Apologies and information regarding product supply status
Release date: November 11, 2025
Thank you for your continued patronage of Canon products.
We are currently experiencing delays in delivery for the following products due to the large number of orders we have received. We apologize for any inconvenience this may cause to our customers and business partners. We will continue to take measures to ensure a stable product supply so that we can deliver products as soon as possible. We appreciate your understanding.
A cut-in half Canon EF 400mm F2.8L IS II lens from 2010, shown surround by all the components from which it's made, in the foyer of Canon's Utsunomiya factory.
Photo: Richard Butler
"RF lenses are better," said Go Tokura, head of Canon's Imaging Group: "they are adjusted digitally, giving more consistent results."
These words tumbled around my head as the Tohoku Shinkansen raced us from Tokyo towards the Canon lens factory in Utsunomiya, about 110km (70mi) north of the capital.
I'd been fortunate enough to be seated at Tokura's table at dinner the night before. Despite the language barrier, we were able to talk a little about lenses over scribbled sample variance graphs. It had been clear he wasn't referring to digital distortion corrections, but I couldn't be totally sure what he meant. The Utsunomiya factory is home to both a production facility and much of Canon's lens development facilities, so I was hoping I'd find my answer there, in amongst the messages the company wanted to communicate.
The E5 series train of the Tohoku Shinkansen that took us from Tokyo to Utsunomiya.
Photo: Richard Butler
Canon describes Utsunomiya as its flagship lens facility, where it builds its broadcast lenses, as well as many of the high-end, L-series photographic lenses and optics for semiconductor manufacture. Canon also has factories in Taiwan and Malaysia, where many of its less expensive lenses are produced.
Canon says it builds its different products to different tolerances, with L-series super telephoto lenses requiring 15x the precision of the lenses in its point-and-shoot compacts, whereas broadcast lenses are made to 70x the precision and its industrial applications (including equipment for semiconductor lithography) demand tolerances 1500x finer.
That was a recurring aspect of everything we saw in the factory: different processes and varying technologies depending on the scale of production and the cost of the end products. And while, understandably, Canon wanted to demonstrate the highest precision work it does, it was the degree to which this know-how filters down and gets mimicked or adapted to large- and mass-production scales that interested me.
Varying aspherics
A Canon master craftsman demonstrates a glass element following machine polishing.
Photo: Richard Butler
For instance, the company says it uses four different types of aspherical elements in its different products. Sometimes the size of the element dictates which technology is used but the production scale: how many it has to make, also plays a critical role.
At one end of the scale are conventional ground glass aspherics, which need to be carefully polished to yield the perfect shape. To achieve the perfect shape, meticulous adjustments must be repeated over and over. It’s a delicate process that demands a significant amount of time and precision.
However, the process is too time-consuming and expensive to apply when you're making large numbers of lenses, so Canon has developed a series of other aspheric technologies. This includes glass molded aspherics, where molten glass is pressed between metal molds. As we this was being explained, it was impossible to ignore the heat and light radiating from the array of large metal and glass equipment stretching to fill the rest of the room. During the time it took to show us glass elements being polished, those molding machines continued their work, pressing and forming element after element.
The $2600 Canon RF50 F1.2L on the left includes a polished glass aspheric element as well as other, unspecified aspherics. The $470 Canon RF1.2 STM on the right uses a less expensive plastic molded aspheric that is more easily produced in large volumes.
Photo: Richard Butler
These glass-molded elements still need a degree or polishing, but can be created in much greater numbers. Sitting between these two technologies are what Canon calls "replica aspherics" where a molded resin layer is bonded onto a (compartively easy to make) spherical glass element. We were told this technology has been refined since it was first used on EF lenses, and is now able to deliver several times more deviation from spherical shapes and with several times more accuracy for elements used in the latest RF-mount designs.
Plastic molded aspherics, used in compact camera lenses and the likes of the RF28mm F2.8 STM and the new RF45mm F1.2 STM are made in other facilities, allowing the use of complex elements in lower cost products.
The company says its lens polishers continue to get better, meaning the lens designers can design even more ambitious lenses and know they can be manufactured. But they also say they're constantly trying to recreate some of the skills in automated processes. And it's this ability to produce aspherics on larger scales, and improvements in the quality of those elements that is driving up the performance of a lot of the lenses we encounter.
Material advances
Much of the factory visit was built around showing-off details like this. For instance, Canon demonstrated the Blue Refractive optics glass that bends short wavelengths of light to a greater degree than longer wavelengths, allowing its use to correct axial chromatic aberrations (the colored fringes on out-of-focus highlights). The glass was first used in Canon's EF35mm F1.4 L II USM but has been the continuously developed since then, with an improved version being deployed in the recently released RF20mm F1.4 L VCM. As with the improvements in replica aspheric production, we were told how much more effective the new material was, but asked not to report the specific number.
Assembly and alignment
A Canon technician inspects a lens element before it's installed into an assembly of an RF100-300mm F2.8L IS USM.
Photo: Richard Butler
Towards the end of our tour, we followed the assembly process of the RF100-300mm F2.8L IS USM (there are videos on YouTube showing this part of the tour). It's a multi-stage process of assembling, aligning and adjusting lenses, with a series of technicians each focused on one step of the process, overseen by a highly experienced staff member known as a 'meister.'
Much of the process is done by hand, with checks of each process along the way. Then, at the end, one technician's job is to ensure the different groups are correctly aligned. The 100-300mm has 23 elements arranged in 18 groups, and each attempt to correct the alignment of one group or assembly can then highlight an issue with another, resulting in an iterative process, bringing the lens closer and closer to the designed performance level.
This way of working, with around six technicians and a meister, allows Canon to produce nine 100-300mm lenses per day. It has the advantage that the technicians can easily turn their attention to the construction of other lenses, when a batch of 100-300s is complete. The same workstations can also produce Canon's 400, 600, 800 and 1200mm RF lenses, along with the EF400mm F2.8L IS III USM, which we were told is the last EF ultra-tele still in production.
A workstation in which multiple assemblies are brought together as an RF100-300 F2.8L IS USM comes together.
Photo: Richard Butler
Further along on the tour we were shown a large rectangular box, the size my last flat in London, full of robotic arms and conveyor belts, that conducts many of the same steps: inserting and UV-bonding circuit ribbons into lens assemblies, adding rollers and springs on which internal cams can move, attaching and assembling the USM motors around the focus groups. Lens elements already positioned in plastic lens assemblies were fed in at one end of the machine and a series of robot arms carefully conduct each step of the process as the lens passes through cubicles within the box, each containing a machine playing the role of a single technician.
The machine we were shown was making EF 24-105mm F4L IS II USM lenses but can be reconfigured to make EF 16-35mm F2.8L III USM: the two lenses having been designed with similar layouts and a high degree of shared componentry to allow one series of robots to build either lens. Unlike the hand-made approach, the whole setup would need to be significantly redesigned and rebuilt to be able to assemble any other lens, at significant investment cost.
A technician iteratively adjusts the different elements of an RF100-300 F2.8L IS USM, carefully monitoring the ways in which each adjustment improves and degrades the performance.
Photo: Richard Butler
Alignment checking wasn't done within this machine, instead being conducted later, manually. But we were then whisked past a machine assembling RF lenses and told that this machine performs the iterative process of assessing and fine-tuning lens alignment, automatically. Here was the digital adjustment that Go Tokura had been referring to, when he said that RF-mount lenses are being built to a higher standard and with greater consistency: automated fine-tuning of alignment, in a way that was previously only possible for ultra high-end lenses produced by hand.
Trickle-down technology
It's not just Canon making constant improvements, of course. But it's interesting to get an insight into the small improvements that, cumulatively, have seen lenses improve dramatically over the last ten or so years. Aspherics becoming easier to make and hence more readily used in new lens designs, constant improvement of optical materials and advances in production processes all keep pushing lens performance upwards.
The visit to the Utsunomiya factory let me find out what the head of Canon's camera business, Go Tokura (left) had told me, the evening before.
Photo: Canon
The Utsunomiya factory is primarily focused on very high-end lenses, but what stood out to me is the way Canon has tried to adapt its highest-precision but labor-intensive manufacturing methods so that some of those benefits can appear in lenses we can actually afford. I could see why Tokura wanted to share his enthusiasm for that.
DxO Labs released 1,078 new Optics Modules for the latest cameras and lenses from Nikon, Canon, Ricoh, Fujifilm, Sigma, Tamron, Tokina, Samyang, Voigtländer, and Laowa (with these new Modules, the DxO library expands to 106,937):
Meet the iT32 iFlash Camera Flash & X5 TTL Wireless Flash Trigger — a modular lighting system built for ultimate versatility and efficiency. When paired with different X5 versions, one iT32 flash body seamlessly adapts to Canon, Nikon, Sony, Fujifilm, and OM System cameras, offering full TTL and HSS support across brands. The X5 functions as both a hotshoe and wireless trigger, enabling instant transitions between on-camera use, off-camera freedom, and complex multi-light setups. Compact yet powerful, the iT32 & X5 combine magnetic modularity, cross-brand compatibility, and Godox 2.4GHz wireless integration—empowering photographers to shape light effortlessly, anytime and anywhere.
One System, Built for All
The iT32 & X5 offer a universal solution for photographers working across different camera systems. Its interchangeable magnetic X5 hotshoe allows instant switching between brands by simply changing the X5 version. This flexible design helps photographers focus more on creativity and less on equipment compatibility.
Dual Identity: Hotshoe & Trigger in One
X5 serves both as a hotshoe mount and a wireless transmitter, enabling smooth transitions between on-camera and off-camera use. When attached to iT32, it functions as the hotshoe for on-camera shooting; once detached, it automatically switches to trigger mode, wirelessly controlling iT32 or other Godox Wireless X System flashes.
Effortless Multi-Light Sync
Equipped with a built-in 2.4GHz receiver in the iT32 and a 2.4GHz sender in the X5, the system ensures instant wireless communication without manual pairing. When used together, iT32 and X5 act as a master unit to trigger multiple Godox flashes simultaneously. When separated, the X5 can still control the iT32 and other flashes within the Godox 2.4GHz wireless X system, making multi-light setups simple, fast, and reliable.
Intelligent Recognition and Real-Time Display
The iT32 automatically identifies the attached X5 version, displaying key information such as model type, battery level, and charging status on its screen. This smart detection ensures photographers always stay aware of system status, minimizing errors and keeping shooting sessions smooth and controlled.
Magnetic Mounting, Fast and Secure
The magnetic interface between iT32 and X5 ensures a stable, one-click connection that’s firm yet quick to detach. Compared with traditional locking mechanisms, it greatly speeds up setup while maintaining reliability, allowing photographers to switch modes fluidly and capture every moment with ease.
Refined Design, Built for Practical Use
Intuitive Touchscreen Control
Flexible Flash Head
Built-in Reflector and Diffuser
USB-C Charging
Professional Performance, Seamless Compatibility
Advanced Flash Functions
Godox 2.4GHz Wireless Ecosystem
Magnetic Accessories for Creative Expansion
LED Modeling Light
Recap:
Overview: The Godox iT32 iFlash and X5 TTL Wireless Flash Trigger form a modular lighting system where the iT32 is a compact flash body, and the X5 is an interchangeable hotshoe mount that doubles as a wireless trigger, supporting TTL and HSS across multiple camera brands (Canon, Nikon, Sony, Fujifilm, OM System).
Modular Design: Features a magnetic interface for quick one-click attachment/detachment of the X5, allowing seamless switching between brands without manual pairing; the system automatically recognizes the X5 version and displays status info like battery level and model type on the iT32 screen.
Dual Functionality of X5: Acts as an on-camera hotshoe when attached to the iT32 for direct shooting; detaches to function as a wireless transmitter for off-camera control of the iT32 or other Godox Wireless X System flashes.
Wireless Capabilities: Built-in 2.4GHz radio transmission for sender/receiver roles; supports up to 80m range (20m in separated triggering), 32 channels, 1-99 IDs, and multiple groups (A/B/C/D, with variations by model); enables multi-light setups and acts as a master unit.
Flash Modes and Controls: Supports TTL auto flash, manual flash, multi-flash (up to 100 times at 100Hz), flash exposure compensation (±3 stops in 1/3 increments), high-speed sync (up to 1/8000s, or 1/80000s with Sony global shutter on X5S model), first/second-curtain sync, and global shutter sync (X5S only).
Additional Features: Includes intuitive touchscreen control, flexible flash head, built-in reflector and diffuser, LED modeling light, 2.5mm sync cord port, USB-C charging, power-saving standby/auto-off, and compatibility with magnetic accessories for creative lighting.
Technical Specs: Guide Number GN18 (ISO 100, meters at full power); flash duration 1/1000s to 1/30000s; recycle time approx. 1.5s at full power; approx. 510 full-power flashes; iT32 battery 7.4V/900mAh lithium, X5 3.8V/100mAh lithium.
Dimensions and Weight: iT32 measures 56 × 39 × 101mm and weighs 169g; X5 measures approx. 1.26 × 1.26 × 1.06 inches and weighs 23g.
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Panasonic Lumix Pro Services will be ending in eight European countries and the United Kingdom as of November 30, 2025. The company shared the news on the Lumix Pro support websites for each respective country, as reported by Petapixel.
"We will be closing our LUMIX PRO service on 30 November 2025."
The support sites have a banner stating, "We will be closing our LUMIX PRO service on 30 November 2025. This step allows us to refocus on new activities designed to better support our customers and creators." It goes on to explain that current members will be able to log in and manage their accounts until December 31, 2025. New registrations haven't been available since September 18, 2025, according to the sites.
Lumix Pro Services is a membership program for Panasonic users that offers prioritized support, extended warranties and other benefits. The program is aimed at professionals, as it helps users get a working camera in their hands faster than without the Pro Services program. This can take the form of faster repairs, loaner equipment or both.
The Lumix Pro Services program in the US has a paid tier with added benefits. Image: Panasonic
The US Pro Lumix Services membership has two tiers: Red and Platinum. The Red tier is free and promises service turnaround times of three to five business days and loaner equipment for repairs that require more than seven business days. The Platinum tier costs $199 per year, but brings additional benefits, including a two-day turnaround time on repairs and loaner gear if the repair takes longer than that. It also offers a member-only hotline, 20% off out-of-warranty repairs, free sensor or EVF cleaning for up to four cameras per year and more.
In the UK and most EU countries, however, Lumix Pro Services was a single-tier membership that was completely free and unlimited. It only required the ownership of one Lumix S camera body. Members then got a seven-day turnaround on repairs at no charge. It offered worthwhile value to Lumix users, but unfortunately, it will no longer be available in the previously mentioned EU countries or the UK.
We reached out to a Panasonic spokesperson, who made it clear that there are no planned changes for Lumix Pro Services in the United States. They weren't able to provide any additional insight into changes in the other countries, however.
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Canon RF45 F.2 STM | F1.2 | 1/320 sec | ISO 100 Processed with Adobe Camera Raw, distortion profile applied, vignetting correction off
Photo: Richard Butler
The Canon RF45mm F1.2 STM is the company's unexpectedly bright addition to its budget STM range of lenses. It offers a super-bright aperture with a near 'normal' focal length, in a package costing under $/£/€500
It's the same basic idea as Nikon's 35 and 50mm F1.4 lenses: a more compact, more affordable fast prime for full frame. Not necessarily offering the same levels of sharpness as the more expensive options, instead allowing some imperfection in the name of affordability and 'character.'
But whereas the Nikon releases were met with some confusion, as the F1.4 lenses unexpectedly sit below a series of sharper but slower F1.8 lenses, Canon's eye-catching use of a slightly brighter aperture seems to have grabbed more attention.
But how does it perform? We took it a pre-production copy and shot it on the highest-resolution RF-mount body currently available, to see how it looks.
The first thing you'll notice is significant vignetting, which can be corrected to some degree by the camera's JPEG engine. As you might also expect from such a bright lens with such a small front element, there's also a fair degree of mechanical vignetting in the bokeh, giving a cats' eye effect.
The lens can be pretty sharp, without the dreaminess that was common on DSLR-era F1.2 lenses at wider apertures, but the slightly slow, autofocus that you can feel shuffling back and forth when in continuous AF may be contributing to not all the portraits being as sharp as they could be.
See for yourself whether this fast, compact normal is worth the trade-offs.
With thanks to Lensrentals for the loan of the Canon EOS R5 II used for this 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.
Sample gallery
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Godox has announced a modular lighting system designed for photographers who use multiple camera systems. The system consists of the iT32 Mini Flash and the X5 Wireless Flash Trigger, which acts as both an interchangeable hot shoe and a wireless trigger. It allows users to switch seamlessly between camera brands and supports both on- and off-camera use.
The standout feature of the new lighting system is the modular, versatile design. It uses a magnetic interface to connect the X5 to the iT32, allowing for speedy setup. The X5 comes in versions for every major camera system, so cross-brand shooters can pick up multiple versions of the X5 instead of needing separate flash units for each camera.
The iT32 flash unit can automatically detect the X5 model. Image: Godox
When attached, the iT32 flash is able to automatically detect the X5 version. The flash will then display the model type, battery level and charging status on the screen. When detached from a flash unit, the X5 automatically switches to trigger mode and can wirelessly control the iT32 and other Godox Wireless X System flashes. That means users can use the X5 for multi-light setups. Because the iT32 does not have its own hot shoe, users will need at least one X5 module for on-camera use.
Beyond the modular design, the iT32 flash is pretty standard. It features a touchscreen display, a built-in reflector and diffuser and an LED modeling light. The flash head can rotate 270° and tilt 90°. It offers a guide number of 18 meters (59.1') and users can control it wirelessly from up to 80 meters (262.5') away. However, the range for separated triggering drops to 20 meters (65.6'). It supports TTL and manual control.
The iT32 offers fast sync speeds of up to 1/8000 sec, or 1/80,000 sec with Sony cameras equipped with a global shutter. The flash duration can be as short as 1/30,000 sec, and Godox promises a 1.5-second recycle time and up to 510 full-power flashes. It recharges via USB-C.
The Godox iT32 Mini Flash & X5 TTL Wireless Flash Trigger are both available for pre-order now. The iT32 costs $79, while the X5 for Canon, Fujifilm, Nikon and Panasonic/OM System cameras costs $20. The Sony X5 version costs slightly more at $25. You can also purchase it as a kit that includes the iT32 and one X5 for $99 ($104 for the Sony version).
Rivers are the transportation corridors of the Amazon, where roads are few and far between. I captured this photo of a riverboat pushing a barge loaded with cattle in Brazil while traveling the entire length of the Amazon River by boat.
Canon PowerShot G7 | F4 | 1/200 sec. | ISO 100 Photo: Dale Baskin
This month, we're celebrating the power and creativity of the compact camera. Share your best shots taken with a camera with a built-in lens – no interchangeable lenses allowed! Our favorite images will be featured in an article on DPReview later this month. (Please note that photos taken with smartphones, drones or tablets do not qualify for this challenge.)
Photos can be submitted between Sunday, November 16, and Saturday, November 22 (GMT). The challenge is open to photos captured at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
This week, we saw some exciting new releases from Canon: the EOS R6 III and the RF 45mm F1.2 STM lens. The latest iteration of the R6 may appear to be a relatively small update on paper, but the changes that Canon implemented are ones that actually make a difference. That includes a new sensor with faster readout and improved video capture. And while the camera is certainly compelling, we think the lens is just as interesting. It's remarkably small and affordable for being an F1.2 lens, after all.
In our roundtable discussion this week, Dale Baskin, Richard Butler, Mitchell Clark, and Abby Ferguson sat down to discuss Canon's latest camera and how it compares to the competition. Of course, we don't leave out the lens, either, with Richard surprising us by revealing just how low the price is.
Kodak Gold 200 and Ultramax 400 now have new packaging with the classic Kodak logo. Images: Kodak
Just over a month ago, Kodak surprised film photographers with the introduction of Kodacolor 100 and 200, two (sort of) new 35mm film options. While the release of Kodacolor was exciting enough for film fans, there was something even more notable: Eastman Kodak was distributing the film directly, not through Kodak Alaris. Now, the company has quietly added two more film stocks to its in-house distribution list.
The move marks a subtle yet potentially significant shift for Eastman Kodak, which hasn't distributed its own still picture film in over a decade. That's because in 2013, Eastman Kodak sold its public-facing film business to Kodak Alaris as part of the resolution of Eastman Kodak's 2012 bankruptcy.
Since then, Eastman Kodak has manufactured the film, but as soon as it left the Rochester, New York factory, Alaris took over the marketing and distribution under the Kodak Professional brand. Eastman Kodak maintained distribution of its motion picture film, but Alaris handled consumer still films. The Alaris film features Kodak Professional branding, with a distinct look that differs from the Eastman Kodak logo and design.
Eastman Kodak quietly released Kodacolor 100 and 200 last month. Images: Kodak
When Eastman Kodak quietly released Kodacolor 100 and 200 at the end of September, it handled sales directly for the first time since the bankruptcy restructuring. Alaris was not part of the marketing, distribution or branding process. Instead, Kodacolor comes in packaging branded with the classic Eastman Kodak logo, not the Kodak Professional brand.
Now, the Kodak website also lists Kodak Gold 200 and Ultramax 400, two film stocks previously distributed by Alaris. Like the Kodacolor films, they have been repackaged in Kodak-branded boxes, ditching the Kodak Professional name. Gold 200 and Ultramax 400 appear to be the same film that photographers are already familiar with, just with updated packaging.
In Eastman Kodak's recent Q3 financial results, the company briefly mentioned the release of its new film stock and its plans. "More recently, our [Advanced Materials and Chemicals] unit’s film business launched still films, which will be sold directly to distributors, giving Kodak greater control over our participation in the consumer film market and providing distributors, retailers and consumers with more stable pricing and a broader, more reliable supply," the report said.
A sample image of Kodacolor 200. Image: Kodak
It isn't clear what this means for the relationship between Eastman Kodak and Kodak Alaris. At the time of writing, Alaris still appears to be the distributor for other Kodak film stocks, including Portra, Ektar, Tri-X, T-Max, ColorPlus and all sheet films. Interestingly, at the time of writing, Kodak Gold 200 and Ultramax 400 are still listed on the Kodak Professional website, though the new Kodacolor options are not.
There has been speculation that the move could result in lower prices for Kodak film, which is what Kodak appears to suggest in its Q3 financials. However, only time will tell what it actually means for Kodak's film business and how that impacts consumers.
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Canon EOS R6 III | Canon RF 28-70mm F2L USM | 70mm | F5.6 | 1/80 sec | ISO 1000
This week, Canon announced the EOS R6 III, a new enthusiast-level camera that it says is aimed at both stills and video shooters. It features a 33MP full-frame FSI sensor that debuted in the cinema-focused EOS C50, but which is new to the consumer-focused mirrorless market.
We were able to spend some time shooting with the camera in Seattle and Los Angeles, to see how the sensor performs in a variety of situations. If you're more curious about the video side of things, we also shot our first look video with it, and it contains plenty of sample footage. You can watch it below.
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.
Sample gallery
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Leica has announced a new addition to its Reporter design series with the Leica SL3 Reporter. As with other models in the special design lineup, the SL3 uses the classic dark green color and promises better durability.
Leica's Reporter design series consists of rugged, limited-edition versions of Leica cameras. It consists of the Q2 Reporter, Q2 Monochrom Reporter and SL2-S Reporter, with the SL3 becoming the fourth model in the lineup.
Image: Leica
The SL3 Reporter features a scratch-resistant dark green finish, a popular option for Leica fans. It also uses an aramid fabric cover, a type of ultra-strong synthetic fiber known for its excellent strength-to-weight ratio, superb heat resistance and generally high durability. Kevlar, the personal protective equipment brand, is the most commonly known version of aramid. The SL3 already offers an IP54 rating, and this rugged material promises even better durability.
Leica also added a new trim with a unique texture on the SL3 Reporter. The company says it provides an improved grip. On the design front, the camera uses black controls and dark green paint. It lacks the red Leica logo, which Leica says "serves to emphasize the SL3 Reporter’s suitability for challenging working environments." Indeed, this design choice helps avoid drawing attention to the camera as an expensive item in sensitive situations.
Image: Leica
Specs-wise, the SL3 Reporter is exactly the same as the original SL3. That includes a 60-megapixel BSI sensor, 5-axis in-body image stabilization, hybrid phase/contrast-detect autofocus and DCI 8K video.
The Leica SL3 Reporter is available for purchase now for $7995, which is $500 more than the current price of the SL3.
New: Leica SL3 Reporter
A robust design variant of the mirrorless Leica full-frame system camera perfectly suited for the most demanding photographic requirements
Teaneck, November 6th, 2025 – Leica Camera AG is pleased to announce the launch of the Leica SL3 Reporter, a new addition to the company’s Reporter design series. This particularly robust version of the Leica SL3 represents the latest in a long line of specially developed Leica cameras. The Leica SL3 Reporter is equipped with features that have been specifically designed for the harsh conditions of reportage and press photography. This enables maximum precision even under the most adverse shooting conditions. The product combines maximum functionality and reliability with a unique camera design that is both understated and striking.
The Leica SL3 Reporter features a particularly scratch-resistant dark green finish and an aramid fabric cover, which provides additional protection against abrasion and environmental influences. Furthermore, the special trim, with its unique texture, also offers significantly improved grip. This ensures enhanced stability when taking photographs and filming. Over time, the trim develops a unique patina that reflects the traces of its photographic journey and the character of a true reportage camera. The distinctive design is characterized by a combination of dark-green paintwork with black control elements, and the absence of the red Leica logo, which serves to emphasize the SL3 Reporter’s suitability for challenging working environments.
In terms of its technical specifications, the design variant corresponds to the Leica SL3 series model. This model combines state-of-the-art technology with outstanding image quality of up to 60 megapixels, precise autofocus, premium materials, and “Made in Germany” manufacturing quality. A fast connection to the Leica FOTOS App facilitates a seamless professional workflow.
The Leica SL3 Reporter is now available worldwide in all Leica Stores, the Leica Online Store, and specialist retailers at a price of $7,995.00.
The winners of the 16th Epson International Pano Awards have been announced, featuring images that showcase vast landscapes and architectural marvels. The 2025 competition drew more than 4,500 entries by hundreds of professional and amateur photographers around the world. Participants could enter into the professional or amateur categories, with subcategories for Nature/Landscape and Built Environment/Architecture.
Beyond prizes for each category, the contest also features special awards. These include the Southeast Asia Open Photographer of the Year, chosen by the executive team at Epson Southeast Asia. Similarly, the Epson Digital Art Prize is decided by the executive team at Epson Australia, and to be considered, entries must show excellence in digital post-processing and photographic technique.
The Raw Planet Award is for the highest scoring stitched image in the Open competition. The image must use limited software processing except stitching for this award. The Curator's Award is selected by curator David Evans for his favorite image in the competition.
Images submitted to the contest use a 2:1 aspect ratio to fit the accepted definition of panorama. Entries can be stitched or cropped from multiple or single exposures, and images may be taken at any focal length. Post-production is allowed, but the contest specifies that excessive manipulation may result in a lower score if it isn't well executed. AI-generated images and elements are not allowed.
You can see the top 100 winners of each category at the Pano Awards website.
Image by Alex Wides.
Open Photographer of the Year
Photographer: Alex Wides
Country: Italy
Award(s): Open Photographer of the Year, First Place Nature/Landscape Category
Image title: Last Fireworks
Image location: Algeria
Caption: 360° panorama captured in the Algerian Desert
The 10-day nomad trip to Algeria turned out to be one of the best adventures ever. After many nights crossing dunes and climbing rocky ridges, I reached a remote viewpoint on the last evening of this amazing expedition.
As the sun went down, the sky literally exploded... layer after layer of clouds lit up, painting the desert with fire and gold. Using my Sony A7 IV with a fisheye lens on a tripod, I captured a full multi-exposure sequence at f/8 and ISO 100, rotating carefully around the nodal point to create a seamless 360° panorama.
That sunset felt like a farewell, the last blaze of light closing with "fireworks" one of the most meaningful journeys I’ve ever taken.
Award(s): Open Runner-Up, First Place Built Environment Category, Highest Scoring Aerial Image and Highest Scoring Vertical Image
Image title: Not A Tiny HK Island
Image location: Hong Kong Island
Caption: This aerial photograph was captured from Victoria Peak, Hong Kong, at sunset. As a technical experiment, I manually shot a 48-image panorama using a DJI Phantom 3 Pro.
The final artwork is the result of meticulously stitching and inverting the composite, transforming the city and sky into a mesmerizing, abstract landscape.
Upon its initial release, the image captivated a global audience, overwhelming my Instagram with an unexpected and passionate response.
panvelvet.com IG @panvelvet
Southeast Asia Open Photographer of the Year
Photographer: William Chua
Country: Singapore
Award(s): Southeast Asia Open Photographer of the Year
Image title: Wildebeest Migration in Kenya
Image location: Kenya
Caption: I’ve been to many places across Africa, but Kenya still remains one of my favourites. Although I’ve witnessed the wildebeest migration countless times, it never ceases to amaze me. Last year, I found myself back in Kenya once again. Photographing the migration is never easy — it demands lots of patience and of cos a touch of luck.
After several hours of waiting, we finally saw the wildebeests moving. It’s always a breathtaking moment to witness the crossing. As a photographer, you have to pace yourself, stay calm amid the chaos, and think carefully about how to frame the story unfolds before you. For this image, what caught my attention was a lone wildebeest turning back amidst the frenzy. In that instant, I knew that was the shot I wanted.
Instagram @wildlife_photo_by_william_chua and @william_chua_photography facebook.com/williamchuaphotography tiktok.com/@williamchuaphotography
Amateur Photographer of the Year
Photographer: Kevin Nyun
Country: United States
Award(s): Amateur Photographer of the Year, First Place Nature/Landscape Category
Image title: The Altiplano Landscape
Image location: Altiplano, Bolivia
Caption: This image was from my last morning in the Bolivia highland. We have been unlucky with the weather for three straight days and the clouds finally cleared at that moment. Bolivia highland, to my knowledge, is less explored due to the difficulty of reaching remote locations and the high altitude of almost 5000 meters. On top of that, snow was quite early this year, and I was in awe seeing the red dessert mixed with fresh white powder. I will never know when I will get to have a moment like this in the future, so I quickly launched my drone and used the pano tool to compose this image. The total number of images in this composition is 21 images single exposure stitched in Lightroom and processed through Lightroom and Photoshop.
Winner Amateur Built Environment / Architecture
Photographer: Pedro Nogales
Country: Spain
Award(s): Amateur Runner-Up, First Place Built Environment Category
Image title: Through the palette
Image location: Madrid (Spain)
Caption: This photograph depicts one of the four towers that shape the financial district of the Spanish capital. More specifically, it's the PwC Tower, which is the third highest skyscraper in Spain (236 m or 775 ft). Its surroundings merge with garden areas, which connect the spaces between these concrete giants.
The skyscraper peaks through an opening that inevitably brings a painter's palette to our minds, while inviting us to imagine a world created before being depicted. Within this frame, the tower ascends into the sky, manifesting the modernity and avant-garde design of this architectonic complex.
Certainly, it's the perfect place for a minimalist architecture photograph.
Caption: This panorama was taken on a freezing March night in the high-temperature region of Hverarönd in northern Iceland. It was an awe-inspiring experience to stand alone in this surreal lunar landscape, surrounded by the hissing and sulphurous scent of the solfataras and fumaroles, as the delicate green of a single aurora arc transformed into a powerful substorm within minutes, and the Northern Lights danced above and around me in intense colors.
To achieve the highest possible image quality despite the wide aperture, I photographed a relatively tight pattern with large overlaps (2x6+N+Z) with a 15mm fisheye lens. It was important to be quick to minimize stitching errors between the individual images. On the one hand, the aurora borealis was noticeably moving, and on the other, the vapor columns of the solfataras were constantly rotating due to the constantly changing wind direction. Despite the somewhat challenging conditions, I was able to capture several 360° images during this overwhelming light show. An experience of a lifetime!
www.360-grad-sachsen.de Blog www.360-grad-sachsen.de/panorama-blog Facebook www.facebook.com/360GradSachsen and www.facebook.com/christoph.simon.10
Epson Digital Art Prize
Photographer: Daniel Viñé Garcia
Country: Spain
Award(s): Epson Digital Art Prize, third place Open Built Environment Category
Image title: Tides of Tradition
Image location: Hoi An, Vietnam
Caption: In this coastal village of Vietnam, survival is woven in silence. These women, working in morning shade and salt-laden air, are the unseen guardians of sustenance. The nets they mend are not mere tools, but lifelines binding sea and community together.
Their anonymity turns them from individuals into archetypes — the enduring backbone of a tradition that predates memory. What the ocean tears apart, they restore, ensuring that each tide can return with promise. They do not face the waves, yet the sea depends on their hands.
danielvgphoto.com Instagram @danielvgphoto
Curators Award
Photographer: Chris Byrne
Country: United States
Award(s): Curators Award
Image title: Elysium
Image location: Mount Rainier, Washington
Caption: During the late summer months of August the high alpine areas of Mount Rainier in Washington come alive with wildflowers. Starting at the lower elevations and then working into bloom at higher elevations as the days go on. This particular year I had quite a bit of time to explore this park and made three or four hikes on separate occasions up to this location with my main purpose to photograph a tarn that had a perfect reflection of this glorious mountain. And each time that I did that hike, this field of lupine just kept getting better and better. On my final trek up there for the season with a very good friend of mine, we were all alone breathing in the fresh mountain air and listening to the birds watching this scene of a perfect meadow and mountain unfold before our eyes. As some storm clouds started blowing out to the east I knew that there would be a gap on the horizon and purposefully waited until the very last rays of the sun gave the field of flowers that beautiful side and back light for the depth that I wanted in the image. Just a minute after pressing the shutter the light and drama was gone.
Caption: The day I captured this image, the desert felt endless. During our journey through the American Southwest, one place had always fascinated me—Factory Butte, an isolated monolith surrounded by a labyrinth of badlands. I launched my drone into the still evening air, exploring the textures and lines carved by centuries of erosion. Then, just as the sun dipped low, the summit cast its immense shadow across the land. I realized I was witnessing a fleeting alignment of light and form, so I captured a full 360° panorama—revealing the sun blazing on one side, the vast shadow stretching on the other, and the raw, timeless silence of Utah in between.
danielvgphoto.com Instagram @danielvgphoto
Second Place Open Nature / Landscape
Photographer: Marina Cano
Country: Spain
Image title: Sacred Nature
Image location: Lake Nakuru, Kenya
Second Place Open Built Environment
Photographer: Peter Li
Country: Great Britain
Image title: Ambisnaena
Image location: Musei Vaticani, Vatican City
Second Place Amateur Nature / Landscape
Photographer: Luis Cajete
Country: Spain
Image title: The Wave
Image location: Arizona (USA)
Second Place Amateur Open Built Environment
Photographer: Agnes Anna Sadowski
Country: Germany
Image title: Great Wall
Image location: China
Third Place Open Nature / Landscape
Photographer: Alex Wides
Country: Italy
Image title: Jackpot
Image location: Rago National Park, Norway
Caption: 360° panorama captured in Northern Norway
I first discovered this location about four years ago through a photo that completely captivated me... a suspended lake spilling into a valley, where an epic river carved a perfect serpent of water through the landscape. I told myself: one day, I have to photograph this place.
In 2022 I passed not far from it, but my work took the Lofoten Islands and I missed the chance, for two more years the dream remained on hold. In the summer of 2024 I was finally close again, but the weather was brutal... ten straight days with no clear window to hike up.
After finishing my tours on Senja Island, I decided to try once more. The first attempt gave me only fog, grey skies, and disappointment. Still, I couldn’t give up. The next evening, I hiked back up with fresh supplies, hoping for a good weather window.
When I opened the tent… "Jackpot". The sky exploded in a spectacular half hour of Northern Lights. I captured the full 360° panorama using a Sony A7 IV with a fisheye lens at f/3.5, for 4 seconds, ISO 16000... This was a perfect reward after years of waiting. In that moment, everything came together: the place, the light, my satisfaction.
This is Norway... tough, unpredictable, but when it gives, it gives in style.
Third Place Amateur Nature / Landscape
Photographer: Julio Castro Pardo
Country: Spain
Image title: Alien Throne
Image location: Valley of Dreams, New Mexico (USA)
Datacolor, a color management leader, has announced a SpyderPro software update with some surprising changes. The company has introduced the ability to use its Device Preview tool to export files, including Raws, to a range of file types and color spaces. The platform also allows users to add Content Credentials, expanding support for C2PA.
Datacolor introduced its Device Preview feature last year in response to more people exclusively sharing work digitally instead of via print. It gave users the ability to see what their images would look like on a range of different displays, including phones, tablets and desktops. It was fairly limited, though, and the company says it's now rebuilt Device Preview from the ground up, bringing more powerful features to the tool.
Device Preview now supports file exports, side-by-side comparison, zooming, sampling, Content Credentials and more. Image: Datacolor
The most substantial change is that Device Preview Plus now allows users to process and export Raw files from any camera, including iPhone formats and DNGs. It also supports exports of other common file types, with destination file types covering all the expected options, such as TIFF, JPEG and more. Users can also assign color spaces, with support for the increasingly common P3 option.
You can zoom in to examine fine details in the new Device Preview. Image: Datacolor
Users can view side-by-side comparisons of the original and how it will appear on a given device, which can be narrowed down to specific phone and tablet models. It also allows for pixel sampling to see a high-res version even when zoomed in. And it offers batch conversion so that users can export thousands of files at once.
The other major update is that Datacolor has partnered with C2PA to add support for Content Credentials in Device Preview. Users can now choose to embed Content Credentials at the time of export, adding key metadata to show provenance. For now, it provides the option to add a name and website, but Heath Barber, Director of Product Management, says that there are plans to add social media links down the road, too.
The move to add Content Credentials comes at a time when more devices and applications are expanding support for the initiative. "It's going to go into everything that we call the internet; we're just at the very beginning of it," explained Barber. "We wanted to make sure we get ahead of it and incorporate it into a tool because it makes sense, not because it was cool."
You can now add Content Credentials in Datacolor's Device Preview. Image: Datacolor
It makes sense to embed credentials early in the workflow, as it provides a more complete audit trail of any changes made to an image. Currently, cameras that incorporate Content Credentials only offer support for select newsrooms through a paid license. Datacolor's software opens that up to general users, and although it's not at the time of capture, it is early on in a photographer's workflow. That means more history can be captured when using Content Credentials.
For now, Barber says that Datacolor sees the Device Preview workflow being ideal for photographers who aren't doing heavy editing. It serves as an option for users to export files that are optimized to look nice on a wide range of displays and have embedded Content Credentials, without requiring a subscription to editing software. Eventually, though, the company plans to offer a more complete, integrated workflow with other programs.
The Datacolor SpyderPro software update is now available for free to current SpyderPro users. Spyder, SpyderExpress, SpyderX and Spyder X2 owners can upgrade at a discounted price. You can also buy SpyderPro with the latest software for $269.
Press release:
Datacolor Launches New SpyderPro Software: A Leap Forward in Display Calibration
LAWRENCEVILLE, N.J. – November 6, 2025 – Datacolor is redefining what a calibration tool can be with the all-new SpyderPro software. More than just flawless color accuracy in under 90 seconds, SpyderPro redefines display calibration with groundbreaking workflow tools that transform how creators work.
SpyderPro now supports ultra-bright displays up to 12,000 nits (OLED, QD-OLED, mini-LED, Apple Liquid Retina XDR and more) and includes powerful new features:
3D LUT (.cube) Export: Delivers precise calibration for compatible video monitors, ideal for professional video and cinema workflows, at an unmatched price point.
Device Preview™ Plus: Simulate content across devices and print using side-by-side comparison, pixel sampling, batch conversion, and image processing tools with advanced export functionality.
Light Meter Integration: Sync with Datacolor’s LightColor Meter and other lux-capable devices to adapt calibration to ambient lighting, ensuring consistent accuracy in any environment.
Content Credentials (C2PA): Embed authorship, edit history, and provenance into digital files to protect creative integrity and build trust in an AI-driven world.
"SpyderPro is more than a calibration tool, it’s a workflow revolution," said Heath Barber, Director of Product Management. "It helps creators work smarter and share with confidence."
The upgrade is free for current SpyderPro users. Owners of Spyder, SpyderExpress, SpyderX, and Spyder X2 can upgrade at a discounted price. SpyderPro with the latest software release, is available now for $269 USD/$379 CAD at Datacolor.com, Amazon, and authorized retailers. For more information, visit: datacolor.com/spyderpro
When you use DPReview links to buy products, the site may earn a commission.
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Product Photos: Mitchell Clark
The Canon EOS R6 III is an enthusiast-class camera with a new 32MP full-frame CMOS sensor, aimed at photographers and videographers who need high burst rates and fast readout speeds.
Key specifications
32MP full-frame CMOS sensor
Built-in image stabilization rated to 8.5EV
40fps burst rate w/ pre-capture
3.0", 1.62M dot fully-articulating screen
7K recording up to 60p (Canon Cinema Raw Lite)
Oversampled 4K <60p, 4K 120p
3:2 Open Gate recording up to 30p
The Canon EOS R6 III will be available from late November at a recommended price of $2799, a $300 premium over the Mark II's launch price. The EOS R6 II will formally drop to a $2299 price point. There'll also be a variant costing $100 more, designed to work with the professional stop-motion software, Dragonframe.
The EOS R6 III will be available as a kit with the RF 24-105mm F4-7.1 IS STM for around $3150 and with the RF 24-105mm F4.0 L IS USM for $4050.
The 33MP FSI CMOS sensor at the heart of the EOS R6 III is a new one for Canon's hybrid mirrorless lineup, having only appeared recently in the cinema-focused EOS C50. Canon isn't claiming any particular technological leaps with this sensor, but our initial testing shows that it has even faster readout speeds than the lower-resolution chip found in the EOS R6 II. As usual for Canon, it has a dual pixel design with two sub-pixels at each location, one capturing the left half of the image, the other capturing the right, allowing the entire sensor to be used for phase detection AF.
The faster readout speeds, paired with changes to the card slot and processor (Canon says it's the same generation, but has some improvements) allow for big improvements to video capture. The stabilization system has also gotten a bit of a bump, going from 8EV to 8.5EV.
Updated ports
The EOS R6 III replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one. While you can still use most of the camera's features with an SD card, you will need to use the faster, larger and more expensive storage to record Raw video.
Speaking of video, the EOS R6 II's microHDMI port is no more on the EOS R6 III. In its place is a full-size one, which is much more appropriate on a camera destined to be many people's workhorse.
Better burst
Despite having the same rates, the EOS R6 III improves on its predecessor's burst rates, no longer requiring a special Raw Burst mode to enable pre-burst capture. Instead, there's now a pre-continuous shooting option that you can simply enable when in the H+ drive mode. Canon says this is largely thanks to that CFexpress card slot and its faster write speeds.
Raw Burst mode is no longer on the camera, though it's hard to be sad about that. While there were benefits to Raw Burst mode, such as it displaying bursts as a single thumbnail in the playback menu, it was overall a relatively clunky experience. To edit the photos you took outside of Canon's own software, you had to select the individual frames you want, and save them as a standard .CR3 Raw files, JPEGs, HEIFs or combinations thereof. That extra step is no longer necessary.
Canon also now says the shutter has been durability tested to 500,000 actuations. We're not used to Canon explicitly giving a figure for a camera at this level.
Raw, 7K and open-gate video
The Canon EOS R6 III gains the ability to record Raw video internally at up to 7K/60 in Canon's proprietary Canon Cinema Raw format. It can also now shoot 'open-gate' video at up to 7K/30, recording the entire area of the sensor to produce a 3:2 image that you can take vertical and landscape crops from.
The menus for selecting your recording mode have also been updated. The EOS R6 II presented you with an overwhelming list containing each possible combination of resolution, frame rate and compression settings, but the EOS R6 III thankfully lets you choose these all independently.
The EOS R6 III also now gains a dedicated red tally lamp, making it obvious to both you and your on-screen talent when you're recording.
AF Upgrades
Looking at the autofocus system, it seems largely the same as the one in the EOS R6 II, with subject recognition support for people, animals and vehicles, as well as an auto mode. However, Canon says the algorithms underpinning those modes have been updated to match the ones on cameras like the EOS R1 and EOS R5 II, making it even more reliable.
The EOS R6 III also gains the Register People Priority feature, where you can train it to recognize a specific person and principally focus on tracking them over other people that may be in the scene.
While the cameras theoretically have 'Digic X' processors, Canon says it's made intergenerational improvements to the chip that allow for some of the EOS R6 III's new features.
What is it?
The EOS R6 III is part of the class of "do anything" hybrid cameras.
The EOS R6 III is Canon's enthusiast-tier full-frame camera, which means it's designed to excel at pretty much whatever you want to shoot with it. Like the rest of the cameras in this class (and its predecessor), it's capable enough for most kinds of photography, from landscape shooting to fast-paced action and sports, and comes equipped with the kinds of video features you would've had to buy a cinema camera to get just a few years ago. It also has weather sealing and dual card slots.
Of course, there are some things that separate it from the even higher-end Stacked sensor cameras like Canon's own EOS R5 II. It misses out on a bit of extra resolution and a few features that pros might want, such as the ability to control the focus point with your eye, in-camera 'AI' upscaling and Action Priority modes. Canon says the latter two require a still-expensive co-processor that just wasn't in the budget for this camera, but it should still easily handle whatever tasks enthusiasts throw at it.
It can shoot at a 40fps burst rate for up to 150 shots in Raw and JPEG, and supports pre-burst capture, which can help if you're just a bit too slow to the shutter. You no longer have to use the somewhat clunky Raw burst mode to access these features, like you did with the EOS R6 II.
The EOS R6 III's Register People Priority supports up to ten faces, and will prioritize them according to your set order.
Canon has included its now-standard autofocus system, which has subject recognition for people, animals and vehicles, as well as an auto mode that searches for those within the scene. It also supports registering a specific person and having the camera prioritize them when choosing which subject to focus on.
It also supports HDR output, with its ability to produce 10-bit HEIF stills with the PQ tone curve, in place of JPEGs. While PQ isn't as broadly supported as the HLG curve used by other companies like Nikon and Panasonic, it can, at least, simultaneously record both HEIF and Raws, unlike Sony, which makes you choose between Raw capture and HDR output files. When shooting video, it can capture HDR video footage using either PQ or HLG. The latter is more widely supported when it comes to playback and is a new addition compared to the EOS R6 II.
Speaking of video, the EOS R6 III is well-equipped for motion pictures too. It supports internal Raw recording, a false color overlay to help you nail exposure and the >4K open gate capture gives you greater flexibility in post.
The EOS R6 III in context
The EOS R6 III is launching into a market segment with robust competition. Its predecessor was still quite a sensible option, so we've included it in the comparison, alongside the Nikon Z6III, which offers a similar combination of fast shooting, top-tier autofocus and incredible video specs. We're also comparing the Sony a7 IV, as its 33MP sensor makes it an obvious competitor, even if it can't match the speed of the other cameras on this list.
1x Combo CFexpress Type A / UHS-II SD 1x UHS-II SD
Battery life EVF / LCD
270 / 510
320 / 580
360 / 390
520 / 580
Dimensions
138 x 98 x 88mm (5.5 x 3.9 x 3.5")
138 x 98 x 88mm (5.5 x 3.9 x 3.5")
139 x 102 x 74mm (5.5 x 4 x 3")
131 x 96 x 80mm (5.3 x 3.8 x 3.1")
Weight
699g (25.7oz)
680g (24.0oz)
760g (26.8oz)
658g (23.2oz)
*When combined with a stabilized lens
The Z6III's partially Stacked sensor has higher read noise than other designs, which gives it a disadvantage when raising the shadows (though, importantly, this has no impact on the midtones). We'll have to wait until we get a production EOS R6 III to see how it performs in this regard. In both cases, it's worth checking to make sure whether the lenses you want exist before choosing a system, as both companies place restrictions on third-party lens makers.
While the a7 IV is still a quite capable camera, it's starting to look a little dated compared to the competition. Its rolling shutter performance when shooting full-width video is noticeably bad, it doesn't offer internal Raw video (though it's not an essential feature for most users), and while its autofocus is extremely capable, it's no longer the best that Sony offers. While Sony does allow third-party lenses on E-mount, buyers should be aware that it limits non-Sony lenses to 15fps (not that this is a problem for the a7 IV, with its 10fps max burst rate).
Body and Handling
The EOS R6 III hews close to Canon's tried-and-true design formula, and its body is very similar – though not exactly the same – as the EOS R6 II. It has a hefty grip that fits well in your hand, even with a heavier lens attached. It has an array of customizable buttons – nine in total – which can have different functions depending on whether you're in stills or video mode. Switching between the two modes is handled by a dedicated lever to the left of the EVF.
The autofocus joystick and surrounding buttons are placed within easy reach of where your thumb naturally falls when you're holding the camera, and are grouped in ways that helps you tell which one you're pressing by feel, even when your eye is up to the EVF.
Screen and viewfinder
The viewfinder and LCD have been unchanged from the EOS R6 II, though that's not really a complaint. The rear 3.0" screen is fully-articulated, which will be welcome to those using the camera for video. It's relatively bright, but can be a little difficult to see in extremely bright sunlight.
The viewfinder is large and can refresh at up to 120fps for a very responsive preview. It's not the highest resolution model out there, though, and it can't quite manage to show you a proper HDR preview when you're shooting in PQ mode, though it does have Canon's OVF simulation mode that gives you a better idea of how much dynamic range you're capturing, at the cost of truly previewing your exposure.
There's no discernible viewfinder blackout when shooting in at the highest burst rate settings using the electronic viewfinder, though it'll show up when shooting in lower burst rates or with the mechanical shutter.
Ports
The EOS R6 III has all the connectivity you might expect from this class of camera: USB C, headphone and microphone sockets, a multi-function hotshoe, 2.5mm remote terminal and full-size HDMI port. The latter represents a bit upgrade from the less-reliable and robust microHDMI port found on the EOS R6 II.
It has two card slots: one CFexpress Type B, and one UHS-II SD. You'll have to use the former if you want to record Raw video internally.
Battery
The EOS R6 III uses 16Wh LP-E6P battery, to give battery life ratings of 270 shots per charge via the viewfinder and 510 if you use the rear screen. These numbers jump to 390 and 620, respectively, if you engage power saving mode. As always, the CIPA-defined tests tend to under-represent how many images you can actually get, with double the rated figure not being unusual, but they're useful to compare between cameras. These are reasonable but not great for a camera likely to be used quite heavily by an enthusiast photographer.
The camera will still work with older batteries such as the LP-E6NH, though it warns that not all features will be available, and that some accessories won't work. Most notably, the camera loses support for network connectivity, refusing to connect to your smartphone or other devices.
Video
The EOS R6 III has all the video assist tools most shooters will need: proxies, waveform and false color, dual-level zebras and Log/HDR view assist.
The EOS R6 III The highlights are its ability to record 7K open-gate footage at up to 30p, and support for oversampled 4K footage at up to 60p. It also lets you record in Canon's C-Log 2 or 3 response curves, and now has a button that defaults to opening the Color menu, making it a bit easier to switch between Log and non-Log recording.
It provides both DCI and UHD 4K options, though, humorously, the true 24fps mode is only available when recording DCI. Its Raw mode also lacks a 16:9 mode, but can record open-gate at up to 30p, from which you can take a UHD crop.
Its autofocus options remain the same throughout its recording modes; you still get continuous autofocus with subject recognition even when recording 4K/120 and 1080p/180. This is true both in the standard video recording mode and in the Slow-and-Fast mode that doesn't record audio and produces a file that plays back at a slower framerate.
Recording modes
While the EOS R6 III shares a sensor with the fan-cooled EOS C50, Canon includes several more options on its more cinema-focused camera. As an example, the EOS R6 III doesn't have an HQ Raw mode, nor does it support crop modes in Raw. It can, however, still record proxy files to its SD card slot, which could be quite useful when shooting Raw video.
Both the 4K and Full HD modes can be used in the "Fine" oversampling modes at all but their highest frame rates; the former from 7K capture, and the latter from 3.5K capture. However, Canon does note that, while the 4K/60 Fine mode is still oversampled, it won't have the same image quality that you get from the 4K/30 and slower modes.
Rolling shutter
The R6 III has some truly impressive rolling shutter rates across its full-width recording modes, achieving excellent readout speeds in pretty much every mode we tested (though we haven't been able to measure the Raw modes yet, as we aren't able to decode the footage). Using the oversampled "fine" setting will roughly double the readout speeds over the standard ones, suggesting the standard mode is skipping half the lines, but they're still quick enough that fine mode should be usable in almost any scenario.
Rolling shutter
7K open gate
17.9ms
4K24/60 standard
7.2ms
4K24/60 "fine"
14.3ms
The only mode we'd advise any caution around is its 7K open gate setting. 17.9ms is still very fast, and will improve if you take a landscape crop of the frame, but if you're showing the full frame a little artifacting may start to creep in if you're capturing very fast pans or subjects.
Temperature limits
Unlike the video-focused EOS C50, the EOS R6 III is not fan-cooled. Canon has given the following figures for continuous recording times at 23°C (73°F). Taking shorter clips with some rest time between them is likely to give much longer durations.
Continuous recording times (approx.)
Auto Off Temp: Std
Auto Off Temp: High
Raw 7K/60
23 min
23 min
DCI 4K/120
28 min
35min
DCI 4K/60 Fine (oversampled)
23 min
23 min
Open gate 7K/30 (MP4)
24 min
36 min
The subsampled 4K/60 modes along with both subsampled and oversampled 'Fine' 4K modes at 30p and slower have no temperature restrictions. It's worth being aware of these limits if and when you use the camera's more ambitious modes.
Workflow
Canon includes a variety of tools to help making shooting video and, in particular, nailing exposure, easier. The EOS R6 III has options for both waveform monitoring, which provides more detail about what parts of your image are clipping than a traditional histogram, and a false color overlay, which makes it easier to tell if your skin tones are properly exposed.
It's also now much easier to set your white balance in video mode; you can capture it from the live view, rather than having to set it from a still image on the card (a process that, on other Canon cameras, meant switching into stills mode, taking a picture of your gray card, then switching back into the video mode before diving back into the settings). Speaking of live view, the camera also provides access to level gauges and magnification while recording, so you can make sure your horizon is perfect and your subject is in focus while you're rolling.
The EOS R6 III lets you upload LUTs into the camera, so you can preview an effect you wish to apply, but you can't bake the result into your footage. The EOS R6 III can output lower-resolution proxy files to an SD card while you capture your main footage to the CFexpress card. The only exception is Open gate shooting, where you can capture a proxy alongside Raw shooting but not if you're using MP4 as your main output.
One feature Canon's retained for its cinema cameras is shutter angle, which derives the shutter speed from the recording framerate, rather than an absolute setting. This means you don't have to adjust your shutter speed after changing frame rates to retain the same level of motion blur. It's a setting that most of the EOS R6 III's competitors, such as the Nikon Z6III and Panasonic S1II, have, but that it lacks.
Initial Impressions
By Mitchell Clark
Is it weird to say that the EOS R6 III is kind of surprising? Not the mere fact of its existence, of course; the enthusiast full-frame camera is the market's bread-and-butter, so Canon updating its model makes sense. But it feels like the kind of upgrade you'd see from a company trying to claw customers away from competitors, not one already at the top of the market.
The EOS R6 II, which Canon says will remain in its lineup for at least the medium term, is still a very competitive camera. Not only does it earn second place in our under $2500 buying guide, but Canon tells us it's the top-selling full-frame camera on the market, from any brand. It feels like Canon could've just made a few small improvements and called it a day, and if you just glance at the spec sheet or list of new features, you might get the impression that it has. But the changes it's made are ones that really matter, especially when it comes to competing with the other cameras in this class.
It feels like Canon looked at what other companies were doing, and said "okay, us too, but better."
Essentially, it feels like Canon looked at what the other companies were doing, and said "okay, us too, but better." Sony's shooting 33MP? The EOS R6 III does too, but with the blistering speeds of the lower-res Nikon Z6III and Panasonic S1II, so you no longer have to pick between higher resolution and being able to shoot faster than 10fps. Those two cameras also offer Raw video, another spec the EOS R6 III has caught up on. And for good measure, Canon threw in full-width 4K 120p for the people who like slow-mo, and open gate recording, since Panasonic shooters are so keen on it.
With every Canon release, there are people quick to point out how it's segmenting the market; what features does it lack that higher-end models do? Of course, there are features the much more expensive EOS R5 II has that this doesn't, but they're ones we're told have hardware costs and that, frankly, most people won't find themselves missing. If there are features Canon cut to make its more expensive models more appealing, they aren't obvious to me.
Canon says this camera is still squarely aimed at stills shooters, albeit ones who also need to be able to shoot video, so we're definitely looking forward to getting our hands on a production model to see if the ultra-fast sensor comes with any image quality impact, as was the case with the Nikon Z6III's 'partially Stacked' sensor. Even if there is, though, we're clearly well into the evolution of Canon's 6-series line; in the DSLR days, the EOS 6D was a decent camera, but one with obvious compromises relative to higher-end models. With the EOS R6 III, those compromises are getting much harder to find.
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Sample gallery
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Photo: Richard Butler
Canon has announced the RF 45mm F1.2 STM, a super-fast normal prime lens for full-frame at the unexpectedly reasonable price of $470.
The 45mm F1.2 is a wide-aperture lens that fits alongside the existing 24, 28, 35, 50 and 85mm STM lenses, but offers an F1.2 maximum aperture, rather than the F1.8, F2.0 and F2.8s of its siblings.
It's a relatively simple design with 9 elements in 7 groups, and the samples we've taken so far suggest it exhibits quite significant vignetting, as you open the aperture up. The lens also requires the use of distortion correction as part of its design. Canon suggested to us that it's a lens that delivers "character" rather than being for "MTF chasers."
Photo: Richard Butler
Far from normal pricing
It's driven by a gear-type stepper motor and has a relatively large amount of glass to move, so it's not the fastest to focus lens Canon makes. In use we found the performance to be comparable with the likes of the RF85 F2.0 STM: reasonably quick for most things but with a slight 'chuntering' sound and vibration if it's trying to continuous AF on a static subject.
The lens is relatively compact: 78 x 75mm (3.1 x 3.0") and accepts 67mm filters. It weighs 346g (12.2oz). Minimum focus distance is 45cm (17.7"), yielding a maximum magnification ratio of 0.13x.
The thing that makes the 45mm F1.2 stand out, though, is the price. At $470 it's less expensive than the 85mm F2.0 STM and significantly below the $2699 list price of the L-series 50mm F1.2L USM. If you want a lens hood to go with it, you'll need to pay an extra $70.
The Canon RF45 F1.2 STM will be available from December 2025.
With thanks to Lensrentals for the loan of the Canon EOS R5 II used for this 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.
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Press release:
Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Compact RF45mm F1.2 STM Lens
MELVILLE, N.Y., November 6, 2025 — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of the EOS R6 Mark III full-frame mirrorless camera and the RF45mm F1.2 STM lens. The EOS R6 Mark III camera builds on Canon's renowned 5-series and 1-series legacy, delivering pro-level hybrid performance for advanced photographers, videographers, content creators, and hybrid enthusiasts shooting across portraits, events, wildlife, sports, and social media production. The RF45mm F1.2 STM lens introduces a compact, lightweight prime optic with outstanding f/1.2 performance, ideal for everyday shooting and creative expression.
Canon EOS R6 Mark III Camera Delivers Pro Performance in a Versatile Package
The EOS R6 Mark III camera combines high-resolution imaging, advanced video capabilities, and reliable design to empower hybrid creators.
Key features include:
32.5-megapixel full-frame sensor supporting up to 40fps electronic shutter shooting with 20 frames of pre-continuous shooting, and mechanical shutter/electronic first curtain at up to 12fps.
CFexpress type B + SD card for improved hybrid shooting performance.
Advanced video features including 7K 59.94p RAW Light recording, 4K 119.8p and Slow and Fast motion mode, and 7K 30p "Open Gate" video for increased vertical resolution, compositional flexibility, and post-production stabilization.
Oversampled 4K 60p/30p recording (with 7K oversampling for 30p), Canon Log 2 with up to15 stops of dynamic range, waveform monitoring, Register People Priority and Focus Accel/Decel algorithms inspired by Cinema EOS C400 and C80 cameras for natural, professional autofocus behavior. As well as white balance and operational improvements when recording video.
This camera offers versatility for professionals and enthusiasts, from portrait, wedding and event shooters to birding and landscape photographers and emerging videographers transitioning from smartphones.
Canon RF45mm F1.2 STM Lens Designed to Redefine Compact f/1.2 Prime Performance
The RF45mm F1.2 STM is a 45mm standard prime lens designed for natural perspectives close to human vision, with a wider angle than traditional 50mm options. It's lightweight (approx. 346g) and compact build makes it easy to handle for portraits, snapshots, landscapes, and more-equivalent to approx. 72mm on APS-C bodies like the EOS R7 or R50 cameras.
Key features include:
Wide f/1.2 aperture enabled by innovative PMo aspherical lenses and gear-type STM with magnetic detection, reducing size and weight compared to larger f/1.2 lenses
Rich, three-dimensional bokeh with nine aperture blades for smooth, circular blur; digital lens optimizer corrects distortions for outstanding rendering
Fixed rear-lens focusing system minimizes image quality shifts across distances; aperture range (f/1.2 to f/16) allows flexible depth control, faster shutters, and low-ISO shooting
Enhanced compactness via fixed-length barrel and minimum focusing distance, delivering value and reliability for diverse applications
Availability
The Canon EOS R6 Mark III camera body only and kits with either the Canon RF24-105 F4 L IS USM, the RF24-105 F4-7.1 IS STM USM lens, or the Stop Motion Animation Firmware are expected to be available in November 2025, for an estimated retail price of $2,799.00, $4,049.00, $3,149.00 and $2,899.00 respectively*. The RF45mm F1.2 STM lens is expected to be available in December 2025, for an estimated retail price of $469.99*. For more information about Canon's latest innovations and products, please visit www.usa.canon.com.
* Specifications, availability and prices are subject to change without notice.
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