Canon EOS R Review

Canon EOS R Review

This evaluation has been revised to reflect the functionality and performance of firmware version 1.6, made available in the latter half of 2019.

The new RF mount was initially implemented on the Canon EOS R, the world’s first full-frame mirrorless camera. It utilizes the same 30-megapixel Dual Pixel CMOS sensor used in the EOS 5D Mark IV released in 2016. However, it is developed for a new line of RF lenses. Canon claims that the new RF lens mount will enable them to create lenses that are either better or smaller than those they can now design for the old EF system.

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Canon EOS R RF24-105mm F4-7.1 is STM Lens Kit

Last update was on: May 28, 2023 4:53 am

You are, in essence, getting the image and video quality of the 5D Mark IV with the price point of the 6D Mark II, along with a healthy dose of control philosophy from both of those cameras as well as the EOS M series, when you purchase an EOS R. This is because the EOS R combines the image and video quality of the 5D Mark IV with the control philosophy of the EOS M series.

Handling and ergonomics are inconsistent, and the EOS R’s video capabilities are much below those of the leading competitors, even though the camera can produce high-quality images.

Less than two weeks they separated the announcements of the EOS R and the Nikon Z7, designed around new mounts. The Z7 is Nikon’s first full-frame mirrorless camera, and the EOS R is likewise based around a new horse.

Whereas Nikon makes a big deal about how immediately familiar the Z7 will be to existing Nikon shooters, Canon is incorporating some more radical ergonomic innovations on the EOS R; unlike any existing Canon camera, it handles. Nikon makes a big deal about how immediately familiar the Z7 will be to existing Nikon shooters. Let’s take a more in-depth look at just what those innovations are and how they function.

What’s New?

It’s possible that the EOS R doesn’t have the most impressive list of specifications, but it’s still a virtual camera because it’s Canon’s first camera to use its new RF mount. In addition to this, it offers a novel arrangement of capabilities and features inside Canon’s product spectrum and a few innovative control points.

The flange-back distance of the EF mount has been reduced from 44 millimeters to 20 millimeters thanks to Canon’s new RF mount, which also maintains the original 54-millimeter diameter of the EF mount. According to what we’ve heard from other manufacturers, Canon asserts that the combination of “short and wide” in a lens mount paves the way for new creative opportunities when it comes to the design of lenses (particularly regarding faster maximum apertures or wide-angle options).

Additionally, the new attachment features a 12-pin connection that enables speedier communication between the camera and the lens. This new mount is available now.

According to Canon, the new RF mount was also developed with durability in mind throughout the design process. The RF mount should withstand the same kinds of punishment as the EF mount over the past few decades. They have also said there is no facility for attaching EF-M lenses on RF-mount bodies. This information was provided in a separate statement.


The fact that Canon has introduced brand-new lens designs alongside the EOS R proves the potential benefits of the RF mount. All four lenses, the 28-70mm F2 L USM, the 24-105mm F4 L IS USM, the 50mm F1.2 L USM, and the 35mm F1.8 Macro IS STM, deliver outstanding performance.

According to Canon, three primary considerations go into creating each new RF lens: a more compact size, improved optical performance, and enhanced operating parameters. Canon gave more weight to the latter two considerations while developing the 28-70mm F2 L USM, intended for more professional users.

Canon took a more minimalist approach to lens design with the 35mm F1.8 Macro, a more general-purpose lens. As more and more lenses are added to the system, we anticipate seeing a growing selection of lenses designed to accommodate a diverse range of users and applications.

Making the switch to full-frame mirrorless isn’t only about making smaller camera systems, though that is one benefit.

In other words, Canon does not regard a change to full-frame mirrorless as a method of generating overall smaller systems as its primary motivation for making the switch. Instead, it is more important to consider what the system can provide regarding optics, functionality, and operation and how different combinations may be matched to various applications and users.

Other things to take into account

When Canon conceptualized the RF mount, it considered several additional restrictions inherent in the EF system, which has been around for thirty years. More specifically, there are restrictions placed on the rate at which information may be transmitted between the lens and the camera and a restricted number of channels via which such information can be shared.

Image stabilization processing that is more sophisticated is possible thanks to the increased bandwidth that the RF mount provides for data. In addition, in more effectively adjusting for vibrations, the integrated Digic 8 processor of the EOS R can now read more specific information from a lens gyro and compare it in real-time against blur observed on the image sensor.

The EOS R features a Digital Lens Optimizer (DLO) engine that helps to battle lens aberrations and diffraction digitally. The increased speed of the mount also lows the DLO engine in this regard. In addition, the camera body no longer needs to search for DLO data in a database because the lens now provides it.

M-Fn Bar

The M-Fn Bar is a novel control point introduced for Canon cameras. It is possible to operate a set of customizable functions by swiping and tapping, but it does not give any tactile input to the user.

Although we are not entirely sold on the idea, which is very similar to Apple’s Touchbar, certain users may find it helpful. On the next page, we will go into the specifics of its functions and how they are used.


The C-Raw format was initially introduced on Canon’s entry-level EOS M50 camera, and it has since made its way into the EOS R. The C-Raw files are around 40 percent smaller than conventional Canon Raw files, and you won’t notice any deterioration in quality unless you push your files by many stops. C-Raw files may be downloaded here. We recommend keeping C-Raw enabled to conserve space on your hard drive and memory card unless you are working on something of the utmost importance.

Updated video

The EOS R can record video in 4K resolution, which users might anticipate from a camera that was introduced in 2018. However, looking into it more, you will see that it is not the most intriguing implementation.

It has a maximum frame rate of 30 frames per second and a crop factor of 1.83, which makes it challenging to record wide-angle film. Additionally, it exhibits very significant rolling shutter aberrations. However, Pixel AF may be utilized during recording, which is a definite benefit.

Body and Handling

When you pick up the EOS R, you are greeted with a favorable initial impression. The grip is pleasant, and the camera has an incredibly robust feel. However, after having it in our hands and putting it through its paces for a while, the results of our shooting with it have been all over the place.

Although the placement of the front dial appears to be quite similar to that of the dial on existing DSLRs, some of the photographers working in the office found it more challenging to access. There was also a significant divide regarding how easy using the camera’s rear dial was. The difference in opinion appears to be based on whether the user supported the camera’s weight with their left hand, freeing up the right hand to operate the controls, or whether they tried to both grip the camera and use it with their right hand.

It does not appear that a dominant right-hand strategy will be successful (you can either operate the dials or grip the camera firmly, but not both). However, if you choose to utilize the other way, which involves cradling the lens with your left hand, placing the AF point using your left thumb on the back screen will be tough.

Sealing Off the Weather

Canon claims that the body has the same level of weather sealing as their 6D Mark II. Unfortunately, weather sealing is always more of a marketing promise than a trustworthy quality. Manufacturers don’t specify ingress protection criteria, and warranties often don’t cover moisture damage, so it isn’t easy to believe this claim beyond anecdotal confirmation.

Our contribution to those tales is that we had viewfinder fogging when shooting with a camera in an area with a lot of moisture.

AF point placement

The EOS R utilizes its two control dials to place the AF point by default. To do so, you must first click the AF point button on the rear of the camera, then spin the front dial to scroll left and right and the rear dial to scroll up and down. When you adjust the camera, you open up the possibility of using various approaches.

Two quicker techniques exist to set the AF point available in the camera settings. You can move your chosen AF point or region around using the rear controller’s cardinal points if you put the four-way controller to the ‘Direct AF point selection’ under ‘Customize Buttons’ (Tab 5 of the Custom Fn menu). This is possible if you set the four-way controller to ‘Direct AF point selection’ Because it passes through each unique AF position; this method of operation is laborious yet accurate.

The other option is to activate the “Touch & drag AF settings” feature, which can be found in Tab 1 of the AF menu. While keeping one eye on the viewfinder, this feature enables you to tap or drag the autofocus (AF) point using the touchscreen, depending on whether you have selected the ‘absolute’ or relative placement option. To avoid the negligent operation of the device, you can deactivate a portion of the rear screen.

M-Fn Bar

The M-Fn Bar, located directly next to the viewfinder on the EOS R, is one of the most distinguishing aspects of this camera. This touch bar may be configured to perform the functions of two buttons and a control that can be swiped, allowing you to scroll through the options you select.

The ‘Safety Lock’ function, which renders the pad inoperable until you hold it continuously for two seconds, is the behavior that is enabled by default. The ability to disable this lock depends on whether you have assigned a function to which you require continuous or occasional access.


Batteries of the LP-E6N kind were utilized in the EOS R, just as they were in other recent high-end Canon cameras. The earlier LP-E6 batteries that do not have the N suffix can still be used; however, doing so will result in shorter battery life and remove the option to charge the batteries while they are still in the camera.

The battery in the EOS R may be charged through the USB C connector built into the camera. Unfortunately, it is not compatible with all chargers. Canon suggests that you use its own PD-E1 USB adapter rather than any other charger; nonetheless, the list price for this accessory is $190.

Suppose you have previously linked the camera to a charger that is not compatible with it. In that case, the camera will not charge when connected to a computer through USB because it looks to have a security function, or it might be a fault. Therefore, before putting a USB C charger through its paces, it is imperative that you first reset the device by removing the battery and then replacing it.

Controls and Customization

Anyone who has used a Canon DSLR or EOS M camera within the past few years will find that the majority of the menus and many parts of the EOS R’s UI are instantly recognizable to them. There is a reasonable degree of customization accessible as well, but compared to the offers of rivals, the available customization possibilities appear to be increasingly limited.

In contrast to the familiarity of the user interface, there are features of the physical controls that are a departure for Canon, and some users on staff weren’t too pleased with them. However, the user interface is relatively straightforward to use.

The majority of the buttons on the camera, including REC, M-Fn, the LCD Illumination button, Mode, AF-ON, AEL, and Lens, are programmable to perform one of 38 different purposes. For example, if the dial is rotated while the AF-ON, AEL, and Lens buttons are kept down, it is also possible to configure the controls to alter the ISO or the exposure compensation. Additionally, two new settings that pertain to the top plate LCD have been added to the Illumination button.

Other control options

The directional points, the AF point button, and the Set button on the four-way controller can each be programmed with 24 different purposes (generally losing the options you might need to press while also pressing the shutter).

In addition to this, the depth-of-field preview and button+dial Exposure Comp settings have been added to the Set button.

Personalization of the Dial Function

The ‘Dial Function’ option may be set to pretty much any of the buttons on the camera. This brings up a menu with many options, which may be navigated by scrolling the rear dial; the front dial allows you to review the available values for each parameter.

The Dial Function list may be personalized to contain up to five options that the user wants to have rapid access to, and each of these options can be organized in whatever order the user chooses.

Auto ISO and various displays on the screen

You can select the EOS R’s maximum and minimum ISO values when operating in Auto ISO mode. You also have the option to specify the minimum shutter speed at which the camera will work before it starts to increase the ISO.

This can be automatically tied to the shutter speed. Whether you’re more concerned about overcoming a handshake or attempting to prevent blurring from subject movement, you may be prejudiced to choose a faster or slower shutter speed than 1/focal length. Alternatively, you have the option of manually setting the shutter speed.

You can use auto ISO when shooting in manual exposure mode, which allows you to select a shutter speed and aperture value and then have the camera utilize ISO to maintain the appropriate brightness level. Altering the target brightness can also be accomplished through exposure compensation. Again, this is something that applies to both still photographs and videos.

If you set ISO to a dial or lens control ring or assign Auto ISO to the M-Fn Bar, the ‘Auto’ option won’t be available until the metering timer has run out of its allotted time. This was an unanticipated bug in the system.

This waiting game is comparable to the behavior set as the default for Auto Exposure Lock on Canon cameras; however, the fact that you may still select it from the touchscreen results in an uncomfortably inconsistent experience.

When shooting with the EOS R, you can access various display options, such as information about the exposure, a histogram, an electronic level, and the opportunity for a ‘clutter-free’ display of only the live feed. This is helpful when you are trying to be careful with your composition. However, you should be aware that it is not possible to display both the electronic level and the histogram at the same time.

Image quality

The actual world is full of various textures, colors, and details, which our test scene attempts to replicate. In addition, it features two illumination modes to witness the effect of different lighting circumstances.

There is no disputing that the EOS R appears to have a “crisper” appearance compared to the 5D Mark IV; nevertheless, this is solely attributable to Canon’s newest RF 50mm F1.2L utilization lens for this evaluation. We were able to confirm, with the assistance of DPR member Jack Hogan, that the anti-aliasing filter found in the EOS R is of a strength comparable to that found in the 5D Mark IV. Aliasing occurs more often across the scene as a direct result of the employment of this sharper lens.

Once the ISO values increase, the EOS R exhibits noise levels comparable to those of the other Canons. However, its performance is still roughly a full stop below that of the Sony a7 III and the higher resolution a7R III. This remains true even at higher ISO settings, such as 25600 and beyond. The ‘dual gain design’ found in newer Sony sensors is at least partially responsible for this phenomenon.

The performance of JPEG

Canon’s JPEG colors remain one of the company’s most vital points, with richer reds approaching the 6D Mark II more closely than the 5D Mark IV.

The sharpness applied by default in the EOS R has been increased, which is the immediate change that has been made. The effect of the sharper RF lens is probably responsible for part of this, but the most crucial factor is that Canon has made some minor adjustments to the “Standard” image profile.

The 5D IV’s default settings for sharpness, fineness, and threshold are respectively 3, 4, and 4, whereas the EOS R’s default settings are correspondingly 4, 2, and 4 for each category. Even though there are fewer haloing aberrations than the 5D IV, they are still apparent. This indicates more excellent radius sharpening and an algorithm that is typically less robust than Sony’s.

Regarding preserving details, the noise reduction on the EOS R has not significantly improved. Compared to its stablemates, edges appear softer, although looking stronger in Raw and low-ISO JPEGs; this leaves it farther behind Sony’s current algorithm.

When contrasted with the EF 85mm F1.8 USM

According to what is written in our studio scene guide, we do all in our power to employ lenses of our brand with a focal length of around 85 millimeters. However, the focal length is not an inflexible rule, and when there is a solid reason to do so, we may occasionally employ different lenses with focal lengths ranging from 50mm to 100mm.

In addition, we make every effort to employ lenses explicitly designed for a certain amount rather than adding an adapter to the system, which introduces an extra possibility of the system not being correctly aligned.

Since one of the advantages of the RF mount is the freedom it gives manufacturers to create superior optics, we reasoned that it would be prudent to compare the RF 50mm F1.2L to the EF 85mm F1.8 USM, which has been of great assistance to us in validating EF-mount cameras in the past.

The fact that it is a native lens, in addition to its slightly improved performance and consistent sharpness across the frame, is sufficient to convince us to utilize the 50mm F1.2L as our regular lens for the RF mount until an 85mm becomes available.

Meanwhile, this comparison should allow you to evaluate which discrepancies may be attributed to different lenses and which represent variances in the performance of other cameras.


Since we initially had a look at the EOS R, Canon has implemented several significant improvements to the camera’s focusing mechanism. As a result, the functionality and performance of firmware version v1.6 are evaluated on this page.

When working with distant targets and telephoto lenses, autofocus tracking in continuous or Servo AF performs exceptionally well; nonetheless, unexpected hunting might cause the photographer to miss images.

Moving your AF region with the 4-way controller takes far too long, although using the touchpad AF helps make up for this in specific ways.

The most efficient approach to utilize AF tracking is to set an initial AF point, and the camera will use this to dependably track the Face and eyes of the subject you have chosen.

A suitable buffer, although its maximum burst rate is relatively modest in comparison to that of its contemporaries

The EOS R employs Canon’s Dual Pixel AF technology, distinguished by the fact that each pixel on the sensor is composed of two photodiodes positioned behind a single microlens. This will give you one-half pixel that looks to the left and one-half pixel to the right.

By contrasting the two perspectives offered by the left- and right-facing photos, the focusing system gives a sense of the distance between itself and the subject.

You can select any of the camera’s 5655 autofocus points, which span the entirety of the sensor’s height and the majority of its breadth. This affords a far more comprehensive degree of compositional freedom than is immediately attainable with a DSLR.

AF point control

There are primarily four different ways that the point might be positioned. The first method is to click the AF Point button and then scroll the dials, with one dial scrolling vertically and the other dial scrolling horizontally, similar to what you would do with a Canon DSLR.

The second approach involves pressing a direction on the four-way controller after pressing the AF Point button. This method moves the AF location with higher accuracy than the first method.

The touchscreen is utilized in both of the additional ways that the AF point may be set. For example, you can tap the area where you wish to put the autofocus point or utilize the rear screen as a trackpad when the camera is brought up to your eye.

This second option, “Touch and drag,” may be configured such that a swipe either moves the point relative to its present location or positions the AF point exactly where you tap on the screen. The user can deactivate specific parts of the display screen to prevent accidental actions.

AF area modes

The EOS R features various AF area modes, ranging from the relatively hands-off “Face + Tracking” option to the ability to pick individual points manually. The other methods change the dimensions and contours of the AF point to accommodate your topic and the degree to which you believe you can maintain the region you have selected over your subject.

When using the 1-point mode, you may move the point to any of the 143 available places by scrolling the dials (a 13 x 11 array). In addition, the four-way controller may be nudged to carry on a finer grid, measuring 87 by 65 positions to access the entire 5655 points. This second technique is, of course, a lot slower than the first one, which is why it could be preferable for fine-tuning that first-point pick.

The Face + Tracking option is far more automatic than the other modes. By default, it will select a face to use if it can locate suitable candidates. If there isn’t a face in the scene, it will just choose anything close by and place it towards the middle of the picture to focus on instead. If you tap anywhere on the screen, it will follow whatever you have selected.

After you touch the screen, there may be a delay of up to two seconds before the first green box is replaced by the white bracketed ‘in focus’ tracking target. This delay may occur even if you have a fast enough device. Even though the camera will already follow the topic, there will be a considerable delay before you can capture a picture.

This latency may be almost eliminated by using the “Continuous AF” mode of the camera, which tells the device always to try to remain approximately in focus, even when it is not used to photograph.

Tracking of the autofocus system

Changing the parameter in the menu labeled “AF 5|Initial Servo AF pt for Face + Tracking” is the approach to subject tracking we recommend the most. By default, it is set to “Auto,” but altering it enables you to select an initial AF point for tracking mode. This point can be unique to the Tracking mode or shared with the other single-point AF modes. Because of this, you can establish the AF point in advance instead of doing it after the subject has already been captured in the frame.

Again, setting an initial point prevents the camera from delaying the focus by around two seconds and causes it to begin following your subject as soon as you half-press the shutter button. Working in this manner eliminates the requirement to use the power-hungry “Continuous AF” feature. In addition, we discovered that the tracking initiated using this method was more reliable than the tapping-to-track version.

When you begin tracking a target and aim it at a face or extremely close to one, the tracking feature will employ face detection to sustain its tracking, which makes it less likely to become distracted by other items in the environment.

Face / Eye detection

Pupil Detection is Canon’s name for eye detection, and it comes as an additional feature included with the EOS R’s tracking mode. Face detection is an essential component of this mode. When you select Face + Tracking mode from the Q menu, you may activate this feature by pressing the “Info” button on your controller.

There is a mistake in the UI that might be misleading, and it is still there in firmware version 1.6. Because of this, it can be difficult to tell if Eye AF is active. When the camera says “[Info: Eye] Enable,” it means “Enabled,” so when you’re first getting used to the camera, you’ll need to keep in mind that this isn’t an instruction to press the Info button to enable the function; it’s already on. When the camera says “[Info: Eye] Enable,” it means “Enabled.”

You can choose which face in a scene to concentrate on by touching its position on the back screen. This allows you to indicate that the autofocus tracking should begin on a specific individual.

Autofocus performance

The AF Tracking mode performs excellently, particularly if configured to begin tracking from a previously selected starting AF point. The camera is one of the most trustworthy systems in terms of remaining focused on the topic you have chosen, and it is lightning-fast when it comes to acquiring a subject.

The camera has a relatively low continuous shooting rate, which is the more considerable limitation on its effectiveness as a sports and action camera; nonetheless, our prior testing shows that it successfully pushes the lenses to the proper depth and retains its lock on a moving subject. However, because the viewfinder only displays a slideshow of the action at five frames per second, it might not be easy to track what is happening.

We saw some occasional focus hunting when we initially tested the camera. However, unfortunately, we cannot retest the tracking at this time to determine whether or not it still exhibits this behavior.

Face/Eye detection

With firmware version 1.6, the EOS R can now distinguish eyes even when the Face captured in the picture is relatively small. This expands the EOS R’s applicability to a greater variety of scenarios.

It takes very little time to locate an eye; once it does, it will persistently maintain its concentration there. Therefore, even if it cannot see the person’s eye, it will keep its attention on the Face of the subject.

Additionally, the camera has a high tolerance level for the person turning their back on it. We discovered that the camera would keep its lock on a person even if the individual turned their back to the camera. As long as they remain within the viewfinder’s confines and do not turn about ninety degrees away from the camera, the system will continue to identify them as the subject it should be following.

Even when dealing with a very narrow depth of field, it seems like the precision of the focus is good. However, even though the camera is quite capable of recognizing eyeballs, even in persons donning glasses, we discovered that it tended to focus on the frames of the glasses rather than the eyes themselves.

We also discovered that the camera would occasionally stop recognizing eyes and revert to Face detection in the middle of a series of images. This was another issue we encountered. However, the outcomes and hit rate are satisfactory enough for us to consider it our preferred photography method.


The EOS R is the first camera from Canon to be capable of utilizing Dual Pixel autofocus while simultaneously recording 4K video. However, even while this suggests that consumers will have an easier time capturing video that is in focus, there are still many additional considerations to consider.

A digital IS enabled crops somewhat further, whereas a digital IS has upgraded crops much further.

When shooting in 4K, a significant amount of rolling shutter might result in a “Jello effect,” often known as shaky footage.

Maintaining a healthy battery life when recording video

When shooting in 4K, the Canon EOS R suffers the same severe aspect ratio reduction as its predecessor, the Canon EOS 5D Mark IV. Although it is possible to locate lenses, particularly EF-S lenses designed for the company’s crop-sensor DSLRs, that will enable you to shoot at pretty wide angles with the EOS R, this presents a unique challenge for photographers who use their cameras for a combination of still photography and videography. It just isn’t feasible for many folks to have to switch lenses whenever they switch from shooting stills to shooting video.

Although we found the EOS R to have an incredibly appealing color output, it does not do well as a video camera because several things work against it. For example, even with a stabilized lens, obtaining smooth hand-held footage and maintaining a straight horizon might be challenging when you do not have a camera with an in-body stabilizer.

The rolling shutter is quite apparent to the naked eye. The digital image stabilizer has a discernible blurring effect on the output and introduces artifacts into the four corners of your video. Unfortunately, the capture aids aren’t all that fantastic, either. Once you begin recording, you will no longer have the opportunity to view a histogram and cannot locate any zebra exposure warnings.

On the bright side, we discovered the battery life was excellent even when recording video. Moreover, if you need to ramp your aperture up or down, it does so gradually (some rivals still move in 1/3-stop “jumps,” which may be unsettling). Likewise, it does it gently if you need to adjust the shutter speed.

In manual movie mode, you can use Auto ISO in conjunction with exposure compensation. This lets you choose your desired shutter speed and aperture while allowing the camera to adjust its gain according to the scene’s conditions.

You are internally at high bitrates (even if the usefulness of this feature is debatable due to the blurry video), and you also have the catalog film, which enables you to make the most of the camera’s dynamic range.

Even though we are glad to discover that Dual Pixel AF has been implemented for 4K photography in the EOS R, this capability is defective. When we used autofocus, we saw more hunting than expected.

It is difficult to suggest the EOS R to most video shooters because of its limitations. However, despite this, diehard vloggers may find that the combination of 4K video, dual pixel AF, and a flip-forward screen appeals to them. Furthermore, the affordable EF-S glass enables them to acquire a sufficiently wide-angle view.

Video quality

Now that we’ve got that out let’s examine the EOS R in front of our studio setting. Bear in mind that this does not make it feasible for us to evaluate things like the rolling shutter or the efficiency and efficacy of the video codec. However, it makes it possible for us to examine how the camera is sampling the scene and the most significant detail that can be captured.

It is essential to point out that when shooting in 4K mode, the EOS R has a crop factor of 1.8, making it more comparable to an APS-C or Super 35 camera than a full-frame camera. Furthermore, it employs a sensor area that isIn addition, most analogous to that of the Panasonic GH5S. Therefore, when considering your camera’s depth-of-field and low-light performance, it is essential to keep this context in mind.

Although the most notable feature of the EOS R is its ability to maintain adequate focusing when shooting in 4K, we cannot gloss over the fact that the camera’s 4K footage is somewhat grainy. Moreover, when shooting with a full-frame sensor, the Nikon Z7 isn’t much better than other cameras, exhibiting a lot of stair-stepping abnormalities. However, things are significantly improved when the camera is set to APS-C mode.

However, because both the Sony a7 III and the Fujifilm X-T3 capture oversampled video before downsampling it to 4K output, the EOS R cannot match the amount of detail that these two other cameras offer.

Your film will appear softer if you use digital image stabilization in 4K, which is a similar effect to the one we observed for the first time with the EOS M50. However, if you utilize advanced picture stabilization, you will see that the impact is more prominent.

Because the EOS R does not come with image stabilization built into the body of the camera, it is up to the user to decide if the fuzziness and artifacts generated by digital stabilization are worth the trade-off of having smoother footage.

The 1080p output of the EOS R appears to be pretty competitive when compared to that of the Nikon Z7 and offers slightly better detail than that of the Sony a7 III; however, the Fujifilm X-T3 continues to lead the pack and makes use of a larger sensor region than the Canon, which is likely to perform better in low light.

Canon EOS R Specifications

Body typeSLR-style mirrorless
Body materialMagnesium alloy
Max resolution6720 x 4480
Other resolutions4176 x 2784 (1.6x crop)
Image ratio w:h1:1, 4:3, 3:2, 16:9
Effective pixels30 megapixels
Sensor photo detectors32 megapixels
Sensor sizeFull frame (36 x 24 mm)
Sensor typeCMOS
Color spacesRGB, Adobe RGB
Color filter arrayPrimary color filter
ISOAuto, 100-40000 (expands to 50-102400)
Boosted ISO (minimum)50
Boosted ISO (maximum)102400
White balance presets6
Custom white balanceYes
Image stabilizationNo
Uncompressed formatRAW
JPEG quality levelsFine, normal
File formatJPEGRaw (14-bit Canon CRW)C-Raw (Canon compressed Raw)
Optics & Focus
AutofocusContrast Detect (sensor)Phase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View.
Autofocus assist lampYes
Manual focusYes
Number of focus points5655
Lens mountCanon RF
Focal length multiplier
Articulated LCDFully articulated
Screen size3.2″
Screen dots2,100,000
Touch screenYes
Screen typeTFT LCD
Live ViewYes
Viewfinder typeElectronic
Viewfinder coverage100%
Viewfinder magnification0.76×
Viewfinder resolution3,690,000
Photography features
Minimum shutter speed30 sec
Maximum shutter speed1/8000 sec
Exposure modesProgramAperture priority shutter priorityManual
Built-in flashNo
External flashYes (via hot shoe)
Flash X sync speed1/200 sec
Drive modessingle high-speed continuous low-speed continuous self-timer
Continuous drive8.0 fps
Self-timerYes (2 or 10 secs)
Metering modesMultiCenter-weightedSpotPartial
Exposure compensation±3 (at 1/3 EV, 1/2 EV steps)
AE Bracketing±3 (3 frames at 1/3 EV, 1/2 EV steps)
Videography features
FormatMPEG-4, H.264
Modes3840 x 2160 @ 30p / 480 Mbps, MOV, H.264, Linear PCM3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, AAC3840 x 2160 @ 24p / 480 Mbps, MOV, H.264, Linear PCM3840 x 2160 @ 24p / 120 Mbps, MOV, H.264, AAC3840 x 2160 @ 23.98p / 480 Mbps, MOV, H.264, Linear PCM3840 x 2160 @ 23.98p / 120 Mbps, MOV, H.264, AAC1920 x 1080 @ 60p / 180 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, AAC1920 x 1080 @ 30p / 90 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, AAC1920 x 1080 @ 24p / 90 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 24p / 30 Mbps, MOV, H.264, AAC1920 x 1080 @ 23.98p / 90 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 23.98p / 30 Mbps, MOV, H.264, AAC1280 x 720 @ 120p / 160 Mbps, MOV, H.264, Linear PCM
Storage typesSD card (UHS-II supported)
USBUSB 3.2 Gen 1 (5 GBit/sec)
USB chargingYes (With some chargers)
Microphone portYes
Headphone portYes
Wireless notes802.11b/g/n + Bluetooth 4.1 LE
Remote controlYes (via smartphone)
Environmentally sealedYes
BatteryBattery Pack
Battery descriptionLP-E6N lithium-ion battery & charger
Battery Life (CIPA)370
Weight (inc. batteries)660 g (1.46 lb / 23.28 oz)
Dimensions136 x 98 x 84 mm (5.35 x 3.86 x 3.31″)
Other features
Orientation sensorYes

Overall conclusion

The EOS R is Canon’s first full-frame mirrorless camera. Because it features a tried-and-true sensor and excellent color output, it can generate images of very high quality.

However, many full-frame cameras are out on the market today that can produce stunning images. Therefore, the process of getting to those photographs is becoming an increasingly crucial factor to take into consideration. In this regard, the EOS R falls short of expectations.

The EOS R’s ergonomics leave much to be desired, which is surprising coming from a Canon camera. In its current configuration, the M.Fn Bar is an unnecessary component. The rear dial is not recessed enough, the buttons are too soft, they do not provide adequate feedback, and the arrangement of the buttons on the body of the camera is questionable. In addition, the available customization possibilities are perplexing; although there is a lot of leeway in certain areas, there are restrictions on other sites that are pretty annoying.

There are also some problems with the program and the user interface. For example, if you are utilizing something called “evaluative metering,” you could discover that your exposure varies widely from picture to shot, even though the lighting and the composition are relatively identical.

Even if you selected that option in the options, during playback, you could not rapidly zoom to the AF point that was utilized (though a double-tap on the touchscreen double tap to wherever you tap).

The EOS R’s usability issues may be fixed with a firmware update (and previous upgrades have significantly improved the camera’s ability to autofocus). Still, for the time being, the user is left with a noticeably rough experience around the edges.

Many usability issues we have seen with the EOS R might be resolved with a software update.

The EOS R also struggles to differentiate itself from the competition in terms of the features it offers and the performance it delivers. The burst rates are not very outstanding, and the rolling shutter flaws make the quiet electronic shutter option less helpful than it could be.

The on-sensor Dual Pixel Autofocus system is capable of incredible accuracy in Single AF and down to deficient light levels; however, the performance in Servo (continuous) AF can be disappointing, with random hunting ruining some of our shots. The system can focus down to defNevertheless, the light levels in Single AF.

And in terms of video, its high-bitrate 4K footage with exquisite color reproduction is handicapped by an important crop factor and slightly low-detail capture. This is the case even though the film is being captured in 4K.

Ultimately, it’s probably best to look at the EOS R as a case study for the future benefits of the RF system. All native lenses released up to this point are of exceptionally high quality. Canon offers three different EF lens adapters that you can choose from, depending on your requirements.

Unfortunately, we have a hard time recommending the EOS R to a broader audience, with the possible exception of existing Canon consumers searching for a second, lighter full-frame camera.

Because in the end, the Canon EOS R is unquestionably capable of taking stunning photographs; however, while doing so, it frequently distracted us and took us away from the process of taking pictures, as opposed to becoming an invisible component of the process itself, as the very best cameras do.

Canon EOS R Price

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Canon EOS R RF24-105mm F4-7.1 is STM Lens Kit

Last update was on: May 28, 2023 4:53 am

Canon EOS R FAQs

Is Canon EOS R for beginners?

The Canon EOS R is a camera that amateurs can use. Still, it is also a camera designed for professionals and comes with various sophisticated features that more seasoned photographers will find valuable. In addition, its user-friendly interface and helpful features, such as the electronic viewfinder and targeting system, make it simpler for people just starting.

Is the Canon EOS R worth the price?

The worth of the Canon EOS R is contingent upon the purchaser’s requirements for a camera. It is a high-end mirrorless camera with exceptional picture quality, quick autofocus, and a sensor that can capture full-frame images. The price may be reasonable for professional photographers, but it is out of reach for amateur photographers and those just starting.

What is Canon EOS R used for?

The Canon EOS R is a flexible camera that can be used for various photography, such as landscape, portrait, wildlife, and sports photography. It is simple to operate for novice photographers and works very well for experienced photographers.

Is Canon EOS R discontinued?

There will not be a discontinuation of the Canon EOS R. It is a well-liked option for photographers, even throbbing for purchase.

Is Canon EOS R DSLR or mirrorless?

Mirrorless cameras are what the Canon EOS R belongs to. It is unlike a DSLR because it does not have a conventional reflector or an optical viewfinder.

Is Canon EOS R full-frame?

Full-frame sensors are significantly bigger than APS-C sensors, which can be found in other types of cameras. However, the Canon EOS R does have a full-frame sensor.

What is the lowest price of the Canon EOS R body?

The cost of the Canon EOS R chassis shifts from store to store in response to any reductions or special deals that may be available. To my understanding, as of the end of September 2021, the EOS R chassis could be purchased for approximately USD 1,500 at its cheapest.

How good is Canon EOS R autofocus?

The autofocus system on the Canon EOS R is brisk and precise, and it has outstanding capabilities for following moving subjects. In addition, it has an Eye Detection AF that enables the photographer to focus on the subject’s eye when taking a headshot.

Does the EOS R take good photos?

The Canon EOS R can produce photographs of a very high standard, with unprecedented levels of detail and color fidelity.

Does Canon EOS R have autofocus?

The Canon EOS R has autofocus and even includes sophisticated functions like Eye Detection AF and subject tracking.

Is Canon EOS R touch screen?

There is a touch screen available on the Canon EOS R, and it can be used to make adjustments to the settings, traverse the menus, and even select the autofocus locations.

Is Canon EOS R good for landscape photography?

Because of its high-resolution full-frame sensor, outstanding dynamic range, and capacity to capture minute detail, the Canon EOS R is an excellent choice for landscape photography.

More Canon EOS R



Joseph is a talented photographer and videographer based in the USA, with a thriving career as a freelance creative. Over the past several years, he has had the privilege of working with renowned brands, capturing captivating images and videos. His portfolio encompasses a diverse range of subjects, specializing in fashion, portrait, and lifestyle content creation. From editorial shoots to engaging social media videos, Joseph's versatile skills ensure exceptional visual storytelling in every project. Beyond his professional endeavors, he nurtures a personal passion for travel and nature photography, channeling his deep appreciation for the environment into a commitment to sustainability and environmental causes.

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