credits: Canon A New And Interesting Canon Patent has emerged. Canon is exploring plastic lens elements to make pro lenses lighter, according to a newly surfaced patent. The idea? Replace some glass elements with resin to cut weight—potentially a game-changer for big zooms and telephotos. The patent details designs like a 28-105mm f/4 and a 24-35mm f/2, using plastic in ways that maintain optical quality. The challenge? Resin expands with heat and humidity, which can mess with focus. Canon’s solution? Special coatings, high-dispersion plastics, and balancing elements that counteract any shifts. If this works, we could see significantly lighter 70-200mm and 300mm lenses in the future. But for now, it’s just a patent—not a product.

credit: Angelbird Angelbird just dropped new CFexpress Type B memory cards with blazing CFexpress 4.0 speeds—twice as fast as the previous generation. While no cameras fully utilize these speeds yet, they’ll make file transfers much quicker if you’ve got a fast card reader. The cards come in 512GB, 1TB, 2TB, and 4TB sizes. The smaller ones are slightly slower, but the 2TB and 4TB versions hit top speeds of 3,500 MB/s read and write. No VPG certification, but that doesn’t really matter for CFexpress Type B right now. They’re tough—resistant to extreme temperatures, moisture, dust, and even X-rays. Pricing starts at $180 for 512GB, going up to $1,200 for the 4TB model (so it definitely get pricey fast).

What Is Focus Stacking? Focus stacking involves taking multiple photos at different focus points and blending them together in post-processing to create an image where everything is in focus—from the closest details to the farthest background. Most cameras have a limit to how much they can keep in focus at once (especially at close distances), but by merging multiple focused shots, you can overcome depth-of-field limitations. How to Shoot for Focus Stacking 1. Use a Tripod (Seriously, Don’t Skip This Step) Even slight movements between shots can mess up the stacking process. A tripod keeps everything perfectly aligned. If you’re shooting handheld, you’ll ne ed software alignment l ater, but it won’t be as precise. 2. Switch to Manual Focus Autofocus might shift unpredictably between shots. Instead, focus manually and adjust the focus in small increments from front to back. 3. Use a Narrow Aperture (But Not Too Narrow) f/8 to f/11 is usually ideal for sharpness. Avoid f/22 or smaller, because diffraction can make the image soft. 4. Take a Series of Shots at Different Focus Points Start by focusing on the closest part of your subject. Take a shot, then slightly adjust focus deeper into the scene. Repeat until you’ve covered everything you want sharp. Some cameras (like certain Nikons, Canons, and Sonys) even have automated focus stacking modes! 5. Keep Exposure & Settings Consistent Use manual mode so exposure doesn’t shift between shots. Keep ISO low to avoid noise. Maybe use a remote shutter or timer to avoid camera shake. How to Merge Your Stacked Images Option 1: Photoshop (Most Popular Method) Load all images as layers in Photoshop. Select all layers, go to Edit > Auto-Align Layers (to correct any small shifts). Then, go to Edit > Auto-Blend Layers and choose Stack Images. Photoshop will mask the sharpest areas from each shot and blend them into a final image. Option 2: Dedicated Software (More Precision) Helicon Focus and Zerene Stacker are pro-level tools specifically designed for focus stacking. These offer finer control, better blending, and more advanced algorithms.

credits: Tamron Tamron might be cooking up a big one—literally. A newly published patent hints at a 200-800mm f/6.7 ultra-telephoto zoom lens for mirrorless cameras, alongside a 200-600mm f/5.6 variant. If this lens becomes reality, it could be a game-changer for wildlife and sports photographers who need serious reach without the weight or cost of multiple primes. The 200-800mm design would be around 16.3 inches long—big, but reasonable for an 800mm zoom. Tamron has a track record of making popular telephoto zooms, and this would compete with Canon’s RF 200-800mm. The big question? Optical quality and price. Given Tamron’s existing tele zooms cost around $1,300-$1,400, this one could push past $2,000 but still be far cheaper than prime alternatives. For now, it’s just a patent, but Tamron has been working on this since at least 2018. Fingers crossed we see it hit the market soon!

credits: Helium Design Lab Helium Design Lab is back with a new grip for the Leica M11, and it’s every bit as sleek and well-crafted as their previous ones. The He11 adds a front grip and a removable thumb rest without blocking the battery, SD card, or hot shoe. It’s made from CNC-machined aluminum, works with Leica’s Finger Loop, has a hidden AirTag compartment, and is Arca-Swiss mount compatible. Unlike the Q3, the M11 uses interchangeable lenses, so balance changes depending on the setup. Helium fine-tuned the design to keep handling smooth no matter what lens you’re using. They also improved chamfering for a better feel and redesigned the strap anchor for Peak Design users. The He11 is available now for $560, with a limited Silver Edition also up for grabs.

credits: Zeiss ZEISS Is Coming Back to Photography? Zeiss might finally be making a comeback in the camera lens world after years of silence. Their official photography Instagram just dropped a teaser featuring an owl photo, a cheeky “owlsome news” caption, and a shot taken with their classic Otus 85mm f/1.4 lens. If that’s not a hint at a new Otus lens, what is? The last Otus lens came out in 2019, and since then, Zeiss has been pretty quiet on the photography front, focusing more on smartphone lenses. But this teaser suggests they’re about to announce something big—maybe even at CP+ in Japan in a couple of weeks. The big question now: will it be for mirrorless cameras? Either way, it’s about time Zeiss got back in the game.

credits: Leica Leica and Burton Snowboards just dropped a special edition of the Leica Sofort 2, and it’s got a bold new look. Inspired by Burton’s founder, Jake Burton Carpenter—who was a big Leica fan—the camera has a blue and black tiger-stripe design, Burton’s logo on top, and even comes with a custom bag. Under the hood, it’s still the same Sofort 2. You can snap digital photos, tweak them with filters, and print them straight onto Fujifilm Instax Mini film. It also connects to Leica’s Fotos app, so you can print pics from your phone or other cameras. The Burton Edition is out for $599—$200 more than the regular Sofort 2, but hey, at least you get a special bag with it, I guess.

Photo by: @lx_wanderer Let’s Analyse this Image: Composition What’s awesome: The balance in this shot is on point . The strong diagonal shadow lead your eye straight to the runner, creating a great sense of motion. The contrast between the sunlit street and the deep shadows adds a ton of depth. Plus, the little green pedestrian light/traffic light on the left centre is a nice detail—it subtly reinforces the movement in the scene. What could be better: The left side of the image feels a little heavy compared to the right. The dark shadows and the building on the left take up a lot of space, making the composition slightly off-balance. Cropping in a bit from the left or shifting the frame slightly to the right might help even things out. Lighting What’s awesome: That golden-hour glow is working so well here. The warm, light gives the shot an incredible mood and enhances the texture of the cobblestone street. The long shadows (the shadow of the runner) also add a ton of drama and storytelling. What could be better: The brightest part of the image is near the middle, coming before the runner, which naturally draws the eye away from the subject. Your eyes go towards the sunlight and not the runner (who is the main subject) so a subtle dodge-and-burn could help keep the focus more on the runner. Colours What’s awesome: The colour palette is beautifully simple—warm golden tones contrasting with deep blues in the shadows. The soft pastels of the buildings keep it from feeling too harsh, and the pop of green from the pedestrian light adds just a little extra contrast. What could be better: The runner’s blue/greenish shirt (hard to recognise) blends a bit into the shadows. Slightly tweaking the saturation or adding a touch of warmth to the runner’s highlights could help separate them from the background more. However since the photographer goes for more of a mysterious/silhouette shot that ‘‘blending into the shadows’’ is good in this instance. Depth & Atmosphere What’s awesome: The shot has a fantastic sense of depth. The sharp foreground, gradually fading background, and receding lines of the buildings make it feel very immersive. The air has that crisp, early-morning look that adds to the atmosphere (that mist in the light). What could be better: The background could maybe use a tiny bit of blur to enhance the sense of separation. It’s already pretty effective, but a very slight softening could make the runner pop more. Mood & Storytelling What’s awesome: This image feels like the start of a new day. The empty street, the warm morning light, the lonesome runner—it all comes together to create a peaceful vibe. It’s also got quite a cinematic quality/feel to it. What could be better: The mood is great as is, but adding a bit of motion blur to the runner (hard to do effectively/make ‘‘pretty’’ enough), or capturing the runner in a slightly different moment (them making a larger leap for example) might add even more dynamism to the shot. However that is almost nit picking at this point hahhahha.

Photo by: @apollo.dubs Let’s Analyse this Image Composition What’s working: The placement of the trees is perfect. They frame the scene beautifully, leading the eye straight towards the joggers in the lower third. The layering of light and shadow adds a ton of depth, making it feel almost like you’re peeking into a little secret world. What could be tweaked: The people, while a nice touch, are quite small (so rather hard to make out). They work well as a storytelling element, but a tiny boost in contrast or clarity around them might help them pop just a bit more. Lighting What’s working: That warm, golden light streaming through the trees? Truly beautiful. The way the sunbeams cut through the mist adds this magical softness, creating that dreamy atmosphere. What could be tweaked: The brightest part of the sky is very intense. It pulls the eye up and away from the main subjects. A slight exposure reduction in that area (or a bit of gradient burn) could help balance things out. Colors What’s working: That blend of warm oranges and cool shadows is giving the image a lot of depth. The balance between warm and cool tones is just perfect, making the image feel vibrant without being overwhelming. What could be tweaked: The sky’s warm tones blend a little into the trees, reducing contrast. Slightly cooling the trees (or adding a tiny bit of separation with colour grading) could make them stand out more. Mood & Storytelling What’s working: This image feels like a story, done very well. The mist, the golden light, the people walking/jogging through the scene—it all comes together to create a sense of adventure and calm. It also gives this amazing cinematic touch. What could be tweaked: If storytelling is the goal, the figures could be slightly more defined as I pointed out before. They’re noticeable but still subtle. A little light dodging around them could direct more attention their way.

The New Voigtlander Color-Skopar 35mm f/3.5 VM Cosina just dropped a new Voigtlander lens, and it’s about as compact as they come. The Color-Skopar 35mm f/3.5 Aspherical for VM mount is a tiny, lightweight prime lens made for Leica M-mount rangefinder cameras. And when I say tiny, I mean it—this thing weighs just 99 grams (3.5 ounces) and sticks out only 14mm (0.55 inches) from the mount. It’s almost pocketable, and with a 34mm filter thread, even accessories won’t add much bulk. Despite its size, the optical design isn’t cutting any corners. It’s got six elements in four groups, including a double-sided aspherical element and three anomalous partial dispersion elements, all working together to deliver sharp, clean images. Everything is manual, as you’d expect from Voigtlander, and it’s built with that solid, all-metal construction that gives a reassuringly smooth focus feel. The lens comes in two finishes—classic silver or a sleek black paint that even extends to the mount, focus lock button, and focus lever for a clean, uniform look. To add a bit of contrast, Cosina has nickel-plated the infinity and close-focus stoppers. It also ships with a matching metal hood, and because they’ve really thought about the details, they’ve included an ultra-thin 1.1mm filter so the hood doesn’t make the lens stick out any further. With a 10-bladed aperture diaphragm, rangefinder coupling, and a minimum focus distance of 0.7 meters (2.3 feet), it’s got everything you’d expect from a solid manual lens. And while it’s designed for rangefinders, it can easily be adapted to modern mirrorless cameras, where it should balance really nicely thanks to its small size. The Voigtlander Color-Skopar 35mm f/3.5 Aspherical VM is set to launch in March, with prices at 102,000 yen (roughly $670) for the silver version and 105,000 yen (around $690) for black. Prices might vary depending on where you are, but for a tiny, well-built Voigtlander lens, it looks like a tempting option. Image credits: Voigtlander Interview with Chris Hytha This week’s Interview with the amazing Chris Hytha, a street/architecture photographer from Philadelphia. You can find him on Instagram as: @ hytha.cg Enjoy the amazing Interview ;) Can you tell us a bit about yourself? My name is Chris Hytha. I had a fascination with the built environment from a young age, and decided to go to college for architecture in my freshman year of Highschool. There was something about cities that was entrancing to me. Iv always loved to draw, and study the world around me. How did you get into photography? I got into photography in my freshman year of college at Drexel University in Philly. It started with my love to explore. Early in college I got into urban exploring, getting on city rooftops and into abandoned buildings. I wanted to document these adventures, so I picked up a camera. Soon, I started to take delight in creating unique images without having to be in a unique location, this was a greater challenge for me. What role does lighting play in your photos? Lighting is a huge inspiration to me. Iv walked the streets of Philadelphia many times. The landscape stays the same, but the lighting is always different through the years. Typically the quality of light is what catches my eye and inspires a photo. What do you think sets your work apart from others in the industry? Photography alone isn't enough. I love when artists bring their other passions into the art of photography to create a unique cross-pollination. For me, my architectural background, and the skills I learned in school set my images apart. How do you stay inspired and motivated to continue creating new and unique photographs? Motivation is a precarious thing. I don't fret when I'm not inspired to create images. Sometimes I turn to other mediums like drawing or construction. I always like to let ideas marinate and develop, and eventually they catch fire and spark inspiration to create. What are some of the most important qualities for a great photographer to have, in your opinion? For street photography, patience. The best example of this is @eatenbyflowers. He captures the most absurd visual lineups all in camera, and his vision for the images is only possible with incredible patience. In general, I think a unique vision, or way of seeing the world is the most important thing for a good artist. What gear do you use? I have a canon EOS R and a DJI Air 2s, but the magic of my work happens mostly in Photoshop, the gear doesn't matter as much to me, it's just a starting point. I use a 24-105 lens for the majority of my images. What is your editing software of choice and how much time do you spend editing? I use Adobe Photoshop almost exclusively. Sometimes my images start in Lightroom. For my Highrises series images the edits take anywhere from 1-5 hours. How did you find your signature photography/editing style? I found my style through the process of creating a lot of bad work. I have hundreds of photos posted on Instagram from when I started that were just objectively bad, but it was a starting off point. Style is an illusive thing, and I think you find it through iterating many many times. Take thousands of photos, and assess each one. Which ones stand out to you and why? Learn from that photo, then create more like it. Eventually this process yields a style true to yourself. What does photography mean to you? The rest, 3 more questions, of this Interview are for Premium subscribers only. Subscribe to the Premium Version here The New Harman Red 125 Negative Film Harman just unveiled Red 125, a brand-new redscale 35mm film that continues its dive into color film after last year’s Phoenix 200 launch. The company, known for its work under both the Harman and Ilford names, has been a major player in analog photography for over a century. Now, with Red 125, it’s bringing a professionally finished redscale option to the market—something that’s been mostly DIY until now. Redscale photography is all about shooting through the back of a color film, meaning light hits the red-sensitive layer first. The result? Dreamy, otherworldly images filled with deep reds, oranges, yellows, and hints of green. According to Harman’s Sales & Marketing Director, Giles Branthwaite, their Phoenix 200 film was the perfect base for this because of its high red sensitivity and lack of an anti-halation layer. sample image Red 125 is a medium-speed ISO 125 film, comes in DX-coded 36-exposure cassettes, and processes with standard C41 chemicals. Harman says it can turn everyday scenes into dystopian masterpieces with its bold contrast and rich colors. If Phoenix 200 was an experiment, this feels more like a real commitment to expanding their color film lineup. That film was initially labeled as a limited edition, but it’s still widely available today—so it’s no surprise that Red 125 isn’t being marketed as a short-run product. Red 125 is available starting today through various retailers worldwide, and while availability will vary, it should start popping up in more places soon—just like Phoenix 200 did over the past year. Image credits: Harman Photo Analysis Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;) Photo by: @apollo.dubs Let’s Analyse this Image Composition What’s working: The placement of the trees is perfect. They frame the scene beautifully, leading the eye straight towards the joggers in the lower third. The layering of light and shadow adds a ton of depth, making it feel almost like you’re peeking into a little secret world. What could be tweaked: The people, while a nice touch, are quite small (so rather hard to make out). They work well as a storytelling element, but a tiny boost in contrast or clarity around them might help them pop just a bit more. Lighting What’s working: That warm, golden light streaming through the trees? Truly beautiful. The way the sunbeams cut through the mist adds this magical softness, creating that dreamy atmosphere. What could be tweaked: The brightest part of the sky is very intense. It pulls the eye up and away from the main subjects. A slight exposure reduction in that area (or a bit of gradient burn) could help balance things out. Colors What’s working: That blend of warm oranges and cool shadows is giving the image a lot of depth. The balance between warm and cool tones is just perfect, making the image feel vibrant without being overwhelming. What could be tweaked: The sky’s warm tones blend a little into the trees, reducing contrast. Slightly cooling the trees (or adding a tiny bit of separation with colour grading) could make them stand out more. Mood & Storytelling What’s working: This image feels like a story, done very well. The mist, the golden light, the people walking/jogging through the scene—it all comes together to create a sense of adventure and calm. It also gives this amazing cinematic touch. What could be tweaked: If storytelling is the goal, the figures could be slightly more defined as I pointed out before. They’re noticeable but still subtle. A little light dodging around them could direct more attention their way. Photography Tip of the Week The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers. Subscribe to the Premium Version here Photographer of the Week Photographer of the week goes to: Mimo Khair You can find her on Instagram as: @mimokhair A few of her images: Tokina’s 11-18mm f/2.8 coming to Fujifilm X-Mount Kenko Tokina is finally bringing its atx-m 11-18mm f/2.8 lens to Fujifilm X-mount cameras, giving Fuji shooters a much-needed ultra-wide zoom option. It’s got a full-frame equivalent range of about 17-27mm, a constant f/2.8 aperture, and fast autofocus, making it a solid pick for landscapes, architecture, astrophotography, and even vlogging. Basically, if you need a wide-angle lens that won’t break the bank, this could be it. Fujifilm doesn’t really have a direct alternative to this. There’s the XF 8-16mm f/2.8, but it’s not exactly a one-to-one comparison—it’s wider, doesn’t take filters, and costs a whopping $1,500. That makes this Tokina lens a way more budget-friendly option for Fuji shooters who want a bright ultra-wide zoom. Optically, it’s built with 13 elements in 11 groups, including two aspherical and two super low-dispersion elements to keep distortion and chromatic aberrations in check. The nine-blade aperture goes from f/2.8 to f/22, and the internal zoom means the lens doesn’t extend when you zoom in—super useful if you’re using a gimbal. Minimum focus distance is just 19cm at the wide end, which is great for close-up shots with dramatic perspectives. The only real letdown? It still uses a microUSB port for firmware updates, which feels pretty outdated. sample shot If all of this sounds familiar, that’s because this lens already exists for Sony E-mount—it came out in 2022 and got solid reviews for offering good image quality at a reasonable price. Right now, the Sony version is on sale for just $399 (originally $600), but if you’re a Fujifilm user, you’ll have to pay a bit more. The X-mount version hits shelves on March 14, 2025, for $699. Image credits: Tokina The Rest of this Issue is for Premium Subscribers The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price. Explore Premium

credits: Nikon Nikon has officially revealed all the details on its Nikkor Z 28-135mm f/4 PZ, a power zoom lens built for video pros and solo creators. It’s Nikon’s first full-frame cinema lens, arriving in April 2025 for $2,599.95. Designed for smooth, precise video work, it features power zoom with 11 speeds, minimal focus breathing, and an internal zoom mechanism that keeps it balanced. The autofocus is optimized for video, and Nikon’s Meso Amorphous Coating helps cut glare and ghosting. You can control zoom using the built-in rocker or remotely via NX Tether, SnapBridge, or NX Field. It comes with a removable tripod foot and a rectangular lens hood with a filter adjustment window. Plus, it’ll also be available in a bundle with the RED Komodo-X Z Mount.

credits: Adobe Adobe just rolled out some big updates for Lightroom and Adobe Camera Raw, making editing faster and smarter across desktop and mobile. The standout feature is Adaptive Profiles, now available everywhere. This AI-powered tool tweaks colors and tones with one click, giving photos a natural boost without changing your settings. It even works with HDR images, something older profiles couldn’t do. Another big addition is Distraction Removal, which automatically erases unwanted objects like wires or people. It’s still in early access, but it uses AI to analyze and clean up photos seamlessly. Other updates include a new duplicate finder in Lightroom’s Clean Up tool, better autofocus controls in Lightroom Classic for Canon, Nikon, and Sony cameras, and improved performance when masking, cropping, or adjusting white balance. Regular Lightroom now even supports dual monitors.