The previously reported Canon EOS R6 V camera and RF 20-50mm f/4 L IS USM PZ lens have now been officially announced:
The post Announced: Canon EOS R6 V & RF 20-50mm f/4 L IS USM PZ, pre-orders now open appeared first on Photo Rumors.
The previously reported Sony a7R VI camera and FE 100-400mm f/4.5 GM OSS lens have now been officially announced:
The post Announced: Sony a7R VI & FE 100-400mm f/4.5 GM OSS, pre-orders now open appeared first on Photo Rumors.
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| Image: Sony |
In addition to announcing the a7R VI and FE 100-400mm F4.5 GM OSS, Sony has unveiled its latest smartphone, the Xperia 1 VIII. The updated version brings a notable hardware change to the telephoto camera, but much of the focus of the phone is on the new AI Camera Assistant feature.
On the hardware side of things, Sony has moved away from the 85-170mm equivalent telephoto zoom lens used in the Xperia 1 VII, opting instead for a fixed 70mm equivalent lens. While the new telephoto camera loses the previous model’s optical zoom range, it gains a much larger sensor. The new 48MP telephoto camera in the Xperia 1 VIII features a Type 1/1.56 (50 mm²) sensor, a substantial boost over its predecessor's 12MP Type 1/3.5 (12 mm²) sensor.
The telephoto camera is the only one to receive a hardware change in this iteration of Sony’s flagship phone. The main (24mm equiv) and ultrawide (16mm equiv) modules carry over, with the main camera still built around Sony's larger Type 1/1.35 (65 mm²) sensor and both offering 48MP resolution.
There are some software changes for the cameras on the new phone as well. Sony says its Raw multi-frame processing now applies to all three rear cameras, expanding dynamic range for HDR images and promising less noise in low-light conditions.
The bigger focus for Sony, though, is the new AI Camera Assistant. Sony says the new feature, which is powered by Sony's Xperia Intelligence, is meant to "make photography even more enjoyable." When you open the camera, the AI assistant can automatically analyze the scene and subject and suggest various adjustments. For example, it may recommend you use a different lens, or suggest various color filters or different background blur styles (what Sony calls "bokeh expressions").
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| Image: Sony |
Outside of the cameras, the phone has a bit of a redesign, too. Sony has introduced a new "Ore" design, which it says is inspired by the color and textures of raw gemstones. There's a subtle texture on the back of the phone, which is intended to provide a better grip, something that phone photographers will likely appreciate. It keeps the dedicated shutter button and 3.5mm audio jack, a rarity on phones these days, and promises up to two days of battery life.
The Xperia 1 VIII is available for preorder now in black, silver and red for £1,399 / €1,499 for the 256GB model. Preorders come with the Sony WH-1000XM6 headphones. Sony is also selling a 1TB gold version exclusively through its online stores in select countries for £1,849 / €1,999.
Press release:
Sony today announces the launch of its latest flagship smartphone 'Xperia 1 VIII'. Featuring the new AI Camera Assistant powered by Xperia Intelligence, which leverages AI technology to enhance photography by suggesting helpful camera settings such as colour tones, lens selection, and bokeh effects which are optimized depending on the scene and subject. The new telephoto camera is equipped with a 1/1.56-inch image sensor, approximately four times larger than that used in the Xperia 1 VII, enabling improved delicate and highly detailed shots of distant subjects. All three of its cameras (16mm / 24mm / 70mm)iii deliver low-light performance comparable to that of a full-frame sensor in terms of noise reduction and dynamic rangeiv, allowing for clear imaging even in dark environmentsv.
With the introduction of Xperia 1 VIII, Sony aims to support the joy of everyday photography and creation by enabling customers in their drive to capture better photos.
Improved Photography Experience Thanks to the New AI Camera Assistant and Telephoto Camera
The new AI Camera Assistant powered by Xperia Intelligence is designed to make photography even more enjoyable. By simply pointing the camera at your subject, it automatically recognises the scene by combining various factors such as the subject itself and weather conditions to suggest different options for your image that include colour tones, lens effects and bokeh expressions. These recommendations are based on Creative Look that reflect Sony’s unique imaging philosophy cultivated through α™ (Alpha™). With a simple tap on the suggestion, you can effortlessly achieve your desired creative expressionvi.
In addition, the telephoto camera is equipped with a 1/1.56‑inch image sensor that is approximately four times larger than that of the previous modelvii, delivering clear and detailed images even in low-light conditions. Furthermore, RAW multi-frame processing is applied to all lenses, simultaneously expanding dynamic range (HDR) and performing noise reduction in low-light conditions. This method effectively suppresses highlight clipping and shadow crushing, improving color reproduction accuracy in high-contrast scenes. Fine details with clear, sharp edges are faithfully preserved in both bright and dark areas. In addition, noise is reduced even in low-light environments, ensuring clear and crisp images.
Redesigned and Crafted to Inspire
The stunning new ORE design is inspired by natural materials with color inspiration for the four new choices originating from raw gemstones, Graphite Black, Iolite Silver, Garnet Red, and Native Goldviii. By incorporating a camera design that makes use of the new telephoto camera, along with newly developed processing applied to the materials used throughout the sides, back, and overall body, a unified and cohesive design has been achieved. Subtle surface textures provide a comfortable feel in the hand and enhanced grip. Xperia 1 VIII retains the famous dedicated camera shutter button which offers a photography experience similar to a dedicated camera, plus the 3.5mm audio jack continues to support high-quality audio using wired headphones, offering exceptional sound quality inherited from WALKMAN® DNA.
Advanced Full-Stage Stereo Speakers Deliver a Powerful, Immersive Sound Experience
Xperia 1 VIII is equipped with newly developed identical left and right speaker units, to deliver further advances in stereo performance. These speakers produce deeper bass and more extended high frequencies, while creating a wider and deeper soundstage. Voices and instruments are reproduced with greater clarity and richness, making music performances and movie scenes feel as though they are unfolding right in front of you for an immersive and engaging audio experience.
Peak Performance Combined with up to Two-Days Battery Lifeix
Powered by Qualcomm's Snapdragon® 8 Elite Gen 5 Mobile Platformx, Xperia 1 VIII has improved processing speed and increased performance by 20%vi. From lightning-fast app launches and seamless multitasking to captivating gameplay and responsive content creation, this powerhouse platform delivers next-generation speed, performance, and efficiency.
The long battery life of up to two-daysxi and 4 years of healthy batteryviii can be enjoyed worry free so you can create, enjoy and relax with the reassurance you won’t easily run out of charge when out and about.
In addition to everyday activities such as browsing social media and websites, Processing Optimizationxii has also been newly applied to the usage of map apps with high power consumption, achieving further reductions in overall power usage.
A Case Designed to Protect and Harmonize
The Xperia 1 VIII can be protected with the optional casexiii, which features a translucent material designed to enhance the device’s ORE-inspired design. It also features a convenient built-in stand that supports both vertical and horizontal positioning, providing comfortable provision for video viewing. Additionally, the material is resistant to yellowing, maintaining its optimum appearance over time.
Pricing and Availability
Xperia 1 VIII will be available to pre-order from 13th May direct from Sony and select online retailers (depending on the country) for approximately 1499EUR / £1399 for the 256 version, during the pre-order period purchases of Xperia 1 VIII will include Sony’s high-end headphones WH-1000XM6. The 1TB Native Gold version is available exclusively from Sony online in select countries for 1999EUR / £1849.
Notes:
[i] Suggestions may not be available depending on the shooting environment, subject, or scene
[ii] Accuracy of the feature may vary according to environmental circumstances and settings. Some performance restrictions may apply.
[iii] 35mm equivalent
[iv] Based on comparisons with Sony digital cameras equipped with full-frame sensors, evaluating still image noise performance and dynamic range under lighting conditions of LV (Light Value) 2 or lower.
[v] limited to still images
[vi] This feature may not be available under certain shooting conditions or settings, including continuous shooting or RAW capture.
[vii] Comparison with Xperia 1 VII
[viii] Colour availability may vary by market, variant or sales channel
[ix] The test assumes a usage scenario based on the standard battery usage profile of Xperia™ users, where internet browsing, video viewing, gaming, and other functions are used for 360 minutes per day (with 1080 minutes of standby time). This indicates that the battery will last for 48 hours of use. Actual battery life may vary depending on usage conditions and environment.
[x] Snapdragon and Qualcomm branded products are products of Qualcomm Technologies, Inc. and/or its subsidiaries. Snapdragon is a trademark or registered trademark of Qualcomm Incorporated.
[xi] Based on simulations of repeated USB charging and discharging with the same type of battery. Battery health depends on usage.
[xii] The effect of power consumption reduction may vary depending on the type of app, its state, and the content being displayed.
[xiii] Sold separately
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The Sony a7R VI is a high res, high speed full-frame mirrorless camera, built around a 66.8MP Stacked CMOS sensor, able to shoot at up to 30 frames per second.
The a7R VI will be available in June, and will retail for $4499, a $600 increase from the a7R V's launch price, which has since risen to $4199.
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The heart of the a7R VI is a new, 66.8MP Stacked CMOS sensor. Unlike the sensors in Sony's previous high-end bodies, the second layer of the sensor isn't DRAM memory, to buffer the data coming off the sensor, instead it's described as a processing layer.
Noticeably, this means that the full sensor readout speed is slower than in the likes of the sports-focused a1 II; instead, it's able to combine the output of its two conversion gain modes, using both the low noise and high capacity modes to give wider dynamic range.
The net result is a sensor that's much faster than its predecessor (around 5.6x quicker than the a7R V, according to Sony) but with better dynamic range. This should significantly expand the range of photographic situations the a7R VI can lend itself to, without a negative impact on the areas where the a7R V already performed well.
The faster sensor allows the camera to shoot bursts at up to 30 frames per second, using its electronic shutter. This is a huge step forward from its predecessor, which took around 100ms (1/10th sec) to read its sensor in e-shutter mode.
The a7R VI is built around a "Bionz XR2" processor, similar to the one in the a7 V (though not necessarily identical). This brings features and AF capabilities, including the Auto subject recognition mode, introduced in cameras such as the a9 III, and the ability to recognize subjects from further away, without the need for a dedicated coprocessor for the AI-derived algorithms.
The faster shooting is backed up with all of Sony's latest support tools. For a start, the 30fps shooting is blackout-free, to let you follow the action. The camera also offers an adjustable pre-capture mode that starts buffering images when you half-press the shutter or hold down AF-On, then saves up to 1 second's worth of images from before you fully press the shutter. This can be tuned down to as little as 0.03 seconds (ie: a single pre-capture frame, in 30fps mode), so that you can compensate for your reaction times without filling your cards with preemptive nonsense.
The a7R VI is not, nor is it intended to be, a sports camera
However, despite all of this, the a7R VI is not, nor is it intended to be, a sports camera. Sony talks about the camera being well disposed toward wildlife shooting, but doesn't list sports as one of its target applications. Having used it in a sporting setting, we found a significant real-world difference between the a7R VI and the a1 II, despite the superficial similarities.
Why the a7R VI isn't a rival to the a1 II
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| Sony is including a dual charger with the a7R VI to help ease the pain of the new battery not being backwards-compatible with the old one. |
The a7R VI becomes the first camera to use a new 'SA'-type battery. It's slightly larger than the existing Z-type batteries and delivers a higher voltage. It has a capacity of 20.9Wh, a 27% increase over the capacity of the batteries in previous high-end Sonys.
The new unit isn't much larger than the FP-Z100, with the locationing rails and contacts more tightly integrated into the body so that approximately 30% more cells can be incorporated into the case without increasing the overall size too much.
The faster sensor also allows for much improved video, even though that's not immediately obvious from looking at the specs. The 8K mode now stretches to 30p, but still comes with a 1.2x crop, much like its predecessor's. However, while the a7R V needed a 1.22x crop to achieve 4K/60, the a7R VI can do full-width 4K/120, provided you activate "Field of View Priority," which comes at the cost of noise reduction.
Like the a7R V, the VI has visible light and IR sensors designed to help produce more accurate and consistent exposure and white balance. The company says it has upgraded the algorithms that handle both parameters to better interpret things like shaded subjects and light sources, to reduce exposure or WB errors.
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The new, larger battery, which sits longitudinally down the grip, rather than the transverse arrangement of the previous design, means the camera's grip has been reworked. It's a subtle change, but the lip around the top of the handgrip is slightly more prominent and the recess on the mount side of the grip, where your fingertips rest, has been reshaped.
Sony stressed that it's not the same as the a1 II/a9 III design (the shutter button isn't at nearly so steep an angle, for a start), but it seems more comfortable than even the recent a7 V's shape.
Another a9 III feature that's absent from the a7R VI is the C5 function button on the front plate of the camera. This is a shame, as we found it worked well for operating the Speed Boost function that the a7R VI has gained. It's a function we used most often in combination with using AF-On for back-button focus, so the absence of a front button makes it more awkward to find a control point that can be readily used while also using AF-On and the shutter button.
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While the a7R VI's viewfinder resolution remains the same as its predecessor's, the underlying OLED panel is different. It can go much brighter and offers a wider color gamut than before, making it the first camera we've encountered with a viewfinder bright enough to preview HDR imagery. Sony also says it can achieve this brightness even when you're using both its 120fps refresh and highest quality modes.
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| Many of the buttons on the back of the a7R VI light up if you press the new illumination button on the top plate. Brightness can be set to low, mid or high, and they can be set to remain lit up. |
Another brilliant addition (in the sense of light being emitted) is the provision of back-illuminated buttons. This is a first for Sony and makes a lot of sense for what is its leading landscape camera. A small button on the top plate lights most of the camera's buttons up, though you'll need to learn to locate it by touch, as it's not itself illuminated. This button can be reconfigured if you need, and illumination can be set to always-on, if you prefer this to battery endurance.
The camera uses the same pair of combined CFexpress Type A / UHS II SD slots, letting you choose between fast, warm storage or the better-established, slower, less rugged format.
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| The a7R VI moves to a dual USB-C arrangement, with the upper one offering fast data transfer and the lower one Power Delivery for charging or powering the camera. |
The a7R VI's main USB port is a 10Gbps USB-C socket that can be used for data or power. Just below it is a second USB-C port. Despite the new shape, it's essentially a continuation of the USB 2.0 (480Mbps) port used for connecting accessories on previous models. The second port is compliant with the USB Power Delivery standard, though, and utilizes high enough power options that it can be used to charge or power the camera.
Every time you connect a USB cable to the camera, it'll ask you which function you want (eg: Live Steaming, MSC Image Transfer, MTP Image Transfer, etc), and remind you of the data rates of each port, and which port you're connecting to, though you can set the default behavior if you always want a specific mode.
The downside of this change is that any external accessories you have that used the Micro-B 'Multi-interface' socket won't now work, even though the second socket is still a USB 2.0 port at heart.
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The new NP-SA100 has a capacity of 20.9Wh, a 27% increase over its predecessor. This powers the camera to a CIPA-rated endurance of 600 shots per charge if you use the viewfinder and 710 if you use the rear LCD.
Even when you bear in mind that CIPA ratings tend to significantly underestimate most people's real-world experiences – double the rated value isn't unusual, more if you shoot a lot of bursts – these are numbers that are likely to push into the realms of 'beyond needing to worry about it,' for a lot of users, with perhaps only wedding shooters having to make use of the two-battery charger that comes with the camera.
That said, it's worth noting that the charge level will diminish over time if you're just offloading data over the fast USB port: you'll want the PD port connected too for prolonged tethered shooting.
The a7R V was a high-resolution studio and landscape camera, but the VI's Stacked CMOS sensor expands its range of capabilities to something much closer to those of Nikon's Z8 and Canon's EOS R5 II, which offer both resolution and speed.
Not included on this chart, but still in the conversation, is the Panasonic S1RII. It targets a similar market of hybrid shooters, with a similar set of stills features and the most complete set of video features. It's not as fast as these rivals but accepts the more widely supported L mount.
We've also left off the Sony a1 II. On paper, it seems very similar to the a7R VI, raising the question of whether Sony has just obsoleted its top-tier sports/action camera. However, the actual shooting experience is quite different on the two cameras, in ways we've covered in more depth in a separate article.
| Sony a7R VI | Canon EOS R5 II | Nikon Z8 | Sony a7R V | |
|---|---|---|---|---|
| MSRP (current) | $4499 / | $4399 / £4399 | $4299 / £3999 | $4199 / £3999 |
| Resolution | 66.7MP | 44.8MP | 45.7MP | 61.0 MP |
| Sensor type | Stacked CMOS | Stacked Dual Pixel CMOS | Stacked CMOS | BSI CMOS |
| Burst shooting rate | 30fps, e-shutter 10fps mech |
30fps, e-shutter, 12fps mech | 20fps e-shutter (no mec) 30fps JPEG only |
7fps e-shutter* 10fps mech* |
| Pre-burst capture? | Variable, up to 1 sec | Yes, up to 0.5 sec (20 images) | Yes, up to 1 sec JPEG only | No |
| Viewfinder Res / mag/ eye point | 9.44M dot 0.9x 25mm |
5.76M dot 0.76x 24mm |
3.69M dot 0.8x 23mm |
9.44M dot 0.9x 25mm |
| Rear screen | 3.2" 2.1M dot Tilt / articulating |
3.2" 2.1M dot Fully articulating |
3.2" 2.1M dot Two way tilting |
3.2" 2.1M dot Tilt / articulating |
| Image Stabilization | 8.5EV center, 7EV peripheral | 8.5EV center, 7.5EV peripheral | 5.5EV | 8EV |
| Stills rolling shutter rate (ms) | 19.6ms | 6.3ms | 3.7ms | 100.5ms |
| HDR still output | HLG HEIF (no Raw) | HDR PQ HEIF | HLG HEIF | HLG HEIF (no Raw) |
| Video resolutions | 8K/30 (1.2x crop) 4K/120 |
8K/60 (30 non-Raw) |
8K/60 (30 non-Raw) 4K/120 |
8K/30 (1.24x crop) |
| Video options | H.265 H.264 (All-I / L-GOP) |
Canon Raw H.265 (All-I / L-GOP) H.264 |
N-Raw ProRes Raw HQ ProRes 422 HQ H.265 H.264 |
H.265 H.264 (All-I / L-GOP) |
| Video assist tools | Corrected Log preview Custom LUT preview Auto framing |
Waveforms Corrected Log preview False color |
Waveforms Corrected Log preview |
Corrected Log preview |
| Media types | 2x CFexpress type A/UHS-II SD | 1x CFexpress Type B 1x UHS-II SD |
1x CFexpress Type B 1x UHS-II SD |
2x CFexpress type A/UHS-II SD |
| Connectivity | 1x USB-C 10Gbps 1x USB-C 480Mbps Wi-Fi 6E |
1x USB-C 10Gbps Wi-Fi 6E |
1x USB-C 10Gbps 1x USB-C 480Mbps Wi-Fi 5 |
1x USB-C 10Gbps 1x USB-B 480Mbps Wi-Fi 5 |
| Battery life EVF / LCD | 600 / 710 shots | 250 / 540 shots | 330 / 340 shots | 440 / 530 shots |
| Dimensions | 133 x 97 x 83mm (5.2 x 3.8 x 3.3") |
138 x 98 x 88mm (5.5 x 3.9 x 3.5") |
144 x 119 x 83mm (5.7 x 4.7 x 3.3") |
131 x 97 x 72mm (5.2 x 3.8 x 2.8") |
| Weight | 713g (25.2oz) | 746g (23.6oz) | 910g (32.1oz) | 723g (25.5oz) |
As for autofocus and handling, the differences between the a7R VI, Z8 and EOS R5 II will all come down to your preferences and use cases (eg, whether you like a top-panel display, need illuminated buttons or both). All three cameras will outperform each other in different scenarios, and some people will prefer one camera's way of doing things over the others.
Autofocus was the main area where we found the S1RII fell behind this extremely capable competition, especially in terms of tracking reliability, but it offers a less expensive route to resolution if action isn't a regular feature of your photography.
The one major callout for the a7R VI is its rolling shutter speeds in its e-shutter modes; while it uses a Stacked sensor like the Z8 and EOS R5 II, it's the slowest of the kind we've seen. This means rolling shutter will put an upper limit on how fast the action it can follow is.
Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
We're only able to publish the JPEGs of the test scene at the moment, but hope to be able to follow them up with the converted Raw images very soon. But even if we only look at the JPEGs, we can see that the higher resolution sensor is resolving detail that its predecessor couldn't, putting more of a gap between it and the Canon and Nikon.
The a7R VI's image quality is truly impressive. 66MP offers the best resolution this side of medium format and is backed up by very high dynamic range. In mechanical shutter mode, the camera appears to be combining the low and high-gain readout modes of its dual conversion gain sensor, something that's made explicit as an option in 4K video mode.
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The s7R VI's autofocus system is able to consistently deliver 66.7MP's worth of detail. Sony a7R VI w/ FE 85mm F1.4 GM II | F2.0 | 1/320 sec | ISO 100 |
Sony says the camera captures 14-bit Raws, even at its fastest shooting modes, but doesn't make clear whether the equivalent of the 'Dual Gain Shooting' video function is being applied to e-shutter stills. Our measurements show that electronic shutter images have slightly higher noise levels in the shadows, and a sensor readout rate that's consistent with the 8K video mode (in which the "Dual Gain Shooting" option is not available), suggesting it's not.
The real-world impact of the difference is extremely subtle, though, with the differences really only visible in direct side-by-side comparison. And in charts of DR numbers.
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The faster sensor in the a7R VI not only allows it to shoot stills much faster than its predecessor, it also allows much more extensive video capabilities. As usual for Alpha-series cameras, all the options are in the 16:9 aspect ratio, and there are also no options for Raw capture. You can output a Raw stream to an external recorder, if you wish.
| Resoluion | Rates | Crop | Compression type | Rolling shutter | |||
|---|---|---|---|---|---|---|---|
| HS | S | S-I | Standard | Dual Gain | |||
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UHD 8K |
24, 25, 30 | 1.22x | Yes | 13.7ms | |||
| UHD 4K (3840 x 2160) |
24 | 1.00x | Yes | Yes | Yes | 7.2ms | 15.8ms |
| 25, 30 | Yes | Yes | 7.2ms | 15.8ms | |||
| 50, 60 | Yes | Yes | Yes | 7.2ms | |||
| 100, 120 | 1.1x / 1.0x | Yes | Yes | 5.6 / 6.2ms | |||
| Full HD (1920 x 1080) |
24, 25, 30, 50, 60 |
Yes | Yes | ||||
| 100, 120 | Yes | ||||||
The most obvious difference is the much-improved rolling shutter rates, but the a7R VI also gains a mode, comparable to Panasonic's DR Boost mode, that combines the low and high gain output of the sensor to deliver much wider dynamic range. As with the Panasonic S1II, this feature is optional, can only be maintained at slower frame rates and approximately doubles the readout times.
The 8K footage, taken from an 8.2K region of the sensor, is comfortably the most detailed. All the 4K footage is taken from the full width of the sensor and derived from 5.0K capture, according to Sony. Given the sensor is essentially 10,000 pixels wide, that would neatly correspond to 2:1 sub-sampling, which would certainly explain the significant increase in aliasing.
The rolling shutter numbers for 4K capture are very close to being twice as fast as 8K mode, which would also be consistent with 2:1 subsampling. This number then roughly doubles when Dual Gain Shooting is activated, but the sampling method and detail capture stay the same.
Like other recent Sony cameras, the a7R VI can record up to four channels of audio, if you connect a mic into the multi interface connectors at the front of the hotshoe.
It can also record, via an optional (and, at $780, quite costly) XLR adapter, 96kHz, 32-bit float audio. This is still relatively rare on hybrid cameras, but the dual analog-to-digital converters needed to exploit the much wider value range of the 32-bit Float notation live in the XLR adapter, so the capability is not built into the camera body.
Even so, the faster rolling shutter rates and the Panasonic-like option to opt for greater dynamic range at the cost of readout speed make the a7R VI a much more credible video camera than its predecessor, again boosting its utility for modern wedding and events shooting.
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The a7R VI is both the most polished camera yet in its series, while also very much being a camera of its series. So the familiar lag when the camera boots up, checks in with the lens, has a bit of a think and then lights up the screen is still present.
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| Some of the a7R VI's menus and messages feel like the would have benefited from another round of regionalization. |
Similarly, the menus, while much more sensibly arranged and easier to navigate, are still creaking under the weight of the complexity of the camera, and aren't helped by overly condensed titles and occasional messages that feel like they've been literally translated from another language, rather than being regionalized into comprehensible phrasing.
This sense is reinforced by little details such as pre-capture, which is one of the default options in the Fn menu, but doesn't work until you first switch from mechanical to electronic shutter mode, then engage continuous shooting. Similarly, the camera offers three multi-shot modes that combine Raw files, two of them have menu settings to select which type of Raw file you want, the third simply defers to the camera's main file type setting. It all feels like it's become too large of a task to ever finish or refine.
Which is odd, because the camera has some lovely details, such as the fact that the e-shutter sound changes with your shutter speed. Rather than it being the exact same sound whether you're shooting at 1/8000 sec or 1/8 sec, it'll simulate changes in pitch, and even the sound of a shutter opening and closing, so that you have an audible cue about exposure time, even when in e-shutter mode.
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| We found the a7R VI more comfortable to hold than the a7 V. |
The camera's grip feels like an improvement over its predecessor, but still isn't as well optimized as Sony's pro-targeting a1 II and a9 III models. For instance, they both have a custom button on the front, which is ideal for engaging the Speed Boost function that raises or lowers the burst rate when held. Without this extra button, the a7R VI has few choices that are easy to hold if you're already using AF-On for back-button focus and have another finger on the shutter.
Pre-capture mode brings a distinct lag and jerkiness to the viewfinder, presumably held back by the camera having to operate in its slower, full-resolution mode while it's buffering images. This is a shame, because the viewfinder is otherwise very good, combining both high resolution and a good refresh rate at most other times.
It's a little disappointing that the first camera to offer an HDR-capable viewfinder is also the only mainstream brand to shoot HDR HEIF images but force you to turn off Raw capture to do so (you can shoot HEIF files with the HLG response curve and Raw, but it you want the camera to include the necessary metadata to display the images as HDR, then it's Raw only).
The first thing that hits you is the camera's seriously impressive image quality, backed up by excellent autofocus
All of which sounds like we disliked the camera, when that's really not the case. There are aspects that we felt would benefit from a little more polish, but the fact that it takes so many words to describe them doesn't mean they're the main things we took away from the experience of shooting with the a7R VI.
Instead, the first thing that hits you is the camera's seriously impressive image quality and the degree to which it's backed up by excellent autofocus. It only takes a single sentence to write it, but that's the thing that matters most.
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The a7R V wasn't lacking in resolution, but the VI adds even more. |
The a7R VI isn't as quick in practice as the Nikon Z8 or Canon EOS R5 II, but instead it offers higher resolution, excellent DR, a very customizable, multi-dial interface and by far the best battery life in class. There are plenty of people for whom that will (and should) matter a whole lot more than some of the menu phrasing needing another round of localization.
Anyone hoping for a cut-price a1 II will find themselves disappointed: you can definitely feel the limitations as you push towards the outer edge of what the camera promises to do. But, then again, it promises to do an awful lot, and it brings its image quality excellence to a much broader range of applications than previous a7R models could.
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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| Product photos: Mitchell Clark |
Sony has announced the FE 100-400mm F4.5 GM OSS, a full-frame telephoto lens that acts as a spiritual successor to the 100-400mm F4.5-5.6 GM OSS from 2017. Of course, there are a few differences; it now features a constant maximum aperture, as well as an internally zooming design, though both things come with a cost (and not just a monetary one).
The 100-400mm F4.5 GM OSS is made up of 28 elements in 20 groups, using a mix of Sony's advanced optics. That includes two "Super ED" and three ED elements to reduce chromatic aberration, an "XA" aspheric lens and an "ED XA" (extra-low dispersion extreme aspherical) lens to suppress aberrations and reduce onion ringing in bokeh. It has an 11-bladed aperture, and a minimum focusing distance of 0.64m (2'1") at the wide end, and 1.5m (4'11") at the long end.
It uses four of Sony's "XD" linear autofocus motors, which the company says will provide responsive tracking even when using the a9 III's 120fps burst mode. It speaks to the ambition of making a lens that's perfectly capable of shooting sports and wildlife. To that end, it can also be fitted with a teleconverter for extra reach.
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| There are a lot of controls on this lens (plus an extra one on the other side of the foot, hidden by a door). |
The 100-400mm F4.5 GM OSS has all the other bells and whistles you'd expect from this grade of lens, too. A bank of switches along the side let you control things like autofocus / manual focus, Sony's "Full Time DMF" feature, applying a focus limiter, turning optical stabilization on and off, and choosing which mode it's in. It also features four customizable buttons; they're all assigned to the same function, but give you quick access no matter how you're holding the lens. Behind them is a toggle function ring, and then the zoom ring, which has adjustable tension, and only requires a quarter turn to go from 100 to 400.
The rotating tripod foot – which is quite comfortable to hold thanks to its dual-texture design – has detents at 90° intervals, which you can set to be clicked or click-less. Finally, Sony has a solution for anyone who balks at buying 95mm filters for this lens: near the mount is a drop-in filter holder, which can accommodate (much cheaper) 40.5mm glass. The lens is sealed for dust and moisture, and has a fluorine coating on the front element to repel oils, dirt and water.
At 328mm (12.9"), the lens is a fair bit larger than the previous 100-400, which had an extending design and was 205 mm (8.1″) long at its shortest. It's also heavier, weighing 1840g (64.9oz), versus 1495g (52.7oz). While that's certainly not nothing, in my experience, it actually feels shockingly light given its size and specs. I was able to carry it around a wildlife area for two hours, often pointing it into the sky to take pictures of birds, without wearing my arms out. It's also not immensely difficult to carry in a backpack, though it still physically takes up a fair amount of space.
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|
Unlike Sony's previous-gen 100-400, you can shoot at F4.5, even at 400mm. Sony a7R VI | Sony FE 100-400mm F4.5 GM OSS | 400mm | F4.5 | 1/400 sec | ISO 320 Out of camera JPEG |
This lens is a more ambitious offering than its nine-year-old predecessor, both in terms of its aperture and its optical performance. It's clear Sony is targeting professionals and enthusiasts who are shooting sporting events (like the upcoming World Cup) and wildlife, but who want the versatility of a zoom and don't want to step all the way up to its highest-end telephoto primes. Those users will likely be willing to put up with the fact that the lens is larger and heavier for its speed at the long end, image quality and faster AF.
However, the lens is also coming in at a substantially higher price point than its predecessor, retailing for $4300, while the 4.5-5.6 will run you $2800. Still, for those who need the performance, Sony has clearly built a very capable option. It'll be available starting in June, alongside the newly announced a7R VI.
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; we do so in good faith, so please don't abuse it.
While we typically process images for a lens sample gallery using Capture One, we used the Sony a7R VI to test the lens, which isn't currently supported by that program. The images are out-of-camera JPEGs, and will therefore have corrections applied. We'll look to replace them with processed Raws when we can.
Press release:
Super-telephoto zoom with constant F4.5 aperture, autofocus up to 3x faster1,2, and outstanding mobility
SAN DIEGO, May 13, 2026 — Sony Electronics Inc. introduces the FE 100-400mm F4.5 GM OSS, the newest addition to its flagship G Master™ lens series for full-frame AlphaTM E-mount cameras. Covering a 100-400 mm focal range with a constant F4.5 aperture, the lens delivers the exceptional resolution and bokeh that define the G Master series, high-precision autofocus (AF) up to approximately 3x faster1,2 than the FE 100-400 mm F4.5-5.6 GM OSS. Weighing approximately 65 oz. (1,840 g) with an internal zoom structure, its stable weight balance offers highly mobile shooting capabilities. The FE 100-400mm F4.5 GM OSS gives wildlife, birding, sports, and photojournalism creators the speed, reach, and image quality to capture decisive moments in any environment, expanding their creative possibilities.
"Our creators want super-telephoto reach with G Master optical quality in a body light enough to shoot handheld all day. The FE 100-400mm F4.5 GM OSS delivers constant F4.5 aperture, dramatically faster autofocus, and a build that keeps up with the user’s instincts, whether tracking a bird in flight or working the sideline at a championship match," said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc.
Uncompromising G Master Optics
Autofocus That Keeps Pace with the Action
Lightweight Build, Exceptional Mobility
Combining the latest optical design, mechanical engineering with lightweight yet robust magnesium alloy barrel components, and high-efficiency, high-thrust XD Linear Motors, the lens achieves a lightweight and robust body at approximately 65 oz. (1,840 g)
Inner-zoom design maintains constant length and stable center of gravity throughout the zoom range for precise framing adjustments without shifting balance
Professional-Grade Control and Reliability
Pricing and Availability
The FE 100-400mm F4.5 GM OSS will be available in June 2026 for approximately $4,299.99 USD and $5,599.99 CAD. It will be sold directly through Sony and various Sony authorized dealers throughout North America.
The FE 100-400mm F4.5 GM OSS product video can be viewed here: https://youtu.be/iDhbKSdqqb8
For more information, visit: https://electronics.sony.com/imaging/lenses/all-e-mount/p/sel100400mc
1 Compared to the FE 100-400 mm F4.5-5.6 GM OSS.
2 When mounted on the Alpha 9 III. Compared to the FE 100-400 mm F4.5-5.6 GM OSS. Based on Sony test conditions.
3 Compatible with 1.4x Teleconverter (SEL14TC) and 2x Teleconverter (SEL20TC).
4 With 2x Teleconverter (SEL20TC) attached.
5 Based on Sony test conditions. Continuous shooting speed may decrease depending on shooting conditions. When focus mode is set to AF-C, continuous shooting speed varies depending on the lens attached. Please check the lens compatibility information support page for details.
6 Please refer to support information for compatible cameras. When this function is set to [On], angle of view and image quality may change slightly. Depending on the lens, compensation may not be fully effective even when this function is set to [On].
7 Assignable functions vary depending on the camera used. Please refer to support information for compatible cameras for details.
8 The lens is designed with dust and moisture resistance in mind but is not completely sealed against dust or water droplets.
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | 35mm FF |
| Focal length | 100–400 mm |
| Image stabilization | Yes |
| Lens mount | Sony E, Sony FE |
| Aperture | |
| Maximum aperture | F4.5 |
| Aperture ring | No |
| Number of diaphragm blades | 11 |
| Optics | |
| Elements | 28 |
| Groups | 20 |
| Special elements / coatings | 2 super ED, 3 ED, 1 ED XA, 1 XA |
| Focus | |
| Minimum focus | 0.64 m (25.2″) |
| Maximum magnification | 0.25× |
| Autofocus | Yes |
| Motor type | Linear Motor |
| Full time manual | Yes |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 1840 g (4.06 lb) |
| Diameter | 120 mm (4.72″) |
| Length | 328 mm (12.91″) |
| Sealing | Yes |
| Colour | White |
| Zoom method | Rotary (internal) |
| Power zoom | No |
| Filter thread | 95 mm |
| Filter notes | 40.5mm rear drop-in filter |
| Hood supplied | Yes |
| Tripod collar | Yes |
 |
|
The Canon EOS R6 V, with its kit lens, the newly-introduced RF 20-50mm F4 L IS USM PZ. Images: Canon |
The Canon EOS R6 V is a video camera designed for "advanced creatives," built around the same 32MP full-frame sensor and processor as the company's hybrid mirrorless EOS R6 III. It has a boxier design, having lopped off the EVF (and mechanical shutter), and added a fan to help prevent overheating when using its more ambitious recording modes.
While the EOS R6 V's capabilities are very similar to the EOS R6 III's, its design and controls are centered around video. Its flat top plate will play well with gimbals, and it has top-plate and front-plate record buttons, with the former also having a zoom lever around it. There are several customizable buttons, with one set up by default to bring you to the Color menu, where you can change from shooting in the standard color mode into C-Log 2 or 3 recording, the recently-added HLG HDR mode (which joins the existing PQ HDR mode), and more.
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| Like the EOS R50 V, the EOS R6 V features a side-mounted tripod socket for vertical shooting. |
The EOS R6 V has the customary 1/4-20" tripod mount on its bottom plate, but it also has an additional one on the side of the grip, next to the card door that hides the CFexpress type B and UHS-II SD slots. This lets you easily mount the camera vertically when shooting for social media, though the cards would then be hard to access. On the other side of the camera are most of the ports you'd expect for an enthusiast video option: full-size HDMI, headphone and microphone ports, 10Gbps USB-C and a remote terminal (If you want timecode, you'll have to step up to the cinema line.)
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| The EOS R6 V largely shares the EOS R6 III's selection of ports, but this side also shows the large exhaust for the fan. |
Perhaps the biggest performance differentiator between the EOS R6 V and R6 III is that the new camera has a fan, which Canon says will allow it to record heavy formats for much longer, even under warm conditions. When the EOS R6 III launched, Canon said it could only record 20 to 30 minutes of oversampled 4K/60 or open gate 7K before overheating. With the Canon EOS R6 V, though, the company is promising two hours or more in those modes, even in ambient temperatures of 30°C (86°F), as long as you have the fan and overheat limits set to high, and the camera on a tripod.
Canon says the fan in the EOS R6 V is smaller than the one found in the EOS C50; while the more consumer-oriented version should perform well under most circumstances, the pro-grade camera is designed to essentially never overheat, no matter how long you're shooting for, and how hot it is.
The camera also gains several video-focused features. It has a product-focused "Close-up demos" mode that temporarily overrides facial recognition when you're holding up something to the camera. Unlike on previous Canon cameras, including the EOS R6 III, where it was a scene mode that severely limited your control over exposure and audio settings, it's now just an AF option that you can enable across video modes.
The EOS R6 V also offers granular control over white balance, letting you customize how quickly its auto system will adjust when, say, moving from an indoor to outdoor setting. You can also assign a custom button to lock white balance, and to switch between up to four pre-selected kelvin settings.
The EOS R6 V uses the same menu system from Canon's other consumer-focused EOS cameras
It uses the same menu system from Canon's other consumer-focused EOS cameras, rather than borrowing the production-focused UI of Canon's cinema line, as you'll find on the EOS C50, a highed-end camera that uses the same sensor. While this undoubtedly makes the camera simpler for a beginner to pick up, it also means more advanced users won't have the ability to set shutter angle, rather than speed, or to get a desqueezed preview when using anamorphic lenses.
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| The EOS R6 V's sensor is quite quick for video, but won't be so fun to use for stills. |
In terms of stills, the EOS R6 V has similar capabilities to the EOS R6 III, in that it can shoot 32MP images in burst rates of up to 40fps. However, if you're shooting fast-moving subjects, you'll have to be aware of rolling shutter, since the camera doesn't have a mechanical shutter. This also limits its capabilities for flash shooting; in fact, the ability to even use a flash at all won't be added until after the camera launches, via a firmware update. Even after it arrives, though, we wouldn't expect it to sync above 1/60th of a second, given the EOS R6 III's 13.5ms e-shutter readout rate.
Up until now, Canon's V-series cameras have mainly been lower-end options aimed towards more casual creators. With the EOS R6 V, though, the company is competing with the likes of Sony's ZV-E1 and Nikon's ZR, providing an option between the entry-level vlogging cameras and its pro-grade ones designed to be operated by a team.
Canon is providing an option between the entry-level vlogging cameras and its pro-grade ones
It's an especially interesting competitor to the recent ZR, as they're similar in several ways: both use the full-frame sensors found in the companies' enthusiast-tier hybrid cameras, and both focus on letting you up your production value by shooting in Raw. There are pros and cons to each; the ZR has internal 32-bit float audio and a 4" display, compared to the EOS R6 V's 3" monitor, but Canon allows for full sensor height "open gate" recording, and has full-size HDMI and SD card slots, versus the ZR's micro-variants. But both clearly target the same market.
The EOS R6 V will be available starting at the end of June, and will retail for $2499, $300 less than the EOS R6 III. There's also a version with special firmware features for recording stop motion, available for $100 more. The camera is launching alongside the RF 20-50mm F4 L IS USM PZ, a video-focused power zoom lens that will act as its kit option, and which you can read more about here. The kit will cost $3699, $200 less than if you bought the camera body and lens separately.
Press release:
MELVILLE, N.Y., May 13, 2026 – Canon U.S.A., Inc. a leader in digital imaging solutions, today announced the launch of the new full-frame EOS R6 V camera, the RF20-50mm F4 L IS USM PZ lens and accessories designed to empower the content creators and advanced videographers of today who seek flexibility, portability and high-end video performance in one powerful package. The EOS V-series lineup from Canon answers this call and delivers advanced video tools in a streamlined, creator-friendly system designed to let creativity soar.
Make Movie Magic with the EOS R6 V Camera
A new addition to the EOS V-series lineup specifically built for video capture, the EOS R6 V camera is designed for creatives who capture video on a daily basis who want control, operability, and reliability, with limited creative constraints. Designed for handheld and gimbal shots, the camera features robust in-body IS as well as a 7K / 32.5MP full-frame CMOS sensor, 7K 60p RAW, 7K 30p Open Gate, and support of Slow and Fast Mode. From short-form social video to long-form video productions and podcasts, the EOS R6 V camera is a powerful tool for exploring the expansive possibilities of self-produced storytelling.
Key features include:
Zooming In on Creativity
Every filmmaker toolkit needs a standout zoom lens, and the new RF20-50mm F4 L IS USM PZ zoom lens is an outstanding option. This full-frame compatible L-Series, RF mount lens is Canon’s first L-series lens to feature built-in power zoom without the need for additional accessories. With a versatile 20mm to 50mm focal range, it provides ultra-wide angle views, and zooms through to a standard field of view – bringing subject details within reach. The lens enables high-quality video imagery, balancing lightweight agility with professional-level performance.
Key features include:
Accessories Designed for Flexibility
To complement the EOS R6 V camera and RF20-50mm F4 L IS USM PZ lens, Canon is debuting a range of optional accessories tailored to modern content production, including:
New Content Creator Kits
To empower creators of all varieties, Canon is also launching new content creator kits including:
Availability
The Canon EOS R6 V camera body only, kit with the RF20-50mm F4 L IS USM PZ lens, or the Stop Motion Animation Firmware2 are expected to be available in late June and July for an estimated retail price of $2,499.00, $3,699.00 and $2,599.00 respectively3. The Canon RF20-50mm F4 L IS USM PZ lens is expected to be available in late June for an estimated retail price of $1,399.003.
The BR-E2 Wireless Remote Control, HG-200TBR Multi-Function Tripod Grip and AD-M1 Macro Lite Adapter Set are expected to be available in late June for an estimated retail price of $69.99, $159.99, $179.99 respectively3.
The Creator Accessory Kit II, PowerShot V1 Video Creator Kit and the EOS R50 V Video Creator Kit are expected to be available in early July for an estimated retail price of $249.99, $1,279.00 and $1,199.00 and respectively3.
1 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone iOS 12.0 or later, iPadOS 13.7 or later, iPod Touch 12.0 or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.
2Certain camera features are disabled when the Stop Motion Animation Firmware is installed. For more details, visit https://www.usa.canon.com/explore/stop-motion-animation-firmware
3 Specifications, availability and prices are subject to change without notice.
| Price | |
|---|---|
| MSRP | $2499 |
| Body type | |
| Body type | Rangefinder-style mirrorless |
| Sensor | |
| Max resolution | 6960 x 4640 |
| Image ratio w:h | 1:1, 4:3, 3:2 |
| Effective pixels | 32 megapixels |
| Sensor photo detectors | 34 megapixels |
| Sensor size | Full frame (35.9 x 23.9 mm) |
| Sensor type | CMOS |
| Processor | Digic X |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | 100-64000 |
| Boosted ISO (minimum) | 50 |
| Boosted ISO (maximum) | 102400 |
| White balance presets | 8 |
| Custom white balance | Yes |
| Image stabilization | Sensor-shift |
| CIPA image stabilization rating | 8.5 stop(s) |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, Normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Number of focus points | 4897 |
| Number of cross-type focus points | 1053 |
| Lens mount | Canon RF |
| Screen / viewfinder | |
| Articulated LCD | Fully articulated |
| Screen size | 3″ |
| Screen dots | 1,620,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | None |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/8000 sec |
| Maximum shutter speed (electronic) | 1/8000 sec |
| Exposure modes |
|
| Built-in flash | No |
| Drive modes |
|
| Continuous drive | 40.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±3 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±3 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | H.264, H.265, Canon Cinema Raw, Canon Cinema Raw Light |
| Modes |
|
| Microphone | Stereo |
| Speaker | Stereo |
| Storage | |
| Storage types | 1x CFexpress Type B, 1x UHS-II SD |
| Connectivity | |
| USB | USB 3.2 Gen 2 (10 GBit/sec) |
| USB charging | Yes |
| HDMI | Yes (Full-sized) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | Wi-Fi 5 |
| Remote control | Yes |
| Physical | |
| Battery | Battery Pack |
| Battery description | LP-E6P lithium-ion battery & charger |
| Battery Life (CIPA) | 510 |
| Weight (inc. batteries) | 688 g (1.52 lb / 24.27 oz) |
| Dimensions | 142 x 83 x 80 mm (5.59 x 3.27 x 3.15″) |
| Other features | |
| Orientation sensor | Yes |
| GPS | None |
 |
| Image: Canon |
Canon has announced a new full-frame power zoom lens: the RF 20-50mm F4 L IS USM PZ. As it's launching alongside the company's new video-focused camera, it's no surprise that the primary audience for this lens is videographers, though it has a clever trick that makes it an interesting choice for photography as well.
The RF 20-50mm F4 L IS USM PZ has 13 elements in 11 groups, with 2 glass molded aspheric lenses and ultra-low dispersion elements. It has a minimum focusing distance of 0.24m (9.4"), providing up to 0.14x magnification at its widest setting and 0.33x at its long end.
The lens's trick is how you change your focal length. Canon says this is its first switchable power zoom. That means that you can control it by jogging the zoom ring, like with its other RF power zoom lens, or by rotating the zoom ring between set points, as with most stills zooms. The first bit of the lens's zoom ring is its power zoom setting, letting you rotate it left or right to have the motors zoom it in or out, but flip a switch, and you can get to the more traditional, mechanically limited zoom ring.
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| The lens' zoom ring has two ranges: one for power zoom, the other for a more traditional zoom experience. Photo: Canon |
In power zoom mode, its zoom can also be controlled by the camera body, and you can configure its speed. Canon also says you can control the zoom using its Camera Connect app, or with a Bluetooth remote connected to your camera.
The power zoom is driven by two of Canon's "Nano UltraSonic Motors" – one for each of its zoom groups – while another Nano USM handles focusing. The company says that focus breathing, where the field of view changes with the focus, is minimized. It's also an internally zooming design, so its center of gravity shouldn't change substantially as you change your focal length, making it suitable for gimbal use.
As you might hope for a lens that you may hold at arm's length to film yourself, it's not particularly heavy at 420g (14.8oz). It's 98mm (3.9") long and is threaded to accept 67mm filters.
Canon says the lens' optical stabilization is good for 6EV at the center
Since it is a video-focused lens, it's also not a surprise that it features optical stabilization, which Canon says is rated for 6EV at the center on its own, and up to 8EV at both the center and corners when coordinating with a camera's IBIS system.
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| The lens' controls, as well as the switch to toggle between power zoom and manual zoom mode. Image: Canon |
Beyond the fancy zoom ring, it has the controls we've come to expect from an L-series RF mount lens: there's a programmable function button, switches to control stabilization, power zoom mode and focus mode, and a customizable control ring. The company also says the lens is sealed against dust and moisture, and that it has a fluorine coating on the front element to repel oil and water. It includes a lens hood and a fabric carrying case.
This lens is an interesting addition to Canon's lineup, and will likely be an especially welcome one for content creators. It's Canon's first full frame lens for RF that has power zoom via internal motors, rather than via an external attachment, making it much friendlier to use. The zoom range is also a reasonable choice for vloggers, as, on a full frame camera, it'll be wide enough to comfortably film yourself without totally excluding your surroundings.
In that way, it's a very close analog to the APS-C 14-30mm F4-6.3 IS STM PZ that Canon launched alongside the EOS R50 V, though the constant aperture is a welcome addition, especially given the RF 20-50mm F4 L IS USM PZ's price. It will retail for $1399 standalone, and is also available as a kit with the EOS R6 V for $3699 (a $1200 premium over the camera's body-only price). It's slated to start shipping at the end of June.
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| Image: Canon |
Canon wasn't content to just launch a new camera and lens today. Arriving alongside them is a collection of accessories. Some of them are clearly tied to the EOS R6 V, while others seem to have just been ready at the same time.
Starting with the one that'll excite every user of Canon's RF mirrorless system: a new rear cap for lenses. While that might not sound game-changing at first blush, it could be a big quality-of-life improvement. With the first-gen cap, there was only one correct way to attach it, making lens changes difficult if you were trying to move fast, or were in low-light conditions. Worse still, it was easy to leave it only partially attached, since you could somewhat fit it on in a different position. The new model fixes this, letting you attach it at three different points, like the old EF cap.
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| Image: Canon |
You can buy new caps for $9 each, and Canon says that eventually its lenses will come with the updated ones out of the box, though it obviously has to sell through the existing stock first.
Buy at Canon |
| Image: Canon |
Canon has also updated its bluetooth remote. It now features two customizable buttons, a shutter release (which allows for half-pressing to focus) and video record button, and a jog lever which can be used to control a power zoom lens or exposure compensation. Canon also says the new model, called the BR-E2, will be able to switch between different cameras without having to go through the pairing process.
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| The new tripod grip, with the remote attached. It's included in the "creator kits" that Canon introduced today, which pair the PowerShot V1 and EOS R50 V with video-focused accessories. Image: Canon |
The remote can slot into the HG-200TBR, a tripod grip that gives you an ergonomic way to hold your camera, as well as a way to mount your microphone in the proper orientation if you're recording vertical video. At $160 it isn't cheap, though it comes with the remote.
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| Image: Canon |
Finally, Canon is announcing the AD-M1 Macro Lite Adapter Set, which lets you attach the company's (sold separately) Macro Lit flashes to "macro lenses and select standard lenses." There's some irony in it launching alongside a camera that literally can't do flash photography at launch, but for macro enthusiasts using other Canon cameras, it could be useful. It will retail for $180.
The company says the products will launch in "late June."
 |
| Image: Westend61 / Westend61 via Getty Images |
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
Click here to answer the Question of the week
The new 2026 5DayDeal “Photography Path To Mastery” is now available. As in previous years, you will get a package of photography tools at a drastically reduced price ($1,500+ in value for $78) and lifetime access to all class recordings. Several different bundles are available, and a portion of the proceeds will be donated to charities.
Via NikonRumors
The post The 5DayDeal “Photography Path To Mastery” offer is now live appeared first on Photo Rumors.
Related posts:
Panasonic now has a total of four registered but not yet announced new cameras (one of them could be the just-released Lumix L10):
The post Panasonic still has four registered but not yet announced cameras appeared first on Photo Rumors.
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| Logo: Apple |
Apple has acquired Patchflyer, the one-person company behind Color.io, a web-based color grading tool used by photographers and filmmakers, according to acquisition disclosures reported by MacRumors. Color.io creator Jonathan Ochmann has also joined Apple, though Apple hasn't announced what it plans to do with the technology.
Color.io was known for its film-inspired color tools, custom color models and an in-browser workflow. It appealed to creators looking for more advanced color grading without opening a full desktop editing suite. That service shut down on December 31, 2025.
In November 2025, Ochmann shared news of the closure on the Color.io site, as found via the Internet Archive. "Color.io isn't shutting down because it's struggling. But after 10+ years of running everything alone, I've reached a point where I need to grow in ways that aren't possible as a solo builder," he wrote. "I have an opportunity to work alongside a company whose products have shaped and inspired me, to work on creative tooling at a scale I could never reach on my own." It's now apparent that Apple was that company.
 |
|
Color.io's browser-based interface helped make film-inspired grading tools accessible without a full desktop editing suite. Image: Color.io |
The acquisition is especially interesting given Apple's recent interest in creative software. Apple completed its acquisition of Pixelmator in February 2025. Then, at the beginning of this year, Apple announced Apple Creator Studio, a subscription bundle of several of Apple's creative apps, serving as an alternative to Adobe Creative Cloud. The tech giant also acquired MotionVFX, a maker of Final Cut Pro plug-ins and templates, in March.
There's no word yet on whether, or how, Color.io's tools will appear in Final Cut Pro, Pixelmator Pro, Photos or the iPhone Camera app. But for photographers and video creators, the deal suggests that Apple is continuing to build out its color, imaging and creator-tool expertise, potentially with an eye toward making more advanced grading tools easier to access across its software ecosystem.
Here is a quick comparison between the new Panasonic Lumix L10 camera and the previous LX100 II model:
| Feature | Panasonic Lumix DC-L10 (2026) | Panasonic Lumix DC-LX100 II (2018) |
|---|---|---|
| Release Date | May 2026 | September 2018 |
| Sensor | 26.5 MP total / 20.4 MP effective 4/3-type BSI CMOS (multi-aspect) | 21.77 MP total / 17 MP effective 4/3-type MOS (multi-aspect) |
| Lens | Leica DC Vario-Summilux 24-75mm eq. f/1.7-2.8 (manual aperture ring, 3 cm macro at wide end) | Leica DC Vario-Summilux 24-75mm eq. f/1.7-2.8 |
| Autofocus | Phase Hybrid AF (779 points) + advanced AI subject / eye / face / body / animal / vehicle recognition | Contrast AF with Depth from Defocus (DFD) technology |
| Continuous Shooting | 30 fps (electronic shutter) 11 fps (mechanical shutter) |
~11 fps (AFS), lower with continuous AF |
| Image Stabilization | Optical POWER O.I.S. | Optical POWER O.I.S. |
| Viewfinder | 2.36 million-dot OLED EVF | 2.76 million-dot equivalent EVF |
| Rear Screen | 1.84 million-dot fully articulated (free-angle) touchscreen with vertical UI optimization |
3.0″ touchscreen (fixed / non-articulated) |
| Video | 5.1K open-gate, 4K/120p, 10-bit log; MP4 Lite for social sharing (no headphone/HDMI port) | 4K/30p (no log or high-frame-rate options like 4K/120) |
| Body & Build | Full-metal body with magnesium alloy front, saffiano leather texture; hot shoe |
Compact metal/plastic hybrid body; hot shoe |
| Weight | 508 g (with battery, card, hot shoe cover) | 349 g (with battery & card) |
| Dimensions (W x H x D) | Exact mm not yet published | 114 x 66 x 63 mm |
| Battery | Larger GH-series battery (BLK-22) for improved life | Smaller 1025 mAh battery |
| Other Key Features | Dynamic Range Boost, Real Time LUTs (dedicated button + Lumix Lab app), L.Classic/Leica looks, high-res multi-aspect shooting |
4K Photo mode, Post Focus, Focus Stacking; older processor |
| MSRP (at launch) | $1,499 (Black/Silver); $1,599 (Titanium Gold special edition) |
~$1,100 (used) |
| Target Audience | Modern enthusiasts wanting latest AF, articulated screen, video power, and premium stills |
Classic LX100 fans who prioritized compact size, direct controls, and excellent lens |
New Panasonic L10 camera announced for the 25th anniversary of LUMIX
Panasonic announced a new L10 camera today, is the Leica D-Lux 9 coming next?
The post Comparing the new Panasonic Lumix L10 camera with the LX100 II appeared first on Photo Rumors.
I already reported that for the 25th anniversary of LUMIX, Panasonic will announce a replacement for the popular LX100 camera. Today, the company announced the new Lumix L10 camera:
Panasonic announced a new L10 camera today, is the Leica D-Lux 9 coming next?
What could Panasonic announce for the 25th anniversary of LUMIX?
The post New Panasonic L10 camera announced for the 25th anniversary of LUMIX appeared first on Photo Rumors.
Panasonic's new Lumix L10 is the company's latest pitch for the enthusiast compact we've been waiting for. It's a modern, fixed-lens camera aimed at photographers who want more direct control in a carry-everywhere camera.
The L10 combines a 26.5MP Four Thirds sensor (though it only uses around 81% of it to produce up to 20MP images) with a 24-75mm equivalent F1.7-2.8 lens and the same processor found in the S1RII. It also offers phase detection autofocus and the latest subject recognition features you'd expect from a modern camera. Plus, Panasonic added an OLED viewfinder and an articulated rear screen.
We have the camera in hand, and in our latest YouTube video, we unbox the L10 and the included accessories. We'll be sharing more details about the camera once we've had an opportunity to put it through its paces, so stay tuned for more. For now, you can read more about the latest compact in our full article about the announcement.
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| Image: Panasonic |
Panasonic is celebrating the 25th anniversary with the launch of a large sensor enthusiast zoom compact.
The L10 is essentially a fully modernized version of its LX100 camera, using the company's latest 26.5MP BSI CMOS Four Thirds sensor and the processor used in the S1RII. It features a version of the 24-75mm equivalent F1.7-2.8 lens from the LX100, updated in an unspecified way.
While the new model clearly shares much of the LX100 series' heritage, Panasonic says the L10 represents a new premium compact camera line.
The use of that sensor means it offers phase detection autofocus and the dynamic range boost function from the GH7 and G9II, along with all the company's latest subject recognition algorithms.
As with the other LX100 cameras, the lens doesn't cover the whole sensor, instead delivering up to 20MP images. It takes a multi-aspect approach, giving a consistent angle of view whether you shoot 4:3, 3:2 or 16:9 aspect ratios. A dedicated switch on the lens barrel lets you directly select these ratios or 1:1.
The camera has a full-metal body and a fully articulated 1.84M dot rear display. It also gains a more modern 2.36M dot OLED viewfinder, rather than the field-sequential display used by the LX100 models.
This makes it a significantly different camera than the LX100-related Leica D-Lux 8, which persisted with the sensor and processor from the LX100 II and kept the fixed rear screen design of the older models. The L10 also switches to using the much larger BLK-22 battery from the GH series, which should significantly improve performance.
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The Lumix L10 Titanium Gold edition will be available directly from Panasonic in most markets. Image: Panasonic |
The move to a modern AF system, the addition of an articulated rear screen, the switch to an OLED viewfinder and the adoption of a larger battery appear to directly address our biggest concerns about the LX100 II, making the L10 highly sought-after within the DPReview team.
In addition to the major hardware changes, the camera gets several new image presets: L.Classic and L.Classic Gold, which give the look of historic film stocks. It also has the Leica Monochome look we've seen in recent Panasonics. On top of this, it has the LUT button on the back of the camera, first seen in the Lumix DC-S9. This accesses the camera's ability to upload, overlay and combine custom image styles using the movie industry standard Cube LUT format.
Custom look-up tables (LUTs) can be downloaded via the Lumix Lab app, which also lets you create your own custom LUTs or use the app's ability to generate 'Magic LUTs' that attempt to mimic the look of images you've uploaded to it. This system gives you a wide degree of control over your out-of-camera images. In addition, Lumix Lab will gain the ability to process Raw files both from the L10 and other recent Lumix cameras.
Panasonic says the L10 is primarily intended for stills, and it has neither a headphone nor HDMI socket. Despite this, it's capable of 10-bit log capture and 5.2K open-gate video recording, as well as 4K/120 capture.
The L10 will launch with a recommended price of $1499.99. The standard model will be available in black or black with silver-anodized aluminum top and baseplates.
There will also be a Titanium Gold special edition, with themed-color menus, a threaded shutter button, a leather strap and a matching auto lens cap. The Titanium Gold edition will retail for $1599.99 and will only be available via the Panasonic website and in limited numbers.
Press release:
Newark, N.J. (May 12, 2026) – Panasonic is proud to introduce the LUMIX L10 (DC-L10), a new fixed lens camera created for photographers who value intuitive control, refined design, and exceptional image quality. Developed in Osaka, Japan, the LUMIX L10 embodies Panasonic's belief that a camera should feel instinctive in the hand, allowing the user to focus entirely on the subject and bringing any creative vision to life.
To mark the 25th anniversary of LUMIX, the LUMIX L10 will be available in three color variations: Black, Silver, and a commemorative Titanium Gold Special Edition. This milestone special edition celebrates LUMIX's heritage and design vision. Inspired by the LUMIX's philosophy of "Shaping Emotions"-無心 (Mushin), the LUMIX L10 brings together trusted craftsmanship, timeless aesthetics, and advanced imaging technology in a compact body. A signature saffiano leather-textured finish defines the camera's look, complemented by a high-quality metal exterior and magnesium alloy front case, offering a contemporary and enduring design.
The Titanium Gold Special Edition LUMIX L10 also comes with several exclusive features, including a refined menu interface adopting a Titanium Gold theme to create visual harmony with the exterior, subtly placed rear branding that remains visible only to its owner and support for commercially available screw- in shutter buttons for personal customization. A selection of dedicated accessories are also unique to the Titanium Gold kit, these are additional auto lens cap, shoulder strap, and lens cloth. The Titanium Gold Edition will be available through limited sales channels, primarily via the official Panasonic Store with availability varying by region.
Weighing approximately 508g / 1.12 lb (*1), the LUMIX L10 is built to carry all day, with an intuitive layout for one-handed operation. It's tactile controls and balanced design creates a seamless shooting experience, enabling photographers to capture moments freely, without distraction, particularly suited for street, travel and everyday photography.
The LUMIX L10 features a LEICA DC VARIO-SUMMILUX 24-75mm lens (*2) with an F1.7–2.8 aperture, combining expressive depth, beautiful bokeh, and versatile performance. A precision-machined metal barrel and manual aperture ring enhance tactile control, while AF macro shooting from as close as 3 cm at the wide end broadens creative possibilities. Whether capturing sweeping landscapes, intimate portraits, or documentary work, the lens delivers delicate gradations of light and shadow with better clarity.
With a 20.4MP (*3) resolution, it delivers rich texture, natural color, and refined tonal gradation. The 4/3 type back-illuminated (BSI) CMOS image sensor and latest image processing engine deliver higher image quality. Dynamic Range Boost further enhances tonal richness, delivering expanded shadow detail in still photography.
Another stand out feature is that the L10 also incorporates a multi-aspect shooting capability. By utilizing a sensor larger than the lens image circle, it maintains a consistent angle of view across 4:3, 3:2, and 16:9 (*4) aspect ratios, providing greater compositional flexibility without altering framing.
Guided by Panasonic's picture-making philosophy of "Capturing It All," LUMIX color science is designed to deliver realistic reproduction, creating images that feel natural, rich, and emotionally engaging. In addition to LUMIX's signature Photo Styles, the LUMIX L10 introduces new film-inspired looks, including L.Classic, with soft tones and muted colors for a gentle, delicate atmosphere, and L.ClassicGold, featuring warm amber highlights and nostalgic contrasts.
With REAL TIME LUT, users can load custom LUTs directly into the camera and preview the final look while shooting. Up to two LUTs can be layered for added creative flexibility. Using the LUMIX Lab app, users can further expand their options by generating LUTs from their favorite images with Magic LUT (*5), powered by AI-based color analysis
To support capturing those decisive moments, the LUMIX L10 features Phase Hybrid AF with 779 focus points, advanced AI-based eye, face, and subject recognition (including Urban Sports), high-speed continuous shooting at up to 30 fps with the electronic shutter, and reliable optical image stabilization for stable handheld capture.
A 2.36-million-dot OLED viewfinder and a 1.84-million-dot free-angle monitor, both supporting a vertically optimized UI, provide flexible framing for modern shooting styles. The LUMIX L10 supports both still and short-form video workflows, including MP4 (Lite) for quick social sharing, along with high-speed transfer and editing via the LUMIX Lab app.
The LUMIX L10 combines refined design with advanced imaging to support creativity confidently and beautifully, allowing photographers to focus on the moments and emotions before them. Panasonic will continue to empower creators and expand the possibilities of visual expression for further years ahead.
1. Commemorative Titanium Gold Special Edition
2. Compact premium design with uncompromising image quality
3. Advanced imaging performance that captures decisive moments
4. Creative color expression and seamless workflow
*1 The combined weight of the body, battery, SD memory card, and hot shoe cover. (excluding the body cap)
*2 35mm camera equivalent
*3 Total sensor pixel count is 26.5 megapixel.
*4 When the aspect ratio is set to 1:1, the left and right edges are cropped, resulting in a narrower angle of view.
*5 Please use images that do not violate their license terms, applicable laws and regulations, or legal rights such as copyright and portrait
rights.
| Price | |
|---|---|
| MSRP | $1500 (exc tax), £1300 (inc VAT), €1500 (inc VAT) |
| Body type | |
| Body type | Large sensor compact |
| Body material | Metal |
| Sensor | |
| Max resolution | 5408 x 3608 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 20 megapixels |
| Sensor photo detectors | 27 megapixels |
| Sensor type | CMOS |
| Color space | sRGB, AdobeRGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-25600 (expands to 50-25600) |
| Boosted ISO (minimum) | 50 |
| Boosted ISO (maximum) | 25600 |
| White balance presets | 10 |
| Image stabilization | Optical |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, standard |
| File format |
|
| Optics & Focus | |
| Focal length (equiv.) | 24–75 mm |
| Optical zoom | 3.1× |
| Maximum aperture | F1.7–2.8 |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Normal focus range | 50 cm (19.69″) |
| Macro focus range | 3 cm (1.18″) |
| Number of focus points | 779 |
| Screen / viewfinder | |
| Articulated LCD | Fully articulated |
| Screen size | 3″ |
| Screen dots | 1,840,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.74× |
| Viewfinder resolution | 2,360,000 |
| Photography features | |
| Minimum shutter speed | 60 sec |
| Maximum shutter speed | 1/2000 sec |
| Maximum shutter speed (electronic) | 1/32000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | Yes |
| Flash modes | Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off |
| Continuous drive | 11.0 fps |
| Self-timer | Yes (2 or 10 secs or custom time, 3 shots @ 10 sec) |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV steps) |
| AE Bracketing | ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps) |
| Videography features | |
| Format | MPEG-4, H.264, H.265 |
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC card (UHS-II compatible) |
| Connectivity | |
| USB | USB 3.2 Gen 2 (10 GBit/sec) |
| USB charging | Yes |
| HDMI | No |
| Microphone port | Yes |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11a/n/ac + Bluetooth 5.0 |
| Remote control | Yes (via smartphone) |
| Physical | |
| Battery | Battery Pack |
| Battery description | DMW-BLK22 lithium-ion battery & charger |
| Battery Life (CIPA) | 420 |
| Weight (inc. batteries) | 508 g (1.12 lb / 17.92 oz) |
| Dimensions | 127 x 74 x 67 mm (5 x 2.91 x 2.64″) |
| Other features | |
| GPS | None |
Canon released a second teaser for their upcoming new products announcement that will take place in less than 48 hours:
Canon and Sony to announce new products on May 13 – here is what to expect
A new Canon EOS R6 V camera is coming soon – here are the rumored specifications
The rumored Sony a7RVI camera will be coming with a new 2600mAh battery (the current Sony NPFZ100 battery is 2280mAh):
The Sony a7R VI camera and FE 100-400mm f/4.5 GM lens could be announced on or around May 13th
First leaked pictures and additional details on the upcoming Sony FE 100-400mm f/4.5 GM lens
Foto Erhardt already lets you put down a deposit for the upcoming Sony a7R VI and Canon EOS R6 V cameras:
The post New Canon and Sony teasers, announcement in less than 48 hours appeared first on Photo Rumors.
Brightin Star officially announced the previously reported 7.5mm f/2.8 IV APS-C ultra-wide fisheye lens for E/Z/RF-S/EF-M/X/MFT cameras:
Viltrox to announce a new line of Micro Four Thirds lenses, the first model will be 25mm f/1.7
Via NikonRumors
The post New Brightin Star 7.5mm f/2.8 IV APS-C ultra-wide fisheye lens announced, intro price: $140 appeared first on Photo Rumors.
A quick update to my previous post: Viltrox will announce a new line of Micro Four Thirds lenses, with the first model being the 25mm f/1.7. This decision probably has to do with the upcoming Songdian Micro Four Thirds camera:
The translation on the new teaser says:
“Introducing an all-new lineup of M43-mount autofocus lenses—launched simultaneously.”
Viltrox used to make MFT lenses (see listings):
Here is the list of all new lenses that will debut at the 2026 China P&E Imaging Show in Beijing this week:
List of all new lenses that will debut at the 2026 China P&E Imaging Show in Beijing next week
The post Viltrox to announce a new line of Micro Four Thirds lenses, the first model will be 25mm f/1.7 appeared first on Photo Rumors.
Here is the list of new lenses that will debut at the upcoming 2026 China P&E Imaging Show in Beijing (May 15-18, 2026):
Viltrox is teasing several new lenses:
Additional pictures of the upcoming Viltrox AF 26mm f/2.8, 75mm f/1.8, and 90mm f/2.2 EVO lenses
Here are the expected new Meike lenses:
Meike is teasing a new lens for Fujifilm GFX medium format cameras
Laowa will announce several new lenses on May 13th:
Is Venus Optics is working on a new Laowa wide-angle zoom autofocus mirrorless lens?
ZY Optics (Zhongyi) will release new 30mm f/2.4 and 45mm f/1.4 lenses:
Yongnuo will have two new lenses – 35mm f/1.4 and 85mm f/1.4 with new VCM tech and an LCD screen on the lens:
New 7Artisans 135mm f/1.8 MAX lens is coming in May:
The new 7Artisans 135mm f/1.8 MAX lens (E/Z/L) will be released in May
TTartisan will release a new AF 24mm f/3.8 lens with VCM focusing motor and a minimum focusing distance of 0.3 meters (for E/Z/L mounts). This lens was already on display at the 2026 CP+ show:
Brightin Star will announce a new 7.5mm f/2.8 Ⅳ fisheye lens.
Update on the new Songraw Moonlit 50mm and 85mm f/1.2 lenses:
Songraw to release new 50mm & 85mm f/1.2 full-frame autofocus lenses for Nikon Z and Sony E mount
Megadap will release a cinema version of their ETZ21 lens adapter.
JC Optics will release a new 400mm f/8 full-frame telephoto manual focus lens with adjustable focus damping, featuring a 3-element, 2-group optical design and a minimum focusing distance of 100cm, and designed for E/Z/F/RF/EF/EF-M/X/MFT mounts (all-metal mount).
The post List of all new lenses that will debut at the 2026 China P&E Imaging Show in Beijing next week appeared first on Photo Rumors.
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