credits: Thypoch Thypoch is starting to reveal more about its upcoming Voyager 24–50mm f/2.8, ahead of its official announcement on May 14. It is one of the company’s first autofocus zoom lenses, and from the specs so far, it looks pretty decent. On the technical side, the lens covers a 24–50mm focal range with a constant f/2.8 aperture, giving a field of view between 83° and 47°. The optical design uses 16 elements in 13 groups, which is fairly complex for a lens like this and suggests an effort to keep image quality consistent across the zoom range. It also features a 10-blade diaphragm and stops down to f/22. The minimum focusing distance is 0.3 meters, with a maximum magnification of 0.216x, so it can handle closer shots, though it is not really intended for macro use. In terms of size, the lens comes in at 92.8 × 70 mm and weighs around 450 grams, with a 67mm filter thread. It uses an autofocus system, although there is still no information on the type of motor being used. It will be available for Sony E, Nikon Z, and Leica L mounts, with an expected price of around $700. Thypoch is also planning to expand further into autofocus lenses, with five additional models reportedly in development.

credits: Sigma Sigma just rolled out a firmware update for eight of its lenses, and it brings some fairly practical changes. The main addition is the ability to reassign the manual focus ring when the lens is set to autofocus. Normally, that ring just sits unused in AF mode, but now it can be mapped to things like aperture, shutter speed, ISO, exposure compensation, white balance, or even autofocus mode. There is also an option to reverse the focus ring direction in manual focus, which can help if you are used to a different system. On top of that, Sigma added the option to display T-stops instead of f-stops in video, which is more relevant for exposure consistency since T-stops account for actual light transmission. The update applies to eight lenses, including the 20mm f/2 DG DN, 24mm f/1.4 DG DN Art, 35mm f/1.4 DG DN Art, 50mm f/1.2 DG DN Art, and the 500mm f/5.6 DG DN OS Sports, among others. It is available now as a free download and can be installed either through a compatible camera body or via Sigma’s USB Dock. Strangely, Sigma has not specified exactly which cameras support the new features, only that they require compatible L-mount models. You can download the update on Sigma’s website here

credits: Oppo Oppo is bringing the new Find X9 Ultra to the global market and, according to the company, it is ‘the ultimate phone for mobile photographers’, with Hasselblad co-engineering the system. The phone uses a quad-camera setup, including a 50MP periscope telephoto with 10x optical zoom, two 200MP sensors, and a 50MP ultra-wide (14mm). The periscope module is one of the more interesting parts, using a five-prism system to bend the light path and keep the module relatively compact while still reaching that longer focal length. It also includes sensor-shift stabilisation, which should help keep shots sharper at higher zoom levels. The main camera is built around a 1/1.12-inch Sony Lytia 901 sensor with an f/1.5 aperture, which is slightly smaller than the previous 1-inch sensor, but Oppo is relying on the wider aperture to make up for that in terms of light. The second 200MP sensor is used for a 3x telephoto (around 70mm equivalent), and it can focus as close as 15cm. Hasselblad’s role shows up mostly in colour tuning and shooting modes, including a mode that outputs 50MP RAW and JPEG files at focal lengths like 14, 23, 70, and 230mm, with a couple of cropped options in between. There is also an optional teleconverter attachment that pushes the 3x camera to around 300mm equivalent, and with sensor cropping, up to roughly 690mm. It is not true optical reach, but it shows how Oppo is trying to stretch the system using those high-resolution sensors. In terms of video, the phone supports 4K120 and 8K30, along with a log profile (O-Log2) that works with the ACES colour system. On the inside, the phone runs on a Snapdragon 8 Elite Gen 5, with a 6.82-inch AMOLED display (144Hz, up to 3,600 nits) and a 7,050 mAh battery. It is set to launch in Europe in May 2026 starting at €1,699, with a U.S. release to follow later.

credits: Sony The upcoming Sony FE 100–400mm f/4.5 GM II is starting to take shape, with new reports and leaks adding a bit more clarity around its design and expected price. Nothing is official yet, but based on what sources are saying, this looks like a fairly substantial update over the current version, especially in how the lens is built and how it handles. One of the bigger changes is the switch to an internal zoom design, meaning the lens will not extend when zooming. That is a noticeable update from the current 100–400mm GM, which uses an extending barrel. An internal zoom setup usually helps with weather sealing and balance, but it also means the lens is likely to be larger overall, even at its shortest length. Reports suggest it could be similar in size to the FE 200–600mm (so about 318mm length and 2,110g weight). The lens is also expected to feature a constant f/4.5 aperture, instead of the variable f/4.5–5.6 on the current model, which would be a meaningful upgrade for consistency across the zoom range. Sources also say that the switches have been moved further back toward the mount, while the tripod collar has been pulled forward, closer to the focus ring. The spacing between the aperture and focus rings is reportedly very tight, leaving minimal room for markings. Pricing is expected to land somewhere around $4,700, which would be a significant jump from where the current version sits today. The lens is rumoured to be announced around mid-May, possibly alongside the Sony A7R VI.

credits: DJI Less than two weeks after teasing a new drone lineup, DJI has introduced the Lito X1 and Lito 1. Both models are positioned as lightweight, ready-to-fly options that do not require much setup (similar to the Mini), which the company says lowers the barrier for new users getting into aerial photography. The Lito X1 is the more advanced of the two, using a 48MP Type 1/1.3-inch sensor paired with a 24mm equivalent f/1.7 lens. The Lito 1 drops down to a smaller Type 1/2-inch sensor with a slightly tighter 26mm equivalent f/1.8 lens. Both drones can shoot 48MP phots, but also offer 12MP output, which is likely pixel-binned for better low-light performance. Video tops out at 4K60 on both, but the X1 adds HDR recording and DJI’s D-Log M profile, which gives more flexibility when grading footage. It also includes 42GB of internal storage, while the Lito 1 relies entirely on microSD cards. The X1 also adds a forward-facing LiDAR system, which should help with obstacle detection and more stable flight in complex scenes. Aside from that, both drones share similar shooting features like ActiveTrack, QuickShots, and Hyperlapse. They also both weigh 249 grams, which keeps them in a more accessible category in terms of regulations. Pricing is set at €339 ($400) for the Lito 1 and €419 ($490) for the Lito X1.

credits: TTArtisan TTArtisan has announced two new full-frame autofocus lenses under its new Neo series, the AF 50mm f/1.8 and AF 85mm f/1.8, with the 50mm being the first to launch. The whole idea behind the Neo series is to keep things simple, and that shows in the design. There is no aperture ring and no traditional focus ring, which is a bit unusual and suggests most controls are meant to be handled through the camera instead of the lens itself. Looking at the specs, the 50mm f/1.8 covers full-frame sensors with a 45° angle of view and uses an 8-element, 12-group optical design, including high-refractive index elements and ED glass. The aperture ranges from f/1.8 to f/16 with a 7-blade diaphragm, and the minimum focusing distance is 0.48 meters. It also uses a 52mm filter thread. Based on the MTF chart, sharpness in the centre stays fairly strong wide open, but like most lenses in this category, it drops off more toward the edges at f/1.8 and improves as you stop down. Autofocus is handled by an STM stepping motor, which is generally used for smoother and quieter focusing, especially for video. The lens is pretty light too, coming in at around 156–167 grams. It is currently available for Sony E and Nikon Z mounts, with an L-mount version planned later, and priced at around $90. The AF 85mm f/1.8 is expected to follow, although TTArtisan has not shared detailed specs for that one yet.

credits: VIltrox Viltrox’s new AF 35mm f/1.8 Evo and AF 55mm f/1.8 Evo lenses are here. Both were announced at NAB Show 2026 and are built around an apochromatic (APO) optical design, which is meant to bring red, green, and blue wavelengths into the same focal plane. In real-world use, that usually means less chromatic aberration and cleaner edges, especially in high-contrast scenes, along with more consistent colour rendering. On the inside, both lenses use fairly complex optical constructions. The 35mm f/1.8 has 13 elements in 10 groups, while the 55mm f/1.8 uses 13 elements in 9 groups, with both incorporating ED and high-refractive index elements. That kind of setup is typically there to keep sharpness more consistent across the frame and to hold up better when shooting wide open. Both lenses have a maximum aperture of f/1.8, which makes them usable in lower light and gives some control over depth of field. Minimum focusing distances are 0.3 meters for the 35mm and 0.4 meters for the 55mm. Autofocus is handled by an STM stepping motor, which is usually chosen for smoother and quieter operation, especially if you are shooting video. Both lenses also include physical controls like an AF/MF switch, function button, and aperture click switch, and they come in an all-metal build with a sealed mount. In terms of size, they stay relatively compact at around 330 grams for the 35mm and 365 grams for the 55mm. Both lenses are available for Sony FE and Nikon Z mounts, priced at $395 for the 35mm and $370 for the 55mm.

credits: Canon Canon has filed a new set of lens patents in Japan, outlining three very interesting designs, a 130mm f/1.8, a 300mm f/2.8, and a 500mm f/5.6. As always with patents, there is no guarantee any of these will actually become real products, but they do give us a glimpse into what Canon is at least exploring for the RF system. The most unusual of the three is the 130mm f/1.8 (technically closer to 128mm in the patent). On paper, it overlaps quite a bit with Canon’s existing RF 135mm f/1.8L, which is already a large and expensive lens. The patent version is actually described as even longer, which makes it harder to see where it would fit unless Canon had something very specific in mind. In contrast, the 300mm f/2.8 looks much more straightforward. Canon has not released an RF version of this classic focal length yet, even though it was a staple in the EF lineup. The patent describes a lens around 273mm in length, which would make it noticeably more compact than the current RF 100–300mm f/2.8 zoom. The third lens, a 500mm f/5.6, is also interesting, especially for wildlife photographers. The patent suggests a lens just under 300mm long, putting it in a similar size class to older EF telephotos like the 400mm f/5.6. That kind of design could offer a balance between reach, size, and cost, which is something the RF lineup currently lacks. Of course, these are still just patents, but they show Canon is at least considering filling some of the more obvious gaps in its telephoto range.

credits: Canon Canon’s long-rumoured retro camera might not end up being a standalone model after all. Instead, it now looks like it could show up as the EOS R8 Mark II. For years, people expected something like an “EOS RE-1” to celebrate the AE-1’s 50th anniversary, but it seems Canon is going in a slightly different direction. Rather than creating a completely separate line, the company may be folding that retro idea into an existing series. According to the latest reports, Canon is working on two new full-frame cameras. One is the EOS R6 V, which will be more video focused and it may even drop the EVF entirely. The other is the EOS R8 Mark II, a camera for photographers, which is said to bring the retro-inspired design. Sources specifically mention both the “Mark II” name and the retro styling, so this does not sound like just a simple refresh or a new colour version of the current R8, but something a bit more distinct within the lineup. There are still no confirmed specs, but one of the more consistent rumours points to a 32.5-megapixel sensor, similar to what is expected in upcoming models like the R6 Mark III and C50. Canon has already said it is aware of the demand for retro-style cameras, but also made it clear that usability and ergonomics still come first. The announcement is expected sometime after the EOS R6 V, possibly around late May 2026, although nothing has been officially confirmed yet.

credits: 7Artisans Last month, 7Artisans started teasing a new lens, and now the company has begun sharing more concrete details about its upcoming AF 135mm f/1.8. The lens will be available for Sony E, Nikon Z, and L-mount, and is positioned as a full-frame telephoto prime in a familiar portrait and short telephoto range, paired with a fast f/1.8 aperture. The company still has not revealed everything, but there is enough information now to get a clearer picture of what it is building. From a technical standpoint, the lens includes an autofocus system with a dedicated AF/MF switch, along with a minimum focusing distance of 0.68 meters, which is typical for this type of lens. It uses an 82mm filter thread, weighs 985 grams and there is also a physical aperture ring for direct control, although on the Nikon Z version this is replaced by a programmable control ring instead. The lens body also features two customisable function buttons, which can be assigned depending on the camera system. The AF 135mm f/1.8 is lined up for release in the second half of 2026, with pricing listed at around ¥120,000 (roughly $770).

credits: Meike Meike has unveiled/shown two new lenses at NAB 2026, adding both a full-frame portrait option and a fast APS-C prime to its lineup, the AF 85mm f/1.4 II and the AF 58mm f/1.2. Both lenses continue Meike’s recent push into autofocus with faster apertures, while still keeping things relatively compact compared to some of the larger options in this category. From the early looks, both lenses feature a physical aperture ring with marked stops, along with a dedicated AF/MF switch and an additional click/de-click switch for the aperture. The 85mm f/1.4 II is a second-generation take on a classic portrait focal length. Meike says autofocus has been improved, focusing on faster response and more reliable subject tracking. The optical design has also been refined to balance sharpness with smooth background rendering at wider apertures. There is also mention of a lighter body compared to the previous version, which should make it a bit more practical for handheld shooting. The AF 58mm f/1.2, on the other hand, is built for APS-C cameras. With an effective focal length of around 87mm, it also lands in portrait territory, but with a much faster f/1.2 aperture. That should help in low light and allow for stronger subject separation, though lenses this fast usually come with some trade-offs. Both lenses will be available in black and white, though full specs remain limited, and there is no word on pricing or mounts yet.

credits: Panasonic Panasonic has announced the Lumix S 40mm f/2, a compact full-frame prime that looks like it is designed to sit somewhere between a standard and a wide-angle lens. At 40mm, it offers a slightly wider field of view than a typical 50mm, which tends to give a more natural perspective without feeling too tight. The lens is also pretty small, coming in at 144 grams and 40.9mm in length. From a technical standpoint, the lens uses a 7-element, 6-group optical design, including three aspherical elements, which are typically there to help control distortion and keep the lens compact. The aperture ranges from f/2 to f/22, with a 7-blade diaphragm, and interestingly, there is no dedicated lens hood mount. Panasonic says flare and ghosting are controlled well enough through coatings and optical design that a hood is not really necessary. The lens is also dust and splash resistant and rated to operate down to -10°C, which is pretty standard for this class. Despite the size, Panasonic has still included a few physical controls, like an AF/MF switch and a focus button, and the focus ring can be customised. On the video side, the lens is designed to minimise focus breathing and uses micro-step aperture control for smoother exposure changes. Panasonic also updated its roadmap alongside the announcement, mentioning a future wide-angle prime in the 18–24mm range and a large-aperture telephoto zoom somewhere between 50mm and 200mm. The Lumix S 40mm f/2 will be available in L-mount for $399.99 and is expected to start shipping in early June 2026. It will come in both silver and black.