credits: Canon According to the latest rumours, Canon is preparing to announce a new photography-focused PowerShot in September 2026, and the most interesting claim is that the camera will feature a zoom lens with a maximum aperture wider than f/2 throughout the entire zoom range. If that proves accurate, it would be a significant step forward for a compact camera. For comparison, the PowerShot G7 X Mark III offers an f/1.8-2.8 lens, while the newer PowerShot V1 is limited to f/2.8-4.5. There may be a catch, however. According to sources, the impressive aperture could be achieved with the help of computational image correction, meaning there may be some trade-offs in image quality. For many compact camera users, that likely won’t be a dealbreaker, but it is something worth keeping in mind until Canon officially reveals the camera. The latest reports also paint a slightly different picture of where this model will sit in Canon’s lineup. Earlier rumours suggested it would be completely different from previous G-series cameras, but more recent information points toward a camera that builds on the PowerShot G7 X Mark III, while improving it across the board and introducing several new things. It is possible those earlier rumors were actually referring to a different compact camera that is also in development. One key detail that remains a mystery is the sensor size. Earlier reports said Canon could use a sensor smaller than the 1.4-inch sensor found in the PowerShot V1, while other rumours talked of a 1-inch sensor. More recently, though, sources have backed away from those claims, saying the sensor size is still unconfirmed. What does seem increasingly clear is that Canon is taking compact cameras seriously again. In its latest quarterly financial report, the company said it expects compact camera revenue to grow by more than 50%, so the PowerShot lineup will definitely continue to receive significant attention over the coming months.

credits: Tamron Tamron has released a new firmware update for its 25-200mm f/2.8-5.6 Di III VXD G2, and it brings a pretty unusual improvement. While lens firmware updates normally focus on things like autofocus performance or compatibility, Firmware Version 3.00 actually makes the lens much better at close-up photography at the wider end of the zoom range. With the update installed, the lens now reaches 1:2 (half-macro) magnification from 25mm to 70mm, while the 35-50mm range can now achieve an even higher 1:1.7 maximum magnification. The company has not broken down exactly how much the close-focusing performance has improved across every focal length, but the difference at 50mm is especially impressive. Before this update, the maximum magnification at 50mm was 1:3.1. After installing the new firmware, that jumps to 1:1.7, allowing you to get much closer to your subjects without changing lenses. That is a meaningful upgrade because working at 50mm gives you a much more comfortable shooting distance than 25mm. You can stay farther away from your subject, making it less likely that you will cast shadows over it, while also avoiding the stronger wide-angle distortion that comes with shooting close at shorter focal lengths. On top of that, 50mm generally produces a more natural-looking perspective. Firmware Version 3.00 is available now through the Tamron Lens Utility software for Windows and macOS.

credits: Adobe The latest version of Adobe Camera Raw, 18.4.1, started rolling out a few weeks ago, but it quietly introduced a feature that people have only just discovered, and they are going crazy over it. The update adds the ability to display the autofocus point that was used when a photo was taken, making it much easier to figure out whether a missed shot was caused by the camera’s autofocus system or simply by you placing the focus point in the wrong area. In Adobe Camera Raw, you can press Ctrl + Alt + Shift + O on Windows or Command + Option + Shift + O on Mac, or simply right-click the photo and select “Show Autofocus Points.” ACR will then overlay a red box showing the autofocus point or focus area recorded by the camera. It is not a perfect troubleshooting tool, as it cannot always tell, but it does provide valuable insight without needing to review photos on the camera itself or open the manufacturer’s own software. At the moment, the feature supports RAW files from Canon, Sony, and Nikon cameras, with support for other brands hopefully arriving in future updates. It is also currently limited to Adobe Camera Raw, with many people hoping it will eventually make its way to Lightroom and Lightroom Classic. Beyond that, the update also included a new Presentation Mode which lets you view your photos full-screen with a customisable matte around the image while using the arrow keys to move between photos. Generative Expand can now be used to fill transparent edges created during editing, and bidirectional gradient masks have been improved with feathering support and more precise controls.

credits: Fujifilm New rumours suggest Fujifilm could unveil the long-awaited X-T6 at Fujikina Paris, which takes place September 4-6. According to the latest reports, the camera will feature a new 40MP partially stacked X-Trans 6 APS-C sensor paired with the X-Processor 6, promising faster readout speeds and improved image quality. The revised processing pipeline is also said to deliver better signal-to-noise performance, resulting in cleaner high-ISO photos and improved detail. While Fujifilm has not confirmed any of these specifications, the camera has apparently cleared regulatory registration, adding some weight to the rumours. If accurate, the official announcement could happen shortly before the Fujikina event, with hands-on units expected to be available in Paris. Performance looks set to receive a significant boost over the X-T5. Leaks point to burst shooting up to 60fps, an increase to 500 phase-detection autofocus points, and upgraded AI-powered subject detection and tracking for people, animals, and birds. The camera is also expected to have an electronic shutter capable of 1/18,000 second, a mechanical shutter up to 1/8,000 second, and a release lag of around 30ms. On the video side, the rumoured specifications include 8K/30p 10-bit 4:2:2, 4K/120p, oversampled 4K HQ from 8K with 2x digital zoom, 14 stops of dynamic range, F-Log2, and support for 12-bit ProRes RAW and Blackmagic RAW output over HDMI. Other rumoured upgrades include 7-stop IBIS, along with a pixel-shift multi-shot mode capable of combining 20 images into a single 200MP file. Fujifilm is also expected to include 20 Film Simulation modes, three Auto White Balance options, a redesigned control layout, a higher-resolution 3-inch fully articulating 1.84-million-dot LCD, and a 3.69-million-dot OLED EVF with 0.8x magnification. The weather-sealed body is said to weigh around 550g, while a larger NP-W235 battery could deliver up to 750 shots per charge. Connectivity is expected to include USB 3.2 Gen 2, micro-HDMI, Wi-Fi 6, Bluetooth, a 3.5mm microphone input, PC sync, and a 2.5mm remote port. Current pricing estimates put the upcoming XT-6 somewhere around $2,199–$2,399.

credits: Canon Canon has released new firmware updates for both the EOS R6 V and EOS R6 Mark III, with the EOS R6 V receiving one of its most anticipated features, external flash support. The updates also add support for the BR-E2 Wireless Remote Controller, introduce a grid overlay during video recording, expand autofocus functionality on the R6 Mark III, and include a number of bug fixes and general stability improvements. The biggest addition is, without question, flash compatibility on the EOS R6 V. Since the camera uses an electronic shutter only, flash synchronisation is limited to 1/60 second, and native compatibility is limited to Speedlites designed for Canon’s Multi-function Shoe, although older flashes can still be used with a compatible adapter. Alongside basic flash firing, the update introduces E-TTL balance, E-TTL II metering, slow-sync flash, and dedicated menus for flash settings and custom flash functions. Both cameras also gain BR-E2 wireless remote support, a grid display during video recording, and compatibility with Canon’s EDSDK and CCAPI developer platforms. On the EOS R6 Mark III, the Close-up AF function can now be used in manual exposure, auto exposure, and other Creative Zone modes while working alongside custom exposure and autofocus area settings. The updates also address several reliability issues. Canon says interval timer shooting will no longer be interrupted if the camera enters Auto Power Off, USB connections with smartphones have been improved, and digital IS metadata is now records correctly when shooting Slow & Fast Motion video below 24fps. The EOS R6 Mark III also receives a fix for the “Err41” error that could occur during FTP image transfers, while both cameras benefit from general stability improvements.

credits: Meike/Fujifilm After a brief delay, the Meike AF 85mm f/1.8 for Fujifilm GFX is officially here, giving GFX users one of the first third-party autofocus prime lenses built specifically for the system. One of the biggest highlights is its size and weight. At 406g, it is almost half the weight of Fujifilm’s own GF 80mm f/1.7 R WR, which comes in at 795g. That is quite a noticeable difference on a medium format camera, especially when carrying the camera around all day. On Fujifilm’s 44×33mm sensor, the 85mm focal length provides a field of view roughly equivalent to 67mm on full frame. Inside, the lens features an 11-element, 7-group optical design along with an 11-blade aperture, which should help produce smooth, rounded background blur. Autofocus is powered by Meike’s own STM motor, which the company says delivers quiet and smooth focusing for both stills and video while keeping up with moving subjects. Other key specs include a minimum focusing distance of 0.65m, 0.17x maximum magnification, and support for 62mm filters, a relatively modest filter size compared to many native GFX lenses. Meike also says the optical design is intended to keep purple and green colour fringing under control, although that claim is currently based on the company’s own specifications. The lens barrel is made from metal, and an A/C switch on the outside lets you choose how the aperture is controlled. In the A position, aperture control is handled automatically by the camera, while the C position changes behaviour depending on the selected shooting mode, allowing manual aperture control when shooting in manual mode. The Meike AF 85mm f/1.8 for Fujifilm GFX is priced at $389.

credits: Viltrox As expected, Viltrox has officially announced its first lenses for the Micro Four Thirds system. After months of rumours, the company has confirmed that its lightweight AF 25mm f/1.7 Air and AF 35mm f/1.7 Air primes are coming to the platform, marking Viltrox’s first step into the Micro Four Thirds ecosystem. The announcement was made in China, with a global launch expected very soon. Interestingly, while these are Viltrox’s first MFT lenses, the company has not officially joined the Micro Four Thirds System standard. That could still change in the future, but for now the lenses arrive without any formal membership announcement. Both models were originally designed for APS-C cameras and retain the same compact design, weighing 170g each and measuring just under 55mm in length. The AF 25mm f/1.7 Air provides a 50mm full-frame equivalent field of view on Micro Four Thirds and joins a category that already includes options like the OM System M.Zuiko Digital 25mm f/1.8 II, Panasonic Lumix G 25mm f/1.7, and third-party alternatives such as the Yongnuo YN 25mm f/1.7. Meanwhile, the AF 35mm f/1.7 Air offers a 70mm full-frame equivalent field of view. It is a focal length with relatively few autofocus choices in the system, where many alternatives are manual-focus lenses or longer options like the OM System M.Zuiko 45mm f/1.8, giving Viltrox a chance to fill a gap there. The launch of these two lenses could also be the beginning of a broader Air-series expansion for Micro Four Thirds. Viltrox already produces compact APS-C primes including the 9mm f/2.8, 15mm f/1.7, and 56mm f/1.7, all of which could potentially make their way to the system in the future. In China, both the AF 25mm f/1.7 Air and AF 35mm f/1.7 Air are priced at ¥899, which works out to roughly $125 USD. Global pricing has not been announced yet.

credits: Sigma/Sony Sigma has released a new round of firmware updates for 13 Sony E-mount lenses, addressing a display issue that could affect the Sony A7 V. According to Sigma, the bug could, in rare cases, cause the display on the camera to go black and freeze while shooting. Aside from fixing this issue, the company says there are no other changes included in the latest firmware. The update covers several lenses from Sigma’s Contemporary I-Series, including the 17mm f/4, 20mm f/2, 24mm f/2, 45mm f/2.8, 65mm f/2, and 90mm f/2.8, as well as the 35mm f/1.4 DG DN | Art. Each I-Series lens appears twice in Sigma’s firmware list because the lineup was refreshed in early 2025. Those updated versions received a redesigned exterior, an optional silver finish, and dropped the “DN” designation from their names, although the optical design remained unchanged. Since the original and revised versions are treated as separate products, each has its own firmware download page. The fix only applies to Sony E-mount versions of these lenses. Firmware versions range from Ver. 03 for the 17mm f/4 to Ver. 07 for the 45mm f/2.8, so Sigma recommends checking whether you own the original or revised version before downloading the update. The L-mount versions are unaffected and remain on their existing firmware. Installation is available through Sigma’s updater software for Windows and macOS, and the company recommends reading the “BEFORE UPDATING” instructions before starting the process. For Sony A7 V users, this is the second recent software update related to the camera, following Firmware 2.00, which introduced features including 32-bit float audio support.

credits: Light Lens Lab Light Lens Lab just revealed another ambitious project, this time giving a first look at a brand-new analog film camera that is currently in the very early stages of development. The company is already well known for recreating rare and expensive classic lenses, but in recent months it has also confirmed work on a new black-and-white film emulsion and peel-apart film, a film camera now seems like the next logical step. The company shared a short teaser on Instagram showing a 3D-printed prototype of the camera body. While it is clearly still an early concept, the overall shape resembles a classic Leica rangefinder, matching the vintage styling of many of the company’s M-mount lenses. Light Lens Lab says the current model is only a rough prototype and is not based on any of its previous lens projects. Instead, it is being developed as an entirely new product that will include automatic features as well as new patent-pending technologies. The company has not revealed what those technologies are yet, saying it will have to wait until the patent process moves further along. Anyone hoping to get their hands on the camera anytime soon will have to be patient though. According to Light Lens Lab, the current target for release is somewhere between 2027 and 2030.

credits: Perla Mostra Newly formed company Pearla Mostra has announced Pearla Revela, a new non-destructive editor for photos and videos that runs on iPhone, iPad, and Mac. The app combines photo organisation, RAW processing, colour editing, compositing, search, and export tools into a single workspace. According to the company, it is the first professional photo and video editing platform built for Apple’s ecosystem that offers the same experience across all three devices, with no stripped-down mobile version. One of its main ideas is to keep the entire editing workflow connected, allowing multiple versions and exports to branch off from the same original RAW file or Log video without ever altering the source. The centrepiece of Pearla Revela is its node-based editing interface, where adjustments such as RAW processing, colour grading, masks, healing tools, frequency separation, curves, colour wheels, text, and compositing all appear as individual nodes that can be reordered at any time. Both photos and videos use the same editing graph, similar to the workflow found in DaVinci Resolve 21, which recently introduced RAW photo editing. Other features include professional SDR and HDR colour grading, on-device AI search for visual content, non-destructive editing throughout the workflow, and built-in film emulation tools carried over from the company’s Pearla Verana IV app. Importantly, Pearla Revela is not limited to files captured with Pearla’s own camera apps. The software supports more than 800 cameras from 19 manufacturers and works with 30 different RAW photo and video formats, including PearlaRAW and Apple ProRAW. The software is available for pre-order with a lifetime license priced at $189. Pearla Mostra also plans to offer a subscription option for $89.99 per year.

credits: Megadap Back in March, I reported on the Megadap M2RF when it was first announced, but at the time there was no official pricing or release date. That has now changed. Megadap has confirmed that the world’s first autofocus adapter for mounting Leica M-mount lenses on Canon RF cameras will retail for $500 and is expected to begin shipping in early August. The adapter stands out because it brings autofocus to fully manual Leica M lenses without requiring any modifications. Rather than relying on autofocus motors inside the lens itself, the M2RF uses a built-in motorised helicoid that physically moves the attached lens forward and backward to achieve focus. This allows you to use Canon’s Dual Pixel Autofocus features, including Eye AF, subject tracking, and continuous autofocus. Switching between autofocus and manual focus can also be done with the press of a button. Beyond autofocus, the adapter offers a few additional features. Its 4.5mm focusing extension allows compatible Leica M lenses to focus much closer than the usual 0.7-meter minimum focusing distance, making close-up and even some macro-style photography possible. The adapter also supports EXIF data transmission, ensuring shooting information is recorded correctly by the camera. Lens profiles can be stored directly on the adapter via a magnetic connection cable, which also serves as the interface for future firmware updates.

credits: Viltrox Viltrox could be getting ready to enter the Micro Four Thirds market. Rumors about the company releasing lenses for the system have been circulating for months, and an official teaser posted on Viltrox’s Chinese social media now suggests an announcement is scheduled for July 23. Adding to the speculation, Viltrox’s official Reddit account also joined the conversation with a short post saying, “Something new coming soon,” followed by a fire and salute emoji. While the company didn’t reveal any details, it also didn’t dismiss earlier rumors about what could be coming. According to previous reports, the first lenses could be the Viltrox AF 25mm f/1.7 Air and AF 35mm f/1.7 for Micro Four Thirds, offering full-frame equivalent focal lengths of 50mm and 70mm. Nothing has been officially confirmed yet, but these lenses would make a logical starting point. Both were originally designed for APS-C cameras, whose image circle isn’t dramatically larger than Micro Four Thirds. They also fit well with Viltrox’s Air series philosophy, offering compact and lightweight designs. The existing X-mount version of the AF 25mm f/1.7 Air weighs just 170g, measures 54.7mm long, and accepts 52mm filters, while the AF 35mm f/1.7 shares the same dimensions and weight. If these do turn out to be Viltrox’s first Micro Four Thirds lenses, there are several other Air lenses that could eventually make the jump as well, including the 9mm f/2.8, 15mm f/1.7, and 56mm f/1.7. Most of the lineup is priced below $200, with the 15mm f/1.7 coming in at $239. It’s also still unclear whether Viltrox plans to officially join the Micro Four Thirds system, although doing so would provide a number of technical and logistical advantages. Fortunately, there shouldn’t be long to wait, with the company’s official announcement expected on July 23.