credits: Peak Design Peak Design has unveiled the Field Bracket, a new modular L-bracket system that wants to solve some of the long-standing drawbacks of traditional L-brackets. These accessories have long been popular with photographers because they make it quick and easy to change between landscape and portrait orientation on a tripod without having to reposition the tripod head. According to Peak Design, however, the basic L-bracket design has changed very little over the years. With the new Field Bracket, the company has taken a different approach by creating a modular system that can be adapted depending on how you are shooting. At the heart of the system is a camera-specific baseplate, machined from recycled aluminium to fit supported camera bodies. It uses Peak Design’s new Field Latch mechanism, allowing you to remove the vertical section in just a few seconds without any tools, turning it into a slim baseplate when an L-bracket is not needed. The upright section can also be repositioned to leave room for tethering cables and other connections. Peak Design says the goal was to create an accessory that stays out of the way when it is not needed but still offers the same rigidity and stability as a traditional fixed L-bracket. The system also maintains access to camera ports and controls while remaining compatible with Peak Design Capture, the company’s camera straps, and many third-party accessories. The Field Bracket is also designed as the foundation of a larger accessory system. You can replace the upright section with an optional Cheese Plate, adding multiple 1/4-20 and 3/8-16 mounting points along with a cold shoe for accessories such as lights, microphones, or monitors. Other optional accessories include the new Beacon Finder Tag, designed to fit inside an Arca-compatible camera plate, and a dedicated Hand Strap. Camera-specific versions are available for selected Canon, Fujifilm, Leica, Nikon, and Sony cameras. The Field Bracket is priced at $149.95, while accessories such as the Beacon Finder Tag, Cheese Plate, and Hand Strap start at $39.95.

credits: Canon Rumours of a new Canon APS-C camera with a stacked sensor just won’t go away. Over the past few years, reports have repeatedly suggested that Canon has been developing a high-end APS-C model featuring the faster sensor technology already found in cameras like the EOS R1 and EOS R5 Mark II. While stacked sensors have become increasingly common in Canon’s flagship full-frame lineup, the company’s APS-C cameras have yet to receive the same treatment. According to the latest report, reliable sources have once again confirmed that Canon is preparing to launch an APS-C camera with a stacked sensor in the coming months. Exactly which camera it will be remains unclear though. The obvious candidate is the long-rumoured EOS R7 Mark II, which has been the subject of speculation since 2024. Rumours resurfaced throughout 2025 and 2026, although more recent reports suggested the camera may no longer arrive this year. The latest information does not specifically mention the EOS R7 Mark II, leaving open the possibility that Canon could introduce an entirely new flagship APS-C model instead. There have also been several rumours recently claiming that the company plans to reorganise its APS-C lineup. As for specifications, nothing has been confirmed yet, although previous reports have hinted at a sensor with just under 40 megapixels. A stacked-sensor APS-C flagship has long been one of the biggest gaps in Canon’s mirrorless lineup, especially as competitors continue pushing further into the high-performance APS-C market. Nikon has also been linked to a new flagship APS-C camera in recent weeks, and Canon and Nikon have often introduced competing products around similar timeframes. For now, we will have to wait for more concrete details, but with the steady stream of reports coming in, Canon’s next APS-C flagship is definitely getting closer.

credits: Godox Godox has announced the Lux Junior II, an updated version of its retro-inspired compact flash that adds several new features while keeping the same classic look. The biggest upgrade is a new dual-axis design, making it much easier to bounce flash whether you are shooting horizontally or vertically. It also adds TTL metering, a built-in rechargeable battery, wireless receiver functionality, and a hybrid hot shoe that works with multiple camera systems. The flash is available in two version, the standard Lux Junior II for Canon, Nikon, Fujifilm, OM System, and Panasonic cameras, and the Lux Junior II S, which is designed specifically for Sony cameras. The flash is built to work with both digital and film cameras. Digital photographers get TTL automatic exposure, along with manual and multi-flash modes, while film shooters can continue using the built-in AUTO mode, which automatically adjusts flash output based on the camera’s ISO and aperture settings. There is also a 2.5mm sync port for compatible film cameras with PC sync connections. The new dual-axis design allows the flash body to rotate up to 180 degrees, while the flash head tilts upward by 90 degrees with several locking positions. Godox also includes a full CTO filter, half CTO filter, and a magnetic diffuser. Unlike the original model, the Lux Junior II now has a built-in 2.4GHz wireless receiver that is compatible with the Godox X wireless system for off-camera flash setups, although it can only act as a receiver. Power comes from a built-in 7.4V, 700mAh rechargeable lithium battery, which charges via USB-C and is rated for around 400 full-power flashes with recycle times as fast as 1.5 seconds. Other features include high-speed sync up to 1/8,000 second, front and rear curtain sync, flash exposure compensation from -3 to +3 EV, manual power adjustment from full power down to 1/128, and flash durations ranging from 1/1,000 to 1/30,000 second. Sony users also get global shutter synchronisation on compatible cameras. Weighing 153g, the Godox Lux Junior II and Lux Junior II S are priced at $79. You can see full details on Godox’s website here

credits: NiSi NiSi’s new ultra wide 16mm f/2.8 ASPH lens for Fujifilm GFX and Hasselblad XCD medium format cameras is here. With a full-frame equivalent focal length of roughly 12.6mm and a 118-degree field of view, it is one of the widest native lenses currently available for these systems. Built for today’s 100MP medium format sensors, the lens is designed to deliver high resolution across the frame while remaining relatively compact, measuring 108mm in length and weighing around 835g. It also features a weather-sealed metal body and a standard 82mm filter thread. On the inside, the lens uses a 16-element, 12-group optical design, including three aspherical elements and four ultra-low dispersion elements to help reduce distortion, chromatic aberration, and other optical issues. NiSi says the lens offers APO-level chromatic aberration control, helping keep both axial and lateral colour fringing to a minimum, even at f/2.8. The fast maximum aperture also makes it well suited for astrophotography, with the optical design meant to keep coma under control for better looking stars. Other key specs include an 8-blade aperture, which produces clean 8-point sunstars from f/4 to f/22, a minimum focusing distance of 0.25m, and 0.12x maximum magnification. The lens is fully manual, featuring a 180-degree focus throw for precise focusing and a clicked aperture ring for direct aperture control. NiSi has also applied its SA+ anti-reflection coating, along with a durable protective coating that helps resist water, oil, and fingerprints. The NiSi 16mm f/2.8 ASPH for Fujifilm GFX and Hasselblad XCD mounts is priced at $1,399. You can see full details and sample shots on NiSi’s website here

credits: Meike Meike’s new AF 85mm f/1.4 MIX II is here. It is an updated version of the company’s fast full-frame portrait lens for Sony E, Nikon Z, and L-Mount cameras. According to Meike, the lens has been redesigned to better match today’s high-resolution cameras, now capable of resolving sensors up to 67MP and ready for workflows reaching 10K resolution. It also features a new APO optical design that is intended to reduce chromatic aberration and improve colour accuracy across the frame. The optical construction has been updated as well, with 15 elements arranged in 11 groups. Meike says the new design delivers improved sharpness from the centre right out to the edges, while the published MTF charts show stronger edge performance than the previous version, particularly when the lens is stopped down. The lens pairs the classic 85mm focal length with a bright f/1.4 maximum aperture that stops down to f/16, uses an 11-blade diaphragm for smoother background blur, accepts 77mm filters, and has a minimum focusing distance of 0.81m. Autofocus is powered by Meike’s new Hyperb STM motor, which is designed to deliver faster, quieter, and more accurate focusing for both stills and video, while also supporting Eye AF on compatible cameras. The Sony E-mount version weighs 648g, the Nikon Z version comes in at 656g, and the L-Mount version weighs 653g, with all three measuring 85mm in diameter and 110mm in length. Meike has also added several physical controls, including a click/de-click aperture ring, an aperture lock switch, a customisable Fn button, and an AF/MF switch. The AF 85mm f/1.4 MIX II is available in Black, White, and a Panda two-tone finish for $569.

credits: Lomography Lomography has announced the Simple Use Reloadable Film Camera Half Frame, a new version of its 35mm film camera that is designed to make shooting film a little more affordable. Instead of exposing a full 35 × 24mm frame with each shot, the new camera captures a vertically oriented 17 × 24mm half-frame image. The main benefit being that you can squeeze twice as many photos out of a single roll of film. The camera comes preloaded with enough film for 40 half-frame shots, but once it is reloaded with a standard 36-exposure roll, it can capture up to 72 photos. With the cost of film, development, and scanning still adding up, that is a nice way to get more out of every roll. The camera also has a different look compared to Lomography’s standard Simple Use Reloadable Film Camera. It has a taller body, a larger shutter button, a raised central viewfinder, and a chunkier top dial while keeping the built-in Xenon flash. The flash works with interchangeable gel filters and takes around 15 seconds to recharge. The camera itself features a fixed 21mm f/9 lens with a focusing range from 0.6m to infinity, a fixed 1/120-second shutter speed, and power supplied by a single AAA battery. The Simple Use Reloadable Film Camera Half Frame is available in two versions. The standard model costs $29.90 and comes preloaded with a 40-shot roll of Lomography Lady Grey ISO 400 black-and-white film. A second version, priced at $34.90, comes loaded with 40 half-frame shots of LomoChrome Color ’92 Sun-kissed ISO 400 film and also includes the interchangeable flash gel filters. Like the original Simple Use camera, it can be reloaded with any standard 35mm film.

credits: Hasselblad Hasselblad has officially released Phocus Mobile V1.0.0 for Android, bringing its mobile editing app to Android users for the first time. The app supports the X2D II 100C, X2D 100C, 907X, and CFV 100C, giving photographers a way to review, edit, organize, and export photos directly from an Android device. While Phocus Mobile has been available on iOS for several years, the Android version does not launch with every feature found on Apple’s platform. Most notably, mobile tethering is not available yet. Photos can be transferred either over Wi-Fi or via USB-C, although wired transfers are currently limited to the X2D II 100C running firmware 1.3.16.1 or newer. One of the biggest additions is support for Hasselblad Natural Colour Solution (HNCS), allowing you to keep Hasselblad’s signature colour rendering throughout the entire mobile workflow. The app also includes AI-powered Hasselblad Natural Noise Reduction (HNNR), which has been developed specifically for the company’s 100MP medium-format sensors. According to Hasselblad, the system has been trained on hundreds of thousands of Hasselblad photos and can reduce noise in RAW files in around 15 to 20 seconds while still preserving fine detail. Users can choose between Purity Mode, which focuses on stronger noise reduction, and Detail Mode, which keeps more luminance noise and fine textures for a more natural look. The app also supports HDR workflows. HDR photos captured with the X2D II 100C can be viewed on compatible HDR Android devices and exported as Ultra HDR JPG, while RAW files can be exported as either Ultra HDR JPG or HDR TIFF. Phocus Mobile for Android is available now as a free download and requires a device running Android 12 or later with at least 12GB of RAM. For the best experience, Hasselblad recommends Android 16 or newer and a device powered by a Snapdragon 8 Gen 3 processor or later.

credits: Cosina Cosina had a very busy CP+ 2026 this February, showing off early examples of several new Voigtländer lenses, including the APO-Lanthar 90mm f/4 Close Focus VM-Mount. That lens has now been fully revealed ahead of its August launch. Designed for Leica M-mount cameras, it combines a compact telephoto design with relatively close focusing for a rangefinder lens. Measuring 53mm in diameter, 54.8mm in length, and weighing 235g, it is small enough to avoid blocking much of the rangefinder window, something that can often be an issue with longer M-mount lenses. Inside, the lens uses an 8-element, 6-group optical design, with six elements made from abnormal partial dispersion glass to help control chromatic aberration. The apochromatic design is intended to bring different wavelengths of light into focus on the same plane, reducing colour fringing while maintaining sharpness and contrast. A 10-blade aperture diaphragm is also included and the lens accepts 43mm filters. Close focusing, as mentioned, is one of the main features here. Using Live View, the lens can focus down to 0.5m, while rangefinder coupling works to 0.7m, depending on the camera. Maximum magnification is 0.28x, putting it just beyond 1:4 macro reproduction. Although built for Leica M-mount cameras, its full-frame image circle also makes it easy to adapt to mirrorless systems. The Voigtländer APO-Lanthar 90mm f/4 Close Focus is expected to ship in August for 103,320 yen, or roughly $640, with international pricing still unconfirmed.

credits: Capture One Capture One has brought its second-generation wireless tethering to Capture One Mobile, giving Canon EOS R1 and EOS R5 Mark II users the ability to transfer RAW files wirelessly at speeds the company says are comparable to a wired connection. The feature first arrived on the desktop version of Capture One in late May, and after lots of requests from photographers, it is now available on mobile as part of Capture One Mobile 3.4.0. According to Capture One, a huge drawback of wireless tethering has always been the delay between taking a photo and seeing it on screen, with transfers often taking 20 seconds or more. The new system tries to solve that by displaying an editable RAW preview in under a second, allowing you to start reviewing and editing immediately while the full-resolution file continues transferring in the background. Once the transfer finishes, any edits made to the preview are automatically applied to the original file. The feature works over a standard local Wi-Fi network, without using Bluetooth or cloud services, and automatically reconnects if the connection drops so the workflow can continue without losing photos. Second-generation wireless tethering is available now in Capture One Mobile 3.4.0 for the Canon EOS R1 and EOS R5 Mark II, and is included for all current Capture One subscribers as well as users with a perpetual Version 16.8 license or later.

credits: Tamron Tamron’s 12-20mm f/2.8 lens for Sony E and Nikon Z full-frame mirrorless cameras is here. Not only is this a brand-new ultra-wide zoom, but the lens also marks the start of a refreshed branding approach for the company. Gone are the long product names like “Di III VXD,” with Tamron instead going for the much simpler Tamron 12-20mm f/2.8. The lens also arrives with a redesigned exterior, featuring updated control ring textures, a darker matte finish, and a stronger focus on physical controls. One of the biggest changes is the number of controls built directly into the lens. It has a zoom ring, manual focus ring, and, on the Nikon Z version, a customisable control ring. There is also an aperture de-click switch, AF/MF switch, zoom lock, manual focus lock, plus two customisable function buttons linked to a three-way selector switch. Inside, the lens uses a 17-element, 12-group optical design that includes one XGM (eXpanded Glass Molded Aspherical) element, three GM (Glass Molded Aspherical) elements, and several additional special glass elements to help reduce corner softness, chromatic aberration, and sagittal coma flare. Autofocus is handled by Tamron’s VXD linear motor, while the 12-blade aperture covers a range from f/2.8 to f/16. The lens focuses as close as 0.18m at 12mm and 0.28m at 20mm, with maximum magnification ratios of 1:5.8 and 1:9.1, respectively. The lens measures 119.3mm long, weighs 570g, and is weather sealed throughout the barrel, although Tamron has not given it an official IP rating. The permanently attached petal-shaped lens hood means there is no front filter thread, but the lens instead includes a rear gel filter holder. The Tamron 12-20mm f/2.8 will be available for Sony E and Nikon Z mounts starting July 30 for $1,699.

credits: Huawei While Huawei is not the name it once was in Western markets, it remains one of the biggest smartphone brands in China and continues to put a strong emphasis on mobile photography. The company is now expanding its latest photography-focused flagship phones internationally, bringing the Pura 90s Pro Max and Pura 90s Pro to Europe. Interestingly, the phones are sold simply as the Pura 90 Pro Max and Pura 90 Pro in China, with Huawei adding the “s” only to the global versions, although it has not explained what the letter stands for. The biggest highlight is the Pura 90s Pro Max, which has a 200MP telephoto camera built around a large 1/1.28-inch RYYB sensor. That is roughly the size of the main sensors found in many flagship smartphones, but Huawei has paired it with an approximately 96mm-equivalent f/2.6 lens, offering around 4x optical zoom. The camera also supports 7-stop optical image stabilisation, a telephoto macro mode, and a new 20x ultra-telephoto video mode. Full-resolution 200MP photos can be captured at the native focal length, while normal shooting relies on pixel binning for improved low-light performance. Alongside the telephoto camera is a 50MP main sensor with LOFIC technology for improved dynamic range and a rare 10-step variable aperture that ranges from f/1.4 to f/4.0, plus a 40MP ultra-wide camera. Huawei has also included its second-generation True-to-Colour Camera 2.0, which is designed to improve colour accuracy, particularly under challenging mixed lighting. Another interesting addition is a composition assistant that tells you to move forward, backward, or sideways before taking a photo to improve your framing. The Pura 90s Pro keeps the same 50MP main camera with its f/1.4-f/4.0 variable aperture, but replaces the 200MP telephoto with a 50MP f/2.1 telephoto macro camera and changes the 40MP ultra-wide for a 12.5MP version. Outside of the camera system, the Pro Max features a 6.9-inch LTPO OLED display with a 1-120Hz adaptive refresh rate, 2880 × 1308 resolution, and weighs approximately 230.5g. The Pro gets a slightly smaller 6.6-inch LTPO OLED display, a 2760 × 1256 resolution, and weighs around 213.5g. While the Chinese models include 6,000mAh batteries, the European versions will ship with 5,200mAh cells to comply with EU regulations. Huawei has not yet announced pricing or confirmed exactly which European markets will receive the phones.

credits: Fujifilm It has been a relatively quiet year for Fujifilm so far, with most of the company’s launches focusing on the Instax lineup. That looks set to change soon, as sources now point to the first week of September 2026 for the official unveiling of the brand new Fujifilm X-T6. Beyond replacing the popular X-T5, the new camera is also expected to introduce Fujifilm’s next generation of APS-C hardware, which will likely form the basis for many future X-series models. Based on the latest rumours, the X-T6 is expected to feature a 40-megapixel X-Trans CMOS sensor paired with the new X-Processor 6, bringing faster overall performance, better power efficiency, and an upgraded AI-powered autofocus system with improved subject detection and tracking. Other rumoured features include up to 8 stops of in-body image stabilisation, a 200MP Pixel Shift mode, dual UHS-II SD card slots, Wi-Fi 6, weather sealing, and a larger NP-W255 battery that is said to deliver around 750 shots per charge. Fujifilm is also expected to make a few ergonomic changes, including redesigned top-plate dials, while keeping the classic X-T design that the series is known for. Video is also expected to get a big upgrade. Current reports point to 8K/30p recording, oversampled 4K, 10-bit 4:2:2 internal recording, F-Log2, and support for ProRes RAW and Blackmagic RAW output over HDMI. The camera is also rumoured to shoot at up to 60fps with the electronic shutter and introduce a new film simulation with deeper, richer colours. The expected body-only price currently sits between $2,199 and $2,399.