credits: Brightin Star Brightin Star’s X-Slim 28mm f/2.8 Pancake Lens for Leica M Mount was originally launched in black in 2023, and now it is available in a new “Liquid Silver” finish. Underneath the new finish, it is the same tiny full-frame manual-focus lens as before. From the lens mount, it sticks out by just 9.9mm, while the complete lens measures 21.5mm long because part of the optical construction extends back into the mount. Weight comes in at 125g. Inside, the 28mm f/2.8 uses six elements arranged in five groups, paired with a nine-blade aperture diaphragm. Focusing is completely manual, with a range from 0.7m to infinity, and the lens includes proper rangefinder coupling when used natively on compatible Leica M cameras. Despite being designed for M Mount, it can also be adapted to quite a few other mirrorless systems. Brightin Star offers kits with adapters for Canon RF, Nikon Z, Sony E, Fujifilm X, L-Mount, and Fujifilm GFX, although adding an adapter naturally takes away some of the appeal of that extremely thin 9.9mm profile. One little thing that has changed is that now instead of the yellow markings of the original, the Liquid Silver version uses black and red markings. Brightin Star has also shared a rare bit of sales information, saying that it has sold nearly 10,000 units of the original black version since its introduction. The new Brightin Star X-Slim 28mm f/2.8 Liquid Silver is available for $318.99.

credits: Adaptalux’s Adaptalux has added a smaller controller to its macro photography lighting system with the new Pod Mini 2.0. It is essentially the little brother to the company’s larger Control Pod 3.0 and acts as the connection point between Adaptalux’s different Lighting Arms and the rest of the system. Where the Control Pod has five lighting ports, the Pod Mini 2.0 has a single port, along with physical controls for brightness and power. It also has Bluetooth built in, so settings can be adjusted remotely without having to touch the unit during a shoot. The Pod Mini 2.0 works with Adaptalux’s LED and Xenon Flash Lighting Arms, giving you the option of continuous light or flash depending on what you are shooting. Power comes from a built-in rechargeable battery, with Adaptalux claiming up to eight hours of runtime. Charging is handled over USB-C, and the pod can continue operating while plugged in. There is also a standard 1/4-20 metal thread, so it can be mounted directly to a camera, tripod, or other support. Adaptalux has updated its smartphone app at the same time, adding multi-pod connectivity so several controllers and lights can be adjusted from one place over Bluetooth. That multi-pod support is where the smaller controller becomes particularly useful. Rather than plugging several lights into one larger Control Pod, you can place multiple Pod Mini units around a macro setup, which gives you more freedom over where each light sits. Multiple pods can also be combined with different types and colours of Lighting Arms for more complicated setups. The Adaptalux Pod Mini 2.0 costs $102.30 on its own, with Lighting Arms sold separately.

credits: Cosina Cosina has officially announced silver versions of two of its Voigtländer lenses for Fujifilm X Mount, the Nokton 23mm f/1.2 Aspherical and Nokton 35mm f/1.2. These are not new optical designs, the black versions originally arrived in 2022 and 2021, but they are the first additions to Voigtländer’s Fujifilm lineup since the Colour-Skopar 18mm f/2.8 in early 2024. Both are compact, fully manual-focus primes with fast f/1.2 apertures and electronic communication with compatible Fujifilm cameras. The 23mm gives roughly a 35mm full-frame equivalent field of view, while the 35mm works out to about 52.5mm equivalent. The Nokton 23mm f/1.2 uses 10 elements in six groups and has a 12-blade aperture, with the aperture ring clicking in 1/3-stop increments. Minimum focusing distance is a pretty close 0.18m, giving a maximum reproduction ratio of 1:4.9. It is also small for an f/1.2 prime, measuring 43.8mm long and weighing 219g. The 35mm is even smaller and lighter at 39.8mm and 196g. Its optical design uses eight elements in six groups in a traditional double-Gauss arrangement, again paired with a 12-blade aperture. Minimum focus comes in at 0.3m, with a maximum reproduction ratio of 1:6.7. Both use all-metal focusing mechanisms, with Cosina putting quite a bit of emphasis on the feel and resistance of the manual focus rings. One thing worth checking before buying either lens is camera compatibility. While both have electronic contacts, full electronic communication is not available with every Fujifilm X body, particularly some older models. Cameras from around the X-T2 generation onward generally fare better, while models such as the original X-T1 do not get full communication. The Nokton 35mm f/1.2 Silver is expected to ship in September, followed by the 23mm f/1.2 Silver in October. Worldwide pricing has not been confirmed yet, but Japanese prices are ¥81,000 for the 35mm and ¥93,000 for the 23mm, currently equivalent to roughly $509 and $584, respectively.

credits: Nikon Nikon’s upcoming product schedule may have hit a bit of a roadblock, with multiple sources now claiming that almost all of the company’s new products are facing delays. And apparently this does not just affect cameras either, new lenses and firmware updates have reportedly been pushed back as well. That is disappointing considering the past few months of rumours had been pointing toward a fairly busy autumn for Nikon. Among the cameras being discussed were a compact full-frame model in the same general category as the Sony A7C II and a new APS-C flagship commonly referred to as the Nikon Z70, a name that even briefly appeared on an official Apple support page. The timing makes the situation particularly unusual because Nikon has not announced a single new camera so far in 2026. On the lens side, we have seen the Nikkor Z 70-200mm f/2.8 VR S II and Z 24-105mm f/4-7.1, while the Z 120-300mm f/2.8 TC VR S has already been confirmed as coming later. Historically, though, Nikon going through an entire calendar year without introducing a new camera would be extremely unusual. Over the past two decades, the company has averaged roughly 3.3 new cameras and 7.4 new lenses per year, so 2026 has been noticeably quiet by comparison. Exactly how long these reported delays will last is not clear, and there is currently no explanation for what is causing them. It would still be surprising to see Nikon finish 2026 without at least one new camera announcement, particularly with the important Christmas shopping period approaching. Nikon’s latest annual report also points toward strong sales expectations over Christmas and into spring 2027. Whether one of the previously rumoured cameras can still squeeze into the end of this year or Nikon’s bigger launches will now slip into 2027 remains to be seen.

credits: Pentax The long-awaited new Pentax DSLR may finally have moved beyond the planning stage, with a well-known and generally reliable internal source claiming that work on the camera is already underway. The latest information suggests the camera is no longer simply being considered and has now entered production or active development. That said, there is still some ambiguity around the original wording, as “production” could refer to actual manufacturing or simply the development process moving forward. Either way, it is another sign that a new Pentax DSLR is getting closer after earlier reports suggested a new model would arrive sometime in 2026. Exactly which camera Pentax is working on remains unknown. Two obvious possibilities are a successor to the K-3 Mark III or the long-rumoured K-1 Mark III. The timing is particularly interesting because Pentax has been thinning out its DSLR lineup, with the K-3 Mark III, K-3 Mark III Monochrome, and KF already dropped. The situation around the Pentax name itself has also become clearer, with trademark rights in several regions being transferred from Hoya to Ricoh Imaging over the past few years. The Pentax WG-90 waterproof compact has been discontinued as well, with a replacement expected before the end of 2026.

credits: Viltrox Viltrox is getting ready for BIRTV 2026 in Beijing with five new lenses, and the company’s latest teaser gives us a first look of what is coming. The show runs from August 19 to 22, and the lineup appears to include one full-frame f/1.4 Pro lens, two APS-C f/1.2 Pro lenses, and two Air-series primes for L-Mount. Viltrox has not revealed focal lengths, prices, filter sizes, or even the mounts for the three Pro lenses yet, so there are still quite a few details missing ahead of the show. Rumours do give us some clues, though. The full-frame Pro lens is expected to be a 35mm f/1.4, while the two APS-C models could be an 18mm f/1.2 and 40mm f/1.2. The two Air lenses are the only ones specifically confirmed for L-Mount, with current speculation pointing toward a 50mm f/2 and 14mm f/4. If those focal lengths turn out to be correct, this would also mark another expansion of Viltrox’s presence on L-Mount. For now, however, they are still rumours, the teaser itself only confirms the formats, aperture classes, and Air/Pro families. There is also some unfinished business elsewhere in Viltrox’s lineup. Its first Micro Four Thirds lenses, the AF 25mm f/1.7 Air and AF 35mm f/1.7 Air, were announced in China in late July, but neither has reached Viltrox’s global store yet. Meanwhile, the company recently expanded its silver X-mount lineup with the AF 9mm f/2.8, 15mm f/1.7, and 25mm f/1.7 Air. Those are simply silver versions of the existing black lenses, joining the 35mm and 56mm Air primes that were already offered in silver. The more important news should come at BIRTV, where we will hopefully get the full specifications for those five new lenses.

credits: Canon The Canon EOS R8 Mark II may be going in a slightly different direction than many of us expected, especially when it comes to the sensor. Until now, rumours had pointed toward Canon using the same 32.5MP full-frame sensor found in the EOS R6 Mark III and EOS C50. The latest insider information now suggests otherwise, with the R8 Mark II reportedly getting a 24MP full-frame CMOS sensor instead. The timing is also worth noting, as reports emerged just yesterday that some retailers are no longer able to restock the current EOS R8, which could be another sign that its replacement is not too far away. What is still unclear is whether we are looking at a completely new 24MP sensor or an existing Canon design. Either way, staying around 24 megapixels would make it much easier for Canon to keep some distance between the R8 Mark II and the more expensive EOS R6 Mark III. That is especially important because the new camera is also rumoured to pick up some pretty big upgrades, including IBIS and dual card slots. Give it those features along with the R6 Mark III’s 32.5MP sensor, and the two cameras would start looking very similar on paper. Sticking with 24MP could also make it easier for Canon to keep the price from going too high. There is also a little more information about when we might actually see the camera. The latest rumours point to an announcement in mid-September, or possibly later in the month, which is not far off earlier reports suggesting the second week of September. Pricing is still unknown, although something around the $2,000 mark would make sense given where the camera is expected to sit in Canon’s lineup.

credits: TTArtisan TTArtisan has released a new silver version of its AF 75mm f/2 for Fujifilm X-mount, giving the compact autofocus prime a finish that should pair pretty well with Fujifilm’s new silver camera bodies. The lens itself is already available for several mounts, so this is not a new optical design. On Fujifilm’s APS-C cameras, that 75mm focal length works out to roughly 112.5mm in full-frame terms. It has a 32-degree angle of view, while the aperture runs from f/2 to f/16. Inside, there are 10 elements arranged in seven groups, including high-index glass and an extra-low dispersion (ED) element to help keep aberrations and colour fringing under control. The aperture uses nine blades, while autofocus is handled by a stepping motor. Minimum focusing distance comes in at 0.75 meters and there is also a 62mm filter thread up front. The lens is also reasonably compact considering the focal length and f/2 aperture. The X-mount version measures 67mm in diameter, is 74mm long, and weighs 330 grams. TTArtisan also offers the AF 75mm f/2 for Sony E, Nikon Z, and L-Mount, although the Nikon Z and L-Mount versions are slightly longer at 76mm. Pricing is at $199 for all mounts and colour versions.

credits: Harman Harman Photo just introduced Phoenix 125, a new version of its distinctive colour film, this time with a slower ISO 125 speed. The company behind Ilford-brand photographic film first launched Phoenix 200 back in 2023 as something of an experiment before following it with Phoenix II last year. Phoenix 125 is not simply a slower version of Phoenix II, though. Harman has actually gone back to the original Phoenix 200 formula, which has since been discontinued, improved the emulsion, and changed the rated speed based on feedback about how photographers were actually shooting it. The character of the original Phoenix is still very much there. So, high contrast, clearly visible grain, punchy colours, and the slightly unpredictable look that made the first version pretty divisive. The film comes in a DX-coded cassette rated at ISO 125, and Harman says it performs best in good, consistent light. You can also get some noticeable halation when shooting in brighter conditions or directly into the light. Exposure matters quite a bit here, with Harman recommending that you meter for the midtones to hold onto as much detail as possible in both the shadows and highlights. The new Harman Phoenix 125 will be available in both 35mm and 120 formats, with rolls expected to start showing up at film retailers very soon. Harman has not announced pricing for Phoenix 125 yet.

credits: Sigma The latest Adobe Camera Raw update, version 18.5, has added support for the Sigma 85mm f/1.2 DG Art lens for full-frame mirrorless cameras. The only thing is that Sigma has not actually released the lens or even said exactly when it is coming. Sigma first announced development of the new portrait prime at CP+ in February, but has shared very little since. The fact that Adobe already has a lens profile ready is a pretty good sign that the launch is not far away, plus it lines up with Sigma’s previously mentioned September release window. What we know so far is that this will be Sigma’s longest f/1.2 lens to date, joining the 35mm f/1.2 DG II Art and 50mm f/1.2 DG DN Art. Sigma has also said the 85mm will complete its current f/1.2 series. Exact dimensions, weight, optical construction, minimum focusing distance, and maximum magnification are all still unknown. Sigma has described the lens as relatively compact and lightweight and says it should maintain high resolution even when shooting wide open at f/1.2. Autofocus will be handled by two High-response Linear Actuators (HLA), although we will have to wait for the full announcement to find out much more about focusing performance. The Sigma 85mm f/1.2 DG Art is coming to Sony E-mount and L-Mount, where there really is not much direct competition. It will be the first 85mm f/1.2 lens for L-Mount, while on Sony E-mount it will be the first autofocus option at this focal length and aperture. The manual-focus Mitakon Zhongyi Speedmaster 85mm f/1.2 currently sells for $499, while the upcoming SongRaw 85mm f/1.2 AF MS is expected at $649. Sigma has not talked about pricing so far, but its 35mm f/1.2 costs $1,549 and the 50mm f/1.2 costs $1,539, giving us at least a rough idea of where the new 85mm could land.

credits: OM System OM System is apparently getting ready for a major announcement in September 2026, although what exactly the company plans to show is still up in the air. The latest information comes from a few reliable sources and follows earlier reports that OM Digital was working on a “newly developed and lightweight” camera for later this year. Right now, there are three main possibilities being discussed. A new flagship, a smaller entry-level OM camera, or a new PEN model. There could also be one or two new lenses joining the announcement, although there is very little info about those so far. A new PEN seems to be what a big part of the Micro Four Thirds community wants most, although there are two pretty different ideas of what that camera should actually look like. Some photographers are hoping for a proper PEN-F II, basically taking the classic rangefinder-style metal body and filling it with technology from cameras like the OM-1, OM-3, or OM-5, along with a better EVF and weather sealing. Others would rather see a more affordable PEN E-P7 II, updated with phase-detection autofocus, better stabilisation, USB-C, a brighter display, and perhaps a built-in flash. There is also plenty of demand for an OM-5 III with much of the OM-1’s technology squeezed into the smaller OM-5 body, as well as calls for an entry-level “OM-10” sitting below the OM-5. A new flagship is still another possibility. An OM-1 Mark III would likely focus heavily on faster processing and autofocus, with people particularly asking for better bird detection through foliage, blackout-free shooting, quicker Handheld High Res processing, and faster startup. There is also some talk about a possible 28MP Sony Micro Four Thirds sensor, although there is very little solid evidence that OM System will actually use it. After several generations sitting around 20MP, a jump to somewhere around 24-28MP would certainly be a change. But yes, in the end, exactly what it turns out to be is still anyone’s guess.

credits: Adobe Adobe has just announced a much bigger integration with ChatGPT, bringing more than 70 tools from across its creative software into a single Adobe plugin. This goes quite a bit further than the individual Photoshop, Express, and Acrobat integrations Adobe introduced last year. You can now access tools from Photoshop, Lightroom, Premiere, Illustrator, InDesign, Express, Firefly, Acrobat, Adobe Stock, and more without leaving ChatGPT. So you could upload a photo and ask ChatGPT to edit it using Adobe’s tools, resize a video for social media, create graphics, work with documents, or apply changes to several photos at once. The idea is to let people use Adobe’s tools through normal conversational instructions rather than jumping between different apps. You could, for example, upload a batch of photos and ask for the same edits across all of them, turn existing footage into a highlight reel, resize content for different platforms etc. You do not need an Adobe account to use the plugin, although signing in gives you access to Adobe’s generative AI features and Creative Cloud files, while also letting you save your work between sessions. Adobe still sees its standalone apps as the place for more advanced editing and pixel-level control, so this is not really being positioned as a replacement for Photoshop or Lightroom when you need to do more serious work. The reaction from photographers and other Adobe users has been pretty mixed, though, and plenty of the early comments are outright negative. Some are questioning why Adobe is putting so much of its software inside a third-party AI platform in the first place, while others see it as yet another example of the company pushing AI when they would rather see more attention given to the apps they already use. There are also broader concerns about creative work becoming increasingly automated and what deeper AI integrations could mean for Adobe’s software over time.