If you always wanted a DSLR but were intimidated by the plethora of cameras, lenses and accessories to choose from, then the Caira – an iPhone mirrorless camera attachment – could be your portal to bypassing all that decision-making.
Category: Photography, Consumer Tech, Technology
We're still reeling from this week's EICMA madness, and I noticed something astounding we didn't get around to showing you: Italjet's Roadster 400 scooter.
Category: Motorcycles, Transport
Tags: Italjet, Scooter, EICMA 2025
This week, Canon announced the EOS R6 III, a new entry-level camera that it says is aimed at both stills and video shooters. It features a 33MP full-frame FSI sensor that debuted in the cinema-focused EOS C50, but which is new to the consumer-focused mirrorless market.
We were able to spend some time shooting with the camera in Seattle and Los Angeles, to see how the sensor performs in a variety of situations. If you're more curious about the video side of things, we also shot our first look video with it, and it contains plenty of sample footage. You can watch it below.
Buy now:
Buy at AdoramaBuy at B&H Photo Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. First look videoA new study has revealed that Alzheimer's disease breaks apart nerves and blood vessels in fat tissue throughout the body. The finding could help explain the disease's ravages beyond mental impairment and offers hope for better patient care.
Category: Alzheimer's & Dementia, Brain Health, Body and Mind
Tags: Alzheimer's disease, Neuroscience, Cardiovascular disease, Houston Methodist Research Institute, metabolism
SanDisk's just released the tiniest 1-TB Type-C drive on the market today. It's like a stubby little dongle that you'd usually use as a wireless receiver for a mouse or game controller, and despite its diminutive size, it actually boasts pretty decent performance.
Category: Consumer Tech, Technology
Tags: SanDisk, Data Storage, Gadgets
Don't be fooled by that soft-looking down and pretty faces – woodpeckers are tough, tree-pounding beasts who simultaneous harden their whole bodies like a hammer and grunt as they drill away with force of up to 30 times their weight.
Tags: Brown University, Animal science, Wood, Birds, Behavior, Muscle, Breathing
It’s been a whole year since BMW teased the prototype of its F 450 GS. At this year’s EICMA, the much-anticipated mini-GS finally made its global debut, and drew plenty of oohs and aahs.
Category: Motorcycles, Transport
Tags: BMW, BMW Motorrad, EICMA 2025, Adventure Bikes, Off-road, Royal Enfield, CFMoto, KTM, Kawasaki, Honda Motorcycles
General Atomics has rolled out the latest iteration of its modular Gambit series of Collaborative Combat Aircraft (CCA), adapting the common-core airframe for air-to-ground missions while retaining its autonomous core capabilities.
Category: Military, Technology
Tags: General Atomics Aeronautical Systems, drones, Aircraft, UAV
I have to admit, my skating background was not with skateboards, but aggressive inline skates. Anyone remember Oxygen Argon 2.0? "Street" was my forte with some "vert" thrown in. In the mid to late 90s, I was sending 540 heel grabs from flat, 22 stair gaps, and 17 stair rails.
Category: Urban Transport, Transport
Tags: Electric Skateboards, Skateboard, Reviews
If you have a brain, and if you know others who do, then you know there’s a catastrophic catalogue of ways that our skull-socket electro-fat computers can disappoint their owners. From memory-loss to migraines, from depression to dementia, the brain is astonishingly inventive at decaying in ways that can turn many people’s existences into mental hell.
Category: Medical Devices, Medical Innovations, Body and Mind
Tags: Cornell University, Brain, Implant, Laser
As a bikemaker, what do you do when one of your most beloved motorcycles is being pulled back due to stringent emissions standards? You go ahead and make a modern replacement that embodies the same soul, but is better in every aspect. That’s Suzuki for you.
Category: Motorcycles, Transport
Tags: Suzuki, Touring, Crossover, EICMA 2025, Yamaha, Kawasaki, Triumph
Leica has announced a new addition to its Reporter design series with the Leica SL3 Reporter. As with other models in the special design lineup, the SL3 uses the classic dark green color and promises better durability.
Leica's Reporter design series consists of rugged, limited-edition versions of Leica cameras. It consists of the Q2 Reporter, Q2 Monochrom Reporter and SL2-S Reporter, with the SL3 becoming the fourth model in the lineup.
Image: LeicaThe SL3 Reporter features a scratch-resistant dark green finish, a popular option for Leica fans. It also uses an aramid fabric cover, a type of ultra-strong synthetic fiber known for its excellent strength-to-weight ratio, superb heat resistance and generally high durability. Kevlar, the personal protective equipment brand, is the most commonly known version of aramid. The SL3 already offers an IP54 rating, and this rugged material promises even better durability.
Leica also added a new trim with a unique texture on the SL3 Reporter. The company says it provides an improved grip. On the design front, the camera uses black controls and dark green paint. It lacks the red Leica logo, which Leica says "serves to emphasize the SL3 Reporter’s suitability for challenging working environments." Indeed, this design choice helps avoid drawing attention to the camera as an expensive item in sensitive situations.
Image: LeicaSpecs-wise, the SL3 Reporter is exactly the same as the original SL3. That includes a 60-megapixel BSI sensor, 5-axis in-body image stabilization, hybrid phase/contrast-detect autofocus and DCI 8K video.
The Leica SL3 Reporter is available for purchase now for $7995, which is $500 more than the current price of the SL3.
New: Leica SL3 ReporterA robust design variant of the mirrorless Leica full-frame system camera perfectly suited for the most demanding photographic requirements
Teaneck, November 6th, 2025 – Leica Camera AG is pleased to announce the launch of the Leica SL3 Reporter, a new addition to the company’s Reporter design series. This particularly robust version of the Leica SL3 represents the latest in a long line of specially developed Leica cameras. The Leica SL3 Reporter is equipped with features that have been specifically designed for the harsh conditions of reportage and press photography. This enables maximum precision even under the most adverse shooting conditions. The product combines maximum functionality and reliability with a unique camera design that is both understated and striking.
The Leica SL3 Reporter features a particularly scratch-resistant dark green finish and an aramid fabric cover, which provides additional protection against abrasion and environmental influences. Furthermore, the special trim, with its unique texture, also offers significantly improved grip. This ensures enhanced stability when taking photographs and filming. Over time, the trim develops a unique patina that reflects the traces of its photographic journey and the character of a true reportage camera. The distinctive design is characterized by a combination of dark-green paintwork with black control elements, and the absence of the red Leica logo, which serves to emphasize the SL3 Reporter’s suitability for challenging working environments.
In terms of its technical specifications, the design variant corresponds to the Leica SL3 series model. This model combines state-of-the-art technology with outstanding image quality of up to 60 megapixels, precise autofocus, premium materials, and “Made in Germany” manufacturing quality. A fast connection to the Leica FOTOS App facilitates a seamless professional workflow.
The Leica SL3 Reporter is now available worldwide in all Leica Stores, the Leica Online Store, and specialist retailers at a price of $7,995.00.
The winners of the 16th Epson International Pano Awards have been announced, featuring images that showcase vast landscapes and architectural marvels. The 2025 competition drew more than 4,500 entries by hundreds of professional and amateur photographers around the world. Participants could enter into the professional or amateur categories, with subcategories for Nature/Landscape and Built Environment/Architecture.
Beyond prizes for each category, the contest also features special awards. These include the Southeast Asia Open Photographer of the Year, chosen by the executive team at Epson Southeast Asia. Similarly, the Epson Digital Art Prize is decided by the executive team at Epson Australia, and to be considered, entries must show excellence in digital post-processing and photographic technique.
The Raw Planet Award is for the highest scoring stitched image in the Open competition. The image must use limited software processing except stitching for this award. The Curator's Award is selected by curator David Evans for his favorite image in the competition.
Images submitted to the contest use a 2:1 aspect ratio to fit the accepted definition of panorama. Entries can be stitched or cropped from multiple or single exposures, and images may be taken at any focal length. Post-production is allowed, but the contest specifies that excessive manipulation may result in a lower score if it isn't well executed. AI-generated images and elements are not allowed.
You can see the top 100 winners of each category at the Pano Awards website.
Image by Alex Wides.
Open Photographer of the YearPhotographer: Alex Wides
Country: Italy
Award(s): Open Photographer of the Year, First Place Nature/Landscape Category
Image title: Last Fireworks
Image location: Algeria
Caption: 360° panorama captured in the Algerian Desert
The 10-day nomad trip to Algeria turned out to be one of the best adventures ever.
After many nights crossing dunes and climbing rocky ridges, I reached a remote viewpoint on the last evening of this amazing expedition.
As the sun went down, the sky literally exploded... layer after layer of clouds lit up, painting the desert with fire and gold.
Using my Sony A7 IV with a fisheye lens on a tripod, I captured a full multi-exposure sequence at f/8 and ISO 100, rotating carefully around the nodal point to create a seamless 360° panorama.
That sunset felt like a farewell, the last blaze of light closing with "fireworks" one of the most meaningful journeys I’ve ever taken.
alexwides.com
Instagram: @alexwides_panoramas
Facebook: facebook.com/alexwidespanoramics/
Photographer: Vitaly Golovatyuk
Country: China
Award(s): Open Runner-Up, First Place Built Environment Category, Highest Scoring Aerial Image and Highest Scoring Vertical Image
Image title: Not A Tiny HK Island
Image location: Hong Kong Island
Caption: This aerial photograph was captured from Victoria Peak, Hong Kong, at sunset. As a technical experiment, I manually shot a 48-image panorama using a DJI Phantom 3 Pro.
The final artwork is the result of meticulously stitching and inverting the composite, transforming the city and sky into a mesmerizing, abstract landscape.
Upon its initial release, the image captivated a global audience, overwhelming my Instagram with an unexpected and passionate response.
panvelvet.com
IG @panvelvet
Photographer: William Chua
Country: Singapore
Award(s): Southeast Asia Open Photographer of the Year
Image title: Wildebeest Migration in Kenya
Image location: Kenya
Caption: I’ve been to many places across Africa, but Kenya still remains one of my favourites. Although I’ve witnessed the wildebeest migration countless times, it never ceases to amaze me. Last year, I found myself back in Kenya once again. Photographing the migration is never easy — it demands lots of patience and of cos a touch of luck.
After several hours of waiting, we finally saw the wildebeests moving. It’s always a breathtaking moment to witness the crossing. As a photographer, you have to pace yourself, stay calm amid the chaos, and think carefully about how to frame the story unfolds before you. For this image, what caught my attention was a lone wildebeest turning back amidst the frenzy. In that instant, I knew that was the shot I wanted.
Instagram @wildlife_photo_by_william_chua and @william_chua_photography
facebook.com/williamchuaphotography
tiktok.com/@williamchuaphotography
Photographer: Kevin Nyun
Country: United States
Award(s): Amateur Photographer of the Year, First Place Nature/Landscape Category
Image title: The Altiplano Landscape
Image location: Altiplano, Bolivia
Caption: This image was from my last morning in the Bolivia highland. We have been unlucky with the weather for three straight days and the clouds finally cleared at that moment. Bolivia highland, to my knowledge, is less explored due to the difficulty of reaching remote locations and the high altitude of almost 5000 meters. On top of that, snow was quite early this year, and I was in awe seeing the red dessert mixed with fresh white powder. I will never know when I will get to have a moment like this in the future, so I quickly launched my drone and used the pano tool to compose this image. The total number of images in this composition is 21 images single exposure stitched in Lightroom and processed through Lightroom and Photoshop.
Winner Amateur Built Environment / ArchitecturePhotographer: Pedro Nogales
Country: Spain
Award(s): Amateur Runner-Up, First Place Built Environment Category
Image title: Through the palette
Image location: Madrid (Spain)
Caption: This photograph depicts one of the four towers that shape the financial district of the Spanish capital. More specifically, it's the PwC Tower, which is the third highest skyscraper in Spain (236 m or 775 ft). Its surroundings merge with garden areas, which connect the spaces between these concrete giants.
The skyscraper peaks through an opening that inevitably brings a painter's palette to our minds, while inviting us to imagine a world created before being depicted. Within this frame, the tower ascends into the sky, manifesting the modernity and avant-garde design of this architectonic complex.
Certainly, it's the perfect place for a minimalist architecture photograph.
VR / 360 Award*The full immersive image is viewable at the Pano Awards website.
Photographer: Cristoph Simon
Country: Germany
Award: VR/360 winner
Image title: Hverarönd Aurora
Image location: Hverarönd geothermal area, Iceland
Caption: This panorama was taken on a freezing March night in the high-temperature region of Hverarönd in northern Iceland. It was an awe-inspiring experience to stand alone in this surreal lunar landscape, surrounded by the hissing and sulphurous scent of the solfataras and fumaroles, as the delicate green of a single aurora arc transformed into a powerful substorm within minutes, and the Northern Lights danced above and around me in intense colors.
To achieve the highest possible image quality despite the wide aperture, I photographed a relatively tight pattern with large overlaps (2x6+N+Z) with a 15mm fisheye lens. It was important to be quick to minimize stitching errors between the individual images. On the one hand, the aurora borealis was noticeably moving, and on the other, the vapor columns of the solfataras were constantly rotating due to the constantly changing wind direction. Despite the somewhat challenging conditions, I was able to capture several 360° images during this overwhelming light show. An experience of a lifetime!
www.360-grad-sachsen.de
Blog www.360-grad-sachsen.de/panorama-blog
Facebook www.facebook.com/360GradSachsen and www.facebook.com/christoph.simon.10
Photographer: Daniel Viñé Garcia
Country: Spain
Award(s): Epson Digital Art Prize, third place Open Built Environment Category
Image title: Tides of Tradition
Image location: Hoi An, Vietnam
Caption: In this coastal village of Vietnam, survival is woven in silence. These women, working in morning shade and salt-laden air, are the unseen guardians of sustenance. The nets they mend are not mere tools, but lifelines binding sea and community together.
Their anonymity turns them from individuals into archetypes — the enduring backbone of a tradition that predates memory. What the ocean tears apart, they restore, ensuring that each tide can return with promise. They do not face the waves, yet the sea depends on their hands.
danielvgphoto.com
Instagram @danielvgphoto
Photographer: Chris Byrne
Country: United States
Award(s): Curators Award
Image title: Elysium
Image location: Mount Rainier, Washington
Caption: During the late summer months of August the high alpine areas of Mount Rainier in Washington come alive with wildflowers. Starting at the lower elevations and then working into bloom at higher elevations as the days go on. This particular year I had quite a bit of time to explore this park and made three or four hikes on separate occasions up to this location with my main purpose to photograph a tarn that had a perfect reflection of this glorious mountain. And each time that I did that hike, this field of lupine just kept getting better and better. On my final trek up there for the season with a very good friend of mine, we were all alone breathing in the fresh mountain air and listening to the birds watching this scene of a perfect meadow and mountain unfold before our eyes. As some storm clouds started blowing out to the east I knew that there would be a gap on the horizon and purposefully waited until the very last rays of the sun gave the field of flowers that beautiful side and back light for the depth that I wanted in the image. Just a minute after pressing the shutter the light and drama was gone.
chrisbyrnephotography.com
instagram @chrisbyrnephotography
www.facebook.com/ChrisByrnePhoto
Photographer: Daniel Viñé Garcia
Country: Spain
Award(s): RAW Planet Award
Image title: Cathedral of Shadows
Image location: Hanksville, Utah
Caption: The day I captured this image, the desert felt endless. During our journey through the American Southwest, one place had always fascinated me—Factory Butte, an isolated monolith surrounded by a labyrinth of badlands. I launched my drone into the still evening air, exploring the textures and lines carved by centuries of erosion. Then, just as the sun dipped low, the summit cast its immense shadow across the land. I realized I was witnessing a fleeting alignment of light and form, so I captured a full 360° panorama—revealing the sun blazing on one side, the vast shadow stretching on the other, and the raw, timeless silence of Utah in between.
danielvgphoto.com
Instagram @danielvgphoto
Photographer: Marina Cano
Country: Spain
Image title: Sacred Nature
Image location: Lake Nakuru, Kenya
Second Place Open Built EnvironmentPhotographer: Peter Li
Country: Great Britain
Image title: Ambisnaena
Image location: Musei Vaticani, Vatican City
Second Place Amateur Nature / LandscapePhotographer: Luis Cajete
Country: Spain
Image title: The Wave
Image location: Arizona (USA)
Second Place Amateur Open Built EnvironmentPhotographer: Agnes Anna Sadowski
Country: Germany
Image title: Great Wall
Image location: China
Third Place Open Nature / LandscapePhotographer: Alex Wides
Country: Italy
Image title: Jackpot
Image location: Rago National Park, Norway
Caption: 360° panorama captured in Northern Norway
I first discovered this location about four years ago through a photo that completely captivated me... a suspended lake spilling into a valley, where an epic river carved a perfect serpent of water through the landscape. I told myself: one day, I have to photograph this place.
In 2022 I passed not far from it, but my work took the Lofoten Islands and I missed the chance, for two more years the dream remained on hold.
In the summer of 2024 I was finally close again, but the weather was brutal... ten straight days with no clear window to hike up.
After finishing my tours on Senja Island, I decided to try once more. The first attempt gave me only fog, grey skies, and disappointment. Still, I couldn’t give up. The next evening, I hiked back up with fresh supplies, hoping for a good weather window.
When I opened the tent… "Jackpot".
The sky exploded in a spectacular half hour of Northern Lights. I captured the full 360° panorama using a Sony A7 IV with a fisheye lens at f/3.5, for 4 seconds, ISO 16000... This was a perfect reward after years of waiting. In that moment, everything came together: the place, the light, my satisfaction.
This is Norway... tough, unpredictable, but when it gives, it gives in style.
Third Place Amateur Nature / LandscapePhotographer: Julio Castro Pardo
Country: Spain
Image title: Alien Throne
Image location: Valley of Dreams, New Mexico (USA)
Third Place Amateur Open Built EnvironmentPhotographer: Florian Kriechbaumer
Country: UAE
Image title: Architectural Playground
Image location: Baku, Azerbaijan
A new poll commissioned by the American Psychological Association (APA) has shed light on a disturbing trend among residents in the US. An increased sense of division is leading to a cascade of other negative effects.
Category: Society & Community, Wellness and Healthy Living, Body and Mind
Tags: Loneliness, Social isolation, Artificial Intelligence, Information, American Psychological Association, Stress
Datacolor, a color management leader, has announced a SpyderPro software update with some surprising changes. The company has introduced the ability to use its Device Preview tool to export files, including Raws, to a range of file types and color spaces. The platform also allows users to add Content Credentials, expanding support for C2PA.
Datacolor introduced its Device Preview feature last year in response to more people exclusively sharing work digitally instead of via print. It gave users the ability to see what their images would look like on a range of different displays, including phones, tablets and desktops. It was fairly limited, though, and the company says it's now rebuilt Device Preview from the ground up, bringing more powerful features to the tool.
Device Preview now supports file exports, side-by-side comparison, zooming, sampling, Content Credentials and more.The most substantial change is that Device Preview Plus now allows users to process and export Raw files from any camera, including iPhone formats and DNGs. It also supports exports of other common file types, with destination file types covering all the expected options, such as TIFF, JPEG and more. Users can also assign color spaces, with support for the increasingly common P3 option.
You can zoom in to examine fine details in the new Device Preview.Users can view side-by-side comparisons of the original and how it will appear on a given device, which can be narrowed down to specific phone and tablet models. It also allows for pixel sampling to see a high-res version even when zoomed in. And it offers batch conversion so that users can export thousands of files at once.
The other major update is that Datacolor has partnered with C2PA to add support for Content Credentials in Device Preview. Users can now choose to embed Content Credentials at the time of export, adding key metadata to show provenance. For now, it provides the option to add a name and website, but Heath Barber, Director of Product Management, says that there are plans to add social media links down the road, too.
The move to add Content Credentials comes at a time when more devices and applications are expanding support for the initiative. "It's going to go into everything that we call the internet; we're just at the very beginning of it," explained Barber. "We wanted to make sure we get ahead of it and incorporate it into a tool because it makes sense, not because it was cool."
You can now add Content Credentials in Datacolor's Device Preview.It makes sense to embed credentials early in the workflow, as it provides a more complete audit trail of any changes made to an image. Currently, cameras that incorporate Content Credentials only offer support for select newsrooms through a paid license. Datacolor's software opens that up to general users, and although it's not at the time of capture, it is early on in a photographer's workflow. That means more history can be captured when using Content Credentials.
For now, Barber says that Datacolor sees the Device Preview workflow being ideal for photographers who aren't doing heavy editing. It serves as an option for users to export files that are optimized to look nice on a wide range of displays and have embedded Content Credentials, without requiring a subscription to editing software. Eventually, though, the company plans to offer a more complete, integrated workflow with other programs.
The Datacolor SpyderPro software update is now available for free to current SpyderPro users. Spyder, SpyderExpress, SpyderX and Spyder X2 owners can upgrade at a discounted price. You can also buy SpyderPro with the latest software for $269.
Press release:
Datacolor Launches New SpyderPro Software: A Leap Forward in Display CalibrationLAWRENCEVILLE, N.J. – November 6, 2025 – Datacolor is redefining what a calibration tool can be with the all-new SpyderPro software. More than just flawless color accuracy in under 90 seconds, SpyderPro redefines display calibration with groundbreaking workflow tools that transform how creators work.
SpyderPro now supports ultra-bright displays up to 12,000 nits (OLED, QD-OLED, mini-LED, Apple Liquid Retina XDR and more) and includes powerful new features:
"SpyderPro is more than a calibration tool, it’s a workflow revolution," said Heath Barber, Director of Product Management. "It helps creators work smarter and share with confidence."
The upgrade is free for current SpyderPro users. Owners of Spyder, SpyderExpress, SpyderX, and Spyder X2 can upgrade at a discounted price. SpyderPro with the latest software release, is available now for $269 USD/$379 CAD at Datacolor.com, Amazon, and authorized retailers. For more information, visit: datacolor.com/spyderpro
Backcountry Tiny Homes' latest model, the Beachcomber tiny house, pushes the limits of small living. Designed for one or two people, it features a remarkably roomy and storage-packed interior that's closer to an apartment on wheels than many traditional tiny houses.
Category: Tiny Houses, Outdoors
Tags: Building and Construction, Tiny Footprint, House, Home, Micro-House
You don't often see MV Agusta announce back-to-back bikes in a matter of just a few days. Following the reveal of the Brutale 800 this past week, the ex-Pierer Mobility-owned brand has unveiled the latest naked motorcycle in its Brutale lineup.
Category: Motorcycles, Transport
Tags: MV Agusta, EICMA 2025, Naked bike
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 specificationsThe 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:Buy now:
Buy at AdoramaBuy at B&H Photo What's new? New sensorThe 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 portsThe 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 burstDespite 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 videoThe 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 UpgradesLooking 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 contextThe 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 / £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.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)
131 x 96 x 80mm
(5.3 x 3.8 x 3.1")
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 HandlingThe 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 viewfinderThe 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.
PortsThe 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.
BatteryThe 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 modesWhile 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 cropBoth 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 shutterThe 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" 14.3msThe 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.
WorkflowCanon 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 ImpressionsBy 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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Buy at AdoramaBuy at B&H Photo Sample GalleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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.
Buy now:
Buy at AdoramaBuy at B&H PhotoIt'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 pricingIt'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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Buy at AdoramaBuy at B&H Photo Canon RF45 F1.2 STM sample GalleryWith thanks to Lensrentals for the loan of the Canon EOS R5 II used for this gallery.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 LensMELVILLE, 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 PackageThe EOS R6 Mark III camera combines high-resolution imaging, advanced video capabilities, and reliable design to empower hybrid creators.
Key features include:
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 PerformanceThe 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:
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.
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Tags: Spiders, Cave, Sulfur, Ecosystem, toxic, Animal science, Evolution
