credits: Viltrox Viltrox is preparing to release two new conversion lenses designed for Fujifilm’s popular X100-series cameras. The company has started teasing them on its official Weibo page, and even though details are still thin, the images make it pretty clear what they are going for. These converters appear to mirror Fujifilm’s own TCL-X100 II telephoto attachment and WCL-X100 II wide converter, which are the standard options X100 shooters turn to when they want something other than the built-in 35mm-equivalent field of view. If Viltrox is following Fuji’s recipe closely, we can expect the same focal length shifts, a 1.4× teleconverter that takes the X100’s 35mm-equivalent up to 50mm-equivalent, and a 0.8× wide converter that pulls back to an 28mm-equivalent. Fujifilm’s official versions are widely liked, but they are not cheap, both sit around the $400 mark, so it is easy to see why a more affordable third-party option might get plenty of attention. Viltrox says the announcement is scheduled for December 10. Exact specs, pricing, coatings, and optical details aren’t confirmed yet, but as mentioned before, based on the focal length multipliers it seems safe to assume these will slot in as direct alternatives to Fujifilm’s official add-ons, likely at a much lower price. You can see the official teaser photo on Viltrox’s Weibo page here

credits: Ethan Hoover The Canon AE-1 turns 50 in April 2026, and for a while now people have been expecting Canon to celebrate with a digital reboot inspired by the original film camera. The rumoured successor, the Canon EOS RE-1, pops up every few months, usually with nothing new, but this time there is finally something fresh, according to Canonrumors, multiple sources claim the RE-1 will use the 32.5-megapixel sensor from the EOS R6 Mark III. Earlier talk pointed to a 24-megapixel sensor, but that now seems like one of those early prototype guesses that didn’t hold up. Canon already uses that 32.5-MP chip for the R6 Mark III and the EOS C50, so dropping it into another camera would make both financial and logistical sense. What is getting most of the attention, though, is the rumoured price positioning. The RE-1 is expected to land well below the R6 Mark III’s $3400 launch price. That is supposedly because Canon plans to trim some video features and use a less powerful DIGIC X processor, focusing more on the still-photo experience and the retro appeal rather than trying to make it a full hybrid workhorse. Canonrumors thinks Canon is aiming for something around $1,999, which would put it right in the same ballpark as the Nikon Zf. As for when the RE-1 will actually show up, nothing solid has leaked. The obvious date would be the AE-1’s 50th anniversary in April 2026, and earlier rumours did point to a possible announcement sometime in the first quarter of that year. Canon is also expected to roll out a pair of retro-styled RF lenses alongside the body, which lines up nicely with everything else we have heard so far.

What Is Zoom Blur Photography? Zoom blur is another very interesting technique that shares some similarities to panning photography (which we looked at last week). Zoom blur, lets you take a still scene and inject movement into it. However, instead of moving the camera through space (as you do in panning), you are changing your focal length while the shutter is open. The result is a stretched, tunnel-like effect that pulls everything toward (or away from) the centre of the frame. It is simple in concept, but there is a lot you can do with it. The Idea Behind It A zoom blur works because you are changing how the lens bends light WHILE the shutter is open. When you rotate the zoom ring mid-exposure → light spreads across the sensor differently frame-to-frame, edges stretch, lines become rays and depth gets exaggerated. Camera Settings Here is a setup that works almost anywhere outdoors, and gives you good control over how “streaky” the blur looks: Shutter speed: 1/4s to 1 second if handheld 1–2 seconds if on a tripod (we are going to look at tripod vs. handled down below) In essence → Longer shutter = smoother streaks. Shorter shutter = more chaotic burst effect. Aperture: f/8–f/16 You want/need depth because zooming mid-exposure magnifies softness. ISO: 100–200 Focus: Pre-focus manually on your main subject, autofocus tends to panic the moment you start zooming. How to Do the Zoom Motion As with panning, the movement matters more than the settings. For smooth/clean streaks: Start twisting your zoom ring the moment you hit the shutter Move consistently (no sudden shakes) Use your left hand to zoom while your right hand stabilises the camera (well I guess it depends on what your dominant hand is) Follow through after the shot (do NOT stop instantly) For more chaotic/punchy streaks: Zoom fast at the start, then slow down Or stay still for half the exposure, then zoom Or zoom in, pause, and zoom again (gives sort of double ripples) Two Main Styles of Zoom Blur 1. Zooming IN during the shot So Start wide → zoom tighter The photo will feel like it is falling into the centre It pulls the viewer toward the subject 2. Zooming OUT during the shot Start narrow → zoom wider This will make it look like everything is exploding outward Very cool with lights and night scenes in general Tripod vs Handheld Tripod Zoom Blur If you want perfect linear streaks Very symmetrical Best for architecture Looks more intentional, polished, ‘‘professional’’ Handheld Zoom Blur Slightly messy look Background warps unevenly Really good for concerts but also street photography Feels more “alive” and expressive, some might say even abstract Some Generally Good Scenes/Shooting Ideas Forests → tree trunks can become great radial lines Architecture Markets (like food markets for example) → colours sort of smear into abstract art Concert lights (generally one of the best use cases) Flowers

credits: PolarPro PolarPro has introduced a new three-piece diopter system called Shift. It is designed to give photographers and filmmakers quick access to closer focusing distances without having to swap lenses. The set includes +2, +4, and +8 strengths, each reducing a lens’s minimum focusing distance to 50 cm, 25 cm, and 12.5 cm (19.7, 9.8, and 4.9 inches). The diopters don’t change focal length, they simply bring the focal plane forward so lenses can focus on subjects that would otherwise fall outside their native close-focus range. The system is available in two mounting formats, PolarPro’s Helix MagLock for fast attachment and removal, and traditional threaded versions from 49 mm to 95 mm. Each diopter uses multi-coated cinema-grade glass in aluminium housings, with the MagLock variant weighing around 140 grams and the threaded ones about 98 grams. The MagLock version can also be paired with a variable ND filter as long as the VND is placed behind the diopter. Threaded versions, however, are generally limited to straight NDs because most threaded VNDs are too thick to stack reliably. Shift differs from split-diopters used in cinema, as it doesn’t attempt to keep two focal planes simultaneously sharp. Instead, it functions more like a modern, higher-quality close-up filter, aimed at extending the usefulness of existing lenses for detail-oriented subjects. The set, +2, +4, +8 diopters and a the specially designed case, is available in both MagLock and threaded options, with prices ranging from $149.99 to $399.99. You can see full details on PolarPro’s website here

credits: Tamron Tamron’s 150–500mm f/5–6.7 Di III VC VXD lens just got a new firmware update and it brings several meaningful technical improvements, especially for Sony shooters. One of the biggest additions is improved autofocus behaviour while zooming, something long telephoto zooms often struggle with due to shifting optical groups. Tamron says the lens now maintains focus more consistently during focal-length changes, which should help in AF-C when subjects move unpredictably. The update also refines AF assist performance, improving responsiveness in low-contrast scenes and situations where the subject’s motion changes rapidly. The headlines feature, though, is compatibility with the Sony a9 III’s ultra-high-speed 120fps burst shooting. Before, the 150–500mm simply couldn’t operate at those frame rates, limiting its usefulness for photographers hoping to pair the a9 III’s speed with a long-range zoom. With Version 4.00, the lens now supports 120fps bursts, but only when the camera is set to AF-S, DMF, or manual focus. Continuous AF tracking at 120fps still isn’t available, which mirrors the limitations seen on other Tamron lenses updated for the a9 III, such as the 70–180mm f/2.8 G2. One detail that hasn’t gotten much attention is how Version 4.00 affects stabilisation behaviour. While Tamron doesn’t advertise major VC changes, early testers in Japan report slightly improved stability when panning at longer focal lengths, likely due to changes in how the lens communicates movement data to Sony bodies. The update also improves handshake reliability with newer E-mount protocols introduced since the a9 III’s release, which may help future-proof the lens as Sony continues rolling out high-speed bodies. You can download the update on Tamron’s utility website here

credits: Leica Leica is rolling out new finishes for four of its well-known M lenses. Three of them, the Summilux-M 35mm f/1.4 ASPH., Summilux-M 50mm f/1.4 ASPH., and Summicron-M 28mm f/2 ASPH., now come in the company’s familiar olive-green “Safari” finish. Leica has used this colourway on and off for decades, and it has become a fan favorite, especially among people who pair these lenses with Safari-edition rangefinder bodies. The fourth lens in this mini-release, the Summilux-M 50mm f/1.4 Classic, arrives in a glossy black finish after first shipping in silver earlier this year. The Safari lenses stick closely to the look used on past Leica Safari editions, matte olive paint, a silver-chrome brass focus tab, plus red and white distance scales. These versions match the regular production models in optical design and build quality, but Leica says they also get the newer close-focus improvements that have been rolling out across its modern M primes. Otherwise, the three focal lengths serve the same purposes they always have, 28mm as a compact wide, 35mm as a flexible reportage lens, and 50mm as the standard go-to. Now let’s talk about pricing (spoiler: pretty high). The glossy black 50mm f/1.4 Classic ships with a matching round hood and is priced at $4,595. As for the Safari trio, the Summilux-M 35mm f/1.4 ASPH. comes in at $6,795 and the Summilux-M 50mm f/1.4 ASPH. at $5,495, both available now. The Summicron-M 28mm f/2 ASPH. Safari will follow on February 12, 2026 for $5,995. You can see full details on Leica’s website here

credits: Canon Canon appears to have a new camera in the pipeline, at least if recent wireless registration filings are anything to go by. Since every upcoming camera with Wi-Fi must pass through regulatory databases before release, these listings have become an unofficial early warning system for new gear. They don’t always lead anywhere (companies sometimes register products that never ship) but they often give a decent hint about what is coming next. In this case, Canonrumors spotted a new model ID linked to IEEE 802.11ax 2x2 MIMO, otherwise known as Wi-Fi 6. That detail alone is interesting because Canon has limited Wi-Fi 6 to its top-tier bodies so far, like the EOS R1 and EOS R5 Mark II. The EOS R6 Mark III, which arrived more recently, still relies on Wi-Fi 5. Since the R5 II and R1 only launched in mid-2024, it is far too early for direct successors. That leaves a handful of possibilities. The most obvious interpretation is that Canon is preparing another high-end camera, something positioned above the midrange but below the full flagship tier, or perhaps a specialised variant that shares key hardware with the R5 II. Speculation naturally turns toward models that could plausibly inherit Wi-Fi 6 without stepping on the toes of Canon’s top bodies. A long-rumoured EOS R7 Mark II makes some sense on paper, even if Canon hasn’t pushed APS-C tech especially aggressively lately. Another possibility is a video-focused sibling to the R5 Mark II, something along the lines of an EOS R5 C II, or even an early move toward an EOS R3 Mark II. At this stage it is still guesswork, but the wireless filing strongly suggests that whatever Canon is planning sits closer to the flagship end of the lineup than the entry level.

credits: Pixii Pixii is putting the brakes on its yearly release cycle and won’t launch a new camera in 2025, a first since the company began its annual update rhythm back in 2020. In a newsletter to users, founder David Barth joked about whether Pixii had accidentally turned itself into “the Apple of photography” with its consistent timing, before explaining why 2025 will be a gap year. The team is deep into developing what he calls a genuinely new successor, one that apparently needs more time than a normal refresh. Barth says the goal is to stay true to Pixii’s philosophy, a modern rangefinder with neither a pixel-heavy rear screen nor the “blind camera” experience of fully screen-less concepts, but to rethink that formula in a way that actually moves things forward. According to Pixii, the new model is planned for summer 2026, assuming development stays on track. Until then, the company is leaning on its current lineup, especially the Pixii Max, which has become the brand’s fully realised take on the digital rangefinder. Pixii stresses that it already offers photographers a choice between full-frame and APS-C models, and that both share the same upgraded 64-bit architecture, improved rangefinder, and award-winning sensor. Rather than rush out an incremental update, Pixii says it wants to “prepare properly” for whatever new hardware and design direction the next camera demands. To soften the wait, Pixii has discounted all current bodies through the end of the year. The Max now starts at €3,499 for the 32 GB version and €3,749 for 128 GB, while the Pixii Plus drops to €2,499 and €2,749 respectively. Pixii also reiterates that its cameras are among the few digital models designed with genuine upgrade paths, meaning buyers can carry parts of their investment forward once the new model arrives. And just to keep things interesting, the company quietly teased an outline of a display-less camera on Instagram in October, possibly hinting at a lower-cost addition to the future lineup.

Photo by: @qs.street Let’s Analyse this Image: Composition & Framing What works well: Composition is pretty strong, the alley naturally forms a long tunnel, and that tunnel effect adds a ton of depth and the 3D effect. The leading lines aren’t just the walls, the cobblestones. the shadow/light, but especially the polls on the right guide your eye toward the centre, which is a nice touch. The layers nice as well, we have the textured ground, polls scooters and balconies, the person, and finally the hazy background. It all stacks nicely without feeling chaotic. Again, the architecture itself does half the job → narrow, tall, full of repeating shapes all of which naturally funnels you inward. The man at the vanishing point anchor everything (your eye naturally settles on him). What could be better: The person is pretty tiny in the frame. Waiting just a few more seconds until he walked further toward us would have strengthened the composition and made the leading lines land more effectively on him, for example → If the man were closer to the first/last poll (depending on your philosophy) on the right, that leading line would have felt even more intentional and punchy. The right side is a little heavy with all those polls, but not in a way that ruins the shot (+ the shadows on the left sort of balances that out, more on that below). The lamp sticking in from the top left is a small distraction, but not a lot you can do about that (well editing it out would technically be an option). Light & Atmosphere What works well: The light is beautiful, we have that hazy beam pouring in from the top of the alley which gives the whole scene a warm, dusty glow that feels very cinematic. The way the light falls more on the right wall (you can even slightly see the light streaks) and leaves the left in deep shadow creates such a natural contrast and pulls your eye right down the street. The atmosphere is rich overall with that bit of haze and dust catching the sun That lighter background also helps separate our subject nicely. Even though he is small, he pops just enough. What could be better: The highlights at the top are super blown out, they are basically completely gone. A little bit of control there could have kept some structure in the sky. The shadows on the left side are pretty heavy, swallowing a lot of detail that could have added even more atmosphere. Emotion & Story What works well: In this photo, the atmosphere alone tells most of the story —> warm light, the narrow alley, the old buildings, the iconic look. It all screams Naples. The man in the orange jacket gives the scene a focal point and a sense of life. He just walks through the alley and that alone immediately adds a bit of everyday human presence to that otherwise still/calm/empty scene. What could be better: Because our subject is so small, we don’t see what he is carrying or exactly what he is wearing, so the storytelling stays open-ended. A closer view or clearer silhouette could have made it easier to understand who he is or guess what he is doing, where he is going etc. Emotionally it leans more atmospheric than narrative, which works, but it means the viewer doesn’t connect strongly with the person. Colour & Tone

credits: Sony Sony has refreshed one of its most basic full-frame zooms, introducing the FE 28-70mm f/3.5-5.6 OSS II. On paper, it looks almost identical to the original kit zoom from 2013, but the update brings faster communications and autofocus performance to better match Sony’s modern bodies. Sony says the lens can now keep up with AF/AE tracking at up to 120 fps (something the old version couldn’t do) though it is obviously not a natural companion for a flagship like the a9 III. Beyond that, the core optical design remains unchanged, still nine elements in eight groups with one ED and three asphericals, along with a seven-blade aperture. Physically, the OSS II version mirrors the original almost exactly. Weight is basically the same at 293 grams (10.3 ounces), the 83 mm length is unchanged, and it retains the same 55 mm filter thread. Sony also didn’t revise the stabilisation hardware, though the built-in OSS is still compatible with the company’s in-body Active Mode. Minimum focus distance stays at 30 centimeters (11.8 inches) with a 0.19x magnification ratio. Weather sealing is present but remains a lighter implementation compared to Sony’s G or GM lenses. While Sony positions the FE 28-70mm f/3.5-5.6 OSS II as a general-purpose zoom for landscapes, travel, and everyday shooting, early reactions from the community are… not exactly enthusiastic. Many users hoped for a more meaningful optical refresh, something closer to a constant f/4 design or sharper edge performance. Some people even say their past copies of the original lens were among the weakest kit zooms on the market, with soft corners on high-resolution bodies and inconsistent performance between units. The lens arrives in February for $449. You can see full details on Sony’s website here

credits: Sony The Sony a7 V is finally here, arriving just over four years after the a7 IV. The new model adopts a partially stacked 33-megapixel BSI sensor, marking a major shift from the older non-stacked design and enabling significantly faster readout speeds. Paired with Sony’s brand-new BIONZ XR2 processor (the first time this chip has appeared in any Alpha camera) the a7 V now delivers blackout-free shooting at up to 30 frames per second with the electronic shutter, while still offering 10 fps mechanically. The camera also inherits the a7R V’s improved grip, upgraded 3.2-inch four-axis LCD with DCI-P3 support, and a familiar 3.68-million-dot EVF. In terms of image quality and performance, Sony says the new sensor allows for up to 16 stops of dynamic range and much better rolling-shutter behavior, dropping from 67 ms on the a7 IV to just over 12 ms. The a7 V adds composite RAW shooting for 199-megapixel images, multi-shot noise reduction, and a new pre-capture feature that stores up to one second of RAW or JPEG frames before the shutter is fully pressed. Autofocus also sees a substantial bump, with 759 phase-detect points covering about 94% of the frame, improved tracking down to –4 EV, expanded subject detection (including insects and vehicles), and AI-driven enhancements such as refined white balance and body-pose estimation. Video performance gets an equally significant overhaul. The a7 V records 7K-oversampled 4K60 using the full sensor width and offers 4K120 in a Super35 crop, supported by improved IBIS rated at up to 7.5 stops. The camera includes S-Log3, S-Gamut3, breathing compensation, imported LUTs, Dynamic Active stabilization, and four-channel 24-bit audio. Battery life is stronger than before, cooling is improved thanks to a graphite heat sink built into the IBIS unit, and dual card slots (CFexpress Type A + SD UHS-II) remain. The only notable omissions are internal RAW and open-gate video. The Sony a7 V will be available later this month for $2,899.

credits: Viltrox Viltrox has officially released the AF 85mm f/2.0 EVO for E-mount, a compact full-frame portrait prime that weighs 340 grams and uses a 58mm filter thread. Internally, it is built around 10 elements in 8 groups, including two extra-low-dispersion elements to limit axial chromatic aberration and two high-refractive elements to help control field curvature and maintain edge-to-edge sharpness. The new version also adds a USB-C port on the lens mount for firmware updates. The AF 85mm f/2.0 EVO focuses down to 0.74 meters, which isn’t macro territory but gives enough room for tighter portraits or detail shots without losing sharpness. Autofocus is handled by an STM motor, and in real use this tends to mean smoother transitions for video and quieter operation compared to older Viltrox drives. The lens supports eye- and face-detection AF on Sony bodies, and the aperture stays at f/2 throughout the range. Externally, the lens picks up the newer control layout seen on recent Viltrox releases, an Fn button, a click/de-click switch for the aperture ring, and a physical AF/MF switch. The front element also has anti-smudge and water-repellent coatings, and the mount uses a rubber gasket for light weather protection. Pricing is at $290 / 252€. You can see full details and sample shots on Viltrox’s website here