The Canon EOS R6 III's specs have prompted some people to wonder if its more expensive sibling is worth the extra. Photo: Mitchell Clark

The Canon EOS R6 III takes over as Canon's mid-range, enthusiast-focused full-frame mirrorless model. It brings a number of updates and improvements over the Mark II, including faster readout, more extensive video capabilities and a higher resolution sensor.

This boost in pixel count closes some of the gap between the R6 series and the more expensive R5 series. The EOS R5 II has a list price of $4400 (a substantial 57% premium over the R6 III) but, given it's been on the market nearly a year and a half and the R6 III is just hitting the shelves, the delta between the two is often smaller.

So, what is the real-world difference? And does anyone really need the more expensive camera?

Image quality

The EOS R5 II is based around a 45MP Stacked CMOS sensor, which can be read-out in 1/160 sec in 14-bit mode, with relatively little impact on image quality. It maxes-out at 30 fps shooting.

By comparison, the EOS R6 III has an FSI sensor, that drops to 12-bit readout for its e-shutter mode. This takes around 1/75 sec to read out its sensor, meaning it takes nearly twice as long, but it's able to shoot at up to 40 fps. We've not yet had an opportunity to fully test it, but we'd expect the move to 12-bit readout to limit its dynamic range in e-shutter mode, meaning noisier deep shadows and less room for adjustment.

As ever, it's worth considering whether your shots that need to be shot at 40 fps are the same ones that require maximum DR. If you're not shooting fast-moving subjects that you then expect to make significant tonal edits to, at base ISO, then this may not be a meaningful restriction to your shooting.

Body and handling

The more expensive EOS R5 II has a top-plate display and a mode button, rather than mode dial, if you like that sort of thing. It also has a weather-sealed hotshoe cover that's a pain to remove. Photo: Richard Butler

The outward designs of the EOS R5 II and R6 III are pretty similar, with the most visible difference being the provision of a top-plate status LCD on the R5 II. Some people love a status display, especially when shooting the camera from a tripiod, others see them as a vestigial hangover from late-era film cameras, that didn't have full settings displays in the viewfinder and on a tilt-out rear screen.

The bigger difference is that the EOS R5 II has a magnesium alloy shell, as Canon's pro-grade cameras typically have, whereas the R6 III has a polycarbonate shell on a mag-alloy chassis. For most people this isn't going to be a meaningful difference: large numbers of people buy mid-range cameras and there aren't floods of reports of them breaking, physically. The R5 II is certainly more likely to survive the rough-and-tumble of life in the company of a photojournalist or even the rigours of attending weddings, week-in, week-out, but as an enthusiast, you'll be fine as long as you make some effort to look after either camera. There's not much of a weight saving for this difference, though: the R6 III is just 6% lighter than the R5 II.

The EOS R5 II's enormous-looking viewfinder is a result of the sensor used for Eye Control AF. And if it works for you, it's brilliant. Photo: Richard Butler

Another critical difference is that the EOS R5 II has a higher-resolution viewfinder. Both have optics delivering 0.76x magnification but the R6 III uses a 3.69M dot (1280 x 960px) panel, rather than the 5.76M dot (1600 x1200px) panel in the R5 II. And, built into the R5 II's viewfinder is the eye-detection system that you can use to position your AF point, or select a subject to track. We've had mixed experiences with 'eye-control' AF but when it works, it's excellent, making the R5 II the quicker camera to work with.

Continuous shooting

The EOS R5 II's electronic shutter can shoot at up to 30fps, compared with the R6 III's 40fps, but the R5 II captures more resolution with greater bit-depth and less rolling shutter. Canon EOS R5 II | F3.2 | 1/1250 sec | ISO 640 Photo: Richard Butler

The Canon EOS R6 III can shoot at faster rates than its higher res sibling. Both max-out at a very respectible 12fps in mechanical shutter mode but, as is becoming standard, it's the electronic shutter modes that deliver the fastest performance.

The R6 III can shoot at 40fps in electronic shutter mode, while the R5 II can only hit 30fps: a rate that's slower in approximate proportion to its higher resolution. However, this isn't the whole story: the R5 II's Stacked sensor can read out much faster than the R6 III's can, with a rolling shutter time of 6.3ms, compared to 13.5ms, despite having to read out more pixels.

This faster shutter (taking 1/159 sec to open and close, compared with around 1/74 sec) is also delivered while reading the pixels' output in 14-bit mode, capturing closer to the camera's full dynamic range, whereas the R6 III is having to drop to 12-bit readout mode to achive such speeds. For most applications this won't especially matter, but it highlights how much quicker and more advanced the more expensive sensor in the R5 II is.

It's also the reason Canon allows the R5 II to use flash in e-shutter mode: it can sync at shutter speeds as fast as 1/160 sec, whereas the you have to use the mechanical shutter mechanism to use flash on the R6 III.

Autofocus

Canon promises the use of AF algorithms from the R5 II in the R6 III, so its autofocus performance should be broadly comparable. We've not yet had a chance to directly test them alongside one another, so can't comment on any differences.

However, the EOS R5 II has the "AI" co-processor used in the flagship R1 sports model, which the R6 III lacks. At the very least, this allows the R5 II to deliver Canon's 'Action Priority' AF mode that's been trained to recognize key moments in a number of popular sports, so that the camera follows the most relevant player at key moments. The EOS R6 III shares all its subject recognition modes with the R5 II but doesn't get quite as clever, for key sports.

Battery life

Both cameras use the same LP-E6P battery, and can use older batteries with some feature restrictions and reduced battery life. Photo: Mitchell Clark

Both cameras are built around the same 16Wh LP-E6P battery and, despite having very different sensors and viewfinders, both cameras deliver very similar battery life figures. The EOS R6 III has a rated battery life of 270 shots via the viewfinder, compared with the R5 II's 250, wheras the R5 II pulls ahead if you use the rear screen. Despite using a higher-resolution panel (2.1M dots vs 1.62M), the R5 II hits a rating of 540 shots per charge, to the R6 III's 510.

These numbers are subject to the usual caveats about the eccentricities of the CIPA battery standard (in practice most people will regularly get many more than the rated value), and both cameras offer more efficient 'economy' modes. The difference is that, while a sub-300 shot rating is disappointing in an ethusiast model, it's downright concerning in a camera that pros are likely to use more heavily. If your usage is intensive, you'll need a second battery or a suitable USB PD charging bank for either camera.

The pro-grade distinction

Eye-control AF, Action Priority AF, the more substantial construction and the faster, higher-res sensor will be enough to sway a lot of pros towards the EOS R5 II, but the level of support those users recieve goes beyond this.

Both cameras can be used with the same add-on BG-R20 battery grip. However, the Ethernet capability of the BG-R20P verion only works with the EOS R5 II (the R6 III can still use its battery and portrait orientation control points), so pros needing add-on Ethernet will have to opt for the EOS R5 II.

Additional features

A 179MP JPEG created by "AI" upscaling in the EOS R5 II

In addition to the Action Priority AF mode, the EOS R5 II offers two "AI" trained post-processing options that are delivered using the dedicated co-processor. The first allows you to apply more sophisticated noise reduction to Raw images shot with the camera. The second allows JPEGs to be upscaled to 179MP resolution.

Video

The most obvious difference between the two cameras on the video front is that the EOS R5 II has enough pixels to deliver 8K footage, whereas the R6 III doesn't. However, like most other Stacked sensor camera, the EOS R5 II can't use its fastest readout modes for its video capture, so it doesn't have a crushing advantage over the cheaper camera, in terms of rolling shutter. Its figure of 12.8ms for oversampled 'Fine' 4K is better than the R6 III's nearer 20ms when it generates its 4K from 7K capture. The EOS R6 II offers a 4K/60 'Fine' mode, which the R5 II doesn't, but Canon says this may not match the quality of the oversampled footage captured at 30p and slower, so we won't assume this to be a benefit until we've had a chance to look closer at the output.

Beyond this the two camera's feature sets are pretty similar: Raw video capture and support tools such as waveforms and false color displays. Both cameras have fairly limited recording times for their more ambitious video modes. The difference is that the R5 II can be used with the CF-R20RP fan grip, whereas the R6 III can't.

The EOS R5 II can use the optional CF-R20RP fan unit, the R6 III can't. Image: Canon

Of course if video is your primary concern, Canon offers the video-focused, fan-cooled EOS C50 as part of its Cinema EOS line, offering a more comprehensive set of video modes and extended recording times derived from a similar sensor to the one in the R6 III.

Summary

The EOS R6 III doesn't easily perform all the roles of the R5 II but it's more likely to end up in more people's hands. Photo: Mitchell Clark

Unsurprisingly, the closer you look, the more advantages and benefits the EOS R5 II offers over its enthusiast sister model. For the most demanding users, these differences add up, and it's unlikely that the EOS R6 III would make a sensible alternative.

But for the majority of people who enjoy photography but don't have to make a living from it, the R6 III offers an awful lot of Canon's latest technologies in a much more affordable package. We doubt the arrival of the R6 III is going to make any meaningful dent in R5 II sales, but it puts a lot of its capabilities in a lot more people's hands.

Lexar launched 2TB capacity for its GOLD and SILVER CFexpress 4.0 Type A memory cards:

• 2TB Lexar® Professional GOLD CFexpress 4.0 Type A Card
• 2TB Lexar® Professional SILVER CFexpress 4.0 Type A Card

Here are the details:

Lexar® Professional GOLD CFexpress 4.0 Type A Card

• Capacities up to 2TB to capture larger 8K video files and burst mode images
• Max read speeds up to 1800MB/s¹ and max write speeds up to 1650MB/s¹ when paired with the Lexar Professional CFexpress Type A USB 4.0 Reader (sold separately)
• Sustained write speeds of 1400MB/s, and a VPG400 rating
• Temperature-proof, vibration-resistant, IP68 dust- and water-resistant, and 150N pressure-proof²
• Compatible with current Sony Alpha and Sony FX cameras

Lexar® Professional SILVER CFexpress 4.0 Type A Card

• Capacities up to 2TB to capture larger 8K video files and burst mode images
• Compatible with Sony Alpha and Sony FX cameras
• Max read speeds of 1750MB/s, max write speeds of 1650MB/s when paired with the Lexar Professional CFexpress Type A USB 4.0 Reader (sold separately)
• Sustained write speeds up to 1300MB/s and a VPG200 rating
• Temperature-proof, vibration-resistant, IP68-rated dust- and water-resistance, and 150N pressure proof²

Additional information:

• The 2TB Lexar® Professional GOLD CFexpress 4.0 Type A Card and the 2TB Lexar® Professional SILVER CFexpress 4.0 Type A Card are engineered to help creatives stay in the field longer, with the capacity to store multiple burst photo collections and capture seamless cinema-quality 8K video.
• Featuring max read speeds of 1800MB/s and max write speeds of 1650MB/s,¹ the 2TB Lexar® Professional GOLD CFexpress 4.0 Type A Card can capture vibrant, fast-action shots and accelerate post-production. Combined with sustained write speeds up to 1400MB/s, this card allows users to capture video without missing a frame.
• Built to capture seamless 8K video and gorgeous burst photos, the Lexar^® Professional SILVER CFexpress 4.0 Type A Card delivers max read speeds of 1750MB/s, max write speeds of 1650MB/s and sustained write speeds of up to 1300MB/s¹ so users can capture anything they’d like to shoot.
• Equipped with a rugged design, these cards are built to withstand harsh environments. The 2TB Lexar® Professional GOLD and SILVER CFexpress 4.0 Type A cards are temperature-proof, vibration-resistant, and shock-resistant, and come with a IP68 rating for dust-and waterproof².
• “Built to provide next-gen performance, Lexar CFexpress 4.0 Type A cards give professionals the speed and reliability needed to capture burst photos and large video files without dropping a frame,” said Joey Lopez, Director of Brand Marketing. “Paired with 2TB of storage, this compact and durable card provides massive capacity for you to capture the action and stay in the field for longer.”
• The 2TB Lexar® Professional GOLD CFexpress 4.0 Type A card is available for an MSRP of $699.99, and the 2TB Lexar® Professional SILVER CFexpress 4.0 Type A Card is available for an MSRP of $599.99. Both cards are compatible with Sony Alpha cameras and Sony FX Series cameras.

The new 1TB Lexar Armor stainless-steel memory cards are now available

The post Lexar launched 2TB capacity for its Gold and Silver CFexpress 4.0 Type A memory cards appeared first on Photo Rumors.

Nextorage developed the world’s first memory card supporting both VPG1600 and VPG400 standards (Nextorage products are sold at Amazon and B&H Photo):

Kawasaki, Japan — November 13, 2025 — Nextorage Corporation (CEO: Katsuyuki Honda) today announced the development of the NX-B2PRO+ Series, a CFexpress Type B memory card compatible with both the new VPG1600 and the current VPG400 standards — the first of its kind in the world[1]. The NX-B2PRO+ Series is scheduled for commercialization in 2026. The product has already obtained official VPG1600 and VPG400 certifications from the CompactFlash^® Association (CFA), and preparations for launch are currently underway.

Leading Innovation in Storage for Next-Generation Video Production

Nextorage has consistently delivered storage solutions with world’s first and No.1 in the world, supporting the evolution of video production. To ensure a seamless transition to next-generation standards, the company has leveraged its cutting-edge technology and experience in developing the NX-B2PRO+ Series. In today’s production environments, performance demands on memory cards vary widely depending on the project and equipment used. By supporting both the new VPG1600 standard and the existing VPG400 standard, the NX-B2PRO+ Series provides creators with a reliable bridge to the future of high-performance video recording technology.

About the VPG1600 Standard

The VPG1600, defined in Video Performance Guarantee Profile 5.0 by the CompactFlash Association on February 27, 2025, guarantees a minimum sustained write speed of 1,600 MB/s — a performance level designed to meet the requirements of future high–bit-rate video recording. By also supporting VPG400 (Video Performance Guarantee Profile 4.0), the NX-B2PRO+ Series maintains backward compatibility with current CFexpress Type B devices.

	VPG Profile 4.0 Cameras	VPG Profile 5.0 Cameras
VPG1600 Memory Card		ー
VPG1600 Memory Card	ー
NX-B2PRO+ Series

The NX-B2PRO+ Series ensures stable recording performance even when paired with upcoming cameras designed for ultra–high bit-rate video capture.
Nextorage also offers card readers and portable SSDs optimized for CFexpress 4.0 to maximize the performance of its CFexpress Type B memory cards. Combined use of these products enables a more efficient workflow and a smoother content creation process.

NX-B2PRO+ Series Specifications

Series	NX-B2PRO+ Series
Model / Capacity[2]	NX-B2PROP1330G / 1,330 GB, NX-B2PROP660G / 660 GB
Form factor	CFexpress Type B
Interface	PCIe®4.0 × 2, NVMe 1.4
NAND flash memory	pSLC
VPG	VPG1600/VPG400

[1] Based on Nextorage research as of November 2025.
[2] Capacity is based on 1 GB = 1 billion bytes. A portion of the memory is used for system files and may vary.

The post Nextorage developed the world’s first memory card supporting both VPG1600 and VPG400 standards appeared first on Photo Rumors.

I captured this photo of a trio of metal sunflower sculptures while testing the Canon Powershot G9 X II back in 2017. I enjoyed the way these man-made objects blended into the natural environment. Photo: Dale Baskin

Our November Editors' photo challenge theme is "Compact Camera Bonanza."

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 enter your photos for a chance to be featured on the DPReview homepage later this month.

Enter your photo in the challenge

The world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses for E/Z/L mount raised over $217k on Kickstarter:

Now on Kickstarter: the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses for E/Z/L

The new Caira AI Micro Four Thirds mirrorless camera raised over $403k on Kickstarter:

The new Caira AI Micro Four Thirds mirrorless camera raised over $400k on Kickstarter

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

• SPINN.DESIGN ProWrapp
• Peak Design Pro Tripod
• Lit Duo 1 lightmeter

The post Kickstarter update: Sirui full-frame autofocus anamorphic lenses raised over $217k, Caira AI Micro Four Thirds mirrorless camera raised over $403k appeared first on Photo Rumors.

B&H Photo has a deal on the Adobe Creative Cloud Pro 12-month subscription – you can get it now for $349.99 ($40 coupon applied in cart):

The post Deal of the day: Adobe Creative Cloud Pro 12 month subscription now $349.99 appeared first on Photo Rumors.

Here are some of the early 2025 Black Friday Deals:

The 2025 SmallRig Pre-Black Friday Deals have officially kicked off on their website, with exclusive offers that vary by country. Check the official website for your version of the deals. Some of the offers include spin & win, mystery box, 15%-50% off coupons, and more.

Black Friday deals at B&H Photo.

Luminar Neo 2025 Black Friday deals.

Thypoch Black Friday deals: Thypoch website | B&H Photo  |Amazon.

BrightinStar Black Friday pre-sale.

Ulanzi’s Black Friday early deals – up to 22% off.

Venus Optics Laowa photo lenses Black Friday deals.

Venus Optics Laowa cinema lenses Black Friday deals.

Get an extra 5% off on select Canon gear when you use the Payboo credit card (valid through November 30, 2025).

H&Y filters Black Friday deals.

Kolari Black Friday deals.

Adobe Black Friday deals.

Think Tank Photo Black Friday deals.

The post Early Black Friday Deals 2025 appeared first on Photo Rumors.

Here is what else is new:

Starting soon: Nikon ZR Live Panel Discussion

Camera Obscura is offering a limited-edition lens conversion of the Helios 44 58mm f/2 lens with rangefinder coupling for Leica M-mount

Coming soon: Contax Planar 35/2 T* non-destructive lens conversion kit 2.0 for Leica M-mount

PDR: Canon EOS R100 Compared by Photons To Photos

Fujifilm LUTs Released In 2025 Including The GFX Eterna, GFX100RF, X-Pro3, X-T30III, and X-E5

Viltrox AF 56mm f/1.2 Pro Firmware 1.05

Sigma 28mm f/1.2 and Sigma 24mm f/1.2 Patents Found

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

On Tuesday, November 18th, from 12 p.m. to 3:00 p.m. Pacific Time, we'll join you in our forums to answer questions live and discuss the future of the community.

Ulanzi announed a new FALCAM “Native Guardian” camera cage designed for Hasselblad X2D & X2D II cameras. The new cage is made of Aluminum with triple-hard anodization, has an integrated AirTag-compatible slot, and an anti-theft screw for maximum security.

• Intro offer: $299 after a $50 discount
• Free gift: MagLink wrist strap included
• Available for sale also at B&H Photo, but without the discount and the free strap

Additional information:

Scandinavian design, natural handling

It preserves the camera’s original aesthetics through seamless integration.

Complete protection, high-quality workmanship

Made from high-strength 6061 aluminum with a hard-anodized finish to effectively protect your camera’s original look. The oxide layer is three times thicker than that of conventional camera cages.

Note: A thicker oxide layer provides improved scratch resistance and greater protection.

Screen protection strips:
Ensure a safe distance to prevent scratches when the camera is placed face down.

Low-profile design:
Remains stable even with XCD28/38/55 lenses, protecting the lens from scratches.

Integrated AirTag-compatible slot. Double protection for your camera.

Protect your camera with a hidden AirTag tracking compartment and a Y-shaped security screw that can only be removed with a special tool to prevent theft.

AirTag anti-theft features:
– Abandonment notification
– Precise location tracking
– Audible alarms

Easy to use – Ready for creative shots

Buttons, ports, and battery remain fully accessible.
A sliding cover plate allows easy access to the shutter release cable and memory card.

Tool-free L-plate adjustment
– ​​the L-plate extension is easily adjusted via a knurled screw.
L-plate screw holder.

Modular L-plate included, ready for any shooting situation
– Full setup: Integrated Arca quick-release plate for horizontal and vertical shooting
– Lightweight setup: Remove the Arca L-plate for compact handheld operation

Multi-point mounting system

Five standard 13 mm strap loops for shoulder and wrist straps, supporting multiple carrying options.

* Easy to attach – no metal buckle to prevent scratches. Fits straps up to 13 mm wide.

CMOS alignment marks

Center mark (on L-plate & base plate of the camera cage):
For precise image composition and alignment.

Plane mark (on the left shoulder of the camera cage):
Serves as a distance reference for shift and adapter lenses.

Ulanzi launched a new VF01 waist-level optical viewfinder

The post Just announced: Ulanzi FALCAM Camera Cage for Hasselblad X2D & X2D II cameras ($50 off intro price) appeared first on Photo Rumors.

Canon brought an FSI sensor to a partially Stacked party.

Last week, Canon announced the EOS R6 III, an update to its enthusiast-tier full-frame mirrorless camera. It gains a new sensor, much more capable video specs and upgrades to the autofocus system.

Our initial review goes in-depth on how the EOS R6 III compares to its predecessor, so we'll largely avoid re-treading that ground here. Instead, we'll discuss the three major competitors: the Nikon Z6III, Panasonic S1II, and Sony a7 IV.

Price

In the US, the EOS R6 III, Z6 III, and a7 IV are all priced similarly, with the S1 II standing out as substantially more expensive than the rest. It's less of an outlier globally, though, with it and the EOS R6 III sitting at a few hundred pounds higher than the other two models.

The one thing we'll note about the EOS R6 II is that Canon is keeping it in its lineup for $2299. It's still an extremely capable camera, and those mainly shooting stills will likely want to consider how much it's worth to gain better resolution and upgrades to its (still competitive) autofocus system.

Resolution and readout speed

33MP can capture a lot of fine detail. Canon EOS R6 III | Canon 85mm F1.4 L VCM | F7.1 | 1/40 sec | ISO 100

The EOS R6 III and a7 IV are higher resolution models that utilize more familiar sensor tech, featuring 33MP FSI and BSI sensors, respectively. Nikon and Panasonic, meanwhile, both use a 24MP 'partially Stacked' sensor, which uses more complex circuitry to dramatically improve readout speeds compared to more traditional designs.

Both the Canon and Sony offer an approximately 16% increase in linear resolution compared to the 24MP models, which isn't quite as large an improvement as you might expect just based on the numbers, but will still provide a benefit in capturing fine details.

While the EOS R6 III has the fastest readout speeds, it's worth noting that it achieves this by producing 12-bit Raws, compared to the 14-bit ones its competitors offer. This will limit its dynamic range and result in noise in the deepest shadows compared to its competitors, but it's worth noting that it will only be an issue when shooting in e-shutter mode (though that's also when rolling shutter rate is the biggest concern). While the Z6III also suffers from slightly noisier than typical shadows, that's instead due to its higher levels of read noise, an issue interestingly not shared by the S1II, at least in its mechanical shutter mode.

Rolling shutter rates are especially pertinent when it comes to the a7 IV, which has substantially slower readout speeds than its peers. These make it so you can't use its electronic shutter mode to capture most moving subjects without risking motion artifacts.

Autofocus

The EOS R6 III comes with an upgraded autofocus system, which Canon says uses the algorithms from its flagship EOS R1 and R5 II models. Like most of the other models, it's been trained to recognize several types of subjects, and has several options for selecting your autofocus point.

While the S1II lacks an automatic subject detection mode, the bigger concern is performance. In our tests, we've found it to be less reliable at tracking than we've come to expect from Nikon, Canon and Sony and, unlike its competitors, it doesn't fall back to generic tracking in subject recognition mode, so you have to be more aware of your settings for some types of shooting. It does, however, have an "Urban Sports" recognition mode designed to recognize humans even when they're in odd body positions, such as when they're breakdancing or skateboarding.

The Sony a7 IV isn't as far behind as the table may imply, as its tracking system is still extremely capable. However, it doesn't have Sony's latest AF system, which relies on a coprocessor and supports more subject types and complex human recognition.

Continuous shooting and pre-capture

One of the EOS R6 III's notable upgrades is the fact that its pre-burst capture mode no longer requires going into the special Raw Burst mode, which didn't capture JPEGs and stored captured images in a new, not widely supported format until you exported them into a standard Raw after the fact. Now, it's simply an option you can activate when in the "H+" 40fps drive mode and using the electronic shutter.

The Canon, Nikon and Panasonic cameras all have some level of inflexibility when it comes to burst and pre-burst shooting. The Canon and Panasonic, for instance, don't let you adjust your framerates in each burst mode, though this is especially noticeable on the S1II, which has no options between the pedestrian 10fps and buffer-destroying 70fps. Nikon gives you more control in this regard, but its fastest burst rates and pre-burst options are JPEG-only, giving you less room for adjustments in post.

The a7 IV, meanwhile, hails from an era before pre-burst capture was standard in this class of cameras, and doesn't include any option for it. Its burst rates are also quite slow, as it has to rely on its mechanical shutter; its electronic shutter just isn't fast enough for continuous shooting.

Viewfinder and screen

The EOS R6 III's EVF and screen aren't bad, but they're no longer state of the art.

The Canon EOS R6 III uses the same EVF and rear display as its predecessor, both of which feel perhaps a bit behind the times compared to the larger, higher-resolution ones found on the Nikon Z6III and Panasonic S1II.

What really sets the S1II apart, though, is its articulation mechanism. It lets you tilt it up or down in-axis with the camera's sensor, while also allowing you to fully articulate it for easier video shooting. The extra tilt mechanism also gives you more clearance if you have things plugged into the ports, such as headphones, microphones and HDMI. While the Z6III has a more standard full-articulating screen, the company says its viewfinder is the brightest out there, reaching up to 4000 nits.

The Canon, Nikon and Panasonic will emulate a blackout-free experience in some of their burst modes, but they operate by showing you the previous frame captured, rather than a live view of what you're shooting.

Video - resolution, framerates and workflow

The EOS R6 III's biggest upgrades come to its video recording capabilities. It catches up to the rest of the market, gaining internal Raw recording, tools like waveform and false color and, blessedly, the ability to set white balance live, without having to take a still first.

The EOS R6 III may be one of the best options for slow-motion shooters, as it offers not only oversampled, full-width 60p, but also full-width 120p. However, it presumably achieves this by sub-sampling the footage, which isn't necessarily the case with the cropped modes on the partially Stacked sensor cameras.

The S1II remains one of the most capable hybrid options on the market, offering pretty much every conceivable recording option and assistance tool. Perhaps its biggest leg up, though, is its internal fan, which helps push its recording times past what some of the other cameras on this list can handle. It's also the only hybrid mirrorless camera in this class to support 32-bit float audio recording, though you'll need an external XLR adapter to enable it (unlike Nikon's more video-focused ZR model, which can do it internally). It also has a Dynamic Range Boost mode that allows for greater dynamic range capture, at the cost of the rolling shutter rates jumping to above 30ms, making them not particularly practical for shooting most moving subjects.

Most cameras in this class excel at both stills and video

The Z6III is also very capable at shooting video, with the only real drawback compared to the EOS R6 III and S1II being its lack of an "open gate" mode, which provides more flexibility in post to reframe, or to take horizontal and vertical video from a single clip.

This option is also missing from the a7 IV, but it shows its age in other, more critical ways. Despite having a higher-resolution sensor, it tops out at 4K recording, though this is at least oversampled from 7K capture. It also doesn't offer internal Raw recording, and doesn't include many of the now-standard assistance tools.

Video - rolling shutter

The EOS R6 III has impressive rolling shutter performance for not having a partially Stacked sensor, even in its oversampled modes, which are derived from 7K capture.

The Panasonic, Nikon and Canon cameras all feature more than usable rolling shutter rates in all of their modes, with the exception of the S1II's DR Boost setting. This means you don't really have to worry about whether your subject or camera will be moving too fast for your specific settings.

The Sony is a different story, as the only mode it has capable of capturing fast-moving subjects without too much distortion is its 4K/60 mode, which comes with a 1.5x crop, dramatically changing its field of view. It's possible to work around this limitation, but it's definitely worth considering if you plan on doing a lot of video work.

Ports and storage

This section has perhaps the least to discuss, as most of the brands have settled into a relatively standardized layout. The EOS R6III, Z6III and S1II all have a CFexpress Type B slot paired with a UHS-II SD card slot, headphone and microphone jacks and full-size HDMI.

The odd one out is Sony. While the a7 IV has the same selection of ports, it opts for CFexpress Type A instead. This is a dual-format slot that can also be used with standard SD cards, which could make dual-card shooting cheaper, depending on your needs, but with the camera limited to UHS-II speeds.

Canon and Sony have also equipped their cameras with digital hotshoes, which can be used not only for flash, but with other accessories, such as microphones or XLR adapters.

Battery

The EOS R6 III uses Canon's latest battery, but it's clearly using a lot of power.

The one area where the EOS R6 III is noticeably worse than its predecessor is when it comes to battery life; the extra features come at a cost of it getting around 12-15% fewer shots per charge than the EOS R6 II.

As always, the CIPA ratings tend to under-represent the literal number of pictures you can capture with a single charge; it's not unusual to get double the rating in real-world use. However, it's clear that Canon and, to a lesser extent, Nikon and Panasonic have traded some longevity for their advanced features.

Sony, meanwhile, is the standout. While we might recommend bringing a spare battery or two for a weekend of heavy shooting with the EOS R6 III, Z6III or S1II, we'd be pretty confident leaving the house with only a single fully-charged battery for our a7 IV.

The extras

Like the Nikon Z6III and Panasonic S1II, the EOS R6 III's ergonomics are well-honed.

There are things that don't fit easily into a spec sheet. For example, while the cameras in this roundup are in roughly the same class when it comes to size and weight (though the S1II is the heaviest of the bunch by a fair margin), we find that the a7 IV doesn't feel quite as comfortable to hold as the other models in this roundup.

There's also the matter of HDR output, which is becoming an increasingly interesting option as the industry settles on broadly compatible image formats, and as more and more devices boast screens that can properly display HDR content. While all the cameras can record HDR video, it's worth noting that the a7 IV's HLG HEIF function comes at the cost of Raw recording. The other cameras in this roundup can capture both Raw and HDR HEIF files simultaneously, but Sony makes you choose one or the other.

It's also worth noting that both Canon and Nikon exert more control over what lenses get made for their mounts and Sony or Panasonic do; both companies have shown a willingness to disallow third-party lenses they don't want made. Sony, however, isn't entirely blameless in this regard either; while companies like Sigma, Viltrox, 7artisans and more have produced a wide array of third-party E-mount lenses, they're all limited to 15fps shooting, a restriction not placed on the L-mount versions.

Summary

At this point, it should be clear that the EOS R6 III is a competitive entry in the enthusiast-tier full frame camera market, though it's not entirely dominant. Each model in this range has some trade-offs compared to the others; choosing the Panasonic nets you one of the best display designs and suite of video features, at the cost of less reliable autofocus, while Nikon has great autofocus, but doesn't include things like open-gate recording or Raw stills shooting in its fastest burst rates. And both have less resolution than the Canon, but have faster sensors.

As has been a running theme, the a7 IV is really the odd one out at this point. It's far older than the others, and that age shows in quite a few aspects of its design and capabilities for both stills and video. Still, the selection of lenses available for it is unassailable, and its autofocus is still at least in the conversation with Nikon and Canon, despite being a generation behind Sony's best.

Cosina announced a new Voigtlander APO-LANTHAR 28mm f/2 Aspherical lens for Nikon Z and Sony E mount. Check for pre-orders at: B&H Photo,  Foto Erhardt, and WEX Photo. Additional information on the new lens can be found here:

New lens for Nikon Z-mount announced: Voigtlander APO-LANTHAR 28mm f/2 Aspherical

Voigtländer APO-LANTHAR 28mm F2 Aspherical E-Mount Lens Announced

The post New Voigtlander APO-LANTHAR 28mm f/2 Aspherical lens for Nikon Z and Sony E mount announced appeared first on Photo Rumors.

The new Pocket Printer in the Flash Print Bundle turns the Ace Pro 2 into an instant camera. Image: Insta360

Insta360 has unveiled four more accessory bundles for its Leica co-branded Ace Pro 2 action camera, along with updated firmware. The new print and videography kits, which include cinematic lenses, updated Leica color profiles, a screen hood, a portable printer and more, are aimed at helping users get more out of the tiny camera.

Perhaps the most interesting of the new accessories is in the Flash Print Bundle. The kit includes a pocket-sized printer that Insta360 says is the first portable printer made specifically for action cameras. Unlike many tiny instant printers, it doesn't use Instax Mini film. Instead, it creates three-inch, dye-sublimation prints from what Insta360 says is a "signature paper cartridge" with 10 sheets per pack.

Image: Insta360

Interestingly, the prints feature not just an Insta360 Ace Pro 2 logo on the edge, but also appear to list the camera's sensor size, aperture, and Leica-branded lens name. At the time of writing, you can only buy cartridge refills (for $10 per pack) through the Insta360 website, so it isn't clear how widespread or long-lasting support for the printer will be.

Beyond the printer, the Flash Print Bundle also includes a flip-up screen hood for the camera that promises to make it easier to see the screen even in bright light. It also comes with a leather case and the Xplorer Grip Pro kit (detailed below).

The Xplorer Pro Grip adds dedicated controls. Image: Insta360

Insta360 also released an updated version of its Xplorer Bundle, which was released earlier this year. The new Xplorer Pro kit is an all-in-one grip that features a built-in battery and camera controls. It allows users to adjust digital zoom (the lens itself is fixed), filters, exposure and modes from the grip itself, no menu diving necessary. There's also a more prominent shutter button with a removable, threaded design, allowing for customization. Insta360 says the Xplorer Pro Bundle is exclusive to the US.

Finally, the company also unveiled two video-focused bundles. The Videography Bundle Limited Edition comes in a custom-designed box and includes the Xplorer Grip Pro Kit and 'Cinematic' Lens. The lens allows users to create 2.35:1 widescreen footage, and Insta360 says it "delivers a film-like look straight from the camera."

Both video bundles come with the Cinematic Lens. Image: Insta360

The Ultimate Videography Bundle also takes advantage of the Xplorer Grip Pro Kit and Cinematic Lens. Additionally, it includes an ultra-wide lens and close-up lens, plus the flip-up screen hood.

In addition to hardware, Insta360 has released Firmware V2.0.3 for the Ace Pro 2. The new version adds two additional Leica color profiles: the Leica Eternal and Leica B&W High Contrast. Those join the existing Leica Natural and Leica Vivid options. There are also newly added in-camera film filters, such as Retro Neon and Vintage Vacation, that aim to provide a more polished look without color grading.

All of the bundles are available to purchase today. The Insta360 Ace Pro 2 Flash Print Bundle is available for $580, and the Xplorer Pro Bundle is $520. The video-centric kits are more expensive, with the Videography Bundle Limited Edition coming in at $605 and the Ultimate Videography Bundle at $740. You can also buy each of the accessories separately if you already own the Ace Pro 2.

A VistaVision camera on the set of Bugonia. Image: Variety / Focus Features

What are you willing to put up with to get the exact aesthetic you're looking for? For some Hollywood directors like Yorgos Lanthimos or Paul Thomas Anderson, the answer is a lot, at least according to The Wall Street Journal. The publication recently put out a story titled "The Biggest Diva in Hollywood Is a Camera," going over the on-set headaches brought on by using old VistaVision cameras on productions like Bugonia and One Battle After Another.

The issues are numerous: film jams and other "moody" behaviors that occasionally required some percusive maintenance to fix, and the racket that comes with running 35mm film horizontally, rather than vertically, through the camera. The article recounts ruined takes, on-set slowdowns and the need for insulated boxes and special software to keep the sounds of the camera from ruining dialogue. Overall, it turns out that using cameras whose heyday was in the 50s can be a bit of a pain.

Presumably, those issues didn't come as a surprise to the directors

Well... duh. I could've told you that, and I don't even have an IMDB page (yet). Presumably, those issues didn't come as a surprise to the directors and cinematographers who have chosen to work with them either. (Though the actors may be a different story.) So why did they choose to do it?

I'm sure part of it had to do with the experience. As with shooting stills, there's a texture to shooting movies with film that would take a lot of work and discipline to replicate with digital. To paraphrase Reed Morano in Side By Side*, people may take things a bit more seriously when they hear the money running through the camera, kind of like how photographers are more considered with their compositions when they only have 36 exposures.

Of course, you can get that experience using more modern film cameras that won't have so many issues. The WSJ goes a bit into why the artists chose VistaVision specifically, and cites a variety of reasons, with the foremost being the look. Shooting a movie on what is essentially a stills photography format gets you more detail than you'd typically be able to achieve with a 35mm movie camera, while still having the look of film.

The result is an aesthetic that's somewhat familiar, but grandiose, a callback to tentpole films like North by Northwest and The Searchers. Sure, there are modern digital cameras from Red and Panavision with similarly large sensors, but do they have the heritage?

Maybe not, though I am left wondering whether the audience will truly notice the difference. Certainly, those watching the movie on their phones during their commute or their uncalibrated TVs sitting right in front of a window won't, but there's also the argument to be made that we shouldn't make art for the lowest common denominator viewing experience. And realistically, if you want that specific aesthetic, you either have to go with old film cameras, spend a lot of time in post, bending digital footage to make it look like film, or shoot Imax. And the latter has a lot of the same problems unless, of course, you're Christopher Nolan and can just get Imax to make you an updated camera**.

The Wall Street Journal article is well worth a read, even though most people who have touched a camera before will likely be unsurprised by the initial premise. It's still an interesting look at the lengths some artists will go to fully realize their vision, and the eccentricities of the movie business and old tech.

I'd be interested in hearing from you, though. Do you often find yourself putting up with an annoying camera purely because of the look it produces? Do you find the look of VistaVision or other large film formats compelling enough that you totally get it? Are you happy to have left film behind forever? Let us know over on our forums.

* A documentary hosted by Keanu Reeves interviewing a who's who of cinematographers and directors about digital cinematography, which you should definitely watch if you've made it this far into this article.

** And if you are Christopher Nolan: Hi. Big fan. Don't listen to the haters, I thought Tenet was pretty good.

The previously reported Sirui Astra 50mm/75mm/100mm 1.33X autofocus full-frame cine lenses for E/Z/L mount launched on Kickstarter today (the world’s first full-frame autofocus anamorphic lenses). Here are the details:

• Three focal lengths — 50mm, 75mm, 100mm
• Fast, accurate AF
• Weighing only around 620g
• Unified 136° focus throw with dual-scale markings (imperial & metric)
• 1.33× constant squeeze for authentic 2.35:1 widescreen look
• Smooth, creamy bokeh with distinctive cinematic character
• Two flare styles – Blue (futuristic) / Neutral (natural)
• Consistent color tone across focal lengths
• Professional control with AF/MF switch, aperture lock & de-click, customization
• Weather-sealed build · 3-year replacement + lifetime service

The post Now on Kickstarter: the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses for E/Z/L appeared first on Photo Rumors.

The previously leaked and rumored DJI Neo 2 drone is now officially announced with hands-free gesture controls, LiDAR, faster flight, obstacle avoidance, longer flight time, and a bigger battery:

• Pre-orders: WEX Photo | Foto Erhardt (in stock)
• Weight and Design: 151g lightweight with integrated propeller guards and omnidirectional obstacle sensing using LiDAR and IR sensors.
• Camera: 12MP 1/2-inch CMOS sensor, f/2.2 aperture, 2-axis gimbal for stabilization.
• Video Capabilities: 4K recording up to 100fps, 2.7K vertical video, slow-motion support.
• Flight Performance: Up to 19 minutes flight time, wind resistance to 38 kph, tracking speeds up to 12 m/s in 8 directions.
• Controls and Modes: Gesture and voice control, palm takeoff/landing, QuickShots (Dronie, Circle, etc.), SelfieShot, ActiveTrack.
• Storage and Transfer: 49GB internal storage, Wi-Fi transfer up to 80 MB/s to DJI Fly app.
• Compatibility: Works with DJI app, RC-N3 remote (10km range), motion controller, FPV goggles.

On December 23, 2025, DJI will face an automatic ban in the United States:

 

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The latest DJI leaks and rumors: Osmo Action 6, Neo 2, and Zenmuse L3

The post DJI Neo 2 drone officially announced worldwide except the US appeared first on Photo Rumors.

Image: DJI

DJI has announced a new iteration of its tiny, beginner-friendly camera drone. The DJI Neo 2 introduces several changes designed to make the drone easier and safer to fly, such as obstacle sensing, a new display, and better wind resistance. DJI also gave a boost to the video specs, promising higher-quality footage from the palm-sized device.

DJI's Neo drone is the company's entry-level offering meant for true beginners. However, the original had a tendency to run into obstacles mid-flight, since it could only collect data about what was beneath it, rather than around it. The Neo 2, however, aims to make controlling the drone less stressful, as it can now sense obstacles in any direction, thanks to its "monocular vision system," forward-facing LiDAR and downward-firing infrared sensors. As a result, it's able to sense obstacles in real time to avoid collisions.

The Neo 2 still supports gesture control, or it can be controlled via the DJI smartphone app or compatible DJI controllers. Image: DJI

Another improvement that enables easier drone control comes from improved handling in windy conditions. The original Neo could withstand moderate breezes of 20–28 kph (13-18 mph) while the Neo 2 can handle winds of 29–38 kph (19-24 mph). It should be more stable in open environments, even with some gusty wind, as a result.

The Neo 2 keeps the 12MP Type 1/2 (30.7 mm²) sensor found in its predecessor, but the camera sees other improvements. It's now capable of 4K 100fps recording, up from 4K 30fps. Vertical recording is upgraded to 2.7K (compared to 1080p on the Neo). DJI also increased the aperture of the lens from F2.8 to F2.2.

DJI added a new two-axis gimbal on the Neo 2, which should provide better stabilization over the first version's single-axis gimbal. Additionally, DJI says it improved tracking performance with the new drone, enabling faster response time and better stability at speeds of up to 12 meters per second.

The Neo 2 features a small screen that displays the shooting mode. Image: DJI

The Neo 2 now features a small display on the front near the camera, which shows the current shooting mode to make operation easier when you're using the gesture and / or voice control modes without a controller. DJI has also increased the onboard storage from 22GB to 49GB. All of the new features and hardware changes come with some added weight, of course. The Neo 2 weighs 151g (5.3 oz), which is slightly more than its predecessor.

The Neo 2 keeps other useful beginner tools, such as a selection of "Quick Shot" presets that carry out a pre-programmed move and quick launch tools. It can also be paired with the DJI RC-N3 remote and used with the company's FPV goggles and motion controller for a more immersive experience.

US customers are, once again, out of luck. As with all other DJI releases this year, the Neo 2 will not be officially available in the US thanks to a looming DJI ban. For those outside of the US, the Neo 2 is available beginning today at a starting price of €239/£209 for the drone only.

Insta360 introduced four new videography bundles for the Insta360 Ace Pro 2 camera, co-engineered with Leica:

“With help from Leica, we’ve redefined the action camera. It’s no longer just for capturing thrilling action sports—it has become a creative tool for serious photography.” said Max Richter Co-Founder & VP Marketing.

For the past five years, Insta360 has partnered with Leica to gather feedback on pro-level control, Leica color science, and accessories. The new bundles were recently unveiled at an exclusive event at Leica’s HQ:

• Xplorer Grip Pro Kit: This upgraded grip provides tactile 1–2× slide zoom, exposure control, quick mode switching, and an integrated battery for extended shooting sessions.
• Pocket Printer: Compatible with Insta360 Ace Pro 2, this portable printer—the first made for an action camera—delivers instant, memorable keepsakes from any moment.
• Premium Lenses: Discover new Cinematic, Ultra Wide, and Close-Up lenses for versatile street, portrait, landscape, and macro photography.
• New Leica Color Profiles: Access the new Leica Eternal and Leica B&W High Contrast profiles, alongside the existing Leica Natural and Leica Vivid.
• Film-Style Aesthetics: Try the new Retro Neon and Vintage Vacation in-camera filters for stylized results without heavy grading.
• Firmware Update for All Users: Every Insta360 Ace Pro 2 owner gets access to the new Leica Color Profiles and Film Filters as part of the new update (V2.0.3).

The new bundles can be ordered at B&H Photo and on the official Insta360 website.

Additional information:

Xplorer Pro Bundle: Shoot with Precision. Shoot like a Pro.

Price: $518.99

Including: Insta360 Ace Pro 2 (Dual Battery) and Xplorer Grip Pro Kit.

The Xplorer Pro Bundle is crafted for photography and videography enthusiasts, urban travelers, and adventure seekers who want creativity and convenience on the go. By enhancing handheld controls and enabling on-the-go charging, Insta360 Ace Pro 2 becomes the ideal companion for street photography, vlogging, and everyday moments. With a Leica SUMMARIT lens, Leica color profiles, Dual AI Chip, leading low-light performance, a 2.5-inch flip touchscreen, and FlowState Stabilization, this portable setup delivers premium image quality and creative flexibility. It empowers creators to capture their vision anywhere, with ease and style.

Flash Print Bundle: Instant Prints, Anywhere.

Price: $579.99

Including: Insta360 Ace Pro 2 (Dual Battery), Xplorer Grip Pro Kit, Pocket Printer, Flip Screen Hood, and Classic Leather Case.

The Flash Print Bundle is built for young creators and trendsetters who want instant, playful content creation without heavy gear. It includes the first Pocket Printer made for action cameras*, enabling quick printing and sharing with Leica watermarks directly from the Insta360 Ace Pro 2 or through the Xplorer Grip Pro Kit for added control. Powered by Leica imaging and stylish accessories, this bundle offers an interactive, flexible way to capture and share your story wherever inspiration strikes.

*Refers to the first portable printer designed for action cameras, as of November 12, 2025.

Videography Bundle Limited Edition: Collect, Create, Express.

Price: $604.99

Including: Insta360 Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, and Cinematic Lens.

The Videography Bundle Limited Edition is tailored for creators who appreciate artistry, classic aesthetics, and a streamlined setup. Housed in a custom-designed box, it combines exclusivity and professional appeal with a minimalist approach. The bundle features a Cinematic Lens, delivering a film-like, cinematic look directly from the camera. A thoughtfully curated setup with one lens offers refined simplicity and portability—ideal for creative storytellers seeking distinct style and mood without extra clutter.

Ultimate Videography Bundle: Professional, Complete, Flagship.

Price: $739.99

Including: Insta360 Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, Cinematic Lens, Close-Up Lens, and Ultra Wide Lens.

The Ultimate Videography Bundle is designed for creators looking for a complete, versatile kit for any project—from travel to passion work. Featuring three premium lenses, this bundle maximizes creative possibilities with Insta360 Ace Pro 2 action camera. Each lens supports a different shooting style, unlocking new ways to create. With support from Leica expertise and advanced color profiles, this bundle encourages you to explore fresh perspectives, achieve cinematic results, and unlock new storytelling dimensions.

The post Insta360 introduced four new videography bundles with new accessories co-engineered with Leica appeared first on Photo Rumors.

What's the most memorable photograph you've taken?

Last week, we asked you to look beyond specs and sensors and dig into the true heart of photography: the images that etch themselves into your memory. It wasn’t about the sharpest lens or the newest tech – it was about the stories and emotions behind the frame, whether born from quiet, unassuming moments or from rare, lightning opportunities (literally in our community's cases).

We invited you to share not just your photos, but the context behind them – what, where, who, and most importantly, why these moments stand out. True to form, the DPReview community responded with a dazzling assortment of personal stories. Some are dramatic, others gentle; together, they create a mosaic of what it means to be a photographer at any level.

In the spirit of our previous "Diamonds in the rough" feature – where beloved camera shops became the scene of fond memories and surprises – this week’s entries prove that the greatest treasures in photography are the stories behind the images.

View the above slideshow to check out the 10 selected memorable photographs.

Thank you to everyone who shared their stories! Discuss these spotlight entries in this week's forum thread.

Photo: Collage of entries for this week's Question of the week article

Sundre (Europe)

A fire performance, a flash of inspiration, and the birth of both an unforgettable image and a friendship.

"I took a photo and made a friend. One of my first fire shows, with a new camera (Sony A9), I wasn't sure what I was doing. Somehow, everything came together to create an image I only realized I had when I went home to edit. This entire sequence lasts around 3-4 seconds, and the performer is only visible among the flames from a very specific angle for maybe 0.5 seconds. That day, I happened to nail both the angle and the timing." - Sundre

pwmoree (Netherlands)

Rescue at sea, captured on film - a story as memorable as the photo itself.

"I found this mantaray in my anchor chain when sailing around the world about 44 years ago. The ray was realy stuck but I managed to save tne animal and also save my precious anchor. This was of the coast at Islas Perlas in the Gulf of Panama in 1981." - pwmoree

Tailwagger (USA)

An unexpected heron, perfectly still among rapids, makes a simple landscape session unforgettable.

"I turned around to return to my car and saw a heron, standing dead still in the rushing water just below a little dam, presumably waiting for lunch to come by. It remained so motionless that I was able to capture it with a long enough exposure amid the river's chaos.

The shot is memorable to me not so much for the image but as a reminder that around every corner, even when you're not looking for it, you can find something interesting, perhaps even extraordinary. No matter how good the equipment might get, it's the photographer who makes the result, though a combination of skill, awareness, and most especially luck. A thought I carry with me that helps me persevere whenever I'm out looking, but not finding anything I'm particularly satisfied with.." - Tailwagger

wvdvegte (Netherlands)

The stillness of a cold Polish morning brings lasting peace and a sense of nostalgia to an analog classic.

"Lagów, Poland, 2002. Visiting a conference, I decided to go for a morning walk before breakfast. Around 7AM, this tranquil scene of a solitary angler sitting on a frosted jetty caught my eye." - wvdvegte

DJ STU-C (UK)

Chasing storms at the coast, risking the elements for one amazing frame.

"This is my most memorable, as it earned a place in Practical Photography magazine as a double-page spread. Ironically, a friend and I went out to photograph sunset in the North Sea (Technically it's over land, but from certain parts of North Yorkshire it appears to set in the sea in summer), as we got there, the weather had taken a massive turn and a huge storm was circling overhead. We decided to set our cameras up near the cliff edge, just north of Staithes, and set the timer to shoot continuously. I'll never forget it." - DJ STU-C

MSTR Photography (USA, AK)

Proving that sometimes the most memorable glamour isn’t planned, but found after dozens of creative resets…and a golden rose.

"As a Glamour photographer for over 20 years, I always strive to create something special. Of all the images I have created, the attached image is one that took over an hour of shooting and reshooting with my model to make all the lines, curves, and perspective I envisioned. We started with the idea of capturing the model shaving her legs. Shooting in the bathroom just didn't seem to make the image special. We moved to the kitchen sink and shot about 40 images.

Between each shot, we moved props in and out of the image while adjusting the positions of the objects, paying careful attention to the alignment of the faucet, leg, arm, face razor, the curvature of the belt for the robe, and the angle of the light. But the final adjustment was adding the gold rose in a steel vase to the image. When we saw the finished image on the camera, we knew that we had captured a perfect image, and we broke out laughing." - MSTR Photography

mcxxrr (Italy)

History and destiny, revealed in a morning at Ground Zero.

"Hard question, but this image, taken in NYC back in 2007, showing Ground Zero, gave me Travel Photographer of the Year in 2008 and somehow opened my path as a photographer." - mcxxrr

Yanina G

Sometimes, the photograph that calls to you for years isn’t the sharpest or the boldest. It’s just…yours in the moment.

"The portrait of my grandmother, aged 95. She had finally agreed to pose. She'd never liked her looks, always dismissing my pleas for a "real" portrait: "Why do you want a photo of an old woman? You should shoot the beautiful young people," her shaking hand sweeping the room filled with kids, grandkids, great-grandkids.

She'd been ailing. Her hearing is all but gone. Once an avid reader and an exquisite seamstress, her eyes by then could only make out blurry shapes. A photo session would cheer her up, I thought. "Grandma," I said, "you are beautiful. When a young person is beautiful, they have only their parents to thank. The beauty of old people is earned by them."

The day of the shoot, we didn't have much time. My grandmother tired easily. In her tiny apartment, we helped her to a chair in front of the window. My 13-year-old niece Zoë was holding up a scarf as a backdrop. My 10-year-old niece Sophia diligently propped up a reflector, I shot off a dozen images. "Done," I said. My mother leaned in to hug Grandma, saying, "Good job." And my grandmother beamed up at me. I snapped this last image. The last image I would ever take of her." - Yanina G

Alan Grinberg (USA, CA)

The "most expensive photograph I have ever taken," shot during king tides, cost a camera and some bruises, but delivered drama and a story for the ages.

"I had my Sony a6500 and Zeiss 24 - 70 mm lens set at rapid fire to take 11 frames per second. I saw this wall of water coming over the edge, so I held the shutter button down to catch a series of images. Well, the water kept coming and coming, and within half a second, it pushed the deck furniture against the house, got me soaked, knocked me down, and pushed me through the alley gate. I cut my leg on something I don't know what, my eyeglasses went missing, and the camera was drenched.

I did not feel scared; actually, it was rather exhilarating...Fortunately, the SD card was still sound, and I recorded 7 frames of the event. This is the first photo. The last photo is a solid wall of gray." - Alan Grinberg

Bill Ferris (USA, AZ)

An adrenaline-spiked moment - catching a mountain lion in the wild, a reminder of why we adventure with a camera at our side.

"Just before 8 a.m., I'd quietly gathered & packed my gear, and made my way through the trees to an old logging road that paralleled the forest's edge. I planned to use the ponderosa pines as cover and work my way closer to the pronghorn. If lucky, they wouldn't see us hear me coming.

When I heard the sound of snapping branches as some unseen animal off to my right sprang into action, I instinctively reached for my camera, which was hanging on a shoulder strap against my right hip. My right hand wrapped around the D500's grip, index finger poised above the shutter release. My left cupped the 200-500mm zoom lens.

It was then that I saw the big cat - a mountain lion - leap across the road, no more than 100 feet from me, and continue its sprint. Raising the camera to my eye, I was pivoting at the waist to follow the cat's movement. I caught a brief flash of its head in the viewfinder, pressed my thumb against the AF-ON button, and mashed the shutter release while continuing to pan.

One second later, I lost the animal amidst a dense tangle of fallen branches, raised my head to peer over the camera, and saw the cougar sprinting up a slope toward the top of a low mesa.

Five seconds had passed since I'd heard the mountain lion break from cover. Now, it was gone. Had it been stalking the same pronghorn family I'd been watching?

My heart was racing, and I sat down at the base of a tree, trying to wrap my mind around what had just happened. Had I really just had a close encounter with a mountain lion?" - Bill Ferris

Meike announced a new SE series 85mm f/1.8 Mark II full-frame autofocus lens for Z/L/E mount. Compared with the previous Mark I version, the new 85mm f/1.8 SE Mark II features less CA, better image quality, faster focusing speed, and a closer focusing distance (0.65cm). Orders are now open at:

• Amazon
• Meike online store

Additional information:

• Model: FE/L/Z 85mmF1.8 STM SE II
• SRP: USD229.99
• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: Ф 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal27.8° Horizontal 23.4° Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67° Horizontal 15.53° Vertical 10.38°

Updated list of latest/upcoming/rumored Chinese lenses

The post New Meike SE series 85mm f/1.8 Mark II full-frame autofocus lens announced for $229 (Z/L/E) appeared first on Photo Rumors.