By Kuebi = Armin Kübelbeck - own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=5618475 What Is Solarization? Solarization (also known as the Sabattier effect) happens when you partly expose a developing photo or film to light, then continue developing it. Instead of ruining the image completely (which exposure to light normally does), it reverses the tones in certain areas → blacks turn silvery, highlights go darker, and you get glowing outlines around shapes. Back in the film days, it was a happy accident. Someone accidentally turned on the light in the darkroom mid-development, and instead of tossing it, they realised it actually looked pretty good. Today, you can do it digitally too of course, but the vibe isn’t really the same. How It Works (Analog Version) In traditional film photography, here is roughly what happens: You start developing your photo like normal in the darkroom. Midway through development, you briefly expose it to light (just a BIT, maybe half a second). You then keep developing as usual. That is it! Some parts will stay normal, others flip their tones, and everything goes a bit more metallic. You can look at it as controlled sabotage. You are messing with the chemical reaction while it is happening, and every small change in timing, light strength, exposure will affect the result. That is precisely why no two solarized photos ever look exactly the same. Doing It Digitally

credits: Pixii French camera company Pixii is teasing a brand-new camera, and it looks like this one might be a real departure from what we have seen before. Up until now, all of Pixii’s cameras (the Pixii, Pixii+, and Pixii Max) have stuck to roughly the same minimalist, rangefinder-style design. The Max, released last year, was the company’s first full-frame model and used a 24-megapixel sensor that earned a lot of praise. Even before that, the 2023 APS-C version of the original Pixii turned heads for being the first digital rangefinder to use a 64-bit processor. This new model, though, seems to be different. So far, Pixii has only shared one dark teaser image with the tagline “We invent the future,” but there is already plenty to pick apart. The most obvious change is the missing top LCD, which hints that the new camera might finally have a rear display, something no Pixii has had before. The shutter button has a subtle orange glow, there is a command dial next to it, and the hot shoe might now sit directly above the lens mount instead of off to the side, though it is hard to really tell from the teaser. What does seem consistent is the rangefinder window, which appears similar to previous Pixii models, hinting that the company isn’t abandoning its rangefinder roots entirely. Still, this looks like the first real overhaul of the body design since Pixii entered the scene back in 2018. Let’s see what the future holds! You can see full details on Pixii’s website here

credits: Viltrox After a busy few weeks that saw the release of the Viltrox 50mm f/1.4 Pro and AF 85mm f/2 Evo, the Chinese lens maker decided to take things online with an ‘Ask Me Anything’ (AMA) on Reddit. The session gave people a rare chance to ask direct questions about Viltrox’s current lineup and future plans and the company actually shared some interesting details about what is coming next. When asked about the possibility of zoom or macro lenses, Viltrox confirmed that a zoom lens is already in development, though it won’t be released before 2026. A macro lens, on the other hand, isn’t planned for the near future. The company didn’t reveal any specifics about the zoom, but the confirmation alone was enough to get people’s attention. In the same thread, Viltrox mentioned that a 35mm Evo lens has officially been added to its customer feedback database, and that the R&D team is also considering a 28mm f/2 full-frame prime, both of which have been popular user requests. The discussion also touched on Viltrox’s expanding Evo series and its entry into the L-Mount Alliance. The company confirmed that Evo lenses will focus on full-frame Sony E and Nikon Z mounts first, with the Z-mount 85mm f/2 Evoarriving on November 5. As for L-Mount lenses, those are expected sometime next year, with Viltrox saying they are being co-developed alongside Leica’s R&D team. The company also cleared up one lingering rumour, despite some speculation, Viltrox is not working on its own camera. You can see Viltrox’s full AMA on Reddit here

credits: Leica Leica has officially unveiled the M EV1, the company’s first M-series camera with a built-in electronic viewfinder, a major shift for a lineup that has relied on optical rangefinders for more than 70 years. Leica says the new model marks a “significant milestone” for the brand, aiming to combine everything people love about the M lineup with the modern benefits of an EVF. The 5.76-million-dot OLED viewfinder offers 0.76x magnification and gives you live exposure previews, focus zoom, and manual focus aids, all without needing to use the rear screen. It even has built-in diopter adjustment from -4 to +2 and can show exposure info around the frame while keeping the image itself clear. While it looks and feels like a familiar M, the EV1 changes how it is used. The usual rangefinder lever now switches between focus peaking, magnification, and digital zoom (1.3x and 1.8x) for JPEGs. Inside, it is powered by the same 60-megapixel BSI CMOS sensor from the M11 series, with Triple Resolution Technology that lets users choose between 60, 36, or 18MP files. It runs on Leica’s Maestro III processor, has 64GB of built-in memory, a UHS-II SD card slot, and, as always, is handmade in Germany. Despite the new tech, it still keeps that classic Leica build and feel, just lighter, about 50 grams less than the M11-P. Design-wise, it gets a few fresh touches, including a diamond-pattern leatherette similar to the Q3, setting it apart from the rest of the M lineup. Like the M11-P, the M EV1 also supports Content Credentials, embedding authenticity data directly into each image. The camera is priced at $8,995, which makes it about $850 cheaper than the M11-P. It is already rolling out globally, though U.S. availability is on hold for now while Leica waits on FCC approval. You can see full details on Leica’s website here

credits: ON1 ON1 Photo RAW 2026 is here, it is the latest version of ON1’s photo editing software, which focuses on faster AI tools, improved masking, and a few notable workflow changes. The update brings smarter AI masking and selection tools that better detect subjects and backgrounds, producing cleaner edges with less manual tweaking. RAW processing has also been refined for more accurate colour handling and improved overall image quality. A new Double Exposure filter joins the lineup, letting you create layered, composite-style images directly within the app. The Effects panel has been reorganised, now offering a favourites section, a search option when adding filters, and new “Starting Point” presets. ON1 has also added four new creative filters and updated tools for perspective correction. The software now supports grayscale edits and introduces a Negative Mode for working with film scans. The interface itself has been streamlined to make navigation a bit smoother, especially when working with masks and layers. Resize AI 2026 is built in for upscaling, and the program can still run as a standalone editor or as a plug-in for Lightroom and Photoshop. You can see full details on ON1’s website here

credits: Lomography Lomography just launched the Lomo MC-A, a brand-new 35mm film camera that comes with a built-in 32mm f/2.8 autofocus lens. True to the brand’s analog spirit, the MC-A is designed as a fully manual film camera with modern touches, including autofocus and a USB-C rechargeable battery. The body is made of metal and comes in black or silver. Lomography calls it “unapologetically analog,” and says the multi-coated 32mm f/2.8 lens delivers that distinct, character-filled film look the company is known for. The MC-A offers three shooting modes, auto, aperture priority, and full manual. In auto mode, the camera handles exposure for you, while aperture priority and manual give you the ability to adjust aperture, shutter speed, ISO, and flash settings. The built-in flash has a guide number of 9 and supports automatic and first-curtain sync modes, along with a PC sync portfor external flash setups. Lomography’s color gel filters are also compatible for those who want to experiment with lighting effects. The autofocus system is still a bit of a mystery, but the lens can focus as close as 0.4 meters (1.3 feet), and there is also a zone focusing option for faster shooting. The lens has five elements in five groups, an aperture range from f/2.8 to f/16, and a 30.5mm filter thread for accessories like UV filters or Lomography’s Splitzer. Shutter speeds range from bulb to 1/500s, and the camera supports manual ISO from 12 to 3200 with DX code reading. Film advance is manual, and multiple exposures are unlimited. The MC-A measures 125.8 x 69.5 x 42mm, weighs 332 grams, and runs on a rechargeable CR2 battery via USB-C. The Lomo MC-A is priced at $549. You can see full details and sample shots on Lomography’s website here

credits: Tamron Tamron has officially announced that its new 25–200mm f/2.8–5.6 Di III VXD G2 lens will be released on November 20, 2025, priced at $899. The lens, first teased back in September, is the follow-up to the 28–200mm f/2.8–5.6 Di III RXD and brings a few key changes, most notably a wider 25mm starting point while keeping the same aperture range. That extra bit of width might not sound like much on paper, but it makes the lens more versatile for travel or general everyday shooting. The lens is built with 18 elements in 14 groups and features a nine-blade aperture diaphragm, promising smoother background blur and improved overall rendering. Minimum focus distance is 6.3 inches (0.16 meters) at the wide end and 31.5 inches (0.8 meters) at the telephoto end, offering a maximum magnification ratio of 1:1.9, effectively giving it “half-macro” capability. Like the previous version, it is designed for Sony E-mount full-frame cameras, and Tamron says the new VXD (Voice-coil eXtreme-torque Drive) autofocus system is faster, quieter, and more precise than before. Tamron also notes that the G2 version manages to keep the same compact size as the original while offering better image quality across the zoom range. Its timing, coming just weeks after Sigma announced its 20–200mm f/3.5–6.3 DG Contemporary lens, seems deliberate, especially since Tamron’s version undercuts Sigma’s price by about $100. You can see full details on Tamron’s website here

Photo by: @takumi_0491 Let’s Analyse this Image: Composition & Framing What works well: The framing is really nice, those two concrete columns left and right work perfectly as natural frame, they draw you straight toward the middle where the action is happening, just like looking through a window. The line of light on the floor is probably the most interesting part + it is what makes this shot unique —> it works almost like a secret leading line, you notice it first, follow it along, and then realise it is pointing you to the woman. It is funny because it kind of works like a boomerang: your eye starts just before the subject (my eye at least) because this is were most of the visual weight is but you notice the light first and because of that you then move up with it, when you are at the top there is nothing more left to see and you get pulled back down along the line to the woman again. That flow gives the image a rhythm that feels very interesting. The placement of the woman feels very intentional, she is off-center to the left, which gives the shot some asymmetry and movement. The light itself acts like the balance point + it is sort of this ‘‘follow the light’’ metaphor → the light carves out the way for the woman. What could be better: The depth is not super strong here. The floor almost feels like it is turning vertical, making the whole shot feel a bit flat/2D like. Shooting from a slightly lower angle could have added more depth, but honestly, that might have come at the cost of losing the view of the light and that light is the main character here, so it is kind of worth the trade-off. The right column is a bit heavy visually, it is thicker and darker, which gives that side just a touch more weight (more on that down below). Light & Atmosphere What works well: Light here is pretty good, it is a nice mix of soft and directional. The way it hits the floor creates this beautiful arc of highlights that instantly grabs your attention the moment you see it. As mentioned before that curved shape of light is what makes this shot special. It really is one of those interesting frames that makes you stop and look for a second. The atmosphere fits with the scene, it all feels kind of still and meditative. What could be better: The contrast between the light and shadow is a bit strong, it gives mood and really carves out the light S-line yes, but lifting the shadows just slightly could help bring out a little more texture on the wooden floor. The light is the hero here, however it does fall off (in therms of brightness) towards the end/top. Just a touch more punch there (again only the last bit) would make the photo/line feel more balanced. Emotion & Story

credits: SG-Image SG-Image, a relatively new Chinese lens maker that has mostly been active in Asia so far, just launched a new AF 85mm f/1.8 STM lens for Sony E-mount. There are also signs that a Z-mount version might be on the way. The lens uses an optical design of 11 elements in 9 groups, including three high-refractive index elements and one low-dispersion element to help control colour fringing. It uses an eight-blade aperture, which should give backgrounds a nice rounded bokeh look. Physically, the lens comes in at 380 grams, measuring 89mm long with a 71mm diameter, and it takes 58mm filters. The minimum focusing distance is 80 centimeters, with a maximum magnification of 1:7.7, which is about average for this kind of lens. Autofocus is handled by a quiet STM motor, making it suitable not just for stills but also for video work. SG-Image has emphasised the low weight and quiet AF drive as selling points, though since the lens is brand new, there aren’t any independent reviews yet. It will also be interesting to see how it performs when it comes to edge sharpness and distortion once proper tests start appearing. On the outside, the 85mm f/1.8 STM features an aperture ring and a focus mode switch. SG-Image claims it can handle sensors up to 60 megapixels, which, if true, would make it a decent match even for higher-end Sony bodies. The lens is already available in some markets for around €265 (exchange rate) though it hasn’t appeared at major Western retailers just yet.

credits: Fujifilm Fujifilm is launching a new camera and lens this week and has started teasing the announcement with a short video across its social media channels. The clip doesn’t give too much away, but it does show the outlines of what looks like the X-T30 III along with a new XC 13–33mm f/3.5–6.3 OIS kit lens. Both are expected to be officially unveiled on October 23, though it is not clear yet if Fujifilm plans to hold a livestream for the reveal. The teaser at least confirms one popular rumour, the new model will feature a film simulation dial instead of the standard mode dial, much like the X-T30 II. In terms of what is inside, it sounds like the camera will stick with the familiar 26.1-megapixel X-Trans CMOS sensor, but this time paired with Fujifilm’s newer fifth-generation processor. That should mean faster autofocus, better image processing, and cleaner results in low light. The X-T30 III could end up filling the gap between the X-M5 and X-T50, and might even serve as a follow-up to the discontinued X-S20. What is still unclear is whether Fujifilm will bring in-body image stabilisation to this model, something a lot of people are hoping for. As for price, nothing is official yet, but it will likely land somewhere between the $1040/€899 X-M5 and the $1472/€1,269 X-T50. Aside from a few tweaks, most of the specs are expected to stay pretty close to the previous version. We will find out for sure when the full announcement drops on October 23. You can see Fujifilm’s teaser video on Instagram here

credits: Viltrox Viltrox has kicked off a new series of fast and affordable full-frame prime lenses called Evo, starting with the AF 85mm f/2 Evo for Sony E-mount cameras. The company describes the new lens as a reimagining of the classic portrait focal length. Inside, it features 10 elements in 8 groups, including two extra-low dispersion and two high-refractive index elements to reduce chromatic aberration and maintain sharpness across the frame. The nine-blade aperture and f/2 maximum aperture should deliver smooth background blur while still keeping enough depth for versatile portrait shooting. At 340 grams and 76 millimeters long, the 85mm f/2 Evo is considerably lighter and smaller than Viltrox’s other 85mm options, such as the f/1.4 Pro (800 grams) or f/1.8 II (484 grams). The trade-off is a slightly slower aperture, but the compact size makes it easier to carry around of course. The lens includes a rubber-sealed mount for basic weather resistance, along with an AF/MF switch, an aperture control ring, and a customisable function button. Build quality appears solid, continuing Viltrox’s trend of offering full metal-bodied lenses. Autofocus is handled by an STM motor that promises quick and quiet focusing for both photo and video use, with full support for Sony’s eye- and face-detection systems. The minimum focusing distance is 0.74 meters, giving a maximum magnification of 0.13x, about what you would expect for an 85mm portrait lens. The Viltrox AF 85mm f/2 Evo is available for Sony full-frame E-mount cameras at a price of $275. You can see full details and sample shots on Viltrox’s website here

credits: Canon What Is Time Stacking Photography? Time stacking is what happens when you take a bunch of photos of the same scene over a period of time and then combine them later into one single image. Instead of just one single moment, you get a picture that shows movement/change. It is very similar to long exposure, however instead of leaving your shutter open for a few minutes or hours, you take hundreds of quick shots and “stack” them together afterward. How It Works This is the basic idea, laid out chronologically: You set your camera on a tripod and shoot a time-lapse, one frame every few seconds or minutes. Later, you take all those photos and blend them together. The stacking merges the changes from each image (common subjects are clouds but also stars) into one composite photo that looks like a long exposure just a bit more surreal and painterly. What You Need A camera that can shoot in manual mode. A tripod (absolutely essential). An intervalometer or built-in time-lapse mode to automatically take shots over time. Editing software with a stacking program/feature —> Photoshop, StarStaX etc. Setting Up Your Shot