credits: Samyang Samyang’s New AF 14-24mm f/2.8 for Sony E-mount is officially available and it’s one of the most compact full-frame ultra-wide zooms on the market with these kind of specs. It weights 445 grams and measures under 90mm in length. What makes this lens release particularly interesting is its Schneider-Kreuznach co-engineering, a partnership that’s helped pack in 15 elements in 11 groups, including aspherical, HR, and ED glass. The result? Minimal distortion, better coma control, and sharp detail from center to corner, even wide open at f/2.8. The 14–24mm zoom range should give you the best of both worlds: ultra-wide at the 14mm end for sweeping interiors or star-filled skies, and a more contained 24mm for street, events, or even wide-environment portraits. You’re also getting standard 77mm front filter support, which is rare for a lens this wide. Autofocus is handled by a linear STM motor, which is fast, silent, and smooth. Add in a 0.18m minimum focus distance, and you can get right up close for dramatic wide-angle shots with strong foreground separation. Extra touches include an AF/MF switch, a customizable focus hold button, and weather sealing in key areas for extra reliability on location. You can also tweak settings using Samyang’s Lens Manager software, including reassigning the focus ring to control aperture. The Lens comes in at $1420. You can see full details on wexphotovideo’s website here

credits: 7Artisans 7Artisans has officially launched the AF 24mm f/1.8 lens for Sony E-mount and it is aimed at photographers and hybrid shooters. It’s a full-frame lens with autofocus, a big deal for 7Artisans, since they have mostly focused on manual lenses in the past. At 24mm with an f/1.8 aperture, this is a versatile wide-angle option that should work just as well for landscapes and city scenes as it should for vlogging, street portraits, or low-light video. The wide aperture helps create smooth background blur and brings in plenty of light for handheld shooting. Autofocus is driven by a stepping motor, so it should be snappy and quiet, a plus for both stills and video use. Optically, the lens packs 14 elements in 11 groups, with a design meant to minimise distortion and chromatic aberration, especially at the edges (7Artisans claims edge-to-edge sharpness). Physically, it’s built from magnesium alloy, weighing in at 424g, which puts it in the portable-but-sturdy category. The 62mm filter thread, 0.32m minimum focus distance, and 83° angle of view round out the spec sheet. The Lens is available for $329. You can see full details and sample shots on Pergear’s website here

credits: Reto Reto is back with another throwback creation: the new Reto Pano 35mm Film Camera. This Camera brings something genuinely clever to the world of budget analog photography: a mid-roll switch between standard and panoramic formats. For $35, this tiny camera lets you flick a dial and jump from regular 35mm shots to a wide, cinematic 35x14.9mm crop, all without swapping film or slowing down. Under the hood (/plastic shell), the Reto Pano features a fixed 22mm f/9.5 lens, giving you an ultra-wide angle right out of the gate. The lens is made from optical-grade two-element acrylic, so nothing fancy, but surprisingly capable for the price and it’s paired with a 1/100s shutter. There’s no exposure control, of course, but you do get a built-in flash and a manual film advance, all powered by a single AAA battery. It even has a built-in lens cover to keep things protected in your bag. At 93 grams and about the size of a deck of cards, the Reto Pano is built for travel, walking around, and spontaneous fun. It comes in five colors — translucent black and white, mint, metallic pink, and silver — and nails that early-2000s point-and-shoot vibe with a touch of TikTok-era vibes. The Reto Pano 35mm is available for $35 (strap included), but you’ll have to bring your own film and battery. You can see full details and sample shots on Reto’s website here

credits: Kolari Kolari Vision has just expanded its popular magnetic clip-in filter system to include Micro Four Thirds cameras, opening up a whole new world of creative control for OM System, Panasonic, and Blackmagic users. These filters snap directly in front of the image sensor, inside the camera body, which means you can use filters with any lens, even the ones that are too wide, bulbous, or odd-sized for screw-on filters. The setup is simple: Kolari makes dedicated magnetic mounting plates for each brand, and once installed, you can hot-swap filters without fiddling with your lens. Kolari’s lineup includes all the usual suspects: neutral density filters (3, 6, and 10 stops), mist diffusion filters (1/4 and 1/8), and a wide range of infrared filters (550nm to 850nm) for IR shooters. There are also some wildcards in the mix, like IR Chrome Lite for that dreamy Aerochrome look, Blue IR/NDVI filters for vegetation studies, and both standard and Pro versions of UV/IR Cut Hot Mirror filters for keeping your color balance tight when adapting lenses. Build-wise, these should be solid. Kolari is using precision glass with multi-coatings to fight reflections, smudges, dust, and scratches. The new clip-ins are available now, starting at $99.99 per filter. You can see full details and the compatibility list on Kolari’s website here

credits: Ricoh Ricoh confirmed the Ricoh GR IV is officially in development and fans of the cult-favourite GR series are already losing their minds. It’s been nearly six years since the GR III dropped, and while there’ve been HDF editions and the GR IIIx in the meantime, this is the first true next-gen GR in a long time. Ricoh says the GR IV keeps the same core philosophy, small body, fast response, and killer image quality, but adds “totally new components” like a redesigned lens, a new 25.7MP APS-C sensor, and an upgraded imaging engine. There’s also a new app coming called GR World, which promises better smartphone integration and will support all GR cameras since the 2013 GR. The GR IV still sports an 18.3mm f/2.8 lens (28mm full-frame equivalent), but don’t let the numbers fool you, it’s not the same lens as the GR III. Ricoh’s added an extra lens element, including a third aspherical, bringing the total to seven elements in five groups. The sensor is getting a bump too, now 25.7MP, with an ISO range of 100 to 204,800 and improved five-axis stabilisation. And while it doesn’t do 4K, it shoots 14-bit RAWs and Full HD video, and comes with 53GB of built-in storage plus a microSD slot. You won’t have to wait too long to see it in action. Ricoh will show the GR IV in Tokyo, Beijing, and Shanghai starting May 31, with a release window set for autumn 2025. There’s also a version with a built-in Highlight Diffusion Filter (like the GR III HDF) coming sometime after winter. Meanwhile, Ricoh says it’s officially discontinuing the GR III this July due to parts shortages, but the GR IIIx will stick around for now.

credits: Fujifilm Fujifilm officially announced the X half camera, a quirky, premium compact camera inspired by half-frame film shooters and it’s clearly made for film lovers who want a fun digital alternative. The camera’s big draw isn’t its specs (though it does have a solid 18MP Type 1 sensor and 10.8mm f/2.8 lens), but the experience. It mimics shooting on film with a tactile winding lever, limited “rolls” of digital film, and a dedicated Film Camera Mode that locks you into your chosen film simulation until the roll is done. You even “develop” your photos in a companion app that shows a contact sheet. The camera embraces vertical shooting by default, thanks to a vertically-oriented screen and viewfinder that lean into that half-frame aesthetic. It also has a wild “2-in-1” mode that lets you stitch two vertical frames together — photo or video — by winding the lever, creating diptychs right in the app. On the back are two small touchscreens: one for your film sim and one for menus and framing. You don’t get RAW, just JPEGs, and that’s the point. Fujifilm leans hard into the idea that the look should come from the moment, not editing later. Physically, the X half is tiny, about two-thirds the size of an X100VI, and super light at just 240 grams. It connects to your phone via Bluetooth or WiFi, has a cold shoe for accessories, and pairs directly with Instax printers. There’s a small LED flash up front, autofocus with manual override, and video support too (though only at a very non-standard 1440x1080 resolution). It drops in three colours this June for $849.99. A closer/detailed look at the camera will follow this Sunday in the big magazine issue ;)

credits: Synology Synology just dropped a new addition to its home and small business storage lineup, the BeeStation Plus. It’s a beefed-up version of the original BeeStation, now with 8TB of space and faster performance, allegedly up to 4.8 times faster than the earlier 4TB model. The idea behind BeeStation hasn’t changed: it’s a plug-and-play private cloud meant for creatives who don’t want to deal with complicated networking setups. But this new version is aimed at power users, so professional photographers, or even creative teams, who need more space and speed to keep things flowing smoothly. Like the original, the BeeStation Plus backs up your files automatically, whether they’re coming from your phone, computer, cloud photo libraries, or external drives. It also has built-in AI to help sort through your photos and find faces or specific things quickly. With 8TB on board (actually about 6.98TB usable), Synology says you could store over three million iPhone photos or 500 hours of 4K video. For photographers shooting RAW files, like the ~40MB ones from a Sony a7 IV, you’re looking at room for around 174,000 shots. The BeeStation Plus also plays nice with Synology’s other NAS gear and supports syncing from iCloud Photos, making it a smart addition to a solid 3-2-1 backup setup. At $410, it’s not cheap, but it’s positioned as a private alternative to cloud services with more control and better speeds. You can see full details on Synology’s website here

credits: Skyrim Google’s big I/O conference was yesterday, and while most of the spotlight was on its usual AI and Android updates, there’s also some good news for photographers: Google has teamed up with Skylum to bring the Luminar photo editing app to Android and ChromeOS. That means more mobile users, whether they’re on a phone, tablet, foldable, or Chromebook, can now access Luminar’s powerful AI editing tools. The app’s interface adapts to different screen sizes and aspect ratios, and Skylum says it’s all been fine-tuned for a smooth, intuitive experience, no matter the device. Skylum’s CEO Ivan Kutanin says the goal here is to combine “professional-grade imaging tech” with an easy-to-use interface that makes editing feel creative and fun rather than overwhelming. Google seems equally hyped about the collab, calling it a great example of how AI can empower creativity and simplify complex tasks across platforms. It’s also a win for Google, which has been working to boost the creative toolset available to Chromebook users in particular. Luminar brings over all its usual smart tools, like Enhance AI, Sky AI for automatic sky replacements, and Relight AI to tweak lighting realistically. There are also dedicated features for portraits and landscapes, and more traditional manual tools if you like having full control. The app is live now on the Google Play Store. It’s free to try, with subscriptions starting at $5/month or $30/year. If you’d rather skip subscriptions altogether, there’s also a one-time purchase option for $60. You can see full details on Skylum’s website here

credits: Blazar Blazar has announced an unusual new lens for full-frame cameras: the Beetle 1.33x anamorphic. Unlike most anamorphic lenses, this one has a rotatable barrel, allowing for both horizontal and vertical anamorphic shooting. It’s a manual lens aimed not just at filmmakers, but especially at photographers who want to experiment with anamorphic-style looks — wider images, oval bokeh, and lens flares — while still using the full image area of their sensor. The first lens in the series is a 45mm T3.2, launching this August for around $500. It features a locking button near the mount that unlocks the rotating section. In its standard orientation, it behaves like a typical 1.33x anamorphic lens, squeezing more horizontal field of view into the frame. But when rotated, it can expand the vertical field of view instead, especially useful for portrait orientation shots or when cropping flexibility is important. Blazar says the Beetle lens will be available in a wide range of mounts including Sony E, Canon RF, Nikon Z, Leica L, and Fujifilm X. Two more focal lengths, a 32mm and a 65mm, are expected to follow. The rotating design changes not just the aspect ratio possibilities, but also how bokeh and lens flares appear, giving creative shooters a new kind of control over the anamorphic look. You can see full details on Blazar’s website here

credits: Nubia Nubia has revealed the Z70S Ultra, a new smartphone that leans heavily into Leica-inspired design, even down to the iconic red dot logo (though it’s not officially affiliated with Leica). The standout version is the Photographer Edition, which includes a retro-style leather case with a built-in grip, shutter button, dual control dials, and a cold shoe mount, essentially turning the phone into a pseudo-compact camera. Even without the physical kit, the phone keeps its Leica-like styling in this edition’s finish. Camera-wise, the Z70S Ultra features a 35mm equivalent f/1.7 main lens using a 50MP “Neo Master” 1/1.3-inch sensor, a 64MP 70mm telephoto lens, and a 50MP ultra-wide with a 13mm equivalent field of view. Specs are solid, especially considering the phone costs under $750. The 35mm focal length and the optional photography grip set it apart in a crowded market, offering something a bit different for mobile shooters looking for that classic rangefinder feel. There’s also a standard Z70 Ultra, which lacks the “S” and comes in at $40 less. It swaps the main sensor for a Sony IMX chip and adds a variable aperture (f/1.6–4) to its 35mm equivalent lens. It has the same ultra-wide and telephoto cameras as the Z70S Ultra but drops some of the luxury styling. Both models include a 16MP under-display front camera, a 6.8-inch HDR panel with 2,000 nits of peak brightness, and run on Qualcomm’s Snapdragon 8 Elite chip with Android 15-based Nebula AIOS. The Z70S Ultra is expected to ship starting May 28, with the Photographer Edition grip kit listed as “coming soon.” You can see full details on Nubia’s website here

credits: Venus Optics Venus Optics has introduced the Laowa 15mm f/4.5 0.5x Wide Angle Macro, a compact manual-focus lens designed for full-frame cameras. It offers a unique combination of ultra-wide perspective and close-up capability, enabling 0.5x macro magnification with a minimum focus distance of just 129mm and a working distance of 36mm. This lets photographers capture detailed close-ups while still including the surrounding environmen, making this ideal for creative nature and also product shots. The lens features 16 elements in 11 groups, including aspherical, high-refractive, and extra-low dispersion glass for sharpness and minimal distortion. Despite this complex design, the lens is just 48mm long and weighs just over 300 grams. It has a five-bladed aperture that creates 10-point sunstars and a 62mm front filter thread. The Laowa 15mm f/4.5 is manual focus only, but aperture control depends on the mount: Sony E, Nikon Z, and Canon EF versions support electronic aperture, while Nikon F, Canon RF, and L-Mount are fully manual. It’s available for $399. You can see full details and sample shots on Venus optic’s website here

credits: Fujifilm Fujifilm has released a second teaser for its upcoming X Series camera, ending a weeks-long wait with new visuals and a confirmed reveal date: May 22 at 5 AM GMT (May 21 at 10 PM PDT). While the camera itself remains mostly hidden, the video (shot on the GFX100 II) repeats the “Half the Size, Twice the Story” tagline and introduces a unique creative twist: nearly all scenes are shown in diptych format, hinting that this paired-image approach may be tied to a new feature or function of the camera. Fujifilm describes the camera’s concept as blending “innovation with nostalgia,” reinforcing speculation that the model will tap into the brand’s analog-inspired heritage (exactly what people are asking for). The teaser confirms it’s an X Series camera, with a viewfinder positioned in the top-left corner, a classic control dial layout, and a dedicated display for Film Simulations: all signature design cues for the lineup. Full details will be revealed in less than two weeks so hang tight. You can see Fujifilm’s new teaser on Youtube here