credits: Canon Canon has officially priced and dated the new RF 75-300mm f/4-5.6, a lens that’s basically a modern mount version of the long-running EF 75-300mm f/4-5.6 III from 1999. The RF update brings no new optics or features but does bring the telephoto zoom into the RF ecosystem, and for $219.99 it’s one of the cheapest full-frame zooms Canon has ever offered for its mirrorless system. This lens is clearly aimed at entry-level shooters using Canon’s APS-C RF bodies like the EOS R50 or R100. On those cameras, the 75-300mm translates to a reach of 120-480mm, which gives hobbyists and new photographers a way to frame distant subjects without spending a fortune. Still, the tech inside is dated: no image stabilization, a basic DC motor, and the same 13-element, 9-group layout as the EF version. It doesn’t include a control ring either, which is now common on Canon’s modern RF lenses. Canon is also bundling the lens into a new double zoom kit with the EOS R100, replacing the longer RF-S 55-210mm with this full-frame optic. The $799.99 bundle includes the 18-45mm standard zoom and makes for nice starter package. That said, anyone picking up the RF 75-300mm should manage expectations, it’s a budget lens that was originally built over two decades ago. The lens is set to arrive in stores this month. You can see full details on Canon’s website here

credits: DJI DJI has announced the Power 2000, its most powerful portable battery system to date. With a base capacity of 2,048Wh and support for up to ten additional 2kWh expansion batteries, the system can scale up to a total of 22,528Wh. At full capacity, DJI says it can recharge a digital camera 118 times, a laptop nearly 20 times, or a DJI drone 24 times, numbers that indicate a clear focus on long-duration, off-grid creative work, from things like astrophotography all the way to multi-day video shoots. Weighing 22 kilograms (quite beefy), the main unit includes four AC outlets, four USB-C ports, and four USB-A ports. It maintains a 3000-watt output, which DJI claims is enough to power over 99% of household appliances. Recharging options include standard grid power, a car alternator, or solar panels. Using grid power, the unit can reach 80% in 55 minutes and full charge in 90 minutes. The system supports hybrid charging as well, meaning users can combine solar and grid power to increase flexibility in remote locations. DJI says the Power 2000 was developed in direct response to increased demand from users relying on DJI products in outdoor and professional settings. While the company previously released the Power 500 and Power 1000, this latest model significantly expands on both storage and output. Pricing is at $1,299. You can see full details on DJI’s website here

credits: Leica It looks like Leica is about to shake up the M series in a pretty major way. According to leaked insider info, the first Leica M camera with a built-in electronic viewfinder (EVF) is set to arrive in October 2025. It’ll likely be called the M11-V (with the “V” standing for “Viewfinder”) though there’s still a chance Leica might simplify it to just “M-V.” The new model is expected to be based on the M11-P from 2023, but it ditches the classic ISO dial on the top plate to make room for the electronic viewfinder. Hints of the new camera are already turning up, including in the beta version of Leica’s Photos app and in a recent camera registration in China under the model number M 4246. While this might sound like a major change for Leica, it’s worth noting that this EVF model isn’t replacing the optical rangefinder just yet. Leica is treating it as a modern addition to the M11 family, not a complete shift in philosophy. The traditional rangefinder experience is still very much alive, with a separate M12 model in the works, though that’s not expected until late 2026 (or even later). With the M11 series now stable after a key firmware update, Leica is taking a slow-and-steady approach: adding to the lineup rather than wiping the slate clean. The base M11 model is being phased out, but the M11 line as a whole will stick around for a while. As for the EVF-equipped M, it might be the most unusual M camera yet, but also one of the most practical for photographers who want modern tech in a classic format. You can see leaked photos of the new camera on Leicarumour’s website here

credits: Skylum What Is Clamshell Lighting? Clamshell lighting is a two-light setup where one light is placed above the subject and the other below, both aimed toward the face. The top light does most of the work, while the bottom light (or reflector) fills in the shadows and evens everything out. The result? Soft, glowing skin, minimal shadows, and a nice sparkle in the eyes (called catchlights ) . Why Use It? It’s very flattering for skin and facial features Great for beauty, fashion, editorial, or headshots Softens wrinkles and minimises texture, especially useful in close-up portraits You can do it with studio gear or natural light plus a reflector Basically, if you want your subject to look polished, elegant, and well-lit without going over the top, clamshell lighting is the move. What You’ll Need One main light (softbox, ring light, or even a large window) One fill light or a white reflector A stand or tripod for the bottom light/reflector Optional: a backdrop if you’re going full studio style How to Set It Up Position the Main Light (Key Light) Place your softbox, ring light, or window about 30–45 degrees above the subject’s eye level and directly in front of them, angled slightly down toward their face. Add the Fill Light or Reflector Below Put a second light (or white/silver reflector) just below the subject’s chin, angled up. This bounces light into the shadows under the nose, eyes, and chin.If you’re using a reflector, a simple V-flat or a pop-up reflector on a stand works great. Position the Subject Facing Forward You want the person looking straight into the space between the two light sources. This gives the iconic glow and balanced catchlights in both eyes. Fine-Tune Your Distance If the fill light is too close, it can flatten things out too much. If it’s too far, you’ll get harsh shadows. Tweak until you get a nice soft balance, usually a few feet between subject and lights is a good starting point. Natural Light Version (No Studio Gear) If you don’t have studio lights, no worries: Use a large window as your main light (north-facing ones are great) Place a white foam board or reflector just below the person’s face to bounce light back up That’s it. Super simple, and it still works great. When Not to Use It Clamshell lighting is great, but it’s not for every situation. If you’re going for drama or texture, this probably isn’t your setup. It flattens things out and makes everything soft and pretty, which is great when that’s the goal, but not if you want grit or depth.

credits: Canon Canon is gearing up to bring back the PowerShot “G” series, with a new photography-focused compact camera expected before the end of 2025. After the PowerShot V1 leaned heavily into video features (and left out things like a flash, EVF, and a more traditional compact camera form factor) it sounds like Canon is pivoting a bit. The next model is said to target photographers more directly, though it will still include standard video features, likely just the basics most people expect these days. So far, there are no confirmed specs, just whispers that more info is coming soon. But fans of the G-series, which has included everything from the zoom-heavy G3 X to the pocketable G7 X, are already hoping for a blend of both styles. An EVF, a built-in flash, and a solid zoom range would go a long way in setting this model apart from the V1 and making it feel more like a true successor to the classic PowerShots. It’s not clear yet if this will be a one-off release or the start of a full G-series revival. Pricing is still a mystery, but hopefully it’ll come in under the PowerShot V1’s $999 price tag. That said, a sub-$500 PowerShot seems unlikely in today’s market, especially with Canon positioning this as a higher-end compact for still shooters.

credits: Synology Synology has officially launched its own line of SSDs targeted at photographers and creatives who rely on NAS systems for their work, and the prices are raising some eyebrows. A 1.6TB NVMe SSD, for example, will set you back $535, even though similar drives from other brands cost closer to $100. While this premium pricing might have been easier to swallow in the past, it now comes with a catch: Synology’s newest NAS models, starting with the 25 Plus series, require these branded drives for full functionality. The company claims this shift is all about reliability and stability. According to Synology, using only its officially validated drives reduces the risk of failures and compatibility issues, and ensures you get access to every feature in its software. Older NAS units and the budget-friendly J and Value series can still use third-party drives, but it’s hard not to wonder if that might change down the road too. For creatives who depend on fast, stable storage, especially those working with large files and demanding workflows, these limitations could start to feel pretty restrictive. What makes this even more frustrating is that Synology’s flagship SSD still uses PCIe 3.0 instead of the faster 4.0 or 5.0 standards, and it tops out at a fairly modest 1.6TB. For higher capacities, users can turn to Synology’s own hard drives, which at least are ‘‘more reasonably priced’’, $300 for a 16TB 3.5” HDD, for example. In the end, Synology’s bet seems to be that creatives will pay extra for peace of mind and seamless performance. You can see full details on Synology’s website here

credits: Apple Apple recently filed a patent for a new kind of image sensor that could push photography tech way beyond what we have today. The filing outlines a stacked sensor design with a massive 120 dB dynamic range which is about 20 stops, close to what the human eye can perceive. If Apple ever brings this to life, it would outperform most cinema cameras on the market. The sensor splits into two layers: one handles the actual light detection, and the other manages the processing, including a smart circuit that reduces noise and adapts to bright or tricky lighting. What makes it especially interesting is how each individual pixel can behave differently depending on the light hitting it. Some can be extra sensitive in shadowy areas, while others hold back in bright spots, all in the same frame. That means much better highlight retention, richer shadows, and overall cleaner results (without relying on the usual trick of blending multiple exposures). Apple’s design also pushes a lot of the image processing into the sensor itself, which could make it faster and more efficient in general. Now, just because Apple filed a patent doesn’t mean we’ll see this in a product anytime soon, or ever. Tech companies often patent things just in case. Whether this ends up in a future iPhone or not, the idea of a sensor this smart handling real-time processing on a pixel level is an exciting direction for photography tech to head in. You can see full details on 9to5mac’s website here

credits: Meike Meike has officially announced its new 35mm f/1.8 AF Pro lens, but details are still surprisingly thin. The company hasn’t shared a full spec sheet yet, which makes the timing of the announcement, and the fact that preorders are already open, a bit unusual. What we do know is that the lens uses an STM autofocus motor for quieter and smoother focusing, and that its aperture ranges from f/1.8 to f/16. There's also a visible gasket on the mount, which likely means it has some degree of weather sealing, though Meike hasn’t spelled out exactly how protected it is. A USB-C port on the lens mount stands out as a nice practical feature, since it allows users to update firmware directly without fiddling with dock accessories. Beyond that, we’re still waiting on details like optical construction, minimum focusing distance, number of aperture blades, and whether Meike is aiming this at stills, video shooters, or both. For now, it’s really just a name, a mount list, and a few hints from the design. Despite the lack of hard specs, Meike has opened up preorders for the lens, pricing it at $369 and offering it in Leica L, Nikon Z, and Sony E mounts. Based on the “Pro” name and the price point, it seems like they’re positioning this as a higher-end alternative to their standard 35mm f/1.8, potentially with better optics or build quality. But until they release more details, it’s a bit of a leap of faith for anyone looking to reserve one early. You can see see ‘‘full details’’ on Meike’s website here

credits: SG-image SG-image has officially launched the previously rumoured AF 25mm f/1.8 lens for Sony E and Fujifilm X mounts. It is a compact, lightweight prime with fast autofocus aimed at everyday use. With an APS-C equivalent focal length of about 37.5mm, it lands right in that sweet spot between wide and standard, making it versatile for anything from street photography to handheld video. It weighs 145g and measures only 32mm long, so it’s easy to throw on a camera and forget it’s there. Despite the small size, SG-image packed in some solid hardware. The lens has a 9-blade circular aperture that helps produce soft, rounded bokeh when shot wide open at f/1.8. It uses an STM stepping motor for smooth, quiet autofocus, ideal for discreet photo work or filming without AF noise bleeding into audio. The optical formula includes 7 elements in 5 groups, with 3 high-refractive index lenses to help keep sharpness consistent across the frame. A multi-coating on the glass helps suppress flare and ghosting, even in backlit conditions. Physically, the lens is built with a metal body and comes with a matching metal lens hood. It has a 52mm front filter thread, a minimum focusing distance of 0.3 meters, and is available in four trim colors: black, silver, red, and orange. Pricing for this lens is at $69. You can see full details on Amazon’s Japan website here

credits: Cine Still CineStill has released CS Negative+ Convert Tools, a new and completely free set of tools that integrates directly into Adobe’s Creative Cloud apps like Lightroom (including mobile), Camera RAW, and Photoshop. The tools are designed to make film negative conversion easier, faster, and more accurate by bringing digital scans closer to how actual film looks when printed or projected. At the core of this system is a technology CineStill calls SpectraCOLOR, which has been in development for the past three years. According to CineStill, SpectraCOLOR is built around the spectral response curves of traditional RA-4 darkroom prints and motion picture projection prints. In practical terms, it means the tool accounts for how both color film and digital sensors interpret light across the spectrum, improving color separation and tonal fidelity. The result is a conversion that matches film more closely, with less need for manual tweaks in color correction. CineStill points out that typical home scanning workflows often struggle with clipped highlights, muddy tones, and unwanted color shifts, and says this tool is designed specifically to fix those common issues. What sets CS Negative+ Convert apart from many existing solutions is its integration with Adobe tools and its accessibility, especially since most Lightroom-based film scanning plugins are paid. The company says it’s just the beginning, too: new hardware designed to work natively with the software is already on the horizon. You can download the Software from CineStill’s website for free here

credits: 7Artisans 7Artisans has officially launched its 10mm f/3.5 APS-C ultra wide-angle lens, available for Sony E, Fujifilm X, Nikon Z, and Micro Four Thirds mounts. It offers a 108° field of view while keeping lines straight thanks to its non-fisheye optical design. That means verticals and horizontals (like walls, doors, or windows) stay accurate in-camera without needing to fix distortion later. Inside, the lens has 9 elements in 7 groups, with a close focusing distance of 0.2 meters, which helps with dramatic wide-angle shots that play with depth and scale. The aperture is fully manual, clicked from f/3.5 to f/22, and built with five blades that produce 10-point sunstars when stopped down. While it’s sharpest at smaller apertures like f/8 or f/11, the wide-open setting still allows for creative low-light shooting. The rectilinear rendering makes it a solid choice for architecture, tight interiors, or street photography where straight lines matter. There’s no autofocus or electronic contacts, so you’ll be working full manual, and camera bodies won’t record EXIF data for the lens. Physically, it’s compact and lightweight, just 125.5g on the E-mount version and measures 59mm wide and 34mm long. The all-metal housing gives it a solid, retro feel, and it takes 37mm screw-in filters on the front. Pricing sits at $99. You can see full details and sample shots on 7Artisans website here