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			    <title>Nikon | Personal View news aggregator</title> 
				<link>http://www.personal-view.com/news/nikon</link> 
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			<title>Viltrox AF 16mm f/1.8 Released – Company’s First AF Lens for L-Mount</title>
			<link>http://www.personal-view.com/news/articles/viltrox-af-16mm-f18-released-company’s-first-af-lens-for-lmount</link>
			<description><![CDATA[After joining the L-mount alliance last year, Viltrox released its first autofocus lens for the system – the Viltrox AF 16mm f/1.8. This fast, ultra-wide, full-frame prime lens offers a weather-sealed, durable body, a 77mm front filter thread, built-in display, function buttons, and a 27cm (10.6in) minimum focusing distance. Available now for preorder, the lens will retail for $580, but you can get it for a limited time with 5% off.



Back in September 2025, the increasingly popular Chinese lens and camera accessories manufacturer Viltrox joined the L-mount alliance (which currently includes full-frame cameras from Panasonic, Leica, SIGMA, DJI, and Blackmagic Design). Personally, as a filmmaker and photographer fully invested in the L-mount ecosystem, I was quite happy to hear the news, as Viltrox offers quite a few interesting fast autofocus lenses in its lineup. At the moment, these are only available for Sony E-mount or Nikon Z-mount, but lenses such as the 35mm f/1.2 LAB promise to offer good image quality at an affordable price. I am curious to see how long we will have to wait for the majority of the Viltrox lenses to be released for L-mount.









Shortly after the September announcement, Viltrox communicated that the company will debut its L-mount lineup with two existing lenses:




Viltrox AF 16mm f/1.8 lens



Viltrox AF 28mm f/4.5 pancake lens




While it seems that we still have to wait a little longer for the tiny, affordable 28mm pancake lens, the fast, ultra-wide 16mm L-mount prime has been released. Let’s briefly recap what we know about the lens.



Viltrox 16mm f/1.8 lens for L-mount



The AF 16mm f/1.8 is an ultra-wide-angle prime lens that produces an image circle large enough to fully cover full-frame sensors. It comprises 15/12 optical elements (4 ED, 3 aspherical) and an STM autofocus motor.



AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Viltrox claims the lens is weather-sealed and features a durable body. Like other LAB lenses from Viltrox’s lineup, the 16mm also features a physical aperture ring and a built-in LED display that shows the current focusing distance and the chosen aperture value. There are also two function buttons on the side, as well as an AF/MF switch.



The lens’s minimum focusing distance is 27cm (10.6 in) from the sensor plane. There is no optical stabilization, so you have to rely solely on the camera’s IBIS and steady hands. The lens offers a 77mm filter thread at the front.



AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Viltrox AF 16mm f/1.8 L-mount – key specs




Lens mount: L-mount



Lens elements: 15/12



Focal length: f=16mm



Viewing angle: 105.6°



Aperture: F1.8-F22



Number of aperture blades: 9



Shooting distance: 0.27m-∞



Focus mechanism: Ultralight internal focusing



Focus motor: STM+Lead screw



Focus mode: MF, AF



Max. magnification: 0.1x



Lens size: Φ85.2x103mm



Weight: ≈550g



Filter size: Φ77mm




AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Fast ultra-wide lens alternatives for L-mount



When it comes to other existing fast ultra-wide primes with autofocus for L-mount cameras, there are currently only a few options available:




Panasonic LUMIX S 18mm f/1.8 lens, which offers a closer minimum focusing distance (and therefore a higher magnification ratio).



SIGMA 20mm f/2 DG Contemporary lens, which is the most compact model in this category.



SIGMA 20mm f/1.4 DG DN Art lens



Sigma 14mm f/1.4 DG DN Art lens



Leica Super-APO-Summicron-SL 21mm f/2 ASPH. lens




Among these options, the new Viltrox AF 16mm f/1.8 lens is the most affordable.



Viltrox 28mm pancake &amp; Air prime lens line. Source: Viltrox



Future Viltrox L-mount releases



Until Viltrox officially releases a clear L-mount roadmap, it is difficult to guess which lenses the company will adapt next. Since they previously stated which two lenses would be the first, I suppose the next L-mount release will be the Viltrox AF 28mm f/4.5 pancake lens. After that, it is a pure guessing game.



Personally, I would like to see Viltrox’s Air full-frame line (20mm f/2.8, 40mm f/2.5, and 50mm f/2.0) adapted to L-mount sooner rather than later. As a LUMIX S9 owner, I would love to use these compact, fast primes with AF on the S9’s compact body. Unfortunately, there are very few compact autofocus primes for L-mount at the moment, so I think many L-mount alliance users would welcome the addition of the Viltrox Air line too.



Right after that, it would be nice if Viltrox adapted their top-of-the-line AF 35mm f/1.2 LAB and the AF 135mm f/1.8 LAB. Let’s hope that (unlike Samyang, which has adapted only ONE L-mount lens in almost three years since joining L-mount), Viltrox remains consistent in adapting its L-mount lineup and that we see many new lenses in the near future.



Price and availability



The Viltrox AF 16mm f/1.8 lens is now available for preorder. The retail price is $580 (€599 in Europe), the same as the existing E-mount and Z-mount versions. It is worth mentioning that if you preorder directly from the Viltrox online shop, you currently get a 5% discount.



Are you invested in the L-Mount ecosystem? What do you think about the Viltrox AF 16mm f/1.8 finally coming to L-mount? Which Viltrox lens would you like to see adapted next? Let us know your thoughts in the comments section underneath the article.]]></description>
			<pubDate>Mon, 09 Feb 2026 11:41:45 UTC</pubDate>
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			<title>Sony α7 V vaults back to No.1 in Yodobashi’s camera chart: what the latest top 10 signals</title>
			<link>http://www.personal-view.com/news/articles/sony-α7-v-vaults-back-to-no1-in-yodobashi’s-camera-chart-what-the-latest-top-10-signals</link>
			<description><![CDATA[Yodobashi listed the Top 10 Best-Selling cameras in second half of January: Sony α7 V Body Sony α7C II Zoom Lens Kit Hasselblad X2D II 100C Body Fujifilm X-T30 III XC13-33mm Lens Kit Nikon Z50II Double Zoom Kit Fujifilm X-M5 XC15-45mm Lens Kit Sony VLOGCAM ZV-E10 II Double Zoom Lens Kit Canon EOS R50 Double…
The post Sony α7 V vaults back to No.1 in Yodobashi’s camera chart: what the latest top 10 signals first appeared on sonyalpharumors.]]></description>
			<pubDate>Sun, 08 Feb 2026 11:59:13 UTC</pubDate>
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			<title>Viltrox AF 16mm F1.8 L</title>
			<link>http://www.personal-view.com/news/articles/viltrox-af-16mm-f18-l</link>
			<description><![CDATA[Viltrox has announced its new AF 16mm F1.8 L, which is the company’s first autofocus lens for L-Mount systems. This fast, full-frame L-mount lens is already available in Sony E and Nikon Z mounts. I previously reviewed the Nikon Z-mount version of this lens, and you can see that review here. The lens features an … Continued
The post Viltrox AF 16mm F1.8 L appeared first on Newsshooter.]]></description>
			<pubDate>Thu, 05 Feb 2026 13:47:25 UTC</pubDate>
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			<title>Coming soon: Meike’s new AF 85mm F1.4 II</title>
			<link>http://www.personal-view.com/news/articles/coming-soon-meike’s-new-af-85mm-f14-ii</link>
			<description><![CDATA[Meike’s new AF85mm F1.4 II second-generation full-frame autofocus lens is set to be released in 2026, featuring Sony E, Nikon Z, and L mounts. It will be showcased during CP+ at the end of February. The lens boasts a new design, significantly reducing weight compared to the first generation, with a body size similar to…
The post Coming soon: Meike’s new AF 85mm F1.4 II first appeared on sonyalpharumors.]]></description>
			<pubDate>Wed, 04 Feb 2026 11:31:49 UTC</pubDate>
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			<title>Leica Noctilux-M 35mm f/1.2 ASPH – Innovative and Exorbitantly Priced</title>
			<link>http://www.personal-view.com/news/articles/leica-noctiluxm-35mm-f12-asph-innovative-and-exorbitantly-priced</link>
			<description><![CDATA[Leica is well known for its luxurious gear, lenses, cameras, and accessories, and the new Leica Noctilux-M 35mm f/1.2 ASPH carries this legacy with pride. The new lens, the fastest 35mm lens ever produced by Leica, is an impressive unit. But with an almost $10K price tag and solid competition, will this lens be more than a piece of optical jewelry? A thing of beauty purchased by the 1% mostly to show the brand name? Let’s dive in.



The Leica Noctilux-M 35mm f/1.2 ASPH is a surprisingly compact, moderately wide, super-fast f/1.2 lens. As with most ultra-fast lenses, and like its rare Noctilux brethren, this lens carries a price premium over its f/1.4 siblings, and the price is indeed one of the most prominent traits of this lens. For this price, you will get the absolute pinnacle of German craftsmanship and optics, culminating in an exquisite piece, capable of beautiful rendering and, not unimportantly, looking beautiful on your camera. As an M-mount lens, this one is also highly adaptable, though I doubt many non-Leica purists will opt for this one, as the market offers some interesting alternatives.









As with every Leica M lens, the Leica Noctilux-M 35mm f/1.2 ASPH features mechanical rangefinder coupling, ready to work on any M-mount camera ever made. But this lens also incorporates a rather rare feature for rangefinder lenses – a close focus option. You see, Leica rangefinders are limited to a minimum focus distance of 0.7m. This limit affects most M-mount lenses. A good example can be found in Voigtlander’s line, where M-mount lenses only go as close as 0.7m, while their optically identical Sony E-Mount, Nikon Z-mount, etc., can focus closer. As Leica recently launched its first rangfinderless M-mount camera (the Leica M EV 1), this move makes perfect sense.



Leica Noctilux-M 35mm f/1.2 ASPH. Image credit: Leica



Specifications



The Leica Noctilux-M 35mm f/1.2 ASPH is a fully manual lens with an obviously all-metal construction. It weighs 416g (0.9 lb), keeping it relatively compact for such an ultra-fast 35mm prime. The lens features a 49mm front filter thread and an integrated retractable lens hood, with classic mechanical focus and aperture control. The new close-focus feature includes haptic feedback when the rangefinder reaches its limit of 0.7m. You can turn the focus ring past this point on a rangefinder M camera, but you’ll feel when you’ve moved outside the rangefinder’s focusing range.



Leica Noctilux-M 35mm f/1.2 ASPH. Image credit: Leica



The lens’s optical formula consists of 10 elements in 5 groups, and offers a maximum aperture of f/1.2, closing down to f/16 via an 11-blade diaphragm. Early samples show a rather conservative character, with a quite heavy vignette at wide apertures and reduced sharpness, mainly toward the edges. This is no surprise considering the size and optical formula. This is not a lens you buy to shoot super-sharp brick walls at f/1.2.



Leica Noctilux-M 35mm f/1.2 ASPH optical formula. Image credit: Leica



Alternatives



While no alternative offers the coveted red dot, some will seriously challenge the new Noctilux-M 35mm f/1.2 ASPH. The most obvious is the Voigtländer Nokton 35mm f/1.2 Aspherical. It covers the same focal length and aperture class, remains fully manual, and comes in at roughly a tenth of the price – $1000 give or take, with a virtually similar weight of about 470g (1.03 lbs). Optically and mechanically, it is a solid performer, offering quite a similar high-quality experience, though far less romanticized. As a heavy user of its 50mm f/1.2 sister, I have nothing but compliments.



Leica Noctilux-M 35mm f/1.2 ASPH. Image credit: Leica



At the other end of the ring sits the SIGMA 35mm f/1.2 DG DN II Art, which takes a very different approach altogether. This modern, unapologetically clinical, highly corrected autofocus lens is far more affordable than the Noctilux at around $1,550. The SIGMA represents rationality. It ticks all the boxes, does everything right, but this may just be a bit “too right”. It’s not a direct competitor but rather a different approach.



Other options may also be considered. There’s the affordable Viltrox AF 35mm f/1.2 LAB Z or the huge, zero-compromise SIGMA Aizu Prime 35mm T1.3 LF Cinema Lens (still cheaper than the Noctilux, though not by much), and probably a plethora of new Chinese lenses with varying performance and pricing, but these stray a bit too far for this article.



Leica Noctilux-M 35mm f/1.2 ASPH. Image credit: Leica



Who is it for



With such strong alternatives and an exorbitant price tag, my answer is quite simple: The Leica Noctilux-M 35mm f/1.2 ASPH is a lens for Leicaphiles, purists, or those who do not need to ask about pricing because money is not one of their concerns. For most mortals, I find it hard to justify. But that’s Leica’s way, and there’s room for that in my opinion.



Price and availability



The Leica Noctilux-M 35mm f/1.2 ASPH will set you back $9,650. At the time of writing, the lens is available for preorder, with shipping expected to begin as stock reaches authorized Leica dealers.



Will you consider the new Noctilux as your next lens? What’s your math behind such reasoning? Or does true love need none of these? Let us know in the comments. ]]></description>
			<pubDate>Tue, 03 Feb 2026 08:58:35 UTC</pubDate>
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			<title>Blazar Talon 1.5X AF Anamorphic Lenses Announced – World’s First 1.5x Squeeze Autofocus System</title>
			<link>http://www.personal-view.com/news/articles/blazar-talon-15x-af-anamorphic-lenses-announced-world’s-first-15x-squeeze-autofocus-system</link>
			<description><![CDATA[Blazar announces the Talon 1.5X AF, which the company claims is the world’s first autofocus anamorphic lens system with a 1.5x squeeze factor. The full-frame series launches with three focal lengths (35mm, 50mm, and 75mm in Sony E-mount), weighing under 690g each, and promises to deliver the visual character of a 1.8x anamorphic look while maintaining fast, precise autofocus performance.



The affordable anamorphic market has seen considerable activity in recent years, with manufacturers like Blazar and SIRUI introducing autofocus options for creators seeking cinematic character without the operational complexity of traditional cine glass. However, those AF offerings have been limited to 1.33x squeeze ratios, a format that delivers subtle anamorphic characteristics but falls short of the more pronounced look many filmmakers desire. With the Talon series, Blazar is stepping into new territory by combining the convenience of autofocus with a higher squeeze factor that promises more dramatic oval bokeh, enhanced horizontal flares, and wider compositional flexibility.



Blazar Talon 1.5X AF Anamorphic Lenses. Image credit: Blazar



How does it fit in the Blazar lineup?



Understanding where the Talon sits within Blazar’s existing anamorphic range helps clarify its intended use case. The company’s Remus series offers 1.5x squeeze with full-frame coverage in a traditional manual focus cine-style design, available in focal lengths from 33mm through 125mm with PL and EF mount options. These lenses are known for their classic anamorphic character with a balance of retro aesthetics and modern sharpness.



The Mantis series features 1.33x squeeze lenses with full-frame coverage and a unique oval-shaped 14-blade iris that creates 2x-style bokeh while maintaining the gentler squeeze ratio, making them versatile for both 16:9 and 3:2 sensors. The Apex series, which Blazar marketed as the world’s first autofocus anamorphic when it launched, offers 1.33x squeeze with autofocus capability, but those lenses are limited to Super 35/APS-C sensor coverage and claim to deliver a visual look closer to 1.5x. For shooters wanting true 2x squeeze, Blazar offers the Cato series with full-frame coverage and manual focus.



The Talon fills a gap that none of these options address: full-frame coverage with genuine 1.5x squeeze and autofocus capability. For shooters who found the Mantis and Apex squeeze ratios too subtle, the Remus workflow too demanding for solo shooting, or wanted stronger anamorphic character than what 1.33x provides, the Talon delivers that combination in a single package.



A closer look at the optical design



The Talon 1.5X AF series covers a full-frame 36 x 24mm image circle, making the lenses suitable for modern mirrorless cameras with larger sensors. All three focal lengths share a T2.1 maximum aperture according to Blazar’s specification table, though some documentation has only explicitly confirmed this for the 35mm.



What makes the Talon particularly interesting from an optical standpoint is Blazar’s claim that despite the 1.5x squeeze, the lenses deliver visual characteristics closer to a 1.8x anamorphic look. According to the company, this is achieved through optical design choices that enhance cinematic depth, produce pronounced oval bokeh, and enable wider compositions while remaining easier to frame and compose than traditional higher-squeeze systems. Early hands-on testing suggests the lenses produce notably textured bokeh with controlled distortion, though the silver-coated flare characteristics are more subtle than what you might expect from vintage Panavision or Atlas glass.



Blazar just published a short clip to demonstrate the bokeh of the Talar anamorphic lenses, this is a still from that video. Image credit: Blazar



Autofocus performance and handling



The autofocus system sits at the heart of the Talon concept. Blazar states that the lenses are engineered for fast, precise autofocus performance, including real-time subject tracking and advanced eye-tracking support. This positions the Talon series for documentary work, run-and-gun shooting, and hybrid photo-video workflows where continuous focus is critical and a dedicated focus puller is not available.



Early testing on adapted systems (using a Nikon Z8 with a MegaDap adapter) suggests the autofocus performs well with tracking sensitivity set to high and AF speed around 3 out of 5. Higher speed settings can introduce some jitter, so dialing in the right balance for your camera system will be important. The lens handles transitions smoothly when subjects enter and exit frame, though challenging conditions like strong backlighting or deep shadows can cause the tracking to struggle, which may be as much a camera limitation as a lens issue when shooting squeezed 1.5x images through phase-detect AF systems.



Each lens includes a physical AF/MF switch for quick transitions between autofocus and manual focus operation. The 360-degree focus rotation provides fine manual focus control when needed, though it is worth noting that the lenses do not feature pitch gears on the focus barrel. This design choice reinforces the series’ emphasis on lightweight, streamlined operation rather than traditional cine-style rigging with follow focus systems.



Compact form factor for mobile shooting



Weight and size have been critical considerations in the Talon design. All three lenses weigh under 690g (1.52 lbs), with the individual weights ranging from 664g for the 50mm to 689g for the 75mm, and 675g for the 35mm. Lens lengths vary by focal length: 118mm for the 35mm, 119.6mm for the 50mm, and 131.9mm for the 75mm.



The compact form factor makes the Talon series particularly suitable for gimbal work, handheld rigs, and portable setups where weight balance is essential. All three lenses share a consistent 80mm front diameter and accept 77mm screw-in filters, simplifying accessory management across the lineup. For filmmakers who work with variable ND filters or other front-mounted accessories, this standardization across focal lengths eliminates the need to swap filter sizes when changing lenses.



Small for anamorphics: The Blazar Talon AF anamorphic lenses. Image credit: Blazar



Close focus and iris characteristics



Close-focus distances vary across the lineup: the 35mm focuses down to 0.37m (1.2ft), the 50mm to 0.65m (2.1ft), and the 75mm to 0.73m (2.39ft). Early testing of the 50mm suggests the minimum focus distance allows for reasonably tight framing, which is appreciated for b-roll and detail shots.



All three lenses feature a 16-blade iris, which should contribute to smooth, rounded bokeh rendering at various aperture settings. The blade count is notably high for this price segment and suggests Blazar has prioritized out-of-focus rendering quality in the optical design.



Mount options and the open gate question



At launch, the Talon 1.5X AF series will be available exclusively in Sony E-mount. Blazar has indicated that additional mount options are planned for the future, but has not announced an L-mount version at this stage.



The E-mount exclusivity at launch raises an interesting question that several industry observers have noted: Sony mirrorless cameras do not currently offer open-gate recording modes that are commonly associated with anamorphic workflows. Cameras like the Panasonic S1H, Lumix S5 series, and various RED and ARRI models offer open-gate modes specifically designed for anamorphic acquisition, while Sony’s FX-series and Alpha cameras record in standard aspect ratios that require cropping when working with squeezed footage.



For shooters working with 16:9 sensors, the 1.5x squeeze will produce an ultra-wide aspect ratio similar to Ultra Panavision 70. On 3:2 sensors, you will get closer to a traditional 2.35:1 or 2.39:1 cinemascope ratio. The practical workflow currently involves recording to a standard aspect ratio and de-squeezing in post, which works but sacrifices some sensor real estate compared to true open-gate acquisition. Many shooters are hoping Blazar will add L-mount support to take advantage of the open-gate and anamorphic-specific features that Panasonic Lumix cameras offer.



Blazar Talon specs – from their website. 



Pricing and availability



Pre-orders for the Blazar Talon 1.5X AF anamorphic lenses open on February 3rd at 4:00 AM PDT. During the pre-order period, each lens will be priced at $999 USD, with shipping expected to begin in early February. Following the pre-order window, the retail price will increase to $1,099 USD per lens.



Blazar has also announced a loyalty discount for existing customers: those who have previously purchased lenses through the official Blazar store will receive an additional $100 USD discount, bringing their pre-order price to $899 per lens.



At under $1,000 per lens during pre-order, the Talon series positions itself aggressively against competitors. The combination of full-frame coverage, 1.5x squeeze, and autofocus capability at this price point could make the anamorphic look more accessible to a broader range of creators, though we look forward to testing the production units ourselves once they become available.



The Blazar Talon 1.5X AF represents an ambitious step forward in the affordable anamorphic segment, combining genuine 1.5x squeeze with full-frame coverage and autofocus convenience for the first time. 



Are you planning to pick up a set, or are you holding out for an L-mount version with proper open-gate support? Don’t hesitate to let us know in the comments below!]]></description>
			<pubDate>Mon, 02 Feb 2026 11:19:37 UTC</pubDate>
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			<title>New SILVER 25mm f/1.8 APS-C lens from SG-image</title>
			<link>http://www.personal-view.com/news/articles/new-silver-25mm-f18-apsc-lens-from-sgimage</link>
			<description><![CDATA[Priced at just 599 yuan, SG-image new silver version 25mm F1.8 APS-C autofocus lens is now available, weighing only 145g and supporting Sony E and Nikon Z mounts – Source: Weibo
The post New SILVER 25mm f/1.8 APS-C lens from SG-image first appeared on sonyalpharumors.]]></description>
			<pubDate>Sun, 01 Feb 2026 11:12:12 UTC</pubDate>
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			<title>Brightin Star 60mm f/2.8 II Macro Lens Announced</title>
			<link>http://www.personal-view.com/news/articles/brightin-star-60mm-f28-ii-macro-lens-announced</link>
			<description><![CDATA[Brightin Star has announced the 60mm f/2.8 II 2x Macro, a fully manual focus macro lens for APS-C mirrorless cameras. The lens offers up to 2:1 magnification, giving users access to more than life-size reproduction for extreme close-up work. It arrives as a very budget-friendly option in a space that is typically dominated by more expensive specialty lenses.



Brightin Star has been one of the many brands in the budget manual-lens market for some time now. Their lenses tend to focus on simple mechanical designs, all-metal construction, and very specific creative use cases, while skipping autofocus, electronic communication, and other modern conveniences.



We have covered the company before with their 9mm f/5.6 ultra-wide lens, which paired an extreme field of view with a built-in ND filter at a very aggressive price. That lens gave a good sense of how Brightin Star approaches value and niche focal lengths, prioritizing access over refinement.



The new 60mm f/2.8 II Macro follows that same philosophy. It is a specialty lens designed to do one thing well on paper, while keeping the cost as low as possible.



Image credit: Brightin Star



Brightin Star 60mm f/2.8 II design and performance



The Brightin Star 60mm f/2.8 II is positioned as an APS-C macro lens, despite some confusion around sensor coverage in listings. Brightin Star’s own product description refers to it as an APS-C format lens with an equivalent focal length of around 90mm.



While the lens can be mounted on full-frame mirrorless cameras, it is intended to be used in crop mode. As is often the case with macro lenses, coverage at extreme magnifications does not necessarily mean full-frame usability across the entire focus range.



Image credit: Brightin Star



Optically, the lens uses a 10-element, 7-group design that includes extra-low dispersion elements, a hybrid element, and an aspheric element, along with multi-layer nano coatings to help control flare and contrast. The design is optimized for close-up work rather than general-purpose shooting.



Some sites list a minimum focusing distance of around 0.18 meters, or roughly 7 inches, which is fairly typical for a 2x macro lens at this focal length and should provide a workable balance between magnification and subject distance.



The lens uses internal focusing, meaning the barrel does not extend as you focus closer, which can be helpful when working with lights or modifiers very close to the subject.



Image credit: Brightin Star



Key features




APS-C format macro lens



f/2.8 to f/22 aperture range



Up to 2x macro magnification



Fully manual focus and aperture



Optical design optimized for close-up shooting



Available mounts: Sony E, Canon RF, Canon EF-M, Nikon Z, Fujifilm X, and Micro Four Thirds




Image credit: Brightin Star



Brightin Star 60mm f/2.8 II vs. Laowa 58mm 2x macro



The obvious comparison here is the Laowa 58mm f/2.8 2x Ultra Macro APO. That lens is designed to cover full-frame sensors, offers the same 2x magnification, but aims for higher optical correction and consistency. It also comes at a much higher price.



The Brightin Star 60mm f/2.8 II occupies a different space. Rather than competing directly with the Laowa, it offers a lower-cost entry point. This is for shooters who want to experiment with extreme macro without committing to a more expensive piece of glass. The trade-off, at least on paper, is refinement and consistency.



Laowa also offer other 2x Macro lenses like Laowa 65mm f/2.8 2x Ultra Macro, which is also an APS-C lens. In addition to that, there is also the AstrHori 120mm f/2.8 2X Macro Lens. However, none of these match Brightin Star’s price point.



Price and availability



The Brightin Star 60mm f/2.8 II Macro is currently listed for $155.99. This might be one of the least expensive ways to access 2x macro magnification on mirrorless systems to date. The official product page lists the lens for $169.99, so B&amp;H is definitely the better deal.



For comparison, the Laowa 58mm f/2.8 2x Ultra Macro APO sells for $499, placing it in a very different bracket.



Image credit: Brightin Star



My take on budget lenses 



This lens feels best suited for shooters who want access to a very specific capability without spending much money. Budget lenses can be genuinely useful when you need a specialized tool for occasional or experimental work.



At the same time, price often reflects value. A slightly more expensive lens will usually offer better optical performance, consistency, and overall usability, and that added cost can be well worth it if macro work becomes a regular part of your workflow. Having not used this lens, or any other Brightin Star lens, it is difficult to say exactly how it performs in the real world.



Still, it is good to see more wallet-friendly macro options entering the market.



Image credit: Brightin Star



For more information, sample images, and full specifications, you can visit the product page on Brightin Star’s website.



What do you think of this new lens? Would you use it in your workflow? Let us know in the comments below.]]></description>
			<pubDate>Fri, 30 Jan 2026 09:06:19 UTC</pubDate>
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			<title>The DJI RS 5 Is Here To Bring a New Level of Stability to Your Videography</title>
			<link>http://www.personal-view.com/news/articles/the-dji-rs-5-is-here-to-bring-a-new-level-of-stability-to-your-videography</link>
			<description><![CDATA[A videographer’s best friend is any tool or product that can make their lives easier. And the new DJI RS 5 does just that.An all-new lightweight commercial gimbal designed specifically for working videographers and filmmakers looking to add some extra stability and precision for their more kinetic projects, the DJI RS 5 is a strong follow-up to DJI’s RS 4 and RS 4 Mini models.The killer features include enhanced intelligent subject tracking (sophisticated, responsive, and fun), a stability and control mechanism that makes motion easier to control, and a longer runtime overall.The DJI RS 5 is HereAs mentioned above, this is a new, lightweight commercial gimbal that is designed for the modern, do-it-all videographer. Ideal for content creation or cinematic film sequences, the RS 5 offers a lot in terms of stability and efficiency, which working videographers will love.
It’s also quite notable for its enhanced (and advanced) intelligent subject tracking and the stable maneuvers it offers for those looking to frame live footage and track any subject right from the gimbal’s touchscreen.
Lightweight and easy to use, the DJI RS 5 weighs in at just 1.46kg with the battery grip and quick-release plates included. Despite its compact size, it can carry a payload of up to 3kg and is compatible with a wide range of mirrorless cameras and lens combinations, making it a solid option for whatever your camera loadout usually is.Enhanced Intelligent TrackingSo, while we’ll explore some camera maneuvers and other stability perks below, let’s start by looking at the enhanced intelligent tracking, which makes the RS 5 unique—as well as continue a trend of great AF tracking across DJI’s latest gimbals and drones.
As we saw with the RS 4 Mini, this latest generation of the RS Intelligent Tracking Module includes a wide range of new and impressive features.
This new module allows videographers to track objects other than people. Shooters can safely capture shots with vehicles, pets, or any other objects. For human subjects in particular, the RS 5 can maintain locked focus from up to 10 meters away, making it easy to track your subject even in crowded spaces or other hectic environments.
When putting together your RS 5 for the first time, you can install this Intelligent Tracking Module magnetically, without the need for an adapter or other accessories. This is awesome as it makes everything quick and easy, and you can pretty much start shooting your complicated camera shots and moves right away.Stable and EfficientOverall, as with most DJI products, the name of the game is ease of use, and the RS 5 excels with its subject tracking, easily acquiring subjects and improving efficiency in your shots. It also has many other features and perks that make your life as a videographer easier.
For example, the RS 5&#039;s new Electronic Briefcase Handle is super helpful, allowing shooters to capture new, diverse camera angles from above or below their subject while still offering electronic control of the footage as you record. 
The RS 5&#039;s design is quite ergonomic and comfortable to grip. Plus, thanks to its joystick and button controls, you can run around with this thing with one hand, freeing up your other hand to focus on directing or keeping objects (or people) out of your way.
On top of that, there’s a new on-screen Z-Axis Indicator that can suggest how you, as the videographer, can improve your walking gait or movement pace to help reduce image shake and further stabilize your shots overall.A Trusted Part of the DJI EcosystemIf you’ve never tried out a DJI gimbal before, this would be a great one to get started with, as it offers a nice mix of what makes DJI products great. It’s fun, easy, and efficient. It’s also quite reliable, especially now that it allows longer shoots: its standard battery delivers 14 hours of power and can be charged in just 1 hour.
You can push it further, too, as the new BG70 High-Capacity Battery Grip can extend the RS 5’s runtime to 30 hours, which can also help reduce your downtime and hours lost waiting for more power.
The RS 5 offers expanded camera compatibility for wireless control, with the RS 5’s Bluetooth shutter now supporting Panasonic and Fujifilm cameras, in addition to previously supported models from Sony, Canon, and Nikon.
As with previous DJI gimbals, the DJI RS 5 is also compatible with DJI’s comprehensive product ecosystem. In particular, when the RS 5 is paired with two DJI Focus Pro Motors, users can adjust the zoom via the joystick and the focus via the dial wheel. Additionally, the DJI SDR Transmission provides high-definition live feeds, remote gimbal and camera control, and more collaboration opportunities. Price and AvailabilityRegardless of whether you used the RS 4 or RS 4 Mini in the past, the RS 5 looks like it should be a hit with videographers looking for a helpful and easy option, either for the first time or as a nice upgraded version of a popular line that brings a lot of support for the things that videographers care about.
For more info, including price and availability, check out DJI’s website here.]]></description>
			<pubDate>Fri, 30 Jan 2026 00:30:03 UTC</pubDate>
			</item><item>
			<title>Canon EOS C50 Lab Test Results, Vimeo Layoffs, Leica Sale Rumors &amp; Google-Sundance AI Partnership | CineD Focus Check ep101</title>
			<link>http://www.personal-view.com/news/articles/canon-eos-c50-lab-test-results-vimeo-layoffs-leica-sale-rumors-googlesundance-ai-partnership-cined-focus-check-ep101</link>
			<description><![CDATA[In this episode, we break down our Canon EOS C50 Lab Test results and explore the gap between specs and real-world performance. We also cover the Nikon ZR firmware update, Vimeo’s mass layoffs under Bending Spoons, rumors of a potential Leica sale, SmallHD and Iodyne product updates, this year’s Oscar cinematography nominees, and Google’s $2 million partnership with Sundance to train filmmakers on AI tools. Plus: why Adobe’s 20% stock drop signals bigger shifts in the creative software landscape.



This week, we kick things off with the newly released lab test results of the Canon EOS C50. They highlight the gap between on-paper specifications and real-world, hands-on experience. Johnnie has already used the camera extensively while shooting a mini-documentary, and the lab tests revealed some rather deflating results, making this a perfect example of how specs on paper can differ significantly from actual shooting performance. Make sure to check out the details.



The episode also covers several other engaging topics and raises intriguing questions, such as: what could be the next Vimeo? So hit that play button and enjoy.



    
        
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Chapters and Articles in This Episode



00:00 – Intro



03:06 – Canon EOS C50 Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude



https://www.cined.com/canon-eos-c50-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/







11:22 – Nikon ZR Firmware V1.10 Released – Wired Timecode Sync, RED File Naming, and More



https://www.cined.com/nikon-zr-firmware-v1-10-released-wired-timecode-sync-red-file-naming-and-more/



14:34 – Vimeo Layoffs Eliminate Majority of Staff Just Four Months After $1.38B Acquisition



https://www.cined.com/vimeo-layoffs-eliminate-majority-of-staff-just-four-months-after-1-38b-acquisition/



23:48 – Leica Camera AG Owners Reportedly Considering Sale of Controlling Stake Valued at €1 Billion



https://www.cined.com/leica-camera-ag-owners-reportedly-considering-sale-of-controlling-stake-valued-at-e1-billion/







33:38 – ProClip Acquires INOVATIV – What It Means for the Film Industry’s Favorite Cart Maker



https://www.cined.com/proclip-acquires-inovativ-what-it-means-for-the-film-industrys-favorite-cart-maker/



38:31 – 98th Academy Awards Nominations: “Sinners” Breaks All-Time Record With 16 Nods, Cinematography Race Features Diverse Field



https://www.cined.com/98th-academy-awards-nominations-sinners-breaks-all-time-record-with-16-nods-cinematography-race-features-diverse-field/



40:23 – SmallHD PageOS Update Adds Fleet Control, Portrait Mode, and Canon Camera Control



https://www.cined.com/smallhd-pageos-update-adds-fleet-control-portrait-mode-and-canon-camera-control/



45:13 – Accsoon CineView M7 Firmware Update Adds Sony EI Control, Nikon Support, ARRI-Style False Color, and Vertical Workflow



https://www.cined.com/accsoon-cineview-m7-firmware-update-adds-sony-ei-control-nikon-support-arri-style-false-color-and-vertical-workflow/



51:33 – Eddie AI “Dirty Multicam” Support for Premiere Pro and DaVinci Resolve Launched



https://www.cined.com/eddie-ai-dirty-multicam-support-for-premiere-pro-and-davinci-resolve-launched/



59:53 – Google.org Invests $2 Million in Sundance Institute for AI Filmmaking Education



https://www.cined.com/google-org-invests-2-million-in-sundance-institute-for-ai-filmmaking-education/



01:09:50 – LumaFusion for Android 2.5 Brings Head and Tail Transitions, Multi-Clip Editing, and APV Codec Support



https://www.cined.com/lumafusion-for-android-2-5-brings-head-and-tail-transitions-multi-clip-editing-and-apv-codec-support/



01:11:33 – SWIT PowerCell Batteries Now Available for Sony, Canon, Nikon, and FUJIFILM Cameras



https://www.cined.com/swit-powercell-batteries-now-available-for-sony-canon-nikon-and-fujifilm-cameras/



01:14:43 – Cinematographer Bob Poole on Filming Elephants With FUJINON Duvo HZK25-1000mm – Respectful Wildlife Filmmaking



https://www.cined.com/cinematographer-bob-poole-on-filming-elephants-with-fujinon-duvo-hzk25-1000mm-respectful-wildlife-filmmaking/







01:18:42 – Adding Elements in VFX Compositing to Sell the Illusion – A Step-by-Step Guide from Digby Hogan



https://www.cined.com/adding-elements-in-vfx-compositing-to-sell-the-illusion-a-step-by-step-guide-from-digby-hogan/



We hope you enjoyed this episode!



You have feedback, comments, or suggestions? Write us at podcast@cined.com ]]></description>
			<pubDate>Thu, 29 Jan 2026 17:20:06 UTC</pubDate>
			</item><item>
			<title>This Unique Short-Telephoto Prime Aims to Be Your Go-To Lens for Close-Ups</title>
			<link>http://www.personal-view.com/news/articles/this-unique-shorttelephoto-prime-aims-to-be-your-goto-lens-for-closeups</link>
			<description><![CDATA[Another compact, ultra-macro lens has hit the scene, and the market for close-up lens options just got a bit more crowded. Something that we are content with is a good thing. The new Laowa 90mm f/2.8 2x Ultra Macro APO Lens from Venus Optics has just been announced, and it aims to be the ideal lens option for your close-up shots.Designed to be a uniquely compact short-telephoto prime, this ultra macro lens is offered with a Micro Four Thirds mount and aims to feature greater-than-life size with its 2:1 maximum magnification capabilities.Let’s take a look at this new Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens and see what it could possibly offer for your close-up shots.The Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO LensAs mentioned above, this Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens is set to be offered with a Micro Four Thirds mount, which will allow it to offer greater-than-life-size 2:1 maximum magnification along with an 8&quot; minimum focusing distance.
This should honestly make it quite intriguing for those looking to capture some super close-up shots and other shots that need extremely small details. 
Ultimately designed for mirrorless cameras with full-frame sensors, the Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens can capture subjects in pretty much any size, making it quite versatile for different applications, including macro, commercial, and portrait photography.Price and AvailabilityThe Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens is ready to preorder now, with units expected to start shipping soon. Here are the full specs and purchase options for Canon RF, Leica L, Nikon Z, Sony E, and the Micro Four Thirds mount option, which you see below.
-Mount Lens/Full-Frame FormatAperture Range: f/2.8 to f/22Minimum Focusing Distance: 8&quot;Maximum Magnification: 2:1Apochromatic APO DesignThree Extra-Low Dispersion ElementsManual Focus Design9-Blade DiaphragmVenus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens for Micro Four ThirdsClose-focusing and compact, the Venus Optics Laowa 90mm f/2.8 2x Ultra Macro APO Lens from Venus Optics is a unique and versatile short-telephoto prime. Offered here with a Micro Four Thirds -mount,.]]></description>
			<pubDate>Thu, 29 Jan 2026 16:31:17 UTC</pubDate>
			</item><item>
			<title>Nikon USA rebates for February: new Z5II trade-in program</title>
			<link>http://www.personal-view.com/news/articles/nikon-usa-rebates-for-february-new-z5ii-tradein-program</link>
			<description><![CDATA[


The new Nikon USA rebates for February began today with a new Z5II trade-in program and new discounts on ZR lens kits. See the details at

B&amp;H Photo
Paul’s Photo
Service Photo.

Rebates by categories (see full list):

Mirrorless Cameras
Mirrorless Lenses
DSLR Cameras
DSLR Lenses
Accessories


Nikon UK winter sale: WEX Photo

Canada: Nikon Canada offers a $200 trade-in bonus toward the Z5II.


The post Nikon USA rebates for February: new Z5II trade-in program appeared first on Nikon Rumors.


Related posts:
Nikon Z5II camera officially announced
Nikon NIKKOR Z 800mm f/6.3 VR S lens review – a game changer?
New Nikon rebates in the US for May 2025

]]></description>
			<pubDate>Thu, 29 Jan 2026 13:37:22 UTC</pubDate>
			</item><item>
			<title>DJI RS 5 Announced – Enhanced Intelligent Tracking Module, 5th-Gen Stabilization, and One-Hour Fast Charging</title>
			<link>http://www.personal-view.com/news/articles/dji-rs-5-announced-enhanced-intelligent-tracking-module-5thgen-stabilization-and-onehour-fast-charging</link>
			<description><![CDATA[DJI just unveiled its next-generation commercial gimbal, the RS 5, introducing the new RS Enhanced Intelligent Tracking Module for object and subject tracking directly from the touchscreen, alongside a 5th-generation stabilization algorithm with 50% increased motor torque and significantly improved charging efficiency.



The Ronin lineup continues to evolve with DJI’s latest single-handed stabilizer, positioned squarely at videographers who work solo and need maximum flexibility without sacrificing professional performance. Building on the foundation established by the RS 4 series announced in April 2024, the RS 5 brings several meaningful upgrades while maintaining the compact form factor that made its predecessors popular among run-and-gun shooters and content creators alike.



The DJI RS 5 gimbal supports 5th generation stabilization for Ronin-series gimbals. Image credit: DJI



RS Enhanced Intelligent Tracking Module



The headline feature of the RS 5 is undoubtedly the new RS Enhanced Intelligent Tracking Module, which builds upon technology first introduced with the RS 4 Mini about a year ago. What sets this enhanced version apart is its ability to track not just people but also vehicles, pets, and arbitrary objects directly from the gimbal’s touchscreen, something that should prove particularly useful for documentary work and event coverage where subjects vary constantly.



Headline feature of the DJI RS 5 is the RS Enhanced Intelligent Tracking Module. Image credit: DJI



DJI claims the module can maintain locked focus on human subjects up to 10 meters away, even in crowded environments. If your subject temporarily leaves the frame, the system can automatically reacquire them when they return. The module attaches magnetically without adapters or additional accessories, reducing setup friction on location. For solo operators, this opens up shots that would typically require a dedicated camera operator or focus puller: surround shots, reverse tracking, and fixed-camera tracking sequences become achievable single-handed.



Touchscreen tracking for subject and humans via the module. Image credit: DJI



5th-generation stabilization algorithm



Under the hood, DJI has implemented its 5th-generation RS stabilization algorithm, which the company says improves peak motor torque by 50% compared to the RS 4. The practical implication is greater stability during fast-moving scenarios (walking, running, or rapid angle changes) and notably improved performance when shooting vertically, a mode that has become increasingly important for social media content production.



DJI claims greater stability during fast-moving scenarios with the RS 5. Image credit: DJI



The gimbal weighs 1.46kg with the battery grip and quick-release plates included, supporting payloads up to 3kg. That payload capacity positions it for mainstream mirrorless cameras with standard zoom lenses, though users running cinema glass or heavily accessorized rigs will still want to look at the higher-capacity options in DJI’s lineup. The extended tilt axis arm accommodates more camera and lens combinations while supporting ND filter installation without clearance concerns.



A new on-screen Z-Axis Indicator provides real-time feedback on vertical movement, helping operators adjust their gait and pace to minimize image shake. This is the kind of subtle feature that experienced gimbal operators will appreciate, particularly when training muscle memory for steadier walking shots.



The new Z-axis indicator on the right hand side of the screen gives real-time feedback on vertical movement. Image credit: DJI



Electronic Briefcase Handle and control improvements



The RS 5 introduces an all-new Electronic Briefcase Handle designed for capturing high and low angles with full electronic control. The handle includes a joystick and button controls accessible during one-handed operation, with smooth transitions designed to reduce wrist fatigue during extended shooting sessions.



The DJI RS 5 has a new Electronic Briefcase Handle that allows full control of the gimbal from the second grip, which is very convenient. Image credit: DJI



For camera control, DJI has expanded Bluetooth shutter compatibility to include Panasonic and FUJIFILM cameras alongside previously supported Sony, Canon, and Nikon models. This wireless control eliminates cable clutter while enabling remote recording triggers. The new fine-tuning knobs with Teflon interlayers on each axis arm provide smoother balancing, even with heavier professional setups.



New fine-tuning knobs with Teflon interlayers allow for quick rebalancing when performing a small change on the camera package. Image credit: DJI



Battery life and charging



Charging efficiency sees a significant improvement with the RS 5. A full charge now takes just one hour (with a 65W PD-protocol charger and the BG33 battery grip), representing a 60% improvement over the RS 4’s 2.5-hour charge time. The standard battery delivers 14 hours of runtime, up from the RS 4’s 12-hour rating.



For extended shoots, the optional BG70 High-Capacity Battery Grip pushes runtime to an impressive 30 hours, while also supporting 18W external power output through its bottom USB-C port. This means the grip can simultaneously power the gimbal and supply juice to accessories or even charge a smartphone during downtime.



The large – still optional – BG70 Gih-Capacity Battery Grip gives a whopping 30 hours of runtime. Image credit: DJI



Ecosystem compatibility



The RS 5 maintains compatibility with DJI’s broader professional ecosystem. Pairing two DJI Focus Pro Motors enables zoom control via the joystick and focus adjustment through the dial wheel. The Focus Pro Motor itself has seen a 40% speed increase over the previous generation while supporting 15mm universal rods with adjustable torque, direction, and speed settings.



DJI Focus Pro motor installed on the RS 5. Image credit: DJI



DJI SDR Transmission support provides high-definition live feeds and remote gimbal control, opening up collaboration possibilities on larger productions. The RSA Communication Port connects to the Electronic Briefcase Handle, RS Tethered Control Handle, and third-party ring handles, allowing operators to configure their preferred shooting combinations.



DJI SDR Transmission attached to the RS 5. Image credit: DJI



Existing DJI RS users will recognize the 2nd-generation Automated Axis Locks, which unlock when powering on and automatically lock during power-off or sleep mode. The 3rd-generation Native Vertical Switch allows switching to portrait orientation within seconds without additional accessories or plate swaps.



DJI’s very convenient Automated Axis Locks are of course still part of the RS 5. Image credit: DJI



For developers and third-party manufacturers, the open RS SDK enables custom function development, extending the RS 5’s capabilities beyond DJI’s standard feature set.



Price and availability



The DJI RS 5 is available now from authorized retailers and store.dji.com in two configurations:



The standalone DJI RS 5 retails for £485 / €569 and includes the gimbal, Quick-Open Tripod, Lens-Fastening Support, Screw Kit, Upper and Lower Quick-Release Plates, BG33 Battery Grip, and Multi-Camera Control Cable.



The DJI RS 5 Combo retails for £619 / €719 and adds the RS Enhanced Intelligent Tracking Module, Electronic Briefcase Handle, L-Shaped Cable, and a Carrying Case.



DJI Care Refresh protection plans are available, with the 1-Year Plan covering up to 2 replacements and the 2-Year Plan covering up to 4 replacements for accidental damage including collisions and water damage.



Package content of the DJI RS 5 Combo. Image credit: DJI



CineD video review and overview coming soon



We are currently starting to work on an extensive video review of the RS 5, which will include a comprehensive overview of the evolution of the Ronin ecosystem over the last decade. Expect that video towards the end of February 2026.



What do you think about the DJI RS 5? Does the enhanced tracking module address a gap in your current workflow, or would you prefer to see higher payload capacity at this price point? Let us know in the comments below!]]></description>
			<pubDate>Thu, 29 Jan 2026 11:59:56 UTC</pubDate>
			</item><item>
			<title>An updated list of where Nikon Z cameras and lenses are manufactured</title>
			<link>http://www.personal-view.com/news/articles/an-updated-list-of-where-nikon-z-cameras-and-lenses-are-manufactured</link>
			<description><![CDATA[
Here is the latest/updated list of Nikon Z mirrorless cameras and lenses, and the country of manufacturing:



Mirrorless camera (Z series)
Country of origin


Z9, Z8, Z7II, Z6III, Z6II, Z7, Z6, Z5II Z5, Zf, Zfc, Z50, Z50II, Z30
Thailand






NIKKOR Z Lenses



NIKKOR Z 58mm f/0.95 S Noct
NIKKOR Z 24-70mm f/2.8 S
NIKKOR Z 24-70mm f/2.8 S II
NIKKOR Z 100-400mm f/4.5-5.6 VR S
NIKKOR Z 400mm f/2.8 TC VR S
NIKKOR Z 600mm f/4 TC VR S
Japan


NIKKOR Z DX MC 35mm f/1.7
Vietnam


NIKKOR Z 26mm f/2.8
NIKKOR Z 28mm f/2.8
NIKKOR Z 28mm f/2.8 (Special Edition)
NIKKOR Z 35mm f/1.2 S
NIKKOR Z 40mm f/2
NIKKOR Z 40mm f/2 (SE)
NIKKOR Z 50mm f/1.2 S
NIKKOR Z 50mm f/1.8 S
NIKKOR Z 135mm f/1.8 S Plena
NIKKOR Z 14-24mm f/2.8 S
NIKKOR Z 14-30mm f/4 S
NIKKOR Z 24-70mm f/4 S
NIKKOR Z 24-120mm f/4 S
NIKKOR Z 24-200mm f/4-6.3 VR
NIKKOR Z 70-200mm f/2.8 VR S
NIKKOR Z DX 12-28mm f/3.5-5.6 PZ VR
NIKKOR Z DX 16-50mm f /3.5-6.3 VR
NIKKOR Z DX 18-140mm f/3.5-6.3 VR
NIKKOR Z DX 50-250mm f/4.5-6.3 VR
NIKKOR Z MC 105mm f/2.8 VR S
NIKKOR Z 24-105mm f/4-7.1
Thailand


NIKKOR Z 20mm f/1.8 S
NIKKOR Z 24mm f/1.8 S
NIKKOR Z DX 24mm f/1.7
NIKKOR Z 35mm f/1.4
NIKKOR Z 35mm f/1.8 S
NIKKOR Z 50mm f/1.4
NIKKOR Z MC 50mm f/2.8
NIKKOR Z 85mm f/1.2 S
NIKKOR Z 85mm f/1.8 S
NIKKOR Z 400mm f/4.5 VR S
NIKKOR Z 600mm f/6.3 VR S
NIKKOR Z 800mm f/6.3 VR S
NIKKOR Z 17-28mm f /2.8
NIKKOR Z DX 16-50mm f/2.8 VR
NIKKOR Z 24-50mm f/4-6.3
NIKKOR Z 28-75mm f/2.8
NIKKOR Z 28-400mm f/4-8 VR
NIKKOR Z 70-180mm f/2.8
NIKKOR Z 180-600mm f/5.6-6.3 VR
China




Source: Nikon
The post An updated list of where Nikon Z cameras and lenses are manufactured appeared first on Nikon Rumors.


Related posts:
Reminder: Nikon US price increase coming on June 23
New Nikon rebates in the US for May 2025
Nikon US rebates for July, Nikon EU rebates expire soon

]]></description>
			<pubDate>Thu, 29 Jan 2026 01:25:42 UTC</pubDate>
			</item><item>
			<title>New Rollei AF 24mm f/1.8 and 35mm f/1.8 lenses for Nikon Z mount officially announced in Germany</title>
			<link>http://www.personal-view.com/news/articles/new-rollei-af-24mm-f18-and-35mm-f18-lenses-for-nikon-z-mount-officially-announced-in-germany</link>
			<description><![CDATA[ 
 
After teasing “We’re back”, today Rollei officially announced the previously reported AF 24mm f/1.8 and 35mm f/1.8 lenses for Nikon Z mount (based on the 7Artisans AF f/1.8 lenses).
The new lenses are currently in stock at Foto Erhardt.
Rollei already has the AF 85mm f/1.8 lens to complete the trio (see this post for more info):

Additional information on the new lenses can be found here:

Rollei AF 24mm f/1.8 and 35mm f/1.8 lenses for Sony E and Nikon Z officially announced in Germany

New Rollei AF 35mm f/1.8 lens announced in Germany (Z/E)

Rollei: new “We are back” teaser


Via PhotoRumors
The post New Rollei AF 24mm f/1.8 and 35mm f/1.8 lenses for Nikon Z mount officially announced in Germany appeared first on Nikon Rumors.


Related posts:
New: Rollei 85mm f/1.8 AF full-frame lens for Nikon Z-mount
Comparing the Nikon NIKKOR Z 35mm f/1.8 and 35mm f/1.4 to the new 35mm f/1.2 lens
Here are some of the new lenses that will be announced/displayed at the 2025 China P&amp;E show in Beijing

]]></description>
			<pubDate>Wed, 28 Jan 2026 18:41:10 UTC</pubDate>
			</item></channel> 
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