Things move quickly in the tech industry, but the speed with which the photography world has developed over the last 18 months or so has shocked and delighted even the most experienced journalists and observers. From the Global Shutter of the Sony A9 III, to the long-awaited launch of the flagship Canon EOS R1, to the unexpected announcement that Affinity Photo will now be completely free of charge, a lot has happened in a short space of time.
Then, of course, there’s the stratospheric rise of AI and the polarizing views of how this is going to shape the future of virtually every corner of the creative sphere. If I could sum up this topic in as few words as possible, I’d just use the now ubiquitous “well, that escalated quickly” meme of Anchorman’s Ron Burgundy.
Predicting what gear, features and industry trends we might see for the year ahead used to be a fairly straightforward affair, but today, anything is possible. We can take some educated guesses about which camera models might be announced, which lenses might be added, and how AI might look this time next year, but rather than speculate on exact products, here I’ve outlined the direction I’d like to see the industry move. This includes the types of camera I want, design trends in camera development, lens mount growth, and new features.
My dream camera for 2026
For a while, retro-designed cameras were largely the reserve of Fujifilm, with fan favorite models like the X-T5, X-T30III, and X100VI providing a feeling of yesteryear charm but with all of the modern bells and whistles demanded by a digital content creator. It seemed like a relatively niche market at first, but with Fujifilm’s move into retro-aesthetic Medium Format cameras like the GFX 50R and, more recently, the fixed-lens GFX 100RF, it became clear there was a real appetite for cameras inspired by the designs of decades past.
Then, Nikon went all-in with the Nikon Z fc and full-frame Nikon Z f models, and the concept suddenly felt mainstream. So, how long is it until Canon jumps on the bandwagon? I hope it’s not too long.
A retro-inspired design based around a film camera like the Canon F-1 or AE-1, but fitted with the contemporary RF Mount would be my ideal camera on several metrics. Bringing one of those classics into the 21st Century, by arming it with features seen in some of the Best Canon Cameras in 2025, would create a sturdy, tactile but compact camera which looks as good as the pictures it could take.
Imagine a Canon EOS R-A1 or R-F1 fitted with the advanced autofocus of the Canon EOS R3, the superior low-light performance of the Canon EOS R6 Mark III, or the high-resolution stills and video capabilities of the Canon EOS R5 Mark II. Or, if we let our imaginations venture into the more obscure, a digital version of the now highly sought-after Canon VI L would make a refreshing substitute for the now defunct Canon M system.
It would be a compact-form model with a thin profile and minimal handgrip, but with either a full-frame or APS-C sensor and access to the growing family of top-quality RF lenses.
Such a camera would be glued to my hip and fitted with a Canon RF 35mm F1.8 IS Macro STM, or Canon RF 16-28mm F2.8 IS STM lens. To add a cherry on top of this hypothetical cake, which has already been discussed, I’d love a retro-inspired lens range to go with the body. Nikon did this with the NIKKOR Z 28mm f/2.8 SE and Nikon Z 40mm f/2 SE to pair well with the Z fc and Zf, so it’s not too much of a stretch to suggest Canon might follow suit.
Lenses galore: give me more third-party mirrorless optics
We’ve finally started to see more third-party lenses in the big two mirrorless mounts; Canon RF and Nikon Z. Despite there being a seemingly endless supply of lenses for Sony E Mount, some of them rated as highly as the Best Sony Lenses in 2025, such as the Viltrox AF 16mm F1.8 or Sigma 135mm F1.4 DG Art, up until recently there have been limited options for Canon and Nikon users.
Sigma is making waves with a range of bargain f/1.4 primes for Canon cameras, but I’d really like to see two of my favorite lens brands get in on the RF action. Irix and Tokina have long impressed me with their build quality, sharp optics, and affordable pricing. They also look good. If Irix in particular could bring their Dragonfly series to the RF mount, it would give Canon users an additional range of wide-aperture, manual focus lenses at a competitive price point.
This isn’t too much of a step into wishful thinking territory since the DSLR-centric Irix lenses were aimed mainly at Canon EF and Nikon F users. With DSLRs fading into history, it wouldn’t be a big jump to re-engineer the lens family for mirrorless use. This would involve down-sizing and making the construction more lightweight, but the result would be an excellent evolution of an established lineup.
Tokina might be more of a wildcard, but the FíRIN range is already available for Sony E Mount and other models can be bought for Fujifilm X. Having models like the atx-m 23mm F1.4 X PLUS for APS-C format Canon cameras could also come in useful if, as discussed earlier, Canon were to introduce a more retro-styled camera, thanks to the manual aperture ring and compact form. Of course, Canon will need to allow third parties to make lenses for its full-frame cameras first – they are currently locked out. All current third party lenses for Canon mirrorless cameras are for APS-C cameras (RF-S).
Let’s rethink camera and lens design
Cameras have looked fairly similar for the majority of the history of photography. Yes, it’s a tried and tested design based largely on practical and technical requirements, but in the digital age, manufacturers have far more latitude to get creative with control layouts than they’ve so far demonstrated.
Take a look at the Sigma BF, or the Sigma FP lines. They aren’t to everyone’s tastes, but there’s no denying that they are different. They represent a new direction in camera design thinking that starts to give us a glimpse of what a digital camera could look like. Sigma is no stranger to pushing boundaries like this, with a history of camera oddities like the SD Quattro H, which served a similar purpose. I don’t think all cameras should be like this, but I’d like to see further development, with a follow-up to the BF and the concept of a modular camera system, allowing photographers to build the camera that’s right for their style of shooting.
There is an argument that cameras can only get so clever before they stop being cameras. Autofocus is now powered by AI and takes much of the work out of the hands of the photographer; before we know it you’ll simply have to point the camera in the general direction of your subject and it will find them, follow them and pick the areas to focus on. We’re virtually there now, and before long re-focusing in post-production will be commonplace. Equally, it’s possible to shoot at up to ISO25,600 and above without much of a noise penalty.
In other words, camera tech is already near-perfect, so how much better can it get? I’d like to see more cameras and lenses with unique character, and less of a focus on absolute quality. People buy Leica cameras and lenses, such as the Leica M EV1, for their signature style, and I want more of that.
In 2026, my hope is that Typoch expands its unique Simera lens range for multiple mounts, and brands like Voigtlander develop lenses like their Nokton 50mm f/1.0 Aspherical. These optics aren’t always the absolute sharpest on the market, but they are still exceptional and bring a style of contrast and color reproduction that is unique to them.
Do we really need as many features?
In 2026, I don’t personally have much need to get excited by yet another generation of AI-driven subject tracking, but that doesn’t mean I wouldn’t like some features already found in some camera families rolled out to others. Let’s start with the humble memory card. I know that CFexpress cards are the future, but I have more high-performance SD cards than I can count, which irritates me slightly.
If I have a camera with dual card slots, I want both to accept the same format. That’s why I like the Canon EOS R6 Mark II and Fujifilm X-T5 – they are high-end cameras but don’t substitute one card slot with a CFexpress or XQD port like the Nikon Z6 III or Nikon Z8. I get the rationale: it allows photographers to slowly build up their stock of the newer format, but that doesn’t mean it isn’t a pain in the backside.
Sony cameras like the A7 VI and the recent A7 V, along with the A7R V, have dual slots that accommodate both types of memory card, allowing the use of a two-card setup even if you only have a single format. It’s a relatively simple solution to an otherwise significant inconvenience, and I’d love to see more brands implement it. Should a Canon EOS R5 Mark III make an appearance or a Nikon Z7 III, those would be the ideal opportunities.
Internal memory is another handy feature seen in the likes of the Leica M11, but is noticeably missing from other brands. This seems like another oversight and it’s something that should definitely be normalized in camera design.
What I don’t want to see from cameras and lenses in 2026
There are some directions that camera brands could take their products that I don’t feel would benefit the photography world in a meaningful way. I’d like to see a Leica M12 show up in 2026, potentially with a new processor and improved LCD screen, but what I don’t want is a departure from the established M-system design.
I don’t want the M12 to feature an electronic viewfinder, as seen on the M EV1, as I think this defeats the purpose of owning a rangefinder in this family. I doubt this would happen, as Leica generally knows their audience, but the allure of something shiny and new, especially if the M EV1 sells well, might be enough to dazzle the development team into heading down the wrong path.
I would also prefer that AI stays out of consumer-level cameras. While I’m not anti-AI, I think we need to make the distinction between traditional photography as an art form and AI-driven commercial appeal and convenience. I actually think that marrying cameras and AI could be a ticket towards prolonging the perceived relevance of the high street photographer – take the new Nano Banana-equipped Caira Camera – so long as it’s made clear that proper photographic understanding is required to create authentic moments.
For example, in-camera auto retouching, like the removal of obvious blemishes, might be a huge time-saver for wedding and portrait photographers. You’d shoot a reference image and highlight the bits that weren’t desirable, then the camera would filter these out for you. It would probably have to be done in RAW+Jpeg mode, so you had the unedited files to work on if needed, but it would be a genuinely practical use of AI to increase a photographer’s turnover.
You know what they say; if you can’t beat ‘em…
My 2026 Christmas camera wishlist
- A retro Canon camera
- Irix and Tokina to go mirrorless
- A follow-up to the Sigma BF and/or FP
- More Thypoch Simera lenses (specifically a Thypoch Simera 85mm f/1.4)
- A Leica M12 (with rangefinder)
- Universal memory card slots on more cameras
- More cameras with internal memory
- In-camera AI editing features
- Less industry consolidation: more products with unique design and aesthetic qualities
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