Photography News

Every photographer is taught that sharpness is important and we won't argue that it's not, however learning how to control depth of field so you can make the most of out of focus areas of a photo will give you a portfolio that's full of much more interesting and creative shots.

We'll begin by covering the basics of this technique before moving on to shooting suggestions. If you want to take a more in-depth look at this technique, there are several tutorials on ePHOTOzine that cover this subject.

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1. The Basics

 

Switch to manual or Aperture Priority as you need to be able to control your aperture. Larger apertures (smaller f numbers) give you a shallower depth of field and help create the blurry, out of focus backgrounds we are after.

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.

Use longer focal lengths rather than wide-angles and use a tripod where possible as the smallest of movements can change the focus and potentially spoil your shot. Using manual focus can help although switching to single-point mode when using autofocus should be fine for most subjects.

If your camera has it, use the depth-of-field preview button as it's a really useful tool to allow you to visualise the amount of sharp focus in a scene.

 

2. Shoot Wider Views

 

When you think of landscapes, using a shallow depth of field isn't probably something that fist springs to mind. The traditional landscape has front-to-back sharpness, however, having something in your foreground that's perfectly sharp while the scene in the background is thrown out of focus gives the more common landscape shot a creative twist.

 

3. Make The Mundane Interesting

 

With a shallow depth of field, a simple blade of grass can look amazing! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background.

You need to use a wide f stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but don't over blur the shot as this will distract from the subject. Try f/5.6 or f/8 and use the camera's depth-of-field preview button to check the aperture's effect on the background. It works great on blades of grass, insects and small flowers. During the summer, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject

 

4. Go Long

 

The Bokeh effect of shooting on a long lens with a wide aperture will turn background lights on city streets into circles of glowing colour, making them a perfect background for portraits. You'll need to stand a few feet away from your subject and do check your white balance to help ensure the lights in the background are glowing the colour they're meant to be.
 

5. Change The Shape

 

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot but ensure they are not bigger than your aperture either.

  6. Landmarks

The problem with landmarks is they are popular photographic subjects but by introducing blur, you can create a shot that not many other people will have taken. Make your chosen landmark completely blur out of focus and find some foreground detail that will stay in-focus and provide enough information to explain to the viewer what the background object is. 

 

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You keep hearing that you need a sharper, faster, more expensive lens. This video argues most modern lenses are already beyond what you actually need, and chasing specs can quietly make your photography worse, not better. 

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Adobe has added a new generative model to Photoshop called Firefly Fill and Expand, and it directly affects how you create, replace, and extend images. If you rely on generative fill for background swaps or composite work, these changes are worth a look. 

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

Compact, light, but fast and tough, the OM-1 Mark II is an excellent all-rounder. Given its tough exterior, weather resistance and svelte form factor, it could be the ideal outdoors camera, from wildlife to landscape to hiking and beyond.

 

The Olympus OM-1, the last camera to bear that iconic name, has now morphed into the OM System OM-1 Mark II. The external differences are muted and subtle, just a small II badge discreetly placed on the front panel. Incremental upgrading may well be the order of the day, but the new camera, like its first incarnation, is small, well-made, and absolutely made for action and the Great Outdoors. To run it through its paces, we have a small selection of OM lenses to choose from, and for this review, that is mainly the 12-45mm f/4 PRO and the 100-400mm f/5-6.3. Let's see how we get on, out in the field for some real-life photography and in the studio for the technical tests.

 

OM System OM-1 Mark II Features

The Magnesium alloy body weighs in at just 511g. Dimensions are a modest 134.8mm x 91.6mm x 72.7mm. The body is rated as IP53 and described as splashproof, freezeproof and dustproof. Operating range is -10C to 40C, so most circumstances are well covered, the low temperature performance being better than many much more expensive cameras.

The impressive qualities of the 5.76M dot EVF will be covered later, but equally impressive is the crisp, sharp 3” monitor, despite it having just 1.62M dots.

 

 

There are practical features that impact the photographic experience. The superb Image Stabilisation, either on its own or as part of Sync IS with the lens, offers up to 8.5 stops advantage. This means some very long lenses can be viewed through the viewfinder and they are rock steady. This does not mean we don't need some higher shutter speeds for some subjects, as rapidly moving subjects still need to be stopped. Wildlife and sports are the most obvious examples.

When tripod-mounted precision is required, maybe because the framing needs to be kept exactly the same for multiple shots, then we have a sturdy-looking tripod mount. All sorts of electronic wizardry lie within the magnesium alloy body. Focus stacking, HDR, 50MP (handheld) or 80MP (tripod mounted) high resolution modes, and a multitude of interesting picture controls and art filters that offer endless creative possibilities. Many photographers enjoy playing with all sorts of effects using their smartphones and they might well be excited by the options available within the OM-1 Mark II.

The sensor is a 4/3” stacked BSI Live MOS measuring 17.3mm x 13.0mm. As we will see later, the low noise performance of this sensor along with its Trupic X processor, is quite remarkable. At 20.4MP, the pixel count may not seem very high, but many very expensive professional cameras have lasted very well using 20MP sensors and here the results are lovely, sharp and well-detailed images that look superb. If truly huge enlargements should ever be needed, then the high resolution modes can produce 50MP or 80MP files.

 

 

The small format has advantages and disadvantages. The advantage lies in the 2x crop factor, meaning very long lenses can be compact and handheld, the excellent SyncIS also helping with this. So, a 100mm lens will give the same field of view as a 200mm lens on a 35mm-format full frame camera. Any given aperture will also result in greater depth of field, usually also an advantage. This same point is also the potential disadvantage, as those photographers wanting less DOF will find this more difficult to achieve unless using very fast, perhaps f/1.4, lenses.

The incredible array of subjects recognised by the AF subject recognition system needs mentioning. This locks on and stays locked on an impressive amount of the time. Hugely valuable for wildlife shooting, but even closer up keeping the eyes sharp in a portrait shoot is also made delightfully easy.

Here is a summary of the main features of the OM-1 Mark II:

 

OM System OM-1 Mark II Key Features

• MFT Format 
• IS (inbuilt) up to 8.5 stops
• Sync IS up to 8.5 stops
• 20.4MP Stacked BSI Live MOS Quad Pixel sensor, 17.3 x 13.0mm
• Truepic X Processor
• Mechanical shutter 60s – 1/8000s
• Shutter rated 400,000 shots
• Electronic shutter 60s – 1/32,000s
• AF range -8EV to +19EV
• AF Cross Type phase detection 1053 points
• AF contrast detection 1053 points
• Subject detection: Aircraft, Birds, Bullet trains, Cats, Dogs, Formula cars, Helicopters, Humans, Motorcycles, Rally cars, Standard trains, Steam Locomotives.
• Blackout-free EVF
• Pro Capture
• Metering range -2EV to +20EV
• ISO range 80-102,400
• In-camera focus stacking
• In-camera HDR
• OLED EVF 5.76M dots, 1.48x – 1.65x, 100% FOV
• 3” Vari-angle touch-sensitive LCD monitor 1.62M dots, swivel type
• Magnesium alloy body
• Video 4K 60p, C4K, FHD, High Speed Movie FHD
• Tripod Hi Res Shot JPEG 80MP
• Hand Held High Res Shot 50MP
• Operation -10C to +40C
• WiFi
• Bluetooth
• HDMI
• Moisture and dust resistance to IP53 standard
• 511g with battery and card
• 134.8mm x 91.6mm x 72.7mm
• Battery BLX-1, 500 shots
• 2 SD card slots
• Extensive digital filters
• OI Share App

 

OM System OM-1 Mark II Handling

One of the most useful features that really enhances handling is the superb 5.76M dot EVF. Especially for those used to viewing via high-quality pentaprism finders, here we have a really excellent electronic alternative. It still uses battery power to look through the camera, but is probably the best EVF currently available, offering a sharp, accurate and relaxing view of the world beyond.

MTF format is smaller than APS-C, and this can carry forward into smaller cameras and lenses, a huge advantage for those preferring to travel light. This can free the joy of photography, without being weighed down and burdened by onerously heavy or bulky kit. Combine the svelte form factor of the OM-1 Mark II with its rugged IP53 sealed construction, and we have a winner for travel in even the most inhospitable conditions. 

The MFT format also has a very useful 2x crop factor. Useful, that is, for the pulling power that can tackle wildlife and sports subjects at range, with lenses that can still be handheld. It is remarkable to use a 400mm lens on the OM-1 Mark II and see the 800mm-equivalent image lock in, rock steady in the viewfinder. Yes, we have more depth of field as well, and this too can be an advantage for many types of photography. Those wanting less DOF closer up may find they need very fast OM lenses, or alternatively might fare better with larger formats where DOF is reduced.

Despite the small dimensions of the camera body, the buttons provided do not tend to be placed where they could be accidentally pressed. This is the bane of some designs, but OM System has side-stepped this by careful design and high-quality buttons and dials that need just the right amount of pressure to activate.

The actual grip design is also well thought out, and the camera can be gripped securely without the strap. This does make carrying tidier, and straps can get caught on things, so this reviewer ditches straps. This also makes using tripods and shooting product shots much easier.

There is quite an armamentarium of features within the OM-1 Mark II and these could take a while to fully explore, but spending some time doing so will reap rewards. As well as operating the camera through its own controls, there is also the OI Share App.

The OI Share App works really well, and there is no difficulty in registering a camera virtually instantly. Connection is also very reliable, with none of the failed attempts that can plague such systems. There are circumstances where operating the camera remotely can be advantageous, so it is good to see a straightforward App that operates well and does exactly what it needs to without being overly complex. Up to 10 cameras can be registered to the App, but obviously, only one can be used at a time.

 

[SECTION]PERFORMANCE[/SECTION]

OM System OM-1 Mark II Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

OM System OM-1 Mark II Sample Photos Previous Next

 

Lens Performance – The M. Zuiko 12-45mm f/4 PRO has been previously reviewed, along with the OM-5 in February 2023. It is a very capable and consistent performer, an excellent introduction to the OM System lenses. It delivers bright, sharp images, resists flare well, has low CA throughout the range and attractive bokeh. Very severe lighting conditions can result in some flare artefacts, but these tend to be rather pleasant in themselves and many photographers are happy to utilise such effects in their photography. In general, current OM System lenses are really looking great, and at very attractive prices. Compact, light and with high performance, they are beautiful optics to use.

 

OM System OM-1 Mark II ISO test images Previous Next

 

ISO Performance – In theory, we might expect that the smaller MFT format would find it difficult to deal with noise levels.  In practice, the OM System cameras compete very favourably with APS-C and even full frame alternatives. This OM-1 Mark II is even stronger than the first version. From ISO 80 right through to ISO 3200, there is virtually no noise evident. ISO 6400 sees some noise creeping in, but the integrity of the test target boxes is maintained. At ISO 12800 noise is more obvious, but it is at ISO 25600 that things start to fall apart and the noise goes up and the definition dramatically falls away. ISO 51200 sees masses of noise, and also falling off of detail and contrast. ISO 102400 is beyond all hope and would be pushing it even for emergency use.

 

OM System OM-1 Mark II White-balance test images Previous Next

 

White Balance – The camera delivers a strong set of white balance presets, from the excellent AWB through Sunny 5300K, Shadow 7500K, Cloudy 6000K, Incandescent 3000K, Fluorescent 4000K, Underwater, Flash 5500K, various user settings and a custom K setting. Actually quoting colour temperatures is a nice touch.

 

OM System OM-1 Mark II Digital filters Previous Next

 

Digital Filters – A cornucopia of dazzling digital filters is in the picture control section of the OM-1 Mark II. Some might seem a bit mysterious, but somebody, somewhere, might find just the effect that suits their style, ready-made. Further tweaks can be made, so from simple filters for black and white renditions to cross-processing, pretty much everything is here. Sample shots have been made of as many of these effects as possible, although it should be remembered that these are just the starting point and they can be adjusted further to taste.

 

Video –  The basic video specs are as follows:

• Video recording: C4K 60p, 4K 60p, High Speed Movie FHD 240fps
• Video Quality: 4K, C4K, FHD, High Speed Movie FHD
• Codec: H.264, H.265

Although this is not a video review, some impromptu footage was shot to see how the camera handles. Quality is excellent, the basic default setup gives very smooth, judder-free results and would be very acceptable on a widescreen TV. The image is sharp, the colour is good and the picture is very stable. The positioning of the start/stop button is also good, avoiding jerky starts or ends to the video.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The OM System overall is priced as follows:

• [AMUK]OM-1 II|OM-1+II[/AMUK] body only, £2049
• OM-1 II with 12-40mm f/2.8 PRO II, £2599
• [AMUK]OM-3|OM-3[/AMUK] body only, £1699
• OM-3 with 12-45mm f/4 PRO, £1999
• [AMUK]OM-3 ASTRO|OM-3+ASTRO[/AMUK] body only, £1899
• [AMUK]OM-5 II|OM-5+II[/AMUK] body only, £1099
• OM-5 II with 12-45mm f/4 PRO, £1499

 

Some body only has alternatives from other marques:

• [AMUK]Canon R7|Canon+R7[/AMUK], £1349
• [AMUK]Canon F10|Canon+F10[/AMUK], £1249
• [AMUK]Fujifilm X-S20|Fujifilm+X-S20[/AMUK], £1149
• [AMUK]Fujifilm X-T5|Fujifilm+X-T5[/AMUK], £1549
• [AMUK]Fujifilm X-H2|Fujifilm+X-H2[/AMUK], £1849
• [AMUK]Fujifilm X-H2S|Fujifilm+X-H2S[/AMUK], £2299
• [AMUK]Fujifilm X-H2 IR|Fujifilm+X-H2+IR[/AMUK], £2199
• [AMUK]Nikon Zfc|Nikon+Zfc[/AMUK], £849
• [AMUK]Nikon Z50 II|Nikon+Z50+II[/AMUK], £849
• [AMUK]Panasonic Lumix G9 II|Panasonic+Lumix+G9+II[/AMUK], £1689
• [AMUK]Sony A6700|Sony+A6700[/AMUK], £1449

Considering its specification and quality, the OM-1 Mark II pitches at a very reasonable point.

 

OM System OM-1 Mark II Verdict

There is still a strong case for handling a camera before buying it, and the OM-1 Mark II is one of those that instantly fits the hands and instantly impresses. The impact of this is best experienced by actually holding and using a fine piece of kit. With impeccable handling, a vast array of technology built in and superb results, there is so much to like about the camera and really nothing significant to mark as a drawback.

The OM-1 Mark II is a great camera, and there is no hesitation in awarding it the kudos of Editor's Choice.

 

OM System OM-1 Mark II Pros

• IP53 weather sealing
• IS and SyncIS 8.5 stops advantage
• Rugged construction
• Compact and light
• Excellent ergonomic design
• Excellent subject recognition
• Extensive menu of digital filters
• Wide and excellent range of Zuiko lenses
• Fair price

 

OM System OM-1 Mark II Cons

• None

 

[REVIEW_FOOTER]R_features=5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – Quality in fine design, construction and performance, a superb camera at a very fair price.|E_id=8016[/REVIEW_FOOTER]

 

View the OM System OM-1 Mark II camera specs in the equipment database.

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The Fujifilm GFX50S II can turn a familiar coastal village into something sharp, calm, and deliberate at blue hour. When light and artificial glow have to balance perfectly, small decisions with lens choice and composition carry real weight. 

[Read More]

 

Instead of focusing on a building as a whole, you can pick out detail such as clock faces, windows, gargoyles and other interesting aspects. However, doing so can be a bit tricky as unless you have an incredibly tall set of ladders, a lot can be out of reach but there are quite a few ways you can get around this. 

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1. What's In Your Kit Bag?

To get close to detail that's high-up on buildings, you're going to need a zoom lens that has a slightly longer reach. If you're a compact user you'll still be able to capture frame-filling shots if your camera features a longer zoom (20x or above would be good). Having a camera with a vari-angle LCD screen can make it easier to frame your shot when working with a tripod at its maximum height or when you're working hand-held with your arms up above you but it's not an essential feature. 
 

2. Look For Detail 

Most pictures you see of churches, cathedrals and other tall structures show the whole, impressive structure but by cropping in tightly you can highlight the fantastic repetitive detail, make an interesting pattern and shoot detail you don't always notice in the wider shots.

Once you begin to search you'll be surprised at the amount of detail you'll be able to fill your frame with. Of course, there's gargoyles, clocks, windows, spires, sundials and weather vanes, but a little closer to the ground you'll find stone carvings present and sometimes intricate detailed wood carvings on the exterior walls around doorways and above windows.

Filling the frame with repeating patterns such as brickwork or tiles on a roof can create interesting abstract shots. Just fill your frame, watch your shutter speeds if you're working hand-held and make sure you're focusing accurately as blur really doesn't work in this type of shot.

 

3. Roof Access? 

If you can get on the roof or balcony, as well as gaining you a great viewpoint of the city you can often find interesting statues/gargoyles projecting out from the walls. As they don't move they're an easy target and most are so beautifully sculptured that several varied photographs can be taken. However, as not all buildings give you access to their roof, you'll probably end up shooting from the ground where you'll need to use the long reach of your telephoto or zoom lens to bring the detail to you.

 

 

 

4. Magnification 

The problem you have with using lenses with a longer reach is that they magnify objects, which is of course what you want, but this does mean that even the tiniest of movements can create a large amount of blur in your photograph so make sure you have a tripod and stick to quicker shutter speeds when possible. Using a lens which features Vibration Reduction (VR) will further minimise shake. If you're shooting detail such as weather vanes where the sky will be your background fit a polarizer to darken a blue sky and give more contrast to the shot.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Creators are constantly searching for tools that can keep up with the demand for engaging visuals without the steep learning curve of professional editing software. Enter Pollo AI, a rapidly rising star in the global AI landscape that has cracked the code: delivering viral-ready videos in one click—with no editing required.

This article explores why Pollo AI has become an indispensable tool for millions, breaking down its key features and how it simplifies professional AI creation into one seamless experience.

 

What Is Pollo AI?

 

 

Pollo AI is an all-in-one AI visual creation powerhouse designed to democratize high-quality video production. It empowers users to generate viral-worthy videos instantly, eliminating the need for timeline editing, color grading, or complex transitions. 

It brings together AI video generators, image generators, advanced utility tools, cutting-edge models, and trending effects under one roof.

Unlike other platforms that feel cluttered with confusing interfaces and steep learning curves, Pollo AI offers a smooth, streamlined workflow that anyone can master in minutes.

This relentless focus on user experience has fueled explosive growth. Within just 7 months of its launch, Pollo AI has attracted over 4 million monthly active users, successfully raised $14 million in funding, and secured its place as a top-five AI video creation platform worldwide.

This trajectory signals strong investor confidence and proves that the market is hungry for a tool that balances power with simplicity.

 

The Key Features That Make Pollo AI Indispensable

 

Pollo AI isn't just a single tool; it's a comprehensive suite designed to handle every aspect of modern visual creation. Here is a look at the capabilities of Pollo AI video generator that set it apart.

 

Multiple Video Generation Capabilities

Pollo AI covers the entire spectrum of video creation needs, from simple text prompts to complex musical synchronization.

• Text to Video AI: Transform abstract ideas into compelling visual narratives. Simply type a description of what you want to see, and Pollo AI’s advanced models will generate high-fidelity video content with appropriate motion, timing, and visual coherence.
• Image to Video AI: Breathe life into static imagery. This tool is perfect for transforming product photos, digital art, or personal portraits into engaging cinematic videos. It adds dynamic motion to stills without requiring any animation skills.
• Reference to Video: Solves the "consistency problem" in AI video. By uploading a reference image, creators can ensure that specific characters, objects, or faces remain identical across different clips—a critical feature for brand storytelling and narrative continuity.
• AI Avatar Generator: Create realistic digital humans that can "speak" any script in multiple languages. This is widely used for educational tutorials, corporate training, and sales presentations, enabling the production of professional talking-head videos without cameras, studios, or actors.
• AI Music Video Generator: Turn any audio track into a stunning visual journey. Upload your song, and Pollo AI automatically syncs dynamic visuals, effects, and transitions to the rhythm and mood of the music. It empowers artists and creators to produce music videos effortlessly.

 

Continuously Updated Multimodel Platform

One of Pollo AI's strongest advantages is its architecture. It functions as a high-performance aggregator engine that integrates the world's most advanced AI models.

 

 

Instead of being locked into a single technology, users gain access to a powerhouse selection, including:

• Video Models: Seedance 2.0, Google Veo 3, Sora 2, Kling AI, Pixverse AI, and more.
• Image Models: Seedream, Flux Kontext, Nano Banana, and other top-tier generators.

This flexibility allows users to choose the specific model that best fits their project's aesthetic—whether it's photorealism, anime style, or surrealist art—all within a single subscription.

 

100+ AI Video & Photo Effects That Go Viral

In the world of social media, trends move fast. Pollo AI ensures you never miss a beat by providing a massive library of over 100 fun and trending video and photo effects.

This includes massive internet trends like the AI kissing video effect (also known as the "hug" or "squish" effect), which has taken social media by storm. These one-click effects allow creators to add professional-grade visual flair and humor to their content instantly, significantly increasing the likelihood of their videos going viral.

 

Conclusion

 

Pollo AI stands out not just as a tool, but as a creative home for millions. Its mission is simple yet ambitious: to build a platform that enables anyone to generate viral videos in one click, with zero editing skills required. It exists to democratize creativity, giving everyone the chance to produce trending content and fully unleash their imagination through AI.

Whether you are a professional marketer needing volume, an artist needing expression, or a casual creator looking for fun, Pollo AI provides everything you need to lead the next wave of digital content.

Stop jumping between tabs and struggling with complex software. Start creating with Pollo AI today.

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

Canon has delivered what could be the ideal Hybrid Mirrorless Full-Frame camera, capable of the highest standards for both stills and video. With solid, sturdy construction, well-thought-out control layout and an extensive feature set, what's not to like?

 

Hybrid full-frame cameras have until now hovered around the 24MP mark, a point at which speed of operation and resolution meet to find a sensible compromise. This stretches now up to the 32.5MP of the Canon R6 Mark III, offering a new standard of performance. Is this a compromise that merely meets all the conflicting requirements in a no-man's-land or is it a bold new standard of performance that stretches the technical capabilities to new heights? Armed with the superb Canon RF 85mm f/1.4 VCM lens, we set forth on our voyage of discovery.

 

Canon R6 Mark III Features

First impressions are of a solid, chunky but not overly large camera body, thankfully weather resistant as we face the February rain, and weighing in at a manageable 699g with card and battery according to Canon, but actually measuring at 690g as we are using an SD card as opposed to the CFExpress Type B. If this was a video review, then the latter option would no doubt have been an advantageous choice.

The main features are detailed below, but there are some nice touches that deserve a mention. Even before the lens is attached, the protective cover for the sensor can be seen, and this is a really good idea. So many cameras leave the sensor naked and exposed when lenses are changed, so the added security offered by Canon is very welcome.

 

 

Stills/Video is selected by a small switch on the left of the top plate. On the right, we have the mode dial plus two control dials, the on/off switch and the stills and video shutter releases. The latter is separate but placed well, so that shaky starts can be better avoided.

The vari-angle screen is crisp and sharp, as is the OLED EVF. The magnification of the EVF image is only 0.76x, but it serves well enough. The image does not cause eye fatigue and gives an accurate representation of the scene.

 

 

Canon R6 Mark III Key Features

• Full frame
• IBIS up to 8.5 stops centre
• IBIS up to 7.5 stops peripheral
• 32.5MP CMOS sensor
• DIGIC X Processor
• Mechanical shutter 30s – 1/8000s
• Electronic shutter 30s – 1/16,000s
• Mechanical shutter up to 12fps
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +20EV
• Metering range -3EV to +20EV
• ISO range 50-102,400
• 0.5cm OLED EVF 3.69M dots, up to 120fps refresh rate
• EVF 100% view, 0.76x
• 3” Vari-angle touch-sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• E-3 remote terminal
• USB-C 3.2
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 699g with battery and card
• Battery LP-E6P, approx 620 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• 138.4 x 98.4 x 88.4mm

 

Canon R6 Mark III Handling

Although handling can be a very personal thing, Canon has impressively given us a myriad of options and possibilities to use and control the camera. There is a considerable amount of duplication, where more than one control alters a parameter. This is especially true within the extensive menus, where the top control wheel, the secondary control wheel and the rotary dial around the set button may all be utilised as we prefer. This is all fine as we simply choose the one we want to use. Dials and wheels can be reprogrammed as required and the camera can be set up to the individual photographer with ease. Spending time to set up things optimally will reap rewards in faster and more intuitive operation.

For this review, the lens control ring is set to alter ISO, the rear rotary dial is set to alter exposure compensation and the mode dial stays on Av. Aperture is controlled by the upper front dial. All the buttons do something useful. It's just a matter of learning what does what to get quick access to any features that might want regular adjustment. There is even a Colour button that gives direct access to the digital filters. 

The joystick moves the focus point, and when this is set to one point focus it can be easily relocated around the image field as required. To reset to centre, just push the joystick and it locks into centre, identified by a small dot appearing in the centre of the AF box. The joystick is well placed to avoid the point of focus being accidentally moved when the camera is being carried in one hand. There is something here that is rarely mentioned, and that is, if it is so convenient to carry the camera without a strap in the right hand, ready for instant use, then how does this work for a left-handed user? This applies to all marques, and is not singling out Canon. The only left-handed cameras I know of need us to look back at the 1950s and 1960s and makers such as Ihagee (Exakta).

In terms of what we have though, the R6 Mark III handles in a totally exemplary fashion, balancing well, operating slickly and delivering some fantastic shots. Within the Canon range, this reviewer would gravitate towards the Canon EOS 5D Mark IV in the DSLR range and this R6 Mark III in the R series mirrorless cameras, both around 30MP and offering a sensible balance between image size and speed of operation. The new camera is a pleasure to use.

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 Mark III Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Canon R6 Mark III Sample Photos Previous Next

 

Lens Performance – The Canon RF 85mm f/1.4L VCM lens provided with the camera for this review has been covered and is a truly excellent and impressive lens. There are plenty of outstanding Canon lenses that can be coupled with the R6 Mark III and will yield beautiful results. True, the L series lenses are expensive, but the camera deserves the best to take full advantage of its performance.

 

Canon R6 Mark III ISO test images Previous Next

 

ISO Performance – This is possibly the best ISO performance ever seen in any Canon body. Images are clean up to and including ISO 1600. Noise just creeps in at ISO 3200 and 6400, but even here, the structure is very tight and the integrity of the test chart boxes is maintained. ISO 12800 is still a tight grain structure, although noise is now clearly visible. ISO 25600 sees considerable noise, but again, the structure of the image is tight. Noise at ISO 51200 and 102400 is very obvious, but the box edges can still be discerned even in the darkest areas. An excellent result.

 

Canon R6 Mark III White-balance test images Previous Next

 

White Balance – There are a number of preset options for white balance, and various adjustments can be made to these. AWB has the usual options between white and ambience priority. To this we can add Daylight, Shade, Cloudy, Tungsten light, Fluorescent light, Flash, Custom and four slots for specific colour temperatures. AWB is useful for mixed lighting and general use, but to keep the colours of a scene, the other presets do a great job. Cloudy is very close to the Cloudy or 81A filters we used on film, and this setting warms portraits very attractively. Shade is perfect for those purple-hued woodland shadows and is especially effective for fungus hunting.

 

Canon R6 Mark III Digital filters Previous Next

 

Digital Filters – Interestingly, Canon has provided Scene modes on this body, despite it clearly being aimed at the advanced amateur and professional users. There is a wide selection, and these have not been shot with this review, as each setting clearly needs the specific situation to be meaningful. The settings available are Portrait, Smooth skin, Group Photo, Landscape, Panoramic shot, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control and Silent Shutter. It might be arguable that using such shortcuts doesn't end up teaching much about photography, but then it also is true that the beginner could end up with better images and this would be encouraging in itself.

More general digital filters are found in the Colour mode section of the menus. There are two groups of these and samples have been shot of all of them.

Picture Style settings are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined selections.

Colour Filters are a bit more exotic and sometimes somewhat mysterious, but we have StoryTeal&Orange, StoryMagenta, StoryBlue, PaleTeal&Orange, RetroGreen, Sepiatone, AccentRed, TastyWarm, TastyCool, BrightAmber, BrightWhite, ClearLightBlue, ClearPurple and ClearAmber.

 

Video –  We might expect a Canon Hybrid body to have a good set of video options:

• Open gate recording up to 30fps
• DCI 7K RAW up to 60fps
• 4K UHD up to 120fps
• 2K up to 180fps
• FHD up to 180fps
• Canon log 2, 3, HDR PQ and Canon 709
• Time lapse up to 4K 30fps

Quality of impromptu filming is excellent and focus tracks well. Stability is also excellent, and although a close look at the video aspects of the camera is outside the main focus of this review, it's clear that there is great potential for some convincing quality footage.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] is priced at £2799.

To put this in perspective, let's look at a range of marques and prices:

Canon 

• [AMUK]R6 II|Canon+R6+II[/AMUK], £2199
• [AMUK]R5 II|Canon+R5+II[/AMUK], £4399
• [AMUK]R5|Canon+R5[/AMUK], £3149

Nikon

• [AMUK]Z6 III|Nikon+Z6+III[/AMUK], £2499
• [AMUK]Z7 II|Nikon+Z7+II[/AMUK], £2499
• [AMUK]Zf|Nikon+Zf[/AMUK], £2299

Panasonic Lumix

• [AMUK]S1R II|Panasonic+Lumix+S1R+II[/AMUK], £2999
• [AMUK]S1 IIE|Panasonic+Lumix+S1+IIE[/AMUK], £2199

Sony

• [AMUK]A7 IV|Sony+A7+IV[/AMUK], £2099
• [AMUK]A7 V|Sony+A7+V[/AMUK], £2799
• [AMUK]A7R V|Sony+A7R+V[/AMUK], £2999

These are all full frame, admittedly some rather more or less than the 32.5MP of the R6 Mark III. On that basis and its intended market place, probably the Sony A7 V is the closest competitor. Both are equally priced, so looking at lens costs, features, and handling are the factors that will separate the options out.

 

Canon R6 Mark III Verdict

This could end up being a battle of Giants as the Canon R6 Mark III pushes strongly into the full-frame hybrid camera market. There are so many great cameras, so looking at the cameras themselves is only the beginning. The lens range, the ability to use adapters to explore other ranges, and the availability or not of third-party options are all part of the bigger overall picture. The lens costs are likely to be high, as it would seem a waste to add a low-cost kit lens to a camera as fine as the R6 Mark III.

Of course, the cameras listed as possible alternatives are all very different beasts and in the end, it's down to handling and any specific requirements that the photographer may have. The R6 Mark III is certainly a terrific option, sturdy, efficient in handling and capable of the highest quality, both for stills and video. The noise control is also quite possibly the best seen so far from Canon.

Such a meeting of fine qualities leaves us with a very powerful option that is, inevitably, an Editor's Choice.

 

Canon R6 Mark III Pros

• Great images and video
• Well-thought-out control layout
• ISO performance is excellent
• Very fast and responsive AF
• Customisation options
• High-quality construction
• Moisture and dust resistance
• High-quality EVF

 

Canon R6 Mark III Cons

• Expensive
• No third-party lenses

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A powerhouse of features and performance from this versatile hybrid camera|E_id=8016[/REVIEW_FOOTER]

 

View the Canon R6 Mark III camera specs in the equipment database.

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Canon's lens ecosystem is one of the most extensive in photography, spanning decades of innovation and multiple camera systems. For photographers entering the Canon world in 2026, understanding how all these lenses work together (or don't) can feel like deciphering ancient hieroglyphics. The good news is that once you understand the underlying logic, it all makes sense, and Canon's system offers tremendous flexibility for leveraging glass from multiple eras on modern bodies. 

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I've been struggling with how to describe my experience with the newly released 7Artisans 75mm f/1.25 II lens. Really, I've had two different experiences, both wildly in friction with one another.  

On the one hand, the lens produced sharp images in a variety of settings and assignments with a pleasant bokeh and good color rendition. On the other hand, it took enough time to calibrate the lens that I feel the need to mention it here.

Still, if the final product is good enough, sometimes the juice is worth the squeeze. More on all that later.

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The German image editing provider Neurapix has expanded its AI technology with a fundamental enhancement: effective immediately, the AI edits even more like a human by taking the context of the entire Lightroom collection being processed into account. The result: even more consistently edited photos.

The goal of many photographers is a cohesive look that runs throughout an entire shoot. Until now, however, editing AIs have analyzed each image individually and applied the desired style to each one separately. Neurapix's new approach also considers the other images within the project, ensuring, for example, even more consistent white balance and more uniform exposure across the entire set.

For users, almost nothing changes in terms of operation: in the Neurapix editing dialog, they can simply check the box labeled "Optimize Consistency" to activate the new AI. The feature is included in the "Neurapix Unlimited" plan. In the “Pay-per-Picture” model, as with all optional features, a maximum surcharge of 1 cent per image applies.

 

"The Best Editing Results Currently Possible"

 

"We asked ourselves: Why doesn't AI work like a human? After all, a human would look at the entire shoot and compare the images with one another," says Nils Sauder, co-founder and CEO of Neurapix. "Accordingly, we developed a completely new AI approach in order to deliver the best editing results currently possible to our customers."

The new feature becomes available automatically after updating the Neurapix plugin. The update is offered via a pop-up the next time Lightroom Classic is launched, or it can be installed manually via the Plug-in Manager.

 

About: Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. For more information, please visit the Neurapix website.

 

We thought we'd put together a quick and easy to follow tutorial on photographing fruit and veg slices with a light source behind them which you can do indoors when it's raining outside. Why do this? Well, the bright light combined with a single or even a few slices of fruit or vegetable can produce an interesting 'arty' style photograph that's really easy to capture at home. 
 

1. Gear You'll Need 

As well as a camera and a macro lens with a short focal length you'll need a lightbox. If you don't own one, you can create one with a clear surface, a light source that can sit under it and something to diffuse the light such as muslin or tracing paper.

You'll also need a tripod, ideally one that has a centre column that can be twisted upside down or horizontally. By using a tripod that can do this you'll be able to work with the centre column rotated so your camera faces down onto the lightbox. This means your hands are kept free for chopping and adjusting fruit/veg slices, plus you can get closer to your subject. 

Don't forget your fruit and veg! Obvious choices are kiwi as the seeds produce interesting patterns but half-circles of onion, oranges, cucumbers and limes work well too. Have a think about how a particular fruit or vegetable may look when sliced up and placed on a lightbox. You shouldn't need to spend much money, plus you can eat any left-over specimens at the end!

  2. Preparation Is Key

 

Get your chopping board out and cut thin slices from your fruit/vegetable. Make sure you cut even slices so when the light passes through, you won't have one part that's darker than the other. Use a clean, sharp knife to slice your fruit/vegetable then place the slice on the lightbox.

Where possible, work away from windows, turn off your house lights and you may want to close the curtains/blinds to limit the amount of light coming in if it's bright outside. 

  3. Placement & Design 

If you're using multiple slices or various fruits/vegetables think about your composition. Repetition and patterns always work well and for some reason, working with odd items gives you a shot that's more pleasing to the eye. This doesn't mean you can't work with even numbers as they can work but the rule of odds is something you should just keep in mind.

  4. Setting Up The Shot

1. As with most close-up work, it's best to switch from auto focus to manual to stop your lens 'searching'. 
2. Take a test shot and check the exposure as the bright light may fool your camera into underexposing. If this happens, switching to a + exposure compensation should fix the problem or you can work in manual if you prefer.
3. You want the background to be bright but not so bright that you can't see the shapes and patterns in the segment of fruit or vegetable you're working with.
4. Good depth of field is needed and if you find problems with camera shake, switch your self-timer on so you have time to move away from the camera before the exposure's captured.

 

You've read the technique now share your related photos for the chance to win prizes: Photo Month Forum Competition

At the end of 2024, I committed to a simple project for 2025: one photo per week, taken at midday, every week of the year. What sounded straightforward quickly became harder than I anticipated, and by the end of the year, it had changed how I think about consistency, pressure, and personal work. 

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Can the new NIKKOR Z 70-200mm f/2.8 VR S II truly redefine your portrait workflow, or are the gains marginal? Let's see how a professional photographer puts the new lens to the test in real-world conditions to find out if it is worth the investment. 

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You have a camera and solid skills, but turning that into steady side income feels unclear. The right approach can bring in real money without forcing you into a second full-time job. 

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Mounting a vintage 85mm lens on a modern medium format body sounds like a recipe for compromise. Pair it with the Hasselblad X2D 100C, and you start asking harder questions about sharpness, rendering, and whether old glass can really handle 100 megapixels. 

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Learning aperture, shutter speed, and ISO changes how you use your camera. Once you understand how these three settings shape light, motion, and focus, you stop guessing and start making deliberate choices. 

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Photo by Daniel Bell.      Why this style of photography works is because, generally, people feel more relaxed out of a studio environment which will produce better photos. Throw a bit of fun into the mix and you'll soon have a collection of images that are unique and interesting.  [HOOK]position_1[/HOOK]  1. Gear Advice 

For environmental portraits, a 14-24mm lens can work well but a go-to lens popular with many photographers is a 70-200mm, which can produce great perspective at the right focal length. When working with families, particularly when shooting a little more candidly, natural light works well but do pack essential lighting accessories such as a reflector. If you find you're out during the middle part of the day, particularly on a sunny day, find shade you can shoot in to produce a more even exposure. 
 

2. Conversation Is Key 

Even if you know the people you are photographing it's still important to talk to them during the shoot as direction and encouragement will always be welcomed. Suggest poses and always get your 'money shots' in the bag early so you can have more fun and also shoot more candidly later on. Good shots to ensure you capture are images of the group as well as shots with tighter framing of individuals or one or two family members together.

Direction doesn't have to come via your voice either. You could kick a ball into a particularly good patch of light or ask children to play with toys in a certain part of the landscape you're working in. Remember that children do have a short attention span so make the posing part of the shoot as quick as possible then leave them to play, capturing candids with your camera as they do. 
 

3. Colours, Backgrounds & Clothing 

Backgrounds that contrast with what your subject is wearing can create vibrant images and don't get too hung up on having everyone in matching shades as a mix of colours adds interest and if they pick their own outfits, they'll be more comfortable. 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition