Motorola has been pretty inconsistent with flagship releases – its Edge series had an Ultra model in some years but not in others. Now it introduces the Signature line to serve the premium market and the first model in it is quite interesting.
The Motorola Signature is not an all out flagship, but it costs a good deal less than those – you can pick up a 12/512GB unit for £900/€1,000 in Europe. Something like the vivo X300 Pro will run you €400 more, even the OnePlus 15 costs €1,000.
Motorola Signature
The Signature is a fairly slim and light device, measuring 7.0mm and...
We managed to snag a quick hands-on with the new Reno15 series during Oppo's special global launch event. This is a quick look at the Indian Reno15 Pro, which will retail as the Reno15 Pro Max in some other regions.
To avoid confusion, the Indian Reno15 Pro is a 6.78-inch phone, while the Indian Reno15 Pro Mini (a 6.32-inch model) is referred to as the Reno15 Pro outside of India.
Here's the lineup in India - you have the Reno15 Pro Mini on the left (called Reno15 Pro in the rest of the world), then the Reno15 in the middle, and the Reno15 Pro (called the Reno15 Pro Max outside of...
Star Wars Outlaws Gold Edition is an excellent version of the 2024 open-world Star Wars game. It runs incredibly well overall, with a frame rate that rarely dips below its 30 frames per second (fps) target while also pushing some impressive ray tracing effects. It might just be the best Nintendo Switch 2 port that we’ve seen yet, especially considering the fact that the original release would sometimes stutter on more powerful hardware like the PlayStation 5.
Review info
Platform reviewed: Nintendo Switch 2 Available on: Nintendo Switch 2, PS5, Xbox Series X and Series S, PC Release date: September 4, 2025 (Nintendo Switch 2)
The value proposition of this version is also off the charts. Rather than its usual Standard Edition, Deluxe Edition, Gold Edition, and Ultimate Edition release strategy, Ubisoft has opted to include all the Gold Edition content out of the gate for anyone buying on Nintendo Switch 2.
This means you get the full season pass with two substantial new story chapters that take a total of about 10 hours to beat. Oodles of cosmetics for protagonist Kay Vess and her companion Nix are also included, plus the short pre-order bonus Jabba’s Gambit mission.
While I could lament the fact that the handful of cosmetics from the Ultimate Pack haven’t been thrown in too (though they are still purchasable separately via the eShop if you want them), this is still an incredible amount of content that encompasses all the major DLC additions since launch.
It’s an easy sell at the asking price of $59.99 / £49.99 / AU$89.95 (or even less on sale) when you consider that the Gold Edition costs $109.99 / £104.99 / AU$169.95 on other platforms.
If you’re a fan of the Star Wars universe, then you’re going to love the peerless faithfulness of this adaptation. As an intergalactic rogue forced to go on the run after a heist gone wrong, you explore a series of large open-world planets as you gradually put together a crew and navigate relationships with some of the galaxy’s most notorious criminal clans.
Set between The Empire Strikes Back and Return of the Jedi films, familiar locations like the desert plains of Tatooine are wonderfully represented and seamlessly presented alongside new additions like the sandy Toshara Moon or dense jungle world of Akiva.
Best bit
(Image credit: Ubisoft)
The five planets of Star Wars Outlaws are all a fan’s dream. It includes the perfect mix of nostalgic favorites like Tatooine alongside some more interesting and beautiful inclusions like the snowy world of Kijimi.
Everywhere you explore looks superb on Nintendo Switch 2, especially in handheld mode. On the console’s 1080p screen, it appears delightfully crisp and, although the quality of 3D models does take a small hit, the overall experience feels about on par with that of an Xbox Series S, which is a very impressive result.
In some regards, it actually looks better here than on the Series S, with improved ray-tracing effects in interior environments. Wandering around the densely populated city of Mirogana early in the game, the lighting effects appear rich and complex. Locations are crafted with a high level of detail throughout the game, and I’m glad that the enjoyment of occasionally stopping to soak it all in and pore over every small element of a space hasn’t been lost in the jump over to less talented hardware.
Things do fare a little worse when the system is docked, though. Playing on a 4K TV, I noticed upscaling was used very liberally, which lends certain areas quite a blurry look. Anywhere with lots of plants, for example, tends to look rather fuzzy, and Kay’s hair suffers from some noticeable aliasing. The pop-in in the open world becomes more noticeable in docked mode, too. When you’re zooming around on your speeder, you’ll regularly see little bushes or shadows appearing in the distance - but you get used to this very quickly.
More powerful than you could possibly imagine
(Image credit: Ubisoft)
If you’ve experienced Star Wars Outlaws on another platform, then you’ll also need to acclimatize to the frame rate when jumping over to the Nintendo Switch 2 version. It's locked to 30fps here, a change that was especially noticeable as I compared the game with its PS5 port side by side.
When you’re actually playing, it is less apparent, though, and developers Massive Entertainment do deserve some serious credit when it comes to just how well Star Wars Outlaws Gold Edition maintains that frame rate target.
(Image credit: Ubisoft)
Stutters are extremely rare, and I only noticed them starting to crop up in moments of very intense action with multiple explosions, many enemies on screen, moving vehicles, and the like, all at once. Importantly, the experience is never rendered unplayable, and I think the odd hiccup is a worthwhile trade-off for the opportunity to dip in and out of this game on the go.
I’ve been playing Star Wars Outlaws Gold Edition sporadically since it launched back in September, and I did initially experience a few unexpected crashes in longer play sessions. With time, these seem to have been remedied through various patches, though, so those jumping in today can expect a relatively flawless experience.
With all of this said, Star Wars Outlaws Gold Edition nets an easy recommendation as one of the best Nintendo Switch 2 games. If you’ve played it before, it’s a joy to re-experience in handheld mode with all the new DLC included. If you’re a newcomer, then you don’t need to worry about suffering a compromised experience due to your choice of hardware.
Should I play Star Wars Outlaws Gold Edition on Nintendo Switch 2?
Play it if...
You want a huge open-world experience on the go Star Wars Outlaws Gold Edition offers tens of hours of content that’s wonderful to dip into on the go. With all major DLC included, this is an experience that you’re going to keep coming back to.
You’re a big Star Wars fan Fans of the Star Wars universe will love the attention to detail of Star Wars Outlaws, all of which has been preserved wonderfully in this brilliant port.
Don't play it if...
You’re sick of open-world games I enjoy Star Wars Outlaws, but it certainly doesn't reinvent the wheel in terms of Ubisoft open-world games. If you want a more novel experience, pick up something else from the Nintendo Switch 2’s expansive library, like Mario Kart World.
Accessibility features
Star Wars Outlaws Gold Edition has a dedicated accessibility menu on Nintendo Switch 2 with a number of useful settings and presets.
By default, the HUD has been scaled up to 150% in handheld mode, with large text size enabled.
There are also four menus designed to address gameplay, cognitive, color, vision, and hearing needs. Color settings can be fully customized, and there is a range of difficulty options.
How I reviewed Star Wars Outlaws Gold Edition on Nintendo Switch 2
I played nearly 15 hours of Star Wars Outlaws Gold Edition on Nintendo Switch 2, constantly comparing my experience of the game with that of the PlayStation 5 and Xbox Series X and Series S versions.
I primarily played in the console’s handheld mode, but also endeavored to spend a few hours in docked mode in order to assess its performance.
Of the two modes, handheld mode is definitely the strongest as the smaller screen does a good job of smoothing over many of the visual cutbacks. While playing in docked mode, I relied on the official Nintendo Switch 2 Pro Controller.
The Canon R6 Mark III is the brand's latest enthusiast-level hybrid camera, and successor to one of Canon's most popular models. It's perhaps the clearest expression of a 'hybrid' Canon camera yet within its price range, with a fresh 33MP sensor that not only offers a significant bump in resolution (from 24MP), but a host of new video features such as 7K open-gate.
Outwardly, you could be mistaken in thinking that the Mark III offers a relatively iterative upgrade versus the previous generation. The overall design of the camera is essentially identical. Under the hood, however, subtle tweaks and improvements provide an upgrade that's bigger than the sum of its parts.
Everything is just a little bit better with the Mark III. You get a nice bump in resolution, a massively expanded video tool-kit, and useful autofocus features from the higher-end bodies like Priority People Detect. Even minor annoyances like video white balance have been smoothed out. Overall, it's an incredibly refined and well-designed camera that simply just works without any fuss. That's high praise, indeed.
(Image credit: Future / Alex Whitelock)
In real-world testing, the R6 Mark III is also a stunning stills and video camera, capable of producing superb results in both fields. In a field where competitors are eager to champion stacked BSI sensors, the Mark III proves that you need neither to achieve great performance. Images are detailed with great dynamic range and flexibility, and you still get an impressive 40fps burst rate, despite the significant jump in resolution.
Perhaps the biggest stumbling block for the R6 III isn’t necessarily the camera itself, but the increasingly competitive field it sits within. Rival brands are not only producing exceptional cameras currently, but they do so on democratized and open lens mounts.
For example, the Nikon Z6 III undercuts the R6 on price, the Panasonic S1 II features more powerful video tools, and the Sony A7 V falls back on its vast lens ecosystem. In comparison, the R6 III looks like the jack of trades - a safe, if somewhat unexciting pick in the best mirrorless cameras landscape.
Those already faithful to the Canon RF-Mount will be overjoyed with this camera, however. As previously stated, there's a refined assuredness to the R6 Mark III that makes it a reliable hybrid workhorse. Regardless of whether you're a professional wedding photographer, amateur videographer, or even a serious beginner, it's hard not to recommend the R6 Mark III because of its compelling mix of usability, image quality, and value. Yes, it's pricier than the Mark II, but considering the new sensor (and inflation), you definitely get a good amount of camera for the money here.
Canon EOS R6 Mark III specs
Canon EOS R6 Mark III specs
Type:
Mirrorless camera
Sensor:
Full-frame (36x24mm) FSI CMOS
LCD:
3-inch, fully-articulated, 1.62M dots
Memory:
1x UHS-II SD, 1x CFexpress Type B
Resolution:
32.5-megapixels
Video:
Up to 7K30p (open gate)
ISO range:
ISO 50-102,400
Mechanical Shutter speeds:
30-1/8000sec
Electronic Shutter speeds:
30-1/16000sec
Viewfinder:
3.69M dot, OLED EVF, 0.76x
Processor:
DIGIC X
Connectivity:
WiFi, Bluetooth, USB-C, HDMI, audio, mic
Weight:
609g
Canon EOS R6 Mark III: Price and availability
Announced November 6th, 2025
Body only price of $2,799 / £2,799.99 / AU$4199.95
Kit options available, including RF 24-105mm f4 L IS
The R6 Mark III retails for $2,799 / £2,799.99 / AU$4199.95, which makes it pricier than the previous iteration by a few hundred dollars / pounds. Interestingly, the EOS R6 II isn’t being discontinued (at least, immediately), and instead will be available for a list price of 1,979 / £1,918 / AU$3,099.
The Mark III is essentially slotting in the market between its two major competitors - the Sony A7 V for $2900 / £2800 and the Nikon Z6 III for $2700 / £2500. Of the three, however, it’s worth noting that the Z6 III has been on the market for the longest time and tends to be particularly partial to price cuts. You’ll likely have to wait a while to find an R6 Mark III or Sony A7 V for anywhere near as cheap as Nikon's alternative.
What can I say about the design of the R6 Mark III? Well, it’s typical Canon, in the most refined and best manner possible. If you’re familiar with the Mark II, the design is essentially identical, with only a few minor tweaks to the buttons surrounding the shutter, a new tally light, and revisions to the mode dial.
Is it boring? Well, it’s certainly sensible. All of the camera’s main functions are laid out in a purposeful and meticulous manner. The thumb, for example, naturally rests next to the back-button focus, an AF joystick, and an autofocus mode quick select. On the top, you have the typical three-way on-off switch, top-mounted dial, and extremely useful M-Fn quick dial menu that are again extremely easy to operate.
All of the above, of course, are fully mappable with the camera’s extensive customization options. A total of nine buttons are fully mapable, so you have plenty of options here for both video and photo applications.
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The camera is made of a sturdy polymer outer shell with environmental weather sealing (Image credit: Future / Alex Whitelock)
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The R6 Mark III has a protective shutter to keep the sensor clean when no lens is mounted. (Image credit: Future / Alex Whitelock)
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The camera retains the classic Canon button control layout (Image credit: Future / Alex Whitelock)
If you’re already a Canon shooter, no doubt you’ll be right at home here. My only minor criticism is that I wish Canon would add a second ring/middle finger button on the front of the body next to the grip. It’s something that’s featured on the higher-end Canon bodies, but it’s conspicuously missing from the R6 and R5 line. With such expansive customization features, it would be a fantastic addition to the body in my opinion.
In the hand, the R6 Mark III is sturdy and solid, with a generous grip that pairs well with popular lenses like the 24-70mm f/2.8. As part of the review process, Canon also sent me the EOS R8, and in comparison to the lower-end model, the R6 Mark III is much better suited to the chunkier RF glass. Unlike the feather-weight R8, the R6 Mark III balances well with fast primes like the 20mm f/1.4 and 85mm f/1.4 - both of which are noticeably front-heavy on the entry-level model.
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The Canon R6 Mark III next to the Mark II (Image credit: Future / Alex Whitelock)
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The cameras are almost identical, with the only changes being to button graphics, the mode dial, and the addition of a tally light. (Image credit: Future / Alex Whitelock)
In terms of viewfinder and display, you get a 3.69M dot 120Hz OLED and 3-inch 1.62M dot panel respectively; both of which are holdovers from the previous model. The R6's displays are bright, relatively wide, and easy to use. No complaints here, although it's worth noting that both the Nikon Z6 III and Sony A7 V do have a slight edge over the R6. In the case of the Nikon, you get a higher-res 5.76M dot EVF, while the Sony A7 V features a 2.1M dot rear display that both articulates and tilts - a handy feature for both stills and video.
For ports, one of the main changes from the second-generation model is that the Mark III now features one CFexpress Type B slot and one UHS-II SD instead of two of the latter. Upgrading to a CFexpress card will incur a slight cost, but you’re going to need it if you want to record Raw video internally or make full use of the uncapped 40fps burst rate. Videographers will also be pleased to note that the Mark III now features a full-size HDMI port rather than the MicroHDMI on the previous iteration.
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The R6 Mark III now features a CF-Express Type B card slot (Image credit: Future / Alex Whitelock)
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Support for full-size HDMI (Image credit: Future / Alex Whitelock)
The R6 Mark III now utilizes the newer LP-E6P battery from the R5 Mark II. The older LP-E6NH batteries are still technically supported, but you'll need to use the newer iteration to fully unlock all the R6 Mark III's features. In this case, smartphone connectivity and the full array of 6K open-gate video modes.
Note that the R6 Mark III's battery is rated for 270 shots with the viewfinder and 510 with the rear screen. On paper, that's significantly lower than the Sony Alpha A7 V's rating of 630 / 750 shots respectively. I wouldn't say battery life is particularly poor, however. In real-world testing, I found the battery life to be far better than the ratings would suggest, with more than enough juice for a full day of stills photography. Videographers may want to pack a second battery just in case, though.
Design score: 5/5
Canon EOS R6 Mark III: Performance and features
Reliable autofocus for stills and video
Registered People Priority mode
7K footage at 30p ‘open-gate’
The R6 Mark III is interesting in that it lacks a few of the high-end features from the R5 II like the ability to control the focus point with your eye, in-camera 'AI' upscaling, and Action Priority modes. What it does offer, however, is rock-solid performance for a vast range of both photo and stills applications.
As the ‘enthusiast’ level body in the range, the R6 has a lot of ground to cover, but it essentially achieves the mark on all counts. Using the camera, is again, a very refined experience in terms of operation and ease-of-use.
For example, the R6’s autofocus performance is accurate and reliable even with fully automated operation. A simple press of the ‘set’ button will engage subject tracking, which is easily one of the ‘stickiest’ I’ve ever used on a camera. Even without the advanced bells and whistles of the R5, the R6 Mark III is exceptional at both subject tracking and detection.
There were only a few rare occasions when the autofocus missed the mark. For example, a case in a relatively dimly-lit room where the camera failed to focus on my parents’ cat’s eyes. This subject, with his black coat, is notoriously difficult to photograph. Even specifically engaging the R6 MIII’s animal detection mode gave me a few examples where the camera focused on his ears or whiskers rather than his eyes.
Another extreme example was a moving human target in a low-light situation. Even with a high-contrast backlit scene the camera slightly missed the mark when shooting with a 20mm prime fully wide open at f/1.4.
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The R6 Mark III slightly forward-focused in this extreme low-light scene at f/1.4. (Image credit: Future / Alex Whitelock)
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The camera ever-so-slightly missed focus on the cat's eye in this scene at f/2.8, instead focusing on the ear. (Image credit: Future / Alex Whitelock)
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The camera still maintained an impressive hit rate, however. This is the next frame in the series and it's in focus. (Image credit: Future / Alex Whitelock)
Are these fair use cases? Well, certainly they are extreme situations where any camera would be tested. By most accounts, the R6 Mark III’s autofocus is still one of the best I’ve ever used on any camera.
We’re reaching a point now where all major camera brands have excellent out-of-the-box autofocus performance on reasonably priced bodies, but Canon does still have a few unique tricks. The Registered People Priority mode, for example, is the closest thing to a 'killer-app' I've seen on an enthusiast-level camera.
As a brief overview, this feature allows you to map autofocus tracking to specific faces, with the idea that the camera will prioritize them even in crowded scenarios. If you have a reference shot like a group headshot, then the camera detects and allows you to pick a specific face via the RPP mode.
During my testing, I didn't have a scenario where I could really stress-test this feature with large groups. In small groups of two to three people, however, the tracking was reliable. Overall, the Registered People Priority mode definitely has the potential to be a useful feature for certain scenarios, like event or wedding photography.
Canon EOS R6 Mark III video modes
Aspect / Mode
Dimensions
Frame rates
3:2 / 7K RAW
6960 x 4640
30, 25, 24, 23.98
3:2 / 7K Compressed
6912 x 4608
30, 25, 24, 23.98
1.89:1 / 7K
6960 x 3672
60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 4K
4096 x 2160
120, 100, 60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 2K
2048 x 1080
180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / UHD 4K
3840 x 2160
120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / Full HD
1920 x 1080
180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98
In terms of video, the R6 Mark III features an impressive array of recording options. There's not only the option for oversampled 4K up to 120p, but 7K footage at 30p ‘open-gate’ on the camera’s native 3:2 aspect ratio. For maximum post-production flexibility, there’s the option to shoot in Canon’s proprietary Cinema Raw format or the brand’s Clog 2 or Clog 3 profiles.
If all these features look familiar, it’s because the R6 Mark III shares the same sensor and bones as the Canon EOS C50. Unlike its video-centric sibling, however, the R6 doesn’t feature an in-built fan, so you will face restricted recording times for the heavier open-gate and 7K capture modes. That's also a key advantage of the rival Panasonic S1 II, alongside support for 120p at 4K.
One other upgrade for the Mark III is the camera’s overall burst-rate performance. While the camera lacks the Action Priority autofocus mode from the higher-end Canon bodies, it manages to retain the 12fps mechanical / 40fps e-shutter burst rates from the previous model despite the significant jump in resolution. You’ve still got the helpful inclusion of pre-burst capture here, but unlike the Mark II, the III doesn’t feature a standalone “Raw Burst mode” to enable it. It’s instead now integrated into the standard drive mode menu.
Performance score: 5/5
Canon EOS R6 Mark III: Image quality
33MP resolution (up from 24MP)
Pleasing, warm colors
Sharp video with flexible profiles
The Canon R6 Mark III is somewhat unusual in its peer group in that its sensor is neither back-side-illuminated nor ‘stacked’ like rivals from Sony or Nikon. It's an interesting distinction because rivals have long trumpeted the various advantages of these additions in a world where sensor development has seemingly slowed in recent years.
On paper, a stacked sensor does enable faster readout speeds, whereas a back-side-illuminated sensor should, in theory, give you cleaner images at high ISO. Recent testing has even proven that the Sony A7 V and Panasonic S1 II have slightly better ISO invariance than the Canon R6 Mark III thanks to dual-gain readouts.
So, does the Mark III lag behind the competition in terms of image quality? I'd have a hard time believing so. Based on real-world testing, I've found the camera to produce consistently excellent stills.
Out in the wild, I imagine the differences between all of these cameras is likely to be so minimal that you'd almost certainly not notice outside of incredibly niche use cases. It certainly shouldn't be the main deciding factor behind these cameras; ergonomics, video features, and available lenses are all much more important.
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Original shot, RAW, shot with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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Same scene, shadows lifted to taste in Adobe Lightroom (Image credit: Future / Alex Whitelock)
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Another RAW example taken with the same 24-70mm f/2.8 lens (Image credit: Future / Alex Whitelock)
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Same scene, shadows lifted to taste in Adobe Lightroom (Image credit: Future / Alex Whitelock)
In terms of dynamic range, for example, you have heaps to work with here. Despite the significant increase in resolution from the previous iteration, the R6 Mark III produces lovely, clean RAW files (and even JPEGs) with ample headroom.
On several test shots, I was able to salvage significant details from a scene without much color cast or noise. Zooming in, noise is certainly still present, but it's relatively well controlled and very much in line with other modern full-frame bodies.
In low light the R6 Mark III handles exceptionally well, too. I shot a few hundred images in a local indoor amusement park that features a host of strobe and fluorescent lighting. It's the kind of environment that not only tests autofocus to the extreme, but often results in strange colors that are a nightmare to post-process.
When I pull up the files from the R6 Mark III, colors are well captured, even at ISO 10,000 and over. The first example in the gallery below was shot at that ISO, and the colors are absolutely spot-on for the scene, despite there being noise present in some of the shadows. Again, the R6 Mark III is an extremely capable stills camera in real-world testing.
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RAW sample shot, ISO 10,000, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 1,250, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 320, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 640, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 200, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 1,600, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
Briefly touching on resolution; the upgrade from 24MP to 33MP does give you a nice bump in cropping potential without resulting in massive file sizes. Arguably, 24MP is still more than enough for most use cases, but 33MP is definitely a 'nice to have'. I certainly appreciated the little bit extra when cropping all the sample images on this page from the camera's native 3:2 to a web-friendly 16:9 format.
Colors are gorgeous, too. Even with RAW files, the images have a pleasing warmth to them without being overbearing. Skin tones look great straight from the camera, and in all cases, the files were great to work on in Adobe Lightroom.
In the gallery below, you can see a selection of RAW files. The opening shots are tweaked in Lightroom to my own tastes, whereas the following portrait shots show you both RAW files and a few of the camera's built-in JPEG profiles.
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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An example of a RAW file from a studio scene, taken with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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An example of a RAW file, next to the camera's 'Vivid' and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)
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Examples of the camera's black-and-white, 'Vivid', and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)
For video, you have a flexible set-up thanks to the R6 Mark III's myriad record modes and support for Clog2 and Clog3 formats. Of the two, the former gets you a flatter image with the most dynamic range possible for color grading, while the latter offers a more saturated and clean image for quick and easy editing. In either case, you can upload your own LUTs to the camera, and white balance can also be set in video mode, which was a common annoyance with the previous model.
As you'd imagine with a body that shares the same sensor as the Canon EOS C50, the R6 Mark III captures excellent footage. In my testing, I mostly used Canon's proprietary Canon 709 standard color profile (non-flattened), and the 4K footage in particular was fantastic. Colors were rich but true-to-life, the image was detailed, and there was plenty of dynamic range.
For an easy video workflow, there is very little to fault the R6 Mark III on. Even if you're a video-heavy hybrid shooter, don't overlook the Mark III in favor of the C50. You get a great video toolkit here with the added benefit of image stabilization and a mechanical shutter for stills.
Image quality score: 4.5/5
Canon EOS R6 Mark III: testing scorecard
Canon EOS R6 Mark III
Attributes
Notes
Rating
Price
The R6 Mark III is well priced considering the level of performance. That said, it is pricier than the previous iteration, and it sits within a competitive field.
4/5
Design
The R6 Mark III is almost identical to the previous iteration. It's a super design, however, with fantastic ergonomics and customization.
5/5
Performance
Autofocus is superb for both stills and video. IBIS works admirably. Registered People Priority is a genuinely useful feature.
5/5
Image quality
Great straight-out-of-camera files for both stills and video. Flexible RAWs, and a huge array of video formats for both casual and professional use.
4.5/5
Should I buy the Canon EOS R6 Mark III?
Buy it if...
You're already invested in the Canon RF mount
Those already invested in the eco-system will absolutely love the R6 Mark III. It sits in a competitive field, but if you already have plenty of RF glass, then you're getting a lot of camera for your money here.View Deal
You shoot stills, with a bit of video
The Canon R6 Mark III is perfect if you're primarily a photographer but also need an easy video workflow. You get everything you need here for excellent results.View Deal
Don't buy it if...
You need advanced video options
With that said, if you're primarily a videographer, you may want to consider the Canon EOS R50 or Panasonic S1 II. Both include longer recording times thanks to internal fans. View Deal
You're on a budget
If you need a powerful hybrid camera but want to save some cash, there are strong rival options right now. The Nikon Z6 III, for example, undercuts the R6 Mark III on price. Even the older R6 Mark II is still available and offers a viable alternative without the newer bells and whistles.View Deal
Also consider
Sony A7 V
As if on cue, Sony released the Alpha A7 V just one month after the R6 Mark III. In comparison, the A7 V is a little pricier than the R6 and doesn't have options for open gate video. It does, however, have a much more diverse lens ecosystem and innovative dual-gain ISO read-out thanks to its partially stacked sensor, which gives a slight edge in stills dynamic range.
Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the Canon EOS R6 Mark III.
I used several lenses, including the RF 24-105mm f/4 kit lens
Samples were shot in a diverse range of environments, including low light
Subject detection was tested using real-world situations
Canon loaned me the R6 Mark III alongside the R8, R6 Mark II, and several lenses for an extensive three-week period. In that time, I was fully able to test the camera in a range of scenarios for both stills and video.
As an overview, the lenses used include the RF 20mm f/1.4, the RF 85mm f/1.4, the RF 24-70mm f/2.8L, and the RF 24-105mm f/4 - the latter of which is available as a kit lens for the R6 III. All of the above image samples on this page were taken with these lenses in various scenarios, including both mid-day and difficult low-light environments.
Poco recently launched the M8 series and it is now available for purchase. Poco is selling the phones at a discount as part of an early bird offer, which lasts until January 14. Meanwhile, the Motorola Razr 60 Ultra, a bunch of Edge 60 series phones, and the Google Pixel 10 and Pixel 9a have also received discounts.
The Poco M8 Pro comes with a 6.83-inch AMOLED display with Corning Gorilla Glass Victus 2 protection, whereas the M8 gets a 6.77-inch AMOLED panel. The Pro is equipped with a Snapdragon 7s Gen 4 chipset and packs a 6,500mAh battery with 100W fast charging support.
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Oppo unveiled its Reno15 series to the global stage yesterday, and thanks to the miracle of international shipping, we've got the Reno15 Pro in the office and ready for testing!
This is the international version, which means it's a 6.32-inch model that corresponds to the Indian Reno15 Pro Mini.
We have to say, the Reno15 Pro is a delight in the hands. Compact flagship-style phones don't do too well on the market, but we still love them.
Ours is the Dusk Brown model, and it looks classy. There's something Audi A6 Allroad about it, minus the grey plastic mudguards. Nearly the entire...
Money no object, I'd probably pick the Leica Q3 as my favorite compact camera. It's a fabulous 61MP full-frame camera with an extremely sharp, fixed 28mm f/1.7 wide-angle lens, and the ultimate everyday carry.
I'm also partial to black-and-white photography, especially on sunny days when light and shade are the stars of the show. So it was a delight to kick off 2026 by getting out and about on frosty mornings in the UK, with the low-lying sun illuminating my surroundings and the Leica Q3 Monochrom in my hand – it's identical to the original Q3 in practically every way, except that it only shoots in monochrome.
This camera is as niche as they come, and for many it also begs the question: why would you pick a camera that only takes black-and-white images when you can simply select a black-and-white color profile in a regular camera, like the original Q3, which also shoots in color when you want to? Why restrict yourself? That was the focus of my testing over the course of three weeks with the Q3 Monochrom.
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For me, the reasons I would opt for a camera like this are twofold – one technical, and one creative. The creative reason is simple: its restricted parameters. I can't switch to color. I'm seeing the real-time image in black and white, and it helps me to truly appreciate light and shade, form and composition.
Shooting in black-and-white can be a great exercise to help you elevate the quality of your photography in general, should you bring color into the equation at other times. You can, however, get this experience with a 'regular' camera by using a black-and-white color profile, so that by itself is not enough reason. The second technical reason is, though – and that's increased light sensitivity.
In simple terms, all sensors in digital cameras see in black and white. To produce color images, a color filter array is placed in front of the sensor, the most common of which is the Bayer pattern with red, green and blue pixels (RGB – with twice the number of green pixels).
The drawback is that a color filter array reduces light sensitivity, leading to an increase in noise and decreased sharpness. In short, it reduces image quality by a small amount, which is seen more clearly in challenging light conditions.
So – and particularly if you mostly like to shoot black-and-white images anyway – a color filter is more of a hinderance than a help. With those image quality drawbacks, it's like watering down juice when you could otherwise enjoy the full flavor straight from the source.
A monochrome-only digital camera offers the purest form of black-and-white photography you'll get from a digital camera; and from my experience with the Q3 Monochrom, there's something a little extra about the quality of the black-and-white images it produces. A subtle improvement, a pleasing grain rather than noise, and filmic quality. Highlight clipping is, however, a major drawback to this kind of sensor.
Yes, the Leica Q3 monochrom is as niche as they come, and it costs a pretty penny too at $7,790 / £5,800 / AU$12,090. But, if you love black-and-white photography, it's the ultimate everyday carry, and one of the best compact cameras around.
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Leica Q3 Monochrom: price and availability
Announced on November 20, 2025 and available now
Priced from $7,790 / £5,800 / AU$12,090
Leica unveiled the Q3 Monochrom in November 2025 and it went on sale immediately, costing $7,790 / £5,800 / AU$12,090. That's a mark-up of about 5% over the Q3, which was launched in 2023.
The Q3-series models use the same BP-SCL6 battery, while Leica sells a variety of accessories at its online store, including a leather half case, thumb supports, and carrying straps.
Leica Q3 Monochrom: specs
Leica Q3 Monochrom Specs
Sensor
Stabilized, full-frame
Resolution
61MP
Video
8K
Lens
28mm f/2.8-16
Screen
3.0-inch, 1.84m-dot tilt
Viewfinder
5.76m-dot
Dimensions
130 x 80.3 x 92.6mm
Weight
746g / 662g (with / without battery)
Battery life
300 shots (approx)
Memory
SD (UHS-II)
Leica Q3 Monochrom: design
Same design as the Q3, save for Monochrom logo
Divine lens quality and handling
Awkward tilt touchscreen
The Q3 Monochrom essentially has the same premium, minimalist design as the original Q3, save for its suitably monochromatic logo. That means it operates in exactly the same way as the original model, for good and for bad.
The 28mm lens is the star of the show, not only in terms of the images it produces, but because of how it handles; it's equipped with decent autofocus, but is designed in a way to please manual-focus fans, with autofocus activated via a well-hidden button on the manual-focus ring.
It also looks just like a manual-focus-only lens. There are focus distance markings, and a macro mode that's activated by turning a dial which reveals new focus distance markings – a design masterstroke.
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Other design features are the same, too. We have a decent 5.76m-dot viewfinder, plus a crisp 1.84m-dot tilt touchscreen. I'm not a fan of the tilt design, though – it protrudes from the back of the camera and it's awkward to grip and pull out for waist-level shooting. For the next Q installment, Leica should take notes from Fujifilm and others.
Every touch screams premium quality, from the knurled control dials with just the right amount of resistance, to the pop-out battery and the viewfinder's pop-out diopter adjustment. The memory card door design could do with a little tweaking because it feels like one weak point, but quality-wise I can't otherwise fault the Q3 Monochrom.
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For a deeper dive into the design of the Leica Q3 Monochrom, check out my Leica Q3 review.
Leica Q3 Monochrom: features and performance
High-resolution 61MP sensor with digital crop modes
Reasonable autofocus performance and precise manual focus
Average battery life
There's no change from the original Q3 regarding features or performance, either, save for the monochrome-only images, which is what I'll double down on in this section.
To summarize the other aspects first, the Q3 Monochrom's startup time is rapid, battery life is average at best, autofocus accuracy and speed are good, while in-body image stabilization performance is only okay, but certainly welcome in a camera capable of capturing such high-resolution photos.
And with 61MP to play with there's huge scope for cropping into images to emulate the look of tighter lenses – a feature that can be accessed directly using one of the two buttons above the LCD screen (the gallery below shows a selection of digitally cropped images using the maximum in-camera crop setting, then the full un-cropped version for comparison). The other button above the LCD switches from stills to video, with 8K video recording once again present.
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The macro setting of the lens reduces its close-focusing distance, making it possible to capture flowers and other small subjects in exquisite detail – that's another string to the bow of the Q3 series (see the gallery directly below).
I also love how the maximum aperture of the lens is nice and bright at f/1.7. Pair that with the image stabilization, and Q3 cameras feel more versatile overall than the stunning Fujifilm GFX100RF, even if that camera has an even sharper lens – check out my Q3 vs GFX100RF real-world test to see how those premium compacts compare.
The 28mm lens also produces some of the crispest sunstars I've seen (check out the backlit tree image two galleries down); again, for more details, check out the Q3 review.
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Now, let's get on to black-and-white image quality. Firstly, there are three main monotone profiles to choose from: natural (which is the profile I used for most of this review), plus a sepia and a blue-tone look.
I was surprised and disappointed to see how limited the customization options are for these profiles, though. For example, contrast can be tweaked for these presets, but you can't apply a filter effect, as you can to, say, Fujifilm and Ricoh alternatives.
That said, it's possible to upload LUT profiles to the camera from the Leica app for other creative styles, or of course attach a physical filter to the 28mm lens. I like using an orange filter to create dramatic skies with an infrared-type look, while a green filter can emphasize skin tones.
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I've taken photos with the Q3 Monochrom in a wide range of scenarios, shooting all images in RAW (DNG) and JPEG. When comparing the two, the natural profile brightens shadows, at the cost of rich contrast.
In all images detail is seriously sharp, with a pleasing fine grain – kind of like an ISO 50 film photography feel.
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Sadly, I didn't have the original Q3 at the same time as the Q3 Monochrom to make direct comparisons. However, I have prior experience for such comparisons, and so I know that images shot in black-and-white on a color camera have more pronounced noise, and detail is slightly softer.
His video also hammers home a major warning for using a monochrome-only digital camera: highlight clipping is unforgiving. If you were to overexpose an image – that is, with highlights blown out – you wouldn't be able to recover this detail to nearly the same extent as with a color model, like the original Q3.
Already knowing this, I factored in underexposing when shooting with the Q3 Monochrom. To a degree, this approach can offset the image-quality benefits of its better light sensitivity, but the fact remains that its images are sharper and cleaner than the Q3's when viewed closely. If you're into black-and-white photography, with a good handle on exposure, the Q3 Monochrom's black-and-white image quality exceeds the Q3's.
Should I buy the Leica Q3 Monochrom?
(Image credit: Tim Coleman)
Buy it if...
You want a pure black-and-white digital photography experience No color, clean detail and filmic quality – the Q3 Monochrom is for black-and-white photography purists.
You love camera design I've reviewed the Q3 and the Q3 Monochrom extensively and I adore their premium design and quality, especially the stunning lens and how it handles.
Don't buy it if...
You want a versatile digital camera Not only is color photography out of the picture, but the Q3 Monochrom is a compact camera with a fixed 28mm wide-angle lens.
It'll be your main camera The Q3 Monochrom is an extravagance, a back-up for the times you fancy something a little different to your main camera. And for that reason its lofty asking price is hard to swallow – I'm personally keeping my eye out for the upcoming Ricoh GR IV Monochrome instead.
Also consider
Leica Q3
If you're not all-in for black-and-white photography, the image-quality improvements the Q3 Monohcrom delivers are hardly justifiable when you consider the greater versatility of the Leica Q3, which also shoots in color, has a greater ceiling for highlight recovery, and costs less.
I used it as my everyday carry, shooting images in a variety of scenarios
I shot all images in RAW and JPEG, and used the macro setting and all focus modes
I spent three weeks using the Leica Q3 Monochrom as my primary camera, shooting all photos in RAW and JPEG. I've used the macro setting for close-up photography, tested the digital crop mode, and swapped between manual and autofocus modes.
When editing, I've looked at shadow and highlight recovery, and taken a close look at the quality of detail, especially in low-light photos where this type of sensor excels.
Qualcomm's CEO Cristiano Amon made some comments about the company being in talks with Samsung to produce its 2nm chips, although Samsung has since declined to comment on the matter.
Either way, this is an interesting turn of events given that Samsung's foundry isn't doing all that well. The last time Samsung produced Qualcomm-designed chips was in 2022, when the first Snapdragon 8 Gen 1 came out, but it was met with a lot of criticism for its thermal issues. Moreover, the Korean tech giant's foundry didn't meet Qualcomm's requirements in terms of yield, so the US chip designer turned to...
Late last year, the renowned tipster Evan Blass revealed the potential Galaxy S26 Unpacked event date - February 25, 2026, which at the time seemed far-fetched given that the last two Galaxy S Unpacked events were in late January. Now, we have the market release date as well.
One thing is for sure, though: this year's Unpacked event for the Galaxy S series will be significantly delayed, and a source from France claims that the series will go on sale on March 11.
Of course, pre-orders will kick off earlier than March 11, but shipments will likely commence on that date.
And as...
Assassin's Creed Shadows is hands-down one of the best Assassins Creed games of the last decade, but does it run well on the Nintendo Switch 2?
The short answer is "Yes, but...", because it's hard to call this particular port an all-round win. At launch, my answer would have been "No", as I was plagued by hard crashes and constant frame rate fluctuation that made the game near unplayable.
Review info
Platform reviewed: Nintendo Switch 2 Available on: PS5, Xbox Series X, Xbox Series S, PC, Nintendo Switch 2 Release date: December 2, 2025 (Nintendo Switch 2)
Thankfully, Ubisoft has bucked the trend in more ways than one with Assassin's Creed Shadows. Not only did the Switch 2 port land mere months after the game's console release, but a major patch arrived just two weeks later, fixing a vast majority of the game-breaking issues. I'm reviewing the (now broadly) fixed port, so I won't languish on those early problems too much.
We reviewed the game itself earlier this year, scoring it an impressive 4.5/5 for its rich combat system, ample content, and dual-protagonist system, and all of these highlights naturally carry across to the Switch port.
The story pacing is a little slow in places, and as Managing Editor Rob Dwiar noted, it peters out the further you get along in Naoe and Yasuke's journey, but broadly speaking, it's a brilliant game worth picking up. If you want our full thoughts on the game's story, combat system and beyond, check out our original review.
Performance, on the other hand, is naturally very different on Nintendo’s hybrid handheld console, and concerns over whether the Switch 2 could handle such a meaty game – especially in handheld mode – were clearly justified. Still, I'm impressed.
No man left behind
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Shadows is the first Assassin's Creed game to really capture my interest since Black Flag. However, being a Nintendo fan can spell disappointment when it comes to ports; not only do you have to wait longer for a well-optimized version, but the optimization process can also involve removing some content.
With this Switch 2 port, however, you get full access to the game in its entirety (barring, as of writing, the DLC) as well as cross-save, meaning you can pick up where you left off on your PS5, Xbox, or gaming PC.
You do benefit from a few further features fit for the Switch 2's form factor - and, contain your excitement, that means touchscreen menus. Of course, the real benefit is being able to crack your way through the game's many side quests and explorable regions without being glued to your TV or desktop.
Best bit
(Image credit: Assassin's Creed Shadows)
Assassin's Creed Shadows is a massive game with plenty to explore and do. This makes it a great fit for playing on the go, as it's perfect to dip in and out of.
More than this, though, some elements of the game have been revamped to suit the Switch 2, and the game makes great use of the console's hardware. Switching from docked to handheld mode is seamless, with automatic UI adjustments for easy transitions, for example.
Impressively, the Nintendo Switch 2 can convincingly render 16th-century Feudal Japan in great detail despite the obvious hardware limitations, achieving this feat with clever optimizations for both handheld and docked modes. In fact, having experienced how bad it could be pre-patch, I can appreciate all the more the ways Ubisoft has crammed this massive, sprawling game into such a small package.
A downgrade, but no downer
(Image credit: Ubisoft)
In part, that's thanks to Nvidia's Deep Learning Super Sampling (DLSS) technology, which works to upscale lower resolution images in the background. Although capped at 30fps, the game remains highly immersive and visually stunning, especially now that this framerate is more stable post-patch.
Where pre-patch, dense areas and busy combat could lead to huge stutters and even forced ejection to the menu, the game now runs impressively smoothly, though I wouldn't quite go as far as to call it buttery. You'll still occasionally find loading into a new area a bit choppy, and loading screens themselves can be quite intensive on the system.
You're obviously not getting the fidelity of a more powerful console like the PS5 Pro's Ray Tracing tech, but all things considered, the world is rich and immersive. When you hone in on the finer details, you'll notice the cracks more; the lack of light and shade and textures like water look a little cartoonish, crowds of NPCs are thinner, the level of detail in distant objects is lower, and the movements of clothing and facial expressions all suffer a little, but it isn't enough to prevent you from enjoying the game overall.
Docked and handheld mode respectively.
There are more glaring issues that break immersion, like the occasional pop-in and anti-aliasing shimmer. In docked mode, these feel more offensive, but Assassin's Creed Shadows really shines in handheld mode, where the smaller screen can compensate for the game's overall quality, plus a dedicated algorithm keeps variable refresh rate (VRR) enabled even at 30 FPS, according to developers.
Despite this, and that I preferred playing in handheld mode overall, the game can be almost blurry at times, and you'll most certainly notice the difference in the level of detail.
Fundamentally, all the moments that really matter in an Assassin's Creed game stick the landing in the post-patch version of the game; combat is snappy and rewarding, unlocking vantage points oozes grandeur and marvel, and naturally, the world is a delight to explore on foot, too.
If you're coming across from a more powerful console, prepare for an adjustment period, but if it's your first time playing Assassin's Creed Shadows, you may come away thinking that's how the game was always meant to play, and that's a real testament to a well-made port.
Should you play Assassin's Creed Shadows on Nintendo Switch 2?
Play it if...
You want a huge open-world AC game to sink hours into Shadows is the next big Assassin’s Creed game and if you’ve been after another experience like that of Odyssey or Valhalla then Shadows will not disappoint with its large world and the amount of things to do.
You’ve been pining for a Feudal Japan setting for Assassin’s Creed The wait for Assassin’s Creed to take the adventure to Feudal Japan has been absolutely worth it. The landscapes, characters, and history of the place are perfect for the series and Shadows capitalizes on that well.
You enjoy different combat playstyles If you’re an action-adventure fan who likes to constantly mix things up in combat or have multiplayer playstyle options, then those offered by Naoe and Yasuke could scratch quite the itch.
You want an open-world game with rewarding exploration Shadows shakes up the series’ traditional exploration and offers something far more nuanced, immersive, and rewarding. Nothing is fed to you, and areas aren’t suddenly filled after reaching viewpoints; the world entices you to explore it and the satisfaction of doing it is excellent.
Don't play it if...
You prefer the smaller Assassin’s Creed adventures Assassin’s Creed Mirage this is not, and if you prefer the more focused, small-scale adventures that the series has been known for in the past, then Shadows might be a bit overwhelming.
You don’t want to devote hours to resource-gathering and location completing While there’s so much to do across Shadows’ landscapes, you’ll need to spend a good while gathering resources to get the most out of the hideout mode and complete a lot of minigames and locations to unlock the top skills.
Accessibility
Ubisoft’s modern suite of strong accessibility options is available in Assassin’s Creed Shadows. There are multiple difficulty levels (all of which are described in full) that affect combat and stealth, and you can also change the game to have one-hit assassinations. If you want to make exploration easier, you can turn on guidance for that to make discovery more straightforward.
There are options to change or turn off graphic effects such as blood, as well as alter the camera, and change inputs for actions. There are also plenty of options for subtitles, text size, background color for text, and language options. The game also features modes to cater to Red-Green and Blue-Yellow colorblindness.
(Image credit: Ubisoft)
How I reviewed Assassin's Creed Shadows on Nintendo Switch 2
I've spent 20 hours in Assassin’s Creed Shadows on Nintendo Switch 2, comparing my experience against that of our original reviewer and Xbox Series X performance to assess how well optimized the game is for the console.
In that time, I explored vast swathes of feudal Japan, engaged in plenty of combat sequences, developed my hideout and progressed through the storyline to make my comparisons.
