Photo by: @therealamogh Let’s Analyse this Image: Composition & Framing What works well: The leading lines are pretty good, the foreground tram rails pull you right into the photo and stretch all the way up the hill, giving the whole image an incredible sense of depth. They also create a strong visual flow. The perspective is also very nice, you have that long, vertical stretch of the road disappearing into the distance, which gives the photo a very surreal/almost ‘‘impossible’’ look. It is definitely one of those shots that just feels like San Francisco (not just because of the cable car ;)). Framing-wise, it is solid. The cable car sits right in the middle, working as an anchor while the rest of the scene happens around it. In general there is a nice ‘‘rhythm’’ in the composition, so the repeating lines of the street, the tracks/cables, and the cars all give it a steady beat that keeps your eyes moving. What could be better: Shooting from a slightly lower angle could have exaggerated the leading lines even more, though to be fair doing so might have risked losing visibility of the street in the background, which is one of the best parts of this shot (so always take a few more options than you think, in the end you can always choose what works best). The left side of the image feels just a bit heavier, between two driving cars right next to the cable car, that overhead street sign, and the trees in the distance, it is slightly more cluttered than the right. Not a dealbreaker of course, but it tips the balance slightly. The darkened foreground hides some of the road texture that could have added a bit more of a ‘‘tactile’’ feel. Light & Atmosphere What works well: The lighting feels really natural and well-balanced, it is giving late-afternoon city light where everything is still visible, but the headlights and taillights start to glow. All that makes it a touch more cinematic. The subtle reflections on the tram rails (more prominent in the distance) are beautiful and help carve out the light in an otherwise relatively muted scene + it obviously exaggerates the leading line effect, helping to guide the viewer’s eye. The atmosphere overall feels busy but not too chaotic, which fits the mood and light. What could be better: The shadows are a bit heavy in certain areas, especially on the sides of the background (and again a bit the foreground). Lifting them just a little would help bring back some texture and detail without ruining the mood. The tram could use a touch more contrast or light (just a little bit though) since it is the natural focal point, but right now it blends slightly into the darker tones around it. The car headlights on the left side are quite bright and grab too much attention. Toning those down in post would have helped keep the focus on the tram a bit more Emotion & Story

credits: AstrHori AstrHori’s new 9mm f/2.8 APS-C lens is finally here. It is a fully manual ultra-wide lens for mirrorless systems including Sony E, Fujifilm X, Nikon Z, Canon RF, and Micro Four Thirds. With a 13.5mm full-frame equivalent focal length, it delivers a 111.4° angle of view, making it ideal for interiors, landscapes and cities. The lens has an all-metal build with a built-in petal-shaped hood to help reduce flare and protect the front element. It has a 62mm filter thread, which is relatively uncommon for lenses this wide, but adds much appreciated flexibility for using filters. Inside, the optical design consists of 11 elements arranged in 8 groups, including one aspherical and two extra-low dispersion elements. That construction tries controlling distortion and chromatic aberration as much as possible. The aperture range runs from f/2.8 to f/16 and is formed by a 7-blade diaphragm, which helps maintain smooth bokeh even with the large depth of field typical of ultra-wide lenses. The minimum focusing distance is 7.8 inches (0.2 meters), allowing for close compositions while keeping most of the scene in focus. The lens weighs about 10 ounces/307 grams in the Sony E-mount version. Being manual focus only, it relies on precise focusing control, and the focusing ring offers a long, smooth throw for accuracy. The AstrHori 9mm f/2.8 is priced at $169 in the U.S., €199 in Europe, and £179 in the U.K. You can see full details and sample shots on AstrHori’s website here

credits: Light Lens Lab Light Lens Lab has unveiled its latest creation, the 35mm f/1.4 Aspherical “11873” for Leica M-Mount. The lens is a modern reimagining of the rare Leica Summilux 35mm f/1.4 double-sided aspherical lens from the late 1980s. The company says it set out to replicate the unique optical character of that original lens while improving on precision, distortion control and chromatic aberration to suit today’s high-resolution sensors. The new 35mm f/1.4 features a nine-element, five-group optical design that includes aspherical elements in both the second and fifth groups. It also uses newly developed Extra-Low Dispersion and Achromatic glass elements to minimise distortion and maintain sharpness across the frame. Light Lens Lab says the aspherical elements are precision-molded and then hand-polished to achieve the same rendering style as the vintage Leica, while still taking advantage of modern materials and coatings. The company also incorporated lanthanide-infused glass to reproduce the iconic “classic glow” when wide open. The aperture ranges from f/1.4 to f/16 with a 10-blade diaphragm for smooth bokeh, and the lens marks the beginning of what Light Lens Lab calls its ‘High-Performance Optics Project’, a new line of lenses blending legacy design with modern performance. The 35mm f/1.4 Aspherical comes in two versions, an aluminium model in black paint or chrome for $1,399, and a limited Titanium Grey edition for $1,699. The titanium version starts shipping December 1, 2025, while the aluminium model follows on January 7, 2026. You can see full details and sample shots on Light Lens Lab’s website here

credits: Mint/Rollei 35AF Mint finally addressed one of the main requests regarding their Rollei 35AF cameras, the ability to use filters. In direct response to community feedback, the company launched a new Filter Kit including a UV filter, Black Mist 1/4 filter and yellow filter, all of which attach via a new magnetic adapter. According to Mint, the project reflects the same philosophy that guided the original Rollei 35 cameras, which were gradually improved over time through multiple versions. The company says it wanted to preserve that spirit of refinement and, more importantly, offer something that would work with both new and existing cameras. The challenge, of course, was making the system compatible with units that were already shipped, something that Mint solved by designing a magnetic filter adapter that attaches to the front lens ring. Newer Rollei 35AFs already include a magnetically sensitive lens ring and cap. For those who bought the camera before the update, Mint is offering a free lens ring upgrade kit that includes a video tutorial to help with installation at home. The new filter kit is priced at $99 and is available starting today from the Rollei 35AF website. You can see full details on Rollei’s website here

credits: Sony After Canon’s big EOS R6 Mark III reveal, attention in the camera world is already shifting toward what’s next, the upcoming Sony A7 V. According to new reports, Sony plans to unveil the long-awaited successor to the A7 IV in the first week of December, making it likely the final major camera launch of 2025. A new leaked image of the camera surfaced recently, confirming its design is nearly finalised, and now, Sonyalpharumors says they are “100% certain” the A7 V will feature a 33-megapixel sensor. What is still unclear is which type of sensor Sony will go with. Some speculate it might reuse the 33MP sensor from the A7 IV, while others believe Sony has developed an improved or possibly stacked version. A simple rehash seems unlikely, it wouldn’t make much sense for Sony to launch a new model with identical internals when rivals like Canon’s R6 Mark III and Nikon’s Z6 III are pushing performance forward. The real differentiator could come down to processing power and AI-driven performance, both areas where Sony has been investing heavily. The A7 V’s electronic viewfinder is also rumoured to get an upgrade. The A7 IV’s EVF already offered 3.69 million dots, 0.78x magnification, and full frame coverage, but sources suggest the new model will see improvements. Other reported upgrades include up to 8 stops of in-body image stabilisation, a 4-way fully articulating touchscreen, and dual Type A SD card slots instead of CFexpress. Nothing is confirmed yet of course, but it is clear Sony is fine-tuning the A7 V to stay competitive in the midrange full-frame market. You can see the leaked photos on Sonyalpharumors’ website here

What Is High-Key Lighting? High-key lighting is a style where everything in your photo, so the subject, background, and shadows, is evenly lit and bright. You reduce contrast as much as possible, so there are few (if any) deep shadows. In the end you get a photo that feels light, fresh, minimal in a sense, and often very polished. A lot of times you see it in fashion, beauty and product photography, but it also works outdoors, especially for landscapes and nature shots (a lot of photographers like to do high key bird photography for example) How It Works The main idea behind high-key lighting is to flood the scene with light, but in a controlled way. You don’t want to just overexposing everything, you are trying to balance the light so the whole scene feels bright but still has shape and depth. You are trying to lift shadows rather than erase them (that is the key differentiator, which in turn won’t make your photos look washed out). The Setup If you are shooting indoors or in a studio, this is the classic setup: A big key light, usually a softbox or umbrella in front of your subject. A fill light or reflector on the opposite side, to brighten any remaining shadows. A background light, aimed at your white backdrop to make sure it stays pure white instead of grey. —> Make sure your background is a bit brighter than your subject (around +1 stop). That is what gives you the clean, white look instead of dull greys. Camera Settings (Indoors) Aperture: f/4 to f/8 ISO: Keep it pretty low (100–400) Shutter speed: Match it to your lighting setup (1/125–1/200s if you are using flash). White balance: Set it manually because auto can sometimes make the whites too warm or grey. How to Do It Outdoors

credits: Godox Godox just announced a new modular lighting setup, the iT32 iFlash and X5 TTL Wireless Flash Trigger, and it is something interesting for photographers who jump between different camera brands. Instead of buying separate flashes for each system, the iT32 lets you swap out the hot shoe to match whatever camera you are shooting with. The flash itself doesn’t have a built-in shoe at all, it connects magnetically to the X5 trigger, which comes in different versions for Canon, Nikon, Sony, Fujifilm, and OM System cameras. The iT32 is compact and simple, about the size of a deck of cards, weighing 170 grams. It has a touchscreen on the back, a tilting and rotating head, and built-in diffuser and reflector panels. It supports full TTL and high-speed sync, along with manual power control from 1/128 to full. There’s also an LED modeling light, wireless 2.4GHz control, and magnetic color filters for creative lighting. Recycle time is as fast as 1.5 seconds, and flash duration can go down to 1/30,000 of a second. The X5 trigger ties the system together. It is both a transmitter and a hot shoe that snaps onto the flash with a magnetic click, instantly syncing the two. You can also use it to control other Godox lights in the X system, not just the iT32. The flash is available to preorder for $79, while each X5 trigger version costs $19.90. You can see the presentation on Godox’s YouTube channel here

Canon has officially introduced the EOS R6 Mark III, the long-awaited successor to the R6 II, and while it looks similar on the outside, the changes inside suggest a more substantial upgrade than first impressions might indicate. The new camera is built around a 32.5-megapixel full-frame sensor, a noticeable jump from the R6 II’s 24.2 megapixels, and one that Canon says it developed alongside its cinema division. It’s paired with the familiar DIGIC X processor, which helps manage the increased data throughput and underpins both its still and video performance. The higher-resolution sensor does mean the camera’s native ISO range now caps at 64,000 instead of 102,400, but that trade-off comes with more detail and less noise in most real-world shooting situations. The increase in resolution doesn’t seem to slow the R6 III down. Using the electronic shutter, it can still shoot full-resolution RAW files at 40 frames per second, or 12 FPS with the mechanical shutter. Canon has added a CFexpress Type B card slot, which roughly doubles the camera’s buffer capacity compared to the R6 II, and includes pre-shooting capture, a feature borrowed from the R1 and R5 II that records a few frames before the shutter is fully pressed. The autofocus system is another hand-me-down from Canon’s higher-end models, now incorporating subject detection that is both faster and more reliable across people, animals, vehicles, and even aircraft. Canon appears to be positioning the R6 III as a middle ground between the accessible R-series cameras and its top-tier R5 II and R1 bodies. It is intended to be a versatile tool, something that can handle sports and wildlife thanks to its speed, but that also delivers enough resolution for landscape and portrait work. The autofocus improvements, in particular, bring it closer to Canon’s professional line, and the added resolution gives users more flexibility for cropping and large-format output. For video users, as noted the camera borrows heavily from Canon’s cinema lineup, particularly the EOS C50. It can record 7K RAW Light at up to 59.95p, oversampled 4K up to 60p, 4K 120p, and Open Gate 7K footage, giving filmmakers multiple capture options from a single camera. Canon has also included Canon Log 2, waveform monitoring, and the focus algorithms found in the Cinema EOS C80 and C400, which improve focus acceleration and deceleration transitions. The move to a full-size HDMI port instead of the micro port used in the R6 II should also make external recording setups more practical. Physically, the R6 Mark III keeps the same form factor as its predecessor, with an almost identical button layout and grip, though it is about 30 grams heavier. It still uses the 3.69-million-dot electronic viewfinder and a 3-inch vari-angle touchscreen, but power now comes from Canon’s newer L6-E6P battery, offering slightly better endurance. The weather sealing and handling remain on par with the rest of the mid-tier R-series cameras. The EOS R6 Mark III will go on sale later this month for $2,799 (body only), with two kit options available, one bundled with the RF 24–105mm f/4L IS USM for $4,049, and another paired with the RF 24–105mm f/4–7.1 IS STM for $3,149. Alongside the camera, Canon also introduced a new standard prime, the RF 45mm f/1.2 STM. It is meant to fill the wide gap between the inexpensive RF 50mm f/1.8 STM and the high-end RF 50mm f/1.2L USM, offering a bright aperture at a more accessible price point. Canon already has several primes around the 50mm mark, but the 45mm focal length gives a slightly wider field of view that may appeal to those who prefer a more natural, documentary-style perspective. The lens has nine elements in seven groups, including a plastic-molded aspherical element (PMo) designed to keep size and cost down. It weighs 346 grams, measures 75mm in length, and takes 67mm filters, making it reasonably compact for an f/1.2 lens. Canon says the optical design is tuned more for character than clinical precision, meaning it won’t match the sharpness or aberration control of its L-series lenses. Instead, it is intended to deliver smoother transitions, gentle falloff, and a more organic rendering. Autofocus is handled by a gear-type STM system with magnetic detection, which is not as quiet or fast as the motors used in Canon’s higher-end glass but helps keep the lens affordable. Like most non-L lenses in Canon’s lineup, the RF 45mm f/1.2 relies on the camera’s in-body lens corrections to manage distortion and vignetting. The use of PMo optics and simpler mechanics makes it noticeably lighter than most f/1.2 lenses, though it’s still about twice the weight of the 50mm f/1.8 STM. The RF 45mm f/1.2 STM will be released in December for $469.99, and is already available for preorder.

credits: Pocket Dispo Pocket Dispo has introduced a new “Pro” version of its vintage-inspired pinhole lens, a rebuild that keeps the spirit of the original but adds some usability improvements. While it looks nearly identical to the first model, the Pocket Dispo Pro has been redesigned from the ground up, featuring a sturdier carbon-fibre composite body and, most notably, a new adjustable focus ring. The Pro version is available for Sony E, Fujifilm X, and Canon RF mounts. Like the original, the Pocket Dispo Pro uses repurposed lenses from old disposable film cameras, hence the name “Dispo.” The lens still has a 28mm focal length and a fixed f/11 aperture, which gives it a huge depth of field and the signature pinhole look. But one of the biggest complaints about the first version was its inability to focus closer than 1.5 meters. The new adjustable focus ring fixes that, allowing for closer focusing distances, though the company hasn’t specified exactly how close it can go. The focus ring itself has a smoother feel this time, with Nyogel Premium Grease used in its mechanism. The Pocket Dispo Pro is currently available for $69.99 as part of an introductory offer, the full retail price will eventually rise to $99.99. The original Pocket Dispo is still around too, it is a bit simpler, made from standard 3D-printed materials instead of carbon fibre, and as mentioned doesn’t have the adjustable focus ring. It does come in a wider range of mounts though, including Sony E, Fujifilm X, Canon RF, Nikon Z, Micro Four Thirds, L-Mount, Canon EOS-M, Canon EF, and Nikon F. Right now, it is priced at $44.99. You can see full details on Pocket Dispo’s website here

credits: Nikon It looks like Nikon’s long-awaited Z9 II won’t be showing up this year after all. According to several reliable sources, the next-generation flagship mirrorless camera has been delayed and is now expected sometime in 2026. Earlier reports pointed to a late 2025 reveal, possibly timed ahead of the Winter Olympics, but that window now seems off the table. The latest information suggests the launch could happen after April 1, 2026, which marks the start of Nikon’s next fiscal year. While the delay might be frustrating for photographers eager for an upgrade, it could also give Nikon more time to polish the Z9 II before release. The original Z9 has been a standout in the professional mirrorless world since 2021, so expectations for its successor are high. Rumours hint at faster processing, improved autofocus, and better heat management, upgrades that would help Nikon stay competitive with Canon and Sony’s latest flagships. Alongside the camera, Nikon is also said to be working on an updated version of its 70-200mm f/2.8 zoom lens. The Nikkor Z 70-200mm f/2.8 Mark II will reportedly replace the current model from 2020, joining the refreshed 24-70mm f/2.8 II that launched earlier this year. Taken together, these updates suggest Nikon is preparing a full refresh of its “Holy Trinity” of pro zoom lenses. Let’s see what the future holds!

credits: Canon After a couple of teasers, Canon officially revealed the EOS R6 Mark III, the long-awaited update to one of its most popular full-frame mirrorless cameras. The new model brings a fresh 32.5-megapixel full-frame sensor and Canon’s latest DIGIC X processor, the same combo found in the Cinema EOS C50. The jump in resolution is notable, about 34% higher than the R6 II, but the native ISO range now tops out at 64,000 instead of 102,400. Despite that, Canon promises faster processing, a deeper buffer thanks to a new CFexpress Type B card slot, and features like pre-capture that were previously reserved for higher-end models like the R1 and R5 II. Canon also pulled its latest autofocus tech straight from those flagship cameras. The R6 Mark III’s Dual Pixel CMOS AF II system gets expanded subject detection, faster tracking, and better recognition performance in low light. Combined with burst shooting up to 40 frames per second using the electronic shutter (or 12 FPS mechanically) the R6 III looks built for just about anything from sports and wildlife to travel and street photography. While the body design stays close to the R6 II, the new version gains a bit more weight, adds a full-size HDMI port, and uses Canon’s newer LP-E6P battery. Video capabilities get a bump too. The R6 III records oversampled 4K/60p from 7K capture, supports 7K RAW Light, Open Gate 7K, 4K/120p, Canon Log 2, and includes advanced focus control algorithms borrowed from Canon’s cinema line. The Canon EOS R6 Mark III will be available later this month for $2,799 (body only), with two kit options also on the way. A closer look at Canon’s new camera, as well as the lens announced alongside it, will follow in this week’s Sunday magazine issue ;)

credits: Capture One Capture One has released version 16.7, adding a handful of new tools and quality-of-life improvements. The update includes seven big new features, along with improved camera support and better tethering stability for several systems. Specifically, Capture One now offers Canon lens profiles for every RF camera, enhanced Fujifilm tethering, and immediate compatibility with new releases like the Fujifilm X-T30 III, Leica M EV1, and Canon C50. One of the biggest additions is the new Combine Masks feature, which lets you merge, subtract, or intersect multiple masks to create more flexible and layered adjustments, all grouped into a single layer. The Retouch Tool Tab has also been reworked and now splits retouching into focused sections like Retouch Skin, Retouch Eyes, and Retouch Teeth, each with its own detection options and sliders. The Blemish Removal and Even Skin tools now include a new “Include Neck Area” toggle for a smoother and more natural finish. Capture One has also added built-in contact sheet creation, which automatically sizes and arranges images for export as PDFs or JPEGs. Beyond that, the update introduces automatic clothing masking in the People Masking tool, HSL readouts for colour precision, and full PSB file support. Capture One’s Live for Studio has been upgraded too, with new keyboard shortcuts, iPad-Mac display syncing, and a “Force to Follow” trigger from connected devices, though older Live versions are not compatible. You can see full details on Capture One’s website here