Canon announced the EOS R6 III, its latest-generation enthusiast full frame camera, earlier this month, but to some, the news of what the company was doing with the previous generation was even more exciting. It's keeping the EOS R6 II in the lineup indefinitely – not just selling through remaining stock – but cutting the list price from $2499 to $2299.

For potential buyers, it raises the question of whether to go with the still extremely capable EOS R6 II or to spend the extra $500 to get the newer model with all its additional features and resolution. In this article, we'll go through the differences between the two models so you can decide which one is right for you or whether you should upgrade from one to the other.

Sensor

The EOS R6 III's sensor is a new, higher-resolution model.

The EOS R6 III uses a new 33MP FSI sensor, which provides around 16% more linear resolution than the 24MP model found in its predecessor. Despite having more pixels to read out, both cameras have very similar readout speeds, so you're not giving up rolling shutter performance in e-shutter mode to get that extra detail. It is worth noting, however, that both cameras drop into 12-bit mode when reading out from their electronic shutter, meaning the images will have less dynamic range and noisier deep shadows than if they were taken with the mechanical shutter. Importantly, this is something their competitors with faster readout speeds don't have to do.

The company is also promising slightly better stabilization, rated at 8.5EV versus 8EV for the EOS R6 II. However, the EOS R6 III's expanded ISO setting tops out at 102,400, a stop below its predecessor's maximum of 204,800 (not that we've found such high settings to produce particularly usable images).

Autofocus

At a glance, the two cameras' autofocus systems are very similar; they support human, animal and vehicle detection, and have an 'auto' setting that will make the camera highlight any detected subjects in the scene.

However, Canon says it's updated the algorithms for the EOS R6 III, re-using the ones from the higher-end EOS R5 II and R1. We'll have to do more testing to see how much of a difference that makes in the real world, but the company says the system should be even more reliable. While we found the EOS R6 II's system to be capable for most situations, we would occasionally run into issues with it, particularly while recording video.

Also new on the EOS R6 III is Canon's 'Register People Priority' feature, which lets you take a picture of someone, then tell the camera to prioritize them when running subject recognition. This could be useful for group events or sports, where you want to make sure the camera doesn't jump to other recognized faces when it should be sticking to, say, the bride at a wedding. The system supports up to 10 faces, and lets you rank them in order of priority.

The EOS R6 III also has a few new focus selection modes that will always have subject detection and tracking turned off, letting you switch between area modes without losing your subject recognition settings when you switch back. It also gains the ability to assign a preset focus distance to a custom button to a preset focus distance, letting you press it to instantly focus the lens on a specific point.

Connectivity and storage

The EOS R6 III has received a few updates to its ports and card slots. It now features a full-size HDMI connector, rather than the rather fragile micro one, and replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one.

While both cameras support the UVC protocol, allowing them to be used as webcams without additional drivers or software, the EOS R6 II could only do so at 1080p, while the newer model can stream up to 4K60p to your computer. While this will likely be overkill for standard video calls, it could be a big upgrade for streamers.

Finally, the EOS R6 III's USB-C port now supports 10Gbps speeds, while the EOS R6 II's topped out at 5Gbps.

Burst rates and pre-capture

As with autofocus, both cameras are very similar on first blush; they support burst rates of up to 40fps in e-shutter mode, and around half a second of pre-burst capture. However, the EOS R6 II required a special workflow for the latter, making you switch into a 'Raw Burst' mode that didn't record JPEGs and required special processing before you could bring the files into standard programs like Lightroom or Capture One.

The EOS R6 III does away with Raw Burst mode.

The EOS R6 III does away with this, making the pre-capture option a standard menu option that doesn't come with any of those caveats. Like with its predecessor, though, you can only access it in the "H+" drive mode, meaning you can't have pre-capture when shooting at slower burst rates.

Software

While the two cameras' operating systems are very similar to one another, the EOS R6 III's menus have some big quality-of-life improvements. Setting a custom white balance, for example, no longer requires taking a still image of your desired middle gray and then going into the menus to select it; you can simply do it from the Q menu.

The EOS R6 III's video menu is much more friendly.

The video modes are also much easier to navigate. The EOS R6 II would give you a list of every possible combination of resolution, frame rate, and compression type. The EOS R6 III, however, lets you set those parameters independently.

Video

The EOS R6 II was no slouch when it came to video, but the III adds features like open gate, internal Raw and full-width 4K/120.

Video is where most people will probably notice the big differences between the EOS R6 III and its predecessor. While the EOS R6 II was no slouch – it offered full-width 4K/60 – Canon's latest model borrows a lot of inspiration from advancements that other companies have added to their enthusiast cameras, such as the adoption of an open-gate recording mode, internal Raw recording and waveform monitoring.

The new sensor's extra resolution also affords greater than 4K recording modes. While the EOS R6 II's 4K modes were oversampled from 6K capture, the EOS R6 III gains the ability to actually record in 7K in its DCI Raw and open-gate modes. It also gains a full-width 4K/120 mode, though it almost certainly makes use of sub-sampling or line skipping to achieve those speeds.

Other video improvements include the addition of a front-facing tally lamp to the EOS R6 III, C-Log 2 and the ability to bake in a custom LUT to your footage, so you don't have to spend time grading it in post. The shooting display has also been improved, letting you punch-in to check focus while recording, and retain your spirit levels, which disappear when you start rolling on the EOS R6 II.

Body and battery

The video record and M-Fn buttons on the EOS R6 III (left) now have secondary functions activated in playback mode. The mode dial also replaces the 'Hybrid Auto' setting that captures video alongside stills with a 'Slow and Fast' mode for recording over- or under-cranked video.

The two cameras have identical dimensions and feel essentially the same to hold, despite the EOS R6 III being slightly heavier on paper. The control layouts are largely unchanged*, though Canon's latest camera has a few new default functions assigned to buttons, such as the "Rate" control on the top left of the back plate; in the shooting mode, it now brings up the "Color" menu.

The EOS R6 III ships with Canon's latest LP-E6P battery. It can be used with the LP-E6NH used by its predecessor, though some features will be unavailable, such as network and smartphone connectivity. Despite both batteries having a rated 16Wh capacity, the R6 III is rated to get noticeably fewer shots per charge than its predecessor. We're told the camera's processor has been updated, despite having the same Digic X branding, which may account for some of that discrepancy.

* - Impossibly nerdy detail: the stills/video switch no longer has an embossed circle surrounding the center ridge. This didn't affect what it was like to use in the slightest.

Summary

Overall, the EOS R6 III represents a relatively sizable step up from its predecessor when it comes to shooting video, with the changes on the stills side being welcome, but more iterative. We find it hard to complain about extra resolution, but think most current EOS R6 II owners would have a hard time justifying the upgrade, unless they had serious video ambitions.

Canon EOS R6 II

The decision line for new buyers falls along similar lines. If you mostly shoot stills and don't need the top-tier of autofocus for shooting sports and action or slightly higher resolution, it'll likely make more sense to pick up the EOS R6 II and an extra lens, rather than an EOS R6 III. If you shoot a lot of video – especially for social media – or think you'll be pushing the camera to its absolute limits, it may be worth considering spending the extra on the EOS R6 III.

Canon EOS R6 III

We'd also recommend checking out our comparisons between the EOS R6 III and the higher-end EOS R5 II, as well as our article comparing it to competitors from other brands.

Image: DJI

Hot on the heels of launching an entry-level drone and smartphone gimbal, DJI has announced yet another new product: the Osmo Action 6. The company's latest action camera promises to up the ante with a larger, custom-designed square sensor and a feature that most other action cameras can't match.

The DJI Osmo Action 6 gains a variable aperture lens, which is a standout in this field. It also features a wider maximum aperture of F2.0 (compared to the typical F2.8), which should improve low-light performance. It can also be adjusted to F4.0 for a deeper depth of field, though DJI didn't specify what increments are available.

In Auto mode, the camera offers various aperture range options, allowing for some additional creative control without requiring manual adjustments. For example, the Starburst mode promises to turn lights into starbursts by using a smaller aperture.

The Osmo Action 6 is compatible with DJI's Macro Lens and FOV Boost Lens. Image: DJI

How much of a difference the F2.0 to F4.0 aperture range actually makes for achieving different looks remains to be seen, but it's interesting that the company is adding the option at all. Action cameras are typically only used for capturing broad views while recording action, but this inclusion shows that DJI is attempting to make the format more widely applicable, allowing creators to stick to one camera for more types of content.

The other notable change on the Osmo Action 6 is the sensor. DJI built the Osmo Action 6 around a custom square Type 1/1.1 (98mm²) sensor – a step up from the Osmo Action 5 Pro's 4:3 Type 1/1.3 (75mm²) sensor – with 2.4 μm "fusion large pixels." DJI hasn't clarified what exactly that means, but it wouldn't surprise us if it turns out the camera is binning pixels from a quad-bayer design in some of its modes. The larger sensor should also improve low-light performance, a traditionally weak area for action cameras and their small sensors. DJI says that the new sensor offers 13.5 stops of dynamic range.

Image: DJI

The square sensor format, which we recently saw in the selfie camera of Apple's latest iPhone, gives the camera more room for electronic image stabilization and unlocks the ability to adjust aspect ratio in post more easily. The Osmo Action 6 enables this through its new 4K Custom mode, which allows users to crop to various aspect ratios fit for different social media platforms. You can also use DJI's 10-bit D-Log M mode for even more flexibility in post.

In terms of video resolution, the Osmo Action 6 tops out at 4K 120fps in a 4:3 ratio. It's also capable of 4K 60 fps in 'SuperNight' mode, DJI's setting to maximize performance and quality in low-light situations. DJI also says the camera can "generate" 32x Super Slow Motion, just as the Osmo Action 5 Pro can. To do so, DJI says its software interpolates frames recorded at 1080p 240fps, essentially digitally generating extra frames to produce the equivalent of 960 fps when played back at 1080p 30fps.

The Osmo Action 6 is compatible with DJI's extensive list of accessories, including the ND filter set. Image: DJI

The Osmo Action 6 also offers the standard features typically found on DJI's action cameras, including its RockSteady stabilization modes and Horizon Balancing modes. It also supports six built-in film tones, a Portrait Mode that optimizes exposure on the subject for better skin tones and Subject Centering and Tracking to keep the subject in the center of the frame.

The new action camera offers an IP68 rating and is waterproof to 20 meters without a case and 60 meters with the waterproof case. An integrated pressure gauge also records dive data. DJI promises four hours of battery life and the ability to charge to 80% in 22 minutes. It offers 50GB of on-board storage.

The Osmo Action 6 is available beginning today for £329/€379. Once again, US customers are missing out, as the camera isn't officially available in the US.

Owners of cameras like the X-H2S will be getting a more flexible way to use the company's famed Film Simulations.

Fujifilm has made several of its well-regarded Film Simulation color modes available as standardized LUT (Look Up Table) files. While they were released as part of the release of the Eterna 55, the company's new cinema camera, they can also be applied to footage from many other Fujifilm cameras.

Those cameras have long been able to apply film simulations to video at the time of recording, but doing so was a commitment; once they were baked in, they were part of the footage forever. (Which could be especially noticeable with the less subtle ones like the black and white Acros or super-saturated Velvia.) This meant you had to choose between getting the aesthetic or flexibility. With the LUTs, though, you can apply the Film Simulation looks to video shot using F-Log2 in post, letting you experiment with which one works best and giving you more latitude to tweak the looks if you choose.

Eterna can be an easier starting point for grading, but it's not one of the company's most popular looks

While this may be a benefit to Fujifilm users going forward, you probably won't be able to go back and re-grade your footage with the LUTs unless you originally shot it using the F-Log2 mode, which records using a different gamma curve than the camera's more output-ready recording modes. However, the company has done a good job bringing F-Log2 to most of its lineup; it's available on most of the cameras released since the introduction of the X-H2, even including lower-end models like the X-T30 III and X-M5.

Fujifilm has previously provided a LUT that grades F-Log2 to look like its video-focused Eterna film simulation. While Eterna can provide an easier starting point for grading than untouched Log footage, it's not one of the company's most popular looks. The ones the company has released now, however, are. The film simulations newly released as LUTs are:

• Acros
• Astia
• Classic Chrome
• Classic Neg.
• Eterna Bleach Bypass
• Pro. Neg.
• Provia
• Reala Ace
• Velvia

The LUTs are also available for footage taken using the company's wider gamut F-Log2C mode.

Fujifilm isn't the only company that has brought LUTs to its consumer cameras thanks to work done by its cinema arm. Last year, Nikon released three LUTs designed to be comparable with ones created for its Red cinema cameras.

Stay tuned for some sample footage graded using the newly released LUTs. They're available for free on Fujifilm's website.

A new Zeniko ZA12 mini retro flash compatible with Fujifilm, Sony, Canon, Nikon, Olympus, and other camera brands was launched recently (also available on AliExpress). You can see all Zeniko products at their Amazon store:

• Zeniko ZF04 flash
• Zeniko ZF08 flash
• Zeniko FM01 folding hot shoe riser

Additional information on the Zeniko ZA12 mini retro flash:

New Zeniko Flash Products

Via CanonAddict

The post New: Zeniko ZA12 mini retro flash appeared first on Photo Rumors.

Here is what else is new:

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

The “Leica: An Illustrated History” book, Vol. I & II by James Lager have been reissued as a 100th-anniversary deluxe limited edition

The 3 Legged Thing Zadie QD L-Bracket for Nikon Z6 III is now back in stock (black+copper)

New: Mid49 cage and accessory kit for Nikon ZR cameras

Vote for your favorite Black Friday deal at Foto Erhardt

Enhance and Rescue Low-res and Noisy Photos with Aiarty (49% OFF Lifetime License Deal)

Ricoh to commemorate the 20th anniversary of the release of the GR DIGITAL camera with multiple events

SmallRig Fujifilm X-T30III Accessories

Canon EOS R6 Mark III Kit Shortages Announced

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

Here are the latest financial results from Tamron, Sony, Nikon, Ricoh, Fujifilm, Canon, Leica, and OM System:

Tamron: Q3 FY2025 YTD financial results:

• Tamron products turned to revenue growth in Q3, slightly down YTD (Q1-Q3)
  • Japan/India: revenue growth, outpacing the market
  • US: turned to revenue growth from Q2; also, up YTD (Q1-Q3)
  • China: returned to growth in Q3, but down YTD due to high growth in the prior year’s first half
  • Europe: slow sales recovery
• OEM products: significant revenue declined due to sluggish sales of certain ordered models
• Operating income: decreased due to lower gross profit from a significant decline in OEM sales

Sony – “In the imaging market, demand has slowed in two regions: China, where government subsidies that lasted through Q1 FY25 significantly declined, and the U.S., primarily due to the impact of additional tariffs“:

Sony Q2 FY2025 Consolidated Financial Results

Nikon – revenue and profits down because of foreign exchange rates and tariffs:

Nikon Q2 financial results: revenue and profits down because of foreign exchange rates and tariffs

Ricoh – strong performance in the camera business:

Latest Ricoh financial reports: strong performance in the camera business

Fujifilm – Imaging segment revenue up 13.3% YoY, profit up 21.5%, forecast raised:

Fujifilm Q2 FY2025 Financial Results

Canon – profit down due to Trump’s tariffs:

Canon Q3 financial report: profit down due to Trump’s tariffs

Leica – revenue up 7.6% alongside continued profitability growth:

Leica is doing great: revenue up 7.6% to €596 million, alongside continued profitability growth

OM System continues to be in the red:

OM System continues to be in the red in 2024: operating profit expected to be -¥1.2 billion yen

The post The latest financial results from Tamron, Sony, Nikon, Ricoh, Fujifilm, Canon, Leica, and OM System appeared first on Photo Rumors.

After the announcement of the DJI Neo 2 drone, here is what else is coming from DJI:

DJI Osmo Action 6

DJI Osmo Action 6 camera:

• Sensor: 38 MP 1/1.1″ CMOS
• Lens: Variable aperture f/2-f/4
• Video: 4k up to 120fps, 1080p up to 240fps
• Stabilization: RockSteady 3.0+ & HorizonSteady
• 20-meter waterproof capability
• Low-temperature resistance
• 4 hours of battery life
• OsmoAudio dual microphones
• 50GB of internal storage
• Weight: 149 g
• Coming on November 18th

DJI Avata 360

The new DJI Avata 360 drone will come with a 360-degree camera, obstacle avoidance, and LiDAR.

DJI Zenmuse

DJI Zenmuse L3 next-generation aerial LiDAR and camera system (November 4).

The post The latest DJI leaks and rumors: Osmo Action 6 camera and Avata 360 drone coming next appeared first on Photo Rumors.

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

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

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

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

Image quality

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

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

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

Body and handling

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

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

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

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

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

Continuous shooting

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

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

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

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

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

Autofocus

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

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

Battery life

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

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

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

The pro-grade distinction

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

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

Additional features

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

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

Video

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

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

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

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

Summary

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

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

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

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

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

Here are the details:

Lexar® Professional GOLD CFexpress 4.0 Type A Card

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

Lexar® Professional SILVER CFexpress 4.0 Type A Card

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

Additional information:

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

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

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

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

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

Leading Innovation in Storage for Next-Generation Video Production

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

About the VPG1600 Standard

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

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

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

NX-B2PRO+ Series Specifications

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

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

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

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

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

This month, we're celebrating the power and creativity of the compact camera. Share your best shots taken with a camera with a built-in lens – no interchangeable lenses allowed! Our favorite images will be featured in an article on DPReview later this month. (Please note that photos taken with smartphones, drones or tablets do not qualify for this challenge.)

Photos can be submitted between Sunday, November 16, and Saturday, November 22 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

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

Enter your photo in the challenge

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

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

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

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

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

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

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

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

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

Here are some of the early 2025 Black Friday Deals:

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

Early Black Friday deals at B&H Photo.

Luminar Neo 2025 Black Friday deals.

ON1 Black Friday deals: up to 50% off.

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

BrightinStar Black Friday pre-sale: up to $66 off

AstrHori Black Friday deals: up to 30% off.

Sirui Black Friday deals: up to 74% off.

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

Venus Optics Laowa photo lenses Black Friday deals.

Venus Optics Laowa cinema lenses Black Friday deals.

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

H&Y filters Black Friday deals.

Kolari Black Friday deals.

Adobe Black Friday deals.

Think Tank Photo Black Friday deals.

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

Here is what else is new:

Starting soon: Nikon ZR Live Panel Discussion

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

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

PDR: Canon EOS R100 Compared by Photons To Photos

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

Viltrox AF 56mm f/1.2 Pro Firmware 1.05

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

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

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

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

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

Additional information:

Scandinavian design, natural handling

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

Complete protection, high-quality workmanship

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

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

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

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

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

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

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

Easy to use – Ready for creative shots

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

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

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

Multi-point mounting system

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

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

CMOS alignment marks

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

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

Ulanzi launched a new VF01 waist-level optical viewfinder

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

Canon brought an FSI sensor to a partially Stacked party.

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

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

Price

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

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

Resolution and readout speed

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

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

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

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

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

Autofocus

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

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

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

Continuous shooting and pre-capture

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

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

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

Viewfinder and screen

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

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

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

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

Video - resolution, framerates and workflow

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

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

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

Most cameras in this class excel at both stills and video

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

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

Video - rolling shutter

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

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

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

Ports and storage

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

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

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

Battery

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

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

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

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

The extras

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

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

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

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

Summary

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

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

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

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

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

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

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

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

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

Image: Insta360

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

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

The Xplorer Pro Grip adds dedicated controls. Image: Insta360

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

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

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

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

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

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