In summary
The smallest and lightest Canon DSLR so far, the 200D Mark II has a DIGIC 8 processor, support for 4K/25p video recording, and Dual Pixel autofocusing in Live View mode.
The 200D Mark II is targeted at novice photographers who want something better than their smartphones for taking pictures. Features include selfie mode, Guided UI display and Creative Assist functions which are designed for snapshooters.
Full review
Announced on 10 April, Canon’s EOS 200D Mark II is also known as the Rebel SL3, EOS 250D or Kiss X10, depending on where in the world you live. The smallest and lightest Canon DSLR so far, it is targeted at entry-level users who want a more capable camera than their smartphone. Physically, the Mark II model is almost identical to the original EOS 200D, having the same sized body but being a couple of grams lighter.
Canon’s new EOS 200D Mark II, shown with the EF-S 18-55mm f/4.5-5.6 IS STM lens. (Source: Canon.)
Its sensor has the same 24-megapixel resolution as the previous model but comes with the new Dual Pixel CMOS AF3 system and sensors that cover 88% of the image frame horizontally and 100% vertically for Live View autofocusing. The EOS 200D II is the first Canon DSLR to support Eye Detection AF with Live View shooting.
Like its predecessor, the new camera is being offered in kit format, bundled with the EF-S 18-55mm f/4-5.6 IS STM lens, which we reviewed in May 2017. This is the kit we received for our review of the new camera.
Who’s it For?
Like its predecessor, the EOS 200D Mark II is targeted at novice photographers who want something better than their smartphones for taking pictures. The selfie mode, Guided UI display and Creative Assist functions, which are designed for snapshooters, carry over into the new camera.
The bundled kit lens is pretty ordinary and covers a 35mm focal length range equivalent to 28.8mm at the wide end to 88mm at the ‘tele’ end, which is neither particularly wide nor usefully telephoto. Shooting with the viewfinder will crop the frame by roughly 2% all round, which makes precise framing of shots tricky.
Like its predecessor, the Mark II model is modestly specified and probably won’t appeal to serious enthusiasts – unless they’re looking for a light and compact second body to go with an existing system. Interestingly, it’s a bit more expensive than the Mark I model’s RRP (although that camera is now selling in Australia for an RRP of AU$799 with the same 18-55mm lens). The table below compares key features of the current and previous models.
| EOS 200D Mark II | EOS 200D | |
| Announced | 10 April, 2019 | 29 June, 2017 |
| Effective resolution | 24.1 megapixels | 24.2 megapixels |
| Image processor | DIGIC 8 | DIGIC 7 |
| Focus system | TTL-SIR phase-difference detection with dedicated AF sensor | |
| AF points for viewfinder shooting | 9 | |
| Live View focusing | Dual Pixel CMOS AF3 (Max. 3975 points selectable) | Dual Pixel CMOS AF |
| MF assistance | Peaking, magnification (5x, 10x) | Magnification (5x, 10x) |
| Metering system | 63-zone TTL open-aperture metering | |
| Shooting modes | Scene Intelligent Auto, P, Tv, Av, M, Creative Filters, SCN | Scene Intelligent Auto, P, Tv, Av, M, Flash Off, Creative Filters, Creative Auto, SCN |
| Scene presets | Portrait, Smooth Skin, Group Photo, Landscape, Sports, Kids, Close-up, Food, Candlelight, Night Portrait, Handheld Night Scene, HDR Backlight Control, | Portrait, Group Photo, Landscape, Sports, Kids, Close-up, Food, Candlelight, Night Portrait, Handheld Night Scene, HDR Backlight Control |
| Picture Style/Control settings | Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3) | |
| Movie format | MPEG-4, H.264 with IPB compression | MP4 |
| Max. movie quality | 3840 x 2160 at 25p (approx. 120 Mbps) | 1920 x 1080 at 50p (approx. 60Mbps) |
| Custom Functions | 11 | |
| ISO range | ISO 100 – 25600; expansion to ISO 51200 available | |
| Pop-up flash | GN 9.8 | |
| Sequence shooting | Max. 5 frames/sec | |
| Buffer capacity | ‘Unlimited’ JPEGs, approx 10 RAW or RAW+JPEG frames | ‘Unlimited’ JPEGs, approx 6 RAW or RAW+JPEG frames |
| Monitor | Vari-angle 3-inch touchscreen LCD with 1.04 million dots | |
| Interface terminals | USB 2.0, mini-HDMI, 3.5 mm mic jack, remote control terminal | |
| Wi-Fi | Yes, IEEE 802.11b/g/n plus Bluetooth | |
| Power supply | LP-E17 | |
| Battery capacity | 1070 shots/charge | 650 shots/charge |
| Dimensions | 122.4 x 92.6 x 69.8 mm | |
| Weight (with battery & card) | 449 grams | 453 grams |
| Listed kit price on release | AU$1039 | AU$999 |
Physically, the Mark II is almost identical to the original EOS 200D and similar in design to Canon’s other entry-level DSLRs. The main changes appearing in the new model are the upgrade to the DIGIC 8 processor and improvements to the AF system such as the addition of Eye Detection AF for Live View shooting and a peaking display in manual focusing mode and the addition of 4K video recording.
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Build and Ergonomics
The main changes to the physical design of the EOS 200D Mark II are removal of the red-eye reduction/self-timer LED from the front panel and the absence of an AF-assist LED. (An IR targeting beam from an external flash can be used for distance measurement, but we doubt any purchasers of this camera would benefit from this capability).
The mode dial has also been simplified slightly, with the removal of the Flash Off and Creative Auto settings. The flash must now be raised manually so Canon has added tiny ridges to either side of the head to make this easy.
The dedicated Wi-Fi button is gone so Wi-Fi connections must be initiated via the menu, which has a dedicated section for this function. The usual Wi-Fi capabilities are supported, including remote control of the camera and transfer of files to a smart device. Once the Camera Connect app is installed on the interfacing smart device, the system is easy to use.
Nothing has changed in the layout of the rear panel and as is usual for entry-level cameras, the battery and memory card share a compartment, which is accessed via a lift-up panel in the base plate. A metal-lined tripod socket is located nearby in line with the axis of the lens.
Front, back and top views of the EOS 200D Mark II with the EF-S 18-55mm f/4-5.6 IS STM kit lens. (Source: Canon.)
Internally, a new Smooth Skin mode has been added to the SCN (Scene presets) sub-menu. It provides five levels of adjustment for skin smoothing. While the Dual Pixel AF system isn’t new, Eye Detection AF should improve its performance for portraiture.
The new camera promises similar live view and video performance to its predecessor, although the through-the-viewfinder AF system, which carries over from the 200D, is aging and provides only 95% frame coverage, which makes it difficult to frame scenes with precision. It’s much less attractive than a modern EVF.
Aside from that, the user interface has barely changed. We covered the Guided UI menu design in our review of the original EOS 200D. But this time around we found it more of an irritant than an assistant.
The problem is that when you press the Menu button, if you don’t want to make changes in the first section that pops up you have to toggle back up to the top bar of the menu to find the section you’re after and then touch the relevant icon to open those pages. As an experienced shooter, we’d prefer the logically-designed menus you get on Canon’s higher-featured cameras, without the unnecessary ‘title’ pages you have to tap on to enter each section.
Fortunately, the monitor’s touch controls are well implemented and easy to use. Built-in Bluetooth and Wi-Fi plus the free Canon Camera Connect app for iOS and Android allow the familiar easy connectivity the enables image to be sent directly to a paired smart device as soon as they are taken via the Automatic Image Transfer function.
Canon has implemented some kind of power management system to increase the battery capacity of the new camera quite substantially. Its CIPA rating of 1070 shots/charge is much higher than the 650 shots/charge rating for the EOS 200D. But that’s assuming the viewfinder is used for shot composition; with Live View capacity reduces to a very average 300 shots/charge rating.
Sensor and Image Processing
The sensor in the EOS 200D Mark II may not be quite the same 24.2-megapixel CMOS chip as the sensor in the EOS 200D but its resolution is almost the same. The DIGIC 8 processor is relatively new, but it hasn’t had perceptible effects on either the ISO range or the burst rate. The buffer memory is, however, marginally larger.
Four JPEG sizes (three of them with two compression levels) are provided. Raw files are recorded in the new CR3 format that was introduced with the EOS M50. Both regular and C-RAW (Compressed RAW) formats are available, with the C-RAW format reducing file sizes by about 40% through lossy compression. Typical file sizes for 3:2 aspect ratio images are shown in the table below.
| Quality | Pixels | File size | Possible shots on 8GB card | |
| JPEG | Large/Fine | 6000 x 4000 | 8.6MB | 950 shots |
| Large/Normal | 3.9MB | 1840 shots | ||
| Medium/Fine | 3984 x 2656 | 4.1MB | 1790 shots | |
| Medium/Normal | 2.0MB | 3480 shots | ||
| Small 1/Fine | 2976 x 1984 | 2.6MB | 2730 shots | |
| Small 1/Normal | 1.3MB | 5260 shots | ||
| Small 2 | 2400 x 1600 | 1.8MB | 3810 shots | |
| RAW | RAW | 6000 x 4000 | 29.4MB | 170 shots |
| RAW+JPEG | RAW/Large | 6000 x 4000+ 6000 x 4000 | 37.0MB | 210 shots |
| C-RAW | C-RAW | 6000 x 4000 | 16.7MB | 460 shots |
| C-RAW+JPEG | C-RAW/Large | 6000 x 4000+ 6000 x 4000 | 25.5MB | 310 shots |
The buffer memory is ‘unlimited’ for JPEGs, which means you should be able to shoot to card capacity. However, it can only hold up to 10 CR3.RAW files. No figure is given for the buffer capacity for C-RAW files, although going by file size it should be just under double the raw file capacity.
Video
In line with most recently-released cameras, the EOS 200D Mark II can record 4K video footage. This is additional to the existing Full HD (1920 x 1080 pixel) capabilities offered by the previous model. As before, movies are recorded in MP4 format with IPB compression.
The 4K capabilities are pretty basic, as you’d expect from an entry-level camera. PAL format shooters are restricted to consumer-level, 3840 x 2160-pixel resolution plus 25 fps frame rates. Individual frames can be captured from 4K movies and saved in the camera as 8.3-megapixel JPEGs.
Unfortunately, when shooting 4K video, the frames are cropped by a factor of roughly 2.6 times, compared with FHD and HD frames. This means the 18mm focal length is equivalent to roughly 47mm in 35mm format, so you lose the ‘wide angle’ coverage.
Movie recording options are shown in the table below.
| Movie resolution | Frame rates | Quality |
| 3840 x 2160 | 25 fps | Standard |
| 1920 x 1080 | 50 fps | Standard |
| 25 fps | Standard | |
| 25 fps | Light | |
| 1280 x 720 | 50 fps | Standard |
ISO is restricted to the 100-6400 range, except in the Highlight Tone Priority mode, where FHD and HD movies can be recorded between ISO 200 and ISO12800. The P, AV, TV and M shooting modes are available and ISO expansion is available for FHD and HD movies.
Contrast detection is the only focusing method available when recording 4K video and clips are limited to 4GB in size. A general recording time limit of 29 minutes and 59 seconds applies to all movie recordings.
The grid lines and histogram overlays can’t be used while shooting movies. Digital IS is only available in movie mode if the stabiliser on the lens is on.
HDR (High Dynamic Range) movies can also be recorded in FHD size at 25p. Five Creative Filters (Dream, Old Movies, Memory, Dramatic B&W and Miniature effect) can also be applied to movie clips. Time-lapse movies can also be recorded in 4K and FHD resolution.
The EOS 200D II also includes Canon’s Video Snapshots mode, which captures a second or two of video snapshots in FHD mode at the start of each recording and combines them into an ‘album’ that can be played back with background music.
Playback and Software
Playback options are similar to the previous models and provide the option of using the touch screen as well as the button controls. As for the EOS 200D, the software bundle has to be downloaded from the Canon website.
As before, it contains the latest versions of the standard ‘Utilities’: EOS Utility 3.10.30 for Windows, Image Transfer Utility 2.2.0 for Windows and Mac, Digital Photo Professional 4.10.20, and Picture Style Editor 1.22.20 for Windows and Macintosh PCs. The Camera Connect app for iOS and Android devices is available free from Google Play or the iOS App Store.
Instruction manuals for using the software can be downloaded from the same site. A printed user manual was supplied with the camera, along with a leaflet with links to the Canon Collective workshops and the Camera Assist tips and techniques videos.
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Performance
Perhaps unsurprisingly, the images and movie clips we obtained from the review camera were quite similar to those we obtained from the original EOS 200D. Resolution was marginally higher in the new camera, although whether that is due to the DIGIC 8 processor or simple sample variation is impossible to tell. Raw files showed higher resolution than equivalent files from the EOS 200D but that could be due to improvements in Adobe Camera Raw, our preferred raw file processor.
JPEG resolution remained relatively high from ISO 100 to ISO 400 (inclusive), after which it declined gradually, dropping significantly from ISO 12800 on. As before, raw files maintained significantly higher resolution throughout the review camera’s sensitivity range with a gradual decline as sensitivity was increased. The graph below shows the results of our Imatest tests with both JPEG and CR2.RAW files.
The overall quality of JPEGs is good enough to satisfy entry-level buyers but the kit lens is a fairly average performer so that’s to be expected. You can get a lot more out of the 14-bit CR3.RAW files which, again, is to be expected.
Subjective assessments of image noise at high ISO settings in both long exposures and with flash shots showed them to be similar to equivalent shots taken with the EOS 200D. Night exposure levels were consistent throughout the camera’s sensitivity range and, as before, we found little apparent noise in long exposures taken at up to ISO 3200.
Slight softening began to appear at ISO 6400 and traces of noise could be seen at ISO 12800.
Both noise and softening were evident at ISO 25600 and by ISO 51200 the image had become quite granular-looking although it had fewer artefacts than shots taken with the EOS 200D at that sensitivity setting. Colour saturation was retained throughout the camera’s ISO range.
Flash exposures were correctly exposed between ISO 100 and ISO 3200, after which the camera failed to compensate for the higher ISO settings and shots were progressively over-exposed. Both noise and softening were obvious from ISO 6400 on and contrast and sharpness were reduced at the two highest ISO settings.
Auto white balance performance was similar to the EOS 200D’s with shots taken under incandescent and LED lighting with the AWB Ambient Priority setting remaining partly corrected, while the White Priority setting removed almost all of the warm casts with both lighting types.
As before, shots taken with fluorescent lighting and with the camera’s built-in flash were almost cast-free. The pre-sets for incandescent and fluorescent lighting types slightly over-corrected but manual measurement delivered a neutral colour balance. Plenty of in-camera adjustments are provided for tweaking images as you shoot and white balance bracketing of +/- three levels in one-step increments across the blue/amber and magenta/green axes is available.
Autofocusing speeds were much as we expected and mostly reasonably fast, although the camera could have trouble focusing on dimly-lit scenes and low-contrast subjects when the viewfinder was used to compose shots. In Live View mode, focusing was usually a bit faster, thanks to the Dual Pixel AF system plus the ability to select focus points via the touch screen.
When shooting movies, we noticed some delays in locking onto fast-moving subjects, particularly with rapid changes in camera-to-subject distance and when pans were needed to track the action. As before, low-contrast lighting also reduced re-focusing speeds.
Video quality was similar to the clips we obtained from the EOS 200D, with the improved resolution of the 4K setting providing a welcome benefit. However, 4K quality was just average, when compared to the current crop of mirrorless cameras, particularly those from Fujifilm, Panasonic and Sony.
In Full HD (1080p) mode, it was again difficult to see much difference between the Standard and Light settings, which have slightly different bit rates (12Mbps for Light, vs 30Mbps for Standard). As before, movies recorded with the Light setting were slightly slower to re-focus when the camera was panned or the lens was zoomed.
For our timing tests, we used the same 64GB Panasonic SDXC UHS-1 U3 memory card, one of the fastest we have of its type. Response times were similar to those we recorded with the original EOS 200D. The review camera took just over one second to power up ready for shooting.
When the viewfinder was used for framing, we measured an average capture lag of 0.15 seconds, which was eliminated with pre-focusing. In Live View mode, the capture lag averaged 0.2 seconds, reducing to a consistent 0.1 seconds with pre-focusing.
Shot-to-shot times averaged 0.45 seconds without flash and 1.75 seconds with, regardless of file format. Processing times were slightly faster than we found with the EOS 200D. On average, it took 1.6 seconds to process each JPEG image, 2.5 seconds for a raw file and 2.8 seconds for each RAW+JPEG pair. This may be partly due to the faster card we used.
In the normal continuous shooting mode, the camera recorded 51 Large/fine JPEG frames in 9.6 seconds without pausing. This equates to just over five frames/second. Processing of this burst was completed within 2.2 seconds of the last frame recorded.
On swapping to shooting raw files, the camera slowed down after recording ten frames in two seconds, which equates to five frames/second. It took 6.3 seconds to complete the processing of this burst. In RAW+JPEG format, recording paused after nine frames which were captured in 1.6 seconds. Processing this burst took roughly 7.8 seconds.
Conclusion
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SPECS
Image sensor: 22.3 x 14.9 mm CMSO sensor with 25.8 million photosites (24.1 megapixels effective)
Image processor: DIGIC 8
A/D processing: 14-bit
Lens mount: Canon EF/EF-S
Focal length crop factor: 1.6x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), CR2.RAW, RAW+JPEG; Movies: MPEG-4 (Video: H.264 IPB/ Linear PCM / AAC stereo sound)
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 at 25p, FHD at 50p or 25p, HD at 25p; time-lapse movie at 4K/FHD
Image Stabilisation: Lens based
Dust removal: EOS integrated cleaning system
Shutter (speed range): Mechanical shutter (30 to 1/4000 second plus Bulb; X-synch at 1/200 second)
Exposure Compensation: +/- 5EV in 1/3, 1/2 or 1EV steps (+/- 3EV for movies)
Exposure bracketing: 3 shots +/-2 EV 1/3 or 1/2 stop increments
Self-timer: 2 or 10 seconds delay
Focus system: 9-point TTL secondary image-forming phase-difference detection system with AF-dedicated sensor (via optical viewfinder); 49-point Dual Pixel CMOS AF System. Phase detection pixels built onto imaging sensor (Live View) with 88% horizontal/100% vertical coverage
AF modes: Zone, spot, 1-point, face+ tracking (with eye detection)
Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR) / Preset MF; C-AF lock (5 steps), AF scanner (3 types); AF targeting pad; AF limiter; 3x , 5x , 7x , 10x , 14x Magnified frame AF; face/eye detection AF; Manual focus assist (magnification and peaking)
Exposure metering: 63-zone dual-layer metering sensor with evaluative, partial, spot (centre only) and centre-weighted average patterns
Shooting modes: Scene Intelligent Auto, Flash off, P, Tv, Av, M
Special Scene modes: Portrait, Smooth skin, Landscape, Close-up, Sports, Group Photo, Kids, Food, Candlelight, Night Portrait, Handheld Night Scene, HDR Backlight Control
Custom Functions: 11
Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)
In-camera processing modes: Highlight Tone Priority Auto Lighting Optimiser (4 settings) Long exposure noise reduction High ISO speed noise reduction (4 settings) Multi Shot Noise Reduction Auto Correction of Lens Peripheral illumination, Chromatic aberration correction, Distortion correction, Diffraction correction, Multi-exposure Resize, Crop (JPEG only)
Creative filters: Grainy B/W, Soft focus, Fish-eye effect, Water painting effect, Toy camera effect, Miniature effect, HDR art standard, HDR art vivid, HDR art bold, HDR art embossed
Dynamic Range functions: Highlight tone priority
Colour space options: sRGB and Adobe RGB
ISO range: Auto (default): 100 ‐ 25600 with extension to ISO 51200 available; for movie shooting: ISO 100-12800 (in 1/3-stop or whole stop increments) with expansion to H: 25600
White balance: Auto (Ambient/White Priority), Sunlight, Shade, Cloudy, Tungsten, White Fluorescent, Flash, Custom, Kelvin; +/-3 steps of Blue/Amber, Magenta/Green bias adjustments
Flash: Built-in pop-up flash, GN 9.8 (ISO 100/m)
Flash modes: Redeye, Fill-in, Flash Off, Red-eye Slow sync. (1st curtain), Slow sync. (1st curtain), Slow sync. (2nd curtain), Manual (1/1 (FULL) ~ 1/64)
Flash exposure adjustment: +/- 3 EV in 1/3, 1/2, 1 EV steps
Sequence shooting: Max. 5 shots/sec. with AF/AE tracking; up to fps selectable with locked AF
Buffer capacity: Large/Fine JPEGs to card capacity, Max. 10 RAW files
Storage Media: SD, SDHC, SDXC cards (UHS-I compatible)
Viewfinder: Optical with 95% frame coverage, 0.87x magnification
LCD monitor: Vari-angle 3-inch Clear View LCD II touch-screen with 1,040,000 dots
Playback functions:
Interface terminals: USB Micro-B, HDMI type C, 2.5mm remote control jack, 3.5 mm microphone jack
Wi-Fi function: Built-in (IEEE 802.11b/g/n) plus Low-energy Bluetooth
Power supply: LP-E17 rechargeable Li-ion batteries in special base pack; CIPA rated for approx. 1070 shots/charge with 50% flash or 1630 shots/charge without flash; 300 shots/charge in Live View mode
Dimensions (wxhxd): Approx. 122.4 x 92.6 x 69.8 mm (excluding protrusions)
Weight: Approx. 402 grams (body only); 449 grams with battery and card
Distributor: Canon Australia; 1800 021 167; www.canon.com.au.
TESTS
Based on JPEG files taken with the EF-S 18-55mm f/4-5.6 IS STM lens.
Based on CR2.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting, Ambient Priority setting.
Auto white balance with incandescent lighting, White Priority setting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
Auto white balance with flash lighting.
ISO 100, 32mm focal length, 30 second exposure at f/5.6.
ISO 800, 32mm focal length, 10 second exposure at f/5.6.
ISO 3200, 32mm focal length, 6 second exposure at f/8.
ISO 6400, 32mm focal length, 4 second exposure at f/10.
ISO 12800, 32mm focal length, 2.5 second exposure at f/11.
ISO 25600, 32mm focal length, 2.5 second exposure at f/16.
ISO 51200, 32mm focal length, 1.6 second exposure at f/18.
Flash exposure at ISO 100; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 3200; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 25600; 55mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 51200; 55mm focal length, 1/125 second at f/6.3.
18mm focal length, ISO 100, 1/500 second at f/8.
55mm focal length, ISO 100, 1/400 second at f/8.
Close-up at 18mm focal length; ISO 100, 1/100 second at f/4.
Close-up at 55mm focal length; ISO 400, 1/250 second at f/5.6.
Backlit subject; 55mm focal length, ISO 400, 1/60 second at f/5.6.
Backlit subject; 55mm focal length, ISO 400, 1/60 second at f/5.6.
Flare; 18mm focal length, ISO 100, 1/125 second at f/11.
Flare with artefacts; 55mm focal length, ISO 100, 1/125 second at f/7.1.
55mm focal length, ISO 100, 1/125 second at f/11.
35mm focal length, ISO 200, 1/200 second at f/8.
47mm focal length, ISO 100, 1/125 second at f/5.6.
22mm focal length, ISO 100, 1/160 second at f/11.
24mm focal length, ISO 100, 1/100 second at f/9.
20mm focal length, ISO 100, 1/200 second at f/10.
55mm focal length, ISO 100, 1/250 second at f/8.
38mm focal length, ISO 100, 1/100 second at f/11.
18mm focal length, ISO 100, 1/60 second at f/18.
55mm focal length, ISO 100, 1/250 second at f/9.
55mm focal length, ISO 250, 1/250 second at f/8.
Still frame from 4K video clip taken at 25p.
Still frame from Full HD 1080 video clip taken at 50p.
Still frame from Full HD 1080 video clip taken at 25p.
Still frame from Full HD 1080 video clip taken at 25p with Lite setting.
Still frame from HD 720 video clip taken at 50p.
Rating
RRP: AU$1039; US$599
- Build: 8.6
- Ease of use: 8.6
- Autofocusing: 8.7
- Still image quality JPEG: 8.7
- Still image quality RAW: 9.0
- Video quality: 8.6
BUY
