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The Latest News:

Meike’s New L-mount Adapter

Meike has announced a new drop-in filter autofocus adapter that lets photographers use Canon EF and EF-S lenses on L-mount cameras, including those from Panasonic, Leica, and Sigma. The new MK-EFTL-C adapter includes full autofocus support and carries electronic contacts for aperture control and EXIF data transmission. It works with both phase-detection (PDAF) and contrast-detection (CDAF) autofocus systems, making it compatible with a wide range of modern L-mount bodies.

One of the standout features of the MK-EFTL-C is its drop-in filter system. The adapter ships with a variable ND filter rated ND3 to ND500, which covers roughly 1.5 to 9 stops of light reduction. Meike also includes a clear UV filter for times when no ND is needed. Both filters drop into a slot at the rear of the adapter, allowing quick changes without removing the lens. The adapter itself is weather-sealed, with a metal construction for added durability, and weighs 160 grams with the ND filter inserted.

Physically, the adapter measures 91.9 x 29.5 x 75.5mm and is designed to preserve functionality between Canon EF lenses and L-mount cameras. In addition to aperture control and autofocus, it supports image stabilisation on compatible lenses, and gold-plated pins inside the adapter ensure reliable communication between lens and body. The MK-EFTL-C is available for $199.99.

You can see full details on Meike’s website here

Sigma 200mm f/2 Lens Specifications Leaked

Sigma is preparing for its big August 19 presentation, and one of the most anticipated announcements is the 200mm f/2.0 Sports lens for full-frame mirrorless cameras. This lens has been rumored for months, and now the first leaked details suggest the release is close. According to early information, the lens will weigh under 2 kilograms (likely between 1,900 and 1,999 grams) putting it in an interesting spot compared to other fast telephoto primes on the market.

That weight makes the new 200mm heavier than Sony’s 300mm f/2.8 GM, which comes in at 1,470 grams, but still much lighter than the DSLR-era 200mm f/2 lenses from Canon and Nikon. For reference, Canon’s EF 200mm f/2L IS USM tipped the scales at 2,520 grams, and Nikon’s version was an even heftier 2,900 grams. This new Sigma is shaping up to offer the same bright aperture and reach while being considerably more manageable for mirrorless systems. Another leaked detail: the lens will take 105mm front filters and feature a white finish similar to Sigma’s 300–600mm f/4 Sports lens.

As for performance, sources mention “super-fast autofocus,” which isn’t surprising given the target market of sports and wildlife shooters. The lens will reportedly launch for Sony E-mount and Leica L-mount systems, though it won’t work with Sony’s teleconverters, a limitation that might disappoint some users. Still, the very existence of a modern 200mm f/2 for mirrorless is notable, as none of the major manufacturers currently offer one. Official specs and images are expected during the August 19 event, where Sigma could also introduce a second-generation 35mm f/1.2 Art and a 12mm f/1.4 for APS-C.

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Photo Analysis

Welcome to a new addition to the magazine: the photo analysis, where I will analyse a photo and talk about the composition, lighting what’s positive, what’s negative etc. so that you can learn and better your own photography from it ;)

This week’s photo by: Mizuki Tanaka

You can find him on Instagram as: @mizuki__tanaka

Let’s Analyse this Image:

Light & Atmosphere

What works well:

• The mood here is very nice. It’s one of those scenes where the atmosphere makes the image. The soft, rain in the background adds a lot of depth, and the way the light plays through it creates this natural diffusion that makes everything feel cinematic.

• I like how the overall exposure is dark, but not totally crushed. The highlights from the lanterns and signs glow just enough to guide your eye without feeling way too bright or artificial.

• That wet pavement reflecting the ambient light is doing a lot of work too. It creates a low-contrast mirror that keeps the frame from feeling too flat and it gives it more textural interest in general.

What could be better:

• I do think the man with the umbrella could’ve caught a little more directional light. He is nicely placed and well-framed, but he feels a bit too tucked into the shadows. Adding a subtle spotlight effect in post could help give him a bit more presence.

• Some of the lamps in the top part of the frame look a little blown out. Not drastically, but just enough that they lose some of their shape. If the highlights had been dialed back slightly, those details would hold together better. Also, the first lamp on the left, shines quite bright and pulls a bit of attention away from the centre/from our subject. You could tone that down in post using a soft brush or local adjustment.

• The very start of the alley (foreground left and right) is quite dark, and that hides some of the textures that are probably super interesting in a place like this. Even just slightly lifting those shadows could reveal more character and make the image feel richer and give it more textural interest. Although to be completely fair, the top of the alley (the lamps, cables, signs) do already add a ton of interest, more on that down below.

Composition & Framing

What works well:

• The central composition here works because of the setting. In this case, the narrow alley just naturally funnels your attention straight toward the subject, and it helps the frame feel very clean and natural.

• As noted, I do like how the vertical layering of lights, wires, and signage adds complexity/interest without pulling too much focus. You can explore the frame yes, but you’re always drawn back to that man in the middle.

What could be better:

• For some people, the very top of the frame could be a little too busy. There are a lot of overlapping cables signboards etc. and they do take up a big part of the image. Cropping slightly from the top might make this image suitable for a broader crowd. However it really comes down to personal preference, me personally, I really love to explore all those little details and textures.

• This sort of ties into what I just noted: the man could be placed just a touch higher in the frame to feel a little more dominant. Right he is almost centred vertically, and it does make him feel a little weighed down by the space above. Also, kneeling down slightly could have ‘‘exaggerated’’ the leading lines and texture on the ground.

Color & Tone

What works well:

• The colour palette is very restrained. It’s mostly desaturated blues and greys with just a few warm accents from the lanterns. That kind of minimalism works well in a moody street scene like this.

• The overall tone curve is soft, without being flat. There is still good contrast between the midtones and shadows, but it doesn’t feel overly crushed or dramatic.

What could be better:

• Some of the blue tones in the shadows lean a little toward cyan, which can look a bit digital. It is a small thing, but warming those up just a bit would make the image feel even more filmic.

• There’s a bit of tonal compression in the middle of the frame, likely due to the mist and rain. A slight bump in local contrast there might help bring out a bit more detail in that area.

Emotion & Story

What works well:

• This is one of those shots where you immediately start imagining what the person is doing. Is he on his way home? Just out for a walk? The umbrella, the bag (probably a work bag), the slightly hunched posture, it all paints a little story.

• There is a sense of calm here, and that is very much due to the rain. Rain just softens everything, adds mood and calm.

What could be better:

• There is not much negative to say about this shot storytelling wise, maybe a (better) visible face/expression could have added some extra resonance and help paint a better picture of the story (so for example: if we could clearly see that he looks tired, a little depressed maybe + he is carrying a bag + he wears formal clothing etc. = ok, he is very probably heading home after a long day of office work).

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