Can a camera really be ‘perfect’?

It's possible that I got carried away slightly when I said the A7R VI “had no weaknesses”, but after weeks testing the full-frame mirrorless camera across landscape, portrait and wildlife photography, I had no doubt in my mind that it deserved a perfect 5-star rating.

I’ve been reviewing cameras for almost two decades, and the A7R VI genuinely feels like peak camera. In my A7R VI review, I was even compelled to say “Sony can stop making cameras now.”

First up, I must point to the new sensor, which had an admittedly modest bump in pixels from the already class-leading A7R V’s 61MP sensor, to 66.8MP. But that’s not the exciting part about this sensor — it’s also a ‘stacked’ type with a faster read-out speed.

Faster read-out speeds can improve a camera’s performance in multiple ways, not least by reducing rolling shutter (an ugly distortion effect that appears when recording video and taking photos of high-speed subjects).

For me, I preferred having the smaller bump in resolution and a greater emphasis on speed, as opposed to an even bigger bump in resolution but no speed improvement. The A7R VI is a powerful all-rounder, as opposed to a pure pixel monster.

The camera packs Sony’s Bionz XR 2 processor, which combines two chips, including one that’s tasked with subject-detection autofocus. Whether I was photographing small birds or large mammals in a nature reserve, or taking portraits, the A7R VI never skipped a beat.

Then there’s the camera’s handling. Historically, for me Sony's design and user experience haven't matched those of other leading mirrorless camera brands — I’m a sucker for Nikon in particular. But the A7R VI is spectacularly well designed.

There’s a tilt-and-flip touchscreen, meaning the screen can be pulled out and used as a tilt screen for waist-level shooting, or flipped out and rotated for selfies — traditionally you’d have to pick either / or (or have neither). It’s the most versatile design on the market, and one which you can also find on the latest Lumix S1 II cameras. If I had one wish, it would be that Sony increased the size of its 3-inch display in the future, even if only to 3.2-inches like Nikon.

The viewfinder is big, bright and highly detailed class-leading 9.36m-dot display, while the button layout makes perfect sense, and the camera’s grip is nice and deep and comfortable to hold.

Housed inside the grip is an all-new battery — Sony’s first for 10 years since the legendary NP-FZ100. The new unit has a higher capacity, and increases shot life by 20%; not bad, considering the previous battery already delivered class-leading power.

The downside to the new battery is that it’s not forwards / backwards compatible with the NP-FZ100, so upgraders are going to have to splash out on additional batteries should they need them.

Video specs are decent, though arguably not as strong as those of some lower-resolution rival cameras. For example, Sony again omitted open-gate recording (this would finally appear later in the yet-to-go-on-sale FX5 cinema camera).

But if photography is your beat, and you need a high-resolution sensor with huge scope for cropping — the A7R VI’s Super 35 (APS-C / 1.5x crop) mode is still a healthy 28MP — and don’t need the absolute top speed and buffer performance of cameras like the A9 III and A1 II, there really is no better camera.

The A7R VI was so good, in fact, that it put the (much) pricier A1 II’s position in doubt, given that it can do 90% of what that camera can, while boasting a higher-resolution sensor.

I reviewed some fabulous cameras in 2026, but my absolute favorite was without doubt the A7R VI — it’s the camera I wish I owned, along with some of Sony’s spectacular recent pro GM lenses. It was the crowning achievement for Sony in a year in which it also scooped our Brand of the Year award, and comfortably maintained its #2 market position behind Canon.

Sony A7R VI image gallery

It's also been a really difficult year in tech, though, due to the component crisis and rising prices across nearly all products. In the middle of that tension, it only makes sense for us to find out which companies navigated the challenges best by asking the community of tech lovers out there — and so here are the first TechRadar Readers' Choice Awards.

The results are in, so below we've listed the TechRadar Readers' Choice Awards 2026 winners winners in every category, all 100% voted by you!

Phones & tablets

Phone of the Year

Phone Brand of the Year

Phones Innovation of the Year

Best Value Phone

Best Mid-Range Phone

Best Folding Phone

Best Flip Phone

Best Camera Phone

Best Gaming Phone

Best AI Phone

Best Phone Accessory

Best Tablet

Best eReader

Cameras & drones

Camera of the Year

Camera Brand of the Year

Camera Innovation of the Year

Best Beginner Camera

Best Mid-range camera

Best Professional Camera

Best Compact and Instant Camera

Best Action and Vlogging Camera

Best Camera Lens

Best camera accessory

Best drone

Computing

Computing Brand of the Year

Best Computing Innovation

Best Value Laptop

Best AI Laptop

Best Gaming Laptop

Best PC Gaming Handheld

Best Gaming Keyboard

Best Gaming Monitor

Best Gaming Mouse

Gaming

Gaming Device of the Year

Gaming Brand of the Year

Gaming Innovation of the Year

Best Console Accessory

Best Gaming Service

Best Gaming Controller

Best Gaming Headset

Best Gaming Chair

TV & home theater

TV of the year

Home Entertainment Brand of the Year

Home Entertainment Innovation of the Year

Best Gaming TV

Best TV for Sound

Best OLED TV

Best mini-LED TV

Best Value TV

Best Projector

Best Soundbar

Best Wireless Home Theater Speakers

Streaming

Streaming Service of the Year

Best Streaming Service for Movies

Best Streaming Service for Documentaries

Best Streaming Service for TV Series

Best Free Streaming Service of the Year

Audio

Headphones of the Year

Audio Brand of the Year

Audio Innovation of the Year

Best Wireless Headphones

Best Wireless Earbuds

Best Open Earbuds

Best Value Headphones

Best Value Earbuds

Best Value Open Earbuds

Best Wired Headphones

Best Wired Earbuds

Best Bluetooth Speaker

Best Wireless Speaker

Best Portable Audio Player

Best Turntable

Best DAC

Best Stereo Speakers

Health & Fitness tech

Health and Fitness Device of the Year

Health & Fitness Brand of the Year

Health and Fitness Innovation of the Year

Best Smartwatch

Best Running Watch

Best Fitness Tracker

Best Smart Ring

Best Electric Toothbrush

Best Connected Fitness Tech

Home tech

Home Device of the Year

Home Tech Brand of the Year

Home Tech Innovation of the Year

Best Home Light Tech

Best Home Security Device

Best Robot Vacuum

Best Vacuum

Best Air Fryer

Best Coffee Machine

Best Value Coffee Machine

Best Fan

This tech has delivered reliable and snappy autofocus in recent years — if the two images on each photodiode line up perfectly, the image is in focus, if they don’t line up then the camera knows which direction to move the autofocus motor to rapidly lock on.

The new Dual Pixel 3D feature can be used to create immersive three-dimensional images via Canon’s new Dual Pixel 3D Converter app which was released in October.

While launched in tandem with the hotly-anticipated Canon EOS R8 Mark II on September 16 — a full-frame which makes use of the new feature — it’s good news for owners like myself of any Canon EOS mirrorless camera with Dual Pixel AF, stretching back to older generation models such as the EOS R5 and EOS R6 Mark II, which will be able to benefit without a firmware update (although updating the firmware is always a good idea to stay up date with the latest features and bug fixes).

I downloaded the Canon Dual Pixel 3D Converter app to put it through its paces — here’s everything you need to know to get started…

How to take photos for Canon DP3D

To begin, you’ll need a Canon EOS camera with Dual Pixel AF. It’s safe to say if you own one of Canon’s interchangeable lens mirrorless cameras in recent years, then your camera will likely feature Dual Pixel AF and be able to make use of this new tech.

This is great news for users of older Canon mirrorless cameras like myself as my older EOS R5 and previous generation Canon EOS R6 Mark II will still be able to make full use of this brand-new technology.

Your camera will, however, also need to be paired with one of the compatible Canon RF lenses. The list goes beyond specialist Canon RF 5.2mm F2.8L Dual Fisheye or RF-S 3.9mm F3.5 Dual Fisheye, but it is a little limited and also won't currently work with older EF or EF-S glass. We published a full list of compatible Canon cameras and lenses that you can use to enjoy this new technology when it was first announced.

Canon says, “Specific shooting conditions and techniques are necessary to generate accurate depth information to eliminate blind spots, allow for the required depth of field, subject and background separation, subject depth and surface texture.”

In my experience the software works best when your subject is taken on a clean background (no bokeh) and without too many blind spots which make it harder for the software to create its 3D effect.

You also want an object that’s relatively flat with not too much depth; little bumps are fine such as small pieces of fruit on a tart, but large peaks in depth will cause more significant issues and make the effect much more noticeable and fake-looking.

Two of the compatible lenses Canon lists are the Canon RF 100mm f2.8L Macro IS USM and Canon RF 35mm f1.8 IS Macro STM, both of which are macro lenses. Yet, when I shot with both of these I later got an alert in DP3D warning me for shooting too close to my subject! The result still turned out fine, though.

To use the new software you’ll need to make sure you’re shooting not only in the RAW format, but Canon's Dual Pixel RAW (see above). This setting was found in the very first camera menu on my Canon EOS R6 Mark II.

Note that shooting Dual Pixel RAW will produce files roughly twice the size, take longer to write to your memory card, and can't be taken when using the electronic shutter.

Alongside 3D, Dual Pixel RAW can be useful for correcting minor parallax error, shifting bokeh or focus and reducing flare, but if you don't intend to utilize these capabilities within Canon's DPP, I would suggest turning it off when you don't need it to avoid compromizing the camera's performance.

Make sure your subject and focal point are in focus and that your shutter speed is fast enough to shoot handheld – if you’re in doubt shoot on a tripod. You’ll also want to make sure your exposure is correct so that the image isn’t too bright or dark. Canon recommends you don’t close the aperture down past f/5.6 and also keep the camera's sensitivity under ISO 1600 – a warning sign will be displayed on your image when you import it into DP3D otherwise and you won’t get optimal 3D results.

Installing the Canon DP3D app on Windows 11

With the image taken it’s time to open up the new Canon Dual Pixel 3D Converter app, which is currently only available for Windows PC running the latest Windows 11 operating system. Read our guide on How to plan a smooth Windows 10 to Windows 11 migration.

Canon also added “The application will initially be available free of charge”, though specifications and terms of use may change in the future – in other words, it’s initially free but you might need to pay to use it in the future.

When you're up and running with Windows 11 you’ll be able to run the installation wizard which can be downloaded from Canon’s site. Make sure that once downloaded you extract the ZIP file and then double-click the DP3dInstaller-W1.0.0.13.exe file from the unzipped folder to begin the installation.

Now you’ll need to choose which area you live in - you have the options: USA, Canada, Latin America, Europe, Middle East, Africa, Asia and Oceania. In the following screen you can choose the country you live in and also select your language. Once you’ve ticked the box to accept the license agreement you can hit next which takes you to the final setup screen, click Install here.

It’s also worth noting at the bottom of the same Canon site, you can download five sample images made up of a mix of food and flowers which you can play around with if you are yet to shoot with Dual Pixel RAW enabled, or perhaps you don’t own a Canon EOS mirrorless camera and what to see what all the fuss is about. Note, the sample files are downloaded as a DP3D _Sample.zip file and you’ll need to extract these files by right-clicking on the folder and choosing Extract before you can use these images in DP3D.

Creating 3D images in the DP3D app

The DP3D app allows users to fine-tune the degree of depth, making a more pronounced 3D effect or a more subtle ‘flat’ appearance. The technology also makes it easy to isolate your subject and remove or replace the background before outputting a 3D model or stereoscopic photo.

Dual Pixel RAW files and supported Canon EOS R8 Mark II JPEGs contain depth information derived from the slightly different views captured by the two photodiodes on each pixel. Using proprietary algorithms, Canon converts this phase-difference information into 3D shape data, which is combined with high-quality image data captured by selected EOS cameras as surface textures to create realistic and detailed 3D models.

Once you’ve loaded up DP3D you’ll need to click the folder icon at the top of the main window and then navigate to the folder where you’ve saved your Dual Pixel RAW files.

You have two main options – either create a 3D model which you can edit further in a 3D editor such as Blender, or you can create a Preview which creates a very short video with limited options, essentially doing a basic pan from left to right to show off the 3D depth effect. You also have options here to change the background, add a foreground and frame. You can also choose the quality of the video when you click Export Preview. Here you can also set the quality to High, Medium or Low quality (18, 8 or 4 Mbps), choose your own filename and where you want to save the video.

However, I found those options rather limiting within DP3D so I would instead click Export 3D Model where you’ll have the choice between OBJ and GLB files to edit further in your 3D editor of choice. You can also use Windows 3D viewer and even Preview on Mac to play around with these 3D files and explore the different angles produced by DP3D.

With the 3D file created you can use a program such as Windows 3D Viewer or Blender, which is free to download. In a program such as either of these options you’ll have way more options than DP3D for changing the angle, rotation and lighting, which is great for exporting still images. For videos, you’ll also be able to change the direction and duration of pans so you can get it looking perfect for what you need.

Conclusion

After playing around with DP3D for some time and with various pictures and subject matter, I think it’s fun and interesting that Canon has released it for free - after all, additional functionality to the cameras which we already own is certainly welcome.

However, the results have limited uses and more often than not look quite poor. Are there situations where somebody might need to get a little 3D animation from a 2D image? Sure — marketeers looking to animate food or product shots for videos and reels seems like a perfectly adequate use for Canon's new DP3D tech.

While it’s admirable that Canon is trying to squeeze the most out of the pixels taken in-camera, this is one of those situations where I sadly think AI can probably do it better.

Canon is trying to stretch and manipulate the pixels already there, whereas AI can create brand new pixels and frames based on what it thinks should be there, and that’s likely to create smoother results with fewer artefacts. For still images, the Rotate Object feature found in Photoshop Beta is likely to produce better results and is glimpse of what lies ahead in our editing futures.

Sigma's FP2 is a successor to the world's smallest full-frame mirrorless camera, the FP, and it's even smaller, despite coming with a bunch of handy upgrades.

The FP2 packs a partially stacked 24.5MP full-frame sensor — one we've seen before in the Nikon ZR and Lumix S1 II. And like those cameras, it shoots 6K open gate video, only with Sigma's L-Log color profile, and RAW video through an external SSD.

It comes with 70GB built-in memory, plus a higher capacity battery — the same unit found in recent full-frame Lumix models like the S1 II and Lumix S9 — and it features a 3.15-inch tilt-touchscreen. All decent upgrades.

Autofocus performance has been improved too — the hybrid phase detection system can track more subjects, with what Sigma says is a 15% boost in speed and accuracy.

And these features are packed into a diminutive and sturdy metal body with a delightfully simple design and user experience — I love how the photo and video functions are neatly distinguished. It's an attractive package, and a camera that I thoroughly enjoyed having in my hand.

When considered purely as an upgrade to the original FP, the FP2 is a solid camera. However, Sigma's mission to make the smallest full-frame mirrorless camera comes with compromises, which means the FP2 won't be for everyone. For one, the camera doesn't have in-body image stabilization, whereas the Lumix S9, Lumix S1 II and Nikon ZR do.

There's also no built-in viewfinder, though unlike some rivals, there is an optional EVF and it's a fantastically bright and detailed 5.76m-dot unit that tilts for waist-level shooting.

When shooting photos, I regularly found myself bringing the camera up to my eye, only to remember it didn't have a viewfinder – photo and video creatives will absolutely want to pick up the optional EVF.

That for me is where the FP2 comes undone, somewhat. It's starting price is reasonable, but when you factor in the cost of accessories, the package starts to feel pricey.

There is a miniaturisation premium — Sigma isn't alone in this, however. Overall, there are better value conventional alternatives, but if size and feel matters to you, then the Sigma FP2 is well worth a look.

Sigma FP2: Price and release date

• Announced on October 23, 2026, priced from $2,199 / £1,899
• Can be purchased with various kits; with the Electronic Viewfinder EVF-21 or 50mm F2 DG | Contemporary lens
• Goes on sale from November 11

At first, the Sigma FP2 feels like excellent value — it's a beautifully designed and rugged full-frame camera with impressive specs for $2,199 / £1,899. However, that body-only price is just the beginning for a camera that works best with optional accessories — and for those the cost soon stacks up.

For example, photographers will want the divine EVF-21 5.76m-dot tilt electronic viewfinder, which which adds $500 / £500 to the cost when bought with the camera, and it costs even more when purchased separately. Or how about the camera and lens kit with 50mm F2 DG | Contemporary, which I had for the review and you can see in the pictures, which costs $2749 / £2419.

Other accessories include the Hot Shoe Unit HU-21 (same flash terminal as OM System / Lumix), base plate BPL-21, LCD viewfinder LVF-21 and battery charger BC-91. Sigma is still a decent value brand, but you just need to be aware that this camera system benefits from costly extras, and if you're upgrading that the likes of the EVF are not forwards / backwards compatible with the original Sigma FP.

Sigma FP2 specs

Sigma FP2: Design

• Even smaller than the original FP, but a fraction heavier
• Modular design with handy (albeit pricey) accessories, such as the lovely EVF
• Wonderfully simple user experience and interface

The FP2 carries the DNA of the original FP, but comes with some welcome design improvements. Crucially, it stays true to Sigma's core mission with this series — make the smallest full-frame mirrorless camera available.

It's designed as a photo and video hybrid, with a chunky switch to choose between the two and a neatly arranged menu for each discipline — the settings remain unique when you move between the two.

There's a chunky exposure dial, and a line of buttons neatly arranged under the screen, including one for color profiles (there are 13 presets, Log and RAW video options).

The 3.15-inch touchscreen is a tilt-type — impressive considering the camera is thinner than the FP, which has a fixed screen. Pulling the screen out reveals vents which presumably keep the camera cool during high-resolution video recording.

We don't get an EVF, which is no surprise given the size of the camera. However, Sigma sells the FP2 in a kit with the EVF-21 electronic viewfinder.

I actually think the modular design makes perfect sense. Shooting video and don't need a viewfinder? You have the tiniest full-frame shooter. Out taking photos and want the display? Add it on.

And I really did enjoy the display — albeit my brief experience with it. It connects to the camera's side through one of the two USB-C ports, and it's a 5.76m-dot tilt type.

Sigma has added internal memory, with 70GB of usable memory, plus there's the SD card slot. I used the internal memory a lot, and had no operational issues — I wish more cameras included internal memory like the FP2 does.

And then there's the battery — the same type as used in recent Lumix cameras, for a healthy shot-life that belies the compact size of the camera. I don't think I've seen such a large battery squeezed into such a small space before — Sigma really has worked wonders to keep the FP2 this small.

Naturally, there are compromises for the handling of such a small camera, besides the lack of viewfinder and flash. For one, it's flat-fronted, meaning there's no sculpted hand grip for a secure hold. That's no such problem with small lenses, but the FP2 is so small that even compact primes feel chunky by comparison.

It's true: when stripped back to its basic setup, there is no smaller camera in this class. But to get the most out of the camera, it needs bulking out, all adding to the cost.

What I will say is that the FP2 does modular very well indeed. Its two screw mounts for accessories are handily placed, and they can host the (supplied) loops used to secure the camera's strap, which is a neat bit of design.

The FP2's design isn't for everyone, but after almost two weeks of shooting with the camera, I really did appreciate and enjoy it, and can see how it will appeal to certain users.

Sigma FP2: Performance

• 24.5MP partially stacked full-frame sensor, no stabilization
• 6K open gate video recording up to 60fps, plus 4K slow motion up to 120fps
• 13 color profile presets and Log, but RAW video must be recorded through an external drive
• Improved autofocus performance and built-in memory

We've seen the 24.5MP partially stacked sensor before in various Panasonic Lumix and Nikon models, including the Lumix S1 II and Nikon Z6 III. In the Sigma FP2, however, the sensor is not stabilized, which makes handheld video recording much trickier.

I've included a sample reel below, which demonstrates how challenging it can be to record steady video handheld, even with a steady hand. There is a solution, mind you, and that's to record gyro data which can be used to apply stabilization to footage afterwards using specialist software. Alternatively, of course, the camera can be mounted to a gimbal.

I love the photo and video quality I was able to get from the Sigma FP2 and 50mm F2 DG Contemporary lens: 6K open gate video with a choice of 13 color presets make for quick and versatile output, in various aspect ratios for social media (4K vertical video is possible), while the Log profile is a better bet for users who want to edit after the fact.

Photos can be recorded in RAW and JPEG format, and Sigma cameras use the DNG RAW format, which is universally accepted in editing software. For high-speed action, the FP2 can shoot at a rate of up to 20fps, and for sequences up to 180 frames before the buffer slows up — a decent performance.

Sigma says that autofocus performance has been improved by 15% over the FP, with a broader range of subject detection. I found autofocus snappy on people, and it was smooth and subtle enough for video, too, but haven't had the chance to try it out extensively on other subjects, including animals.

There's 70GB of usable built-in memory, which proved reliable during my test. However, it's not possible to record the memory-hungry RAW video using built-in memory or SD card — you'll need an external SSD for that.

Sigma FP2 sample photos

Sigma FP2: also consider

How I tested the Sigma FP2

• I had the camera for 1-2 weeks before its announcement, along with the 50mm F2 DG Contemporary lens
• I tried the EVF-21 electronic viewfinder
• I shot a variety of photos and videos, all handheld

Sigma introduced the camera to TechRadar a week or two ahead of its global launch, where I saw the FP2, 50mm F2 DG Contemporary lens and various accessories, including the new 5.76m-dot EVF for the FP2.

I was loaned the camera and lens only for my review, and have made the most of that time, taking the gear with me on a break to Lisbon in Portugal where I used it extensively for portraiture and travel photography.

All my images and videos were shot handheld, with no stabilization for video footage. I tried the various color profiles for video and shot in 6K and 4K.

• First reviewed: October 2026
• Read more about how we test

One DSLR that Nikon is yet to give to give the mirrorless camera treatment to is the decade-old D500 — but rumors over the last few months suggest that the wait could be over soon through what's being dubbed the Nikon Z70.

The D500 was Nikon's flagship crop-sensor DSLR (APS-C, known as 'DX' for Nikon cameras), with a rugged body, dual card slots and high-speed burst shooting. In other words, it's a mini, crop-sensor version of Nikon's D6 full-frame camera that's used by professional sports, wildlife and news photographers.

We already have the Nikon Z9 as the mirrorless spiritual successor of the D6, and next there could be the crop-sensor equivalent, a rumored Nikon Z70, which sounds like a dream camera for enthusiast wildlife and sports photographers.

The long-time Z70 rumor mill still lacks firm details, and largely lists out educated guesses. The New Camera, however, spotted a Z70 listing on Apple's official ProRes and ProRes RAW Authorized Products page in August, and believes the Z70 will land in November this year.

A flagship Nikon crop-sensor camera would naturally sit above the Nikon Z50 II with a tougher pro-grade body, and likely a faster sensor (perhaps the stacked type like the Fujifilm X-H2S), in-body image stabilization, and shooting speeds we haven't seen from a Nikon camera before. New Camera also suggests video specs will be strong, and include internal ProRes Raw recording (based on the Apple listing).

These kind of features put the would-be Z70 in direct competition with the Canon EOS R7 — which could get a powerful successor soon — the Fujifilm X-H2S, and the Sony A6700, and I wouldn't be surprised if Nikon's tops the lot. Where it would currently come up short, however, is lens selection. On that front, there was concrete, promising news last week.

More good news for Nikon 'DX' shooters

While we don't know a lot about the rumored Z70, we do know that a new Z-mount lens for APS-C cameras was announced last week; the Sigma 16-300mm do-it-all travel zoom.

The lens has been around for over a year in Sony, L-mount and Canon RF versions, but it becomes the first Sigma zoom lens for Nikon's Z-mount, which is a promising sign for Nikon shooters.

Nikon has poured a lot of resources into its full-frame mirrorless camera system, but its APS-C cameras haven't received the same love. As such, it's slim pickings for any enthusiast sports/wildlife photographer wanting a high-quality Z-mount super-telephoto zoom native to its crop sensor cameras.

Sigma's 16-300mm lens, which has a 24-450mm equivalent focal length, isn't quite the bright aperture lens for demanding sports/wildlife photographers. But with the door seemingly open to Sigma, we could start to see more crop-sensor Z-mount lenses that might just scratch that itch.

And for photographers with a deep pocket (and a strong back), the Nikon Z 120-300mm f/2.8 TC VR S (with built-in 1.4x teleconverter) for full-frame cameras (which would work with crop-sensor cameras like the rumored Z70) is en route. Nikon announced its development earlier this year, and recent rumors suggest it will land soon.

So what happens when two of the major manufacturers have had a particularly quiet year? Pandemonium (on the rumor sites' comment sections, at least)!

So far in 2026, Sony has released the 5-star A7 V and A7R VI mirrorless cameras, and revived its bridge camera range with the class-leading RX10 V. Canon has delivered another 5-star camera, the EOS R6 Mark III, and revealed an all-new design with the recent EOS R8 Mark II.

Where are Fujifilm and Nikon in this picture? Fujifilm is yet to release a single camera this year. The same was true for Nikon until recently, when it launched a viewfinder-less 'C' version of the Z5 II.

Before that, the last camera Nikon released was the Nikon Zr cinema/vlogging camera, and the Z5 II before that, marking 18 months with no truly new mirrorless camera.

Rumors heavily suggested a Fujifilm X-T6 would land in September, but one month on, we're still waiting. And it's set against this backdrop that fans with a touch of GAS (gear acquisition syndrome) are getting agitated.

Well, I'm here to address those concerns with a healthy reality check.

Already ahead of the game

Yes, new is exciting. This year I've felt the buzz of testing the Ricoh GR IV, Sony A7R VI, Lumix L10, OM System PEN, Leica Q3 Monochrom and Canon EOS R8 Mark II, among others. However, it was the last camera on that list that brought a point into sharp focus for me — cameras have a pretty long shelf life.

The EOS R8 Mark II was a decent upgrade from the EOS R8 from 2023, with a new look, design improvements, and in-body image stabilization added — basically addressing key drawbacks of the original. However, it still failed to reach the entry-level full-frame camera bar set by Nikon 18 months ago with the Z5 II.

In fact, every current Nikon camera fares well against direct rivals at every level — the Z8 from 2023, for example, remains an incredible pro camera. And if you were to ask me which APS-C mirrorless camera I'd recommend in 2026, it would have to be the Fujifilm X-T5. Yes, a camera released in 2022.

Fujifilm hasn’t launched a new camera in 2026. And Nikon's only effort so far is a version of an existing camera with the viewfinder removed. But I don't think that matters.

In the case of the 2025 Z5 II, it already set the entry-level full-frame camera standard and even Canon’s new model hasn’t met it. And you won't find a better APS-C sensor than the Fujifilm X-T5's stabilized 40MP unit. If and when Fujifilm does release an X-T6, it will be improving on an already class-leading model.

Of course, there is space and a need for improvement, but a manufacturer having a quiet year isn’t quite the big deal many Fujifilm and Nikon fans currently make it out to be.

What do you think? Do camera companies need to release new products every year? Have your say in the comments below.

The EOS R6 Mark costs $1,999 at Amazon (US), but the standout deal has to be one in the UK — the EOS R6 Mark II with two additional batteries for £1,599 (was £2,299). Those prices are similar to the EOS R8 Mark II, which is available for pre-order ahead of its October 20 sales start, and has no discount currently. As such, I believe the mid-range EOS R6 Mark II is a much better deal, despite being almost four years older.

For starters, the EOS R6 Mark II (recently updated / replaced by the EOS R6 Mark III) has a better build quality — feeling very much in line with Canon's pro cameras rather than entry-level / enthusiast models, like the EOS R8 Mark II does.

• Browse the full Amazon Prime Day sale

As part of this premium build quality, the EOS R6 Mark II features dual card slots to the EOS R8 Mark II's single slot. It also has a bigger battery with more than double the shot life, and a bigger and better 3.69m-dot EVF with 0.76x magnification (the EOS R8 Mark II's is a 2.36m-dot unit with 0.7x magnification). It also has a mechanical and electronic shutter, whereas the EOS R8 Mark II only has an electronic shutter.

Does the EOS R8 Mark II have any factors in its favor? Well, it's smaller and lighter, has the new design which also comes with a tally lamp for video recording, plus Canon's latest autofocus, but that's about it. The two cameras share many similar features, mind you, including the 24MP full-frame sensor with image stabilization.

The EOS R6 Mark II price drop has truly changed the picture, and if you don't mind the slightly heftier premium body, it's the one I'd recommend. I've included the best deals for both cameras below, and added the original EOS R8 and EOS RP too.

Today's best Canon camera deals (US)

Today's best Canon camera deals (UK)

Given the ongoing component shortages and price pressures, producing an affordable camera in 2026 is no mean feat — and that's exactly what OM System has achieved with the new PEN.

It has delivered the rangefinder-style mirrorless camera many PEN fans have been crying out for, and equipped it with in-body image stabilization, twin displays, a retro weather-proof design (IPX1-rated), and a range of fun computational photography modes — and kept the price to $1,000 / £850 / $AU1,800. Need a lens? The 14-42mm f/3.5-5.6 III kit (see below) is just $100 / £100 / AU$300 extra.

Beyond that kit lens, the OM PEN is part of the Micro Four Thirds system, with hundreds of lenses to choose, covering just about any situation, though any of these will add to the cost. I found it to be a great pairing with the low-cost Olympus 45mm f/1.8 for portraiture.

There's little that's new here, mind you — we have the same 20.4MP CMOS sensor with 5-axis image stabilization as previous models, including the OM System OM-5 II, and the same 121-point hybrid phase-detection autofocus, with stripped back subject-detection options. The vari-angle touchscreen and 2.36m-dot EVF are borrowed from previous models, too.

However, the OM PEN remains utterly compelling because it's so much fun to shoot the everyday with, so easy on the eye, and kind on the wallet. Sure, the PEN could be better in various areas (some of the controls are particularly fiddly), but all is forgiven when you consider the overall package, and that price tag.

Having used the camera for several weeks (and made direct comparisons with the excellent Lumix 10 premium compact), I think the OM System PEN as an ideal starter camera for smartphone upgraders — and it's the best beginner camera for 2026 so far.

OM System PEN review: Price and release date

• Announced in September 2026
• Costs $999.99 / £849 / AU$1,499 (body-only) or $1,099 / £949 / AU$1,799 with new 14-42mm f/3.5-5.6 III kit lens
• Available in two colorways: all black, and black with silver trim

After years of rumors, OM System finally put its name on a successor for the Olympus PEN series of cameras. And like the OM-5 II before it, the OM System PEN is excellent value for money in an industry otherwise feeling the effects of component shortages and price hikes — where else can you find a new interchangeable-lens camera with a viewfinder and in-body image stabilization for less $1,000?

That price is for the body only, mind you, and if you're starting from scratch the best-value package is the camera with the new 14-42mm f/3.5-5.6 III zoom lens, and that costs $100 / £100 / AU$300 extra. The third-generation kit lens was announced alongside the camera, and gains a splash-proof design, matching the OM PEN camera.

The camera is available for preorder now in two colorways: black, and black with silver trim.

OM System PEN review: specs

OM System PEN review: Design

• Compact, IPX1-rated body that weighs just 13.9oz / 393g
• Twin displays: 2.36m-dot EVF and 1.04m-dot vari-angle touchscreen
• USB-C charging, mic port and hotshoe

There's no shortage of OM System bodies, but the PEN is the first OM-branded rangefinder proper, with its 2.36m-dot EVF neatly tucked into the top-left corner of the compact, IPX1-rated retro body.

It's the same EVF that you'll find in the slightly pricier OM-5 Mark II — a camera that we awarded a 5-star rating, and which sits in top spot in TechRadar's best travel cameras guide.

The key difference between those two bodies is that the OM-5 Mark II has higher-rated weatherproofing, a pronounced viewfinder bump, and a larger grip — meaning it's better suited to inclement weather, outdoor photography, and use with larger lenses. The OM PEN is also a superb travel camera, but you'd typically use it on city breaks, for everyday and street photography with smaller lenses.

It has the retro charm we've come to expect from Olympus / OM System bodies, and I particular liked the black and silver version I had for this review. It's equipped with a hotshoe for accessories such as an external flash (there's no built-in flash), a Mono / Color profile switch, a USB-C port for charging, micro HDMI, mic jack and a single SD card slot.

Most of the buttons are small and can be a little fiddly. I found accessing the computational photography a pain — you need to hold down the 'CP' button while rotating the top dial (that the shutter button is set within) to access the menu. Why not require just a press of the CP button to open the menu?

The on/off switch is poorly designed, too — good luck trying to land on the photography setting without skipping past it to the video mode. If you have moderately large hands like I do, the whole layout might feel a little fiddly. And I'm sure there are some retro camera fans who will be disappointed that there's no cable-release thread in the shutter button. All that being said, I still very much enjoyed using the PEN.

OM System PEN review: Performance

• 20.4MP CMOS sensor with 5-axis stabilization
• BLS-7 battery with 410-shot CIPA rating
• 121-point hybrid phase detection autofocus with subject tracking

A 20.4MP Micro Four Thirds sensor is nothing to get too excited about in and of itself when you consider the larger-sensor, higher-resolution alternatives that are available.

Computational photography modes can close the gap where there are drawbacks; addressing the fewer pixels and lesser dynamic range versus larger-sensor alternatives, though they don't work for every scenario. (I've included some examples, above.)

With 5.5EV image stabilization, the High Res Shot mode can be used handheld to increase resolution from 20MP to 50MP, though it won't work for scenes with movement in them. The same can be said for the HDR modes, which also work by combining several images captured sequentially together into one, and would otherwise have ghosting in them where there's movement in the scene during capture. For still scenes, HDR works perfectly well for increasing dynamic range.

As a starter camera, however, the level of detail this tried and tested sensor is able to capture is easily sufficient for travel and everyday photography. Add a decent lens — and there are hundreds to choose from, including the low-cost 45mm f/1.8 for portraiture — and you have the foundation for smartphone-beating images.

There's nothing wrong with OM System's 121-point hybrid phase-detection autofocus system, despite its stripped-back selection of subject-detection options that includes humans or animals (cats and dogs).

I've used other systems with a wider range of subject-detection modes, but for the most part you'd struggle to see a major difference in performance — when tracking birds, for example, I found the animal-detection autofocus to be sticky. There's not the same degree of complexity for face and eye detection, though — it's reliable, but you can't manually switch which eye the camera autofocuses on.

Battery life is decent, being rated at 410 shots, but video specs are fairly basic for 2026 — 4K up to 30fps / C4K up to 24fps, with a wide choice of color profiles including OM System's flat OM-Log400 profile, but just 8-bit color depth. The slow and quick mode unleashes up to 120fps slow-motion recording, or down to 1fps quick motion, but in 1080p only. Image stabilization works for video, though, which is a major draw for a camera at this price point.

Should I buy the OM System PEN?

Buy it if...

Don't buy it if...

OM System PEN review: also consider

How I tested the OM System PEN

• OM System loaned me the black and silver version of the PEN and the 14-42mm f/3.5-5.6 III kit lens for several weeks
• I also used it with Olympus 45mm f/1.8 / Leica 12-60mm f/2.8-4 lenses
• I took the camera to China for a work trip, and used it in a variety of scenarios, trying out the various computational photography modes

OM System sent me the black and silver version of the PEN with the new 14-42mm f/3.5-5.6 III kit lens, and I used the kit regularly for several weeks, including during a work trip to China. I also paired the camera with an Olympus 45mm f/1.8 lens and a (Panasonic) Leica 12-60mm f/2.8-4 lens.

I've tried the various computational photography modes, used slow shutter speeds, and shot video handheld to test the image stabilization effectiveness, and tried out various autofocus modes.

I've used the camera in light rain and in bright light, testing its splash proof credentials and the brightness of its displays. Along the way, I compared the PEN to the Lumix L10, a similar MFT camera.

• First reviewed: October 2026
• Read more about how we test

Nikon redefined entry-level full-frame cameras with the Z5 II, which scooped our Camera of the Year 2025 award. Now the company is upending the notion that full-frame is just for pros with its most affordable and compact model in this format yet, the Z5 II C.

As its name suggests, the Z5 II C is a ‘compact’ version of the Z5 II, and the key difference is that it doesn’t have a viewfinder (and it has a single card slot rather than dual slots). This means the ‘C’ model is smaller, lighter and cheaper.

It still has a tough magnesium-alloy body with a chunky grip, is sealed for dust and moisture resistance, and packs a healthy 3.2-inch, 2.1m-dot vari-angle LCD, all carried over from the Z5 II. The cameras share identical features too; the same 24.5MP full-frame sensor with image stabilization that’s rated up to 7.5EV.

Nikon UK's Training Specialist Ricci Chera briefed me on the camera ahead of its September 24 announcement and mid-October on-sale date, emphasizing that the Z5 II C is about choice, offering certain users the “benefits of full-frame, without paying for something they’re never going to use [a viewfinder]”.

Is Nikon onto something here? Is the $1,399 / £1,349 / AU$2,399 asking price enough of a gap to tempt first-time buyers, or sway them from the Z5 II?

So, full-frame is for beginners now?

The low £1,349 / AU$2,399 asking price of the ‘C’ version seems pretty appealing, especially given the spec and features you're getting: the Z5 II C has the same sensor as the Z5 II and Nikon’s latest processor, while its subject-detection autofocus can recognize subjects even when they take up as little as 3% of the frame, and which is low-light sensitive to -10EV (with a new ‘fish’ detection mode added — that’s a first),

There's also 14fps with a mechanical shutter (30fps electronic) and 4K video with 12-bit N-RAW internal recording, and much more. Besides the Lumix S9, I can't think of a better-value full-frame camera, and not one that launched for such a low price.

The price and compact size are the major selling points of this full-frame model, which Nikon says is about offering users "choice" — the pricier and larger Z5 II with a viewfinder and dual card slots, or the cheaper and smaller viewfinder-less Z5 II C. I get the logic.

However, I’d still stump up the extra cash for the Z5 II — its viewfinder is bright, big and immersive, it has the extra card slot, and I personally don’t mind the extra size and 100g in weight (the Z5 II C is around 600g with card and battery inserted while the Z5 II is around 700g).

Video-first users and even smartphone upgraders who've never experienced a viewfinder might not feel the same way, and for them the Z5 II C could prove to be the wiser choice, and one of the hits of 2026. We'll bring you our review of Nikon's latest full-framer soon.

Canon introduced a new Dual Pixel CMOS-type sensor and autofocus system in the EOS R5 back in 2020, and a string of cameras have since inherited this tech, most recently the EOS R8 Mark II announced today. And it's these cameras that just got a free upgrade that can add another dimension to photos: Dual Pixel 3D.

The new software leverages "depth and phase-detection data captured in a single shot via Dual Pixel CMOS AF", says Canon, using "an exclusive algorithm to convert your photos into highly realistic 3D imagery", plus 3D models in OBJ or GLB formats, or as an MP4 video, "complete with rich photographic textures."

This depth-adding tech will come in the (free) Dual Pixel 3D Converter software, which will be available for Windows only (Windows 11 64-bit 24H2 or later), from October 3.

So what exactly can users expect from the software, and which cameras are compatible? Let's take a look.

An extra dimension

Billed as 'simple 3D image generation technology', Dual Pixel 3D enables users to create immersive three-dimensional images and models from a single RAW photo, without needing specialized equipment or viewing devices. Canon also says the technology works with JPEGs captured by the new EOS R8 Mark II.

These files contain depth information from slightly different views, captured by each pixel's two photodiodes, which are then converted into 3D shape data.

Users will be able to fine-tune the degree of depth in the new software, for a more pronounced 3D effect or a subtler appearance. The depth information in Dual Pixel CMOS-captured photos also simplifies background removal, should users want to output a subject onto a plain background as a 3D model, or as a stereographic photo.

Can has shared tips for how to take photos designed to be converted for 3D on its YouTube channel (see below).

Photographers working in product and still life photography stand to benefit from the creative possibilities in particular. We'll be sure to try out the new software when it's released on October 3, and share our experience of making 3D imagery with it.

Compatible Canon cameras and lenses

Here's every Canon mirrorless camera that features Dual Pixel CMOS AF and can, therefore, enjoy the new Dual Pixel 3D feature, provided images are captured with a compatible lens:

• EOS R5 Mark II
• EOS R5
• EOS R6 Mark III
• EOS R6 Mark II
• EOS R7
• EOS R8 Mark II
• EOS R8
• EOS R10

And you'll need to be using one of these lenses;

RF24-70mm F2.8 L IS USM

RF24-50mm F4.5-6.3 IS STM

RF24-105mm F4 L IS USM

RF24-105mm F4-7.1 IS STM

RF35mm F1.8 MACRO IS STM

RF50mm F1.8 STM

RF70-200mm F2.8 L IS USM

RF70-200mm F4 L IS USM

RF85mm F2 MACRO IS STM

RF100mm F2.8 L MACRO IS USM

RF-S18-45mm F4.5-6.3 IS STM

RF-S18-150mm F3.5-6.3 IS STM

Canon's EOS R8 Mark II is here, with a fresh new look that's inspired by the world's leading camera manufacturer's heritage, and finished off with a "modern twist". The resemblance to Canon's analog SLRs such as the T80 or AE-1 is faint, but in any case the new model is certainly a decent upgrade of the EOS R8, adding image stabilization, a multi-controller, and various performance and design improvements.

When I pored over the specs and pricing of the EOS R8 Mark II during my hands-on, however, a surprising reality came into sharp focus: Nikon's year-and-a-bit-old Z5 II remains highly competitive and it costs less than Canon's latest entry-level full-frame mirrorless model.

If you're considering your first full-frame camera and are not tied to Canon or another system, you should totally read on to find out more about the new EOS R8 Mark II, and how it fares against our Camera of the Year 2025 winner, the Nikon Z5 II.

1. Sensor

• Both feature a 24MP full-frame sensor
• Both sensors are equipped with image stabilization, rated up to 7.5EV

This section is going to be straightforward: both cameras have a full-frame 24MP sensor that's equipped with image stabilization (IBIS) rated up to 7.5EV.

Besides nuances in how each camera handles color and noise, and personal preferences, the image quality will be pretty similar. Having said that, I've historically found Canon's image stabilization to perform better than Nikon's.

• Sensor winner: Tie

2. Video

• Both shoot 4K video up to 60fps, but the Z5 II has a 1.5x crop
• Both shoot 4K 30fps with 10-bit color depth from the sensor's full width, the Z5 II shoots 12-bit RAW
• 1080p slow motion recording up to 180fps (EOS R8 Mark II) and 120fps (Nikon Z5 II)
• Color profiles for video; new 'filmtones' for EOS R8 II, well-regarded RED profiles for Z5 II

There's much more to unpack and compare regarding each camera's video features. Both can shoot 4K video at 30fps with 4:2:2 10-bit color depth from the full width of the sensor, and up to 60fps at this resolution, although at this frame rate there's a 1.5x crop in the Z5 II.

The Nikon camera, however, is the only one that can shoot 12-bit internal RAW video, which certainly gives it the quality edge for users who want greater tonal depth and editing latitude, and who don't mind the larger file sizes.

Slow motion recording is also possible in 1080p, but again the EOS R8 Mark II has the frame rates edge — it can shoot 6x slow motion (180fps) to the Z5 II's 4x slow motion (120fps).

There's no shortage of color profiles for each camera, either. There's each company's version of a gradable, flat Log profile (C Log and N-Log) and Rec 709, while Canon has introduced two new 'filmtones' looks and the Nikon Z5 II features a RED RAW profile. Each can link with a companion app to import custom profiles, too. Users with either camera should have no issues getting a style they like.

Both camera's video recording is supported by powerful autofocus and image stabilization, making smooth and sharp run-and-gun filming a distinct possibility. The EOS R8 Mark II features a tally lamp to indicate when recording is active, but the Z5 II offers dual SD card slots for overflow / backup storage, whereas the Canon camera just has the one slot.

There are distinct advantages for each camera — and more besides that I haven't got into here — and as such it's tricky to call an outright winner in this category.

• Video winner: Tie

3. Design

• Canon EOS R8 Mark II: 546g body (with battery and card), not weather resistant, single card slot
• Nikon Z5 II: 700g body (with battery and card), weather resistant mag alloy, dual card slot

The EOS R8 Mark II is the guinea pig for Canon's new design. It forgoes the sweeping curves we've come to associate with Canon camera, in favor of straight, angular lines and a pronounced viewfinder bump that are "inspired by Canon's heritage". In this sense, it actually has more in common with the Nikon camera than previous Canon models.

Beyond the looks, the cameras are roughly the same size, but the EOS R8 Mark II is notably lighter at 546g. The quality of its buttons, controls and body have a much more entry-level feel to them, whereas the Z5 II feels more like a level up. The Z5 II feels like the more robust of the two, plus it's officially noted as weather resistant whereas the EOS R8 Mark II is not. The gulf in quality is compounded by the displays...

• Design winner: Nikon Z5 II

4. Displays

• Canon EOS R8 Mark: 3.0-inch 1.62m-dot vari-angle LCD and 0.39-inch 2.36m-dot EVF
• Nikon Z5 II: 3.2-inch 2.1m-dot vari-angle LCD and 0.5-inch 3.69m-dot EVF

Put simply, the Nikon Z5 II's LCD screen and EVF displays are higher-specced than the EOS R8 Mark II's, despite the camera arriving almost 18 months earlier.

Both screens are vari-angle, so they can be pulled out to the side of the camera and tilted for low-level shooting / rotated for selfies. The Z5 II's display is slightly larger at 3.2-inches to the Canon's 3.0-inches, and it has a higher resolution, although the pixel density is roughly the same.

I've used both cameras separately, but can attest to the superior quality of the Z5 II's EVF – it's physically bigger, has more pixels, higher magnification, and is brighter — in short, a more immersive display. This category is an easy win for the Z5 II.

• Displays winner: Nikon Z5 II

5. Performance

• Canon EOS R8 Mark: 220-shot (VF) / 340-shot (LCD) battery life, Dual Pixel CMOS AF II, 40fps with pre-capture
• Nikon Z5 II: 340-shot (VF) / 350-shot (LCD) battery life, Hybrid phase detection AF, 30fps with pre-capture

If you prefer using a viewfinder, then the battery life of the Z5 II is much better than the EOS R8 Mark II, although the playing field is somewhat levelled when using the LCD. Neither camera has a particularly impressive battery life, but both can be recharged on the go, via USB-C.

Both also have excellent autofocus performance, with subject tracking and detection for humans, animals and vehicles. I haven't directly compared the performance of each camera, but they do inherit autofocus systems from pricier models that I have tested at length. Canon's 'Register People' mode is super handy for prioritizing specific people in crowded scenes — and you can store up to 10 faces at any one time.

Canon improved autofocus sensitivity in low light down to -7.5EV in its second-gen EOS R8, but the Nikon camera was already more sensitive, being rated to -10EV.

For outright burst shooting speeds, Canon has the edge — it's capable of up to 40fps, compared to 30fps for the Nikon. However, neither are true sports cameras in the sense that once the buffer is full, they will slow up quicker than high-end models. The Z5 II has both a mechanical and electronic shutter, while the Canon model only has the latter.

• Performance winner: Tie

6. Price and availability

• Canon EOS R8 Mark II announced on Sep 16, 2026, for $1,899 / £1,729 / AU$2,529
• Nikon Z5 II was released on April 3, 2025 for $1,699 / £1,599 / AU$2,699, but the price has since dropped

Canon's EOS R8 Mark II has only just been announced at the time of writing, and its sales start date is October 20. It will cost $1,899 / £1,729 / AU$2,529 body only, or £2,119.99 / AU$2,859 with the budget 24-105mm F4-7.1 kit lens / $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US. Naturally, there are no price cuts yet.

Nikon's Z5 II, meanwhile, was released almost 18 months ago, and at list price was approximately 10% cheaper in the US and UK, but a little more in Australia — so no huge difference. However, it has since come down in price, and that margin has increased. Like the Canon model, it's available in a kit with a 24-105mm F4-7.1 lens, but there are other good-value kits on sale, including with the 24-200mm travel zoom.

• Price winner: Nikon Z5 II

Canon EOS R8 Mark II vs Nikon Z5 II: early verdict

As entry-level full-frame cameras, the Canon EOS R8 Mark II and Nikon Z5 II share many key features, including things like a 24MP full-frame sensor with image stabilization, 4K video recording and powerful autofocus.

There are specific features unique to each model that stand out, but not enough to swing the balance either way. However, where the gulf becomes clear is in each camera's overall handling and quality — the Nikon Z5 II's superior displays, control layout, body quality, extra card slot and better battery life deliver a better all-round shooting experience.

The Canon feels every much the entry-level camera with powerful features, whereas the Nikon camera redefines entry-level quality. And when you think that the Z5 II has pricier components but costs less, it feels like a solid win for the Canon rival.

The Canon EOS R8 Mark II is here, and it isn’t the digital remake of the 50-year-old AE-1 analog SLR camera that rumors had been suggesting — but it is a new design direction for the world’s leading camera manufacturer nonetheless.

Canon has historically stuck with a consistent design approach for its DSLR and mirrorless cameras, with sweeping curves and familiar controls. The EOS R8 Mark II, however, is "inspired by Canon’s heritage" with a "modern twist", so a Canon spokesperson told me, and it's unlike any other model before it — check out my first impressions.

I like the new angular look, but I think the company has unintentionally made a camera that looks just like those from its chief rivals Sony and Nikon, and I don't think we can call it retro.

Canon fans hoping for an old school EOS R mount model to rival the Nikon Zf will surely be disappointed. Could Canon's design department have pushed the boat out more? Perhaps, but there’s nothing to say it won’t go full retro-style in the future with another model.

Design is the major talking point, but there are plenty of other features worth highlighting in what is a solid upgrade of the original EOS R8.

Beyond the looks

Like the EOS R8 — which Canon told me will remain on the market — we also get a 24.2MP full-frame sensor, but this time it features in-body image stabilization that’s rated up to 7.5EV.

Continuous shooting is again up to 40fps using the electronic shutter — in fact, like the EOS R8 there’s no mechanical shutter at all — but pre-capture has been added for up to half a second before you fully press the shutter, which is handy for when your reactions aren’t up to speed, and a first for a Canon camera at this price point.

And — praise be — an AF joystick has been added (Canon calls it a multi-controller), and it's positioned next to an autofocus button, both of which are conveniently placed right next to where your thumb rests. I was easily able to use the camera and its autofocus one-handed with a 24-105mm F4-7.1 IS STM kit lens attached.

Canon’s Dual Pixel CMOS AF II features, as does subject detection of people, animals and vehicles, plus Canon’s ‘Register People’ mode with the option to store up to 10 people for the camera to prioritize — handy for weddings, sporting events, and so on.

Video is still 4K, but now up to 60fps and oversampled from 6K, plus there's 180fps slow-motion recording in 1080p. There's a tally light to indicate when the camera is recording, while the SD memory card slot is now accessed through a side door, rather than underneath in the battery compartment.

Those are some of the major upgrades, but there's also plenty that's familiar. For example, the 3-inch 1.62m-dot vari-angle touchscreen and 2.36m-dot EVF are unchanged, and there’s the same battery too. In fact, with the power-hungry image stabilization feature in play, shot life is actually slightly lower than before — battery life is a major weak point of the EOS R8 Mark II.

The camera weighs 19.3oz / 546g with card and battery included, and the quality of the plastic body is decidedly entry-level once more — this isn’t a weather-sealed camera you’d thrash around like the tougher EOS R6 Mark III is, which is the near-perfect Canon camera that the EOS R8 Mark II sits below.

Overall, I think Canon has addressed the key areas for improvement from the EOS R8, adding in-body image stabilization into a body that feels better in the hand, even if the build quality and battery life position it well below the EOS R6 Mark III.

I must also mention the Nikon Z5 II from 2025, which is the obvious entry-level full-frame rival to the EOS R8 Mark II, and which is available for a slightly lower price. Nikon's camera has many similarities, but with a magnesium alloy chassis and weather-resistance it's clearly the tougher camera of the two, plus it has a superior LCD and EVF. If you're not already committed to Canon, the Z5 II looks to be the better of the two cameras.

The EOS R8 Mark II costs from $1,899 / £1,729 / AU$2,529 for the body only, or £2,119.99 / AU$2,859 with the 24-105mm F4-7.1 IS STM (don't confuse this lens with the pricier 24-105mm F4 L), or $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US, and it feels like the sweet spot for users who want powerful features but are less concerned about build quality and shot life.

What do you make of the new EOS R8 Mark II, especially its new design? You can vote in the poll above, and leave your comments below.

It might look like a Sony or Nikon, but I can assure you that the EOS R8 Mark II is a Canon camera. It's the realization of a long-rumored model that was expected to be a digital remake of the AE-1 analog SLR camera to mark that camera's its 50th anniversary, only those rumors proved unfounded, with Canon working in a "modern twist".

I can see the faint resemblance between the two cameras, and I like the EOS R8 Mark II's angular look, but I also think Canon has missed a trick by not going all-out retro here, in the way Nikon did with its Zf.

Design should have been the major selling point here, but instead we have a camera that blends in, and that's not a compliment. This makes it harder to forgive the dated elements of the camera that have been carried over from the original EOS R8.

That's not to say the EOS R8 Mark II isn't a decent upgrade from the EOS R8 — it adds in-body image stabilization that's rated up to 7.5EV to the 24MP full-frame sensor, plus an AF joystick (Canon calls it a multi-controller) which makes autofocus selection simpler.

Video specs are also improved, autofocus performance enhanced, and pre-capture appears for the first time in a Canon camera at this price point.

The EOS R8 Mark II is a better camera than the EOS R8, but it also carries the same LCD and EVF displays, and the same tiny battery and entry-level build quality. These dated elements only highlight how much better a camera the Nikon Z5 II is — and that camera from 2025 costs less.

Still, if you're a Canon fan and committed to its system, the EOS R8 Mark II is a solid upgrade of the EOS R8, and a sensible alternative to the pricier EOS R6 Mark III for users who don't need the premium design, superior battery life and various high-end features.

Canon EOS R8 Mark II: Price and release date

• Announced on September 16, 2026, priced from $1,899 / £1,729 / AU$2,529
• Available in 24-105mm F4-7.1 IS STM kit for £2,119 / AU$2,859 (or with the 24-50mm f/4.5-6.3 IS STM lens for $2,099) in the US
• Dedicated Extension Grip (EC-G2) costs $99 / £89 / AU$169
• Goes on sale from October 20

Canon is expected to sell the EOS R8 Mark II from October 20, with a body-only price of $1,899 / £1,729 / AU$2,529, which rises to £2,119 / AU$2,859 for the 24-105mm F4-7.1 IS STM kit (not to be confused with the pricier 24-105mm F4 L IS USM), while in the US there's a 24-50mm f/4.5-6.3 IS STM kit for $2,099. Other bundles will be available, including one with an additional battery.

Canon also launched a grip for the EOS R8 Mark II, which costs $99 / £89 / AU$169. It's a grip only, and doesn't feature a battery, but it does feature a hinge allowing direct access to the camera's battery door.

Canon EOS R8 Mark II specs

Canon EOS R8 Mark II: Design

• Major new look for an interchangeable-lens Canon camera
• Multi-controller and tally lamp added
• Single SD card slot relocated to a dedicated side access door
• Same LCD and EVF displays as the EOS R8
• Body not weather resistant

I've already covered the new look of the EOS R8 Mark II. Whether that fresh design is going to be worked into other Canon cameras or remain exclusive to the R8 series, or if an unadulterated retro mirrorless body is on the way, we'll have to wait and see. I asked a Canon spokesperson about the prospect of an all-out retro body, and they didn't rule it out.

I've included a side-by-side photo of the EOS R8 and and EOS R8 Mark II, below, and you can see the sharper lines, and the deeper and textured grip of the new model, which for me evoke the look of Sony bodies more than Canon heritage.

One welcome addition is Canon's multi-controller button, which can be used to select the autofocus point among other things, and is a much loved feature by users who like to control to how their camera autofocuses, included point selection.

I really appreciated the placement of the multi-controller alongside the AF-ON (autofocus) button, which are both within a slight move of your thumb where it naturally rests in the grip. As such, it was entirely possible to hold the camera and make autofocus point selection one-handed.

A tally lamp has been added to indicate when video recording is active, while the single SD card slot has been relocated to a dedicated door on the grip-side of the camera, whereas in the EOS R8 it was found behind the same door as the battery on the underside.

Sadly, Canon hasn't used the space saved in the battery compartment (and deeper handgrip) to fit in a larger-capacity battery. The EOS R8 Mark II uses the same battery as its predecessor — shot life was already a major weak point — and has an even lower battery life when the power-hungry image stabilization feature is active, being rated at 220 shots when using the viewfinder (or 340 shots with the LCD).

Nor has the quality of the body been improved — Canon notes that the EOS R8 Mark II's body materials are part aluminum alloy, part polycarbonate, and it's not weather resistant. The controls, and the build quality, really do feel entry-level.

The 3.0-inch 1.62m-dot vari-angle LCD and 0.39-inch 2.36m-dot EVF displays are unchanged from the EOS R8, and look fairly dated when you compare them to the Nikon Z5 II's displays.

Canon EOS R8 Mark II: Performance

• 24.2MP full-frame sensor now equipped with 7.5EV image stabilization
• Digic X processor unique to the camera, 40fps burst shooting
• 4K video up to 60fps, oversampled from 6K, plus 1080p up to 180fps

The addition of in-body image stabilization (IBIS) is the major upgrade offered by the EOS R8 Mark II, and its effectiveness is rated up to 7.5EV. This feature makes life simpler shooting handheld in many scenarios — whether that's for sharp images in low light or with telephoto lenses, creative long-exposure shots, or run-and-gun video.

The sensor that incorporates the IBIS is otherwise the same as the one in the EOS R8 — a full-frame 24.2MP CMOS unit which is a decent all-purpose sensor. Nothing too exciting in 2026, but dependable.

Maximum burst-shooting speeds are once again up to 40fps, using the electronic shutter. Not that there's a choice — if you didn't already know it, the EOS R8 Mark II, like its predecessor, doesn't have a mechanical shutter.

Canon has added Pre-Continuous Shooting (more widely known as pre-capture) to the EOS R8 Mark II. In short, the camera is able to continually buffer up to 0.5 seconds while the shutter is half pressed, before the user fully presses the button to take photos. In this case, you get up to 20 photos spanning the half-second before you start photos — it's a really useful feature for wildlife and action photography, for when your reactions aren't otherwise up to speed. The feature was introduced in the EOS R5 Mark II, and the EOS R8 Mark II is the first Canon at this price point to get it.

Video recording has been improved in several ways. First of all, 4K footage is oversampled from 6K, so it should look sharper. Secondly, 4K frame rates have been upped to 60fps, while 1080p goes up to 180fps — that's 6x slow motion. Thirdly, there's the aforementioned IBIS, which makes smooth handheld shooting all the more possible. And then there are additional color profiles to choose from, including 'filmtone' looks and other picture styles which can be added using the Canon EOS Utility app.

Canon has also added a new 'defocus' feature, which can add a creative blur effect (not aperture dependent), and alter the speed of focus transitions. I haven't had the time yet to test any of the EOS R8 Mark II's video features, but I will do for my upcoming in-depth review.

Dual Pixel CMOS AF II powers the camera's autofocus, which like before includes subject detection of people, animals and vehicles, but which Canon says offers an improved performance. For example, the camera's focus sensitivity in low light has been improved, being rated to -7.5EV.

‘Register People Priority’ is a neat addition — users can select specific people’s faces, storing up to 10 people for the camera to prioritize. It's a handy feature for scenarios like a wedding, where you might want to keep the bride and groom in sharp focus among a sea of faces.

Canon EOS R8 Mark II: also consider

How I tested the Canon EOS R8 Mark II

• I had a two hour hands-on session with the camera and kit lens
• I spent the time getting a feel for the camera, and took some sample photos
• Canon provided the EOS R8 and EOS R6 Mark III for comparisons

I've only used the EOS R8 Mark II for a couple of hours at Canon Europe's offices in London. During this time, I got a proper feel for the camera, and paired it with the 24-105mm F4-7.1 IS STM lens that the camera is available with in a kit.

Canon supplied me with the original EOS R8 and EOS R6 Mark III, so I was able to make direct comparisons between the three cameras, though only how they handle — I didn't have time to take like-for-like pictures.

I took a stroll in the outside space, and took various photos of birdlife, foliage and buildings. Look out for our in-depth review of the EOS R8 Mark II, coming soon.

• First reviewed: September 2026
• Read more about how we test

Probably the best option for preorder today is over at Adorama, where you can get yourself a free wrist strap alongside both the body-only and kit-lens options. The strap in question is a black Clever Supply Skinny Wrist Strap worth $54, so it's definitely a nice little freebie that should complement your new camera nicely.

[Update 09/11] It looks like B&H Photo is also throwing in the same free strap with preorders now. I believe people who have already preordered through this retailer should receive one too!

If you're in the UK (or USA but would prefer to order a camera elsewhere), I've attached a roundup of other options below. Major retailers like B&H Photo, Wex Video Photo, and Park Cameras are all stocking the camera today, so there should (hopefully) be plenty of stock available for early adopters.

Note that the OM System Pen starts at $999.99 / £849 for the body, with additional kit lens options. The lens kit, meanwhile, with the new M.Zuiko 14-42mm f/3.5-5.6 III, is just an additional $100 / £100, which could be a better value option if you're new to the system, and looks like a particularly good option for travel photography. Not only is this kit a bargain, but the lens is also weather-sealed (unlike previous iterations).

Where to buy the OM System PEN

What's new with the PEN?

• 2.36-million-dot OLED EVF
• IPX1-rated dust-and-splash resistance
• BLS-7 battery with USB-C charging

Much of the PEN's spec sheet will seem familiar to fans of the brand. As with most releases from OM System, the PEN is essentially re-using a lot of pre-existing tech in a new body at a lower price. However, its combination of a retro compact body, built-in viewfinder, image stabilization, weather resistance and accessible price makes it an attractive entry-level mirrorless camera, particularly for smartphone users.

Unlike the previous Olympus EP-7, the PEN now features a 2.36-million-dot OLED electronic viewfinder as well as IPX1-rated dust-and-splash resistance. Internally, you're still getting the familiar 20.4MP Micro Four Thirds sensor with 5-axis image stabilisation rated to 5.5EV, but the 121-point phase-detection autofocus with subject detection is a key upgrade.

Other upgrades include OM System's latest computational photography features, namely Live ND, new color profiles, and two Cinema picture modes aimed at 4K video. Like the higher-end OM-3, the PEN is designed from the ground up for JPEG customization thanks to a new color/monochrome switch which provides quick access to film-inspired looks.

Finally, it's worth mentioning that the PEN debuts a new BLS-7 battery, rated for an impressive 410 shots per charge, as well as support for USB-C charging - another massive boon for travel photography.

Is the PEN worth preordering?

We haven't fully reviewed the OM System PEN yet, but my initial impression of the camera is positive. It's 'nothing new', so to speak, but the rock-bottom price that the brand is aiming for has the potential to make this one a crowd favorite.

For one, I don't think any other brand is offering a package quite like this for $1,000. With inflation and various tariffs, we've become accustomed to spiralling costs, so it's refreshing to see a brand-new camera with a viewfinder, weather sealing, and a stylish design for this price.

Perhaps the closest competitor to the OM System PEN is the Fujifilm X-M5 - one of our favorite entry-level cameras here at TechRadar. Both cameras share a stunning rangefinder-style design and enticing price point, but the PEN looks like the better choice for photographers, in my opinion. The X-M5 has far superior video specs, but it lacks image stabilization, a viewfinder, and weather sealing.

With such features, the PEN looks like a very, very compelling budget option compared to the likes of the Fujifilm X-E5. That's another one of our favorite rangefinder-style bodies, but it comes in at an eye-watering $1,799 / £1,399 for the body-only. In comparison, the PEN is a more entry-level body, but it's definitely a good option if you're happy with 20MP.

Olympus fans, the day has finally come — OM System has relaunched the Olympus PEN series, and put its name on it, with the new OM System PEN.

The new PEN carries the torch of the iconic Olympus PEN-F, with a classic and compact retro form factor and a low-cost plastic body to keep costs down (rather than aluminum). I must say it looks every part the travel and everyday mirrorless camera, with an equally and surprisingly attractive entry-level price point more in line with the PEN E-P7's.

Whereas the (slightly pricier) five star-rated EM-5 Mark II has a viewfinder bump (which also looks great in my opinion), the OM System PEN is a rangefinder-style mirrorless camera, with the same 2.36m-dot OLED viewfinder that sits flush in the body instead.

And the specs are just as attractive as the IPX1-rated dust- and splash-proof body: the same 20.4MP micro four thirds sensor with 5-axis image stabilization rated up to 5.5EV, 121-point phase detection autofocus with subject detection AF for people and animals, plus a host of computational photography modes that are an absolute blast to play with — my OM-3 review paints a picture of how fun modes such as Live ND can be.

OM System has also added various color profiles, including two 'Cinema' picture modes designed for 4K video recording, and once again included a color/monochrome switch on the camera's front which packs numerous film-inspired looks.

The camera uses OM System's BLS-7 battery, which delivers a generous 410 shots on a full charge, while USB-C charging further enhances its travel-friendly credentials.

When you consider the retro IPX1-rated body, built-in viewfinder, and stabilized sensor, the PEN feels like exceptionally good value, even if it features a dated micro four thirds sensor which is smaller than APS-C and full-frame, and adds very little that is actually new.

For me, however, the format has always delivered a compelling mix of quality, power and features, and is an easy recommendation for people stepping up from a smartphone, who will find the computational modes addictively fun and familiar.

It was the PEN series that we have been waiting for OM System to refresh since it acquired the Olympus name, and now that day has come the new compact mirrorless model does not disappoint.

Pricing-wise, the new PEN becomes OM System's entry-level model — $999.99 / £849 / AU$1,499 bags you the camera body, in silver or black, or for an extra $100 / £100 / AU$300 the kit with the new mark III version of the 14-42mm f/3.5-5.6 lens, which was launched alongside the camera, with both due to go on sale from October 1.

I can't wait to get my hands-on the camera — if it's anything like the previous OM System cameras I've reviewed, it'll be a lot of fun to test. For me, the OM System PEN looks like a serious best beginner mirrorless camera of the year contender.

• Check out today's sales at Adorama and B&H Photo

I've been scanning through the retail events today, and I've found some great deals on models like the Canon EOS R5 Mark II, the Nikon Z5 II, and the Sony A7R V — all of which are highly rated here at TechRadar. In some cases, we're even seeing record-low prices (or at least the best prices since most of the big brands hiked their prices).

Just below, you can see a list of 16 deals that I've picked out as particularly good value buys. I've started with Canon models, but you'll also find Nikon and Sony, as well as some great prices on OM System's latest models.

Where applicable, I've made sure to point out the various record-low prices — or some context around the various price hikes that have hit cameras recently.

Today's best Labor Day camera deals

Camera Intelligence, the AI camera startup that created Caira, an AI-native Micro Four Thirds mirrorless camera, today announced Generative Video Editing is being added to the existing Caira camera system. Camera Intelligence claims it is the first company to integrate video-generation models into a mirrorless camera system.

Generative Video Editing works through the Caira app with footage captured on the existing Caira device — it can’t generate its own AI video. A private beta opens for current Caira customers, before becoming part of the paid Caira Studio software package in Autumn 2026. Pricing hasn’t been announced.

"Last year we were the first mirrorless camera to edit photographs with generative AI, and we learned a great deal from the conversation that followed," said Vishal Kumar, CEO and co-founder of Camera Intelligence. "This year, after shipping Caira a large majority of our surveyed backers said generative editing for video would be useful to them - a clear impetus to bring these ideas to life.”

Powered by Google’s Gemini Omni and Runway’s Aleph 2.0

Powered by Google's Gemini Omni 1.1 Flash and Runway's Aleph 2.0, Camera Intelligence is the first company to embed video generation models directly into a mirrorless camera system.

Through the Caira app, you can apply visual and camera-motion effects in-the-moment to footage you have already captured with Caira via a series of templates guided by natural language.

We first reviewed the Caira camera last year. It combined a proper Micro Four Thirds hardware with the simplicity of a smartphone (the Caira snaps onto your iPhone using MagSafe) into a weird but impressive hybrid.

Under the hood it’s running a proper Micro Four Thirds sensor, powered by Qualcomm and Google silicon but its real party trick is Google’s ‘Nano Banana’ generative AI — a powerful on-device editor paywalled for $7p/m, which also unleashes smart voice control, and edits are rapid and impressive, meaning you can edit on the camera, without ever needing to open a laptop.

Staying rooted in photography

Video editing will work through a curated library of templates which can perform color grading or simulate drone-style sweeps and other complex camera paths. At launch the new system will contain Relight, Reframe, Camera Motion and Set Extension template. You can further refine them with conversational editing. Output will be in 720p and 1080p with it taking one to three minutes to generate depending on the resolution.

Since there is no text-to-video functionality every edit has to begin with footage you’ve captured with Caira. When you generate a video it is saved as a separate file from the original and watermarked with Google’s SynthID so it is clearly marked as AI-generated content.

This new Generative Video Editing feature forms part of the Caira Studio app, launching in Autumn 2026. The app will contain the already existing Image Editing feature together with one more, as yet unannounced feature. The private beta opens today and existing Caira customers can register their interest to join.

With the new Generative Video Editing features if feels like Camera Intelligence wants to put generative AI as close as possible to the act of filming while reassuring filmmakers that it isn’t trying to make filming unnecessary. That requirement keeps Caira rooted in photography: whatever the AI adds afterwards, the creative process begins with someone behind a camera choosing what to shoot.

Want one of the best mirrorless cameras? Unless it's a Leica or a Hasselblad, right now it'll come from Japan. But a new superpower is rising up in the camera industry, and that's China.

Take DJI, which is headquartered in Shenzhen. It has surpassed GoPro to lead action cam sales, and dominates numerous other sales charts with its pocket vlogging cameras and range of drones.

Insta360, meanwhile, leads the way in 360 cameras. And within interchangeable-lens camera ecosystems, Chinese lens manufacturer Viltrox is a growing force, producing lenses for Sony, Nikon and Fujifilm cameras and, more recently, L-mount.

A string of recent reports and rumors suggest that certain China-based manufacturers are about to break new ground by producing their first mirrorless cameras — and I think this could be the dramatic shake up that the industry needs.

What Chinese mirrorless cameras can we expect?

First, there are the concrete reports. Insta360 CEO Jingkang 'JK' Liu revealed the 360 camera specialist is making not one but two mirrorless cameras. He described one of these as being "a shape no one thought of" that has "the potential to completely change the way we take pictures", while leaked pictures of the other point to a minimalist Micro Four Thirds body.

Liu's reference to a new camera shape, along with the Insta360 CEO's recent post about replacing photographers with "intelligent photography robots" (remarks he clarified somewhat when I interviewed Insta360) has me thinking that a completely new kind of camera could be on the cards.

And it's not just Insta360. Viltrox, which makes superb lenses for multiple camera systems — many of which I have reviewed, most recently a superb 'pancake' optic — is in an excellent position to disrupt Canon and Sony's 70%-plus share of the digital camera market.

Viltrox makes top-quality lenses for a fraction of the price of proprietary optics, though it's yet to produce a zoom lens (I'm expecting one soon enough, though). If it could apply that same value principle to an equally high-quality camera body, it could potentially dominate the beginner segment of the market, with its own lenses already in production. For many, mirrorless cameras are simply unaffordable, and Viltrox could change that situation.

Think about it: Viltrox might have already made the lenses for a future Viltrox mirrorless camera. Currently, it makes optics for the full-frame and APS-C formats (we're yet to see a Micro Four Thirds lens, despite a teaser suggesting we should have some by now).

If I were a betting man, I'd put my money on a beginner-level Viltrox mirrorless camera in the APS-C format, with an L-mount. Why so? We've seen reports of two new Viltrox APS-C format prime lenses for L-mount.

Two new lenses don't mean much in isolation. But when you consider that there are no current APS-C format camera bodies using the L-mount, that begs up the question: why make lenses that no current camera can use, unless you're making that camera yourself?

I might be getting ahead of myself. But an industry that's long been dominated and shaped by the big three — Canon, Sony and Nikon, more recently joined by Fujifilm, which has wrestled third place from Nikon after it sparked a surge of interest in retro cameras — could do with a shake-up.

I don't mean another AI-powered shake-up, along the lines of the Nano banana-equipped Caira camera, which can make live edits to your photos in-camera based on word prompts, but a shake-up that makes mirrorless cameras more affordable, and in which the form factor / handling playbooks are ripped up. Those are the kind of changes I'd be excited to see.

Since Japan Industrial Partners acquired Olympus in 2021, creating OM Digital Solutions and rebranding new cameras as OM System, we've seen upgrades for every Olympus camera series except one: the PEN-F / PEN E-P7 line of digital rangefinders.

The Olympus PEN-F is a camera that's much admired for its stunning retro looks, described by some as the 'best looking camera ever made'. Olympus fans have been calling for a successor to the series for years — and they might finally be about to get their wish.

A YouTube video from OM System (below) just teased what could be the long-awaited successor to the PEN-F, and it's coming on September 9.

The teaser focuses on the experience of using the built-in 'rangefinder'-style viewfinder — a hallmark of PEN cameras — and then reveals the camera's form factor, with some detailing of the top plate.

Based on these low-key visuals, we could be looking at the spiritual successor to the beloved Olympus PEN-F — which inspired the design of the stunning OM-3 — or perhaps a re-imagining of the low-cost Olympus PEN EP-7.

Either way, the rangefinder-style camera is getting Olympus fans excited, if the comments section of the YouTube video are anything to go by. "Let's go!" chime several viewers.

Given the length of time between the original Olympus models — the Pen-F is 10 years old, and the Pen EP-7 five — there are a few upgrades that could find their way into this new camera, including a speedier stacked sensor, improved phase-detection autofocus, and additional computational photography modes.

All will be revealed on September 9, and you can follow the live event on the OM System site, which is advertising a five-day program of live discussions, all seemingly centered on the new camera.

I've been scanning through the sale today, and you can check out my personal picks just down below, including discounts of up to £270 on the Canon R8, the Canon EOS R6 Mark II, and the Canon EOS R6 Mark III.

- Check out the Canon World Photography Sale in full

Today's sale is particularly good if you're looking to get started in the Canon ecosystem, as there are some great value options. I'd particularly highlight the Canon R8 bundle as a fantastic buy, as you get the camera — which is a really nice lightweight full-frame body — with two very useful lenses. The R6 Mark II bundle is also worth a look, as this full-frame flagship still holds up great despite not being the latest model anymore.

Aside from bundle deals, today's sale at Canon places a heavy emphasis on refurbished listings. These are professionally refurbished models, so they're very much worth considering if you're looking to save a bit of cash. Note that most of the lenses on sale are for the older EF DSLR mount, however, so you'll need an adaptor if you're planning on using them with one of the brand's latest R-mount mirrorless cameras.

Canon World Photography Day: camera deals

Canon World Photography Day: lens deals

The first half of 2026 was pretty dry for camera releases, but as we enter the second half of the year, manufacturers have been making up for lost time. Canon in particular looks like it’s going to have a busy back half of the year, with not one, not two, but three new EOS R mirrorless cameras setting the rumor mill alight.

It should be stressed that currently this is all unconfirmed — we don’t know that Canon is going to release anything. But Canon has registered three new cameras with the wireless certification agency, which is generally the point that you know that something is coming very soon. And reporting by the oft reliable Canon Rumors indicates that Canon is updating three of its most popular EOS R cameras, and one in particular looks like a very exciting prospect indeed.

And if that weren’t enough, we’re also potentially due a new PowerShot compact, with Canon looking to capitalize on the success of its phenomenally popular PowerShot G7 X Mark III compact. But we’ve more details on the mirrorless side of things, so let’s take a closer look at what could be coming…

Canon EOS R8 II — could it be the digital AE-1 we’re all hoping for?

Rumors indicate that Canon’s lightweight full-frame EOS R8 is likely to get a successor in mid-September. As that camera is now more than three years old, this is about the time we might expect an update to come along. However, the really exciting news is that the new version may be an entirely new prospect — a retro-styled Canon AE-1 throwback that fans have been begging the company to make for years.

There have been rumors for quite some time that Canon is working on a retro-styled digital camera, just like Nikon did with its Zf, and given that this year marks the 50th anniversary of the AE-1, a legendary film SLR beloved by amateur photographers for its streamlined controls and ease of use, it makes sense that this could be the year.

The rumored specs for the EOS R8 II are that it’ll use a 32.5MP full-frame sensor, 40fps burst shooting via the electronic shutter, in-body image stabilization, oversampled 4K video and two UHS-II SD card slots. Pretty much what you’d expect for a mid-range full-frame camera.

I’ll be interested to see if the retro styling is purely cosmetic — it might even be the case that Canon releases a ‘standard’ EOS R8 Mark II version as well as the retro-tinged variant — or if it has any bearing on how the camera operates. There’s nothing in the rumor mill to suggest this, but personally, I think it would be smart for Canon to dip its toe into film-style looks for images, similar to Fujifilm’s Film Simulations or Panasonic’s in-camera Real Time LUTs.

Yes, Canon has its ‘Picture Styles’, but let’s be honest: nobody uses them, and they don’t have the cool factor of Fujifilm’s Film Simulations. I’d love to see Canon throw its weight into some really crisp, dynamic, analog-style looks for shooters who want great-looking JPEGs straight out of camera. And come on — there will never be a better opportunity to debut them than in a digital AE-1!

Canon EOS R7 II — let’s see a stacked APS-C sensor!

Also on the rumored docket is an update to the Canon EOS R7, a mid-range APS-C mirrorless camera that arrived in 2022. The original EOS R7 was something of a speedster, with burst speeds of 15fps with the mechanical shutter and up to 30fps with the electronic. And if rumors are correct, Canon might be doubling down on this by giving the EOS R7 II a stacked sensor design.

This would be the first stacked APS-C sensor for Canon’s lineup — indeed, currently the only APS-C camera with a stacked sensor is the Fujifilm X-H2S. A stacked sensor design moves the circuitry to the rear for faster readout, enabling higher burst speeds, superior autofocus tracking and blackout-free viewfinder shooting.

Considering that the EOS R7 was already an impressively speedy shooter, a stacked sensor design would push a mark II to pretty impressive heights — we could see autofocus and speed-shooting performance on par with professional or serious enthusiast cameras. Rumors also indicate that the sensor resolution might be upped to 39MP, from 32.5MP on the original EOS R7.

Canon EOS R10 II — the new beginner mirrorless to beat?

Rumors also indicate that we’ll see an update to Canon’s popular beginner model, the EOS R10, in the form of the EOS R10 Mark II. Details are very thin on the ground for this one, beyond the fact that it is on its way and due in the latter half of 2026. This is also likely to be the first of the new models we see.

The Canon EOS R10 has been a huge seller for Canon since its release in 2022 alongside the EOS R7. It’s not the cheapest in the EOS R lineup, with both the EOS R50 and the EOS R100 coming in under its price, but it’s a pretty affordable camera, with a lightweight build, intelligent autofocus and reliably solid image quality.

Personally, I doubt the boat will be rocked much here. Were I a betting person, I’d say that we’d expect to see improvements in the subject-recognition autofocus, more sustained burst speeds with a deeper buffer (the original EOS R10 could shoot at 15fps, but not for very long), and perhaps a nudge-up of resolution from 24.2MP to 32.5MP, so as to better distinguish the EOS R10 from its cheaper siblings.

What do you make of Canon's rumored upcoming models? Have your say in the comments below.

I've been scanning through the sale today to find the best price cuts, and in short, I've found some great options. Camera prices have really been hit in the past year, but I'm pleased to note that there are actually record-low prices available on some of our most highly rated bodies.

For example, right now you can get the excellent value Canon EOS R8 for $1,299 (was $1,649), the Nikon Z5 II for $1,596 (was $1,849), and the Sony Alpha A7R V for $3,298 (was $3,798). Some of these are discounts we've seen before, but in the case of some (like the R8), they're brand-new record lows. Just below you can see a full list of deals, including 15 models for all budgets.

According to Adorama's 4th of July sale page, customers who spend over $3,000 will also get $250 back in reward points, so it's definitely one of the better sales at the retailer this year. Note, however, it looks like the sales wrap up on Sunday, so you'll have to be quick if you're interested.

4th of July camera deals - Canon

4th of July camera deals - Nikon

4th of July camera deals - Sony

4th of July camera deals - OM System

The Leica SL3-P is not a camera for everyone, and it knows it. There's no red dot logo on the front — that easy-to-spot symbol of prestige has been deliberately omitted in favor of a clean, all-black anonymity. Only the word 'LEICA' in white block capitals above the lens mount gives the game away. This is a camera built for photographers who'd rather be invisible than show off, and that philosophy runs all the way through it, with minimal controls, a stripped-back UI, and a design language that says a lot through everything it leaves out.

Getting to grips with it takes some patience if you're arriving from a more conventional mirrorless system. With only four labelled buttons on the body, a lot of control is handed off to the touchscreen, which is polished and logically organized once you learn its rhythms. The rear LCD tilts but doesn't swivel, which is an unusual limitation for a camera at this price — and with a serious L-mount lens fitted, the combined weight is considerable. But pick it up, hold it to your eye, and look through that large, crisp EVF, and something clicks. This is a camera that feels like it was made to be used, not admired.

Image quality is exceptional — unsurprising given the 44.7MP BSI sensor, which is of the same type used by the superb Panasonic Lumix S1R II — and battery life is impressive. The autofocus is competent and handles moving subjects well enough, though it won't trouble Sony or Canon on raw speed. At around £5,150 (US pricing TBC), it's an expensive proposition. But as a pure expression of what a modern Leica should be, the SL3-P makes a very strong case for itself.

Leica SL3-P: Price and availability

• Priced at $6,690 / £5,150 body-only
• Also available in three zoom lens kits

It's unlikely to come as a shock to you that the Leica SL3-P is a very expensive camera. Its launch price, for the body only, is $6,690 / £5,150 (Australia pricing is still TBC at the time of writing).

Leica is also releasing the camera in three kit bundles, each of which includes at least one Vario zoom lens. The SL3-P with a Leica 28-70mm lens is $7,790 / £6,100; with a Leica 24-70mm it's $8,390 / £6,480; and with both the 24-70mm and a 70-200mm it's $10,995 / £8,560.

Leica SL3-P: specs

Leica SL3-P: design

• All-black, badge-free design with minimalist controls
• Premium full-metal construction with IP54 weather sealing
• Large, comfortable EVF with twist-barrel diopter adjustment

The absence of Leica's red dot is the first thing you notice, and it sets the tone for everything that follows. The SL3-P is clad entirely in black, with only 'LEICA' in white block capitals on the EVF housing to identify it. Four buttons across the whole body are labelled (one of which is the power button). It's a stealthy, understated thing — clearly designed for people who want to use a Leica but aren't fussed about being seen with one.

The German-made full-metal body felt exactly as solid and premium as I'd expect from the brand, and comes with IP54 weather sealing for extra outdoors reassurance. There's a large grip covered with a textured material that provides a secure hold even when conditions aren't ideal, and the supplied neck strap is thick and well-padded, which I appreciated given how much weight a serious L-mount lens adds to the equation.

With so few physical controls, much of the camera's operation is routed through the touchscreen. The UI is stylish and well organized, with photo and video modes color coded distinctly in red and yellow respectively. And while the layout takes some adjusting too if you're used to a more button-heavy system, the logic is coherent, and settings are never difficult to locate. Touch-to-focus on the screen works exactly as expected, and custom button assignments help flatten the learning curve further.

The EVF is large, crisp and comfortable thanks to its 5.76-million dot resolution and 0.76x magnification, and as a glasses wearer I really liked the satisfying diopter mechanism that simply requires twisting the EVF barrel rather than hunting for a small dial.

The top-plate display is a genuinely useful feature, giving you a quick rundown of current settings without you having to lift the camera to your eye. The rear LCD, however, only tilts: up to 90 degrees upward and around 45 downward. That covers most tripod and arm's-length scenarios, but there's no forward-facing position for self-shooting, and no side-to-side articulation, which feels like an unusual limitation at this price.

On a practical note, I will say that the SL3-P is not a lightweight system, especially when teamed with some high-quality glass. The Summilux-SL 50mm f/1.4 lens I used with it added over a kilogram to the body, and while the grip is secure and comfortable, a long day of handheld shooting (covering a child's birthday party, in my case) does become fatiguing. That's less a criticism — after all, there are plenty of heavy cameras around — and more of a warning about how and when it can be used.

Leica SL3-P: Performance

• Exceptional image quality from a 44.7MP BSI full-frame sensor
• Competent hybrid autofocus with broad subject detection, including birds
• Impressive battery life and extensive video options including 8K and ProRes

The SL3-P shares its 44.7MP BSI full-frame CMOS sensor with the Panasonic Lumix S1R II — a camera I've tested and rate very highly — and the image quality is, predictably, exceptional.

Raw files processed in Lightroom offer tremendous latitude, with smooth tonal gradation, wide dynamic range and excellent high-ISO performance. JPEGs are very good straight from camera too, and five film-look presets — three color, two monochrome — add some welcome creative options. The high-contrast black-and-white preset is particularly striking, and feels authentically Leica in character.

Video capabilities are more extensive than the camera's photographer-first positioning might suggest: 8K Open Gate, ProRes to 5.8K, 4K at 120fps, L-Log, 12-bit RAW and 4:2:2 10-bit are all available. It's a serious toolkit, even if the handling feels more naturally attuned to stills.

The hybrid autofocus combines 315 contrast AF points with 819 phase detection points, with human, animal (including birds) and car detection. Tracking held up well in practice; testing on an active cat, the camera maintained focus through erratic movement without significant trouble.

Outright acquisition speed with the Summilux 50mm f/1.4 in AF-C is where it falls short of class leaders; it's capable rather than decisive, and anyone shooting fast action should look elsewhere. For portrait, street or documentary work, though, it certainly gets the job done.

Five-axis IBIS rated at up to five stops works quietly and effectively, and battery life is a genuine highlight. After a full charge I shot well over 100 frames across a lengthy session, and the indicator remained full. That seems in line with Leica's claimed 383 shots per CIPA standard cycle.

Should you buy the Leica SL3-P?

Buy it if...

Don't buy it if...

How I tested the Leica SL3-P

• Leica loaned me a sample for over a week, along with a 50mm prime lens
• I used it indoors and outdoors for several days, shooting photos and video
• All sample photos were shot in raw and processed in Adobe Lightroom

Leica loaned me a review sample of the SL3-P camera to test out in real-world use, a few weeks ahead of the official release.

I reviewed the Leica SL3-P over the course of a week, using it exclusively with the Leica Summilux-SL 50mm f/1.4 ASPH. prime lens. My shooting covered a wide range of scenarios: street photography and candids outdoors, landscape work, and indoor shooting in both natural daytime light and normal interior lighting at night — the latter without flash or studio lighting assistance of any kind.

All sample images were captured in raw format and processed in Adobe Lightroom.

First reviewed June 2026