Canon EOS M50

      Photo Review 8.9

      In summary

      The M50 is a pared-down version of the more expensive EOS M5, although it does have a few features that aren’t included in the M5, including 4K video recording, a DIGIC 8 processor that supports faster burst shooting and a fully-articulating monitor.

      The simplification of the M50’s controls will appeal to point-and-shooters. The auto functions provided sharp, well-exposed images and movie clips in our shooting tests, thanks in part to the improved autofocusing system.

      Improvements to the built-in Wi-Fi system, which include NFC and Bluetooth, make it easier to transfer images and operate the camera from a smart device.

      The lack of dedicated M-series lenses remains a weakness of Canon’s mirrorless system, however an adapter is available for fitting EF and EF-S lenses.


      Full review

      The EOS M50, which was announced on 26 February, just before the CP+ show, is the seventh model in a line which began back in late July 2012. Like the majority of its precursors, the latest model is targeted at snapshooters, with particular focus upon travellers  who want a wide range of Auto shooting modes, 4K movie recording with Wi-Fi and Bluetooth connectivity, fast autofocusing and functions like time-lapse and scene recognition technology.  


      Angled view of the EOS M50 with the bundl3ed 15-45mm kit lens. (Source: Canon.)

      Only two models in the EOS M line-up have built-in viewfinders: the M50 and the older and slightly more expensive M5 model.  The M50 has the advantage of the latest DIGIC 8 processor and almost three times the number of AF points. It can also record 4K movie clips and is a little smaller and lighter than the M5.

      However, Canon is promoting it as an ‘intuitive’ entry-level camera that ‘integrates effortlessly with smart devices’. And like the other models in the EOS M range, the M50’s body is largely made from polycarbonate plastic.

      The review camera was supplied with the EF-M 15-45mm f/3.5-6.3 IS STM lens,  which is the standard kit lens for the EOS M series and which we reviewed in December 2016. It’s a relatively slow kit lens with a plastic mount and a 3x zoom range but its retracting design makes it compact and its STM focusing is quiet enough for use when shooting movies.

      Who’s it For?
       Canon still hasn’t produced a mirrorless camera with real appeal to serious photo enthusiasts. (Nor, for that matter, have they made a ‘professional quality’ lens for the EOS M series.) So far, they’re targeting entry-level shooters and for this market sector the emphasis seems to be on low price (although nothing like as low as Canon’s entry-level DSLRs), with a sprinkling of high-end features.

      Snapshooters will find the EOS M50 easier to use than the EOS M5 because its controls are simpler. Most will probably opt for fully automated shooting because navigating the menu can be frustrating for novice users. The camera is also configured for set-and-forget operation, although there are plenty of automated shooting modes in the Scene pre-sets sub-menu.

      The EVF gives the M50 and M5 an advantage over the other models in the series that lack electronic viewfinders. Unfortunately, however, there aren’t many EOS M lenses to choose from: only two primes and five zooms with the M-mount, although users can mount Canon EF or EF-S lenses via an optional adapter.

      The M50 introduces a couple of interesting functions, eye detection AF and silent shooting, although they come with certain restrictions. The former isn’t available with Zone AF or Tracking AF and enabling eye AF disables Auto Servo AF. Silent shooting is disabled when flash is used or continuous shooting is selected.

      The EOS M50 is the first Canon camera that can automatically transfer images via Wi-Fi to a connected smart device after each shot. (Video clips can’t be transferred.) This feature could have been useful for sports photographers but the camera is too small and light to take heavy long-zoom lenses. This restricts the ability of the M50 to be used as a back-up body for a Canon DSLR.

      For snapshooters, auto transfer would be handy when travelling in places with limited internet access. It requires the dedicated Camera Connect app, which is available free from Google Play or the Apple App Store. A QR code that can be displayed on the camera when the smart device is registered will also install the app.

      Users can also transfer images via NFC by touching the camera to a smart device. Selected images will be transferred. Wi-Fi can also be used for remotely controlling key camera functions and viewing images remotely.

      Build and Ergonomics
      Although the body of the EOS M50 is similar in many ways to the EOS M5 , many of the controls found on the M5 have been stripped away. While nothing much has changed on the front panel ““ and the M50 retains a decent grip ““ the top panel has undergone some significant changes and there’s been a bit of button shifting on the rear panel.


      Front view of the EOS M50 with no lens fitted. (Source: Canon.)

      The mode dial has been shifted to the right hand side of the M50’s top panel and reduced in size. The two Custom memory settings provided on the M5’s dial have been eliminated and the auto stills and movies settings combined into one. The power on/off lever sits below the mode dial.


      The top panel of the EOS M50 with the EF-M 15-45mm f/3.5-6.3 IS STM lens fitted. (Source: Canon.)

      The exposure compensation dial is also gone, as is the M5’s multi-function dial, which had a central button that provided quick access to key shooting controls. The M50 retains the dial around the shutter button but the dial around the M5’s arrow pad is eliminated.

      The M-Fn button from the M5 is retained, although it has been moved to sit between the shutter button and the flash housing. Its place has been taken by the movie button, which has been moved up from just above the arrow pad on the M5. There’s no button for raising the pop-up flash on the M50; you’re required to pull it up manually if it isn’t popped up by the camera.


      The rear panel of the EOS M50 with the monitor reversed. (Source: Canon.)

      The main change on the rear panel has been to replace the tilting monitor on the M5 with one that is fully articulated on the M50. This is a good move, although it doesn’t cater quite so well for selfie shooters. The touch-panel controls provided in the M5 are retained but the resolution of the screen is slightly lower than the screen on the M5 (although whether users would notice the difference is debatable).

      The Info button has been moved into the position vacated by the M5’s movie button and the ISO button on the arrow pad now adjusts the exposure compensation settings. The Q/SET button in the centre of the arrow pad accesses most of   the same functions on both cameras.

      The EVF is the same 2,360,000-dot OLED screen as the M5. The ‘finder includes a sensor that automatically switches to the EVF when the camera is raised to the user’s eye.   Eye detection AF (which focuses on a subject’s nearest eye) is available, although only in AF-S mode.

      Other new features include a gyro sensor that feeds motion data from the camera to the IS system in the lens to provide better shake correction. The M50 also boasts the same Dual Pixel AF technology as the M5, although it’s not available when shooting 4K video clips (see below).

      Like other M-series cameras (and Canon’s entry-level DSLRs and PowerShots), the M50 houses its battery and memory card in a single compartment in the grip, accessed via a hatch on the base plate. This can make it tricky to swap the battery or memory card when the camera is tripod mounted.

      The battery is the same LP-E12 unit as used in the EOS M100 and its capacity is limited to approximately 235   shots/charge (CIPA rating). Unfortunately, USB charging isn’t supported, which is a pity since the rated capacity is relatively low, even for a mirrorless camera.

      You can extend the capacity to 370 shots/charge by turning on the Eco mode, which conserves power by darkening the screen about two seconds after the camera is left unused and shuts off the display after a further 10 seconds. By default, the camera will turn off automatically after three minutes of inactivity. (A Power Saving setting in the tools menu lets users adjust this time.)

      The metal-lined tripod socket is in line with the optical axis of the lens, which is welcomed. The Wi-Fi/Bluetooth antenna is located on the right hand side panel, just below the compartment housing the USB socket and HDMI port. Metal strap lugs sit high on each side of the camera body.

      A microphone jack sits beneath a plastic cover on the left side panel, enabling the use of   the DM-E1 microphone, which can be attached to the hot-shoe. Below it is the contact point for the NFC (near field communication) function. Other accessories that can be used on EOS M bodies include the optional Speedlites, and BR-E1 wireless remote control.

      Sensor and Image Processing
       The 24.2-megapixel CMOS sensor in the EOS M50 is based upon to the sensor in the EOS 80D and, like the EOS M5’s chip, includes Canon’s Dual Pixel AF technology. However, where the M5 had only 45 all-cross-type AF points, the M50 has 99 selectable points. With certain lenses (the 28mm macro and 18-150mm and 55-200mm zooms) users can access up to 143 points.

      The image processor in the M50 is also the newer DIGIC 8   chip, which supports a native sensitivity range of   ISO 100-25600 and allows extension to a Hi setting, which we presume is equivalent to ISO 51200. Like the M5, the M50 can record time-lapse movies.

      The M50 introduces Canon’s new CR3.RAW format, which uses a new compression system for raw files that uses the full 6000 x 4000 pixel resolution. The previous M-RAW and S-RAW options are no longer available but the camera provides a cRAW format that uses lossy compression to reduce file sizes by roughly 40%, compared with the losslessly-compressed raw files.

      Aside from that, the standard image size and quality settings are provided. The table below lists what’s available, along with the number of frames you can expect to record on a 32GB UHS-1 memory card and the buffer memory capacity.

      Image quality

      Image size (3:2 aspect ratio)

      Shots / 32GB UHS-1 card

      Max. shots per burst

      Large Fine

      6000 x 4000 pixels


      Approx. 33

      Large Normal


      Medium Fine

      3984 x 2656 pixels


      Approx. 30

      Medium Normal


      Small Fine

      2976 x 1984 pixels


      Approx. 29

      Small Normal


      Small 2

      2400 x 1600 pixels


      Approx. 30


      6000 x 4000 pixels


      Approx. 10

      RAW+Large Fine


      Continuous shooting has also been improved, with a maximum rate of 10 frames/second when focus and exposure are locked on the first frame. With continuous autofocus, the frame rate drops to 7.4 fps. As noted in the table above, the buffer depth has also been slightly expanded.

       4K video recording is introduced for the first time to Canon’s mirrorless cameras but, unfortunately, it comes with some limitations. For starters, it’s only available when the Movie mode is selected on the mode dial. As in most entry- and mid-level cameras, the frame rate is only 25 fps with a maximum bit rate of 150Mbps.

      A more serious restriction is the degree of frame cropping, which combines the 1.6x   crop associated with the APS-C sensor with an additional 1.6x crop imposed by the 4K setting.  

      As mentioned, Dual Pixel AF is not available when shooting 4K video. Users must rely on contrast-based AF, which can be noticeably slower. Other movie recording options are laid out in the table below.

      Quality setting

      Recording file size

      Recording time on a 32GB card

      4K 25p

      15000 KB/sec.

      35 minutes 33 seconds

      FHD (1080p) 50p

      7500 KB/sec.

      1 hour, 11 minutes 7 seconds

      FHD 25p

      3750 KB/sec.

      2 hours, 22 minutes 13 seconds

      HD (720p) 100p

      6500 KB/sec.

      1 hour, 22 minutes 3 seconds

      HD 50p

      3250 KB/sec.

      2 hours, 44 minutes 6 seconds

      Continuous recording will stop after 29 minutes and 59 seconds or when a single HD 100p recording reaches seven minutes and 29 seconds. New files will be created after recording stops if the user holds down the recording button.

      The additional frame cropping doesn’t affect the Full HD or HD recording modes, which can also benefit from Dual Pixel AF, allowing faster, more precise autofocusing. Time-lapse recording is also supported with three pre-set ‘Scene’ modes and users can choose between Full HD (1920 x 1080 pixels) and 4K (3840 x 2160 pixels).

      The first (3 seconds between shots) is for subjects like moving people, the second for slower changes (5 seconds between shots), like clouds in motion and the third is even slower (15 seconds between shots) for ‘slowly changing scenes’.   There’s also a Custom setting that lets you select the interval between shots and the total numbers of frames in the sequence.

      Playback and Software
         Both are essentially the same as with other EOS M cameras. Playback modes include the usual single, index and Jump modes, between 1.5x and 10x playback zoom, rating, protecting and erasing frames, in-camera raw processing (to JPEG) and grabbing frames from 4K movies. Slideshow displays are also supported and Creative Filters can be applied to selected images. Cropping, re-sizing and red-eye correction are also available.

      Like most manufacturers, Canon supplies the software for managing and editing images and video clips via a free download service that is accessed from a central website ( Instructions for downloading the software can be found on page 2 of the printed, 163-page Getting Started manual supplied with the camera.

      The same page also provides a link for downloading the full user manual in PDF format. It’s a 3.21 MB file and contains 96 pages, including instructions on the wireless features as well as setting up the camera and using its various controls. However, it’s not well indexed and is far from comprehensive (Canon’s manuals for its higher-featured cameras are much better set up).

       We expected the performance of the EOS M50 to be similar to that of the EOS M5 we reviewed in December 2016 because both cameras have almost identical resolution and the same lens was supplied for each review. Based upon our review of the EF-M 15-45mm f/3.5-6.3 IS STM lens, we used the same focal length and aperture settings to assess the performance of both cameras (although other aperture settings were also considered in the final evaluations).

       Imatest showed the review camera fell just below expectations for the 24.2-megapixel sensor with JPEG files but comfortably exceeded expectations with the CR3.RAW files, which were converted into 16-bit TIFF format with the latest iteration of Adobe Camera Raw. Interestingly, these results are different from those we obtained for the EOS M5, where JPEGs fell slightly above the expected level and raw files were only marginally higher. Perhaps the new raw file format is responsible for this change. The graph below shows the results of our Imatest tests across the camera’s sensitivity range.


      Test shots were almost noise-free up to ISO 6400, after which both noise and softening became increasingly visible in long exposures. By ISO 12800, softening was obvious when images were enlarged even slightly and at ISO 25600, images appeared granular and soft as well as a little flat.  Granularity was much more obvious with the Hi extended sensitivity, although colours remained true to life and contrast was largely retained.

      Autofocusing was generally fast and accurate, which we expected from the Dual Pixel AF system. Focusing was fastest and most accurate in bright ambient lighting but almost as fast at night, provided there was something to lock onto.

      The built-in flash produced under-exposed shots with the 45mm focal length at ISO 100 but managed correct exposures between ISO 400 and ISO 3200 (inclusive), thereafter producing increasing levels of over-exposure up to ISO 12800 and ISO 25600, which were grossly over-exposed. We didn’t bother testing the extended sensitivity setting since the camera appeared incapable of reducing the flash output, even when faster shutter speeds and smaller lens apertures are used with the highest native settings.

      Auto white balance performance was slightly better than average, with close-to-neutral colours under fluorescent and flash lighting. The ambience priority setting failed to correct the orange bias of warm-toned LED  and incandescent lighting but the white priority setting provided visibly better correction of both lighting types than most other cameras we’ve reviewed.   All of the pre-sets tended towards slight over-correction but manual measurement produced neutral colours under each type of lighting.

      Video quality was similar to the recordings we made with the EOS M5 (even though that camera lacks 4K recording capabilities).  Clips recorded in contrasty lighting captured an acceptably wide dynamic range, although those recorded in indoor lighting tended to have blocked-up shadows and visible noise.

      The camera’s autofocusing system was able to keep track of most moving subjects, although subjects entering from the edges of the frame were not picked up immediately. Audio quality was acceptable for the size and location of the built-in microphones (single holes just above the lens mount) but not up to a serious videographer’s standard.

      You can add an external mic if you want better soundtracks and the camera provides a plug for connecting it plus menu settings that enable users to monitor audio recordings and filters for wind noise suppression and attenuation. (There’s no information on these functions in the user manual supplied with the camera.) No camera noises were detected in the movie soundtracks we recorded.

      We conducted our timing tests with a 64GB SanDisk Extreme Pro SDXC II/UHS Class 3 card which supports a read/write speeds of up to 300MB/s. This is one of the fastest cards in our collection.

      Powering up the camera is delayed by the need to unlock the lens, which takes a second or two. If the lens was unlocked, the review camera took roughly 1.2 seconds to be ready for shooting, on average.

      We measured an average capture lag of 0. 1 seconds when the shutter button was used to trigger the exposure and 0.2 seconds with the touch shutter. This lag was eliminated with pre-focusing when the shutter button was used but remained unchanged for the touch shutter.

      It took 1.3 seconds on average to process a large/Fine JPEG file, 1.4 seconds for a CR3.RAW file, 1.65 seconds for a CR3.RAW plus JPEG pair and 1.6 seconds for a cRAW plus JPEG pair. Shot-to-shot times averaged 0.65 second without flash and 2.2 seconds when the flash was used.

      In the continuous shooting mode the review camera recorded 35 Large/Fine JPEGs in 3.5 seconds before slowing down. This is equal to a capture rate of 10 frames/second as is specified for the camera. It took 4.6 seconds to complete processing of this burst.

      With CR3.RAW files, the capture rate slowed after 10 frames, which were recorded in 1.2 seconds, which was slightly slower than the specified frame rate. This burst took 3.9 seconds to process.

      Changing to the cRAW setting enabled the buffer memory to accommodate 17 frames, which were recorded in 1.7 seconds, a return to the 10 fps frame rate. Processing was completed in 3.5 seconds.  When we switched to recording cRAW+JPEG pairs, the frame rate remained at 10 fps but the buffer capacity was reduced to 16 frames. It took 4.7 seconds to process this burst.

       The EOS M50 isn’t the mirrorless camera Canon enthusiasts have been waiting for and more than the slightly higher-featured EOS M5 was. However, that doesn’t mean it’s without merit. Even though it’s a pared-down version of the more expensive EOS M5, it has a few features that aren’t included in that camera (4K video recording, a DIGIC 8 processor that supports faster burst shooting and a fully-articulating monitor).

      The simplification of the camera’s controls will appeal to point-and-shooters but will likely be   seen as ‘dumbing down’ by serious photo enthusiasts. However, the auto functions provided sharp, well-exposed images and movie clips in our shooting tests, thanks in part to the improved autofocusing system. Improvements to the built-in Wi-Fi system, which include NFC and Bluetooth, make it easier to transfer images and operate the camera from a smart device.

      The lack of dedicated M-series lenses remains a weakness of Canon’s mirrorless system. However, an adapter is available for fitting EF and EF-S lenses to help overcome this deficiency.

      The EOS M50 is only being offered in kit format in Australia, with the EF-M 15-45mm f/3.5-6.3 IS STM lens and it appears to be only available in black (although a white body is produced). The list price of AU$1199 in Canon’s local online store is being maintained by a couple of online resellers, although most have discounted it by between $100 and $150. Check the shipping costs when shopping online because they can vary from free to almost $33.

      B&H and Adorama have the EOS M50 kit listed at US$799, which was roughly equivalent to AU$1040 when this review was posted. Shipping the camera from the US will cost between about AU$36 and AU$100, which should be factored in when assessing off-shore purchasing. And remember if you buy off-shore, you’ll be required to pay 10% GST to import the camera and you won’t get the benefits of local consumer protection laws.



       Image sensor: 22.3 x 14.9 mm CMOS sensor with 25.8 million photosites (24.1 megapixels effective), fixed low-pass filter, 3:2 aspect ratio
       Image processor:  DIGIC 8
       A/D processing: 14-bit
       Lens mount: EF-M (EF and EF-S lenses compatible via Mount adapter EF-EOS M)
       Focal length crop factor: 1.6x
       Image formats: Stills: JPEG (Exif 2.31/ DCF 2.0), CR3.RAW, RAW+JPEG; Movies: MP4 [Video: MPEG-4AVC/H.264, Audio: MPEG-4   AAC-LC (stereo)]
       Image Sizes: Stills ““ 3:2 aspect: 6000 x 4000, 3984 x 2656, 2976 x 1984, 2400 x 1600; 4:3 aspect: 5328 x 4000, 3552 x 2664, 2656 x 1992, 2112 x 1600; 16:9 aspect: 6000 x 3368, 3984 x 2240, 2976 x 1680, 2400 x 1344; 1:1 aspect: 4000 x 4000, 2656 x 2656, 1984 x 1984, 1600 x 1600; Movies:   4K – 3840 x 2160 (23.98, 25 fps); Full HD – 1920 x 1080 (59.94, 50, 29.97, 25, 23.976 fps), HD – 1280 x 720 (119.9, 100, 59.94, 50 fps)
       Image Stabilisation: Lens-based; In-camera Digital IS available for movie recording
       Dust removal: EOS integrated cleaning system
       Shutter (speed range): Electronically controlled focal-plane shutter (30 – 1/4000 second plus bulb); flash synch at 1/200 sec.
       Exposure Compensation: +/-3 EV in 1/3EV steps (stills and movies)
       Exposure bracketing: 3 frames, +/-2EV   in 1/3EV steps
       Other bracketing options: White balance (3 frames B/A or G/M in 1EV steps)
       Self-timer: 2 or 10 seconds delay
       Intervalometer: Yes, in Time-lapse movie mode (4K and FHD resolution available)
       Focus system: Dual Pixel CMOS AF System using phase detection pixels built onto imaging sensor; Contrast detection is used during 4K Movie Servo AF
       AF points: Maximum 143/AF System/ Points 99 points depending on lens; max. 25 frames in Zone AF
       Focus modes: One-Shot AF and Servo AF;   Face + Tracking: Face and subject tracking via automatic recognition/manual selection via touchscreen. Automatic selection over AF points when no face recognised within frame;   Eye AF available in One Shot AF
       Exposure metering:   384 zone evaluative, Partial metering at centre (6.4% of live view), Centre-weighted and Spot metering (2.8% of live view) patterns
       Shooting modes: Scene Intelligent Auto, Hybrid Auto, Creative Assist, SCN, Creative Filters, Program AE , Shutter priority AE, Aperture priority AE, Manual exposure, Movie (Movie auto exposure, Movie manual exposure, Time-lapse movie, Miniature Effect movie)
       Scene Presets: Self-Portrait, Portrait, Smooth Skin, Landscape, Sports, Close-up, Food, Panning, Handheld Night Scene, HDR Backlight Control, Silent Mode
       Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)
       Creative Filter modes: Grainy B/W, Soft Focus, Fish-eye Effect, Water painting effect, Toy camera effect, Miniature effect, HDR, Art standard, vivid, bold, embossed
       Image processing: Highlight Tone Priority (standard and enhanced) Auto Lighting Optimiser (4 settings) , Long exposure noise reduction, High ISO speed noise reduction (4 settings + Multi Shot NR)
       Colour space options: Adobe RGB, sRGB
       ISO range: ISO AUTO (100 – 6400), 100 – 25600 in 1/3 stop increments with expansion to ISO 51200 for stills; ISO 100-6400 for 4K movies, ISO 100-12800 for FHD and HD movies with expansion to ISO 25600
       White balance: Auto (Ambience Priority / White Priority), Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash; Custom, Colour Temperature (100 Kelvin increments); +/- levels of WB compensation on B/A and M/G axes
       Flash: Built-in pop-up flash, GN 5 (ISO 100, metres), recycle time approx. 3 seconds
       Flash modes: Auto (E-TTL II) ; red-eye reduction is available
       Flash exposure adjustment: +/- 2 EV in 1/3 increments
       Sequence shooting: Max.   10 frames/sec.  
       Buffer capacity: Max. 33 JPEGs, 10 CR3.RAW
       Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I standard)
       Viewfinder: 0.39-type EVF with 2,360,000 dots, 100% FOV coverage, 22mm eye point, dioptre correction
       LCD monitor: Vari-angle 3-inch Touchscreen LCD (TFT) with 3:2 aspect ratio, 1,040,000 dots; 100% FOV coverage brightness adjustment (7 levels)
       Live View modes: Live view image with exposure info, basic info or full info; grid overlay (3 formats), histogram (brightness/RGB), electronic level, multi-aspect ratios, hints & tips
       Playback functions: Single image (with/without info), protect, rate, erase, crop, resize, apply filter effect, correct red-eye, Index display (4/9/36/100 images), Jump Display (1/10/custom number image, by shot date, by rating, by folder, by movies only, protected only), slideshow, highlight alert, raw file processing (to JPEG), Digest Movie playback, trimming and compressing movies, extracting 4K frames as stills
       Interface terminals: Hi-Speed USB (Micro USB), HDMI (Micro – Type-D connector)
       Wi-Fi function: Wireless LAN (IEEE802.11b/g/n), (2.4 GHz only, 1-11 ch), with Dynamic NFC support, Bluetooth 4.1 low energy technology
       Power supply: LP-E12 rechargeable Li-ion Battery Pack; CIPA rated for approx. 235   shots/charge (370 shots/charge in Eco mode)
       Dimensions (wxhxd): 116.3 x 88.1 x 58.7 mm
       Weight:   387 grams with battery and memory card

       Distributor: Canon Australia; 1800 021 167;



       Based on JPEG files taken with the EF-M 15″“45mm f/3.5″“6.3 IS STM lens.




      Based on CR3.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.






       Auto white balance with incandescent lighting.


       Auto white balance, white priority setting, with incandescent lighting.  


      Auto white balance with fluorescent lighting.


      Auto white balance with warm toned LED lighting.


      Auto white balance, white priority setting, with warm toned LED lighting.


      Auto white balance with flash lighting.


      ISO 100, 32mm focal length, 30 second exposure at f/5.


      ISO 400, 32mm focal length, 20 second exposure at f/5.6.


      ISO 1600, 32mm focal length, 10 second exposure at f/8.


      ISO 6400, 32mm focal length, 5 second exposure at f/14.


      ISO 12800, 32mm focal length, 3.2 second exposure at f/16.


      ISO 25600, 32mm focal length, 2 second exposure at f/14.


      ISO Hi, 32mm focal length, 1 second exposure at f/14.


      Flash exposure at ISO 100; 45mm focal length, 1/60 second at f/6.3.


      Flash exposure at ISO 400; 45mm focal length, 1/60 second at f/6.3.


      Flash exposure at ISO 1600; 45mm focal length, 1/60 second at f/6.3.


      Flash exposure at ISO 6400; 45mm focal length, 1/60 second at f/6.3.


      Flash exposure at ISO 12800; 45mm focal length, 1/60 second at f/6.3.


      Flash exposure at ISO 25600; 45mm focal length, 1/100 second at f/7.1.


      Close-up, 15mm focal length, 1/250 second exposure at f/4, ISO 500.


      Close-up, 45mm focal length, 1/250 second exposure at f/6.3, ISO 800.


      Backlit scene, 20mm focal length, 1/900 second exposure at f/9, ISO 100.


      Strong backlighting, 15mm focal length, 1/800 second exposure at f/4.5, ISO 100.


      32mm focal length, 1/80 second exposure at f/9, ISO 100.


      28mm focal length, 1/400 second exposure at f/9, .ISO 100.


      45mm focal length, 1/100 second exposure at f/8, ISO 6400.


      45mm focal length, 1/80 second exposure at f/8, ISO 8000.


      45mm focal length, 1/160 second exposure at f/6.3, ISO 6400.


      15mm focal length, 1/60 second exposure at f/7.1, ISO 1000.


      15mm focal length, 1/2000 second exposure at f/7.1, ISO 51200.


      35mm focal length, 1/60 second exposure at f/7.1, ISO 320.  



      35mm focal length, 1/60 second exposure at f/8, ISO 8000.


      45mm focal length, 1/80 second exposure at f/8, ISO 12800.


      19mm focal length, 1/60 second exposure at f/6.3, ISO 1250.


      45mm focal length, 1/80 second exposure at f/6.3, ISO 200.


      Still frames from 4K video clips taken at 25p in outdoor and indoor lighting.


      Still frames from Full HD 1080 video clips taken at 50p in outdoor and indoor lighting..


      Still frame from Full HD 1080 video clip taken at 25p.


      Still frame from   HD 720 video clip taken at 100p.


       Still frame from   HD 720 video clip taken at 50p.



      RRP: AU$1199; US$900 (with EF-M 15-45mm f/3.5-6.3 IS STM lens)


      • Build: 8.7
      • Ease of use: 8.9
      • Autofocusing: 8.9
      • Still image quality JPEG: 8.8
      • Still image quality RAW: 9.0
      • Video quality: 8.5