A puma lies along the top of a fence, eyes closed. It seems to be dozing in the late afternoon sun. Behind it, a golden grassland stretches off to the horizon. On the face of it, it's a beautiful, tranquil scene.

Well, sorry to burst the bubble, but in fact, this animal isn’t sleeping. It’s dead, tied to the fence and put on display as a trophy.

The photo was taken by Chilean photographer Francisco Negroni in the province of Santa Cruz, in Argentine Patagonia. Titled Warning Sign, it just won the Photojournalism category of Wildlife Photographer of the Year 2026. The Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. He told the organizers it was a scene he had “never witnessed or photographed before”.

So what's going on, exactly? Well, Santa Cruz officially banned the hunting of pumas in 2025. But it turns out, the practise continues, albeit illegally.

Farmers say they lose sheep to the pumas and often respond by killing them. But campaigners say there are other approaches, such as keeping sheep in enclosures at night and using guard dogs. In southern Chile, some landowners have even given swapped sheep farming for puma tourism.

Negroni shot the Puma image on a Canon EOS R5 with a Canon RF 70–200mm f/2.8L IS USM lens, at 70mm. The exposure was 1/640 sec at f/3.2 and ISO 100, set manually.

The EOS R5 is getting on in years, having launched in 2020 and superseded by the EOS R5 Mark II, but it remains popular with wildlife shooters thanks to its 45MP sensor, fast burst shooting and superior animal-detection autofocus.

You'd assume from this photo that Negroni is a wildlife specialist by trade, but actually that's not the case. Known globally as El Cazador de Volcanes, aka The Volcano Hunter, he's spent his career photographing eruptions, volcanic lightning and lava. He describes himself as not just a photographer but “a witness to Earth’s most violent and beautiful transformations”.

This time, though, the transformation he captured was a human-made one, making the image especially powerful and disturbing.

Warning Sign will be on show from October 16, 2026 until July 11, 2027 with the other winning images in the Wildlife Photographer of the Year exhibition at the Natural History Museum in London. Tickets are available here.

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Canon gear could become more expensive next year on the heels of an AI-driven memory shortage. During a question-and-answer session, Canon told investors that if higher memory costs persist into next year, those higher costs will be absorbed through price increases.

The insight comes from Canon’s October 27 financial update, where Canon lowered its initial predictions for the final three months of the year due to a component shortage for compact cameras and a slight decline in mirrorless sales numbers. Despite those predictions, the company’s imaging division – and the company as a whole – is still expected to finish the year with growth from last year’s numbers.

Now, Canon has shared the translated questions and answers from this week’s presentation in Japan – and it warns of a potential price increase next year if the high costs on memory components continue.

Early on in the questions, Canon explained how the company plans to address the continued supply shortage.

“For components that are in short supply, we are using every possible means to secure the quantities we need for next year,” the company said. “As a result, we expect higher procurement costs, but our policy is to offset those increases through price increases from next year onward. We have already been making pricing adjustments in response to cost increases as they occur, and we will continue to make decisions on passing on costs from a long-term perspective, while considering the potential impact on sales volumes and balancing that against profitability.”

While the company did not say which business segments would be affected, Canon confirmed it is considering a price increase for next year in the imaging division when asked why fourth-quarter operating profit is expected to decline compared with the previous year. Canon explained the outlook is a combination of higher memory costs and cost increases stemming from conflict in the Middle East, as well as unusually strong network camera sales.

“At this point,” Canon told investors regarding the imaging division, “we have not been able to fully pass these higher costs on through pricing. If these higher costs persist next year, we will absorb them through price increases.”

One of the reasons that Canon hasn’t already adjusted its prices is that the company saw the writing on the wall and started stockpiling the memory that it would need for 2026 early, something that Canon has told investors in previous meetings.

There’s still an “if” attached to the suggested price increase. If the higher memory costs continue once Canon has burned through that previous inventory stockpile, then a cost increase is likely.

Photographers have already seen the effects of the AI-driven demand for memory as the price of memory cards and external hard drives has risen significantly this year. Even cameras without built-in photo storage require memory components, including the processor and the memory buffer.

During the same meeting, Canon also said that the component shortage would prevent the company from fully reaching its increased production goals amid the increased demand for popular cameras like the Canon PowerShot G7 X Mark III.

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Take a look at the best Canon cameras or the best Canon RF lenses.

I’ve started to notice an unusual trend popping up in my social media feed: Photographers are giving new life to decades-old DSLRs by adding custom firmware that gives the old cameras different film stocks to choose from.

Photographers using custom firmware for cameras isn’t particularly new – firmware hacks date back well over a decade to mods like the Canon Hack Development Kit and the reverse-engineered Magic Lantern software for Canon DSLRs.

But lately, across Instagram and Reddit, photographers have been sharing “hacked” DSLRs loaded with new software that gives the old cameras the option to choose from different film-inspired looks directly on the camera.

In many cases, the custom firmware is vibe-coded, built with coding assistance from artificial intelligence. Using AI to make photos look like film feels both like an oxymoron and like the most 2026 thing ever. And yet, as a collector of old cameras and someone who bought my current camera (a Fujifilm) specifically for the film simulations, the idea of bringing new life to an old DSLR is intriguing.

Custom firmware carries the risk of potentially bricking the camera and, in many cases, could void the warranty on a newer camera. Which is likely why the vibe coding trend seems to be drawn to older cameras, like the 2005 Canon EOS 5D – bricking an old DSLR that doesn’t cost much and is already well out of warranty comes with less of a risk. That and, with the custom firmware designed for an old-school look, using an older camera just makes sense.

One photographer on Reddit shared a beta vibe-coded hack called Soup Engine for the Canon EOS 5D that builds on Magic Lantern to give the camera 13 different looks inspired by film stocks. The looks are applied to JPEGs, while the RAW file is untouched.

In another hack, software company Latent Studios is working on firmware that puts the company’s film-inspired desktop RAW photo editor into the Canon EOS 5D and 5D Mark II. But beyond the look of the photos themselves, the software also locks photographers into a “roll” for that look.

Photographer Florin Kirtescu developed a similar hack for the Canon EOS 6D, built from Magic Lantern, that adds film-inspired looks, including color and lab-like adjustments for pushing and pulling and correcting for light sources. The firmware, called Film Roll, also limits photographers to rolls of 12, 24, or 36 shots. The software lives on the SD card, so photographers can theoretically pull the card out and use a different one (or format the card) for the camera to function normally again.

While those hacks use Canon DSLRs, other photographers on Reddit have reported trying hacked firmware with other camera brands. The Phoblographer's Chris Gampat hacked an old Sony A7 to bring back the PlayMemories App support.

Locking the camera into a color preset for the length of a typical roll of film reminds me of another trend: the screen-free camera. Some screen-free cameras have similar tools that are designed with the limitations of film.

The Fujifilm X Half’s film mode, for example, won’t show creators the files or allow for swapping the film simulation until after a roll is finished and “developed.” Truly screenless cameras like the Flashback One35 V2 are also based around the concept of digital “rolls.”

Beyond the older CCD sensors and look of older DSLRs, the creators behind some of the hacks are also drawn to 21-year-old DSLRs because the slower performance of much older tech feels closer to film than modern cameras.

Personally, I wouldn’t even consider a firmware update that wasn’t sanctioned by the manufacturer itself on a modern camera. But on a camera that was otherwise sitting on a shelf and not getting any use? The idea is far more intriguing.

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Explore the best DSLRs, or take a look at the best screen-free cameras.

Amid the popularity of models like the Canon PowerShot G7 X Mark III, Canon has been steadily increasing production to try to keep up with demand – but now Japan’s largest camera maker says that component shortages will likely dampen those efforts and impact the number of compact cameras created.

The insight comes from Canon’s third-quarter financial results, which the company shared on October 27. Financially, Canon remains in a position of growth, posting a four percent increase in net sales and an 8.4 percent increase in operating profit as a whole.

While Canon still expects to finish the year with growth, component shortages, ongoing conflict in the Middle East, and a sluggish market in China are expected to have an impact, prompting the imaging giant to lower its predictions for the final quarter of the year.

Canon says that its compact camera sales increased by more than 50 percent in the third quarter alone, driven by a continued trend for point-and-shoots, which the company says is particularly strong among younger generations.

However, Canon has lowered the number of compact cameras it expects to sell before the end of the year. Last quarter, the company said that it would increase compact camera production again in the second half of 2026 in order to keep up with demand, as viral cameras like the PowerShot G7 X Mark III remain backordered at many retailers.

Now, the company says that component shortages will make that planned production increase fall short of the company’s original expectations.

While compact camera sales grew by more than 50 percent, Canon says interchangeable lens camera sales are lower than last year’s numbers. The company says that conflict in the Middle East and sluggish spending in China are impacting those numbers, but that demand for interchangeable lens cameras remains high outside those regions.

While Canon has sold fewer interchangeable lens cameras this year, the price of those cameras has increased, leading to a four percent growth in revenue so far this year and a prediction of 8.1 percent revenue growth by the end of the year.

Canon attributes this growth to full-frame cameras, including the EOS R6 Mark III and R6 V. The company expects the newly announced R8 Mark II to further push the mix of sales balance between crop sensor and full-frame towards the larger sensor, higher-end cameras.

In interchangeable lens cameras alone, Canon expects to sell 2.75 million bodies before the end of the year. The company expects an 8.1 percent growth in camera sales, while growth in the company’s network cameras is expected to push Canon’s imaging segment as a whole to a 12.9 percent increase.

While Canon is experiencing component shortages for compact cameras, the company says that it has already secured the memory components that it needs for the rest of the year, with prices remaining in line with what the company expected amid the AI-driven memory shortage.

Canon also says that it has built up inventory ahead of the holiday shopping season, including within the camera and printing divisions.

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Take a look at the best Canon cameras or the best Canon RF mirrorless lenses.

Canon has released new firmware for three of its Cinema EOS cameras – the C50, C80 and C400 – fixing a crucial Photo mode bug in the former and bolstering IP streaming security in the latter two models.

Firmware version 1.0.6.1 for the Canon EOS C50 is seemingly the most important of the update. According to Canon, the new firmware “fixes an issue” where image recording to the memory card may not complete while shooting in Photo mode.

That’s to say, some users were finding that their still images were not saving when using the EOS C50 for photos rather than video. Photo mode enables capturing 32MP full-frame images at up to 40fps, with RAW, C-RAW, HEIF and JPEG support.

Canon EOS Firmware Downloads

Firmware version 1.0.6.1 (Canon EOS C50)

Firmware version 1.0.8.1 (Canon EOS C80)

Firmware version 1.0.8.1 (Canon EOS C400)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter and for Canon to address them. Keep an eye on Digital Camera World, and we'll let you know about any problems.

The other new firmware release, version 1.0.8.1, brings a pair of updates to the EOS C80 and EOS C400 cameras. Canon says that the latest firmware “enhances IP streaming security” and “corrects display problems" in some language environments.

IP streaming enables you to livestream video from your EOS camera directly over Wi-Fi or Ethernet to computers, decoders or online platforms. The camera's manufacturer says that the EOS C50 has also benefited from this upgrade through its respective firmware update.

That’s it for this Canon firmware bulletin. Seemingly routine stuff regarding the bolstered IP streaming security and corrected language display bugs, but surely a much-welcomed development for EOS C50 users finding that their still images had disappeared.

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Here’s our editor-in-chief and resident Canon expert James Artaius’ pick of the best Canon cameras.

The Canon AE-1 is arguably one of Canon’s most well-known film cameras. The AE-1’s classic look, simple shutter-priority mode, and readily available price make the 1976 camera a popular choice even for modern analog photographers. But the film camera that I bought is actually its less well-known sibling: The Canon A-1.

A few weekends ago, I went to what could only be described as camera nerd heaven: A vintage camera swap hosted by a historical photography club nearby. I’d put a few rolls of film through my Pentax K1000, but I went to the vintage camera sale on the lookout for one feature in particular: Double exposure.

On a majority of film cameras, the shutter is locked after a photo is taken until the film advance lever is pulled, which prevents an accidental double exposure. On cameras that don’t have a double exposure mode, like the Pentax K1000, there’s a workaround that involves partially winding the film roll back to expose the shot a second time.

But the thought of messing with the winder and not getting the film to line up just so made me a bit nervous – hence my search for a film camera with a double exposure mode.

I didn’t have a particular model in mind, just the double-exposure feature, but I was immediately drawn to the iconic look of the A-1. The Canon A-1 has a small lever at the top that will cock the shutter without advancing the film, essentially creating a double exposure mode.

While the double exposure mode is what drew me to the Canon A-1, the more I started exploring the camera’s multitude of features, the more I fell in love with it. The Canon AE-1 shoots in shutter priority mode, but the A-1 can shoot in full manual, aperture priority, shutter priority, and programmed auto exposure.

The A-1 was reportedly the first electronic SLR to combine those four modes that are now standard on pro cameras, as it was the first with an electronically controlled programmed auto exposure mode.

The A-1 may be from 1978, but it uses a microcomputer to display the light meter readings at the bottom of the viewfinder. It even has a built-in self-timer.

The Canon AE-1 is the simpler camera to use, but the A-1 is the camera with more built-in tools. That does make the camera harder to learn. I had to look up a few tutorials, even as someone who shoots digital photos professionally.

I’ve just put my first roll of film through the Canon A-1, and I can’t wait to get it developed. But if first impressions are anything to go by, this is a retro analog camera that I hope will get a lot of use.

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Looking for a vintage film camera? I recommend looking at reputable used camera dealers, like MPB or KEH Camera. Or, take a look at the best film cameras or the best 35mm film.

Following the release of the new Canon EOS R6 III, we expected to see some great deals on the older, but still very capable, EOS R6 II. But the price has crept up again in recent months - so it is pleasing to see a genuinely great deal on this full-frame mirrorless camera again. You can now buy the R6 II body at Clifton Cameras for just £1,499.

Sure, there are some real improvements in the Mark III - as you can find out in our Canon EOS R6 II vs R6 III comparison – but many of these will be superfluous to the needs to many users. And particularly so, that at the moment the newer version works out £1,000 more expensive.

The EOS R6 II has a 24.2MP sensor, is capable of shooting at 40fps, features new AF tracking modes and captures video as oversampled 6K – this camera was announced in November 2022 as a replacement for the first-generation EOS R6, offering Canon fans a more powerful full-frame mirrorless option with plenty of bells and whistles. It's an excellent option for anyone looking to upgrade from the now-aging EOS RP and EOS R or for someone wanting to get their hands on one of the best hybrid mirrorless cameras on the market today.

The sensor-based electronic shutter can rattle off continuous shooting at up to 40fps. There's even a RAW Burst Mode that can capture raw images at 30fps with a 0.5 second pre-shooting buffer, making this ideal for sport shooters.

To complement the high frame rates, Canon has improved the AF performance here. In addition to the existing body, eye, face, head, and animal recognition (now expanded to horses and zebras – yes, you read that right), the R6 II can recognize cars, motorcycles, aircraft, and trains too.

In terms of video capture, the R6 II now shoots 4K/60p using the full width of the sensor (the Mark I R6 has a 1.07x crop). It can also output 6K ProRes RAW to select Atomos external recorders.

Read more:

Best lenses for the Canon R6 Mark II
Canon EOS R6 Mark II vs EOS R5
Best full-frame mirrorless cameras
Best Canon cameras

Looking for that classic DSLR mirror flip? With these two top full-frame DSLR deals, you save up to $699.01 and get free accessories!

The Nikon D850 Bundle is now just $1,996.95 at Adorama – you save $600 off its original $2,596.95 price. On top, you get eight free items.

The Nikon D850 camera body by itself is priced the same as the full bundle...

The Canon EOS 5D Mark IV is now just $1,999 at Adorama – you save $500 off its original $2,499. price.

Nikon D850

Best for megapixels

The Nikon D850 was a flagship DSLR for a reason. In 2025, it still impresses with its incredible 45.7MP resolution, weather-sealed durability, and class-leading image quality.

While its live view autofocus is outpaced by newer mirrorless rivals, for traditional stills shooting, it remains one of the finest tools around. Its uncropped 4K video and robust build make it a reliable all-rounder for pros.

Now available at a significantly lower price than at launch (approx. $3,296.95), the D850 offers elite-level performance without a premium price tag.

Canon EOS 5D Mark IV

Best all-rounder

With a 30.4MP full-frame CMOS sensor, 61-point AF system, and Dual Pixel CMOS AF for precise live view and video focusing, the Canon EOS 5D Mark IV remains a versatile tool for professionals.

Its 7fps burst rate, ISO 100-32,000 range (expandable to 102,400), and weather-sealed magnesium alloy body make it well-suited for demanding shoots.

While the 1.64x 4K crop and UHS-I SD slot feel a bit outdated, the 5D Mark IV delivers excellent dynamic range, color depth, and reliability – especially for stills-focused workflows.

Once a DSLR costing around $3,499, the EOS 5D Mark IV is now a far more affordable way to access full-frame photography.

Browse the best DSLRs, the best full-frame DSLRs, and the best DSLRs for video. You might also be interested in the best Nikon lenses for DSLRs and the best Canon lenses for DSLRs.

The Canon RF 28-70mm f/2 L USM is a popular pro lens thanks to an unusually bright aperture – but a recent patent indicates that the optical engineers at Canon are exploring the possibility of an even longer f/2 zoom.

A recent patent published in Japan details a design for a compact, high-performance zoom lens that uses three or more focusing groups rather than the current RF series’ more typical two. Tucked in among the different patent drawings for potential lenses with such a design is a 70-200mm f/2 lens.

The patent, published in Japan on October 16 and first spotted by Canon Rumors , details a design that uses three focusing groups in order to create smaller zooms. While the patent isn’t specifically for one lens, the drawings reference a potential 70-200mm f/2 among even lenses like a 50-85mm f/1.4.

The challenge of making a bright zoom is making it small enough to carry at the same time. Reducing the size of a zoom means bringing optical groups closer to each other. The problem with that, the patent says, is that it leaves no room for the autofocus groups.

The patent hints that using “three or more” focus units could help shorten that distance, making it possible to create a bright zoom lens while avoiding a significant increase in size to get that brighter aperture.

The patent isn’t Canon’s first to reference using more than two focus groups. Another patent earlier this year from Canon explored using three focus groups to increase focusing performance.

Using more focus groups isn’t a completely new idea for Canon either – the company’s Dual Nano USM lenses use two autofocus motors. The newer VCM or Voice Coil lenses often pair the magnetic VCM system with a second smaller Nano USM autofocus motor, like with the Canon RF 35mm f/1.4L VCM.

The recent patent details several potential designs that could use three autofocus groups in order to create a brighter aperture without creating an overly heavy lens. But the possibility of a 70-200mm f/2 is drumming up a bit of excitement, considering how popular the 28-70mm f/2L USM lens is.

The Canon 28-70mm f/2L USM uses an ultrasonic autofocus motor and cuts some of the wide angle off of a more typical 24-70mm – but the lens is still notably heavier than the 24-70mm f/2.8L IS USM.

At 3.1 pounds / 1430g, Canon’s 28-70mm f/2L is actually heavier than the RF 70-200mm f/2.8L IS USM. That’s a perfect example of just how challenging making a reasonably sized 70-200mm with a bright f/2 would be.

Canon’s patents hint at what the company is working on behind the scenes – but the existence of a patent doesn’t guarantee that such a design will eventually become a real product. Canon often sets records for the number of patents filed in a year, which means many of them don’t become actual products. That leaves the concept of a 70-200mm f/2 zoom as wishful thinking and rumors, for now.

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Take a look at the best Canon RF lenses for more inspiration.

Two consumer cameras sit among Japan’s Good Design Award top rankings, as the Nikon ZR and Kodak Charmera earn a spot in the competition’s top 100 designs. But for the eighth year in a row, the brand with the most accolades from the international product design competition is a camera company: Fujifilm.

The Good Design Award gives out a badge to every entry that passes a quality and value screening, which means the list of 2026 winners has more than 1,400 entries, giving about 29 percent of the entries honors. A dizzying number of those awards have gone to cameras, from the unusual gimbal design of the DJI Pocket 4 series to the tiny Instax Pal 2.

While the program gives badges to every entry that meets its design standards, the program also gives out top-tier awards and a Top 100 designation. Two consumer cameras sit in the Top 100 for 2026, the mirrorless Nikon ZR and the viral keychain camera, the Kodak Charmera.

The Nikon ZR takes the Z6 III and crams it into a smaller body built for filmmakers – but also adds RED color science. The result is a camera that has now earned several accolades – including a TIME Best Invention as well as awards from EISA, TIPPA, Red Dot and iF. Digital Camera World gave the camera a 4.5-star rating, calling it “a true videographer's dream.”

The Kodak Charmera also sits among the top 100. The Charmera’s initial launch was so popular it sold out in 24 hours. The camera’s popularity is not due to what’s inside – it’s just 1.6MP – but rather stems from a tiny, retro blind box design at $35 / £35.

The brand that appears the most on the Good Design Awards list for 2026 is Fujifilm, which has 35 products earning honors, making it the eighth year in a row that Fujifilm has been the most-awarded company for the Good Design Awards.

Awarded Fujifilm cameras include the entry-level mirrorless X-T30 III and medium-format GFX100RF Fragment Edition. Instax swept even more awards with the Instax Pal 2, Instax Mini Evo Cinema, Instax Mini 13, Instax Mini 99 in silver, Instax Wide 400, Instax Link Wide 2, and Instax Mini Link+.

Fujifilm’s first disposable camera preloaded with black-and-white film, the Quicksnap Black and White, also earned an award along with the XC13-33mm f/3.5-6.3 OIS lens and several broadcast and cinema lenses.

Additional notable award winners among the entries include the Panasonic Lumix L10, the Canon EOS C50, and the DJI Pocket 4 series. The MyFirst Instant Print camera made for kids also won an award. (A Panasonic HyperSpectral Camera also sits in the top 100, but it’s an industry camera, not a consumer camera.)

Several lenses also won honors, including the Canon RF 7-14mm f/2.8-3.5 L Fisheye STM. Canon’s entire f/1.4 L VCM series and Nikon’s entire second-generation Z f/2.8 zoom lens series also earned recognition.

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All listed lens models in the latest Top 10 chart published by major Japanese retailer Yodobashi are zoom lenses. This might not be a big surprise, as zoom optics are a popular choice among photographers of all levels and all genres. While one manufacturer dominates the ranking, a third-party model, described as a "high-flying all-in-one superzoom," is the real showstopper.

Yodobashi shares that in the second half of September, the No.1 spot goes to the Sony FE 24-70mm f/2.8 GM II, followed by the Sony FE 70-200mm f/2.8 GM OSS II and Sony FE 100-400mm f/5.6-8 OSS. The manufacturer dominates the chart with a total of four models, including the Sony FE 16-35mm f/2.8 GM II at No.10.

However, the third-party lens that stands out – which is the only third-party zoom in the chart – is the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 for Sony E-mount in fifth place. Here's why the optic is a great all-in-one travel solution and its catch.

Yodobashi's 10 best-selling lenses (2nd half Sep 2026)

1. Sony FE 24-70mm f/2.8 GM II
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Sony FE 100-400mm f/5.6-8 OSS
4. Canon RF 70-200mm f/2.8 L IS USM Z | White | Black
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Nikon Z 70-200mm f/2.8 VR S II
8. Nikon Z 24-120mm f/4 S
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 16-35mm f/2.8 GM II

The "high-flying all-in-one superzoom"

Available for $899 / £729 for Sony E-mount, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a lens that can "genuinely replace a pair of standard and telephoto zooms," as DCW reviewer Matthew Richards states. And with the V3 firmware, you can also shoot macro subjects.

The only catch with this super-all-in-one solution is that it's only available for Sony cameras. Photographers working with other systems are missing out.

For Nikon shooters, the own-brand Nikon Z 24-200mm f/4-6.3 VR would be a great choice. While this lens is not listed in the Top 10, it adds optical stabilization and has marginally more wide-angle coverage, available for $846.95 / £879.

The Canon RF 24-240mm f/4-6.3 IS USM is an option for RF-mount, available for $949 / £959. While it features a slower aperture, it provides a wider focal length at the short end and a longer focal length at the telephoto end.

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Browse the best Sony lenses, the best Nikon Z lenses, and the best Canon RF lenses. We also curated a guide to the best standard zoom lenses and telephoto lenses.

The retro compact camera trend has driven up demand for pocketable cameras – but one camera in particular has increased in value fivefold over just the last three years. The Canon PowerShot G9, a 2007 advanced compact camera with manual modes and a 6x zoom lens, has seen the biggest surge in demand – and price increase – in the last three years, according to used camera retailer MPB.

Part of the PowerShot G9’s allure is its advanced tools inside a pocketable design. The G9 uses a 12.1MP, 1/1.7-inch sensor inside a camera that weighs 320g / 11.3 oz. But the G9 is geared towards more serious photographers, with full manual modes, a viewfinder, a hot shoe slot, a metal body, and even a built-in neutral density filter.

Now nearly 20 years old, the camera’s age shows most perhaps in its burst speed, which reaches just 1.5fps, and its video resolution, which tops out at 480p.

Three years ago, photographers could sell a G9 to MPB for up to $45. In 2026, that’s jumped up to as much as $225 (about £34-£168, AU$65-323, CA$63-318).

The PowerShot G9 leads MPB’s list of cameras that saw the biggest price increases for used models in the US – but the G9 isn’t alone in rising in demand. Four Canon PowerShots sit among the top ten.

The top ten in-demand model that fetches the highest price is the Canon PowerShot G7 X II, the predecessor to the viral Mark III. MPB says the G7 X Mark II can sell for up to $880 (about £659 / AU$1,265 / CA$1,244), more than twice its worth three years ago.

The PowerShot G12 sits just behind the G9 in second place, a 2010 model with the same size sensor but a 10MP resolution, 5x zoom, and an articulating screen that now fetches up to $535 from MPB (about £400 / AU$769 / CA$757). Its slightly older 2009 sibling, the PowerShot G11, also makes the list. The only DSLR on the list is the Canon EOS Rebel T2i.

The only compact camera on the top ten that’s not a PowerShot is the Panasonic Lumix DMC-LX5, a 2010 camera with a 10.1MP 1/1.63-inch CCD sensor. Like the G9, the LX5 also has manual modes, a hot shoe slot, and a metal build, but it shoots video at up to 720p and uses a 3.8x optical zoom lens with an f/2.0-3.3 aperture.

Four of the cameras on that top ten list from MPB are mirrorless cameras. Two of those are from the Olympus Pen series: the Olympus Pen E-PM2 from 2012 and the Pen E-P1 from 2009. Both of those Pen cameras are known for their very compact form factor, still fitting in a Micro Four Thirds sensor.

The Panasonic Lumix DMC-GF3, another compact Micro Four Thirds body from 2011, also sits on that top ten list, along with the APS-C Sony Alpha NEX-3N from 2013.

In a recent report, MPB shared that it is now recirculating 615,000 cameras, lenses, and accessories a year, which is up by nine percent from a year ago. Along with putting secondhand cameras into the hands of photographers, the company also recently reached its 100% renewable electricity usage goal.

Those who have found one of those high-demand cameras to sell – or who have other camera gear to sell – can get a free quote from MPB.com.

MPB's top 10 cameras with the biggest price increase in the US

1. Canon PowerShot G9
2. Canon PowerShot G12
3. Panasonic Lumix DMC-LX5
4. Canon PowerShot G11
5. Olympus Pen E-PM2
6. Panasonic Lumix DMC-GF3
7. Olympus PEN E-P1
8. Sony Alpha NEX-3N
9. Canon PowerShot G7 X Mark II
10. Canon EOS Rebel T2i

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When I first pulled the tiny retro Instax Pal 2 out of the box, my first thought was that the tiny 3 oz / 87g camera may just be the cutest camera that I’ve ever seen. My second thought? I predicted the little camera may go viral, and now a fresh bestseller list is proving just how popular the Pal 2 is.

US photo store B&H Photo Video recently shared its best-selling cameras for September 2026, and the list is led by the tiny Instax Pal 2, followed by the new OM System PEN, and Canon’s first take on a retro mirrorless, the Canon EOS R8 Mark II.

The Instax Pal 2 is so different from the original, bubble-shaped Pal that I’m surprised Instax didn’t give it a different name. But the Pal 2, like the original, is one of the few Instax cameras that doesn’t actually use instant film. Instead, the Pal 2 is a tiny retro digital camera that can print wirelessly to Instax printers but also functions as a standalone digital compact camera.

Besides being tiny, the Pal 2 is unusual in that it places the LCD screen at the top of the camera rather than the back, which feels a bit like having a waist-level viewfinder, though the camera still has a traditional optical viewfinder at the back. That, mixed with retro dials, gives the new tiny camera a retro feel.

A camera that retails for $169.95 / £144.99 / CA$219.95 / AU$249 is going to fit into more budgets than a mirrorless camera. But B&H’s monthly trends list offers the first hint at just how viral the Pal 2 has gone.

The OM System PEN is on the trends list four times!

The camera that takes up the most spots on the list, however, is the new OM System PEN. Four variations of the PEN take up spots on the trends list, led by the black color with a kit lens, then the silver with a kit lens, then each color as a body-only option.

While the Pal 2 felt like a surprise, the OM System PEN has been a long-awaited update to the company’s longstanding PEN series. The new PEN brings that long-loved retro design, but it’s also one of the few cameras at the price point that includes both image stabilization and weather-sealing.

The PEN brings the 20.4MP Micro Four Thirds sensor from other OM System cameras but puts it into a compact, retro-inspired camera body. That design includes a switch to swap between color modes at the front. A more traditional mode dial and arranging the top controls towards the grip also make the PEN possible to shoot one-handed.

Canon mirrorless cameras take three spots on the top trending list

The PEN is followed by Canon’s newest mirrorless: The EOS R8 Mark II. The second generation adds in-body stabilization to one of Canon’s most affordable full-frame cameras. (The older Canon EOS RP is still the most affordable full-frame Canon, while the original R8 is also sticking around as a budget option.)

The R8 Mark II strays from Canon’s usual rounded profile and uses a more angular design inspired by the film Canon T80 camera from the 1980s. So while the camera looks more retro than the original, it’s not the modern remake of the Canon AE-1 that many fans have been asking for.

The Canon EOS R8 Mark II is followed by two Canon cameras that are no strangers to best-seller lists: the full-frame, 32.5MP Canon EOS R6 Mark III and the 45MP, 8K EOS R5 Mark II.

What else is trending right now?

One more compact camera rounds out the top ten list: The Sony RX100 VII. The long-loved one-inch sensor compact is known for its 24-200mm equivalent zoom lens and pocketable design.

B&H also shared a list of the top trending cameras for a 24-hour period in mid-October, and while the Pal 2 leads that list as well, there are a few key changes from September’s list. The Sony A7R VI makes that list with its mix of resolution and speed.

Two “screen-free” compact cameras have also risen up in recent trends. The Fujifilm X Half (which has a screen, but also offers a screen-free mode) has risen up the ranks, likely driven by a lowest-ever price in the US of $449. The retro-compact camera is built to mix a more analog shooting experience with a one-inch sensor and Fujifilm’s film simulations.

The Camp Snap 2 also made the short-term list, with the semi-transparent pink being the B&H favorite.

Two high-end compact cameras, the Ricoh GR IV and the Panasonic Lumix L10, also made the 24-hour trends list, along with the Canon EOS R7 with a 18-150mm kit lens and the budget point-and-shoot Kodak PixPro FZ55.

B&H Top Trending Cameras, September 2026

• Instax Pal 2 (Black)
• OM System PEN with 14-42mm III kit lens (Black)
• OM System PEN with 14-42mm III kit lens (Silver)
• OM System PEN (Black)
• OM System PEN (Silver)
• Canon EOS R8 Mark II
• Canon EOS R6 Mark III
• Canon EOS R5 Mark II
• Sony RX100 VII

B&H Trending Cameras, October 13

• Instax Pal 2
• Sony A7R VI
• Fujifilm X Half
• Camp Snap 2 (Strawberry Splash)
• Ricoh GR IV
• Panasonic Lumix L10
• Canon EOS R7 with 18-150mm kit lens
• Kodak Pixpro FZ55

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Canon has released new firmware updates for its R6-series cameras, including the EOS R6 Mark III and EOS R6 V. While there's just a single fix in each update, it's the same important one: addressing an issue where image recording to the card may not complete.

Canon advises performing the firmware update with only the relevant firmware file stored on the memory card. After downloading the compressed file, you'll need to extract the ZIP archive to access the firmware file and the accompanying PDF instructions.

Here's an overview of the updates, download links and expert advice on when it's best to download firmware to your camera.

EOS R6 Mark III

Version 1.1.2
US 🇺🇸 download link: macOS + Windows
UK 🇬🇧 download link: macOS + Windows

Enhancements and fixes
1. Fixes an issue where image recording to the card may not complete

EOS R6 V

Version 1.1.2
US 🇺🇸 download link: macOS + Windows
UK 🇬🇧 download link: macOS + Windows

Enhancements and fixes
1. Fixes an issue where image recording to the card may not complete

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or if ever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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The top three mirrorless cameras at major Japanese retailer Yodobashi all come from the same brand. Topping the chart is a full-frame camera that made headlines before its launch in December 2025 and has since won multiple industry awards.

The No.1 mirrorless camera in Yodobashi's ranking for the second half of September is the Sony A7 V, followed by the ever-popular Sony A7C II with a zoom lens kit. In third place is the same full-frame camera in its body-only version.

Sony dominated previous Yodobashi rankings, with its camera accounting for 50% of the Top 10. Now, the manufacturer remains in the lead, but its presence has fallen to four models. Canon follows with three cameras: the EOS R50 (No.4), EOS R6 Mark III (No.8) and EOS R10 (No.9).

Yodobashi's Top 10 mirrorless cameras, 2nds Half Sep 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Sony A7C II | Silver | Black
4. Canon EOS R50 Double Zoom Kit | Black | White
5. Fujifilm X-T30 III XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
8. Canon EOS R6 Mark III
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Nikon Z50 II Double Zoom Kit

Japan's No.1: the "Camera of the Year"

The Sony A7 V is a camera many photographers have been waiting for.

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

It also highlighted the partially stacked Exmor RS CMOS sensor, which offers a dynamic range of up to approx. 16 stops and blackout-free continuous shooting at up to 30 frames per second (fps) in 14-bit RAW.

Designed as a true hybrid all-rounder, the Sony A7 V combines high-speed performance and advanced autofocus (AF) in a more affordable body.

Since launch, the A7 V has regularly topped sales charts across major retailers in Japan. It features a couple of headline-grabbing improvements we haven't yet seen debuted in other Sony cameras, as DCW's Reviews Editor Gareth Bevan highlights. He calls the full-frame a "more affordable jack-of-all-trades body."

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The image Power Play has won several awards this year. Now, the split-second capture of a female puma caught in a dramatic hunting attempt in Chile has earned its third photography prize, winning the Animals in their Environment category at the prestigious Siena International Photo Awards.

Retired tech executive Kevin Shi, who decided to pick up a camera and become a photographer, captured the scene at 1/2000sec. He described the moment as a "rare treat" and said that, in the end, the guanaco managed to escape.

"For days, Kevin had been following the predator, a mother of two cubs who depended on her for food. At dawn, after observing the guanaco for a long time, the puma cautiously approaches and launches her attack, repeatedly trying to pull it down and bite into its neck to suffocate it," states Siena International Photo Awards.

Animals in their Environment category winner

Image info
Title: Power Play
Location: Torres del Paine National Park, Magallanes, Chile

Tech info
Gear: Canon EOS R5 + 600mm lens
Exposure: 1/2000sec, f/6.3, ISO 1000

The wildlife photo was previously recognized as a winner at the Travel Photographer of the Year competition, the Chromatic Awards, and received a Merit Medal from HIPA.

The Siena International Photography Awards

The Siena International Photo Awards launched in 2015 in Siena, Italy and is part of the broader Siena Awards and Festival. The competition welcomes entries from professionals, amateurs and students across nine categories.

To get more information and to see all winning images, visit the award's website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from September 2026 to February 2027.

With the comeback of compact cameras, cult favorite models released years ago have been having a real moment. Now, according to the latest sales figures from major retailer Yodobashi, the Canon PowerShot G7 X Mark III – released in July 2019 – is Japan's new No.1 compact camera.

The Top 10 best-selling compact cameras in the second half of September are led by two point-and-shoots that have been popular since their release, comfortably outselling newer models. While new releases occasionally storm to the top thanks to anticipation and hype, Canon's PowerShot compacts regularly feature near the top of sales charts across Japan.

Close behind the PowerShot G7 X Mark III is the Canon PowerShot SX740 HS / Lite. First released in July 2018, the compact received an updated version in 2024, although it remains the same underlying camera technology as the original. Rounding out the top three is the ever-popular and hard-to-find Fujifilm X100VI, released in February 2024.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Sep 2026

1. Canon PowerShot G7 X Mark III | Black | Silver
2. Canon PowerShot SX740 HS / Lite | Silver | Black
3. Fujifilm X100VI | Silver | Black
4. Sony ZV-1 II | Black | White
5. Panasonic Lumix TZ99 / ZS99 | Black | White
6. Kodak Pixpro C1 Brown | Black
7. Canon IXY 650M / Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
9. Ricoh GR IV
10. Leica Q3 43

Canon's PowerShot champions

Canon first introduced the PowerShot compact camera line in 1996, with the PowerShot 600 among its earliest models.

Originally designed to bridge the gap between film and digital photography, the PowerShot line has evolved to include everything from straightforward point-and-shoots to models offering more advanced controls.

Staying true to this philosopy, both the PowerShot G7 X Mark III and PowerShot SX740 HS / Lite remained popular choices since their launches.

While the PowerShot G7 X Mark III features a 4.2x optical zoom lens (24–100mm equivalent, f/1.8–2.8) and a 20.1MP 1-in stacked CMOS sensor, the PowerShot SX740 HS / Lite comes with a 40x optical zoom lens (24-960mm equivalent in 35mm terms) and a 20.3MP1/2.3-inch-type CMOS sensor paired with a DIGIC 8 image processor.

The PowerShot G7 X Mark III offers strong video capabilities aimed at a new generation of bloggers and vloggers, while the PowerShot SX740 HS / Lite stands out for its superzoom range, making it a versatile travel and everyday camera.

Social media helped fuel the point-and-shoot revival, and the renewed interest in compact cameras drives the second-hand prices often higher than their original retail price.

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If you've been waiting for the right opportunity to invest in one of Canon's most impressive mirrorless cameras, this might be the deal you've been looking for. The Canon EOS R5 Mark II is now available for just $4,099, down from its previous price of $4,399, saving you a rather welcome $300 on a camera that is already packed with some of Canon's very best technology.

I've always thought the EOS R5 Mark II represents something of a sweet spot in Canon's professional mirrorless lineup. It combines the resolution you would expect from a high-end camera designed for commercial, landscape, and portrait photography with the kind of speed that makes it equally at home shooting sports, wildlife, and fast-moving action. At its heart is a fantastic 45MP full-frame stacked CMOS sensor, capable of capturing incredible detail while delivering continuous shooting speeds of up to 30fps.

And then there's the autofocus system, which is arguably one of the biggest reasons to consider this camera. Canon's Dual Pixel Intelligent AF technology offers advanced subject recognition and tracking, while the clever Eye Control AF system allows you to select your focus point simply by looking at your subject through the viewfinder. For photographers working in unpredictable environments, particularly those shooting sports or wildlife, that's a seriously useful feature to have at your disposal.

The video capabilities are equally impressive. With internal 8K 60p RAW recording, excellent 4K options, and professional-level recording features, the EOS R5 Mark II is just as capable of producing beautiful cinematic footage as it is of capturing stunning stills. It's this versatility that makes it such an attractive option for photographers who increasingly find themselves working across both photography and video.

Of course, at just over $4,000, this is still a serious investment, and I wouldn't pretend otherwise. But professional camera equipment rarely comes cheap, particularly when you're getting this level of performance in a single body. A $300 saving might not sound enormous in isolation, but it's still money back in your pocket that could go toward a memory card, spare batteries, or even your next lens.

For anyone already invested in Canon's RF system, or photographers considering making the jump to a genuinely professional hybrid camera, the EOS R5 Mark II is a brilliant option. And with $300 knocked off the asking price, there's now an even better reason to consider adding one to your camera bag.

These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $501.70 at B&H. Two bundles include accessories at no extra cost, since the price matches the camera body alone, making the extras essentially free.

The Canon EOS R8 is now available for just $1,399 at B&H – a $250 discount from its original $1,649 price tag.

The Nikon Z6 II is now available in a basic bundle for just $1,296.95 at B&H – a $450 discount from the original $1,746.95 price tag, including a shoulder bag and 128GB memory card.

The Sony A7 III is now available in a basic bundle for just $1,498 at B&H– a $501.70 discount from the original price of $1,999.70. This deal includes a shoulder bag and 128GB memory card.

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

The Canon EOS R8 offers an affordable entry into full-frame territory. It keeps the familiar Canon interface, supports your DSLR lenses via an adapter, and packs modern features into a lightweight, compact body.

The only notable limitation is the lack of IBIS, which might be a deal-breaker if you do a lot of handheld shooting with long lenses or video. In that case, the EOS R6 II is worth considering, though it comes with a much higher price tag.

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

If you're moving from a Nikon DSLR like the D750 or D780, the Nikon Z6 II is hands-down a smooth upgrade. It features a similar body design, intuitive Nikon menus, and excellent ergonomics.

While Nikon's Z-mount lens selection isn't as extensive as Sony's or Canon's, you can make use of your existing DSLR lenses via an adapter.

Sony A7 III

Ideal for system switchers and DSLR upgraders

The Sony A7 III remains one of the most versatile full-frame cameras in its price range and packs pro-level features.

It gives you maximum mirrorless flexibility as the Sony E-mount ecosystem is the most mature on the market, boasting a huge range of native lenses and third-party support from brands like Tamron and Sigma.

Comparison

If I were to pick a mirrorless full-frame camera today, I'd lean toward the Sony A7 III.

Its unmatched lens options and flexibility make it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Canon’s gear graveyard is growing, with Canon Japan’s official repair services ending support for a handful of cameras and lenses before the end of the year. But while the cameras that Canon will stop repairing soon are all digital, the list of lenses looks quite different. The oldest one? It’s from 1996.

According to Canon Japan, these lenses will no longer be eligible for repair services soon:

• EF 70-200mm F/4L USM
• EF 135mm f/2L USM
• EF300mm F4L IS USM
• EF 85mm f/1.2L II USM
• EF-S 15-85mm F3.5-5.6 IS

The first three lenses reach the end of their support lifespan in November 2026, while the last two only have until the end of October 2026 to be eligible for repair. Canon has already stopped manufacturing these lenses, but the optics will soon no longer be able to be repaired by Canon’s technicians.

But while the cameras that Canon is ending service for were all introduced in 2016 and 2017, the lenses that Canon is killing off are much older, released in the 1990s and early 2000s.

The EF 135mm f/2L USM was introduced in 1996. Camera history buffs will be quick to recognize that was before Canon’s first digital SLR, the EOS D30, which didn’t arrive until 2000.

The fact that Canon’s repair team has been supporting a film lens for 30 years is rather remarkable. Canon has shifted from film, to DSLR, to mirrorless in that same time frame, and now offers the RF 135mm f/1.8 IS USM for mirrorless shooters.

But the age of the EF 135mm f/2L USM raises an interesting question: how long should photographers expect camera lenses to last, really? For digital cameras, Canon tends to continue offering support and repairs for about a decade, as seen with the list of cameras from 2016 and 2017 that will no longer be supported by the end of this year.

Lenses have traditionally outlasted camera bodies, even going back to analog. A camera’s shutter tends to have an expected lifespan much like the mileage on a car. Camera technology also seems to evolve at a much faster pace than glass elements.

As camera resolutions climb above 40MP and even above 60MP (and 100MP for medium format), those high-resolution bodies often need more advanced glass in order to create sharp images across that higher resolution.

Of course, the retro photo look is very on-trend at the moment, and one of the ways to get that look without switching to analog is to adapt older film lenses to a modern mirrorless camera. The result is often a softer image, often with iconic lens flare. But these older lenses often at least need a good cleaning, and Canon technicians have been supporting that for three decades for the 135mm.

Canon’s 135mm f/2 lens is legendary, and many photographers asked for an update for years during the DSLR era. But that’s not the only lens from the 1990s that Canon will no longer repair.

The Canon EF 70-200mm f/4L USM was introduced in 1999. Canon made two more variants before the RF era, adding IS in the second generation in 2006 and updating the lens a third time with the EF 70-200mm f/4L IS II USM in 2018.

Canon launched the EF 300mm F4L IS USM in 1997. Unlike the 70-200mm, it didn’t get a refresh over the years, and even among the RF lens family, Canon doesn’t currently have a 300mm prime.

The Canon EF 85mm f/1.2L II USM, a 2006 launch, is still a beloved focal length, now offered in the RF 85mm f/1.2 L USM.

Canon is also ending support for one crop sensor lens this year, the EF-S 15-85mm F3.5-5.6 IS USM. That lens remains a bit unique in its longer focal-length coverage, where modern kit lenses are typically either shorter, like the RF-S 18-45mm, or longer, like the RF-S 18-150mm.

While Canon is ending official support for those lenses, third-party technicians will likely still be able to clean and, if parts are available, repair those optics.

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Bright telephotos tend to be heavy optics, but Sigma’s newest lens is a 50-120mm with an f/2.8 aperture that’s less than 10 cm / 4 inches long. The Sigma 50-120mm f/2.8 DC OS Contemporary is a bright, compact zoom built for APS-C cameras, debuting in Sony E, Fujifilm X, and Canon RF mounts.

The October 08 launch completes Sigma’s Contemporary “holy trinity” series alongside the 10-18mm f/2.8 and 18-50mm f/2.8. But Sigma says that even all three lenses in a camera bag together still weigh less than 1kg / 2.2 pounds.

The new 50-120mm acts as a 75-180mm lens in full-frame equivalent, trading the more standard 70-200mm range for a design that’s built to match the compact design of APS-C bodies. The lens weighs in at 390g / .85 lbs.

Sigma says that the new lens raises the standard for APS-C constant zooms. The lens uses a high-response Linear Actuator autofocus motor, alongside Sigma’s latest stabilization tech that brings 6.5 stops of stabilization at 50mm and 4.5 stops at 120mm.

The lens is an external-style zoom, which means the length of the lens changes based on focal length. But the company says that the lens was built to minimize focus breathing for video shooters.

Like the other two lenses in the trinity, the 50-120mm skips out on the focus mode switch and stabilization switch for a more minimalist design. The design still manages to fit in weather-sealing and an oil-repellent coating at the front.

Part of the allure of the APS-C format is the more compact body designs – but those smaller cameras tend to feel unbalanced with larger lenses mounted on the front. While there are plenty of first-party and third-party full-frame 70-200mm f/2.8 lenses built for full frame that will work on APS-C, there are relatively few made specifically for the more compact sensor format.

Fujifilm has the XF 50-140mm f/2.8 R LM OIS WR, but that lens is more than twice as heavy and nearly twice the cost. Sony has the 55-210mm f/4.5-6.3 OSS and the 70-350mm f/4.5-6.3 G OSS, but neither lens has a constant f/2.8 aperture. Canon’s closest APS-C lens is the RF 75-300mm f/4-5.6.

The new Sigma 50-120mm f/2.8 is notably missing a mount: the Nikon Z. While the new APS-C zoom doesn’t include Nikon’s mirrorless bodies, today Sigma also announced that the existing Sigma 16-300mm f/3.5-6.7 DC OS Contemporary will be arriving for the Z Mount in November.

Perhaps the most appealing part of the new Sigma 50-120mm f/2.8 could be the price. The 50-120mm lens is set to retail for $799 / £699 – which converts roughly to AU$1,326 / CA$1,317.

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The growth of AI has been met with trepidation among the creative community – but Japan’s biggest camera makers agree that AI-generated content is sparking an entirely different trend: the growth of the dedicated camera and a shift towards prioritizing the experience of photography over technical specifications.

Japanese business publication Nikkei Shimbun recently interviewed executives from Canon, Sony, Nikon and Fujifilm. Despite discussing camera trends with four competing brands, there’s an overarching trend that Japan’s biggest camera makers seem to agree on.

Camera makers believe that the rise of AI-generated content, along with trends towards a more retro film-like look, is actually driving more people to pick up a dedicated camera over simply shooting with a smartphone. The camera market saw healthy growth last year, but the biggest growth was in the fixed-lens compact category, which rose nearly 30 percent.

But with AI slop driving more people to pick up dedicated cameras, the reason behind choosing a certain camera is also shifting. The experience that a camera offers is becoming increasingly important in the era of AI and smartphones.

Camera makers are seeing an increased priority on the physical controls and the style of the camera. Casual photographers shifting from a smartphone are often looking for a camera that’s more fun to shoot with – and the design and physical controls are a big part of that. The rise of screen-free cameras is a key example of this trend, along with the continued rise in retro cameras.

Generated content is known for being overly perfect and inauthentic, and that’s creating a push towards a more traditional camera experience, both in the camera’s design and the look and feel of the images. More and more camera makers seem to be pushing the in-camera colors through film simulations, photo styles, and in-camera LUTs.

Camera makers have long been engaged in the megapixel race and the push to beat out competitors' specifications. Manufacturers aren’t dropping out of this race anytime soon, not for pro models geared towards serious photographers.

But the camera industry is once again welcoming the average consumer who just wants to snap some photos of daily life, and this sort of photographer may care more about the experience than the megapixel count.

Photographers have already seen evidence of this push with experimental cameras like the Fujifilm X Half and the viral success of low-resolution cameras like the Kodak Charmera.

The rise of the smartphone decimated the market for casual shooters looking to take snapshots of daily life. Thanks to wariness over AI-generated content and a rising trend for a more screen-free lifestyle, this camera category is returning with a vengeance.

Canon is looking to build a more diversified camera line, including retro styling

In the interview, Canon said that younger consumers are discovering the joy of shooting with a dedicated camera. Canon hinted that it’s been exploring more stylish compact cameras and cameras that create a more film-like look as a result.

But Canon executives also recognize that the people who are picking up cameras are becoming increasingly diverse. The camera industry isn’t solely focused on professionals and hobbyists but is shifting to welcome the customer who just wants to take photos of daily life.

Canon says it's looking to create a more diverse line of cameras in order to reach the wider range of consumers picking up a dedicated camera.

Canon also says it recognizes the growth of video and hybrid shooting, saying that it plans to expand V-series lenses.

Nikon is increasingly looking beyond just stills

Video remains a particular focus for growth for Nikon, the interview hints, particularly after the acquisition of RED. Nikon executives hinted that Nikon’s optics and imaging have opportunities to grow by looking at multiple forms of content.

On the topic of AI, Nikon says that it's exploring the possibility of using AI beyond autofocus applications, such as choosing the best images and the newly implemented AI-built tools for auto white balance.

Sony’s entertainment division could help inspire cameras

The interview suggests that Sony may be looking to take advantage of its diverse range of businesses across movies, music, and gaming and use that expertise towards future camera launches. Cameras can also be a form of entertainment – and Sony also mentioned exploring spatial experiences, such as VR spaces.

Sony also says that AI can be a creative tool to aid in tech like autofocus subject detection and pose estimation. But Sony is also pushing for a “digital birth certificate” for recognition of in-camera authenticity.

Fujifilm’s push for film simulations and retro designs is working

Fujifilm’s sales have been steadily rising, and part of that is the brand’s focus on retro camera designs and film simulations. Both features work well with the growing trend of people shifting from smartphones to cameras that are fun to shoot and carry more authenticity than AI-generated content.

As far as using AI in cameras, Fujifilm executives said that AI should be treated more like an assistant aiding in things like autofocus, and not creating images.

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Retro camera fans have long been waiting for a refresh of the PEN series – and the latest trends from Japan suggest just how excited photographers are about the new OM System PEN.

Japanese photo retailer Camera Kitamura has shared the best-selling mirrorless cameras for September, a list that’s led by the Sony A7C II, the new OM System PEN, and the Sony A6700.

Both the Sony A7C II and the A6700 have been around for a few years and are regular attendees on Japan’s best-seller lists. But the camera in second place is a fresh launch.

The OM System PEN was only announced on September 09, with pre-orders initially not scheduled to begin shipping until late October. But only two days after the announcement, OM System Japan said that there had been so many orders that some may not get their camera until November.

The new 2026 PEN’s early success isn’t unwarranted. I’ve been shooting with an early review sample for a few weeks now. The compact retro design makes it the camera that I instinctively want to grab.

While the design may have been what first drew me to the new PEN, OM System’s new Micro Four Thirds shooter is also one of the most affordable mirrorless bodies with both in-body stabilization and weather sealing. It retails for $999 / £849 / AU$1,499 body-only, or $1,099 / £949 / AU$1,799 with a kit lens (which is what’s made the Kitamura best-seller list).

But perhaps the more interesting aspect of the latest list of best-sellers from Japan is that it’s the smallest sensor camera of the three major bodies announced in September that’s in the top three. The PEN was one of three major camera launches in September. Canon also introduced the EOS R8 Mark II, and Nikon also unveiled the Z5IIC. The R8 Mark II sits in fourth place on Kitamura’s list, while the Z5IIC didn’t make the top ten.

Looking at a single retailer in Japan isn’t going to be indicative of the camera market as a whole, but it’s interesting that of the three major launches last month, it’s the Micro Four Thirds shooter that’s dominating Kitamura’s sales. The trends list will be interesting to watch as those cameras begin shipping in October and November.

The OM System PEN, however, fell just behind the first-place Sony A7C II. Sony’s more compact full-frame mirrorless has been regularly dominating best-seller lists since its launch three years ago. Its compact design that still crams in a full-frame sensor has been well-loved, despite the camera’s age.

Compact designs seem to dominate much of Kitamura’s list. The Sony A6700 comes in third place, an APS-C shooter that’s small but fast.

The R8 Mark II sits in fourth place, with a new, more angular design inspired by the film Canon T80. The R8 Mark II still follows the trend of a more compact body design as a more entry-level full-frame, but unlike the original, the Mark II includes stabilization.

Another longstanding Sony favorite, the Sony A7 IV, sits in fifth place. That camera’s successor, the Sony A7 V, which has been dominating a number of best-seller lists since its launch, doesn’t show up until 8th place.

The only Fujifilm camera on Kitamura’s best-selling mirrorless list is the compact, budget-friendly Fujifilm X-M5. The X-M5 is both one of Fujifilm’s most affordable bodies and the smallest, though it lacks a viewfinder, and many features are geared towards hybrid shooting.

Two more Sony APS-C cameras sit on the list, the ZV-E10 II in seventh place and the Sony A6400 in ninth place. Both of those cameras are on the list for two-lens kits rather than the single kit lens options.

Canon rounds out the list with the EOS R6 Mark II in 10th place. While the camera has now been replaced with the Mark III, the R6 Mark II remains available at a lower price point than the newer model.

Kitamura Camera’s best-selling mirrorless cameras for September 2026

1. Sony A7C II
2. OM System PEN with 14-42mm f/3.5-5.6 III kit lens
3. Sony A6700 with zoom lens kit
4. Canon EOS R8 Mark II
5. Sony A7 IV zoom lens kit
6. Fujifilm X-M5 with XC 15-45mm kit lens
7. Sony ZV-E10 II double zoom lens kit
8. Sony A7 V
9. Sony A6400 double zoom lens kit
10. Canon EOS R6 Mark II

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There aren’t many lenses that could make me seriously consider changing camera systems, but the Canon EF 50mm f/1.2L USM is one of them.

I have always had a huge amount of respect for this lens. Yes, it is getting on a bit now, and yes, Canon has newer RF glass that can outperform it technically, but photography isn’t always about which lens produces the best laboratory results. Sometimes a lens has character, and the Canon EF 50mm f/1.2L has bags of it.

That is why seeing it drop to just $1,349 at Amazon, down from $1,548.01, saving you $199.01, has caught my attention.

In fact, this is one of those rare deals that makes me look across the fence at Canon and think, perhaps I could be persuaded.

The appeal is obviously that f/1.2 maximum aperture, but for me this lens has always been about much more than simply letting in lots of light. There is a particular look to images shot wide open with the EF 50mm f/1.2L. The transition from sharp to out of focus can be wonderfully smooth; backgrounds simply disappear, and subjects seem to have that almost three-dimensional quality that is so difficult to describe until you see it.

It isn’t clinical, and I think that is precisely the point. There are newer 50mm lenses that are sharper. There are lenses with more sophisticated autofocus systems and optical designs that will undoubtedly look better when you start comparing charts. But there is a reason photographers still talk about this lens after all these years. It has personality, and in an age where modern lenses are becoming increasingly perfect, I actually find that rather refreshing.

And I think that makes this deal particularly interesting for Canon RF shooters, too. You might look at the EF mount and immediately dismiss it as an older DSLR lens, but I wouldn’t. Stick Canon’s EF-to-RF adapter between it and an EOS R-series body, and suddenly you have one of Canon’s most celebrated 50mm lenses sitting on a modern mirrorless camera.

Even allowing for the cost of the adapter, I think this represents some of the best value available if you specifically want that f/1.2 look. More importantly, I wouldn’t see the adapter as some unfortunate compromise you have to tolerate just to save money. This is a lens that deserves the respect of being used on modern cameras. The mount might belong to Canon’s DSLR era, but the images certainly haven’t suddenly become irrelevant because RF arrived.

There is also something rather appealing about putting a legendary piece of EF glass onto a modern EOS R body. You get the benefits of Canon’s current mirrorless cameras while still having access to a lens whose reputation was built over years of professional portrait, wedding, event and documentary photography.

At $1,349, it certainly isn’t an impulse purchase, but I think that misses the point. This isn’t a cheap 50mm that you buy simply because everyone should own a nifty fifty. It is a serious f/1.2 L-series prime with a distinctive rendering that photographers have loved for years.

And that $199.01 saving makes it considerably easier to justify. I don’t shoot Canon as my main system, but this is exactly the sort of lens that makes me want to convert. There are plenty of technically brilliant lenses around, but very few have built the reputation and character of the Canon EF 50mm f/1.2L.

Even if I were already shooting RF, I think I would still be looking at this deal rather than automatically reaching for the newer alternative. Add the adapter, embrace the fact that you’re using an EF classic on a modern mirrorless body, and enjoy one of those lenses that reminds you why we become attached to particular pieces of glass in the first place.

Some lenses are simply tools. This one deserves a little more respect than that.

It appears that Canon may be looking to expand its current lineup of non-L-series macro lenses for budget-conscious RF-mount shooters.

According to a new patent (publication number: 2026-155997) published by the Japan Patent Office on October 6, the company has at least devised a 90mm f/2.8, 100mm f/2.8, 130mm f/2.8, and 180mm f/4.0 prime lens featuring a distinct optical design from the company’s current L-series (Luxury) macro lenses, but that would still achieve life-size subject reproduction.

Currently, photographers navigating Canon’s full-frame mirrorless lineup face a divide in macro options. The accessible RF 85mm f/2 Macro IS STM offers everyday shooting but tops out at 1:2 (0.5x) magnification.

And the flagship RF 100mm f/2.8L Macro IS USM delivers sharp performance and 1.4x reproduction, but carries a steep price tag and is on the bulky side.

While there’s no saying which budget Canon could truly be gearing these patented designs toward, it would make sense if the lenses were affordable, lightweight, non-L primes capable of true 1:1 life-size reproduction without the weight or cost of L-series glass.

And according to the patent, Canon could be trying to solve this size and cost challenge with a nifty optical formula.

Instead of extending the front barrel during close focusing, the system contains a five-group structure with two counter-moving internal focus groups to achieve 1:1 magnification while suppressing focus breathing.

What’s more, a negative rear element group shortens the overall barrel length, while a simplified single-element front group comprising low-dispersion glass, in theory, would keep chromatic aberrations in check without adding unnecessary weight.

While patent filings never guarantee production, this latest publication does make it seem likely that Canon is actively developing 1:1 magnification lens offerings for its mid-range RF lineup.

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Here’s our macro expert’s take on the best macro lenses. You can also read our pick of the best lenses for Canon DSLRs

Amazon has knocked $92.70 off the Canon 12x36 IS III Image Stabilized Binoculars, bringing them down to $786.30 from their usual $879 price.

That is a very welcome saving on one of Canon’s most interesting high-magnification binoculars, particularly if you want extra reach without having to carry a tripod everywhere you go.

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The headline feature here is obviously Canon’s image stabilization. At 12x magnification, even small hand movements can become distracting, but the built-in stabilization helps calm that movement and gives you a much steadier view. It makes a real difference when you are watching birds, wildlife, aircraft, sporting events or anything else at distance.

The 36mm objective lenses also strike a useful balance between light gathering and portability. These are not tiny binoculars, but they remain considerably easier to carry than many large high-powered models, while still giving you enough magnification to pull distant subjects much closer.

I have always found image-stabilized binoculars particularly interesting because they solve one of the biggest problems with higher magnification optics. A conventional 12x binocular can look fantastic on paper, but if you cannot keep the image steady enough to see the extra detail, that magnification quickly becomes less useful. Canon’s stabilization helps you actually make use of that additional reach.

At $786.30, these are still premium binoculars, but saving $92.70 certainly makes them more tempting. If you have been looking for a powerful pair of binoculars for wildlife, birdwatching, aviation or long-distance observation, the Canon 12x36 IS III offers something very different from a conventional pair, and this Amazon deal makes them considerably easier to justify.

Amazon has knocked a substantial $199.01 off one of Canon’s most legendary lenses, with the Canon EF 50mm f/1.2L USM now down to $1,349 from its usual $1,548.01 price.

This is not the newest 50mm in Canon’s lineup, but that is almost beside the point. The EF 50mm f/1.2L has built a reputation over the years for its distinctive rendering, beautiful background blur, and unmistakable character.

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Its headline feature is, of course, that huge f/1.2 maximum aperture. It gives you exceptional control over depth of field and allows the lens to pull a subject away from the background in a way that slower 50mm lenses simply cannot match. It is particularly well suited to portraits, weddings, events, street photography, and low-light shooting, where that extra light-gathering ability can make a real difference.

What has always made the EF 50mm f/1.2L special, though, is not simply sharpness. There are newer lenses that will beat it on laboratory charts, but this lens has a look of its own. Wide open, it can produce wonderfully soft transitions between sharp and out-of-focus areas, with the kind of creamy bokeh and three-dimensional rendering that has made it a favorite among portrait and wedding photographers for years.

It is also built like a proper Canon L-series lens, with a reassuringly solid construction, fast USM autofocus, and the sort of handling that makes it feel right at home on a professional camera body. And while it was originally designed for Canon DSLRs, EF shooters are not the only ones who can enjoy it. With Canon’s EF-EOS R adapter, it remains a very attractive option for photographers using the company’s current mirrorless cameras.

At $1,349 in the Amazon sale, the Canon EF 50mm f/1.2L USM is still an investment, but this is not just another standard 50mm prime. It is a lens with real history, character, and a look that many photographers still actively seek out. Saving nearly $200 makes this legendary piece of Canon glass considerably more tempting, especially if you have always wanted to experience what an f/1.2 L-series prime can do.

Amazon has dropped the price of the Canon EOS R100 with its 18-45mm kit lens to just £449, down from £609.11. That saves you £160.11 and makes this one of the cheapest ways to get into Canon’s current EOS R mirrorless system with a lens included.

The EOS R100 is aimed squarely at photographers taking their first step beyond a smartphone or compact camera. It keeps things deliberately simple, but still gives you the flexibility of interchangeable lenses and a much larger APS-C sensor, making it a great starting point for anyone who wants to learn photography without spending a fortune.

Inside is a 24.1MP APS-C sensor paired with Canon’s DIGIC 8 processor, delivering plenty of detail for travel, family photos, portraits and everyday shooting. Canon’s color reproduction has always been one of the company’s strengths, and the EOS R100 produces attractive JPEGs straight out of the camera without demanding much editing.

Canon’s Dual Pixel CMOS AF system handles autofocus, while eye detection makes portraits much easier for beginners. You also get up to 6.5fps continuous shooting and 4K video recording, giving the R100 enough versatility to experiment with both stills and video as your skills develop.

What makes this deal particularly appealing is the price. At £449 with a lens included, the EOS R100 offers a genuinely affordable route into Canon’s RF system, with plenty of scope to add more RF and RF-S lenses later. For beginners, students, or anyone wanting a lightweight everyday camera without a huge initial investment, this is one of the more tempting Canon deals I have seen in the Amazon sale.

The Amazon Prime Big Deal Days sale is now live, and one of the most tempting full-frame camera deals I have spotted so far is on the Canon EOS RP, which has dropped to just £649 from its usual £1,049.99 price.

That is a substantial saving on one of Canon’s most compact full-frame mirrorless cameras, and it makes the RP particularly appealing for anyone looking to make the jump to a larger sensor without spending four figures.

The EOS RP may no longer be the newest camera in Canon’s mirrorless range, but that does not stop it from being an incredibly capable little full-frame body. Its 26.2MP sensor delivers excellent image quality, while the compact dimensions make it considerably easier to carry than many traditional full-frame cameras.

It is also a very approachable camera to use. Canon’s menus remain some of the easiest to navigate, the fully articulating touchscreen is particularly useful for shooting from unusual angles, and Dual Pixel autofocus makes focusing quick and straightforward for everyday photography. Pair it with one of Canon’s smaller RF lenses and you have a genuinely lightweight full-frame setup that is ideal for travel, street photography, portraits and family photography.

There are newer Canon cameras with faster burst rates, more advanced autofocus and stronger video specifications, but that is not really where the EOS RP’s appeal lies. This is a camera for photographers who want the look and flexibility of a full-frame sensor in a small, uncomplicated and affordable body.

At £649 in the Amazon Prime sale, the Canon EOS RP becomes considerably easier to recommend. Full-frame mirrorless cameras rarely fall into this sort of price territory, and if you have been waiting for an affordable way into Canon’s RF system, this is one of the deals I would be paying attention to.

Amazon Prime Big Deal Days has delivered a huge saving on one of Canon’s most desirable super-telephoto zooms, with the Canon RF 100-500mm F4.5-7.1L IS USM now down to just £2,379 from £3,159.99.

That is a massive £780.99 saving on a professional L-series lens that has become a firm favourite among wildlife, bird, sports and aviation photographers.

The RF 100-500mm is one of those lenses that manages to offer serious reach without becoming completely impractical to carry. Its 100-500mm zoom range gives you plenty of flexibility when subjects are moving or distances are constantly changing, while the relatively compact design makes it far easier to travel with than many traditional super-telephoto lenses.

Image quality is exactly what you would expect from Canon’s L-series glass, with excellent sharpness, strong contrast and impressive detail throughout the zoom range. Autofocus is fast and quiet, while Canon’s optical image stabilisation makes a significant difference when shooting handheld at the longer end of the lens, where even the smallest movement can become very noticeable.

For wildlife and bird photography in particular, that combination of reach, autofocus performance and portability makes the RF 100-500mm an incredibly versatile option. It is also a strong choice for motorsport, aviation and outdoor sports, where having the flexibility to move quickly between 100mm and 500mm can be far more useful than carrying a fixed super-telephoto prime.

At its usual price, this is undeniably a serious investment, but a £780.99 saving changes the equation considerably. At £2,379 in the Amazon Prime sale, the Canon RF 100-500mm F4.5-7.1L IS USM becomes one of the standout high-end lens deals I have seen so far, particularly for Canon RF shooters who have been waiting for the right moment to add a professional super-telephoto zoom to their kit.

A handful of iconic Canon cameras will reach the end of their lifespan by the end of 2027 – a list that spans from DSLR to mirrorless to impact cameras. Canon will discontinue repair services for four cameras in November and another four in December, according to a list from Canon Japan.

Two longstanding DSLR favorites will stop being eligible for official Canon repairs at the end of November: The Canon EOS Rebel T7i (known as the EOS 800D outside the US) and the Canon EOS 77D. Canon no longer manufactures either DSLR, but will soon also no longer repair those cameras.

The Rebel T7i is a 2017 DSLR that brought Canon’s Dual Pixel CMOS AF to the company’s entry-level series for the first time. The 24.2MP APS-C camera was capable of shooting at 6fps.

The EOS 77D was released that same year and had the same sensor, processor, and autofocus system as the Rebel T7i, but a more advanced design with a top LCD screen, rear control dial, and an eye sensor to automatically turn off the screen when using the optical viewfinder.

A Canon mirrorless released in 2017 is also reaching the end of its support lifespan: The Canon EOS M100. The M100 felt more like a compact camera with swappable lenses, with its thin 35.1mm / 1.3-inch design and lightweight 302g profile. Canon discontinued the M series in 2023 after shifting to the RF mount.

Three compact cameras also reach the end of their lifespan before the end of the year: the 2016 Canon PowerShot ELPH 180 (also known as the IXUS 175), the 2017 PowerShot ELPH/IXUA 185and the SX620 HS. Both the ELPH 180 and 185 are nearly identical point-and-shoots with 20MP sensors and an 8x optical zoom, though in Japan, the IXY 200 added a dedicated date button and “easy auto” mode.

The PowerShot SX640 HS, meanwhile, is a 2016 compact camera that mixed a 20.2MP sensor with a 25x optical zoom lens, yet still had a compact point-and-shoot design

Two bridge cameras also reach the end of their support lifespan before the end of 2026. That list includes the Canon PowerShot SX420 IS and SX430 IS. Released one year apart, both SX series cameras shared a similar body design, while the older camera used a 42x optical zoom and the SX430 a 45x lens.

The list of cameras that Canon will discontinue support for before the end of the year doesn’t contain any surprises – after all, the cameras on the list haven’t been sold new for some time. But for current owners of those older cameras and those shopping for used cameras, it’s worth noting that official repair services from Canon for those camera models are ending soon.

The Canon EOS M100, Rebel T7i, EOS 77D, and PowerShot SX420 will expire from Canon’s support at the end of November, while the remaining models will be supported until the end of December.

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I have very fond memories of the Canon EOS 750D, known in the US as the Canon Rebel EOS T6i and in Japan as the Canon EOS Kiss X8i.

You'd be forgiven for not instantly recognizing the Canon EOS 750D (or its namesakes) among the company's long and increasingly convoluted alphabet soup of model names, but trust me – this stood out as one of the best beginner cameras on the market for a number of reasons, many of which still make it worth picking up today.

For starters, with its 24.2MP APS-C sensor, the Canon EOS 750D boasted the highest resolution of any entry-level model in the company's lineup. While 24MP might be the baseline for APS-C resolution today, back when this camera launched in 2015, 18MP was the norm for a starter system.

At that time I was still doing a lot of workshops and photographic education, and one of the most common questions I'd get would be, "What camera should I start with?"

Obviously pixels aren't everything – and indeed, the Canon EOS 750D offers more than just pixels. But given the choice between a starter camera with 18MP and another with 24MP, it was pretty easy to recommend the 750D as the place to begin a photographic journey.

Resolution aside, the camera also boasted plenty of features that made it even more appealing. Canon's Hybrid CMOS AF III imbued it with phase detect autofocus, something that even some expensive cameras at the time were shy to offer. It may be hard to remember in 2026, but back in the day the leap in reliability from contrast-detect AF was a pretty big deal.

A key one for me was that the Canon EOS 750D offered WiFi connectivity, enabling it to work with Canon Camera Connect. People are quick to dump on camera company's smartphone apps, and indeed some of them are pretty dire, but I've always found Canon's to be one of the best (behind Olympus / OM System's app).

But perhaps the biggest deal with the 750D was the fact that it boasted a fully articulating rear screen, with touch controls. There's a misnomer that these kinds of "flippy screens" are only good for video, but I use them just as much for photography.

I'm certainly not shy of going prone to get a shot, but trust me – it's way easier to get a low-angle (or even a high-angle) portrait-orientation shot using an articulating screen rather than going belly-down on the ground and getting mucky!

But the Canon EOS 750D certainly catered to video as well, offering FullHD 25p capture, and it even had a microphone jack. Again, there are plenty of expensive midrange and high-end cameras that don't give you a mic jack even today – so the fact that you had all this tech on a beginner camera in 2025 really was quite special.

Today, the landscape is very different. But for an entry-level Canon camera with a flippy screen, you're looking at the Canon EOS R50 – which will cost you around $629 / £729. While it's an objectively better camera in every respect, compare that to the cost of a Canon EOS 750D / Rebel T6i – which is available from $341 at KEH or £239 at MPB.

The Canon EOS 750D was ahead of its time – so much so that, even a decade later, it's still a very respectable place to start your journey.

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When the original Canon PowerShot SX740 HS launched in 2018, the compact camera market was dominated by straightforward point-and-shoots, while premium compacts like the Leica Q3 43 were far less common.

According to the latest sales data from major retailer Yodobashi, the little PowerShot triumphs again as the No.1 compact camera in Japan right now.

In 2024, Canon introduced the PowerShot SX740 HS Lite, a lightly updated version of the original camera.

Despite changing just one small feature, the model has proven just as popular. Since its original launch 8 years ago, it has become a cult favorite, with second-hand prices higher than its original retail price of $549.99 / £549.99.

Canon's unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

While the PowerShot SX740 HS comes with a 20.3MP 1/2.3-inch-type CMOS sensor, Yodobashi's Top 10 also features models with significantly larger sensors, with the top model featuring a 60MP full-frame sensor.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Aug 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Fujifilm X100VI | Silver | Black
4. Panasonic Lumix TZ99 / ZS99 | Black | White
5. Kodak Pixpro C1 | Brown | Black
6. Canon PowerShot G7 X Mark III | Black | Silver
7. Canon IXY 650 / PowerShot Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Sony RX10 V
9. OM System Tough TG-7 | Red | Black
10. Leica Q3 43

The two extreme compact camera types in today's market

Yodobashi's latest Top 10 reveals the compact camera market's current state.

There are two extremes: the cheap and cheerful, straightforward models like the Canon PowerShot SX740 HS / Lite (No.1), or even simpler and more affordable models like the Kodak Pixpro C1 (No.5), available for only $99.99 / £94.

On the other side, there are premium compacts like the hugely popular Fujifilm X100VI (No.3) and the high-end Leica Q3 43 (No.10), a full-frame 60.3MP model, with a hefty price tag of $7,950 / £5,890.

Also in demand, and back in Yodobashi's Top 10, is the OM System Tough TG-7 (No.9), a 12MP adventure companion that withstands freezing temperatures of -10°C (14°F) and is waterproof up to 15 meters (50 feet).

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At just 14 years old, wildlife photographer Camilo Sanabria Grajales became Audubon Photography Awards' first youth prize winner from South America, Camilo Sanabria Grajales. Now, his image showcasing a Ruby-topaz Hummingbird has received an Honorable Mention in the 2026 competition. The highlighted image is a colorful split-second capture, shot at 1/2500 sec. "I searched for the Ruby-topaz Hummingbird for years," says Camilo.

Camilo explains to Audubon magazine that there were several attempts at photographing the species, including one where he had to deal with an allergic reaction, as well as trips to Uva National Park in Colombia where he had no luck seeing the bird. "But then it came, my big day. I was invited to a site that was full of flowers in Buga and was in for a surprise: more than ten hummingbirds, both male and female."

Since the birds were fluttering around Camilo so quickly, it was a challenge to capture their beauty in sharp focus. He says, "Then one approached me. I focused on it just in time. As it was about to dart away, I got this unique photo that captures its sun-drenched colors."

Honorable Mention: Youth

Contest: Chile and Colombia
Species: Ruby-topaz Hummingbird
Location: Guadalajara de Buga, Valle del Cauca, Colombia
Gear: Canon EOS Rebel T7 (2000D) + Sigma 150-600mm f/5-6.3 DG OS HSM | C
Exposure: 1/2500 sec, f/6.3, ISO 3200

Judge’s Take (Jaír F. Coll)
"The photographer captures the dynamic flight of this hummingbird and integrates it into a harmonious dreamlike setting where the flower’s orange hues play off those of the bird.

"The bird’s subtle expression, as if absorbed in its surroundings, conveys a sense of peace, immersing the viewer in a natural trance where time seems to stand still."

The Audubon Photography Awards
The Audubon Photography Awards is a competition celebrating photographers who use their skills to highlight the beauty, challenges and threats facing birds across Chile, Colombia, Canada and the United States. You can explore all 2026 winning images here.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from September 2026 to February 2027.

The new Canon EOS R8 Mark II was released this month, and it’s a fantastic lightweight full-frame camera in a travel-friendly package that builds on the original EOS R8. While the R8 Mark II has fixed a fair few of the flaws of its predecessor with some tasty tech updates as we mention in our hands-on review, the restrictive battery life remains the same. In polite terms, this can be a bit challenging!

This is the downside to travel camera bodies being small. To fit in a 24MP full-frame sensor, DIGIC X processor, IBIS, and other tech packed inside… Something’s gotta give. So there’s less space for the battery, which means a smaller battery and less battery life.

The rechargeable Canon LP-E17 battery in the EOS R8 and R8 Mark II is only good for 220 photos when using the EVF, or 370 in power-saving mode. In the real world, we found we could take around 350 photos and still have a good chunk of battery power left. But the fact remains, this isn’t many shots if you’re out for a day’s shooting and only have one battery.

In comparison, the Canon EOS R5 Mark II battery can manage 630 shots with the LCD, or 340 when using the EVF.

However, I actually have found having less battery life to play with makes you a better photographer, especially when it comes to travel photography.

I was using an EOS R8 on a city break in Madrid this summer, and I was forced to be thoughtful and economical when taking photos. Rather than the ‘spray and pray’ technique many tourists adopt, shooting everything and anything, and hoping for the best.

Instead, armed with the EOS R8 tucked in my little camera backpack, I had to plan ahead more, researching locations and working out the viewpoints for the best shots. I also took test shots on my iPhone to see how scenes looked, before using the R8 to get better hi-res images...

The added bonus of less battery means fewer images on your card, and that means less time at the computer when you’re back home editing your images.

Another bonus was, in the extreme summer heat of Madrid, less time shooting meant more time relaxing and cooling off with an Aperol Spritz or two in the shade!

It was 1966 and Canon had a problem. During the 1960s, Canon had become successful with enthusiast SLR cameras such as the Pellix and FT series, but professional photographers overwhelmingly favored Nikon.

Canon realized that professionals wanted more than just a camera – they wanted an entire photographic ecosystem that could withstand heavy daily use.

Canon had learned a bitter lesson in 1959 with its Canonflex, which while beautiful was somewhat odd in it’s features and to say it was a commercial failure would be putting it mildly.. The months between introduction and being discontinued could be counted on the fingers of one hand, with digits to spare!

It had been developed by engineers, not photographers. In addition to its odd, bottom wind, it lacked the lenses professionals needed, and those it did have lacked the features professionals wanted. So, in 1966 they began, in earnest, to create their answer to the Nikon F. The Canon F-1.

The objective was ambitious: to build a camera to challenge the Nikon F and achieve reliability under the harshest conditions. . They wanted to develop an extensive array of accessories to fill almost any imaginable need. It was no small undertaking and, according to Canon, it consumed resources comparable with the development of ten conventional cameras!

During 1967, the project expanded to give the new body interchangeable eyelevel and waist-level finders, focusing screens, motor drives (note the plural, here), bulk film backs and remote control systems.

Unlike other makers, Canon intended to have them all available for purchase on the day of the launch, rather than add them over several years, as Nikon had done.

By 1969, working prototypes were undergoing extensive testing. They evaluated shutter durability, film transport reliability, viewfinder alignment, light-meter accuracy, resistance to dust and humidity and most of all, the camera’s ability to operate in extreme temperatures. The camera had to work, without modifications for approximately 100,000 shutter cycles in temperatures from –30°C to +60°C, no matter what the humidity. While these specifications may sound a bit hum-drum, today, they were remarkable at the time.

A small number of trusted professional photographers were invited to test prototype equipment and provide feedback. Many ergonomic details—including the placement of controls and finder designs were refined.

By March 1971, it was ready. But still, Canon did things differently. They had designed the more capable FD lens mount but kept compatibility with the older FL mount lenses photographers may already own. And the camera launched with 14 FD mount lenses available, covering focal lengths from 17mm to 300mm. The full array of 180 accessories was also available on day one.

The Canon F-1 was unusual among professional cameras because Canon deliberately promised that the basic camera would remain in production for ten years, allowing professionals to invest in the system with confidence. It was a promise Canon kept.

In fact, despite a minor tweak in 1976 (still called the F-1 by Canon) it did not launch a new pro-level camera until the “New F-1” in 1981. And they didn’t change the lens mount until the EOS autofocus system introduced in 1989!

The camera itself was truly professional-grade, with a fully mechanical shutter (battery required only for the light meter), a titanium-foil horizontal-travel focal-plane shutter with speeds from 1 second to 1/2000 second plus Bulb, mirror lock-up, depth-of-field preview, Interchangeable viewfinders and screens and extremely rugged all-metal construction. Remarkable, for the era.

The F1 immediately established Canon as a serious competitor in professional photography. Even so, Canon did not surpass Nikon in the professional market, until somewhere around 1992–1993, after the introduction of their EOS-1 with autofocus.

Canon never published production numbers for the F1 and variants, but the commonly cited estimate is about 750,000 bodies over the 10 year run. While this is still slightly lower than the Nikon F’s eventual numbers, it reflects the smaller market and much higher price for pro-level gear.

One interesting footnote: the 1992 Barcelona Olympics are often cited as the moment when the balance of power shifted. Television coverage of the sidelines showed a striking increase in the number of white Canon super-telephoto lenses—a visible sign that many elite sports photographers had migrated from Nikon to Canon. By the 1996 Atlanta Olympics, Canon's lead in professional sports photography was widely recognized.

In 2003 Canon became the world's largest seller of interchangeable-lens digital cameras and have never looked back, though Nikon is now nipping at their heels.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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A "remarkably compact yet well-built" zoom lens is the No.1 best-selling lens in Japan right now, according to major retailer Kitamura. Interestingly, the most popular optics are from third-party manufacturers.

The Sigma 18-50mm f/2.8 DC DN | C for E-mount sits at the top of the chart, followed by another Sigma optic for E-mount: the 28-70mm f/2.8 DG DN | C. Close behind is the Sony FE 100-400mm f/5.6-8 OSS – an affordable telephoto zoom, available for $848 / £799.

Since I started reporting on sales charts in Japan years ago, I have never seen more than three optics sharing the same position. However, in Kitamura's latest August 2026 sales chart, five lenses from Fujifilm, Sony, Canon and Tamron are tied at No.9.

Kitamura's best-selling lenses, August 2026

1. Sigma 18-50mm f/2.8 DC DN | C (E-mount)
2. Sigma 28-70mm f/2.8 DG DN | C (E-mount)
3. Sony FE 100-400mm f/5.6-8 OSS
4. Nikon Z 24-120mm f/4 S
5. Canon RF 50mm f/1.8 STM
6. Sigma 150-600mm f/5-6.3 DG DN OS | Sports (E-mount)
7. Canon EF-S 24mm f/2.8 STM
8. Sigma 20-200mm f/3.5-6.3 DG | C (E-mount)
9=. Fujifilm XC 13-33mm f/3.5-6.3 OIS
9=. Sony FE 70-200mm f/2.8 GM OSS II
9=. Sony FE 24-70mm f/2.8 GM II
9=. Canon EF 50mm f/1.8 STM
9=. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)

No.1 lens: Sigma's "remarkably compact yet well-built" zoom

In our review, we found that the Sigma 18-50mm f/2.8 DC DN | C is "remarkably compact yet well-built". At just approx. 290g, it punches well above its weight. It delivers impressive image quality, features weather-resistant construction, and comes with a budget-friendly price tag.

5 lenses come ninth – from Fuji to Canon, Sony and Tamron

Five lenses are tied at No.9 in Kitamura's best-selling chart for August 2026. From Fujifilm to Canon and Sony to Tamron, the five optics cover a broad range of focal lengths and uses.

Fujifilm's XC 13-33mm f/3.5-6.3 OIS launched in 2025 as the smallest and lightest zoom lens in the Fujifilm X-mount lineup, adding just 125g to the camera bag.

The Sony FE 70-200mm f/2.8 GM OSS II is a light workhorse, while Canon's EF 50mm f/1.8 STM remains a compelling value option that delivers impressive image quality. Lastly, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is an all-in-one superzoom.

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Browse the best telephoto lenses, the best budget telephoto lenses, and the best standard zoom lenses.

Smartphones tend to include more than one camera – but what if dedicated cameras hid more than one sensor inside? Camera maker Canon has patented a camera that has two sensors, but for entirely different reasons than dual-camera smartphones.

A recent Canon patent, published on September 17, describes a camera that has two sensors and lenses. But the invention also has two purposes for that dual design. The first is to fight AI slop and prove that the photograph was created in-camera. The second? To adjust the focus of the image after the photo is taken.

The patent and drawings for the unusual imaging device show a design that uses two different sensors. The patent mentions that these sensors could be CCD or CMOS sensors and that both sensors are exposed at the same time.

Recording two images at the same time creates a parallax reference image that allows the camera to create a certificate of authenticity. The dual sensor design creates a reference image that can help determine if a photograph is edited.

Most current authenticity certificates label a photograph as modified even for minor adjustments to exposure and color. The secondary image could help address a common flaw in authenticity certificates by creating a record of not just whether or not a photograph changed, but by how much. That could help viewers determine if a photo was just color edited, or drastically AI-altered.

For the dual-sensor camera’s second trick, the invention can use that same dual-sensor design in order to adjust the photograph’s focus after the photo is taken. Autofocus misses are notoriously impossible to correct with photo editing, making the ability to adjust focus after rather than before the subject of many camera inventions over the years.

The patent hints that the adjustable focus works because the two sensors capture images at slightly different focus ranges – which can be set by the user in the camera. Combining those two photos allows for a small range of focus adjustment.

Putting the two unusual features together, Canon says that the image authenticity certificate would still be intact if only focus adjustments were made.

The new patent isn’t the first time Canon has experimented with adjusting the camera’s focus after the fact. Canon’s Dual Pixel RAW has two photodiodes on each pixel at slightly different positions, creating a small parallax. This allows Canon’s specialized software to make micro adjustments for a photo that just barely missed focus on supported Dual Pixel cameras.

The patent drawings don’t offer many hints as to what form such a camera would take. But the patent does mention the device having both a “field lens” and a “secondary coupling lens.” That and the mention of a zoom control on the camera suggests a fixed-lens camera rather than a mirrorless.

While the patent doesn’t detail what shape or form such a dual-sensor camera would take, I think Canon should mix the idea with the retro camera trend and build a digital twin lens reflex using those two lenses to fight AI slop. The hype behind the analog concept camera that Canon displayed earlier this year was big enough that I think such a camera would be legendary.

The existence of a patent doesn’t guarantee that such an invention will ever become an actual camera. Last year alone, Canon filed 2,623 patents in the US and over 10,000 patents globally, so there are a lot of ideas that never actually make it into a product. But the unusual dual-lens design to fight AI slop and play with focus is one that I’d love to actually be able to hold in my hands someday.

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While Canon's patent is cool, these are the best Canon cameras that you can actually buy. Or browse the best C2PA cameras with Content Credentials.

Canon has long been rumored to be working on a “retro camera” – but when Canon finally unveiled its first retro mirrorless, the Canon EOS R8 Mark II, the launch was met with mixed opinions.

The internet’s reaction to the R8 Mark II is varied. Many seem disappointed that Canon didn’t take inspiration for its looks from the popular A-E1. Others find the camera’s sharper lines make it look more like a Sony than a Canon.

I got my hands on an early sample of the Canon EOS R8 Mark II, and when I first pulled it out of the box, my first thought was that the camera doesn’t really feel retro – or at least, it doesn’t really feel a lot like other retro cameras.

I wouldn't call the R8 Mark II a "retro camera," but I do love the design for two reasons: the comfortable grip and joystick.

The Canon EOS R8 Mark II is inspired by a consumer camera

The phrase “retro camera” probably brings to mind a certain look – mainly, a silver-and-black body with retro dials at the top and a more vintage-inspired silhouette. The history of camera design varies from Art Deco box cameras to folding bellows, and yet most digital cameras with a retro-inspired design seem to go after either the SLR or rangefinder look with that classic silver-and-black look.

Many retro cameras also draw inspiration from higher-end models built for serious photographers. That’s where the retro dials come in.

But Canon is going after not just a mid 1980s camera, but one that was more consumer-oriented, drawing inspiration instead from the Canon T80. The Canon T80 launched in 1985 and didn’t offer a full manual exposure mode – which gave the camera its flatter top rather than one filled with dials for adjusting shutter speed. The T80 was built for beginners and general consumers, not serious photographers.

The Canon EOS R8 Mark II, of course, has full manual mode, but it is built as the entry-level option into Canon’s full-frame mirrorless. Canon told me that around 20 percent of those who bought the original R8 were moving up from a smartphone.

I think one of the reasons for the more subtle retro design – in particular, sticking with the classic mode dial and command dials – is that the R8 series is meant not only as a camera for serious hobbyists but as a camera that newer photographers can grow into. Retro dials can feel a bit more intimidating to newer photographers.

The retro design on the R8 Mark II is subtle – but unlike other RF bodies

While taking inspiration from a camera without full manual controls explains why Canon didn’t use retro dials, the T80 inspiration still feels a bit subtle. The viewfinder shape has similar sharp angles, though the R8 Mark II’s is much shorter, and the top of the camera is all sharp angles rather than the R-series' usual preference for smooth curves.

The T80 has a much different grip and a much different logo. Adding a bit of the T80’s lines in the grip or even using a gold colored logo like the T80 would have made the R8 Mark II feel a bit more retro.

The Canon EOS R series has long carried a very similar look between the different bodies, all sporting smooth, more curved lines and chunky grips that feel almost DSLR-like. It feels like the conversation has shifted from complaining that Canon’s cameras look too similar to complaining that Canon didn’t take inspiration from the same decade of camera design as other retro cameras. Complaining that Canon’s cameras feel too similar and then complaining that Canon’s retro camera doesn’t look like other retro cameras feels a bit hypocritical.

Yes, the R8 Mark II’s sharp angles do feel a bit Sony-ish. But the R8 Mark II also doesn’t look anything like other retro cameras like the Nikon Zf or the Fujifilm X-T5, either, because Canon is taking its inspiration from a different style of camera.

The Canon EOS R8 Mark II has a more subtle retro look than an obvious one. There is, of course, the question of how old a camera needs to be to be considered retro. Then again, the Nikon FM2 that the Nikon Zf finds inspiration from is only slightly older, launched in 1982.

I’d call the R8 Mark II more “retro-ish” than “retro.” But, at the same time, I love the ergonomics on the R8 Mark II.

The Canon EOS R8 Mark II’s more conservative take on retro leaves a large grip

As much as I love retro-inspired cameras, I hate that “retro” usually translates to “tiny grip.” Many retro-inspired cameras use shallow grips – or none at all – because the inspiration camera also had a non-existent grip.

The grip on the R8 Mark II still feels very much like a Canon. The R8 series is still among Canon’s smallest full-frame bodies, and that means the grip is a bit smaller too, but there’s still plenty of grip to wrap my hand around.

That’s paired with the autofocus joystick that was missing from the original R8. The R8 Mark II feels very easy to control with one hand.

Yes, the R8 Mark II’s retro inspiration is far more subtle than other retro cameras. Yes, straying from Canon’s unusual curves does make the camera look a bit more like some of the competition. And yes, I probably would have been more excited if Canon had decided to make a digital AE-1 complete with retro dials, instead of the T80. Those are all valid points.

The R8 Mark II wasn’t the “retro” camera that I was expecting. I think Canon could have played up the retro looks of the R8 Mark II, but the feel of the camera is fantastic. The grip is excellent for such a lightweight camera, and the Mark II has the joystick that I sorely missed on the original.

I wouldn’t put the Canon EOS R8 Mark II on the same retro level as options like the Nikon Zf or the Fujifilm X-T5. But while the retro look is far more subtle, I do love the ergonomics on the R8 Mark II.

One of the downsides to the R8 Mark II, however, could be that many of the changes are about those ergonomics. Besides the design changes, the R8 Mark II adds a very welcome in-body stabilization system, along with a better burst buffer and improved low-light autofocus.

The Mark II carries the same sensor and processor as the original, which leaves the differences largely about the shooting experience and not the image quality. Without a change in the sensor or processor, I don’t see many Canon EOS R8 users making the upgrade. I also see a lot of users being swayed by the R6 Mark II instead, whose age has brought the price much closer to the R8 Mark II.

It will be interesting to see where Canon goes from here. Will subsequent cameras in the series have those sharper edges or go back to Canon’s curves? Will Canon ever launch a digital remake of the AE-1?

The Canon EOS R8 Mark II may be more subtle in its “retro” design, but the ergonomics feel like a significant upgrade from the original.

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Canon’s mirrorless cameras tend to feature good-sized, ergonomically shaped grips – but could future cameras come with a fingerprint scanner built inside that grip? A recently published patent application suggests that Canon is considering building a fingerprint scanner right into the grip of future cameras.

The patent – which was published in the US on September 17 under patent number 0279905 – describes three different potential designs that would build fingerprint sensors directly into a mirrorless camera’s grip.

The first design places a fingerprint sensor on the front grip as well as a thumbprint reader on the finger rest at the back of the camera. The second design uses two fingerprint sensors at the front of the grip to increase accuracy for different hand sizes. The third design similarly uses two sensors on the front grip, but places the second sensor at a different orientation than the first.

The goal of the patent seems to be to take earlier ideas on integrating fingerprint sensors into cameras but in a way that works with how photographers already shoot and grip the camera.

While the patent details a few different designs to integrate a fingerprint reader that doesn’t require moving the hand from the typical shooting position, the filing doesn’t detail what that fingerprint reader could be used for.

But, the new patent isn’t the first time that Canon has explored the idea of using biometric authentication on a camera – and earlier patents offer hints on what such a feature could be used for. Back in 2018, the imaging giant filed a patent for a fingerprint sensor on both the front of the camera and on the lens that could be used for security or, by touching different fingers to the pad, to access different shortcuts.

In 2020, Canon filed a patent in Japan for a screenless selfie camera that used fingerprints to save profiles and determine who to follow.

Fingerprint sensors are common in smartphones to protect data and discourage theft – though more modern devices have hidden under-display sensors or have moved from fingerprints to facial scans instead.

Building a fingerprint sensor into a camera grip could have similar security implications, preventing a camera in the wrong hands from shooting or altering network settings. Through a series of updates, Canon recently added firmware that requires users to set a PIN to unlock the camera. This option was added in order to comply with regulations in Europe requiring all internet-connected devices to have specific security features.

I could see the fingerprint sensor being a helpful alternative to setting a PIN – I find the delay in needing to type in a PIN annoying, so I’ve always turned this PIN feature off. I could see such a tool being used to require a fingerprint to alter the camera’s Wi-Fi and network settings, or perhaps to lock features like the image playback.

But another potential use of a fingerprint sensor is in scenarios where multiple people may be using the same camera, like on production teams. A fingerprint scanner could potentially be used to save a user profile and customize the settings based on who is holding the camera.

While Canon’s 2018 fingerprint scanner patent suggested that tapping different fingers could unlock a different shortcut, much like a custom function button, I don’t think that’s the purpose of the latest patent, as the new patent seems focused on positioning the sensor where the fingers already rest, not touching different fingers to the pad.

The question is whether or not enough people would use such a feature to warrant the cost of adding a fingerprint sensor – both the actual cost and the compromises in terms of adding weight or requiring additional weather seals.

Canon files thousands of patents every year – in 2025, the imaging giant filed 2,623 just in the US. That means that there are plenty of patents that Canon files that never actually wind up arriving inside of an actual product. But looking at published patents offers a rare look into what the camera maker is researching behind-the-scenes.

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As a professional photographer and tech writer, I tend to have more than a few cameras to choose from when packing for a trip. But on my last vacation, I made an unusual choice for someone who makes a living writing about the latest cameras: I dug a 20-year-old compact camera out of my closet and packed it in my bag.

I took the 2006 Canon PowerShot A540 on a short camping trip. But the A540 isn’t a camera that I bought on eBay because single-digit-megapixel retro compacts are making a comeback.

The camera was my grandmother’s. For a long time after she died, I was too grief-stricken to even look at it – but when I eventually pulled it out of the closet, I realized it still had an SD card inside. While the camera had a few photos of her garden and family, the memory card was largely filled with her travel photos.

Inspired by my grandmother’s travel photos and the resurging popularity of early digicams, I packed the 20-year-old PowerShot for my camping trip.

The compact wasn’t the only camera that I brought along – I also brought a mirrorless with a telephoto zoom, knowing I would be doing some birding – but I took more photos with the Canon PowerShot than I did with my iPhone.

The PowerShot A540 isn’t just unusual compared to today’s cameras because it houses the older CCD sensor technology. I was surprised that, despite being compact, the camera still includes manual modes and a viewfinder – and not the modern electronic type but the classic, old-school optical kind.

My goal in bringing a camera that’s two decades old on vacation wasn’t to take better photos, but to spend less of my vacation on a screen.

The optical viewfinder was a big part of that, enabling me to shoot photos but stay off my iPhone, even when I didn’t want to grab my mirrorless camera, like on a bike ride or heading to the less picturesque parts of travel, like the laundromat.

The photos that I captured have that imperfect but charming feel of early digital camera technology. The colors from the CCD sensor felt true to my memories, with perhaps a bit more punch.

The best part of the images, however, didn’t stem from that sensor but the lens. The images are much softer than the sharpness standards of modern cameras. The photographs look like I used a diffusion filter – one of my favorite accessories for my mirrorless camera – with a softer look.

That imperfect lens created a glow from bright light sources. I was particularly fond of that glow when photographing the sun sparkling off the lake.

Using a 20-year-old camera also reminded me of how far camera technology has come – shutter lag is an issue and getting the timing perfect was a challenge. There were also inevitably shots with missed focus.

And the 6MP sensor doesn’t capture as much detail – but that means the 2GB SD card, which I refuse to delete my grandmother’s photographs from, still has room for over 500 more images.

Photographs are tangible emotions. I believe that when the camera in my hands evokes a particular emotion – even when that emotion is grief – I have a stronger connection to those photographs. Emotional cameras create emotional images.

I could have taken better photos with my modern mirrorless camera – but I don’t regret digging a two-decade-old camera out of my closet to capture snapshots of my vacation. When it comes to memories, emotions will always mean more than technical perfection.

Would I take a 20-year-old compact camera on vacation again? Yes, I would do it again, at least for another low-key camping trip. My bucket-list, once-in-a-lifetime trips will certainly require grabbing a modern mirrorless camera. But when I'm away for a small weekend getaway and want to stay off my phone, I'll be digging out my grandmother's old travel camera again.

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Known as "probably the best 70-200mm zoom in the world. Ever.", the Nikon Z 70-200mm f/2.8 VR S is the top-ranked product in the zoom lens category on the Japanese marketplace Minna Camera during the first half of 2026. The telephoto lens is now discontinued following the arrival of its successor, the Nikon Z 70-200mm f/2.8 VR S II.

In the ranking, Minna Camera classifies lenses by their longest focal length. Zoom lenses reaching 200mm or longer accounted for 51.2% of all zoom-lens transactions, while 200mm was the single most common telephoto-end category, accounting for 17.9% of transactions. In this category, the best-selling model in 2026 so far is Nikon's popular 70-200mm f/2.8 VR S lens. While US stock seems empty, UK retailers still offer the zoom brand-new, with discounts available.

Zoom lenses covering up to 70mm make up 15% of the transactions, with the Sony FE 20-70mm f/4 G being the most purchased option. Close behind are lenses covering up to 400mm, with 12.5%. The top zoom in this category is the Canon RF 100-400mm f/5.6-8 IS USM.

Top 10 zoom lenses by telephoto end market share at Minna Camera (H1)*

*Source: Minna Camera, based on zoom lens transactions completed January 1 - June 30, 2026.

"Probably the best 70-200mm zoom in the world. Ever."

The Z 70-200mm f/2.8 builds on the legacy of the popular Nikon AF-S 70-200mm f/2.8E FL ED VR DSLR lens, a go-to for pro Nikon shooters worldwide. This optic of the mirrorless S-line goes even further: it handles better, delivers sharper images and performs at a consistently high level.

Nikon packed this lens with some serious glass: 21 elements in 18 groups, AF (autofocus) is fast,accurate, smooth and super quiet. Unlike many S-line lenses, this one doesn't rely solely on the camera body for stabilization. It features a built-in optical VR (vibration reduction).

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More than half of the zoom lenses traded on the Japanese camera marketplace Minna Camera in the first half of 2026 had a focal length of 200mm or longer, according to new data from the retailer.

Minna Camera's analysis of zoom-lens transactions shows: lenses reaching 200mm or longer accounted for 51% of all zoom-lens transactions, narrowly exceeding the 48.8% share for lenses whose longest focal length was below 200mm.

Importantly, Minna Camera classifies lenses by their longest focal length, rather than their 35mm-equivalent field of view. A 24-200mm and a 70-200mm lens therefore both fall into the 200mm category, while lenses designed for different sensor formats are not converted to a common 35mm equivalent.

Top 10 traded zoom lenses by focal length at Minna Camera (H1)*

*Approx. used prices in USD and GBP added by Digital Camera World.

Canon accounted for the largest brand share

Among the five manufacturers for which Minna Camera supplied brand figures, Canon accounted for 38.1% of zoom-lens transactions, followed by Nikon at 27.2% and Sony at 16.6%.

Sigma accounted for 4.1% and Tamron 3.4%.

Looking instead at the proportion of each brand's zoom transaction that reached 200mm or longer shows a different picture. Tamron had the highest figure at 65.6%, narrowly ahead of Canon at 64.2%. Nikon stood at 49.7%, Sony at 39.7% and Sigma at 37.8%.

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We’ve been mightily impressed with Canon’s large-format printers in the past. The Canon imagePROGRAF PRO-2600 and Canon imagePROGRAF PRO-4600 are the gods of pro-grade, roll-fed photo printing, and now they’re to be joined by 12 new disciples, to spread the word to other types of printing.

Before we get too carried away, it should be noted that the new imagePROGRAF printers run on five inks rather than the 12 inks of the ‘PRO’ series, so they’re not aiming for the ultimate in photographic fidelity. Instead, they’re geared to large-format graphics and design applications in the fields of architecture, engineering, construction, retail, education, and any other applications that need big, detailed prints and eye-catching posters.

Additions to the imagePROGRAF TM lineup comprise the TM-615, TM-610M, TM-610, TM-600, TM-510M, TM-510 and TM-500 models. All of them feature a newly developed matte black ink, formulated to enhance black density and enable rich fine lines and crisp detail, even in the fine print. Technical drawings will see the benefit, while vivid color reproduction is on hand for poster printing. Based on previous Canon 5-ink printers that we’ve reviewed, we can’t help but think that these new printers will make an excellent stab at photo printing as well.

In the TM range, the new TM-610M (36-inch roll printer) and TM-510M (24-inch roll printer) are the most versatile, as they’re the only two models that feature a built-in, large-format scanner. They have a flat-top design to ensure easy loading of large documents and artwork, and feature light sources on both sides of the image sensor, to reduce the appearance of wrinkles and creases. To ensure intuitive ease of use, there’s a 5-inch color touchscreen, common to many Canon multifunction copiers.

Moving on to the TX series lineup, the new models are the TX-4310 MFP Z36, TX-4300, TX-3310 MFP Z36, TX-3300 and TX-1300 MFP Z36. The ‘MFP’ products feature an integral large-format scanner, making them ‘multi-function printers’. The others in the range that lack this suffix are printer-only models, without scanners. Again, there are two sizes to choose from, for example the TX-4300 being a 44-inch roll printer and the TX-3300 accepting paper roll widths of up to 36 inches.

Designed as high-volume printers, all but the smaller TX-1300 MFP Z36 feature a newly developed basket, stacking outputted pages face down and aligning them. This makes it easy to lift your finished pile of large-format paperwork with the minimum of effort. And with no need to arrange, stack or align the sheets afterwards, you’re good to go. Other useful features include a Smart Roll Paper Set function. This automatically detects the paper type, estimates the amount of paper remaining on the roll, and begins feeding automatically. A secondary roll feeder is available as an optional extra, with automatic switching between different widths or types of paper.

The multi-function TX printers are all fitted with an oversized 15.6-inch monitor screen. The aim here to make scanning and copying as intuitive as possible, including the ability to make real-time edits for parameters like brightness, color rendition, skew correction and various others, without the need to rescan pages afterwards. Another neat trick is that the scanner and printer can work independently so, for example, you can scan paperwork while someone else is creating prints from their computer.

Price and availability of all 12 new imagePROGRAF models is available on Canon’s regional websites - but as an example, the TM-500 will cost £1,068 when it goes on sale in November.

Canon's Dual Pixel 3D has formally been announced – and it's an amazing piece of software that enables you to take 3D photographs with a standard Canon camera. You don't need any of the VR fisheye lenses or anything else; the software uses the Dual Pixel photosites, built into standard EOS sensors, to spatially map a third dimension onto your two-dimensional photographs.

I first saw this technology back at CP+ 2025, where it was being demonstrated with an EOS R5 a slightly spooky doll against a white background. Then I saw it again this year at CP+ 2026, where it had been used to photograph dogs, cats, owls and hedgehogs using the R5 Mark II and R6 Mark II.

Now the tech has been revealed in its final form, with Canon using a selection of food and floral photography to showcase what it's capable of. This was perhaps always the best use for Dual Pixel 3D, as it feels tailor-made for things like ecommerce applications, but obviously we're at the ground floor of what can be done with it – and industrious photographers will no doubt put it to all sorts of unexpected use.

The full list of compatible cameras and lenses has also been unveiled, spanning everything from brand-new bodies like the Canon EOS R8 Mark II to older entry-level models like the EOS R10, and L-series glass like the RF 24-70mm f/2.8 L IS USM to the bargain RF 50mm f/1.8 STM.

So how exactly does the tech work? I asked a Canon engineer in while I was in Japan, who was showing me the tech on the OG R5. "This Canon camera has a Dual Pixel sensor. That means two photodiodes in one pixel.

"Currently, we are using that for the autofocus. However, we can use that pixel to [produce] 3D. So we can take a photo as RAW data – we call it DPRAW, the extension is .CR3 – and then we made special application software for 3D."

ABOVE: Canon's full suite of 3D tech, shown at CP+ earlier this year

The algorithm converts your two-dimensional photograph into OBJ or GLB formats, or even an MP4 video if you don't want to mess around with an interface (whether its 3D glasses or a simple mouse or touchpad) to turn and manipulate your image.

And it really does only need a camera! "Yes, you just need [the] application software. We also sell Dual Fisheye [lenses], but you have to pay more. But this is regular [camera and lens]. Many solutions, so you can try [the app] and then move to Fisheye [if you like the technology]."

There are some limitations to the tech, such as too much bokeh (background blur) and blind spots created by shooting too close. So Canon has a number of recommendations, such as shooting at f/5.6 or wider with at a distance of 5-10 times the focal length.

The Dual Pixel 3D software will be available from October 08 and is currently Windows-only, requiring Windows 11 64-bit 24H2 or later.

You can find out more at the official Canon USA page with more examples, instructions and settings at the Canon Japan page.

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Take a look at the best Canon cameras, along with the best Canon RF lenses – but if you want to use Dual Pixel 3D, make sure to double-check the compatibility table above!

Canon has given the popular R8 a retro-inspired makeover – and fixed some of the complaints about the entry-level full-frame camera at the same time. The Canon EOS R8 Mark II brings the same well-loved sensor and processor as the original, but adds in-body stabilization and overhauls the ergonomics.

Inspired by the 1985 film SLR T80, the Canon EOS R8 Mark II takes on a design with sharper angles without sacrificing the actual feel of the camera, keeping a good-sized grip and even adding the must-requested joystick.

I shot some portraits and wildlife with the Canon EOS R8 Mark II to see if Canon has found the ideal balance between features, ergonomics, and price.

Canon EOS R8 Mark II: Key specs

Canon EOS R8 Mark II: Price

The Canon EOS R8 Mark II is expected to list for $1,899 body-only and $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US. In the UK, the body lists for £1,729 and the kit for £2,119.

That’s notably higher than the original R8’s list price, which started at $1,499 / £1,699. In the US, that price later rose to $1,649 after tariff increases.

Despite being higher than the earlier generation, the R8 Mark II is Canon’s most affordable full-frame mirrorless with IBIS, and among competitors, the price still fares fairly well. The Nikon Z5 II comes in at a similar price point at $1,846 / £1,599. While the Sony A7C II comes in at $2,498 / £1,999, Sony has kept older models around with IBIS, like the A7 III, which is $1,998 / £1,499 retail.

Another worthwhile note? Canon plans on keeping the original R8 around for a bit as a budget alternative.

Canon EOS R8 Mark II: Design

The Canon EOS R8 Mark II is Canon’s first retro-inspired mirrorless camera, but where most retro bodies find inspiration from 1970s-era cameras, Canon is taking a dramatically different approach. The R8 Mark II is inspired by the Canon T80, a film SLR that was introduced in 1985 and discontinued less than two years later.

Taking inspiration from the mid-1980s, the R8 Mark II doesn’t scream retro but rather has a more subtle nod to the old camera, with a more angular pentaprism and a more angular cut.

While I was surprised at Canon’s first choice of a retro camera, what I love about the R8 Mark II is that despite the slight retro nod, the body still does what Canon does best – and that’s to create a very comfortable grip.

Retro cameras tend to have small and, in some, even nonexistent grips, but the R8 Mark II still has a very healthy grip that still managed well even with a 100-400mm lens mounted on the front.

I’m a petite person, and my hands wrap nicely around the grip without my pinky falling off the bottom. The R8 Mark III will have an optional extension grip that will leave more room for larger hands.

But the Mark II also fixes one of the biggest ergonomic oversights of the original and adds a joystick. While it’s not uncommon for entry-level models to do without, once you’ve used an autofocus joystick, it’s hard to go back to the old, clunky method of adjusting with the menu arrow keys.

That joystick is joined by a handful of key shortcut buttons and a nice tilt-enabled touchscreen. The screen uses a hinge at the side, which allows the screen to fully face forward for vlogging and selfies, along with being angled for high and low-angle shots.

The electronic viewfinder also juts out a bit from the body, and I love that my nose didn’t feel squashed up against the screen.

At the top of the camera, the R8 Mark II has two control dials, one placed horizontally and paired with an on/off switch, and the other arranged vertically within easy reach of the index finger. The top is completed with a classic mode dial (sorry, no retro dials here), an Fn button, a dedicated record button, and, of course, the shutter release.

There’s just a single SD card slot on the R8 Mark II, which is on the grip side and separate from the battery compartment at the bottom. (That battery door, by the way, is far enough away not to be blocked by a tripod quick release plate.)

On the opposite side of the grip, the R8 Mark II has ports for mic, headphones, a cable release, micro HDMI out, and USB-C.

Despite all of these changes, the R8 Mark II remains relatively lightweight. The camera weighs 546g / 19.26 oz once fully loaded with a battery and memory card. That is a little bit more than the 461g / 16.26 of the first generation, but I think that added IBIS system is well worth the slight increase in weight.

The Mark II also carries dust and weather seals, with the same level of sealing as the original.

Overall, while I think some may be disappointed that the retro take is subtle, the Canon ergonomics that fans already know and love are still in play here – and it even gains the joystick over the predecessor.

Canon EOS R8 Mark II: Performance

The Canon EOS R8 Mark II carries the same 24.2MP full-frame sensor and Digic X processor as the original-generation camera. That leaves the second generation with similar image quality to the original, outside of enhancements like fewer blurry shots thanks to the new in-body stabilization.

The lack of a sensor upgrade may disappoint some, but the 24.2MP resolution on a full-frame camera remains very capable. The resolution is still similar to similarly priced competitors such as the Nikon Z5 II and Panasonic Lumix S5 II, though options like the Sony A7C II sit at 33MP. Detail may not be as impressive as Canon’s pricier bodies, but the R8 Mark II strikes an excellent balance between detail and noise for the price point.

Dynamic range also fit right in with what I expected. I was able to recover quite a bit of detail in the shadows on RAW files from backlit, underexposed shots of birds.

Like the sensor, the Dual Pixel II autofocus system matches much of the specs of the original, except the Mark II sees a low-light boost, rated down to -7.5 compared to the -6.5 from the original.

The autofocus overall locked on quickly and managed to keep up with moving subjects. The R8 Mark II managed to freeze birds in midflight, though it dropped some frames. What made the autofocus all the more impressive was the fact that I was using a more affordable telephoto – the 100-400mm f/5.6-8 IS USM.

Subject detection locked onto human eyes well. Animal detection did well on uncluttered backgrounds, but the animal eye AF sometimes struggled to find the eye of some birds and also struggled when shooting with a few stray branches in the way, locking on to tree branches instead of the bird more than I would have liked.

Like the original, the R8 Mark II can shoot at 40 fps with the electronic shutter (but just 6 fps with the mechanical shutter). Even more impressively, those high-speed bursts didn’t come with a long wait to process shots, and I was able to photograph birds without waiting for the camera to catch up. Canon says the buffer improved 30 percent for RAW files over the previous version and 58 percent in JPEG, and it’s a noticeable, welcome improvement.

While the sensor and autofocus may be a match with the original, the new in-body stabilization is impressive. Working with a telephoto that shoots at only f/8 at 400mm inside shadowy branches was a good test for the camera’s image stabilization. I shot this photo at just 1/60th of a second at 400mm:

While I don’t mind that Canon kept the same sensor – at least at this price point – one of the annoyances from the original R8 that isn’t fixed on the update is the battery life. The R8 Mark II carries the same 220-shot (370 in power-saving) rating for battery life while using the viewfinder. Those specs tend to be conservative estimates – I shot more than 350 shots and still have plenty of battery remaining. But for long shoots and travel, picking up a spare battery will be a must.

Canon EOS R8 Mark II: Image Samples

Early Verdict

The Canon EOS R8 Mark II keeps the solid image quality of the first generation – while fixing all but one of our complaints. The camera now has in-body stabilization, a key move to keep up with competing options. A joystick creates fantastic ergonomics, while the memory card door is no longer in an awkward spot blocked by tripod plates.

The only complaint from the original Canon didn’t fix? It has the same battery life – so many users are going to want to factor in the cost of a backup battery.

The Canon EOS R8 Mark II delivers an excellent balance between performance and price. The autofocus and burst speed are excellent – though the animal eye AF doesn’t do as well at picking up a bird in a mess of branches as I would have liked.

The Canon EOS R8 Mark II is an ergonomically lovely camera that packs in a lot of tech for the price point.

Alternatives

So, it's here – the long-awaited and endlessly-rumored retro camera from Canon. Except, it's not a retro camera at all.

In fact, take the new EG-2 grip (which is, crucially, optional) off the bottom of the new Canon EOS R8 Mark II and most people wouldn't even twig that there was anything "retro" about it – though there's definitely some distinct visual grammar going on.

And there's the rub. The R8 Mark II, despite all the camera rumors (and my own pestering of Canon execs), is not a retro camera as we know it. There's no contrasting black-and-silver chassis, no throwback dials, no Canon AE-1 tribute act.

Again, put it 99% of people's hands and – while they'll notice the sharp, aggressive lines and new grip (replete with new texture) – they probably wouldn't identify it as being anything other than a modern mirrorless camera.

But slap that grip on the bottom of the body and it reveals itself: the silhouette from yesteryear that, if you know, you know.

The Canon EOS R8 Mark II isn't a retro camera, but its design has been directly informed by the company's heritage – specifically taking inspiration from the Canon T80, along with a few flourishes from other SLRs like the A1 and AE-1.

And that heritage is completely optional. Attaching the grip adds the unmistakable "slash" to the silhouette – the cherry on top of the angular lines and the boxier bump where once sat a pentaprism. The design is distinctive enough to tell you that this is something special, but understated enough not to be gauche.

The move is typically Canon. It's not the retro camera that everyone expected – and certainly not the camera to which most would pay tribute. But like Commissioner Gordon said: it's the not the hero we deserve, but the one we need right now.

The T80 was important, in that it was Canon's first ever autofocus SLR. (The quirky lens you see on this page, with the red inner ring and motor unit that sticks out like an overdeveloped deltoid, is one of just three "AC" autofocus lenses designed specifically for it.) It was a landmark camera, but a stopgap product and one not very fondly remembered.

Still, the homage is there for those who recognize it. The most hardcore of homages to the most faithful of followers. This isn't a disruptive, fanfare product – it's Canon doing what Canon does: trying something different enough to be a bit exciting, but familiar enough not to upset the locals. Canon has, after all, been burned before when going too far off piste.

The Canon EOS R8 Mark II adheres to the aesthetic of the wider product line, but adds a dollop of secret sauce for those who recognize the flavor. And for that reason, I think it might be the most exciting camera that Canon has released this generation.

Not for the tech – though the 40fps burst, 6K-oversampled 4K and 7.5 stops of stabilization certainly merit excitement – but because it's a link to the past. An acknowledgement that photographers don't just want capable black boxes that take inspiring images – they want those boxes to be inspiring, too.

And, as one of the few people to proudly own a T80 (a camera that was discontinued after only 14 months on the market), I'm grateful that this piece of history hasn't been forgotten. Now, if Canon makes a throwback AC-inspired lens with a hump on the side to go with the new camera, we'll really be talking…

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Take a look at the best Canon cameras, along with the best film cameras – including the Canon AE-1 (though sadly not the T80). You can also check out the best retro cameras, most of which are more overt than the R8 Mark II.

Canon’s first mirrorless to take on a retro-inspired design is here – but the new Canon EOS R8 Mark II goes beyond a subtle 1980s look. Announced late on September 15, Canon’s more budget-friendly full-frame body now crams in stabilization and an autofocus joystick.

The Canon EOS R8 Mark II continues much of what fans already loved about the first generation, including the same 24.2MP full-frame sensor and Digic X processor. But Canon is also bringing in-body stabilization to the entry-level full-frame series in the second generation, with stabilization rated to 7.5 stops at the center and 7 stops at the edges.

That makes the R8 Mark II Canon’s lightest full-frame body with IBIS, despite the addition pushing the weight up slightly over the predecessor, bringing the body to 546g / 19.26 oz with the battery and a memory card.

But the second generation also adds a joystick to the camera’s ergonomics. That, along with the stabilization and fixing the odd placement of the SD card slot, fixes some of the biggest asks from the first generation.

With the same sensor and processor, design is a key upgrade for the Mark II. Canon has long been rumored to be making a retro-inspired mirrorless camera. The R8 Mark II brings a more subtle take on the trendy retro design, taking the sharp angular top of the 1985 Canon T80 without straying too far from the look and feel of Canon’s modern mirrorless.

Taking inspiration from a clunky 1985 camera rather than a 1970s era camera, however, means the R8 Mark II doesn’t skimp on the camera grip like many retro remakes. The body still has plenty of grip to wrap my hands around, and the camera also launches with an extension grip built for larger hands.

Outside of adding two of the biggest asks from the original – IBIS and a joystick – the tweaks throughout the Mark II are as subtle as the retro nod. The Dual Pixel II autofocus system carries much of the same specs – including subject recognition – but comes with algorithm enhancements and an improved low-light rating at -7.5 EV over the original’s -6.5 EV. The camera also borrows the people priority registration from pricier models like the R3 and R6 Mark III.

Canon says a number of the photographers who picked up the original R8 are creators coming to an interchangeable lens system from a smartphone for the first time. The R8 Mark II caters to those creators using Creative Assist, with in-camera explanations and adjustments inside the auto mode.

Canon also added 16 new color filters for JPEGs, including two options inspired by film. These new color filters are separate from Picture Styles, have adjustable levels, and also work for video.

Video specs top out at an uncropped 4K resolution oversampled from 6K at up to 60p. Enhancements include a new cinema view, an autofocus mode built for close-up product demonstrations, enhanced image stabilization settings, and a new Auto White Balance response and lock to control white balance transitions. Video creators can also assign a button on the camera to defocus the shot at a preset speed.

Canon says the original R8 will remain available as a budget option to the second generation, as the Mark II does come in at a higher price point than the original.

The Canon EOS R8 Mark II is set to retail for $1,899 / £1,729 / AU$2,529 body-only and $2,099 / £2,119 / AU$2,859 with the 24-50mm f/4.5-6.3 IS STM kit lens. In comparison, the original Canon EOS R8 launched at $1,499 / £1,699 / AU$2,299, though tariffs in the US later pushed the list price to $1,649.

The optional extension grip for the camera retails for $99 / £89 / AU$169.

The camera is expected to begin shipping in late October.

More on the new Canon EOS R8 Mark II

Dive into Canon's latest launch with the Canon EOS R8 Mark II review, ore read about Canon's new Speedlight. Or, browse all the Canon favorites with the best Canon cameras.

Alongside the Canon EOS R8 Mark II that was launched today, Canon is also releasing an update of its EL-5 flashgun. The new Canon Speedlite EL-5 (Ver. 2) only differs from the original in one way – and that is to get a significant boost in its wireless radio control range.

The new Mark II hotshoe flash can now be controlled from up to 50 meters away (164 feet) - a 66% boost in range, compared to the 30m (98ft) that the original version was capable of.

Announced in 2022, the Speedlite EL-5 was the first Canon strobe to be specifically designed to work with the 21-pin multifunction connection shoe found on the most recent Canon EOS R mirrorless cameras (see full list of compatible models below).

Other than the radio range, the other features remain the same on the Ver.2 version of the EL-5. It has a zoom head with coverage from 24-200mm – with a corresponding maximum flash output of 28.7-60 (m/ISO100). A built-in wide panel can be used to extend the coverage enough to use a 14mm lens (with a corresponding Guide Number drop to 14.8 (m/ISO100).

Offering both E-TTL II and E-TTL dedicated exposure, this flashgun also offers a wide range of manual power settings - from full right down to 1/1024sec, in one-third of a stop steps. A strobe feature allows you to set a flash burst frequency between 1-500Hz.

The built-in radio transmitter can control up to 15 Speedlites wirelessly, and model the lighting using the adjustable built-in white LED lamp.

The flash is powered by a rechargeable LP-EL Li-ion pack that can deliver up to 350 flashes at full power on a single charge, with an approximate recycle time of 1.2 seconds.

The Speedlite EL-5 v.2 flashgun is due to go on sale from late October for $379 / £399.95 / AU$639.

Compatible models

These are the Canon mirrorless models that have a 21-pin multifunction hotshoe connector that will be compatible with the new Speedlite EL-5 Mark II…

• Canon EOS R1
• Canon EOS R3
• Canon EOS R5 Mark II
• Canon EOS R6 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 V
• Canon EOS R7
• Canon EOS R8
• Canon EOS R8 Mark II
• Canon EOS R10
• Canon EOS R50
• Canon EOS R50 V

See our full guide to the best Canon flashguns

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If you are a Canon shooter or want to become one, check our guide to the best Canon cameras, along with the best Canon telephoto lenses and best Canon superzoom lenses.