credits: PolarPro PolarPro’s new Goldstache filter is here, combining a circular polariser with a low-strength diffusion effect, all in a single piece of glass. It is essentially trying to balance two things that usually work against each other. Diffusion filters soften a photo and lower contrast, while a polariser typically increases contrast and controls reflections. In terms of construction, the filter relies on a 1/4 strength diffusion layer, which is on the lighter side compared to stronger diffusion options. That means there is still some loss in sharpness, but it is relatively subtle, especially compared to heavier diffusion filters. At the same time, the polariser helps bring back some contrast and allows control over reflections and glare. The idea seems to be keeping a bit of that softer, more ‘film-like’ look while still maintaining some of the punch you would expect from modern lenses. Build-wise, the Goldstache uses cinema-series glass housed in an aluminium frame, and it is available in multiple sizes. It is also compatible with PolarPro’s Helix MagLock system, which allows for quick magnetic attachment if you are already using that setup. Pricing starts at $89 for the 43mm version, with larger sizes scaling up from there.

credits: Thypoch As expected, April Fools’ Day brought the usual wave of jokes across the photo industry, from things like ISO 0 film to weightless camera bags and gimmicky film rolls. But one “announcement” stood out a bit more than the rest. Thypoch shared a concept camera that, even with the timing, does not feel like a typical throwaway joke. Yes, it was posted on April 1 and tagged as such, but compared to most of the other pranks, this one feels a lot more believable. Even the way the company talks about it is different, asking for feedback on the design and features instead of fully leaning into the joke. Looking at the details, nothing about the concept feels completely unrealistic. An APS-C global shutter sensor with 16-bit RAW sounds ambitious, but it is not impossible. Global shutter sensors already exist, and 16-bit capture is nothing new either. The built-in 32mm f/2.8 lens (roughly a 50mm equivalent) also makes sense, especially given the kind of lenses Thypoch has been making recently. The AI side of things is where it gets more interesting. The concept shows the camera seemingly able to recognise scenes and apply more advanced adjustments automatically, using AI. That kind of processing is already common in smartphones, so while it might feel unusual in a dedicated camera, it is not really a stretch. What stands out is just how much effort went into it. The design looks properly thought through, the video is polished, and the whole thing does not rely on obvious jokes or impossible specs. The AI features, in particular, feel like something that could realistically show up in cameras as processing power keeps improving, whether people actually want it or not (judging by the comments, most people are not fans). It even ends with a specific release date, July 1, 2026. That is what makes it feel more like a teaser hiding behind an April Fools’ post rather than a simple gag. It could still turn out to be nothing, but it would not be that surprising if there is something real behind it.

credits: Sony New leaks and rumours about Sony’s upcoming A7R VI are starting to surface. According to multiple sources, the camera will feature a 67-megapixel sensor, along with a completely redesigned body. If that resolution number is accurate, it would be a fairly small step up from the 61 megapixels in the A7R V, which came out in late 2022. There is also an unverified spec list going around that adds a bit more detail. It suggests the camera could use a stacked Exmor RS CMOS sensor, paired with a BIONZ XR2 processor and high-bandwidth LSI. Continuous shooting is rumoured at up to 30 frames per second in 14-bit RAW using the electronic shutter, along with up to 16 stops of dynamic range in mechanical shutter mode via DCG-HDR. When it comes to video, the same leak mentions 8K recording at 30p in full-frame and 4K at 120p in Super 35 mode, along with an updated AI-based autofocus system. Other possible features include a 9.44-million-dot OLED EVF and tri-band Wi-Fi support. The launch is currently expected around May, with an announcement possibly happening as early as April, although nothing has been officially confirmed yet. There are also rumours of additional camera bodies and new G Master lenses launching around the same time, though details there are still pretty limited.

credits: Venus Optics Venus Optics is apparently working on a new Laowa-branded wide-angle zoom lens with an f/2.8 aperture and autofocus for full-frame mirrorless cameras. The info comes from a survey the company posted on Weibo, along with a teaser image of a prototype. From what is visible, the lens has a fairly standard layout with separate rings for aperture, zoom, and focus, and the version shown is built for Sony E-mount. Beyond that, there are no other confirmed specs yet. Instead, Venus Optics is still figuring out which direction to take. The survey lists four possible versions, a 12–24mm f/2.8, 12–20mm f/2.8, 14–24mm f/2.8, and 16–35mm f/2.8. They differ not just in focal range, but also in things like filter size, with some versions supporting standard front filters like 77mm or 86mm, which is not always a given with ultra-wide zooms. Based on early feedback, the 14–24mm and 16–35mm options seem to be getting the most support, with an expected price of around 6,000 yuan (roughly $850). For Laowa, this would be a noticeable move into more mainstream territory. Up to now, the company has mostly focused on manual focus lenses and more niche designs, like probe lenses or tilt-shifts. A fast autofocus wide-angle zoom puts it much closer to what the bigger brands are doing. The real question will be how it handles things like optical performance and autofocus reliability in a category that is already pretty competitive. The new lens is expected to be released in late April or May, although it is still unclear which version will actually make it into production.

credits: Canon At CP+ 2026 in Yokohama, Canon gave a pretty in-depth interview to Phototrend, covering everything from third-party RF lenses to where the company sees things heading next. One question stood out. Go Tokura, Executive Vice President and head of Canon’s imaging division, was asked what single technology could fundamentally change photography in the next couple of years. His answer was the shift from 2D to 3D, which he sees as the future of photography. According to Tokura, a photograph is always a representation of reality, and the goal is to capture that as accurately as possible. From that perspective, a flat 2D image has its limits, while 3D can add a stronger sense of depth and realism. He even went a step further, pointing out that real-world experiences involve more than just visuals, but also things like sound, temperature, wind, and even smell. In theory, future cameras could try to capture more of that, although he also acknowledged that something like that is still a long way off. Still, this is not just a theoretical direction for Canon. The company has already been investing in VR and spatial imaging, including dual fisheye lenses designed to capture 3D content for devices like Apple’s Vision Pro. More recently, it also introduced an ultra-wide fisheye zoom that can be used for 360-degree capture when paired with a second lens. So while a full shift from 2D to 3D photography might not happen overnight, Canon is already taking steps in that direction.

credits: Canon The patent databases are picking up again, and a few recent filings from Canon, Sigma, and Nikon give a glimpse into what might be coming next. As always, patents do not guarantee actual products, but they do show where companies are putting their focus. In Canon’s case, several new RF-S prime lens designs have surfaced, all built around compact bodies and an f/2.8 aperture. The lineup includes 10mm, 12mm, 18mm, and 28mm lenses, all for APS-C users. The 10mm f/2.8 stands out, with a reported length of around 65mm, which would make it a pretty small ultra-wide. Sigma, meanwhile, seems to be focusing on speed. A recent patent shows designs for a 24mm f/1.2 and a 28mm f/1.2, both with more complex optical setups and large front elements. That is typical for lenses designed to keep image quality under control at very wide apertures. The 28mm f/1.2 is especially interesting, since that focal length has been getting more popular again for things like street photography, and there are not many lenses that fast in that range. Nikon’s patent goes in a different direction and focuses on camera design. It describes an active cooling system for mirrorless cameras, using a fan to move heat toward the front top of the body. This kind of setup is mainly useful for cameras shooting longer 4K or 8K video, where overheating can become a real limitation. Other brands have already done something similar, so this would be more about catching up.

credits: TTArtisan TTArtisan has released a new silver version of its 11mm f/2.8 fisheye, expanding the existing lineup with a different finish rather than changing anything on the inside. The lens is designed for full-frame mirrorless systems like Sony E, Nikon Z, Canon RF, and L-mount, with additional versions available for DSLR mounts such as EF and F. On the technical side, the lens features an f/2.8 to f/16 aperture range and a 7-blade diaphragm, along with a minimum focusing distance of 0.17 meters (or 0.25 meters depending on the version). The optical design varies slightly by mount, listed as either 11 elements in 7 groups or 12 elements in 10 groups. It is a fully manual focus lens, and given how wide it is, depth of field is naturally very deep even at wider apertures. There is also a built-in lens hood, and as expected with a fisheye like this, front filters are not supported. The lens has an all-metal build, with weight ranging between 439 and 600 grams depending on the mount, and it offers a full 180° diagonal angle of view. Pricing is set at $235, which is $36 more than the standard black version. You can see full details and sample shots on TTArtisan’s website here

credits: Thypoch Thypoch, best known for its vintage-style manual focus primes like the Simera 28mm f/1.4, Eureka 50mm f/2, and Ksana 21mm f/3.5, is now moving in a completely different direction. The company has officially teased its first autofocus zoom lens, a 24–50mm f/2.8, marking a pretty significant shift for the brand. So far, Thypoch has built its reputation on manual lenses with classic optical character, so stepping into both autofocus and zoom design at the same time is quite a move. Based on the teaser, the lens has a much more modern design compared to the company’s earlier releases. The most noticeable detail is the diagonal ridging on the zoom and focus rings, which gives it more of a distinct look. It also appears to include a manual aperture ring, and there is a visible switch that likely toggles between AF and MF. Beyond that, details are still pretty limited. The lens looks relatively compact, which would make sense given the shorter 24–50mm range compared to the more common 24–70mm zooms. For reference, Sony’s 24–50mm f/2.8 G sits at around 440 grams, so this lens could land in a similar size and weight class. The bigger question is not really the design, but how it performs. Up to now, Thypoch’s lenses have been manual focus primes with relatively simple optical designs, which is a very different challenge compared to building a zoom with autofocus. A zoom lens involves more complex optics, and reliable autofocus adds another layer of difficulty entirely. Thypoch has said it wants to balance modern performance with a more classic approach to lens design, but this lens will be the first real test of how well that philosophy translates into a more technically demanding product category.

credits: Fujifilm Recent rumours suggest Fujifilm could be heading toward some big changes in its lineup, especially around the X-H and X-T series. One of the more interesting ideas right now is that Fujifilm might merge the X-H2 and X-H2s into a single camera, possibly called the X-H3, expected sometime in 2027. Up to now, those two models have had pretty clear roles, the X-H2s was built for speed and video with its stacked sensor, while the X-H2 focused more on resolution for still photography. Bringing those two into one body would not be easy, and the rumour points to a “partially stacked sensor”, possibly using DGO or DCG tech. That could mean strong dynamic range, but maybe not the same electronic shutter performance as the X-H2s. If that is the direction Fujifilm takes, it could mean shifting some of the performance balance back toward the mechanical shutter, where APS-C cameras already have an advantage in speed. Improving mechanical burst rates could help offset any limitations in electronic shutter performance. At the same time, there is an ongoing discussion about the identity of the X-T series, which has changed quite a bit over the past few years. When the X-H line was paused after the X-H1, the X-T series had to step in as a kind of flagship, becoming larger and more hybrid-focused in the process. Now that the X-H line is back, things seem to be changing again. The X-T5, for example, went back to being smaller and more photography-focused, dropping some of the heavier video features. Looking ahead, rumours point to an X-T6 arriving this fall, with the X-H3 and possibly an X-Pro4 following in 2027. If that all plays out, Fujifilm could end up with a clearer lineup again, X-T for stills, X-H for hybrid and video, and X-Pro for that more niche, rangefinder-style shooting experience.

credits: Sony The global shortage of solid-state memory is starting to hit the photography world in a real way, and Sony is the first major brand to take a step back. The company has announced that it is suspending orders for most of its SD and CFexpress memory cards, citing ongoing semiconductor shortages. According to a notice published by Sony Japan, the decision took effect on March 28, 2026, with both authorised dealers and direct Sony Store customers affected. The suspension covers a wide range of products across all tiers. On the CFexpress side, Type A cards in 240GB, 480GB, 960GB, and 1920GB capacities are affected, along with 240GB and 480GB Type B cards. Sony’s SD lineup is also heavily impacted, including TOUGH series cards (64GB, 128GB, 256GB) and standard models ranging from V60 to V30 speeds. Even entry-level SD cards are not spared, which shows that this isn not just about high-end components, it is a broader supply issue affecting all types of solid-state storage. At the moment, it looks like only the 960GB CFexpress Type B and some lower-end SD cards remain available. The bigger issue behind all of this is demand from outside the camera industry. Memory supply is being heavily pulled toward AI data centres, where large-scale storage is in constant demand. That is driving up costs, but more importantly, it is also limiting how much hardware is available for other products. In Sony’s case, it has led to a temporary exit from large parts of the memory card market until things stabilise. The company says it plans to resume production eventually, but without a timeline, and given how widespread the shortage is, it may take a while before things return to normal.

credits: Viltrox The previously reported Viltrox AF 35mm f/1.8 EVO and AF 55mm f/1.8 EVO full-frame lenses for Nikon Z and Sony E have now leaked, giving us a clearer look at how both lenses are put together. The 35mm f/1.8 EVO uses a 10-element, 8-group design, paired with a 9-blade aperture and an f/1.8 to f/16 range. It can focus as close as 0.4 meters, uses a 55mm filter thread, and weighs somewhere between 340 and 370 grams. Autofocus is handled by an STM motor and there is no optical stabilisation. The 55mm f/1.8 EVO is a bit more complex optically, with 11 elements in 8 groups, including ED and aspherical elements to help control aberrations and distortion. It keeps the same 9-blade diaphragm and f/1.8 to f/16 range, but focuses a bit farther out at around 0.5 to 0.55 meters. Filter size is again 55mm, and weight comes in between 340 and 380 grams. Autofocus also relies on an STM motor, with Viltrox saying it has been improved, especially when it comes to speed and subject tracking compared to earlier lenses. Both lenses are built around what Viltrox describes as a true apochromatic (APO) optical design, meaning the lenses are designed to bring red, green, and blue wavelengths into focus at the same plane. This is intended to reduce axial chromatic aberration and colour fringing, particularly in high-contrast areas and out-of-focus transitions. Viltrox also makes it clear that it does not use the APO label lightly, pointing out that some lenses on the market carry the name without fully meeting that standard. Internally, the company refers to these designs as “Hyper APO,” suggesting it sees them as a step above typical implementations. Pricing and release date have not been announced yet.

credits: Samyang Samyang’s new AF 35mm f/1.8 P FE prime lens for Sony E-mount is here, and now that the full specs are out (it was first teased at CP+ 2026), it is clear this lens is meant to sit as a smaller, more practical alternative to the faster 35mm f/1.4. It weighs 216 grams and measures 71.5mm in length, making it noticeably more compact. With a 69.8mm diameter and a 62mm filter thread, it is also a better fit for smaller full-frame bodies like Sony’s A7C series. On the inside, the lens uses a 10-element, 8-group optical design, including two aspherical elements and two XHR (Extra High Refractive) elements. Those XHR elements are there to help control aberrations while keeping the overall size down. Samyang is also using its updated UMC II coating, which is meant to reduce flare and ghosting, especially in more difficult lighting like backlit scenes. The lens has a nine-blade diaphragm, which affects how out-of-focus areas are rendered, although this design seems more focused on balance than creating extreme background blur. Autofocus is handled by a Linear STM II motor, an updated version of Samyang’s stepping motor, paired with revised control algorithms. The idea is smoother, quieter operation, which should be noticeable for video as well as stills. The lens has a minimum focusing distance of 0.27 meters and a maximum magnification of 0.19x, which is pretty standard for a 35mm lens like this. Controls are kept simple, with a focus ring, an AF/MF switch, and a USB-C port for firmware updates, but no aperture ring or extra function button. There is also basic weather sealing. The lens is set to arrive at the end of April 2026, priced at $300.