credits: Brightin Star Brightin Star has added another manual-focus prime to its lineup with the release of the 35mm f/1.4 for full-frame mirrorless cameras. It is a pretty straightforward lens meant for photographers who prefer compact gear and mechanical controls over autofocus and electronics. The lens is available for Sony E, Canon RF, Nikon Z, L-mount systems and comes in black or silver. Physically, the lens weighs 218 grams and measures about 42mm in length. The body is entirely metal, with engraved markings and a retro-inspired exterior. The focus ring is manually damped and designed for precise adjustments, while the aperture ring can be switched between clicked and step-less operation, making the lens usable for both stills and video. Additionally, it is equipped with a standard 49mm front lens filter thread. On the optical side, the lens uses a seven-element, six-group design that includes one high-refractive element and one low-dispersion element. Brightin Star says this double-Gaussian-based layout is intended to deliver consistent sharpness across the frame while keeping distortion and aberrations under control, even at f/1.4. The lens is priced at $159.99 across all mounts. You can see full details and sample shots on Brightin Star’s website here

credits: Canon The Canon EOS R3 Mark II is starting to appear more consistently in the rumour cycle, with growing speculation that Canon could be preparing it for a pre-Olympics reveal. While there is still no official confirmation, the timing alone has caught people’s attention. Canon has a long history of aligning professional camera announcements with major sporting events, and the 2026 Winter Olympics in Milan would be a very logical moment to introduce or at least tease a new pro body. What is interesting is how the R3 II is rumoured to fit into Canon’s lineup. Rather than acting as a direct successor to the EOS R1 or trying to replace it, the R3 II is expected to be more specialised. Current chatter points toward either a speed-focused camera built around a global shutter, or a higher-resolution stacked sensor model designed for demanding sports, wildlife, and agency work. Beyond that, expectations include a newer processor with stronger AI capabilities, refinements to Eye Control AF, a more responsive electronic viewfinder, and expanded video options. If Canon does stick to an Olympic-adjacent announcement, pricing is expected to land below the R1 but definitely in professional territory, likely somewhere around the $6,500 to $7,000 range.

credits: Xiaomi Chinese smartphone makers have been leaning more and more into photography, and Xiaomi’s newest flagship fits right into that pattern. The company has officially revealed the Xiaomi 17 Ultra by Leica, a camera-heavy phone that puts a lot of emphasis on manual control and hardware features photographers usually don’t associate with phones, the most eye-catching detail being a physical zoom ring built into the camera module. On the camera side itself, the phone uses a 50-megapixel Type 1 Light Fusion 1050L sensor paired with a 23mm-equivalent f/1.7 lens. Xiaomi says the sensor uses LOFIC technology, which essentially allows each pixel to store more light before clipping, helping with dynamic range in difficult lighting. Alongside the main camera is a 50-megapixel ultra-wide with a 14mm-equivalent lens and a 115-degree field of view, as well as a 200-megapixel periscope telephoto covering roughly 75–100mm equivalent. The telephoto uses a large Type 1/1.4 sensor and features Leica APO optics, meant to reduce colour fringing. The physical zoom ring ties the whole system together. Turning it launches the Leica-styled camera app and lets you smoothly zoom between 3.2x and 4.3x on the telephoto, or switch between cameras without tapping the screen. The ring can also be reassigned to control manual focus or exposure compensation, which makes the phone feel a bit more like a compact camera. Beyond the cameras, the phone runs on the Snapdragon 8 Elite Gen 5, includes up to 16GB of RAM, a 6,800mAh battery, and a 6.9-inch AMOLED display. For now, the Xiaomi 17 Ultra by Leica has only been announced in China, priced at CNY 7,999 (about $1,138), with a global release expected later.

credits: Fujifilm Rumours around Fujifilm’s 2026 lineup are starting to solidify, with multiple sources pointing to a broader generational update across both the X Series and GFX systems. At the center of these rumours is a new 5th-generation X-Trans CMOS sensor paired with an updated X-Processor, expected to debut across three key X-series bodies, the X-T6, X-Pro4, and X-H3. The focus appears to be on faster sensor readout, reduced rolling shutter, improved low-light performance, and more advanced AI-driven subject recognition. The X-T6 is starting to look like Fujifilm’s most important APS-C release of the cycle. Leaks suggest it could move to a stacked version of the new sensor, bringing blackout-free high-speed shooting, noticeably improved autofocus tracking, and more serious video capabilities, potentially including internal 6.2K or even 8K recording. IBIS is expected to see another refinement, and there is ongoing speculation about a higher-resolution EVF and possibly a fully articulating screen. Current expectations point to a release in the second half of 2026. Attention is also turning to the GFX system. With the GFX100RF setting a new direction in 2025, chatter points toward a next-generation GFX flagship with faster autofocus, higher burst speeds, and a higher-resolution EVF. On the rangefinder side, Rumours suggest Fujifilm may significantly rework the hybrid optical/electronic viewfinder, improving refresh rates and usability for street photography. Lens development appears to be a major part of that push as well. The GF roadmap points to new zooms like the GF100–200mm f/5.6 and GF45–100mm f/4, alongside compact primes such as the GF50mm f/3.5. There is also growing discussion around expanded teleconverter support and longer effective focal lengths.

credits: Weibo Laowa appears to be working on a new macro lens. This in itself isn't particularly noteworthy, as there are currently 17 Laowa macro lenses. However, this latest lens is rather special thanks to it offering up to 10x magnification. For reference, a typical macro lens tops out at 1×, meaning the subject is reproduced at life size on the camera sensor. Even Laowa’s own lineup usually stops at 5×, so doubling that is a pretty big jump. The new lens is said to deliver a working distance of about 40.35 mm in the 1–5× range, shrinking to around 22.5 mm when shooting between 5× and 10×. It is also expected to cover full-frame sensors and support multiple mounts. Early product images suggest it may ship with a native PL mount, with adapters for RF, Z, E, and L mounts, similar to how Laowa handles its more extreme macro systems. Despite the high magnification, the lens apparently remains compact and lightweight, with an external length that doesn’t change when adjusting magnification. It is also reportedly parfocal, so focus shouldn’t shift as you move through the magnification range. Like many Laowa macro lenses, it uses an apochromatic optical design to keep chromatic aberrations under control, which is especially important at this scale. There is no word yet on pricing or availability, but given Laowa’s existing lineup, it will likely land somewhere between its 5× macro lens and its far more specialized 10–50× system.

credits: Nikon When Nikon introduced the RED-backed ZR hybrid camera back in September, it also quietly announced a matching shotgun microphone, the ME-D10. That mic has taken a bit longer to show up, but it is now finally available to buy. The camera’s built-in microphone already supports 32-bit float recording, which is still pretty rare outside of dedicated audio gear. That said, built-in mics are always a compromise, and Nikon sees the ME-D10 as the more serious option. The microphone mounts directly to the ZR’s digital accessory shoe and draws power from the camera, so there is no separate battery or cable to deal with. It also records in 32-bit float and includes an integrated shock mount to help cut down on handling noise. The ME-D10 offers a couple of recording modes designed for different situations. “Pure” mode captures a flat 40 Hz to 20 kHz frequency range with no filtering, while “Focus” mode narrows things slightly to 90 Hz to 20 kHz to prioritise speech clarity. There is also some flexibility in how sound is picked up, with selectable front cardioid, rear cardioid, and omnidirectional patterns via a physical switch on the mic. The Nikon ME-D10 shotgun microphone is priced at $336.95 and ships with a wind muff, carrying case, and shoe cover.

credits: Meike The Meike 85mm f/1.8 SE Mark II has been released for Canon EF mount, with more EF optics for Canon's EOS DSLRs supposedly on the way. The lens is a full-frame design and matches the core specs of the Sony E and Nikon Z versions that have already been on the market for a while. At 369 grams, it is relatively lightweight for an 85mm f/1.8, and it keeps a fairly compact profile while still offering autofocus and electronic communication with the camera. Optically, the lens uses an 11-element, 7-group construction and features an 11-blade aperture, which should help produce smooth, rounded background blur. Minimum focusing distance is 0.65 meters, making it usable for classic head-and-shoulder portraits but also for slightly tighter framing when needed. Autofocus is driven by an STM stepping motor, which is designed to be quiet and smooth, and it supports eye and face detection depending on the camera body. The lens also takes standard 62mm filters. In terms of build, Meike went with a high-strength polymer body rather than metal, likely to keep weight and cost down. There is also a USB-C port built into the lens mount for firmware updates. The Meike 85mm f/1.8 SE Mark II for Canon EF is priced at $229.99.

7Artisans is teasing a new “Lite” series of lenses in China, designed for APS-C mirrorless cameras, and from what has been shared so far, the idea seems pretty straightforward, small, light, and easy to carry. Exact specs aren’t out yet, but 7Artisans says the focal lengths are meant to cover everyday use cases, including street and travel photography. The most eye-catching detail so far is the weight. Each lens in the Lite series is said to come in at around 180 grams, which is genuinely lightweight for an autofocus lens. That is lighter than many current APS-C primes and even lighter than some smartphones. Compact lenses like this have been getting more popular lately, especially as people want to keep their setups simple and portable. The fact that autofocus is included also suggests these aren’t just barebones budget lenses, despite the “Lite” name. Beyond that, information is still pretty thin. The teaser hasn’t shown up on 7Artisans’ international social channels yet, so it is unclear whether these lenses will launch globally right away or roll out in China first. There is also no confirmation on mounts, pricing, or release timing. For now, it is just a teaser.

credits: Sony Sony has released a new firmware update for the original Alpha a1, continuing long-term support for its first flagship mirrorless camera. Firmware version 4.00 concentrates on usability refinements, autofocus flexibility, and professional workflow features. Shooting information now automatically adjusts when switching between landscape and portrait orientation, and the Focus Area menu has been expanded with new Spot XS and Spot XL options, along with additional customisable tracking areas. The update also introduces several workflow-related improvements that will matter most to photographers working with large volumes of files or networked setups. Users can now rate and delete images across both memory card slots simultaneously, view folder and file names during playback, and cancel scheduled FTP transfers. Sony has expanded FTP automation options for protected images and videos, and added support for additional Monitor & Control app functions such as focus map display and iris operation bars. Firmware 4.00 also enables digital signature writing for video as part of Sony’s Camera Authenticity Solution and removes support for older security protocols like IPsec, WPA, and WEP. Separately, Sony has enabled internal 4K recording at 120p on the ZV-E10 II. The update allows up to 5× slow-motion footage in 4K with full autofocus performance, alongside Full HD recording at 240p. Although described as a “license,” the upgrade is free of charge. It is not delivered through a standard firmware update, however, and must be activated via Sony’s Creators’ Cloud platform.

credits: Nikon New reports from China are reviving talk of a long-rumoured Nikon D500 successor, this time with more specific technical claims. According to these sources, Nikon is developing a new APS-C flagship camera with a resolution of around 32 megapixels. The timing is notable, as the original D500 will mark its 10th anniversary on January 5, 2026, even though the DSLR has long since been discontinued. Nikon’s current APS-C mirrorless lineup leaves a clear gap where a high-end model could sit. While the Z50 II offers pretty solid performance, it targets a very different audience than the D500 once did. The especially pricing makes that distinction obvious, the D500 launched in 2016 at around $2800, while the Z50 II arrived in late 2024 at $999. Nikon could comfortably position a more advanced APS-C body above the Z50 II, meant for sports and wildlife photographers who want speed, durability, and deeper controls. In rumour circles, this potential camera has been referred to as the Z500 or Z90, though Nikon has never confirmed either name. The latest information suggests that a production-ready prototype of the so-called Nikon Z90 already exists. The camera is said to feature a 32 megapixel sensor and supports 15 frames per second using a mechanical shutter. While no firm details about electronic shutter performance have been shared, expectations are that it would be significantly faster, possibly 30 fps or more. If these reports are accurate, the camera is expected to be announced in the second half of 2026.

credits: Canon The Canon EOS R7 Mark II is shaping up to be one of Canon’s more interesting upcoming releases, and fresh rumours suggest it may end up being a fairly serious APS-C camera. After missing what many expected to be a late-2025 announcement, new reports now point to a launch in the first half of 2026, possibly even ahead of CP+ in Japan at the end of February. That would put it back on the near-term roadmap rather than something further out. The biggest talking point right now is the sensor. According to new information circulating via Canonrumors, the R7 Mark II could feature a 40-megapixel stacked APS-C sensor, with support for 8K video at up to 60 frames per second. This isn’t the first time 40MP has come up. Earlier rumours in 2025 mentioned that resolution before later shifting to 33MP, and now the higher figure is back again. That back-and-forth suggests Canon may still be testing multiple sensor configurations internally and hasn’t locked in the final spec yet. If the R7 Mark II really is positioned as Canon’s APS-C flagship, whatever sensor it gets will likely form the basis for other future APS-C models as well. A jump to 40 megapixels wouldn’t be shocking. Fujifilm has been offering 40MP APS-C cameras for a while now, and Canon may feel pressure to respond, even if the jump from 32.5MP isn’t massive in real-world terms. A stacked sensor would help offset the higher resolution with faster readout, higher burst speeds, and improved video performance, which fits the idea of a flagship model. There are also hints that Canon is working on at least one more APS-C body, possibly an R10 Mark II or a more video-focused model, though it is unclear when that might arrive.

credits: TTArtisan TTArtisan has added a silver finish to its AF 40mm f/2 lens for Sony E, Nikon Z, and L-mount cameras. It is not a new lens in any technical sense, just a cosmetic update to the existing black version, but the lighter finish gives it a more old-school look that will probably appeal to people using retro-style camera bodies. Other than the colour, everything else stays the same. The lens itself sits in a pretty practical spot. At 40mm on full frame, it is a slightly wider “normal” lens that works well for everyday shooting. The aperture runs from f/2 to f/16, and the optical design uses nine elements in six groups, including ED and aspherical elements to help keep colour fringing and distortion in check. Closest focusing distance is 0.4 meters, which is close enough for detail shots without pretending to be a macro lens. Autofocus is handled by an STM stepping motor, so it should stay quiet and smooth, especially for video. There is also a clicked aperture ring, which gives clear feedback when changing f-stops and will feel familiar to anyone who likes manual controls. Depending on the mount, the lens weighs roughly 167 to 176 grams and uses a 52mm filter thread, keeping it small and easy to carry. Pricing is at $168. You can see full details and sample shots on TTArtisan’s website here