credits: Ricoh Ricoh has officially previewed its next-generation GR IV compact camera at a presentation in China. The new model will come in two versions: the standard GR IV set for a fall 2025 release, and the HDF (highlight diffusion filter) version following in winter. At its core is a brand-new 25.74MP APS-C CMOS sensor, paired with the updated GR ENGINE 7 image processor. The camera offers a top ISO of 204,800 and retains a 28mm-equivalent f/2.8 lens, now built with a redesigned 7-element, 5-group optical structure that includes three aspherical elements. Ricoh is also introducing 5-axis stabilization to the GR series for the first time, along with a significantly faster 0.6-second startup time. Despite packing in more features, the GR IV is slightly smaller than its predecessor, shaving 2mm off the thickness and 0.8mm off the height while keeping the familiar control layout. There’s also 53GB of built-in storage alongside a Micro SD slot, and total weight comes in at just 262 grams. Usability updates include a full touchscreen, a return of the exposure comp button to the thumb position, and a redesigned cross key in place of the old quick dial. A new “SN” (Snap Distance Priority) mode lets the camera automatically select aperture based on depth-of-field settings. Other notable updates include dual-band Wi-Fi, support for the upcoming GR World mobile app, a new antistatic sensor filter, and an upgraded DB-120 battery offering 25% more shots. Autofocus has been improved with better low-light performance, face tracking, and continuous AF. The GR IV also adds a 1080p/60p video mode, close-up focusing improvements, and a “Movie mode” film simulation with grain control. Pricing hasn’t been announced yet, but Ricoh confirmed compatibility with the current 21mm wide conversion lens via an optional adapter. You can see full details and presentation photos on pentaxrumour’s website here

credits: Meike Meike has announced a new drop-in filter autofocus adapter that lets photographers use Canon EF and EF-S lenses on L-mount cameras, including those from Panasonic, Leica, and Sigma. The new MK-EFTL-C adapter includes full autofocus support and carries electronic contacts for aperture control and EXIF data transmission. It works with both phase-detection (PDAF) and contrast-detection (CDAF) autofocus systems, making it compatible with a wide range of modern L-mount bodies. One of the standout features of the MK-EFTL-C is its drop-in filter system. The adapter ships with a variable ND filter rated ND3 to ND500, which covers roughly 1.5 to 9 stops of light reduction. Meike also includes a clear UV filter for times when no ND is needed. Both filters drop into a slot at the rear of the adapter, allowing quick changes without removing the lens. The adapter itself is weather-sealed, with a metal construction for added durability, and weighs 160 grams with the ND filter inserted. Physically, the adapter measures 91.9 x 29.5 x 75.5mm and is designed to preserve functionality between Canon EF lenses and L-mount cameras. In addition to aperture control and autofocus, it supports image stabilisation on compatible lenses, and gold-plated pins inside the adapter ensure reliable communication between lens and body. The MK-EFTL-C is available for $199.99. You can see full details on Meike’s website here

credits: Sigma Sigma is preparing for its big August 19 presentation, and one of the most anticipated announcements is the 200mm f/2.0 Sports lens for full-frame mirrorless cameras. This lens has been rumored for months, and now the first leaked details suggest the release is close. According to early information, the lens will weigh under 2 kilograms (likely between 1,900 and 1,999 grams) putting it in an interesting spot compared to other fast telephoto primes on the market. That weight makes the new 200mm heavier than Sony’s 300mm f/2.8 GM, which comes in at 1,470 grams, but still much lighter than the DSLR-era 200mm f/2 lenses from Canon and Nikon. For reference, Canon’s EF 200mm f/2L IS USM tipped the scales at 2,520 grams, and Nikon’s version was an even heftier 2,900 grams. This new Sigma is shaping up to offer the same bright aperture and reach while being considerably more manageable for mirrorless systems. Another leaked detail: the lens will take 105mm front filters and feature a white finish similar to Sigma’s 300–600mm f/4 Sports lens. As for performance, sources mention “super-fast autofocus,” which isn’t surprising given the target market of sports and wildlife shooters. The lens will reportedly launch for Sony E-mount and Leica L-mount systems, though it won’t work with Sony’s teleconverters, a limitation that might disappoint some users. Still, the very existence of a modern 200mm f/2 for mirrorless is notable, as none of the major manufacturers currently offer one. Official specs and images are expected during the August 19 event, where Sigma could also introduce a second-generation 35mm f/1.2 Art and a 12mm f/1.4 for APS-C.

credits: Leica Leica has confirmed that a 135mm APO prime lens is currently in development for L-Mount. The news came straight from Peter Karbe, Leica’s head of optical design, during an interview where he was asked about the possibility of a more compact telephoto option for the SL system. Karbe didn’t hedge, he simply stated, “We’re already working on it,” when asked about an APO-Elmarit-SL 135mm lens. Right now, Leica’s longest SL prime stops at 90mm. Beyond that, users have to rely on the 70-200mm f/2.8 zoom, which is excellent optically but hefty in size and weight. A 135mm APO prime would give L-Mount shooters a more focused tool for portraits, compression-heavy landscapes, or tighter framing without stepping into zoom territory. Given the “APO” designation, it’s safe to expect top-tier correction of chromatic aberrations and edge-to-edge sharpness. The SL system currently includes 17 lenses and two teleconverters, but many are collaborations or share DNA with Sigma and Panasonic glass via the L-Mount Alliance. This rumored 135mm, however, appears to be an in-house Leica build, likely to match the look and optical feel of their other APO primes like the 75mm and 90mm Summicron-SLs. Once released, it would fill a long-standing gap in the native SL lineup and offer an alternative to third-party options like Sigma’s 135mm f/1.8 Art. No release timeline has been announced yet however.

credits: Prism Lens FX’s Prism Lens FX just announced two new handheld filters for photographers and filmmakers who want to create stylised motion blur effects straight in-camera. The Phantom FX and Spectre FX are designed to add optical distortion during a shot, letting you get a ghosting/dreamy motion look without needing to do it in post. These aren't typical screw-on filters, you move them across the lens while shooting to create those effects manually. Both come in two sizes, 100mm and 150mm, and are available in two strengths: half and full, depending on how intense you want the look. The Phantom FX is built to mimic a slow shutter or trailing motion blur effect. As you drag it across the lens, it creates streaks and a sort of double exposure feel. The smaller 100mm version is a good fit for mirrorless or DSLR cameras, while the 150mm size is made for bigger, cinema-style setups. The Spectre FX takes a different approach, it has a clear centre to keep your subject sharp, with four blurry outer zones that introduce ghosting around the edges. Both filters come with a 1/4-20 threaded hole so you can mount them if you don’t want to hold them by hand. Pre-orders are open now on Prism Lens FX’s website, with shipping expected in 10 to 12 weeks. The 100mm versions go for $170, and the 150mm ones are $190. You can see full details on Prism Lens FX’s website here

credits: Sigma According to numerous internet sources, Sigma is gearing up to announce three new lenses on August 19th. If the rumours hold true, the company will reveal a 200mm f/2.0 Sports lens and a second-generation 35mm f/1.2 ART, both for full-frame, alongside a 12mm f/1.4 prime for APS-C. The 200mm and 35mm are said to be coming to Sony E and Leica L mounts, while the wide-angle 12mm f/1.4 is expected to launch on five different mounts: E, L, RF, Z, and X. A 200mm f/2.0 would be an unusual addition to the mirrorless lens market. Most 200mm options for mirrorless top out at f/2.8, so this one would offer an extra stop of light while likely pushing the boundaries in terms of size and weight. It will be part of Sigma’s Sports lineup, so you can expect weather sealing, fast AF, and good telephoto performance. The 35mm f/1.2 ART, one of the fastest autofocus primes on the market, is reportedly getting an upgrade too, though it’s unclear yet if that means weight savings, faster AF, or purely optical refinements. The 12mm f/1.4 APS-C prime could be the ‘‘sleeper hit’’ of the group. On crop sensors, it translates to about 18mm full-frame equivalent, very wide, especially paired with an unusually fast f/1.4 aperture, which makes it interesting for things like astrophotography, low-light cityscapes, and even video work. Sigma hasn’t confirmed any of this yet, but we might know more by August 19th!

credits: Brightin Star Brightin Star just announced a new autofocus 35mm f/1.8 lens for full-frame Sony E and Nikon Z mirrorless systems. It features an internal STM motor that handles autofocus duties and supports eye-detect AF on both Sony and Nikon bodies. Brightin Star says the AF system offers "micron-level" precision, and while that is a claim that is hard to verify, it does mean that this lens is trying to compete in the higher end AF space. The lens has 11 elements in 8 groups, including two aspherical lenses, a pair of high-refractive elements from Hoya, and one ED glass element to help reduce chromatic aberrations and fringing. Brightin Star is promising high edge-to-edge sharpness even wide open at f/1.8, along with smooth bokeh and minimal ghosting, especially important since f/1.8 is where a lens like this earns its keep over a kit zoom. Focus breathing is said to be minimal, which is good news for video shooters, and there's a de-clickable aperture ring on the E-mount version to allow smooth exposure transitions while filming. Interestingly, Nikon Z shooters miss out on that ring entirely, due to how Nikon handles third-party stepless aperture controls, so the Z version has electronic aperture only. Both versions accept 62mm filters and weigh just under 430g. Build-wise, the lens is weather-sealed and includes a USB-C port for firmware updates, although the updater app is Windows-only. Pricing for the lens sits at $250. You can see full details and sample shots on Brightin Star’s website here

credits: 7Artisans 7Artisans has just released a new 14mm f/2.8 ultra-wide prime lens for full-frame mirrorless cameras. Like the recently announced 75mm f/1.4, it’s a fully manual lens with no autofocus or electronic communication, but it does come in a range of mounts: Sony E, Nikon Z, Canon RF, and L-Mount. The lens has a metal housing, a large rubberized focus ring, a de-clickable aperture ring, and engraved depth of field markings. At f/2.8, it’s not unusually fast for this focal length, but it keeps things relatively compact at 87mm long and 504 grams. Inside, it’s built with 13 elements in 9 groups, including two aspherical lenses, three ED elements, and five high-index elements to help control distortion and improve sharpness. It has a 10-blade aperture for better sunstars, and the company claims it maintains high resolution across the frame even wide open. The front accepts 77mm filters, but only by using a detachable hood with threads rather than filter threads built directly into the lens. Still, that’s a practical solution, especially since many 14mm lenses don’t take filters at all. The new lens is pitched at landscape, architecture, night sky, and creative portrait photographers. With a 114° field of view and minimal distortion, it could be a good option for full-frame shooters who don’t need autofocus and are comfortable shooting manually. Pricing for the lens is at $299. You can see full details and sample shots on 7Artisans’ website here

credits: DJI DJI entered the 360-degree camera space with the Osmo 360, and they’re clearly aiming high, especially when it comes to photo quality. The camera has a large Type 1/1.1-inch CMOS sensor and can shoot 120-megapixel panoramic photos or 30.7MP stills with a single lens. That puts it well ahead of competitors like the Insta360 X5, which maxes out at 72MP in pano mode. DJI says the Osmo 360 is the first 360 cam that can do 8K video at 50 fps and record 8K/30 for up to 100 minutes straight, which is impressive, but it’s really the sensor design that stands out. The camera uses a square HDR sensor with 2.4μm pixels, which means less wasted sensor area in 360 capture and better low-light performance. DJI claims the sensor delivers 13.5 stops of dynamic range and improved sharpness, which, if accurate, could make this one of the most capable all-in-one 360 photo tools on the market. Of course, there’s a full feature set for video and vlogging too like gesture control, invisible selfie stick, 4K/120 slow motion, and even 5K/60 first-person action cam recording in single-lens mode. It’s waterproof to 10 meters, IP68-rated, and weighs 183g. But for photographers, the key question is whether DJI’s sensor and image processing advantages actually translate to better real-world photo quality. We will see once the first reviews hit the internet. You can see full details on DJI’s website here

credits: Sony Sony recently gave investors a sneak peek into where its image sensor tech is headed, and it looks like we’re getting closer to a triple-layer stacked sensor. Right now, most high-end Sony sensors use a two-layer setup: one layer handles light capture (the photodiodes), and the second manages processing (the transistors). Adding a third layer could unlock processing power directly at the sensor level, which in turn would boost image quality, readout speed, and dynamic range. The key idea is that more processing near the pixels allows the camera to work smarter and faster. That means less noise, better sensitivity, and potentially more video capabilities. It's not that this third layer adds more megapixels, but it helps squeeze more performance out of the pixels already there. Right now, many high-res sensors are bottlenecked by how fast they can read out data, which limits what they can do for video or burst shooting. A faster sensor means rolling shutter could be further reduced, autofocus could be quicker, and video modes might get serious upgrades. Of course, there are physical tradeoffs to adding more layers, like reducing full-well capacity if you shrink pixels too much, but Sony seems to have found a workaround by separating and optimising each layer individually. There's no word yet on when this tech will show up in an Alpha or FX-series camera, but just the fact that Sony is working on something like this is already a win. You can read full details on Sonyalpharumours’ website here