Key Facts
- Fujifilm’s Long-Range Marvel: Fujifilm announced a new SX Series long-range camera with a built-in 32× zoom lens (12.5–400mm) and bright F/2.8 aperture, designed for low-light clarity. This lens-integrated unit is slated for early 2026 release and targets portable surveillance and long-distance imaging needs [1] [2].
- Panasonic Merges Camera Categories: Panasonic unveiled the AK-UBX100, a 4K multi-purpose camera that combines a studio camera, box camera, and PTZ (pan-tilt-zoom) camera into one. Dubbed “the future of video production”, it uses a 2/3″ bayonet mount and boasts a world-first autofocus system for fast, stable subject tracking [3] [4].
- Canon Teases New Cinema EOS: Canon is teasing a new EOS Cinema camera to be fully revealed on September 9. A shadowy teaser image shows a boxy, EVF-less video-focused body with a front tally light and red “C” badge – strong clues it’s a compact cinema camera. Canon promises “a new way to capture the world” with this model, fueling speculation it could be a mid-range Cinema EOS entry [5] [6].
- Sigma’s Ultra-Wide Lens Goes Special-Order: Citing overwhelming demand and production delays, Sigma is overhauling the 14mm F1.4 DG DN Art lens. The acclaimed astro lens will be rebranded (dropping “DN”), get a refreshed exterior, and move to a made-to-order sales model. Starting September 4, photographers must special order it at a higher price of $1,839 (up ~4.5%) [7] [8]. Sigma apologized for the long waits and “significant delays in delivery,” saying “we will transition to a made-to-order system” to meet demand [9].
- Video Gear Updates: Panasonic also announced the AW-RP200GJ remote camera controller for pro video crews. Debuting at IBC 2025, this advanced controller adds dual joysticks and macro automation to streamline multi-camera broadcasts and robotic camera rigs [10] [11]. It’s expected in Q1 2026, enabling single operators to manage complex multi-cam setups with ease.
- Market Trends – Mirrorless Up, Prices Up: New data from Nikkei show mirrorless camera shipments surged across the board: Canon led 2024 with 2.05 million units, Sony 1.63M, and Nikon 760k (Nikon jumped from just 290k units in 2021) [12] [13]. Meanwhile, DSLR sales have plummeted to a fraction – e.g. Nikon sold only ~70k DSLRs in 2024 [14] – underscoring the industry’s mirrorless pivot. In the U.S., tariff-driven price hikes hit consumers: Nikon’s second round of increases took effect Sept. 1, adding $100 to entry models and up to $400 to the flagship Z9 [15] [16]. Now only two Nikon camera bodies (the aging Z30 and Z50) stay under $1,000, making affordable options scarce [17].
- AI-Powered Camera Vision: Tech startup Camera Intelligence secured a $2 million seed investment to develop a Micro Four Thirds mirrorless camera with built-in AI. The prototype uses a local large language model (LLM) to let users control shooting and editing via voice commands and intelligent automation [18] [19]. In a demo, the CEO showed the camera obeying spoken requests to adjust color style (e.g. “make it look like a rainy day”), switch from video to photo, and even snap a selfie on a timer – all without touching menus [20]. This AI-native camera aims to “dramatically lower barriers to entry” for creators by integrating an “assistive content editing” AI assistant right into the device [21]. Experts say this approach could transform content creation workflows, turning cameras from passive tools into “intelligent collaborators” [22] [23].
New Camera Releases
Fujifilm’s 32× Long-Range SX Series Camera
Fujifilm sent waves through the industry with a surprise development announcement out of Tokyo: a new SX Series lens-integrated long-range camera. This yet-to-be-named model packs a powerful 32× optical zoom lens (covering 12.5mm at wide angle out to 400mm telephoto) in a relatively compact, 300 mm long body [24]. Notably, the built-in lens is the brightest in Fujifilm’s SX lineup at f/2.8, enabling clear low-light imaging even at long range [25]. The camera uses a 1/1.8-inch sensor and Fujifilm’s advanced optics from its broadcast and cine lens heritage to maintain image quality across the zoom. Weighing ~3.9 kg, it’s designed to be portable – deployable on vehicles, ships, or temporary installations – rather than a fixed mount-only system [26].
This SX camera targets professional surveillance, security and industrial inspection roles. Fujifilm notes growing demand for mobile long-range imaging at disaster sites, large events, and border surveillance, where installing permanent cameras isn’t practical [27]. By integrating lens and body, the unit achieves its large zoom range in one package, complete with fast autofocus (locks focus ~0.1 sec) and advanced stabilization to counter handshake, wind, or vehicle vibrations [28] [29]. It even features a heat-haze/fog reduction system to maintain clarity over great distances and in tough atmospheric conditions [30]. Fujifilm plans to release this model in early 2026, but it will debut as a “reference exhibit” at the DSEI 2025 defense/security expo in London (Sept 9–12) [31] – a hint at its target market. This is a clear sign that beyond consumer gear, Fujifilm is expanding its specialty camera offerings to meet unique professional needs.
(No major consumer still-camera launches were reported in this 48-hour window – the period was dominated by specialized gear and previews of what’s coming next.)
Lens Announcements
Sigma 14mm f/1.4 Art – From Backorder to Built-to-Order
One of the world’s fastest ultra-wide lenses, Sigma’s 14mm f/1.4 DG DN Art, made headlines – not for a new version, but a radical change in how it’s sold. Since its 2023 launch, this lens (a favorite of astrophotographers) has been so popular that Sigma hasn’t been able to keep up. The company admitted to “significant delays in shipping newly ordered products” due to demand outstripping production [32]. To fix the customer wait times, Sigma is taking the unusual step of transitioning to a made-to-order system for this model.
Effective September 4, the lens is being reintroduced as the Sigma 14mm f/1.4 DG Art (dropping “DN” from the name) with a slight exterior facelift and new packaging [33] [34]. Instead of stocking store shelves, Sigma will accept orders in limited windows and then fulfill them at a later date. The first order window runs Sept. 4 to Oct. 31, 2025, with all ordered lenses slated to ship by March 2026 [35]. Future ordering periods will follow based on demand. This essentially makes the 14mm Art a “special order” lens rather than mass-produced item – a rare approach, but one that Sigma says is necessary to serve keen customers without indefinite backlogs.
Along with this change, the price is going up. The lens originally launched at $1,599, was $1,759 after earlier tariff impacts, and now will cost $1,839 in the US [36] [37]. Sigma attributes the increase to rising raw material and logistics costs, though the jump is relatively modest (~4.5%) [38]. Importantly, optical performance isn’t changing – Sigma promises the new units will deliver “the same imaging performance as before, with a new look” [39]. The refreshed design aligns with Sigma’s latest branding (new logo font and more eco-friendly packaging) rolled out this year [40].
For photographers, the message is twofold: if you’ve been lusting after this 14mm f/1.4 “night sky” lens, you can still get it – but you’ll need to plan ahead and order during Sigma’s designated windows, and be prepared to pay a bit more. Sigma’s candid admission of the issue (“we apologize for any inconvenience… Going forward, we will transition to a made-to-order system” [41]) and their willingness to alter strategy underscore how unexpectedly strong the demand was for such a niche, high-end lens. It’s a testament to the appeal of specialty glass for astro and landscape photography, even in an era dominated by more general-purpose zooms.
(No other major lens launches occurred on Sept 2–3, but the rumor mill is buzzing. For instance, Viltrox is reportedly readying an AF 9 mm f/2.8 ultra-wide for Nikon Z APS-C [42], and Sigma itself has teased multiple lens announcements for mid-September. The period’s only “official” lens news, however, was Sigma’s update above.)
Camcorder News
Panasonic AK-UBX100: One Camera to Rule Them All
Panasonic grabbed attention with the AK-UBX100, a new professional 4K camera that boldly blurs the lines between three video camera types. Traditionally, broadcasters and studios use distinct models: studio cameras (for multi-cam TV production), compact box cameras, and robotic PTZ cameras. The AK-UBX100 is Panasonic’s attempt to “merge all three into a single multi-purpose camera” [43]. In a development announcement on Sept. 2, Panasonic even called this model “the future of video production” [44].
Physically, the UBX100 is a box-style camera using a 2/3-inch interchangeable lens mount (B4 bayonet) – the same platform as Panasonic’s high-end studio cameras [45]. That means it can accept broadcast lenses and serve as a fixed box camera for live events or cinema applications. But it’s also been designed with flat sides and a unified interface so that it can mount seamlessly on PTZ robotic heads or integrate with Panasonic’s existing studio camera control systems [46] [47]. In essence, this one camera can operate on a jib or tripod like a typical studio cam, or be rigged as a remote-controlled PTZ unit – without needing entirely different camera models for each job.
Under the hood, the AK-UBX100 is all about making high-end video production more flexible. Panasonic emphasized the camera’s world-first autofocus (AF) system for a broadcast-style camera [48]. This AI-enhanced AF can rapidly lock onto subjects regardless of lens type or operator skill, which is crucial when one camera might be used in varying setups. According to Panasonic, “even for experienced operators, the instantaneous AF support provided by the one-push AF function allows for a smooth transition to final manual adjustments”, enabling reliable focus in dynamic situations [49]. The goal is to maintain consistent, high-quality results across live streaming, studio recording, and remote shooting, even with minimal crew.
Panasonic plans to release the UBX100 in Q4 2025 [50]. They’re also rolling out a firmware update to add that new AF functionality to the existing AK-UCX100 studio cameras in December 2025, ensuring current users benefit from the innovation as well [51]. By standardizing the interface and features between the UBX100 and UCX100, operators can mix and match the cameras easily, avoiding time-consuming color matching or re-training [52]. It’s a clear response to trends in production: more LED video walls, virtual sets, and multi-platform content creation, which demand cameras that can do it all. The UBX100 points to a future where broadcast cameras are smarter and more modular – a single unit you can deploy in multiple roles without compromise.
Canon’s Cinema Camera Teaser – EOS C…Something?
While Panasonic spoke at length about its new gear, Canon played coy with a teaser. On Sept. 2, Canon USA’s social media dropped a short video hinting at a new Cinema EOS camera launch on September 9 [53]. The teaser image, though dark, didn’t hide everything: it shows an angular, compact camera body with no obvious electronic viewfinder, a prominent front tally lamp, and the signature red-accented shutter button. Keen eyes spotted a red “C” logo next to the EOS badge, marking it firmly as a Cinema EOS series camera [54].
Canon’s tagline – “A new way to capture the world” – suggests this isn’t just a minor refresh. Observers speculate it could be the rumored EOS C50, a small-form-factor cinema camera aimed at indie filmmakers and creators. The design hints line up: a boxy form with 1/4″-20 accessory mounts on top (visible in the shadows) for easy rigging, and likely an RF mount given Canon’s current lens lineup [55]. The lack of an EVF (which wouldn’t be needed on a video-centric camera) and inclusion of a tally light (to signal recording) indicate a video-first hybrid – perhaps bridging the gap between Canon’s mirrorless R-line and its higher-end EOS Cinema cameras.
Canon hasn’t spilled any specs yet. However, the community expects mid-range pricing and features – possibly a Super 35mm / APS-C sensor or even full-frame, 4K or 6K recording, and a form factor to rival Sony’s FX3/FX30 series. Notably, Canon has been bolstering its RF lens lineup with video-oriented glass (like power-zoom adapters and compact f/1.4 primes) [56], signaling support for an expanding cinema family. We’ll know for sure on Sept. 9 when Canon officially lifts the curtain [57]. For now, the teaser succeeded in revving up the cinematography world. As one industry watcher noted, “The teaser image is surprisingly revealing, showing what looks like a video-focused camera with a boxy design… potentially a [Sony] FX30 killer” [58]. Canon seems poised to make a splash at the upcoming IBC show with this launch.
Pro Video Odds and Ends
In other video news, Panasonic’s new AW-RP200GJ controller is worth a mention for production professionals. Announced Sept. 3, this is a next-gen remote camera controller designed to pair with high-end PTZ and studio cams (like the UBX100 above). It improves on Panasonic’s prior RP150 by introducing dual joysticks – one for traditional pan/tilt/zoom, and a second for assignable functions like menu navigation or even controlling a second camera [59]. This lets a single operator seamlessly juggle multiple camera feeds. Uniquely, the RP200 also adds macro sequencing: operators can program one-button “macros” to execute complex multi-camera moves or preset recalls across many cameras at once [60] [61]. For large event venues or broadcast studios, this could be a game-changer, automating repetitive tasks and synchronizing shots with precision. The controller supports both SDI and IP video inputs (with NDI and SRT support), so the operator can monitor all camera angles directly on its built-in screen when controlling remotely [62]. Panasonic will showcase the RP200 at IBC 2025 (Amsterdam) mid-month, with an expected release in the first quarter of 2026 [63]. It’s a niche product, but together with the UBX100 it underlines Panasonic’s focus on efficiency in pro video workflows – doing more with fewer people behind the scenes.
Meanwhile, action camera fans got a teaser: Insta360 hinted at a new ultra-compact device, with a cryptic promo set for that week. While details were scant by Sept 3, the teaser had insiders speculating it could be a next-gen Insta360 GO model – one rumor dubbed it the “GO Ultra,” claiming it packs a bigger sensor into a tiny body. If true, it shows the continued innovation in the action cam niche, pushing for better quality in ever-smaller form factors. We’ll know soon if this pans out, but it’s clear that September is kickstarting a flurry of camera launches across categories, from heavy-duty broadcast rigs to pocket-sized shooters.
Industry Trends
Mirrorless Momentum and the Death of DSLRs
Newly published market figures have put hard numbers to what everyone’s been sensing: mirrorless cameras are now the backbone of the industry. Japan’s Nikkei released manufacturer shipment data (201–2024) showing explosive growth for mirrorless models, especially for Canon and Nikon [64] [65]. Canon, which was initially late to mirrorless, surged to 2.05 million units shipped in 2024, overtaking Sony (1.63 M) as the top seller [66]. Nikon, after struggling in the DSLR-to-mirrorless transition, has seen consistent gains – from a mere 290k mirrorless units in 2021 to 760k in 2024, effectively adding 100k+ units year-on-year as its Z-series cameras gained traction [67] [68]. Fujifilm and Panasonic maintain smaller shares (490k and 160k in 2024, respectively), and OM Digital (Olympus) around 130k [69].
The flip side is the free-fall of DSLR sales. NikonRumors reports that by 2024, Nikon’s DSLR shipments were down to just 70,000 units for the entire year [70]. Canon still moved ~790k DSLRs (likely largely legacy Rebel-series and 5D/7D models in certain regions), but that’s half of what it shipped just a couple years prior [71]. Pentax, the last holdout of dedicated DSLR makers, managed a tiny 10k units in 2024 [72]. In 2021, Canon and Nikon were still selling millions of DSLRs; those days are gone. This generational shift underscores why all major brands have poured R&D into mirrorless tech – from sensors and autofocus to new lens mounts – effectively making mirrorless the standard. Expect to see even entry-level and hobbyist segments fully transition to mirrorless in coming months, as companies discontinue DSLR models and ramp up mirrorless offerings (and lens lineups to match).
Price Pressures and Tariff Turbulence
Camera enthusiasts have also been grappling with rising prices, especially in the U.S., and early September brought another jolt. As noted above, Nikon’s latest price increase took effect at the start of the month, raising mirrorless body MSRPs across the board in response to import tariffs [73]. Nikon USA had warned of this, but now it’s reality: entry-level models got $100 pricier (e.g. a Z50 body jumping from $857 to $957), mid-range and high-end models even more. The Z9 flagship went up by around $400 in one go [74] [75]. Where once Nikon offered four sub-$1000 mirrorless bodies, now only two remain (the Z30 and the older Z50), and even those sit precariously close to that threshold [76]. For context, $1,000 is a psychologically important cutoff for many first-time buyers or hobbyists upgrading their kit – and Nikon’s lineup above that mark may face a tougher sell in a price-sensitive market.
This isn’t just a Nikon story; it’s an industry-wide tremor. U.S.–China trade tariffs on photographic equipment (stemming from the previous U.S. administration’s policies) have forced most manufacturers to adjust prices in 2023–2025. Canon and Sony implemented similar hikes earlier, with some models reportedly rising several hundred dollars due to increased import costs [77] [78]. Even lenses and accessories haven’t been spared – recent reports noted Sigma’s U.S. lens prices jumped ~10% on average, for example [79]. Brands are trying to balance profitability with market share, and some are localizing production to tariff-free countries when possible. But in the short term, American consumers are unfortunately seeing camera gear inch out of reach. This trend may drive more buyers to wait for sales, consider used gear, or down-step to cheaper models – or even prompt companies to introduce new “affordable” models to fill gaps (hence the murmurs that “Nikon needs a new Z30 more than ever” now [80] [81]).
Innovation: AI in Cameras and New Form Factors
On a brighter note, innovation continues to thrive. The AI-powered camera concept from Camera Intelligence (see AI-Powered Camera Vision in Key Facts) reflects a broader trend of marrying computational photography with traditional hardware. We’ve seen AI-driven features in phones for years (like scene recognition, AI filters, etc.), and high-end cameras already use AI for subject detection autofocus. But an AI-first camera, built around voice commands and on-the-fly editing, is something new. If successful, it could point to a future where creators spend less time in post-production – imagine a camera that can auto-edit clips in-camera per your instructions, or guide you with voice feedback. While it’s early and such products will cater to niche early adopters at first, the major players are surely watching. Notably, Sony and Canon have both opened up their cameras’ software via SDKs and even smartphone-like apps, perhaps laying groundwork for more AI integration. And with chips getting more powerful (and specialized AI accelerators on board), the idea of a camera with a neural engine isn’t far-fetched.
We’re also seeing new form factors and retro inspirations. The interest in digital retro cameras – like those Camp Snap 35mm-style compacts and Super 8-style camcorders – hints that design and user experience are being reimagined for fun and nostalgia, not just pure specs. Early September saw one such digital “Super 8” camcorder launch for under $200, aiming to give YouTubers and filmmakers a creative vintage aesthetic in an easy package [82]. It’s a small sub-trend, but it underscores that in 2025 the camera market isn’t one-size-fits-all: there’s room for serious technical beasts as well as playful, stylish gadgets. Manufacturers large and small are tapping into what excites their audience, whether that’s crisp 8K footage for a documentary or a lo-fi retro vibe for TikTok.
In summary, the first days of September 2025 revealed a photography industry in dynamic flux. Mirrorless systems are cementing their dominance, supply-and-demand economics (and politics) are affecting pricing and product availability, and fresh ideas – from AI onboard brains to multi-purpose video rigs – are shaping the next generation of gear. It’s an exciting, if occasionally daunting, time to be a camera enthusiast.
Expert Insights & Quotes
Industry leaders and experts have been weighing in on these developments:
- Panasonic (Press Release): “[The AK-UBX100] features the same main functional and original core design as the [existing] 4K studio camera… eliminating the complexity of color matching and unifying operability across devices.” – Panasonic’s announcement emphasized that their new multi-purpose camera will seamlessly integrate into existing workflows [83]. By sharing a platform with their studio cams, Panasonic is addressing a key pro concern: making multi-cam setups simpler and more consistent.
- Canon (Teaser Statement): “A new way to capture the world.” – Canon’s tag line for the upcoming EOS Cinema camera [84] is deliberately bold. While short on specifics, this phrasing signals Canon’s confidence that this launch isn’t just incremental. Canon is hinting at creative possibilities or form-factor flexibility not previously offered in its lineup – a statement that has Canon watchers eagerly awaiting more details on September 9.
- Sigma (Official Statement): Sigma acknowledged the unusual lens availability issue in plain terms: “We are experiencing significant delays in shipping… Going forward, we will transition to a made-to-order system.” [85]. This rare admission highlights the surprising popularity of the 14mm f/1.4 Art and Sigma’s commitment to maintaining quality over rushing production. Tech writer Jeremy Gray noted that the lens had “been difficult for photographers to purchase” and applauded Sigma’s decision to adjust course to better serve customers [86].
- Nikon (Analysis): “Nikon’s budget models have increased by $100, while the flagship Z9 has jumped by $400.” [87] observes Digital Camera World’s Hillary Grigonis, pointing out the concrete impact of tariffs on Nikon’s lineup. She further notes that only two sub-$1000 Nikon bodies remain, both over three years old [88]. Her take: Nikon must respond either by introducing new affordable models or risk ceding the entry-level market. It’s a sentiment echoed by many experts who worry that price hikes could slow the momentum Nikon has recently gained in mirrorless.
- Camera Intelligence (CEO Vision): “With a radical new interface that leverages AI, we’re bringing assistive content editing capabilities directly into our camera system and aim to dramatically lower barriers to entry.” – Vishal Kumar, CEO of Camera Intelligence [89], on why an AI-driven camera could be a game-changer for solo creators. His perspective is that many would-be content creators are overwhelmed by complex gear and software, and an intelligent camera that can help automate shooting and editing empowers them to focus on storytelling. This aligns with a broader expert view that ease-of-use may define the next era of camera design as much as pure image quality does.
- Betaworks (Venture Capital): “Their innovative approach… has the potential to transform how creators and businesses produce content.” – Jordan Crook, partner at Betaworks, speaking about Camera Intelligence’s concept [90]. Coming from an investor in the imaging tech space, it underlines that major players in tech believe cameras with on-device AI aren’t sci-fi but an imminent reality that could reshape content creation workflows.
As these quotes illustrate, the tone in the industry is optimistic yet pragmatic. There’s excitement for new technologies (AI, multi-role cameras) and new products, tempered by awareness of challenges (supply issues, tariffs). The first week of September 2025 has given us a lot to chew on – from game-changing gear to shifting market winds – and the commentary from insiders suggests we’re in the midst of a pivotal moment for photography and videography. The coming weeks (with big trade shows and product launches on the horizon) will no doubt add even more to this developing story, but one thing is clear: whether you’re a casual shutterbug or a seasoned pro, now is a time to pay close attention to the camera world’s fast-moving news cycle.
Sources: The information and quotations in this report are drawn from official press releases (Fujifilm, Panasonic, Sigma), industry news outlets and expert analyses [91] [92] [93] [94] [95] [96], ensuring an accurate and up-to-date account of the latest developments in cameras, lenses, and video gear as of September 3, 2025.
References
1. www.fujifilm.com, 2. www.fujifilm.com, 3. www.digitalcameraworld.com, 4. www.digitalcameraworld.com, 5. petapixel.com, 6. petapixel.com, 7. petapixel.com, 8. petapixel.com, 9. petapixel.com, 10. news.panasonic.com, 11. news.panasonic.com, 12. nikonrumors.com, 13. nikonrumors.com, 14. nikonrumors.com, 15. www.digitalcameraworld.com, 16. www.digitalcameraworld.com, 17. www.digitalcameraworld.com, 18. www.digitalcameraworld.com, 19. www.digitalcameraworld.com, 20. www.digitalcameraworld.com, 21. startupsmagazine.co.uk, 22. startupsmagazine.co.uk, 23. startupsmagazine.co.uk, 24. www.fujifilm.com, 25. www.fujifilm.com, 26. www.fujifilm.com, 27. www.fujifilm.com, 28. www.fujifilm.com, 29. www.fujifilm.com, 30. www.fujifilm.com, 31. www.fujifilm.com, 32. petapixel.com, 33. petapixel.com, 34. petapixel.com, 35. petapixel.com, 36. petapixel.com, 37. petapixel.com, 38. petapixel.com, 39. petapixel.com, 40. petapixel.com, 41. petapixel.com, 42. nikonrumors.com, 43. www.digitalcameraworld.com, 44. www.digitalcameraworld.com, 45. news.panasonic.com, 46. www.digitalcameraworld.com, 47. www.digitalcameraworld.com, 48. news.panasonic.com, 49. www.digitalcameraworld.com, 50. news.panasonic.com, 51. news.panasonic.com, 52. news.panasonic.com, 53. petapixel.com, 54. petapixel.com, 55. petapixel.com, 56. petapixel.com, 57. petapixel.com, 58. www.techradar.com, 59. news.panasonic.com, 60. news.panasonic.com, 61. news.panasonic.com, 62. news.panasonic.com, 63. news.panasonic.com, 64. nikonrumors.com, 65. nikonrumors.com, 66. nikonrumors.com, 67. nikonrumors.com, 68. nikonrumors.com, 69. nikonrumors.com, 70. nikonrumors.com, 71. nikonrumors.com, 72. nikonrumors.com, 73. www.digitalcameraworld.com, 74. www.digitalcameraworld.com, 75. www.digitalcameraworld.com, 76. www.digitalcameraworld.com, 77. www.digitalcameraworld.com, 78. www.digitalcameraworld.com, 79. www.digitalcameraworld.com, 80. www.digitalcameraworld.com, 81. www.digitalcameraworld.com, 82. www.digitalcameraworld.com, 83. news.panasonic.com, 84. petapixel.com, 85. petapixel.com, 86. petapixel.com, 87. www.digitalcameraworld.com, 88. www.digitalcameraworld.com, 89. startupsmagazine.co.uk, 90. startupsmagazine.co.uk, 91. www.fujifilm.com, 92. www.digitalcameraworld.com, 93. petapixel.com, 94. petapixel.com, 95. www.digitalcameraworld.com, 96. www.digitalcameraworld.com
