Sigma Corporation (CEO: Kazuto Yamaki) announces changes to the sales method for the SIGMA 14mm F1.4 DG DN | Art, due to the significant delays in delivery times. This is to continue meeting diverse customer needs and ensure stable product supply. Additionally, we will be changing the product name, refreshing the exterior design and packaging, and adjusting the price accordingly.
We sincerely apologize for any inconvenience these changes may cause and kindly ask for your understanding as we strive to continue providing high-quality products and services.
Changes in sales method
Currently, we have no stock of this product except for what is currently available in stores. As a result, we are experiencing significant delays in shipping newly ordered products, and we apologize for any inconvenience this may cause our customers.
Going forward, we will transition to a made-to-order system as follows.
Previously: Regular sales
Going forward: Made-to-order sales (orders will be accepted for a limited time and shipped at a later, scheduled date)
Schedule
Order acceptance period (2025): September 4 to October 31
Shipment of the product: from March 2026
We will provide further details regarding the order acceptance period and schedule for next year and beyond at a later date.
Changes of product name, exterior, and packaging
Starting with products shipped from next year, the name will be changed as follows.
Previously: SIGMA 14mm F1.4 DG DN | Art
Going forward: Sigma 14mm F1.4 DG | Art
This change is in line with our new visual identity (VI) announced in February 2025, and we will also refresh the engravings on the exterior of our products and accessories, as well as packaging.
Please note that there will be no changes to the optical quality. We will continue to deliver the same imaging performance as before with a new look.
Price adjustment
In light of recent external factors such as rising raw material costs and manufacturing and logistics costs, we have decided to revise our price.
Additional informtion on the Sigma 14mm f/1.4 lens:
Last week marked the second edition of our 'Question of the week' forum series. Our first question centered around what to consider when buying a new camera, and lenses came up quite frequently. So this time around, we wondered what five questions you should ask yourself when choosing a new lens.
Can I afford it?
First and foremost, just about everyone mentioned cost considerations. Most of you had some variation of "can I afford it" or "how much does it cost?" For some of you, lens cost was the only question you brought up, showcasing the importance of price when choosing a lens.
JohnSil even went further and asked, "If I don't buy this lens today, will it cost more tomorrow?" Given that US customers have been facing repeat price increases across many brands, it's a worthwhile consideration.
Is it a need?
The other most common question we saw related to determining whether you truly need the lens. Again, that was the only question that mattered to some of you. There were some that added provisions for simply wanting a lens, but many of you focused on need rather than want.
Similarly, many of you suggested asking if the lens fills a specific need that your current lens(es) do not. For example, Robin Dr24 said, "Will the new lens fill a gap? The gap could be an uncovered (range of) focal lengths or a wider aperture or alternate physical attribute(s) (smaller size, lighter weight, less focus breathing, tilt/shift capability)." If you're buying a lens that is very similar to something you already have, that may not be a worthy use of money.
We also really liked Jaime100's advice to ask yourself repeatedly over the course of a few weeks if you need the new lens. They added that "if you can hold off on this purchase for 3 weeks, one will be surprised on how much 'you do not need' nor find yourself wanting."
Size considerations
Lens size was also a common refrain. While some pointed out a balance between lens size and features like maximum aperture, others prioritized size and weight above all else. CmB2024 made a great point, asking, "Will I bother to carry it or, due to size and weight, will it get left at home?" If the new lens is large enough that you don't want to use it regularly, there's probably not much point in spending money on it.
Does it have the features I want?
Lens features are another important consideration. There are different preferred features, of course, but reflecting on what type of features matter most is a great suggestion when choosing a new lens. For example, Fabian Joya suggested asking yourself, "Does this lens have the features/ergonomics that I need, e.g. focusing speed, control ring, etc."
Some lenses are very basic in terms of on-lens controls, so asking yourself what features you need on the lens is very useful in making sure you purchase one you'll be happy with in the long run. Additionally, if the new lens adds features you don't have on other lenses, it's worth thinking about whether it might change how you use lenses you already own. To that end, GeoffRG suggests asking, "Will it mean that I use other lenses less?"
Image quality
Finally, but certainly not least, image quality was a common mention. Jefenator posed one such question: "Will the sharpness be sufficient in the appropriate areas at the appropriate settings?" Given that lenses significantly impact overall image quality, it makes sense that this should be a top question to consider when buying a new lens.
The thread is still open if you haven't had a chance to participate yet and would like to. Thank you to everyone who shared their thoughts and insight!
Sigma's 14mm F1.4 DG Art lens is a superb option for astrophotography. In 2023, it earned Dale Baskin's Gear of the Year pick. Photo: Dale Baskin
The Sigma 14mm F1.4 DG DN Art lens has been a popular offering since its launch in 2023, so much so that it's been challenging to purchase. In a recent statement, Sigma acknowledged it has had "significant delays in delivery times" for the ultrawide prime and said it will be changing how users purchase the lens as a result.
Sigma explained that it currently doesn't have any stock of the 14mm F1.4 DG DN Art lens, other than what is available in stores. To address this, the company says it is switching to a "made-to-order" system. Users will be able to place orders for a limited time, and the lens will then ship at a later date.
The company says that orders will be open from September 4 through October 31. However, the lens won't ship until March 2026, so users who pick one up during the limited order period will have to wait a while to actually get the lens in their hands.
Photo: Dale Baskin
In addition to adjusting how customers order the lens, Sigma increased the price to $1839 for US customers. This is the second price increase for the lens, as it was bumped from its $1599 original MSRP to $1759 when Sigma increased its prices in the US because of tariffs. Sigma explained the new price is a result of "rising raw material costs and manufacturing and logistics."
Finally, the Sigma said it is updating the external design of the lens, the product name and packaging to fit the company's new visual identity announced this spring. The new name (Sigma 14mm F1.4 DG | Art) ditches the DN, which used to indicate the lens was designed for mirrorless cameras. Given that Sigma is no longer designing new lenses for DSLRs, it makes sense that it wouldn't need that designation anymore.
Press release:
Sigma 14mm F1.4 DG DN | Art: Changes In Sales Method and Pricing
Ronkonkoma, NY, September 2, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), announces changes to the sales method for the SIGMA 14mm F1.4 DG DN | Art, due to the significant delays in delivery times. This is to continue meeting diverse customer needs and ensure stable product supply.
Additionally, we will be changing the product name, refreshing the exterior design and packaging, and adjusting the price accordingly. We sincerely apologize for any inconvenience these changes may cause and kindly ask for your understanding as we strive to continue providing high-quality products and services.
The Sigma 14mm F1.4 DG | Art lens will be available for special order starting September 4th, 2025 at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,839 USD.
Available mounts: L-Mount, Sony E-mount
Supplied accessories: Cover Lens Cap Cap LC1014-02, Rear Cap LCR III, Tripod Socket TS-141, Protective Cover PT-42, Guide Plate GP-11, Shoulder Strap, Pouch
* Product appearance and specifications are subject to change.
* L-Mount is a registered trademark of Leica Camera AG.
* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
Changes in sales method
Currently, we have no stock of this product except for what is currently available in stores. As a result, we are experiencing significant delays in shipping newly ordered products, and we apologize for any inconvenience this may cause our customers. Going forward, we will transition to a made-to-order system as follows.
Previously: Regular sales
Going forward: Made-to-order sales (orders will be accepted for a limited time and shipped at a later, scheduled date)
Schedule
Order acceptance period (2025): September 4 to October 31
Shipment of the product: from March 2026
Changes of product name, exterior, and packaging
Starting with products shipped from next year, the name will be changed as follows:
Previously: SIGMA 14mm F1.4 DG DN | Art
Going forward: Sigma 14mm F1.4 DG | Art
This change is in line with our new visual identity (VI) announced in February 2025, and we will also refresh the engravings on the exterior of our products and accessories, as well as packaging. Please note that there will be no changes to the optical quality. We will continue to deliver the same imaging performance as before with a new look.
Price adjustment
In light of recent external factors such as rising raw material costs and manufacturing and logistics costs, we have decided to revise our price. The 14mm F1.4 DG | Art will retail in the Unites States of America for $1,839 USD.
On the heels of announcing it had joined the L-Mount Alliance, Viltrox has unveiled a new lens, though not for L-mount cameras. The AF 56mm F1.2 Pro promises "professional-grade" optical design and attractive bokeh for E and X mount APS-C cameras at a budget-friendly price.
The Viltrox AF 56mm F1.2 lens sits in the company's Pro lineup, offering a fast maximum aperture with advanced autofocus. It's designed for APS-C cameras, providing a 84mm equivalent focal length. With the fast F1.2 aperture, it should be an excellent portrait prime lens for APS-C users.
Image: Viltrox
The lens uses Viltrox's HyperVCM motor, which it says is smooth and silent with minimal focus breathing, making it an ideal choice for photo and video. It can focus as close as 0.5m (1.6'). The optical design comprises 13 elements in 8 groups, including three high-refractive index elements, one extra-low dispersion element and one ultra-large precision aspherical lens. Viltrox says the lens is sharp and clear across the frame and promises limited chromatic aberration.
The 56mm lens features an aperture ring that can be clicked or de-clicked, a dedicated Fn button and an AF/MF switch. Viltrox also made the lens to be a durable offering. The aluminum alloy body is weather-sealed, promising to keep out dust and moisture. It is compatible with 67mm filters and features a USB-C port for firmware updates.
Viltrox launches AF 56mm Ultra-large aperture F1.2 Pro E and XF (APS-C) lenses
Masterful control of light and bokeh, ideal for powerful portraits
Shenzhen, China, September 1st, 2025 - Viltrox is pleased to announce the release of the AF 56mm F1.2 Pro E and XF (APS-C) lenses. The AF 56mm F1.2 Pro lenses’ professional grade optical design delivers astonishingly high resolution from center to edge, taking full advantage of the capabilities of higher-megapixel cameras. Even after extensive post-cropping or enlargement, the lens faithfully preserves image detail, with incredible sharpness and clarity. Ideal for expressive portraits, the F1.2 aperture creates stunning depth and dimensional layering for a mesmerizing artistic impact.
F1.2 Large Aperture: Subject highlighting and mastery of light
The F1.2 ultra-large aperture delivers impeccable bokeh, facilitating more layered images through a shallow depth of field, rendering dreamy background blur, and highlighting subjects clearly. There is a smooth transition between in-focus and out-of-focus areas. The large aperture’s greater light intake allows faster shutter speeds and lower ISO, delivering refined, detail-rich images in both low-light and well-lit environments.
The precisely engineered optical design of 13 elements in 8 groups achieves peak aberration control and onion ring bokeh control even at 1.2 aperture, delivering consistent sharpness and clarity right across the frame – this is aided by Viltrox’s advanced HD nano coating. The ultra-large precision aspherical lens works together with an ED (extra-low dispersion) lens that effectively corrects axial chromatic aberration, delivering crisp, color-fringe-free images. The 3 HR (High-refractive) elements strike the perfect balance of portability and optical excellence, making this lens a natural fit for compact APS-C camera systems.
HyperVCM motor for quiet high-speed focusing
Viltrox's patented HyperVCM motor provides faster and more precise focusing, while reducing vibration for smooth, silent performance – ideal for quickly capturing shots, and for fast-moving subjects. The silent operation and minimal focus breathing ensure a smooth and professional feel for video.
Tough and durable for all environmental conditions
The lens features high-grade weather-sealed construction with a high-strength forged aluminum alloy body. The matte black finish and protective coatings resist scratches, wear and lens contamination, while rubber seals keep out dust, splashes, and moisture – ensuring reliable performance, even in challenging outdoor environments.
PhotoLab 9 features AI Masks to make retouching faster and easier. Image: DxO
French software company DxO has announced PhotoLab 9, its latest Raw editing platform. DxO says this is its most powerful Raw editor yet, offering improved masking capabilities, newly added batch renaming and support for iPhone HEIF and ProRaw files.
It's no surprise that AI features are at the forefront of the software announcement. DxO added AI Masks tools that use AI to create "pixel-precise selections in an instant." The tool is very similar to Lightroom's AI Masking option, which automatically creates masks of common and prominent subjects for users to select from.
Within PhotoLab 9, users can create these in three ways. They can hover and click on different parts of the photo or draw a box around an area that contains the object. DxO also added Subject Types, a list of predefined objects users can select from, including sky, people, faces and hair. The Subject Type option can also be "intelligently copied and pasted between images" or saved as a preset. When used as a preset, the mask is contextually aware of the selection, so it will automatically adjust for each image. It promises to make retouching much faster.
The AI Masks aren't the only way to make selections, either. DxO's U Point Technology was the predecessor to AI, allowing for intelligent masks based on image content using color and contrast information. DxO combined the new AI Masks with its U Point Technology, allowing for more control over selections.
Local adjustments allow users to adjust noise in only select areas. Image: DxO
With the help of the new masking and selection tools, PhotoLab 9 gains the ability to make local adjustments for noise reduction (using DeepPrime) and lens sharpness (with DxO's Lens Sharpening Optimization). With local adjustments, users can selectively reduce noise in heavy shadow areas or only sharpen key subjects, for example.
The DeepPrime XD3 engine is now out of beta. Image: DxO
PhotoLab 9 also adds support for Apple iPhone HEIC/HEIF and ProRAW file formats. Photographers who use their iPhone will now be able to keep their editing in one platform if they are DxO users. Additionally, DxO said that its DeepPrime XD3 engine for intense processing on demanding files is out of beta and compatible with all X-Trans cameras.
Finally, DxO added some workflow functionality as well, including batch renaming. Files can now be batch renamed, including an automatic setting for names using image metadata, EXIF information or custom text.
DxO PhotoLab 9 is available now. A new license costs $240 while an upgrade costs $120.
Press release:
DxO PhotoLab 9 introduces a new era of editing, adding exceptional AI Masks, high-precision local adjustments for DeepPRIME denoising and sharpening, and more
New features also include powerful batch renaming, a host of improvements for a smoother workflow, and support for Apple HEIC/HEIF and ProRAW files.
Paris, France: DxO, a pioneering force in photo editing software for more than two decades, today announces the launch of DxO PhotoLab 9, the world’s most advanced end-to-end RAW photo editing software. Version 9 introduces masking powered by AI that guarantees supremely accurate selections, allowing photographers to create local adjustments with more precision than ever. In addition, new features include: local adjustments for denoising, demosaicing, and Lens Sharpness Optimization; a range of workflow upgrades for a smoother editing experience; powerful batch renaming options that use metadata; and support for Apple HEIC/HEIF and ProRAW images.
"Version 9 is a major step forward in RAW photo editing," explains Jean-Marc Alexia, VP of Product Strategy. "The AI-powered masking offers unmatched accuracy, and when you combine this with all of the other features in PhotoLab 9, it’s probably our biggest upgrade to our flagship editing software of the last twenty years."
Introducing DxO AI Masks, the new standard for automatic object selection
The new AI Masks harness the power of artificial intelligence to create smart, pixel-precise selections in an instant. Users can quickly create masks through three different methods: hovering and clicking on different parts of the photo; drawing a box around the area of an image that contains the object to be selected; or choosing from various Subject Types, a list of predefined objects, including sky, people, faces, and hair.
The list of predefined objects offers more than just quick selection. For example, if a photographer selects "Hair" and makes some adjustments, these changes can be intelligently copied and pasted between images, or saved as a preset that is contextually aware of the selection. Complex retouching becomes faster, smarter, and effortlessly consistent.
Combining DxO AI Masks and U Point Technology™ to achieve unmatched precision
By integrating effortlessly with other Local Adjustments tools, AI Masks deliver an unparalleled level of flexibility and control. Selections can be refined using DxO’s renowned U Point™ technology: using a combination of AI Masks, Control Points, Control Lines, Graduated Filters, and the Brush tool, photographers can create highly complex masks that would otherwise be too sophisticated for even the most advanced AI. This offers a significant advantage over competing tools, where refining complex selections can be laborious.
Exceptional control with local adjustments for targeted noise reduction and Lens Sharpness Optimization
For photographers who demand the most precise control, DeepPRIME noise reduction technologies and DxO’s exclusive Lens Sharpening Optimization can now be targeted using local adjustments. While PhotoLab’s automated processing already delivers outstanding results, this gives users the ability to fine-tune their image with a supreme level of detail, especially given that the new AI Masks — combined with existing local adjustment tools — offer incredible precision.
A smarter, faster workflow
DxO PhotoLab 9 brings a host of workflow improvements designed to make photo organization faster and more intuitive. New features include image stacking, a Favorites system for folders and projects, and direct access to the Project palette from Customize mode. And as part of a cleaner, more versatile editing experience, you can also easily relocate folders that have been moved.
Powerful batch renaming
DxO PhotoLab 9 introduces a powerful new batch renaming tool, giving users full control over how original and processed files are named. Filenames can be automatically generated using image metadata, EXIF information, or custom text, streamlining organization and post-processing. Users can also create and save their own presets, making it easy to apply consistent naming conventions across entire projects or workflows.
Support for iPhone images
Version 9 introduces support for Apple’s iPhone image formats — HEIC/HEIF and ProRAW — making it easier than ever to edit photos taken using iOS devices. This expanded compatibility ensures a seamless workflow for photographers who want to harness the power of DxO’s renowned image processing tools with photos captured on their iPhone.
Unrivaled noise reduction and detail extraction for X-Trans sensors: Introducing DeepPRIME XD3 X-Trans
Two years ago, DxO introduced DeepPRIME XD, the ‘eXtra Detail’ engine designed to use more intense processing for taking on the most demanding files. The technology continues to evolve, ensuring unprecedented results for images captured at extreme ISO levels.
Today, DxO is proud to announce that, following the technology preview released as part of DxO PureRAW 5, DeepPRIME XD3 has emerged from beta and now processes RAW files from all X-Trans cameras.
The image quality is unprecedented, able to recover noise and retrieve details from images captured in very low light like never before.
Price and availability
DxO PhotoLab 9 is available today from the DxO website (shop.dxo.com), for macOS and Windows machines:
New license 239,99 $ - 239,99 € - 219;99 £ Upgrade from DxO PhotoLab 7 or 8 119,99 $ - 119,99 € - 109,99 £
Canon UK has posted a teaser on its Instagram account, saying that "something new is coming" and encouraging people to set a reminder to watch a YouTube livestream on September 9th at 3PM CEST (6AM PT / 9AM ET).
The teaser image is surprisingly revealing, showing what looks like a video-focused camera with a boxy design and potentially 1/4-20" mounting points on the top plate. It also clearly shows a red Record button in place of a shutter and a front-facing tally light.
The design is reminiscent of the EOS R50 V, an APS-C vlogging camera the company released earlier this year which featured a gimbal-friendly form-factor. However, given the several control points shown in the image and what looks to be a red-ring lens attached, it won't be surprising if this is a higher-end offering.
It's also worth noting that the announcement is set right before the start of the IBC (International Broadcasting Convention) trade show, where we typically get a look at company's video-focused offerings.
Whatever Canon has planned, it sounds like we won't have to wait that long to get more details.
The Z6 III is now more expensive for US customers. Image: Nikon
In August, Nikon warned that it would be raising its prices in the US on September 1 because of the negative impact of tariffs. At the time, the company didn't specify which products would be impacted or how much the increases would be. Now, those new prices have taken effect.
This is the second time Nikon has increased prices in the US because of tariffs this year, though the first price adjustment only affected its lens and accessory lineup. The company's cameras were not impacted. Unfortunately, that's no longer the case. Most Nikon cameras are now more expensive, with an average increase of 8%.
September 1 price (% change)
Original MSRP
Z5 II
$1847 (8.8%)
$1697
Z7 II
$2497 (8.7%)
$2297
Z6 III
$2697 (8%)
$2497
Z8
$4297 (7.5%)
$3997
Zf
$2197 (10%)
$1997
Z50 II
$1007 (11%)
$907
The first price adjustment impacted Nikon's lenses, and some models received an additional increase with this second round. For example, the Nikkor Z 50mm f/1.2 S has gone from $2100 to $2247, and the Nikkor Z 14-24mm f/2.8 S from $2497 to $2697. The pricing change on Nikon's lens lineup was less significant than the pricing change on the camera bodies, potentially because those prices had already been increased once. Many of the company's budget-focused lenses did not change in price.
The company previously raised US prices across its lineup on June 23rd by an average of around 10%. Since then, the tariff situation has been in flux as trade terms were negotiated between the US and the various countries where Nikon makes its products.
Of course, Nikon isn't the only company that has adjusted prices. Over the weekend, Fujifilm also increased US prices, marking its second price hike within a month. Additionally, earlier this year, Canon, Sigma, Sony and Leica all marked up their products in response to tariffs. Thus far, of those companies, only Canon has made a statement about a potential second adjustment.
Just like Nikon, Canon will also announce a new entry-level cinema camera on September 9th. The new video-focused compact hybrid camera is expected to be a competitor to the Sony FX3 and the upcoming Nikor Zr. The model name could be Canon EOS RC. Stay tuned for updates.
The previously reported Viltrox AF 56mm f/1.2 Pro APS-C lens for Fujifilm X and Sony E mount is now officially announced. Pre-orders are now open at B&H Photo. Additional information can be found here. Check also the official website: X-mount | E-mount (international shipping available). Key features of the new lens:
Viltrox is the latest company to be inducted into the L-Mount alliance, according to a press release from Leica. It joins the organization alongside other budget lens companies like Sirui and Samyang, as well as major camera manufacturers like Panasonic, Leica, DJI, and Sigma.
The announcement says Viltrox plans to use the mount "in future product development," but doesn't mention whether any of its existing products will be made available for the system. While Viltrox has made a few cinema lenses for the mount already, it seems likely its official entrance into the alliance could signal that the company's autofocus photography lenses could be coming to L-mount as well.
That could be an exciting prospect for those who own L-mount cameras. The company is a rising star in the lens world; it gained its reputation largely thanks to its very affordable, but still decent lenses, but has since proven capable of making more premium options with its Pro and Lab series. The company also produces types of lenses that would fill in some gaps for the L-mount system, such as lightweight, compact primes that would pair nicely with cameras like the Panasonic S9 or Sigma BF.
Press release:
Viltrox Joins the L-Mount Alliance and Utilizes the L-Mount Standard Developed by Leica Camera AG in Future Product Development
Teaneck, September 1, 2025 – As a new member, Viltrox is the 10th company to join the L-Mount
Alliance since the public announcement of the L-Mount standard at Photokina in 2018. The alliance consists of founding members Leica Camera AG, SIGMA, and Panasonic, as well as Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, and SIRUI. This collaboration enables Viltrox to develop products with the L-Mount which will present great benefits for a wide range of photo and video applications.
The L-Mount was developed by Leica Camera AG with the aim of providing customers with a future-proof, flexible, robust, and precise bayonet mount that would fulfil even the most demanding photographic needs. After its initial appearance, development of the L-Mount was continued by Leica as well as by its strategic partners. This led to significant improvements with new and more sophisticated L-Mount technology, resulting in a constantly growing portfolio of cameras and lenses from all existing and new alliance partners, currently comprising over 20 cameras and more than 120 lenses. All lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters and without any functional limitations – this illustrates one of the numerous benefits of the common bayonet.
Valentino Di Leonardo, Managing Expert Technology & Licensing at Leica Camera AG: “The L-Mount Alliance has been a key pillar of Leica Camera AG’s strategy from the beginning, standing for openness, innovation, and the highest standards in photography. With its bayonet system, it offers outstanding flexibility across a wide range of photographic and videographic applications. By welcoming Viltrox as a new member, we are strengthening our network with a highly regarded partner that shares our vision of a forward-looking and versatile system. Viltrox contributes valuable expertise in high-quality lens development and brings fresh momentum to our ecosystem. Together, we aim to offer photographers and filmmakers an even more comprehensive and flexible system that meets the most demanding requirements.”
DAI JINHUI (Daniel Dai), CEO at Viltrox: “Viltrox has joined the L-Mount Alliance, further expanding the system’s reach with high-quality, versatile, and accessible lenses. This collaboration complements Leica’s portfolio by inspiring a new generation of creators – from passionate enthusiasts to seasoned professionals – while reinforcing a dynamic and inclusive ecosystem alongside alliance partners DJI, Panasonic, Blackmagic Design, and Sigma.”
About the L-Mount Alliance
The members of the L-Mount Alliance all utilize the L-Mount Standard developed by Leica Camera AG for mirrorless camera systems. Currently, the members of the alliance are Leica Camera AG, SIGMA, Panasonic, Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, SIRUI, and Viltrox. The partners in the alliance utilize the L-Mount Standard for cameras and lenses that are offered under their own brand names. They market their respective products as competitors, and each with their own product and marketing strategies. The alliance works together on advancing the technology of the L-Mount Standard.
About the L-Mount Standard
To ensure maximum product diversity, the diameter of 51.6 millimeters was chosen to make the L-Mount suitable for use not only with full-frame cameras, but also on cameras with APS-C sensors. The short register of only 20 millimeters enables a short distance between the lens and the sensor, which in turn allows for a considerably more compact construction – which is particularly helpful for developments in the wide-angle lens segment. To ensure resistance to even the most extreme conditions and guarantee maximum reliability for many years of intensive use, the camera bayonets are manufactured from wear-resistant stainless steel, with four flange segments that prevent canting and ensure a secure and precisely positioned lens attachment. The standardized L-Mount contact strip facilitates trouble-free communication between the electronic components of the lens and the camera – including the possibility of installing future firmware updates for lenses to react to technological advances and exploit the full performance potentials of the lenses. Further information can be found at: www.l-mount.com
About Viltrox
Viltrox, established in 2009, is a globally recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. Its portfolio includes cinema and autofocus lenses - such as the LAB, Pro, and Air series launched since 2018 - along with monitors, adapters, and lighting solutions.
Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide.Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-cantered design, empowering content creators across still and motion photography domains.
About Leica Camera
Leica Camera AG is an international, premium manufacturer of cameras, lenses, and sports optics products with a company history stretching back over 150 years. As part of its growth strategy, the company has expanded its portfolio to include mobile imaging (smartphones) and the manufacture of high-quality lenses for glasses and watches, and is also represented in the home theater segment with its own projectors.
Leica Camera AG, with its headquarters in Wetzlar, Germany, and a second production site in Vila Nova de Famalicão, Portugal, has a worldwide network of its own distribution companies with over 120 Leica Stores.
The Leica brand stands for excellence in quality, German craftsmanship, and industrial design,combined with innovative technologies. An integral aspect of the brand culture is the promotion of the culture of photography, with around 30 Leica Galleries worldwide, the Leica Akademie, and international awards such as the Leica Hall of Fame Award and the Leica Oskar Barnack Award (LOBA).
The Natural History Museum, London, has released 16 "sneak peek" images from this year's Wildlife Photographer of the Year competition. These highly commended images include photos from several competition categories, including Animals in their Environment, Natural Artistry, Invertebrates, Mammals, Underwater, Urban Wildlife, Photojournalism, and age-specific categories for young photographers.
Celebrating its 61st year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. This year's competition drew 60,636 images from photographers in 113 countries. The final categories, along with Grand Title and Young Grand Title awards, will be announced on October 14th, and will go on exhibit at the Natural History Museum starting October 17th, followed by international locations worldwide.
A tale of two coyotes
A Tale of Two Coyotes by Parham Pourahmad, USA Highly Commended, 11 – 14 Years
Parham Pourahmad (USA) uses the morning light to frame the amber eyes of a male coyote within the black-tipped tail of a female.
Parham followed this pair – a female and possibly her brother – for a couple of hours across the rocky hillside, quickly framing his image before the male turned to nuzzle the female. Coyotes can adapt to almost any habitat and are abundant across North America and into Central America. Once common in San Francisco, they had disappeared from the city but are now beginning to return. While they do scavenge food waste, their diet also includes rodents and other small mammals.
Location: Bernal Heights Park, California, USA
Technical details: Nikon Z8 + 180–600mm f5.6–6.3 lens at 600mm; 1/1250 at f6.3; ISO 800
Inside the Pack by Amit Eshel, Israel Highly Commended, Animal Portraits
Amit Eshel (Israel) gets eye-level with an inquisitive pack of Arctic wolves.
In temperatures of -35°C (-31°F), Amit struggled to fulfill his dream of photographing the elusive Arctic wolves of Ellesmere Island. But then, on the twelfth day of his second trip, they came closer than he had ever imagined, so close that he could smell their breath. Restricted to Canada's most northern territories and northern Greenland, Arctic wolves are curious of humans due to a lack of interaction. They're a snow-white subspecies of the grey wolf, pack animals that hunt hares and musk oxen.
Location: Ellesmere Island, Nunavut, Canada
Technical details: Canon EOS R5 + 24–105mm F4 lens; 1/1250 at F11; ISO 2000
Pink Pose by Leana Kuster, Switzerland Highly Commended, 15 – 17 Years
Leana Kuster (Switzerland) shows a greater flamingo in the act of scratching its head with one of its unmistakably long legs.
While on holiday in southern France, Leana had been watching flamingos in the Camargue. She was fascinated by their foraging behavior as they moved gracefully through the shallow, saline wetlands, filter feeding for molluscs and crustaceans. Flamingos use their tongues to force water through their specially adapted bills, which are lined with many rows of fine, comb-like plates. These help trap a species of brine shrimp called Artemia salina that gives the birds their famous pink hue.
Location: Pont de Gau, Camargue, France
Technical details: Nikon D810 + Tamron 150–600mm F5.6 lens; 1/500 at F6.3; ISO 250
Rutting Call by Jamie Smart, UK Highly Commended, 10 Years and Under
Jamie Smart (UK) portrays a red deer stag as it gives a mighty bellow during the autumn rut in Bradgate Park, UK.
Jamie walked up and down a path in the park at a safe distance from the stag. She stretched herself up tall to avoid any long grass in the foreground spoiling her view. The stag's antlers have regrown since their annual shedding in spring. The 'velvet' – the soft skin that covered them during their growth – has now rubbed off, exposing the bone beneath. Each new set grows larger and more complex as the stag matures, with more intricate points called tines crowning the heads of older males.
Location: Bradgate Park, Leicestershire, England, UK
Technical details: Nikon Z9 + 800mm F6.3 lens; 1/800 at F6.3; ISO 450
Ice Edge Journey by Bertie Gregory, UK Highly Commended, Animals in their Environment
Bertie Gregory (UK) freeze-frames the moment fledgling emperor penguin chicks walk along the edge of an ice shelf.
Bertie spent two months with the penguin colony and witnessed most chicks using ice ramps to descend to sea level for food. But this group missed the easy way down. Keeping his drone at a safe distance, he watched as they took a 15-meter (49 ft) leap into the water. Left to fend for themselves, emperor penguin chicks must find a way to make their first dip into the icy ocean to find food. Scientists believe the continued decline of sea ice in Antarctica may force more penguins to breed on ice shelves, making this behavior increasingly common in the future.
Location: Ekström Ice Shelf, Atka Bay, Antarctica
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/50 at F3.5; ISO 100
Deadly Lessons by Marina Cano, Spain Highly Commended, Behavior: Mammals
Marina Cano (Spain) stumbles upon a group of cheetahs after they've caught a Günther's dik-dik in Samburu National Reserve, Kenya.
Marina watched the three young cheetahs practice their hunting skills while their mother looked on – a crucial stage in their journey to independence. The dik-dik was tossed into the air and killed just seconds after Marina took the photograph. Cheetah cubs spend their first two months hidden in a lair while their mother hunts. At around a year old, they begin joining her, learning how to stalk and which prey to pursue.
Location: Samburu National Park, Samburu County, Kenya
Technical details: Canon EOS R3 + 600mm F4 lens; 1/1250 at F8; ISO 6400
Slime Family Portrait by Kutub Uddin, Bangladesh/UK Highly Commended, Natural Artistry
Kutub Uddin (Bangladesh/UK) spots a line of alien-like slime moulds on a fallen tree.
Kutub found these blueberry-like spheres – the reproductive parts of a slime mould, each just 1-2 millimeters in diameter – in a nearby forest. His image resembles a fantasy landscape, though he describes the scene as a "bizarre family portrait," complete with a tiny yellow insect egg. A slime mold is a community of mobile single-celled, ameba-like organisms that live independently until they come together and work as one to find food and reproduce.
Location: Slindon Wood, West Sussex, England, UK
Technical details: Canon EOS R5 + 65mm F2.8 1–5x macro lens; 0.6 at F5.6; ISO 200; focus stack of 78 images
Jelly Smack Summer by Ralph Pace, USA Highly Commended, Underwater
Ralph Pace (USA) finds himself in the middle of a mass or 'smack' of Pacific sea nettles.
To try to protect himself from stings while taking this photograph, Ralph smeared petroleum jelly on any skin not covered by his wetsuit. The trailing tentacles can deliver a painful sting, which Ralph says feels more like that of a bee than a nettle. Highly adaptable to warming seas, jellyfish are appearing in larger numbers. Some biologists argue that more frequent smacks are a sign of rising ocean temperatures. The removal of predators and competitors through overfishing is another contributing factor.
Location: Monterey Bay, California, USA
Technical details: Nikon D850 + 28–70mm F3.5–4.5 lens; 1/5 at F13; ISO 125; Nauticam housing; 2x Sea & Sea strobes
Wake-up Call by Gabriella Comi, Italy Highly Commended, Behavior: Mammals
Gabriella Comi (Italy) witnesses a dramatic stand-off between a lion and a cobra.
Energy levels among the lions were low in the scorching midday sun. Gabriella and her guide, David, were about to move on when David spotted movement – a cobra was slithering towards two sleeping lions. Within seconds, the eldest of the pair was facing down the venomous intruder. Tanzania's Serengeti National Park is renowned for its large population of lions, with around 3,000 individuals living there. Lions are estimated to sleep for up to 20 hours a day to conserve energy.
Location: Serengeti National Park, Tanzania
Technical details: Fujifilm X-S10 + Tamron 150–500mm F5–6.7 lens at 288mm; 1/1600 at F5.6; ISO 250
Nature Reclaims Its Space by Sitaram Raul, India Highly Commended, Urban Wildlife
Sitaram Raul (India) is among the chaos as fruit bats leave their roost in the ruins of a historical monument.
Working in total darkness, Sitaram manually focused his lens at the distance where he guessed the bats might appear, relying on his flash to illuminate the scene. All the while, bats were, in his words, "randomly pooping on me and the camera." Old World fruit bats are common across southern Asia. During the day, they roost in cavities such as hollow trees, caves and deserted buildings. Sitaram says that no matter how big our urban structures are, once we leave them, "eventually nature reclaims its space."
Location: Banda, Maharashtra, India
Technical details: Nikon D750 + 24–120mm F4 lens; 1/250 at F8; ISO 800; Godox TT685 flash
No Place Like Home by Emmanuel Tardy, France Highly Commended, Urban Wildlife
Emmanuel Tardy (France) spots a brown-throated three-toed sloth clinging tightly to a barbed wire fence post.
Traffic slowed to a crawl as this sloth crossed the road, eventually reaching a fence post and gripping firmly. Concerned about not adding to the animal's stress, Emmanuel patiently waited for people to leave the area before quickly taking this photo. As their habitats become increasingly fragmented, sloths are forced to make more ground crossings to reach the safety of the next tree. In response, the Costa Rican government is working with local NGOs to establish biological corridors, including aerial bridges that reconnect their forest homes.
Location: El Tanque, San Carlos, Alajuela, Costa Rica
Technical details: Canon EOS 5D Mark IV + Sigma 24mm F1.4 lens; 1/1600 at F7.1 (+0.33 e/v); ISO 800
Toxic Tip by Lakshitha Karunarathna, Sri Lanka Highly Commended, Photojournalism
Lakshitha Karunarathna (Sri Lanka) reveals a solitary Asian elephant navigating a waste disposal site in Sri Lanka.
For over three years, Lakshitha has documented human–elephant conflict in Sri Lanka. This image is the result of months of meticulous observation at two open rubbish tips, where herds regularly forage. Around 20 elephants died over an eight-year period at a single site in Ampara after consuming indigestible food wrappers and other plastic waste. Alongside global efforts to reduce plastic use, conservationists stress the urgent need to secure landfills and prevent wildlife from accessing harmful materials.
Location: Ampara, Eastern Province, Sri Lanka
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/320 at F4 (0 e/v); ISO 200
Clouds of Gold by Jassen Todorov, USA Highly Commended, Wetlands: The Bigger Picture
Jassen Todorov (USA) depicts the clouds reflected in salt ponds that span San Francisco Bay.
Flying his single-engine Piper Warrior into San Francisco International Airport, Jassen never tires of the changing colors of the ponds. On this occasion, he says, "the light during the golden hour, at sunset, was magnificent." The process of salt collection in the bay was industrialized in the 1800s. Since 2003, the South Bay Salt Pond Restoration Project has acquired 6,000 hectares (nearly 15,000 acres). By removing artificial dykes, the project is recreating tidal marsh habitat, allowing salt-tolerant plants and wildlife to flourish once more.
Location: San Francisco Bay, California, USA
Technical details: Nikon D810 + 70–200mm F2.8 lens at 70mm; 1/400 at F2.8; ISO 280
Fragile River of Life by Isaac Szabo, USA Highly Commended, Wetlands: The Bigger Picture
Isaac Szabo (USA) watches longnose gars spawn in a crystal-clear Florida river.
Wrapping his feet around a drowned tree, Isaac photographed this female longnose gar with several males during the mating season. The presence of the turtle was, for Isaac, the "icing on the cake," as it "gives a sense of the whole ecosystem." This river is one of more than 1,000 waterways fed by freshwater springs renowned for their clarity. Maintaining the aquifers that supply these springs is vital not only for iconic wildlife such as manatees, but also for providing drinking water to nearly half of Florida.
Location: Columbia County, Florida, USA
Technical details: Sony α7R II + Nikonos RS 13mm F2.8 lens; 1/30 at F8; ISO 200; Inon Z-240 strobes
Special Delivery by Bidyut Kalita, India Highly Commended, behavior: Invertebrates
Bidyut Kalita (India) photographs a hard-working potter wasp mid-flight with caterpillar prey for its young.
Bidyut spotted this potter wasp building a mud chamber on a picture frame in his home in Goalpara, northeast India. Noticing it coming and going several times a day, he wedged the door open to allow it access until he finally saw it returning with prey gripped in its jaws. Once the chamber is complete, the wasp sets about packing it with caterpillars paralyzed by a sting, to provide live food for the developing larvae within.
Location: Goalpara, Assam, India
Technical details: Canon EOS R6 + 85mm F2 macro lens; 1/125 at F10; ISO 500; Canon Speedlite 470EX-AI flash + Beetle macro diffuser
Essence of Kamchatka by Kesshav Vikram, India Highly Commended, 11–14 Years
Kesshav Vikram (India) expresses the character of the remote wilderness of the Kamchatka Peninsula in Russia's Far East.
Kesshav waited days for this image to come together: a brown bear strolling along the shore of Kurile Lake as the Iliinsky volcano emerged from the clouds. A slaty-backed gull flew past, aligned with the volcano's summit. Generally solitary, the bear was heading to feast with others on the glut of sockeye salmon migrating upriver to their origin lake to spawn. This caldera lake, formed in the crater made by a volcanic eruption, is the largest sockeye salmon spawning ground in Eurasia.
Location: Kurile Lake, Kamchatka Krai, Russia
Technical details: Nikon Z8 + 100–400mm F4.5–5.6 lens at 100mm; 1/4000 at F4.5 (+0.3 e/v); ISO 1000; beanbag
Images: Richard Buttler, Abby Ferguson, Dale Baskin, Mitchell Clark
It's been a busy week here at DPReview, and we've published a variety of sample galleries. They range from photos from Google's latest smartphones to shots from Hasselblad's new 100MP medium format camera.
With all the stories, we wouldn't be surprised if not everyone saw all the galleries, so we're rounding them up here. There's a table of contents below so you can jump around to catch the ones you haven't seen (or the ones you'd like to revisit?), and each gallery will have links to our main coverage.
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Samples: Richard Butler and Mitchell Clark
This week's first release was the Hasselblad X2D II 100C, an update to its medium-format line that adds continuous autofocus, upgrades the controls and adds deep support for outputting HDR JPEGs or HEIFs.
Hasselblad also announced the XCD 35-100mm F2.8-4, a standard zoom lens alongside the X2D II. While we haven't produced a gallery with our standard processing for lens samples for it yet, you can see plenty of shots taken with it in the X2D II's gallery.
Note: All the out-of-camera JPEGs in this gallery are Ultra HDR JPEGs. If you're viewing on an HDR-capable device, click the "Original" link on the right of the preview to see the version with the HDR effect.
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Samples: Dale Baskin
Last week Google announced the Pixel 10, whose cameras are a relatively substantial departure from the Pixel 9. For one thing, it now has an extra one: a telephoto camera is joining the main and ultrawide ones. However, those latter two cameras have been downgraded compared to the ones found on the 9, and now use smaller sensors.
Does it matter? Take a look at the sample gallery and decide for yourself.
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Samples: Abby Ferguson
Alongside the Pixel 10, Google announced the 10 Pro and Pro XL. Unlike with the regular models, the actual hardware remains mostly unchanged. However, Google has introduced a new "Pro Res Zoom" mode that lets you take a picture at 100x, while the standard 10 tops out at 20x.
We use the term "picture" loosely. It takes the image from the tiny, tiny crop of the sensor and attempts to enhance it with AI. You can see the originals and the "enhanced" versions in the gallery.
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Samples: Mitchell Clark
Finally, this week we got our hands on a copy of the Ricoh GR IV that we could publish the pictures from. We'll be shooting more with it over the coming weeks, but wanted to get some samples out for people to look over so they can get an impression of how the new lens, sensor and processing engine work.
I am still unsure whether the new Leica M11-V will be based on the M11 or M11-P (maybe based on the black paint M11?), as I am receiving conflicting information.
An unknown Chinese lens manufacturer is rumored to announce a new AF 35-50mm f/1.4 lens. There is a good chance that this could be Viltrox, as they are set to join the L Mount Alliance on September 1st. Some rumors suggested that this could be a combination of two f/1.4 fixed-focus lenses, rather than an actual zoom lens. Stay tuned for more details.
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