Canon released another teaser for the upcoming EOS R6 Mark III camera:

The previous teaser showing the back of the camera can be found here:

The first Canon EOS R6 Mark III teaser is already out (November 6th announcement)

See also the rumored R6 Mark III specifications:

Canon EOS R6 Mark III camera rumored specifications

Canon registered a new DS126914 camera model overseas – most likely for the EOS R6 Mark III:

The post Another Canon EOS R6 Mark III camera teaser appeared first on Photo Rumors.

Logo: PPA

The Professional Photographers of America (PPA) has announced the launch of PhotoVision, a new resource for photographers looking for educational content. The new subscription-based streaming platform is aimed at all levels and various disciplines, with updated videos and resources each week.

At the time of its launch, PPA's PhotoVision platform featured more than 2500 videos and 1700 articles. PPA will release new content weekly, so that number will only continue to grow. The videos range from short options, similar to YouTube Shorts, to long-form, step-by-step content and documentary-style stories. There are also curated playlists that offer multiple videos around a single topic.

A screenshot from the PPA PhotoVision website.

PPA says that PhotoVision is aimed at helping photographers at every stage of their professional and personal journey. As a result, it offers a broad range of articles and videos. That includes inspirational content, business-focused materials, on-set segments and tutorials on lighting, posing and more. PPA says it's meant to "nourish the educational, experiential and entertaining vision" of photographers.

The Professional Photographers of America (PPA) is a nonprofit association dedicated to supporting photographers. The PhotoVision platform is just the latest of its offerings, which already include equipment insurance, certification programs, business advice, contract templates, networking, legal advocacy and more.

PhotoVision is free for all new and existing PPA members. Alternatively, if you prefer not to become a PPA member, you can still access the full PhotoVision platform for $50 per year or $5 per month.

Today, Camera Intelligence (aka Alice Camera, previously reported here, see also current listings at B&H Photo) launched its Caira AI-native Micro Four Thirds mirrorless camera on Kickstarter. The Caira module connects to iPhones via MagSafe, and it’s the first mirrorless camera in the world to integrate Google’s “Nano Banana” generative AI model. Caira has a price tag of $995 (body-only), but you can now get one on Kickstarter for $695 (30% off) for the first 100 backers, then $795 (20% off) for the remaining backers. All Kickstarter supporters will receive a free 6-month Caira Pro Generative Editing software subscription (priced at $7 per month, extendable to 9 months if the fundraising goals are met). The full press release can be found here.

Check the Kickstarter page for additional information:

Here are a few other successfully funded Kickstarter projects that are still available as late pledges:

• Maven Wave 3 filters
• SPINN.DESIGN ProWrapp
• Peak Design Pro Tripod
• Lit Duo 1 lightmeter

Camera Intelligence (formerly Alice Camera) unveils Caira: the world’s first MFT camera integrated with Google’s “Nano Banana”

The post Caira AI-native Micro Four Thirds mirrorless camera by Camera Intelligence now available on Kickstarter appeared first on Photo Rumors.

Photo: Richard Butler

The Fujifilm X-T30 III is a subtle refresh of the company's least expensive SLR-shaped X-mount mirroless camera. It sits above the rangefinder-styled X-M5, adding a viewfinder, and below the image stabilized X-S20, and shares its 26MP APS-C sized BSI CMOS sensor with all three models.

The update brings more advanced subject recognition autofocus, improved video capabilities and a Film Simulation dial, putting one of its key distinguishing features to the fore.

But how does that leave it fitting into the marketplace, particularly in the light of inflation and tariff led price increases? The Fujifilm X-T30 III retails for $1000, body-only or $1150 with a 13-33mm F3.5-6.3 OIS kit zoom.

We're primarily going to compare it with the similarly-priced Nikon Z50II and Canon EOS R10, both also mirrorless cameras with unstabilized APS-C sensors. We'll also look at the more expensive X-S20, which is built from very similar components but with a different control system and image stablization.

And, although they don't really fit in the tables, we're going to include some detail about the OM System OM-5 II ($1200) and Sony a6400 ($1000) too.

Resolution

There's not much to choose between cameras in this class, in terms of resolution. At 26MP the Fujifilms have a few more megapixels then the EOS R10, but not to a degree that makes any real difference.

There's a bit more of a gap to the 21MP Nikon and the 20MP OM-5 II, but it's still only about a 12% difference in linear resolution, so we wouldn't recommend selecting between these cameras on the basis of pixel count. All the current cameras use sensors that are modern enough that there's not a huge difference in performance (the move to BSI doesn't make a big difference to IQ in sensors this big).

Stabilization

Photo: Mitchell Clark

None of the $1000 APS-C models from Fujifilm, Canon, Nikon or Sony includes in-camera stabilization.

All of them tend to come bundled with stabilized lenses, which means you can use slower shutter speeds without having to worry about hand shake, when you're using that lens. But you'll have to upgrade to a more expensive camera if you want an in-body stabilization system that tends to work better for video. The OM System OM-5 II is the least expensive option, while you'll need to spend a fair bit more again to get in-body stabilization and an APS-C-sized sensor.

Continuous shooting and Autofocus

Photo: Richard Butler

As comparatively lowly models in their respective ranges, none of these cameras is designed as an out-and-out action camera, and yet they all boast shooting rates (at least in their distortion and flicker prone e-shutter modes) that exceed those offered by professional sports cameras, not much more than a decade ago.

None of these models has an especially deep buffer, so don't imagine any of these will perform well, pitch-side, but they'll do pretty well for capturing short bursts of movement.

The Nikon has the most reliable AF system here: tracking whatever you point it at pretty well. The Canon is a touch behind, but still very capable. All four models have subject recognition modes trained to identify and lock onto specific subjects, and if you're shooting one of these subjects, the performance gap between the Fujifilm and its peers definitely narrows.

The Sony is very good at general tracking and eye detection but has little subject recogniton beyond this. The OM-5 II is also limited to humans in terms of subject recognition and its tracking AF is well off the pace.

Viewfinder and screens

Photo: Shaminder Dulai

There's not a lot to choose in this class in terms of viewfinders: they're all built around the same 2.36M dot OLED panels, with the optics mounted in front of them affecting how large the finder ends up looking. Nikon does the best job here, though its large viewfinder hump also making it the tallest camera here by some margin, as a consequence.

There's a bit more of a decision to be made when it comes to rear screens. The X-T30 III has the highest resolution screen, with its 900 x 600 pixel resolution, but it's also the only one that tilts up and down, rather than extending to the side and rotating.

The Nikon promises a slightly larger panel, but with slightly reduced 720 x 640 pixel res. The Canon offers this resolution and the smaller panel. It's a similar story with the OM-5 II: a 2.36M dot EVF with somewhat modest 0.5x magnification, and a 3.0" 1.04M dot fully articulated rear screen. The Sony has the largest viewfinder, at 0.7x magnification but also the lowest res rear screen: approximately 720 x 415 pixels in a 16:9 aspect ratio.

Video

Photo: Richard Butler

Video is one of the areas that distinguishes between cameras at this price. All four of the main cameras we're looking at can shoot 10-bit footage, either as Log footage to maximise flexibility for color grading, or as HDR footage for playback on high dynamic range displays.

All these cameras boast pretty good specs, including the ability to capture 4K/60 if you can tolerate some degree of crop (though it makes capturing wide-angle footage harder and will tend to be noisier). The Nikon has the most dependable video autofocus in this group, and also lets you capture and monitor external audio without the need for adapters. Only the X-S20 has image stabilization, though, and even then it's not the smoothest of systems.

Both the OM-5 II and a6400 show their age or, at least, the age of their processors, by only being able to capture 8-bit video. This limits the flexibility of its Log footage (especially the more ambitious S-Log3 curve, and means it can't shoot true HDR footage.

OM System's in-body stabilization means the OM-5 II is an easier camera to shoot video with than most of the others here, but its autofocus undermines it, in this regard, so all of them will require a bit of work in one way or another.

Dimensions

The X-T30 III is the smallest of cameras here, by some margin, and also the lightest.

There are some definite downsides to this: the X-T30 III has lots of external controls but also the least surface space to fit them on, so, perhaps unsurprisingly, it feels the most fiddly and cramped to operate.

The Nikon is the only camera in this group not to have an autofocus joystick; something that's also the case for the OM-5 II and a6400. And, while the Nikon's tracking AF makes up for this to an extent, we generally find it more engaging to be able to pre-position or move the AF point via a tactile control point.

Ergonomics are ultimately a matter of taste, but it's only really this omission that stops the Nikon being the standout camera, in this regard. For us, the Canon and the Nikon are the most comfortable of this cohort to shoot with.

Kit lenses

Photo: Richard Butler

One of the biggest differences between the cameras in terms of real-world use isn't down to the cameras themselves at all: it's the lenses they come bundled with. A lot of users in this price bracket tend to primarily use these 'kit' zooms, so choosing the most flexible one makes a significant difference.

The X-T30 III comes with a retractable manual zoom that goes much wider than the ones offered by its peers, which is hugely useful, especially if you're used to shooting with the relatively wide angle lenses that smartphones tend to feature. The Nikon and X-S20's power zoom lenses perhaps offer the best balance between wide-angle capability and reach at the other end, but we've liked what we've seen of the new 13-33mm so far.

The OM-5 II's default 12-40mm F4.0 kit lens comes from the company's 'Pro' series and, as the branding implies, it's a rather more substantially built option than its peers. It has a constant F4.0 maximum aperture, so while it's a third of a stop darker in absolute terms and a whole stop darker in equivalent terms at the wide end, it's brighter by both metrics at the long end. And its 24-80mm equivalent range is pretty handy, too, though it takes the combined cost to $1600, $450 more than most of these other rivals.

Summary

The Film Simulation dial is one of the X-T30 III's changes, relative to its predecessor and also represents one of the camera's stand-out features, relative to its peers. Photo: Richard Butler

The cost of an 'entry-level' camera has risen markedly in recent years. There are a couple of cameras for sale cheaper than these, but you really notice the corners that have been cut and the build quality that's been sacrificed. But if you can stretch to the $1000 mark, you have a choice of very capable models.

All these cameras offer excellent image quality, increasingly sophisticated autofocus and video capabilities that would have been unthinkable, quite recently. There are definitely factors to help you choose between them, whether that's the Fujifilm's attractive range of color modes, the provision of an AF joystick or the inclusion of a headphone socket for audio monitoring, but for the most part it's hard to go far wrong.

The Fujifilm X-T30 III is a very subtle refresh of its predecessor. We can't imagine many Mark II owners choosing to make the upgrade, but its specs are enough to keep it competitive against its immediate peers.

Read our intial impressions of the Fujifilm X-T30 III

War photography is incredibly demanding, requiring superb technical skills, a finely tuned kit and the ability to adapt and survive in harsh environments. Photojournalist Jonathan Alpeyrie knows this all too well, having spent more than 20 years covering major conflicts across the globe, including those in Ukraine, Iraq, Syria, Gaza and the international drug trade. In a recent video, Alpeyrie walked through his kit for assignments, while also sharing his experiences and insight into being a conflict photographer.

Alpeyrie said that he has been packing the same way for over 20 years, and his kit is straightforward: a camera, flak jacket, phone, bag and computer. These days, his gear includes the Canon EOS R camera, which he said he likes because it's discreet and allows him to look more like a tourist than anything else.

On the lens side, Alpeyrie recommends not skimping on quality. "The lens is where you want to spend your money. The body you can pick and choose," he explains in the video. His current lens of choice is the Canon EOS R 50mm F1.2L USM. He says the 50mm lens is the only one he uses right now, in part because the wide aperture is ideal for working in dark situations. It's also smaller than other lenses, which is helpful when you're taking cover from artillery fire. He says he has had larger lenses, such as 200mm or 300mm, break in these situations.

Beyond gear choices, Alpeyrie shares lots of valuable insights in the video. He touches on how he protects his camera and memory cards in dangerous places, the importance of knowing your camera and how to use manual settings, tips on framing and composition, and so much more. It's well worth a watch all the way through.

Image: DxO

Software company DxO has announced a modest update for its Raw processing software, PureRaw, which promises to make it easier to use as an alternative to Adobe's Camera Raw (ACR). It should result in a more streamlined and flexible workflow when using PureRaw and Photoshop in combination. The company also announced minor changes to PhotoLab and Nik Collection.

DxO announced PureRaw 5 earlier this year, which offered more robust upgrades. PureRaw 5.5 is a minor update, featuring a single change: the ability to edit non-destructively by opening files from PureRaw as Smart Objects in Photoshop.

The new workflow means users can process files in PureRaw instead of Adobe Camera Raw, and then open them in Photoshop to continue editing. Because it's a Smart Object, users can also re-process the Raw file at any point, even after saving and closing the Photoshop file. It unlocks the ability to use PureRaw as an alternative to ACR while still maintaining a non-destructive editing workflow.

DxO says that PhotoLab 9.2 offers better AI masking tools. Image: DxO

Outside of the PureRaw update, DxO also announced small updates to PhotoLab and Nik Collection. With PhotoLab 9.2, the company says its AI masking tools, which were added to PhotoLab 9 this summer, are now even better. It promises greater precision and fewer artifacts and smudging around selections. Additionally, the company added the ability to reorganize masks and submasks, and created the ability to filter your library by editing stage.

In Nik Collection 8.2, DxO expanded its Analog Efex option with a new paper texture tool. You can access Analog Efex from a toolbar option in Photoshop, and then select from 30 different paper textures, including fine-art matte and watercolor paper. You can adjust various parameters to fine-tune the link, including changing the color of the paper and selecting different blending modes.

PureRaw 5.5 is available for free for owners of DxO Pure Raw 5. All others will need to purchase either a new license for $130 or an upgrade license from DxO PureRaw 3 or 4 for $90. Likewise, PhotoLab 9.2 is free for those with DxO PhotoLab 9, or $120 to upgrade from 7 or 8 and $240 for a new license. Nik Collection 8.2 is available for free to Nik Collection 8 users and costs $100 for an upgrade license or $170 for a new license.

Ulanzi launched a new VF01 waist-level optical viewfinder (worldwide shipping available):

Additional information (check also the product listing):

The post Ulanzi launched a new VF01 waist-level optical viewfinder appeared first on Photo Rumors.

Here is an updated list of the latest/upcoming/rumored Chinese lenses:

Viltrox is expected to release three new AF lenses for Nikon Z-mount:

• Viltrox AF 50mm f/1.4 Pro lens for Nikon Z-mount (additional information)
• Viltrox AF 85mm f/1.4 Pro lens for Nikon Z-mount (additional information)
• Viltrox AF 85mm f/2 EVO lens for Nikon Z-mount (additional information)

Viltrox will release the first two L-mount lenses in 2026:

• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5

Viltrox will also be releasing new teleconverters (see patent).

A new Viltrox AF 9mm f/2.8 Air lens for Fuji XF mount is also expected.

Light Lens Lab will soon release a new LLL 35mm f/1.4 Aspherical “11873” lens for M-mount.

Artralab 28mm f/2.8 lens for Leica M-mount.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 56mm f/1.4 R DA DSM lens (RF mount version).

New Yongnuo YN23mm f/1.4R APS-C lens.

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

New Viltrox zoom lens (Viltrox AF 35-50mm f/1.4 maybe?)

New Sirui Astra 50/75/100mm at f/1.8 1.33x full-frame anamorphic autofocus lenses for L/E/Z mount (more focal lengths to be added later).

New 7artisans cine lens coming in November.

New Meike AF 23mm f/1.4 lens coming soon.

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens lens coming soon.

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

Photo: Mitchell Clark

Disclosure: DPReview attended Adobe Max, with Adobe covering travel and lodging expenses.

The subscription payment model is a tough one; customers have made it clear that they're fatigued by having to pay for everything every month, and companies have to continuously justify why their software shouldn't just be a one-time payment.

It's an argument we've seen time and time again here at DPReview almost any time Adobe's Creative Cloud comes up, with commenters bemoaning the lost days of simply being able to buy Photoshop once (at least, until the next version came out in a few years).

In the age of generative AI, Adobe seems to have found a new answer: being a one-stop shop for AI services that would typically require separate subscriptions. Partner Models in particular have come up again and again at this year's Adobe Max conference, from keynotes to product demos. And while AI will almost certainly have terrifying implications for society at large and the art of photography in particular, I find myself coming away strangely optimistic for the future of the artform, at least as a hobby.

In the age of generative AI, Adobe wants to be a one-stop shop for AI services

Let's lay some groundwork quickly for those who haven't been following along. This week, Adobe announced and released several new features for Photoshop and Lightroom, programs that many photographers consider essential.

As usual, most of it revolved around AI: there's a chatbot coming to Photoshop that you can ask to make certain edits and complete tasks for you, the Generative Remove tool that lets you erase unwanted distractions is now better, and you can "Harmonize" foreground and background layers to turn compositing into a single-click process.

AI from partners, and Adobe

Photo: Mitchell Clark

The biggest change, though, is the introduction of Partner Models. Up until now, features like Generative Fill, which let you add AI-generated elements to your images, and AI Upscale, relied on Adobe's in-house Firefly models. And while you can still use those, Adobe's now letting you use other models too, such as Google's goofily-named Nano Banana image generator and Topaz Labs' increasingly popular upscale, denoise and sharpen models.

Rather than relying on separate paid subscriptions and apps for each of those services, it all happens within Photoshop using AI credits that are included in your Creative Cloud plan (provided you've chosen the right one).

Put another way, Adobe is mediating your relationship with other AI vendors. It doesn't want you to view them as separate services that you have to manage depending on what tasks you have this month, but tools you can access within its apps that – importantly – you don't have to pay for separately.

The company laid the groundwork for this change in advance, changing up its Creative Cloud subscription earlier this year with its plans now centering around how many AI credits are included. In retrospect, it's obvious that this was vital if it wanted to let its users access otherwise expensive AI models without needing a separate subscription.*

What's the impact?

This could be a sign of profound changes to come for photographers. Not because I think the future of Creative Cloud as a subscription hinges on whether this gambit works. Realistically, that battle is over; it seems like most people are willing to pay the rent, and, realistically, there's probably a lot of overlap between the anti-subscription and anti-AI crowds. (I say this with love.) No, it could be something much deeper.

While many of us hobbyists like to imagine that being a professional photographer would let us pursue all our artistic ambitions in interesting locales, the reality is that the largest market for paid photography is less glamorous commercial work; capturing images to be used in advertisements and other collateral by corporations.

Try as they might, companies have never been able to fully extract the photographer from that equation

But try as they might, companies have never been able to fully extract the photographer from that equation; there's still a human who has to hold the camera and make what are ultimately creative decisions. Generative AI may finally be the thing that lets them do that. At the very least, there's a good chance that human photographers will become less and less important in the creative process. The photo doesn't quite match the senior VP of marketing's vision? They can fire up Photoshop and have generative AI "fix" it with a simple prompt.

To be clear, this isn't a hypothetical future; during its keynote, Adobe showed an example of using the Generative Fill tool to change which direction a model was looking. Higher-ups could always mandate changes, but the barriers to them doing so have never been so low; before, they would've had to weigh the costs of dragging everyone back into the studio. Now, all it takes is a couple of clicks and some AI credits. And with tools like Firefly and Express, Adobe's trying to make it so you don't even have to know which model works best for which purposes.

Our AI, your voice

Custom models are Adobe's solution to living in what it calls a "content-first" world. Image: Adobe

It goes even further. Adobe also introduced something called Custom Models, which lets you feed your existing work into its Firefly AI and train it to produce images in a similar style. There's also a super-charged version for corporations that will let them dump their entire intellectual property into it, generating on-brand content (yuck) without the need for any artistic input. The work of all the creatives that have worked with the company becomes grist for the ever-accelerating content mill.

Okay, so what about the part where I said I don't think it's the apocalypse? Well, for those of us who do photography as a hobby, not a job (which I suspect is actually most of us), this approach could be helpful, especially if AI tools are only a very occasional part of how we work with our images.

Take Topaz's Gigapixel upscaler, something that gets recommended relatively frequently in our forums and comments. It's not something I'd personally spend $12 a month on, but it's something I'd sometimes use to touch up older photos if I had access to it. If it's just included in my Creative Cloud subscription, I can do so without really having to think about it.

The drive to add more and more AI features could also result in more features that are genuinely useful to photographers. Work that went into features like the cloud-based remove tool could inform tools like Lightroom's Assisted Culling tool, which has to recognize eyes that are out of focus and missed exposures.

Lightroom has its fair share of AI features, but largely remains a bastion for people who care about photography.

Cloud processing is making it possible to search your Lightroom catalogue using natural language, rather than having to rely on tags that you've manually added. And while Adobe views the AI Photoshop assistant more as a way to automate repetitive tasks, it could be a powerful tool in helping people learn a piece of increasingly complicated software.

There are clearly still lots of people at Adobe who recognize that photography can be a passion, not just a means to an end, and who are finding ways for AI to enhance what humans do, not replace it. And, at least for now, they still seem to have the space and resources to do that work.

Adobe is building tools for people who don't care to learn the craft they're practicing

However, that work is being showcased alongside the latest innovations in placing business needs over human ones, and tools built for people who don't care to learn the craft they're practicing. See the Firefly video editor, for people who want video edited but don't want to edit it, and Photoshop AI assistant for people who want things photoshopped but don't want to Photoshop it.

At the end of it all, it's hard to say what vision will win out, or what balance will be struck. Certainly, the latter seems to be the one being sold the hardest here at Max, but maybe that's just because it's not as prima facie enticing to an audience that still includes a lot of creative people. I'm not sure who's buying that vision of the future, and I'm honestly a little scared to find out. But I do think that it'll come with a lot of side benefits for photographers, intended and not.

* It also likely represents some big deals between Adobe and other AI companies, which doesn't help assuage my concerns about how bubbly the map of the AI economy looks one bit.

Here are the top 10 most viewed PhotoRumors posts for October 2025:

The first Canon EOS R6 Mark III teaser is already out (November 6th announcement)

Sony a7 V coming with the same 33MP sensor?

Panasonic Lumix announcement on October 17th

Updated list of latest/upcoming/rumored Chinese lenses

The new Viltrox AF 50mm f/1.4 Pro lens is now in stock

Sony is rumored to announce three new lenses, boring cameras expected in the next 2-3 years

The latest updates on the Sigma Foveon X3 sensor with 1:1:1 technology

Leica M EV1 camera rumors (with EVF)

First leaked picture of the rumored Leica M EV1 camera

The Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens will be officially announced on October 23rd

The post Top 10 most viewed PhotoRumors posts for October 2025 appeared first on Photo Rumors.

Here are the detailed Canon EOS R6 Mark III camera rumored specifications:

• Sensor: 34.2MP / 32MP full-frame CMOS (same as Cinema EOS C50)
• Autofocus: Dual Pixel CMOS AF II with multiple subject detection (people, animals, vehicles); stores up to 100 faces
• IBIS: 6.5 stops
• EVF: 5.76M-dot OLED (0.76x magnification, unconfirmed)
• Pre-capture: Yes
• Burst Shooting: 40fps electronic shutter
• Log Profiles: Canon Log-2 & Canon Log-3 (unconfirmed)
• Recording Options: LGOP (Long GOP) & All-I recording
• Mode Dial: New “S&F” (Slow & Fast) for quick frame rate multipliers (e.g., 0.5x, 2x from base 24fps)
• Max ISO: 64,000 (native range 100-64,000, unconfirmed)
• Video – Open Gate: 7K RAW / MP4 (3:2), Full HD Proxy MP4; 7K Open Gate (24/25p RAW)
• RAW Video: 7K DCI (17:9), Open Gate 3:2, 12-bit CRM, Linear PCM / AAC audio
• Time-Lapse: 4K / Full HD modes
• MP4 Formats: 4K DCI/UHD, 2K/Full HD (17:9 or 16:9); 4K with full sensor readout (oversampled)
• Codecs: XF-HEVC S / H.265, MPEG-4 AVC / H.264
• Audio: 24-bit
• Memory Slots: Dual – CFexpress Type B + SD UHS-II
• Ports: Full-size HDMI
• Battery: LP-E6P
• Price: €2,899 / $2,899 (estimated launch price)
• Announcement Date: November 6, 2025
• Shipping Date: Late November 2025 (tentative, around November 20)
• Other Notes: No active cooling (highly unlikely); magnesium alloy build; no top LCD display

The post Canon EOS R6 Mark III camera rumored specifications appeared first on Photo Rumors.

Earlier this week, we released our review of the OM System OM-5 II. We didn't find any surprises when it comes to image quality (it uses the same sensor and processor as its predecessor, so it would've been a bit odd if we had), but, as always, our review processes included using the camera a lot. That leaves us with a collection of images to share with the audience, both as illustrations and as proof that we've put in the work.

Of course, if you're not familiar with what this camera is capable of, the sample gallery will be a good illustration; it includes high-ISO examples, as well as a few shots taken using some of the camera's computational photography modes. You can also check out our pre-production sample gallery below to see more sample images from the OM-5 II.

See the production sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Production sample gallery

Pre-production sample gallery

Here are the 2025 DGP Imaging Gold Award winners:

Grand Gold Award/Special Jury Award

Technology Award

“The DGP Awards are a comprehensive digital imaging awards sponsored by the DGP Executive Committee, targeting all digital imaging solutions, such as “shooting,” “viewing,” “saving,” and “editing.” Since its inception in 2008, professional photographers and critics active in specialized media have participated in the judging process. Furthermore, leading mass retailers from around the country also participate in the judging process for the DGP Imaging Awards. Products that are recognized by photography and camera professionals are selected as outstanding models.”

Via NikonRumors

The post Here are the 2025 DGP Imaging Award winners appeared first on Photo Rumors.

The upcoming Canon EOS R6 Mark III camera leaked online (see teaser):

Canon EOS R6 Mark III – Redefining Performance and Precision

Get ready to experience Canon’s latest leap in imaging innovation. The EOS R6 Mark Ill brings together unmatched speed, advanced autofocus, and stunning image quality in a compact, full-frame mirrorless body. Equipped with a new-generation CMOS sensor and DIGIC X processor, it delivers outstanding low-light performance, crisp 4K video recording, and lightning-fast continuous shooting – perfect for professionals and enthusiasts alike. With Dual Pixel CMOS AF II, real-time subject tracking, and improved image stabilization, the R6 Mark Ill ensures you never miss a moment, whether capturing action, portraits, or cinematic visuals.

The first Canon EOS R6 Mark III teaser is already out (November 6th announcement)

The latest Canon rumors

The post Canon EOS R6 Mark III camera leaked online appeared first on Photo Rumors.

Fujifilm exhibited a “Lensless Camera” prototype designed by Taki Yoshimura at the Industrial Romanticism exhibition in Japan:

The “lensless camera” exhibited by Fujifilm is a tool for reexamining photos taken with a smartphone. By selecting a subject category such as a person’s face or a car, related photos are extracted.

Taki Yoshimura of the company said, “I feel a sense of romance in things that have abandoned the way things were and created new value,” such as Cup Noodles, a ramen dish that does away with the bowl, and the “Fujifilm QuickSnap,” which combines film and a camera. (Nikkei)

Deals of the day: renewed Fujifilm GFX 50S for $2,684, used Fujifilm GFX 100 for $3,237

Via dclife

The post Fujifilm exhibits “Lensless Camera” prototype at Industrial Romanticism exhibition appeared first on Photo Rumors.

Photo: Porsche

In 2017, a group of apprentices from Porsche Leipzig GmbH undertook a dramatic conversion of a Porsche Boxster, transforming it into a unique camera car. It was kept behind the scenes, but now, the company has made details of the vehicle public, showing off the highly modified vehicle along with information about its conversion.

Porsche says nine apprentices modified the Porsche 718 Boxster S as part of a project for their second year of training. The idea came about because the previous camera car, an older Porsche Boxster, could no longer keep up with current models on the track. The apprentices were then tasked with converting the new vehicle with guidance from training supervisor Carsten Pohle.

Photo: Porsche

To convert the Boxster, the team removed the soft-top roof and installed a robust roll bar, which doubles as an elevated mounting point. They added steel tube mounts on the front, rear and sides to allow for additional camera positions. The crew also painted the vehicle and all of its add-on parts with matte black paint to cut down on reflections when filming.

Of course, with people aboard the vehicle, safety also needed to be a consideration. Porsche says that they padded both the front and rear luggage compartments and added harness systems. There's also a standing platform between the front seats and rear trunk with the necessary safety harness. There is still plenty of risk for the photographer sitting exposed in the front luggage compartment or standing up in the middle of the car. Still, these positions do enable a very clear view for filming and photography.

Photo: Porsche

The company also provided details on how the car was built with photography and videography workflows in mind, too. For example, the team added internal wiring that allows for a direct connection between the camera and laptop, with the latter able to be securely mounted in the passenger area. There's also an inverter to supply power and recharge all of the camera equipment.

Porsche says that the car has been used regularly for filming shoots on the Leipzig track since its completion. External productions have also used the vehicle, including shoots for Motor Presse Stuttgart. Motorsport legend Walter Röhrl has even been filmed with the camera car. Most recently, the car ventured beyond the Leipzig track, serving as the camera car for the Tutto Bene Hillclimb near Lake Maggiore.

Photo: Dan Zafra

Photography has a way of leading us into rare and unrepeatable moments. Such was recently the case for photographer Dan Zafra, the co-founder of Capture the Atlas. While capturing the dark skies of New Zealand, Zafra witnessed red sprites flashing above the Milky Way. Making it even more special, the scene was accompanied by some Aurora Australis glow and a little comet called SWAN.

Zafra says he was photographing at the Clay Cliffs, South Island, New Zealand, on October 11, 2025 under clear skies when he began to notice faint flashes on the horizon from a distant thunderstorm over the Southern Alps in New Zealand. "At first, they looked like normal lightning, but after a few test shots, I realized my camera was capturing red sprites," Zafra explained.

Red sprites are luminous flashes that occur high above thunderstorm clouds, typically at altitudes between 50 and 90 kilometers (unlike traditional lightning, which is within the lower atmosphere). They are almost impossible to see with the naked eye, but in images, they appear as red tendrils and usually only last a few milliseconds. They are a rare phenomenon, especially in New Zealand, where major lightning storms are rare.

Zafra said it was even more magical because of how things aligned. He explained that he could see the Milky Way glowing above the horizon while seeing red tendrils of light above the storm hundreds of kilometers away. "It was one of those moments when you know you’re witnessing something you’ll probably never see again," he said.

To capture this incredible event, Zafra used a Sony a7 III with a Sony FE 24mm F1.4 GM lens. His settings for the sky exposure were F1.4, 10 sec. and ISO 6400, while the foreground exposure was a longer 2 minutes (with the rest of the settings remaining the same). He says he used minimal contrast and noise adjustments during processing. He blended the foreground for clarity, but didn't use any other stacking or star-tracking techniques.

Zafra also created a timelapse video of the event that shows the sprites flashing in real time. It shows just how fleeting those flashes are.

Zafra added that, as far as he's been able to find, there are no previously registered images or timelapses showing red sprites and the Southern Hemisphere Milky Way together. "I’ll never forget the adrenaline rush of seeing those first frames appear on my camera, realizing what I had captured," he explained. "I felt incredibly lucky to be there; in the right place, at the right time, and ready for it." Moments like these remind us how powerful a tool photography can be.

As previously announced in our forums, on our homepage, and via a Halloween‑orange banner on the site, we will be upgrading the software that powers DPReview's discussion forums. During this upgrade, the forums will be in read‑only mode while we migrate all existing forum data to the new system.

The forums will enter read‑only mode on Friday, October 31, at 1:00 pm Pacific (20:00 UTC). During the read-only period, you can continue to browse, read, and search the forums, but you won't be able to create new posts or upload photos. We expect the forums to come back online beginning Wednesday, November 5.

The move to a modern platform will ensure the forums remain healthy, secure, and sustainable for the years ahead. It will allow us to roll out important performance improvements and new features.

When the upgrade is complete, your discussions, posting history, photo albums, private messages, and other data will all be preserved.

Want a preview of the new forums? Our Community Manager, Mathew Anderson, put together a 5‑minute video walkthrough, which you can find at the top of this article.

To learn more about the upgrade and why we're doing it, please see our detailed forum post.

Read our post about the forum upgrade

We've also published a comprehensive FAQ about these changes. If your question isn't covered, add it to the FAQ forum thread and we'll find the answer.

Read the FAQ

Finally, thank you to everyone who's contributed to the forums over the years – the experts, the beginners, and yes, even the trolls. We can't wait for more discussions, debates, and shared discoveries in the years ahead.

You can now get some Fujifilm GFX medium format cameras dirt cheap on Amazon:

Used Fujifilm GFX 100 medium format camera (100MP) for 3,237.

Renewed Fujifilm GFX 50S medium format camera (51.4MP) for $2,684.

More rebewed Fujifiulm products can be found here.

The post Deals of the day: renewed Fujifilm GFX 50S for $2,684, used Fujifilm GFX 100 for $3,237 appeared first on Photo Rumors.

Here is what else is new:

New Nikon winter promotion started in Europe

New on Kickstarter: Panomicron Bismuth 1.5x anamorphic lens for Leica M-mount

The initial rumors were 100% correct: the Leica M EV1 camera was originally called Leica M11-V

New: SmallRig 28mm external optical viewfinder (15% off all SmallRig products code included)

Ricoh released firmware update version 1.03 for the GR IV camera

Sigma 200mm F2 OS and 300mm F2.8 OS Patents Found

Sony a9III and Sony a1II Firmware 4.00 Updates Release

Fujifilm GFX100II Firmware v2.40 Released

The post What else is new? appeared first on Photo Rumors.