vari-angle clear view ii lcd touch screen free sample

An articulating or vari-angle LCD – commonly called a flip screen – is a useful addition to a camera. The screen is mounted on a swivel, allowing you to flip the screen away from the camera body and rotate the LCD 360 degrees.

Flip screens have traditionally been useful for taking photos at unusual angles. For instance, framing a bug’s-eye view from ground level used to mean setting your camera down low and awkwardly trying to see through the optical viewfinder. There was usually a lot of guesswork involved.

With a vari-angle, or flip screen, you can now set the camera up at ground level and angle the articulating LCD up towards you and frame the scene in live view.

Likewise, a flip screen allows you to shoot overhead by swivelling the screen down. Street photographers might also appreciate a swivel screen because it can let you shoot more discreetly. Shooting from the hip is a lot easier with a flip screen and gives you more control. Hold the camera against your body and angle the swivel screen upwards so you can frame your shot, then shoot discreetly.

Despite all these advantages for shooting stills, it’s probably the rise of vlogging that has seen the popularity of cameras with flip screens soar. Like shooting self-portraiture, vlogging requires placing yourself on the other side of the camera, and before flip screens were a thing this required a lot of careful setup and trial and error.

But swivel LCD touchscreens mean you can now place your camera in front of you, frame your shot accordingly and simply tap the screen to take a picture or start recording. If you have even modest ambitions to post videos on YouTube, a camera with an articulating screen will undoubtedly be the best option for you. In this guide we’ll round up the best cameras with flip screens.

Metering: 384-zone metering with Evaluative metering (linked to All AF points), Partial metering (approx. 6.1% of viewfinder at centre), Spot metering: Centre spot metering (approx. 3.1% viewfinder at centre), Centre weighted average metering

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

The Canon EOS R5 leaves little doubt that Canon is now serious about the mirrorless camera market. It has phenomenal specification with features like a 45Mp full-frame sensor, phase detection autofocusing that covers the whole frame, eye AF for humans and animals that works in video and stills mode and a class-leading viewfinder paired with a vari-angle touchscreen.

The Canon EOS R5 is built to a similar standard to the Canon EOS 5D Mark IV and has a magnesium alloy construction along with weatherproof seals. Its handling is also similar, but the control arrangement has changed to accommodate the vari-angle screen.

It’s great to have a vari-angle screen on the EOS R5. It makes it much easier to shoot video from above or below head-height while keeping the kit size and weight down. Also, as the screen is touch-sensitive you can control the camera with a few taps.

Autofocus: Dual Pixel CMOS AF II with Advanced Animal AF (recognising dogs, cats and birds) supported in all video modes with 100% coverage and up to 1053 "AF segments"

While the R6’s viewfinder is the same size as the R5’s (it’s a 0.5-inch type), its resolution is lower at 3.69million dots instead of 5.76million. That’s the same as in the EOS R and on par with the electronic viewfinders in the Sony A9 and Nikon Z7. It’s a great EVF specification for a camera of this level.

There’s also a 3-inch vari-angle touchscreen with 1.62million dots. We’re a fan of vari-angle screens because they make shooting portrait or landscape format images from above or below head-height much easier than a fixed screen. And a tilting screen is only of help with landscape format images.

Both the viewfinder and the screen provide an accurate preview of the image as it will be captured. Overall, Canon’s control arrangement on the R6 and use of touch control is excellent and the vari-angle screen is a real asset.

After we reviewed the Sony A7 III, a flip-out touchscreen was at the top of our wishlist for improvements we’d like to see on the next iteration of Sony’s full-frame all-rounder. Sure enough, Sony has given the A7 IV a vari-angle screen that can be flipped face forward or be angled to help compose low- or high-level shots in either landscape of portrait orientation.

What’s more, the A7 IV’s 3-inch 1,036,800-dot screen is touch-sensitive and users can now navigate the menus and settings with a tap. In previous Sony touchscreen LCDs, you were limited to setting the AF point via touch.

Sony has also carefully thought through the design, as well, placing the A7 IV’s mic port just above the screen on the side of the camera so it can still move freely when an external mic is plugged in.

OM System has given the OM-1 a very bright 1.62-million dot vari-angle touchscreen. It’s a 3-inch screen and like on the OM-D E-M1 III and OM-D E-M1X and it’s mounted on a vari-angle hinge. This vari-angle hinge means the screen can be angled for clear visibility whether you’re shooting in landscape or portrait orientation.

Like the screens on existing Olympus Micro Four Thirds cameras, the OM-1’s screen is touch sensitive. It responds quickly to a tap and it’s a shame that OM System’s hasn’t extended the touch control to the new main menu.

In overcast conditions and indoors, the OM-1’s screen gives an excellent view it also performs well in brighter conditions. my toughest test for this was when skiing on a bright sunny day trying to video my companions ahead of me. Keeping them framed as we all moved over the piste was challenging, but thankfully, I was able to see them on the screen.

Despite the shrinkage in size and weight, the Panasonic Lumix s5 has both a 3-inch 1,840,000-dot vari-angle touchscreen and a 2,360,000-dot OLED electronic viewfinder built-in.

The Panasonic GH5 has a vari-angle screen and it was high on the request list for the S-series camera when their development announcement was made. However, the S1 and S1R have 3-way tilting screens. These are useful if you’re shooting in landscape and portrait format images, but they’re not as intuitive or flexible to use as a vari-angle screen and they can’t be seen from in front of the camera.

Happily, the Lumix S5’s screen delivers what many were hoping for and it can be flipped around to face forwards. It means that the S5 could also be a good full-frame vlogging camera.

Further good news is that, like the viewfinder, the S5’s screen provides an excellent preview of the image. If you’re shooting outdoors in bright conditions it’s worth activating the Live View Boost to brighten screen to make the scene easier to see. The screen is also very responsive to touch.

Maximum stills continuous shooting rate: Mechanical shutter: H: 14 frames/sec (AFS/MF), 8 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View) Electronic shutter: SH75: 75 frames/sec (AFS/MF) SH60: 60 frames/sec (AFS/MF) SH20: 20 frames/sec (AFS/MF) H: 14 frames/sec (AFS/MF), 7 frames/sec (AFC) (with Live View) M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View) L: 2 frames/sec (AFS/MF/AFC) (with Live View)

The Panasonic GH6 has a 3.0-inch 1,840K-dot tilt and free-angle touchscreen with an aspect ratio of 3:2 on its rear. The tilting aspect of the screen isn’t immediately obvious, but pressing the button underneath the monitor’s bottom left corner releases the mechanism so the screen can be tilted up from the bottom.

There are two stop points in the screen’s tilt movement. The first one is at the right point to enable the screen to be flipped out to the side of the camera without catching on the viewfinder while the second one at about 45° gives a more comfortable viewing able when shooting at waist-height.

To the uninitiated, the tilt and free-angle combination may seem a bit over the top but it means that the screen can be flipped out and twisted to face forwards, up or down, without fouling on any of the cables that may be connected to the ports on the left side of the camera (mic, USB-C and full-size HDMI).

With 1.84-million dots, the 3-inch screen gives a good view of the scene and doesn’t suffer to badly from reflections even in sunny conditions (at least not in March in the UK). However, even when shooting video, there are times when it’s preferable to use the 3,680k-dot 0.76x OLED viewfinder. This has a contrast ratio of 10,000:1 and gives a sharp, accurate preview of the scene.

The GH5 is Panasonic’s flagship compact system or mirrorless camera and it has a mini-DSLR design, featuring a high-quality electronic viewfinder and vari-angle touch-screen. As a Micro Four Thirds camera it’s compatible with an extensive collection of Micro Four Thirds mount lenses from Panasonic and Olympus as well as third-party manufacturers.

While its viewfinder is still a 21mm OLED device, its resolution has been bumped up from 2,360,000 dots to 3,680,000 dots from the GH4 and the magnification is 0.76x rather than 0.67x. It provides a very clear and detailed view of the scene.

Panasonic has also upgraded the rear screen and it now measures 3.2-inches across the diagonal and has 1,620,000 dots. It’s still a vari-angle unit but instead of an OLED screen it’s an RGBW LCD. It provides a nice sharp view and the revised menu, which has fewer pages but more lines, is clear. The screen also responds quickly to tap of your finger.

Like previous A7S models, the Sony A7S III has a full-frame sensor with 12.1 million effective pixels. Keeping the resolution down benefits its low-light capability by keeping noise levels down.

As well as a host of improvements to its video specification, the Sony A7S III introduces the highest-resolution electronic viewfinder we’ve seen to date and it’s the first Sony A7-series camera to feature a vari-angle screen.

According to Sony, the 3-inch vari-angle screen wasn’t a request for the A7S III, it was a demand. It’s certainly something I’ve mentioned on many occasions.

In the past, the argument against one has been that a vari-angle hinge is less robust than a fixed screen and that ‘most dedicated videographers use an external monitor’. Those two points may still be true, but one of the key benefits of using a camera like the A7S III is its small size. If you start having to add an external monitor it makes it bigger and heavier.

Sony is also at pains to point out that the A7S III is for new videographers as well as experienced shooters and many of those people are unlikely to want to also lash out on a monitor.

It’s good to see that there’s an option to show a red outline around the on-screen image when the camera is recording. There are times when this is more useful than the usual flashing red dot.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. We’re sure some videographers were hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around.

As with Canon’s full-frame mirrorless cameras, including the flagship Canon EOS R3, the R7 has a vari-angle touchscreen. This is great for composing low- and high-level shots in landscape or portrait orientation. Because Canon has embraced full-touch control, it’s also useful for changing camera settings with a tap.

Although the 0.39-inch 2.36million-dot electric viewfinder on the Canon EOS RP doesn’t match those in recent high-end mirrorless cameras for resolution, it still provides a decent preview of images. And let’s not forget, the RP is much more affordable than other new full-frame mirrorless cameras.

With Exposure Simulation activated, you get an accurate view of the final image’s brightness as well as the colour. However, if you want to see the depth of field, you’ll need to customise one of the camera’s buttons to that purpose. Or of course, you can take a quick shot. That could be avoided, however, if Canon showed the preview with the selected aperture applied.

Like the EVF, the 3-inch screen’s 1.04-million-dot resolution doesn’t really wow these days, but the fact that it’s mounted on a vari-angle hinge is great. That means you can twist it around to give you a clear view whichever angle you’re shooting from. And unlike a tilting screen, it’s useful if you’re shooting in portrait or landscape orientation.

We love that Canon has enabled the RP’s touchscreen to be used for browsing the Quick and main menu, selecting settings and browsing through images as well as setting the AF point. It really speeds using the camera and makes it more intuitive. It’s also good that this isn’t at the expense of physical buttons and dials.

Viewfinder: 0.5 inch 5.76 million-dot OLED Color Viewfinder with 100% coverage Eyepoint: approx. 24mm Diopter adjustment: -5~+3m-1 Magnification: 0.8× with 50mm lens

Among the many improvements Fujifilm put into the X-H2S over the X-H1 is an upgrade of the LCD screen. Instead of the 3-way tilting screen of the X-H1, the X-H2S has a vari-angle screen that can be flipped out and rotated to face forward for vlogging. This means it’s useful when the camera is above or below head-height in landscape or portrait orientation.

While this camera is really small, it still has the DSLR features you have come to love including a through-the-lens (TTL) optical viewfinder, fast phase detection AF, very long battery life, a responsive shutter release and a grip that places you in control.

The EOS Rebel SL3 (named EOS 250D in Europe, EOS Kiss 10 in Japan and EOS 200D II in Asia/Oceania) is a replacement for the Canon EOS Rebel SL2 / 200D,

Live view AF features 3,975 manually selectable AF points, up to 143 auto selection AF points, up to 88x100% (WxH) imaging area coverage, 0.03-second focus speed, and EV -4 (extremely dark) sensitivity

As with all APS-C format cameras, a selected lens" focal length will provide an angle of view similar to that of a 1.6x longer focal length mounted on a full frame sensor camera (including when using EF-S series lenses).

Camera sounds are recorded using a Tascam DR-07mkII (predecessor to the Tascam DR-07X) Portable Digital Audio Recorder with record levels set to 50% at -12db gain and positioned 1" behind the rear LCD.

Allow some room for slight error when comparing the above AF point spreads, but the viewfinder representations are at least close and are helpful in understanding the differences between the cameras.

Obvious is that the full frame models give up a percentage of the viewfinder coverage to the smaller format options and the SL3 lacks the AF point density of its larger siblings.

Live View and Movie focusing modes include what has become the Canon standard for Dual Pixel CMOS AF: Face Detection with Tracking, Zone AF (no longer Smooth Zone AF or FlexiZone Multi), and 1-point AF (no longer FlexiZone Single).

Information obtained during a phone conversation with Canon USA indicated that this Live View system has EV -4 (extremely dark) sensitivity and an also-impressive 0.03-second focus speed.

The SL3"s capacitive touchscreen was inherited from the M50 (and other models) allowing for Touch Focus during both Live View still photography and before/during video recording.

The phone conversation with Canon USA indicated that the SL3 has the same video features as the M50. Therefore, the following is a nearly identical cut-and-paste of the M50"s video review (the camera model name has been updated).

With each new camera that Canon has introduced since the ground-breaking EOS 5D Mark II, creating high-quality videos has become incrementally easier.

If outputting to 1080p, you can easily downsample the 4K video (with very slight cropping on the right and left sides), crop the frame to provide a tighter angle of view

The SL3’s Vari-Angle LCD is a feature that videographers will greatly appreciate, making filming from low or high angles – or for filming oneself for video log purposes – a breeze.

Metering modes include Evaluative (linked to all AF points), Partial (center, approx. 9.0% of viewfinder), Spot (center, approx. 4.0% of viewfinder) and Center-weighted average.

The SL3"s viewfinder provides an approx. 95% view of the scene to be recorded, meaning that some additional scene beyond what is seen in the viewfinder will be present in images.

This is a 3.0" (77mm) TFT LCD with approximately 1,040,000 dots and solid-state structure design for clarity, durability and an approximately 170° viewing angle.

Anti-smudge and anti-reflection coatings are not applied to this LCD, meaning that it is not quite as easy to clean as the coated models and that reflections can sometimes affect viewing.

Having the LCD able to articulate into a wide range of angles is a big asset, making the camera easily usable in a variety of positions, including directed straight up from on the ground or held high overhead.

Keep in mind that the SL3 keeps its tiny dimensions even with the vari-angle LCD and the increased (from SL1) grip depth. The SL3 grip is just large enough to be comfortable with the pinky curled under the camera and no fingers pressing into the lens when solidly grasping the camera.

As always, battery life can vary greatly depending on how the camera is being used with flash, Live View, video recording, temperature and other factors coming into play.

Keeping a review of the incredibly-feature-laden Rebel SL3 concise but complete is a difficult balance to find and this review is not a complete description of every Rebel SL3 feature available.

Canon has published an intimidatingly-huge 493-page owner"s manual (a link to the manual is provided with this review) that highlights all of the features found on this camera and explains their use.

Canon recently declared that the EOS-1DX Mark III would be the last flagship DSLR camera that they ever make, as they concentrate even more fully than before on switching their camera and lens ranges over to mirrorless.

Enter stage left the new EOS R3, which despite not inheriting the "1" series denomination is still very clearly the mirrorless equivalent of last years EOS-1DX Mark III, with both very much designed to be the ultimate sports and wildlife, full-frame professional-level camera.

It features a brand new 24.1 megapixel full-frame stacked back-illuminated CMOS sensor, up from 20 megapixels on the EOS-1DX Mark III, and the very latest DIGIC X image processor.

Burst shooting speeds are rated at 30fps continuous shooting in live view or 12fps with the mechanical shutter and the buffer allows Raw and JPEG bursts of up to 1000 frames.

The brand new Eye control AF feature lets you select focus points or subjects to track simply by looking at them in the electronic viewfinder, whilst subject tracking can recognise people, animals and also now motorsport vehicles when shooting both photo and videos.

The Canon R3 has a blackout-free 5,760,000-dot electronic viewfinder with 120fps refresh rate and 100 per cent coverage and a vari-angle 8.2cm, 4,200,000-dot touch-screen LCD.

There"s also dual memory card slots (CFexpress and UHS-II SD), built-in Wi-Fi, Bluetooth and GPS, and integrated USB Type-C, mini HDMI, headphone, microphone, N3 remote, and Ethernet ports.

The Canon R3"s magnesium alloy body is both dust- and weather-resistant, just like the EOS-1DX Mark III, with both cameras offering the same level of weather-proofing as each other.

Against the continued backdrop of the global Coronavirus pandemic and its knock-on effects on the sporting world, Canon have released not one flagship action camera in the form of 2020"s EOS-1DX Mark III DSLR, but two with the late-2021 unveiling of the EOS R3 mirrorless model.

Viewed side-by-side, it"s immediately clear that the latter owes an awful lot to the former in terms of its overall design, albeit in a significantly smaller and lighter package.

Subsequently the R3 is a lot lighter than the EOS-1DX Mark III, weighing in at 822g body-only or 1015g with both a battery and memory card fitted versus 1250/1440g respectively on the DSLR.

This allows you to use the R3"s electronic shutter to freeze fast movement without worrying about rolling shutter distortion whilst enjoying a black-out free , 5.76m-dot OLED, 0.76x-magnification electronic viewfinder that refreshes at 120fps, perfect for tracking your subject whilst shooting at up to 30fps.

Starting with the headline-grabbing continuous shooting speeds, that"s certainly true when taking advantage of the silent electronic shutter, which ups the ante from 20fps on the EOS-1DX III to a blistering 30fps on the new EOS R3, complete with full AF and AE tracking.

That"s not quite the full story, however, as the EOS R3 can only shoot at 12fps with the mechanical shutter, a much slower rate than both the 30fps electronic mode and the EOS-1DX III"s equivalent 16fps rate.

Unlike the EOS-1DX Mark III, though, the EOS R3 doesn"t just use that media format alone, with the second card slot reserved instead for UHS-II SD cards.

With the same rechargeable LP-E19 cell as used by the EOS-1DX Mark III inserted, it"s claimed that 860 shots maximum are achievable from a full charge when using the LCD screen and 620 when using the electronic viewfinder.

Both of these don"t compare all that well with the whopping 2850 battery life offered by the EOS-1DX Mark III, but that is only applicable when using the optical viewfinder.

Unlike the EOS-1DX Mark III, which was somewhat hampered by the need to focus manually rather than relying on AF when shooting at a faster frame rate than 30fps, the new mirrorless R3 supports full-time AF and AE metering at all available frame rates.

Additionally, whereas the EOS-1DX Mark III only offered digital image stabilisation for both stills and movies, the R3"s incredible in-body five-axis image stabilisation system offers up to 8 stops of compensation when paired with certain RF lenses that also have their own built-in IS.

In-body stabilisation is one of the key benefits of mirrorless versus DSLRs in general and also one of the key reasons to choose the R3 over the EOS-1DX Mark III.

The Canon R3 features the next generation Dual Pixel CMOS AF II focusing system. Billed as the world’s fastest AF, the camera is capable of focusing in as little as 0.03 seconds.

For shooting at night or in low light, users get incrementally selectable sensitivity settings running from an expanded ISO 50 to ISO 204,800, selected via the rear command dial, with a familiar LCD window on the top plate detailing the selection made.

That"s an impressively broad selection, especially as images at the boosted settings are still usable, something that couldn"t be said about the EOS-1DX Mark III even faster ISO 409,600 and 819,200 settings, unless you were happy with something that more closely resembled a brass rubbing than a photo as such.

File format wise, the Mark III is also Canon"s latest EOS camera to support the ‘next generation" HEIF (High Efficiency Image File) file format, enabling images with 10-bits of data to be saved in a file the equivalent size of a JPEG, while suffering less compression.

The EOS-1D X Mark III had several buttons which could be illuminated if its display light button was pressed, allowing for users to better identify functions if working in near dark conditions. Sadly the new EOS R3 doesn"t inherit this useful feature.

Taking the camera out of its box and affixing one of the two lenses that came with our review sample - an RF 24-70mm f/2.8L IS USM and RF 70-200mm f/2.8L IS USM - it"s immediately apparent that this is a large and not particularly discrete camera setup.

The minimalist front plate houses two controls that are additionally mirrored for portrait use. The top one instantly engages the camera"s AF tracking system, and the bottom one is an unmarked Function button that can be customised. By default it activates the classic Depth of Field preview function, which helps you determine what your photos will look like before the image is taken.

What we personally and also immediately missed here, compared to most pro and semi pro cameras, was a large, chunky tactile shooting mode wheel or dial to the left or right of the viewfinder.

The lack of a familiar shooting mode dial is equally true of all the generations of the EOS-1D X, including the latest Mark III, but to somebody used to handling a wide variety of cameras, its omission initially feels a little odd until you get used to the camera"s operability.

It provides quick and easy viewing access to most of the camera"s key settings, with the dedicated button alongside it toggling between two different screens of information and also allowing it to be lit up in the dark via a longer press - very neat.

The EOS R3 does depart from the blueprint of its DSLR-equivalent by offering a fully articulating, vari-angle LCD screen, whereas the LCD screen on the EOS-1D X III is of the fixed, non-tilting variety.

An angle adjustable LCD is much more useful if you"re going to be shooting video in the main, as it"s tricky to be 100% certain you"ve got focus spot on when using a fixed screen outdoors; inevitably glare and natural reflections sometimes get in the way.

On the other hand, given that this is the sort of professional tool that will be used in spaces where it could get knocked and elbowed by competing photographers, a fixed screen is undoubtedly a wise decision, even if it makes video shooting without some sort of external monitor trickier than it could be.

We did however appreciate the fact that key shooting settings on both cameras can be implemented and accessed with a finger tap on-the-fly on the touchscreen LCD.

The EOS R3 has a very well-specced 3.2-inch, 4.15 million dot, vari-angle LCD screen which tilts out to the side and faces forwards for more convenient vlogging and video recording.

A proximity sensor is located directly beneath the viewfinder, which automatically switches between the EVF and LCD screen. When the LCD screen is swung outwards, the EVF is cleverly turned off automatically.

As mentioned above, the LCD screen is touch-sensitive, allowing you to control everything from setting the AF point and firing the shutter, navigating the menu systems and browsing your images during playback. It"s a very precise, responsive system that"s a veritable joy to use.

The EOS R3 doesn"t inherit the EOS-1D X III"s second smaller LCD immediately beneath the main LCD screen, on which the file format/s you"re shooting in are displayed. This is shame, but eminently understandable given the smaller dimensions of the R3 compared to its even bigger brother.

Conveniently placed below the LCD screen are a row of three buttons, clearly marked for accessing playback, enlarging an image so focus can be checked, and deleting images.

The Menu and Rate buttons meanwhile are placed immediately left of the viewfinder window where they can be accessed via the thumb of the left hand when gripping the camera, so the user doesn"t have to take their away from the viewfinder for long and possibly miss the subject matter.

We"re practically falling over buttons and dials on this camera, but with the added convenience of alternatively tapping the LCD screen for key settings when it makes sense to do so. The overall effect is that operation is sped up, which is exactly what we"d want from a camera of this ilk.

The different Picture Styles and the ability to create your own are a real benefit, as are the HDR settings and multiple exposure mode, all of which can be previewed before you take the shot. Support for the new HEIF 10-bit file format is a little thin on the ground, but should offer a degree of future-proofing.

Long revered as the pinnacle of Canon"s technological prowess, the EOS-1DX Mark III DSLR has now been surpassed by the EOS R3 as the company"s go-to camera for almost anything that moves quickly - people, animals, birds, vehicles - you name it and this camera can intuitively and almost instantly capture it with the absolute minimum of fuss.

The decision to specify mixed media memory card slots is a little mystifying on such an expensive, all action device - we"d have preferred the R3 to follow the EOS-1DX Mark III"s lead by using 2x CFexpress cards instead of the secondary UHS-II SD card slot.

Eagle-eyed readers will surely have noticed by this point of our review that Canon"s new sports camera doesn"t actually inherit the 1-series moniker - that has seemingly been reserved by the upcoming EOS R1, which will presumably be a higher-resolution rival to the Z9 and Alpha 1.

The EOS-1D X Mark III is Canon"s flagship DSLR camera for sports and wildlife photographers. With a price tag of £6499 / $6499, does it have what it takes to outpace the likes of the Nikon D6 and the Sony A9 II? Read our Canon 1D X Mark III to review to find out...

The Nikon D6 is the 2020 update of Nikon"s flagship DSLR camera for professional sports, press and nature photographers. Is this the best DSLR that Nikon have ever made? Find out by reading our in-depth Nikon D6 review, complete with full-size sample photos and videos.

The Nikon Z9 is a professional level, full-frame mirrorless camera for photographers and videographers that features a 45 megapixel stacked BSI sensor, 8K/30p and 4K/120p video recording, 30fps burst shooting and a dual-grip design. Read our in-depth Nikon Z9 review complete with full-size sample photos and videos to find out just what this flagship camera is capable of...

The Sony Alpha 1 camera, or Sony A1 for short, is the best camera that Sony have ever released, and currently the best all-round camera on the market. It"s also one of the most expensive, so read our in-depth Sony A1 review complete with full-size sample JPEG and Raw photos and movies to find out if it"s truly the One for you...

Unboxing the Canon EOS R3 for the first time, I was struck by its size. Up until now, none of the big three camera manufacturers — Canon, Sony, and Nikon — have shipped a full-gripped mirrorless body. As a previous owner of the Canon 1D Mark IV and 1D X, it felt like going home. Even so, this EOS R3 is actually slimmer and much lighter than its current DSLR 1D X Mark III counterpart and weighs in at only 2.2 pounds with the battery installed.

Capacitive method with menu functions, Quick Control settings, playback operations, and magnified display. AF point selection in still and Movies, touch shutter is possible in still photo shooting.

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)

Canon Speedlite (EL-1*, EL-100, 90EX, 220EX, 270EX, 270EX II, 320EX, 380EX, 420EX, 430EX, 430EX II, 430EX III 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*, Speedlite Transmitter ST-E3-RT V2*, Speedlite Transmitter ST- E10)

There"s also a 5.76 million dot electronic viewfinder with 120fps refresh rate, 5-axis IBIS providing up to 8-stops of protection against camera shake, and a fully articulating 4.1-million dot touch-screen display, and compatibility with Canon’s Mobile File Transfer smartphone app.

The EOS R3’s high speed performance does not stop at the frames per second, it extends to the focusing as well. Capable of focusing in 0.03 seconds, the EOS R3 is the fastest EOS R series camera yet – perfect for capturing the unpredictable action of sport and reportage. Powered by Dual Pixel CMOS AF II, the EOS R3 features an improved Deep Learning algorithm, offering AF tracking including human and animal eye, body, and face detection as well as head detection for humans in both stills and videos. Designed with motorsports photographers in mind, Canon has also introduced a vehicle tracking function, to expertly track motorbikes, open cockpit Formula cars as well as GT and rally cars – with the ability to prioritise the vehicle or the driver’s helmet. Eye, face, head and body detection are now available in all AF modes, as well as a new Flexible Zone allowing users to select the size and shape of the Zone AF area. The EOS R3 sets a new standard for its ability to focus in lighting conditions as low as -7.5 EV - making this one of the most capable low light cameras available.

For professional photographers shooting in the field, it’s not just about the speed of capturing a moment but also the speed of getting it to the news desks and editors that matters. With a number of professional connectivity options including built in version 5.0 Bluetooth and 5 GHz Wi-Fi, the EOS R3 streamlines workflows and simplifies the connection to a smartphone or Wi-Fi network. Ideal for sport arenas, the built in Gigabit Ethernet port enables a high speed wired connection. And, for when speed really matters, photographers can transmit images to clients via FTP. For existing EOS R5 and EOS-1D X Mark III users, network settings can be shared between the three cameras.

Users can remotely control the camera from a mobile device using the Canon’s Camera Connect App or using the Browser Remote function via an ethernet connection. A popular feature from the EOS-1D X Mark III, the Browser Remote function also enables users and head offices to remotely change metadata, browse and download images. Users will also be able to use Canon’s Mobile File Transfer (MFT) app - a mobile application for professional photographers that transfers images over a mobile device to an FTP/FTPS/SFTP server. Future enhancements of the app will include text conversion of voice memo, enhancing ease of use for professionals. A new smartphone holder accessory for the EOS R3, the Smartphone Link AD-P1, allows users to mount their iOS or Android device on top of the Multi-Function Shoe Adapter and easily transmit images via the new MFT app . The Canon Camera Connect app now enables the EOS R3 firmware to be updated via your phone - a first for an EOS camera.

At its core, the EOS R3 is designed to help photographers outpace their competitors – and the same is true for video. To reduce the file size and speed up video workflows, CRM light or MP4 footage can be recorded in All-I, IPB or the smaller IPB light option, allowing users to select from a range of bit rates to meet their needs and storage requirements. Dual card slots, including a UHS-II SD card slot and the ultra-high speed CFexpress make shooting 6K RAW video possible and support simultaneous recording to both cards in MP4 , providing a fail-safe back up of vital footage. Canon’s renowned Canon LOG 3 enables 10-bit internal recording, to achieve a greater dynamic range or 10bit HDR PQ which minimises the need for editing or grading footage in post-production. Excellent for roving reporters, the EOS R3 features Canon’s new Multi-Function Shoe and is compatible with the newly launched Directional Stereo Microphone DM-E1D - a camera-powered directional stereo microphone using digital processing - and the TEAC Tascam CA-XLR2d-C XLR adapter which enables two channel recording with professional XLR microphones.

Offering all the speed and familiarity of the EOS-1 series, Canon’s latest mirrorless employs a new Canon developed blackout-free, high-quality 5.76 million dot electronic viewfinder with low lag and refresh rate of up to 120 fps at full resolution for a viewing experience that rivals an optical viewfinder. Along with the newly introduced OVF simulation View Assist, the viewfinder offers richer tones and greater dynamic range. The shutter lag can be reduced to an astonishing 20ms - less than half that of a conventional camera, for near instant capture when the shutter release is pressed. The new high resolution Vari-Angle 4.1-million dot touch screen provides more detail than ever before and offers greater flexibility of shooting angles thanks to its ability to tilt and rotate into a range of positions. Combining existing EOS ergonomics with new controls and a number of new customisation options for users, including shutter sounds with volume control, the EOS R3 provides familiar, yet advanced control. To save time when moving between camera bodies, photographers can easily copy and save personalised settings to memory cards. Using the same LP-E19 battery as the EOS-1D X Mark II and EOS-1D X Mark III, the EOS R3 enables extended shooting and greater compatibility with existing DSLRs.

Built to withstand the rigours of day-to-day professional use, the EOS R3 will have a tough, magnesium-alloy body featuring dust and water resistance to the same level as Canon’s legendary EOS-1D X series – ensuring it can cope in the toughest weather conditions. Dual card slots allow image files to be written to SD or CFexpress memory cards. The camera is powered by a high-capacity LP-E19 battery – the same as the one found in Canon’s EOS-1D X Mark III cameras – enabling professionals to use and share batteries between cameras that they may already have in their kitbag. The camera will also offer a choice of controls with both multi controller and smart controller – for completely intuitive operation. Offering three customisable dials on the body, plus a Lens Control ring on each RF Mount lens, this allows shutter speed, aperture, ISO, and exposure compensation all to be easily adjusted while the camera is at the photographer’s eye. The EOS R3 is also equipped with a Vari-Angle screen letting professionals compose easily from creative perspectives.

The EOS R3 will feature new and improved technology first seen in Canon’s EOS 5. It is the first EOS digital camera to provide a new generation of photographers with ground-breaking Eye Control Function, which enables users to simply select and move the AF point using their eye via the viewfinder. This instinctive feature offers professionals natural and speedy control over AF. Reducing the time to focus, which is usually done with a multi-controller/button, this feature is again perfect for photographers looking to capture the most important subject for their frame at speed – whether that’s during a news conference or photographing a team sport.

Canon is launching Version 1.2 of its Mobile File Transfer for iOS via the Apple App Store in June, which is compatible with Canon’s EOS-1D X Mark III, EOS R5 and EOS R6. Android support will be added in the future.

The Canon EOS R3 will join the current lineup of EOS R full-frame mirrorless series cameras. This camera will usher in a new category to the EOS R system, positioned squarely between the EOS R5 and EOS-1D X Mark III cameras. The camera will put great emphasis on superb AF performance and speed, with fast-moving subjects. It is being designed to meet the reliability and durability demands of professionals, even when working in challenging conditions.

The Electronic Viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye Control AF2 and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame. When Face Detect + Tracking is active, the camera will continue to follow moving subjects around the entire active AF area.

As this is still an early tech announcement, though, to be more precise they were strictly hands-off photos, as I wasn"t allowed to actually touch the camera, turn it on, open any of the ports or compartments, or see the bottom of it.

Canon has announced the EOS 650D (known as the Rebel T4i in North America), and 18MP touch-screen DSLR with a sensor-based hybrid AF system for improved focus in movie and live view modes. The camera gains the all-cross-type 9-point AF sensor from the EOS 60D and can now shoot at 5fps. It also adds stereo mics for its Full HD video recording, which is available at 30, 25 and 24fps. The camera will be available from the end of June at a price of $849, body only, $949 will the 18-55mm IS lens or $1199 with the co-announced 18-135mm STM IS lens.

London, UK, 8 June 2012 – Canon today launches the EOS 650D – a new, easy-to-use Digital SLR (DSLR) that offers high image quality and simple touch-screen operation, allowing anyone to capture beautiful images and Full HD movies. Ideal for photography beginners, the EOS 650D combines intelligent automatic shooting modes with a range of advanced features – making it easy-to-use today, with a full range of manual modes to explore tomorrow.

The EOS 650D is the first-ever EOS to feature a dual AF system, which ensures exceptional detail in stills and continuous autofocus tracking when shooting movies. At the camera"s heart is an 18 megapixel (MP) Hybrid CMOS sensor and powerful DIGIC 5 processing, enabling the capture of sharp, full resolution images at up to 5 frames per second (fps). A Vari-angle capacitive touch-screen also makes camera operation quick and easy, providing instant access to an extensive range of settings and scene modes.

The new dual AF system makes it easy to capture sharply-focused shots of all subjects, whether capturing stills or movies. A superior 9-point all cross-type AF system provides exceptional performance during stills shooting, offering precision accuracy when capturing sports, action and wildlife. Additionally, a new Hybrid AF System offers continuous autofocusing during movie recording, and when shooting in Live View1 mode.

Getting the perfect shot has never been easier thanks to the new 7.7cm (3.0") Vari-angle Clear View LCD II Touch screen. Featuring capacitive technology, the screen is highly responsive and supports a variety of multi-touch gestures, such as pinching and swiping – making it easy to access shooting modes, alter settings and even capture a shot using the screen alone.

Touch control adds a different dimension to Live View shooting. You can select AF points, track faces and objects, and fine-tune image settings via the camera"s Quick Control screen. Navigation is instant and intuitive, while pinch-zooming in playback provides a great way to check the finer details of a shot. The Vari-angle hinge allows the screen to be angled and tilted to suit virtually any situation, while a super-sharp 1,040k-dot resolution ensures every detail is clearly displayed.

The EOS 650D makes it easy for anyone to shoot Full HD (1920x1080p) videos. Thanks to Hybrid AF, users can focus exclusively on story-telling while the camera continuously tracks the subject. New EF-S 18-135mm f/3.5-5.6 IS STM and EF 40mm f/2.8 STM lenses are also ideal for shooting videos, utilising a virtually-silent stepper motor to ensure movies are smoother and clearer than ever.

The camera"s range of shooting modes also allows you to explore the boundaries of your creativity. Basic+ allows you to go beyond basic automatic settings, with a range of presets you can use to dramatically and instantly alter the mood of a shot. Canon"s fun range of Creative Filters can now be applied to images using the Touch-screen, with new "Art Bold Effect" and "Water Painting Effect" offering more ways to apply a creative twist to a shot. If you simply want to point and shoot, Scene Intelligent Auto mode does the work for you – analysing the scene and automatically selecting the best settings, so you can take great shots out of the box.

Sometimes, inspiration comes from the tools we use to create. Take the D5500 for example, a compact DSLR capable of inspiring a new level of creativity. From the moment you flip the touchscreen Vari-angle display and capture an ultra-sharp 24.2-megapixel photo, you"ll begin to see your photography in a new light. At the flick of a switch, the D5500 transforms into a versatile Full HD video camera. Record 1080 video at a high speed frame rate of 60p—perfect for capturing fast-moving subjects or creating ultra-smooth slow motion effects. Break free of the ordinary with star trail images, interval–timer sequences and HDR photography. Add artistic filters and effects and even retouch your shots right in the camera, and then share your creations instantly with built-in Wi-Fi®. Inspiration has a new name, and it"s the D5500.

A first for Nikon DSLRs, the D5500 features a touchscreen Vari-angle LCD for exciting new shooting possibilities and easier handling. Flip out the large 3.2-inch display for an interesting new angle, then simply touch where you want to focus and shoot. A new Fn button gives you one-touch access to important settings like aperture, ISO sensitivity, AF mode and more. During playback, pinch to zoom in and check the details. Easily navigate menu items, set video settings and more, all as familiar as operating a smartphone.

Share amazing moments while they"re happening and without missing a beat. Flip out the LCD and start taking DSLR-quality selfies! The D5500 quickly transfers your creations to a compatible smartphone or tablet± for easy sharing by email, texting or posting online, wherever you are, using the Wireless Mobile Utility app.—no hot spot needed. Your smartphone or tablet can even act as an external monitor and remote control for the D5500—imagine the possibilities!

When you’re capturing fast-moving action, especially outdoors, you need a clear view of what’s happening. That’s when the D5500"s high-quality optical viewfinder really comes in handy. Put the camera to your eye and enjoy a beautiful, glare-free view through the lens. Take your shot, and the moment you pull the camera away from your eye, the D5500 automatically displays it on the LCD for you.

Retouch Menu makes it easy to improve the look of your photos. Soften skin tones, highlight a subject, soften a background, crop, create a color outline and more—all right at your fingertips!

Changing the way users capture still images and video with a DSLR camera, Canon proudly introduces the EOS 70D – a trailblazing powerhouse featuring a revolutionary autofocus technology that unlocks the potential of Live View: Dual Pixel CMOS AF.

This game-changing technology allows the EOS 70D to capture video in Live View with smooth and precise autofocus similar to that of a camcorder, complete with the superb image quality that is a hallmark of EOS cameras.

Additionally, Dual Pixel CMOS AF provides fast and accurate autofocus during Live View still image capture, enabling you to fully benefit from the freedom of angle allowed by the Vari-angle Touch Screen 3.0-inch Clear View LCD monitor II. Compositional options are now nearly limitless with the two real-world choices of Live View and viewfinder shooting. (Source: Canon USA)

This summer, Canon announced a pair of new full-frame mirrorless cameras, the high-resolution EOS R5 and a more affordable EOS R6. Although not a perfect comparison, the EOS R5 is sort of like a Nikon Z7 or Sony A7R IV, whereas the EOS R6 is like the Nikon Z6 or Sony A7 III. The EOS R6 opts for fewer megapixels and eschews some of the bells and whistles of the EOS R5 in terms of design and video features. As a result, the R6 costs $1,400 less than the R5, which is a considerable amount of money.

Having spent time with the EOS R6 out in the field, I can"t shake the feeling that this new camera is what I wish the original EOS R camera had been when it launched in late 2018. The EOS R6 gets back to the basics by avoiding the Touch Bar control while also making major strides forward in terms of autofocus performance, speed and image stabilization. It"s a great camera and very enjoyable to use. There"s a lot more to say about the R6, of course, so let"s dive in.

There are three command/control dials in total, two on the top deck -- one behind the shutter release and one for your thumb near the rear edge -- and another large control dial on the rear of the camera. The mode dial and the top-deck command dials all have a diamond-knurled texture which is excellent. I also like the location of the mode dial, which is a traditional mode dial with P, Tv, Av, M, B, C1, C2, C3, Video, Auto and Fv modes. The mode dial, which doesn"t lock, can be turned by my right thumb while shooting. It"s great to be able to quickly go from Av to Tv depending on the situation, for example, without needing to use my left hand or pull my eye away from the viewfinder.

The viewfinder is another pleasing aspect of the camera. The OLED electronic viewfinder has 3.69 million dots and an impressive 120 frames per second refresh rat e. The text around the frame is easy to read, and the viewfinder image is very sharp and smooth. When shooting in Continuous High+ and regular High drive modes, the freeze frames when you shoot can be slightly jarring, but due to the fast shooting speeds of the EOS R6, it"s not too difficult to track action in the EVF.

Live View photography and recording video is an enjoyable experience with the EOS R6 due to the camera"s nice Vari-angle 3-inch touchscreen. The display has 1.62 million dots and is plenty sharp in use. It includes Clear View LCD II anti-smudge and anti-reflection coating. This helps make the display easy to use outdoors, even in bright light.

Available autofocus area options include Face+Tracking AF, Spot AF, 1-point AF, Expand AF area, "Around expansion (8 points)", Zone AF and Large Zone AF. I use Spot AF and 1-point AF frequently, and these both work well. You can utilize the touchscreen to quickly move the AF area throughout the frame. However, you can also use the joystick near the thumb rest on the back of the camera to move the autofocus point after enabling this functionality in the camera"s menus, something I highly recommend you do.

Buffer depths depend upon the card you"re using and the image format you select. To maximize buffer depth, you must use a UHS-II compatible SD card and select the compressed raw .CR3 image format. In this scenario, you can capture more than 1,000 consecutive images. If you"d prefer uncompressed raw image capture, the buffer depth drops considerably to 240 total consecutive images at maximum capture speed. Granted, 240 images is still a large burst and will likely prove sufficient for many.

The EOS R6"s autofocus when recording video performs quite well. I am impressed by how quickly and smoothly the camera can adjust autofocus. Consider the sample videos below. In both cases, I used the touchscreen to silently adjust the autofocus position while recording, and I thought the R6 did a good job of quickly picking up the new subject and adjusting focus.

The Canon EOS R6 shares a similar design to the EOS R5 and the original EOS R camera. Looking first at the back of the camera, the EOS R6 includes a 3-inch Vari-angle touchscreen. The LCD includes approximately 1.62 million dots and includes Clear View LCD II anti-smudge and anti-reflection coating.

In addition to the rear display, the EOS R6 also includes an electronic viewfinder. The 0.5-inch OLED EVF offers 100 percent coverage and includes a 120fps refresh rate. The EVF has an impressive 3.69 million dots and offers 0.76x magnification.

You may have noticed that we have yet to mention the Touch Bar which is found on the EOS R camera. That"s because it is absent on the EOS R6 (and EOS R5, for that matter). In our view, the lack of a Touch Bar is not a glaring omission, although it is likely some users will lament the loss.

The top of the EOS R6 is quite like many other Canon EOS cameras. On the left of the viewfinder area is the ON/OFF switch. To the right, there is a traditional mode dial with M, Av, Tv, P, FV, automatic, video, custom 1-3 and bulb modes. There are M-Fn, Lock and dedicated Movie Record buttons as well. Finally, there are a pair of command dials and the shutter release.

In terms of autofocus area options, the EOS R6 offers Face+Tracking AF, Spot AF, 1-point AF, Expand AF area (4-point expansion), "Around expansion (8 points)", Zone AF and Large Zone AF (vertical and horizontal options are available). The camera includes Eye Detection AF, which offers automatic and manual selection modes. By default, the camera will select the closest eye to focus on or the eye closest to the center of the frame. Manually, you can select the eye you wish the camera to focus on by using the touchscreen or the camera"s multi-controller (joystick).

The Canon EOS R6 is powered by Canon"s DIGIC X image processor, the same processor found in the professional Canon EOS 1DX Mark III DSLR camera. With this processor, the EOS R6 can capture images at up to 20 frames per second, although with minor caveats.

While we will need to test performance, including top speeds and buffer depths, Canon"s documentation describes impressive performance indeed. Maximum burst depth is 1,000 or more when capturing JPEG images and when using a UHS-II SD card alongside Canon"s compressed C-RAW (.CR3) image format. When shooting traditional .CR2 raw images, the stated buffer depth is 240 images.

The Canon EOS R6 can record 4K UHD video at up to 60 frames per second. 4K video is compressed using standard IPB compression and can be recorded in H.264 and H.265 codec, with the latter option offering bit rates up to 340 Mbps at 59.94 fps and 170 Mbps at 29.97 and 23.98 fps. Not all recording settings may be available unless you use a UHS-II SD card. 4K UHD video recording does not utilize precisely the full width of the image sensor (~1.06x crop), akin to the Canon EOS 1DX III.

The Canon EOS R6 records images and video to a pair of UHS-II compatible SD card slots. The camera includes Hi-Speed USB (USB 3.1 Gen 2) via a USB Type-C port, HDMI micro out (Type D), 3.5mm stereo mini jack (microphone) and 3.5mm stereo mini-plug (headphone) ports.

In terms of wireless connectivity, the EOS R6 includes built-in Wi-Fi (IEEE 802.11b/g/n with 2.4 GHz wireless band) and Bluetooth 4.2 (Bluetooth low energy). Via Wi-Fi and/or Bluetooth, you can remotely capture, view, edit and send images between the camera and your smartphone using free Canon applications.

The EOS R6 uses a Canon LP-E6NH battery pack, and can also be charged internally via USB Power Adapter PD-E1. The R6 is CIPA-rated for 360 shots per charge using the LCD, or 250 shots per charge with the EVF. Using the camera"s Power Saving mode will increase the battery life to 510 (LCD) or 380 (EVF).

Autofocus: Both the R5 and R6 feature Canon"s latest Dual Pixel CMOS AF II. The AF system delivers 100 percent area coverage via 1,053 zones. In addition to this impressive coverage area, each camera includes eye, head and face tracking for people, dogs, cat and birds.

Performance: Despite the differences in image sensors, the R5 and R6 can both shoot at up to 12 frames per second using their mechanical shutters and 20 fps with the electronic shutter via silent photography mode. Where the R6 separates itself from the R5 in terms of performance is with respect to buffer depths. The EOS R6 can record 1,000 or more compressed raw (C-RAW) images, while the EOS R5"s buffer depths top out at 260 C-RAW images when recording to either a UHS-II SD card or a CFexpress card. For regular raw images, the EOS R6 can record up to 240 images before the buffer is full, whereas the EOS R5 slows down after 180 raw images. Both cameras are powered by a DIGIC X processor.

Design:The Canon EOS R5 and R6 are similar in overall design, but there are a few important differences. The R6 doesn"t include a top LCD panel, something included on the R5. The R6 also includes a different dial for selecting modes. The R5 has the same mode dial design as the EOS R, whereas the R6 opts for a more traditional mode dial.

Card slots: As mentioned earlier, the Canon EOS R6 has two SD card slots, both compatible with UHS-II. Rather than two SD card slots, the EOS R5 instead includes a CFexpress slot and an SD card slot (UHS-II).

With the built-in WiFi connectivity and the vari-angle touch screen, the 70D also brings the xxD-series into the smartphone era, allowing you to swipe through your images, adjust settings with a touch, and instantly share photographs online when your camera is connected to a hotspot. You can also control the camera wirelessly using your smartphone and the free EOS Remote app for Android and iOS.

However, the standout feature of the 70D is it’s Dual Pixel AF technology, which Canon claims is a first for a DSLR. By squeezing two photo diodes into the space of a single pixel, Canon promises much faster autofocus speeds and creative focus pulling effects during movie capture and live view. This Dual AF tech extends across the entire sensor, and each diode pair is independently readable for autofocus, or can be read together for image data. For the technically inclined, here’s an in-depth look at the new tech, or watch the helpful video below.

The EOS 70D features a new 20.2 MP APS-C CMOS sensor, designed and manufactured by Canon. It’s the first Digital SLR in the world to feature ground-breaking Dual Pixel CMOS AF technology, which delivers smooth and accurate autofocus (AF) when shooting Full HD movies and fast AF acquisition when shooting in Live View mode. Paired with the 14-bit DIGIC 5+ processor and 19-point all cross-type AF System, the EOS 70D captures incredible, full resolution images at up to 7 frames per second, with up to 65 JPEG or 16 RAW images in a single burst¹. Additionally, a native ISO range of ISO 100-12800 enables photographers to shoot in lower light conditions and use faster shutter speeds whilst retaining high image quality.

Canon’s new Dual Pixel CMOS AF provides swift AF performance when shooting in Live View mode and smooth accurate focus for Full HD movies. It makes it easy for users to take their next step with movies, enabling them to keep moving subjects in sharp focus and create professional-looking pull-focus effects. The technology utilises advanced CMOS architecture, allowing two photodiodes to be mounted within each pixel, both of which can be read independently to achieve autofocus, or together for image capture, with maximum image quality at all times.

The EOS 70D’s powerful specification is packed into an expertly-engineered body that’s designed for comfort and swift operation. The Intelligent Viewfinder, with 98 per cent frame coverage and 0.95x magnification, allows photographers to comfortably frame their images and visualise settings via the electronic overlay. Conveniently-placed controls provide instant access to the most frequently used settings, such as ISO, AF mode selection and metering, so users can quickly change settings and concentrate on capturing the moment.

A 7.7cm (3.0”) Vari-angle Clear View LCD II Touch screen with a sharp 1,040k dot resolution is ideal for video shooting, or composing images from unusual and creative angles. The screen is a capacitive type, which supports a series of multi-touch gestures including swiping and pinch-zooming – perfect for navigating menus, amending settings or flicking through images.

The EOS 70D is the latest EOS model to feature integrated Wi-Fi, providing the freedom to remotely control the camera, as well as share images. Using Wi-Fi connectivity, users can connect to the EOS Remote app and control a wide range of image settings, including ISO and exposure, as well as focus and release the shutter. Photographers can also remotely use Live View mode, as well as review and rate their images.

Alongside beautiful stills, the EOS 70D allows photographers to create high quality movies with ease. Full HD (1920 x 1080p) resolution video can be captured with a choice of selectable frame rates, including 30, 25 or 24fps, and 60 and 50fps at 720p, and a range of compression options for post-editing and sharing. Thanks to new Dual Pixel CMOS AF, Movie Servo AF mode tracks subjects as they move, or even as shots are recomposed, ensuring they’re always in focus. Alternatively, users can select different focus areas over 80 per cent of the frame² simply by tapping the touch-screen, even when recording – ensuring that movies stay sharp and clear if a subject moves or the user changes the composition of a shot.