What’s coming this year to Luminar Neo – in addition to ecosystem features, Luminar Neo users will receive three powerful upgrades (see also this post):
Restoration: Bring old or damaged photos back to life in a single click. Perfect for reviving family memories or vintage prints with deep scratches or faded color.
AI Assistant: Our new intelligent guide that analyzes photos and recommends optimal edits. Ideal for beginners and pros alike, it makes powerful tools like Develop Raw, Curves, and Color Harmony easier to use than ever.
Volume – free for all users: Instantly add depth and dimensionality by enhancing light and shadow. A one-click solution to elevate contrast and visual impact — no manual Dodge & Burn needed.
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Images: Nikon, C2PA
Last week, Nikon released firmware v2.0 for the Z6III, which brought support for C2PA Content Credentials alongside several other features. Theoretically, the cryptographic signature should prove that an image was authentically captured with the camera, and that it hasn't been tampered with since its creation. However, DPReview forum user Horshack has found a way to get the camera to sign an image that it didn't actually take.
You should check out the thread for Horshack's (well-written, as per usual) explanation of how he did it. The summary is that it works by using the Z6III's Multiple Exposure feature. Nikon lets you select a photo as your base, and then stack multiple exposures on top of it. Horshack selected a Raw image taken by another Z6III without the content credentials feature enabled.
This image, created inauthentically, has Content Credentials that claim it was taken with a Z6III. Because it was... but only kind of. Image: Horshack
He then took a multiple exposure picture with the lens cap closed. The result: the previously unsigned image, now with a Content Credential attached. If you put the JPEG into Adobe's Content Credential Inspect tool, it appears to be a perfectly normal image, signed as authentic by the Z6III.
Horshack theorizes this trick would work even with a Z6III Raw file that had been modified to include, say, an AI-generated image. Stuffing another image into a Raw file isn't necessarily something you can do with standard software, but Horshack believes it could be done, thereby removing the need to take an authentic image in order to get a signed file.
The capture details section doesn't contain any information that the image was created by taking multiple exposures.
The trick isn't completely bulletproof. The image's EXIF data reports that it was created using multiple exposures, though Horshack also discovered that you may be able to edit an image's metadata fields without invalidating the content credential. A few fields, such as the camera's serial number, are stored within the credential itself, but most are not.
We attempted to edit a few metadata fields using exiftool, but each test we did resulted in Adobe's Content Credentials Inspect tool showing that it no longer had credentials.
I assumed Nikon wouldn't sign images taken with the feature
Horshack says he discovered the issue after trying to come up with ways the Content Credentials feature might fail. "When I thought of it I assumed Nikon wouldn't sign images taken with the feature, to prevent the outcome I achieved," he said.
When Nikon announced the Content Credentials feature for the Z6III, it classified it as a beta, so there were bound to be bugs. (In fact, Horshack also seems to have figured out why some users had to wait several hours before their cameras started signing images.) However, being able to use it to sign images taken under different conditions is a pretty big issue, one we hope that Nikon will iron out as soon as possible.
We've reached out to Nikon for comment, and will update this story if we get a response.
Rollei has a new “We are back” teaser on social media:
We’re back with big plans, new projects, and plenty of analog inspiration.
As of 2015, the Rollei and Rolleiflex brand names are owned by RCP Technik Verwaltungs GmbH, which reorganized into Rollei GmbH & Co. KG on January 1, 2015 (based in Hamburg, Germany).
Photo: boonchai wedmakawand / Moment via Getty Images
As photographers, one of our worst fears is discovering a failed hard drive or dead computer, resulting in losing countless photographs. Unfortunately, backing up images is an afterthought for many, putting those files at risk. If you fall in that camp, it may be time to consider how to revamp your backup process to protect your images.
The 3-2-1 rule has become the gold standard for photo backup, offering a safe method for keeping your work safe. Here's what you need to know about this method of backup.
What is the 3-2-1 rule?
Photographer Peter Krogh is typically attributed with coming up with the 3-2-1 rule nearly two decades ago. He wrote about his method in his 2009 book The DAM Book: Digital Asset Management for Photographers. While digital storage has changed drastically since then, the general principle remains relevant.
The backup method explains that you should have three copies of your files. Files should be stored on two different types of media, and one copy should be kept offsite. Following that process helps to protect your files from hardware failure and physical disasters like fire or theft.
Components of the 3-2-1 rule
Each number of the 3-2-1 rule refers to a separate component in the backup process. Here are the different parts you should be aware of.
Three copies
You should have three copies of your files for the utmost protection, though they shouldn't all be on the same media type. Photo: Mitchell Clark
The first number of the rule says that you should have three copies of your data. It's important to have three copies so that if something happens to your main storage, you have additional backups. While it isn't likely that two backup sources are damaged, it is possible, and a third gives you an extra layer of protection.
Your primary computer can count as one copy, which may work when you first start out. However, you will likely eventually have far too much to store on a computer, so you'll need another backup option at some point.
Two types of media
Of your three copies, you should use at least two different types of media instead of two separate devices of the same kind. Using different media diversifies the risk, thus lowering the chances of failure for both options.
There are many different types of media at our disposal these days. You could opt for one copy on hard drives and one in the cloud, or you could opt for a Network Attached Storage (NAS) system and portable SSDs. The important thing is to have two distinct systems that you keep updated.
One offsite
Image: Andriy Onufriyenko / Moment via Getty Images
Finally, one copy of your files should be stored offsite. Storing a backup of your work in a different location from your other two helps protect against risks like theft or natural disasters. After all, if all of your backups are stored in your home and a fire comes through, all of your work will be gone, no matter how many physical copies you have on hand.
When thinking about an offsite version, it's useful to understand the difference between an offsite copy and an offsite backup. A proper backup is a structured, versioned process that allows for data recovery of the original files. It protects against loss, corruption, accidental deletion and more and allows you to essentially go back in time. DPReview editor Mitchell Clark once had his extensive library of photos saved because he had them all backed up to Backblaze, a cloud backup service he often recommends to friends and family.
"A proper backup is a structured, versioned process that allows for data recovery."
On the other hand, a copy is simply a duplicate saved elsewhere that lacks a version history. Cloud services like Google Drive and Dropbox aren't considered proper backups because they only sync files rather than providing a robust, versioned archive. Those platforms are still vulnerable to ransomware, accidental file deletion or overwriting with the wrong versions. They are fine in a pinch and as a temporary solution, but be aware that they are not intended to serve as true backups.
You may also be tempted to use a hard drive kept at a separate location as your offsite copy. This could work as a limited short-term solution, but shouldn't be used long-term. It's very common to plug a hard drive in only to find that it's dead, as I learned the hard way years ago. There are optical media options, such as M-Disc, which are designed to last a really long time and can hold up to 100GB each, but standard hard disk drives are not considered safe for long-term backup.
Protect your files
Photo: Mitchell Clark
The 3-2-1 rule certainly sounds simple on paper, but implementing a robust backup system can be time-consuming and overwhelming. However, the earlier you put this method into practice, the easier it will be, and the less you'll have to worry about losing your hard work. And if you can find ways to automate it to reduce the risk of human error, all the better.
Owlkrown is a new US-based company that produces various accessories for cameras. Founded just last year, they already offer a large array of products. Their signature Owlkrown straps can now also be ordered with the new Hasselblad clip.
You can now get 10% off any order at Owlkrown with code LEICARUMORS10.
The latest issue of Nikkei Financial Quarterly Report reported that OM System continues to be in the red in 2024, with sales of 36.6 billion yen and a negative operating profit of -1.2 billion yen:
OM System financial results 2024
Sales: 36.6 billion yen
Operating profit: -1.2 billion yen
Mirrorless cameras: 130,000 units
Compact cameras: 50,000 units
OM System financial results 2021-2023
2023: Sales ¥29.2 billion | Operating profit -¥210 million
2022: Sales ¥28.2 billion yen | Operating profit -¥640 million yen
2021: Sales: ¥21.9 billion yen | Operating profit: -¥1.8 billion yen
Sigma Corporation (CEO: Kazuto Yamaki) announces changes to the sales method for the SIGMA 14mm F1.4 DG DN | Art, due to the significant delays in delivery times. This is to continue meeting diverse customer needs and ensure stable product supply. Additionally, we will be changing the product name, refreshing the exterior design and packaging, and adjusting the price accordingly.
We sincerely apologize for any inconvenience these changes may cause and kindly ask for your understanding as we strive to continue providing high-quality products and services.
Changes in sales method
Currently, we have no stock of this product except for what is currently available in stores. As a result, we are experiencing significant delays in shipping newly ordered products, and we apologize for any inconvenience this may cause our customers.
Going forward, we will transition to a made-to-order system as follows.
Previously: Regular sales
Going forward: Made-to-order sales (orders will be accepted for a limited time and shipped at a later, scheduled date)
Schedule
Order acceptance period (2025): September 4 to October 31
Shipment of the product: from March 2026
We will provide further details regarding the order acceptance period and schedule for next year and beyond at a later date.
Changes of product name, exterior, and packaging
Starting with products shipped from next year, the name will be changed as follows.
Previously: SIGMA 14mm F1.4 DG DN | Art
Going forward: Sigma 14mm F1.4 DG | Art
This change is in line with our new visual identity (VI) announced in February 2025, and we will also refresh the engravings on the exterior of our products and accessories, as well as packaging.
Please note that there will be no changes to the optical quality. We will continue to deliver the same imaging performance as before with a new look.
Price adjustment
In light of recent external factors such as rising raw material costs and manufacturing and logistics costs, we have decided to revise our price.
Additional informtion on the Sigma 14mm f/1.4 lens:
Last week marked the second edition of our 'Question of the week' forum series. Our first question centered around what to consider when buying a new camera, and lenses came up quite frequently. So this time around, we wondered what five questions you should ask yourself when choosing a new lens.
Can I afford it?
First and foremost, just about everyone mentioned cost considerations. Most of you had some variation of "can I afford it" or "how much does it cost?" For some of you, lens cost was the only question you brought up, showcasing the importance of price when choosing a lens.
JohnSil even went further and asked, "If I don't buy this lens today, will it cost more tomorrow?" Given that US customers have been facing repeat price increases across many brands, it's a worthwhile consideration.
Is it a need?
The other most common question we saw related to determining whether you truly need the lens. Again, that was the only question that mattered to some of you. There were some that added provisions for simply wanting a lens, but many of you focused on need rather than want.
Similarly, many of you suggested asking if the lens fills a specific need that your current lens(es) do not. For example, Robin Dr24 said, "Will the new lens fill a gap? The gap could be an uncovered (range of) focal lengths or a wider aperture or alternate physical attribute(s) (smaller size, lighter weight, less focus breathing, tilt/shift capability)." If you're buying a lens that is very similar to something you already have, that may not be a worthy use of money.
We also really liked Jaime100's advice to ask yourself repeatedly over the course of a few weeks if you need the new lens. They added that "if you can hold off on this purchase for 3 weeks, one will be surprised on how much 'you do not need' nor find yourself wanting."
Size considerations
Lens size was also a common refrain. While some pointed out a balance between lens size and features like maximum aperture, others prioritized size and weight above all else. CmB2024 made a great point, asking, "Will I bother to carry it or, due to size and weight, will it get left at home?" If the new lens is large enough that you don't want to use it regularly, there's probably not much point in spending money on it.
Does it have the features I want?
Lens features are another important consideration. There are different preferred features, of course, but reflecting on what type of features matter most is a great suggestion when choosing a new lens. For example, Fabian Joya suggested asking yourself, "Does this lens have the features/ergonomics that I need, e.g. focusing speed, control ring, etc."
Some lenses are very basic in terms of on-lens controls, so asking yourself what features you need on the lens is very useful in making sure you purchase one you'll be happy with in the long run. Additionally, if the new lens adds features you don't have on other lenses, it's worth thinking about whether it might change how you use lenses you already own. To that end, GeoffRG suggests asking, "Will it mean that I use other lenses less?"
Image quality
Finally, but certainly not least, image quality was a common mention. Jefenator posed one such question: "Will the sharpness be sufficient in the appropriate areas at the appropriate settings?" Given that lenses significantly impact overall image quality, it makes sense that this should be a top question to consider when buying a new lens.
The thread is still open if you haven't had a chance to participate yet and would like to. Thank you to everyone who shared their thoughts and insight!
Sigma's 14mm F1.4 DG Art lens is a superb option for astrophotography. In 2023, it earned Dale Baskin's Gear of the Year pick. Photo: Dale Baskin
The Sigma 14mm F1.4 DG DN Art lens has been a popular offering since its launch in 2023, so much so that it's been challenging to purchase. In a recent statement, Sigma acknowledged it has had "significant delays in delivery times" for the ultrawide prime and said it will be changing how users purchase the lens as a result.
Sigma explained that it currently doesn't have any stock of the 14mm F1.4 DG DN Art lens, other than what is available in stores. To address this, the company says it is switching to a "made-to-order" system. Users will be able to place orders for a limited time, and the lens will then ship at a later date.
The company says that orders will be open from September 4 through October 31. However, the lens won't ship until March 2026, so users who pick one up during the limited order period will have to wait a while to actually get the lens in their hands.
Photo: Dale Baskin
In addition to adjusting how customers order the lens, Sigma increased the price to $1839 for US customers. This is the second price increase for the lens, as it was bumped from its $1599 original MSRP to $1759 when Sigma increased its prices in the US because of tariffs. Sigma explained the new price is a result of "rising raw material costs and manufacturing and logistics."
Finally, the Sigma said it is updating the external design of the lens, the product name and packaging to fit the company's new visual identity announced this spring. The new name (Sigma 14mm F1.4 DG | Art) ditches the DN, which used to indicate the lens was designed for mirrorless cameras. Given that Sigma is no longer designing new lenses for DSLRs, it makes sense that it wouldn't need that designation anymore.
Press release:
Sigma 14mm F1.4 DG DN | Art: Changes In Sales Method and Pricing
Ronkonkoma, NY, September 2, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), announces changes to the sales method for the SIGMA 14mm F1.4 DG DN | Art, due to the significant delays in delivery times. This is to continue meeting diverse customer needs and ensure stable product supply.
Additionally, we will be changing the product name, refreshing the exterior design and packaging, and adjusting the price accordingly. We sincerely apologize for any inconvenience these changes may cause and kindly ask for your understanding as we strive to continue providing high-quality products and services.
The Sigma 14mm F1.4 DG | Art lens will be available for special order starting September 4th, 2025 at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,839 USD.
Available mounts: L-Mount, Sony E-mount
Supplied accessories: Cover Lens Cap Cap LC1014-02, Rear Cap LCR III, Tripod Socket TS-141, Protective Cover PT-42, Guide Plate GP-11, Shoulder Strap, Pouch
* Product appearance and specifications are subject to change.
* L-Mount is a registered trademark of Leica Camera AG.
* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
Changes in sales method
Currently, we have no stock of this product except for what is currently available in stores. As a result, we are experiencing significant delays in shipping newly ordered products, and we apologize for any inconvenience this may cause our customers. Going forward, we will transition to a made-to-order system as follows.
Previously: Regular sales
Going forward: Made-to-order sales (orders will be accepted for a limited time and shipped at a later, scheduled date)
Schedule
Order acceptance period (2025): September 4 to October 31
Shipment of the product: from March 2026
Changes of product name, exterior, and packaging
Starting with products shipped from next year, the name will be changed as follows:
Previously: SIGMA 14mm F1.4 DG DN | Art
Going forward: Sigma 14mm F1.4 DG | Art
This change is in line with our new visual identity (VI) announced in February 2025, and we will also refresh the engravings on the exterior of our products and accessories, as well as packaging. Please note that there will be no changes to the optical quality. We will continue to deliver the same imaging performance as before with a new look.
Price adjustment
In light of recent external factors such as rising raw material costs and manufacturing and logistics costs, we have decided to revise our price. The 14mm F1.4 DG | Art will retail in the Unites States of America for $1,839 USD.
On the heels of announcing it had joined the L-Mount Alliance, Viltrox has unveiled a new lens, though not for L-mount cameras. The AF 56mm F1.2 Pro promises "professional-grade" optical design and attractive bokeh for E and X mount APS-C cameras at a budget-friendly price.
The Viltrox AF 56mm F1.2 lens sits in the company's Pro lineup, offering a fast maximum aperture with advanced autofocus. It's designed for APS-C cameras, providing a 84mm equivalent focal length. With the fast F1.2 aperture, it should be an excellent portrait prime lens for APS-C users.
Image: Viltrox
The lens uses Viltrox's HyperVCM motor, which it says is smooth and silent with minimal focus breathing, making it an ideal choice for photo and video. It can focus as close as 0.5m (1.6'). The optical design comprises 13 elements in 8 groups, including three high-refractive index elements, one extra-low dispersion element and one ultra-large precision aspherical lens. Viltrox says the lens is sharp and clear across the frame and promises limited chromatic aberration.
The 56mm lens features an aperture ring that can be clicked or de-clicked, a dedicated Fn button and an AF/MF switch. Viltrox also made the lens to be a durable offering. The aluminum alloy body is weather-sealed, promising to keep out dust and moisture. It is compatible with 67mm filters and features a USB-C port for firmware updates.
Viltrox launches AF 56mm Ultra-large aperture F1.2 Pro E and XF (APS-C) lenses
Masterful control of light and bokeh, ideal for powerful portraits
Shenzhen, China, September 1st, 2025 - Viltrox is pleased to announce the release of the AF 56mm F1.2 Pro E and XF (APS-C) lenses. The AF 56mm F1.2 Pro lenses’ professional grade optical design delivers astonishingly high resolution from center to edge, taking full advantage of the capabilities of higher-megapixel cameras. Even after extensive post-cropping or enlargement, the lens faithfully preserves image detail, with incredible sharpness and clarity. Ideal for expressive portraits, the F1.2 aperture creates stunning depth and dimensional layering for a mesmerizing artistic impact.
F1.2 Large Aperture: Subject highlighting and mastery of light
The F1.2 ultra-large aperture delivers impeccable bokeh, facilitating more layered images through a shallow depth of field, rendering dreamy background blur, and highlighting subjects clearly. There is a smooth transition between in-focus and out-of-focus areas. The large aperture’s greater light intake allows faster shutter speeds and lower ISO, delivering refined, detail-rich images in both low-light and well-lit environments.
The precisely engineered optical design of 13 elements in 8 groups achieves peak aberration control and onion ring bokeh control even at 1.2 aperture, delivering consistent sharpness and clarity right across the frame – this is aided by Viltrox’s advanced HD nano coating. The ultra-large precision aspherical lens works together with an ED (extra-low dispersion) lens that effectively corrects axial chromatic aberration, delivering crisp, color-fringe-free images. The 3 HR (High-refractive) elements strike the perfect balance of portability and optical excellence, making this lens a natural fit for compact APS-C camera systems.
HyperVCM motor for quiet high-speed focusing
Viltrox's patented HyperVCM motor provides faster and more precise focusing, while reducing vibration for smooth, silent performance – ideal for quickly capturing shots, and for fast-moving subjects. The silent operation and minimal focus breathing ensure a smooth and professional feel for video.
Tough and durable for all environmental conditions
The lens features high-grade weather-sealed construction with a high-strength forged aluminum alloy body. The matte black finish and protective coatings resist scratches, wear and lens contamination, while rubber seals keep out dust, splashes, and moisture – ensuring reliable performance, even in challenging outdoor environments.
PhotoLab 9 features AI Masks to make retouching faster and easier. Image: DxO
French software company DxO has announced PhotoLab 9, its latest Raw editing platform. DxO says this is its most powerful Raw editor yet, offering improved masking capabilities, newly added batch renaming and support for iPhone HEIF and ProRaw files.
It's no surprise that AI features are at the forefront of the software announcement. DxO added AI Masks tools that use AI to create "pixel-precise selections in an instant." The tool is very similar to Lightroom's AI Masking option, which automatically creates masks of common and prominent subjects for users to select from.
Within PhotoLab 9, users can create these in three ways. They can hover and click on different parts of the photo or draw a box around an area that contains the object. DxO also added Subject Types, a list of predefined objects users can select from, including sky, people, faces and hair. The Subject Type option can also be "intelligently copied and pasted between images" or saved as a preset. When used as a preset, the mask is contextually aware of the selection, so it will automatically adjust for each image. It promises to make retouching much faster.
The AI Masks aren't the only way to make selections, either. DxO's U Point Technology was the predecessor to AI, allowing for intelligent masks based on image content using color and contrast information. DxO combined the new AI Masks with its U Point Technology, allowing for more control over selections.
Local adjustments allow users to adjust noise in only select areas. Image: DxO
With the help of the new masking and selection tools, PhotoLab 9 gains the ability to make local adjustments for noise reduction (using DeepPrime) and lens sharpness (with DxO's Lens Sharpening Optimization). With local adjustments, users can selectively reduce noise in heavy shadow areas or only sharpen key subjects, for example.
The DeepPrime XD3 engine is now out of beta. Image: DxO
PhotoLab 9 also adds support for Apple iPhone HEIC/HEIF and ProRAW file formats. Photographers who use their iPhone will now be able to keep their editing in one platform if they are DxO users. Additionally, DxO said that its DeepPrime XD3 engine for intense processing on demanding files is out of beta and compatible with all X-Trans cameras.
Finally, DxO added some workflow functionality as well, including batch renaming. Files can now be batch renamed, including an automatic setting for names using image metadata, EXIF information or custom text.
DxO PhotoLab 9 is available now. A new license costs $240 while an upgrade costs $120.
Press release:
DxO PhotoLab 9 introduces a new era of editing, adding exceptional AI Masks, high-precision local adjustments for DeepPRIME denoising and sharpening, and more
New features also include powerful batch renaming, a host of improvements for a smoother workflow, and support for Apple HEIC/HEIF and ProRAW files.
Paris, France: DxO, a pioneering force in photo editing software for more than two decades, today announces the launch of DxO PhotoLab 9, the world’s most advanced end-to-end RAW photo editing software. Version 9 introduces masking powered by AI that guarantees supremely accurate selections, allowing photographers to create local adjustments with more precision than ever. In addition, new features include: local adjustments for denoising, demosaicing, and Lens Sharpness Optimization; a range of workflow upgrades for a smoother editing experience; powerful batch renaming options that use metadata; and support for Apple HEIC/HEIF and ProRAW images.
"Version 9 is a major step forward in RAW photo editing," explains Jean-Marc Alexia, VP of Product Strategy. "The AI-powered masking offers unmatched accuracy, and when you combine this with all of the other features in PhotoLab 9, it’s probably our biggest upgrade to our flagship editing software of the last twenty years."
Introducing DxO AI Masks, the new standard for automatic object selection
The new AI Masks harness the power of artificial intelligence to create smart, pixel-precise selections in an instant. Users can quickly create masks through three different methods: hovering and clicking on different parts of the photo; drawing a box around the area of an image that contains the object to be selected; or choosing from various Subject Types, a list of predefined objects, including sky, people, faces, and hair.
The list of predefined objects offers more than just quick selection. For example, if a photographer selects "Hair" and makes some adjustments, these changes can be intelligently copied and pasted between images, or saved as a preset that is contextually aware of the selection. Complex retouching becomes faster, smarter, and effortlessly consistent.
Combining DxO AI Masks and U Point Technology™ to achieve unmatched precision
By integrating effortlessly with other Local Adjustments tools, AI Masks deliver an unparalleled level of flexibility and control. Selections can be refined using DxO’s renowned U Point™ technology: using a combination of AI Masks, Control Points, Control Lines, Graduated Filters, and the Brush tool, photographers can create highly complex masks that would otherwise be too sophisticated for even the most advanced AI. This offers a significant advantage over competing tools, where refining complex selections can be laborious.
Exceptional control with local adjustments for targeted noise reduction and Lens Sharpness Optimization
For photographers who demand the most precise control, DeepPRIME noise reduction technologies and DxO’s exclusive Lens Sharpening Optimization can now be targeted using local adjustments. While PhotoLab’s automated processing already delivers outstanding results, this gives users the ability to fine-tune their image with a supreme level of detail, especially given that the new AI Masks — combined with existing local adjustment tools — offer incredible precision.
A smarter, faster workflow
DxO PhotoLab 9 brings a host of workflow improvements designed to make photo organization faster and more intuitive. New features include image stacking, a Favorites system for folders and projects, and direct access to the Project palette from Customize mode. And as part of a cleaner, more versatile editing experience, you can also easily relocate folders that have been moved.
Powerful batch renaming
DxO PhotoLab 9 introduces a powerful new batch renaming tool, giving users full control over how original and processed files are named. Filenames can be automatically generated using image metadata, EXIF information, or custom text, streamlining organization and post-processing. Users can also create and save their own presets, making it easy to apply consistent naming conventions across entire projects or workflows.
Support for iPhone images
Version 9 introduces support for Apple’s iPhone image formats — HEIC/HEIF and ProRAW — making it easier than ever to edit photos taken using iOS devices. This expanded compatibility ensures a seamless workflow for photographers who want to harness the power of DxO’s renowned image processing tools with photos captured on their iPhone.
Unrivaled noise reduction and detail extraction for X-Trans sensors: Introducing DeepPRIME XD3 X-Trans
Two years ago, DxO introduced DeepPRIME XD, the ‘eXtra Detail’ engine designed to use more intense processing for taking on the most demanding files. The technology continues to evolve, ensuring unprecedented results for images captured at extreme ISO levels.
Today, DxO is proud to announce that, following the technology preview released as part of DxO PureRAW 5, DeepPRIME XD3 has emerged from beta and now processes RAW files from all X-Trans cameras.
The image quality is unprecedented, able to recover noise and retrieve details from images captured in very low light like never before.
Price and availability
DxO PhotoLab 9 is available today from the DxO website (shop.dxo.com), for macOS and Windows machines:
New license 239,99 $ - 239,99 € - 219;99 £ Upgrade from DxO PhotoLab 7 or 8 119,99 $ - 119,99 € - 109,99 £
Canon UK has posted a teaser on its Instagram account, saying that "something new is coming" and encouraging people to set a reminder to watch a YouTube livestream on September 9th at 3PM CEST (6AM PT / 9AM ET).
The teaser image is surprisingly revealing, showing what looks like a video-focused camera with a boxy design and potentially 1/4-20" mounting points on the top plate. It also clearly shows a red Record button in place of a shutter and a front-facing tally light.
The design is reminiscent of the EOS R50 V, an APS-C vlogging camera the company released earlier this year which featured a gimbal-friendly form-factor. However, given the several control points shown in the image and what looks to be a red-ring lens attached, it won't be surprising if this is a higher-end offering.
It's also worth noting that the announcement is set right before the start of the IBC (International Broadcasting Convention) trade show, where we typically get a look at company's video-focused offerings.
Whatever Canon has planned, it sounds like we won't have to wait that long to get more details.
The Z6 III is now more expensive for US customers. Image: Nikon
In August, Nikon warned that it would be raising its prices in the US on September 1 because of the negative impact of tariffs. At the time, the company didn't specify which products would be impacted or how much the increases would be. Now, those new prices have taken effect.
This is the second time Nikon has increased prices in the US because of tariffs this year, though the first price adjustment only affected its lens and accessory lineup. The company's cameras were not impacted. Unfortunately, that's no longer the case. Most Nikon cameras are now more expensive, with an average increase of 8%.
September 1 price (% change)
Original MSRP
Z5 II
$1847 (8.8%)
$1697
Z7 II
$2497 (8.7%)
$2297
Z6 III
$2697 (8%)
$2497
Z8
$4297 (7.5%)
$3997
Zf
$2197 (10%)
$1997
Z50 II
$1007 (11%)
$907
The first price adjustment impacted Nikon's lenses, and some models received an additional increase with this second round. For example, the Nikkor Z 50mm f/1.2 S has gone from $2100 to $2247, and the Nikkor Z 14-24mm f/2.8 S from $2497 to $2697. The pricing change on Nikon's lens lineup was less significant than the pricing change on the camera bodies, potentially because those prices had already been increased once. Many of the company's budget-focused lenses did not change in price.
The company previously raised US prices across its lineup on June 23rd by an average of around 10%. Since then, the tariff situation has been in flux as trade terms were negotiated between the US and the various countries where Nikon makes its products.
Of course, Nikon isn't the only company that has adjusted prices. Over the weekend, Fujifilm also increased US prices, marking its second price hike within a month. Additionally, earlier this year, Canon, Sigma, Sony and Leica all marked up their products in response to tariffs. Thus far, of those companies, only Canon has made a statement about a potential second adjustment.
Just like Nikon, Canon will also announce a new entry-level cinema camera on September 9th. The new video-focused compact hybrid camera is expected to be a competitor to the Sony FX3 and the upcoming Nikor Zr. The model name could be Canon EOS RC. Stay tuned for updates.
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