Canon’s most powerful camera yet puts Sony on notice

Move over Sony, Canon is trying to take the lead in bleeding-edge tech for mirrorless cameras. The company’s new $4,300, 45-megapixel EOS R5 II offers advanced features like eye-tracking autofocus (AF) that can’t be found on any recent Sony model. The new camera is also pushing Sony’s A1 and other models in the key areas of speed, video and autofocus. And it’s arguably more desirable than Canon’s own upcoming flagship R1 as it has nearly double the resolution.

I’ve had the R5 II for a few weeks, evaluating not only its practicality and speed for both professionals and serious amateurs, but also how it stacks up against Sony’s A1, the gold standard for high-resolution mirrorless cameras. And frankly, I’m impressed.

Design and handling

I love the handling of Canon’s mirrorless cameras and the EOS R5 II may be its sweetest design yet.

The body and controls are very similar to the R5, apart from a couple of changes. Canon moved the power switch to the top right where it’s easier to access, and added a dedicated photo/video switch on the left. The company gave photo and video modes their own settings, making it much easier to jump from one to the other. Canon also made a rare change to its menu system, adding a new olive green tab for control customization. This new tab also contains the settings for eye control AF tracking.

Otherwise, the R5 II’s layout is similar to its predecessor. That’s a good thing, as the control placement is the most natural of any camera I’ve used, from the comfortable grip that provides a secure place to hold, to the nicely tactile controls that fall perfectly to hand.

Moving to the displays, the R5’s 2.1-million-dot fully articulating rear touch screen was already sharp and easy to use, so Canon didn’t mess with that. The R5 II has the same sharp 5.76-million dot OLED electronic viewfinder as before, but the company boosted the brightness and redesigned the optics to accommodate the new eye control autofocus.

The R5 II supports CFexpress Type B cards for capturing 8K RAW video, along with SD UHS II if you’re okay with cheaper and slower media. Other key features include headphone and microphone ports, a full-sized HDMI input and a USB-C port for charging and transfers. Canon also released three new battery grips, including one with a cooling fan that extends video shooting times, as I’ll discuss soon.

I’m a big fan of the R5 II’s design, and my pro photographer friend agreed, saying that like most Canon products, the R5 II’s ergonomics are so good the device is comfortable to hold for long periods of time. He also said he slightly preferred the R5 II’s handling to his Sony A9 III and A1 cameras, thanks to how easy it is to use with one hand.

Performance

The EOS R5 II offers a blend of speed and resolution that rivals and sometimes even surpasses the Nikon Z8 and Sony A1. That’s mostly due to the new stacked 45-megapixel sensor and updated Digic X processor to crunch all those pixels.

The R5 II can shoot bursts at up to 30 fps in electronic shutter mode with a blackout-free view. That’s slower than the R1, but I’ll trade a small hit in performance in exchange for the extra resolution. I was able to capture about 100 RAW frames before the buffer filled. Speeds drop to 12 fps with the mechanical shutter, but there’s rarely any need to use it because there’s no issue with rolling shutter distortion – thanks to the stacked sensor. The R5 II’s new pre-capture mode can record up to 15 photos when you half-press the shutter. That’s great for photojournalists or wildlife photographers who may otherwise miss a shot by a fraction of a second.

Canon’s “Dual Pixel” autofocus has always been good, but on the R5 II it’s the best I’ve ever seen. When shooting bursts with a subject biking toward the camera, 80 percent of my shots were in focus. And the EOS R5 II now tracks animals, birds and vehicles, on top of faces, eyes and bodies of people.

The camera also has a couple of new autofocus tricks, including one called action priority. That keeps the AF focused around the ball in three specific sports: volleyball, basketball and soccer. I didn’t notice any particular AF improvement, as my hit rate seemed to be about the same without it, but dedicated sports photographers might see the difference.

Another new function keeps the tracking point on your subject even if someone crosses in front of them. That did seem to work well most of the time, but it would occasionally wander off and lock onto someone else.

When Canon launched the R5 II and R1 in July, it introduced pre-registered person priority AF that lets your camera memorize up to ten specific people, like star athletes for instance. This feature functioned as advertised, switching AF to a registered person and tracking them instead of other people in the scene.

Finally, I tested Canon’s famous eye control AF that detects where the photographer is looking and moves the subject tracking point there. This is an undeniably cool feature and has improved compared to the first implementation on the EOS R3, but is still too unreliable for professional use.

In fact, the pro photographer friend I mentioned pointed out that though eye control feels futuristic, it’s still a bit too flakey for paid gigs where focus reliability is paramount.

On the R5 II, in-body stabilization is the best I’ve seen on any Canon camera, keeping the sensor rock-steady for handheld shooting, with up to 8.5 stops of shake reduction. It was so reliable that I never felt the need to carry a tripod when using slow shutter speeds.

I’ve always found Sony cameras to be slightly superior to Canon when it comes to autofocus and speed. I can no longer say that, as the EOS R5 II is very even with Sony’s latest models. My Sony-using photographer friend agreed, saying he couldn’t see any real difference between the R5 II his A1 or A9 III.

Image quality

Image quality on the R5 II is largely the same as the R5, and that’s a good thing. The 45-megapixel sensor produces photos as good as or better than the Sony A1 at a much cheaper price, and compares favorably to Nikon’s similarly priced Z8.

When shooting in RAW mode at lower ISOs, the R5 II offers good dynamic range in high contrast bright and dark scenes. Like other stacked sensor cameras, though, there’s a bit more noise than with regular CMOS sensors. Quality also drops slightly in electronic shutter mode, so it’s better to use the mechanical shutter in tricky lighting conditions.

High ISO performance isn’t too bad for such a high-resolution camera either, with noise staying under control up to ISO 12,800. After that, the R5 II doesn’t quite measure up to models like the Nikon Z7 II or Sony A7R V, as both of those offer cleaner images with less grain.

If you don’t want the hassle of processing RAW, JPEG rendering is excellent straight out of the camera, with well balanced sharpening and noise reduction. For low-light shooting, skin tones are flattering at all ISO settings, and the best among all cameras in this price range.

One new notable feature on the R5 II is the AI-powered upscaling applied after the photo is taken. The result isn’t quite as good as a dedicated app like Topaz, but it’s not bad considering it’s in-camera processing.

Video

The original EOS R5 would have been a darn near perfect video camera if not for its pesky overheating issues. Canon has improved this to a degree with a new passive cooling design and $400 fan grip. With those updates, heat is only really an issue at the highest resolutions (8K 60p and 4K 120p). However, these limitations are less severe on the rival Nikon Z8.

Aside from the heating issue, the EOS R5 II has impressive specs. It can shoot up to 8K 60p and 4K 120p video, but does so with far less rolling shutter than the R5, again thanks to the new stacked sensor. The camera now has Canon Log 2 (CLog 2) capability that allows for higher dynamic range capture than the R5.

Video autofocus is outstanding at all resolutions, with rapid acquisition of the subject and reliable tracking. Face- and eye-detection work very well, and I only occasionally noticed AF lag with fast-moving subjects.

As for stabilization, I could shoot smooth footage while handheld in optical mode with no crop, provided I didn’t move the camera too much. Digital stabilization allowed for more movement while only cropping in a touch, and the enhanced setting let me shoot smoothly while walking with a 1.5x crop. Panasonic’s S5 II is still the best in this regard, but the R5 II is close behind.

As for quality, video on the EOS R5 II is extremely sharp, particularly with supersampled 4K HQ. Other 4K modes are subsampled, but nearly as sharp. Rolling shutter is well managed, so you won’t really notice it unless you do whip pans or jostle the camera while shooting.

Canon’s excellent color science delivers warm skin tones and accurate colors. RAW video allows lots of room for adjustments in post, while the CLog 2 brings dynamic range up to 14 stops to enable shooting in contrasty conditions. With all this, the Canon R5 II is now my go-to camera for shooting video — even over Sony and Panasonic models.

Wrap-up

The $4,300 EOS R5 II is Canon’s best camera in years, thanks to improvements in key areas like autofocus, video, shooting speeds and overall feel. Newly introduced tech like eye control AF is less useful, but it’s still nice to see Canon try to innovate, and the feature should improve in subsequent models.

The R5 II is up against some great competition in this price range, especially the $4,000 Nikon Z8 that holds its own against this camera in most situations. However, Canon’s autofocus is slightly faster and more reliable, and I greatly prefer the R5 II’s handling. The only other full-frame option with a stacked sensor and similar resolution is the Sony A1, which costs $2,200 more.

The main issues with the R5 II are overheating, the wonkiness of action priority and unreliable eye control autofocus. However, it now stacks up extremely well against Sony’s A1 in terms of speed and autofocus, while offering superior stabilization and handling. Which one you choose may simply come down to brand preference or existing lens collection.