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Photo: Mitchell Clark
Adobe has released its build of Camera Raw that supports the newly-announced Sony a7R VI, which allows us to process the Raw test images of our studio scene and produce Raw conversions from the samples we shot.
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.
Image Comparison
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The Raw for our base ISO shot tells a very similar story to the JPEG: the a7R VI captures a bit more detail than its predecessor could, furthering its lead over the 45MP competition. Viewed at comparative sizes, there isn't a noticeable difference in the noise levels at ISO 100.
Thankfully, this remains the case at mid and high ISOs as well, meaning you're not paying a penalty for the increased speed and resolution compared to the a7R V. Given that the line has always been focused on image quality above speed, it's nice to see that the increased flexibility brought by the a7R VI's stacked sensor doesn't make it worse for its core audience.
Now that we can compare the two, we can also see that Sony's JPEG engine is doing a good job of including the details captured by the Raws at base ISO. At higher ISOs, it's deft enough at applying noise reduction to include most of the Raws' detail.
The ability to process Raws also lets us turn our Raws into HDR JPEGs. You can view the original on a device with an HDR-capable display to see the full effect.
Sony a7R VI | Sony FE 24-70mm F2.8 GM II | 24mm | F11 | 1/20 sec | ISO 100 | Processed in ACR Photo: Richard Butler
Be sure to also check out our sample gallery, as we've added a few new shots and reprocessed a few of the original images from it. Many of these edits involved pulling up the shadows after we shot the images to preserve highlights, exploiting this sensor's excellent dynamic range. We also have a pair of images shot at the same exposure in mechanical and e-shutter mode, to demonstrate the difference in dynamic range when the camera is reading from both of its gain steps and when it's not. We'll go into more depth on that topic in a future article.
Sample gallery
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Refined Optical Excellence: 15 elements in 11 groups, featuring HRI, ED (HOYA), and ASPH lenses, with advanced IMC coating for vivid, high-contrast rendering.
12mm Ultra-Wide: 122.5° field of view for landscapes, architecture, interiors, and astrophotography.
Fast STM Autofocus: Next-gen STM motor delivers fast, precise, near-silent autofocus in milliseconds.
Near-Zero Distortion: Aspherical elements ensure accurate geometry and edge-to-edge sharpness.
Intuitive Controls: AF/MF switch and customizable FN button for seamless operation.
Durable Construction: Integrated petal hood reduces flare, with rear sealing for dust and moisture resistance.
GoPro is again exploring a potential sale (or merger). On May 11, 2026, GoPro announced that its Board of Directors has authorized a formal review of strategic alternatives, including a possible sale of the company or a merger, to maximize shareholder value, following multiple unsolicited inquiries:
“The Board expects to evaluate a range of strategic alternatives that could include a sale of the company or merger.”
The company has engaged a financial advisor and stated that no decisions have been made and no timetable exists. The move follows years of declining revenue, widening losses, layoffs, and competition from DJI and Insta360.
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Panasonic L10 | 34mm (75mm equiv.) | F2.8 | 1/80 sec | ISO 6400 | 3:2 crop Photo: Mitchell Clark
We've had Panasonic's latest enthusiast compact, the L10, for a few days now, and have had some opportunities to get out and shoot with it. While we'll be shooting many more photos as we continue to review it, we figured it'd be worth sharing some of the shots we've taken so far, as there's been a lot of interest in this camera.
Included in the gallery are samples taken using the camera's various aspect ratio modes – it's designed to give you the same diagonal field of view throughout its 4:3, 3:2, 16:9 and 1:1 crop modes – and using a variety of the camera's built-in color modes, including some of the new L.Classic varieties. If you want a more in-depth look at the L10, you can check out our launch coverage, and our hands-on tour of it.
Sample gallery
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Although the transmitter says Insta360 in this shot, it's an e-ink display that can be customized. Image: Insta360
Insta360 has announced a new wireless microphone system, the Mic Pro. The company's flagship mic features a few promising tricks that set it apart from a crowded field of mics: the transmitters feature a three-mic array and an e-ink display.
Although simple, one of the more exciting features of the Mic Pro is the color e-ink display on the transmitter, which Insta360 says is an industry first. Most wireless mics feature a giant brand logo on the front, but the display makes it possible to customize the transmitter in a way that looks better than a piece of tape. The e-ink technology uses less power than other display types, so it won't chew through battery life, and it's also easier to see in bright sunlight, making it useful for outdoor productions.
Although it's hard to see, these mics have emojis on them instead of the Insta360 logo. Image: Insta360
Users can upload any graphic they want via the Insta360 app, including their channel art, personal brand logo, talent names or other key identifiers that would be helpful during production. The e-ink display stays on even when the transmitter is off, so identifying information will stick around during breaks. It allows you to put your own brand on display instead of the mic company's, or to display useful information that will help during or after production.
Insta360 also says that the three-mic array in the Mic Pro is an industry first, since most transmitters use a single built-in omnidirectional capsule, picking up sound from all around it. The Mic Pro, meanwhile, can combine the signals from its three mics and process them to focus on sound coming from specific directions, which you can set using the receiver or the Insta360 app.
For example, with the cardioid configuration selected, it can be mounted on a camera to function as a shotgun mic, while figure-8 mode is ideal for two-person interviews with only a single mic. Insta360 also says that an onboard neural processing chip powers the AI noise cancellation feature, aiming to reduce background noise without distorting the speaker's voice.
Image: Insta360
In terms of other general mic features, the Mic Pro supports timecode sync. It also offers 32-bit float to prevent clipping and stereo internal recording. It also provides 32GB of on-board storage. Insta360 promises 10 hours of battery life from the transmitters and up to 30 hours with the included charging case.
The mic system supports multi-channel recording in two configurations. In two-to-four mode, two transmitters can send audio to up to four receivers simultaneously, making it easier to feed the same mics to multiple cameras or recording devices. In four-to-one mode, up to four transmitters can feed a single receiver, though four-channel recording requires a compatible Sony camera and a separate adapter.
The Mic Pro can be paired with Insta360 products via Bluetooth without needing the receiver. Insta360 also says that future products will support dual-transmitter direct connection. For other devices, the receiver can connect via 3.5mm audio cable or USB-C.
Image: Insta360
The Insta360 Mic Pro is available now at a starting price of $330, which includes two transmitters, one receiver and the charging case.
Press release:
Insta360 Launches Mic Pro: A Wireless Microphone Solving Professional Audio's Biggest Pain Points
Insta360 today announced the Mic Pro, a flagship wireless microphone system that transforms sound into something you can see and own. Designed for creators, filmmakers, podcasters, and event professionals who demand professional-grade results without professional-grade complexity, Mic Pro introduces two industry-first technologies: a customizable E-Ink display and a 3-microphone array.
Beyond professional production, Mic Pro is designed for a new generation of creators, enabling everyday storytelling with audio that is not only heard, but seen and personal. Your microphone is no longer just a tool. It carries your name, your logo, your identity, all the way through to the shot.
Together, these technologies address limitations that have plagued the wireless audio category for years.
Customizable E-Ink Display: An Industry First
Mic Pro is the first wireless microphone to feature a customizable E-Ink display on each transmitter.
Via the Insta360 app, users upload any graphic: station logos, channel art, talent names, or production identifiers. The screen displays it persistently, even when the unit is powered off. On a busy set with multiple transmitters, instant visual identification replaces guesswork.
The choice of E-Ink over OLED is functional as well as distinctive. E-Ink consumes power only during screen refresh, not while displaying a static image, which contributes meaningfully to battery life during extended production days.
Under direct sunlight, where OLED screens wash out and become unreadable, E-Ink remains sharp and high-contrast without glare. For outdoor productions, field recording, and live events, this is a reliability advantage that OLED-equipped competitors simply cannot match.
What Makes Insta360's New Wireless Microphone Different?
Industry-First, High-Performance 3-Mic Array With Polar Patterns
Conventional wireless microphones rely on a single omnidirectional capsule. The pickup pattern is fixed, and users cannot adapt to different acoustic environments without switching hardware entirely.
Mic Pro integrates three microphones into each transmitter. Digital signal processing dynamically combines their input to emulate distinct polar patterns, selectable from the receiver or the Insta360 app. The result is a single device that adapts to the environment rather than the other way around, with the right pickup pattern ready for each shooting scenario. When mounted on a camera for video shoots, the cardioid configuration functions as a directional shotgun mic, giving run-and-gun filmmakers precise front-focused capture without additional hardware.
Omnidirectional mode opens up the pickup area for relaxed, ambient capture. Cardioid mode tightens the pickup to the front, ideal for vlogging, solo livestreams, ASMR, and voiceover. Figure-8 mode captures from both front and rear, built for interviews and two-person conversations.
AI noise cancellation is powered by an onboard NPU chip, designed to reduce background interference without compromising vocal quality. Unlike standard noise reduction that can flatten or dull a voice, the NPU processes sound with greater precision to preserve natural tone and clarity. Wind, crowd noise, and ambient interference are reduced while voices remain clear and lifelike.
32-Bit Float Recording: The End of Clipped Audio
At the core of Mic Pro's audio is 32-bit float internal recording.
Unlike conventional 24-bit recording systems that clip when audio exceeds a set threshold, 32-bit float captures a dynamic range so wide that clipping is effectively eliminated. A whisper and a sudden shout can coexist in the same recording without either being lost.
In post-production, normalization replaces the stress of real-time gain management, saving takes that would otherwise be ruined by unexpected loud sounds during interviews, ceremonies, and live events.
32GB Built-In Storage: An Onboard Safety Net
Each transmitter records independently to 32GB of onboard memory, providing a continuous safety net against wireless interference or camera failure. Recordings auto-split every 30 minutes to prevent file size limitations from interrupting long takes.
Stereo internal recording, a feature unique to Mic Pro in this class, captures immersive ambient soundscapes and ASMR-quality audio directly to the transmitter at up to 32-bit float quality.
For additional control, Auto Gain Control offers two modes. Prevent Clipping (Auto) handles unpredictable high-dynamic environments, while Dynamic Mode suits controlled indoor recording where consistent output levels matter most.
Scalability Beyond Two Channels
Most compact wireless systems hard-cap at two transmitters per receiver. Mic Pro breaks that ceiling with two configurations designed for the most demanding multi-source audio scenarios.
4-to-1 mode connects four transmitters to a single receiver, feeding four isolated tracks without external mixers. Podcasters, panel moderators, and interviewers can scale to four guests while retaining individual track control in post.
2-to-4 mode distributes two transmitters across four receivers simultaneously, solving the audio distribution challenge in multi-camera productions. Weddings, corporate events, and broadcast setups that run several cameras can now share clean audio without complex routing or cable infrastructure.
Four-channel output is available when connecting to compatible Sony cameras via the Camera Adapter, enabling 48kHz 24-bit digital audio across all four tracks (adapter sold separately).
Direct Insta360 Camera Connection
Mic Pro pairs directly with Insta360 cameras, including X5, X4 Air, Ace Pro 2, and GO Ultra, via Bluetooth. This delivers 48kHz high-fidelity audio without a receiver, eliminating a piece of hardware from the kit entirely for creators already in the Insta360 ecosystem.
Dual-transmitter direct connection will be available with upcoming Insta360 camera releases.
All-Day Power With Fast Charging
Each transmitter delivers 10 hours of standalone battery life, extending to 30 hours with the included charging case.
A 5-minute fast charge provides up to one additional hour of recording time, enough to get back to action between setups. The receiver syncs its power state with the connected camera automatically, and both transmitter and receiver support auto power-off to conserve battery when not in use.
Timecode Sync and Broad Device Compatibility
Mic Pro supports timecode sync via a high-precision TCXO oscillator, maintaining less than one frame of drift across 24 hours and keeping audio locked to video across every device on a multi-camera production.
The system connects to DSLR and mirrorless cameras via 3.5mm audio cable, to smartphones via USB-C or Lightning adapters, and integrates natively with the Insta360 ecosystem via Bluetooth. It is compatible with virtually every camera, phone, and recorder in professional use today.
At a Glance
Industry-first customizable E-Ink display on each transmitter for visual identity and instant set recognition
3-microphone array with selectable polar patterns (omnidirectional, cardioid, figure-8), functioning as a shotgun mic when camera-mounted
NPU-powered AI noise cancellation preserving natural voice clarity
32-bit float internal recording: clipping is mathematically impossible
32GB onboard memory with stereo internal recording, unique in class
Scalable multi-channel audio: 4-to-1 and 2-to-4 configurations
Direct Bluetooth connection to Insta360 cameras including X5, X4 Air, Ace Pro 2, and GO Ultra
10-hour transmitter battery, 30 hours with charging case, 5-minute fast charge
Availability
The wireless microphone market has long forced a compromise: portability or capability, but rarely both. Mic Pro eliminates these friction points with high performance and its unique E-Ink display.
Insta360 Mic Pro is available now, with a new buyer's guide from Insta360 that covers the differences across its audio range here. The 2 TX + 1 RX kit starts from US$329.99, with additional configurations available at the Insta360 Official Store and Amazon, as well as authorized distributors worldwide.
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Introduction
The L10 may have a new name, but conceptually it's a successor to the LX100 series that started in 2012.
It's built around a Four Thirds (225mm²) sensor, from which it uses up to a 182mm² region. This makes the sensor 50% larger than a Type 1 sensor and half the size of a standard APS-C chip.
It pairs this with a 24-75mm equiv. F1.7-2.8 lens. By always using a 1.1x crop of its total sensor area, it's able to maintain the same diagonal angle of view, whether you shoot 4:3, 3:2 or 16:9 aspect ratios. It also offers 1:1 capture, but this uses a crop of the 4:3 region, not a taller chunk of the sensor.
The camera comes in three colors: silver, black, and "Titanium Gold." The latter costs $100 more, and is only available from select stores, but also includes a threaded shutter button, leather strap and automatically-opening lens cap.
Updated Internals
The L10 gains the BSI CMOS sensor with on-sensor phase detection from the GH7 and G9 II models, meaning it offers improved dynamic range, improved resolution and faster focus than previous LX100 models.
It also gets the latest processor from the Panasonic S1RII, meaning it has access to the latest subject recognition algorithms, which again should significantly increase the ease-of-use of the AF system*, as well as the performance boost coming from phase detection and the more powerful processor. With that said, you may still find yourself waiting on the lens occasionally; the camera takes a full two to three seconds from when you flip the power switch to when you get a preview.
Finally, the connectivity has been updated. The camera now offers 5Ghz Wi-Fi, as well as a 10Gbps USB-C port.
*Though it inherits that camera's quirk of not allowing generic autofocus tracking when you've selected a subject recognition mode.
Multi-aspect shooting
Like the LX100 cameras, and many of Panasonic's previous LX models, the L10 opts for a multi-aspect design: always using a slight (1.1x) crop of its Four Thirds sensor, which allows it to deliver a series of aspect ratios, each extending out to the image circle of the lens.
This means that, unlike most cameras, you don't get a narrower diagonal angle of view if you crop away from the native aspect ratio. Instead, the L10 gives a choice of 4:3, 3:2 or 16:9 capture, while maintaining the same diagonal angle of view. This means the lens remains a true 24-75mm equivalent, regardless of which format you choose to shoot in. It also means you get the maximum resolution for all of the modes. The only exception is the camera's 1:1 mode, which is simply a crop of the 4:3 region, rather than extending up to use the full height of the sensor.
Maximum resolutions:
4:3 - 20.3MP
3:2 - 19.2MP
16:9 - 18.5MP
1:1 - 15.2MP
The downside of this approach is that you never get to use the entire sensor, so pay a slight sensor size penalty, meaning you get slightly less resolution and slightly more noise, at the whole image level. But plenty of people, including many DPReview reviewers, over the years, have found that the increased creative flexibility makes this trade-off worthwhile.
Bigger is better?
The L10 versus the D-Lux 8, essentially Leica's updated version of the LX100 II.
It's worth noting, though, that the L10 has a new name, rather than being a Mark upgrade of the LX100 series. And while the body looks very similar, it's a distinctly larger camera. It feels sturdier and more substantial, though not necessarily more premium; the buttons and dials feel decidedly less sturdy, and the "saffiano leather-textured finish" doesn't offer a ton of grip.
We previously said the LX100 looked a lot like a smaller X100 with a zoom lens, given the similarity of the control points and their layout. The L10 is no longer smaller, matching the larger sensor camera's dimensions almost to the millimeter. However, the controls have changed somewhat, which again justifies the change of name.
On the subject of names, there was previous a Lumix DMC-L10, which was a Four Thirds system DSLR. This new camera is technically called the Lumix DC-L10. This isn't the first time we've seen camera companies run out of names and have to re-use earlier ones. Canon has made two PowerShot S100 models, 11 years apart, whereas Panasonic's previous L10 came out nearly two decades ago.
A familiar lens
The lens has an ambitious F1.7-2.8 aperture range, giving an equivalent aperture range of F3.8-6.2 in full-frame terms. The lens drops away from its maximum aperture relatively quickly, hitting F1.8 as soon as you start to zoom in, and F2.0 by 27mm equiv. F2.8 is reached at 52mm equiv. and maintained to the full extent of the zoom.
The camera has an in-lens, 'leaf' shutter that can operate at up to 1/2000 sec. This maximum speed is maintained even at the brightest apertures (some leaf shutters can only deliver their maximum shutter speeds at smaller apertures, where they have less distance to travel).
This means the camera can sync with flashes all the way up to 1/2000 sec. The camera's hot shoe gives you the option to use a small flash such as the Godox iT30Pro (the 'O' version is compatible with the Olympus TTL protocol used by Panasonic), or the Godox iT32 / X5 flash/remote trigger combination. However, unlike the LX100 II, it doesn't come with an external flash in the box.
For shutter speeds above 1/2000, the L10 can use electronic shutter, which extends up to 1/32,000 sec and reads out the 4:3 mode in a relatively quick 16.7ms. This can't be used with flash but should work pretty well when you want to use a wide aperture in bright conditions, and is fast enough to avoid rolling shutter distortion on most (though not all) subjects.
Controls
The L10 has a mode dial on the top plate, rather than one dedicated to shutter speed. Likewise, the thumb wheel on the corner is no longer dedicated to exposure comp, and can be customized to change ISO, aspect ratio, autofocus mode, drive mode, or to control shutter speed / aperture (depending on exposure mode).
It gains a function button at its center, that, by default, controls your JPEG color mode (unless, of course, you want to switch to the "Real Time LUT" mode, for which you'll use a dedicated button on the back), but can be set to do essentially anything in the cameras' menus.
This camera feels like its control system has been borrowed from a camera with different dials
Like the S9, this camera feels like its control system has been awkwardly borrowed from a camera with a different dial setup (which is unfortunate, as the LX100s had a pretty coherent control system). As an example, the top plate dial controls aperture in both Aperture Priority and Manual modes by default, meaning that, unless your physical aperture ring is in A mode, it doesn't do anything in those modes. (In Shutter priority mode it, more sensibly, controls shutter speed). We found ourselves needing to customize the controls before they made much sense, and even then that required using the fiddly rear-plate dial more than we'd have liked.
Somewhat disappointingly, the aspect ratio slider on the lens has been replaced by a three-position switch, which has an additional position that hands control over to the camera. By default in controls aspect ratio, but can be re-purposed to control a few other parameters: switching between a set of autofocus subject recognition modes, zoom steps, or color modes. While some, especially those disinterested in changing aspect ratio, will appreciate the change, others – including members of DPReview's staff – are sad to see the despecialization of what was once a favourite control.
Other changes
The bigger body allows for the use of a much larger battery. Rather than the 7.4Wh battery used in the LX100s, the L10 gains the much larger, DMW-BLK22, which has a capacity of 15.8Wh. This powers it to an 420 shot per charge rating, measured by the CIPA standard test method, and over 1000 shots in power save mode. These are excellent figures for a relatively compact camera, and mean you're unlikely to have to worry about battery life when traveling with the camera.
Another feature adding to the camera'a size is the fully articulated rear screen. This is likely to divide audiences, as some photographers prefer a tilting screen, but we suspect most users will find it an upgrade compared with the fixed screen on the LX100 cameras. The L10's screen is a 1.84M dot panel, giving 960 x 640px resolution.
OLED viewfinder, rather than tearing-prone field-sequential finder. It's a 4:3 panel, rather than the wide 16:9 finder in the LX100 cameras, whose area was rarely used to the full. The new finder has an impressive 0.74x magnification (approaching the size of the finders in professional DSLRs), though with a relatively short 20mm eyepoint, which glasses wearers may find a little limiting.
Video specs
Even though Panasonic talk about the L10 as being designed for photographers, its video specs are pretty impressive. Despite the microphone jack, there's no headphone socket for monitoring audio or an HDMI port, but the L10 is clearly a product of the company that brought us the GH series.
There's a Stills / Video / Slow & Quick switch on the back of the camera. It can shoot 4K video in either DCI or UHD aspect ratios at up to 120p, or 5.6K DCI-shaped video at up to 60p, or 4:3 'open gate' 5.2K footage at up to 60p.
The video modes make use of the same multi-aspect approach as stills modes do, so the 5.2K footage is taken from a much taller region of the sensor than the ∼17:9 5.6K video, making it tall enough to extract 2160 x 3840 (vertical 9:16 4K) crops, if you're using it to deliver both horizontal and vertical video from the same capture.
Price
The L10 costs $1500 at launch, which feels like a major step up from the $999 that the LX100 II cost, back in 2019. However, it's worth noting that inflation means you'd need $1320 in modern money to buy the equivalent of a 2019 $999 camera, and the L10 is a much more capable camera, with more substantial-feeling build than its forebears.
The original LX100 developed something of a reputation for sucking dust into its sensor, in part because pocket cameras tend to be carried and used in wide, varied and challenging conditions. Panasonic said they made efforts to reduce this risk with the Mark II, and we've heard fewer complaints from users of the newer model. No further claims were made about the L10, so it's likely to be worth remembering that it's not fully sealed (it has an extending zoom, after all), but shouldn't be as susceptible as the Mk 1 was.
Wrap-up
The L10 might not be as compact as the LX100s were, nor does it follow quite the same control layout, but it brings most of what we liked about those cameras and directly addresses just about all our concerns about them.
We're excited to see the launch of an enthusiast compact based on a modern sensor and a contemporary processor. We'll be using it extensively over the coming weeks to get a sense of what it does well and what it gets wrong.
We're hard at work on our initial review of the camera, and will be posting an initial batch of samples from it shortly, so stay tuned.
Brightin Star announced a new 10mm f/5.6Ⅱ APS-C fisheye lens for $66, available for Sony E, Nikon Z, Canon EOS M+RF, Fuji X, and MFT mounts. Pre-orders are now open at the official online store (coming soon to B&H Photo).
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Sony a7R V | Thypoch 24-50mm F2.8 | 35mm | F4 | 1/40 sec | ISO 100 Photo: Mitchell Clark
After announcing last month that it had become the first Chinese lens manufacturer to create a full-frame autofocus zoom lens, this week Thypoch fully revealed its Voyager 24-50mm F2.8 lens for E-mount. The most eye-catching spec was probably its price: $649.
We were able to spend some time with the lens before it launched, shooting it in a variety of scenarios to see how it performs. You can check out our full coverage to read our impressions, but if you want to see for yourself, check out the gallery below.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Thank you to Sony for the loan of an a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.
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).
Here is the list of the main 2026 Camera Grand Prix (Camera GP) awards, organized by Japan’s Camera Journal Press Club (CJPC) – they include products released in the Japanese market from April 1, 2025, to March 31, 2026. A committee of 57 members (including media, experts, and TIPA representatives) selected the winners:
Cameras performed well and increased earnings, primarily driven by the Ricoh GR series.
The segment overall reduced its operating loss through cost controls and robust camera sales, despite upfront investments in new businesses and a goodwill impairment in the drug discovery support business.
New Medium-Term Management Plan: Targeting 10+ new model launches per year by FY26
Net Sales: ¥11,305 million (-16.7% YoY): Significant decline driven primarily by weak OEM performance; other segments offset some impact at consolidated level.
Operating Income: ¥2,390 million (-37.2% YoY)
Operating Margin: 21.1% (-6.9 pts YoY): Profit hit by lower gross profit (sales decline + unfavorable product mix), plus higher material/utility costs, increased R&D, and personnel expenses.
Canon is actively reviving and expanding its PowerShot compact camera lineup in response to renewed market demand, particularly from younger users and social media creators. This shift is driven by easing smartphone dominance, with compacts seen as creative tools and fashion statements rather than just point-and-shoots. Here is a recap from Canon’s report:
Key Insights from Canon’s 2026 Integrated Report
Canon’s official 2026 report (covering 2025 performance) highlights that the camera market contraction due to smartphones has eased. New user segments, especially young people focused on video and social media photography, are driving growth. Compact digital cameras are expanding again as tools that offer capabilities beyond smartphones, with ownership viewed as a cultural/fashion statement among younger generations.
The PowerShot V1 (a 2025 video-focused model) is highlighted as a key example of this direction, positioned alongside existing models like the PowerShot G7 X Mark III, SX740 HS, and IXY 650.
Canon increased compact camera production in 2025 and plans further expansion. The Imaging Group saw strong sales growth (up 12.5% to over 1 trillion yen), with compacts contributing alongside entry-level mirrorless cameras.
Broader strategy: Strengthen products across categories (including compacts) with a focus on video, while maintaining leadership in interchangeable-lens cameras.
This aligns with executives noting that current compact buyers are often new customers (not traditional Canon users), so future models will introduce “new technologies or use cases.”
Up to three new Canon PowerShot models are rumored for 2026, including two high-end models and one more mass-market option. These are expected to launch around Q3–Q4 (potentially tied to holiday shopping).
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Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 70mm | F5.6 | 1/16 sec | ISO 100 Photo: Mitchell Clark
This week, Sony announced the a7R VI, the latest entry in its lineup of full-frame cameras focused on maximum resolution and image quality. We were able to spend some time shooting a variety of subjects with it: portraits, wildlife, landscapes (of course) and even some action to really test the speed and capability of its stacked sensor and AF algorithms.
So far, we've been quite impressed with the detail this camera captures, both in our samples and in our studio scene. But this sensor's resolution is only part of the story, as Sony also says it sets a benchmark for dynamic range performance in its lineup. However, we'll have to wait until we can edit its Raw files before we can test and illustrate that, so keep an eye out for some Adobe Camera Raw conversions in this gallery once support becomes available.
Sample gallery
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We've reached the end of a week jam-packed with announcements from Canon, Sony, Panasonic and others. There's actually so much camera news that it'd be hard to cover it all in a single discussion, so in this video the DPReview crew is talking about the Sony a7R VI and FE 100-400mm F4.5 GM OSS, and the Canon EOS R6 V and its kit 20-50mm F4 L IS USM PZ lens.
For those who want to hear our thoughts on the Panasonic L10, stay tuned; we'll have an episode coming soon talking about our feelings on it, after we've had some time to form our impressions.
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Photo: Mitchell Clark
With its use of the latest AF algorithms and its ability to shoot at 30 frames per second, the new Sony a7R VI looks a lot like a higher-resolution, more affordable rival to the company's own a1 II, pro sports model.
However, having dug a little deeper and taken it pitchside to shoot some sports, that's not the reality at all.
On paper, both the a1 II and the a7R VI are high-resolution cameras with Stacked CMOS sensors that shoot at up to 30 frames per second. But, even though the a7R VI has a pretty deep buffer and accepts the same memory cards as the a1 II, out in the real world, the difference is pronounced.
In the real world, the difference is pronounced
Much of the difference comes from the fact that Stacked CMOS sensors aren't all the same. Sony's a1 and a9 series cameras' sensors have DRAM built into the back of their sensors to buffer the large amount of data that's coming off their chips. Meanwhile, from what we've heard, Nikon's sensors have the circuitry for dual readout streams: one for high quality image data and the other to minimize viewfinder latency.
The a7R VI's sensor's second layer is described as 'processing circuitry,' which we suspect includes its ability to merge the data from the low and high gain modes of its pixels, underpinning its higher DR. So, while the a7R VI's readout is quick, especially when compared with its predecessor's, it's not as rapid as the Nikon Z8, Canon EOS R5 II or the Sony a1 II.
The view from the sidelines
In practice you encounter the speed difference in a number of areas. With pre-capture mode engaged, in an attempt to compensate for our non-pro reaction times, we noticed the a7R VI developed a distinct lag or choppyness to its viewfinder refresh that isn't present in the a1 II.
Autofocus
We also noticed that the autofocus performance didn't quite seem as immediate or dependable as when we took the a1 II to a rugby game, as part of our review testing. It's still very good, but good for a high res camera, rather than giving the 'I have no doubt this is the best they can deliver' confidence that using a top-end, sports-focused camera can give.
In our briefing with Sony, we were told the a7R VI is able to conduct autofocus and autoexposure calculations at "up to 60 times per second," whereas the a1 II can conduct twice as many. The 60 vs 120fps distinction might account for some of the autofocus differences we experienced when really pushing the camera, but the phrase "up to" seems pertinent, too. Given the a7R VI takes 1/50th of a second to read out each frame in e-shutter mode, we suspect it can't maintain 60fps updates to the AF system in pre-capture mode, because it's trying to capture full-res images at the same time.
Rolling shutter
The a7R VI's rolling shutter is around five times faster than its predecessor but still about 5 times slower than the a1 II. Panning to follow the action was enough to induce visible distortion.
Sony a7R VI | FE 100-400mm F4.5 GM | F4.5 | 1/800 sec | ISO3200 Photo: Richard Butler
In addition, the significantly slower rolling shutter of the a7R VI, compared with the a1 II starts to make itself apparent in some of the actions shots we took. For most work, a sub-20ms (1/50 sec) readout speed is quick enough not to be a problem, but photographing a sport that can feature plenty of fast lateral motion means that panning the camera to follow the action can result in some recognizably warped images.
The camera can go a little faster than this if you shoot JPEG only and/or lossy Compressed Raw, where the sensor readout appears to drop to a lower bit-depth mode and the shutter rate improves a little to 14ms (∼1/70 sec).
Hardware differences
Dig deeper into the a1 II's specs and you start to find other distinctions, such as the provision of an Ethernet port for rapid offload of images, which some pro sports applications require. Likewise the a7R VI lacks the a1 II's comfier grip and front-mounted custom button, which makes the Speed Boost function that both models share, much easier to use in conjunction with back-button focus.
The a7R VI doesn't have a C5 button on its front plate, as the a1 II (pictured) does. This is well placed for activating the Speed Boost function, when you're already using your index finger on the shutter and thumb back-button focusing.
Photo: Mitchell Clark
Then there are the a1 II's locking drive/burst mode and AF mode dials, which the a7R VI lacks, relagating those settings to the menus. Little differences that add up if you only have a couple of seconds to adjust your camera's setup. And they're the differences that professionals have requested and that explain why Sony charges unapologetically pro prices for the a1 II.
Overall, these performance difference added up to make clear why Sony doesn't list sports as one of the intended uses of the a7R VI. Instead its newfound speed is designed to expand from its studio and landscape hinterland, reinforce its credentials for weddings and events, and lend itself to some wildlife work. But Sony isn't omitting sports from the list just to protect a1 II sales.
Then again, it's no criticism of what isn't supposed to be a sports photography model that it can't match up to Sony's $7000 pro sports camera.
As the saying goes, money can't buy happiness. That logic tracks in photography, too: the latest gear does not make an excellent photographer. Or, in Alli Forsythe's case, it might not provide the creative drive to inspire work that truly excites you.
In our latest episode of ISO: Camera Upgrades on a Budget, produced in partnership with MPB, Forsythe decided that her kit, owing to her professional relationship with Nikon, was pretty much perfect. So rather than chasing the next upgrade in search of creative inspiration – a futile pursuit, she realized – she decided to inject a new challenge into her workflow instead.
Forsythe had always been captivated by the cinematic look anamorphic lenses create in videos, so she devised an experiment: what would it be like to shoot a series of still photos on anamorphic?
After poking around the DPReview archives, Forsythe identified a set of Sirui lenses before jumping to MPB to trade in some of her lesser-used glass and offset the cost of the anamorphics.
Check out the video above to see the results.
If you have gear collecting dust on a shelf or you're simply looking for something new-to-you, head over to MPB to upgrade your kit today.
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).
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