credits: Pergear Pergear has introduced a new 50mm f/1.2 manual-focus lens available for Fujifilm X, Sony E, Nikon Z, Canon RF, and Micro Four Thirds mounts, and on the outside it carries a very clear 1980s inspired look. Everything is fully mechanical, including the aperture ring and focus ring, and there is no electronic communication with the camera. Pergear also added fluorescent paint to the distance and aperture markings so the controls stay visible when shooting at night or in dim environments. Inside, the optical design uses seven elements in five groups, including an 11-blade rounded diaphragm intended to keep out-of-focus areas as smooth as possible. With an f/1.2 maximum aperture on APS-C, the lens can push shallow depth-of-field further than most budget primes, though the manual-only nature of the focus system means actual precision will depend entirely on the user. The aperture ring can be de-clicked, which is useful for anyone who needs smooth, silent changes during video shooting. Minimum focusing distance lands at 0.7 meters, which is fairly typical for this class of lens. Physically, the lens weighs about 360 grams (12.7 ounces) and measures roughly 61 mm (2.4 inches) in length. Pergear doesn’t clearly state whether it takes a 52mm or 55mm front filter, though the mount area suggests it is one of the two. The Pergear 50mm f/1.2 is priced at $99. You can see full details on Pergear’s website here

What Is Infrared Photography? Infrared photography captures light that the human eye can’t see, specifically wavelengths just beyond visible red, typically between 700 nm and 900 nm. You are essentially photographing a hidden version of reality and depending on the type of infrared you shoot deciding what colours that invisible world gets to wear (for example —> you can make foliage (leaves) turn white, gold, peach, or pink.)) The Technical Side Your camera’s sensor is naturally sensitive to infrared light. In fact, it is too sensitive, which is why manufacturers add an IR-cut filter (sometimes called a “hot mirror”) to block infrared wavelengths and keep colours accurate. In order to shoot IR, you either: Block visible light (using an IR-pass filter on the lens), or Remove/replace the IR-cut filter in the camera (a full conversion). Each one gives you different strengths and headaches. Two Ways to Shoot Infrared 1. IR Filters (like the 720nm Hoya R72 or the 850nm filters) This is the entry point let’s say. You screw a filter onto your lens, and it blocks all visible light, letting only infrared wavelengths through. Pros are: It’s cheap, no permanent modification, great for experimenting Cons: shutter speeds become really slow, focusing is tricky because IR light focuses at a different point, some lenses produce hotspots (unwanted bright circles in the centre) 2. Full IR Conversion You send your camera to get the internal IR-cut filter replaced with an IR-pass filter (or removed entirely). Pros: fast shutter speeds, better sharpness, way more flexible Cons: It is obviously permanent, costs quite a bit of money, you must commit an entire body to IR only The Different IR Looks Infrared comes in several flavours: 720 nm (Classic IR Look) Foliage goes white Sky goes dark Great for false colour IR Usable for colour swapping (You can swap colours of things such as leaves later) 820–850 nm (Deep Black & White IR)

credits: Sony According to new leaks, Sony’s next fast zoom might be a 16–28mm f/2 GM, which would finally round out the company’s growing set of constant-f/2 zooms. After the 28–70mm f/2 GM in 2024 and the 50–150mm f/2 GM in 2025, most people figured a wide-angle option was coming sooner or later. Rumours have been floating around for weeks, but this is the first time we have gotten an actual focal range. There aren’t any firm specs or timing yet, though, and it doesn’t look like this lens will debut alongside the A7 V. Sonyalpharumors is guessing the 16–28mm f/2 GM will show up sometime in the next few months, possibly alongside two other rumoured lenses, a 100–400mm f/4 GM and a cheaper 100–400mm G with a variable aperture. With the A7 V reportedly jumping to 30 fps and getting stronger autofocus, a fast 100–400mm would make a lot of sense for sports and wildlife photographers. Inside the Sony community, some people were quietly hoping for a different wide zoom, something like a 20–50mm f/2, since that would have covered 20–150mm with just two lenses. It is a cool idea, but it also raises questions about what Sony would have to compromise to make it happen. A 16–28mm f/2 is a more predictable move, offering a true ultra-wide perspective while keeping the size and weight under control. For now, all we can do is wait and see how this new f/2 lineup continues to take shape.

credits: Viltrox Viltrox has released a new ultra-wide option for Fujifilm shooters, the AF 9mm f/2.8 Air. It is an autofocus APS-C prime that lands at a 13.5mm full-frame equivalent and covers a 113.8° field of view. Inside, Viltrox is using a 13-element, 11-group optical layout that includes two aspherical elements, three extra-low dispersion elements, and three high-refractive elements to help keep distortion, chromatic aberration, and edge softness under control despite the angle. The lens measures 65 × 56.7 mm and weighs only about 175 grams, so it is lightweight enough for everyday carry or for mounting on smaller Fujifilm bodies without throwing off the balance (it is part of the lightweight series after all). Despite the compact build, it keeps a reasonably fast f/2.8 aperture and a standard 58mm filter thread, something not always guaranteed on ultra-wide primes. The minimum focusing distance is 0.13 meters, which allows for some exaggerated foreground-and-background separation and magnification tops out at 0.15×. Autofocus is driven by a quiet internal motor and supports full eye- and face-detection AF on Fujifilm bodies. The lens uses a metal mount and includes basic sealing against dust and light moisture. There is also a USB-C port built into the rear cap for firmware updates. The Viltrox AF 9mm f/2.8 Air is available for 199 USD / 229 EUR. You can see full details on Viltrox’s website here

credits: Sony While everyone is waiting for the upcoming A7 V, Sony decided to drop something else first, major firmware upgrades for the widely used A7R V and A7 IV. Both cameras get a noticeable bump in autofocus customisation, new workflow tools and some long-requested interface changes that bring them closer in behaviour to Sony’s newer Alpha models. The updated AF system now includes a larger Spot, XL focus area for subjects that don’t stay put, plus three Custom AF zones that users can define themselves. Sony also added several usability upgrades. Shooting data overlays finally rotate properly when switching between portrait and landscape orientation, and an optional enlarged menu view improves readability. A new Golden Ratio grid joins the composition aids, and playback filtering now supports multiple criteria at once, including ratings. The AF-ON, AEL, and Delete buttons can be assigned different actions during playback as well. Both cameras now support multiple IPTC Presets, which should make life a little easier for photographers who routinely switch between clients or agencies with different metadata requirements. Video-focused refinements happened too. Recorded clips can be flagged as OK, NG, or KEEP on the go, and the cameras now provide clearer card-capacity readouts when shooting relay or simultaneous recordings. The A7 IV gains continuous on-screen audio-level monitoring, matching the A7R V. Both bodies add support for Sony’s Authenticity Camera Solution for cryptographically signed stills and video (license required). Network stability also improves, scheduled FTP transfers are now possible, transferred files can auto-protect themselves, and older Wi-Fi security protocols have been phased out. Both updates are available on Sony’s support site here

credits: Farseer A group of former DJI engineers is preparing to launch something pretty unusual next month, a hybrid AI-powered camera called RocX, which will debut on Kickstarter. The idea behind the system is a bit different from typical compact cameras, the RocX can operate on its own, but it can also mount onto a DSLR or mirrorless camera and physically move that camera using its built-in gimbal. In that setup, the RocX sits in the hot shoe while the main camera screws into the gimbal below, allowing the RocX unit to pan and tilt the larger camera as it tracks subjects automatically. Farseer, the company behind the project, describes the RocX as an “AI distant-view camera”. The RocX itself uses a 1/2.8-inch sensor with an ISO range of 100–12,800, shoots 4K stills and 4K/30p video, and offers 1080p recording up to 120 fps. The built-in zoom is listed as 50x, covering an equivalent focal length of 35mm to 1,750mm, though Farseer hasn’t clarified how much of that is optical versus digital. Aperture varies from f/2.0 to f/3.2, and the camera supports subject recognition for people, birds and other animals. The unit has a 5-inch screen, weighs around 300 grams, and runs for about six hours on a charge. There is also a handheld version of the system that mounts the RocX a bit like a DJI Osmo Pocket, with two-axis stabilisation, auto-tracking, and auto-framing. The gimbal version weighs about 2.2 pounds, and the handheld grip weighs around 1.1 pounds. According to Farseer, the Kickstarter campaign is scheduled for December, with early pricing set at $199 for the camera alone, $299 for the handle, and $699 for the full camera-plus-gimbal setup. You can see full details on Farseer’s website here

credits: Nikon/ Faloo Mi Nikon and RED are teaming up on a new set of Imaging Recipes for Nikon cameras, set to go live on December 10. Nikon hasn’t shared much about what these new profiles will look like yet, but the company is hinting at a deeper blend of RED’s colour science with Nikon’s own processing pipeline. RED and Nikon previously released a set of RED-developed LUTs in late 2024 that received a lot of praise, so naturally expectations are high. While we wait to see what the RED collaboration actually delivers, it is worth noting how much Nikon’s Imaging Recipes system has changed over the past year. Nikon has been steadily adding new looks designed by photographers, cinematographers, and other visual artists, and it has also broadened camera support. As of now, the Z50 II, Z5 II, Zf, Z6 III, and ZR can all download and use Imaging Recipes through Nikon Imaging Cloud. Each Recipe acts like a specialised picture profile, and Nikon hosts example photos for all of them so you can preview the aesthetic before loading anything onto your camera. The current library is surprisingly large, with contributions from creators like Eeva Makinen, Eyes of Belga, Harpreet Singh, Vincent Versace, Brandon Woelfel, Emilie Hill, Dondre Green, and many others. You can see full details on on Nikon’s Imaging Cloud website here

Photo by: @p_varsic Let’s Analyse this Image: Composition & Framing What works well: Leading lines are definitely strong here, the yellow strip on the ground, the whole train (/the edges), all the floor markings, even the reflections on the metal. It all creates a ton of depth. It is also nice that the leading lines coming from the train basically start right from the edges of the frame, which makes the whole perspective feel very intentional and immersive. The orange ceiling lights add rhythm with their repeating circular shapes, giving the top left part structure and visual flow. The architecture itself plays a huge role obviously, that retro-futuristic design of that underground station is stunning to look at and adds a ton of character. What could be better: One unfortunate thing about the composition is that the leading lines don’t actually lead anywhere specifically. They are beautiful no doubt, but there is nothing at the end to reward the viewer. A person stepping into the train in the distance would have been amazing for example, but obviously, with street photography, you can’t stage what you wish you had you just have to work with what you get. The right side of the frame gets a (tiny) bit busy with chairs, signage, and reflections. The display screen in the middle of the station (which probably has the train info) can’t really be read. That is normally something that helps immensely with location and storytelling, more on that down below. Light & Atmosphere What works well: The lighting overall is soft and very even, which really fits this kind of clean, modern (yet retro) station. It gives the photo a calm, almost sci-fi metro vibe which is great. The reflections in the train windows add atmosphere, especially where the ceiling lights bounce around, it creates a layered look that feels cinematic. Those glowing orange ceiling circle lights keep the mood interesting. They add warmth to an otherwise cold, grey environment and again instantly give the place character. What could be better: Here and there the platform light is a bit flat, which makes some textures and shadows feel muted. A touch more contrast might have added some more punch (though to be fair the orange accents already pop a lot). Inside the train, it is dim compared to the platform. A bit more light on the woman would have made her pop even more and strengthened the storytelling/human touch. Emotion & Story

credits: Viltrox Viltrox’s upcoming 2.0x teleconverter is shaping up to be a much more ambitious accessory than many expected. For those of you that don’t know, a teleconverter is a small optical adapter that sits between the camera and lens to increase the lens’s focal length, essentially giving you more “zoom”. The first leaked photo surfaced a few weeks ago, and now the converter appears to have been quietly unveiled in China, where detailed specs have been posted on Weibo. According to those early listings, it uses an optical design of 9 elements in 5 groups, includes full electronic contacts, is dust- and splash-resistant and weighs about 229 grams. What really stands out though, assuming the information is accurate, is performance compatibility. The converter reportedly supports EXIF transmission, lens-based stabilisation, and (most surprising) up to 120 fps continuous shooting on Sony bodies that can achieve that speed natively. If that holds true, it would represent an unusually high level of compatibility for a third-party teleconverter. Traditionally, Sony limits third-party electronic lenses and accessories to much lower burst rates, often around 15 fps, so this claim naturally raised a few eyebrows. Another unexpected detail concerns lens compatibility. Early speculation suggested the 2x converter might be limited to Viltrox’s own autofocus lenses, but the published list points in the opposite direction, only one Viltrox lens appears to be supported, while the rest of the list consists of several Sony lenses, including telephotos. The expected price of the teleconverter is around $160, though official global details haven’t been released yet. You can see full details on Weibo’s website here

credits: Brightin Star Brightin Star has introduced an updated version of its ultra-fast full-frame 50mm f/0.95, simply called the 50mm f/0.95 Mark II. The new model sticks to the same basic idea as the original (a large aperture at a more attainable price) but comes with a revised exterior design and a slightly different aperture setup. Even though the optical formula still uses 10 elements in 9 groups, including extra-low dispersion and ultra-high refractive elements, Brightin Star says the Mark II has been tuned for better resolution and improved flare control. It remains a manual-focus-only lens and it keeps the same 0.5 m minimum focusing distance. In terms of size and handling, the Mark II doesn’t stray far from the earlier version. It weighs roughly 750g and still takes 62mm filters, but the control layout has been adjusted with a wider focusing ring and updated markings. One notable change is the shift from a 10-blade aperture to a 9-blade design, which will slightly alter the look of out-of-focus highlights. The integrated hood is also new, redesigned to offer better protection against stray light. The Brightin Star 50mm f/0.95 Mark II is available for Sony E, Canon RF, Nikon Z, and L-mount, priced at $369.99. In this range it sits alongside other f/0.95 options like the Mitakon Zhongyi Speedmaster 50mm f/0.95 III, which competes directly with similar specs and the same mount availability. You can see full details and sample shots on Brightin Star’s website here

credits: Thypoch Thypoch has officially released the Eureka 28mm f/2.8, a compact manual-focus lens for Leica M and Fujifilm Xmounts, with the option to use the M-mount version on Fuji bodies via Thypoch’s dedicated adapter. The design takes inspiration from the classic Dallmeyer 35mm f/3.5 Anastigmat, but the internals are very much modern, starting with a brass construction finished in a pearl-white coating mixed with fine gold powder. Despite the metal build, the lens is pretty lightweight at about 130 grams, and its height sits between 19.5 and 21.9 mm, depending on the mount. Optically, the Eureka 28mm f/2.8 aims for minimal distortion and clean rendering. Thypoch says distortion is held to 0.462%, which is unusually low for a wide-angle prime in this size class. The optical design uses multi-layer coatings to keep contrast stable and reduce flare, and the lens is meant to keep sharpness consistent from the center through the edges. Minimum focus distance comes in at 0.4 m, which is fairly typical for a compact 28mm but still usable for tighter framing on APS-C with the Fuji version. Thypoch also put some thought into the ergonomics. The focusing lever has been shaped to line up with the natural ‘‘sweep’’ of your finger when focusing, which in theory, should make quick zone-focus shooting or slower, precise adjustments feel more intuitive. The lens will be offered in two colour variations (silver and black), both sticking to the retro-inspired aesthetic. Pricing is set at $420/365€. You can see full details and sample shots on Thypoch’s website here

credits: Canon Canon is doing a bit of housekeeping this week, pushing out new firmware updates across several of its mirrorless and compact cameras. Nothing earth-shattering, but enough small fixes and changes that make it worth mentioning. The updates mostly focus on stability, compatibility, and ironing out a few odd behaviours that have been reported since the last releases. The EOS R5 Mark II gets the biggest patch with firmware 1.2.0, adding support for the EOS Multi Remote System, a professional remote-control setup that expands how the camera can be triggered in multi-camera environments. Canon also fixed a handful of bugs, including a live-view distortion issue that could show up during multiple exposures in very low light, glitches with FTP transfers, and compatibility problems when formatting certain CFexpress cards. Smaller maintenance updates are out for the EOS R5 (2.2.1) and EOS R6 Mark III (1.0.1), mainly addressing the same CFexpress formatting issues, with the R5 also getting a fix for internet-based firmware updating. Canon’s compact lineup gets some love too. The PowerShot G7 X Mark III and SX740 HS, both recently put back into production, now support the newer NB-15L battery following updates 1.4.0 and 1.4.3. The SX740 HS also includes general stability improvements to keep things running smoothly. All updates are available through Canon’s support site here.