National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.
The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.
"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."
You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.
Great white
Photographer: Brian Skerry
Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.
Transformation
Photographer: Anand Varma
Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.
King Mwene Chivueka VI
Photographer: Jasper Doest
Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.
Nuclear fusion
Photographer: Paolo Verzone
Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.
Day to Night
Photographer: Stephen Wilkes
Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.
DxO Black Friday 2025 has just started with up to 50% off. Get an additional 15% off DxO products on top of the already reduced prices with the coupon code RUMORS when you purchase from this link.
When you use DPReview links to buy products, the site may earn a commission.
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.
False color overlay Waveform Log view assist Easy WB set
False color overlay Log view assist
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.
Canon EOS R6 III
Canon EOS R6 II
Dimensons
138 x 98 x 88mm (5.5 x 3.9 x 3.5")
138 x 98 x 88mm (5.5 x 3.9 x 3.5")
Weight
699g (25.7oz)
680g (24.0oz)
Battery life EVF / LCD
270 / 510
320 / 580
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.
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.
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.
Press release:
DJI Breaks Through the Limits of Fixed Aperture with Osmo Action 6 - DJI’s First Action Camera with Variable Aperture
All-new 1/1.1-Inch Square Sensor Offers Flagship-level Image Quality, Delivering a Dynamic Range of Up to 13.5 Stops and a New 4K Custom Mode
November 18, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Action 6, an all-in-one action camera redefining DJI’s flagship imaging and unlocking more possibilities for creative shooting. Setting a new standard for action photography, the latest generation of DJI’s popular Osmo action camera series delivers several industry-firsts.
The Osmo Action 6 is the first action camera to feature a variable aperture, offering a range of f/2.0 to f/4.0 and promising excellent low-light performance. It is also equipped with DJI's custom 1/1.1-inch square CMOS sensor and 2.4 μm fusion large pixels, elevating the image quality found in an action camera.
DJI's first variable aperture action camera
The Osmo Action 6 breaks away from the traditional fixed-aperture design of action cameras, allowing users to choose from multiple aperture modes that suit a wide range of scenarios. With a maximum aperture of f/2.0, Osmo Action 6 allows more light to enter the shot and improves the image quality in low-light settings. In Auto mode, the Osmo Action 6 offers adaptive aperture range options, and the aperture adjusts automatically within each range to achieve clear results across various scenes from low-light night shots to bright, detailed landscapes. With Starburst mode, city lights become captivating starbursts, adding a stunning creative effect and interest to well-lit metropolitan scenes.
Creators can achieve a creative shallow depth of field in an action camera by using the Macro Lens accessory (sold separately), making close-ups of food, pets, and flowers stunningly beautiful. With the Macro Lens attached, the minimum focus distance is reduced from 35 cm to just 11 cm, allowing for crisp, close-up vlog selfies. For wide shots, when the Osmo Action 6 FOV Boost Lens (sold separately) is attached, the camera automatically switches to FOV Boost mode, expanding the native 155° field of view to 182°1, ideal for truly immersive, edge-to-edge POV action shots.
New 1/1.1-inch square sensor offers flagship-level image quality
The Osmo Action 6’s all-new 1/1.1-inch CMOS sensor with 2.4 μm fused large pixels delivers up to 13.5 stops of dynamic range to achieve crisp detail in high contrast settings. It also supports video recording up to 4K/120fps in 4:3 ratio, and the larger sensor allows better low-light image quality, ensuring clear, detailed footage even in extremely dark environments. With its larger sensor, larger aperture, and new noise reduction technology, Osmo Action 6 enables SuperNight mode to provide clarity at night, capturing detailed video up to 4K/60fps in low-light conditions.
Additionally, DJI's 10-bit D-Log M color system preserves highlight and shadow detail for greater flexibility in post‐production. Osmo Action 6 also provides an on‐screen D‐Log M preview for real‐time color and exposure monitoring.
4K Custom mode: shoot now, crop later
Powered by DJI’s custom-designed square sensor, the Osmo Action 6 debuts the new 4K Custom mode that allows users to shoot first and crop later in post-production to frame video, making it possible to share creative videos across different social media platforms. Creators no longer need to manually position the camera horizontally and vertically to get their shot.
Smooth, super slow motion
A standout in slow motion capture, Osmo Action 6 natively supports up to 4K/120fps slow-motion recording and can intelligently generate up to 32x Super Slow Motion playback at 1080p, creating stunning, high-definition visuals. By interpolating frames recorded at 1080p/240fps, the Osmo Action 6 achieves a slowdown effect equivalent to 960fps when played back at 1080p/30fps, providing a cinematic effect for action footage.
Professional-level features in an action camera
Experience pro-grade capture with the Osmo Action 6’s many professional features:
RockSteady 3.0/RockSteady 3.0+, HorizonBalancing and HorizonSteady stabilization modes reduce camera shake, correct tilts to maintain the horizon level within ±45°, and eliminates roll axis shakes within 360° to maintain a level horizon while ensuring 4K/60fps high-definition quality
2x Lossless Zoom allows users to zoom in up to 2x without compromising 4K quality, ensuring faraway details remain clear and sharp
Natural Wide FOV keeps a broad perspective while reducing vertical distortion
Film Tone customizes footage with a selection of six built-in film tones
Portrait Mode intelligently detects and prioritizes the subject while optimizing exposure for true-to-life skin tones
Subject Centering and Tracking intelligently tracks the subject to keep him or her center frame
The many adventures of Osmo Action 6
The Osmo Action 6 is ready for any type of action, from diving and skiing to mountain biking and hiking. With an IP68 waterproof rating, the camera is waterproof up to 20 meters without a case and up to 60 meters with the waterproof case. Its industry-leading, built-in color temperature sensor ensures true-to-life underwater colors, while the water pressure gauge records dive data.
Moments on the mountain or in any extreme environment are easy to capture thanks to Osmo Action 6’s cold-resistant design, suitable for temperatures as low as -20° C. The 4-hour battery life1 can outlast any adventure, and the battery can be fast-charged to 80% in just 22 minutes1. The standout 50GB of built-in storage ensures no moment is missed, even without a memory card on hand. Finally, gesture control and intelligent subject tracking makes the recording experience hands-free, so creators can focus on the journey itself.
The creative features of the Osmo Action 6 cater to adventurers, travelers, and everyday vloggers. The Osmo Action 6's variable aperture enables closer video selfies, and the new Natural Wide FOV keeps a broad perspective while reducing vertical distortion, delivering more natural-looking footage for travel and daily vlogs.
The benefits of the OsmoAudioTM Ecosystem
The Osmo Action 6 supports direct connection with up to two DJI microphone transmitters (compatible with Mic 2, Mic 3, or Mic Mini), ensuring high-quality audio without the need for a receiver. The dual connection allows creators to record two different sources – making it possible to capture a two-person conversation, or ambient sounds like engine sounds and a voice-over. Even without transmitters, the camera's built-in three-mic array captures rich, stereo sound, while the intelligent noise reduction algorithm cuts through wind to ensure a loud and clear voice.
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 recent Fujifilm cameras that can shoot F-Log2.
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.
The LUTs only work with footage shot in the newer F-Log2 profile, which is 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. Until now it's been possible to shoot in the subtle 'cinematic' Eterna profile and then match-up footage shot in circumstances where Log shooting was necessary, now you can do the same thing for a much wider range of film simulations.
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, available on higher-end cameras.
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.
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“:
When you use DPReview links to buy products, the site may earn a commission.
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.
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
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.
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.
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.
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.
One of the most well-rounded suites of creative software, this 12-month subscription to Adobe Creative Cloud Pro offers complete access to more than 20 applications for all your design, web, photography, video, and graphic creation needs. Including well-known and favorite applications, such as Photoshop, InDesign, Illustrator, Premiere, Lightroom, and Dreamweaver, alongside more specialized solutions like Adobe XD, Typekit, Audition, Spark, and After Effects, Creative Cloud Pro offers a versatile range of control to edit, produce, share, and manage creative projects.
As a cloud-based service, Creative Cloud Pro gives you unrestricted access to all of the applications on a download basis and also includes mobile versions of select applications for use on mobile devices. This design also helps ensure your applications always remain up to date with the latest features and tools, and it also helps sync settings and files across workspaces. In addition to the software access, this 12-month subscription also includes 100GB of cloud-based storage space for hosting your files.
Please note that this software may only be activated within the USA.
Design
A wide variety of design tools are available for working in a range of mediums to suit nearly any project, whether it be designing logos, posters, brochures, advertisements, or producing artwork. In addition to the beloved desktop applications you know, mobile versions of select applications are also available for sketching, drawing, and creating layouts on the go.
Photoshop for image editing and compositing
Illustrator for producing vector graphics and illustration
InDesign for page design and layout needs for both print and digital publishing
Illustrator Draw for vector drawing needs anywhere
Typekit offers thousands of typefaces from a variety of type foundries
Web and UX
Capable of producing all your web and online experience needs, a variety of applications can be used to design and prototype websites, create mobile apps, build interfaces, and more. Coding skills aren’t necessary with select visual-based design tools and access to thousands of typefaces enables you to refine the finished look of your sites.
Adobe XD for designing, prototyping, and sharing user experiences
Adobe Muse lets you design and publish websites without needing to write code
Dreamweaver is a fully-fledged web design and development asset
Typekit gives you access to a variety of typefaces from leading type foundries
Photography
The standard for photo editing, the well-rounded offering of photo-based applications lets you edit, organize, store, and share your photos from anywhere as well as transform and refine them into nearly anything you can imagine.
Photoshop is a robust editing and compositing tool to suit all of your imaging needs
Lightroom CC is a cloud-based photo service giving you access and editing controls wherever you are
Lightroom Classic is the desktop-focused version of this well-rounded image editing and management application
Video
Capable of handling everything from home movies and sharing to YouTube to producing feature films, a wide variety of video editing tools is available to suit all needs. Editing tools allow you to work anywhere from your smartphone to your workstation, motion graphics can be produced, and audio can be refined.
Adobe Premiere Pro is a full video production and editing solution capable of handling any job, big or small
After Effects lets you apply cinematic visual effects to your productions
Adobe Audition benefits audio recording, mixing, and sound restoration needs
Character Animation lets you animate 2D characters in real time
Adobe Story serves as a collaborative screenwriting and pre-production app
Premiere Clip can be used to edit your videos anywhere from your mobile device
Graphics
Capable of turning your ideas into graphics, web pages, and video stories, Adobe Spark is an intuitive trio of applications that even lets you apply your own branding elements, logos, and colors to projects.
Spark Post is a quick means for producing social graphics
Spark Page takes your words and images and turns them into dynamic web stories
Spark Video can be used to produce compelling animated content
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.
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.
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.
Connexion
direct microphone connection
