Canon EOS R6 Review

With the EOS R6, Canon's 6-series, noted for excellent value, has arrived in the R-series mirrorless interchangeable lens camera (MILC) lineup. Canon's 6-series models have been great sellers, and though the R6 significantly increases the relative performance and features (and price) for the 6-series, the R6 will continue the best-selling legacy in the R-series lineup.

Let's dive right in with a look at the R6 features list:

Summary of Canon EOS R6 Features

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• New 20 Megapixel Full-Frame Canon CMOS Imaging Sensor
• DIGIC X Image Processor
• ISO 100-102400, Expandable down to 50, up to 204800
• Hi Speed Continuous Shooting at up to 12 fps with Mechanical Shutter and 20 fps with Electronic (Silent) Shutter
• Dual Pixel CMOS AF II with 1,053 AF Areas Covering Approx. 100% of the Frame, 6,072 Manually Selectable Covering Approx. 90% x 100% of the Frame (f/22 Capable)
• Subject Tracking People (Eye, Head, and Face) and Animals (Eye, Head, and Body for Cats, Dogs, and Birds) using Deep Learning Technology
• AF Working Range of EV -6.5 to 20
• 4K to 60 fps, 1080p up to 120 fps, 10-bit 4:2:2 with Canon Log or HDR PQ, Internal Recording in All Formats, with AF
• In-Body Image Stabilizer Provides up to 8-Stops of Shake Correction
• Dual UHS-II SD Memory Card Slots
• Built-in 0.5" 3.69 Million Dots OLED Electronic Viewfinder with 120 fps Refresh Rate
• 3" Vari-Angle LCD Touchscreen
• Built-in WiFi, Bluetooth Technology
• 300,000 Actuation Shutter Durability Rating
• Enhanced Operating Controls
• Optional Canon BG-R10 Battery Grip
• Impressive Durability
• RF Lens Mount, Compatible with EF/EF-S/TS-E/MP-E Lenses with Adapter

The last bullet mentions the lens mount. While the lens mount for an interchangeable lens camera may seem a basic necessity, this one is worth mentioning. Our About Canon RF Lenses and the RF Mount page goes into an in-depth discussion. Still, the basics are that the RF lens 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, and the Sony E mount is 46.1mm), keeping the rigidity, durability, strength, and ultra-wide aperture support the large-diameter mount provides while reducing the flange back distance (distance from the back of the lens' mount to the imaging sensor) from 44mm to 20mm.

The RF mount design supports optical designs that are potentially smaller than possible with the EF mount and often include large-diameter rear-positioned elements that can feature reduced angle of light rays in the image circle periphery and bending light to a lesser degree can lead to improved 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 makes a huge difference in the overall performance of the camera, and Canon's RF lenses have proven very impressive, reason alone to buy into the Canon EOS R-series cameras.

Sensor and Image Quality

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If you read my Canon EOS-1D X Mark III review, you may recall these lines:

"There are many of us anxious to see Canon introduce a professional-grade mirrorless interchangeable lens camera. Simply removing the [1D X Mark III's] mirror box and replacing the OVF with an EVF would create an impressive professional mirrorless model."

While the R6 is not that camera, there are some similarities, and "the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor" [Canon USA] is one. Also said was that the R6 has "virtually the same sensor as the 1D X III." While neither statement says the R6's imaging sensor is completely identical to that in the 1D X Mark III, they both say it is nearly so.

The one heavily-promoted EOS-1D X Mark III imaging sensor feature not mentioned in the R6 announcement and further discussions is the 16-point lowpass filter that provides optimized point separation in 8 radial directions, increasing the sense of resolution and reducing moiré.

Model	FOVCF	Sensor	Pixel Size	Pixels/Megapixels		Viewfinder		DLA*
Canon EOS-1D X Mark III	1.0x	36.0 x 24.0mm	6.6µm	5472 x 3648	20.1	.76x	100%	f/10.6
Canon EOS 5Ds / 5Ds R	1.0x	36.0 x 24.0mm	4.14µm	8688 x 5792	50.6	.71x	100%	f/6.7
Canon EOS 5D Mark IV	1.0x	36.0 x 24.0mm	5.36µm	6720 x 4480	30.4	.71x	100%	f/8.6
Canon EOS 6D Mark II	1.0x	35.9 x 24.0mm	5.75µm	6240 x 4160	26.2	.71x	98%	f/9.3
Canon EOS 7D Mark II	1.6x	22.4 x 15.0mm	4.1µm	5472 x 3648	20.2	1.0x	100%	f/6.6
Canon EOS 90D	1.6x	22.3 x 14.9mm	3.20µm	6960 x 4640	32.5	.95x	100%	f/5.2
Canon EOS 77D	1.6x	22.3 x 14.9mm	3.72µm	6000 x 4000	24.2	.82x	95%	f/6.0
Canon EOS Rebel T8i / 850D	1.6x	22.3 x 14.9mm	3.72µm	6000 x 4000	24.1	.82x	95%	f/6.0
Canon EOS Rebel SL3 / 250D	1.6x	22.3 x 14.9mm	3.72µm	6000 x 4000	24.1	.87x	95%	f/6.0
Canon EOS R5	1.0x	36.0 x 24.0mm	4.39µm	8192 x 5464	45.0	.76x	100%	f/7.1
Canon EOS R6	1.0x	36.0 x 24.0mm	6.56µm	5472 x 3648	20.1	.76x	100%	f/10.6
Canon EOS R	1.0x	36.0 x 24.0mm	5.36µm	6720 x 4480	30.3	.71x	100%	f/8.6
Canon EOS RP	1.0x	35.9 x 24.0mm	5.75µm	6240 x 4160	26.2	.70x	100%	f/9.3
Canon EOS M5	1.6x	22.3 x 14.9mm	3.72µm	6000 x 4000	24.2		100%	f/6.0
Canon EOS M6 Mark II	1.6x	22.3 x 14.9mm	3.20µm	6960 x 4640	32.5	opt	100%	f/5.2
Nikon Z 7	1.0x	35.9 x 23.9mm	4.35µm	8256 x 5504	45.7	.80x	100%	f/7.0
Nikon Z 6	1.0x	35.9 x 23.9mm	5.98µm	6000 x 4000	24.5	.80x	100%	f/9.6
Sony a7R IV	1.0x	35.7 x 23.8mm	3.8µm	9504 x 6336	61.0	.78x	100%	f/6.1
Sony a7R III	1.0x	35.9 x 24.0mm	4.5µm	7952 x 5304	42.4	.78x	100%	f/7.2
Sony a9	1.0x	35.6 x 23.8mm	5.9µm	6000 x 4000	24.2	.78x	100%	f/9.6
Sony a7 III	1.0x	35.6 x 23.8mm	5.9µm	6000 x 4000	24.2	.78x	100%	f/9.6

This camera's twenty megapixels of resolution is relatively low, the lowest among Canon's current DSLR cameras, but not everyone needs ultra-high resolution. For many years, professional photographers have found 20 MP to be adequate for their needs, including for full-page and double-page magazine spreads. The large photosites on this sensor produce very low noise at high ISO settings (we'll take a closer look at this attribute soon), with the R6 referred to as the "Low light king."

Let's look at the Canon EOS R6 resolution test results with the Canon EOS-1D X Mark III test results loaded in the comparison. In this comparison featuring test images processed identically in Canon Digital Photo Professional (DPP) (low contrast Neutral Picture Style, Sharpness = 1), the R6 image appears sharper. However, the 1D X III produces less moiré, further suggesting that the R6 imaging sensor does not have the optimized 16-point lowpass filter.

The first R-series camera, the EOS R, has a higher resolution imaging sensor. However, as seen in the Canon EOS R6 vs. Canon EOS R comparison, The R6 is producing a sharper image at the same setting. The R produces softer images than many other Canon cameras when the images are processed using the same settings. Why? I've asked that question multiple times and have received no answers. Are the RAW images de-tuned slightly, providing more latitude for the photographer to dial in their desired? Does the R have a stronger low pass filter? Or, is there some other cause? My question remains unanswered, but the implied suggestion was taken. The EOS R6 delivers very sharp results.

Here are the Canon EOS R6 vs. Canon EOS 5D Mark IV and Canon EOS R6 vs. Canon EOS 6D Mark II comparisons.

Like all of the other Canon EOS cameras, the R6 imaging sensor has a 3:2 aspect ratio. Optionally (mandatory when using an EF-S lens on the adapter), a 1.6x crop can be set. Other aspect ratios available are 1:1, 4:3, and 16:9.

The R6 makes ISO 100-102400 available in 1/3-stop increments with expansion down to 50 and up to 204800. The marketing department is always quick to state a camera's ISO range, but reality is that the usable settings within that range are what really matter. I immediately dismiss the highest stops as having a too-low SNR (Signal-to-Noise Ratio).

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.

Important to understand is that the site's "Standard" color block noise test results include no noise reduction – a critical factor that may cause the results to appear dissimilar to those seen elsewhere. Since noise reduction can be applied to any images during post-processing, what matters most to me, what differentiates cameras, is how clean the base/RAW images are. While noise reduction can improve an image, noise reduction can be (and usually is) destructive to fine detail. My strategy is to apply light noise reduction only when needed, and I do this only during post-processing of RAW images. 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 tell you the results. The even colors found in these test charts make noise very apparent relative to most real-life subjects as detail in a scene will far better hide the noise. If you can't readily pick out the difference in any color block comparison, it is unlikely that you will be able to recognize the difference in real-world results.

The base ISO setting (ISO 100 with the current EOS models) is always my preferred setting for very clean, low noise results. Not all situations accommodate ISO 100; noise increases as ISO settings go up, and the R6 delivers excellent image quality at very significantly higher settings.

At ISO 800, noise is becoming just perceptible in smooth colored areas of the frame. By ISO 3200, you are going to notice some noise, though I find ISO 3200 images very usable. Noise levels at ISO 6400 and ISO 12800 become increasingly annoying, but ... these images are still decent with some noise reduction added, especially when viewed at less than 100% resolution. ISO 25600 image noise reaches ugly status, with significant noise reduction and reduced final output size being keys to this setting's usability. Results from settings over ISO 25600 (and there are many) have low usability, aside from the marketing/bragging rights aspect.

ISO 204800? That setting sounds impressive until you look at an image captured at this level:

I need to be convinced of even a fringe use for this image quality. Just because the setting is available doesn't mean that you should use it.

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 the Canon EOS R5 vs. Canon EOS R6 comparison relevant, the R5 image (oversampled in this case) must be reduced to 20 MP. An R5 image can be very simply downsized to R6 image dimensions, and then the R5 noise levels appear at least as good the R6 noise levels. DPP was used for downsizing the R5 images in that example.

In this comparison, Photoshop's Image Size method (using the default auto setting) was used for resizing. In this case, the R5 results are sharper than the R6 results, with noise becoming very slightly more apparent from the sharpening. Noise levels do not appear to be a good differentiator between these cameras — high ISO noise levels are not a good reason to buy the R6 over the R5.

A large number of R6 noise test results captured using other settings are available. The additional results were either captured in JPG or RAW format and use Canon's default USM (Unsharp Mask) strength setting of "4" (too high) or lower settings. Examples of a range of NR (Noise Reduction) settings are added into the mix for hours of fun.

Regarding high ISO noise, you can have smooth, or you can have detailed. Pick one. While not as black and white as that scenario implies, the amount of noise reduction applied to an image requires consideration of the overall concept. The amount of noise reduction ideally applied to an image is not necessarily directly dependent on the ISO setting alone. You may find that some subjects take noise reduction better than others. As a generalization, I prefer a low amount of noise reduction at higher ISO settings — and noise reduction can significantly increase the tolerable noise level ISO setting.

All of Canon's EOS cameras provide a wide range of noise reduction, sharpness, and other image quality setting adjustments, enabling you to dial the results into perfection. That these settings can be adjusted in-camera is particularly important for those requiring compressed JPG format images right out of the camera (without using the camera's own RAW image conversion capabilities).

Multi-shot Noise Reduction (MSNR) is one of the additional in-camera options available in many of the latest EOS models, including the R6. MSNR merges information from multiple (four) exposures taken in a full-frame rate burst into a reduced noise image. The concept makes a lot of sense. MSNR generally provides a remarkable one or two stops of noise reduction, but ... I still have not found a compelling use for this feature.

The downsides to Multi-Shot Noise Reduction include: MSNR is currently available only with JPG output (I would like to see this feature added to Canon's Digital Photo Pro software for RAW capture processing – perhaps as another HDR preset). Multi-Shot Noise Reduction is not so useful with moving subjects (or with a moving camera). Long exposure NR, Dust Delete Data, Multiple Exposure, and HDR Mode must be set to off to enable MSNR. The R6 reverts to Standard NR in Auto/Basic zone modes, during video recording, in Bulb mode, and when the camera is powered off. Flash is not supported in MSNR mode. After the four shot burst is captured, the camera remains "busy" for a noticeable period while processing the merged image. So, while this feature is a nice idea, its limitations make it less useful in real-world applications. I am far more likely to use a low ISO setting with a longer exposure when shooting stationary subjects from a tripod.

MSNR might be a good option when handholding the camera in very low light levels is the only option.

Provided in the noise tool are many "Exposed * EV" result sets. These images were intentionally over or underexposed at capture and adjusted to the standard brightness during post-processing. These results would be similar to getting the exposure wrong during capture, increasing brightness of shadow detail, or recovering highlight details.

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 R6 results show that underexposing by 3 stops results in very little (if any) 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 +1 EV ISO 50 results, we see this extended setting's lower dynamic range being slightly exceeded in some channels. Most other ISO settings have few negative consequences at +1 EV. At +2 EV, highlights are beginning to be clipped at ISO 100. This performance compares well against the EOS R and especially well against the 5D Mark IV.

More is always better in terms of dynamic range (exposure latitude), but Canon's imaging sensors have long provided sufficient headroom for most needs. It is interesting to compare the Canon EOS R6 to the Sony a7 III using the +3 EV-captured results. Sony imaging sensors are renowned for their dynamic range. In this comparison featuring similar processing, the Sony camera appears to be retaining more colors.

Like the 1D X Mark III, the R6 supports HDR PQ HEIF 10-bit recording. Your first question is likely, "What is HDR PQ?" HDR PQ (Perceptual Quantization) is a new gamma curve based on the characteristics of human eyesight. It supports HDR recording at ITU-R BT.2100 standard (PQ).

Your next question is likely, "What is HEIF?" HEIF stands for "High Efficiency Image File Format," a standard created by the MPEG group. As with JPEG, HEIF is a file format used to store image data after the image development process is complete. While JPEG files use an 8-bit YCbCr 4:2:2 lossy compression scheme, HEIF uses a 10-bit YCbCr 4:2:2 HEVC compression algorithm (also lossy), complying with the ITU-R BT.2100 HDR standard. HEIF provides up to 4x more precision in image data gradation, and a wider color range than sRGB and Adobe RGB can store. HEIF files are containers, able to store multiple images (typically compressed with a codec such as HEVC (H.265)) along with image derivations (cropping, rotation), media streams (timed text, audio), depth information, image sequences (like a burst of images, supports animation), image data (EXIF), and more. Huge is that, thanks in part to computing power improvements, HEIF files are compressed to a significantly smaller size than JPEG files, about 50% smaller at similar quality levels. Along with all of the other benefits, Apple migrating to HEIF from JPEG means we can expect this standard to take hold in the industry.

Per Canon, "HEIF files are intended to be viewed on HDR-compliant displays and monitors."

The Activate HEVC codec option is available in the DPP help menu, and once selected, the Canon HEVC Activator is downloaded (camera serial number required). Once that app was installed, DPP understood the .HIF file format and the HDR PQ images look remarkably good (including those captured in RAW format). I was not planning to share the results of this testing, and the scene is of low photogenic quality with unstable lighting, but ... I thought the camera's performance warranted sharing with you. The following are downsized screen captures (at review time, Photoshop cannot open .HIF files). Look closely at the outdoor brightness while the indoor blacks retain detail (that detail is more obvious in the full-size images) as illustrated by the 1D X III.

Load Comparison Images

HTP refers to the Highlight Tone Priority feature included in EOS models for a very long time.

An interesting and welcomed new EOS image quality feature arriving with the 1D X Mark III and again featured on the R6 is a clarity slider, adjusting the contrast level in mid-tone areas only. This feature is also now available in Canon Digital Photo Professional (DPP).

Color balance is part of image quality, Canon EOS cameras have a reputation for producing great color, and I would have been highly disappointed if that changed in the R6. That aspect has not changed. Getting the proper color balance is one of my personal-biggest post-processing challenges, and Canon's color science makes me look good in this regard.

No lens is perfect, and lens aberration correction can be helpful in that regard. I shoot in RAW format nearly 100% of the time and prefer to make such corrections during post-processing. For those that do not capture in RAW format, having lens corrections available in-camera is a very positive benefit. Lens corrections available in the EOS R6 during image capture are peripheral illumination, chromatic aberration, distortion, and diffraction along with a DLO (Digital Lens Optimizer) feature. Note that DLO enabled can slow down processing.

Overall, the R6 is delivering the image quality we've come to expect from a Canon EOS camera.

In-Body Image Stabilization (IBIS)

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For the first time in a Canon interchangeable lens camera, IBIS arrives in the EOS R5 and R6. While other camera brands have long included this feature in some of their camera models, Canon makes an impact out of the gate with the up-to eight stops of shake correction this full-frame system provides. Canon noted was that the large image circle provided by RF mount aids in this image stabilization system's capabilities.

For a very long time, a high percentage of Canon lenses have included in-lens optical image stabilization, and Canon had indicated that the 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 on the wide-angle end, in-camera stabilization can be quite effective. In-lens IS cannot account for camera rotation.

What is better than one or the other? Both.

The R5 and R6 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 DIGIC X processor to perfect the optical correction applied. Especially in the normal focal length range, the coordinated control is very effective. This system creates phenomenal performance specs, with most RF lenses introduced to date included in the jaw-dropping 8-stop rating category.

Not all lenses reach the 8-stop rating threshold. Here are some examples:

• RF 70-200 f/2.8 — 7.5 stops
• RF 15-35 f/2.8, RF 50 f/1.2, and RF 35 f/1.8 — 7 stops
• RF 24-240 — 6.5 stops
• RF 100-500 — 6 stops

Think about the impact that 8-stops or even 6-stops of shake correction can have on your images. The difference can be significant, for both stills and video.

Another image stabilization benefit that should not be overlooked is the aid in AF precision. The camera's AF system can produce better focus precision if it sees a stabilized image.

In-lens and in-body image stabilization are both on or both off. The IS switch on a lens featuring image stabilization controls the IBIS function. When using non-IS lenses, camera settings permit IBIS to be always on, similar to 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-stablized lenses in a kit.

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 R6 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.

On a rather shaky day, with the lower-assist-rated non-stabilized Canon RF 50mm f/1.2 L USM Lens mounted, the unsupported R5 (expect the lower resolution R6 to perform well at even longer exposure durations) rendered all 1/5-second images sharp, and most 1/4-second images were sharp. This performance is dramatically better than I could achieve without IBIS, roughly 5-stops better even on a good day. The low light capabilities of that combo are mind-blowing.

With the non-stabilized Canon EF 24-70mm f/2.8L II USM Lens (not RF, again tested on the R5) set to 50mm, the results were similar, collecting a few sharp images at 0.6 and 0.8-seconds.

The extreme capabilities of this IBIS system are game-changing, requiring a new mindset for the photographer. The value of adding image stabilization to your current non-stabilized lenses (including EF models) is huge.

File Size and Media

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The following table shows comparative RAW file sizes for a photo of a standard in-studio setup with a moderately-high amount of detail taken with the referenced camera.

Model / File Size in MB @ ISO:	(MP)	100	200	400	800	1600	3200	6400	12800	25600	51200	102400	204800
Canon EOS-1D X Mark III	(20.1)	24.7	25.2	25.4	26.0	26.9	27.8	28.9	30.3	31.9	33.7	35.9	36.3
Canon EOS 5Ds	(50.6)	64.7	65.7	66.9	69.2	72.5	76.6	81.6	88.1
Canon EOS 5Ds R	(50.6)	65.2	66.4	67.6	69.8	73.0	77.2	81.9	88.4
Canon EOS 5D Mark IV	(30.4)	38.8	39.1	39.6	40.4	41.6	43.5	45.5	48.0	51.4	55.1	59.8
Canon EOS 6D Mark II	(26.2)	33.8	34.1	34.6	35.4	36.5	38.1	40.2	42.9	46.4	50.2	54.9
Canon EOS 7D Mark II	(20.2)	25.5	25.9	26.7	27.7	28.9	30.6	32.7	35.1	37.9	41.0
Canon EOS 90D	(32.5)	38.6	39.9	40.8	42.5	44.5	46.7	49.1	51.6	54.2	57.4
Canon EOS 77D	(24.0)	30.6	31.2	32.1	33.3	34.9	37.0	39.6	42.4	47.0	51.1
Canon EOS Rebel T8i	(24.1)	29.3	30.1	31.2	32.5	34.1	36.0	37.8	39.5	41.8	44.0
Canon EOS Rebel SL3	(24.1)	29.6	30.5	31.6	32.9	34.4	36.2	38.2	40.0	42.7	45.3
Canon EOS Rebel T7 (est)	(24.0)	30.6	31.2	32.1	33.3	34.9	37.0	39.6	42.4	47.0	51.1
Canon EOS R5	(45.0)	51.6	53.1	53.6	55.6	57.7	60.1	63.0	66.4	70.5	75.1	79.5
Canon EOS R5 CRAW	(45.0)	28.1	29.3	29.9	31.5	33.3	35.5	36.2	35.9	36.0	36.9	37.7
Canon EOS R6	(20.1)	24.1	24.7	24.9	25.6	26.4	27.3	28.4	29.8	31.4	33.3	35.5	35.9
Canon EOS R6 CRAW	(20.1)	13.8	14.2	14.5	14.9	15.6	16.4	16.4	16.0	15.7	15.8	16.1	14.8
Canon EOS R	(30.4)	35.8	36.6	37.6	38.7	40.0	41.8	43.3	45.7	48.0	49.6*	**	**
Canon EOS R CRAW	(30.4)	23.1	23.5	24.5	25.2	26.5	28.0	29.4	31.6	33.8	49.6*	35.3*	**
Canon EOS RP	(26.2)	30.7	31.3	32.0	32.8	34.0	35.5	37.1	39.0	41.5	43.4	45.8
Canon EOS M5	(24.2)	33.8	34.7	35.7	37.1	39.0	41.3	44.7	46.5	52.8
Canon EOS M6 Mark II	(32.5)	38.6	39.9	40.8	42.5	44.5	46.7	49.1	51.6	54.2	57.4
Nikon Z 7	(45.7)	59.1	59.7	61.1	62.7	64.6	67.5	70.6	74.4	78.6	83.1	87.2
Nikon Z 6	(24.5)	32.1	32.2	32.6	33.3	34.1	35.1	36.4	37.9	39.5	42.3	44.4	47.2
Sony a7R IV	(61.0)	117.0	117.0	117.0	117.0	117.0	117.0	117.0	117.0	82.0	82.0	82.0
Sony a7R III	(42.4)	81.9	81.9	81.9	81.9	81.9	81.9	81.9	81.9	82.0	82.0	82.0
Sony a7 III	(24.2)	47.1	47.1	47.1	47.1	47.1	47.1	47.1	47.1	47.1	47.2	47.2	47.2
Sony a9	(24.2)	47.2	47.2	47.1	47.1	47.1	47.1	47.1	47.1	47.2	47.2	47.2	47.3

For a Canon ISO 100 non-lossy-compressed RAW image, the file size can be estimated at 1.2MB per megapixel. This is a relatively compact file size.

Introduced with the Canon EOS M50 was the .CR3 RAW format, and the EOS R6 gets this feature. This RAW file format enables new features, including CRAW, compressed RAW with lossy compression vs. the normally compressed RAW with non-lossy compression. Instead of the not-full-featured small and medium RAW formats Canon formerly offered, CRAW provides full RAW file processing support along with an approximately 40% file size reduction (43% in the above ISO 100 example) over Canon's already efficient RAW file format size. The math adds up quickly, significantly impacting both memory card and hard disk storage capacity requirements as well as data transfer times. With the M50 review, what started as a quick evaluation of this new feature became a sizeable project. Check out the article: Should I Use Canon's CRAW Image File Format? for more information.

The Canon EOS R6 writes image files to dual SD/SDHC/SDXC memory card slots, with support for the fast UHS-II standard included.

There are card formats faster than SD available, but the cards for the faster options are considerably more expensive. With 20 MP images resulting in relatively small file sizes and this format able to support 4K movie recording, SD storage in the R6 was a good decision, especially from an economic perspective. SD memory cards are very small, relatively inexpensive, very popular, and compatible with a large number of cameras and card readers, including my laptop's built-in reader. Buy numerous high capacity cards. Rotate the cards, avoiding re-use until the image files they contain are adequately backed up, including off-site.

Controversial was Canon's decision to provide a single card slot in the original EOS R. While I seldom use two cards simultaneously, the EOS R was not the right camera for those who required redundant card writing. The R6 will not share that complaint. With dual card slots available, files can be written to both cards simultaneously (for redundancy, including for separate file formats) or sequentially (for increased capacity). The same memory card format supported by both slots has more advantages than disadvantages.

Frame Rate, Buffer Depth, Shutter

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I'm excited and cringing at the same time. The Canon EOS R6 can capture up to 12 fps with the mechanical shutter. If 12 fps is not fast enough, select the full electronic shutter to enable completely silent shooting at up to 20 fps with full autofocus and autoexposure functionality. Sometimes the difference between an average image and a great one is separated by milliseconds, and this camera has the speed necessary to catch the perfect peak action moment. Daunting is selecting the best images from a shoot involving significant use of the 12 or 20 fps capability.

Today, maximum frame rate determination is complicated by many variables. The 12 and 20 fps numbers are achieved when using the High-speed Continuous "+" Shooting mode vs. no "+". I've been trained to expect significant downsides to any speed rating with a "+" at the end, but have been so impressed with this camera's performance that I haven't yet selected the reduced speed. The non-plus mode reaches up to 8 fps. Many other factors can affect the maximum continuous frame rate, including the lens model used (see page 429 and 851 in the owner's manual and the updated Canon Malaysia R6 list here is likely relevant). Note that RAW and C-RAW have 14-bit A/D conversion with mechanical and electronic 1st curtain shutter, 13-bit with H+ mode, and 12-bit A/D conversion with the full electronic shutter.

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 7D Mark II	10.0	130	31	55ms	100ms
Canon EOS 90D	10.0/11.0	57/58	24/25	59ms	96ms
Canon EOS R5	12/20	350	87/180		n/a
Canon EOS R6	12/20	1,000+	240		n/a
Canon EOS R	2.2-8	100	34/47	50ms	n/a
Canon EOS RP	4	Full	50/Full	55ms	n/a
Canon EOS M5	7/9	26	17		n/a
Canon EOS M6 Mark II	14/30	54	23	53ms	n/a
Nikon Z 7	8/9	25	18/23	n/a	n/a
Nikon Z 6	9/12	n/a	n/a	n/a	n/a
Sony a7R IV	10.0	68	68	n/a	n/a
Sony a7 III	10.0	40	163
Sony a9	20.0	362	241

Canon's cameras routinely deliver the rated frame rate, and tests often show the buffer capacity rating being exceeded. When photographing fast action while counting on the camera's frame rate to capture the perfect point in time, the buffer depth must be adequate to cover the period during which the potential best image could happen. Therefore, buffer capacity matters.

To obtain the best-available buffer capabilities, the EOS R6 was configured to manual mode (no AE time lag) using ISO 100, a 1/8000 shutter speed (no waiting for the shutter operation), a wide-open aperture (no time lost due to aperture blades closing), and manual focus (no focus lock delay). The lens cap remained on (insuring a black image with the smallest file size), the battery was near full charge, and freshly-formatted fast memory cards were used, ProGrade Digital 64GB 200 MB/s V60 Memory Cards in this testing.

Here are the results:

Test	Image Count	Seconds
12 fps RAW + RAW	>1,900	>158
20 fps RAW	180	9.0
20 fps RAW + RAW	165	8.3

The numbers in the table above are excellent, adequate for most professional purposes. Switch to CRAW, JPG, or HEIF image formats, and the numbers go far higher (if possible).

Yes, ADHD kicked in after capturing a crazy-high 1,900 images in the 12 fps test. The camera would likely continue at that frame rate until the cards were filled, achieving a number of images adequate for everyone. Even at 20 fps, the R6 can capture 9 seconds of action when using this SD card. The penalty for recording to two cards simultaneously at 20 fps is minor. These buffer capacities should be considered best-possible for the referenced cards, and your in-the-field results will likely vary.

Remember that memory card speed matters, and a memory card upgrade can be a low-cost method of improving camera performance.

The R6 clears the buffer very quickly, and memory cards format almost instantly, both important aspects for camera selection.

Beneficial for understanding the speed of a specific frame rate is a visual example. Drag your mouse over the labels under the following image for a visual look at the 1st curtain and electronic shutter high-speed continuous plus mode (captured using the same-rate EOS R5).

Load Comparison Images

For a sense of the speed being shown here, understand that the first set of images represents an about-1-second duration, and the second set shows about 0.6-seconds. Each pass had many times more sharp images in the set, but the string of 12 with the best framing was selected for aesthetic purposes.

With an approximately 50ms shutter lag (approximately 81ms using the mechanical shutter), the R6 is responsive, and also fast is the 1/8000 max shutter speed available. X-sync is 1/200 with the full mechanical shutter and 1/250 when using the first curtain electronic shutter (flash is not available in full electronic shutter mode). Available are Bulb (exposure time in hours:minutes:seconds) and interval timers (intervalometer, interval in hours:minutes:seconds and number of shots).

Historically, photography has had an audible aspect, more specifically, the mirror locking up and the shutter opening and closing create sound. Without a mirror assembly, the shutter (and perhaps the lens aperture) is the only remaining source of sound when photographing with mirrorless cameras.

With the full electronic shutter selected, this camera does not make any sound while capturing images. Complete silence is a hard sound to share on a website, so I'll trust that you can understand this camera's ability to be stealthy. The ability to shoot in complete silence is of great value, ideal for use during quiet events such as weddings, when skittish wildlife are the subjects, and any time movies are simultaneously being recorded with audio. Selecting the full electronic shutter has both advantages and disadvantages.

Let's start with the positives. At the top of the list is that the full electronic shutter enables the fast 20 fps drive mode. With no mechanical shutter being used, there are no moving parts, shutter failure is highly unlikely, there is no shutter vibration to be concerned with, and again, the camera can be operated in absolute silence, full stealth mode.

With no sound or other haptic feedback, knowing precisely when the image is being captured can be problematic, and adding a "beep" is counter to the goal of the silent shutter. Canon handles this issue nicely with a white frame appearing in the viewfinder the instant the image is being captured.

Long exposure noise reduction, multiple exposure, HDR mode, anti-flicker shooting, and flash (minimally) are not compatible with the EOS R6's silent shutter.

Additional downsides of an electronic shutter are related to the current-technology 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). Understand that the second curtain of a mechanical shutter chasing the first curtain can produce the same effect, but the difference between mechanical shutter (with electronic first curtain shutter) and electronic shutter performance in this regard has historically been quite big. Promised was that the fast read-out speed of the R6's imaging sensor would reduce this issue.

Load Comparison Images

In the ceiling fan in fast motion sample images above, results from the three available shutter options can be compared. While the electronic first curtain shutter method creates a result similar to the mechanical option, the electronic shutter creates an angular shift effect. That said, that amount of shift is rather mild (and the fan is not perfectly symmetrical).

Certain light pulsing can influence electronic shutter-captured results, creating very troublesome banding for cameras of all brands with this feature. I have heard said that defocused highlight bokeh circles can become clipped or truncated when using an electronic shutter, though I have not been able to produce this issue in testing.

The longest exposure possible in-camera when using the electronic shutter is 0.5 sec. I bumped into that restriction one night when photographing the comet — it took a few minutes for me to figure out what was wrong.

As just discussed, with the full electronic shutter enabled, this camera does not make any sound while capturing images. Complete silence is a hard sound to share on a website, so I'll trust that you can understand this camera's ability to be stealthy in that respect. With the camera in the default electronic first curtain shutter mode, shutter sound audio clips can be produced. With no mirror locking up, this camera is still a very quiet one, quieter and with a softer sound than the EOS R.

The following are links to the EOS R6 shutter sound MP3 files.

Canon EOS R6 One Shot Mode
Canon EOS R6 Burst Mode

Camera sounds are recorded using a Tascam DR-07mkII Portable Digital Audio Recorder with record levels set to 50% at -12db gain and positioned 1" behind the rear LCD.

Autofocus

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"Astonishing Autofocus and Subject Detection" is what Canon is promising in the R5, and the R6 has essentially the same AF system capabilities. "The best AF ever put into a camera" is what I recall hearing them say.

Marketing hype, right? No. In the R5 and R6, that is what Canon delivered.

"The EOS R5 [and R6] brings subject detection to a new level – Utilizing Canon’s Dual Pixel CMOS AF Technology, the EOS R5 [and R6] will be capable of making Ultra-High-Speed Autofocus calculations to match its immensely powerful High-Speed Shooting capability of 20 fps. Subject detection adopted from the Live View AF tracking system in the EOS-1D X Mark III brings Face, Head and even Eye tracking when People detection is set, providing ease and accuracy when capturing stills or video. Detection of Animals will also be possible for the first time in a Canon camera, effectively tracking the whole body, face, or eye of cats, dogs, or birds [and likely other animals] for speed and precision." [Canon USA]

As I said in the EOS R review, image quality matters, and it is easy to show/see differences on a website in this regard, but the speed and precision of a camera's autofocus system is an incredibly important factor in maximizing image quality, but not as easily shown on the web. A misfocused image will likely be deleted immediately, and any focus lock lag can mean a moment missed. The EOS R6's Dual Pixel CMOS AF II AF system, with 1,053 AF Areas covering approx. 100% of the frame, an insane up to 6,072 individually selectable AF points covering approx. 90% x 100% of the frame, and f/22 max aperture lens combination autofocusing capability (with reduced AF area coverage), is one of its most impressive features.

Notice where the rider's head is positioned within the frame, and notice where the auto-selected AF point is? If the eye is not in focus, the image will probably be deleted immediately. The eye AF feature of the EOS R6 works incredibly well, tenaciously keeping eyes stay in focus with no significant effort on the photographer's part, even when the subject rapidly changes position in the frame — and even through a fence.

This feature is incredible.

I put the R6-AF-system-sharing R5's eye and face (and helmet) detection AF to one of the most challenging tests I encounter: a quarterhorse cantering/galloping toward the camera at frame-filling and closer distances with the shallowest depth of field available provided by the Canon EF 600mm f/4L IS III USM Lens. This shoot was timed for the warm late day sunlight, but the forecast changed in the afternoon. Instead of having sweet light bathing the subject, late evening heavy cloud cover added to the AF challenge. Camera settings started at ISO 4000, 1/1600, f/4 and ended with ISO 6400, 1/1250 resulting in 1-stop underexposed images (essentially yielding ISO 12800). The near-latest-captured images are shown in the frame rate illustrations earlier in the review.

In addition to having a fast closing speed, the horse rapidly goes up and down — faster than I can adjust the camera to maintain an AF point on the rider's head. As the horse gets closer, its ears begin to bounce up into the selected AF point, causing AF confusion with the closer contrast usually causing the camera to adjust focus to the horse's head, considerably forward of the rider. Focusing on the horse is only fine if it, not the rider, is your subject. When using a DSLR, the top focus point (when shooting in vertical orientation) is not high enough in the frame to enable use of the entire field of view, with the top of the resulting images often requiring cropping for the subject to fill the frame.

With the R5 (again, similar AF to the R6) set to people eye priority and the 20 fps continuous high speed+ mode selected, the AF system accurately tracked the rider's eye incredibly well as it rapidly bounced up and down in nearly the entire frame — at distances as close as I could keep the head in the frame.

I'm blown away at how easy it now is to maintain proper focus in this challenging situation. Especially reassuring is seeing the red AF square rapidly tracking the subject's eye while shooting. The images below are cropped and reduced examples from the R5-captured 20 fps electronic shutter illustration above (ISO 12800-equivalent), representing under 0.6 seconds.

Load Comparison Images

When the rider turned back for another pass, the R5's head detection showed its prowess, accurately determining that a helmet was in the frame and tracking it.

The primary challenge remains for me to direct the camera for proper subject framing (the EVF at 120 fps works great for this). Additionally challenging was selecting down the keepers from over 1,300 mostly in-focus frames captured in a short time period at 20 fps. Some mental retraining is required to delete perfectly good images.

Photographing a 4-day soccer camp with the R5 and R6 produced similar results. An extremely high percentage of the over 4,000 action images captured were properly focused.

I was especially excited by the addition of animal tracking. Note that when animal subject detection is selected via a menu setting, the camera will select animal eyes over human eyes when possible, so ensure that your setting is correct. The R6 identifies and steadfastly holds focus on most animal's eyes. By using images on the computer, it is easy to see that certain animal eyes are more accurately detected in the 2-dimensional view. Birds, dogs, whitetail and mule deer, raccoons, red fox, cougar, grizzly bear, and mountain goat eyes seem to be detected with excellent accuracy — impressive performance. Elk, moose, and black bear eyes are often detected but sometimes confuse the camera's AI with the nostrils often selected in the case of the elk and ears in the case of the black bear. When the R6 did not pick up the eye, it usually focused on the animal's head, which is often a good choice also. If there is a catchlight in the eye, the R6 usually locates the eye.

In the field, I'm finding the R6's animal eye AF as game-changing as people eye AF. One of the biggest challenges of photographing wildlife is keeping the proper AF point selected, such as when a swimming duck instantly changes direction. Now, in many cases, the camera takes care of that challenge for you, and that feature alone is worth the price of this camera.

The above image is greatly reduced but notice the red AF indicator square precisely on the eye (look closely). Even the eyes of frogs covered in duckweed are readily detected (again, look for the red AF square).

Rabbits are not a problem for this system, and this camera even tracks the eye's of man-made animals including frog pool floats.

The eye-tracking feature is only available with all AF points active. I initially thought it would be helpful to be able to limit the area that the camera has to select the focused-on eye within. However, I have found only limited need for that feature and setting the AF menu tab 5 "Initial Servo AF pt for face detection" to "AF pt set for other AF modes" provides some of this funtionality.

When more than one eye is in the frame, the camera attempts to select the closest eye and provides an option to switch to the other eye(s). Press the joystick in the other eye's direction, and that eye will be tracked.

The R6's eye-tracking AF system is a game-changer. Even without modification to the default AF parameters, this AF system performs awesomely.

While the R5 and R6 AF systems are very similar, my subjective perception is that the R5 eye-tracks people very slightly better than the R6 does. I am not able to quantify or measure this perceived difference, and it is not big.

The EOS R AF system's EV -6 to 18 working range was extremely impressive, and the R6's AF system slightly surpasses it with an EV -6.5 to 20 rating. How dark is -6.5 EV? Extremely dark. With the Canon RF 50mm f/1.2L USM Lens mounted on the EOS R6 and the central AF point selected and placed over a bit of contrast, this combo focuses in environments too dark for me to walk around obstacles in, even with the built-in AF assist light blocked. Also noteworthy is that this camera will focus on bright stars in a moderately-dark night sky, a hugely helpful capability when photographing the night sky. Located on the right side of the camera is a bright LED focus assist lamp that extends AF capabilities into total darkness. The focus assist lamp typically clears the hands holding the camera, a notable feature because another camera model I reviewed has a left-side AF assist lamp that shines directly into my hand in normal shooting position. A lens hood can partially block this light, and sometimes hood removal may be optimal, depending on the focus point selected and the amount of reflected assist light available for the selected point.

Supported AF methods are Face+Tracking AF, Spot AF, 1-point AF, Expand AF Area (Above, below, left and right/Around), Zone AF, and Large Zone AF (Vertical, Horizontal).

The R6 focuses very fast. Testing side-by-side with a Canon EOS 5Ds R, I can't differentiate the focus speed. If the AF system can keep up with a fast-moving horse at close distances, it is suitable for most pursuits.

For those choosing between Sony and Canon MILCs, note that the Canon does not defocus prior to focusing in One Shot AF mode. Especially because of this design difference, the Canon's One Shot AF lock time is dramatically faster than the current Sony models. Worth noting is that the R6's focus performance is good even with a very-strongly defocused starting point. Note that the Canon EOS R6 focuses (and determines exposure) with the aperture wide open, similar to the prior EOS models.

Most review-time-current sensor-based AF systems do not provide cross-sensitive AF point technology, and the R6 can struggle to focus on only perfectly-horizontally-oriented lines of contrast. I don't often encounter this issue with any of the R-series cameras.

With AF calculations being made directly on the imaging sensor (vs. on a separate sensor in a DSLR), AF calibration becomes a greatly-reduced issue, and EOS R6 AF accuracy is excellent, very reliably focusing precisely shot after shot. With imaging sensor-based AF, this camera can be expected to focus consistently accurately with third-party lenses.

Using the imaging sensor for AF also enables new features such as the precise eye and subject tracking just discussed.

Canon's AF Case settings are provided. AF tracking sensitivity, acceleration/deceleration tracking, One-Shot AF release priority, and AF point auto switching can be independently adjusted, enabling autofocus performance to be dialed in to your needs. Similar to the 1D X Mark III, Case 5 and 6 are omitted, and AF Case A (Auto) is included, instructing the camera to analyze the scene and optimize the settings in real-time.

With the extreme number of focus points available, moving between individual focus points can become a challenge, with lots of button pressing or holding. Some EOS R complaints lamented the absence of a joystick, typically useful for easily moving the AF point. The joystick has arrived on the R6, and very positive is that it is a very responsive 8-way type controller.

A fantastic focus point selection feature introduced on the EOS M5 is the tap, touch and drag AF touchscreen interface.

To select an AF point or AF area position, simply tap the touch screen, or when using the EVF, touch and drag the AF point/area as desired. This interface quickly surpassed my joystick-based AF point selection speed, and it is especially well-suited for rapidly changing sides of the frame, such as needed when an animal turns its head the other direction. With such a huge number of AF points to choose from, tap and touch and drag AF point selection allows very precise AF point/area positioning. I typically drag the AF point selection while composing an image, maintaining the point on my subject as I adjust framing.

With the eye detection technology performing so well, I'm not using manual AF point selection as frequently.

The focus peaking manual focusing aid is available. The Dual Pixel Focus Guide illustrated below can also assist in obtaining ideal manual focus.

With RF-mount lenses utilizing electronic focus only, a variable adjustment rate manual focus ring can be implemented. Turn the focus ring quickly, and focus distances change very fast. Turn the ring slowly, and very precise focusing becomes available. Implemented properly, the variable rate manual focusing can be nice to use, but most often I find the difference in rotation rates to be too similar, and the variable speed becomes a frustration, making rocking the ring into precise focus a challenge. With the EOS R6, a menu option permits the variable rate feature to be disabled, linking the focus ring sensitivity directly to the degree of rotation.

A very useful feature first provided in the Canon EOS RP was Focus Bracketing. Now found in the R6, this feature has a LOT more details to be understood, and the Canon Focus Bracketing page delves into this topic.

Movies

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4K up to 60fps, 1080p up to 120 fps, 5.1K oversampling, 10-bit 4:2:2 with Canon Log or HDR PQ, internal recording in all formats, with autofocus. As made clear in the full list of Canon EOS R6 movie specifications shared below, strong movie capabilities were high on the R6 engineers' priority list.

4K UHD (16:9) 3840 x 2160 (59.94, 50, 29.97, 25, 23.98fps) inter frame (IPB)
4K UHD Timelapse (16:9) 3840 x 2160 (29.97, 25fps) intra frame (All-I)
Full HD (16:9) 1920 x 1080 (119.88, 100, 59.94, 50, 29.97, 25, 23.98fps) inter frame (IPB)
Full HD (16:9) 1920 x 1080 (29.97, 25fps) light inter frame, (IPB light)
Full HD Timelapse (16:9) 1920 x 1080 (29.97, 25fps) intra frame (All-I)
Full HD HDR (16:9) 1920 x 1080 (29.97, 25fps) intra frame (All-I){foot}

Canon Log, featuring low contrast and saturation optimal for grading, is available. Notable is the 10-bit 4:2:2 internal recording.

8.3-megapixel JPEG/HEIF still image frame grab from 4K UHD movie possible (HEIF only possible when HDR PQ is set).

The extreme bandwidth of 4K 60p video requires significant processing power, processing power being used equates to heat, and heat becomes an issue in a non-cooled compact camera body.

In the past, Canon has taken heat for limiting the higher bandwidth video capabilities of its cameras, and I've heard them specifically mention that heat was one reason for such omissions. With the R5 and R6, Canon held nothing back, delivering very impressive specs. Now, they are taking heat for the heat these capabilities generate.

Canon was forthright regarding heat affecting the performance of this compact, not-actively-cooled camera body, issuing the following chart for 23°C / 73°F environments:

"Like the EOS R5, the EOS R6 offers powerful movie recording and stills capabilities within a compact body design. At the highest frame rates and resolutions, heat is inevitably generated. We believe the EOS R6 offers best in class performance, especially for enthusiast photographers and video content creators."

The EOS R6 can record up to the 29 minutes 59 second recording limit in the 5.1K oversampled 4K 60p mode at (23°C / 73°F) before encountering any heat-related issues within the camera and up to 40 minutes of 4K at 30p.

Additional reports are indicating that Canon's numbers are proving at least close to accurate with ambient temperature yielding only minor differences, and my experience is similar. When the R6 heats up, it feels warm in the hand, but not close to painfully hot (like some laptop computers). Canon has likely been conservative in the thermal limiting implemented in this camera.

Note that the cool-down duration is significant. The camera is expected to be powered off during this period, and any camera use just prior to recording will generate heat that shortens the record times. Those considering the R6 for professional video use must be aware of the serious time limitations heat imposes on the highest-quality recording options. If shooting stills and video, record video first.

Update: note that firmware update version 1.1.1 significantly decreased cool-down times in many situations.

For considerably better recording duration performance (improvement varies, but reportedly up to 50% or even unlimited in some cases), use (solely, no memory card inserted) an external recorder (not supported by 8K or 4K 120p) such as the Atomos Ninja V via the HDMI port.

The R6 has only two movie modes, fully automatic and manual. Selecting Auto ISO in manual mode provides important control with auto exposure. With fewer options available, the R6 does not have the R5's new movie menu.

Made possible by the fast processor and imaging sensor, less rolling shutter effect was promised for the R6 movies than previous EOS cameras. Filming at 120p and 60p produces very low rolling shutter effect, while lower framerates such as 30p and 24p still have noticeable rolling shutter effects.

The R6 can record timelapse movies.

Assiting in manual focusing, along with the Dual Pixel Focusing Guides, are focus peaking indicators. Aperture increments of 1/8 stop can be enabled, adding precise brightness control, and zebras are available for easy exposure control. Keeping all of the R6's available settings organized and easy to adjust is a new, very logical, movie menu that also shows available record time.

Important warning from the owner's manual: "When importing movie files exceeding 4 GB to a computer, use either EOS Utility or a card reader. It may not be possible to save movie files exceeding 4 GB if you attempt this using standard features of the computer's operating system.

The R6's IBIS can potentially eliminate the need for a tripod or gimbal in some scenarios, as long as the camera is in steady hands. The IBIS results can be slightly twitchy if hands are shaking, but the difference made by IBIS is substantial.

The R6's full technical movie specifications are extensive.

This camera produces very high-quality movies with a vast array of adjustments available to refine the results as desired.

Exposure/Metering System

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On paper, the EOS R6's metering system appears similar to the EOS R's high-performing metering system, featuring 384 zones (24x16).

The R6's metering range specification is EV -3 – 20 (at 73°F/23°C, ISO 100), far-surpassing any EOS camera before the R (EV 0-20). The R can evaluate exposures from the night sky in my medium-dark location (a significant advantage for timelapse photography).

EOS R metering modes include Evaluative metering (AF point-linked), Partial metering (approx. 5.8% of the area at the center of the screen), Spot metering (approx. 2.9% 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.

I am increasingly impressed by EOS cameras' metering capabilities, and this one is very reliable, as good as any I've used.

Related to metering is Canon's Anti-flicker mode, a feature that has migrated to the EOS R6. This mode is a game-changer when photographing under flickering lights, especially when photographing fast action.

Viewfinder and LCD

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It is a mirrorless camera and therefore lacks a TTL (Through the Lens) optical viewfinder. Our Comparing Electronic Viewfinders to Optical Viewfinders page discusses the advantages and disadvantages of each design, but the EOS R6 has two very high-performing LCDs.

The EOS R6's large, built-in 0.5" OLED (Organic Light-Emitting Diode) EVF features a nice, approximately 3.69 million dot resolution (same resolution as the EOS R).

The large R6 EVF features a 100% view, and it is impressively bright with high contrast and great color. Video feed lag, with the 120 fps refresh rate, is a non-issue for most uses.

The EOS R6's EVF has a bright, 23mm-high eyepoint design, and the dioptric adjustment of -4 - +2 facilitates viewfinder use without glasses.

An EVF makes a configurably-vast amount of information available for display and also makes that information rotatable for when shooting vertically. A quality EVF makes viewing images easy, especially when zooming in for sharpness verification, especially in bright daylight, and especially for eyes that otherwise require corrective optics (if you don't need glasses now, you will need them at some point).

A common EVF issue is a short pause in the video feed when an image is captured. The R had a slight amount of that pause, just enough to make fast-moving side-to-side subject tracking a bit challenging, and I was anxious to test the R6 in this regard. This camera is fast in many ways, and I was not surprised that the EVF continues to show the action during high-speed frame rate captures, allowing a fast-moving subject to be kept in the frame.

A feature I heavily rely on is an electronic level, and all full-functioned current-design cameras have this feature. The R6's upgraded level is excellent, featuring a reduced viewfinder presence and ideal tuning. Great is that the EVF image review time can be set independently from the rear display review time.

I was a big fan of optical viewfinders, but I'm now converted (though I'm even more converted with the R5's higher resolution EVF).

I know that the rear LCD described next is articulating, but it would sometimes be nice to be able to rotate the EVF upward, similar to using an angle finder on a DSLR.

The EOS R6's other fully-featured LCD is the rear 2.95" (7.50cm) Clear View LCD II, approx. 1,620K dot Vari-angle Touchscreen LCD. The Vari-angle feature of this LCD permits rotation of nearly 180° horizontally and 270° vertically, making hard-to-get shots and unique perspectives (including selfies) easy to capture. This feature has especially great appeal for vlogging. While this is not Canon's highest-resolution LCD display, the image quality is very good, and with anti-smudge coating applied, it will easily wipe clean. Anti-reflection coating is not applied.

Note that the brightness of the EVF and LCD can be separately adjusted. Canon's touchscreens make changing camera settings easy, including via the always excellent menu structure and the handy "Q" button (showing the Quick Control screen).

Physical Design

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We are next going to take a tour of the R6 referencing the functionality from a default settings point of view, but keep in mind that this camera is extremely customizable via the Custom Controls menu option. To compare the Canon EOS R6 with many other camera models, use the site's camera product image comparison tool. Opening that link in a separate tab or window will be helpful for following along with the product tour.

When discussing the EOS R with Canon's engineers, I requested more controls for faster, easier use. This camera design fulfilled that request. Spend the time to learn the features available, and configure the camera for your needs, taking advantage of all relevant features.

Back of the Camera

The Canon EOS standard location for the menu button has been on the top-left of the camera's back, and when two buttons were available in this location, the info button was the one to the right. Not this time. The EOS R had a single button (Menu) on the top-left. A second button was added to this position on the R6, defaulting to the rate function. I'm always up for positive changes, but I'm not a fan of this standard-breaking one. I don't use the Rate button very often, so my R6 Rate button may get reprogrammed to a different function (maybe the menu function). As the microphone graphic suggests, voice memos may be recorded.

Moving to the right, we find a large, slightly reconfigured (non-removable) eyecup that extends nicely behind the LCD screen, along with the eye-detection sensor. I appreciate the nose relief this design affords. The diopter control moved to the right side, where it is easier to access.

Moving farther to the right, we find the EOS R's innovative Multi-function Bar replaced by a joystick. Sometimes innovation is not an improvement or welcomed, and probably most will find more "joy" in the joystick than they found in the Multi-function Bar.

The top-right three buttons, AF-ON, Exposure lock, and AF point selection, are once again featured, but they are now horizontally aligned, similar to Canon's other 5-series models, clearing space for the larger dual slot memory card door. The AF-ON button is easier to reach in this location. The Playback and Delete buttons take their location cues from the EOS M5/M6 and EOS R. These buttons are flush with the back of the camera, requiring an intentional press to activate. For the same reason, they are not easy to find without looking.

The EOS R's Set button was located in the center of a 4-way cross keys controller and also functioned as the "Q" Quick control button. That was not my favorite design, and the R6 gets a 5-series-like rear control dial surrounding the dedicated Set button, the latter made possible by the addition of a dedicated "Q" button just above. Another button addition is the magnify button. This button alone is an excellent improvement to the EOS R design. The Magnify, Info, and "Q" buttons are also flush with the back of the camera, requiring an intentional press to activate. They too are not easy enough to find without looking.

Top of the Camera

While the EOS R5 shares the EOS R's top design, the EOS R6 top design more closely follows that of the EOS RP.

Moving from left to right, we next find the power dial as seen on the EOS R but improved with a small extended area creating a more switch-like control. The location of this dial does not facilitate powering on or off the camera without involving the second hand while holding it. However, the dial is not in the way during use, and it works fine, better with the new shape.

Continuing to move to the right, we find the viewfinder bulge with, as mentioned before, plenty of nose relief being provided on the back and a standard flash hot shoe on top. Also, the RF lens mount shows itself prominently on the front.

Next to the right of the viewfinder is the mode dial. This dedicated dial went missing on the R, came back on the RP, was omitted on the R5, and is featured on the R6. Basically, the R-series models without a top LCD have a dedicated mode dial. This dial is prominently-featured for easy right thumb access, and with a non-locking design, mode changes are a quick swipe of the thumb away, even when the camera is powered off. The mode dial and other top-of-the-camera dials are somewhat flush-mounted, protected from damage.

Toward the top of the right side are the shutter release and top dial, features very similar in function and orientation as Canon's other EOS DSLRs and MILCs. Between them is the M-Fn button. Pressing the M-Fn button enables the last-used function to be changed using the Main (top-front) dial. Pressing M-FN repeatedly steps through the settings enabled for this feature, with again, the Main dial being used to change the setting selected.

With the additional Quick Control dial on the R5 and R6, the top Quick Control dial adjusts the ISO setting by default, without a button press required, a nice improvement. 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 is very 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.

The red Movie shooting button provides instant access to video recording. I prefer the top position of this button vs. the rear position design often used.

The nicely-raised Lock button prevents settings changes as configured in the Tools menu Multi-function lock option.

The EOS R6, as usual, has a fully automatic point-and-shoot mode. Complete beginners can open the box, charge and install the battery, insert a memory card, and select the green A+ fully-automatic Scene Intelligent Auto mode to have a camera ready to go, taking care of everything for point and shoot simplicity. This mode is simple from the user perspective. Still, it is far from simple from a technological standpoint as it uses powerful artificial intelligence algorithms to deliver excellent results in a wide range of situations.

Fv, Flexible-priority AE mode appears to have become standard on the R-series.

Included are Canon's standard P, Av, Tv, M, and Bulb modes along with three convenient custom modes. Missing on the R6 are the beginner creative modes (such as Portrait, Group, Landscape, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control, and Silent). Video owns one of the mode dial positions.

Side of the Camera

The right side of the camera provides memory card access, and the left side has the accessory ports. Provided are Hi-Speed USB (USB 3.1 Gen 2), HDMI micro OUT terminal Type D (smaller than EOS R mini), External Microphone In / Line In (3.5mm diameter stereo mini-jack), Headphone socket (3.5mm diameter stereo mini-jack), and an E3 (not N3) remote release port.

Load Comparison Images

Note that the bottom of the R5 and R6, like the R, features small accessory alignment holes. EOS R accessories such as custom L-plates utilizing these holes are not compatible with the R5 and R6.

Front of the Camera

The front of the R6 is modestly more feature-rich than the EOS R: added is a programmable function button defaulting to the depth of field preview option. Note the increased size of the top of the grip.

Size of the Camera

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

When looking for an opportunity to save space in camera design, 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 I love the compact size of Sony's current alpha MILCs, I've complained regularly about their grips being too small, even on the much-improved a7R IV design. When gripping the a7R IV, my knuckles to press into the sides of all but the slimmest Sony FE lenses.

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 R6 have an enhanced grip geometry, featuring a larger shelf above the fingers on the front and a thicker grip base, both making the newer models noticeably easier to hold onto. Going from a 90D, a 6-series body, or similar to an EOS R5 or R6 seems natural.

Note that your tripod may seem a bit shorter with an R-series camera on it.

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 7D Mark II	5.9 x 4.4 x 3.1"	(148.6 x 112.4 x 78.2mm)	32.1 oz (910g)
Canon EOS 6D Mark II	5.7 x 4.4 x 2.9"	(144.0 x 110.5 x 74.8mm)	27.0 oz (765g)
Canon EOS 90D	5.5 x 4.1 x 3.0"	(140.7 x 104.8 x 76.8mm)	24.7 oz (701g)
Canon EOS 77D	5.2 x 3.9 x 3.0"	(131.0 × 99.9 × 76.2mm)	19.0 oz (540g)
Canon EOS Rebel T8i / 850D	5.2 x 4.0 x 3.0	(131.0 x 102.6 x 76.2mm)	18.2 oz (515g)
Canon EOS Rebel SL3 / 250D	4.8 x 3.6 x 2.7	(122.4 x 92.6 x 69.8mm)	15.8 oz (449g)
Canon EOS Rebel T7 / 2000D	5.1 x 4.0 x 3.1"	(129.0 x 101.3 x 77.6mm)	16.8 oz (475g)
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	5.5 x 3.8 x 3.5"	138.0 x 97.5 x 88.4mm	24.0 oz (680g)
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 3.36 x 2.76"	(132.5 x 85.3 x 70mm)	17.3 oz (485g)
Canon EOS M5	4.6 x 3.5 x 2.4"	(115.6 x 89.2 x 60.6mm)	15.1 oz (427g)
Canon EOS M6 Mark II	4.7 x 2.8 x 1.9"	(119.6 x 70.0 x 49.2mm)	14.4 oz (408g)
Nikon Z 6	5.3 x 4.0 x 2.7"	(134.0 x 100.5 x 67.5mm)	20.7 oz (585g)
Sony a7 III	5.0 x 3.8 x 3.0"	(126.9 x 95.6 x 73.7mm)	23.0 oz (650g)

The EOS R5 and R6 remain essentially the same size and weight as the EOS R.

If dimensions are everything to you, the Sony MILC cameras or one of the EOS M series options might have a stronger appeal. However, if you are going to be using the camera in hand a lot, the EOS R6 grip is excellent (the Nikon Z 6/7 grip is also very good).

Make the camera smaller, and the weight is typically reduced. While MILC weight reduction usually does not seem to be as great as the size reduction, the weight of the R-series cameras is noticeably lower than full-frame DSLRs. If you are carrying a camera a lot, lighter camera weight can help keep your energy levels up, and creativity stays elevated with energy levels.

Consistent with Canon EOS designs are the rounded edges of this camera, making it very comfortable to handle and providing a modern, sleek appearance.

Ergonomics, Build Quality and Durability

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All of Canon's EOS models are well-built, but the mid and upper-grade models are especially so. The EOS R6 has a magnesium alloy chassis, providing a rigid and protective yet lightweight structure for the camera. All dials and buttons have a quality feel with good haptic feedback.

Model	Shutter Durability Rating
Canon EOS-1D X Mark III	500,000
Canon EOS 5Ds / 5Ds R	150,000
Canon EOS 5D Mark IV	150,000
Canon EOS 6D Mark II	100,000
Canon EOS 7D Mark II	200,000
Canon EOS 90D	120,000
Canon EOS R5	500,000
Canon EOS R6	300,000
Canon EOS R	200,000
Canon EOS RP	100,000
Nikon D850	200,000
Nikon Z 7	200,000
Nikon Z 6	200,000
Sony a7R IV	500,000
Sony a7R II	500,000

The R6's electronically controlled focal-plane shutter is rated to approximately 300,000 cycles, a number well into the professional range and significantly exceeding the R.

"The EOS R6 camera is designed for use in a variety of weather conditions. Sealing materials are used in critical areas like the buttons, terminal covers, the battery compartment and the card slot cover. Precise design and construction help to minimize accidental penetration of dust and moisture in the rest of the camera body." [Canon USA]

Canon EOS cameras have a wide range of weather sealing levels, and the above could describe a significant number of them. Discerning the individual model's level of sealing can be more challenging, and Canon indicated to us that the R6's weather sealing is comparable to the Canon EOS 5D Mark IV, which is designed for sustained exposure to mid-to-hard rain. That is the same reference made for the EOS R sealing and a very positive one.

I recommend using a rain cover (for all cameras) when dust and moisture are expected, but when unplanned wetness happens, weather sealing can be a save-the-day/trip feature.

With an MILC camera's shutter always open for the use of the EVF (and no mirror in the optical path), there is concern about direct sunlight causing damage to the imaging sensor. Canon helps to avoid this issue with the R-series cameras by closing the shutter (which also helps keep the sensor clean) and by stopping down the lens aperture very tightly when the camera is powered off.

Additional Features

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Like many of Canon's recently released EOS models, the R6 has built-in Wi-Fi and Bluetooth (NFC and GPS have been omitted). These technologies provide easy transfer of images (including ftp) and movies to compatible devices.

Smartphones and tablets connect using Canon's free Camera Connect app. In addition to transferring movies and still images, this app provides some remote camera control features and provides a live view display of the scene.

Utilizing this camera's Bluetooth capability is the Canon BR-E1 Bluetooth Remote. Want to be part of your family picture? Or just don't want to deal with a remote release cord when using a tripod? You may want this accessory.

The R6 is able to use a smartphone for GPS tagging. If connected to a smartphone via Bluetooth, the coordinates are recorded at the time the image is captured. A downside is that your phone battery drains rapidly. A better GPS solution is the compatible Canon GPS Receiver GP-E2.

Note that the EOS R6 does not have a built-in flash. However, with a standard hot shoe available and an external flash control menu, the EOS R6 is fully compatible with Canon's extensive range of flashes. Note that, at least initially, the R6 LCD turns off in a short duration when using some third-party flash triggers such as the Godox XPro-C 2.4GHz Transmitter (Flashpoint R2 Pro).

Battery

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New with the R5 and R6 is the high capacity Canon LP-E6NH Li-ion Battery Pack (2130mAh), 14% more powerful than the Canon LP-E6N (1865 mAh) utilized in a large number of previous EOS camera models. An increased capacity battery helps offset a downside of mirrorless cameras relative to DSLRs, the reduced number of shots available from the same battery capacity.

The LP-E6NH battery's form factor is very nice, featuring a significant amount of power in a compact size – several fit comfortably in my pocket. Especially great is that the entire series of batteries, including the original LP-E6 (1800 mAh), are forward and backward compatible, including their chargers.

That I have accumulated a large supply of these batteries is especially useful. I love the simplicity of being able to share the LP-E6-series batteries and chargers across my kit and also appreciate that I can take a single, small, direct-plug charger when traveling, even when I have multiple camera models along. That I am accumulating a large number of these chargers is also convenient for those times I need to quickly charge a large number of batteries.

The R6 is backward compatible with LP-E6N and LP-E6 battery packs and supports in-camera LP-E6NH battery charging with the Canon USB Power Adapter PD-E1. The R6 can be AC-powered using the Canon AC Adapter AC-E6N plus Canon DC Coupler DR-E6. "The USB Power Adapter PD-E1 is not compatible with powering the camera." [Canon]

The CIPA battery life rating is approximately 510 shots (at 23°C) with the LCD approximately 380 shots (at 23°C) with the viewfinder. In real-world shooting, the CIPA numbers are often far exceeded, and getting twice as many shots per charge is not surprising. When testing the high-speed frame rates and buffer depth, along with other testing, the R6 had 5,033 images captured with 67% battery life remaining. A morning photographing birds along with other uses netted 2,234 images with 45% battery life remaining. Those shooting sports with this camera should especially see the CIPA rating far exceeded. Overall, I'm comfortable with this camera's battery life.

Using the higher viewfinder refresh rate will noticeably decrease the shots per charge. Remaining battery capacity (6-levels and % remaining) and recharge performance (3-levels) are indicated.

The LP-E6NH is a welcomed EOS improvement.

Dedicated Accessories

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Optional for the R6 is the Canon BG-R10 Battery Grip (B&H). The battery grip accepts up to two batteries, effectively doubling the battery life in terms of shots per charge. At least as important for many is the vertical grip and the controls it provides, a substantial ergonomic advantage that makes vertical shooting much more comfortable. The downside to using the battery grip is the additional size and weight. However, the grip is easily removed, and the best option can be chosen for the current situation.

I added a BG-R10 to my kit, and have been appreciating the vertical shooting orientation advantages it offers.

Note that the R6 is not compatible with the Canon WFT-R10A Wireless File Transmitter.

Lenses and Accessories — Which Lens Should I Get for the Canon EOS R6?

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The lens matters, and the growing Canon RF Lens lineup is very impressive.

The EOS R6 is optionally available in a kit with the RF 24-105mm F4-7.1 IS STM Lens or the Canon RF 24-105mm f/4L IS USM Lens.

The RF 24-105mm F4-7.1 IS STM Lens is a compact, lightweight, and affordable general-purpose zoom lens. If your budget stops here, get it.

The Canon RF 24-105mm f/4L IS USM Lens is a higher-performing, professional-grade option. This lens is the ideal general-purpose/standard zoom option for a large percentage of photographers.

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

Again, the Canon RF Lens lineup is very impressive, featuring many options for varied needs.

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 (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 R6 will automatically use its crop mode when EF-S lenses are in use for 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. Note that when using some third party manual focus lenses on the adapter (Rokinon/Samyang for example), the camera may not take a photo unless "Release shutter without lens" is enabled in the menu (one of the first reasons I've found to enable this menu option).

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

Price

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The EOS R6 enters the market at an interesting price point, significantly lower than the R5 and moderately higher than the EOS R. While the R has a higher resolution imaging sensor, the R6 has some very big advantages including its frame rate.

Wrap Up

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Keeping a review of the incredibly-feature-laden Canon EOS R6 concise but complete is a difficult balance to find, and this review is not a complete description of every feature available. Canon has published an intimidatingly-huge, but well-designed owner's manual (a link to the manual is provided at the beginning of this review) that highlights all of the features found on this camera, explaining their use. Read the manual, use the camera, repeat.

Owning a Canon product gives you access to Canon support, and the support provided by Canon's USA division is excellent (sorry, I have no experience with the other Canon divisions). When I call for support, I get an intelligent person who sincerely wants to help me with whatever my question or problem is (I challenge them sometimes). Canon repair service, though I seldom need it, is fast and reliable.

The production Canon EOS R6 camera used for this review was loaned from Canon USA.

Alternatives

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Is the EOS R6 the right camera for you? The answer to this question is going to be yes for a considerable volume of people.

For someone considering the EOS R6 purchase, the other current EOS models that should be considered include the EOS R5 and EOS R. Our Should I Get the Canon EOS R5, EOS R6, or EOS R? An Extensive Comparison page dives into the detailed differences between these cameras.

Also, use the site's tools to create specific comparisons:

Canon EOS R6 Compared to the Canon EOS R5
Canon EOS R6 Compared to the Canon EOS R
Canon EOS R6 Compared to the Canon EOS-1D X Mark III

Not all differences show up in the specifications, but the visual comparison tool can fill in many of the missing differences:

Canon EOS R6 Visual Comparison with the Canon EOS R5
Canon EOS R6 Visual Comparison with the Canon EOS R
Canon EOS R6 Visual Comparison with the Canon EOS-1D X Mark III

Summary

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The Canon EOS R6 is a full-featured, fast, high-performing, mirrorless interchangeable lens camera with a relatively low resolution and a mid-level price. The R6 has a Canon EOS 6-series heritage, but the R6's real-world performance is approaching that of the top-of-the-line Canon EOS-1D X Mark III and, aside from significantly lower resolution, that of the simultaneously introduced Canon EOS R5, two considerably more expensive cameras.

Like the R5, the controls and user interface of the R6 make it very easy to use, with a grip design that makes long-term use comfortable. Also like the R5, the R6 delivers sharp image quality with excellent dynamic range (exposure latitude) and high ISO noise performance. The autofocus performance of this camera, especially eye detection AF, is incredible. Much about this camera can be described as fast, including the up-to 12 fps and 20 fps continuous drive speeds. The R6's medium-resolution EVF performs excellently, showing a clear view of the scene and allowing action to be tracked during burst capture. Combine all of these performance factors, and getting the perfect image is now easier than ever.

Those interested in movie recording will find the R6's feature set to be strong, including many of the benefits realized with still shooting. However, heat and especially the slow cool-down times will be found limiting for internal recording application of the R6's highest-end resolution and frame rates.

The overall R6 package is a very attractive one. In many Canon RF Lens reviews, I stated that the specific RF lens was reason alone to buy a Canon R-series camera. The Canon EOS R6 is an outstanding reason to start acquiring those awesome RF lenses.