Canon EOS R5 Mark II Review

The decision was a no-brainer: I preordered two Canon EOS R5 Mark II cameras the moment preorders opened — just as I did when the R5 was announced. That statement summarizes this review. Order the R5 II immediately. The R5 II is my new favorite camera, and I expect a pair of them to anchor my kit for years.

Why? Canon's extremely-feature-laden, ultra-high resolution, high-performance, general-purpose, 5-series cameras have long been the choice of serious amateur through demanding professional photographers. This series first arrived in a mirrorless interchangeable lens camera (MILC) model as the R5. The R5 was an incredibly successful and capable camera, and it was my first choice for the past four years. However, the R5 Mark II is a compelling upgrade to the R5, taking the R series 5 series model to a significantly higher performance level, especially for sports, wildlife, and other challenging pursuits.

I mentioned 4 years. The 4-year wait seemed long. The R6 II arrived only 2 years after the R6, which was announced at the same time as the R5, causing some of us to expect the R5 II to arrive years prior with similar performance updates. However, we should have trusted the math.

Camera	Year Introduced
R5 II	2024
R5	2020
5D IV	2016
5D III	2012
5D II	2008

Rudy Winston of Canon USA thought the original R5 was the most anticipated Canon camera ever. "A fusion of design excellence, processing power, and performance we haven't seen before. Certainly not in a mirrorless camera."

Anticipation for the R5 II was similarly high, and the four-year wait for the II has brought us significantly greater capabilities that I'm anxious to share with you. For example, this camera can capture 14-bit RAW images at up to 30 fps with a blackout-free viewfinder while using the electronic shutter with an imaging sensor readout speed that is close to the mechanical shutter performance.

Let's dive into the impressive R5 features list:

Summary of Canon EOS R5 Mark II Features

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• New 45-megapixel backside illuminated (BSI) full-frame Canon CMOS imaging sensor
• 30 fps full-bit depth (14) lossless compressed RAW frames per second with full AF and AE and electronic shutter
• Extremely fast 6.3 ms imaging sensor readout speed (vs. 16.3 ms)
• 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 100-51200 standard range, expandable down to 50, up to 102400
• Up to 1/32000 shutter speed
• Improved Eye Control AF. Select the initial area for AF tracking by looking at the to-be-focused-on subject during still image capture for fast AF point positioning. 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
• Impressively bright, blackout-free 0.5" EVF, with 5.76 million dots, 0.76x magnification, and 100% view.
• Up to 8k DCI (full width) 60p RAW, 4k DCI 60p SRAW, 4k DCI 120p MP4, 2k DCI 240p
• Canon Log 2, Log 3
• Simultaneous proxy recording at 8K 30p MP4 with Full HD MP4 proxy
• Pre-recording (3 or 5 seconds)
• Movie digital IS coordinated control
• Waveform monitor, 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 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
• CFexpress type B and UHS-II SD memory card slots
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
• Next-generation multi-function shoe capable of data communication and power delivery supporting new accessories
• 802.11ax Wi-Fi 6E and 6 (6, 5, and 2.4 GHz) and Bluetooth 5.0
• Dust and weather resistance and impressive durability
• Optional Canon BG-R20, BG-R20EP LAN, and CF-R20EP cooling fan grips, and the BG-R10 Battery Grip with Limitations
• RF lens mount, compatible with EF/EF-S/TS-E/MP-E lenses with an adapter
• New LP-E6P 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 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 EOS R5 Mark II retains the megapixel count of the original R5, 45 megapixels. However, the Canon backside illuminated (BSI) imaging sensor is new, bringing dramatically improved performance.

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 5D Mark IV	1.0x	36.0 x 24.0mm	5.36µm	6720 x 4480	30.4	f/8.6
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
Canon EOS R	1.0x	36.0 x 24.0mm	5.36µm	6720 x 4480	30.3	f/8.6
Canon EOS RP	1.0x	35.9 x 24.0mm	5.75µm	6240 x 4160	26.2	f/9.3
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
Sony a7 III	1.0x	35.6 x 23.8mm	5.9µm	6000 x 4000	24.2	f/9.6
Sony Alpha 7C R	1.0x	35.7 x 23.8mm	3.76µm	9504 x 6336	61.0	f/6.1
Sony Alpha 7C II	1.0x	35.9 x 23.9mm	3.76µm	7008 x 4672	33.0	f/8.2

While the R5 II retains the same final pixel count as the R5, it is interesting that the R5 II's total pixel count is higher than that of the R5, 50.3 vs. 47.1. The additional pixels are used for system functionality.

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. A 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.

This camera's resolution is another big deal. Check out the Resolution test results from the Canon RF 85mm F1.2 L USM Lens and compare them to numerous other cameras using the site's image quality tool. For example, the R5 II results appear identical to the R5 results — excellent and as expected.

Surely some were hoping for a pixel count increase in the R5 II, and certainly, Canon has the technology to do that. However, as mentioned, 45 was the chosen number, and I'm not disappointed. 50 megapixels is my preferred pixel count, and 45 is close to that. I've been using 45-megapixel R5 cameras for four years and have been happy with the resolution they provide.

From a general standpoint, 45 megapixels is a big number. Does everyone need 45 megapixels of resolution? No, but from an image quality perspective, if all other aspects remain equal, more is better. It takes no more effort to press the shutter release on an ultra-high-resolution camera than on a low-resolution camera, and 45-megapixel landscape images are especially impressive.

Still, there are some downsides to ultra-high image resolution, and staying at 45 megapixels avoids an even stronger impact. More specifically, higher resolution magnifies things you don't want to see, including:

1. Lens aberrations (high-quality lenses will make the best use of the resolution available)
2. Subject motion (an increased pixel density means that details will cross over individual pixels at a higher rate of speed, meaning that a slightly faster shutter speed will be required to avoid increased blur at the pixel level)
3. Shortcomings in your technique, including camera shake (you will need slightly faster shutter speeds for sharp handheld images — image stabilization and use of a tripod becoming more necessary)
4. Focusing errors are magnified (the tech in the latest cameras mitigates this issue)
5. Environmental issues such as heat waves are magnified
6. Diffraction

Photographers do not need to understand the details of diffraction, but all should be aware of its impact. As the aperture opening decreases (higher f/number), images become less sharp at the pixel level beyond the approximate aperture we refer to as the Diffraction Limited Aperture ("DLA", included in the table above). As resolution increases, that point of visible degradation occurs at a wider aperture, slightly negating the higher resolution advantage. While you will want to use apertures narrower than the DLA at times, the decision to do so should happen with the understanding that pixel-level sharpness becomes a compromise. Those wishing to retain maximum sharpness in their ultra-high resolution, very deep DOF images may decide that tilt-shift lenses and focus stacking techniques are especially attractive.

I've mentioned "pixel-level". When the 45-megapixel final output size matches that from lower-resolution imaging sensors, the entire list of magnification issues just presented is negated, and the oversampling that comes with downsizing to a lower resolution has benefits.

Large file sizes require high storage capacity, increase file transfer times, including imaging sensor readout, and require increased compute cycles, both in the camera and on the computer. Using high-capacity memory cards and drives and a faster computer are the ideal ways to mitigate the drawbacks of larger file sizes.

The advantages of the increased detail captured by a higher resolution imaging sensor abound and include output at a larger size or retaining high resolution after cropping. I often find myself using the entire image dimensions to frame the final composition, attempting to have the most detail for viewing or printing large. While this strategy is usually a good one, sometimes that tight framing gets me in trouble, such as when I clip wingtips, need a bleed edge for printing, or need to format the image to a non-3:2 ratio, such as for an 8x10 print. Having significant resolution available provides the freedom to frame subjects slightly looser, better accommodating such needs with high resolution remaining after moderate cropping. Birders especially will love that ultra-high pixel density imaging sensors effectively increase the "reach" of all lenses. With this much resolution, there is often the potential to crop a variety of final compositions from a single image.

Low-resolution cameras (if I can refer to 24-megapixel imaging sensors as low resolution) are often referred to as ideal for low light. With a higher signal-to-noise ratio, the larger photosites on lower-resolution imaging sensors produce lower noise levels at the pixel level. This difference is primarily noticeable when photographing at high ISO settings and directly comparing at the pixel level. However, to equalize the comparison, the higher resolution image must be reduced to the lower resolution image's pixel dimensions (or the lower resolution image must be increased to the higher resolution). Reducing image dimensions includes the benefit of oversampling, a benefit often touted by manufacturers when describing video recording capabilities. The higher resolution camera typically performs at least similarly to the lower resolution camera in an equalized comparison, placing it on par with the camera thought to be the low light king.

Like the other Canon EOS cameras, the R5 Mark II imaging sensor has a native 3:2 aspect ratio with 1:1, 4:3, and 16:9 available.

The R5 Mark II has ISO 100–51200 available in the normal range, with expanded ISO settings from ISO 50 to ISO 102400 available in still image mode.

Let's take a closer look at noise and dynamic range (exposure latitude). With the Canon EOS R5 Mark II noise test results from 180 different test images available, much can be discerned.

The smoothly colored Kodak color patches test chart subject combined with no noise reduction processing (key point) makes noise especially noticeable compared to detailed scenes that better hide noise levels. As always, 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. Unless otherwise noted, 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).

The low noise performance from this imaging sensor is excellent, as expected from a modern, high-resolution, full-frame, BSI imaging sensor. As the ISO setting increases from 100 to 800, noise levels increase slowly, from negligible to slightly noticeable but still low. At ISO 1600 through ISO 3200, noise levels become more obvious though images retain a high quality at these settings, especially with noise reduction applied. By ISO 6400, noise becomes an image quality detriment, and by ISO 12800, the noise is strong. ISO 25600 through 51200 results look bad unless significantly downsized, and unsurprising is that the ISO 102400 results look terrible.

R5 II image noise levels match those of the R5 — both are excellent performers.

Do not expect pixel-level noise performance from an ultra-high-resolution imaging sensor to match that from the same size, similar generation low-resolution imaging sensors such as that in the EOS R6 II. However, if the lower resolution works for you, the higher resolution images can be considered oversampled and processed to smaller dimensions. The result is that the R5 II images have less noise than those from the EOS R6 II.

One method of evaluating a camera's dynamic range capabilities is to over or under-expose images and adjust them to the correct brightness in post-processing. Increase the exposure by 3 stops (a significant amount) and pull it back by the same in Canon Digital Photo Professional for a look at the R5 II's dynamic range (exposure latitude). In that comparison, the R5 Mark II shows a tiny disadvantage, primarily in the cyan block, to the R5, an excellent performer. You will not likely notice this difference in normal use.

Notice the reduced high ISO noise advantage of this form of oversampling, illustrating the advantage of keeping the histogram results pushed to the right.

The exposure +2 EV ISO 50 comparison shows the reduced dynamic range available at this expanded setting. Both cameras are looking outstanding with the chart overexposed by two stops.

It is also interesting to look at underexposed images with brightness increased by the offsetting amount. In the -3 EV comparison, the R5 II and R5 results appear the same. Underexposing when using the R5 Mark II results in little or no noise penalty vs. selecting a higher ISO setting in the first place. A real advantage of this capability is that shadow details can be pulled out of a high dynamic range scene that is otherwise properly exposed, and it is also important when an HDR technique cannot be used or is not desired.

Does the electronic shutter impact the Canon EOS R5 Mark II's image quality? The full set of R5 II electronic shutter test results are available, designated "ES". The noise and overexposed test results are indistinguishable. The strongly underexposed comparisons at high ISO settings slightly favor the 1st curtain shutter results that show slightly less noise.

I will seldom use the R5 II's mechanical shutter.

Noise reduction can make a huge difference in the results, but not all of it is positive. Noise reduction is destructive to fine details and must be applied carefully for optimal results. The same applies to sharpening, and a stronger amount of sharpening may be needed when noise reduction strength is increased, boding well for Canon's default over-sharpening.

The R5 II 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 (179 megapixels) and utilize higher-quality noise reduction processing, with cropping available.

The R5 Mark II delivers outstanding image quality, including ultra-high resolution with modest noise levels with excellent dynamic range.

In-Body Image Stabilization (IBIS)

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The R5 II features 5-axis IBIS rated up to 8.5 (7.5 in the periphery), with the large image circle provided by the RF mount enhancing 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 R5 II 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 be improved.

In-lens and in-body image stabilization are both on or off, and 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, like Mode 3 found on some Canon lenses. Adapted EF and EF-S lenses are supported, and IBIS adds huge value to non-stabilized lenses.

The R5 II is the first Canon camera to support "Peripheral Coordinated Control", reducing the "wobble" effect from IBIS for compatible lenses, initially only the Canon RF 10-20mm F4 L IS STM Lens.

I recommend turning IS/IBIS off when tripod-mounting the R5 II 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.

Note that the IBIS adds a rattling sound (and slight feel) to the camera when powered off (it's not a concern) and a slight hum when powered on. The hum is just loud enough to be annoying in a quiet environment.

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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The R5 II retains your memory card investment by supporting CFexpress type B memory cards in one slot (CFexpress 2.0 and VPG400, up to 2TB) and SD/SDHC/SDXC UHS-II memory cards in the other.

Especially because CFexpress cards were so expensive when the R5 was introduced, I was in favor of the dual card type decision. Now, with CFexpress Type B card prices dramatically decreased, I would prefer dual CFexpress Type B slots.

Still, SD memory cards are tiny, relatively inexpensive, popular, abundant in most kits, and compatible with many cameras and card readers.

With dual card slots available, files can be written to both cards simultaneously (for redundancy or for separate file or file type formats) or sequentially (for increased capacity). Consider selecting a reader that supports both card types.

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

The EOS R5 II 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 as well as data transfer times. See Should I Use Canon's C-RAW Image File Format? for more information.

According to Canon, C-RAW file format images have the potential to 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.

In a very high percentage of uses, you will struggle to see any difference in your C-RAW vs. RAW results. 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 storage space.

Frame Rate, Buffer Depth, Shutter

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The R5 Mark II is an extremely fast camera in many regards, and it excels in the most demanding scenarios, including high-level action sports and wildlife photography. This camera can capture up to 30 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 approaching 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 R5 II's fast, blackout-free EVF is remarkable and differentiating.

Selecting the best images from a shoot that involves significant use of the 30 fps capability is always daunting. A one-minute duration of 30 fps shutter release press creates 1,800 images (30 frames x 60 seconds).

Sometimes the difference between an average image and a great one is separated by milliseconds. Capturing the peak moment of action is critical, and the 30-fps frame rate nearly ensures that the perfect frame is on the card, even when the subject is moving challengingly fast.

Futsal ball on face.

Basketball on head.

Basketball on its way to my head.

Qualifying the peak moment statement, the 30-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, much more accurate than foresight, and the R5 II 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.

This feature is simple to use, with Enabled or Disabled as 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 for over 5 minutes.

Missing is the ability to program a button to toggle the Enable/Disable setting for this feature. I've asked Canon for this feature in a firmware update — you should also ask. The C modes can be configured for Pre-continuous shooting enabled, and the M-Fn button can be customized to the "C" function, which toggles between normal shooting and the enabled custom modes (with their complete camera settings stored). Of course, releasing the half-press momentarily clears the buffered images.

Pre-continuous shooting changes your mindset and often creates a more relaxed shooting strategy.

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 R1, R3, and R5, the R5 II's max mechanical shutter rate is 12 fps. While the electronic shutter H+ rate is fixed at 30 fps, multiple continuous shooting frame rate options are available for the H (30, 20, 15 fps) and L (15, 12, 10, 7.5, 5, 3, 2, and 1 fps) modes, as I requested in the R3 review.

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. 30 is more than 26, and the import routine runs out of letters before ingesting a full second of 30 fps capture (a counter based on the day appended to the name solved that problem).

An R5 II feature designed to assist in the optimal image selection process is the blur and out-of-focus image detection. Enable this feature to 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 capacity specs.

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 5D Mark IV	7.0	Full	17	58ms	86ms
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 R6	12/20	1,000+	240		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+
Sony Alpha 7C R	8	48	36	20ms
Sony Alpha 7C II	10	88	44	20ms

The first number in the R5 II pairs is Canon's mechanical shutter spec, and the second number is the electronic shutter spec.

This camera's maximum burst spec for RAW 30 fps electronic shutter continuous shooting is 93, providing a reasonable 3.1 seconds of capture. Especially with pre-continuous shooting enabled, I did not encounter buffer full issues while shooting futsal and basketball using a Sabrent 1TB CFexpress Card, and writing to the card was fast.

With the mechanical shutter involved, rated 230 frame maximum burst provides 8 seconds of 12 fps RAW shooting, a comfortable duration for most action scenarios.

What you experience often differs from the spec, with the memory card speed being one factor and the amount of detail in the scene being another. Testing the Canon EOS R5 Mark II's 30 fps electronic shutter drive mode's buffer depth using manual mode (no AE time lag), ISO 100, 1/32000, a wide open aperture (no time lost due to aperture blades closing), and manual focus (no focus lock delay), a black exposure (smallest file size), a fully charged battery, and a freshly-formatted CFexpress Type B Memory Card enabled a significantly higher image count to be continuously captured.

The Lexar 1TB card allowed the R5 II to continuously capture 161 images, for an over 5 second duration, and the buffer was fully written to the card in 10 seconds. A Nextorage 512GB B2 SE card enabled 155 continuously captured images in each test, and the buffer completed writing in 14 seconds. A Sabrent 1TB card enabled 157 continuously captured images in each test, and the buffer completed writing in about 11 seconds. Those are best-case numbers, and we don't create black images.

With an exposure and scene creating a considerable amount of detail, the R5 II continuously captured 95-122 images at 30 fps, still meeting or exceeding its rating.

Need a deeper RAW buffer? Shoot in the CRAW format. Using the lexar card, the R5 II continuously shoots at 30 fps for 228 CRAW frames with a black image (14 seconds to empty the buffer) and for 214-228 frames with a detailed image.

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 30 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, featuring high-speed read-out with significantly reduced rolling shutter effect, which is a big deal.

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), a jello effect in video. The second curtain of a mechanical shutter chasing the first curtain can produce the same effect, but 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 R5 II's extremely fast imaging sensor readout (6.3 ms) significantly reduces the electronic shutter disadvantages, with a significantly diminished rolling shutter effect. Even a hard-kicked futsal ball is rendered round.

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
Sony Alpha 7C R	99.3	3.5
Sony Alpha 7C II	66.5	3.5

The R5's imaging sensor readout speed is fast, but the R5 II is considerably faster and nearly as fast as the R3, despite its dramatically higher pixel count.

The R5 II features anti-flicker shooting (100/120Hz), including with the electronic shutter. Note that this mode can reduce the experienced fps, primarily because the shutter release is timed for the 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 a very precise 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.

As I mentioned, the reasons to use the mechanical shutter on the R5 II are few — I'll rarely use it.

How about this speed: with the full electronic shutter in use, the R5 II features shutter speeds up to an incredible 1/32000 second in 1/3 or 1/2 stop increments. Also notable is that exposures as long as 30 seconds are available with the full electronic shutter. The longest shutter speed available with Pre-continuous shooting enabled is 0.5 seconds.

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: 1/250 sec.
Electronic shutter: 1/180 sec.

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 sharpest lens cannot save the quality of 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 ultra-high-performing AF systems that include 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 more sports to be featured.

Not only can this AF system recognize a face, but it can also recognize a specific face. Take a picture of a person's face or of a picture of their face, 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 when captured by remote cameras.

In Canon's most recent AF systems (and still available in the R5 II), People, Animals, or Vehicles can be specified. Canon's response to me 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. That questioning was also answered with the R6 II's Auto option that migrated to the R5 II. Now, the camera can determine which subject type is in the frame. Options are Auto, People, Animals, Vehicles, or None.

The EOS R5 II's Dual Pixel CMOS AF system features Spot AF (AF can be selected from all 4850 available positions for stills, 4500 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). An awesome upgrade from the R5 is that, when enabled, subject tracking in Servo AF mode will take over from the AF point selection once the subject is established. Turn off subject tracking to lock AF to the selected point or area.

AF coverage is up to approximately 100% x 100% of the frame, though coverage can vary depending on the lens used. Generally, only very 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 them can be challenging, with significant repetitive button pressing or holding required. Fortunately, this camera has multiple excellent AF area positioning options.

The joystick multi-controller, nearly ubiquitous on pro-grade cameras, is an easy-to-use option provided on the R5 II. This controller is Canon's very responsive 8-way type. It works great, but it does not avoid the pressing or holding needed for more significant AF area changes.

The R5 II's tap, touch, and drag AF touchscreen interface provides an excellent focus area positioning option, enabling a thumb slide to rapidly move the AF point throughout the entire frame.

Remember the Canon EOS-3 film camera with the eye-controlled AF? That feature was vastly improved and included on the R3. The next iteration of Eye Control AF is back, again vastly improved with redesigned optics and a new algorithm increasing the detection rate by about 2x that of the R3. Tell the camera which subject you want it to focus on just by looking at it.

The R5 II'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 extremely fast switching between subjects is possible.

Eye Control AF requires calibration for each user's eyes, with and without glasses and contacts, under various levels of brightness (such as indoors, outdoors during the day, and outdoors at night), and in vertical and horizontal orientation. Calibration is a quick and easy guided procedure involving looking at small targets as they completely disappear in the EVF after pressing the M-Fn button, no lens required, and the more calibration refinements performed, the better Eye Control AF performance will perform.

For optimal Eye Control performance, center your eye in the viewfinder, and hold the camera level. Do not squint or press your eye too close but avoid bright light from entering the viewfinder.

Due to differences in physiology, 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 with preproduction firmware. 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 focus accurately extremely consistently.

A more careful calibration with production firmware produced considerably better performance, and I'm excited to have this feature in my daily-use camera. There is no faster way to manually position an AF area than Eye Control AF.

Up to six named eye control registrations can be saved, and registrations can be saved to and restored from a memory card, and significant customization is available. EOS R5 II and R1 saved profiles are not interchangeable.

While this camera provides a plethora of 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 R5 II can AF at EV -7.5 – 21 (at 23°C & ISO100), making it Canon's best-rated low-light focusing camera, equal to the R1 and R3's capabilities. EV -7.5 is crazy dark, and I can barely see in darkness that this camera focuses in. This performance is awesome.

The video AF rating ranges from EV –6.5 (40K 30p) to EV -3.5 (4K).

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 R5 II focuses fast, and this advanced AF system is optimal for practically all pursuits. The over 5,000 soccer and basketball action images were nearly all in sharp focus.

When the subject with the ball crossed behind the net, AF (the R1 in this case) 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 an 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 R5 II impressively pulled off this capture every time.

Alternating between an R1 and an R5 II, both set to 20 fps with tracking and Eye Control enabled, netted over 28,000 whitetail deer images in three full days of photographing.

The buck were in rut and constantly moving, usually in hard-to-predict, seemingly random directions, with frequent head direction changes happening. Keeping the deer looking and moving into the frame meant fast, significant composition adjustments were constantly needed. This movement meant vastly differing focus areas were required. Eye Control AF made focusing in these challenging scenarios easy.

The results from both cameras were outstanding. I've never deleted so many great images before. There are far more situations where Eye Control can be game-changing.

This camera's AF system has performed extremely well on birds and other wildlife, though a highly infrequent focus lock on a distant background has arisen.

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 the current Sony camera models.

Most review-time-current sensor-based AF systems, including that of the R5 II, do not provide cross-sensitive AF point technology. As a result, this camera may struggle to focus on only perfectly horizontally oriented (only) lines of contrast. That said, I seldom encounter this issue with any R-series cameras, and tipping the camera slightly until focused will usually resolve AF lock-on issues. The primary AF performance differentiator between the R5 II and the R1 is the R1's cross-type AF point capability.

Thus, it seems that the R1 should have a better AF system, and it does. However, finding specific scenarios to show the difference is challenging. The whitetail deer in mostly constant motion and often in low light, including in the rain, proved nothing remarkable. When using the R5 II, I wasn't longing for the R1. Both cameras have outstanding AF systems.

The one repeatable difference I found is that the R1 can focus on one specific horizontal line in my studio that the R5 II cannot. The R5 II can recognize most of the other horizontal lines afforded here.

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.

With RF-mount lenses utilizing electronic focus only, a variable adjustment rate manual focus ring can be implemented. With such lenses, turning the focus ring quickly adjusts focus distances fast, and turning the ring slowly enables precise adjustment. The variable rate manual focusing can be advantageous if properly implemented. Still, I often find the difference in rotation rates to be too similar, and the variable speed becomes a frustration, making rocking the focus ring into precise focus a challenge. An R5 II menu option enables linear manual focus adjustments. That said, I've found that some lenses focus in steps that are too big for precise adjustment when linear is selected.

Focus bracketing is available.

Up to 6 sets of this camera's AF-related settings can be saved and recalled.

Movies

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This camera's 5-series Mark II DSLR ancestor, the EOS 5D Mark II, marked the beginning of a revolution of ultra-high video quality from an affordable camera, and the capabilities of these cameras continue to advance.

Here is a subset of the R5 II's video features, more closely aligned with Cinema EOS than ever:

• 8k DCI 60p RAW full sensor with in-camera recording
• 4k DCI 60p SRAW full sensor
• 8k DCI 30p MP4 full sensor
• 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:
RAW/SRAW Video: 8K DCI(17:9) / 4K DCI(17:9)11
MP4 Video: 8K DCI/UHD (17:9/16:9) 4K DCI/UHD (17:9/16:9), 2K/Full HD (17:9/16:9)
8K/4K/2K/Full HD: XF-HEVC S/H.265, Audio: Linear PCM / AAC
4K/2K/Full HD: MPEG-4 AVC S/H.264, Audio: Linear PCM / AAC
8K RAW 4K RAW: 12bit CRM Audio: Linear PCM / AAC
8K/4K/FullHD Time-lapse movie mode

Movie sizes are:
RAW (Light) (17:9) 8192 x 4320 (59.94, 50, 29.97, 25, 24, 23.98 fps)
RAW (Standard) (17:9) 8192 x 4320 (29.97, 25, 24, 23.98 fps)
SRAW (Standard, Light) (17:9) 4096 x 2160 (59.94, 50, 29.97, 25, 24, 23.98 fps)
8K DCI (17:9) 8192 x 4320 (29.97, 25, 24, 23.98 fps) 2-3 type of intra or Long GOP
8K UHD (16:9) 7680 x 4320 (29.97, 25, 23.98 fps) 2-3 type of intra or Long GOP
4K DCI (17:9) 4096 x 2160 (119.9, 100, 59.94, 50, 29.97, 25, 24, 23.98 fps) 3 type of intra or Long GOP
4K UHD (16:9) 3840 x 2160 (119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps) 3 type of intra or Long GOP
2K DCI (17:9) 2048 x 1080 (239.76, 200, 119.9, 100, 59.94, 50, 29.97, 25, 24, 23.98 fps) Intra frame or Long GOP
Full HD (16:9) 1920 x 1080 (239.76, 200, 119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps) Intra frame or Long GOP
HDR movie recording at up to 59.94p in Normal modes of 4K DCI/UHD, 2K DCI/UHD, Full HD
HDR movie recording at up to 29.97p in Fine modes of 4K DCI/UHD, 2K DCI/UHD, Full HD

Color sampling (internal recording):
8K/ 4K/ 2K/ Full HD - YCbCr4:2:0 or YCbCr4:2:2 8-bit or 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
2K – DCI 4096x2160 / UHD 3840x2160 at 239.76 / 200 / 119.9 / 100 fps
Full HD 1920 x1080 at 239.76 / 200 / 119.9 / 100 fps

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 100-25600, H: 51200
• 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 up to 35.4 megapixels
• Time-lapse movie recording
• Movie digital IS coordinated control
• waveform monitor, false color, 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, and despite being straightforward with the R5's movie high bitrate recording durations before high-temperature shutdown, Canon took a lot of heat for this issue. Here are the approximate minutes until overheating shutdown for the R5 II with a 73.4° F (23° C) cold start.

Auto Power Off:	Standard		High
	Camera	w/ Fan	Camera	w/ Fan
8K 60p RAW	18	21	18	21
8K 30p	26	106	37	120
4K 120p	22	26	22	26
4K 60p	45	unlimited	120+	unlimited

I'll talk about the "Fan" accessory later.

The temperature warning message shown on startup in movie mode is annoying.

The R5 II's video quality is excellent, including relatively low rolling shutter effects.

Exposure/Metering System

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

The usual metering modes are availed, including Evaluative metering (AF point-linked), Partial metering (approximately 5.9% of the area at the center of the screen), Spot metering (approximately 3% 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, with 2, 3, 5, or 7 shots available.

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. The R5 II's metering system performs impressively, and I now use AE for a high percentage of my photography, usually in manual mode via auto ISO, which makes adjusting the shutter speed for changing scenarios only a fast roll of the dial.

Viewfinder and LCD

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The EOS R5 Mark II inherits the big, super-bright, Canon-designed OLED EVF from the EOS R3. This 0.50" EVF features an impressive approximately 5.76 million dots, 0.76x magnification, 100% view, and an up to 120 fps refresh rate. Once you've seen better, you want that, and my preference is for the EOS R1's larger 9.44 million dot EVF with 0.90x magnification. Still, the R5 II's viewfinder is good and not limiting.

While th R5 II's EVF specs are similar to the R5's, the R5 II's EVF is brighter, has a higher contrast ratio, and has HDR capabilities available to produce a natural view, similar to an OVF (Optical Viewfinder).

Extremely valuable is the blackout-free performance (when using the electronic shutter), permitting easy tracking of fast action even during 30 fps capture.

The R5 II's EVF has a 24mm-high eyepoint, with dioptric adjustment facilitating viewfinder use without eyeglasses (4.0 to + 2.0 m dpt). The eyecup is large and not removable.

I rely on the electronic viewfinder level found in all recent full-function cameras. The R5 II provides an optional smaller viewfinder graphic that retains usability while blocking less of the scene. I love it.

The EOS R5 II's rear LCD is a 2.95" (7.5cm) Clear View LCD II, approx. 2.1M dot (same dot count as the R5), 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 easy to capture. This feature has especially great appeal for self-recording, including vlogging.

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

Sometimes, it would be nice to rotate the EVF upward, like using an angle finder on a DSLR, such as when shooting on the ground.

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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As we discuss this camera's physical design, consider that most of the buttons and controls are customizable, and able to perform a myriad of functions.

Use the site's camera product image comparison tool to visually compare the Canon EOS R5 Mark II with many other camera models.

Back of the Camera

The R5 II's primary back-of-the-camera change from the R5 is the new Multi Controller shape, rounded like the R6 II. The new design works like the old one, and I don't consider it an upgrade. Perhaps a slightly rubberized joystick surface would be ideal.

The raised rounded shape of the Magnify, Info, Q, and Playback buttons is a positive change. Even on the R6 II, these buttons were flush with the back of the camera, making them difficult to find and press, especially with gloves on. While the raised button shape is a step in the right direction, there is room for further improvement. They could be larger, or at least one could be better differentiated from the others.

The Delete button maintains the flush design, as it should require a more intentional press than the others.

The current Canon EOS standard location for the rating and menu buttons is on the top-left of the camera's back, as featured in the R5 II.

Moving to the right, we find the large, non-removable eyecup that extends nicely behind the LCD screen. The eye-detection sensors are inside the viewfinder vs. the more obvious window on the R5 and R6 II. The diopter control is again on the right side, where it is easy to access with the grip hand.

The top-right three buttons, AF-ON, Exposure lock, and AF point selection, are once again featured and horizontally aligned, like Canon's other 5-series models. This layout clears space for the dual-slot memory card door below. The Playback and Delete buttons hold their usual R5 and R6 series locations at the bottom.

An annoying "MODE Movie Still Switching" message appears over the displayed image upon pressing Playback.

The R5 II has a rear control dial surrounding a dedicated Set button and a dedicated "Q" button just above. The Magnify, Info, and "Q" buttons remain at their usual positions. For those of us using numerous camera models or upgrading from a prior model, consistency is nice.

Top of the Camera

Three primary changes are visible on the top of the R5 II.

First, the power switch moved from the camera's left side to the right, where it should be, facilitating fast and easy access by the hand holding the camera. Pick up the camera and power it on simultaneously with one hand. The power switch is back just far enough to make my index finger stretch slightly awkward. The Lock position on the power switch prevents setting changes as configured in the Tools menu multi-function lock option. If you find yourself inadvertently selecting the Lock position when powering on the camera but don't use the feature, disable all lock settings in the menu.

Another positive change is the addition of a switch to change the camera settings between photos and movies, recalling the last-used settings for each.

Highly unfortunate to those of us acclimated to and simultaneously using the EOS R5 and R6 is that the new Photo/Movie Switch has the same position and shape as the R5's power switch. I frequently switch the R5 II (and R6 II) into movie mode before putting it in the bag, only to find the stills settings not working properly when I went to use the camera again. This mistake can also result in a drained battery.

Obvious from the top view is that the viewfinder provides plenty of nose relief from the LCD, and the new multi-function shoe is visible. 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 recommended to adapt legacy Speedlite accessories to the updated multi-function shoe.

To the right of the viewfinder is the top LCD panel. While I don't miss the top LCD when using cameras lacking this feature, I use it on those having it, including the R5 II. So, having camera settings instantly viewable from the top is a nice feature.

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

The top Quick Control dial adjusts the ISO setting by default, without a button press required. 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 (if enabled), 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.

When reviewing an image, the first click of the Quick Control dial does not impact an ISO change, unlike the other dials.

The red Movie shooting button provides instant access to video recording. I prefer the top position of this button for an improved grip on the camera vs. the rear position design often used. A top position button is also easy to access from the front.

A short press of the button with the light bulb beside it toggles the top LCD information display, and a longer press reverses the display from white on black to black on white, making it backlit and readable in the dark.

A dedicated mode dial is not provided. However, pressing the mode button, a step similar to pressing the lock button in the center of many earlier EOS mode dial implementations, enables the quick control dial's secondary function, the mode dial. Thus, the same dial performs multiple functions, and the mode functionality is very similar to that of other EOS cameras. Eliminating hardwired modes on a dial frees the camera's interface to enable alternative selection of modes, including by touch and via apps.

The EOS R5 II again features Canon's fully automatic point-and-shoot mode. Complete beginners can open the box, charge and install the battery, insert a memory card, and select the fully automatic Scene Intelligent Auto A+ mode to have a camera ready for high-end performance with point-and-shoot simplicity. This mode is simple from the user's perspective, but it is far from simple from a technological standpoint, as it utilizes powerful algorithms to deliver excellent results in a wide range of situations.

Canon's always-available Fv, P, Av, Tv, M, and Bulb modes are included along with three very useful custom modes. The R5 II lacks beginner creative modes (such as Portrait, Group, Landscape, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control, and Silent).

Side of the Camera

As usual, the left side of the camera has accessory ports.

Provided are:

• USB C (SuperSpeed Plus USB 3.2 Gen 2)
• HDMI (full-size, type A)
• External Microphone (3.5mm diameter stereo mini-jack)
• Headphone (3.5mm diameter stereo mini-jack)
• PC Sync Terminal

See the recessed cover area beside the USB port? That opening facilitates air ventilation.

The right side of the camera provides memory card access.

Front of the Camera

The front of the R5 II includes a programmable function button (set to depth of field preview by default) and an N3 remote release port. The N3 port provides compatibility with the full-featured professional remote releases, including the Canon Timer Remote Controller TC-80N3, and its location is especially convenient for those of us using L-plates.

The bottom holds the usual features, including the battery door, tripod socket, and accessory alignment holes. New is the air vent intake.

Size of the Camera

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A hallmark of mirrorless interchangeable lens cameras is their small size, and this feature alone is a reason to opt for such a camera.

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 5D Mark IV	5.9 x 4.6 x 3.0"	(150.7 x 116.4 X 75.9mm)	31.4 oz (890g)
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)
Canon EOS R	5.4 x 3.9 x 3.3"	(135.8 x 98.3 x 84.4mm)	23.4 oz (660g)
Canon EOS RP	5.2 x 3.4 x 2.8"	(132.5 x 85.3 x 70mm)	17.3 oz (485g)
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 a9 II	5.1 x 3.9 x 3.1"	(128.9 x 96.4 x 77.5mm)	23.7 oz (673g)
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)
Sony Alpha 7C R	5.0 x 2.9 x 2.5"	(124.0 x 71.1 x 63.4mm)	18.0 oz (509g)
Sony Alpha 7C II	5.0 x 2.9 x 2.5"	(124.0 x 71.1 x 63.4mm)	18.0 oz (509g)
Sony a7C	4.9 x 2.8 x 2.4"	(124.0 x 71.1 x 59.7mm)	18.0 oz (509g)

The R5 Mark II is essentially the same size as the R5 (and R6 II), but impressively, it lost a little weight.

Ergonomics, Build Quality, and Durability

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When looking for an opportunity to reduce camera size, the grip, typically dimensionally protruding more than any other physical feature, is the easy target. However, if one spends much time with a camera in hand, grip ergonomics are critically important, and a too-small grip becomes, quite literally, a pain.

While designing the EOS R, Canon engineers performed extensive hand-size research. The first R's grip design was a good one, including adequate depth for fingertips, especially with the thin dimensions of the R body. The EOS R5 and R5 II have an enhanced grip geometry, featuring a larger shelf above the fingers on the front and a thicker grip base, making the newer models noticeably easier to hold.

The R5 II remains comfortable to hold even when tightly gripped for hours.

This solidly built camera features a magnesium alloy frame and a dust- and weather-resistant design like the R5. The buttons and other controls have a high-quality feel.

Additional Features

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Many professional photographers strive to deliver images immediately, 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 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 5.0 (Bluetooth Low Energy technology) is supported.

Battery

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The R5 II brings with it the next generation of LP-E6 battery pack, the graphically differentiated LP-E6P (2130 mAh), featuring "... higher continuous power and two-times the amperage". [Canon USA]

While the LP-E6NH (2130 mAh) and LP-E6N (1865 mAh) will power the R5 II, certain features, including the fastest drive speed, pre-continuous shooting, and most advanced video features will not be available. Eliminating the camera's battery type reminders on power up and awaking makes fully migrating to the new battery pack type worth the cost. The original LP-E6 is not supported. Third-party batteries designed before the LP-E6 hit the streets are not supported. They cause a battery error message to show upon powering the camera on.

Buying new spare batteries increases the acquisition cost, but many of us are using older LP-E6 class batteries that have degraded performance. Replace them.

The LP-E6P battery's form factor is ideal, featuring a significant amount of power in a compact size – several of these batteries fit comfortably in a pocket.

The LP-E6P batteries will power older cameras using LP-E6 style batteries after a firmware update, and the compact LC-E6 direct-plug charger remains current.

The LP-E6P supports in-camera battery charging with the Canon USB Power Adapter PD-E1. In addition, the R5 II can be AC-powered using the Canon AC Adapter AC-E6N plus Canon DC Coupler DR-E6 (the AC Adapter Kit ACK-E6 is also compatible).

The R5 II's battery life rating is 340 shots with the viewfinder and 630 when using the LCD. Especially the viewfinder number is low. Fortunately, real-world results usually far exceed the CIPA numbers, and getting twice the rated shots per charge is not unusual.

Experienced battery life varies dramatically, with high-speed continuous shooting affording great efficiency. One battery provided 391 single-shot images with 53% battery life still reported, and another full charge produced 599 images with 45% life remaining. Working primarily with a fast frame rate put 5,211 images on the card with 44% battery life remaining, and nearly 5,000 high-speed continuous shooting-captured images did not drain a pair of batteries in the fan grip. A fresh pair of batteries in the BG-R20 had 31% capacity remaining after capturing 2,900 images while birding, including the use of pre-continuous shooting.

A menu option provides the remaining battery capacity (6 levels and % remaining), shutter count remaining, and recharge performance (3 levels).

Dedicated Accessories

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The R5 II arrives with a new battery grip, the Canon BG-R20 (B&H). The Canon BG-R10 Battery Grip, the same grip used by the R5 and R6 II, is also compatible with the R5 II. However, the BG-R10 does not support 8K DCI, 8K UHD, RAW video, or SRAW, and frame rates with the Fine setting are not available. The fastest frame rates are unsupported, and it is not compatible with the new LP-E6P batteries.

The BG-R20 battery grip accepts up to two batteries, doubling the battery life in terms of shots per charge. At least as important for many is the substantial vertical grip ergonomic advantage that makes vertical shooting considerably more comfortable, along with the controls it provides.

The downside to using the battery grip is the additional size and weight. However, the grip is easily removed, and the best option for the current situation can be chosen.

The BG-R20 is now in my kit, and I greatly appreciate its vertical shooting orientation advantages. That grip is on my camera if people or wildlife are on the subject list.

The R5 II is also compatible with a new battery grip, the Canon BG-R20EP, that supports vertical shooting and avails an Ethernet port ("EP").

An additional battery grip, the Canon CF-R20EP (B&H), is a video-oriented accessory (that also features an Ethernet LAN port, "EP") designed to cool the camera. When powered on, the cooling fan ("CF") grip moves air through an intake in front of the grip and pushes it into the bottom of the camera and out the left side (where it may also cool you).

Canon's test chart in the movie section shows the fan primarily advantageous when recording 8K 30p and when recording 4K 60p with the auto power off temperature set to standard.

The fan accessory provides an improved horizontal grip, but its size precludes use as a vertical shooting grip. The fan is audible, and provisions must be made to avoid the fan noise in audio recording.

What is the Best Lens for the Canon EOS R5 Mark II?

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The lens matters, and the growing Canon RF Lens lineup is impressive. Most will want to start their R5 II kit with a Canon RF general-purpose lens.

The EOS R5 II is optionally available in a kit with the RF 24-105mm f/4L IS, many photographers' ideal general-purpose standard zoom lens option.

Those requiring a wider aperture should consider the RF 24-70mm F2.8 L IS. The f/2.8 lens yields some focal length range advantage to the 24-105 and is larger, heavier, and more expensive. However, this lens's f/2.8 aperture permits 2x as much light to reach the imaging sensor, and it can create a stronger background blur at comparable focal lengths, and it can create stronger sunstars.

Or, for the wide aperture and the long focal length range, get the RF 24-105mm F2.8 L IS USM Z. For an even wider aperture, get the RF 28-70mm F2 L USM.

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. The EOS R5 II will automatically use its crop mode when EF-S lenses are mounted, delivering a quality experience.

Canon's EF-M lenses are not compatible with the RF mount, even with the adapter, and because of their shorter flange back distance, it is unlikely that we will see a Canon option to support this combination.

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

Price and Wrap-Up

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Like its 5-series predecessors, the R5 II is moderately expensive. However, its features and performance-to-price ratio are outstanding.

It is difficult to balance conciseness and completeness in a review of the incredibly feature-laden R5 II, and this review does not cover every R5 II feature available. Canon published an extensive 1,227-page owner's manual (a link to the manual is provided at the top of this review) that highlights all 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 Canon's USA division has provided me with excellent support. When I call for support, I get an intelligent person who sincerely wants to help with a question or problem. Although I seldom need Canon repair service, it is fast and reliable. Those residing in the USA with an R5 II and a nice lens or two in their kit will qualify for Canon professional services membership and the additional support benefits this membership provides.

The initial R5 II review utilized a pair of cameras on loan from Canon USA, and my two retail-purchased cameras took over from there.

Alternatives

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Is the R5 II the right camera for you? The answer to this question is yes for a high number of enthusiast and professional photographers.

Compared to the EOS R5

The obvious camera to compare is this model's predecessor, the EOS R5. Is the R5 II worth the upgrade from the R5?

Check out the R5 II vs. R5 specification comparison and the visual comparison of these cameras.

What are the differences between the Canon EOS R5 Mark II and the R5? Here are the R5 II's advantages:

• 45-megapixel backside illuminated (BSI) imaging sensor vs. non-BSI
• 30 fps full-bit depth (14) RAW frames per second vs. 20 fps 12-bit (30 is considerably faster than 20, which is also fast. Remember that focus bracketing uses the electronic shutter, which drops the bit depth to 12 on the R5)
• 6.3 ms electronic shutter imaging sensor readout speed (with higher dynamic range) vs. 16.3 (the R5 II is better suited for rendering fast action, such as a bird taking flight)
• Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of action in the near past is game-changing)
• DIGIC X plus DIGIC Accelerator vs. older DIGIC X (enables processing performance improvements)
• Up to 1/32000 shutter speed vs. 1/8000 (extremely fast compared to what was historically the fastest)
• Significantly upgraded AF system, including improved subject detection (vast improvement, especially for photographing subjects in motion)
• Eye Control AF vs. no (dramatically faster AF point or area positioning)
• AF at EV -7.5 vs. -6 (darker is better, but EV -6 is already extremely dark)
• 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
• Brighter and blackout-free EVF vs. no (tracking a moving subject while continuously shooting is considerably easier)
• In-body image stabilizer provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
• Up to 8k DCI 60p RAW, 4k DCI 60p SRAW, 4k DCI 120p MP4, 2k DCI 240p vs. 8K 30p RAW, 4K DCI to 120 fps (the video capabilities are noticeably improved)
• Canon Log 2, Log 3 vs. Canon Log
• Simultaneous proxy recording at 8K 30p MP4 with Full HD MP4 proxy
• Pre-recording (3 or 5 seconds) (hindsight is far clearer than foresight)
• Waveform monitor, false color, and tally lamp vs. no
• Full-size HDMI Type-A port vs. micro type D
• Longer record times before overheating, with cooling vents and the CF-R20EP cooling fan grip is available
• Integrated workflow with Cinema EOS, RAW/MP4
• Anti-flicker along with High-Frequency Anti-Flicker 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
• Next-generation multi-function shoe capable of data communication and power delivery supporting new accessories
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (with JPG output only)
• SuperSpeed Plus USB 3.2 Gen 2 USB Type-C vs. 3.1 Gen 2
• 6, 5, and 2.4 GHz Wi-Fi vs. 5 and 2.4 GHz
• Power switch was moved to right side, a stills and video switch replaces the former power switch (the switch capability is a big upgrade, but its shape and position will drive R5 users crazy)
• Slightly raised Magnify, Info, and Q buttons (the raised buttons are easier to locate, especially in the dark)
• New LP-E6P battery pack
• Slightly lighter

What are the Canon EOS R5 advantages over the R5 II?

• Slightly higher dynamic range with mechanical shutter
• Slightly larger EVF view
• Quieter IBIS
• Now discounted for a lower cost

The R5 II has overwhelming advantages, but the price is an important factor. Especially if your subjects moves, the R5 II is worth the upgrade cost.

However, the R5 is an outstanding camera, and the release of the R5 II does not change that. Especially with the R5 substantially discounted (while it lasts), those with less demanding needs may find that the R5, having the same resolution, is sufficient and that the R5 II is not worth the additional cost.

Landscape photographers must weigh the R5 II's advantages more carefully than wildlife and sports photographers. Videographers will prefer the R5 II.

Compared to the EOS R1

Surprising is how close the R5 II's performance and feature set are to those of the flagship EOS R1 announced at the same time.

Check out the R5 II vs. R1 specification comparison and 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 R5 II and R1 now shadow the EOS R3, the former performance leader of the MILC lineup.

Check out the R5 II vs. R3 specification comparison and the visual comparison of these cameras.

What are the differences between the Canon EOS R5 Mark II and the R3? Here are the R5 II's advantages:

• 45-megapixel imaging sensor vs. 24 (the difference is big, but not everyone wants the higher resolution)
• Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of 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)
• 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
• 8k vs. 6K (higher resolution is better if you use 8k)
• 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)
• Holds 4260 mAh of power in the vertical grip vs. 2750 mAh
• Considerably smaller and lighter (without vertical grip)
• Lower price (though R3 promotions are equalizing this advantage)

Here are the R3's advantages:

• Supports high-speed continuous shooting for 150 RAW images vs. 93
• Custom high-speed continuous shooting supports higher frame rates
• Up to 1/64000 shutter speed vs. 1/32000 (crazy fast vs. extremely fast)
• Smart Controllers (powerful controls after some acclimation)
• 4.15 million dot LCD vs. 2.1 million
• 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)

While most photographers will find the R5 II better suited for their needs, a niche group of photographers will find the R3's advantages important.

Compared to the EOS R6 Mark II

Let's compare the R5 II to the Canon EOS R6 Mark II next.

Check out the R5 II vs. R6 II specification comparison and the visual comparison of these cameras.

What are the differences between the Canon EOS R5 Mark II and the R6 II? Here is a summary of the R5 II's advantages:

• 45-megapixel backside illuminated (BSI) imaging sensor vs. 24 non-BSI (the difference is big, but not everyone wants the higher resolution)
• 6.3 ms electronic shutter imaging sensor readout speed vs. 14.5 (the faster readout speed is most advantageous for fast movement)
• DIGIC X plus DIGIC Accelerator vs. DIGIC X
• 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
• Up to 1/32000 shutter speed vs. 1/16000 (extremely fast vs. really fast)
• Individual files are rapidly saved during pre-continuous shooting vs. a consolidated file written after the capture ends (the individual files create a significantly faster workflow in-camera and during post-processing)
• Upgraded AF system, including improved subject detection (especially for photographing subjects in motion)
• Eye Control AF vs. no (dramatically faster AF point or area positioning)
• AF at EV -7.5 vs. -6.5 (darker is better, but EV -6.5 is extremely dark)
• 5.76 million Dot EVF vs. 3.69 for improved viewing experience
• Blackout-free EVF vs. no (tracking a moving subject while continuously shooting is considerably easier)
• 14-bit with electronic shutter vs. 12
• Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
• 2.1 million dot LCD vs. 1.62 million
• In-body image stabilizer provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
• Up to 8k DCI 60p RAW, 4k DCI 60p SRAW, 4k DCI 120p MP4, 2k DCI 240p vs. 6K 60fps, 4K UHD 60 fps, FHD 180 fps
• Full-size HDMI Type-A port vs. micro type D
• Tally lamp vs. no (informs subject that movie is being recorded)
• 802.11ax Wi-Fi 6E and 6 (6, 5, and 2.4 GHz) vs. 2.4 GHz
• CFexpress Type B plus SD vs. dual SD (CFexpress Type B is considerably faster but larger and more expensive)
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
• Includes a top LCD panel
• Speedlite shooting with electronic shutter supported
• Slightly raised Magnify, Info, and Q buttons
• New LP-E6P battery pack

That is a solid list.

Here are the R6 II's advantages:

• Up to ISO 102400 and 204800 vs. 51200 and 102400 (at the same ISO settings, the R6 II 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)
• 40 fps vs. 30 (having faster continuous shooting available is an advantage, but 30 fps is really fast)
• 6K 60p ProRes RAW available (external recording only, with in-camera FHD proxy, 10-bit)
• Lower price

While few would choose the R6 II over the R5 II for features and capabilities, that last bullet, the lower price, makes this camera a great value and a top seller.

Compared to the Sony Alpha 1

I've been using a pair of Alpha 1 cameras for Sony lens testing and for field use when a Sony lens better fits the need. The flagship a1 is an outstanding camera.

Check out the R5 II vs. a1 specification comparison and the visual comparison of these cameras.

What are the differences between the Canon EOS R5 Mark II and the Sony Alpha 1? Here is a summary of the R5 II's advantages:

• 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 action in the near past is game-changing)
• AF working range of EV -7.5 to 21 vs. EV -4 – 20 (the Canon camera focuses in considerably darker environments)
• 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
• More framerate options – 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)
• Up to 8k DCI 60p RAW vs. 8K 30p
• 2.1 million dot vari-angle LCD vs. 1.44 million tilt
• CFexpress Type B and UHS-II SD slots vs. dual multi-slot for UHS-II SD and CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and faster than SD cards)
• 8.5-stop IBIS vs. 5.5
• Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
• 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
• Modestly lighter
• Far lower price

That is a solid list.

Here are the a1's advantages:

• 50 megapixels vs. 45 megapixels (50 is my favorite, but 45 is close)
• 3.8 ms imaging sensor readout speed vs. 6.3 (faster readout reduces electronic shutter issues)
• +/- 5 stops exposure compensation vs. 3
• 240 fps EVF vs. 120
• Pixel Shift Multi Shooting (provides dramatically higher resolution after post-processing, but everything in the frame must be still)
• 0.64" (16mm) 9.44 million dot EVF vs. 0.50" (12.7mm) 5.76 million dots
• 1/400 max flash sync vs. 1/250
• Ethernet port vs. available with accessory grip
• Modestly smaller

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

The bottom line is that both cameras are incredible and my two favorites. However, the R5 II's $2,199.00 lower price makes it a considerably better deal.

Then Sony unleashed the Sony Alpha 1 II.

Check out the R5 II vs. a1 II specification comparison and the visual comparison of these cameras. What are the differences between the Sony Alpha 1 II and the R5 Mark II? Here are the a1 II advantages:

• 50 megapixels vs. 45 megapixels (50 is my favorite, but 45 is close)
• 3.8 ms imaging sensor readout speed vs. 6.3 (faster readout reduces electronic shutter issues)
• 0.64" (16mm) 9.44 million dot 0.90x EVF vs. 0.50" (12.7mm) 5.76 million dot 0.76x
• 240 fps EVF vs. 120
• 4-axis articulated LCD
• Up to 1 second Pre-Capture vs. 0.5 seconds
• +/- 5 stops exposure compensation vs. 3
• Pixel Shift Multi Shooting (provides dramatically higher resolution after post-processing, but everything in the frame must be still)
• 1/400 max flash sync vs. 1/250
• Movie Auto Framing feature
• Ethernet port vs. available with accessory grip
• 420 shots CIPA viewfinder battery life vs. 340
• Slightly smaller

Here are the R5 II advantages:

• Dramatically lower price
• 30 fps with lossless RAW vs. lossy
• Eye Control AF
• AF to EV -7.5 to 21 vs. -4 to 20 (ratings at f/1.2 vs. f/2, but still an advantage)
• 5,850 manually-selectable AF points vs. 759
• 8K 60p 12-bit internal RAW vs. 8K 30p 10-bit
• 6 GHz WiFi vs. 5
• Has a top LCD
• 630 shots CIPA LCD battery life vs. 520
• Cooling fan grip available
• Slightly lighter

The Sony camera has dual CFexpress Type A and SD combo slots, while the Canon camera has dedicated CFexpress Type B and SD slots.

Again, comparing across brands is significantly challenged by the differing interface and ergonomics, and advantages will often be determined by personal preference.

Summary

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It didn't take long to realize that a pair of R5 II cameras would anchor my kit. 5-series cameras have long provided exceptional performance at a price significantly lower than the flagship 1-series models. They also have a considerably higher-resolution imaging sensor and have been my choice for over a decade.

Canon's description of the new and upgraded features, along with their reputation for delivering upon promises, nearly had me bought in before going hands-on, and hands-on sealed the deal.

The Canon EOS R5 Mark II has beginner through advanced professional needs, including sports and wildlife, covered.