- Canon teases a mystery launch: Canon is hyping “something new” for a September 9 livestream, posting a shadowy image of a boxy, video-focused camera with a red record button and tally light [1] [2]. Observers suspect a compact Cinema EOS model to rival Sony’s FX3, given the form-factor and red-ring lens shown [3]. Canon’s teaser promises “a new way to capture the world” [4] and has fueled speculation that this could even herald the long-awaited EOS R6 Mark III announcement mid-month [5].
- DJI entering mirrorless fray: Drone-giant DJI is rumored to unveil its first full-frame L-mount mirrorless camera on September 15 – a move that could disrupt the Canon/Nikon/Sony stronghold [6] [7]. Leaks point to a Sony FX3-style body (with an added EVF) and DJI’s imaging know-how (bolstered by its ownership of Hasselblad) behind the project [8] [9]. “DJI’s full-frame camera is coming — panic for Sony/Canon/Nikon”, one industry watcher quipped on social media [10].
- Nikon halts “authentic” photos service: Nikon suspended the new C2PA authenticity feature in its Z6 III after a security flaw was exposed [11]. A photographer showed the camera could be “hacked” to sign a composite image largely taken on an unverified device [12] [13] – meaning fake or AI images could pass as Nikon-authenticated. Nikon apologized and “temporarily suspended” the service while it rushes out a fix [14]. (This comes on the heels of Nikon’s second U.S. price hike this year due to tariffs.)
- Panasonic & Sony target video pros:Panasonic unveiled the AK-UBX100, a 4K studio camera that merges a broadcast studio cam, a box camera, and a PTZ robo-cam into one unit [15]. Using a 2/3″ sensor with a B4 mount, it’s touted as “the future of video production,” and uniquely packs fast AI-powered autofocus to track subjects even with long broadcast lenses [16]. The UBX100 ships by Q4 2025 alongside a new AW-RP200 control panel (with dual joysticks and automated macros) debuting at IBC 2025 [17]. Sony, meanwhile, announced major firmware updates for its FX3 and FX30 cinema cameras. Coming this month, firmware v7.0 (FX3) and v6.0 (FX30) will overhaul the interface with a new “Big 6” home menu for key settings, add 1.5×/1.6× anamorphic de-squeeze viewing, and even enable external Blackmagic RAW video recording via HDMI [18]. These updates effectively trickle high-end Venice/Burano features down to Sony’s compact cine cams, greatly expanding their pro video toolkit [19].
- Third-party lens bonanza:Venus Optics (Laowa) is gearing up to reveal six new lenses in mid-September, headlined by a long-rumored Laowa 200 mm f/2 C-Dreamer telephoto [20] [21]. Weighing ~1.6 kg, the 200 mm f/2 is over a kilogram lighter than Nikon’s legendary 200mm f/2 while matching its ultra-bright aperture [22]. Laowa’s IBC lineup spans still, macro, tilt-shift and cine glass – including two full-frame anamorphic zooms (40–80 mm and 70–135 mm T4.5 2×) for indie filmmakers [23] – underscoring the brand’s bold, innovative reputation [24]. In the cinema world, DZOFilm officially launched its new Vespid² prime series: six full-frame cine primes from 18 mm to 105 mm, all at T1.9 [25]. The Vespid² lenses boast improved sharpness and minimal chromatic aberration, and share a unified design – identical size, weight (~800 g each), 80 mm fronts and 0.8 gearings – making swaps seamless on set [26] [27]. They even transmit Cooke /i metadata for VFX and virtual production, and will be available in PL mount (with adapters for others) at $1,199–1,299 each or ~$6,289 for the six-lens kit [28]. (Also on the horizon, Sigma has teased a “Master of Optics” event for Sept. 9, with leaks hinting at a new 135 mm f/1.4 Art lens, an all-in-one 20–200 mm zoom, and a 35 mm f/1.2 Art II – potentially big news for portrait and bokeh enthusiasts [29].)
- Market shifts: tariffs and price cuts: The U.S.–Japan trade war’s effects are rippling through the industry. Panasonic and OM System – until now among the few holdouts – are rumored to be raising their U.S. equipment prices in coming weeks to offset new import tariffs [30] [31]. Unverified reports suggest Panasonic’s Lumix lineup will see increases by end of September and OM System in early October [32]. (Canon, Sony, Nikon, Fujifilm, Leica and Sigma have already enacted tariff-related hikes in recent months [33].) On a brighter note for buyers, Blackmagic Design announced dramatic price drops on its high-end URSA Cinema Camera line. Some models fell by up to $7,000, as Blackmagic says it achieved cost reductions by moving manufacturing and is passing the savings on [34]. For example, the flagship URSA 17K 65 (with EVF) plummeted from ~$31.5K to ~$24.5K overnight [35]. It’s an aggressive mid-cycle cut aimed at broadening access – undercutting rival large-format cine cameras on price – and underscores how competitive pressures are shaping the pro camera market.
- Joby GorillaPod finds a new home: In an industry shake-up on the accessories front, Joby – famed for its flexible GorillaPod tripods – is being acquired by a Chinese company. London-based Videndum, which owns Manfrotto, Gitzo, Lowepro and other brands, announced it will sell the Joby brand to Vijim, a photography accessory maker under China’s Ulanzi group [36] [37]. “This sale supports the company’s strategy to focus on core professional markets,” Videndum stated of the divestiture [38]. Joby’s transition to new ownership marks the end of its tenure with Videndum (which had bought Joby in 2017) and signals a refocus on high-end gear for the seller. Meanwhile, the buyer gains an iconic consumer tripod line – potentially heralding expanded product offerings and global reach for Joby under its new parent.
Canon Hypes a New Video-Focused Camera
Canon set the rumor mills ablaze this week by teasing a new camera launch for September 9. Canon UK’s Instagram post declared “something new is coming” and invited users to a YouTube Premiere on Sept. 9 at 3 PM CEST (9 AM ET) [39]. Canon USA echoed the campaign with the tagline “a new way to capture the world,” stoking excitement across regions [40]. The accompanying teaser image, though cloaked in shadow, is telling: it depicts a boxy, compact camera body with no viewfinder hump, a large red Record button on the grip, and a front-facing tally lamp – clear hints at a video or cinema-oriented model [41] [42].
Seasoned observers note that the device’s flat-top design and button layout resemble Canon’s small EOS R50 V vlogging camera, part of the RF-mount “V” line for video creators [43]. However, the presence of what looks like a high-end L-series (red-ring) lens in the teaser suggests this may be a higher-end cinema shooter despite its petite form [44]. Canon has left the YouTube livestream chat open, playfully hinting “we’re just going to leave this here… 👀” to fuel speculation [45].
“With the red shutter button it looks like a new Cinema camera… maybe a little brother to the R5 C?” mused one commenter, guessing Canon might be readying a mini Cinema EOS model to slot below the EOS R5 C [46]. Indeed, rumors in the community suggest this camera could be an EOS C50, an APS-C “cine” camera designed to compete with Sony’s FX3/FX30 series [47]. The timing is conspicuous – Canon’s announcement comes just ahead of the IBC 2025 broadcast trade show – a traditional venue for video-focused product debuts [48].
Canon hasn’t confirmed any specs yet, but anticipation is running high. In addition to this cine-camera teaser, Canon’s mirrorless lineup is rumored to get a refresh soon. Insider reports point to an EOS R6 Mark III (approximately 30 MP) being announced by mid-September to succeed the popular R6 II [49]. There are also murmurs of an EOS R7 Mark II on the horizon, potentially bringing stacked-sensor speed to Canon’s APS-C range [50] [51]. For now, though, all eyes are on September 9, when Canon will finally lift the curtain on its mystery camera – a launch that could signal a major push to court video creators. As Canon UK put it: “Watch our YouTube Premiere… Set a reminder today!” [52].
Nikon’s Authenticity Crisis and Updates
It was a tumultuous week for Nikon, with a significant security lapse overshadowing other news. On September 5, Nikon abruptly suspended the Nikon Authenticity Service on its new Z6 III mirrorless camera due to a flaw in its C2PA content credentials system [53]. This system – introduced to cryptographically certify images as genuine – was supposed to combat deepfakes and image manipulation. Instead, a user discovered a way to trick the Z6 III into “authenticating” a fake image.
Photographer Adam Horshack revealed he could use the Z6 III’s Multiple Exposure mode to merge a photo from a second, non-authenticated camera with a shot from the Z6 III – and the final composite would still get a verified C2PA signature [54] [55]. In other words, one could insert virtually any content (even AI-generated imagery) into an image and have it appear “Nikon authenticated” [56]. This loophole undermined the very premise of Nikon’s tamper-proof image guarantee.
Nikon acted swiftly once the vulnerability came to light. In a notice on Sept. 5, the company acknowledged the issue and announced that “the service has been temporarily suspended while we work diligently to resolve the issue… We will provide an update as soon as the corrective measures are complete. We sincerely apologize for any inconvenience.” [57]. Nikon did not detail the fix, but possibilities include firmware changes to disable multi-exposure for C2PA or to better isolate image data that gets signed [58]. Industry experts note that maintaining trust in authenticated images is paramount – any exploit “is a massive problem” when the goal is to ensure veracity [59]. Nikon’s quick action and transparency were therefore critical to preserve confidence in its system.
In more positive Nikon news, the company leaned further into retro styling earlier in the week. On Sept. 4 it announced a Nikon Zf Silver Edition, giving its full-frame Zf mirrorless camera a new chrome-accented top and bottom plate reminiscent of the classic FM2 film SLR [60]. Nikon is also offering six new leatherette grip colors (from Cognac Brown to Teal Blue and Mauve Pink) so photographers can personalize the Zf with vintage flair [61]. A firmware update for the Zf was teased as well, promising a “Film Grain” feature by year’s end to emulate analog grain in-camera [62]. This retro release, shipping later in September at $2,199 (body-only), caters to the nostalgia trend while the Zf’s internals remain thoroughly modern (24.5 MP full-frame sensor, IBIS, 4K 60p video) [63].
Finally, Nikon – like its rivals – has been grappling with pricing pressures. On September 1, Nikon imposed its second round of U.S. price hikes this year, raising prices on Z-series cameras and lenses in response to the new 15% import tariffs. (The first hike largely spared camera bodies; this one hit flagship models hard.) With tariffs squeezing margins, Nikon USA said it had little choice but to adjust MSRPs to “ensure business sustainability.” As noted below, Nikon wasn’t alone – virtually every major brand has now implemented tariff-related increases. It’s a challenging environment for camera makers, and Nikon’s recent weeks exemplify that rollercoaster: innovating on features and style one day, firefighting a security bug the next, all while contending with global market forces.
Panasonic Unveils AI-Powered Broadcast Camera
Panasonic made waves on the professional video front by unveiling the AK-UBX100, an ambitious hybrid camera aimed at broadcasters and live event producers. Announced just ahead of the IBC show, the UBX100 is a unique “3-in-1” system that combines a studio camera, a box camera, and a PTZ (pan/tilt/zoom) robotic camera into one unit [64]. Panasonic is positioning it as an ultimate do-it-all solution for production environments that demand flexibility.
Technically, the UBX100 houses a 2/3-inch sensor and uses the familiar B4-mount for interchangeable broadcast lenses [65]. This allows it to leverage the huge range of existing ENG-style zoom lenses (think 50–1000 mm box lenses for sports, etc.). What really sets the camera apart is its integration of advanced AI autofocus: Panasonic touts it as the world’s first broadcast-style camera with AI-powered subject tracking AF for B4 lenses [66]. In demos, the UBX100 can automatically detect and follow subjects (like a player or presenter) with a long lens, adjusting focus on the fly – a task traditionally very difficult without a dedicated operator. Panasonic calls this fusion of tech “the future of video production,” indicating their confidence in AI to revolutionize live shooting [67].
The camera’s form factor supports multiple use cases. It can operate as a standard studio camera (with fiber back for live broadcast), as a standalone box camera for static or gimbal use, or mounted on a robotic PTZ head for remote operation. To complement it, Panasonic also announced a next-gen AW-RP200 remote controller, which features dual joystick controls and macro programming to manage multi-camera setups single-handedly [68]. One joystick can control PTZ moves while the other handles focus/zoom, for instance, giving one operator fluid command over several UBX100s in the field.
Panasonic plans to ship the AK-UBX100 in Q4 2025, aligning with year-end sports and event productions. The AW-RP200 will debut publicly at IBC 2025 (mid-September in Amsterdam) alongside the camera, and both should integrate into Panasonic’s Kairos IP video platform. Pricing hasn’t been formally announced, but as a high-end broadcast tool, the UBX100 will target TV networks, sports arenas, and large venue operators. It’s a bold play by Panasonic to blend AI and robotics into broadcast cameras – one that, if successful, could reduce the manpower needed for complex live shoots and ensure critical moments are always in sharp focus.
Sony Boosts FX3 and FX30 with Major Firmware
While Panasonic tackled hardware, Sony turned heads with significant firmware upgrades for its popular compact cinema cameras, the FX3 and FX30. Sony revealed that firmware v7.00 for the FX3 and v6.00 for the FX30 will roll out in September, bringing a suite of pro-level features that greatly enhance these cameras’ video capabilities [69].
Foremost among the updates is the addition of the new “Big 6” home screen menu, a user interface borrowed from Sony’s high-end Venice and Burano cinema cameras [70]. The Big 6 menu puts six of the most critical settings (exposure, white balance, Codec, etc.) on one easy touchscreen page, allowing filmmakers to check and change key video parameters at a glance. This UI overhaul streamlines the shooting experience and aligns the FX3/FX30 with Sony’s CineAlta family in terms of operational control.
Another headline feature is support for anamorphic lenses. The firmware introduces 1.5× and 1.6× de-squeeze options for the live view and HDMI output [71], meaning users shooting with anamorphic glass can preview the correct Cinemascope aspect ratio in-camera. This was a much-requested addition as anamorphic lenses have become popular even for indie productions.
Perhaps most surprising is the enablement of Blackmagic RAW (BRAW) output on these Sony cameras. After the update, the FX3 and FX30 will be able to output a RAW video feed in a format compatible with Blackmagic Design’s external recorders [72]. Paired with a Blackmagic Video Assist or similar device, shooters can record 12-bit BRAW footage, vastly improving post-production flexibility and image quality. This effectively makes the FX3/FX30 the smallest cameras to offer BRAW, and it’s notable because Blackmagic is essentially a competitor in the cinema camera space. Sony’s openness to BRAW (in addition to its own Sony RAW and ProRes RAW options) shows an unexpected collaboration that benefits users.
Other improvements include expanded timecode sync options and tweakable LUT workflows, as well as new log shooting modes to match the colorimetry of Sony’s pro cinema line. These firmware upgrades were developed largely from user feedback; Sony had previewed them on its community forums and at NAB earlier in the year [73]. By delivering them, Sony is extending the lifespan and capabilities of the FX3 and FX30 for existing owners – essentially giving these ~$4,000 and ~$1,800 cameras a taste of the features found in the $60,000 Sony Venice 2.
The move has been applauded by many filmmakers. Reviewers note that with the update, an FX3 becomes a formidable “mini cinema camera” – one that can be used on set alongside pricier A-cameras, or even as a primary camera for budget-conscious productions, without too many compromises. Sony’s strategy of cross-pollinating features down the lineup is seen as a response to fierce competition in the mid-tier cine camera market (from the likes of Canon’s C70/C50 and Panasonic’s BS1H). It also reinforces Sony’s commitment to the growing community of independent creators using the FX series for everything from documentaries to YouTube. In short, firmware 7.0/6.0 is a substantial free upgrade that demonstrates how software updates can unlock new potential in camera hardware – much to the benefit of end users.
DJI Rumored to Launch Full-Frame Camera
In a development that could dramatically reshape the camera industry’s competitive landscape, DJI – the Chinese company best known for drones and gimbals – is heavily rumored to be entering the full-frame mirrorless camera market. Whisperings of a DJI standalone camera have circulated for over a year, but multiple reports now point to an imminent announcement on September 15, 2025 [74]. If true, DJI’s move would inject a powerful new player into a sector long dominated by the “Big Three” of Sony, Canon, and Nikon.
According to Fuji Rumors and other leak outlets, the DJI camera will use the L-Mount (the same mount shared by Leica, Panasonic, and Sigma) [75]. This suggests DJI has likely partnered with the L-Mount Alliance or at least adopted the standard, instantly giving the new camera access to dozens of existing lenses. The camera is said to feature a boxy, rectangular body akin to Sony’s FX3 – emphasizing video use – but unlike the FX3, DJI’s model may include a built-in electronic viewfinder at the corner of the body [76]. A purported leaked photo has circulated, albeit very blurry, showing a black rectangular camera with minimalistic styling [77].
While specs remain speculative, the real intrigue is DJI’s pedigree. DJI has extensive imaging expertise from its drone line (e.g. the Zenmuse aerial cameras) as well as its ownership of Hasselblad. In fact, DJI’s engineers contributed to Hasselblad’s latest X2D 100C medium format camera – particularly its innovative LiDAR-assisted autofocus system [78]. That tech know-how, plus DJI’s prowess in stabilization, could yield a mirrorless camera with class-leading AF and gimbal-like steady shots. Observers also expect strong video capabilities (perhaps 6K or 8K recording) to leverage DJI’s cinema background from its Ronin cameras and Osmo action cams.
The rumor mill even has a touch of drama: Fujirumors’ Twitter account teased “DJI’s Full Frame Mirrorless Camera Is Coming — panic for Sony/Canon/Nikon, zero worries for Fujifilm” [79], noting that Fuji (with its APS-C and medium format niche) isn’t directly threatened by a full-frame entrant. Indeed, Sony, Canon, and Nikon stand to lose the most if DJI undercuts on price or innovates on features. Those companies’ shares of the mirrorless market could be chipped away, especially in China and emerging markets where DJI’s brand is strong.
Of course, this is still officially unconfirmed. DJI has made no announcement yet, and some analysts urge caution given past false alarms (for instance, rumors of Viltrox making a camera were denied by that company [80]). If DJI does launch a full-frame system, it would be one of the biggest camera stories of 2025. The company’s deep R&D resources and vertical integration (imagine a camera seamlessly paired with drones, gimbals, or LiDAR units) could push innovation across the board. Competition would heat up: we might see aggressive pricing or unique features (perhaps AI subject tracking, given DJI’s AI work in drones). As one market watcher noted, if DJI’s camera arrives, “it could shake up a market that has been largely dominated by Canon, Sony, and Nikon.” [81] For now, all eyes turn to mid-September and DJI’s next move – which could herald the first new major camera system in years.
Laowa Teases Six New Lenses Ahead of IBC
Venus Optics, the Chinese company behind the Laowa lens brand, has built a reputation for exotic and innovative optics – and they appear set to continue that trend with a six-lens announcement later this month. Laowa is gearing up for a major reveal (likely at IBC 2025), with no fewer than six new lenses slated to be shown, spanning a mix of photography and cine applications [82] [83]. The September showcase is shaping up to be one of Laowa’s most ambitious product launches to date.
Topping the list is the Laowa AF 200 mm f/2 C-Dreamer, a full-frame telephoto lens that has been long rumored and recently spotted in leaks [84]. This ultra-fast 200 mm f/2 is significant for a couple of reasons: it’s unusually bright (joining an elite club of 200 mm F2 lenses mostly populated by big-brand sports primes), yet Laowa’s design is surprisingly compact. According to reports, the Laowa 200 mm f/2 will weigh just under 1.6 kg [85]. That’s more than 1 kg lighter – and 5 cm shorter – than Nikon’s legendary 200 mm f/2G VR (which is over 3 kg) [86]. If Laowa can deliver comparable optical excellence in a lighter package, it will be a dream lens for portrait and low-light photographers who crave that creamy f/2 background blur without breaking their backs or budgets. Laowa’s teaser posters have even cheekily hinted “No, you’re not dreaming” about a forthcoming 200 mm, virtually confirming this lens’s debut.
But the 200 mm is just one part of Laowa’s blitz. Also expected is at least one new macro lens and a tilt-shift lens, continuing Laowa’s tradition in those niches (they already offer unique options like a 2× macro and a tilt-shift macro). On the cinema side, Laowa has revealed it will introduce two full-frame anamorphic zoom lenses: the “Sunlight” 40–80 mm T4.5 2× and 70–135 mm T4.5 2× [87]. These two cover a versatile range of focal lengths for indie filmmakers seeking that widescreen anamorphic look. Both lenses provide a 2× squeeze factor, which yields the classic oval bokeh and horizontal flares anamorphics are loved for. If they truly debut at IBC, it will mark Laowa’s first foray into anamorphic zooms – a noteworthy expansion from their current lineup of front anamorphic primes.
R rounding out the six, we expect a couple more still-photo lenses (rumors mention perhaps an ultra-wide C-Dreamer and an APO long macro) but details are scarce. Venus Optics is likely staggering hints leading up to IBC. What’s clear is their bold strategy: by simultaneously launching half a dozen lenses across genres – stills, macro, tilt-shift, anamorphic cine – Laowa is reinforcing its image as one of the most fearless optical innovators today. With “six new lenses spanning still photography, macro, tilt-shift, and cinema,” Laowa is “positioning itself as one of the boldest and most inventive players in optics,” one report observed [88]. Photographers and cinematographers alike will be watching closely, as Laowa’s affordable niche lenses often punch far above their weight and introduce capabilities previously found only in very costly glass. If history is any guide, at least a couple of these new Laowa lenses will likely make us say, “I didn’t know I needed that – but now I do.”
DZOFilm Launches Vespid² Cine Prime Series
Good news for cinematographers: DZOFilm, a Shenzhen-based cine lens manufacturer, officially launched its new Vespid² prime lenses this week, and they are available immediately – signalling that these lenses are moving from prototype to production right on schedule. The Vespid² series (pronounced “Vespid squared”) comprises six full-frame cinema primes at focal lengths of 18 mm, 24 mm, 35 mm, 50 mm, 85 mm, and 105 mm [89]. All six lenses share a fast T1.9 aperture and are designed as a unified set to meet the demands of professional filmmakers.
DZOFilm had first shown early versions of the Vespid² lenses back at NAB 2025 in April [90]. The production versions have some notable improvements over the original Vespid primes. According to DZOFilm, the optical design was reworked to virtually eliminate chromatic aberration in the center of the frame and to produce cleaner, more uniform bokeh [91]. The result is a set of lenses that promises tack-sharp focus with minimal color fringing, even when wide open at T1.9 – addressing a common pain point in fast cinema glass.
One of the standout features of the Vespid² series is its highly unified design. All six lenses are the same size and nearly the same weight (~1.76 lb or 800 g each) [92] [93]. Each lens has identically positioned focus and iris gears, a standardized 80 mm front diameter, and a long 300° focus throw for precise manual focus pulls [94]. This consistency means lens swaps are frictionless during shoots – no need to rebalance a gimbal or adjust matte boxes and follow-focus marks when changing focal lengths. For filmmakers who shoot with rigs or gimbals, this is a huge workflow advantage; you can go from a 35 mm to a 85 mm on a drone or Steadicam without downtime. DZOFilm clearly took feedback from the field to heart, recognizing that uniformity is as important as optical quality in professional sets.
Feature-wise, the Vespid² primes check all the boxes for modern cine glass. They cover full-frame and even VistaVision sensor sizes, ensuring compatibility with cameras from a Red V-Raptor to an Alexa LF [95]. The lenses include Cooke /i metadata technology, which means they can transmit lens data (focal distance, aperture, etc.) to compatible cameras in real time [96]. This is invaluable for VFX-heavy productions and virtual production volumes, where tracking lens metadata helps sync CGI with live footage. The lenses also sport a new anti-reflective coating on the barrel to reduce flares and stray reflections on set [97].
DZOFilm’s pricing continues to target the mid-range cinema market aggressively. Each Vespid² prime is priced around $1,199 to $1,299 (depending on focal length) [98], which undercuts many Western and Japanese competitors offering full-frame cine lenses. A full 6-lens kit is offered at $6,289 and comes in a hard case [99] – a discount bundle that effectively gives you one lens free compared to buying individually. Initially they are available in ARRI PL mount only [100], but PL-to-EF or PL-to-L adapters can easily be used, and DZOFilm often releases native EF or E-mount versions later if demand is high.
Early testers have noted the Vespid² maintain the pleasing character of the original Vespids (which were known for being relatively lightweight and affordable with a slight warmth in rendering), but with visibly improved sharpness and virtually no axial chromatic aberration even on high-contrast edges – a remarkable feat at T1.9. Color matching across the set is excellent, thanks to identical coatings and assembly. Cinematographers on a budget – from indie filmmakers to rental houses needing cost-effective full-frame sets – will find the Vespid² primes an enticing option. They deliver on the holy trinity of cine glass: fast aperture, full-frame coverage, and user-friendly handling, all at a price point accessible to owner-operators. DZOFilm is solidifying its foothold in the industry by showing that Chinese-made cine lenses can compete head-to-head with established brands, offering 90% of the performance at a fraction of the cost [101] [102]. With Vespid² now shipping, expect to see them on the front of Netflix-approved cameras very soon.
Sigma and Viltrox: New Alliance and Upcoming Releases
Not to be left out, Sigma and Viltrox – two prominent third-party lens makers – also made headlines in the first week of September. Sigma has been teasing a special online event dubbed “Master of Optics” scheduled for September 9. Leaked intel suggests Sigma will use the event to launch three new lenses, potentially including a blockbuster 135 mm f/1.4 Art lens [103]. If true, a 135 mm f/1.4 would instantly grab the attention of portrait photographers as one of the fastest telephotos ever made (Sigma’s own 105 mm f/1.4 “Bokeh Master” is legendary, and a 135 mm could be its new king). The rumor mill further hints at a 20–200 mm f/3.5–6.3 all-in-one zoom – an unusual focal range that, if real, would be an incredibly versatile travel lens. Rounding out the trio might be an updated 35 mm f/1.2 Art DG DN II, refining Sigma’s current 35 mm f/1.2 with possibly smaller size or improved optics [104]. Blurry teaser images posted by Sigma show silhouettes of three lenses, which keen observers on forums have matched to those approximate specs. We’ll know for sure on Sept. 9, but if these releases materialize, Sigma will continue its trend of pushing optical boundaries (from ultra-fast apertures to unusual zoom ranges) in the mirrorless era.
Meanwhile, Viltrox has accomplished a major milestone by joining the L-Mount Alliance. On September 1, Viltrox was officially announced as the 10th member of the Leica-led alliance (which includes Leica, Panasonic, Sigma, and others), allowing it to natively produce lenses for the L-mount full-frame system [105]. This is big news for L-mount camera users: Viltrox has built a reputation for quality affordable lenses, and now we can expect more budget-friendly L-mount primes and zooms in the pipeline. In fact, alongside the alliance news, Viltrox revealed a trio of new lenses: notably a PRO 56 mm f/1.2 ultra-fast portrait lens for APS-C (available in Fuji X and now also L mount) priced around $580 [106]. This undercuts Fujifilm’s own 56 mm f/1.2 by nearly half, yet early tests show the Viltrox is impressively sharp and well-built, giving Fuji shooters a compelling alternative for low-light portraiture. Viltrox also launched two super-wide “Air” series lenses – a 14 mm f/4 for full-frame and a 9 mm f/2.8 for APS-C – both extremely compact and aimed at travel and vlogging setups [107]. These lenses weigh just a few ounces each, living up to the “Air” name, and come in at very competitive price points for those who want wide angles without the usual bulk or cost.
Viltrox’s entry into L-mount production is particularly timely as Leica, Sigma and Panasonic users have been seeking more native glass options. With Viltrox on board (and DJI rumored to use L-mount as well), the L-Mount ecosystem is rapidly expanding. For instance, we might soon see Viltrox port some of its popular Sony E-mount lenses (like the 13 mm f/1.4 or 75 mm f/1.2) to L-mount, giving Leica SL2-S or Panasonic S5II users affordable autofocus lens choices that didn’t exist before. The alliance’s aim is to strengthen the platform through cooperation, and adding a Chinese manufacturer with a strong catalog does just that.
In sum, Sigma and Viltrox are driving home that 2025 is a boon for lens enthusiasts. Whether it’s Sigma’s high-art optics pushing the envelope of performance, or Viltrox democratizing advanced lenses at lower cost, the consumer stands to gain a lot. Keep an eye on Sigma’s event on Sept. 9 for confirmation of those “Art” series surprises, and on Viltrox as it begins delivering L-mount versions of its lenses. One thing is clear: the momentum of mirrorless is being matched by an unprecedented surge in lens options, from boutique specialties to value-packed gems.
Industry Watch: Tariffs Force Price Hikes, Blackmagic Slashes Prices
The business side of the camera world saw significant developments as well, reflecting how geopolitical and market forces are impacting manufacturers and consumers. In the U.S., the ongoing tariff standoff with Japan (imposing up to 15% duties on Japanese-made cameras and lenses) continues to reverberate through pricing. As of early September, almost every major Japanese brand has raised prices on gear in the U.S. to compensate for the tariffs – including Canon, Sony, Nikon, Fujifilm, Leica, and Sigma [108]. Two holdouts had been Panasonic and OM System (Olympus), but that appears set to change.
According to a report by Digital Camera World, “unverified reports claim that OM System and Panasonic prices will be adjusted in the next several weeks to accommodate the rising cost of tariffs.” [109]. Specifically, rumors via PhotoRumors suggest Panasonic Lumix cameras/lenses will see a price increase at the end of September, and OM System (which makes Olympus-branded cameras) will follow with increases in early October [110]. Neither company has officially confirmed this yet [111], likely to avoid dampening current sales, but U.S. retailers have been advised of potential list price changes coming soon. This means if you’re eyeing a Lumix S5 IIX or an OM-1, now may be the time to buy before the hikes. It’s noteworthy that Panasonic and OM System held out this long – perhaps eating the added costs or hoping for a trade resolution – but with margins thin, they’re apparently unable to absorb the tariffs any further.
The tariff-driven price adjustments have been substantial in some cases. For example, Nikon’s recent hike (effective Sept 1) saw flagship Z-series bodies go up by hundreds of dollars. Sony, earlier in the summer, bumped U.S. prices on many lenses and cameras by 5-15%. Fujifilm did two rounds of increases in quick succession (one in August, one in September) [112]. Consumers and dealers have understandably been frustrated, as these aren’t typical inflation-based rises but direct results of policy. Industry analysts note that the camera market is already fighting to grow, and extra costs could dampen demand. However, the companies involved also can’t sell at a loss; thus, the burden is being passed to buyers for now. The situation remains dynamic – trade negotiations between the U.S. and Japan are ongoing, but no breakthrough yet, and companies will adjust pricing back down if tariffs are lifted. Until then, fall 2025 may see a last wave of MSRP hikes that finally brings Panasonic and OM in line with the rest.
In contrast to price increases, Blackmagic Design delivered a surprise dose of price relief. The Australian-based company announced in early September that it is dramatically cutting prices on its URSA Cinema Camera line, effective immediately [113]. Blackmagic’s URSA cameras (used in high-end film and TV production) are known for offering big sensors at relatively low cost, but this move pushes them into unprecedented territory. For instance, the URSA Cine 17K 65 – Blackmagic’s 17K large-format digital cinema camera that includes a viewfinder – was slashed from roughly $31,500 to $24,500 [114]. Other URSA models saw similarly steep cuts, up to $7,000 off in some cases [115].
Blackmagic stated that thanks to efficiencies in manufacturing (they recently shifted more production in-house and to lower-cost regions), they managed to reduce costs and chose to “pass those savings on” to customers [116]. It’s an unusual move in an industry where prices generally only trend upward or hold steady until a product is discontinued. Cutting such a large percentage off current-gen products suggests Blackmagic is playing a different game – possibly aiming to capture greater market share from competitors RED and ARRI by undercutting them on price per performance. A $24k 17K-resolution camera is astonishing value compared to, say, ARRI’s 4K Alexa 35 which runs around $75k (body only). Blackmagic might be sacrificing margin for volume, betting that a surge in sales will make up the difference. It also earns goodwill among filmmakers who often operate on tight budgets.
Reactions in cinematography circles have been enthusiastic – for indie productions or rental houses, suddenly the cost calculus of a high-end camera upgrade looks very different. Blackmagic’s bold pricing could pressure rivals; we might see RED respond with promotions or see used camera prices dip as new Blackmagic units become attainable. It’s also a sign of healthy competition and innovation: as Blackmagic refines manufacturing (perhaps using more automated assembly or shared components across products), they demonstrate how cost savings can reach the end user.
In summary, the global camera market in early September 2025 is experiencing both ups and downs: tariffs and trade policies forcing many prices up, while at least one company finds room to lower them dramatically. Consumers should stay alert – it’s a good time to purchase certain items before imminent hikes, and also a chance to snag cutting-edge gear at unexpectedly low prices thanks to moves like Blackmagic’s. The only constant is change, and the industry is adapting in real-time to external pressures, be they political or competitive.
Joby GorillaPod Brand Acquired by China’s Vijim
A notable corporate shake-up took place in the accessories sector: the iconic Joby brand – famous for its bendy GorillaPod tripods that have gripped countless lampposts and tree branches in the name of flexible photography – has been sold to a Chinese company. On September 3, Videndum plc (formerly known as Vitec, a major British holding company for photography and video gear brands) announced an agreement to divest Joby to a company called Vijim [117].
Videndum is a heavyweight in the industry; it owns Manfrotto, Gitzo, Lowepro, Avenger, Sachtler, and several other venerable brands [118]. It had acquired Joby back in 2017, folding it into its portfolio of tripods and accessories. However, Videndum has faced some financial pressures and strategic shifts recently, and it appears Joby no longer fit its core focus. “This sale supports the company’s strategy to focus on core professional markets,” Videndum stated in its announcement, emphasizing a return to its high-end, pro-oriented product lines [119] (like Manfrotto supports, Litepanels lights, etc.). GorillaPods, while popular, are consumer/enthusiast products, so one can see the strategic rationale.
The buyer, Vijim, may not be a household name to all, but it’s part of a rapidly growing Chinese conglomerate in the photo/video accessory space. Vijim is actually a sub-brand of Ulanzi, a Shenzhen-based company known for affordable camera cages, lights, and smartphone gear [120]. Ulanzi/Vijim have in recent years gained a reputation for churning out GoPro mods, LED panels, and vlogger accessories at low prices. Acquiring Joby gives them a prestigious brand and a staple product line (GorillaPods and other mini-tripods like the HandyPod, etc.) to integrate into their catalog.
For Joby, this means a new chapter under owners likely eager to capitalize on its brand recognition. Joby’s origins were in California – the original GorillaPod launched in 2006 and quickly became a must-have for content creators – and its quirky flexible-leg design spawned many imitators. Under Videndum, Joby expanded into phone mounts, mics, and other creator tools, but it sat alongside Manfrotto which also offered competing tripods. Now under Chinese ownership, Joby could benefit from faster product development cycles and cost efficiencies. Ulanzi/Vijim will presumably leverage their manufacturing base to produce Joby designs (potentially lowering costs). We might also see cross-pollination: imagine GorillaPods bundled with Ulanzi LED lights or new variants of Joby tripods with built-in power banks or other innovations popular in the Chinese market.
One concern in such acquisitions is always product quality and brand integrity. Enthusiasts will be watching to see if Joby’s build quality – known for using durable materials to hold expensive cameras safely – remains high. Vijim’s parent Ulanzi has generally delivered decent quality for the price, but Joby operates at a higher standard (and price bracket) historically. On the upside, Ulanzi’s design team is quite creative; they might bring fresh ideas to the GorillaPod family (perhaps stronger models for mirrorless rigs, or magnetic feet options, etc.).
From a market perspective, this deal also underscores the trend of Western imaging brands being bought by Asian companies. We saw it when Shenzhen-based JIP took over Olympus’s camera division (now OM System), and when DJI acquired Hasselblad. In this case, a beloved accessory brand shifts eastward. It likely indicates that China’s accessory makers are ascendant, buoyed by a huge domestic market and lower production costs, and they’re keen to acquire brands with global distribution. Videndum’s sale of Joby for an undisclosed sum will help it reduce debt and refocus on B2B professional products, while Vijim gets a foothold in retail channels worldwide through the Joby name.
For end users, nothing immediate changes – Joby products will continue to be sold under the same name. In the longer run, we can anticipate a broader range of Joby-branded accessories (perhaps ring lights, gimbals, or other vlog gear, given Ulanzi’s portfolio) and hopefully competitive pricing due to Far East manufacturing. It’s a noteworthy passing of the torch: Joby, the tiny tripod that became a big business, now joins the ranks of brands under the wing of China’s ever-expanding photography gear industry [121] [122].
As this global roundup illustrates, the first week of September 2025 has been exceptionally eventful – from exciting product teasers and releases to significant industry shifts. Camera companies are pushing technology forward (sometimes collaboratively, as in Sony’s case with Blackmagic, or disruptively, as with DJI’s rumored entry), while also navigating external challenges like tariffs and shifting market demand. For photographers and filmmakers, it means more choices in gear – and a front-row seat to the rapid evolution of the tools we use to capture the world. Whether you’re a high-end cinematographer eyeing cheaper large-format cameras, a mirrorless shooter awaiting the next big thing from Canon or DJI, or an enthusiast shopping for lenses and tripods, the landscape is changing. Stay tuned as the month progresses, because if early September is any indication, there’s plenty more to come in this season of camera launches and news.
Sources:
- DPReview – Canon teases “something new” (Instagram teaser for Sept 9 launch) [123] [124]
- Digital Camera World – Canon’s teaser and speculation on new camera (James Artaius, Sept 1, 2025) [125] [126]
- TS2 Space industry roundup – Canon Cinema teaser, EOS R6 Mark III rumor [127] [128]
- PetaPixel – Nikon suspends Z6 III authenticity service due to C2PA flaw [129] [130]
- PetaPixel – Details of Nikon authenticity vulnerability [131] [132]
- Digital Camera World – Tariffs: Panasonic & OM System rumored price hikes [133] [134]
- Digital Camera World – Joby (GorillaPod) brand sold by Videndum to Vijim (Ulanzi) [135] [136]
- Imaging-Resource – DJI rumored full-frame L-mount camera coming Sept 15 [137] [138]
- Imaging-Resource – DJI rumor analysis (could shake up market dominated by Can/Nik/Son) [139]
- Digital Camera World – Laowa teases six new lenses for IBC (200mm f/2, anamorphic zooms, etc.) [140] [141]
- Digital Camera World – Laowa’s bold lineup and reputation for innovation [142]
- Imaging-Resource – DZOFilm launches Vespid2 cine primes (6 lenses T1.9, unified design, pricing) [143] [144]
- Imaging-Resource – DZOFilm Vespid2 features (unified size/weight, Cooke /i metadata support) [145] [146]
- TS2 Space industry roundup – Blackmagic URSA price cuts (up to $7K off; rationale) [147] [148]
- TS2 Space industry roundup – Viltrox joins L-Mount Alliance as 10th member (Sept 1, 2025) [149]
- TS2 Space industry roundup – Viltrox launches 56mm f/1.2 and ultra-wide “Air” lenses, undercutting rivals [150] [151]
- TS2 Space industry roundup – Panasonic AK-UBX100 4K AI studio cam and AW-RP200 controller details [152] [153]
- TS2 Space industry roundup – Sony FX3/FX30 firmware v7.0/v6.0 adds Big6 menu, anamorphic de-squeeze, BRAW output [154]
- PetaPixel (trending) – Nikon’s second tariff-induced price hike (Sep 2025) hits Z series
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