Introduction

The Canon EOS R6 Mark III is a mid-range full-frame mirrorless camera which replaces the EOS R6 Mark II that was released in 2023.

The R6 III utilises a new 32.5 megapixel CMOS sensor which provides a 25% increase in resolution compared to its 24.2 megapixel predecessor as well as offering 7K 60p internal RAW video recording.

It offers a class-leading burst shooting rate of 40fps using the electronic shutter with continuous auto-focus and auto-exposure or 12fps with the mechanical shutter, matching the range-topping EOS R3.

Pre-continuous shooting up to 20 frames (Raw or JPEG/HEIF) is available before fully pressing the shutter button. The 150 shot uncompressed RAW buffer (when using CFexpress cards) is double that of the R6 Mark II.

There is up to 8.5-stops of image stabilisation available via a combination of the camera’s in-body Image Stabiliser which works in tandem with the attached lens’s own stabilisation system.

The native ISO range runs from 100-51200, which can be expanded to ISO 50-102400.

It supports internal RAW video recording at up to 7K 60P or 7K/30p with Open Gate turned on, high frame rate recording at up to 4K 120P / 2K 180P, oversampled 4K/60p and also 4K/60p UVC live streaming for the first time ever on a full-frame EOS camera.

Other video-centric features include waveform monitor, proxies, metadata tagging, a full size HDMI port, 4 channel audio, 3/5 sec pre-recording function, 15+ dynamic range and CLog 2 and 3 profiles.

Note that there is no built-in fan like the EOS C50 and this camera doesn’t support the fan accessory that was released alongside the EOS R5 II.

Canon’s Dual Pixel CMOS AF II technology with improved tracking algorithms offers high-speed, high-accuracy subject detection and tracking for people, animals and vehicles down to -6.5EV.

The Registered People Priority mode can detect and prioritise up to 10 faces even in side profile, useful for sports, news and weddings, with the ability to save 10 files on a memory card each with 10 registered faces.

Just like on the R5 II and R1, you can recall AF settings on the Canon R6 III by registering up to six custom AF setting profiles to save time on pre-shooting setting configuration.

The Canon R6 III is identical in size to the Mark II but slightly heavier, weighing in at 699g with battery and memory card or 609g body only.

In terms of connectivity, the camera features 5GHz wi-fi and Bluetooth 5.1 support, a MIC terminal, HDMI OUT (Type-A) and USB (Type-C), plus dual CFexpress and SD card slots.

It employs the LP-E6P battery from the EOS R5 II which provides 620 shots according to CIPA standards.

The Canon EOS R6 Mark III is available in black priced at £2799.99 / €3199.99 / $2799 body only in the UK, Europe and USA respectively. It is also available in a kit with the RF 24-105mm F4-7.1 IS STM lens for £3149.99 / €3599.99 / $3149.99 or with the RF 24-105mm F4L IS USM lens for £3899.99 / €4199.99 / $4049.

The R6 III is available to buy from November 20th 2025. It is made in Japan. Note that the R6 II will continue to be sold through-out 2026 whilst stocks last.

Ease of Use

Looking at the EOS R6 Mark III alongside the previous model, you’d be very hard pressed to tell it apart from its 2-year-old predecessor, other than the addition of "Mark III" to the front nameplate. If it ain’t broke, don’t fix it seems to be the Canon mantra when it comes to the EOS R6 camera series.

The 2025 version is almost exactly the same size and weight as the Mark II and has an almost identical design. It is identical in size to the Mark II but slightly heavier, weighing in at 699g with battery and memory card or 609g body only.

So if you’re upgrading from the Mark 1 or II versions of the R6, you’ll feel instantly at home using the new Mark III iteration. It continues to offer a conventional control layout that’s very much in the long tradition of previous EOS cameras, mirrorless and DSLR alike.

The Canon EOS R6 Mark II utilises a mostly polycarbonate body that offers the same level of weather-proofing as the previous generation, so it will withstand light rain, mist, and dust but isn’t fully waterproof.

The R6 III benefits from having a very deep handgrip that comfortably accommodates four fingers, something that can’t be said of a lot of mirrorless cameras that suffer from having too small a grip.

The minimalist front plate sports a single control - the classic Depth of Field preview button, which helps you determine what your photos will look like before the image is taken. There’s also a porthole for the AF assist light and a lozenge shaped button for releasing the lens.

The R6 III utilises a brand new 32.5 megapixel CMOS sensor which provides a 25% increase in resolution compared to its 24.2 megapixel predecessor, as well as offering 7K 60p internal RAW video recording, and benefits from using the latest Digic X processor.

Due to the resolution increase, the native ISO range on the Mark III R6 runs from 100-51,200, which can be expanded up to ISO 102,400 and down to ISO 50 (compared to Mark III which went up to ISO 204,800 and down to ISO 50).

The Canon EOS R6 Mark III again incorporates 5-axis In-Body Image Stabilisation (IBIS). It has been designed to work collaboratively with the IS system that’s built into many RF-mount lenses, with the lens and the sensor working together to correct pitch and yaw and the sensor correcting the X-Y and roll movements.

The R6 II’s intelligent stabilisation system provided an incredible 8-stops of stabilisation with some lenses, allowing you to hand-hold the camera for up to 4 seconds and still get critically sharp results.

Remarkably the Mark III is ever so slightly better, now offering up to 8.5-stops of image stabilisation available via a combination of the camera’s in-body Image Stabiliser which works in tandem with the attached lens’s own stabilisation system.

Even some non-stabilised lenses such as the RF 85mm F1.2L USM or RF 28-70mm F2L USM offer 8.5 stops of stabilisation when they’re mounted on the EOS R6 Mark III, thanks to the large 54mm diameter of the of the RF Mount.

The EOS R6 Mark III can also stabilise older, non-IS lenses including any EF lens that is fitted to the R6 II via the Canon EF-EOS R mount adapter. The stabilisation system will also work with lenses from other manufacturers – you just need to input the focal length into the camera’s menu system.

In practice, the EOS R6 Mark II and the RF 24-105mm F4 L IS USM lens that we were sent for testing provided up to the headline grabbing 8.5-stops of stabilisation - it really is possible to hand-hold this combination at previously impossibly slow shutter speeds and still maintain critical sharpness.

The Canon R6 III offers a class-leading burst shooting rate of 40fps with the electronic shutter, the same rate as that of its predecessor. It can also shoot at 12fps with the mechanical shutter, both modes supporting full auto exposure (AE) and auto focus (AF) tracking.

The buffer is bigger on the R6 III though (when using CFexpress cards) - 150 versus 75 uncompressed RAW files - and pre-continuous shooting up to 20 frames (Raw or JPEG/HEIF) is available before fully pressing the shutter button.

There’s a tiny amount of viewfinder and LCD blackout between each frame when shooting at 40fps, but it’s barely discernible to the naked eye.

It offers a maximum shutter speed of 1/16,000th second when using the silent electronic shutter.

The R6 III is the latest Canon camera to feature the next generation Dual Pixel CMOS AF II focusing system for both stills and video. Billed as the world’s fastest AF, the camera is capable of focusing in as little as 0.05 seconds.

It offers 4,897 manually selectable and 1,053 automatically selectable AF points with 100% frame coverage.

It also has the same deep-learning based automatic face, eye and animal AF tracking modes as the R6 Mark II, being capable of recognising humans, dogs, cats, birds, horses, aircraft, and trains.

The new model uses the same AF system as its predecessor but offers improved tracking algorithms and also introduces a few new features.

The Registered People Priority mode can detect and prioritise up to 10 faces even in side profile, useful for sports, news and weddings, with the ability to save 10 files on a memory card each with 10 registered faces.

Just like on the R5 II and R1, you can recall AF settings on the Canon R6 III by registering up to six custom AF setting profiles to save time on pre-shooting setting configuration.

Cleverly, if the camera is set to Face-only AF and the tracked subject exits the frame, it won’t automatically then focus on the background, instead re-focusing on the face when it re-enters the scene.

It features a special auto-select mode for subjects, plus the same Flexible AF mode from the EOS R3, and eye tracking functions in all AF modes.

Impressively the EOS R6 Mark III can also focus in light levels as low as -6.5EV (when used with an F1.2 lens), which is a real boon to low-light shooting.

The new R6 III supports internal RAW video recording at up to 7K 60P or 7K/30p with Open Gate turned on, high frame rate recording at up to 4K 120P / 2K 180P, oversampled 4K/60p and also 4K/60p UVC live streaming for the first time ever on a full-frame EOS camera.

Other video-centric features include waveform monitor, proxies, metadata tagging, a full size HDMI port, 4 channel audio, 3/5 sec pre-recording function, 15+ dynamic range and CLog 2 and 3 profiles.

There’s a small but responsive shutter release button at the top of the handgrip, with the tiny M-Fn behind it. This provides quick access to some of the camera’s key controls, including ISO, continuous shooting, AF, white balance and exposure compensation.

Behind that is the front control dial for principally setting the aperture or shutter speed, with a small, red one-touch movie record button behind it sitting proud of the camera body.

A Lock button is incorporated into the Off/Lock/On switch on the EOS R6 Mark III. As its name suggests, this locks the two control dials on top of the camera and the rear control wheel so that you can’t accidentally change the camera’s key settings.

Completing the top of the camera is the rear control dial that’s ideally placed for thumb operation and the Camera/Movie switch on the left, which makes it very easy to switch between these two distinct shooting modes.

The Canon R6 III offers the same shooting modes as its predecessor, including the multiple exposure mode (JPEGs only) and a Panorama mode that were first seen on the EOS R7. It also offers in-camera focus bracketing which will be a big pull for many stills photographers.

Turning to the rear of the R6 III, it offers an array of controls that will be instantly familiar to anyone who has used an EOS 5-series DSLR camera before, including the classic Canon control wheel. There’s also a joystick that is a little more tactile than the one found on the original EOS R6.

Alongside the Menu bottom on the far left is the Rate button, which allows you to assign star ratings to your images during playback (Off, 1-5 stars).

The EOS R6 Mark II has exactly the the 0.5-inch 3.69 million dot EVF as the EOS R6 and R6 II, which is still impressive to look through, working up to 120fps for minimal lag when shooting fast-moving subjects.

It incorporates a special OVF simulation mode, similar to the one of the EOS R3, which uses HDR technology to simulate a more "real-world" view of the scene.

One of the main controls on the EOS R6 Mark III is the inclusion of the classic Canon control wheel with the SET button at its heart, which will be instantly familiar to anyone who has used a Canon EOS 5-series DSLR camera before.

The one on the EOS R6 Mark II actually serves less purpose than the one on the EOS 5-series, though, simply because there are already two control dials on top of the camera for setting the aperture and shutter speed, and one on the RF lenses which can be usefully configured to control the ISO speed, amongst other things.

So the classic Canon control wheel is mainly used for quickly scrolling through the menu system and during image playback instead. As the camera also has a touch-screen, both of these functions can be more quickly and intuitively controlled via touch.

The EOS R6 Mark II has exactly the same 3-inch, 1.62 million dot, vari-angle LCD screen as on the previous two models, which tilts out to the side and faces forwards for more convenient vlogging and selfies. It can also be usefully folded flat against the back of the camera to protect it when in transit in a camera bag.

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

A tilting LCD screen always helps to encourage shooting from creative angles and it also helps make the EOS R6 Mark III ideally suited to movie-shooting.

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

Alongside the rear joystick are three classic Canon controls - the AF-On button for people who prefer back-button focusing, the Auto-exposure Lock button (denoted by a star) and the AF area selection button which makes it easier to switch the autofocus point when holding the camera to your eye.

Underneath the AF-On button are a cluster of three buttons - the Magnification button, Info Button and the Quick button which opens the Quick Control screen, which provides instant access to 10 key camera controls.

Completing the rear of the EOS R6 Mark III are the self-explanatory Playback and Delete buttons located underneath the rear control wheel.

On the right hand-side of the camera is the memory card compartment. In a big change, the newer Mark III model now employs dual CFexpress and SD card slots in order to support the faster video frame rates.

Ths CFexpress slot helps to support the 40fps burst shooting mode with the larger buffer, which was one of our main criticisms of the previous model.

On the left hand-side of the camera are three rubber flaps housing five different connections. The Canon EOS R6 Mark III has a microphone port, headphone jack, remote control port, USB-3 port and a HDMI connection - all the things that any enthusiast photographer or videographer would need from a connectivity point of view.

Especially welcome is the new full-size HDMI port which replaces the previous model’s micro-HDMI port, addressing another thing that we pointed out in our Mark II review.

Instead of the LP-E6NH battery that was used in the previous two R6 models, the Mark III employs the LP-E6P battery from the EOS R5 II to support its cutting-edge video features. This provides 620 shot battery life according to CIPA standards versus 450 shots on the R6 II, a significant improvement.

If one battery isn’t enough for you, the EOS R6 Mark III is compatible with exactly the same BG-R20 Battery Grip that its predecessor supported, again making upgrading easier. It gives users the ability to power the R6 II using two batteries and also offers duplicate controls for easier vertical shooting.

In terms of connectivity, the Mark III R6 features improved 5GHz wi-fi and Bluetooth 5.1 support so that it can be easily connected to a smartphone and networks allowing high-speed file sharing and FTP/FTPS transfer.

It can also be remotely controlled using Canon’s Camera Connect 3.0.0 and EOS Utility apps and tethered to a PC or Mac via Wi-Fi or high-speed USB 3.2.

It also offers the ability to operate as a webcam and supports 4K/60p UVC live streaming for the first time ever on a full-frame EOS camera.

The Canon EOS R6 Mark III is a solid upgrade of an already excellent camera, principally improving the image stabilisation, buffer size and battery life along with offering 25% more resolution, more capable video, dual CFexpress and SD card slots and improved connectivity. Now let’s take a look at its Image Quality...

Image Quality

All of the sample images in this review were taken using the 32.5 megapixel Fine JPEG setting, which gives an average image size of around 8Mb.

The Canon EOS R6 Mark III produced still images of excellent quality during the review period.

This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 3200, with significant noise first appearing at ISO 6400.

The faster settings of 12800 and especially ISO 25600 display progressively more noise, but are still suitable for small prints and web images. We wouldn’t advise using the expanded settings of ISO 51200 and 102400 though if possible.

The RAW files were also excellent, exhibiting more noise and less sharpness than their JPEG counterparts but still producing very usable images from ISO 50-3200.

The HDR mode works well in the right situations, while the various different Picture Styles and the ability to create your own are a real benefit.

Noise

ISO sensitivity can be set between ISO 100 and ISO 51200 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and the RAW equivalent on the right.

JPEG	RAW
ISO 50	ISO 50
ISO 100	ISO 100
ISO 200	ISO 200
ISO 400	ISO 400
ISO 800	ISO 800
ISO 1600	ISO 1600
ISO 3200	ISO 3200
ISO 6400	ISO 6400
ISO 12800	ISO 12800
ISO 25600	ISO 25600
ISO 51200	ISO 51200
ISO 102400	ISO 102400

File Quality

The Canon EOS R6 Mark III has 2 different JPEG file quality settings available, with Fine being the highest quality option, and it also supports two different Raw file qualities. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.

Fine (13.3Mb)	Normal (6.8Mb)
Raw (38.3Mb)	Compact Raw (19.7Mb)

HDR

The Canon EOS R6 Mark III has a High Dynamic Range mode with four different settings - AUTO, +-1 EV, +-2 EV and +-3 EV. The camera takes three shots with different exposures, changing the shutter speed for each one, and then combining them in-camera.

Off

+1EV

+2EV

+3EV

Multiple Exposure

The EOS R6 Mark III’s multiple exposure mode allows you to take between two and nine images and merge them into a single photo in-camera.

Picture Styles

Canon’s Picture Styles are preset combinations of different sharpness, contrast, saturation and colour tone settings which can be applied to both JPEGs and RAW files. The seven available options are shown below in the following series, which demonstrates the differences. There are also three User Defined styles so that you can create your own look.

Standard
Portrait
Landscape
Fine Detail
Neutral
Faithful
Monochrome

Sample Images

This is a selection of sample images from the Canon EOS R6 Mark III camera, which were all taken using the 32.5 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample RAW Images

The Canon EOS R6 Mark III enables users to capture RAW and JPEG format files. We’ve provided some Canon RAW (CR3) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

Product Images

Conclusion

Outwardly it may look almost identical, but after using it for a prolonged period of time it quickly becomes clear that the new Canon EOS R6 III represents a significant upgrade of the 2-year-old Mark II model.

Canon have once again sensibly chosen to refine, rather than overhaul, what was already a very capable camera. Other than the name badge, the two models are otherwise virtually indistinguishable when viewed side-by-side, which is no bad thing if you’re upgrading from the already logically thought-out original.

That hasn’t stopped them from improving just about every feature, including the image stabilisation, burst shooting buffer size and battery life, along with offering 25% more resolution, more capable video with a full-side HDMI port, dual CFexpress and SD card slots and greater connectivity.

Despite the 25% increase in resolution, the R6 Mark III again produced still images of excellent quality, exhibiting similar levels of noise as the previous 24 megapixel camera whilst offering even greater dynamic range. With Open Gate recording and 7K Raw video onboard, the R6 III is a big jump forward for both stills and video shooters.

With the range-topping R1, sports-focused EOS R3 and 8K-shooting R5 II positioned above it in the Canon hierarchy, it’s perhaps easy to overlook the more modest R6 III, but it would be a mistake to do that as this is still the most well-rounded model in the line-up that will better suit those people looking for an all-in-one hybrid camera.

The latest R6 continues to still deliver almost everything that an enthusiast photographer or videographer could possibly want, buoyed by the addition of the new sensor and much improved video capabilities.

It definitely faces some tough competition from the likes of the Nikon Z6 III, Sony A7 V and the Panasonic Lumix S1II - it’s fair to say that you’d be well-served by any of these fantastic mird-range mirrorless models - but Canon have definitely added more than enough improvements for the R6 III to remain more than competitive.

Ratings (out of 5)
Design	5
Features	5
Ease-of-use	4.5
Image quality	5
Value for money	4.5

Main Rivals

Listed below are some of the rivals of the Canon EOS R6 Mark III.

The EOS R1 is Canon’s new professional full-frame mirrorless camera for sports and action photographers. The R1 features a new 24.2 megapixel back-illuminated stacked sensor, dual image processors, 40fps burst shooting, 6K/60p Raw and 4K/120p video recording, a 9.44M dot viewfinder with eye-control autofocusing, and an integrated vertical grip design. Check out our Canon R1 review so far, complete with full-size sample JPEG and RAW photos!

The Canon EOS R3 is a professional full-frame mirrorless camera for sports and action photographers that features a 24 megapixel stacked BSI sensor, 6K/60p Raw and 4K/120p video recording, 30fps burst shooting, eye-control autofocusing and a dual-grip design. Read our in-depth Canon R3 review complete with full-size sample photos and videos to find out just what the all-action R3 is capable of...

The EOS R5 Mark II is the eagerly awaited successor to Canon’s hottest full-frame camera, the R5, which was released way back in 2020. Still offering 45 megapixel resolution and 8K video, the R5 II ups the ante by greatly improving the auto-focus system, burst shooting speeds, image stabilisation and video recording performance. Check out our in-depth Canon R5 Mark II review, complete with full-size sample JPEG and RAW photos!

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

The EOS R6 Mark II is the successor to one of our favourite full-frame mirrorless cameras, principally adding a new 24 megapixel sensor, 40fps burst shooting and improved auto-focusing. Read our in-depth Canon EOS R6 II review now, complete with full-size sample photos and videos.

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

The Nikon Z6 III is a new enthusiast full-frame hybrid mirrorless camera with a revolutionary partially stacked sensor and an amazing electronic viewfinder. Is this the best all-round prosumer mirrorless camera on the market? Find out now by reading our in-depth Nikon Z6 II review, complete with full size sample photos and videos...

The Lumix S1 II is a high-end hybrid camera that can shoot 24 megapixel photos at 70fps and record C4K/4K 120p video. We’ve kicked off our Panasonic S1 II review with an overview and product shots...

The Lumix S1 IIE is a brand new mid-range hybrid camera that can shoot 24 megapixel photos at 30fps and record C4K/4K 60p video with no crop. Read our full Panasonic S1 IIE review complete with sample photos and videos...

Panasonic are back with a bang with the launch of their enticing new full-frame flagship camera, the Lumix S1R II. Find out why you should seriously consider this all-singing, all-dancing 8K/30p / 44 megapixel hybrid all-rounder in our S1RII review, complete with full-size sample images and videos...

Announced this week, the Sony Alpha A7 V is a brand new 33 megapixel, 4K/120p video, 30fps burst shooting, full-frame mirrorless camera designed to be a great all-rounder for both stills and video. Read our Sony A7 V review so far complete with sample images to find out what it’s capable of...

Review Roundup

Reviews of the Canon EOS R6 Mark III from around the web.

the EOS R6 III proves that we may be getting past the age of "jack of all trades, master of none." Instead, it’s a master of most. Given that its pricing is in line with the rest of its peers, and that its capabilities match or exceed them, it handily earns our Gold award. Read the full review »

Canon’s enthusiast all-rounder is a superb camera that can do almost anything users might need. With its 32.5MP resolution, excellent autofocus and fast shooting, it’s right at the top of its class. Read the full review »

the Canon EOS R6 MKIII a very impressive evolution of the R6 line. Canon used to be notorious for “crippling” their lower tier cameras to protect the higher tier options, but the R6 MKIII feels like anything but that. It is enough cine camera for most people, and enough sports camera for others, while also managing to be a generally excellent jack-of-all-trades for those who need their camera to do everything. Read the full review »

Specifications

Image Sensor

Type

35.9 x 23.9 mm CMOS

Effective Pixels

Approx. 32.5 megapixels

Total Pixels

Approx. 34.2 megapixels

Aspect Ratio

3:2

Low-Pass Filter

Built-in/Fixed

Sensor Cleaning

EOS integrated cleaning system

Colour Filter Type

RGB Primary Colour

Sensor Shift-IS

Yes, up to 8.5-stops advantage at the center and 7.5-stops peripheral depending on the lens used1

Image Processor

Type

DIGIC X

Lens

Lens Mount

RF / RF-S EF and EF-S lenses can be attached using: Mount Adapter EF-EOS R Control Ring Mount Adapter EF-EOS R, Drop-In Filter Mount Adapter EF-EOS R EF-M lenses are not compatible

Focal Length

Equivalent to 1.0x the focal length of the lens with RF and EF lenses, 1.6x with EF-S and RF-S lenses.

Focusing

Type

Dual Pixel CMOS AF II

AF System / Points

100% horizontal and 100% vertical with Whole Area AF or Subject detection selected 2

AF Working Range

EV -6.5 – 21 (at 23°C & ISO100)3

AF Modes

One Shot, Servo AF, AI Focus AF

AF Methods

Automatic selection: 1053 Available AF areas when automatically selected

AF Point Selection

Manual selection: Spot AF Manual selection: 1-point AF (AF frame size can be changed) 6097 (stills)/ (4641) movie AF positions available Manual selection: AF point Expansion 4 points (up, down, left, right) Manual selection: AF point Expansion surrounding Manual selection: Flexible Zone AF 1-3 (all AF points divided into minimum 9 to 999 maximum focusing zones, where the width and hight is also adjustable) Manual selection: Whole area AF Manual selection: Spot AF (Whole area tracking servo AF OFF) Manual selection: 1-point AF (Whole area tracking servo AF OFF) Manual selection: AF point Expansion 4 points (up, down, left, right) (Whole area tracking servo AF OFF) Manual selection: AF point Expansion surrounding (Whole area tracking servo AF OFF)

AF Tracking

Humans (Eyes, Face, Head, Body), Animals (Dogs, Cats, Birds and Horses) or Vehicles (Racing cars or Motor bikes, Airplanes and Trains), Register People Priority4 (up to 10 registered people)

AF Lock

Locked when shutter button is pressed halfway or AF ON is pressed in One Shot AF mode. Using customised button set to AF stop in AI servo

AF Assist Beam

Emitted by built in LED or optional dedicated Speedlite (flash)

Manual Focus

Selected on lens

Focus Bracketing

Yes with In-camera depth compositing supported in JPEG, HEIF, RAW, or C-RAW formats

Exposure Control

Metering Modes

Real-time with image sensor, 384-zone metering. (1) Evaluative metering (linked to All AF points) (2) Partial metering (Approx. 6.2% of screen at centre) (3) Spot metering: Centre spot metering (Approx. 2.9% screen at centre) AF point-linked spot metering not provided (4) Centre weighted average metering

Metering Brightness Range

EV -3 – 20 (at 23°C, ISO100, with evaluative metering)

AE Lock

Auto: AE lock takes effect when focus is achieved Manual: By AE lock button in P, Av, Fv, Tv and M modes

Exposure Compensation

+/-3 EV in 1/3 or 1/2 stop increments (can be combined with AEB)

AEB

+/-3 EV in 1/3 or 1/2 stop increments

Anti-flicker Shooting

Yes. Flicker detected at a frequency of 100 Hz or 120 Hz. Maximum continuous shooting speed may decrease available with both electronic and mechanical shutter High Frequency anti flicker shooting for M and TV modes Electronic shutter: 1/50.0 to 1/8192.0 sec. Movie recording: 1/50.0 to 1/8192.0 sec. (NTSC/PAL) Maximum continuous shooting speed may decrease.

ISO Sensitivity Open

Auto 100-64000 (in 1/3-stop or 1 stop increments) ISO can be expanded to L:50, H:1024005

Shutter

Type

Electronically-controlled focal-plane shutter and Electronic shutter function on sensor

Speed

Electronic shutter: 30-1/16000 sec (1/2 or 1/3 stop increments), Bulb Mechanical / Electronic 1st Curtain shutter: 30-1/8000 sec (1/2 or 1/3 stop increments), Bulb (Total shutter speed range. Available range varies by shooting mode)

Shutter Release

Soft touch electromagnetic release

White Balance

Type

AWB (Ambience priority/White priority)- Shockless WB in movie recording, Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash, Custom, Colour Temperature Setting

Settings

White balance compensation: 1. Blue/Amber +/-9 2. Magenta/Green +/-9

Custom White Balance

Yes, 4 setting can be registered for still and video

WB Bracketing

+/-3 levels in single level increments 3, 2, 5 or 7 bracketed images per shutter release Selectable Blue/Amber bias or Magenta/Green bias

Viewfinder

Type

0.5-inch OLED colour EVF

EVF Refresh Rate

Up to 120fps

Dot Count

3.69 Million dots

Coverage (Vertical/Horizontal)

Approx. 100%

Magnification

Approx. 0.76x6

Eyepoint

Approx. 23mm (from eyepiece lens centre)

Dioptre Correction

-4 to +2 m-1 (dioptre)

Brightness

Auto: Automatic adjustment to suit brightness (metering results) Manual: Adjustable in a range of 1–5

Exposure Simulation

Optical viewfinder simulation (View assist) can be turned On / Off7

Display Settings

Viewfinder display format: Display 1 / Display 2 (with black border) Image review Viewfinder display: On / Off

Display Performance

Power saving: 59.94 fps Smooth 119.98 fps , supress low frame rate 60 -119.8fps8 (5 level of brightness)

Sensor

Yes

Viewfinder Information

AF point information, Exposure level indicator, Shooting mode, ISO speed, Shutter speed, Aperture, Number of remaining multiple exposures, Exposure compensation, HDR shooting, Highlight tone priority, Multiple-exposure shooting, Number of self-timer shooting, Digital Lens Optimizer, Maximum burst, AF method, Battery level, Electronic level size, AF operation, Exposure simulation, Drive mode, AEB, Metering mode, FEB, Anti-flicker shooting, Still photo cropping, 2 sets of Aspect markers during video recording, Auto Lighting Optimizer, AE lock, Picture Style, Flash-ready, White balance, Flash off, White balance correction, FE lock, Image Quality, High-speed sync, Bluetooth function, Wi-Fi function, Multi-function lock warning, Histogram, Waveform monitor, Electronic level, Lens information, focus distance scale, vertical exposure scale, Grid,

Vertical Display

In still photo shooting

Depth of Field Preview

Yes, via customised button

LCD Monitor

Type

7.5cm (3") TFT Colour LCD, approx. 1.6million dots

Coverage

Approx. 100%

Viewing Angle (Horizontally/Vertically)

Approx. 170° vertically and horizontally

Coating

Anti-smudge coating provided.

Brightness Adjustment

Auto, Manual: Adjustable to one of seven levels / Colour Tone Adjustment: 4 settings

Touch Screen Operations

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

Display Options

(1) Basic Camera settings (2) Advance Camera settings (3) Camera settings plus histogram and dual level display (4) No info (5) Quick Control Screen

Flash

Modes

E-TTL II Auto Flash, Metered Manual

X-Sync

When [Cropping/aspect ratio: Full-frame] is set: 1/200 sec mechanical shutter / 1/250 electronic 1st curtain9, When [Cropping/aspect ratio: 1.6x (crop)] is set: 1/250 sec mechanical shutter / 1/320 electronic 1st curtain.10

Flash Exposure Compensation

+/- 3EV in 1/3 increments with EX and EL series Speedlite flashes

Flash Exposure Bracketing

+/- 3EV in 1/3 increments with EX and EL series Speedlite flashes

Flash Exposure Lock

Yes

Second Curtain Synchronisation

Yes via Speedlite

Multi-Function Shoe / HotShoe / PC Terminal

Yes/No

External Flash Compatibility

EL series Speedlites, EX series Speedlites, Macrolites, Wireless multi-flash support

External Flash Control

via camera menu screen

Shooting

Modes

Stills: Scene Intelligent Auto, Scene Mode, Flexible priority AE, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3) Movie: Scene Intelligent Auto, Scene Mode, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3) S&F

Special Scene Modes

Portrait, Smooth skin, Group photo, Landscape, Panoramic shot, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control, Silent shutter

Picture Styles

Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)

Colour Space

SDR: sRGB and Adobe RGB HDR PQ: BT.2020 Highlight Tone Priority (3 settings) Auto Lighting Optimizer (4 settings) Long exposure noise reduction (3 settings) (still only) Clarity High ISO speed noise reduction (4 settings) (still and video) Lens optical correction:

• Peripheral illumination correction (Both Stills photo shooting/Movie Recording)
• Chromatic aberration correction (Both Stills photo shooting/Movie Recording)
• Distortion correction (Both Stills photo shooting/Movie Recording (with Rf/RF-S lenses))
• Focus breathing correction (during video only)
• Diffraction correction (Both Stills photo shooting/Movie Recording)
• Digital Lens Optimizer (during/after still photo shooting)

Image Processing

Resize to M, S1, S2 Cropping: JPEG images can be cropped (Aspect ratios 3:2, 16:9, 4:3, 1:1, 2:3, 9:16, 3:4) Cropping of images

• Switch between vertical and horizontal cropping orientation
• Cropping frame can be moved using touch screen operation RAW image processing Multiple exposure HDR HEIF to Jpeg conversion (inc Batch conversion) Focus Bracketing and in camera composition

Drive Modes

Single, Continuous High+, Continuous High, Continuous Low, Customisable Continuous shooting speeds, Self-timer (2s+remote, 10s+remote, continuous)

Continuous Shooting

Max. Approx. 12 fps. with Mechanical shutter/1st curtain electronic speed maintained for 1000+ JPEG / RAW Files (CFexpress) and 400 RAW / 1000+ JPEG images (SD card) or at 40 FPS with electronic shutter speed maintained for 330 JPEG (CFexpress/SD Card ) and 150/140 RAW images (CFexpress/SD Card )11. Pre-Continuous shooting is possible from 20 shots before the shutter button is fully pressed.12

Interval Timer

Built in (Shooting interval: 1 sec.–99 hr. 59 min. 59 sec. Number of shots: 01–9999 or [unlimited])

File Type

Still Image Type

RAW 14 bit: RAW and C-RAW (Canon original RAW 3rd edition) and Dual Pixel RAW JPEG 8 bit: 10 compression options HEIF 10 bit: 10 compression options Complies with Exif 3.0013 and Design rule for Camera File system 2.0 Complies with Digital Print Order Format [DPOF] Version 1.1

RAW+JPEG Simultaneous Recording

Yes, any combination of RAW + JPEG or RAW + HEIF possible,

Image Size

RAW/ C-RAW: 3:2 ratio 6960x4640, 1.6x (crop) 4320x2880 JPEG/ HEIF: 3:2 ratio (L, RAW, C-RAW) 6960x4640, (M) 4800x3200, (S1)3472x2320, (S2) 2400x1600 1.6x (crop) (L) 4320x2880, (S2) 2400x1600 4:3 ratio (L) 6160x4640, (M) 4256x3200, (S1) 3072x2320, (S2) 2112x1600 16:9 ratio (L) 6960x3904, (M)4800x2688, (S1)3472x1952, (S2) 2400x1344 1:1 ratio (L) 4640x4640, (M) 3200x3200, (S1) 2320x2320, (S2) 1600x1600

Folders

New folders can be manually created, named and selected Movie folder structure is adopting the XF-HEVC S / XF-AVC S format

File Numbering

(1) Consecutive numbering (2) Auto-reset (3) Manual reset

File Naming

Still: Preset code Unique 4-digit character string + 4-digit file numbe