Canon EOS RP

      Photo Review 9.0

      In summary

      For photographers making their first investment in a mirrorless system, the EOS RP is a good choice. While its sensor is the same as the chip used in the two-year-old EOS 6D II, it’s a good enough performer and combining it with the latest DIGIC 8 processor has enabled Canon to extract the best performance from the chip.

      The EOS RP feels much more like a traditional EOS camera than the EOS R thanks to a streamlining of the controls. It has an easier-to-use control layout in a smaller and lighter body and Canon is steadily adding to the three lenses it launched with the EOS R last year. Six new lenses are scheduled for release in 2019.

      For stills photographers who seldom shoot video, the EOS RP will provide an affordable entry into Canon’s full-frame mirrorless camera system. If video is important to you, we’d recommend waiting for a future model with improved 4K capabilities.

      Full review

      Canon needed an entry-level mirrorless camera to compete with Nikon’s Z6  and Sony’s α7MIII and the EOS RP slips neatly into that slot. Fitting the sensor that was already being used in the EOS 6D II into a compact magnesium alloy body and utilising a traditional user interface with fewer buttons, lower-resolution EVF and monitor screens and only one card slot has enabled Canon to price the EOS RP below not only its main competitors but also the EOS 6D II. Currently, it’s the most affordable ‘full-frame’ mirrorless camera on the market.

      Angled view of the EOS RP camera with the RF 35mm f/1.8L Macro IS STM lens. (Source: Canon.)

      The review camera was supplied with the RF 35mm f/1.8L Macro IS STM lens, which is reviewed separately.

      Who’s it For?
      With a street price hovering just below AU$2000 for the body AND the EF-EOS R lens adapter ($199 in Canon’s online store), the EOS RP  provides the cheapest entry into shooting with a ‘full frame’ mirrorless camera among recently-released models (Sony has its α7 and α7 II bodies still available at lower prices but both use older technology). Nonetheless, as listed at AU$2099  in Canon Australia’s online store it’s not a cheap camera.

      Owners of Canon’s DSLR cameras will need to include one of the three mount adapters if they want to use existing lenses on the camera body. Depending on which adapter you choose, that would add between $200 and $800 to the overall price if purchased separately. Most cameras bundled with adaptors will provide the basic EF-EOS R adapter, which will be good enough for the overwhelming majority of potential buyers.

      For photographers making their first investment in a mirrorless system, the EOS RP is a good choice. While its sensor is the same as the chip used in the two-year-old EOS 6D II, it’s a good enough performer and combining it with the latest DIGIC 8 processor has enabled Canon to extract the best performance from the chip.

      The EOS RP feels much more like a traditional EOS camera than the EOS R thanks to a streamlining of the controls. It has an easier-to-use control layout in a smaller and lighter body and Canon is steadily adding to the three lenses it launched with the EOS R last year. Six new lenses are scheduled for release in 2019: a 15-35mm f/2.8L, 24-70mm f/2.8L, 24-240mm f/4-6.3 IS, 85mm f/1.2L, 85mm f/1.2L DS and  70-200mm f/2.8L, although only one of them (the 24-240mm f/4-6.3 IS) is ideal for the smaller, lighter body. And, both EF and EF-S lenses can be used on the RP body via one of the lens adapters.

      While the environmental sealing isn’t up to the standard of the EOS R’s, it’s of the same standard as the EOS 80D’s and should be adequate for most potential users. Money has also been saved by using lower-resolution displays for both the EVF and monitor screens and providing only one SD slot, which is located in the same compartment as the battery.

      The 4K video capabilities are  restricted to 24/25p but photographers who like to shoot the occasional movie clip should be happy with that. They will also welcome the ability to frame scenes via the EVF, rather than having to use the monitor in a DSLR camera.

      Build and Ergonomics
      The EOS RP  has a chassis made from magnesium alloy with some parts of aluminium and a cladding fabricated from polycarbonate resin impregnated with glass fibre. While not the lightest in its class – the Sony α7 body is 24 grams lighter – it’s lighter than the EOS R and the lightest of the latest full-frame mirrorless cameras.

      Front view of the EOS R body with no lens fitted. Source: Canon.)

      The grip moulding is generous and comfortable to hold and should be adequate for larger lenses (although an extension is available). Aside from that, the front panel is dominated by the lens mount, which has a large lens release button in the normal Canon position on its left hand side. Twin microphone holes straddle the viewfinder housing.

      An inset LED that doubles as a self-timer/remote control lamp and AF assist beam lies between the grip moulding and the lens mount. No depth of field preview button  is provided, an unfortunate omission since one of the advantages of mirrorless cameras is their ability to display an accurate preview at any aperture setting.

      The top panel of the EOS RP with no lens fitted. (Source: Canon.)

      The top panel is simpler than those on either the EOS R or the EOS 6D II. For starters, it lacks an LCD data panel, its place being taken by the mode dial, which has the standard settings you’d expect from an entry-level camera, including separate settings for the two automated (‘Basic Zone’) modes, a movie mode and three programmable ‘Custom’ memory positions.

      The circular on/off power switch is located to the left of the low-profile 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 lever for the M-Fn switch is located beside the Quick Control dial.

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

      The rear panel is also sparsely populated, compared with the EOS R. Gone is the controversial touch bar which, we suspect, won’t be missed. The monitor is the same as in the EOS 6D II and is fully articulated with 1,040,000 dots, 100% frame coverage and a viewing angle of approximately 170 degrees, vertically and horizontally.

      It has a touch-screen overlay that supports touch AF. Unfortunately, there’s no joystick so to use it you must enable Touch & Drag AF in the camera’s menu (page 7 of the shooting menu). You can specify the area of the screen over which the touch AF control can operate and the precision of the AF point. But, as in the EOS R, we found this function be quite slow and unwieldy and easy to activate unintentionally.

      The EVF, which protrudes above the monitor, also has lower resolution than the one in the EOS R (2.36-million vs 3.69 million dots and its default refresh rate is 60 fps. Users can reduce the refresh rate by selecting the power-saving mode but it results in quite choppy viewing and is not generally recommended.

      The Menu button sits alone above the monitor to the left of the EVF housing. Dioptre adjustments for the EVF are made by turning a knurled knob on the left hand side of the EVF housing where it joins the main camera body.

      Right of the monitor is the usual cluster of buttons, including a fairly basic arrow pad with a central Q Set button and surrounding Info, Playback and Delete buttons. Above the on the thumb rest are the AE ON, AE/FE lock and AF-point/Index/Magnify/Reduce button.

      Three compartments on the left hand side panel protect the interface ports for the wired remote controller, HDMI out, external microphone, USB C connection and headphone jack. Each has a lift-up rubber-like cover.

      The LP-E17 battery (which is also used in the EOS M5) slots into the standard compartment in the base of the grip, which also contains the SD card slot. It’s a smaller battery than the one in the EOS R, which accounts for its relatively low shooting capacity (250 shots/charge with the monitor or 210 with the EVF).  There’s a bit more room for the card than most other cameras provide and its orientation makes it easier to insert and remove.

      Unlike the EOS R, the RP supports USB charging, which can reduce capacity anxiety for photographers in the field if they carry a portable charger. It could be wise to invest in a spare battery despite its relatively high price (AU$74.95 in Canon’s online store). A metal-lined tripod mount is located on the base plate in line with the optical axis of any lens that is fitted.

      The EOS RP is compatible with the same range of lenses as its more up-market sibling but not the BG-E22 battery grip. An extension grip (EG-E1) is listed on some overseas websites but not on Canon’s local online store.

      Sensor and Image Processing
      The EOS RP features a 35.9 x 24 mm CMOS sensor with 27.1 million photosites that deliver an effective resolution of 26.2 megapixels. As mentioned, it’s the same sensor as was used in the EOS 6D Mark II and is covered in our review of that camera.

      But where the 6D II used the DIGIC 7 processor, the  EOS RP comes with the latest DIGIC 8 chip, which should (in theory) provide some improvements to performance. The native ISO range in the RP is the same as the 6D II’s, extending from ISO 100 to ISO 40000, with extensions to ISO 50  and ISO 102400 available.

      Continuous shooting speeds  are a tad slower than the 6D II’s with a top speed of five frames/second (fps) with focus and exposure locked or four fps with continuous autofocusing. So it seems the new processor has had little impact on sensitivity or burst speeds.

      Fortunately, the buffer capacity in the RP is larger than the 6D II’s. This is partly due to the new CR3.RAW file format, which supports higher lossless compression, enabling C-RAW files to be reduced by 40% more than previously.

      JPEGs can be recorded continuously to the full capacity of the memory card, presumably because the camera can process them on-the-fly. Up to 50 CR3.RAW files can be recorded and stored in the buffer, more than twice the capacity offered by the 6D II.

      Dual Pixel CMOS AF detectors cover 88% of the horizontal frame and 100% of it vertically, supporting up to 4779 focus positions. This technology was only available in Live View mode in the EOS 6D Mark II but it works with both the EVF and monitor in mirrorless cameras. Canon claims it can operate in light levels down to -5 EV when using a f/1.2 lens, which is not quite as low as the EOS R offers but still quite impressive. Face and eye detection are available in both S-AF and C-AF modes.

      There’s a new Focus Bracketing mode that records a sequence of shots while varying the point of focus. Images must be stacked with Digital Photo Professional software.

      Like most modern cameras, the EOS RP supports 4K video recording, although only at 24p or 25p (for PAL mode viewing) and only with RF and EF lenses, where the frame is cropped by about 1.7x, which is substantial. Engaging the Movie digital IS function further crops the frame.

      Even though it can be useful for providing extra stabilisation when a non-stabilised lens is used or to add extra stability when conditions require it, we found it difficult to frame shots with any precision when shooting 4K movies of moving subjects with the digital IS function engaged. Neither the screen nor the EVF accurately reflected the scene coverage so we frequently ended up with subjects’ heads cut off.

      Added to that, the 25 fps frame rate was too slow for the AF system to keep up with subjects’ motion. In the end, none of the clips we shot in 4K mode was really usable.

      The camera fared better with Full HD and HD recording, which are both available at 50p (PAL format) but the maximum recording time is just under 30 minutes, which is standard for an entry-level camera. Fitting an EF-S lens via an adapter will cause the camera to default to HD recording.

      Two compression options are provided for recording movies, IPB (Standard) and IPB (Light), the latter providing a higher level of compression when smaller files are required. All movies are recorded in the MP4 format with H.264 compression and a variable bit rate.

      Face and eye detection are available in movie mode, although the review camera proved slow to identify faces in moving subjects. This meant the identifying green frame could pop up just as the subject was moving out of the detected position, which required the camera to re-focus the lens.

      Soundtracks are recorded in stereo using twin microphones in the camera and the menu provides settings for selecting between auto and manual level adjustments. Wind noise suppression is available through an automatic filter, which only works with the built-in mics. An attenuator is provided for muffling loud noises that might otherwise be distorted.

      Both time-lapse and HDR (high dynamic range) recording modes are available in movie mode and 4K movies can be output via HDMI. Log profiles are not available and 4K recording is strictly at consumer level. However, the camera allows you to save selected frames as 8.3-megapixel (3840 x 2160 pixels) JPEG files.
      Canon’s Video Snapshots mode  (another consumer-level function) is also available, enabling users to record a few seconds of FHD video each time the movie button is pressed. The camera will combine these into an album covering the elapsed shooting period.

      Built-in Wi-Fi and low-energy Bluetooth interfaces make it easy to connect the EOS RP to a smartphone (or similar device) in order to transfer files or operate camera controls remotely. The Bluetooth interface can also be used to pick up GPS data from a connected phone and embed it automatically in the metadata of images as they are recorded.

      The camera also comes with the normal USB port which, despite being USB 2.0 only, supports USB charging. There’s also a HDMI type C port, a stereo mini jack for external microphones and another for a headphones  plug. Finally, an E3-type terminal is provided for connecting a wired remote control.

      Our Imatest tests showed the review camera to be an above-average performer, although we had to wait until the latest version of Adobe Camera Raw, our preferred raw file converter became available to confirm this. The CR3.RAW files processed with Canon’s Digital Photo Professional application (which is bundled with all cameras) produced similar results to the straight-out-of-the-camera JPEGs.

      JPEG resolution remained high from ISO 50 through to ISO 800 before a gradual decline through to ISO 12800, followed by a steep drop down to the two highest sensitivity settings. Results for CR3.RAW files followed the same general pattern but retained higher resolution through to ISO 6400, as shown in the graph of our test results below.

      Colour accuracy was generally good for both JPEGs and raw files. JPEG files contained a few modest colour shifts and were less saturated than we normally find with entry-level cameras. Raw files were very close to ideal colour values.

      Long exposures at night contained plenty of detail and natural-looking colour reproduction, was retained through to the highest ISO setting.  Noise-reduction processing began to introduce softening from ISO 12800 on and shadowed areas began to block up at around ISO 6400. Noise was obvious in shots taken at the two highest ISO settings.

      Having no flash, we could only test the review camera with tungsten, fluorescent and warm-toned LED lights.  As in the EOS R, the 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 expected,  the review camera’s white balance performance was similar to the EOS R’s. The default auto setting was able to deliver neutral colour rendition under white fluorescent lighting but failed to completely eliminate the warm casts produced by incandescent and warm-toned LED lighting.

      The white priority auto setting delivered much better corrections, coming close to eliminating the warm cast of the LED lighting and suppressing much of the tungsten lighting warm cast. It had no discernible effect on the white fluorescent lighting.

      There’s no white balance pre-set for LED lighting and the presets for tungsten and fluorescent lighting tended to over-correct.  Like the EOS R, the EOS RP provides Kelvin temperature settings along with plenty of in-camera adjustments for tweaking colours on-the-fly, which are straightforward to use.

      When shooting stills we found the autofocusing system to be fast and generally accurate, including in very low lighting after dark. Even in dim, low-contrast situations we found no evidence of ‘hunting’ for focus.

      Video was a mixed bag, with 4K recordings being hampered by severe frame cropping that was made worse when stabilisation was used. We found the screens in the camera didn’t display the actual recording frame correctly, which led to some undesirable cropping.

      In addition, the autofocusing system struggled to track moving subjects and the 25 fps frame rate was too slow to record anything faster than slow movements. Log recording options are not available with this camera, although most users may not miss them.

      The situation was much better in the Full HD 1080p and HD 720p modes, where the recorded frame was clearly displayed in the EVF and focus tracking performed as we expected it should. The 25 fps frame rate modes still blurred rapid movements but the blurring was more natural looking in the recorded context.

      No extraneous camera noises were found in the soundtracks of video clips we recorded and, although not impressive in quality, the audio was good enough for non-professional use. The use of an external mic would probably improve audio quality since the built-in microphones are very small.

      For our timing tests we used a 64GB Panasonic SDXC  UHS-I card, which is rated for 90-95MB/second. The review camera took just over one second on average to power-up ready for shooting, which is faster than the EOS R but a bit slower than the equivalent DSLR camera.

      Average capture lag was approximately 0.24 seconds, which was reduced to less than a second when the lens was pre-focused. As with the EOS R, these times varied, depending on which type of shutter (mechanical or electronic) was engaged and whether the monitor or the EVF was used for shot composition. However they were so small (less than 0.05 seconds) as to be considered negligible.

      Shot-to-shot times averaged 0.4 seconds, which is a tad more than we found when testing the EOS R.  It took an average of 0.3 seconds to process a single JPEG file and 0.32 seconds for a raw file and 0.34 seconds for a RAW+JPEG pair.

      The buffer memory for JPEGs is ‘unlimited’ in the EOS RP so we opted to average capture speeds over 50 frames. In the high-speed continuous shooting mode, the camera was able to record 50 Large/Fine JPEGs in ten seconds, which equates to five frames/second, slightly faster than the specified frame rate. It took 3.5 seconds to clear the buffer memory.

      For raw file capture, the camera recorded 77 shots in 15 seconds before we stopped recording, indicating raw files are handled in the same way as JPEGs. The frame rate was just over five fps. It took 6.3 seconds to process this burst.

      We thought swapping to RAW+JPEG mode would reduce the buffer capacity  but the camera continued to record undeterred until we stopped recording at 108 frames without changing the frame rate. It took 9.3 seconds to clear the buffer memory.


      Please Login or Register to access the Conclusion.



      Image sensor: 35.9 x 24 mm CMOS sensor with 27.1 million photosites (26.2 megapixels effective), built-in low-pass filter
      Image processor: DIGIC 8
      A/D processing: 14-bit
      Lens mount: RF (EF and EF-S lenses can be attached via mount adapter)
      Focal length crop factor: 1x
      Image formats: Stills: JPEG (DCF 2.0, Exif  2.31), CR3.RAW, C-RAW, RAW+JPEG; Movies: MPEG4 AVC/H.264 variable (average) bit rate, Audio: Linear PCM, AAC
      Image Sizes: Stills – 3:2 ratio: 6240 x 4160, 4160 x 2768, 3120 x 2080, 2400 x 1600; 4:3 ratio: 5536 x 4160, 3680 x 2768, 2768 x 2080, 2112 x 1600; 16:9 ratio: 6240 x 3504, 4160 x 2336, 3120 x 1752, 2400 x 1344; 1:1 ratio: 4160 x 4160, 2768 x 2768, 2080 x 2080, 1600 x 1600;  1.6x (crop): 3888 x 2592, 2400 x 1600; Movies: 4K 3840 x 2160 (25, 23.98 fps) intra frame, 4K Time-lapse 3840 x 2160 (29.97, 25 fps) All-I,  Full HD 1920 x 1080 (59.94, 50, 29.97, 25 fps) intra frame, intra frame lite (29.97, 25 fps), Full HD HDR 1920 x 1080 (29.97, 25 fps) intra frame, HD 1280 x 720 (59.94, 29.97, 50, 25 fps) intra frame, HD HDR 1280 x 720 (29.97, 25 fps) intra frame
      Image Stabilisation: Lens based
      Dust removal: EOS integrated cleaning system
      Shutter (speed range): Electronically-controlled focal-plane shutter rated for 100,000 cycles  (30-1/4000 second plus Bulb); flash synch at 1/180 second
      Exposure Compensation: +/- 3EV in 1/3 or1/2EV steps
      Exposure bracketing: +/- 3EV in 1/3 or1/2EV steps
      Other bracketing options: WB – +/-3 levels in Blue/Amber or Magenta/Green, focus bracketing
      Self-timer: 2 or 10 seconds delay
      Interval timer: Yes, standard time-lapse and for 4K movies; AE tracking supported
      Focus system: Dual Pixel CMOS AF phase-difference detection system with image sensor, coverage 88% horizontal and 100% vertical
      AF points & selection: 4779 AF positions available; Automatic selection: Face+tracking + Eye AF,  Manual selection: 1-point AF with adjustable frame size, AF point Expansion (up, down, left, right or surrounding), Zone AF (all AF points divided into 9 focusing zones)
      Focus modes: One-shot, Servo AF
      Focusing aids: AF Assist Beam (LED), focus peaking
      Exposure metering:  384-zone metering (24×16) with evaluative (linked to all AF points), partial (5.5% of viewfinder), centre-weighted average and spot (2.7% of viewfinder) metering patterns, range EV -3 to 20
      Shooting modes: Stills: Scene Intelligent Auto, Special Scene, Flexible priority AE, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (C1/C2/C3);  Movie: Auto exposure, Manual, HDR
      Picture Styles: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)
      Special Scene presets: Portrait, Group Photo, Landscape, Sports, Kids, Panning , Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control, Silent Mode
      In-camera processing: Highlight Tone Priority, Auto Lighting Optimiser (4 settings), Long exposure/High ISO noise reduction, Peripheral illumination correction, Chromatic aberration correction, Distortion correction, Diffraction correction, Digital Lens Optimiser (during/after still photo shooting), Resize to M, S1, S2; Cropping: 43 cropping sizes selectable, from 11% to 95% (diagonal), vertical and horizontal cropping orientation, image straightening, tilt correction, cropping frame can be moved using touch screen operation; RAW image processing to JPEG, multiple exposure
      Dynamic Range functions: HDR processing
      Custom Functions: 23
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto – ISO 100-40000: with expansion to L (50) and H1 51200, H2  102400; adjustable in 1/3 or 1 EV steps
      White balance: Auto (Ambience priority/White priority), Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash, Custom, Colour Temperature Setting; +/- 9 steps of Blue/Amber, Magenta/Green bias adjustments
      Flash: External flashguns only
      Flash compatibility: E-TTL II with EX series Speedlite, wireless multi-flash support
      Flash exposure adjustment: +/- 3 EV in 1/3 or 1/2EV steps
      Sequence shooting: Max.5 shots/sec. or 4 fps with AF tracking
      Buffer capacity: To card capacity for JPEGs, up to 50 RAW files
      Storage Media: Single slot for SD, SDHC, SDXC cards (UHS-I, II compatible)
      Viewfinder: 0.39-inch OLED colour EVF with 2,360,000 dots, approx. 100% frame coverage, 0.70x magnification, approx. 22 mm eyepoint (from eyepiece lens centre),  -4 to +1 dioptre adjustment
      LCD monitor: Vari-angle 3-inch Clear View LCD II with approx. 1,040,000 dots, 100% frame coverage, approx. 170° viewing angle vertically and horizontally, capacitative touch screen controls, dual-axis electronic level display
      Playback functions: Single image (with/without data), index (4, 9, 36 or 100 thumbnails), Jump Display (1, 10 or 100 images, Date, Folder, Movies, Stills, Protected images, Rating), Movie edit, RAW processing, Rating, Slide Show, Histogram (Brightness/RGB), Highlight Alert, erase, protect
      Interface terminals: USB 2.0, HDMI (type C), External Microphone In/Line In (Stereo mini jack), Headphone socket (Stereo mini jack), E3-type terminal (remote control terminal)
      Wi-Fi function: Built-in (IEEE 802.11b/g/n), 2.4 GHz only, with Bluetooth support
      Power supply: LP-E17 rechargeable Li-ion batteries in special base pack; CIPA rated for approx.250 shots/charge
      Dimensions (wxhxd): Approx. 132.5 x 85.0 x 70.0 mm
      Weight: Approx. 440 grams (body only); 485 grams with battery and card

      Distributor: Canon Australia; 1800 021 167;



      Based on JPEG files:





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







      All shots taken with the RF 35mm f/1.8 MACRO IS STM 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 (L), 30 second exposure at f/3.2.

      ISO 100, 25 second exposure at f/3.5.

      ISO 800, 10 second exposure at f/5.6.

      ISO 6400, 6 second exposure at f/11.

      ISO 12800, 5 second exposure at f/16.

      ISO 25600, 3.2 second exposure at f/18.

      ISO 51200 (H1), 2 second exposure at f/18.

      ISO 102400 (H2), 1.3 second exposure at f/20.

      Close-up, ISO 100, 1/125 second exposure at f/1.8.

      ISO 200, 1/20 second exposure at f/9.

      Crop from the above image enlarged to 100%.

      ISO 100, 1/13 second exposure at f/8.

      Strong backlighting; ISO 100, 1/200 second exposure at f/11.

      Wide dynamic range subject; ISO 100, 1/8 second exposure at f/8.

      ISO 25600, 1/125 second exposure at f/8.

      ISO 1600, 1/80 second exposure at f/3.2.

      ISO 2500, 1/60 second exposure at f/8.

      ISO 1000, 1/25 second exposure at f/9.

      ISO 200, 1/60 second exposure at f/7.1.

      Still frame from 4K video clip taken at 25 fps.

      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, IPB ‘Light’ compression

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

      Still frame from HD 720 video clip taken at 25p.

      Additional image samples can be found with our review of the RF 35mm f/1.8 MACRO IS STM lens.



      RRP: AU$2099; US$1299

      • Build: 8.8
      • Ease of use: 9.0
      • Autofocusing: 8.9
      • Still image quality JPEG: 9.0
      • Still image quality RAW: 9.1
      • Video quality 4K: 6.0
      • Video quality other: 8.8