Lens names can be quite complicated, with some brands including every detail about the lens in their name. Thankfully, Sony takes a more simplistic approach. Its lens names are generally concise and straightforward, without an extensive list of acronyms and abbreviations to decipher. Still, there are some terms included in Sony lens names that are important to understand.
Lens format
Before the focal length of the lens, Sony includes information about what size sensor the lens is compatible with.
FE and E
The E PZ 16-50mm F3.5-5.6 OSS II lens is designed for APS-C cameras, as the 'E' at the start of the lens name shows. Image: Sony
First and foremost, as with other companies, Sony includes a lens's sensor compatibility at the very beginning of a lens name. Lenses that start with FE, such as the Sony FE 24-70mm F2.8 GM II, are designed for full-frame Sony E-mount cameras. These can be used on any Sony E mount camera, including its crop sensor offerings.
The E at the start of a Sony lens name means that it is made for the company's APS-C mirrorless cameras. While these lenses will work on Sony's full-frame E mount cameras, they cover a smaller image circle and will result in heavy vignetting (black corners). You can set the camera to crop automatically to avoid vignetting, but doing so means the camera will use a smaller APS-C-sized portion of the sensor.
Lens features
After the focal length and maximum aperture, there may be a few other abbreviations, depending on the lens. These refer to either specific lens features or the lens lineup to which it belongs.
OSS
The FE 28-70mm F3.5-5.6 OSS offers optical stabilization. Image: Sony
OSS stands for 'Optical SteadyShot.' This terminology is Sony's phrasing for optical stabilization. As with any other brand's stabilization, it aims to reduce blur from camera shake when using slower shutter speeds.
PZ
A 'PZ' in the lens name means that it offers power zoom capabilities. This feature isn't exclusive to Sony; Canon, for example, also manufactures power zoom lenses and adapters. Power zoom lenses enable motorized control of the zoom ring, making it ideal for smooth and consistent zoom operation during video work.
DDSSM, RDSSM and XD
Sony also uses acronyms to refer to its brand-specific autofocus motors. These autofocus motor acronyms aren't in the lens names, but you will see them mentioned in lens descriptions. The Direct Drive Super Sonic wave Motor, abbreviated as DDSSM, is designed for precision autofocus with larger and heavier full-frame lenses. Sony promises quiet autofocus from these motors, making them ideal for video applications.
The Ring Drive Super Sonic Wave Motor (RDSSM) is a piezoelectric motor that promises smooth, precise and silent autofocus operation. Lastly, the Extreme Dynamic Linear Motor (XD LM) is Sony's version of a linear motor, developed to offer higher thrust and efficiency, allowing it to meet the demands of high-speed cameras.
Lens series
Sony's lens lineup also includes various lens classes to meet the needs of different types of creatives. These include its in-house classifications, the G and GM series, and a series of lenses that also feature Zeiss branding.
G, GM
The FE 50-150mm F2 GM is part of Sony's top-tier GM lineup. Image: Sony
You may see either 'G' or 'GM' in Sony lens names. These refer to specific Sony lens lineups. The G lineup, which stands for Gold Standard, is Sony's advanced enthusiast series of lenses that sits above the company's basic kit lenses. They promise good sharpness, reliable autofocus and weather sealing. They come at lower prices than Sony's top-tier lenses, and, as a result, offer slightly slower maximum apertures and less specialized optical formulas.
GM stands for G Master, which is Sony's top-of-the-line series. GM lenses are professional-grade and designed for the most demanding photographers and videographers. They feature advanced optical designs for maximum sharpness and clarity, more robust weather sealing, faster autofocus motors, improved bokeh and faster maximum apertures. Of course, all of those improvements come with a larger, heavier build and higher prices than other Sony lenses.
Sonnar T*, Vario-Sonnar T*, Distagon T*, or Planar T*
The Sonnar E 24mm F1.8 ZA lens was made in collaboration with Zeiss. Image: Sony
Some Sony lenses may have additional words before the lens format, plus a 'ZA' (Zeiss Alpha) at the end. These lenses are co-branded with Zeiss, the German optics company, which provided support to Sony throughout the optical design and development process. ZA lenses sit above the G range, promising improved performance over G lenses. However, Sony appears to have stopped licensing the Zeiss name after it began developing its GM series of lenses, which meet even more stringent standards than those required by the Zeiss collaboration.
Sonnar lenses, such as the Sony Sonnar T* FE 35mm F2.8 ZA, use an optical design originally developed by Dr. Ludwig Bertele in 1930. These are prime lenses that are relatively simple in design, lightweight and offer fast maximum apertures. Vario-Sonnar lenses also use the Sonnar optical design, but with zoom capability. Like the prime versions, they are designed to be compact but with greater flexibility, thanks to the zoom capabilities.
The Distagon FE 35mm F1.4 ZA is also a co-branded lens from Sony and Zeiss. Image: Sony
The Distagon lens design was created in 1952 to produce quality results from wide-angle lenses. As a result, Distagon lenses, such as the Distagon T* FE 35mm F1.4 ZA, are all wide-angle lenses. They also offer fast maximum apertures.
Lenses with 'Planar' in the name, such as the Sony Planar T* FE 50mm F1.4 ZA, use the Zeiss Double-Gauss design. These promise low distortion and excellent flat field sharpness, which is ideal for edge-to-edge detail.
You'll notice that all of these lenses have 'T*' in the name. That designation refers to the T* coating, which promises improved color fidelity and image clarity.
New Sirui Astra 50/75/100mm at T1.8 1.33x full-frame anamorphic autofocus lenses for L/E/Z mount (world’s first). More focal lengths to be added later. Coming soon on Kickstarter (in November).
New Meike AF 23mm f/1.4 lens coming soon.
New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.
New Yongnuo 18mm f/2.8 full-frame autofocus lens.
New Yongnuo YN23mm f/1.4R APS-C lens.
New Yongnuo YN 56mm f/1.4 R DA DSM lens (RF mount version).
A new Lee Works 28mm/2.8 lens for Leica M-mount is coming soon (minimum focusing distance of less than 0.4m).
Apologies and information regarding product supply status
Release date: November 11, 2025
Thank you for your continued patronage of Canon products.
We are currently experiencing delays in delivery for the following products due to the large number of orders we have received. We apologize for any inconvenience this may cause to our customers and business partners. We will continue to take measures to ensure a stable product supply so that we can deliver products as soon as possible. We appreciate your understanding.
A cut-in half Canon EF 400mm F2.8L IS II lens from 2010, shown surrounded by all the components from which it's made, in the foyer of Canon's Utsunomiya factory.
Photo: Richard Butler
"RF lenses are better," said Go Tokura, head of Canon's Imaging Group: "they are adjusted digitally, giving more consistent results."
These words tumbled around my head as the Tohoku Shinkansen raced us from Tokyo towards the Canon lens factory in Utsunomiya, about 110km (70mi) north of the capital.
I'd been fortunate enough to be seated at Tokura's table at dinner the night before. Despite the language barrier, we were able to talk a little about lenses over scribbled sample variance graphs. It had been clear he wasn't referring to digital distortion corrections, but I couldn't be totally sure what he meant. The Utsunomiya factory is home to both a production facility and much of Canon's lens development facilities, so I was hoping I'd find my answer there, in amongst the messages the company wanted to communicate.
The E5 series train of the Tohoku Shinkansen that took us from Tokyo to Utsunomiya.
Photo: Richard Butler
Canon describes Utsunomiya as its flagship lens facility, where it builds its broadcast lenses, as well as many of the high-end, L-series photographic lenses and optics for semiconductor manufacture. Canon also has factories in Taiwan and Malaysia, where many of its less expensive lenses are produced.
Canon says it builds its different products to different tolerances, with L-series super telephoto lenses requiring 15x the precision of the lenses in its point-and-shoot compacts, whereas broadcast lenses are made to 70x the precision and its industrial applications (including equipment for semiconductor lithography) demand tolerances 1500x finer.
That was a recurring aspect of everything we saw in the factory: different processes and varying technologies depending on the scale of production and the cost of the end products. And while, understandably, Canon wanted to demonstrate the highest precision work it does, it was the degree to which this know-how filters down and gets mimicked or adapted to large- and mass-production scales that interested me.
Varying aspherics
A Canon master craftsman demonstrates a glass element following machine polishing.
Photo: Richard Butler
For instance, the company says it uses four different types of aspherical elements in its different products. Sometimes the size of the element dictates which technology is used but the production scale: how many it has to make, also plays a critical role.
At one end of the scale are conventional ground glass aspherics, which need to be carefully polished to yield the perfect shape. To achieve the perfect shape, meticulous adjustments must be repeated over and over. It’s a delicate process that demands a significant amount of time and precision.
However, the process is too time-consuming and expensive to apply when you're making large numbers of lenses, so Canon has developed a series of other aspheric technologies. This includes glass molded aspherics, where molten glass is pressed between metal molds. As we this was being explained, it was impossible to ignore the heat and light radiating from the array of large metal and glass equipment stretching to fill the rest of the room. During the time it took to show us glass elements being polished, those molding machines continued their work, pressing and forming element after element.
The $2600 Canon RF50 F1.2L on the left includes a polished glass aspheric element as well as other, unspecified aspherics. The $470 Canon RF1.2 STM on the right uses a less expensive plastic molded aspheric that is more easily produced in large volumes.
Photo: Richard Butler
These glass-molded elements still need a degree or polishing, but can be created in much greater numbers. Sitting between these two technologies are what Canon calls "replica aspherics" where a molded resin layer is bonded onto a (compartively easy to make) spherical glass element. We were told this technology has been refined since it was first used on EF lenses, and is now able to deliver several times more deviation from spherical shapes and with several times more accuracy for elements used in the latest RF-mount designs.
Plastic molded aspherics, used in compact camera lenses and the likes of the RF28mm F2.8 STM and the new RF45mm F1.2 STM are made in other facilities, allowing the use of complex elements in lower cost products.
The company says its lens polishers continue to get better, meaning the lens designers can design even more ambitious lenses and know they can be manufactured. But they also say they're constantly trying to recreate some of the skills in automated processes. And it's this ability to produce aspherics on larger scales, and improvements in the quality of those elements that is driving up the performance of a lot of the lenses we encounter.
Material advances
Much of the factory visit was built around showing-off details like this. For instance, Canon demonstrated the Blue Refractive optics glass that bends short wavelengths of light to a greater degree than longer wavelengths, allowing its use to correct axial chromatic aberrations (the colored fringes on out-of-focus highlights). The glass was first used in Canon's EF35mm F1.4 L II USM but has been the continuously developed since then, with an improved version being deployed in the recently released RF20mm F1.4 L VCM. As with the improvements in replica aspheric production, we were told how much more effective the new material was, but asked not to report the specific number.
Assembly and alignment
A Canon technician inspects a lens element before it's installed into an assembly of an RF100-300mm F2.8L IS USM.
Photo: Richard Butler
Towards the end of our tour, we followed the assembly process of the RF100-300mm F2.8L IS USM (there are videos on YouTube showing this part of the tour). It's a multi-stage process of assembling, aligning and adjusting lenses, with a series of technicians each focused on one step of the process, overseen by a highly experienced staff member known as a 'meister.'
Much of the process is done by hand, with checks of each process along the way. Then, at the end, one technician's job is to ensure the different groups are correctly aligned. The 100-300mm has 23 elements arranged in 18 groups, and each attempt to correct the alignment of one group or assembly can then highlight an issue with another, resulting in an iterative process, bringing the lens closer and closer to the designed performance level.
This way of working, with around six technicians and a meister, allows Canon to produce nine 100-300mm lenses per day. It has the advantage that the technicians can easily turn their attention to the construction of other lenses, when a batch of 100-300s is complete. The same workstations can also produce Canon's 400, 600, 800 and 1200mm RF lenses, along with the EF400mm F2.8L IS III USM, which we were told is the last EF ultra-tele still in production.
A workstation in which multiple assemblies are brought together as an RF100-300 F2.8L IS USM comes together.
Photo: Richard Butler
Further along on the tour we were shown a large rectangular box, the size my last flat in London, full of robotic arms and conveyor belts, that conducts many of the same steps: inserting and UV-bonding circuit ribbons into lens assemblies, adding rollers and springs on which internal cams can move, attaching and assembling the USM motors around the focus groups. Lens elements already positioned in plastic lens assemblies were fed in at one end of the machine and a series of robot arms carefully conduct each step of the process as the lens passes through cubicles within the box, each containing a machine playing the role of a single technician.
The machine we were shown was making EF 24-105mm F4L IS II USM lenses but can be reconfigured to make EF 16-35mm F2.8L III USM: the two lenses having been designed with similar layouts and a high degree of shared componentry to allow one series of robots to build either lens. Unlike the hand-made approach, the whole setup would need to be significantly redesigned and rebuilt to be able to assemble any other lens, at significant investment cost.
A technician iteratively adjusts the different elements of an RF100-300 F2.8L IS USM, carefully monitoring the ways in which each adjustment improves and degrades the performance.
Photo: Richard Butler
Alignment checking wasn't done within this machine, instead being conducted later, manually. But we were then whisked past a machine assembling RF lenses and told that this machine performs the iterative process of assessing and fine-tuning lens alignment, automatically. Here was the digital adjustment that Go Tokura had been referring to, when he said that RF-mount lenses are being built to a higher standard and with greater consistency: automated fine-tuning of alignment, in a way that was previously only possible for ultra high-end lenses produced by hand.
Trickle-down technology
It's not just Canon making constant improvements, of course. But it's interesting to get an insight into the small improvements that, cumulatively, have seen lenses improve dramatically over the last ten or so years. Aspherics becoming easier to make and hence more readily used in new lens designs, constant improvement of optical materials and advances in production processes all keep pushing lens performance upwards.
The visit to the Utsunomiya factory let me find out what the head of Canon's camera business, Go Tokura (left) had told me, the evening before.
Photo: Canon
The Utsunomiya factory is primarily focused on very high-end lenses, but what stood out to me is the way Canon has tried to adapt its highest-precision but labor-intensive manufacturing methods so that some of those benefits can appear in lenses we can actually afford. I could see why Tokura wanted to share his enthusiasm for that.
DxO Labs released 1,078 new Optics Modules for the latest cameras and lenses from Nikon, Canon, Ricoh, Fujifilm, Sigma, Tamron, Tokina, Samyang, Voigtländer, and Laowa (with these new Modules, the DxO library expands to 106,937):
Meet the iT32 iFlash Camera Flash & X5 TTL Wireless Flash Trigger — a modular lighting system built for ultimate versatility and efficiency. When paired with different X5 versions, one iT32 flash body seamlessly adapts to Canon, Nikon, Sony, Fujifilm, and OM System cameras, offering full TTL and HSS support across brands. The X5 functions as both a hotshoe and wireless trigger, enabling instant transitions between on-camera use, off-camera freedom, and complex multi-light setups. Compact yet powerful, the iT32 & X5 combine magnetic modularity, cross-brand compatibility, and Godox 2.4GHz wireless integration—empowering photographers to shape light effortlessly, anytime and anywhere.
One System, Built for All
The iT32 & X5 offer a universal solution for photographers working across different camera systems. Its interchangeable magnetic X5 hotshoe allows instant switching between brands by simply changing the X5 version. This flexible design helps photographers focus more on creativity and less on equipment compatibility.
Dual Identity: Hotshoe & Trigger in One
X5 serves both as a hotshoe mount and a wireless transmitter, enabling smooth transitions between on-camera and off-camera use. When attached to iT32, it functions as the hotshoe for on-camera shooting; once detached, it automatically switches to trigger mode, wirelessly controlling iT32 or other Godox Wireless X System flashes.
Effortless Multi-Light Sync
Equipped with a built-in 2.4GHz receiver in the iT32 and a 2.4GHz sender in the X5, the system ensures instant wireless communication without manual pairing. When used together, iT32 and X5 act as a master unit to trigger multiple Godox flashes simultaneously. When separated, the X5 can still control the iT32 and other flashes within the Godox 2.4GHz wireless X system, making multi-light setups simple, fast, and reliable.
Intelligent Recognition and Real-Time Display
The iT32 automatically identifies the attached X5 version, displaying key information such as model type, battery level, and charging status on its screen. This smart detection ensures photographers always stay aware of system status, minimizing errors and keeping shooting sessions smooth and controlled.
Magnetic Mounting, Fast and Secure
The magnetic interface between iT32 and X5 ensures a stable, one-click connection that’s firm yet quick to detach. Compared with traditional locking mechanisms, it greatly speeds up setup while maintaining reliability, allowing photographers to switch modes fluidly and capture every moment with ease.
Refined Design, Built for Practical Use
Intuitive Touchscreen Control
Flexible Flash Head
Built-in Reflector and Diffuser
USB-C Charging
Professional Performance, Seamless Compatibility
Advanced Flash Functions
Godox 2.4GHz Wireless Ecosystem
Magnetic Accessories for Creative Expansion
LED Modeling Light
Recap:
Overview: The Godox iT32 iFlash and X5 TTL Wireless Flash Trigger form a modular lighting system where the iT32 is a compact flash body, and the X5 is an interchangeable hotshoe mount that doubles as a wireless trigger, supporting TTL and HSS across multiple camera brands (Canon, Nikon, Sony, Fujifilm, OM System).
Modular Design: Features a magnetic interface for quick one-click attachment/detachment of the X5, allowing seamless switching between brands without manual pairing; the system automatically recognizes the X5 version and displays status info like battery level and model type on the iT32 screen.
Dual Functionality of X5: Acts as an on-camera hotshoe when attached to the iT32 for direct shooting; detaches to function as a wireless transmitter for off-camera control of the iT32 or other Godox Wireless X System flashes.
Wireless Capabilities: Built-in 2.4GHz radio transmission for sender/receiver roles; supports up to 80m range (20m in separated triggering), 32 channels, 1-99 IDs, and multiple groups (A/B/C/D, with variations by model); enables multi-light setups and acts as a master unit.
Flash Modes and Controls: Supports TTL auto flash, manual flash, multi-flash (up to 100 times at 100Hz), flash exposure compensation (±3 stops in 1/3 increments), high-speed sync (up to 1/8000s, or 1/80000s with Sony global shutter on X5S model), first/second-curtain sync, and global shutter sync (X5S only).
Additional Features: Includes intuitive touchscreen control, flexible flash head, built-in reflector and diffuser, LED modeling light, 2.5mm sync cord port, USB-C charging, power-saving standby/auto-off, and compatibility with magnetic accessories for creative lighting.
Technical Specs: Guide Number GN18 (ISO 100, meters at full power); flash duration 1/1000s to 1/30000s; recycle time approx. 1.5s at full power; approx. 510 full-power flashes; iT32 battery 7.4V/900mAh lithium, X5 3.8V/100mAh lithium.
Dimensions and Weight: iT32 measures 56 × 39 × 101mm and weighs 169g; X5 measures approx. 1.26 × 1.26 × 1.06 inches and weighs 23g.
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Panasonic Lumix Pro Services will be ending in eight European countries and the United Kingdom as of November 30, 2025. The company shared the news on the Lumix Pro support websites for each respective country, as reported by Petapixel.
"We will be closing our LUMIX PRO service on 30 November 2025."
The support sites have a banner stating, "We will be closing our LUMIX PRO service on 30 November 2025. This step allows us to refocus on new activities designed to better support our customers and creators." It goes on to explain that current members will be able to log in and manage their accounts until December 31, 2025. New registrations haven't been available since September 18, 2025, according to the sites.
Lumix Pro Services is a membership program for Panasonic users that offers prioritized support, extended warranties and other benefits. The program is aimed at professionals, as it helps users get a working camera in their hands faster than without the Pro Services program. This can take the form of faster repairs, loaner equipment or both.
The Lumix Pro Services program in the US has a paid tier with added benefits. Image: Panasonic
The US Pro Lumix Services membership has two tiers: Red and Platinum. The Red tier is free and promises service turnaround times of three to five business days and loaner equipment for repairs that require more than seven business days. The Platinum tier costs $199 per year, but brings additional benefits, including a two-day turnaround time on repairs and loaner gear if the repair takes longer than that. It also offers a member-only hotline, 20% off out-of-warranty repairs, free sensor or EVF cleaning for up to four cameras per year and more.
In the UK and most EU countries, however, Lumix Pro Services was a single-tier membership that was completely free and unlimited. It only required the ownership of one Lumix S camera body. Members then got a seven-day turnaround on repairs at no charge. It offered worthwhile value to Lumix users, but unfortunately, it will no longer be available in the previously mentioned EU countries or the UK.
We reached out to a Panasonic spokesperson, who made it clear that there are no planned changes for Lumix Pro Services in the United States. They weren't able to provide any additional insight into changes in the other countries, however.
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Canon RF45 F.2 STM | F1.2 | 1/320 sec | ISO 100 Processed with Adobe Camera Raw, distortion profile applied, vignetting correction off
Photo: Richard Butler
The Canon RF45mm F1.2 STM is the company's unexpectedly bright addition to its budget STM range of lenses. It offers a super-bright aperture with a near 'normal' focal length, in a package costing under $/£/€500
It's the same basic idea as Nikon's 35 and 50mm F1.4 lenses: a more compact, more affordable fast prime for full frame. Not necessarily offering the same levels of sharpness as the more expensive options, instead allowing some imperfection in the name of affordability and 'character.'
But whereas the Nikon releases were met with some confusion, as the F1.4 lenses unexpectedly sit below a series of sharper but slower F1.8 lenses, Canon's eye-catching use of a slightly brighter aperture seems to have grabbed more attention.
But how does it perform? We took it a pre-production copy and shot it on the highest-resolution RF-mount body currently available, to see how it looks.
The first thing you'll notice is significant vignetting, which can be corrected to some degree by the camera's JPEG engine. As you might also expect from such a bright lens with such a small front element, there's also a fair degree of mechanical vignetting in the bokeh, giving a cats' eye effect.
The lens can be pretty sharp, without the dreaminess that was common on DSLR-era F1.2 lenses at wider apertures, but the slightly slow, autofocus that you can feel shuffling back and forth when in continuous AF may be contributing to not all the portraits being as sharp as they could be.
See for yourself whether this fast, compact normal is worth the trade-offs.
With thanks to Lensrentals for the loan of the Canon EOS R5 II used for this gallery.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample gallery
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Godox has announced a modular lighting system designed for photographers who use multiple camera systems. The system consists of the iT32 Mini Flash and the X5 Wireless Flash Trigger, which acts as both an interchangeable hot shoe and a wireless trigger. It allows users to switch seamlessly between camera brands and supports both on- and off-camera use.
The standout feature of the new lighting system is the modular, versatile design. It uses a magnetic interface to connect the X5 to the iT32, allowing for speedy setup. The X5 comes in versions for every major camera system, so cross-brand shooters can pick up multiple versions of the X5 instead of needing separate flash units for each camera.
The iT32 flash unit can automatically detect the X5 model. Image: Godox
When attached, the iT32 flash is able to automatically detect the X5 version. The flash will then display the model type, battery level and charging status on the screen. When detached from a flash unit, the X5 automatically switches to trigger mode and can wirelessly control the iT32 and other Godox Wireless X System flashes. That means users can use the X5 for multi-light setups. Because the iT32 does not have its own hot shoe, users will need at least one X5 module for on-camera use.
Beyond the modular design, the iT32 flash is pretty standard. It features a touchscreen display, a built-in reflector and diffuser and an LED modeling light. The flash head can rotate 270° and tilt 90°. It offers a guide number of 18 meters (59.1') and users can control it wirelessly from up to 80 meters (262.5') away. However, the range for separated triggering drops to 20 meters (65.6'). It supports TTL and manual control.
The iT32 offers fast sync speeds of up to 1/8000 sec, or 1/80,000 sec with Sony cameras equipped with a global shutter. The flash duration can be as short as 1/30,000 sec, and Godox promises a 1.5-second recycle time and up to 510 full-power flashes. It recharges via USB-C.
The Godox iT32 Mini Flash & X5 TTL Wireless Flash Trigger are both available for pre-order now. The iT32 costs $79, while the X5 for Canon, Fujifilm, Nikon and Panasonic/OM System cameras costs $20. The Sony X5 version costs slightly more at $25. You can also purchase it as a kit that includes the iT32 and one X5 for $99 ($104 for the Sony version).
Rivers are the transportation corridors of the Amazon, where roads are few and far between. I captured this photo of a riverboat pushing a barge loaded with cattle in Brazil while traveling the entire length of the Amazon River by boat.
Canon PowerShot G7 | F4 | 1/200 sec. | ISO 100 Photo: Dale Baskin
This month, we're celebrating the power and creativity of the compact camera. Share your best shots taken with a camera with a built-in lens – no interchangeable lenses allowed! Our favorite images will be featured in an article on DPReview later this month. (Please note that photos taken with smartphones, drones or tablets do not qualify for this challenge.)
Photos can be submitted between Sunday, November 16, and Saturday, November 22 (GMT). The challenge is open to photos captured at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
This week, we saw some exciting new releases from Canon: the EOS R6 III and the RF 45mm F1.2 STM lens. The latest iteration of the R6 may appear to be a relatively small update on paper, but the changes that Canon implemented are ones that actually make a difference. That includes a new sensor with faster readout and improved video capture. And while the camera is certainly compelling, we think the lens is just as interesting. It's remarkably small and affordable for being an F1.2 lens, after all.
In our roundtable discussion this week, Dale Baskin, Richard Butler, Mitchell Clark, and Abby Ferguson sat down to discuss Canon's latest camera and how it compares to the competition. Of course, we don't leave out the lens, either, with Richard surprising us by revealing just how low the price is.
Kodak Gold 200 and Ultramax 400 now have new packaging with the classic Kodak logo. Images: Kodak
Just over a month ago, Kodak surprised film photographers with the introduction of Kodacolor 100 and 200, two (sort of) new 35mm film options. While the release of Kodacolor was exciting enough for film fans, there was something even more notable: Eastman Kodak was distributing the film directly, not through Kodak Alaris. Now, the company has quietly added two more film stocks to its in-house distribution list.
The move marks a subtle yet potentially significant shift for Eastman Kodak, which hasn't distributed its own still picture film in over a decade. That's because in 2013, Eastman Kodak sold its public-facing film business to Kodak Alaris as part of the resolution of Eastman Kodak's 2012 bankruptcy.
Since then, Eastman Kodak has manufactured the film, but as soon as it left the Rochester, New York factory, Alaris took over the marketing and distribution under the Kodak Professional brand. Eastman Kodak maintained distribution of its motion picture film, but Alaris handled consumer still films. The Alaris film features Kodak Professional branding, with a distinct look that differs from the Eastman Kodak logo and design.
Eastman Kodak quietly released Kodacolor 100 and 200 last month. Images: Kodak
When Eastman Kodak quietly released Kodacolor 100 and 200 at the end of September, it handled sales directly for the first time since the bankruptcy restructuring. Alaris was not part of the marketing, distribution or branding process. Instead, Kodacolor comes in packaging branded with the classic Eastman Kodak logo, not the Kodak Professional brand.
Now, the Kodak website also lists Kodak Gold 200 and Ultramax 400, two film stocks previously distributed by Alaris. Like the Kodacolor films, they have been repackaged in Kodak-branded boxes, ditching the Kodak Professional name. Gold 200 and Ultramax 400 appear to be the same film that photographers are already familiar with, just with updated packaging.
In Eastman Kodak's recent Q3 financial results, the company briefly mentioned the release of its new film stock and its plans. "More recently, our [Advanced Materials and Chemicals] unit’s film business launched still films, which will be sold directly to distributors, giving Kodak greater control over our participation in the consumer film market and providing distributors, retailers and consumers with more stable pricing and a broader, more reliable supply," the report said.
A sample image of Kodacolor 200. Image: Kodak
It isn't clear what this means for the relationship between Eastman Kodak and Kodak Alaris. At the time of writing, Alaris still appears to be the distributor for other Kodak film stocks, including Portra, Ektar, Tri-X, T-Max, ColorPlus and all sheet films. Interestingly, at the time of writing, Kodak Gold 200 and Ultramax 400 are still listed on the Kodak Professional website, though the new Kodacolor options are not.
There has been speculation that the move could result in lower prices for Kodak film, which is what Kodak appears to suggest in its Q3 financials. However, only time will tell what it actually means for Kodak's film business and how that impacts consumers.
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Canon EOS R6 III | Canon RF 28-70mm F2L USM | 70mm | F5.6 | 1/80 sec | ISO 1000
This week, Canon announced the EOS R6 III, a new enthusiast-level camera that it says is aimed at both stills and video shooters. It features a 33MP full-frame FSI sensor that debuted in the cinema-focused EOS C50, but which is new to the consumer-focused mirrorless market.
We were able to spend some time shooting with the camera in Seattle and Los Angeles, to see how the sensor performs in a variety of situations. If you're more curious about the video side of things, we also shot our first look video with it, and it contains plenty of sample footage. You can watch it below.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample gallery
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Leica has announced a new addition to its Reporter design series with the Leica SL3 Reporter. As with other models in the special design lineup, the SL3 uses the classic dark green color and promises better durability.
Leica's Reporter design series consists of rugged, limited-edition versions of Leica cameras. It consists of the Q2 Reporter, Q2 Monochrom Reporter and SL2-S Reporter, with the SL3 becoming the fourth model in the lineup.
Image: Leica
The SL3 Reporter features a scratch-resistant dark green finish, a popular option for Leica fans. It also uses an aramid fabric cover, a type of ultra-strong synthetic fiber known for its excellent strength-to-weight ratio, superb heat resistance and generally high durability. Kevlar, the personal protective equipment brand, is the most commonly known version of aramid. The SL3 already offers an IP54 rating, and this rugged material promises even better durability.
Leica also added a new trim with a unique texture on the SL3 Reporter. The company says it provides an improved grip. On the design front, the camera uses black controls and dark green paint. It lacks the red Leica logo, which Leica says "serves to emphasize the SL3 Reporter’s suitability for challenging working environments." Indeed, this design choice helps avoid drawing attention to the camera as an expensive item in sensitive situations.
Image: Leica
Specs-wise, the SL3 Reporter is exactly the same as the original SL3. That includes a 60-megapixel BSI sensor, 5-axis in-body image stabilization, hybrid phase/contrast-detect autofocus and DCI 8K video.
The Leica SL3 Reporter is available for purchase now for $7995, which is $500 more than the current price of the SL3.
New: Leica SL3 Reporter
A robust design variant of the mirrorless Leica full-frame system camera perfectly suited for the most demanding photographic requirements
Teaneck, November 6th, 2025 – Leica Camera AG is pleased to announce the launch of the Leica SL3 Reporter, a new addition to the company’s Reporter design series. This particularly robust version of the Leica SL3 represents the latest in a long line of specially developed Leica cameras. The Leica SL3 Reporter is equipped with features that have been specifically designed for the harsh conditions of reportage and press photography. This enables maximum precision even under the most adverse shooting conditions. The product combines maximum functionality and reliability with a unique camera design that is both understated and striking.
The Leica SL3 Reporter features a particularly scratch-resistant dark green finish and an aramid fabric cover, which provides additional protection against abrasion and environmental influences. Furthermore, the special trim, with its unique texture, also offers significantly improved grip. This ensures enhanced stability when taking photographs and filming. Over time, the trim develops a unique patina that reflects the traces of its photographic journey and the character of a true reportage camera. The distinctive design is characterized by a combination of dark-green paintwork with black control elements, and the absence of the red Leica logo, which serves to emphasize the SL3 Reporter’s suitability for challenging working environments.
In terms of its technical specifications, the design variant corresponds to the Leica SL3 series model. This model combines state-of-the-art technology with outstanding image quality of up to 60 megapixels, precise autofocus, premium materials, and “Made in Germany” manufacturing quality. A fast connection to the Leica FOTOS App facilitates a seamless professional workflow.
The Leica SL3 Reporter is now available worldwide in all Leica Stores, the Leica Online Store, and specialist retailers at a price of $7,995.00.
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