Steady progress: shooting with the Canon EOS R8 Mark II
Canon’s EOS R8 Mark II is a restyled, upgraded entry-level full-frame mirrorless camera that adds in-body image stabilization and an AF joystick. Those changes place it essentially head-to-head with Nikon’s Z5II at its 2026 price, according to the supplied report. The announcement therefore affects more than handling: photographers choosing an affordable full-frame body now have a direct comparison between Canon’s new stabilization and control layout and Nikon’s established alternative. In-body stabilization can make handheld shooting more practical with compatible situations, while the joystick offers a more immediate way to position autofocus. For photographers shopping this segment, the key decision is whether Canon’s refreshed ergonomics and stabilization better suit their shooting than the Z5II’s competing package.
GoPro officially joins Micro Four Thirds – is it about to make a true MFT camera?
GoPro has officially joined the Micro Four Thirds system with the Mission 1 Pro ILS, currently the only MFT camera in its line-up. The important limitation is that it accepts manual lenses only: the camera does not yet represent a fully integrated MFT body with electronic contacts. That restricts autofocus and electronic communication, narrowing its appeal for photographers and commercial users who depend on automated lens control or lens-body data. The development nevertheless raises a clear product question: whether GoPro will eventually build a “real” MFT camera with electrical contacts. For now, photographers should treat the Mission 1 Pro ILS as a manual-lens option rather than assume it offers the broader creative and commercial flexibility of a complete MFT implementation.
I Tested Every Aperture on the iPhone 18 Pro
A comparison of the iPhone 18 Pro and 17 Pro tested the new variable-aperture lens across every available f-stop, indoors and outdoors, with files examined in Lightroom at 400 percent. The 18 Pro opens to f/1.48, about half a stop wider than the 17 Pro’s fixed f/1.78, and closes to f/4. The widest setting was better than expected, though corners become softer; f/4 did not show the anticipated diffraction, and f/2.8 appeared the best overall setting. In real photographs, all four apertures were close enough that differences were difficult to see. The ultra-wide, telephoto and front cameras were unchanged, and the main sensor was believed to be the same, making the lens the meaningful hardware change.