How to Choose a Compact Camera for Wildlife Photography in 2026 Wildlife photography often requires patience, quick reactions and the ability to photograph animals from a distance. Whether you're watching birds in your garden, photographing deer on a nature trail or visiting a national park, the right camera can make a significant difference. A compact camera is an appealing option because it combines a camera body and lens in one package. You don't need to buy a separate telephoto lens, and some models offer enough zoom to photograph distant wildlife without carrying a large camera bag. However, not every compact camera is suitable for wildlife photography. A camera designed for travel snapshots may struggle with distant birds, fast-moving animals or low-light conditions. When choosing a compact camera in 2026, focus on optical zoom, autofocus performance, image stabilization and sensor size. The best combination depends on the animals you photograph and how far away you expect to be. Quick Picks: Compact Cameras for Wildlife Photography Best Pocketable Sony RX100 VII 20.1MP1" Sensor24-200mm4K30 $1498€1069 · £1049 Shop Now→ Best Overall Sony RX10 V 20.1MP24-600mm4K6030fps $2298€2499 · £2199 Shop Now→ Best Superzoom Nikon COOLPIX P1100 16MP24-3000mmf/2.8-8UHD 4K $1049.95€948.49 · £999 Shop Now→ Affiliate links These cameras serve different needs. The RX100 VII prioritizes portability, while the P1100 prioritizes extreme reach. The RX10 V offers a middle ground for photographers who want a substantial zoom range and a more substantial camera body. Sony RX100 VII: Best for Wildlife Photography on the Go Best Pocketable Sony RX100 VII $1498€1069 · £1049 Sensor 20.1MP 1"-type CMOS Lens 24–200mm equiv. f/2.8–4.5 Burst Up to 90 fps ISO 100–12,800 Video 4K up to 29.97p Stabilization Optical lens + digital Viewfinder 2.36M-dot OLED Weight 302 g Shop Now→ 3" 180° tilting touchscreen · Built-in flash · Wi-Fi and Bluetooth · NP-BX1 battery, about 240 shotsAffiliate link The Sony RX100 VII is worth considering if you want a compact camera that can handle wildlife photography without taking up much space. It uses a one-inch, 20.1-megapixel sensor and a 24–200mm-equivalent zoom lens. Its autofocus system includes Real-time Tracking and Eye AF, and it can shoot at up to 20 frames per second with autofocus and exposure tracking. That combination is useful when photographing nearby birds, animals in a zoo or wildlife encountered during a hike. The 200mm-equivalent maximum focal length, however, is relatively limited for small birds or animals that remain far away. You may need to crop the image, which reduces the detail available in the final photograph. The lens also becomes slower as you zoom in, making it less suitable for very dark conditions. Best for: Travelers, hikers, casual wildlife photographers and people who want a camera they can carry every day. Why consider it: Compact dimensions, responsive autofocus and a versatile zoom. Main limitation: Limited telephoto reach for distant wildlife. Nikon COOLPIX P1100: Best Superzoom Best Superzoom Nikon COOLPIX P1100 $1049.95€948.49 · £999 Sensor 16MP 1/2.3"-type CMOS Lens 24–3000mm equiv. f/2.8 Zoom 125x optical Burst Up to 7 fps ISO 100–6400 Video 4K up to 29.97p Viewfinder 2.36M-dot electronic Weight 1415 g with battery Shop Now→ Optical stabilization · 3.2" articulating LCD · Built-in flash and hot shoe · EN-EL20a battery, about 250 shotsAffiliate link If photographing distant birds and animals is your main priority, the Nikon COOLPIX P1100 is one of the most interesting cameras to consider. Its 125x optical zoom covers a 24–3000mm-equivalent focal-length range. That is an extraordinary amount of reach from a camera with a built-in lens. Nikon also includes lens-shift vibration reduction to help reduce camera shake. This reach can be particularly useful for birdwatching, photographing animals across open landscapes and capturing subjects that are difficult to approach. The P1100 also offers a dedicated viewfinder, which is useful when composing photographs in bright sunlight. There are trade-offs, though. It is considerably larger than a pocketable compact, and its smaller sensor limits low-light performance compared with many larger-sensor camera systems. Autofocus and shutter speed still matter when photographing fast-moving animals. Extreme zoom also magnifies camera shake, so a steady grip, good technique or a tripod can be valuable. Best for: Birdwatchers, wildlife enthusiasts and photographers who need maximum optical reach. Why consider it: Exceptional 125x optical zoom and a 3000mm-equivalent maximum focal length. Main limitation: Larger body, smaller sensor and demanding handling at extreme zoom settings. Sony RX10 V: Best All-in-One Wildlife Camera Best Overall Sony RX10 V $2298€2499 · £2199 Sensor 20.1MP 1"-type CMOS Lens 24–600mm equiv. f/2.4–4 Zoom 25x optical Burst Up to 30 fps ISO 100–12,800 Video 4K up to 59.94p Viewfinder 3.68M-dot OLED Weight 1111 g with battery Shop Now→ Optical stabilization · 3" tilting touchscreen · Wi-Fi 5 · NP-FZ100 battery, about 630 shotsAffiliate link The Sony RX10 V is another strong option for wildlife photography, particularly if you want a versatile camera with more reach than a pocket compact. It combines a one-inch, 20.1-megapixel sensor with a 24–600mm-equivalent zoom lens. Its maximum aperture ranges from f/2.4 at the wide end to f/4 at the telephoto end. The 600mm-equivalent reach is useful for photographing larger birds, mammals and animals at moderate distances. It also provides a good range for general outdoor photography, so you can capture landscapes and environmental shots without changing equipment. Its relatively bright lens is an advantage compared with many extreme-zoom cameras, particularly when light levels are less than ideal. The main drawback is size and weight. The RX10 V is more of a bridge camera than a pocketable compact, so it makes the most sense if you're comfortable carrying a larger all-in-one camera. Best for: Wildlife enthusiasts who want a substantial zoom range without purchasing interchangeable lenses. Why consider it: 24–600mm-equivalent zoom, a relatively bright lens and a one-inch sensor. Main limitation: Larger body and less reach than the Nikon P1100. Which Features Matter Most for Wildlife Photography? Choosing the right model is only part of the decision. Understanding the specifications that affect wildlife photography will help you avoid paying for features you don't need. 1. Optical Zoom and Focal Length Zoom range is often the first specification wildlife photographers examine. For nearby animals, a moderate telephoto lens may be sufficient. Small birds sitting high in trees, however, often require much greater reach. A 200mm-equivalent lens can work for larger or nearby subjects, while 600mm equivalent offers more flexibility for distant wildlife. Extreme focal lengths can be useful when subjects are exceptionally far away. Remember that optical zoom and digital zoom are not the same. Optical zoom uses the lens to change the field of view, while digital zoom crops or processes the image. For maximum image detail, prioritize genuine optical reach. 2. Autofocus and Subject Tracking Wildlife rarely waits for you to get ready. Birds take off unexpectedly, animals move through vegetation and small subjects can be difficult to keep in focus. Look for a camera with reliable continuous autofocus, subject tracking and a useful burst-shooting mode. These features improve your chances of capturing sharp images, although no autofocus system can guarantee a perfect result every time. 3. Image Stabilization Long focal lengths make camera shake more obvious. Effective stabilization can help you capture sharper images when shooting handheld. However, stabilization does not freeze a moving animal. If a bird is flying or an animal is running, you still need a sufficiently fast shutter speed. For stationary subjects, stabilization can be particularly helpful when using a long zoom. 4. Sensor Size and Low-Light Performance Compact cameras often use smaller sensors to accommodate their built-in zoom lenses. A smaller sensor can make an extremely long zoom possible without requiring a huge lens, but it can also produce noisier images in low light. If you frequently photograph wildlife at dawn, dusk or under forest cover, sensor performance and maximum aperture deserve extra attention. If you mostly shoot in daylight, you may be able to prioritize zoom range instead. 5. Burst Shooting and Buffer Capacity Continuous shooting can help you capture the right moment when an animal moves quickly. But maximum frames per second is only part of the story. Check how many images the camera can capture in a burst and how quickly it can process and save them. For wildlife photography, a reliable burst mode can be more useful than a headline speed that is available only under limited conditions. 6. Weight and Battery Life A camera that feels comfortable during a short test may become tiring during a full day outdoors. Consider the weight of the camera, the grip, the viewfinder and battery life before making your decision. If you regularly go hiking or spend hours birdwatching, portability can be just as important as maximum zoom. Is a Compact Camera Better Than a Mirrorless Camera for Wildlife? A compact camera can be the more convenient option if you want long zoom in a single package. You don't have to buy a telephoto lens separately, and the complete setup may be easier to carry than a mirrorless camera with a large wildlife lens. A mirrorless camera generally offers more flexibility, particularly when paired with a high-quality telephoto lens. Larger sensor options can also help in low light, while interchangeable lenses allow you to choose equipment for specific subjects. The downside is that a capable wildlife lens can add considerable weight and cost. Choose a compact or bridge camera if you value convenience and an all-in-one setup. Consider mirrorless if wildlife photography is a serious pursuit and you want greater control over image quality, lens choice and future upgrades. Tips for Getting Better Wildlife Photos Even the best camera needs the right technique. Use a fast shutter speed: Birds in flight may require 1/1000 second or faster, depending on their speed and direction. Track your subject: Start following the animal before pressing the shutter, particularly when photographing birds. Avoid unnecessary digital zoom: Use the optical range whenever possible to preserve detail. Shoot in good light: Early morning and late afternoon can provide attractive light, although dawn and dusk may require higher ISO settings. Keep your distance: Avoid disturbing wildlife to get a closer photograph. Practice before a trip: Learn the autofocus, burst and stabilization settings before you encounter a difficult subject. Which Compact Camera Should You Choose? For casual wildlife photography and travel, the Sony RX100 VII offers a useful balance of portability and autofocus performance. Its zoom is sufficient for nearby animals, although it is not designed for extreme telephoto work. For birdwatchers and photographers who need maximum reach, the Nikon COOLPIX P1100 is the more specialized choice. Its 3000mm-equivalent maximum focal length can bring distant subjects into the frame without requiring a separate telephoto lens. The Sony RX10 V is a strong alternative for photographers who want a substantial zoom range, a relatively bright lens and a versatile all-in-one camera. Ultimately, choose your camera based on the wildlife you photograph most often. For nearby animals and casual outings, portability may matter most. For distant birds, zoom range becomes essential. For wildlife in low light, sensor performance, lens aperture and autofocus deserve greater attention. The best compact camera for wildlife photography is not necessarily the one with the biggest zoom number. It is the one that gives you enough reach, reliable focusing and usable image quality for the subjects you actually want to photograph. Best Pocketable Sony RX100 VII 20.1MP1" Sensor24-200mm4K30 20.1MP 1" Exmor RS BSI CMOS Sensor BIONZ X Image Processor & Front-End LSI ZEISS Vario-Sonnar T* f/2.8-4.5 Lens 24-200mm (35mm Equivalent) Up to 20-fps Blackout-Free Shooting UHD 4K30p Video with HLG & S-Log3 Gammas $1498€1069 · £1049 Shop Now→ Best Overall Sony RX10 V 20.1MP24-600mm4K6030fps 20.1MP 1" Exmor RS BSI CMOS Sensor BIONZ XR Processing Engine with AI Chip 4K60 Full-Pixel 4:2:2 10-Bit Video Zeiss Vario-Sonnar T* f/2.4-4 Zoom Lens 24-600mm Zoom Range (35mm Equivalent) AI-Powered Autofocus & Subject Tracking $2298€2499 · £2199 Shop Now→ Best Superzoom Nikon COOLPIX P1100 16MP24-3000mmf/2.8-8UHD 4K 16MP BSI CMOS Sensor NIKKOR 24-3000mm Lens (35mm Equivalent) EXPEED Image Processor Aperture Range: f/2.8-8 ISO 100-6400 Adoption of a USB-C Connector $1049.95€948.49 · £999 Shop Now→ Affiliate links https://www.canonrumors.com/how-to-choose-a-compact-camera-for-wildlife-photography-in-2026/ #wildlifephotography #compactcamera #best #vii #sony #choose #pocketablesony #lens #overallsony #sensor #rss #feeds #linksharing #qwibbit

The New Nikon NIKKOR Z 120-300mm f/2.8 TC VR S vs. Canon RF 100-300mm f/2.8L IS: Comparison & Specs Nikon has officially announced the NIKKOR Z 120-300mm f/2.8 TC VR S which takes aim at the Canon RF 100-300mm f/2.8L IS USM, but ups the game with a built-in 1.4x teleconverter. Built-in extenders continue to be something shooters are asking for at this level of lens and we hope to see Canon do it again. Nikon would like to let everyone know that the NIKKOR Z 120-300mm f/2.8 TC VR S is the first f/2.8 zoom with a built-in teleconverter. Canon shooters are obviously going to compare the NIKKOR Z 120-300mm f/2.8 TC VR S to the Canon RF 100-300mm f/2.8L IS USM. While the focal range is the same, there seems to be a lot of things that Nikon has done across the board that could be considered improvements. NIKKOR Z 120-300mm f/2.8 TC VR S The new Nikon used their Silky Swift VCM focus motors. Canon continues to use USM motors in their bigger lenses, with the RF 100-300 using a dual-nano USM setup. On the built-in image stabilization front, Nikon is claiming 6.5-stops of correction, vs the Canon at 5.5-stops. Hardly a big difference once IBIS is added to the equation. One thing that drives all Canon shooters bonkers is that Canon refuses to make their lens feet Arca compatible, Nikon has done it here, and Canon wants you to go out and buy someone else's lens foot or a plate. This is the sort of thing that boggles our minds with Canon. Nikon has also given you two options for filter use. You can either use the 112mm front thread or 46mm drop-in filter. We think that's a cool feature if you want a splash guard on the front and use a CPL at the same time. Nikon NIKKOR Z 120-300mm f/2.8 TC VR S Built-In 1.4 Teleconverter6.5-Stop VRArca Foot Full-Frame | Constant f/2.8 Max Aperture Fast, Versatile High-Performance Zoom Built-In 1.4x Teleconverter (168-420mm) Silky Swift VCM AF System 6.5-Stop Synchro VR Stabilization Aspherical, SR, ED & Super ED Elements $13,996.95€15,749 · £13,999 Shop Now→ Canon RF 100-300mm f/2.8 L IS USM 5.5-Stop ISDual Nano USMInternal Zoom Full-Frame | f/2.8 to f/22 Fast L-Series Telephoto Zoom Dual Nano USM AF System 5.5-Stop Image Stabilization Floating Focus Design Internal Zoom and Focusing Design $10,599€11,999 · £10,699 Shop Now→ Affiliate links The NIKKOR Z 120-300mm f/2.8 TC VR S weighs in at 2735g/6lbs and is 353.5mm/1.2′ long. The RF 100-300mm f/2.8L IS USM weighs in at 2590g/5.7lb with a length of 323.4mm/1.05′. With the addition of the built-in teleconverter, these two lenses are pretty close to one another, and shooters wouldn't notice much of a difference between them. The NIKKOR Z 120-300mm f/2.8 TC VR S looks terrific and comes with the price to match launching at $13,996.95, which is about $3500 more than the RF 100-300mm f/2.8L IS USM at $10,599. The RF 1.4x extender adds another $589, but that still keeps the Canon offering considerably cheaper. We do miss the days of Canon and Nikon going at each other with lenses like this. Nikon is really pushing their telephoto and supertelephoto offerings and we'll have to wait and see if that effort pays off by selling more camera bodies by getting new customers into the Z system. Next, we'll look at the measured optical performance of the two lenses. MTF Comparison Canon announced the RF 100-300mm f/2.8L IS USM back in April of 2023, and at the time most people were calling it the best zoom lens ever made. At the time? It probably was. It's a brilliant lens across the board. Nikon appears to have made a lens that is optically better than its Canon counterpart with the NIKKOR Z 120-300mm f/2.8 TC VR S. Nikon chose to build a 1.4x teleconverter into the lens, which adds a lot of versatility, which is great considering its $14,000 USD price tag. MTF comparison Canon RF 100-300mm f/2.8L vs Nikon Z 120-300mm f/2.8 TC 100mm / 120mm 300mm 420mm (1.4x TC) Show 10 lp/mm contrast 30 lp/mm detail Canon RF 100-300mm f/2.8L 100mm · f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 0.97 centre → 0.95 / 0.90 corner (S/M) 30 lp/mm: 0.90 centre → 0.80 / 0.63 corner (S/M) Nikon Z 120-300mm f/2.8 TC 120mm · f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 0.99 centre → 0.95 / 0.95 corner (S/M) 30 lp/mm: 0.95 centre → 0.58 / 0.59 corner (S/M) Head to head · 30 lp/mm (fine detail) Wide end: Canon 100mm vs Nikon 120mm 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional Head to head · 10 lp/mm (contrast) Wide end: Canon 100mm vs Nikon 120mm 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional Canon RF 100-300mm f/2.8L 300mm · f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 0.98 centre → 0.97 / 0.94 corner (S/M) 30 lp/mm: 0.93 centre → 0.87 / 0.78 corner (S/M) Nikon Z 120-300mm f/2.8 TC 300mm · f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 1.00 centre → 0.97 / 0.99 corner (S/M) 30 lp/mm: 0.98 centre → 0.76 / 0.87 corner (S/M) Head to head · 30 lp/mm (fine detail) Both wide open at f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional Head to head · 10 lp/mm (contrast) Both wide open at f/2.8 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional Canon RF 100-300mm f/2.8L 420mm · f/4 (RF 1.4x) 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 0.97 centre → 0.95 / 0.88 corner (S/M) 30 lp/mm: 0.86 centre → 0.81 / 0.55 corner (S/M) Nikon Z 120-300mm f/2.8 TC 420mm · f/4 (built-in 1.4x) 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE 10 lp/mm: 0.99 centre → 0.95 / 0.98 corner (S/M) 30 lp/mm: 0.91 centre → 0.62 / 0.77 corner (S/M) Head to head · 30 lp/mm (fine detail) Canon with RF 1.4x vs Nikon built-in TC 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional Head to head · 10 lp/mm (contrast) Canon with RF 1.4x vs Nikon built-in TC 0.5 0.6 0.7 0.8 0.9 1 0 5 10 15 20 MM FROM CENTRE CanonNikonSagittalMeridional 10 lp/mm 30 lp/mm Sagittal Meridional Redrawn from Canon & Nikon published charts · scale starts at 0.5 Canon RF 100-300mm f/2.8L IS USM Performance Canon at 100mm: Contrast is excellent across the frame, staying above 0.95 to the edge. Fine detail starts at about 0.90 and the sagittal line holds steady, still about 0.80 in the far corner. The meridional line eases off from the centre, reaching about 0.77 by 15mm and 0.63 in the corner, so there’s some astigmatism towards the edges. Canon at 300mm: At its best at 300mm. Fine detail starts at about 0.93 and only drops to roughly 0.87 (sagittal) and 0.78 (meridional) in the corners. Canon at 420mm with RF 1.4x: The extender does have a hit on performance. Centre detail drops to about 0.86. The meridional line slides to about 0.72 by 15mm and 0.55 in the corners, so expect noticeably softer edges. Nikon NIKKOR Z 120-300mm f/2.8 TC VR S Weather Sealing NIKKOR Z 120-300mm f/2.8 TC VR S Performance Nikon at 120mm: contrast is essentially maxed out, at about 0.99 to 18mm. Fine detail is higher in the centre at about 0.95, and the sagittal line stays flat at 0.95 all the way to 15mm. Past 18mm it drops sharply, to about 0.58 in the extreme corner. The meridional line also falls away earlier and faster than the Canon’s: about 0.88 at 10mm, 0.79 at 15mm and 0.59 in the corner. Nikon at 300mm: starts at about 0.98 and stays above 0.95 out to 15mm, so it’s the sharper design across most of the frame. Its sagittal line drops after about 18mm, finishing near 0.76, below the Canon’s 0.87. Its meridional line holds up better than the Canon’s, at about 0.87 vs 0.78. Nikon at 420mm with its built-in teleconverter: Center detail stays higher at about 0.91–0.93, and the meridional line holds up far better, still about 0.77 in the corners. Like the rest of the range, its sagittal line drops late, to about 0.62 at the extreme edge. Tale of the Tape The Nikon is sharper in the centre and mid-frame at every focal length. Its biggest advantage is at 420mm, where the built-in teleconverter clearly beats the Canon with the external RF 1.4x extender. The only weak spot, if you want to call it that is the drop-off in image quality at 120mm in the far corners. Which isn't a big deal in the real world. The Canon has lower peak numbers across the board, though it does have better corner performance at 100mm. At the end of the day, the lines on a graphs tell us that both lenses are remarkable achievements and it doesn't matter which one you own, you're going to get great optical results. With that said, the NIKKOR Z 120-300mm f/2.8 TC VR S can likely call itself the best zoom lens ever made. Keep in mind that MTF charts are provided by the manufacturer, and are in no way standardized across all of the brands. Lens Comparison Lens comparison NikonNIKKOR Z 120-300mm f/2.8 TC VR S CanonRF 100-300mm f/2.8 L IS USM Focal length 120-300mm 100-300mm Maximum aperture f/2.8 f/2.8 Minimum aperture f/22 f/22 Mount Nikon Z Canon RF Format Full-Frame Full-Frame Angle of view 20° 20′ to 8° 10′ 24° to 8° 15′ Minimum focus distance 0.98 m wide (3.2 ft) 2 m tele (6.6 ft) 1.8 m (5.9 ft) Magnification 0.18 to 0.25x (1:4) 0.06 to 0.16x (1:6.25) Focus Autofocus Autofocus Image stabilization Yes Yes Tripod collar Removable, rotating Fixed, rotating Filter size 112 mm 112 mm Dimensions (ø x length) 128 x 353.5 mm 128 x 323.4 mm Weight 2735 g (6 lb) 2590 g (5.7 lb) Lens Construction Nikon NIKKOR Z 120-300mm f/2.8 TC VR S optical construction Optical layout with and without the built-in 1.4x teleconverter, showing ED, Super ED, fluorite, aspherical and SR lens elements. OPTICAL CONSTRUCTION Nikon NIKKOR Z 120-300mm f/2.8 TC VR S Without built-in teleconverter · 120–300mm f/2.8 LIGHT → SENSOR With built-in 1.4x teleconverter · 168–420mm f/4 1.4x TC GROUP LIGHT → SENSOR ED glass Super ED glass Fluorite Aspherical SR lens Standard glass Redrawn from Nikon's published diagram Press Release Press Release Nikon Releases the NIKKOR Z 120-300mm f/2.8 TC VR S, the World’s First Constant f/2.8 Telephoto Zoom Lens with a Built-In 1.4× Teleconverter Highly Anticipated Lens is Designed to Meet the Demands of Professional Sports Photographers Melville, N.Y., October 29, 2026 Today, Nikon Inc. announced the release of the NIKKOR Z 120-300mm f/2.8 TC VR S, a fast telephoto pro-level zoom lens compatible with full-frame/FX-format mirrorless cameras. As part of the S-Line1 series of NIKKOR Z lenses, the NIKKOR Z 120-300mm f/2.8 TC VR S is a telephoto zoom lens that covers a focal length range of 120mm to 300mm with a fast, constant maximum aperture of f/2.82 throughout the zoom range. It is the world’s first3 zoom lens with a constant maximum aperture of f/2.8 to feature a built-in 1.4× teleconverter. This gives photographers the flexibility to cover a wide range of sports scenes, from low-light indoor events like figure skating and basketball, to outdoor sports such as tennis and soccer, where photographers often work at varying distances from their subjects. Despite being a zoom lens, it delivers outstanding rendering performance comparable to that of a prime lens across the entire frame. With superior resolution and large, natural bokeh, the lens captures athletes’ facial expressions and movements in fine detail, creating immersive images that make viewers feel as if they were part of the action. The built-in 1.4× teleconverter extends reach to a super-telephoto focal length of 420mm with a single easily accessible switch, while maintaining superior rendering performance. The lens is surprisingly nimble, weighing approximately 6 lbs (2,735 g), making it about 1.1 lbs (515 g) lighter than the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR (released in 2020). The reduced weight and time saved switching equipment supports photographers’ ability to capture decisive moments in rapidly changing sports action. Nikon will continue to pursue a new dimension in optical performance while meeting users' needs and contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression. Primary Features Delivers fast, highly precise, and smooth autofocus (AF) control with the Silky Swift VCM (SSVCM)4 to track rapidly moving athletes. Features Meso Amorphous Coat, which offers the best anti-reflection performance in Nikon history5, and ARNEO Coat to effectively suppress ghosting and flare for clear images, even in situations where light sources are likely to enter the frame. Powerful 6.5-stop6 vibration reduction (VR) performance at the center and edges of the frame when used with a camera that supports Synchro VR. Features an internal focusing (IF) system and an internal zoom mechanism that keep the overall length of the lens constant during focusing or zooming. Supports Arca-Swiss tripod heads7 for smoother mounting and removal of the lens. The tripod collar features a rubber cushion and integrated finger grip for stable portability. Supports both front screw-on filters and rear slip-in filter holders. Includes the HB-120 Bayonet Hood, which has no protruding parts and is easy to attach and remove, allowing convenient storage and easy handling. Offers high durability using magnesium alloy and superior dust- and drip-resistant performance8 through extensive sealing. Price and Availability The new NIKKOR Z 120-300mm f/2.8 TC VR S lens will be available in mid-November 2026 for a suggested retail price of $13,996.95*. Pre-Order Nikon NIKKOR Z 120-300mm f/2.8 TC VR S $13,996.95 €15,749 £13,999 Available mid-November 2026 Pre-order Now → Affiliate link Source: Nikon Inc. https://www.canonrumors.com/nikon-nikkor-z-120-300mm-f-2-8-tc-vr-s-vs-canon-rf-100-300mm-f-2-8l-is-comparison-specs/ #nikonnikkor #newnikon #canon #usm #comparison #specs #zoom #silkyswift #swiftvcm #teleconverter #rss #feeds #linksharing #qwibbit

Canon Q3 2026 Results: Strong Imaging Sales Driven by Network Cameras Canon Inc. has released their Q3 2026 financial results and they look to be a mixed bag for the imaging division. They're making money, which is the point of it all, but there have been challenges. Revenue in the camera and lens business did rise 4% because the average selling price kept climbing, not due to unit sales. Both the EOS R6 V and EOS R6 Mark III have sold well, but they're higher priced cameras which helps with total revenue. Looking at local currencies, overall camera sales dipped 3.6% for the quarter compared to last year. Canon points to the conflict in the Middle East and weaker consumer spending in China as key reasons for the drop. Compact Cameras Canon can't get new PowerShots out fast enough, their compact camera business grew 50% on the back of 8 year old cameras like the PowerShot G7 X Mark III. Canon is going to have a big focus on this segment going forward. Unsurprisingly, a lot of this is being driven by younger and first time buyers of a Canon camera. All is not rosy for compact cameras. Canon says there are still component shortages affecting unit production. AI datacenters aren't just hammering storage and DRAM capacity, there is also high demand for circuit boards, which has a big impact on camera production. Canon EOS R6 Mark III Full-Frame32.5MP40FPS7K60P 32.5MP Full-Frame CMOS Sensor 7K 60p 12-Bit Internal RAW Light Video Open Gate 7K 30p, High-Speed 4K 120p Dual Pixel CMOS AF II & Movie Servo AF Up to 40 fps & Pre-Continuous Shoot Mode 8.5-Stop 5-Axis Image Stabilization $2,799€2,699 · £2,799 Shop Now→ Canon EOS R6 V Full-Frame32.5MP40FPS7K60P 32.5MP Full-Frame CMOS Sensor 7K 60p 12-Bit Internal RAW Light Video Open Gate 7K 30p, High-Speed 4K 120p Dual Pixel CMOS AF II & Movie Servo AF Up to 40 fps & Pre-Continuous Shoot Mode 8.5-Stop 5-Axis Image Stabilization $2,499€2,499 · £2,399 Shop Now→ Canon EOS R8 Mark II Full-Frame24MP40FPS4K60P 24.2MP Full-Frame CMOS Sensor 4K60p 10-Bit Internal Video, Canon Log 3 40 fps Electronic Shutter, Pre-Capture 5-Axis In-Body Image Stabilization Dual Pixel CMOS AF II with Tracking 2.36m-Dot OLED Electronic Viewfinder $1,899€1,799 · £1,729 Shop Now→ Affiliate links Network Cameras Back in 2015, Canon acquired AXIS Communications for $2.8B and it looks like that acquisition has paid off in spades. Network cameras saw a 30% year-over-year increase in sales. We're not sure if PTZ cameras are included in Network Cameras, but they don't really fit the EOS R system. Research & Development As most of you will know, Canon is always one of the global leaders in the number of patents they're awarded for any year, and it's been that way for a long time. R&D in the imaging division rose 32% year-over-year so far in 2026, which is quite a jump and tells us Canon is investing a lot in new technology and wants to remain the king of camera and lens marketshare. Canon Q3 2026 results Imaging business: the numbers Q3 sales¥294.9bn+16.3% Y/Y Q3 operating profit¥46.8bn+22.7% Y/Y Q3 margin15.9%+0.9 pts (15.0%) Q3 2025Q3 2026¥ billions Imaging sales (total)+16.3% 2025253.6 2026294.9 Cameras+4.0% 2025152.7 2026158.8 Network cameras & others+34.9% 2025100.9 2026136.1 Operating profit+22.7% 202538.1 202646.8 January–September 2026 Imaging sales¥847.6bn vs ¥726.4bn · +16.7% Operating profit¥144.4bn vs ¥108.4bn · +33.2% Operating margin17.0% vs 14.9% · +2.1 pts R&D spending¥103.3bn vs ¥78.3bn · +32.0% In local currency, Q3 camera sales fell 3.6%; the weaker yen turned that into the +4.0% shown. “Network cameras & others” also includes cinema, broadcast and MR products. Source: Canon Inc. Q3 2026 results, October 27, 2026. Imaging Business 2026 Forecast Canon has lowered their 2026 forecast for both network and consumer cameras. Canon has reduced the forecast for revenue by ¥22.1B ($141M USD) for the EOS R system, but a total increase in revenue of 8.1%. As far as the booming network camera business, the forecast has been raised by ¥11.3 ($72M USD) and could still see an impressive 19.9% increase in revenue compared to 2025. Sales of interchangeable-lens cameras cut to 2.75M units, down 5% on last year and below Canon's earlier 2.8M target. Canon is saying the total global interchangeable will ship 6.3M units. That would put Canon at about 44% marketshare if we do the math from those forecasts. The imaging division forecasts a 12.9% in sales and 10.8% in operating profit for the year. That seems pretty solid to us. Canon appears to be navigating the current global fun well all things considered. Canon FY2026 outlook Cameras trimmed, network cameras raised FY imaging sales¥1,190.7bn+12.9% · cut ¥10.8bn FY operating profit¥191.6bn+10.8% · unchanged ILC camera units2.75M−5% · was 2.80M FY2025 actualFY2026 forecastPrevious forecast¥ billions Imaging sales (total)+12.9%−10.8 vs prev. 20251,054.9 2026F1,190.7 Cameras+8.1%−22.1 vs prev. 2025625.5 2026F675.9 Network cameras & others+19.9%+11.3 vs prev. 2025429.4 2026F514.8 Operating profit+10.8%+0.1 vs prev. 2025172.9 2026F191.6 Behind the forecast Operating margin16.1% forecast vs 16.4% in 2025 ILC unit market6.3M units; Canon forecasts 2.75M (~44%) Local-currency growthCameras +1.5% (was +5.4%) · NWC +13.1% (was +11.3%) Implied Q4 profit≈¥47bn vs ¥64.5bn in Q4 2025 (derived) Camera forecast cut for the Middle East conflict, weak demand in China and component shortages limiting compact camera output. Network camera growth target raised to about 20%. Implied Q4 = full-year forecast minus January–September actual. Source: Canon Inc. Q3 2026 results, October 27, 2026. Conclusion Overall, Canon’s imaging division delivered a pretty solid quarter, even if it’s a bit surprising to see network cameras leading the charge. While global challenges in China and the Middle East led to lower forecasts, imaging remains a key growth engine for Canon overall. https://www.canonrumors.com/canon-q3-2026-results-strong-imaging-sales-driven-by-network-cameras/ #canon #networkcameras #cmossensor #pixelcmos #markiii #dualpixel #eos #imagestabilization #driven #results #rss #feeds #linksharing #qwibbit

Is a Partially Stacked Sensor Coming to the Canon EOS R7 Mark II? The Canon EOS R7 Mark II is slated for a Q1 2027 release. We haven’t anything to dispute that as of yet, so that’s what we’re rolling with. Not much has come our way in a month or so letting us know what we can expect, but that changed today when some news from a solid source hit our inbox. EOS R7 Mark II Partially Stacked Sensor? We have been told that the Canon EOS R7 Mark II will have Canon’s first EOS (as far as we know) partially stacked sensor. The source claims that a “stacked sensor” has been talked about for quite some time, but recently that changed to partially stacked. We’re writing about it because it makes a lot of sense. We imagine a partially stacked sensor would cost less to manufacture and give the added bonus of faster readout speed. I think EOS R7 Mark II customers will take the fastest readout speed that Canon can give them. Sensor Resolution We have been told numerous times that the pixel count of the sensor will go up from the EOS R7’s 32-MP pixel count, and the only resolution that we have ever heard is 39MP, or very close to it. This has always made sense to us. An EOS R7 Mark II will be a very popular camera for wildlife, sports parents, and many other uses. We think the cropping potential of a 40MP sensor will be a selling point for a large segment of shooters. Canon EOS R7 Mark II Specifications We don’t have anything to add that we’re confident in about what else to expect from the follow-up to the EOS R7, which is a high-volume camera for Canon. We think it’s safe to say that we can expect some of the features from the EOS R8 Mark II and EOS R6 Mark III will to come to the R7 II. Features like IBIS (the real version), Pre-Shooting, 40fps and it will likely be a capable video camera as well. In Closing We still believe Canon will have one more announcement date before the end of 2026, but there won’t be any new EOS R cameras coming before Q1 of next year. We have also heard a few times that Canon will announce an RF-S lens or two that will be aimed at R7 Mark II customers, aimed at R7 Mark II customers; what those lenses will be, we don’t know. It would be nice to see a super-telephoto zoom for the RF-S series and a good fast prime like the EF-M 32mm f/1.4 STM. Again, we don’t know. It seems every other manufacturer has decided to go with partially stacked sensors outside of flagship products and it’s probably time that Canon does the same thing. We also wouldn’t be surprised to see the all-new sensor make its way into higher-end Powershot cameras, but smaller than APS-C. A lot of people think the sensor in the PowerShot V1 is based on Canon’s 32.5MP APS-C sensor. We don’t have 100% confidence in the information above, but we do think it’s solid enough to write about. More to come soon. https://www.canonrumors.com/is-a-partially-stacked-sensor-coming-to-the-canon-eos-r7-mark-ii/ https://www.canonrumors.com/wp-content/uploads/2026/04/canon-eos-r7-mark-II-mockup-2026.avif #partiallystacked #canoneos #mark #stackedsensor #coming #sensorresolution #rss #feeds #linksharing #qwibbit

Why Are Canon Lenses White? The Science Behind the Sideline Icon When you head to a sporting event, you will inevitably see a sea of big white lenses. For decades, it was Canon lenses 99% of the time. There were likely some people in marketing who were happy to see their lenses a different color than Nikon. Today? There are a lot of Sony lenses being used that also use their version of the white paint. Nikon has had a lens here or there, but all of their current lenses are black. Reverse marketing? So, while the white paint will always be part of Canon's branding, maybe less so today, there are real scientific reasons that Canon continues to evolve the white paint that most take for granted. Why Canon lenses are white is always one of the first questions budding photographers ask, and the simple answer is usually “to deal with heat.” That statement is true, but it's a bit more complex than that. The Problem with Sunshine Sometimes the sun can be a big problem for camera lenses. You will see accurate information out there about long lenses accentuating heatwaves, which is a regular occurrence for wildlife and outdoor sports photographers. Sometimes those heatwaves are from the environment; sometimes they can be from the heat coming off the lens itself. I think we all know that dark surfaces absorb light and turn it into heat, whereas lighter and whiter lenses reflect more light from the surface, reducing the impact of the heat generated. Conventional white Before 2018 Sunlight (infrared)Lens barrel↑ Paint layer Titanium oxide (white pigment) Carbon black (tints the white) Carbon black soaks up infrared, so much of the sun's heat passes into the lens barrel. Heat-shield coating 2018 onward Sunlight (infrared)Lens barrel↑ Paint layer Silica-coated titanium oxide Infrared-reflective pigment (replaces carbon black) Infrared is reflected away instead of absorbed, so far less heat reaches the barrel: 20% less temperature rise, according to Canon. Simplified illustration based on Canon Europe's description of the two paint formulations. Particle sizes and counts are not to scale. We call them white lenses, but they're a few shades off-white. If the lenses were pure white, you'd get some pretty nasty, bright reflections coming off the surface. Blinding yourself or the person beside you isn't the best thing. For the purpose of this exercise, we'll still call it “Canon White.” This coating has been 60 years in the making, and Canon continues to work to improve it. More Than 60 Years of White Canon first used a lighter color on its broadcast camera lenses in 1960, including the Canon TV 2000mm f/11. The lens looked like 18% gray in color, and the signature “Canon White” would come about 15 years later. It wasn't until 1976 that Canon introduced white lenses to their SLR lineup. The goal was simple: reduce the heat on the surface of the lens to minimize thermal expansion and contraction. Canon TV 2000mm f/11 // Credit: Canon Inc. There was another big reason for the switch to reflective coatings for Canon: the proliferation of fluorite and synthetic fluorite elements. Fluorite is great at controlling chromatic aberrations, but it is more affected by heat than other glass element types. The white paint development was enough to keep the performance of the fluorite elements right where they wanted it to be. The Australian Open Problem It wasn't until the early 2000s that Canon realized what they had been doing with surface coatings wasn't enough and that it was time to make the white paint better. There were a lot of complaints from photographers using the EOS-1D at the Australian Open about autofocus performance issues. Canon tested the cameras and found nothing wrong with any of them. Canon sent a technician into the stands with the photographers to monitor the temperature of the cameras and lenses, and it turned out things were cooking. If you just lie on a lounger at the pool in 30°C weather under a high sun, most of us would feel a bit warm. That's what Canon discovered. Photographers aren't in the sun for half an hour; it can be an all-day affair. Canon had just discovered that too much heat was present inside the lens and that had effected the performance of the autofocus system. It was time to get back into R&D on the paint used for the surface of a camera lens barrel. The Sea of White // Credit: Canon Ireland Time for a New “Canon White” In 2018, Canon introduced a new heat-shield coating. The brief was demanding: the coating had to block more heat than ever, resist scratches and abrasion, avoid discoloring after long exposure to sunlight, feel good in the hand without being rough, and still look unmistakably like “Canon White.” This kind of technology can take a long time to develop, testing both optical performance in the field and the feasibility of manufacturing the coating in large quantities. Canon first looked at existing heat-shielding coatings, including ones used in the construction industry. None were tough enough. They couldn't handle the vibration and knocks a working lens takes, and a small bump could damage them. So, Canon decided to develop its own. What Changed? The original white paint got its shade by mixing white titanium oxide with carbon black. Carbon black is what absorbed infrared light. The new version swapped the carbon black for an infrared-reflective pigment, so sunlight’s infrared bounces off instead of soaking in. The titanium oxide is now also coated with silica. The new coating is more resistant to scratches and UV fading, too. As we know, it's not indestructible, and at some point, you're going to get one of those lovely chunks gouged out of the coating to expose the metal below. We like those battle scars around here, but not everyone does. The Shade of White Getting the right shade of white was a process. Engineers tested a pile of samples and spent time adjusting the shade, texture, the level of sheen, and even how much coating was applied to see what influence it had on the finished color and overall performance. In the end, Canon picked the color by eye because they couldn't quantify aesthetic outcomes with definitive data on the shade and application. Testing the performance was also a massive task. Canon engineers placed temperature sensors inside and outside the barrel, testing the old and new coatings side by side. They figured out that there were many slight variables with a direct impact on heat: things like small differences in the angle of the lens or whether or not there was a breeze. How much the new white helps Temperature rise of a lens in sunlight, conventional Canon white = 100 Conventional white painttitanium oxide + carbon black 100 Heat-shield coating (2018)silica-coated titanium oxide + IR-reflective pigment 80 −20% temperature riseSwapping the infrared-absorbing carbon black for an infrared-reflecting pigment means less of the sun's heat soaks into the lens. Source: Canon Europe. Canon quotes only the relative reduction, not absolute temperatures, so the bars are indexed rather than in °C. Through exhaustive testing, Canon concluded that the new coating reduced temperatures in the lens by about 20%. Does it Matter Today? Canon notes that modern RF lenses can be more prone to heat issues due to smaller barrel surface areas and fewer internal elements to distribute the heat load. Modern high-resolution image sensors can also reveal far more anomalies than film or early digital sensors. At 45MP, every atmospheric disturbance has a greater visual impact than on an older 12MP sensor. It’s similar to the days of mirror-slap on tripods: vibration blur was far more noticeable on a 50MP body than on a 24MP body. Lens Hoods Play a Role The coating on the lens hood plays a big role in battling the effects of heat. If the lens hood on a “Big White” were black, the front barrel would absorb heat directly at the entrance pupil, creating internal heat haze or a “mirage” effect inside the glass. So not only do lens hoods protect your glass from impacts and flare, they also play a critical role in keeping internal temperatures down. Keep in mind: the longer your focal length, the more exaggerated these heat-based anomalies become. Even on a smaller lens like the RF 100-500mm f/4.5-7.1L IS USM, which has far less surface area than an RF 600mm f/4L IS USM, the 500mm reach makes the heat-shield coating essential on both the barrel and hood. The coating debuted in 2018 on the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM. The first RF lens to receive it was the RF 70-200mm f/2.8L IS USM in 2019, a compact zoom frequently relied upon by sports photographers under blazing summer heat. Canon White Through the Years More than 60 years of Canon white: why Canon's telephoto lenses are white, and how the paint went from a simple heat reflector to a purpose-built infrared-reflecting coating. 1960Origin Broadcast lenses go white Canon first uses white on its broadcast camera lenses, including the TV2000mm F11. 1976SLR era White comes to SLR lenses White is first used on Canon SLR lenses to reflect heat and minimise thermal expansion and contraction. That is especially important for heat-sensitive synthetic fluorite elements, which Canon pioneered in the 1960s. Early 2000sField report The Australian Open problem Photographers shooting with the EOS-1D report autofocus problems. The cameras test fine, so a Canon technician sits with them and logs temperatures. The culprit turns out to be heat building up in lenses that sit in the sun for hours. 2018Breakthrough New heat-shield coating Canon debuts its own coating on the EF 400mm f/2.8L IS III and EF 600mm f/4L IS III. It replaces IR-absorbing carbon black with an IR-reflective pigment and uses silica-coated titanium oxide, cutting temperature rise by 20% compared with the conventional paint. 2019RF era First RF lens with the coating The RF 70-200mm F2.8 L IS USM becomes the first RF-mount lens to wear the new white, followed by the RF 70-200mm F4 L IS USM. TodayNow Across the RF super-telephotos, and the hoods The coating is now used on lenses such as the RF 400mm F2.8, RF 600mm F4 and RF 100-500mm. It is also applied to their lens hoods, so a hot hood doesn't create heat haze inside the lens. Source: Canon and Canon Europe. The 20% figure is Canon's own comparison with its previous white paint. Why Aren't Smaller Lenses White? There are a few reasons why this paint color is saved for the bigger lenses. Smaller lenses have less surface area to soak up heat.. A lens like an RF 24-70mm f/2.8L IS USM isn't likely to be sitting baking in the sun on a tripod at an event. As mentioned earlier, the longer the focal length, the more likely you'll be able to see the negative effects of heat. Yes, there are the RF 100-400mm f/5.6-8 IS, RF 600mm f/11 and the RF 800mm f/11 black lenses in Canon's lineup, but they're not targeted at professionals who will be dealing with the sun for longer periods of time. Black is also better for videography to keep surface reflections to a minimum. Black is a bit more “stealth” when shooting events like a wedding. We imagine that the black coating is cheaper to use than the “Canon White” coating. In Closing The question of the white paint and why it exists has been asked for decades past and will be asked in the future, and for those of us that like to know why something is done the way it is, we think this topic will always be interesting. Canon could be working on the next iteration of this technology, as they seem to be a company that spends a lot of resources on the “little things”. Sure, one of those little things is going to be branding, but sometimes you get added benefits to advances in your technology. It has been 60 years of engineering just to try and keep the lenses cooler, and if they find a better way to do it, expect a new coating or two down the line. https://www.canonrumors.com/why-are-canon-lenses-white-the-science-behind-the-sideline-icon/ #canon #white #lenses #paint #infrared #sometimes #sunlight #rss #feeds #linksharing #qwibbit

Sigma Announces the FP2, the World’s Smallest Full Frame Camera Sigma is a company that does things their way, I don't think they think all that much about what others are doing with lens design, and they definitely don't care what others are doing with cameras. They're a lot like Leica, but a lot more affordable. The Sigma BF is definitely its own thing, and the fp2 is too.. These are small companies in the grand scheme of things. It's better to be you than chasing the giants. It's working very well for both of them. Official Announcement Sigma fp2 Sigma has announced the FP2, the world's smallest full-frame camera. The camera measures 112.8 x 69.9 x 41.8 mm / 4.4 x 2.8 x 1.6 in and weighs in at 460g with the battery and card. In a full-frame camera, that's quite impressive. Canon's smallest camera is the EOS R50 V and measures 116 x 85.5 x 68.8 mm / 4.6 x 3.4 x 2.7 in and weighs 370g with the battery. So if you've had an R50 V in your hands, that'll give you an idea of the size. The big caveat being the APS-C sensor. The fp2 is almost a complete ground up re-design, a refresh it is not. They have added a 3.15″ tilt screen, and a bigger battery and it's even a bit smaller than its predecessor. The camera is somehow equipped with two USB-C ports and a full-size HDMI port. The fp2 is equipped with a partially stacked image sensor, which in turn should lead to faster readout speeds and less rolling shutter. We'll have to wait for the official numbers on that topic, but faster is usually better when it comes to sensors. If you want to shoot some action stuff, the 20fps is generally more than enough for most people. Another interesting feature is the 70GB of internal storage. I have a camera with internal storage and it's so annoying that I never use it. Hopefully Sigma has a better implementation. The camera is no slouch on the video side of things. 6K open gate video, with 12-bit ProRes RAW to SSD. Sigma claims 14.1 stops of dynamic range with L-raw in 4K. You also get dual base ISO settings and 32-bit float audio. That's pretty impressive. Some consider the FP2 a “modular” camera, as Sigma offers bevy of accessories to fit your needs. Sigma fp2 New Accessories As mentioned, Sigma is also launching a lot of accessories for the fp2. They aren't cheap, but that's probably because this will not be a mass market camera, and it comes down to economies of scale. Hopefully they're well made and do what they do well, especially the EVF and LCD Viewfinder. Sigma fp2 Accessories Sigma EVF-21 Electronic Viewfinder 5.76M-dot OLED with eye sensor. Connects via a single USB-C port. $719€759£629 Check Price → Sigma HU-21 Hot Shoe Unit OM System / Lumix flash compatible, plus shoe-mount mics and XLR adapters. $181€160£149 Check Price → Sigma LVF-21 LCD Viewfinder Hood-and-loupe viewer that slots onto the rear screen. $386€334 Check Price → Sigma BP-91 Battery (2200mAh) Spare Li-ion pack for the fp2. Rated at approx. 370 shots per charge. $114€120 Check Price → Sigma BC-91 Battery Charger External charger for BP-91 batteries. $197€179 Check Price → Sigma BPL-11 Base Plate Bottom plate for mounting and rigging. $84 Check Price → Affiliate links Sigma fp2 Conclusion I think this looks like a great package for people that may also be looking at a camera like the Panasonic S9, but it seems a lot better for photographers on the surface. The accessory options also add a fair bit to the system. As far as lenses, there are more out there for you to choose from various brands. Again, well done Sigma, at least you're definitely not boring. Sigma fp2 Key Features Official Specs Sigma fp2 The Sigma fp2 is the smallest full-frame camera in the world. 24MP Partially-Stacked Full-Frame Sensor Ultra-Compact & Modular Design 6K Open Gate Raw Video Recording 3.15″ Tilting LCD Screen 20 fps Continuous; ISO 6-102400 Fast, Improved AF Performance Selectable Color Modes 2 x USB-C Ports; Full-Size HDMI Output 70GB Internal Memory Wi-Fi and Bluetooth Connectivity ShipsNovember 11, 2026 $2,199Body Only $2,749w/ 50mm f/2 DG Contemporary $2,749w/ EVF-21 Electronic Viewfinder €2,199Body Only €2,759w/ 50mm f/2 DG Contemporary €2,799w/ EVF-21 Electronic Viewfinder £1,899Body Only £2,419w/ 50mm f/2 DG Contemporary £2,399w/ EVF-21 Electronic Viewfinder Pre-order Now → Affiliate link Sigma fp2 Full Specifications Sigma fp2 — Full Specifications Type Camera TypeInterchangeable-Lens Mirrorless Digital Camera Lens MountL-Mount Memory MediaInternal Memory (Approx. 70GB), SDXC (UHS-II), Portable SSD (USB 3.2, USB Bus Power Supported) Image Sensor Sensor Type35mm Full-Frame (35.9 x 23.9mm) Partially-Stacked CMOS ResolutionEffective: Approx. 24.5MP / Total: Approx. 26.8MP Sensor Aspect Ratio3:2 Image StabilizationElectronic Image Stabilization (EIS) — Video Only Still Image Capture Image File FormatLossless Compressed RAW (DNG) 14-Bit, JPEG (Exif 3.0), RAW + JPEG Image Aspect Ratios21:9, 16:9, 3:2, A Size, 4:3, 6×7, 1:1 Image Size (RAW / JPEG)6016 x 4012 Crop Mode3840 x 2560 (Approx. 1.5x Focal Length) Video Capture Movie FormatApple ProRes RAW HQ, Apple ProRes RAW (12-Bit) / MOV: H.264, H.265, L-Log 6K23.98 / 24 / 25 / 29.97 / 47.95 / 48 / 50 / 59.94 fps (Not Available with EIS) 4K23.98 / 24 / 25 / 29.97 / 47.95 / 48 / 50 / 59.94 fps (100 & 119.88 fps in Crop Mode) 2K23.98 / 24 / 25 / 29.97 / 47.95 / 48 / 50 / 59.94 / 100 / 119.88 fps Frame Rate Notes47.95 fps: ProRes RAW HQ / ProRes RAW Only · 48 fps: Not Available in H.264 · ProRes RAW: Up to 6K 29.97 fps Video Aspect Ratios3:2, 16:9, 17:9, 4:3 (2K: 16:9 Only) Audio FormatLinear PCM (4ch 96kHz, 2ch 192kHz / 24-Bit), 32-Bit Float (4ch 96kHz, 2ch 192kHz) Continuous RecordingUp to 2 Hours Built-In Mic / SpeakerStereo Microphone, Mono Speaker Focus AF SystemImage Plane Phase-Detection AF + Contrast Detection Focus ModesSingle AF, Continuous AF, Tracking AF, Manual Focus AF Sensitivity-5 to 18 EV (F1.4, ISO 100) AF Area6 Steps Subject DetectionHuman, Dog, Cat, Bird — with Eye AF Other Focus FunctionsAF+MF, MF Magnification, Focus Peaking, Release / Focus Priority, Focus Ring Control (Non-Linear, Linear) Exposure Control Shutter TypeElectronic Shutter Shutter Speed1/25,600 to 30 Seconds, Bulb (Up to 5 Minutes) Metering SystemEvaluative, Spot Metering Range-5 to 18 EV (50mm F1.4, ISO 100) Exposure ModesProgram AE, Shutter Priority, Aperture Priority, Manual (Stills & Movie) Base ISOStills: ISO 320 / 2500 · Movie (MOV): ISO 320 / 2500 · Log / RAW: ISO 1250 / 10000 ISO Range (Stills)ISO 100–102,400 (Expanded: ISO 6, 12, 25, 50) ISO Range (Movie)MOV: ISO 100–102,400 · Log / RAW: ISO 1250–102,400 (Expanded: ISO 320, 640) Exposure Compensation±5 EV (1/3-Stop Increments) AE LockHalf-Press Shutter Button or AEL Button (Setting Change Required) Exposure Bracketing3 or 5 Shots, Up to 3 EV (1/3-Step), Sequence Changeable Exposure AssistWaveform, Histogram, Zebra Pattern, False Color White BalanceAuto, Auto (Lighting Source Priority), Incandescent, Fluorescent, Daylight, Overcast, Flash, Shade, Manual (50K Steps) + Custom 1–10 Color ModesStandard, Rich, Calm, Powder Blue, Warm Gold, Teal and Orange, FOV Classic Blue, FOV Classic Yellow, Forest Green, Sunset Red, Cinema, 709 Look, Monochrome Drive Drive ModesSingle, Continuous, Self-Timer, Interval Timer (Movie Output Available), Exposure / Focus / White Balance Bracketing Continuous Shooting20 / 8 / 5 / 3 fps Buffer20 fps: 200 JPEG / 180 DNG · 8 fps: 3,000 JPEG / 630 DNG Self-Timer2 / 10-Second Delay Monitor Display TypeTilting 3.15″ TFT LCD Touchscreen, 3:2 ResolutionApprox. 2,100,000 Dot CoverageApprox. 100% Tilt RangeApprox. +90° to -45° Flash Built-In FlashNo Flash ModesTTL Auto, Manual, Wireless, Multi Flash Optional FunctionsRed-Eye Reduction, Slow Sync, Rear-Curtain Sync Flash Compensation±3 EV (1/3-Stop Increments) Maximum Sync Speed1/50 Second (1/60 Second or Slower in Crop Mode) External FlashWith Hot Shoe Unit HU-21 (Compatible with OM System / Lumix Flash) Director's Viewfinder ARRIARRICAM / ARRIFLEX, ALEXA LF / ALEXA Mini LF, ALEXA Mini, AMIRA, ALEXA 35 Xtreme SonyVENICE / VENICE 2 6K, VENICE 2 8K, BURANO REDMONSTRO 8K, HELIUM 8K, DRAGON 6K, EPIC MX 5K, GEMINI 5K, V-RAPTOR XL [X], KOMODO X Desqueeze Ratios1.25x, 1.3x, 1.33x, 1.5x, 1.6x, 1.65x, 1.8x, 2.0x Other Functions FeaturesSave / Load Settings via QR Code, Screenshot, Webcam, In-Camera DNG Development, Still Capture from Movie Files, Fill Light (DNG Development Only), Gyroflow Support Display LanguagesEnglish, Japanese, German, French, Spanish, Italian, Simplified & Traditional Chinese, Korean, Russian, Dutch, Polish, Portuguese, Danish, Swedish, Norwegian, Finnish Interface USB Port 1USB 2.0 Type-C (UAC, Cable Release, EVF, Charging / Power Delivery) USB Port 2USB 3.2 Type-C (Mass Storage, UVC, UAC, Cable Release, Charging / Power Delivery) Video I/O1x Full-Size HDMI Type A (Ver. 2.1) Microphone Input3.5mm Stereo Mini Jack (Plug-In Power), USB (UAC 2.0) Headphone OutputVia USB Timecode InputYes (Shared with Mic Terminal) RemoteCable Release (via USB) Flash Sync TerminalDedicated Terminal (with HU-21 Mounted) WirelessWi-Fi, Bluetooth General Weather SealingDust & Splash Resistant (Not Waterproof) PowerLi-ion Battery Pack BP-91, USB PD (27W+ Recommended), DC Connector CN-91 Battery LifeApprox. 370 Shots / Approx. 130 Min. Video Operating Conditions32–104°F / 0–40°C, up to 85% Humidity (Non-Condensing) Dimensions (W×H×D)4.4 x 2.8 x 1.6″ / 112.8 x 69.9 x 41.8mm Weight13.3 oz / 376g (Body Only) — 16.2 oz / 460g (w/ Battery & SD Card) Items Included Sigma fp2 Camera · Pouch · Li-ion Battery Pack BP-91 · Strap · Strap Holder SH-11 · Body Cap · Start Guide · Limited Warranty · Warranty Sticker Optional Accessories Hand Grip HG-11 · Electronic Viewfinder EVF-21 · LCD Viewfinder LVF-21 · Base Plate BPL-21 · Hot Shoe Unit HU-21 · Cable Release CR-51 · Battery Charger BC-91 · DC Connector CN-91 · Strap Holder SH-11 (2 pcs) Sigma fp2 Product Gallery Sigma fp2Click any image to enlarge Sigma fp2 — Front 1 / 6 Sigma fp2 — Rear 2 / 6 Sigma fp2 — Top 3 / 6 Sigma fp2 — Bottom 4 / 6 Sigma fp2 — Grip side 5 / 6 Sigma fp2 — Port side 6 / 6 Sigma fp2 Press Release Press Release Sigma Announces FP2 Camera, Delivering Top-Level Performance and Endlessly Versatile Expandability Ronkonkoma, N.Y., October 23, 2026 Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to announce the Sigma FP2 camera, which combines full-fledged shooting capabilities and flexible expandability in the world’s smallest*1 full-frame body. Carrying over the concept of the original fp series while enhancing every function, Sigma has perfected the FP2 as a “Small, Powerful, Adaptable” camera. Its pocket-sized, lightweight body is equipped with powerful shooting features, from a high-performance full-frame sensor to switching between still and cine modes, each with its own dedicated UI. The Sigma FP2, a one-of-a-kind compact system camera that offers a high degree of user-oriented adaptability, will be available on Wednesday, November 11, 2026 at authorized Sigma retailers starting at $2,199 USD (body only). The FP2 will also be sold as a bundle with the 50mm F2 DG | Contemporary lens ($2,749) or Electronic Viewfinder EVF-21 ($2,749). Source: sigmaphoto.com https://www.canonrumors.com/sigma-announces-the-fp2-the-worlds-smallest-full-frame-camera/ #fullframe #sigma #sigmaannounces #smallestfull #framecamera #checkprice #world #lcdviewfinder #battery #accessories #rss #feeds #linksharing #qwibbit

Canon Releases New Firmware for EOS C50, C80, and C400 Canon has released new firmware for the EOS C50, EOS C80 and EOS C400. The update fixes some bugs in the cameras. We generally recommend waiting on firmware updates, check out usergroups for these cameras and see if there is discussion about issues that may have arisen. We hate saying it, but Canon has a bit of a track record in regards to new firmware bringing new bugs to the cameras. Firmware Update Canon EOS C50 Firmware v1.0.6.1 Fixes & enhancements Enhanced security for IP streaming Fixed display problems in some language environments Fixes an issue where image recording to the card may not complete in Photo mode Download Firmware Check Price → Firmware Update Canon EOS C80 Firmware v1.0.8.1 Fixes & enhancements Enhanced security for IP streaming Corrected display problems in some language environments Download Firmware Check Price → Firmware Update Canon EOS C400 Firmware v1.0.8.1 Fixes & enhancements Enhanced security for IP streaming Corrected display problems in some language environments Download Firmware Check Price → Check Price links are affiliate links In Closing The firmware is nice, but it's strange to see that Canon really only has 3 Cinema EOS cameras. We suspect a camera or two above the C400 are coming, but we have no idea when. It feels like we've been waiting forever, but we think Canon is going to re-imagine the higher end level of cameras. Sony is the big player, and it seems the higher budget filmmakers simply don't look at Canon and roll with Sony and ARRI. https://www.canonrumors.com/canon-releases-new-firmware-for-eos-c50-c80-and-c400/ #newfirmware #canoneos #firmwarecheck #firmwareupdate #downloadfirmware #checkprice #fixes #cinemaeos #rss #feeds #linksharing #qwibbit

Canon EOS R8 Mark II First Impressions: Worth the $1,899 Price Tag? The Canon EOS R8 Mark II is finally shipping after a long lead time from the September 15, 2026 announcement. Stock levels for the camera are good in every country that we have looked at. We think this camera is going to be a slow burn sales wise with its new ergonomic design and the fact that it's $1899. The EOS R8 is a beloved camera for shooters that have no interest in $10,000 kits and with the launch price bump for the EOS R8 Mark II. Canon EOS R8 Mark II EOS R6 Mark II vs EOS R8 Mark II The Canon EOS R6 Mark II is still a current product and is only $100 more currently and we think there is going to be a lot of cross shopping between the two cameras. On the surface, I'd take the EOS R8 Mark II for what I'd use it for, but for people that want or need a mechanical shutter, the EOS R6 Mark II is going to be the better choice. Features like pre-shooting don't matter to everyone and there are a lot of other software tricks that may be of no interest to a lot of consumers. The EOS R8 Mark II does not have the same video chops as the EOS R6 Mark II, so that will be a consideration for some. Full-Frame Hybrid Canon EOS R6 Mark II Full-Frame24.2MP4K6040 fps 24.2MP Full-Frame CMOS Sensor 4K60 10-Bit Internal Video, C-Log 3 External 6K ProRes RAW Recording Dual Pixel CMOS AF II 12 fps Mech. Shutter, 40 fps E. Shutter Sensor-Shift 5-Axis Image Stabilization 3.69m-Dot OLED EVF 3″ 1.62m-Dot Vari-Angle Touchscreen LCD Dual UHS-II Memory Card Slots Multi-Function Shoe, Wi-Fi and Bluetooth Check Price → Compact Full-Frame Canon EOS R8 Mark II Full-Frame24.2MP4K60p5-axis IBIS 24.2MP Full-Frame CMOS Sensor 4K60p 10-Bit Internal Video, Canon Log 3 40 fps Electronic Shutter, Pre-Capture 5-Axis In-Body Image Stabilization Dual Pixel CMOS AF II with Tracking 2.36m-Dot OLED Electronic Viewfinder 3.0″ 1.62m-Dot Vari-Angle Touchscreen Multi-Controller Joystick for Navigation Microphone Input, Headphone Output Multi-Function Shoe, Wi-Fi & Bluetooth Check Price → Affiliate links Canon EOS R8 Mark II EOS R8 Mark II Initial Impressions I am not a reviewer and I have zero desire to be one. The zero day reviews for the EOS R8 Mark II all kind of said the same thing. There was a lot of focus on the design language and I think that had a lot of influence in the tone of the reviews. There was also the whole “retro” thing that we started. Canon says it's retro inspired, and with the EG-E2 ergonomic grip, there is some visual cues that look like a throwback to yesteryear. Zero day reviewers do not have gear for more than a week or two in a lot of cases, even less time sometimes, so they have to get things out there as best as they can. The reviews that are going to come a month or 6 months from now are going to paint a different picture I think. Whether that's in a positive or negative way, we'll see. There will also be a demographic of people that hate big change in the way a camera is physically designed, and that's ok. As for our initial impressions now that we have the camera? I much prefer the new design language over the R8, and the camera feels a bit more premium. The grip material feels a lot better than the EOS R8. Overall the new 8-series camera feels a notch higher than the R8. I also ordered the Canon EG-E2 ergonomic grip and it is really well executed and makes a significant difference for me. Canon EOS R8 Mark II Is This Really Going to be Canon's Entry Level Full-Frame Camera? At $1,899, the price doesn't feel entry-level, full-frame or not. I can assure you that this won't be Canon's entry-level full-frame camera at some point in time over the next year. For now, we're calling the coming entry-level camera the EOS R9. There is going to be hardware they'll be able to remove from an entry-level camera to bring the price down significantly from $1899. If the price of the EOS R8 Mark II is too steep for you, I think we're going to see it appear at the Canon USA Refurbished store a bit earlier than most other cameras. This may be a camera worth waiting 6 months to save some money. Canon EOS R8 Mark II In Closing I look forward to putting the EOS R8 Mark II through its paces alongside the EOS R1 this weekend. I'm not a fan of iPhone vs ARRI camera nonsense but I do enjoy seeing what the “normal” consumer buys vs the flagship professional products. Yes, the EOS R1 is going to outperform the EOS R8 Mark II by a large margin when it comes to autofocus and sensor readout speed, but it'll be interesting to see if the R8 Mark II is better or equal at some other things. I think Canon has done well here. https://www.canonrumors.com/canon-eos-r8-mark-ii-first-impressions-worth-the-1899-price-tag/ #canoneos #mark #checkprice #impressions #cmossensor #pixelcmos #initialimpressions #dualpixel #internalvideo #bluetoothcheck #rss #feeds #linksharing #qwibbit

Is an RF 70-200mm f/2L IS Coming? Canon’s Latest Patent Points to a Dream Zoom A small group of us are quietly waiting for an RF 200mm f/2L IS to become part of the RF lineup, but we know it's a niche lens and we'll have to be patient. Maybe we're not getting a prime and Canon will go the zoom route again, as they did with the RF 100-300mm f/2.8L IS USM instead of a straight 300mm f/2.8 prime. In a recent patent, Canon shows off an optical design for an RF 70-200mm f/2L IS, and that would be cool. Since the RF 28-70mm f/2L became a thing, there have been endless desires for Canon to add an f/2 version of the 70-200 series to pair with it. Great idea, and all it will take is a big bag of money to get one. Japan Patent JP 2026-168807 The Problem & Solution This patent is not related to the recent high-refractive-index patent(s) that have appeared lately. The highest index glass used in this patent is the “normal” 2.05x, and the recent patents have been 2.2x-2.3x. This patent has more to do with moving focusing groups to keep the size of the design as small as possible and to preserve image quality at the minimum focusing distance, the optical designs presented are using 3 focusing groups. All three of the focusing groups move towards the subject for close focus. The main focusing group is labeled “F3”, the “F1” and “F2” groups move only a tiny amount to offset field curvature. Since the two latter groups only move a little bit according to the patent, they don't need large focus motors as the elements in those two groups don't have to be thick and heavy. Japan Patent JP 2026-168807 Canon RF 70-200mm f/2L IS In a patent application with about a dozen optical designs, the RF 70-200mm f/2L is the one that stands out. It's not small with a lens length of 220mm without the added flange distance. The EF 200mm f/2L IS USM was 210mm in length, but as a whole package. How lens lengths in a patent translate to an actual consumer product doesn't always follow a standard set of rules. Canon 70–200mm f/2 design · Example 9 JP 2026-168807 A · drag the sliders to zoom and focus ← Subject side Sensor side → Zoom 72mm118mm194mm 194mm Focus ∞closest ∞ Animate zoom Animate focus Lens data, zoom spacings and focus spacings are from the patent at 72, 118 and 194mm, infinity and closest focus. Positions in between are interpolated, and rays are traced live from the prescription. Total length stays 240.16mm: it zooms and focuses internally. The design is fairly complex as you'd imagine with 23 elements in 8 groups with 6 aspheric surfaces. This looks to be an internal zoom design as well. We're not saying it's happening, but if we could preorder based on a patent application, we'd have done so already. Sure, a smaller and lighter RF 200mm f/1.8L IS would be just fine as well. We're not picky, just whiny. Japan Patent JP 2026-168807 In Closing Again, this patent isn't so much about a specific lens design and is more about Canon finding ways to make fast high quality zoom lenses fit into the smallest space possible. We focused on the 70-200 f/2 design, because that is the most interesting optical design that we think has the biggest chance of the bunch to become a consumer product one day. We still think it's a very small chance and it would cost $6000-$8000 from our friends at Canon. The other examples in this patent are for "normal" f/1.4 zoom lenses like a 50-85mm f/1.4. That's not something Canon would make, but there seems to be a lot of recent filings pointing towards zoom lenses faster than f/2. As always, this may be much ado about nothing and we're just showing you what Canon is up to. Japan Patent JP 2026-168807 Lens Examples All 11 examples are full-frame zoom lenses with a constant maximum aperture, and every one focuses with three or more independent focus groups. F1 is a single negative element in the main negative zoom group, F2 is a single positive element near the aperture, and F3 is the main focus group. All three move toward the subject when focusing close. Example 11 adds a fourth focus group that moves toward the sensor. Lens groups are numbered L1, L2… as in the patent. Lengths and back focus are given wide → telephoto. Closest focus is measured from the image plane. Badge shows the lens class. –“”−–––−·····−··––––−·····−··––––−·····−··–––––−·····−··−·–––––−·····−··−··−–−−–––→–−····−··−·–−––→–−····−··––––→–−····−··−··−––––−··−···−····−·−·≈−–––−··−···−····−·−·–––––−··−····−····−·−· ·· https://www.canonrumors.com/is-an-rf-70-200mm-f-2l-is-coming-canons-latest-patent-points-to-a-dream-zoom/ #patent #latestpatent #canon #zoom #dreamzoom #japanpatent #focus #coming #lens #usm #rss #feeds #linksharing #qwibbit

Canon Patent Reveals Ultra-High-Index Glass to Shrink Next-Generation Fast Primes Canon continues to work on reducing the size and weight in lens designs. This latest patent appears to show Canon using a new type of glass in lens designs to shrink the size of lenses. This patent is more about the type of glass being used than the optical designs themselves. Japan Patent JP 2026-167867,A The Patent Solution If we're reading this one correctly, Canon is using a new class of glass with a refractive index of 2.2-2.3, which is beyond what we traditionally see in lenses. Those don't tend to go beyond 2.0. What does that mean? If you use elements with a higher refractive index, you end up bending the light in a stronger way. That allows thinner lens elements, which shrinks the length and weight of a lens. The problem with high-refractive lens elements is that they spread colors out more, which is extremely hard to control and you tend to end up with wonky color errors. It looks like Canon is using two of the high-refractive lens elements to correct the issues with violet dispersion, which tends to be the color most affected. Japan Patent JP 2026-167867,A Optical Designs The patent shows off a few interesting lens designs for both full-frame and APS-C sensors. Of them, the 85mm f/1.2 example is the most interesting to us, as we do believe we're getting a replacement for the current version in the coming months. The APS-C 65mm f/1.4 is interesting as well, but we haven't seen much evidence that Canon has interest in making fast prime lenses for crop cameras. Japan Patent JP 2026-167867,A Canon RF 85mm f/1.2L Example Example 1 wireframe tear-away: 85mm f/1.2 high-index telephoto Wireframe cross-section of Example 1 of JP 2026-167867 A, drawn from the patent prescription at infinity focus. B1 positive fixed, B2 negative focus group, B3 negative fixed, aperture stop, B4 positive focus group, B5 weak negative fixed. The two ultra-high-index elements Lp1 and Lp2 are tinted. Part of the upper barrel wall is torn away. Axial rays in blue and full-field rays in coral. Example 1 · 83.3mm f/1.24 JP 2026-167867 A (Canon) · wireframe tear-away · infinity focus ← Subject side Sensor side → B1 B2 B3 B4 B5 aperture Lp1 Lp2 sensor Focus travel, infinity → 0.61m 9.2mm toward subject B4 2.5mm toward sensor B2 Total length 140.35mm Back focus 14.17mm Positive group Negative group Axial rays Rays to sensor corner Lp1/Lp2 · nd 2.31 glass Radii, thicknesses, glass and clear apertures are from the patent. Rays are traced from that data; the housing is illustrative. Japan Patent JP 2026-167867,A Canon RF-S 65mm f/1.4 Example Example 4 wireframe tear-away: 65mm f/1.44 APS-C high-index telephoto Wireframe cross-section of Example 4 of JP 2026-167867 A, an APS-C design, drawn from the patent prescription at infinity focus. B1 positive fixed, B2 negative focus group, B3 negative fixed, aperture stop, B4 positive focus group, B5 weak positive fixed. The two ultra-high-index elements Lp1 and Lp2 are tinted. Part of the upper barrel wall is torn away. Axial rays in blue and full-field rays in coral. Example 4 · 65mm f/1.44 · APS-C JP 2026-167867 A (Canon) · ≈104mm equivalent · infinity focus ← Subject side Sensor side → B1 B2 B3 B4 B5 aperture Lp1 Lp2 sensor Focus direction, infinity → 0.41m (travel not listed in the patent) toward subject B4 toward sensor B2 Total length 90.00mm Back focus 10.00mm Positive group Negative group Axial rays Rays to sensor corner Lp1/Lp2 · nd 2.28 / 2.19 Radii, thicknesses, glass and clear apertures are from the patent. Rays are traced from that data; the housing is illustrative. Japan Patent JP 2026-167867,A In Closing This patent is less about a specific lens and more about a material that could shape all future lens designs from Canon. Two well-placed high-refractive elements of it are enough to shrink an 85mm f/1.2 or a 135mm f/1.8 without giving up image quality, as claimed in this patent. We do our best to understand these patents, but if you find something that isn't quite right, please let us know. Japan Patent JP 2026-167867,A Fast Prime Examples All 4 examples share the same 14-element, 5-group layout — positive, negative, negative, positive, then a weak rear group. The front (B1), third (B3), and rear (B5) groups stay fixed during focus, while B2 slides toward the sensor and B4 slides toward the subject. The aperture sits between B3 and B4. Each design uses two ultra-high-index elements (nd ≈ 2.2–2.3): Lp1 at the very front and Lp2 in the rear group. These are fixed-focal-length lenses, not zooms. Image height: 21.64mm (full-frame) for Examples 1–3, 13.66mm (APS-C) for Example 4. Badge shows focal-length tier. ··−··ν·−·−··≈−×·−··ν·−·−··−×−·−··ν·−·−··−ν−··ν ·ν·−·−·· ·· https://www.canonrumors.com/canon-patent-reveals-ultra-high-index-glass-to-shrink-next-gen-fast-primes/