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Canikon full-frame mirrorless: What we expected, what we got and where we go from here

19 Sep

It took them a while but Canon and Nikon finally entered the full-frame mirrorless market this summer with the launch of two brand-new lens mounts. Canon’s RF mount is the company’s first 35mm format lens mount since 1987, and Nikon’s new Z mount replaces the almost 60 year-old F-mount, as the company’s main standard going forward.

Including Leica’s SL line (but not its legacy M mount), this makes four full-frame mirrorless systems currently on the market. Of the legacy DSLR makers, Ricoh is now the only company not to offer a mirrorless solution, while Fujifilm, Olympus and Panasonic continue to bypass full-frame, developing their larger (Fujifilm GFX) and smaller-format (APS-C and Four Thirds) mirrorless platforms in favor of developing new mount standards.

Kenji Tanaka of Sony nailed it when he predicted that both Canon and Nikon would enter the full-frame mirrorless market within a year

Back in spring, fresh from the CP+ tradeshow in Japan, I went back through the interviews that we conducted in Yokohama, looking for additional insights and common threads that might indicate where the industry as a whole was heading. One consistent message from almost all of the executives that we spoke to was that more full-frame mirrorless systems were coming, and soon. Kenji Tanaka of Sony nailed it when he predicted that both Canon and Nikon would enter the full-frame mirrorless market within a year. In fact, it would be less than six months from that conversation that the RF and Z mounts were announced.

Read our roundup of executive interviews from CP+ 2018

It’s been obvious for some time that beyond a certain point, mirrors and prisms would become barriers to technical innovation in digital cameras. The question was not if but when that point would be reached. Mr Tanaka again: “If cameras are going to develop, […] manufacturers are going to have to develop mirrorless technologies”. And this makes sense, as sensor technologies are developing far faster than the outdated technologies behind secondary AF and metering sensors or mechanical shutters.

Over the past few years we’ve seen the messaging around mirrorless change from claims of a size and weight advantage compared to DSLRs (which was always a bit of a stretch, once wide-aperture lenses are introduced into the equation) to a more technical argument, based around the inherent benefits of getting rid of that pesky mirror – and that even peskier prism. The four big ones are, in no particular order: more useful viewfinders, faster maximum frame-rates, potential for more advanced (and more accurate) autofocus with intelligent subject recognition, and seamless video integration. Some of those advantages are of course interrelated.

As Canon and Nikon enter the marketplace, Sony’s APS-C and full-frame mirrorless lineups are already very established.

Both Canon and Nikon had been laying the required groundwork for a serious mirrorless system for years, but it was left to the likes of Sony, Olympus and Panasonic (and – lest we forget – Samsung) to really push the limits of what mirrorless cameras could do in actual, shipping, cameras. The headline performance features in cameras like the Sony a6000-series, a7R/a9, Olympus E-M1 II and Samsung NX-1 for example would simply not be possible if they were constrained by traditional DSLR design.

Remember when I said a few months ago that the Nikon 1 System wasn’t dead? Well, it’s definitely dead now

To be fair, the same could be said of the Dual Pixel autofocus system in (say) Canon’s EOS M50, or the rapid capture rates and fast on-sensor AF of the V models in Nikon’s 1-System lineup, but neither the EF-M nor 1-System were ever aimed seriously at enthusiasts or professional photographers. Oh, and remember when I said a few months ago that the Nikon 1 System wasn’t dead, it was just sleeping? Well, it’s definitely dead now.

What’s that you say? Enough of the preamble? You’re starting to think that you already read this article several times already? Fair enough.

In that case, you’ll remember that back then I did something that no sensible technology writer should ever do, and indulged in some light prediction-making. Here’s how things turned out.

Prediction #1: The announcement of 4K-capable full-frame mirrorless cameras from one or both of Canon and Nikon before Photokina.

100% correct. Notwithstanding some debate over whether or not the EOS R is really a capable 4K camera, thanks to its ~1.8X crop and rolling shutter issues. We’re disappointed to see such limited 4K video features in the EOS R, but not completely surprised. The video capabilities of Nikon’s Z6 and Z7 on the other hand did surprise us, and represent a confident step by the company in the direction of becoming a serious manufacturer for enthusiast videographers. Nikon even surprised us by introducing incredibly capable video AF, a compliment reserved up until now for only Canon Dual Pixel AF. Not anymore.

Kenji Tanaka, Senior General Manager of Sony’s Digital Imaging Business Group, pictured in Yokohama for the 2018 CP+ show where he accurately predicted that Canon and Nikon would join Sony in the full-frame mirrorless space within a year.

Prediction #2: Canon will make a relatively simple adapter for EF lenses to its new mount, Nikon will have a more difficult job.

In fact, Canon made three adapters, one a simple EF-RF adapter, and the other two to add a control ring and drop-in CPL/Vari ND filters, respectively. The latter two certainly don’t count as ‘simple’, but Canon’s engineers’ lives were undoubtedly made easier by the fact that EF was already a fully-electronic lensmount.

Nikon meanwhile did face a more difficult task, but actually exceeded my expectations. The FTZ adapter allows full or partial compatibility with a very large number of F-mount lenses, including older lenses with mechanical aperture actuation. Given the challenges of adapting a 60 year-old mount standard to a new mirrorless platform, this is no easy trick to pull off, even if users of many non-AF-S lenses will be disappointed to lose autofocus.

Prediction #3: Nikon might use the open Sony E-mount standard.

Well, I got that one dead wrong, didn’t I? In fact, we’re glad that Nikon didn’t go down this route (which in fact, wiser heads have since told me might not even have been an option in the first place). The Z mount is both wider and offers a shallower flange-back distance compared to E, which has advantages when it comes to adapting lenses from other mounts, as well as potentially for future native Z lens development.

The new Nikon Z mount features an internal mount diameter of 55mm and a very short flange back distance of 16mm.

Prediction #4: Neither Canon nor Nikon will attack the pro market with their initial mirrorless cameras.

I was half-right on this one. Neither company released a truly ‘professional’ model in the same mold as the Canon EOS-1D X Mark II or D5, but the Nikon Z7 is a bit more camera than I expected, and for some photographers (not by any means all) it could replace the excellent D850. Where the Z7 falls down is when it comes to autofocus. Performance doesn’t look like it’s up there with the best 3D tracking implementations in Nikon’s DSLRs, and the UX is very different. Prosumer maybe, but ‘pro’? Not quite.

The Canon EOS R, showing off its single card slot. The Nikon Z7 (which uses XQD media) has been criticized for offering similarly limited redundancy.

Canon meanwhile, bless their hearts, did exactly what we thought they’d do. The EOS R is not the mirrorless 5D IV that a lot of people were hoping for (despite sharing a sensor) and is, in fact, more of a 6D-class product, albeit with some unique features. It would be a mistake to think that the EOS R represents the pinnacle of Canon’s mirrorless ambitions, and we fully expect more pro-oriented cameras to follow it over the next couple of years.

I’ve written elsewhere that the camera I am reminded of most when looking at the EOS R is in fact the 30 year-old EOS 650 – a midrange SLR that nonetheless, had a huge impact on the consumer photography market. And the EOS 650 didn’t even have a single card slot! Can you imagine such a thing?

Prediction #5: A slow build-up of core native lenses will follow the new cameras, and development will ramp up towards the Tokyo 2020 Olympics.

Nikon’s Z-mount roadmap shows what the company has in the pipeline for the next couple of years through 2020 – an important year for both Canon and Nikon thanks to the Tokyo Olympics.

Nikon launched the Z system with a small range of what look like excellent, but not exactly flagship lenses, alongside a roadmap that fills out the lineup into – you guessed it – 2020. Nikon’s roadmap contains some much more serious-looking glass, albeit nothing longer than 200mm, for now.

Canon meanwhile has not released a lens roadmap (in fact I don’t think Canon has ever published such a thing) but launched the EOS R alongside a brace of very impressive wide-aperture lenses, including an L-series 28-70mm F2 and 50mm F1.2. Lenses which, going by their size and price alone, are probably not destined to be purchased by many EOS R shooters.

As predictions go, I’d call that a respectable showing, but there’s a lot we don’t know. I’d love to find out, for example, what Canon’s plans are for expanding its RF lens lineup over the next few months, but since Canon doesn’t ‘do’ lens roadmaps we can only guess (and hope). I think we’re all eager, too, to see truly ‘professional’ mirrorless cameras from both Canon and Nikon to compete with the likes of Sony’s sports and action-focused a9.

I’m also curious about the future (assuming there is one) for APS-C mirrorless models from both companies. Canon already has an APS-C mirrorless system, but its decision to develop the RF mount in parallel to its older EF-M standard and without the option for cross-adaptation is interesting, and forecloses the option of a smooth-ish upgrade for existing EF-M customers.

This illustration, from Canon’s white paper on the new RF mount, shows how similar the mount dimensions of the new mount are to the existing EF standard. The big difference is the much shorter flange-back. Canon’s EF-M mount has a shorter flange-back distance and much narrower throat diameter, which means that EF-M lenses are not adaptable to RF. On the plus side, the larger throat and small flange-back distance of the RF mount allows for large rear lens elements, which can both help keep lenses smaller while reducing many optical aberrations.

Of course, Canon’s EF-S lenses can’t be mounted to full-frame EF DSLRs, either, but APS-C photographers have always been told that if they were really smart they could save up for EF lenses then upgrade seamlessly to a full-frame camera later. Canon’s obvious lack of interest in developing new EF-S lenses over the past decade served as a strong hint, in fact, that the company really wanted its APS-C DSLR customers to do exactly that. Canon’s mirrorless customers won’t have the option. Will there ever be an APS-C RF or Z-mount camera? I’m not sure, but there’s no obvious reason why either company couldn’t create a line of APS-C format RF/Z mirrorless cameras in the future.

So what’s next? Another prediction that I made back in spring – and a pretty safe one – is that new mirrorless cameras will be followed by new third-party lenses, for both the new mounts and for Sony’s existing full-frame E-mount.

Tamron’s upcoming 28-75mm F2.8 was the first third-party zoom lens designed natively for full-frame mirrorless cameras. It will not be the last.

With Photokina just around the corner, we’re fully expecting new native E-mount Tamron and Sigma lenses, but it might be a while before either company catches up with the new Canon RF and Nikon Z mounts. Why? Because unlike Sony (but true to form) neither mount is ‘open’. E-mount isn’t open-source (you can’t just download the complete specification from Github, for example), but Sony does provide information to certain third-parties like Sigma and Tamron for those manufacturers to use when developing native E-mount lenses.

In order for those third-party lens manufacturers to offer RF or Z-mount lenses, they’ll have to reverse-engineer the standard. Anyone who remembers the bad old days of the 90s and early 2000s, where third-party lenses for (especially) Canon would routinely stop working when new camera bodies were released, might not be looking forward to this prospect…

But that’s just speculation, not prediction. And its all in the future – for now, let us know what you think of the new Canon RF and Nikon Z mounts in the comments.

Read our complete Canon EOS R launch coverage

Read our complete Nikon Z6/7 launch coverage

Articles: Digital Photography Review (dpreview.com)

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Canon full-frame mirrorless system debuts with announcement of EOS R

08 Sep

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Just two weeks after Nikon introduced its Z-system, Canon has joined the full-frame mirrorless club with its new RF-mount system, with the first camera being the EOS R. Canon makes very clear this is merely the first in a new system.

The EOS R features a 30.3 effective Megapixel CMOS sensor and a DIGIC 8 processor. It uses RF-mount lenses – four of which will be available at launch – with support for both EF and EF-S lenses via one of three optional adapters, which it says add capability to existing lenses. Dual Pixel AF is onboard, with a whopping 5,655 selectable points with 88% vertical and 100% horizontal coverage, plus the ability to focus down to -6EV (though this is rated with an F1.2 lens, which gives a 1.5EV advantage over brands quoting figures for F2 lenses). There’s a ‘Pupil Detection’ mode for ensuring eyes are in focus but this is only available in AF-S mode.

“Being the first to market with a full-frame mirrorless system was never our goal. It was to reimagine optical excellence”

The camera has a native ISO range of 100-40,000 that expands to 50-102,400. The EOS R supports both Canon’s 14-bit CRW Raw format as well as the relatively new C-Raw, which offers much smaller file sizes. The fastest shutter speed available is 1/8000 sec, with an X-sync speed of 1/200 sec.

Design-wise, the EOS R is an SLR-style camera with a weather-sealed magnesium alloy body. It offers an electronic viewfinder with a resolution of 3.69 million dots, a magnification of 0.76x and a 23mm eyepoint. Its fully articulating 3.2″ LCD is touch-enabled and has 2.1 million dots. A customizable touchpad to the right of the viewfinder allows for quickly changing ISO, white balance, movie shooting and more. Canon users will be able to commiserate with Nikon owners as, like that company’s new Z-series cameras, the EOS R offers just one memory card slot, which supports UHS-II media. The camera has HDMI, USB-C, wired remote, headphone and microphone sockets. Wi-Fi and Bluetooth are built-in.

“Most revolutionary component isn’t camera, it’s the mount”

In terms of performance, the EOS R can shoot continuously at 8 fps in AF-S and 5 fps in AF-C ‘shooting speed priority’ mode. If you want to use ‘tracking priority’ mode in AF-C the frame rate drops to just 3 fps. The buffer is quite healthy, though, with the ability to save 47 Raw, 78 C-Raw or 100 JPEGs when shooting at full speed with a UHS-II card. It uses the familiar LP-E6N battery pack which allows for 370 shots per charge using the LCD (per CIPA standard) or 350 with the EVF. (Power save modes boost those numbers to 450 and 430, respectively.) The optional BG-E22 grip fills the battery slot but has room for two batteries: this gives you twice the battery life.

Video-wise, things are less impressive. On the plus side, you get Dual Pixel AF, even in 4K and the camera retains separate exposure and button customization settings for video. Sadly it maxes out at 4K/30p and features the same 1.7x crop that essentially reduces the camera down to sub APS-C quality and still appears to exhibit significant rolling shutter.

When it comes to capture, users can choose between ALL-I and IPB compression, with top bit rates of 420Mbps and 120Mbps, respectively. You’ll need a V60-rated SD card to get that highest bitrate but the camera can record for up to 29:59 even in 4K mode, with a large enough card. Dropping down to Full HD allows for 60 fps recording at 180 Mbps using ALL-I compression. Internal video capture is 8-bit 4:2:0. The camera can also capture Canon Log internally in 8-bit or can put out a 10-bit 4:2:2 C-Log stream over HDMI for use with an external recorder.

“You don’t switch to it, you add it to the family”

The camera can also record 120p footage at 1280 x 720 at a healthy 160Mbps bit rate. Recording time limits are 7.5 minutes for 120 fps shooting and just under 30 minutes for everything else.

The EOS R will be available in October for $ 2299 body only or $ 3399 with the 24-105mm F4L lens.

Canon EOS R initial sample images

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Press Release:

EVOLUTION MEETS REVOLUTION AS CANON ANNOUNCES THE ALL-NEW EOS R SYSTEM

Optical Innovation Inspires the Next Leap Forward in Imaging

MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next revolution in the company’s long history of innovative and award-winning camera systems, the EOS R system featuring the newly designed RF mount. Recognizing the need to advance optical design, the Company sought to create a versatile and powerful new system that supports all current EF, EF-S, TS-E and MP-E lenses[i], and also provides the optical advancements and engineering flexibility to build upon for years to come.

When Canon set forth to develop a new interchangeable lens camera system, they focused on three core optical principles: high-image quality, high-specification performance, and compact design. Recognizing that optics is the foundation for any camera system, the RF mount was conceived to open new doors in optical design. Canon’s new RF mount features the same size diameter as the EF mount (54mm) and shorter back focus distance. This allows for lenses to sit closer to the sensor (the focal plane) and allowed Canon optical engineers to reimagine lens design utilizing larger rear lens elements to produce an image on the full-frame sensor. This new optical formula has paved the way for higher performing lenses. In addition, the Canon RF mount features a high-speed 12-pin communication system that provides faster and more in-depth communication between the camera and lens over existing Canon mount systems.

The EOS R system is designed for full, uninhibited compatibility with all existing EF, EF-S, TS-E and MP-E lenses through the use of mount adapters[ii]. In addition, through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter these lenses, in fact, gain functionality.

“There has never been a time in history in which visual expression has been so prolific. Imaging, both still and video, are the communication mediums of today’s society. Much in the same way we learned to type in the past, today’s youth are skilled in shooting, editing, and visual storytelling in ways that only the masters of each craft were decades ago,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Knowing this, we needed to step back and design a system that delivers all the creative expression and functionality today’s youth crave, now and in the years to come.”

The First in a New System: The EOS R

The new Canon EOS R full-frame mirrorless camera features a 30.3 megapixel CMOS sensor that is powered by the Company’s latest image processor, DIGIC 8, enabling shooting at up to 8.0 frames per second[iii]. The new camera inherits a lot from Canon’s legacy in both EOS and Cinema EOS. Video storytellers can capture stunning 4K UHD video up to 30fps and record in 10-bit 4:2:2 (with an external recorder). The EOS R also comes with the ability to shoot Canon Log, providing 12 stops of dynamic range, minimal loss of detail in shadows and highlighted areas and an increased range of choices when color grading. Users with an existing collection of Canon lenses will be excited to know that all EF and EF-S lens are compatible with the camera. In order to do so, photographers and videographers can choose between using one of three new mount adapters, each uniquely designed to meet the individual needs of the user.

The new Canon EOS R camera features Dual Pixel CMOS Auto Focus with 5,655 manually selectable AF points[iv], supporting AF at up to f/11 with a 384 zone (24×16) real-time metering system. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as EV-6. When using the RF 24-105mm F4 L IS USM lens with the EOS R, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AF[v], making it the fastest autofocus speed in the world[vi]. These features provide photographers and videographers with Canon’s most advanced AF system to date. The EOS R also features a silent shutter setting when shooting in single-shot mode; an important feature for those who need to capture imagery without disrupting the scene. An upcoming free firmware update will enable silent shutter in continuous shooting mode as well.

“The EOS R system is not just a new camera or a new lens mount, it is a new design that will allow us to produce visual tools that were previously impossible, and allow our customers to tell their stories with greater depth, richness of color, and creative flexibility, in optically stunning ways.” states Kazuto Ogawa

Thoughts From the First Users

“I think every camera system has its place and it’s all about having the right tool for the job,” reported acclaimed outdoor photographer and Canon Explorer of Light Jimmy Chin. “The new EOS R system for me in particular is very useful for the kind of shooting that I do in the mountains, where I need to worry about the size and weight. Having the option to use the new RF lenses or the EF lenses is really great.”

“I was instantly impressed with how quickly the EOS R was able to focus,” remarked celebrated fashion photographer and Canon Explorer of Light Lindsay Adler. “Whether my subject was moving or I was shooting in near-complete darkness, I had no problem getting tack-sharp focus in every shot. It was a relief to know my gear wasn’t going to hold me back from executing my vision, but instead it would really help me to execute this vision.”

“For us, it’s all about getting the shot no one else can get, and a lot of this has to do with the camera,” says Devin Graham, director and filmmaker behind YouTube’s DevinSuperTramp. “The new EOS R will become one of our main cameras. It has a very small footprint, yet is able to create amazing images. As for the lenses, the new RF 28-70mm F2 has just become one of my all-time favorites. I’ll be bringing it on every project.”

Conveniently placed just to the right of the EVF, Canon has introduced a new Multi-Function Bar that will allows users to more easily access their customizable settings, such as AF, ISO and White Balance. Users will have the option to either slide or tap the bar to gain access to the settings and adjust on-the-go as they deem necessary depending on each particular shooting situation.

Answering the demand for enhanced mobile editing of RAW image files, Canon is also announcing a new application, Digital Photo Professional Express (DPP Express). In combination with an updated Canon Camera Connect App, DPP Express enables users to send, view, edit and process CR3 RAW files on their iPad[vii]. A free download of the app will be available October 2018.

Additional noteworthy features of the EOS R Camera include:

RF Mount Compatible with RF Lenses and EF/EF-S Lenses
Built-in EVF with 3.69 Million Dots, Vari-angle Touchscreen LCD and Dot-matrix LCD Panel

ISO range of 100-40,000, expandable to 102,400
- USB 3.1 in-camera charging support
Built-in Bluetooth and Wi-Fi® providing easy sharing to compatible smart devices and social media sites
Single UHS-II SD card slot
CR3(RAW/C-RAW) and Dual Pixel RAW Support
Dust and weather resistant

Availability and Pricing

The Canon EOS R full-frame mirrorless camera is scheduled to be available in October 2018 for an estimated retail price of $ 2299* for the body only. It will also be sold as a body-and-lens kit with the new RF 24-105mm F4 L IS USM lens for $ 3399*.

[i] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[ii] When attaching an EF-S lens via any of Canon’s new R-series mount adapters, the new EOS R automatically switches to APS-C crop mode.

[iii] Continuous shooting speed may vary depending on the shutter speed, the aperture, the lens being used, the battery charge and various camera settings.

[iv] Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.

[v] Based on results of AF speed tests in accordance with CIPA guidelines. Results may vary depending on shooting conditions and lens in use. Relies on internal measurement method.

Brightness at time of distance measurement: EV12(regular temperature, ISO 100)
Shooting mode: M
Lens in use: RF 24-105mm F4 L IS USM, with focal distance of 24mm and live-view mode on(with manual shutter button operation
AF mode: Live single-point AF(central) and AF operation: One-shot AF

[vi] Among interchangeable lens digital mirrorless cameras incorporating 35mm full frame equivalent image sensors with phase-difference detection AF on the image plane and contrast detection AF, available in the market as of September 5th, 2018 (Based on Canon’s Research).

[vii] Compatible with iPad models utilizing iOS 11 or later and equipped with at least 2GB of onboard RAM—specifically, iPad Pro (all models), iPad (5th generation), iPad (6th generation), iPad mini 4 and iPad Air 2.

^*Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon EOS R specifications

Price
MSRP	$ 2299 (body only), $ 3399 (w/24-105 F4L lens)
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6720 x 4480
Other resolutions	4176 x 2784 (1.6x crop)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	30 megapixels
Sensor photo detectors	32 megapixels
Sensor size	Full frame (36 x 24 mm)
Sensor type	CMOS
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-40000 (expands to 50-102400)
Boosted ISO (minimum)	50
Boosted ISO (maximum)	102400
White balance presets	6
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal
File format	JPEG Raw (14-bit Canon CRW) C-Raw (Canon compressed Raw)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	5655
Lens mount	Canon RF
Focal length multiplier	1×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3.2″
Screen dots	2,100,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.76×
Viewfinder resolution	3,690,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe)
Flash X sync speed	1/200 sec
Drive modes	Single High-speed continuous Low-speed continuous Self-timer
Continuous drive	8.0 fps
Self-timer	Yes (2 or 10 secs)
Metering modes	Multi Center-weighted Spot Partial
Exposure compensation	±3 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±3 (3 frames at 1/3 EV, 1/2 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p / 480 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, AAC 3840 x 2160 @ 24p / 480 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 120 Mbps, MOV, H.264, AAC 3840 x 2160 @ 23.98p / 480 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 120 Mbps, MOV, H.264, AAC 1920 x 1080 @ 60p / 180 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, AAC 1920 x 1080 @ 30p / 90 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, AAC 1920 x 1080 @ 24p / 90 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 30 Mbps, MOV, H.264, AAC 1920 x 1080 @ 23.98p / 90 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 30 Mbps, MOV, H.264, AAC 1280 x 720 @ 120p / 160 Mbps, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD card (UHS-II supported)
Connectivity
USB	USB 3.1 Gen 1 (5 GBit/sec)
USB charging	Yes (with LP-E6N only)
HDMI	Yes (Mini-HDMI)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.1 LE
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	LP-E6N lithium-ion battery & charger
Battery Life (CIPA)	370
Weight (inc. batteries)	660 g (1.46 lb / 23.28 oz)
Dimensions	136 x 98 x 84 mm (5.35 x 3.86 x 3.31″)
Other features
Orientation sensor	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Four RF-mount lenses kick off Canon’s new full-frame mirrorless system

08 Sep

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Canon’s first full-frame mount in more than 30 years is here, in the shape of the RF-mount. Featuring the same diameter as the venerable EF-mount but with a much shorter flange back distance, RF is designed from the ground up for mirrorless cameras. It’s still early days, but four lenses have been unveiled alongside the consumer-grade EOS R, providing a tantalizing glimpse into Canon’s future ambitions.

Today sees the unveiling of the Canon RF 28-70mm F2L USM, RF 50mm F1.2L USM (pictured below), RF 24-105mm F4L IS USM and RF 35mm F1.8 Macro IS STM. This quartet covers common focal lengths from 24mm to 105mm and includes an exceptionally fast aperture zoom lens, a macro and – in a throwback to the early days of the EF system in the late 1980s – a flagship fast 50mm (shown below on the EOS R).

Perhaps the most interesting of the four new lenses is the 28-70mm F2, which weighs in at a very substantial 1430g (3.15lbs) – a 77% weight increase compared to the wider but slower EF 24-70mm F2.8 II. Boasting 19 elements in 13 groups, the 28-70mm F2 is a large lens, with a determinedly non-standard front filter diameter of 95mm. The RF 24-105mm F4 appears somewhat more conventional, weighing in at a much more manageable 700g (1.5lb) and featuring a standard filter thread of 77mm. It’s no surprise that this is the lens that Canon is kitting with the EOS R at launch.

The RF 24-105 F4L IS USM has been designed to be video-friendly, with minimal focus breathing, a fast, silent ‘Nano USM’ focus motor and the ability to control its aperture in 1/8th EV steps.

The RF 50mm F1.2 looks to be a pretty substantial chunk of glass, featuring 15 elements in nine groups, and weighing 950g (2.1lb). Meanwhile the lightweight (305g, 0.7lb) RF 35mm F1.8 Macro covers both a useful focal length, and offers a handy 0.5X magnification macro capability. Considering its comparatively smaller size and lighter weight, the RF 35mm F1.8 looks like it could be a very attractive walk-around prime for the small and light EOS R.

The EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise”

In addition to the four new lenses, Canon has also introduced three EF to RF adapters. The most basic is a simple mount converter, with an additional two adapters which add a customizable control ring (to match the clicking, customizable control rings on native RF lenses), and a tray for drop-in filters, respectively. The drop-in filter adapter makes it possible to add a Vari ND or circular polarizer to all lenses, including the traditionally awkward super-wides.

Canon promises that the EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise” on the new EOS R and future RF-mount cameras.

The RF 28-70mm F2L USM will cost $ 2,999 and will be available in December. The RF 24-105mm F4L IS USM will also be available in December for $ 1099 ($ 3399 as a kit with the EOS R). The RF 50mm F1.2L USM will cost $ 2,299 and will start shipping next month, while the RF 35mm F1.8 Macro IS STM will cost $ 499 and will be available in December. All three of the ‘L’ lenses are weather-sealed.

Press Release

BEYOND THE REALM OF TRADITIONAL POSSIBILITIES:
CANON INTRODUCES FOUR RF MOUNT LENSES

Canon Also Introduces Three RF Mount Adapters, Providing EF & EF-S Lenses with Full Compatibility and Enhanced Functionality ?with the New EOS R Camera

MELVILLE, N.Y., September 5, 2018 – Helping to rewrite the rules of visual expression, Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a variety of new RF lenses and accessories to accompany the newly announced EOS R Full-Frame Mirrorless Camera System. The four new RF lenses are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. The new RF mount enables new possibilities in optical design and lens formulation, allowing for faster and lighter lenses with higher performing optics.

The four new lenses, the Canon RF 28-70mm F2 L USM, RF 50mm F1.2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM capitalize on the robust optic foundation of Canon’s new EOS R system. The design behind Canon’s new EOS R camera and RF lens system started with the concept of the optimal rear lens element diameter and shorter distance (back focus) for a Full-Frame image sensor.

With over 130 million EF lenses in circulation since Canon launched the mount in 1987*, the Company is enhancing the possibilities for its loyal customers who own and love their EF glass. Canon is introducing three RF Lens Mount Adapters that expand the capabilities of existing EF lenses when paired with the EOS R camera. The Canon Mount Adapter EF-EOS R allows photographers to utilize the full breadth of Canon’s EF, EF-S, TS-E, and MP-E lenses on the newly introduced EOS R camera system. The Control Ring Mount Adapter adds a customizable control ring via the adapter that provides photographers with added functionality to their fingertips. The Drop-in Filter Mount Adapter now easily places circular polarizing or variable neutral density filters behind the lens, opening up new options for lenses such as the EF 11-24mm where using optical filters were previously not an option.

“Knowing exceptional optics are a vital tool in shaping the image a photographer captures, Canon designed the EOS R camera system from the ground up with optics as the starting point,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is very excited about the world-class optics we have developed to marry with the new RF mount. With our rich history and more than 130 million EF lenses being used across the globe, Canon optics will continue to be at the forefront of our digital imaging development now and into the future.”

New Canon RF Series Lenses

Three of the newly announced Canon RF lenses are counted among Canon’s top-of-the-line L-series optics; incorporating rugged, dust and water-resistant construction. All four new RF lenses feature a customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.

The Canon RF 28-70mm F2 L USM lens, the world’s first standard zoom lens with an f/2 aperture is excellent for capturing landscapes, weddings and portraits with its large aperture for stunning bokeh. Initial testing within Canon has shown this new lens to produce better optical image quality and sharpness over similar focal length EF-series lenses, including the extremely popular and highly regarded EF 24-70mm f/2.8L II USM.

A portrait photographer’s must-have, the Canon RF 50mm F1.2 L USM lens sports an ultra large-diameter f/1.2 aperture and Canon’s Air Sphere Coating (ASC) technology to dramatically reduce flares and ghosting. This amazing new lens is capable of rendering subjects life-size on the full-frame sensor with its minimum focusing distance of only 0.59 inches.

Photographers seeking an all-around utility lens for the new EOS R camera system need to look no further than the Canon RF 24-105mm F4 L IS USM lens. Coming in nine percent shorter in length than the EF 24-105mm f/4L IS II USM, this compact lens employs a CIPA standard of 5 stops of IS and is equipped with NANO USM technology, the first L-series lens with the technology. This small chip-shaped ultrasonic motor is engineered to help deliver high-speed, smooth, precise and near-silent operation, plus full-time manual focus (when using one-shot AF).

A fast, wide-angle single focus lens, the Canon RF 35mm F1.8 MACRO IS STM lens is an excellent option for photographers looking for an affordable compact lens. Featuring a maximum shooting magnification of 0.5x, the lens can easily shoot macro photography of subjects such as flowers, food and even insects. The lens also utilizes a CIPA standard of 5 stops of IS and is compatible with Hybrid IS, compensating for both angular and shift camera shake.

Enhanced Capabilities for Canon EF Lenses

Thanks to its large lens mount design, Canon’s new EOS R series camera system delivers new capabilities in both design and function, but for existing Canon lens owners it does something incredible. It enhances the capabilities of existing EF and EF-S lenses with full compatibility and in some cases, enhanced functionality when paired with one of three RF mount adapters.

Canon lenses are historically top-rated, and the Company is looking to help customers gain even more value in their investment with three new RF mount adapters.

The Canon Mount Adapter EF-EOS R is a standard adapter that provides full compatibility with EF lenses. Autofocus, metadata, and Optical Image Stabilization on EF lenses all continue to work seamlessly with the new EOS R camera through this adapter.
The Control Ring Mount Adapter EF-EOS R continues full EF lens compatibility with the addition of a customizable control ring. Functions that can be assigned and adjusted by the control ring include aperture, shutter speed, ISO speed and exposure compensation.
In addition to full EF lens compatibility, the Drop-In Filter Mount Adapter EF-EOS R allows for lens filters to be used behind any EF lens and help photographers conveniently utilize variable ND and circular polarizing filters with any EF lens.

New Speedlite Series

Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.

Additional Features of the Canon Speedlite EL-100 include:

Maximum Guide Number of Approx. 85 ft./26m at ISO 100
24mm Wide-angle Coverage
Optical Wireless Flash Function (Sender and Receiver)
Flash Exposure Control Including Support for Stroboscopic Flash and Continuous
Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
Mode Dial with AUTO Position

Availability and Pricing

The Canon RF 50mm F1.2 L USM will be available in October 2018 for an estimated retail price of $ 2299. The Canon RF 28-70mm F2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM will all be available for purchase in December 2018 for an estimated retail price of $ 2999, $ 1099 and $ 499.99 respectively.

The Canon Mount Adapter EF-EOS R and Control Ring Mount Adapter EF-EOS R will be available for purchase in October 2018 for an estimated retail price of $ 99.99 and $ 199.99 respectively. The Drop-in Filter Mount Adapter EF-EOS R will all be available for purchase in February 2019 for an estimated retail price of $ 399.99 with a variable ND filter or $ 299.99 with a circular polarizing filter.

The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $ 199.99.

For more information on the new Canon RF lenses and accessories, please visit usa.canon.com/eosrsystem.

Canon RF 35mm F1.8 IS STM / RF 50mm F1.2L specifications

	Canon RF 35mm F1.8 IS STM Macro	Canon RF 50mm F1.2L USM
Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	35 mm	50 mm
Image stabilization	Yes	No
CIPA Image stabilization rating	5 stop(s)
Lens mount	Canon RF
Aperture
Maximum aperture	F1.8	F1.2
Minimum aperture	F22	F16
Aperture ring	No
Number of diaphragm blades	9	10
Optics
Elements	11	15
Groups	9
Special elements / coatings	1 aspherical element, Super Spectra Coating	Ground aspherical + aspherical _+ UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus	0.17 m (6.69″)	0.40 m (15.75″)
Maximum magnification	0.5×	0.19×
Autofocus	Yes
Motor type	Stepper motor	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	305 g (0.67 lb)	950 g (2.09 lb)
Diameter	74 mm (2.91″)	90 mm (3.54″)
Length	63 mm (2.48″)	108 mm (4.25″)
Sealing	No	Yes
Colour	Black
Filter thread	52 mm	77 mm

Canon RF 28-70mm F2L USM / RF 24-105mm F4L IS USM specifications

	Canon RF 28-70mm F2L USM	Canon RF 24-105mm F4L IS USM
Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	28–70 mm	24–105 mm
Image stabilization	No	Yes
CIPA Image stabilization rating		5 stop(s)
Lens mount	Canon RF
Aperture
Maximum aperture	F2	F4
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	19	18
Groups	13	14
Special elements / coatings	UD + aspherical elements, Air Sphere, SWC and fluorine coatings	Aspherical + UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus	0.39 m (15.35″)	0.45 m (17.72″)
Maximum magnification	0.18×	0.24×
Autofocus	Yes
Motor type	Ring-type ultrasonic	Nano ultrasonic
Full time manual	Yes
Focus method	Internal	Rear
Distance scale	No
DoF scale	No
Physical
Weight	1430 g (3.15 lb)	700 g (1.54 lb)
Diameter	104 mm (4.09″)	84 mm (3.31″)
Length	140 mm (5.51″)	107 mm (4.21″)
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	95 mm	77 mm

Articles: Digital Photography Review (dpreview.com)

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The Canon EOS R isn’t a mirrorless 5D IV, but it’s a start

06 Sep

What you need to know about the Canon EOS R

Canon’s much-anticipated, long-rumored and at this point very leaked full-frame mirrorless camera is finally here. The Canon EOS R debuts a brand new ‘RF’ mount and a 30MP CMOS sensor, with Dual Pixel CMOS autofocus and 4K video.

Despite Canon’s claims that the EOS R is ‘the internals of an EOS 5D IV in a smaller body’, the EOS R is not exactly the mirrorless EOS 5D IV that a lot of people were predicting (and hoping for) but it’s not the mirrorless Rebel that some cynics were predicting, either. If anything, it’s more like a slightly evolved mirrorless 6D II and – spiritually at least – it appears to have a lot in common with a much, much older camera.

With the dust only just settling after the recent launch of Nikon’s Z7, what should you take away from Canon’s latest ILC? Click through this article for some initial thoughts, and a closer look at the EOS R’s key features.

30MP full-frame sensor

Arguably the most important single component of any digital camera, and even more important in a mirrorless ILC, is the sensor. The Canon EOS R uses a 30MP full-frame CMOS chip with a low-pass filter which produces images with the exact same output dimensions as – and may in fact be a close relative of – the sensor used in the 5D Mark IV. The sensor is paired with an Digic 8 processor.

The EOS R’s standard ISO sensitivity range of 100-40,000 is very similar to the 5D IV’s

Assuming we’re right about the sensor being closely related to the one in the EOS 5D IV (pending lab testing), it’s not a bad thing. The 5D IV’s sensor isn’t up there with the best full-frame sensors on the market when it comes to either resolution or dynamic range, but it’s better than the 26MP sensor in the 6D II and it’s arguably the best all-round sensor in Canon’s inventory (the 5DS/R offer higher resolution but lower dynamic range and the EOS-1D X Mark II trades resolution for speed and sensitivity). The EOS R’s standard ISO sensitivity range of 100-40,000 is very similar to the 5D IV’s, too, the two cameras offer the same absolute maximum ISO sensitivity of ISO 102,400.

The EOS R offers Dual Pixel RAW, plus Canon’s 14-bit CRW Raw format as well as the relatively new C-Raw, which provides full resolution but much smaller file sizes.

New ‘RF’ mount

The Canon EOS R debuts a brand new lens mount – Canon’s fourth ‘full-frame’ mount, if you include the long since retired manual focus FL/D and R. The transition from FD to the totally new (and totally incompatible) electronic EF mount in the late 1980s was quite a jolt for some long-time Canon shooters, but EF to RF looks like it’ll be considerably smoother.

Like the 30+ year-old EF mount, the RF mount is based around a throat diameter of 54mm but with a much shorter flange-back distance of 20mm (compared to 44mm). This is compared to 46mm and 18mm for EF-M, and the longer flange-back distance of the full-frame RF standard would appear to make Canon’s two mirrorless mounts incompatible with (i.e., unadaptable to) one another.

No EF-M compatibility

The lack of EF-M cross-compatibility is a bit surprising. It forecloses the possibility of anyone using EF-M lenses on a hypothetical future APS-C format EF-R camera, essentially closing off the much vaunted APS-C to full-frame ‘upgrade path’ for Canon’s mirrorless customers.

Canon’s long-term interest in APS-C mirrorless has always looked a little shaky – could the EOS-M line be left to quietly die, in the same way as Nikon’s 1 system? We hope not. More likely in the short term (but still a bit odd, however you look at it) is that Canon will pitch its EF-M cameras as a solution for those photographers that want the convenience and size advantages of APS-C, with RF as a full-frame mirrorless system running (kinda, sorta,) in parallel.

If nothing else, the simultaneous announcement of a 32mm F1.4 for the EOS M-series is an indication that Canon wants us (you) to know that it’s still taking EF-M somewhat seriously.

EF to EF-R adapters

On the other hand, converting EF lenses to the EF-R mount is easy, courtesy of no less than three adapters, all of which do basically the same thing. The most basic is a simple mount converter, with an additional two adapters which add an extra control ring, and a tray for drop-in filters, respectively (the latter is pictured above). These adapters allow EF and EF-S lenses to be used on the EOS R without limitation.

Sadly, because of its relatively (for a mirrorless camera) deep flange-back, the RF mount will not be capable of accepting as many adapted third-party lenses as the super wide, super shallow Nikon Z mount. Neither Sony E nor Nikon Z-mount lenses will ever be an option for use on the EOS R or later cameras, for example.

5,655-position Dual Pixel CMOS AF

Canon’s continually-improving Dual Pixel CMOS autofocus has impressed us for years, and the system included in the EOS R is without doubt the most impressive iteration we’ve seen so far. Covering 100% of the frame vertically and around 88% horizontally, and rated down to -6EV (with an F1.2 lens) the EOS R’s autofocus chops are impressive. More importantly, the EOS R always focuses wide open, even in 5 fps bursts: this helps the AF system continue to function optimally in low light even if you’re shooting stopped down.

While 5000+ selectable AF positions might look like overkill, we’re excited to see the difference it makes to precise tracking. That many on-sensor phase-detection AF points does represent an awful lot of data for the EOS R’s processor to move around, though.

Autofocus performance

From our initial impressions, autofocus appears very accurate. Autofocus speed is good: focus is snappy and even in continuous AF the system is quick to refocus on moving subjects, as long as your lens is up to the task.

What will probably slow you down more than the outright AF speeds, though, is the overall method for selecting your AF point or subject: you’ll have to drag your thumb around the touchscreen, and given the touchscreen’s laggy responsiveness, this will be an issue.

Canon EOS R autofocus modes

There’s a ‘Pupil Detection’ mode to ensure eyes are in focus but this is only available in AF-S mode. Disappointingly, like all mirrorless systems so far, the EOS R does not offer flash AF assist when a compatible Speedlite is attached.

Speed and continuous shooting

Sadly, no current mirrorless camera can boast the ‘instant on’ experience of a good DSLR, and the EOS R is no different, with a startup time of 0.9sec. On the face of it, the Canon EOS R’s continuous shooting performance is fairly unremarkable, too. A maximum framerate of 8 fps with focus locked isn’t going to set the world on fire, and nor is 5fps with AF tracking or 3 fps in the higher-precision ‘tracking priority’ mode. Remember what we said earlier about all that data from so many Dual Pixel CMOS autofocus points stressing the R’s processor?

While the EOS R isn’t exactly a speed demon, with a UHS-II card installed it does offer a halfway decent buffer

To be fair, the general experience of taking pictures is really nice, with virtually no blackout between shots, and AF tracking seems to be very good at 3/5fps. But it doesn’t look like the EOS R will trouble the wallets of action photographers any time soon. While the EOS R isn’t exactly a speed demon, with a UHS-II card installed it does offer a halfway decent buffer of 100 JPEGs (large/fine) and 47 Raws.

Our bet? There will be a speed-focused mirrorless EOS-1D type camera launched in time for the Tokyo olympics in 2020, alongside a similarly pro-oriented Nikon Z-mount competitor.

Handling and design

Just like the Nikon Z series, the EOS R makes a lot of effort to accommodate existing DSLR shooters, with a dial layout and menu system that will be immediately familiar.

But, also like the Nikons, it also switches to using its maker’s live view AF system, user experience and nomenclature. This won’t be quite such a shock for Canon users, since the Dual Pixel DSLRs were pretty usable in live view mode (and, in the case of the EOS 80D, arguably better when used that way). But it still means it won’t be as easy to jump back and forth between shooting a Canon DSLR and using the EOS R as Canon likes to imply.

This image shows the optional BG-E22 battery grip. The BG-E22 can hold two LP-E6N batteries, effectively doubling battery life.

Handling and design

The build quality and grip shape are immediately impressive when you first pick up the EOS R. It’s built with a magnesium alloy shell over a magnesium alloy body and it has a real sense of quality to it. Changing exposure parameters feels immediate – like a DSLR.

However, while the build feels premium, the lack of AF joystick hints at this model’s slightly more modest status. We’re also told the weather sealing is more 6D than 5D standard.

On the production-spec cameras we used, the touchscreen interface was laggy and rather slow to use

Without an AF joystick, you’re pretty much required to depend on the touchscreen-based touchpad AF. This is pretty customizable, allowing you to choose ‘relative’ or ‘absolute’ positioning, and also limiting the active area of the touchscreen. But on the production-spec cameras we used, the touchscreen interface was laggy and rather slow to use, which makes the camera as a whole slower to operate.

The touchscreen can also feel laggy in playback mode. But that’s not the only thing that feels laggy about the camera: as the EOS R is writing to the card, some camera functions, like switching to playback mode, can feel very slow to operate.

Protective measures

One interesting first for a mirrorless camera is that the EOS R closes its mechanical shutter when the camera is turned off, perhaps to reduce the risk of dust on the sensor. Canon recommends always turning off the camera when changing lenses, as a consequence.

We’ve always been told that the glass cover is much stronger and harder to damage than the delicate mechanical shutter blades, which makes this an interesting decision. The camera also stops its lens down on shut-down and shows a warning not to leave it pointing at the sun with a lens cap off, presumably to avoid warping the shutter with the lens-concentrated rays of the sun.

No IBIS

With the EOS R, Canon is continuing its long tradition of putting image stabilization into selected lenses, not its cameras. The normally stated logic is sound – better tailor an I.S. system for the specific demands of a particular lens than go with a ‘one size fits all’ in-body system which inevitably adds bulk to the camera.

It’s a fair argument, but Sony’s A7/A9 bodies and Nikon’s new Z6 and Z7 do offer in-body stabilization, it works, and it is very useful for video and stills alike. The new Canon RF 28-70mm F2 for example may turn out to be a great lens, but since it lacks an in-built I.S. element, it’s completely unstabilized on the EOS R. Sure, the R offers digital ‘5-axis’ stabilization in video mode, but it’s no substitute for an optical-mechanical system.

Single UHS-II SD card slot

And if there’s one thing we learned from recent reaction to the Nikon Z7 it’s that only one card slot means EVERYTHING IS TERRIBLE AND WE’RE ALL GOING TO DIEEEEEEEEEEE!

If you, or anyone you know has been affected by the inclusion of a single card slot in a digital camera, we want to hear from you. Asking for help is the first step.

Viewfinder and rear screen

The EOS R’s viewfinder is built around an OLED panel with a resolution equivalent to 3.69 million-dots, and a magnification of approximately 0.76X. Coverage, as we’d expect from a modern EVF, is 100% of the image area. The EOS R’s viewfinder is really nice, offering a comparable (if not quite equal) clarity and perceptual resolution to the excellent (and similarly spec’d) finder in Nikon’s Z7 and Z6. It’s slightly smaller though, compared to the 0.8X finder magnification of the Nikon models.

The EOS R’s LCD is fully articulated, rotating around a hinge on the left-hand side of the camera’s rear plate

The EOS R’s rear LCD also looks very nice indeed, offering a resolution of 2.1 million dots, with touch sensitivity. In terms of resolution this almost (but not quite) matches the benchmark panels on the back of the Nikon D500/850/D5 and should look crisper than the 1.6 million-dot LCD on the back of the EOS 5D IV. The screen is fully articulated, rotating around a hinge on the left-hand side of the camera’s rear plate. The well-integrated on-sensor PDAF system and sharp, articulating rear LCD make the EOS 6D II great fun to use in live view mode, and the EOS R looks like it will be be similarly enjoyable.

LP-E6N battery

The Canon EOS R uses the same LP-E6-pattern battery that has powered more than ten of the company’s DSLRs, and the (included) ‘N’ variant will support in-camera charging, via the PD-E1 power adapter over USB C. The company recommends only using its own adapter.

The EOS R’s CIPA rating for battery life ranges from 330 to 560 shots per full charge, depending on shooting conditions. For reference, that compares to 850-900 shots from the 5D Mark IV. The lowest rating is derived from mostly viewfinder shooting at 32 degrees F / (zero degrees C), and the highest rating refers to composing images on the rear screen, at room temperature, with ‘Eco mode’ activated. With a boring old LP-E6 (not the newer ‘N’) battery life should be about 5% lower.

Any way you look at it, the EOS R won’t have anything like the endurance of Sony’s a7 III

However you end up shooting with the EOS R, CIPA rated battery life for hybrid mirrorless cameras should be taken with a very large pinch of salt. In a single shooting session, we’ve managed more than 5X the CIPA rated number of exposures from a single charge of the new Nikon Z7’s battery, for example – a camera that has been roundly trashed on our forums by people who have never used it for its poor battery life. That’s not to say that CIPA ratings aren’t useful for comparison – any way you look at it, the EOS R won’t have anything like the endurance of Sony’s a7 III, for example.

Video

The Canon EOS R can of course shoot video as well as stills, at a maximum resolution of 3840 x 2160 pixels (that’s 4K UHD) at 30p. 24p 4K is also available, as well as HD at up to 60p, with a high-speed 120p option available at a reduced resolution of 720p. At its absolute highest quality setting, the EOS R is capable of a maximum bitrate of 480 Mbps, which works out to about 8 minutes of recording on a 32GB card before you’re out of space (and you’ll need it to be a V60-rated card).

The EOS R gains the ability to capture C-Log footage internally

That’s about the same as the EOS 5D Mark IV and compares to a maximum bitrate for internal recording of 100Mbps from the Nikon Z7. We’re not necessarily expecting video from the R to be more than four times better than footage captured on the Z7, and in fact the option to shoot at lower bitrates using the more efficient H.264 (rather than being locked to Motion JPEG, as in the 5D IV) is actually more useful.

The EOS R gains the ability to capture C-Log footage internally (as 8-bit 4:2:0 MP4 files) or stream 10-bit 4:2:2 C-Log over HDMI. This is a positive step.

Video performance

Sadly however, video performance doesn’t appear to live up to these specs: 4K is limited to a maximum of 30 frames per second, and exhibits significant rolling shutter, from what we’ve seen so far. The image above is a still frame from a 4K 30p whip-pan using the EOS 5D IV showing how severe the so-called ‘jello effect’ can be. The EOS R also imposes the same ~1.7x crop that we saw on the 5D IV, essentially reducing it to a sub-APS-C camera in 4K mode.

For a company with such a long history of disrupting the video market, we had hoped for more

Yes, that’s right – the EOS R is unique among current 4K-capable full-frame mirrorless cameras in not offering full-width video capture in its highest resolution video mode. If you’re a stills-focused photographer, this probably won’t bother you, but it’s still disappointing that Canon hasn’t invested more in the video features of the R. For a company with such a long history of disrupting the video market, we had hoped for more. Maybe next time?

On the plus side, though, there’s the highly usable Dual Pixel CMOS AF system which, combined with a full flip-out touchscreen and the ability to use EF-S lenses, means the R could be quite an effective camera for vlogging.

Buttons, dials and panels

In terms of its operational design, the EOS R is a mixture of the old and the new. The venerable top control dial (which dates back more than 30 years to the film-era T90) is still right where it’s always been, on the top of the grip just behind the shutter button, but the traditional EOS rear dial has been relocated to the camera’s top right shoulder. A PowerShot style 4-way controller takes its place to the right of the LCD on the rear of the camera. There is no dedicated AF joystick, and no traditional PASM dial. Instead, exposure modes are cycled via the ‘Mode’ button at the center of the rearmost control dial to the right of the top-plate LCD.

Several functions can be assigned to the touch-sensitive M-Fn bar

To the left of the EOS R’s viewfinder you’ll see an on/off switch cunningly disguised as another control dial (an unwelcome throwback to the original EOS M), and to the right you’ll notice a brand new control point, which Canon is calling the ‘M-Fn bar’. Several functions can be assigned to this touch-sensitive bar, depending on what you want to do, and how you want to interact with it.

You can touch one side or the other, press the entire bar at its center, or swipe from left to right or right to left. In this way, the bar can be used to set a range of functions during shooting, ranging from ISO sensitivity to display info. In playback mode it can be used as a function shortcut or to ‘jump’ between ranges of images in a sequence.

Final thoughts (for now)

So the EOS R isn’t the mirrorless 5D IV that some people were hoping for (except in video mode…), much less the mirrorless EOS-1D X Mark II that others were bravely predicting, but even so, dismissing the R would be a mistake. As a company, Canon remains very conservative in many respects, while being quietly groundbreaking in others. Dual Pixel CMOS AF was always going to be at the heart of any canon full-frame mirrorless camera, for example, and the version that Canon has included in the EOS R appears to be significantly evolved compared to its earliest iterations.

We always knew that Canon would enter the mirrorless full-frame mirrorless market eventually, but not until it was ready – and certainly not in a way that would risk either killing sales of its hugely popular DSLRs or spooking the heavily-invested professionals that make up such an influential and valuable (albeit numerically comparatively small) portion of its customer base.

The original EOS 650, which debuted the EF mount in 1987. In terms of specification, the 650 was a fairly pedestrian camera, but groundbreaking nonetheless. Picture: Szczery, via Wikipedia Commons.

The EOS R is the natural product of that philosophy. In fact, it reminds me a lot of the original EOS 650, Canon’s first EF-mount SLR and a fairly ‘meh’ camera even by the standards of 1987, but one which nonetheless ushered in a sea-change in Canon’s optical and mechanical design. Despite its unassuming specification, the EOS 650 and its subsequent sister models rang the changes for the entire photography industry for many, many years afterwards.

For now, the most interesting thing about the launch of the RF system is the new mount

Canon is very rarely first to market with new technologies – a point made by executives at the EOS R’s official launch. Historically it’s not been so much a matter of when, but how the company enters the market that has proved impactful. The EOS R isn’t a particularly exciting camera – especially for videographers – but as a statement of intent it is highly significant.

For now, the most interesting thing about the launch of the RF system is the new mount, and the co-announced native lenses. Even if you’re not particularly inspired by the R, it’s worth looking back to those early EOS models of yesteryear and pondering what might be coming next. The new 28-70mm f2 looks like it could be one hell of a lens, but Canon probably doesn’t expect it to be bought by EOS R users. It’s more than twice the weight of the R, for one thing. More likely it’s intended to be used by purchasers of a future RF-mount camera, one more geared towards the needs of advanced enthusiasts and professionals.

For now, the EOS R is pretty much what we expected it would be. It’s not the final product of Canon’s mirrorless ambitions, it’s a start.

Articles: Digital Photography Review (dpreview.com)

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Rumors point to imminent Canon full-frame mirrorless system launch

01 Sep

Over the past few days, rumor sites seem to have come to a consensus that Canon will launch a full-frame mirrorless camera in the very near future. Canon Rumors and Canon Watch point to a full-frame body called the EOS R, alongside a list of lenses published today by Japanese news and rumor site Nokishita. A list of ‘RF’ lenses rumored to be launched with the system include:

Canon RF 35mm F1.8 M IS
Canon RF 50mm F1.2L USM
Canon RF 28-70mm F2L USM
Canon RF 24-105mm F4L USM

Also rumored to be announced soon:

Canon EF-M 32mm F1.4 STM
Canon EF 400mm F2.8L IS III
Canon EF 600mm F4L IS III

Nokishita also suggests that a battery-grip, radio-wave receiver and an adapter (M to R, or “mount” – they say it’s unclear which) will also be announced.

Obviously, nothing is confirmed at this point and rumors are rumors. But we’d be surprised if Canon wasn’t prepping a full-frame mirrorless system amid competition from Sony and now Nikon. What’s your take on this list of lenses supposedly launching with the system? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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DPReview on TWiT: Nikon Z Mirrorless

28 Aug

As part of our regular appearances on the TWiT Network show ‘The New Screen Savers’, our Science Editor Rishi Sanyal joined host Leo Laporte to discuss Nikon’s entry into the high-end mirrorless market. In this episode, we cover everything from DPReview’s initial impressions of the Z 7 camera based on hands-on testing of the camera and lenses over multiple days of shooting, to the broader question of what Nikon’s serious entry into mirrorless means for the camera industry at large.

The entry of one of the camera industry giants into the full-frame mirrorless ILC segment signals, in our opinion, significant winds of change. Just two short years ago Nikon advertised the benefits of DSLR over competitor mirrorless cameras during its D5 launch, citing the immediacy of the optical viewfinder and higher frame rates during burst shooting.

But shortly thereafter the Sony a9 showed us that mirrorless technologies could not only overcome but surpass these shortcomings. Now in its mirrorless launch, Nikon is introducing cameras with higher burst rates, wider AF coverage and far superior video autofocus than any of its previous full-frame, non-pro-grade DSLRs. And mirrorless’ reliance on fast-evolving image image sensor technology means that, just maybe, we can expect faster, far reaching improvements with each generation.

Have a watch of our discussion, and then let us know your thoughts on the launch of the Nikon Z cameras in the comments below.

View all of our Nikon Z mirrorless system content

Articles: Digital Photography Review (dpreview.com)

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Samyang announces 85mm F1.8 lens for APS-C mirrorless cameras

27 Aug

Samyang has announced an upcoming 85mm F1.8 prime lens for a collection of APS-C format mirrorless camera systems.

The lens, which will also be sold under the Rokinon brand name, is available in Sony E-, Fuji X- and Canon M-mounts, as well as Micro Four Third (MFT) systems. Taking into account the crop factors, the 85mm F1.8 lens will be equivalent to roughly 128mm on Sony E- and Fuji X-mounts, 136mm on Canon M-mounts and 170mm on MFT systems.

The lens is constructed of nine optical elements in seven groups, which includes an Ultra Multi Coating (UMC) to reduce ghosting and chromatic aberration. It relies on manual focusing with a minimum focusing distance of 0.65m/2.13 feet and features a nine-blade aperture diaphragm. The front filter mount is 62mm and the lens comes with a reversible lens hood.

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The Samyang/Rokinon 85mm F1.8 lens is set for a September 2018 release date at an expected MSRP of $ 399.

Articles: Digital Photography Review (dpreview.com)

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Mirrorless Cameras and Wedding Photography – A Match Made in Heaven?

26 Aug

Can you use mirrorless cameras for wedding photography? My answer is yes you can, absolutely. Why not?

That doesn’t mean mirrorless is for every photographer. I will preface this discussion by saying that your camera is a tool, and it’s all personal taste. No camera is perfect, neither is any photographer. It’s about using what fits.

mirrorless cameras and weddings - two kids at a wedding

I can promise you that many professional wedding photographers will shun the idea of trusting a mirrorless camera for the job of photographing weddings. Some of the best in the world will say that. In turn, some of the best wedding photographers in the world use mirrorless cameras. Some of the naysayers’ concerns are valid, some are ignorant.

Switching over to mirrorless

I will share my experiences and you can use that to help you make an informed decision. I’ve used Fuji mirrorless cameras as my exclusive platform since July of 2014. It started with me needing to upgrade my 7 and 9-year-old Canon 1D series SLRs and being rather unexcited with my upgrade options.

mirrorless cameras - black and white wedding candid photo

My friend at my local camera shop had recently switched from Nikon to Fuji mirrorless and let me play with his camera. It was a rangefinder design and had a lot of resemblance to retro film cameras. It was fun to use and due to its smaller size, it wasn’t a daunting task to take it everywhere. So I picked up a Fuji XT-1 of my own.

This was 2014 when mirrorless technology was still in its infancy and didn’t have the capabilities it does today. It was a rocky 3-4 month learning curve, and some of it was frustrating, especially as I tried to incorporate the Fuji into my professional work.

mirrorless cameras wedding candid photo

Something was different about my work so I stuck with it. When getting used to a different platform, logic should prevail that you have to learn that system, not expect it to work as you think it should. That principle is a hard one to swallow for many. It requires you to think differently, it requires you to change. Sometimes that can do wonders for your inspiration and overall work.

What is different?

When I was getting used to the Fuji system, it seemed that few photographers really understood the system, and we would just learn it together. The image goes straight from the lens to the sensor, there is no mirror inside the camera body. It also uses a contrast phase detection autofocus.

Mirrorless Cameras and Wedding Photography - bride in black and white

In the early days before improved sensors, firmware updates, and faster lenses, the camera hunting for focus was a huge issue. Particularly in low light and in points of lower contrast.

Today, the technology is greatly improved, but there are still advantages an SLR has over mirrorless, particularly for sports and rapid-fire shooters. But anyone who loves the mirrorless system can use it for any kind of professional work. If you learn the system.

What really changed?

Mirrorless Cameras and Wedding Photography - couple getting married

For me, getting used to the mirrorless system changed how I worked and shifted many things about my whole approach. The biggest was using all prime lenses, where before I was using all zoom lenses.

The primes are faster to focus and have better depth of field control from the available Fuji lens lineup. That made me move my feet and become more strategic with my composition. It’s been easier to rely on fewer focal lengths and pick my most versatile lenses.

Mirrorless Cameras and Wedding Photography - couple toasting

I’ve worked closely with the subjects and have become more deliberate with my work. More negative space in my composition and more watching and waiting for the shot, less rapid fire. The tack sharp glass and amazing Fuji color, the electronic viewfinder, and compact size made the system a joy to use.

The things that at first seem to be shortcomings can actually help us become stronger artists through patience and adaptability. My whole point of discussing these past issues is it emphasizes the transition that was required then, and many didn’t make it through. Which is neither right or wrong. The point is that anyone who wants to learn the system has better tools to do so in the present day.

Why or why not to use mirrorless cameras for wedding photography

Mirrorless Cameras and Wedding Photography - first dance b/w

No one can address the future of photography as far as SLR, mirrorless, etc. Nor should that matter. Here are some key facts that may help offer an inside perspective.

Battery life isn’t as long as SLR cameras so spares are needed. You can disable the live electronic viewfinder and switch to optical which helps.

Most mirrorless wedding photographers use two active bodies. You can use a harness or wear one around your neck with your most used lens, and have another camera at your hip with a side holster – just as an example. There’s something more deliberate about primes, and less of a clinical look.

Mirrorless Cameras and Wedding Photography - dance and kiss

There are limitations with TTL flash and mirrorless cameras. The options are to work with that and use manual, which I always have anyway, or not use flash. Which is not always an option.

Pixel peeping and stressing over crop sensor (APS-C)

NOTE: Sony does make full-frame mirrorless bodies if it bothers you that much, or you can stick with your DSLR.

Those people stressing over the smaller sensor make no sense to me. Only other photographers notice noise or will pick an image apart for technical imperfections.