Canon has officially announced the EOS R6 Mark III, a camera that represents the latest evolution in its highly popular full-frame mirrorless lineup—an instrument intentionally designed to cater to both still photographers and filmmakers who demand a single, high-performance tool. Often described as a “jack-of-all-trades” for its multi-purpose versatility, this new model expands upon its predecessor in nearly every meaningful way. At its core lies a newly developed 32.5‑megapixel sensor, a notable jump in resolution that promises finer image detail and greater latitude for cropping compared to previous iterations. Complementing this sensor is a thoroughly upgraded autofocus system capable of faster, more precise subject tracking—a vital improvement for both fast-paced stills and complex video work. Video capabilities have been dramatically enhanced as well: the EOS R6 Mark III can now record footage at up to 7K resolution, giving professional creators extraordinary flexibility for oversampling or reframing in post-production. Canon has also revised the camera’s internal layout to include a dual-card arrangement featuring one CFexpress Type B slot alongside a UHS‑II SD slot, the former delivering significantly faster data throughput and supporting extended continuous shooting and high-bitrate video recording without interruption. The camera will officially launch on November 25th, available body-only for $2,799, or bundled with either the RF 24–105mm STM kit lens for $3,149 or the higher-grade RF 24–105mm L lens for $4,049.
Positioned strategically within Canon’s full-frame ecosystem, the R6 series targets a demographic that desires professional results but may not need the ultra-high 45-megapixel resolution of the flagship EOS R5 Mark II, nor wish to invest more than $4,000 solely for a camera body. Nonetheless, the R6 Mark III is far from a compromise. Its leap from 24 megapixels in the earlier model to 32.5 megapixels represents a meaningful advancement for photographers seeking extra definition and clarity without sacrificing speed or low-light performance. The camera’s video functionality stands well above that of its predecessor, offering full 4K capture at 120 frames per second and 7K recording at 60 frames per second in RAW format. Impressively, it supports full open-gate recording, allowing creators to utilize the entire sensor area for maximal flexibility when cropping or reformatting for various aspect ratios.
Canon has also deepened its commitment to cinematic quality by introducing an expanded range of gamma settings, including Canon’s Log 2 profile, which provides broader dynamic range and greater control during color grading. Custom image looks offer additional creative latitude straight out of the camera. For video professionals, small ergonomic refinements can have an outsized impact, and Canon has implemented several that directly respond to user feedback. A prominent tally lamp now indicates recording status clearly, even from a distance, minimizing accidental missed takes. Likewise, Canon has transitioned from the fragile Micro HDMI interface to a full-size Type A HDMI port, ensuring a more secure connection for external monitors and recorders. The autofocus system gains new intelligence as well—users can now register a person’s face in advance, enabling the camera to automatically prioritize and track that individual amid dynamic scenes, which proves invaluable for event and documentary work.
One design shift that may divide opinion is Canon’s decision to replace the previous generation’s twin SD card setup with an asymmetrical configuration: one CFexpress Type B slot and one SD slot. While this change undeniably enhances performance—CFexpress media can sustain much higher write speeds, facilitating longer shooting bursts and high-resolution continuous capture at the same mechanical (12 fps) and electronic (40 fps) frame rates as before—it also introduces practical considerations. CFexpress cards are considerably more expensive than standard SD cards, and juggling two different media formats complicates workflow and backup management. Unlike Sony’s hybrid Type A/SD card slots, Canon’s chosen Type B slot does not physically accommodate an SD card, which may frustrate users seeking simpler compatibility. Nonetheless, the performance gains are significant, especially for professionals capturing extended sequences at elevated image resolutions.
Launching alongside the EOS R6 Mark III is another noteworthy piece of hardware: the RF 45mm f/1.2 STM lens. Compact yet optically ambitious, this standard prime lens pairs beautifully with the new camera, offering an exceptionally bright maximum aperture of f/1.2. Such luminosity makes it ideal for shooting in dimly lit environments and for achieving an extremely shallow depth of field, producing images with striking subject isolation and aesthetic background blur. Perhaps most shocking is its price—just $469.99, with expected availability in early December. In the world of full-frame autofocus lenses, f/1.2 apertures are typically associated with premium optics exceeding $1,500, whether from Canon’s own L-series lineup or from third-party manufacturers like Sigma. Thus, Canon’s introduction of a sub-$500 f/1.2 lens genuinely challenges industry norms and democratizes access to ultra‑bright primes.
However, this affordability does come with trade-offs. The RF 45mm f/1.2 STM does not belong to Canon’s professional L-series, meaning it lacks weather sealing and may rely more heavily on internal digital corrections to optimize image quality. Buyers must also purchase the lens hood separately for $59.99. Canon USA’s Drew MacCallum described the lens candidly as not intended for the most demanding pixel-level scrutinizers, acknowledging that some compromises were necessary to achieve such aggressive pricing. Even so, its introduction could mark a turning point for consumers who desire premium aperture capabilities without paying a prohibitive premium. And for photographers who appreciate the expressive possibilities of ultra‑wide apertures—like those who favor Sony’s acclaimed 50mm f/1.2 lens—Canon’s decision to offer an accessible alternative is a welcome development that may well inspire a broader trend toward affordable, high-aperture optics across the industry.
Sourse: https://www.theverge.com/news/814245/canon-eos-r6-mark-iii-mirrorless-camera-price-specs
