Canon EOS R1 Review

This review page will be updated when the Canon EOS R1 arrives, but here are my expectations based on hands-on experience with this camera.

I strongly advise preordering this camera immediately if you have even a remote interest in it. The R1 is in extremely high demand, and I expect preorders to long consume supply. Orders are easy to cancel, but lines are not easy to get to the front of.

Important: Using the links on this site to place your order provides important support. Thanks in advance for that!

Canon 1-Series bodies have long represented the pinnacle of camera performance, featuring impressive speed, fast and precise autofocusing, ultimate control, dependable reliability, and outstanding communications capabilities. Still, few 1-series cameras delivered an upgrade as huge as the R1.

The R1's 1-series predecessor is the highly-competent Canon EOS-1D X Mark III. Introduced in 2020, that camera now seems ancient, especially its autofocus capabilities.

The Canon EOS-1D X Mark II was introduced in 2016 and the 1D X in 2012. The year-based math leaves little surprise that a new ultimate, best-ever Canon EOS-1 camera would be announced in 2024, despite many of us considering it long overdue, expecting it to show up years ago.

Since 1989, Canon EOS-1 cameras have been a primary choice for professionals photographing demanding events, including the Olympics and many other events of similar media importance, and 2024 again corresponds to a planned Summer Olympics year, an ideal venue to deploy what is arguably the most advanced interchangeable lens camera ever produced.

Like its predecessors at their introductions, the R1 promises to be the best sports, action, media, and wildlife camera Canon has ever introduced. Professionals upgrading from the 1D X III will need some acclimation to fully implement the R1's capabilities, but little acclimation is needed to far exceed the prior camera's performance.

The predecessor's name held some history, so let's briefly review it: In competition, "1" is always the position you want, and the single digit "1" represents the top of the line, the best available. For only 1-Series DSLR cameras, a "-" went between EOS and the "1". The "D" refers to "Digital" (yes, there were 1-Series film SLR cameras). The "X" represented a "crossover" that took place, representing the merging of the 1D with a 1.3x sensor and the full frame 1Ds product lines. The "X" also initially represented the Roman numeral 10, representing the 10th generation of Canon pro cameras — starting with the F1 of the 70s. While the latter representation no longer worked (the succeeding camera was not called the "XI"), the eXtreme reference remained valid. The naming approach Canon often gives to a new version of an existing higher-end model line camera is to add a Mark number, a "Mark III" in this case.

That was the 1D X III. The R1 name goes short and sweet. The "R" references Canon's "Reimagine optical excellence" development concept and their mirrorless interchangeable lens cameras, and "1" represents the flagship model, the best available.

Note that simultaneously announced R1 and R5 Mark II share many features, as will their reviews.

Let's look at the R1 features list:

Summary of Canon EOS R1 Features

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• New 24-megapixel backside illuminated (BSI) full-frame Canon CMOS imaging sensor
• 40 fps full-bit depth (14) lossless compressed RAW frames per second with full AF and AE and electronic shutter
• Exceptionally fast 2.7 ms imaging sensor readout speed
• Pre-continuous shooting with individual files saved without delay
• 12 fps with mechanical shutter
• DIGIC X plus DIGIC Accelerator processors for exceptionally fast and intelligent AF and AE calculations
• ISO 100-102400 standard range, expandable down to 50, up to 409600
• Up to 1/64000 shutter speed
• Improved Eye Control AF. For fast AF point positioning, select the initial area for AF tracking by looking at the to-be-focused-on subject (only during still image capture). With Servo AF activated, the camera will focus on and track moving subjects at that location in the frame. When Subject Tracking is active, the camera will continue to follow moving subjects around the entire active AF area.
• AF at EV -7.5 (extremely dark)
• In-body image stabilizer provides up to 8.5 stops of shake correction
• Smart Controllers that include half- and full-press functionality
• Impressively bright, blackout-free 0.5" EVF, with 9.44 million dots, 0.90x magnification, and 100% view.
• Up to 6k DCI (full width) 60p RAW, 4k DCI 120p MP4, 2k DCI 240p
• Canon LOG 2, LOG 3
• Simultaneous proxy recording
• Pre-recording (3 or 5 seconds)
• Movie digital IS coordinated control
• False color, zebras, tally lamp
• XF-HEVC S and XF-AVC S with up to 4:2:2 10-bit
• HDMI Type-A and HDMI RAW output
• Integrated workflow with Cinema EOS, RAW/MP4
• Anti-flicker along with High-Frequency Anti-Flicker shooting that evaluates the scene and precisely adjusts the shutter speed to avoid banding and flicker, including from LED signage
• Speedlite shooting with electronic shutter supported
• Dual CFexpress type B memory card slots
• Neural Network upscaling (2x larger in both dimensions to 96 megapixels) and noise reduction processing in camera
• Next-generation multi-function shoe capable of data communication and power delivery supporting new accessories
• Extensive range of professionally required communications capabilities, including 802.11ax Wi-Fi 6E and 6 (6, 5, and 2.4 GHz), 2.5G Base-T wired LAN support, and Bluetooth 5.3
• Integrated vertical grip
• Superior dust and weather resistance, impressive durability, and exceptional control
• RF Lens Mount, Compatible with EF/EF-S/TS-E/MP-E Lenses with Adapter
• LP-E19 battery pack

While the RF mount specification may seem trivial (all interchangeable lens cameras have a mount), this mount is especially exciting to the lens engineers. The RF mount retains the large 54mm inner diameter advantage of the EF mount (for reference, the Nikon Z mount has a similar 55mm diameter, the Nikon F-mount is only 44mm, the Canon EF-M mount is 47mm, and the Sony E mount is 46.1mm), maintaining the rigidity, durability, strength, and ultra-wide aperture support a large-diameter mount provides while reducing the flange back distance (distance from the back of the lens's mount to the imaging sensor) from 44mm to 20mm.

The RF mount supports optical designs that are potentially smaller than possible with the EF mount and often include large-diameter rear-positioned elements that can feature a reduced angle of light rays in the image circle periphery. Bending light to a lesser degree can improve image quality, including better-corrected aberrations. The larger rear-element design of RF lenses also lends to a comfortable shape and weight balance. Improved camera-lens communication also increases performance, including instant feedback for enhanced in-lens image stabilization.

The lens is critical to the camera's overall performance, and Canon's RF lenses are impressive — reason alone to buy into the Canon EOS R-series cameras. Canon lens engineers remain excited about the performance the RF mount offers to them, and I was again told to expect great features and performance still to come.

A big reason to choose an RF-mount camera is that Canon has not introduced a new EF, EF-S, or EF-M lens in years.

Sensor and Image Quality

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The R1 gets a new 24-megapixel backside illuminated (BSI) imaging sensor.

Model	FOVCF	Sensor	Pixel Size	Pixels/Megapixels		DLA*
Canon EOS-1D X Mark III	1.0x	36.0 x 24.0mm	6.6µm	5472 x 3648	20.1	f/10.6
Canon EOS R1	1.0x	36.0 x 24.0mm	6.00µm	6000 x 4000	24.2	f/9.7
Canon EOS R3	1.0x	36.0 x 24.0mm	6.00µm	6000 x 4000	24.1	f/9.7
Canon EOS R5 Mark II	1.0x	36.0 x 24.0mm	4.39µm	8192 x 5464	45.0	f/7.1
Canon EOS R5	1.0x	36.0 x 24.0mm	4.39µm	8192 x 5464	45.0	f/7.1
Canon EOS R6 Mark II	1.0x	36.0 x 24.0mm	6.00µm	6000 x 4000	24.2	f/9.6
Canon EOS R7	1.6x	22.3 x 14.9mm	3.20µm	6960 x 4640	32.5	f/5.2
Canon EOS R8	1.0x	36.0 x 24.0mm	6.00µm	6000 x 4000	24.2	f/9.7
Canon EOS R10	1.6x	22.3 x 14.9mm	3.72µm	6000 x 4000	24.2	f/6.0
Sony a1	1.0x	35.9 x 24.0mm	4.2µm	8640 x 5760	50.1	f/6.7
Sony a9 III	1.0x	35.6 x 23.8mm	5.9µm	6000 x 4000	24.6	f/9.6
Sony a7R V	1.0x	35.7 x 23.8mm	3.76µm	9504 x 6336	61.0	f/6.1
Sony a7 IV	1.0x	35.9 x 23.9mm	5.1µm	7008 x 4672	33.0	f/8.2

The R1 has 24.2-megapixel resolution, about the same as the R3. While this resolution is not remarkable, relatively low for full-frame cameras and about the same as provided by many APS-C models, it is often sufficient for professional photographers' needs, including for full-page and double-page magazine spreads. It is also a nice upgrade from the 1D X Mark III's 20.1 megapixel resolution, and 24 MPs is higher than the 1Ds Mark III and 5D Mark III cameras I was so happy with for many years.

Remember that the full-frame format imaging sensor size is a big deal.

With equivalent technology, the larger the sensor, the more light captured and the lower the noise levels in the comparable final image. The larger image circle requires a longer focal length for the same composition, and the longer focal length creates a differentiatingly stronger background blur that isolates subjects, making them stand out from a non-distracting background.

A modest resolution enables other features that are sometimes more important, including this camera's high frame rate, extremely fast imaging sensor readout speed and low pixel level noise.

Here is the Canon EOS R1 test image. That link is preloaded with a comparison against the Canon EOS R3. Yes, the lenses are different, with the R3 tested behind the Canon RF 70-200mm F2.8 L IS USM Lens. However, both lenses produce outstanding image quality and are essentially distortion-free at the tested focal lengths. The R1 and R3 resolution is the same, as expected.

A higher resolution image sensor shows its advantage in this test, and the The comparison against the R5 Mark II shows this.

The R3 has a normal ISO range of 100-102400 in 1/3 and 1/2 stop increments, with extended ISO 50 (L), 204800 (H1), and 409600 (H2) available. The marketing department is always quick to state a camera's ISO range, but ... the usable settings within that range are what really matter, and I immediately dismiss the highest settings as having an unacceptable SNR (Signal-to-Noise Ratio).

The following ISO noise sample images were captured with the R1 using late preproduction firmware at a Canon media event. The smoothly colored ColorChecker patches rendered out of focus combined with no noise reduction processing (a key point) makes noise especially noticeable compared to detailed scenes that better hide noise levels. Noise reduction processing can significantly improve upon the noise level seen in these images, but noise reduction can be applied to images from every camera, reducing its differentiation. The Canon RAW-captured noise test images below were processed in Canon Digital Photo Professional (DPP) with the Standard Picture Style and Sharpness = "1" (0-10 scale).

Load Comparison Images

The low noise performance from this imaging sensor is outstanding, as expected from a modern, high-resolution, full-frame, BSI imaging sensor. As the ISO setting increases from 100 to 1600, noise levels increase slowly, from negligible to slightly noticeable but still low. At ISO 3200 through ISO 6400, noise levels become more obvious though images retain a high quality at these settings, especially with noise reduction applied. By ISO 12800, noise becomes an image quality detriment, and by ISO 25600, the noise is strong. ISO 51200 through 102400 results look bad unless significantly downsized, and ISO 204800 and 409600 results look terrible.

The Kodak color block test chart is a rather boring subject that I photograph for hours during each camera test. Sensor technology improvements (including onboard circuitry) implemented by sensors seldom show up on a specification chart, but they do show up in pictures of a color block chart.

The smoothly colored Kodak color patches test chart subject combined with, unless otherwise specified, no noise reduction processing (a key point) makes noise especially noticeable compared to detailed scenes that better hide noise levels. Noise reduction processing can improve upon the noise level seen in these images, but noise reduction can be applied to images from every camera, reducing its differentiation. So, avoiding noise reduction in the comparison levels the playing field. The Canon RAW-captured noise test images were processed in Canon Digital Photo Professional (DPP) with the Standard Picture Style and Sharpness = "1" (0-10 scale).

When using the comparison feature of the site's camera noise tool, let your eyes discern the results. The even colors found in these test charts make noise readily apparent relative to most real-life subjects as detail in a scene will far better hide the noise. If you can't easily see the difference in a comparison, it is unlikely that you will recognize it in real-world results.

Comparing same-size imaging sensors, the lower the resolution, the larger the photosites. Larger pixel wells can collect photons at a higher rate than smaller ones (like a larger bucket in the rain), generating a higher SNR (Signal to Noise Ratio) that results in lower noise levels. Therefore, do not expect pixel-level noise performance from an ultra-high-resolution imaging sensor to match that from a similar generation low-resolution imaging sensor.

That said, the final output size is what matters in the real world. To make a Canon EOS R1 vs. Canon EOS R5 Mark II comparison relevant, the R5 image (oversampled in this case) must be reduced to the R1's pixel dimensions. When images from the R5 II are processed to the R1's 6000 x 4000 pixel dimensions using DPP, the R1 noise levels appear similar to the R5 II noise levels.

Many "Exposed * EV" result sets are provided in the noise tool. These images were intentionally over or underexposed at capture and adjusted to the standard brightness during post-processing. These results reflect an incorrect exposure during capture.

In general, underexposing an image results in increased noise in the adjusted image, and shadow details may be lost. The risk of overexposing an image is that highlight detail can be lost.

The EOS R1 results show that underexposing by 3 stops results in very little noise penalty vs. using the correct 3-stop-higher ISO setting for the capture, even at high ISO settings.

Overexposing an image can have a positive effect on noise levels until highlights become clipped, and then overall image quality suffers significantly. In the +2 EV ISO 50 results, we see this extended setting's lower dynamic range (exposure latitude) exceeded in some channels. Most other ISO settings have minor consequences at +2 EV. At +3 EV, ISO 100 highlight clipping is apparent.

More is always better in terms of dynamic range, but Canon's imaging sensors have long provided sufficient headroom for most needs.

The 1st curtain electronic vs. electronic shutter comparison shows no meaningful difference, even at high ISO settings. At a corrected -3 EV exposure, 1st curtain electronic vs. electronic shutter may shows that the 1st curtain shutter may have a slight noise advantage, but the image processed to slightly darker, and I don't see a difference at a corrected -2 EV exposure. At a corrected +3 EV exposure, 1st curtain electronic vs. electronic shutter shows no meaningful difference.

The R1 features Canon's formerly only-subscription-accessible Neural Network upscaling and noise reduction processing in the camera. Output HEIF or JPG images that are 2x larger in both dimensions (96 megapixels) and utilize higher quality noise reduction processing, with cropping available.

The R1 delivers outstanding image quality, including low noise levels and excellent dynamic range. If 24 megapixels are adequate for your needs, this camera delivers the image quality you need.

In-Body Image Stabilization (IBIS)

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The R1 features a 5-axis IBIS rated up to 8.5 (7.5 in the periphery), and the large image circle provided by the RF mount enhances this system's capabilities.

For a long time, a high percentage of Canon lenses have included in-lens optical image stabilization, and Canon indicated that in-lens stabilization is superior in performance compared to in-camera correction. That is especially the case at the telephoto end of the focal length spectrum, but especially on the wide-angle end, in-camera stabilization can be quite effective. Also, in-lens IS cannot account for camera rotation.

What is better than one or the other? Both.

The R1 in-body image stabilization features coordinated control from the camera and lens. Gyro (angular velocity) and acceleration sensors in the lens and gyro (angular velocity), acceleration, and imaging (movement vector) sensors in the camera communicate via the lens CPU and the DIGIC X and DIGIC Accelerator processors to perfect the optical correction applied. Especially in the normal focal length range, the coordinated control is quite effective, and the impact of up to 8.5 stops of shake correction on your images can be dramatic for both stills and video.

Another important image stabilization benefit is improved AF precision. If the camera's AF system sees a stabilized image, its performance can improve.

In-lens and in-body image stabilization are both on or off. The IS switch on an image-stabilized lens also controls the IBIS function. When using non-IS lenses, camera settings permit IBIS to be always on, like Mode 1 found on all Canon image-stabilized lenses or only on for the shot, similar to Mode 3 found on some Canon lenses. Adapted EF and EF-S lenses are supported, and IBIS adds huge value to non-stabilized lenses.

Note that the IBIS adds a rattling sound (and slight feel) to the camera when powered off (don't worry about this) and a very slight hum when powered on. I recommend turning IS/IBIS off when tripod-mounting the R1 with most lenses, primarily due to the framing drifting that occurs. Mode III IS, when available, avoids this problem. Powering off the camera (or opening the memory card door) parks/resets the IS/IBIS, and the scene framing can change slightly when the camera is powered on.

The extreme capabilities of this IBIS system are game-changing, requiring a new mindset for a photographer migrating from a non-IBIS camera.

File Size and Media

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A benefit of lower resolution is smaller file size.

As first seen in the Canon EOS-1D X Mark III, the Canon EOS R1 solves data transfer bottlenecks by using durable, pin-less CFexpress type B memory cards. CFexpress 2.0 and VPG400 are supported.

Increased performance and capabilities brought by new technology sometimes have collateral costs. However, the prices of CFexpress type B cards have dropped significantly.

With dual card slots available, files can be written to both cards simultaneously (for redundancy or separate file or file type formats) or sequentially (for increased capacity).

Buy numerous high-capacity cards and rotate their use, avoiding re-use until all image files are adequately backed up, including off-site. Replace your old cards to reduce failure rates.

The EOS R1 supports the C-RAW file format, compressed RAW with lossy compression rather than the normally compressed RAW with non-lossy compression. C-RAW provides full RAW file processing support, along with an approximately 40% file size reduction over Canon's already efficient RAW file format size, significantly impacting memory card and hard disk storage capacity requirements and data transfer times. See Should I Use Canon's C-RAW Image File Format? for more information.

The RAW vs. C-RAW image quality difference Canon has shared with me is that the C-RAW file format may potentially show more noise in shadows when increasing brightness during post-processing. I processed Canon EOS R3 standard RAW and CRAW images with a +3 EV setting, pushing the exposure by three stops. Even at high ISO settings, it is challenging (impossible?) to find a difference in this comparison, and even darker subjects than those shared from the same test images showed no discernable disadvantage to the C-RAW format.

You will struggle to see any difference in your C-RAW vs. RAW results in a very high percentage of uses. I've asked Canon to provide a C-RAW output option in Canon Digital Photo Professional (DPP), allowing the photographer to later determine which archive format to select. This option would enable mass compression of entire archives, saving considerable amounts of disk space.

Frame Rate, Buffer Depth, Shutter

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The R1 is an exceptionally fast camera in many respects, and it excels in the most demanding scenarios, including high-level action sports and wildlife photography. This camera can capture up to 40 full bit depth (14) lossless compressed RAW frames per second with full AF and AE and a blackout-free viewfinder while using the electronic shutter with an imaging sensor readout speed equal to mechanical shutter performance.

Not only do the AE and AF systems require scene visibility, but your eyes also do. Keeping a moving subject (most still subjects do not require a fast frame rate) in the frame is incredibly important, and the R1's huge, ultra-high resolution, fast, and blackout-free EVF is remarkable and differentiating.

Always daunting is selecting the best images from a shoot involving significant use of the 40 fps capability. A one-minute duration of 40 fps shutter release pressed creates 2,400 images (40 frames x 60 seconds).

Sometimes, the difference between an average image and a great one is separated by milliseconds.

Qualifying the peak moment statement, the 40-fps frame rate nearly ensures that the perfect frame is on the card if you had the shutter release pressed. However, pressing the shutter release early enough and holding it long enough takes us back to the massive number of files problem. Hindsight is often perfect, and the R1 lets you capture peak action images after the peak moment is past.

It's called pre-continuous shooting, and this feature is game-changing. With pre-continuous shooting set to enabled, hold the shutter release halfway down while tracking the subject and fully press the shutter release when the peak action occurs. Your press will be slightly late due to response time, but the pre-continuous shooting feature collects up to 15 frames from immediately before the full shutter release press and continues to shoot until you release or the buffer fills.

It has never been easier to photograph a bird taking flight, a lightning strike, a ball leaving a bat, hand, or foot, and many other time-critical images, including the strike of a little green heron (R5 II example).

This feature is simple to use, with Enabled or Disabled the only options. Unlike the pre-shooting feature in the EOS R6 II, R7, and R10, the R1 and R5 II's pre-continuous shooting mode stores the individual image files, including RAW format if selected, to the card, eliminating the after capture delay and making image selection considerably easier. The half-press duration appears unlimited — I half-pressed the R5 II's shutter release for over 5 minutes.

With this camera clearing most of the electronic shutter hurdles, including rolling shutter, 14-bit capture, and flash incompatibility, I'll seldom use the mechanical and electronic 1st-curtain shutter options that remain available. Like the R3, R5, and R5 II, the R1's max mechanical shutter rate is 12 fps. Multiple continuous shooting frame rate options are available for each shutter type, and as I requested in the R3 review, the rates for H+, H, M, and L are now menu adjustable to 40, 30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps.

When the boundaries are moved, there may be collateral damage. The date and time-based file naming scheme programmed into my raw file import software adds a letter to files with a duplicate capture second. 40 is more than 26, and the import routine runs out of letters before ingesting a full second of 40 fps capture (a counter based on the day appended to the name solved that problem).

An R1 feature designed to assist in the optimal image selection process is blur and out-of-focus image detection. Enable this feature, and quickly determine which images (JPG or HEIF only) have the desired sharpness while reviewing them.

Here is a comparative look at max frame rates and buffer capacities.

Model	FPS	Max JPG	Max RAW	Shutter Lag	VF Blackout
Canon EOS-1D X Mark III	16/20	>1000	>1000	29-55ms	n/a
Canon EOS R1	12/40	500	230		0ms
Canon EOS R3	12/30	540	150	20-76ms	0ms
Canon EOS R5 Mark II	12/30	760/200	230/93		0ms
Canon EOS R5	12/20	350	87/180	50ms	n/a
Canon EOS R6 Mark II	12/40	1,000+	110	50-84ms	n/a
Canon EOS R7	15/30	224/126	51/42	50-99ms	n/a
Canon EOS R8	6/40	1000+/120	1000+/56
Canon EOS R10	15/23	460/70	29/21	50-100ms	n/a
Sony a1	10/30	400	238	20-42ms	0ms
Sony a9 III	120		106	20ms	0ms
Sony a7R V	10	1000+	583		n/a
Sony a7 IV	10	Full	1,000+

The 230 RAW image rating means this camera will continuously shoot at 40 fps for 3.75 seconds, a signficant amount of time. I did not encounter buffer full issues while shooting futsal and basketball using a Lexar 1TB Silver Series CFexpress Card and writing to the card was fast.

A visual example is always beneficial for understanding the speed of a specific frame rate. Drag your mouse over the labels under the following image to see one second of the 40 fps rate.

Load Comparison Images

Your favorite moment of peak action was likely on the card.

Backing up this camera's fast frame rate is the back-illuminated stacked CMOS imaging sensor designed by Canon, featuring high-speed read-out with exceptionally low rolling shutter.

A significant electronic shutter advantage is its silence. This makes it ideal for use during quiet events such as weddings, when photographing skittish wildlife, and any time audio is recorded. The electronic shutter involves no moving parts, making shutter vibration (and failure) impossible.

The downsides of an electronic shutter are primarily related to the line-by-line reading of the imaging sensor. Fast side-to-side subject or camera movement can result in an angular-shifted image with vertically straight lines becoming noticeably slanted (with the camera in horizontal orientation). The second curtain of a mechanical shutter chasing the first curtain can produce the same effect. Still, the difference between mechanical shutter (including with electronic first curtain shutter) and electronic shutter performance in this regard has historically been big.

Certain light pulsing can influence electronic shutter-captured results, potentially resulting in banding. Also, defocused highlight bokeh circles can become clipped when using an electronic shutter.

The R1's electronic shutter impressively tested at a disadvantage eliminating mere 2.7 ms, slightly faster than the mechanical shutter.

Model (times in ms)	Electronic	1st Curtain Mechanical
Canon EOS R1	2.7	3.2
Canon EOS R3	4.8	3.2
Canon EOS R5 Mark II	6.3	3.4
Canon EOS R5	16.3	3.5
Canon EOS R6 Mark II	14.5	3.4
Canon EOS R7	29.2	2.4
Canon EOS R8	14.5	3.4
Sony Alpha 1	3.8	2.4
Sony a9 III	0	0
Sony Alpha 7R V	99.3	3.5
Sony Alpha 7 IV	66.5	3.5

The R1 features anti-flicker shooting, including with the electronic shutter. This mode can reduce the experienced fps, primarily due to the shutter release being timed for peak light.

Migrated from the R3 is HF (High Frequency) anti-flicker shooting, the ability to evaluate the flicker in the scene and adjust the shutter speed to an exact exposure duration. For example, the R3 evaluated a light source to have 341.0 Hz flicker and adjusted the shutter speed to 1/339.3. Alternatively, manually selecting a speed is an option. HF anti-flicker shooting can be a game-changer, especially for eliminating banding on LED signs, including during movie capture. Frame rates are also significantly impacted when HF anti-flicker shooting is enabled.

Flash is supported with electronic shutter and continuous shooting.

I'll rarely use the R1's mechanical shutter.

With the full electronic shutter in use, the R5 II features shutter speeds up to 1/64000 second in 1/3 or 1/2 stop increments. It is also notable is that exposures as long as 30 seconds are available with the full electronic shutter.

With the mechanical shutter involved, either first and second curtain or second curtain only, the shutter speed range is 30-1/8000 in 1/3 or 1/2 stop increments.

Flash X-sync speeds are:

Mechanical Shutter: 1/200 sec.
Elec. 1st-curtain: 1/320 sec.
Electronic shutter: 1/400 sec. (though 1/320 sec. has also been listed)

With the electronic shutter selected, high-speed continuous shooting speeds of up to 15 fps are supported with flash, including metering between shots, or up to 20 fps with first-shot metering only.

Bulb and interval timers are provided.

Autofocus

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If the subject is not in focus, the best camera and lens image quality in the world will not save that image. Autofocus accuracy is critically important for most photographers, and AF performance is especially challenged when the subject is in motion. Canon's latest cameras feature outstanding AF performance, including incredible subject tracking and eye detection in conjunction with fast frame rates, making what used to be a trophy shot into a routine occurrence.

With the latest Dual Pixel Intelligent AF system, the photographer is freed to focus on composition and timing, letting the camera handle AF. The R5 II and R1's new DIGIC X and DIGIC Accelerator processor combination utilizes the fast backside illuminated (BSI) imaging sensor to determine AF (and AE) at a not-before-seen level of performance. Moving beyond body, head, and eye information, torso and upper body, joint angle and position, head area, non-primary subject people, action, and ball information can now be utilized, along with deep learning, for AF (and AE) calculation consideration, making this the stickiest Canon AF system ever.

Utilizing the additional AF information, including joint and ball information, is the Action Priority menu setting. Initially supported actions are:

• Soccer (football) (shoot, header, short pass, long pass, dribble, clear, place kick, save by keeper, throw-in, slide tackle)
• Basketball (shoot, rebound, passing, dribble, free throws, jump ball)
• Volleyball (spike, toss, receive, serve)

That list is a good start, and it seems reasonable to expect it to grow.

Not only can this AF system recognize a face, it can recognize a specific face. Take a picture of a person's face or of a picture of them, such as on a computer screen, and register it, along with up to 9 others, to the prioritized face list. Then, sort the faces by priority. The camera will identify the highest prioritized person in the frame to focus on. Save up to 10 sets of faces to a memory card for later recall. A prominent use of this feature will be for multi-player sports, including with remote cameras.

In Canon's most recent AF systems (and still available in the R1), People, Animals, or Vehicles can be specified. Canon's response to my questioning why we had to select one (and remember to change it when necessary) was that the algorithm processing required this parameter for performance reasons. My questioning of the need for this setting was also answered with the R6 II's Auto option that migrated to the R1. Now, the camera can determine which subject type is in the frame. Options are Auto, People, Animals, Vehicles, or None

The EOS R1's Dual Pixel CMOS AF system features Spot AF (AF can be selected from all 4897 available positions for stills, 4067 for Movies), 1-point AF, AF point Expansion 4 points (up, down, left, right), AF point Expansion surrounding (all surrounding points), Flexible Zone AF 1-3, Whole Area AF (entire focusing area with 1053 maximum focusing zones), and Whole area tracking OFF (Spot AF, 1-point AF, Expand AF area: Above/below/left/right, Expand AF area: Around). Note that, when enabled, subject tracking in Servo AF mode will take over the AF point selection once the subject is established. Turn off tracking to lock AF to the selected point or area.

AF coverage is up to approx. 100% x 100% of the frame, though coverage can vary depending on the lens used. Generally, only narrow aperture lenses and lens plus extender combinations cause reduced coverage. Those coming from a DSLR will find the ability to maintain continuous focus with a point in the periphery of the image to be game-changing.

With this camera's extreme number of focus points, moving between individual focus points becomes challenging, with significant repetitive button pressing or holding. Fortunately, this camera has multiple excellent AF area selection options.

The joystick multi-controller, nearly ubiquitous on pro-grade cameras, is an easy-to-use option provided on the R1. This controller is Canon's responsive 8-way type. It works great, but it does not avoid the pressing or holding needed for more significant AF area changes.

The Smart Controllers built into the AF-ON buttons were awesome new 1D X Mark III AF features. The R3 was the next EOS camera to get Smart Controllers; now the R1 has them.

Easily thumb accessible, the Smart Controllers optically detect lateral finger movement sliding over them, and the selected focus point or area changes accordingly. These controllers are exceptionally useful, and especially valuable is pressing the AF-ON button while moving the focus point, a feature that previously required two right thumbs. The only Smart Controller downside I encountered was inadvertently moving the AF point because my thumb came contacted the Smart Controller.

When using the EVF, the Smart Controllers are available and functional while the shutter release is not pressed, is half-pressed, or is fully pressed, and when the AF-ON button is not pressed or pressed with subject tracking disabled. When shooting action in AI Servo mode and using a continuous frame rate, the right thumb can be adjusting the focus point as the action unfolds.

The Smart controllers are useful, including with gloves on (tighter gloves are easier to use than loose-fitting gloves). When the Smart Controllers arrived, all my other cameras suddenly lacked an important feature.

The Smart Controllers make panning around a zoomed-in image super easy during playback.

New with the R1 is the Smart Controller half-press detection for additional control. For example, half-press to start metering and AF. If the camera selects the wrong subject, fully press to switch to the subject you are looking at via eye control, up for discussion next.

A great Canon EOS focus point selection feature originally introduced on the EOS M5 is the tap, touch, and drag AF touchscreen interface. That feature has been included in all EOS mirrorless interchangeable lens cameras since — that is, until the EOS R3 and now the R1. Apparently, Canon thought you had sufficient AF area positioning tools available, with the Smart Controllers providing similar functionality.

Remember the Canon EOS-3 film camera with the eye-controlled AF? That feature was vastly improved and included in the R3. The next iteration of Eye Control AF is back, with redesigned optics and an improved algorithm increasing the detection rate by about 2x that of the R3. Do you want the camera to figure out which subject to focus on? Just look at it.

The R1's Eye Control AF allows the photographer to position the AF point or area at the speed of look. Look at the subject, and the AF selection is there, with no buttons to press or touchpad to slide across.

Eye Control AF utilizes infrared LEDs in the EVF (notice the enlarged viewfinder size surrounding the viewing area) to track the eye position (with or without eyeglasses) to determine where the photographer is looking and positions the AF point to that position. It works in conjunction with subject tracking, and very fast changing between subjects is possible.

Eye Control AF requires calibration for each user's eyes, with and without glasses and contacts, and the more calibration refinements performed (a quick and easy guided procedure involving looking at small targets in the EVF while pressing the M-Fn button), the better Eye Control AF performance will be. Registrations in vertical and horizontal orientation, with different lighting, with different head/eye positions, with or without glasses, contacts, no corrective lenses, etc.

Due to physiology differences, Eye Control performance varies. A late-night calibration on one camera and a bus ride configuration on another gave me good enough performance for excellent results. Light blue eyes may be a calibration and recognition detriment for me, but the Eye Control indicator consistently landed close enough to my subject for subject detection to extremely consistently focus accurately. There is no faster way to manually position an AF area than Eye Control AF.

Named registrations can be saved, and significant customization is available.

While this camera provides many focus area selection options, subject detection technology performs so well that I don't use manual AF area selection nearly as frequently as in the past.

The R1 can AF at EV -7.5 – 21 (at 23°C & ISO100), making it Canon's best-rated low-light focusing camera, equal to the R5 II and R3's capabilities. EV -7.5 is crazy dark. The video AF rating is EV – 5.5 to 21, which is still a remarkable range.

Located on the camera's right side is a bright LED focus assist lamp that extends AF capabilities into complete darkness within its very good range. The focus assist lamp typically clears the hands holding the camera, a notable feature because some camera models have a left-side AF assist lamp that shines directly into the left hand when using a normal shooting position. As a lens hood can partially block this light, hood removal is sometimes optimal depending on the focus point selected and the amount of reflected assist light available for the selected point.

The R1 focuses extremely fast, and this advanced AF system is suitable for practically all pursuits. Don't expect this AF system to aid with image culling. The 3,000 R1 images (and over 5,000 AF system sharing R5 II images) of soccer (futsal) and basketball action were nearly all in sharp focus. I primarily selected the best-timed images using thumbnails.

When the subject with the ball crossed behind the net, AF stayed on its guy.

Putting the ball in the goal is the goal. Thus, players and strikers especially tend to face the goal during play. A position as close to the goal as possible is optimal to capture their faces, but closer to the goal also means increased likelihood of being hit by a ball with concussion-grade speed. With this camera, you can easily photograph the gameplay through the net.

The camera (the R5 II in this case) impressively pulled off this capture every time.

For those choosing between Sony and Canon MILCs, note that the Canon does not defocus the lens before focusing in One Shot AF mode. Especially because of this design difference, Canon's One Shot AF lock time is faster than that of the current Sony camera models.

Until now, all review-time-current sensor-based Canon EOS AF systems have not provided cross-sensitive AF point technology. As a result, these cameras occasionaly struggle to focus on only perfectly horizontally oriented lines of contrast. The R1 is the first to have cross-type AF points, and this capability is the primary differentiator from the R5 II's AF system.

Canon's AF Case settings are provided. AF Case A (Auto) is the default, instructing the camera to analyze the scene and optimize the settings in real time, and M is the alternative. AF tracking sensitivity and acceleration/deceleration tracking can be adjusted, enabling autofocus performance to be tuned to your needs. This AF system performs superbly in the Auto setting for most uses, leaving another challenging setup to the camera's judgment.

Focus bracketing is available.

This camera's AF-related settings can be saved and recalled.

Movies

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Here is a subset of the R1's video features, more closely aligned with Cinema EOS than ever:

• 6k DCI 60p RAW full sensor with in-camera recording
• 4k DCI 120p MP4 full sensor (oversampled)
• 2k DCI 240p MP4 full sensor (oversampled)
• Full HD 240p MP4 near full sensor
• cropped formats are available

Movie types are:
MP4 Video: 4K DCI/ UHD (17:9 / 16:9), Full HD (16:9)
4K/ Full HD: HEVC S/H.265, Audio: Linear PCM / AAC
4K/ Full HD: MPEG-4 AVC S/H.264, Audio: Linear PCM / AAC
6K RAW: 12-bit CRM Audio: Linear PCM / AAC

Movie sizes are:
6K DCI (17:9) 6000 x 3164 (59.94, 50, 29.97, 25, 24, 23.98 fps) RAW, Light RAW
4K DCI (17:9) 4096 x 2160 (59.94, 50, 29.97, 25, 24, 23.98 fps) LGOP / High Quality intra frame / intra frame / light intra frame
4K UHD (16:9) 3840 x 2160 (119.88, 100, 59.94, 50, 29.97, 25, 23.98 fps) LGOP / High Quality intra frame / intra frame / light intra frame
2K DCI (17:9) 2048 x 1080 (239.76, 200, 119.88, 100, 59.94, 50, 29.97, 25, 24, 23.98 fps) LGOP / intra frame
Full HD (16:9) 1920 x 1080 (239.76, 200, 119.88, 100, 59.94, 50, 29.97, 25, 23.98 fps) LGOP / intra frame

Proxy recording:
XF-AVC S YCC420 8bit 2K-DCI or Full HD (same angle of view and frame rate up to 100fps as main movie) Standard LGOP / Light LGOP
XF-HEVC S YCC420 10bit 2K-DCI or Full HD (same angle of view and frame rate up to 100fps as main movie) Standard LGOP / Light LGOP

Color sampling (internal recording):
6K RAW 12bit, 4K/2K/Full HD - YCbCr4:2:0 8-bit or YCbCr4:2:2 10bit

Canon Log:
Custom Picture: C1: Canon 709
C2: Canon Log 2
C3: Canon Log 3
C4: PQ
C5: HLG
C6: BT.709 Standard
C7 - C20: User Defined

The movie recording max duration is 6 hours (excluding High Frame Rate movies), with no 4 GB file limit with an exFAT formatted card.

High frame rate movies:
MP4 Video:
4K – DCI 4096x2160 / UHD 3840x2160 at 119.9 / 100 fps
Full HD 1920 x1080 at 239.76 / 200fps

Microphone:
Built-in mono microphone (48 KHz, 24 / 16-bit x 2 channels)
Audio format:
LPCM / 24 bit / 4CH
AAC / 16 bit / 2CH

More features:

• Dual Pixel Intelligent AF with Eye/Face Detection and Tracking AF
• ISO 100-32000, H: 204800
• Simultaneous proxy recording 8K 30p MP4 plus Full HD MP4 proxy
• Dual shooting JPG still + HD movie
• LPCM 24-bit 4-channel audio
• Power zoom control support
• Pre-recording (3 or 5 seconds)
• Frame grab
• Time-lapse movie recording
• Movie digital IS coordinated control
• False color waveform monitor, zebras, tally lamp
• Video formats include XF-HEVC S and XF-AVC S with up to 4:2:2 10-bit
• HDMI Type-A and HDMI RAW output
• Integrated workflow with Cinema EOS
• RAW/MP4 workflow

Heat is a problem when recording high-bitrate video. Here are the approximate minutes until overheating shutdown for the R1 with a 73.4° F (23° C) cold start.

Auto power off temp:	Normal	High
6K 60p + proxy	120+	120+
4K 120p LGOP	15	15
4K 60p Fine LGOP	109	109
4K 60p Normal LGOP	120+	120+
4K 30p Normal LGOP	Unlimited	Unlimited
Full HD 240p	46	46

I know, you are wondering what the purpose of the "High" feature is.

Exposure/Metering System

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The usual is for EOS cameras to have 384 zone (24x16) metering, but the R5 II and R1 evaluate 6144 zones from a 96x64 grid. The R5 II's metering range specification is EV -3 – 20 (at 73°F/23°C, ISO 100).

The usual metering modes are availabkle, including Evaluative metering (AF point-linked), Partial metering (approximately 10% of the area at the center of the screen), Spot metering (approximately 5% of the area at the center of the screen), and Center-weighted average metering. Exposure compensation is +/-3 stops in 1/3- or 1/2-stop increments.

Auto exposure bracketing uses those same numbers.

EOS metering systems are ever improving, and the vast information provided by the DIGIC X and DIGIC Accelerator processors reading the BSI imaging sensor provides further improvements. I now use AE for a high percentage of my photography, usually in manual mode via auto ISO.

Viewfinder and LCD

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The R1 gets an awesome viewfinder. It's a fast, super bright (about 3x brighter than the R3's EVF), 0.5" (12.7mm), 9.44 million dot EVF with 0.90x magnification and a 100% view. OVF simulated view assist is available.

Extremely valuable is the blackout-free performance (when using the electronic shutter), permitting fast action to be tracked even during 40 fps capture.

The R1's EVF has a 25mm-high eyepoint. A locking dioptric adjustment facilitates viewfinder use without eyeglasses (-4.0 to +2.0 m-1 dpt). The eyecup is large and removable.

A viewfinder feature I heavily rely on is an electronic level, and all recent full-function cameras have this feature. The R1 provides an optional smaller graphic that retains usability while blocking less of the scene. Sign me up.

The vari-angle rear LCD has now migrated up to the flagship camera. The EOS R1's rear LCD is a 2.95" (7.5cm) Clear View LCD II, approximately 2.1M dot (same dot count as the R5 II), Vari-angle, Touchscreen LCD. This LCD's Vari-angle feature permits rotation of 170° horizontally and 270° vertically, making hard-to-get shots and unique perspectives (including selfies) easy to capture. This feature appeals to vloggers.

The LCD's image quality is good, and with an anti-smudge coating, it easily wipes clean. Anti-reflection coating has not been applied.

Canon's touchscreens make changing camera settings easy, including via the consistently excellent menu structure and the handy "Q" button (showing the Quick Control screen).

Physical Design

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The R1 provides an extreme quantity of controls, with most programmable to other functions.

To visually compare the Canon-EOS-R1 with many other camera models, use the site's camera product image comparison tool.

Back of the Camera

The control dials, one at the top of each grip, are a notable addition from the 1D X III. Also notable on the back is the R1's vari-angle rear LCD, which has a recessed finger space to the right, making opening easy. The 1-series second rear LCD has gone missing, and the info button has been relocated to match the R5 II and other R-series cameras.

Notable differences from the R5 II are the 3-position power switch below the rear dial and the buttons formerly in this position moving to the now-available space below the rear LCD. The magnify button also joined the playback and erase buttons in this location. I prefer these buttons in their R5 II right-side locations where they are convenient for camera grip hand access vs. releasing the grip or involving the left hand. However, the joystick, Smart Controller, and movie start/stop button needed that space.

The movie button is rear-positioned with a still/movie selector switch surrounding it, making mode changes fast. The Smart Controllers enlarge the traditional AF-ON buttons.

The R1 allows voice memos to be attached to images, supplementing our memories.

The purpose of the window to the left of the LAN light is undisclosed and reserved for future functionality.

Top of the Camera

The top of the R1 shows strong influence from the R3.

Compared to the 1D X Mark III, the R1 has a smaller LCD and two fewer small buttons, but it adds a mode dial.

The multi-function shoe has arrived to the 1-series. The new Canon ER-SC3 Shoe Cover's design addresses an inadvertent removal issue, but it is terribly difficult to remove and install.

I expect the ER-SC3's predecessor, the Canon ER-SC2 Shoe Cover (or the Vello equivalent) to live on my R5 II multi-function shoes.

Note that a Canon AD-E1 Multi-Function Shoe Adapter is necessary to adapt legacy Speedlite accessories to the updated Multi-Function Shoe.

Between the shutter release and the top dial is the M-Fn button. Pressing the M-Fn button enables immediate change of the last-used function with a dial. Pressing M-FN repeatedly steps through the settings enabled for this feature, with a dial being used to change the selected setting. New with the R6 II and now featured in the R5 II and R1 are two rows of functions independently changed using the top dial and rear dial. While a bit more complicated than the single-row design, there are more options immediately available.

The top Quick Control dial adjusts the ISO setting by default, without requiring a button press. When in Manual mode with auto ISO selected and the camera's metering active, over- and under-exposure is adjusted by the top Quick Control dial. This function is helpful except when you want to select a specific ISO setting instead of auto ISO or want to select auto ISO instead of a specific number. That requires waiting for the metering timer to expire, pressing M-Fn and setting ISO (if ISO is included in your M-Fn configuration), touching the ISO setting on the LCD, diving into the menus for the ISO settings option, or my favorite, pressing "Q" twice. The touchscreen interface makes ISO easy to change, and configuring the lens control ring for ISO functionality is another option.

Side of the Camera

The R1 features the following ports:

• USB C (SuperSpeed Plus USB 3.2 Gen 2)
• Ethernet (RJ-45)
• HDMI (full-size type A)
• 3.5mm microphone input
• 3.5mm stereo output
• PC Terminal

On the right side, the R1 has a slide-and-flip-open style memory card door vs. the flip-and-twist release switch used for the 1D X Mark III door.

Front of the Camera

The N3 port on the front provides compatibility with the full-featured professional remote releases, including the Canon Timer Remote Controller TC-80N3. Its location is especially convenient for those of us using L-plates.

A DOF preview button and M-Fn 2 button combination are provided for each grip orientation. Like most buttons on this camera, the DOF preview buttons can be programmed to other functions, and the M-Fn 2 buttons are expected to be programmed.

Size of the Camera

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The R1 is Canon's largest mirrorless camera to date. Still, it is considerably smaller than its DSLR predecessor.

Model	Body Dimensions		CIPA Weight
Canon EOS-1D X Mark III	6.2 x 6.6 x 3.3"	(158 x 167.6 x 82.6mm)	50.8oz (1440g)
Canon EOS R1	6.2 x 5.9 x 3.4"	(157.6 x 149.5 x 87.3mm)	39.3 oz. (1115g)
Canon EOS R3	5.9 x 5.6 x 3.4"	(150.0 x 142.6 x 87.2mm)	35.8 oz (1015g)
Canon EOS R5 Mark II	5.5 x 3.9 x 3.5"	(138.4 x 98.4 x 88.4mm)	23.6 oz. (670g)
Canon EOS R5	5.5 x 3.8 x 3.5"	(138.0 x 97.5 x 88.0mm)	26.0 oz (738g)
Canon EOS R6 Mark II	5.5 x 3.9 x 3.5"	(138.4 x 98.4 x 88.4mm)	23.6 oz (670g)
Canon EOS R7	5.2 x 3.6 x 3.6"	(132.0 x 90.4 x 91.7mm)	21.6 oz (612g)
Canon EOS R8	5.2 x 3.4 x 2.8"	(132.5 x 86.1 x 70.0mm)	16.2 oz. (461g)
Canon EOS R10	4.8 x 3.5 x 3.3"	(122.5 x 87.8 x 83.4mm)	15.1 oz (429g)
Sony a1	5.1 x 3.9 x 3.3"	(128.9 x 96.9 x 80.8mm)	23.7 oz (673g)
Sony a9 III	5.4 x 3.9 x 3.4"	(136.1 x 96.9 x 82.9mm)	21.8 oz (617g)
Sony a7R V	5.3 x 3.8 x 3.3"	(131.3 x 96.9 x 82.4mm)	25.6 oz (723g)
Sony a7 IV	5.2 x 3.8 x 3.1"	(131.3 x 96.4 x 79.8mm)	23.0 oz (650g)

Ergonomics, Build Quality, and Durability

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The R1 has my all-time favorite camera body from an ergonomic and build quality position. Taking Canon's outstanding 1-series camera ergonomics and putting them into a reduced-size format results in an even better camera-in-hand experience.

The R1 feels rock-solid, and the enlarged shelf around the shutter release facilitates secure gripping of the camera, even with the largest lenses mounted. The built-in vertical grip is equally solid (remember that accessory battery grips add a slight flex point) and feels similar to the horizontal grip, though the pinky is not as contained.

All buttons, dials, and other functions have the quality feel you would expect from a high-end professional-grade product.

I love the R1's new rubberized grip surface texture providing modern look and sure grasp.

Additional Features

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Delivering images immediately is a goal for many professional photographers, and this camera has the communication features they need.

Utilize 802.11ax Wi-Fi 6E and 6 (6, 5, and 2.4 GHz) communication to a smartphone or router. The R5 II, with one of the LAN port grips, and the R1 are the first EOS cameras to support the 2.5G Base-T wired LAN standard. Content Transfer Professional and FTP transfer, and SFTP and FTPS security protocols are supported.

Bluetooth 5.3 (Bluetooth Low Energy technology) is supported.

The R1 has a built-in GPS.

Battery

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The Canon EOS R1 uses the powerful 2750 mAh Canon LP-E19 battery pack, the same battery that powers the R3, 1D X Mark II, and III. LP-E4N and LP-E4 battery packs cannot be used.

The R5 II1's battery life rating is 700 shots with the viewfinder and 1330 when using the LCD. While those numbers look good in comparison to most other MILCs, especially the viewfinder number seems low for event shooting. Fortunately, real-world results usually far exceed the CIPA numbers, and getting twice the rated shots per charge is not unusual.

3,350 images captured in high-speed electronic shutter continuous shooting mode left the battery pack only approximately half drained.

When shooting info is displayed, a 6-level remaining battery charge icon shows in the viewfinder, on the top LCD panel, and on the LCD screen. The camera's battery menu (in the Setup menu) informs of the remaining % of capacity, the shutter count since the last charge, and the battery's recharge performance.

The LP-E19 battery can be charged using the USB Power Adapter PD-E1 while the camera is turned off (powering the camera while using PD-E1 is not supported). The Canon AC Adapter AC-E19 and DC Adapter DR-E19 are available.

What is the Best Lens for the Canon EOS R1?

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The lens matters, and the growing Canon RF Lens lineup is impressive. Most will want to start their R1 kit with a Canon RF general-purpose lens.

The RF 24-105mm f/4L IS, RF 24-70mm F2.8 L IS, and RF 24-105mm F2.8 L IS Z lenses are great choices.

Via one of the Canon Mount Adapter EF-EOS Rs, ranging from relatively low to rather high-priced, Canon EF, TS-E, and MP-E lenses become compatible and perform as native and possibly focus more accurately (with potential added benefits depending on the adapter model selected). EF-S lenses are also supported via the adapter, easing the transition from APS-C to full-frame for some. The EOS R1 will automatically use its crop mode when EF-S lenses are used, delivering a quality experience.

Next, add a telephoto zoom lens and a wide-angle zoom lens to your kit.

Price and Wrap-Up

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The best usually cost the most, and that statement applies to this camera.

Keeping a review of the incredibly feature-laden R1 concise but complete is a difficult balance to find, and this review does not cover every R1 feature available. Canon will publish an extensive owner's manual (a link to the manual will be provided with this review) that highlights all of the features found on this camera and explains their use. Read the manual, use the camera, repeat.

Owning a Canon product provides access to Canon support, and the support Canon's USA division has provided me is excellent. When I call for support, I get an intelligent person who sincerely wants to help with a question or problem. Canon repair service, though I seldom need it, is fast and reliable. Those residing in the USA with an R1 in their kit, along with a nice lens or two, will qualify for Canon professional services membership and the additional support benefits this membership provides.

The initial R1 used for this review was on loan from Canon USA.

Alternatives

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Is the R1 the right camera for you? Those required to perform at the highest level will opt for this camera. But, there is a sibling model that shares many of its characteristics.

Compared to the EOS R5 II

It is surprising how close the performance and feature set of the announced at the same time Canon EOS R5 Mark II are to the flagship R1.

Check out the R1 vs. R5 II specification comparison along with the visual comparison of these cameras. What are the differences between the Canon EOS R5 Mark II and the R1? Here is a summary of the R1's advantages:

• 40 fps for 230 frames vs. 30 fps for 93 (having faster continuous shooting available is an advantage, but 30 fps is really fast)
• 2.7 ms imaging sensor readout speed vs. 6.3 (faster is better, but 6.3 ms is sufficient for most needs)
• Up to ISO 102400 and 409600 vs. 51200 and 102400 (at the same ISO settings, the R1 will have less noise when viewed at the pixel level. However, the R5 II image properly downsampled to 24 MP should appear similarly clean. The highest ISO settings are unusable)
• Up to 1/64000 shutter speed vs. 1/32000 (crazy fast holds a small niche advantage over extremely fast)
• Cross-type AF points (holds the potential for higher AF precision)
• Smart Controllers (powerful controls after some acclimation)
• 9.44 million dots, 0.90x EVF vs. 5.76 and 0.76x (bigger and better)
• Dual CFexpress type B memory card slots vs. CFexpress type B and SD (though some may prefer having an SD slot available)
• Integrated vertical grip, LAN port, and GPS (outstanding grip ergonomics, the grip, port, and GPS are available accessories for the R5 II)
• Superior dust and weather resistance (with both bodies significantly sealed, will we notice the difference?)
• More controls and buttons (these make the camera faster and easier to use. And, more complicated?)
• More powerful 2750 mAh LP-E19 battery pack vs. 2130 mAh (but the R5 II holds 4260 mAh in the vertical grip)

The R5 II's advantages are:

• 45-megapixel imaging sensor vs. 24 (a big difference, but not everyone finds the higher resolution worth the increased storage size and processing time)
• 8k vs. 6K (higher resolution is better if you use 8k)
• Waveform monitor (why doesn't the R1 have this?)
• Has an SD card slot available (accommodates less expensive, but slower, memory cards)
• Holds 4260 mAh of power in the vertical grip vs. 2750 mAh
• Considerably smaller size and lighter weight (without a vertical grip)
• Has a cooling fan available
• Considerably less expensive (always a solid advantage)

While the most demanding professionals will want the R1, the R5 II's performance is sufficient for a high percentage of needs and some of its advantages are significant.

Compared to the EOS R3

The Canon EOS R3 seemed like the mirrorless entrant to the 1 series, but Canon assured us that it was not. However, it was the former performance leader of Canon's MILC lineup.

The R1 (and R5 II) now shadows the EOS R3's performance.

Check out the R1 vs. R3 specification comparison along with the visual comparison of these cameras.

What are the differences between the Canon EOS R1 and the R3? Here are the R1's advantages:

• 40 fps for 230 RAW frames vs. 30 fps for 150 (having faster continuous shooting available is an advantage, but 30 fps is really fast, and 150 is a lot)
• Custom high-speed continuous shooting supports higher frame rates
• 2.7 ms imaging sensor readout speed vs. 4.8 (faster is better, but this difference will seldom be noticeable)
• ISO expansion up to 409600 vs. 102400 (you will not want to use these settings)
• Cross-type AF points (holds the potential for higher AF precision)
• 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
• Smart Controllers with half-press sensitivity for additional control
• 9.44 million dots, 0.90x EVF vs. 5.76 and 0.76x (bigger and better)
• Dual CFexpress type B memory card slots vs. CFexpress type B and SD (though some may prefer having an SD slot available)
• M.Fn3, WB, and second Info buttons
• Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
• DIGIC X plus DIGIC Accelerator processors for exceptionally fast and intelligent AF and AE calculations
• IBIS provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
• Improved Eye Control AF (potentially a big deal if the R3's Eye Control was not compatible with your eye)
• Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
• Full HD at 240p vs. 120p
• Pre-recording (3 or 5 seconds) (hindsight is far clearer than foresight)
• HDMI Type-A vs. Type-D
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
• 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
• Longer battery life rating (1330 LCD and 700 EVF vs. 860 and 620)

Here are the R3's advantages:

• 4.15 million dot LCD vs. 2.1 million
• modestly smaller and lighter
• Lower price

If that last bullet did not exist, the easy choice would be the R1. The last bullet is supported, and the R3 provides significant performance for its cost, but again, the most demanding professionals will want the R1.

Compared to the Sony Alpha 1

Let's compare a pair of outstanding Sony cameras, starting with the flagship Sony Alpha 1.

Check out the R1 vs. Alpha 1 specification comparison along with the visual comparison of these cameras.

What are the differences between the Canon EOS R1 and the a1? Here are the R1 advantages:

• 40 fps for 230 RAW images vs. 30 fps for 238 (96 frame using the comparable lossless compression) (having faster continuous shooting available is an advantage, but 30 fps is really fast)
• 12 fps with mechanical shutter vs. 10 (only matters if you use it)
• More framerate options – 40, 30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 compared to 30, 20, 15, and 5 (with electronic shutter, but the mechanical shutter adds 10, 8, 6, and 3)
• 2.7 ms imaging sensor readout speed vs. 3.8 (while technically a win for the R1, you won't likely notice the difference, and the Sony is reading 50 megapixels at that speed)
• AF working range of EV -7.5 to 21 vs. EV -4 – 20 (the Canon camera focuses in considerably darker environments)
• ISO 100-102400 expandable to 50 and 409600 vs. 100–32000 and 50 to 102400 (the R1 will show less noise at the pixel level, but the two should nearly equalize if the a1 image is down sampled to 24 megapixels — and you won't want to use the highest ISO settings)
• 1/64000 vs. 1/32000 (crazy fast holds a small niche advantage over extremely fast)
• Eye Control AF vs. no (dramatically faster AF point or area positioning)
• Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
• 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
• Electronic shutter flash sync up to 1/400 sec. (some sources say 1/320) vs. 1/200
• 2.1 million dot vari-angle LCD vs. 1.44 million tilt
• Dual CFexpress Type B slots vs. dual multi slot for SD, SDHC, SDXC (UHS-I/II)/CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and SD cards are less expensive)
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
• 8.5-stop IBIS vs. 5.5
• High-Frequency Anti-Flicker shooting (evaluates the scene and precisely adjusts the shutter speed to avoid banding and flicker, including from LED signage)
• 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
• 4-Channel 24-Bit LPCM Audio vs. 2-Channel 16-Bit
• Higher capacity battery rated for 1330 LCD and 700 EVF vs. 530 and 430 (the a1's battery grip doubles these numbers, closing much of the gap)
• Slightly less expensive

Despite being introduced 3 years earlier, the a1 still holds advantages:

• 50 megapixel vs. 24 (a big difference, but not everyone finds the higher resolution worth the increased storage size and processing time)
• Touch and drag AF area slection vs. not available
• +/- 5 stops exposure compensation vs. 3
• 240 fps EVF vs. 120
• 8K 30p vs. 6K 60p movies
• Pixel Shift Multi Shooting (provides dramatically higher resolution after post processing, but everything in the frame must be still)
• 0.64" (16mm) EVF vs. 0.50" (12.7mm)
• Considerably smaller and lighter: 26.0 vs. 39.3 oz (737 vs. 1115 g) (but the a1's grip adds 10.23 oz (290 g) and considerable size, closing the gap)

Comparing across brands is significantly challenged by the differing interface and ergonomics, and these two cameras are vastly different in those regards. Advantages will often be determined by personal preference.

Compared to the Sony Alpha 9 III

The a9 series targets sports and action, and the a9 III is Sony's latest model in that series. This camera was introduced earlier in the same year as the R1, and includes some outstanding features.

Check out the R1 vs. a9 III specification comparison along with the visual comparison of these cameras.

What are the differences between the Canon EOS R1 and the a9 III? Here are the R1 advantages:

• ISO 100-102400 expandable to 50 and 409600 vs. 250–25600 and 125 to 51200 (notably, the a9 III omits the lowest noise settings)
• Eye Control AF vs. no (dramatically faster AF point or area positioning)
• AF working range of EV -7.5 to 21 vs. EV -5 – 20 (the Canon camera focuses in darker environments)
• 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
• 230 image RAW buffer vs. 106
• Has 6K RAW
• 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
• Has a top LCD panel
• Dual CFexpress Type B slots vs. dual multi slot for SD, SDHC, SDXC (UHS-I/II)/CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and SD cards are less expensive)
• Higher capacity battery rated for 1330 LCD and 700 EVF vs. 530 and 400 (the a9 III's battery grip doubles these numbers, closing much of the gap)
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
• 8.5-stop IBIS vs. 8

The a9 III's advantages are:

• Global shutter, 0 ms imaging sensor readout speed vs. 2.7 ms (While this difference seems small, the global shutter can eliminate some issues, such as LED signage flicker)
• 120 fps continuous shooting vs. 40 (while 40 fps is sufficient for most needs, the 120 fps difference is noticeable)
• Metering range of EV -5 – 17 compared to EV -3 – 20
• +/- 5.0 EV exposure compensation vs. +/- 3
• 1/80000 shutter vs. 1/64000 (likely few us us will care about this difference)
• Flash sync to 1/80000 vs. 1/400
• 0.64" (16mm) EVF vs. 0.50" (12.7mm)
• 240 fps EVF refresh rate vs. 120 fps
• 4-axis multi-angle touchscreen LCD vs. vari-angle
• Considerably smaller and lighter: 26.0 vs. 39.3 oz (737 vs. 1115 g) (but the a9 III's grip adds 10.23 oz (290 g) and considerable size, closing the gap)
• Slightly less expensive

Again, comparing across brands is significantly challenged by the differing interface and ergonomics, and these two cameras are vastly different. Those advantages are a personal preference.

Summary

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When a critical image must be captured with no second chances, a high percentage of photographers put their trust in Canon 1-series cameras for their exceptional reliability, performance, and speed. The expectations for the flagship Canon EOS mirrorless camera arriving many years later than we expected became crazy-high. Much has changed in the last 4 years, and the R1 is a massive upgrade over its predecessor and a big upgrade over the R3, which was also far more capable than the 1D X III.

The R1 is designed to meet professional requirements with an emphasis on outstanding results when photographing challenging and fast-moving subjects. Especially photographers pursuing sports, action, photojournalism, and wildlife should strongly consider adding R1 bodies to their kits.