Canon EOS R5 Mark II

In summary

Canon’s EOS R5 Mark II is positioned just below the EOS R3 in Canon’s mirrorless camera hierarchy where it becomes a new flagship model for enthusiast and entry-level professional photographers and videographers. Canon has modified the camera body, introduced a raft of features, upgraded some existing ones and made the R5 II more compatible with the company’s Cinema EOS line with shared features and formats.

Like the original EOS R5, the second-generation model is targeted at very high-end enthusiasts and professional photographers and videographers who require a versatile camera with extensive all-round capabilities.

The R5 Mark II will suit sports shooters who record stills and movies, while its wide dynamic range will endear it to those working in fields as diverse as wedding and event photography, landscapes and architecture and fashion, portraiture and product photography.

Full review

Announced on 17 July, four years after the original EOS R5, Canon’s EOS R5 Mark II is positioned just below the EOS R3 in Canon’s mirrorless camera hierarchy where it becomes a new flagship model for enthusiast and entry-level professional photographers and videographers. Canon has modified the camera body, introduced a raft of features, upgraded some existing ones and made the R5 II more compatible with the company’s Cinema EOS line with shared features and formats. Fortunately, it has retained key features that made the previous model so attractive.

Angled view of the EOS R5 Mark II fitted with the  RF 24-105mm f/4L IS USM kit lens. (Source: Canon.)

The EOS R5 Mark II is offered as a body-only option for an RRP of AU$6,699 and in kit format with the (now six-year-old) RF 24-105mm f/4L IS USM lens for AU $8,549, which was how we received the camera for this review. It is supported by Canon Australia’s 5-year warranty when purchased from an authorised Canon Australia reseller.

Who’s it For?
Like the original EOS R5, the second-generation model is targeted at very high-end enthusiasts and professional photographers and videographers who require a versatile camera with extensive all-round capabilities. Equipped to record action, it will suit sports shooters who record stills and movies, while its wide dynamic range will endear it to those working in fields as diverse as wedding and event photography, landscapes and architecture and fashion, portraiture and product photography.

One of the more interesting upgrades has been to the camera’s battery, with a higher-capacity LP-E6P battery replacing the previous model’s LP-E6NH lithium-ion battery. Fortunately, the new camera remains compatible with the older battery, making it easy to swap batteries when needed. USB charging is also supported.

Also retained are the dual media slots, with one designed for CFexpress Type B cards and the other for SDXC/SDHC/SD cards and compatible with the UHS II speed class. A CFexpress card with VPG400 certification, which guarantees a minimum sustained write speed of 400MB /s, is recommended for movie recording. (Currently, the fastest SDXC/ V90 cards have maximum read speeds of up to 312 MB/s and maximum write speeds of up to 260 MB/s.)

Upgrades to the 8K recording capabilities mean videographers can now record 8K movies at frame rates of up to 60p or 4K movies at up to 120p, both of which will require the CFexpress Type B card. Unlike the previous model, which placed a 20-minute limit on 8K movie recording, the R5 II has a maximum video recording time of 6 hours, which makes it more suitable for professional videography.

Users can also take advantage of a wide range of Cinema EOS level options, including support for Cinema EOS Movie Recording formats and the ability to Cinema EOS Movie Recording formats as well as industry standard file naming, separate photo/video folders, and advanced tagging in News ML-G2 standard. In addition, support for the C2PA content authenticity format will be added via a camera firmware upgrade, which is scheduled for release in 2025 will provide reassurance of authenticity to both camera users and their clients.

What’s New?
While the 45-megapixel (effective) sensor resolution is unchanged from the original EOS R5, the R5 II gains a new high-speed back-illuminated stacked image sensor, which is paired with a new image processing system that adds a newly developed DIGIC Accelerator chip to the existing DIGIC X processor. This combination results in faster sensor readout and faster shooting speeds, along with a 60% reduction in rolling shutter effects, compared with the previous model. Continuous shooting speeds have been increased to 30 frames/second in electronic shutter mode.

The new DIGIC Accelerator chip assists with deep-learning processing, which helps to speed up the analysis of large volumes of data and supports the updated Dual Pixel Intelligent AF autofocusing system. (Source: Canon.)

The Dual Pixel CMOS AF autofocusing system, which has two photodiodes at each pixel site, has been upgraded to the new Dual Pixel Intelligent AF technology in an array that allows most of the sensor to be used for phase-detection AF. One outcome is significantly better subject tracking, facilitated by a new algorithm that keeps the focus on a person’s head by estimating the head area, and works even when obstacles block their face.

Users can also register and prioritise specific people with the Register People Priority mode, which will ensure the primary subject remains in focus. An innovative new Action Priority mode is programmed to identify actions unique to specific sports like Soccer, Basketball and Volleyball and move the AF point to the correct subject at the critical time to capture decisive moments.

The Action Priority AE mode matches the camera’s subject detection and tracking capabilities to a specific type of sport. (Source: Canon.)

The capabilities of the IBIS (in-built image stabiliser) system have also been boosted to a claimed 8.5 stops of shake correction.  Deep Learning technologies have also enabled in-camera image upscaling and noise reduction, as well as providing an additional quadrupling of resolution or reduced noise in-camera when using JPEG or HEIF formats.

A new, AI-powered in-camera image upscaling feature lets users select an image on a memory card and increase its resolution by up to four times to approximately 179 megapixels. This can be combined with in-camera cropping to magnify distant subjects when more resolution is needed for cropping the frame.

Also AI-powered is the in-camera de-noising function that can be applied to raw files post-capture. Both the AI modes use neural network processing, which means they work with existing data (as distinct from generative AI, which creates new data).

A new pre-shooting mode is available for stills and movie capture, with the ability to record half a second of continuous stills shots or between three and five seconds of video from when the shutter button is half-pressed to when it’s pressed right down. This mode is valuable for difficult-to-anticipate actions, ensuring few of them will be missed.

Build and Ergonomics
The EOS R5 Mark II maintains the compact and lightweight design and most of the handling characteristics of its predecessor, but its body has been modified to include cooling vents in the side and base panels to prevent the camera from over-heating while recording long bursts of stills or high-resolution/high frame rate video.  The optional CF-R20EP cooling fan can also be attached to the EOS R5 Mark II to enable even longer shooting times when filming in high quality 8K and 4K movie modes.

The new vents that provide passive cooling are outlined in red in this illustration. (Source: Canon.)

This illustration shows how adding the optional CF-R20EP cooling fan can improve the passive cooling system. (Source: Canon.)

There have also been a few changes to the controls layout, with the power on/off switch being shifted to the right hand side of the top panel and the lock button becoming a position in between them. Its place to the left of the EVF hump is taken by a two-way stills/video switch.

This illustration compares top panel layouts of the new EOS R5 II (top) and the original EOS R5 (below). (Source: Canon.)

The 5.76 million-dot EVF has the same resolution as the original EOS R5, but is now fog-resistant and boosted to roughly double the brightness of the previous model. Its eyepiece is also larger and more comfortable to use.

Upgrades to the Eye Control AF function enable sensors in the EVF to track the movement of the photographers’ eye and shift focus to another subject. The R5 II has twice the detection rate of the R5 and an increased detection range that will benefit users who wear glasses while shooting.

Canon has also adjusted the menu structure to introduce a new green tab containing the customisable controls for shooting and playback. There are four pages in this sub-menu; two of them devoted to shooting adjustments.

A new LP-E6P battery extends shooting times and powers many new features which have high processing power requirements. However, the size and shape of the battery are unchanged, which means the original LP-E6NH battery can also be used, albeit with less functionality.

Canon’s new 21-pin digital multifunction shoe provides data communication and power for a range of accessories including flashes, microphones and transmitters. The R5 II also features a full-size HDMI port to ensure wider compatibility and cable stability and is one of the first cameras to support the new and faster Wi-Fi 6E (‘ax’) protocol.

Like the original EOS R5, the R5 II has a ‘Made in Japan’ label, which is located on the base plate beside the metal-lined tripod socket.

Sensor and Image Processing
The new stacked BSI-CMOS sensor has the same 45-megapixel effective resolution as the sensor in the original EOS R5. However, the DIGIC processor now consists of two chips: the latest DIGIC X and a new DIGIC Accelerator processor, the same arrangement as used in the new EOS R1. This combination ensures the speed required to support 8K video recording at up to 60p and delivers a 60% reduction in rolling shutter effects over the previous EOS R5 model.

The new DIGIC Accelerator processor is mainly devoted to the ‘number crunching’ needed for the new AI-based functions listed in the What’s New section above. In partnership with the DIGIC X processor, it supports high-speed 20 fps continuous shooting with Servo AF and at full-resolution plus 8K DCI/UHD video recording at up to 60 fps as well as 4K DCI/UHD video at 60/50/30/25/24 fps. In addition to the regular JPEG and 14-bit CR3.RAW file formats, the R5 II includes the same 10-bit HEIF format as the R5 and also offers the compressed C-RAW, as well as Canon’s Dual Pixel RAW format and simultaneous capture of RAW+JPEG or RAW+HEIF images.
The table below shows the file sizes and buffer capacities for images captured with the default 3:2 aspect ratio.

Image format	Quality	Pixels	File size	Max. burst
				SD card	CFexpress card
JPEG	Large/Fine	8192 x 5464	13.5MB	190	350
	Large/Standard		6.8MB	260	350
	Medium/Fine	5808 x 3872	7.8MB	320	350
	Medium/Standard		4.1MB	290	350
	Small 1/Fine	4176 x 2784	4.7MB	330	150
	Small 1/Standard		2.6MB	330	350
	Small 2	2400 x 1600	1.8MB	340	350
HEIF	Large/Fine	8192 x 5464	13.4MB	190	280
	Large/Standard		10.0MB	210	330
	Medium/Fine	5808 x 3872	8.3MB	310	310
	Medium/Standard		6.3MB	350	360
	Small 1/Fine	4176 x 2784	5.1MB	340	350
	Small 1/Standard		4.0MB	360	350
	Small 2	2400 x 1600	1.8MB	340	360
RAW	Raw	8192 x 5464	45.4MB	66	180
	C-Raw		21.9MB	130	260

Video
The R5’s video recording capabilities were advanced for its time but the R5 II goes a couple of steps further, adding the ability to record video in 12 bit RAW recording internally to the memory card, instead of only to an external device. The maximum frame rate for 8K recording has been increased to 50 fps for PAL system users with bit rates up to 2600 Mbps with Light RAW compression.

Standard RAW compression restricts frame rates to 25 fps. The R5 II also features a new 4K ‘SRaw’ recording option, with frame rates up to 60p. Either way, you’ll need to use the CFexpress card since the highest resolution supported by V90 SD cards is 25 fps using the Standard LGOP compression with the XF-HEVC S YCC422 recording format.

The R5 II introduces a new Dual Shooting (Still Photos and Movies) mode that lets you record still photos (single or continuous capture) without interrupting a movie recording, which will deliver higher stills quality than regular frame grabbing. Both media slots must be loaded in order to use this mode, with the movie files going to card slot 1 and the stills to card slot 2. Movies will be recorded at Full HD (1920 x 1080) quality while stills are recorded with a resolution of 7680 x 4320 pixels and a 16:9 aspect ratio.

High frame rate movies for slow-motion playback can be recorded at up to 200 fps for playback at 25 fps. The maximum recording time is 89 minutes and 29 seconds and sound is not recorded.

The camera can also record proxy movies with a reduced resolution as outlined in the table below.

Main movie Settings		Proxy Movie Settings (set automatically)
Recording Format	Image Size	Recording Format	Image Size
XF-HEVC S YCC422 10-bit XF-HEVC S YCC420 10-bit	4096 x 2160	XF-HEVC S YCC420 10-bit	2048 x 1080
	2048 x 1080
	3840 x 2160		1920 x 1080
	1920 x 1080
XF-AVC S YCC420 8-bit XF-AVC S YCC420 8-bit	4096 x 2160	XF-AVC S YCC420 8-bit	2048 x 1080
	2048 x 1080
	3840 x 2160		1920 x 1080
	1920 x 1080
RAW	8192 x 4320	XF-AVC S YCC420 8-bit	2048 x 1080
	4096 x 2160

The addition of Custom Picture Gamma settings to the existing Canon Log and HDR PQ recording modes further extends professional recording capabilities. Options include Canon 709, BT.709 Standard, PQ and HLG as well as Canon Log 2, Canon Log 3.  The R5 II also supports Look-up tables (LUT’s).

Time-lapse capabilities are the same as for the EOS R5 and enable movies to be recorded with 8K UHD, 4K UHD or Full HD resolution and the camera will automatically match the frame rate to the video system setting (PAL or NTSC). The camera defaults to YCbCr 4:2:0 (8-bit) colour sampling and the BT.709 colour space for all recordings.

Users can set the interval timer to record across a range of 00:00:01 to 99:59:59 minutes and the number of shots to be taken between 0 and 99 as well as the number of shots to be taken in a sequence. An initial test shot can be captured to check exposure levels and selecting auto exposure enables the camera to meter the scene before each frame is recorded.

Performance
We were restricted in our testing by only having SD cards to use in the review camera, although it only affected testing of video capabilities. Using the fastest SD card in our collection, a 32GB SanDisk Extreme PRO SDHC II U3 with a rated speed of 300 MB/s, we were able to conduct our regular tests for stills and record some video footage at slower frame rates than the maximum the camera supports.

Without a CFexpress card, we weren’t able to test the Dual Capture mode (which records stills to the SD card and video to the CFexpress card. Nor were we able to record RAW video files or capture 8K video at the maximum frame rate and bit depth – although we could shoot at 25p with both the ‘cinema’ and regular frame sizes, the former recording 8198 x 4320 pixel frames with a 16:9 aspect ratio. Frame grabs are provided in the Samples section below.  Our Imatest evaluations, which were made with the RF 24-105mm f/4L IS USM lens, showed significant improvements in resolution across all ISO settings. JPEG files came close to meeting expectations for the camera’s 45-megapixel sensor with the 35mm focal length at ISO100 (the same settings as we used when testing the original EOS R5).

CR3.RAW files, which were converted into 16-bit TIFF format with Adobe Camera Raw, our preferred file converter, were well above expectations for both near centre and frame edge measurements. The results of our tests are shown in the graph of our test results below.

Imatest showed colour accuracy to be slightly better than it was with the EOS R, with similarly constrained saturation and few colour shifts. Raw files converted into TIFF format with Adobe Camera Raw had even better colour accuracy than JPEGs and close-to-natural saturation levels.

Long exposures at night plenty of detail and their colour reproduction reflected ambient lighting throughout the sensitivity range.  Noise first became visible at ISO 12800 and softening could be seen at around ISO 51200. Blocked-up shadows could be seen in exposures at the ISO 51200 and ISO 102400 settings.

As we found with the previous model, autofocusing was consistently fast and accurate when shooting both stills and video clips. Subject tracking was equally quick and efficient, particularly when we were recording video, where the camera superimposes boxes on the screen to show where the focus it positioned.

The results were quite impressive. We found focus would remain constant on the nearest face regardless of subject movement or sporadic interference as objects passed between the subject and the camera.

The built-in sensor-shift stabilisation system was also a good performer, ensuring smooth, stable clips, even in tricky lighting. Audio quality was generally good and we didn’t encounter any issues with overheating when recording movies – although most of our clips were relatively short.If anything, the video clips we recorded were better than those from the previous model, although both cameras delivered detailed movies with natural-looking colour and tonal balances. The recorded dynamic range was also a little wider in clips from the new camera.

Our timing tests were carried out with a 32GB SanDisk Extreme PRO SDHC II U3 card, which has a rated speed of 300MB/s. The review camera took less than a second to power-up ready for shooting, which is slightly better than the previous model.

Average capture lag was approximately 0.15 seconds, which was eliminated when the lens was pre-focused. It took an average of 0.12 seconds to process a single JPEG or CR3.RAW file and 0.16 seconds for a RAW+JPEG pair. Shot-to-shot times averaged 0.3 seconds, which is as fast as we could keep pressing the shutter button.

In the high-speed continuous shooting mode with the electronic shutter, the camera was able to record 146 Large/Fine JPEGs in 4.4 seconds, which is better than the specified 30 frames/second frame rate. It took 13.1 seconds to clear the buffer memory.

With the mechanical shutter, the camera recorded 124 frames in 10.1 seconds, which is close to the specified 12 fps frame rate. It took 3.2 seconds to clear the buffer memory.

We recorded similar frame rates for RAW+JPEG file capture and, as expected, processing took less than half a second longer in with each shutter type. As with the original EOS R5, With C-Raw+JPEG pairs, the camera recorded 272 frames in 4.5 seconds, a frame rate of just over 60fps in the High-speed+ continuous mode. Processing was completed in 13.2 seconds.

Conclusion

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SPECS

Image sensor: 36 x 24 mm stacked BSI CMOS sensor with million photosites (45 megapixels effective)
Image processor: DIGIC Accelerator, DIGIC X
Lens mount: RF mount; compatible with RF/RF S lenses (EF/EF S lenses with EF EOS R adapter)
Focal length crop factor:  1x
Image formats: Stills: JPEG/HEIF (10 quality levels available for each image size), CR3.RAW, C-RAW; RAW+JPEG; Movies: XF-HEVC S / XF AVC S with RAW support; HEVC – YCC422 10-bit / YCC420 10-bit; AVC – YCC422 10-bit / YCC420 8-bit
Audio: LPCM / 24bit / 4CH; AAC / 16bit / 2CH
Movie functions: High Frame Rate movies, Movie cropping, HDR, Time-lapse Pre-recording, Tally lamp, Cooling fan setting, HDMI RAW output, Dual shooting (still & movie); Focus breathing correction (movies)
Maximum recording time: 6 hours (59.94 fps or less)
Image Sizes: Stills :  Movies (PAL system):  RAW (Standard or Light) / SRAW / 8K D / 8K U / 4K D / 4K U / 2K D / Full HD; Frame rates – 236.76 / 200.00 /119.88 / 100.00 / 59.94 /50.00 / 29.97 /25.00 / 24.00 / 23.98; Compression – High Quality Intra / Standard Intra / Light Intra / Standard LGOP / Light LGOP
Aspect ratios: 4:3, 3:2, 16:9, 1:1
Image Stabilisation: Yes, IBIS plus Coordinated control; Centre: 8.5 stops, Periphery: 7.5 stops; Movie digital IS supported
Dust & weather sealing:  Yes
Shutter (speed range): Mechanical & Electronic First-curtain shutters (30 to 1/8000 seconds; Electronic shutter: 30 to 1/32,000 second; flash sync at 1/200 second with Mechanical shutter, 1/250 second with Electronic First-curtain shutter, 1/160 second with Electronic shutter in sync speed priority mode
Shutter durability rating: 500,000 cycles
Exposure Compensation: +/- EV in 1/3EV steps (+/-EV for movies)
Exposure bracketing: images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
Other bracketing options: Aperture, Focus, White Balance
Self-timer: 2 or 10 seconds delay plus 10sec, 3 images and Custom settings
Interval recording: Yes, for time-lapse
Focus system: 1053-point hybrid Dual Pixel Intelligent AF system; range -6.5EV to 21EV (movies -4.5EV to 21EV)
AF  selection: Whole area AF, Flexible Zone AF, Expand AF area, Spot AF / 1 point AF; Automatic Detection for People / Animals / Vehicles; eye detection (right/left eye);  Action priority / Register people priority
Focus modes: One Shot AF/ AI Focus AF/ Servo AF / Movie Servo AF; Case Auto / Manual modes available for Servo AF setting
Eye Control AF: Line of sight detection sensor (approx. 307,000 pixels)
Exposure metering:  6144 zones (96 x 64) multi-pattern sensing system with Multiple, Centre-weighted average, Spot and Highlight Weighted metering patterns; brightness range – -3EV to 20EV for stills, -1EV to 20EV for movies
Shooting modes: Stills – A+, Fv, P, Av, M, Tv, BULB, 3 Custom settings; Movies – A+, P, Av, M, Tv, C1 ,C2, C3
Image creation/processing modes: Picture Style, Clarity, Auto Lighting Optimiser, Highlight tone priority, Long exposure & High ISO noise reduction, Lens aberration correction (still photos/movies)
Colour space options: sRGB and Adobe RGB
ISO range: Auto (100 to 51200) with expansion to ISO 50 and 102,400 for stills; ISO 100 to 256,00 for movies plus expansion to ISO 51200 (with Custom Picture off
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
Flash: External flashguns only
Sequence shooting: Max. 12 frames/sec. with mechanical & electronic first-curtain shutters;  30 fps with Electronic shutter; blackout-free display
Buffer capacity: 760 JPEG or 230 RAW with mechanical & electronic 1st curtain shutters / 200 JPEG or 93 RAW with electronic shutter
Storage Media: Dual slots, one for CFexpress Type B and the other for SDXC/SDHC/SD (UHS II) compatible cards
Viewfinder: 0.5-inch EVF with 5,760,000 dots; 0.76x magnification, 100% frame coverage, 24 mm eyepoint, dioptre adjustment -4.0 to +2.0; 6 levels of brightness adjustments
LCD monitor: Vari-angle 3.2-inch LCD with 2,100,000 dots, 7 levels of brightness adjustments
Interface terminals: USB Type C (SuperSpeed Plus USB / USB 3.2 Gen), HDMI Type A, External microphone input terminal, Headphone terminal, Multi-function shoe
Wi-Fi function: Built-in Wi-Fi Equivalent to IEEE 802.11b/g/n/a/ac/ax; Bluetooth v5.3
Power supply: LP-E6P rechargeable Li-ion battery; CIPA rated for approx. 630 shots/charge with monitor, 340 shots/charge with EVF
Dimensions (wxhxd): Approx. 138.5 x 101.2 x 93.5 mm
Weight: Approx. 746 grams with battery and cards
Distributor: Canon Australia

 

TESTS

Based on JPEG files recorded with the RF 24-105mm f/4L IS USM lens:

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

 

SAMPLES

ISO 50, 53mm focal length, 60 second exposure at f/4.

ISO 100, 53mm focal length, 30 second exposure at f/4.

ISO 1600, 53mm focal length, 13 second exposure at f/7.1.

ISO 6400, 53mm focal length, 8 second exposure at f/10.

ISO 12800, 53mm focal length, 5 second exposure at f/11.

ISO 25600, 53mm focal length, 2.5 second exposure at f/13.

ISO 51200, 53mm focal length, 1.6 second exposure at f/13.

ISO 102400, 53mm focal length, 1.6 second exposure at f/18.

Wide dynamic range in semi-backlit JPEG shot at 24mm focal length, ISO 100, 1/200 second exposure at f/7.1.

Close-up at 105mm focal length, ISO 100, 1/400 second exposure at f/5.6.

Crop from the above image magnified to 100%.

Strong backlighting; 24mm focal length, ISO 100, 1/160 second exposure at f/7.1.

Stabilisation test; 35mm focal length, ISO 50, 1.3 second exposure at f/5.6.

ISO 51200, 35mm focal length, 1/500 second exposure at f/8.

ISO 102400, 35mm focal length, 1/1000 second exposure at f/8.

24mm focal length, ISO 400, 1/60 second exposure at f/8.

105mm focal length, ISO 200, 1/200 second exposure at f/8.

24mm focal length, ISO 100, 1/125 second exposure at f/5.6.

105mm focal length, ISO 2000, 1/125 second exposure at f/6.3.

81mm focal length, ISO 100, 1/400 second exposure at f/5.6.

80mm focal length, ISO 100, 1/125 second exposure at f/5.

Crop from the above image magnified to 100%.

70mm focal length, ISO 100, 1/100 second exposure at f/5.

105mm focal length, ISO 100, 1/125 second exposure at f/4.5.

40mm focal length, ISO 100, 1/100 second exposure at f/5.

105mm focal length, ISO 400, 1/250 second exposure at f/4.5.

33mm focal length, ISO 100, 1/200 second exposure at f/8.

Still frame from 8198 x 4320 pixel C8K video clip taken at 25p.

Still frame from 7680 x 4320 pixel UHD8K video clip taken at 25p.

Still frame from 4096 x 2160 pixel DCI 4K video clip taken at 50p.

Still frame from 3840 x 2160 pixel UHD 4K video clip taken at 50p.

Still frame from DCI 4K video clip taken with 25p.

Still frame from 1920 x 1080 pixel FHD video clip taken with 50p.

Still frame from 2048 x 1080 pixel video clip taken with 50p.

Still frame from Full HD 1080 video clip taken with 25p

The shots below were taken at a pre-launch event for the EOS R5 II and the EOS R1 cameras at URBANSURF in Sydney’s Olympic Park on 9 July, 2024.

RF 70-200mm f/2.8L IS USM lens at 200mm; 1/800 second at f/2.8.

RF 70-200mm f/2.8L IS USM lens at 200mm; 1/1000 second at f/4.5.

RF 70-200mm f/2.8L IS USM lens at 177mm; 1/1600 second at f/4.5.

RF 100-500mm f/4.5-7.1L IS USM lens at 500mm; 1/500 second at f/7.1.

Click here to view other photos taken at the event.

 

Rating

RRP: AU$6,699 (body only); $8,549 (with RF 24-105mm f/4L IS USM kit lens)

• Build: 9.0
• Features: 9.0
• Ease of use: 8.9
• Autofocusing: 9.1
• Still image quality JPEG: 9.0
• Still image quality RAW: 9.1
• Video quality: 9.1

 

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