Camera
Canon launches 30 fps mirrorless camera with eye control and advanced AF
After several months of drip-fed details, Canon has announced the EOS R3 – the company’s new flagship mirrorless interchangeable lens camera. The 24MP R3 is based around a Stacked CMOS sensor, designed and manufactured by Canon, and featuring the company’s Dual Pixel AF technology. It also sees the revival of Canon’s Eye Control, a feature that lets you choose an AF target by simply looking at it through the viewfinder.
This fast readout sensor allows shooting at up to 30 frames per second, with no viewfinder blackout and very well-controlled rolling shutter. This fast readout allows a flash sync speed of 1/180 sec and underpins an impressive video feature set that extends up to 60 fps capture in either 6K Raw or oversampled 4K taken from 6K capture.
The R3’s AF system has been updated, with enhanced subject recognition for human subjects and the addition of a ‘motorsports’ subject type, that has been trained to recognize racing cars and motorbikes. All AF area modes now feature subject tracking to automatically shift the AF point if your subject moves in the frame.
But the most eye-catching feature of the EOS R3 is its Eye Control AF system that lets you select an AF position by looking at your subject, making it easy to quickly select which subject you wish to track. The camera can then automatically focus more precisely on features such as faces and eyes as necessary.
The EOS R3 has a dual grip design with an AF joystick and the same infrared Smart Controller featured on the EOS-1D X Mark III, so there are plenty of ways to select an AF point if you’d prefer not to use Eye Control. There are also extensive Wi-Fi functions, a new multi-function hot shoe with an electronic interface, and a host of other pro-focused features.
The Canon EOS R3 will be available from November 2021 with a recommended selling price of $5999.
Given its high-end feature set, there’s too much to the Canon EOS R3 to detail here, but we’ve had a chance to shoot with multiple samples of the camera, and we’ve prepared an initial review that covers its capabilities in more depth.
The EOS Revolution Continues: Canon Officially Announces the Company’s Most Technologically Advanced Full-Frame Mirrorless Camera, the Professional-Grade EOS R3
MELVILLE, NY, September 14, 2021 – Building on the success of the EOS R camera series, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next leap forward in full-frame mirrorless cameras – the professional-grade Canon EOS R3. The new camera leverages the advancements in technology that Canon has developed since the original EOS R launch in 2018 and bridges the gap between the immensely popular EOS R5 and the world-renowned Canon flagship EOS-1D X line. The EOS R3 is the first “3” series camera from Canon since the widely used EOS-3 film camera launched in 1998.
The EOS R3 camera’s features greatly emphasize superb AF performance and speed with fast-moving subjects. It was designed to meet the reliability and durability demands of professionals, even when working in some extremely challenging conditions.
“The launch of the EOS R3 sets a new benchmark for the Canon EOS R camera system. Canon listened carefully to the voices of professionals when developing a camera to meet their standards,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The EOS R3 is a monumental evolution in digital imaging technology. I look forward to seeing the camera in action on the sidelines of sporting events and in the hands of nature and wildlife photographers across the globe.”
The core of the EOS R3 features a Canon designed and manufactured 24.1-megapixel back-illuminated stacked CMOS sensor. The sensor is the first of its kind from Canon, and when combined with the DIGIC X processor, delivers a high-speed readout allowing for continuous blackout-free shooting1at up to 30 fps in electronic (silent) shutter mode and up to 12 fps in mechanical shutter, with minimum rolling electronic shutter distortion. The combination also increases the high sensitivity, light-capturing efficiency of a native ISO range of 100-102400, expandable up to 204,800 for still images. Like the EOS R5 and R6, the camera features the improved Dual Pixel CMOS AF II with 1,053 AF Points and evolved EOS iTR tracking down to EV -7.5 for subjects such as eye, face, head, animals2, and select cars and motorcycles. In addition, the camera features up to 8 stops3 of in-body image stabilized (IBIS) shake correction.
Leveraging technology and performance feedback from the popular EOS R5 and EOS R6 cameras, the EOS R3 uses Deep-Learning technology to further enhance eye and body detection for even better performance during portrait and action-type shooting. Featuring a new 5.76-million-dot and 120fps blackout-free1 Electronic Viewfinder, the EOS R3 camera will provide photographers with the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye input AF2 and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame. When Face Detect + Tracking is active, the camera will continue to follow moving subjects around the entire active AF area.
The EOS R3 camera doesn’t just capture spectacular still images, it also packs impressive video specs as well. The camera is capable of shooting 6K 60p RAW and 4K 120p 10-bit uncropped video with Canon Log 3 support, in addition to the possibility for oversampled 4K and RAW movie internal recording. Canon Log 3, which is frequently used in cinema production, helps to reduce the possibility of highlight blowouts. What’s more, the features such as industry standard BT.709, BT.2020 color gamuts, and cinema gamut help to maintain color and tonal consistency. Coordinated 5-axis IBIS helps to correct operator motion or shaking providing dependent video capturing even when using a lens without built-in Optical IS.
Additional features of the EOS R3 Full-Frame Mirrorless Camera include:
- Canon’s next-generation Multi-Function Shoe that is compatible with a variety of accessories including the Speedlite EL-1, and new accessories such as the ST-E10 Speedlite Transmitter, External Mic and Smartphone Link Adapter
- One-piece magnesium alloy design, integrating the body with a vertical grip section
- Weather and dust resistance equivalent to EOS-1D camera models.
- Mobile File Transmitter application for iOS® and Android® devices allows photographers to transfer their images quickly and easily without the need for wired LAN equipment
- Built-in Wired LAN, 5GHz Wi-Fi®, USB and Bluetooth® technology
- Dual-card slots, supporting one CF express and one UHS-II SD
The Canon EOS R3 Full-Frame Mirrorless Camera is scheduled to be available in November 2021 for a suggested retail price of $5999.00*. For more information, please visit usa.canon.com
* Specifications, availability and price are subject to change without notice. Actual prices are set by individual dealers and may vary.
1 Blackout(s) may occur in some cases; such as when the built-in memory is full or when the flash battery is fully recharged after the battery ran out during continuous shooting.
2 Effectiveness varies depending on the subject. In some cases, dogs, cats or birds may not be detected, while some animals other than dogs, cats or birds may be detected.
3 When combined with certain IS lenses such as the RF24-105mm F4 IS L USM, or when used with certain non-IS lenses as well. See individual lens product page for more information.
Canon EOS R3 specifications
| Price | |
|---|---|
| MSRP | $5999 |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 6000 x 4000 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 24 megapixels |
| Sensor photo detectors | 27 megapixels |
| Sensor size | Full frame (36 x 24 mm) |
| Sensor type | Stacked CMOS |
| Processor | Digic X |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-102400 (expands to 50-204800) |
| Boosted ISO (minimum) | 50 |
| Boosted ISO (maximum) | 204800 |
| White balance presets | 6 |
| Custom white balance | Yes |
| Image stabilization | Sensor-shift |
| CIPA image stabilization rating | 8 stop(s) |
| Uncompressed format | RAW |
| JPEG quality levels | Super fine, fine, normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Number of focus points | 1053 |
| Lens mount | Canon RF |
| Focal length multiplier | 1× |
| Screen / viewfinder | |
| Articulated LCD | Fully articulated |
| Screen size | 3.2″ |
| Screen dots | 4,150,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.76× |
| Viewfinder resolution | 5,760,000 |
| Photography features | |
| Minimum shutter speed | 30/11 sec |
| Maximum shutter speed | 1/8000 sec |
| Maximum shutter speed (electronic) | 1/64000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | Yes (via hot shoe or flash sync port) |
| Flash X sync speed | 1/250 sec |
| Drive modes |
|
| Continuous drive | 30.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±3 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±3 (at 1/3 EV, 1/2 EV steps) |
| Videography features | |
| Format | MPEG-4, H.264, H.265 |
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC (UHS-II supported) + CFexpress Type B |
| Connectivity | |
| USB | USB 3.2 Gen 2 (10 GBit/sec) |
| USB charging | Yes |
| HDMI | Yes (Type A) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11ac + Bluetooth |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Built-in |
| Battery description | LP-E19 lithium-ion battery & charger |
| Battery Life (CIPA) | 760 |
| Weight (inc. batteries) | 1015 g (2.24 lb / 35.80 oz) |
| Dimensions | 150 x 143 x 87 mm (5.91 x 5.63 x 3.43″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
The year is coming to a close, so we thought it would be a good time to go back through the archives and pick out some of the most important stories we covered and reviews we published throughout 2024. This list will be far from exhaustive – we have one of those if you’re interested – as we’re just looking at the highlights.
January
Canon EOS R100 Review
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On January 22nd, we published our in-depth review of Canon’s EOS R100, the company’s entry-level mirrorless camera. We found that it compromises perhaps a bit too much to reach its $479 body-only price point but can produce some lovely-looking pictures nonetheless.
Sony ZV-1 Mark II Review
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Hot on the heels of the EOS R100 review was our deep-dive on the Sony ZV-1 Mark II, a compact vlogging camera based around a Type 1 Stacked CMOS sensor. It has its strengths – though it’s absolutely not the enthusiast stills compact we’ve all been hoping for – but we found that it doesn’t quite do enough to earn a recommendation compared to a modern-day smartphone.
Also in January, we published our initial review of the Sony a9 III, the first full-frame photography camera from a major manufacturer to feature a ‘global’ shutter. We’ll talk about it more in a bit when we get to the full review. We also published our initial review of the OM System OM 1 Mark II, a mild update to the company’s Micro Four Thirds flagship. And who can forget CES?
February
February is usually a busy month here at DPReview thanks to the CP+ industry expo that takes place in Japan. That means we have to cover a lot of news, but we were also able to release our initial review of the Fujifilm X100VI, a camera that would go on to become one of the most difficult pieces of tech to get in 2024. We also published a sample gallery for the OM 1 Mk. II, and added the Panasonic S5 II to our studio scene.
Finishing the Nikon Zf review
While we published the bulk of our Nikon Zf review in early January, in February, we added a sample video and video experience section, rounding out the review. The Zf may look like a vintage film camera, but we found it was surprisingly capable of filming as well.
March
Panasonic Lumix DC-G9 II Review
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In March we published our full review of the Panasonic G9 II, a high-end Micro Four Thirds camera aimed at stills photographers. We found that it accomplished that task well, and was a worthy successor to its predecessor… while also packing a surprisingly capable suite of video features as well.
Leica SL3 Initial Review
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We also took a look at the Leica SL3, a camera that takes the sensor used in the company’s flagship M11 rangefinder and put it into a more traditional mirrorless body with an L-mount and autofocus capabilities.
March was also a busy month for sample galleries; we published pictures shot with four different lenses and a selection of images from our trip to Japan in February, shot with the Panasonic S5 IIX. We also covered Nikon’s acquisition of cinema camera maker Red, and interviewed the Divisional Manager of Fujifilm’s Professional Imaging Group about the company’s future.
April
Panasonic S5 II Review
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Our review of the S5 II was definitely late to the game, as the camera was unfortunately announced right as we were learning that DPReview’s parent company intended to shut it down. This year, however, we were finally able to put some time in with it, using the new v3 firmware that added several features and enhancements.
We also looked at pixel-shift high-resolution modes and explained why we’ve had such bad luck with them in the past. Spoiler: some of it comes down to patents and the real world’s inability to hold still for too long. Also in April: we asked manufacturers what they thought some of the most influential camera gear from the past 25 years was, checked in on Ricoh’s development of a new film camera, and Sigma’s CEO gave us an update on full-frame Foveon.
May
Fujifilm X100VI Review
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In May, we published our full review of the Fujifilm X100VI, a fixed-lens camera that paired AI-derived autofocus and a stabilized sensor with an already-popular hybrid rangefinder / EVF. We found using it to be an extremely compelling experience, which is what makes it such a shame that it’s still only available on backorder or at extremely inflated prices all these months later.
Sony a9 III Review
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We also finished our in-depth look at the Sony a9 III, and found that it was an incredibly capable sports camera. Its ‘global’ shutter makes different types of photography possible, especially when it comes to shooting with high-powered flashes. The tech does come with a small downside in image quality, but if you need to shoot some of the fastest subjects on earth, it’s likely worth the tradeoff.
We also took our first look at the Fujifilm X-T50 and its new kit lens, the XF16-50mm F2.8-4.8 R LM WR. May was apparently Fujifilm month here at DPReview, though we also published an interview with Sigma’s CEO, and a celebration of physical controls on cameras. Be sure not to miss our stunning sample gallery from the Sigma 15mm F1.4 either, or the first episode of our Stories Behind the Photo podcast.
June
Pentax 17 Review
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It’s not often that we review film cameras. For one, our expertise is largely in digital photography – go figure – but more importantly, there just aren’t that many that come out. This year, though, Pentax released its first camera in 20 years that shoots to celluloid instead of a sensor. It’s definitely not cheap, despite the fact that it keeps film costs down by shooting half frames instead of full ones, but using it is a unique experience in this day and age.
We also took our first look at Panasonic’s video-focused Micro Four Thirds GH7 in June. It’s not the biggest upgrade ever, but it includes some very interesting technologies, such as 32-bit float audio.
Two more summer successes: we published an interview with Nikon, and a sample gallery for Sigma’s cutting-edge F1.8 zoom lens.
July
Leica D-Lux 8 Preview
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The D-Lux 8 is a bit of an odd camera, as it’s essentially a refresh of a years-old camera with a substantial price tag. Still, we find it compelling – not only is it one of the only enthusiast compacts to be released in years, but its interface focuses purely on the basics of photography.
Canon EOS R1 Preview
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We also got to look at Canon’s first true mirrorless sports flagship, the EOS R1. It brings a lot to the table, especially with its Action Priority AF system, which ended up being crowned with our Innovation of the Year award.
Another accomplishment in July was writing up interviews with several manufacturers, including Panasonic, Tamron, Sony and Canon, and published the final chapter in a series about a nature photography tour of Madagascar.
August
Fujifilm X-T50 Review
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In August, we published an in-depth review of Fujifilm’s then-entry-level camera – the X-M5 hadn’t been announced yet. We found that, if you can put the price aside, it’s a nice entry point into the X-mount system for someone looking to get into photography and who wants to play around with the company’s famous Film Simulation modes.
August is typically a glacial month for camera news, but we were able to spend some of it shooting sample galleries; we tested the Google Pixel 9 Pro and Pixel 9 Pro XL and Sony FE 85mm F1.4 GM II and published our gallery from the Sigma 24-70mm F2.8 II. We also told the oft-overlooked story of how Kodak’s film business ended up in the hands of the UK Government’s Pension Protection Fund, begged manufacturers for an enthusiast compact, and got to hear about the state of the camera industry from the people who actually make those cameras.
September
Canon EOS R5 II
 |
In September, things kicked back into gear, starting with our review of Canon’s EOS R5 II, a wildly impressive camera that we found was up to almost any task. For those that occasionally shoot sports, it also includes the Action Priority AF system that impressed us so much with the larger, more expensive EOS R1.
Leica Q3 43
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We also got to fully review Leica’s latest fixed-lens camera, a variant of its Q3 with a 43mm F2 lens instead of a 28mm lens. We thoroughly enjoyed the experience of shooting with it, and getting to use Leica’s photo-focused controls… though, obviously, it’s tough to ignore the hefty price tag, especially when you’re out and about on the streets.
September was also a big month for phones. As is tradition, Apple announced the iPhone 16 which included a dedicated camera button – we broke down exactly what changes it made to the cameras compared to previous versions here – and we got to shoot a sample gallery with Google’s Pixel 9 Pro Fold.
October
Sony ZV-E10 II Review
We started October with our review of the Sony ZV-E10 II. Appropriately for a vlogging camera, the bulk of our review was published as a video, which you can see above. Of course, there is still plenty to dig into in the written review.
Nikon Z6III Review
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Just a day after publishing the ZV-E10 II review, we were back with our in-depth look at the Nikon Z6III, a camera that impressed us with its all-around capabilities. Its ‘partially-stacked’ sensor comes with a minor hit to dynamic range, but in most circumstances, the speed improvements it brings will more than make up for that.
During October, we also published sample galleries for the Fujifilm XF16-55mm F2.8 II and Panasonic 18-40mm F4.5-6.3, as well as a review of a Lowepro backpack over a decade in the making. It was also the month we went to Adobe’s Max conference to get a sneak peak at some of what the future holds for products like Photoshop, Lightroom, Adobe Camera Raw, and Content Credentials.
A few more can’t-miss pieces: we looked back at the Fujifilm X-E series to get an idea of what a potential X-E5 might be like, saw a DIY camera, and covered why so many cameras seem to be aimed at people other than photographers these days.
November
Panasonic S9 Review
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In November, we published our review of Panasonic’s S9, an entry-level full-frame camera focused on making it fast and easy for creators to shoot and share videos and photos. We appreciated its size and Real-Time LUT system, but found that it gave up quite a lot, such as ergonomics, a mechanical shutter, a viewfinder and hot shoe, to achieve that size and price point.
We also published initial reviews of the entry-level Nikon Z50II and professional flagship Sony a1 II. While writing the latter, we also got to film our experience of using it to shoot part of a US football game, which ended up making for a great video.
We also, as part of our 25th anniversary content, wrote about the first camera DPReivew ever reviewed: the Canon PowerShot Pro70, and got the opportunity to interview a photographer who took over 100,000 portraits in a single year.
December
Fujifilm X-M5 review
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Hopefully, you’re not tired of creator-focused cameras because our last review rounding out 2024 was of the Fujifilm X-M5. We found that it packs a lot of photo and video features into a compact body that’s priced within reach of beginners, but comes with a few tradeoffs that are worth noting.
We also published an article comparing Nikon’s modern 50mm F1.4 lens, which is a budget model that trades clinical sharpness for character, and its DSLR-era 50mm F1.4 lens, which was its professional offering for a few years. It’s an interesting look at how far lenses have come over the past decade.
Of course, December was also when we put out our annual DPReview Awards, recognizing the best gear released throughout the year.
That brings us to today. The X-M5 review was our last one for the year, but we’ll be back with more in January. Be sure to check out the rest of our end-of-year articles, and let us know in the comments: what were your favorite moments of 2024?
Season’s greetings! We’ve almost reached the end of 2024, and as is our custom, the DPReview team would like to wish you all a Merry Christmas, Happy Hanukkah, Happy Boxing Day, Happy Kwanzaa, Joyous Festivus, and Happy Holiday to all. We’re incredibly grateful you’ve stuck with us for yet another orbit around the sun.
2024 was an important year for DPReview symbolically. One year ago today, on December 25, 2023, we celebrated the site’s 25th anniversary. For the past 12 months, we’ve been looking back at some of the moments and milestones from that past quarter century. We couldn’t have reached this point without your support.
2024 has also been an important chapter for DPReview as a business. Many of you know we’ve been going through a period of rebuilding. Every person at DPReview, including many folks behind the scenes, has poured their heart and soul into this effort. Why? Because at a fundamental level, we believe that an internet with DPReview is better than one without it.
The hard work is paying off. You might recall that a couple of months ago, we advertised some new editorial roles on the site, and I’m thrilled to report that we’ll have a couple of new faces joining the team early next year.
“At a fundamental level, we believe that an internet with DPReview is better than one without it.”
A huge factor in that success has been our community. Whether you’re a regular in the forums or just pop in to comment under the occasional article, we’re grateful for your contributions. Our forums are a goldmine of information, crowd-sourced from knowledgeable people for over 25 years. Our homepage may get a lot of attention, but the forums are where the magic happens: exchanging ideas, forming communities, and forging personal connections.
In fact, we’re planning to ramp up support for our online community in 2025. Remember those new staff members I mentioned? One of them will be focused on supporting our forums, including our team of volunteer moderators. This will be the first time we’ve had a person on our team dedicated to this task, and to be candid, it’s overdue.
Before you leave today, we’d love it if you’d take a moment to leave a comment and let us know what made 2024 at DPReview memorable for you. Or, if you’re feeling prophetic, please tell us what you’d like to see in the coming year.
From all of us at DPReview – the editors who craft the stories, the tech wizards who keep the lights on, and the business team who keep us on solid footing – we wish you all a happy and healthy holiday season. We’re genuinely excited about what the future holds and look forward to having you by our side as we embark on the next 25 years.
2024 In Review
2024 is just about over, so we thought it’d be a good time to look back and identify some trends that started emerging or kept going strong throughout the year. This isn’t a recap of all the news that happened – we’ll be releasing one of those soon enough – but rather a broad look at the direction the industry is going, which may give us an idea of what to expect throughout 2025.
Global Shutter
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Photo: Richard Butler
It’s hard to say that global shutter was a trend in 2024; in terms of consumer mirrorless cameras, there was only one with the tech, the Sony a9 III. Given the benefits it brings, though – the ability to sync with full-power flash at almost any speed, the ability to shoot stills at 120fps, and to use shutter speeds up to 1/80,000 sec to capture the fastest subjects without any blur – we fully expect to see it come to more high-end sports / action cameras.
That’s not to say that the a9 III’s sensor is perfect. Compared to its rolling shutter counterparts, it takes a hit to absolute image quality with its 250 base ISO, which means it has about a stop more noise than most of its competitors.
However, if you need the performance a global shutter offers, it’s likely none of those caveats will be deal breakers. We just mention them to say that we don’t expect to see global shutters in cameras that are focused on image quality above all else, such as the Sony a7R series or a follow-up to the Nikon Z8 – at least not in 2025 or even 2026.
Physical color mode controls
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Photo: Mitchell Clark
This year, it felt like every other camera had a physical control for color modes. Fujifilm’s Film Simulation dial, included on the X-T50 and X-M5, feels like the obvious example, but it was far from the only one: Panasonic put a LUT button on the creator-focused S9 – and then gave its users the option to backport one onto other cameras – and Nikon included a button to bring up its Picture Control menu on the Z50II.
Physical color mode controls aren’t a brand-new thing. We saw one on the Olympus Pen-F in 2016. But this is the year they definitively became a trend.
Only time will tell if they stick around. Camera manufacturers will likely be paying very close attention to whether consumers actually value being able to easily change the look of their photos and videos using a physical button or dial. If it turns out they do, this year’s crop of cameras likely won’t be the last we see with a color mode control.
APS-C shooters have more options than ever
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Image: Sigma
2024 was the year that Canon and Nikon started allowing more and more third-party APS-C lenses onto their systems. At the beginning of the year, you only had a handful of options if you wanted a third-party autofocus lens for RF or Z-mount. Now, you have significantly more.
The change came from some of the usual suspects, as well as some smaller companies. Sigma and Tamron were the first to announce they’d be bringing their lenses to RF mount, but Samyang slid in under the wire with an announcement that it, too, would start producing lenses for the system.
Most of Sigma’s DC DN primes have been available on Z-mount since early 2023, but this year, we’ve seen a slew of autofocus primes become available for the system from brands like Siuri and Viltrox.
There are still holes in the lineup for each brand, though – neither has a great telephoto option, and there aren’t any fast zoom Z-mount lenses – which is why we’d like to see this trend continue into 2025. If we’re really dreaming, maybe Canon and Nikon will allow more third-party full-frame glass, but we’ll save our fantasies for a different article.
The rise of smaller full-frame lenses
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Image: Sony
Speaking of full-frame glass, this year we’ve also seen a trend of smaller, lighter full-frame lenses. Panasonic’s 18-40mm F4.5-6.3 for L-mount is the most obvious example – the company says it’s the “smallest and lightest interchangeable zoom with autofocus for full-frame mirrorless cameras” – but Sony’s FE 24-50mm F2.8 is also a great, compact new lens that makes a ton of sense on smaller bodies like the a7CR.
Even the big lenses have been getting smaller – Sigma’s second-gen 24-70 F2.8 is 10% lighter than its predecessor, a difference that’ll definitely be noticeable in hour eight of shooting a wedding. Sony’s 85mm F1.4 GM II also boasts a 20% weight reduction compared to the original.
Again, this trend isn’t exactly new. We’ve seen a few lenses that have been largely defined by their size; Canon’s original RF 70-200mm F2.8 from 2019 and Sony’s 70-200mm F2.8 GM II from 2022 come to mind. But with further advances in optics and manufacturing techniques, we hope to see even more full-frame lenses come out that are smaller and lighter than the ones that came before… even if they still won’t be able to out-compact Fujifilm’s XF 16-55mm F2.8 R LM WR II.
The AI age
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Logos: Open AI, Midjourney, Meta, Stability.ai, Google
Pretty much every industry has had its own deluge of AI-related news in 2024, and photography is no exception. The continued proliferation of AI-generated images and text has sparked near-endless debates about what place, if any, the technology has in photography, with some people even taking the extreme position that the ubiquitous ability to generate images will destroy the art form altogether (assuming those comments too, aren’t AI-generated).
It’s not all existential doom and gloom, though, as some companies have used AI to try and improve the experience of photography rather than replace it. For instance, the new Canon EOS R1 and R5 II have Action Priority AF modes, which use machine learning-based algorithms to determine which subject to focus on during key moments in certain sports. It could be thought of as context recognition, rather than the subject recognition that’s become table stakes for most cameras. The EOS R1 and R5 II also have built-in AI-derived noise-reduction and upscaling functions, should you choose to use them.
AI-powered denoising and upscaling are also making their way into photo editing software, such as Lightroom or the apps from companies like Topaz Labs. And while Adobe has added plenty of generative AI features to Photoshop, we’ve also seen other AI-powered improvements, such as its distraction removal mode and Adobe Camera Raw’s new Adaptive profile and reflection removal feature.
However you feel about the technology, it’s almost certainly here to stay. The good news is that another facet of the AI trend this year has been companies working on improving transparency around AI, creating tools to prove a photo’s authenticity or show exactly how it’s been manipulated, either by AI or through more conventional means. The tech is far from ubiquitous, but it seems likely that we’ll see it spread to more and more platforms as AI becomes even more prevalent.
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