6D mark ii body


Камера Canon 6D Mark II, Полный обзор, Характеристики

Основные характеристикиПолное название модели:Разрешение:Размер датчика:Комплект объектива:Видоискатель:Родной ISO:Расширенный ISO:Выдержка:Макс. Диафрагма:Размеры:Вес:Доступность:Производитель:
Canon EOS 6D Mark II
26,20 мегапикселей
35мм (35,9 мм х 24,0 мм)
4,38-кратный зум 24-105mm 

(24-105 мм экв.)

Оптический / ЖК
100 — 40000
50 — 102 400
1/4000 — 30 сек
4.0 (комплект объектива)
5,7 х 4,4 х 2,9 дюйма (144 х 111 х 75 мм)
55,0 унций (1560 г) включает в себя батареи, комплект объектива
07/2017
Canon

Несмотря на привычный внешний вид, Canon 6D Mark II имеет множество улучшений по сравнению с его чрезвычайно популярным предшественником. В основе 6D II — новый 26-мегапиксельный сенсор и процессор обработки изображений DIGIC 7. Они сочетают в себе хорошее качество изображения и впечатляющую общую производительность.Однако, другими способами, камера чувствует себя упущенной возможностью. Динамический диапазон разочаровывает, и нет видео 4K. В конечном счете, 6D II является хорошей полнокадровой зеркальной фотокамерой начального уровня, даже если кажется, что это могло бы быть намного больше.

ПЛЮСЫ

Отличный варио-угловой сенсорный экран; Dual Pixel CMOS AF; Хорошее качество изображения в большинстве ситуаций; Впечатляющие показатели для своего класса.

МИНУСЫ

Разочаровывающий динамический диапазон; Нет видео 4K; Оптический видоискатель короток; Узкое покрытие точки автофокусировки через видоискатель.

ЦЕНА И ДОСТУПНОСТЬ

Корпус Canon 6D Mark II, доступный с июля 2017 года, продается по цене чуть менее 2000 долларов США. В настоящее время камера поставляется в комплекте с объективом Canon EF 24-105 мм f / 4L IS II USM по цене около 2900 долларов США или с объективом EF 24-105 мм f / 3,5-5,6 IS STM по цене около 2400 долларов США.

ОЦЕНКА РЕСУРСА ИЗОБРАЖЕНИЙ

4.0 из 5.0

Несмотря на то, что дебютировал еще в 2012 году, Canon 6D оставалась чрезвычайно популярной камерой даже полвека спустя. Поставляемая как полнокадровая цифровая зеркальная камера Canon начального уровня, 6D предлагает великолепный, большой CMOS-датчик, но экономит затраты в нескольких областях, таких как качество сборки, выбор карты памяти, сложность системы автофокусировки и другие. Тем не менее, он не слишком экономил, так как он все еще был достаточно полнофункциональным, и в то же время предлагал уникальные для полноразмерной зеркальной фотокамеры Canon функции: встроенный Wi-Fi и GPS. В общем и целом, это была более легкая, компактная и доступная альтернатива основному полнокадровому продукту Canon в то время, 5D Mark III , и отличный выбор для опытных любителей и энтузиастов, желающих перейти на полнокадровый режим без полной очистки из их банковского счета.

Пять лет спустя 6D Mark II дебютировал, и в нем устранены многие недостатки оригинала, например, система автофокусировки и серийная съемка. В соответствии со своим наследием, 6D Mark II по-прежнему является полноразмерной цифровой зеркальной фотокамерой Canon, доступной под 5D Mark IV , и отличается более компактным и легким дизайном и, конечно, более доступной ценовой категорией. Кроме того, как и его предшественник, 6D II предлагает несколько новых функций, которые в настоящее время недоступны в полнокадровой зеркальной камере Canon.

Сенсор и процессор: Canon повышает разрешение, выводит новейшие процессоры на цифровые зеркальные камеры

В основе камеры лежит разработанный и изготовленный компанией Canon 26,2-мегапиксельный полнокадровый CMOS-датчик (с фиксированным фильтром нижних частот), обеспечивающий хорошее, но не экстравагантное разрешение с 20-мегапиксельным сенсором оригинала. Например, модели 5D Mark IV и 5DS R по-прежнему предлагают гораздо большее разрешение, при 30 Мп и 50 Мп соответственно, но при 26 Мп 6D Mark II предлагает множество мелких деталей для больших отпечатков или гибкости для кадрирования для большинства ситуаций и применений. ,

В сочетании с новым датчиком используется процессор изображений DIGIC 7, первый процессор серии 7 в полнокадровой зеркальной камере Canon. С точки зрения улучшения качества изображения, в дополнение к улучшению чистого разрешения благодаря сенсору, новый процессор изображений помогает камере с высокой производительностью ISO. С собственным диапазоном ISO от 100 до 40 000, 6D Mark II более мощный в условиях слабого освещения, чем оригинальная модель, которая предлагала только до стандартного ISO 25 600. Камера предлагает расширенный диапазон ISO, вплоть до ISO 50 и до ISO 102,400 — такой же расширенный диапазон, как у оригинального 6D.

Большая площадь полнокадрового сенсора и процессора DIGIC последнего поколения 6D Mark II делает его довольно надежным при слабом освещении.

6D Mark II предлагает более высокую скорость серийной съемки, чем 5D Mark III

В дополнение к высокому повышению производительности ISO мы наконец-то добрались до одной из основных проблем, на которых сосредоточился Canon для усовершенствования 6D Mark II: увеличение скорости серийной съемки. Исходный 6D снимал со скоростью 4,5 кадра в секунду (или 4,4, согласно нашим лабораторным тестам), но 6D Mark II снимает до 6,5 кадров в секунду благодаря более быстрому процессору, который также немного быстрее, чем 5D Mark III и только немного медленнее, чем 7fps 5D Mark IV.

Теперь, для супер-быстрых, про-уровневых видов спорта и экшена, 6,5 кадров в секунду вряд ли «до предела» в наши дни. Если вам нужна более быстрая съемка в теле Canon, 7D Mark II предлагает до 10 кадров в секунду, если у вас все в порядке с телом APS-C, или если вам нужен полнокадровый снимок, а деньги не являются объектом, 1DX Mark IIбудет с его потрясающая скорость серийной съемки 14fps. Тем не менее, 6D Mark II обеспечивает хороший баланс между высоким разрешением и быстродействием; 6.5fps — все еще вполне способная непрерывная скорость для большинства фотографов, которые не являются профессиональными фотографами.

По данным Canon, буферная емкость 6D Mark II при съемке файлов RAW была улучшена, несмотря на большие файлы и более высокую скорость серийной съемки. При использовании карты памяти UHS-I емкость буфера только для RAW составляет 21 кадр, тогда как для оригинала — 17 кадров. Захват RAW + JPEG (Large / Fine) выглядит лучше, поскольку Mark II оценивается в 18 кадров, тогда как оригинал оценивается всего в восемь кадров. Для файлов JPEG формата Large / Fine буферная емкость Mark II оценивается в 150 кадров, хотя для 6D — 1250 кадров, но имейте в виду, что файлы меньшего размера и меньшая скорость серийной съемки. В наших лабораторных тестах производительности 6D Mark II камера управляла 98 большими / мелкими JPEG, 20 RAW и 18 RAW + JPEG кадрами со скоростью 6,5 кадров в секунду, что довольно близко к характеристикам Canon. (Наш тестовый объект был спроектирован так, чтобы его было трудно сжать, поэтому глубина буфера JPEG часто намного меньше, чем утверждают производители.)

Оптический видоискатель в 6D Mark II обеспечивает покрытие поля приблизительно 98%, увеличение приблизительно 0,71 и точку обзора около 21 мм.

Заимствованный из 80D, 6D II получает более продвинутую систему автофокуса

Еще одним значительным улучшением для 6D Mark II является его система автофокусировки, которая значительно улучшена по сравнению с оригинальной моделью. Первоначальная модель использовала довольно скромную систему AF с 11 точками, в то время как 5D Mark III предлагала колоссальную систему с 61 точкой. Это была довольно резкая разница в гибкости точки автофокусировки и общих характеристиках автофокусировки. Теперь 6D Mark II использует 45-точечную систему автофокусировки с перекрестным типом. Центральная точка автофокусировки представляет собой двойную точку перекрестного типа, которая поддерживает диафрагмы f / 2.8 и f / 5.6, а 27 точек автофокусировки поддерживают автофокусировку до f / 8 — отличная новость для пользователей телеконвертера. (Обратите внимание, что число доступные точки автофокусировки, точки перекрестного типа и точки двойного перекрестного типа зависят от используемого объектива, как и в других моделях Canon DSLR.)

По сути, 6D Mark II использует ту же систему автофокуса, что и Canon 80D , а разброс точек автофокусировки охватывает ту же область, что является одним из основных недостатков при его включении в 6D II. Учитывая датчик APS-C 80D, эта система автофокусировки с 45 точками покрывает значительную часть сенсорной области (62% горизонтальной ширины и 48% высоты изображения), однако при использовании на полнокадровом датчике, массив точек автофокусировки сгруппирован больше в центральной области этого большего датчика. Тем не менее, точки автофокусировки довольно плотно упакованы рядом друг с другом, что должно помочь успешно получить четкое изображение, особенно при использовании непрерывной автофокусировки. Как и 80D, система автофокусировки с фазовым детектором 6D Mark II обеспечивает автофокусировку в условиях очень слабого освещения, вплоть до -3EV с центральной точкой автофокусировки.

Как и другие зеркальные фотокамеры Canon EOS, 6D Mark II предлагает режим покадровой автофокусировки и режим AI Servo (непрерывная автофокусировка), а также автоматический режим «AI Focus AF», который автоматически переключается между режимами одиночной съемки и C-AF, как того требует сцена. 6D Mark II предлагает множество конфигураций точек автофокусировки, помимо настройки одной точки, включая зональную автофокусировку (точки, разделенные на девять групп), большую зонную автофокусировку (три большие группы точек) и автофокусировку с автоматическим выбором (где все 45 точек активны, и камера автоматически выбирает точку или точки).

Система измерения камеры значительно улучшена по сравнению с оригинальным 63-зонным двухслойным датчиком измерения iFCL от 7D и 5D Mark III. Теперь 6D Mark II использует 7,560-пиксельный RGB + ИК датчик измерения 80D. В дополнение к своим функциям измерения работает в сочетании с системой автофокусировки AI Servo AF II, чтобы обеспечить тон кожи и определение цвета для лучшего распознавания лиц и отслеживания объекта.

Как и самые последние цифровые зеркальные фотокамеры Canon, новая 6D Mark II теперь также предлагает технологию Dual Pixel CMOS AF в дополнение к традиционному AF с фазовым детектированием через видоискатель. Как мы видели в других «двойных пикселях» камерах Canon, эта технология фокусировки в режиме Live View использует пиксели определения фазы на поверхности сенсора, чтобы обеспечить сверхбыструю и очень точную автофокусировку при съемке в режиме Live View и записи видео — и все это без видимого эффекты охоты и шатания, наблюдаемые с помощью систем автофокусировки с обнаружением контраста В нашем тестировании камеры с поддержкой Dual Pixel CMOS AF предлагают выдающуюся автофокусировку в режиме реального времени с суперскоростными скоростями, и мы получили такую ​​же превосходную производительность от 6D Mark II.

Аналогично легкий, но с одной поразительной новой функцией для полнокадровой зеркальной фотокамеры Canon

В целом, 6D Mark II поддерживает те же принципы дизайна, что и его предшественник, в том, что он остается довольно компактной и легкой полнокадровой цифровой зеркальной фотокамерой. По сравнению с оригиналом, 6D Mark II весит более или менее столько же, примерно 685 г по сравнению с 680 г для 6D — или около 1,5 кг. Это сравнивается с весом 800 г (1,8 фунта) 5D Mark IV, что делает 6D Mark II более удобным для переноски. Что касается размеров, то 6D Mark II сохраняет примерно ту же общую площадь, что и оригинальная модель, которая опять же немного меньше, чем его более крупный брат 5D-серии.

По большей части 6D Mark II выглядит так же, как и любая другая современная цифровая зеркальная фотокамера Canon, что довольно здорово, когда дело доходит до знакомства и работоспособности — особенно если вы уже привыкли к системе Canon EOS, пользовательскому интерфейсу меню, расположению кнопок и общая схема управления. Что касается расположения кнопок и дизайна, 6D II выглядит очень похоже на 5D Mark IV, но по сравнению с другими полнокадровыми зеркальными фотокамерами Canon, 6D Mark II обладает одной яркой новой особенностью: полностью шарнирным 3,0-дюймовым сенсорным ЖК-дисплеем.

6D Mark II оснащен шарнирным 3,0-дюймовым ЖК-дисплеем с сенсорным экраном с разрешением 1,04 миллиона точек, обеспечивает приблизительно 100% охват поля и включает регулируемую яркость, а также покрытия для уменьшения пятен и отражений.

Как правило, 6D Mark II, как правило, относится к более зеркальным цифровым зеркальным камерам начального уровня и с меньшей степенью защиты от атмосферных воздействий, и представляет собой первую полнокадровую цифровую зеркальную фотокамеру, оснащенную этим удобным сенсорным ЖК-дисплеем с задним углом. И, несмотря на то, что он, вероятно, более хрупкий, чем стационарный ЖК-дисплей, Canon заявляет, что 6D Mark II предлагает прочный, водостойкий и пыленепроницаемый корпус с такой же степенью герметизации, что и на 5D Mark IV, что весьма впечатляет.

Как многие, вероятно, уже поймут, преимущества сочлененного ЖК-дисплея по сравнению с фиксированным ЖК-дисплеем включают более простую и удобную съемку с низких или больших углов. Кроме того, вы также можете настраивать и наклонять экран, чтобы избежать неприятных бликов при ярком солнечном свете — хотя оптический видоискатель может серьезно помочь в этом отношении, по крайней мере, при съемке фотографий. Однако, где ЖК-дисплей с переменным углом наклона действительно сияет — это запись видео. При съемке видео, будь то на штативе или на плече, или просто в руке, вы можете легко откинуть экран практически под любым углом, который вам необходим для комфортной съемки. Кроме того, экран 6D Mark II разворачивается на 180 градусов, поэтому, если вы режиссер соло, вы можете легко записывать интервью или снимать видеоблоги и при этом следить за кадрами и экспозицией.

Кроме того, благодаря сенсорным возможностям и технологии Dual Pixel CMOS AF от 6D II функция фокусировки позволяет легко и быстро настроить фокусировку как для фотосъемки, так и для видеосъемки.

Недостаток 4K бросается в глаза, но видео на 6D II хорошо для начального уровня

И пока мы находимся на теме видео, давайте углубимся в характеристики и характеристики видео 6D Mark II. В то время как 6D Mark II представляет собой полнокадровую цифровую зеркальную фотокамеру с шарнирным экраном, который, по-видимому, позиционирует ее как камеру мечты инди-режиссера, 6D Mark II не включает в себя все навороты для видео, как это делают некоторые высококлассные камеры 

Canon. моделей. А именно, отсутствие четких разрешений видеозаписи является наиболее явно отсутствующей функцией. Увы, 6D Mark II предлагает запись видео с максимальным разрешением Full HD со скоростью до 60 кадров в секунду со скоростью до 60 Мбит / с (1080p60). Частота кадров 60p отлично подходит для объектов с быстрым действием, особенно в тех случаях, когда вы можете захотеть замедлить отснятый материал в посте для видео 30p или 24p.

Тем не менее, 6D Mark II предлагает несколько функций 4K, и это новый встроенный режим Timelapse; особенность, отсутствующая в оригинальном 6D. Здесь 6D Mark II предлагает захват видео с интервальной съемкой в ​​формате 4K Motion JPEG (воспроизведение 4K 30p) или Full HD (воспроизведение ALL-I 1080p30). Камера также поддерживает режим HDR Movie от Canon (1080p30 IPB).

Что касается других форматов видеофайлов и настроек качества, 6D Mark II не предлагает такой разнообразный выбор, как, скажем, на 5D Mark IV. Кроме вышеупомянутого режима видео с интервальной съемкой, все другие разрешения видео и частоты кадров используют форматы файлов M-PEG4 / H.264 MP4 с компактной схемой сжатия IPB. Камера не поддерживает формат MOV или более качественное сжатие ALL-I (внутрикадровое).

Как и в большинстве других камер Canon, максимальное время непрерывной записи видео составляет 29 минут 59 секунд, после чего запись останавливается и должна быть возобновлена ​​вручную. Камера имеет 3,5-мм вход для микрофона, но не имеет разъема для наушников, что является еще одним ограничивающим фактором для более продвинутых видеооператоров.

В целом, функции видео на 6D Mark II не являются принципиально новыми, но они подходят для новых стрелков или для тех, кто в основном фокусируется на фотосъемке, но время от времени хочет побаловать себя видео. Отсутствие 4K, вероятно, разочаровывает многих людей, которые ищут новую цифровую зеркальную фотокамеру с поддержкой видео, поскольку в последнее время все больше новых камер от других производителей добавляют 4K. Однако, если вам нужно только 1080p, выступ 6D Mark II может удовлетворить все требования.Хранение, подключение и время автономной работы: снова SD, беспроводное изобилие и лучшая батарея

Как и его предшественник, 6D Mark II использует одну SD-карту для хранения файлов, в отличие от CompactFlash и / или CFast, как большие полнокадровые зеркальные фотокамеры Canon. Камера совместима с картами SD / SDHC / SDXC, включая карту типа UHS-I (без поддержки UHS-II). Карты памяти беспроводной связи Eye-Fi также совместимы.

Однако вам может не понадобиться использовать карту Eye-Fi, поскольку 6D Mark II имеет множество встроенных функций беспроводного подключения. Действительно, как и его предшественник — который был первой полнокадровой зеркальной фотокамерой Canon с поддержкой Wi-Fi — версия Mark II предлагает новейший набор параметров беспроводного подключения.Имеется подключение как по Wi-Fi, так и по NFC, а также Bluetooth 4.1 (Bluetooth с низким энергопотреблением), который поддерживает 

постоянное подключение с низким энергопотреблением к сопряженному интеллектуальному устройству, чтобы можно было легко просматривать и передавать изображения без повторного подключения к его Wi-Fi вручную. Fi.

С помощью совместимого интеллектуального устройства iOS и Android пользователь может подключиться к 6D Mark II для просмотра и передачи изображений, а также для съемки с пульта дистанционного управления.

6D Mark II также имеет встроенную связь GPS, которая позволяет геотегить ваши фотографии. В дополнение к спутниковой системе GPS для США, 6D Mark II также совместим с российскими системами ГЛОНАСС и Японией QZSS.

Что касается срока службы батареи, благодаря обновленной перезаряжаемой литий-ионной аккумуляторной батарее LP-E6N срок службы батареи, рассчитанной на CIPA, немного увеличен по сравнению с оригинальной 6D для съемки в видоискателе и в режиме Live View.При типичных рабочих температурах 6D Mark II получает рейтинг CIPA 1200 снимков / зарядка для OVF и 380 для заднего ЖК-дисплея, что соответствует показателям 1090 и 220 снимков / зарядка оригинала. При использовании новой дополнительной батарейной рукоятки BG-E21 (нет, батарейная рукоятка 6D не подходит для этой новой модели), батарея практически удваивается. Хотя в 6D II используются более новые аккумуляторные батареи LP-E6N, камера по-прежнему совместима со старыми батареями LP-E6 меньшей емкости.

Canon 6D Mark II Цены и наличие

6D Mark II начал поставляться в конце июля 2017 года с MSRP в размере 1 999 долларов США за конфигурацию только для тушки, что немного меньше, чем 2100 долларов США за оригинальную конфигурацию после его дебюта. 6D Mark II также продается в двух комплектах объектива: одна с Canon EF 24-105 мм f / 4L IS II USM по цене 3099 долл. США, а другая с non-L EF 24-105 мм f / 3.5- 5.6 IS STM по рекомендуемой цене 2 599 долларов США. Батарея BG-E21 стоит около 240 долларов США.

В коробке

В комплект только для тела Canon EOS 6D Mark II входят следующие предметы:

  • Canon EOS 6D Mark II корпус
  • Наглазник Eb
  • Аккумулятор LP-E6N
  • Зарядное устройство LC-E6
  • Боди-кейс RF-3
  • Широкий шейный ремешок EW-EOS6DMKII
  • Инструкция по эксплуатации камеры

Рекомендуемые аксессуары

  • Карта памяти SDHC / SDXC большой емкости . Рекомендуется более высокая скорость UHS-I.
  • EF линзы
  • Дополнительный аккумулятор LP-E6N
  • Аккумуляторная рукоятка BG-E21
  • Комплект сетевого адаптера ACK-E6N
  • Вспышка Canon Speedlite
  • Большая сумка DSLR
1 Тег: CanonCanon 6D Mark IICanon EOSОбзор фотоаппаратовФотокамера

cdnews.ru

Specifications & Features - Canon EOS 6D Mark II - Canon Russia

Full-frame CMOS

26,2 мегапикселя

Разрешение

Intelligent viewfinder

Интеллектуальный видоискатель

Яркий видоискатель с пентапризмой

ISO 40000

Максимальная чувствительность ISO 40 000

может быть расширена до ISO 102 400

Vari-angle LCD

Экран с регулируемым углом наклона

и сенсорным управлением

45 all cross type AF

Автофокусировка крестового типа

для всех 45 точек фокусировки

GPS

GPS

Добавление геотегов прямо во время съемки

Dual Pixel CMOS AF

Система автофокусировки Dual Pixel CMOS AF

для фото и видео

Bluetooth

Беспроводные подключения

Bluetooth®, NFC и Wi-Fi

Смотреть все

www.canon.ru

Canon EOS 6D Mark II review -

The EOS 6D Mark II is a 'low-priced' full-frame DSLR aimed at enthusiasts and upgraders from APSC bodies. The photo and movie quality looks great with the default settings and delivers noticeably less noise than the 80D at high ISOs. The combination of a fully-articulated touchscreen and Dual Pixel CMOS AF means shooting movies or in Live View is a highlight with confident focusing anywhere on the frame. The viewfinder AF is less successful though with limited coverage and a lower hit rate than in Live View. The 6D II also lacks 4k video, higher frame-rate 1080p, dual card slots and headphone jacks, four features present on most mirrorless cameras at this price, albeit normally combined with smaller sensors. So it's Canon's usual story of a feature-set carefully-pruned so not to step on the toes of its higher-end models. If you're wedded to Canon's World, you'll enjoy the 6D II's excellent touch interface, easy Wifi, effortless GPS tagging, leading movie autofocus, and crisp, clean photo quality. Recommended if you desire a full-frame camera at this price point but compare closely with Nikon's D750 and Sony's A7 Mark II.Check prices on the Canon EOS 6D Mark II at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks!

The Canon EOS 6D Mark II is a ‘budget’ full-frame DSLR aimed at pro-sumer and enthusiast photographers. Announced in June 2017, it replaces the almost four-year-old EOS 6D, Canon’s first attempt at a lower-cost full-framer. Like its predecessor, it’s positioned below the EOS 5D series, although enjoys some unique benefits not available elsewhere in Canon’s range.

Most notably, the EOS 6D Mark II becomes Canon’s first full-frame DSLR with a fully-articulated touch-screen monitor – a big upgrade over the original 6D who’s screen remained fixed in place and lacked touch capabilities. Under the hood, Canon’s upgraded the sensor, autofocus, burst speed and connectivity. So it’s in with a new 26.2 Megapixel sensor (vs 20.2 on the 6D), now sporting Dual Pixel CMOS AF for smooth and confident refocusing in live view and movies. The 45 point / all cross-type AF sensor of the EOS 80D has been adapted for full-frame use, representing a big upgrade over the 11-point / single cross-type array of the original 6D. Continuous shooting has accelerated from a pedestrian 4.5fps to a more useful 6.5fps, and the existing Wifi and GPS are now complemented with Bluetooth and NFC, not to mention support for the Russian GPS network in addition to the US and European systems.

Annoyingly – but not surprisingly for Canon – the 6D Mark II lacks 4k video, at least in the normal movie mode. The upgrade to DIGIC 7 means there’s now support for 4k in-camera timelapse movies, but for normal video, the upper limit is 1080 / 60p, and while there is a microphone jack, there’s still no headphone connectivity nor dual SD slots. In Canon’s World, this makes some sense to differentiate it from the 5D Mark IV, but lacking 4k is a dangerous move when its long become standard in the mirrorless world. At least the combination of Dual Pixel CMOS AF, a full-frame sensor and a fully-articulated touchscreen still make it attractive to movie makers.

Canon EOS 6D Mark II video overview

 

Canon EOS 6D Mark II design and controls

The Canon EOS 6D Mark II looks almost identical to its predecessor from the front and top with only the badge at the front to confirm which version you’re looking at. Measuring 144x111x75mm and weighing 765g with battery and memory card, it’s essentially the same width and height as the 6D Mark I, and only a tad thicker and a few grams heavier – both mostly down to accommodating the fully-articulated screen.

If you’re coming from the EOS 80D, you’ll find the 6D Mark II body fractionally wider, taller and heavier (technically 5mm wider, 5mm taller and 30g heavier), but they’re remarkably close in overall size and weight given one has a full-frame sensor and the other has a cropped APS-C sensor; certainly if you’re happy carrying the 80D, you’ll barely notice any difference accommodating the 6D II. I’ve pictured them alongside each other below.

canon-eos-80d-6d-ii-front

The materials used vary between models, with the 6D Mark II described as using aluminium alloy versus magnesium alloy on the Mark I, but the overall build quality and weather-sealing feels similar. Compared to the 80D though, the 6D Mark II feels a little more solid, while the absence of a popup flash means the head is more solid and impervious to knocks. That said, if you’re coming from the 80D, you may miss the presence of a popup flash – I know I find them useful for basic fills. Note the Nikon D750 has a popup flash.

canon-eos-6d-ii-rear-1

Place the 6D Mark II next to the 80D and you’ll also notice the former’s grip is a little larger, the shutter release is soft-touch rather than clicked, the upper LCD screen is rectangular with room for more information and larger fonts, while the buttons running alongside the upper screen are more pronounced, and the rear thumb wheel is larger and easier to turn. There’s also a mild re-arrangement of some buttons, for example the Q button is now to the right of the playback button, allowing the 80D’s Q button to become dedicated to magnifying the image in playback.

canon-eos-80d-6d-ii-top

Switching from the 80D to the 6D Mark II isn’t entirely positive though. As well as losing the popup flash, you’ll also lose the headphone jack along with the Creative Filters and No-Flash modes, and as I’ll mention in a moment, the AF array also occupies a smaller portion of the frame. I’ll go into more detail on each later in the review.

In terms of composition, the 6D Mark II lets you frame using a traditional optical viewfinder or in Live View using the fully-articulated touchscreen. The optical viewfinder employs a pentaprism with 98% coverage and 0.71x magnification, essentially the same as its predecessor. Both deliver a comfortably larger viewfinder image than the EOS 80D, although miss out on its 100% coverage. I should also add the Nikon D750 offers 100% coverage from its viewfinder with similar magnification.

While the EOS 6D Mark II’s viewfinder image is noticeably larger than the EOS 80D’s though, you’ll notice the AF array occupies a smaller portion of the frame. As you may know, the 6D Mark II inherits the 80D’s AF module, adapting it for full-frame use. This does however mean that while both share the same 45-point / all cross-type AF system, the rectangular array occupies a larger portion of the frame on the 80D thanks to its smaller APSC sensor. Indeed on the 80D, the AF array extends across roughly three quarters of the frame compared to less than half of the frame on the 6D Mark II. The bottom line is when composing through the optical viewfinder on the 6D Mark II, you’ll need to be much more careful about ensuring the subject is closer to the middle than you are with the 80D; I’ve discussed this in more detail in the AF section later.

Canon has at least progressed in the degree of information that can be presented in the viewfinder with the 6D Mark II offering a step-up over the 80D and the original 6D. Previously on the 6D Mark I, the exposure compensation scale could double-up as a single-axis leveling gauge, while the 80D gained a simple icon in the corner of the viewfinder which revealed whether the camera was squint, but not by how much. Now the 6D Mark II gains an optional overlay which shows a dual-axis leveling gauge in the upper middle with degrees of tilt in both directions. The 6D Mark II also inherits the 80D’s viewfinder warning icons for detected flicker from artificial lights and whether you’re in, say, monochrome or HDR modes.

The 6D II trumps the 80D and 6D I though with an additional strip of icons along the bottom of the viewfinder image which can optionally display the battery life, shooting mode, AF mode, image quality, drive mode, and metering mode – basically duplicating most of the information shown on the top LCD panel. This is a very welcome upgrade and you can configure the camera to show as little or as much as you like. Like the earlier models, there’s also an optional alignment grid that can be turned on or off.

canon-eos-6d-ii-flip-screen-1

Moving onto Live View, the 6D Mark II offers a similar experience to the 80D with a fully-articulated 3in / 3:2 / 1040k dot touchscreen and an autofocus system driven by a Dual Pixel CMOS sensor. As such you can flip-out and twist the screen to virtually any angle, tap, pinch and swipe your way through one of the best user interfaces in the industry, and tap to reposition the AF area or to pull-focus while filming movies with very smooth and confident refocusing.

While the experience may be similar to the 80D, it all represents one of the biggest upgrades over the original 6D Mark I which had a fixed screen with no touch controls and a live view / movie AF system which couldn’t continuously autofocus. It’s a huge difference in practice and a major reason to upgrade from the 6D Mark I if you’re into shooting in Live View and filming movies. I’ve gone into more detail in the AF and movie sections later. Note the Nikon D750’s screen is a little larger at 3.2in, but a different shape and only articulated vertically; the D750, like all Nikon DSLRs to date, also lacks any kind of effective continuous autofocusing in Live View and movie shooting, a major benefit of modern Canon bodies.

Moving onto connectivity, the 6D II is equipped with USB-2 and Type-C HDMI ports, an N3-type remote input, and a 3.5mm microphone jack. In these respects it’s the same as the 6D Mark I before it as both lack a headphone jack. Interestingly though, the EOS 80D does have a headphone jack, so if you’re upgrading to the 6D Mark II, you’ll lose the ability to monitor audio. It’s also worth noting the Nikon D750 also offers a headphone jack, although again its lack of effective movie autofocus may render it less useful for video than the Canons. The D750 also offers a PC Sync port for external lighting. Note the EOS 80D uses the more basic E3 remote switches.

In terms of wireless connectivity, the 6D Mark II sports Wifi with NFC and Bluetooth to aid connection and negotiation, as well as a built-in GPS receiver. GPS hardware was also available on the original 6D and a feature both models enjoy over the 80D, although on the 6D Mark II there’s now additional support for more satellite networks. The 6D Mark II is however the only one of the three to sport Bluetooth which, as described in detail later, greatly aids Wifi connections as well as supporting a Bluetooth remote accessory. Canon’s Wifi capabilities are superior to Nikon’s both in terms of features and ease of use.

The 6D Mark II, like the Mark I and the 80D, offers just one memory card slot, which takes SD cards and supports UHS-1 speeds; so no twin slots and no support for faster cards. In contrast, Nikon’s D750 offers twin SD memory card slots and while the age of the camera means there’s no internal benefit of using UHS-II cards, the ability to backup as you shoot, store RAW on one card and JPEGs on the other, or simply overflow from one card to another is very useful. Frustratingly Canon force you to buy the 5D Mark IV if you want twin card slots.

In terms of batteries, the 6D Mark II is powered by an LP-E6N Lithium Ion pack that’s charged in a supplied external AC unit; so still no USB charging on any DSLR to date. Canon quotes 1200 shots through the viewfinder, giving the 6D II slightly longer life than the LP-E6 on the Mark I which was quoted at 1090 shots. Interestingly the 80D is powered by the same LP-E6N as the 6D II, but is quoted as having slightly lower battery life. That said once you start filming video, shooting in live view, or using Wifi and GPS, you’ll find the battery life similar across all three and of course depleting much faster. If you’d like longer lifespan, all three Canon bodies can be used with optional battery grips, but they are different models so you can’t re-use them.

Canon EOS 6D Mark II lenses

The 6D Mark II is equipped with an EF lens mount which gives it access to Canon’s huge lens catalogue, while the full-frame sensor means there’s no field-reduction. The only restriction regards Canon’s EF-S lenses, designed for its range of DSLRs with smaller APS-C sensors; these remain incompatible with its full-frame bodies.

The 6D Mark II is typically sold body-alone or in a bundle with the EF 24-105mm f3.5-5.6 IS STM zoom which provides a useful general-purpose range along with quick, smooth and quiet STM focusing during Live View and movies. In my tests I was very pleasantly surprised by this lens which really punched above its weight. As a non-L lens, it may lack weather-sealing and a constant aperture, but I have no complaints over the smoothness of the focusing and zoom ring mechanics, and the optical quality impresses at every focal length and aperture.

canon-eos-6d-ii-24-105-stm-side

This is important since the EF 24-105mm f3.5-5.6 IS STM is currently the only full-frame compatible lens with STM focusing, wide coverage and optical stabilisation. The only other full-frame EF lenses with STM focusing are the EF 40mm f2.8 STM pancake and EF 50mm f1.8 STM standard lenses; both are well worth adding to your collection, but again neither enjoy optical stabilisation nor wide coverage.

There’s two things to take home from this: first is that the EF 24-105mm STM is a no-brainer for the 6D Mark II – and indeed any Canon full-frame DSLR with Dual Pixel CMOS AF that’s going to be used for movies or in Live View. But secondly if you’re coming from the 80D, you’re going to have less choice when it comes to lenses with the movie-friendly STM focusing system. 80D owners with their cropped sensors, have access to both EF and EF-S lenses, allowing them to use models like the excellent ultra-wide EF-S 10-18mm STM, that’s perfect for vlogging at arm’s length. As it stands, EOS 6D Mark II owners who want to enjoy STM focusing, wide coverage and optical stabilisation have only one choice and it starts at 24mm which may not be wide enough.

This is an important consideration for EOS 80D owners, or indeed anyone thinking of using the EOS 6D II for movies. Of course you can use any Canon EF lens for video on the 6D II, but again the movie and live view focusing experience is better with STM models.

That said, I’ll conclude this section by reiterating the EF 24-105mm STM is a surprisingly good lens for the money and an essential partner for the 6D II. I’d also complement it with the EF 50mm f1.8 STM for shallow depth-of-field work at an affordable price.

Canon EOS 6D Mark II autofocus and burst shooting

The Canon EOS 6D Mark II is equipped with two autofocusing systems: a 45-point / all cross-type system when composing through the optical viewfinder and Dual Pixel CMOS AF when composing with the sensor in Live View or in movies. Both represent a significant upgrade over the original 6D Mark I which only offered a basic 11-point system with just one cross-type sensor through the viewfinder, and a contrast-based AF system in Live View and movies which didn’t allow true continuous autofocusing. Note the low-light focusing remains similar on both bodies though with the 6D Mark I and II viewfinder AF systems working down to -3EV and the Dual Pixel CMOS system on the Mark II working down to -2.5EV.

I’ll start with the 6D Mark II’s viewfinder AF system, which is actually inherited and adapted from the EOS 80D. As Canon followers will know, the EOS 80D employs a smaller cropped-frame / APS-C sensor which in turn means the viewfinder AF module covers a larger portion of the frame than it does on the 6D Mark II. As noted in the viewfinder section earlier, the AF array extended across pretty much three quarters of the frame on the 80D, whereas in its scaled-down form against a full-frame sensor on the 6D Mark II, the coverage becomes comfortably less than 50% horizontally. So when shooting through the viewfinder on the 6D Mark II, you have to ensure the subject is fairly close to the middle of the frame or it won’t be focused on.

To be fair, the 6D Mark II’s viewfinder AF coverage is still a little broader than its predecessor, the 6D Mark I. They share similar AF coverage horizontally, but rather than the diamond pattern of the earlier 6D Mark I’s AF module, the Mark II’s is more rectangular in shape. Since it also squeezes 45 points in there compared to 11 on the Mark I, the array is considerably denser too, allowing better tracking within the AF region. But the bottom line remains: on both 6D models you’ll need to compose fairly close to the centre of the frame if you want autofocus through the viewfinder. Anyone upgrading from an 80D will really notice the reduced area of AF coverage on the frame and have to be more careful where they place their subject.

When shooting through the viewfinder you can choose from auto selection (where the camera chooses which of the 45 AF points to use), a zoned region (large or standard), or a single point; sadly the 6D Mark II isn’t considered sufficiently high-end by Canon to earn itself a dedicated AF joystick so you’ll be adjusting the AF area position using the dials or cross-keys. As always, you can choose between One Shot AF for static subjects, Servo AF for moving subjects or AI Focus AF which attempts to choose between them. I’ll discuss the performance in a moment.

Switch the EOS 6D Mark II into Live View and you’ll enjoy the much broader coverage of Dual Pixel CMOS AF which allows around 80% of the sensor area to double-up as phase-detect AF points. This allows the 6D Mark II to autofocus on subjects close to the sides or corners of the frame which is impossible through the viewfinder without first using an AF point nearer the middle, locking, recomposing and hoping you’re still within the depth-of-field of the lens and aperture.

In Live View, the camera divides the large AF coverage rectangle into 63 areas, but lets you position a smaller area pretty much wherever you want. Again you can move the position of the AF area using the buttons, or thanks to the touchscreen you can simply just tap the subject you’d like the camera to focus on. Since the Live View system uses the main imaging sensor, the 6D Mark II can also deploy face detection which again works over almost the entire area of the frame, and if desired you can tap to track a subject, human or otherwise. Once again there’s the choice of single or continuous autofocus that Canon calls One Shot or Servo AF in Live View.

To put the AF systems to the test I shot a variety of subjects both static and in motion, with a selection of lenses in varying light conditions. In terms of speed with static subjects in One Shot mode, the 6D Mark II felt similar whether shooting with the viewfinder or screen. It’s not blindingly quick, but fast enough for most situations, especially when coupled with a decent lens. The low light performance also felt similar through the viewfinder and on the screen, and again while the 6D II wasn’t the fastest camera I’ve tested, I never missed any shots or opportunities because of it. If you’re used to – or demand – snappier AF performance, you may want to personally evaluate the camera before buying it.

To test its performance with a subject in motion, I fitted the EF 70-200mm f2.8L IS II USM lens, set it to 200mm f2.8, turned it to the portrait orientation and aimed at my friend Ben cycling towards me on the Brighton sea-front.

Starting with the viewfinder AF system, I manually selected a single AF point at the far right edge of the array (or at the top in portrait orientation), kept it positioned over Ben’s face as he approached, and fired-off bursts in the Continuous High mode with Servo AF for continuous autofocus. I’ll discuss actual burst speeds later and concentrate on focus performance first. Here’s a sequence of 16 images in a burst shown with the full view followed by 100% crops of Ben’s face. I’d say of the 16, five of them are noticeably blurred, which gives a hit-rate of about two-thirds. I repeated the test several times with similar results. I’d also like you to notice the framing on the full images where Ben’s face is actually positioned on the outer edge of the AF array; I’d have preferred him higher on the frame, but I’d have lost autofocus when framing through the viewfinder.

canon-eos-6d-ii-caf1-row1

Above: Canon EOS 6D II Servo AF using viewfinder with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf1-crops1 canon-eos-6d-ii-caf1-row2

Above: Canon EOS 6D II Servo AF using viewfinder with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf1-crops2 canon-eos-6d-ii-caf1-row3

Above: Canon EOS 6D II Servo AF using viewfinder with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf1-crops3 canon-eos-6d-ii-caf1-row4

Above: Canon EOS 6D II Servo AF using viewfinder with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf1-crops4

After testing the viewfinder AF system I moved onto Live View. Thanks to Dual Pixel CMOS AF, I could position the AF area almost anywhere on the frame, allowing me to shift Ben higher on the image for a more balanced-looking composition. What follows is another burst of 16 frames with the full images and 100% cropped areas, although note the slower burst speed of around 4fps in Live View when using Servo AF means the sequence of 16 frames represents a slightly longer period of time – so Ben starts further away at the start of the sequence. Judging from the crops below, I’d say the Live View AF system is delivering a much higher hit-rate than the viewfinder AF system with all 16 frames looking acceptable and only a couple being a tad-off.

canon-eos-6d-ii-caf2-row1

Above: Canon EOS 6D II Servo AF in Live View with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf2-crops1 canon-eos-6d-ii-caf2-row2

Above: Canon EOS 6D II Servo AF in Live View with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf2-crops2 canon-eos-6d-ii-caf2-row3

Above: Canon EOS 6D II Servo AF in Live View with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf2-crops3 canon-eos-6d-ii-caf2-row4

Above: Canon EOS 6D II Servo AF in Live View with EF 70-200mm f2.8 at 200mm f2.8. Below: 100% crops

canon-eos-6d-ii-caf2-crops4

I’ve always been a big fan of Canon’s Dual Pixel CMOS AF system, but to see it out-performing the viewfinder AF system on the 6D Mark II remained a bit of a surprise. Maybe it was my technique, the subject or the conditions of the day, but the bottom line is I enjoyed a greater hit-rate in Live View, albeit at a slightly slower burst speed;

Shooting in Live View also let me position the AF area almost anywhere on the frame or deploy face detection and let the camera track the subject; indeed I repeated the Live View test with face detection and found it delivered pretty much the same hit rate. The only problem with shooting in Live View on the 6D Mark II -beyond the reduced burst speed – is the fact you can only compose with the screen and not the viewfinder. Not only is this hard in bright conditions, but it’s tough to aim and recompose with a DSLR held out in front of you and a large lens on the front. If only it was possible to frame with the viewfinder in Live View… oh hang on, that would be a mirrorless camera.

I know the whole point of buying a DSLR is having access to an optical viewfinder, but the simple fact is the Live View AF experience on the 6D Mark II is superior to its viewfinder AF system. Indeed over time I found myself increasingly shooting with the screen in Live View on the 6D Mark II over the viewfinder, and only using the latter when the conditions were very bright or it was too hard to aim.

Moving onto the burst speed performance, Canon quotes a top speed of 6.5fps with a buffer of 150 JPEGs or 21 RAW files; the speed represents an increase over the 4.5fps of the 6D Mark I although only matches what’s offered by the Nikon D750 while actually coming-in half an fps slower than the 80D’s top speed of 7fps. To put the 6D II to the test I used a freshly-formatted Lexar 32GB SDHC UHS-II 2000x SD card, set the shutter to 1/500, the sensitivity to 400 ISO and shot a variety of bursts.

With the 6D II set to Large JPEG, and using the viewfinder, I fired-off 130 JPEGs in 20 seconds for a rate of 6.49fps, confirming the quoted speed and the camera seemed happy to keep shooting. In RAW, I fired-off 19 frames in 2.86 seconds before the camera stuttered, resulting in a rate of 6.64fps – so roughly as quoted. The 6D II also performed similarly in speed when set to single or continuous AF, when using the viewfinder.

Switching the camera to Live View with single AF, I shot 136 Large JPEGs in 21.35 seconds for a rate of 6.37 seconds and the camera seemed happy to keep shooting. Set to Servo AF though for continuous autofocus, I fired-off 91 Large JPEGs in 22.97 seconds for a reduced speed of 3.96fps. As noted earlier, I was aware of this reduced speed when shooting bursts with continuous autofocus in live view. So if you want the 6D II’s top speed when shooting with continuous AF, you’ll need to use the viewfinder and keep the subject close to the centre. If you want the broader AF coverage of Live View, you’ll need to accept a reduced speed of around 4fps with continuous autofocus.

Still by delivering 6.5fps with single or continuous AF through the viewfinder (or in single AF in Live View), the 6D Mark II represents a boost in speed over the Mark I which only shot at a top speed of 4.5fps. That said, Canon had to play catch-up with the Nikon D750 which offered 6.5fps at launch several years ago. Plus again if you’re coming from the 80D, you’ll only lose half an fps.

Canon EOS 6D Mark II shooting modes

The EOS 6D Mark II’s lockable mode dial offers the traditional PASM options, along with B for Bulb, two Custom positions, SCN, Creative Auto and green Auto+. In this respect it’s identical to the EOS 5D Mark IV and 7D Mark II, apart from swapping their third Custom position for the SCN and Creative Auto modes. As a ‘semi-pro’ Canon body, the 6D Mark II also lacks the digital Creative Filters, although Auto+ can deploy scene detection during Live View composition with the current preset indicated in the corner of the screen. Note the EOS 80D, from which many 6D II buyers may be upgrading from, does have a Creative Filter position on the dial, as well as a Flash-off mode too.

Shutter speeds between 1/4000 and 30 seconds are available, along a 1/180 flash sync and a Bulb mode for longer exposures. If you want a faster 1/8000 shutter and 1/250 flash sync from a full-frame Canon, you’ll need the EOS 5D Mark IV, although it’s worth mentioning the APS-C / cropped-frame EOS 80D also offers 1/8000 and 1/250 flash sync so beware if you’re upgrading. Note Nikon’s D750 has a top shutter of 1/4000.

Like the 5D IV, the 6D II shutter makes a motorized but sharp CLACK sound that comes across as eager to shoot again, but isn’t exactly the quietest around especially when firing continuously. Like most Canon DSLRs, the 6D Mark II offers an alternative ‘silent’ drive mode. This certainly dulls the sharp sound of the mechanical shutter, but remains far from completely silent, instead turning a single CLACK into a slower KER-CHICK.

When shooting in Live View you have the choice of two further ‘silent’ options, but these again simply draw a single sound out into two discernable steps with a delay inbetween; the first mode inserts a small delay while the second mode delays the resetting of the mechanism until your finger lifts from the shutter release. Again both are noticeably quieter than the normal shutter, but they’re not silent.

This may seem reasonable if you only use DSLRs, but there are truly silent alternatives available. For example, most mirrorless cameras offer optional electronic shutters which can operate in genuine silence. Yes, there can be rolling shutter artefacts to beware of when shooting movement with an electronic shutter, but they’re steadily getting better at minimizing the effect and it’s certainly nice to have the option to not only shoot silently, but also often with the added bonus of accessing super-fast shutter speeds, typically up to 1/32000. So while the silent shutter options of the 6D Mark II certainly quieten it down, sensitive event or street shooters may prefer something that can become genuinely silent. It does make you wonder why Canon doesn’t offer a truly silent electronic shutter option in Live View – presumably the sensors suffer too much from rolling shutter.

In a welcome update, the 6D Mark II now offers a Bulb timer option which lets you preset the desired exposure length, eliminating the need for a cable release or remote control accessory; the camera offers a range of one second to 99 hours, 59 minutes and 59 seconds, although obviously power will be a consideration for longer exposures. Here’s a shot I took using the Bulb timer to capture a one minute exposure; during the exposure the time so far is indicated on the upper LCD screen.

canon-eos-6d-ii-bulb-timer-120secs

Above: Canon EOS 6D Mark II Bulb Timer: 120 seconds

Auto exposure bracketing is available in 2, 3, 5 or 7 frames up to 3EV apart, even for seven frames. You can change the order of the bracket, and also have the camera capture the entire sequence with a single press or a timer release. So if you’re into HDR you could use the self-timer to capture a complete seven-frame sequence hands-free without the need for additional accessories. Note if you want to access 2, 5 or 7 frame bracketing, you’ll need to select them in one of the Custom Exposure menus.

The 6D Mark II also supports HDR capture and assembly in-camera. The HDR mode captures three frames at +/- 1, 2 or 3 EV increments (or Auto), before automatically combining them into one using a choice of five effects. You can also choose to have the camera auto-align the images, capture them in a continuous burst and or also record the individual source images.

canon-eos-6d-ii-hdr

Above: Canon EOS 6D Mark II HDR modes (four of the five effects)

Like other recent Canon DSLRs, the 6D Mark II also offers Highlight Tone Priority (preserving detail in highlights) and Auto Lighting Optimiser (adjusting the levels); the former is disabled and the latter set to Standard by default, so unless otherwise stated, these are the settings I’ve used for my tests and sample images. Note I disabled Auto Lighting Optimiser for my noise comparison test as it can introduce artefacts.

The 6D Mark II also features a built-in Interval Timer which lets you capture one to 99 (or an unlimited number) of images at intervals between one second and 99 hours, 59 minutes and 59 seconds. This may now be a fairly standard feature on Canon’s latest DSLRs, but it’s important to remember it wasn’t present on earlier models, so it’s a useful feature here. Some cameras struggle with recording shots at truly regular one second intervals, but I timed the 6D Mark II capturing full-size images in RAW+JPEG mode at one second intervals for 99 frames and it did so in exactly 99 seconds without stuttering or any buffering issues; obviously the shutter speed was sufficiently quick to maintain this speed.

I’m also pleased to report the 6D Mark II can generate timelapse movies in-camera, and it becomes the first Canon camera to offer you the choice of rendering them at 1080p or 4k resolution. The Timelapse movie mode is accessed with the camera set to video and offers the same choice of intervals as the Interval Timer (one second to a second shy of 100 hours), although only for a maximum of 3600 shots, a slowest shutter of 1/25, and without saving the original images. These are then assembled automatically into a 1080p or 4k (MOV format) video at 30p (if set to NTSC) or 25p (if set to PAL), so the longest videos you’ll be able to generate will last about two minutes or 2:20 respectively. If you prefer to have more control over the final rendering, you can of course just shoot a normal interval timer sequence and assemble it in third party software later. Here’s an example of the in-camera Timelapse Movie mode using the 4k option.

Above: Download the original file (Registered members of Vimeo only).

A Multiple Exposure mode is also available, allowing you to combine 2 to 9 frames into one, and like the HDR mode there’s the option to save the individual source images.

In a neat upgrade inherited from the sports models, the 6D Mark II can also now recognize the presence of flickering fluorescent lamps and deliberately delay the shutter to avoid the times when the light is effectively off or at its dimmest. This can particularly affect anyone who shoots fast continuous bursts of action under artificial light, where some of the frames will be darker due to the pulsating frequency of the bulb. By default the flicker reduction is disabled, but if you enable it in the menus, the camera detects the light’s frequency and avoids the dimmest part of the sequence; it may result in fractionally longer shutter lag depending on the cycle, but it remains a useful tool for those shooting bursts under artificial light alone.

The camera’s viewfinder metering system employs a 7560-pixel RGB+IR sensor, divided into 63 segments, I believe the same (or a full-frame version) of the EOS 80D’s metering and a step below the 150,000 pixel / 252 zone system on the 5D Mark IV. The 6D II lets you choose between Spot metering (3.2% of viewfinder), Partial metering (6.5% of viewfinder), Centre-weighted and Evaluative (linked to all AF points). In Live View, evaluative metering employs a finer 315-zone system and as noted earlier, can also deploy scene and face detection to a more sophisticated degree.

While the metering system on the 6D II is less sophisticated than that on the 5D Mark IV, I rarely if ever found it making the wrong decision. All the images in my samples gallery were taken with Evaluative metering, either in Live View or through the viewfinder, and the majority did not need any exposure compensation. Only when shooting under very dim situations, or products under artificial light did I feel the need to make some minor adjustments.

Note Spot metering still remains linked to the central AF point, rather than the active AF point, so if you’re using the AF system to track a subject moving across the frame, the spot metering won’t ‘travel’ with it. This annoys many wildlife and sports photographers who often prefer to spot-meter their subjects against a tricky background. That said, evaluative metering does take the active AF area into account, so it could be worth giving it a try in conditions where it previously struggled. As it stands though, if you want spot metering that’s linked to the active AF area on a Canon body, you’ll need to splurge on the 1Dx series.

Less critical but worth noting is the continued absence of any digital effects or panorama options. Canon doesn’t think the former are relevant on a semi-pro body, and doesn’t seem interested in auto panoramas on any model. Some may think this is reasonable, but I believe both can be fun and useful even in a high-end body. There are the usual Picture Styles which include monochrome options, but nothing like the ART filters or Film Simulations of Olympus and Fujifilm models. So while Canon’s out-of-camera JPEGs are fine, I still personally prefer the JPEG output from Fujifilm. Once again note if you’re upgrading from the EOS 80D, you’ll be losing the Creative Filter options from that model.

A final note on in-camera RAW processing. From the playback menu you can choose to process a RAW file into a new JPEG, with options to adjust the brightness, white balance, picture style, auto lighting optimiser, high ISO noise reduction, image quality and colour space, along with choosing whether to apply lens corrections or not. Once you’re done, a new JPEG file is generated. It’s a useful way to tweak things like the white balance or explore different picture styles after the event, but without needing to open RAW files on your computer.

Canon EOS 6D Mark II movie mode

The EOS 6D Mark II represents a big upgrade over the Mark I in terms of movie capabilities, doubling the maximum frame rate for 1080 to 60p, offering a fully-articulated screen with touch control over exposure and focus, and supporting full-time continuous autofocusing thanks to the Dual Pixel CMOS sensor. I’ll break the bad news right now and say the 6D II still doesn’t have 4k video (unless you count the timelapse mode), nor focus peaking, nor even higher than 60p frame rates for proper slow motion, but if you’re happy with 1080p and can exploit the autofocusing in your work, it’s a delight.

You can film in 1080p at 23.976, 25, 29.97, 50 or 59.94fps in IPB Standard or Light compression, or 720p at 25, 29.97, 50 or 59.94fps. The longest recording time per clip is the usual second-short of half an hour and a full battery charge should be good for around five of them in a row; the combination of a largeish DSLR body, flip-out screen and 1080p maximum quality also means over-heating is unlikely to ever be an issue.

Filming 1080p or 720p takes the full sensor width and scales it down to the desired resolution without any cropping or field-reduction. The camera doesn’t however offer the digital zoom feature of the 80D which starts with a crop for a roughly 3x field reduction, before allowing you to magnify up to 10x (with a steady loss of quality). It’s a shame neither the 6D II or 5D IV offer the digital zoom facility as it’s a neat way of extending the reach in 1080p without a loss of quality.

As before there’s a 3.5mm input for connecting an external microphone, although sadly still no headphone jack; in the full-frame EOS series, Canon clearly sees this as treading on the toes of the 5D Mark IV, yet you’ll find a headphone jack on the EOS 80D from which many will be ‘upgrading’ to the 6D II and thereby losing the capability to monitor audio. It’s also worth mentioning Nikon hasn’t held back on fitting headphone jacks to its comparable DSLRs like the D750.

Like other Canon DSLRs you can film with full manual control over exposure, adjusting aperture, shutter and ISO as desired, or opting for fully automatic. In Manual it’s also possible to lock the aperture and shutter and deploy Auto ISO to balance varying light conditions. In Green Square Auto and Creative Auto modes, the 6D II deploys scene detection, automatically adjusting for human and or backlit subjects.

The touchscreen allows you to make quiet and fairly discreet exposure adjustments while you’re filming, changing the aperture, shutter, ISO and compensation (depending on the shooting mode) in one-third increments.

While the lack of features like 4k, focus peaking and a headphone jack are frustrating, Canon has one important card to play: the 6D Mark II now features a Dual Pixel CMOS AF sensor, allowing 80% of the pixels to double-up as phase-detect AF points, allowing the camera to confidently refocus without hunting. The touchscreen interface also lets you tap just about anywhere and have the camera refocus on that point, or track a moving subject, such as an approaching face, and it’s also possible to adjust the speed and response of the refocusing. This is ultimately what consumers expect a movie mode to be able to do, but sadly it’s something that continues to elude many cameras, most notably Nikon’s DSLRs. It’s even possible to remotely pull-focus on the 6D II by tapping the screen of a Wifi-connected smartphone running the Canon app. Here’s an example of using the 6D II’s touchscreen to pull-focus.

Above: Download the original file (Registered members of Vimeo only).

Dual Pixel CMOS AF works with in all the movie modes including 1080p up to 60fps and works with all EF lenses too, although for the smoothest and quietest refocusing, it’s best to use Canon’s STM lenses. While there’s a fairly broad choice of STM lenses for APS-C / cropped-frame bodies like the EOS 80D though, the options are more limited for the full-frame 6D II which can’t use EF-S lenses. Indeed at the time of writing there were only three full-frame compatible EF lenses with STM focusing: the EF 40mm f2.8 STM, EF 50mm f1.8 STM and EF 24-105mm f3.5-5.6 IS STM. So there’s only one STM lens with optical image stabilisation and or wide coverage. There may be digital movie stabilisation available on the 6D II which makes filming with unstabilised lenses more acceptable (albeit with a mild crop), but the fact remains there are a lot more movie-oriented STM IS lenses available for the cropped-bodies. Once again something you’ll need to consider if you’re upgrading from models like the EOS 80D.

If you’re into grading footage, you’ll be disappointed to discover there’s no Log profile on the 6D Mark II, so you’re next best bet is to use a Neutral profile with all the parameters turned down and hope it’s sufficiently flat; to be fair the situation is no better on the 5D IV, but I should note Log profiles are available on many Sony bodies from the A6300 upwards. There’s also no zebra patterns for gauging exposure, so if you want zebras and peaking (for focus assistance), you’ll need to connect an external monitor.

Now for some more clips to show you what the EOS 6D Mark II’s movie quality looks like in a variety of conditions.

Above: Download the original file (Registered members of Vimeo only).

Above: Download the original file (Registered members of Vimeo only).

Above: Download the original file (Registered members of Vimeo only).

Canon EOS 6D Mark II Wifi, GPS and Bluetooth

The Canon EOS 6D Mark II is well-equipped with wireless capabilities, featuring Wifi and a built-in GPS receiver, as well as Bluetooth and NFC. The earlier 6D Mark I also featured Wifi and GPS, but the addition of NFC and Bluetooth on the Mark II greatly eases the initial negotiation and connection between the camera and your phone, making it more of a seamless process.

The Wifi capabilities are similar to recent Canon DSLRs. You can wirelessly remote control the camera with a Mac or Windows computer (using the supplied EOS Utility) or with an iOS or Android smartphone using the Camera Connect app). You can wirelessly transfer images to a variety of devices including smartphones, computers, printers and compatible cameras, or view them on DLNA devices like a Wifi-equipped TV. Alternatively you can connect the camera directly to the internet and share images on various networks via Canon’s Image Gateway.

I’ll concentrate on the smartphone and computer remote control here, starting with the former and the Camera Connect app which must first be installed on your handset. I tested the latest Android version on my Samsung Galaxy S7.

Like all Wifi-equipped cameras, the 6D Mark II sets itself up as a Wifi access point for your phone to connect to, but the presence of NFC and especially Bluetooth makes the connection process much easier. Since most phones have Bluetooth, the app suggests pairing as soon a sit first starts, but if you prefer you can connect by briefly holding an NFC-equipped phone to the side of the camera, or of course simply browsing for the camera’s Wifi network manually and entering the required password.

Bluetooth is easiest of all though so I’d recommend pairing your phone with the camera when prompted – you’ll only need to do this once. From this point on, the Canon app can connect you to the 6D Mark II’s Wifi with a single tap, allowing you to remote-control the camera or wirelessly transfer images with no further effort or configuration. Indeed the camera doesn’t even need to be next to you, only within Bluetooth range and with the body switched on; the app indicates this is possible when the Bluetooth icon is shown near the top.

canon-eos-6d-ii-wifi-1

Once the camera and phone are connected, the app shows four options: Images on Camera, Remote Live View Shooting, Location Information and Camera Settings; note Location Information performs logging which is redundant here due to the 6D II’s built-in GPS receiver which I’ll cover in a moment.

Selecting Images on Camera fires-up a thumbnail view of the images on the camera’s card, including JPEGs and movies but not RAW files. You can then tap a thumbnail to view a full-screen version with basic shooting information, then save it to your phone if desired. You have the choice of saving the original JPEG image without resizing if desired, or go for a resized version which, on my phone, measured 1920×1280 pixels. You can set a preference going forward or go for an option which prompts you to choose a resized or original version each time you transfer an image.

canon-eos-6d-ii-wifi-2

It’s also possible to access movie files which were recorded in the MP4 format, and copy them across too in their original format. I tried this with a number of 1080p movies which played-back fine on my Galaxy S7 and were also happy to be imported directly into Instagram for sharing.

Select Remote Shooting from the main app menu and you’ll see a live image from the camera on your phone, with the chance to tap anywhere on the frame to refocus if desired (a double-tap presents a magnified view for further confirmation). The Camera Connect app also offers full exposure control depending on the mode set on the camera’s dial. If the mode dial is set to Manual, you’ll be able to remote control the shutter, aperture and ISO all from your phone, then tap the remote shutter release to take a shot.

canon-eos-6d-ii-wifi-3

A slider at the bottom of the app lets you switch the camera into movie mode. Doing so reframes the live image in 16:9 and lets you remotely control the exposure and keeps the touch-AF active. This allows you to remotely pull-focus by tapping the phone’s screen as you film a video.

The final option on the Camera Connect app accesses camera settings, but these are simply related to the clock and area, allowing you to adjust them remotely or sync them with the phone.

As mentioned earlier, you can also use Wifi to wirelessly remote control the EOS 6D Mark II using the free EOS Utility application for Windows and MacOS computers. The EOS Utility is one of the lesser-known highlights of owning a Canon DSLR. With the camera connected to your computer, whether wirelessly or over USB, the EOS Utility lets you remote control pretty much any function or setting of the camera that doesn’t involve turning a physical switch or dial.

As before you can fire-up a large Live View window with a high resolution live image, remote focus (manually nudging it back or forth of going for auto and clicking the desired region with the computer’s mouse), take photos and have them recorded to the computer, camera or both, or trigger movie recording, although videos are still only recorded to the internal memory card. You can also set up an interval timer, although the 6D Mark II also offers the facility in-camera. In Live View Shooting you can overlay a wealth of guides, grids, lines and there’s also a leveling gauge.

canon-eos-6d-ii-eos-utility

Like other recent Canon DSLRs, you can connect your computer to the camera over Wifi using either a shared network or a direct peer-to-peer link. This means you can wirelessly remote control the 6D Mark II directly with a laptop alone, literally in the field. I tried it in my house, remote controlling the camera from different rooms or even floors with my MacBook Pro, although understandably as the range increased, the live view refresh and speed of transferring images (if enabled) reduced. So while wireless control is cool, you should still use a USB cable for the best and most responsive experience. I’d also love to see an option to program a series of shots, not just at preset intervals but also with preset exposure values that could be different for each shot if desired.

As mentioned earlier, the EOS 6D Mark II is not only equipped with Wifi and NFC, it also features a built-in GPS receiver in the viewfinder head. This allows the camera to embed your location details onto images if desired, with no effort other than enabling the feature in a menu – so much easier than recording a log with your smartphone and syncing it later.

There’s three options: Disable which completely turns off the GPS, Mode 1 which keeps the GPS active even when the camera’s switched off (for the quickest positioning, but at the cost of increased battery life), and Mode 2 which turns the GPS off when the camera’s off (resulting in slower acquisitions from cold, but without the increased battery hit of Mode 1); note Mode 2 will still receive GPS signals if the camera powers-down to sleep as oppose to being physically turned off.

If enabled, you can set the GPS to update the camera’s clock automatically, which is very handy when you’re travelling between different time zones, although strangely didn’t work for me when I took the 6D II on a trip from the UK to the USA. You can also set the interval between position updates from every second, every five seconds, ten seconds, 15 seconds, 30 seconds, every minute, every two minutes or every five minutes. It’s also possible to record a GPS log for use externally. A GPS icon flashes while the camera finds its position and stays on once the location is determined.

There’s little more to say really other than it all works as you’d expect, and the process is seamless unlike syncing logs made with smartphones. Mode 1 is of course the most responsive, generally indicating the position is known (with the fixed GPS icon) at all times; you certainly don’t have to wait more than a few seconds if it’s flashing unless you’ve significantly changed location, such as after a flight.

While shooting with the 6D Mark II, I generally left it in GPS Mode 1 for the most responsive and accurate experience. It may consume more battery power, but I didn’t notice it depleting particularly quickly in use, so kept it on. Most of my sample images are tagged with GPS positions; here’s one with the location loaded into Google Maps.

canon-eos-6d-ii-gps-image canon-eos-6d-ii-gps-map

PS: a quick word of warning – if enabled, the GPS will also embed a location on video files (based on the position at the start of recording) as well as stills, so if you’re concerned about privacy, remember to disable it before shooting.

Canon EOS 6D Mark II sensor

The EOS 6D Mark II is equipped with a new full-frame CMOS sensor with 26.2 Megapixels, delivering images with a maximum resolution of 6240×4160 pixels. This represents a comfortable six Megapixel boost over the original 6D Mark I who’s 20.2 Megapixel sensor delivered images with 5472×3648 pixels. This allows you to output two or three inches larger at 300dpi.

If you’re upgrading from the 80D, you won’t notice much difference in resolution over its 24.2 Megapixel / 6000×4000 pixel sensor, but you will enjoy the benefits of the larger full-frame sensor with the 6D Mark II delivering lower noise at higher sensitivities (as seen in my quality page) as well as higher maximum ISOs.

The 6D Mark II lets you record JPEGs in four different resolutions and in a choice of 3:2 (native), 4:3, 16:9 or 1:1 aspect ratios. 14-bit RAW files are available in three resolutions and you can set the camera to record any combination of JPEGs and RAW files. Full-size JPEGs varied considerably in file size depending on the complexity of the subject, generally measuring between 5 and 12MB in my tests, while RAW files typically measured 30-34MB each.

On my quality page I’ve compared the output of both JPEGs and RAW files from the EOS 6D Mark II alongside the 80D for anyone thinking of upgrading. But just before that, a quick look at the dynamic range of the 6D Mark II. As regular readers of Cameralabs know, I don’t formally benchmark dynamic range, so I can’t tell you if it’s decisively better or worse than another camera in this regard, but I can show you some examples of highlight retrieval in practice.

In the examples below you can see an out-of-camera JPEG on the left with a RAW file on the right processed in Adobe Camera RAW to retrieve the maximum highlight detail. In both cases, the processed RAW file has retrieved a lot of highlight detail that had become saturated on the JPEG; you can see it in the sky in the train yard and in the cliffs on the landscape. Maybe you personally want even more, but for my purposes, there was sufficient dynamic range to achieve the results I wanted. Personally I was far more interested in the noise and detail at high ISOs, so that’s what I’ve concentrated on in my quality page.

canon-eos-6d-ii-dr-1

Above left: OOC JPEG. Above right: RAW file processed to retrieve highlight tonal detail

canon-eos-6d-ii-dr-2

Above left: OOC JPEG. Above right: RAW file processed to retrieve highlight tonal detail

  Check prices on the Canon EOS 6D Mark II at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks!  

www.cameralabs.com

Canon EOS 6D Mark II Review

The Canon EOS 6D Mark II is, in almost every respect, a slightly beefier EOS 80D. That means that while it's a little plasticky, it feels solid in the hand. It's appreciably (and pleasantly) lighter than the EOS 5D Mark IV, and Canon's claims of weather-sealing appear to have some merit, with robust protectors over its ports and a gasket around the battery door. We should also note that the 6D II is one of the lightest and most compact full frame DSLRs currently on the market.

As you can see below, comparisons with the 80D are impossible to avoid, as the back panel is close to identical between the two. And the 80D handles quite well, so this is largely a good thing. All of the buttons have good travel, though they may be a tad mushy if you're operating the camera whilst wearing gloves.

The 6D Mark II, left, and the 80D, right. The only significant difference is that the 6D Mark II has a one-touch magnification button above the rear controller.

Our main criticism with the handling of both the 6D II (and the 80D, for that matter) concerns the rear dial and multi controller. The dial itself is fine, but the eight-way controller is a disaster. If you're going to be manually moving your AF point around (and you likely will, since subject tracking in the viewfinder isn't one of the 6D II's strong suits), you're better off just disabling it and doing it the old-school Canon way: Press the selection button by the shutter button, and use the control dials.

That small, nicely click-y button is arguably the best way to select AF points on the 6D Mark II through the viewfinder.

This method takes some getting used to if you've not used older Canon DSLRs, but it ends up being pretty quick once you've built up your muscle memory. We've found it's entirely likely that you'll miss shots when the eight-way controller refuses to respond to your inputs - if only Canon had brought over the 5D IV's excellent joystick.

Thanks largely to its touchscreen and Dual Pixel tech, the EOS 6D Mark II handles very well in live view mode. Being bigger than, say, the EOS 77D, it's less comfortable than that camera to hold at arm's length, but the articulating touchscreen makes it easy to shoot from the hip.

We really like the 5D IV's joystick and rear control dial, but we also really like the articulating screen on the 6D II.

One big advantage of the 6D Mark II over the EOS 80D is that a larger sensor necessitates a larger mirror which, in turn, grants you a larger viewfinder. There's room for the uprated electronic level that's far more precise than on Canon's lower-end offerings, though we do wish the viewfinder was 100% coverage: you may find some unwanted objects creeping into the edges of your images in carefully composed shots.

Wireless Connectivity

The 6D II features both Wi-Fi and Bluetooth with NFC, for quick and easy pairing with Android smartphones. If you have an Apple iPhone, Bluetooth is a bit useless; it can automatically pair your device with the camera when they're both powered on, but you still have to manually initiate Wi-Fi, whether in settings or within the app, to accomplish anything with Canon's Camera Connect software.

Once you've got Wi-Fi going (which can take a few tries, at least on my iPhone 6), it's pretty slick. You can browse and download images from the 6D II, and control the camera remotely. You can even tap the screen on your smartphone to initiate Dual Pixel tracking on the camera.

For Android users, NFC is a blessing, making pairing exceptionally easy, and the app offers similar usability as the iOS version.

Page 2

The 6D Mark II comes with DSLR-responsiveness and a fairly well-rounded spec sheet, and so looks to be well suited to a variety of tasks. Let's dig in and see just how it stacks up for some common types of photography.

Landscape

In many ways, the 6D Mark II is a fine choice for the landscape shooter. With 26MP of resolution, you'll have no problem zooming in to fine details or going big with your prints. It's weather-sealed, so it should stand up to some inclement weather with a similarly sealed lens. Being a DSLR, the battery life is excellent for extended shoots and long exposures, and the tilting touchscreen makes it easy to work at odd angles on a tripod.

Canon EOS 6D Mark II | EF 35mm F2 IS | ISO 100| F9 | 1/200thShadows lifted, highlights lowered, slight selective brightening to couples' faces. Blue gradient added along upper edge. As you'll see if you click to view the full-sized image, noise in the areas of lifted shadow is very apparent. Click here to download the Raw file.Photo by Richard Butler

Perhaps most important is that full-frame sensor. It opens up a wide variety of high-quality wide-angle lens options, from primes to zooms. Sure, there are plenty of low-cost, entry-level wide options available for crop-sensor cameras, but specialty lenses like Sigma's 14mm F1.8 and the like will really come alive when they can offer their intended field-of-view on the larger sensor.

The 6D II's dynamic range at lower ISO's is lacking, which will result in less flexibility in post-processing and flat-out noisier images.

But there are some significant downsides to using the 6D II for primarily landscape work. For one, there are mirrorless options out there that may allow you to keep your kit both smaller and lighter, if you're hiking into the wilderness. Lastly, we've seen that the 6D II's dynamic range at lower ISO's is sorely lacking, which will result in less flexibility in post processing and flat-out noisier images. In fact, even Canon's newer APS-C sensors offer better performance in this regard, despite their smaller size.

In less contrasty situations, the output from the 6D Mark II is generally pleasing, even in out-of-camera JPEGs.Canon 24-105mm F4L II IS USM @ 41mm | ISO 200 | 1/160 sec | F11

Photo by Carey Rose

So can you use the 6D Mark II to shoot landscapes? Of course you can - just like you could with a Nikon D5, which also lacks dynamic range at lower ISO values. But if you're a specialist looking for the right tool for this job, it's best to look elsewhere.

Social

The 6D Mark II is a very responsive camera, and will allow you to react quickly to changing social situations, whether you're just taking photos of friends at a barbecue, covering an event, or even, perhaps, photographing a wedding. Despite our qualms with its low ISO dynamic range performance, it still performs so well at higher ISO values that you may need for dim lighting or freezing motion with fast shutter speeds.

Image processed to taste from Raw.Canon 50mm F1.8 STM | ISO 100 | 1/250 sec | F4

Photo by Carey Rose

If you opt for using the optical viewfinder instead of live view, the burst speed of 6.5 fps should be enough for most situations to capture just the right expression or moment. If you're not into firing off speedy bursts, you can switch into live view (where burst speeds slow appreciably), and take advantage of the excellent face detection in Live View. You can also easily swap between detected faces in a scene by just toggling left or right on the directional pad.

The shutter is quiet even before you shift into the 'soft' shutter mode, which will further help you be a fly on the wall.

If you're into more formal portraits, the limited autofocus coverage through the viewfinder may be problematic if you're putting your subject far enough off-center, and falling back on the 'focus-and-recompose' method at wider apertures can result in out-of-focus subjects. We've also had some issues with outright focus accuracy when using the viewfinder, so for formal portraits or perhaps paid event coverage, it's best to switch into live view just to be safe.

If you do opt for live view though, the tilting touchscreen makes it as easy as can be. It allows for 'shooting from the hip,' which can be a little more inconspicuous despite the relatively large size of the camera. The shutter is quiet even before you shift into the 'soft' shutter mode, which will further help you be a fly on the wall.

The articulating screen and quiet shutter allowed for me to easily get this quick candid during a conversation. The highlights are a little blown, but overall, not a bad exposure in 'full auto' mode for an out-of-camera JPEG.Canon EF 28mm F2.8 IS USM | ISO 100 | 1/200 sec | F5

Photo by Carey Rose

The 6D Mark II is also equipped with a well-implemented Wi-Fi system with Bluetooth, making it fairly easy for you to send images off to your friends, family, or whoever, immediately after taking their photograph. It's a very nice touch that people appreciate, should you not be too much of a stickler about post-processing your files before handing them off.

One item missing for social photography is a built-in flash. It's not a deal-breaker, and the high ISO performance of the 6D II is darn good, but it can be helpful in a pinch. In all, we find the 6D Mark II to be a good option for social photography, though for greater dependability for off-center subjects and using lenses with wider apertures, we recommend switching into live view.

Sports / Action

When people think of photographing sports and action, they often think of Canon's signature big, white telephoto lenses. The 6D II's full-frame sensor does mean that you'll get less reach than you may be used to if you're coming from an APS-C camera, but you'll get more subject separation (blurrier backgrounds) as a tradeoff.

You can photograph moving subjects with the 6D II, but there are better options out there.Canon 70-200mm F4L @ 200mm | ISO 1250 | 1/1250 sec | F4

Photo by Carey Rose

Unsurprisingly, the autofocus performance when shooting the 6D II through the viewfinder performs similarly to the older EOS 80D from which the system was lifted, and it's still not terribly competitive in terms of absolute accuracy. The spread of autofocus points in the optical viewfinder is very small, limiting usefulness and compositional options.

For shooting sports in bright daylight, you may still find yourself hampered by the limited dynamic range at lower ISO values. If you're shooting in lower light or very fast shutter speeds that necessitate higher ISO values, the 6D II's image quality is broadly comparable to the competition.

If you're a sports and action shooter, you're faced with two imperfect options in the 6D II.

Subject tracking, where you choose a subject and watch as the autofocus points continue to follow them, is a mixed bag on the 6D Mark II. Using the viewfinder autofocus system allows for short blackout at the camera's maximum 6.5 fps burst speed, but the limited spread of the points may prove less than useful, and the system still struggles with strings of out-of-focus shots in the middle of bursts.

Is paddle boarding a sport? Anyway, the 6D II can easily handle this sort of sport.Canon EF 100-400mm F4.5-5.6L IS II USM @ 330mmISO 320 | 1/1600 sec | F5.6

Photo by Carey Rose

If you switch into live view to tap-to-track your subject with Dual Pixel AF, be aware that there is a noticeable delay from when you tap your subject to when the camera begins to actually track it. After it begins tracking, it will stick tenaciously to that subject for single shots, but burst shooting at 'high' speed in this mode is embarrassingly bad, with the camera often just giving up on focusing altogether. Switch into the lower speed burst mode, and the hit rate is acceptable, but the shooting speed often drops to 1-2 fps, which is honestly too slow to really be usable.

In the end, you're faced with two imperfect options on the 6D Mark II. It may be a fine backup camera for a sports shooter invested in the Canon ecosystem and for the photographer that only needs to shoot moving subjects occasionally. But if sports and action is really your bread and butter, there are far better options out there.

Travel
We tend to find the colors in out-of-camera JPEGs from the 6D II to be both pleasing and punchy.Canon EF 24-104mm F4L IS II USM @ 46mmISO 100 | 1/800 sec | F5.6

Photo by Jeff Keller

The 6D Mark II is, arguably, both a good and bad travel camera. Do you like to travel with something you'll forget is on your shoulder, or slides into a pocket? If you prefer the latter, you can stop reading right now: the 6D II is a full-size DSLR, and even though it's light compared to a 5D IV or a Pentax K-1, it won't be light enough for you.

If you don't mind a bit of heft, or even enjoy larger cameras for their comfortable grips and ergonomics, the 6D Mark II has a lot going for it.

The built-in wireless will allow you to upload images to the wilds of the Internet with ease.

The battery will easily last you multiple days of moderate to heavy use, provided you don't spend too much time chimping your images, or using the camera in live view. The weather sealing should help it stand up to unexpected weather events regardless of where you find yourself in the world, and the wide selection of excellent Canon-mount lenses is a nice bonus.

The built-in Wi-Fi will allow you to upload images to the wilds of the Internet with ease and built-in GPS will never leaving you wondering where a shot was taken, and it can be a huge help in terms of cataloging images. The plastic casing does appear to be durable and our test unit is 'creak free;' it should be able to shrug off a knock or two if you're the more adventurous type.

Canon EF 28mm F2.8 IS USM | ISO 100 | 1/200 sec | F2.8Photo by Dan Bracaglia

If you're into shooting sunsets or sunrises on your excursions, we must again bring up the limited dynamic range of the 6D Mark II at low ISOs. Despite having a good number of megapixels, these sorts of very contrasty scenes will just be noisier on the 6D II than any of its direct competition.

Despite this, we've found the 6D II to be a fine travel companion if you're the sort of photographer that likes the ergonomics and grip comfort that come with using larger cameras.

Video

For anyone looking to produce professional video, the 6D Mark II is difficult to recommend. In keeping with most of Canon's latest consumer offerings, it lacks 4K capability, and adding insult to injury, its 1080p video is soft and lacking in detail. The absence of a headphone port also makes it difficult to critically judge audio from either the internal microphones or an external unit.

Curiously, Canon has also removed any option for All-I video compression, as well as the option to shoot in the MOV format, both of which are options on the existing EOS 80D.

On the other hand, for the casual user, the 6D II makes the capture of smooth, stable and in-focus footage incredibly easy. The touchscreen controls are excellent, with simple tap-to-focus and track capability. In-lens stabilization combines with digital stabilization to produce almost glidecam-like footage, and the colors are pleasing. For casual capture of daily life and for viewing on smaller devices like tablets and smartphones, the 6D II is a fine option.

Page 3
Pros Cons
  • Updated 26MP sensor with good high ISO performance
  • Pleasing JPEG color
  • Generally good ergonomics and controls
  • Effective Dual Pixel autofocus
  • Polished touchscreen operation with fully articulated touchscreen
  • Weather-sealed
  • 6.5 fps burst shooting through optical viewfinder
  • Updated autofocus system
  • Wi-Fi with NFC and GPS
  • Effective video stabilization system
  • Less low ISO dynamic range than even crop-sensor competitors
  • Limited autofocus spread in optical viewfinder
  • Viewfinder autofocus system accuracy lags behind competition
  • Very slow burst shooting with autofocus in live view
  • 1080/60p video is soft and lacks detail
  • Lacking headphone port
  • Rear control dial is mushy and imprecise

Canon is the world's largest camera manufacturer, and that hasn't happened by accident. Through careful research and, yes, some market segmentation, it's found a way to sell a lot of cameras that make a lot of people happy. The risk it's been running lately, though, is one of perceived stagnation; despite their continually impressive high-end offerings, many competing manufacturers are moving more quickly to bring to market products that some consumers may perceive as more 'exciting' in some form or other.

With all of that in mind, the EOS 6D Mark II is a classic Canon DSLR. Is it particularly exciting? No, but really, neither was the original 6D aside from its fairly accessible price point. What the 6D Mark II is, though, is a solid, well-built camera that is capable of producing great images while improving upon its predecessor in almost every measurable way.

Processed to taste in Adobe Camera Raw. Canon EF 100-400mm F4.5-5.6L II @ 360mm.ISO 640| 1/1250 sec | F8

Photo by Carey Rose

The real question we have to answer now is whether any of that's enough: It's a different world now than in 2012 when the 6D's only real competition was Nikon's D600. Now, we have the likes of mirrorless full-frame challengers from Sony as well as updated and highly capable DSLRs from Nikon and Pentax, all at similar or even lower price points.

So let's dig in and see how the EOS 6D Mark II stacks up in today's crowded market.

Body and Handling

At the risk of sounding like a broken record, the EOS 6D Mark II is the latest in the company's continuing line of 'black hunks of DSLR.' As with so many other mid-to-high-end DSLRs, the 6D Mark II's design isn't going to turn heads, but it sure is comfortable to use.

Despite being far more plasticky than the EOS 5D Mark IV, the 6D II is reassuringly solid and 'creak free,' while being lighter weight to boot. The grip is a good size for my medium-sized hands, with comfortably familiar Canon controls. The rear dial is there for easy scrolling through images, but we really dislike the eight-way controller. Best to hit the AF selection button near the shutter and twiddle the dials for moving your AF point.

The 6D Mark II's fully articulating touchscreen combines with Dual Pixel Autofocus to make the camera a competent handler in live view. It's relative bulk compared to Canon's smaller offerings means it's a little unwieldy to hold out at arm's length, but it's great for shooting above your head, from the hip, or from a weird angle on a tripod. The touch interface is typical Canon, meaning it is responsive and easy-to-use.

Performance and Autofocus

Being a DSLR, the 6D Mark II starts up and starts taking images quite quickly. Live view starts up in just under one second, though if you leave the camera in 'video' mode, it will take a few seconds upon startup before you can actually begin recording video.

With 6.5 fps burst shooting, the 6D Mark II shoots fast enough for a wide variety of uses when you use the optical viewfinder. When you switch to live view, burst shooting slows to 4.5 fps, though if you switch to 'focus priority' in live view, you'll be lucky to get 1-2 fps most of the time if you're photographing a moving subject with Dual Pixel tracking - more on this below.

Out-of-camera JPEG, Canon EF 24-105mm F4L II IS USM @ 105mmISO 1000 | 1/500 sec | F5.6

Photo by Carey Rose

You'll only occasionally find yourself waiting for the card to write after long bursts, and the battery life shouldn't be an issue unless you're using live view all the time. Annoyingly, though, you get Canon's less-than-ideal three-bar battery meter most often found on its lower-end offerings.

Autofocus through the viewfinder is adequate, if nothing more. The 45-pt all-cross-type system is lifted directly from the EOS 80D, and the limited size of the AF spread in the viewfinder can be a constraint if you like placing your subjects off-center. And following in the footsteps of the original 6D's autofocus system, only the center point is good in the dark, as it's rated down to -3 EV; every single other point is rated to a rather disappointing -0.5 EV.

Live view autofocus is a little disappointing on the 6D II as well. The burst speed of 4.5 fps sounds promising enough, but that's 'high speed continuous,' which emphasizes speed over focus, meaning your hit rate for moving subjects will be dismal. 'Low speed continuous' prioritizes proper focus while dropping to an almost unusable 1-2 fps for erratic subjects, such as fast-running children or bearded men on bicycles.

Image and video quality

Here's the rub. As it turns out, Canon is a victim of its own success here. Its strides in sensor technology in the EOS-1D X Mark II, 5D Mark IV, and even Rebel T7i meant we had high hopes for the new 6D II. Unfortunately, while you do get a bump in resolution, you get similar dynamic range at lower ISO values as you got on the original 6D five years ago. That means high contrast scenes like sunsets will look better even on Canon's new APS-C sensors than they will with the 6D II.

Out-of-camera JPEG Processed to taste from Adobe Camera Raw

Perhaps we've been spoiled a bit, but we'd expect far less noise from this relatively modest push of an ISO 100 image. Click through to see the full adjusted image, with default noise reduction and sharpening applied. Photo by Dan Bracaglia

On the other hand, like the original, the 6D II excels at high ISO values. Once you get past ISO 1600, the 6D II handily pulls away from its crop-sensor cousins and is broadly competitive with market peers.

In true Canon tradition, we love the color output of the 6D Mark II, with reds and skin tones being pleasing in particular. JPEG sharpening and noise reduction is crude at default settings, but once you tune them a bit, you'll get noticeably better results.

Out of camera JPEG.Canon EF 70-200mm F4L | ISO 100 | 1/640 sec | F4

Photo by Carey Rose

In a developing Canon tradition, video features are somewhat disappointing on the 6D II. Like most of Canon's recent consumer offerings, it tops out at Full HD quality, with footage that's rather soft and lacking in detail. It also foregoes a headphone jack for audio monitoring, and you get no exposure aids (such as Zebra warnings) during recording.

For casual use, though, the 6D II is perfectly serviceable. The footage may be soft, but the digital + in-lens stabilization provides incredibly smooth footage, and Dual Pixel AF minimizes hunting much of the time. For casual use and viewing on smartphones and tablets, the absolute ease with which the 6D II allows you to get stable, in-focus footage is impressive.

The final word

After five long years, the 6D Mark II has some big shoes to fill. The original 6D had it a little easier, with a less mature market willing to forgive its shortcomings somewhat in favor of a full frame sensor in a well-priced body. But things have changed a bit since then.

It's true that nearly every objective specification of the 6D Mark II has been improved upon when compared with its predecessor, while the release price has remained the same. Unfortunately, unless you're a die-hard Canon user with an investment in glass and you just need an affordable backup body, it's difficult to look past all that competing cameras have to offer.

Canon EF 50mm F1.8 STM | ISO 100 | F4 | 1/500 secPhoto by Carey Rose

For the same price, Nikon's D750 offers nearly the same resolution, loads more dynamic range and a far more sophisticated autofocus system. Same goes for the Sony a7 II, though that camera is even cheaper. The Pentax K-1 is an incredible value and gives you even better build quality, unique and innovative features like Pixel Shift, and far more resolution. The only thing that makes the EOS 6D II stand out is Dual Pixel AF, which turns out is only of real value in this camera when shooting single shots of slow-moving subjects or HD video.

Let's be clear: The EOS 6D Mark II is, like so many other cameras, capable of outstanding images in the right hands. But even considering all the traditional Canon bonuses like great color, ease of use for video capture and comprehensive lens ecosystem, the 6D II falls too far short for us to recommend it over the competition, and therefore it doesn't merit our highest awards.

Scoring is relative only to the other cameras in the same category.Click here to learn about the changes to our scoring system and what these numbers mean.

Page 4

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

The EOS 6D II's JPEGs are pretty typical for Canon, with rich reds, a very slight orange tinge to the yellows and no obvious cast to the blues. The result is one of our favorite color responses of any of the current JPEG engines. This is also likely to mean a more attractive starting point for Raw conversions if your software of choice makes any attempt to mimic the brand's own color response.

At its default settings, the sharpening has a comparatively wide radius, which gives obvious emphasis to some edges at the expense of the very finest detail (when viewed at 100%). As with other Digic 7-powered Canons, you gain the ability to tune the radius, amount and threshold of the sharpening, to match your specific needs. Better still, you get in-camera Raw conversion, so you can output the same image with various settings to help you find the combination that works best for you. [See below]

At high ISOs, the noise reduction does a reasonable job of retaining edge information, so it doesn't smudge detail away as aggressively as the D750. However, the simpler, grittier output of the Pentax K-1 appears to retain much of its detail if you view the cameras at the same scale, which makes the Canon's result look a little mushy.

Raw performance

Raw detail capture is pretty much what you'd expect from a 26MP camera. What looks like a fairly subtle anti aliasing filter seems to protect against the worse excesses of moiré, adding only a very slight softening to the very finest detail in return. It's an unfashionable and more expensive choice for Canon to make, but it reduces the risk of moiré ruining that crucial shot. That's not as elegant as an AA filter (or filter simulation) system that can be disengaged but it's arguably a safer choice than just doing away with it altogether.

Noise-wise, the camera is competitive at moderate ISO settings (though the Pentax K-1's higher resolution gives it a significant detail benefit, despite the downsizing). The 6D II remains comparable to its peers at more limited exposures as the ISO setting increases, only dropping significantly behind at the highest settings.

Dynamic Range

We've already covered the 6D II's dynamic range in a separate article. It's our single biggest reservation about the EOD 6D II's image quality. Essentially the 6D II's Raw files shot at low ISO have significantly less latitude for adjustment than we're used to seeing in contemporary cameras, before noise starts to intrude on the image.

This is most likely to affect landscape photographers, who are more likely to find themselves having to bracket in high dynamic range scenes, but it'll also affect anyone (including EOS 80D users) who's become used to having a high degree of processing flexibility in their files.

JPEG sharpening

The 6D Mark II's JPEG engine allows control over three aspects of its sharpening: Strength, Fineness and Threshold. Strength specifies the degree to which edges are emphasized, Fineness specifies how fine the detail being emphasized is and threshold specifies the contrast level that the sharpening will be applied to.

Default Strength 3Fineness 4

Threshold 4

Our preferred settingsStrength 4Fineness 1

Threshold 1

ISO 6400 Strength 4Fineness 1

Threshold 1

We ran our studio scene through the camera's Raw conversion process several times, to find a balance we thought optimal. Reducing the fineness to 1 instantly improves things, helping to bring out finer detail. Doing so gives a more subtle result, which provides scope for increasing the Strength from 3 to 4. Finally, we found that reducing the Threshold setting also helps pull out fine detail and, having checked some higher ISO images, we found a setting or 1 or 2 gives results that look better overall, despite noise also gaining a little more emphasis from this sharpening.

Page 5

As stated earlier, the Canon EOS 6D Mark II comes with a 45-pt all-cross-type autofocus system that is lifted directly from the EOS 80D. Unfortunately, as that camera comes with a smaller sensor and viewfinder, the spread of AF points in the viewfinder of the 6D II is restricting, to say the least - check out our full overview of it in our EOS 80D review here.

This system is definitely an improvement over the original 6D's 11 AF points, of which only the central point was cross-type. That central point on the original 6D was also the only point sensitive down to -3 EV for low-light shooting, and unfortunately, the 6D II follows in this tradition: all other surrounding points are only sensitive to -0.5 EV. The 6D II's central point is at least now dual cross-type, which should provide better precision.

Switch into live view and you'll be using Canon's Dual Pixel AF, which covers around 64% of the frame (80% in each dimension) and is usually quite accurate, since it takes autofocus measurements from the image plane. Disappointingly, as you'll see, it has limited usefulness on the 6D Mark II. Continuous autofocus performance during burst shooting at maximum speed in live view resulted in a dismal hit rate, and when you switch to a slower burst speed for focus priority, you'll only be firing off shots at 1-2 fps.

It's worth noting that the 6D II has exactly the same autofocus configuration parameters as the EOS 5D Mark IV, but they are hidden throughout a custom functions menu and are without any 'use-case' presets that existing high-end Canon users may be used to. For our Bike exercise below, we tried the default settings as well as attempting to mimic the settings for 'Case 4' on the 5D IV (which is meant to be best for erratic subjects), but the default settings performed best.

The use of the same AF sensor array as the 80D results in much more limited spread across the frame, as a result of the 6D II's larger image area.

Distant subject test - optical viewfinder

1 2 3 4 5 6 7 8 9 10 11

Utilizing a single point in continuous autofocus through the viewfinder, the 6D II performs acceptably with a single oncoming subject. Like the EOS 80D, we found that while the hit rate is decent, there's a good number of images that are just a little bit soft, as well as a smaller amount that are unacceptably out of focus. This performance may be 'good enough' for a great many people, but there are other options out there that will get a 100% hit rate on this test every time.

Now, on to the weave using the viewfinder autofocus system, using its full AF area mode to allow the camera to choose different AF points to follow our subject.

1 2 3 4 5 6 7 8 9 10 11 12

Again, we see the 6D II turning in a good, but not remarkable performance. Having adjusted our weave pattern to compensate for the small AF area in the viewfinder, we see a similar pattern to the straight-on test: A reasonable hit rate, with some shots that are slightly soft, and a few that are unacceptably out of focus. Again, this is a test that many competing cameras at similar price points can effectively ace. Canon's method of subject tracking through the optical viewfinder involves a 'cloud' of AF points that is over our subject, though the subject's 'softness' indicates a misjudgment of distance.

We checked which AF points the camera had used and they generally followed the rider well. This indicates that while the camera is able to detect and track where the subject is in the frame, the AF system is simply unable to acquire focus quickly enough during the burst, or correctly predict the subject's rate of approach towards the camera.

Dual Pixel Autofocus

Having seen the results of some of Canon's recent cameras, like the EOS 77D, we were fairly hopeful that the 6D II would turn in a similar performance. Unfortunately, we were sorely disappointed.

1 2 3 4 5 6 7 8 9 10 11 12

We've found that Dual Pixel can struggle with focus on distant subjects, and the 6D II is no different. It was rare that we began the run with the camera acquiring perfect focus on Dan, and though it was capable of better results once he was closer to the camera, autofocus performance was still inconsistent.

We should note that we ran this straight-on test in the Continuous H burst speed on the 6D II, which the camera refers to as 'speed priority' once you select it in live view. Setting the camera to a Continuous L is described as 'focus priority,' and drops the burst rate significantly. At this point, this exercise is not particularly challenging, even for some of Canon's other DSLRs. But then we had Dan start the weave, and...oh dear.

1 2 3 4 5 6 7 8 9 10

Shooting in 'Speed Priority' in live view was just downright bad. As soon as the first turn, the autofocus box would stray off of our rider and just sit somewhere, with the camera occasionally attempting to re-acquire him near the end of the run. This is a setting that's best avoided. However, the slower, 'focus priority' burst setting in live view that we tried next, which drops the burst shooting speed to between one and two frames per second.

1 2 3 4 5 6 7 8 9 10

Here we see a much more impressive hit rate, with Dual Pixel taking time to acquire accurate focus as best it can before firing the shutter. Unfortunately, this just isn't very practical for moving subjects: the burst rate averaged 1-2 fps with little consistency, so if you're hoping to capture a burst of images that will allow you to select just the right moment, you're out of luck.

Close range, low light AF test

For this test, we place subjects in reasonably low lighting situations to approximate the experience of using subject tracking in social situations. Let's start off with the optical viewfinder AF system.

Again the 6D II shows it's capable of decent results, but it's far from impressing us the way that Nikon's 3D Tracking can. Now for Dual Pixel AF.

Here's where Dual Pixel on the 6D II starts to make sense. In these sorts of situations, the camera will tenaciously stick to faces and subjects, so long as you're not using a burst mode. For casual shooting of family and friends, Dual Pixel makes it about as easy as it can get.

The takeaway

The basic takeaway from both the distance and close-range autofocus exercises is reinforced by our experience using the 6D II in the real world. For objects that are some distance away, or for moving objects of any sort, it's best to stick with the viewfinder autofocus system: attempting to photograph anything moving with Dual Pixel in burst mode on this camera is going to just frustrate you. Surprisingly, this is contrary to the performance we've found on other Dual Pixel cameras, like the 5D Mark IV and EOS 77D, which both perform pretty well in this regard.

Where Dual Pixel should come into play is close-up subjects for one-off shots, and is especially useful for social situations with its robust face tracking. These are situations where the optical viewfinder system can really struggle, as it is unable to detect faces, and it's worth mentioning that face detection in the viewfinder is something Nikon's DSLRs have been capable of for some time (though their live view experience is comparatively primitive).

Page 6

The EOS 6D Mark II is essentially a full frame version of the EOS 80D. However, we weren't exactly bowled-over by it, when we reviewed it. Does that mean it's not worth the cost of upgrading? Let us walk you through the differences.

Both Nikon Japan and Canon Japan have warned users that forthcoming DSLRs will be delayed. The 100th anniversary edition of Nikon’s D5 has been put back by a couple of weeks, and Canon's 6D Mark II/EF 24-70mm F4L kit in Japan is also delayed.

A close look at the EOS 6D II's Raw files suggest its dynamic range has taken a significant step backwards compared with the company's recent DSLRs. We look at how much difference this might make for your photos.

With a full-production review unit in our hands, we've got over 100 production samples from the new Canon EOS 6D Mark II to share.

Need a break from your day? Kick back and watch the making of a somewhat unconventional mojito filmed on Canon's new EOS 6D Mark II.

www.dpreview.com

Canon 6D Mark II moves forward, but still lags behind the competition

“It won’t win awards, but the 6D Mark II is still a good workhorse camera.”
  • Articulating touchscreen
  • Dual Pixel Autofocus in live view
  • Fast, 45-point viewfinder autofocus
  • Good high ISO performance
  • 6.5 fps continuous shooting
  • No 4K video
  • No advanced video settings
  • Limited base ISO dynamic range
  • 2 fps bursts with continuous AF in live view

It’s been a year since we first got our hands on the Canon EOS 6D Mark II. The camera, built on tech that merely caught it up to the rest of Canon’s lineup without introducing anything dramatically new, arrived to a tepid response. Even a year ago, the first-generation 6D, Canon’s original budget-friendly full-frame DSLR, was already over four years old, creating high expectations for the Mark II. Unfortunately, while the second-generation 6D made progress, it failed to impress.

Fast-forward a year and the camera scene certainly hasn’t grown friendlier to the DSLR. Sony redefined what an entry-level full-frame camera can be with the mirrorless A7 III, all but leaving Canon (and Nikon, for that matter) in the past. But don’t take the 6D Mark II out of the running yet. After revisiting the camera, we found that it holds some appeal to the right photographer, and has become a valuable buy thanks to recent bundles and rebates.

Design and specifications

The 6D Mark II uses the same recipe as the original 6D: It’s a full-frame DSLR meant to appeal to enthusiast photographers who want the quality of a 35mm sensor without the complexity (and price) of the higher-end 5D-series. While it won’t be the first choice of professionals, it can still perform as a workhorse camera thanks to great build quality and good, if not class-leading, image quality.

Beneath the weather-resistant body — similar in design to the original — the 6D Mark II is built around the Digic 7 processor and a totally new, 26.2-megapixel sensor. That’s a 6-megapixel improvement over the original 6D, but more impressive is the new maximum ISO of 40,000, higher even than the 5D Mark IV’s 32,000. ISO can be further expanded to 102,400, although, this is really usable only as a last resort.

Burst rate has also seen a dramatic improvement, from just 4.5 frames per second (fps) to 6.5, equal to the Nikon D750. That comes in just shy of the 5D Mark IV at 7 fps — and well under the A7 III’s 10 fps — but it is still respectable for a DSLR at this level.

Additionally, GPS is now built in for automatic geotagging without requiring a mobile app, which will be useful for travel and documentary photographers who need accurate location data with their images.

A year after its launch, the camera scene certainly hasn’t grown friendlier to the 6D Mark II.

Beyond the added resolution and speed, what impressed us most was the new autofocus system. While the original 6D made due with an 11-point system, the Mark II gains a 45-point, all cross-type autofocus sensor, essentially plucked from the EOS 80D. It’s one of the fastest and most consistent viewfinder AF systems we’ve ever tested, so this is a big improvement over the 6D — but it’s not perfect.

Putting an AF system designed for crop-sensor cameras inside a full-frame model means it doesn’t come close to covering the entire frame. This approach isn’t unique to Canon, but it’s a bigger drawback today than in times past due to competition from Sony’s full-frame mirrorless line, which offer significantly more AF coverage than DSLRs.

However, switch the 6D Mark II into live view mode and you’ll find Canon’s excellent Dual Pixel Autofocus (DPAF) technology. DPAF, now common across most of Canon’s DSLRs, is significantly faster than the live view autofocus of the original 6D, while covering much more of the frame than the viewfinder autofocus sensor. It’s not without its own issues, however; turn on continuous autofocus and the burst rate drops to about 2 fps.

Sample video shot on the Canon 6D Mark II Daven Mathies/Digtial Trends

Still, thanks to the new articulating touchscreen, you may find yourself using live view more for those high- and low-angle shots than you would have before. Just remember, live view does drain the battery much faster than using the viewfinder.

Where DPAF really shines is in video mode, but sadly the 6D Mark II’s video specifications are rather lamentable, starting with the lack of 4K resolution. That’s right, despite a four-plus-year-long development cycle, the 6D Mark II’s video resolution remains unchanged from the original. It can now shoot 1080p at 60 fps (up from 30), so that’s nice, but it offers nothing to entice even casual video shooters. Even for 1080p, the 6D Mark II leaves much to be desired in terms of sharpness.

A solid workhorse camera thanks to great build quality and good image quality.

The Mark II does offer digital image stabilization for movie recording, but this reduces effective resolution even more and our recommendation is to leave it off except when you really need it. There are also no advanced settings for compression of filetype like some other Canons give you. And last but not least, there isn’t even a headphone jack, something that can be found on the less-expensive EOS 80D. Simply put, video feels completely like an afterthought.

Of course, with dedicated Cinema EOS cameras like the C200 extending Canon’s reach into high-end video production, there is a decreased need for such features in the company’s DSLRs (the 5D Mark IV has 4K, but it’s rather limited). Still, video remains an area where Canon continues to drop behind rival Sony, which offers 4K and other professional filmmaking features across a broad swath of its mirrorless camera lineup.

The 6D Mark II can, at least, do in-camera 4K time-lapse sequences, but we definitely wish Canon would have put more effort into this camera’s video mode — especially if it’s supposed to last another four years.

Image quality and user experience

For still photography, we really only have one complaint, although we also don’t have anything to expressly celebrate. The camera performed well, and while it may not quite match the resolution of the 30MP 5D Mark IV, we doubt most photographers will appreciate the difference — a 4-megapixel deficit is hardly a deal breaker.

Sample photos shot on the Canon 6D Mark II Daven Mathies/Digtial Trends

Now, one recurring critique of the 6D Mark II is its lack of base ISO dynamic range, which falls behind the competition (including the much older Nikon D750, which received a Digital Trends Editors’ Choice award way back in 2014). Dynamic range basically refers to how much detail the sensor can capture from shadow to highlight without clipping (when something is either too dark or too bright to register). The greater the dynamic range, the more flexibility you have to recover detail in post. It’s particularly important for things like outdoor natural light portraits, where you may need to underexpose your subject in order to prevent the sky from blowing out, and then brighten the subject in post. With insufficient dynamic range, trying to boost a dark subject will result in too much noise.

At night, the camera performed admirably up to ISO 12,800.

Now that we’ve had a chance to go back and look at the RAW files — something we weren’t able to do in our original hands-on — we really don’t have much to complain about for average shooting situations. Perhaps it’s because our expectations have been lowered since we first looked at the camera, but the 6D Mark II still gives you some room to play around.

We were able to pull detail out of the shadows in a landscape, although in extreme cases this did result in an increase in noise. Shooting at night, even bumping a base ISO shot by two stops was enough to introduce noise, while boosting higher ISO shots resulted in clear “banding” in the image. If you commonly find yourself in high-contrast situations, or needing to make significant exposure adjustments in post, this might not be the camera for you. For general-purpose photography, however, it’s really not bad.

More interestingly, what dynamic range the 6D Mark II does have holds steady throughout the first few stops of the ISO range, where other cameras tend to see a linear decline. By ISO 800 or so, the difference between it and its closest competitors is negligible, as the DxO Mark analysis shows. So, if you commonly shoot indoors or in other low-light situations, the 6D Mark II isn’t going to hold you back. A wedding photographer, for example, may be perfectly happy with this camera for indoor ceremonies and receptions — especially when you consider its 1,200-shot battery life, which is neck-and-neck with the Nikon D750 and quite a bit higher than any mirrorless alternative.

In our testing, we shot a nighttime landscape scene and found that even in this situation, with very little ambient light, the camera performed admirably up to ISO 12,800. Shots were obviously noisy, but colors were still good. However, a significant magenta shift occurred over the next stop, making ISO 25,600 unusable — at least in such a dark scene. Likewise, ISO 40,000 was little more than magenta mush. Indoors with controlled lighting and fewer shadow areas, these problems were less noticeable. Most people are unlikely to rely on such extreme ISO settings, and the 6D Mark II produces great results at the more commonly used ones.

As for the actual user experience, the Mark II receives high marks for still photography. This may be Canon’s “cheap” full-frame model, but you wouldn’t know it to look at it. Although it doesn’t expressly target working professionals, it feels like it would hold up to professional demands with aplomb. It is weather resistant and the controls are laid out similarly to other enthusiast and pro-level Canons, making it a good backup to a 5D Mark IV. A dedicated AF point selector is the one thing missing that we really would have liked to have seen. It also makes due with a single SD card slot, although this isn’t a huge drawback, especially since you won’t likely be using this camera for video.

Ergonomically, we appreciate the slimmed down body, but it still feels like holding onto a brick due to the bulky grip. We know the debate over who makes the better ergonomics is opinionated and will never end, but this writer still finds himself on the side of Nikon. The 6D Mark II grew uncomfortable over long periods of use, but other photographers will undoubtedly feel differently.

A year on, is the 6D Mark II worth it?

At the time of writing, you can pick up a 6D Mark II with the vertical battery grip for a total of $1,599 thanks to an instant rebate. That’s a lot of camera for the money, and a much better buy than the initial body-only price of $2,000.

The only problem here is that Nikon is offering an even better deal on its D750, which is also available with a battery grip for just under $1,500. But the greatest challenger may again come from Sony: The A7 II can also be found with a battery grip $1,500, but is additionally available sans grip for just $1,100.

It’s hard to find a situation in which the 6D Mark II outperforms competition.

As a gateway into the world of full-frame photography, that’s very difficult to beat. The A7 II is now superseded — but not replaced — by the A7 III, but it was the mirrorless competitor to the 6D Mark II at the time of the Canon’s launch. So even at such a steep discount, the 6D Mark II fails to gain an edge in value over its closest rivals.

We like the 6D Mark II’s fully articulating touchscreen, and its live view autofocus definitely works better than the contrast-detection-only system used in the D750, but while live view is occasionally useful for still photography, it’s mostly about video — an area in which both DSLRs fall behind Sony’s offerings. When using the viewfinder, the Canon does have the advantage of a faster burst rate and better battery life compared to the A7 II, but these specs are matched by the Nikon. The 6D Mark II also boasts the highest ISO settings of the three, but real-world noise performance is merely equal, while the D750 and A7 II have much greater dynamic range at base ISO.

It’s hard to find a situation in which the 6D Mark II definitively outperforms the competition. This means it will appeal most to current Canon users already invested in lenses and other accessories. It certainly won’t woo Nikon or Sony users away from their respective brands, while customers looking for their first full-frame camera could just as well flip a coin as make an informed decision, but they’re likely to aim for one of the other models, if even just for price. And if you’re a pixel peeper who wants maximum image quality at base ISO, you may want to skip the 6D Mark II. If, however, you care more about high ISO shooting, it’s not a bad choice — but it’s also not necessarily a better choice.

Warranty

Canon offers a one-year warranty on all new cameras.

Compared to the original 6D, the technology in the the Mark II is a giant leap forward, but it’s nothing we haven’t already seen in other Canons (with the exception of the image sensor, which is unique to the 6D Mark II). After waiting some four-and-half years, it would have been nice to see the 6D take a bigger leap forward, rather than just play catch-up to the rest of the product line. There was nothing revolutionary about the 6D Mark II when it launched, a fact that hasn’t helped it age gracefully a year into its life.

That said, the Mark II is still another solid Canon product and it does offer some important improvements over the original 6D, like the 45-point viewfinder autofocus system and the articulating touchscreen. It’s not the best camera in any measurable objective sense, but it may be the perfect upgrade for current Canon DSLR owners, particularly those looking for their first full-frame model or have been waiting for prices to drop.

Is there a better alternative?

Both the Nikon D750 and Sony A7 II are compelling choices, although neither tops the Canon by a large margin. If you want the best possible image quality and flexibility to work in post, they will give you an edge. The new Sony A7 III offers numerous advantages, from 4K video to 10 fps continuous shooting, but also costs $400 more and doesn’t include a free battery grip, which is currently being offered with the 6D Mark II.

How long will it last?

From a features perspective, the 6D Mark II arrived on the scene already outdated. However, if you don’t need the latest and greatest, you should get many years of use out of this camera. The build quality is very good, and it should hold up well to normal wear and tear.

Should you buy it?

If you are a current Canon user and are happy with the EOS system, then yes. The 6D Mark II is a good upgrade from a crop-sensor DSLR, and it’s a great value right now at $1,599 with a battery grip included. However, we can’t really recommend it to anyone not already in the Canon camp; where it’s strong, it is merely as good as its competitors — but where it’s weak, it falls behind. This could be a great workhorse camera for the right user, but it ultimately falls short of what we were hoping for and feels like a stepping stone laid down on the path toward greatness, a destination that remains some miles away.

Editors' Recommendations

www.digitaltrends.com

Canon EOS 6D Mark II Review

Pros Cons
  • Updated 26MP sensor with good high ISO performance
  • Pleasing JPEG color
  • Generally good ergonomics and controls
  • Effective Dual Pixel autofocus
  • Polished touchscreen operation with fully articulated touchscreen
  • Weather-sealed
  • 6.5 fps burst shooting through optical viewfinder
  • Updated autofocus system
  • Wi-Fi with NFC and GPS
  • Effective video stabilization system
  • Less low ISO dynamic range than even crop-sensor competitors
  • Limited autofocus spread in optical viewfinder
  • Viewfinder autofocus system accuracy lags behind competition
  • Very slow burst shooting with autofocus in live view
  • 1080/60p video is soft and lacks detail
  • Lacking headphone port
  • Rear control dial is mushy and imprecise

Canon is the world's largest camera manufacturer, and that hasn't happened by accident. Through careful research and, yes, some market segmentation, it's found a way to sell a lot of cameras that make a lot of people happy. The risk it's been running lately, though, is one of perceived stagnation; despite their continually impressive high-end offerings, many competing manufacturers are moving more quickly to bring to market products that some consumers may perceive as more 'exciting' in some form or other.

With all of that in mind, the EOS 6D Mark II is a classic Canon DSLR. Is it particularly exciting? No, but really, neither was the original 6D aside from its fairly accessible price point. What the 6D Mark II is, though, is a solid, well-built camera that is capable of producing great images while improving upon its predecessor in almost every measurable way.

Processed to taste in Adobe Camera Raw. Canon EF 100-400mm F4.5-5.6L II @ 360mm.ISO 640| 1/1250 sec | F8

Photo by Carey Rose

The real question we have to answer now is whether any of that's enough: It's a different world now than in 2012 when the 6D's only real competition was Nikon's D600. Now, we have the likes of mirrorless full-frame challengers from Sony as well as updated and highly capable DSLRs from Nikon and Pentax, all at similar or even lower price points.

So let's dig in and see how the EOS 6D Mark II stacks up in today's crowded market.

Body and Handling

At the risk of sounding like a broken record, the EOS 6D Mark II is the latest in the company's continuing line of 'black hunks of DSLR.' As with so many other mid-to-high-end DSLRs, the 6D Mark II's design isn't going to turn heads, but it sure is comfortable to use.

Despite being far more plasticky than the EOS 5D Mark IV, the 6D II is reassuringly solid and 'creak free,' while being lighter weight to boot. The grip is a good size for my medium-sized hands, with comfortably familiar Canon controls. The rear dial is there for easy scrolling through images, but we really dislike the eight-way controller. Best to hit the AF selection button near the shutter and twiddle the dials for moving your AF point.

The 6D Mark II's fully articulating touchscreen combines with Dual Pixel Autofocus to make the camera a competent handler in live view. It's relative bulk compared to Canon's smaller offerings means it's a little unwieldy to hold out at arm's length, but it's great for shooting above your head, from the hip, or from a weird angle on a tripod. The touch interface is typical Canon, meaning it is responsive and easy-to-use.

Performance and Autofocus

Being a DSLR, the 6D Mark II starts up and starts taking images quite quickly. Live view starts up in just under one second, though if you leave the camera in 'video' mode, it will take a few seconds upon startup before you can actually begin recording video.

With 6.5 fps burst shooting, the 6D Mark II shoots fast enough for a wide variety of uses when you use the optical viewfinder. When you switch to live view, burst shooting slows to 4.5 fps, though if you switch to 'focus priority' in live view, you'll be lucky to get 1-2 fps most of the time if you're photographing a moving subject with Dual Pixel tracking - more on this below.

Out-of-camera JPEG, Canon EF 24-105mm F4L II IS USM @ 105mmISO 1000 | 1/500 sec | F5.6

Photo by Carey Rose

You'll only occasionally find yourself waiting for the card to write after long bursts, and the battery life shouldn't be an issue unless you're using live view all the time. Annoyingly, though, you get Canon's less-than-ideal three-bar battery meter most often found on its lower-end offerings.

Autofocus through the viewfinder is adequate, if nothing more. The 45-pt all-cross-type system is lifted directly from the EOS 80D, and the limited size of the AF spread in the viewfinder can be a constraint if you like placing your subjects off-center. And following in the footsteps of the original 6D's autofocus system, only the center point is good in the dark, as it's rated down to -3 EV; every single other point is rated to a rather disappointing -0.5 EV.

Live view autofocus is a little disappointing on the 6D II as well. The burst speed of 4.5 fps sounds promising enough, but that's 'high speed continuous,' which emphasizes speed over focus, meaning your hit rate for moving subjects will be dismal. 'Low speed continuous' prioritizes proper focus while dropping to an almost unusable 1-2 fps for erratic subjects, such as fast-running children or bearded men on bicycles.

Image and video quality

Here's the rub. As it turns out, Canon is a victim of its own success here. Its strides in sensor technology in the EOS-1D X Mark II, 5D Mark IV, and even Rebel T7i meant we had high hopes for the new 6D II. Unfortunately, while you do get a bump in resolution, you get similar dynamic range at lower ISO values as you got on the original 6D five years ago. That means high contrast scenes like sunsets will look better even on Canon's new APS-C sensors than they will with the 6D II.

Out-of-camera JPEG Processed to taste from Adobe Camera Raw

Perhaps we've been spoiled a bit, but we'd expect far less noise from this relatively modest push of an ISO 100 image. Click through to see the full adjusted image, with default noise reduction and sharpening applied. Photo by Dan Bracaglia

On the other hand, like the original, the 6D II excels at high ISO values. Once you get past ISO 1600, the 6D II handily pulls away from its crop-sensor cousins and is broadly competitive with market peers.

In true Canon tradition, we love the color output of the 6D Mark II, with reds and skin tones being pleasing in particular. JPEG sharpening and noise reduction is crude at default settings, but once you tune them a bit, you'll get noticeably better results.

Out of camera JPEG.Canon EF 70-200mm F4L | ISO 100 | 1/640 sec | F4

Photo by Carey Rose

In a developing Canon tradition, video features are somewhat disappointing on the 6D II. Like most of Canon's recent consumer offerings, it tops out at Full HD quality, with footage that's rather soft and lacking in detail. It also foregoes a headphone jack for audio monitoring, and you get no exposure aids (such as Zebra warnings) during recording.

For casual use, though, the 6D II is perfectly serviceable. The footage may be soft, but the digital + in-lens stabilization provides incredibly smooth footage, and Dual Pixel AF minimizes hunting much of the time. For casual use and viewing on smartphones and tablets, the absolute ease with which the 6D II allows you to get stable, in-focus footage is impressive.

The final word

After five long years, the 6D Mark II has some big shoes to fill. The original 6D had it a little easier, with a less mature market willing to forgive its shortcomings somewhat in favor of a full frame sensor in a well-priced body. But things have changed a bit since then.

It's true that nearly every objective specification of the 6D Mark II has been improved upon when compared with its predecessor, while the release price has remained the same. Unfortunately, unless you're a die-hard Canon user with an investment in glass and you just need an affordable backup body, it's difficult to look past all that competing cameras have to offer.

Canon EF 50mm F1.8 STM | ISO 100 | F4 | 1/500 secPhoto by Carey Rose

For the same price, Nikon's D750 offers nearly the same resolution, loads more dynamic range and a far more sophisticated autofocus system. Same goes for the Sony a7 II, though that camera is even cheaper. The Pentax K-1 is an incredible value and gives you even better build quality, unique and innovative features like Pixel Shift, and far more resolution. The only thing that makes the EOS 6D II stand out is Dual Pixel AF, which turns out is only of real value in this camera when shooting single shots of slow-moving subjects or HD video.

Let's be clear: The EOS 6D Mark II is, like so many other cameras, capable of outstanding images in the right hands. But even considering all the traditional Canon bonuses like great color, ease of use for video capture and comprehensive lens ecosystem, the 6D II falls too far short for us to recommend it over the competition, and therefore it doesn't merit our highest awards.

Scoring is relative only to the other cameras in the same category.Click here to learn about the changes to our scoring system and what these numbers mean.

Page 2

The Canon EOS 6D Mark II is, in almost every respect, a slightly beefier EOS 80D. That means that while it's a little plasticky, it feels solid in the hand. It's appreciably (and pleasantly) lighter than the EOS 5D Mark IV, and Canon's claims of weather-sealing appear to have some merit, with robust protectors over its ports and a gasket around the battery door. We should also note that the 6D II is one of the lightest and most compact full frame DSLRs currently on the market.

As you can see below, comparisons with the 80D are impossible to avoid, as the back panel is close to identical between the two. And the 80D handles quite well, so this is largely a good thing. All of the buttons have good travel, though they may be a tad mushy if you're operating the camera whilst wearing gloves.

The 6D Mark II, left, and the 80D, right. The only significant difference is that the 6D Mark II has a one-touch magnification button above the rear controller.

Our main criticism with the handling of both the 6D II (and the 80D, for that matter) concerns the rear dial and multi controller. The dial itself is fine, but the eight-way controller is a disaster. If you're going to be manually moving your AF point around (and you likely will, since subject tracking in the viewfinder isn't one of the 6D II's strong suits), you're better off just disabling it and doing it the old-school Canon way: Press the selection button by the shutter button, and use the control dials.

That small, nicely click-y button is arguably the best way to select AF points on the 6D Mark II through the viewfinder.

This method takes some getting used to if you've not used older Canon DSLRs, but it ends up being pretty quick once you've built up your muscle memory. We've found it's entirely likely that you'll miss shots when the eight-way controller refuses to respond to your inputs - if only Canon had brought over the 5D IV's excellent joystick.

Thanks largely to its touchscreen and Dual Pixel tech, the EOS 6D Mark II handles very well in live view mode. Being bigger than, say, the EOS 77D, it's less comfortable than that camera to hold at arm's length, but the articulating touchscreen makes it easy to shoot from the hip.

We really like the 5D IV's joystick and rear control dial, but we also really like the articulating screen on the 6D II.

One big advantage of the 6D Mark II over the EOS 80D is that a larger sensor necessitates a larger mirror which, in turn, grants you a larger viewfinder. There's room for the uprated electronic level that's far more precise than on Canon's lower-end offerings, though we do wish the viewfinder was 100% coverage: you may find some unwanted objects creeping into the edges of your images in carefully composed shots.

Wireless Connectivity

The 6D II features both Wi-Fi and Bluetooth with NFC, for quick and easy pairing with Android smartphones. If you have an Apple iPhone, Bluetooth is a bit useless; it can automatically pair your device with the camera when they're both powered on, but you still have to manually initiate Wi-Fi, whether in settings or within the app, to accomplish anything with Canon's Camera Connect software.

Once you've got Wi-Fi going (which can take a few tries, at least on my iPhone 6), it's pretty slick. You can browse and download images from the 6D II, and control the camera remotely. You can even tap the screen on your smartphone to initiate Dual Pixel tracking on the camera.

For Android users, NFC is a blessing, making pairing exceptionally easy, and the app offers similar usability as the iOS version.

Page 3

The 6D Mark II comes with DSLR-responsiveness and a fairly well-rounded spec sheet, and so looks to be well suited to a variety of tasks. Let's dig in and see just how it stacks up for some common types of photography.

Landscape

In many ways, the 6D Mark II is a fine choice for the landscape shooter. With 26MP of resolution, you'll have no problem zooming in to fine details or going big with your prints. It's weather-sealed, so it should stand up to some inclement weather with a similarly sealed lens. Being a DSLR, the battery life is excellent for extended shoots and long exposures, and the tilting touchscreen makes it easy to work at odd angles on a tripod.

Canon EOS 6D Mark II | EF 35mm F2 IS | ISO 100| F9 | 1/200thShadows lifted, highlights lowered, slight selective brightening to couples' faces. Blue gradient added along upper edge. As you'll see if you click to view the full-sized image, noise in the areas of lifted shadow is very apparent. Click here to download the Raw file.Photo by Richard Butler

Perhaps most important is that full-frame sensor. It opens up a wide variety of high-quality wide-angle lens options, from primes to zooms. Sure, there are plenty of low-cost, entry-level wide options available for crop-sensor cameras, but specialty lenses like Sigma's 14mm F1.8 and the like will really come alive when they can offer their intended field-of-view on the larger sensor.

The 6D II's dynamic range at lower ISO's is lacking, which will result in less flexibility in post-processing and flat-out noisier images.

But there are some significant downsides to using the 6D II for primarily landscape work. For one, there are mirrorless options out there that may allow you to keep your kit both smaller and lighter, if you're hiking into the wilderness. Lastly, we've seen that the 6D II's dynamic range at lower ISO's is sorely lacking, which will result in less flexibility in post processing and flat-out noisier images. In fact, even Canon's newer APS-C sensors offer better performance in this regard, despite their smaller size.

In less contrasty situations, the output from the 6D Mark II is generally pleasing, even in out-of-camera JPEGs.Canon 24-105mm F4L II IS USM @ 41mm | ISO 200 | 1/160 sec | F11

Photo by Carey Rose

So can you use the 6D Mark II to shoot landscapes? Of course you can - just like you could with a Nikon D5, which also lacks dynamic range at lower ISO values. But if you're a specialist looking for the right tool for this job, it's best to look elsewhere.

Social

The 6D Mark II is a very responsive camera, and will allow you to react quickly to changing social situations, whether you're just taking photos of friends at a barbecue, covering an event, or even, perhaps, photographing a wedding. Despite our qualms with its low ISO dynamic range performance, it still performs so well at higher ISO values that you may need for dim lighting or freezing motion with fast shutter speeds.

Image processed to taste from Raw.Canon 50mm F1.8 STM | ISO 100 | 1/250 sec | F4

Photo by Carey Rose

If you opt for using the optical viewfinder instead of live view, the burst speed of 6.5 fps should be enough for most situations to capture just the right expression or moment. If you're not into firing off speedy bursts, you can switch into live view (where burst speeds slow appreciably), and take advantage of the excellent face detection in Live View. You can also easily swap between detected faces in a scene by just toggling left or right on the directional pad.

The shutter is quiet even before you shift into the 'soft' shutter mode, which will further help you be a fly on the wall.

If you're into more formal portraits, the limited autofocus coverage through the viewfinder may be problematic if you're putting your subject far enough off-center, and falling back on the 'focus-and-recompose' method at wider apertures can result in out-of-focus subjects. We've also had some issues with outright focus accuracy when using the viewfinder, so for formal portraits or perhaps paid event coverage, it's best to switch into live view just to be safe.

If you do opt for live view though, the tilting touchscreen makes it as easy as can be. It allows for 'shooting from the hip,' which can be a little more inconspicuous despite the relatively large size of the camera. The shutter is quiet even before you shift into the 'soft' shutter mode, which will further help you be a fly on the wall.

The articulating screen and quiet shutter allowed for me to easily get this quick candid during a conversation. The highlights are a little blown, but overall, not a bad exposure in 'full auto' mode for an out-of-camera JPEG.Canon EF 28mm F2.8 IS USM | ISO 100 | 1/200 sec | F5

Photo by Carey Rose

The 6D Mark II is also equipped with a well-implemented Wi-Fi system with Bluetooth, making it fairly easy for you to send images off to your friends, family, or whoever, immediately after taking their photograph. It's a very nice touch that people appreciate, should you not be too much of a stickler about post-processing your files before handing them off.

One item missing for social photography is a built-in flash. It's not a deal-breaker, and the high ISO performance of the 6D II is darn good, but it can be helpful in a pinch. In all, we find the 6D Mark II to be a good option for social photography, though for greater dependability for off-center subjects and using lenses with wider apertures, we recommend switching into live view.

Sports / Action

When people think of photographing sports and action, they often think of Canon's signature big, white telephoto lenses. The 6D II's full-frame sensor does mean that you'll get less reach than you may be used to if you're coming from an APS-C camera, but you'll get more subject separation (blurrier backgrounds) as a tradeoff.

You can photograph moving subjects with the 6D II, but there are better options out there.Canon 70-200mm F4L @ 200mm | ISO 1250 | 1/1250 sec | F4

Photo by Carey Rose

Unsurprisingly, the autofocus performance when shooting the 6D II through the viewfinder performs similarly to the older EOS 80D from which the system was lifted, and it's still not terribly competitive in terms of absolute accuracy. The spread of autofocus points in the optical viewfinder is very small, limiting usefulness and compositional options.

For shooting sports in bright daylight, you may still find yourself hampered by the limited dynamic range at lower ISO values. If you're shooting in lower light or very fast shutter speeds that necessitate higher ISO values, the 6D II's image quality is broadly comparable to the competition.

If you're a sports and action shooter, you're faced with two imperfect options in the 6D II.

Subject tracking, where you choose a subject and watch as the autofocus points continue to follow them, is a mixed bag on the 6D Mark II. Using the viewfinder autofocus system allows for short blackout at the camera's maximum 6.5 fps burst speed, but the limited spread of the points may prove less than useful, and the system still struggles with strings of out-of-focus shots in the middle of bursts.

Is paddle boarding a sport? Anyway, the 6D II can easily handle this sort of sport.Canon EF 100-400mm F4.5-5.6L IS II USM @ 330mmISO 320 | 1/1600 sec | F5.6

Photo by Carey Rose

If you switch into live view to tap-to-track your subject with Dual Pixel AF, be aware that there is a noticeable delay from when you tap your subject to when the camera begins to actually track it. After it begins tracking, it will stick tenaciously to that subject for single shots, but burst shooting at 'high' speed in this mode is embarrassingly bad, with the camera often just giving up on focusing altogether. Switch into the lower speed burst mode, and the hit rate is acceptable, but the shooting speed often drops to 1-2 fps, which is honestly too slow to really be usable.

In the end, you're faced with two imperfect options on the 6D Mark II. It may be a fine backup camera for a sports shooter invested in the Canon ecosystem and for the photographer that only needs to shoot moving subjects occasionally. But if sports and action is really your bread and butter, there are far better options out there.

Travel
We tend to find the colors in out-of-camera JPEGs from the 6D II to be both pleasing and punchy.Canon EF 24-104mm F4L IS II USM @ 46mmISO 100 | 1/800 sec | F5.6

Photo by Jeff Keller

The 6D Mark II is, arguably, both a good and bad travel camera. Do you like to travel with something you'll forget is on your shoulder, or slides into a pocket? If you prefer the latter, you can stop reading right now: the 6D II is a full-size DSLR, and even though it's light compared to a 5D IV or a Pentax K-1, it won't be light enough for you.

If you don't mind a bit of heft, or even enjoy larger cameras for their comfortable grips and ergonomics, the 6D Mark II has a lot going for it.

The built-in wireless will allow you to upload images to the wilds of the Internet with ease.

The battery will easily last you multiple days of moderate to heavy use, provided you don't spend too much time chimping your images, or using the camera in live view. The weather sealing should help it stand up to unexpected weather events regardless of where you find yourself in the world, and the wide selection of excellent Canon-mount lenses is a nice bonus.

The built-in Wi-Fi will allow you to upload images to the wilds of the Internet with ease and built-in GPS will never leaving you wondering where a shot was taken, and it can be a huge help in terms of cataloging images. The plastic casing does appear to be durable and our test unit is 'creak free;' it should be able to shrug off a knock or two if you're the more adventurous type.

Canon EF 28mm F2.8 IS USM | ISO 100 | 1/200 sec | F2.8Photo by Dan Bracaglia

If you're into shooting sunsets or sunrises on your excursions, we must again bring up the limited dynamic range of the 6D Mark II at low ISOs. Despite having a good number of megapixels, these sorts of very contrasty scenes will just be noisier on the 6D II than any of its direct competition.

Despite this, we've found the 6D II to be a fine travel companion if you're the sort of photographer that likes the ergonomics and grip comfort that come with using larger cameras.

Video

For anyone looking to produce professional video, the 6D Mark II is difficult to recommend. In keeping with most of Canon's latest consumer offerings, it lacks 4K capability, and adding insult to injury, its 1080p video is soft and lacking in detail. The absence of a headphone port also makes it difficult to critically judge audio from either the internal microphones or an external unit.

Curiously, Canon has also removed any option for All-I video compression, as well as the option to shoot in the MOV format, both of which are options on the existing EOS 80D.

On the other hand, for the casual user, the 6D II makes the capture of smooth, stable and in-focus footage incredibly easy. The touchscreen controls are excellent, with simple tap-to-focus and track capability. In-lens stabilization combines with digital stabilization to produce almost glidecam-like footage, and the colors are pleasing. For casual capture of daily life and for viewing on smaller devices like tablets and smartphones, the 6D II is a fine option.

Page 4

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

The EOS 6D II's JPEGs are pretty typical for Canon, with rich reds, a very slight orange tinge to the yellows and no obvious cast to the blues. The result is one of our favorite color responses of any of the current JPEG engines. This is also likely to mean a more attractive starting point for Raw conversions if your software of choice makes any attempt to mimic the brand's own color response.

At its default settings, the sharpening has a comparatively wide radius, which gives obvious emphasis to some edges at the expense of the very finest detail (when viewed at 100%). As with other Digic 7-powered Canons, you gain the ability to tune the radius, amount and threshold of the sharpening, to match your specific needs. Better still, you get in-camera Raw conversion, so you can output the same image with various settings to help you find the combination that works best for you. [See below]

At high ISOs, the noise reduction does a reasonable job of retaining edge information, so it doesn't smudge detail away as aggressively as the D750. However, the simpler, grittier output of the Pentax K-1 appears to retain much of its detail if you view the cameras at the same scale, which makes the Canon's result look a little mushy.

Raw performance

Raw detail capture is pretty much what you'd expect from a 26MP camera. What looks like a fairly subtle anti aliasing filter seems to protect against the worse excesses of moiré, adding only a very slight softening to the very finest detail in return. It's an unfashionable and more expensive choice for Canon to make, but it reduces the risk of moiré ruining that crucial shot. That's not as elegant as an AA filter (or filter simulation) system that can be disengaged but it's arguably a safer choice than just doing away with it altogether.

Noise-wise, the camera is competitive at moderate ISO settings (though the Pentax K-1's higher resolution gives it a significant detail benefit, despite the downsizing). The 6D II remains comparable to its peers at more limited exposures as the ISO setting increases, only dropping significantly behind at the highest settings.

Dynamic Range

We've already covered the 6D II's dynamic range in a separate article. It's our single biggest reservation about the EOD 6D II's image quality. Essentially the 6D II's Raw files shot at low ISO have significantly less latitude for adjustment than we're used to seeing in contemporary cameras, before noise starts to intrude on the image.

This is most likely to affect landscape photographers, who are more likely to find themselves having to bracket in high dynamic range scenes, but it'll also affect anyone (including EOS 80D users) who's become used to having a high degree of processing flexibility in their files.

JPEG sharpening

The 6D Mark II's JPEG engine allows control over three aspects of its sharpening: Strength, Fineness and Threshold. Strength specifies the degree to which edges are emphasized, Fineness specifies how fine the detail being emphasized is and threshold specifies the contrast level that the sharpening will be applied to.

Default Strength 3Fineness 4

Threshold 4

Our preferred settingsStrength 4Fineness 1

Threshold 1

ISO 6400 Strength 4Fineness 1

Threshold 1

We ran our studio scene through the camera's Raw conversion process several times, to find a balance we thought optimal. Reducing the fineness to 1 instantly improves things, helping to bring out finer detail. Doing so gives a more subtle result, which provides scope for increasing the Strength from 3 to 4. Finally, we found that reducing the Threshold setting also helps pull out fine detail and, having checked some higher ISO images, we found a setting or 1 or 2 gives results that look better overall, despite noise also gaining a little more emphasis from this sharpening.

Page 5

As stated earlier, the Canon EOS 6D Mark II comes with a 45-pt all-cross-type autofocus system that is lifted directly from the EOS 80D. Unfortunately, as that camera comes with a smaller sensor and viewfinder, the spread of AF points in the viewfinder of the 6D II is restricting, to say the least - check out our full overview of it in our EOS 80D review here.

This system is definitely an improvement over the original 6D's 11 AF points, of which only the central point was cross-type. That central point on the original 6D was also the only point sensitive down to -3 EV for low-light shooting, and unfortunately, the 6D II follows in this tradition: all other surrounding points are only sensitive to -0.5 EV. The 6D II's central point is at least now dual cross-type, which should provide better precision.

Switch into live view and you'll be using Canon's Dual Pixel AF, which covers around 64% of the frame (80% in each dimension) and is usually quite accurate, since it takes autofocus measurements from the image plane. Disappointingly, as you'll see, it has limited usefulness on the 6D Mark II. Continuous autofocus performance during burst shooting at maximum speed in live view resulted in a dismal hit rate, and when you switch to a slower burst speed for focus priority, you'll only be firing off shots at 1-2 fps.

It's worth noting that the 6D II has exactly the same autofocus configuration parameters as the EOS 5D Mark IV, but they are hidden throughout a custom functions menu and are without any 'use-case' presets that existing high-end Canon users may be used to. For our Bike exercise below, we tried the default settings as well as attempting to mimic the settings for 'Case 4' on the 5D IV (which is meant to be best for erratic subjects), but the default settings performed best.

The use of the same AF sensor array as the 80D results in much more limited spread across the frame, as a result of the 6D II's larger image area.

Distant subject test - optical viewfinder

1 2 3 4 5 6 7 8 9 10 11

Utilizing a single point in continuous autofocus through the viewfinder, the 6D II performs acceptably with a single oncoming subject. Like the EOS 80D, we found that while the hit rate is decent, there's a good number of images that are just a little bit soft, as well as a smaller amount that are unacceptably out of focus. This performance may be 'good enough' for a great many people, but there are other options out there that will get a 100% hit rate on this test every time.

Now, on to the weave using the viewfinder autofocus system, using its full AF area mode to allow the camera to choose different AF points to follow our subject.

1 2 3 4 5 6 7 8 9 10 11 12

Again, we see the 6D II turning in a good, but not remarkable performance. Having adjusted our weave pattern to compensate for the small AF area in the viewfinder, we see a similar pattern to the straight-on test: A reasonable hit rate, with some shots that are slightly soft, and a few that are unacceptably out of focus. Again, this is a test that many competing cameras at similar price points can effectively ace. Canon's method of subject tracking through the optical viewfinder involves a 'cloud' of AF points that is over our subject, though the subject's 'softness' indicates a misjudgment of distance.

We checked which AF points the camera had used and they generally followed the rider well. This indicates that while the camera is able to detect and track where the subject is in the frame, the AF system is simply unable to acquire focus quickly enough during the burst, or correctly predict the subject's rate of approach towards the camera.

Dual Pixel Autofocus

Having seen the results of some of Canon's recent cameras, like the EOS 77D, we were fairly hopeful that the 6D II would turn in a similar performance. Unfortunately, we were sorely disappointed.

1 2 3 4 5 6 7 8 9 10 11 12

We've found that Dual Pixel can struggle with focus on distant subjects, and the 6D II is no different. It was rare that we began the run with the camera acquiring perfect focus on Dan, and though it was capable of better results once he was closer to the camera, autofocus performance was still inconsistent.

We should note that we ran this straight-on test in the Continuous H burst speed on the 6D II, which the camera refers to as 'speed priority' once you select it in live view. Setting the camera to a Continuous L is described as 'focus priority,' and drops the burst rate significantly. At this point, this exercise is not particularly challenging, even for some of Canon's other DSLRs. But then we had Dan start the weave, and...oh dear.

1 2 3 4 5 6 7 8 9 10

Shooting in 'Speed Priority' in live view was just downright bad. As soon as the first turn, the autofocus box would stray off of our rider and just sit somewhere, with the camera occasionally attempting to re-acquire him near the end of the run. This is a setting that's best avoided. However, the slower, 'focus priority' burst setting in live view that we tried next, which drops the burst shooting speed to between one and two frames per second.

1 2 3 4 5 6 7 8 9 10

Here we see a much more impressive hit rate, with Dual Pixel taking time to acquire accurate focus as best it can before firing the shutter. Unfortunately, this just isn't very practical for moving subjects: the burst rate averaged 1-2 fps with little consistency, so if you're hoping to capture a burst of images that will allow you to select just the right moment, you're out of luck.

Close range, low light AF test

For this test, we place subjects in reasonably low lighting situations to approximate the experience of using subject tracking in social situations. Let's start off with the optical viewfinder AF system.

Again the 6D II shows it's capable of decent results, but it's far from impressing us the way that Nikon's 3D Tracking can. Now for Dual Pixel AF.

Here's where Dual Pixel on the 6D II starts to make sense. In these sorts of situations, the camera will tenaciously stick to faces and subjects, so long as you're not using a burst mode. For casual shooting of family and friends, Dual Pixel makes it about as easy as it can get.

The takeaway

The basic takeaway from both the distance and close-range autofocus exercises is reinforced by our experience using the 6D II in the real world. For objects that are some distance away, or for moving objects of any sort, it's best to stick with the viewfinder autofocus system: attempting to photograph anything moving with Dual Pixel in burst mode on this camera is going to just frustrate you. Surprisingly, this is contrary to the performance we've found on other Dual Pixel cameras, like the 5D Mark IV and EOS 77D, which both perform pretty well in this regard.

Where Dual Pixel should come into play is close-up subjects for one-off shots, and is especially useful for social situations with its robust face tracking. These are situations where the optical viewfinder system can really struggle, as it is unable to detect faces, and it's worth mentioning that face detection in the viewfinder is something Nikon's DSLRs have been capable of for some time (though their live view experience is comparatively primitive).

Page 6

The EOS 6D Mark II is essentially a full frame version of the EOS 80D. However, we weren't exactly bowled-over by it, when we reviewed it. Does that mean it's not worth the cost of upgrading? Let us walk you through the differences.

Both Nikon Japan and Canon Japan have warned users that forthcoming DSLRs will be delayed. The 100th anniversary edition of Nikon’s D5 has been put back by a couple of weeks, and Canon's 6D Mark II/EF 24-70mm F4L kit in Japan is also delayed.

A close look at the EOS 6D II's Raw files suggest its dynamic range has taken a significant step backwards compared with the company's recent DSLRs. We look at how much difference this might make for your photos.

With a full-production review unit in our hands, we've got over 100 production samples from the new Canon EOS 6D Mark II to share.

Need a break from your day? Kick back and watch the making of a somewhat unconventional mojito filmed on Canon's new EOS 6D Mark II.

www.dpreview.com


Смотрите также