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The Canon EOS R6 III is an enthusiast-class camera with a new 32MP full-frame CMOS sensor, aimed at photographers and videographers who need high burst rates and fast readout speeds.

Key specifications

• 32MP full-frame CMOS sensor
• Built-in image stabilization rated to 8.5EV
• 40fps burst rate w/ pre-capture
• 3.0", 1.62M dot fully-articulating screen
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Oversampled 4K <60p, 4K 120p
• 3:2 Open Gate recording up to 30p

The Canon EOS R6 III will be available from late November at a recommended price of $2799, a $300 premium over the Mark II's launch price. The EOS R6 II will formally drop to a $2299 price point. There'll also be a variant costing $100 more, designed to work with the professional stop-motion software, Dragonframe.

The EOS R6 III will be available as a kit with the RF 24-105mm F4-7.1 IS STM for around $3150 and with the RF 24-105mm F4.0 L IS USM for $4050.

Index:

• What's new?
• What is it?
• In Context
• Body and handling
• Video
• Initial Impressions
• Sample gallery
• Press release
• Specifications

What's new? New sensor

The 33MP FSI CMOS sensor at the heart of the EOS R6 III is a new one for Canon's hybrid mirrorless lineup, having only appeared recently in the cinema-focused EOS C50. Canon isn't claiming any particular technological leaps with this sensor, but our initial testing shows that it has even faster readout speeds than the lower-resolution chip found in the EOS R6 II. As usual for Canon, it has a dual pixel design with two sub-pixels at each location, one capturing the left half of the image, the other capturing the right, allowing the entire sensor to be used for phase detection AF.

The faster readout speeds, paired with changes to the card slot and processor (Canon says it's the same generation, but has some improvements) allow for big improvements to video capture. The stabilization system has also gotten a bit of a bump, going from 8EV to 8.5EV.

Updated ports

The EOS R6 III replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one. While you can still use most of the camera's features with an SD card, you will need to use the faster, larger and more expensive storage to record Raw video.

Speaking of video, the EOS R6 II's microHDMI port is no more on the EOS R6 III. In its place is a full-size one, which is much more appropriate on a camera destined to be many people's workhorse.

Better burst

Despite having the same rates, the EOS R6 III improves on its predecessor's burst rates, no longer requiring a special Raw Burst mode to enable pre-burst capture. Instead, there's now a pre-continuous shooting option that you can simply enable when in the H+ drive mode. Canon says this is largely thanks to that CFexpress card slot and its faster write speeds.

Raw Burst mode is no longer on the camera, though it's hard to be sad about that. While there were benefits to Raw Burst mode, such as it displaying bursts as a single thumbnail in the playback menu, it was overall a relatively clunky experience. To edit the photos you took outside of Canon's own software, you had to select the individual frames you want, and save them as a standard .CR3 Raw files, JPEGs, HEIFs or combinations thereof. That extra step is no longer necessary.

Raw, 7K and open-gate video

The Canon EOS R6 III gains the ability to record Raw video internally at up to 7K/60 in Canon's proprietary Canon Cinema Raw format. It can also now shoot 'open-gate' video at up to 7K/30, recording the entire area of the sensor to produce a 3:2 image that you can take vertical and landscape crops from.

The menus for selecting your recording mode have also been updated. The EOS R6 II presented you with an overwhelming list containing each possible combination of resolution, frame rate and compression settings, but the EOS R6 III thankfully lets you choose these all independently.

The EOS R6 III also now gains a dedicated red tally lamp, making it obvious to both you and your on-screen talent when you're recording.

AF Upgrades

Looking at the autofocus system, it seems largely the same as the one in the EOS R6 II, with subject recognition support for people, animals and vehicles, as well as an auto mode. However, Canon says the algorithms underpinning those modes have been updated to match the ones on cameras like the EOS R1 and EOS R5 II, making it even more reliable.

The EOS R6 III also gains the Register People Priority feature, where you can train it to recognize a specific person and principally focus on tracking them over other people that may be in the scene.

While the cameras theoretically have 'Digic X' processors, Canon says it's made intergenerational improvements to the chip that allow for some of the EOS R6 III's new features.

What is it? The EOS R6 III is part of the class of "do anything" hybrid cameras.

The EOS R6 III is Canon's enthusiast-tier full-frame camera, which means it's designed to excel at pretty much whatever you want to shoot with it. Like the rest of the cameras in this class (and its predecessor), it's capable enough for most kinds of photography, from landscape shooting to fast-paced action and sports, and comes equipped with the kinds of video features you would've had to buy a cinema camera to get just a few years ago. It also has weather sealing and dual card slots.

Of course, there are some things that separate it from the even higher-end Stacked sensor cameras like Canon's own EOS R5 II. It misses out on a bit of extra resolution and a few features that pros might want, such as the ability to control the focus point with your eye, in-camera 'AI' upscaling and Action Priority modes. Canon says the latter two require a still-expensive co-processor that just wasn't in the budget for this camera, but it should still easily handle whatever tasks enthusiasts throw at it.

It can shoot at a 40fps burst rate for up to 150 seconds in Raw and JPEG, and supports pre-burst capture, which can help if you're just a bit too slow to the shutter. You no longer have to use the somewhat clunky Raw burst mode to access these features, like you did with the EOS R6 II.

The EOS R6 III's Register People Priority supports up to ten faces, and will prioritize them according to your set order.

Canon has included its now-standard autofocus system, which has subject recognition for people, animals and vehicles, as well as an auto mode that searches for those within the scene. It also supports registering a specific person and having the camera prioritize them when choosing which subject to focus on.

It also supports HDR output, with its ability to produce 10-bit HEIF stills with the PQ tone curve, in place of JPEGs. While PQ isn't as broadly supported as the HLG curve used by other companies like Nikon and Panasonic, it can, at least, simultaneously record both HEIF and Raws, unlike Sony, which makes you choose between Raw capture and HDR output files. When shooting video, it can capture HDR video footage using either PQ or HLG. The latter is more widely supported when it comes to playback and is a new addition compared to the EOS R6 II.

Speaking of video, the EOS R6 III is well-equipped for motion pictures too. It supports internal Raw recording, a false color overlay to help you nail exposure and the >4K open gate capture gives you greater flexibility in post.

The EOS R6 III in context

The EOS R6 III is launching into a market segment with robust competition. Its predecessor was still quite a sensible option, so we've included it in the comparison, alongside the Nikon Z6III, which offers a similar combination of fast shooting, top-tier autofocus and incredible video specs. We're also comparing the Sony a7 IV, as its 33MP sensor makes it an obvious competitor, even if it can't match the speed of the other cameras on this list.

Canon EOS R6 III Canon EOS R6 II Nikon Z6III Sony a7 IV MSRP (US / UK) $2800 / $2300 / £2200 $2700 / £2500 $2700 / £2400 Sensor type Dual Pixel AF FSI CMOS Dual Pixel AF FSI CMOS 'Partially stacked' CMOS BSI CMOS Resolution 33MP 24MP 24MP 33MP Maximum shooting rate 12fps mech.
40fps e-shutter 12fps mech.
40fps e-shutter 14fps mech.
20fps e-shutter
60fps JPEG-only 10fps lossy Raw Pre-burst capture? Yes Yes (Raw Burst mode) Yes (JPEG only) No Image stabilization 8.5EV 8EV 8EV 5.5EV Stills rolling shutter rate (ms) ∼13.5ms ∼14.7ms (12-bit) ∼14.6ms (14-bit) ∼67.6ms (14-bit) Flash sync speed 1/320 sec 1/250 sec 1/200 sec 1/250 sec AF subject detection Human
Animal (Dog / Cat / Bird / Horse)
Vehicle (car, motorcycle, plane, train)
Automatic Human
Animal (Dog / Cat / Bird / Horse)
Vehicle (car, motorcycle, plane, train)
Automatic Human
Dog/Cat
Bird
Plane
Car
Motorcycle / Bike
Train
Automatic Human
Animal
Bird HDR still output PQ HEIF PQ HEIF HLG HEIF HLG HEIF (no Raw) Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (full-width)

4K/60 (full-width, oversampled from 6K)
1080p/180 (full-width)

6K/60 (Raw)
5.4K/60 (full-width)
UHD 4K/60 (full-width)
UHD 4K/120 (1.5x crop)

UHD 4K/30 (full-width)
UHD 4K/60 (1.5x crop)

Uncompressed video C-Raw 6K over HDMI N-Raw
ProRes RAW Over HDMI Video assist tools False color overlay
Waveform
Log view assists False color overlay
Log view assist Waveform
Log view assist
Shutter angle Log view assist Viewfinder res/ magnification/
eyepoint 3.69M dot
0.76x
23mm 3.69M dot
0.76x
23mm 5.76M dot
0.8x
21mm 3.69M dot
0.78x
23mm Rear screen 3.0"
1.62M dot
Fully-articulating 3.0"
1.62M dot
Fully-articulating 3.2"
2.1M dot
Fully-articulating 3.0"
1.03M dot
Fully-articulating Media types 1x CFexpress Type B
1x UHS-II SD 2x UHS-II SD 1x CFexpress Type B
1x UHS-II SD 1x Combo CFexpress Type A / UHS-II SD
1x UHS-II SD Battery life EVF / LCD 270 / 510 320 / 580 360 / 390 520 / 580 Dimensions 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 139 x 102 x 74mm
(5.5 x 4 x 3")

131 x 96 x 80mm
(5.3 x 3.8 x 3.1")

Weight 699g
(25.7oz) 680g
(24.0oz) 670g
(23.6oz) 658g
(23.2oz)

The Z6III's partially Stacked sensor has higher read noise than other designs, which gives it a disadvantage when raising the shadows (though, importantly, this has no impact on the midtones). We'll have to wait until we get a production EOS R6 III to see how it performs in this regard. In both cases, it's worth checking to make sure whether the lenses you want exist before choosing a system, as both companies place restrictions on third-party lens makers.

While the a7 IV is still a quite capable camera, it's starting to look a little dated compared to the competition. Its rolling shutter performance when shooting full-width video is noticeably bad, it doesn't offer internal Raw video (though it's not an essential feature for most users), and while its autofocus is extremely capable, it's no longer the best that Sony offers. While Sony does allow third-party lenses on E-mount, buyers should be aware that it limits non-Sony lenses to 15fps (not that this is a problem for the a7 IV, with its 10fps max burst rate).

Body and Handling

The EOS R6 III hews close to Canon's tried-and-true design formula, and its body is very similar – though not exactly the same – as the EOS R6 II. It has a hefty grip that fits well in your hand, even with a heavier lens attached. It has an array of customizable buttons – nine in total – which can have different functions depending on whether you're in stills or video mode. Switching between the two modes is handled by a dedicated lever to the left of the EVF.

The autofocus joystick and surrounding buttons are placed within easy reach of where your thumb naturally falls when you're holding the camera, and are grouped in ways that helps you tell which one you're pressing by feel, even when your eye is up to the EVF.

Screen and viewfinder

The viewfinder and LCD have been unchanged from the EOS R6 II, though that's not really a complaint. The rear 3.0" screen is fully-articulated, which will be welcome to those using the camera for video. It's relatively bright, but can be a little difficult to see in extremely bright sunlight.

The viewfinder is large and can refresh at up to 120fps for a very responsive preview. It's not the highest resolution model out there, though, and it can't quite manage to show you a proper HDR preview when you're shooting in PQ mode, though it does have Canon's OVF simulation mode that gives you a better idea of how much dynamic range you're capturing, at the cost of truly previewing your exposure.

There's no discernible viewfinder blackout when shooting in at the highest burst rate settings using the electronic viewfinder, though it'll show up when shooting in lower burst rates or with the mechanical shutter.

Ports

The EOS R6 III has all the connectivity you might expect from this class of camera: USB C, headphone and microphone sockets, a multi-function hotshoe, 2.5mm remote terminal and full-size HDMI port. The latter represents a bit upgrade from the less-reliable and robust microHDMI port found on the EOS R6 II.

It has two card slots: one CFexpress Type B, and one UHS-II SD. You'll have to use the former if you want to record Raw video internally.

Battery

The EOS R6 III uses 16Wh LP-E6P battery, to give battery life ratings of 270 shots per charge via the viewfinder and 510 if you use the rear screen. These numbers jump to 390 and 620, respectively, if you engage power saving mode. As always, the CIPA-defined tests tend to under-represent how many images you can actually get, with double the rated figure not being unusual, but they're useful to compare between cameras. These are reasonable but not great for a camera likely to be used quite heavily by an enthusiast photographer.

The camera will still work with older batteries such as the LP-E6NH, though it warns that not all features will be available, and that some accessories won't work. Most notably, the camera loses support for network connectivity, refusing to connect to your smartphone or other devices.

Video The EOS R6 III has all the video assist tools most shooters will need: proxies, waveform and false color, dual-level zebras and Log/HDR view assist.

The EOS R6 III The highlights are its ability to record 7K open-gate footage at up to 30p, and support for oversampled 4K footage at up to 60p. It also lets you record in Canon's C-Log 2 or 3 response curves, and now has a button that defaults to opening the Color menu, making it a bit easier to switch between Log and non-Log recording.

It provides both DCI and UHD 4K options, though, humorously, the true 24fps mode is only available when recording DCI. Its Raw mode also lacks a 16:9 mode, but can record open-gate at up to 30p, from which you can take a UHD crop.

Its autofocus options remain the same throughout its recording modes; you still get continuous autofocus with subject recognition even when recording 4K/120 and 1080p/180. This is true both in the standard video recording mode and in the Slow-and-Fast mode that doesn't record audio and produces a file that plays back at a slower framerate.

Recording modes

While the EOS R6 III shares a sensor with the fan-cooled EOS C50, Canon includes several more options on its more cinema-focused camera. As an example, the EOS R6 III doesn't have an HQ Raw mode, nor does it support crop modes in Raw. It can, however, still record proxy files to its SD card slot, which could be quite useful when shooting Raw video.

Dimensions Rates Raw 1.89:1 7K 6960 x 3672 60, 50, 48, 30, 25, 24, 23.98 ST (up to 30p), LT DCI 4K 4096 x 2160 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – DCI 2K 2048 x 1080 180*, 150*, 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – 16:9 modes UHD 4K 3840 x 2160 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – Full HD 1920 x 1080 180*, 150*, 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – 3:2 Open gate 7K Raw 6960 x 4640 30, 25, 24, 23.98 ST, LT 7K Compressed 6912 x 4608 30, 25, 24, 23.98 – * - with a 1.13x crop

Both the 4K and Full HD modes can be used in the "Fine" oversampling modes at all but their highest frame rates; the former from 7K capture, and the latter from 3.5K capture. However, Canon does note that, while the 4K/60 Fine mode is still oversampled, it won't have the same image quality that you get from the 4K/30 and slower modes.

Rolling shutter

The R6 III has some truly impressive rolling shutter rates across its full-width recording modes, achieving excellent readout speeds in pretty much every mode we tested (though we haven't been able to measure the Raw modes yet, as we aren't able to decode the footage). Using the oversampled "fine" setting will roughly double the readout speeds over the standard ones, suggesting the standard mode is skipping half the lines, but they're still quick enough that fine mode should be usable in almost any scenario.

Rolling shutter 7K open gate 17.9ms 4K24/60 standard 7.2ms 4K24/60 "fine" 14.3ms

The only mode we'd advise any caution around is its 7K open gate setting. 17.9ms is still very fast, and will improve if you take a landscape crop of the frame, but if you're showing the full frame a little artifacting may start to creep in if you're capturing very fast pans or subjects.

Workflow

Canon includes a variety of tools to help making shooting video and, in particular, nailing exposure, easier. The EOS R6 III has options for both waveform monitoring, which provides more detail about what parts of your image are clipping than a traditional histogram, and a false color overlay, which makes it easier to tell if your skin tones are properly exposed.

It's also now much easier to set your white balance in video mode; you can capture it from the live view, rather than having to set it from a still image on the card (a process that, on other Canon cameras, meant switching into stills mode, taking a picture of your gray card, then switching back into the video mode before diving back into the settings). Speaking of live view, the camera also provides access to level gauges and magnification while recording, so you can make sure your horizon is perfect and your subject is in focus while you're rolling.

The EOS R6 III lets you upload LUTs into the camera, so you can preview an effect you wish to apply, but you can't bake the result into your footage. The EOS R6 III can output lower-resolution proxy files to an SD card while you capture your main footage to the CFexpress card. The only exception is Open gate shooting, where you can capture a proxy alongside Raw shooting but not if you're using MP4 as your main output.

One feature Canon's retained for its cinema cameras is shutter angle, which derives the shutter speed from the recording framerate, rather than an absolute setting. This means you don't have to adjust your shutter speed after changing frame rates to retain the same level of motion blur. It's a setting that most of the EOS R6 III's competitors, such as the Nikon Z6III and Panasonic S1II, have, but that it lacks.

Initial Impressions

By Mitchell Clark

Is it weird to say that the EOS R6 III is kind of surprising? Not the mere fact of its existence, of course; the enthusiast full-frame camera is the market's bread-and-butter, so Canon updating its model makes sense. But it feels like the kind of upgrade you'd see from a company trying to claw customers away from competitors, not one already at the top of the market.

The EOS R6 II, which Canon says will remain in its lineup for at least the medium term, is still a very competitive camera. Not only does it earn second place in our under $2500 buying guide, but Canon tells us it's the top-selling full-frame camera on the market, from any brand. It feels like Canon could've just made a few small improvements and called it a day, and if you just glance at the spec sheet or list of new features, you might get the impression that it has. But the changes it's made are ones that really matter, especially when it comes to competing with the other cameras in this class.

It feels like Canon looked at what other companies were doing, and said "okay, us too, but better."

Essentially, it feels like Canon looked at what the other companies were doing, and said "okay, us too, but better." Sony's shooting 33MP? The EOS R6 III does too, but with the blistering speeds of the lower-res Nikon Z6III and Panasonic S1II, so you no longer have to pick between higher resolution and being able to shoot faster than 10fps. Those two cameras also offer Raw video, another spec the EOS R6 III has caught up on. And for good measure, Canon threw in full-width 4K 120p for the people who like slow-mo, and open gate recording, since Panasonic shooters are so keen on it.

With every Canon release, there are people quick to point out how it's segmenting the market; what features does it lack that higher-end models do? Of course, there are features the much more expensive EOS R5 II has that this doesn't, but they're ones we're told have hardware costs and that, frankly, most people won't find themselves missing. If there are features Canon cut to make its more expensive models more appealing, they aren't obvious to me.

Canon says this camera is still squarely aimed at stills shooters, albeit ones who also need to be able to shoot video, so we're definitely looking forward to getting our hands on a production model to see if the ultra-fast sensor comes with any image quality impact, as was the case with the Nikon Z6III's 'partially Stacked' sensor. Even if there is, though, we're clearly well into the evolution of Canon's 6-series line; in the DSLR days, the EOS 6D was a decent camera, but one with obvious compromises relative to higher-end models. With the EOS R6 III, those compromises are getting much harder to find.

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Canon has announced the RF 45mm F1.2 STM, a super-fast normal prime lens for full-frame at the unexpectedly reasonable price of $470.

The 45mm F1.2 is a wide-aperture lens that fits alongside the existing 24, 28, 35, 50 and 85mm STM lenses, but offers an F1.2 maximum aperture, rather than the F1.8, F2.0 and F2.8s of its siblings.

It's a relatively simple design with 9 elements in 7 groups, and the samples we've taken so far suggest it exhibits quite significant vignetting, as you open the aperture up. The lens also requires the use of distortion correction as part of its design. Canon suggested to us that it's a lens that delivers "character" rather than being for "MTF chasers."

Photo: Richard Butler Far from normal pricing

It's driven by a gear-type stepper motor and has a relatively large amount of glass to move, so it's not the fastest to focus lens Canon makes. In use we found the performance to be comparable with the likes of the RF85 F2.0 STM: reasonably quick for most things but with a slight 'chuntering' sound and vibration if it's trying to continuous AF on a static subject.

The lens is relatively compact: 78 x 75mm (3.1 x 3.0") and accepts 67mm filters. It weighs 346g (12.2oz). Minimum focus distance is 45cm (17.7"), yielding a maximum magnification ratio of 0.13x.

The thing that makes the 45mm F1.2 stand out, though, is the price. At $470 it's less expensive than the 85mm F2.0 STM and significantly below the $2699 list price of the L-series 50mm F1.2L USM. If you want a lens hood to go with it, you'll need to pay an extra $70.

The Canon RF45 F1.2 STM will be available from December 2025.

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Press release:

Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Canon Unveils New EOS R6 Mark III Hybrid Powerhouse Camera and Compact RF45mm F1.2 STM Lens

MELVILLE, N.Y., November 6, 2025 — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of the EOS R6 Mark III full-frame mirrorless camera and the RF45mm F1.2 STM lens. The EOS R6 Mark III camera builds on Canon's renowned 5-series and 1-series legacy, delivering pro-level hybrid performance for advanced photographers, videographers, content creators, and hybrid enthusiasts shooting across portraits, events, wildlife, sports, and social media production. The RF45mm F1.2 STM lens introduces a compact, lightweight prime optic with outstanding f/1.2 performance, ideal for everyday shooting and creative expression.

Canon EOS R6 Mark III Camera Delivers Pro Performance in a Versatile Package

The EOS R6 Mark III camera combines high-resolution imaging, advanced video capabilities, and reliable design to empower hybrid creators.

Key features include:

• 32.5-megapixel full-frame sensor supporting up to 40fps electronic shutter shooting with 20 frames of pre-continuous shooting, and mechanical shutter/electronic first curtain at up to 12fps.
• CFexpress type B + SD card for improved hybrid shooting performance.
• Advanced video features including 7K 59.94p RAW Light recording, 4K 119.8p and Slow and Fast motion mode, and 7K 30p "Open Gate" video for increased vertical resolution, compositional flexibility, and post-production stabilization.
• Oversampled 4K 60p/30p recording (with 7K oversampling for 30p), Canon Log 2 with up to15 stops of dynamic range, waveform monitoring, Register People Priority and Focus Accel/Decel algorithms inspired by Cinema EOS C400 and C80 cameras for natural, professional autofocus behavior. As well as white balance and operational improvements when recording video.

This camera offers versatility for professionals and enthusiasts, from portrait, wedding and event shooters to birding and landscape photographers and emerging videographers transitioning from smartphones.

Canon RF45mm F1.2 STM Lens Designed to Redefine Compact f/1.2 Prime Performance

The RF45mm F1.2 STM is a 45mm standard prime lens designed for natural perspectives close to human vision, with a wider angle than traditional 50mm options. It's lightweight (approx. 346g) and compact build makes it easy to handle for portraits, snapshots, landscapes, and more-equivalent to approx. 72mm on APS-C bodies like the EOS R7 or R50 cameras.

Key features include:

• Wide f/1.2 aperture enabled by innovative PMo aspherical lenses and gear-type STM with magnetic detection, reducing size and weight compared to larger f/1.2 lenses
• Rich, three-dimensional bokeh with nine aperture blades for smooth, circular blur; digital lens optimizer corrects distortions for outstanding rendering
• Fixed rear-lens focusing system minimizes image quality shifts across distances; aperture range (f/1.2 to f/16) allows flexible depth control, faster shutters, and low-ISO shooting
• Enhanced compactness via fixed-length barrel and minimum focusing distance, delivering value and reliability for diverse applications

Availability

The Canon EOS R6 Mark III camera body only and kits with either the Canon RF24-105 F4 L IS USM, the RF24-105 F4-7.1 IS STM USM lens, or the Stop Motion Animation Firmware are expected to be available in November 2025, for an estimated retail price of $2,799.00, $4,049.00, $3,149.00 and $2,899.00 respectively*. The RF45mm F1.2 STM lens is expected to be available in December 2025, for an estimated retail price of $469.99*. For more information about Canon's latest innovations and products, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

Deep underground in a dark, sulfuric cave on the border between Albania and Greece, scientists have made an incredible discovery – a giant communal spider web spanning more than 100 square meters (1,000 sq ft), dense enough to resemble a living curtain, home to an estimated 110,000 spiders. In other words, an arachnophobe's living nightmare.

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Coffee lovers distraught by the closing of several hundred Starbucks locations worldwide may not be crying in their empty mugs much longer, if G&A Robot installs one of its all-in-one automated beverage vending machines in their city. The units are billed as a smart cafe in a box, and offer convenience and barista-quality hot/cold drinks with 24/7 access.

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One of the most memorable situations I've photographed was on a short flight with my husband on July 4th, 2016. He flew us from Centennial, Colorado, to Limon, Colorado, and on the way home, we were treated to an incredible sunset, plus the start of fireworks while in the air.
Photo: Abby Ferguson

Welcome back to another edition of our community-focused Question of the Week! For those unfamiliar, this series invites you to share your experiences and insights in response to photography-related questions. Thus far, we've primarily focused on the gear side of things. We asked about your process for buying new cameras and lenses, how you deal with defective lenses and your favorite local camera shops. That last one had some really great photographs of unique camera shops!

This time around, though, we're shifting focus. We want to know more about what you actually use that gear for. After all, the point of having a camera and lens is to take photographs, and we want to know about images you've created that stand out in your mind.

What's your most memorable photograph or situation you've photographed?

Photography can put us in positions to capture remarkable moments. For example, we recently shared photos from Dan Zafra, who had the rare experience of photographing red sprites above the Milky Way while in New Zealand. "I’ll never forget the adrenaline rush of seeing those first frames appear on my camera, realizing what I had captured," he said of the occasion. Many of us have likely had some similar feelings, even if it was on a smaller scale.

Unforgettable photographs don't have to be so dramatic, either. Sometimes it's quiet, unassuming moments that lead to memorable photographs. Or, at times, the situation you're in is more memorable than the photograph itself.

This week, we want to hear the stories behind your most memorable photographs or the most unforgettable situations you've photographed. Tell us what, where and who made it so memorable. We want to know why it was so special. Even better, share your image, too. Show us the scene and show off your work. Next week, we'll be highlighting some of our favorites in an article on the homepage of the site.

Click here to answer the Question of the Week

If you find 3D printers to be just a little too coldly futuristic, this contraption might be more to your liking. Scientists from Cornell University have created a machine that knits solid 3D objects out of nice old-timey conventional yarn.

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Category: 3D Printing, Manufacturing, Technology

Tags: Cornell University, Textile

You could be forgiven for thinking that this extraordinary building was dreamed up as some sort of alien megastructure for a sci-fi movie. However, the Yidan Center is very much real and is currently nearing completion.

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Category: Architecture, Technology

Tags: Building and Construction, Office, Zaha Hadid, Shenzhen, China, sustainable design

Image: DJI

It's been less than a year since DJI released the Osmo Mobile 7 (and 7P), and yet, the company has already announced its successor. The Osmo Mobile 8 is a subtle upgrade, but it brings a handful of new features such as 360-degree horizontal panning, Apple DockKit support and the ability to track cats and dogs.

The Osmo Mobile 8, like its predecessors, offers three-axis stabilization. However, it adds full 360-degree horizontal rotation, which is a first for the Osmo Mobile lineup. The full rotation capabilities will make it easier to create sweeping panoramic shots and full-circle follow videos.

Image: DJI

The new gimbal supports three different subject tracking methods, including another first for the Osmo series: support for Apple DockKit. Support for Apple's tracking technology enables subject tracking with the native iPhone camera app, as well as the 200 iOS apps that are compatible with it. Alternatively, the DJI Mimo app for iOS and Android offers DJI's proprietary ActiveTrack 7.0.1 tracking technology that can track people, pets or objects. The app uses both the wide-angle and telephoto lenses to follow a subject even in challenging situations, and it can even detect multiple subjects.

DJI also brought over support for its Multifunctional Module, which it introduced with the Osmo Mobile 7P, though with even more tracking modes. The little accessory is now capable of tracking dogs and cats in addition to humans, so that users can get epic videos of their pets. The module attaches magnetically to the gimbal and offers an integrated light with temperature and brightness controls. It also functions as a microphone receiver, supporting DJI's Mic 3, Mic 2, and Mic Mini, and has indicator lights to monitor tracking status.

The Multifunctional Module offers a light with brightness and temperature control and a tracking status indicator.
Image: DJI

The Osmo Mobile 8 reintroduces the side wheel that was first featured on the Osmo Mobile 6. DJI had nixed the wheel on the base Osmo Mobile 7 model, instead only offering it on the 7P. The rest of the Osmo Mobile 8 remains consistent. It has numerous on-handle buttons for faster control and offers an integrated tripod and a built-in extension rod. DJI promises 10 hours of battery life from the gimbal, and it can also charge your phone while you're recording.

Unfortunately for US customers, as with other DJI products this year, the Osmo Mobile 8 will not be officially available in the US. However, it is available globally starting today for £135 / €159.

Press release:

DJI Introduces Osmo Mobile 8 with Intelligent Subject Tracking

New Flagship Gimbal Features Apple DockKit Compatibility for Active Tracking and Seamless 360° Horizontal Pan Rotation

November 5, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Mobile 8 – allowing anyone with a smartphone to create cinematic footage. The latest generation of DJI's popular smartphone gimbal features a 360° horizontal pan rotation and ultra-comfortable grip for low-angle shooting capability, providing a new level of freedom and flexibility when shooting content on a smartphone. With intelligent subject tracking, the gimbal now allows creators to keep cats and dogs in addition to people in frame.

The Multifunctional Module includes a microphone receiver compatible with DJI Mic 3, DJI Mic 2 and DJI Mic Mini transmitters, enabling high-quality audio capture, as well as adjustable built-in lighting options1 for creative scenes. Finally, an integrated extension rod and tripod provides flexibility without the need for additional accessories.

Track Subjects Three Different Ways

Osmo Mobile 8 offers three different subject-tracking methods, bringing freedom of composition to creators. For the first time, Osmo Mobile users with iPhones2 can also track subjects using Apple DockKit, Apple's intelligent subject-tracking technology. This allows for subject tracking within the native iPhone camera app or any of the 200+ iOS applications compatible with Apple DockKit.

Supporting both iPhone and Android phones, the Osmo Mobile 8 Multifunctional Module is now able to track dogs and cats1 in addition to humans, making it possible to capture heartwarming moments with pets with little effort. Magnetically attached to the gimbal, the module's tracking capability works across the native camera and livestreaming apps, and excels in multi-person scenarios, responding steadily to keep up with the selected target.

Finally, the DJI Mimo app for iOS and Android enables ActiveTrack 7.0.1, DJI's proprietary
advanced tracking technology that can now track people, pets, or objects. With Dual Lens
Boost2, the app uses both a phone's wide-angle and telephoto lenses together to ensure the subject is never lost, no matter how fast the movement or how crowded the scene. Meanwhile, Smart Capture can detect multiple subjects and makes it easy to switch between subjects, even in a complicated environment.

The Power of the DJI OM Multifunctional Module

In addition to subject tracking, the Multifunctional Module also features a fill light with eight levels of brightness and eight levels of color temperature. Controlled by a side wheel, creators can easily create the desired lighting effect and mood for the scene. A microphone receiver compatible with DJI Mic 3, DJI Mic 2 and DJI Mic Mini transmitters1 is built into the module, providing crystal-clear sound for livestreams and vlogs.

The Multifunctional Module can be easily attached to the gimbal with a simple magnetic clip. It can be controlled using hand gestures to take photos, start or stop recording, activate tracking, or adjust a composition.

• Showing your palm to the module starts or stops intelligent tracking.
• Making a “V” gesture takes a photo. It can also start or stop video recording.
• Making a “Double L” gesture twice with two hands adjusts a subject's framing.

Getting the Shot

The Osmo Mobile 8 is the first Osmo Mobile generation to offer a pan axis that supports 360° horizontal rotation, capturing smooth panoramic photos and videos from any angle. The gimbal can lock onto moving subjects with intelligent tracking, and the unlimited 360° rotation provides seamless, engaging footage. The Osmo Mobile 8 also offers an ultra-comfortable grip that enables low-angle shots, complementing the gimbal's new ability to track pets and unlocking new creative perspectives.

Keeping Utility Front and Center

Osmo Mobile 8 utilizes DJI's seventh-generation, three-axis stabilization technology to provide consistent stability without compromising image quality. Creators can smoothly switch between the phone's front and rear cameras with the gimbal, making stories more dynamic and vivid. Three presses on the gimbal's trigger rotates the phone's rear camera to face the user to enable rear camera selfies, achieving seamless transitions between subjects and scenery at the same high resolution image quality. It features an integrated tripod and a built-in extension rod, expanding the field of view to include more friends, pets, or scenery.

Weighing 370g, the Osmo Mobile 8 offers up to 10 hours of operating time, and can even charge a phone – ideal for extended outdoor filming and livestreaming.

Price and Availability

DJI Osmo Mobile 8 is available to order from store.dji.com and authorized retail partners, with shipping starting today.

Osmo Mobile 8 retails for 135 GBP.

Accessories available include:

• DJI OM Magnetic Quick-Release Mount
• DJI Mic Mini Transmitter
• DJI Mic 2 Transmitter
• DJI Mic 3 Transmitter
• DJI OM Grip Tripod
• DJI OM 8 Tracking Kit

DJI Care Refresh

DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for
Osmo Mobile 8. Accidental damage is covered by the replacement service, including natural wear, collisions, and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.

DJI Care Refresh (1-Year Plan) includes up to 2 replacements in 1 year. DJI Care Refresh
(2-Year Plan) includes up to 4 replacements in 2 years. Other services of DJI Care Refresh
include official warranty, international warranty service and free shipping. For a full list of
details, please visit: https://www.dji.com/support/service/djicare-refresh

For more information, please refer to: https://www.dji.com/osmo-mobile-8

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.

2 For compatibility information, refer to the smartphone compatibility list on the official DJI
website.

By now, it’s pretty clear how successful the CB1000 Hornet has been for Honda. Not because of pure motorcycle sales, but because it has served as the ideal platform to base multiple other models on.

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Category: Motorcycles, Transport

Tags: Honda, Honda Motorcycles, Touring, Suzuki, Kawasaki

An innovative gel that forms a layer over teeth and then recruits calcium and phosphate ions from saliva to build new enamel has the potential to change dental treatment. To date, we don't have any way to regenerate the tough outer layer of enamel on our teeth as it erodes with age.

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Category: Body and Mind

Tags: University of Nottingham, Age-Related, Teeth, Regeneration, Regenerative Medicine, Oral hygiene, Dental

First Japan wants to make space sake and now China has been roasting New Orleans-style chicken wings and black pepper steaks in a specially made hot-air oven aboard its Tiangong space station, according to China's Global Times state news service.

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Category: Space, Science

Tags: Tiangong, China, Food

Victorinox has updated its massive Swiss Army knife lineup with a few compact, lightweight everyday carriers that put a modern spin on the classic multitool. The new Alox Refined Collection features a skeletonized version of Victorinox's anodic aluminum oxide scales, providing sure-gripping performance, ultralight carry and a unique look. The flagship of the three-knife series, the Synergy X brings nine handy tools to your pocket, including a straight blade, pair of screwdrivers and scissors.

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Category: Knives and Multitools, Gear, Outdoors

Tags: Swiss Army, Victorinox, Multitools, EDC, Everyday Carry

The all-new Walkabout is a different type of RV than we're used to from the folks at Keystone. It feels like a cross between the typical American travel trailer and a hardcore off-road Australian caravan. The split-personality rig is a rough-hewn, hard-nosed adventure support vehicle outside and an exceptionally comfortable and livable home-on-a-hitch inside. Both areas are built to take care of the smallest details so the entire family can just sit back, recreate, relax and enjoy the trip.

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Category: Camping Trailers, Adventure Vehicles, Outdoors

Tags: Caravan, Trailer, trailers, RV, Off-road, Camping, Outdoors and Camping

Now that Indian is functioning as an independent bikemaker after Polaris sold a major stake in the American company, there will be even more eyes on it, scrutinizing every move, every launch, and every motorcycle it puts out ... and the Sport Scout RT becomes the first bike in Indian Motorcycle's bold new adventure.

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Category: Motorcycles, Transport

Tags: Indian Motorcycles, Polaris, Cruisers, EICMA 2025, Harley Davidson, Honda Motorcycles, Triumph

Years of waiting could soon be over for Windows users who’ve long envied Apple’s Magic Trackpad. Hyper, a California-based innovator with 20 years in the tech industry, introduced the HyperSpace Trackpad Pro on Kickstarter last month. The fundraising goal was reached within minutes of launch, so this overlooked gap in the market may soon be filled.

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Category: Electronics, Consumer Tech, Technology

Tags: Computers, Trackpad, Kickstarter, Windows

Logo: PPA

The Professional Photographers of America (PPA) has announced the launch of PhotoVision, a new resource for photographers looking for educational content. The new subscription-based streaming platform is aimed at all levels and various disciplines, with updated videos and resources each week.

At the time of its launch, PPA's PhotoVision platform featured more than 2500 videos and 1700 articles. PPA will release new content weekly, so that number will only continue to grow. The videos range from short options, similar to YouTube Shorts, to long-form, step-by-step content and documentary-style stories. There are also curated playlists that offer multiple videos around a single topic.

A screenshot from the PPA PhotoVision website.

PPA says that PhotoVision is aimed at helping photographers at every stage of their professional and personal journey. As a result, it offers a broad range of articles and videos. That includes inspirational content, business-focused materials, on-set segments and tutorials on lighting, posing and more. PPA says it's meant to "nourish the educational, experiential and entertaining vision" of photographers.

The Professional Photographers of America (PPA) is a nonprofit association dedicated to supporting photographers. The PhotoVision platform is just the latest of its offerings, which already include equipment insurance, certification programs, business advice, contract templates, networking, legal advocacy and more.

PhotoVision is free for all new and existing PPA members. Alternatively, if you prefer not to become a PPA member, you can still access the full PhotoVision platform for $50 per year or $5 per month.

Press release:

Professional Photographers of America Launches PhotoVision, the World’s Largest Curated Streaming Platform for Photography Content

Immersive platform provides photographers of all skill levels with engaging videos, tutorials and more to elevate their craft and expand their business, with new content drops weekly

Professional Photographers of America (PPA), the world’s largest nonprofit photography association for professional photographers, today announces the launch of PhotoVision, a new streaming platform boasting 2,500+ videos and 1,700+ articles, with new content drops weekly, designed to educate photographers at every stage of their professional and personal journey.

PPA has been serving professional photographers since its formation in 1868, empowering and safeguarding pro photographers through insurance, certification, education and copyright protection offered through PPA membership. In 2024, PPA recognized the demand and need to elevate its offerings to members and engage new generations of part-time photographers, videographers, lifelong learners, content creators and photography enthusiasts through a platform like PhotoVision.

Investing more than 18 months of time and resources, PPA created what is now the world’s largest immersive streaming hub for expert-level instruction, tutorials, business insights and inspiring photography content. PhotoVision features smart, personalized learning with curated channels and intelligent searches that guide every user to the content that matters most to them. It will continuously nourish the educational, experiential and entertaining vision of every photographer’s journey.

"PhotoVision changes everything," says Mark Campbell, President, PPA. "For the first time, the photographic industry has a place to come together. It feels familiar the moment you arrive. It's inspirational. It's mesmerizing. It's a lot of fun!"

PhotoVision access is complimentary for all current PPA members. Non-members can activate a PhotoVision subscription for an annual fee of $49.99 or a monthly fee of $4.99 to access content that includes:

• Curated learning paths: Handpicked series so members can "build your business your own way"—from startup pricing to advanced lighting and sales.
• Multiple formats, one destination: Shorts for quick wins, step-by-step long-form classes and documentary stories that reveal the "why" behind the work.
• Trusted business education: Clear guidance on pricing, licensing, sales and sustainable studio operations—backed by PPA’s standards.
• Real-world access: Live demos, on-set/behind-the-scenes segments and working-pro walkthroughs that translate directly to client work.
• Weekly content updates: Browse thousands of resources and get fresh content delivered every week from photography experts.

Offering content for photographers of every skill level to learn, grow and pursue their passion, PhotoVision pairs practical ‘how-to’ education with the kind of inspiration that sustains a career.

"I'm so excited that professional photographers have a place they can come every single day to find inspiration, education and connection," says Angela Kurkian, Deputy CEO. "Through PhotoVision, we're able to share more information and stories than ever before, celebrating our diverse community, and the extraordinary ways that photography shapes how we see the world."

For more information about PhotoVision, visit PPA.com/PhotoVision.

Holy sun-repellant spray, Batman! Could injecting billions of kilograms of sunlight-dimming aerosols into the atmosphere save the planet from industrial climate destruction? Or is that just Joker-level insanity? A new Columbia Climate School report definitely suggests that caution is warranted.

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Category: Environment, Science

Tags: Climate Crisis, Columbia University

When you use DPReview links to buy products, the site may earn a commission. Photo: Richard Butler

The Fujifilm X-T30 III is a subtle refresh of the company's least expensive SLR-shaped X-mount mirroless camera. It sits above the rangefinder-styled X-M5, adding a viewfinder, and below the image stabilized X-S20, and shares its 26MP APS-C sized BSI CMOS sensor with all three models.

The update brings more advanced subject recognition autofocus, improved video capabilities and a Film Simulation dial, putting one of its key distinguishing features to the fore.

But how does that leave it fitting into the marketplace, particularly in the light of inflation and tariff led price increases? The Fujifilm X-T30 III retails for $1000, body-only or $1150 with a 13-33mm F3.5-6.3 OIS kit zoom.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 MSRP $1000,
$1150 w/ 13-33mm $1010,
$1150 w/
16-50mm $1100,
$1250 w/
18-45mm $1500.
$1600 w/
15-45mm

We're primarily going to compare it with the similarly-priced Nikon Z50II and Canon EOS R10, both also mirrorless cameras with unstabilized APS-C sensors. We'll also look at the more expensive X-S20, which is built from very similar components but with a different control system and image stablization.

And, although they don't really fit in the tables, we're going to include some detail about the OM System OM-5 II ($1200) and Sony a6400 ($1000) too.

Resolution

There's not much to choose between cameras in this class, in terms of resolution. At 26MP the Fujifilms have a few more megapixels then the EOS R10, but not to a degree that makes any real difference.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Resolution 26MP 21MP 24MP 26MP

There's a bit more of a gap to the 21MP Nikon and the 20MP OM-5 II, but it's still only about a 12% difference in linear resolution, so we wouldn't recommend selecting between these cameras on the basis of pixel count. All the current cameras use sensors that are modern enough that there's not a huge difference in performance (the move to BSI doesn't make a big difference to IQ in sensors this big).

Stabilization Photo: Mitchell Clark

None of the $1000 APS-C models from Fujifilm, Canon, Nikon or Sony includes in-camera stabilization.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Stabilization Lens only Lens only Lens only In-body
(up to 7EV)

All of them tend to come bundled with stabilized lenses, which means you can use slower shutter speeds without having to worry about hand shake, when you're using that lens. But you'll have to upgrade to a more expensive camera if you want an in-body stabilization system that tends to work better for video. The OM System OM-5 II is the least expensive option, while you'll need to spend a fair bit more again to get in-body stabilization and an APS-C-sized sensor.

Buy now:

$1099 at Amazon.com Continuous shooting and Autofocus Photo: Richard Butler

As comparatively lowly models in their respective ranges, none of these cameras is designed as an out-and-out action camera, and yet they all boast shooting rates (at least in their distortion and flicker prone e-shutter modes) that exceed those offered by professional sports cameras, not much more than a decade ago.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Cont. burst rate 8fps Mech
20fps Elec 11fps Mech
15fps Elec 15fps Mech
23fps Elec 8fps Mech
20fps Elec

None of these models has an especially deep buffer, so don't imagine any of these will perform well, pitch-side, but they'll do pretty well for capturing short bursts of movement.

The Nikon has the most reliable AF system here: tracking whatever you point it at pretty well. The Canon is a touch behind, but still very capable. All four models have subject recognition modes trained to identify and lock onto specific subjects, and if you're shooting one of these subjects, the performance gap between the Fujifilm and its peers definitely narrows.

The Sony is very good at general tracking and eye detection but has little subject recogniton beyond this. The OM-5 II is also limited to humans in terms of subject recognition and its tracking AF is well off the pace.

Viewfinder and screens Photo: Shaminder Dulai

There's not a lot to choose in this class in terms of viewfinders: they're all built around the same 2.36M dot OLED panels, with the optics mounted in front of them affecting how large the finder ends up looking. Nikon does the best job here, though its large viewfinder hump also making it the tallest camera here by some margin, as a consequence.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 EVF 2.36M dots
0.62x mag 2.36M dots
0.67x mag 2.36M dots
0.59x mag 2.36M dot
0.62x mag Rear screen 1.62 dots
3.0"
Tilt up/down 1.04M dots
3.2"
Fully-artic. 1.04M dots
3.0"
Fully-artic. 1.84 dots
3.0"
Fully-artic.

There's a bit more of a decision to be made when it comes to rear screens. The X-T30 III has the highest resolution screen, with its 900 x 600 pixel resolution, but it's also the only one that tilts up and down, rather than extending to the side and rotating.

The Nikon promises a slightly larger panel, but with slightly reduced 720 x 640 pixel res. The Canon offers this resolution and the smaller panel. It's a similar story with the OM-5 II: a 2.36M dot EVF with somewhat modest 0.5x magnification, and a 3.0" 1.04M dot fully articulated rear screen. The Sony has the largest viewfinder, at 0.7x magnification but also the lowest res rear screen: approximately 720 x 415 pixels in a 16:9 aspect ratio.

Video Photo: Richard Butler

Video is one of the areas that distinguishes between cameras at this price. All four of the main cameras we're looking at can shoot 10-bit footage, either as Log footage to maximise flexibility for color grading, or as HDR footage for playback on high dynamic range displays.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Video options 6.2K/30 open gate
4K/60 1.18x crop
4K/30 full-width 4K/60 1.44x crop
4K/30 full-width 4K/60 1.6x crops
4K/30 full-width 6.2K/30 open gate
4K/60 1.18x crop
4K/30 full-width Mic / 'phones? 2.5mm / Via USB adapter Yes / Yes Yes / No Yes / Yes

All these cameras boast pretty good specs, including the ability to capture 4K/60 if you can tolerate some degree of crop (though it makes capturing wide-angle footage harder and will tend to be noisier). The Nikon has the most dependable video autofocus in this group, and also lets you capture and monitor external audio without the need for adapters. Only the X-S20 has image stabilization, though, and even then it's not the smoothest of systems.

Both the OM-5 II and a6400 show their age or, at least, the age of their processors, by only being able to capture 8-bit video. This limits the flexibility of its Log footage (especially the more ambitious S-Log3 curve, and means it can't shoot true HDR footage.

OM System's in-body stabilization means the OM-5 II is an easier camera to shoot video with than most of the others here, but its autofocus undermines it, in this regard, so all of them will require a bit of work in one way or another.

Dimensions

The X-T30 III is the smallest of cameras here, by some margin, and also the lightest.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Dimensions 118 x 83 x 47mm 127 x 97 x 67mm 123 x 88 x 83mm 128 x 85 x 65mm Weight 378g 550g 429g 491g

There are some definite downsides to this: the X-T30 III has lots of external controls but also the least surface space to fit them on, so, perhaps unsurprisingly, it feels the most fiddly and cramped to operate.

The Nikon is the only camera in this group not to have an autofocus joystick; something that's also the case for the OM-5 II and a6400. And, while the Nikon's tracking AF makes up for this to an extent, we generally find it more engaging to be able to pre-position or move the AF point via a tactile control point.

Ergonomics are ultimately a matter of taste, but it's only really this omission that stops the Nikon being the standout camera, in this regard. For us, the Canon and the Nikon are the most comfortable of this cohort to shoot with.

Kit lenses Photo: Richard Butler

One of the biggest differences between the cameras in terms of real-world use isn't down to the cameras themselves at all: it's the lenses they come bundled with. A lot of users in this price bracket tend to primarily use these 'kit' zooms, so choosing the most flexible one makes a significant difference.

Fujifilm X-T30 III Nikon Z50II Canon EOS R10 Fujifilm X-S20 Default kit lens 13-33mm F3.5-6.3 OIS 16-50mm F3.5-6.3 VR 18-45mm F4.5-6.3 IS 15-45mm
F3.5-5.6 PZ In equivalent terms 20-51mm eF5.5-9.7 24-77mm eF5.5-9.7 29-73mm eF7.3-10.2 23-69mm
eF5.5-8.7

The X-T30 III comes with a retractable manual zoom that goes much wider than the ones offered by its peers, which is hugely useful, especially if you're used to shooting with the relatively wide angle lenses that smartphones tend to feature. The Nikon and X-S20's power zoom lenses perhaps offer the best balance between wide-angle capability and reach at the other end, but we've liked what we've seen of the new 13-33mm so far.

The OM-5 II's default 12-40mm F4.0 kit lens comes from the company's 'Pro' series and, as the branding implies, it's a rather more substantially built option than its peers. It has a constant F4.0 maximum aperture, so while it's a third of a stop darker in absolute terms and a whole stop darker in equivalent terms at the wide end, it's brighter by both metrics at the long end. And its 24-80mm equivalent range is pretty handy, too, though it takes the combined cost to $1600, $450 more than most of these other rivals.

Summary

The Film Simulation dial is one of the X-T30 III's changes, relative to its predecessor and also represents one of the camera's stand-out features, relative to its peers.

Photo: Richard Butler

The cost of an 'entry-level' camera has risen markedly in recent years. There are a couple of cameras for sale cheaper than these, but you really notice the corners that have been cut and the build quality that's been sacrificed. But if you can stretch to the $1000 mark, you have a choice of very capable models.

Buy now:

$1099 at Amazon.com

All these cameras offer excellent image quality, increasingly sophisticated autofocus and video capabilities that would have been unthinkable, quite recently. There are definitely factors to help you choose between them, whether that's the Fujifilm's attractive range of color modes, the provision of an AF joystick or the inclusion of a headphone socket for audio monitoring, but for the most part it's hard to go far wrong.

The Fujifilm X-T30 III is a very subtle refresh of its predecessor. We can't imagine many Mark II owners choosing to make the upgrade, but its specs are enough to keep it competitive against its immediate peers.

Read our intial impressions of the Fujifilm X-T30 III

War photography is incredibly demanding, requiring superb technical skills, a finely tuned kit and the ability to adapt and survive in harsh environments. Photojournalist Jonathan Alpeyrie knows this all too well, having spent more than 20 years covering major conflicts across the globe, including those in Ukraine, Iraq, Syria, Gaza and the international drug trade. In a recent video, Alpeyrie walked through his kit for assignments, while also sharing his experiences and insight into being a conflict photographer.

Alpeyrie said that he has been packing the same way for over 20 years, and his kit is straightforward: a camera, flak jacket, phone, bag and computer. These days, his gear includes the Canon EOS R camera, which he said he likes because it's discreet and allows him to look more like a tourist than anything else.

On the lens side, Alpeyrie recommends not skimping on quality. "The lens is where you want to spend your money. The body you can pick and choose," he explains in the video. His current lens of choice is the Canon EOS R 50mm F1.2L USM. He says the 50mm lens is the only one he uses right now, in part because the wide aperture is ideal for working in dark situations. It's also smaller than other lenses, which is helpful when you're taking cover from artillery fire. He says he has had larger lenses, such as 200mm or 300mm, break in these situations.

Beyond gear choices, Alpeyrie shares lots of valuable insights in the video. He touches on how he protects his camera and memory cards in dangerous places, the importance of knowing your camera and how to use manual settings, tips on framing and composition, and so much more. It's well worth a watch all the way through.