Not sure which camera to buy? Let your eyes be the ultimate judge! Visit our Comparometer(tm) to compare images from the Canon EOS R with those from other cameras you may be considering. The proof is in the pictures, so let your own eyes decide which you like best!
This is our new «Still Life» test target. We’re combining some of the elements from previous shots (DaveBox and Res Chart) into this and the «Multi Target» shot below, plus added a number of elements that are very revealing of various camera characteristics and foibles.
Here’s what to look for in this target:
Tone-on-tone detail & noise suppression: The cloth swatches in the pinwheel were chosen because they show a lot of tone-on-tone detail, across a broad range of colors. This is just the sort of detail that noise suppression processing tends to flatten out. If you look at the detail in these swatches as the ISO increases, you’ll see just where different cameras start to lose subtle detail. — The white and tan swatches and the dark swatches tend to be particularly revealing of this. The label of the vinegar bottle (second from the right) is another great place to look for lost detail from noise suppression, as the image of the person at the top of the label is actually a depiction of a mosaic. The dark colors in the background and in the figure’s clothes contain detail that’s very quickly lost when a camera’s noise suppression system kicks in. Cameras with really high-quality, low-noise sensors that require little noise suppression will be able to hold onto the detail in these areas, many others will show only a uniform swath of smudged color.
Another place where you’ll quickly see the effects of over-aggressive noise suppression is in the white salt grains of the salt grinder in lower left. Cameras are often more conservative about suppressing noise in highlight areas (because our eyes tend to see less of it there), but many cameras seem to have a hard time holding onto the subtle shadings that distinguish the salt grains from each other, particularly at higher ISO levels.
Fine Detail: You’ll find a lot of fine detail in the label of the beer bottle on the right, in its fine cursive text, but the other bottle labels hold a lot of fine detail as well. Fine text is often a good visual indicator of resolution, because our brains have an excellent idea of what the text should look like, so are very quick to notice even minor loss of detail.
For really fine detail, look to the circular scale/calculator on the right side of the scene. Some of the fine lines there are extremely fine indeed. Looking at results from many different cameras with this target, we found that camera noise-suppression systems often confuse the fine lines with image noise, and so flatten them out. There’s also a nice range of fine text sizes in this chart as well, once again great visual cues for resolution and detail.
Highlight Detail: Three elements in this scene show off (or show up) a camera’s ability to hold onto highlight detail. As mentioned above, the salt grains (and reflections of the studio lights) in the salt mill are examples of fairly subtle highlight detail that cameras’ anti-noise processing sometimes obliterate. The folded white cloth under the mug on the right side of the frame likewise shows a lot of white-on-white detail that is easy to lose, particularly if a camera’s tone curve is too contrasty. As it turns out though, the most sensitive test of a camera’s highlight abilities seems to be the hank of white embroidery thread in the upper right corner. These fibers are unusually bright and reflective, so its easy for a camera to blow out detail in them.
Shadow Detail: Several elements of this subject are useful for evaluating shadow detail, particularly the black mug and the pieces of folded black velvet, both under and inside the mug. The bottoms of the beer bottles also provide some gradations of deep shadow, and the clump of peppers in the bottom of the pepper oil bottle had a fair bit of detail that’s far down at the shadow end of the tone curve.
We were actually surprised when we constructed this scene just how dark the velvet and sides of the beer bottles ended up being. Even with the bright studio lights shining directly on it, the velvet in particular stays way, way down at the shadow end of the tone curve. With most cameras and on most monitors, the velvet will simply appear as an unrelieved swatch of black. To see whether it contains deep detail or not, in most cases you’ll have to open the file in an image editor and boost the brightness dramatically, to bring the detail up into a visible range.
Preservation of «Shape» in Strong Colors: As you approach the extremes of a camera’s color gamut (its range of recordable colors), it becomes more and more difficult for the camera to show fine gradations of tone, because one or more of the RGB color channels are close to saturation. It’s not uncommon to see a brightly colored piece of clothing or a vibrant flower appear in digicam photos as just a blob of color, because the camera ran up against the limits of its color gamut. The brightly colored embroidery threads in the upper right portion of the Still Life target are good examples of situations where this might happen. Pay particular attention to the bright red and dark blue colors here, as these are both colors near the edge of the typical sRGB color gamut.
Color accuracy and white balance: It’s pretty small in there, but we’ve included a mini-MacBeth chart, which displays very carefully controlled color swatches. Our Multi Target (see below) sports a full-sized MacBeth chart, but the one here serves as a good check of color balance and rendition, and is also useful for checking white balance on this particular shot.
Image noise and detail vs ISO: As mentioned above, this target contains many elements useful for evaluating detail loss to anti-noise processing. We’ll therefore always shoot a full set of test images of this target across each camera’s ISO range, for every camera we test. (See below.)
ISO Series NR = Off (Disable)
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ISO Series NR = Standard (Default)
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Dual Pixel RAW / Fine Detail (ISO 100)
DPRAW
Fine Detail
Our new «Multi Target» was first put into use in April, 2009, replacing the earlier «interim» design. This target incorporates a number of elements that combine aspects of the previous Multi target, as well as the previous Viewfinder Accuracy or «VFA» chart. Here’s some of what you’ll find in this target:
Framing marks: This chart evolved from the earlier Viewfinder Accuracy chart, so one of its major uses is to measure viewfinder accuracy. (See notes in the Viewfinder Accuracy section, at the bottom of this page, for more information on this.)
USAF resolution targets: An important use of this target is in evaluating lens quality, looking how well sharpness holds up as you move from the center to the corners of the frame. The little «USAF» resolution targets arranged at the center, in the corners, and along the diagonals are very useful for making fine judgements about blur, flare and aberrations in the image. We generally show crops of a USAF chip from a corner of the target and from the center, to show how lenses hold sharpness at wide and telephoto focal lengths.
Alignment «bullseyes:» We find these graphics from the graphic arts world (used to align sheets of film in the old film-based prepress days) very useful for seeing chromatic aberration in lenses. The bold black/white elements are good for seeing the colored fringes caused by CA in the corners of the frame.
MacBeth ColorChecker Chart: This is about as common a color standard as you can get these days, very widely available for only mildly exorbitant cost, and quite well controlled in its production. It thus serves as a good basis of comparison between cameras and between test setups. Imatest also understands the MacBeth colors very well, and uses them to produce its color accuracy map that we feature in all our reviews.
MacBeth ColorChecker SG Chart: The ColorChecker SG chart provides a wider range of colors, to give a more detailed map of a camera’s color handling. We haven’t begun using this chart in the color-accuracy graphs we routinely offer, but expect to do so at some point in the future. In the meantime, we sometimes refer to this chart internally, to get a more complete idea of what a camera’s color map looks like.
Log C/F Target: The progressive resolution pattern located just below the center of the target is a Log C/F (logarithmic contrast vs spatial frequency) chart. Digital camera noise reduction routines work by looking at levels of local contrast, flattening-out detail at progressively lower spatial frequencies as the local contrast decreases. (This is very commonly seen in human hair, grass, foliage, and other subjects with subtly-contrasting fine detail.) This chart lets Imatest analyze just how a camera makes the tradeoff between contrast, detail, and image noise.
Color Starbursts: The six circular starburst elements arranged around the target are intended to reveal de-mosaicing artifacts and color-dependent resolution issues. The six starbursts provide examples of each combination of RGB colors intersecting each other. (That is, red, green, and blue against black, plus red against green, green against blue, and blue against red.) Given that the most common sensor RGB color filter pattern (the so-called Bayer) pattern has twice as many green pixels as red or blue, you’ll generally see that the green/black starburst shows the best resolution, while the blue/red one shows the worst. The effects of different sensor geometries and color filter array patterns will be revealed here.
Musicians Image: Synthetic test patterns only tell you so much. While we have a lot of pictorial images in our other test targets, we thought it would be useful to include a small «natural» image here as well.
ISO Series
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102.4K
Part of the impetus in developing the new Multi Target in April 2009 was to switch to using a new 2x target for the resolution measurements, since the original ISO 12233 chart we’d used since the site first began in 1998(!) had become inadequate for testing the highest-resolution cameras. We’d for quite some time had a «homemade» 2x target, employing a shrunk version of the ISO 12233 chart, shot at 1/2 size. The resolution numbers on that chart all needed to be doubled to convert to the actual values, though, so we decided to go with a commercial 2x target to eliminate possible confusion on the part of our readers. Numbers on this new 2x resolution chart now read directly in hundreds of lines/picture height. (Because almost all of the area of this new resolution chart is now meaningful for resolution measurements, there was no longer space on it to overlay the MacBeth and other color targets on our prior Multi chart; hence the simultaneous change in our Multi target.)
«Sunlit» Portrait: (This is our «Outdoor» Portrait test — read more about it here.)
The lighting in this shot is deliberately awful, about what you’d expect from noontime sunshine here in the Atlanta, GA area. (In fact, the color balance has been chosen to pretty well match the hazy sunshine here in mid-August.)
The reason for the harsh lighting is to provide a real «torture test» of how cameras handle conditions of extreme contrast; and in particular, how well they do holding onto highlight detail.
Overall color: Matching summer sunlight here in the South, the lighting in this scene is a bit more yellow-tinged than that in many parts of the country, or in the fall or winter. — So there may be an overall warm cast to the color. That said though, there’s a fair range of color represented in the bouquet, presenting a tough challenge for the cameras. For some reason, the blue flowers seem particularly hard to handle, with many cameras rendering them as purple. (In real life, they’re a light shade of navy blue, with just a bit of purple in them.)
Skin tones: The overall slight warm cast will tend to leave the model’s skin tones a bit on the warm side as well. Nonetheless, look to see if her skin seems overly pink or if they have a too-bright tinge of yellow: Some cameras oversaturate skin tones (make their color too intense), leading to an almost sunburned look. A little oversaturation can make for a more «healthy-looking» complexion, but it doesn’t take much variation for skin tones to look unnatural.
Highlight detail: When the model’s skin tones are at a more or less normal level of brightness, how much detail can you see in her shirt? Does it blow out entirely to white, or can you still see the creases and folds in the fabric?
Overall contrast: Most consumer digital cameras produce bright, contrasty images, because that’s what most consumers like. Unfortunately, under bright sunlit conditions, many such cameras produce images with little or no highlight detail, and dark, plugged-up looking shadows.
Shadow detail: The area under the flower bouquet is in quite deep shadow. Does the camera in question retain good detail here, with low image noise? To see, you may need to download the image and play with it in Photoshop(tm) or another imaging program. Brighten the image, and see how far detail extends into the shadows. Photo printers are generally much better at showing shadow detail than are CRTs or LCDs, so you’ll want a camera that preserves good detail here. The ability to boost brightness without encountering too much image noise is important if you ever have to «rescue» an underexposed image on the computer.
Detail in areas of subtle contrast: Most digital cameras employ some sort of noise-suppression to remove electronic noise from their images. Noise suppression is a good thing, but only if it’s not overdone. Too much noise suppression will «flatten out» subtle detail in areas of reduced contrast. You can often see this in hair, where the individual strands become blurred, and the image takes on an almost watercolor effect. Look at the detail in the model’s hair, and compare how it looks with different cameras in the Comparometer.
To view the entire exposure series from zero to +1.3 EV, see files EOSROUTAP0.HTM through EOSROUTAMP4.HTM on the thumbnail index page.
Automatic Lighting Optimization
Off
Low
Standard
High
Highlight Tone Priority
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On
Enhanced
Face Detection
Off
On
Auto
HDR Levels (Natural)
Auto
+/-1EV
+/-2EV
+/-3EV
HDR Modes
Natural
Art Standard
Art Bold
Art Embossed
Art Vivid
Indoor Portrait, No Flash:
Auto White Balance (Default)
Auto WB (Keep White Priority)
Incandescent White Balance
Manual White Balance
The incandescent lighting used in most US homes actually has a very strong yellow color to it. Our eyes have an amazing ability to ignore color casts like this, something digital cameras struggle to emulate.
The incandescent lighting used for this shot is thus not only very common here in the US, but also very difficult for most digital cameras to deal with. While we probably want a little yellow color to remain in the image (to convey some of the mood of the original scene), too much will look unnatural and distort colors.
Most cameras’ auto white balance systems have a great deal of difficulty with this shot, but many incandescent white balance settings struggle as well. (It seems that many cameras’ incandescent settings are actually calibrated to the tungsten lighting used in professional studio systems, which isn’t nearly as warm-toned as typical household lighting.)
If you intend to do much shooting indoors after dark, pay careful attention to this test, as cameras vary widely in this regard.
To view the entire exposure series from zero to +1.0 EV, see files EOSRINBMP0.HTM through EOSRINBMP3.HTM on the thumbnail index page.
ISO Series: «ISO equivalent» refers to a camera’s light sensitivity. ISO 200 represents twice the sensitivity of ISO 100, meaning that you can use a shutter speed that’s twice as fast. Higher ISO settings are often required to get any picture at all when shooting after dark, but even in full daylight, using a higher ISO can help you freeze fast action. The problem is, increasing a digital camera’s ISO also increases image noise. In practical terms, this means that higher-ISO images often can’t be used to produce prints as large as lower-ISO ones. The tricky thing here is that high-ISO images often look much different when printed at various sizes than they do when viewed on-screen. In particular, for any level of image noise, you’ll often find that while noise is quite evident at larger print sizes, as you reduce the size of the prints, there will come a point where it suddenly ceases to be an issue. We routinely print high-ISO photos from the cameras we test on our studio printer (currently a Canon i9900) at a range of sizes, and report our findings. If you’re interested in investigating the effect of image noise for yourself, don’t judge cameras’ performance by how their images look on your CRT/LCD, viewed pixel-for-pixel. Rather, download the test shots linked in the table below and output them on your own printer, so you can see how prints of various sizes will actually look.
One additional note about this particular test series though: Because these images are shot under household incandescent lighting, the camera has to boost its blue-channel signal quite a bit to get back to a neutral color balance. Since the blue channel is generally the one with the most noise, this makes this shot a real acid test of noise performance. Noise levels in high-ISO shots taken under daylight conditions usually won’t show as much noise. (See the «Far Field» test for examples of high ISO shots captured in daylight.)
ISO Series
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Viewfinder accuracy is an important parameter, especially for shots where framing is critical. The optical viewfinders on most digital cameras match the (poor) accuracy of those on film cameras, typically showing only about 85% of the actual final frame area. It’s likely that this is a deliberate design choice by the camera engineers, to help avoid users accidentally cutting off the heads of their subjects. We disagree with this approach, or at least feel that it should be mitigated a bit, perhaps by increasing the accuracy to 90 to 95%.
Unlike the optical viewfinders, the LCD viewfinders on most digital cameras tend to be quite accurate. There are exceptions though, so this test is still important.
Things to look for on this test chart are:
Optical/Electronic viewfinder accuracy: When we shoot this target in the studio, we line things up so the center of the bright red outline on the target is just visible at the edges of the viewfinder frame. The resulting photo then very directly shows how accurate the viewfinder is. The fine black lines mark progressive increments of 1% of increased or decreased frame area. The bold black lines mark 5% increments. The lines let you get an approximate idea of frame accuracy visually, but we measure the actual pixel dimensions to derive the accuracy numbers we report in our reviews.
LCD monitor accuracy: This is the same test, but framed with the LCD monitor instead of the optical viewfinder. As mentioned above, LCD monitors are usually more accurate than optical viewfinders, especially in point & shoot digicams.
Впечатления от Canon EOS R
Поделитесь с друзьями!
Тезисно фиксирую впечатления от Canon EOS R с момента распаковки до настоящего времени. В режиме «Обнаружил что-то новое — написал».
Пример видео на 4K
Введение
Если я не упомяну с чего я перешёл на Canon EOS R, у вас не будет полной картины. Итак! До Canon EOS R я одновременно снимал на Canon EOS-1D X Mark II (3 года) и Fujifilm X-T3 (год). Объясню почему это важно знать прежде чем читать мой субъективный отзыв. Я фотографировал на самый лучший репортажный зеркальный фотоаппарат и я с 2014-го параллельно сижу на беззеркалках (Fujifilm).
Это означает, что я знаю что такое:
Настоящий репортажный автофокус.
Электронный видоискатель.
Фокусировка почти в полной темноте.
Через неделю после покупки я продал Canon EOS-1D X Mark II и Fujifilm X-T3. Вот теперь читайте, что да как…
Важно! Я не связан с компанией Canon. Мне не заплатили за отзыв. Мне не дали камеру на обзор, я её купил. Я не фанат Canon и спокойно смотрю в сторону других систем. И вообще, в пору перехода с 1D X M II думал соскочить на средний кадр Fuji или удариться в Nikon.
Поэтому мой отзыв максимально субъективен, это действительно моё и только моё мнение. Допускаю, что моё мнение может испортить кому-то настроение, оскорбить «религиозные чувства» и ещё каким-нибудь образом поднять волну негодования внутри.
Репортажная съёмка
За 2 месяца я досконально опробовал Canon EOS R в репортажной фотосъёмке. Почему такое внимание именно репортажу, а не другому жанру? Потому что Canon EOS R (да и беззеркалки в общем) хейтят в основном за слабость в репортажной съёмке. Так и говорят: «Беззеркальные фотоаппараты не способны снимать репортаж. Только зеркальные.»
Это неправда. Canon EOS R точно также, как и самые современные зеркалки (а по моим ощущениям даже лучше) снимает репортаж. Любой репортаж (Пишу «любой» для тех, кто упомянет какой-нибудь «специфический» репортаж, типа футбола. Для справки: фотосъёмкой футбола я занимался с 2013-го по 2018-й.). На EOS R я попробовал фотографировать детей, театр (его много в моём инстаграме) и спорт (соревнования по бегу, как сбоку, так и во фронт).
Никаких ограничений для фотографа не обнаружил. Мне есть с чем сравнить, ведь я 3 года работал с Canon EOS-1D X Mark II — лучшим репортажным фотоаппаратом с 2016-2018 гг.
На Canon EOS R фотографировать удобнее, чем на «единичку». Помогает поворотный экран и безупречный автофокус.
Не хочу ни с кем спорить. Если у вас не получается фотографировать на беззеркальный фотоаппарат, то при чём тут я? У вас свои предпочтения фототехники, у меня свои. Я описываю свои ощущения, делаю это субъективно и Canon мне не платит (не даёт бесплатно камеры на тесты, не дарит их как некоторым фотографам). Я покупаю фотоаппраты за свои деньги, максимально дотошно «потрошу» и если нахожу неудобными, продаю. О чём так же честно пишу.
Динамический диапазон
Я полгода гонял его ДД в хвост и в гриву. У Canon EOS R самый широкий динамический диапазон из всех фотоаппаратов, что мне довелось держать в руках. Мои наблюдения: из светов RAW тянется без шумов. Из теней с шумами.
Как он вытаскивает детали из пересветов меня особенно впечатляет. Беру фотографию с белым выбитым небом. Убираю света и там, где был однородный белый, появляются облака и голубое небо.
Из RAW получается достоверный HDR. Я настроил себе проявочный пресет в Lightroom. Он убирает 100% света и вытаскивает 100% теней и чёрного. Как правило, всю постобработку я начинаю с этого пресета. Так я смотрю, что у меня вообще есть на старте.
Ни один другой фотоаппарат в моей практике не давал такой возможности. Когда у тебя широкий ДД, ты можешь делать вот такие «плёночные» фотографии на цифре. И это в полдень, когда солнце в зените и даёт контрастные тени.
Canon EOS R + Canon RF F2.8L IS USM Canon EOS R + Canon RF F2.8L IS USM
Фотографии
Canon EOS R фотографирует лучше, чем 1D X Mark II. Так не должно быть, но… Впрочем чему я удивляюсь? Между этими фотоаппаратами 4 года — пропасть по меркам современных технологий. 1D X Mark II был на момент выпуска лучшим по автофокусу и самым скорострельным. Но время идёт. Такие автофокусы теперь у всех современных фотоаппаратов. По скорострельности его делает даже X-T3 (который я продал и объяснил причину), а он в 4 раза дешевле.
Поэтому сравнивать Canon EOS R корректнее с Fujifilm. Но мне это пока не удаётся — у меня нет профессионального объектива на мой X-T3. И я не уверен, что появится. Потому что теперь у меня есть профессиональный Canon точно такого же размера. Только полнокадровый. Посмотрел я на последние объективы Fujifilm — почти все по килограмму. Если для качественного изображения такой вес необходим, я лучше куплю RF-объективы.
Купил:
Заметил, что картинка на моих старых EF-объективах стала резче, красочнее, породистее (как меня полоскали в официальных группах Canon за это «породистее»!). Может быть я сам себя убеждаю. Что точно — картинка мне нравится!
Пример фотографии без обработки: Canon EOS R + Canon 17-40mm f/4L USM Пример фотографии без обработки: Canon EOS R + Canon EF 24-70mm f/4L IS USM Пример фотографии без обработки: Canon EOS R + Canon EF 24-70mm f/4L IS USM
Эти фотографии демонстрируют возможности объективов, а не фотоаппарата. Надеюсь, вы понимаете разницу. Меня впечатляет как легко такие фотографии получаются на Canon EOS R!
В первую неделю я насиловал его в хвост и в гриву. Театральная постановка была кульминацией. Справился! Инстаграм, конечно, испоганил исходники, но в целом понятно.
Распознавание лиц
Театр фотографирую с автофокусом по распознаванию лиц. Такая съёмка — чистой воды репортаж. Кто говорит, что:
EOS R не для репортажа;
фукция распознавание лиц тупит и фокусируется не на том лице;
не умеют фотографировать. Или на «вы» с репортажной фотосъёмкой. Я с 2013-го набираюсь опыта в репортаже (если это кому-то не кажется достижением, я готов поспорить и посоревноваться «в поле»). В моей практике самые сложные репортажи: футбол, портреты бегунов, автогонки, съёмка крещения в храмах на мануальный объектив, дети, животные, театр, стрит… На разные фотоаппараты. Я снимал репортажи на плёночные мануальные камеры. Мой вердикт: Canon EOS R — один из лучших фотоаппаратов для репортажной съёмки, мною использованных.
Canon EOS R распознаёт лицо в такой темноте, когда его уже не видят мои глаза. Не забывайте о том, что техника не сделает за вас работу. Это только инструмент. Он будет фокусироваться там, где захочет, выбирать лицо, которое захочет и бросать объект когда захочет, если вы не управляете процессом. У меня была съёмка театральной постановки, когда на сцене стояли два карандашных портрета в натуральную величину. Фотоаппарат 1,5 часа предпочитал эти «лица» лицам актёров. В таких условиях нужно уметь работать с автофокусом по лицу.
Когда у вас в кадре один человек, с фокусировкой по лицу справится и медведь. Когда в кадре много людей, а вам нужен один из них, начинается работа фотографа. Я научился быстро «накидывать» автофокус на нужное лицо, когда в кадре их два. Автофокус выбирает понравившееся лицо по своему усмотрению. Это не всегда совпадает с моим замыслом (50 на 50%). Нужно уметь быстро перекинуть фокусировку на нужный объект.
Съёмка по экрану — один из мощнейших инструментов Canon EOS R. Обязательно его освойте! Это сделает ваш репортаж молниеносным. Пользоваться видоискателем на R-ке — в некотором роде атавизм. Экран у него просто роскошный и по нему работать удобнее. Но для этого нужно отказаться от привычки глядеть в видоискатель.
В синем свете (а такая ситуация в театре — обыденность) фокусировка частенько выключается. Не только по лицу, а вообще. В другом цвете этого не заметил. Только синий. В приглушённо красном нужно больше света, чем в нейтральном. Это легко проверяется экспокоррекцией.
Пожилые лица с бородой и в очках не распознаются. Что удивительно. С затылка, буквально, цепляет; в профиль — без проблем. А добавь на лицо растительности и распознаванию конец.
Распознавание глаз
Следует отдельно поговорить про фокусировку Canon EOS R по глазам. Она включается опционно. Глаза он видит довольно далеко. Фокусировка по глазам снижает количество брака. Потому что фокусировка по лицу на светосильном объективе может выбрать не ближайший глаз. И даже вообще не глаз. И лицо будет «мыльным». Использование фокусировки по глазам чуть изощрёнее, требует большего внимания, но полностью рабочее.
Работа с мануальной оптикой
Новыми красками заиграл любимый объектив Carl Zeiss Planar T* 1.4/50 ZE. Я его втихую списал на пенсию. Но попробовав с Canon EOS R, выяснил, что мануальными объективами управлять на этой фотоаппарате просто сказочно! Помимо привычной подсветки контуров в фокусе, EOS R даёт ещё один инструмент — подсказку фокуса в MF. Его надо видеть, чтобы понять о чём речь. Очень удобная штука. Нигде не видел более удачного решения. С его помощь для пробы я без труда поймал в фокус на F 1/1.4 ребёнка на качелях. И не один раз, а три раза подряд из трёх. Ребёнок при этом раскачивался на меня, во фронт. Т.е., то удаляясь на максимальное расстояние, то приближаясь.
Canon EOS R — король фокуса!
Вот портреты на CZ 1.4:
Пример фото на Canon EOS R + Carl Zeiss Planar T* 1.4/50 ZE
Размер
Он маленький. Я беру свои слова про кирпичи обратно. На незначительные миллиметры отличается от X-T3 (который для меня реально мал). После 1D X Mark II крошечный.
Объектив RF пока не купил — не уверен в выборе системы продаю EF-объективы и беру. Использую свою EF-оптику через переходник. Переходник добавляет 2 см. Мне на это наплевать. Но я хочу использовать всю мощь нового байонета.
Sigma в начале 2020-го объявит какие объективы сделает для байонета RF. Значит будут сверхрезкие и светсветосильные объективы со стандартными и с необычными фокусными на мой новый фатоаппарат.
Canon запатентовал абсолютные новинки. Мне особенно интересны 28-280 F2.8 и 18 F1.0(!). А как вам 135 1.4? Это же фантастика! Поэтому я притормозил с покупкой существующих RF-объективов.
На 18.12.2019 с RF-объективами бардак. Первая волна худо-бедно продаётся. Это фиксы 35, 50 и 85 мм. Продаются 24-105, 24-70 и 28-70. Есть и 24-240. Ни один из них мне по религиозным соображениям не подходит. Купил Canon RF 15-35 F2.8L IS USM и Canon RF 70-200mm f/2.8 L IS USM.
Эргономика
Сколько же я насмотрелся хейта в Youtube про его хреновое управление! Для меня в эргономике EOS R ничего нового. В особенности переключение режимов съёмки по кнопке. Для меня это наоборот привычно — так сделали в 1D X Mark ll. У него нет отдельной крутилки как на младших моделях и я считаю это решение профессиональным.
Честно говоря, вообще не вижу пока никаких для себя нововведений. После Fujifilm X-T3 мне тут всё родное. Уж точно не стану визжать от восторга на счёт слежения по глазам и лицу. Это для меня данность в 2019-м.
Мне не интересно как включается видео. Я его не включаю. Поправка: включаю и ещё как включаю! Видео роскошное, электронная стабилизация работает, всё круто! Особенно нравится как Canon EOS R склеивает таймлапсы.
Слайдер, который так всем не понравился, мне наоборот зашёл. Поставил туда ISO. Быстрые кнопки пока вообще не настраивал. Быстрое меню в этом плане привычно.
Поставил на электронный затвор (в беззвучный режим). Отключил проигрывание готовой фотографии. Убрал звуковое сопровождение автофокуса. Так мне уже привычнее, чем стандартное кэноновское пикание фокусом и громыхание затвором (кстати, он тихий настолько, что в театре фотографирую с затвором).
Нахожу подтверждение фотографии не таким удачным, как на X-T3. В этот момент мигает белая рамка. Не самый удобный вариант, но за неделю привык.
Кнопка включения хреновая, говорите? Да вы ещё Fujifilm не юзали! Для меня такая удобна. И хрен с ней, что слева.
Батарея более живучая, чем у X-T3. Не на проценты, а в разы. Полдня кручу-верчу-обновляю-изучаю, индикация не изменилась. Фотографировал ещё полдня — батарея наполовину. В театре отстрелял 650 кадров — ушла одна палочка на заряде. Т.е., говорит, что потерял 25%. Врёт наверняка. Но если даже половину, то это для меня выше крыши. Я воспитан на Fuji, там батарейка учит экономить. Если у меня Fujifilm в путешествии держит день, то Canon протащит неделю)))
Нацепил свой пёстрый-тканный ремень. Не люблю родные ремни, шею натирают. У Canon EOS R он ещё и узкий. Издевательство какое-то.
Вообще, советую вам пробовать побольше разных фотоаппаратов для развития моторики. Мне приходится использовать одновременно 3-4 аппарата и поэтому никакой новый не вызывает проблем. Я просто не привыкаю к кнопкам. Мне нормально видеть их там, где задумали инженеры. В этом плане Canon EOS R пока не стал ни открытием, ни проблемой. Лег в руку и вынимать не хочется.
Canon EOS R заточен под сенсорный экран. Пара съёмок и я это осознал. В нём никто не делал быстрой работы горячими кнопками и крутилками. Быстро получится только на экране. К примеру, захотел сменить ISO. Можно слайдером (секунда на разблокировку и ещё 2-3 секунды на выбор значения), а можно тапнуть по индикатору ISO на экране и пальцем выбрать значение (или любым колесом, если рефлексы по другому не позволяют). И так во всём. В быстром меню по периметру иконки параметров. Между которыми перемещаешься кнопками вверх-вниз. Это долго. Тапнуть по нужной — быстрее, чем любое другое решение. Джойстик медленнее, проверено. Даже горячая кнопка не так оперативна. В общем, учитесь сенсорной рулёжке и вкурите EOS R!
Отдельно хочу сказать про квадратик фокусировки, который народ пытается таскать полю видоискателя. В Canon EOS R вообще можно ничего по экрану не перемещать. Даже если у вас стоит фокусировка по центральной точке. На нём есть функция снимка по тапу на экран. Тапнул на любую точку, автофокус молниеносно переместился в неё и сам совершил снимок.
В какой-то момент поймал себя на мысли, что кайфую. Чего это вдруг? А-а-а! Поворотный экран. Я так к нему привык на X-T3… Без него низкие точки съёмки только лёжа. Это не всегда приемлемо. Поворотный экран — это маст хэв в 21 веке!
Попробовал селфи с экраном вперёд. Это волнительно, у меня такое впервые. И теперь я понял какой удобный это инструмент!
Кроп 1.6
Интенсивно использую электронный кроп 1.6. Это удлиняет мои 200 мм до 320 мм. Что в полтора раза приближает меня к объекту. Там, где поясной портрет, я делаю лицо крупным планом. Фишка стоящая! Качество не падает, снижается количество мегапикселей (что даже лучше).
Матрица, разрешение
Вижу разницу между 30 Мп и моими предыдущими 20-ю с небольшим. Запас для кропа увеличился. Охерительный запас в светах. В родном проявщике DPP 4 взял пересвеченный кадр и понизил яркость на 3 ступени. Проявил света и увидел все детали без деградации.
Динамический диапазон по сравнению с 1D X Mark ll шире. Сравнивать с Fujifilm X-T3 трудно, они там шаманят электроникой по страшному и подключают HDR даже когда не просишь. Картинка на Fujifilm может и ровнее, но лица пластмассовые.
Баланс белого
Кэнон воткнул в EOS R новый профиль баланса белого. Народ окрестили его «Белее белого». Если выставить этот профиль, то Canon перестаёт желтить. На один козырь меньше у хейтеров Кэнона)
Приложение, коннект с телефоном, обновление прошивки
Коннект со смартфоном пока выглядит замороченным. По крайней мере, в первый раз. На X-T3 это было проще. Зато Wi-Fi и Bluetooth. Когда понадобилось скинуть фотку — это произошло самом собой и моментально)
Обновил ПО до версии 1.4. По воздуху, как X-T3 не обновляется. Только руками: загрузи файлик с сайта на карту, вставь карту…
Canon EOS R5
Свершилось! Canon презентовал свой новый R5. Вот что я о нём думаю…
Canon EOS R
30 MP Silent 8 FPS Full-Frame Mirrorless
Canon EOS R (one SD card slot, 23.0 oz./652g with battery and SD card, $1,799 new or about $1,550 used if you know if you know How to Win at eBay) and RF 24-105mm f/4L IS. bigger. I’d get mine at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay. If you’re feeling lucky, you can get it Gray-Market at eBay for $200 off, but you’re taking a chance for no warranty support or firmware upgrades. More at What is the Gray Market.
This junk-free website’s biggest source of support is when you use those or any of these links to my personally-approved sources when you get anything, regardless of the country in which you live. Canon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, non-USA, store demo or used camera. Get yours only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.
Canon EOS Ra Astro Mirrorless.
The astronomical version of this Canon EOS R, announced 06 November 2019. What’s new is that the EOS Ra version offers 30x magnification in Live View for precise focus (I have no idea how well it works in no light, where all systems get so noisy that it’s hard to see), and its IR filter passes the 656.28 nanometer H-Alpha line. More about the EOS Ra.
Red Life Preserver, Lahaina, Maui. Canon EOS R, Canon RF 24-105mm f/4L IS at 63mm, f/6.3 at 1/125 at Auto ISO 100, Standard Picture Style, +4 saturation, Perfectly Clear. bigger.
Torrey Pine Tree, 13 September 2018. Canon EOS R, Canon RF 24-105mm f/4L IS at 42mm, 1/100 at f/5 at Auto ISO 100, Standard Picture Style, +4 saturation, Perfectly Clear. bigger or full-resolution.
Yellow Aspen Against Deep Blue Sky, October 2018, 1:26 P.M. Canon EOS R, Canon RF 24-105mm f/4L IS at 39mm, f/10 at 1/400 at Auto ISO 100, Perfectly Clear v3.6. bigger or full-resolution.
The Moon as Seen from the Surface of Mars, October 2018, 5:51 P.M. Canon EOS R, Canon RF 24-105mm f/4L IS at 56mm, f/9 at 1/320 at Auto ISO 100, Perfectly Clear v3.6. bigger or full-resolution.
Virginia Creek Settlement at Dusk, October 2018, 6:35 P.M. Canon EOS R, Canon RF 24-105mm f/4L IS at 24mm, f/4 hand-held at 1/60 at Auto ISO 2,000, Perfectly Clear v3.6. bigger.
Yellow Aspen Leaf on River Rock, Merced River, Yosemite Valley, October 2018, 7:59 A.M. Canon EOS R, Canon 100-400mm L IS II at 124mm, f/11 at 1/25 hand-held at Auto ISO 400, Perfectly Clear v3.6. bigger.
Rainbow in Bridal Veil Falls, Yosemite Valley, October 2018, 4:36 P.M. Canon EOS R, Canon 100-400mm L IS II at 400mm, f/5.6 hand-held at 1/320 at Auto ISO 100, Perfectly Clear v3.6. bigger.
American Flag in Wood and Light, October 2018, 4:09 P.M. Canon EOS R, Canon RF 24-105mm f/4L IS at 24mm, f/6.3 on a tripod for 30 seconds at ISO 50, Perfectly Clear v3.6. bigger or full-resolution.
Granite, Green and Yellow, Yosemite Valley, October 2018, 5:10 P.M. Canon EOS R, Canon RF 24-105mm f/4L IS at 65mm, f/4 hand-held at 1/80 at Auto ISO 320, Perfectly Clear v3.6. bigger or full-resolution.
Introduction
I buy only from these approved sources. I can’t vouch for ads below.
The EOS R is revolutionary because it shows how your pictures will come out before you take them.
DSLRs let you view through the lens, but you can’t see the actual pictures until you play them back — like film, just faster. The EOS R has an electronic viewfinder that shows exactly how the picture looks, including all Picture Style (color, contrast, etc.) settings, distortion corrections, white balance, highlights and shadows and exposure all LIVE as you look through the finder.
It’s a major revolution in photography that will replace DSLRs just as automobiles replaced horses. It will take some years until everyone takes this new kind of camera for granted, but just as digital replaced film, these new mirrorless cameras are replacing DSLRs. We only needed film-era SLR mirrors and ground glass until image sensors became fast enough to read-out in real time.
You can do everything in the finder and never need the rear LCD again.
Especially in direct sunlight, you can always see the big, beautiful finder image so much better than the little rear LCD.
Full-Frame Autofocus
Better than any full-frame DSLR, it can autofocus anywhere in the frame for regular viewfinder shooting.
The EOS R has over 5,000 AF sensors and a big touch pad (the rear LCD) so we can move our selected AF sensor precisely anywhere we want it, all while keeping our eye on the finder.
The EOS R is rated to LV -6 for autofocus, which means that it can focus in almost total darkness. Of course it gets slower, but I kid you not, it sees better in dim light than I do. Its finder, even with my f/4 24-105mm, becomes much brighter and more detailed than the scene itself — while my DSLR finder is always darker than the actual scene.
Extraordinary Performance with Teleconverters
The EOS R works fantastically with teleconverters and the EF Lens Adapters, with fast, full-frame autofocus with my 100‑400L IS II and even when used with both my 1.4x and 2x converters at the same time! That’s a 280‑1,120mm f/12.6‑16 equivalent, easily hand-holdable!
This is because the AF sensors are on the image sensor, not buried deep inside a DSLR, so they see what the sensor sees and just work. With a DSLR, only the center AF sensor works at all with the 2x converter, and there is no AF when using both converters at the same time with the 100-400.
The Most Accurate Autofocus of Any Canon Camera.
The EOS R’s on-sensor AF detectors are immune to mechanical misalignment that plagues DSLRs. (DSLR AF detectors are in the base of the camera, coupled with a multiple mirror system.)
The EOS R doesn’t need AF microadjustments because its direct on-sensor system doesn’t have any errors. I get perfect autofocus with my ultraspeed f/1, f/1.2, and f/1.4 lenses, even older lenses on an adapter, every time. (Of course bad technique will still give bad pictures; Canon hasn’t fixed that yet.)
Better Lenses for Better Pictures
I’ve tested the new RF 24-105mm f/4L IS and RF 50mm f/1.2 L, and as promised they outperform the best DSLR lenses. Of course you need to be a virtuoso to be able to see the difference, but if you are, these are the sharpest and least distorting lenses ever.
If I look too closely, my EF 50mm f/1.2 L on my 50MP 5DS/R looks broken by comparison to the sharpness I get from the new RF 50mm f/1.2 L on my merely 30 MP EOS R. At f/1.2, the new lens makes the EOS R sharper than my 5DS/R, especially when you realize that focus is also so much more accurate and consistent on the EOS R.
Lens makers usually blow fluff about new lenses, but with the EOS R’s new lens mount that gives lens designers more leeway to design awesome lenses, it really shows.
Image Stabilization, autofocus and everything work fast and sure with all the EF lenses we already own.
These adapters have only air inside them; they have no effect on angle-of-view, focal length or optical performance.
My 50mm f/1 works better than ever, with perfect AF accuracy at f/1. Existing EF lenses seem to autofocus at least as fast on the EOS R as on a regular DSLR! Whoopee!
Not only do old lenses work, all of them introduced since about 1990 also have a Digital Lens Optimizer with all sorts of distortion and other corrections that no 35mm SLR and many DSLRs lacked!
The EOS R is quieter than a DSLR, and it also has a completely silent mode which no DSLR can do in regular shooting.
New EOS R lens mount: 54.00mm inner diameter by 20.00mm flange focal distance and 12 electronic contacts.
New customizable Multi-Function (M-Fn) bar just to the right of the eyepiece. It can be set to control ISO, WB, etc. It replaces the several buttons that used to be on top of DSLRs; the EOS R isn’t big enough to hold them.
Has the first new exposure mode invented since the 1980s: the new Fv exposure mode works like Program, but lets us adjust any or all of Aperture, Shutter Speed, Exposure Compensation and ISO as we like while the other options continue to update automatically.
While traditional Program mode reset to defaults as soon as the meter shut off, anything you shift in Fv mode stays that way until you reset it back to full auto simply by tapping the right side of the four-way rear controller.
Up to 8 FPS with locked focus and up to 5 FPS with tracking autofocus and exposure.
The top LCD is now a sharp dot-matrix display.
The top LCD can be toggled between basic and detailed displays.
First Canon with UHS-II card compatibility.
No more CR2 raw files; they are now a new CR3 format.
New Battery Grip BG-E22 holds two battery LP-E6N (or LP-E6), $490.
New RF 24-105mm f/4L IS.
New RF 50mm f/1.2 L.
New RF 28-70mm f/2 L.
New RF 35mm IS Macro STM.
Finder & Rear LCD
Brilliantly sharp finder shows exactly how the pictures will turn out, before you take them.
New finder also plays-back, zooms and shows menus.
Finder even shows live automatic distortion correction! What you’re seeing is exactly what you’ll get in your finished images.
EVF/LCD automatic eye control works perfectly; the display you want is always on when you want it on.
Data displays can rotate with the camera.
Live RGB histograms in three different sizes let you precisely judge exposure before you press the shutter. This is especially helpful with white areas and boldly saturated colors with the crazy +4 saturation settings I use.
Focus distance optionally displayed, complete with depth of field scale! (needs a native RF lens; adapted lenses won’t do this.)
Flipping touch screen can show the same or different things as the finder.
Autofocus
Excellent AF covers and tracks around the entire frame. Now we can autofocus all the way out to the corners!
Right side of the touch screen replaces the thumb nubbin for selecting AF areas while looking though the finder. The screen allows far faster and more precise selection than the nubbin ever did.
Over 5,000 AF points means we can always get one exactly where we need it.
No AF Fine Tune needed because on-sensor AF detectors don’t have any of the mechanical alignment problems of DSLRs, whose sensors are coupled with mirrors to detectors in the bottom of a DSLR. EOS R autofocus is always dead-on, even with adapted EF lenses, if you use it properly.
Lenses & Compatibility
Works brilliantly with 100% of all EF and EF-S lenses on an adapter.
EF lens autofocus on the adapter seems faster than on my EOS DSLRs, now covers the entire frame and nails accurate focus better than any of my DSLRs. EF lens exposure accuracy is also improved over what it was on DSLRs.
Automatically corrects for falloff & distortion and has a digital lens optimizer to correct diffraction, coma and more.
Automatic corrections even work for most old EF lenses introduced since about 1992 when used on an adapter.
Power & Batteries
I get about 1,000 shots per charge in the ECO mode with plenty of playing with the camera and its menus. I can get over 7,000 shots per charge if I just let it motor away in Continuous mode without playing anything back or making settings. Of course when I first got it and played in the menus for hours I only got 300 shots on the first charge. The more you shoot and the less you play, the more shots you get, and the ECO mode works great without reducing performance. Expect about 350 shots when you first get it and do more playing than shooting, and then about 1,000 shots per charge as you shoot normally, or thousands per charge if you’re usually motoring away in Continuous mode.
Same superior batteries and chargers as 7D, 5D etc.
Power saving display and ECO modes really do extend battery life and don’t seem to have any effect on performance, bravo!
Shutter
It’s easy to program the EOS R to make precisely timed exposures of any length up to 100 hours, without needing any remote release cord!
Silent electronic shutter.
Even the regular mechanical shutter is pretty quiet.
Mechanics
Shutter closes when off; no dust problems like Sony.
Elegant dull titanium finish on outsides of lens mounts.
New, more effective dirt gaskets designed as an integral part of the lenses and lens mount.
Ergonomics
Feels great in hand with a comfortable curved design, not all straight edges like Sony.
Easy-to-locate buttons by feel. Not only are the buttons themselves easy to feel, the curved design puts each button in a unique location so we know where they are without having to grope around as we do on Sony.
Superior color-coded menu system, best in the industry, makes it easy to remember where to find things. We don’t have to look everywhere as we do with Sony.
Video
Live 4K HDMI output.
Built-in stereo mic and 3.5mm stereo mic & headphone jacks.
Can shoot to card up to 480MB/s.
1/8-stop exposure increments for video shooting.
And more.
Standard i-TTL II flash system works with all our EX series flash.
Even when turned off, the top LCD continues to show the shooting mode.
Wi-Fi.
Bluetooth.
Takes standard SD, SDHC or SDXC cards.
App remote-control.
Electronic in-camera stabilization, but only for video.
Made in Japan.
100% U. S. A. -based high-quality technical support at (800) OK-CANON.
Wakeup isn’t always instantaneous like a DSLR, but it’s fast enough.
Missing
No second card slot.
No thumb nubbin. While the touch screen is a huge improvement for selecting AF zones (especially during viewfinder shooting), the touch screen doesn’t work during viewfinder playback or viewfinder menu selection as I’d like (it always works when the LCD is lit, just not always when you’re looking in the finder).
Silent shutter is great, but at least as of firmware 1.0.0 you can’t use the EOS R in Continuous shutter mode in Silent. Canon will fix this in firmware, but you still can’t use flash, HDR or flicker reduction in silent (no silent camera can).
No sensor-shift stabilization, same as every Canon DSLR. IBIS was for other brands that haven’t mastered optical IS as Canon has. IBIS works poorly with wide lenses; in-lens optical IS works far better.
No auto brightness control for rear LCD, but set it to its maximum manually and it’s bright enough to use in direct sunlight.
No auto brightness control for electronic finder; you have to bump it up manually outdoors and knock it down manually at night for the best results.
No ability to save and recall camera settings to and from a card.
There’s a level, but oddly it goes away if Face Detection is on. See my User’s Guide for how I set my EOS R to allow fast selection of AF area modes. Alternately, I use C1 for photos of things (level and no face detect) and C2 for people photos (face detect and no level).
We can set the finder to magnify the selected AF point automatically anytime the manual focus ring is turned (even while in autofocus), but oddly no mirrorless camera has any way to make this automatic magnification stop so we can see to compose and shoot after manual focus override. It unmagnifies if we remove our finger from the shutter, but AF takes over again if we press the shutter to shoot. Of course instant manual focus override works perfectly if you don’t also ask it to magnify automatically or if you magnify manually (see my User’s Guide).
You can program and reprogram just about every button, but the one button we can’t reprogram is the LOCK button. I wish I could.
SERVO and ONE-SHOT AF modes, but no AI FOCUS mode as in some other cameras which automatically selects between the other two modes.
No localized histograms; when you zoom playback the histogram goes away.
No GPS; use the Canon GP-E2 or the free app to tag images with GPS data.
No built-in flash.
No NFC.
Lens Compatibility
Canon EOS R. bigger.
This uses a new Canon RF lens mount, also called the EOS R mount.
It has a 20.00mm flange focal distance and 54.00mm inside diameter.
Canon EOS R and native RF 50mm f/1.2 L. bigger.
EF and EF-S Mount Adapters
See EF mount adapters for all the details on the four different adapters.
Use any of the EF mount adapters and all Canon EF and EF-S lenses made since 1987 work flawlessly, with 100% performance with all features on all lenses.
There is nothing but air inside each adapter; there is no change in optical performance, bokeh, depth-of-field or angle-of-view.
Not only does every feature of every EF lens work great with the adapters; new additional features that work with lenses introduced since about 1990 are a Digital Lens Optimizer, distortion and other lens corrections.
The EOS R does a brilliant job of correcting distortion and lateral color fringes in my old 14mm lens.
My 50mm f/1.0 seems to autofocus faster on my EOS R than on any of my SLRs or DSLRs, and most importantly it always focuses perfectly, especially at f/1.0 where this lens sees as much as the human eye — something which no f/1.2 or f/0.95 lens can do.
EOS-M Lens Compatibility
There can be no adapter to use EOS-M lenses on the EOS R because the EOS-M has a shorter 18.00mm flange focal distance (FFD) than the 20.00mm FFD of the EOS R.
In English, the EOS R’s lens mount pokes out too much for EOS-M lenses to be able to adapt. EOS-M lenses are APS-C anyway, so don’t worry about it; they can’t cover the full-frame EOS R sensor.
FD Lens Compatibility
The Chinese make dedicated FD to RF adapters that take advantage of the EOS R’s short 20mm flange-focal-distance. Alternately you use any of the the new EF adapters with a classic FD — to — EOS adapter for FD lenses, but they had to use internal optics that degraded optical performance.
With any of these set MENU > C.Fn > page 5 > Release shutter w/o lens > ON. This is OFF by default and the camera won’t shoot unless you set this:
We all know the classic FD to EOS adapter needed internal optics to correct infinity focus because the EOS flange focal distance is greater than the FD flange focal distance. I asked if Canon would be announcing a new dedicated FD to EOS R adapter that won’t need any internal optics, and they said no. No worries, the Chinese will have plenty of third-party ones over eBay eventually that won’t need the adapter optics and will have far better performance than using a classic FD — to — EOS adapter with an EF adapters.
And as expected performance wasn’t great at fast apertures like f/1.2 due to the adapter’s dinky optics; at f/1.2 you get a soft-focus effect. Stopped down it worked OK, but if you’re serious about image quality, you’re not using adapters and using native RF lenses.
As with all non-electronically coupled adapters, exposure was random, often requiring a stop or two of exposure compensation depending on the aperture. It’s the same with Sony cameras; with these adapters the camera has no idea of the lens’ aperture and has to guess.
Other Brands
The short 20mm flange focal distance of the EOS R means we’ll be able to adapt just about anything to it, especially FD lenses, as soon as third parties set up their CNC machines — but we’ll have to wait until the Chinese offer these.
More great news is that there is plenty of room with the short flange focal distance for adapters to be made to adapt LEICA M and screw-mount lenses, Nikon F-mount lenses, Nikonos lenses, and yes, Canon FD and all kinds of 1930s-1960s rangefinder lenses to our EOS Rs.
Be sure to set MENU > C.Fn > page 5 > Release shutter w/o lens > ON. This is OFF by default and the camera won’t shoot unless you set this.
MP4 files containing MPEG-4 AVC/ H.264 compressed video data.
4:2:0 8-bit, Rec. 709 color space.
When Canon Log is enabled, the video signal range for internal recordings is 32 to 254, and 0 to 255 for all others. The metadata flags either file option (Canon Log/Non Canon Log) for Full range.
4K UHD bit rates average 480 Mbps using ALL-I compression, and 120Mbps with IPB.
Linear PCM (with all-I video) or AAC Audio (with IPB video).
Sensor Areas
HD video uses a 16:9 full-width crop from the 3:2 sensor, and downsampled.
4K (3,840 x 2,160) uses a direct-sampled 3,840 x 2,160 area in the middle of the 6,720 x 4,480 sensor to reduce processing load, improve throughput and avoid resampling artifacts.
Direct 4K HDMI Output
Uncompressed 4K UHD 4:2:2 10- or 8-bit.
Canon Log gamma.
128 to 1016/Full range, 174 to 934/Video range for devices that do not support Full range.
Rec. 709 or Rec. 2020 color spaces.
Neutral (Rec. 709 or Rec. 2020) and Cinema EOS Original (Rec. 709) color matrices.
Maximum Take Length
Stills While Rolling Video
I couldn’t get it to do that; you’d have to pull them out later.
4K (3,840 x 2,160)
29.97 all-I or IPB.
24.00 all-I or IPB.
23.976 all-I or IPB.
1,920 x 1,080
59.94 all-I or IPB.
29.97 all-I or IPB, also IPB light.
24.00 all-I or IPB.
23.976 all-I or IPB.
1,280 x 720
59.94 all-I or IPB.
Audio
Recorded only along with video.
Linear PCM (with all-I video) or AAC Audio (with IPB video).
Stereo microphones built in.
Mic-in jack with plug-in power overrides built-in mic.
You can set the multifunction bar to be the manual level control. This is the Movie Record option.
Stabilization
Electronic video stabilization rated five stops improvement.
Still image stabilization only in-lens.
Autofocus
5,655 dual-pixel AF phase-detection points, when selected manually.
Rated LV -6 to +18 with an f/1.2 lens, which is the same as -4 to +20 with an f/2.4 lens.
Face and eye tracking.
Amber LED AF assist beam.
Light Meter
384 segment (16 x 24) evaluative.
2.7% spot (oddly no AF-point linking)
Meter range LV -3 to +20.
Electronic Finder
3,690,000 dot OLED.
0.76× magnification with 50mm lens.
33.3Вє apparent field.
-4 to +2 diopters.
Shutter
Vertical focal plane and electronic shutters.
Fully mechanical, fully silent and first-curtain electronic with mechanical second curtain modes.
1/8,000 пЅћ 30 seconds and Bulb.
Remote Releases
Remote control via a free app.
It also uses a single-pin remote terminal; use the RS-60E3 remote cord.
Use the RA-E3 adapter to use three-pin remote cords.
Flash
Standard E-TTL II system.
Dedicated hot shoe.
No Prontor-Compur (PC) terminal on the camera, but there is one on the Battery Grip BG-E22, or just use a hot-shoe adapter.
LCD Monitor
Canon EOS R flipping LCD. bigger.
3.15″ (80 mm) diagonal.
1.75 x 2.63″ (44.4 x 66.7mm) image area.
3:2 aspect ratio.
No anti-reflection coating.
No auto brightness control.
Top Dot-Matrix LCD
Canon EOS R. bigger.
The top LCD is now a sharp dot-matrix display.
Tap the light (☀) button to swap between basic and detailed displays.
It’s usually white-on-black as shown, but if you hold the light (☀) button a couple of seconds, it reverts to black-on-white and has a dim, cool-white backlight.
Connectors
Canon EOS R. bigger.
3.5mm stereo mic jack.
3.5mm headphone jack.
USB 3.1, type C connector.
HDMI type C, NOT CEC compatible.
Channels 1 to 11.
Bluetooth
Version 4.1 GFSK.
No, use the app or the Canon GP-E2.
Storage
Canon EOS R and card door for one SD card. bigger.
One SD, SDHC or SDXC card.
UHS-I and UHS-II compatible.
No second card slot.
Quality
Canon EOS R. bigger.
Battery
Either of the LP-E6N (new, included) or the old LP-E6 batteries work. The new one has more capacity than the older LP-E6 battery, and they are interchangeable and both charge in the excellent Canon LC-E6 charger.
The LP-E6N is rated for 350 shots with the EVF, or 2:20 video.
When used with a second battery in the BG-E22 grip, the rated number of shots doubles.
You can charge in-camera via USB, but you have to buy the optional $190 USB Power Adapter PD-E1 to do it.
The $190 PD-E1 only charges the battery; it can’t power the camera. Use the optional $145 AC Adapter Kit ACK-E6 for AC operation, or just get any of the Sony cameras which charge and operate with any 99Вў USB cord.
3.87 × 5.35 × 3.32 inches HWD.
98.3 × 135.8 × 84.4 millimeters HWD.
Weight
23.000 oz. (651.95g) actual measured weight with battery and card.
Rated 23.4 oz. (660g) with battery and card, 20.5 oz. (580g) stripped.
Operating Environment
0 пЅћ 40º C (32 пЅћ 104º F).
Included
Cable strain relief (for tethered shooting).
IFC-100U Interface cable (USB-C both ends).
Announced
3 AM Wednesday, 05 September 2018, NYC time.
Promised for
Price, U. S. A.
November 2020
July 2020
December 2019
EOS R & RF 24-240mm kit: $2,198 at B&H ($2,398 at Amazon).
July 2019
EOS R & RF 24-240mm kit: $2,898 at Amazon.
September 2018 Introduction
Accessories
Included
Cable strain relief (for tethered shooting).
IFC-100U Interface cable (USB-C both ends).
Optional
Performance
Overall
The EOS R works great, just like a DSLR but so much better. It’s nothing like the pokey EOS-M.
Ground glass was so 1950s. In mirrorless we can magnify Live View and playback and set all our menus right through the viewfinder. Rear LCD loupes are done. AF Fine Tune is gone, too. With mirrorless, focus is read directly from the sensor so there is zero error, especially at large apertures.
Mirrorless isn’t just for vacation anymore. It is what professional cameras will be. Yes, the bodies are smaller as there’s no need for a mirror or prism when you can see the images electronically live from the sensor, but the lenses will be just as big. Silent cameras are critical in many kinds of photography. LEICAs, even the M10-P, are just too noisy when only real silence is silence.
Canon is taking this system very seriously, with an f/2 (yes, f/2.0) zoom and a 50mm f/1.2.
I’ve been shooting for over fifty years. I can tell what’s a significant game-changer and what’s just the usual baloney from marketing departments. Mirrorless is the future and you’re looking right at it.
New DSLRs will still come out and still be sold in the coming years, just as new 35mm rangefinder cameras were still bought and sold through the 1960s, but SLRs and DSLRs have ruled the world since the 1970s and now it’s mirrorless’ decade as of the 2020s.
We’ll will still have new DSLRs sold for several years to people who still want to milk what life they can out of their old systems while Canon and Nikon develop complete mirrorless lens lines, but in ten years, DSLRs will have gone the way of film.
Autofocus is fast and super accurate. Face Detection easily found, tracked and nailed focus on the in-motion acrobat — and this is with an EF lens on an adapter, not even a new RF lens! Wow! All I did was press the button, the EOS R found the face and tracked it up and down and left and right and in and out.
The right side of the touch screen replaces the thumb nubbin for selecting AF areas while looking though the finder. The screen allows far faster and more precise selection than the nubbin ever did. See my User’s Guide for how to set this up.
It works as fast as my DSLRs, and unlike any DSLR, it autofocuses anywhere in the frame. There is no full-frame DSLR that can autofocus on the top, sides, bottom and corners for regular shooting, while my EOS R does it easily.
It tracks all over the entire frame extremely well, and shows me what’s going on better than my DSLRs.
My EF lenses on an adapter seem to focus faster than on my DSLRs, and more accurately. My EF 50mm f/1 is always dead-on at f/1, something no DSLR or SLR has ever been able to do. This is because the EOS R’s AF sensors are all part of the sensor, while DSLR AF sensors are actually at the bottom of the camera coupled through several mirrors which tend to fall out of adjustment.
One omission, at least as of firmware 1.0.0 (September 2018) is that Auto AF Area Select and Face Detect only work together, and that the level and Face detect don’t work together — so you have to turn off Face Detect to get the level display, and turn on Face Detect to get Auto AF Area Select mode. See my User’s Guide for how I set my EOS R to allow fast selection of these.
There is no need for AF Fine Tuning; this was to compensate for AF errors in DSLRs that simply don’t exist when the AF sensors are part of the image sensor itself.
AF with Teleconverters
Holy cow! The Canon EOS R works fantastically with teleconverters and the EF Lens Adapters, with fast, full-frame autofocus with my 100‑400L IS II and even when used with both my 1.4x and 2x converters at the same time! That’s a 280‑1,120mm f/12.6‑16 equivalent, easily hand-holdable!
This is because the AF sensors are on the image sensor, not buried deep inside a DSLR, so they see what the sensor sees and just work. With a DSLR, only the center AF sensor works at all with the 2x converter, and there is no AF on a DSLR when using both converters at the same time with the 100-400.
The one gotcha has always been that while the EOS R easily records the lens and teleconverter used, and reports the true f/stop and effective focal lengths with teleconverters, when you use the 1.4x and 2x converters at the same time it only calculates the effects of the 2x converter — but the pictures still look great and AF is still fast and sure.
Using the EOS R with teleconverters completely changes the rulebook; they work great with no slowing of AF performance from what I can see; I get better AF performance on the EOS R with converters than I ever do on DSLRs without TCs because DSLRs can never focus out to the edges!
Manual Focus
Compared to DSLR shooting, it’s so much better to have in-finder magnification to see what I’m doing when focusing.
This alone may help people get much sharper macro shots. I know it helps me; now I can make one shot and I’ve got it, while with DSLR viewfinder shooting I’d have to make a focus-bracketed series and select one to get the results I need at very close distances and large apertures.
Auto ISO
Auto ISO offers all the usual advanced selection of minimum and maximum ISO, and allows the selection of either fixed full-stop minimum shutter speeds, or Auto selection of minimum shutter speeds based on focal length. The auto-selected minimum shutter speeds can also be shifted three steps higher or lower than their default.
While the menu adjustments offer state-of-the-art flexibility, oddly I still can’t get my EOS R to go to less than about 1/60 in Auto ISO with auto-selection of the slowest shutter speed, regardless of lens focal length. It works normally with longer lenses, but no longer wants to go below 1/60 with wide lenses. To get slower Auto ISO minimum shutter speeds, either set them manually MENU > CAMERA page 3 > ISO speed settings > Min. shutter speed > Manual > 1/8 or etc., or shift them to slower auto-selected speeds (MENU > CAMERA page 3 > ISO speed settings > Min. shutter speed > Auto > click towards minus).
Ergonomics
It handles just like every Canon DSLR, whahooo!
The EOS R feels great in hand with a mature, comfortable curved industrial design. The EOS R has everything exactly as it should be to feel best.
It’s easy-to-locate buttons by feel on the EOS R. Not only are the buttons themselves easy to feel, the curved design puts each button in a unique location so we know where they are — each one feels different.
The EOS R has a superior color-coded menu system, best in the industry, so it’s easy to remember where things are. We don’t have to look everywhere as we do with Sony.
The rear controller is only a 4-way, not an 8-way controller.
While the touch screen is much better than the thumb nubbin it replaces for selecting AF areas while you’re looking through the finder, it doesn’t work for menus or playback, which is too bad.
The LOCK button is one of the only few buttons that can’t be reprogrammed.
The MENU button is on the left; I prefer it on the right so I can set everything while shooting with only one hand.
0.9s rated start-up time, little to no shutter lag.
Exposure Accuracy
Exposure is excellent, aided by the fact that instead of having to guess at exposure with a separate metering system as a DSLR does, the EOS R is already seeing the exposure directly through the sensor as you’re framing — and you are seeing the actual exposure through the finder before you shoot.
In the shot above of the dancer the EOS R magically found and exposed for the face and wasn’t fooled at all by the black background.
New Fv Mode
In addition to the usual P, Tv, Av, M and Bulb modes, Fv is the first new exposure mode invented since the 1980s. It’s called the Flexible Priority mode, since you get to select what you’re setting and what the camera is setting.
The Fv exposure mode works like Program, but lets us adjust any or all of Aperture, Shutter Speed, Exposure Compensation and ISO as we like while the other options continue to update automatically.
Turn the rear dial and watch the orange dial icon to see what will be set when you turn the front dial. To return everything back to AUTO, press the right button on the four-way rear controller.
While traditional Program mode resets to defaults as soon as the meter shut off, anything you shift in Fv mode stays that way until you reset it back to full auto simply by tapping the right side of the four-way rear controller.
Even if you change Exposure Compensation by some other method like the lens’ control ring, a right tap on the rear controller sets everything back to AUTO.
I like the new Fv mode because it’s sticky and doesn’t reset by itself, and when I’m done with it, it’s one simple right click to get back to the default AUTO settings. If you love it, great, and if not, just don’t use it. This is a total win-win; it’s a new feature added without taking anything away.
Finder
General
The EOS R finder is live, bright, sharp and colorful even under direct sunlight, and you also can set menus and see playback in vivid detail in any light.
The finder’s frame (update) rate is fast enough that I can’t see any delay. I can’t see any delay even in the lower-frame-rate power-saving mode I prefer (MENU > WRENCH page 4 > Disp. Performance > Power Saving).
The eye-controlled LCD/EVF auto selection is excellent; the LCD and finder switch on and off magically so the one you want is always lit (you also can change this in the menus).
It has very little if any optical distortion. The image looks like a rectangle with straight sides, not a slightly bulged-out 1960s TV screen.
Many finders have a lot of barrel or pincushion distortion, but not the EOS R.
What You See is What You Get
It even shows live automatic distortion correction to ensure precise framing!
What you’re seeing is what you’ll get in your finished images; it shows the effects of exposure, dynamic range, contrast, color rendition, saturation, white balance, picture control and everything so what you’re seeing is what you’re getting.
If highlights are getting blown out or auto white balance isn’t cutting it, we see this before we press the shutter. I often set my white balance creatively, like to SHADE in the sunset shot above, and I can see exactly what I’m going to get as I shoot — no need to play back and miss something live.
If you want to know your exposure more precisely as you’re shooting, there’s live RGB histograms (selectable in three different sizes) to let you know before you press the shutter. This is especially helpful with white areas and boldly saturated colors with the crazy +4 saturation settings I use, like this:
I set my colors to insane, and I can see exactly what I’m getting as I’m composing. I never have to stop and play back to second-guess. I can see exactly how colors, highlights, shadows, mid-tones and everything look as I’m setting up my shot.
Hitting the PLAY button to see what you’re getting after you’ve shot is so film era. Finally the EOS R lets us see, correct and optimize what we’re doing it while we’re doing it. Having to stop and look at your developed film or a digital playback means you’re living in the past (pun intended) and missing what’s going on around you and missing great shots. With the EOS R I’m always live and getting the shots the old-timers are missing while looking at their LCDs for yesterday’s news.
Real Depth-of-Field Previews
DSLRs have crummy depth-of-field previews. To most people, all these buttons do is make the finder get dark, so people never use the depth-of-field preview. Even for people who do, the finders get so dark as the lens stops down to its taking aperture that you can’t see much.
The EOS R’s finder doesn’t darken with depth-of-field preview. It stays just as bright so for the first time in Canon full-frame we can see what we’re really going to get. Finally we have a camera we can use to select the best aperture for how we really want our pictures to look before we press the shutter.
The EOS R shows exactly how the picture will look at very large apertures like f/1.4, while DSLR viewfinders have never shown how shallow the depth-of-field actually will be at apertures larger than about f/2.5.
Few people know that modern DSLR «bright» screens can’t show the full amount of a lens’ defocus at apertures wider than about f/2.5. If you use your preview button on a DSLR, you can’t see the actual depth of field at apertures wider than f/2.5 on modern laser-cut matte screens (we haven’t used actual ground glass since the 1970s), but today with my EOS R, my f/1.2 and f/1.0 lenses show exactly how little is in focus in my finder.
If you think I’m kidding, take your f/1.8 or faster lens and try your preview button on your DSLR, and you won’t see any change until you stop down to f/2.8 or smaller.
Yes, on a DSLR, all lenses faster than f/2.5 don’t look any brighter or have any less depth of field in the finder than an f/2.5 lens does, while on the EOS R for the first time we can see exactly how little is in focus with a fast lens.
t shot below to turn what was a gray day into vivid orange, and my EOS R shows me this, complete with what detail I was getting in
Night Vision
You might not know that human vision becomes monochrome in very dim light (we don’t see colors outdoors under moonlight), while our film and digital pictures do show full color when exposed well. The EOS R finder shows the colors our pictures will show, while DSLR finders show the gray image our eyes see in very dim light.
Outdoors at night my finder is so bright and the EOS R so sensitive it works like night vision, showing me more detail through my finder than I can see with my unadapted naked eyes!
Vertical Rotation
The finder even rotates the data when held vertically! Set this at MENU > WRENCH page 4 > Shooting info. disp. > VF vertical display > ON and you get:
Actual view through Canon EOS R Electronic viewfinder. (It’s much sharper in actual use than in this special photograph.)
I’ve turned on almost every display option here; just press the INFO button a couple of times to get a clear window with which to compose if you prefer.
Level
It has a 2-axis color level:
Actual view through Canon EOS R Electronic viewfinder. (It’s much sharper in actual use than in this special photograph, and not distorted like this either.)
I’ve turned on almost every option here; press the INFO button a couple of times to get a clear window with which to compose if you prefer.
Zoom Playback and Focus
Another big reason I love my EOS R is that I can see all my menus and playback in the finder, especially without needing glasses or a loupe to see a tiny rear LCD in direct sunlight, and that I can magnify the finder during shooting or playback to see explicit details under any condition.
I even can set my EOS R to magnify my active AF area automatically if I turn the manual focus ring!
Cool Factor
Looking at your LCD while other people can see you means you still aren’t ready to shoot, or that you don’t know what you’re doing, or that you lack the skill and confidence to have gotten the right shot in the first place.
It’s OK to get everything set before you arrive on set, but if you lack the talent and experience to get the shot right and have to look at your screen to dial it in, I’m not hiring you to learn while on my job. I’ll hire a pro next time.
This is another way the EOS R rules: you can do all this while looking through the finder, looking like you’re shooting while in fact you’re still trying to set up your camera.
I suggest you tape an ACROS 100 or Velvia box-end over the back of the flippy LCD so people think you’re shooting film! The only time I use my LCD is to show someone else what I shot, or if I’m working at a weird angle. Because my EOS R LCD flips 180,Вє I tape a box end over the back side and just flip it back to the LCD if I need it. Use a 120 or 220 box-end to confuse the hipsters.
Fast Frame Rates
While I’m most likely dumping my 5DS/R as soon as I can since I use it for nature, landscape, portrait and other things that sort of hold still, I’m keeping my A9 and 1DX Mk II for sports and action.
The EOS R still can’t run in silent mode with the continuous shutter release (neither can my 1DX II), but the EOS R will as Canon updates firmware.
Here’s the biggest gotcha for sports, at least as of firmware 1.0.0 (early September 2018) my EOS R can’t update the finder continuously as shot in continuous mode. It looks jerky, running at about the same 3 to 8 FPS frame rate as the camera, and not at its usual live, fluid frame rate. While the finder of my 1DX II is a smeared, blinking blur at 14FPS, at least it’s live (the A9 is smooth and live even at 20 FPS).
So while the EOS R is my new go-to for general shooting, at least in its current iteration it’s not a pro sports camera. Give it a break; it’s a $2,300 mid-level camera like the 6D II. It is by no means is a 1DX II replacement — yet.
High ISO Performance
High ISOs look great because their colors, highlights and shadows all look the same at every ISO. Of course the image from this and every digital camera gets noisier and softer and rattier at higher ISOs, but the key is that you can use any ISO you need and get the same picture.
Standard Complete Images
High ISO performance is typically excellent. For most normal uses at the sizes we actually use as shown below, the images look the same from ISO 50
These were shot with the RF 50/1.2L at f/8 at Auto White Balance, STANDARD Picture Style with +4 Saturation and 7/5/5 Sharpening with exposure times from 1 second (ISO 50 L1) to 1/1,250 (ISO 102,400 H2).
If these 600 × 450 pixel crops are about 6″ (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 45В ×В 67″ (4В ×В 6 feet or 1.15В ×В 1.7 meters).
If these 600 × 450 pixel crops are about 12″ (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 90В ×В 135″ (7.5В ×В 11 feet or 2.3В ×В 3.5 meters).
At these insanely high magnifications you’ll see that detail is best at ISO 50, and the image gets progressively softer at every ISO from ISO 100 and up. At ISO 50 all the details of the clock face decorations are shown clearly, half gone by ISO 3,200 and gone by ISO 25,600. As ISO climbs even higher, even more details are simply erased by the noise reduction. This is normal, every camera does this.
These are shot hand-held. The ISO 400 shot is made at 1/13 of a second, so while the IS system gives ultrasharp shots of what holds still, the model was moving and therefore blurred.
If these 1,200 × 900 pixel crops are about 6″ (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 22В ×В 34″ (57В ×В 85cm).
If these 1,200 × 900 pixel crops are about 12″ (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 45В ×В 67″ (1.15В ×В 1.7 meters).
The EOS R also has a Digital Lens Optimizer (DLO) that greatly improves the sharpness and performance of most lenses, especially older lenses from the 1990s and brings them up to modern standards.
The EOS R does a fantastic job of improving the performance of older lenses that were never that sharp and had lots of distortion and lateral color fringes. For instance, my EF 14mm f/2.8 L has all these problems, and my EOS R makes a night and day difference, breathing new life into my ability to use this lens for critical work (sample above at adapters).
The EOS R has the usual peripheral illumination (falloff) and advanced distortion corrections.
These corrections also work with all EF lenses introduced since about 1990 on any of the adapters.
Better than older model DSLRs, all my lenses seem to be recognized with no need to load profiles into the EOS R.
Here’s a sample from my old 1990s Canon EF 28-135mm IS on an adapter, and it’s ultrasharp, sharper than it ever could have been on film:
The DLO helps remove lenses’ optical design limitations like lateral chromatic aberration and complex and asymmetric aberrations like coma, as well as counteract the detrimental effects of the laws of physics. Since it operates in the mathematical domain it can counteract some of the well-known physical effects of diffraction, the anti-alias filter and the Bayer array.
The DLO is programmed with each lens’ precise optical and modulation transfer function, and subtracts the lens’ aberrations from the image mathematically to return the image to closer to optical perfection, even subtracting the limitations of optical physics.
You need a Ph.D. in optics and mathematics to understand it since it’s based on very advanced mathematics, just rest assured that you should leave it ON.
If you turn off the DLO option, you are then offered Г la carte options of diffraction and/or lateral color fringe correction by themselves without the entire suite of DLO corrections running.
Way better than any DSLR, the electronic finder shows the distortion-corrected images, live as you shoot!
Mechanical Quality
Lens Mount
New, more effective dirt gaskets designed as an integral part of the lenses and lens mount also mean that you have to twist a little harder when mounting and unmounting lenses.
Internal Frame
Top cover (not including Finder Hump)
Power Switch
Top Finder Hump
Top LCD Cover
Clear, uncoated plastic.
Mode Button & Rear Control Dial
Shutter Button
Front Dial
M-Fn Controller (next to eyepiece)
Buttons
Lens Release Button
Left-side connector covers
Rear LCD Frame
Rear LCD Cover
Clear and uncoated plastic.
Rear Buttons
Card Door
Plastic, with metal hinge.
Bottom Cover
Battery Door
Plastic, with metal hinge.
Tripod Socket
Menu System
Canon’s menu system is the best in the business.
There are six main color-coded menus as shown below. Every item under each of these shows in the same color, so you always remember what color was each item, making it easy to find again.
Every page in each of the six main categories is distinct; you get to each next page with a single left or right click, and each item always is in the same place on the page.
To get to the next main category, just tap INFO, then go left or right for each page. Easy!
Nikon’s menu system is not color coded, but it is well organized. Nikon has very long pages requiring you to click up or down through each individual line to get around inside each of Nikon’s menu categories; there is no one-click navigation as there is on Canon.
Sony’s menu system is awful. Everything is both disorganized and all the same color. We never can find anything in Sony’s menu system.
Silent Shooting
It can be set to be completely silent, although the silent mode is more limited than in Sony’s newest cameras, at least as of firmware v 1.0.0 in September 2018.
Mirrorless cameras have no mirrors, so there is little to no sound or vibration even with the regular mechanical shutter.
In silent mode you only can shoot in single frame mode (not continuous), and you can’t use flash, can’t shoot in HDR and can’t use flicker avoidance (reduction).
Canon will have new firmware to allow continuous shooting, but no mirrorless camera works with flash in silent mode.
Even in regular shutter mode it’s pretty quiet, and the shutter only makes a sound at the end of long exposures; the first curtain is always electronic.
Image Stabilization
Image Stabilization (IS or Vibration Reduction (VR)) only works in the lens, and also in the camera electronically for movies. There is no sensor shifting as that never works well with wide lenses; in-lens IS is superior.
Top LCD
The top LCD is now a sharp dot-matrix display. It is usually very visible, more visible than DSLR displays were. Even with the camera turned off, the top LCD continues to show the shooting mode:
Canon EOS R. bigger.
Tap the light (☀) button to swap between basic and detailed displays.
It’s usually white-on-black as shown, but if you hold the light (☀) button a couple of seconds, it reverts to black-on-white and has a dim cool-white backlight.
It’s very legible in most light, and its graphics are big and bold as you make settings:
Canon EOS R top LCD as seen in dull light. bigger.
Rear LCD Monitor
It flips and is a touch screen.
It flips 180Вє so you can do self-portraits.
It has only manual brightness control, but if you set it to high brightness, it looks great even in direct sunlight.
Playback
Same as always for Canon.
You can swipe the touch screen to scroll around zoomed images, but you have to keep swiping to get from side to side of a magnified image. You can’t do it with one flick.
Unlike iPhones, scrolling around a zoomed image doesn’t keep moving as you lift your finger; there is no inertia. You have to use multiple swipes to get across a zoomed image.
Cards are formatted as «EOS_DIGITAL.»
JPG file sizes vary with subject complexity.
Most LARGE NORMAL JPGs are about 5 MB, while simple images with mostly flat areas (like the sky) may be as small as 2 MB and very sharp, complex images loaded with strong, fine textures everywhere may be as big as 13 MB. Of course smaller resolutions will be smaller and FINE JPGs or raw files will be bigger.
They are tagged as 72 DPI.
Power & Battery
I get about 700
1,000 shots per charge, and up to 7,000 or more if I’m making long continuous sequences:
Canon EOS R battery life in constant continuous shooting.
It only gives a few hundred shots per charge if you fiddle with menus and settings a lot when you first get your EOS R.
With mirrorless that the sensor and processors all need to be running full speed all the time you’re simply looking through and framing your shots, while a DSLR only really turns on to take the picture. The more time you spend looking rather than shooting, the fewer shots per charge you get.
A DSLR usually gets between about 800
3,000 shots per charge depending on how much fiddling versus shooting you do, I’m seeing between about 300
7,500 shots per charge with the EOS R.
See the display above? I still have 81% left after over 1,400 shots made on this charge. Algebra tells us that 1,402/(1-0.81) = 1,402/0.18 = 1,402 x 5.26 = 7,379 shots at 0%. I did this shooting action where I was letting the EOS R motor away in continuous drive for stretches of a hundred shots or so at a time trying to photograph Hawaiian fire dancers.
Clock Accuracy
Every sample is different, and my sample gains about 12 seconds per month.
Compared
NEW:Canon EOS R, RP, R5 & R6 Compared.
Versus Sony
Sony is a generation ahead with core technology for silent shooting. With the A7 III we can shoot in total silence at a good 10 frames per second with full tracking AF and exposure. The A7 III also seems to look about a stop better at completely insane ISOs around ISO 102,400; but I never shoot at those ISOs.
However, I prefer the EOS R because the pictures look better and it’s so much more pleasant to use.
The Canon closes its shutter when off or with no lens, while the Sonys have dirt problems because they inexplicably leave their shutters open when off. After a few weeks with each Sony I’m getting dirt on my sensor which shows up in my Sony pictures, and the EOS R has no dirt problems. The Sonys are the only cameras I’ve used in the past ten years that have problems with sensor dirt; my Nikons and Canons have self-cleaned their sensors and I’ve not had a problem since 2007.
Color is a personal preference, but if you’re an artist like me whose work is all about color, I prefer the colors I get out of my EOS R and other Canons to the more blah color I get from my Sonys. I get great results from Sony, but when I shoot Canon I’m even happier with my results. I shoot with the colors cranked way up in saturation on all my cameras; your tastes will differ. Color interpretation is everything in photography, and I prefer Canon and Nikon over Sony.
The EOS R feels great in hand with a mature, comfortable curved industrial design. Sony on the other hand has no serious industrial design; it’s all flat surfaces and 90Вє angles like a VCR. The Sony quickly becomes uncomfortable to shoot since buttons and dials aren’t really where we want them to be, while the EOS R has everything exactly as it should be to feel best.
It’s easy-to-locate buttons by feel on the EOS R. Not only are the buttons themselves easy to feel, the curved design puts each button in a unique location so we know where they are — each one feels different. Sony buttons are too often flush and not easy to find by feel, and the all-flat design means all locations (and buttons) feel the same so it’s much more difficult to find them quickly by feel.
The EOS R has a superior color-coded menu system, best in the industry, so it’s easy to remember where things are. We don’t have to look everywhere as we do with Sony.
Versus Nikon Z6 & Z7
Canon takes much better care of us while Nikon seems to look at its customers as annoyances.
The EOS R works great with all EF lenses while the FTZ adapter only autofocuses with about half of Nikon’s lenses. Canon’s support at (800) OK-CANON is in the USA and superb, while I never can seem to get answers at Nikon’s support line.
Versus the Canon 5DS/R and other DSLRs
Ground glass is so 1950s. You can’t magnify ground glass with a push button, it gets dark at night and with slow zooms, it can’t show playback so you have to squint at a little rear LCD in daylight, and you can’t set menus through a DSLR finder either.
DSLRs have no silent mode for regular shooting.
DSLRs can’t autofocus anywhere but near the center.
Direct on-sensor AF detectors in the EOS R give far more precise and accurate autofocus, especially with fast f/1.2 and f/1 lenses. These lenses don’t give perfect focus every time on DSLRs, but they do (if you use then correctly) on the EOS R.
The EOS R corrects distortion and falloff and has a digital lens optimizer to counteract coma, lateral color fringes, diffraction and more, while the 5DS/R only corrects falloff and lateral color fringes. The 5DS/R can’t correct distortion or other effects, and the EOS R does this even with EF lenses on adapters.
The EOS R has a slightly bigger finder than my 5DS/R, and the EOS R finder is brighter under most conditions, especially indoors and at night.
Heck, now that I have a Canon EOS R, even indoors, my 5DSR finder looks dim and dingy by comparison. At night where my 5DSR finder is black I can still see what’s going on in my EOS R finder. Bravo!
Recommendations
Can you tell I love it? Be sure also to get the EF lens adapter of your choice. I don’t know that you’ll need a spare LP-E6N battery; the battery life is so good it will be hard to run it all the way down in just a day.
Lenses
Do-Everything
240mm should do everything extremely well. It covers every reasonable focal length, has great image stabilization and focuses super close.
Pro Quality
I love the superb Canon RF 24-105mm f/4L IS, but it costs more than the 24
I used it for all the regular shots in this review, and it does everything I need a lens to do. The 24-105 L is a pro-grade lens, and if you’re wiling to get it, you will never be disappointed. It will serve you for years and you won’t be tempted to buy something new in a few years to replace it — even if you buy a pro mirrorless body in the future which Canon doesn’t make today. The 24-105 L is reasonably light and has ultra-high performance — but it costs almost as much as the EOS RP body! That’s OK, since the smart money is always spent on lenses. Lenses don’t go obsolete, unless you buy Nikon lenses.
Low Price, High Quality
The EF 24-105 STM is a smaller, lighter, slower, much less expensive and lighter-duty version of the professional RF 24-105mm f/4L IS.
The EF 24-105 STM is optically superb.
Not only is the EF 24-105 STM an inexpensive optical marvel, it also works on every 35mm and digital camera made by Canon since 1987, and the kit often includes an EF Adapter so that you can use every Canon EF lens ever made since 1987 on your EOS RP.
If you want to go even cheaper, a pro secret is that you can get superb used Canon EF lenses and use them on an EF lens adapter for next to nothing! Better than when these older EF lenses lenses were new and used on film, today’s Canon digital cameras electronically optimize their performance and make these lenses work better today than they ever did on film.
Don’t tell anyone, but one of my very favorite Canon lenses is the EF 28-135mm IS which covers more range than a 24-105mm, has stabilization and more than good enough optics, weighs only 3/4 as much as the RF 24-105mm f/4L and sells for only aboutВ $100 usedВ if you knowВ How to Win at eBay!
How good is this old 1990s lens? Here’s a sample from my old Canon EF 28-135mm IS on an adapter on my EOS R:
Another favorite for small size, low weight and versatility is my Canon EF 28-105mm USM II. It sells for aboutВ $70 usedВ if you knowВ How to Win at eBay, and weighs only about half of the RF 24-105mm. It has no stabilization and otherwise is a great little lens with plenty of performance in a tiny package, helped out by the EOS RP’s electronic lens corrections. Just look at this sample file shot on a 5D Mark III. Looks great!
These low-cost lenses take super sharp pictures if you know what you’re doing, just that they won’t take as much physical and environmental abuse as the L lenses. I take care of my gear so these inexpensive lenses bought used have served me well for many years.
Flash
The EOS R works perfectly with all EX-series flash. It has the same flash system as Canon’s SLRs and DSLRs.
You can save money with old used flash that work as well as the newest flash; I use my 580EX II (aboutВ $125 usedВ if you knowВ В How to Win at eBay) when I want a lot of power, or my 320EX (aboutВ $80 used if you knowВ How to Win at eBayВ and also availableВ used at Amazon) when I’m traveling light.
This junk-free website’s biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Canon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, non-USA, store demo or used camera. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection.
Canon EOS R + Canon RF F2.8L IS USM 
Canon EOS R + Canon RF F2.8L IS USM 
Пример фотографии без обработки: Canon EOS R + Canon 17-40mm f/4L USM 
Пример фотографии без обработки: Canon EOS R + Canon EF 24-70mm f/4L IS USM 
Пример фотографии без обработки: Canon EOS R + Canon EF 24-70mm f/4L IS USM 
Пример фото на Canon EOS R + Carl Zeiss Planar T* 1.4/50 ZE 
The EOS R is quieter than a DSLR, and it also has a completely silent mode which no DSLR can do in regular shooting.
Brilliantly sharp finder shows exactly how the pictures will turn out, before you take them.
Wakeup isn’t always instantaneous like a DSLR, but it’s fast enough.
No second card slot.
