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New Mitakon 55mm f/2.8 Macro Lens

Zhong Yi Optics has introduced a new addition to their Mitakon lineup, the 55mm f/2.8 1–5x Macro lens, for photographers who want extreme close-up capabilities. Unlike most macro lenses that top out at 1:1 reproduction, this one goes all the way to 5:1, meaning it can project a subject onto the sensor at five times its actual size.

The lens itself is built around an optical design of 13 elements in eight groups, with coatings designed to keep chromatic aberrations under control while maintaining sharpness across the frame. It is a manual-focus lens with a nine-bladed aperture diaphragm and works with both full-frame and medium-format sensors. At lower magnifications, the working distance is somewhat practical (about 150mm at 1:1) but at 5:1 it drops to just 65mm. In other words, lighting can be difficult when working at the higher end, so Zhong Yi has included a USB-C powered LED ring light that attaches directly to the front of the lens.

Physically, the 55mm f/2.8 is fairly substantial for its focal length, measuring up to 162mm long at maximum extension and weighing 690 grams. It accepts 58mm filters and comes with a detachable Arca-Swiss tripod foot. The lens comes in a wide range of mounts, including Canon EF, Canon RF, Fujifilm X, Fujifilm GFX, L-Mount, Nikon F, Nikon Z, Sony E, and Hasselblad XCD. Pricing for this lens sits at $399.

You can see full details and sample shots on Mitakon’s website here

Sigma’s Latest Teaser

Sigma doesn’t seem to be slowing down anytime soon. After very recently announcing the 200mm f/2 DG OS Sports and the 12mm f/1.4 DC, the company will soon unveil yet another lens, this time a 135mm f/1.4. According to a teaser image posted by Sigma China, titled “Master of Optics”, the official launch is expected to take place on September 9, 2025. That lines up with earlier leaks suggesting the company has been working on this new telephoto prime for a while.

The lens is said to weigh around 1,320 grams and use a hefty 105mm filter thread, which makes sense given its f/1.4 maximum aperture. Sources familiar with the lens claim the rendering is particularly smooth, producing soft, round bokeh that sets it apart from more common portrait options like 85mm f/1.4 lenses. As expected, the 135mm will be available for both Sony E-mount and L-Mount, giving photographers on either system a new option for portraits, events, and even more creative telephoto work.

There’s also talk that Sigma could use the September event to show off more than one lens. A 20–200mm f/3.5–6.3 zoom has been rumored, along with a second-generation 35mm f/1.2 Art. Whether those appear alongside the 135mm is unclear, but the timeline suggests we won’t have to wait long to find out.

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Weekly Photo Technique Exploration

Welcome to a new section of the magazine where every week we will explore a new photography technique from across various photography genres.

This week’s technique: Refraction Photography

What Is Refraction Photography?

Refraction photography is basically using the way light bends through glass, water, or anything clear to create a little “mini world” inside it. You have probably seen shots where an entire skyline, mountain range, or forest shows up inside a glass ball, or a single water droplet has a whole flower garden trapped inside it. That’s the trick: light passes through, bends, and creates a tiny flipped version of whatever is behind it.

The Classic Setups

• Lensball shots: Those glass spheres you used to see all over Instagram, perfect for landscapes, skylines, and sunsets (easy to find online).

• Water droplet close-ups: With a macro lens, each droplet acts like a tiny crystal ball which you can use to create the effect.

• Prisms, wine glasses, random bits of acrylic: Cheap props that give you more creative distortions and reflections.

How to Shoot It

1. Pick your “refraction tool.” Want a big, bold refracted scene? Go with a glass ball. Want little details? Go for water drops on glass or flowers/plants.

2. Choose the right lens.

   • For droplets, a macro lens is essential, you need to get very close.

   • For glass balls or prisms, a standard or telephoto lens works well.

3. Frame your scene. Remember: the image inside the glass/water will be upside down. Some people leave it that way (it adds to the surreal kind of vibe), others just flip it in editing.

4. Focus carefully. Don’t focus on the outside of the ball or the droplet, focus inside it, on the refracted image.

5. Use good backgrounds. This technique only works if you have got something interesting behind your object —> a skyline, colourful flowers, neon lights. A dull background = a dull refraction.

Camera Settings

1. Aperture

   • Sweet spot is usually f/4 to f/8.

   • Why? If you shoot wide open (like f/1.8), the refracted image inside the glass ball or droplet will be too soft. If you go too narrow (like f/16), the whole scene might get sharp and you’ll lose the background blur that makes the effect special.

   • At f/5.6, you’ll usually get the refracted image sharp but still have nice background separation.

2. Shutter Speed

   • Just balance for proper exposure.

   • If you’re handholding, keep it above 1/125s to avoid shake.

3. ISO

   • Keep it low (ISO 100–400) to avoid noise. Especially important with glass balls, because noise in the refracted image stands out like a sore thumb.

A Few Tips

• The farther away your background is, the smaller and sharper it will look inside the refraction.

• Fill the frame with the droplet or glass ball so the effect isn’t tiny and lost.

• Use manual focus if possible. Autofocus loves to lock onto the outside of the glass ball/droplet instead of the refracted image inside.

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