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Brightin Star’s New AF 35mm f/1.8 Lens

Brightin Star just announced a new autofocus 35mm f/1.8 lens for full-frame Sony E and Nikon Z mirrorless systems. It features an internal STM motor that handles autofocus duties and supports eye-detect AF on both Sony and Nikon bodies. Brightin Star says the AF system offers "micron-level" precision, and while that is a claim that is hard to verify, it does mean that this lens is trying to compete in the higher end AF space.

The lens has 11 elements in 8 groups, including two aspherical lenses, a pair of high-refractive elements from Hoya, and one ED glass element to help reduce chromatic aberrations and fringing. Brightin Star is promising high edge-to-edge sharpness even wide open at f/1.8, along with smooth bokeh and minimal ghosting, especially important since f/1.8 is where a lens like this earns its keep over a kit zoom. Focus breathing is said to be minimal, which is good news for video shooters, and there's a de-clickable aperture ring on the E-mount version to allow smooth exposure transitions while filming.

Interestingly, Nikon Z shooters miss out on that ring entirely, due to how Nikon handles third-party stepless aperture controls, so the Z version has electronic aperture only. Both versions accept 62mm filters and weigh just under 430g. Build-wise, the lens is weather-sealed and includes a USB-C port for firmware updates, although the updater app is Windows-only. Pricing for the lens sits at $250.

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

The Latest Sigma Rumours

According to numerous internet sources, Sigma is gearing up to announce three new lenses on August 19th. If the rumours hold true, the company will reveal a 200mm f/2.0 Sports lens and a second-generation 35mm f/1.2 ART, both for full-frame, alongside a 12mm f/1.4 prime for APS-C. The 200mm and 35mm are said to be coming to Sony E and Leica L mounts, while the wide-angle 12mm f/1.4 is expected to launch on five different mounts: E, L, RF, Z, and X.

A 200mm f/2.0 would be an unusual addition to the mirrorless lens market. Most 200mm options for mirrorless top out at f/2.8, so this one would offer an extra stop of light while likely pushing the boundaries in terms of size and weight. It will be part of Sigma’s Sports lineup, so you can expect weather sealing, fast AF, and good telephoto performance. The 35mm f/1.2 ART, one of the fastest autofocus primes on the market, is reportedly getting an upgrade too, though it’s unclear yet if that means weight savings, faster AF, or purely optical refinements.

The 12mm f/1.4 APS-C prime could be the ‘‘sleeper hit’’ of the group. On crop sensors, it translates to about 18mm full-frame equivalent, very wide, especially paired with an unusually fast f/1.4 aperture, which makes it interesting for things like astrophotography, low-light cityscapes, and even video work. Sigma hasn’t confirmed any of this yet, but we might know more by August 19th!

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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: Cinemagraph Photography

What Is a Cinemagraph?

A cinemagraph is kind of a hybrid between photo and video. Imagine a still image where just one small part keeps moving in a continuous loop while everything else is frozen (just like in the photo above). It’s not a GIF, not quite a video, and definitely not just a photo.

The beauty of a cinemagraph is in that contrast between stillness and motion. It grabs your eye because it feels… almost wrong. Your brain says, “Wait, this is a photo, but why is it moving?”

What You Need

• A camera that can shoot video (or even a smartphone if it shoots in high quality)

• A tripod (this is super important, you need your shot to be perfectly still)

• Editing software like Photoshop, After Effects, or a dedicated app like Flixel Cinemagraph Pro

• Good lighting is also very important, since changes in light during your clip can ruin the loop, so shoot in controlled or soft lighting.

Step-by-Step: How to Make a Cinemagraph

1. Plan the Scene with Minimal Movement

The best cinemagraphs start with a clear idea. You’re looking for one small, repetitive movement: wind blowing through trees, a drink being stirred, blinking eyes, a candle flame, curtains moving slightly in the background etc. Everything else should stay as still as possible.

The key is isolation, you want only one part of the frame doing something.

2. Record 10–20 Seconds of Video

Mount your camera on a tripod, compose your scene, lock down exposure and focus, and start recording. Make sure nothing changes except your intended motion. Even subtle movement (like shadows shifting or people in the background) can mess with your loop later.

Tip: Make sure to record longer than you think you need. You can always trim later.

3. Choose a Still Frame

Once you’ve got your footage, open it in your editing software and select the best frame as your “base image.” This still will make up the bulk of your cinemagraph.

In Photoshop, you’ll turn this frame into a new layer that sits on top of the video.

4. Mask in the Motion

This is where the magic happens. Using a layer mask, carefully reveal only the portion of the video that you want to see moving. Everything else stays frozen thanks to the still layer above. Take your time with this step! The cleaner the mask the better the effect.

5. Create a Seamless Loop

Watch the clip over and over. If the motion starts or ends abruptly, it breaks the illusion (you want the motion to be going on ‘‘‘forever’’). Try to:

• Trim the video to where the motion begins and ends naturally

• Crossfade the beginning and end

• Reverse the clip and loop it back and forth (especially useful for things like swaying fabric or blinking)

The goal: the viewer should never see where the loop starts or stops.

6. Export and Share

Once it loops cleanly, export it as:

• A .GIF for websites and social media

• A .MP4 or .MOV for higher quality or longer sequences

Things to Watch Out For

• If the sun is moving or flickering light changes between frames, it will make your loop obvious.

• Even the tiniest bump can throw off the alignment. Maybe even use a remote or timer to start recording.

• Avoid chaotic or random movement like traffic or crowds, it is very hard to loop smoothly (not impossible, but hard to do).

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