CANON EOS R6
While the EOS R5 grabbed all the big headlines, the R6 has quietly introduced itself as a very capable enthusiast-level full-frame mirrorless camera. With many of the goodies from the
R5 – including eight-stop IBIS, 10-bit HEIF capture, up to 20fps continuous shooting and the upgraded Dual Pixel CMOS AF II – the R6 is immediately hugely competitive… and it’s at least $2,000 cheaper than its big brother.
If you’re looking for a full-frame mirrorless camera in the resolution range of 20 to 25 megapixels, then you’re a bit spoiled for choice right now. The Nikon Z 5 or Z 6,
Panasonic Lumix S1, Sony A7 III or A9/A9 II and now the Canon EOS R6. Of course, the Sony A9 models are primarily sports cameras, but that still leaves you with a good selection – meaning the EOS R6 has some stiff competition, even from within its own ranks if you also include the EOS RP as a possible contender (well, it does have affordability on its side).
Arriving alongside the headlinegrabbing R5, the R6 has already faced a major challenge – making itself known when all the attention has been on its more glamorous stable mate. That it’s already succeeding is an indication the EOS R6 has its own particular appeal which, ironically, is largely based on all the things that aren’t the R5. In a nutshell, there’s no 8K video or slow-mo 4K, a lowerres sensor, a lower-res EVF and a less rugged construction, although none of these things compromise either capability or functionality. Additionally, the dual memory card slots are both for the SD format, rather than something exotic and expensive. So then throw into the mix a few of the items from the R5 that are desirable no matter what level you’re shooting at – up to 20
There’s always a danger when launching two models simultaneously that the lower-spec one is going to be overshadowed, but the EOS R6 is actually quite a different camera to the R5 and can easily stand up for itself.
fps continuous shooting, 10-bit HEIF capture (as an alternative to 8-bit JPEGs), the upgraded Dual Pixel CMOS AF II system, inbody image stabilisation with up to eight stops of correction, and a higher-capacity battery. Knock at least $2,000 off the R5’s price tag and it’s easy to see why the R6 is quite capable of making its own way in the mirrorless camera world. For many photographers, especially non-professionals, it has more of what they need and want in a much more approachable and affordable package.
Like the R5, the R6 benefits from the new confidence that Canon appears to have found in terms of what it takes to build a competitive full-frame mirrorless camera. The EOS R, in particular, seemed a bit tentative – especially compared to the more assured Nikon Z 6 and Z 7 – but the R6 also oozes lots of confidence and is another very cohesive and competent package.
In terms of styling, the R6 is similar to the R5 in that it’s more DSLR-like in appearance than the previous RF mount mirrorless bodies, but there are some differences, including the shape of the EVF cover. While the rear control layout is pretty much the same as the R5’s – albeit with a slightly smaller rear display – the top panel has a conventional main mode dial in place of an info display. It’s likely both cameras have the same magnesium alloy chassis, but the R6 has GRP covers with weather sealing to the same level as the EOS 6D Mark II (while the R5’s is to the 5D IV higher standard).
DYNAMIC LIFTER
The R6’s sensor is based on the same Canon-made 20.1 megapixels (effective) CMOS imager used in the pro-level EOS-1D X Mark III, but with some variations, including the use of a more conventional optical lowpass filter (rather than the latter’s four-layer ‘High Detail’ design).
The total pixel count is 21.4 million and the native sensitivity range is equivalent ISO 100 to 102,400 with one-stop extensions down to ISO 50 and up to 204,800. As just noted, on-sensor phase-detection autofocusing is provided by a new Mark II version of Canon’s Dual
Pixel CMOS AF architecture that now gives virtually 100% frame coverage vertically and horizontally.
The maximum image size is 5472x3648 pixels, with the added scope of capturing 10-bit HEIF (High Efficiency Image Format) files, in addition to JPEG and RAW capture. If you’ve ever wondered why the images out of the latest couple of generations of iPhones look so good, it’s because they’re HEIF files, which have a wider dynamic range and wider colour gamut. What you’re getting is essentially an HDR image, but without the artificial processing required with 8-bit JPEGs. It’s early days yet, but it’s very likely HEIF will become more popular than JPEGs for creating in-camera files, especially since twice as much information can be saved in an HEIF file than in a JPEG of the same size.
Both JPEGs and HEIFs can be captured in one of four image sizes with a choice of two compression levels and four aspect ratios – 3:2, 4:3, 16:9 and 1:1. RAW files are captured as 14-bit CR2 files with a compressed C-RAW (CR3 file) option for smaller files sizes. Incamera conversion is available for RAW-to-JPEG and HIEF-toJPEG. Another capture option is Dual Pixel RAW, which uses the photodiode pairs of the Dual Pixel CMOS AF architecture to capture images with a very slight variation in perspective that can then be used to make small adjustments. In-camera processing is provided for two such adjustments – called Portrait Relighting and Background Clarity – but post-camera, the DPRAW files can also be finetuned for resolution, reducing ghosting and a small shift to the camera viewpoint.
Continuous shooting when using the R6’s mechanical shutter – in the electronic first curtain configuration – is possible at up to 12fps, with AF/AE adjustment between frames. Switch to the camera’s electronic shutter and the R6 steps up a gear or two, zipping along at 20fps, again with continuous AF and metering, plus continuous live view. If you want live view updated when using the mechanical shutter then the top shooting speed is 8fps. While the electronic shutter delivers more speed, there is the issue of rolling shutter distortion which, of course, occurs with fast-moving subjects.
Both the memory card slots support UHS-II speed devices, and the file management configurations include simultaneous recording to both or a separate allocation to each such
ARRIVING ALONGSIDE THE HEADLINEGRABBING R5, THE EOS R6 HAS ALREADY FACED A MAJOR CHALLENGE… MAKING ITSELF KNOWN WHEN
ALL THE ATTENTION HAS BEEN ON ITS MORE GLAMOROUS STABLE MATE.
as RAW and JPEG or stills and movie clips (but not movie clips simultaneously as is possible with the R5).
The in-body image stabilisation – which is based on sensor shifting – operates over five axes and can provide up eight stops of correction for camera shake depending on the attached lens. IBIS and OIS combine in some circumstances, with both RF and EF mounts lenses, but obviously the big deal with the in-body correction is that it works with lenses which don’t have optical stabilisation. The full eight stops of correction isn’t available with every lens – although, curiously, it is with all the non-OIS RF lenses – but it never drops below six stops, which is still very useful in low-light situations.
STYLE SETTING
The R6’s in-camera processing for JPEGs can also mostly be applied to the HEIF capture, which is engaged via the HDR PQ setting in the Shooting Menu, where there’s also the option of switching the live view and replay displays to give you a better idea of what’s being captured. Logically, multishot HDR capture isn’t available when shooting in the HEIF format, and neither is the Auto Lighting Optimiser, which is another method of increasing the dynamic range in JPEGs (but Highlight Tone
Priority processing is). Multiple exposure and focus stacking functions aren’t available either.
For in-camera application to either JPEGs or HEIFs, there’s a choice of eight Picture Style presets with adjustable parameters for sharpness (split into Strength,
Fineness and Threshold), contrast and colour tone. The monochrome preset replaces the colour controls with a set of contrast filters (i.e. red, orange, yellow and green) and toning effects in sepia, blue, purple or green. Additionally, there’s an Auto Picture Style that
adjusts the processing parameters according to analysis of the subject using data from the AF, AE and white balance systems. You can create up to three customised Picture Styles. A global ‘Clarity’ adjustment either softens or sharpness the contrast edges.
If you’re shooting JPEGs, the multi-shot HDR mode captures three frames in rapid succession with the exposure adjustment either manually set to +/-1.0, +/-2.0 or +/-3.0, or automatically adjusted according to the brightness range detected in the scene. An auto image align function is available, along with the option of saving all the files or just the final merged HDR image. There’s also a set of five effects – called Natural, Art Standard, Art Vivid, Art Bold and
Art Embossed – which vary colour saturation, brightness, tonality and boldness of the outlines.
The R6 has an intervalometer that’s programmable for up to 99 frames or can be set to unlimited frames, and a multiple exposure facility for up to nine frames with either average or additive exposure adjustment. There’s also noise reduction for both long exposures and high ISO settings, multi-shot noise reduction (for JPEGs and HEIFs), automatic flicker detection and correction, and a bulb timer that can be set for long exposures of up to 99 hours, 59 minutes and 59 seconds
In-camera lens corrections are for vignetting and distortion, with the option of the Digital
Lens Optimiser that additionally processes for chromatic aberrations, diffraction and the effects of the sensor’s low-pass filter on sharpness.
FOCUS POINTS
While the R6’s Dual Pixel CMOS AF II is essentially the same as on the R5, there are obviously some variations relating to the different sensors. Consequently, there are slightly more user-selectable points – 6,072 versus 5940 – but they still combine into 1,053 auto-selected zones arranged in a 39x27 pattern. The low-light sensitivity is slightly better at -6.5 EV (versus the R5’s -6.0 EV) at ISO 100 and f/1.2. All points operate at maximum lens apertures down to f/11, which means you’ll still have autofocusing with the two new fixed-aperture 600mm and 800mm f/11 RF mount supertelephotos that Canon announced along with the R5 and R6.
There’s a choice of eight AF area modes, starting with Spot AF and then increasing in size through 1-Point AF and Expand
AF, with either a five- or nine-point cluster. Next is Zone AF with the choice of a larger square-shaped area, representing a cluster of
9x9 points, or either vertically- or horizontally-orientated rectangular areas (comprising 9x21 and 31x9 points respectively) to better match the shape of the subject. All can be shifted around the frame as required. The eighth option is the combined Face+Tracking mode.
Subject tracking is driven by AIbased ‘deep learning’ for subject recognition and detection, with the face/eye-detection tuned to either people or pets (specifically dogs, cats and birds, but it’ll work with a lot of wildlife too). Additionally, there’s a set of four Servo AF Case scenarios designed to better match the tracking parameters to the way a subject is moving, and also provide adjustments for Tracking Sensitivity and Accel/Decel. Tracking. There’s also a fifth, Auto option that automatically adjusts the tracking characteristics to the subject’s movement.
A magnified image – at either 6x or 15x – is available to assist with both autofocusing and manual focusing, but the latter can also be guided by a distance scale and a focus peaking display in a choice of red, yellow or blue colours at two levels of intensity. As on the R5, there’s also a Focus Guide display that also serves as a manual assist
DUAL PIXEL CMOS AF II PROVES TO BE VERY RESPONSIVE AND RELIABLE WITH JUST ABOUT ANY SUBJECT IN ANY SITUATION, INCLUDING WITH VERY LOW LIGHT CONDITIONS.
by indicating the degree of backor front-focus – via a trio of tiny pointers – as well as indicating when the subject is in focus.
As on all the Canon R series mirrorless cameras, switching to manual focus operation is done on the lens, but a full-time manual override is available and with the option of automatic switching to the magnified view.
The focus bracketing function mentioned earlier is available with both RAW and JPEG capture, and allows for up to 999 frames in a sequence, with focus adjustments from Narrow to Wide over 10 steps. Exposure smoothing can be applied to ensure uniformity of frame brightness. As with the R5, depth compositing of the frames needs to be done post-camera.
LIGHT SHOW
Exposure control is via the same 384-zone sensor-based metering as is used in all the other R series cameras, with the choice of evaluative (linked to the AF points), selective area (representing 5.8% of total image area), spot (2.9%) or centre-weighted average measurements.
There’s the standard set of PASM exposure control modes, plus the Flexible Priority Auto mode – marked ‘Fv’ on the main mode dial – that was introduced on the original EOS R. This is a fully automatic control mode, but with full-time manual overrides for apertures, shutter speeds or the ISO value… take your pick, depending on the shooting situation. There’s also a Scene Intelligent Auto mode (A+ on the mode dial) which adjusts the exposure settings based on the analysis of the scene via the AF, AE and white balance systems.
The program and semi-auto exposure control modes are supplemented by an AE lock, up to +/-3.0 EV of compensation and auto bracketing over sequences of two, three, five or seven frames with up to +/-3.0 EV variation per frame. You can combine the compensation and bracketing, which means the maximum variation can be up to +/-6.0 EV, but obviously not in the same sequence.
The mechanical shutter has a speed range of 30-1/8000 second, and the electronic shutter has the same top speed, but only extends down to 0.5 seconds at the slow end. Flash sync with the mechanical shutter is at all speeds up to 1/200 second, but up to 1/250 second with the hybrid electronic first curtain shutter operation (which permits flash exposures, while using the sensor shutter alone doesn’t). As with the R5, you can choose to have the mechanical shutter open or closed when the camera is switched off, the latter designed to protect the sensor when there’s no lens fitted. Of course, the shutter is probably just as prone to damage so it’s your choice, but when it’s closed, there’s definitely a reduced risk of dust getting to the sensor.
White balance control is exactly the same as that on the R5, starting with the choice of either Ambience Priority or White Priority automatic correction modes. The latter aims for neutrality while the former is a development of the old ‘keep warm colours’ correction and works with whatever colour cast predominates in a scene. There are six lighting presets, one custom preset, fine-tuning over green-tomagenta and blue-to-amber, auto bracketing (over three frames) and manual colour temperature setting from 2,500 to 10,000 Kelvin.
IN THE HAND
Although the construction is a mixture of magnesium alloy and
20MP RESOLUTION MIGHT BE CONSIDERED A BIT RUN-OF-THEMILL THESE DAYS,
BUT IN PRACTICE
IT’S MORE THAN ENOUGH TO GIVE WELL-DEFINED FINE DETAILING AND NICELY SMOOTH TONAL GRADATIONS.
polycarbonate rather than all-metal, the EOS R6 still feels very solidly built and, while it’s consequently lighter than the R5, this is only by 52g, so it really has the same reassuring ‘heft’.
Apart from the adoption of a main mode dial in place of the top panel info display, the control layout is also very similar, which means it’s going to look quite familiar to converts from EOS DSLRs. The Quick Control Dial rear input wheel is there, along with the joystick-type multi-controller, while the basic arrangement of function buttons is similar to that found on any of Canon’s mid-range DSLRs. Erring on the conventional – and conservative – side is certainly going to make the transition much easier. The main menu’s layout and navigation is also exactly the same, and supplemented by a Quick Control screen that provides direct access to a wide selection of capture-related functions. Touch controls add to the convenience here and you can also have the Quick Control tiles superimposed over the edges of the live view image. As with the R5, the R6’s touch control implementation is comprehensive and also includes the main menus, the live view screen (including autofocus, shutter release, exposure compensation and image magnification) and the key replay/review functions (including browsing, zooming and accessing the thumbnail pages). Additionally, there’s a Touch And Drag control (a.k.a. Touchpad AF) with fine-tuning in terms of the positioning method (either Relative or Absolute) and the active screen area (the whole panel, right, left, top, bottom, top right, bottom right, top left and bottom left).
There’s plenty of scope for customisation and personalisation. Ten controls – including the AF
Stop button that’s on some of the RF mount lenses – can be assigned a range of functions from a list of 43 in total. The three main input dials can also be re-assigned to suit personal preferences, although all these options are related to exposure control. Similarly, the control ring that’s on all RF mount lenses can be set to a range of adjustments, although this list is now expanded to include white balance settings (including manual colour temperature setting), the Picture Style presets and the AF operation modes. Additionally, these can be set for instant access or only when the shutter release button is depressed to its halfway (metering) position, the latter preventing any accidental setting changes.
You can also create two customised menu sets via the My Menu option, each running up to five pages of your most frequentlyused functions. You can also rename the My Menu tabs, so you might assemble all the functions used for shooting a specific subject and label the set accordingly.
The live view screen can be configured with a real-time histogram, a dual-axis level display, focus distance scale and a guide grid (selected from a choice of three). All these configurable elements also appear in the EVF. When Exposure Simulation is enabled, there’s a choice of either brightness or RGB channel realtime histograms.
The image review/replay screens include a thumbnail with a brightness histogram, but this section of the display can then be cycled through a total of nine sets of info, including RGB histograms, lens data (including the actual focal length used), the main capture-related data, the lens correction settings, the Picture Style parameter settings (over two pages), white balance settings (including any fine-tuning) and noise reduction settings
(plus the selected colour space). Additionally, the AF point (or points) used at capture can be shown superimposed over the image (either the full screen display or the thumbnail), and there are also the options of a grid guide and a highlight warning to be displayed here too.
The R6’s EVF is a 1.27cm OLED-type EVF with 3.69 million dots resolution and 0.76x magnification. The refresh rate can be switched between 60 or 120fps, and there are adjustments for brightness and colour balance. The latter comprises four presets – Warm Tone, Standard, Cool Tone 1 and Cool Tone 2 – with finetuning in the green-to-magenta and blue-to-amber ranges. These adjustments are also available for the rear screen, although there’s a wider range for brightness to better deal with the ambient lighting conditions. The panel itself is 3 inches in size – compared to the R5’s 3.15 inches – and has a resolution of 1.62 million dots. It’s fully adjustable for tilts and swings.
The R6 uses the same, highercapacity LP-E6NH battery pack as the R5 that will allow upwards of 500 shots per charge, depending on how the camera is configured. In-camera charging is possible via USB-C and the R6 is compatible with the BG-R10 optional battery grip that holds two batteries. Importantly, both the camera and the grip are backward compatible with the various earlier versions of the E6 that have powered many higher-end Canon DSLRs, and also accessories such as video lights. If you’ve got a small collection of them, the good news is that they can be used in the R6 (although won’t support in-camera recharging).
The built-in Wi-Fi is singleband (unlike the R5’s dual-band transmitter) and supplemented by Bluetooth 4.2 always-on connection (the R5 has 5.0).
Also unlike the R5, the R6 isn’t compatible with the more powerful WFT-R10 wireless transmitter, but then it’s something that the typical users of this camera probably won’t ever need.
SPEED AND PERFORMANCE
Loaded with a Panasonic 64GB V90-speed SDXC memory card and using the mechanical shutter, the EOS R6 recorded a sequence of 116 JPEG/large/fine images in 9.8 seconds dead, representing a shooting speed of 11.8fps – very close to the quoted spec of 12fps. Switching to the electronic shutter, a burst of 178 best-quality JPEGs was captured in 8.788 seconds, giving a shooting of speed of 20.2fps, which is fractionally faster than the quoted spec. The test files averaged 11.3MB in size.
As we’ve already seen with the R5, Dual Pixel CMOS AF II proves to be very responsive and reliable with just about any subject in any situation, including with very low light conditions. Eye detection is exceptional and keeps the tracking firmly locked onto the target even with highly energetic or very fastmoving subjects.
20MP resolution might be considered a bit run-of-the-mill these days but, in practice, it’s more than enough to give welldefined fine detailing and nicely smooth tonal gradations. The bigger pixels (at 6.56 microns) ensure a wide dynamic range
and enhanced sensitivity that translates into excellent high-ISO performance reflected in the R6’s extended native sensitivity range. Noise remains well suppressed at ISO 51,200 and even at ISO 102,400, the image quality is still holding up extremely well in terms of detailing and saturation. The wide dynamic range and low noise characteristics also combine to give an increased exposure latitude when shooting in RAW and hence more flexibility for dealing with the shadows in post-production.
The out-of-the-camera JPEG colour rendition is again a pleasing balance of saturation and realism with accurate reproduction across the spectrum.
THE VERDICT
The EOS R6 delivers a very appealing combination of features, specifications and performance. Some reviewers have questioned whether there’s sufficient resolution, but if it’s good enough for the flagship EOS-1D X Mark
III then it’s certainly good enough here. Canon is balancing resolution with other considerations such as dynamic range and high-ISO performance, which also make important contributions to the image quality.
Forget the numbers and simply look at what the R6 can output, which is hard to fault for detailing, definition and tonal gradations.
The stunning autofocusing performance, shooting speeds and burst lengths, up to eight stops of image stabilisation and the image quality at very high ISO settings all combine to make this a truly formidable camera, capable of handling pretty well anything that you can throw at it. It also handles comfortably and has very efficient ergonomics so you can get to anything you need without wasting time and possibly missing the shot. The feature set is still both extensive and comprehensive, and for many photographers it’s all that they’re going to want or need… either right now or into the future. There’s a practical realism about the EOS R6 that says it’s here to do a job and to do it to the best of its ability. It is unquestionably greater than the sum of its parts in terms of its balance, cohesion and integration. Consequently, as the complete full-frame mirrorless camera package, it’s hard to beat.