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Canon’s New Camera And Lens

Canon has officially introduced the EOS R6 Mark III, the long-awaited successor to the R6 II, and while it looks similar on the outside, the changes inside suggest a more substantial upgrade than first impressions might indicate. The new camera is built around a 32.5-megapixel full-frame sensor, a noticeable jump from the R6 II’s 24.2 megapixels, and one that Canon says it developed alongside its cinema division. It’s paired with the familiar DIGIC X processor, which helps manage the increased data throughput and underpins both its still and video performance.

The higher-resolution sensor does mean the camera’s native ISO range now caps at 64,000 instead of 102,400, but that trade-off comes with more detail and less noise in most real-world shooting situations.

The increase in resolution doesn’t seem to slow the R6 III down. Using the electronic shutter, it can still shoot full-resolution RAW files at 40 frames per second, or 12 FPS with the mechanical shutter. Canon has added a CFexpress Type B card slot, which roughly doubles the camera’s buffer capacity compared to the R6 II, and includes pre-shooting capture, a feature borrowed from the R1 and R5 II that records a few frames before the shutter is fully pressed.

The autofocus system is another hand-me-down from Canon’s higher-end models, now incorporating subject detection that is both faster and more reliable across people, animals, vehicles, and even aircraft.

Canon appears to be positioning the R6 III as a middle ground between the accessible R-series cameras and its top-tier R5 II and R1 bodies. It is intended to be a versatile tool, something that can handle sports and wildlife thanks to its speed, but that also delivers enough resolution for landscape and portrait work. The autofocus improvements, in particular, bring it closer to Canon’s professional line, and the added resolution gives users more flexibility for cropping and large-format output.

For video users, as noted the camera borrows heavily from Canon’s cinema lineup, particularly the EOS C50. It can record 7K RAW Light at up to 59.95p, oversampled 4K up to 60p, 4K 120p, and Open Gate 7K footage, giving filmmakers multiple capture options from a single camera. Canon has also included Canon Log 2, waveform monitoring, and the focus algorithms found in the Cinema EOS C80 and C400, which improve focus acceleration and deceleration transitions. The move to a full-size HDMI port instead of the micro port used in the R6 II should also make external recording setups more practical.

Physically, the R6 Mark III keeps the same form factor as its predecessor, with an almost identical button layout and grip, though it is about 30 grams heavier. It still uses the 3.69-million-dot electronic viewfinder and a 3-inch vari-angle touchscreen, but power now comes from Canon’s newer L6-E6P battery, offering slightly better endurance. The weather sealing and handling remain on par with the rest of the mid-tier R-series cameras.

The EOS R6 Mark III will go on sale later this month for $2,799 (body only), with two kit options available, one bundled with the RF 24–105mm f/4L IS USM for $4,049, and another paired with the RF 24–105mm f/4–7.1 IS STM for $3,149.

Alongside the camera, Canon also introduced a new standard prime, the RF 45mm f/1.2 STM. It is meant to fill the wide gap between the inexpensive RF 50mm f/1.8 STM and the high-end RF 50mm f/1.2L USM, offering a bright aperture at a more accessible price point.

Canon already has several primes around the 50mm mark, but the 45mm focal length gives a slightly wider field of view that may appeal to those who prefer a more natural, documentary-style perspective.

The lens has nine elements in seven groups, including a plastic-molded aspherical element (PMo) designed to keep size and cost down. It weighs 346 grams, measures 75mm in length, and takes 67mm filters, making it reasonably compact for an f/1.2 lens.

Canon says the optical design is tuned more for character than clinical precision, meaning it won’t match the sharpness or aberration control of its L-series lenses. Instead, it is intended to deliver smoother transitions, gentle falloff, and a more organic rendering.

Autofocus is handled by a gear-type STM system with magnetic detection, which is not as quiet or fast as the motors used in Canon’s higher-end glass but helps keep the lens affordable. Like most non-L lenses in Canon’s lineup, the RF 45mm f/1.2 relies on the camera’s in-body lens corrections to manage distortion and vignetting. The use of PMo optics and simpler mechanics makes it noticeably lighter than most f/1.2 lenses, though it’s still about twice the weight of the 50mm f/1.8 STM.

The RF 45mm f/1.2 STM will be released in December for $469.99, and is already available for preorder.

A few sample shots:

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Interview with Fernando Salgado

This week’s Interview with Fernando, a talented photographer based in Prage. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @fernando_pedro_salgado

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m originally from Buenos Aires, Argentina, but I’ve been living in Prague for a few years now. I’m a black-and-white street photographer, mostly focused on everyday city life. Outside of photography, I’m just a normal guy. I love coffee, long walks, and I’m always listening to music while shooting, mostly instrumental because it helps me focus. Photography started as a side thing for me, but it slowly became something I can’t go a day without doing.

How did you first get into photography?

I actually started out just taking photos for fun, like most people. I had no idea what I was doing. I used to go out with friends, shoot random stuff, and try to make it look “cool.” But at some point I realized I was more interested in the photos than anything else. I would come home and spend time editing, even if the shots were terrible. Around that time, I also discovered black-and-white photography, and something clicked.

Why black and white photography?

It removes all the distractions and lets you focus on shape, light, and feeling. Color is beautiful, but it can also overwhelm the eye. When everything is stripped down, there’s more room for interpretation. Also, I think black and white suits how I see the world. When I shoot in black and white, I’m paying attention to how the light hits someone’s face, how a shadow crosses a street, how the atmosphere feels. Also I have always been drawn to older photos, films, and documentaries, so maybe that’s part of it too.

How do you decide where to go and shoot?

Most days, I just start walking. I might have a rough idea of where the light will be good or where something interesting is happening, but I try not to overplan it. The best shots usually come when I stumble into something unexpected. I keep track of places I like specific corners, reflections, buildings that look amazing when the sun is low and revisit them under different conditions. Prague changes a lot with the seasons and weather, so the same place can feel completely different.

What does photography mean to you?

Some days it’s an escape, other days it’s how I make sense of things. I’ve never been great with words, so photography became a way to express myself without talking. It also keeps me grounded, when I’m out shooting, I’m not thinking about deadlines, bills, or whatever’s going on in my head. I’m just present. It’s addictive in the best way.

What gear do you use?

I switch between Fujifilm, Canon, and Nikon. It depends on what I’m shooting and how I feel that day. Fujifilm is my favorite for street photography, it’s small, quiet, and the image quality feels very natural. The Canon is great for portraits or anything where I need extra control, and the Nikon is just a workhorse. I’m not really a gear guy though. I don’t care about having the latest stuff. I’d rather have a camera I’m comfortable with and trust completely. Most of my favorite photos could’ve been taken on almost anything. I also carry one or two prime lenses, usually a 35mm or 50mm.

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

That depends on my mood. Some days I want movement and noise but other days I prefer silence, Prague at sunrise is perfect for that. The streets are empty, but there’s still this quiet hum of life waking up. I think both kinds of shooting feed different parts of me. The chaos helps me stay quick and spontaneous, while the calm moments let me slow down and really observe. Both are essential to street photography.

What are your favourite shooting conditions?

Rain and fog. I know a lot of photographers prefer sunny days, but I find bad weather way more interesting. Rain adds reflections, texture, unpredictability, fog simplifies everything. Those conditions also change how people behave. They move differently, hunch over, walk faster. Everything feels more alive. Of course, I also love sunrise and sunset for their light, but honestly, if the weather’s too perfect, it can be boring. A bit of imperfection always makes things more beautiful.

Do you only shoot black and white, or also colour?

I mostly shoot black and white, but I’ll switch to color if something demands it. Some scenes just don’t work without color. But my mind naturally thinks in monochrome now. When I’m out shooting, I’m already imagining how the tones will translate in black and white. It’s not that I dislike color, I just find it easier to express emotion through shades of light and shadow. Every once in a while I’ll post a color image, but it’s rare.

Do you see yourself as a street photographer, architectural photographer, black and white photographer…?

I’d say I’m a street photographer before anything else. That’s where I feel at home. Architecture plays a big role in my images, but only as part of the story. I’m drawn to how people interact with their surroundings. The street is like an open studio, it’s unpredictable, full of emotion, and constantly changing. Every time you go out, it’s different. You never know who you’ll meet or what kind of scene will appear. I like that.

How did you find your unique photography style?

It took a long time. In the beginning, I tried to copy everyone I liked. I’d look at photos from people like Alan Schaller or Fan Ho and think, how the hell do they make it look so effortless? But over time, I realized you can’t really imitate that. You have to shoot a lot, fail a lot, and slowly start noticing what feels like you. I think your style finds you when you’re honest about what you actually like shooting, not what you think you should shoot.

What role does storytelling play in your work?

I don’t think of my photos as stories in a traditional sense, I’m not documenting events or telling a clear narrative. I like photos that feel like they could be part of a bigger story, but you don’t know what that story is, it’s up to the viewer to imagine. I think that’s what keeps an image interesting, when there’s space for interpretation.

If you could travel anywhere in the world, where would that be and why?

Japan. I’ve wanted to go for years. I think it’s one of the few places where every photographer wants to go. I’d also love to shoot in Hong Kong, but Japan feels more in tune with how I see things. I’m drawn to places that have a strong sense of identity. And I’m also obsessed with Japanese cinema, like Kurosawa and Ozu.

What’s the most challenging thing about photography for you?

Staying inspired. It’s easy to fall into repetition once you’ve shot the same places over and over. Some days, you feel like you’ve already captured every possible scene in your city. I think every photographer goes through that phase, you start doubting your eye, wondering if you’re still improving. For me, the challenge is to keep pushing myself without forcing it.

What are the best photography locations in Prague?

Malá Strana is probably my favorite, quiet, with narrow alleys and soft light that hits the old walls beautifully. The Charles Bridge is a classic, but I prefer it at dawn before the crowds arrive. You get that mist coming off the river and it feels like stepping into a dream. I also love the smaller side streets near the Vltava River, especially after it rains. The reflections and textures are incredible.

What is your favourite subject to shoot?

People, especially when they’re unaware of being photographed. I love catching those unguarded moments when someone’s lost in thought or rushing somewhere with the wind in their coat. I also love the relationship between people and architecture.

Are you a professional or a hobbyist?

I’m technically a professional now, since I take on paid projects and sell prints, but I still treat photography like a passion first. I never want it to become something mechanical. Once you start thinking only about clients or followers, you lose that spark that made you start in the first place. I’ve had times where I felt burned out from overthinking my work, and the only way to fix that was to go back to shooting just for myself, no expectations, no deadlines, just walking around and enjoying the process. I think that’s important, even for professionals. You need to protect that sense of play and curiosity. Otherwise, it just becomes another job, and that’s not what photography is supposed to be.

Who are some photographers or other artists that inspire you?

Alan Schaller, his use of light and composition is insane. Phil Penman too, for the way he captures humanity with such precision and empathy. But I get inspired by more than just photographers. Filmmakers like Tarkovsky, David Fincher, and Christopher Doyle have taught me a lot about light and atmosphere. I also draw from painters like Edward Hopper and Caravaggio, because they understood mood and negative space better than anyone.

How do you know when you’ve nailed the shot?

It’s one of those moments you just feel. You press the shutter, and there’s a kind of silence in your head, like you know it clicked, literally and figuratively. Usually, it’s when all the elements line up perfectly for half a second. Sometimes you don’t realize it until later when you review your shots, but there’s often that gut feeling.

How important is composition in photography?

It’s essential, but I try not to think about it too much while shooting. If you overthink composition, you lose spontaneity. After enough time, it becomes second nature, your eye starts framing automatically. I’m drawn to clean lines, symmetry, and negative space, but I also love when something slightly breaks that order. That’s what makes a photo interesting. It’s like music, you need harmony, but you also need tension. In street photography, you don’t have time to move people around or adjust things, so you have to react instantly.

What’s your advice for someone who wants to start exploring monochrome street photography?

Start by shooting everything. Don’t worry about making perfect photos, just get out and practice. The more you shoot, the more you’ll understand how light works and what kind of scenes speak to you. Focus on finding your voice. I also recommend studying black-and-white movies and classic photographers. Look at how they used shadow, contrast, and timing. But most importantly, walk a lot. Street photography is 90% walking and 10% shooting. Be patient and stay curious.

How important is lighting in photography?

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Leica’s SL3 ‘Reporter’ Edition

Leica has released a new version of its SL3 mirrorless camera in the Reporter edition, a dark green variant that not only changes the look of the camera but also improves its durability. The Reporter line has appeared before on models like the M10-P, Q2, and SL2-S, each distinguished by a matte, military-inspired finish and more rugged construction. The SL3 Reporter continues that approach, wrapping the body in aramid fabric, a heat- and abrasion-resistant synthetic material that belongs to the same family as Kevlar.

Aramid fabrics are known for their ability to withstand harsh conditions, making them useful for photographers who spend a lot of time shooting outdoors or on assignment in difficult environments.

Leica says the material also develops a subtle patina over time, changing in texture and tone as it wears in, something the company describes as a reflection of the camera’s “photographic journey.” The design removes the red Leica logo entirely, keeping the camera understated and less conspicuous for reportage-style work.

Aside from the exterior changes, the SL3 Reporter is identical to the standard SL3 in terms of internal hardware and performance. It uses the same 60-megapixel backside-illuminated full-frame sensor with phase detection autofocus, along with a 5.76-million-dot electronic viewfinder that refreshes at 120 frames per second.

The camera maintains all the usability refinements Leica introduced with the SL3 earlier this year, a cleaner interface, redesigned menus, and improved ergonomics. The updated layout separates photo and video modes with distinct color codes (red for stills, yellow for video), while the button placement and grip have been adjusted for a more balanced feel.

The SL3 is available for $7,995, slightly above the standard SL3’s $7,485 price.

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Photography Tip of the Week

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Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @lx_wanderer

Let’s Analyse this Image: 

Composition & Framing

What works well:

• The composition in my opinion is pretty strong, the tram tracks, the buildings, and even the lampposts all create leading lines that pull you deep into the photo and everything ends up pointing toward the tram, which sits nicely as the vanishing point and natural focal spot.

• The four cyclists are a cool touch, they each occupy/create their own “layer” and thus creating rhythm + depth. Also a nice detail —> Your eye naturally hops from one cyclist to the next, almost like a stepping-stone path that again leads you straight to the tram at the end.

• The tram itself pops just the right amount. It is vibrant and eye-catching but not oversaturated or distracting.

• The buildings left and right add to the overall tunnel effect helping create the 3D look.

What could be better:

• Keep in mind that it is possible that some of the cyclists were added in photoshop. If you zoom in you can see that a few of the shadows don’t quite align naturally with the light direction + it would be a VERY lucky catch anyways. It is not certain, of course, and I don’t want to make any ‘‘accusations’’, just something to keep in mind, especially since maybe new photographers might feel discouraged thinking ‘‘omg why can’t I ever catch something like this’’ without realising that it has a little ‘‘photoshop help’’.

• The composition is quite central, everything aligns neatly in the middle, which looks clean but also predictable. A slightly off-center framing could have added a bit more tension and interest, though to be fair the tram at the end being a bit off to the left side does help a bit in breaking it up.

• The wires and hanging lamps, add a bit of clutter up top. Visually they compete a little with the clean geometry of the rest of the frame. However that is strictly ‘‘visually analytically’’ speaking —> this is street photography after all + it’s just the character of the city.

Light & Atmosphere

What works well:

• The lighting is interesting in a good way, the strong patches of sunlight cutting through the street give it a cinematic touch and again create layers/help with depth.

• The light shimmer off the tram rails ‘‘exaggerate’’ the effectiveness of the leading line effect, always good.

• The tram in the back glows perfectly in the final pocket of light, pulling your eye naturally toward it —> the viewers eyes go where the light is.

What could be better:

• Overall it is a little dark, the shadows are heavy, especially in the foreground and along the buildings. Lifting those just a bit would help bring out more texture and make the image feel a little more open and detailed.

• The transition between the dark and light areas is quite steep, so the eye has to adjust a bit fast. A smoother tonal transition could make the depth feel more natural.

• A tiny bit more light on the first cyclist would have helped separate them from the darker road (since that person also has a dark backpack and pants on) just enough to make them pop more without breaking the moody atmosphere.

Emotion & Story

What works well:

• There is a lovely quiet energy in here. You can sense the city waking up → people biking to work, the tram about to roll down the hill.

• The layers of cyclists give a sense of shared routine, four people heading to different parts up the city but still existing in the same slice of life.

• The tram adds a nostalgic element + gives a strong sense of place, even if you have never been to Lisbon before, you might know of the iconic yellow Lisbon trams.

What could be better:

• Because all the cyclists are turned away or downward, there is not much emotional connection or gesture to read. Again not necessarily a bad thing, as always it depends on what you as the photographers want to tell with your photo.

Colour & Tone

What works well:

• The colour palette is nice, muted tones with the yellow pop from the tram which makes it feel timeless and ‘‘elegant’’.

• The edit is very restrained, which suits the mood. Nothing feels forced or overdone; the contrast, saturation, and warmth are all controlled beautifully.

• The mix of warm sunlight and cool shadow tones keeps the image balanced and visually interesting.

• The traffic lights add small but welcome colour accents that bring life/energy without pulling your attention way (and again they act like leading lines).

What could be better:

• The shadows could be lifted slightly just to bring back a bit of lost detail in the darker zones.

• A subtle increase in mid-tone contrast might give the photo a little more bite without breaking its natural look.

Balance

• The balance overall works well, the tram and the cyclists naturally counter each other, giving everything structure from front to back.

• The symmetry created by the buildings lines helps guide the eye smoothly, though it as noted before some people might find it too central.

• The warm highlight from the tram nicely balances the cooler tones of the shadows.

• The left and right sides of the frame are fairly even in tone, but the dark building on the front left slightly overpowers the right side (just a small detail though).

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Photographer of the Week

Photographer of the week goes to: Nat Allen

You can find him on Instagram as: @35millstreet

A few photos of his:

The Rest of this Issue is for Premium Subscribers

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