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

credits: Meike Meike’s new 23mm f/1.4 autofocus prime for APS-C mirrorless cameras is here, launching for Sony E, Fujifilm X, and Nikon Z mounts. On APS-C bodies, the 23mm focal length translates to a roughly 35mm full-frame equivalent, making it a pretty versatile option for everyday shooting including street and travel photography. From a technical standpoint, the lens uses an optical design of 13 elements in 11 groups and features a nine-blade aperture. Meike lists a minimum focusing distance of 0.25 meters, which allows for relatively tight framing and moderate background separation at close range. Autofocus is driven by an STM stepping motor, supporting eye and face detection on compatible camera bodies. The lens also supports full EXIF data transmission and includes a physical AF/MF switch for quick focus mode changes. An aperture ring is built in, which can be adjusted manually. Physically, the AF 23mm f/1.4 weighs around 298 grams on Sony E and Fujifilm X mounts, with the Nikon Z version coming in slightly heavier at approximately 302 grams. It measures 66.5mm in diameter and 81mm in length, uses a 58mm filter thread, and includes a petal-shaped lens hood. The barrel features a USB-C port for firmware updates, along with water- and oil-repellent coatings on the front element. The Meike AF 23mm f/1.4 APS-C lens is priced at $289.99. You can see full details and sample shots on Meike’s website here

credits: SmallRig SmallRig has rolled out a set of accessories designed specifically for the Ricoh GR IV. The lineup includes a leather half case, multiple strap options, a thumb grip, a compact lens hood with an integrated UV filter, and a slim crossbody-style bag. The leather half case improves grip while keeping all buttons, doors, and dials accessible, and it includes a built-in tripod socket so it doesn’t have to come off when mounting the camera. The thumb grip slides into the hot shoe and is shaped to make one-handed shooting more stable, with padding to avoid scratching the camera body. SmallRig says it is designed not to interfere with the flash or control dials. The rest of the set is about carry and basic lens protection. The bayonet-mounted lens hood and UV filter combo adds a bit of flare control and front-element protection and a tethered cap helps keep the filter covered when the camera is in a pocket or bag. The crossbody bag works as a lightweight sling with quick access and room for batteries and cards, plus an AirTag pocket. Pricing starts at $14.99 for the thumb grip and $16.99 for the hood and filter, with the other accessories available as part of the broader GR IV-specific lineup.

credits: 7Artisans 7Artisans has announced a new manual-focus fisheye lens, the MF 6mm f/2. Available for Sony E, Fujifilm X, Canon RF, Nikon Z, and Micro Four Thirds mounts, the lens delivers an 220-degree diagonal field of view. That puts it well beyond the coverage of most fisheye lenses in this class, which usually top out around 180 degrees. From a technical standpoint, the MF 6mm f/2 uses an optical design of 10 elements in 8 groups and features a nine-blade aperture with a clicked aperture ring. The aperture ranges from f/2 to f/16, giving you some flexibility depending on light and depth-of-field needs. The fast f/2 maximum aperture makes the lens more usable in low-light situations, including night scenes and astrophotography, where fisheyes are often used to capture large portions of the sky. Minimum focusing distance is 0.1 meters, allowing very close focusing that exaggerates perspective even further. As a fully manual lens, there is no autofocus or electronic communication with the camera body. Physically, the lens is built entirely from metal and measures approximately 69mm in diameter and 76mm in length, weighing around 418 grams without caps. There is no front filter support, which is typical for lenses with such extreme curvature. The lens is available for $199 across all supported mounts. You can see full details and sample shots on 7Artisans’ website here

credits: Leica Leica rolled out firmware version 4.0.0 for the SL3 and SL3-S, alongside a parallel update for the entire Q3 lineup, and it is one of the more meaningful software updates the company has released in a while. Autofocus gets most of the attention. On the SL3 series, tracking has been refined so the focus area can now dynamically change size and shape while following a subject. Face and eye detection for humans has also been reworked using updated AI models, and subject recognition now extends to animals such as birds, dogs, and big cats. Leica has also simplified the AF menu structure, merging several modes and adding a dedicated AF Acquisition shortcut in both the FN list and Control Center. Beyond autofocus, the SL3 gains a multi-shot mode capable of producing composite images up to 241 megapixels, along with additional video formats at lower bitrates and expanded aspect ratio support, including anamorphic options with in-camera de-squeeze during playback. The Leica Looks menu now includes an intensity slider, and users can toggle the monitor refresh rate between 30 and 60 fps to balance responsiveness and battery life. Startup times after long inactivity have also been reduced, and several long-standing interface quirks, from Auto ISO display behaviour with flash to menu consolidation, have been addressed. The Q3, Q3 43, and Q3 Monochrom all receive a redesigned interface inspired by the SL3, with updated icons, faster navigation, and full touch control. The Q3 and Q3 43 benefit most, inheriting the improved AF algorithms and tracking behaviour, along with quicker access to digital zoom presets and integrated video profiles. Across all Q3 models, Leica has improved FOTOS app connectivity, playback zoom behavior, L-Log noise performance, and overall system responsiveness. The updates are available now at no cost via the Leica FOTOS app or SD card installation. You can see full details on Leica’s website here

Photo by: @susonsjack Let’s Analyse this Image: Composition & Framing What works well: The layering is pretty strong. You have the modern James-Simon-Galerie in the foreground (along with the stairs and the man on the bottom right), the classical building behind it, and then the TV tower peeking through in the background, that creates a really nice sense of depth. The clean, minimalist geometry of the foreground gallery building contrasts nicely with the more detailed historic architecture behind it (also the fact that all buildings have the same tile colour is very satisfying (meaning it is coherent and the modern architecture doesn’t stick out like a sore thumb, which a lot of times it does)). The opening on the bottom right works like a frame within a frame, naturally pulling your eye toward the man walking into it. The tower (I think it’s the Berlin TV tower) in the background adds a subtle vertical counterpoint to all the horizontal lines. What could be better: Compositionally, it is a bit unclear what the actual subject is. Is it the James-Simon-Galerie, the orange sky, the TV tower, or the man in the corner, or all of them? → Because there are several strong elements competing for attention, the photo feels a little uncertain in its intent. Reframing, or committing more clearly to one subject, could have helped. The man especially is very small and pushed into the corner, which makes him feel almost accidental rather than intentional (he also doesn’t separate from the background too well which again does kind of make him fade away and not really stand out, bringing him out in post could have been a way of clearly distinguishing him as the main subject for example). Light & Atmosphere What works well: The warm sunset light is definitely the biggest mood-setter. That orange-yellow sky instantly gives the image a calm, almost golden-hour feeling that fits Berlin very well. The light feels soft and diffused, which does suit the architecture and keeps the scene from feeling harsh or contrasty. There is a quiet, end-of-day atmosphere to it, making it feel very peaceful in my opinion. What could be better: The shadows are a little too dark in the lower part of the frame. You lose quite a bit of detail there, and lifting them slightly wouldn’t hurt the mood. The sky’s colour spills a bit too much into everything else. Almost the entire photo gets dipped in that orange/yellow tone, which can feel slightly overbearing. The light doesn’t really guide the eye toward a clear subject, which again makes it hard to really say what the subject actually is. Emotion & Story

credits: Ricoh Ricoh has officially added another variant to its GR lineup with the launch of the GR IV HDF. At its core, it is the same GR IV that was announced earlier, built around a new 25.7-megapixel APS-C sensor and an updated 28mm-equivalent f/2.8 lens, along with the familiar GR handling and interface. What makes the HDF version different is the inclusion of Ricoh’s Highlight Diffusion Filter, which can be switched on or off using a dedicated button on the back of the camera. Ricoh first introduced the HDF concept with the GR III HDF and GR IIIx HDF in 2024, and it carries over unchanged here. The filter is extremely thin and sits close to the lens aperture, using structures printed directly onto its surface with Ricoh’s inkjet technology. These tiny, precisely placed droplets alter how light reaches the sensor, diffusing bright areas and slightly softening edges across the frame. When the filter is disabled, it physically moves out of the optical path, allowing the camera to behave like a normal GR IV. Because the HDF model replaces the standard built-in ND filter, Ricoh has added a new high-speed electronic shutter capable of speeds up to 1/16,000s, compared to 1/4,000s on the mechanical shutter, helping maintain exposure control when shooting wide open in bright conditions. Aside from that, the camera retains features like Snap Distance Priority, a focus limiter, Full HD 1080/60p video recording, and built-in storage (53GB internally) alongside a microSD card slot. The GR IV HDF is scheduled to ship in late January 2026 for $1,599.95, which is $100 more than the standard GR IV. You can see full details on B&H’s website here

credits: Viltrox Viltrox’s 35mm f/1.2 LAB lens is now available for Nikon Z-mount cameras. It mirrors the earlier Sony E-mount version in both design and specifications, aiming to offer the same level of performance. The optical formula consists of 15 elements in 10 groups, including five ED elements, three high-refractive elements, and two ultra-aspherical elements. Viltrox says the goal here is consistent sharpness across the frame, even when shooting wide open at f/1.2, which is often where lenses at this speed struggle the most. Autofocus is handled by Viltrox’s Quad HyperVCM motor system, which supports Nikon’s eye- and face-detection AF. According to Viltrox, focusing remains fast and quiet, making the lens usable for both stills and video work. The lens can focus down to 0.34 meters (1.1 feet), resulting in a maximum magnification of 0.17x. That is not macro territory, but it does allow for relatively close framing for a fast 35mm prime. The smooth focus response is also intended to reduce focus jumps and noise when recording video. Physically, the Z-mount version looks identical to the E-mount model. It includes a small information display on the barrel that shows focus distance and depth-of-field markings, along with a wide focus ring, a de-clickable aperture ring, customisable function buttons, and an AF/MF switch. Weather sealing is built in throughout the barrel. The Viltrox 35mm f/1.2 LAB lens for Nikon Z is priced at $999. You can see full detail and sample shots on Viltrox’s website here

credits: VILTROX Rumours are starting to swirl that Viltrox could soon enter Canon’s APS-C mirrorless ecosystem, something that would be a pretty big deal for RF-S users. According to multiple reports from sites like Canonrumors and Canonbuzz, Canon may be preparing to allow Viltrox to release its own APS-C prime lenses for RF-mount cameras. Nothing is confirmed yet, but if it happens, it would mark the first time Viltrox brings its modern APS-C lineup to Canon’s current mirrorless system. For years, Canon, Nikon, and Sony have clearly focused most of their energy on full-frame cameras, even though all three still sell plenty of APS-C bodies. Sony users are in the strongest position when it comes to lenses, with broad third-party support from Sigma, Tamron, and Viltrox. Nikon Z APS-C shooters have gained access to some third-party primes, mainly from Sigma and Viltrox, but zoom options remain limited. Canon RF-S is the most restricted of the three, Sigma and Tamron offer several APS-C zooms, but third-party prime lenses are almost entirely absent. That is precisely where Viltrox could make a difference. The company already has a mature APS-C lineup on other mounts, covering focal lengths from ultra-wide 9mm through short-telephoto 75mm, often with fast apertures and compact designs. Viltrox also previously supported Canon’s EOS M system, so there is precedent. For EOS R7, R10, R50, and R100 owners, native RF-S primes from Viltrox would open up far more creative and affordable options. All that being said, please remember that these are just rumours for now and despite the optimism, there is still no official sign Canon plans to allow third-party full-frame RF lenses.

credits: Nikon Nikon has rolled out firmware version 5.30 for the Z9, continuing what has been a pretty remarkable run of post-launch support for its flagship mirrorless camera. Even though the Z9 has been around since late 2021, Nikon is still pushing meaningful updates rather than just maintenance fixes. This release lands more than a year after the major 5.00 update and builds on the smaller 5.20 update from earlier this year. The headline of the update is autofocus. Nikon says subject acquisition, tracking, and overall stability have been noticeably improved, especially for fast-moving subjects like athletes and wildlife. Subject detection powered by Nikon’s deep-learning system now works across more AF modes, including single-point and dynamic AF, instead of being locked to specific configurations. There is also a new option to quickly toggle subject detection on or off via a custom button, which should be useful for photographers who like to switch approaches on the fly. Another practical addition is an in-camera focus limiter, letting users define specific focus ranges to prevent the camera from hunting, a feature that first appeared on the Z8. Auto Capture, which turns the Z9 into a smart remote camera, also gets ‘smarter’. It now supports face detection and a new AF standby position, making it more reliable for unattended sports or wildlife setups. On the imaging side, firmware 5.30 adds Flexible Color Picture Control, allowing you to create and preview custom looks in NX Studio and load them directly into the camera. Smaller updates round things out, including higher live-view magnification, expanded AF area options, new monochrome profiles, improved audio controls, and refined HDMI output behavior. Firmware 5.30 is available now from Nikon’s download centre here

What is the Black Card Photography Technique? Black card photography is a technique that feels almost too simple once you understand it. The idea behind it is straightforward, instead of using an expensive graduated ND filter to balance the exposure between sky and foreground, you use a matte black card to manually control how much light hits different parts of the frame during the exposure. If you think about it, it is basically dodging and burning, but done in-camera while the shutter is open. If you have ever worked in/been in a darkroom and used dodge and burn tools, this will feel very familiar. The big difference is that instead of fixing exposure after the photo is taken, as mentioned, you are doing it in real time. Why This Technique Exists Even with modern sensors, cameras still struggle with scenes that have a big dynamic range, especially landscapes. So for example some typical situation would be: → The foreground needs a long exposure to look right → The sky blows out way before the foreground is properly exposed Of course you could use HDR, shoot brackets or blend exposures later, however that means more time in front of a screen and less time actually shooting. The black card technique tries to tackle that and lets you, → Capture a more balanced exposure in a single frame → Reduce the need for heavy editing later → Avoid carrying (and especially buying) multiple graduated filters What You Need You really don’t need much: A camera with manual controls A sturdy tripod (We are doing long exposures after all) A neutral density filter (commonly 6–10 stops) A matte black card large enough to fully cover the front of your lens That is it. How the Black Card Works The black card is used to block light from the brightest part of the scene, usually the sky, for part of the exposure. So, you are not blocking the entire frame, only the area that would otherwise overexpose. The key idea is that the foreground needs a long exposure while the sky needs a much shorter one → So you expose for the foreground first, while temporarily shielding the sky. Then you remove the card and let the sky expose for the remaining time. A Simple Example

credits: Adobe/Open AI Adobe teamed up with Open AI to integrate Photoshop, Adobe Express, and Acrobat directly into ChatGPT, allowing users to handle a range of creative and document-related tasks without leaving the chat interface. The idea, according to Adobe, is to let people move quicker on everyday work by using text commands instead of jumping between apps. Users can now ask ChatGPT to perform actions like editing images, creating simple designs, or working with PDFs, with Adobe’s tools running in the background. Photoshop is the most prominent part of the integration. Within ChatGPT, you can make common image edits such as adjusting brightness and colour, blurring or replacing backgrounds, applying effects, or editing specific areas of an image. Controls are kept relatively simple, relying on text prompts and sliders rather than the full Photoshop interface, so it is clearly meant for quick edits and lightweight workflows, not deep retouching or complex compositing. When more advanced work is needed, you can just open up the same file in the full Photoshop app and continue there without starting over. Adobe Express and Acrobat are included as well, but they play a more supporting role. Express covers basic, template-based design tasks, while Acrobat handles everyday PDF work like editing text, merging files, or converting formats. The bigger story here is competition. Adobe is under increasing pressure from alternatives like Affinity, which was recently acquired by Canva and is now completely free, making professional-grade tools far more accessible. By bringing Photoshop into ChatGPT and offering these entry-level features at no cost, Adobe seems to be widening its funnel and trying to stay relevant at a time when Creative Cloud subscriptions are facing more scrutiny than ever.