In 2014, everyone wanted a Canon EOS 7D Mark II. In many people's minds, it was the very best camera for wildlife photography.

While many people are in a tizzy over camera rumors about its great-grandson, the EOS R7 Mark II, I think it's worth bearing in mind that the Canon EOS 7D Mark II is still a ridiculously capable camera – even in 2026.

Admittedly, the 7D Mark II won't be a patch on the R7 Mark II – or even the original EOS R7. But the last time I took this camera out for a spin, I was amazed at how potent it remains.

Yes, I missed the mirrorless bells and whistles, but I can still happily take the Canon EOS 7D Mark II out on a sports or wildlife shoot and get great results. And if you're looking for the best bang for buck, your dollar will go much further – right now you can get one for for $309 at MPB in the US or just £254 in the UK!

Sure, its 20.2MP resolution isn't going to blow anyone away in 2026. But the secret sauce here is the APS-C sensor with its 1.6x crop factor – a secret weapon for sports and wildlife!

Mount a Canon EF 70-200mm f/2.8 and it becomes a 112-320mm equivalent – and you can let rip with its 10fps continuous shooting to capture some incredible images. Canon's sensors age very well, and the shots that come out of this old workhorse still look as good as they ever did.

I love that the Canon EOS 7D Mark II is weather sealed and has twin SD card slots, but my absolute favorite thing is that this is a camera with GPS – giving you geodata for all your images. You don't get that in 2026 unless you buy a flagship, which adds an extra zero to the price tag!

And the truth is, while it's outperformed by the likes of the EOS R7 (and the Canon EOS 90D, its de facto replacement DSLR), the fact that modern cameras can do more doesn't make the Canon 7D Mark II any less. Well, except when it comes to the asking price.

If you're on a budget, or a beginner, or you've never tried sports and wildlife photography and you want to give it a go without breaking the bank, picking up a Canon EOS 7D Mark II is a great value way to get into action shooting.

You might be interested in the best Canon cameras on the market today, or you could double down and check out the best cameras for sports photography and the best cameras for wildlife photography.

The Megadap M2RF makes a tantalizing promise: to enable manual focus Leica M lenses, designed for rangefinders with their magical rendering, to be used on Canon RF cameras with full support for Dual Pixel Autofocus – including eye tracking and subject detection.

Well, it's tantalizing and it's also true: the Megadap M2RF transforms Leica's gorgeous rangefinder glass into autofocus EOS R optics. Something for which, as a Canon shooter, I'm doubly grateful, given how closed the RF mount is to full-frame AF lenses from other manufacturers.

I had a blast using ultra-refined M-mount lenses to capture images with their unique character on my Canon EOS R5, though there are definitely a few asterisks that potential buyers should be aware of.

Megadap M2RF: Price & availability

The Megadap M2RF adapter is available for pre-order now, priced $399 / £429 (Australian pricing to follow).

For comparison, Megadap currently produces two other cross-mount autofocus adapters: the Megadap ETZ21 Pro+ (Sony E to Nikon Z) for $249 / £259 and Megadap EFTZ21 (Canon EF to Nikon Z) for $299 / 299.

Megadap M2RF: Build & handling

The build quality on the Megadap M2RF is first class. This isn't one of those flimsy adapters you get on eBay; it's a reassuringly heavy, substantially constructed device, beautifully machined and with thick, solid gold-plated contacts.

It has a custom coreless motor, with dual-hall (using two magnetic sensors) and optical sensing, using an electronic helicoid driver system for steady and precise control of the attached lens.

All the controls are likewise exquisitely made, from the aperture switch to the AF / MF selection button to the lens release. This feels every inch a premium product, befitting the luxury Leica glass that will be mounted to it.

As I'll explain in the Performance section below, the aperture switch is used to select the aperture from the preset positions that sync with your camera's aperture setting.

The AF / MF button gives you a one-touch toggle between auto and manual focus (whereupon M2RF retracts back to infinity). You can also double-tap the button in manual mode to engage manual macro mode, which fully extends the lens to its maximum focus position.

As a bonus, because the adapter extends the lens by up to 4.5mm beyond its original position, this reduces the 0.7m standard minimum focus distance of M lenses – enabling you to get close-up shots without accessories like extension tubes, unlocking new creative opportunities.

I also want to shout out the front and back caps, which are so often an afterthought from third-party manufacturers. These are handsome-looking transparent caps, bearing the Megadap logo, and like the rest of the unit feel very premium.

Even so, while it's an impressively robust product, there is one key limitation to the lenses you can mount to the Megadap: how much they weigh.

While every make of M-mount glass is supported, whether it's made by Leica, Voigtländer, Zeiss or anyone else, it only plays nicely with lenses that are 500g or less – which means that bigger, heavier M glass won't be well suited, as they put too much strain on the mount and motor.

And of course, if you're feeling brave, you can double-stack almost any other vintage lens (such as M42 glass) via an M-mount adapter and then attach that to the M2RF for even more creative possibilities.

Megadap M2RF: Performance

I primarily tested the Megadap M2RF with the Leica Summilux-M 50mm f/1.4 Classic and Leica Summicron-M 28mm f/2 Asph. Overall, it delivers pretty astonishing performance for specific genres of photography – or, perhaps more accurately, for a specific pace of photography.

For portraiture, still life, landscape, travel, street and everyday shooting – in other words, shooting at a fairly soft pace or with a gently moving subject – it's absolutely brilliant.

For example, the autofocus keeps up with people absolutely wonderfully during a portrait session. The eye tracking is particularly impressive, and it's also steady and reliable for head and full-body tracking when your subject moves around. Using the Megadap for the first time is really quite a magical experience.

However, other genres and paces of photography are definitely not well suited to what the Megadap does. If you're hoping to shoot fast action like sports or wildlife, that's not what this adapter is for. Nor are most forms of video, where multi-axis movement overwhelms the device.

More than just the capabilities of the device itself, though, it's important to understand that there is a lot expected of the user that may surprise someone expecting a plug-and-play, fully automatic experience.

The Megadap M2RF is a "push-pull" adapter that uses a helical drive to move the lens forward and backward in order to shift the plane of focus. As such, you must remember to turn the focus ring of your adapted lens to infinity or performance will be substantially impeded.

It's definitely something that takes some getting used to – and especially if you're somebody who whips your camera in and out of a bag, you need to be mindful of knocking the focus ring too far.

In addition, when mounting the lens, you need to synchronize its aperture value to your camera's by setting it to a specific aperture value – f/1.4, f/2, f/2.8 or f/4 – corresponding to the values on the aperture switch on the side of the adapter.

Again, if you don't do this then the performance will be significantly degraded. Getting your muscle memory used to these steps each time you use the adapter or switch lenses is crucial, otherwise you'll likely experience hunting or complete focus failure.

Obviously different lenses are going to have different focal length and aperture combinations, which is a further point to factor in.

The adapter comes with four factory presets (Leica Summilux-M 50mm f/1.4 Asph, Leica Summicron-M 35mm f/2 Asph, Zeiss Biogon T* 25mm f/2.8 ZM and Voigtländer 50mm f/1.2 Nokton Aspherical II), but it can be customized for any four lenses via the Megadap M2RF Custom Tool.

While it's brilliant to be able to add your own lens data (which is then helpfully written to your EXIF), it's fair to say that Megadap's expertise is in optics and not software. The Custom Tool is certainly usable, but it's a bit clunky and doesn't have the same premium feel as the M2RF itself.

Megadap M2RF: Samples

Megadap M2RF: Verdict

I've always been skeptical about cross-system adapters, but I was pretty blown away by the Megadap M2RF… once I'd mastered its setup intricacies! Setting infinity focus and syncing the aperture before shooting is an extra step when mounting a lens, but once it becomes part of your muscle memory you can enjoy seamless shooting.

I love the magical rendering of Leica's M lenses, but rangefinder focus gets harder as my eyes get worse with age. So it's nothing short of liberating to be able to use them on an RF-mount camera – and the ability to make use of Canon's Dual Pixel AF and algorithmic subject detection is a truly transformative experience.

It's obviously important to be aware of the Megadap's limitations. While it offers fairly fast focus that can keep up with gently moving genres, it's not designed for fast action – which limits its usefulness for wildlife, sports and video. But then, I don't believe anyone is really interested in adapting M lenses for any of those.

The Megadap M2RF is ideally suited for the intended purposes of M glass, like portraiture or street photography. It replicates rangefinder results on your RF camera but supercharges them with the power of Canon's autofocus. If you've ever wanted to add a touch of class to your EOS R camera, this might be the best way to do it!

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Take a look at the best Leica M lenses to adapt and, if you get a taste for the finer things, check out the best Leica cameras.

The Canon EOS M50 Mark II was a firm favorite among vloggers, creators, casual and travel photographers. However, after half a decade of service (including the original M50), it and the entire EOS M system was discontinued in 2023. 

Not only was it Old Yellered, but the Canon EOS M50 Mark II was replaced wholesale by its EOS R system equivalent, the Canon EOS R50 – a more advanced camera using more advanced Canon RF lenses.

All of which means that the Canon EOS M50 Mark II is dead and buried, right? Actually, I disagree with the 'buried' part. In fact, I disagree with the 'dead' part, too. This camera may have been discontinued, but I think there's plenty of life left in it.

Obviously there's no doubt that the EOS M system is finished, but only as far as Canon is concerned. While the manufacturer hasn't made any lenses for it in years, you still see third-party companies releasing the occasional new optic for the EF-M mount.

But I don't think the mount even needs any new lenses. There are plenty of fantastic EF-M lenses already on the market, and the mount can easily adapt EF and EF-S glass from DSLRs – so there are literally hundreds of other optics you can use on the Canon EOS M50 Mark II. 

On top of that, I'll absolutely grant that the best Canon RF lenses are generally superior to the best Canon EF-M lenses, with one crucial exception: size.

The RF mount is physically much bigger than the EF-M mount, which means that even the most compact EOS R glass is never going to be as small and light as the EOS M lenses can be. 

This is a massive win for the Canon EOS M50 Mark II, whose primary selling point is its tiny size. Yes, the R50 is technically a better camera – newer sensor, more advanced AF, uncropped 4K – but it's not a better camera if you want the smallest and lightest setup possible.

For those of us who want a small body and lenses to throw in a sling bag or handbag while going out on a walk, or to keep in the glove compartment on a road trip, or want the lightest possible load around their neck on vacation, the M50 Mark II is a more suitable solution that its RF sibling.

As you can see from the above shots, this is a perfect carry-everywhere camera for spontaneous shooting with fantastic image quality. It's such a good companion for those outings where you wouldn't want to lug around your full-frame kit, but you always want to be able to take a great picture.

And an upside of it being discontinued is that you can get the Canon EOS M50 Mark II super cheap from the likes of MPB and KEH. It's a camera that I still happily take out for shoots precisely because of its smaller footprint, but it still delivers photo quality that's indistinguishable from the R50. 

So, it's not a fashionable take, but yes – the Canon EOS M50 Mark II still has plenty going for it. Don't mistake "discontinued" for "dead" or "no new lenses" for "no more use". After all, people still buy old film cameras – and they haven't made new lenses for those in decades!

You might be interested in our Canon EOS R50 vs M50 Mark II head to head, as well as our round-up of the best travel cameras and best cameras for beginners. 

We all know that DSLR sales have declined, but they have far from flatlined. In fact, Canon still sells up to 620,000 of them each year – which is an astonishing number, when you consider the current market in terms of both trends and overall sales figures.

Moreover, Canon – one of the last three brands still making these cameras – has no plans to abandon them, telling me that it will support DSLR customers as long as they are out there.

I was fortunate to talk to Canon's senior management earlier this year at CP+ 2026, where we discussed some of the more traditional segments of the camera industry – including the fact that Canon is the only company still supporting beginner photographers with a true entry-level body.

I also wanted to take the opportunity to ask the Canon brass about the tenacious nature of the DSLR market – which still makes up a significant amount of the company's business.

As Go Tokura, executive vice president and head of Imaging Group at Canon, explained to me, "90% of the market is dominated by mirrorless cameras; DSLR cameras only account for 10% of the market, and currently it is about 700,000 unit shipments."

That figure is the total number of DSLRs shipped in 2025, which according to market overseer CIPA was 690,911 – of which Canon sold between 600,000 and 620,000 units.

Which means, despite it 'only' accounting for 10% of the market, 700,000 sales is still a considerable figure – meaning that there is a considerable user base still buying and using this kind of camera.

"In other words, we have that many customers still there!" smiled Tokura. "So as long as there are still customers for DSLRs, we would like to continue to offer our products."

Currently, the company still sells three DSLR models: the flagship Canon EOS-1D X Mark III, the workhorse Canon EOS 5D Mark IV and the entry-level Canon EOS Rebel T7 / 2000D. And there are still 27 current Canon DSLR lenses listed on the Canon USA store.

The company said in 2020 that it had officially shifted its focus to RF-mount development, while also noting that "should the market demand it, we are ready to create new EF lenses."

While that seems implausibly unlikely in 2026, it's reassuring to know – and speaks very highly of the company – that Canon is still supporting both its existing DSLR customers, as well as newcomers who are still buying into the EF-mount system.

But how long will DSLRs keep selling? Before I could get the words out of my mouth, Tokura added: "Now, your question is until when? We cannot even imagine that!"

You might also like…

Take a look at the best DSLRs still on the market today. If you want to go more modern, check out the best Canon cameras and the best Canon RF lenses for mirrorless models.

Taking photos in a downpour is a major challenge – not to mention potentially dangerous to the camera gear. But I’ve just stumbled across a set of photos that perfectly illustrate why sometimes the best photographs are the most challenging ones.

Patrick Smith (@patricksmithphotos), a sports photographer working with Getty Images, turned a recent “torrential downpour” into an opportunity for dazzling mid-game portraits of the Detroit Tigers and Baltimore Orioles.

Last month, when the Tigers traveled to Baltimore, the skies opened up in what Smith describes as a “downpour.” Instead of trying to shield his lens from the droplets, Smith appears to have embraced the rain, taking shots from a low angle that allowed the rain to gather on his lens.

The stadium lights hitting those droplets turned the rain into a dramatic flare and dotted the images with bokeh. Rather than wiping off his lens, Smith turned towards where players waited on deck, creating striking photos that were taken in the middle of a professional baseball game, yet felt more like creative portraits than sports photography.

According to the photo’s metadata, Smith took the shots with the Canon EOS R1 – a mirrorless camera that is, thankfully, weather-sealed. However, Smith also used the Canon RF 16mm f/2.8 STM, a budget wide-angle that isn’t weather-sealed and typically needs extra protection to work in the rain.

But, that ultra-wide perspective allowed the photographer to surround the players in a sea of rain-created bokeh and flare.

Smith used a mix of different settings for the shots. In shots dotted with shaped bokeh, he used a narrower f/13 aperture to help define the shape of the bokeh and turn the stadium lights into starbursts.

In another shot with more abstract-shaped lens flare, he used an f/2.8 aperture and ISO 2000 in order to freeze the rain in the background into droplets at 1/2000th of a second shutter speed.

The game wasn’t the first time Smith had turned bad weather into a golden opportunity for unusual sports photography. I previously came across Smith’s work while browsing through photos of the 2026 Winter Olympics, where Smith turned snow into a dramatic framing tool, along with using techniques like shutter drag.

I’m impressed both by the way Smith has managed to turn challenging weather into a framing tool – and the fact that he shot what look like portraits in the middle of an MLB game.

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Take a deep dive into the best cameras for sports photography.

Just weeks after releasing one of the most feature-packed firmware updates for the Canon EOS R5 Mark II, Canon has issued another update to fix a problem introduced by the previous firmware.

The fix arrives for the hybrid flagship camera that we described in our review as "still the best damn camera you can buy."

Firmware Ver. 1.3.0 added a range of new capabilities, including an American Football Action Priority mode, improved people detection and tracking, DPRAW support, expanded video monitoring tools, and the ability to transfer AF (autofocus) settings between cameras.

However, the update also introduced an issue that could cause the camera to stop functioning properly when Touch & Drag AF was used with Whole Area AF.

The new Firmware Ver. 1.3.1 specifically fixes the AF problem – but also adds the features introduced in the previous update – good news for users who chose to wait and see whether the firmware would introduce any unexpected issues.

New firmware

Firmware Ver. 1.3.1
US: Download link for Microsoft and Mac
UK: Download link for Microsoft and Mac

This firmware includes fixes for the following issues identified in Version 1.3.0: Fixes an issue in which the camera may stop functioning properly when Touch & drag AF is used with the [AF area] set to "Whole Area AF".

This firmware also incorporates the changes that were introduced in Firmware Version 1.3.0 – so if you have not updated your R5 Mark II yet, Version 1.3.1 gets you all the benefits of the last firmware too.

Please perform the firmware update with only the firmware file to be updated stored on the memory card.

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 whenever – 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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Browse the best lenses for the Canon EOS R5 and EOS R5 Mark II.

A lot of people look at the Canon EOS R50 V vs R6 V equation and boil it down to one thing: sensor size.

But while it's true that one of the main differences between these cameras is the sensor, there's more to the Canon EOS R50 V vs R6 V discussion than that.

The bodies are more alike than they are dissimilar (in fact, they make a great complementary outfit as an A and B camera), but they offer distinctly different propositions for distinctly different kinds of creator.

So, whether you're an aspiring creator or someone who's already making money from your content, it's time for a Canon EOS R50 V vs R6 V comparison to see which is the right one for you.

Canon EOS R50 V vs R6 V: Specifications

Canon EOS R50 V vs R6 V: Photo

At first glance, this one is a whitewash for the R6 V. It has better resolution (32.5MP compared to 24.2MP on the R50 V), a higher sensitivity ceiling (native ISO64000 versus ISO32000) and faster burst shooting (40fps against 15fps) – with Pre-Continuous Shooting, too.

However, there are a couple of key considerations in the R50 V's favor – and the first one relates to that burst shooting.

True, the R6 V can shoot continuously at up to 40fps via its electronic shutter – but it only has an electronic shutter. The R50 V's top electronic speed of 15fps isn't nearly as fast, and nor is its mechanical shutter speed of 12fps, but having a mechanical shutter offers some big advantages.

First of all, if you happen to be shooting at those speeds, shooting electronically risks introducing rolling shutter – the effect where fast-moving subjects or scenery appears skewed (because the sensor's pixels are read line-by-line, top-to-bottom, meaning that moving objects shift and skew as the image is recorded).

Flash photography can also be far more problematic with electronic shutters – and, indeed, the R6 V does not support flashguns at launch, though a firmware update to add it has been promised.

However, the main benefit to a mechanical shutter is when it comes to shooting in artificial lighting. Electronic shutters commonly suffer from banding under artificial and LED light, which can be virtually impossible to remove in post-production.

On the other hand, the R50 V lacks in-body image stabilization. This makes it harder to handhold shots, especially with slow shutter speeds or when using larger lenses. The R6 V, by contrast, has up to 7.5 stops of IBIS – so if you rely on shake compensation, that's a big factor.

It's also weather-sealed, meaning that you can keep shooting when environmental conditions get challenging (provided you're using a weather-sealed lens, of course), and boasts dual memory card slots in case one of them fails.

In all, there's a lot to weigh up. The R6 V has higher resolution, faster bursts and IBIS. On the other hand, the R50 V has a mechanical shutter and is better for flash photography – and it's also much smaller and lighter, making it a better everyday and street photography comparison.

Still, in terms of raw specs and horsepower, it's hard not to give the nod to the bigger brother.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Video

When it comes to pure muscle, the R6 V is an absolute unit. Its 32.5MP sensor is capable of 7K 60p capture, 7K 30p open gate video, 4K 120p and FullHD 180p. It boasts both C-Log 2 and 3, and crucially it has an active cooling system for extended shooting times – which you'll need for cranking out 7K!

By contrast, the R50 V only offers C-Log 3 and its 24.2MP sensor tops out at 4K 60p – but this comes with a 1.56x crop. But its 4K 30p video is oversampled from 6K for extra crispiness, while it can crank out FullHD at up to 120p. And while it lacks active cooling, at 4K 30p you effectively get unlimited shooting.

So horsepower-wise, it's a cakewalk for the R6 V – but that horsepower is only better if you actually need it.

Trust me, 7K open gate sounds amazing on paper – and it is amazing – but you can quickly end up with files that are hundreds of gigabytes in size. Do you have the storage to handle that? The processing power on your computer? Do you really even need open gate?

Unless you consistently cross-post content, you're filming high-end studio work or you're shooting for clients that want multiple deliverables, I would argue that open gate is a nice-to-have – not an essential.

For most people, 4K 60p – which gives you the flexibility to do light slow-motion – is enough. The key difference here is that the R50 V imposes a 1.56x crop – and that's on top of the existing 1.6x crop introduced by Canon's APS-C sensor, which makes it much more challenging to shoot wide.

For example, a 16mm lens becomes an effective 25.6mm lens just by mounting it to the R50 V; shoot in 4K 60p and it becomes an effective 39.9mm. Which isn't necessarily a problem, but it does mean being conscious of your lens choice and shooting space, and potentially having to reposition your camera between shots.

Another key difference is the choice of log modes. C-Log 2 is the more professional, but again that doesn't mean it's better by default. In Canon's own words:

"Canon Log 2 provides the absolute maximum dynamic range (more than 16-stops on the EOS C300 Mark III and EOS C70), with detailed shadows and rich highlight information. Canon Log 3 provides the same highlight performance with slightly less information in the shadows (up to 14-stops)."

The long and short of it is that C-Log 2 has more shadow detail but also a lower noise ceiling, so you really need to know how to grade properly. C-Log 3 offers lots of highlight retention and is easier to work with, thus making it faster and friendlier.

Pro-level features aside, I think the biggest consideration is in-body image stabilization (IBIS). The R6 V offers up to 7.5 stops of shake compensation, which makes it possible to shoot handheld footage without too many jitters (though bear in mind that Canon's IBIS does introduce a "Jell-O effect" in the corners when using wide lenses).

The R50 V lacks IBIS, which means you're relying on a tripod, gimbal or the electronic stabilization. The latter crops into your footage (to give headroom for the camera to stabilize your shots), which you need to be extra-conscious of if you're shooting in 4K 60p. This means the R50 V is better for shooting on sticks, rather than handheld.

While the paper specs of the R6 V make it the technical winner, consider what your personal requirements actually are. I think IBIS is important, but it doesn't matter if you only ever shoot indoors on a tripod. C-Log 2 is great, but only if you do heavy post-production. Open gate is awesome, but only if your content needs it and your workflow can support it.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Price

No contest here: the R50 V is the most budget-friendly option and gives you incredible bang for your buck.

The Canon EOS R50 V is currently available body-only for as little as $649 / £549 / AU$1,099, or in a kit with the Canon RF-S 14-30mm f/4-6.3 IS STM PZ for $799 / £799 / AU$1,499.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

It's a very valid consideration that you could buy a pair of R50 Vs and have a two-camera setup for the same price as a single R6 V. Or buy an R50 V and have almost 2,000 bucks to invest in lenses. Either way, you can have a far more complete and versatile setup by going for the junior camera.

🏆: Canon EOS R50 V

Canon EOS R50 V vs R6 V: Winner

It's hard not to say that the Canon EOS R6 V is the better camera. It has a full-frame sensor, 7K 60p, open gate capture, uncropped 4K 60p, an active cooling system, in-body image stabilization, Canon Log 2…

However, it may be more accurate to say, depending on your needs, the R6 V is the superior specced camera; for some people, the R50 V with its smaller footprint, more manageable files, photographic versatility and price tag that's thousands of bucks less will be a more appealing option.

I would recommend the R6 V for professional creators and videographers who need the highest quality and the ability to output multiple deliverables for clients. And for aspiring or casual creators just building a brand or getting established, the R50 V gives you plenty of firepower at a more affordable price.

Still, in terms of pure capability, the R6 V is the more powerful system and the clear winner.

🏆: Canon EOS R6 V

If you're pondering the Canon EOS R6 V vs R6 Mark III, you're not alone. Canon has made the once-straightforward 6-series line quite complicated this generation, with complementary but confusing companion models.

Both cameras share near-identical core specs – the 32.5MP / 7K 60p sensor, 40fps burst shooting, 7K 30p open gate and so on – but there are key physical differences, from the ergonomics and strength of the IBIS to the presence or absence of mechanical shutter, EVF and active cooling, making the Canon EOS R6 V vs R6 Mark III decision quite a nuanced one.

Further complicating things is the fact that those core specs are also shared by the Canon EOS C50, which adds a further tier of difficulty. And on top of that, the R6 Mark II is still a current product (though its specs are completely different)…

If you want a comparison of all these bodies, I recommend my article Will the real Canon EOS R6 please stand up! Do you need the R6 II, R6 III, R6 V or C50? However, for a Canon EOS R6 V vs R6 Mark III tête-à-tête, read on…

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

The technical capabilities for stills are virtually identical except for one crucial difference: the R6 V lacks a mechanical shutter. Which isn't unique among mirrorless cameras; the Nikon Z8 and Z9 likewise only have a mechanical shutter.

So what's the issue? Unless the camera has a global shutter sensor (like the Sony A9 III), which reads the entire sensor at once, you are subject to experiencing "rolling shutter" when shooting fast-moving subjects and / or panning the camera with them.

This is because traditional sensors are scanned line by line, top to bottom, which can cause subjects or scenery to appear skewed as they have moved between each line being scanned.

In addition, electronic shutters are prone to banding and other artefacts when shooting under artificial light – but mechanical shutters are immune to rolling shutters and far less prone to banding issues. Which means you need to be mindful if you're going to shoot a lot of stills with the R6 V.

Aside from specs, though, there's also the physical attributes of the R6 V. It lacks an electronic viewfinder, which means you are limited to shooting from the rear screen – and you'll be doing it with a stop less of in-body image stabilization (IBIS).

On top of that, the R6 V's ergonomics and button placement – along with the design of the buttons themselves – are optimized for filming video, not for prolonged stills shooting.

By contrast, the R6 Mark III has been engineered as a stills-first camera. It has better ergonomics, better IBIS, a viewfinder and a mechanical shutter – and it also supports on-camera flash (Canon says that the R6 V will get flash support via firmware, but doesn't have it out of the box). All of which means that it's the superior camera for photography.

(Though if you only ever shoot on the rear screen and you have no intention of shooting indoors or fast subjects, the R6 V will absolutely do what you need it to.)

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

Okay, an argument could be made that the R6 V is just as good as the R6 Mark III for stills. However, there's no doubt that the R6 V trounces its sibling when it comes to recording video.

Again, the technical specs are virtually identical. But the R6 V has some massive physical and hardware advantages – namely in the form of an active cooling system. Where the R6 Mark III, with no fan to dispel heat, faces limited recording times when shooting high-resolution video, the R6 V can record for prolonged periods without overheating.

The R6 V is also geared for vertical shooting, with a second (vertical) tripod mount and a user interface that reorients 90° when you place the camera in a vertical position. It also has a tally light, so you and your subjects always know when it's recording.

As noted above, the controls on the V have also been completely redistributed for video-first operation – and their default assignments are to essential video features like zebras, peaking and live streaming.

One of the most important controls is the power zoom rocker switch, positioned in front of the record / shutter button. This enables you to perform smooth electronic pushes and pulls when using Power Zoom lenses like the Canon RF 20-50mm f/4L IS USM PZ.

The EVF-free design also makes the R6 V's rectangular body much more riggable and apt for cages. It doesn't support the XLR handle for the Canon EOS C50, but you can add Tascam's third-party XLR adapter for premium audio input.

Speaking of the C50, it's worth noting that neither the R6 V nor the Mark III offer things like shutter angle, timecode or anamorphic lens support, for which you'll need to opt for the cinema sibling.

Still, if you only need to shoot occasional video, the R6 Mark III is perfect for capturing complementary footage with your photographs. But if video is your main reason for picking up a camera, it's the R6 V all the way.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

It's quite a close call, but the EOS R6V comes in as the more affordable option both body-only and in a kit.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

Meanwhile the Canon EOS R6 Mark III comes in slightly higher, at $2,799 / £2,799 / AU$4,199, or in a kit with the Canon RF 24-105mm f/4L IS USM for $4,049 / £3,899.99 / AU$5,999.95 (in the US and UK it's also available in a kit with the Canon RF 24-105mm f/4-7.1 IS STM for $3,149 / £3,149.99).

Those kit options really tell the story of who these cameras are for, the Mark III being sold with an all-purpose photography optic while the R6 V is packaged with a video-first Power Zoom lens.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

Ultimately, at the risk of becoming a broken record, these two cameras are essentially identical in terms of their specs – they're two of the best hybrid cameras and do a brilliant job at both stills and video. However, they don't do an equally brilliant job at both.

Which means that it all comes down to what you shoot. If you're primarily a photographer, the Canon EOS R6 Mark III – with its mechanical shutter, EVF, ergonomics and better IBIS – is a far better stills camera.

If you're a video-first shooter, the Canon EOS R6 V – with its active cooling system, tally light, and vertical-friendly shooting and operation – is the better camera for creators, vloggers and videographers.

There was a lot to love about the Canon M6 Mark II, which was the flagship of the EOS M system. In case you don't know, that was the company's first foray into mirrorless cameras – but it was sadly discontinued in 2023.

While the Canon M6 Mark II had some killer specs – built around a high-resolution 32.5MP APS-C sensor, capable of 14fps bursts and 4K 60p video – there was one feature that was absolute genius: the optional, removable, electronic viewfinder (EVF).

This one accessory made the Canon M6 Mark II one of the most versatile cameras the company has ever made – and my dearest wish is that Canon resurrects it for the EOS R system.

Take a look at the common criticism leveled at cameras like the Canon EOS R50 V and EOS R6 V: they're brilliant cameras, and very compact, but most people wish that they had a viewfinder – or at least, the scope to add one – for proper stills shooting.

This isn't just a Canon thing; everything from the Nikon Z30 to the Sony ZV-E10 II has the same issue. Yes, they're designed primarily for video, and yes, this enables them to keep a smaller form factor by eschewing an EVF. But wouldn't it be nice if you could buy an EVF that mounts to the hot shoe, for those times you need it?

That's exactly what Canon used to offer, but the Canon M6 Mark II was the last camera to support the EVF‑DC2 add-on (which also worked with other select EOS M and PowerShot cameras).

It made the Canon M6 Mark II so much more useful; without the EVF, you could slip the camera into a large pocket or easily toss it in a fanny pack or small sling bag for everyday shooting. Then, for those occasions where you really needed to zero-in, you could click the EVF‑DC2 into the shoe.

Given the clever new Multi Function Shoe boasted by Canon's latest cameras, it could produce a brilliantly fast and high-resolution finder if it wanted to. Or even just update the EVF‑DC2 with the correct communication pins so that it can be used on the likes of the R50 V and PowerShot V1.

Come on, Canon – I know I'm not the only person who has asked for this, so please bring back the best thing about the Canon M6 Mark II! (Well, aside from the sensor that has now found its way into the EOS R7…)

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Established in 1984, the Camera Grand Prix is one of the photography industry's most prestigious awards, both in Japan and internationally. The 2026 winners have now been announced.

Organized by the Camera Journal Press Club, the awards recognize standout products released in Japan during the previous fiscal year, with seven prizes handed out this year. Alongside awards decided by editors and industry experts, the Readers' Awards highlight the camera gear that photographers themselves voted for.

The 2026 Readers' Award in the camera category went to the Canon EOS R6 Mark III, with users praising its performance, refined handling, and impressive price-to-performance ratio.

Readers' Award – Camera: Canon EOS R6 Mark III

The Camera Grand Prix 2026 published a selection of comments from voters explaining why the Canon EOS R6 Mark III earned the prestigious honor.

One theme quickly stood out: users across different genres and experience levels were impressed by the camera's balance of performance and value.

"This camera is just as good as the EOS R5 Mark II, but it's cheaper than the R5. Since it now uses CFexpress cards, I don't need anything more," wrote one user, while another added: "I was impressed by the overall high level of refinement, which is reminiscent of the DSLR, the EOS 5D Mark IV."

Another voter summed it up in one sentence: "This camera offers the best balance of image quality and price."

For some users, the R6 Mark III represents a philosophy that goes beyond specifications – one that "never betrays the photographer's intentions."

Canon EOS R6 Mark III: price & competition

The R6 Mark III also impressed us in our review. Available for $2,799 / £2,799, this powerful mirrorless packs so much performance that it feels close to a flagship model.

For context, the R6 Mark III launched in November 2025 at the same price as the R6 Mark II in 2022, though the older model is now available for $1,999 / £2,049.

While the R6 Mark III won't suit every budget, Canon says it features more than 50 upgrades over the Mark II. Here are six updates that could make the upgrade worthwhile for many photographers.

The R6 Mark III faces strong competition, with rivals including the Sony A7 V ($2,898 / £2,799), Nikon Z6 III ($1,996.95 / £1,599), and Panasonic Lumix S1 II ($2,897.99 / £2,599) – all excellent cameras in their own right.

Is this the best photo-first Canon on the market?

The R6 Mark III shares its core architecture with the Canon EOS C50, but targets photo-first hybrid shooters, while the C50 is designed primarily for video creators.

It also inherits one of Canon's best pro features: Registeres People Priority. This allows you to save up to ten faces in priority order, helping the camera focus on the right subject during group shots, weddings, events, and sports photography.

Still, advanced features matter little if AF (autofocus) can't keep up – and Canon's subject tracking stands out as one of the strongest in class, as our Canon expert and reviewer James Artaius highlighted.

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Canon has released a broad range of firmware updates for seven EOS R-series mirrorless cameras, including significant feature updates for two flagship models.

Firmware updates overview
Canon EOS R3 – Version 2.1.0
Canon EOS R10 – Version 1.8.0
Canon EOS R6 Mark II – Version 1.7.0
Canon EOS R8 – Version 1.6.0
Canon EOS R100 – Version 1.3.0
Canon EOS R5 Mark II – Version 1.3.0
Canon EOS R1 – Version 1.3.0

While cameras like the EOS R100 and EOS R8 mainly receive smaller fixes and system stability improvements, the EOS R5 Mark II and EOS R1 gain more substantial upgrades. These include the first major update to Canon's Action Priority mode, alongside additional features and performance enhancements.

R3

Canon EOS R3 – Version 2.1.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds [Wi-Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 GHz band when transferring from Bluetooth to Wi-Fi
2. Adds the ability to switch the group settings of a receiver camera from the sender camera when using the EOS Multi Remote app
3. Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server
4. Improves other system stability

R10

Canon EOS R10 – Version 1.8.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds support for the Software Development Assistance Kit (EDSDK)
2. Fixes an issue that may cause Err70 to be displayed during Bluetooth communication due to interference from other Bluetooth devices
3. Fixes an issue that may cause Err70 to be displayed when repeatedly shooting in the "High-speed continuous shooting +" mode
4. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB
5. Improves other system stability

R6 II

Canon EOS R6 Mark II – Version 1.7.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds [Wi-Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 GHz band when transferring from Bluetooth to Wi-Fi
2. Adds support for the Software Development Assistance Kit (CCAPI)
3. Fixes an issue that may cause image transfers to an FTP server to fail and for Err41 to be displayed
4. Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server
5. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB
6. Fixes an issue that may cause a horizontal line to appear momentarily in the viewfinder
7. Improves other system stability

R8

Canon EOS R8 – Version 1.6.0
UK: More information & download link
US: More information & download link

Improvements
1. Improved operational stability
2. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB

R100

Canon EOS R100 – Version 1.3.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds support for the Software Development Assistance Kit (EDSDK)
2. Improves other system stability

R5 II

Canon EOS R5 Mark II – Version 1.3.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds [American Football] in [Action Priority] to optimize human subject detection for individuals wearing helmets and shoulder pads
*For an overview and instructions on using [Action Priority], please refer to the Instruction Manual or the AF Settings Guide
2. Improves tracking and detection performance for [Register people priority] in challenging conditions-including profile views, blurred or partially obscured faces, small subjects in the frame, and children-even when the feature is set to [Off]
*Performing a firmware update will delete registered data stored in the camera. If necessary, save the data in advance using [Save/load registered data on card], and reload it after the firmware update. For details, please refer to the Instruction Manual
3. Adds the ability to set [AF for close-up demos] during movie recording in [Movie manual exp.], [Movie auto exposure], and other Creative Zone modes to allow for its use in combination with exposure and AF area settings
4. Adds [Wi-Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 GHz band when transferring from Bluetooth to Wi-Fi
5. Adds [No. of connections] to [FTP transfer settings], allowing the user to select the number of transfer threads for [FTP transfer]
6. Adds the ability to store up to four [Color temp] values in [White balance setting] and to assign [Switch color temperature] to [Customize buttons for shooting]
7. Adds the ability to set [False Color Settings] to [On] when [HDR/C.Log View Assist] is selected
8. Adds the ability to assign [Pre-continuous Shooting] to [Customize buttons for shooting]
9. Adds the ability to transfer AF-related settings between cameras of the same model by adding [Save to card] and [Load from card] to [Register/recall AF-related settings]
10. Adds the ability to display the electronic level during movie recording
11. Adds the option for grid display during movie recording
12. Adds the ability to display playback screens and menu screens when outputting to two screens via [HDMI Display During Connection]
13. Adds the ability to switch the group settings of a receiver camera from the sender camera when using the EOS Multi Remote app
14. Adds support for DPRAW shooting
15. Adds support for the Software Development Assistance Kit (EDSDK/CCAPI).
16. Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server
17. Fixes an issue that may impact the camera's shooting ability if the auto power-off function is activated during interval timer shooting
18. Fixes an issue that may cause the camera to restart when the shutter button is pressed while deleting images
19. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB
20. Improves other system stability

R1

Canon EOS R1 – Version 1.3.0
UK: More information & download link
US: More information & download link

Improvements
1. Adds [American Football] in [Action Priority] to optimize human subject detection for individuals wearing helmets and shoulder pads
*For an overview and instructions on using [Action Priority], please refer to the Instruction Manual or the AF Settings Guide
2. Improves tracking and detection performance for [Register people priority] in challenging conditions-including profile views, blurred or partially obscured faces, small subjects in the frame, and children-even when the feature is set to [Off]
*Performing a firmware update will delete registered data stored in the camera. If necessary, save the data in advance using [Save/load registered data on card], and reload it after the firmware update. For details, please refer to the Instruction Manual
3. Adds [Wi-Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 GHz band when transferring from Bluetooth to Wi-Fi
4. Adds [No. of connections] to [FTP transfer settings], allowing the user to select the number of transfer threads for [FTP transfer]
5. Adds the ability to store up to four [Color temp] values in [White balance setting] and to assign [Switch color temperature] to [Customize buttons for shooting]
6. Adds the ability to set [False Color Settings] to [On] when [HDR/C.Log View Assist] is selected
7. Adds the ability to assign [Pre-continuous Shooting] to [Customize buttons for shooting]
8. Adds the ability to transfer AF-related settings between cameras of the same model by adding [Save to card] and [Load from card] to [Register/recall AF-related settings]
9. Adds the ability to display the electronic level during movie recording
10. Adds the option for grid display during movie recording
11. Adds the ability to display playback screens and menu screens when outputting to two screens via [HDMI Display During Connection]
12. Adds the ability to switch the group settings of a receiver camera from the sender camera when using the EOS Multi-Remote app
13. Adds the [Night Display Mode] menu option
14. Fixes an issue that may cause Err70 to be displayed in live view when the user captured a multiple-exposure shot in a dark environment
15. Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server
16. Fixes an issue that may impact the camera's shooting ability if the auto power-off function is activated during interval timer shooting
17. Fixes an issue that may cause the camera to restart when the shutter button is pressed while deleting images
18. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB
19. Improves other system stability

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Nature photography can follow a strict documentary approach – but when light, environment, and wildlife align, it also offers incredible opportunities to explore a more artistic vision. The challenge, of course, is that we can't influence wildlife behaviour, so stepping out of your comfort zone and using light and surroundings creatively requires a trained photographic eye.

A prime example of this approach is the image, Lachmöwe (Black-headed gull), that took the top spot at the GDT Nature Photographer of the Year competition. German photographer Radomir Jakubowski – known for his distinctive wildlife style – has now been named winner of the Bird category.

His award-winning image was captured with the Canon EOS R5 Mark II – Canon's ultimate mirrorless camera and, as noted in our review, Canon's most powerful camera. Jakubowski's image was also a Finalist at the Festival de l’Oiseau et de la nature and stands out for its striking use of backlight, timing, and composition.

Winner: 'Black-headed gull'

Tech info
Gear: Canon EOS R5 Mark II + RF 400mm f/2.8L IS USM
Exposure: 1/6400sec, f/2.8, ISO 400

Speaking about his approach, Jakubowski explains on his blog, "For me, nature photography is so much more than just sharp documentation. It is playing with light, blurring reality into a dream of colours."

Jakubowski also placed sixth in the Atelier Nature category with an abstract Intentional Camera Movement image, captured at one of his workshops in Switzerland.

He says, "There, where the emerald-green water dances over the rocks that are millions of years old, I tried to transform this dynamism into an abstract painting. It is a picture that does not explain, but evokes a feeling – an invitation to lose oneself in the colours and shapes."

Jakubowski won the Wildlife Photographer of the Year 2024 competition and regularly hosts workshops. As a Canon ambassador and author of photography-related books, he's an expert in his field – and if you understand German, his podcast Bohnensack is definitely worth a listen.

To see more winning images and for more information, visit the GDT website.

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An amateur photographer has gone viral after a striking portrait of a Vietnamese fisherman won top honors at the LCE Photographer of the Year 2026 competition. The image – featuring the fisherman holding two fish precisely aligned over his eyes – captivated judges with its symmetry, humour and storytelling.

The photograph, shot on a Canon EOS R5 Mark II, has since become a defining moment in Sophia Spurgin's creative journey. What began as a spontaneous interaction during her travels has now led to global recognition, with the image helping secure her the overall competition win and opening the door to a major lens upgrade.

Following her success, Spurgin has invested in one of Canon's most sought-after super telephoto lenses – the Canon RF 400mm f/2.8L IS USM. Priced at $13,399 / £13,199 and notoriously difficult to find in the UK, marking a significant upgrade in her photography kit. And it required shipping directly from Canon in Japan...

The 400m super telephoto lens

The Canon RF 400mm f/2.8L IS USM is widely regarded as one of the leading super telephoto prime lenses. In our review, it was praised for its "epic" image quality, lightning-fast autofocus, and bright f/2.8 aperture.

Spurgin says, "I've never owned a lens of such quality and wanted to mark my win with something significant. I had never considered prime lenses previously, but now I've been able to obtain this incredible equipment thanks to LCE. I'm looking forward to testing it out during my travels this year."

For Spurgin, entering and winning the competition made the upgrade possible, providing both the recognition and opportunity to invest in her dream lens.

Lee Harasyn, managing director of LCE, commented, "We're thrilled that Sophia has been able to acquire her dream lens as a result of winning LCE Photographer of the Year 2026, and can take the next step up in her hugely successful photographic journey. We hope she'll inspire others to enter the competition next year and we can’t wait to see the images she'll capture with this fantastic piece of kit."

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Canon is the world's biggest and most successful DSLR manufacturer, but it hasn't launched a new DSLR since 2020. And yet, it continues to hold the lion's share of DSLR sales – despite the wider shift toward mirrorless systems.

Go Tokura, Executive Vice President and Head of Canon's Imaging Group, said in an interview with DPReview, "90% has now become mirrorless," referring to today's camera market.

So if mirrorless has taken over, why are DSLRs still hanging on – and why is Canon still winning?

A shrinking market Canon still owns

CIPA numbers tell a clear story: mirrorless cameras dominate, while DSLR shipments continue to decline year after year.

Still, Canon shipped around 790,000 DSLR units – nearly 90% of the global DSLR market in 2024. In 2025, global DSLR shipments came to 690,911 – with Canon dominating with approx. 600,000-620,000 DSLRs.

By comparison, Nikon dropped from 440,000 units in 2021 to just 70,000 in 2024, while Pentax remains a niche player at around 10,000 units annually.

Despite the rise of mirrorless, many photographers aren't ready to move on – and Canon is benefiting from that 'hesitation'.

Canon's DSLR lineup is now more limited, but still includes models like the Canon EOS 2000D / Rebel T7 and Canon EOS 5D Mark IV.

Canon's continued success is likely driven by legacy investment and entry-level bundles, which remain attractive to beginners, students, and enthusiasts – one of the most affordable ways into photography.

There's a massive legacy audience out there – photographers with decades of EF-mount lenses, built-out kits, and little or no reason to switch systems.

Mirrorless reaches 90%

In the DPReview interview, Go Tokura pointed to just how far the shift has gone, stating that around "90% has now become mirrorless," referring to the interchangeable-lens market.

Shipments from Japan reached around 7 million units last year – marking modest growth of roughly 6% – and Canon expects this trend to continue rather than drop off suddenly.

However, forecasts suggest that momentum is slowing. CIPA is predicting far slower growth in 2026 than in 2025, with mirrorless shipments expected to dip slightly by around 2.6%.

That slowdown feels like a natural progression. Mirrorless cameras are becoming increasingly expensive, while major technological leaps are less frequent – pushing more photographers toward the second-hand market.

And while DSLRs continue their gradual decline, their core audience isn't disappearing. Even in a market where around 90% has moved to mirrorless, shipping data suggests a loyal base remains – one that isn't in a hurry to give up the familiar DSLR experience.

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Photographing Arctic foxes in the remote wilderness in Iceland is as extreme as it gets. Battling temperatures of -22°C (-8°F), fierce winds, and blowing snow, even the simplest task becomes a challenge.

While the resilient Arctic Fox can survive in conditions down to -70°C (-94°F), the relentless Icelandic wind makes hunting – and even keeping their eyes open – difficult. These same conditions also test photographers to their limits, pushing gear and technique to the edge.

Photographer David Gibbon is known for his wildlife captures and has led photography tours for a decade. In this image, he reveals the story behind a powerful close-up portrait of an Arctic fox, shot using a pro full-frame DSLR, the Canon EOS-1D X, paired with a 150-600mm telephoto zoom, at 1/800sec, f/6.3, and ISO 1250.

The story behind the still

"This shot was taken on the remote Hornstrandir Nature Reserve, in the far northwest of Iceland, during an annual Arctic fox tour that I run there with my wife Louise. We have been running Arctic fox tours each winter in Iceland since 2017.

"I really wanted to capture what these blue morph (brown but called blue) Arctic foxes endure, by showing a close-up of its face. Although Arctic foxes can withstand temperatures down to -70 degrees, they often struggle to open their eyes when strong winds and a fierce snowstorm kick in.

"While it's well-known that their coats help keep them warm, and their snowshoe feet allow them to work on snow, what is less well-known is how gale-force winds and sub-zero temperatures make it very difficult for them to find food, and some do die due to starvation.

"This Arctic fox could not open its eyes due to the severe winds, highlighted by the visible blowing snow in the shot, while the freezing temperatures saw ice forming across its nose and eyes.

"Reaching Hornstrandir is not easy, as it involves flying to the far north of Iceland and then sailing on both a boat and Zodiac (inflatable boat) across the Atlantic Ocean – often in rough seas – to get to this remote and desolate place.

"Stinging hands while photographing the Arctic fox was an issue, as temperatures dropped to -22 degrees with wind-chill. Focusing was the main challenge, though, as the camera was trying to lock onto the falling snow rather than the Arctic fox.

"I upped the ISO to increase the shutter speed, to freeze the blowing snow and keep the Arctic fox as sharp as possible."

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Compact cameras remain popular, even in a world dominated by smartphones and mirrorless systems. While brands like Fujifilm are pushing 102MP point-and-shoots such as the GFX100RF, Canon appears to be following a different path.

At the CP+ Expo in Yokohama, Canon executives, including Go Tokura, Executive Vice President and Head of Canon's Imaging Group, discussed their compact camera strategy in an interview with DPReview.

The interview insights make clear that Canon prioritizes accessibility, usability, and catering to an audience that's "new."

Interview insights

Canon explains that with the advanced technology and cameras in smartphones, occasionally shooters thought to be good snapping away with camera phones – as there's no need for a physical camera – but there was.

"They started to find the joy of using cameras. When they choose a second device after the smartphone, are they going to use the mirrorless camera? Possibly not, because it's a bit large and also it's pricey as well," Canon told DPReview.

Smartphones act as a gateway, introducing photography to new users. "The compact camera is there for their choice, so this is a totally new need we see."

Tokura also stressed that for this audience, experience matters more than pixel count; it's more about the physical feel and joy a compact camera brings, and how "fashionable it is to own it."

Given this focus, it's clear why Canon hasn't launched professional-grade, niche compacts like Sony's RX1R III, and likely won't in the near term.

Accessible compact cameras win

Companies focusing on affordable and accessible cameras dominate the compact camera market. This principle isn't new. Kodak is a classic example: its Pixpro line is incredibly successful with devices priced from $99.99 / £79 (C1) to $249.99 / £249 (AZ528).

When Canon released the Canon PowerShot SX740 HS Lite in 2024, it demonstrated the same kind of strategy that helped brands like Kodak succeed: offering affordable, easy-to-use compact cameras built on proven technology.

Despite using largely unchanged specs from the original 2018 SX740, the Lite version continues to sell strongly, regularly appearing on Yodobashi's best-seller charts in Japan.

While Canon technically could produce ultra-high resolution compact cameras, the current strategy prioritizes approachable, user-friendly models that appeal to a broader and younger market.

Canon also plans to ramp up production, so popular models like the Powershot G7 X Mark III should be easier to find. Backorders might finally ease.

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Canon could be preparing to shake up its RF super telephoto lineup just in time for the FIFA World Cup 2026 – and the optics might come with one feature that has notably been missing: a built-in x1.4 or x2 teleconverter (TC). But realistically, who will be able to afford these "big white" giants?

According to recent reports by Canon Rumors and YouTuber Ordinary Filmmaker, in late May, Canon might announce replacements for its iconic RF 400mm f/2.8L IS USM and RF 600mm f/4L IS USM lenses – alongside a 300-600mm super telephoto zoom.

Could these be Canon's first RF "big white" lenses with built-in TC? Nikon already features this in its pro Z-mount S-line – it would be an upgrade and a significant shift in usability.

Is Canon entering the built-in TC game?

While the new telephoto lenses are still a rumor, on paper, it feels more like a natural progression for Canon.

Canon has already hinted at the future of its super telephoto design. Back in 2025, patent application P2025114982 outlined concepts for lenses such as a 300mm f/2.8, 400mm f/2.8, and 500mm f/4 – all designed to reduce size and weight without compromising optical performance.

But this patent application is missing one key element of the rumored new optics: a built-in x1.4 or x2 TC. This could mean the patent isn't describing these lenses at all – or speculation around an integrated TC may, disappointingly, be off the mark.

The price of performance

If the three telephoto lenses actually enter the market, none of them will come cheaply.

The current RF 400mm f/2.8L IS USM already costs $13,399 / £13,119 – out of reach for most sport or wildlife shooters, built for professionals and agencies covering global events and wildlife rarity.

If the rumored late May announcement proves accurate, Canon could be about to make a timely move ahead of one of the biggest sporting events in the world.

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Ever locked eyes with a wild owlet? Louise Norris did – and fortunately had her Canon camera paired with a 100-500mm telephoto lens ready to capture the encounter.

Her image, A Gazing Owlet, won the Birds category at the LCE Photographer of the Year competition. Shooting with the Canon EOS R6 Mark II – a camera known for its near top-tier specs – and a long telephoto lens – a type of lens generally considered heavy – Norris operated handheld.

What makes the image so compelling is the direct eye contact between the owlet and the lens. The composition uses softly blurred foreground leaves to create a natural frame-within-frame, while the owlet's lighter tones stand out beautifully against the dark, green backdrop.

'A Gazing Owlet'

A Gazing Owlet by Louise Norris
Winner of the Birds category

Tech info
Gear: Canon EOS R6 Mk II + 100-500mm lens
Exposure: 1/50s, f/7.1, ISO 10,000

Norris says, "Looking vertically between the gaps in the leaves, handheld at 1/50s due to the lack of light, waiting for this delightful 4-weekold little owl owlet to look down and make eye contact. Moment made by the rim light catching on the owlet fluff!"

Winner of the Birds category

Norris' A Gazing Owlet won the top prize in the Birds category at the LCE Photographer of the Year competition. At the live ceremony at The Photography & Video Show 2026, it faced strong competition, including Heron in Flight by Michelle Jackson and Company of Gannets by Frank Urban.

Sophia Spurgin's Fish Eyes was awarded the competition's overall winner and earned her the LCE Photographer of the Year title.

To discover more winning images, visit the LCE Photographer of the Year website.

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The Canon EOS 5D Mark IV was one of the last great survivors of the DSLR era – but before it can celebrate its 10th birthday in August 2026, the iconic camera has now been added to Canon Japan's discontinuation list.

Canon's step to end the production of this full-frame DSLR may feel like a natural step in today's mirrorless-dominated camera market – but the disappearance of the 5D Mark IV will still sting for many photographers.

Even years after launch, the 5D Mark IV is known as one of Canon's most dependable pro DSLR workhorses, and remains widely used. However, with the discontinuation now official, photographers should expect no further official support from Canon, including firmware updates.

A milestone full-frame DSLR

Canon returned to its all-rounder roots with the 5D Mark IV when it was announced in August 2016.

At the time, it introduced several important upgrades, including a 30.4MP full-frame sensor, 7fps continuous shooting, 4K video recording, Dual Pixel CMOS AF (autofocus), and built-in Wi-Fi and GPS.

The camera also introduced Dual Pixel RAW, a unique feature that allowed photographers to make small focus adjustments and refinements during post-processing.

Even today, the 5D Mark IV offers some features that many photographers prefer over modern mirrorless cameras. For example, it provides a large full-screen digital level on the rear LCD, which many find easier to work with than smaller electronic level displays on cameras like the EOS R5.

Availability

Although the 5D Mark IV is now officially discontinued, it is still available to purchase – at least for now.

Retailers will continue selling the camera until the remaining stock runs out, meaning photographers may still find good deals in the upcoming weeks/months (if stock lasts).

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The best Canon camera bag is an essential purchase if you've just invested in one of the best Canon cameras. We've compiled a list of some of the best bags to carry your kit, regardless of whether you have a compact system such as the Canon G7X Mark III or one of the best mirrorless cameras such as the Canon EOS R5 and need space for lots of kit. 

Sometimes you may just want to have a bag big enough to fit your camera in but there will be times where you need room for additional Canon RF lenses, Speedlites and other accessories such as ND grad filters. You'll want a bag that has lots of well-padded compartments to keep your kit safe and if you plan on walking long distances you'll need a bag that is comfortable too!

Here is a selection of my favorites, at a variety of different prices, and with varying capacities…

Best Canon camera bag

One of Lowepro’s bigger backpacks, the Lowepro ProTactic 450 AW can hold one or two pro-grade Canon DSLRs and up to eight additional lenses or other accessories, so you don’t need to leave anything behind that you might need when hiking into the hills for a landscape shoot, touring the city for architectural photography, or just about anything else. Access to kit is quick and easy, thanks to four separate access points on the top, rear and both sides of the backpack. For negotiating tricky terrain and climbing over obstacles, there’s a waist band that adds stabilising support as well as providing extra storage for small items, but you can remove this if you need a more streamlined approach. Lowepro’s ActivZone System design ensures a really comfortable fit.

You can also get the ProTactic in a smaller size - the Lowepro ProTactic 350 AW II which is perfect if you need to carry less kit and have a smaller stature.

The Billingham Hadley Pro shoulder bag is a class act, with its fully waterproof canvas-look outer, coupled with full-grain leather and brass fixings. For a photographic shoulder bag, the design is refreshingly slim, and yet there’s enough room inside for a full-frame DSLR body like the Canon 5D Mark IV with an attached 24-70mm f/2.8 lens, plus a 70-200mm f/2.8 zoom (without tripod collar) and a pro-grade flashgun like the 600EX II-RT. 

Two additional front pockets enable extra gear to be stashed away, and the rear zippered pocket is big enough for a tablet. For heavier collections of kit, the optional shoulder pad is worth buying, and additional ‘AVEA’ pockets that can attach to both ends are also available in two sizes. This is easily one of the best bags you can buy for your Canon camera.

Whether you’re on your daily commute, going for a day out, or just off for a coffee, the Peak Design Everyday Messenger  is a really handy messenger bag for stashing your Canon camera kit. Available in 13-inch and 15-inch options, it’s ideal for carrying a medium-sized Canon DSLR or mirrorless kit, plus either a 13-inch or 15-inch laptop, respectively. 

Innovative design elements include quick-action MagLatch closures, plus a zippered top flap for even faster access to your camera, without opening the whole bag. FlexFold dividers are said to be origami-inspired and, while they work very well to cosset your kit, they can seem a bit unintuitive at first. The Version 2 editions have enhanced weatherproofing and their small inner pockets are made from a more durable fabric.

Think Tank’s TurnStyle sling-back bags are available in three sizes and two colour options: blue/indigo and charcoal. The Think Tank TurnStyle 20 V2.02 is the largest, but all three have one shoulder strap rather than usual two, and are designed to be worn across the body. A particular bonus is that you can swivel the bags around on their strap, enabling you to get access to your camera and accessories without needing to take the bag off and lay it down. There’s enough room for a full-sized Canon DSLR and up to four additional lenses or other accessories. The 10 edition takes one less lens, and the 5 edition is better suited to mirrorless Canon EOS-M outfits. Each bag has an additional tablet pocket, and an extra front compartment. if you're looking for a sling bag for your Canon camera, these options are top-class.

If your heart still beats for DSLR (like mine) and you're looking for a top professional camera, the Canon EOS 5D Mark IV might already be sitting on your wishlist.

The Canon EOS 5D Mark IV is now £1,789 – down from £2,489 – saving you £700 on what we rated as one of the very best DSLRs for stills and video in existence. 

We saw this price from Wex during Black Friday week, but the huge reduction is back again for 2026 - and I fear we may not see this camera even on sale come next year.

With no one knowing how long Canon will continue supporting its DSLR lineup, this deal is hard to ignore. Canon hasn't released a new DSLR since 2020, despite being the top-selling DSLR manufacturer over recent years.

With overall DSLR shipments declining, Canon still rules 90% of the global DSLR market. However, success is likely driven by entry-level bundles – that's everything else than the Canon EOS 5D Mark IV!

It boasts a solid and weather-sealed body with a comfortable grip at just 890g. The 30.4MP full-frame sensor delivers high-detail images and excellent ISO performance up to 102,400, while the 61-point AF system with Dual Pixel technology ensures fast, accurate focus even in near-dark conditions.

And the 5D Mark IV delivers the classic DSLR experience – from the mirror slap and long battery life to compatibility with Canon's EF lens ecosystem.

Is this our 'last' chance?

At this shockingly low price, I can't get off the feeling that the time to buy the Canon 5D Mark IV might be over soon, at least brand-new and sealed. After all, Canon has largely shifted to mirrorless cameras, the 5D line is reportedly discontinued, and remaining stock may be limited.

On the other hand, official support hasn't ended, DSLRs still have a loyal following, and "new old stock" could continue to surface, so it's not guaranteed the camera will vanish overnight.

That said, industry trends and clearance-style discounts suggest that availability of brand-new, sealed units is shrinking, making this deal a rare chance to get the 5D Mark IV at such a low price.

Either way, at a price this low, it's hard to pass up the chance to get one while you still can.

The 2025 Travel Photographer of the Year (TPOTY) winners have been announced, revealing a diverse collection of standout travel photography from around the world.

Judged anonymously by an international panel of imaging experts, the 2025 TPOTY shortlist was selected from more than 20,000 entries across 160 countries, making this one of the most competitive travel photography competitions in the world.

Since its launch, the competition has drawn photographers of all ages and backgrounds, from young enthusiasts to seasoned professionals. This latest winner's collection showcases the extraordinary range of contemporary travel imagery. For more information and the entire Winners' Gallery, visit the TPOTY website.

POTY highlights

Overall winner & TPOTY 2025
Athanasios Maloukas, Greece

Location: Zamora, Spain
Tech info: Canon EOS R5 and R7, 24-70mm lens, RF 15-35mm f/1.8L IS USM and 70-200mm lens

"This recognition encourages me to continue working quietly and respectfully, telling stories that explore the depth of belief, ritual, and human connection across cultures. In a world of fast images, TPOTY is a powerful reminder of the value of thoughtful, enduring photography.

"Both of my awarded portfolios - on Anatolia’s Sufi rituals and the Yacente procession in Zamora - reflect my commitment to documenting spiritual traditions with sensitivity and depth. Working in environments shaped by silence, reverence, and low light demanded not only technical precision, but also emotional restraint.

"In both cases, intentional motion blur became a visual metaphor for the inner intensity of devotion — a way to honour what cannot be fully seen or explained. These images are the result of patience, presence, and deep listening."

Winner
Young POTY 14 years and under
Naomi Cech, Szech Republic/Czechia (age 11)

Location: Forest near town of Kraliky, the Czech Republic and Taï National Park, the Ivory Coast
Tech info: Canon EOS R10, RF 100-400mm f.5,6-8 IS USM, f/6.3, 1/6sec, ISO 100

"My journey around mushrooms: One early morning I have observed a nice tiny mushroom in the Bohemian forest of the Czech Republic… and a few month later I could discovered very different mushrooms during our walks through the Ivorian rain forest of the tropical Africa!"

Winner
Adventures & Experiences Portfolio
Sara Bardotti, Italy

Location: Yamal peninsula, Siberia, Russia
Tech info: Nikon D750, 24-70mm f/2.8 lens, f/2.8, 1/250sec, ISO 2000

"Italian photographer Sara Bardotti won the Adventures & Experiences portfolio category with her beautifully atmospheric black and white images of Nenet fishermen in Yamal peninsula, Siberia, Russia."

Winner
One Shot – Travel Portraits
Rahsan Firtina, Turkey

Location: Hanoi, Vietnam
Tech info: Sony A7R V, FE 28-70mm F2.8 GM II, f/2.8, 1/320sec, ISO 400

"Photo of a man sitting at the foreground, lost in thought, while retired colonel's play table tennis behind him."

Winner
One Shot – Green Planet
John Edwards, USA

Location:
Tech info: Nikon D850, 24-70mm f/2.8 lens, f/6.3, 1/100sec, ISO 100

"I captured this image shortly after sunrise in a quiet region of Thailand, whose name fittingly translates to 'Dawn of Happiness.' I noticed how perfectly the Buddha's figure reflected in the still water.

"To convey the spirit of the moment, I inverted the photograph, turning the reflection into an illusion where the sky above the Buddha becomes a tapestry of floating flowers and drifting plants.

'My intention was to create an image that mirrors the peaceful, dreamlike feeling of this sacred location, where the green textures and beautiful flowers of our world can be transformed into a new and unexpected reality.'

Winner
Best Single Image in Landscape, Weather & Climate Portfolio
Laetitia Guichard, France

Location: Ferté Alais, France
Tech info: Canon R7, EF 70-200mm f/2.8L IS II USM, f/7.1, 1/2500sec, ISO 800

"I took this photo during an airshow in France, at La Ferté-Alais. A funnel cloud formed during the show; some planes continued to fly, although there was still some distance between the planes and the funnel. Shortly afterwards, the weather cleared up."

Runner-up
Portfolio + Single Image: Cultures, Heritages & Beliefs
Feet in the Mud, Hearts in the Divine by Dashawatar Gopalkrishna Bade, India

Location: Bajirav Vihir, Natepute, Solapur, Maharashtra, India
Tech info: Nikon Z9, 35mm lens, f/5.6, 1/4sec, ISO 800

"The low-angle shot makes their movements look grand and dynamic, while the crisp blue sky with scattered clouds creates a stunning backdrop. In the background, a large group of Warkaris—men and women dressed in traditional white attire, colorful saris, turbans, and topis—sit in a semicircle, clapping and cheering.

"Their expressions show delight, devotion, and communal joy. Some carry palkhi flags and other sacred symbols associated with the Wari procession. The ground is bare earth, typical of the rural paths the Warkaris travel.

"The entire scene radiates community, devotion, energy, and cultural richness, capturing the spirit of the Pandharpur Wari—where singing, dancing, and unity are as sacred as the pilgrimage itself."

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Canon has released a new firmware update for a popular zoom RF lens – the Canon RF 24-105mm f/4L IS USM. The latest update adds features that go beyond minor fixes, introducing new levels of control and usability when paired with EOS R bodies.

So, unlike other firmware updates, this one unlocks genuinely useful new functionality that changes how the lens behaves in day-to-day shooting.

Firmware Version 2.0.7 brings full-time manual focus support in both One-Shot and Servo AF modes, alongside the ability to repurpose the focus ring as a control ring – a major win for video shooters and hybrid creators looking for silent aperture control.

Availability: Ver. 2.0.7

Canon Europe
- Windows and macOS versions

Canon USA
- Windows and macOS versions

Canon Australia
- Windows version
- macOS version

As always, I recommend holding off on updating for a week or two just to ensure that everything runs smoothly and community feedback is positive.

Firmware

RF 24-105mm F4L IS USM – What's new

Firmware Version 2.0.7 incorporates the following enhancements:

1. Adds full-time manual focus, which enables constant manual focus adjustment in both One-Shot and Servo AF modes.*
*This function is enabled when used with compatible cameras.

2. Adds the ability to use the focus ring as a control ring.
Example: By assigning the control ring the ability to change the aperture, you can adjust the aperture without click sounds being recorded by the microphone.*
*This function is enabled when used with compatible cameras.

3. Improves other system stability.

If the lens' firmware is already Version 2.0.7, it is not necessary to update the firmware.

You can check the firmware version of the lens from the camera menu. Refer to the camera instruction manual for how to check the current firmware version. Perform the firmware update with only the firmware file to be updated stored on the memory card.

Preparations for a firmware update:
After the downloaded compressed file (.zip) is extracted, a firmware folder is created.

*Extracting the downloaded file:
Right-click the zip file, and then select Extract All to extract the file.

In the folder you downloaded are the firmware (001207.afu / file size: 2,883,636 bytes) and instructions on the firmware update procedures (a PDF file in five languages: Japanese, English, French, Spanish, and Simplified Chinese).

Before starting the firmware update operations, please be sure to carefully review the instructions to confirm your understanding of the firmware update procedures.

Expert Advice

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

You can check out the episode for more insights, potential risks, and expert advice on our YouTube channel,Spotify, Apple Podcasts and all your favorite podcast services.

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Canon has quietly set a goal: expanding its RF mount lineup to 100 native lenses in the medium term. For the wider industry, it raises the question: can Canon's tightly controlled, first-party lens strategy rival – or even surpass – the open, third ecosystem of Sony and Nikon?

Since the RF mount launched in 2018, Canon has built one of the fastest-growing first-party mirrorless lens ecosystems in the entire industry. With 64 RF lenses already available, Canon signals a sustained, high-speed commitment to the RF system.

The company has focused heavily on optical performance, advanced AF (autofocus) motors, and tight manufacturing tolerances – a strategy that has helped Canon maintain its long-standing leadership in the interchangeable-lens camera market.

Why is this impressive?

The saying "date the camera, marry the lens" still holds true. Camera bodies evolve quickly, but a strong lens ecosystem determines whether photographers and videographers commit to a system long term.

At present, Sony E-mount leads the market in sheer lens numbers, largely due to its open approach to third-party manufacturers such as Sigma, Tamron, and Samyang. Sony shooters have a selection of approx 343 lenses for the E-mount system. Nikon's Z-mount follows a similar path, balancing high-quality first-party lenses with increasing third-party support.

Canon has taken a different route.

Famous for protecting the RF mount, Canon limited third-party access from the beginning. Sigma and Tamron eventually manufactured RF mount lenses through licensing agreements with Canon, but there's limited choice – on purpose.

The RF mount remains largely closed, meaning Canon must build its lens ecosystem in-house. While this presents a challenge, it also gives Canon full control over optical design, AF motor technology, manufacturing precision, and color consistency across the system.

And while Sony and Nikon remain formidable competitors, Canon's combination of AF performance, lens motor innovation, and large-scale manufacturing capability is still widely regarded as industry-leading – particularly for sports, wildlife, and hybrid shooters.

What Canon says

Canon remains confident in its position at the top of the interchangeable-lens camera market. Asobinet shares insights from the Imaging Group Business Briefing in November 2025:

"Since introducing the R system in 2018, we will have a lineup of 64 RF lenses by 2025, eight years later. We will continue to expand at the same pace, aiming to reach 100 lenses in the medium term (...)."

"We have maintained the No. 1 market share for interchangeable lens cameras for 22 consecutive years. We have not been able to weave this history by insisting on maintaining tradition.

"We believe that we have been able to achieve this by sensing the changes of each era, continuing to evolve ourselves, and continuing to evolve our cameras. Change is evolution itself. We will continue to evolve and adapt to the changes of the times."

Canon's RF lineup – and what's missing

Most recently, Canon announced the now-backordered and incredibly popular RF 45mm f/1.2 STM in early November, unveiling it alongside the EOS R6 Mark III. As a non-L, budget-friendly f/1.2 prime, the lens immediately stood out within the RF lineup – not only for its high-speed aperture, but for signaling a shift towards making ultra-bright optics more accessible, as the lens is available for $469.99 / £479.99 / AU$ 699.

Alongside this official release, rumors continue to circulate about one of the most highly anticipated lenses in the RF ecosystem: the Canon RF 35mm f/1.2L. Often referred to as the system's long-awaited "unicorn lens," a 35mm f/1.2 would fill a conspicuous gap in Canon's high-end prime lineup.

Looking ahead, several areas of the RF lineup still appear ripe for expansion. Affordable fast primes such as 24mm or 50mm f/1.4, more compact professional zooms aimed at travel and reportage, and additional cine-photo hybrid lenses are absent.

As Canon pushed toward 100 RF lenses, addressing these gaps won't simply increase the lens count – it will meaningfully round out the system, making the RF system more compelling for a broader range of photographers and filmmakers.

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The BCN+R Rankings for 2025 are in, and Canon's EOS R50 has officially claimed the top spot among the best-selling cameras in Japan.

Originally released in 2023 – this compact, beginner-friendly mirrorless camera climbed steadily from first place in its launch year, to second in 2024, and now it's number one.

The Canon EOS R50 is a camera that teaches and one that beginners can grow with, visually and technically. This steady rise over three years highlights: accessibility and real-world usability outweighs flashy specs – no matter if the camera was released years ago.

While Sony's ZV-E10 II comes in close behind second, the R50 stands out for its versatility. Unlike the ZV-E10 II, which focuses heavily on vlogging, the R50 balances excellent stills and 4K video in a small package.

Coming at No.3 is another Canon favorite, the EOS R10. A slightly more advanced mirrorless camera than the EOS R50...

While Sony has four spots in BCN+R's top-selling cameras in 2025 ranking, Canon shows its dominance in Japan's entry-level mirrorless market: users get cameras that are affordable, lightweight, and easy to master, while still offering great performance that rivals other models.

BCN+R's top selling cameras in 2025

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-M5
8. Sony A7C II
9. Olympus Pen E-P7
10. Nikon Z30

The BCN+R ranking is based on aggregated unit sales data from major Japanese electronics retailers throughout 2025, reflecting real-world camera purchases.

Why the Canon EOS R50 tops the charts

The Canon EOS R50 has been steadily rising since its 2023 launch. It's 24.2MP APS-C sensor delivers excellent image quality, for both stills and 4K video, while the Dual Pixel CMOS AF II system (autofocus) keeps subjects sharp for photography and vlogging alike.

And – unlike other cameras, it's NOT purely aimed at content creators. Most importantly – the R50 offers beginner-friendly menus and guided UI that teach photography while shooting.

Plus, the R50 is compatible with Canon's growing RF lens lineup – opening the door to a full lineup of high-quality lenses, making it a camera that beginners can grow with.

And while the R50 is a great all-rounder, the R10 shows Canon's entry-level mirrorless strategy in action. It's slightly more advanced, offering 15fps continuous shooting, uncropped 4K video, and more AF points.

The R10 is for users who want a little more control and speed without stepping up to a larger or more expensive camera.

The mirrorless market in 2025 – Overview

In short: entry-level cameras dominate, and Canon takes the lead. Beginners and travelers are driving mirrorless sales, with compact, easy-to-use models leading the charts. Vloggers camera remain popular as Sony's ZV-E10 II and ZV-E10 demonstrate. And older models like the Olympus Pen E-P7 (released 2021) remain competitive alongside newer 2025 releases.

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Japan's latest camera sales rankings are in – and once again, the top of the chart looks eerily familiar. According to newly released monthly data aggregated by BCN Retail from major electronics retailers and online stores across Japan, the Canon EOS R10 with RF-S 18-150mm kit has finished December 2025 exactly where it left November: in first place.

That result means a camera launched all the way back in July 2022 is again Japan's most popular and sold camera. In a market flooded with fresh APS-C camera bodies, updated vlogging tools, and even a brand-new full-frame release, Canon's compact hybrid continues to outperform them all on sheer demand.

December's chart also brings notable movement further down the list. Sony strengthens its vlogging grip, Nikon maintains steady APS-C momentum, Fujifilm sneaks back into the top ten, and Panasonic's G100D reappears. Most eye-catching of all, however, is a brand-new full-frame Sony camera debuting straight.

BCN+R Camera Ranking (Dec 2025)

1. Canon EOS R10 RF-S 18-150mm IS STM lens kit
2. Sony ZV-E10 II double zoom lens kit (black)
3. Canon EOS R50 double zoom lens kit (black)
4. Sony ZV-E10 II power zoom kit (black)
5. Nikon Z30 double zoom kit
6. Canon EOS R50 double zoom lens kit (white)
7. Sony A7 V
8. Nikon Z50 II double zoom kit
9. Fujifilm X-M5 XC 15-45mm lens kit (silver)
10. Panasonic Lumix G100D W lens kit

Canon's EOS R10 remains the camera Japan won't let go of
The Canon EOS R10 is what Japanese buyers want from a modern camera: speed, reliability, and flexibility at a price (sub-$1,000) that still makes sense. Bundled with the versatile RF-S 18-150mm, it remains one of the most complete "do-everything" kits available to beginners and enthusiasts alike.

Its staying power comes down to balance. Fast burst shooting, Canon's Dual Pixel CMOS AF II system, strong oversampled 4K video, and a compact, lightweight body keep it feeling current.

Canon also reinforces its dominance with the EOS R50, which holds both third and sixth place in black and white. Together, Canon accounts for three of the top six positions.

Sony's SV-E10 II lineup continues its steady climb
Sony's refreshed ZV-E10 II models hold onto second and fourth place. The double kit remains the more popular option, while the power zoom variant caters to travel shooters and run-and-gun video creators who prioritize smooth focal transitions.

Nikon stays competitive
Nikon maintains momentum with the Z30 at No.5 and the Z50 II at No.8, both of which continue to perform well as accessible entry points into the Z-mount ecosystem.

Sony goes full-frame
The biggest surprise this month, however, is the Sony A7 V, which debuts at No.7 just weeks after its December 2025 launch. It's rare to see a full-frame body enter Japan's top ten so quickly – and rare still to do so without a kit lens. Its appearance signals strong early interest, even if APS-C still dominates overall volume.

Fujifilm and Panasonic re-enter the conversation
The Fujifilm X-M5 climbs back into the top ten at No.9, suggesting renewed interest in compact and design-focused APS-C cameras. Meanwhile, Panasonic's Lumix G100D returns at No.10 as a lightweight hybrid option for casual shooters.

Who's missing?

Notably absent this month is OM System's Pen series, which featured prominently in November's BCN+R ranking. Seasonal demand appears to have shifted toward newer releases and more aggressively priced kits, pushing OM System out of the top ten entirely.

So, what will finally dethrone the Canon EOS R10? Japan seems perfectly content sticking with a three-year-old camera that still delivers exactly what most buyers want – and little else has come close to matching that formula yet.

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White Pocket, located in Arizona's remote Vermilion Cliffs National Monument, requires a challenging four-wheel-drive journey across rough dirt roads. Yet despite its remoteness and the commitment required to reach it, the location has been photographed extensively.

This image by American photographer Dave Drost, however, shows that even well-known locations can yield fresh interpretations when approached with a clear creative vision.

The first thing that strikes you is the otherworldly simplicity of the scene. Brain-like sandstone formations rise from a mirror-still pool, their weathered surfaces rendered in shades of grey that emphasize every curve and crevice.

By switching to monochrome, Drost has transformed one of the American Southwest's most colorful locations into an abstract study of form and texture. It's a bold choice that earned him third place in the Photograph of the Year category in 2025's International Landscape Photographer of the Year.

Technical approach

Drost used the Canon EOS R5 paired with the Canon RF 15-35mm f/2.8L IS USM lens at its widest 15mm setting. His exposure settings reveal careful planning: f/3.2 provides front-to-back sharpness, while a 1.3-second shutter speed transforms the water into a glassy mirror.

The R5's 45MP sensor captures exceptional detail, while the ultra-wide focal length creates the dramatic perspective that makes the sandstone formations loom large against the sky.

The Canon RF 15-35mm lens is Canon's widest constant-aperture professional zoom and notably produces virtually no visible distortion, even at 15mm. This was crucial when shooting the organic curves of White Pocket's sandstone, ensuring the natural wave patterns remained true to life rather than being warped by lens aberrations.

Why monochrome works

White Pocket is typically photographed in color to showcase its striking red, white and pink striations. Counterintuitively, Drost's decision to strip away color is what elevates this image above countless other shots of this location.

Without color as a distraction, viewers are free to engage directly with the extraordinary textures: the brain-like convolutions, the wave patterns etched by millennia of erosion, and the interplay of light and shadow across the weathered surfaces.

The monochrome treatment also gives the scene something of a timeless quality. Rather than appearing as a specific location in Arizona, the formations become almost abstract sculptures, their geological origins less obvious and more mysterious.

Drost positioned his camera low to the ground, incorporating the still water as a foreground element; a classic technique in landscape photography that adds depth and provides a reflective anchor for the composition.

The dual peaks of the main formation balance against this lower visual weight, creating harmony out of a scene that might otherwise look chaotic, given the complexity of the surface textures.

Overall, this award-winning image reminds us that compelling landscape photography depends on seeing beyond the obvious. Sometimes the most powerful addition to your creative toolkit can be subtraction.

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If you're searching for the best camera for beginners, you might be interested in the Canon EOS R100. The R100 remains one of the most popular entry-level mirrorless cameras since its launch in 2023.

The Canon EOS R100 is sitting at No.1 on Amazon's US and UK bestseller December charts. And this is not the first time the mirrorless is topping sales lists – that kind of sustained demand isn't accidental.

In our buying guide, the Canon EOS R100 was rated as the best beginner camera overall, not because it has the most features, but because it gets the fundamentals exactly right.

For first-time photographers, it delivers what matters most: great image quality, reliable autofocus (AF), simple controls, and access to one of the strongest lens ecosystems in photography.

Crucially, this isn't a camera that beginners will "outgrow" overnight. The R100 is designed to teach photography properly – rewarding curiosity and experimentation – while remaining affordable, compact, and unintimidating

That balance is why it continues to top sales charts well into 2025... Let's take a closer look at the EOS R100.

Why the R100 is such a great beginner camera

At its core, the R100 is built around a 24.1MP APS-C sensor paired with Canon's Dual Pixel CMOS autofocus (AF), a system derived from the brand's professional cameras. Face detection and eye tracking take the pressure off nailing focus, letting beginners concentrate on composition and light.

Canon's guided menu system is another standout feature. Instead of throwing technical jargon at new users, it explains what shooting modes actually do – a subtle but hugely valuable learning tool.

Add a lightweight body, logical button layout, and access to Canon's RF lens range (plus EF lenses via an adapter), and you have a camera that genuinely grows with you.

Two years on, the R100 holds its own. For still photography, it delivers results that are good enough for serious hobbyists, social media, prints, and even editorial use in the right hands. Its continued popularity also means strong availability, competitive pricing, and a healthy ecosystem of accessories.

What about drawbacks – and the Canon EOS R50?

To keep costs down, Canon made some conscious compromises. The fixed, non-touchscreen display is the most discussed, especially compared to the Canon EOS R50, which offers touch control and a more video-friendly design. For some users, that alone will justify spending more.

However, it's important to frame this correctly: the lack of touch control doesn't make the R100 harder to use, just more traditional. Everything is accessible via buttons and the D-pad, and for photographers focused on learning stills, the experience remains intuitive and effective. For more information, read our R100 and R50 comparison.

For pure photographic value, the R100 remains a standout beginner choice in 2025.

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In the misty dawn following heavy rain, photographer Megumi Murakami waited patiently at Lake Nakatsuna in Nagano Prefecture, Japan. As the morning light pierced the fog and the cherry blossoms emerged in full bloom, their perfect reflections on a glassy lake surface created what she describes as "a fantastical world."

That moment of profound stillness earned her Silver in the Fine Art/Landscape category of the Tokyo International Foto Awards 2025.

All this took place on 19 April, 2023, during that narrow window when cherry blossoms bloom across the length and breadth of Japan. Murakami's photo shows a row of trees, their pink and white blossoms luminous against dark evergreens, with fog rolling through the hillside behind them. The still water creates a mirror reflection, doubling the visual impact and creating what Murakami calls "a space of profound stillness and depth".

Technical execution

The Canon EOS R6 Mark II, released in 2022, is best known for its blistering 40fps burst shooting and advanced autofocus, making it popular among sports and wildlife photographers.

Yet it has plenty to offer beyond action scenes. Here, its 24.2MP full-frame sensor provided the sweet spot between resolution and low-light performance, offering ample detail for large prints while maintaining excellent dynamic range.

Murakami used an RF 24-70mm f/2.8L IS USM lens, shooting at f/8 for 1/25 second at ISO 50 with a 32mm focal length. The f/8 aperture provides excellent depth of field, keeping cherry blossoms, evergreens and misty hillside all acceptably sharp.

The relatively slow 1/25-second shutter speed in dawn light suggests either a tripod or the R6 Mark II's exceptional in-body image stabilization at work. Canon rates the latter at up to 8 stops of compensation with compatible lenses, making handheld landscape photography remarkably viable.

Elsewhere, the ISO 50 setting maximizes image quality and dynamic range; critical for capturing both the bright morning glow and darker shadowed areas in a single exposure. At 32mm focal length, Murakami chose a natural, slightly wide perspective that encompasses the scene without wide-angle distortion, closely approximating human vision and creating an intimate rather than grandiose feeling.

Getting the timing right

Cherry blossom season holds deep cultural significance in Japan, where hanami (flower viewing) has been practiced for over a thousand years. These blossoms represent both beauty and impermanence, blooming spectacularly for just one to two weeks before falling to the ground.

Photographers face intense pressure to capture them at peak bloom, whenever weather, timing and location align.

Murakami's patience paid dividends here, finding conditions that elevated her image beyond typical sakura photography. Heavy rain the previous day had cleared the air and settled the lake surface to a perfect sense of calm. Morning fog added atmospheric depth.

The location, too, was well chosen. Lake Nakatsuna in Nagano Prefecture exemplifies Japan's rural beauty, and while it's not the most famous of spots, it has a lot to offer photographers. The mountain setting creates conditions for atmospheric fog, while its calm morning waters provide the mirror reflections landscape photographers prize.

Overall, though, this image demonstrates that success comes not from exotic locations, but from patience, timing and the ability to recognize when all elements align. It also shows how modern cameras like the R6 Mark II can handle low light superbly, rewarding photographers who wake early and are willing to be patient.

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The world of landscape photography has a new masterpiece: Lukas Trixl from Austria succeeded at the 12th International Landscape Photographer of the Year awards with his stunning image of New Zealand's Taranaki volcano – captured during a rare 30-minute window when the clouds cleared.

Trixl's photograph titled The Land Before Time is officially the new International Landscape Photograph of the Year 2025. This picture transports us to what feels like a landscape from the age of dinosaurs, with towering greenery and a perfectly reflected volcanic peak reminiscent of a scene from Jurassic Park.

And it wasn't until three years ago that he began pursuing landscape photography seriously. "I spend countless hours developing a better eye for composition (...)," Trixl recalls. He also never entered a competition before, highlighting the significance of this win. The camera Trixl used for the Photograph of the Year was the Canon EOS R5, combined with the Canon EF 70-200mm f/2.8.

The story behind the still

"On the day we arrived in the Taranaki area, the clouds began to clear, revealing a brief window of opportunity – which, in hindsight, turned out to be the last one due to constant rain over the following days.

"We quickly dropped our luggage at the accommodation and drove straight to our location and there it was: a serene lake surrounded by lush green ferns, with the majestic Taranaki rising from New Zealand's rainforest in the background.

"We had about 30 minutes to shoot before the clouds covered the peak again – those were the most sunning 30 minutes I've ever experienced. For me, the best results came from the 70-200mm lens."

The fleeting nature of the moment, combined with the prehistoric feel of the scene, makes this photograph not just a technical triumph but a journey back in time, evoking a world untouched by humans.

About the ILPOTY Awards

The International Landscape Photographer of the Year awards, now in their 12th year, celebrate the finest examples of contemporary landscape photography. This year, 3,601 entries competed, and the Top 101 photographs were selected to showcase the pinnacle of creativity, technical skill, and storytelling.

Discover the full results in the newly released International Landscape Photographer of the Year 2025 eBook, featuring the Top 101 images, expert commentary, complete scores, and the extended Top 200+ online gallery. The ebook is available now on the official ILPOTY website.

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In the world of astrophotography, planning is everything… but sometimes the most memorable images emerge when meticulous preparation meets unexpected magic.

Such was the case for Taiwanese photographer and creative director Shang Yao-Yuan, whose image Milky Way On The Hill earned him bronze recognition in the Nature/Astrophotography category of the Tokyo International Foto Awards 2025.

The image captures a golden, illuminated hill resembling Japan's iconic Mount Fuji, crowned by the luminous arc of the Milky Way stretching across a star-filled sky. But this isn't Japan: it's a scene that simply happened to echo the silhouette of one of Asia's most photographed landmarks.

"I found a hill that looked a lot like Mount Fuji on the seashore with desert terrain," recalls Shang. "Suddenly, Japanese music started to play in the nearby villages and the Milky Way just happened to rise. I had the illusion of being in a foreign country."

That led him to capture a moment that transcends geographical boundaries; a reminder that photography captures not just what we see, but what we feel.

Technical execution

For camera enthusiasts wondering whether older DSLRs can still compete in contemporary competitions, this bronze-winning image offers a resounding answer.

Shot on July 3 2024 using the Canon EOS 5D Mark III – a camera first released in 2012 – the picture demonstrates that sometimes understanding your gear and the night sky can trump the latest sensor technology.

The 25-second exposure walked a fine line, gathering substantial light from the Milky Way's faint nebulae while minimizing star trailing. The f/2.8 aperture, meanwhile, suggests that Shang was using a fast lens, likely from Canon's professional lineup, which would have been crucial for maximizing light gathering while maintaining a relatively modest ISO 4000.

While modern mirrorless cameras might handle ISO 4000 with less noise, the 5D Mark III's full-frame 22.3-megapixel sensor remains highly capable in low light, particularly when technique is dialled in.

Its weather-sealed magnesium alloy body, 61-point autofocus system, and exceptional battery life (1,840 shots per charge) make it a reliable tool for night photography's demanding conditions.

As for composition, this photograph employs the classic rule of thirds, with the hill's peak in the lower third and the Milky Way's core sweeping across the upper two-thirds. The galaxy's S-curve creates a natural leading line, while the hill's symmetrical form provides grounding that prevents the vast sky from overwhelming the frame.

Overall, this award-winning image reminds us of three important truths. That success doesn't depend on having the latest gear. That location scouting pays dividends.

And that while planning is essential, remaining open to unexpected moments can transform a good image into a great one. In Shang's hands, a camera from another decade became not just a light-recording instrument but a tool for expressing wonder and finding unexpected beauty.

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The world's fastest ultra-wide zoom lens would need to dip below the familiar f/2.8 barrier – but which brand will leap first? Will it be Canon, pushing its RF lineup further, or Nikon, expanding its Z-mount options? Or Sony, continuing to build on its E-mount f/2 zooms?

Photographers across all systems have been waiting for a bright, professional, ultra-wide that combines speed, versatility, and high-quality optics – and it looks like Sony may be the first to deliver.

Sony is in the headlines – not just with its latest camera release of the A7 V – but also with whispers of a truly exciting lens: the 16-28mm f/2 GM ultra-wide-angle zoom. This would be the world's fastest ultra-wide zoom for Sony E-mount and the missing piece in the brand's growing f/2 zoom lineup.

Rumors about this type of lens have circulated for a while, often alongside talks of Sony's two new super-telephoto zooms. Now, new information has appeared from Sony Alpha Rumors, K&F Concept, DCLife, and others, supported by an update from How2Fly via X.

The constant f/2 aperture would put this optic in the same class as the 28-70mm f/2 GM and 50-150mm f/2 GM, effectively completing a trio of professional-grade f/2 zooms. Let's break it down.

The 16-28mm f/2 GM

While we can expect a high-quality G Master optic, ED/Super-ED elements, nano coatings, and robust weather sealing, nothing about size, weight, or price has leaked. A 16-28mm f/2 GM would give Sony shooters an ultra-wide zoom that matches the speed of its f/2 siblings, something the competition hasn't offered yet.

But will it be compact enough to compete with Canon's and Nikon's lighter ultra-wides? Will it justify a likely premium price tag? Those questions will remain unanswered until Sony makes an official announcement.

How it compares to Canon and Nikon

Canon's RF 15-35mm f/2.8L IS USM and Nikon's Z 14-24mm f/2.8 S are excellent lenses, but they are not a match for a zoon that's a full-stop faster aperture across this range. Sony shooters also currently lack an ultra-wide zoom with a true f/2 aperture (just having the Sony FE 12-24mm f/2.8 G Master, and, say, the Sigma 14-24mm f/2.8 DG DN Art or Tamron 17-28mm F2.8 Di III RXD).

If Sony delivers the 16-28mm f/2, it could finally put the E-mount on top in the ultra-wide zoom segment, offering, for example, better low-light performance and more creative flexibility than the competition.

This bright ultra-wide zoom would round out Sony's high-end lens roadmap, giving photographers professional f/2 options from ultra-wide to telephoto. It would also strengthen Sony's position against Canon and Nikon, especially for landscape, architecture, and astrophotography.

How realistic is the rumor?

Very. Sony has a clear history of expanding its high-end zoom lineup. Rumors suggest that this lens will be announced in December or early 2026, fitting Sony's clear pattern of updating its G Master lineup and the company's product cycle.

Stay tuned for the official announcement, and as always, we'll bring full details on specifications, pricing, and availability as soon as Sony confirms them.

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If your heart still beats for DSLR (like mine) and you're looking for a top professional camera, the Canon EOS 5D Mark IV might already be sitting on your wishlist.

The Canon EOS 5D Mark IV is now $1,799 – down from £2,499 – saving you $700 on what we rated as one of the best DSLRs for stills and video in 2025.

This is by far the lowest price I've ever seen from a trusted retailer like B&H Photo – brand-new, not grey market or used.

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With no one knowing how long Canon will continue supporting its DSLR lineup, this deal is hard to ignore. Canon hasn't released a new DSLR since 2020, despite being the top-selling DSLR manufacturer over recent years.

With overall DSLR shipments declining, Canon still rules 90% of the global DSLR market. However, success is likely driven by entry-level bundles – that's everything else than the Canon EOS 5D Mark IV!

It boasts a solid and weather-sealed body with a comfortable grip at just 890g. The 30.4MP full-frame sensor delivers high-detail images and excellent ISO performance up to 102,400, while the 61-point AF system with Dual Pixel technology ensures fast, accurate focus even in near-dark conditions.

And the 5D Mark IV delivers the classic DSLR experience – from the mirror slap and long battery life to compatibility with Canon's EF lens ecosystem.

Is this our 'last' chance?

At this shockingly low price, I can't get off the feeling that the time to buy the Canon 5D Mark IV might be over soon, at least brand-new and sealed. After all, Canon has largely shifted to mirrorless cameras, the 5D line is reportedly discontinued, and remaining stock may be limited.

On the other hand, official support hasn't ended, DSLRs still have a loyal following, and "new old stock" could continue to surface, so it's not guaranteed the camera will vanish overnight.

That said, industry trends and clearance-style discounts suggest that availability of brand-new, sealed units is shrinking, making this deal a rare chance to get the 5D Mark IV at such a low price.

Either way, at a price this low, it's hard to pass up the chance to get one while you still can.

What looks like birds soaring across a blazing sun is a multi-exposure moment full of unexpected elements and optical surprises – a spontaneous vision captured by Norwegian photographer Åsmund Keilen that earned him the prestigious title of Nature Photographer of the Year 2025. And the story behind this mesmerizing shot is anything but what you'd expect.

The competition, organized by Nature Talks, received a record-shattering 24,781 entries submitted by photographers from more than 96 countries, making this edition its most global and competitive yet.

Keilen's awarded shot, Sundance, was created with Canon's highest resolution camera – the Canon EOS 5DS R, a DSLR camera featuring a 50.6MP full-frame CMOS sensor. He says, "Using multiple exposures in the camera, I was able to recreate what my eyes saw and felt that day: an impression of a reflection - or perhaps a reflection of an impression."

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The story behind the still

Keilen reveals that the photography was born from a moment of pure accident, instinct, and artistic intuition: "The photo was taken just outside Oslo on a warm summer day. I was on my way to the store to buy groceries. I have a stubborn habit of leaving my coffee cup on the roof of our old Mercedes when I open the door."

On this day, the forgotten cup tipped over as he reversed out of the driveway. He continues, "(...) the cup fell over, miraculously remaining on the roof. A little discouraged, I reached out to pick it up. And then I suddenly envisioned the kind of photo I was about to take.

"Tiny orange birch seeds had fallen overnight on the blue roof of the car, and the summer sun reflected in them, alongside swifts dancing in the sky. Freedom seemed to take shape in chaos.

Keilen explains, "I'm impulsive and never plan in advance what or how I'm going to photograph. For me, photography is a way to approach nature – a tool to sharpen the senses and observe with a free mind. I strive to capture the atmosphere of my encounters with nature. The slowness and stillness of nature are fundamental to my perception and are reflected in the images I create."

The Canon EOS 5DS R

Tough, nearly a decade old, the 5DS R remains unmatched with Canon's lineup for pure pixel detail, making it ideal for the kind of delicate textures and layered exposures that define Keilen's image.

Canon officially discontinued the 5DS R in March 2020 and, with no plans for a direct DSLR successor, the 5DS R was the final high-resolution titan of Canon's DSLR era. On the used market, the 5DS R continues to hold its status as a cult classic.

Why this image stood out to the jury

Chairman Tin Man Lee explains why the jury chose this photo of the bird against the glowing sun as the winning image: "At first glance, this mesmerizing image appears to depict leaves adrift in a cosmic sky – but on closer look, each shape reveals itself as a bird in graceful flight.

"The photographer's impeccable timing captured a single bird aligned against the glowing summer sun, transforming the scene into a breathtaking moment of stillness and motion intertwined. With its ethereal colors, perfect balance, and otherworldly atmosphere, the image evokes a dreamlike sense of wonder that feels both universal and timeless!"

For more information and inspiration, discover the winners across all categories on the Nature Photographer of the Year website.

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Ever thought you'd glimpsed an eerie pair of glowing eyes in your headlights? You may not have been imagining it. This phenomenon is the result of a little-known but fascinating biological adaptation. And here's a shot that showcases it in stunning macro detail.

German photographer Ivo Niermann's picture of a noctuid moth took runner-up honors in the Other Animals category of the GDT European Wildlife Photographer of the Year competition. His image captures something many people don't realize insects possess: eyeshine caused by the tapetum lucidum. That's the same reflective layer behind the retina that makes cats' and deers' eyes glow when caught in electric light at night.

While the tapetum lucidum is well-known in mammals, it's less commonly known that insects and spiders exhibit this effect too. Niermann's image captures a nocturnal moth head-on, its compound eyes blazing with an otherworldly golden glow against a deep blue background. And as you might expect, this was an image that required precise technical execution to pull off.

Use of custom lighting

The difficulty with capturing eyeshine is that the light source must be nearly coaxial with the lens; essentially in line with the optical axis. This isn't something standard macro flash setups can achieve effectively, so Niermann constructed a custom LED light source specifically for this shot.

His DIY approach allowed him to position the illumination exactly where it needed to be to bounce light back from the moth's reflective eye structures.

To take the shot, Niermann chose the EOS R5, Canon's mirrorless powerhouse, which combines 45MP resolution with sophisticated autofocus and robust performance. That high resolution is critical for this kind of extreme close-ups, where even the tiniest features need to be rendered sharply.

Meanwhile, the R5's 5,940 Dual Pixel CMOS AF II points offer exceptional focus accuracy; handy when working at magnifications where depth of field can be measured in millimeters.

His lens choice was a Canon 180mm f/3.5 macro, a specialist optic designed for high-magnification work. But Niermann didn't stop there; he added a Raynox DCR-250 close-up lens attachment, turning the already capable macro lens into an even more powerful magnification tool. The DCR-250 is particularly well-regarded for its sharpness and minimal chromatic aberration.

Niermann shot at ISO 1000 and f/5.0; settings that reveal the delicate balance required for this kind of work. The relatively high ISO suggests he was working with limited light despite his custom LED setup, probably to avoid disturbing the moth's natural behavior or overwhelming the delicate eyeshine effect with too much illumination.

The f/5.0 aperture, meanwhile, is fairly wide for macro work, where photographers often stop down to f/11 or smaller to gain depth of field. Niermann's choice suggests he was either prioritizing shutter speed, to freeze any movement, or deliberately choosing a shallower depth of field to isolate the moth's glowing eyes and antennae against the smooth, dark background.

One imagines the Canon EOS R5's 8-stop in-body image stabilization would have been invaluable here, helping to eliminate camera shake at the extreme magnifications where even breathing can cause blur.

Why it works

The resulting image is both scientifically fascinating and visually arresting. The moth's eyes dominate the frame with an almost supernatural quality, while the soft focus on the body and the deep blue tonality create an atmospheric, otherworldly feeling.

The careful exposure preserves detail in both the bright eyeshine and the darker surrounding features.

Many people will never see this effect in insects because it requires nearly perfect lighting alignment; your torch or headlamp beam needs to be almost exactly in line with your eyes. Niermann's custom lighting rig solved this problem, allowing him to effectively reproduce the phenomenon.

For anyone interested in macro work, it's all a demonstration that sometimes the most compelling subjects aren't exotic species in distant locations, but common creatures seen in an uncommon way.

The result is an image that educates viewers about nocturnal biology while captivating them with its mysterious beauty.

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Canon has released a new firmware for its first true flagship EOS R system body – the Canon EOS R1, a mirrorless powerhouse that continues to dominate the professional photography market – a camera that we classified as the best flagship camera for sports photography in 2025.

Launched just over a year ago, the EOS R1 instantly redefined what a pro sports and wildlife camera could be, our reviewer James Artaius famously calling it not a camera – but "a supercomputer that takes photographs."

The Canon EOS R1 stands as one of the best professional sports and wildlife cameras available, thanks to its unmatched AI processing, predictive AF (autofocus), and class-leading subject tracking. With its 24MP sensor, 96MP in-camera upscaling, 40 fps (frames per second) burst shooting, and stunning 6K 60p RAW video, the R1 delivers performance for photographers who demand the absolute best.

Its latest firmware update brings key performance enhancements, including full support for the new EOS Multi Remote system designed for pro sports, news, and wildlife photographers who rely on synchronized camera control. It also delivers reliability fixes, alongside additional improvements to overall system stability and operational consistency.

Firmware

Canon EOS R1 – Version 1.2.0

Incorporates the following enhancements and fixes:

- Adds support for the EOS Multi Remote, a remote shooting system for professional photographers. For an overview and specifications of EOS Multi Remote, please refer here

- Fixes an issue in which image transfers to an FTP server may fail, displaying Err41

- Fixes an issue that, in rare instances, may prevent certain CFexpress cards from being formatted in the camera

- Other improvements to system stability

Please perform the firmware update with only a firmware file to be updated stored on the memory card.

Expert Advice

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

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The winners of the Nature inFocus Photography Awards 2025 are here. Established to celebrate extraordinary wildlife imagery and conservation storytelling, the awards have grown into a global celebration of nature photography.

This year's awards attracted entries from more than 1,250 photographers in 38 countries and received nearly 16,000 submissions. The jury selected the winners from categories ranging from Animal Portraits and Conservation Photography to Wildscape & Animals in Their Habitat and more.

Among the standout winners is Amit Eshel, whose image Ancient Rivals won the Animal Behaviour category, and depicts an Arctic wolf and a muskox herd. The scene shows the predator's calculated focus and the herd's defensive circle, highlighting the tension and strategy of survival in the Arctic wilderness.

Ancient Rivals

On Instagram, Eshel says, "To witness such a wild moment of nature between predator and prey opens my imagination to ancient life and unknown times, a strong reminder of the fact that these majestic creatures are here to stay and must be protected."

And explains, "Arctic Wolf whose face bears witness to what happened just a few moments earlier.

"The muskox herd is standing in the natural defense formation facing its predators, forming a protective circle around its young calves with the adults formidable horns facing outwards.

"While often an effective method against predators, this time the wolf pack managed to chase down the herd and during the panic snatched a couple of few days old calves that were lagging behind.

"It took the pack a short time to tear the tender calves to pieces, not a meal that could feed well the entire pack for a long, but the pack decided not to risk themselves again by trying to break the Musk Ox defense formation in order to hunt one of the adults, and continued on in search of more easy prey during the calving season is in early spring."

A winning gear combo

Eshel captured this moment using a Canon EOS R5 – a full-frame mirrorless camera – paired with the RF 24-105mm f/4L IS USM lens. Launched five years ago, the R5 remains a powerhouse in 2025, with its 45MP sensor, 8-stop in-body image stabilization, lighting-fast autofocus, and high-speed burst – all ideal for unpredictable wildlife.

In fact, the Canon EOS R5 is often the camera behind award-winning images – as seen this year at the British Photography Awards, where several winning shots were captured using it. You can read the full story here.

The 24-105mm optic gave Eshal the versatility, sharpness, and stabilization needed to capture the Arctic scene with clarity and precision.

You can view Eshel's and other winning images on the Nature inFocus website – a great opportunity to explore the incredible range of Earth's wildlife and the urgency to protect it.

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Canon has released a fresh wave of firmware updates for its full-frame EOS bodies and two of its most popular compact cameras – so if you're shooting with a Canon EOS R6 Mark III, R5 Mark II, R5, PowerShot G7 X Mark III, or SX740 HS, this update is for you.

While this rollout isn't as headline-grabbing as a feature-packed overhaul, it delivers something just as important: tighter reliability, expanded accessory support, and a series of small fixes that help keep your camera running smoothly during demanding shoots.

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

You can check out the episode for more insights, potential risks, and expert advice on our YouTube channel,Spotify, Apple Podcasts, and all your favorite podcast services.

Full-frame firmware

EOS R6 Mark III – Version 1.0.1

- Fixes issue that, in rare instances, may prevent certain CFexpress cards from being formatted in the camera

Please perform the firmware update with only a firmware file to be updated stored on the memory card.

EOS R5 Mark II – Version 1.2.0

- Adds support for the EOS Multi Remote, a remote shooting system for professional photographers. Overview and specifications of EOS Multi Remote

- Fixes issue that in some cases caused live-view to appear distorted or an Err70 notification being displayed in situations when user was capturing multiple exposure shot in dark environments

- Fixes issue in which image transfers to an FTP server may fail, displaying Err41

- Fixes issue that, in rare instances, may prevent certain CFexpress cards from being formatted in camera

- Other improvements to system stability

EOS R5 – Version 2.2.1

- Fixes issue that, in rare instances, may prevent certain CFexpress cards from being formatted in the camera

- Fixes issue that may prevent the camera's firmware from being updated via an Internet connection, even when a newer firmware version is available on Canon servers

Please perform the firmware update with only the firmware file to be updated stored on the memory card.

Compact camera firmware

PowerShot G7 X Mark III – Version 1.4.0

- Adds support for Battery Pack NB-15L

PowerShot SX740 HS – Version 1.4.3

- Adds support for Battery Pack NB-15L

- Other improvements to system stability

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It's fair to say that the Canon EOS R6 Mark III has made big waves – I'd go as far as saying it's the best hybrid camera on the market. But what exactly is new? This Canon EOS R6 Mark II vs R6 Mark III comparison will help you see, at a glance, how the siblings differ.

Whether you're an R6 Mark II owner trying to decide if you need to upgrade, or you're switching to the EOS R system and wondering which camera to go for, I've broken down the 6 key differences between the R6 Mark II and R6 Mark III.

You can't really go wrong either way, as they're both great cameras, but see what separates them and decide for yourself which is right for you.

Canon EOS R6 Mark II vs R6 Mark III: At a glance

Canon EOS R6 Mark II vs R6 Mark III: Sensor

This is the biggest single difference, because it has implications for so many areas of performance: the R6 Mark III has a brand new 32.5MP full frame image sensor (which it shares with the Canon EOS C50).

This is a 33% increase in resolution over the Mark II's 24.2MP sensor, which obviously gives you larger files with greater detail (and more room for cropping, if you need to) – and if you print out your photos, this will obviously be music to your ears. The pixel boost carries over to video, too, which I'll cover in the next section.

Beyond resolution, though, the new sensor also has a greater sensitivity ceiling; the R6 Mark III tops out at ISO64,000, compared to the ISO25,600 of the R6 Mark II. (In case you were wondering, while Mark III shares the same sensor as the EOS C50, only the cinema camera has dual base ISO – the single, native base ISO in the R6 Mark III is ISO100.)

Canon EOS R6 Mark II vs R6 Mark III: Video

With the newer camera having a higher resolution sensor, it can record higher resolution video. While The R6 Mark II can capture 6K 60p, it can only do so by recording to an external Atomos device; internally, it can only record up to 4K 60p HQ (oversampled from 6K). The R6 Mark III, meanwhile, can capture up to 7K 60p internally, with no need for external recording.

On top of that, it is also capable of 7K 30p open gate video – enabling it to record the entire sensor area, rather than the default 16:9 area, giving you larger and taller files for more versatile post production (such as cropping to 9:16 vertical video). And its 4K 60p HQ is oversampled from 7K. Both cameras capture FullHD (1080p) video at up 180p for super slow-motion.

Both cameras can record in log, but the R6 Mark II is limited to Canon Log 3 while the Mark III also offers Canon Log 2 (as well as other options such as BT.709). The newer camera also offers false color and waveform monitoring.

Canon EOS R6 Mark II vs R6 Mark III: Autofocus

Both cameras employ Canon's Dual Pixel CMOS AF II autofocus system, and they feature the same subject detection algorithms for humans (eyes, face, head, body), animals (dogs, cats, birds and horses) and vehicles (cars, motorbikes, aircraft and trains).

The newer camera, however, is more sophisticated, with a total of 6,097 focus points (4,641 for video) compared to 4,897 points (4,067 for video) in the Mark II. This increased accuracy, combined with refinements to the algorithm, makes the AF noticeably "stickier" when it comes to tracking subjects – particularly birds in flight.

In addition, the Mark III inherits Registered People Priority mode from Canon's professional cameras. This enables you to program in up to ten faces, in order of priority, so the camera knows who to focus on during group shots.

Canon EOS R6 Mark II vs R6 Mark III: Stabilization

Both cameras possess in-body image stabilization (IBIS), which stabilizes the image sensor during motion to compensate for camera shake – something that is useful for stills (especially when using longer lenses, shooting in low light conditions and using slower shutter speeds) as well as video (facilitating stable shots when shooting handheld without a gimbal).

This category is the closest call between the bodies, with the R6 Mark II able to achieve up to 8 stops of shake compensation while the Mark III can realize up to 8.5 stops (both depending on the lens used). In the corners, the Mark III delivers up to 7.5 stops; this was not a rating that was measured when the Mark II was launched and certified, but it is typically about a stop less than in the center.

In practice, this difference may be difficult to notice unless you are shooting at extremes (such as stills with very low shutter speeds or video with excessive camera movement).

Canon EOS R6 Mark II vs R6 Mark III: Memory

This one makes a big difference, but might be unwisely overlooked by many! The R6 Mark II boasts twin UHS-II SD card slots, while the Mark III features a UHS-II SD card slot along with a CFexpress Type B slot.

If you're unfamiliar with CFexpress, it is the most modern memory card format and facilitates greater stability and higher speeds – making it particularly important for higher resolution stills and video. This comes at a price, as CFexpress cards are considerably more expensive than their SD counterparts. However, the performance really is dramatically better – and the failure rate dramatically lower.

Take burst shooting buffers, for example; with its SD cards, the Mark II can only capture 110 RAW files when shooting at 12fps mechanically, where the Mark III can capture over 1,000 via CFexpress. And at 40fps electronically, the Mark II's SD card is limited to 190 JPEGs or 75 RAWs, while the Mark III's CFexpress can record 330 JPEGs or 150 RAWs.

Canon EOS R6 Mark II vs R6 Mark III: HDMI

This one is really for video shooters, but again it's a significant difference. The R6 Mark II features a micro HDMI port, which is the bane of videographers when it comes to outputting footage. The R6 Mark III, meanwhile, offers a full-size HDMI port.

For a more detailed verdict on every aspect of each camera, check out my full Canon EOS R6 Mark II review and my Canon EOS R6 Mark III review.

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Canon officially unveiled the Canon RF 45mm f/1.2 STM lens in early November, with preorders opening this week. But in less than half a day, Canon Japan announced that supply was already limited – an unusually quick shortage, even for the world of high-demand lenses.

This isn't Canon's first supply squeeze. Over the past few years, various RF lenses, cameras and accessories have experienced delays due to unexpectedly high demand or global component supply issues.

What makes the RF 45mm f/1.2 STM case notable is how fast the shortage appeared – within hours of preorders opening. It highlights just how many Canon shooters were waiting for a small, lightweight, high-speed prime at this price point.

Canon Japan published an apology and information regarding product supply status: "We are currently experiencing delays in delivery for the following products due to the large number of orders we have received.

"We apologize for any inconvenience this may cause to our customers and business partners. We will continue to take measures to ensure a stable product supply so that we can deliver products as soon as possible. We appreciate your understanding."

Why the RF 45mm f/1.2 STM IS is so popular

In short: speed, affordability and quality.

For photographers who crave fast glass for bokeh-rich portraits, low-light shooting or general everyday photography, this lens is perfect. With a super-fast f/1.2 aperture, full autofocus, and a $469 / £479.99 / AU$699.95 price tag, this lens delivers speed previously reserved for Canon's far more expensive L-series optics.

Whether you shoot full-frame or APS-C, this compact prime is a smart, lightweight and creative choice for almost any photographer.

Currently, the product shortage is limited to the Japanese market – but it could be an indication of similarly high demand in the West. If you pre-ordered the RF 45mm f/1.2 STM straight away, you might be one of the first Canon shooters holding this little, high-quality compact prime lens in your hands. If not, but you're absolutely after this lens, patience may be required.

Alternatives

In the meantime, you might find another Canon RF lens, though many come with higher price tags or slightly different specs that make them more of a compromise. But with Canon's Black Friday and Cyber Monday 2025 sale and refurbished services, you might be lucky.

The RF 50mm f/1.8 STM, for example, offers great sharpness and portability at a good price ($239.99 / £219.99 / AU$352), while the RF 35mm f/1.8 Macro IS STM doubles as a close-up lens with image stabilization ($589.99 / £564.99 / AU$839).

If you are after a premium build and exceptional low-light performance, the RF 50mm f/1.2 L USM remains one of Canon's finest primes – though its price tag sits firmly in professional territory ($2599 / £2,589.99 / AU$4,099).

But if the RF 45mm f/1.2 STM is the lens on your wish list, keep an eye on restock alerts. Because once it's back on shelves, it may will disappear again in the blink of an eye.

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The 30th annual Nature's Best International Awards drew entries from photographers around the globe across 11 categories, celebrating the beauty and diversity of the natural world. The competition honors both professionals and amateurs, showcasing outstanding talent while raising awareness of environmental and wildlife conservation.

This year's overall winner is a passionate wildlife photographer from Ontario, Canada. Thomas Vijayan has been awarded the Grand Prize for the image Emperor Penguin Family – a heartwarming portrait of a chick nestled within the embrace of its devoted parents amidst the icy Antarctic expanse.

Captured in Antarctica, Vijayan shot the image handheld with Canon's professional mirrorless EOS R3, paired with the RF 100-500 mm f/4.5-7.1L IS USM lens, at 1/16000 sec, f/7.1, ISO 125.

The story behind the shot

Before taking the shot, Vijayan spent hours lying flat on the ice, allowing the penguins to grow comfortable with his presence.

Vijayan explained, "Gradually, I began to photograph them from various angles, capturing their intimate interactions. This particular image holds a special place in my heart as it portrays the profound familial affection shared among these remarkable birds.

"Emperor penguins in Antarctica epitomize extraordinary familial bonds. Within the icy expanse, these majestic creatures orchestrate a delicate symphony of cooperation and nurturing to safeguard their chicks against the unforgiving polar conditions. Both parents actively engage in the intricate dance of parenthood, alternating between egg incubation and foraging expeditions in the icy depths.

"Within their synchronized embrace, the chicks find solace, nestled in the warmth of their devoted parents amid the icy wilderness. This tender display of familial unity speaks volumes about the resilience and fortitude of life in one of the harshest environments on Earth."

The gear

The Canon EOS R3

Vijayan used the Canon EOS R3, Canon's cutting-edge professional mirrorless camera built for speed and precision in extreme environments. The R3's class-leading weather sealing, in-body stabilization, and responsive Eye Control AF (autofocus) ensured the parents' gentle poses remained sharply focused despite the icy wind and unpredictable environment.

Canon RF 100-500mm f/4.5-7.1L IS USM 

Paired with the RF 100-500mm f/4.5-7.2 L IS USM lens – a premium super-telephoto zoom designed for versatility and endurance – the setup provided both reach and precision. The lens's heat shield coating and robust build were invaluable in Antarctica's subzero glare, where condensation and frost can easily obscure lesser equipment.

Emperor Penguin Family and other winning images will be featured in the Winter Special 2025 30th Anniversary Edition of Nature's Best Photography magazine. To explore more winners, visit the Nature's Best Photography website.

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The winners of the 2025 British Photography Awards (BPA) have been announced – and one technical detail connects eight of this year's most stunning images: they were all captured with the Canon EOS R5, a full-frame mirrorless camera.

Founded as a non-profit competition, the BPA shine a spotlight on the very best of British photography, celebrating image makers, whether based in the UK (any nationality) or working abroad. This year's shortlist featured 400 remarkable images, with 20 winners chosen by the jury and another 20 images selected by public vote.

And while artistic vision and technical mastery will always be at the heart of great photography, having a camera that can keep up is essential. The Canon EOS R5 might no longer be Canon's newest flagship – the EOS R5 Mark II and EOS R1 now hold that title – but its blend of speed, precision, and image quality remains world-class.

Let's take a closer look at three BPA winners who used the EOS R5 to bring their vision to life – and why this camera remains such a strong choice for professionals and passionate creatives alike. If you want to explore more winning images, visit the British Photography Awards website.

The winners

The Canon EOS R5

Launched in 2020, the Canon EOS R5 has long since proven itself as a professional workhorse – capable, dependable, and responsive to the needs of photographers across disciplines.

Even as the EOS R5 Mark II introduces refinements in speed and AI recognition, the original R5 remains a favorite for its consistency, tactile handling, and image quality that holds up among 2025's best mirrorless cameras. And with the R5 now available at lower prices, it's also become a more accessible gateway into professional full-frame photography.

But let's not forget: gear alone never wins awards. Vision, timing, and understanding of light are what turn technology into stunning art, and this year's BPA winners – once again – demonstrate this without exception.

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Can you believe it's been 20 years since the Canon EOS 5 series first hit the shelves? This camera line has left an indelible mark on the photography world.

From versatile, high-performance cameras capable of stunning stills and professional-grade video, this lineup has consistently pushed the boundaries of DSLR and mirrorless camera technology.

It all started in August 2005, when Canon announced the original EOS 5D. For many, it was a game-changer – a compact full-frame DSLR that suddenly made professional-grade imaging quality accessible to serious enthusiasts.

With its 12.8MP CMOS sensor, 9-point autofocus and Digic II processor in a sturdy magnesium alloy body, this camera quickly became a trusted companion for wedding photographers, travel shooters and creative pros alike.

Then, just a few years later in 2008, Canon dropped the EOS 5D Mark II. FullHD video on a DSLR? Live View that actually worked? This was the camera that started many videographers' journeys – and was soon being used in indie films, YouTube videos and, yes, even blockbusters like Iron Man 2.

Of course, the line kept evolving. The 5D Mark III, 5DS, 5DS R and 5D Mark IV all had their moment in the spotlight – pushing resolutions higher, refining autofocus, introducing 4K video and keeping the balance of speed and reliability.

And then in 2018 came the mirrorless era: the EOS R5. In-body stabilization, 45MP resolution, lighting-fast autofocus – everything Canon learned from creating DSLRs over the decades, it brought it all into a new form.

Now, the R5 Mark II has taken it even further: stacked BSI sensor, AI-powered predictive autofocus, 8K 60p RAW video and 30fps burst shooting – it's fast, smart and precise.

For anyone who started with the original 5D, it's hard not to feel a little nostalgic. From DSLR to mirrorless, from 12.8MP to 45MP and beyond, the EOS 5 series has consistently empowered us to capture the world with clarity, speed, and creativity.

So, Happy 20th birthday, Canon EOS 5 series! Here's to the next 20 years of innovation.

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French wildlife photographer Rémi Vacher has explored many parts of the planet and ticked off his 75th different country last year. On a trip to Kruger National Park, South Africa, Rémi had the chance to turn his Canon RF 100-500mm f/4.5-7.1L IS lens towards one of Africa's most elusive predators – the leopard.

Capturing the perfect wildlife shot requires more than great camera equipment; research and preparation are key. The most important quality is patience. And that virtue was tested as Rémi waited for the ideal moment to frame this serene portrait.

Rémi captured this image at 1/2000 sec, f/6.3, ISO 6400, using a Canon EOS R7 paired with the Canon RF 100-500mm f/4.5-7.1LIS – a lens that's up there with the very best Canon telephoto lenses we've tested. For added stability, he supported his setup on a bean bag from within the safari vehicle.

The story

"We were aware of a leopard that had been seen a few hours before, but the grass was quite high, so it was challenging to find," says Rémi. "It took us an hour to search the area. Once we found it, I worked with our guide to make sure I could get the best alignment. Then we stayed for another hour, waiting for the leopard to get his face perfectly aligned for a side profile.

"Being close to a leopard doesn't happen often because they are elusive and spend most of their time in trees, so this was a perfect opportunity to get a portrait of a leopard. This one was so relaxed and didn’t seem bothered by our presence."

When shooting from a safari vehicle, as Rémi was, the difficulty is that you are often forced to shoot from a higher point of view, which limits the range of perspectives. "Here, we managed to have the vehicle positioned at a lower level than the leopard, which was perfect for this portrait, and so composition was the key in this picture."

"Another challenge was that it was dawn, so I had to bring up the ISO quite high to get enough light while keeping the picture sharp,” Rémi says. "My goal was to get the image as sharp as possible so the viewer almost feels they are lying down in the grass with the leopard."

Gear info

Canon EOS R7

The Canon EOS R7 is Canon's flagship APS-C mirrorless camera, a firm favorite among wildlife photographers for its blend of speed and detail. As highlighted in our review, "It's the first camera you'll reach for if you want the advantages of APS-C combined with pro-level speed and AF (autofocus)."

Equipped with a 32.5MP sensor and Canon's Dual Pixel CMOS AF II system, the R7 delivers up to 30fps continuous shooting – matching that of Canon's professional full-frame models like the EOS R3. Its 1.6x crop factor offers additional reach, ideal for distant wildlife, while the 5-axis in-body image stabilization (IBIS) works seamlessly with IS-equipped lenses for track-sharp handheld shots.

Canon RF 100-500mm f/4.5-7.1L IS USM

Rémi's decision to use the Canon RF 100-500mm f/4.5-7.1 LIS USM proved essential to achieving both proximity and discretion. The ability to zoom gave him the flexibility to compose without disturbing the animal.

Canon's premium super-telephoto zoom combines legendary L-series build quality with optics that rank among the very best Canon zoom lenses we've tested. Its five-stop image stabilization and weather-sealed construction make it ideal for challenging safari conditions.

While the lens performs at its very best on Canon's full-frame R5 and R6 models, it remains a superb match for the EOS R7, where the APS-C crop extends the effective reach to an impressive 160-800mm. The extra pull enabled Rémi to stay at a comfortable distance, ensuring the leopard remained undisturbed throughout the session.

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Alejandro Cegarra's powerful black-and-white series, The Two Walls, recently won the Leica Oskar Barnack Award 2025, earning the Venezuelan photojournalist €40,000 and €10,000 worth of Leica equipment.

Recognized as one of the industry's most prestigious competitions, LOBA honors powerful visual storytelling that engages with humanity and the environment in profound, socially relevant ways. If you'd like to learn more about the story behind the images, read our full LOBA 2025 coverage here.

But what gear did Cegarra use to master the fast-changing environments along the U.S.-Mexico border photographically?

Cegarra did not use the newest and flashiest gear – He used tools that deliver under pressure, in harsh light, and across challenging terrains. Cegarra's kit blended classic DSLR reliability with mirrorless versatility.

His setup: a Canon 5D Mark IV with a fast prime, the Canon EF 35mm f/1.4L II USM, and a Sony A7 III with two versatile zoom lenses: the Sony FE 70-200mm f/4 G OSS, and Sigma 24-70mm f/2.8 DG DN Art.

Canon EOS 5D Mark IV – the DSLR workhorse

The Canon EOS 5D Mark IV is a rugged full-frame DSLR that continues to hold its ground among pros despite launching in 2016. Known for its 30.4MP sensor, superb color accuracy, and impressive dynamic range, the 5D Mark IV is built for high-pressure environments – and proved the perfect tool for capturing emotionally charged moments in difficult terrain.

Paired with the Canon EF 35mm f/1.4L II USM, this setup was tailor-made for storytelling. The fast prime lens is razor-sharp, fast in low light, and designed for up-close intimacy – making it a favorite among photogrounalists worldwide.

Sony A7 III – mirrorless versatility on the move

Cegarra also packed the Sony A7 III, a full-frame mirrorless camera praised for its compact body, advanced autofocus, and in-body stabilization – ideal for shooting handheld in unpredictable conditions. The A7 III's 24MP BSI sensor delivers rich details and excellent dynamic range, while its quiet shutter and fast autofocus make it well-suited to fast-paced, high-tension moments without drawing attention.

He paired it with the Sony FE 70-200mm f/4 G OSS – offering discreet telephoto reach, perfect for shooting from a respectful distance – and the Sigma 24-70mm f/2.8 DG DN Art – a versatile pro zoom for switching between wide angles and mid-range storytelling.

This mirrorless combo gave Cegarra both mobility and flexibility, enabling him to switch perspectives without compromising image quality – crucial in a story where access, speed, and subtlety are everything.

Where to see the winning series

Alejandro Cegarra's The Two Walls will be on display as part of the Leica Oskar Barnack Award exhibition, traveling to several Leica galleries worldwide in the coming months. To further explore Cegarra's series, visit the LOBA website.

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If you're looking to upgrade from your clunky DSLR to a fancy new mirrorless camera this is one of the best camera deals we have seen so far this year. The Canon EOS R100 is our top choice as a beginner camera - offering an affordable way into the EOS mirrorless system. 

Currently you can get the R100 with the kit zoom 18-55mm lens for £499.99 at Amazon - but hidden on the page there is a £100 voucher, that allows you to add a Canon RF 50mm f/1.8 lens for just an extra £66.49. 

Amazon has not made it easy to get the deal, as you have to add both items to your basket (the camera kit is here - and the 50mm lens is here)- and at that point the £100 voucher is automatically applied at checkout. 

Whether you're just starting out in photography or you're thinking of upgrading to the best mirrorless cameras on the market, the Canon EOS R100 is a hard deal to pass on - particularly when you can get the fast RF 50mm f/1.8 STM . 

DCW Editor and long-standing Canon owner James tested the R100 in our in-depth review. Its excellent still-image capabilities start with its APS-C-sized 24.1-megapixel CMOS sensor, DIGIC 8 processor, while also being able to capture 4K 24p cropped video recording and uncropped Full HD video recording.

The Canon EOS R100 also features Canon's famous Dual Pixel AF system, which features 3,975 autofocus points covering 143 autofocus zones, making sure your images are also in focus and sharp from a single frame to its 6.5 frames-per-second continuous burst mode.

Canon EOS R100 review

Best lenses for the Canon EOS R100

Canon R100 vs R50

The Canon EOS R50 V + RF-S 14-30mm F4-6.3 IS STM PZ kit is now going for CA$1,099.97, down from CA$1,279.99 - that’s a saving of CA$180.02

• See all of today's Amazon.ca camera deals

If you’ve been hunting for a video-centric APS-C mirrorless kit that blends affordability with modern features, this deal is hard to pass up.

What makes it especially compelling is the balance of specs you get for the price. The EOS R50 V keeps the 24.2 MP APS-C sensor and Canon’s Dual Pixel CMOS AF II system, now repackaged in a body optimized for creators. The kit lens, the RF-S 14-30mm power zoom, adds practicality: a versatile wide-to-standard range with optical image stabilization and silent zooming - particularly helpful for video work where zoom control noise matters.

In everyday use, the R50 V targets creators who switch between vertical and horizontal video modes. It offers dual tripod mounts (for vertical shooting), a front record button, and livestreaming capabilities out of the box. It also handles 4K capture with Canon’s color science, and while it doesn’t replace high-end cinema tools, it’s a smart pick for starting or intermediate creators.

The power zoom lens complements the body well. While you won’t get ultra-fast apertures, the lens offers usable f/4–6.3 performance across its range, with stabilization and zoom smoothness that’s good for run-and-gun shooting or content creation where you want fluid zoom transitions without fuss.

Every camera kit has trade-offs, of course. Low-light performance won’t rival full-frame models, and battery life under heavy video use is something to be aware of. The lens’s variable aperture means pushing ISO more often in dim environments. But for what you’re paying - CA$1,099.97, you’re getting a well-rounded, creator-friendly package at a real bargain.

As always, deals like this often don’t last. Stock can shift, or prices might quietly rise again. If the EOS R50 V kit has been on your radar, now is a great window to strike. This kind of value in a modern APS-C video kit is rare.

Whether you're upgrading from an APS-C camera or entering full-frame photography, this is a rare opportunity to grab the EOS RP at a bargain price.

Right now, the Canon EOS RP is available for just $799 at B&H – you save a MASSIVE $300 off its original $1,099 price.

This is the lowest price I've seen in a year – even lower than last October's deal when it dropped to incredible $899.

If you've been thinking about jumping into full-frame photography without breaking the bank, this is your sign – the Canon EOS RP is seriously one of the best deals out there right now.

For just $799, you're getting a 26.2MP full-frame CMOS sensor, Canon's excellent Dual Pixel AF (autofocus), and a compact, lightweight body that's perfect for travel, street, or everyday shooting. It even has a fully articulating screen, which is perfect for vlogging or low-angle shots.

Sure, it's not perfect – the 4K video is cropped, and there's no in-body image stabilization, but for stills? It's an absolute winner. I've seen what this camera can do, and it punches way above its weight. We also named it one of the best cheap full-frame cameras on the market.

At this price, it's hard to justify not picking one up – even just as a second body. Add an EF-to-RF adapter and you've got access to a massive library of Canon lenses.

Deals like this don't last long. So, if you've been on the fence, now it's the time.

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Portraiture can at times feel like a bit of a dark art. There's so much jargon and little pieces of equipment to get up to speed on, from flashes to guide numbers, and lighting modifiers to triggers. It can be difficult to know where to start!

That’s why we're taking portraits back to basics, using a single continuous light bulb to achieve three completely different looks. You can take these shots at home with a basic setup. You'll need a dark background, a few lightstands, a curtain pole, and then a few extra props that we run through below.

The three techniques we cover in this project are the perfect place to start with artificial light in a studio setting, as we're using constant lighting. This is different from flashguns, which don't have a modelling light, so it will be much easier to tweak the lighting and get the shadows falling on your model precisely where you need them to. Let's get to it!

1. Camera set-up

All of the techniques we shot here use a one-light set-up, and you can keep things simple with a continuous light, or go as complicated as you like with flash. A 50mm lens is ideal as they're affordable and also have a super wide apertures, which make it easier to work with constant lights.

Our simple set-ups look great in black and white, so it's worth using your Canon's Monochrome Picture Style to see your desaturated scene in real-time using the live view. Just be sure to shoot in your Canon's RAW format so that you retain the color information.

Good settings to get started are Aperture Priority (Av) mode with an aperture of f/2 and ISO of 800 to achieve a fast shutter speed.

2. Set-up 1: Fabric fantastic!

For our first technique we set up two budget lightstands and used some duct tape to secure a curtain pole between them at the top which we could drape over a netted curtain with a pattern we could project onto our model's face, you could of course use a background stand if you have one, but the curtain pole method works well if you're on a tight budget.

A single continuous light was set up on the other side of the fabric – we turned off all other room lights and closed the blackout curtains to reduce light spill from outside. For camera settings, we went with aperture priority (Av) mode with a wide aperture of f/1.8 and boosted the ISO until we got a shutter speed of at least 1/250 sec.

The shadows you cast are affected by a number of different variables. You'll need to fine-tune all of them to get the shadows looking just right in your portraits. Moving the light closer to your subject and the fabric results in softer, blurry shadows, while moving the light source further away will render the shadow much sharper and more defined. If your model is close to the fabric, you'll see more detailed shadow patterns from the fabric too.

3. Set-up 2: Film noir

For our next simple setup, we asked our model to change outfits, and this lingerie helped add a little variety and make the portraits look different from the others. We wanted to go for a film noir style to make it look like she was looking through blinds.

A venetian blind was hung to our curtain pole using a few bits of picture hanging wire. Our continuous light was then set up on the other side of the blinds to produce shafts of light coming through the slats. We then experimented with the distance of the model to the blinds, the distance of the light to the blinds, and also changed the angle of the slats; as these tweaks all changed the appearance of the shadows until we had it just right.

To stop your light spilling onto a part of the frame that you don't want it to, you'll need to 'flag' it. This means blocking the light off, with anything from a set of 'barn doors', to the black side of a reflector, or even taping cardboard around your light to sculpt it onto the specific place you want. For our film noir set-up, we wanted a thin slice of light to come through the blinds, without the light spilling onto the black background, which we wanted to keep dark for maximum contrast.

4. Set-up 3: Rinse and repeat!

We kept our lightstands and background in place, then raided our kitchen for a colander and taped it to our curtain pole. The continuous light was positioned on the other side of the colander to cast spots of light over our model’s face. You could use flash for this if you have one, but a flash with a modelling light will make this much easier to see where the spots of light are falling on your model's face.

Using our continuous lights we were able to choose a fast drive burst mode on our Canon EOS R, which made it much easier to catch a series of shots and boost the chances of nailing one where the light fell where we needed it. Having a helper to move the colander until the shadows are in the right position would also be helpful for this technique.

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If you've been eyeing a full-frame mirrorless powerhouse that excels at both stills and video, the EOS R6 Mark II is now available at B&H with savings of up to $400. Choose from a body-only offer or several high-value combo deals that bundle lenses or accessories. We've picked four top deals below, but you can find even more kits and limited-time offers at B&H.

The Canon EOS R6 Mark II is now just $1,999 at B&H – you save $200 off its original $2,199 price.

The Canon EOS R6 Mark II with Stop Motion Animation Firmware is now just $2,099 at B&H – you save $400 off its original $2,499 price.

The Canon EOS R6 Mark II with 24-105mm f/4-7.1 lens is now just $2,299 at B&H – you save $200 off its original $2,499 price.

The Canon EOS R6 Mark II with Essentials+ Kit is now just $2,337.73 at B&H – you save $200 off its original $3,537.73 price.

In our review, we rated the Canon EOS R6 Mark II as the best full-frame mirrorless camera for hybrid shooters, and that for good reasons.

Hybrid cameras have become huge in recent years, and the Canon EOS R6 Mark II stands out with its 24.2MP full-frame CMOS sensor, a 3-inch fully articulating touchscreen, and a sharp 3.69M-dot OLED viewfinder with 100% coverage. It shoots up to 40fps with the electronic shutter and records uncropped 4K 60p video. Known for its killer AF, it locks focus quickly and accurately. While recording limits exist in 4K HQ mode, its superb image quality and fast burst make it a favorite for creators and content pros needing versatile performance.

Right now, the R6 Mark II is available in different configurations to fit your needs. Choose the body-only version – perfect if you're upgrading from an existing Canon system. For specialized projects, there's the EOS R6 Mark II with Stop Motion Animation Firmware, ideal for advanced workflows. Or opt for a combo kit featuring the versatile RF 24-105mm zoom optic. Lastly, there is the Essentials+ Kit, which includes a camera bag, spare battery, memory card, and card reader. Now's a great time to save big on this full-frame mirrorless camera.

Browse the best mirrorless cameras