CP+ 2026's "Lens Pivot" Is The Story Nobody's Reporting
I've been reading the camera news out of CP+ 2026 Yokohama and one thing keeps jumping out: the new cameras basically didn't show up. What did show up, in a very big way, was glass. Sigma launched two new lenses and announced a third. Tamron teased a refresh. Sony and Canon stayed mostly quiet on the body side. The Verge called it "weird." I think it's the most honest read of where the camera industry is right now.
Let me back up. CP+ is the big annual camera show in Japan — the equivalent of Photokina from a few years ago. Manufacturers use it to launch flagship products, tease roadmaps, and shake hands with the press. CP+ 2026 happened late February, and the headlines since then have been... lens-heavy.
What Actually Launched At CP+ 2026
The biggest noise came from Sigma. They launched the 35mm f/1.4 DG II Art — a full redesign of their classic 35mm f/1.4 from 2012. The original was a chunky, slightly soft beast that photographers loved for its character. The Mark II is smaller (about 30% lighter), sharper wide open, and has a faster stepping motor for video. Phototrend called it "the rebirth of an iconic lens" and they're not wrong. CineD had a hands-on and said it's "noticeably faster than the original on Panasonic S5 II bodies."
Sigma also launched the 15mm f/1.4 DC Contemporary for Canon RF, Fujifilm X, and Sony E mounts. A super-wide f/1.4 prime is unusual — most super-wides top out at f/2.8. The Canon RF version is the headline because RF mount users haven't had many native f/1.4 super-wide options outside of Canon's own (very expensive) 15-35mm f/2.8L.
Then Sigma announced the development of a new 85mm f/1.2 DG Art. Just a development announcement, not a launch — but the 85mm f/1.2 segment has been heating up. A Sigma 85mm f/1.2 Art at a likely $1,400 price point would undercut everyone. We'll see.
Why Lenses, Not Cameras?
Here's the thing I keep coming back to. The camera market has matured. APS-C and full-frame bodies from the major manufacturers are now so good that the differences between them are marginal. My GH7 is four years old and still produces images that hold up against the latest Sony A7 V. The R5 Mark II is incredible, but the R5 is also incredible. We're at the point where the body is no longer the bottleneck.
Lenses, on the other hand, are where there's still room to grow. A sharper 35mm f/1.4. A lighter 15mm f/1.4. A more affordable 85mm f/1.2. These are real, meaningful upgrades that change what you can shoot. A slightly better autofocus algorithm in a new body? Not so much.
The other factor: the entry-level market is dead. Smartphones killed it. Manufacturers aren't going to launch a $500 Rebel replacement to compete with an iPhone. They're focusing on the enthusiast and professional market, where the upgrade path is glass, not bodies.
What About The Sony RX10 V?
I saw the headline on Photo Rumors this morning — Sony is teasing a new RX10 V for July 9, with the FX5 cinema camera following in late July. The RX10 V will likely keep the 1" sensor (maybe bump to 20MP), update the processor, and add Sony's latest AI autofocus. If it comes in at $1,800-2,000, it'll be a niche product for travel photographers.
The FX5 is the more interesting announcement. Sony's FX3 has been the go-to compact cinema camera since 2021. The FX5 is the higher-end version — full-frame, XLR inputs, internal ND filters. Cinema shooters have been waiting for this. Late July announcement means it should ship in time for the fall production season.
Bottom Line
The camera industry in 2026 is a "lens decade" — bodies have plateaued, glass is where the action is. Sigma's CP+ 2026 showing proves it. For working photographers, the message is: invest in glass. A used Canon EOS R5 with a Sigma 35mm f/1.4 II Art will outperform a new Sony A7 V with a kit lens. The body is a commodity now. The lens is the craft.
I'll be keeping an eye on the Sony RX10 V announcement next week. If they price it reasonably, it might be the best travel camera of 2026.