credits: Sony Sony may be exploring the idea of its own medium format camera system, according to a new rumour that is currently very much unconfirmed. Reports suggest internal discussions have taken place around a completely new camera line built around a new lens mount and a sensor exceeding 100 megapixels. While there is no indication that an actual product is close to launch, the rumour has attracted a lot of attention because it would represent a major departure from Sony’s existing Alpha lineup and put the company into direct competition with systems like Fujifilm GFX and Hasselblad X. One of the more interesting parts of the rumour is the reported sensor size. Sources are pointing to a 54×36mm sensor with a 3:2 aspect ratio, making it noticeably larger than the 44×33mm sensors commonly used in current medium format cameras. The idea is that the sensor would retain nearly the same height as full-frame while expanding significantly in width. According to the rumour, this could allow Sony’s existing E-mount lenses to be used in a crop mode, potentially producing images of around 88 megapixels while giving photographers access to existing lens options. Whether such a setup would work smoothly in practice is another question entirely, as a dedicated medium format system would almost certainly require a new mount, new lenses, and a completely different camera design. What makes the rumour slightly more plausible is that Sony already manufactures sensors in these sizes. Sony Semiconductor has previously listed a 247-megapixel back-illuminated sensor measuring 53.96 × 35.97mm, capable of producing 19,200 × 12,800-pixel images at up to 5.3 frames per second. However, that sensor was designed for industrial applications and not consumer cameras. Even if Sony were to enter the medium format market, challenges around lens design, processing power, storage requirements, workflow demands, and overall system cost would remain significant, especially once resolutions move beyond 100 megapixels and start increasing toward the 200-megapixel range. For photographers working in areas like landscape, studio, architecture, reproduction, and commercial photography, though, a system like this would certainly be an interesting development if it ever becomes reality.

credits: 7Artisans 7Artisans and Seagull have teamed up on a new limited-edition lens, introducing the Seagull × 7Artisans M 35mm f/1.7 for Leica M-mount rangefinder cameras. The lens combines a classic manual-focus design with styling inspired by Seagull’s long history in the camera industry. Production is limited to 500 units worldwide, with each lens receiving its own serial number and commemorative badge. The collaboration is also notable because it sort of marks Seagull’s return to large-aperture manual-focus lenses, a category the company has largely been absent from since its revival. The lens itself is built around a 35mm focal length and f/1.7 maximum aperture. Optically, it uses eight elements arranged in six groups, paired with a 10-blade diaphragm designed to produce smoother out-of-focus rendering. The lens provides a 64-degree angle of view, supports focusing distances from 0.7m to infinity, and is fully compatible with Leica M rangefinder focusing systems. Unlike mirrorless autofocus lenses, focusing is handled through the camera’s rangefinder mechanism, with a traditional focusing tab built into the lens barrel for quicker manual adjustments. Weight comes in at 145g, so it remains pretty compact for a full-frame 35mm f/1.7 design. The lens features an all-metal construction with an anodised finish, a clicked aperture ring covering f/1.7 to f/16, a 40.5mm filter thread, and an included metal lens hood with a matte-threaded interior intended to help reduce flare. The Seagull × 7Artisans M 35mm f/1.7 lens is priced at $369.

credits: Canon Canon’s next generation of “Big White” super-telephoto lenses appears to be moving closer to reality. According to the latest rumours, updated versions of the RF 400mm f/2.8L IS USM and RF 600mm f/4L IS USM are currently expected to be announced sometime in late 2026. Rumours about replacements for both lenses have been circulating for months, including reports of development announcements that never happened, but recent information suggests Canon is still actively working on the project behind the scenes. Both lenses have seen occasional stock shortages over the last few years, although availability has improved recently at many major retailers. That alone does not necessarily point to replacements being around the corner, as Canon has traditionally produced its super-telephoto lenses in batches rather than continuously. Major sporting events can also affect availability, with Canon Professional Services often supplying large numbers of lenses to photographers covering international competitions. Given how important these lenses are for sports and wildlife shooters, it is not unusual to see stock fluctuate throughout the year. The more interesting part of the rumour involves what Canon may be adding to the new versions. Sources continue suggesting both lenses will feature built-in teleconverters, while also reportedly introducing a “first-ever” feature or technology, although nobody seems to know exactly what that means yet. There is also growing speculation that Canon is exploring some type of 500mm prime lens, potentially filling a gap between the 400mm and 600mm options. Beyond the flagship super-telephotos, Canon is also widely expected to expand its lineup of more ‘affordable’ long lenses. Many photographers still complain about the lack of RF replacements for lenses like the EF 400mm f/5.6L USM, and there remains plenty of demand for high-quality super-telephoto options in the $5,000–$6,000 range.

credits: Panasonic Panasonic has released firmware version 2.0 for the Lumix S9, bringing a handful of new features to the camera. The update adds support for Lumix Lab version 3.0, introduces wired USB connectivity between the camera and smartphone app, and expands the camera’s real-time LUT functionality. Panasonic also added the ability to edit custom My Photo Style profiles directly inside the Lumix Lab app. The biggest addition is USB-C data transfer between the camera and smartphone. Until now, communication between the S9 and Lumix Lab relied entirely on wireless connections. With firmware 2.0, you can transfer phots, LUTs, and My Photo Style adjustments over a wired connection, which Panasonic says should provide faster and more stable performance. The update also expands the camera’s LUT tools by allowing additional adjustments directly in-camera, including grain, colour noise, sharpness, and noise reduction settings. On the S9, grain and colour noise adjustments currently apply only to photos, while Panasonic says both functions also work with video on the newer Lumix L10. The update also changes how firmware is installed. The Lumix S9 becomes the first Panasonic camera that can receive firmware updates directly through the Lumix Lab app, removing the need to download update files through a computer first. To use the new process, you will need Lumix Lab 3.0, a memory card inserted in the camera, and at least firmware version 1.9 already installed. Panasonic says more cameras will gradually gain app-based updating support, while lens firmware updates through the app are expected to arrive later in 2026.

credits: Harlowe Harlowe has announced its new Pocket Flash, a compact hybrid lighting tool that combines an on-camera flash with a bi-colour continuous LED light. The unit is built around portability but introduces a slightly different approach compared to traditional compact flashes through a built-in lift mechanism that raises the light source higher above the camera body. Harlowe says this helps reduce harsh shadows and creates more natural-looking lighting compared to standard hot shoe flashes. The system folds into a body measuring 4.8 × 5.9 × 5cm and weighs 125g, while fully extended it reaches around 12.4cm tall. The flash itself is rated at a guide number of 12 meters at ISO 100 and offers seven power levels ranging from full output down to 1/64 power. Beyond flash photography, the Pocket Flash can also function as a continuous light with adjustable colour temperatures from 2700K to 6500K, producing up to 360 lumens. Harlowe claims CRI and TLCI ratings above 96, while the built-in 1000mAh battery is rated for around 700 full-power flashes per charge or significantly more at lower output levels. Like several of Harlowe’s other lighting products, the Pocket Flash also uses a magnetic accessory system for attaching modifiers and accessories. Compatibility is handled through a standard ISO 518 hot shoe, allowing the flash to work across systems from Canon, Sony, Nikon, Fujifilm, Panasonic, Ricoh, OM System, Leica, Hasselblad, and others. There is also a built-in 1/4-20 mounting thread for tripods and light stands. The Harlowe Pocket Flash starts at $149, with larger kits adding accessories like magnetic filters, reflector blades, and additional modifiers.

credits: Viltrox Viltrox’s two new APS-C autofocus portrait lenses have officially arrived with the launch of the AF 75mm f/1.8 EVO and AF 90mm f/2.2 EVO. Both lenses share a very similar design philosophy, focusing on relatively compact dimensions, lightweight construction, and autofocus while targeting different focal length preferences. The 75mm f/1.8 EVO is the faster of the two and uses a 9-element, 11-group optical design, paired with a 9-blade aperture, 0.74m minimum focusing distance, and support for autofocus features including Eye AF. Autofocus is handled through an STM motor, which should make focus transitions quieter during video recording. The lens uses 58mm filters, supports USB-C firmware updates, measures 69 × 69 × 76mm, and weighs 325g. On APS-C cameras, the focal length works out to roughly 112mm equivalent. The 90mm f/2.2 EVO takes a slightly longer approach while staying almost identical physically. It uses an 8-group optical design with 10 elements, including two aspherical elements and two ED elements, while keeping the same 0.74m minimum focusing distance, STM autofocus motor, 9-blade aperture, 58mm filter thread, and USB-C firmware support. Dimensions remain essentially unchanged at 69 × 69 × 76mm, although weight drops slightly to 320g. On APS-C, the lens gives roughly a 135mm equivalent field of view, offering another option for those who prefer a bit of a tighter framing and more compression. Both lenses are available for Sony E, Nikon Z, and Fujifilm X mount systems. The Viltrox AF 75mm f/1.8 EVO is priced at $420, while the AF 90mm f/2.2 EVO comes in $465.

credits: Canon According to recent rumours, Canon is working on a new PowerShot camera expected around September 2026, but reports suggest it could look very different from previous G-series cameras. Multiple sources describe the camera as having “nothing like previous G series cameras,” which suggests people waiting for a straightforward replacement to the aging PowerShot G7 X Mark III may have to expect something different this time around. The biggest change seems to be Canon’s direction overall. After recent releases like the PowerShot V1 and V10, which were heavily focused on creators and video, rumours now suggest Canon could be switching back to photography. Current reports point toward the use of a new 1-inch sensor, which could allow Canon to build something with more zoom flexibility while keeping the camera relatively compact. Pricing rumours place the camera somewhere between $700 and $1,000, although actual specifications remain mostly unclear for now. The camera itself may only be part of Canon’s plans. Rumours also suggest the company is developing an entirely new smartphone app specifically for future PowerShot cameras, potentially replacing or expanding beyond the existing Camera Connect app. Features like RAW processing, LUT support, and tighter camera-to-phone integration have been mentioned. And this may not be the only PowerShot on the way either. Current rumours continue suggesting Canon could introduce as many as three new PowerShot models over the next 6–12 months, including an entry-level camera, a long-zoom model, and a higher-end flagship compact.

credits: Metabones Adapter maker Metabones has announced a new feature called TruePDAF Technology, which the company says improves autofocus and image stabilisation performance when adapting Canon EF lenses to Micro Four Thirds cameras. The update is arriving for the company’s newer Speed Booster Mark II and Smart Adapter Mark II products and is essentially a firmware-based upgrade that takes advantage of newer hardware inside the updated adapters. TruePDAF works by using additional lens profile data from more than 100 supported EF lenses and sending more detailed metadata directly to the camera body. According to Metabones, compatible lenses can transmit information similar to what native lenses already provide, allowing cameras to make better autofocus calculations. The company says improvements are most noticeable in more difficult situations, including low light, low-contrast scenes, autofocus near the edges of the frame, and focusing close to minimum focus distance. Compatible lenses can be identified through the adapter itself, supported combinations cause the adapter LED to glow pink instead of white. There are still quite a few limitations, though. Metabones says the best results currently require either the Panasonic GH7or Panasonic G9 II, noting that other cameras will not achieve the same near-native performance. The company later added that cameras like the Olympus E-M1 and OM-1 series still show improvements, although results appear less consistent. The supported lens list is fairly broad and includes both full-frame and APS-C EF lenses from Canon, along with third-party lenses from Sigma, Tamron, and Samyang. The new Metabones EF-MFT Mark II adapters start at $399.

credits: Meike Vistilen, a relatively new Chinese lens brand closely tied to Meike, is expanding further into the Canon RF ecosystem with the upcoming 85mm f/1.4 autofocus prime, currently scheduled to launch on June 9, 2026. The company appears to use the Vistilen branding specifically for RF autofocus lenses, likely because of Canon’s more restrictive third-party AF environment. Like several previous Vistilen releases, this new 85mm f/1.4 looks to be based on existing Meike designs, but adapted with what the company describes as its own RF autofocus solution. On paper, the lens is built for portrait photographers with a full-frame 85mm focal length and fast f/1.4 aperture, alongside an optical design made up of 13 elements in 8 groups, including four ED elements and two high-refractive elements intended to improve sharpness and reduce optical issues like aberrations. The lens uses a 12-blade aperture design for smoother out-of-focus areas and relies on an STM autofocus motor, which should also make it more practical for video work. Minimum focusing distance is expected to be around 0.98m, while physical controls include an AF/MF switch, clicked aperture ring with A position, customisable focus-hold button, and USB support for firmware updates. Current specifications suggest dimensions around 87 × 114mm, a weight close to 800g, and support for 77mm filters. Construction is expected to use a mostly hard plastic exterior with metal components and a sealing gasket around the mount, although full weather sealing does not appear likely. Pricing has not yet been officially confirmed, but based on previous Meike and Vistilen releases, expectations currently place it somewhere in the $300–400 range.

credits: Godox Godox has announced the new iM30Pro, an updated version of its compact iM30 flash that adds a rechargeable battery, bounce flash support, a colour display, and more manual controls while keeping the small form factor that made the original model popular. The flash measures 6.4 × 6.2 × 4.8 cm, weighs 121g, and offers both Auto and Manual flash modes, with manual power adjustable from full output down to 1/128 power. It also supports S1 and S2 optical slave modes for simple off-camera setups. The flash uses a built-in 7.4V 700mAh lithium battery, which Godox says can deliver up to 550 full-power flashes per charge, while recycle times are rated at around 1.5 seconds. Charging happens through USB-C. One of the bigger changes compared to the original model is the addition of a tilting flash head with 45°, 60°, 75°, and 90° positions, making bounce flash possible without moving to a much larger speedlight. The flash also introduces magnetic accessory support through compatibility with Godox’s optional MA01 magnetic accessories, allowing you to attach diffusers, grids, and colour filters. Additional specs include a guide number of 15m (ISO 100), a 2.5mm sync port for wired triggering, and a single-contact hot shoe design that works across Canon, Nikon, Sony, Fujifilm, Olympus, and other compatible systems. The Godox iM30Pro is priced at $45.

credits: Leica Leica’s rumoured SL3-P is apparently not arriving quite as quickly as originally expected. New reports now suggest the possible launch window has changed from earlier May expectations to somewhere between May and June 2026. Since we are already approaching the end of May without an announcement, it is difficult to know whether Leica actually pushed things back or whether the earlier timeline was simply optimistic rumour speculation. What does seem fairly clear, though, is that Leica is working on another SL body, with certification filings from earlier this year already pointing toward a completely new camera being in development. Pricing rumours are also becoming a bit clearer. For the first time, reports are pointing toward a price somewhere around $6,700, which would place the camera above the Panasonic Lumix S1R II, that many believe serves as its technical foundation. Current leaks continue suggesting the SL3-P will use the same 44.3-megapixel full-frame sensor and position itself between the 60MP SL3 and 24MP SL2-S within Leica’s lineup. The camera could also feature around 800 autofocus points, improved autofocus compared to the SL3-S, and a body design and menu system that move closer to Panasonic’s newer generation of cameras. Video specifications are still less clear. Several rumours continue suggesting Leica may intentionally reduce video capabilities compared to other SL models, possibly to create more separation within the lineup. There is also growing speculation around a new SL 100mm APO Macro lens, although nobody knows yet whether it will launch alongside the camera. While the SL3-P rumours continue changing around, Leica has still been active elsewhere recently, introducing a new Metallic Grey finish across several products including the M11-P, Q3, D-Lux 8, and APO-Summicron-M 50mm f/2.

credits: Meike Meike has officially released two new autofocus portrait lenses, covering both full-frame and APS-C with the new AF 85mm F1.4 II MIX and AF 56mm F1.7 Air, both of which were first teased during NAB Show 2026. The 85mm F1.4 II MIX uses an 11-element, 8-group optical design, paired with an 11-blade diaphragm, 0.81m minimum focusing distance, and relatively compact dimensions at 648g and 85 × 110mm. Autofocus is handled through an STM stepping motor, while the lens also includes a de-clickable aperture ring, custom function button, USB-C port for firmware updates, and weather sealing around the mount. The smaller 56mm F1.7 Air takes almost the opposite approach. It is designed as a compact APS-C portrait lens with an 85mm full-frame equivalent field of view, and uses an 11-element, 7-group optical design, 9-blade aperture, STM autofocus motor, and weighs 190g. Minimum focusing distance comes in at 0.55m, while physical controls stay fairly simple with a dedicated AF/MF switch built into the barrel. The lens also uses small 52mm filters and measures 66.5 × 59.2mm. Meike says the 56mm F1.7 Air is the first of three planned Air-series lenses, with 25mm F1.7 and 35mm F1.7 models expected later. The 85mm F1.4 II MIX is priced at $498 in Sony E, Nikon Z, and L-mount, while the 56mm F1.7 Air costs $159 and is available for Sony E, Nikon Z, and Fujifilm X mount systems.