May 13 is shaping up to be one of the more significant single days in camera news in some time. Canon has scheduled an announcement for 9:00 AM EDT; Sony follows thirty minutes later at 9:30 AM EDT. Both events have been extensively pre-leaked, and the picture that emerges is of two companies addressing very different problems with very different philosophies. Canon’s announcement is the EOS R6V. The body is built on the R6 Mark III and Cinema EOS C50 platform – a 32.

Focus peaking is an EVF overlay that highlights in-focus edges in a selected color — typically red, yellow, or white — as you rotate the focus ring. It is a mirrorless-native feature, unavailable on optical viewfinders by definition, and it changes the character of manual focus work on modern cameras in ways that make the technique accessible where it was previously a specialist skill. The RF 35mm f/1.8 IS Macro STM has a smooth, well-damped manual focus ring with enough rotation travel to be used precisely.

The Camera & Imaging Products Association published its full 2025 shipment figures in February 2026, completing the picture of a year defined by two diverging trends: crop-sensor lenses gaining ground in units while full-frame glass quietly contracted, and an industry-wide lens-to-body ratio that hit the lowest point in CIPA’s recorded history. The Crop Lens Revival The most consequential shift in the 2025 data is the performance gap between sensor formats. Lenses for APS-C and smaller sensors rose approximately 9 percent in units and 21 percent in value through the final reporting period, while lenses for full-frame and larger formats declined around 4 to 5 percent in units and 6 to 7 percent in value.

The Canon EF 85mm f/1.8 USM is older than the camera it is mounted on by more than three decades, and the pairing still produces the cleanest subject isolation this system can deliver at the price. Adapted to the R100 through the EF-EOS R adapter, the lens lands on an APS-C sensor with a 1.6x crop factor, which pushes the effective field of view to roughly 136mm. That reframing matters. The optical characteristics remain those of an 85mm — the same depth of field at a given distance, the same rendering of out-of-focus light — but the tighter angle of view forces the photographer further from the subject, and the compressed perspective does the rest of the work.

Wireless connectivity in cameras has never been a marketing priority. Megapixels sell. Autofocus systems sell. WiFi module generations do not. Which is exactly why the gap between what Canon is shipping in 2024–2025 and what the other major brands are offering is larger than it should be, and largely unreported. A quick orientation: the relevant standards in current camera hardware are WiFi 4 (802.11n, introduced 2009), WiFi 5 (802.11ac, introduced 2013), and WiFi 6 (802.

Sony has issued simultaneous firmware updates for three of its Alpha full-frame mirrorless bodies: the A7R IVA, A7C, and A7 III. The new versions — 1.13, 2.03, and 4.04 respectively — all carry the same terse changelog: improved operational stability. Sony has offered no further detail, which is typical for this category of update. In practice, stability patches of this kind generally address issues around power management, accessory or lens compatibility, and intermittent freezing or unresponsiveness.

There’s a particular kind of camera that gets recommended to serious photographers who aren’t ready to commit to full-frame — the consolation prize wrapped in enough specs to feel like a choice rather than a compromise. The Fujifilm X-H2S is not that camera. It is, without qualification, a serious tool for serious work. What It Is The X-H2S sits at the top of Fujifilm’s X-series lineup — the larger, heavier, more capable sibling to the X-T5.

When Sony first launched the G Master series back in 2016, the 24–70mm f/2.8 sat right at the center of the promise—high-end optics for a system that was still proving itself. The original delivered, but over time it started to feel… heavy in more ways than one. As bodies slimmed down and sensors pushed into 30MP, 50MP, even 60MP territory, that first version began to show its age—not optically so much, but physically, ergonomically.

Exploring the art of photography often leads to a pursuit of the finest tools, where the convergence of technical prowess and artistic expression can be found. For many photographers, the idea of stepping into the world of high-end, medium format photography feels like an unattainable dream due to the high costs typically associated with this level of image quality. However, with the combination of the FUJIFILM GFX 50S Medium Format Mirrorless Camera and the Mitakon Zhongyi Speedmaster 65mm f/1.