credits: Sigma The long promised Sigma 85mm f/1.2 DG Art is finally here, giving Sigma its longest f/1.2 prime lens yet. The new 85mm joins the 35mm f/1.2 DG Art II and 50mm f/1.2 DG Art, completing Sigma’s current trio of ultra-fast wide, standard and medium-telephoto primes. As you would expect, this one is meant for portrait photography, combining the f/1.2 maximum aperture with a rounded 13-blade diaphragm for very shallow depth of field. Inside, Sigma uses SLD glass to control axial chromatic aberration, while aspherical elements are used to correct spherical aberration and sagittal coma flare. Despite the big aperture, Sigma has managed to keep the lens relatively light at 905g. That is noticeably less than the 1,160g Nikon Nikkor Z 85mm f/1.2 S and the 1,195g Canon RF 85mm f/1.2 L USM. Sigma says part of that weight reduction comes from carefully positioning the aspherical elements and reducing the number of elements that actually need to move during focusing. Autofocus itself is handled by two HLA (High-response Linear Actuator) motors, with the dual-motor setup moving the focus groups quickly and quietly. Focus breathing has also been kept down, which should make the lens a little more practical for video work. The body gets Sigma’s usual Art lens controls, including two customisable AFL buttons, an aperture ring and an aperture-ring lock switch. The aperture ring can also be switched between clicked and de-clicked operation depending on whether you are shooting photos or video. There is dust- and splash-resistant construction as well. Perhaps most importantly, Sigma does not really have much direct competition here, Sony, Panasonic and Leica currently do not offer their own 85mm f/1.2 primes, making this a pretty unusual option for both E- and L-Mount shooters. The Sigma 85mm f/1.2 DG Art will be available for Sony E-mount and L-Mount from October 6 for $1,599.

leaked photos A major Canon EOS R8 Mark II leak has given us what looks like the most complete specification list yet, just days before the camera’s expected announcement. Canon is reportedly sticking with the familiar 24MP full-frame sensor from the EOS R6 Mark II, with a native ISO range of 100–102,400. The camera is expected to use Dual Pixel AF II with Deep Learning AI, including updated animal tracking, while a new rear joystick should make AF-point control considerably easier. There is also reportedly a sensor protective curtain that closes when changing lenses. Speed looks like a big part of the update. The R8 Mark II is rumoured to shoot at up to 40 fps using its electronic shutter, with a maximum shutter speed of 1/16,000s and 20 fps pre-shooting for capturing moments before the shutter is fully pressed. Interestingly, there apparently won’t be a mechanical shutter at all. Perhaps the biggest upgrade over the original R8 is 5-axis IBIS rated for up to 7.5 stops. Video specs include 6K-oversampled 4K, 4K/60p and 1080/180p, along with Canon Log 3. New LUTs and downloadable colour filters are reportedly coming too, alongside a rather unusual feature that can apparently create 3D video from 2D photos. There is also mention of a video warm-up function, although exactly how that works remains unclear. Physically, Canon is expected to introduce a new design language and not the proper retro body that was rumoured earlier (you can see the leaked pictures up top). A new ergonomic grip accessory is also coming, although it won’t be a battery grip. The camera reportedly keeps the LP-E17 battery and a single SD card slot, but the card finally gets its own side compartment rather than sharing space with the battery. The EOS R8 Mark II is expected to be announced on September 15 in New York, with shipping beginning in October. Pricing is rumoured to land at around $1,799.

credits: Sony Sony has announced the FE 8-14mm f/3.5 Fisheye G, its first fisheye lens for E-mount and its first full-frame fisheye in about 20 years. Sony’s last first-party option was the 16mm f/2.8 for A-mount back in 2006, itself based on a Minolta design, so this has been a pretty big gap in the E-mount lineup. The new lens is also a little different from the usual fixed-focal-length fisheye. It has a 180-degree angle of view throughout the zoom range, transitioning from a circular fisheye at 8mm to a diagonal fisheye at 14mm, with equidistant and equisolid-angle projection styles. Despite that unusual 8-14mm range, the lens is pretty small. It weighs 314g and measures 63.1 x 82.8mm, with both internal zooming and internal focusing, so its physical length does not change while you are using it. Autofocus is handled by two linear motors and supports continuous shooting at up to 120 fps on compatible Sony cameras. Inside are 16 elements in 13 groups, including three aspherical elements, four ED elements and one ED aspherical element to control chromatic and spherical aberrations. There is a seven-blade diaphragm, while the aperture ring can be switched between clicked and de-clicked operation. You also get zoom and focus lock switches, and although that big curved front element rules out normal screw-in filters, rear drop-in filters are supported. Minimum focusing distance stays at 0.15m throughout the entire zoom range, with maximum magnification reaching 0.22x. Sony says focus breathing has been reduced optically, while compatible cameras can also apply the company’s electronic breathing compensation. The Sony FE 8-14mm f/3.5 Fisheye G will be available in October 2026 for $1,600.

credits: Sigma Four newly redesigned Sigma lens filters are coming this November, with the company updating both their optical design and filter frames to reduce their impact on photo quality. The lineup includes the WR Ceramic Protector PTC-21, WR Protector + UV PUV-21, standard Protector LPT-21, and WR Circular PL Filter CPL-21. The Ceramic Protector is designed mainly around impact resistance, while the PUV-21 combines UV protection with a water- and oil-repellent coating. The circular polariser gets the same coating as well. There are a few physical changes compared with Sigma’s previous filters too. The inside surfaces of the frames have been given an updated treatment to reduce internal reflections, while the overall construction has been slimmed down, particularly on the larger 95mm and 105mm versions. That is important when using filters on ultra-wide-angle lenses, where thicker filter frames can creep into the corners and cause vignetting. Sigma says the new filters are slim enough to avoid that problem and still work normally with its existing lens caps. And while Sigma only officially talks about compatibility with its own lenses, these are standard threaded filters, so they are not limited to Sigma glass. The PTC-21 Ceramic Protector will come in 67, 72, 77, 82, 95, and 105mm sizes. The PUV-21, LPT-21, and CPL-21 add 52, 55, 58, and 62mm options to that list. Interestingly, the 46mm size available in Sigma’s current filter lineup appears to be disappearing. Sigma has not announced pricing yet, but for reference, its current 77mm WR Circular Polariser costs $169, while the existing 82mm WR Ceramic Protector costs $160. The redesigned filters will be available from November 5.

credits: OM System We are now just one day away from the official OM PEN announcement, and one of the last big pieces of information may have just leaked, the price. According to numerous sources, the new Micro Four Thirds camera will cost around $1,265 for the body, which is a noticeable step up from the Olympus E-P7, which can currently be found for around $900, but the OM PEN is expected to add two pretty important things the E-P7 did not have, a built-in electronic viewfinder and weather sealing against dust and splashes. It will also have a fully articulating screen and Creative Dial, while keeping the compact, rangefinder-style PEN design. The big question is still the 20MP sensor. Earlier rumours suggested OM System might use the same stacked BSI sensor found in the OM-3 and OM-1 Mark II, which would be pretty surprising in a camera costing around $1,200. Stacked sensors bring much faster readout speeds and can have a big impact on things like burst shooting, autofocus and electronic-shutter performance, but OM System has so far reserved this sensor for considerably more expensive cameras. That is why there is still plenty of skepticism around the rumour. Another possibility is that the OM PEN will instead use the non-stacked 20MP sensor from the OM-5 Mark II. A new 14-42mm III kit lens is apparently also arriving alongside the camera, although it is still unclear whether this will be a revised version of the existing compact pancake zoom or a completely new optical design. OM System will officially unveil the OM PEN on September 9, with pre-orders expected to begin immediately afterward.

credits: Adobe Adobe Camera Raw 18.6 is here, and the headline addition this time is a new Glow tool that brings three analog-inspired effects directly into ACR, Diffusion, Bloom, and Halation. You will find it in the Effects panel alongside Grain and Vignette. Diffusion gives your photo a softer, hazier look similar to shooting through a Black Mist or Pro-Mist filter, while Bloom concentrates that softer glow more around highlights. Halation ,on the other hand, adds the warm red-orange halos around bright edges and light sources that you sometimes see with film. Glow also works with Camera Raw’s masking system, so you can control how strongly it appears on a subject, luminance range, or selected part of the photo. The Style, Range, Spread, and Warmth settings remain global, though. For now, Glow is exclusive to Camera Raw and is not available in Lightroom. Another useful addition is the new Metadata Info Panel, which means you no longer have to leave the main editing workspace just to check basic information about a photo. Clicking the small “i” on the right side brings up details including the camera, lens, photo dimensions, file size, capture date, copyright information, filename, caption, and any embedded Content Credentials. Adobe has also added a new Trim tool inside the Crop & Expand panel. Unlike ACR’s normal non-destructive crop, which simply hides everything outside the crop area, Trim actually makes those outside pixels transparent. That should make things a little quicker when preparing photos for composites or working with transparent backgrounds. Trim can also be combined with Generative Expand, so you can trim down to the area you want and then extend the canvas again using Firefly content. Camera Raw 18.6 also adds more camera and lens profiles, including support for the Tamron 12-20mm f/2.8 and Reeflex anamorphic and fisheye lenses for iPhone, although Adobe’s full camera-support list has not yet been updated at the time of the release. Adobe Camera Raw 18.6 is available now through the Creative Cloud desktop app.

credits: Canon With just over a week to go before the expected announcement, we are getting a much clearer idea of what to expect from the Canon EOS R8 Mark II. A new list of rumoured specifications largely backs up what we have heard over the past few weeks, but there are a few surprises mixed in. Canon is reportedly sticking with the familiar 24MP full-frame sensor from the EOS R6 Mark II, paired with a fully electronic shutter capable of 40 fps and a maximum shutter speed of 1/16,000s. There apparently won’t be a mechanical shutter at all. One of the biggest upgrades is 5-axis IBIS rated for up to 7.5 stops, something the original R8 was completely missing. 20 fps pre-shooting is also expected, allowing the camera to start recording photos before the shutter button is fully pressed. There is one particularly strange new feature in the rumoured spec sheet, the R8 Mark II will apparently be able to create 3D video from 2D photos. Exactly how Canon plans to do this, and what the finished result will actually look like, is not clear yet. The camera itself is no longer expected to have the proper retro design that earlier rumours suggested either. Instead, Canon is apparently introducing a new design language with higher-quality materials, while keeping the overall size and weight very close to the original R8. A rear joystick is finally expected as well, along with an optional ergonomic grip. The camera should continue using the LP-E17 battery, while the SD card slot moves to its own dedicated side compartment. Video is reportedly getting a decent update too, with oversampled 4K from 6K, 4K/60p and 1080/180p, alongside Canon Log 3, downloadable colour filters and new LUTs. Autofocus is expected to use Dual Pixel AF II with Deep Learning AI, including updated animal tracking, and a sensor shield that closes over the sensor when changing lenses. The EOS R8 Mark II is still expected to be announced on September 15, followed by availability in October 2026. Pricing is rumoured to be $2,200.

credits: Leica Leica has announced the Summicron-M 66mm f/2, a modern reinterpretation of the Elcan 66mm f/2, a lens designed by Dr. Walter Mandler at Ernst Leitz Canada in the late 1960s for the U.S. Navy. Only around 200 originals were produced, and they were built for covert reconnaissance work where getting as much fine detail as possible from a relatively small lens was the priority. For the new version, Leica has kept the basic optics and mechanics of the original but updated it for modern production. The Summicron-M 66mm f/2 uses six elements in five groups, with a nine-blade diaphragm and an aperture range from f/2 to f/16. It measures roughly 60.1mm long and 60mm wide and weighs 456g. There are also a couple of deliberately unusual details carried over from the military lens, the aperture ring turns in the opposite direction to normal Leica M lenses, and the distance scale follows the original military-style arrangement. Leica says the lens combines relatively soft bokeh with high contrast at f/2, while stopping down brings out its highest sharpness and finest detail. This is not going to be a normal production Summicron either. Leica is making just 660 individually numbered copies, with each lens engraved on the front ring with its serial number, the B1047 optical calculation number, and Leica’s 12-digit internal material number. There is also a slightly odd-looking “60” engraving on the side. This does not refer to a 60mm focal length, it follows the old precision-lens convention and indicates that the individual lens measures exactly 66.0mm. The original Elcan used similar markings, including its calculation and U.S. Navy order numbers. The Leica Summicron-M 66mm f/2 is priced at a pretty hefty $10,900.

credits: Canon Canon’s PowerShot comeback is continuing to take shape, and the company’s upcoming high-end compact apparently won’t be the G7 X Mark IV many people were expecting. According to the latest information, the new PowerShot will be a fairly significant departure from the G7 X Mark III and not a straightforward successor. That lines up with an earlier source who described the camera as “nothing like previous G series cameras.” There have been some conflicting rumours over the past few months, including suggestions that it could simply be an evolution of the G7 X, but the latest information once again points toward something considerably different. One of the biggest changes could be the sensor. The G7 X Mark III uses a 1-inch stacked CMOS sensor from Sony, while the upcoming PowerShot is now said to use a larger sensor, potentially developed by Canon itself. Whether that sensor will be stacked is still unclear. Earlier rumours actually pointed toward another new 1-inch sensor, so this part of the specification clearly is not settled yet. The lens is also expected to be a fast zoom with a variable maximum aperture. We do not have the exact focal length or aperture range yet, but for comparison, the G7 X Mark III uses a 24-100mm-equivalent f/1.8-2.8 lens, so it will be interesting to see how Canon balances sensor size, zoom range and lens speed on the new model. Despite supposedly moving further upmarket, Canon is reportedly trying to keep the camera below $1,000, with earlier information pointing toward somewhere between $700 and $1,000. An announcement is currently expected in late 2026 or early 2027, potentially around CES in January or CP+ in February. This is not the only PowerShot Canon has in development either. A much cheaper entry-level model is also expected, while earlier rumours mentioned as many as three new compacts, including a long-zoom model and a premium flagship. Canon is reportedly developing a new smartphone app for these upcoming cameras as well, with features including LUT application and RAW processing.

credits: Nikon Nikon has released the first firmware update for the Coolpix P1100, bringing the camera from version 1.0 to firmware 1.1. It is a pretty small update, with no new features this time around, but it fixes two bugs that could actually show up during normal shooting. The more important one involves continuous shooting. In some situations, the P1100 could stop responding when the zoom was adjusted while shooting a burst. That is a particularly relevant fix for this camera, considering its 24-3,000mm-equivalent zoom range makes it a popular for shooting subjects like wildlife and birds, where zooming and burst shooting often happen together. The second fix is for video. Nikon says some recorded clips could have timestamps that did not match the actual recording time, potentially making footage more annoying to organise or sort later on. Firmware 1.1 corrects that problem as well. And that is pretty much the entire update, there are no autofocus improvements, new shooting modes, performance changes, or other additions listed by Nikon. To install it, you will need to download the firmware, copy it onto an SD card, insert the card into the camera, and run the update from there. The Coolpix P1100 itself is very closely related to the P1000 from 2018. The newer model mainly brought connectivity and compatibility updates, including USB-C, WPA3-compatible Wi-Fi, and Bluetooth 5.1. Nikon introduced the P1100 after changes to EU regulations meant the older P1000, which lacked USB-C, could no longer continue being sold there in the same way.

credits: OM System OM System’s upcoming camera will reportedly be called simply the “OM PEN,” and thanks to a huge stream of leaks, we now have a very good idea of what to expect. OM System has already confirmed that a new camera will be unveiled on September 9, 2026, and according to the latest information, the company is dropping the familiar PEN-F, E-P and E-PL naming altogether. Whether that means OM System plans to have just one PEN line going forward isn’t clear yet. Anyone hoping for a straightforward PEN-F successor might also be disappointed, as the new camera is apparently much closer to the Olympus E-P7, with the front said to look roughly 90% the same. The familiar rangefinder-style design is staying, but this time there is an electronic viewfinder positioned in the top-left corner. Unlike the round eyepiece on the PEN-F, the OM PEN reportedly uses a rectangular one with a diopter adjustment dial on the right. Resolution is expected to remain at 20 megapixels, although the exact sensor is still uncertain. One possibility is the stacked BSI sensor from the OM-3 and OM-1 Mark II, while the non-stacked 20MP sensor from the OM-5 Mark II could also be used. That is a pretty important unknown, since the stacked sensor would make a noticeable difference to shooting speed, performance and probably the price as well. Beyond that, sources are not expecting any major technical surprises. There are still a few useful upgrades over previous PEN cameras. The OM PEN is reportedly dust- and splash-resistant and will have a fully articulated rear display rather than a simpler tilting screen. On the front, there also appears to be a Creative Dial similar to the OM-3, including a Colour/Mono setting, although it apparently will not have the CRT/ART options found on the older PEN-F. The official announcement is scheduled for September 9, with pre-orders expected to open immediately afterward. Pricing has not leaked yet.

credits: Samyang Samyang has been part of the L-Mount Alliance since 2023, but so far the company has not exactly flooded the system with lenses. That is slowly starting to change, though, and the latest addition is the Samyang AF 60-180mm f/2.8 L, a full-frame telephoto zoom developed together with Schneider-Kreuznach. It keeps a constant f/2.8 aperture throughout the entire 60-180mm range, while weighing 727.8g without the caps and hood. That is considerably lighter than the Sigma 70-200mm f/2.8 DG DN OS Sports at 1,345g and Panasonic Lumix S Pro 70-200mm f/2.8 OIS at 1,570g, although both of those lenses have internal zooming and optical stabilisation. Inside, Samyang uses 17 elements in 14 groups, including seven ED, two aspherical and one HR element, along with its UMC coating. There is also a floating focus system that is meant to keep optical performance consistent as the focusing distance changes. Minimum focusing distance is 0.35m at 60mm and 0.79m at 180mm, giving maximum magnification ratios of 0.26x and 0.21x, respectively. The aperture runs from f/2.8 to f/22 with nine diaphragm blades, while autofocus is handled by a Linear STM motor. One thing that is missing, as mentioned, is optical stabilisation, so you will be relying on the camera body’s IBIS instead. The L-Mount version measures 86.7mm in diameter and 147mm long at 60mm, extending to 172.4mm at 180mm, and takes 77mm filters. On the barrel, you get separate focus and zoom rings, an AF/MF switch, focus-hold button and zoom lock, while weather sealing is used around several parts of the lens. There is also a USB port for firmware updates. This is only Samyang’s third L-Mount lens, following the 35-150mm f/2-2.8 and 14-24mm f/2.8, although the previously announced 24-60mm f/2.8 is also on the way. The AF 60-180mm f/2.8 L is priced at $1,079.