There’s something almost reassuring about Canon announcing a camera like this. The EOS R6 Mark III doesn’t try to reinvent photography or introduce some wild sci-fi concept about neural exposure fusion or whatever the industry is pitching this month. Instead, it builds on something solid, familiar, and honestly very loved. The R6 line has always sat in that sweet spot for people who need a camera that works anywhere: weddings at dusk, street portraits in winter, wildlife just after sunrise, or a scrappy documentary shoot in a café with bad lighting and too much noise.

There’s always this hum in the background of photography, a sort of collective whisper that if you just had slightly better gear, your images would suddenly unlock some new plane of beauty. A faster lens, a cleaner sensor, a body with buttons that feel carved to your thumb’s destiny — as if the only thing standing between you and greatness is one more purchase. But when you look at your own photos — the ones you actually care about, the ones you go back to — almost all of them were taken well within the normal, everyday limits of the camera you had at the time.

There’s something profoundly poetic about a photography organization building a visual library to teach the craft itself—and that’s exactly what the Professional Photographers of America (PPA) has done with the launch of PhotoVision, a new streaming platform that may redefine how professional and aspiring photographers learn, connect, and evolve. With over 2,500 videos, 1,700 articles, and fresh weekly content drops, PhotoVision is set to become the go-to digital classroom and inspiration feed for photographers worldwide.

MPB’s business structure mirrors the early Netflix era—back when DVDs traveled through the mail instead of streaming across fiber. Just as Netflix mastered the choreography of postal logistics to outcompete video stores, MPB has built a logistics-powered marketplace where cameras, lenses, and accessories circulate seamlessly between sellers and buyers, mediated entirely by the company’s inspection hubs. Every trade-in, every sale, every delivery depends on a closed, invisible loop of packaging, shipping, grading, and warranty management.

There’s a strange little lie that clings to photography like static: that better photos come only with better money. Magazines repeat it, YouTubers spin it into endless reviews, camera companies sell it with polished language about “innovation” and “pro.” And quietly, almost without noticing, photographers begin to believe it. They wait to start until they’ve saved for the new release. They feel embarrassed about their modest kit. They scroll through spec sheets like lottery tickets, convinced the next model will unlock their vision.

The Weight of Canon’s R-Series: From Featherlight APS-C to Full-Frame Heavyweights Weight is one of those specs that photographers often glance over—until they’re halfway through a long day of shooting and their neck strap is digging in. Canon’s R-series is fascinating because it runs the spectrum, from ultra-light beginner models to professional full-frame bodies with real heft. Looking at just the body-only weights, the differences paint a clear picture of who each camera was designed for.

There’s a temptation in photography to always “fix things.” Straighten horizons, remove noise, clean up blemishes, correct distortion. Software makes it almost effortless, as if we’re expected to present reality in its most polished, technically flawless form. But when I stand in a place like Prague’s Old Town Square and raise a wide-angle lens toward the Astronomical Clock, I don’t necessarily want perfection. I want a photograph that feels like the experience, and experience isn’t tidy.

It’s almost funny to think about—NextVision, a company whose miniature stabilized cameras are built for drones patrolling borders, scanning battlefields, or checking high-voltage lines, being somehow relevant to the everyday photographer. Their world is defense contracts, industrial inspections, firefighting operations. The price tags, the specs, even the weight of responsibility that comes with their gear—it all feels galaxies away from someone packing a Sony Alpha or a Canon R-series for a trip to Lisbon.

When you start comparing Canon’s mirrorless lineup, one of the first technical differences you’ll notice is how the shutter works. For photographers who want silence, speed, or durability, the choice between mechanical, electronic first-curtain (EFCS), and full electronic shutter matters a great deal. Across Canon’s EOS R range, each model implements shutter technology a little differently, reflecting its market position and price point. The Canon EOS R100 is the most limited.

There is a gap in your RF lens lineup that many of us photographers feel every time we head out for a shoot. We have stunning short telephoto primes like the RF 135mm f/1.8, and we have long telephoto zooms like the RF 70–200mm f/2.8. But what’s missing is a dedicated 200mm prime lens—a compact, lightweight, and sharp RF 200mm f/2.8 that delivers the magic of prime rendering without the bulk or cost of the f/2.