Camera World Ignites with New Gear, Industry Shake-Ups, and Bold Rumors (Sept 5

Nikon halts Z6 III authenticity service over a security flaw: A vulnerability in the Nikon Z6 III’s C2PA content credentials let users forge “authentic” images, prompting Nikon to suspend its new authenticity verification service pending a fix ^[1] ^[2].
DJI poised to enter the mirrorless camera market: Multiple reports suggest drone-giant DJI will unveil a full-frame L-mount mirrorless camera on September 15, a move that could disrupt the Canon/Nikon/Sony-dominated landscape ^[3] ^[4].
Laowa teases six new lenses (including a 200 mm f/2) for IBC 2025: Venus Optics (Laowa) is gearing up to showcase six lenses spanning still, macro, tilt-shift and anamorphic cine optics – headlined by a long-rumored, lightweight 200 mm f/2 telephoto – at the mid-September IBC trade show ^[5] ^[6].
DZOFilm launches Vespid2 cine primes: Cinema lens maker DZOFilm released its Vespid2 series – six full-frame prime lenses (18 mm–105 mm, all T1.9) – now available individually or as a kit. The lenses boast unified size/weight, sharper optics with minimal chromatic aberration, and pro features like /i metadata transmission ^[7] ^[8].
Tariffs trigger looming price hikes for Panasonic & OM System: Unverified reports claim Panasonic Lumix and OM System will raise U.S. prices in late September and early October to offset new trade tariffs ^[9]. These two were among the last major brands holding out while Canon, Sony, Nikon, Fujifilm, Leica, and Sigma already enacted tariff-related increases ^[10].
Joby (GorillaPod) brand sold to Chinese accessory company: Videndum – owner of Manfrotto, Gitzo, Lowepro and more – has agreed to sell its Joby tripod division (famed for GorillaPod) to Vijim, a China-based accessories firm ^[11]. Videndum says the sale will refocus it on core high-end professional gear ^[12], while Joby’s flexible tripods move under new ownership.
Canon teases a new video-focused camera for Sept. 9 launch: Canon has been hyping “something new” via an official teaser, inviting users to a Sept. 9 livestream just ahead of IBC ^[13]. The shadowy image hints at a compact, boxy EOS camera with a top-mounted record button and front tally lamp, reminiscent of Canon’s APS-C vlog cam but likely a higher-end mirrorless cinema model (a red-ring RF lens is attached) ^[14]. The timing – right before the big broadcast convention – suggests Canon is set to unveil a pro-oriented video shooter ^[15].

Nikon Pauses Authenticity Service After Security Flaw

Nikon faced an embarrassing hiccup with its new Authenticity Service for the Z6 III. On September 5, the company confirmed a serious flaw: using the camera’s multiple-exposure mode, a user showed it was possible to combine a C2PA-signed photo with an unsigned image and still get a “verified” output ^[16] ^[17]. In other words, the Z6 III could be tricked into “authenticating” content it hadn’t actually captured. This loophole undermines the whole point of Nikon’s content credentials feature, which was meant to bolster trust in photos’ provenance.

In response, Nikon swiftly suspended the authenticity signing service for the Z6 III while its engineers rush to patch the vulnerability ^[18] ^[19]. “The service has been temporarily suspended while we work diligently to resolve the issue,” Nikon announced, apologizing for the inconvenience ^[20]. Observers note Nikon’s rapid reaction as a positive sign – acknowledging the issue within a day of its discovery shows the company’s commitment to preserving trust in image authenticity ^[21]. Potential fixes could include disabling multi-exposure for signed images or other firmware adjustments, though Nikon hasn’t detailed its plan yet ^[22]. This incident also highlights how critical the new Content Authenticity Initiative (CAI) standards are: any exploit that allows “false signatures” poses a massive problem for trust in digital imagery ^[23]. Nikon’s quick action earned praise, but it underscores the importance of robust testing as camera makers add verification tech to their devices.

DJI Mirrorless Camera Rumors Heat Up

The drone titan DJI is sparking buzz that it will step into the mirrorless camera arena for the first time – and soon. Reports from outlets like FujiRumors indicate DJI is likely to announce a full-frame mirrorless camera on September 15 ^[24], aiming to coincide with the flurry of product launches this month. Notably, Canon, Apple, and Sigma also have big announcements expected in this same mid-September window ^[25], so DJI appears poised to crash a very busy party.

What do we know about this potential DJI camera? According to the rumor mill, the camera will use the L-Mount (the Leica/Panasonic/Sigma alliance mount) and has a boxy, cinema-oriented form factor similar to a Sony FX3 – except DJI’s design might include a built-in electronic viewfinder at the corner ^[26]. A supposedly leaked photo floating around is too blurry to confirm details, but it suggests a rectangular “video-first” body. This aligns with Canon’s teaser (and other industry trends) showing more compact, modular video-centric cameras coming to market.

If the whispers are true, DJI’s entry could jolt the industry. While DJI is new to standalone cameras, it’s far from an imaging novice – the company’s experience with aerial, action, and 360° cameras is deep, and it even owns Hasselblad (maker of high-end medium format cameras) ^[27]. DJI bringing that expertise to a full-frame system has analysts speculating about a major new competitor. “It could shake up a market largely dominated by Canon, Sony, and Nikon,” Imaging Resource notes, even if details remain unconfirmed ^[28]. At the very least, the prospect of a DJI mirrorless camera – potentially with Hasselblad color science or innovative autofocus tech (DJI helped develop the Hasselblad X2D’s fast LiDAR AF) – is causing a stir. All eyes will be on mid-September to see if DJI really pulls the curtain off a camera and how the big three respond.

New Lenses Galore: Laowa’s Six Surprises and DZOFilm’s Cinema Set

Venus Optics (Laowa) has signaled a major lens reveal is coming in September, hinting at six new lenses to debut – likely timed with the IBC show for maximum impact ^[29]. The most anticipated is the Laowa 200 mm f/2 C-Dreamer, a ultra-bright telephoto that has been rumored for months ^[30]. Recent leaks show it to be remarkably compact for its specs: about 1.6 kg in weight, which is over a kilogram lighter and several centimeters shorter than Nikon’s legendary 200 mm f/2 for F-mount ^[31]. In other words, Laowa’s version aims to deliver the same “big glass” f/2 speed in a more portable package – an exciting prospect for sports and wildlife shooters who crave speed and reach without excessive bulk.

Beyond the 200 mm, Laowa’s lineup spans an eclectic mix of focal lengths and uses. The company is known for niche and inventive designs, and it appears they’ll continue that trend. The six new lenses cover still photography, macro, tilt-shift, and cinema segments ^[32]. Notably, two of them are full-frame anamorphic zooms – a 40–80 mm T4.5 and 70–135 mm T4.5, both with a 2× squeeze factor ^[33]. These anamorphic zooms (branded “Sunlight”) are poised to attract indie filmmakers, offering versatile zoom ranges along with the coveted cinematic wide aspect ratio and lens flares. If they indeed appear on the IBC show floor, Laowa could steal some spotlight in the cine gear realm. Rounding out the six are expected to be a new tilt-shift lens (Laowa has teased tilt-shift designs before) and perhaps a macro or ultra-wide, given Laowa’s history. While pricing and ship dates are still under wraps, Laowa’s ambitious showcase underlines its role as one of the more bold, experimental players in the optics industry ^[34].

Meanwhile, on the professional video side, DZOFilm officially launched its Vespid2 cinema prime lenses on Sept 5 – marking the availability of a set that was first glimpsed as prototypes back at NAB in April ^[35]. The Vespid2 series includes six full-frame primes at 18 mm, 24 mm, 35 mm, 50 mm, 85 mm, and 105 mm, each with a bright T1.9 aperture ^[36]. These lenses are designed with consistency and ease of use in mind for cinematographers. All six share an identical housing: the same dimensions, nearly the same weight, and uniform 80 mm front diameter, which means filmmakers can swap lenses on a rig or gimbal without needing to rebalance or change matte boxes ^[37]. DZOFilm also touts revamped optics – the company says the Vespid2 design virtually eliminates center-frame chromatic aberration and produces cleaner, more uniform bokeh than the first-gen Vespids ^[38].

Each lens features standard cine gearings (0.8 MOD) for focus and iris, with a long 300° focus throw for precise focus pulls ^[39]. They even integrate Cooke’s /i Technology contacts to transmit lens metadata to compatible cameras, aiding VFX and virtual production workflows ^[40]. Despite the high-end specs, the primes are relatively lightweight at ~800 g (1.76 lb) each, making them viable for drone or handheld use too ^[41]. Initially the Vespid2s come in ARRI PL mount only (typical for cine glass), though PL-to-EF or PL-to-E mounts can adapt them as needed. Pricing is set at $1,199–$1,299 per lens, or $6,289 for the complete six-lens kit (which includes a hard case) ^[42]. With the lenses now in stock at retailers ^[43], DZOFilm is providing an affordable pathway for film-makers to get a matched set of fast full-frame glass – a segment historically dominated by much pricier brands. The Vespid2 launch also reflects the growing trend of China-based lens makers upping their game in optical quality and catering to professional markets.

Industry Trends: Price Hike Ripples and Brand Shake-Ups

The ongoing U.S.–Japan trade tariffs on photographic gear continue to reverberate through the industry. This week brought word that Panasonic and OM System (the brand formerly Olympus) may be the next to implement across-the-board price increases in the American market ^[44]. Thus far, these two companies had stood out by not raising U.S. sticker prices even as tariffs on Japan-made cameras/lenses kicked in. But rumors reported by Photo Rumors indicate Panasonic’s Lumix gear could see higher prices by end of September, and OM Digital Solutions might follow in early October ^[45]. Neither company has officially confirmed it, but the chatter aligns with what’s already happened industry-wide. In recent weeks, virtually every other major manufacturer – Canon, Sony, Nikon, Fujifilm, Leica, Sigma, etc. – announced price hikes on cameras and lenses to offset the new 15% import duties ^[46]. Nikon, for instance, had a second round of U.S. increases go into effect on September 1. Panasonic and OM System’s potential hikes would mean no camera maker is spared the tariff effect, inevitably making gear more expensive for American buyers heading into the holiday season. It’s a notable shift, especially for budget-conscious Micro Four Thirds shooters (Panasonic/OM) who have so far been shielded. Industry analysts note that as long as the U.S. and Japan maintain these trade tensions, gear prices are likely to keep climbing, and consumers may rush to buy before each new increase takes effect.

On the corporate front, a notable acquisition/ divestiture was revealed: Joby, the company famed for GorillaPod flexible tripods and phone vlogging rigs, is changing hands. UK-based Videndum (formerly known as Vitec Group) announced it is selling the Joby brand to Vijim, a Chinese photography accessory firm ^[47]. Videndum is a heavyweight in the photo/video support world – it owns Manfrotto, Gitzo, Lowepro, Avenger, Sachtler and more – mostly focused on high-end professional products. Joby was one of its consumer-oriented lines, known for those bendy tripods seen on countless YouTube setups. The sale (disclosed on Sept 3) indicates Videndum’s strategic pivot to concentrate on its “core professional markets” ^[48]. Indeed, Joby’s flexible mini tripods target a different segment than Videndum’s premium studio gear, so offloading Joby can free Videndum to double down on pro products like heavy-duty tripods, lighting supports, and cine equipment. For Joby fans, the immediate impact should be minimal – although now under Vijim (which is owned by Shenzhen-based Zhongshan Squid Photo), Joby will likely continue its product lines, potentially with expanded distribution in Asia. It’s part of a larger trend of industry consolidation and refocusing: big players are streamlining to either go all-in on professional systems or, conversely, specialize in the booming creator/enthusiast accessory market. We may see more iconic photo accessory brands shift ownership as companies adapt to changing market priorities.

Big Brands in the Wings: Canon’s Teaser and What’s Next

While much of the week’s news was about responding to issues or incremental launches, the major camera makers are also setting the stage for next week’s headlines. Canon, in particular, has been stoking excitement for an announcement on September 9. Canon UK dropped a teaser on social media declaring “something new is coming” and pointing to a YouTube livestream that day ^[49]. The teaser image, though dark, reveals quite a bit to the trained eye: it shows what appears to be a compact, box-shaped camera body with multiple 1/4″ screw mounts on top, a prominent red Record button in place of a traditional shutter, and a front tally light ^[50]. There’s also a lens attached that looks to have Canon’s red ring (signifying L-series glass), and possibly a built-in handle or grip on the side. All clues point to a video-centric EOS R system camera – likely Canon’s answer to the cinema-style mirrorless trend exemplified by devices like the Panasonic BS1H or Sony FX3/FX30.

Intriguingly, this reveal comes right before the IBC 2025 exhibition (Amsterdam’s big broadcast and cinema tech show) which kicks off September 15. Canon often times its cinema EOS launches around industry events, and the teaser’s timing suggests this could be a significant pro video camera. Some observers speculate it might be an RF-mount “EOS R5C II” or a new model bridging the gap between Canon’s mirrorless still cameras and its Cinema EOS line. Others noted in forums that Canon’s tease might be a response to rumors of Nikon planning a high-end video-oriented body (code-named “Zr”) around the same time – the competition in the hybrid video/stills segment is clearly heating up ^[51].

Regardless of the exact name, Canon’s teased camera looks aimed at content creators and filmmakers who need features like unlimited recording, pro audio, and easy rigging. The boxy design and top-mounted controls echo Canon’s earlier small 4K camcorders (and the recent EOS R50 V vlogging camera) but likely with higher-end internals given the L lens and multiple dials visible ^[52]. Expect 10-bit video, advanced AF, maybe even SDI or timecode features for studio use – all speculation that will be resolved on Sept 9. This teaser, combined with other brand rumors (for instance, Canon EOS R6 Mark III murmurs are growing ^[53], and Leica is rumored to have a Q2 Monochrom successor soon ^[54]), indicates the fall product season is in full swing. Sony and Fuji have also hinted at more to come (Sony’s next Alpha, Fujifilm’s GFX roadmap updates, etc.), meaning the first weeks of September are just the start of a flurry of camera launches and announcements that will carry through the month.

Sources: PetaPixel ^[55] ^[56]; Imaging Resource ^[57] ^[58]; Digital Camera World ^[59] ^[60]; DPReview ^[61] ^[62]; Imaging Resource (DZOFilm) ^[63] ^[64]; Digital Camera World (tariff news) ^[65]; PetaPixel ^[66].