First leaked image of the Viltrox 55mm f/1.8 Z-mount “box”
The image on top shows the package for a yet to be announced new Viltrox 55mm f/1.8 EVO AF Full Frame Z lens. The lens should be announced in January!
LEAKED: New SG-image 35mm f/2.2 AF Full Frame pancake lens (coming for Z-mount too)
Our reader Z.W (thanks) sent us this image of an extremely beautiful and technically impressive SG-Images 35mm f/2.2 autofocus full-frame E-mount lens mounted on the Sony A7C.
Z.W. also says Z-mount and L-mount versions are coming, and the official bundle will likely include a metal square lens hood.
What you see here is a near-final prototype. If image quality proves solid, this lens should sell very well—especially because SG-Images lenses are usually very affordable on Amazon.
Key details (rumored)
- Mounts: Sony E now; Nikon Z and L-mount versions reportedly coming
- Prime lens: 35mm, f/2.2, autofocus, full-frame coverage
- Bundle: metal square lens hood expected
- Positioning: budget-friendly pricing typical of SG-Images
New Brightin Star 35mm f/1.4 Full Frame Z-mount lens announced
Brightin Star new 35mm f/1.4 Full Frame manual focusing lens is now available on Amazon for $159 (Click here) and on the Brightin Star store.
Nikon ZR First Impressions: That 4-inch, 1000-nit Screen Steals the Show
Sidney Diongzon starts the video with “Look how huge this screen is”! That was his first reaction to the Nikon ZR—and honestly, the big story. A 4-inch, 1000-nit rear display that takes up almost the entire back plate sounds small on paper, but in practice it changes how you shoot.
Quick vibe check: the ZR feels like a mashup of Sony’s ZV-E1, FX2, and A7C II—compact, video-first, but still a legit hybrid. It flew on a gimbal, delivering buttery-smooth footage. Autofocus is right there with Sony: fast, sticky, and tap-to-track works the way you want it to.
Highlights he loved
– 6K RED RAW up to 60 fps internally. Wild at this price and size.
– RAW image pipeline that matches Nikon’s Z8/Z9 vibe for color.
– ProRes options, including ProRes 422 HQ, plus ProRes RAW.
– 24 MP photos that are sharp with pleasing color. It’s not billed as a photo-first body, but it holds its own.
– Fast-readout sensor with low rolling shutter and strong dynamic range, similar to what you’ll find in Lumix S1 II and Nikon Z6 III.
– 32-bit float audio recorded internally—on the built-in mics and with external mics. Huge for run-and-gun and safety when levels jump.
– Digital audio via the multi-interface hot shoe, Nikon taking a page from Sony’s playbook.
– No overheating in brutal heat and humidity. Passive cooling did its job.
– Excellent stabilization (rated 7.5 stops). Handheld footage looked impressively smooth.
– Touch UI is responsive and clean; the big screen makes fast work of menus and tap-to-track.
– Price: 2,199 USD. For what it packs, that’s compelling—easily in the conversation with ZV-E1 and even FX2.
– If you’re sitting on Sony E-mount glass, adapters exist to run those lenses on Z-mount. Nice flexibility.
Quirks that made him pause
– Micro HDMI on something positioned as a cinema tool. Fragile and fussy for rigs.
– No anamorphic de-squeeze. That’s a miss for creators leaning into anamorphic workflows. A firmware fix would change the calculus.
– No focus peaking with view assist and a LUT applied at the same time. There are workarounds, but it slows you down.
– Card slots live in the battery compartment, and the combo is CFexpress Type B plus microSD. MicroSD is fine for proxies/LUTs but not ideal for primary capture.
– The shutter half-press feel isn’t tactile enough. For stills shooters who rely on that half-click to lock focus, it feels vague.
– Grip is small and very rubberized. Secure, but if you’re used to chunkier grips, you’ll notice.
– File sizes in RED RAW are enormous. Amazing flexibility, but most online work doesn’t need it, so plan your storage and workflow.
The bottom line
The Nikon ZR is a tiny powerhouse with a killer screen, modern codecs, confident AF, strong IBIS, and smart audio. It’s packed with creator-first wins at a price that undercuts a lot of peers. The quirks—HDMI, anamorphic de-squeeze, monitoring tools, and the card setup—are real, but none are deal-breakers for everyone.
If Nikon adds anamorphic de-squeeze via firmware, this becomes even more tempting. As-is, it’s one of the most exciting compact hybrids I’ve used—and yes, He is trying to convince himself not to buy it… yet.
Brightin Star teases a new camera lens: “Freeze the moment, let the story flow.”
“Freeze the moment, let the story flow.
Please look forward to it.”
Tony Northrup Nikon predictions for 2026: Serious Refinement, Not Flashy Hype
Tony Northrup listed his BOLD predictions for 2026:
- Nikon: Z9 Mark III (adds mechanical shutter for better flash sync; better EVF; improved AF; RED integration)
- Nikon: Z7 Mark III (high-res jump; suggested ~75MP TowerJazz sensor; RED integration)
Nikon in 2026: Serious Refinement, Not Flashy HypeHis outlook on Nikon in 2026 is cautious but respectful. Unlike brands chasing trends or retro styling, Nikon is portrayed as a company focused on fixing real-world limitations in its flagship cameras rather than reinventing itself. The expectation is not disruption, but solid, professional evolution aimed squarely at working photographers and filmmakers.
The Nikon Z9 Mark III: fixing what always held it back
Nikon’s most important expected release is the Z9 Mark III. The current Z9 has aged surprisingly well thanks to firmware updates, but he argues that firmware can only take you so far. There are still fundamental hardware compromises that need to be addressed, and 2026 is when Nikon finally does that.
The biggest criticism is the lack of a mechanical shutter. While Nikon embraced an all-electronic shutter approach early, he sees this as a real-world problem for photographers who rely on flash. Sports shooters and outdoor portrait photographers need faster and more reliable flash sync speeds, and the Z9’s electronic-only approach never fully delivered on that promise. A mechanical shutter in the Z9 Mark III would be a major practical upgrade, not a spec-sheet gimmick.
He also expects a noticeably better viewfinder. Even when the Z9 launched, its EVF lagged behind competitors in clarity and refresh behavior, especially when compared to Sony’s high-end bodies. Improving the EVF is, in his view, long overdue and essential for Nikon to stay competitive at the flagship level.
Autofocus, while already strong, is another area where he expects refinement rather than revolution. Better subject tracking consistency and fewer edge-case failures would keep Nikon firmly in the conversation with Canon and Sony at the highest professional level.
Z7 Mark III: Nikon’s high-resolution leap
He also predicts a Z7 Mark III in 2026, and this is where Nikon may make its boldest sensor move. The current Z7 already targets landscape and studio photographers with its high-resolution, no–anti-aliasing design, but it now faces pressure from Sony’s 60MP A7R line.
His expectation is that Nikon leapfrogs rather than matches. He specifically mentions the possibility of a new TowerJazz sensor in the 70–75 megapixel range. That would allow Nikon to reclaim a clear resolution advantage and position the Z7 Mark III as the ultimate tool for photographers who value detail above all else.
This camera, in his view, is not about speed or video dominance. It’s about pure image quality, resolution, and color fidelity — the kind of camera landscape, architectural, and fine-art photographers invest in for many years at a time.
RED influence starts to show
A subtle but important part of his Nikon outlook is the integration of RED technology. Since Nikon acquired RED, he expects some of that expertise to start influencing Nikon’s mirrorless line, particularly in color science and video processing. He doesn’t predict radical cinema features overnight, but he does believe Nikon will begin folding RED know-how into its higher-end bodies in a more visible way starting in 2026.
Nikon’s strategy: practical cameras for serious users
Overall, his Nikon prediction is grounded and pragmatic. Nikon is not expected to chase global shutters everywhere or jump on every trend. Instead, the company is seen as refining its professional tools, correcting past compromises, and making cameras that appeal to photographers who care more about reliability, ergonomics, and image quality than headline-grabbing specs.
If he’s right, Nikon’s 2026 lineup won’t generate flashy buzz — but it will quietly reinforce Nikon’s reputation among professionals who value cameras that simply work, day in and day out.
Do you think Nikon should keep refining its flagship cameras — or is it time for a more aggressive technological leap?
What are your thoughts on this?
7Artisans teases ultra‑compact APS‑C autofocus lens with three focal‑length options and multi‑mount support
7Artisans is teasing a new lightweight, all‑in‑one APS‑C autofocus lens that fits in your palm. Here’s what we know so far:
Key features
- Featherweight 180 g body — pocketable and easy to carry
- Three focal‑length options tailored for street photography
- APS‑C design with autofocus
- Multiple mounts planned (official list pending)
We’ll update this post as soon as the full specifications, mount list, and pricing are official.
