The official launch of Sigma’s much-anticipated 200mm f/2.0 is right around the corner, and we’ve now got our first leaked photo of it (shown above). As rumored, the lens comes in white and looks a lot like Sigma’s 300-600mm f/4 in both design and controls. It’s expected to have a 105mm filter thread and, according to Sonyalpharumors, “impressively fast autofocus.” The weight is said to be just under 2 kilograms, which would put it on the lighter side for this kind of lens but still clearly a hefty, pro-level piece of gear. A 200mm f/2.0 is a rare find in the mirrorless world, giving photographers a fast telephoto option at a focal length most brands only cover with slower zooms. While Sigma hasn’t shared any official optical details yet, the bar will be high for image quality, especially if it’s carrying the Sports series badge. Sigma is expected to officially announce the lens on August 19, 2025. That same event could also see the debut of the Sigma 12mm f/1.4 for APS-C cameras and the updated 35mm f/1.2 II for full-frame. If all three are unveiled together, it will be one of Sigma’s biggest drops in years. We will see on August 19!

credits: Canon It looked for a while like the Canon G7 X Mark III and SX740 HS might be on their way out, but Canon has now confirmed they are actually stepping up production. For months, the G7 X Mark III (a compact camera released back in 2019) has been hard to find, often popping up at inflated prices when it was available at all. Things took a turn in May 2025 when Canon Japan announced it was pausing orders for both the G7 X Mark III and the SX740 HS, a move that usually signals a model is being phased out. Turns out, that’s not the case this time. In its latest quarterly results, Canon said it plans to increase production of compact cameras where demand is still strong. Alongside newer models like the PowerShot V series, the company is also bringing the G7 X Mark III and SX740 HS back into regular production. As of August 1, 2025, Canon Japan has started taking orders for both models again. Availability could still be a bit patchy at first, though, as Canon admits a large number of orders came in as soon as sales resumed. While it may take a little while for stock to catch up, it’s a positive sign for anyone who still prefers a dedicated pocket camera. Demand for smaller, compact cameras has definitely risen in the past few years and it seems like Canon is responding. There are also whispers of a completely new Canon compact camera possibly arriving before the end of 2025, but that is a story for another day.

credits: OM System OM System is one of the few camera makers that still shares a public lens roadmap, and the latest update, shows a new telephoto zoom lens planned for release this year. The roadmap even includes a tiny preview image (up top), though without any real specs. That hasn’t stopped the rumours circulation , and the latest word is that this could be a 70-200mm f/2.8 IS PRO. Up until now, most people were expecting a 50-200mm f/2.8 PRO, which would fit nicely into the Micro Four Thirds lineup. But a source speaking to 43rumors claims OM System has gone with a 70-200mm instead. That’s led some to wonder if it might be a reworked Sigma 70-200mm f/2.8. There’s no proof of that, and side-by-side comparisons show some clear differences, for example, the zoom and focus rings are swapped compared to Sigma’s design, which suggests OM System may have made some noticeable changes. Even so, the rumored 70mm starting point doesn’t really line up with the roadmap teaser, which seems to show the zoom starting closer to 50mm. It’s possible the image is from an older prototype, since lens designs can change a lot before release. Whether it’s an original OM System design, a heavily tweaked Sigma, or something in between, the company has been working on this telephoto for a while. If it really does get the PRO label, it should have weather sealing, strong optics, and in-lens stabilisation to work alongside OM System’s IBIS.

credits: Godox Godox just released a new accessory to go with its recently announced iT20 and iT22 ultra-compact flashes: the TR TTL hot shoe riser. Made for Nikon, Sony, Fujifilm, Canon, and Olympus cameras, the TR version lifts your flash by 30mm, giving it a bit more breathing room over bigger lenses and helping avoid dark corners in your shots. It keeps full TTL metering and high-speed sync, so you still get automatic flash control, just with a better angle and clearance. The TR riser tilts from 0° to 90°, so you can switch between direct and bounce flash quickly without taking it off the camera. It works with Godox’s iT30Pro, iT20, iT22, iM30, iM20, and iM22 flashes, though the iM series will only run in manual mode on it. It will also take single-contact flashes, but without TTL or HSS. There’s also the Godox FS-R single-contact riser, a lighter, foldable version for manual flashes under 300 grams. It skips TTL and HSS, but still gives you that same 30mm lift. The TR comes in at 26.5 grams, and the FS-R at 16 grams. Both are available now, with prices between $13 and $18 depending on the version and mount. You can see full details on Godox’s website here

credits: Nikon The latest Nikon rumours suggest that the company has several new lenses on the way, alongside a few camera updates. On the camera front, the next model to be announced will likely be the Nikon Zr, expected to debut in September 2025. A silver edition of the Nikon Zf is also reportedly in development, while the long-awaited Nikon Z9 II could arrive in late 2025 or early 2026. One thing photographers shouldn’t expect anytime soon, however, is a high-resolution body exceeding 45 megapixels. Despite some chatter online, Nikon has confirmed there is no 61MP camera in the works right now. Where things get more interesting is with lenses. Nikon is said to be working on at least six new Z-mount lenses set for release over the coming months. For DX (APS-C) shooters, two lenses are on the horizon: a 35mm f/1.8 Macro (or something similar) and a fast 16-50mm f/2.8 zoom. For full-frame users, possible releases include a wide-angle option (either a 14mm prime or a 14-24mm zoom) plus a versatile 24-105mm. On the telephoto side, Nikon is preparing a 100-300mm or 120-300mm f/2.8, with pricing rumoured to land around the $8,000 mark. An 85mm f/1.4 portrait prime is also in the making. Beyond stills lenses, Nikon is also said to be working on new cinema glass, though details remain very scarce, with no confirmed focal lengths or apertures. If all these rumours hold true, the next six months could bring one of the biggest Z-mount lens rollouts since the system’s launch.

credits: Sirui Sirui hasn’t officially announced its new Aurora 35mm f/1.4 autofocus prime yet, but oddly enough, it’s already listed for preorder at B&H Photo, with no specifications. What we know for sure is that the lens will be available in Nikon Z, Sony E, Fujifilm X, and L-Mount versions. According to rumours the optical design includes one aspherical element, two extra-low dispersion (ED) elements, and three high refractive index (HRI) elements to reduce ghosting, flaring, and chromatic aberrations while maintaining solid light transmission. On the outside you will find an FN button that can either lock focus or be assigned to other functions, plus an AF/MF switch for quick focus changes. The click ON/OFF switch, like on other Aurora lenses, should let you choose between stepped aperture changes or smooth, continuous control. There’s also an iris lock button on the side of the lens. While there is no official weight yet, the Aurora 35mm f/1.4 is expected to be compact enough for handheld work and balanced enough for use on gimbals. Preorder pricing for the lens is at $549. As soon as the official specifications are released, you will know about it! You can see full details on B&H’s website here

credits: Yashica Yashica’s new City 300 compact camera is here and it keeps the pocket-friendly charm of its predecessors but steps things up in terms of image quality and control. The camera now has a 50-megapixel Type 1/1.56 sensor, a notable leap from the 13MP chips used in the City 100 and 200. It also gains in-body image stabilization, a first for the series, helping to reduce blur when shooting handheld in tricky light. While the sensor size is still closer to what you’d find in a smartphone, it’s an upgrade for anyone who enjoyed the earlier City models but wanted cleaner, sharper results. The fixed 24mm equivalent f/1.8 lens remains, but Yashica has made it more versatile thanks to the higher resolution. Built-in crop modes let you shoot full-res 50MP images at 24mm, 12MP files at 50mm, or 8MP shots at 60mm, all from the same lens. A new control ring makes zooming through these digital focal lengths feel like adjusting a real zoom lens, adding a touch of traditional camera handling. Another major change is RAW shooting support, giving photographers the option to work with DNG files for more editing flexibility, a big step up from the JPEG-only output of the earlier City series. On the outside, the City 300 sticks to the minimalist design, with a slightly refined grip that should improve handling. Weighing just 183 grams (6.5 ounces), it’s nearly 40 grams lighter than the City 100. The Yashica City 300 is available now for HK$3,280, or just under $420 USD. You can see full details on Yashica’s website here

credits: TTArtisan TTArtisan just released the AF 40mm f/2, a compact prime lens for full-frame Sony E and Nikon Z cameras, with an L-mount version expected soon. The optical design uses nine elements in six groups, including two high-index elements, one extra-low-dispersion element, and an aspherical lens to control chromatic aberrations and maintain sharpness. The aperture runs from f/2 to f/16 and is made up of seven blades, with a clicked aperture ring for manual control. This combination makes the 40mm focal length a versatile choice, slightly wider than a 50mm, but still offering a natural perspective. Autofocus is handled by a stepping motor with a lead screw drive, giving smooth and quiet operation that should suit both stills and video. The lens can focus as close as 0.4 meters (about 16 inches), which is useful for tighter framing without switching to a macro lens. The 40mm f/2 also accepts 52mm front filters and while the lens doesn’t have optical image stabilisation, it’s small and light enough to pair well with bodies that have in-body stabilisation. Physically, the AF 40mm f/2 is built from aluminium, weighs 167 grams (5.9 ounces) and measures 44mm in length with a 61mm diameter. The lens doesn’t come with weather sealing however. Pricing for the TTArtisan AF 40mm f/2 is at $168. A closer look at the new lens will follow in this week’s Sunday magazine issue ;) You can see full details on TTArtisan’s website here

credits: Hasselblad Hasselblad is getting ready to announce the X2D II on August 26, and the rumoured specs suggest some serious upgrades over the current model. At the heart of the new medium-format body is said to be a 100-megapixel CMOS sensor, delivering 16-bit color depth and up to 15 stops of dynamic range. Paired with 5-axis in-body stabilisation rated at 8 stops, the camera should be able to handle handheld shooting even in challenging light. One of the biggest rumored additions is LiDAR focusing, a system often associated with cinema gear that uses laser-based distance measurement for faster and more precise autofocus, particularly in low-light situations or with manual focus assists. Ergonomics also appear to be getting attention, with a new joystick and an extra customizable button on the back for quicker control access. The LCD is reportedly improved, along with a reworked menu system, making navigation and setup more intuitive for both new and long-time Hasselblad users. Inside, an upgraded CPU is expected to boost overall responsiveness, from faster image processing to snappier menu performance and potentially improved burst shooting rates. Storage options include a built-in 1TB SSD for high-capacity internal recording, along with a CFexpress Type B card slot for faster offloading and external storage flexibility. We will see if all these promising rumours hold true when the camera launches later this month.

credits: Meike Meike just released the Mix 24mm f/1.4, a fast autofocus prime for full-frame mirrorless cameras, available in Sony E, Leica/Panasonic/Sigma L, and Nikon Z mounts. It’s built around an optical design of 15 elements in 12 groups with a nine-bladed diaphragm, giving it both sharp detail and smooth bokeh potential. The lens focuses as close as 0.28 meters, offering a maximum magnification of 0.1x, and with its bright aperture and wide field of view, it should be a good fit for landscapes, street photography, environmental portraits, travel shots, and even night sky work. Physically, the Mix 24mm f/1.4 is fairly compact considering its specs. The E-mount version measures 107mm long and weighs 556g, the L-mount version is slightly shorter and lighter at 105mm and 550g, and the Z-mount version is the biggest of the three at 109mm and 560g. All versions have a 72mm filter thread, a large textured focus ring, and an aperture control ring, handy for photographers and especially useful for video shooters who want smooth manual exposure changes. The design also uses internal focusing, so the lens doesn’t extend when focusing, making it more stable on gimbals or when using filters. Meike says the lens delivers sharpness from edge to edge and smooth background blur when shot wide open, while the metal exterior gives it a solid, durable feel. The new lens is available for $589 across all three mounts. You can see full details on Meike’s website here

credits: Higgsfield Higgsfield, just rolled out a new upscaling feature to their app, powered by the same technology behind Topaz Labs’ well-known Gigapixel tools. For those unfamiliar, Topaz Labs has a strong track record in the photo and video editing world, especially when it comes to AI-powered enhancement tools. Their Gigapixel software uses machine learning to intelligently scale up media, analyzing content and filling in new pixels in a way that maintains image clarity and detail. That same core tech is now inside Higgsfield’s platform. On the photo side, users can upscale images by 2x, 4x, or 8x, with 16x upscaling available for particularly low-res files. There are five image upscaling models to choose from: Standard, High-Fidelity (for retaining fine detail), Text Refine (for legibility), Art & CG (targeted at logos and CGI), and Low-Res mode for web graphics or compressed images. The platform defaults to using Topaz’s standard Gigapixel model, but also gives users access to the more advanced “Topaz Generative” model, which can add entirely new details using generative AI. Video upscaling is handled differently, with options to upscale footage to 2K or 4K resolution. Several AI models are available depending on the type of content: Proteus for general use, Iris for faces, Rhea for high-res detail, Gaia for stylised footage, and Theia for texture recovery. Users also have fine-grain control over compression settings, sharpening, noise reduction, grain, and frame interpolation. This new upscale feature is available for all Higgsfield subscribers, with pricing tiers ranging from $9/month for Basic users to nearly $150/month for high-volume creators. You can see full details on Higgsfield’s website here