Sigma is now farming rice in Aizu, Japan, where the company's factory is located. According to CEO Kazuto Yamaki, it's an effort to support its own neighbors while maintaining an important Japanese tradition. Photo: Sigma

For Sigma, "Made in Japan" isn't just a marketing ethos; it signifies a commitment to the company's home country, and to the region surrounding the city of Aizu, where its factory is located.

In an industry where most companies manage global manufacturing and supply chains, Sigma CEO Kazuto Yamaki takes pride in anchoring his company not only in its geography but in its culture. In fact, when Sigma introduced its new logo last year, it also doubled down on this regional connection, making "Made in Aizu, Japan" a core part of its brand identity.

Which explains why we find ourselves in Japan talking to Mr. Yamaki about rice. As we wrap up our interview at CP+, he casually mentions, "Actually, I'm not sure if you know it, but we decided to start growing rice."

Sigma products and packaging proudly emphasize the company's roots in Aizu, Japan. Photo: Richard Butler

Sigma announced its rice-growing ambitions a few days before our meeting, and while we saw the same press materials as everyone else, it was fascinating to hear the story behind the project, and what inspired it, in Mr. Yamaki's own words.

It's about history and ecology

"Aizu is known for many things," he tells us. "But one reason it's well known is for being a good production site for rice. There are many rice fields in Aizu, and they produce top-quality rice. But these days, as you know, Japan is a rapidly aging country. Also, the kids don't want to take over the farmers' business. So the farmers are losing their successors. Actually, this is nothing new. This already started in the 90s or late 80s. But thanks to the tractor and combine, we don't need many people."

"Aizu is known for many things, but one reason it's well known is for being a good production site for rice."

According to Yamaki, this represents an important economic and cultural shift from the past.

"Before World War II, we had many big landowners, but after World War II, property was shared by the farmers thanks to the American government, which occupied Japan at the time. So in Japan, there are many small farmers. Until now, some farmers asked neighboring farmers to take care of their fields because, thanks to tractors and combines, they could grow rice through the neighbors."

The Sigma factory in Aizu, Japan. Under Mr. Yamaki's leadership, the company has leaned into its roots in Japan, focusing on the use of Japanese suppliers and working with local partners. Photo: Dale Baskin

But it's not just a matter of changing demographics. As Mr. Yamaki observes, the disappearance of the small farmer is having a lasting physical impact on the land itself.

"But what is happening today is these kinds of farmers are aging, and they are losing successors. I started seeing many abandoned rice fields or paddy fields in the Aizu area. This creates a lot of problems. Paddy fields contain water, right? There's a particular ecosystem there, so we lose that ecosystem."

"The disappearance of the small farmer is having a lasting physical impact on the land itself."

"Once the land loses its ability to absorb water, it creates floods and also mudslides. And the abandoned fields have unexpected, undesirable plants. It invites bugs and harmful animals from the forest. So it creates a lot of problems. And also, the look of the landscape – I mean the traditional Japanese landscape, including the paddy fields – we are losing. So our aim, our purpose, is to keep the traditional Japanese landscape as it is. We are not going to grow the agricultural business, but our purpose is to preserve the paddy fields as they are."

A view from the train

For Mr. Yamaki, the decision to farm was a deeply personal one, rooted in a final request from his father.

"My father [Sigma founder Michihiro Yamaki] passed away 14 years ago. He had liver cancer. At the very last stage, maybe two or three months before he died, he asked me to take him to Aizu several times."

Kazuto Yamaki's father, Sigma founder Michihiro Yamaki (far right), poses with supporting members of the Sigma Research Institute Co., Ltd, around 1961. Photo: Sigma

"Because of his illness, at first I drove him to Aizu. But at some point, he told me he wanted to go by train. The local train in Aizu runs through the paddy fields. And he was looking at the paddy fields. And I realized why he wanted to go to Aizu by train. He was just looking at the rice fields, and since then, I really like looking at the paddy fields."

"But these days," he explains, "I feel very sad looking at an abandoned paddy field. So I was interested in starting agriculture about three years ago, and finally, we can start this year."

Leveraging the experience already inside Sigma

At the Sigma factory, the line between technician and tradition is closer than one might expect; some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies.

"Many of our factory workers are farmers. They know how to make rice, and they have machines. So, we can ask people over age 60 or 65, "Could you work at the rice paddy rather than the factory?" And if we rent out their tractor, we can pay. If we rent their tractor for a week, it can be revenue for them. So we already have the resources to make it."

Some of the same hands that craft many of Sigma's world-class lenses are now being tasked with a much older form of craftsmanship: maintaining Aizu's rice paddies. Photo: Dale Baskin

However, don't expect to see Sigma brand rice on store shelves anytime soon. Yamaki has a pragmatic plan for what to do with all that rice: keep it within his own family of employees.

"We consume it ourselves, because we have a cafeteria in the factory and we have one at the headquarters. If we sell to wholesalers, we have to sell it very cheaply. But we can sell it directly to the company that runs the cafeterias. So we may not lose much money. So it's a kind of win‑win situation."

For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example.

"For Mr. Yamaki, Sigma's foray into agriculture is an opportunity to lead by example."

"It's really important to commit to the local community," he states emphatically.

"Well, of course, as a company, making a profit is the most important responsibility. But in today's society, companies play many important roles in society and have many social responsibilities. I think the contribution to the local community is one of the important responsibilities a company has. So we are just doing what we can do."

"Of course, we cannot save the Earth. We cannot save the whole region. But I like the phrase, "Think globally, act locally." By announcing this kind of activity, it may influence others, and if such activity spreads to the world, people may be able to help the Earth."

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Thypoch will officially release/display their new 24-50mm f/2.8 lens at the 2026 NAB show (the first Chinese full-frame autofocus constant-aperture zoom lens).

Thypoch will also announce the previously reported Ksana 35mm f/2 ASPH lens for Leica M-mount – here is the pre-order link (not live yet).

Here is what we know so far about the new Typoch 24-50mm f/2.8 lens:

• Full-frame compatible
• AF zoom lens
• 24-50mm F2.8 (constant maximum aperture)
• Aperture ring equipped (F2.8–F22)
• Sony E, Nikon Z, and Leica L mount support
• Internal zoom design (barrel does not extend)
• Dedicated AF/MF switch, manual focus ring, and customizable function button
• Compact, lightweight, and modern plastic construction with diagonal-grip rubber rings

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

Thypoch 24-50mm f/2.8 full-frame autofocus zoom lens officially announced

Thypoch will soon announce a new Ksana 35mm f/2 ASPH lens for Leica M-mount

The post Additional information on the Typoch 24-50mm f/2.8 – the first Chinese full-frame autofocus constant-aperture zoom lens appeared first on Photo Rumors.

Image: Adobe

Adobe is continuing the flow of video news from the National Association of Broadcasters (NAB) show with its announcement of a new "Color Mode" for Premiere. The company says it's a "first-of-its-kind color-grading experience," designed to be approachable for video editors, rather than professional colorists.

The mode will live as its own tab in Premiere, alongside Import, Edit and Export. Activating it brings up a new interface with a large preview window and several tools for adjusting things like color temperature, saturation, contrast and more. You can apply your adjustment, or multiple adjustments, to a single clip or to all (or most) clips in your sequence, and use masks to apply adjustments only to certain parts of your video. Color mode will also pre-select the most prominent hues in your image, so you can quickly and easily adjust them.

Image: Adobe

The tool will include several pre-made "Style Presets," which have their own adjustable parameters. You'll also be able to save your customized version of a style as its own preset, so you can easily apply it to other footage later. You can use the tools to build those presets on their own, to go beyond basic color grading as well.

Adobe is pitching the mode as an exercise in simplicity; something designed for editors, rather than professional colorists. Rather than tweaking numerical parameters, drawing custom curves on graphs or sitting at a physical piece of hardware with an ocean of knobs and dials, it seems like you mostly control the tools through a simple mouse-based interface that lets you drag controls until you get the look you're going for.

Color mode's simple interface doesn't preclude more advanced edits, like masking. Each tool also includes a "heads up display" window that pops up to show you how your edit is changing the color. Image: Adobe

However, the company also says the system "grows with your ambition," letting you do more complex grades if necessary. Still, it seems the main appeal is its ease-of-use, with Adobe's press release calling it an alternative to unnamed other apps that "pull you out of your edit entirely and force you to study out-of-reach pro-colorist tools that were never designed for you."

In the same vein of making things easier for editors, Adobe has also released a new program called Frame.io Drive, which lets you "mount" your projects stored on the cloud as storage media on your computer. From there, you can access and clips or files directly from your computer's file manager, without having to manually download or sync them.

Color Mode is available in the beta version of Premiere starting today, while Frame.io Drive will "roll out in phases," starting with enterprise users.

The Canon MS-510 surveillance camera is the second to use its SPAD sensor. Image: Canon

Canon has announced its second camera based around a 'single photon avalanche diode' (SPAD) sensor. It's a completely different sensor technology to the CMOS sensors we typically encounter, based on a completely different physical phenomenon, and able to measure the arrival of individual photons.

The MS510 is a box camera, designed for applications such as nighttime border surveillance and maritime monitoring over long distances. The MS510 has a 3.2MP Type 1 (∼131mm²) sensor, from which it derives 1920 x 1080 video footage, Canon says it has greater sensitivity to near-IR light than the previous model.

In conventional CMOS designs, a charge is accumulated as arriving photons of light trigger the release of electrons via the photoelectric effect. This charge builds up during the exposure and the magnitude of the accumulated charge is read out at the end of the exposure.

In a SPAD sensor, the photoelectrons that are released are then accelerated by a powerful electrical field. The energy of their impact triggers an avalanche of electrons to be released within the semiconductor. This allows sensors to detect down to the sensitivity of individual photons.

Such sensors don't need to accumulate charge before they're read out, so individual photon arrivals can be detected as they arrive: continuously sampling, rather than capturing separate, discrete exposures.

And, because each avalanche of electrons is so distinct from any coincidental electronic noise, it's possible to essentially factor-out all read noise from the system. However, the nature of light means that photon shot noise (the randomness of light) would still be unavoidably present in any photograph.

Nestling behind some magnifying optics is a Type 1 SPAD sensor, capturing 1920 x 1080 footage from its 3.2MP resolution. Image: Canon

These characteristics lend themselves very well to video capture in extreme low light. Canon has previously show its SPAD sensor visualizing a single pulse of laser light as it moves. The MS510 is geared towards slightly less rapid movement, and has a movable infrared filter, allowing it to capture some light just outside the visible spectrum, for even better performance in extreme low light.

Like its predecessor, the MS510 accepted broadcast lenses designed for Type 2/3 sensors, and features magnifying optics in front of the sensor to make full use of the sensor area.

However, while some of these properties sound like they would be useful for photography, and Canon has previously talked about the SPAD sensor matching the performance of a sensor 10 times its size, you shouldn't expect to see a SPAD sensor in an EOS camera any time soon.

Also, it's woth noting that the quantum efficiency (proportion of the incoming light that it successfully measures) isn't significantly different to that of current CMOS sensors, so the benefits primarily exist in ultra-low light, where read noise plays a significant role, rather than daytime photography where photon shot noise has the most impact.

The electrical field required to accelerate photons as they arrive in the sensor uses much more power than the CMOS sensors we're used to. We only have the figures for the MS510 camera as a whole, which includes powering its controllers and fan but, for reference, Canon's other MS cameras with Super35 and full-frame CMOS sensors consume between 8 and 12W, whereas the MS510 consumes 24W. This suggests both battery life and thermal management would be challenging to produce a photographer's camera. And, for now, at least, resolution.

Photo: MPB

Spring is synonymous with growth, and it might just be the best time to upgrade your photography kit. That's why we've teamed up with MPB, the leading platform for buying, selling, and trading camera equipment, to give away a $1,000 gift card.

Because MPB has everything from lenses and bodies to bags and tripods, one lucky winner will be able to customize their ultimate shopping spree to precisely their needs. Enter below by April 29 for your chance to win.

Terms: No purchase necessary. Enter from April 15, 2026-April 29, 2026 for your chance to win. Sweepstakes is open to residents of the United States and the District of Columbia who are lawful U.S. residents, and are 18 years of age or older, as of the start date of the sweepstakes. Void where prohibited by law. Sponsor: Gear Patrol. See official rules for details and Sponsor’s privacy policy.

This is sponsored content, created in partnership with MPB. What does this mean?

Last year, I reported that the German manufacturer of professional motion picture cameras, lenses, and lighting, ARRI, was up for sale. Today, the company has a new owner, Thomas Riedel, the owner of Riedel Communications and the Riedel Group.

Additional information:

Thomas Riedel, founder and owner of Riedel Communications and the Riedel Group, has acquired ARRI, the Munich-based premium manufacturer of camera and lighting technology for motion picture and live entertainment. The entrepreneur from Wuppertal was chosen in a competitive international process with his concept for a new home for ARRI, marking the largest acquisition of his career to date.

The Riedel Group is a globally recognized specialist in advanced audio, video, and data technology, delivering infrastructure solutions for many of the world’s most demanding broadcast, live event, and sports productions. Through the acquisition of ARRI, Thomas Riedel establishes a close strategic alignment between ARRI and the Riedel Group, expanding its expertise across the entire production chain — from camera optics to distribution. ARRI’s ecosystem of camera, lighting, and systems technology perfectly complements the Riedel Group’s existing portfolio and opens up new technological and strategic market opportunities for both companies.

Founded in 1917, ARRI has been family-owned ever since and is regarded as a global leader in professional film technology, having been recognized with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences. “For more than a century, ARRI has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of ARRI GmbH and member of the founding family.

Through close collaboration, ARRI and Riedel aim to unlock new areas of growth, especially in live entertainment and sports. By combining their respective technologies, the companies plan to develop integrated solutions that open new creative and technical possibilities for customers. As the first joint milestone of this collaboration, ARRI will debut its camera technology at the Eurovision Song Contest, where Riedel serves as the technology provider and NEP oversees production.

Under the new ownership of Thomas Riedel, ARRI’s existing management team will continue to lead the company and further advance its ongoing transformation. The company will retain independent operations and remain headquartered in Munich.

ARRI is cutting jobs and closing two locations in Germany

Who is going to buy ARRI?

The post ARRI has a new owner appeared first on Photo Rumors.

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.