credits: Epson Epson just dropped two new wide-format printers in its SureColor P-series — the 24-inch P7370 and the 44-inch P9370 — and they’re aimed squarely at photographers, fine artists, and designers. Both printers are built to deliver fast, gallery-worthy prints with rich colour and fine detail, using Epson’s UltraChrome Pro10 ink set. That includes a dedicated violet channel for better blues and purples, plus separate Photo Black and Matte Black inks so you don’t have to waste ink switching when jumping between glossy and matte paper. The P7370 and P9370 are priced at $3,495 and $5,295, which also makes them more in line with Epson’s older (and now discontinued) P6000 and P9000 printers. And they’re supposedly faster too. On top of the speed and quality boosts, Epson has made these printers easier to live with. They come with a 4.3-inch touchscreen, an interior LED so you can see what’s going on, and a new Black Enhance Overcoat feature that increases black density and contrast, especially useful for glossy media. Even maintenance should be more user-friendly now, you can clean the print head yourself without calling in a technician. If you’ve been waiting to upgrade your studio printer, this could be the sweet spot between pro-level output and long-term usability. You can see full details on Epson’s website here

credits: Tamron Tamron’s super-popular 18-300mm f/3.5-6.3 telephoto zoom is finally coming to Nikon Z and Canon RF mounts later this year. Originally launched in 2021 for Sony E and Fujifilm X mount, this lens packs a wild 16.6x zoom range into a compact body, basically covering everything from wide-angle to ultra-telephoto in one go. On Nikon Z crop cameras, it gives you the equivalent of 27-450mm, and on Canon crop-sensor EOS R bodies, it’s about 29-480mm. Tamron hasn’t shared the exact pricing yet for the new versions, but the Sony and Fuji versions go for around $699. Historically, Tamron lenses for Nikon Z have been slightly more expensive, so it might come in a bit higher. Release dates and final prices are still under wraps, but the specs are basically the same: 19 elements in 5 groups, weather-sealed, image stabilisation (VC), a fast and quiet VXD autofocus motor, and close-focusing down to 15cm for half-macro shots. This is a pretty big deal, especially for Nikon Z and Canon RF users. Neither system currently offers anything close in terms of zoom range. Canon tops out at the RF-S 18-150mm, and Nikon’s best is the 18-140mm.

credits: Sony Sony just released a brand new lens: the FE 50-150mm f/2 G Master. This is the second constant f/2 zoom lens in Sony’s lineup, following the 28-70mm f/2 GM, but the 50-150mm goes even further by covering a focal range that’s never been done at f/2 on full-frame. It’s built for portrait shooters, wedding pros, indoor sports, and hybrid creators who bounce between photo and video. Now, it’s not exactly compact. It’s about the same length as the 70-200mm f/2.8 GM II, but it’s thicker and heavier—partly because it takes massive 95mm filters. Inside, it’s packed with high-end glass: 19 elements in 17 groups, including ED, Super ED, aspherical, and XA elements, plus a new 11-blade circular aperture. Autofocus is handled by four of Sony’s XD Linear Motors, which should make it ridiculously fast and quiet—perfect for the a9 III’s 120 fps burst mode or smooth video tracking. Speaking of video, Sony clearly had filmmakers in mind here too. The 50-150mm f/2 GM is designed to avoid focus breathing, holds its balance when zooming (great for gimbals), and includes a de-clickable aperture ring. All that tech doesn’t come cheap—the lens is set to ship by the end of May for $3,899.95. You can see full details on Sony’s website here

credits: Adobe Adobe’s vision for AI in Photoshop just got closer to reality. Earlier this month, the company teased a future where an AI chatbot could help you edit your photos, and now one of Adobe’s own has shown what that might actually look like. Mike Chambers, a senior director at Adobe, shared a few proof-of-concept demos on X (formerly Twitter), and while he’s clear that this isn’t an official product (yet), the results are impressive. In one clip, the AI assistant automatically renames all the layers in a Photoshop file—something that would normally take a human a decent chunk of time. In another, the AI jumps between Photoshop and Premiere Pro to build a photography slideshow complete with music. All of this is lining up with Adobe’s bigger plan for agentic AI—a kind of creative assistant that can understand what you’re working on, suggest edits, and even execute them for you. At Adobe MAX London this week, they’re expected to show off the first version of this new “creative agent” as part of an overhauled Actions panel in Photoshop. Think: context-aware edits, natural language controls, and smart automation that doesn’t get in your way.

credits: Sigma Sigma has got a bit of a supply problem on its hands as they announced. The new Sigma BF full-frame mirrorless camera and the refreshed Sigma I Series lenses have both racked up way more pre-orders than expected ahead of their April 24 release. So many, in fact, that Sigma’s production lines can’t keep up. If you were hoping to get your hands on one of these right away, you might have to wait a bit. Sigma says they’re working overtime to ramp up production, but some delays are unavoidable. The company put out a formal apology, thanking customers for their support and asking for patience while they catch up. It’s not just the BF camera either—three updated I Series lenses are also in short supply. Sigma didn’t specify which models, but they’re part of a pretty popular lineup already, and demand clearly shot up after the refresh was announced. So yeah, if you’re one of the many who jumped on the preorder train, hang tight. Your gear’s coming—just maybe not on day one.

credits: Schneider/LK Samyang A while ago Schneider Kreuznach and LK Samyang have teamed up to drop something pretty special for Sony shooters: a 14-24mm f/2.8 lens that’s compact, lightweight, and—get this—it actually lets you use front filters. That might sound small, but for a 14-24mm zoom on Sony E-mount, it’s a first. Most ultra-wides this wide need bulky filter systems or don’t support them at all, so landscape and city shooters should be paying attention. The lens is set to be officially announced on April 22 (later today) and is expected to land at around $1,000. It’s only 445g and measures just under 9cm long, so it won’t take up much space in your bag either. But what really makes it stand out (besides the filter support) is how close you can get to your subject—just 18cm. This is a collaboration that blends Schneider’s legendary German optics with Samyang’s modern manufacturing, so expectations are high. It’s clearly aimed at creatives who want pro-level performance in a compact, travel-friendly package.

credits: Neurapix Neurapix just rolled out a handy new beta feature for photographers called Neurapix Culling, and it’s built right into their existing Lightroom Classic plugin. The goal? Help you sort and select photos without leaving Lightroom. Once you open the plugin, it pulls up your selected catalogue in a super responsive, customizable grid. From there, you can flag, rate, or color-label photos just like you would in Lightroom, and all your changes sync instantly. What makes it special, though, are the AI-powered tools. You get things like burst grouping, so similar shots are bundled together for easy comparison, plus smart zoom to check details. There’s also eyes open detection, gaze direction, and smile detection, which are especially helpful when dealing with group shots. Everything runs locally on your machine, so nothing gets uploaded—your photos stay private. Right now it’s totally free while in beta. If you’re using the Neurapix plugin, just update it through Lightroom’s Plug-in Manager, and you’ll see the culling tools show up.

credits: Polaroid Polaroid just dropped the Polaroid Flip, their latest instant camera that’s all about making analog photography feel simple, fun, and a little futuristic. It’s got a flippable lid that protects the lens and gives the camera its signature look, and inside you’ll find their most powerful flash yet—strong enough to light a subject up to 4 meters away. Handy for night shots or dim lighting in general. It uses a four-lens rotary system that automatically switches based on how far your subject is—so you don’t have to think about focus. Close-up selfies or sweeping landscapes? It should all be covered. Focus is powered by old-school sonar, meaning it works even in total darkness. There’s also a little LED in the viewfinder that warns you if something’s too dark, too bright, or too close, the aim here being not to waste film There’s a display for settings, smartphone app control, USB-C charging, and support for i-Type and 600 film. Pricing is at $199.99 in the U.S./ €219 in Europe and it ships April 29th. You can see full details on Polaroid’s website here

credits: Sony Sony just quietly released two new flash units for Alpha mirrorless shooters: the HVL-F46RMA and HVL-F28RMA, which are basically refreshed versions of the older F46RM and F28RM. At first glance, not much seems different (they just added an “A” to the names), but the big upgrade is better support for the insanely fast shutter speeds of cameras like the Sony A9 III—we’re talking up to 1/80,000 sec with high-speed sync. The F46RMA is the beefier of the two, with a guide number of 46, TTL and manual flash modes, wireless control up to 98 feet, and a modeling light. It recycles in about 0.1 to 2.5 seconds and can crank out up to 320 full-power flashes on a set of 4 AA batteries. It’s available for preorder at $448. The smaller F28RMA is more compact but still solid. It has a guide number of 28, supports HSS and multi-flash modes, tilts from 0° to 120°, and handles up to 15 flashes across 5 groups via a built-in 2.4GHz transceiver. Also dust- and moisture-resistant, it’s priced at $248.

So, what even is UV photography? Basically, it’s taking photos of light that we can’t see. Ultraviolet light sits just outside the visible spectrum (past violet), so when you shoot in UV, you’re capturing how objects reflect or react to that invisible light. That could mean flowers showing weird patterns that only insects normally see, or skin textures popping in ways you didn’t expect. It’s like unlocking a hidden version of reality that’s always been there—just out of sight. Gear you will need Okay, real talk: you can’t just pick up your everyday camera and go out shooting UV. You need some specific gear because most cameras are designed to block ultraviolet light. So here’s what you’re working with: Camera : You’ll need one that’s either already sensitive to UV (some older models work decently), or have one modified to remove its internal UV/IR blocking filter. Lens : Not all lenses let UV light through. Some older manual focus lenses are better for this, since many modern lenses have coatings that block UV. Weirdly, cheaper can be better here. Filter : You’ll need a UV-pass filter (like the Baader-U). It’s basically the opposite of a UV filter you might already own. Instead of blocking UV, it blocks visible and infrared light and only lets UV in. It’s dark and not cheap, but it’s essential. Light source : If you’re shooting outdoors, the sun gives off UV naturally, so you’re good. Indoors or at night, you’ll need a UV light or blacklight to light your subject. How to actually shoot This part takes some trial and error. 1. Focus in visible light UV light’s tricky, and it’s hard to focus with it, especially since you can’t really see what you’re getting. So, focus your shot first in normal light, then lock it in before you add the UV filter (because once you do, the viewfinder pretty much goes dark). 2. Use a tripod Shutter speeds are gonna be loooong. Like several seconds long. So yeah, definitely need a tripod. Bonus points for a remote shutter or using a timer to avoid camera shake. 3. Play around and experiment There’s no one-size-fits-all approach. Try photographing flowers, fruit, fabrics, skin—anything. Some things reflect UV light, others absorb it completely. You won’t know what’s gonna work until you try. What kind of photos do you get? The look is super dreamy and kind of eerie. Flowers sometimes reveal patterns that bees use to navigate. Paint, plastic, or fabrics can do weird stuff. The tones are usually kind of soft and bluish-purple, with a lot of mystery baked in. You’ll get things like: Flowers with “hidden” designs, skin with extra texture and contrast (fun but also mildly creepy), everyday objects looking like they’re from another planet

credits: Omnivision OmniVision just announced the OV50X, a new 1-inch image sensor aimed at flagship smartphones—and it's making some pretty bold claims. The big headline is its “close to 110 dB” of dynamic range, which roughly translates to 18 stops. That’s huge if true—more than most full-size camera sensors can offer. The sensor itself is quite large for a phone (13.1x9.8mm), and it’s got a 50MP resolution with big 1.6μm pixels. In low light, it bins down to 12.5MP, boosting sensitivity and reducing noise. It can shoot at 180 FPS in that mode, and offers multi-frame and dual-gain HDR options depending on what the phone needs—so whether you're filming 4K in rough light or zooming in with digital crop, it's got flexibility. Other specs? Full-sensor autofocus coverage with quad phase detection, plus tech built in to improve low-light and video performance. It's sampling to manufacturers now, with phones using it expected later in 2025. Whether it lives up to its hype in the real world remains to be seen—but it’s definitely a sensor to watch.