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End of day 1!
Truth be informed, minus a few tremendous fascinating Canon ideas and a few stellar new lenses from Nikon and Sigma, it has been a a lot quieter 12 months, definitely in comparison with the exciting announcements at CP+ 2025 – last year’s instalment debuted the Sigma BF, Canon PowerShot V1 and more.
Yet more new lenses – now Samyang’s turn…
SAMYANG have an interesting proposition for people: a 60-180mm versatile f/2.8 zoom lens for Sony E-mount and L-mount. Contrary to appearances, the lens is shockingly-light, and pretty compact for such a f/2.8 zoom – I tried it with the small the Sony a7C that the company had for demo purposes.
Though the Samyang promises affordability, it wouldn’t confirm a price with me, but it is scheduled to come out in the summer, with the staff suggesting June or July is the aim, though nothing is finalized at this time.
This is a company with intent to expand what it offers and where, which can be seen by its other new lens: the AF 14-24mm F2.8 FE. The lens was actually released last year for Sony E-mount, though this event is a chance for the company to showcase it will also release on L-mount later this year around May.
Welcome, Polaroid!
Though there aren’t all-new Polaroid cameras on display, there is some news: three new colors for some of their more popular cameras. The Polaroid Now+ is now available in a bold orange, while the Now Gen 3 will be available in coral and pink colors (see below).
Despite the growing buzz surrounding the digicam and point-and-shoot camera resurgence, surprisingly little at the event has been shown to capitalize on that trend. What has been shown does reflect the desire to move away from convenience to something more simple and with character, even if the visual quality won’t match the sort of images possible on modern phones.
Kenko, known more for the camera filters, had two products fitting this bill. Similar to Kodak’s wildly-popular Charmera are their own line of toy cameras that even include Sanrio collaborations, and their newest product is a Retro-Digi 90.
Releasing next month, the camera is designed to look like a classic disposable camera, but is actually a digital camera. There’s only a viewfinder and no screen to maintain the retro illusion, and you must wind the film to the next shot in an attempt to maintain the illusion. On the flip side, you have filters and even video recording functionality, though the sample images provided in a picture folder alongside the display suggest not to expect stellar image quality.
It will be cheap though! Just 7,700 yen puts it at just over 30, which could be good for casual or younger audiences. It is surprising that this appears to be the limit on how company’s are capitalizing on this trend at the show.
Whether shooting on vintage or modern cameras, Voigtlander have something new for photographers at this year’s CP+. More familiar to many will be the news that the Voigtlander 35mm f/1.4 full-frame lens (not to be confused with the 35mm f.1.4 D for APS-C cameras which I saw the latter at the show two years ago), previously available on E-mount, will be made available and Z-mount and RF-mount in the near future. The lens has been a popular evergreen part of the company’s lineup since 2019, making it a long time coming, though certainly no less welcome.
The company’s APO-SKOPAR 75mm f/2.8 lens, in the meantime, is a sleek retro-style VM-mount lens – it’s more compact than other similar lenses in the company’s lineup, albeit with a slower aperture. While the lens was display-only and behind glass, it’s supposedly under 200g, so it certainly hits that assignment.
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7th heaven?
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On the other side of the coin is the company’s most ambitious (and expensive) autofocus full-frame lens yet, a 135mm f/1.8 lens for E-mount and Z-mount. Getting its first showcase at this year’s event the device is planned for a summer release if all goes to plan for 120,000yen (roughly 600). Initial sample photos are impressive, though only real-world testing and any form of hands-on not possible here will give an indication of how that works in practice. Still, it’s exciting to see these newer manufacturers growing more ambitious in their output, especially when these are far more affordable than their first-party counterparts.
Sony’s booth bustles, but where’s the new gear?
Despite rumors to the contrary, Sony attends CP+ 2026 without any new products to showcase. However, it has the largest booth on the show floor, which gives it space for some of the most fun camera demos of the event; dynamic dancers, traditional posing models, a replica cafe all feature for visitors to truly try out Sony’s camera gear.
The company’s also making up for he lack of new gear with special seminars featuring celebrities like Japanese idol Miku Kanemura, though as a Sony shooter in my own time, it is a shame to not see any new first-party lenses on display, as cool as it is to see the mechanics on display and toy cars racing around a track.
The ultimate portrait lens?
Sigma’s latest optic is the most notable at the show today: it’s a large lens as one would expect for such specs, but it’s also not dramatically larger than its f/1.4 brothers alongside it. What remains unknown is the price, though the lens apparently still has over half a year until release. We do know, however, that it’ll be available in L-Mount and Sony E-mount versions.
Sigma is at it again!
SIGMA impressed with its minimalist booth last year – instilling a sense of calm among the bustle elsewhere – and the lens maker has gone in a similarly bold direction with perhaps the cleanest showcase of the year.
Entering their white monolith, however, reveals an entire cavalcade of all of its lenses in a look-don’t-touch exhibition, including three new members to the lineup: 15mm f/1.4 (APS-C) and 35mm f/1.4 (full-frame) lenses in the Contemporary and Art series respectively, both of which were announced earlier this week, alongside a totally new model debuting today – an 85mm with f/1.2 aperture in its Art range.
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First impressions of Canon’s concept camera
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My first Canon Analog Concept Camera impressions?
The demo model only has a limited focus range and is far from finished in this initial concept form. However, this is what Canon does at shows like CP+ – gauge public response on design and the idea, in order to decide whether to put it into a production.
And honestly? Why not! It’s certainly the most unique and interesting product I’ve seen at the show today so far, and based on crowds it’s drawing a lot of interest even without a full production model ready.
The rocker switch and waist viewfinder approach capture the retro camera revival while creating something fresh, and the size makes it far more portable than its older brethren and freed from the cost of purchasing new film. I’ll be keeping my eye out for any developments on this curious concept!
The surprise of the show?
Now here’s something super interesting – and possibly the surprise of the show – Canon has a new Analog Concept Camera on display.
The design is reminiscent of a retro waist-level viewfinder box camera, with a fixed lens and an analog-style shooting process; light comes through the lens, which is reflected by a mirror to the viewfinder, and when you take a picture a second mirror flips out to reflect that light onto the camera’s digital sensor – mechanics which are kind of like a DSLR.
Canon is displaying a retro prototype alongside a modern, simplistic prototype for the camera, and both are surprisingly small, without feeling uncomfortable to hold.
It’s Canon time!
Right, onto one of the big booths, and of course it’s Canon!
Canon has never been shy for experimental, in-production ideas and concept pieces for show audiences to give feedback, and it looks like there’s some interesting 3D image-making tech on display.
The company has long been a major player in VR lenses, but the problem with shooting photo or video for the format is accessibility: to shoot for VR you needed a special lens, of which the company produces several options, but proprietary hardware has so far made it a tough sell for masses. That could change…
…now, the company is currently in development of systems that allow for 3D images to be shot using traditional lenses, before being converted into 3D data using AI. A few animal specimen shots actually did allow for impressive depth from a flat image, though it’s hard to judge it based on such a small sample. This also, currently, only supports photos and not video. Hmm, one to watch I reckon…
Zeiss, off limits…
The Cosina booth is the home of ZEISS this year. And the German lens specialist had one new lens to show, and an impressive one at that: the Otus ML 1.4/35
Unfortunately the new optic was strictly behind glass (boo!) and not something we can get our hands on yet. The manual focus lens builds on the 50mm and 85mm f/1.4 stablemates released last year, as the company’s first new lenses in over a decade and which welcomed the company to the mirrorless age at long last, and will also seemingly be available in RF-mount, Sony E-mount and Nikon Z-mount versions.
Not for everyone (especially at their price), these lenses supposedly offer sharp images with characterful bokeh, for those willing to sacrifice the comfort of autofocus.
The 35mm version will still be pricy mind you, at 364,000yen (around $1800), but it could be ideal for portraits provided it can deliver the same quality as its bigger brothers. If only we could break the glass and have a peek for ourselves!
Color, everywhere!
If you like cameras in bold colorways, Japan should top your travel list! There’s a huge range of Polaroid cameras on display…
And here’s a closer look of the new Tamron lens
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Tamron has Z mount version of the lens on display, and attached to a Nikon camera, for visitors to try out
Tamron takes us back, back to the…
If Nikon wins the award for the most popular in the early rush, TAMRON arguably takes the crown for the most exciting booth. Following its Godzilla-themed booth last year, the company has seemingly decided to collaborate with Universal for a fun Back to the Future booth this year, complete with a replica DeLorean and a model dressed as Dr Emmett Brown as its centerpiece!
The company’s demo lenses are positioned in a semicircle around the panorama, with the best spots reserved for the newest lens the company had to show off, a versatile 35-100mm f/2.8. The lens has come out surprisingly sharp in my demo photos of the Back to the Future set. The full-frame zoom lens will be available in Sony E-mount and Nikon Z-mount, and is worth a try just to get a front-row view of the classic car, if nothing else!
First stop… the Nikon stand
No surprise here — just a few days before CP+, Nikon revealed an updated version of one of its trusty workhorse zoom lenses, the NIKKOR Z 70-200mm f/2.8 VR S II. Clearly Nikon is expecting it to be the biggest draw for the booth, given it has enlisted a digital ticketing system that already has a few people in line in just the few minutes since the event opened.
Beyond improving the speed of its autofocus (which is noticeable when used around the booth in good lighting), the most impressive aspect of the lens is how light it is to the hand. Somehow Nikon managed to slice the weight to under 1kg (998g, a 26% comparison to the mark I), and having the chance to hold both of them in each hand at the show makes that difference immediately noticeable.
There’s a detachable tripod mount for this new model, unlike the first model, with an Arca Swiss mount no less, which is certainly helpful as you might not need the collar all the time, especially given how much lighter the new lens is. An impressive improvement over an already-strong base!
Well, hello CP+, we meet again!
It’s great to be back at CP+ for the 2026 instalment this year to see the latest in camera gear, and hopefully a few surprises along the way. Not much is expected in terms of all-new hardware, but a few intriguing lenses from SIGMA and more are expected to make an appearance and will likely be major draws for anyone attending the show over the next few days.
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