September was another packed month of launches across both photo and video. On the cinema side, Canon has unveiled the C50, a compact camcorder designed to slot neatly between their mirrorless R system and the Cinema EOS range. Nikon has also entered the conversation with the ZR - a Nikon filmmaking camera(?!) that’s got a lot of attention. DJI has been busy with two launches: the pocket-sized Osmo Nano for social content creators, and the Mini 5 Pro drone for aerial filmmakers.
On the lens front, Canon has added a new fast prime to its unified Hybrid Prime series, while Sigma continues to strengthen its Art lineup with three new additions that span everything from wide-angle to telephoto. Let’s dive in.
The Canon EOS C50 is Canon’s smallest and lightest Cinema EOS camera to date, designed to give filmmakers and hybrid creators a true cine workflow in a compact body. It’s all built around a 7K full-frame sensor capable of delivering Cinema RAW Light internally, offering incredible footage with rich colour and a ton of flexibility for post-production.
When it comes to frame rates, the C50 gives you options. It can capture 7K up to 60p, oversampled 4K up to 120fps, and 2K up to 180fps for smooth slow-motion sequences. Canon has also included Dual Base ISO (800 / 6400) for clean results in both bright and low-light scenes, along with Canon Log 2 and 3 for wide dynamic range and consistent grading.
Though built with cinema in mind, the C50 doubles as a hybrid camera, offering 32MP stills and burst shooting up to 40fps. Switching between video and stills is straightforward thanks to dual menu systems tailored for each mode.
Physically, it’s compact enough for run-and-gun setups but equally ready to be rigged for bigger productions. A detachable top handle adds pro audio inputs via dual XLRs, while HDMI and SDI outputs give you flexibility on set. Storage is handled by dual slots (CFexpress Type B + SD), ensuring you can capture both high-end RAW and more efficient codecs simultaneously. And, with built-in Wi-Fi, IP streaming and Frame.io Camera-to-Cloud support, the C50 is designed to slide straight into modern production workflows.
Nikon’s new ZR has been one of the most talked-about launches of September. Designed as a hybrid mirrorless model, it pairs Nikon’s latest full-frame sensor with advanced video features. While it can take some damn-good 45MP resolution photos with excellent colour reproduction, the ZR is primarily about video, giving you 8K recording, high-frame-rate 4K options, and N-Log/RAW support.
The ZR has a 24.5MP full-frame CMOS sensor that supports internal 6K/60p recording in Nikon’s R3D NE (REDCODE-based) RAW format, as well as N-RAW, ProRes RAW, ProRes 422 HQ, H.265 and H.264 codecs. Dual base ISOs (800 / 6400) and over 15 stops of dynamic range give you clean images in challenging light, while Nikon’s intelligent autofocus tracks subjects including people, animals and vehicles with deep-learning algorithms.
For audio, the ZR features the world’s first in-camera 32-bit float audio and features a built-in multi-pattern microphone system for front, narrow, rear, omnidirectional and binaural pickup, giving filmmakers cinematic-quality sound straight out of the box.
It has a 4-inch articulating LCD with 3.07 million dots and 1,000 nits brightness, replacing the EVF, and there’s in-body image stabilisation up to 7.5 stops. There’s a load of connectivity options, including Dual CFexpress and microSD card slots, USB-C power/data, micro-HDMI, Wi-Fi/Bluetooth, and a digital accessory shoe. It’s got it all.
Canon’s RF 85mm f1.4 L VCM is sure to be a new portrait favourite. It’s built to deliver sharp, contrast-rich images with gorgeous, smooth bokeh. Its bright f1.4 aperture handles low light beautifully and isolates subjects for flattering portraits.
The lens is designed for hybrid shooters, too. A quiet Voice Coil Motor (VCM) ensures smooth autofocus for video, while a de-clickable aperture ring and customisable control ring make operation intuitive. Weather-sealing and a robust build mean it’s ready for shoots in a variety of conditions.
Compact, versatile and effortless to use, this 85mm is the short-telephoto option we’d be waiting for from Canon’s Hybrid Prime series (which also already includes the 20mm, 24mm, 35mm, and 50mm f1.4 lenses.
DJI has yet again shown its might in this sector of the creative industry with the Osmo Nano. This time, we have a stabilised pocket camera aimed at vloggers and social creators. Small enough to slip into a jacket pocket, it’s built for everyday use but still packs serious tech. Recording 4K/60p and 4K/120p in slow motion with stabilisation powered by DJI’s gimbal technology, plus creative shooting modes like hyperlapse and ActiveTrack for automatically following your subject, this is going to be a winner.
The DJI Mini 5 Pro is the kind of drone you can take everywhere (local restrictions considered, of course). It’s tiny and light enough to slip into a backpack, but don’t let its size fool you. The performance is really impressive. The new, larger sensor gives better results in low light, and 4K/60fps recording means your footage is crisp, smooth, and ready for anything from YouTube edits to cinematic projects.
DJI’s tried and tested obstacle avoidance keeps things stress-free, and the extended flight time means you can really explore without worrying about running out of juice. The gimbal keeps shots steady, even when you’re darting through tricky angles, and vertical shooting makes it easy to create content for social feeds as well as traditional video.
The Mini 5 Pro will likely be a very popular choice amongst aspiring and experienced drone pilots because of its upgrades over the now two-year-old Mini 4 Pro, as well as its entry into the least restrictive drone category as a sub-250 gram drone (C0 category). However, that comes with some caveats… be sure to brush up on the rules and regulations on drone flight here.
Okay, it’s time for the Sigma show. First up, we have the Sigma 20-200mm f3.5-6.3 DG Contemporary Lens for Sony E and L-Mount. This lens covers everything from wide-angle landscapes to telephoto subjects.
It’s kind of an every-scenario lens that’ll cover travel, events or be suitable for anyone who doesn’t want to swap glass constantly. Its variable aperture balances reach and portability, and the optical design maintains sharpness throughout the zoom range. It’s weather-sealed, and its relatively compact design means it is ready for outdoor adventures, making it a great all-in-one solution.
Next, we have a lens for those who want a telephoto prime with a bit of character. Together, the long focal length and fast aperture deliver dramatic subject isolation, gorgeous background blur and crisp detail. This makes it a natural fit for portrait, fashion and event photographers.
As part of the Art series, it features a sophisticated optical design, minimising aberrations and ensuring exceptional resolution. And of course, it’s built to be durable and withstand professional use, so if you need consistent results and a lens that can take it, this is a top choice.
Rounding out Sigma’s new launches is the second generation of its 35mm f1.4 Art lens. The first version of this lens was, and remains, a favourite among street, documentary and wedding photographers. The updated version improves on autofocus speed and optical performance, while retaining the compact build and bright f1.4 aperture that made the original so popular.
It offers superb sharpness across the frame, excellent subject separation, and reliable low-light performance. It’s a classic focal length given a modern refresh. Sigma is doing what they do best.
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