The 2026 NAB Show closed in Las Vegas this week after drawing more than 58,000 registered attendees, with photography and videography gear among the central draws on a show floor that spanned the equivalent of nearly eight soccer fields. Canon, Sony, and Blackmagic Design were among the major imaging brands exhibiting alongside Adobe, Ross, Google Cloud, and AWS — a lineup that reflects how thoroughly software and cloud infrastructure have merged with the physical camera and production hardware space.

Wireless connectivity in cameras has never been a marketing priority. Megapixels sell. Autofocus systems sell. WiFi module generations do not. Which is exactly why the gap between what Canon is shipping in 2024–2025 and what the other major brands are offering is larger than it should be, and largely unreported. A quick orientation: the relevant standards in current camera hardware are WiFi 4 (802.11n, introduced 2009), WiFi 5 (802.11ac, introduced 2013), and WiFi 6 (802.

NAB Show 2026, April 18–22, Las Vegas Las Vegas opens the week with that particular convention-center energy photographers and camera people know well: long halls, bright overhead light, black drape, giant LED walls, and a constant stream of lenses, rigs, monitors, gimbals, and people trying to decide what actually matters once the show-floor glow wears off. NAB Show 2026 arrives as a media industry event on a massive scale, but from a photography and imaging perspective, what makes it interesting is not just size.

Sony has issued simultaneous firmware updates for three of its Alpha full-frame mirrorless bodies: the A7R IVA, A7C, and A7 III. The new versions — 1.13, 2.03, and 4.04 respectively — all carry the same terse changelog: improved operational stability. Sony has offered no further detail, which is typical for this category of update. In practice, stability patches of this kind generally address issues around power management, accessory or lens compatibility, and intermittent freezing or unresponsiveness.

The Minolta MD 50mm f/1.4 is a lens that predates autofocus entirely. It was manufactured through the 1970s and 1980s, attached originally to Minolta’s SLR bodies, and is now scattered across eBay listings and flea market tables in sufficient quantities that finding a clean copy for $30–$60 is not particularly difficult. Adapted to the Sony A6400 via a $20 MD-to-E mount adapter, it produces something that a significant community of photographers finds genuinely irreplaceable.

The Canon EF 135mm f/2L USM is one of the most respected telephoto primes ever made and one of the few legacy lenses where the secondary market price has declined meaningfully as photographers have migrated to mirrorless systems and RF glass. Used copies trade in the $600–$750 range — less than they commanded five years ago, and substantially less than the optical quality warrants. The Sigma MC-11 adapter, which communicates the EF protocol to Sony E-mount bodies with high fidelity, adds approximately $199.

There is a version of this review that spends its first paragraph apologizing for recommending an APS-C system with a third-party lens. This is not that review. The Sony A6700 paired with the Sigma 30mm f/1.4 DC DN is one of the most capable and practical camera combinations available for under $2,000, and it earns that claim without qualification. The Sigma 30mm on APS-C produces a field of view equivalent to roughly 45mm in full-frame terms — close enough to the classic 50mm standard to feel immediately natural, wide enough to work in tight interior spaces without distortion.

The 135mm focal length occupies a curious position in the portrait photographer’s arsenal. Long enough to fully compress a face from a comfortable working distance, fast enough at f/1.8 to produce background separation that rivals shorter, wider-aperture alternatives — it is the choice of photographers who have thought carefully about what they actually want rather than what specifications suggest they should want. Sony’s FE 135mm f/1.8 GM is the best lens in this category.

When Sony first launched the G Master series back in 2016, the 24–70mm f/2.8 sat right at the center of the promise—high-end optics for a system that was still proving itself. The original delivered, but over time it started to feel… heavy in more ways than one. As bodies slimmed down and sensors pushed into 30MP, 50MP, even 60MP territory, that first version began to show its age—not optically so much, but physically, ergonomically.

Tamron Co., Ltd. doesn’t frame the 35–100mm F/2.8 Di III VXD as a radical reinvention, and that’s exactly why it works. This lens feels like the result of quiet listening rather than loud ambition, shaped by feedback from photographers who loved the idea of the 35–150mm but didn’t always love carrying it. Designed for full-frame mirrorless cameras, it launches for Sony E-mount and Nikon Z-mount, covering full-frame sensors natively while remaining fully usable on APS-C bodies, where the effective field of view tightens into a longer portrait-oriented zoom due to crop factor.

Sony finally pulled the curtain on the Alpha 7 V, the fifth generation of its hugely popular full-frame mirrorless line. The headliner here is a new partially stacked 33MP Exmor RS sensor paired with the updated BIONZ XR2 processor and onboard AI unit, which together push autofocus, tracking, color accuracy, and overall responsiveness to a level that feels like a serious leap—not just a mild refresh. The autofocus system gets a noticeable boost with faster recognition, better tracking coverage across the frame, more reliable low-light performance, and blackout-free shooting up to 30fps with AF/AE tracking.

Sony Electronics recently announced the introduction of the FE 50-150mm F2 GM lens, model SEL50150GM, characterized primarily by its constant maximum aperture of F2 across a telephoto zoom range. This lens represents a unique addition to the current range of telephoto zoom lenses available for the Sony Alpha camera system, specifically due to its combination of focal lengths traditionally covered by prime lenses (50mm, 85mm, and 135mm) into a single zoom lens.

Photography is a raw, visceral dialogue between the photographer and the world, where each image is a testament to the unyielding spirit of exploration and creativity. Consider the magnetic pull of Steve McCurry’s timeless portraits or the transformative power of Annie Leibovitz’s celebrity storytelling; these legends were not simply lucky—they were innovators who dared to see the world differently and harnessed every technical nuance at their disposal. The journey toward international acclaim begins with developing a unique visual voice that resonates with diverse audiences, blending instinctive artistry with a meticulous command of the craft.

There was a time when the photography and videography industry was almost synonymous with Canon and Nikon, brands that had cultivated a loyal following over decades. These two giants dominated the market with their precision engineering, optical excellence, and reliability. For years, they set the gold standard for professionals and enthusiasts alike. But in a narrative that feels akin to the disruption seen in other tech spaces, Sony has broken through this duopoly, carving out a space not just as a competitor but as an industry leader in its own right.

Sony has introduced its new flagship, the Alpha 1 II, a full-frame mirrorless camera that embodies cutting-edge technology with a powerful AI processing unit. Building on the revolutionary Alpha 1, this second-generation model delivers a stunning 50.1 MP resolution and boasts blackout-free continuous shooting at up to 30 fps with advanced AF/AE tracking. The integration of AI elevates subject recognition to unprecedented levels, allowing the camera to seamlessly adapt to a variety of scenarios.

Tamron has officially announced the release of the 90mm F/2.8 Di III MACRO VXD (Model F072), a high-performance macro lens compatible with Sony E-mount and Nikon Z mount full-frame mirrorless cameras. Set to hit the market on October 24, 2024, this lens marks the 45th anniversary of Tamron’s first 90mm macro lens, building on a storied legacy of optical innovation and beloved bokeh effects. Known as a versatile mid-telephoto 1:1 macro lens, the new model promises an impressive combination of classic features with cutting-edge advancements.