The Canon EOS 6D Mark II is the newest full-frame DSLR released by the business. It is designed to appeal to experienced amateurs and enthusiasts, as well as professionals who are interested in purchasing a second Canon DSLR body. It comes equipped with the same 45-point autofocus system as the crop-sensor EOS 80D for viewfinder shooting in addition to the brand-new 26-megapixel sensor that has Dual Pixel technology for accurate autofocus when shooting in live view. The kit also includes a touchscreen that can be rotated in any direction, built-in Wi-Fi and GPS capabilities, and burst shooting at 6.5 frames per second.
It should not come as a surprise that the 6D Mark II improves upon the original in practically every regard given that it was released to the market more than five years after its predecessor was was made available. Improvements have been made in the areas of resolution, focusing performance, burst shooting speed, video shooting, and even battery life.
The first Canon EOS 6D, along with Nikon’s D600, is credited with kicking off the concept of a “entry-level” full-frame camera. This refers to a camera in which the true value of the thing lay in the size of the sensor, with a somewhat scaled-back feature set and body surrounding it. Nikon’s D600 also played a role in the conception of this type of camera.
The Canon EOS 6D Mark II brazenly takes after its predecessors in terms of design and functionality. Its one-of-a-kind, 26-megapixel full-frame sensor is encased in a relatively plasticky (yet still weather-sealed) body, and it makes do with some compromises in comparison to its full-frame Canon kin. However, we should emphasize that this is to be expected given its substantial $1,300 discount in comparison to the 5D Mark IV.
In light of the $1,300 savings it offers in comparison to the EOS 5D Mark IV, one should anticipate having to make concessions.
The bigger sensor is countered by a lower-spec autofocus system inherited from the EOS 80D, a shutter mechanism that max out at 1/4000 second, and a lack of 4K video, to mention a few of the sacrifices made by the 6D II, which are much the same as those made by the 6D before it.
Having said that, five years is a long period in the market for digital cameras, and the competition has not been stagnant throughout this time. Therefore, the issue that has to be answered is: Has the 6D Mark II improved sufficiently?
However, it is not difficult to dispute that the 6D Mark II has a lot to offer, especially considering the price range at which it is offered. It is smaller and lighter than a 5D IV, its articulating screen makes it easier to work at odd angles, and most importantly, it is an affordable entry into the world of full-frame Canon glass and increased depth-of-field control in comparison to similarly priced cameras with smaller APS-C sensors. Additionally, it is an entry into the world of full-frame Canon glass.
Body & Handling
The Canon EOS 6D Mark II is virtually identical to the Canon EOS 80D, although with a few extra bells and whistles. That indicates that even though it has a slightly plasticky texture, it has a sturdy feel in the hand. It is noticeably lighter than the EOS 5D Mark IV, which is a welcome change, and it appears that Canon’s boasts of weather-sealing have some basis in reality, as the camera has sturdy covers over its ports and a gasket around the battery door. It is also important to mention that the 6D II is one of the DSLR cameras with a full-frame that weighs the least and takes up the least amount of space currently available on the market.
It is hard to resist making comparisons with the Canon 80D, as can be seen below, because the rear panels of the two cameras are nearly identical to one another. Because of how nicely the 80D handles, we may deduce that this is, for the most part, a positive development. If you are operating the camera while wearing gloves, the buttons may seem a little less responsive than usual, despite the fact that they all have enough travel.
The back dial and multi-controller are the primary points of contention for us when it comes to the way the 6D II (and the 80D, for that matter) are held in our hands. The dial itself is working OK, however, the eight-way controller is a complete and utter failure. You are better off just deactivating it and doing it the old-school Canon way if you are going to be manually shifting your AF point about. This is because subject tracking in the viewfinder isn’t one of the 6D II’s strong qualities, so it’s probable that you will be doing this. Use the control dials, as well as the selection button that’s located next to the shutter button.
If you haven’t used older Canon DSLRs before, you might find that using this approach takes some getting used to. However, after you’ve built up your muscle memory, you’ll find that it’s really rather efficient. We have discovered that it is extremely probable that you will miss photos while using the eight-way controller because it will refuse to respond to your commands. If only Canon had carried over the fantastic joystick from the 5D IV, this problem might have been avoided.
In live view mode, the EOS 6D Mark II handles really well thanks in large part to the touchscreen and Dual Pixel technology that it incorporates. It is less comfortable to hold at arm’s length than other cameras, like the EOS 77D, due to the camera’s larger size; nonetheless, the articulating touchscreen makes it simple to take photos when shooting from the hip.
The EOS 6D Mark II has a bigger viewfinder than the EOS 80D because the larger sensor requires a larger mirror, which in turn allows for a larger viewfinder. This is a significant benefit of the 6D Mark II over the EOS 80D. There is space for the upgraded electronic level, which is significantly more precise than on Canon’s lower-end offerings; however, we do wish the viewfinder was 100 percent coverage: you may find that some unwanted objects are creeping into the edges of your images, even when you have carefully composed them.
Connectivity without wires or cables
Wi-Fi and Bluetooth with Near Field Communication (NFC) are included in the 6D Mark II, allowing for speedy and simple connection with Android devices. Bluetooth is somewhat pointless if you have an Apple iPhone because it can automatically pair your device with the camera when they are both turned on, but you still need to manually initiate Wi-Fi, either in the settings or within the app, in order to accomplish anything with Canon’s Camera Connect software.
It’s very smooth once you get Wi-Fi functioning (which might take a few tries, at least on my iPhone 6), but until then, you can have some trouble. You have the ability to remotely operate the 6D II as well as browse and download photographs from the camera. You may even use your finger to tap the display on your smartphone in order to activate the Dual Pixel tracking feature on the camera.
The Canon 6D Mark II has the responsiveness of a DSLR and a spec sheet that is rather well-rounded, and as a result, it appears to be well-suited to a range of jobs. Let’s get down to business and find out how it does when compared to some of the more prevalent genres of photography.
Landscape photographers will find that the Canon 6D Mark II is an excellent choice in many respects. Because this camera has a resolution of 26 megapixels, you will have no trouble zooming in on minute details or printing very large images. Because it has been weather-sealed, it should be able to withstand some rain or snow as long as the lens has also been weather-sealed.
The battery life is great for a DSLR, which is great for long shots and long exposures. Additionally, the touchscreen can be tilted, which makes it simple to use at strange angles when mounted on a tripod.
The full-frame sensor is perhaps the single most significant component. It enables the use of a wide range of high-quality wide-angle lens alternatives, ranging from prime lenses to zoom lenses. Specialty lenses, such as Sigma’s 14mm F1.8 and others like it, will really come to life once they are able to offer the field of view that was intended for them on a larger sensor. Although there are a lot of low-cost and entry-level wide options available for crop-sensor cameras, these options do not offer as much depth of field.
However, there are a few big drawbacks to utilizing the 6D II for the majority of your landscape photography needs. If you’re going to be hiking into the wilderness, you should know that there are solutions available for mirrorless cameras, which may help you make your gear both more compact and lighter.
Last but not least, we have observed that the dynamic range of the 6D II is severely deficient at lower ISOs. This will lead to less flexibility in post-processing as well as photos that are significantly noisier overall. In point of fact, despite their more compact size, even Canon’s most recent APS-C sensors deliver superior performance in this area.
Is it possible to take landscape photographs with the Canon 6D Mark II? Absolutely, just as you could do it with a Nikon D5, which likewise has a limited dynamic range at lower ISO settings. If, on the other hand, you are an expert seeking the instrument that is most suited to this task, it is recommended that you search elsewhere.
Whether you’re just taking photos of friends at a barbecue, covering an event, or maybe even photographing a wedding, the 6D Mark II is a very responsive camera that will allow you to react quickly to changing social situations. This is true whether you’re just taking photos of friends at a barbecue or whether you’re covering an event.
Despite the fact that we have some concerns about the low ISO dynamic range performance, it still works quite well at higher ISO levels, which you might require in low-light situations or when you need to stop moving quickly with a fast shutter speed.
If you decide to use the optical viewfinder rather than a live view, the burst speed of 6.5 frames per second should be sufficient for the majority of scenarios, allowing you to capture the exact emotion or moment you want to remember.
If rapid burst shooting isn’t your thing, you can always switch to live view, which will significantly slow down your burst shooting, and then make use of Live View’s superb face identification capabilities. Simply toggling left or right on the directional pad allows you to quickly choose between the several faces that have been spotted inside a scene.
Much before you go into the soft shutter mode, the shutter is silent, which makes it even easier for you to blend in with your surroundings and be a fly on the wall.
The Canon EOS 6D Mark II comes with a well-implemented Wi-Fi system that also includes Bluetooth. This makes it quite simple for users to transmit photographs to their friends, family members, or anybody else they choose immediately after snapping a photo with the camera.
In the event that you are not overly particular about post-processing your files before giving them off, it is a very lovely touch that people enjoy very much. People will thank you for it.
The lack of a built-in flash is one of the features that social photography is lacking. It is not a deal-breaker, and the performance of the 6D II at high ISO is quite decent, but it can be handy when time is of the essence.
In general, we think that the Canon 6D Mark II is a solid option for social photography. However, we recommend going into live view in order to achieve higher reliability while photographing off-center subjects and when using lenses that have larger apertures.
Action / Sports Related
People frequently think of Canon’s distinctive large, white telephoto lenses when they think of photography sports, and action since those lenses are white. If you’ve been shooting with an APS-C camera, switching to the Canon 6D Mark II, which has a full-frame sensor, will mean that you’ll have less reach than you’re used to, but in exchange, you’ll get better subject separation (blurrier backgrounds).
It should come as no surprise that the autofocus performance of the 6D Mark II while shooting via the viewfinder is quite close to that of the earlier EOS 80D, from which the technology was extracted; yet, it is still not very competitive in terms of absolute precision. The optical viewfinder has a relatively limited range of AF points, which restricts both the usability of the camera and the compositional possibilities available to the photographer.
When photographing sports in broad daylight, you could still discover that the restricted dynamic range of your camera is making it difficult for you to get the shots you want. When shooting in conditions with less available light or extremely rapid shutter speeds, which need higher ISO values, the image quality of the 6D Mark II is generally on par with that of its rivals.
The 6D Mark II has a mixed bag of results when it comes to subject tracking, which is when you select a subject and watch as the autofocus points continue to follow them. When using the viewfinder autofocus system, there is a short blackout period when the camera is operating at its maximum burst speed of 6.5 frames per second; however, the limited spread of the points may prove to be less than useful, and the system still struggles with a string of out-of-focus shots in the middle of bursts.
Be aware that there is a perceptible delay between when you tap your target and when the camera begins to really track it if you transition into live view to use the tap-to-track feature with Dual Pixel AF. This delay occurs when you switch to live view. After it has begun tracking a subject, it will adhere tenaciously to that subject for single pictures; but, when shooting in burst mode at ‘high’ speed in this mode, the camera will frequently just give up on focusing completely, making the results embarrassingly poor.
If you switch to the lower speed burst mode, the hit rate will still be respectable; however, the shooting speed will frequently dip to between 1 and 2 frames per second, which is far too slow to be truly useful.
At the end of the day, the 6D Mark II only provides you with two alternatives that aren’t great. It is possible that it would make an excellent backup camera for a sports photographer who is already involved in the Canon ecosystem as well as for a photographer who just infrequently has to capture moving objects. But if competition and excitement are what you live for, there are plenty of other, more satisfying possibilities available to you.
It might be argued that the 6D Mark II is neither a good nor a decent travel camera. Do you like to travel with something that you could forget is on your shoulder or something that can slide into a pocket? If you prefer the second option, you can stop reading right now: the 6D II is a full-size DSLR, and even if it’s light compared to a 5D IV or a Pentax K-1, it won’t be light enough for you because it’s a full-frame camera.
If you don’t mind a touch of weight, or even if you love bigger cameras for their comfortable handles and ergonomics, the 6D Mark II has a lot going for it, and you should consider purchasing it.
Because it has wireless connectivity built right in, you won’t have any trouble sending pictures out into the vastness of the internet.
If you do not spend an excessive amount of time chimping your photographs or using the camera in live view, the battery should easily last you multiple days of moderate to heavy use. The weather sealing should help it withstand unforeseen weather events no matter where in the world you are, and the fact that there is such a vast variety of great Canon-mount lenses is a pleasant added plus.
The built-in Wi-Fi will make it simple for you to distribute your photographs across the vastness of the Internet. The built-in GPS will ensure that you are never at a loss for determining the location of a photograph, and it will be of great assistance when it comes to organizing your photographic collection. The plastic case does look to be sturdy, and our test device is completely free of cracks; it should be able to shrug off a couple of knocks if you’re the kind of person who likes to be more adventurous.
When shooting at low ISOs, the Canon 6D Mark II has a somewhat narrow dynamic range, which is something that should be kept in mind if you plan on taking photos of sunrises or sunsets on your travels. In spite of having a decent number of megapixels, the 6D II will produce images with a higher level of noise in situations with a very high contrast ratio than any of its immediate competitors.
In spite of this, we think that the 6D Mark II would make an excellent travel companion for the kind of photographer who enjoys the improved ergonomics and grip comfort that come with using bigger cameras.
It is tough to suggest the Canon 6D Mark II to anyone who is interested in producing professional-quality video. It does not have the capability to record in 4K, which is consistent with the majority of Canon’s most recent consumer products. To add insult to injury, the 1080p video quality is poor and lacks clarity. Because there is no port for headphones, it is difficult to provide an objective evaluation of the sound captured by either the device’s built-in microphones or an external one.
Curiously, Canon has eliminated the choice for All-I video compression, as well as the ability to shoot in the MOV format, both of which are options on the previous model of the EOS 80D. Both of these options are available on the new EOS 80D.
On the other hand, using the 6D II to record film that is smooth, steady, and in focus is very simple for users who are not professional videographers. The controls on the touchscreen are really good, including a tap-to-focus feature and the ability to track. The film comes out looking nearly like it was shot with a glidecam thanks to the combination of in-lens and digital stabilization, and the colors are really pleasant. The 6D Mark II is a good choice for taking casual pictures of day-to-day life and for viewing those images on smaller devices such as tablets and smartphones.
If you are interested in taking more formal portraits, the limited autofocus coverage through the viewfinder may pose a problem for you if you put your subject far enough off-center. Additionally, if you fall back on the “focus-and-recompose” method at wider apertures, it is possible that your subjects will not be in focus. Since we’ve also seen some problems with the viewfinder’s ability to accurately focus on the subject while using the viewfinder, it’s recommended to go into live view whenever you’ll be taking formal portraits or covering a paid event, just to be cautious.
If you do decide to use the live view feature, though, the touchscreen can be tilted to make navigating the interface much simpler. It enables a shooting technique known as “shooting from the hip,” which, despite the relatively big size of the camera, can be a bit less obvious to onlookers. Much before you go into the soft shutter mode, the shutter is silent, which makes it even easier for you to blend in with your surroundings and be a fly on the wall.
Quality of the Image
The actual world is full of a wide variety of textures, colors, and sorts of details, which our test scene attempts to replicate. In addition to that, it features two modes of illumination, so you can witness the effect of various lighting circumstances.
The sharpening has a somewhat large radius when left at its default settings, which adds visible emphasis to some edges at the price of the absolute smallest detail (when viewed at 100 percent ).
You will have the opportunity to fine-tune the sharpening’s radius, quantity, and threshold to meet your particular requirements, just as you would with any other Canon camera powered by Digic 7. Even better, you get in-camera Raw conversion, which enables you to export the same image using a variety of settings to assist you in determining which combination serves your needs the best. [For further clarification, see the next sentence.]
The noise reduction performs a fair job of keeping edge information at high ISOs, which means that it does not wipe away detail as aggressively as the D750 does. The outcome of the Canon camera, on the other hand, appears to have lost some of its definition when compared to the more straightforward and gritty output of the Pentax K-1 when the two sets of photographs are seen at the same size.
Raw detail capture is very much on par with what you would anticipate from a camera with 26 million pixels. What appears to be a somewhat mild anti-aliasing filter appears to defend against the more severe excesses of moiré, contributing just a very small smoothing to the very finest detail in return.
Even though it is an unpopular and more costly solution, Canon has made it because they believe it will lessen the likelihood of moiré compromising an important photo. That isn’t nearly as classy as having an AA filter (or filter simulation) system that can be turned off, but it’s probably a safer option than completely removing it from the equation altogether.
At low ISO settings, the camera produces noise levels that are comparable to those of its competitors; nevertheless, the better resolution of the Pentax K-1 offers it a substantial detail advantage, despite the camera’s reduced size. As the ISO setting is increased, the 6D II maintains a level of performance that is equivalent to that of its contemporaries in more restricted exposures; it only falls far behind at the maximum settings.
The range of available energies
The dynamic range of the 6D II was the topic of a different essay that we had previously written. Regarding the overall image quality of the EOD 6D II, this is our single most significant concern. When shot at a low ISO, the Raw files produced by the 6D II have a substantially smaller adjustment range than we are accustomed to seeing in modern cameras. This is the case because noise begins to appear in the image at higher ISO settings.
This will most likely have an effect on landscape photographers because they are more likely to find themselves in high dynamic range scenes where they need to bracket their exposures. However, it will have an effect on anyone (including users of the EOS 80D) who has become accustomed to having a high degree of processing flexibility in their files.
Enhancement of JPEG images
The JPEG engine found in the 6D Mark II provides users the ability to exercise control over three facets of the camera’s sharpening: strength, fineness, and threshold. The strength setting determines the extent to which edges are stressed, the fineness setting determines how fine the detail that is being highlighted is, and the threshold setting determines the contrast level that the sharpening will be applied.
Several times, we put our studio scene through the Raw conversion process of the camera in order to obtain the balance that we considered to be the best. The situation is immediately improved upon by decreasing the fineness to 1, which helps to bring out finer detail.
When done in this manner, the outcome is more nuanced, which opens up the possibility of boosting the Strength from 3 to 4. Finally, we discovered that decreasing the Threshold setting also helps bring out finer details, and after examining some photographs taken with a higher ISO, we discovered that a setting of 1 or 2 produces results that look better overall, despite the fact that the sharpening causes noise to become a little more noticeable.
An examination of autofocus
As was previously mentioned, the Canon EOS 6D Mark II is equipped with a 45-point all-cross-type focusing system that is directly inherited from the Canon EOS 80D. Unfortunately, because the camera comes with a smaller sensor and viewfinder, the distribution of AF points in the viewfinder of the 6D II is, to put it mildly, limited. You can get a comprehensive overview of it in our review of the EOS 80D, which can be found here.
This system is unquestionably an advancement on the old 6D, which included 11 AF points, only one of which was of the cross-type variety: the center point. This central point on the original 6D was also the sole point sensitive down to -3 EV for low-light shooting, and regrettably, this tradition has been carried over to the 6D II: all of the other surrounding points are only sensitive to -0.5 EV. At the very least, the center point of the 6D II has been upgraded to a dual cross-type, which ought to result in improved accuracy.
When you switch to live view, you’ll be using Canon’s Dual Pixel AF, which takes autofocus measurements from the image plane and covers approximately 64 percent of the frame (80 percent in each dimension). This autofocus system is typically quite accurate because it measures autofocus from the image plane. Unfortunately, as you will see, it only has a limited amount of value when used with the 6D Mark II.
When you convert to a lesser burst speed for focus priority, you’ll only be able to fire off images at a rate of 1-2 frames per second. This is because the continuous focusing performance during burst shooting at maximum speed in live view resulted in a poor hit rate.
It is important to note that the Canon EOS 6D Mark II has the exact same autofocus configuration parameters as the Canon EOS 5D Mark IV. However, these parameters are scattered throughout a custom functions menu and do not include any ‘use-case’ presets, which users who are already familiar with high-end Canon cameras may be accustomed to.
Both the default settings and our attempt to emulate the parameters for ‘Case 4’ on the 5D IV (which are said to be optimal for unpredictable patients) were tested during our bike workout, but the default settings produced the greatest results.
When shooting a single moving subject in the viewfinder with continuous autofocus set to a single point, the 6D Mark II achieves an acceptable level of performance. As was the case with the EOS 80D, we discovered that even if the hit rate is satisfactory, there is a sizeable portion of the captured shots that are just a tad bit blurry, as well as a lesser proportion that are unacceptablely out of focus. This result may be deemed “good enough” by a large number of individuals; nevertheless, there are additional solutions available that will consistently get a hit rate of one hundred percent on this examination.
Once more, we observe that the 6D II turns up a solid performance, but nothing that particularly stands out. After modifying our weave pattern to account for the limited AF area in the viewfinder, we observe a pattern that is very similar to the one that was observed during the straight-on test. We achieve a respectable hit rate, but some of our photographs are slightly blurry, and a few of them are inexcusably out of focus.
Again, this is a test that several rival cameras that are offered at prices that are comparable to one another may easily pass. The approach that Canon employs for subject tracking through the optical viewfinder entails a “cloud” of AF points that is over our subject; yet, the subject’s “softness” shows that Canon has incorrectly judged the subject’s distance.
When we examined the AF locations that the camera had utilized, we found that they did a good job of following the rider. This implies that even while the camera is able to detect and track where the subject is located inside the frame, the autofocus mechanism is simply unable to acquire focus rapidly enough during the burst, or properly estimate the subject’s pace of approach towards the camera.
Dual Pixel Autofocus
After viewing the results that were produced by some of Canon’s more recent cameras, such as the EOS 77D, we had high hopes that the 6D II would provide results that were comparable to those. Unfortunately, we were left with a bitterly disappointing feeling.
We’ve noticed that Dual Pixel sometimes has trouble focusing on things that are far away, and the 6D II is no different in this regard. It was unusual for the camera to start the run with perfect focus on Dan, and although it was able to provide improved outcomes after he drew closer to the camera, the focusing performance was still unreliable overall.
It is important to point out that we carried out this head-on test using the Continuous H burst speed on the 6D II. Once you make this selection in live view, the camera calls to this mode as “speed priority.” The term “focus priority” refers to what happens when the camera is set on Continuous L mode, which drastically slows down the burst rate.
At this moment, this activity does not provide a particularly difficult challenge, even for some of Canon’s other digital single-lens reflex cameras. After that, though, we had Dan begin the weaving, and…oh, no!
It was a nightmare trying to shoot in live view while using the “Speed Priority” shooting mode. After the first turn, the focusing box would lose track of our rider and just sit there, with the camera sometimes making an attempt to reacquire him toward the conclusion of the run. This would happen as soon as the first turn occurred. This is a situation that should be avoided if at all possible.
However, we next tried the slower ‘focus priority’ burst setting in live view, which reduces the number of frames taken in a burst to between one and two per second.
Because Dual Pixel takes its time to establish proper focus to the best of its ability before firing the shutter, we see a far more amazing hit rate in this instance. The burst rate averaged 1-2 fps with no consistency, so if you were expecting to shoot a burst of shots that will allow you to choose precisely the correct moment, you’re out of luck. Unfortunately, this just isn’t very practical for moving objects.
Test of autofocus at close range and in dim light
For the purpose of this test, we put the subjects in environments with lighting that is not particularly bright in order to simulate the experience of employing subject tracking in natural settings. First things first, let’s talk about the autofocus mechanism for the optical viewfinder.
Here is where the Dual Pixel feature on the 6D II begins to make some sense. As long as you are not shooting in a burst mode, the camera will remain steadfastly focused on faces and subjects whenever you are in a scenario such as this one. Dual Pixel makes it extremely simple to take casual photographs of people you know, such as your family and friends.
Canon EOS 6D Mark II Specifications
|Body type||Mid-size SLR|
|Body material||Magnesium alloy|
|Max resolution||6240 x 4160|
|Image ratio w:h||1:1, 4:3, 3:2, 16:9|
|Effective pixels||26 megapixels|
|Sensor photo detectors||27 megapixels|
|Sensor size||Full frame (35.9 x 24 mm)|
|Color space||sRGB, Adobe RGB|
|Color filter array||Primary color filter|
|ISO||Auto, 100-40000 (expands to 50-102400)|
|Boosted ISO (minimum)||50|
|Boosted ISO (maximum)||102400|
|White balance presets||6|
|Custom white balance||Yes|
|JPEG quality levels||Fine, normal|
|File format||JPEG (Exif v2.3)Raw (14-bit Canon CR2)|
|Optics & Focus|
|Autofocus||Contrast Detect (sensor)Phase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View|
|Autofocus assist lamp||No|
|Number of focus points||45|
|Lens mount||Canon EF|
|Focal length multiplier||1×|
|Screen / viewfinder|
|Articulated LCD||Fully articulated|
|Screen type||TFT LCD|
|Viewfinder type||Optical (pentaprism)|
|Minimum shutter speed||30 sec|
|Maximum shutter speed||1/4000 sec|
|Exposure modes||ProgramShutter priorityAperture priorityManual|
|Scene modes||PortraitGroup photoLandscapeSportsKidsPanningClose-upFoodCandlelightNight portraitHandheld night sceneHDR backlight control|
|External flash||Yes (via hot shoe)|
|Flash X sync speed||1/180 sec|
|Drive modes||SingleHigh-speed continuousLow-speed continuousSilent singleSilent continuousSelf-timer (10 sec/remote control)Self-timer (2 sec/remote control)Self-timer (continuous shooting)|
|Continuous drive||6.5 fps|
|Self-timer||Yes (2 or 10 secs)|
|Exposure compensation||±5 (at 1/3 EV, 1/2 EV steps)|
|AE Bracketing||±3 (3 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)|
|Modes||1920 x 1080 @ 60p / 60 Mbps, MP4, H.264, AAC1920 x 1080 @ 30p / 30 Mbps, MP4, H.264, AAC1920 x 1080 @ 30p / 12 Mbps, MP4, H.264, AAC1920 x 1080 @ 23.98p / 30 Mbps, MP4, H.264, AAC1280 x 720 @ 60p / 26 Mbps, MOV, H.264, AAC1280 x 720 @ 30p / 4 Mbps, MOV, H.264, AAC|
|Storage types||SD/SDHC/SDXC (UHS-I compatible)|
|USB||USB 2.0 (480 Mbit/sec)|
|Wireless notes||802.11b/g/n + NFC + Bluetooth|
|Remote control||Yes (wired, wireless or smartphone)|
|Battery description||LP-E6N lithium-ion battery & charger|
|Battery Life (CIPA)||1200|
|Weight (inc. batteries)||765 g (1.69 lb / 26.98 oz)|
|Dimensions||144 x 111 x 75 mm (5.67 x 4.37 x 2.95″)|
After such a protracted period of time, the 6D Mark II will need to fill some very large shoes. The first generation of the 6D had things a little easier, as there was a less developed market at the time that was ready to overlook some of its flaws in exchange for a full-frame sensor in an affordable body. However, there have been some shifts in how things operate since then.
It is true that practically every objective specification of the Canon EOS 6D Mark II has been improved upon when compared to its predecessor; yet, the retail price of the camera has not changed. It is very tough to see past all of the features that competitor cameras have to offer unless you are a Canon customer who is committed to the brand, already has an investment in glass, and just needs a cheap backup body.
The Nikon D750 costs the same as its predecessor but has almost the same resolution, an increased dynamic range, and an autofocus technology that is far more advanced. The same can be said regarding the Sony a7 II, despite the fact that this camera is more reasonably priced.
The Pentax K-1 offers an exceptional bargain and provides you with even superior build quality, in addition to distinctive and forward-thinking features such as Pixel Shift and a significantly higher resolution. The sole feature that sets the EOS 6D II apart from its competitors is its Dual Pixel AF, which, as it turns out, is only of actual benefit with this camera while taking single images of slow-moving subjects or recording HD video.
Let there be no confusion: the Canon EOS 6D Mark II, like so many other cameras, is capable of producing exceptional photos in the hands of an experienced photographer. However, even when taking into account all of Canon’s traditional benefits, such as great color, simplicity of operation for video capture, and a comprehensive lens ecosystem, the Canon 6D Mark II is lacking in too many areas for us to recommend it more than the other options, and as a result, it does not merit our highest awards.
Pros & Cons
- A JPEG hue that’s easy on the eyes
- Sensor with an improved 26-megapixel resolution and solid performance with high ISO
- In general, the ergonomics and controls are really decent.
- Effective Dual Pixel autofocus
- Enhanced user experience on touchscreens with
- Optical viewfinder with a restricted autofocus viewing area
- A lower dynamic range at low ISO than even competitors using crop-sensor technology.
- The video in 1080/60p is grainy and lacking in clarity.
- Very slow shooting bursts while maintaining autofocus while in live view
- The precision of the viewfinder focusing mechanism lags below that of the competition.