credits: Lomography Lomography has released a new Simple Use Reloadable Film Camera that comes preloaded with its LomoChrome Classicolor film, an ISO 200 colour film the company introduced last October. The film is designed to produce realistic colours that still feel ‘‘distinctly analog’’. According to Lomography, the stock delivers natural skin tones and warm colours that pop a bit more, while cooler tones like blues and greens stay more restrained. The camera itself looks almost identical to a classic disposable film camera, but it is not meant to be thrown away after one roll. As the name suggests, it is designed to be reused, once the film is finished, you simply load another roll and keep shooting. The compact 35mm camera uses a fixed 31mm lens with an f/9 aperture and a single shutter speed of 1/120 second, so it is about as simple as it gets. There is also a built-in flash, which can be paired with colour gel filters, and the camera runs on a single AA battery. This new version becomes the latest addition to Lomography’s long-running Simple Use Reloadable line, which first appeared back in 2017 and has since expanded with a variety of film combinations. Like previous versions, the camera also works with Lomography’s Analogue Aqua Underwater Case, which allows it to be used underwater. The Lomography Simple Use Reloadable Film Camera LomoChrome Classicolor is available for $27.90 and comes preloaded with a 27-shot roll of the film. Extra rolls of Lomography 35mm film start at $11.90, although the camera obviously works with any standard 35mm film.

credits: Leica Leica appears to be preparing another addition to its SL lineup. Reports about a 44-megapixel SL camera have been circulating since late last year, and the latest rumours suggest the model will be called the Leica SL3-P. Of course, Leica naming has been known to change right before launch, something we have seen before with cameras like the M EV1, so the final name is not guaranteed yet. The “P” suffix is already familiar within Leica’s lineup. The Leica M11-P, released in 2023, was the first camera to include built-in Content Credentials for verifying image authenticity. When the standard M11 was discontinued, the M11-P effectively took its place while keeping largely the same core hardware. It is not confirmed whether the SL3-P will also include this authentication technology, but given Leica’s recent direction and the use of the same suffix, it would make sense if that feature carried over into the SL system as well. As for the rumoured specifications, the SL3-P is expected to use a 44.3-megapixel full-frame sensor similar to the one found in the Panasonic Lumix S1R II. That would place it neatly between the 60-megapixel SL3 and the older 24-megapixel SL2-S. The BSI-CMOS sensor is said to lack a low-pass filter and, in Panasonic’s implementation, supports features like fast burst shooting up to 40 fps and AI-assisted scene recognition. Exactly which of those features Leica will adopt is still unclear. Autofocus is rumoured to be improved compared to the SL3-S, though video capabilities might be somewhat more limited than other SL3 models. Current expectations point to a possible announcement around May 2026. Pricing has not leaked yet, but it will likely sit well above the Panasonic S1R II, which sells for about $4,200.

credits: Cosina Voightländer Cosina Voigtländer is bringing its manual focus Nokton Classic 35mm f/1.4 to Canon RF and Nikon Z full-frame mirrorless cameras. The lens first appeared for Sony E-mount back in 2019, and after several years it is finally being made available for photographers using Canon and Nikon’s mirrorless systems as well. Unlike many modern Voigtländer lenses that aim for maximum sharpness and highly corrected optics, the Nokton Classic 35mm f/1.4 is designed with a bit more character in mind. The optical design still uses modern elements, but it intentionally allows certain aberrations to remain rather than eliminating them entirely. The result is a rendering style that feels less clinical and more reminiscent of classic film-era lenses. Inside, the lens features eight elements arranged into six groups, along with a 10-bladed aperture diaphragm. It can focus as close as 0.27 meters (10.6 inches), giving it a maximum magnification ratio of 1:5.47, which is slightly closer than the Sony E-mount version. The RF and Z-mount versions are fairly similar in size, though the exterior design differs slightly. The Nikon Z version keeps the scalloped focus ring found on the E-mount lens, while the RF version uses a more modern diamond-knurled focus ring. The RF-mount lens measures 37.6mm in length and weighs 260 grams, while the Z-mount version is a little longer at 41.6mm and weighs 250 grams. Both lenses use a 58mm filter thread. Cosina has not announced a release date or official price yet, but the Sony E-mount version typically sells for around $799.

credits: DxO DxO PureRAW 6 is here, and it is still very much focused on one specific job, cleaning up your RAW files before you bring them into Lightroom, Photoshop, or DxO PhotoLab. Rather than acting like a full editing suite, PureRAW sits at the very start of the workflow. It handles demosaicing, noise reduction, lens corrections, and sensor defect compensation first, so you are working with a technically optimised file before you start making creative decisions. DxO’s argument is that separating the technical cleanup from the artistic editing stage leads to more consistent and higher-quality results. The headline feature in version 6 is DeepPrime XD3, the latest iteration of DxO’s AI-driven noise reduction and demosaicing engine. XD3 is designed to hold onto very fine detail while still aggressively reducing noise, and it now supports both X-Trans and Bayer sensors, which covers most modern digital cameras. DxO positions XD3 as the choice when maximum texture retention really matters, while the regular DeepPrime 3 mode remains available for faster, more general processing. There is also a new high-fidelity compressed DNG option, which can shrink output file sizes by up to four times compared to standard DNG files, without visible quality loss. The catch is that you have to start from an original RAW file, you cannot compress an already existing DNG. PureRAW 6 also adds automated sensor dust removal during preprocessing, using machine learning to detect and remove spots before the file moves further down the workflow. Batch parallelisation is another practical addition, allowing multiple images to be processed at the same time instead of one after another. What is still not here is AI-based automatic masking, so local adjustments remain something you will handle in other software. PureRAW 6 is available for macOS and Windows at $139.99 for a new license, or $89.99 as an upgrade from versions 4 or 5.

credits: Sigma Sigma has officially announced the development of a new 85mm f/1.2 DG Art, a large-aperture medium-telephoto prime for full-frame mirrorless cameras. It joins Sigma’s growing lineup of f/1.2 lenses, including the 35mm f/1.2 DG II Art and the 50mm f/1.2 DG DN Art. With this addition, 85mm becomes the longest focal length in Sigma’s current f/1.2 series, a move that obviously targets portrait photographers who want the ultra-shallow depth of field look. Because this is only a development announcement, Sigma has not shared full technical specifications yet. The company does say the lens is designed to deliver ‘‘exceptional resolution” even wide open at f/1.2, which is no small claim given how demanding that aperture can be. Sigma also described the design as relatively compact and lightweight, though no measurements or weight figures have been released. Based on the single image shown so far, it does appear a bit smaller than some competing 85mm f/1.2 lenses. The only other information that Sigma has made public so far is that the lens will feature a pair of Sigma’s dual HLA (High-response Linear Actuators) for autofocus and that it will be available in L-Mount and Sony E-mount versions. The lens is currently scheduled to arrive in September, with pricing still to be announced.

credits: Canon At CP+ 2026 in Yokohama, Canon gave one of its clearest signals yet that a new compact camera is in development. In an interview, Go Tokura, Executive Vice President and Head of Canon’s Imaging Group, said today’s compact camera buyers aren’t the same customers Canon used to serve. According to him, the next compact will need to bring “new technologies or a new use case” to the table. That is more direct than what we usually hear from Canon, which tends to stick to safe, non-committal answers about future products. This time, though, it sounds like something more deliberate is in the works. Canon has not completely stepped away from compacts. The PowerShot V1 arrived with modern sensor and processor tech, but it is clearly meant more for video creators than photographers. What is still missing is a truly modern compact built first and foremost for photography That is where the rumours start to get interesting. Over the past year, there has been talk of a new model featuring a custom 24-megapixel sensor, reportedly larger than the typical 1-inch type (possibly around 1.4 inches) paired with a 16–50mm equivalent zoom lens. If accurate, that would give it noticeably more flexibility and image quality headroom than traditional pocket cameras. None of this is confirmed, of course, but the direction makes sense. A larger sensor, a versatile zoom range, and updated processing could position Canon’s next compact as something more serious than a lifestyle gadget, while still staying smaller than a mirrorless setup. With Canon speaking more openly than usual, many expect we won’t have to wait too long to see what this new compact camera actually looks like, and 2026 seems like the likely window.

credits: Schneider-Kreuznach x Samyang Just like they did at last year’s CP+ in Japan, Samyang and Schneider-Kreuznach used CP+ 2026 to show off another full-frame f/2.8 zoom. This time it is an AF 60–180mm f/2.8 for Sony E-mount and L-Mount. While full specifications have not been published yet, the lens was on display at the companies’ joint booth, giving visitors at least a physical look at what is coming. With this addition, the lineup now forms a slightly unusual but complete f/2.8 trio, 14–24mm, 24–60mm, and 60–180mm. That means photographers can cover 14mm all the way to 180mm at a constant f/2.8. Based on hands-on impressions from the show floor, the 60–180mm looks relatively compact, especially compared to most 70–200mm f/2.8 lenses. It follows the same design language as the earlier 14–24mm and 24–60mm lenses, including the textured zoom ring. The front takes 77mm filters, and the minimum focusing distance ranges from 0.35 meters at the wide end to 0.78 meters at the long end. There is a physical AF/MF switch on the barrel, along with a zoom lock switch. Beyond that, technical details remain limited. Pricing has not been announced, though the earlier lenses in this lineup sit around the $900–$1,000 range. It is also worth noting that in North America these lenses are sold under the Rokinon brand, even though they are otherwise identical to the Samyang versions. For now, the AF 60–180mm f/2.8 is simply listed as ‘coming soon’ for Sony E and L-Mount.

credits: Brightin Star Brightin Star used CP+ 2026 in Yokohama to unveil a new full-frame 50mm f/2 Tri-Sight prime lens, and the headline feature is a control ring that lets you switch between three distinct rendering modes, Smooth, Prime, and Foams. Smooth introduces a soft-focus, diffused look with lower contrast, Prime delivers a more conventional, balanced rendering, and Foams pushes the bokeh toward a brighter, bubble-like style. Like other lenses that adjust spherical aberration for creative control, changing modes does not just alter the look, it also affects focus behaviour and the effective f-stop. That is why the Tri-Sight includes separate focus distance markings for the S, P, and F modes. It is a concept similar to lenses like the Voigtländer Portrait Heliar 75mm f/1.8, though Brightin Star goes a step further with a drop-in filter slot that allows additional changes to the character of the bokeh, somewhat reminiscent of Lensbaby’s modular approach. Optically, the lens uses seven elements in six groups and an 11-bladed aperture diaphragm. It is manual focus only, with a minimum focusing distance of 0.7 meters. The barrel includes a stepless aperture ring for smooth exposure adjustments, a built-in extending hood, and a removable focus lever. At around 460 grams and 74 millimeters long, it is fairly typical in size for a manual 50mm. The Tri-Sight will be offered in Sony E, Nikon Z, L-Mount, and Canon RF versions, though pricing and release timing have not been announced yet.

credits: Lomography Lomography has introduced the Fisheye No. 2 Rodeo Denim, a special 35mm film camera. The body is wrapped in denim with orange accents, but the real focus here is the 10mm fisheye lens, which delivers a full 170° field of view. That means you get circular photos with heavy barrel distortion, curved horizons, and exaggerated perspective. The lens can focus as close as 10 centimetres, ‘‘encouraging photographers to get extremely close to their subject’’ while still capturing the background. The camera uses standard 35mm film and keeps controls very simple. It has a fixed f/8 aperture and two shutter settings. 1/100 second for normal shooting and Bulb mode for long exposures. There is a built-in flash for low light, along with a hot shoe for attaching an external flash if needed. Multiple exposure capability is built in, allowing you to layer frames directly on the film without any digital editing. Exposure is determined entirely by the ISO of the film loaded, as there is no ISO adjustment on the body. The flash runs on a single AA battery, and there is no tripod mount or cable release connection. The camera is priced at $59. You can see full details and sample shots on Lomography’s website here

credits: 7Artisans 7Artisans’ new AF 40mm f/2.5 FE lens is here. It is a compact full-frame prime designed to stay small enough that you barely notice it on the camera. The Sony E-mount version weighs about 90 grams and measures roughly 63 by 40 millimetres, putting it in pancake-style territory. The lens uses a lightweight plastic exterior and a 46mm filter thread. Optically, it consists of seven elements arranged in six groups and uses a nine-blade diaphragm, a configuration that tries balancing the compact size with good image quality and reasonably smooth out-of-focus rendering. The 40mm focal length sits between the classic 35mm and 50mm perspectives, offering a 56.1-degree field of view. Minimum focusing distance is about 0.4 meters, allowing moderately tight framing for details, food, or portraits. Autofocus is driven by an STM stepping motor, supporting continuous AF and face- and eye-detection on compatible Sony bodies, which should make it usable for both stills and basic video work. The aperture range runs from f/2.5 to f/16. While not especially fast, f/2.5 helps keep the lens small while still offering subject separation and usable low-light performance. A clicked aperture ring provides direct control, alongside a physical AF/MF switch and a customisable function button on the barrel. The AF 40mm f/2.5 FE is available for Sony E-mount, with Nikon Z and Leica L versions planned later. Pricing is at $159. You can see full details and sample shots on 7Artisans’ website here

credits: Motion Horizons LLC Motion Horizons LLC has announced Bolt Hunter, a dedicated lightning trigger built specifically for storm photographers. The device is designed to do one thing well, reliably capture lightning in situations where typical triggers often fail. Instead of reacting only to sudden brightness spikes, Bolt Hunter analyses intracloud activity that can occur before visible lightning and measures the camera’s actual shutter lag, adjusting timing on the go. Once a strike begins, it can queue additional exposures within milliseconds to catch return strokes, a process the company calls predictive triggering. Bolt Hunter is built to handle difficult lighting conditions, including bright daytime skies. Sensitivity adjusts automatically as ambient light changes, so you do not have to constantly recalibrate. A dedicated Night Mode works differently from most systems, it holds the shutter open in BULB mode and closes it the moment lightning is detected, helping capture the earliest structure of a strike without blowing out the frame from repeated flashes. There is also a built-in intervalometer for timelapses and a simulation mode so you can test settings before a storm arrives. Basic operation does not require a phone, though a Bluetooth app adds tools like shutter-lag measurement, firmware updates, and connection monitoring. The body is weather-sealed, has USB-C charging, and an internal battery rated for about 48 hours of runtime. It attaches via an auto-tightening cold shoe mount with a replaceable breakaway piece, to protect the camera if it falls. The trigger works with most major camera brands using standard shutter cables, and Bluetooth triggering is available for bodies without a remote port. Manufacturing is already underway, with first deliveries expected in April 2026. The device launches on Kickstarter on March 3, with pricing starting at $279.

credits: VSCO VSCO Galleries is a new photo delivery app for photographers who want a cleaner, easier to use, and more ‘professional’ way to send finished images to clients. The app launches next week during WPPI in Las Vegas. Rather than sending folders or download links, the idea is to present photos in a simple gallery format that feels more like an already finished product. There are also collaboration features built in. Clients can pass galleries along to others or upload their own photos (that they captured during an even for example) through a web interface, while photographers can lock galleries down with password protection when privacy matters. Each gallery can have its own cover photo and a straightforward scrolling layout. The app itself will be free, while VSCO Pro subscribers get unlimited storage with no caps. At launch it is focused on photo delivery only, though VSCO says features like a desktop uploader and video support are coming later. VSCO Galleries will be available to download on the Apple App Store starting March 3, an Android version has not been announced yet. You can see full details on VSCO’s website here