In summary
As befits a flagship professional camera, the EOS 1D X Mark II exceeds the capabilities and performance of its predecessor, which we described as ‘Canon’s most versatile camera to date’. For a pro shooter, there are few tasks it can’t handle and most of them will be handled with aplomb.
Designed for maximum durability and high-speed recording, it offers fast and accurate autofocusing, minimal capture lag, fast shot-to-shot times and burst speeds and excellent buffer capacity. It also brings professional video recording capabilities within the reach of photographers who mainly shoot stills.
It can also produce usable images at very high sensitivity settings, thanks to a high signal-to-noise ratio plus effective noise reduction processing. Minimum and maximum ISO settings can be specified and users can also define their preferred sensitivity ranges for different shooting situations and store them ““ along with related camera settings ““ in one of the three Custom shooting mode memory banks.
Battery capacity is good for a pro DSLR camera ““ provided you use the optical viewfinder for composing shots. In Live View mode (which means when recording movies), it drops to only 260 shots, which is similar to what you can get from an average mirrorless camera.
The limited touch-screen capabilities are a bit of a disappointment. We’d like to have seen functions like the ability to select Quick Menu items by touch and control AF point selection by touching the screen while looking through the viewfinder; in addition to the tap-to-focus options in Live View mode. They’re provided in the latest enthusiast-level cameras from Olympus and Panasonic, but you need an EVF to support them and that won’t happen until Canon releases a pro mirrorless camera (which we hope is soon).
Full review
Announced in February, the EOS-1D X Mark II, Canon’s latest flagship DSLR, arrives a little over four years after the original EOS-1D X was unveiled and brings with it a host of improvements, including a small increase in resolution, updated processors and the ability to record 4K videos with professional standards. Like its predecessor, the Mark II is designed and built as a pro photographer’s ‘workhorse’ and is a camera that can handle almost any task it is pointed at.
Angled view of the EOS-1D X Mark II with the EF 50mm f/1.4 lens. (Source: Canon.)
Who’s it For?
In two words: professional photographers. Few amateurs will be able to justify spending roughly $9000 on a camera body alone ““ and even fewer will require the advanced capabilities this camera provides. There are cheaper cameras better suited to serious enthusiasts.
Build and Ergonomics
The body of the EOS-1D X Mark II hasn’t changed much since the original EOS-1D X, which should come as no surprise; pro photographers don’t want radical re-designs in their ‘workhorse’ cameras as they result in lost productivity. Both cameras feature the same magnesium-alloy based construction with high levels of weather-proof sealing.
Both have high-durability shutter mechanisms and mirror mountings that can tolerate high burst speeds with reduced mirror and sub-mirror bounce. The focal plane shutter travels vertically and all shutter speeds are electronically controlled for high precision. The mechanism is rated for 400,000 cycles; the same as for the EOS-1D X.
Interestingly, body weight hasn’t changed since the original EOS-1D X, although the new camera is a little taller ““ but marginally shorter. For a camera so large and bulky, it’s surprisingly comfortable to carry around, although a bit heavy to take on a long hike over rough terrain, particularly if it’s paired with a large and heavy lens. Only two significant features differentiate the new model from its predecessor: the addition of a Live View/Video switch to the right of the viewfinder housing and the addition of touch sensitivity to the monitor screen.
Front, top and rear views of the EOS-1D X Mark II. (Source: Canon.)
The Live View/Video switch brings the pro camera into line with other recent Canon DSLRs and makes it easier to switch between shooting stills and movies. The central Start/Stop button is used to initiate and end movie recording.
The touch controls on the monitor screen are fairly basic and only operate in live view mode. You can touch to set the AF point, spread or contract to magnify or reduce the image for focus checking and switch Servo-AF on and off. You can also select between standard (the default) and sensitive responses and disable touch controls, if needed, via the camera’s LV touch control menu page.
Touch shutter release is not supported and you can’t access controls on the Q Menu by touch. Interestingly, the Q Menu is customisable (via the Custom Quick Control setting in the setup menu), to the extent that you can decide which settings to include and how much space they occupy.
High levels of customisation are available for the camera’s controls, with 34 settings distributed across seven pages of Custom Functions. Some functions can be set separately for stills and movie modes. There’s also an eighth page with a single entry: Clear all Custom Functions.
Frequently-used functions that don’t have dedicated external buttons can be assigned to various buttons and dials via the Custom Controls page in the camera’s menu, as shown in the graphic below. The layout and contents of the Quick Control screen can also be customised.
Detailed instructions are provided in the camera’s user manual.
The Custom Controls menu page. (Source: Canon.)
Whereas the EOS-1D X has dual memory card slots for CompactFlash and SD memory cards, the Mark II replaces the SD slot with one for a CFast card, which is needed to take advantage of the full 4K video recording capabilities. (You can record 4K footage onto a fast CF card but for less than 15 seconds at the fastest frame rate.)
Users can set the camera to write the same files to both cards, use switch cards when one is full, record different quality images on each card (one JPEG, the other raw). Unfortunately, this only applies to stills; movies can’t be recorded simultaneously to both cards and will always be recorded to the card set for Playback.
What’s New?
Most of the improvements are internal ““ and they’re quite extensive. The following list provides details of the most significant upgrades in the new camera:
1. The Sensor: The EOS-1D X Mark II features a new 20.2-megapixel CMOS sensor with a fixed low-pass filter and gapless microlenses to optimise low-light performance. It’s the first Canon ‘full-frame’ sensor with Dual Pixel CMOS AF functionality to ensure fast and accurate autofocusing with Live View shooting (stills or movies).
The new sensor is partnered with dual DIGIC 6+ image processors that support fast continuous shooting speeds, 4K movie recording and an extended sensitivity range. The native sensitivity range of the 1D X II is ISO 100-51200 but this can be expanded down to ISO 50 (L) and up to 102400 (H1), 204800 (H2) and 409600 (H3). Users can also set a pre-defined ISO range for the Auto ISO mode as well as minimum and maximum settings.
2. Autofocusing: The basic AF array is the same as the EOS-1D X’s, with 61 AF points ( 41 of them cross points) but they cover a larger percentage of the screen. Wider subject tracking area improves lock-on speeds when focusing on subjects that suddenly change their position and/or speed. In addition, the low-intensity limit has been improved to EV -3 and all 61 AF points are compatible with apertures down to f/8, as shown in the table below.
The table above shows the AF sensor configurations for the EOS-1D X Mark II. (Source: Canon.)
Users can choose from six AF area selection modes, two of which let you select AF points individually, while the remainder provide grouping options via AF point expansion, Zone AF or 61-point Automatic Selection AF. They can also utilise the six ‘Case’ presets (introduced in the EOS-1D X) to match focusing to specific pre-set scenarios. Each case provides four adjustable parameters: tracking sensitivity, acceleration and deceleration and AF point switching. Improvements have also been made to the AF algorithm, with a third-generation AI Servo AF III+ function that remembers the AF path to make subject tracking more precise.
The Dual Pixel CMOS AF system comes into play for movie recording and is compatible with all Canon EF lenses. Focus points can be selected automatically, or selected via the touch screen. The default Movie Servo AF is compatible with all frame rates and resolutions and users can set tracking sensitivity, AF speed and Face Tracking priority.
3. Metering: The 100,000-pixel RGB AE sensor in the EOS-1D X has been replaced with a new 360,000-pixel RGB+IR metering sensor and processor that combine to provide both improved exposure accuracy and consistency and enhanced colour and shape recognition in the 1D X Mark II’s iSA (Intelligent Subject Analysis) system. This additional information contributes to greater AF tracking accuracy when following moving subjects.
The usual Evaluative, Partial, Spot and Centre-weighted Average patterns are available for selection. In the Partial metering mode, measurements are made from approximately 6.2% of the viewfinder area in the centre of the frame. Spot metering measures a circle representing approximately 1.5% of the frame at the centre but it can be linked to the active AF point. Multi-spot metering lets you measure light levels at up to eight points and integrate them to determine the final exposure. The M-Fn button is used to record each measurement.
4. Continuous shooting: There has been a small improvement in burst speeds, with the top continuous shooting speed raised to 16 fps in Live View or 14 fps with the viewfinder (with full auto-exposure and pro-level AF performance) for JPEG and CR2.RAW files. These speeds are attainable provided the battery is fully charged, the shutter speed is 1/1000 second or faster and the lens is used at its maximum aperture. The AF mode must be set to One-Shot AF and the image stabiliser on the lens must be turned off.
When recording to CFast 2.0 cards, up to 170 full-size CR2.RAW files can be recorded in a burst, while if JPEGs are recorded, the full capacity of the card can be utilised. With UDMA7 CF cards, the full capacity of the card is available for JPEGs, while up to 73 full-size CR2.RAW files can be recorded in a single burst.
In movie mode, 4K/50p and Full HD/100p video clips can be recorded with minimal restrictions, and with exFAT format support, movies can be larger than 4GB without the need to merge files.
5. Video: The ability to record Cinema 4K movies at high frame rates (60 fps for NTSC or 50 fps for PAL) makes the EOS-1D X Mark II a serious contender in the video arena. 4K video is recorded with the professional-standard colour sampling rate of 4:2:2 8-bit, while 1080p is recorded at the reduced rate of 4:2:0 8-bit.
Whichever recording format you use, the frame is cropped to fit the required ‘widescreen’ format. When recording Full HD movies, the camera uses the full sensor readout with pixel binning and applies a 1.34x crop factor to produce a 1920 x 1080 pixel frame.
4K movies are recorded with higher resolution (4096 x 2160 pixels) using the less efficient Motion JPEG format. However, it requires high bit rates that produce very large files. Because each frame is compressed independently, it provides a better platform for extracting still pictures from movie clips, although you must use a fast enough shutter speed to prevent motion blurring.
Provided a fast enough shutter speed is used to stop motion, this feature alone will make the camera useful for sports and wildlife photographers as well as anyone who shoots weddings and social events.
Photographers can choose between the standard FlexiZone and Face+Tracking AF modes for shooting video with the EOS-1D X II, both supporting tap-to-focus via the touch screen. In FlexiZone AAF mode, you simply tap on the screen to select where the lens should focus. It’s quick and easy to engage and you can adjust the movie Servo AF speed to match the subject’s motion.
In the Face+Tracking mode, you tap on the face you want to keep in focus. This works well as long as the subject isn’t moving quickly and erratically. With most subjects moving in a predictable direction at modest speed, the lens will be adjusted smoothly to keep the subject sharp.
Sensitivity can be set up to ISO 12800 for 4K movies or ISO 25600 in Full HD format. The catch is that the camera uses the Motion JPEG format, which is less efficient than the XAVC S system used by Sony or the MP4/H.264 system used by Panasonic.
There’s also a High Frame Rate mode that can record Full HD movies at 119.9 fps (NTSC) or 100 fps (PAL) for slow motion playback. Soundtracks are not recorded in these clips.
Carried across to the new camera from the EOS-1D X are the compression format options for Full HD (1080p) movie recording. Users can choose between the ALL-I compression format, which is ideal for situations when individual frame grabs are required and the high-quality, high-compression IPB format. Time coding is also included using the industry standard SMPTE protocol.
You can use all of the regular shooting modes (P, Av, Tv and M) for shooting video, albeit with some restrictions. EV compensation is restricted to +/-3EV. The minimum shutter speed is 1/100 second for PAL system (1/125 second for NTSC. In the P mode, the ISO, shutter speed and aperture won’t be recorded in the movie’s EXIF metadata . Problems can arise when adjusting exposure compensation in M mode because the EV+/- button is dedicated to accessing aperture adjustments. This only happens in the M mode. A workaround is to assign exposure compensation to the SET button. Alternatively, you can set the camera to adjust ISO while maintaining the aperture and shutter speed you’ve selected.
Unfortunately, if you want to export video footage to an external device, the HDMI-out interface can only handle FHD 1080p resolution (but not 4K footage). Both microphone and headphone jacks are provided for connecting external devices and the camera’s menu provides for monitoring and adjusting sound levels. A wind filter and attenuator are also available for suppressing unwanted external sounds.
6. Silent Controls: The drive mode settings include three silent shooting modes, covering single-frame plus high and low continuous shooting modes. These settings can be combined with the mirror lockup to reduce the noise made by the shutter and mirror when shooting with the viewfinder. In Live View shooting no such suppression occurs but other mechanical noises are reduced to minimise interference with movie soundtracks.
The camera also includes Canon’s silent control system, which was introduced in the EOS 7D Mark II and reduces the noise produced when camera functions are adjusted during recordings. In movie mode, the quick control dial on the rear panel becomes a touch pad that provides a quiet way to adjust shutter speeds, aperture, exposure compensation, ISO speed, audio recording levels and headphone volume. The dial isn’t marked and you have to set the Silent Control to Enable in the camera’s menu to use it. After pressing the Q button, different functions can be selected silently by tapping on the dial’s inner ring at the top, bottom, left or right sides.
7. GPS and Wi-Fi: The EOS-1D X Mark II has a built-in GPS module that enables users to tag their images with critical location data and automatically adjust the time and timestamp on the camera. It is compatible with American GPS satellites, Russian GLONASS satellites and Japanese Michibiki quasi-zenith satellites.
Wi-Fi is not built into this camera so if you want it you’ll need the optional Wireless File Transmitter WFT-E8A. This accessory provides 5 GHz 802.11ac support for high-speed image transfer and enables quick setting up and configuration of wireless networks plus both iOS and Android compatible smartphone connection. It has similar weatherproofing to the camera body for use in difficult environments.
8. In-cameraLens Corrections: These are pretty much a given in all modern cameras but the EOS-1D X Mark II is, once again, ahead of the pack. As well as providing the normal corrections for peripheral brightness (vignetting), distortion and chromatic aberration, it also includes diffraction correction for the first time in an EOS camera. These corrections can be applied when shooting stills and movies, regardless of whether you’re using Live View mode.
Lens aberration data is also stored in the camera, eliminating the need to register the data for Canon’s current lenses and applying corrections with minimal delay. Corrections for each aberration can be switched on or off individually.
In addition, Canon’s Digital Lens Optimizer function is available for in-camera processing of CR2.RAW files, although only full-sized raw files can be processed in the camera. This function uses Canon’s lens design parameters to correct the effects of lens aberrations, diffraction and degraded resolution due to the optical low-pass filter in front of the sensor.
Performance
The EF 24-105mm f/3.5-5.6 IS STM lens provided with the review camera wasn’t an ideal match for the pro camera’s capabilities. (We were hoping for the new EF 24-105mm f/4L IS USM II lens, which wasn’t available.) Nevertheless, our Imatest testing showed the camera+lens combination to be capable of meeting expectations for the 20-megapixel sensor with JPEGs and exceeding expectations with converted raw files.
Our tests also showed colour reproduction to be a cut above the average, with the expected (small) increase in JPEG saturation and slight shifts towards warmer hues in skin hues. Real world shooting tests confirmed these findings.
Canon has continued to improve on the high ISO performance of the EOS-1D X, which we found to be the best of all the cameras we had tested in October 2012. As indicated in the graph of our test results below, the highest resolution was at the default base point of ISO 100, after which resolution declined gradually up to ISO 51200. Not unexpectedly, resolution fell sharply for the three highest ISO settings, with JPEGs declining more than converted raw files.
Long exposures at night were totally noise-free up to ISO 6400 and you had to look hard to find noise in images captured at ISO settings between 12800 and 25600 in similar conditions, although slight softening was evident (probably as a result of noise-reduction processing). There was no increase in visible noise at ISO 51200, although softening had become a little more noticeable.
Beyond this point, images became progressively softer but it was only at the H3 position (equivalent to ISO 4096000) that the image actually began to break up. Up to that point, images would be usable at low output sizes after some unsharp masking. This performance is impressive, even for a professional camera.
Auto white balance performance was similar to the EOS-1D X, although the new camera includes the ability to choose between ambience and white priority settings for auto white balance. The former failed to remove the orange cast of incandescent lighting, while the white priority setting came closer to a natural colour balance, although both required adjustment to eliminate the warm colour cast.
Shots taken under fluorescent lighting showed no apparent colour cast. The manual pre-sets over-corrected slightly but it was easy to pull colours back into line with the in-camera adjustments provided. CR2.RAW files had plenty of scope for adjustments post-capture.
Autofocusing was everything we expected from an EOS professional camera, although its capabilities were to some degree limited by the lens we had to use. As long as we were able to match the AF mode to the types of subjects we were shooting, we found speed and accuracy of lock-on to be impressive. Mis-matches were, not unexpectedly, more likely to produce blurred shots than ‘keepers’ so you need to pay attention to both which ‘case’ setting you choose and the AF area setting. Note: you’ll need to read the manual carefully to understand which settings to use when.
Autofocusing while shooting movie clips is a lot easier. For starters, there’s the advantage of the Dual Pixel AF in Live View, which is very quick and accurate. Face detection AF is not quite as quick but is just as accurate and a genuine aid when shooting moving subjects.
Video quality was generally very good, particularly the clips shot in the 4K format. Autofocusing was on-target almost all of the time with the moving subjects we recorded and only failed momentarily when subjects moved erratically. Soundtracks recorded with the camera’s built-in microphones were generally clear and immune to external noises when the wind filter/attenuator was enabled. No interference was recorded from lens adjustments during autofocusing or zooming.
For our timing tests we used a 168GB SanDisk Extreme Pro CFast 2.0 card, which was supplied with the camera and is rated for 515 MB/second. The review camera powered-up very quickly, taking less than a second before the first shot could be captured. When the viewfinder was used, we measured an average capture lag of 0.1 seconds. This delay was eliminated by pre-focusing the lens.
The average delay times were similar in Live View mode, which is similar to what we found with the EOS 5D Mark IV when we reviewed it in August 2016. The dual pixel AF system is a likely explanation for such good performance since capture lag is largely a result of autofocusing lag.
In both modes, it took an average of 0.4 seconds to process a single file regardless of whether it was a JPEG, a raw file or a RAW+JPEG pair. Shot-to-shot times averaged 0.3 seconds, which was about as fast as we could keep pressing the shutter button.
In the high-speed continuous shooting mode when the viewfinder was used, we were able to record 20 Large/Fine JPEGs in 1.5 seconds, which equates to 13.33 frames/second, just a whisker below the specified frame rate. It took approximately one second to process this burst. For raw file capture, the camera recorded 22 shots in 1.6 seconds, which equates to 13.75 frames/second and is close to specifications. It took just over a second to process this burst. Swapping to RAW+JPEG capture, we recorded 77 frames in 6.1 seconds before the camera paused briefly, which equates to 12.62 frames/second. Processing was completed within approximately 1.8 seconds of the last frame recorded.
With Live View shooting, we were able to record 44 Large/Fine JPEGs in 3.4 seconds, which equates to 12.94 fps. The buffer had cleared within a second of the last frame recorded. With RAW+JPEG pairs, we were able to record 72 frames in 5.7 seconds before recording paused, a frame rate of 12.63 fps. Processing was completed within 3.8 seconds of the last frame captured.
Conclusion
As befits a flagship professional camera, the EOS 1D X Mark II exceeds the capabilities and performance of its predecessor, which we described as ‘Canon’s most versatile camera to date’. For a pro shooter, there are few tasks it can’t handle and most of them will be handled with aplomb.
Designed for maximum durability and high-speed recording, it offers fast and accurate autofocusing, minimal capture lag, fast shot-to-shot times and burst speeds and excellent buffer capacity. It also brings professional video recording capabilities within the reach of photographers who mainly shoot stills.
It can also produce usable images at very high sensitivity settings, thanks to a high signal-to-noise ratio plus effective noise reduction processing. Minimum and maximum ISO settings can be specified and users can also define their preferred sensitivity ranges for different shooting situations and store them ““ along with related camera settings ““ in one of the three Custom shooting mode memory banks.
Battery capacity is good for a pro DSLR camera ““ provided you use the optical viewfinder for composing shots. In Live View mode (which means when recording movies), it drops to only 260 shots, which is similar to what you can get from an average mirrorless camera.
The limited touch-screen capabilities are a bit of a disappointment. We’d like to have seen functions like the ability to select Quick Menu items by touch and control AF point selection by touching the screen while looking through the viewfinder; in addition to the tap-to-focus options in Live View mode. They’re provided in the latest enthusiast-level cameras from Olympus and Panasonic, but you need an EVF to support them and that won’t happen until Canon releases a pro mirrorless camera (which we hope is soon).
In a quick survey of online re-sellers we found prices for the EOS-1D X Mark II ranged from AU$7500 to AU$9000. Off-shore re-sellers like B&H and Amazon have prices that fit within this range so it’s probably not worth shopping off-shore since you’ll have to add between AU$115 and $120 for shipping and insurance.
Check the higher-priced offers since some of them will include a bundled CFast card and card reader. Together, they will add between AU$550 (for a 64GB card) and AU$880 (for a 128GB card) to the overall price. When included in a $9000 camera bundle, this can represent very good value for money.
SPECS
Image sensor: 35.9 x 23.9 mm CMOS sensor with 21.5 million photosites (20.2 megapixels effective); fixed low-pass filter
Image processor: Dual DIGIC 6+
A/D processing: 14-bit
Lens mount: Canon EF (excluding EF-S and EF-M lenses)
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver.2.3), CR2.RAW, M-RAW, S-RAW, RAW+JPEG, M-RAW+JPEG, S-RAW+JPEG; Movies: MOV (4K Movie: Motion JPEG, Full HD Movie: MPEG4 AVC/H.264; Audio: Linear PCM), MP4 (Movie: MPEG4 AVC/H.264; Audio: AAC)
Image Sizes: Stills ““ 5472 x 3648, 4368 x 2912, 3648 x 2432, 2736 x 1824; M-RAW (4104 x 2736), S-RAW (2736 x 1824); Movies: [4K] 4096 x 2160 at 50, 30, 25, 24 fps; [Full HD] 1920 x 1080: 100, 50, 30, 25, 24 fps
Image Stabilisation: Lens based
Dust removal: Self Cleaning Sensor Unit plus Dust Delete Data acquisition and appending
Shutter (speed range): Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled (1/8000 to 30 sec. plus Bulb); X-sync at 1/250 sec.
Exposure Compensation: +/- 5EV in 1/3EV or 1/2EV steps; +/- 3EV in 1/3EV or 1/2EV steps for movies
Exposure bracketing: +/- 3EV 1/3EV or 1/2EV steps
Other bracketing options: Flash and white balance
Self-timer: 2 or 10 seconds delay
Focus system: TTL secondary image-forming phase-difference detection system with AF-dedicated CMOS sensor with 61 points (Cross-type AF points: Max. 41 points)
Focus modes: One-Shot AF, Predictive AI Servo AF, manual focus
Live View AF: Dual Pixel CMOS AF is possible with all EF lenses; 5x or 10x magnification, manual focus
Exposure metering: 216-zone (18 x 12) metering with approx. 360,000-pixel RGB+IR metering sensor; Evaluative metering (linked to all AF points, Partial metering (centre, approx. 6.2% of viewfinder), Spot metering (approx. 1.5% of viewfinder) and Centre-weighted average patterns
Shooting modes: Program AE (Shiftable), Shutter-priority AE (Safety shift possible), Aperture-priority AE (Safety shift possible), Manual exposure, Bulb, Three custom shooting modes
Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined 1″“3
Custom Functions: 34 plus 3 user memories
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100″“51200; expansion to ISO 409,600 available
White balance: Auto (Ambience priority/White priority), Daylight, Shade, Cloudy, Tungsten, White Fluorescent , Flash, Custom (Custom WB) 1″“5, Colour Temperature, PC-1″“5 (Personal WB); Blue/amber bias: ±9 levels Magenta/green bias: ±9 levels
Flash: External flash only
Flash exposure adjustment: +/-3 stops in 1/3- or 1/2-stop increments
Sequence shooting: Max. 14 shots/sec. with viewfinder; max. 16 shots/sec. with Live View shooting
Buffer capacity: Max. 140 Large/Fine JPEGs, 59 RAW files or 48 RAW+JPEG pairs
Storage Media: Dual slots for CF Card (Type I; compatible with UDMA 7 CF cards) and CFast cards
Viewfinder: Eye-level pentaprism with 100% FOV coverage, 0.76x magnification. 10mm eyepoint, ““3.0 to +1.0 dioptre adjustment, replaceable focusing screen ( Ec-C6 provided)
LCD monitor: Fixed 3.2-inch TFT colour LCD with 1.62 million dots, 100% FOV coverage, approx 170o viewing angle, 7 levels of brightness adjustment
Playback functions: Single image with/without shooting data, index (4, 9, 36 or 100 thumbnails), highlight alert, protect, erase
Interface terminals: USB 3.0, HDMI mini OUT (Type C), terminal for WFT-E8A and WFT-E6A
Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode
Power supply: LP-E19 rechargeable Li-ion Battery Pack (compatible with LP-E4N, LP-E4 battery packs); CIPA rated for approx. 1210 shots/charge with viewfinder; 260 shots/charge in Live View mode
Dimensions (wxhxd): Approx. 158.0 x 167.6 x 82.6 mm
Weight: Approx. 1340 grams (body only); 1530 grams with battery and card
Distributor: Canon Australia; 1800 021 167; www.canon.com.au.
TESTS
TESTS:
Based on JPEG images taken with the EF 24-105mm f/3.5-5.6 IS STM lens.
Based on Raw images converted to 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting (Ambience setting).
Auto white balance with incandescent lighting (White priority setting).
Auto white balance with fluorescent lighting.
30-second exposure at ISO 100, 46mm focal length, f/4.5.
10-second exposure at ISO 3200, 46mm focal length, f/8.
8-second exposure at ISO 12800, 46mm focal length, f/9.
5-second exposure at ISO 25600, 46mm focal length, f/11.
3.2-second exposure at ISO 51200, 46mm focal length, f/13.
2-second exposure at ISO H1, 46mm focal length, f/13.
2-second exposure at ISO H2, 46mm focal length, f/16.
1.3-second exposure at ISO H3, 46mm focal length, f/18.
Partial metering, 105mm focal length, ISO 100, 1/60 second at f/5.6.
Evaluative metering, 105mm focal length, ISO 100, 1/160 second at f/7.1.
Close-up, 24mm focal length, ISO 100, 1/200 second at f/3.5.
Close-up, 105mm focal length, ISO 160, 1/80 second at f/7.1.
105mm focal length, ISO 100, 1/200 second at f/8.
70mm focal length, ISO 100, 1/30 second at f/14.
105mm focal length, ISO 100, 1/320 second at f/10.
105mm focal length, ISO 200, 1/200 second at f/8.
Strong backlighting; 24mm focal length, ISO 100, 1/320 second at f/11.
105mm focal length, ISO 100, 1/200 second at f/9.
40mm focal length, ISO 200, 1/80 second at f/4.
81mm focal length, ISO 500, 1/80 second at f/5.6.
105mm focal length, ISO 1600, 1/100 second at f/5.6.
105mm focal length, ISO 1000, 1/50 second at f/6.3.
70mm focal length, ISO 125, 1/80 second at f/5.6.
105mm focal length, ISO 500, 1/100 second at f/6.3.
105mm focal length, ISO 200, 1/100 second at f/5.6.
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105mm focal length, ISO 100, 1/250 second at f/8.
105mm focal length, ISO 200, 1/100 second at f/8.
105mm focal length, ISO 100, 1/125 second at f/11.
Still frame from M-JPEG video clip recorded with 4K 50p resolution.
Still frame from M-JPEG video clip recorded with 4K 25p resolution.
Still frame from MPEG4 Full HD video clip recorded at 50p in the ALL-I mode.
Still frame from MPEG4 Full HD video clip recorded at 50p in the IPB mode.
Still frame from MPEG4 Full HD video clip recorded in the ALL-I mode at 25 fps.
Still frame from MPEG4 Full HD video clip recorded in the IPB mode at 25 fps.
Still frame from MP4 Full HD video clip recorded in the IPB mode at 50 fps.
Still frame from MP4 Full HD video clip recorded in the IPB Standard mode at 25 fps.
Still frame from MP4 Full HD video clip recorded in the IPB Light mode at 25 fps.
Additional image samples can be found with our review of the Canon EF 24-105mm f/3.5-5.6 IS STM lens.
Rating
RRP: AU$9299; US$5999
- Build: 9.3
- Ease of use: 8.9
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.2
- Video quality: 9.0
