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The Latest News:
Thypoch Teases New AF 24-50mm f/2.8 Zoom
credits: Thypoch
Thypoch, best known for its vintage-style manual focus primes like the Simera 28mm f/1.4, Eureka 50mm f/2, and Ksana 21mm f/3.5, is now moving in a completely different direction. The company has officially teased its first autofocus zoom lens, a 24–50mm f/2.8, marking a pretty significant shift for the brand. So far, Thypoch has built its reputation on manual lenses with classic optical character, so stepping into both autofocus and zoom design at the same time is quite a move.
Based on the teaser, the lens has a much more modern design compared to the company’s earlier releases. The most noticeable detail is the diagonal ridging on the zoom and focus rings, which gives it more of a distinct look. It also appears to include a manual aperture ring, and there is a visible switch that likely toggles between AF and MF. Beyond that, details are still pretty limited. The lens looks relatively compact, which would make sense given the shorter 24–50mm range compared to the more common 24–70mm zooms. For reference, Sony’s 24–50mm f/2.8 G sits at around 440 grams, so this lens could land in a similar size and weight class.
The bigger question is not really the design, but how it performs. Up to now, Thypoch’s lenses have been manual focus primes with relatively simple optical designs, which is a very different challenge compared to building a zoom with autofocus. A zoom lens involves more complex optics, and reliable autofocus adds another layer of difficulty entirely. Thypoch has said it wants to balance modern performance with a more classic approach to lens design, but this lens will be the first real test of how well that philosophy translates into a more technically demanding product category.
The Latest Fujifilm Rumours
credits: Fujifilm
Recent rumours suggest Fujifilm could be heading toward some big changes in its lineup, especially around the X-H and X-T series. One of the more interesting ideas right now is that Fujifilm might merge the X-H2 and X-H2s into a single camera, possibly called the X-H3, expected sometime in 2027. Up to now, those two models have had pretty clear roles, the X-H2s was built for speed and video with its stacked sensor, while the X-H2 focused more on resolution for still photography. Bringing those two into one body would not be easy, and the rumour points to a “partially stacked sensor”, possibly using DGO or DCG tech. That could mean strong dynamic range, but maybe not the same electronic shutter performance as the X-H2s.
If that is the direction Fujifilm takes, it could mean shifting some of the performance balance back toward the mechanical shutter, where APS-C cameras already have an advantage in speed. Improving mechanical burst rates could help offset any limitations in electronic shutter performance. At the same time, there is an ongoing discussion about the identity of the X-T series, which has changed quite a bit over the past few years. When the X-H line was paused after the X-H1, the X-T series had to step in as a kind of flagship, becoming larger and more hybrid-focused in the process.
Now that the X-H line is back, things seem to be changing again. The X-T5, for example, went back to being smaller and more photography-focused, dropping some of the heavier video features. Looking ahead, rumours point to an X-T6 arriving this fall, with the X-H3 and possibly an X-Pro4 following in 2027. If that all plays out, Fujifilm could end up with a clearer lineup again, X-T for stills, X-H for hybrid and video, and X-Pro for that more niche, rangefinder-style shooting experience.
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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
Phillip Frank
Lisa Fotios
What Is a Cinemagraph?
A cinemagraph is a sort of hybrid between photo and video. You can think of it as a regular/’still’ photo where just one small part keeps moving in a continuous loop while everything else is frozen (I attached some examples up top for you guys). It is not a GIF, not quite a video, and definitely not just a photo.
The interesting part of a cinemagraph is exactly that contrast between stillness and motion. It grabs your attention because it feels… almost wrong. Your brain says, “Wait, this is a photo, but why and how is it moving?”
What You Need
A camera that can shoot video (you can also use 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 (optimally) shoot in controlled or soft lighting.
Step-by-Step: How to Make a Cinemagraph
1. Plan the Scene with Minimal Movement
You are looking for one small, repetitive movement, that can be wind blowing through trees, a drink being stirred, blinking eyes, a candle flame (this one is quite popular), curtains moving slightly in the background etc. Everything else should stay as still as possible.
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 changing or people in the background) can mess with your loop later.
Also, make sure to record longer than you think you need. You can always trim later ;)
3. Choose a Still Frame
Once you have 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 will turn this frame into a new layer that sits on top of the video.
4. Mask in the Motion
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. Be sure to 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 fabric in the wind or blinking)
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 there are some flickering light changes between frames, it will make your loop obvious.
Even small camera bumps can throw off the alignment. You can try using 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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