes more flexibly within Godox’s X wireless system. Both receiver versions feature a built-in 2.4GHz wireless module with a quoted transmission range of up to 100 meters, 32 selectable channels, and five groups (A–E). Power comes from an internal 3.87V lithium battery rated at 1270mAh, which Godox says is good for roughly 84,000 flashes on a full charge. Charging happens over USB-C, with a stated charge time of two hours, and firmware updates can be uploaded through the same port. A small 0.96-inch TFT screen shows battery status and key settings on the side. Compatibility wise, the XR (Canon/Nikon) supports a wide range of Canon and Nikon TTL speedlights, while the XRS version is tailored for Sony flashes operating in TTL mode (there is a precise compatibility list on Godox’s website). When paired with a compatible Godox trigger like the X3 Pro, the receiver can also enable wireless shutter control. Pricing is set at $39.90 for the XR and $42.90 for the Sony-specific XRS. You can see full details on Godox’s website here