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The Latest News:
The Upcoming Canon R6 Mark III
credits: Canon
Canon’s EOS R6 Mark III has been the subject of speculation for what feels like years, but it now looks like the wait is nearly over. According to leaks, the camera is in its final testing phase and will likely debut with the same 32-megapixel sensor found in the recently announced Cinema EOS C50. The timing, however, could complicate things: with the C50 not expected to ship until December, an EOS R6 Mark III announcement might slip into early 2026, possibly just ahead of the CP+ trade show in February.
If the R6 Mark III does indeed get that new sensor, it will also need more processing power to take full advantage of it. Canon’s solution, seen already in the EOS R1 and R5 Mark II, is the DIGIC accelerator, a secondary processor that helps reduce bottlenecks and speeds up file handling. If included in the R6 Mark III, it would enable faster burst shooting, longer sequences, and pre-capture modes, along with improvements in autofocus responsiveness.
Physically, the R6 Mark III isn’t expected to deviate much from its predecessor, though rumours suggest Canon could introduce a dual-hinge, multi-angle screen similar to the one on Sony’s A9 III. There is even talk of an OLED panel replacing the current LCD, though that seems less likely given cost concerns. Other possibilities include the addition of AI-powered in-camera editing tools, such as upscaling and denoising, features Canon has been experimenting with in its flagship cameras. Let’s see if these rumours hold true!
Panasonic’s 100-500mm f/5-7.1 Lens
credits: Panasonic
Panasonic looks to be adding another telephoto zoom to its L-mount lineup, this time a 100-500mm f/5-7.1. The lens is already in development and could be announced fairly soon. For L-mount users, this would be a welcome addition at the long end of the system, especially as Panasonic has been steadily increasing its lens options alongside those from Sigma, Samyang, and more recently Viltrox.
The 100-500mm is expected to weigh in around 1.3 kilograms, putting it roughly in the same class as Canon’s RF 100-500mm f/4.5-7.1. That is not exactly light, but it is a reasonable trade-off for the reach. What many are hoping for most, though, is quick and reliable autofocus. If Panasonic nails that, it could give this lens a real edge over Sigma’s comparable telephotos, which sometimes lag behind when it comes to AF speed.
While the L-mount continues to see healthy growth, things have been quieter on Panasonic’s Micro Four Thirds side. The last new MFT lenses were announced about two years ago, the Leica DG Vario-Elmarit 35-100mm f/2.8 and the updated 100-400mm f/4-6.3 II ASPH. Camera updates have also been slow, the G97 arrived in late 2024 but didn’t bring much beyond a mandatory switch to USB-C. For now, it seems Panasonic’s energy is focused on building out the L-mount ecosystem, and this new 100-500mm could be the next big piece of that puzzle.
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Weekly Photo Technique Exploration
Welcome to a new section of the magazine where every week we will explore a new photography technique from across various photography genres.
This week’s technique: Reverse Lens Macro
What Is Reverse Lens Macro Photography?
Normally, your lens is built to focus on subjects a few meters away and beyond. But if you flip that lens around (literally mount it backwards) it works in reverse and suddenly lets you focus on things just a few centimetres from your camera.
It is an old trick that photographers have been using for decades, and it is still one of the cheapest ways to try out macro without fancy/expensive gear.
How to Do It
Use a Reversing Ring (or DIY It).
A reversing ring is an adapter (around $10–$20) that screws into the filter thread of your lens and attaches to the camera mount. That way, you can mount your lens backwards safely. Without one, you technically can just hold the lens backwards in front of your camera, but it is a little awkward and you risk dropping/damaging/smudging it.Pick the Right Lens.
Wide-angle primes (like 24mm or 28mm) are great for this. The wider the lens, the higher the magnification when reversed. A 50mm works too, but the magnification isn not as extreme.Get Close, Really Close.
With a reversed lens, the focus distance is tiny, sometimes just a few centimetres. You will have to bring your subject almost right up to the lens to get it sharp.Manual Everything.
Autofocus won’t work with this technique. You will need to move the camera itself back and forth until the subject looks sharp. Same goes for aperture —> if your lens doesn’t have an aperture ring, you might be stuck shooting wide open unless you use tricks to lock the aperture in place.
Camera Settings
Aperture: Wide open (f/1.8–f/2.8) gives you a very thin depth of field, but stopping down (f/5.6–f/8) gives a bit more sharpness. Keep in mind that you will need lots of light if you stop down.
Shutter speed: Keep it fast if you are handholding—> 1/200s or quicker.
ISO: Raise it if needed, but keep it as low as possible for detail.
Lighting: This is the tricky part. Because you are so close, light struggles to reach your subject. A ring light, LED panel, or even just a flashlight from your phone makes a big difference.
Tips Before You Try
Use a tripod whenever possible, handheld shooting at this distance is tough + if you are not using an adapter for your lens, you will have to juggle both: the lens and the camera.
Add extra light —> don’t rely just on ambient light. Literally any other extra light source will get you better results.
Try focus stacking in post if you want more of your subject sharp.
Make sure to protect your gear: don’t let dirt or fingers touch the exposed rear element of your reversed lens.
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