As a lot of you know, the current lenses were originally designed for the EF mount, and Canon stuck a mount adapter on them.

We have been told that the new lenses have been delayed for quite some time due to shortages of parts required for manufacturing cameras and lenses. It could be for the circuit boards, materials for the lens itself, or a bunch of other things, Canon will never be fully transparent about this sort of thing.

If we read between the lines, it sounds like Canon is going to be doing the built-in teleconverter differently than what’s currently out there by other manufacturers. What “different” means wasn’t articulated all that well.

We broke down a patent recently that talked about a drop-in teleconverter. We don’t think that’s what the patent was actually showcasing, and it was more about the space required inside the lens for one as it touched on empty air in the lens.

We do receive some fun stuff from time to time that doesn’t get published but they can give you something to think about.

A Canon RF 400mm f/2.8L IS 1.5x, think about that one for a minute. That would give you the 400 2.8 and a 600 f/4 in one lens. Currently, we see 1.4x teleconverters built into lenses, which leads to 1-stop of light loss.

With a 1.5x teleconverter, the light loss is about 1.17 stops. Would there be a way to compensate for that loss to keep the 600mm f/4? As mentioned, that would end up being 600mm f/4.2. That’s not a huge difference, but we’re not sure how a camera could deal with that, or if it needs to at all.

When it comes to lens design, what appears on the barrel and the box is rarely exactly what the lens is. A 50mm f/1.4 could be a 48mm f/1.47 or something like that.

Very cool to think about, but in no way are we saying that’s what’s coming.

We don’t think Canon’s supertelephoto prime lenses are coming before the year is out. We reported in the past that there was one more announcement date coming in 2026 from Canon, but we believe that to be for the RF 90mm f/2.8 IS STM Macro lens and a new f/2 zoom lens.

In Canon’s latest financial report, they do mention an issue with shortages of circuit boards, which may have an impact on when Canon does announce new products. Yes, they do enjoy the “we can’t keep up with demand” press releases, but there could be at least a little bit of truth to those claims.

We have been told to expect more information very soon on this topic, and we hope all of this finally gets nailed down, including the coming supertelephoto zoom lens.

A smartphone can handle casual concert photos, but a dedicated compact camera offers more control over exposure, optical zoom and autofocus. The challenge is finding a model that performs well in low light without becoming too large to carry comfortably.

For most people, the Sony RX100 VII is a strong all-round choice for concert and event photography because it combines fast autofocus, a versatile zoom and a genuinely compact body. However, photographers who prioritize a brighter lens or better low-light image quality may prefer a different approach.

Here are the compact cameras worth considering in 2026, along with the features that matter most when photographing live performances.

• Best overall: Sony RX100 VII
• Best for a brighter zoom lens: Canon PowerShot G7 X Mark III
• Best for everyday events: Sony RX100 VII
• Best for image quality in a compact body: Ricoh GR IV
• Best for photographers who want maximum flexibility: A premium compact with a versatile zoom, chosen according to venue restrictions and shooting distance

Sony RX100 VII

20.1MP1" Sensor24-200mm4K30

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$1498€1069 · £1049

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The Sony RX100 VII is one of the most versatile options for photographers who want a compact camera for concerts, performances and other live events.

Its one-inch, 20.1-megapixel sensor is paired with a 24–200mm-equivalent zoom lens, giving you a useful range from wider environmental shots to tighter photographs of performers on stage. Sony also specifies autofocus features including Real-time Tracking, Eye AF and continuous shooting at up to 20 frames per second. These capabilities make it well suited to unpredictable subjects and changing moments.

The zoom range is particularly valuable at concerts. If you're seated some distance from the stage, you can frame individual performers without carrying a separate telephoto lens.

However, the lens has a maximum aperture of f/2.8 at the wide end and f/4.5 at the telephoto end. That means it becomes less suitable as the light level drops, especially when you're zoomed in. Sony's official specifications provide the full details.

Best for: Concertgoers, travelers, family celebrations and photographers who want one compact camera for different types of events.

Why it stands out: Versatile zoom, sophisticated autofocus and compact dimensions.

Main limitation: Its lens isn't particularly bright at the telephoto end, so very dark venues can still be challenging.

Canon PowerShot G7 X Mark III

20.1MP Stacked Sensor4.2x Optical Zoomf/1.8-2.8

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$1,299€900 · £899

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The Canon PowerShot G7 X Mark III deserves consideration if your main priority is photographing events in challenging lighting.

It features a one-inch, 20.1-megapixel sensor and a 24–100mm-equivalent zoom lens with a maximum aperture of f/1.8 at the wide end and f/2.8 at the telephoto end. This brighter lens can be an advantage when photographing indoor performances, receptions and smaller venues.

Compared with the Sony RX100 VII, the Canon offers less reach. But its brighter aperture at longer focal lengths can help you maintain faster shutter speeds in low light.

That matters when photographing a singer moving across the stage or a speaker gesturing during a presentation. A camera that allows you to use a faster shutter speed can help reduce motion blur.

The G7 X Mark III also supports manual exposure controls and RAW capture, giving photographers more flexibility when editing difficult lighting afterward.

Check Canon's official specifications for further details.

Best for: Indoor events, smaller concerts, parties and photographers who prioritize a brighter lens over extensive zoom.

Why it stands out: Bright f/1.8–2.8 lens and useful manual controls.

Main limitation: Its 24–100mm-equivalent zoom may not provide enough reach for performers on distant stages. Availability and pricing should also be checked before buying.

Ricoh GR IV

25.7MP APS-C BSI CMOS28mm f/2.8IBIS

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$1597€1449 · £1699

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The Ricoh GR IV takes a different approach from traditional zoom compacts.

It features an APS-C sensor with approximately 25.74 megapixels and a fixed 28mm-equivalent lens with an f/2.8 maximum aperture. It also includes five-axis sensor-shift stabilization. These specifications make it an interesting choice for photographers who want image quality in a genuinely compact body.

The GR IV is particularly appealing for documenting the atmosphere surrounding an event: people arriving at a venue, street scenes, candid moments and environmental portraits.

Its wider fixed lens encourages photographers to get closer and include more of the surroundings in their compositions.

However, the absence of optical zoom is a major drawback for stage photography. If you're standing far from a performer, you cannot zoom in optically, and cropping reduces the effective resolution.

The GR IV is therefore better suited to event documentation than to photographing performers from the back of a concert hall.

Best for: Candid event photography, street photography and documenting the atmosphere around live events.

Why it stands out: APS-C image quality in a small body, with stabilization and RAW support.

Main limitation: Fixed wide-angle lens with no optical zoom.

Choosing the right camera involves more than comparing megapixels. Several features have a direct impact on the photographs you'll get at a live event.

Low-Light Performance

Concert venues often have dramatic lighting but relatively little overall illumination. A camera with a larger sensor and a bright lens can help you produce cleaner images and maintain usable shutter speeds.

A one-inch sensor can perform well in suitable conditions, but it won't eliminate the challenges of a dark venue. An APS-C sensor can offer an advantage, although the lens and exposure settings still matter.

Lens Aperture

A lens with a wider maximum aperture lets more light reach the sensor.

For example, an f/1.8 lens can gather substantially more light than an f/4.5 lens at the same focal length and shutter speed. This can help you photograph moving performers without relying as heavily on high ISO settings.

The important detail is to check the maximum aperture at the focal length you'll actually use, not just the widest setting printed in the specifications.

Autofocus and Continuous Shooting

Performers rarely stay still for long. Reliable autofocus helps keep faces and important details sharp, while continuous shooting gives you multiple frames from a brief moment.

Eye detection and subject tracking can be useful, but they aren't substitutes for good exposure and appropriate shutter speeds.

Zoom Range

If you're photographing from the audience, zoom may be more important than almost any other feature.

A wider lens is useful for capturing the entire stage, while a telephoto focal length helps isolate a performer.

Before buying, consider how far you'll usually be from the stage. A camera with a shorter, brighter zoom can be excellent in a small club but less useful at a large arena.

Silent Shooting

Some venues restrict camera use or require photographers to avoid disturbing other audience members. A quiet electronic shutter can be useful in these situations, although electronic shutters may introduce rolling-shutter distortion under certain conditions.

Always check venue rules before bringing a dedicated camera.

Even a capable camera can struggle if the settings aren't appropriate for the conditions.

Start by using a relatively fast shutter speed when photographing moving performers. Around 1/250 second is a reasonable starting point for moderate movement, while faster action may require 1/500 second or more.

Use the widest practical aperture and raise ISO when necessary rather than allowing the shutter speed to become too slow. A slightly noisy photograph is often more useful than a blurred one.

If your camera supports RAW capture, consider using it for performances with strong colored lighting. RAW files can give you more flexibility when correcting exposure and adjusting white balance.

Finally, avoid using digital zoom whenever possible. Optical zoom generally preserves more useful detail, particularly when photographing performers at a distance.

A compact camera is a good choice when portability and convenience matter most. It's especially useful for small venues, social gatherings and situations where a large camera system would be inconvenient.

However, if you regularly photograph concerts professionally, a mirrorless camera with a fast telephoto lens will generally provide more flexibility. A larger sensor, a bright lens and more advanced autofocus options can make a meaningful difference in difficult lighting.

You should also check whether the venue permits interchangeable-lens cameras. Some venues restrict professional-looking equipment, regardless of the photographer's intentions.

For most people looking for one compact camera for concerts and events, the Sony RX100 VII is the strongest all-round option. Its combination of autofocus, portability and 24–200mm-equivalent zoom makes it useful in a wide variety of situations.

The Canon PowerShot G7 X Mark III is worth considering if a brighter lens matters more than long zoom, particularly for smaller venues and indoor gatherings.

The Ricoh GR IV is a different kind of option, best suited to candid event documentation and environmental photography rather than distant stage performances.

Ultimately, the right choice comes down to where you shoot. For distant stages, prioritize zoom and autofocus. For dimly lit clubs, prioritize lens aperture and sensor performance. For general event coverage, look for a balance of portability, reliable focusing and image quality.

A compact camera won't make every concert photograph perfect, but choosing the right combination of lens, sensor and autofocus can give you a much better chance of capturing the moments that matter.

Sony RX100 VII

20.1MP1" Sensor24-200mm4K30

$1498€1069 · £1049

Shop Now→

Ricoh GR IV

25.7MP APS-C BSI CMOS28mm f/2.8IBIS

$1597€1449 · £1699

Shop Now→

Canon PowerShot G7 X Mark III

20.1MP Stacked Sensor4.2x Optical Zoomf/1.8-2.8

$1,299€900 · £899

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The first is the Canon Microphone DM-E10D. It clips onto the hotshoe and gets its power and audio through the shoe itself, so there’s no cable, no batteries and no receiver to deal with. It’s aimed at vlogging, streaming and talking to your camera, and it is engineered to only pick up what's in front of the camera while ignoring most of the noise around it.

It weighs about 59g and is just 53.7mm long, which Canon says makes it its smallest hotshoe mic. We love the idea of not having to replace batteries or having another cable to lose. This looks like a really nice product, but we'll have to wait and see (or hear) on its performance.

The second is the Canon Timer Remote Controller TC-N3, the replacement for the TC-80N3. If you shoot time-lapses, long exposures or the night sky, it lets you program the camera and walk away.

The screen is bigger and has an orange backlight, so it’s easier to read in the dark, the buttons have been redesigned, and you can now set start and end times. There’s also a tripod socket for mounting. It comes in two versions, one with an N3 plug and one with an E3 plug (the TC-E3), so it covers more Canon cameras.

59g

Weight

53.7mm

Length

Smallest

Canon hotshoe mic

What it is

A little mic that clips onto the camera’s hotshoe. It gets power and signal through the shoe, so there’s no cable, no batteries and no receiver.

Why that’s a nice idea

You clip it on and you’re done. It’s built for vlogging, streaming and talking to the camera.

Sound

“Supercardioid” just means it picks up what’s in front of the camera and ignores most of the noise around it.

Menu button

A MENU button on the mic jumps straight to the camera’s sound settings.

Specifications

Type

Monaural

Directivity

Supercardioid

Frequency (Hz)

60 to 20000

Sensitivity

-16 dB FS (94 dB SPL @ 1 kHz)

Attenuator

Available

Wind filter

Available

Output terminal

Multi-function shoe

Output method

Digital

Power source

Multi-function shoe

Dimensions (W × H × D)

Approx. 36.8 × 61.0 × 53.7 mm

Weight

Approx. 59 g (excluding the windscreen and shoe cover)

Pre-Order

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What it does

You tell the camera when to start, when to stop and how often to shoot, and walk away. Good for time-lapse, long exposures and star photography.

What’s new

New

Bigger screen

An orange backlight makes it easy to read when you’re shooting in the dark.

New

Better buttons

Redesigned buttons and a cross-key, and it works in either hand.

New

Start and end times

You can now set when it begins and when it stops.

New

Tripod socket

Flexible mounting options, so it can sit on a tripod.

The two versions

TC-N3

Comes with the N3 terminal.

TC-E3

Comes with the E3 terminal.

Same remote, different plug, so the pair covers more Canon cameras. It runs on two AAA batteries.

Specifications

Plug type

2 models: E3 or N3 terminal

Time setting

Available

Timer (Self-timer)

Available

Timer (Specify time)

Available

Display panel size (W × H)

Approx. 26.2 × 15.7 mm

Backlight

Orange

Power source

AAA batteries ×2 (not included)

Cable length

Approx. 80 cm

Dimensions (W × H × D)

Approx. 40.0 × 154.0 × 19.6 mm

Weight

E3 model: Approx. 80 g (excluding battery)
N3 model: Approx. 95 g (excluding battery)

Tripod socket

Available

Pre-Order TC-N3 Pre-Order TC-E3

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Canon DM-E10D & TC-E3Click any image to enlarge

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A compact camera is an appealing option because it combines a camera body and lens in one package. You don't need to buy a separate telephoto lens, and some models offer enough zoom to photograph distant wildlife without carrying a large camera bag.

However, not every compact camera is suitable for wildlife photography. A camera designed for travel snapshots may struggle with distant birds, fast-moving animals or low-light conditions.

When choosing a compact camera in 2026, focus on optical zoom, autofocus performance, image stabilization and sensor size. The best combination depends on the animals you photograph and how far away you expect to be.

Sony RX100 VII

20.1MP1" Sensor24-200mm4K30

$1498€1069 · £1049

Shop Now→

Best Overall

Sony RX10 V

20.1MP24-600mm4K6030fps

$2298€2499 · £2199

Shop Now→

Best Superzoom

Nikon COOLPIX P1100

16MP24-3000mmf/2.8-8UHD 4K

$1049.95€948.49 · £999

Shop Now→

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These cameras serve different needs. The RX100 VII prioritizes portability, while the P1100 prioritizes extreme reach. The RX10 V offers a middle ground for photographers who want a substantial zoom range and a more substantial camera body.

Sony RX100 VII

$1498€1069 · £1049

Sensor

20.1MP 1"-type CMOS

Lens

24–200mm equiv. f/2.8–4.5

Burst

Up to 90 fps

ISO

100–12,800

Video

4K up to 29.97p

Stabilization

Optical lens + digital

Viewfinder

2.36M-dot OLED

Weight

302 g

Shop Now→

3" 180° tilting touchscreen · Built-in flash · Wi-Fi and Bluetooth · NP-BX1 battery, about 240 shotsAffiliate link

The Sony RX100 VII is worth considering if you want a compact camera that can handle wildlife photography without taking up much space.

It uses a one-inch, 20.1-megapixel sensor and a 24–200mm-equivalent zoom lens. Its autofocus system includes Real-time Tracking and Eye AF, and it can shoot at up to 20 frames per second with autofocus and exposure tracking.

That combination is useful when photographing nearby birds, animals in a zoo or wildlife encountered during a hike.

The 200mm-equivalent maximum focal length, however, is relatively limited for small birds or animals that remain far away. You may need to crop the image, which reduces the detail available in the final photograph.

The lens also becomes slower as you zoom in, making it less suitable for very dark conditions.

Best for: Travelers, hikers, casual wildlife photographers and people who want a camera they can carry every day.

Why consider it: Compact dimensions, responsive autofocus and a versatile zoom.

Main limitation: Limited telephoto reach for distant wildlife.

Best Superzoom

Nikon COOLPIX P1100

$1049.95€948.49 · £999

Sensor

16MP 1/2.3"-type CMOS

Lens

24–3000mm equiv. f/2.8

Zoom

125x optical

Burst

Up to 7 fps

ISO

100–6400

Video

4K up to 29.97p

Viewfinder

2.36M-dot electronic

Weight

1415 g with battery

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Optical stabilization · 3.2" articulating LCD · Built-in flash and hot shoe · EN-EL20a battery, about 250 shotsAffiliate link

If photographing distant birds and animals is your main priority, the Nikon COOLPIX P1100 is one of the most interesting cameras to consider.

Its 125x optical zoom covers a 24–3000mm-equivalent focal-length range. That is an extraordinary amount of reach from a camera with a built-in lens. Nikon also includes lens-shift vibration reduction to help reduce camera shake.

This reach can be particularly useful for birdwatching, photographing animals across open landscapes and capturing subjects that are difficult to approach.

The P1100 also offers a dedicated viewfinder, which is useful when composing photographs in bright sunlight.

There are trade-offs, though. It is considerably larger than a pocketable compact, and its smaller sensor limits low-light performance compared with many larger-sensor camera systems. Autofocus and shutter speed still matter when photographing fast-moving animals.

Extreme zoom also magnifies camera shake, so a steady grip, good technique or a tripod can be valuable.

Best for: Birdwatchers, wildlife enthusiasts and photographers who need maximum optical reach.

Why consider it: Exceptional 125x optical zoom and a 3000mm-equivalent maximum focal length.

Main limitation: Larger body, smaller sensor and demanding handling at extreme zoom settings.

Best Overall

Sony RX10 V

$2298€2499 · £2199

Sensor

20.1MP 1"-type CMOS

Lens

24–600mm equiv. f/2.4–4

Zoom

25x optical

Burst

Up to 30 fps

ISO

100–12,800

Video

4K up to 59.94p

Viewfinder

3.68M-dot OLED

Weight

1111 g with battery

Shop Now→

Optical stabilization · 3" tilting touchscreen · Wi-Fi 5 · NP-FZ100 battery, about 630 shotsAffiliate link

The Sony RX10 V is another strong option for wildlife photography, particularly if you want a versatile camera with more reach than a pocket compact.

It combines a one-inch, 20.1-megapixel sensor with a 24–600mm-equivalent zoom lens. Its maximum aperture ranges from f/2.4 at the wide end to f/4 at the telephoto end.

The 600mm-equivalent reach is useful for photographing larger birds, mammals and animals at moderate distances. It also provides a good range for general outdoor photography, so you can capture landscapes and environmental shots without changing equipment.

Its relatively bright lens is an advantage compared with many extreme-zoom cameras, particularly when light levels are less than ideal.

The main drawback is size and weight. The RX10 V is more of a bridge camera than a pocketable compact, so it makes the most sense if you're comfortable carrying a larger all-in-one camera.

Best for: Wildlife enthusiasts who want a substantial zoom range without purchasing interchangeable lenses.

Why consider it: 24–600mm-equivalent zoom, a relatively bright lens and a one-inch sensor.

Main limitation: Larger body and less reach than the Nikon P1100.

Choosing the right model is only part of the decision. Understanding the specifications that affect wildlife photography will help you avoid paying for features you don't need.

1. Optical Zoom and Focal Length

Zoom range is often the first specification wildlife photographers examine.

For nearby animals, a moderate telephoto lens may be sufficient. Small birds sitting high in trees, however, often require much greater reach.

A 200mm-equivalent lens can work for larger or nearby subjects, while 600mm equivalent offers more flexibility for distant wildlife. Extreme focal lengths can be useful when subjects are exceptionally far away.

Remember that optical zoom and digital zoom are not the same. Optical zoom uses the lens to change the field of view, while digital zoom crops or processes the image. For maximum image detail, prioritize genuine optical reach.

2. Autofocus and Subject Tracking

Wildlife rarely waits for you to get ready.

Birds take off unexpectedly, animals move through vegetation and small subjects can be difficult to keep in focus.

Look for a camera with reliable continuous autofocus, subject tracking and a useful burst-shooting mode.

These features improve your chances of capturing sharp images, although no autofocus system can guarantee a perfect result every time.

3. Image Stabilization

Long focal lengths make camera shake more obvious. Effective stabilization can help you capture sharper images when shooting handheld.

However, stabilization does not freeze a moving animal. If a bird is flying or an animal is running, you still need a sufficiently fast shutter speed.

For stationary subjects, stabilization can be particularly helpful when using a long zoom.

4. Sensor Size and Low-Light Performance

Compact cameras often use smaller sensors to accommodate their built-in zoom lenses.

A smaller sensor can make an extremely long zoom possible without requiring a huge lens, but it can also produce noisier images in low light.

If you frequently photograph wildlife at dawn, dusk or under forest cover, sensor performance and maximum aperture deserve extra attention.

If you mostly shoot in daylight, you may be able to prioritize zoom range instead.

5. Burst Shooting and Buffer Capacity

Continuous shooting can help you capture the right moment when an animal moves quickly.

But maximum frames per second is only part of the story. Check how many images the camera can capture in a burst and how quickly it can process and save them.

For wildlife photography, a reliable burst mode can be more useful than a headline speed that is available only under limited conditions.

6. Weight and Battery Life

A camera that feels comfortable during a short test may become tiring during a full day outdoors.

Consider the weight of the camera, the grip, the viewfinder and battery life before making your decision.

If you regularly go hiking or spend hours birdwatching, portability can be just as important as maximum zoom.

A compact camera can be the more convenient option if you want long zoom in a single package.

You don't have to buy a telephoto lens separately, and the complete setup may be easier to carry than a mirrorless camera with a large wildlife lens.

A mirrorless camera generally offers more flexibility, particularly when paired with a high-quality telephoto lens. Larger sensor options can also help in low light, while interchangeable lenses allow you to choose equipment for specific subjects.

The downside is that a capable wildlife lens can add considerable weight and cost.

Choose a compact or bridge camera if you value convenience and an all-in-one setup. Consider mirrorless if wildlife photography is a serious pursuit and you want greater control over image quality, lens choice and future upgrades.

Even the best camera needs the right technique.

• Use a fast shutter speed: Birds in flight may require 1/1000 second or faster, depending on their speed and direction.
• Track your subject: Start following the animal before pressing the shutter, particularly when photographing birds.
• Avoid unnecessary digital zoom: Use the optical range whenever possible to preserve detail.
• Shoot in good light: Early morning and late afternoon can provide attractive light, although dawn and dusk may require higher ISO settings.
• Keep your distance: Avoid disturbing wildlife to get a closer photograph.
• Practice before a trip: Learn the autofocus, burst and stabilization settings before you encounter a difficult subject.

For casual wildlife photography and travel, the Sony RX100 VII offers a useful balance of portability and autofocus performance. Its zoom is sufficient for nearby animals, although it is not designed for extreme telephoto work.

For birdwatchers and photographers who need maximum reach, the Nikon COOLPIX P1100 is the more specialized choice. Its 3000mm-equivalent maximum focal length can bring distant subjects into the frame without requiring a separate telephoto lens.

The Sony RX10 V is a strong alternative for photographers who want a substantial zoom range, a relatively bright lens and a versatile all-in-one camera.

Ultimately, choose your camera based on the wildlife you photograph most often. For nearby animals and casual outings, portability may matter most. For distant birds, zoom range becomes essential. For wildlife in low light, sensor performance, lens aperture and autofocus deserve greater attention.

The best compact camera for wildlife photography is not necessarily the one with the biggest zoom number. It is the one that gives you enough reach, reliable focusing and usable image quality for the subjects you actually want to photograph.

Sony RX100 VII

20.1MP1" Sensor24-200mm4K30

• 20.1MP 1" Exmor RS BSI CMOS Sensor
• BIONZ X Image Processor & Front-End LSI
• ZEISS Vario-Sonnar T* f/2.8-4.5 Lens
• 24-200mm (35mm Equivalent)
• Up to 20-fps Blackout-Free Shooting
• UHD 4K30p Video with HLG & S-Log3 Gammas

$1498€1069 · £1049

Shop Now→

Best Overall

Sony RX10 V

20.1MP24-600mm4K6030fps

• 20.1MP 1" Exmor RS BSI CMOS Sensor
• BIONZ XR Processing Engine with AI Chip
• 4K60 Full-Pixel 4:2:2 10-Bit Video
• Zeiss Vario-Sonnar T* f/2.4-4 Zoom Lens
• 24-600mm Zoom Range (35mm Equivalent)
• AI-Powered Autofocus & Subject Tracking

$2298€2499 · £2199

Shop Now→

Best Superzoom

Nikon COOLPIX P1100

16MP24-3000mmf/2.8-8UHD 4K

• 16MP BSI CMOS Sensor
• NIKKOR 24-3000mm Lens (35mm Equivalent)
• EXPEED Image Processor
• Aperture Range: f/2.8-8
• ISO 100-6400
• Adoption of a USB-C Connector

$1049.95€948.49 · £999

Shop Now→

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Built-in extenders continue to be something shooters are asking for at this level of lens and we hope to see Canon do it again.

Nikon would like to let everyone know that the NIKKOR Z 120-300mm f/2.8 TC VR S is the first f/2.8 zoom with a built-in teleconverter.

Canon shooters are obviously going to compare the NIKKOR Z 120-300mm f/2.8 TC VR S to the Canon RF 100-300mm f/2.8L IS USM. While the focal range is the same, there seems to be a lot of things that Nikon has done across the board that could be considered improvements.

The new Nikon used their Silky Swift VCM focus motors. Canon continues to use USM motors in their bigger lenses, with the RF 100-300 using a dual-nano USM setup.

On the built-in image stabilization front, Nikon is claiming 6.5-stops of correction, vs the Canon at 5.5-stops. Hardly a big difference once IBIS is added to the equation.

One thing that drives all Canon shooters bonkers is that Canon refuses to make their lens feet Arca compatible, Nikon has done it here, and Canon wants you to go out and buy someone else's lens foot or a plate. This is the sort of thing that boggles our minds with Canon.

Nikon has also given you two options for filter use. You can either use the 112mm front thread or 46mm drop-in filter. We think that's a cool feature if you want a splash guard on the front and use a CPL at the same time.

Nikon NIKKOR Z 120-300mm f/2.8 TC VR S

Built-In 1.4 Teleconverter6.5-Stop VRArca Foot

• Full-Frame | Constant f/2.8 Max Aperture
• Fast, Versatile High-Performance Zoom
• Built-In 1.4x Teleconverter (168-420mm)
• Silky Swift VCM AF System
• 6.5-Stop Synchro VR Stabilization
• Aspherical, SR, ED & Super ED Elements

$13,996.95€15,749 · £13,999

Shop Now→

Canon RF 100-300mm f/2.8 L IS USM

5.5-Stop ISDual Nano USMInternal Zoom

• Full-Frame | f/2.8 to f/22
• Fast L-Series Telephoto Zoom
• Dual Nano USM AF System
• 5.5-Stop Image Stabilization
• Floating Focus Design
• Internal Zoom and Focusing Design

$10,599€11,999 · £10,699

Shop Now→

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The NIKKOR Z 120-300mm f/2.8 TC VR S weighs in at 2735g/6lbs and is 353.5mm/1.2′ long. The RF 100-300mm f/2.8L IS USM weighs in at 2590g/5.7lb with a length of 323.4mm/1.05′. With the addition of the built-in teleconverter, these two lenses are pretty close to one another, and shooters wouldn't notice much of a difference between them.

The NIKKOR Z 120-300mm f/2.8 TC VR S looks terrific and comes with the price to match launching at $13,996.95, which is about $3500 more than the RF 100-300mm f/2.8L IS USM at $10,599. The RF 1.4x extender adds another $589, but that still keeps the Canon offering considerably cheaper.

We do miss the days of Canon and Nikon going at each other with lenses like this. Nikon is really pushing their telephoto and supertelephoto offerings and we'll have to wait and see if that effort pays off by selling more camera bodies by getting new customers into the Z system.

Next, we'll look at the measured optical performance of the two lenses.

Canon announced the RF 100-300mm f/2.8L IS USM back in April of 2023, and at the time most people were calling it the best zoom lens ever made. At the time? It probably was. It's a brilliant lens across the board.

Nikon appears to have made a lens that is optically better than its Canon counterpart with the NIKKOR Z 120-300mm f/2.8 TC VR S. Nikon chose to build a 1.4x teleconverter into the lens, which adds a lot of versatility, which is great considering its $14,000 USD price tag.

Canon at 100mm: Contrast is excellent across the frame, staying above 0.95 to the edge. Fine detail starts at about 0.90 and the sagittal line holds steady, still about 0.80 in the far corner. The meridional line eases off from the centre, reaching about 0.77 by 15mm and 0.63 in the corner, so there’s some astigmatism towards the edges.

Canon at 300mm: At its best at 300mm. Fine detail starts at about 0.93 and only drops to roughly 0.87 (sagittal) and 0.78 (meridional) in the corners.

Canon at 420mm with RF 1.4x: The extender does have a hit on performance. Centre detail drops to about 0.86. The meridional line slides to about 0.72 by 15mm and 0.55 in the corners, so expect noticeably softer edges.

Nikon at 120mm: contrast is essentially maxed out, at about 0.99 to 18mm. Fine detail is higher in the centre at about 0.95, and the sagittal line stays flat at 0.95 all the way to 15mm. Past 18mm it drops sharply, to about 0.58 in the extreme corner. The meridional line also falls away earlier and faster than the Canon’s: about 0.88 at 10mm, 0.79 at 15mm and 0.59 in the corner.

Nikon at 300mm: starts at about 0.98 and stays above 0.95 out to 15mm, so it’s the sharper design across most of the frame. Its sagittal line drops after about 18mm, finishing near 0.76, below the Canon’s 0.87. Its meridional line holds up better than the Canon’s, at about 0.87 vs 0.78.

Nikon at 420mm with its built-in teleconverter: Center detail stays higher at about 0.91–0.93, and the meridional line holds up far better, still about 0.77 in the corners. Like the rest of the range, its sagittal line drops late, to about 0.62 at the extreme edge.

The Nikon is sharper in the centre and mid-frame at every focal length. Its biggest advantage is at 420mm, where the built-in teleconverter clearly beats the Canon with the external RF 1.4x extender. The only weak spot, if you want to call it that is the drop-off in image quality at 120mm in the far corners. Which isn't a big deal in the real world.

The Canon has lower peak numbers across the board, though it does have better corner performance at 100mm.

At the end of the day, the lines on a graphs tell us that both lenses are remarkable achievements and it doesn't matter which one you own, you're going to get great optical results. With that said, the NIKKOR Z 120-300mm f/2.8 TC VR S can likely call itself the best zoom lens ever made.

Keep in mind that MTF charts are provided by the manufacturer, and are in no way standardized across all of the brands.

Revenue in the camera and lens business did rise 4% because the average selling price kept climbing, not due to unit sales. Both the EOS R6 V and EOS R6 Mark III have sold well, but they're higher priced cameras which helps with total revenue.

Looking at local currencies, overall camera sales dipped 3.6% for the quarter compared to last year. Canon points to the conflict in the Middle East and weaker consumer spending in China as key reasons for the drop.

Canon can't get new PowerShots out fast enough, their compact camera business grew 50% on the back of 8 year old cameras like the PowerShot G7 X Mark III. Canon is going to have a big focus on this segment going forward. Unsurprisingly, a lot of this is being driven by younger and first time buyers of a Canon camera.

All is not rosy for compact cameras. Canon says there are still component shortages affecting unit production. AI datacenters aren't just hammering storage and DRAM capacity, there is also high demand for circuit boards, which has a big impact on camera production.

Canon EOS R6 Mark III

Full-Frame32.5MP40FPS7K60P

• 32.5MP Full-Frame CMOS Sensor
• 7K 60p 12-Bit Internal RAW Light Video
• Open Gate 7K 30p, High-Speed 4K 120p
• Dual Pixel CMOS AF II & Movie Servo AF
• Up to 40 fps & Pre-Continuous Shoot Mode
• 8.5-Stop 5-Axis Image Stabilization

$2,599€2,699 · £2,799

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Canon EOS R6 V

Full-Frame32.5MP40FPS7K60P

• 32.5MP Full-Frame CMOS Sensor
• 7K 60p 12-Bit Internal RAW Light Video
• Open Gate 7K 30p, High-Speed 4K 120p
• Dual Pixel CMOS AF II & Movie Servo AF
• Up to 40 fps & Pre-Continuous Shoot Mode
• 8.5-Stop 5-Axis Image Stabilization

$2,499€2,499 · £2,399

Shop Now→

Canon EOS R8 Mark II

Full-Frame24MP40FPS4K60P

• 24.2MP Full-Frame CMOS Sensor
• 4K60p 10-Bit Internal Video, Canon Log 3
• 40 fps Electronic Shutter, Pre-Capture
• 5-Axis In-Body Image Stabilization
• Dual Pixel CMOS AF II with Tracking
• 2.36m-Dot OLED Electronic Viewfinder

$1,899€1,799 · £1,729

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Back in 2015, Canon acquired AXIS Communications for $2.8B and it looks like that acquisition has paid off in spades. Network cameras saw a 30% year-over-year increase in sales.

We're not sure if PTZ cameras are included in Network Cameras, but they don't really fit the EOS R system.

As most of you will know, Canon is always one of the global leaders in the number of patents they're awarded for any year, and it's been that way for a long time.

R&D in the imaging division rose 32% year-over-year so far in 2026, which is quite a jump and tells us Canon is investing a lot in new technology and wants to remain the king of camera and lens marketshare.

Canon has lowered their 2026 forecast for both network and consumer cameras. Canon has reduced the forecast for revenue by ¥22.1B ($141M USD) for the EOS R system, but a total increase in revenue of 8.1%. As far as the booming network camera business, the forecast has been raised by ¥11.3 ($72M USD) and could still see an impressive 19.9% increase in revenue compared to 2025.

Sales of interchangeable-lens cameras cut to 2.75M units, down 5% on last year and below Canon's earlier 2.8M target.

Canon is saying the total global interchangeable will ship 6.3M units. That would put Canon at about 44% marketshare if we do the math from those forecasts.

The imaging division forecasts a 12.9% in sales and 10.8% in operating profit for the year. That seems pretty solid to us. Canon appears to be navigating the current global fun well all things considered.

Overall, Canon’s imaging division delivered a pretty solid quarter, even if it’s a bit surprising to see network cameras leading the charge. While global challenges in China and the Middle East led to lower forecasts, imaging remains a key growth engine for Canon overall.

Not much has come our way in a month or so letting us know what we can expect, but that changed today when some news from a solid source hit our inbox.

We have been told that the Canon EOS R7 Mark II will have Canon’s first EOS (as far as we know) partially stacked sensor. The source claims that a “stacked sensor” has been talked about for quite some time, but recently that changed to partially stacked.

We’re writing about it because it makes a lot of sense. We imagine a partially stacked sensor would cost less to manufacture and give the added bonus of faster readout speed. I think EOS R7 Mark II customers will take the fastest readout speed that Canon can give them.

We have been told numerous times that the pixel count of the sensor will go up from the EOS R7’s 32-MP pixel count, and the only resolution that we have ever heard is 39MP, or very close to it.

This has always made sense to us. An EOS R7 Mark II will be a very popular camera for wildlife, sports parents, and many other uses. We think the cropping potential of a 40MP sensor will be a selling point for a large segment of shooters.

We don’t have anything to add that we’re confident in about what else to expect from the follow-up to the EOS R7, which is a high-volume camera for Canon.

We think it’s safe to say that we can expect some of the features from the EOS R8 Mark II and EOS R6 Mark III will to come to the R7 II.

Features like IBIS (the real version), Pre-Shooting, 40fps and it will likely be a capable video camera as well.

We still believe Canon will have one more announcement date before the end of 2026, but there won’t be any new EOS R cameras coming before Q1 of next year.

We have also heard a few times that Canon will announce an RF-S lens or two that will be aimed at R7 Mark II customers, aimed at R7 Mark II customers; what those lenses will be, we don’t know. It would be nice to see a super-telephoto zoom for the RF-S series and a good fast prime like the EF-M 32mm f/1.4 STM. Again, we don’t know.

It seems every other manufacturer has decided to go with partially stacked sensors outside of flagship products and it’s probably time that Canon does the same thing.

We also wouldn’t be surprised to see the all-new sensor make its way into higher-end Powershot cameras, but smaller than APS-C. A lot of people think the sensor in the PowerShot V1 is based on Canon’s 32.5MP APS-C sensor.

We don’t have 100% confidence in the information above, but we do think it’s solid enough to write about.

More to come soon.

Today? There are a lot of Sony lenses being used that also use their version of the white paint. Nikon has had a lens here or there, but all of their current lenses are black. Reverse marketing?

So, while the white paint will always be part of Canon's branding, maybe less so today, there are real scientific reasons that Canon continues to evolve the white paint that most take for granted.

Why Canon lenses are white is always one of the first questions budding photographers ask, and the simple answer is usually “to deal with heat.” That statement is true, but it's a bit more complex than that.

Sometimes the sun can be a big problem for camera lenses. You will see accurate information out there about long lenses accentuating heatwaves, which is a regular occurrence for wildlife and outdoor sports photographers. Sometimes those heatwaves are from the environment; sometimes they can be from the heat coming off the lens itself.

I think we all know that dark surfaces absorb light and turn it into heat, whereas lighter and whiter lenses reflect more light from the surface, reducing the impact of the heat generated.

We call them white lenses, but they're a few shades off-white. If the lenses were pure white, you'd get some pretty nasty, bright reflections coming off the surface. Blinding yourself or the person beside you isn't the best thing.

For the purpose of this exercise, we'll still call it “Canon White.” This coating has been 60 years in the making, and Canon continues to work to improve it.

Canon first used a lighter color on its broadcast camera lenses in 1960, including the Canon TV 2000mm f/11. The lens looked like 18% gray in color, and the signature “Canon White” would come about 15 years later.

It wasn't until 1976 that Canon introduced white lenses to their SLR lineup. The goal was simple: reduce the heat on the surface of the lens to minimize thermal expansion and contraction.

There was another big reason for the switch to reflective coatings for Canon: the proliferation of fluorite and synthetic fluorite elements. Fluorite is great at controlling chromatic aberrations, but it is more affected by heat than other glass element types. The white paint development was enough to keep the performance of the fluorite elements right where they wanted it to be.

It wasn't until the early 2000s that Canon realized what they had been doing with surface coatings wasn't enough and that it was time to make the white paint better.

There were a lot of complaints from photographers using the EOS-1D at the Australian Open about autofocus performance issues. Canon tested the cameras and found nothing wrong with any of them.

Canon sent a technician into the stands with the photographers to monitor the temperature of the cameras and lenses, and it turned out things were cooking.

If you just lie on a lounger at the pool in 30°C weather under a high sun, most of us would feel a bit warm. That's what Canon discovered. Photographers aren't in the sun for half an hour; it can be an all-day affair.

Canon had just discovered that too much heat was present inside the lens and that had effected the performance of the autofocus system.

It was time to get back into R&D on the paint used for the surface of a camera lens barrel.

In 2018, Canon introduced a new heat-shield coating. The brief was demanding: the coating had to block more heat than ever, resist scratches and abrasion, avoid discoloring after long exposure to sunlight, feel good in the hand without being rough, and still look unmistakably like “Canon White.”

This kind of technology can take a long time to develop, testing both optical performance in the field and the feasibility of manufacturing the coating in large quantities.

Canon first looked at existing heat-shielding coatings, including ones used in the construction industry. None were tough enough. They couldn't handle the vibration and knocks a working lens takes, and a small bump could damage them. So, Canon decided to develop its own.

The original white paint got its shade by mixing white titanium oxide with carbon black. Carbon black is what absorbed infrared light.

The new version swapped the carbon black for an infrared-reflective pigment, so sunlight’s infrared bounces off instead of soaking in. The titanium oxide is now also coated with silica. The new coating is more resistant to scratches and UV fading, too.

As we know, it's not indestructible, and at some point, you're going to get one of those lovely chunks gouged out of the coating to expose the metal below. We like those battle scars around here, but not everyone does.

Getting the right shade of white was a process. Engineers tested a pile of samples and spent time adjusting the shade, texture, the level of sheen, and even how much coating was applied to see what influence it had on the finished color and overall performance.

In the end, Canon picked the color by eye because they couldn't quantify aesthetic outcomes with definitive data on the shade and application.

Testing the performance was also a massive task. Canon engineers placed temperature sensors inside and outside the barrel, testing the old and new coatings side by side. They figured out that there were many slight variables with a direct impact on heat: things like small differences in the angle of the lens or whether or not there was a breeze.

Through exhaustive testing, Canon concluded that the new coating reduced temperatures in the lens by about 20%.

Canon notes that modern RF lenses can be more prone to heat issues due to smaller barrel surface areas and fewer internal elements to distribute the heat load.

Modern high-resolution image sensors can also reveal far more anomalies than film or early digital sensors. At 45MP, every atmospheric disturbance has a greater visual impact than on an older 12MP sensor. It’s similar to the days of mirror-slap on tripods: vibration blur was far more noticeable on a 50MP body than on a 24MP body.

The coating on the lens hood plays a big role in battling the effects of heat. If the lens hood on a “Big White” were black, the front barrel would absorb heat directly at the entrance pupil, creating internal heat haze or a “mirage” effect inside the glass.

So not only do lens hoods protect your glass from impacts and flare, they also play a critical role in keeping internal temperatures down. Keep in mind: the longer your focal length, the more exaggerated these heat-based anomalies become.

Even on a smaller lens like the RF 100-500mm f/4.5-7.1L IS USM, which has far less surface area than an RF 600mm f/4L IS USM, the 500mm reach makes the heat-shield coating essential on both the barrel and hood.

The coating debuted in 2018 on the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM. The first RF lens to receive it was the RF 70-200mm f/2.8L IS USM in 2019, a compact zoom frequently relied upon by sports photographers under blazing summer heat.

There are a few reasons why this paint color is saved for the bigger lenses. Smaller lenses have less surface area to soak up heat.. A lens like an RF 24-70mm f/2.8L IS USM isn't likely to be sitting baking in the sun on a tripod at an event.

As mentioned earlier, the longer the focal length, the more likely you'll be able to see the negative effects of heat. Yes, there are the RF 100-400mm f/5.6-8 IS, RF 600mm f/11 and the RF 800mm f/11 black lenses in Canon's lineup, but they're not targeted at professionals who will be dealing with the sun for longer periods of time.

Black is also better for videography to keep surface reflections to a minimum. Black is a bit more “stealth” when shooting events like a wedding.

We imagine that the black coating is cheaper to use than the “Canon White” coating.

The question of the white paint and why it exists has been asked for decades past and will be asked in the future, and for those of us that like to know why something is done the way it is, we think this topic will always be interesting.

Canon could be working on the next iteration of this technology, as they seem to be a company that spends a lot of resources on the “little things”. Sure, one of those little things is going to be branding, but sometimes you get added benefits to advances in your technology.

It has been 60 years of engineering just to try and keep the lenses cooler, and if they find a better way to do it, expect a new coating or two down the line.

These are small companies in the grand scheme of things. It's better to be you than chasing the giants. It's working very well for both of them.

Sigma has announced the FP2, the world's smallest full-frame camera. The camera measures 112.8 x 69.9 x 41.8 mm / 4.4 x 2.8 x 1.6 in and weighs in at 460g with the battery and card. In a full-frame camera, that's quite impressive.

Canon's smallest camera is the EOS R50 V and measures 116 x 85.5 x 68.8 mm / 4.6 x 3.4 x 2.7 in and weighs 370g with the battery. So if you've had an R50 V in your hands, that'll give you an idea of the size. The big caveat being the APS-C sensor.

The fp2 is almost a complete ground up re-design, a refresh it is not. They have added a 3.15″ tilt screen, and a bigger battery and it's even a bit smaller than its predecessor.

The camera is somehow equipped with two USB-C ports and a full-size HDMI port.

The fp2 is equipped with a partially stacked image sensor, which in turn should lead to faster readout speeds and less rolling shutter. We'll have to wait for the official numbers on that topic, but faster is usually better when it comes to sensors.

If you want to shoot some action stuff, the 20fps is generally more than enough for most people.

Another interesting feature is the 70GB of internal storage. I have a camera with internal storage and it's so annoying that I never use it. Hopefully Sigma has a better implementation.

The camera is no slouch on the video side of things. 6K open gate video, with 12-bit ProRes RAW to SSD. Sigma claims 14.1 stops of dynamic range with L-raw in 4K. You also get dual base ISO settings and 32-bit float audio. That's pretty impressive.

Some consider the FP2 a “modular” camera, as Sigma offers bevy of accessories to fit your needs.

As mentioned, Sigma is also launching a lot of accessories for the fp2. They aren't cheap, but that's probably because this will not be a mass market camera, and it comes down to economies of scale. Hopefully they're well made and do what they do well, especially the EVF and LCD Viewfinder.

Sigma fp2 Accessories

Sigma EVF-21 Electronic Viewfinder

5.76M-dot OLED with eye sensor. Connects via a single USB-C port.

$719€759£629

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Sigma HU-21 Hot Shoe Unit

OM System / Lumix flash compatible, plus shoe-mount mics and XLR adapters.

$181€160£149

Check Price →

Sigma LVF-21 LCD Viewfinder

Hood-and-loupe viewer that slots onto the rear screen.

$386€334

Check Price →

Sigma BP-91 Battery (2200mAh)

Spare Li-ion pack for the fp2. Rated at approx. 370 shots per charge.

$114€120

Check Price →

Sigma BC-91 Battery Charger

External charger for BP-91 batteries.

$197€179

Check Price →

Sigma BPL-11 Base Plate

Bottom plate for mounting and rigging.

$84

Check Price →

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I think this looks like a great package for people that may also be looking at a camera like the Panasonic S9, but it seems a lot better for photographers on the surface. The accessory options also add a fair bit to the system.

As far as lenses, there are more out there for you to choose from various brands.

Again, well done Sigma, at least you're definitely not boring.

L

Sigma fp2

$2199€2199 · £1899

Sensor

24.5 MP Full-Frame

Mount

L-Mount

Stabilization

Digital (video only)

Internal Video

6K ProRes RAW, 29.97p

Burst

20 fps

ISO

100–102,400

Storage

SD UHS-II + 70 GB internal

Weight

460 g

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Dual base ISO: 320 / 2500 (photo), 320 / 500 (video) · 12-bit ProRes RAW internal; 4-channel 32-bit float audio · 2x USB-C ports, HDMI output, no hot shoe · 2.1M-dot tilting touchscreen, BP-91 batteryAffiliate link

Sigma fp2Click any image to enlarge

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Sigma fp2

24MP Partially-Stacked6K Open Gate Raw20 fps70GB Internal Memory

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$2199€2199 · £1899

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We think this camera is going to be a slow burn sales wise with its new ergonomic design and the fact that it’s $1899. The EOS R8 is a beloved camera for shooters that have no interest in $10,000 kits and with the launch price bump for the EOS R8 Mark II, that may keep many with their EOS R8 bodies, or even entice new R8 customers.

Canon EOS R6 Mark II

Full-Frame24MP40FPS4K60P

• 24.2MP Full-Frame CMOS Sensor
• 4K60 10-Bit Internal Video, C-Log 3
• External 6K ProRes RAW Recording
• Dual Pixel CMOS AF II
• 12 fps Mech. Shutter, 40 fps E. Shutter
• Sensor-Shift 5-Axis Image Stabilization

$1,999€1,999 · £1,699

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Canon EOS R8 Mark II

Full-Frame24MP40FPS4K60P

• 24.2MP Full-Frame CMOS Sensor
• 4K60p 10-Bit Internal Video, Canon Log 3
• 40 fps Electronic Shutter, Pre-Capture
• 5-Axis In-Body Image Stabilization
• Dual Pixel CMOS AF II with Tracking
• 2.36m-Dot OLED Electronic Viewfinder

$1,899€1,799 · £1,729

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The Canon EOS R6 Mark II is still a current product and is only $100 more currently and we think there is going to be a lot of cross shopping between the two cameras. On the surface, I’d take the EOS R8 Mark II for what I’d use it for, but for people that want or need a mechanical shutter, the EOS R6 Mark II is going to be the better choice.

Features like pre-shooting don’t matter to everyone and there are a lot of other software tricks that may be of no interest to a lot of consumers.

The EOS R8 Mark II does not have the same video chops as the EOS R6 Mark II, so that will be a consideration for some.

I am not a reviewer and I have zero desire to be one. The zero day reviews for the EOS R8 Mark II all kind of said the same thing. There was a lot of focus on the design language and I think that had a lot of influence in the tone of the reviews.

There was also the whole “retro” thing that we started. Canon says it’s retro inspired, and with the EG-E2 ergonomic grip, there is some visual cues that look like a throwback to yesteryear.

Zero day reviewers do not have gear for more than a week or two in a lot of cases, even less time sometimes, so they have to get things out there as best as they can. The reviews that are going to come a month or 6 months from now are going to paint a different picture I think. Whether that’s in a positive or negative way, we’ll see.

There will also be a demographic of people that hate big change in the way a camera is physically designed, and that’s ok.

As for our initial impressions now that we have the camera?

I much prefer the new design language over the R8, and the camera feels a bit more premium. The grip material feels a lot better than the EOS R8. Overall the new 8-series camera feels a notch higher than the R8.

I also ordered the Canon EG-E2 ergonomic grip and it is really well executed and makes a significant difference for me.

At $1,899, the price doesn’t feel entry-level, full-frame or not.

I can assure you that this won’t be Canon’s entry-level full-frame camera at some point in time over the next year. For now, we’re calling the coming entry-level camera the EOS R9.

There is going to be hardware they’ll be able to remove from an entry-level camera to bring the price down significantly from $1899.

If the price of the EOS R8 Mark II is too steep for you, I think we’re going to see it appear at the Canon USA Refurbished store a bit earlier than most other cameras. This may be a camera worth waiting 6 months to save some money.

I look forward to putting the EOS R8 Mark II through its paces alongside the EOS R1 this weekend. I’m not a fan of iPhone vs ARRI camera nonsense but I do enjoy seeing what the “normal” consumer buys vs the flagship professional products.

Yes, the EOS R1 is going to outperform the EOS R8 Mark II by a large margin when it comes to autofocus and sensor readout speed, but it’ll be interesting to see if the R8 Mark II is better or equal at some other things.

I think Canon has done well here.