Canon Launches Cropped Sensor Mirrorless System Based On RF Mount

Canon reckons its full-frame mirrorless camera system is already converting users of its higher-end DSLRs, so now it’s turning its attention to the APS-C cropped sensor ILC market where it has long dominated in DSLRs.

Canon’s new mirrorless system is based on the RF mount which, as an aside, probably means sayonara to the largely unloved EF-M lineup... although the company isn’t saying as much right now. Nevertheless, it is acknowledging the importance of the cropped sensor sector and the need to inject its mirrorless offerings with more innovation and excitement. It will be well aware of what’s on offer from both Sony and Fujifilm as its EOS APS-C DSLR users start to think about potential replacements.

To kick things off there are two camera bodies and two dedicated zoom lenses designated RF-S. The bodies are the higherend EOS R7 – which is very close to being the APS-C version of the EOS R6 – and the lowerend EOS R10 that looks like being the obvious replacement for the EOS 850D and its earlier iterations. As the model designation suggests, the EOS R7 is being aimed at EOS 7D/7D II users and is classified by Canon as being an enthusiast-level camera.

Both camera bodies benefit from size reductions versus the comparable DSLRs and the EOS R10 is similar in size to the EOS M6 II. Only the R7 has weather sealing, while only the R10 has a built-in flash. The new lenses are the RF-S 18-45mm f/4.5-6.3 IS STM (equivalent to 29-72mm at 1.6x) and the RF-S 18-150mm f/3.5-6.3 IS STM (equivalent to 29-240mm).

Both cameras have all-new, but conventionally-designed APS-C format CMOS sensors (so no BSI or stacked arrangements), the R7’s with an effective resolution of 32.5MP and the R10’s with 24.2MP. The sensitivity range is equivalent to ISO 100 up to 32,000 with an extension to 51,200.

The R7 has in-body image stabilisation capable of delivering up to eight stops of correction for camera shake with Co-ordinated Control IS, which joins forces with the optical image stabilisation in the two RF-S zooms (but you get seven stops with just the OIS). The IBIS system also delivers automatic horizon levelling – the sensor actually rotates so this doesn’t involve any cropping – and corrects for vertical shake when using the R7’s in-camera panorama stitching. Both bodies match their sensors with Canon’s latest-generation DiG!C X processor, enabling up to 30fps continuous shooting for the R7 and 23fps for the R10, both with frame-by-frame AF/AE adjustment and with either RAW or JPEG capture. A half-asecond preshooting facility is available with the former. This top speed comes into play when using the electronic shutter, but both cameras can shoot at up to 15fps with their mechanical shutters. The capture file options include 10-bit HEIF (High Efficiency Image File) for HDR, Dual Pixel RAW (with post-capture processing for various adjustments) and the cRAW alternative that uses lossy compression rather than the standard mode’s lossless compression. RAW files are captured with 14-bit RGB colour. The R7 has dual memory card slots, both supporting SD UHS-II devices, while the R10 has a single SD slot, but again with UHS-II speed support.

Both cameras have Canon’s latest Dual Pixel CMOS AF with 100% frame coverage and the availability of 651 selectable focusing zones. The AI-based subject tracking modes are for people (body, head, face or eyes), animals and birds (body, face or eyes) and vehicles (whole or selected parts), with the control algorithms the same as those used in the flagship EOS R3. Low-light sensitivity extends down to EV -5.0 with the R7 and -4.0 EV with the R10 (both at ISO 100 and f/1.2). The R7 has a brand new control that essentially combines the old Quick Control Dial – a standard on Canon’s DSLRs – and the AF Multi-Controller, and is designed for the faster selection of the focus points using the grip hand’s thumb, along with various other function setting duties.

In terms of video capabilities, both the R7 and R10 can record 4K UHD at up to 60fps or 4K at 30fps downsampled from 7K and 6K respectively for enhanced image quality. This is recorded with 10-bit 4:2:2 colour (YCbCr) both internally and externally via HDMI (both cameras have the full-size connector). Additionally, the EOS R7 has a 4K/60p crop mode primarily to give an effective increase in the lens focal length for applications such as wildlife or sports. Full HD recording is possible at up to 100/120p for slow-mo effects. The R7 also has Canon Log 3 and Cinema Gamut recording. Canon says 4K clip lengths – at 30fps – can be up to one hour without any overheating issues for the R7 and 50 minutes for the R10.

The two models share the same OLEDtype EVF with 2.36 million dots resolution and a refresh rate of 120fps. It’s adjustable for both brightness and colour balance. Both cameras have a fully-articulated touchscreen monitor, but the R7’s has a resolution 1.62 million dots, while the R10’s is 1.04 million dots. Other shared features include

Wi-Fi and Bluetooth wireless connectivity, focus bracketing, time-lapse movies, in-camera battery charging via USB-C and a set of Creative Filters special effects. Australian availability of the EOS R7 is from the end of June with a price of $2,349 for the body or $2,899 when packaged with the RF-S 18-150mm f/3.5-6.3 IS STM zoom. The EOS R10 will land locally in the middle of July with a body-only price of $1,499, while it will set you back $1,649 with the RF-S 18-45mm f/4.5-6.3 IS STM and $2,049 with the RF-S 18-150mm f/3.5-6.3 IS STM.

For more information visit www.canon.com.au.