credits: Adobe Adobe has rolled out its June update for Lightroom Classic, adding several practical features meant for photographers who regularly work with large photo libraries and high-volume shoots. Funny enough, the update was actually first released around June 20, but Adobe pulled it shortly afterward after discovering a data-loss bug linked to the new Duplicates feature. Now, the company released Version 15.4.1, which fixes that issue. One of the biggest additions is a new Faces panel within the assisted image selection tool. It automatically detects every face in a photo and shows information such as eye sharpness and whether a person’s eyes are open. Another useful new feature is automatic duplicate detection. Lightroom Classic can now scan an entire catalog for exact duplicate files, even if they are stored in different folders, and automatically group them into stacks. For photographers with catalogs that have grown over the years, this should make it much easier to clean up duplicate files, free up storage space, and keep everything better organised. Adobe has also expanded keyword synchronisation, so keywords now stay in sync across Lightroom Classic, Lightroom Desktop, Lightroom Web, and Lightroom Mobile. The update also includes a handful of improvements to existing tools. Subject masking has been refined to better separate subjects from busy backgrounds, while DeNoise now runs faster on Apple Silicon Macs by taking advantage of the Neural Engine. Adobe has also improved brush responsiveness during masking and expanded Canon tethering support. Version 15.4.1 is ready to be installed now.

credits: SG-Image SG-Image’s previously rumoured AF 25mm f/1.8 lens is finally here. Designed for Micro Four Thirds cameras, the lens offers a 50mm full-frame equivalent field of view, making it a good fit for street photography, portraits, travel, and general everyday shooting. It is also pretty compact, although it does not quite reach full pancake proportions. On the inside, the lens has a 7-element, 5-group optical design, including three high-refractive-index elements that help improve sharpness while reducing optical aberrations. It uses a 9-blade rounded aperture with an aperture range of f/1.8 to f/16 and provides a 39.6° angle of view. Autofocus is driven by an STM stepping motor, which is designed to deliver fast, quiet, and accurate focusing for both still photography and video. The lens also features multi-coated optics, a minimum focusing distance of 0.3m, and a 52mm filter thread. Physically, the lens measures about 67mm in diameter and 31mm in length, weighs 140g, and has an all-metal barrel and mount for added durability. A metal square lens hood is also included in the box. Compatible with Panasonic Lumix, Olympus, and OM System Micro Four Thirds cameras, the SG-Image AF 25mm f/1.8 will be available in black and silver and is priced at $89.

credits: Sirui Sirui is teasing three new lenses ahead of an official launch on July 6, expanding its VP-1 lineup with a 15mm T1.6, 75mm T1.4, and 150mm T4 Macro. While the launch date is new, the lenses themselves are not exactly a complete surprise. Sirui first showed them at NAB 2026 back in April, and pre-orders for the new three-lens set are already open. With these additions, the VP-1 series grows to six full-frame primes, joining the existing 24mm, 35mm, and 50mm T1.4 lenses. Like the original trio, the new lenses all offer full-frame coverage with a 46mm image circle and feature interchangeable mounts. They ship with Sony E-mount installed, while Canon RF, Nikon Z, and Leica L mount adapters are included in the box and can be swapped in about 30 seconds using four screws. The lenses also share the same compact design, including 0.8 MOD geared focus and aperture rings, a 270° focus throw, a stepless iris, 67mm filter threads, and optical designs that use ED, high-refractive index, and aspherical elements with multi-layer nano coatings. Sirui also says the lenses are designed to minimise focus breathing and distortion, and they will be available in both black and metal grey finishes. Each lens is priced at $649, while the new 15mm, 75mm, and 150mm three-lens set will sell for $1,849. The official launch is set for July 6.

credits: Hasselblad/Capture One Hasselblad and Capture One have officially announced a partnership, finally bringing native Hasselblad RAW support to the software after years of requests from photographers. Starting with Capture One 16.8.3, you can now import, organise, and edit Hasselblad .3FR RAW files directly inside Capture One. Until now, Hasselblad photographers often had to rely on file conversions or other workarounds, which could reduce image quality and limit editing flexibility. While neither company has ever publicly explained why support was missing, many people believed it was linked to Hasselblad’s long-standing rivalry with Phase One, the company that originally created Capture One. At launch, native support includes three of Hasselblad’s 100-megapixel cameras. The X2D II 100C, X2D 100C, and the CFV 100C digital back. Capture One says this goes beyond simple RAW compatibility, with dedicated colour profiles created for each supported camera and custom lens profiles for Hasselblad XCD lenses that automatically correct distortion, chromatic aberration, and light falloff. The company also confirmed that tethered shooting support for Hasselblad cameras is already in development and is expected to arrive before the end of 2026. Capture One is available as a subscription starting at $18 per month, with higher-tier plans reaching $48.50 per month, while a perpetual Capture One Pro license is also available for a one-time purchase of $349. That version, however, does not include future feature updates or support for newly released cameras.

credits: Tamron A newly published Tamron patent suggests the company could be working on a 50-130mm f/2.8 zoom lens with an internal zoom design. The patent, P2026105742, was originally filed in December 2024 but only became publicly available on June 30, 2026. The optical designs described in the application cover a focal length range of approximately 51.5-130.9mm with an aperture of around f/2.88, which closely matches what would become a 50-130mm f/2.8 lens if it ever makes it to market. As with all lens patents, though, there is no guarantee that Tamron will actually turn it into a product. The design has some similarities to Tamron’s existing 35-150mm f/2-2.8 Di III VXD, although the focal length range has been moved further toward the telephoto end while keeping the fast aperture. The biggest difference is the zoom mechanism. Unlike the current lens, which extends as you zoom, the patent describes a true internal zoom design, meaning the lens would stay the same length throughout the entire zoom range. That brings a few practical benefits, including improved weather sealing, less chance of dust being pulled into the lens, and more consistent balance when shooting handheld or on a gimbal. Tamron has already used an internal zoom design on lenses such as the 17-50mm f/4, while its recently announced 17-70mm f/2.8 for Canon RF and Nikon Z still uses a traditional extending barrel. If Tamron eventually releases a lens like this, it would make for an interesting addition to the lineup. As mentioned, a 50-130mm f/2.8 would sit fairly close to the company’s existing telephoto zoom, so it remains to be seen whether Tamron would offer both side by side or replace one with the other.

credits: Reflex Lab Reflx Lab has introduced Diablo 100, a new experimental redscale colour film based on Lucky C200 film stock. Like other redscale films, Diablo 100 is created by loading the film backward, allowing light to pass through the transparent base before reaching the light-sensitive emulsion. This changes the way the film records colour, producing photos dominated by deep reds, oranges, and warm yellow tones instead of the more natural colours you would normally get from standard colour negative film. Diablo 100 joins a small but growing range of redscale films on the market. One of the best-known alternatives is Harman Red 125, which launched last year in both 35mm and 120 formats. Diablo 100 works on the same basic principle, although Reflx Lab is currently offering it only as a 36-exposure roll of 35mm film. As is almost always the case with experimental films, it is not well-suited for every photographic scene. Softer, overcast light often produces more balanced photos, while bright sunshine can increase the colours much more into red and orange. For many film photographers, though, that unpredictable look is exactly what makes redscale photography so enjoyable and something that is still relatively difficult to recreate convincingly in digital. Reflx Lab Diablo 100 is priced at $11.99 per 36-exposure roll.

credits: 7Artisans 7Artisans’ AF 135mm f/1.8 lens for Sony E-mount and Leica L-mount is here after previously being launched for Nikon Z-mount. The lens pairs a bright f/1.8 maximum aperture with autofocus and an all-metal body. It offers a 0.68m minimum focusing distance, uses an 82mm filter thread, and has a 18.4-degree angle of view. On the inside, the lens uses a 16-element, 13-group optical design that includes six ED elements and five high-refractive index elements, which 7Artisans says help reduce chromatic aberration while maintaining sharpness across the frame. It also features a 12-blade aperture with a range from f/1.8 to f/16, while autofocus is handled by an STM motor. A floating focus system is included as well to help maintain image quality at different focusing distances. According to 7Artisans, the lens is capable of resolving sensors up to 60 megapixels and features HD nano multi-layer coatings to reduce flare and ghosting. The all-metal body has dual customisable function buttons, an AF/MF switch, a clicked aperture ring, and a dedicated multi-function control ring. It also includes weather sealing, an anti-smudge coating on the front element, and an ergonomic grip design for improved handling. The lens measures approximately 91.2 × 130mm and weighs roughly 1,014g. The new Sony E and L-Mount versions are priced at $689.

credits: ProGrade ProGrade Digital has expanded its Iridium lineup with two new CFexpress 4.0 Type A memory cards, introducing 512GB and 1TB models that offer higher capacities than the company’s previous versions. Both cards use a PCIe Gen 4 interface and an NVMe 1.4c controller, delivering read speeds of up to 1,800 MB/s, write speeds of up to 1,700 MB/s, and sustained write speeds of up to 1,500 MB/s. They are also dual VPG-certified for both VPG400 and VPG800. The dual certification means the cards are guaranteed to maintain write speeds above 800 MB/s, even during long recording sessions and under heavy workloads. While no current Sony camera actually requires/has VPG800 certification, ProGrade says the cards are designed with ‘future cameras in mind’ that may support the upcoming VPG Profile 4 and Profile 5 standards. Although the cards support the newer CFexpress 4.0 standard, they remain fully backward compatible with the CFexpress 2.0 interface used by current cameras. So, for now, photographers and videographers will only see the full speed advantage when transferring files with a compatible CFexpress 4.0 card reader and a fast USB connection. ProGrade has also included several features for long-term reliability. The cards have thermal throttling to help prevent overheating, laser-etched serial numbers for component traceability, and X-ray and shock-resistant construction. The new ProGrade Digital Iridium CFexpress 4.0 Type A cards are priced at $569.99 for the 512GB version and $949.99 for the 1TB model.

credits: Praktica Photographers in 2026 have more reusable 35mm film cameras to choose from than they have had in years. Cameras like the Pure35, Lomography’s lineup, and Dubble Film’s SHOW camera have all helped bring film photography back into the spotlight. Now another familiar name has entered the mix with the launch of the Praktica VF212. While the Praktica name will be familiar to many longtime photographers, this new camera has unfortunately very little in common with the company’s classic East German SLRs that were produced from 1949 until 2001. The VF212 is a simple, lightweight 35mm reusable film camera with a plastic body that weighs 98g. It features a 31mm f/9-11 lens, an optical viewfinder with around 70% frame coverage, and a built-in Xenon flash for low-light shooting. The camera is already available worldwide, and it typically sells for around $20, although kits that include film cost a little more. Despite carrying the Praktica name, the camera is manufactured in China and, again, has no real connection to the original German-made Praktica cameras beyond the branding. For anyone curious about trying film photography, the VF212 is a relatively inexpensive way to get started. At the same time, it is worth remembering that spending a little more can open up a lot more options. The used market is full of classic 35mm SLRs from brands such as Praktica, Pentax, Canon, Nikon, Minolta, and Olympus, many of which can still be found for well under $100. Those cameras offer interchangeable lenses, full manual controls, and have already proven they can last for decades, making them worth considering if you are planning to spend more time shooting film.

credits: Sony Fresh rumours suggest Sony is preparing to announce the long-awaited RX10 V, with multiple sources now pointing to an early July 2026 unveiling. If the reports are accurate, it would be the first update to Sony’s bridge camera lineup since the RX10 IV launched back in 2017. So far, leaked specifications remain fairly limited, but most reports describe the RX10 V as a modest refresh rather than a major upgrade. The camera is expected to keep the familiar 20.1MP 1-inch stacked Exmor RS CMOS sensor and the well-known ZEISS Vario-Sonnar T 24-600mm f/2.4-4 lens with optical image stabilisation. The biggest changes are expected to come elsewhere, including a newer image processor, improved autofocus with AI-powered subject detection and tracking, a long-requested USB-C port, and updated video features that could include improved 4K recording options and newer codecs. Other rumoured upgrades include better battery life, refreshed menus, improved burst shooting, and a few ergonomic upgrades. Bigger changes, such as an APS-C sensor or a completely redesigned zoom lens, are generally considered unlikely. The RX10 IV originally launched at around $2,300 in 2017, and based on inflation, many expect the RX10 V to arrive somewhere around $2,875, although Sony has yet to confirm official pricing.

credits: Leica Alongside the new SL3-P (which we looked at in yesterday's magazine issue), Leica has also announced two new SL lenses, the Summilux-SL 50mm f/1.4 ASPH. and the APO-Macro-Elmarit-SL 100mm f/2.8. The 50mm is the more notable of the two, with Leica claiming it is the world’s most compact autofocus 50mm f/1.4 lens, regardless of mount. It measures 75.5mm in length, 74mm in diameter, weighs 584g, and uses a 67mm filter thread. The lens features an 11-element, 6-group optical design with two aspherical elements, while an 11-blade aperture covers a range from f/1.4 to f/16. Autofocus is handled by a voice-coil motor and minimum focusing distance is 50cm. Leica also introduced the APO-Macro-Elmarit-SL 100mm f/2.8, bringing back a name that many Leica fans will recognise from the company’s highly regarded 100mm f/2.8 R lens first released in 1987. Like the original, the new version puts a strong focus on optical quality, using an apochromatic design to reduce chromatic aberration and deliver high sharpness across the frame. It offers a 30cm minimum focusing distance and a 1:1 reproduction ratio, making it a true macro lens while also being well suited to portrait photography. The lens is built around a 17-element, 12-group optical design and has a 9-blade aperture with a range from f/2.8 to f/22. Like the 50mm, the 100mm keeps physical controls to a minimum, with only an AF/MF switch on the barrel while aperture adjustments are handled through the camera. It weighs 862g, measures 137.6mm in length, and also uses a 67mm filter thread. Both lenses have an all-metal construction and are built to IP54 standards for dust and splash resistance. The Summilux-SL 50mm f/1.4 ASPH. is priced at $4,950. The APO-Macro-Elmarit-SL 100mm f/2.8 comes in at $2,700.

credits: TourBox TourBox’s Dynamic Panel V2 is here, bringing a range of new tools to Adobe Lightroom Classic and Lightroom for photographers using a TourBox editing console. Building on the original Dynamic Panel, which replaced Lightroom’s side panels with a cleaner full-screen editing interface, the new version adds several features that users have been asking for. One of the biggest additions is the new Crop Panel, which includes controls for aspect ratio, rotation, zoom, reframing, and a new Composition Mode for more precise crop adjustments. TourBox also added a dedicated Tone Curve Panel, allowing you to work directly with Lightroom’s Curves without opening the software’s native panel. Another new feature is the Colour Grading Panel, which brings Lightroom’s colour wheels and grading controls into the Dynamic Panel interface. There is also a new Preset Panel, making it easier to browse, preview, and apply Lightroom presets while staying in full-screen mode. The original floating panels remain available as well, giving you quick access to controls such as exposure, contrast, white balance, highlights, shadows, saturation, and more through TourBox’s customisable dials, knobs, and buttons. TourBox also says that the new Dynamic Panel is coming soon to even more photo editing software. It currently supports Adobe Lightroom Classic and Lightroom, but development is underway for Adobe Camera Raw and Capture One. The Dynamic Panel V2 plugin itself is free, although it requires a compatible TourBox controller to function. The TourBox Elite Plus is priced at $252, while the TourBox Neo costs $169.