credits: 7Artisans Some extra details have surfaced around 7Artisans’ upcoming LITE autofocus lens lineup, which includes three APS-C primes, 25mm f/1.8, 35mm f/1.8, and 50mm f/1.8, all designed for Sony E and Fujifilm X mounts. As the name suggests, compact size and low weight seem to be the main focus. All three lenses share a very similar physical design, measuring around 67mm in diameter and 51mm in length, and weighing between 178 and 183 grams depending on the focal length. Optically, the designs stay fairly straightforward. The 25mm uses 8 elements in 5 groups, the 35mm goes with 7 elements in 6 groups, and the 50mm has 6 elements in 5 groups. 7Artisans mentions the use of high-refractive-index glass to help keep aberrations in check without making the lenses bigger or heavier. All three share a 9-blade aperture, an f/1.8 to f/16 range, and the APS-C-only coverage. Close-focus distances scale with focal length, 0.25m for the 25mm, 0.35m for the 35mm, and 0.55m for the 50mm. Autofocus is built in, with manual focus available as well, and there is a USB-C port on each lens for firmware updates. They also keep things consistent with 58mm filter threads and metal barrels across the lineup. Field of view ranges from 58.3° on the 25mm down to 31.4° on the 50mm. Pricing has not yet been announced.

credits: OWC Other World Computing has added an 8TB option to its Envoy Ultra Thunderbolt 5 SSD lineup, and the main point is that it remains fully bus-powered. OWC says this makes it the first Thunderbolt 5 external drive in the world to offer that much capacity without requiring an external power adapter. In terms of design, the 8TB model is identical to the existing Envoy Ultra drives. It uses the same compact enclosure with integrated heatsinking, rubber feet, and a permanently attached Thunderbolt 5 cable. That fixed cable limits flexibility of course, but helps with durability and contributes to the drive’s IP67 rating. Performance expectations are also unchanged, with OWC quoting read and write speeds above 6,000 MB/s. Independent testing hasn’t always reached those figures exactly, but the Envoy Ultra series has shown strong sustained performance and stable thermal behaviour during long transfers. The main difference here, OWC says, is capacity. Moving to 8TB allows a single portable drive to hold large photo libraries, multi-camera video projects, or full backups without splitting data across multiple SSDs. Pricing for the 2TB model starts at $449.99, the 4TB version is $699.99, and the new 8TB drive is listed at $1,699.99.

The Rule of Space The Rule of Space is actually pretty simple, it is about giving your subject room to exist and move inside your frame. Instead of centring everything or cramming your subject against the edge, you intentionally leave empty space in the direction they are facing, moving, or looking. What the Rule of Space Means Precisely In practical/completely basis terms, the rule says this: If your subject is looking somewhere → leave space in that direction If your subject is moving → leave space in front of them If your subject feels dynamic or directional (or is supposed to be dynamic) → do not box them in The space becomes part of the composition. It suggests what is about to happen, where the subject is going (where they came from also), or what they are reacting to. Why It Works, Psychologically Speaking Our eyes naturally want to follow direction. When a subject looks or moves toward the edge of the frame and there simply is no space left, it feels like they are about to hit a wall. Giving space makes the photo feel calmer, adds tension or anticipation, overall feels more natural to the viewer. It is subtle, but your brain notices immediately (for most of us unconsciously). How to Use the Rule of Space While Shooting You really do not need to overthink this. Just start asking one question before you press the shutter → “Where is my subject going?” → Then compose accordingly. How Much Space Is Enough?

credits: Leica Leica is apparently getting back into image sensor development, which is an interesting move in a market where most camera brands rely on the same handful of suppliers. The news comes from comments by Dr. Andreas Kaufmann, Chairman of Leica Camera AG’s Supervisory Board, during a recent appearance on the German-language Leica Enthusiast Podcast. While the conversation touched on everything from Leica’s 100th anniversary to recent products, the most notable takeaway was Kaufmann confirming that Leica is once again working on its own sensors, particularly for future M-system cameras. He didn’t go into specifics, and that is not too surprising. Kaufmann emphasised that sensor development takes a long time and that this is not a quick or simple process. What is still unclear is how far along Leica actually is, or how deep this “in-house” development goes. In the past, Leica has taken different approaches, the M11 uses a Sony sensor, while the earlier M10 was developed in collaboration with AMS OSRAM, with manufacturing handled in Europe. Given how few companies can actually fabricate modern sensors today, it is likely Leica would again work closely with an established manufacturer while keeping control over design, tuning, and colour response. Kaufmann also shared a few broader insights about where Leica is headed. He noted that the U.S. is now Leica’s largest market, followed by China, with Japan likely to move into third place ahead of Germany. He also addressed concerns around the Leica M EV1, making it clear that the classic rangefinder isn’t going anywhere. Instead, Leica sees the M system splitting into two parallel paths, one built around electronic viewfinders, and another that continues the traditional rangefinder experience that long-time Leica photographers care about.

credits: SG-Image SG-image has announced a new 75mm f/1.2 lens designed for medium format cameras, and while pricing and release timing have not been shared yet, a few core details are already known. A fast f/1.2 aperture on a medium format lens is still relatively unusual, so that alone makes it stand out. From a technical standpoint, the lens uses an optical design of six elements in seven groups and features a 12-blade aperture, which should help produce smooth, rounded out-of-focus areas. Minimum focusing distance is listed at 0.6 meters, reasonable for a short telephoto in this class. It is a fully manual lens with no built-in stabilisation, and it takes 72mm filters. SG-image plans to offer the lens in versions for Fujifilm GFX and Hasselblad XCD mounts. The GFX version weighs 642 grams and measures 77mm in diameter by 74.6mm in length, while the XCD version keeps the same weight but is slightly longer at 83.2mm. Beyond that, details are still thin and, as mentioned before, there is no official word yet on when the lens will ship or how much it will cost.

credits: Meike Meike has confirmed its second-generation AF 85mm f/1.8 SE II, a full-frame autofocus portrait lens designed for the Canon EF mount and co-launched under the MEIREC brand. The lens sticks with the classic 85mm f/1.8 formula that has long been popular for portraits, low-light shooting, and subject separation, but brings an updated SE II autofocus design. It is meant for photographers still using Canon EF DSLRs and those shooting on Canon RF mirrorless bodies via adapters. In terms of specs, the AF 85mm f/1.8 SE II offers an aperture range of f/1.8 to f/16, uses an 11-blade diaphragm, and has a minimum focusing distance of 0.65 meters. The optical design consists of 11 elements in 7 groups, and the lens weighs around 369 grams. A 62mm filter thread is used, and autofocus is handled by the updated SE II AF system, which is designed to support reliable face and eye detection when used on compatible bodies. Alongside the lens, MEIREC is also introducing new EF-to-RF adapters to make the transition to Canon RF systems easier. These EFTR adapters come in two versions, a standard model and a control ring version. Both maintain full electronic communication, meaning autofocus, aperture control, and EXIF data should work as expected on Canon RF cameras. The control ring adapter adds a programmable ring similar to Canon’s native RF lenses, giving RF users a bit more flexibility while continuing to use EF-mount glass.

credits: ProGrade The ongoing global shortage of memory chips is starting to spill over into areas that directly affect photographers and videographers. A big part of the problem is the massive demand coming from AI data centres, which are soaking up flash memory and pushing prices higher across the industry. According to a press release from ProGrade Digital’s Japanese operation, that pressure is now translating into higher prices for memory cards and SSDs, Japan being the first market to see official changes. ProGrade Digital Japan says it will raise regular prices on its Amazon.co.jp store starting January 8, 2026. The company cites a sharp rise in flash memory costs, along with a currency adjustment tied to the weaker yen. Going forward, prices will be calculated using an exchange rate of 155 yen to the dollar instead of 150. A detailed price list shows that the increases aren’t uniform. Products without built-in storage, like the PG20 Pro Hub, are only seeing small bumps, while some V60 Gold SDXC cards are reportedly doubling in price. CFexpress Type A and Type B cards are also affected, with increases generally landing somewhere between 20 and 60 percent. The company expects supply issues in the memory market to continue through 2026, which likely means ongoing price swings. For now, these increases are limited to Japan, and there is no confirmation yet that the same hikes will appear in Europe, the US or other regions. Still, the broader trend is hard to ignore. Reports last month indicated that SanDisk raised NAND flash contract prices by about 50 percent, prompting other memory makers to pause shipments and rethink their strategies. With memory already making up a big chunk of the cost of cameras, phones, and computers, it is something us creatives will probably need to keep an eye on in the year ahead.

credits: Canon The Canon EOS R7 Mark II has been floating around the rumour mill for a long time now, but what is starting to firm up is the release time. The camera is now expected to ship in the first half of 2026, which adds a bit more confidence to earlier reports that simply pointed to “2026” in general. There is still no clear announcement date, but the current thinking is that Canon will wait until after the CP+ Camera & Photo Imaging Show, which usually wraps up in early March, rather than using the show itself as the launch moment. On the spec side, pieces are slowly coming together as well. After earlier reports of a 40-megapixel sensor, the latest information now points to a brand-new 39-megapixel BSI APS-C sensor instead. That number has shifted back and forth over the past year, with rumours bouncing between 40MP and 33MP, so it is possible Canon has been testing multiple sensor options internally. What does seem consistent is support for 8K video, reportedly up to 60 frames per second, although details like codecs and whether RAW video will be included are still unclear. There is also no solid confirmation on whether the sensor will be stacked or not. In terms of storage and general layout, the R7 Mark II is expected to follow Canon’s newer higher-end bodies by using a dual-slot CFexpress Type B and SD card setup, similar to what is in the Canon EOS R5 Mark II and Canon EOS R6 Mark III.

credits: Sigma A newly published patent has revealed an interesting optical design for a 24mm f/2.0 lens with an image circle that goes well beyond full-frame. According to the patent documents, the lens is designed to cover sensors larger than 35mm full-frame, including the 44×33mm format used by Fujifilm GFX and Hasselblad X2D cameras. That alone makes it exciting, since wide-angle lenses with fast apertures are still pretty rare in the medium-format world. The design appears to come from Sigma, and there are a few different ways to read into it. One possibility is that Sigma is going for extremely high optical performance on full-frame by using a much larger image circle, reducing the need for heavy digital correction at the edges. Another is that Sigma could be preparing a lens specifically for medium-format mirrorless systems, either under its own name or potentially licensed or adapted for Fujifilm or Hasselblad. There is also the more cautious interpretation, companies often file patents defensively, to protect ideas that may never turn into products. As mentioned, a 24mm f/2.0 equivalent in medium format would be a genuinely useful and fairly unique tool, especially for landscape, architecture, and environmental work where wide angles and strong edge performance really matter. Whether this design ever leaves the patent office is still an open question, but it is at least a reminder that Sigma is thinking beyond traditional full-frame limits.

credits: Nikon Nikon is rumoured to be doubling down on video-focused development in 2026, with talk of multiple firmware updates for the Nikon ZR and even a new, more affordable sibling camera. According to multiple reports, the company plans to continue the firmware-heavy approach it has taken over the past few years, where cameras see meaningful feature upgrades long after launch. Given how central video is to the ZR’s identity, it is expected to be one of the main beneficiaries of this strategy next year. There is no concrete information on what these ZR firmware updates will include, but there are a few educated guesses. Shortly after the ZR was announced, rumours started circulating about potential SSD recording support via USB, which would make a lot of sense for a camera meant for more serious video work. Nikon has already shown with cameras like the Z9 that it is willing to unlock major capabilities through firmware, so expectations are fairly high. Alongside firmware talk, there are also loose rumours coming out of China about a possible Nikon ZR C. This model is said to be a lower-cost, APS-C version of the ZR, with a 20-megapixel sensor borrowed from the Z50 II, 4K/60p video, and a stripped-down body that skips things like an EVF, IBIS, and a mechanical shutter to keep costs down.

credits: Sony Alpha Rumors A photo of a new SG-Image’s 35mm pancake lens has leaked, giving us an early look at what appears to be the company’s next compact full-frame prime. The lens was spotted mounted on a Sony A7c, with current information pointing to availability for Nikon Z and Leica L mounts as well. According to the leaker, this is a near-production version, and the retail bundle will include a metal square lens hood. In terms of specs, the details that have surfaced over the last couple of weeks paint a (more or less) clear picture. The lens is a 35mm full-frame prime with a maximum aperture of f/2.2 and built-in autofocus, wrapped in a pancake-style body. One interesting comparison point is size, the leaked info suggests this lens is roughly 10mm thinner than the TTArtisan 40mm f/2, which is already considered compact. As always with leaks, there are still plenty of unknowns. Image quality, AF performance, pricing, and release date haven’t been confirmed, and those factors will ultimately decide how appealing the lens really is. That said, SG-Images has a track record of keeping things simple and accessible (especially in terms of pricing).

Abstract Firework Photography The new year is right around the corner, making this an optimal time to brush up on your firework photography skills. However this time, lets do something a bit different, lets focus more on ‘Abstract firework photography’, where you are not trying to show exactly what the fireworks looked like, you want to be using them as raw material to create shapes, textures, and motion that feel closer to painting than photography. A Different Approach Most people shoot fireworks trying to be precise, so perfect timing, as sharp as possible, frozen motion etc. Abstract firework photography flips that completely. You want to embrace things like blur instead of sharpness, motion instead of precision, overlap instead of isolation, colour and rhythm instead of clarity. Core Techniques That Make It Abstract Defocusing on Purpose This is a technique I already wrote about a few months ago. Instead of focusing at infinity you pull focus slightly (or a lot) out of focus (if you haven’t read my detailed guide, just google ‘‘defocused firework photography’’ and you will find great in depth explanations). How to do it (a quick recap/introduction): Switch your lens to manual focus Start focused normally at infinity Slowly turn the focus ring back toward closer focus Watch the fireworks in live view as you do this You will see a clear progression: Slight defocus means → fireworks look soft but still readable More defocus → the bursts turn into glowing discs Heavy defocus → pure colour blobs and overlapping shapes Also keep in mind that every lens behaves differently, so if you have multiple, test early in the night. An advanced defocusing technique: → Pull focus during the exposure. So, you start sharper → slowly defocus; Or you start defocused → slowly bring it closer to sharp This creates shots that feel like they are melting or morphing as the burst expands. Long Exposures with Multiple Bursts With this technique you let multiple fireworks happen inside the same exposure and then stack on top of each other. How to do it: You want to be using bulb mode or a fixed shutter between 2–5 seconds Open the shutter just before a burst starts Keep it open through multiple explosions Close it once the frame feels “full enough” A couple exposure control tips: Use f/8–f/16 to avoid blowing out highlights If things get too bright, stop down instead of shortening the exposure What this will give you: Overlapping shapes Colour interactions between bursts And most importantly, fireworks stop being individual events and become a collection of texture Intentional Camera Movement (ICM) Another technique I covered in the past (but that was quite a while ago + not specifically for fireworks). ICM works with fireworks, because they are already isolated points of light against a dark background, meaning they respond incredibly well to camera movement. How to do it: Use a shutter speed between 1–4 seconds Start the exposure Move the camera deliberately (in different motions) while the shutter is open Different movements will give you different results: Vertical movement → long streaks, looks like light rain or energy beams Horizontal movement → smeared layers Circular motion → spirals and vortex looking shapes Diagonal movements → gives more aggressive, chaotic energy You can also: Move for the entire exposure Move only at the start or end Pause briefly and then move again → Each variation will change the results. Zoom Blur