Skylum released a new Luminar Neo version 1.27 that expands its cross-device ecosystem with new AI portrait tools and bokeh AI:

Skylum has released Luminar Neo 1.27, further strengthening its cross-device editing ecosystem across Windows, macOS, iOS, Android, and ChromeOS. The update focuses on expanding AI-powered portrait capabilities while improving creative depth control, helping photographers move seamlessly from capture to final edit on any device.

The new release enhances Luminar’s portrait toolkit with AI-driven tools, including Dark Circles Removal, Blemish Removal, Shine Removal, and Skin Smoothing. These additions allow photographers to achieve natural-looking portrait retouching quickly and without complex workflows. Improvements to masking and feathering also help deliver more realistic results, especially when refining faces and skin.

Luminar Neo 1.27 also introduces an upgraded Bokeh AI tool that goes beyond traditional portrait blur. The new version allows users to apply realistic background blur not only to people, but also to objects and animals, offering greater creative flexibility and more control over depth and focus.

With these updates, Luminar Neo continues to position itself as an accessible AI-powered editor for hobbyist and semi-professional photographers. The combination of fast portrait retouching, creative depth tools, and seamless cross-device editing supports modern workflows—starting edits on mobile and finishing with full control on desktop.

The post Skylum Luminar Neo Spring release v1.27 is out appeared first on Photo Rumors.

Here are the latest Topaz Labs updates:

TOPAZ PHOTO

• True Detection Model: Automatically identifies false resolution images and corrects them before upscaling, improving overall image quality (Desktop only).

TOPAZ VIDEO

• This update introduces new models designed to improve both speed and output quality across animation, generative, and live action content.
• Gaia 2 (available to all users): 2x upscaling model built specifically for animation workflows like stop motion and motion graphics.
• Starlight Fast 2 Local (Pro Only): Local, speed-focused video upscaling model delivering high quality results up to 5x faster, with improved face detail and motion stability.
• Starlight HQ Local (Pro Only): Local video upscaling model built for mid-to-high-quality content with a good balance of detail and sharpness while keeping the intent of the original video source.

TOPAZ ASTRA

• Starlight 2.5 (SLP-2.5): Groundbreaking video upscaling model built to enhance realism and reduce plastic, artificial-looking artifacts while upscaling clips from the latest GenAI models to 4K.
• Enhances AI-generated content into cleaner, more realistic 4K.
• Improves soft or overly processed visuals, especially in face-heavy shots.
• Performs well on archival footage from the 2000s onward when the source is relatively clean.

The post The latest Topaz Labs updates appeared first on Photo Rumors.

 
A quick update on my previous post – on April 17th, Viltrox will announce a new LAB 35mm f/1.2 lens without an LCD screen (see the current Viltrox AF 35mm f/1.2 LAB for E/Z mount). Here are the first leaked pictures:

New lens teasers from Viltrox, TTartisan, and 7artisans for the 2026 NAB show

Announced: Viltrox AF 35mm f/1.2 LAB full-frame lens with color LCD screen for Sony E-mount

The post Confirmed: a new Viltrox LAB 35mm f/1.2 lens without LCD screen to be announced on April 17th appeared first on Photo Rumors.

Image: Leica

Leica is opening a new retail store and, as we've come to expect, that means it's also releasing a limited edition camera to commemorate the occasion. It's called the Chicago Edition 17 (no points for guessing where the store's located), and it's an M11-P wrapped in a "boysenberry leatherette."

Special-edition Leicas are nothing new, and the company has a long list of limited releases and collaborations, including the city-specific models it released as part of its 100th anniversary celebrations last year. To my eye, though, this one looks especially nice, and the special edition tax is surprisingly low. The Chicago Edition 17 will retail for $10,900, around $500 over the price of a standard M11-P.

Image: Leica

As the name implies, there are 17 of the limited-edition cameras, and they're only being sold at the Chicago store. The company says the store is "soft opening" today, but that it will be holding a grand opening ceremony on the 30th, which will include an exhibition of work by Leica photographer Craig Semetko in the location's gallery space. The company also says the store will feature work from other artists, too, such as Alana Tsui and Dr. Romanelli. That's also when the camera will be available for sale.

The GoPro leak I posted a few days ago was real – today the company unveiled the previously reported new generation of cameras: the GoPro Mission 1 Pro.

Check this page for pre-order options.

The GoPro Mission 1 Series of cameras are the world’s smallest and lightest 8K and 4K Open Gate cinema cameras. Featuring a new 50MP 1″ sensor and GoPro’s new, ultra-efficient GP3 processor. The new series includes three camera models, and one of them features an interchangeable Micro Four Thirds lens system:

• GoPro Mission 1 PRO— Featuring a Cutting-Edge 50MP 1″ Sensor; Incredible Low-Light Performance; 8K60, 4K240, and 1080p960 Ultra-High Frame Rates; 8K30 and 4K120 Open Gate Video Capture; and New GP3 Processor Delivering Category-Leading Image Quality, Battery Runtime, and Thermal Performance for Extreme Use Cases
• GoPro Mission 1 PRO ILS— A New Class of Ultra-Compact Mirrorless Cinema Camera with the Same GP3 Processor and 1″ Sensor as MISSION 1 PRO, Compatible with Micro Four Thirds (MFT) Lenses for Expanded Cinematic Versatility
• GoPro Mission 1— Same as MISSION 1 PRO, but with 8K30 Video Capture; 4K120 Open Gate; 4K120 and 1080p240 Slo-Mo Frame Rates
• GoPro Mission 1 Accessory Ecosystem Includes New Wireless Mic System; Point-and-Shoot Grip and Powered Grip; Higher-Capacity Enduro 2 Battery; I/O Expansion Media Mod and More

GoPro Mission 1 Pro camera with MFT mount

Shipping will start at the end of May.

Additional information:

MISSION 1 Series Features

• New 50MP 1″ Sensor features a larger surface area and larger native 1.6µm pixels and massive 3.2µm fused pixels—capturing more light for professional low-light performance, up to 14 stops of dynamic range at the sensor, and professional-grade image quality when paired with GoPro’s new GP3 processor and its image processing capabilities.
  
  
• New GP3 Processor features an ultra-power-efficient 5nm design, enabling category-leading battery runtimes and thermal performance along with best-in-class resolutions, frame rates and image quality. An AI Neural Processor Unit (NPU) enables next-generation video pixel processing and stunning low-light image performance.
  
  
• Incredible Low-Light Performance and Dynamic Range is made possible by the combination of the new 50MP 1″ sensor and the new GP3 processor with its advanced image processing. Capable of up to 14 stops of dynamic range at the sensor and giant 3.2µm fused pixels in Quad Bayer mode, the MISSION 1 Series’ imaging pipeline preserves exceptional detail in the darkest of shadows while protecting highlight details, resulting in beautifully balanced, true-to-life images.
  
  
• Category-Leading 16:9 Video Resolutions, Frame Rates and Slow Motion are possible with MISSION 1 PRO and MISSION 1 PRO ILS, including professional-grade 8K 16:9 video at up to 60 frames per second (2X Slo-Mo), ultra-smooth 4K 16:9 at up to 240 frames per second (8X Slo-Mo), and up to 10-second burst 960 frames per second in 1080p 16:9 for shockingly smooth 32X Slo-Mo. You can also capture non-burst 1080p 16:9 (and 1440p 4:3) at 480 frames per second (16X Slo-Mo). These are the highest frame rates and slowest Slo-Mo rates in category, rivaling the capabilities of cameras costing tens of thousands of dollars. MISSION 1 enables 8K30, 4K120, and 1080p240 16:9 capture along with 4K120 and 1440p240 4:3 video.
  
  
• Industry-Leading 8K30 and 4K120 Open Gate Video is supported in MISSION 1 PRO and MISSION 1 PRO ILS, enabling full sensor 4:3 captures for added flexibility for reframing, editing, and exporting content in multiple aspect ratios for different viewing platforms. The Series’ base model, MISSION 1, supports 4K120 Open Gate video capture.
  
  
• Category-Leading Runtimes and Thermal Performance are made possible by the new ultra-power-efficient GP3 processor, advanced hardware optimizations, and the higher-capacity, fast-charging Enduro 2 Battery. The MISSION 1 Series of cameras deliver 5+ hours of recording at 1080p30¹ and 3+ hours of recording at 4K30 on a single charge. The Enduro 2 battery is also compatible with HERO13 Black cameras and likewise the MISSION 1 Series cameras can work with the older HERO13 Black Enduro battery, albeit with shorter runtimes². The MISSION 1 Series has been designed from the ground up to deliver reliable, mission-critical performance in the most demanding use cases and environments.
  
  
• 13 Capture Modes Enable Convenient Pro-Capture: Each mode is tuned for specific environments or use-cases, using advanced machine learning and scene detection to deliver optimal image quality across a broad range of environments. From activity-specific underwater color science and tuned-stabilization in Dive Mode to face-aware framing and tone mapping in Vlog Mode, the MISSION 1 Series can simplify image-optimization for many common capture scenarios. Or you can choose to capture video with your own custom settings, bypassing all automated settings for complete control.
  
  
• Category-Leading Bitrates, Color Depth and Control for Professionals: Dial up the bitrate to a stunning 240Mbps and capture HLG-HDR, 10-Bit Color with GP-Log2, and Timecode Sync for multi-camera shoots, or maximize quality while minimizing file size with GP3’s new advanced encoder.
  
  
• Category-Leading Pro-Level Audio: 4 microphones deliver improved stereo recording and wind noise reduction while 32-Bit Float audio recording helps prevent clipping. And Bluetooth® 5.3 audio lets you wirelessly connect to compatible devices utilizing the Hands-Free Profile (HFP) v1.9 with Super Wideband (SWB) Speech, for high-fidelity wireless audio.
  
  
• Category-Leading 50 Megapixel Photo Resolution and Image Quality thanks to the combination of the new 50MP 1″ sensor and new GP3 processor’s combined capabilities. Capture in RAW or leverage advanced scene detection and machine learning for category-leading HDR photos in the convenient SuperPhoto mode. With up to 14 stops of dynamic range at the sensor and GP3’s next-gen image processing—including the ability to burst capture at up to 60 photos per second—the MISSION 1 Series pushes the boundaries of compact camera photo capture in the same manner it does video.
  
  
• Updated Design Increases Waterproofness to 66ft (20m): MISSION 1 and MISSION 1 PRO are waterproof to 66ft (20m) right out of the box without the need for housing, making them the best imaging solution for divers.
  
  
• New Lens Design, Bigger Rear Display and Redesigned Buttons make the MISSION 1 Series easier to use in all use cases. Design improvements include an updated lens design with a category-widest 159° native field of view (FOV); a new OLED rear display which is 14% larger than previous flagship GoPro cameras; taller, chunkier raised buttons for easier use with gloves on; and a removable lens hood to reduce glare and lens flare for clearer images.
  
  
• GoPro Labs Compatibility: Extend the capability of your MISSION 1 Series camera with over 1,000 custom features, settings and controls tailored for advanced users looking for maximum control. Learn more about GoPro Labs at GoPro.com.

MISSION 1 Series Lineup

• MISSION 1 PRO: The flagship. Featuring a new, cutting-edge 50MP 1″ sensor, incredible low-light performance, 8K60 / 4K240 / 1080p960 16:9 video capture, 8K30 and 4K120 Open Gate 4:3 video capture, 50MP RAW photo capture, all powered by a new, ultra-power-efficient GP3 processor that enables category-leading image quality, battery life and thermal performance for mission-critical reliability in extreme use cases.
  
  
• MISSION 1 PRO Grip Edition: The flagship camera bundled with an innovative versatile grip that transforms the camera into an even more rugged, ultra-capable feeling point-and-shoot camera designed for run-and-gun style capture. The grip functions as a 2-in-1 solution—as a lightweight, ergonomic grip for easy, one-handed on-the-move shots, or as a rugged, mountable metal cage for added protection with the option to mount vertically. Added features include cold shoe mounts, 1/4-20, magnetic latch mounting, and mounting fingers. Perfect for street photography, cinematography, travel and everyday convenience.
  
  
• MISSION 1 PRO Creator Edition: The flagship camera bundled with the new MISSION 1 Series Media Mod for I/O port expansion and built-in microphone, the new Volta 2 Battery Grip for all-day power, and the new Wireless Mic Complete Kit for professional wireless audio. Perfect for vloggers and creators who want an ultra-capable and complete professional camera system that’s ready for any mission.
  
  
• MISSION 1 PRO Ultimate Creator Edition: For creators looking for the best of everything and maximum flexibility, this is the flagship camera bundled with GoPro’s Fluid Pro AI gimbal for advanced stabilization in even the lowest light conditions as well as AI-driven subject tracking, the new Wireless Mic Complete Kit for a comprehensive professional audio solution, Light Mod 2 for compact, ultra-portable lighting and the new MISSION 1 Series Media Mod for I/O port expansion, enabling the addition of displays, microphones, headphones, lighting, batteries, and more.
  
  
• MISSION 1 PRO ILS: The same 50MP 1″ Sensor and GP3 processor as MISSION 1 PRO, but in a mirrorless form with an interchangeable lens mount that supports compatibility with the vast universe of Micro Four Thirds (MFT) lenses and adapters that allows a virtually limitless range of lenses to be paired with the camera. MISSION 1 PRO ILS also supports in-camera HyperSmooth video stabilization with any rectilinear, prime focal length lens. This versatility, combined with its video stabilization, weatherproof design and trademark GoPro durability, makes MISSION 1 PRO ILS the world’s smallest, most rugged and versatile high-speed cinema camera at a fraction of the cost (and size) of comparable cameras. With more creative options than ever before—including telephoto, zoom, macro, and more—the possibilities are limitless, whatever your mission.
• MISSION 1: The same as the flagship in every way but limited to 4K120 Open Gate video capture and 8K30, 4K120, 1080p240 16:9 video capture. 50MP photo capture is the same as in the flagship model. MISSION 1 is perfect for the creator who doesn’t require the higher Open Gate resolutions and category-leading frame rates of the flagship model but still wants the outstanding low-light and image quality benefits of the new 50MP 1″ sensor and ultra-power-efficient GP3 processor.

The MISSION 1 Series Accessory Ecosystem

• Wireless Mic System: Capture crisp, professional sound anywhere with the Wireless Mic System. Designed for easy pairing with the MISSION 1 Series, GoPro HERO Black cameras, 3rd party DSLRs and phones, this compact, professional wireless audio system delivers crystal-clear 24-bit/48kHz audio and Dynamic Noise Reduction, keeping voices front-and-center in any setting. The ultra-small and light 10g transmitters are magnetic and can be clipped to clothes or objects. Adjustable gain and a Safety Track mode (recording a backup track at -6dB) ensure balanced, reliable sound no matter how dynamic your shoot gets. With 6.5 hours of runtime per mic plus a charging case offering two additional full charges, and up to 150 meters of wireless range, you’re ready for any creative mission.
  
  
• Media Mod for MISSION 1 Series: The new Media Mod for the MISSION 1 Series has been redesigned from the ground up with a built-in multi-pattern mic and expanded I/O capability of your camera for production. Match the width of your stereo audio capture to the FOV of your video with eight different pickup pattern options. Three 3.5mm ports include an external microphone port, a line-in port for timecode sync, and a headset port for live audio level monitoring. A micro-HDMI port enables up to 4K60 video output for use with external monitors, video recorders, or live output for broadcasting. The Media Mod also features its own mounting system, so you can quickly insert or remove the camera when desired.
  
  
• Point-and-Shoot Grip: Transform your GoPro into an ultra-capable point-and-shoot camera with this ergonomic, lightweight grip. Perfect for street, travel, and urban shooting, the grip’s versatile design features cold shoe mounts for lights and mics, a 1/4-20 thread for tripods, vertical mounting and pass-through access to the camera’s integrated fingers and magnetic mounting system. For added flexibility, the grip converts into a rugged metal cage for your camera, providing added durability and vertical mounting versatility.
  
  
• Enduro 2 Battery: The 2150mAh Enduro 2 Battery delivers longer runtimes, fast-charging and a wider range of thermal performance compared to previous GoPro batteries. It’s also compatible with HERO13 Black. The MISSION 1 Series cameras can also work with the older HERO13 Black Enduro battery (albeit for shorter runtimes).
  
  
• M-Series ND Filters: The ND Filter 4-pack (ND8, ND16, ND32, ND64) delivers cinematic motion blur and exposure control for MISSION 1 PRO and MISSION 1. The MISSION Series cameras auto-detect which filter you’re using and auto-adjust the shutter speed for the desired blur and exposure effect. You can also manually control motion blur and exposure.
  
  
• Protective Housing: When your mission calls for it, the protective housing will keep your MISSION 1 or MISSION 1 PRO camera waterproof down to 196ft (60m). The built-in mounting fingers allow you to capture content both horizontally and vertically. MISSION 1 and MISSION 1 PRO are waterproof to 66ft (20m) without a housing, while MISSION 1 PRO ILS is weatherproof.
  
  
• Volta 2: The premium Volta 2 powered battery grip, tripod, and remote features a built-in 5800mAh battery, integrated camera control, and ¼-20 mounting for up to 9 hours of 4K30 recording time³.
  
  
• Light Mod 2: Add compact yet powerful LED lighting to your adventure or studio setup with Light Mod 2’s 200 lumen brightness, 33% increased battery capacity, and up to 100% longer runtimes⁴. Light Mod 2 includes an optimized diffuser design and versatile mounting for cold-shoe integration on Media Mod and Point-and-Shoot Grip or standalone light use.
  
  
• Dual Battery Charger for Enduro 2: The fastest way to charge your MISSION 1 Series Enduro 2 camera batteries. Charge two batteries at once and easily check battery levels and charging status, even when the charger is unplugged. Comes with a high-performance Enduro 2 battery and is compatible with HERO13 Black Enduro Batteries.
  
  
• Vertical Mount Adapter: Use this adapter to easily capture social media-friendly footage with three convenient vertical mounting options: built-in mounting fingers, ¼-20 mounting threads, and Magnetic Latch Mount compatibility.

The entire suite of MISSION 1 Series accessories will be available on a rolling basis beginning May 2026 through Q3 2026. GoPro will announce on-shelf availability as each accessory becomes available.

Is this the first leaked picture of the upcoming GoPro camera with a new GP3 custom imaging processor?

The post New GoPro Mission 1 Pro camera unveiled with 50MP 1″ sensor and a model with MFT mount appeared first on Photo Rumors.

Image: GoPro

GoPro has announced a new line of cameras, dubbed the Mission 1 series, which includes something entirely new for the action-cam company: an interchangeable lens camera with a Micro Four Thirds mount.

There are three cameras in the series: the Mission 1, Mission 1 Pro, and Mission 1 Pro ILS. The latter has the headline-grabbing mount, while the standard models have an integrated lens that the company says provides a 159° field of view.

Image: GoPro

All three cameras are powered by a 50MP Type-1 (128mm²) sensor with a Quad Bayer design, allowing for 8K 16:9 video capture across all of the models. All three can shoot in open gate mode, using their whole 4:3 sensor, though this is where they start to diverge in capability.

The difference between the base and Pro models largely comes down to framerates, with GoPro saying that the standard Mission 1 is designed for someone who doesn't need high-resolution open gate recording, or super fast frame rates for slow motion. The Pro versions' specs seem to match those of the recently announced Sony IMX06A.

While the cameras can be used as standard action cameras, GoPro is also clearly targeting them at more professional users, too. They support HLG-HDR recording, as well as GoPro's GP-Log2 10-bit mode, as well as 32-bit float audio, which can help prevent clipping. The company is also making a version of its Media Mod for it, adding a multi-pickup-pattern, three 3.5mm jacks (one for audio in, one for audio out, and one for timecode) and a microHDMI port, which can output 4K/60.

There are some physical changes compared to the Hero lineup of cameras too, with GoPro saying that the OLED display on the back is 14% larger, and the buttons are "chunkier" and more prominent, making them easier to use if you're wearing gloves.

Image: GoPro

The cameras are the first to be powered by the company's GP3 processor, which the company announced earlier this year. GoPro says that, compared to the GP2, its new chip has twice the processing power, which can help with things like noise reduction and scene recognition.

It's easy to get excited about the prospect of a small camera with a Type-1 sensor that can be used with compact Micro Four Thirds lenses, especially when GoPro seems to be leaning into the idea of using the Mission 1 for photography. It can shoot Raw, and the company is selling an add-on "Point-and-Shoot Grip" that it says is designed for "run-and-gun" handheld capture.

GoPro says the Mission 1 Pro ILS can use its "HyperSmooth" stabilization algorithm with "any rectilinear, prime focal length lens." The bigger news, though, may be what the mount doesn't appear to have in the press images: electrical contacts. Image: GoPro

However, there are still some questions about how an ILC GoPro will work, both for stills and videographers. The biggest is focus: GoPro's press release doesn't mention any sort of autofocusing system, and the company's main offerings have usually come with fixed-focus lenses. Having to manually focus on such a small display would likely end up being a dealbreaker for many potential buyers.

The smaller sensor also contributes a further 1.32x crop, relative to a Four Thirds chip, 2.64x relative to full-frame.

In some ways, the company has been building towards an interchangeable lens camera for a while. The company has been shipping accessory lenses like its Anamorphic and Macro "Mods" for a few years, and it harbored ambitions of going after professional users long before introducing those. Still, it's a very unexpected move from the company, not least because it built its brand on making the toughest cameras out there; you can't water- and shock-proof a camera with a lens mount as much as you can one with a fixed lens (though the company does say the Mission 1 ILS is "weatherproof").

Companies like Insta360 and DJI continue to make inroads into the traditional action cam market

But as companies like Insta360 and DJI continue to make inroads into the traditional action cam market, it's easy to see why GoPro is looking to expand its offerings. Just last week, the company announced it was restructuring and laying off almost a quarter of its workforce, so it clearly needs to do something big to win customers back, and it's hard to ignore a swing for the fences like this.

The company says pricing for the cameras will be announced later in the year. The Mission 1 and Mission Pro 1 will be available for preorder starting May 21st, and will hit store shelves a week after. GoPro says the Mission 1 ILS will release later, in Q3 of this year.

Here are some of the new lenses that will be announced at the 2026 NAB show:

 

Viltrox is teasing the release of its first large-aperture APO AF lens at the 2026 NAB show (9 pm, April 20). Two new lenses are expected to be announced at the same price as the 85mm f/2 EVO lens ($275). See this post for additional information. Check the official website for updates. Previous coverage of Viltrox lenses can be found here.

Update – a new Viltrox LAB lens will be announced on April 17th (most likely a new 35mm f/1.2 without a LCD screen).

TTartisan is teasing the launch of two new full-frame AF lenses: “Delivering exceptional image quality, premium optical glass construction,  crafted with the spirit of a master artisan.” TTArtisan has just launched a new line called Air, and it seems they’re also planning a new lens line called Neo. Check the official website for updates. Previous coverage of TTartisan lenses can be found here.

7artisans is also expected to announce new products at the 2026 NAB show. Check the official website for updates. Previous coverage of 7artisans lenses can be found here.

Thypoch will display their new 24-50mm f/2.8 lens (the first Chinese full-frame autofocus constant-aperture zoom lens).

Is this the first leaked picture of the upcoming GoPro camera with a new GP3 custom imaging processor?

Viltrox is teasing new lenses to be announced at the 2026 NAB show

The post New lens teasers from Viltrox, TTartisan, and 7artisans for the 2026 NAB show appeared first on Photo Rumors.

Image: BlackMagic Design

Adobe Lightroom is getting a new competitor from a surprising place. BlackMagic has added what looks to be a shockingly complete set of photo editing tools to the latest version of its Davinci Resolve software, which has traditionally been designed primarily for video editing, color work, and sound design.

Resolve 21 gains a new "Photo" mode, which lets you organize a collection of stills into albums, apply ratings and labels and even search through all your images with an AI-powered tool that you can use to find photos of certain kinds of subjects. The company says it "worked closely" with camera manufacturers to support Raw stills from Canon, Sony, Nikon, Fujifilm and Apple, but you can also use it to edit JPEGs and HEIC files. There's even a tethering mode for certain Sony and Canon cameras.

Node-based editing will take some getting used to, but can be a powerful tool, depending on how you edit.

The company's main pitch for Resolve as a photo editor centers around its color tools. They're extremely robust, as they're designed for editing movies, but offer a lot of flexibility for stills too. The editor uses what's known as a node-based approach, which lets you add adjustments as independent effects that can either chain together or not affect each other. For example, if you select part of your image using Resolve's "Magic Mask" feature, you can have your base color adjustments apply to the entire image, but have certain edits only applied to the masked area.

While nodes can take a little bit of practice to wrap your head around, they can be a powerful and flexible way to edit. Using them isn't absolutely required, though; the software also has built-in "Film Looks" presets that you can customize, and supports applying Look Up Tables, or LUTs, to your photos. And if you just want to edit basics like lightness, color temperature, saturation, etc., you can use more traditional sliders. Resolve also includes basic crop and rotation tools, too.

Resolve's Raw editing tools will be more familiar than its color editing ones.

BlackMagic also says that edits and adjustments can be accelerated by your computer's GPU, which it claims allows Resolve to process photos "dramatically faster than conventional photo applications."

During a livestream announcing the update, BlackMagic's CEO said that the Photos mode will probably receive a lot of tweaks and improvements over time. But if it provides anything like the capabilities that BlackMagic has promised, it could be a viable competitor to more established programs like Adobe Lightroom and Capture One Studio right off the bat.

That's especially true given the price. Davinici Resolve is available for free, though to get all of its features, you'll have to pay $300 for the "Studio" version*. However, Blackmagic tells us that, currently, there's no differences between the free and Studio versions when it comes to the photos page, though some features of the color editor, and many of the program's AI tools, require a paid license.

Davinici Resolve 21 is being released in beta today, though it's worth taking that label seriously. We weren't able to successfully export a photo while testing to see if there were any obvious limitations, with the software just giving us an error message about not being able to decode it, so it seems like there's still definitely some work to be done.

The company also announced plenty of features for video editors, too, which largely center around AI. The software now has a suite of built-in AI-powered effects, such as voice generation, "CineFocus," which lets you add customizable blur to your video, actor aging/deaging tools, blemish removal and more. Many of those, and the software's other video-focused tools, such as AI-upscaling and noise reduction, can also be used when editing stills.

* - Currently, that's a one-time fee, with Studio owners getting free upgrades to each subsequent version. However, during the livestream, BlackMagic's CEO mentioned that the company may need to start charging for upgrades someday.

“I’m back” is back with a new “I’m Back Roll” digital camera back for film cameras with a 26MP APS-C Sony IMX571 sensor – listed on Kickstarter right now with over $525k+ raised by 900+ backers.

“I’m Back Roll” product fact sheet:

• Product Name: I’m Back Roll APS-C
• Concept: Digital conversion system for analog cameras
• Sensor: Sony APS-C (16–21 megapixels)
• Storage: 256GB internal SSD
• Image Formats: RAW and JPEG
• Design Philosophy: All-Inside Design, No external screen, No external cables
• Connectivity: Bluetooth synchronization + Wi-Fi image transfer
• How it works:
  • Insert the system into the camera’s film compartment
  • The sensor sits in the film gate
  • The roll module occupies the film chamber
  • Shoot normally using the camera’s mechanical shutter
  • Images are stored internally and transferred later

How it works:

• I’m Back Roll APS-C sits exactly where the film normally goes.
• Inside the roll, there is a 26MP APS-C Sony IMX571 sensor.
• To capture an image, you first need to advance the camera, moving the film lever and arming the shutter mechanism.
• Then, using our remote control, you click, synchronize and trigger the photo, just like in the old days.
• This way it preserves the rhythm and experience of shooting film – including missing a shot now and then – while recording everything digitally.
• This version works with all 35mm film cameras.
• For the first time, it will also be possible to use the system with underwater cameras such as Nikonos and other similar models.
• The reason is simple: everything is contained inside the body of the device. There are no external parts required.
• In our previous models, I’m Back 35 and I’m Back Film, an external module was necessary. With this new version, the entire system is integrated internally, which makes compatibility much broader.
• Another important improvement is the new, larger sensor. This version uses an APS-C sensor, providing better image quality and a larger capture area.

Other photography-related projects currently available on Kickstarter:

• Rewindpix non-disposable digital “Film” camera
• New Peak Design travel bags
• CamCast – turn your camera into a smart, connected system
• Yashica pocket camcorder

The post “I’m back” is back with a new “I’m Back Roll” APS-C digital back sensor for film cameras appeared first on Photo Rumors.

Satoshi Maetaki (left) and Yutaka Nakamura (right) holding the Canon RF 14mm F1.4 L VCM and RF 7-14mm F2.8-3.5 L Fisheye STM, respectively. Photo: Mitchell Clark

Last year, we had the opportunity to tour Canon's lens factory in Utsunomiya, to get a look at how the company produces its optics. This year at CP+, we had the chance to talk to some of the people who play a part in designing the lenses made there: Satoshi Maetaki, general manager of the Optics Technology R&D Center and Yutaka Nakamura, assistant manager at the IMG Products Planning Center.

Our conversation largely centered around two of the company's latest releases, the RF 14mm F1.4 L VCM and the RF 7-14mm F2.8-3.5 L Fisheye STM, but we also got to talk about some of the things the engineers consider when designing a lens, some of the tools and tech that helps them with that process and how they decide which lenses to work on.

Considering what lenses to make next

Nakamura says the process for deciding what lens to make next is a holistic one, based on several factors. "We always consider: 'what is the ideal lens lineup?' That’s always in our mind," he says. "It’s not just the market environment or the user’s feedback. We also have to consider the possible future advancement of our core technologies, and how consumers’ shooting styles will change."

"We always consider: 'what is the ideal lens lineup?'"

While many of Canon's recent lenses have been full-frame designs, in our interview with Canon's top executives, Go Tokura, Executive Vice President and Head of Canon's Imaging Group, said the company is still interested in crop systems. "We won't stop exploring the field of APS-C lenses," he says. "Our principle is both full-frame and APS-C. We will continue to explore."

Advanced materials, corrections and simulations

Once they determine what lens to make, the engineers and planners have to figure out how to actually build it. According to Maetaki, the decision on whether to use digital distortion correction is made at the very beginning of the process, as was the case for the 14mm F1.4 L VCM. "We developed this lens under the precondition that distortion correction is to be done on the camera side," he says. "Because some of the correction can be done by the body, the lens can be smaller."

"We developed this lens under the precondition that distortion correction is to be done on the camera side"

As with many other lens makers we've talked to, Maetaki said special elements like Canon's BR and fluorite lenses are especially important when it comes to making a high-performance lens that's still relatively compact.

He also says that Canon is taking advantage of recent advancements in simulation tech for lens designs. "At the time of development, we have a better idea of how it’s going to be post-correction. Thanks to the development of the simulation technology, we can select the optimal design." As the company designs the lens, it can run simulations in tandem with the physical design work it's doing.

AF motors

For modern mirrorless lenses, choosing which kind of actuator to use for the autofocus is also an essential part of the process. According to Maetaki, the decision is made on a case-by-case basis; sometimes the company will choose an autofocus technology based on the optical design, other times the type of autofocus actuator may influence the lens' construction.

"Simply put, we select the motor depending on the concept of each lens," says Nakamura. "Is it for professionals, for high-end amateurs, entry-level? Or is it specialized for still images, or a hybrid between stills and video? Also, price range is important for us to consider. And focal length, the maximum aperture… Based on all these elements, we’ll decide which motor or actuator is most suitable."

In the case of the 14mm F1.4 L VCM, the company went with the namesake voice coil motors because of their ability to move the lens's relatively large and heavy elements. And even though the RF 7-14mm F2.8-3.5 L Fisheye STM is a modern version of the DSLR-era EF 8-15mm F4L Fisheye USM, Canon decided not to go with the ring-type USM motor again. According to Nakamura, this was a lesson it applied from a previous lens, the RF 10-20mm F4 L IS STM, from 2023.

"That was an ultra-wide lens that had the STM as well," he says. "That let it be compact with quiet, speedy, smooth autofocus. We took that lesson and applied it to this model."

Making a line of lenses the same size

The lenses in Canon's VCM lineup have very similar dimensions to make it easier to swap between them if you're using a gimbal or other video setup. Image: Canon

One notable aspect of Canon's F1.4 VCM lineup is how all the lenses are all very similarly-sized, from 14mm to 85mm. Nakamura says this is so video shooters can use all the same accessories, such as ND filters, follow focus units and rigs, even when switching between lenses. "That’s why we stick with the same barrel size or diameter, so those accessory changes don’t become a burden. So this is one of the determining factors when we’re deciding to add a lens to the lineup. We have to consider all this, including the shooting styles of our users."

According to Maetaki, achieving this isn't actually as difficult an engineering challenge as it might seem. "With current focal lengths, it’s not much of a problem," he says. "If the focal length becomes even longer, the difficulty level goes way up. Because when that happens, the diameter of the glass becomes larger, so it’s harder to fit." He says that from 14mm to 85mm it's fine, but perhaps that means we shouldn't hold our breath for something like a 100mm entry in the F1.4 VCM lineup.

GoPro will unveil a new generation of cameras at the 2026 NAB Show this month (April 18–22). Here is the first leaked picture of one of the upcoming models – you can clearly see the larger lens, indicating a bigger sensor:

Here is what to expect from the new GoPro camera:

• GP3 Processor (core upgrade): GoPro’s first new chip in 5 years – a custom 5nm SoC with >2× the pixel processing power of the old GP2, plus a dedicated AI Neural Processing Unit (NPU) for real-time scene recognition, subject detection, and smarter image processing.
• Larger sensors: Expected across the lineup (teasers show cinematic macro, natural bokeh, and shallow depth-of-field shots that go far beyond typical action-cam footage).
• Massive low-light & image quality jump: improved low-light performance, better dynamic range, reduced noise, and more cinematic rendering.
• Higher resolution & frame rates: Strong speculation of 8K video (or at least much higher than Hero 13), plus improved high-frame-rate options (e.g., 4K at 240 fps) thanks to the extra processing headroom.
• Better battery life & thermals: Significantly longer runtimes and “bulletproof” reliability in high-heat conditions – no more early overheating shutdowns.
• AI & pro features: Enhanced stabilization, smarter auto-settings, improved audio, and overall professional-level image quality in a compact, rugged body.
• Multiple new cameras expected

Additional official information: GoPro to unveil new generation of cameras at the April 2026 NAB show.

New GoPro teaser: “Glimpses from a new generation of GoPro”

GoPro unveiled a new GP3 custom imaging processor for their upcoming cameras

New GoPro teasers for their upcoming camera with GP3 custom imaging processor

The post Is this the first leaked picture of the upcoming GoPro camera with a new GP3 custom imaging processor? appeared first on Photo Rumors.

Here are some speculations on what Panasonic could announce for the 25th anniversary of LUMIX in 2026:

• LUMIX S1H II: a long-overdue true successor to the S1H with 6K/8K internal recording, ProRes RAW, advanced cooling, pro connectivity (IP control, etc.), and cinema-grade tools in a compact mirrorless body. This would directly address community requests and position LUMIX strongly in the pro video market.
• LUMIX S9 II: A compact full-frame camera with hot shoe/EVF improvements.
• LUMIX S5 III or S5R: a new flagship model equipped with a new generation of AI AF system.
• LUMIX LX100 III: a successor to the popular premium compact. Expected updates to sensor/processor, EVF, touchscreen, and modern video features. Ties directly to LUMIX’s compact-camera origins and the current “compact renaissance.”
• Micro Four Thirds revival (e.g., GM5 successor or GX9 III): Panasonic has not announced a MFT camera since 2024 (Panasonic LUMIX GH7 and Panasonic LUMIX G97).
• Special anniversary edition camera: a limited-edition camera with special badging – Panasonic has done similar things for past milestones.

The post What could Panasonic announce for the 25th anniversary of LUMIX? appeared first on Photo Rumors.

SG-Image will soon release a new 18mm APS-C pancake lens (E/Z) – here are the first leaked pictures (check the official website for updates):

SG-Image recently announced a new AF 35mm f/2.2 lens:

SG-Image officially announced the AF 35mm f/2.2 lens

The post SG-Image to release a new 18mm APS-C pancake lens (E/Z) appeared first on Photo Rumors.

Perhaps the "Eject" button on the Nikon D5 was aptly named... Image: NASA (via r/ArtemisProgram)

It's an experience most photographers will be familiar with: you go to insert or eject your camera's card, fumble slightly, and the spring or ejection mechanism sends the card shooting out. If you're lucky, you catch it in time; otherwise, it tumbles to the ground.

It turns out that even astronauts aren't immune from this kind of gaff... but when it happens to them, the lack of gravity makes it all the more exciting. This week, a clip taken from NASA's livestream of the Artemis II mission around the moon has gone viral, showing what appears to be astronaut Christina Koch chasing after a card that shot out of her camera.

Unfortunately, you can only scroll so far back in NASA's official livestream (as it's still being broadcast), but the moment has been captured in several GIFs. You can also see it with the surrounding context on CBS News' archive, though it's only in a small part of the frame. Unfortunately, none of the clips currently available have audio of the moment.

Anyone who's been following the mission and looking at the photos taken during it will know that the crew is mostly using Nikon D5s, so the card is likely a CFexpress, XQD or CompactFlash model. (I'd guess the former, based on clips I found of another astronaut handling theirs relatively close up.) While I typically wouldn't expect this kind of slot to eject a card with much force at all, how things work on Earth isn't always a great indication of how they'll work in space without any gravity.

Thankfully, the Orion capsule is relatively small, so she was able to keep track of it and grab it within a few seconds and continue taking pictures. But it's a funny reminder of how things that are easy, or, at worst, little inconveniences on earth, can be much more difficult in a zero-gravity environment. Thankfully, Koch and her crewmates have been willing to put up with the camera-related difficulties they've encountered, because the photos produced by the mission have been incredible.

Fans crowd around a rookie baseball player who, an hour earlier, had broken the tie in overtime, winning the game. Kids offer him hats and baseballs to sign. Photo: Mitchell Clark

Our April Editors' photo challenge theme is "Film Photography."

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Submit your "Film Photography" photos to our April photo challenge

Meike officially announced the previously reported AF 56mm f/1.7 Air APS-C lens for Sony E-mount, priced at $169 and available in white and black:

The Z-mount version will be released later.

Here are the technical specifications:

Meike AF Air 25mm/35mm/56mm f/1.7 compact APS-C lenses additional information (Z/E/X)

Additional information on the rumored Meike Air compact APS-C lenses + a new AF 85mm f/1.4 SE lens

The post Meike announced a new AF 56mm f/1.7 Air APS-C lens for Sony E-mount ($169) appeared first on Photo Rumors.

 
PPPcameras has added new accessories for Fujifilm cameras:

• Fuji X100V leatherette (see all Fujifilm leatherette options here)
• Fujifilm X-Pro 1 Screen Cover (see all Fujifilm upgrades here)

Check out the other camera accessories and services available at PPPcameras in the UK (additional information):

• PPP shop
• PPP repaints
• PPP film lab
• Book a repair
• Sell or trade

Screen covers, dial locks, and leatherette accessories for Fujifilm cameras

New accessory: Fujifilm X100F screen cover

PPP Cameras: store + film lab + repair + repaint + camera customizations services

The post New accessories for Fujifilm cameras by PPP Cameras appeared first on Photo Rumors.

 
Fujifilm registered a new F260001 camera in Asia that will use X-Processor 6. Fujiaddict reports that this will most likely be the Fujifilm X-T6:

“This camera will likely be the Fujifilm X-T6, but there is also a small chance that it could be the Fujifilm X-Pro4 or Fujifilm X-H3. We generally find these listings pretty close to launch events, and Fujifilm announced Fujikina in Warsaw this June, so it is likely a camera will be announced at or before the event.”

FUJIKINA Warsaw 2026 Announced for June 12-13 at Dom Towarowy Bracia Jabłkowscy

Fujikina 2026 Announced May 9–10

The latest Fujifilm news

The post New Fujifilm F260001 camera registered (Fujifilm X-T6?) appeared first on Photo Rumors.

Ricoh: “We will not abandon SLRs”

OM System announced a new OM-1 Mark II IR (infrared) camera in Japan

Patent JPO 2026-059152: Canon’s Next Move in Consumer Primes – RF 55mm f/1.8 & RF 85mm f/1.8 STM

Voigtlander Patent Uncovers Three F1.4 Portrait Primes for Sony E-Mount: 75mm, 85mm, and 100mm!

The Mandler 35mm f/2 “Seven Elements” lens is back in stock (limited quantities)

Oberwerth announced a new “Gear Pack”

Owlkrown introduced new Leica accessories

Fujifilm Instax and 135 Prices Are Increasing

Lensbaby Launches Twist 28, a Wide-Angle Petzval-Inspired Lens Developed in Response to Years of Photographer Demand

The post What else is new? appeared first on Photo Rumors.

Photo: NASA

After nine days of journeying around the moon, the Artemis II mission has come to a successful conclusion with the crew landing safely in the Pacific Ocean on the evening of April 10. The lunar flyby portion of the trip lasted roughly seven hours, and the crew said they took over 10,000 images during that time alone, so there are an untold number of images from the entire mission.

While NASA hasn't uploaded anywhere near that many, the organization has been sharing plenty across various platforms, including its own website. We've been keeping our eyes on those photographs and have compiled a selection of our favorites from pre-launch through splashdown, which you can see at the bottom of this article.

The photographs are absolutely stunning simply for what they are, but the crew wasn't only taking them to create pretty images. They were also intended for scientific purposes, and there's a lot you can learn from them as a result. I'm no scientist, though, so I've really been enjoying listening to those who know more explain some of what's going on.

One such example is a video by Hank Green, a popular YouTuber and science communicator. In the video, Green walks through some of the photographs taken by the Artemis II crew, explaining in depth what we are looking at and providing additional context behind the photographs. For example, in one of the images of the Earth, Green points out the sodium line that goes all the way around the planet, explaining what it is and what its importance is.

Green also covers some things we photographers already know, such as why Earth looks so big in some shots (telephoto focal lengths), and some things caused by factors inherent to space, such as the surreal lighting in some shots. In his words: "Pictures are often worth a thousand words, but sometimes they are worth considerably more than that." It's a fantastic video, well worth watching all the way through.

CSA (Canadian Space Agency) astronaut and Artemis II Mission Specialist Jeremy Hansen is seen taking images through the Orion spacecraft window during the Artemis II lunar flyby. Photo: NASA

Artemis II pilot Victor Glover summed it up nicely when witnessing the eclipse from the spacecraft: "It is truly hard to describe." We can't wait to see even more from NASA once they are able to go through the enormous number of images and videos from these inspiring astronauts.