credits: Sony Sony’s new a7R VI is finally here, and this time the biggest story is not just resolution. For the first time in the series, Sony is pushing the a7R line heavily toward speed as well. The camera uses a brand-new 66.8-megapixel fully stacked Exmor RS full-frame sensor, replacing the older 61MP sensor architecture that had been around since the a7R IV in 2019. Moving to a fully stacked design brings a major jump in readout speed, allowing the camera to shoot 14-bit RAW files at up to 30 frames per second with blackout-free shooting and dramatically reduced rolling shutter compared to the a7R V. For photographers, the combination of high resolution and speed is the main change here. Sony says rolling shutter has been reduced by around 5.6x, which should make the camera much more usable for action, wildlife, and sports photography than previous a7R bodies. The camera also keeps the strong image quality focus the series is known for, with Sony claiming up to 16 stops of dynamic range at base ISO 100. Autofocus has also been updated with a revised 759-point Real-time Recognition AF+ system, adding better tracking for smaller, distant, or partially obscured subjects. AI-based subject detection supports humans, animals, birds, insects, cars, trains, and airplanes, along with automatic subject recognition. Sony has also expanded the Pixel Shift Multi Shooting mode, allowing you to create 265.8-megapixel composite images through Imaging Edge Desktop software. There are also several hardware updates. The a7R VI gets slightly improved IBIS, now rated for up to 8.5 stops of stabilisation in the centre of the frame, along with a brighter 9.44-million-dot EVF that now fully supports the DCI-P3 colour space and HDR viewing. Sony also added illuminated buttons for low-light shooting, including the AF-ON, Menu, Fn, Playback, and Delete buttons. On the video side, the camera supports 8K 30p, oversampled 4K, and 4K 120p, along with a new Dual Gain readout mode for improved dynamic range during video recording. The Sony a7R VI is scheduled to launch in early June for $4,499. Alongside the camera, Sony also introduced the brand new FE 100-400mm f/4.5 GM OSS. We will take a closer look at both, the Sony a7R VI and the new lens, in this week’s Sunday magazine issue ;)

credits: Panasonic Panasonic’s new Lumix L10 is here. It is a fixed-lens compact camera that takes a lot of inspiration from the older LX100 series, but with updated hardware and a much more modern feature set. The camera is built around a 20.4-megapixel backside-illuminated Micro Four Thirds sensor (the same sensor used in the Lumix GH7) paired with Panasonic’s latest image processor and Dynamic Range Boost technology. Despite using a relatively large sensor for a compact camera, the body still comes in at around 508 grams. One of the more notable features is the updated Leica DC Vario-Summilux 24–75mm equivalent lens with a relatively bright f/1.7–2.8 aperture range. Panasonic is also continuing its multi-aspect ratio approach, allowing you to switch between formats like 4:3, 3:2, 16:9, and 1:1 using a physical switch on the lens without heavily cropping into the sensor area. Autofocus uses a 779-point hybrid phase-detection system with subject recognition for humans, animals, vehicles, and sports scenes. Burst shooting reaches up to 30fps with the electronic shutter or 11fps mechanically, and the camera also includes Power OIS stabilisation. On the body itself, there is a 2.36-million-dot OLED EVF and a 1.84-million-dot fully articulating rear display. Although the L10 is clearly meant more for photographers, Panasonic still included a fairly serious video feature set. The camera supports recording up to 5.6K at 59.97p, along with 4K up to 120fps, using full pixel readout. It supports 10-bit 4:2:0 and 4:2:2 recording, V-Log, waveform monitoring, LUT preview, and Panasonic’s Real Time LUT system. Panasonic also announced an updated Lumix Lab 3.0 app alongside the camera, adding RAW editing, LUT creation tools, firmware updates through the app, and wired phone connectivity. The Lumix L10 is scheduled to launch in June for $1,499.

credits: Panasonic Two new Panasonic rumours are currently getting a lot of attention. One points to a new compact Micro Four Thirds camera, while the other involves a previously unknown camera model called DC-L10 showing up on official Panasonic websites. Put together, they suggest Panasonic could be expanding the Lumix lineup again sometime in the second half of 2026. According to multiple reports, Panasonic is apparently working on a smaller MFT camera expected to launch later this year. The rumours specifically mention that this won’t be a GH8, but instead a more compact body closer to the older GMor GX series cameras. Right now, though, it is still unclear whether Panasonic is going for an ultra-compact design without an EVF, similar to the GM line, or something more like the GX series with a built-in electronic viewfinder. Based on community reactions, though, most photographers seem to strongly prefer keeping an EVF in the design. At the same time, a separate discovery has added even more speculation around Panasonic’s upcoming plans. A camera model labeled “DC-L10” briefly appeared on official Panasonic compatibility pages connected to the Lumix Lab appbefore later disappearing. Archived versions of the pages still show the listing, and interestingly, the camera was grouped alongside models like the S1R II, S5 II, GH7, and G9 II. That placement makes it seem more likely that the DC-L10 could actually be an interchangeable-lens camera rather than a fixed-lens compact model. The name itself is also interesting because Panasonic previously used the DMC-L10 name for a DSLR released back in 2007, while the newer DC prefix fits the company’s current mirrorless naming system.

credits: Brigtin Star Brightin Star has announced the new 7.5mm f/2.8 IV APS-C fisheye lens, a manual-focus ultra-wide lens for mirrorless cameras. The lens is built around a 190-degree field of view, which goes beyond the range of many fisheye designs and creates the strong perspective distortion and curved rendering typically associated with this type of lens. The fisheye is designed for APS-C cameras and will be available for Sony E, Nikon Z, Fujifilm X, Canon RF, Canon EF-M, and Micro Four Thirds mounts. Optically, it uses an 11-element, 8-group construction that includes three extra-low dispersion elements and three high-refractive elements. According to Brightin Star, those specialised elements are there to help reduce chromatic aberration, flare, and other optical issues that tend to become more noticeable with ultra-wide fisheye lenses. The aperture range runs from f/2.8 to f/16, and the lens uses a five-blade diaphragm, which produces fairly pronounced 10-point starburst effects around bright light sources. Physically, the lens stays relatively compact, weighing around 274 grams. It also focuses as close as 0.15 meters, allowing subjects to get close to the front element for exaggerated foreground perspective. Since the large bulbous front element makes normal front filters impractical, the lens instead supports rear-mounted filters. Like many lower-cost fisheye lenses, the design is fully manual focus with no electronic autofocus system. The lens is available in both black and silver finishes, with pricing set at $140.

credits: Sony Sony and semiconductor giant TSMC have announced a preliminary agreement to work together on a new image sensor fabrication facility in Japan, with the goal of developing and manufacturing the next generation of camera sensors. The agreement is currently non-binding, but the two companies say the project would involve a new facility in Koshi City, Kumamoto Prefecture, on Japan’s southern island of Kyushu. The proposed joint venture would combine Sony’s sensor design experience with TSMC’s semiconductor manufacturing technology. Sony would reportedly remain the majority and controlling shareholder in the project. While neither company has gone into technical specifics yet, the goal is centred around producing more advanced image sensors than what is currently available, likely with a focus on faster readout speeds, improved efficiency, and better overall performance for future cameras and imaging systems. Beyond traditional camera sensors, Sony and TSMC also say the partnership could expand into other areas tied to imaging and sensing technology, including applications for automotive systems, robotics, and AI-related hardware. According to reports from Bloomberg and Engadget, the move is also part of Sony’s broader strategy to reduce how much manufacturing it handles entirely in-house. Sony CEO Hiroki Totoki reportedly described the partnership as a first step toward a more “fab-light” approach, where Sony focuses more on sensor development and intellectual property while working with outside manufacturing partners. It is a similar direction to what Sony has already done in other parts of its business, including its TV division.

credits: Viltrox Just ahead of China P&E 2026, rumours are starting to pile up around several new Viltrox lenses, with reports pointing to at least three additions to the company’s Pro series for both full-frame and APS-C cameras. The show takes place in Beijing from May 15 to 18, and based on recent leaks and social media teasers, Viltrox looks set to have a fairly busy event. According to multiple reports, Viltrox is expected to announce a new AF 35mm f/1.4 Pro for full-frame cameras. The lens is rumoured to launch first for Sony E-mount, with a Nikon Z version expected later. If that turns out to be accurate, it would become the third lens in Viltrox’s full-frame Pro lineup alongside the existing 50mm f/1.4 Pro and 85mm f/1.4 Pro. So far, though, there are still no confirmed specs, optical details, or pricing. For reference, the current 50mm f/1.4 Pro launched at around $670. At the same time, Viltrox has also started teasing two new f/1.2 Pro lenses for Fujifilm X-mount. The company has not confirmed the focal lengths yet, but speculation on Weibo points toward a possible 18mm f/1.2 Pro and 35mm f/1.2 Pro. If true, that would expand the Fuji X Pro lineup beyond the current 27mm, 56mm, and 75mm f/1.2 lenses. Viltrox has been releasing lenses at a pretty aggressive pace lately, and the Pro series in particular has started carving out a spot as a more affordable alternative to premium first-party glass.

credits: Sony Sony has seemingly started teasing its next Alpha camera, describing it as “the next R” in a new social media post. While the teaser avoids mentioning the camera directly, it does not leave much room for interpretation either. At this point, it is looking very likely that Sony is preparing to unveil the long-rumoured A7R VI, with the official announcement scheduled for May 13. The current A7R V is slowly starting to show its age in a few areas. Although Sony changed a lot with the A7R V when it launched in 2022, it still used the same 61-megapixel full-frame sensor found in the older A7R IV from 2019. That sensor still delivers great resolution, dynamic range, and overall image quality, but compared to newer stacked sensors, its readout speed has started to fall behind. Let’s take one last look at the latest Sony A7 R VI rumours ahead of the official announcement. One of the biggest rumoured changes is a new 67-megapixel fully stacked full-frame sensor. That is important because stacked sensors in Sony’s lineup have so far been reserved for cameras like the A1 and A9 series. A stacked design would allow much faster sensor readout speeds, which could mean significantly better burst shooting, reduced rolling shutter, and stronger video performance compared to the current A7R V and its older 61MP sensor. Reports also suggest the camera could land surprisingly close to the A1 II in terms of overall speed and video capabilities, while still keeping the high-resolution focus of the A7R line. There are also rumours of an upgraded body design and a new electronic viewfinder that could actually improve on the already impressive EVF found in the A1 II, which currently offers 9.44 million dots and refresh rates up to 240Hz. Sony is also expected to bring over many of the newer features introduced with the A7 V generation, including autofocus and processing improvements. The trade-off, though, will likely be price. Current rumours suggest the A7R VI could go well beyond $5,400, making it the most expensive A7R model so far.

credits: ZY Optics ZY Optics (Zhongyi) is getting ready to announce two new lenses at the upcoming Beijing P&E Imaging Show 2026, including a 30mm f/2.4 medium format lens and a 45mm f/1.4. So far, though, the company has only shared details about the new 30mm f/2.4, which becomes the latest addition to its growing PITTURA series lineup. The lens is designed specifically for 44×33mm medium format sensors and will be available for both Fujifilm GFX and Pentax 645 systems. That includes cameras like the Fujifilm GFX50S and Pentax 645Z, along with compatibility for some older digital back systems from brands like Mamiya, Leaf, and Phase One that use similar sensor sizes. On this format, the 30mm focal length lands in wide-angle territory, offering a field of view of a little over 80 degrees. Zhongyi is pairing that with a relatively fast f/2.4 aperture, running from f/2.4 to f/22, with full-stop markings through the range. Zhongyi also revealed part of the optical design, which looks relatively complex compared to older medium format lenses from the company. The lens includes multiple specialised elements, including ED (Extra-low Dispersion) glass and at least one aspherical element, meant to control chromatic aberration, distortion, and edge sharpness across the large image circle. At the same time, Zhongyi says the lens is still tuned to keep some character in the rendering rather than aiming for an overly clinical/’prefect’ look. Physically, the lens uses a full-metal construction and follows the same design language as the earlier PITTURA 65mm f/1.4 and 80mm f/1.6 lenses, meaning it is likely to feel fairly substantial. The official announcement is expected during the Beijing P&E show running from May 15 to May 18.

credits: Maven Filters Maven Filters’ Iron Slider Gradient Adapter is here. It is a new filter system designed to give photographers more control over graduated ND filters without needing the large square filter setups that are usually associated with them. The system combines a magnetic adapter with Maven’s 95mm graduated ND filters, allowing the filter to slide freely up and down across the front of the lens. The adapter comes in 72mm, 77mm, and 82mm thread sizes. While the inner thread size changes depending on the version, the outer frame is much larger, almost like an oversized step-up ring. That extra space is what allows the 95mm magnetic filter to move vertically, making it possible to precisely position the transition area between the darker and lighter parts of the filter. Since the filter can also rotate freely, you can angle the gradient to better match uneven horizons, mountains, or other landscapes where a straight transition line does not really work. Graduated ND filters have traditionally been most useful for landscape photography, especially in scenes with bright skies and darker foregrounds. Before digital editing and HDR workflows became common, they were one of the only practical ways to balance exposure in high-contrast scenes. While exposure blending is now standard for many photographers, there are still people who prefer handling that balance directly in-camera. The Maven Iron Slider Gradient Adapter starts at $62 for the 72mm version and goes up to $69 for the 82mm version. Maven’s compatible 95mm magnetic filter is $139, and the system can also be used with circular polarisers.

credits: Nikon Nikon has announced that it is developing a new high-end telephoto zoom lens, the Nikkor Z 120-300mm f/2.8 TC VR S, and one of the biggest details is right in the name, it includes a built-in 1.4x teleconverter. That means the lens can extend its range from 120-300mm f/2.8 to roughly 168-420mm f/4 without needing an external converter. The lens will be part of Nikon’s premium S-Line lineup for full-frame Z-mount cameras. The new lens looks like a direct mirrorless successor to the AF-S Nikkor 120-300mm f/2.8E FL ED SR VR from 2020, which ended up being Nikon’s final F-mount lens before the DSLR era effectively wrapped up. That lens built a strong reputation because it combined the flexibility of a zoom with image quality that could compete with, and in some cases outperform, Nikon’s 300mm f/2.8 prime lenses. Nikon has not shared any optical specs yet, but considering how strong its recent S-Line telephotos have been, expectations are naturally pretty high. Nikon also has not released detailed technical information, but the single product image does reveal a few things. The lens appears to include at least two customisable function buttons, a rotating tripod collar, and separate zoom, focus, and customisable control rings. There also seems to be a drop-in filter system near the mount, similar to what Nikon uses on lenses like the Nikkor Z 400mm f/2.8 TC VR S. No release date or price has been announced yet, although the older F-mount version launched at $9,500, and this new model adds a built-in teleconverter on top of that.

credits: OM System A pretty unusual rumour is making the rounds right now. OM System is supposedly working on an OM-3 Monochrom, a black-and-white-only version of the OM-3 that could arrive as early as August 2026. According to multiple sources, the camera would be based on the existing OM-3 platform, which actually makes a fair amount of sense considering OM System has already experimented with niche versions of its cameras before, like the OM-3 Astro. The idea behind a monochrome camera is quite a bit different from just switching a regular camera into black-and-white mode. Conventional image sensor are essentially colourblind. Only the Bayer colour filter ensures that each pixel captures only red, green, or blue light. The missing colour information is then calculated, or interpolated, via demosaicing. This works surprisingly well, but it comes at the cost of sharpness and light sensitivity. A monochrome sensor removes that filter entirely, allowing every pixel to capture full luminance data. In practice, that means higher sharpness, cleaner detail, improved light sensitivity, and lower noise, especially at higher ISOs. The downside is obviously that the camera can only shoot black and white, and tonal adjustments often rely on physical colour filters attached to the lens. If the rumour turns out to be real, the camera would likely keep most of the existing OM-3 hardware, including the weather-sealed retro-style body, BSI-stacked sensor design, and OM System’s strong in-body stabilisation system. That combination could make sense for genres like street, documentary, and travel photography, where monochrome shooting is pretty popular. It would also place the OM-3 Monochrom into a very small category currently occupied by cameras like the Leica M11 Monochrom and Pentax K-3 III Monochrome, although likely at a much lower price point.

credits: Funleader Funleader has announced an updated Black Edition of its Contax G35 Leica M Conversion Helicoid V2, continuing its approach of adapting classic Contax G lenses for Leica M cameras without permanently modifying the original lens. The update, according to the company, is especially interesting for photographers who still like the look and rendering of classic Zeiss optics on Leica M bodies. The biggest change is the move to an upgraded aluminium alloy housing for the conversion components, which cuts down the weight compared to earlier versions and slightly changes the overall feel. The kit now also includes a matching aluminium lens cap, and the new all-black finish is designed to fit in more naturally with modern Leica M cameras. At the same time, the fully converted optical version of the lens still keeps a full brass construction. Internally, Funleader says the structure has also been refined to improve focus damping and focusing smoothness, which should make manual focusing feel a bit more controlled during regular shooting. The system itself still revolves around a non-destructive conversion process, meaning you can move the original Contax G35 35mm f/2 optical block into the helicoid without permanently altering the lens. It supports proper rangefinder coupling for Leica M cameras, keeps the original 35mm focal length, f/2 aperture, and full-frame coverage, and uses a 46mm filter thread with a minimum focusing distance of 0.7 meters. One small quirk from the earlier version is still there, when set to f/16, the effective aperture is actually closer to f/13 because of mechanical limitations tied to the original lens design. Pricing is set at $990 for the full conversion kit, while the updated Black Edition helicoid on its own costs $519.