credits: DJI Leaks and rumours around DJI’s upcoming Mini 5 Pro are picking up, and it looks like the new drone could be a pretty big step up from the current Mini 4 Pro. According to reports, DJI will officially unveil the Mini 5 Pro on September 18th, positioning it once again as the top model in the sub-250-gram category. The biggest change is a new front-facing LiDAR radar system, which should significantly improve obstacle avoidance compared to the previous generation. The camera setup also sees a big jump, with a 1-inch sensor paired to a 24mm f/1.8 lens and a 48mm telephoto mode. That sensor would make the Mini 5 Pro one of the most powerful small drones on the market for both photo and video, capable of shooting 4K at 120 frames per second. The gimbal is also said to support 225 degrees of rotation, giving you more creative flexibility in flight. On the performance side, DJI is rumored to be upgrading the motors and introducing a new, larger battery. Standard flight time should come in around 36 minutes, with an extended battery pushing that to 52 minutes. Range is expected to reach 25 kilometers. Despite these upgrades, the Mini 5 Pro is still expected to weigh just 249 grams, keeping it under the key weight threshold in many regions. You can see leaked photos of the drone on photorumor’s website here

credits: Samyang Samyang has announced development of a new AF 24-60mm f/2.8 lens, its second collaboration with German optics maker Schneider-Kreuznach. The lens follows last year’s AF 14-24mm f/2.8 FE, which stood out as the first front-filter-compatible ultra-wide zoom for Sony E-mount. With the new 24-60mm, Samyang is moving into the standard zoom range, where it will go up against similar lenses already available for other mounts. Details are still pretty limited, but Samyang says the 24-60mm f/2.8 will strike a balance between portability and performance, aiming to stay compact and lightweight without cutting corners on image quality. The company is pitching it as part of its “Compact High-Performance Zooms” philosophy, pairing it with the 14-24mm f/2.8 to form a more rounded lineup for photographers and video shooters who want bright, versatile zooms without carrying too much bulk. With Schneider-Kreuznach involved again, expectations are high for great optics and solid build quality. There is no word yet on pricing or availability. Samyang will show the lens publicly for the first time at this week’s IBC Amsterdam expo, much like they did with the 14-24mm earlier this year at CP+. That lens wasn’t officially announced until a month later and didn’t reach Europe and America until mid-summer under the Rokinon brand. If Samyang follows a similar timeline, the AF 24-60mm f/2.8 likely won’t hit shelves until late 2025, but we will see! You can see full details and the press release on dpreview’s website here

credits: Ilford What Is Trichrome Photography? Trichrome photography is a way of creating colour photographs using only black-and-white images. Sounds a little odd yes, but here is how it works: you take three separate photos of the same scene, each one through a different colour filter—> red, green, and blue. Later, you combine those three filtered shots into one full-color image. This method goes way back to the late 1800s, when photographers didn’t yet have true colour film. They would use trichrome to create colour prints by carefully aligning three separate exposures. It’s slow and a bit fiddly, but it lets you build real colour from scratch and the results can have this cool vintage + almost surreal quality. How It Works Take three photos of the same scene. Each one is shot through a different filter: red, green, and blue. The filters block out all other colours, so you are basically recording the brightness of just that one channel. Combine them later. Once you have your three black-and-white images, you line them up and assign each one to its corresponding channel in editing (red, green, blue). When combined, they form a full-colour photo. The tricky part: Because you are shooting three separate frames, anything moving in your scene will appear misaligned or create rainbow-like “ghosting” (you can see it in the tree of the photo up top). This can be a problem, or it can be part of the charm if you lean into it creatively. Gear You Need A digital or film camera that lets you shoot in full manual mode. Colour filters (red, green, blue). You can buy photographic filters or even experiment with gels. A tripod, because you need your frames to line up as perfectly as possible. Editing software like Photoshop, GIMP, or Affinity Photo to combine the images. Camera Settings

credits: SonyAlpaRumors Sigma looks set to unveil not one, but three new lenses on September 9, 2025. The headline act is the much-discussed and previously reported “bokeh monster,” the Sigma 135mm f/1.4. But thanks to a new teaser images shared by Sigma China and fresh leaks, it now appears that two additional lenses will debut at the same event, the Sigma 20-200mm f/3.5-6.3 and the Sigma 35mm f/1.2 II. As we already know, the Sigma 135mm f/1.4 is a full-frame autofocus lens with a 105mm filter thread, weighs around 1,320 grams, and comes in a classic black finish. It will ship with a removable tripod collar and is said to exhibit no focus breathing, a detail that should make it especially appealing for video shooters. The 20-200mm f/3.5-6.3 on the other hand is a compact, lightweight zoom meant for everyday shooting. It’s a full-frame autofocus lens with a 72mm filter thread, weighs under 600 grams, and is reportedly similar in size to Canon’s 24-240mm lens. Rounding out the trio is the second-generation 35mm f/1.2, which promises the same fast aperture as its predecessor but in a package about 25% shorter and lighter. All three lenses will be available for both Sony E and Leica L-mount systems. You can see full details on SonyAlphaRumors’ website here

credits: Nikon Nikon announced a new silver edition of its full-frame Zf camera, giving the already retro-inspired body an even stronger nod to the company’s classic film cameras. Unlike the original all-black version, this release features silver top and bottom plates, closer in appearance to the smaller Nikon Zfc. To go along with the refreshed finish, Nikon is offering six “Premium Exterior” colour options, including three new ones: Cognac Brown, Teal Blue, and Mauve Pink. These join Moss Green, Stone Gray, and Sepia Brown, all featuring an embossed texture for a more tactile feel. Nikon is also adding a new feature to the Zf’s shooting options. A “Film Grain” mode will be introduced in an upcoming firmware update, designed to simulate the textured look of analog film. Photographers and videographers will be able to fine-tune the effect with three grain sizes and six strength levels. Nikon says the feature will pair well with its downloadable Imaging Recipes and existing Picture Controls, giving you more creative flexibility when going for a film-like aesthetic. The update is scheduled to roll out sometime in 2025. The silver edition of the Zf will go on sale in late September. Pricing matches the black version at $2,199.95 for the standard body, or $2,299.95 for those who want one of the premium colour exteriors. You can see full details on Nikon’s website here

credits: DxO Photo editing software PhotoLab has just hit version 9, and DxO is calling it one of the most significant updates in the program’s history. The Paris-based company says the latest release introduces major upgrades, including AI-powered masking, improved local adjustments, better denoising and sharpening, and a smoother workflow overall. The biggest change is the new AI Masks feature. Instead of brushing or drawing selections, you can now click on a part of the image, draw a quick box, or choose from preset subjects like sky, people, or hair. The software automatically creates pixel-accurate masks that can be applied to single shots, copied across batches, or even saved as presets. DxO says this makes tasks like isolating hair in a portrait much faster and more reliable. The masks also work seamlessly with the existing U Point Technology, allowing photographers to combine AI selections with classic control points, gradients, or brushes for even finer adjustments. Other improvements in PhotoLab 9 include batch renaming, expanded preset options, and support for HEIC/HEIF and Apple ProRAW image formats, which will be particularly useful for iPhone shooters. The software is available for macOS and Windows at $239.99 for a new lifetime license, while upgrades from PhotoLab 7 or 8 cost $119.99. You can see full details on DxO’s website here

credits: 7Artisans 7Artisans has officially announced the AF 35mm f/1.8, a new autofocus prime lens designed for Sony E-mount full-frame cameras. Sitting in that sweet spot between wide and standard, the 35mm focal length is often considered the most natural perspective for everyday shooting and with a bright f/1.8 aperture the lens is designed to handle low-light situations while also offering shallow depth of field and smooth subject separation. The optical design includes 11 elements in 8 groups, featuring two aspherical, two high-refractive, and one extra-low dispersion element to help keep images sharp across the frame and reduce issues like chromatic aberration. An 11-blade aperture is used to produce rounded bokeh, while the autofocus system is driven by an STM stepping motor, promising quiet and accurate performance that should be equally useful for stills and video work. Physically, the lens comes in at about 426 grams and measures 94mm in length, so it’s compact enough to stay balanced on smaller Sony mirrorless bodies. It takes 62mm front filters, has a metal body for durability, and includes an aperture ring that can be used in auto or manual modes. The minimum focus distance is 0.4 meters, which isn’t macro territory but should be fine for tighter shots. The 7Artisans AF 35mm f/1.8 is available for Sony E-mount at $299. You can see full details and sample shots on 7Artisans’ website here

credits: Godox Godox has added three new COB LED lights to its Litemons lineup: the LE200Bi, LE300Bi, and LE600Bi. All made for photographers and videographers who want decent power in a compact design. Unlike many lights in this price range that rely on external power bricks, these models keep everything in one unit, which should make them easier to transport and quicker to set up on location. On the output side, the LE200Bi delivers up to 57,700 lux at one meter with a reflector, while the LE300Bi comes in slightly higher at 58,900 lux. The larger LE600Bi provides even more punch but still comes in at 10.5 pounds. All three lights are bi-colour, covering 2800K to 6500K, and carry CRI and TLCI ratings of up to 98, meaning users can expect good colour accuracy and consistent results in different environments. The fixtures also include 11 built-in lighting effects such as candlelight, fireworks, and TV flicker. For control, users can rely on onboard settings, connect through the Godox Light app via Bluetooth or NFC, or integrate the lights into more complex setups with DMX. Godox has added a Bluetooth reset button to make multi-light rigs easier to configure, while the cooling system includes a silent mode for sound-sensitive shoots. Prices are set at $219 for the LE200Bi, $239 for the LE300Bi, and $399 for the LE600Bi, with availability listed as “coming soon.” You can see full details on Godox’s website here

credits: Sigma Sigma’s 14mm f/1.4 DG DN Art has been one of the most sought-after ultra-wide primes since its 2023 launch, but demand has so far outpaced supply. The company admits there have been “significant delays in delivery times,” and to address the issue Sigma is making some unusual changes. Starting September 4, the lens will no longer be sold in its current form. Instead, it is being rebranded as the Sigma 14mm f/1.4 DG Art, given a small exterior refresh, new packaging, and a higher price tag. Originally priced at $1,599 (later bumped to $1,759 after tariffs) the lens will now cost $1,839. It will continue to be available in both Sony E and L-Mount versions, but only through a special made-to-order system. Customers will be able to place orders between September 4 and October 31, with deliveries scheduled to begin in March 2026. Sigma says there may be another order window later in 2026, but nothing has been confirmed yet. In the meantime, the company notes that whatever stock of the DG DN version remains on shelves is all that’s left. Sigma emphasizes that this change doesn’t affect image quality or optical design. The 14mm f/1.4 DG Art will deliver the same performance as before, just with a new name and updated branding in line with the company’s recent design overhaul. Sigma says the price bump is due to higher raw material and shipping costs.

Photo by: @tommiviitala

credits: SonyAlphaRumors New photos of Sigma’s upcoming 135mm f/1.4 have leaked, giving us the clearest look yet at what is expected to be officially announced on September 9, 2025. Lenses at this focal length with such a fast aperture are practically unheard of, the only real example being the Mitakon Speedmaster 135mm f/1.4 from 2015, of which only 100 copies were ever made. That lens was a monster, weighing about 3 kilograms. Sigma’s version, by comparison, is said to come in at around 1,320 grams. Still no lightweight, but far more practical than its predecessor. The leaked photos, published by Sonyalpharumors, also include a rough size comparison with Sigma’s 85mm f/1.4 and 105mm f/1.4 primes. While not perfectly to scale, the images suggest the new 135mm will sit somewhere between the two in terms of bulk, larger than the 85mm but a touch smaller than the hefty 105mm. We also know the lens will feature a 105mm filter thread, autofocus, and will be available for both Sony E-mount and L-mount systems. Early reports claim the bokeh performance is “exceptional” and “almost unique,” which could make it a standout even among Sigma’s already well-regarded fast primes. Whether the difference compared to existing 85mm or 105mm options proves significant remains to be seen, and the final price tag will no doubt play a major role in its success. You can see full details and leaked images on SonyAlphaRumors’ website here

credits: L Mount Alliance Viltrox has officially joined the L-Mount Alliance, becoming the 10th company to sign on since the group was formed in 2018. Leica confirmed the news this week, meaning Viltrox now has full access to the L-mount standard and can start building native lenses for the system. The alliance already includes Panasonic, Sigma, Blackmagic, DJI, Sirui, and Leitz, so this is a pretty big step for Viltrox. The move isn’t a total surprise, earlier this year it was reported that Viltrox was in talks with Leica about joining. For L-mount photographers this could be very good news, since Viltrox has been getting a lot of attention lately with their Pro and LAB series lenses. The 85mm f/1.4 Pro and 35mm f/1.2 LAB in particular have earned praise for delivering strong performance at much lower prices than comparable first-party lenses. Still, there are some unknowns. When Samyang joined the alliance in 2023, many expected its full lineup of E-mount lenses to quickly appear in L-mount, but that never happened. So it’s not yet clear whether Viltrox will bring over its existing lenses or focus on designing new ones specifically for the system. Either way, it expands the ecosystem and gives Leica, Panasonic, Sigma, and Blackmagic users more reason to look forward to new lens options. You can see full details on Viltrox’s website here