credits: Sony Sony just pulled the curtain back on a pretty wild new sensor, the IMX927. It is a square, backside-illuminated stacked CMOS chip with a global shutter that shows off what Sony’s sensor division is capable of right now. At 105 megapixels and up to 100 frames per second, it is one of the most ambitious combinations of speed and resolution we have seen from any sensor. The IMX927 measures 39.7mm across the diagonal, which makes it a bit smaller than a full-frame sensor, but still on the large side. The output is a perfectly square 10,272 by 10,272 pixels, and thanks to Sony’s Pregius S global shutter tech, it avoids the rolling shutter artifacts you would normally see at high frame rates. Depending on the bit depth, it can push out 112 FPS at 8-bit, 102 FPS at 10-bit, or 73 FPS at 12-bit. Each pixel is just 2.74 microns, but the stacked, back-illuminated design gives it strong sensitivity and decent saturation capacity despite the small size. Sony is pitching it for things like semiconductor inspection, flat-panel display testing, and other jobs where you need sharp, distortion-free imaging at speed. Don’t expect this exact sensor to appear in a consumer camera, but tech like this (especially the high-resolution global shutter design) could eventually trickle down into future mirrorless models. You can see full details on Sony’s website here

What Is Defocused Firework Photography? Normally when you shoot fireworks, you are trying to get them super sharp, however you can actually do the opposite. If you throw the fireworks out of focus on purpose, they turn into abstract blobs of colour that look like flowers, jellyfish, or watercolour splashes in the sky. How To Do It

credits: TTArtisan TTArtisan’s compact AF 40mm f/2 lens, previously released for Sony E and Nikon Z, is now officially available for L-mount cameras as well. At 40mm, the lens sits in between the classic 35mm and 50mm fields of view, offering a slightly wider but still very natural perspective that works well for almost everything. The optical construction includes nine elements in six groups, with two high-index elements, an extra-low-dispersion glass, and an aspherical piece to help keep chromatic aberrations under control. Aperture runs from f/2 to f/16 with seven blades, and there’s a clicked aperture ring for those who like manual adjustment. Autofocus is driven by a stepping motor with a lead screw drive, which keeps operation smooth and quiet enough to suit video work as well as stills. Close focusing down to 0.4 meters adds a bit of flexibility for tighter compositions, and the lens has a 52mm filter thread. Physically, the lens sticks to TTArtisan’s usual minimal, all-metal build. It weighs 167 grams, measures 44mm long, and has a 61mm diameter. There is no weather sealing and no built-in stabilisation, though paired with an IBIS-equipped camera it should be steady enough for most shooting situations. The TTArtisan AF 40mm f/2 is priced at $168. You can see full details on Pergear’s website here

credits: Canon If you are shooting with a Canon EOS R camera and ProGrade SD cards, there is a small but important update you will want to download. ProGrade has found that some of its SD cards aren’t being recognised in certain Canon models after recent firmware updates, specifically the EOS R5 Mark II (firmware 1.1.1), EOS R5 (firmware 2.2.0), and EOS R3 (firmware 1.9.0). The issue doesn’t affect ProGrade’s CFexpress Type B cards, which many Canon users rely on, but if you are using SDs you might have run into some unexpected compatibility problems. The problem comes down to how these cameras now read SD cards compared to earlier firmware versions. ProGrade’s Refresh Pro software, which is designed to sanitise and reformat its cards to restore performance, wasn’t outputting cards in a way that matched up with the new Canon firmware. That meant some cards were not showing up at all once sanitised. To address this, ProGrade has updated Refresh Pro to version 4.0.4, which adjusts how the software handles its sanitisation process. If your SD card isn’t recognised by one of the cameras mentioned, all you need to do is download the latest version of Refresh Pro, run the sanitise process again, and the card should work normally. It is a relatively quick solution compared to similar problems in the past, earlier this year SanDisk users had to deal with corrupted files on the R5 Mark II and, in some cases, full-on warranty replacements. You can download Refresh Pro for free here

Photo by: @blowithand Let’s Analyse this Image: Light & Atmosphere What works well: The spotlight effect from the headlights on the man is pretty great, it isolates him perfectly and makes sure your eye goes straight to the subject. The lights literally set the frame/scene. That same light makes his silhouette very crisp against the glowing street + we actually get to see him in a bit more detail, which is definitely a positive (more on that below, in the storytelling part). The visible rain in the light adds a ton of atmosphere and makes the whole scene feel moody. What could be better: The headlights are a little strong, blowing out parts of the road and killing some detail. The “AQUILA CLINIC” sign is also a bit bright, so it pulls attention away from the subject, however it does help a lot with the colour balance in this image so I personally would not get rid of it, only tone it down slightly. The shadows in the upper part of the frame are very deep that you lose any sense of the surrounding buildings or city. Composition & Framing What works well: Again, the man is placed perfectly, right in the beam of light, at the strongest point of the frame. The diagonal angle of the street running through the shot (as well as the fact our subject is off centre) gives it a nice flow and stops it from feeling static. The buildings and parked cars also act as framing elements that keep the focus in near our subject, where it belongs. What could be better: The top section of the photo feels a little too empty/imbalanced (compared to the bottom) it’s just a block of black space that doesn’t add much, again just lifting that darkness there could help a lot. The cars, as well as all the items on and around the street do make for a cluttered look and that might bother some people. In my opinion though, that is just street photography + it is a documentation of the cities character. Emotion & Story What works well: The man rushing with his umbrella tells a clear little story, you can see his shoulder pulled up, like he is trying to protect himself from the rain, he has a short sleeved T-shirt on so he probably is a bit cold as well + that also maybe means he did not expect it to rain in the first place etc. (this is where a bit more detail on the silhouette pays off —> it just helps the viewer paint/imagine a much clearer story). The rain itself makes the scene feel more urgent and adds to the mood. Having just one person makes the narrative simple and strong, your attention doesn’t wander.

credits: Canon Canon looks like it isn’t quite done for the year. After September’s round of announcements: the EOS C50 cinema camera, the RF 85mm f/1.4 L VCM, and a new compact model, it now seems the company has at least two more events planned before 2025 wraps up. According to Canonrumors, sources say the events are scheduled for November 16 and November 26. The big question is what Canon will actually show. The most likely candidate is the EOS R6 Mark III, which has been rumoured for months as the follow-up to the popular R6 Mark II. Some say it is ready to go this year, others think Canon may hold it back for early 2026 to tie in with CP+. There has also been a bit of noise about an EOS R7 Mark II, though talk around that one has been more low-key. If the R6 Mark III does land in November, it will be hitting shelves around the same time Sony is expected to roll out its A7 V. Lenses are also likely to be part of the mix. The RF 300-600mm f/4-5.6 L IS USM has been one of the most talked-about upcoming lenses, and it wouldn’t be surprising to see it appear. Recent surveys hint Canon has also been testing an RF 40mm f/1.2 STM and an RF 20-50mm f/4 PZ. And while the new VCM hybrid lens line isn’t expected until 2026, Canon could always give an early look. Whatever ends up being revealed, November is shaping up to be an interesting month for Canon fans.

credits: Manual Manual, the New York City brand best known for their disposable and reusable film cameras, has taken a step into digital with the launch of the Holo, a point-and-shoot with an early 2000s inspired look. The camera comes in four translucent colours, clear, green, pink, and blue, and is meant to tap into the compact camera revival that has been happening in recent years. On paper, the Holo claims a 50-megapixel sensor, but the details stop there. The built-in zoom lens is marked 4–22.2mm, which likely works out to something around a 24mm equivalent at the wide end, given the tiny sensor inside. It only shoots JPEGs, video maxes out at 1080p, and the flash is just a simple LED. You do get a few extras like a 16x digital zoom, some basic anti-shake, 2.8-inch rear screen and a microSD slot. A 32GB card is included, along with a wrist strap, dust bag, and USB-C charger. But the Holo is not really about specs, Manual founder Malcom Dia put it pretty plainly, saying the Holo was made as “a tool for play, where imperfection becomes art.” The Manual Holo is priced at $95. You can see full details on Manual’s website here

credits: Nikon Nikon has had to pull the plug on one of the Z6 III’s headline features after a serious problem came up. The big firmware update in late August introduced C2PA support, a system meant to verify whether a photo is authentic or altered. But photographer Adam Horshack found a way around it almost immediately. Nikon has now suspended the service, revoked all existing certificates, and emailed users to say the feature won’t come back until the vulnerability is properly fixed. Horshack’s discovery showed just how shaky things were. At first, he proved the Z6 III could sign files that weren’t even taken with a certified camera. Then he went a step further, creating a fully AI-generated photo (in this case, a pug flying an airplane (seen above)) and managed to get it signed and validated by Nikon’s system. He pulled it off by embedding the AI image into a Nikon NEF file and using the camera’s multiple exposure function, essentially tricking the system into treating it as a real shot. The scary part is that most validation tools showed the fake as legitimate. For now, suspending the service only stops new users from adding certificates. Those who already have them can still sign images if they avoid syncing their cameras with Nikon’s cloud. The bigger issue is that most of the current validation tools don’t check whether a certificate has been revoked, so fakes can still slip through unless you dig deeper. Nikon is expected to release another firmware update to patch the hole soon.

credits: Panasonic Panasonic just announced its first ultra-telephoto zoom for the full-frame L-mount system: the Lumix S 100-500mm f/5-7.1 OIS. At its longest, you get 500mm of reach, and if you throw on a 2x teleconverter, it stretches all the way to 1000mm. Even with that range, the lens keeps things fairly manageable at about 1.3 kilograms (2.8 pounds) before you add the hood, caps, and tripod collar. Inside, the lens is built from 19 elements in 12 groups, with a mix of UED, ED, and UHR glass to keep sharpness up and aberrations under control. Aperture runs from f/5 to f/29 on the short end, and f/7.1 to f/40 when zoomed all the way out. It also has an 11-blade diaphragm for smoother background blur, plus a big 82mm filter thread up front. For close work, it focuses down to 0.8 meters at 100mm and 1.5 meters at 500mm, giving you up to 0.36x magnification at the long end. Autofocus is powered by a Dual Phase Linear Motor that Panasonic says is quick, accurate, and basically silent. Stabilisation is handled by Dual I.S. 2, which promises up to seven stops of correction when paired with the right Lumix body. For video, there’s focus breathing suppression and micro-step aperture control to smooth out exposure changes. Panasonic also added some handy extras, like a customisable focus ring and assignable function button. The lens if available for preorder at $2,099.99. You can see full details on B&H’s website here

photo by; @joao.bernardino Let’s Analyse this Image: Composition & Framing What works well: The centered perspective works really nicely. The lines of the street and tram tracks pull you straight into the middle. Leading lines are pretty solid here —> the cobblestone lines, the tram tracks, even the lamps all guide you down the street and into the distance. It all adds depth and keeps the eye moving. Having our subject dead centre works, they feel like the natural anchor in the frame. And the way the lamps converge right where the person is walking is a really nice touch. They frame them in a subtle way/lead your eyes directly toward them. The cobblestone foreground also adds a good textured entry point into the shot, kind of grounding the whole shot. What could be better: The top framing cuts the buildings a little. A bit more space would have helped them breathe. The very bottom of the frame feels slightly too heavy, meaning too much empty cobblestone before you actually get to the subject. Cropping a little tighter could keep the focus stronger. Light & Atmosphere What works well: The atmosphere is definitely strong, the fog diffuses the light and gives the scene a super moody and cinematic feel. The way the light falls on the cobblestones in the foreground gives some really nice texture as well. The warm orange tones of the lamps balance nicely against the dark sky/background, which makes the scene feel moody but not flat.

credits: Godox The Godox X3 Pro TTL wireless flash trigger is here, and it is essentially a beefed-up version of the earlier X3 with a larger 2.4-inch touchscreen. The idea is to give photographers more direct control when having complicated lighting setups. You can monitor four groups at once on the screen, but it also supports up to 16 in total. Each group can be dialled in separately, or you can sync changes across the board. The trigger still runs on Godox’s 2.4GHz wireless X system with a range of about 100 meters, but now Bluetooth is built in too. That means you can link it up with the Godox Flash App on a phone or tablet to make changes remotely. For more specialised work, there are built-in modes for things like time-lapse or long exposures, letting you set custom intervals and durations straight from the screen. There is also compatibility with Sekonic’s L-858 light meters, which allows for more precise flash metering in studio environments. The X3 Pro is a little heavier than its predecessor at 103 grams (about double the weight). The internal battery lasts up to a month on standby and recharges in around two hours via USB-C. Godox is offering five versions to cover most major systems: Canon, Nikon, Sony, Fujifilm, and OM System/Panasonic. Features include TTL, manual, multi-flash, high-speed sync, and both first- and second-curtain sync. The X3 Pro is available for $99. You can see full details on Godox’s website here

credits: Brightin Star Brightin Star has introduced the 10mm f/5.6 PRO fisheye, a compact manual-focus lens available for Micro Four Thirds, Canon RF, Fujifilm X, Nikon Z, and Sony E mounts. With a 175° angle of view, the lens delivers a very wide perspective, making it suitable for cityscapes, night skies, or other scenes where you want to capture the full environment. The lens itself features a simple optical design with six elements in five groups and a five-bladed aperture diaphragm. Aperture settings are stepped, ranging from f/5.6 to f/22. The minimum focusing distance is 0.2 meters, and the optical layout is intended to maximise depth of field. Brightin Star has also kept the focusing system simple, it is built around a hyperfocal distance design, which means there is no need to adjust focus, everything from close to far remains sharp. Physically, the lens measures 2 centimetres thick and weighs about 100 grams, making it one of the smallest fisheye options available, though it does not support filters. The build includes a minimalist retro-style exterior, a focus lever, and a hollow lens hood. Brightin Star’s 10mm f/5.6 PRO fisheye lens is available for all mounts at $100. You can see full details and sample shots on Brightin Star’s website here