Canon EOS R6
In our opinion the EOS R6 sits at the top of Canon’s current mirrorless camera range, largely because it ticks so many boxes and is a better all-round camera than its higher-priced sibling.
The R6’s sensor uses the latest technologies and delivers still pictures the best of which look as sharp as any we’ve obtained from previous cameras we’ve reviewed.
The body has a comfortable control layout and durable weather-sealing, while the monitor and EVF perform competently and are nice to use. The monitor’s touch controls are very well implemented.
If you shoot mostly stills and only need to record the occasional video clip – and you keep those clips under five minutes in length – the EOS R6 should meet pretty much all of your needs.
Canon announced the EOS R6 on 9 July in a major new product disclosure that included the EOS R5, three lenses plus two extender lenses. While there are many similarities between the two cameras, the R6 has a lower-resolution sensor and a more enthusiast-orientated control layout and records to dual SD cards, which are affordable and readily available. Both cameras share the same 5-axis In-Body Image Stabiliser system that provides up to eight stops of shake correction, depending upon which lens is fitted to the camera.
Angled view of the EOS R6 shown with the RF 24-105mm f/4L IS USM lens. (Source: Canon.)
Who’s it For?
The primary target for the EOS R6 is serious enthusiasts and professional wedding and events shooters who work in challenging, low-light environments and need to record both stills and 4K video clips. Dust- and splash-proof sealing plus built-in stabilisation that can work with certain lenses to provide up to eight stops of shake correction will also make it ideal for sports and wildlife photographers.
These photographers can also benefit from the camera’s advanced Dual Pixel CMOS AF II autofocusing system which is shared with the EOS R5 and is highly effective in poorly-lit or low-contrast shooting conditions. However, the EOS R6 is the first EOS camera capable of autofocusing in light levels down to -6.5EV.
Also shared with the R5 is the DIGIC X processor, which enables both cameras to support continuous shooting at up to 20 frames/second (fps) with the electronic shutter or 12 fps with the mechanical shutter. Both cameras also offer the same file formats, with JPEG, HEIF and Canon’s CR3.RAW available for shooting stills and MP4 for movie clips. Canon Log 10-bit internal recording is available for movies.
The main differences between the R6 and its more expensive sibling are outlined in the table below.
|ISO Speed (Images)
|Movie Recording Size
Up to 4K 120p
|Up to 4K 60p
|AF brightness range
|-6 to +20 EV
|-6.5 to +20EV
|5.76 million dots
|3.69 million dots
|Mechanical shutter rating
|Dual Card Slots
|Yes (1x CF express, 1x SD)
|Yes (2x SD)
|SD card: JPEG – 190 / RAW – 87
CFexpress: JPEG – 190 / RAW – 180
|Standard SD: JPEG – >1000; RAW – 110
High-speed UHS-II SD: JPEG – >1000; RAW 240
|LCD Screen Size
|LCD Screen Resolution
|2.1 million dots
|1.62 million dots
|Top LCD Screen
|Remote control port
|N3 wired remote port
|E3 cable connector
|PC sync port
|Yes (5 GHz)/Yes
|Yes (2.4 GHz)/Yes
|138.5 x 97.5 x 88.0
|138.4 x 97.5 x 88.4
|Weight (inc battery)
|Canon’s listed price*
* As shown in the Canon online store before it closed at the end of September 2020.
Build and Ergonomics
Physically, the EOS R6 is quite similar to its more expensive sibling with the same SLR-like styling and relatively deep grip moulding and the same matte black finish. Its front panel is virtually identical to the R5, with the only buttons being for the lens release and depth of field preview.
Front view of the EOS R6 body with no lens fitted. (Source: Canon.)
It has the same AF-assist/self-timer/remote control lamp between the top of the grip and the EVF housing and the same microphone hole and remote control sensor invisibly installed midway down the grip moulding. The DC coupler cord port is in the same position in the grip moulding, as is the depth of field preview button to its left. The weather-resistant sealing is essentially the same as in the R5.
These diagrams show the positions of the weather-resistant seals in the EOS R6 body. (Source: Canon.)
The layout of the top panel, shown below, is completely different from the R5’s and closer to the layout on the EOS RP, although the R6 is larger and heavier and has better build quality and a larger battery with higher capacity. There’s no LCD data display, its place being taken by the R6’s mode dial, which is identical to the RP’s save for the omission of s Scene (SCN) mode setting.
The top panel of the EOS R6 with no lens fitted. (Source: Canon.)
Like the EOS RP, the R6 has its on/off switch on the left side of the EVF housing, which carries a hot-shoe for attaching accessory flashguns (there’s no built-in flash). Right of the mode dial are two control dials; one sits behind the shutter button and is operated by the user’s forefinger and the other (the Quick Control dial) is to the rear of the panel where it can be operated by the user’s thumb.
A programmable multi-function (M-Fn) button lies between the shutter button and the front dial, while a dedicated movie button sits between it and the mode dial. A locking button for the M-Fn switch is located between the two control dials.
The rear panel of the EOS R5 with the monitor reversed. (Source: Canon.)
Like the EOS R5, the R6 has a vari-angle LCD monitor, but it’s slightly smaller and has lower resolution. However its touch-panel overlay and Clear View LCD II coating are the same and it also provides seven levels of brightness adjustment.
The EVF also has lower resolution than the R5’s, although with 3,690,000 dots it’s certainly enough. Its refresh rate is the same as the R5’s at just under 120 fps, which ensures smooth renditions of fast-moving subjects during tracking, an important feature for movie recording.
The Menu button and Rate/Voice memo buttons are the same as the R5’s and in the same position, as is the joystick control on the right of the EVF housing, with the AF-On button and AF point/Index/Magnify/Reduce button further along the top edge of the thumb rest.
The remaining controls are the same as those on the R5. Like the R5, the R6 has dual card slots, although in this case they’re both for SD cards and both slots are UHS-II compatible.
The dual SD card slots in the EOS R6. (Source: Canon.)
Dual memory card slots – one for fast CFexpress cards and the other for SD cards with UHS-1 and UHS-II compatibility – are located in the standard place on the right hand side panel. Users can determine which file format is recorded on which card for both stills and movies.
The shutter mechanism is the same as the R5’s and, like the R5, the R6 offers a range of 30 seconds to 1/800 second with flash synch at 1/200 second. Continuous shooting is available at up to 12 fps with the mechanical shutter or 20 fps with the electronic shutter, which also supports silent shooting. Buffer capacities exceed 1000 frames for JPEG and HEIF frames, although there’s an upper limit of 770 frames for the highest-resolution HEIFs. Capacities for raw files range from 240 for compressed C-RAW files to 110 for uncompressed CR3.RAWs. With RAW+JPEG pairs the range varies from a minimum of 91 at the highest resolution to 140 C-RAW+JPEG frames.
Multiple exposures are supported for JPEG and HEIF file formats and users can set the number of exposures (2-9), exposure variations and how the frames are combined. Users can set a CR3.RAW file as the first single exposure and have it remain intact when subsequent images are merged. HDR recording is also available, with three images recorded at different exposures and merged automatically.
The left side panel of the EOS R6 showing the main interface terminals. (Source: Canon.)
The left side panel has three lift-up covers that protect the USB and HDMI terminals as well as the microphone and headphone ports and PC terminal. These connections enable the R6 to be used in professional video rigs.
The microphone jack can also be used to record voice memos with shots, although the camera’s built-in microphone should be more than adequate for this task. Recordings can be played back via the camera or a computer.
The LP-E6N battery is the same as the R5’s and slots into the base of the hand grip. It’s CIPA rated for approximately 360 shots/charge or up to 590 shots/charge in Eco mode. A separate battery charger is supplied with the camera but you can also charge the battery in the camera via the optional PD-E1 USB power Adapter.
The R6 also supports 2.4 Ghz Wi-Fi as well as low-energy Bluetooth connectivity. A metal-lined tripod socket is located in the base of the camera in line with the optical axis of the lens. The body carries a ‘Made in Japan’ label.
The R6 is compatible with the Canon Battery Grip BG-R10, which accepts one or two LP-E6NH, LP-E6N, or LP-E6 batteries. It can also be powered directly with the AC Adapter AC-E6N + DC Coupler DR-E6 and battery charging is supported with the USB Power Adapter PD-E1, although it can’t be used for powering the camera.
Sensor and Image Processing
The 20.1-megapixel CMOS sensor in the EOS R6 is essentially the same as the one in the professional EOS-1D X Mark III camera but it’s behind a different low-pass filter. However, it’s paired with the same DIGIC X processor.
The larger photosites on the R6’s sensor enable it to cover a wider sensitivity range than the R5, with a native range of ISO 100-102400 plus extensions to ISO 50 and ISO 204800. If you opt for Highlight Tone Priority, the lowest sensitivity available is ISO 200.
As noted above, continuous shooting speeds are the same as the EOS R5’s and the R6 supports the same file formats. It also offers the compressed C-RAW, as well as Canon’s Dual Pixel RAW format (although at a lower level than the R5) and simultaneous capture of RAW+JPEG or RAW+HEIF images.
The table below shows the file sizes and buffer capacities for images captured with the default 3:2 aspect ratio.
|5472 x 3648
|4368 x 2912
|3648 x 2432
|2736 x 1824
|5472 x 3648
|4368 x 2912
|3648 x 2432
|2736 x 1824
|5472 x 3648
|4368 x 2912
Like the R5, the R6 supports continuous shooting at 20 fps with the electronic (silent) shutter or up to 12 fps with the mechanical shutter. Its smaller file sizes give the R6 an advantage over the R5 when it comes to buffer capacity. Even with standard-speed SD cards its buffer memory can hold 1000 of more JPEG shots or 110 CR3/RAW files. Using a high-speed UHS-II SD card increases the raw buffer capacity to 240 shots/burst.
While the R6 shares some video capabilities with the R5, its highest resolution is 4K, with frame rates up to 50 fps. But, unlike the R5, which supports both DCI (4096 x 2160) and UHD (3840 x 2160) aspect ratios, the R6 only offers UHD 4K and only records in MP4 format.
Vertical video recording is available for recording footage for social media but RAW video recording is not available and high frame rate video is only supported for Full HD resolution. The table below shows the options available for PAL format users.
|4K UHD time-lapse
|Full HD high frame rate
|Full HD time-lapse
|Full HD HDR movies
Unlike the R5, the R6 only supports IPB compression for regular movies, with a ‘Lite’ option offered to provide smaller files. Time-lapse recording, which uses ALL-I compression, is available with both 4K and FHD resolutions ISO expansion isn’t possible during movie recording and exposure compensation is restricted to +/- 3 stops.
Some frame cropping occurs when movies are recorded, regardless of the selected resolution. It’s roughly the same as for the EOS 1-D X III with a crop factor of 1.07x and demosaicing occurs before downsizing, which provides a slight quality advantage.
Shutter speeds range from 1/8 to 1/4000 second for normal recording or 1/50 to 1/1000 second for HDR movies or 1/100 to 1/4000 for high frame rate movies. Users can’t capture still frames while recording movies.
Electronic stabilisation is available to complement the camera’s IBIS when shooting with a non-stabilised lens. But using Movie Digital IS will crop the frame further, by up to 1.52x with 4K recordings. The crops will reduce the angle of view of the lens, an important consideration with wide angle lenses.
By default movies are recorded in 8-bit 4:2:0 colour depth but the R6 provides two options for recording with 10-bit 4:2:2 depth to a memory card. One is the Canon Log mode, which records a dynamic range of approximately 800% at ISO 400 and above and is designed for footage that will be colour graded. The other is the HDR PQ mode, which is restricted to FHD 25p recordings and set up for playing back on HDR TV sets.
Canon Log recording is only available when movie mode is selected via the mode dial. Picture Style and clarity adjustments are available for recording movies and shooting aids include zebra patterns (2 options) for judging exposure levels and focus peaking. Time coding is also available with the standard settings and the cameras provides attenuator and wind filter functions for suppressing unwanted ambient noise in audio recordings.
Recording times are limited to just under 30 minutes per clip in all modes and, as in the R5, recording will stop if the camera starts to overheat. The camera includes an overheat control function that can be set to on to conserve battery power and help to prevent overheating between shots.
Playback and Software
All the standard playback modes are available, from single image (with and without shooting data) to index displays (9, 36 or 100 thumbnails). Selected images can be magnified 2x, 4x, 8x or 10x by touch/spread or with the magnifier button. Users can browse through images with the star button or by rotating the quick control dial or flipping between frames.
Basic editing controls are available for both raw files and movies in playback mode and users can ‘grab’ individual frames from 4K video clips and save them as JPEGs. Frame grabs from HDR movies will be saved at HEIF images. The HDMI out terminal allows the camera to be connected to a TV set to playback recorded slideshows or movie clips.
As is usual, the software bundle must be downloaded from Canon’s website. Applications include EOS Utility, Digital Photo Professional, Picture Style Editor and GPS Log File Utility.
When we set out to test the R6 camera we were faced with a dilemma: the RF 100-500mm f/4.5-7.1L IS USM lens supplied with the camera wasn’t versatile enough for some of our tests but the only other RF lens we had didn’t offer high enough performance to show the camera’s performance capabilities. So we decided to compromise.
The Imatest resolution tests we’ve presented came from our tests of the RF 100-500mm f/4.5-7.1L IS USM lens, which is reviewed separately. However the tests across the ISO range as well as the white balance and timing tests were carried out with the more versatile RF 24-240mm f/4-6.3 IS USM lens.
The RF 100-500mm lens showed the review camera to be a superior performer and capable of producing resolutions that comfortably exceeded expectations for JPEG files. They were even higher for CR3.RAW files, which were converted into 16-bit TIFF format with Adobe Camera Raw.
As shown in the graph of our test results above, JPEG resolution remained high from ISO 50 through to ISO 25600 before a gradual decline to ISO 51200 before dropping sharply by the highest sensitivity of ISO 204800. Results for CR3.RAW files followed the same general pattern, with higher resolution initially but coming closer to the JPEG results by the end of the ISO range.
Imatest showed colour accuracy to be similar to the results we obtained for the EOS R5, although with slightly higher saturation. Raw files converted into TIFF format with Adobe Camera Raw had even higher saturation but similar (and larger) colour shifts.
Long exposures at night were, if anything, better than those we obtained with the R5 and contained plenty of detail plus colour reproduction that reflected ambient lighting throughout almost all of the sensitivity range. Noise became visible from ISO 12800 on and softening could be seen at around ISO 51200.
Shadows began to block up at around ISO 25600, with the effect increasing to ISO 102400. AtISO 204800, noise was highly visible, colour saturation had been reduced and colours were relatively flat. Such high sensitivity should only be used in emergencies.
Without a flash we could only test the review camera with tungsten, fluorescent and warm-toned LED lights. Like the EOS R5, the R6’s auto setting provides two options: ambience priority (which retains warm colour casts) and white priority, the latter reducing warm colour casts in favour of a whiter balance.
As we found with the R5, neither of these settings could eliminate the warm cast of either incandescent or warm-toned LED lighting, although the white priority setting did reduce it noticeably. As expected, both settings delivered close-to neutral colours under white fluorescent lighting but all the pre-sets tended to over-correct.
When manual WB measurement was used, the review camera was able to deliver close-to neutral colours under both warm-toned lights. The R6 also provides Kelvin temperature adjustments along with plenty of in-camera adjustments for tweaking colours on-the-fly and they are straightforward to use.
Autofocusing was consistently fast and accurate when shooting with the RF 24-240mm f/4-6.3 IS USM lens and the default Face+Eye Tracking mode resulted in a high percentage of sharp images with the RF 100-500mm f/4.5-7.1L IS USM lens.
We had no issues with autofocusing in very low light levels and the camera was able to track moving subjects with surprising efficiency when the RF 100-500mm f/4.5-7.1L IS USM lens was used for shooting action for both stills and video clips. However, there were a few delays in re-focusing even when the main subject changed direction and when a new subject moved into the frame.
Our sample video clips were recorded with the RF 100-500mm f/4.5-7.1L IS USM zoom lens, which was used hand-held with the tripod mount removed. The stabilisation performance of this lens was impressive on the R6 camera and we had few problems maintaining focus and exposure even with varying light levels.
The quality of clips was much as you’d expect from a camera of this calibre and generally very good. Still frames from 4K clips contained plenty of detail with natural-looking tonal reproduction and a decent dynamic range.
We found the AF system was able to lock onto and track birds’ eyes, so we assume it’ll fare equally well with dogs, cats and other animals. (Apparently it also works with insects as well.) No extraneous camera noises were recorded in the soundtracks of video clips.
Our timing tests were carried out with a 32GB Lexar Professional SDCH II U3 card, which claims read/write times of 300MB/s. The review camera took just under a second to power-up ready for shooting, which marginally faster than the EOS R5 we tested.
Average capture lag was approximately 0.06 seconds, which was eliminated when the lens was pre-focused. It took an average of 0.8 seconds to process a single JPEG or CR3.RAW file and 0.12 seconds for a RAW+JPEG pair. Shot-to-shot times averaged 0.2 seconds, which is as fast as we could keep pressing the shutter button.
In the high-speed continuous shooting mode with the electronic shutter, the camera was able to record 157 Large/Fine JPEGs in 10 seconds, without showing any sign of hesitation. This is slightly below the specified 10 frames/second. It took 2.1 seconds to clear the buffer memory.
With the mechanical shutter, the camera recorded 116 frames in 10.1 seconds, which is close to the specified 12 fps frame rate. It took 3.1 seconds to clear the buffer memory.
For RAW+JPEG file capture with the mechanical shutter, the camera recorded 115 shots in 10.1 seconds, which is slightly slower than the rate as we found with JPEGs. It took 7.7 seconds to process this burst.
With the electronic shutter for high-speed recording of CR3.RAW files, frame rates began to stutter after 8 seconds of recording, at which point the camera had captures 118 frames. It took 11 seconds to process this burst.
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Image sensor: 36 x 24 mm CMOS sensor with 21.4 million photosites (20.1 megapixels effective), Bayer RGB primary colour filters and fixed low-pass filter; compatible with Dual Pixel CMOS AF; Pixel Unit = approx. 6.56 µm square
Image processor: DIGIC X
Lens mount: Canon RF
Aspect ratio: 3:2
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), HEIF, CR3.RAW, C-RAW, RAW+JPEG, RAW/C-RAW and JPEG/HEIF simultaneous recording; Movies: MP4, IPB compression; Canon Log 10-bit internal (card) recording
Image Sizes: Stills – 5472 x 3648, 4368 x 2912, 3648 x 2432, 2736 x 1824; Movies: MP4 – 3840 x 2160 @ 50/25 100Mbps, 1920 x 1080 @ 100/50/25,
Image Stabilisation:. Sensor shift (up to 8 stops); Movie digital IS
Dust control: Self-cleaning sensor unit plus Dust Delete Data acquisition and appending
Shutter (speed range): Electronically controlled focal-plane shutter with electronic first curtain; (30-1/8000 seconds plus Bulb; X-sync with mechanical shutter: 1/200 sec. elec. 1st-curtain: 1/250 sec.
Exposure Compensation: +/- 3EV in 1/3EV or 1/2EV steps
Exposure bracketing: +/- 3EV in 1/3EV or 1/2EV steps
Other bracketing options:
Self-timer: 2 or 10 seconds delay
Interval recording: Yes, for time-lapse 4K movies
Focus system: Dual Pixel CMOS AF with 6072 selectable AF point positions; 39 x 27 (1053 divisions), 100% frame coverage
AF selection: Face/Eye Detection / Face+Tracking / Subject tracking (People / Animals / No priority) / Spot AF, 1-point AF, Expands AF area, Zone AF (9×9, 9×21, 31×9), brightness range EV –6.5 to 20 for stills, EV –5 to 20 for movies
Focus modes: AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
Exposure metering: -zone multi-pattern sensing system with Multiple, Centre-weighted average and spot metering patterns
Shooting modes: Stills – Scene Intelligent Auto, Flexible-priority AE (Fv), Program AE (P)n Shutter-priority AE (Tv), Aperture-priority AE Av), Manual exposure (M), Bulb, Custom shooting mode C1, C2, C3 (Safety shift possible in Tv and Av modes); Movies – A+/Movie auto exposure/Movie manual exposure
Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined 1–3
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100 to ISO 102400 with expansion to ISO 50 and ISO 204800
White balance: Auto (Ambience priority/White priority). Daylight, Shade, Cloudy, Tungsten light, White fluorescent light, Flash, Custom (Custom WB), Colour temperature; WB adjustment of +/-9 levels Blue/amber bias or Magenta/green bias
Flash: External flash only with ambience priority, standard, flash priority
Flash modes: Continuous shooting priority (CSP) mode, Safety FE, E-TTL balance
Flash exposure adjustment: +/- 3EV in 1/3EV or 1/2EV steps
Sequence shooting: Max. 20 shots/sec. with AF /AE (electronic shutter); 12 fps with mechanical shutter
Buffer capacity: Max. 360 Large/Fine JPEGs, 240 RAW files (with high-speed card)
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-II compatible)
Viewfinder: OLED colour EVF with 3,690,000 dots; 119.88 fps refresh rate; approx. 0.76x magnification, 23 mm eyepoint, -4.0 to + 2.0 dpt adjustment
LCD monitor: 3.0-inch (screen aspect ratio of 3:2) Clear View LCD II with 1,620,000 dots; touch-screen operation
Interface terminals: USB-C (v. 3.1 Gen 2). HDMI micro OUT terminal Type D, 3.5mm microphone and headphone terminals, remote terminal (E3 type)
Wi-Fi function: Built-in (IEEE 802.11b/g/n) 2.4GHz; Bluetooth 4.2
Power supply: LPE-6NH rechargeable Li-ion battery; CIPA rated for approx. 360 shots/charge
Dimensions (wxhxd): Approx. 138.4 x 97.5 x 88.4 mm
Weight: Approx. 680 grams with battery and card
Distributor: Canon Australia; 1800 021 167
Based on JPEG files taken with the RF 100-500mm f/4.5-7.1L IS USM lens:
Based on CR3.RAW files converted into 16-bit TIFF format with Adobe Camera Raw:
Unless otherwise specified, the images below were recorded with the RF 24-240mm f/4-6.3 IS USM zoom lens.
Auto white balance ambience priority mode with incandescent lighting.
Auto white balance white priority mode with incandescent lighting.
Auto white balance ambience priority mode with fluorescent lighting.
Auto white balance ambience priority mode with warm-toned LED lighting.
Auto white balance white priority mode with warm-toned LED lighting.
ISO 50, 58mm focal length, 30 second exposure at f/4.
ISO 100, 58mm focal length, 25 second exposure at f/5.
ISO 800, 58mm focal length, 15 second exposure at f/6.3.
ISO 6400, 58mm focal length, 5 second exposure at f/8.
ISO 12800, 58mm focal length, 2 second exposure at f/11.
ISO 25600, 58mm focal length, 2 second exposure at f/16.
ISO 51200, 58mm focal length, 1 second exposure at f/16.
ISO 102400, 58mm focal length, 1/2 second exposure at f/16.
ISO 204800, 58mm focal length, 1/2 second exposure at f/22.
Close-up at 58mm focal length, ISO 100, 1/320 second exposure at f/11.
Close-up at 240mm focal length, ISO 160, 1/250 second exposure at f/7.1.
Strong backlighting; taken with RF 100-500mm lens at 200mm focal length, ISO 100, 1/400 second exposure at f/7.1.
Dynamic range; 87mm focal length, ISO 100, 1/125 second exposure at f/6.3.
Taken with RF 100-500mm lens at 167mm focal length, ISO 100, 1/400 second exposure at f/8.
76mm focal length, ISO 800, 1/80 second exposure at f/5.6.
193mm focal length, ISO 51200, 1/500 second exposure at f/10.
62mm focal length, ISO 204800, 1/1000 second exposure at f/16.
38mm focal length, ISO 125, 1/60 second exposure at f/4.5.
Crop from the above image magnified to 100% showing detail resolution.
129mm focal length, ISO 500, 1/160 second exposure at f/7.1.
162mm focal length, ISO 4000, 1/200 second at f/11.
90mm focal length, ISO 100, 1/320 second exposure at f/10.
100mm focal length, ISO 100, 1/125 second exposure at f/6.3.
55mm focal length, ISO 400, 1/60 second exposure at f/5.6.
The clips below from which the frame grabs were taken were recorded with the RF 100-500mm f/4.5-7.1L IS USM zoom lens.
Still frame from UHD 4K video clip taken at 50p.
Still frame from UHD 4K video clip taken at 25p.
Still frame from Full HD 1080 video clip taken at 100p
Still frame from Full HD 1080 video clip taken at 50p.
Still frame from Full HD 1080 video clip taken at 25p
Additional image samples can be found with our review of the RF 100-500mm f/4.5-7.1L IS USM zoom lens.
RRP: AU$4599 / US$2499 (body only); $5099 / US$2899 (with RF 24-105mm f/4-7.1 STM kit lens)
- Build: 9.0
- Ease of use: 9.0
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0