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As part of our twenty-fifth anniversary, we're looking back at some of the most significant cameras launched and reviewed during that period. Today's pick was launched seven years ago today* and yet we're only quite recently stepping out of its shadow.

The Nikon D850 is likely to be remembered as the high-water mark of DSLR technology. We may yet still see impressive developments from Ricoh in the future (we'd love to see a significantly upgraded Pentax K-1 III), but the D850 was perhaps the green flash as the sun set on the DSLR as the dominant technology in the market.

Click here to read our Nikon D850 review

Why do we think it was such a big deal? Because it got just about everything right. Its 45MP sensor brought dual conversion gain to high pixel count sensors, meaning excellent dynamic range at base ISO and lower noise at high ISOs. Its autofocus system was one of the best we've ever seen on a DSLR: easy to use and highly dependable, with a good level of coverage. And then there was a body and user interface honed by years of iterative refinement, that made it easy to get the most out of the camera.

None of this is meant as a slight towards the other late-period DSLRs but the likes of Canon's EOS 5DS and 5DSR didn't present quite such a complete package of AF tracking, daylight DR and low-light quality as the Nikon did. With its ability to shoot at up to 9fps (if you used the optional battery grip), the D850 started to chip away at the idea that high megapixel cameras were specialized landscape and studio tools that would struggle with movement or less-than-perfect lighting. And that's without even considering its 4K video capabilities.

In the seven years since the D850 was launched, mirrorless cameras have eclipsed most areas in which DSLRs once held the advantage. For example, the Z8 can shoot faster, autofocus with more accuracy and precision across a wider area of the frame and do so while shooting at much faster rates.

But, even though it outshines the D850 in most regards, the Z8 is still based around what we believe is a (significant) evolution of the same sensor, and its reputation still looms large enough for Nikon to explicitly market the Z8 as its "true successor."

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*Actually seven years ago yesterday: we had to delay this article for a day to focus on the publishing the Z6III studio scene: the latest cameras taking precedence over our anniversary content.

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We've just received a production Nikon Z6III and took it into our studio immediately to get a sense for how the sensor really performs.

Dynamic range tests have already been conducted, but these only give a limited insight into the image quality as a whole. As expected, our Exposure Latitude test – which mimics the effect of reducing exposure to capture a bright sunrise or sunset, then making use of the deep shadows – shows a difference if you use the very deepest shadows, just as the numerical DR tests imply.

Likewise, our ISO Invariance test shows there's more of a benefit to be had from applying more amplification by raising the ISO setting to overcome the read noise, than there was in the Z6 II. This means there's a bigger improvement when you move up to the higher gain step of the dual conversion gain sensor but, as with the Z6 II, little more to be gained beyond that.

These are pushing at the extremes of the sensor's performance though. For most everyday photography, you don't use the deepest shadows of the Raw files, so differences in read noise between sensors don't play much of a role. In most of the tones of an image, sensor size plays a huge role, along with any (pretty rare) differences in light capturing efficiency.

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As expected, the standard exposures look identical to those of the Z6 II. There are similar (or better) levels of detail at low ISO, in both JPEG and Raw. At higher ISO, the Z6III still looks essentially the same as the Z6II. Its fractionally higher level of read noise finally comes back to have an impact at very, very high ISO settings.

Overall, then, there is a read noise price to be paid for the camera's faster sensor, in a way that slightly blunts the ultimate flexibility of the Raw files at low ISO and that results in fractionally more noise at ultra-high ISOs. But we suspect most people will more than happily pay this small price in return for a big boost in performance.

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When you use DPReview links to buy products, the site may earn a commission.Canon EOS R5 II as a video tool

The Canon EOS R5 II isn't just a new version of the company's popular R5 mirrorless camera; it's the spiritual successor to the EOS 5D series of 'affordable' full-frame digital cameras. That includes the EOS 5D Mark II, the world's first Full HD video-capable DSLR, a model that reset the market's expectations for video capabilities on 'photography' cameras, and which, according to several Canon insiders we've talked to over the years, gave Canon the confidence to expand more aggressively into the digital cinema market.

Many of the R5 II's headline-grabbing specs have centered around the camera's photo capabilities, but it shouldn't be a surprise that the EOS R5 II is for filmmakers as much as it is for stills shooters. In the following slides, we'll examine what the camera offers to movie shooters.

Video specs

The EOS R5 II includes a wide variety of resolutions and frame rates to support just about any level of video quality. At its highest quality, the camera can capture DCI-style 8K Raw video internally at frame rates up to 60p. The R5 II also features a new 4K 'SRaw' recording option, with frame rates up to 60p. Canon hasn't disclosed whether this 4K is downsampled from 8K or subsampled on the sensor, but it's something we'll test for our full review.

When shooting compressed video, the camera can capture 8K, 4K, and even Full HD resolutions in either DCI (1.89:1) or UHD (16:9) aspect ratios, using either the full width of the sensor or a very slight crop (1.05x). This includes 8K up to 30p, subsampled 4K up to 120p, and subsampled FHD up to 240p. It's also possible to capture 4K and FHD resolutions in both DCI and UHD ratios using a cropped APS-C region of the sensor.

Finally, when connected to an external recorder via HDMI, the camera can also output 8K Raw at up to 30p or 4K Raw at up to 60p, both in a 1.89:1 aspect ratio. We'd be very surprised if this can't be encoded as ProRes RAW once Atomos has had some time with the camera.

Codecs

The R5 II includes multiple codecs to support its myriad video options. When recording Raw video, the camera provides the option to record in either Canon's Raw or Raw Light format. Video captured at frame rates of 50p or higher uses the Raw Light format to keep file sizes in check. Of course, there's also the aforementioned SRaw option for 4K Raw video.

In an effort to better align its newest mirrorless cameras with its Cinema EOS product line, the R5 II features Canon's XF-HEVC S and XF-AVC S compressed video formats, both of which can capture 4:2:2 10-bit color. The XF-HEVC S format, based on the H.265 codec, also allows you to capture 4:2:0 8- or 10-bit video, whereas XF-AVC S, based on the older H.264 codec, offers a 4:2:0 8-bit option.

The R5 II also includes the ability to capture HDR video by simultaneously capturing normal and underexposed frames, combining them to better preserve highlights in high-contrast scenes. This can be combined with the camera's PQ picture profile for use on compatible TVs or displays.

Rolling shutter

One of the most significant upgrades in the EOS R5 II is the addition of a Stacked CMOS sensor, which promises to improve the camera's rolling shutter performance (though it isn't nearly as fast as the one in Canon's new flagship mirrorless camera, the R1).

We measured the R5 II's rolling shutter rate when shooting DCI 8K video at ∼12.6ms. That's not going to set any records, but it's faster than the 15.4ms we measured for the same resolution on the original R5, which should make rolling shutter artifacts less noticeable on the newer model.

Most Stacked sensor cameras don't capture video using the super-fast multi-line readout modes they use for stills, so they're not as impressively fast. A sub-15ms rolling shutter rate is extremely good, though, so you'd have to really provoke it to see any rolling shutter distortion.

C-Log2

The EOS R5 II will be the first Canon mirrorless camera to hit the market with Canon's C-Log2 gamma profile. According to Canon, this is part of its effort to better align video capabilities and workflows across its product line.

C-Log2 encodes a wider dynamic range than the C-Log3 gamma profile included on some previous Canon mirrorless bodies and will better replicate and match footage from Canon's cinema cameras. However, C-Log3 remains available for use in less challenging situations where the extra dynamic range of the C-Log2 curve isn't required, retaining more data per stop of light.

Overheating

The original R5 received criticism for its propensity to overheat, particularly when shooting 8K video. The R5 II can also experience thermal issues at its most demanding resolutions and frame rates, but Canon has introduced a new accessory grip with a built-in cooling fan, the CF-R20EP, to help mitigate this issue. It joins manufacturers like Panasonic and Fujifilm that have provided accessory cooling fans for video-focused mirrorless cameras.

According to Canon, when capturing 8K/30p video, the R5 II should run for up to 26 minutes or up to 37 minutes with the camera's auto power-off temperature set to high (based on an unused camera starting in an environment of 23ºC/73ºF). With the accessory fan attached, these times should increase to 106 minutes or 120 minutes (or more). When capturing 4K/60p footage, Canon claims the accessory fan will allow recording without time restrictions.

The CF-R20EP has a suggested retail price of $400. It also includes an ethernet port for fast connectivity or remote operation.

Dual recording

The R5 II includes a new dual recording feature that allows you to capture high-resolution JPEG images while recording video. Using this feature, the camera can capture Full HD video at up to 30p on one card while capturing UHD 8K (7620 x 4230 resolution) JPEG images at up to 7.5fps on the other.

This feature does have limitations. You'll likely need to optimize your shutter speed for either photos or video, as the camera uses the same setting for both media. Also, some camera functions, such as focus breathing correction, chromatic aberration correction, diffraction correction, and in-camera image upscaling, will not work in this mode. Dual recording requires the new LP-E6P battery that can provide more sustained power.

Video tools

Although the R5 II has some very impressive video specs, we're equally excited to see Canon include helpful tools to better support the user experience of capturing video. To start, Canon has finally added a waveform display to one of its mirrorless bodies, allowing video shooters to judge exposure across the frame when shooting video more accurately. Similarly, Canon has also added a false color display, which makes it easier to visualize exposure values in an image or to quickly dial in the correct exposure for a particular part of an image, like skin tones.

On the hardware side, the R5 II now includes a full-sized HDMI port, an improvement over the mini-HDMI port on its predecessor. It also has a front tally light to let subjects know when you're recording. It includes 3.5mm headphone and microphone jacks.

Finally, Canon has also added the ability to pre-capture either three or five seconds of video, which should help in situations where it's difficult to anticipate when the action will start.

Multi-function hot shoe and digital/4-channel recording

The EOS R5 II also gains Canon's multi-function hot shoe, which includes communication pins for compatibility with accessories beyond speedlights. The original R5 didn't include this feature, though it appeared subsequently on the EOS R3.

The main benefit of the multi-function shoe for video shooters is support for digital audio input, as well as 4-channel audio support.

Summary

The original EOS R5 came to be known as a capable video camera, able to deliver stunning video quality, once the initial concern about overheating had cooled. The R5 II goes the next step to address some of the challenges encountered by its predecessor, such as providing an add-on fan to improve thermal management, refining the workflow experience through the addition of tools like waveforms, false color and better hardware connections, and through enhanced capabilities, like the addition of C-Log2 and dual recording.

The result is a camera that promises to perform very well for both stills and video and could potentially integrate pretty seamlessly as a B-cam on a production using Cinema EOS equipment. If you're a serious video shooter or even an enthusiast just looking to experiment and expand your horizons, the R5 II has a lot of potential. We'll see how it stands up to real-world use once we receive a production copy, and look forward to testing the autofocus to see how well the experience on the stills side of the camera translates to video.

When you use DPReview links to buy products, the site may earn a commission.Intro

The EOS R5 II is the successor to Canon's popular and highly capable enthusiast/pro mirrorless R5 model. It continues with the same pixel count as the existing camera but just about everything else has changed.

The R5 II can trace its lineage back to the EOS 5D series. While the 5D Mark II was a landmark for video capture, the series has also always been significant for stills shooters, as it was Canon's first full-frame digital camera outside the pro-focused 1 series.

We're going to look through the major changes and what difference they'll make for photographers. We'll look at video features and updates in a separate article.

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The complexity of the EOS R5 II and its broad feature set, along with some inconsistent specs from Canon, have led to some confusion. We checked directly with Canon US's technical expert on the camera to clear up some of the misunderstandings we've seen.

The EOS R5 II does not have the cross-type autofocus offered by the EOS R1. There are Canon spec sheets that say it does, but these are not correct. The R5 II uses the same left/right pairs of photodiodes to give sensitivity to vertical edges as the original R5.

The EOS R5 II does not use 14-bit readout for its video. Like almost every camera on the market it drops the sensor readout to 12-bit mode to speed up the readout and lower the rolling shutter time (it's typically around twice as fast). You can still get significantly more than 12 stops of DR, despite this, particularly in the 4K Fine modes, where multiple pixels are being combined.

It does not have built-in GPS. Some of the spec sheets we've seen made this appear ambiguous but GPS is handled either via a smartphone app or by using an external GPS accessory.

Eye control AF

Almost every specification of the EOS R5 II has been improved by some degree, compared with the previous model, but perhaps the biggest single improvement is the inclusion of Eye Control Autofocus. Canon promises improvements over the system revived in the EOS R3, saying that the system can now monitor the photographer's eye movements over a greater distance than before and gains a mode to detect whether the user is wearing glasses, so it can adapt accordingly.

The name eye control AF risks creating misunderstanding: your eye movements don't constantly direct where the camera focuses, they help position an AF target. When you initiate focus by half-pressing the shutter button or hitting AF-On, the camera selects the subject nearest to that target and tracks it. So it doesn't matter if your eye darts around the frame to check composition or monitor other action in your shot: the only time it plays a role is when you tell the camera to start tracking. At its best it's probably the fastest, most obvious means of subject selection, and it'll be a major addition to the R5 II if really does work more reliably for more people.

Speed

Although it has the same pixel count as the Mark 1, the R5 Mark II has a Stacked CMOS design, that reads out 16 lines at a time (in stills mode). This makes its electronic shutter significantly faster than its predecessor (around 6.3ms readout, rather than 16.4ms), even when capturing 14-bit Raws. This means both that it can shoot faster--up to 30 fps, rather than 20 fps--and that it will exhibit significantly less rolling shutter distortion when shooting subjects moving rapidly across the frame.

The EOS R5 II also gains a mode that starts buffering shots when you half-press the shutter and will then save up to 1/2 a second's worth of these images when you fully press the button. The R5 has no such equivalent mode and the new implementation is more elegant than the one added to the EOS R6 II, in that it saves regular JPEG or HEIFs, with and without Raw files, rather than combining the results into a single, large Raw that needs DPP to extract your chosen frame.

Autofocus

The EOS R5's autofocus in stills is very good, but from our experience of the R5 II so far, Canon has made significant steps forward.

This is most apparent in the Action Priority AF modes, where the camera has been trained to recognize key moments in Football (Soccer), Basketball and Volleyball matches, meaning it knows what to focus on and when to shift focus between players. It also has a mode letting you teach the camera what a specific person looks like and the camera will try to prioritize them, if they appear in a scene. You can set a hierarchy of recognized people.

But even beyond these modes, the R5 II's AF seems stickier and more dependable, showing the benefit of a system derived directly from the one developed for pro sports shooters in the EOS R1 (though without the + type autofocus sensitivity). This, and the camera's faster shooting rate, expands the types of shooting it's suited to, making it a much more capable sports camera, for instance.

Handling/layout

The EOS R5 II's handling is relatively unchanged, compared with the existing model. The power switch has been moved to the top right of the camera, in front of the command dial that sits on the shoulder of the camera, while the two-way switch on the left of the viewfinder is now a stills/video switch. This is a change that's only likely to matter to anyone trying to use both generations of the camera alongside one another.

What's likely to make a bigger difference is the R5 II's brighter viewfinder and its receiving the Optical Viewfinder Simulation mode from the EOS R3. This shows a wider dynamic range view of the scene, ignoring the current color or contrast settings that your final image will have, showing brighter brights and more balanced shadows to give a more lifelike view of the world (though it doesn't show enough DR to fully represent the camera's HDR PQ shooting mode, designed for viewing on HDR displays).

The menus have also been reworked, with all the R5 II's customization options now gathered together into an olive-colored tab in the menu structure.

Other features

The EOS R5 II gains two "AI"-powered post-shot processing modes, one to denoise Raw images, the other to double the resolution (quadrupling the pixel count) of JPEGs or HEIF files.

The resolution-boosting mode is especially interesting in the context of an already high-resolution camera. Canon makes clear that it's not using generative AI (i.e., not synthesizing image elements that weren't really present), just making guesses about what would have existed between the captured pixels. This is an interesting alternative to the multi-shot high-res modes we've seen elsewhere that can capture higher levels of chroma or spatial resolution by shooting and combining multiple images. It's possible that Canon may add such an option in the future but, for now, a mode that boosts detail to some degree, but without the need for a very stable tripod and near-static subject might prove more useful in more circumstances.

Our early impression of the "neural network" noise reduction are pretty favorable, with the camera doing a good job of working out which areas can be smoothed and which details should be preserved, all with the noise level reduced.

The R5 II is also the first generation of cameras we've seen to support the new, faster 802.11ax (Wi-Fi 6E) Wi-Fi standard that promises quicker, more dependable communication.

Image quality

The one thing we won't know for sure until we get hold of a production-spec EOS R5 II is how its image quality compares to that of the existing model.

We've not seen enough Stacked CMOS sensors from Canon to be able to predict what, if any impact the change in sensor will have. We've seen slight increases in read noise in other fast Stacked CMOS chips, which decreases the peak (i.e., low-ISO) dynamic range measurements but has minimal impact on overall image quality.

And, while it's perilous to extrapolate from the behavior of these other designs, the image quality and performance of the EOS R3 means we're not overly concerned that Canon has decided to risk its reputation in order to offer slightly faster video.

As with the EOS R3, the EOS R5 II has a high-frequency flicker mode, which scans the scene to measure the flicker rate of fast-flicking LEDs then tries to find a fractional shutter speed that's at a harmonic of that flicker rate (i.e., that allows a whole number of flicker cycles during the exposure so that each line of the sensor captures the same number of dark/light cycles and thus minimizes banding).

Summary

The EOS R5 II arrives on the market four years on from the original model. And, after a period of high inflation, is built around a much more expensive Stacked CMOS sensor, both of which help explain a price hike of $400 to $4299. Whether you feel it's worth the extra, vs. the heavily discounted original R5, is an entirely personal decision.

Purely considered as a stills camera, lots of the R5 II's specs have been improved. Its faster shooting, faster readout and latest generation autofocus will certainly expand the types of photography it can support. That's not to say you can't shoot sports with the Mark 1, of course, but the Mark II will make your life considerably easier.

But the question of what it brings to, say, landscape shooters and even wedding photographers is where we think it gets interesting. Eye control AF is likely to mean a lot to the latter, if it proves to work dependably, and it's always hard to say no to improved autofocus. But the EOS R5 II is going to have to impress us a lot if it's to step clear from the shadow of its already capable predecessor, as an all-rounder.

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The EOS R5 II is Canon's newest high-resolution mirrorless camera. Featuring a 45mp Stacked CMOS sensor alongside new capabilities like eye-controlled autofocus, Action Priority modes, and new in-camera processing modes for noise reduction and image upscaling.

View our Canon EOS R5 II pre-production sample gallery

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The EOS R1 is Canon's newest flagship camera and the first mirrorless EOS-1 series camera. Check out our pre-production sample gallery from Canon's North American launch event, which includes examples of Canon's new in-camera upscaling and neural network noise reduction.

View our Canon EOS R1 pre-production sample gallery

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The EOS R1 is Canon's flagship mirrorless camera and is the first EOS body to receive the coveted 1-series moniker since the EOS-1D X Mark III in 2020, which is in line with Canon's regular release cadence for the EOS-1 series for the past decade. As with most other 1-series models, its features and specifications are aimed at sports photographers and photojournalists who need the highest-performing, most rugged camera available.

According to Canon, the EOS R1 is as reliable and durable as the 1D X Mark III but includes more advanced features than the EOS R3.

Key specifications

• 24.2MP Stacked CMOS Dual Pixel sensor
• 100% AF coverage with cross-type sensors
• Up to 40fps blackout-free shooting (JPEG+Raw)
• Pre-capture for photo and video (1/2 sec. for photos, 3 or 5 sec for video)
• Eye-controlled AF with improved eye detection
• AI-trained Autofocus and post-shot processing modes
• 6K/60p internal Raw video capture
• DCI-4K capture up to 120fps
• Canon C-Log2 gamma profile
• Wi-Fi 6E and Ethernet connectivity

Canon says the EOS R1 will be available later in 2024 at a recommended price of $6300.

Index:

• What's new?
• How it compares
• Body and controls
• How it compares
• Initial impressions
• Specifications
• Canon press release

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As you might expect on a Canon 1-series camera, the EOS R1 includes Canon's latest and fastest technology for capturing and processing images.

Sensor

The EOS R1 is built around an all-new 24.2MP Stacked CMOS sensor. It's a faster sensor than we've seen in previous Canon cameras and has a full sensor readout rate of 2.8ms (1/360) when shooting stills. That compares to just under 5ms on the EOS R3, making the R1's full sensor readout nearly twice as fast as the R3's.

In addition to the faster speed, the R1's sensor also includes 100% AF coverage with cross-type sensors. This is accomplished by rotating every other line of the sensor's dual-pixel PDAF pixels 90º to create PDAF zones sensitive to horizontal lines as well as vertical. Cross-type autofocus works in photo mode only and does not work under certain conditions, such as flickering light sources.

The new sensor delivers up to 40fps blackout-free continuous shooting in 14-bit mode.

New Digic accelerator

The EOS R1 uses Canon's Digic X processor along with a new Digic Accelerator co-processor. Canon claims this co-processor is the key to the camera's improved autofocus features, particularly those using AI features derived from machine learning.

The result is that the camera can do more than identify a subject; in certain situations, it can identify a subject, such as a person, and determine what type of action that person is performing, such as a basketball player driving to the basket with the ball. This allows the camera to prioritize and maintain focus on the most important subject in a scene.

Autofocus

Canon claims the R1 has the most advanced autofocus system ever featured on an EOS body, anchored around several new features.

Eye-controlled AF

The EOS R1 receives an updated version of the eye-controlled AF system found on the EOS R3. (Which is a modernized version of the system found on some of Canon's EOS film cameras from the 1990s and 2000s). With eye-controlled focus, the camera moves a focus target around the viewfinder by following your eye. Once this target is close to your intended subject, initiating autofocus will trigger the camera to lock onto the most likely subject and continue tracking it.

Eye-controlled autofocus has been a polarizing feature on previous EOS models because it hasn't worked well for all users, but Canon hopes to change that. On the R1 (and R5 II), the system has a wider field of view to better track your eye, which results in an expanded viewfinder area and larger eye cup. Additionally, new compact optics and a revised line-of-sight detection algorithm mean your eye can be approximately twice as far away from the EVF and still work. The updated system also includes eyeglass detection, which should improve performance for glasses wearers.

Action Priority AF mode

Another important new feature is Action Priority AF mode. This mode uses machine learning technology to analyze a scene and attempt to predict the most important subject(s) based on the context of the scene. For example, when shooting basketball, the AF system will generally attempt to stick with the player with the ball, even if that person crosses paths with similar-looking players. If the player passes the ball, the system will know to re-prioritize AF on the player who receives it.

Action Priority AF mode is currently trained on football (soccer), basketball and volleyball. A Canon representative hinted that additional sports might be added in the future.

Pre-registered person priority

The EOS R1 allows users to pre-register particular people that the AF system will prioritize. Up to ten people can be registered on the camera, and adding someone is as simple as selecting a memory bank and taking their photo. Relative prioritization among registered subjects can be changed simply by changing their order in the menu.

Pre-registered person priority could prove useful in situations where there are many identifiable subjects in a frame but only a limited number of subjects you want the camera to focus on, such as a specific athlete in an arena or a bride and groom at a wedding reception.

Pre-continuous shooting mode

The R1's pre-continuous shooting mode can capture still images or video before the shutter button is fully depressed. In continuous shooting mode, the camera can pre-capture a half second of buffered images (up to 20 photos at maximum shooting speed). This can be done in JPEG, HEIF or Raw. In movie mode, it can pre-capture either three or five seconds of video.

AI-trained in-camera image processing

The EOS R1 adds two new in-camera processing features that replicate deep learning functions typically found in software like Adobe Camera Raw: neural network noise reduction and image upscaling.

Out-of-camera JPEG image (ISO 102,400) Image reprocessed in-camera using neural network noise reduction (ISO 102,400)

Neural network noise reduction is designed to improve image quality without sacrificing detail. This feature requires a Raw image to use and is applied in the in-camera Raw conversion menu in playback mode. It can be applied to multiple images that you select but has to be applied selectively after capture.

In-camera upscaling increases the size of the image 2x in each orientation, resulting in a 96MP image when applied to photos from the R1. Canon hasn't revealed much about its methodology but says this upscaling does not use generative AI. Interestingly, upscaling can only be performed on a JPEG or HEIF image.

Out-of-camera JPEG image (24MP) Image re-processed using in-camera upscaling (96MP)

You can apply noise reduction or upscaling to a single image, but not both. Images each take a few seconds to process, which explains why the feature isn't available in real-time while shooting. However, it's possible to batch process images for efficiency.

Blur/out-of-focus image detection

A new Blur/out-of-focus image detection feature promises to make culling images after a shoot more efficient. When activated, the R1 analyzes each photo it captures and tries to identify the ones in which the primary subject is in focus. The camera then adds a metadata tag to each image that can be read downstream by Canon's DPP software or used as a selection criteria in the playback menu. Canon says the feature could be implemented in any third-party application updated to support this tag.

To use Blur/out-of-focus image detection, the feature must be enabled before you shoot; it cannot be applied to already-captured images.

Video

As you'd expect of a modern pro-grade camera, particularly one with a Stacked CMOS sensor, the EOS R1 boasts some impressive video specifications.

Its 24MP sensor means it can't shoot 8K video, but instead, it will capture 6K Raw footage at up to 60p in the 1.89:1 aspect ratio. Alternatively, it can shoot DCI or UHD 4K derived from this 6K capture at up to 60p. There are also subsampled DCI and UHD 4K modes that allow capture at up to 120p.

Canon says it wants the EOS R1 to easily fit into existing workflows that use its Cinema EOS cameras, and with this in mind, it has done a lot to make its footage readily comparable.

To start, it gains Canon's wider dynamic range C-Log2 curve, with the less ambitious C-Log3 option still available if you're not shooting in very high DR situations. It also adopts the XF-HEVC S and XF-AVC S file formats used in Canon's pro video cameras.

But beyond the boost in video modes is a significant increase in the support tools accompanying them. The R1 gains waveform and false color displays to provide industry-standard ways to visualize exposure. These come in addition to the zebras already offered. There's also a tally lamp on the front of the camera, helping to indicate to anyone in front that it's recording.

It also has the ability to handle digital audio inputs via the connectors in its multi-function hotshoe and lets you individually control the levels for four-channel input.

Dual Shooting mode

The EOS R1 also offers a Dual Shooting mode that captures JPEGs on one card while video is being recorded on the other. In this mode, the R1 will capture FullHD video at up to 30p while capturing JPEGs in bursts.

JPEGs are 17MP 16:9 images (5616×3168) and can be captured at up to 10fps while you're shooting 1080 video. However, the differing shutter speed requirements for stills and video capture still require you to prioritize one over the other.

Temperature control

Significant efforts have been made to help the camera stay cool while shooting, and Canon says that, if it hasn't been used, the EOS R1 can shoot for over two hours at 23°C (73°F) when capturing 6K/60 Raw with proxy recording also engaged. The 4K/60 derived from this footage is a little more demanding, seeing the recording time drop to 109 minutes, though it increases to over two hours again if you use the sub-sampled 4K/60 mode. The company says there is no time limit for capturing sub-sampled 4K/30.

How it compares

The EOS R1 ushers in the mirrorless generation of EOS-1 series cameras, a product line historically focused on delivering the highest performance available in a Canon body. The R1 takes over this spot in the lineup from the EOS-1D X Mark III, a DSLR we consider its direct predecessor. (Of course, there's also the EOS R3, which Canon maintained was not a replacement for the 1D X III, despite having a similar body style, price and specs.)

Unlike some manufacturers, Canon has not combined its highest-performing camera with a higher-resolution sensor. As such, we'll compare it to other bodies aimed at the high-performance, 24-ish megapixel market: its predecessor, the EOS-1D X III, the EOS R3, and the Sony a9 III.

Canon EOS R1 Canon EOS R3 Sony a9 III Canon EOS-1D X III MSRP at launch $6300 $6000 $6000 $6500 Sensor type Stacked CMOS Dual Pixel (cross-type) Stacked CMOS Dual Pixel Stacked CMOS FSI CMOS Dual Pixel Pixel count 24MP 24MP 24MP 20MP Max burst rate E-shutter: 40fps
Mech shutter:
16fps E-shutter: 30fps
Mech shutter:
16fps E-shutter: 120fps Live view: 20fps
Viewfinder: 16fps Rolling shutter rate 2.78ms 4.84ms 0ms <4ms with mech shutter Image stabilization Up to 8.0EV Up to 8.0EV Up to 8.0EV Lens only Video options

6K/60 Raw
4K/60 from 6K

6K/60 Raw
4K/60 from 6K

4K/120 from 6K 5.5K/60 Raw
4K/60 Viewfinder 9.44M dots
0.9x 5.76M dots
0.76x 9.44M dots
0.9x Optical
0.76x Rear screen 3.2" 2.1M dots
Fully articulated 3.2" 4.2M dots
Fully articulated 3.2" 2.1M dots
Articulate & tilt 3.2" 2.1M dots fixed Battery life, viewfinder / LCD 700 / 1330 440 / 760 400 / 530 2850 / 610 Dimensions 158 x 150 x87mm 150 x 143 x 87mm 136 x 97 x 83mm 158 x 168 x 83mm Weight 1115g 1015g 703g 1440g

The R1 outpaces the 1D X III in almost every way, with one notable exception: battery life. Without the need to drive a high-resolution EVF, battery life is still a potential advantage for DSLRs (though it's one the CIPA rating system can exaggerate a bit). Also, while it's not necessarily a pro or con, users who still prefer the experience of using an optical viewfinder (and we know you're out there) will probably find more joy in the 1D X III.

Assuming you're OK with an EVF, the R1 will also give you a slight advantage in size and a noticeable advantage in weight over the 1D X III. On the other hand, if you like the general design of the R1 but prefer a slightly smaller, lighter body, the EOS R3 is no slouch and delivers all but the very newest features found in the R1.

The a9 III plays the role of disruptor in this group. First, its compact, full-frame body will likely appeal to a different set of users than the Canons. Again, that's not unequivocally a pro or con but a preference. Second, its global shutter sensor sets it apart from all other mirrorless cameras today and could be a deciding factor depending on your needs and shooting style. However, it's worth noting that the a9 III's higher base ISO means it gives up a little image quality potential for this.

Body and controls

The EOS R1 undeniably has the heft and feel of an EOS-1 series camera, with a build that suggests you could use it to pound nails into a board if your hammer went missing. It comes in somewhere between the size and weight of the EOS R3 and the EOS-1D X Mark III it replaces. The most noticeable differences between the R1 and the 1D X Mark III are the camera's height, with the R1 a noticeable 18mm shorter, and weight, where the R1 comes in over 300g (10.6oz) lighter than its mirrored predecessor.

Weight Width Height Depth Canon EOS R1 1115g 158mm 150mm 87mm Canon EOS R3 1015g 150mm 143mm 87mm Canon EOS-1D X III 1440g 158mm 168mm 83mm

The R3, by comparison, feels noticeably smaller in the hand than the R1. Not only is it shorter, but its body is almost a full centimeter narrower in width than the 1-series cameras. If you've been shooting with an R3, know that the R1 will feel somewhat larger by comparison.

Fun fact: the R1 includes a little mystery window in the lower left corner on the back of the camera. A Canon representative told us it's reserved for a future feature but doesn't do anything at the moment. Feel free to speculate in the comments.

Customizable smart controller

Canon's smart controller, a two-function controller that originally appeared on the 1D X III and again on the R3, doubles as the AF-On button and simultaneously acts as a trackpad for your thumb. It can be used to move the AF point around the viewfinder while pressing it initiates autofocus.

On the EOS R1, the smart controller becomes a three-function controller, gaining the ability to distinguish between its half-pressed and fully-pressed positions, similar to the shutter button. This facilitates a degree of customization. For example, you could set it to engage autofocus at the half-pressed position, with the fully-pressed position switching the camera to its fastest continuous shooting speed. This would allow you to use a more conservative burst rate but instantly accelerate the camera to its maximum burst rate at the critical moment of action.

However, the smart controller isn't fully customizable. You can customize either the half-pressed or the fully-pressed position, but not both. You can also leave one of the positions disabled, meaning the controller will function similarly to the 1D X III or R3.

EVF

The R1's viewfinder is visibly larger than those on previous EOS mirrorless cameras due to the updated eye-controlled AF system. The EVF uses a 9.44M-dot OLED viewfinder, which Canon claims is approximately three times the brightness of the R3's EVF when used in OVF mode (a setting intended to simulate using an optical viewfinder). It has a magnification of 0.9x, the highest in the EOS series, and 40% larger than the one in the 1D X III.

Notably, the EVF's display does not drop to a lower resolution when shooting, though Canon confirmed that, while it offers the higher DR 'Optical viewfinder simulation mode,' it does not support HDR display of images.

Above the EVF is Canon's multi-function hotshoe, which can provide communication and power for accessories like a microphone adapter.

Updated menus

Canon has added a new color-coded tab to its menu system. Described as "olive green," the new section centralizes the camera's control customizations into a single menu for easier access, including customizations for both shooting and playback modes.

Storage and connectivity

The EOS R1 has dual CFexpress type B card slots supporting capacities up to 2TB. Instead of being accessed through a door on the back of the camera like the 1D X III, cards now load through a door on the right side of the body, similar to the R3. The camera includes a 2.5 GBASE-T Ethernet port and 802.11ax Wi-Fi support for direct connectivity. This is the new WiFi 6E standard that promises faster connections, in part by using the parts of the 6GHz spectrum, in addition to the 2.4GHz and 5GHz regions currently in use.

Other connections include a USB-C port (USB 3.2 Gen 2, 10Gbps), a full-sized HDMI port, 3.5mm microphone and headphone jacks and a PC Sync terminal.

Battery

The Canon EOS R1 uses the same LP-E19 battery as the EOS R3 and EOS-1D X Mark III but, unlike those cameras, isn't compatible with the earlier LP-E4N or LP-E4 batteries. On the R1, this battery delivers a CIPA-rated 700 shots per charge, up from 440 shots on the R3, an increase of nearly 60%.

Due to the CIPA testing methodology, these ratings typically underestimate real-world performance for most users, particularly when using continuous shooting (as one might expect on a sports-focused camera). However, they generally provide a good basis for relative comparisons between models.

Canon supplies a battery charger with the camera. The camera can also be charged over USB using Canon's PD-E1 or PD-E2 power adapter or a similarly powerful USB PD power pack.

Initial impressions

By Dale Baskin

It's hard to believe that Canon's EOS-1 series of cameras is 35 years old. Consider that the original EOS-1 was introduced in September of 1989, two months before the fall of the Berlin Wall. It was the same year that Tim Burton's original Batman hit the big screens, New Kids on the Block was all over the pop charts, and Miami Vice was wrapping up its final season.

Just as the EOS-1 series made the leap from film to digital, It was inevitable that the series would eventually make the jump to mirrorless. With the EOS R1, Canon officially has its flagship mirrorless camera.

The waters are muddied a bit by Canon's "definitely-not-our-flagship" EOS R3 launched in 2021, which has effectively served as a mirrorless proxy for the 1-series until now. Not only does the R3 resemble a 1-series camera, but it launched with similar top-level specs and slid squarely into the 1-series' historical price bracket.

Ultimately, every company is entitled to designate a flagship product as it sees fit, and Canon has been clear that the EOS R1 is it. However, given the three-year gap since the R3 was introduced, it's understandable that some will be underwhelmed with what seem like relatively minor upgrades, such as jumping from 30 to 40fps in a market where competitors can shoot 120fps.

Canon EOS R1| F2.8 | 1/1250 sec | ISO 4000

The critical thing about EOS-1 series cameras is that they're designed almost exclusively for people who are already using EOS-1 series cameras. Canon has indicated in the past that the EOS R3 was aimed at pros and very dedicated enthusiasts, whereas the 1-series is aimed entirely at pros who expect zero compromises.

In this respect, there are some differences between the R1 and R3. While the R3 is a fully weather-sealed, rugged camera, Canon was clear that it wasn't designed to withstand the same level of punishment or challenging conditions as the 1D X III. The R1 has no such asterisks next to it, and if your income depends on the reliability of your gear, that's not a trivial difference. Similarly, the 1D X III has a virtually unlimited buffer when shooting, whereas the R3 – while still impressive – is a bit more limited. We haven't tested the R1 yet, but it wouldn't surprise me to find out it performs similarly to the 1D X III in this respect.

I suspect the R3 was a good test bed for technology like eye-controlled autofocus without fully committing the EOS-1 brand to the feature. If the result is that the R1 arrives with a superior version that works more reliably for pros when they try it, I can see the logic.

Canon EOS R1|F2.8 | 1/500 sec | ISO 1600

Speaking of eye-controlled AF, I'm happy to see Canon continuing to invest in the feature, which really has the potential to be a differentiator in terms of usability. I've written about some of my own experiences using it, and it can be a game changer – if it works for you. Canon knows that inconsistency in user experience is the most significant barrier to broader acceptance, and the fact that it has attached the feature to a 1-series model makes me hopeful that the newest iteration works more universally.

In my limited time with the EOS R1 so far, I can safely say that the shooting experience feels more similar to using the R3 than the 1D X III, mainly because the R3 is also a mirrorless camera with eye-controlled autofocus. However, the EOS 1D X III DNA is unquestionably there, and the camera has a heft and battle-hardened feel you don't get from the R3. I'm really looking forward to pushing it to the limits along the sidelines to see how it performs.

And if I'm being completely candid, I'm particularly hoping the new sports-trained Action Priority AF mode delivers on its promise. If it does, it will make me look like a much better sports photographer than I really am.

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When you use DPReview links to buy products, the site may earn a commission. Product photos: Dale Baskin

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, which now gains a Stacked CMOS sensor and many of the autofocus features of the company's new flagship R1 model.

Key specifications:

• 45MP Stacked CMOS sensor
• Eye-controlled AF subject selection
• Up to 30fps continuous shooting with blackout free viewfinder
• In-body stabilization rated at up to 8.5EV correction, coordinated with lens
• Pre-burst capture (up to 0.5 sec in stills, 3 or 5 sec in video)
• 8K Raw video capture up to 60p
• Canon C-Log2 profile
• Waveforms and false color display
• AF trained by machine learning for specific sports
• AI-enhanced post-shot noise reduction or upscaling
• 1x CFexpress Type B, 1x UHS-II SD

The Canon EOS R5 II will be available from August at a recommended sales price of $4299, a $400 increase over the original model (though less expensive in real terms if you account for inflation). A kit with the RF 24-105mm F4 L IS USM will be available for $5399.

There will also be a choice of three accessory grips, covered later in the article.

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• What's new
• What's new for video
• How it compares
• Body & handling
• Initial impressions
• Sample gallery
• Video recording limits
• Specifications
• Press Release

What's new

The biggest change in the EOS R5 II is the move to a Stacked CMOS sensor. As we've seen before, this allows the camera to read out its sensor much, much faster than conventional BSI or FSI chips. This speed allows the camera to capture 8K video at up to 60p and bursts of stills at up to 30fps.

If 30fps is too much for the shooting you do, the camera can be customized to shoot at 20, 15, 10 or 5fps instead. We found the readout rate in stills mode to be 6.3ms (∼1/160 sec) and that it appears to read out in 16 line chunks. This is a fair bit slower than the likes of the Z8 (∼1/270).

The EOS R5 II's sensor uses Canon's Dual Pixel AF design, with two photodiodes for each pixel location meaning almost the entire sensor can be used for phase-detection autofocus. But it does not have the cross-type arrangement used in the EOS R1 and, unlike the R5 Mark 1, it doesn't let you save Dual Pixel Raw files to make both photodiodes' data available.

Eye-control AF

The EOS R5 II gets the same updated version of Eye-control AF that appears in the R1. Like the first modern version in the EOS R3, this lets you select a subject to focus on by looking in its direction: as soon as you half-press the shutter button or hit AF-On to initiate focusing, the camera will pick the subject nearest to where it thinks you're looking.

The latest version has sensors with a wider field of view, to get a better view of the eye as a whole, and revised algorithms that should work better when the eye is further from the viewfinder. This should be particularly useful for people wearing glasses, and is supported with an eyeglasses detection mode, to avoid it getting confused by the additional lens and distance between the sensors and the photographer's eye.

'Digic Accelerator' co-processor

The EOS R5 II has the same 'Digic Accelerator' co-processor used in the R1. The way Canon talks about it is directly comparable to the way Sony describes its 'AI processing unit': a dedicated processor focused on crunching its way through the complex algorithms generated by AI mechanisms, which means the main processor can stay focused on things like distance measurement and communicating with the lens, rather than trying to do everything at once.

Canon says this processor helps run more complex exposure and white balance algorithms, too, boosting the camera's fundamental functions, as well as powering some of its novel features.

Our of camera JPEG

1/125 sec | F2.8 | ISO 51200

JPEG reprocessed with "Neural Network" noise reduction

1/125 sec | F2.8 | ISO 51200

Pre-capture

As with the R1, the R5 II can be set to capture up to 1/2 a second of action before you fully depress the shutter, so long as you have the button half-pressed beforehand. It can also pre-capture of 3 or 5 seconds of video.

Action Priorty modes

One of the biggest features the R5 II gains from the R1 are its Action Priorty AF modes. These are based on machine learning trained on how different sports look: how active players' bodies are positioned and what the ball looks like at key moments. The camera is able to follow the ball and work out which player to prioritize.

At launch the EOS R5 II will have AF modes for Football (Soccer), Basketball and Volleyball. Canon did not say whether it plans to add other sports, via firmware, later, but implied it would be possible.

Pre-registered person priority

In addition to the generic subject types the camera has been trained to recognize, it's also possible to register up to ten sets of ten people in the camera's memory. If engaged, the camera will try to give priority to those individuals if it identifies them in a scene.

This could be used to ensure you get photos of specific players at a sporting event or, for instance, during wedding shoots, where you can set the camera to prioritize the betrothed, rather than risking the camera getting distracted by other members of the wedding party that happen to get closer to your AF point.

You can even create a priority rank of the people you've identified, so that the camera knows to focus on the bride ahead of the groom, ahead of the maid of honor, and so forth. Despite you only giving the camera a single image of each subject, it proved pretty good at recognizing the people we asked it to prioritize.

AI-derived noise reduction or upscaling

Original image

1/2000 sec | F2.8 | ISO 640

Up-scaled version

1/2000 sec | F2.8 | ISO 640

Like the R1, the R5 II gains two post-shot options to reprocess your files using the full power of its AI-derived algorithms. It's not got the power or battery life to apply these as you shoot, so you'll need to select which images to process, after the fact. Even with a dedicated 'accelerator' chip, both processes take several seconds to apply to each file.

The first option is to up-res the images to twice their original resolution (four times the pixel count). This uses machine learning to anticipate what might occur between the captured pixels, to boost the apparent resolution. Somewhat unexpectedly, this process is conducted on JPEG or HEIF images only, rather than the Raw data.

The other option is to apply complex "neural network" noise reduction to files. This again is based on machine learning and attempts to distinguish between noise and detail to give a clean but detailed image. The option can be applied to Raw files but Canon says that the JPEGs that are then created cannot then be up-sized.

Blur/Out-of-Focus detection

The other post-capture cleverness the EOS R5 II acquires is its ability to check how in-focus the chosen subject is, for all the images you've shot. This feature needs to be activated before you start shooting.

A metadata tag identifying the most precisely focused images is added to the file and can be used to filter your images, either in playback mode on the camera or in Canon's Digital Photo Pro software, when you get back to your computer.

The R5 II may not be able to shoot quite as fast as the EOS R1, but any amount of 30fps shooting is likely to make you appreciate the ability to home in on the most focused shots.

Anti-flicker

As with the EOS R3, there are options both to sync the camera's shooting to match the brightest point in the brightness cycle of lights that flicker at 100 or 120Hz in response to 50 or 60Hz electricity, and there's also a High Frequency Anti-Flicker mode that assesses the flicker rate of fast-flickering light sources such as LEDs, and chooses a fractional shutter speed at a harmonic frequency, to minimize visible banding.

Using these modes reduces the camera's maximum shooting speed considerably, as it can only shoot at specific moments in the flicker cycle of the lighting. For 100/120Hz flicker, Canon quotes figures of 12-15fps in e-shutter mode, 8.6fps in electronic first curtain mode and 4.8fps when in mechanical mode.

The EOS R5 II still has a mechanical shutter when needed, though: allowing flash sync at higher speeds, for instance. This can be used with continuous shooting at up to 12 fps.

What's new for video The EOS R5 II gains a full-sized HDMI socket, over which it can output a Raw video stream

The Stacked sensor underpins many of the leaps forward in the EOS R5 II's video capabilities, but in addition to the newfound speed, Canon has worked to enhance the camera's usability as a video camera, borrowing features from its Cinema EOS line (at last).

So, in addition to the camera's 8K and internal Raw capabilities, the R5 II also becomes the first camera in the main EOS line to gain a waveforms, a false color display as well as zebras, to make it easier to optimize exposure. It also has a tally lamp, to the let person in front of the camera know when it's recording.

The camera can also capture high quality footage (8K Raw or 4K compressed) to its CFexpress card while recording lower resolution and more heavily subsampled and compressed footage to the SD card.

Raw video

The EOS R5 II can capture either 8K Raw footage at up to 60p or 'SRAW' 4K video at up to 60p. Both options use the 1.89:1 aspect ratio DCI format. Canon hasn't given detail of how the 4K Raw is generated (downscaling or sub-sampling). The camera uses Canon's compressed 'Raw Light' format for the 50 and 60p footage, to keep file sizes manageable.

Both DaVinci Resolve and Adobe's Premiere appear to support Canon's Raw and Raw Light formats natively, while Apple's Final Cut Pro or Avid Media Composer require the installation of a plugin from Canon.

Resolution
(Aspect ratio) Frame rates Crop 8K Raw 8192 x 4320
(1.89:1)

• 59.94 / 50
• 29.97 / 25
• 23.98 / 24

1.0x (Full width) 4K SRaw

4096 x 2160
(1.89:1)

• 59.94 / 50
• 29.97 / 25
• 23.98 / 24

1.0x (Full width)

Raw video allows a slightly greater degree of lightness adjustment (often incorrectly described as "ISO" or "Exposure" adjustment), and white balance correction than compressed and gamma-encoded footage. It's not anything like as big a difference and Raw vs. JPEG in stills, though, as 10-bit Log files can fully encode the sensor output and are designed for tonal edits in a way that JPEGs aren't, and the Raw footage is typically 12-bit.

Raw shooting also give much more control over noise reduction and sharpening, which are typically applied to some degree in gamma-encoded files, giving more freedom but adding an extra step to the workflow.

Compressed video

The R5 II's compressed video options are more extensive, giving the choice of 8K or 4K derived from 8K at up to 30p. Both of these options are available in the 1.89:1 DCI aspect ratio or in the 16:9 UHD shape, which crops the edges of the footage in a little.

The R5 II can also shoot sub-sampled DCI or UHD 4K at up to 120p, while maintaining the same angle-of-view. We measured the DCI 8K as having a rolling shutter figure of 12.6ms (∼1/80 sec), which suggests the main reason to shoot the less detailed sub-sampled footage will be to access those faster frame rates or to avoid any heat concerns, rather than because of any need to lower rolling shutter.

Beyond this there are DCI and UHD 4K options taken from an approximately APS-C part of the sensor. There are also options to capture 2048 x 1080 full-width or edge-cropped Full HD footage at up to 240p, with APS-C versions of each available at up to 120p.

The EOS R5 II gains the ability to capture C-Log2 footage, as well as C-Log3. C-Log3 is a more expansive version of the original C-Log profile, but C-Log2 is a curve designed to encode an even wider dynamic range.

Resolution
(Aspect ratio) Frame rates Crops DCI 8K

8192 x 4320
(1.89:1)

• 29.97 / 25
• 23.98 / 24

1.0x (Full width) UHD 8K 7680 x 4320
(16:9)

• 29.97 / 25
• 23.98

1.05x (Horizontally cropped) DCI 4K Fine 4096 x 2160
(1.89:1)

• 29.97 / 25
• 23.98 / 24

1.0x (Full width) DCI 4K

• 119.88 / 100

1.0x (Subsampled)

• 59.94 / 50
• 29.97 / 25
• 23.98 / 24

1.0x (Subsampled) or
1.61x UHD 4K Fine 3840 x 2160
(16:9)

• 29.97 / 25
• 23.98

1.05x (Horizontally cropped) UHD 4K

• 119.88 / 100

1.05x (Subsampled)

• 59.94 / 50
• 29.97 / 25
• 23.98

1.05x (Subsampled) or
1.70x

The EOS R5 II is the first camera outside the Cinema EOS range to be able to capture C-Log2, which makes it much easier to use in a workflow alongside those cameras.

Also aiding cross-compatibility is the adoption of the XF-AVC S and XF-HEVC S formats, which are the same as used on Canon's Cinema EOS and pro camcorder lines. Both options allow 10-bit 4:2:2 capture, but with the H.264-based XF-AVC S format dropping to 8-bit if you select 4:2:0 chroma sub-sampling, whereas the H-265-based XF-HEVC S files give you a choice of 8 or 10-bit for 4:2:0 capture.

The camera continues to support Canon's existing 8-bit H.264 and 10-bit H.265 MP4 files for resolutions up to 4K, in line with those offered on the EOS R5. It also continues to be able to record HDR PQ footage for display on HDR displays. Interestingly, the HDR PQ option can be combined with the HDR video mode that simultaneously captures normally and unexposed footage to add additional highlights to the end result (at up to 8K/30 or 4K/60).

Dual Shooting

There's also an option to capture UHD 8K (7620 x 4230px) JPEGS to one card while the camera is capturing Full HD video at up to 30p on the other. This feature requires the more powerful LP-E6P battery and, naturally, means that your shutter speed choices will apply to both the video footage and still images, but the camera can grab stills at up to 7.5fps depending on whether you're capturing 30p or 25p video.

Choice of accessory grips

The EOS R5 II can be paired with the $560 BG-R20 battery grip that can also be used with the original R5, R6 and R6 II, but it can also be used with two additional accessory grips that are exclusively designed to work with it. The first is a BG-R20EP battery grip that includes an Ethernet port, giving 2.5 Base-T connections, costing $750.

The CF-R20RP accessory grip adds both a fan and an Ethernet port to the camera, but doesn't duplicate the controls. Image: Canon

The third option is the CF-R20EP Ethernet and fan grip, priced at $600. Unlike the other two grips, this doesn't have duplicate controls for portrait shooting, it's just a fan designed to pull cool air through and lower the temperature of the camera when shooting video. This can extend the shooting duration for all but the most demanding video modes and helps maintain the shooting duration in warmer conditions. It also includes an Ethernet port for fast cabled network connection.

As with the original EOS R5, Canon has published details of how long it expects the R5 II to be able to continue recording video before it overheats. We've published these in full on a separate page so that videographers can check whether the camera meets their needs and whether they'll need the fan grip, but without having to add another large table to the middle of the review.

How it compares

The Canon EOS R5 II is explicitly both a successor to the EOS R5 but also the de facto continuation of the EOS 5D series, a series of cameras for enthusiast and pro photographers and video shooters. As ever, the most directly comparable competitor comes from Nikon, whose Z8 aims to do much the same thing, just as the D800 series of DSLRs did beforehand.

There are no other like-for-like competitors to these two cameras: Sony offers the a7R V for photographers wanting high-resolution stills, but with nothing like the speed or video capability of the Canon and Nikon cameras, or the a1, which offers both speed and some video capabilities but at a price that pushes it very heavily towards the Pro end of the audience. It's a pretty old camera at this point, so can be bought well below its list price, but don't let that hide the fact that its primary intent was to compete with the Z9 and R3/R1s of this world. We're including it here more for interest, than direct competition.

Canon EOS R5 II Nikon Z8 Sony a1 Canon EOS R5 MSRP at launch $4299 $3999 $6500 $3899 Pixel count 45MP 45MP 50MP 45MP Sensor type Stacked CMOS (Dual Pixel) Stacked CMOS Stacked CMOS FSI CMOS (Dual Pixel) Shutter type Mech / Electronic Electronic only Mech / Electronic Mech / Electronic Max frame rate E: 30fps
M: 12fps E: 20fps (30fps JPEG) E: 30 fps
M: 10 fps E: 20fps
M: 12fps Flash sync speed M: 1/250*
E: 1/160
E: 1/200 M: 1/400*
E: 1/200 M: 1/250* Max video res / rate 8K/60 8K/60 8K/30 8K/30 Video formats

Canon Raw
Canon Raw Light
XF HEVC S
XF AVS S
H.265 MP4
H.264 MP4

N-Raw
ProRes Raw
ProRes 422
H.265
H.264 XAVC HS
XAVC S
XAVC S-I Canon Raw
Canon Raw Light
H.265 MP4
H.264 MP4 Viewfinder 5.76M dots
0.76x 3.69M dots
0.8x 9.44M dots
0.9x 5.76M dots
0.76x Rear LCD 3.2" 2.1M dot Fully-articulated 3.2" 2.1M dot Two way tilting 3.0" 1.44M dot
Tilting 3.2" 2.1M dot Fully-articulated Waveforms,
Corrected Log preview,
False color Yes/Yes/Yes Yes/Yes/No No/Yes/No No/Yes/No Stills battery life
EVF / LCD 340 / 630 330/340 430/530 220/320 Video battery life (LCD)
Cont. / Actual – / – 85min / – 150min / 95min 120min / – Dimensions 138 x 98 x 88mm 144 x 119 x 83mm 129 x 97 x 70mm 138 x 98 x 88mm Weight 670g 910g 737g 738g *Figures are for the respective cameras' Sync Priority modes.

The upgrades to the EOS R5 II bring the camera at least into line with those of the Nikon Z8, with faster Raw shooting, 8K/60 Raw for those that can handle the file size and adding the level of video support tools that was seeming somewhat lacking in the existing camera.

What this table can't really capture is the fine detail such as Registered Person Recognition mode and the activity-specific autofocus behavior algorithms. How well these work may, at least for the kinds of photographers who shoot the relevant types of subject, define the margin by which the EOS R5 II turns out to have overhauled the Nikon in the eternal game of leapfrog the two companies are locked in.

Body and handling Other than the power switch moving, Canon hasn't changed much of the R5 II's control layout. Note the large rubber hood that protects the new multi-function hot shoe.

The R5 II's body is extremely similar to that of its predecessor: similar enough that it's BG-R20 battery grip can be used with the existing model. The only major external change is that, like the EOS R6 II, the power On/Off switch on the top left hand corner is now a stills/video switch, and the power control is now around the rear command dial on the top plate.

This change will no doubt infuriate upgraders who've become used to the handling of the existing R5 but after a couple of days of accidentally flicking to photo mode, rather than finding the power switch, it soon enough becomes second-nature.

Canon's specs show the camera growing by a fraction of a mm in each dimension but all these changes are small enough that they round-down to the same figures as with the previous model.

This is no bad thing, as we really liked the way the original R5 handled: it's a pretty large camera but its grip is very well shaped and proportioned, and the controls were all well placed and comfortable to use for extended periods.

New menu section

The EOS R5 II bears witness to that rarest of things: a change to Canon's menu layout. In addition to the familiar menu sections, there's now an olive green tab containing all the control customization options from the menu, so they can all be easily located. This includes control customization for shooting and playback mode.

Viewfinder

The EOS R5 II still uses a 5.76M dot OLED panel and still maintains the 0.76x magnification but the optics have been significantly redesigned to allow the implementation of Eye-control AF. This makes the viewfinder appear larger as you look at the camera but in practice it's the same size when you're using it.

What doesn't come across from the spec is that the new OLED panel can go much brighter than the one in the original R5 (though not as bright as the one in the R1), allowing the inclusion of the 'Optical Viewfinder Simulation' mode seen on the EOS R3. There is also 1mm increase in the eyepoint, though, which means you can see the entire viewfinder panel from a tiny bit further away from the finder.

The rear screen remains the same 3.2", 2.1M dot, fully articulated unit.

Flash hotshoe

The EOS R5 gains the multi-function hot shoe from the EOS R3. This has a row of contacts that can be used to feed a digital audio signal into the camera, allowing the use of the DM-E1D digital stereo mic, the contacts can also provide power to the ST-10 radio flash trigger or to provide a wired data connection to an Android smartphone using the AD-P1 adapter.

The shoe itself is sealed, but if you want to maintain a water-resistant seal with a weather-resistant flash, you'll need to use the AD-E1 adapter.

As before, the EOS R5 II has one CFexpress Type B card slot and one UHS-II SD slot. This means you're always likely to have a card that'll work with the camera, but also means there's a longer list of video modes that can't be saved to the smaller, slower card.

Battery

The EOS R5 II takes a new battery but, as is normal for Canon, it's also able to accept existing LP-E6, E6N or E6NH. The LP-E6P is a larger capacity version of the existing unit, maintaining the backwards compatibility Canon makes some effort to preserve.

The higher res, brighter viewfinder results in a CIPA rating of 340 shots per charge (up about 50% compared with the original R5), while the rating when using the LCD nearly doubles to 630. As always, we find the CIPA testing methodology is much more demanding that most people's real-world usage, and they become less and less meaningful the more burst shooting you do. These aren't bad numbers, all things considered.

Intial impressions.

By Richard Butler

It's a small difference but the inclusion of a tally lamp on the front of the EOS R5 II suggests Canon has been thinking about more than just upping the output specs and codecs. If you've ever stood in front of a camera and been recorded, you'll welcome this addition.

The EOS R5 II is essentially a super-charged EOS R5 and, in that regard, is effectively the continuation of the EOS 5D series as Canon's premium enthusiast camera for both stills and video. Like Nikon's Z8 it brings Stacked CMOS sensor technology to give both its stills and video capabilities a further boost, further expanding the range of tasks to which it can be put.

With the added speed and an AF feature set borrowed directly from Canon's EOS R1 series, the R5 II promises to be a hugely capable action camera, which only helps expand the versatility of Canon's highest-res body. Just like Nikon's Z8, you now have a studio camera that can also be a landscape camera that can also be a wedding camera that can shoot faster and focus more reliably than the last generation of pro sports DSLRs. And buyers aren't being made to wait for R1 capabilities to trickle down the lineup: they're available on the day that the R1 is launched.

And if you don't shoot sports, it also gains the "AI" upsampling and noise-reduction options, to help get the most out of the camera.

And that's without even considering the video side of things. Specs are boosted, both in terms of allowing 8K capture at up to 60p, but also through the addition of the XF-AVC S and XF-HEVC S codecs used by its high-end cameras. These and the ability to shoot use the wider-DR C-Log2 curve means the EOS R5 II can more readily fit into a workflow alongside Cinema EOS cameras. But, even for the majority of people for whom the R5 II will be their sole camera, the provision of waveforms and false color displays should make the R5 II much easier to shoot with.

"Perhaps the most notable feature of the EOS R5 II will be the inclusion of Eye-control AF"

The option to add a cooling fan, extending the camera's recording endurance or improving its dependability in warmer temperatures may negate the need for Canon to introduce an R5C II alongside this model.

But who knows, perhaps the most notable feature of the EOS R5 II won't be the manifold but incremental improvements in shooting speed, AF performance or video options, but the inclusion of Eye-control AF.

We were impressed by Eye-control subject selection on the EOS R3 but had differing experiences of how consistent and reliable it could be. If the changes Canon has made truly address this inconsistency, then it could be the R5 II's decisive feature. The ability to focus on whatever you're looking towards when you choose to initiate focus is one of the few experiences in photography I can genuinely call intuitive (if anything it takes a while to stop over-thinking the function, and simply initiate focus when something interesting happens, because you're probably already looking at the subject in question).

In an era where current models are so capable (and the existing R5 is supremely capable), even appreciable improvements in performance and increases in spec aren't necessarily enough to make it worth the cost of upgrading, despite them adding up to a better camera, overall. With Eye-control AF, the EOS R5 II has an extra feature that could be significant, even for users who'll never shoot a moment of 8K Raw or use the football Activity AF option. We'll find out once we get to spend more time with the camera.

Buy now:

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Two months after saying it was in development, Canon has formally announced the EOS R1, a 24MP Stacked CMOS sensor mirrorless camera aimed at professional sports and photojournalism.

We've been briefed on the EOS R1 and had an opportunity to shoot with one but have experienced some logistical difficulties that mean we can't yet publish our initial review yet. We hope to do so shortly.

Key specifications

• 24.2MP stacked CMOS sensor
• 100% AF coverage with cross-type sensors
• Up to 40fps blackout-free shooting (JPEG+Raw)
• Pre-capture for photo and video (1/2 sec. for photos, 3 or 5 sec for video)
• Eye-controlled AF with improved eye detection
• Activity AF mode trained on specific sports
• Pre-registered person AF priority
• Blur/out-of-focus image detection
• In-camera processing with neural network noise reduction
• In-camera processing with AI upscaling
• 6K/60p internal Raw video capture
• DCI-4K capture up to 120fps
• Canon S-Log2 gamma profile

The EOS R1 is built around a 24MP Stacked CMOS sensor that reads out nearly twice as fast as the existing R3. It can shoot still at up to 40fps and can capture 6K/60 Raw video internally.

Its Dual Pixel sensor has the orientation of its two sub-pixels rotated in alternate lines, giving it cross-type autofocus across its entire sensor region. It also has a "Digic Accelerator" co-processor allowing it to crunch the complex algorithms developed by machine learning for a series of "AI" functions.

It also has the largest, highest resolution and brightest electronic viewfinder yet offered in an EOS camera, with 9.44M dots, 0.9x magnification.

We'll have more in-depth reporting on the camera soon.

Press Release:

Canon Officially Launches The New EOS R1 And EOS R5 MARK II Full-Frame Mirrorless Cameras

MELVILLE, N.Y., - July 17, 2024 — Canon U.S.A., Inc., a leader in digital imaging solutions, today launched two new professional full-frame mirrorless cameras, the EOS R1 and EOS R5 Mark II. The EOS R1 camera is designed for both professional still photographers and video creators in a wide range of fields including sports, news reporting and high-end video production. The EOS R5 Mark II camera features improved video focused features for the advanced creators and real-time multi recognition tracking system for those who focus on still photography.

Canon EOS R1 Camera is “Ahead of the Game”

Canon’s EOS 1-series legacy continues with the unveiling of the flagship EOS R1 camera. This high-performance, reliable, and weather-resistance camera is designed for professionals in the photojournalism, sports and wildlife fields. Key features of the EOS R1 camera include:

• Back-illuminated stacked 24.2 megapixel full-frame sensor and new processing system for extremely fast reading
• Increased read-out speed, reducing “rolling shutter” distortions
• Still-image shooting speeds up to 40fps
• “Cross-type AF” imaging sensor for more positive focus on subjects with linear detail
• Strong video capabilities, up to 4K (also 6K RAW video options)

Canon EOS R5 Mark II Camera helps users “Master the Moment”

For the professional who demands high-quality still and video output, the EOS R5 Mark II camera is ready to deliver. Designed with performance and image quality at its core, the EOS R5 Mark II camera offers the fundamental elements in one package for sports/wildlife photographers, journalists/producers, video producers and visual creators. Key features of the EOS R5 Mark II camera include:

• Back-illuminated stacked 45 megapixel full-frame sensor and new processing system for extremely fast reading
• When compared to previous EOS R camera models, more advanced and powerful AF system including Eye Control AF and new subject tracking technologies
• Cinema EOS video features such as:
  
  • Custom Picture color profile including Canon Log 2
  • False Color Wave Form Monitor
  • 4CH Audio with 24bit LPCM
  • Pre-recording up to 5 seconds

Accessories for the EOS R5 Mark II camera were designed thoughtfully with the end-user in mind. There is a new, more powerful battery. The LP-E6P battery, when compared to previous battery versions, features higher continuous power and two-times the amperage. Optional battery grips were also thoughtfully designed, and there are three options:

• BG-R20– For vertical operability
• BG-R20EP with Ethernet – Port enables high-speed wired communication
• CF-R20EP with Cooling Fan and Ethernet – Cooling fan helps maximize movie performance

Both cameras feature the new DIGIC Accelerator, which is an addition to the DIGIC X processor. The DIGIC Accelerator assists with deep learning processing which helps to quickly analyze large volumes of data and supports the next-gen AF system, Dual Pixel Intelligent AF. Dual Pixel Intelligent AF is based on Accelerated Capture and deep learning, allowing end-users to experience tracking advancements, such as body, joint and head area estimation and focus on people other than the main subject.

Price and Availability

The Canon EOS R1 camera is expected to be available in the Fall of 2024, for an estimated retail price of $6,299.00*. The Canon EOS R5 Mark II camera is expected to be available in August 2024, for an estimated retail price of $4,299.00* for the camera body only. The EOS R5 Mark II camera kit, which will include the RF24-105mm F4 L IS USM lens, will have an estimated retail price of $5,399.00*. For more information, please visit www.usa.canon.com.

*Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Amazon’s annual Prime Day Event is here. We’re scouring the listings to find the best deals we can on newer camera releases as well as lenses and other photography-related accessories.

We’ll be updating this listing over the course of the next 48 hours, so be sure to check back regularly to discover our latest finds.

If you’ve found something too good to miss, we'd love to hear about it in the comments.

When you click on these links and purchase products, DPReview may earn a small percentage of the purchase price as a referral fee. As with everything on the Internet, prices are subject to change.

Camera Deals

Canon EOS R100 (20% Off)

Canon EOS R100 with RF-S18-45mm Lens (20% Off)

Canon EOS R6 Mark II (20% Off)

Fujifilm Instax Mini 11 (23% Off)

GoPro Hero 12 Black (25% Off)

Kodak EKTAR H35 Half Frame Film Camera (16% Off)

Sony ZV-1 II Camera (11% Off)

Lens Deals

Canon EF 24-105mm f/4L IS USM lens (30% Off)

Canon RF 24-70mm F2.8 L IS USM Lens (8% Off)

Nikon Z 50mm F1.8 S Lens (36% Off)

Nikon NIKKOR Z 70-180mm f/2.8 Lens (16% Off)

Panasonic S 70-300mm F4.5-5.6 Macro OIS Lens (23% Off)

Sigma 150-600mm F5-6.3 DG OS HSM | C (14% Off)

Sony SEL85F18 85mm F/1.8-22 Lens (9% Off)

Accessory Deals

DJI Air 3 Fly More Combo with DJI RC 2 (20% Off)

K&F Concept Professional 28mm Metal Tripod Ball Head (40% Off)

MagMod Professional Flash Kit 2 (20% Off)

Manfrotto Befree Advanced Lever 4-Section Aluminum Travel Tripod (43% Off)

Manfrotto 290 4-Section Carbon Fiber Monopod (41% Off)

Manfrotto Element MII 4-Section Aluminum Tripod (27% Off)

Manfrotto MTPIXIMII-B, PIXI Mini Tripod with Handgrip for Compact System Cameras (17% Off)

Manfrotto 244 Variable Friction Magic Arm with Camera Platform (36% Off)

Neewer F500 5.5 Inch Camera Field Monitor (44% Off)

Neewer Photo Studio Backdrop Support System (20% Off)

UBeesize Softbox Photography Lighting Kit (15% Off)

Camera Bags & Case Deals

BREVITE - The Jumper - Compact Camera Backpack (20% Off)

Moment Everything Backpacks - 21L (23% Off)

Moment Everything Tech Tote (13% Off)

Moment Rugged and Waterproof Camera Sling (26% Off)

Nanuk 965 Waterproof Carry-On Hard Case with Lid Organizer and Padded Divider (36% Off)

NOMATIC McKinnon Camera Cube - Travel Camera Pack by Peter McKinnon (20% Off)

NOMATIC McKinnon Camera Pack- Travel Camera Bag by Peter McKinnon (20% Off)

Pelican 1200 Case With Foam (20% Off)

Pelican Vault V100 Hard Case (20% Off)

WANDRD All-New PRVKE 31L Photography Travel Backpack - Photo Bundle (20% Off)

WANDRD TRANSIT Travel Backpack 35L - Photography Backpack (20% Off)

WANDRD ROGUE 9L Sling - Camera Bag (20% Off)

Computing and Storage Deals

Apple iPad Mini (6th Gen), 64GB (24% Off)

Apple iPad Pro 13-Inch (M4), 256GB (8% Off)

Apple iPad Pro 11-Inch (M4), 256GB (8% Off)

Apple MacBook Air 15" M3, 256GB Storage, 8GB RAM (15% Off)

Apple 14" 2023 MacBook Pro Laptop M3, 512GB Storage, 18GB RAM (15% Off)

Crucial X9 4TB Portable SSD (15% Off)

LaCie Rugged Mini 4TB External Hard Drive Portable HDD - USB 3.0 (25% Off)

SAMSUNG T7 Shield 2TB, Portable SSD (50% Off)

SanDisk 128GB Extreme PRO SDXC UHS-I Memory Card (20% Off)

Western Digital 20TB Elements Desktop External Hard Drive USB 3.0 (46% Off)

Canon USA has published a placeholder announcing a YouTube live broadcast on July 17 at 6AM Eastern time, 3AM Pacific time (11AM in the UK and Midday in mainland Europe, for those of us outside the US).

"Something Big is Coming" is the only hint as to what it'll be. Which is enough to mean my brain will be singing "Something's Coming" from West Side Story at me for the rest of the morning.

The other thing it does is remind me that Canon said earlier this year that it was developing an EOS R1. Back in May its timelines were vague, with the only detail being that it would be released in 2024, so we can't be 100% certain.

But the company also said it was already "working on field tests for this camera," and that it planned to "support capturing definitive and impactful moments at international sporting events to be held in the future."

And, given the Euros and Copa America are over, and the Tour de France has less than a week left to run, it's difficult not to look beyond an 'international sporting event' starting in Paris at the end of this month.

"Could be, who knows..?"

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Sigma's 18-50mm F2.8 DC DN is the first third-party lens to be licensed to use Canon's RF mirrorless lens mount. It, along with the forthcoming 10-18mm F2.8, four F1.4 DC DN primes and Tamron's promised 11-20mm F2.8, make the APS-C end of the system much more credible as an option for enthusiast photographers.

Buy now:

$529 at Amazon.com$599 RF at B&H Photo$599 RF at Adorama

As with Canon's own RF-mount lenses, any distortion correction parameters do not appear to be embedded in the Raw files, meaning we've had to step away from our standard Capture One processing protocol. We've been using Capture One for the past few years because it lets us use the corrections as planned by the lens maker as part of its design (Adobe typically creates its own correction profiles). In this instance Sigma provided us with a profile to allow the images to be rendered properly in Camera Raw.

Have a look to see how the 18-50mm F2.8 behaves on the Canon EOS R7, a camera that finally seems on the brink of gaining the lenses to live up to its enthusiast capabilities.

Click here to explore our Sigma 18-50mm F2.8 DC DN | C gallery on Canon RF-mount

We haven’t exactly made it a secret that this year marks our 25th anniversary. There’s a chance many of you spotted the mention in our Christmas Greeting or have been reading our stories reflecting on significant camera technology milestones. But we’ve also recognized that we haven’t given the occasion the fanfare it truly deserves.

That’s why we’re excited to unveil a new 25th Anniversary edition of a logo today, and a few other smaller design tweaks across our email and other platforms in celebration.

We’ve also got some exciting editorial projects that we’ll be working on related to this milestone throughout the rest of 2024, thanks in part to the support of our 25th Anniversary Sponsor MPB, which we’ll publish across our various channels and collect for easier browsing on our 25th Anniversary Hub page.

But no 25th-anniversary celebration would be complete without involving all of you. It’s not hyperbole to say we would have never reached this milestone without the enduring support of every DPReview community member.

"We’re asking you to share your favorite or most memorable DPReview stories in the comments below."

For that reason, we’d like to involve all of you in the celebration. Specifically, we’re asking you to share your favorite or most memorable DPReview stories in the comments below and a little context as to what made them special. We plan to share this feedback in various forms through the rest of 2024, including highlighting your individual submissions.

Thank you for continuing to read, share, react, and discuss our work. Your engagement and passion for photography have always helped inform our work, and continually motivated and inspired our staff to keep covering the evolution of the camera industry as best we can.

– The DPReview Team

A very dignified-looking ring-tail lemur. They are usually very willing models.

Canon 5D4, Sigma 150-600mm F4.5-6.3
150mm | 1/200 sec | F5.6 | ISO 800

Previously in this series, I talked about my visits to Andasibe NP, where I photographed lemurs and chameleons, and to Tsingy Rouge NP, where I captured beautiful erosion-made formations. I also talked about shooting sifaka lemurs and baobab trees in Kirindy Forest Reserve and visiting several secluded stops on my way to the southern part of Madagascar. Lastly, I talked about my visits to Isalo and Ranomafana National Parks.

This will be the last article in the Madagascar series. Thus I'd like to share my images from the very best location I visited during my trip to this incredible island: Anja Community Reserve.

Anja Reserve is a woodland area and freshwater lake situated at the base of a large cliff. Much of the reserve is dominated by fallen rocks and boulders, and there is much sheltered habitat in the pocket of forest that has been established between the huge boulders. The reserve was created in 2001 to help preserve the local environment and wildlife and to provide additional employment and income to the local community.

Gigantic boulders, detached and fallen off a main mountain thousands of years ago, dominate Anja's beautiful landscape.

Canon 5D4, Sigma 150-600mm F4.5-6.3
500mm | 1/2000 sec | F6.3 | ISO 800

I've visited many locally managed reserves during my travels around the world, and they always prove to be a fantastic way of reducing (hopefully eliminating) the endemic species being hunted to extinction by elevating the financial value that these communities receive from conserving the habitats and wildlife populations rather than depleting them. This is beautifully demonstrated in Anja and other reserves in Madagascar.

The reserve is home to the highest concentration of maki, or ring-tailed lemurs, in all of Madagascar, numbering over 300. After finding that 95% of makis in Madagascar are now gone, the locals initiated the formation of a nature reserve, effectively establishing the world's largest congregation site for ring-tailed lemurs.

Ring-tailed lemurs find safety in numbers and often huddle together, which is a blessing for photographers!

Canon 5D4, Sigma 150-600mm F4.5-6.3
516mm | 1/500 sec | F6.3 | ISO 1600

Ring-tailed lemurs have found a home between the gigantic fallen boulders of Anja. When transiting between locations, they often perform "serial jumping," in which the group takes turns jumping from a high point – a true joy to witness and shoot.

Canon 5D4, Sigma 150-600mm F4.5-6.3
180mm | 1/2500 sec | F10 | ISO 2500

Not only do they move together, but they also tend to model together, flaunting their beautiful tails.

Canon 5D4, Canon 70-300 F4-5.6
182mm | 1/640 sec | F5 | ISO 640

I would say that anyone who's even slightly fond of animal life simply has to visit Anja Reserve. Seeing the lemurs and experiencing their behavior in such close proximity is absolutely exhilarating. And for wildlife photographers, it's an absolute paradise. Since the lemurs are habituated and used to human presence, they aren't bothered by visitors. They keep going through their daily routines of eating, jumping between rocks, tending to their young and grooming each other's fur and beautiful tails. Luckily, feeding has ceased in recent years and the lemurs take care of themselves.

One of my favorite shots from the trip: a closeup of a baby ring-tiled lemur hiding in its mother's fur.

Canon 5D4, Sigma 150-600mm F4.5-6.3
600mm | 1/400 sec | F6.3 | ISO 1000

When ring-tailed lemurs reach a few weeks of age, they transfer from the mother's abdomen to its back, riding her like a furry dragon!

Canon 5D4, Canon 70-300 F4-5.6
188mm | 1/800 sec | F5 | ISO 1600

Mutual grooming is a vital aspect of lemur socialization (as with all primates), reaffirming social connections and helping rid each other of parasites. They live in groups (or "troops") of up to 30 individuals and are strictly diurnal, exclusively active during daylight hours. As one of the most vocal primates, the ring-tailed lemur uses numerous vocalizations, including calling for group cohesion and predator alarm calls. When one troop wanders too far for shooting, there's a good chance another troop will be close by and more readily available.

Grooming is a behavior typical of all primates, and if no one else is willing, self-grooming may be the last option.

Canon 5D4, Canon 70-300 F4-5.6
252mm | 1/250 sec | F5 | ISO 1600

When the tail is nice and fluffy, it can and should be flaunted!

Canon 5D4, Sigma 150-600mm F4.5-6.3
211mm | 1/500 sec | F5.6 | ISO 1600

The scientific name for ring-tailed lemurs (lemur catta) translates to cat-lemur. This is not only due to the lemurs' tendency to rub on surfaces like a house cat to leave its pheromones but also (and more funnily) due to one of its many vocalizations - its distinctive meow, which is uncannily similar to a house cat's.

A closer portrait of a ring-tailed lemur.

Canon 5D4, Canon 70-300 F4-5.6
176mm | 1/250 sec | F5 | ISO 800

Canon 5D4, Canon 70-300 F4-5.6
155mm | 1/125 sec | F5 | ISO 100

Anja Reserve is incredible, and I cannot recommend it enough. No Madagascar wildlife trip would be complete without it! I hope you've enjoyed this Madagascar series. If you have, please consider visiting this beautiful country – it is in dire need of your money, but moreover, it's simply fantastic.

Erez Marom is a professional nature photographer, photography guide and traveller based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Madagascar, Greenland, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

More in this Series:

• Part 1: Andasibe
• Part 2: Red Tsingy
• Part 3: Kirindy Forest
• Part 4: The Long Way to Isalo
• Part 5: Isalo and Ranomafana

Selected Articles by Erez Marom:

• Landscape Composition - Balancing the weights
• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Landscape Composition - Separation of Elements
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Landscape Composition - Negative space
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

Toshiyuki Tsumura
Executive Vice President
Director, Imaging Business Unit

Photo: Richard Butler

"Our basic stance is to become a manufacturer that can provide a wider range of value to our customers as a system with an open platform," says Toshiyuki Tsumura. "We would like to respond to our customers by providing superior value than other systems."

Mr. Tsumura, Executive Vice President and Director of Panasonic's Imaging Business Unit, shares this insight while discussing the role of partnerships in Panasonic's camera business. In a broad-ranging interview earlier this year at the CP+ Expo in Japan, Mr. Tsumura also shared his thoughts on topics ranging from the state of the camera market to the importance of workflows in the creative process.

State of the market

"Demand for cameras, which fell sharply due to the pandemic, has recovered steadily to pre-pandemic levels, and stable demand has been maintained, continuously driven by mirrorless," Mr. Tsumura explains.

It's not a complete surprise; we've heard similar analyses from other industry executives, but it's reassuring to hear this from several companies. However, Mr. Tsumura calls out one market that he feels is particularly important.

"With the expansion of social media and live streaming, which has expanded significantly in the wake of the pandemic, I believe the demand for shooting both videos and photos with a single camera and sharing them as works of art is underpinning the overall demand."

Mr. Tsumura says Panasonic has seen a lot of success with cameras like the S5II and G9 II because they work to eliminate barriers between video and still photography.

Bringing the conversation back to Panasonic, he says the company has seen a lot of success with products like the full-frame S5II and S5IIX, as well as the G9II, largely because those products work to eliminate barriers between video and still photography. He also points to a specific feature he believes has had an impact.

"In particular, Real Time LUT, which has expanded the LUT function to stills, has received high praise for its ability to enjoy colors in both video and still images and is driving sales," he says.

"I believe the demand for shooting both videos and photos with a single camera and sharing them as works of art is underpinning the overall demand."

When we ask what types of customers he expects to drive the camera industry over the next five years, Mr. Tsumura doubles down on hybrid users. "I believe that the imaging market in the future will transcend the boundaries between video and still images and will be led by individual producers who create works alone, from shooting to editing, as well as by professional creators who create works with a small number of people to
improve production efficiency."

Alliances and partnerships

More than most other camera manufacturers, Panasonic has embraced the concept of collaboration and shared technology platforms. In fact, both of its mirrorless camera systems are built around shared lens mounts (Micro Four Thirds and L-mount). According to Mr. Tsumura, this is a core part of the company's strategy.

"We place emphasis on expanding customer value by expanding our circle of partners."

"We place emphasis on expanding customer value by expanding our circle of partners. Comprehensive collaboration with Leica is one of them, and we are also making effective use of Leica's expanding relationships with L-mount partners."

"Our collaboration with Leica brings two valuable things," he continues. "One is our L2 technology, which is developed jointly between Panasonic and Leica. We can create new technology that a single company can’t. The second thing is that we can expand the level of contact across various types of customers. For example, we don’t have as much customer contact with high-end still photographers [as Leica], so we benefit from that contact. However, in the video industry, we have a lot of contact with videographers and cinematographers. So, we can multiply the number of customer contacts and expand the customer base. This is the value of the collaboration with Leica."

According to Mr. Tsumura, the L2 alliance with Leica allows the two companies to innovate technologies that a single company can't and expands Panasonic's customer reach.

He explains that access to an expanded customer base is also vital to the L-mount alliance.

"The same is true of the L-mount alliance. As we add more partners, we have access to the partner’s customer base, and we can connect with more customers and understand their needs. So increasing the number of partners increases the number of customers we have contact with."

Mr. Tsumura returns to this theme later in our interview: "Our basic stance is to become a manufacturer that can provide a wider range of value to our customers as a system with an open platform," he says.

A focus on workflows

As with other executives we've talked to, we ask Mr. Tsumura whether he thinks there are customer segments that the camera industry is currently underserving. "I think that there is still a lack of support for each user's workflow, rather than a lack of support for specific user segments," he replies.

He offers one timely example: "The latest trend is creators who want to simplify the workflow as much as possible, especially young creators; they will shoot a video by smartphone, then instantly share the video. Those kinds of creators require a camera that incorporates a workflow like a smartphone. They want to shoot videos like they do on a smartphone."

"We recognize that camera smartphone apps are becoming one of the most important workflows, especially for young creators," he tells us. "Smartphones are excellent when it comes to the workflow of taking pictures and sharing them immediately, but cameras are superior when it comes to the quality of the work."

Mr. Tsumura spoke at length about the importance of workflows to support different user segments. We can't help but think he was channeling the soon-to-be-announced Lumix S9 and its tight integration with the new Lumix Lab app.

But, as Mr. Tsumura explains, there are challenges to integrating these different tools.

"Smartphones have limited memory, so all the content from a camera can’t be transferred to the smartphone. There are a couple of ways to address this problem. For example, you could almost finalize the workflow on the camera and then transfer the final content to a smartphone. Or, you could transfer directly to a cloud-based system, like Frame.io, where you can collaborate in the cloud."

Although our interview took place a couple of months before Panasonic announced the Lumix S9, a camera aimed at content creators, we can't help but think that Mr. Tsumura was channeling this soon-to-be-released product. Thanks to tight integration with the new Lumix Lab smartphone app, it provides a streamlined workflow for content creators to embed custom looks in-camera and to move photos and videos from the camera to social media without additional editing.

"Smartphones are excellent when it comes to the workflow of taking pictures and sharing them immediately, but cameras are superior when it comes to the quality of the work."

Mr. Tsumura emphasizes that Panasonic is not just focused on creator workflows. "Since the workflow is different for those who are already professionals in photography and videography, compared to young and ambitious hobby users, we will develop products that are close to each person's desire for expression and workflow."

The video landscape

Any time we talk to Panasonic, it's natural for video to enter the discussion. After all, the company has been at the forefront of mirrorless video for years. One challenge for companies today, Mr. Tsumura explains, is that consumers are developing ever-higher expectations for video cameras.

"The number of opportunities to watch video content has increased dramatically, and users are becoming more and more discerning in their view of content. There has been an enormous increase in the number of discerning customers who want to express themselves in a more sophisticated way," he says.

Despite these changing consumer expectations, many camera users still turn to smartphones for many video applications. How, we wonder, can Panasonic lower the barrier to using mirrorless cameras instead?

Mr. Tsumura says seamlessly integrating smartphones and cameras can lower the barrier for smartphone users who want to use a mirrorless camera for video applications.

"We believe that it is important to simplify the workflow and usability in addition to rich quality," he tells us. "For example, there are many cases where people who are distributing rich content, such as live commerce, use mirrorless cameras, but it is still quite difficult, so their use is limited. In order to widely spread mirrorless cameras for streaming, I believe it is important to innovate UX from seamless connection to smartphones, high-speed WiFi, and up to editing and streaming."

However, unique hardware features continue to be part of Panasonic's formula. "We are actively providing video formats that use the entire sensor range, such as 3:2 and 4:3 video formats, without being bound by traditional video formats," he reminds us. "And we have received high praise for providing more freedom in video creation."

This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan. Some responses have been lightly edited for clarity.

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We're still waiting to get a long-enough loan from Leica to finalize our review of the D-Lux 8, but in the meantime we wanted to share the sample images we've shot so far.

It's been several years since we saw a new enthusiast compact, so we were keen to go our shooting with it, even if it's not as updated as we might have hoped.

Buy now:

$1595 at B&H Photo$1595 at Adorama

You can read more about the D-Lux 8 in our initial review.

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

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The Sony ZV-E10 II is the company's second-generation APS-C vlogging ILC. It brings a new sensor and larger battery, along with improved video specs.

Key features:

• 26MP APS-C BSI CMOS sensor
• Full-width 4K at up to 30p
• 4K/60p from a 1.1x crop (5.6K capture)
• 10-bit video capture
• S-Cinetone color mode and 'Creative Look' options
• Imports LUTs for previewing, embedding or applying to S-Log3 footage
• Three-capsule mic with automatic directional focus option
• No mechanical shutter

The Sony ZV-E10 II will be available from early August at a recommended price of $999 body-only or $1099 with an updated 16-50mm F3.5-5.6 OSS II retracting power zoom. These prices represent a $300 increase over the original version. The ZV-E10 II will be available in black or white. The white version will come with a silver version of the 16-50mm PZ that won't be sold separately.

Buy now:

$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Index:

• What's new
• How it compares
• Body & handling
• Initial impressions vlogging video
• Specifications
• Press Release

What's new New sensor

The ZV-E10 II uses the same 26MP BSI CMOS sensor we've seen in the a6700 (and the pro-video FX-30). It's a much faster sensor than the one in the previous version of the camera, and is able to deliver 4K video at up to 60 frames a second, where the previous version had to crop-in to shoot at 30fps, meaning it showed significant rolling shutter in its 4K modes.

10-bit video

The ZV-E10 II also gains a newer processor, allowing the camera to capture 10-bit video. This allows it to record Log footage with plenty of precision, which allows greater flexibility when grading color and tone. It also means the camera can capture true HDR footage for playback on HDR phones and TVs.

All the camera's 4K modes are taken from oversampled capture: 6K for modes up to 30p and 5.6K (with a 1.1x crop) for the 50 and 60p modes. There's no in-body stabilization in the camera, so digital stabilization applies a further 1.33x crop, meaning the 16-50mm kit lens ends up giving a 32mm equiv field of view, at its widest, if you want to use more than just the lenses' optical shake correction, and 35mm equiv in the high framerate modes.

Updated features The ZV-E10 II has the newer Bionz XR processor, rather than the 'X' of its predecessor. As part of this update it gains a UHS-II compatible SD card slot.

The ZV-E10 II doesn't include Sony's 'AI processing unit' but includes some of the latest subject-recognition algorithms, we're told. It also gains the focus breathing compensation function that, with recognized Sony lenses, crops in to the narrowest effective field of view then progressively adjusts the crop and scaling to maintain consistent framing as the focus distance changes.

The ZV-E10 II also has the CineVlog mode from the ZV-1 Mark II, which gives a widescreen 2.35:1 look with black bars top and bottom and shoots at 24p. Onto this various 'Looks' and 'Moods' can be applied, to give a stylized appearance to your footage.

There's no sign of Sony's Auto Framing modes, though, so you can't set the camera on a tripod and let it crop-in and follow your subject around the scene, nor set a subject's position in the frame and have it crop to maintain that positioning, as you're filming yourself at arm's length.

Larger battery

The ZV-E10 II now uses Sony's larger NP-FZ100 battery, allowing it to record for much longer. Sony did not disclose battery figures prior to launch, but the FZ100 has always made cameras much more usable than the smaller FZ50 used by the original ZV-E10.

Updated kit zoom

The ZV-E10 II typically comes bundled with the Sony E PZ 16-50mm F3.5-5.6 OSS II, a refreshed version of its compact, retractable power zoom. The version II gains the ability to focus while zooming, helping to keep your subject in focus if you change the focal length while recording, and also communicates information to help the camera's stabilization efforts.

In principle, the lens can focus fast enough to work with 120fps shooting, in the unlikely event anyone ever attaches it to an a9 III. However, Sony has not made any changes to the optical design of the lens, which we've never been particularly impressed by.

How it compares

We've chosen to compare the ZV-E10 II to its predecessor, Nikon's Z30 that aims to offer something very similar, and to the a6700, to see what differences exist between Sony's vlogging model and its enthusiast stills/video option. The other obvious competitor in this space is Panasonic's DC-G100, which again offers a clever mic setup and front-facing screen for vlogging. However, its substantial crop in 4K mode makes it less well suited to high-res vlogging than the other cameras listed here, so that's the one we've omitted for reasons of space in the comparison table.

Sony ZV-E10 II Nikon Z30 Sony ZV-E10 Sony a6700 MSRP $1099 w/ 16-50mm OSS II $849 w/ 16-50mm VR $799 w/ 16-50mm OSS $1499 w/ 16-50mm OSS Resolution 26MP 21MP 24MP 26MP Mech shutter No Yes Yes Yes Image stabilization Digital only Digital only Digital only IBIS rated to 5.0 EV 4K video rates
(crop factor) UHD/60 (1.1x)
UHD/30
UHD/24 UHD/30
UHD/24 UHD/30 (1.23x)
UHD/24 UHD/120 (1.58x)
UHD/60 full-width
UHD/30 full-width Video bit-depth 10-bit 8-bit 8-bit 10-bit Rear screen 1.04M dots fully articulated 1.04M dots fully articulated 0.92M dots fully articulated 1.04M dots fully articulated Viewfinder None None None 2.36M dot
0.7x mag Number of dials 1 main, 1 rear 2 main 1 main, 1 rear 2 main, 1 rear Mic / Headphone sockets Yes / Yes Yes / No Yes / Yes Yes / Yes USB 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 2 (10Gbps) SD slots 1x UHS II (side) 1x UHS-I (base) 1x UHS-I (side) 1x UHS-II (side) Video battery life, CIPA, min
Cont. / Actual 195 / 130 85 / 125 / 80 185 / 100 Dimensions 121 x 68 x 54mm 128 x 74 x 60mm 115 x 64 x 45mm 122 x 69 x 75mm Weight 377g 405g 343g 493g

Perhaps the biggest benefit of the ZV-E10 II over the original is the faster readout of its sensor. The mark 1 exhibited a lot of rolling shutter in 4K/24 mode and had to crop in to deliver 4K/30; by contrast, the new camera can shoot at 4K/60 using most of the sensor, meaning it's over twice as quick as its predecessor.

It's worth noting the differences, compared with the more expensive a6700, too. The a6700 has a viewfinder, in-body stabilization, twin control dials on its top plate and a mechanical shutter, and is able to shoot 4K/120 if you can live with a substantial 1.58x crop. These are all omitted from the less expensive, more influencer-focused ZV-E10 II.

Body and handling

The ZV-E10 II's body is impressively small: it looks like an early Sony NEX model and is recognizably more compact than the a6700.

The downside of this is that the controls and operation also feel more like an NEX model, rather than one of Sony's latest cameras, if you attempt to shoot stills with it. Unlike the twin dial a6700, there's only a single top-plate dial on the ZV-E10 II and an awkward, fiddly rear-face dial that we've been trying to avoid having to use on Sony cameras for more than a decade, now.

The interface is primarily touchscreen-based, allowing direct operation while you're holding the camera to face you. There are also dedicated buttons both for Bokeh mode (which opens the aperture up to a value that can be adjusted in the menu) and Product Showcase mode that tells the camera to prioritize nearby objects over face detection. Both buttons can be customized to perform other functions, if you prefer.

The ZV-E10 II is the first Sony to rotate its interface display when you rotate the camera, to make vertical video capture easier.

The ZV-E10 II has both headphone and mic sockets, along with a 5Gbps USB-C port that can be used to stream up to 4K/30 video when acting as a webcam. There's also a micro HDMI slot.

We didn't find the ZV-E10 II the easiest camera to hold, if we were facing towards it, to vlog, so we suspect the optional vlogging handle/table tripod with its Bluetooth-connected controls, will be really valuable. Trying to hold the camera at arm's length without it just meant constantly nudging the zoom rocker on the lens and not being able to reverse the effect without stopping recording and bringing the camera back into two hands to push the zoom back out to wide-angle.

Battery

The use of the larger NP-FZ100 battery sees the battery life rating jump from the 440 shot-per-charge rating of its predecessor to 610 shots, using the standard CIPA testing methods. As always, these numbers underestimate the number of shots many people get, so double this number is entirely plausible.

For a vlogging camera, we'll also quote the CIPA video figures, which are 195 minutes of recording if just left to run (assuming you don't run out of card space or overheat before then), and 130 minutes using the CIPA "Actual" shooting duration test, which involves more stop/start recording, zooming of the lens and turning the camera on and off. Both are based on FullHD capture, not 4K.

The a6700 tends to overheat relatively quickly in its higher frame-rate 4K modes, so we'll have to test the small, uncooled ZV-E10 II more once we get a production unit.

Initial impressions vlog

Rather than write my impressions of the ZV-E10 II, I used it as intended: vlogging my thoughts to camera. All sound was captured using the camera's internal mics.

Buy now:

$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama

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Sony has released the E PZ 16-50mm F3.5-5.6 OSS II, a slightly revised version of its compact, retractable kit zoom.

The new version has an updated control chip that allows it to focus while zooming and makes it compatible with the company's latest AF standards. This means it can autofocus at up to 120fps for stills or high frame-rate video.

The new version also communicates gyro information from its stabilization system to the camera body, allowing better coordination between the two.

The move from a metal lens mount to a plastic one helps reduce the weight from 116g to 107g (3.8oz)

Sadly the optical formula of the lens is unchanged, meaning you shouldn't expect any improvement in image quality. And while the 16-50mm PZ is one of the more compact kit zooms and more responsive power zooms, we've never been particularly impressed with the IQ consistency of the copies we've encountered.

The 16-50mm F3.5-5.6 OSS II will be available from August at a price of $299 if bought separately. It typically adds $100 to the cost of a camera and lens kit, so ex-kit versions are likely to become available. Bought separately, the lens is only available in black. A silver version is kitted with some cameras but not available separately.

Raw file edited in Adobe Camera Raw with Content Credentials appended

Photo: Richard Butler

Adobe is in the process of adding the ability to provide CAI-compliant Content Credentials with the images you create. Options are being added Adobe Camera Raw, Lightroom and Photoshop itself, but there are some significant differences in the implementations, at present.

The system is intended to provide an industry-standard means of providing transparency about an image's source, its edits and whether any AI elements have been added.

ACR / Lightroom

In Adobe Camera Raw and Lightroom, the Content Credentials feature (that we won't refer to as 'CC' to avoid confusion with Adobe's 'Creative Cloud' branding) is described as being an 'Early Access' feature. A spokesperson says the intention is "to get feedback from the photography community."

The feature, which can currently only be applied to JPEG output, keeps track of the edits you've made, and either embeds the details alongside your image or uploads them to a central database, allowing people further down the workflow to be able to check the authenticity of the image. There's also the option to both embed and upload the data, to maximize the likelihood of the workflow being traceable.

As well as the option of whether to include your name as the creator, you can also embed details of your social media accounts, such as your Instagram handle, to help prove authorship. Adobe tells us: "We will be expanding to support more file formats."

Photoshop

The option in Photoshop is described as a beta. To enable the feature, you currently need to engage it for each image as you open it, before you make any edits. The CAI metadata about the types of editing you've made is then added to the file if you use Photoshop's Export dialogue.

The Content Credentials palette can be found under the Windows menu in Photoshop. Once you press the 'Enable' button, you can choose which settings are shared, and how (middle tab), and preview the metadata that will be associated with your file (right-hand tab).

Unlike the ACR implementation, Photoshop can add metadata to JPEG or PNG images, but you only have to option to embed or upload the metadata, not both.

In practice

Raw file edited in Adobe Camera Raw with Content Credentials appended.

Photo: Richard Butler

We tried adding content credentials to a Raw conversion made from a recent sample gallery and, in this instance, it added 132KB to the file, representing a 0.5% increase in size on a 26.7MB photo. The history of this and the story's lead image, can now be examined using the Content Authenticity Initiative's 'Verify' tool, by dragging and dropping the file.

However, as things stand, ACR and Lightroom do not pass details of their edits across to Photoshop, if your workflow involves making edits in both. So we can save an image with details of the changes made in ACR or we can export from Photoshop with information about its edits, but with no knowledge of what was done at the Raw-conversion stage.

The only way to build and maintain a complete history of the workflow would be to save a JPEG from ACR or Lightroom and use that as the starting-point for your work in Photoshop.

Needless to say, this idea of using a lossily-compressed intermediate step in your workflow isn't the long-term intention. "As we expand support for Content Credentials, we’re exploring support for interoperable workflows such as editing in ACR, Lightroom and Photoshop," the company says.

In future

Camera makers are already working to offer cameras that create cryptographically-signed Content Credentials at the point that the image is created, so it should soon be possible to provide evidence that the image derives from an original photo and then show what adjustments have been made to the image in ACR, Lightroom or Photoshop, and whether generative AI has been used.

We will continue to monitor the development of Content Credentials options over the coming months, to see whether we can incorporate it into our review workflows, so that you can always check how the file has been handled between us taking the photo and presenting it on the site.

Given DPReview.com's core mission to provide a trustworthy means of assessing cameras' output, we like the idea of being able to include evidence of the extent of the editing applied to those test files that aren't straight-out-of-camera JPEGS.

Image: Affinity

Software maker Affinity has announced a six-month free trial for its image editing application, Affinity Photo. The offer also extends to the company's vector graphics software, Affinity Designer, and its page layout software, Affinity Publisher.

Affinity says it is providing the extended trial so that users have more time to evaluate it alongside their current software and to provide an extended window to migrate to Affinity's apps if they decide to do so.

Affinity Photo has been a popular alternative to Adobe Photoshop due to its one-time-purchase model.

Image: Affinity

Affinity Photo has been a popular alternative to Adobe's Photoshop for many photographers, particularly because it uses a one-time-purchase model rather than subscription-based pricing. Affinity says the six-month window is a true no-obligation trial period and that the company will not require payment information to participate.

The desktop versions of Affinity Photo, Designer, and Publisher retail for $70 each, or $165 for the entire suite, and run on both MacOS and Windows. The iPad versions retail for $18.50 each. The company is currently offering a 50% discount on all of the above apps until August 15.

Affinity developer Serif was acquired by graphic design platform Canva in March of this year.