Overall dimensions of iPhone 6. Overall dimensions of iPhones, display, diagonal in centimeters


Enter the world of full frame imaging

Compact digital SLR camera with 20.2 megapixel full-frame sensor. Ideal for portraiture and travel, it provides precise control over depth of field and can be used with a wide range of wide-angle EF lenses. Share images and control your camera over Wi-Fi.

20.2 megapixel full-frame CMOS sensor

The heart of the EOS 6D is a 20.2 megapixel full-frame CMOS sensor and a powerful DIGIC 5+ image processor. They allow you to take perfectly clear photographs and transmit the smallest details. The naturalness of color rendering is complemented by the smooth transitions of halftones.

The benefits of full frame

Now you have the opportunity to use a variety of wide angle lenses EF and discover a completely different vision landscape photography, interior photography and street photography. The increased control over depth of field provided by the full-frame sensor allows you to take even more impressive portraits.

Designed for travel

Lightweight and durable, the camera is ideal for travel photography. The EOS 6D's simple and intuitive ergonomics allow it to be used in any environment.

High image quality in low light

Even in low-light conditions, the EOS 6D captures superb quality photos. The ISO sensitivity range is from ISO 100 to ISO 25,600 (expandable to L:50, H1:51,200, H2:102,400) and the 11-point focusing system allows you to take pictures in lighting conditions as low as -3EV. This sensitivity is enough even for shooting under moonlight.

Wide range of composition options

The EOS 6D's clear full-frame viewfinder lets you choose your composition intuitively. The 7.6 cm (3-inch) 1,040,000-dot Clear View II LCD screen makes LCD viewfinder photography a real pleasure.

Creative Features

High Dynamic Range (HDR) mode allows you to maintain high detail in highlights and shadows and create composite shots using the multiple exposure function. Exposure compensation in ±5 stop increments and AE bracketing in ±3 stop increments allow you to fine-tune exposure.

The GPS module records travel coordinates

The built-in GPS module determines the exact location and writes the GPS coordinates of the location to a data file. The GPS logger function continuously records route coordinates even when the camera is turned off.

Wi-Fi module for wireless connections

Remote shooting from multiple angles: Connect your EOS 6D to your PC, Mac, or smartphone so you can shoot remotely. Wireless image transfer capability makes it easy to share photos with your family and friends.

Video in Full-HD format

Shoot Full-HD video at 1080p resolution? The ability to use fast aperture lenses and full manual control allows you to achieve cinematic effects.

and Canon EF 24-105mm f/4L IS USM kit lens

On the Canon website, DSLRs are divided into three categories: “EOS for beginners”, “EOS for amateurs”, “EOS for professionals”. In the professional “weight,” of course, full-frame DSLRs are grouped, the youngest of which is the EOS 5D Mark III. In the amateur category there are half-frame or “cropped” DSLRs, the oldest of which is the EOS 7D Mark II.

Most likely, the creators of the Canon EOS 6D were hesitant to place the full-frame EOS 6D in the amateur group. If only because the “cropped” EOS 7D Mark II is about 20,000 rubles more expensive than the heroine of our test.

All this little information is needed only to select another camera (besides the EOS 5D Mark III) to compare with the EOS 6D. And as good as the 7D Mark II is, it's a poor comparison device. Maybe later, when the 7D Mark II visits our laboratory, we will change our minds, but for now it seems to us that models with the same sensor size should be compared with each other. And then the third model that comes up for comparison is the already middle-aged, discontinued Canon EOS 5D Mark II, released back in September 2008. But this “six-year old” is still being bought and sold. Its price is lower than that of the Canon EOS 6D, and significantly (almost half) lower than that of the Canon EOS 5D Mark III.

Canon EOS 5D Mark IICanon EOS 6DCanon EOS 5D Mark III
Announcement dateSeptember 17, 2008September 17, 2012May 22, 2012
MatrixCMOS Full Frame 21 MPCMOS Full Frame 20 MPCMOS Full Frame 22 MP
ISO sensitivity100 - 6400
(50 - 25 600)*
100 - 25 600
(50 - 102 400)*
100 - 25 600
(50 - 102 400)*
Autofocus9 points and 6 auxiliary points11 points including 1 double cross sensor in the center61 dots, including 5 double crosses
Exposure metering35-zone sensor63-zone sensor63-zone sensor
Screen3.0 inches
921,000 points
3.0 inches
1,040,000 points
3.2 inches
1,040,000 points
Burst speed4 fps4.5 fps6 fps
Video1920×1080
30p fps
1920×1080
30p fps
1920×1080
30p fps
CPUDigic 4Digic 5+Digic 5+
Gate30 - 1/8000 s30 - 1/4000 s30 - 1/8000 s
Memory cards1 slot: CompactFlash type I/II1 slot: SD/SDHC/SDXC2 slots: Compact Flash and SD/SDHC/SDXC
WiFioptionbuilt-in moduleoption
GPSNobuilt-in moduleoption
Dimensions, weight152×114×75 mm
850** G
145×111×71 mm
775** G
152×116×76 mm
950** G
Price, housingT-2638137T-8458236T-7888705

* In parentheses - in advanced mode.

** Including battery and memory card weight.


So, the portrait emerges as an “arithmetic mean” between the 5D Mark II and 5D Mark III. In terms of processor, sensitivity, and metering sensor, it is closer to the Mark III. In terms of autofocus, speed and price - closer to the Mark II. And, what’s nice, it stands out from both brands with its reduced weight and built-in Wi-Fi and GPS modules.

It's also a little surprising that the video capabilities haven't changed since 2008. 30 frames per second at Full HD resolution is no longer impressive today; today's videographers prefer to have 60 frames per second on hand (just in case, for highly dynamic scenes).

Main Features
LensInterchangeable optics, Canon EF mount.
In the “whale” set - Canon EF 24-105mm f/4L IS USM
or Canon EF 24-105mm f/3.5-5.6 IS STM
(since December 2014 Canon only supplies the second option)
Matrix20 MP Full Frame CMOS
PhotosensitivityISO 100 - 25,600 (ISO 50 - 102,400 extended range)
AutofocusPhase sensor TTL-CT-SIR, 11 points, including 1 double cross-shaped sensor in the center. Modes: Single-frame, AI Focus (automatic switching between single-frame and tracking), AI Servo (tracking)
ExpositionTTL metering at full aperture using a 63-zone SPC sensor.
ScreenTFT 3.0 inches, 1,040,000 dots, fixed.
Coverage - 100%, viewing angle up to 170 degrees
Image stabilizationIn the cell - no
Shooting modes
  • Basic zone: Full Automatic (A+), Creative Automatic (CA), Scene programs (SCN - “Portrait”, “Landscape”, etc.)
  • Creative Modes: Program (P), Shutter Priority (Tv), Aperture Priority (Av), Manual (M), Bulb (B).
  • User settings: C1 and C2.
File FormatJPEG (EXIF ver 2.30), RAW (14 bit), RAW + JPEG. RAW images can be taken in medium resolution (M-RAW - approximately 11 megapixels) and low resolution (S-RAW - approximately 5 megapixels).
VideoMaximum resolution Full HD 1920x1080 30p in MOV H.264 format.
MemorySD, SDHC and SDXC memory cards (UHS-I compatible), 1 slot
ConnectorsA/V output connector integrated with USB 2.0, HDMI mini output, remote control connector, external microphone.
Power supplyLi-ion battery LP-E6
(approx. 1090 frames, estimated based on CIPA standard).
Dimensions, weight144.5 × 110.5 × 71.2 mm; 755 g (including battery and memory card weight)
Additional Features
Built-in flashNo
Shutter speed30 - 1/4000 s, X-sync 1/180 s
ViewfinderOptical (pentaprism), coverage angle (vertical/horizontal) - approx. 97%, magnification approx. 0.71.
"Hot shoe"Eat
GPS/Wi-Fibuilt-in module / built-in module
Self-timer2 s / 10 s
Autofocus illuminatorEat
BracketingBy exposure, by white balance.
Continuous shooting≈4.5 fps
Shooting formats3:2 / 4:3 / 16:9 / 1:1

Construction, design, management

When we tested the Canon EOS 6D, there was no plan that we would compare this camera with any other. But then, when I started looking at the test results, the comparison literally asked itself. I was wondering who makes the least noise: the Canon EOS 6D or the closest competitor camera, the Nikon D750. Here it was a fighting draw with Canon having a slight advantage, see the “Noise” test for details. But in terms of functionality, Canon loses in two ways: the EOS 6D does not have a built-in flash, and the screen is fixed, not folding. True, some believe that a fixed screen is better than a folding one (more reliable). So let’s not yet declare this an unconditional blessing. But the built-in flash certainly expands the functionality of the camera.

There are no control buttons visible on the front of the EOS 6D. Of course, in addition to the obligatory ones: shutter button, lens unlock button and aperture repeater (on the left under the lens).

The fact that the camera is full-frame indicates the absence of a built-in flash. So far, Canon believes that full frame and built-in flash are incompatible. It is quite possible that fashion will change in the next couple of years.

If you look closely, you can see an infrared remote control sensor on the handle, and behind the handle there is a self-timer indicator.

The external power connector is located at the bottom of the handle, on the lens side, under a rubber plug. On the right under the EOS 6D label are the holes for the built-in microphone (monaural).

The EOS 6D has one memory card slot. Canon signals in separate strokes that the EOS 6D is a very serious camera (no built-in flash), but not serious enough for a cool pro (one slot, one memory card).

At the top of the rear panel we see two buttons: exposure lock and focus point selection (from other angles these buttons are not very visible).

The location of the control buttons on the rear panel seems strange - almost all the buttons are placed under the right hand. Typically, Canon DSLRs have a row of buttons to the left of the screen. The exception is for models that have a screen that flips to the left, but the EOS 6D doesn't have a flip screen.

All icons are clear and practically no explanation is needed. Button "Q" - call quick menu. “Lock” - joystick lock (so that an accidental touch does not disrupt the autofocus position, for example).

The connectors are concentrated on the left side. Under the open rubber plug in the photo are the connectors for the remote control and external microphone.

Under the adjacent closed flap: HDMI mini (bottom) and combined A/V out and USB (top).

The mode dial is the same as the Canon EOS 70D. It can be called “semi-professional”, since it mixes amateur and professional modes.

For example, the EOS 7D Mark II has a "pro" drive, the same as the EOS 5D Mark III, without Scene Scenes (SCN) and Creative Auto (CA).

To the right of the lens on the top panel: large information display, main control wheel, row of buttons:
  • AF - autofocus mode selection
  • Drive - select the “drive” mode
  • ISO - sensitivity selection
  • selecting exposure metering mode
  • information display backlight
There is no separate connector on the bottom panel for the battery grip (Canon BG-E13 battery pack or compatible from other manufacturers).

During installation, the grip contacts are inserted into the camera's battery compartment (a rather elegant and reliable design solution).


To summarize the external examination, the Canon EOS 6D has a distinctive design that is simultaneously reminiscent of the “big sisters” of the EOS 5D series and the “little sister” of the EOS 70D. But it does not coincide with either one or the other. The result is something in between - a signal to the consumer so that he is at the same time proud of the full frame, but understands that the EOS 5D is higher in the hierarchy.

This is manifested in the icons on the shooting mode dial, fewer buttons on the rear panel - all of them are concentrated under the right hand, and the left seems to have no work to do. We've already seen a similar button arrangement on the EOS 70D, but it had a folding screen, so we had to move all the buttons to the right hand.

In the case of the Canon EOS 6D, this distribution of buttons does not seem very logical. And yet, the camera is convenient and pleasant to work with, no discomfort, no feeling that the traditional control scheme has been “destroyed”.

Now you can move on to the “internal” inspection and get acquainted with the EOS 6D menu. As usual, we present slides that at least say something about the camera. Most of them fit into the standard menu, common to Canon cameras of both amateur and professional level.


So, the initial examination showed that:

  • The design of the Canon EOS 6D is somewhat unusual; there is no complete analogue in the Canon lineup. The Canon EOS 6D's screen is fixed, but all the buttons on the rear panel are shifted to the right hand. True, the convenience of working with the camera did not suffer from this (or did not suffer much).
  • Both in the menu and in the external controls, it is felt that the Canon EOS 6D combines the features of amateur and professional cameras. The camera is focused on the “golden mean”.
Canon EOS 6D and competitors
MatrixFeelings
ISO
DisplayVideo
stabiliz.
speed
Weight,
dimensions
Orient.
price, rub
Canon
EOS 5D Mark II
21 MP CMOS
Full Frame
100 - 6400
100 - 25 600*
3.0″ TFT
921,000 points
fixed
Full HD 30p
No
4 fps
850 g
152×114×75 mm
T-2638137
Canon
EOS 6D
20 MP CMOS
Full Frame
100 - 25 600
50 - 102 400*
3.0″ TFT
1,040,000 points
fixed
Full HD 30p
No
4.5 fps
775 g
145×111×71 mm
T-8458236
Nikon
D610
24 MP CMOS
Full Frame
100 - 6400
50 - 25 600*
3.2″ TFT
921,600 points
fixed
Full HD 30p
No
6 fps
850 g
141×113×82 mm
T-10533681
Nikon
D750
24 MP CMOS
Full Frame
64 - 12 800
32 - 51 200*
3.2″ TFT, RGBW
1,228,800 points
folding
Full HD 60p
No
6.5 fps
840 g
141×113×78 mm
T-11037120
Sony Alpha
SLT-A99
24 MP CMOS
Full Frame
100 - 25 600 3.2″ TFT
1,228,800 points
folding
turning
Full HD 60p
There is
6 fps
812 g
147×111×78 mm
T-8455665
Sony Alpha
7R
36 MP CMOS
Full Frame
100 - 25 600 3.0″ TFT
921,600 points
folding
Full HD 60p
No
4 fps
465 g
127×94×48 mm
T-10542306

* - in advanced mode.

Image quality - noise

It turned out that two cameras Canon EOS 6D and Nikon D750 were tested in different times, but the articles were prepared almost at the same time, with a slight gap. Not on purpose, it just happened that way. And, of course, I couldn’t resist making comparisons, it was interesting “who has the coolest noise” - after all, cameras of the same class, about the same price, from leading DSLR manufacturers. Both Canon and Nikon lenses used in testing were of the same class: Canon EF 24-105mm f/4L IS USM and Nikon 24-85mm f/2.8-4D IF AF.

In short, in this article I decided to deviate a little from the usual scheme and at the same time give samples from the Canon EOS 6D and its closest competitor, the Nikon D750. Please ignore the differences in color: in the case of the Canon EOS 6D, installing an “incandescent lamp” gave a temperature of 3150 Kelvin, in the case of the Nikon D750 - 3000 Kelvin. Although even when installing same temperature, you won’t get the same color, we will touch on this topic later.

Noise test
gray card
Canon EOS 6D, JPG
noise filter “normal”
Nikon D750, JPG
noise filter “normal”
ISO
100
ISO
800
ISO
1600
ISO
3200
ISO
6400
ISO
8000
ISO
12 800

Perhaps someone will find visible differences, but I think this is the case when you can mix up the photos, leave only the inscription “ISO XXX”, and few people will be able to determine whether this photo is from a Canon EOS 6D, and this one is from a Nikon D750. I think so - if you convert the pictures to b/w. Otherwise, the characteristic shades of Canon and Nikon will confuse us. Or rather, they will tell you where the Canon photos are and where the Nikon ones are.


And setting the same RAW development temperature is unlikely to help. Canon and Nikon understand photorealism differently, Canon's images are traditionally warmer and softer, Nikon's are cooler and sharper. Theoretically, if you tinker with the RAW settings, you can achieve complete similarity between photos from Canon and Nikon. But why? Each manufacturer has its own understanding of photorealism, and each photographer too.

However, we can move away from comparing the Canon EOS 6D and Nikon D750, we can return to the essence of the matter - demonstrating how well the Canon EOS 6D copes with noise.

Canon EOS 6D
noise test
fragments of pictures of the test bench
RAW
filter off
light scene
JPG
filter on
light scene
RAW
filter off
dark scene
JPG
filter on
dark scene
Clicking on each fragment will open a window where the fragment will be presented in 6 options:
with sensitivity 100 - 1600 - 6400 - 10,000 - 16,000 - 25,600 ISO.

The samples in the table give an almost complete picture of how the Canon EOS 6D will photograph recognizable objects in good light and in semi-darkness, in RAW and JPG. Small text and worlds show the level of resolution or detail. This is a good guideline for everyone - to determine for themselves the so-called working sensitivity, above which it is better not to rise, which can be set in the camera settings as the upper ISO limit.


If we translate the picture quality into numbers (the best meter for this so far is radial worlds; the best, but far from ideal), we will get almost familiar dependencies. “Almost” - because each camera gives its own indicators, but the nature of the curves can be predicted: the RAW resolution will be higher than that of JPG by about 0.1 lines per pixel.

In addition, you can expect that Canon's "soft" image will provide slightly lower resolution than Nikon's "hard" image. Yes, all this can be seen on the graphs. The JPG with a noise filter produced a slightly unexpected result. Typically the filter will attenuate JPG resolution by another 0.05 line, but we don't see this with the Canon EOS 6D. The curves with the filter turned off and on are approximately at the same level. Perhaps this shows the advantages of a “soft” picture.

Optics - Canon EF 24-105mm f/4L IS USM

Manufacturer
Detailed information
Lens typevarifocal
FormatFull Frame
Focal length24 - 105 mm
Macro modeNo
Minimum focusing distance0.45 m
Diaphragmf/4.0 - f/22
StabilizerEat
Focusinginternal
Filter thread diameter77 mm
Dimensions, weight∅83.5×107 mm, 670 g
PriceT-973614

The Canon EF 24-105mm f/4L IS USM is considered a Canon EOS 6D kit lens. In addition to the fact that the camera and the lens are really worth each other - both in terms of capabilities and price, when buying a “whale” you can save fifteen thousand rubles. In early January 2015, Yandex.Market showed average price“carcasses” - 91,600 rubles, the average price of a “whale” is 122,000. In this situation, the price of the lens is approximately 30,000 rubles. And separately they are asking about 45,000 for it.

But in any case, it’s interesting what characteristics the representative of Canon’s elite L-series with a red stripe on the front lens will show.

Canon EF 24-105mm f/4L IS USM. FR = EGF = 24 mm


At the short focus Canon EF 24-105mm f/4L IS USM we see a very noticeable “barrel”, vertical distortion is D = −3.97, horizontal distortion is much less - D = −1.21. Distortion of the order of 4 is a bit too much for an elite lens, although for a full frame 24 mm is not such a small focal length.


The resolution in the center of the frame and at the edge does not fall below 0.65 lines per pixel, as a rule, it remains above 0.7. This is a very good result when you don’t have to worry that an open or closed aperture will blur the frame. Unfortunately, when the Canon EOS 6D was in our laboratory, we only shot the “optics” test in JPG. It's quite possible that shooting in RAW would have produced results that were 0.1 lines per pixel higher (as was the case with the Nikon D750 and Nikon 24-85mm f/2.8-4D).


As for chromatic aberrations, they are at a very low level, not exceeding 3% even at the edge of the frame. In order not to clutter the article with samples, further we will present only the graphs “Dependence of resolution on aperture” and “Dependence of the level of chromatic aberrations on aperture”. All measurements were taken at the following values: f/4 - f/7.1 - f/13 - f/22 (a lens with a constant aperture allows you not to “twitch” when changing focal length).

Canon EF 24-105mm f/4L IS USM
EGF = FR = 24 mm

Canon EF 24-105mm f/4L IS USM. FR = EGF = 50 mm


We move to the middle focus and see that the very noticeable “vertical barrel” has turned into a moderate “vertical cushion”. Here, too, the distortion appears more vertically - D = −1.99, and is barely noticeable horizontally - D = −1.02.

Canon EF 24-105mm f/4L IS USM
EGF = FR = 50 mm
Dependence of resolution on apertureChromatic aberration level

Resolution at mid-focus remains high at the extreme apertures and very high (maximum 0.85 lines per pixel) at medium apertures, with resolution generally higher at the edge of the frame than at the center, but there is no big gap. And chromatic aberration remains very, very modest, less than 2 percent.

Canon EF 24-105mm f/4L IS USM. FR = EGF = 105 mm


And finally, at the long focus, the moderate “cushion” becomes quite moderate: vertically D = 1.63, horizontally D = 0.85. The resolution both in the center of the frame and at the edges drops slightly, but rarely drops below 0.65 lines per pixel. And “chromaticity,” on the contrary, is growing, but still remains at the “virtually invisible” level, less than 3 percent.

Canon EF 24-105mm f/4L IS USM
EGF = FR = 105 mm
Dependence of resolution on apertureChromatic aberration level

Of course, it’s a pity that in this testing we didn’t do two things: we didn’t shoot in RAW and we didn’t see how the lens behaved with the “Aberration Correction” option turned off. But if anyone is preparing to throw a stone, please don’t throw it. It is almost impossible to explore all the capabilities of the camera, and with each new test we become smarter, we pay attention to things that we previously considered unimportant.

Canon EF 24-105mm f/4L IS USM. Stabilizer.

Methodology for testing the stabilizer in detail. Testing is carried out at a focal length of 50 mm, when to obtain sharp frames it is desirable to use a shutter speed no longer than 1/50 of a second. The stabilizer allows you to use a longer shutter speed and “gives” the photographer additional exposure steps.


According to our assessment, the stabilizer works effectively at shutter speeds of 1/7 second and shorter. Which gives the photographer an additional 2.7 stops of EV compared to shooting without a stabilizer. And although our result differs from the 3 stages declared by the manufacturer, the discrepancy is small. And taking into account the error of our measurements - approximately 1/3 EV - we can confirm that the Canon EF 24-105mm f/4L IS USM stabilizer is a “three-stage” stabilizer.

Canon EF 24-105mm f/4L IS USM. Results.

So, let's sum up the balance of pros and cons.

Lens advantages:

  • Quite high and constant (independent of focal length) aperture ratio.
  • Very good speed and focusing accuracy.
  • Normally working “three-stage” stabilizer.
  • Very moderate distortion at medium and long focal lengths.
  • Enough high resolution at any aperture, at any focal length, both in the center of the frame and at its edges.
  • Very low level of chromatic aberrations.
  • Very noticeable distortion at short focal lengths.

To put the balance in other words: the Canon EF 24-105mm f/4L IS USM is an outstanding lens that provides high-quality images in all conditions (regardless of the chosen aperture and focal length). Its only drawback is high distortion at short focus. Its high price can also be considered a minus, but a simple rule works here: “If there is an opportunity, buy, if there is no opportunity, look for optics that are not so expensive and not of such high quality.”

Features of Canon EOS 6D

Speed, autofocus

The Canon EOS 6D came to our laboratory, accompanied by three lenses. In addition to the “whale zoom”, we had two high-aperture “fixes”: Canon EF 24mm f/1.4L II USM and Sigma AF 50mm f/1.4 EX DG HSM Canon EF - we decided to highlight their test in a separate article.

The primes focus faster, as one would expect. At the level of expert assessment it is difficult to say who issued best result- Canon EF 24mm or Sigma AF 50mm, even in semi-darkness they capture the frame instantly. So we carried out the shooting speed test with a Canon EF 24mm, and not with a “whale”.

The Canon EOS 6D has only two speed modes: continuous shooting and continuous silent shooting.


We consider “infinity” to be options when the camera can take more than 100 frames in any mode or is capable of operating in this mode for more than 2 minutes.


Shooting, called “silent”, is of course not completely silent, but very gentle. Here you do not need to rely on the soundtracks that we post in the block for downloading test results. The phonograms were amplified (loudness normalized) to make the shutter pulses easier to count in an audio editor.

Tests were carried out with a Canon EF 24mm f/1.4L II USM lens and a high-speed SanDisk Extreme Pro 16 GB 95 MB/S card. Just in case, I remind you that when checking the shooting speed, we always set JPG and RAW to maximum quality.

Shooting at high sensitivity

The highest standard sensitivity of the Canon EOS 6D is ISO 25,600. You can go further (in extended mode) up to 102,400 units, but there is little point, the picture quality will be no higher than at ISO 25,600, that is, even worse. So we’ll limit ourselves to the standard mode, especially since in this range we can continue comparing the Canon EOS 6D and Nikon D750, although Nikon has the upper limit of the standard range - ISO 12,800. But here, most likely, manufacturers are more guided by marketing considerations than technical.

Noise test
gray card
Canon EOS 6D, JPG
noise filter “normal”
Nikon D750, JPG
noise filter “normal”
ISO
16 000
ISO
20 000
ISO
25 600

When reaching extreme sensitivity, the Canon EOS 6D is more confident than the Nikon D750. This may be partly due to the lower resolution (20 megapixels versus 24). But in any case, the above fragments have the meaning of illustrating “what will happen if you need to turn up the sensitivity”; their practical meaning is small.

Video

At the beginning of the article, we already noted that the maximum video resolution of full-frame Canon DSLRs remained at the level of 2008 - Full HD with 30 progressive scan frames. The only exception is the coolest Canon EOS-1D C, which can shoot 30 frames per second with 4K resolution and 60 frames with Full HD resolution. The new “half-frame” Canon EOS 7D Mark II also gives 60 frames.

Why Canon “froze” video at 30p for almost all of its models can only be guessed at. Most likely, two years ago the company's marketers decided that 30 frames per second was enough, and 60 frames was too exotic. Probably, the Digic 5+ processor pulls Full HD 30p to the limit (the Canon EOS 7D Mark II has Digic 6, and the Canon EOS-1D C has two Digic 5+ processors).

In any case, the buyer is informed - 60 frames will appear in new Canon DSLRs gradually, but for now most cameras in the model range can only shoot at 30 frames of progressive scan (this limitation applies only to Full HD; with a lower resolution of 1280x720, Canon cameras can easily handle 60 frames per second).


We have already emphasized more than once that the video test in our section is essentially not a test, but a general check. We make sure there are no dropped frames, exposure or white balance errors. Special attention We pay attention to how quickly autofocus adjusts after zooming or quickly changing the subject. Can he cope on his own, or is it advisable to help him? To what extent does the help spoil the shooting, for example, with completely unnecessary autofocus adjustment sounds?

As a result of this test, only good words can be said about the video quality of the Canon EOS 6D. The camera gives a clear, beautiful picture. Autofocus in AI Focus mode (automatically switches between single-shot and servo) picks up new subjects quite quickly - faster than the Nikon D750 at 60fps.

Results

Now we can sum up the main result - break down the pros and cons of the Canon EOS 6D. So, the main advantages:

  • The EOS 6D has good basic quality: color rendition, exposure metering, and autofocus are very, very good.
  • The EOS 6D is convenient, even comfortable to use, and gives the impression of being very reliable.
  • EOS 6D has quite high functionality, which is also provided by built-in Wi-Fi modules and GPS.
  • The EOS 6D gives a wonderful picture at high sensitivity, up to ISO 6400. Beyond that, the noise becomes very noticeable, but not ugly. The relatively low resolution of 20 megapixels is rather a plus of the camera, a guarantee of a relatively low noise level, which becomes noticeable at ISO above 12,800.
  • The EOS 6D has the qualities of both an amateur and professional camera - a typical representative of the “golden mean”. Including price. The camera isn't cheap, but it's definitely worth the money.

The main disadvantage of the Canon EOS 6D is this:

  • The EOS 6D does not quite fit the image of a modern DSLR; it cannot be called innovative; its wide functionality is still limited in places (no flip-up display, no built-in flash, and there are limitations in video shooting).

The fact that the Canon EOS 6D is not entirely modern does not in any way affect its main characteristics - image quality, exposure quality, autofocus speed and accuracy (including in Live View mode and video shooting). Although very interesting innovative models appear in the EOS 6D price range (Nikon D750, Sony Alpha 7R), in terms of basic indicators they cannot “jump” above the Canon EOS 6D. And their higher resolution sometimes leads to worse images (at high sensitivity). The Canon EOS 6D is a conservative model in a good sense, an excellent choice for those who do not chase fashionable new products and prefer solid basic quality. But when choosing the EOS 6D, you need to think carefully about how important the built-in flash, flip-out screen and 60p Full HD video shooting are to you.

Gallery

The gallery frames, as usual, are sorted by sensitivity - from ISO 100 to ISO 12,800. Notice how wonderfully the Canon EOS 6D reproduces colors and halftones; the “picture” of this camera is literally beautiful. All gallery frames can be downloaded in JPG, most of them in RAW.

Gallery
VideoVideo 44 seconds, 1920×1080@25p, 157 MB
Continuous shootingAudio recordings of the “burst shooting” test, 2.2 MB
Gallery

Canon is an impressively established player in the photography and videography market. Managing to sit on several chairs at once, the giant of technical thought managed to gain a place for itself in almost all areas of technology, truly becoming a famous and recognizable brand of tools for creative people.

By releasing its 5d Mark III, for example, the company not only showed that in the world of studio photography someone other than medium format could be king, but also proved that people who cannot imagine their life without video do not need heavy and expensive video cameras. To this day, the “brand” remains a recognized leader, choice and object of desire for many. And with the release of their affordable FullFrame DSLR, Canon proved that not everything good has to come with a high price tag. Let's look at the Canon EOS 6D.

Video review of Canon EOS 6D

Design, buttons, wheels

The first thing that comes to mind when you pick up the “six” is “Wow, 60D in a different guise.” In fact, the camera is much closer in design and ergonomics to the younger model than to the Mark III. Similar dimensions, arrangement of control elements, the very execution of these same elements. But first things first.

The body is made of magnesium alloy with small inclusions of plastic. All parts that somehow come into contact with the user’s palms are rubberized. The pleasant-to-touch material will prevent slipping even with sweaty hands, but I would like to feel a little more comfortable in the grip - the body is a little small for my huge palms.

There's nothing on the front of the device other than a protruding right-hand battery grip and a bayonet release button on the left. Only after some time did I find a weakly protruding aperture repeater button slightly to the right of the bayonet mount.

Everything on the bottom is standard: a tripod socket and a battery compartment.

On the right, under the cover, there is a compartment for just one memory card.

The left side is given over to ports for connecting accessories, which are hidden behind rubber plugs. Here are the connectors for the remote control remote control and an external microphone, next to it is a port for MiniHDMI and AV/TV out. They decided to sacrifice the headphone output, although I don’t understand this move. There is enough space, the market price of MiniJack is cheap. But more flexible control over the quality of the recorded sound is invaluable. I hope this is not a marketing ploy like “if you want more, pay more for the Mark III - just twice as much.”

On the upper left side there is a mode selection wheel with an accidental rotation lock and a lever to turn the device on/off. On the right is the display for displaying additional information and five buttons for quick access to device functions: selection of autofocus options, “film advance” modes - single frame, series or self-timer, ISO, metering mode and the backlight key for the additional display.

In the center of the top edge there is a classic protrusion in which the pentaprism shaft and the hot shoe on it are hidden. But there is no internal flash. This is another minus - despite the fact that the camera is still aimed at more serious work than just photographing drunken groups, a light source would not hurt - for example, in order to “set fire” to external light sources in slave flash mode .

The rear part is also not replete with controls - only the necessary minimum. Slightly shifted to the left side of the device, there is a three-inch TFT display with a resolution of 720 x 480 pixels. According to the manufacturer, there is a double anti-reflective coating. In fact, the viewing angle is about 150-170 degrees; the main information, although difficult to read, is legible even in bright sunshine. Above it are only the Menu and Info buttons, next to it is an optical viewfinder with 97% frame coverage and 0.71x magnification. As for me, it’s not enough, it could be more. The diopter adjustment wheel is hidden a little higher.

On the right is a lever for switching between photo and video modes and a Start/Stop button for quickly recording video. On the far right side there are Af-On buttons, a function key and a button for selecting focus points.

The rest of the space is occupied by the zoom buttons, viewing footage, and the quick settings Q, a five-way joystick with a SET button in the center, a wheel, a delete button and a focus point lock lever.

All controls are tactilely very similar to those in the Canon EOS 60D, they have the same travel and sound when pressed. The wheel is just as slippery; sometimes your fingers can run over it in warm, dry weather. While wearing gloves, you will have to try hard to perform the scroll.

I would immediately like to talk about the disadvantages, as well as compare it with the closest competitor in this price category and segment - you can read its full review.

Firstly, the dimensions could have been made larger. And there is no sparing to place the controls - there is enough space. The same competitor has two memory card slots, which increases the convenience of shooting and storing data. And now we are not talking about the fact that there is more space, but about the fact that you can easily separate photos and videos, making your life easier at the stage of sorting the material. Nikon has the same headphone port, despite its bug with the aperture mode in LiveView. And the internal flash won't hurt. By the way, during the operation of the “six” another small and annoying drawback emerged - after frequently changing storage media, the cover covering the memory card slot became a little loose and did not fit tightly to the body. Firstly, this has a negative effect on dust and moisture protection (which, after all, is present), and secondly, it leaves a feeling of unreliability or something.

Hidden from view

Inside there is a 20 MP full-frame sensor and a Digic V+ processor. This combination ensures excellent responsiveness of the device not only in vacuum conditions, but also during real operation. The continuous shooting speed is 4.5 fps, which is not so much, especially in comparison with, which boasts six frames. Regarding the buffer capacity – parity. The hero of the review begins to choke on 12 RAW+Jpeg and 15 RAW. And this is when using a fast memory card (its review).

Light sensitivity - from 100 to 25600 ISO in normal mode and from 50 to 102800 in extended mode. The quality of photos and the amount of noise are as expected. Up to 12800 you can shoot in Jpeg and not worry about the quality of the images, but starting from the specified value, development from RAW is required. But values ​​above 25600 are for those cases when you need to shoot a report or photograph for a family album.

By the way, I was also pleased that when printing, operations with photographs can be performed up to 25600 and even A4 formats can be printed with proper RAW development. In this case, things are a little worse.

The dynamic range is sufficient for most situations. Lights and shadows are transmitted correctly, but in a situation with difficult lighting on a cloudy day, you should still turn on HDR so as not to get a gray sky that looks like a rag.

Autofocus

But here it’s worth crying - there are only 11 points, of which only the central one is made of a cross type. If you don’t take into account those who like to aim at the central point and ignore all the others, there are frankly few points. Very little. Autofocusing is also complicated by the fact that the entire array is concentrated in the central part of the frame, so the edges suffer. Add to all this poor lighting and slow optics and we have a small problem - either with our hands or with false passes, grabs, focus locking and camera shift. And then I remember with its 39 points, of which 9 are cruciform

Among the interesting features, in addition to the basic image post-processing tools that have already become so familiar to us, are Wi-Fi and GPS. And if the latter is intended for writing geotags, then the first, according to trends, is used not only for sharing pictures, but also as a remote control via a phone or tablet.

But there are several nuances that left a very unpleasant aftertaste. In order to download the EOS-Remote application, you need to go to the American App Store - it simply isn’t available in the Ukrainian one. Unfortunately, it is impossible to check how things are with other stores. Secondly, after a lengthy setup of the camera-smartphone pair, during which I repeatedly consulted the manual, I saw the message “video recording not available” on the screen. That is, with the remote control I can only control photos in this way. What? Why?

OK. When testing the capabilities, I realized that exchanging photos and managing basic settings such as exposure, exposure compensation, etc., shutter release, etc. happens plus/minus in the same way as with competitors. But the delay in displaying the picture on the smart screen of three to five seconds and terrible lags forced me to delete the application, not use it until it was fixed, and write - it would be better not to do it than to do it for show.

Video shooting

Videos are recorded in 1920 x 1080 pixels, with 30p and 50i modes available. Of course also available intermediate values. To obtain higher-quality video, there is a port for an external microphone, manual audio sensitivity settings, manual control of aperture and shutter speed in LiveView mode - all this provides videographers with additional freedom. But there is no headphone output to monitor the sound while recording. And this is a failure, because at the fasting stage annoying interference or noise may appear. Life is unfair - the D610 has such an output, but there is no aperture control in LiveView mode.

Be that as it may, almost all of our reviews were shot specifically on the “six” - take a look.

Fine

  • small sizes;
  • ergonomics;
  • external microphone port;
  • high speed;
  • photo and video quality;
  • Availability of GPS and Wi-Fi;
  • good and bright display;
  • working ISO even at high values.

Badly

  • “slippery” mode selection wheel;
  • continuous shooting speed of only 4.5 fps;
  • small buffer;
  • lack of built-in flash;
  • no headphone output;
  • 11 AF points, of which 1 is cross-type;
  • 1 memory card slot;
  • implementation of Wi-Fi operation.

Which glass to take

The choice of glass for the Canon system is rather a philosophical question. A-brands can, naturally, boast a huge fleet of optics, and not only proprietary ones. Considering the fact that the Canon 6D is not exactly a budget thing, and that in order to unlock the full potential of the matrix it is worth using high-quality optics, we will not look at the cheapest options on the market.

- not the lightest option for a dollar, but at the same time you get all the current focal lengths - in most cases you will not experience any difficulties. In addition, the lens belongs to the L series, so both plastic and design will be there.

This is the glass for you if you need a universal lens for every day, which can be used to shoot all kinds of scenes, from landscapes to portraits. In addition, beautiful bokeh and high aperture will only work to your advantage. This lens costs about $450.

Sony Alpha A7

The main and main mirrorless alternative to the hero of our review. FullFrame matrix, small dimensions, availability of all necessary ports, price - all this will play into the hands of the owner. True, there are not so many optics with E mount. In addition, the body does not have an optical viewfinder, but an electronic viewfinder, so many people simply will not like this solution. Watch our video review Sony Alpha A7 By link, as well as a preview review.

Resume

In the end, we get Canon's most affordable full-frame device for $1,700. With its own shortcomings, with its own advantages, with some solutions “at the level of others.” This is an excellent workhorse for every day, which simply cannot leave indifferent those who need full frame, high-quality photography and videography, but at a low price. And choosing a Canon 6D or one of the alternatives is rather a matter of faith.

Image gallery:

(click on the top right corner to view larger images)

Video review of Canon EOS 6D

Hi all! Today's episode is dedicated to the Canon 6d camera. And not for the sake of another descriptive review appearing on the Internet that does not actually answer the main questions of amateur photographers, but with the goal of giving these answers. At least approximate. And also show the camera in real operating conditions and consider it as an upgrade option. Not for the sake of the upgrade itself, but specifically to improve the quality of the output material of a practicing photographer. Along the way, I will highlight some of the associated problems of such an upgrade for photographers switching from cropped cameras to full frame, and considering different options for full-frame cameras. And even though my opinion risks remaining just an opinion on the Internet, it will definitely be given by a practicing photographer for people like himself, and therefore all reasoning will come, as always in my case, from real tasks, and not from paper characteristics.

Let's do away with the baubles right away. The not entirely magnesium body, the lack of a joystick, changes in the location of buttons and partly ergonomics - all this is largely a matter of habit, and even if it has become less convenient, then you should either come to terms with it or look for another candidate. I chose to simply take it for granted, because other candidates also had disadvantages that I would have to put up with, and therefore I don’t see any room for unfounded panic here. I preferred the cons of THIS camera. Yes, the joystick was more convenient. Yes, it was more convenient to operate with two hands when viewing and deleting photos. But all these are minor things and have nothing to do with the filming process, so we’ll leave them, even if we don’t like them. Let's write it down as a minus, but less important. Let's move on to the more significant disadvantages;)

Moisture protection.

She is. The photo of real combat conditions is clickable.

From time to time there are cries of “the moisture protection in it is a fiction, my buttons are numb.” Most often, problems are caused by using the camera in strongly wet conditions such as good rain, and even more often when doused with salty sea water. In the first case, performance may temporarily cease due to moisture getting into the buttons when you press them. In the second case, the salt will subsequently begin to oxidize the contacts. I was repeatedly covered with salt water over my head. And at the same time I continued to press buttons. As a result (at that time, almost three years of operation), the navigation joystick oxidized. I had to find a technician who replaced the board for me inexpensively (relative to the officials) joystick(four contacts on it). Moreover, as expected, it came from 60d. In this case, the officials change the entire back plate of the carcass, so even without taking into account the work, the price will be much higher. If anyone needs it, I can recommend a person, he does it well and for a reasonable price, he doesn’t charge too much, he only replaces really broken parts. But don't rush to conclusions! Now I will tell you the bitter truth of our days.

I want the reader to understand two simple things:

1. You can always find reviews about camera failures for any camera, or information about failures of such cameras. Therefore, cases of breakdowns cannot in any way be considered as a sign of a bad model as a whole, because absolutely everything breaks. A review means that dissatisfaction has spilled out, while satisfied users (99% of the total number) simply silently and quietly film and do not shout at all corners how good and reliable they are, because this is the norm for them, they do not think that their by silence they distort statistics in a direction that is incorrect relative to reality. And we are talking about any brand, and indeed any device. There have been so many Pentax videos uploaded, but anything can happen....

2. There are several types of moisture protection. If you take the officially presented data of some gadgets, the designations will flash. So, even when the degree of protection is officially declared, it works provided that the buttons are not pressed at the moment of contact with water. The manufacturer often writes about this in the instructions. Let's take, for example, a device that is obviously regulated for swimming with it: the Sigma heart rate monitor.

Even though you can swim in them (!!), you still can't press the buttons! And salt water is specified separately. They write about the same thing about phone models with IP67 or IP68. Now ask the manufacturer of DSLRs whether it is possible to at least just swim with them without pressing buttons and, for starters, in fresh water. That's it! And then there’s no point in getting excited about “I was filming in the rain and...”. If you filmed it in the rain, go get it repaired for money. Pentaxes were washed under the tap, but Canons can also be washed if you do not press the buttons or pour them into them. I shoot in wet conditions all the time, but it was only dousing it with seawater and continuing to use it that caused any real harm. And even then it’s fixable.

Someone cries about the “flimsy feeling in the hand.” A simple question: what is the difference between the iron handle of the 5d2 and the no less iron handle of the 6d? That's right, nothing! The only difference is the top of the head, which you don’t touch with your hands at all. Hence the conclusion: all your “sensations” will disappear during a blind test if you are blindfolded and given several DSLRs in your hands. The conclusion is yours. Oh, yes, so that the heathers understand the absurdity of their “feelings,” below are skeletons 6d, d300s and d600. If everything is in order with your vision, you will see that solidity and integrity are not such a common thing, but for some reason not all cameras are attacked with “feelings of flimsiness”

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I won’t forget frost resistance. Frost 20 - 30 degrees for about two hours like this open form. The screen is covered in frost from my breath, the battery is not even discharged. In fairness, I subjected all my cameras to all this and they all withstood my experiments on them with ease, without failures, despite the fact that both 350d and 40d lack moisture protection.

Excerpt.

Just give us 1/8000 of a second and that’s it :) I approached the question dryly. I looked at my photographs and discovered that shutter speeds that go beyond 1/4000 are so rare for me that this question can be dismissed as irrelevant. However, things may be different for you. In any case, you need to focus not on the numbers of the camera’s characteristics, but on the tasks that are realistic for you personally. If in reality you rarely encounter such short shutter speeds, then why divert your reasoning from the right path by clinging to the theoretical possibility of shooting at 1/8000 s for once. Moreover, I recommend not keeping mathematically dry statistics, but first selecting beautiful, decent, interesting pictures from your album, and then keeping score in such a selection, because crap shot at 1/8000 is hardly suitable as an argument, if you think about it carefully . In any case, sometimes even 1/8000 may not help, but an ND filter will.

Let's consider what happens in practice. The difference between 1/4000 and 1/8000 is exactly one stop. In other words, if you shot at ISO 200, then you can go to ISO 100 and get rid of the problem. If you are already at ISO 100, then you can even set ISO 50. If this limit is reached, then there are two ways: cover the diaphragm or put on an ND filter. Moreover, at this moment many are indignant that, they say, they didn’t buy light-colored glass to cover them. How much to close? Has anyone asked about this? Here you have f/1.4. To go from 1/8000 to 1/4000 you need to close down to f/2. Is this really going to make your photography worse? I think that few people (including you!) will find the difference if you don’t compare 1 to 1. And if you do, you will see for yourself that nothing has fundamentally changed: everything that was in the background will be blurred less, but very insignificant. In the article “Wet Bokeh” I already showed the difference. I'll pull out those examples here. Judge for yourself, the difference between f/1.8 and f/2.8 is greater than between f/1.4 and f/2, so what can we talk about!

However, there are exceptions. For example, after closing the aperture, the bokeh changes slightly. But not the blur in the first place, but the same drawing. It happens, I don’t argue. For a very small percentage of people who take photographs with specific lenses. For example, Helius or Canon 50/1.8. In the first one, the bokeh twist decreases. And without this, the photograph simply instantly becomes meaningless. Here it was Afigen, but here you only had to turn the aperture wheel three clicks - that’s it, an unrealistically cool picture, all other things being equal, became lame. It happens.... :o) In the case of Canon 50/1.8, we can start to get pentagons in the bokeh, whereas on f/1.8 they were not there (you can see this in the photos below). With the ovals, this is a wonderful photograph - even for the wall! But with pentagons there is no fountain. Fi! :))

Okay, let's go from the other side, if you still hold on to the principle of using f/1.4 on a sunny day right in the middle of the sun. Do you have a lot of very light lenses with f/1.4 or similar aperture? Only honestly! If it’s not enough, then... ...maybe you can just buy your only or two ND filters and be done with it? If it’s really a lot, then, it seems to me, there’s no point in saving for you personally - buy 5d3. But do not forget that in reality the difference of one stop is not fundamental and if you want to take photographs in the sun at midday, you will certainly have to put on ND, even if the inscription 5d3 appears from behind the lens. This is what it is, this is the sun at noon. Doesn’t look at the inscriptions and doesn’t discretize his own luminous fluxes, giving those who have 1/8000 in their camera exactly one stop more light than 1/4000. ;)

Rate of fire .

I don’t see any significant difference between 3.9 fps (5d2), 4.5 fps (6d) and 6 fps (5d3). If it were two times different, then fine, but so......

Viewfinder.

97% for 6d and 98% for 5d2. Don't be ridiculous! You can't see such a difference!

Memory cards.

I am very pleased with the ability to remove the SD memory card and insert it into any laptop, including my own. Moreover, as an iMac user, I can especially enjoy the convenience, because the iMac has a slot for an SD card right at hand. Now try inserting a CF card somewhere;) Carrying a card reader or lanyard everywhere is in any case less convenient. This, of course, is a stone for the garden 5d2, because... 5d3 can record to CF and SD simultaneously. But few people, even if they have a convenient SD, will also need CF. Personally, I consider switching to SD a plus.

I won’t beat around the bush, I’ll say it straight: if you have finger cramps and a complete lack of sense of proportion, taste, desire to shoot at least something interesting instead of thousands of empty pictures, then yes, one memory card may not be enough. But even in this case, you should be smart enough to take another memory card with you in order to continue recording your machine-gun fires on it, replacing it manually. Or fill out two cards without opening the compartment - is this your principled position?

Electronic level.

Oh, this is a very significant increase in convenience for me! I often take photographs at night, and now, even if it’s completely pitch-dark, I don’t have to worry about losing part of the picture later due to a crookedly installed camera.

Exposure compensation.

The parameter that was often in demand for me personally was 40d. It adds a lot of convenience, because... there is no need to switch to M, and you can adjust the correction directly in the selected mode. But from time to time I came across the fact that the [-2,+2] range is not enough, and then I really have to go into M. And if in 5d2 it’s still the same [-2,+2] that I had on 40d, then in 6d it’s already [-5,+5], which is enough for even the most unpredictable correction: o) By the way, the screen displays [-3,+3], but in reality it changes up to [-5,+5] (you can easily see by changing the shutter speed if we are in aperture priority mode).

Mirror clapping

They surprised many in 5d2. Here 6d is more interesting, because... noticeably quieter. It happens that you want to take photos at the theater or at a concert. A good practical plus in favor of 6d.

GPS.

You know, it will be convenient. Those who have more than once had to find the shooting location from memory, scour the map, pick the navigator in search of remembered routes. And now everything will be much simpler. If you are a portrait painter who cannot travel abroad, then this function will be useless for you. But for a landscape painter everything is somewhat different. Especially if you track not only the end points, but also the entire route in order to navigate to find a more convenient one. But it’s still a very minor function to influence the choice.

WiFi.

I didn’t even turn on this function for several years of using the camera. Because only jpegs are transmitted, and I shoot in RAV. In addition, I always uploaded photos on trips using a memory card, inserting it into my laptop. But the day came when traveling conditions did not dictate taking a laptop, and the phone was taken from a Samsung of previous generations, long abandoned in a distant drawer. At some point, I realized that it would be better to play it safe and throw the most important catch at least onto the phone, or better yet into the cloud. This is where this function came in handy for me.

I want to note three points.

1. The RAV converter built into the camera is quite functional and has all the necessary color/light settings. The only disappointment is that it only converts one file at a time. But this is not a hindrance for storing the most important photos.
2. The application for transferring files can be set to “do not reduce” and safely download full-size files to your phone and then use it to the cloud if you want even greater reliability.
3. Whatever one may say, the ability to control the camera via a phone is an additional pleasant bonus. EOS Remote or Camera connect are very functional controls.

It's better to have than not to have. This came in handy for me. I can’t say that I would have been lost without it, but I sleep more peacefully when the footage is backed up to the cloud, and not carried on a single medium with a tremor in my hand. Especially when the hike involves constant rain, and the camera periodically floods with water in the most literal sense. Here you worry not so much about the equipment, but about the catch on the memory card.

Autofocus Canon 6d.

I will compare with 40d. This is a good choice for comparison, because, on the one hand, no one complained about the AF of this camera (unlike the 5d and 5d2), and on the other hand, I had questions about the AF 40d about its work in the dark, because This is where I often take photographs and it is in the dark that I would like to increase my capabilities. Because in broad daylight I have no complaints about the focusing of 6d, 40d, 350d and other Canon DSLRs, I have always successfully focused on them during the day.

I'll start with the main thing:
1. We are talking only about the central point, because the rest are no better than those of the 40d - they give in to the darkness.
2. The difference demonstrated below will be in conditions of very poor visibility but, of course, is not found on any object. Despite its superiority in this area, the AF 6d is still not omnipotent - the less contrast the object, the less likely it is to receive confirmation of autofocus success on it. Below I will try to show what you can expect from 6d.

All examples below are clickable and open in a more convenient resolution for viewing!

In the presented images, I focused on the nature of the illumination of the objects used as a target for AF. In other words, the darkness that is in the photo with the tiles is the REAL visibility for the eyes at that moment. Naturally, a normally exposed frame would be bright, but then it would be impossible to understand what the actual illumination of the subjects was. Below is an example with a dark closet. I first shot at the guitar and the wall on the left to show how dark it was in the closet. And he even provided a screenshot from the converter showing that nothing was correct. In this case, if you look at the wall with your eyes, it will be just as dark in the closet for your eyes. I want you, dear readers, to realize this FACT: standing in a room and looking into a closet, the eyes can only discern subtle contours - only dark spots, each of which is simply darker than the other. The second frame is already focusing on the suitcase in the closet. But to make it clear that focusing was successful, I did not expose on the wall, but settled on the brightness of the image, where all objects are sufficiently visible. The ISO is high, the shutter speed in the photo of the suitcase is already close to the maximum even at f/2, which will be another proof of the extremely difficult conditions for autofocus, which, on top of everything, is hampered by brighter objects around. But, despite all the difficulties, focusing goes well. No, 40d cannot do this. Alas, for me as a 40d user too.

As a practitioner who shoots for myself, it makes absolutely no difference to me what others believe. I decided to find out for yourself and your tasks, is extending the focusing range in the passport to "-3" really a practical improvement or is it just a marketing ploy. And so I found out (and since then I have proven it many times during trips to different cities and countries!) that everything is true, everything works, everything is as it should be when the manufacturer is completely honest. And yes, I’m not interested in cases when some crooked theorist suddenly can’t handle the camera and starts showing everyone his crooked pictures as “evidence,” because in this case the proof is only his crookedness and nothing more. Quite a lot of time has already passed and all smart photographers confidently continue to take excellent pictures with this camera in different genres. Inept theorists are still whining about the camera’s limitations, either in terms of autofocus (which I couldn’t find during the entire period of use), or in shutter speed, or they will find something else.

I will describe what happens in such darkness. 40d drives a block of lenses in one direction, then returns them back, then stops without reaching the target, leaving it completely out of focus. Forever. 6d on the indicated objects starts with the same thing, but in the process of moving the lens block with the naked ear it is heard that the target is still visible to him, and then he stops and moves the lens block to the place discovered during the previous wiring, then rechecks and, finally , we hear and see a confirmation signal. In terms of time, depending on the specifics of illumination and the type of object, it takes from instantaneous operation and up to 2 times of searching (unsuccessful, but having a time interval equal to wiring back and forth) of the 40d camera in the most difficult cases for it. Of course, there will always be targets that even 6D cannot see. This only means that the photographer will still need to know the limits of his desire to relax and entrust everything to the camera - he will still have to find something in the dark for which the 6D will cling. But I repeat, we are talking about conditions where 40d is no longer capable, but 6d is very possible. And if he signals to you that he can, then the result will meet your expectations.

Now let's talk about hit accuracy. After all, no one is interested in focusing confirmation, which would ultimately result in the depth of field stopping not on the desired object. First a photo of the conditions. I note that in reality the box was darker than it looks in the picture, the chair was about the same, but the surrounding space was a little lighter. But in general, one can imagine that, in theory, there is nothing to catch there with AF. And the 40d absolutely rightfully refused to aim, despite my careful attempts. 6D did not react to everything, but it captured the circled areas quickly enough for such conditions and did it very effectively, since ALL the pictures taken were on target. I will give two of them all. With a little different distances to the goal.

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The two pictures below are the results of an autofocus study on different lenses. The two tests above were carried out using a Canon 50/1.4 lens, and then I also connected a Tokina 12-24/4 and a Sigma 70-300/4-5.6 OS. The shooting was carried out exclusively handheld, therefore, having found the shutter speed to be very low, you can forgive the photographs for some blurriness.

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With fifty kopecks (aperture f/1.4), the 6d focused less selectively under the given conditions than with the Sigma 70-300 OS (aperture at the short end f/4), not requiring the most contrasting objects available. Almost anywhere in the “landscape”, and very quickly! The same as with Tokina 12-24 (f/4 aperture).

With Sigma 6d he already required that he be given the most contrasting objects, and the focusing process itself was longer than with Tokina and Poltos.

These observations suggest that either a wide angle or the original, “native” contrast for a given glass, also helps to improve the AF performance of a given camera, and perhaps both (I just know that the Sigma 70-300 OS itself is less contrast glass than Tokina 12-24).

40d refused to focus in these conditions, both with Sigma and Tokina. At all.

Having set fifty dollars to 40d, and Sigma to 6d, and by this action creating close viewing angles and at the same time completely unequal illumination conditions for the AF sensor due to the noticeable difference between f/4 and f/1.4, I discovered that the ability to focus on the MOST contrasting (on at least, as was written above, the 6d with Sigma did not aim, and the 40d only worked with fifty dollars in principle) objects became very close: both cameras were not very fast, but they captured the targets chosen for them.

I shoot not only landscapes, but also reportage. And I don’t feel any restrictions from the camera. Forum theorists can continue to give their “practical” advice in the spirit of “6d is not at all suitable for reporting.”

Noises.

Click on the two photos above, and resizes with a resolution of 2100x1400 pixels will pop up in separate tabs. This resolution was chosen because on my monitor this is the viewing size and, it should be noted, such a file opened on the screen approximately coincides with the A3 format (even a little larger than A3, but not significantly), which for most fans is a kind of benchmark for quality. At 6d the ISO was set to 6400, and at 40d 1600. In the resizes we see approximate parity in the picture. But there is far from parity in potential capabilities, because at 1600 the 6D camera will be much cleaner in terms of noise.

Lower resize to 2100x1400.

The presented images show the result of the default conversion by the converter. For me personally, it has always been a good indicator of the suitability of a photograph. Because there is no point in looking at color and non-optimally high structural noise (you must agree, no one ever produces photos from a converter with noise reduction completely removed!) with noise reduction turned off, if in practice we still use the benefits of the software. At least when it works by default in “auto” mode, which worked for these pictures. In jpeg this is done (always!) by the processor. And it’s no secret that the power of its impact is adjusted for jpeg in the settings, albeit discretely. The converter presses under our control and also always, and therefore it makes no sense to turn all the settings down if we want to see the real result of the chamber RAV, and not the theoretical one that no one uses. But beyond the converter there was no pressure anywhere - just a resize.

Color rendition.

For some reason, I often come across the fact that they begin to harp on the issue of color rendition not only of the types of matrices, but even of specific models. My opinion was and is the following: color depends to a large extent on shooting conditions and further actions photographer Certainly, a little bit there are differences between models. But to a first approximation, the contribution of the camera itself is small. Do not forget that if on one plot a certain matrix shows the result more attractive than another, then on the other there will be an opposite picture. These are the realities caused by the imperfections of ANY technology. At the same time, someone is measuring skintones, comparing brands to one another. All this is subjective and the result will still be better for the one who controls it better, rather than choosing a camera and then just pressing the button.

However, the color initially also depends on the glass. Yes, what did you want? Let's look at the very different camera output under the same conditions with different lenses. The pictures were obtained with the converter settings set to "auto". Those. the same ordinary source that we see when we open the images we have just uploaded there in the converter. Nothing was spinning! Be sure to click on the pictures and expand them completely (resolution 2100x1400).

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The difference in color, in my opinion, is obvious. Note the top of the right tree trunk and the color of the snow in the foreground. Zeiss's picture is livelier and more natural. At 17-40 even the clouds are bluish. Let me remind you that the conditions are the same, there is one camera, the development from RAV is also identical and both are by default. Now come on, blame 6d for the bad color: o) (applies to those who, instead of working on color, expect it to form on its own)

Well, tests are tests, but this is not what the camera was created for. Let's look at the work of the hellish machine in the field, in real conditions and often far from the most convenient for the camera and photographer. All frames below were taken using center-point autofocus (AF tracking AF doesn’t interest me at all, so look for its tests in other reviews if you really need it for your tasks), unless otherwise noted, or with manual focusing. Pictures in different genres, different conditions, some after modification in editors (sometimes including the deliberate addition of noise!), the rest are just conversion.

Lenses used:
Canon 50/1.4, Sigma 70-300/4-5.6 OS, Canon 17-40/4, Zeiss 3.5/18, Canon 24/1.4 II, Tamron 90/2.8 macro, Canon 16-35/4 IS.

Conclusions on a universal scale.

6D - amateur full frame. And that says it all.

As before, in purely amateur Canon cameras the autofocus system is simplified relative to top professional cameras, but nevertheless allows you to photograph almost everything and almost everywhere (within the framework of amateur photography).

As before, in purely amateur Canon cameras, the shutter speed is about 1/4000, but for MANY people this will not be an obstacle, because... Statistically, they will have 90% of their shots at longer shutter speeds, even with lighter lenses.

But this time, the purely amateur camera received a good makeweight that balanced out its shortcomings, because its advantages are not yet shared by its brothers in the brand:

1. “night” autofocus, which really works, and is not just a paper specification on the manufacturer’s website

2. reduced (primarily relative to 5d2) amount of noise

3. the notorious GPS and Wi-Fi, which most may never need, but are nevertheless available in the camera, and there is always the opportunity to use them if necessary.

Discussions around buttons, modes, styles and color rendering are simply a demonstration that habit is more valuable than objectivity, and also that a person will not use the camera to its full capacity, because... an in-camera jpeg, as a result of the work of a stupid microcircuit, will never compare with through human eyes and hands at the computer.

In the meantime, an important part of the convenience of Canon DSLRs remains: the large wheel. Plus, enlarging photos when viewing has become more convenient. Previously, you had to poke the button many times, now you have to rotate the wheel with your index finger. It is more convenient to select the scale and, in general, ergonomically closer to comfort. So don’t cry about the joystick, the 6D also has advantages over previous cameras with a joystick.

If you are really uncomfortable with the dimensions of the 6d, and other shortcomings of this camera seem unacceptable to you, then the 5d3 is always happy to take you on board - there’s nothing to think about. I was very happy to receive a full-frame sensor in exactly the same body size as 40d, which is very convenient for me and fits well into bags that were not originally intended for this. And I’m extremely glad to have SD cards on board, because it’s more convenient.

Technically, 6d is the same 5d2, but served with a different sauce. I don’t think it’s right to change 5d2 to 6d. You will simply replay the combination of minuses and pluses. 6D can only be preferred for its advantages if you do not yet have a full frame in your arsenal, and you are just about to acquire it. A complete, worthy replacement for 5d2 is 5d3.

Private conclusions.

On a full frame, the issue of soapy corners arises more acutely than it was on a cropped matrix. Until 2015, landscape painters had the problem of selecting an ultra-wide angle on FF. Some even put Nikkor 14-24 on Canon carcasses. And the bulk of them shot with what they had (usually 17-40 and 16-35/2.8). But, alas, neither 17-40/4, nor even 16-35/2.8 will provide the angles that we would like for their price, despite the red stripes on the body. Having studied the market at that time, I immediately found only two options: Zeiss distagon 18/3.5 and Canon TS-E 17/4. The first one already gives what the doctor ordered. The second one is even better and more functional, but more expensive, bigger, heavier And...
...Personally, I don’t need his shift and tilt at all. There is also Samiang 14/2.8, but as a primer it is too wide for me and does not arouse interest.

For clarity, let's compare angles 17-40 and Zeiss 18 under the same conditions at the same time. The third picture with one click removed in the HA converter.

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So I had to invest not only in a 17-40 standard camera along with the camera, but also immediately run for a sane wide one. On the practical side, there are vanishingly few stories that are not filmed on 6D. And most of this infinitesimal list are also not filmed in satisfactory quality on other cameras. Therefore, if you suddenly decide to choose according to the principle “for me for such and such tasks,” then know that your choice will be approximately equally successful even in the case of tossing a coin between 5d3, 6d and, God forgive me, 5d4, although forum theorists They will quickly explain to you that 6D can’t do much at all. So, the money saved from preferring 6D can be immediately allocated to the purchase of a good, full-fledged wide angle. Without which, at least for landscape painters, life will be much sadder than with 5d3 or even 5d4, but with a so-so width. Unlike changing the camera, you will immediately notice the lack of normal width in the pictures.

In 2015, new candidates appeared: Tamron 15-30 and . Both have good angles, and even autofocus zooms. Now there is no need to take manual Samiang 14/2.8 or Zeiss 18/3.5 ;o)

P.S.: In the section, almost all recent publications contain photographs from Canon 6D - there are many more pictures there that have not been touched by a Photoshop brush;)