canon r5 lcd screen made in china

Some Canon point and shoot cameras are made in Malaysia BUT the Canon companies are under Canon management. If there were problems in manufacturing, Canon and others usually snip it at the bud before it hits the market.

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Other key features include 10fps burst shooting with full AF/AE tracking, a 3.69m-dot EVF with 0.78x magnification and a refresh rate of up to 120fps, and a fully articulating 3-inch 1.03-million-dot LCD screen with improved touchscreen functionality.

This new 33mp sensor gives it the edge in resolution over both the previous A7III (by 27%) and rivals like the Canon R6, Nikon Z6 II and the Panasonic S1, whilst not treading on the toes of the 42 megapixel A7R III or the 61 megapixel A7R IV.

There is no top-panel LCD screen on this camera as found on some rivals, with the left-hand-side still completely and curiously bereft of any controls at all.

The A7 IV has a fully articulating 3-inch, 1.03-million-dot LCD screen with improved touchscreen functionality, including focusing and navigating the much improved user interface and main menu system.

An even bigger change from the A7 III to the IV is the A7 IV"s screen has a vari-angle design that"s been inherited directly from the A7S III, which for some users will represent a very welcome improvement on the A7 Ii I"s more limited 180-degree flip-up design.

You can flip out the screen to the side, rotate it forwards for easier operation when pointing the camera at yourself, and fold it flat against the back of the camera to stop it from getting scratched.

Compared with the A7 III, there is no 4K/60p or 10-bit recording at all on and it also applies a slight 1.2x crop to 4K/30p video, so the A7IV"s video capabilities are a big step forward from the older model - the 4K/60p mode is just more restricted than rivals like the Canon EOS R6, which is able to shoot4K/60p from a full-frame region.

Back in 2018, the Alpha A7 III faced very little competition at all, with Canon, Nikon and Panasonic all still to join the 35mm full-frame market. Fast forward to 2021 and the new A7 IV has several very capable main rivals, including the the Canon EOS R6, Nikon Z6 II and Panasonic Lumix S5, not to mention the venerable Panasonic GH5 II, all of which are cheaper than Sony"s new camera whilst offering, for example, faster burst rates or uncropped 4K/60p video.

The EOS R5 has been the hottest full-frame camera on the block ever since Canon pre-announced it back at the start of 2020, thanks to its headline grabbing twin features of a 45 megapixel sensor and 8K video recording. We"ve seen it a few times since then, but now we can finally bring you our final Canon R5 review, complete with full-size sample photos and videos!

The EOS R6 is the best ever Canon mirrorless camera - there, we said it! If you want to find out why, carry on reading our in-depth Canon EOS R6 review, complete with full-size sample photos and videos.

The Nikon Z7 II full-frame mirrorless camera is the 2020 update of the original Z7 model, principally improving the autofocusing, buffer and video and adding a second memory card slot. Are these changes enough for it to compete with its main rivals like the Sony A7R IV and the Canon EOS R5? Find out now by reading our in-depth Nikon Z7 II review, complete with full size sample photos and videos...

The Panasonic S5 is a brand new hybrid full-frame mirrorless camera that"s equally as capable at shooting both stills and video. In an ever more crowded market, does the Lumix S5 offer enough to stand out against the likes of the Sony A7 III, Canon EOS R and Nikon Z6? Read our in-depth review of the Panasonic S5 to find out, complete with full-size sample photos and videos.

The Sony Alpha 7 IV is the latest in the firm’s line of full-frame mirrorless cameras. Based around a new 33MP sensor, it boasts a sophisticated autofocus system and can shoot at 10 frames per second. Its large, high resolution electronic viewfinder is joined by a fully articulated rear screen, and Sony has finally added a comprehensive touch interface. On paper it’s one of the highest-spec’ed models in its class, but at £2400 body-only, it’s also one of the most expensive.

CanonRumorshas published some leaked specifications of the R5C ahead of its announcement on January 19th. As well, they have our first look at the R5C albeit low resolution.

From the image, if we tweak it a bit, we can see that the LCD hinge appears different. It almost appears as it"s not a fully articulating LCD, hopefully, it"s a double hinge arrangement. There is also an exhaust vent on the side. Perhaps with the exhaust vent, maybe Canon felt that having the hot exhaust air blow over the LCD screen was unwise, as would be the case with the traditional Canon fully articulating screen assembly.

Compact and lightweight, the EOS R5 C is a true hybrid camera, boasting many of the video formats and features from the Cinema EOS lineup as well as many of the still capabilities of the EOS R5 camera in a beautifully designed body. The EOS R5 C is a complete package that offers filmmakers, multimedia journalists and advanced amanteurs a cost-effective 8K, 4L and FHD camera to help unlock their creative potential.

Canon’s 45 Megapixel full-frame, CMOS imaging sensor is at the heart of the EOS R5 C camera’s superb image quality, which also leads the way for impressive 8K/60P RAW cinematic video shooting. Focus and speed are paramount in the EOS R5 C camera, providing impressive continuous capture at speeds of up to 20 frames per second and with Dual Pixel CMOS AF II capability to track split second movements of even the most elusive subjects. With 1.053 Automatic AF zoms. It is easy to photograph people with the use of Eye, Face and Head Detection AF, or intuitively track thge whole body, face or eye of cats, dogs or birds with Animal Detection AF. For those with the need for speed. Canon has also included vehicle subject detection to assist with accurate tracking of cars and motorcycles.

The Canon EOS R5 is an exceptional wildlife and bird photography camera. It equals or exceeds equivalent DSLR’s in many categories and makes new ways of shooting wildlife possible for the first time in the Canon system.

While, the packaging and ergonomics make the camera very familiar to Canon DSLR users the camera also features some exceptional specification upgrades

At the same time the R5 offers 20 Frames per second with autofocus in the electronic shutter mode and an excellent 12 FPS mechanical shutter option (with battery charge > 60% and compatible lenses).

Canon has been thoughtful to provide backward compatibility with the EF lens line-up. An important factor in persuading many DSLR users to make the switch to mirrorless.

The EOS R5 is backward compatible with both the LP-E6 and LP-E6N battery. This is fantastic because many Canon shooters will already have a lot of these batteries hanging around.

With mirrorless cameras, the viewfinder offers an electronic readout of sensor data. Often this results in viewfinder lag. Although the R5 manages this very well, it is noticeable in Mechanical shutter mode and can cause lost shots.

The R5 sometimes ‘freezes’. The camera stops working for 20-30 seconds. The EVF freezes, then goes dead. There is a ‘clunking’ noise and either the camera restarts or requires the battery to be removed.

The R5 has suffered a battering at the hands of Youtube critics for its propensity to overheat in certain video modes. A new firmware update has made this much better, especially for discrete clips.

I bought the EOS R5 for hybrid shooting of wildlife stills and video clips. Because the camera is mirrorless, I can switch between stills and video operation in the electronic viewfinder. There is no need for an external display or recorder.

As I grow older, this feature has become vital because I can no longer read the LCD without glasses (which I prefer not to wear as they get in the way).

The inclusion of a Canon first, IBIS, means that I can now use this camera for hand-held filming with no gimbals or rails. This has significantly lightened my kit when in the field.

I shoot a Canon 7D mark ii and 5D mark iii. I plan to replace the 5D with a mirrorless R6 body and keep the 7D Mark ii for its optical finder and as a surprise ‘grab’ camera on safari.

I have the wide field of view offered by the shorter 400mm (for example to photograph elephants) and the resolution offered by the R5 or 7D Mark ii for photographing Lilac Breasted Rollers.

Combined with liberal use of teleconverters, the R5 has finally given me what I have been waiting for. A Swiss army knife camera and lens combination - ideal for my style of photography.

As mentioned, I need reading glasses these days. It’s the worst thing about turning 40+! I can no longer see what’s in focus on my DSLR LCD screens, which makes them very difficult to use for video but fine for stills (in fact preferred for stills).

This extends to the information and menu systems which can all be presented in the EVF. I now shoot the camera with the LCD closed to conserve battery and access all the functions in the EVF.

The R5 has also introduced separate Custom modes for stills and video. Whereas previously, I would set up ‘C1’ for stills, ‘C2’ for 25fps video and ‘C3’ for 100fps video, the R5 allows three separate custom settings in each mode.

Like all Canon cameras, the internal menus are excellent and it is possible to set up custom menus visible in the EVF (unlike DSLR’s). So there are infinite ways to change settings without taking your eye from the viewfinder.

The Canon button assignment interface allows us to go deep. We can customise more than function (for example, Back Button Focus) but also Mode and Case.

The EOS R5 has a very familiar feel in the hand. With a deep grip, the body is easy to hold on to. High quality rubber laid over the magnesium alloy body also adds to this confident impression.

The ability to so effectively customise button assignments makes the Canon EOS R5 a pleasure to hold and use. The slightly smaller form factor has not been a problem for me at all.

Once customised, it will have a very familiar feel and use to any of the other Canon DSLR bodies. For me, this is important because I still plan to shoot both Mirrorless and DSLR interchangeably on safari.

One other irritation is the impossibility of reassigning the ‘Trash’ button. On the lowly Canon M50, one can reassign it but not on the R5 (with firmware V1.10).

In my tests the Canon EOS R5 works very well with EF and EF-S lenses via the EF-RF adapter. However, many have reported a ‘freezing EVF’ issue. This has happened repeatedly with my 400mm F2.8 when using teleconverters.

Focus in most conditions is fast and accurate and I can’t really tell the difference between the lens in use on the R5 and a DSLR. I know this is not a scientific comparison but the important thing for me is that I can use EF lenses with this camera.

For example, the EF 100-400 F4.5-56. L IS USM Mark ii is able to shoot at 12 FPS while my Canon 400mm F2.8 L IS USM Mark ii is able to shoot at 9 FPS.

I had another problem, which I may as well mention in this section. Using a Lexar 2000X 64gb UHS ii card, the camera returned an error several times. This card is marked ‘compatible’ on the Canon website.

Stills image quality on the R5 is superb and I don’t believe I am seeing the best of it yet either because Adobe does not fully support CR3 camera profiles.

Conversion to DNG or the use of Adobe Standard profile, loses quite a lot of colour resolution compared to the same image viewed in Canon DPP software. The images also appear noisy in Adobe software.

At the moment I am making it a rule to shoot JPEG alongside the Canon CR3 RAW files so that I have a reference image including the Canon Picture Profile. I hope these will make it easier to edit back to the expected outcome using Adobe software. That is until Adobe releases the camera profiles at least.

It is clear that the highlight recovery is better and that noise is more closely controlled. Additionally, colour noise is better in the R5 although this may also be an artefact of processing the partially supported files in Adobe.

To my eye the R5 is sharper. I should note that the Low Pass Filter in the 7D Mark ii requires sharpening in post (which has not been applied here) while the R5 has a more advanced low pass filter requiring less sharpening (also not applied).

Dual Pixel RAW – Portrait Relighting, Background Clarity ( in camera) Highlight Tone Priority (2 settings) Auto Lighting Optimizer (4 settings) Long exposure noise reduction Clarity High ISO speed noise reduction (4 settings) (stills and video) Lens optical correction - Peripheral illumination correction, Chromatic aberration correction Distortion correction (during/after still photo shooting, during video only) - Diffraction correction, Digital Lens Optimizer (during/after still photo shooting) Resize to M, S1, S2 Cropping of images (JPEG/HEIF) - Aspect ratios 3:2, 4:3, 16:9, 1:1 - Switch between vertical and horizontal cropping orientation - Image straightening - Cropping frame can be moved using touch screen operation RAW image processing Multiple exposure HDR HEIF to Jpeg conversion

JPEG: 2 compression options RAW: RAW, C-RAW 14 bit (14-bit with Mechanical shutter and Electronic 1st Curtain, 13-bit A/D conversion with H+ mode, 12-bit A/D conversion with Electronic shutter, Canon original RAW 3rd edition) HEIF: 10bit HEIF is available in HDR shooting with [HDR PQ] set to [Enable] Complies with Exif 2.31 and Design rule for Camera File system 2.0 Complies with Digital Print Order Format [DPOF] Version 1.1

Output to external monitor only (output of images and shooting information, images are recorded to the card) Camera screen and External Monitor output ( Simultaneous recording to camera and external recorder, camera screen shows images with shooting information)

Wireless LAN (IEEE802.11a/b/g/n/ac) (2.4 GHz) 13, with Bluetooth 4.2 support, Features supported - EOS Utility, Smartphone, Upload to image.canon, Wireless printing

EOS Utility 3.12.3 or later (incl. Remote Capture), Picture Style Editor, EOS Lens Registration Tool, EOS Web Service Registration Tool, Canon Camera Connect app, Mobile File Transfer app and image.canon app (iOS/Android)

With LCD Approx. 490 shots (at 23°C) With LCD Approx. 470 (at 0°C) With Viewfinder Approx. 320 shots (at 23°C) 14 With Viewfinder Approx. 310 (at 0°C)

Canon Speedlite (EL-100, 90EX, 220EX, 270EX, 270EX II, 320EX, 380EX, 420EX, 430EX, 430EX II, 430EX III-RT, 470EX-AI, 550EX, 580EX, 580EX II, 600EX, 600EX-RT, 600EX II-RT, Macro-Ring-Lite MR-14EX, Macro Ring Lite MR-14EX II, Macro Twin Lite MT-24EX, Macro Twin Lite MT-26EX Speedlite Transmitter ST-E2, Speedlite Transmitter ST-E3-RT)

EOS R5 C Full-frame, 8K Cinema EOS System Camera Compact and lightweight, the EOS R5 C is a true hybrid camera, boasting many of the video formats and features from the Cinema EOS lineup as well as many of the still imaging capabilities of the EOS R5 camera in a beautifully designed body.

The EOS R5 C is a complete package that offers filmmakers, multimedia journalists, and advanced amateurs a cost-effective 8K, 4K, and FHD video camera to help unlock their creative potential.

Shares Common Features & Technology with the EOS R5 Camera Canon"s 45 Megapixel full-frame, CMOS imaging sensor is at the heart of the EOS R5 C camera"s superb image quality, which also leads the way for an impressive 8K/60P RAW cinematic video shooting.

Focus and speed are paramount in the EOS R5 C camera, providing impressive still-image continuous capture at speeds of up to 20 frames per second, and with Dual Pixel CMOS AF II capability, to track split-second movements of even the most elusive subjects. With 1,053 Automatic AF zones, it is easy to photograph people with the use of Eye, Face and Head Detection AF, or intuitively track the whole body, face, or eye of cats, dogs, or birds with Animal Detection AF. For those with the need for speed, Canon has also included still-image vehicle subject detection to assist with accurate tracking of cars and motorcycles. Connectivity like 5GHz and 2.4GHz Wi-Fi and Bluetooth is also included for the transfer of still images.

Video Control for the Dedicated Video Professional As soon as the EOS R5 C"s main switch is moved to the "video" position, the familiar Cinema EOS menu system and interface take over. Expected high-level video features such as waveform monitors, video codec options, and extensive audio control become available - greatly expanding the EOS R5 C"s video potential for the experienced camera operator or video content creator. During the “photo" operation, menus are nearly the same as on the EOS R5 camera.

Internal Cooling Fan Enables Non-stop 8K/60P Recording The EOS R5 C camera features a cooling fan built into the body, forcing out the heat from inside. This enables continuous and virtually limitless shooting of high-definition 8K/60P video without interruption.

Expanded Interface for Professional Needs The EOS R5 C camera provides a Timecode input/output terminal for easy synchronization when shooting with multiple cameras and other interfaces. A cable protector is also included as a standard to prevent cable disconnection or damage to the terminal if a strong force is applied when connecting interface or HDMI cables.

Canon’s Multi-function shoe with digital audio interface supports the optional TASCAM CA-XLR2d-C professional audio XLR microphone adapter for up to 4-channel audio. This optional accessory adds two full-sized XLR terminals with phantom power and shotgun mic mount, enabling digital 4-channel and 24-bit audio recording to meet professional video production needs.

Carries on the Ergonomic EOS Design The EOS R5 C camera"s body design is incredibly compact and lightweight. When paired with a Canon RF lens (or EF lens using the Mount Adapter EF-EOS R), it offers outstanding performance that fits easily and comfortably in your hand, making handheld shooting a breeze whether shooting video or still images. Its Electronic Viewfinder is optically extended, for eye-level viewing similar to the conventional EOS R5 camera, and it uses the same ergonomic grip design.

Full-featured 13 Assignable Buttons The EOS R5 C camera is designed with operational flexibility in mind, conforming to each individual professional workflow, including 13 marked, assignable buttons that allow for user-friendly customized operation.

8K Sensor and DIGIC X Processor The EOS R5 C camera is the first Cinema EOS System Camera to provide internal 8K (8192x4320) 60P RAW recording. 8K video offers outstanding definition and realism with 16 times the resolution of Full HD video, enabling unprecedented capabilities in video expression and highly flexible workflows, such as 4K cropping from 8K footage. The EOS R5 C camera can also record 8K video in the highly versatile MP4 format. Lighter, smaller proxy video files can also be recorded while shooting 8K. This makes for an efficient workflow during editing, previewing, and other tasks.

Supports 8K HDR Recording (HLG/PQ) The combination of ultra-high-definition 8K recording and HDR lets users shoot more realistic and lifelike videos. The EOS R5 C camera supports HDR recording in Hybrid Log Gamma (HLG) and Perceptual Quantization (PQ) formats. This helps ensure full-color rendition and wide latitude with a great range from black to pure white - outstanding for the delivery of live streams, broadcasts, and post-production projects.

Wide Variety of Recording Formats The EOS R5 C camera offers users a wide variety of recording formats to choose from to fit individual workflows and output needs. Along with Cinema RAW Light, which provides light data sizes for RAW recording, the EOS R5 C camera supports MXF-based XF-AVC, which conforms to broadcasting standards, and highly versatile MP4.

Simultaneously Record Different Formats The EOS R5 C camera is capable of recording two independent video files simultaneously, such as Cinema RAW Light and MP4 at various resolutions including 4K and HD, as well as lightweight proxy files for various professional workflows.

XF-AVC and MP4 Codecs for 10-bit 4:2:2 Video In addition to Cinema RAW Light, the EOS R5 C camera offers XF-AVC and MP4 codecs to provide familiar and trusted codecs for easy ingestion and post-production workflows across cinema, broadcast, and many professional markets and applications. XF-AVC offers robust 10-bit 4:2:2 files in a .MXF wrapper for simple compatibility with non-linear editing systems (NLEs) and existing workflows.

4K and 2K Oversampling The EOS R5 C camera reads out signals for all effective pixels from its full-frame 8K sensor, enabling 4:2:2 10-bit high-definition recording through oversampling during 4K and 2K video recording. A high-definition debayer algorithm has been included and the 4K generated from the abundant RGB data of the 8K sensor enables more refined imaging capabilities with less incidence of moiré, false colors, “jaggies” and noise.

HDMI 8K RAW Output to Compatible Recorders The EOS R5 C camera supports RAW output via HDMI and ProRes RAW recording with compatible external recorders such as Atomos devices*. By connecting the EOS R5 C camera with a supported external recorder, users can shoot in Apple ProRes RAW at up to 8K 30P. Proxy data can also be simultaneously recorded to an SD card in-camera, providing efficient post-production operations.

Up to 4K 120P Slow and Fast Motion Recording Mode in 4:2:2 10-bit The EOS R5 C camera can record High Frame Rate (HFR) movies at up to 120P at 4K resolution (4096x2160/3840x2160) in 4:2:2 10-bit without cropping the sensor.

Amazing for shooting scenes full of fast-paced action, the EOS R5 C camera"s fast and intuitive autofocus remains enabled even during HFR recording, making it ideal when shooting from a gimbal or drone, delivering outstanding focus accuracy at HFR or at common frame rates.

Simultaneous Audio Recording Enabled with HFR Unlike some other cameras where audio is not recorded during HFR shooting, the EOS R5 C camera can record .WAV audio as a separate file from video, virtually eliminating the need for separate audio recording and delivering HFR video and audio files in one convenient device when shooting slow motion or fast motion video.

Canon Log 3 Expands Expressive Possibilities The EOS R5 C camera features Canon Log 3, which is found in many Canon cameras and works with multiple Canon EOS and Cinema EOS cameras. The wide dynamic range can be used for a wider range of grading after shooting. Canon Log 3 is a gamma that is designed for simple grading, such as tightening dark areas and adjusting tones. It carries on Canon Log"s ease of use with less noticeable noise. It can also be used when shooting with other Cinema EOS system cameras such as the EOS C300 Mark III and EOS C70 cameras.

Enhanced Image Stabilization Enhanced image stabilization is achieved through coordinated control when Canon"s RF lenses with optical IS are combined with the EOS R5 C camera"s electronic IS when shooting XF-AVC or MP4 formats. With an RF lens that has optical IS and the electronic IS in the EOS R5 C camera, coordinated control helps achieve the optimum hand-shake correction effects. This helps achieve better anti-vibration performance than with conventional IS-equipped EF lenses (using optional Mount Adapter EF-EOS R) and electronic IS together.

Canon VR with RF5.2mm F2.8 L Dual Fisheye Lens Support and Workflow The EOS R5 C camera is an excellent camera pairing with Canon"s RF5.2mm F2.8 L Dual Fisheye Lens to achieve stereoscopic 3D 180° VR video (viewing in 3D requires the use of a compatible Head Mount Display). A plug-in for Adobe Premiere Pro and Canon"s EOS VR Utility are available to streamline the workflow from shooting to editing.

Dual Pixel CMOS AF with iTR AF X Canon"s Dual Pixel CMOS AF technology uses every pixel on the imaging sensor to detect focus, and also to capture actual image information achieving both high precision focusing and high image quality.

With most Canon RF and EF lenses, AF for video can be carried out over approximately 80% of the vertical and horizontal area of the screen. Touch AF allows positioning an AF point by simply touching the LCD screen, in addition to quick manual positioning with the 8-way Multi-controller on the rear of the camera.

High Still-Image Quality Featuring a 45 Megapixel Full-frame CMOS Sensor and DIGIC X Processor. Still-imaging features and operation are nearly identical to Canon"s EOS R5 camera. The EOS R5 C camera features the same Canon-developed CMOS sensor with approx. 45 effective megapixels, and a DIGIC X Image Processor to enhance the speed of operations across the board. This means fast, efficient performance and phenomenal image quality for big prints, impressive video, and more.

DIGIC X Image Processor with an ISO range of 100-51200; Expandable to 102400. Delivering high standard and expanded ISOs (for still images), and a broad range of options to help enhance shooting in varied and fast-changing lighting situations, the EOS R5 C camera can shoot at expanded sensitivities down to ISO 50 (L) and up to 102400 (H)

A high-precision Dual Pixel CMOS AF system allows the EOS R5 C camera to reliably capture approx. 100% of the still-image area, with most Canon lenses.

Head and Eye Detection Select "People" as the EOS R5 C"s "subjects to detect," and like the EOS R5, it can focus on a detected person"s eyes, face, head (if a face is obscured), or even entire body if a head cannot be detected.

Animal Detection For still images, the same revolutionary Animal Detection AF as the EOS R5 can identify and focus upon eyes, faces, or bodies of birds, cats, and dogs — and can do so over virtually the entire image area, with many Canon lenses. This opens up game-changing possibilities for wildlife images, even with subjects as challenging as birds in flight.

Vehicle DetectionCarried over from the high-performance Canon EOS R3 camera, the EOS R5 C adds Vehicle Detection AF as a subject detection option, during still-image shooting. Cars and motorcycles, especially in racing applications, can be identified and tracked, even at high speeds. User-selectable Spot Detection lets the R5 C"s AF detect the helmets of an exposed rider or driver, and put focus upon them, instead of the leading edge of the vehicle.

AF Area Flexibility Select the size of the active AF area — from a precise single AF point to the entire available AF area — and rapidly move a user-selected area via the 8-way Multi-controller on the back of the camera. The EOS R5 C has the same range of choices for still-image AF method selection as the EOS R5 camera.

AF Area Coverage of Approx. 100% x 100% for Still Images The EOS R5 C camera features an expansive focus area of approx. 100% horizontal and 100% vertical when working with select RF and EF lenses, during still-image shooting. With older EF lenses, or with EF Extender types I and II, the EOS R5 C focuses on approx. 80% horizontally and 80% vertically of the image. This means fast and impressive focusing even when composing your subject far from the center of the frame.

EV -6 Low-light autofocus Amazing for nighttime photography or in very low light settings, the EOS R5 C camera"s brilliant AF can operate for still images in light as dim as a light rating of EV -6 where other AF systems may fail or search.

Still-image AF is possible with lens + Canon RF tele extender combinations having maximum effective apertures as slow as f/22 —meaning AF is still possible with the RF800mm F11 IS STM + RF2x extender!

Compatible Lenses: Canon RF lens group (excluding EF, EF-S, and EF-M lenses) - When using Mount Adapter EF-EOS R: Canon EF or EF-S lenses (excluding EF-M lenses)

Send Images to a Web Service: Still photos (RAW, C-RAW, HEIF, and JPEG) and movies (MP4) can be uploaded to image.canon server album. With the image.canon server, images can be sent to social media or a photo album link can be sent (by the image.canon specifications).

For the last two years I’ve primarily used Canon’s astro-friendly and red-sensitive EOS Ra mirrorless, a model sadly discontinued in September 2021 after just two years on the market. I reviewed that camera in the April 2020 issue of Sky & Telescope magazine, with a quick first look here on my blog.

The superb performance of the Ra has prompted me to stay with the Canon mirrorless R system for future camera purchases. Here I test the mid-priced R6, introduced in August 2020.

NOTE: In early November 2022 Canon announced the EOS R6 MkII, which one assumes will eventually replace the original R6 once stock of that camera runs out. The MkII has a 24 Mp sensor for slightly better resolution, and offers longer battery life. But the main improvements over the R6 is to autofocus accuracy, a function of little use to astrophotographers. Only real-world testing will tell if the R6 MkII has better or worse noise levels than the R6, or has eliminated the R6’s amp glow, reported on below.

CLICK or TAP on an image to bring it up full screen for closer inspection. All images are © 2021 by Alan Dyer/AmazingSky.com. Use without permission is prohibited.

The Canon R6 has proven excellent for astrophotography, exhibiting better dynamic range and shadow recovery than most Canon DSLRs, due to the ISO invariant design of the R6 sensor. It is on par with the low-light performance of Nikon and Sony mirrorless cameras.

The preview image is sensitive enough to allow easy framing and focusing at night. The movie mode produces usable quality up to ISO 51,200, making 4K movies of auroras possible. Canon DSLRs cannot do this.

Canon’s first full-frame mirrorless camera, the 30-megapixel EOS R, was introduced in late 2018 to compete with Sony. As of late-2021 the main choices in a Canon DSLM for astrophotography are either the original R, the 20-megapixel R6, the 26-megapixel Rp, or the 45-megapixel R5.

The new 24-megapixel Canon R3, while it has impressive low-noise performance, is designed primarily for high-speed sports and news photography. It is difficult to justify its $6,000 cost for astro work.

I have not tested Canon’s entry-level, but full-frame Rp. While the Rp’s image quality is likely quite good, its small battery and short lifetime on a single charge will be limiting factors for astrophotography.

Nor have I tested the higher-end R5. Friends who use the R5 for nightscape work love it, but with smaller pixels the R5 will be noisier than the R6, which lab tests at sites such as DPReview.com seem to confirm.

Meanwhile, the original EOS R, while having excellent image quality and features, is surely destined for replacement in the near future – with a Canon EOS R Mark II? The R’s successor might be a great astrophoto camera, but with the Ra gone, I feel the R6 is currently the prime choice from Canon, especially for nightscapes.

As such, whether on the rear screen on in the viewfinder, you see an image that closely matches the photo you are about to take, because it is the image you are about to take.

This is similar to the excellent, but well-hidden Bright Monitoring mode on Sony Alphas. This high-ISO Movie mode makes it a pleasure using the R6 for nightscapes. The EOS R and Ra do not have this ability. While their live view screens are good, they are not as sensitive as the R6’s, with the R and Ra’s Movie modes able to go up to only ISO 12,800. The R5 can go up to “only” ISO 51,200 in its Movie mode, good but not quite high enough for live framing on dark nights.

The R6 will also autofocus down to a claimed EV -6.5, allowing it to focus in dim light for nightscapes, a feat impossible in most cameras. In practice with the Canon RF 15-35mm lens at f/2.8, I found the R6 can’t autofocus on the actual dark landscape, but it can autofocus on bright stars and planets (provided, of course, the camera is fitted with an autofocus lens).

In manual focus, an additional Focus Aid overlay provides arrows that close up and turn green when in focus on a bright star or planet. Or you can zoom in by 5x or 10x to focus by eye the old way by examining the star image. I wish the R6 had a 15x or 20x magnification; 5x and 10x have long been the Canon standards. Only the Ra offered 30x for ultra-precise focusing on stars.

In all, the ease of framing and focusing will be the major improvement you’ll enjoy by moving to any mirrorless, especially if your old camera is a cropped-frame Canon Rebel or T3i! But the R6 particularly excels at ease of focusing and framing.

By comparison, the 30-megapixel R (and Ra) has a pixel pitch of 5.4 microns, the 45-megapixel R5’s pixel pitch is 4.4 microns, while the acclaimed low-light champion in the camera world, the 12-megapixel Sony a7sIII, has large 8.5-micron photosites.

Each generation of camera also improves the signal-to-noise ratio by suppressing noise via its sensor design and improved signal processing hardware and firmware. The R6 uses Canon’s latest DIGIC X processor shared by the company’s other mirrorless cameras.

In noise tests comparing the R6 against the Ra and Canon 6D Mark II, all three cameras showed a similar level of noise at ISO settings from 400 up to 12,800. But the 6D Mark II performed well only when properly exposed. Both the R6 and Ra performed much better for shadow recovery in underexposed scenes.

Or it could be that the R6 isn’t as low noise as it should be for a 20 megapixel camera. But it is as good as it gets for Canon cameras, and that’s very good indeed.

The flaw in many Canon DSLRs, one documented in my 2017 review of the 6D Mark II, was their poor dynamic range due to the lack of an ISO invariant sensor design.

The R6, as with Canon’s other R-series cameras, has largely addressed this weakness. The sensor in the R6 appears to be nicely ISO invariant and performs as well as the Sony and Nikon cameras I have used and tested, models praised for their ISO invariant behaviour.

When LENR is active, the R6’s rear screen lights up with “Busy,” which is annoyingly bright. To hide this display, the only option is to close the screen.

As with the EOS Ra, and all mirrorless cameras, the R6 has no “dark frame buffer” that allows several exposures to be taken in quick succession even with LENR on. Canon’s full-frame DSLRs have this little-known buffer that allows 3, 4, or 5 “light frames” to be taken in a row before the LENR dark frame kicks in a locks up the camera on Busy.

With all Canon R cameras, and most other DSLRs, turning on LENR forces the camera to take a dark frame after every light frame, doubling the time it takes to finish every exposure. That’s a price many photographers aren’t willing to pay, but on warm nights it can be necessary, and a best practice, for the reward of cleaner images.

Canons have always been known for their good star colours, and the R6 is no exception. According to DPReview the R6 has a low-pass anti-alias filter in front of its sensor. Cameras which lack such a sensor filter do produce sharper images, but stars that occupy only one or two pixels might not de-Bayer properly into the correct colours. That’s not an issue with the R6.

I also saw no “star-eating,” a flaw Nikons and Sonys have been accused of over the years, due to aggressive in-camera noise reduction even on raw files. Canons have always escaped charges of star-eating.

Amp glow is something I have not seen in Canon cameras for many years. In a premium camera like the R6 it should not be there. Period. Canon needs to fix this with a firmware update.

The R6 I bought was a stock “off-the-shelf” model. It is Canon’s now-discontinued EOS Ra model that is (or was) “filter-modified” to record a greater level of the deep red wavelength from red nebulas in the Milky Way. Compared to the Ra, the R6 did well, but could not record the depth of nebulosity the Ra can, to be expected for a stock camera.

TIP:Buying a used Canon Ra (if you can find one) might be one choice for a filter-modified mirrorless camera, one much cheaper than a full frame cooled CMOS camera such as a ZWO ASI2400MC. Or Spencer’s Camera sells modified versions of all the R series cameras with a choice of sensor filters. But I have not used any of their modded cameras.

A concern of prospective buyers is whether the R6’s relatively low 20-megapixel sensor will be sharp enough for their purposes. R6 images are 5472 by 3648 pixels, much less than the 8000+ pixel-wide images from high-resolution cameras like the Canon R5, Nikon Z7II or Sony a1.

The difference between 20 and 30 megapixels is not as great as you might think for arc-second-per-pixel plate scale. I think it would take going to the R5 with its 45 megapixel sensor to provide enough of a difference in resolution over the R6 to be obvious in nightscape scenes, or when shooting small, detailed deep-sky subjects such as globular clusters.

If landscape or wildlife photography by day is your passion, with astrophotography a secondary purpose, then the more costly but highly regarded R5 might be the better choice.

Canon now offers the option of shooting either RAW or cRAW files, the latter being the same megapixel count but compressed in file size by almost a factor of two. This allows shooting twice as many images before card space runs out, perhaps useful for shooting lots of time-lapses on extended trips away from a computer.

The R6 uses a new version of Canon’s standard LP-E6 battery, the LP-E6NH, that supports charging through the USB-C port and has a higher 2130mAh capacity than the 1800mAh LP-E6 batteries. However, the R6 is compatible with older batteries.

On warm nights, I found the R6 ran fine on one battery for the 3 to 4 hours needed to shoot a time-lapse sequence, with power to spare. However, as noted below, the lack of a top LCD screen means there’s no ongoing display of battery level, a deficiency for time-lapse and deep-sky work.

TIP:Putting the camera into Airplane mode (to turn off WiFi and Bluetooth), turning off the viewfinder, and either switching off or closing the rear screen all helps conserve power. The R6 does not have GPS built in. Tagging images with location data requires connecting to your phone.

As with Nikons (but not Sonys), the Canon R6 saves its movie settings separately from its still settings. When switching to Movie mode you don’t have to re-adjust the ISO, for example, to set it higher than it might have been for stills, very handy for taking both stills and movies of an active aurora, where quick switching is often required.

Though of course I have yet to test it on one, the R6 should be excellent for movies of total solar eclipses. It can shoot 4K up to 60 frames per second in both full frame and cropped frame. It cannot shoot 6K (buy the R3!) or 8K (buy the R5!).

Shooting in the R6’s Canon cLog3 profile records internally in 10-bit, preserving more dynamic range in movies, up to 12 stops. During eclipses, that will be a benefit for recording totality, with the vast range of brightness in the Sun’s corona. It should also aid in shooting auroras which can vary over a huge range in brightness.

TIP:Processing cLog movies, which look flat out of camera, requires applying a cLog3 Look Up Table, or LUT, to the movie clips in editing, a step called “colour grading.” This is available from Canon, from third-party vendors or, as it was with my copy of Final Cut Pro, might be already installed in your video editing software. When shooting, turn on View Assist so the preview looks close to what the final graded movie will look like.

The R6, like the low-end Rp, lacks a top LCD screen for display of camera settings and battery level. In its place we get a traditional Mode dial, which some daytime photographers will prefer. But for astrophotography, a backlit top LCD screen provides useful information during long exposures.

Without it, the R6 provides no indication of battery level while a shoot is in progress, for example, during a time-lapse. A top screen is also useful for checking ISO and other settings by looking down at the camera, as is usually the case when it’s on a tripod or telescope.

The lack of a top screen is an inconvenience for astrophotography. We are forced to rely on looking at the brighter rear screen for all information. It is a flip-out screen, so can be angled up for convenient viewing on a telescope.

However, the port is Canon’s low-grade 2.5mm jack. It works, and is a standard connector, but is not as sturdy as the three-pronged N3-style jack used on Canon’s 5D and 6D DSLRs, and on the R3 and R5. Considering the cost of the R6, I would have expected a better, more durable port. The On/Off switch also seems a bit flimsy and easily breakable under hard use.

These deficiencies provide the impression of Canon unnecessarily “cheaping out” on the R6. You can forgive them with the Rp, but not with a semi-professional camera like the R6.

Unlike the Canon R and Ra (which still mysteriously lack a built-in interval timer, despite firmware updates), the R6 has one in its firmware. Hurray! This can be used to set up a time-lapse sequence, but on exposures only up to the maximum of 30 seconds allowed by the camera’s shutter speed settings, true of most in-camera intervalometers.

Like all Canon cameras, the R6 can be set to take only up to 99 frames, not 999. That seems a dumb deficiency. Almost all time-lapse sequences require at least 200 to 300 frames. What could it possibly take in the firmware to add an extra digit to the menu box? It’s there at in the Time-lapse Movie function that assembles a movie in camera, but not here where the camera shoots and saves individual frames. It’s another example where you just can’t fathom Canon’s software decisions.

TIP:If you want to shoot 100 or more frames, set the Number of Frames to 00, so it will shoot until you tell the camera to stop. But awkwardly, Canon says the way to stop an interval shoot is to turn off the camera! That’s crude, as doing so can force you to refocus if you are using a Canon RF lens. Switching the Mode dial to Bulb will stop an interval shoot, an undocumented feature.

As with most recent Canon DSLRs and DSLMs, the menu also includes a Bulb Timer. This allows setting an exposure of any length (many minutes or hours) when the camera is in Bulb mode. This is handy for single long shots at night.

However, it cannot be used in conjunction with the Interval Timer to program a series of multi-minute exposures, a pity. Instead, a separate outboard intervalometer has to be used for taking an automatic set of any exposures longer than 30 seconds, true of all Canons.

In Bulb and Bulb Timer mode, the R6’s rear screen lights up with a bright Timer readout. While the information is useful, the display is too bright at night and cannot be dimmed, nor turned red for night use, exactly when you are likely to use Bulb. The power-saving Eco mode has no effect on this display, precisely when you would want it to dim or turn off displays to prolong battery life, another odd deficiency in Canon’s firmware.

The Timer display can only be turned off by closing the flip-out screen, but now the viewfinder activates with the same display. Either way, a display is on draining power during long exposures. And the Timer readout lacks any indication of battery level, a vital piece of information during long shoots. The Canon R, R3 and R5, with their top LCD screens, do not have this annoying “feature.”

The R6 offers a menu option present on many recent Canon cameras: Multiple Exposure. The camera can take and internally stack up to 9 images, stacking them by using either Average (best for reducing noise) or Bright mode (best for star trails). An Additive mode also works for star trails, but stacking 9 images requires reducing the exposure of each image by 3 stops, say from ISO 1600 to ISO 200, as I did in the example below.

TIP:The R6 has the same odd menu item that befuddles many a new R-series owner, found on Camera Settings: Page 4. “Release Shutter w/o Lens” defaults to OFF, which means the camera will not work if it is attached to a manual lens or telescope it cannot connect to electronically. Turn it ON and all will be solved. This is a troublesome menu option that Canon should eliminate or default to ON.

The rear screen is fully touch sensitive, allowing all settings to be changed on-screen if desired, as well as by scrolling with the joystick and scroll wheels. I find going back to an older camera without a touchscreen annoying – I keep tapping the screen expecting it to do something!

There’s also the Quick menu activated by the Q button. While the content of the Quick menu screen can’t be edited, it does contain a good array of useful functions, adjustable with a few taps.

I’ve taken the AF Point button and assigned it to the Maximize Screen Brightness function, to temporarily boost the rear screen to full brightness for ease of framing.

The Depth of Field Preview button I assigned to switching between the rear screen and viewfinder, through that switch does happen automatically as you put your eye to the viewfinder.

While the physical buttons are not illuminated, having a touch screen makes it less necessary to access buttons in the dark. It’s a pity the conveniently positioned but mostly unused Rate button can’t be re-programmed to more useful functions. It’s a waste of a button.

TIP:The shooting screens, accessed by the Info button (one you do need to find in the dark!), can be customized to show a little, a lot, or no information, as you prefer. Take the time to set them up to show just the information you need over a minimum of screen pages.

The new wider RF mount accepts only Canon and third-party RF lenses. However, all Canon and third-party EF mount lenses (those made for DSLRs) will fit on RF-mount bodies with the aid of the $100 Canon EF-to-RF lens adapter.

This adapter will be necessary to attach any Canon R camera to a telescope equipped with a standard Canon T-ring. That’s especially true for telescopes with field flatterers where maintaining the standard 55mm distance between the flattener and sensor is critical for optimum optical performance.

The extra spacing provided by a mirrorless camera has the benefit of allowing a filter drawer to be inserted into the light path. Canon offers a $300 lens adapter with slide-in filters, though the choice of filters useful for astronomy that fit Canon’s adapter is limited. AstroHutech offers a few IDAS nebula filters.

TIP:Alternatively, AstroHutech also offers its own lens adapter/filter drawer that goes from a Canon EF mount to the RF mount, and accepts standard 52mm or 48mm filters. It is a great way to add interchangeable filters to any telescope when using an R-series camera, while maintaining the correct back-focus spacing. I use an AstroHutech drawer with my Ra, where the modified camera works very well with narrowband filters. Using such filters with a stock R6 won’t be as worthwhile, as I showed above.

As of this writing, the selection of third-party lenses for the Canon RF mount is limited, as neither Canon or Nikon have “opened up” their system to other lens makers, unlike Sony with their E-mount system. For example, we have yet to see much-anticipated RF-mount lenses from Sigma, Tamron and Tokina.

Until other lens makers are “allowed in,” if you want lenses with auto-focus and camera metadata connections, you almost have to buy Canon. Their RF lenses are superb, surpassing the quality of their older EF-mount equivalents. But they are costly. I sold off a lot of my older lenses and cameras to help pay for the new Canon glass!

I also have reviews of the superb Canon RF 15-35mm f/2.8, as well as the unique Canon RF 28-70mm f/2 and popular Canon RF 70-200mm f/2.8 lenses (a trio making up the “holy trinity” of zooms) at AstroGearToday.com.

Another popular option is the ASIair WiFi controller from ZWO. It controls cameras via one of the ASIair’s USB ports, and not (confusingly) through the Air’s remote shutter jack marked DSLR. Under version 1.7 of its mobile app, the ASIair now controls Canon R cameras and connected to the R6 just fine, allowing images to be saved both to the camera and to the Air’s own MicroSD card.

TIP:While the R6, like many Canon cameras, can be controlled remotely with a smartphone via the CanonConnect mobile app, the connection process is complex and the connection can be unreliable. The Canon app offers no redeeming features for astrophotography, and maintaining the connection via WiFi or Bluetooth consumes battery power.

The extended red sensitivity of the Canon EOS Ra makes it better suited for deep-sky imaging. But with it now out of production (Canon traditionally never kept its astronomical “a” cameras in production for more than two years), I think the R6 is now Canon’s best camera (mirrorless or DSLR) for all types of astrophotography, both stills and movies.

For low-light movies the R6 is Canon’s answer to the Sony alphas. No other Canon camera can do night sky movies as well as the R6. For me, it was the prime feature that made the R6 the camera of choice to complement the Ra.

Canon announces the full shutdown of its major plant located in China – the Zhuhai factory. The 32-year plant is the only production base for digital cameras, sensors, and lenses among Canon’s 15 companies in China. The decision may indicate Canon’s intentions to reduce the number of camera models and to focus on those with the highest margin level (pro mirrorless?)

In continuation to our previous report regarding Canon terminating its DLSR Flagship (Canon ESO 1D X Mark III), here’s another proof that Canon reduces its camera manufacturing. Canon has announced to cut production at the Zhuhai factory. According to reports, Canon will close part of its Zhuhai factory in southern China, with a full shutdown of the 32-year plant being considered, due to shrinking demand in the digital camera market and the continued fallout from the coronavirus.

Rumors about the closure of the entire facility in Guangdong province started on Thursday with an internal company letter circulating online. The announcement, which was issued on Wednesday, said that “the operation of the company is facing unprecedented difficulties. Despite the joint efforts of the company and all employees, it has failed to reverse the situation” said Canon China public relations department representative Shen Yue. “The headquarters has to adjust the overall operation structure of the group. After careful consideration, a difficult decision has to be made: to terminate the company’s production” he states. Furthermore, according to Shen, it is not clear how many employees at the Zhuhai facility will be affected, and the company has yet to decide whether the relevant production line will be relocated, As of the end of 2020, the Zhuhai factory had 1,317 employees, according to the company’s website.

Shen emphasizes that because of the development of the smartphone, the market for compact digital cameras has been shrinking. Other shocks include the pandemic and the shortage of chips. It’s worth mentioning that by the end of 2020, investment in the Zhuhai subsidiary had reached $220 million, with 1,317 employees. Its production of lenses totaled 12.29 million in 2020, and it produced 1.03 million digital cameras and 94,000 digital video cameras. The plant is Canon’s only manufacturing base in the Chinese mainland for digital cameras, digital video cameras, image sensors, and lenses (source).

The announcement came in a conjunction with the CEO statement regarding Canon’s new strategy. “It is natural that mirrorless cameras will become the mainstream of digital cameras… The market needs are acceleratingly shifting to mirrorless cameras. In line with this, we are steadily shifting manufacturing” said Canon’s Chairman and CEO Fujio Mitarai when he explained about the decision not to release a new DSLR flagship (Read: Canon’s Chairman and CEO Fujio Mitarai: “EOS-1D X Mark III is our last DSLR”).

Canon’s decision to close its main factory in China demonstrates its new strategy regarding the Imaging Systems division. Allow us to guess here that Canon is going to focus on its pro mirrorless lineup and less on DSLRs and Point N’ Shoot cameras. Canon knows that high-end mirrorless (EOS R5, EOS R3…) is a very promising niche that will not be intimidated by smartphones. Nevertheless, the high price tag makes these products to be relevant to pro users only. Not so sure if Canon wants that. However, we’ll see a significant reduction in the number of camera models Canon offers to market.

This post is about batteries for Canon digital cameras. It"s easy to get confused if you have a few different models of Canon cameras like I do. We"re going to answer the common questions you have about Canon camera batteries.

Right now I am shooting with 3 different cameras that use 3 different batteries. I know what you"re thinking. That"s crazy! We"ll explain that in a minute, but first a quick look at organizing your Canon batteries if you think you"re in need of a backup battery.

You can also label your batteries by date, so that you know which is the freshest battery and which has the most capacity for the longest life. Here is a short video for you to help with staying organized with your batteries for your Canon digital cameras.

You do not have to use Canon batteries in your Canon camera. There are many legitimate battery manufacturers that make high quality batteries that will power you Canon with no problems.

I started out as a Canon loyalist when it came to using their batteries.  Like I did, you can live and learn by your mistakes. Provided  any camera accessory is manufactured properly and it is fully compatible with ZERO difference in function , it make sense to go with a third party.

There"s enough of a common misconception that if it doesn"t say Canon, it won"t work in your camera. That concept creates enough of a demand to obligate photographers to buy Canon batteries. Don"t get me wrong, Canon batteries are top quality, but there are plenty of other solid options.

All Canon batteries are not the same. Many of them are the same shape because the Canon cameras are built with similar designs. You can interchange Canon batteries with batteries marketed by other companies. Just double check to make sure they"re compatible.

Each Canon camera has its own design and has unique size dimensions as well as different spaces available inside its body. Batteries have to be matched to both fit in a specific location as well as provide a specific amount of power to the camera.

As an example, the EOS R mirrorless camera was designed to accept the same LP-E6 batteries as several of the Canon DSLR cameras as well as several of the Canon mirrorless "R" cameras, such as the R, the R5, the R6, and Ra.

As mentioned, third party batteries are fine provided they are purchased from a reputable company. You DO take a risk if you buy a fake Canon battery, that is a counterfeit that says it"s a Canon battery, but is really a fake.

Any individual or company that is trying to fool you can"t be trusted and you shouldn"t trust the reliability or safety of using their batteries in your expensive Canon camera.

The most well known source of counterfeit batteries can be found on ebay. The easy clue to look for is a "Genuine Canon Battery" priced at the same low price of a legitimate 3rd party alternative.

TEST IT. Buy them and do a full test as soon as you get them.  This takes a little effort to drain a full battery. Shoot video, use the LCD screen continuously on a bright setting, and use the built-in flash frequently to give your new battery a good test.

3RD PARTY. Buy the NON-canon made batteries. Canon is a camera and lens maker not an expert at manufacturing and distributing batteries. Buy batteries from a company that focuses on batteries.

Canon corporation does not make its own batteries. Surprised? Don"t be. The large majority of batteries are made in China. Canon is located in Japan. To the best of my knowledge and at the time of this post, Canon outsources their battery production to a single company in China.

Canon has 4 different types of batteries they use for their EOS digital cameras. These come straight from the Canon Europe website:NP SERIES. Large, high capacity for the professional series cameras

One of the popular camera accessories for Canon shooter is a battery grip.  They give you great access to the camera controls and settings while holding your camera in a vertical "portrait" orientation.

Thanks for visiting my blog. To see some of my photos or watch some of the videos on Canon equipment, see the links in the signature block below.  Stay inspired. Make sure you"re having fun. If you want to have a blast then shoot a Canon.

Bruce Lovelace is the publisher of Canon Camera Geek. Read more about him on theAboutPage. He also publishes how to articles and camera gear reviews at thePhotography Tipswebsite.

View some of Bruce"s photos onInstagram  andFlickr.Join the tribe of followers onYouTube. Visitthe Canon GeekFaceBook Page.Bruce also runs photo workshops and provides 1 on 1 digital photography coaching.

What docable release shutter buttons do and should you use a genuine canon cable release for your Canon camera or can you get by with another manufacturer?