Key Facts

• Canon’s video-centric teaser: Canon is hyping a new video-focused camera to be revealed on Sept. 9, sharing a shadowy teaser image of a compact, boxy EOS R-style body with a top record button and front tally lamp – strongly hinting at a high-end RF-mount cinema model ts2.tech. Industry chatter suggests this could be a Cinema EOS C50, Canon’s answer to cameras like Sony’s FX3 dpreview.com canonrumors.com.
• Lens launches galore: Venus Optics Laowa teased six new lenses (from a lightweight 200mm f/2 telephoto to anamorphic zooms) slated to debut around the IBC show mid-month ts2.tech ts2.tech. Meanwhile, cinema lens maker DZOFilm officially launched its Vespid² prime series – six full-frame lenses (18–105mm, all T1.9) with unified size/weight and pro metadata tech, priced aggressively around $1.2K each ts2.tech.
• Sigma’s “bokeh beast” incoming: Sigma is expected to unveil multiple lenses during its Sept. 9 “Master of Optics” event. Leaks point to a 135mm f/1.4 Art lens (a potential bokeh king to rival classic 135mm f/1.8s), a wildcard 20–200mm ultra-zoom, and possibly a new 35mm f/1.2 Art – signaling a feast for portrait and low-light photographers if the rumors pan out ts2.tech.
• Nikon authenticity fiasco: Nikon temporarily suspended the Z6 III’s “Authenticity” service after a user discovered a flaw that let a composite image slip through as “verified” ts2.tech ts2.tech. By exploiting the camera’s multiple-exposure mode, the hacker showed “The Z6 III can currently be used to capture and spread images with what are effectively false signatures,” as PetaPixel described petapixel.com. Nikon apologized and rushed a fix, acknowledging that anything undermining trust in image credentials is “a massive problem” petapixel.com.
• DJI eyes mirrorless market: Drone giant DJI is rumored to enter the full-frame camera arena with an L-mount mirrorless camera to be announced Sept. 15 ts2.tech. Reports suggest a boxy, video-oriented design (akin to a Sony FX3) possibly with a built-in EVF ts2.tech. Analysts say DJI’s entry “could shake up a market largely dominated by Canon, Sony, and Nikon,” given DJI’s imaging tech and even its ownership of Hasselblad ts2.tech.
• Pro video upgrades: Panasonic unveiled the AK-UBX100, a modular 4K “box” camera bridging studio, cinema and PTZ roles digitalcameraworld.com. It uses a 2/3″ sensor with a broadcast B4 lens mount and debuts a world-first autofocus for studio cams, letting it intelligently track focus with big broadcast lenses ts2.tech ts2.tech. Not to be outdone, Sony announced firmware upgrades for its FX3 and FX30 cinema cameras, bringing features like 1.5×/1.6× anamorphic de-squeeze and 12-bit Blackmagic RAW output – essentially trickling high-end Venice-level capabilities into $2K–$3K bodies ts2.tech ts2.tech.
• Industry shake-ups (prices & ownership): Tariff-driven price hikes are hitting nearly every major brand. Canon, Nikon, Sony, Fuji, Leica, Sigma and others have all raised U.S. prices in 2023–25; now even holdouts Panasonic and OM System reportedly plan increases by end of Sept/early Oct to offset import tariffs ts2.tech. On a brighter note, Blackmagic Design bucked the trend by slashing its high-end cinema camera prices (e.g. cutting the URSA Mini Pro 12K from ~$31K to ~$24K) after moving production to lower costs ts2.tech ts2.tech. In corporate news, Videndum (owner of Manfrotto, Gitzo, etc.) is selling its Joby tripod division (famed for GorillaPod) to China’s Vijim – a move Videndum says will refocus it on higher-end pro gear ts2.tech.

In-Depth Report

New Cameras & Camcorders

Canon’s Cinema Teaser: Canon set the rumor mill ablaze by teasing a new camera launch on September 9. An official Canon UK Instagram post warned “something new is coming,” with a YouTube livestream slated for 3PM CEST dpreview.com. The teaser image, though intentionally obscured, is telling: it shows a boxy camera body with no viewfinder hump, a prominent red Record button on top in place of a shutter, and a front tally lamp – hallmarks of a video-centric design dpreview.com. A red-ring RF lens is attached in the shot, suggesting this isn’t a tiny camcorder or consumer DSLR, but rather a higher-end RF-mount cinema-oriented model dpreview.com. Observers note the form factor is reminiscent of Canon’s own APS-C vlog camera (the EOS R50 V) but with many more pro controls visible, pointing to a more advanced full-frame device ts2.tech. The timing is no coincidence: the announcement comes right before Amsterdam’s big IBC 2025 broadcast trade show, where video gear often debuts dpreview.com. Canon Rumors reports that this camera will likely be the Cinema EOS C50, effectively a successor to the EOS R5 C canonrumors.com. Expected features include no EVF (as the teaser suggests) and no mechanical shutter (unlike the R5 C), emphasizing that it’s a video-first hybrid – though a photo/video mode switch will still allow stills shooting in a pinch canonrumors.com. If true, the C50 would be Canon’s answer to the Sony FX3/FX30 lineage, delivering a compact cinema camera for indie filmmakers and creators. We’ll know for sure once Canon pulls back the curtain on September 9.

Nikon’s Retro Revival – in Silver: Over on the stills side, Nikon indulged in some nostalgia. On Sept. 4, Nikon officially unveiled a Silver edition of its Zf full-frame mirrorless camera – a retro-styled body that already evoked 1980s film SLRs (in standard black), now offered with authentic silver top and bottom plates for even more vintage flair imaging-resource.com imaging-resource.com. Inspired by the classic Nikon FM2 film camera, the Zf Silver looks straight out of the ’80s, especially when paired with the six new “Premium Exterior” color grip options Nikon is also introducing (ranging from Cognac Brown to Teal Blue and Moss Green) imaging-resource.com imaging-resource.com. Internally this is the same 24.5MP full-frame Zf that launched previously – but Nikon did use the occasion to announce an upcoming firmware update that will add a “Film Grain” feature to enhance its analog appeal imaging-resource.com. Photographers will be able to dial in adjustable grain size and intensity to emulate classic film stock, on top of Nikon’s existing vintage-look picture profiles imaging-resource.com. The Silver Edition Zf ships late September at $2,199 (with the fanciful colored leatherette versions slightly more) imaging-resource.com. By tapping into retro aesthetics – now in a literal silver sheen – Nikon is clearly aiming at enthusiasts who love the feel of old cameras but demand modern mirrorless tech.

Panasonic’s 3-in-1 Box Camera: It was also a big week for professional video gear. Panasonic officially revealed the AK-UBX100, a peculiar hybrid camera that “thinks outside the box” – quite literally a box-style 4K camera that merges three categories: it can serve as a studio broadcast camera, a modular “box” cinema camera, or even a remotely controlled PTZ (pan-tilt-zoom) unit digitalcameraworld.com digitalcameraworld.com. Announced via Panasonic Connect Europe just ahead of IBC, the UBX100 is built around a 2/3-inch sensor and uses the standard B4 lens mount, meaning it natively accepts those large broadcast zoom lenses common in TV studios and sports venues ts2.tech ts2.tech. Unusually, Panasonic is touting a world-first autofocusing system in this class: traditionally, studio cameras are manual-focus only, but the UBX100 introduces fast phase-detect AF with AI subject tracking to automatically keep subjects sharp even through long zooms ts2.tech. “This AF function allows incremental adjustment of the target area… and even for experienced operators, the instantaneous AF support… allows for a smooth transition to final manual adjustments,” Panasonic explained of the tech digitalcameraworld.com. In essence, Panasonic wants to free up live camera operators from constant focusing so they can “focus” on composition and storytelling. “The UBX100 is a powerful addition… giving production teams a lightweight, versatile tool that delivers consistent quality. Alongside our breakthrough auto-focus…, we’re empowering creators to focus less on technical challenges and more on telling their stories,” said Panasonic’s product manager Jim Jensen ts2.tech. The boxy UBX100 also packs modern connectivity – it supports IP-based video protocols (SMPTE ST 2110, NDI, SRT) out of the box for networked workflows ts2.tech. Panasonic expects to ship it in Q4 2025, with a firmware update adding that autofocus to its sibling AK-UCX100 model in December digitalcameraworld.com. With this launch, Panasonic is bridging broadcast and cinema in a single device, signaling that versatility and automation are key themes in pro video gear.

Sony’s Cinema Firmware Boosts: While Panasonic rolled out new hardware, Sony opted to supercharge existing cameras via firmware. The company announced significant free updates for its popular compact cinema models, the Sony FX3 (full-frame) and FX30 (APS-C). These cameras are beloved by indie filmmakers and content creators, and Sony’s firmware version 7.0 (FX3) / 6.0 (FX30) heaps on features typically reserved for much pricier cine rigs. First, Sony redesigned the user interface – borrowing the pro menu system from its top-tier Venice and Burano cinema cameras – including a new “Big 6” quick setup screen that displays six key settings at a glance for fast changes ts2.tech ts2.tech. More headline-grabbing is the addition of anamorphic de-squeeze options (1.5× and 1.6×) so users shooting with anamorphic lenses can preview the correct widescreen aspect ratio in-camera without needing an external monitor ts2.tech ts2.tech. Sony also unlocked external RAW recording: the FX3/FX30 will output a 12-bit RAW video stream over HDMI that works with Blackmagic’s ecosystem, allowing recording directly to Blackmagic RAW (BRAW) format on devices like the Video Assist ts2.tech ts2.tech. This is a notable embrace of Blackmagic’s codec and one-ups the cameras’ prior reliance on ProRes RAW (which needed Atomos recorders). Additionally, the firmware brings a slew of usability improvements – from finer Slow & Quick framerate controls to better focus magnification while shooting in bright mode ts2.tech ts2.tech. All told, Sony is “blurring the line between professional and prosumer gear,” as one analyst put it, by trickling down capabilities from $10k cinema cams into $2–3k bodies ts2.tech. The updates are expected to roll out by mid-September 2025. For filmmakers who already own an FX3 or FX30, it’s like getting a major camera upgrade for free – underscoring how firmware can extend a camera’s competitive life with new features long after release.

New Lenses

Laowa’s Six-Lens Spectacular: Lens enthusiasts had plenty to chew on. Venus Optics (Laowa) is gearing up to announce six new lenses in mid-September, likely timed with the IBC expo for maximum buzz ts2.tech. Laowa is known for its offbeat, innovative designs (think ultra-wide macros, probe lenses, etc.), and this lineup appears to continue that tradition. The marquee item is a long-rumored Laowa 200mm f/2 C-Dreamer telephoto ts2.tech. For context, 200mm f/2 lenses are typically enormous, expensive beasts (Canon and Nikon made them in the DSLR era, often weighing ~3 kg). Laowa’s version is said to be remarkably compact – reportedly around 1.6 kg ts2.tech – over a kilogram lighter than Nikon’s famed 200mm f/2. That suggests a more hand-holdable ultra-bright telephoto, which would thrill sports and wildlife shooters who want f/2 speed and creamier backgrounds without the usual back-breaking weight. Aside from the 200mm, Laowa’s teaser hints at a diverse set: specialty macro and tilt-shift lenses are expected, and intriguingly two full-frame anamorphic zooms (rumored 40–80mm T4.5 and 70–135mm T4.5, both with 2× squeeze) tailored for indie filmmakers ts2.tech ts2.tech. If true, those anamorphic zooms would be quite unique – anamorphic lenses are often prime (fixed focal length), so zoom capability could offer added storytelling flexibility to low-budget cinematographers. Laowa hasn’t released full specs yet, but photographers and DPs will be watching their IBC announcements closely for mount options (Laowa usually supports multiple mounts), pricing, and availability details.

DZOFilm’s Affordable Cine Primes: In the cinema lens arena, DZOFilm officially launched its new Vespid² prime lens series – a sequel to the original Vespid set, targeting filmmakers who want high performance without Hollywood prices. The Vespid² lineup includes six full-frame prime lenses at 18mm, 25mm, 35mm, 50mm, 75mm, and 105mm focal lengths (all a fast T1.9 aperture) ts2.tech. A big selling point is that each lens is identical in size, weight (~800 g each), front diameter (80 mm) and gear positions ts2.tech ts2.tech. This consistency means when swapping lenses on set, focus follow gears and matte boxes don’t need to be readjusted – a huge time-saver for crews. The lenses also feature /i contacts to transmit metadata (focus distance, iris, etc.) to compatible cameras, aiding VFX and virtual production workflows ts2.tech. Image-quality-wise, DZOFilm claims improved sharpness and minimal chromatic aberration in these Mk II primes. Perhaps most impressive is the price: around $1,199–1,299 per lens, or ~$6,300 for the whole six-lens kit ts2.tech ts2.tech. That undercuts many competitors given the feature set. Initially the Vespid² are offered in PL mount, with user-swappable adapters for EF, L, and E mounts (common in DZO’s approach). Essentially, DZOFilm is offering an entry point for up-and-coming filmmakers to get a complete, high-quality prime set – at roughly the cost of one high-end Zeiss or Cooke cine lens. Early reactions in cinematography forums have been positive, noting that DZO is continuing to democratize cine glass without compromising on core functionality.

Budget 35mm with Pro Features: On the consumer photography side, Chinese manufacturer 7Artisans announced a nifty little lens that caught many by surprise: a 35mm f/1.8 autofocus lens for Sony E-mount – priced at an incredibly low $299 USD ts2.tech. Traditionally, 7Artisans is known for very affordable manual-focus lenses, but this new 35mm f/1.8 AF aims to compete in the budget full-frame AF segment. Despite the price, it doesn’t feel cheap: it has an all-metal construction and packs an 11-element/8-group optical formula, including two aspherical and one ED element for better image quality ts2.tech. Unusual at this price point, the lens includes advanced features like a de-clicked (clickless) aperture ring for video shooters, an AF/MF switch, and even a customizable function button on the barrel (something typically seen on first-party lenses) ts2.tech. 7Artisans also built in a USB-C port for firmware updates, signaling their intent to refine autofocus performance over time ts2.tech. The main compromise appears to be size/weight: at 426 g and 94 mm long, it’s bulkier than Sony’s own FE 35mm f/1.8 ts2.tech. Early users have noted the heft, but also expressed amazement at the feature set given the sub-$300 cost ts2.tech. The lens is already shipping for Sony E. Interestingly, some eagle-eyed shoppers spotted that it was (unofficially) being sold for Nikon Z and Leica L mounts too, even though 7Artisans hadn’t formally announced those versions ts2.tech. It seems third-party lens makers are moving fast to support multiple mirrorless mounts – sometimes even faster than their marketing can keep up.

Viltrox’s Portrait Prime & L-Mount Ambitions: Another Chinese lens maker, Viltrox, expanded its lineup with a fast portrait lens for APS-C shooters: the Viltrox 56mm f/1.2 Pro. Available for Fujifilm X, Sony E, and more, it offers APS-C users roughly an 85mm full-frame equivalent field of view – ideal for portraits. According to a DPReview report, the 56mm f/1.2 delivers excellent sharpness and a premium all-metal build, yet will come “at an affordable price” compared to Fujifilm’s own XF 56mm f/1.2 lens ts2.tech ts2.tech. (Viltrox hasn’t revealed the exact price publicly, but their strategy is generally to significantly undercut first-party glass.) In a notable strategic move, Viltrox also indicated it is joining the L-Mount Alliance, which means future Viltrox lenses may be natively offered in Leica/Panasonic/Sigma L-mount as well ts2.tech. This reflects a broader trend in the industry: camera makers are opening up lens mount licensing (Nikon with Z-mount, Canon selectively with RF, etc.), and third-party manufacturers are stepping in to fill gaps in the lens lineup – often providing cheaper alternatives. For consumers, it’s a win-win: more choices and often lower prices.

Sigma’s Big Reveal on Sept. 9: Perhaps the most anticipated lens news is coming from Sigma. The company has been teasing a special launch event dubbed “Master of Optics” for September 9, and leaks have essentially spoiled the surprise of what’s likely on deck. The rumors point to three headline products: Sigma 135mm f/1.4 Art DG DN (a super-fast telephoto prime expected to be a bokeh monster), a wild 20–200mm f/3.5–6.3 zoom (covering an immense 10× range in one lens), and possibly a 35mm f/1.2 Art DG DN II, which would be a second-generation update to Sigma’s existing 35mm f/1.2 for mirrorless ts2.tech. If accurate, this is a bold trio. The 135mm f/1.4 Art in particular has people excited – Canon and Sony both have 135mm f/1.8 lenses that are beloved for portraiture, but Sigma appears to be pushing the envelope even further to f/1.4 for extra background blur. Such a lens would instantly claim the title of fastest 135mm on the market, ideal for portrait, fashion and low-light telephoto work (albeit likely a large, heavy piece of glass). The rumored 20–200mm is another eyebrow-raiser: that range suggests a do-it-all travel or walkaround lens, but typically such super-zooms sacrifice aperture speed. Sigma’s version starting at f/3.5 and reaching f/6.3 is relatively bright on the wide end for a 10× zoom. It could appeal to photographers who value convenience and framing flexibility over shallow depth of field. The 35mm f/1.2 Art DG DN II, if it appears, would refine an already highly regarded lens (the original was known for stellar sharpness and creamy bokeh, albeit being quite large). Sigma’s Art series has a reputation for delivering near-OEM image quality at lower prices, so expectations are high. We will see on Sept. 9 what Sigma officially announces, but as one outlet quipped, September 2025 is proving to be a feast for lens aficionados, with options exploding across focal lengths and mounts ts2.tech.

Canon RF Lens Rumors: In the Canon world, lenses haven’t been forgotten amid the camera body buzz. Canon Rumors reports that Canon will also announce two new RF lenses alongside its Sept. 9 camera launch canonrumors.com. One is all but confirmed: a Canon RF 85mm f/1.4L VCM. Canon has been rolling out a series of L-series primes with “VCM” (Voice Coil Motor) focusing, and an 85mm f/1.4L VCM will join that lineup, aimed at portrait shooters who want a fast medium-tele lens a notch below the ultra-pricey 85mm f/1.2L canonrumors.com. The 85mm f/1.4L VCM is expected to be priced around $1,649 USD canonrumors.com. The second lens was initially rumored as an unusual RF 11–55mm zoom. While details were scarce, an update suggests this is actually a high-end cine zoom lens priced north of $30,000 canonrumors.com. In other words, not a consumer lens at all, but likely a professional cinema zoom (perhaps for the RF-mount cine cameras) to pair with the new video-focused body. Canon’s RF lens family continues to expand at both the high-end and consumer end. (On the latter note, Canon also quietly released affordable lenses like the RF 10-20mm f/4 and RF 24-50mm f/4.5-6.3 this year, and third parties like Samyang have jumped in with RF options too.) The addition of an 85mm f/1.4L gives Canon shooters a slightly more manageable alternative to the 85mm f/1.2L, likely with faster focusing and less weight – which many portrait pros will welcome.

Expert Takes & First Impressions

Nikon’s Authenticity Setback: A significant technical story unfolded within Nikon’s camp that had experts weighing in on the implications. The Nikon Z6 III, released not long ago, touted a forward-looking feature: C2PA Content Credentials. In theory, this cryptographic signing can mark images as authentic (unedited and straight from the camera) – part of the broader Content Authenticity Initiative efforts to combat deepfakes and image misinformation. However, on Sept. 5 Nikon had to suspend the Z6 III’s authenticity service after a savvy user (forum handle “Horshack”) uncovered a fatal exploit ts2.tech ts2.tech. He discovered that by using the camera’s multiple-exposure mode, one could blend a signed photo with an unsigned one, and the camera would still spit out a composite flagged as “authentic” ts2.tech. In a proof-of-concept, he even inserted the text “Hacked by Horshack!” into an image – and it passed Nikon’s verification checks ts2.tech. In other words, a malicious actor could take any photo (or AI-generated image), pass it through a Z6 III’s multi-exposure feature with one authentic frame, and produce an output that appears camera-verified. This loophole undermines the entire point of Nikon’s authenticity system, since it allows “false signatures” to be attached to manipulated content ts2.tech.

Once alerted, Nikon responded quickly. On Sept. 5 they issued a notice acknowledging “an issue has been identified” and confirming that “the service has been temporarily suspended while we work diligently to resolve the issue… We sincerely apologize for any inconvenience this may have caused.” petapixel.com. Essentially, Nikon shut off the authenticity credential feature via firmware until a patch is ready. They did not publicly detail the exploit (likely to avoid giving bad actors a roadmap), but experts universally believe it’s this multi-exposure trick. Nikon’s swift action – addressing the problem just about a week after it first shipped firmware with C2PA – drew praise. “Anything that undermines that trust is a massive problem,” one PetaPixel analyst noted, emphasizing how critical it is to get these content verification features right ts2.tech. Indeed, the incident highlights the challenges camera makers face as they venture into digital authentication: the tech is new and not battle-tested, and cameras are essentially becoming part of a cybersecurity front line. Observers have suggested Nikon could solve it by simply disabling the multi-exposure function for signed images or disallowing merging of authenticated and non-authenticated shots ts2.tech. We await a firmware fix – and Nikon (as well as other companies like Leica, which also announced C2PA plans) will surely be double-checking their implementations. In the meantime, Nikon Z6 III owners have lost a feature, albeit temporarily. Nikon’s quick communication and pause of the service likely prevented potential misuse in the wild, but it serves as a wake-up call: as cameras gain these trust-verification abilities, they’ll need rigorous vetting just like any security system.

Content Authenticity vs. Deepfakes: The Nikon episode spurred broader discussion among experts about the role of authenticity tags. The Content Authenticity Initiative (backed by Adobe and many industry players) is pushing for widespread adoption of metadata that can confirm an image’s origins and edits. Cameras like Nikon’s Z6 III and some Leica models are at the forefront of embedding this at capture. But as this flaw showed, software loopholes can erode trust. If a camera’s “verified” badge can be gamed, it could ironically become a tool for disinformation by providing false confidence. Security researchers pointed out that Nikon’s implementation perhaps hadn’t anticipated something as simple as the in-camera multi-exposure feature – a reminder that even innocuous features can create backdoors. The good news is Nikon acted fast and publicly; the bad news is the cat-and-mouse game between camera companies and would-be fakers will likely continue. We can expect Nikon to re-enable the service once a patch is in place (they promised to “provide an update as soon as corrective measures are complete” petapixel.com). Until then, the Z6 III’s authenticity function is on ice, and users will have to rely on traditional means (EXIF data, judgment, third-party verification) to ascertain an image’s validity. For now, this incident has become a case study that will undoubtedly be cited at photography conferences and in white papers on image security.

First Impressions of New Gear: While no flagship camera reviews happened exactly on Sep 8–9, a few first-look impressions trickled out for recently launched gear. Photographers who got their hands on Nikon’s Zf Silver edition noted that aside from the cosmetic changes, the camera still delivers the satisfying retro handling of the original Zf. One DPReview editor quipped that the Zf’s design “just got even more retro” with the new color scheme – leaning fully into the nostalgia that Nikon is selling imaging-resource.com imaging-resource.com. The tactile dials, engraved aluminum top plate, and new leatherette colors make no technical difference, but they certainly spark joy for the film-era faithful. In terms of performance, since the internals are unchanged, existing reviews of the Zf (which lauded its image quality and autofocus inherited from the Z6 II/Z8, but noted its single card slot and relatively high price) still apply.

On the lens front, early users of the 7Artisans 35mm f/1.8 AF have been pleasantly surprised. Several photographers posted test shots and noted the lens is sharp in the center even wide open and that autofocus is snappy on Sony bodies – a notable improvement for a brand that’s new to AF. The inclusion of an assignable button was praised as “unheard of at this price” by one YouTuber. The main critique is unsurprisingly its size: some say it feels more like an f/1.4 lens in bulk. But at $299, most agree it’s a terrific value for hobbyists. Similarly, the Viltrox 56mm f/1.2 Pro has been garnering excitement among Fuji X shooters online. Beta testers report that it focuses faster than Viltrox’s earlier 56mm f/1.4 and produces a lovely bokeh at f/1.2. If it comes in significantly cheaper than Fujifilm’s own XF 56mm f/1.2 R WR, it could become a must-have portrait lens for Fuji users on a budget. We’ll know more once official reviews drop.

Rumors & Leaks

Canon Compact Comeback: In the rumor department, Canon might be resuscitating a class many assumed dead: the truly pocket-sized compact camera. Canon Rumors revealed that Canon is expected to announce a new PowerShot model this month – not a G-series or vlogging camera, but essentially a modern refresh of the teeny PowerShot ELPH line canonrumors.com. This is intriguing because Canon hasn’t released a classic pocket point-and-shoot in years (opting to focus on larger-sensor compacts or the new vlogging-oriented PowerShot V10). The source suggests the new model could be akin to the old ELPH 360 HS from 2016 canonrumors.com – which had a slim body, 1/2.3″ sensor, and 12× zoom – updated with current tech. If true, it shows Canon sees a small niche (no pun intended) for simple, affordable cameras that do things smartphones still struggle with (optical zoom, for instance). It’s a bit of a surprise since the compact camera market was decimated by phones, but perhaps Canon thinks an under-$300 stylish shooter could still find buyers, especially in regions or demographics less saturated with high-end phones. We’ll watch for an official announcement; if an ELPH revival happens, it would be a fun throwback to the early 2000s when “Digital ELPH” cameras were everywhere.

Nikon Zr – A New Video Warrior: One of the most buzzed-about leaks is the Nikon Zr, an unannounced camera that multiple rumor sites have spilled details on. If leaks are accurate, the Nikon Zr is going to be Nikon’s first video-focused full-frame mirrorless – essentially Nikon’s version of a compact cinema camera to compete with the Sony FX3/FX30 and Canon’s upcoming C50. NikonRumors obtained updated specs and even some fuzzy photos of the Zr sonyalpharumors.com nikonrumors.com. The camera is said to have a brick-shaped body with no EVF or prism – a radically different design from Nikon’s Z6/Z7 hybrids, more resembling a RED Komodo or the FX3 in silhouette nikonrumors.com. Internally, it reportedly uses the same 24MP sensor as the Z6 III (which makes sense for 6K video and good low-light pixels) nikonrumors.com. Key features include 6K video with intra-frame (All-I) compression, in-body image stabilization (IBIS), and a huge rear LCD for monitoring nikonrumors.com. One leak claims Nikon may incorporate some tech from RED (perhaps their color science or codecs, especially since RED and Nikon have a partnership on Z-mount cinema lenses) nikonrumors.com. Notably, the Zr is rumored to have dual card slots – one SD and one microSD nikonrumors.com, an unusual combo possibly chosen to keep size down. The launch is rumored for Sept. 10 (right after Canon’s and just before Apple’s event) nikonrumors.com. If Nikon indeed enters the cinema camera space with Z-mount, it’s a bold move. It could leverage Nikon’s sensor prowess and existing lens lineup to attract video creators, a segment Nikon historically lagged in. The purported design without an EVF might alienate some traditionalists, but for dedicated video work an EVF isn’t crucial. All signs point to the Nikon Zr being a mirrorless akin to a “mini RED” that slots into Nikon’s system. The rumor has generated a lot of excitement – and if it materializes, Nikon will be throwing its hat directly into the ring with Sony’s FX-series and Panasonic’s BS1H/BS1M box cameras. We’ll be watching Nikon closely on Sept. 10 to see if the Zr is real.

Drone King’s First Camera: On the heels of that, the DJI rumor mentioned earlier is worth expanding on. DJI has never made a standalone interchangeable-lens camera, but leaks suggest its first attempt will leverage the L-Mount Alliance. By using the Leica/Panasonic/Sigma L-mount, DJI’s alleged camera would instantly have a library of lenses to use (smart move for a newcomer). The full-frame sensor rumor indicates DJI isn’t playing in the small-sensor space this time, but going right for the jugular of Sony A7 and Canon R-series. A leaked photo (albeit blurry) shows a rectangular body with an obvious video orientation, and one detail stood out: it might have a built-in EVF at the corner – something Sony’s FX3 notably lacks ts2.tech. That could attract shooters who still want an eye-level viewfinder in a cinema-oriented body. Given DJI’s expertise, we might see advanced gimbal integration or even aerial-friendly features (imagine a full-frame camera that can also seamlessly mount on DJI drones or stabilizers). DJI also owns Hasselblad, so there’s speculation that Hasselblad’s color science or even its unique LiDAR autofocus (as seen on the Hasselblad X2D and DJI’s Ronin 4D) could find its way into this camera ts2.tech. The prospect has commentators excited: Imaging Resource noted “It could shake up a market largely dominated by Canon, Sony, and Nikon” if DJI delivers a competitive video/stills camera ts2.tech. For now it’s a waiting game until mid-September. But the mere whisper of DJI entering the “proper” camera market has likely put the traditional players on alert – much like when DJI disrupted the gimbal and action cam markets.

Other Tidbits and Leaks: A few other rumors are circulating: Fujifilm fans are expecting an X Summit later in the month, with some murmurs about an X-Pro4 or new medium format lens, but nothing concrete landed on the 8th/9th. Sony had some lens rumors of its own – interestingly, on the Sony E-mount front, third-party players announced plans for fast zooms. One such piece of news (via DPReview) was that two companies “you might not expect” are introducing a 24-60mm f/2.8 FE zoom for Sony, slated to be unveiled at IBC on Sept. 12 dpreview.com dpreview.com. This hints that perhaps makers like Samyang or Tamron are collaborating on unusual focal ranges. On the Apple side (since smartphone cameras are a huge part of the imaging world), leaks for the upcoming iPhone 17 Pro (due Sept. 12) suggest upgraded cameras – 48MP sensors, up to 8× optical zoom, etc. – but that strays from dedicated camera news macrumors.com. Still, it underscores that the imaging arms race continues on all fronts, from phones to dedicated rigs.

One light-hearted rumor note: the Canon community has been surprisingly quiet in 2025 aside from the confirmed releases. Some enthusiasts half-jokingly lamented the lack of wild rumors – “This must be the most boring year in Canon rumors history,” one pundit quipped ts2.tech. That could certainly change if Canon surprises with an EOS R1 or other big developments later in the year. But for now, the excitement is centered on what’s immediately in front of us: a flurry of early-September launches and announcements making this one of the busiest times of the year for camera tech aficionados.

Market Moves & Industry Updates

Tariffs Drive Price Hikes: Beyond product news, economic currents are affecting the camera industry worldwide. The ongoing trade war tariffs – particularly U.S. import tariffs on Chinese and Japanese goods – have forced virtually all major camera makers to raise prices in the U.S. market in recent months ts2.tech. Since 2019, companies have tried to absorb or mitigate these extra costs, but by 2023–2025 most have capitulated to upward price adjustments to maintain margins. In fact, by early September 2025, Canon, Nikon, Sony, Fujifilm, Leica, Sigma, and others had all enacted at least one round of MSRP increases in the States tied to tariff impacts ts2.tech. Two holdouts had been Panasonic and OM System (Olympus), but according to industry reports, even they will institute price hikes by the end of September (for Panasonic) and early October (OM System) ts2.tech. That means every major camera brand will have gotten more expensive for U.S. buyers in the last couple of years. For example, Nikon’s Z6 III body went from $2,499 to $2,697 in the U.S. after its second hike ts2.tech. These increases typically range around 5–15% depending on the product. It’s an unpleasant trend for consumers already grappling with inflation in other areas. Manufacturers are in a delicate spot: they don’t want to alienate customers with high prices (especially as smartphones pressure the low end of the market), but they also can’t eat the added tariff costs indefinitely. Some are shifting production – Ricoh/Pentax moved some camera manufacturing out of China to Thailand, for instance – to dodge tariffs where possible.

There is a silver lining: not all prices are rising. In a dramatic counter-move, Blackmagic Design announced massive price cuts on its high-end URSA Mini Pro cinema cameras. Citing improved manufacturing efficiencies (the company opened a new factory), Blackmagic slashed the URSA 12K from around $31.5K to $24.5K – a drop of about $7,000 overnight ts2.tech ts2.tech. Other URSA models saw similar cuts of 30–40%. Blackmagic said it wanted to “pass the savings on” to customers ts2.tech. This was shocking (and welcome) news in the digital cinema sphere, where prices seldom go down. While Blackmagic is a niche player compared to say, Canon or Sony, its aggressive pricing puts pressure on those competitors in the cinema camera segment. It also shows that strategic production moves (in Blackmagic’s case, likely shifting more manufacturing in-house in Australia or to lower-cost regions) can indeed yield price relief that a company might choose to share with users to gain market share. For now, though, Blackmagic’s move is the exception that proves the rule: across the board, cameras and lenses are generally more expensive than they were a year ago, especially in the U.S.

Sales and Financial Notes: There weren’t major earnings releases on Sept 8–9, but a few financial tidbits are worth noting. Canon’s latest financial report (for H1 2025) indicated solid demand for its full-frame mirrorless cameras, and the company hinted it’s prioritizing higher-end models (where margins are better) given the tariff situation digitalcameraworld.com. Nikon’s stock ticked up slightly after it announced strong pre-orders for the Nikon Zf; apparently the nostalgia play is translating into sales, at least from the core fanbase. However, industry-wide camera shipment data from CIPA showed a slight slowdown in July 2025 canonrumors.com. After a post-pandemic rebound in 2023–2024, the interchangeable-lens camera market’s growth appears to be leveling off, possibly due to the economic headwinds and saturation at the high end. Still, 2025 is on track to be the healthiest year for camera sales in quite some time, thanks largely to the mirrorless transition and lots of enthusiasts upgrading.

M&A and Corporate Shifts: A noteworthy corporate development came to light: Videndum plc – formerly known as Vitec, a UK-based conglomerate that owns numerous photo/video accessory brands – announced it will sell its Joby and Lowepro brands to a Chinese company called Vijim ts2.tech. The headline here is the iconic Joby brand (creator of the GorillaPod flexible tripods that were hugely popular with vloggers and travelers). Joby basically invented an entire product category with those bendy tripods that can grip onto anything. Videndum acquired Joby years ago, but now it’s offloading it. Vijim is part of Ulanzi, a fast-growing Chinese accessories maker known for affordable lights, cages, and small tripods. The sale, Videndum says, will allow it to focus on its core professional lines like Manfrotto, Gitzo, and SmallHD, and presumably raise some cash to pay down debt ts2.tech. It’s a sign of the times: the accessories market is hyper-competitive, and Asian manufacturers have been undercutting legacy brands. By selling Joby to Ulanzi’s group, Videndum is essentially conceding the entry-level/flexible tripod space to them. For consumers, it likely means we’ll see new Joby products coming that might integrate Ulanzi’s designs or vice versa. It also underscores the trend of industry consolidation and globalization – Chinese firms are acquiring well-known western brands in the photo gear space (we saw something similar when Shenzen-based Pergear acquired certain rights to Meyer Optik Görlitz, a German lens brand). Lowepro (the camera bag brand) is also in that sale, meaning those ubiquitous camera backpacks may see some changes under new ownership. Videndum, on the other hand, remains a powerhouse in tripods (Manfrotto/Gitzo) and lighting supports, but clearly wants to stick to the higher-end market.

Regulatory and Tech Shifts: Lastly, a quick update on regulations: There’s chatter in the EU about right-to-repair laws possibly being extended to digital cameras, which could force manufacturers to make spare parts and repair manuals more accessible. No concrete law yet, but companies are watching closely. And in sensor tech news, Sony Semiconductor (which provides sensors to many camera makers) announced a breakthrough in curved sensor manufacturing that could eventually lead to simpler, sharper wide-angle lenses – though products using it are a ways off. These behind-the-scenes developments often foreshadow the next generation of gear a year or two down the road.

Sources:

• Canon teaser and rumors – DPReview, Canon Rumors ts2.tech canonrumors.com
• Nikon Zf Silver announcement – Imaging Resource imaging-resource.com imaging-resource.com
• Panasonic AK-UBX100 details – DigitalCameraWorld, TS2 digitalcameraworld.com ts2.tech
• Sony FX3/FX30 firmware – TS2 (Industry News) ts2.tech ts2.tech
• Laowa, DZOFilm lens news – Digital Camera World, TS2 ts2.tech ts2.tech
• 7Artisans 35mm and Viltrox 56mm – DPReview, TS2 ts2.tech ts2.tech
• Sigma lens event leaks – TS2 Tech ts2.tech
• Canon RF lens rumors – CanonRumors canonrumors.com canonrumors.com
• Nikon Z6 III authenticity flaw – PetaPixel, TS2 petapixel.com ts2.tech
• Nikon statement on flaw – PetaPixel petapixel.com
• Expert analysis on authenticity – PetaPixel petapixel.com ts2.tech
• DJI mirrorless camera rumor – Imaging Resource, TS2 ts2.tech ts2.tech
• Canon PowerShot ELPH rumor – CanonRumors canonrumors.com
• Nikon Zr leaked details – NikonRumors nikonrumors.com nikonrumors.com
• Industry price hikes – DigitalCameraWorld, PetaPixel ts2.tech ts2.tech
• Blackmagic price cuts – TS2 Tech ts2.tech
• Joby sale to Vijim – DigitalCameraWorld, TS2 ts2.tech ts2.tech