credits: Harman Harman is back with a new film stock called Phoenix II, a follow-up to the original Phoenix C41 film that debuted in late 2023 as a limited-edition experiment. That first version was known for being bold, unpredictable, and a bit wild in how it rendered color and contrast, fun, but not exactly easy to work with. Phoenix II, on the other hand, is a complete overhaul. Harman says every part of the film has been redesigned, from the dyes and couplers to the experimental layering. It’s still an ISO 200 color negative film processed in C41, but this version promises to be much more polished and consistent. Phoenix II is available in both 35mm and 120 formats and is meant to be a permanent part of Harman’s lineup this time, not just a one-off. Harman says this new version is “a step-change” from the original, offering better color, more controlled contrast, finer grain, and sharper results. It’s also designed to be easier to scan, which is great news for both home developers and lab users alike. If the original Phoenix was more of a chaotic creative tool, Phoenix II aims to be a reliable everyday color film that still maintains some of that analog character people loved about the first. This release is part of a bigger analog push from Harman, who recently made their largest investment in film manufacturing since the 1990s. That’s already led to a new redscale film, the Kentmere Pan 200 black-and-white stock, and now Phoenix II. Pricing will vary depending on region, but it’s already available through retailers starting today. You can see full details and sample shots on Harman’s website here

credits: Mr. Ding After a long stretch of rumors, Chinese lensmaker Mr. Ding has officially launched its latest lens: the Noxlux DG 50mm f/1.2 for Nikon Z mount. Known for its Leica M-mount glass, like the 35mm f/1.8 and 50mm f/1.1, Mr. Ding is now stepping into the Nikon mirrorless space with a third-generation manual 50mm that blends vintage styling with some modern upgrades. This version includes electronic contacts, which means you’ll get access to Nikon’s focus assist tools, making it much easier to nail critical focus at f/1.2. They’ve also shortened the minimum focus distance from 0.7 meters to 0.45 meters, so you can get a bit closer to your subject than with previous versions. The lens is built with eight elements in six groups, including four lanthanide glass elements for better clarity and character. The optical coating’s been improved to help reduce flare and ghosting, especially in backlit scene, something vintage-style lenses can struggle with. At 470 grams, it’s not heavy, and its chrome-plated black finish is clearly meant to pair beautifully with Nikon’s retro-styled Zf camera. It also takes 52mm filters and has a compact footprint overall. Pricing for the Noxlux DG 50mm f/1.2 sits at $439. Sure, you won’t get autofocus or the clinical sharpness of Nikon’s $2,000 Z 50mm f/1.2 S, but that’s kind of the point. It’s about character and manual control. There are also other manual f/1.2 options out there, like the Nocty-Nonikkor for $550 or Meike’s for $250. You can see full details on Mr. Ding’s website here

credits: Sony Sony has officially brought its cult classic compact full-frame series back to life with the RX1R III, the long-awaited successor to the RX1R II from nearly a decade ago. At the heart of the new RX1R III is the 61-megapixel full-frame sensor, the same high-resolution chip found in Sony’s a7R V. It’s paired with the latest BIONZ XR processor and a dedicated AI processing unit, which together promise massive improvements in autofocus speed, tracking, and subject recognition. The 35mm f/2 Zeiss Sonnar T lens remains fixed, but now comes with a macro ring that allows you to shoot as close as 20cm from your subject, achieving a 0.26x magnification. Sony’s special move inside the camera is the new Step Crop Shooting feature, which lets you switch between 35mm, 50mm, and 70mm framing at the press of a button. While these are just crops of the full sensor, they offer flexible composition options, and crucially, the full RAW file is still retained, giving you full control in post if you decide to revert. The camera’s build is still based on magnesium alloy, with improved ergonomics including a refined grip and flat top-plate. Sony has also added 12 customisable Creative Looks, which let you apply and tweak in-camera colour styles. Video wise, the RX1R III isn’t a cinema powerhouse, it offers solid video features with some Creative Looks carrying over into movie mode. You still get a built-in 2.36M-dot XGA OLED viewfinder, a 0.70x magnification, and the familiar NP-FW50 battery, good for about 300 shots per charge. Charging via USB-C brings the camera up to modern expectations, even if the battery itself is a bit dated. The only catch? The RX1R III is very much a premium camera, and its price reflects that. It launches this month at $5,099.99 USD. You can see Sony’s introduction video on YouTube here

credits: Samyang Samyang just announced two new lenses in their Prima series: the AF 16mm f/2.8 P FE and the AF 85mm f/1.8 P FE, both designed for Sony E-mount. These follow last year’s 35mm f/1.4 P FE and are aimed at beginners and hybrid creators, people who want solid performance in a compact, lightweight package. "Prima" comes from the Latin word for "first" or "important," which fits the idea that these lenses are meant to be go-to choices, especially for newer shooters who want something practical but still sharp and fast. Samyang says the design balances portability and image quality, and all the Prima lenses share a clean, minimalist look with a red accent ring and durable plastic build. The 16mm f/2.8 is a tiny wide-angle that only weighs 207 grams and measures 70.5mm long. It can focus as close as 12cm and offers a 1:3 reproduction ratio, which makes it great for semi-macro work or just getting dramatic wide shots with some detail up front. On an APS-C camera, it gives a 24mm equivalent field of view and half-macro capabilities. The optical construction includes several high-end elements to keep things sharp and clean across the frame, and it’s driven by a fast, quiet linear STM motor for autofocus. It’s also weather-sealed to an IP5 rating and features a USB-C port on the mount for firmware updates. The 85mm f/1.8 is similarly compact at 272 grams and just slightly longer than the 16mm. This one’s aimed at portrait shooters, promising smooth, creamy bokeh and rich subject isolation thanks to its f/1.8 aperture and nine-bladed diaphragm. It’s not a macro lens, but it focuses reasonably close and is tuned for flattering, detailed portraits. Like the 16mm, it has a simple design with just a focus switch and USB-C port, plus the same IP5 dust resistance and updated lens hood for better flare control. Pricing and release dates haven’t been shared yet. A closer look at both lenses will follow this Sunday inside the big magazine issue ;)

credits: Fujifilm Fujifilm has quietly launched two new specialised cameras: the GFX100 II IR and the X-H2 IR. These are infrared versions of Fujifilm’s flagship medium-format and APS-C cameras, designed to see beyond the visible spectrum and capture light that standard sensors simply can’t. Like the original GFX100 IR released in 2020, these new models ditch the standard IR-cut filter that usually blocks infrared wavelengths from hitting the sensor. The result? Cameras that can reveal otherwise invisible details in documents, artwork, pigments, and even landscapes. With no IR-cut filter, these cameras are exposed to a broader spectrum of light, specifically infrared wavelengths beyond 780 nanometers. Used with specialized IR filters, they can uncover faded text, analyze aged paintings, or expose tampered areas on documents. Fujifilm emphasizes their use in digitizing historical artifacts and forensic investigations, where subtle variations invisible to the naked eye can make all the difference. And with Pixel-Shift Multi-Shot capabilities, the GFX100 II IR can produce up to 400MP images, while the X-H2 IR reaches 160MP. If you’re hoping to grab one, here’s the catch: these cameras won’t be hitting your local camera shop. Fujifilm is only selling them under a special agreement, similar to what they did with the first GFX100 IR. You’ll need to apply through Fujifilm directly, and the price hasn’t been disclosed. Of course, if you're just curious about IR photography, third-party options like Kolari Vision offer full-spectrum conversions (including GFX and X-H2 mods) so there are still lots of more ‘‘accessible’’ ways to explore beyond the visible. You can see full details and sample shots on fujirumour’s website here

credits: Sigma Sigma is gearing up to launch a second-generation version of its popular 35mm f/1.2 DG DN Art lens for Sony E and Leica L mounts, and leaks suggest it’s arriving soon. Photos started circulating online showing a clear size comparison between the current model and the upcoming one, and the new version looks noticeably more compact. Reports say the updated lens will shrink by about one centimetre in length and go from an 82mm to a 72mm filter thread, which should help reduce weight too. Sigma’s CEO Kazuto Yamaki confirmed at CP+ 2025 that the 35mm f/1.2 DG DN Art II is in development and will launch sometime this year. The original 35mm f/1.2, released in 2019, has been praised for its image quality and wide aperture, but it’s a bit of a tank, over a kilo in weight and 136mm long. With the new version, Sigma seems to be taking cues from its more recently released 50mm f/1.2 DG DN Art, which is lighter and sleeker while still delivering top-tier performance. Even though we haven’t seen a full spec sheet yet, Sigma promises improvements in optical performance, particularly in sharpness and the handling of aberrations. It’s also expected to carry Sigma’s refreshed branding. This isn’t a new thing for Sigma. Just last year, the company released an updated 24–70mm f/2.8 DG DN Art II that was about 10% lighter and offered improved image quality and close-focusing performance. The 35mm f/1.2 seems to be next in line. And with stock of the original E-mount version drying up at major retailers, all signs point to an official announcement just around the corner. You can see the leaked image on Sonyalpharumour’s website here

credits: OM System OM System has confirmed that it's actively considering a successor to the Olympus Pen-F, one of the most requested and beloved mirrorless cameras in recent memory. Since the Pen-F was discontinued, fans have consistently asked for a follow-up, especially after the company transitioned from Olympus to OM System. While the recently released OM-3 has done well commercially, it’s not the rangefinder-style camera that many were hoping for. According to OM System’s Eiji Shirota, feedback from OM-3 users has included strong demand for a Pen-F type body with a viewfinder, and the company is now “considering what new PEN series model we can offer.” The original Pen-F was a camera, known for its design, unique colour profiles, and tactile dials. Even today, nearly a decade after its release, the camera still holds its value and enjoys a loyal following. A successor with modern features (like weather sealing, vertical-sensor mode etc.) could easily carve out a niche, especially among street photographers and enthusiasts who prefer compact, stylish cameras, which are in trend anyway. There’s also speculation that OM System might lean into the retro appeal even further, perhaps drawing on other classic designs like the Olympus Trip 35 or XA2. Whether the new Pen-F will actually happen, we don’t know yet, but a lot of things are pointing in that direction.

credits: AstrHori AstrHori has expanded its compact lens lineup with the new AF 27mm f/2.8, now available for Sony E and Fujifilm X mounts. This lens was previously released for Nikon Z-mount, and it's designed for APS-C cameras across all platforms. With a focal length equivalent to roughly 40mm on crop sensors, it sits right in that sweet spot between wide and standard. The lens is lightweight too, weighing about 165 grams in the Z-mount version, and it keeps a slim profile at just 43mm long. The AF 27mm f/2.8 features a relatively simple optical layout: six elements in five groups and includes a 6-blade aperture that stops down to f/16. Autofocus is powered by a stepping motor (STM) with a lead screw design, which helps deliver smooth, quiet performance, especially useful for video. AstrHori says the lens supports eye and face detection autofocus, making it easy to keep portraits sharp even as your subject moves. It focuses down to 0.3 meters, which isn't macro-close but does allow for decent close-ups in day-to-day use. The field of view comes in at around 55°, offering a natural perspective. While it’s not packed with high-end features, the AF 27mm f/2.8 is priced accordingly at $126. It’s available in both black and titanium finishes, although Sony users will only get the black version. You can see full details and sample shots on AstrHori’s website here

credits: Sony Sony is finally joining the CFexpress 4.0 club with updated Type A memory cards that more than double the speed of their previous models. The new cards hit read speeds of up to 1,800MB/s and write speeds up to 1,700MB/s, compared to the 800MB/s cap of the older generation. It’s a hardware upgrade, so unfortunately, no firmware fix will bring older cards up to speed. While current Sony cameras can’t take full advantage of those speeds yet, the faster performance will definitely help when transferring files to a computer. The new cards come in two sizes: 960GB and 1,920GB. Both are VPG400 certified, which guarantees consistent write performance , useful for anyone shooting high-bitrate footage. Sony is also rolling out a new card reader, the MRW-G3, to match. It supports CFexpress 4.0 and USB 40Gbps for quicker transfers and includes a heat management design to keep things running smoothly during long offloads. It also works across a bunch of devices (computers, tablets, even phones) so it’s not just limited to a pro studio setup. That said, Sony is arriving a bit late to the CFexpress 4.0 game. Brands like OWC, Angelbird, and ProGrade have already been offering Type A 4.0 cards for a while now, in fact, OWC’s 960GB Atlas Pro has been out since April 2024. And somewhat frustratingly, Sony’s flagship a1 II camera still doesn’t support the newer spec. Still, it’s good to see Sony stepping up its card lineup, even if it’s at a premium: the 960GB card will sell for $584.99, the 1,920GB for $949.99, and the reader for $149.99. All shipping by August. You can see full details on Sony’s website here

credits: Canva Canva has been expanding fast, and its latest push is aimed at photographers and creatives looking for quick, yet powerful edits. Following its acquisition of Affinity last year (the popular suite seen by many as a real Adobe competitor) Canva has rolled out an AI photo editor packed with tools that go beyond basic adjustments. Users can now do things like move subjects around, relight entire scenes, expand image borders, and replace backgrounds with just a few clicks. The standout feature might be the AI Background Generator, which lets users type in what kind of backdrop they want, like: “sunset beach” or “foggy forest” and Canva blends it into the image. Another big addition is Magic Edit. It lets users paint over a part of the image and type in a prompt, like “make this sweater red” or “remove this sign.” The app identifies what’s in the scene and offers a few AI-generated options in seconds. It’s not just for big changes either, more subtle edits, like background blurring or gentle portrait retouching, work as well. There’s also image upscaling, artistic filters, and a growing collection of effects. Canva’s not necessarily trying to replace Lightroom or Photoshop for serious photographers, but with Affinity in its back pocket, it could become a serious competitor down the line. To access all the AI tools, though, you’ll need Canva Pro, which runs $120 per year. You can see full details on Canva’s website here

credits: Moment Moment has introduced a new filter that combines two popular tools into one: the CineBloom Variable ND. This new release merges the company’s well-known CineBloom diffusion glass with a built-in variable ND filter offering a 2–5 stop range. The diffusion strength, unlike the ND adjustment, has to be chosen when you buy the filter, you can pick between a 10% or 20% diffusion option. The filter is made up of two layers of glass. One is Schott B270 cinema-grade glass that handles the neutral density part, and the other is Moment’s HD Glass for the bloom effect. The diffusion layer is left uncoated to maximize that dreamy glow around highlights, while the ND glass is coated to reduce reflections, resist smudges, and maintain color accuracy. It’s all housed in a machined aluminum frame with Moment’s usual red anodised finish and features hard stops at each end to prevent cross-polarisation. There are also some nice practical touches, like the ND markings being angled toward the photographer so they’re easy to see while shooting. The CineBloom VND is available in 67mm, 77mm, and 82mm sizes. Because of its thickness (just over 9mm), Moment recommends using it on lenses 16mm or longer to avoid vignetting. Preorders are open, with each version priced at $199. You can see full details on Moment’s website here