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Last month, Thypoch announced that it was working on the Voyager 24-50mm F2.8 AF, the first full-frame autofocus zoom lens from a Chinese manufacturer. Now, the company has revealed the full details of it, including its price and full specifications.

The former is perhaps one of the most exciting aspects of this lens. When we interviewed Thypoch's Go-to-Market manager for this lens, we were told the company was aiming to price it similarly to a prime. It turns out that meant $649, pretty much half of what Sony charges for its 24-50mm F2.8.

Despite being a very similar offering, the lens isn't a clone of Sony's. The most noticeable difference is that Thypoch's is an internal zoom design, while Sony's extends. And while both lenses have 16 elements in 13 groups, the formulas are different: the Voyager has two aspheric lenses, three ED lenses and three HR elements, while the Sony uses one aspheric and two EDs. According to our interview, the company hasn't used any software distortion correction in its design, so it has to do everything optically, a limitation Sony doesn't have.

For a full-frame F2.8 zoom, the Thypoch is quite light.

Another difference between the two lenses is minimum focusing distance. Both are 0.3m (11.8") at the long end, but at the wide end Sony's can get as close as 0.18m (7.1"), while Thypoch's is still at 0.3m

The Voyager 24-50mm F2.8 has a 10-bladed aperture, and a clicked ring to control it, complete with an "A" setting that lets you control it using a command dial on your camera instead. It also features a customizable function button, and an AF/MF switch.

At 450g (15.9oz) and 92mm (3.6") long, it's fairly compact for a full-frame lens, making it relatively easy to carry around. We appreciate that, as we've found this kind of lens to be great for travel, given its size and ability to get wide shots to capture everything in front of you, without giving up the ability to get in a little closer. Thypoch also claims that it's sealed for dust and moisture resistance.

Optically speaking, we found the lens to be relatively sharp. While there's some vignetting, it's not more than we'd expect from other budget lenses with a focus on being compact. Where it fell down a bit was in flare resistance; Thypoch says the lens has its "Epoch" coating, but there were times where we found that bright lighting outside the frame would result in a washed out image, even when we were shooting with the included lens hood.

The flare from the window above the cat has substantially washed out this image.

Sony a7R V | Thypoch 24-50mm F2.8 | F2.8 | 1/50 | ISO 1000

Autofocus performance was mostly fine. We tested the lens with a Sony a7R V, and it was usually able to lock onto a subject and follow it, even if it was moving. Still, there were a few instances where it had to hunt in lighting conditions that we'd have expected an own-brand lens to handle without any issues. But given that this is the company's first autofocus lens, period, and that it doesn't have an official E-mount license, its performance was quite impressive.

While there's a lot to recommend the Thypoch 24-50mm F2.8 on its own, it’s also hard not to feel like this is the just start of something exciting. Obviously, third-party autofocus zoom lenses are nothing new; we’ve seen them from Sigma, Tamron, LK Samyang, and others. But it’s hard to ignore what happened with primes, where Chinese lens makers came in, started competing, leading to a flood of especially interesting, or affordable (or sometimes, both) lenses. That wave has also coincided with similarly exciting lens releases from the major manufacturers, too. If the same thing happens with zoom lenses, the next few years could be very interesting, and we may finally get some options that we haven’t had before.

The Thypoch Voyager 24-50mm F2.8 will available for Sony E-mount starting in June. The company says it's running a special launch promotion, selling the lens for $619.

Buy at Thypoch

For more impressions on this lens, you can watch our video on it below. You can also check out our sample gallery to see how it performs for yourself.

Buy now:

Buy at B&H Photo Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

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Thank you to Sony for the loan of an a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.

Press release:

Thypoch enters autofocus market with Voyager 24-50mm f/2.8 for Sony E-mount

The first full-frame autofocus zoom developed by a Chinese optical brand, in a constant f/2.8 internal-zoom design

Shenzhen, China, May 14, 2026. Thypoch today announced the Voyager 24-50mm f/2.8, the first full-frame autofocus zoom developed by a Chinese optical brand and Thypoch’s first AF lens. Built for Sony E-mount mirrorless cameras, the Voyager uses an internal zoom mechanism that holds physical length fixed across the focal range, with a constant f/2.8 aperture from 24mm through 50mm.

Three Primes in One Lens

A photographer working with primes typically carries 24mm, 35mm, and 50mm. Those three focal lengths cover the working distances that define documentary, reportage, environmental portrait, street, and event photography. The 24mm captures a full scene when there isn’t room to step back. The 35mm sees roughly the way the eye sees, which is why it remains the working perspective of reportage and documentary photography. The 50mm isolates a subject without flattening the space around it.

The 24-50mm range was chosen as a balance of size, design, and price point. It covers the focal lengths working photographers reach for daily. The Voyager fits an internal zoom mechanism, holds f/2.8 across the range, and stays compact enough to live on the camera all day.

The Voyager is designed to deliver image quality comparable to a dedicated prime across the zoom range, whether the working perspective is the breadth of 24mm, the reportage view of 35mm, or the subject isolation of 50mm. The result is one lens that does the work of three primes, in the size and weight of one.

Fixed Length, Constant Aperture

A fixed-length zoom that holds f/2.8 across the range removes two of the most common interruptions in fast-paced shooting: rebalancing a gimbal between focal lengths, and recalculating exposure as the aperture shifts.

The Voyager’s internal zoom mechanism keeps the barrel length constant from 24mm to 50mm. The center of gravity stays in place during a take. The fixed barrel is also more mechanically stable in the hand than an extending zoom, which translates to a steadier grip during handheld work.

The f/2.8 maximum aperture is held throughout the zoom range. From dim interiors and twilight streets to backlit portraits, f/2.8 delivers the brightness and subject separation that working photographers need when light is scarce. Exposure stays consistent across focal lengths. The lens stays out of the way of the shot.

The fixed barrel also eliminates lens creep when the camera is stowed, and removes the extending external moving parts that complicate weather sealing on conventional zooms.

A First for Chinese Optical Engineering

The Voyager is the first full-frame autofocus zoom developed by a Chinese optical brand. Combining autofocus, full-frame image coverage, and zoom architecture in a single lens requires coordinated development across optical design, mechanical engineering, AF systems, and electronics.

The Voyager’s autofocus system is designed for fast and quiet operation. Thypoch built the AF unit to stay out of the way of the shot, with response speed intended to keep pace with documentary, street, and event shooting, and quiet operation suited to video work and sound-sensitive environments. The lens features native Sony E-mount autofocus, with support for eye AF, AF-C tracking, and in-camera and lens-side AF/MF switching.

The lens has been tested with current-generation Sony Alpha bodies including the ZV-E1, A7C2, A7CR, A7IV, A7V, A7RIV, A7RV, A7SIII, A9III, and FX3.

Built for Bokeh

Rendering character is where Thypoch has built its reputation, and the Voyager carries that priority into autofocus. The optical design uses 16 elements in 13 groups, including 2 ASPH (aspherical) elements, 3 ED (extra-low dispersion) elements, and 3 HRI (high refractive index) elements. The formula is designed to control aberrations across the frame at all focal lengths.

The 10-blade rounded aperture holds its circular shape across most of the working aperture range, producing rounded out-of-focus highlights at mid apertures and sunstar rendering at smaller apertures.

Optical, Not Digital

The Voyager’s out-of-focus rendering is built into the glass, not added in software. Optical bokeh behaves naturally at the edges of the frame, around specular highlights, and in the transition zones that digital blur tends to flatten. The result is depth that holds up at full resolution and on close inspection.

The transition from sharp focus to background blur happens gradually, the way a lens with character renders rather than the way a lens that’s merely sharp does. Subjects sit forward in the frame with weight and presence, separated from the background without the harsh cutoff that flattens an image.

Sealed at Every Joint

Weather sealing is the difference between a lens that works in the conditions a photographer actually shoots in and a lens that has to be protected from them. The Voyager is built with sealed construction at the lens mount, focus ring, zoom ring, and front element. The internal zoom design contributes to sealing integrity by removing the extending external barrel that creates the most common point of moisture ingress on conventional zooms.

The lens is developed for dust and moisture resistance. Whether the shooting environment is coastal mist or a sudden urban downpour, the Voyager is built to keep working. Paired with Sony’s own weather-sealed Alpha bodies, the lens completes a sealed shooting system rather than introducing a weak point in it.

Cinema Zoom Heritage

The Voyager is Thypoch’s first autofocus lens. Its zoom architecture draws on the parent group’s experience in cinema zoom lens engineering, which includes constant-aperture and internal-zoom designs across multiple cine lens families. Cinema zooms are the discipline in which constant aperture and fixed barrel length were first solved as engineering problems. The Voyager applies that discipline to a stills-format AF lens.

Price and Availability

Launch price: USD $619 / EUR €539 (May 14 to May 31, 2026)

MSRP: USD $649 / EUR €569

The Thypoch Voyager 24-50mm f/2.8 is available in Sony E-mount.

Standard package: lens body, front cap, rear cap, warranty card.

Local availability from: early June 2026

Thypoch Voyager 24-50mm F2.8 specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length24–50 mmImage stabilizationNoLens mountSony E, Sony FEApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades10OpticsElements16Groups13Special elements / coatings2 Asph, 3 ED, 3 HRFocusMinimum focus0.30 m (11.81″)Maximum magnification0.22×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight450 g (0.99 lb)Diameter70 mm (2.76″)Length93 mm (3.66″)ColourBlackZoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread67 mmHood suppliedYesTripod collarNo

Image: Insta360

Insta360 is leaning into the popularity of retro vibes with its latest release, the Go 3S Retro Bundle. The special edition bundle includes its tiny Go 3S action camera with a fresh design, along with a new Retro Viewfinder in place of the Action Pod it normally comes with, which mimics a more traditional action camera.

The focus of the new bundle is a more retro-looking replacement for the Action Pod. The standard 360 Go 3S can be docked in the Action Pod, which provides a touchscreen, charges the camera, and can also be used as a remote monitor. The new bundle, however, comes with the Retro Viewfinder. It also acts as a dock for the camera, though with some key differences.

The new Retro Viewfinder features an optical waist-level viewfinder instead of a rear display.

Image: Insta360

Unlike the Action Pod, the Retro Viewfinder doesn't offer a touchscreen display, remote shooting functionality or charging capabilities. It does, however, feature what Insta360 says is an optical waist-level viewfinder designed to mimic certain vintage film cameras. It also has a built-in selfie mirror for easier selfies.

To address the lack of extra battery that the Action Pod normally provides, the Retro Bundle comes with a separate battery pack. It doubles battery life, promising 76 minutes of run time. It can also charge while recording. Using the battery pack likely means that you can't have the camera slotted into the viewfinder, however.

The bundle also includes a "Custom Skin" that lets users tap their smartphone against it to instantly launch the Insta360 app, thanks to a built-in NFC tag. Since there's no display on the Retro Viewfinder, you'll need to use a phone to take the place of the Action Pod for reviewing photos and videos, editing clips or adjusting settings. The quick access via NFC should make it easier to do those things.

The Insta360 GO 3S Retro Bundle comes in Canvas White (left) and Classic Red (right).

Image: Insta360

In addition to hardware changes, Insta360 is also introducing three exclusive filters that mimic film. Negative Film features soft contrast and lower saturation, Positive Film offers punchier colors and contrast, and Sticker Filter functions like pre-exposed film with three pattern options and "film-like colors." There are also five new built-in film-inspired color profiles: NC, CC, GR-F, Mono and Vintage Vacation. We've asked Insta360 if any of these are coming to the standard Go 3S, but haven't heard back.

Beyond the new look, the camera portion of the Go 3S remains unchanged from the original version. It retains its tiny size outside of its enclosure, weighing just 39g (1.4oz), and the built-in magnetic mounting system. The camera can capture 4K video, uses Insta360's FlowState Stabilization to smooth out footage, and features integrated storage.

Image: Insta360

The Retro Bundle is available as of today in white with colorful stripes and red. It comes in two storage capacities, 64GB and 128GB, priced at $250 and $270, respectively. That’s significantly cheaper than the $399 (64GB) and $429 (128GB) launch prices of the Go 3S. You can also buy the Retro Viewfinder on its own for $48 if you already own the Go 3S but want the retro look.

Press release:

Insta360 Launches the GO 3S Retro Bundle, Turning the Tiny POV Camera Into a Film-Inspired Street Camera

Insta360 today announced the Insta360 GO 3S Retro Bundle, a special edition that brings the nostalgic charm of film photography to its tiny POV camera. The new bundle introduces a Retro Viewfinder, film-inspired filters, and accessories designed to recreate the tactile experience of classic cameras, while keeping the portability and hands-free shooting that define GO 3S.

Built around the 39g standalone camera, the Retro Bundle combines 4K video, hands-free POV capture, and Insta360's leading FlowState Stabilization with a playful, retro-inspired shooting style. Designed for creators who enjoy documenting everyday life, street photography enthusiasts, and those drawn to the aesthetic of classic cameras, the GO 3S Retro Bundle offers a new way to capture spontaneous moments.

A retro-inspired shooting experience.

The Retro Bundle introduces several accessories that recreate the tactile feel of classic cameras while keeping GO 3S's signature portability.

Retro Viewfinder

At the center of the bundle is the Retro Viewfinder, which pairs with the standalone GO 3S camera to create a handheld shooting experience inspired by vintage film cameras. The optical waist-level viewfinder allows users to roughly frame shots without looking at a screen, encouraging a slower, more intentional approach to photography.

The viewfinder also includes a built-in selfie mirror for quick handheld self-portraits.

Battery Pack

The included Battery Pack extends recording time to up to 76 minutes and supports charging while recording, allowing creators to shoot longer sessions without interruption.

NFC Custom Skin

The NFC Custom Skin enables instant access to the Insta360 app. By tapping a smartphone against it, users can instantly open the Insta360 app to preview footage, edit clips or adjust settings.

Strap and Magnet Pendant

The bundle also includes a strap for easy everyday carry, allowing users to wear the camera like a necklace or attach it to bags and accessories. The popular Magnet Pendant, a signature GO 3S accessory, is also included for hands-free POV shooting by magnetically mounting the camera to clothing.

Film-inspired filters and new creative tools.

To complement the retro hardware design, the GO 3S Retro Bundle introduces three exclusive film-style filters:

• Negative Film: A softer look with cooler tones and lower saturation inspired by classic negative film.
• Positive Film: A bold style with stronger contrast and saturation reminiscent of slide film.
• Sticker Filter: Inspired by pre-exposed film, this filter adds a choice of three retro-style patterns and film-like colors to photos, creating playful sticker-like overlays.

GO 3S also features 11 built-in color profiles, including five new film-inspired styles introduced with the Retro Bundle: NC, CC, GR-F, Mono and Vintage Vacation. These profiles allow creators to capture stylized photos straight out of the camera without post-processing.

The Insta360 app takes on the role of the Action Pod, allowing users to switch shooting modes, adjust settings, and apply filters directly from their phone, while also providing the app's built-in editing tools. Both iOS and Android users can also make use of Live Activities, which provides quick recording controls and camera status updates directly from the phone's lock screen.

A tiny camera for everyday creativity.

While the Retro Bundle focuses on photography and spontaneous everyday capture, it retains the core capabilities of Insta360 GO 3S.

Weighing just 39g, the tiny camera can be worn, mounted or placed almost anywhere to capture immersive first-person perspectives, completely hands-free. The built-in magnetic mounting system allows users to quickly attach the camera to clothing, metal surfaces or creative positions that would be impossible with larger cameras.

The camera can shoot stunning 4K video with leading FlowState Stabilization, ensuring smooth footage even during movement. When inspiration strikes, QuickCapture allows recording to start instantly with a single button press. GO 3S is also waterproof up to 33ft (10m), making it easy to capture everything from city exploration to underwater moments.

After shooting, creators can take advantage of FreeFrame Video, which allows footage to be exported in any aspect ratio for social media. The Insta360 app also includes tools like Auto Editing, which automatically finds highlights and edits them together to music, and the Stats Dashboard, which overlays real-time data from Apple, Garmin, COROS, or iGPSPORT devices to turn everyday clips into shareable content.

By pairing GO 3S with the Retro Viewfinder, the bundle delivers a distinctive shooting experience that blends nostalgic camera design with the creative flexibility of a tiny POV camera, perfect for creative photography, spontaneity and everyday storytelling.

Available now.

The Insta360 GO 3S Retro Bundle is available today from the Insta360 store in Canvas White and Classic Red. It includes the standalone camera, Retro Viewfinder, Battery Pack, NFC Custom Skin, a Strap, Magnet Pendant, Lens Guard (pre-installed) and a USB-C to A Cable. Two storage options are available: 64GB and 128GB, priced at US$249.99 and US$269.99, respectively.

Images: Canon

Canon apparently thought that a camera, a lens and a list of accessories weren't enough for one week. The company has also released firmware updates for the EOS R5 II and EOS R1, bringing the first major update to their Action Priority mode, as well as other quality-of-life features and improvements. It also recently announced that it's rolling out a system that will allow news organizations to certify images taken with the camera using the C2PA content authenticity standard.

Action Priority mode, introduced with the two cameras, is designed to recognize key moments in specific sports and ensure that the autofocus tracking follows the correct player. When it launched, it supported football (soccer), basketball and volleyball. Now, the company has added support for American football, which it says will "optimize human subject detection for individuals wearing helmets and shoulder pads."

"Now, the company has added support for American Football"

The release notes for the updates also say that performance is improved for the cameras' Register People Priority mode, which lets you take a picture of a specific person or people that you'd like the camera to pick out first when in human subject detection mode. The company says it should now work better "in challenging conditions-including profile views, blurred or partially obscured faces, small subjects in the frame, and children." This is good news, as when we tested it on the EOS R6 III, we found that it wasn't always the best at recognizing a person if their appearance had changed since you took the reference photo.

Both cameras gain the ability to have the pre-burst shooting mode assigned to a custom button, solving what's been an annoyance since the cameras' launch. There were ways to work around not being able to turn it on or off with a single button press, but there were downsides to those methods, so it's good to see it addressed.

Video updates

The cameras also gain some video improvements, including features introduced with the EOS R6 V, a vlogging-focused camera. These include four custom white balance slots, which you can switch between using a custom button. It also adds the product demo mode as a menu option, letting you tell the camera to override face detection if you're clearly holding something up to the camera.

There are several other quality-of-life improvements for video shooters, too, including the ability to show the electronic level or gridline overlay while recording, and to use the false color overlay to check exposure even when using the Log assist view.

You can see all the other changes coming to the EOS R1 and EOS R5 II at the respective support pages on Canon's website.

Content authenticity Graphic: Canon

In addition to the firmware updates, Canon announced that it is rolling out its Authenticity Imaging System, which uses the C2PA content authenticity standard. The system provides provenance data showing that images were captured with a supported camera, helping news organizations combat generative AI and image manipulation.

The announcement said that it will initially be available for news organizations in Europe, the Middle East and Africa. Canon says it partnered with Reuters for initial testing, and the news organization "found that authenticated provenance data could be generated reliably." It will also only be available on supported models for the time being, with Canon specifying the EOS R1 and EOS R5 II.

Image: Sony

In addition to announcing the a7R VI and FE 100-400mm F4.5 GM OSS, Sony has unveiled its latest smartphone, the Xperia 1 VIII. The updated version brings a notable hardware change to the telephoto camera, but much of the focus of the phone is on the new AI Camera Assistant feature.

On the hardware side of things, Sony has moved away from the 85-170mm equivalent telephoto zoom lens used in the Xperia 1 VII, opting instead for a fixed 70mm equivalent lens. While the new telephoto camera loses the previous model’s optical zoom range, it gains a much larger sensor. The new 48MP telephoto camera in the Xperia 1 VIII features a Type 1/1.56 (50 mm²) sensor, a substantial boost over its predecessor's 12MP Type 1/3.5 (12 mm²) sensor.

The telephoto camera is the only one to receive a hardware change in this iteration of Sony’s flagship phone. The main (24mm equiv) and ultrawide (16mm equiv) modules carry over, with the main camera still built around Sony's larger Type 1/1.35 (65 mm²) sensor and both offering 48MP resolution.

There are some software changes for the cameras on the new phone as well. Sony says its Raw multi-frame processing now applies to all three rear cameras, expanding dynamic range for HDR images and promising less noise in low-light conditions.

The bigger focus for Sony, though, is the new AI Camera Assistant. Sony says the new feature, which is powered by Sony's Xperia Intelligence, is meant to "make photography even more enjoyable." When you open the camera, the AI assistant can automatically analyze the scene and subject and suggest various adjustments. For example, it may recommend you use a different lens, or suggest various color filters or different background blur styles (what Sony calls "bokeh expressions").

Image: Sony

Outside of the cameras, the phone has a bit of a redesign, too. Sony has introduced a new "Ore" design, which it says is inspired by the color and textures of raw gemstones. There's a subtle texture on the back of the phone, which is intended to provide a better grip, something that phone photographers will likely appreciate. It keeps the dedicated shutter button and 3.5mm audio jack, a rarity on phones these days, and promises up to two days of battery life.

The Xperia 1 VIII is available for preorder now in black, silver and red for £1,399 / €1,499 for the 256GB model. Preorders come with the Sony WH-1000XM6 headphones. Sony is also selling a 1TB gold version exclusively through its online stores in select countries for £1,849 / €1,999.

Press release:

Sony Announces the Launch of Xperia 1 VIII with Newly Integrated AI for Better Photos Every Time

• New AI Camera Assistant suggestsi creative color tones, lens options, and bokeh expressions tailored to subjects and scenes to enable users to choose their preferred creative shooting style / enhance creative expression.
• Features a new, more powerful Telephoto camera equipped with new 1/1.56-inch sensor for stunning shots in any light conditionsii. ​
• A new fresh ORE design using natural textures, available in four distinctive colors inspired by raw gemstones.

Sony today announces the launch of its latest flagship smartphone 'Xperia 1 VIII'. Featuring the new AI Camera Assistant powered by Xperia Intelligence, which leverages AI technology to enhance photography by suggesting helpful camera settings such as colour tones, lens selection, and bokeh effects which are optimized depending on the scene and subject. The new telephoto camera is equipped with a 1/1.56-inch image sensor, approximately four times larger than that used in the Xperia 1 VII, enabling improved delicate and highly detailed shots of distant subjects. All three of its cameras (16mm / 24mm / 70mm)iii deliver low-light performance comparable to that of a full-frame sensor in terms of noise reduction and dynamic rangeiv, allowing for clear imaging even in dark environmentsv.

With the introduction of Xperia 1 VIII, Sony aims to support the joy of everyday photography and creation by enabling customers in their drive to capture better photos. ​ ​

Improved Photography Experience Thanks to the New AI Camera Assistant and Telephoto Camera

The new AI Camera Assistant powered by Xperia Intelligence is designed to make photography even more enjoyable. By simply pointing the camera at your subject, it automatically recognises the scene by combining various factors such as the subject itself and weather conditions to suggest different options for your image that include colour tones, lens effects and bokeh expressions. These recommendations are based on Creative Look that reflect Sony’s unique imaging philosophy cultivated through α™ (Alpha™). With a simple tap on the suggestion, you can effortlessly achieve your desired creative expressionvi. ​

In addition, the telephoto camera is equipped with a 1/1.56‑inch image sensor that is approximately four times larger than that of the previous modelvii, delivering clear and detailed images even in low-light conditions. Furthermore, RAW multi-frame processing is applied to all lenses, simultaneously expanding dynamic range (HDR) and performing noise reduction in low-light conditions. This method effectively suppresses highlight clipping and shadow crushing, improving color reproduction accuracy in high-contrast scenes. Fine details with clear, sharp edges are faithfully preserved in both bright and dark areas. In addition, noise is reduced even in low-light environments, ensuring clear and crisp images.

Redesigned and Crafted to Inspire

The stunning new ORE design is inspired by natural materials with color inspiration for the four new choices originating from raw gemstones, Graphite Black, Iolite Silver, Garnet Red, and Native Goldviii. By incorporating a camera design that makes use of the new telephoto camera, along with newly developed processing applied to the materials used throughout the sides, back, and overall body, a unified and cohesive design has been achieved. Subtle surface textures provide a comfortable feel in the hand and enhanced grip. Xperia 1 VIII retains the famous dedicated camera shutter button which offers a photography experience similar to a dedicated camera, plus the 3.5mm audio jack continues to support high-quality audio using wired headphones, offering exceptional sound quality inherited from WALKMAN® DNA. ​

Advanced Full-Stage Stereo Speakers Deliver a Powerful, Immersive Sound Experience ​

Xperia 1 VIII is equipped with newly developed identical left and right speaker units, to deliver further advances in stereo performance. These speakers produce deeper bass and more extended high frequencies, while creating a wider and deeper soundstage. Voices and instruments are reproduced with greater clarity and richness, making music performances and movie scenes feel as though they are unfolding right in front of you for an immersive and engaging audio experience.

Peak Performance Combined with up to Two-Days Battery Lifeix

Powered by Qualcomm's Snapdragon® 8 Elite Gen 5 Mobile Platformx, Xperia 1 VIII has improved processing speed and increased performance by 20%vi. From lightning-fast app launches and seamless multitasking to captivating gameplay and responsive content creation, this powerhouse platform delivers next-generation speed, performance, and efficiency.​ ​

The long battery life of up to two-daysxi and 4 years of healthy batteryviii can be enjoyed worry free so you can create, enjoy and relax with the reassurance you won’t easily run out of charge when out and about. ​

In addition to everyday activities such as browsing social media and websites, Processing Optimizationxii has also been newly applied to the usage of map apps with high power consumption, achieving further reductions in overall power usage.

​ ​A Case Designed to Protect and Harmonize

The Xperia 1 VIII can be protected with the optional casexiii, which features a translucent material designed to enhance the device’s ORE-inspired design. It also features a convenient built-in stand that supports both vertical and horizontal positioning, providing comfortable provision for video viewing. Additionally, the material is resistant to yellowing, maintaining its optimum appearance over time. ​

Pricing and Availability

Xperia 1 VIII will be available to pre-order from 13th May direct from Sony and select online retailers (depending on the country) for approximately 1499EUR / £1399 for the 256 version, during the pre-order period purchases of Xperia 1 VIII will include Sony’s high-end headphones WH-1000XM6. ​ The 1TB Native Gold version is available exclusively from Sony online in select countries for 1999EUR / £1849.

Notes:

[i] Suggestions may not be available depending on the shooting environment, subject, or scene

[ii] Accuracy of the feature may vary according to environmental circumstances and settings. Some performance restrictions may apply.

[iii] 35mm equivalent

[iv] Based on comparisons with Sony digital cameras equipped with full-frame sensors, evaluating still image noise performance and dynamic range under lighting conditions of LV (Light Value) 2 or lower.

[v] limited to still images

[vi] This feature may not be available under certain shooting conditions or settings, including continuous shooting or RAW capture.

[vii] Comparison with Xperia 1 VII

[viii] Colour availability may vary by market, variant or sales channel

[ix] The test assumes a usage scenario based on the standard battery usage profile of Xperia™ users, where internet browsing, video viewing, gaming, and other functions are used for 360 minutes per day (with 1080 minutes of standby time). This indicates that the battery will last for 48 hours of use. Actual battery life may vary depending on usage conditions and environment.

[x] Snapdragon and Qualcomm branded products are products of Qualcomm Technologies, Inc. and/or its subsidiaries. Snapdragon is a trademark or registered trademark of Qualcomm Incorporated. ​

[xi] Based on simulations of repeated USB charging and discharging with the same type of battery. Battery health depends on usage.

[xii] The effect of power consumption reduction may vary depending on the type of app, its state, and the content being displayed.

[xiii] Sold separately

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The Sony a7R VI is a high res, high speed full-frame mirrorless camera, built around a 66.8MP Stacked CMOS sensor, able to shoot at up to 30 frames per second.

Key specifications

• 66.8MP Stacked CMOS sensor
• Up to 30fps shooting with e-shutter, 10fps mechanical
• Adjustable pre-capture and Speed Boost options for action shooting
• Up to 8K/30 video with 1.2x crop
• Up to 4K/120p video
• 9.44M dot HDR-capable viewfinder
• Improved stabilization rated 8.5EV correction at the center, 7.0 at the edges
• New, higher capacity 'SA' battery
• Wi-Fi 6E

The a7R VI will be available in June, and will retail for $4499, a $600 increase from the a7R V's launch price, which has since risen to $4199.

Index:

• What's new
• Body & handling
• How it compares
• Image quality
• Video
• In-use
• Sample gallery
• Specifications

Buy now:

$0 at Amazon.com What's new New sensor

The heart of the a7R VI is a new, 66.8MP Stacked CMOS sensor. Unlike the sensors in Sony's previous high-end bodies, the second layer of the sensor isn't DRAM memory, to buffer the data coming off the sensor, instead it's described as a processing layer.

Noticeably, this means that the full sensor readout speed is slower than in the likes of the sports-focused a1 II; instead, it's able to combine the output of its two conversion gain modes, using both the low noise and high capacity modes to give wider dynamic range.

The net result is a sensor that's much faster than its predecessor (around 5.6x quicker than the a7R V, according to Sony) but with better dynamic range. This should significantly expand the range of photographic situations the a7R VI can lend itself to, without a negative impact on the areas where the a7R V already performed well.

The faster sensor allows the camera to shoot bursts at up to 30 frames per second, using its electronic shutter. This is a huge step forward from its predecessor, which took around 100ms (1/10th sec) to read its sensor in e-shutter mode.

New processor

The a7R VI is built around a "Bionz XR2" processor, similar to the one in the a7 V (though not necessarily identical). This brings features and AF capabilities, including the Auto subject recognition mode, introduced in cameras such as the a9 III, and the ability to recognize subjects from further away, without the need for a dedicated coprocessor for the AI-derived algorithms.

Action-ready functions

The faster shooting is backed up with all of Sony's latest support tools. For a start, the 30fps shooting is blackout-free, to let you follow the action. The camera also offers an adjustable pre-capture mode that starts buffering images when you half-press the shutter or hold down AF-On, then saves up to 1 second's worth of images from before you fully press the shutter. This can be tuned down to as little as 0.03 seconds (ie: a single pre-capture frame, in 30fps mode), so that you can compensate for your reaction times without filling your cards with preemptive nonsense.

The a7R VI is not, nor is it intended to be, a sports camera

However, despite all of this, the a7R VI is not, nor is it intended to be, a sports camera. Sony talks about the camera being well disposed toward wildlife shooting, but doesn't list sports as one of its target applications. Having used it in a sporting setting, we found a significant real-world difference between the a7R VI and the a1 II, despite the superficial similarities.

Why the a7R VI isn't a rival to the a1 II

New battery Sony is including a dual charger with the a7R VI to help ease the pain of the new battery not being backwards-compatible with the old one.

The a7R VI becomes the first camera to use a new 'SA'-type battery. It's slightly larger than the existing Z-type batteries and delivers a higher voltage. It has a capacity of 20.9Wh, a 27% increase over the capacity of the batteries in previous high-end Sonys.

The new unit isn't much larger than the FP-Z100, with the locationing rails and contacts more tightly integrated into the body so that approximately 30% more cells can be incorporated into the case without increasing the overall size too much.

Expanded video capabilities

The faster sensor also allows for much improved video, even though that's not immediately obvious from looking at the specs. The 8K mode now stretches to 30p, but still comes with a 1.2x crop, much like its predecessor's. However, while the a7R V needed a 1.22x crop to achieve 4K/60, the a7R VI can do full-width 4K/120, provided you activate "Field of View Priority," which comes at the cost of noise reduction.

Improved white balance

Like the a7R V, the VI has visible light and IR sensors designed to help produce more accurate and consistent exposure and white balance. The company says it has upgraded the algorithms that handle both parameters to better interpret things like shaded subjects and light sources, to reduce exposure or WB errors.

Body and handling New grip

The new, larger battery, which sits longitudinally down the grip, rather than the transverse arrangement of the previous design, means the camera's grip has been reworked. It's a subtle change, but the lip around the top of the handgrip is slightly more prominent and the recess on the mount side of the grip, where your fingertips rest, has been reshaped.

Sony stressed that it's not the same as the a1 II/a9 III design (the shutter button isn't at nearly so steep an angle, for a start), but it seems more comfortable than even the recent a7 V's shape.

Another a9 III feature that's absent from the a7R VI is the C5 function button on the front plate of the camera. This is a shame, as we found it worked well for operating the Speed Boost function that the a7R VI has gained. It's a function we used most often in combination with using AF-On for back-button focus, so the absence of a front button makes it more awkward to find a control point that can be readily used while also using AF-On and the shutter button.

High-brightness viewfinder

While the a7R VI's viewfinder resolution remains the same as its predecessor's, the underlying OLED panel is different. It can go much brighter and offers a wider color gamut than before, making it the first camera we've encountered with a viewfinder bright enough to preview HDR imagery. Sony also says it can achieve this brightness even when you're using both its 120fps refresh and highest quality modes.

Illuminated buttons Many of the buttons on the back of the a7R VI light up if you press the new illumination button on the top plate. Brightness can be set to low, mid or high, and they can be set to remain lit up.

Another brilliant addition (in the sense of light being emitted) is the provision of back-illuminated buttons. This is a first for Sony and makes a lot of sense for what is its leading landscape camera. A small button on the top plate lights most of the camera's buttons up, though you'll need to learn to locate it by touch, as it's not itself illuminated. This button can be reconfigured if you need, and illumination can be set to always-on, if you prefer this to battery endurance.

The camera uses the same pair of combined CFexpress Type A / UHS II SD slots, letting you choose between fast, warm storage or the better-established, slower, less rugged format.

Fast/slow USB-C The a7R VI moves to a dual USB-C arrangement, with the upper one offering fast data transfer and the lower one Power Delivery for charging or powering the camera.

The a7R VI's main USB port is a 10Gbps USB-C socket that can be used for data or power. Just below it is a second USB-C port. Despite the new shape, it's essentially a continuation of the USB 2.0 (480Mbps) port used for connecting accessories on previous models. The second port is compliant with the USB Power Delivery standard, though, and utilizes high enough power options that it can be used to charge or power the camera.

Every time you connect a USB cable to the camera, it'll ask you which function you want (eg: Live Steaming, MSC Image Transfer, MTP Image Transfer, etc), and remind you of the data rates of each port, and which port you're connecting to, though you can set the default behavior if you always want a specific mode.

The downside of this change is that any external accessories you have that used the Micro-B 'Multi-interface' socket won't now work, even though the second socket is still a USB 2.0 port at heart.

Battery

The new NP-SA100 has a capacity of 20.9Wh, a 27% increase over its predecessor. This powers the camera to a CIPA-rated endurance of 600 shots per charge if you use the viewfinder and 710 if you use the rear LCD.

Even when you bear in mind that CIPA ratings tend to significantly underestimate most people's real-world experiences – double the rated value isn't unusual, more if you shoot a lot of bursts – these are numbers that are likely to push into the realms of 'beyond needing to worry about it,' for a lot of users, with perhaps only wedding shooters having to make use of the two-battery charger that comes with the camera.

That said, it's worth noting that the charge level will diminish over time if you're just offloading data over the fast USB port: you'll want the PD port connected too for prolonged tethered shooting.

How it compares

The a7R V was a high-resolution studio and landscape camera, but the VI's Stacked CMOS sensor expands its range of capabilities to something much closer to those of Nikon's Z8 and Canon's EOS R5 II, which offer both resolution and speed.

Not included on this chart, but still in the conversation, is the Panasonic S1RII. It targets a similar market of hybrid shooters, with a similar set of stills features and the most complete set of video features. It's not as fast as these rivals but accepts the more widely supported L mount.

We've also left off the Sony a1 II. On paper, it seems very similar to the a7R VI, raising the question of whether Sony has just obsoleted its top-tier sports/action camera. However, the actual shooting experience is quite different on the two cameras, in ways we've covered in more depth in a separate article.

Sony a7R VI Canon EOS R5 II Nikon Z8 Sony a7R V MSRP (current) $4499 / $4399 / £4399 $4299 / £3999 $4199 / £3999 Resolution 66.7MP 44.8MP 45.7MP 61.0 MP Sensor type Stacked CMOS Stacked Dual Pixel CMOS Stacked CMOS BSI CMOS Burst shooting rate 30fps, e-shutter
10fps mech 30fps, e-shutter, 12fps mech 20fps e-shutter (no mec)
30fps JPEG only 7fps e-shutter*
10fps mech* Pre-burst capture? Variable, up to 1 sec Yes, up to 0.5 sec (20 images) Yes, up to 1 sec JPEG only No Viewfinder Res / mag/ eye point 9.44M dot
0.9x
25mm 5.76M dot
0.76x
24mm 3.69M dot
0.8x
23mm 9.44M dot
0.9x
25mm Rear screen 3.2"
2.1M dot
Tilt / articulating 3.2"
2.1M dot
Fully articulating 3.2"
2.1M dot
Two way tilting 3.2"
2.1M dot
Tilt / articulating Image Stabilization 8.5EV center, 7EV peripheral 8.5EV center, 7.5EV peripheral 5.5EV 8EV Stills rolling shutter rate (ms) 19.6ms 6.3ms 3.7ms 100.5ms HDR still output HLG HEIF (no Raw) HDR PQ HEIF HLG HEIF HLG HEIF (no Raw) Video resolutions 8K/30 (1.2x crop)
4K/120

8K/60 (30 non-Raw)
4K/120

8K/60 (30 non-Raw)
4K/120

8K/30 (1.24x crop)
4K/60 (1.24x crop)
4K/30 full width

Video options H.265
H.264 (All-I / L-GOP) Canon Raw
H.265 (All-I / L-GOP)
H.264 N-Raw
ProRes Raw HQ
ProRes 422 HQ
H.265
H.264 H.265
H.264 (All-I / L-GOP) Video assist tools Corrected Log preview
Custom LUT preview
Auto framing Waveforms
Corrected Log preview
False color Waveforms
Corrected Log preview Corrected Log preview Media types 2x CFexpress type A/UHS-II SD 1x CFexpress Type B
1x UHS-II SD 1x CFexpress Type B
1x UHS-II SD 2x CFexpress type A/UHS-II SD Connectivity 1x USB-C 10Gbps
1x USB-C 480Mbps
Wi-Fi 6E 1x USB-C 10Gbps
Wi-Fi 6E 1x USB-C 10Gbps
1x USB-C 480Mbps
Wi-Fi 5 1x USB-C 10Gbps
1x USB-B
480Mbps
Wi-Fi 5 Battery life EVF / LCD 600 / 710 shots 250 / 540 shots 330 / 340 shots 440 / 530 shots Dimensions 133 x 97 x 83mm
(5.2 x 3.8 x 3.3") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 144 x 119 x 83mm
(5.7 x 4.7 x 3.3") 131 x 97 x 72mm
(5.2 x 3.8 x 2.8") Weight 713g (25.2oz) 746g (23.6oz) 910g (32.1oz) 723g (25.5oz)

As for autofocus and handling, the differences between the a7R VI, Z8 and EOS R5 II will all come down to your preferences and use cases (eg, whether you like a top-panel display, need illuminated buttons or both). All three cameras will outperform each other in different scenarios, and some people will prefer one camera's way of doing things over the others.

Autofocus was the main area where we found the S1RII fell behind this extremely capable competition, especially in terms of tracking reliability, but it offers a less expensive route to resolution if action isn't a regular feature of your photography.

The one major callout for the a7R VI is its rolling shutter speeds in its e-shutter modes; while it uses a Stacked sensor like the Z8 and EOS R5 II, it's the slowest of the kind we've seen. This means rolling shutter will put an upper limit on how fast the action it can follow is.

Image quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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We're only able to publish the JPEGs of the test scene at the moment, but hope to be able to follow them up with the converted Raw images very soon. But even if we only look at the JPEGs, we can see that the higher resolution sensor is resolving detail that its predecessor couldn't, putting more of a gap between it and the Canon and Nikon.

The a7R VI's image quality is truly impressive. 66MP offers the best resolution this side of medium format and is backed up by very high dynamic range. In mechanical shutter mode, the camera appears to be combining the low and high-gain readout modes of its dual conversion gain sensor, something that's made explicit as an option in 4K video mode.

The s7R VI's autofocus system is able to consistently deliver 66.7MP's worth of detail.

Sony a7R VI w/ FE 85mm F1.4 GM II | F2.0 | 1/320 sec | ISO 100
Photo: Richard Butler

Sony says the camera captures 14-bit Raws, even at its fastest shooting modes, but doesn't make clear whether the equivalent of the 'Dual Gain Shooting' video function is being applied to e-shutter stills. Our measurements show that electronic shutter images have slightly higher noise levels in the shadows, and a sensor readout rate that's consistent with the 8K video mode (in which the "Dual Gain Shooting" option is not available), suggesting it's not.

The real-world impact of the difference is extremely subtle, though, with the differences really only visible in direct side-by-side comparison. And in charts of DR numbers.

Video

The faster sensor in the a7R VI not only allows it to shoot stills much faster than its predecessor, it also allows much more extensive video capabilities. As usual for Alpha-series cameras, all the options are in the 16:9 aspect ratio, and there are also no options for Raw capture. You can output a Raw stream to an external recorder, if you wish.

Resoluion Rates Crop Compression type Rolling shutter HS S S-I Standard Dual Gain

UHD 8K
(7680 x 4320)

24, 25, 30 1.22x Yes 13.7ms UHD 4K
(3840 x 2160) 24 1.00x Yes Yes Yes 7.2ms 15.8ms 25, 30 Yes Yes 7.2ms 15.8ms 50, 60 Yes Yes Yes 7.2ms 100, 120 1.1x / 1.0x Yes Yes 5.6 / 6.2ms Full HD
(1920 x 1080) 24, 25, 30,
50, 60 Yes Yes 100, 120 Yes

The most obvious difference is the much-improved rolling shutter rates, but the a7R VI also gains a mode, comparable to Panasonic's DR Boost mode, that combines the low and high gain output of the sensor to deliver much wider dynamic range. As with the Panasonic S1II, this feature is optional, can only be maintained at slower frame rates and approximately doubles the readout times.

The 8K footage, taken from an 8.2K region of the sensor, is comfortably the most detailed. All the 4K footage is taken from the full width of the sensor and derived from 5.0K capture, according to Sony. Given the sensor is essentially 10,000 pixels wide, that would neatly correspond to 2:1 sub-sampling, which would certainly explain the significant increase in aliasing.

The rolling shutter numbers for 4K capture are very close to being twice as fast as 8K mode, which would also be consistent with 2:1 subsampling. This number then roughly doubles when Dual Gain Shooting is activated, but the sampling method and detail capture stay the same.

Audio

Like other recent Sony cameras, the a7R VI can record up to four channels of audio, if you connect a mic into the multi interface connectors at the front of the hotshoe.

It can also record, via an optional (and, at $780, quite costly) XLR adapter, 96kHz, 32-bit float audio. This is still relatively rare on hybrid cameras, but the dual analog-to-digital converters needed to exploit the much wider value range of the 32-bit Float notation live in the XLR adapter, so the capability is not built into the camera body.

Even so, the faster rolling shutter rates and the Panasonic-like option to opt for greater dynamic range at the cost of readout speed make the a7R VI a much more credible video camera than its predecessor, again boosting its utility for modern wedding and events shooting.

In-use

The a7R VI is both the most polished camera yet in its series, while also very much being a camera of its series. So the familiar lag when the camera boots up, checks in with the lens, has a bit of a think and then lights up the screen is still present.

Some of the a7R VI's menus and messages feel like the would have benefited from another round of regionalization.

Similarly, the menus, while much more sensibly arranged and easier to navigate, are still creaking under the weight of the complexity of the camera, and aren't helped by overly condensed titles and occasional messages that feel like they've been literally translated from another language, rather than being regionalized into comprehensible phrasing.

This sense is reinforced by little details such as pre-capture, which is one of the default options in the Fn menu, but doesn't work until you first switch from mechanical to electronic shutter mode, then engage continuous shooting. Similarly, the camera offers three multi-shot modes that combine Raw files, two of them have menu settings to select which type of Raw file you want, the third simply defers to the camera's main file type setting. It all feels like it's become too large of a task to ever finish or refine.

Which is odd, because the camera has some lovely details, such as the fact that the e-shutter sound changes with your shutter speed. Rather than it being the exact same sound whether you're shooting at 1/8000 sec or 1/8 sec, it'll simulate changes in pitch, and even the sound of a shutter opening and closing, so that you have an audible cue about exposure time, even when in e-shutter mode.

We found the a7R VI more comfortable to hold than the a7 V.

The camera's grip feels like an improvement over its predecessor, but still isn't as well optimized as Sony's pro-targeting a1 II and a9 III models. For instance, they both have a custom button on the front, which is ideal for engaging the Speed Boost function that raises or lowers the burst rate when held. Without this extra button, the a7R VI has few choices that are easy to hold if you're already using AF-On for back-button focus and have another finger on the shutter.

Pre-capture mode brings a distinct lag and jerkiness to the viewfinder, presumably held back by the camera having to operate in its slower, full-resolution mode while it's buffering images. This is a shame, because the viewfinder is otherwise very good, combining both high resolution and a good refresh rate at most other times.

It's a little disappointing that the first camera to offer an HDR-capable viewfinder is also the only mainstream brand to shoot HDR HEIF images but force you to turn off Raw capture to do so (you can shoot HEIF files with the HLG response curve and Raw, but it you want the camera to include the necessary metadata to display the images as HDR, then it's Raw only).

The first thing that hits you is the camera's seriously impressive image quality, backed up by excellent autofocus

All of which sounds like we disliked the camera, when that's really not the case. There are aspects that we felt would benefit from a little more polish, but the fact that it takes so many words to describe them doesn't mean they're the main things we took away from the experience of shooting with the a7R VI.

Instead, the first thing that hits you is the camera's seriously impressive image quality and the degree to which it's backed up by excellent autofocus. It only takes a single sentence to write it, but that's the thing that matters most.

The a7R V wasn't lacking in resolution, but the VI adds even more.
Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 41mm | F8 | 1/250 sec | ISO 100

The a7R VI isn't as quick in practice as the Nikon Z8 or Canon EOS R5 II, but instead it offers higher resolution, excellent DR, a very customizable, multi-dial interface and by far the best battery life in class. There are plenty of people for whom that will (and should) matter a whole lot more than some of the menu phrasing needing another round of localization.

Anyone hoping for a cut-price a1 II will find themselves disappointed: you can definitely feel the limitations as you push towards the outer edge of what the camera promises to do. But, then again, it promises to do an awful lot, and it brings its image quality excellence to a much broader range of applications than previous a7R models could.

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When you use DPReview links to buy products, the site may earn a commission. Product photos: Mitchell Clark

Sony has announced the FE 100-400mm F4.5 GM OSS, a full-frame telephoto lens that acts as a spiritual successor to the 100-400mm F4.5-5.6 GM OSS from 2017. Of course, there are a few differences; it now features a constant maximum aperture, as well as an internally zooming design, though both things come with a cost (and not just a monetary one).

The 100-400mm F4.5 GM OSS is made up of 28 elements in 20 groups, using a mix of Sony's advanced optics. That includes two "Super ED" and three ED elements to reduce chromatic aberration, an "XA" aspheric lens and an "ED XA" (extra-low dispersion extreme aspherical) lens to suppress aberrations and reduce onion ringing in bokeh. It has an 11-bladed aperture, and a minimum focusing distance of 0.64m (2'1") at the wide end, and 1.5m (4'11") at the long end.

It uses four of Sony's "XD" linear autofocus motors, which the company says will provide responsive tracking even when using the a9 III's 120fps burst mode. It speaks to the ambition of making a lens that's perfectly capable of shooting sports and wildlife. To that end, it can also be fitted with a teleconverter for extra reach.

There are a lot of controls on this lens (plus an extra one on the other side of the foot, hidden by a door).

The 100-400mm F4.5 GM OSS has all the other bells and whistles you'd expect from this grade of lens, too. A bank of switches along the side let you control things like autofocus / manual focus, Sony's "Full Time DMF" feature, applying a focus limiter, turning optical stabilization on and off, and choosing which mode it's in. It also features four customizable buttons; they're all assigned to the same function, but give you quick access no matter how you're holding the lens. Behind them is a toggle function ring, and then the zoom ring, which has adjustable tension, and only requires a quarter turn to go from 100 to 400.

The rotating tripod foot – which is quite comfortable to hold thanks to its dual-texture design – has detents at 90° intervals, which you can set to be clicked or click-less. Finally, Sony has a solution for anyone who balks at buying 95mm filters for this lens: near the mount is a drop-in filter holder, which can accommodate (much cheaper) 40.5mm glass. The lens is sealed for dust and moisture, and has a fluorine coating on the front element to repel oils, dirt and water.

At 328mm (12.9"), the lens is a fair bit larger than the previous 100-400, which had an extending design and was 205 mm (8.1″) long at its shortest. It's also heavier, weighing 1840g (64.9oz), versus 1495g (52.7oz). While that's certainly not nothing, in my experience, it actually feels shockingly light given its size and specs. I was able to carry it around a wildlife area for two hours, often pointing it into the sky to take pictures of birds, without wearing my arms out. It's also not immensely difficult to carry in a backpack, though it still physically takes up a fair amount of space.

Unlike Sony's previous-gen 100-400, you can shoot at F4.5, even at 400mm.

Sony a7R VI | Sony FE 100-400mm F4.5 GM OSS | 400mm | F4.5 | 1/400 sec | ISO 320

Out of camera JPEG
Photo: Mitchell Clark

This lens is a more ambitious offering than its nine-year-old predecessor, both in terms of its aperture and its optical performance. It's clear Sony is targeting professionals and enthusiasts who are shooting sporting events (like the upcoming World Cup) and wildlife, but who want the versatility of a zoom and don't want to step all the way up to its highest-end telephoto primes. Those users will likely be willing to put up with the fact that the lens is larger and heavier for its speed at the long end, image quality and faster AF.

However, the lens is also coming in at a substantially higher price point than its predecessor, retailing for $4300, while the 4.5-5.6 will run you $2800. Still, for those who need the performance, Sony has clearly built a very capable option. It'll be available starting in June, alongside the newly announced a7R VI.

Buy now:

$0 at Amazon.com Sony FE 100-400mm F4.5 GM OSS specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length100–400 mmImage stabilizationYesLens mountSony E, Sony FEApertureMaximum apertureF4.5Aperture ringNoNumber of diaphragm blades11OpticsElements28Groups20Special elements / coatings2 super ED, 3 ED, 1 ED XA, 1 XAFocusMinimum focus0.64 m (25.2″)Maximum magnification0.25×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1840 g (4.06 lb)Diameter120 mm (4.72″)Length328 mm (12.91″)SealingYesColourWhiteZoom methodRotary (internal)Power zoomNoFilter thread95 mmFilter notes40.5mm rear drop-in filterHood suppliedYesTripod collarYes

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The Canon EOS R6 V, with its kit lens, the newly-introduced RF 20-50mm F4 L IS USM PZ.

Images: Canon

The Canon EOS R6 V is a video camera designed for "advanced creatives," built around the same 32MP full-frame sensor and processor as the company's hybrid mirrorless EOS R6 III. It has a boxier design, having lopped off the EVF (and mechanical shutter), and added a fan to help prevent overheating when using its more ambitious recording modes.

Key specifications:

• 32MP full-frame CMOS sensor
• Built-in fan
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Full-width oversampled 4K ≤60p, subsampled 4K 120p
• 3:2 Open Gate recording up to 30p
• Built-in image stabilization rated to 8.5EV
• 3.0", 1.62M dot fully-articulating screen
• Dual tripod mounts for horizontal/landscape shooting

Buy now:

Buy at AdoramaBuy at B&H Photo A new design

While the EOS R6 V's capabilities are very similar to the EOS R6 III's, its design and controls are centered around video. Its flat top plate will play well with gimbals, and it has top-plate and front-plate record buttons, with the former also having a zoom lever around it. There are several customizable buttons, with one set up by default to bring you to the Color menu, where you can change from shooting in the standard color mode into C-Log 2 or 3 recording, the recently-added HLG HDR mode (which joins the existing PQ HDR mode), and more.

Like the EOS R50 V, the EOS R6 V features a side-mounted tripod socket for vertical shooting.

The EOS R6 V has the customary 1/4-20" tripod mount on its bottom plate, but it also has an additional one on the side of the grip, next to the card door that hides the CFexpress type B and UHS-II SD slots. This lets you easily mount the camera vertically when shooting for social media, though the cards would then be hard to access. On the other side of the camera are most of the ports you'd expect for an enthusiast video option: full-size HDMI, headphone and microphone ports, 10Gbps USB-C and a remote terminal (If you want timecode, you'll have to step up to the cinema line.)

Keeping cool The EOS R6 V largely shares the EOS R6 III's selection of ports, but this side also shows the large exhaust for the fan.

Perhaps the biggest performance differentiator between the EOS R6 V and R6 III is that the new camera has a fan, which Canon says will allow it to record heavy formats for much longer, even under warm conditions. When the EOS R6 III launched, Canon said it could only record 20 to 30 minutes of oversampled 4K/60 or open gate 7K before overheating. With the Canon EOS R6 V, though, the company is promising two hours or more in those modes, even in ambient temperatures of 30°C (86°F), as long as you have the fan and overheat limits set to high, and the camera on a tripod.

Canon says the fan in the EOS R6 V is smaller than the one found in the EOS C50; while the more consumer-oriented version should perform well under most circumstances, the pro-grade camera is designed to essentially never overheat, no matter how long you're shooting for, and how hot it is.

More menu options

The camera also gains several video-focused features. It has a product-focused "Close-up demos" mode that temporarily overrides facial recognition when you're holding up something to the camera. Unlike on previous Canon cameras, including the EOS R6 III, where it was a scene mode that severely limited your control over exposure and audio settings, it's now just an AF option that you can enable across video modes.

The EOS R6 V also offers granular control over white balance, letting you customize how quickly its auto system will adjust when, say, moving from an indoor to outdoor setting. You can also assign a custom button to lock white balance, and to switch between up to four pre-selected kelvin settings.

The EOS R6 V uses the same menu system from Canon's other consumer-focused EOS cameras

It uses the same menu system from Canon's other consumer-focused EOS cameras, rather than borrowing the production-focused UI of Canon's cinema line, as you'll find on the EOS C50, a highed-end camera that uses the same sensor. While this undoubtedly makes the camera simpler for a beginner to pick up, it also means more advanced users won't have the ability to set shutter angle, rather than speed, or to get a desqueezed preview when using anamorphic lenses.

Video-first The EOS R6 V's sensor is quite quick for video, but won't be so fun to use for stills.

In terms of stills, the EOS R6 V has similar capabilities to the EOS R6 III, in that it can shoot 32MP images in burst rates of up to 40fps. However, if you're shooting fast-moving subjects, you'll have to be aware of rolling shutter, since the camera doesn't have a mechanical shutter. This also limits its capabilities for flash shooting; in fact, the ability to even use a flash at all won't be added until after the camera launches, via a firmware update. Even after it arrives, though, we wouldn't expect it to sync above 1/60th of a second, given the EOS R6 III's 13.5ms e-shutter readout rate.

Even more competition

Up until now, Canon's V-series cameras have mainly been lower-end options aimed towards more casual creators. With the EOS R6 V, though, the company is competing with the likes of Sony's ZV-E1 and Nikon's ZR, providing an option between the entry-level vlogging cameras and its pro-grade ones designed to be operated by a team.

Canon is providing an option between the entry-level vlogging cameras and its pro-grade ones

It's an especially interesting competitor to the recent ZR, as they're similar in several ways: both use the full-frame sensors found in the companies' enthusiast-tier hybrid cameras, and both focus on letting you up your production value by shooting in Raw. There are pros and cons to each; the ZR has internal 32-bit float audio and a 4" display, compared to the EOS R6 V's 3" monitor, but Canon allows for full sensor height "open gate" recording, and has full-size HDMI and SD card slots, versus the ZR's micro-variants. But both clearly target the same market.

The EOS R6 V will be available starting at the end of June, and will retail for $2499, $300 less than the EOS R6 III. There's also a version with special firmware features for recording stop motion, available for $100 more. The camera is launching alongside the RF 20-50mm F4 L IS USM PZ, a video-focused power zoom lens that will act as its kit option, and which you can read more about here. The kit will cost $3699, $200 less than if you bought the camera body and lens separately.

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Press release:

Canon Unveils New EOS R6 V Full-Frame EOS Camera and RF20-50mm F4 L IS USM PZ Built In Power Zoom Lens Empowering Creators to Achieve Maximum Creative Expression in Motion

MELVILLE, N.Y., May 13, 2026 – Canon U.S.A., Inc. a leader in digital imaging solutions, today announced the launch of the new full-frame EOS R6 V camera, the RF20-50mm F4 L IS USM PZ lens and accessories designed to empower the content creators and advanced videographers of today who seek flexibility, portability and high-end video performance in one powerful package. The EOS V-series lineup from Canon answers this call and delivers advanced video tools in a streamlined, creator-friendly system designed to let creativity soar.

Make Movie Magic with the EOS R6 V Camera

A new addition to the EOS V-series lineup specifically built for video capture, the EOS R6 V camera is designed for creatives who capture video on a daily basis who want control, operability, and reliability, with limited creative constraints. Designed for handheld and gimbal shots, the camera features robust in-body IS as well as a 7K / 32.5MP full-frame CMOS sensor, 7K 60p RAW, 7K 30p Open Gate, and support of Slow and Fast Mode. From short-form social video to long-form video productions and podcasts, the EOS R6 V camera is a powerful tool for exploring the expansive possibilities of self-produced storytelling.

Key features include:

• 32.5MP full-frame CMOS sensor, 4K up to 60p oversampled recording, and uncropped 4K 120p to deliver high-quality slow motion
• Advanced AF tracking optimized for video shooting, smooth autofocus performance for video, and in-body image stabilization for handheld shooting.
• Enhanced operability and reliability, including a compact, flat body design with reduced profile, vertical shooting support with dedicated vertical tripod mount, and integrated zoom lever and tally lamp.
• Internal cooling fan helping to enable extended shooting times.

Zooming In on Creativity

Every filmmaker toolkit needs a standout zoom lens, and the new RF20-50mm F4 L IS USM PZ zoom lens is an outstanding option. This full-frame compatible L-Series, RF mount lens is Canon’s first L-series lens to feature built-in power zoom without the need for additional accessories. With a versatile 20mm to 50mm focal range, it provides ultra-wide angle views, and zooms through to a standard field of view – bringing subject details within reach. The lens enables high-quality video imagery, balancing lightweight agility with professional-level performance.

Key features include:

• Built in power zoom, with the ability to switch between manual and power zoom functionality, all controlled from a single zoom ring.
• Constant f/4 aperture across the zoom range, maintains consistent image brightness while zooming from the expansive view of the 20mm wide, to the detailed 50mm telephoto setting, providing versatility for video and photo shooting.
• Internal optical zoom design, for a balanced center of gravity essential for gimbal use.
• Compact, lightweight design supporting comfortable and long-duration handheld and gimbal video shooting.
• Ability to remotely power zoom the lens using the Canon Camera Connect app1 or through the use of Canon wireless Bluetooth® enabled remotes such as BR-E2 and BR-E1.

Accessories Designed for Flexibility

To complement the EOS R6 V camera and RF20-50mm F4 L IS USM PZ lens, Canon is debuting a range of optional accessories tailored to modern content production, including:

• BR-E2 Wireless Remote Control: The BR-E2 Wireless Remote Control is a next-generation Bluetooth® Low Energy remote supporting the new EOS R6 V camera as well as all other EOS cameras (excluding the EOS R100) or PowerShot cameras released from August 2022 onwards. Features include lever-operated zoom operations and exposure compensation, making it an ideal accessory for vlogging, livestreaming and solo shooting.
• HG-200TBR Multi-Function Tripod Grip: Features a versatile combination tripod and hand grip that is designed for both horizontal and vertical formats and supports both video and still shooting. A movie record button and zoom and exposure compensation levers provides smooth and intuitive movie shooting. Included with the HG-200TBR Multi-Function Tripod Grip, is the BR-E2 Wireless Remote Control.
• AD-M1 Macro Lite Adapter Set: A specialized accessory set designed for use with macro lenses and select standard lenses. The kit includes a mount ring, micro lite adapter and flash head mount, enabling enhanced close-up photography and creative lighting control.

New Content Creator Kits

To empower creators of all varieties, Canon is also launching new content creator kits including:

• Creator Accessory Kit II: Stereo Microphone DM-E100, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• PowerShot V1 Video Creator Kit: PowerShot V1 camera, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2
• EOS R50 V Video Creator Kit: EOS R50 V camera and RF-S14-30mm F4-6.3 IS STM PZ Lens Kit, Tripod Grip HG-200TBR and Wireless Remote Control BR-E2

Availability

The Canon EOS R6 V camera body only, kit with the RF20-50mm F4 L IS USM PZ lens, or the Stop Motion Animation Firmware2 are expected to be available in late June and July for an estimated retail price of $2,499.00, $3,699.00 and $2,599.00 respectively3. The Canon RF20-50mm F4 L IS USM PZ lens is expected to be available in late June for an estimated retail price of $1,399.003.

The BR-E2 Wireless Remote Control, HG-200TBR Multi-Function Tripod Grip and AD-M1 Macro Lite Adapter Set are expected to be available in late June for an estimated retail price of $69.99, $159.99, $179.99 respectively3.

The Creator Accessory Kit II, PowerShot V1 Video Creator Kit and the EOS R50 V Video Creator Kit are expected to be available in early July for an estimated retail price of $249.99, $1,279.00 and $1,199.00 and respectively3.

1 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone iOS 12.0 or later, iPadOS 13.7 or later, iPod Touch 12.0 or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

2Certain camera features are disabled when the Stop Motion Animation Firmware is installed. For more details, visit https://www.usa.canon.com/explore/stop-motion-animation-firmware

3 Specifications, availability and prices are subject to change without notice.

Canon EOS R6 V specifications: PriceMSRP$2499Body typeBody typeRangefinder-style mirrorlessSensorMax resolution6960 x 4640Image ratio w:h1:1, 4:3, 3:2Effective pixels32 megapixelsSensor photo detectors34 megapixelsSensor sizeFull frame (35.9 x 23.9 mm)Sensor typeCMOSProcessorDigic XColor spacesRGB, Adobe RGBColor filter arrayPrimary color filterImageISO100-64000Boosted ISO (minimum)50Boosted ISO (maximum)102400White balance presets8Custom white balanceYesImage stabilizationSensor-shiftCIPA image stabilization rating8.5 stop(s)Uncompressed formatRAWJPEG quality levelsFine, NormalFile format

• JPEG (Exif v2.31)
• Raw (Canon CR3)
• HEIF (10-bit)

Optics & FocusAutofocus

• Phase Detect
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Autofocus assist lampYesManual focusYesNumber of focus points4897Number of cross-type focus points1053Lens mountCanon RFScreen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,620,000Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/8000 secMaximum shutter speed (electronic)1/8000 secExposure modes

• Program
• Aperture priority
• Shutter priority
• Manual
• Flexible-priority program

Built-in flashNoDrive modes

• Single Shooting
• High-speed continuous
• Low-speed continuous

Continuous drive40.0 fpsSelf-timerYesMetering modes

• Multi
• Center-weighted
• Spot
• Partial

Exposure compensation±3 (at 1/3 EV, 1/2 EV steps)AE Bracketing±3 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV steps)WB BracketingYesVideography featuresFormatH.264, H.265, Canon Cinema Raw, Canon Cinema Raw LightModes

• 6960 x 4640 @ 30p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 25p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 24p, 12-bit, Raw (other), 1x Crop
• 6960 x 4640 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 6912 x 4608 @ 30p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 25p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 24p, 10-bit, H.265, 1x Crop
• 6912 x 4608 @ 23.98p, 10-bit, H.265, 1x Crop
• 6912 x 3672 @ 60p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 50p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 30p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 25p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 24p, 12-bit, Raw (other), 1x Crop
• 6912 x 3672 @ 23.98p, 12-bit, Raw (other), 1x Crop
• 4096 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 120p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 100p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1x Crop
• 4096 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 24p, 10-bit, H.265, 1.6x Crop
• 4096 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 60p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 50p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 30p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 25p, 10-bit, H.265, 1.6x Crop
• 3840 x 2160 @ 23.98p, 10-bit, H.265, 1.6x Crop

MicrophoneStereoSpeakerStereoStorageStorage types1x CFexpress Type B, 1x UHS-II SDConnectivityUSB USB 3.2 Gen 2 (10 GBit/sec)USB chargingYesHDMIYes (Full-sized)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notesWi-Fi 5Remote controlYesPhysicalBatteryBattery PackBattery descriptionLP-E6P lithium-ion battery & chargerBattery Life (CIPA)510Weight (inc. batteries)688 g (1.52 lb / 24.27 oz)Dimensions142 x 83 x 80 mm (5.59 x 3.27 x 3.15″)Other featuresOrientation sensorYesGPSNone

When you use DPReview links to buy products, the site may earn a commission. Image: Canon

Canon has announced a new full-frame power zoom lens: the RF 20-50mm F4 L IS USM PZ. As it's launching alongside the company's new video-focused camera, it's no surprise that the primary audience for this lens is videographers, though it has a clever trick that makes it an interesting choice for photography as well.

The RF 20-50mm F4 L IS USM PZ has 13 elements in 11 groups, with 2 glass molded aspheric lenses and ultra-low dispersion elements. It has a minimum focusing distance of 0.24m (9.4"), providing up to 0.14x magnification at its widest setting and 0.33x at its long end.

The lens's trick is how you change your focal length. Canon says this is its first switchable power zoom. That means that you can control it by jogging the zoom ring, like with its other RF power zoom lens, or by rotating the zoom ring between set points, as with most stills zooms. The first bit of the lens's zoom ring is its power zoom setting, letting you rotate it left or right to have the motors zoom it in or out, but flip a switch, and you can get to the more traditional, mechanically limited zoom ring.

The lens' zoom ring has two ranges: one for power zoom, the other for a more traditional zoom experience.
Photo: Canon

In power zoom mode, its zoom can also be controlled by the camera body, and you can configure its speed. Canon also says you can control the zoom using its Camera Connect app, or with a Bluetooth remote connected to your camera.

The power zoom is driven by two of Canon's "Nano UltraSonic Motors" – one for each of its zoom groups – while another Nano USM handles focusing. The company says that focus breathing, where the field of view changes with the focus, is minimized. It's also an internally zooming design, so its center of gravity shouldn't change substantially as you change your focal length, making it suitable for gimbal use.

As you might hope for a lens that you may hold at arm's length to film yourself, it's not particularly heavy at 420g (14.8oz). It's 98mm (3.9") long and is threaded to accept 67mm filters.

Canon says the lens' optical stabilization is good for 6EV at the center

Since it is a video-focused lens, it's also not a surprise that it features optical stabilization, which Canon says is rated for 6EV at the center on its own, and up to 8EV at both the center and corners when coordinating with a camera's IBIS system.

The lens' controls, as well as the switch to toggle between power zoom and manual zoom mode.
Image: Canon

Beyond the fancy zoom ring, it has the controls we've come to expect from an L-series RF mount lens: there's a programmable function button, switches to control stabilization, power zoom mode and focus mode, and a customizable control ring. The company also says the lens is sealed against dust and moisture, and that it has a fluorine coating on the front element to repel oil and water. It includes a lens hood and a fabric carrying case.

This lens is an interesting addition to Canon's lineup, and will likely be an especially welcome one for content creators. It's Canon's first full frame lens for RF that has power zoom via internal motors, rather than via an external attachment, making it much friendlier to use. The zoom range is also a reasonable choice for vloggers, as, on a full frame camera, it'll be wide enough to comfortably film yourself without totally excluding your surroundings.

In that way, it's a very close analog to the APS-C 14-30mm F4-6.3 IS STM PZ that Canon launched alongside the EOS R50 V, though the constant aperture is a welcome addition, especially given the RF 20-50mm F4 L IS USM PZ's price. It will retail for $1399 standalone, and is also available as a kit with the EOS R6 V for $3699 (a $1200 premium over the camera's body-only price). It's slated to start shipping at the end of June.

Image: Canon

Canon wasn't content to just launch a new camera and lens today. Arriving alongside them is a collection of accessories. Some of them are clearly tied to the EOS R6 V, while others seem to have just been ready at the same time.

Starting with the one that'll excite every user of Canon's RF mirrorless system: a new rear cap for lenses. While that might not sound game-changing at first blush, it could be a big quality-of-life improvement. With the first-gen cap, there was only one correct way to attach it, making lens changes difficult if you were trying to move fast, or were in low-light conditions. Worse still, it was easy to leave it only partially attached, since you could somewhat fit it on in a different position. The new model fixes this, letting you attach it at three different points, like the old EF cap.

You can buy new caps for $9 each, and Canon says that eventually its lenses will come with the updated ones out of the box, though it obviously has to sell through the existing stock first.

“Buy at Canon” Image: Canon

Canon has also updated its bluetooth remote. It now features two customizable buttons, a shutter release (which allows for half-pressing to focus) and video record button, and a jog lever which can be used to control a power zoom lens or exposure compensation. Canon also says the new model, called the BR-E2, will be able to switch between different cameras without having to go through the pairing process.

The new tripod grip, with the remote attached. It's included in the "creator kits" that Canon introduced today, which pair the PowerShot V1 and EOS R50 V with video-focused accessories.
Image: Canon

The remote can slot into the HG-200TBR, a tripod grip that gives you an ergonomic way to hold your camera, as well as a way to mount your microphone in the proper orientation if you're recording vertical video. At $160 it isn't cheap, though it comes with the remote.

Image: Canon

Finally, Canon is announcing the AD-M1 Macro Lite Adapter Set, which lets you attach the company's (sold separately) Macro Lit flashes to "macro lenses and select standard lenses." There's some irony in it launching alongside a camera that literally can't do flash photography at launch, but for macro enthusiasts using other Canon cameras, it could be useful. It will retail for $180.

The company says the products will launch in "late June."

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Logo: Apple

Apple has acquired Patchflyer, the one-person company behind Color.io, a web-based color grading tool used by photographers and filmmakers, according to acquisition disclosures reported by MacRumors. Color.io creator Jonathan Ochmann has also joined Apple, though Apple hasn't announced what it plans to do with the technology.

Color.io was known for its film-inspired color tools, custom color models and an in-browser workflow. It appealed to creators looking for more advanced color grading without opening a full desktop editing suite. That service shut down on December 31, 2025.

In November 2025, Ochmann shared news of the closure on the Color.io site, as found via the Internet Archive. "Color.io isn't shutting down because it's struggling. But after 10+ years of running everything alone, I've reached a point where I need to grow in ways that aren't possible as a solo builder," he wrote. "I have an opportunity to work alongside a company whose products have shaped and inspired me, to work on creative tooling at a scale I could never reach on my own." It's now apparent that Apple was that company.

Color.io's browser-based interface helped make film-inspired grading tools accessible without a full desktop editing suite.

Image: Color.io

The acquisition is especially interesting given Apple's recent interest in creative software. Apple completed its acquisition of Pixelmator in February 2025. Then, at the beginning of this year, Apple announced Apple Creator Studio, a subscription bundle of several of Apple's creative apps, serving as an alternative to Adobe Creative Cloud. The tech giant also acquired MotionVFX, a maker of Final Cut Pro plug-ins and templates, in March.

There's no word yet on whether, or how, Color.io's tools will appear in Final Cut Pro, Pixelmator Pro, Photos or the iPhone Camera app. But for photographers and video creators, the deal suggests that Apple is continuing to build out its color, imaging and creator-tool expertise, potentially with an eye toward making more advanced grading tools easier to access across its software ecosystem.

Panasonic's new Lumix L10 is the company's latest pitch for the enthusiast compact we've been waiting for. It's a modern, fixed-lens camera aimed at photographers who want more direct control in a carry-everywhere camera.

The L10 combines a 26.5MP Micro Four Thirds sensor with a 24-75mm equivalent F1.7-2.8 lens and the same processor found in the S1RII. It also offers phase detection autofocus and the latest subject recognition features you'd expect from a modern camera. Plus, Panasonic added an OLED viewfinder and an articulated rear screen.

Buy now:

$0 at Amazon.com

We have the camera in hand, and in our latest YouTube video, we unbox the L10 and the included accessories. We'll be sharing more details about the camera once we've had an opportunity to put it through its paces, so stay tuned for more. For now, you can read more about the latest compact in our full article about the announcement.

Image: Panasonic

Panasonic is celebrating the 25th anniversary with the launch of a large sensor enthusiast zoom compact.

The L10 is essentially a fully modernized version of its LX100 camera, using the company's latest 26.5MP sensor and the processor used in the S1RII. It features a version of the 24-75mm equivalent F1.8-2.8 lens from the LX100, updated in an unspecified way.

While the new model clearly shares much of the LX100 series' heritage, Panasonic says the L10 represents a new premium compact camera line.

The use of that sensor means it offers phase detection autofocus and the dynamic range boost function from the GH7 and G9II, along with all the company's latest subject recognition algorithms.

As with the other LX100 cameras, the lens doesn't cover the whole sensor, instead delivering up to 20MP images. It takes a multi-aspect approach, giving a consistent angle of view whether you shoot 4:3, 3:2 or 16:9 aspect ratios. A dedicated switch on the lens barrel lets you directly select these ratios or 1:1.

The camera has a full-metal body and a fully articulated 1.84M dot rear display. It also gains a more modern 2.36M dot OLED viewfinder, rather than the field-sequential display used by the LX100 models.

This makes it a significantly different camera than the LX100-related Leica D-Lux 8, which persisted with the sensor and processor from the LX100 II and kept the fixed rear screen design of the older models. The L10 also switches to using the much larger BLK-22 battery from the GH series, which should significantly improve performance.

The Lumix L10 Titanium Gold edition will be available directly from Panasonic in most markets.

Image: Panasonic

The move to a modern AF system, the addition of an articulated rear screen, the switch to an OLED viewfinder and the adoption of a larger battery appear to directly address our biggest concerns about the LX100 II, making the L10 highly sought-after within the DPReview team.

Color changes

In addition to the major hardware changes, the camera gets several new image presets: L.Classic and L.Classic Gold, which give the look of historic film stocks. It also has the Leica Monochome look we've seen in recent Panasonics. On top of this, it has the LUT button on the back of the camera, first seen in the Lumix DC-S9. This accesses the camera's ability to upload, overlay and combine custom image styles using the movie industry standard Cube LUT format.

Custom look-up tables (LUTs) can be downloaded via the Lumix Lab app, which also lets you create your own custom LUTs or use the app's ability to generate 'Magic LUTs' that attempt to mimic the look of images you've uploaded to it. This system gives you a wide degree of control over your out-of-camera images. In addition, Lumix Lab will gain the ability to process Raw files both from the L10 and other recent Lumix cameras.

Panasonic says the L10 is primarily intended for stills, and it has neither a headphone nor HDMI socket. Despite this, it's capable of 10-bit log capture and 5.1K open-gate video recording, as well as 4K/120 capture.

The L10 will launch with a recommended price of $1499.99. The standard model will be available in black or black with silver-anodized aluminum top and baseplates.

There will also be a Titanium Gold special edition, with themed-color menus, a threaded shutter button, a leather strap and a matching auto lens cap. The Titanium Gold edition will retail for $1599.99 and will only be available via the Panasonic website and in limited numbers.

A king surveys his snowy realm. The dark, monotonously colored forest background makes the colorful monkey stand out beautifully.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1250 sec | F4
Photo: Erez Marom

In the first two articles in this series, I shared stories about photographing black and white snub-nosed monkeys in Yunnan province and mammal species in Tangjiahe Reserve and Wawu Mountain. In this third and final installment, I want to tell you about a very unexpected visit to shoot another species of snub-nosed monkey: the golden snub-nosed monkey.

The golden snub-nosed monkey is one of the most visually striking primates in the world, native to the high-altitude forests of central and southwestern China. It is instantly recognizable by its vivid golden-orange fur, pale blue face, and small upturned nose – an adaptation that may help reduce frostbite in cold mountain climates. These monkeys live in some of the harshest environments inhabited by non-human primates, enduring snowy winters at elevations of up to 3,000 meters, with thick fur and complex social behavior helping them survive.

I don't usually do many close portraits, as I feel anyone can do them, and I can't take a shot that shows both the animal and its surroundings in a compelling way. This was an exception, and the nice thing is that you can see the interesting details in the monkey's face, especially the nose. How cool is the pale blue skin?

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/320 sec | F4
Photo: Erez Marom

Golden snub-nosed monkeys are highly social, forming large, multi-level groups that can include hundreds of individuals divided into smaller family units. They spend much of their time in trees, feeding on leaves, bark, fruits, and especially lichens during winter when other food is scarce. Despite their resilience, they are classified as endangered due to habitat loss and fragmentation, though conservation efforts in protected areas, particularly in regions like the Qinling Mountains, have helped stabilize some populations. Their survival is closely tied to the preservation of China’s temperate mountain forests, making them a flagship species for conservation in these ecosystems.

Golden snub-nosed monkeys eat tree bark to aid their digestion. A positive outcome of this is that the orange colors in the tree are fully exposed, which complements the golden monkey's fur. With the contrasting green leaves, I like the color palette in this image, as well as the interesting behavior and overall composition.

Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 3200 | 1/200 sec | F6.3
Photo: Erez Marom

This shoot was highly unexpected because the area leading to the golden monkeys' habitat had been destroyed last year by a huge flood (the aftermath of which was clearly visible on the road there), and so we had absolutely no assurance we could get there or that the monkeys would be there. It was thus not at all in the plans to even attempt to photograph this species.

After massive floods, not much was left of a bridge that used to be part of the road leading to the valley where the golden snub-nosed monkeys are visible. We were only able to get there by driving on makeshift dirt roads.

Photo: Erez Marom

The monkeys are usually fed by rangers as part of their conservation program, and since the feeding stopped, the monkeys were not supposed to be reachable. But as we were photographing the Yunnan monkey, we got word that, due to snow on the mountains, the golden monkeys were coming down to the valley for the first time in weeks, which meant we might just be able to capture them. And capture them I did.

A wider shot of a golden snub-nosed monkey traversing the canopy. The warm-colored monkey against the forest's cooler green/blue hues in the background, along with the vastness of the mountainous forest, make this shot interesting and fun to look at.

Canon EOS R5 II | Canon RF 100-500mm F4.5-7.1L IS USM | ISO 6400 | 1/400 sec | F5.6

These young brothers were inseparable. The white fur color will gradually change to the golden-orange of the adults.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/6320 sec | F4

Photos: Erez Marom

The fact that the monkeys are habituated and used to being fed played to our advantage. I could go super close and shoot them with my 24-105mm and even my 10-20mm(!), which led to really unique perspectives and shots with a level of interest I didn't expect. It's quite different being inside the action and seeing these beautiful animals interact and go about their business without much regard for my presence.

The extreme proximity I was able to achieve to the monkeys resulted in extreme perspectives and really cool images. Getting up close and personal with these beautiful creatures was a very special treat, only possible because they are habituated to human presence. The backlight adds a lot to the image. Not only does it highlight the animals, but it also separates them from the background, creating compositional depth.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 100 | 1/640 sec | F4

It doesn't get much cuter than this!

Canon EOS R5 II | Canon RF 10-20mm F4L IS STM | ISO 1600 | 1/200 sec | F5

The monkeys often quarrel, but those quarrels are short-lived.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 400 | 1/1000 sec | F6.3

Photos: Erez Marom

The best golden monkey shoot was when we followed them to a slightly higher elevation, where snow was still on the ground, and the background was astounding. I even got a few jump shots when the monkeys were hopping between the snowy rocks.

The secret to shooting jump-shots such as this one is being able to expect the direction the monkey will jump. Then, all that is left is to frame the composition, spray and pray. After a few attempts, I successfully nailed the shot. The snow flying around really adds character and an Asian wintery feel.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 3200 | 1/1000 sec | F4

Some more fighting, this time in the snow. This scene looked a bit like an 80s video game, for the Gen-Xers among you.

Canon EOS R5 II | Canon RF 24-105mm F4L IS USM | ISO 1600 | 1/800 sec | F4

Photos: Erez Marom

Imagine how grateful I was to go from expecting not to be able to even see this species to being able to shoot it at such close range, in the snow. Sometimes, the universe smiles upon you, and the rest is up to your shooting ability.

I highly recommend China as a destination for wildlife photography. My trip was nothing short of fantastic, and I plan to go back next year to lead a photography workshop and do some more shooting.

Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar and more.

Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.

Selected Articles by Erez Marom:

• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Behind the Shot: Tambora Sandwich
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Demon of the Deep: Shooting Kawah Ijen Volcano
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

If you've ever switched your camera from stills to video mode with Log enabled, you may have noticed that it seems you can no longer use the base ISO setting. But shooting video in Log doesn't arbitrarily force you to shoot at higher ISO, despite what the camera's settings might suggest.

In a two-part video explainer totaling less than two minutes, DPReview’s Richard Butler succinctly breaks down why ISO isn't quite what it seems in Log. In part one, which you can watch at the top of the article, Richard briefly walks through some of the very basics of ISO. Part two (the video below) gets into the details of why Log is different, and how that impacts ISO.

The videos do a great job of simplifying a complex topic, so be sure to give them both a watch. Should you want something more in-depth, you can read Richard's articles about what ISO is and what makes it so complex.

Left: Two IMAX film projectors. Right: Two digital IMAX projectors. Do note, this isn't the caliber of equipment you're likely to find in your local theater, even at "IMAX"-branded showings.

It's a rare thing to be able to see a full-fat IMAX film projection, but former Mythbusters star Adam Savage is letting everyone take a peek behind the curtain to see what goes into exhibiting movies using such a large format. Over the past few weeks, he's posted two videos shot at IMAX's headquarters, taking a look at the projection process in one and the film scanning and printing processes in the second.

The video on projection, which you can watch below, illustrates the scale of the machinery needed to project an image from a 70mm negative onto a 27m-tall (90') screen. The reels and projectors used are larger than a person, and the film has to travel up through the floor between the two. Watching it, it makes it seem like a miracle that the whole thing works at all.

Even more incredible is the process of scanning and printing the film, depicted in the second video. Both steps are essential for movies shot on IMAX that need VFX work (which is to say almost any contemporary movie shot with the format). In it, Savage admires what was apparently IMAX's only scanner until surprisingly recently, and which is built like a piece of fine furniture. Despite the extremely clever design, the decades-old machine has one asterisk: it apparently takes around 12 seconds to scan each frame. (The company keeps it around as a backup for its replacement, which is apparently much, much faster.)

What's harder to replace and, somehow, slower, are the film printers IMAX uses, as they utilize cathode ray tubes to expose the image onto the film. As they age, their output dims, so nowadays they take around one to one and a half minutes per frame.

The videos are full of little details like that, as Savage explores the company's headquarters and interviews some key members of its team. Both videos are well worth a watch if you're a movie buff or want to hype yourself up for upcoming IMAX movies, like Christopher Nolan's The Odyssey, which is the first feature-length blockbuster shot entirely in the format. Not that actually seeing a real IMAX showing of it will be an easy feat; they sold out a year in advance.

Canon has posted a video to its social media, which appears to tease an upcoming announcement.

The company says something is coming on May 13th at 9AM ET (6AM PT, 1PM GMT), with the caption "One camera. Endless possibilities." The post shows a person staring at a camera that is, as is often the case in these videos, cloaked in shadow, though a red tally lamp shines brightly from it. That detail, and the fact that, on Instagram, the post is a collaboration between Canon's main and Pro Video accounts, implies that we'll likely see something video-related.

This is the second teaser we've seen from a major camera company regarding an announcement on May 13th, which is, at time of writing, next Wednesday; Sony also posted a teaser for "the next R." Whatever the two companies are cooking up, it seems like the camera drought of 2026 may be coming to an end.

Sony has announced an event for next week via its social accounts, teasing "the next R." The video and Instagram post share that the event will take place on May 13th at 9:30 EDT / 14:30 BST / 22:30 JST.

Sony isn't sharing anything beyond that there will be an event, and the date and time. Unlike many teasers, the posts don't feature a blurred-out or silhouetted camera or lens that we can try to glean details from. However, the mention of "the next R" certainly doesn't leave much up to the imagination, at least in terms of which lineup is likely to benefit from the upcoming event.

In an Instagram post a few days earlier, Sony unveiled a separate upcoming community event called Alpha in Residence, happening in New York City on May 14-15. Alpha in Residence is a two-day event that will feature photowalks, styled shooting sets in a historic mansion, gear rentals, panel discussions and more. It is free, though you do need to register for a ticket, which you can do on Sony's website.

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Elizabeth Line - near the London Underground

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/25 sec | ISO 125
Photo: Brian Ormerod

Brian Ormerod, who goes by the username ikon44, has a love of architecture of all types and periods across northern Europe. Over the decades, he has traveled extensively, meticulously planning trips to capture selected projects in Vienna, Barcelona, Prague, Paris, Istanbul and beyond. His work has evolved from casual holiday snapshots to carefully composed architectural studies at the School of Architecture in Nottingham, UK.

If you are interested in interior architecture that draws your attention to all the interesting angles, lighting conditions and other details, check out Brian's work below.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

Metro, Line 4 - Budapest

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/25 sec | ISO 1800
Photo: Brian Ormerod

Meet Brian Ormerod (ikon44)

Home base: Milnthorpe, Cumbria, UK

Favorite camera and lens: Brian primarily uses a Nikon Z5 with a Nikkor DX 16–50mm f/3.5–6.3 VR lens for his walk-around photography. For special architectural projects, he keeps a Nikkor Z24–70 f/4 lens on hand. He values the Z5 for its manageable size and the 24MP resolution, which suits the level of detail he requires without adding unnecessary weight. His setup emphasizes practicality and comfort, allowing him to focus on composing images rather than being encumbered by heavy gear.

"The Nikon Z5 is just the right size (a little lighter weight would be nice). 24MP is fine, it has the right level of controls and seems to suit my work. What's in Brian's bag

• Primary cameras: Nikon Z5
• Lenses:
  • Nikkor DX 16–50mm f/3.5–6.3 VR (main walk-around lens)
  • Nikkor Z24–70mm f/4 (reserved for special architectural projects)
  • Viltrox 85mm f/1.8 (primarily used for family portraits)
• Support gear: Brian uses a generic L-plate to improve handling of the Z5, along with a wrist strap to keep the camera ready. He no longer uses a tripod, preferring to keep weight to a minimum and maintain flexibility while shooting. Batteries, SD cards and cleaning cloths round out his essential kit for a day of photography.
• Camera bags: LowePro Photo Active TLZ45 AW, which holds everything he needs to hand. The bag fits inside a lightweight, non-photographic backpack along with water, snacks and clothing for a full day out.

"I find the Nikon Z5 just the right size (a little lighter weight would be nice). 24MP is fine for me, it has the right level of controls and seems to suit how I work."

Brian's camera bag

Photo: Brian Ormerod

My controversial camera choice

"This might raise a few eyebrows, but I’ve settled on a Nikon Z5 with a modest Nikkor DX 16–50mm lens for most of my photography. It’s a far cry from the heavier, higher-end gear I used when I was photographing architectural projects for clients in northern England and London. Over the years, I worked with everything from Nikon D600s and D750s to two Z5s with wide and standard zooms and even a Fujifilm XT2."

"Yes, my images are effectively 10MP from this DX lens setup, but that’s perfectly fine for me. It may seem like a compromise, but for me, the joy is in taking the shot itself. I still keep a Z24–70 f/4 for special projects, and I’ve dabbled in a Viltrox 85mm f/1.8 for family portraits – though it had a slight mounting fault that needed repair (which, of course, was just outside the warranty period)."

V&A Museum - London

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F9 | 1/100 sec | ISO 100
Photo: Brian Ormerod

Civilizations are built on unique local architecture. What have you been impressed by?

"I’m most interested in the architecture of towns and cities across northern Europe. Since retirement, I have been traveling through parts of northern Europe, planning my trips carefully in advance to visit selected projects in Vienna, Budapest, Barcelona, Prague, Paris, Istanbul, Amsterdam, Athens, Bologna, Florence, Riola, Lisbon, Cordoba, and more, plus London, Glasgow, Oxford, Cambridge, Wells, Tewkesbury, Gloucester, Durham, Worcester and many others. In fact, I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel."

I just had a day in Durham and am due to go to Helsinki for 10 days at the end of May 2026 – if my airline can find aviation fuel. How has your camera gear evolved alongside your photography?

"Starting from basic holiday 'snaps,' I quickly had to learn, after joining the School of Architecture in Nottingham, how to photograph streetscapes, individual buildings, sites, and architectural models, to produce photos that could stand up to serious scrutiny and criticism. I also taught myself to develop and print in makeshift darkrooms."

"My early cameras, bought second-hand on a student grant, included an English Corfield 'Periflex' Gold Star 35mm, followed by a Yashica SLR with clip-on exposure meter (which I later regretted parting with for an Olympus Pen-F). I then tried Minolta, Samsung, and Pentax film cameras before finally settling on Nikon, culminating in my current Z5."

IMO Microsurgery Hospital - Barcelona

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F9 | 1/125 sec | ISO 100
Photo: Brian Ormerod

Of all your trips, which place would you recommend most to others?

"In May 2025, I went with an architect friend to Barcelona, which I found to be an architectural wonderland. We visited and photographed works by Antoni Gaudi, of course, but by pre-planning we were also able to visit a number of other projects including the IMO Eye Hospital by Josep Llinas, The University of Pompeu Fabra Library which is a spectacular arcaded masonry structure, the Santa Caterina Market, a neo-classical building refurbished by Enrique Miralles and the Fira de Belacaire flea market with spectacular fragmented mirrored canopy."

What Nikon Z5 camera modes work best for architectural shots?

"Very occasionally, I set my camera on a firm base (if I can find a suitable area) to shoot nighttime / dark shots using modes U1 and U2, with the second delayed shutter release."

"I have the user modes set up as follows:

• U1 – Serious architectural work (now much less often used) set to ISO 100, single point AF, single frame release.
• U2 – General architectural work set to Auto ISO 100-6400, single point AF, single frame release.
• U3 – Family portraits set to Auto ISO 100-6400, continuous AF, single frame release."

"All with matrix metering. I shoot almost exclusively hand-held now, and often in quite dark or very dark interiors, so I need auto-ISO set to max 6400."

Greek Orthodox Church - Vienna

Nikon Z5 | Nikkor Z DX 16-50mm f/3.5-6.3 VR | 16mm | F8 | 1/50 sec | ISO 900
Photo: Brian Ormerod

What can the community take away from your experiences?

"I'm still chasing that perfect shot! Keep pressing that shutter. Don't stop because you think it's becoming more difficult, just adapt yourself and your gear to what you can do."

Brian really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Brian, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Image: Nikon

Nikon has announced it is developing a 120-300mm F2.8 zoom lens with a built-in 1.4x teleconverter.

The Nikkor Z 120-300mm F2.8 TC VR S will not only offer a longer alternative to a traditional 70-200mm F2.8 but, at the flick of a switch, will turn into a 168-420mm F4, extending its reach and its flexibility.

No further details have been revealed, other than reference to the needs of professional photographers which, along with the S series designation, is likely to give an indication of a fairly substantial price tag. The announcement has been accompanied by a pretty final-looking product rendering, so we doubt we'll have to wait long to find out more.

Nikon already has an 'S-Line' 100-400mm F4.5-5.6 variable aperture zoom, which has a list price of $3000, but we suspect a more meaningful reference point is the Nikkor Z 400mm F2.8 TC VR S, which was launched for $14,700.

Anyone who's used one of Nikon's recent lenses with the built-in TC is likely to be trying not to think too much about the reassuringly damped 'thunk' as the large thumb switch on the side of the barrel slots the teleconverter into place.

Nikon is developing the NIKKOR Z 120-300mm f/2.8 TC VR S, a telephoto zoom lens with a built-in 1.4× teleconverter

MELVILLE, NY (May 7, 2026) -- Nikon is pleased to announce the development of the NIKKOR Z 120-300mm f/2.8 TC VR S, a telephoto zoom lens compatible with full-frame/FX-format mirrorless cameras.

As part of the S-Line* series of NIKKOR Z lenses, the NIKKOR Z 120-300mm f/2.8 TC VR S is a telephoto zoom lens offering a focal length range of 120mm to 420mm, enabled by a built-in teleconverter that extends its focal length by 1.4×. The superior optical performance and mobility of this lens will support professional photographers' imaging expression in genres such as sports photography and beyond.

Nikon will continue to pursue a new dimension in optical performance while meeting users' needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*The S-Line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.