Canon EOS R7 – Photo Review

Kristin

In summary

The EOS R7 is likely to be as popular as the EOS 7D II was among photo enthusiasts, not least because of its price-to-performance ratio. A quick check of the comparison table early in this review will show the many improvements the new camera offers, including its smaller size and lighter weight.

Photographers who have been waiting for a ‘serious’ cropped sensor mirrorless camera from Canon won’t be disappointed; the R7 is a pleasure to use and a competent performer.

Sports and wildlife photographers – particularly birders – will find it especially attractive for its built-in stabilisation and capable Dual Pixel CMOS AF II autofocusing system. Travellers will also find it a good choice with the RF-S 18-150mm f/3.5-6.3 kit lens.

Full review

The EOS R7 is the camera many photo enthusiasts have been waiting for – and marks the start of a new, more capable line of cropped-sensor cameras for Canon. Featuring a high-resolution APS-C image sensor and top-end image processor, it also boasts a sophisticated AF system ported across from the EOS R3. Competitive video capabilities and a wide range of user-adjustable controls make it a far better camera than any in the EOS M line, which appears to have ended – or at least stalled. The last camera (the M50 II) was announced in October 2020 and no new EF-M lenses have appeared since September 2018.


Angled view of the new EOS R7 camera fitted with the RF-S 18-150mm f/3.5-6.3 IS STM kit lens. (Source: Canon.)

It’s something of a relief to see Canon putting some development energy into its cropped-sensor cameras again because the DSLR models were popular and, often, innovative. Although Canon hasn’t described the R7 as the mirrorless equivalent to the popular EOS 7D Mark II, that’s how most commentators are positioning it.

In the almost eight years since the 7D II was launched, Canon has moved from DSLR to mirrorless, sensor resolution has been increased and new processors have brought radical improvements to image quality, processing speed and autofocusing capabilities. So for enthusiasts looking to replace the DSLR, it’s unlikely to disappoint.

The R7 is being offered in body-only configuration or in kit format with the new RF-S 18-150mm lens. We received the kit version for this review.

Who’s it For?
The R7 will suit anyone who owns (or owned) an EOS 7D or its successor and wants to go mirrorless. It provides a wealth of attractive features for photo and video enthusiasts as well as sports and wildlife photographers, particularly as they can take advantage of a growing range of useful and interesting EOS R lenses.

The table below compares key features of the R7 and 7D II, showing just how much imaging technology has changed since the DSLR was released.

  EOS R7 EOS 7D Mark II
Sensor area 22.3 x 14.8  mm 22.4 x 15.0 mm
Effective resolution 32.5 megapixels 20.2 megapixels
Stabilisation Up to 8-stops In-Body IS (IBIS) Lens-based only
Shutter speeds 1/8000 sec.

to 30 seconds

1/8000 sec.

to 30 seconds

Flash synch Mechanical: 1/250 sec.
Elec. 1st curtain: X-sync: 1/320 sec.
1/250 sec.
Shooting modes A+ / Fv / P / Tv / Av /  M / B / C1 / C2 / C3 / Creative Filters / SCN A+ / P / Tv / Av /  M / B / C1 / C2 / C3
AF  system Hybrid dual pixel phase detect/contrast detect system TTL-CT-SIR phase detection with a dedicated CMOS sensor
Focus points 651 65
Subject detection AF Human face, eyes, head, body; dogs/cats/birds face, eyes, body; vehicles entire or specific parts Human face
Focusing brightness range (stills / movies) EV -5 to 20 / EV -3.5 to 20 EV -4 to 20 / EV -3.5 to 20
Video 4K 60p and oversampled 4K 30p video from 7K

Canon Log supported

FHD 1080p at 50/25/24 fps; HD at 50/25 fps; VGA at 25 fps
Max. stills frame rate 15fps continuous mechanical shutter, 30fps with electronic shutter 10fps
Buffer capacity 184 JPEG, 46 RAW 1090 JPEG, 31 RAW with UDMA7 card
High Frame Rate movie (Full HD 120/100fps) Max. recording time 90 minutes HFR recording not supported
Viewfinder EVF with 2,360,000 dots, 119.88 fps refresh rate, brightness and colour adjustments Optical pentaprism
Monitor resolution 1,620,000 dots 1,040,000 dots
Touch screen Yes No
Card slots Dual SD/SDHC/SDXC One CF plus one SD/SDHC/SDXC
Weather resistance Dust and water resistant body Environmentally sealed
Battery LP-E6NH LP-E6N
Dimensions 132.0x 90.4x 91.7mm 148.6 x 112.4 x 78.2 mm
Weight (body with battery & card(s) 612 grams 910 grams
RRP on release (body only) AU$2349 AU$2200

As well as the Full Auto and P shooting modes there are also plenty of pre-set Scene modes, among them the R7 includes a Panoramic Shot mode that includes automatic in-camera frame stitching.  This feature is somewhat unusual for a high-specced camera, since it’s usually restricted smartphones and entry-level cameras. It works well but only delivers a JPEG image.

The user manual doesn’t provide much information about this setting, presumably because the size of the panoramas depends on the speed at which and how smoothly the camera is panned. Under optimal conditions, it’s possible to record a 360-degree panorama – although the files would be very large. The approximately 180 degree pan included in the Sample images, is a 24032 x 3248 pixel JPEG image that is 33.4MB in size.

The R7 has a couple of downsides, however. Its buffer memory is small for a camera at this level. Mechanical shutter shock is detectable at slow shutter speeds and the electronic shutter can produce rolling shutter effects while recording video. The plastic finish tends to cheapen the ‘look’ of the camera, although overall construction is sound.

A big ‘plus’ is the abundant choices available in RF-mount lenses, many of which will be ideal for potential users of this camera. All EF and EF-S lenses can also be used with the optional EF-EOS R Mount Adapter.  And the camera will recognise the full-frame lenses and crop the field of view seamlessly, making them easy to use.

Build and Ergonomics
As far as we’ve been able to discover, the R7 body is made mainly of polycarbonate plastic with some magnesium alloy. It is said to have similar weather sealing to the EOS 90D, which should be adequate for most users but is not quite up to that in the 7D II.

With an overall weight of 612 grams for the camera body plus battery and cards, it’s roughly 50% lighter than the EOS 7D II as well as somewhat more compact.Despite this, the camera body feels solid in the hands and the grip is generous and comfortable and large enough for most potential users’ hands. Key controls like the shutter button and main control dial are within easy reach and it’s a minor stretch to reach back to the ISO and Movie buttons.


The top panel of the EOS R7. (Source: Canon.)

The top panel is relatively uncluttered, with a raised mode dial that isn’t lockable but is not easily dislodged. In addition to the green ‘Scene Intelligent Auto’ setting for novice users it carries a Special Scene mode with 13 options (including Panorama, silent shutter and HDR backlight control) plus a Creative Filters setting with 10 special effects.

There’s also a Creative Zone for more advanced users with Fv (Flexible-priority), P, Tv, Av and M settings plus a B (Bulb) mode for long exposures and three Custom memory banks for storing frequently-used combinations of camera settings, selected when shooting in the Creative Zone modes.

Between the shutter button and main dial lies a new M-Fn button which can be programmed to adjust one function (ISO, drive, AF, WB or flash exposure compensation). The selection can be changed by turning the main dial or pressing M-Fn repeatedly.

Behind the main dial sit the red Movie shooting button and the dedicated ISO button and further back is the power switch with three positions: Off, On and a dedicated movie setting. This switch is easy to access with the grip hand thumb – but also quite easy to set to the wrong position.

There’s no LCD data display but to the left of the mode dial is the EVF housing with a top-mounted multi-function shoe hot-shoe. Strap eyelets are inset into the sides of the top panel.


Front view of the EOS R7 with no lens fitted. (Source: Canon.)

The front panel is dominated by the large RF lens mount. Conveniently located low down on the handgrip side of the mount is an AF/MF switch, which enables users to toggle between settings with one finger. A programmable button on this switch is pre-set for the depth of field preview function.


Back view of the EOS R7 with the vari-angle screen reversed for viewing. (Source: Canon.)

The back panel provides most of the usual Canon controls, with the menu button on the top-left corner, the only button left of the EVF. Right of the EVF is a joystick multi-controller, surrounded by new ‘Quick Control’ wheel control for moving the AF frame or selecting menu items.

The usual AF-ON, Exposure lock and AF point/area selection are located to the right of the joystick multi-controller, the latter pair stacked vertically on the thumb rest. Below lie the Info button and arrow pad with central Quick Control/Set button, while the Playback and Delete buttons sit below them, close to the bottom of the panel.

The EVF housing has a non-removable eyecup that extends for about 15 mm behind the monitor screen to provide good nose relief. The dioptre adjustment wheel is semi-embedded in the left side of this section of the housing, while an eye-detection sensor is located to the right of the rear lens.


Angled view of the dual card slots on the right side of the camera body. (Source: Canon.)

Dual UHS-I / UHS-II SD card slots are located beneath a slide-and-open cover on the right side of the camera body. The left side panel carries the main interface ports, which include HDMI Micro out Type D and USB 2.0 USB Type-C connectors plus 3.5mm stereo mini jacks for microphone and headphone connections and a RS-60E3-type remote control terminal.

The battery is located in the usual place and accessed via a flip-up cover in the base of the grip. It’s the same compact LP-E6NH battery as used in the EOS R5 and R6 cameras and supports USB charging. The CIPA rating for the battery is between 660 and 770 shots/charge when the monitor is used for framing shots or 380-500 shots/charge when shooting with the EVF. Up to 3.5 hours of Full HD video recording is possible with somewhat less for 4K movies.

Sensor and Image Processing
Resolution steps up to 32.5 megapixels, thanks to a new APS-C sized CMOS sensor which, unlike many other recent cameras, is neither backside-illuminated (BSI) nor stacked. The sensor chip has a Bayer colour filter array and sits behind an anti-aliasing filter. It is paired with Canon’s latest DIGIC X processor.

As noted in the previous table, the EOS R7 has a hybrid mechanical/electronic shutter, which is rated for 200,000 cycles, just like the shutters in the EOS 7D II and EOS R. The R7’s shutter curtain closes when the camera is switched off, to prevent dust from getting on the image sensor. Maximum burst rates depend on which shutter is engaged, with up to 30 fps available with the electronic shutter and up to 15 fps with the mechanical shutter.

Using the electronic shutter reduces the potential for both shutter shock and shutter failure because no moving parts are involved. It also allows silent shooting.

The table below shows the image sizes for the supported file formats for all four aspect ratios.

Image size Recorded pixels/megapixels
Aspect ratio
3:2 4:3 16:9 1:1
JPEG & HEIF L 6960 x 4640/32.3 6160 x 4640/ 28.6 6960 x 3904/27.2 4640 x 4640/21.5
M 4800 x 3200/15.4 4256 x 3200/13.6 4800 x 2688/12.9 3200 x 3200/10.2
S1 3472 x 2320/8.1 3072 x 2320/7.1 3472 x 1952/6.8 2320 x 2320/5.4
S2 2400 x 1600/3.8 2112 x 1600/3.4 2400 x 1344/3.2 1600 x 1600/2.6
CR3.RAW & C-RAW 6960 x 4640/32.3

The 3:2 aspect ratio is the default recording setting for shooting still images. The table below shows the approximate file sizes and the maximum buffer capacities for the mechanical and electronic shutters.

Image quality File size (MB) Maximum buffer capacity (standard card)
15 fps (mechanical) 30 fps (electronic)
JPEG L 10.6 184 117
M 6.0 222 115
S1 3.7 203 115
S2 1.8 210 111
HEIF L 10.4 184 117
M 6.3 190 115
S1 4.2 190 115
S2 2.0 190 111
CR3.RAW RAW 35.1 46 41
C-RAW 17.9 105 87
RAW+JPEG RAW+L 45.7 46 41
C-RAW+L 28.5 101 84
RAW+HEIF RAW+L 48.5 46 41
C-RAW+L 31.2 101 84

Native ISO sensitivity ranges from 100-32000, with expansion to ISO 51200 (an additional 2/3 of a stop) available. The camera supports JPEG, HEIF (High Efficiency Image File) format and two ‘flavours’ of Canon’s CR3.RAW format: a 14-bit C-RAW (which is compressed) and Dual Pixel Raw, which includes dual pixel data from the sensor, which is used to fine-tune resolution by applying depth information.

Use of Dual Pixel Raw will slow start-up and continuous shooting rates and prevent the use of multiple exposures, HDR shooting, raw burst mode, focus bracketing, electronic shutter and one-touch image quality setting. The extent of corrections may also be reduced with some lenses, wider apertures and whether the camera is held vertically.

Optimised wiring and improvements to microlens structure have boosted burst speeds to maxima of 15 fps with the mechanical shutter or 30 fps with the electronic shutter; both faster than the ESO R3, R5 and R6 deliver. In-body image stabilisation (IBIS) can deliver up to eight stops of shake correction with the RF-S 18-150mm f/3.5-6.3 IS STM lens.

The autofocusing system is inherited from the EOS R3, although because the sensor is different, performance is not quite the same. However, users can take advantage of subject recognition capabilities for selecting humans, animals (dogs, cats and birds) and two- or four-wheeled vehicles as the main subject to track. When shooting people, eye, face, head, and body detection are separately selectable and users can prioritise which eye to focus on.

The tap, touch and drag AF touch-screen interface introduced on the EOS M5 carries across to the new camera, further facilitating focusing in both stills and movie modes. In addition to an ‘auto’ setting, the R7 also provides four of the ‘case’ settings for the Servo AF mode, which have been ported across from higher-featured EOS cameras. AF acquisition is possible down to -5EV.

Video
On the video front, the R7 records all video in the MP4 format, gaining street ‘cred’ with 4K 60/50p recording capabilities with no frame cropping. However, raw movie recording is not supported and all movies (except time-lapse) are recorded with IPB compression – which makes them easy to view on most devices and equally easy to share.

Users can choose between Standard and Light IPB compression, the latter producing smaller files at lower bit rates to make the most of available storage capacity.  All-I compression is the default setting for time-lapse movie recording.

Regular 4K 30/25p is also available, down-sampled from 7K to deliver 4:2:2 10-bit colour depth. The R7 includes an additional 4K 60/50p crop mode, which uses 55% of the width of the sensor to extend the reach of the lens even further. Full HD 1080p recording includes a high frame rate video mode with a maximum frame rate of 120/100 fps for slow-motion recording. As usual, soundtracks are not recorded in this mode.

The R7 is also the first APS-C EOS outside of the Cinema EOS line to include Canon Log 3 as well as Cinema Gamut and the standard BT.709 and BT.2020 colour space settings for more flexible editing. It also supports HDR PQ (YCbCr 4:2:2 10-bit BT.2020) recording to provide a high dynamic range with minimal grading.

Interestingly, while there’s a choice between 50 and 25 frames/second frame rates in most modes, only 25 fps is available with the 4K Fine setting and you can’t choose between the standard and light compressions. The table below shows the recording options for PAL system users.

Movie recording size Bit rate (Mbps) File size (MB/min.)
Setting Frame rate Compression
4K UHD Fine 25 fps IPB Standard 170 1218
IPB Light 85 610
4K UHD 50 fps IPB Standard 340 2434
IPB Light 170 1218
25 fps IPB Standard 170 1218
IPB Light 85 610
4K UHD Crop 50 fps IPB Standard 340 2434
IPB Light 170 1218
4K Time-lapse 25 fps ALL-I 470 3362
Full HD (HFR) 100 fps IPB Standard 180 1287
IPB Light 100 715
Full HD 50 fps IPB Standard 90 646
IPB Light 50 360
25 fps IPB Standard 45 324
IPB Light 28 202
Full HD Time-lapse 25 fps ALL-I 135 966

All shooting modes are available for shooting movies, including the TV (shutter priority) setting. The native ISO sensitivity is reduced to ISO 100-12800 with expansion to ISO 25600 available. A minimum of ISO 800 applies by default when recording in C-Log mode, although some over-riding is possible. Footage can be sent directly to an external recorder via the HDMI out port.

Other video-related features include Movie Digital IS, which applies a small frame crop to steady the video stream, zebra displays to highlight over- and under-exposures and focus peaking for manual focusing. Time coding is also available, along with a movie self-timer that applies the regular self-timer to movie recording.

Connectivity
Built-in IEEE 802.IIb/g/n Wi-Fi and Bluetooth 4.2 wireless interface allows remote shooting and easy wireless file transfer to smartphones or tablets via the Canon Camera Connect app or uploaded to a computer via EOS Utility. The R7 can also transfer images and videos wirelessly to a web service or be connected to a printer by Wi-Fi. Auto image transfer is supported. Live streaming of video is available with the optional BR-E1 wireless remote control.

Video can be saved directly to an external recorder via the HDMI terminal (Type D) and the USB-C port and compatible cable can be used for recharging the battery. Microphone and headphone jacks are also provided.

Performance
The review camera was a pleasure to use with the RF-S 18-150mm f/3.5-6.3 IS STM kit lens. It was also, in the main, a respectable performer and, with JPEG files, was able to slightly exceed expectations for the sensor’s 32-megapixel resolution two thirds of the way out from the centre of the image frame. Resolution further towards the edge of the frame fell only a little short of expectations, which is impressive.

CR3.RAW files recorded simultaneously with the JPEGs and converted into 16-bit TIFF format with Adobe Camera Raw (our preferred raw file processor) yielded resolutions a little above the JPEG figures, which is to be expected. Colour accuracy was reasonably good – although not perfect as we found slight drifts in reds and cyans, which were similar in both JPEGs and raw files. (Interestingly, similar drifts were found in our tests on the EOS R3 camera.)

Low light performance was particularly good, as shown in the results of our Imatest tests across the camera’s sensitivity range, shown above. In test shots at night, the first signs of deterioration occurring at ISO 12800 where shadows had begun to block up and there were traces pixel structure in light-toned areas in the subject. By ISO 25600, these effects had become more obvious and even though shots taken at ISO 51200 retained some sharpness, light areas appeared blotchy and the deepest shadows were lost.

Auto white balance performance was generally good and similar to the results we obtained from the EOS R3. The ambience priority setting retained the warm cast of incandescent lighting and also preserved an orange cast in shots taken under warm-toned LED lights. But the white priority setting went a long way towards removing these warm casts.

Shots taken under fluorescent lighting showed no apparent colour cast, regardless of which auto WB setting was used. The manual pre-sets over-corrected very slightly but it was easy to pull colours back into line with the in-camera adjustments provided. As usual, raw files provided plenty of scope for adjustments post-capture.

Autofocusing performance was very good for a camera at this level, particularly with respect to subject identification and tracking. As usual, the best results were obtained when the AF mode was matched to the subject and the appropriate ‘case’ setting was used. In such situations, we found very few instances where the camera failed to find focus.

Video quality was much as we expected, based on our findings with the EOS R3, even though the R7 has fewer recording capabilities. Exposure accuracy was consistently good, indicating fast responses to changes in subject brightness and contrast. Autofocusing while shooting movie clips was as fast and accurate as it was for stills.

Soundtracks recorded with the camera’s built-in microphones were generally clear and relatively immune to external noises for an omni-directional mic when the wind filter/attenuator was enabled. No interference was recorded from lens adjustments during autofocusing or zooming.

For our timing tests we used two 32GB SDHC II cards, each claiming read/write speeds of 300 MB/second. The review camera powered-up almost instantly, taking less than half a second before the first shot could be captured.

We measured an average capture lag of 0.3 seconds when moving from severely out-of-focus to sharp focus. This delay was reduced to 0.1 seconds when the camera had a shorter focus range to cover and then eliminated by pre-focusing the lens.

It took an average of 0.2 seconds to process a single file regardless of whether it was a JPEG, a raw file, an HEIF file or a RAW+JPEG or RAW+HEIF pair. Shot-to-shot times averaged 0.6 seconds.

In the high-speed continuous shooting mode with the electronic shutter and silent recording, we recorded 74 Large/Fine JPEGs in 3.3 seconds, which equates to 22.4 frames/second, a little below the specified frame rate. It took approximately 6.8 seconds to process this burst. The same frame rate applied with HEIF files, which took much the same time to process.

When using the same settings for raw file capture, we recorded 47 CR3.RAW files in 4.1 seconds, which is close 12 frames/second. It took 7.1 seconds to process this burst. When we disabled silent shooting and switched to recording RAW+JPEG pairs, the camera paused after 47 frames, which were captured in 3.4 seconds, a frame rate of almost 14 fps. Processing this burst took 10.8 seconds.

With the mechanical shutter, the maximum frame rate is listed at 15 fps. In our tests, we recorded 124 JPEG frames in 5.3 seconds without the camera pausing. Processing this burst took 2.9 seconds. With CR3.RAW files, recording paused after 55 frames, which were captured in 4.1 seconds. Processing this burst took 7.1 seconds.

Using the same settings to record RAW+JPEG pairs we found recording paused after 47 frames, which were captured in 3.5 seconds. Processing took 9.6 seconds..

Conclusion

Please Login or Register to access the Conclusion.

 

SPECS

Image sensor:  22.3 x 14.8  mm FSI CMOS sensor with 34.4 million photosites 32.5 megapixels effective), AA filter, Bayer colour array
Image processor:  DIGIC X
Lens mount: RF-S mount
Focal length crop factor: 1.6x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31),  HEIF, 14-bit C-RAW, Dual Pixel Raw, RAW+JPEG; Movies: MP4 (H.264/H.265)
Audio: AAC or PCM stereo
Image Sizes: Stills (3:2 aspect ratio): 6960 x 4640, 4800 x 3200, 3472 x 2320, 2400 x 1600; RAW and C-RAW files recorded at 6960 x 4640 pixels; Movies: 4K at 60/50/30/25/24 fps, 60/50p line-skipped or 1.81x cropped, 30/25p oversampled; FHD at 120/100/60/50/30/25/24 fps with IPB compression;  10-bit 4:2:2 H.265 recorded internally; Canon Log3, HDR-PQ available;  10-bit 4:2:2 4K output on HDMI port
Aspect ratios: 4:3, 3:2, 16:9, 1:1
Image Stabilisation: 5-axis IBIS (up to 8 stops of shake correction with stabilised lenses)
Dust removal:  Dust Delete data acquisition
Shutter (speed range): Mechanical shutter rated for 200,000 cycles (30-1/8000 seconds plus Bulb; Electronic shutter: 30 to 1/16,000 second); multiple exposures (2-9 frames) supported
Exposure Compensation: +/- 3EV in 1/3EV steps (+/-EV for movies)
Exposure bracketing:  3 frames across +/- 3EV in 1/3EV steps
Other bracketing options: White balance, flash, focus
Self-timer: 2 or 10 seconds delay plus
Interval recording: Yes, for time-lapse movies (4K UHD 25p and FHD 25p with ALL-I compression)
Focus system: 651 zone hybrid dual pixel phase detect/contrast detect system; -5 to 20 EV focusing for stills; -3.5 to 20 EV for movies
AF  selection: Single area, multi-area, face tracking, eye/head/animal detect AF, manual focus override
Focus modes: One-Shot AF / Servo AF (continuous) / MF
Exposure metering:  384-zone multi-pattern sensing system using image sensor output with Evaluative, Partial, Centre-weighted average and Spot metering patterns
Shooting modes: Basic Zone: Scene Intelligent Auto, SCN, Creative Filters; Creative Zone: Fv, P, Tv, Av, M, B
Picture Styles: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User defined (x3)
Scene presets: Portrait, Group Photo, Landscape, Panoramic shot, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlit Control, Silent shutter
Filter modes: 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
Creative Assist effects: Background blur, Brightness, Contrast, Saturation, Colour tone (x2), Monochrome
Colour space options: sRGB and Adobe RGB for stills; BT 709, BT.2020            and Cinema Gamut for movies
ISO range: Auto, ISO 100-32000 in 1/3 or 1 stop increments with expansion to ISO 51200
White balance: AWB Auto (ambience priority), AWBw (white priority), Daylight, Cloudy, Shade, Tungsten, Flash, White fluorescent, Custom, Colour temperature (2500-10000K)
Flash: External flashguns only
Flash modes: First/second curtain synch,
Flash exposure adjustment: +/- 3EV in 1/3EV steps
Sequence shooting: Max. 15 frames/sec. with mechanical shutter; 30 fps with electronic shutter
Buffer capacity: Max. 126 Large/Fine JPEGs, 93 RAW files with electronic shutter
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 standard compatible)
Viewfinder:  EVF with 2,360,000 dots, 119.88 fps refresh rate, brightness and colour adjustments, 22 mm eyepoint, 100% coverage, 1.15x magnification, -4 to +2 dpt adjustments
LCD monitor: 3-inch fully articulating touch-screen LCD with 1,620,000 dots, brightness and colour adjustments
Weather sealing: Yes, dust- and moisture-resistant
Interface terminals: USB 3.2 Gen 2, micro HDMI, microphone and headphone jacks,  RS-60E3 remote compatible
Wi-Fi function: Built-in Wi-Fi; Bluetooth v4.2 (Bluetooth Low Energy)
Power supply: LP-E6NH rechargeable Li-ion battery; CIPA rated for approx. 660 shots/charge with monitor, 380 shots/charge with EVF
Dimensions (wxhxd): Approx. 132.0 x 90.4 x 91.7 mm (excluding protrusions)
Weight: Approx. 612 grams with battery and cards

Distributor: Canon Australia, 1800 021 167

TESTS

TESTS
Based on JPEG images recorded with the RF-S 18-150mm f/3.5-6.3 IS STM lens.

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

 

SAMPLES

All images and video captured with the RF-S 18-150mm f/3.5-6.3 IS STM kit lens.


Auto white balance with incandescent lighting, no corrections.


Auto white balance with incandescent lighting, AWB white priority mode.


Auto white balance with fluorescent lighting, no corrections.


Auto white balance with warm-toned LED lighting, no corrections.


Auto white balance with warm-toned LED lighting, AWB white priority mode.


ISO 100, 30-second exposure at f/5; 40mm focal length.


ISO 800, 13-second exposure at f/5; 40mm focal length.


ISO 3200, 10-second exposure at f/10; 40mm focal length.


ISO 6400, 6-second exposure at f/11; 40mm focal length.


ISO 12800, 3.2-second exposure at f/11; 40mm focal length.


ISO 25600, 3.2-second exposure at f/16; 40mm focal length.


ISO 51200, 1-second exposure at f/13; 40mm focal length.


100mm focal length, ISO 250, 1/160 second at f/6.3.


18mm focal length, ISO 800, 1/80 second at f/11.


70mm focal length, ISO 400, 1/160 second at f/6.3.


84mm focal length, ISO 640, 1/60 second at f/6.3.


150mm focal length, ISO 160, 1/250 second at f/7.1. A quick ‘grab’ shot showing AF accuracy with animal recognition.


35mm focal length, ISO 100, 1/60 second at f/5.


95mm focal length, ISO 250, 1/200 second at f/6.3.


50mm focal length, ISO 400, 1/80 second at f/5.6.


150mm focal length, ISO 4000, 1/160 second at f/7.1.


79mm focal length, ISO 1600, 1/100 second at f/6.3.


18mm focal length, ISO 6400, 1/60 second at f/3.5.


81mm focal length, ISO 200, 1/160 second at f/8.


70mm focal length, ISO 200, 1/125 second at f/6.3.


50mm focal length, ISO 100, 1/160 second at f/8.


150mm focal length, ISO 1000, 1/250 second at f/7.1.


92mm focal length, ISO 250, 1/160 second at f/6.3.


Panorama; 18mm focal length, ISO 100, 1/500 second at f/7.1.


Still frame from 4K 50p video clip.


Still frame from 4K 25p video clip.


Still frame from 4K Crop 50p video clip.


Still frame from FHD 50p video clip.


Still frame from FHD 25p video clip.

Additional image samples can be found with our review of the RF-S 18-150mm f/3.5-6.3 IS STM lens.

 

Rating

RRP: AU$2349 (body only); $2899 (with RF-S 18-150mm kit lens)

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

 

BUY

 

 

 

Next Post

This is the cheapest electric car, and it just got an update

The electrical vehicle league is full of remarkable new gamers. But there, at the stop of the bench, sits just one wily veteran with braces on his knees who can nevertheless get the occupation accomplished. And everyone is familiar with those people fellas are solid investments. The Nissan Leaf rolls into the […]

Subscribe US Now