As with this camera's obvious predecessor, the M6, entry-level through advanced amateur photographers looking for an extremely high image quality to camera size ratio have a great option in the Canon EOS M6 Mark II. While the M6 II is a tiny camera, with the brand-new Canon 32.5 MP CMOS imaging sensor, it (along with the simultaneously-introduced EOS 90D) leads the pack terms of image quality among Canon's other current APS-C sensor format EOS models as of review time. This includes both DSLR cameras and MILCs (Mirrorless Interchangeable Lens Cameras).
From a performance perspective, this camera rocks. The 14-fps continuous frame rate with autofocus and autoexposure remarkably outperforms all Canon EOS models except the venerable Canon EOS-1D X Mark II which it remarkably matches. If 14 fps is not adequate for you, try the new 30 fps RAW burst feature with AF tracking and up to 0.5 seconds of pre shooting available. And, featuring further improved, DIGIC 8-powered Dual Pixel CMOS AF, this camera is a great performer from the very-important image quality-affecting AF speed and accuracy perspective with Eye AF including in still and video servo modes performing exceptionally well. Like the rest of the EOS M models, the M6 II is very well-built and Canon has packed a full set of controls into the small amount of space availed by the compact camera, making it easy to realize the image quality potential of this camera.
Following is some M-series background information (skip to the features bullets if not interested):
When Canon introduced their first mirrorless ILC, the EOS M model, we had the great Canon DSLR image quality we have grown to love in a tiny camera body. While the M's image quality per square inch (cm) and per lb (g) was a home run and that nearly all of Canon's entire lineup of DSLR accessories were available for it was a huge advantage, there were some aspects of this camera that left many of us wanting more. I purchased and long-owned an M.
Subsequently, an M2 model became available in some locales and the EOS M3 was (eventually) released globally. The M3 brought about some welcomed changes, including multiple dials on the top making some settings changes easier and faster, an improved AF system, a tilting LCD, a built-in flash and a better grip. This camera packs very compactly and delivers excellent image quality. While the improvements were quite positive, I still struggled with it in some aspects; even though it focused faster than the M, the M3 still seemed a bit slow and lacking in responsiveness. I also owned an M3 for a long period of time.
An M10 hit the streets around the same time as the M3, though the M10 was positioned below the M3.
The Canon EOS M5 was the next M model released and it featured many big upgrades that made it a compelling choice for those wanting DSLR-like capabilities and functionality in a smaller body. It was only a matter of time before Canon's excellent, fast, imaging-sensor-based phase-detection AF system, Dual Pixel CMOS AF (DPAF), made its way to the M series. In addition to DPAF, a DIGIC 7 processor enabled 7 fps high-speed continuous shooting performance that exceeded the capabilities of many full-sized DSLRs and the built-in EVF made this camera far more usable.
The Canon EOS M6, succinctly, an M5 without a built-in EVF and a lower price tag, came next.
As you may have already determined, the EOS M naming convention had an unfortunately complicated beginning. "EOS" of course refers to Canon's interchangeable lens camera models and the "M" line refers to the mirrorless APS-C imaging sensor format variants. Beyond the "M" is where the naming convention trouble starts.
The "M2" and "M3" came in succession. To that point, it appeared that number would simply be incremented and higher numbers were better and that plan works. Then came the "M5" and "M10", which could still make sense if the "M5" was not the higher-end camera model. Not long after these two models came the "M6" which slotted between the other two models.
The current EOS M strategy is that a lower number represents higher-end models. With a "Mark II" version of the M6, it seems that this strategy is sticking. While it has become difficult to discern based on features, Canon has informed me that the EOS M5 remains the flagship model in the M lineup, though from a features perspective, it now needs the Mark II treatment.
Here is a summary of the features and improvements found in the M6 Mark II:
The EOS M6 Mark II receives Canon's first new CMOS APS-C imaging sensor in quite some time and the 32.5 MP resolution is a serious upgrade from previously-best 24 MP options.
|Canon EOS 5Ds / 5Ds R||1.0x||36.0 x 24.0mm||4.14µm||8688 x 5792||50.6||.71x||100%||f/6.7|
|Canon EOS 5D Mark IV||1.0x||36.0 x 24.0mm||5.36µm||6720 x 4480||30.4||.71x||100%||f/8.6|
|Canon EOS 6D Mark II||1.0x||35.9 x 24.0mm||5.75µm||6240 x 4160||26.2||.71x||98%||f/9.3|
|Canon EOS 7D Mark II||1.6x||22.4 x 15.0mm||4.1µm||5472 x 3648||20.2||1.0x||100%||f/6.6|
|Canon EOS 90D||1.6x||22.3 x 14.9mm||3.20µm||6960 x 4640||32.5||.95x||100%||f/5.2|
|Canon EOS 77D||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.2||.82x||95%||f/6.0|
|Canon EOS Rebel T7i / 800D||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.2||.82x||95%||f/6.0|
|Canon EOS Rebel SL3 / 250D||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.1||.87x||95%||f/6.0|
|Canon EOS Rebel T7 / 2000D||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.1||.80x||95%||f/6.0|
|Canon EOS R||1.0x||36.0 x 24.0mm||5.36µm||6720 x 4480||30.3||.71x||100%||f/8.6|
|Canon EOS RP||1.0x||35.9 x 24.0mm||5.75µm||6240 x 4160||26.2||.70x||100%||f/9.3|
|Canon EOS M5||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.2||100%||f/6.0|
|Canon EOS M6 Mark II||1.6x||22.3 x 14.9mm||3.20µm||6960 x 4640||32.5||opt||100%||f/5.2|
|Canon EOS M6||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.2||opt||100%||f/6.0|
Remarkably, despite the size of this camera, at review time, the only EOS cameras (aside from the simultaneously-introduced 90D) with more pixels are the full frame 5Ds and 5Ds R.
Does everyone need this much resolution? No, but from an image quality perspective, I can't think of a negative reason for having too many pixels. All other aspects remaining equal, more is better. That said, there are some negative aspects to ultra-high image resolution. More specifically, higher resolution magnifies things you don't want to see including:
The details of diffraction do not necessarily need to be understood but all photographers should be aware that, as the aperture opening decreases (higher f/number), images become less sharp at the pixel level beyond the approximate aperture we refer to as the Diffraction Limited Aperture ("DLA", included in table above). As resolution increases, that point of visible degradation occurs at a wider aperture, negating a bit of the higher resolution advantage. While you will frequently want to use apertures narrower than this camera's f/5.2 DLA, the decision to do so should happen with the understanding that pixel-level sharpness is a compromise being made. Those wanting to retain maximum sharpness in their ultra-high-resolution or create very deep DOF (Depth-of-Field) images may decide that tilt-shift lenses and focus stacking techniques are especially attractive.
Large file sizes require large amounts of storage, increased file transfer/load times, and increased computing cycles. The C-RAW format significantly reduces the impact of those first two downsides. Just get higher capacity memory cards and disk drives along with a faster computer if necessary.
I've mentioned "pixel-level" very frequently here and want to emphasize that, when the final output size matches that from lower resolution imaging sensors, the entire list of magnification issues just presented are negated and down-sampling to a lower resolution has benefits.
The advantages of the increased detail captured by a higher resolution imaging sensor abound and include the ability to output at a larger size or to crop while retaining high resolution. I often find myself using the entire image dimensions to frame the final composition I am seeking, attempting to have the most detail for viewing or printing large. While this strategy is usually a good one, sometimes that tight framing gets me in trouble such as when I clip wingtips, need a bleed edge for printing, and/or need to format the image to a non-3:2 ratio such as for an 8x10 print. Having this much resolution available provides the freedom to frame subjects slightly looser to better accommodate such needs with high resolution not being sacrificed by moderate cropping. Birders especially will love that the ultra-high pixel density of this imaging sensor effectively increases the "reach" of all lenses. With this much resolution, the potential exists to crop a variety of final compositions from a single image.
Not that, with the Canon EOS M6 Mark II and the Canon EOS 90D having the same imaging sensor and the same processor along with Canon not having any reason that these two cameras would have differing image quality, we opted to lab test only the 90D. Those results are duplicated for the M6 II, saving a significant amount of time.
In our chart testing, the Canon EOS M6 Mark II shows a significant resolution increase over the M6. There is no question about which results I prefer.
Increased noise — at the pixel level (not necessarily at a comparable final output size) — can arrive with increased pixel density.
The marketing department is always quick to state a camera's ISO range, 100-25600 in 1/3 stop increments along with the extender H(51200) setting but the usable settings within that range are what really matter. Especially for an APS-C sensor, I immediately dismiss those highest settings, assured that they will have a too-low SNR (Signal-to-Noise ratio). You will see why I say this when reviewing the sample images of a Kodak color block test chart, a rather boring subject that I spend hours photographing during each camera test. Sensor technology improvements (including onboard circuitry) implemented by sensors seldom show up on a specification chart, but they do show up in pictures of a color block chart.
Important to understand is that the site's "Standard" color block noise test results include no noise reduction (unless otherwise specified) – a key factor that may cause the results to appear dissimilar to those seen elsewhere. Since noise reduction can be applied to any image during post processing, what matters most to me, what differentiates cameras, is how clean the base RAW images are. While noise reduction can improve an image, noise reduction can be (and usually is) destructive to fine detail. My strategy is to apply light noise reduction only when needed and I do this only during post processing of RAW images.
When using the comparison feature of the site's camera noise tool, let your eyes discern the results. The even colors found in these test charts make noise very apparent relative to most real-life subjects as detail in a scene will far better hide noise. If you can't readily pick out the difference in a color block comparison, it is unlikely that you will be able to recognize the difference in real-world results.
The base ISO setting (ISO 100 with the current EOS models) is always my preferred setting for very clean, low noise results. Not all situations accommodate ISO 100, noise increases as ISO settings go up, and all of the current EOS cameras deliver great image quality at significantly higher settings.
At ISO 400, some noise graininess becomes perceptible in smooth colored areas of the frame. By ISO 1600, you are going to notice some noise in most images. Still, ISO 1600 remains very usable to me. Noise levels at ISO 3200 are becoming more annoying, but ... these images are still decent with some noise reduction added and especially so when viewed at less than 100% resolution. ISO 6400 images can be usable, but the SNR is suffering at this setting and the results are getting quite ugly at 12800. Results from settings over ISO 12800 have low usability, aside from the marketing/bragging rights aspect. Just because the feature is present doesn't mean that you should use it.
in the Canon EOS M6 II and M6 noise comparison, it appears that the two cameras have similar noise levels with the M6's noise grain enlarged (and perhaps sharpened slightly more) in the M6 II results. While lower noise levels are always desired, increased resolution with the same noise levels is still positive.
A large number of other noise test results are available for this camera. Additional standard RAW results are provided with increased sharpness strength levels, S=2 and S=3 vs. S=1. Lossy-compressed CRAW format results are available — these appear the same as the normal non-lossy-compressed RAW results. Both RAW and JPG results using the camera default settings (standard picture style with a high USM strength setting of "4") are provided along with noise reduction samples from both formats.
Regarding high ISO noise, you can have smooth or you can have detailed. Pick one. While not as black and white as that scenario implies, the amount of noise reduction applied to an image requires consideration of the overall appearance. The amount of noise reduction ideally applied to an image is not necessarily directly dependent on the ISO setting alone. You may find that some subjects are more receptive to noise reduction than others. As a generalization, I prefer a low amount of noise reduction when higher ISO settings are used.
All of Canon's EOS cameras provide a wide range of noise reduction, sharpness, and other image quality setting adjustments, enabling you to dial the results into perfection. That these settings can be adjusted in-camera is particularly important for those requiring compressed JPG format images right out of the camera (without using the camera's own RAW image conversion capabilities).
Multi-shot Noise Reduction (MSNR) is one of the additional in-camera options available in many of the latest EOS models including the M6 II. MSNR merges information from multiple (four) exposures taken in a full frame rate burst into a reduced noise image. The concept makes a lot of sense. MSNR generally provides a remarkable one or two stops of noise reduction, but ... I still have not found a compelling use for this feature.
The downsides to Multi-Shot Noise Reduction include: MSNR is currently available only with JPG output (I would like to see this feature added to Canon's Digital Photo Pro software for RAW capture processing – perhaps as another HDR preset). Multi-Shot Noise Reduction is not so useful with moving subjects (or with a moving camera). Long exposure NR, Dust Delete Data, Multiple Exposure and HDR Mode must be set to off to enable MSNR. The R reverts back to Standard NR in Auto/Basic zone modes, during video recording, in Bulb mode and when the camera is powered off. Flash is not supported in MSNR mode. After the 4-shot burst is captured, the camera remains "busy" for a noticeable period of time while processing the merged image. So, while this feature is a nice idea, its limitations make it less useful in real-world applications. I am far more likely to use a low ISO setting with a longer exposure when shooting stationary subjects from a tripod.
You may find that some subjects are more receptive to noise reduction than others.
Also provided in the noise tool are many "Exposed +/- EV" result sets. These images were intentionally over or underexposed at capture and adjusted to the standard brightness during post processing. These results would be similar to an incorrectly captured exposure being adjusted, shadow detail brightness being increased, or highlight details being recovered and they show dynamic range capabilities.
In general, underexposing an image results in increased noise in the adjusted image and shadow details may be lost. The risk of overexposing an image is that highlight detail can be lost. While there is benefit to being able to pull out highlight and shadow details even in a properly exposed image, if I miss an exposure by 2 stops or more, I feel like I have failed my job as a photographer.
The M6 II results show that underexposing means only modest additional noise will be present when brightness adjusted even without noise reduction being applied.
Overexposing an image has a very positive effect on noise levels until highlights become clipped and then overall image quality suffers. Exposing to the right, overexposing so that the histogram chart moves to the right of the ideal final histogram, is beneficial, producing lower noise levels, as long as the highlight detail is not lost. I shoot with the low-contrast Neutral Picture Style selected in-camera to gain an on-camera histogram that best shows the exposure latitude afforded by particular scenes. Especially when shooting still subjects, I often set the exposure to push the graph toward the right side of the histogram, but not stacked against the right side (unless I determine that is needed for a particular scene). Exposures are corrected in post processing and, with the high SNR, images are optimized for overall quality. If there is movement in the frame, a faster shutter speed may be a better choice than modest overexposure and if shooting JPGs in-camera, the proper final exposure should be used.
One Canon EOS camera aspect I appreciate greatly is the color science. Getting proper color balance is one of my personal-biggest post processing challenges and I find Canon colors easy to dial in. The Canon sensor also continues the Canon tradition of low moiré.
I shoot in RAW format nearly 100% of the time, but for those that do not, having lens corrections available in-camera is a very positive benefit. Lens corrections available in the EOS M6 II during image capture are peripheral illumination, chromatic aberration, distortion, and diffraction along with a DLO (Digital Lens Optimizer) feature.
Overall, the EOS M6 Mark II's image quality does not disappoint. It brings a new Canon APS-C resolution level while providing very good dynamic range and color.
The following table shows comparative RAW file sizes for a photo of a standard in-studio setup with a moderately-high amount of detail taken with the referenced camera.
|Model / File Size in MB @ ISO:||(MP)||100||200||400||800||1600||3200||6400||12800||25600||51200||102400||204800||409600|
|Canon EOS 5Ds||(50.6)||64.7||65.7||66.9||69.2||72.5||76.6||81.6||88.1|
|Canon EOS 5Ds R||(50.6)||65.2||66.4||67.6||69.8||73.0||77.2||81.9||88.4|
|Canon EOS 5D Mark IV||(30.4)||38.8||39.1||39.6||40.4||41.6||43.5||45.5||48.0||51.4||55.1||59.8|
|Canon EOS 6D Mark II||(26.2)||33.8||34.1||34.6||35.4||36.5||38.1||40.2||42.9||46.4||50.2||54.9|
|Canon EOS 7D Mark II||(20.2)||25.5||25.9||26.7||27.7||28.9||30.6||32.7||35.1||37.9||41.0|
|Canon EOS 90D||(32.5)||38.6||39.9||40.8||42.5||44.5||46.7||49.1||51.6||54.2||57.4|
|Canon EOS 77D||(24.0)||30.6||31.2||32.1||33.3||34.9||37.0||39.6||42.4||47.0||51.1|
|Canon EOS Rebel T7i||(24.0)||30.6||31.2||32.1||33.3||34.9||37.0||39.6||42.4||47.0||51.1|
|Canon EOS Rebel T7 (est)||(24.0)||30.6||31.2||32.1||33.3||34.9||37.0||39.6||42.4||47.0||51.1|
|Canon EOS R||(30.4)||35.8||36.6||37.6||38.7||40.0||41.8||43.3||45.7||48.0||49.6*||**||**|
|Canon EOS RP||(26.2)||30.7||31.3||32.0||32.8||34.0||35.5||37.1||39.0||41.5||43.4||45.8|
|Canon EOS M5||(24.2)||33.8||34.7||35.7||37.1||39.0||41.3||44.7||46.5||52.8|
|Canon EOS M6 Mark II||(32.5)||38.6||39.9||40.8||42.5||44.5||46.7||49.1||51.6||54.2||57.4|
|Canon EOS M6 Mark II CRAW||(32.5)||24.6||25.6||26.3||27.8||31.7||29.7||31.7||34.0||36.4||42.1|
|Canon EOS M6||(24.2)||34.1||34.8||35.9||37.6||39.6||42.0||45.1||46.9||53.0|
The Canon EOS M6 Mark II writes image files to an SD/SDHC/SDXC (UHS-II) memory card with a single slot is available. SD cards are reliable, very compact, very popular (found everywhere), and available in a wide range of speeds, capacities, and prices. Card readers are also readily available and often built into computers. I'm always happy with this card format choice.
Introduced with the Canon EOS M50 was the .CR3 RAW format and the Canon EOS M6 Mark II gets this feature. This RAW file format enables new features including C-RAW, compressed RAW with lossy compression vs. the normally compressed RAW with non-lossy compression. Instead of the not-full-featured small and medium RAW formats Canon formerly offered, C-RAW provides full RAW file support along with an estimated 40% file size reduction (36% in the ISO 100 file sizes shared above) over Canon's already efficient RAW file format size. The math adds up quickly, significantly impacting both memory card and hard disk storage capacity requirements. With the M50 review, what started as a quick evaluation of this new feature turned into a sizable project. Check out the article: Should I Use Canon's C-RAW Image File Format? for more information.
The Canon EOS M6 Mark II, despite its high resolution, delivers a very remarkable 14 frames per second and that spec comes with AF and AE. In Canon's interchangeable lens camera lineup at review time, only the professional EOS-1D X Mark II compares. And with 30 fps RAW burst with AF tracking and up to 0.5 seconds of pre shooting available, no other Canon EOS camera produced to date comes close.
When photographing action, it is all about capturing the perfect moment in time and this camera is built with that capability. Photographers do not often need to keep every frame out of a long burst, but very frequently a fast-continuous shooting rate enables capture of the ultimate body, ball, etc. position and having the perfect moment captured makes a huge difference in the quality of the image chosen to share. Here is a comparison table featuring many current and recent EOS models:
|Model||FPS||Max JPG||Max RAW||Shutter Lag||VF Blackout|
|Canon EOS 5Ds / 5Ds R||5.0||31/Full||12/14||59ms||125ms|
|Canon EOS 5D Mark IV||7.0||Full||17||58ms||86ms|
|Canon EOS 6D Mark II||6.5||200||18/21||60ms|
|Canon EOS 7D Mark II||10.0||130||31||55ms||100ms|
|Canon EOS 90D||10.0/11.0||57/58||24/25||59ms||96ms|
|Canon EOS 80D||7.0||77/110||20/25||60ms||n/a|
|Canon EOS 70D||7.0||40/65||15/16||65ms||97ms|
|Canon EOS 60D||5.3||58||16||59ms||100ms|
|Canon EOS 50D||6.3||90||16||59ms||100ms|
|Canon EOS 77D||6.0||190/Full||21/27||70ms|
|Canon EOS Rebel T7i / 800D||6.0||190/Full||21/27||70ms|
|Canon EOS Rebel SL3 / 250D||5.0||Full||10||75ms;|
|Canon EOS Rebel T7 / 2000D||3.0||1110||6||120ms||170ms|
|Canon EOS RP||4||Full||50/Full||55ms||n/a|
|Canon EOS R||2.2-8||100||34/47||50ms||n/a|
|Canon EOS M5||7/9||26||17||n/a|
|Canon EOS M6 Mark II||14/30||54||23||53ms||n/a|
|Canon EOS M6||7/9||26||17||n/a|
In its fastest continuous shooting mode, this camera's image buffer is filled with 54 large JPG images and 23 RAW images (the same specs are in place for both standard and UHS-II cards).
To test the Canon EOS M6 Mark II's drive speed and frame buffer capabilities, the camera was configured to manual mode (no AE time lag) using ISO 100, a 1/4000 shutter speed (no waiting for the shutter operation), a wide-open aperture (no time lost due to aperture blades closing) and manual focus (no focus lock delay). The lens cap remained on (insuring a black image with the smallest file size).
Using a freshly formatted fast ProGrade UHS-II V60 SDXC Memory Card, the M6 II captured a solid 41 frames in 2.86 seconds to meet the impressive rated drive speed and nearly double the rated buffer depth. Upon the buffer filling, obvious pauses and short bursts commenced.
This buffer capacity should be considered best-possible for the referenced card and your in-the-field results will likely vary somewhat, but a fast memory card ensures the best performance from this camera. For a 14 fps capture from a camera at this price point, the 2.86 second duration of action able to be captured is very nice.
Shooting in H (vs. H+) high speed contiuous shooting (7 fps) results in a significantly longer continuous shooting duration of nearly 8 seconds.
Always beneficial for understanding the speed of a specific frame rate is a visual example, so let's head to Michelin Raceway Road Atlanta for a look at the 14-fps rate.
While this fast frame rate may make the car appear to be moving slowly, it is moving at full/high speed. Based on the specified frame rate, the 10 frames were captured in well under a second.
The M6 II is has a subdued sound as can be heard in the mp3 sound files linked below.
One of the M6 II's capabilities is totally silent shooting, a huge value for quiet events such as weddings and when skittish wildlife are the subjects. Silent shooting mode requires a full electronic shutter (in live view) that comes with both advantages and disadvantages.
Let's start with the positives. With no mechanical shutter being used, there are no moving parts, shutter failure is not possible, there is no shutter vibration to be concerned with and, relevant to the just-finished discussion, the camera can be operated in absolute silence, full stealth mode.
The downsides of an electronic shutter are primarily related to the current-technology line-by-line reading of the imaging sensor. Fast side-to-side subject or camera movement can (and will) result in an angular-shifted image with vertically straight lines becoming noticeably slanted (with the camera in horizontal orientation). The second curtain of a mechanical shutter chasing the first curtain can produce the same effect but the difference between mechanical shutter (including with electronic first curtain shutter) is typically obvious.
Another electronic shutter issue to be aware of is that certain light pulsing can influence the results, potentially creating banding (I did not encounter this issue). With no sound to signal an image captured, a white frame appearing around the live view image visually indicates this. Bokeh may be found to have slightly decreased quality when using the electronic shutter.
To learn more about the M6 Mark II's 30 fps RAW burst feature, I inquired of the man who seems to know everything about the Canon EOS system, Rudy Winston of Canon USA. Here is the very helpful information Rudy shared with me:
RAW burst is a separate line item in the camera’s shooting menu; it’s not one of the listed “Drive” speed choices. So it’s handled like a separate feature, and not just another FPS choice.
As the specs suggest, RAW burst fires at up to 30 fps, and will do so for up to 80 shots in a continuous burst, assuming a fast UHS-II compliant SD card is installed. I’ve tried it with UHS-I cards, and gotten around 50 or so images in a burst.
There’s a separate Menu choice for “Pre-shooting,” which by default is off. If user-enabled, it starts collecting image data **when the shutter button is pressed half-way down,** and then once it’s pressed FULLY to begin shooting, the last 0.5 seconds worth of images before the full press are recorded to the memory card as well. We’ve seen this before, in the video world, and the idea is if waiting for some split-second event to occur (for instance, a bird on a branch, waiting for it to take off in flight), you get the half-second before you actually reacted and fully pressed the shutter button down.
A few other points about RAW burst mode:
The last two points MAY be a matter of the camera I evaluated being a pre-production version. I don’t have documentation from Japan to confirm or deny that these limitations will carry over to the production model, but thought I’d mention it. At this stage of pre-production, I wouldn't’ be surprised if actual production cameras behave the same way as my sample camera.
Two of the keys that make RAW burst possible are the use of a DIGIC 8 processor, and most importantly, faster read-out speeds of the new 32.5 MP image sensor (while still allowing Dual Pixel CMOS AF to be carried out).
As a practical matter, at least judging from my pre-production sample camera, this feature is VERY sensitive to SD card write speed. A SanDisk UHS-I card, rated at 95 MB/sec, was not sufficient to record anything close to 80 straight images, and the little vertical buffer “scale” on the LCD monitor appeared almost immediately as shooting began. In other words, users should expect to require fast, UHS-II cards to really get the most out of this feature. Fortunately, unlike previous EOS M-series models, the M6 Mark II **is** compatible with UHS-II cards!
Again, we can thank Rudy Winston for sharing the above information.
Here is the RAW burst editing window in Canon Digital Photo Professional (DPP), the very useful editing software that is included for free.
Shown is the frame that best captured a box of nuts being dumped as they pass through the lens' angle of view. While a faster shutter speed would have eliminated the motion blur, I didn't need any special timing to capture the moment the nuts passed through the image circle being watched. I pressed the shutter release half way for a moment and then pressed it fully as I dumped the nuts. Play back the image on the camera or open it in DPP (or another compatible application), select the frame(s) you like best and create a RAW file from it(them). Note that a 46 image RAW burst capture created a rather large 591.4 MB RAW file.
The RAW burst feature, especially when combined with pre shooting, has plenty of real world application and can be a game-changer in some situations.
In the Creative zone, the M6 II offers shutter speeds from 1/4000 sec. to 30 sec., bulb (Bulb timer available with 1 sec. to 1 second less than 100 hours) and, when the electronic shutter is selected, the fastest speed is 1/16000 sec. The Basic Zone offers exposure durations ranging from 1/4000 - 1 sec. The highest flash-sync shutter speed is 1/200 sec.
The self-timer offers Off, 2 sec. delay, 10 sec. delay, Custom, Remote Shooting, and Continuous shooting options.
An interval timer is provided with 10 sec. to 1 second less than 100 hours available with 1-99 or unlimited shots specifiable. Canon noted that when certain lenses are in use (notably the EF-M 22mm f/2 STM, EF-M 32mm f/1.4 STM), and if auto power off operates during interval timer shooting, the focusing position may be shifted. Disabling auto power off function or using lenses other than the ones just mentioned is recommended.
Image quality matters and it is easy to show/see differences on a website in this regard, but a camera's autofocus system is an incredibly important factor in maximizing image quality. A misfocused image will likely be deleted immediately and any focus lock lag can mean a moment missed. The more I use mirrorless cameras, the more I appreciate the accuracy of the sensor-based AF systems (especially with third-party lenses). Canon's Dual Pixel AF system performed excellently in the M6 and it is even better in the M6 II.
The M6 II's AF system has speed similar to Canon's conventional DSLR phase-detection AF systems and I didn't notice any speed difference between the 90D and M6 II I was alternately using, even when photographing exotic cars at high speed on the track.
AF accuracy in both One Shot and Servo modes has been excellent, even at 14 fps. With ultra-low-light EV -5 AF (EV -2.5 in 4k video recording and EV -3 in Full HD), this camera has no fear of the dark and EV -5 is really dark.
Using the imaging sensor for AF also enables great features. Canon has had high-performing face-tracking AF available on other camera models, especially when using sensor-based AF, but the EOS R first brought us a sub-option for Face Tracking AF logically called Eye AF. The M6 II now has this feature and it is awesome. When enabled, Eye AF selects the closest eye (vs. face). When photographing people, set the camera to Servo AF with eye tracking enabled and then concentrate on your composition and shutter release timing. AF takes care of itself even when very shallow depth of field is available.
Live View and Movie focusing modes include Live View: Single-point AF (5,481 selectable AF points), Zone AF (5x5, 25 points), Face + Tracking AF (13x11, 143 points), and Single-point Spot AF (new) The AF zone covers 88x100% of the frame and while I have not found this spec yet, AF is likely possible with max. apertures of f/11 or wider.
The M6 II's capacitive touchscreen allows for Touch Focus during both live view still photography and before/during video recording. Just tap your finger on the LCD where you want the camera to focus and it happens promptly and smoothly. It's really easy.
Canon's awesome Touch & Drag AF interface (debuted with the M5) was not included in the M6. While that feature is of little use without the optional electronic viewfinder accessory and the LCD can simply be touched to select the AF point location, I find that EVF to be very useful and missed having touch and drag available when using it. Fortunately, Canon gave us Touch & Drag AF in the M6 II. With Touch & Drag AF, the entire LCD or a specific portion of it can be used as a trackpad to position the AF point during stills or video capture. By touching and dragging on the LCD, the active AF point can be very quickly repositioned, either absolutely based on the touch location within the LCD (or selected portion of the LCD) or moved relative to drag direction.
Overall, this camera's AF technology is very impressive — I now prefer Canon's Dual Pixel AF over conventional DSLR phase-detection AF.
High grade video is long a standard EOS feature and 4K video resolution is a significant upgrade arriving in this model.
The M6 II uses the MP4 file format [Video: MPEG-4 AVC/H.264, Audio: MPEG-4 AAC-LC (stereo)].
Available movie sizes are:
4K - 3840 x 2160 (29.97, 25 fps coming via firmware update), uncropped for full width of angle of view
Full HD - 1920 x 1080 (119.88, 100, 59.94, 50, 29.97, 25 fps)
HD - 1280 x 720 (59.94, 50 fps)
HDR - 1920 x 1080 (29.97, 25 fps)
4K Timelapse - 3840 x 2160 (29.97, 25 fps)
Movie Length: Max duration 29min 59sec, Max file size 4GB (if file size exceeds 4GB a new file will be created automatically)
This camera once again features Canon's digital movie IS. Don't expect significant improvements from this feature and know that movie IS significantly reduces the angle of view and enhanced movie IS very significantly further reduces the angle of view. Image quality is also negatively impacted when movie IS is enabled.
Overall, video image quality is excellent as expected. Dual Pixel AF during video recording makes focusing easy. The increased resolution of 4k video is obvious and welcomed and the rolling shutter effect is quite reasonable overall.
Making great use of the DIGIC 8 processor is the M6 II's exposure/metering system.
Available metering modes are Evaluative metering (entire scene is analyzed within 384 zones, 24x16), Partial metering (approx. 4.5% of screen, at center), Spot metering (approx. 2.6% of screen, at center), and Center-weighted evaluative metering (entire scene is analyzed within 384 zones, center of viewfinder given more weight).
The M6 II's metering range is EV -2–20 (at room temperature, ISO 100) and EV 0–20 when recording movies. Available exposure compensation is +/-3 stops in 1/3- or 1/2-stop increments and auto exposure bracketing is +/-3 stops in 1/3- or 1/2-stop increments.
If you have ever photographed under flickering lights, such as the sodium vapor lamps especially common at sporting venues, you know what a problem that type of lighting can cause. One image is bright and the next is significantly underexposed with a completely different color cast. The bigger problem occurs when using fast/short action-stopping shutter speeds under these lights. Canon's Anti-flicker mode is a game-changer, especially when photographing fast action under flickering lights, and the M6 II is one of the first Canon mirrorless camera models to get this feature.
Metering (and auto white balance) systems are continuously improving and I find myself relying on them with increasing frequency. The M6 II performed very well in this regard.
Ideally, the camera stays out of your way and that was my take of this camera's optional EVF-DC2 Electronic Viewfinder (EVF). No, the currently-common EVF frame freeze is not completely gone as one would ideally want for photographing fast side-to-side action, but I could usually keep up with Formula Drift drivers in the skidpad. Check out the Comparing Electronic Viewfinders to Optical Viewfinders article for more relevant information. Note that the EVF-DC2 requires use of the hot shoe and does not provide a replacement.
This camera gets Canon's excellent 3" (7.5cm) Clear View LCD II monitor, featuring capacitive touch and high resolution with approx. 1,040,000 dots. The LCD tilts 180° up and 45° down. A benefit of this type of tilting LCD (vs. the side-pivoting vari-angle feature found on many EOS DSLRs) is that it does not interfere with cables attached to the left side of the camera. A benefit from tilting 180° up (vs. the M5's tilting 180° down) is that a tripod does not interfere with the visibility of the LCD, making this model better-suited for self-recording, including both still and video recording/vlogging.
The LCD's touch capability provides great control over camera settings. Pinch, tap, double-tap, flick, etc. gestures are supported. Without the anti-smudge coating, the M6 II's LCD is not the easiest to clean, but likely few will find this issue problematic.
That an electronic level is available checks an important box for me.
The EOS M line is all about delivering big camera image quality from a tiny package and next we will look closer at the physical attributes of the camera. While the original M had very few controls, subsequent models have been adding them and the M6 Mark II has a substantial number.
The usefulness of a camera relates in part to your ability to control how it works. While the defaults for all of the provided dials and buttons are very well thought out, the M6 II features a high level of programmability, making the ideal-for-you customized setup available.
At a quick glance, the back of the M6 II may not appear to be substantially updated, but upon closer inspection, some big-deal changes have been made. First, the 5 basic controls are farther from the grip. This position makes them easier to reach (less-cramped thumb access) and with more grip surface available, inadvertent palm button presses are better avoided.
The other big change is the addition of the AF button and AF/MF surround switch. With EF-M lenses typically being void of an AF/MF switch, a menu option was previously required for control. Now, the short throw of a lever quickly and visibly handles this function.
From the back view, the neck strap holders can be seen. This design is somewhat of a reversion back from a design that was new with the M5 and M6. If you watch details such as this, you see that Canon is constantly trying new concepts and sometimes they don't stick for one reason or another.
The buttons on the back of the M6 II are in excellent order, useful, well-labeled and nicely located with space remaining mostly for the LCD.
The M6 II's Rear Control Dial has an especially great design including a crisp edge that is easy to grip and the directional switches within it are easy to use without much finger movement. It is not as easy to tactilely find the four flush-mounted buttons surrounding the Rear Control Dial and it is especially hard to use them with gloves on.
All of Canon's interchangeable lens cameras feature easy-to-use, logically-laid-out menu systems. A series of tabbed menus are especially quickly accessed using the touch screen and the My Menu provides a customizable list of frequently used options.
There is one substantial change on the top of the M6 II vs. the M6. Like the M6, the left side of the M6 II's top is dominated by the pop-up flash, the hot shoe is next to the right, and the mode dial comes next. The shutter release surrounded by a substantially-sized dial carries over as does the M-Fn button and the power switch.
Going missing is the M6's stacked quick control dial and dedicated exposure compensation dial. Replacing those dials are the dial function button and quick control dial, as first seen in the EOS R. These controls are able to perform an array of setting changes (ISO, drive mode, AF mode, white balance, and exposure compensation) and with some acclimation, are quite powerful.
The power switch is easy to use with the right thumb while gripping the camera and the dials work very well.
The M6 II has a full set of shooting modes, ranging from crazy-easy point-and-shoot and smart to fully manual with most everything in between covered including a wide range of special effects that can be applied while shooting. Hybrid Auto Mode (counterclockwise to the green mode) creates a short digest movie of the day by recording 2-4 second clips before each still image capture.
A mode recently introduced with the EOS R is FV, Flexible-priority AE mode, and it is back with the M6 II.
"With Fv mode, shutter speed, aperture setting, and ISO sensitivity are set automatically by default, and change according to the setting changes the photographer makes. This gives the user the freedom to specify or change aperture, shutter speed or ISO sensitivity, without having to change modes, providing confidence that the camera will select the correct corresponding settings." [Canon] Fv (Flexible Priority) mode acts like P mode when first activated, but the not-specified settings remain automatic as specific ones are adjusted. This mode continues to be highly-touted by Canon.
A friend pointed out that Fv mode is an ideal choice for programming into the custom modes. Once set, a custom mode's mode (P, Av, TV, M) cannot be changed without resetting the custom mode using the menu. With Fv, one can make the programmed custom mode act as one of the other modes on the fly.
Making this camera easier for beginners to use are the mode and feature guides along with built-in help text.
The left side of the camera has a flash release switch (the flash springs up very fast), an external microphone port (3.5mm Stereo mini jack), and a remote release port (E3 style).
The right side of the camera has a USB Type C port (Speed equivalent to High-speed USB 2.0) and an HDMI port (Micro - Type-D connector). HDMI output options include [With info], [Clean / 4K output], and [Clean / FHD output]. HDR output to a compatible TV is supported. Note the absence of a headphone port.
The M6 II port covers are textured to match the camera's grip surface, similar to the M5.
Certainly, you've been taking notice of how small this camera is relative to the non-M series models being compared above. Small size and light weight are hallmarks of the entire EOS M series.
|Model||Body Dimensions||CIPA Weight|
|Canon EOS 5Ds / 5Ds R||6.0 x 4.6 x 3.0"||(152 x 116.4 x 76.4mm)||32.8 oz (930g)|
|Canon EOS 5D Mark IV||5.9 x 4.6 x 3.0"||(150.7 x 116.4 X 75.9mm)||31.4 oz (890g)|
|Canon EOS 7D Mark II||5.9 x 4.4 x 3.1"||(148.6 x 112.4 x 78.2mm)||32.1 oz (910g)|
|Canon EOS 6D Mark II||5.7 x 4.4 x 2.9"||(144.0 x 110.5 x 74.8mm)||27.0 oz (765g)|
|Canon EOS 90D||5.5 x 4.1 x 3.0"||(140.7 x 104.8 x 76.8mm)||24.7 oz (701g)|
|Canon EOS 80D||5.5 x 4.1 x 3.1"||(139.0 x 105.2 x 78.5mm)||25.8 oz (730g)|
|Canon EOS 70D||5.5 x 4.1 x 3.1"||(139.0 x 104.3 x 78.5mm)||26.7 oz (755g)|
|Canon EOS 77D||5.2 x 3.9 x 3.0"||(131.0 × 99.9 × 76.2mm)||19.0 oz (540g)|
|Canon EOS Rebel T7i / 800D||5.2 x 3.9 x 3.0"||(131.0 × 99.9 × 76.2mm)||18.8 oz (532g)|
|Canon EOS Rebel SL3 / 250D||4.8 x 3.6 x 2.7||(122.4 x 92.6 x 69.8mm)||15.8 oz (449g)|
|Canon EOS Rebel T7 / 2000D||5.1 x 4.0 x 3.1"||(129.0 x 101.3 x 77.6mm)||16.8 oz (475g)|
|Canon EOS R||5.4 x 3.9 x 3.3"||(135.8 x 98.3 x 84.4mm)||23.4 oz (660g)|
|Canon EOS RP||5.2 x 3.36 x 2.76"||(132.5 x 85.3 x 70mm)||17.3 oz (485g)|
|Canon EOS M5||4.6 x 3.5 x 2.4"||(115.6 x 89.2 x 60.6mm)||15.1 oz (427g)|
|Canon EOS M6 Mark II||4.7 x 2.8 x 1.9"||(119.6 x 70.0 x 49.2mm)||14.4 oz (408g)|
|Canon EOS M6||4.4 x 2.7 x 1.8"||(112.0 x 68.0 x 44.5mm)||13.8 oz (390g)|
|Canon EOS M||4.3 x 2.6 x 1.3"||(108.6 x 66.5 x 32.3mm)||10.5 oz (298g)|
As you can see from above, the EOS M6 II is basically the same size as the M3 but 0.9 oz (25.5g) heavier. The EOS M and M10 are the smallest, but they have very little grip surface. When the absolute smallest option is needed, these models may be the best choice. However, the increased grip size found on the M6 II, M6, M5, and M3 makes these cameras much easier to hold onto and, if much time is spent with the camera in hand, these models are a better choice for this reason alone. To gain the additional controls these models provide are further reason to take the modest size hit.
All models in the entire current Canon EOS line (and most discontinued models as well) feature very nice build quality and even the least expensive models appear this way. Construction is tight with dials and buttons that assuredly click affirmation of use. The rubberized surface on the grip, front of the camera, and back of the camera under the LCD make the little camera easier to hold onto.
As usual for EOS models, Canon has ergonomically rounded most of the camera and especially the areas intended to be gripped are void of sharp corners. Unless the retro look is what you are going for, you will likely find this design aesthetically pleasing and kind to your hands. That said, the silver and black model has a retro appearance.
Like many of Canon's recently released EOS models, the M6 II has built-in Wi-Fi and Bluetooth (NFC and GPS are omitted). These technologies provide easy transfer of images and movies to compatible devices.
Smartphones and tablets connect using Canon's free Camera Connect app. In addition to transferring movies and still images, this app provides some remote camera control features and provides a live view display of the scene. I need to check out the latest version of Camera Connect, but it previously left a lot of potential untapped with the feature set being somewhat basic.
Bluetooth is a relatively new EOS technology feature. Multi-device support for Bluetooth connection is now providing, allowing pairing of multiple devices to multiple cameras vs. one device pairing with multiple cameras. Utilizing this camera's Bluetooth capability is the Canon BR-E1 Bluetooth Remote. Want to be part of your own family picture? Or just don't want to deal with a remote release cord when using a tripod? This is an accessory you may want. In addition to being able to provide non-line-of-sight remote release functionality, this little device is also able to independently control AF and focal length zooming on compatible cameras and lenses (limited at this time).
Arriving on the M6 II is the relatively new and very useful Canon EOS Focus Bracketing feature. This feature has a LOT more details to be understood and the Canon Focus Bracketing page delves into this topic.
The M6 II features interval and bulb timers.
Now common is for Canon's latest EOS DSLRs to feature built-in RAW conversion to JPG, complete with many adjustments available for doing so and the M6 II once again supports this feature. While shooting in RAW format ensures the highest image quality, this file format is not so welcomed by many of the wirelessly-connected devices. With the built-in RAW conversion, you can photograph in RAW format, create a JPG file and then wirelessly transfer it.
This camera does not feature a built-in GPS, but the Canon Connect App is able to serve as a GPS logger (battery drain will be high on the logging device). While the M5 and M6 II do not directly support the Canon GP-E2 GPS Receiver, the GP-E2's logging function can be used to geotag images later (accuracy depends on the camera's date and time being accurately set).
The EOS M6 Mark II has a self-cleaning sensor system.
Yes, this little camera has a built-in flash. No, you should not expect too much from it. With a guide number of approx. 15.1'/4.6m (ISO 100), you are not going to be overwhelmed with the output. But, sometimes a bit of fill light can make a big difference with close subjects. A 15mm angle of view is covered.
The M6 II again utilizes the LP-E17 lithium-ion battery pack, the same battery shipping with EOS M6, M5, Rebel T7i, and 77D.
This battery is quite small, light and convenient. But, in a mirrorless camera, this battery's approx. 305 shots rating (or approx. 250 shots when used with the EVF-DC2) is unlikely to impress you. There are many factors that affect battery life (including drive mode, flash use, and temperature), but enabling the M6 II's Eco Mode extends the rating to 410 shots. The key is to take enough charged batteries with you to satisfy your needs (and keep an eye on the 4-step battery level indicator to make sure the battery change happens at a convenient time). Expect to far exceed these rating when shooting in high-speed continuous mode.
The M6 II's battery slot is not keyed to stop incorrect insertion until the battery is nearly fully seated. Just because the battery goes into the slot does not mean that it will fully click into place. While I can easily determine that the side with the contacts goes in first, the other two options are not as easily differentiated.
The M6 Mark II's installed battery can be charged (not powered) by the Canon USB Power Adapter PD-E1. Note that not all USB cables can perform this function.
If an electrical outlet is available, the Canon CA-PS700 AC Adapter will provide continuous power to the M6 II.
When you buy a Canon EOS camera, you are buying into an incredible family of lenses, flashes, and other accessories. The camera body (or multiple bodies) is the base your system is built on and a lens is the next essential piece of kit.
The Canon EOS M6 Mark II is available as a body-only kit, in a kit with the very small Canon EF-M 15-45mm f/3.5-6.3 IS STM Lens, or in a kit with the modestly larger Canon EF-M 18-150mm f/3.5-6.3 IS STM Lens. The two with-lens kits include the tiny EVF-DC2 (you want this).
Those opting to purchase the M6 II are likely choosing it in part because of its great image quality and small size. To realize the great image quality requires a high-quality lens. The APS-C image sensor is large and large imaging sensors require a large image circle to cover them. This means that lenses, at least those with wide apertures, may not be able to scale down relative to this camera's size.
Canon's EF-M Lenses are very compact and they are all good choices for this camera. I appreciated the 15-45 lens' smaller retracted size and wider angle of view compared to the 18-150, but the focal length range of the 18-150 is really nice and it delivers very good image quality. To remain as similarly compact as the M cameras, the currently available EF-M lenses have narrow max apertures with two exceptions. The Canon EF-M 22mm f/2 STM Lens pancake-style lens and the Canon EF-M 32mm f/1.4 STM Lens. Both of these lenses offer good general-purpose utility and the EF-M 32 has especially remarkable image quality.
Via the EF-EOS M Adapter, all of Canon's lenses (EF-S, EF, TS-E, and MP-E) can be mounted on all of the M models. While only a small percentage of these lenses retain the small size and light-weight spirit of the Ms, having them available is a big asset, especially for those already having (or planning to have) a larger EOS model in their kits.
As mentioned, the Canon EVF-DC2 Electronic Viewfinder is a valuable accessory, especially when photographing in bright sunlight. Also helpful is that the EVF-DC2 features diopter adjustment, meaning it can be focused to your eye. A button on the right side switches the EVF between off and auto mode where the proximity detector automatically switches between the camera's rear LCD and the EVF based on the presence of an eye (or something else). The round eyecup is comfortable, the EVF provides a nice amount of nose relief from the rear LCD, and the quality of the image presented is very good. Get it.
While the M6 II is slotted below the current flagship M5 in Canon's M-series lineup, it is list/MAP-priced slightly higher without an EVF factored into the price and, at review time, the discounted M5 is noticeably less expensive. While the model pricing and slot in the lineup appear reversed at this time, I think that the M6's feature advantages more than offset the price difference. Though it is a full-featured camera that performs extremely well, the M6 II is priced toward the bottom of the overall EOS range with a moderate price. Compare the M6 to similarly equipped DSLRs such as the 90D and it appears to be a good value.
Reviewing one of the feature-filled EOS cameras currently hitting the streets is a daunting, time-consuming effort. One could write many books about using this camera and getting the most from it. Hopefully, I've given you the basics needed for decision making.
To dig deeper into this camera's capabilities, I recommend reading the owner's manual (a link to the owner's manual appears at the beginning of this review). I know, there are a LOT of pages in the manual, but ... the pages are small in size with big print. The manual will tell you all about a huge array of features not mentioned in this review – including lens aberration correction.
Owning a Canon product gives you access to Canon support and the support I have been provided by Canon's USA division is excellent. When I call for support, I get an intelligent person who sincerely wants to help me with whatever my question or problem is (I challenge them sometimes). Canon repair service, though I seldom need it, is very fast and reliable.
The EOS M6 II used for this review was on loan from Canon USA.
When selecting a camera, one usually wants to compare it to the closest alternatives and to get started, I'll compare the Canon EOS M6 Mark II to the Canon EOS M6. That link along with the visual comparison reveals most of the differences. What are the differences between the Canon EOS M6 Mark II and the Canon EOS M6? Here is a summary of the differences:
Numerous of those bullets could alone justify an upgrade from the M6 Mark I. For example, the twice-as-fast (with AF) continuous shooting frame rate. Eye AF is alone worth the price of the camera to those photographing people with any frequency. Do much video work? The 4k feature is noteworthy. Want higher resolution or more reach with the lenses you currently have? The increased sensor resolution is going to be noticeable. As with most model upgrades, lower price remains the primary feature advantage of the previous camera version.
With the release of the M6 II, many of us were wondering where the 3-year-older M5 fit into the lineup. Does that model still make sense? Canon USA assured me that the M6 II was not a replacement for the M5 and that the M5 represented a higher-end model in the lineup.
For a detailed look at differences between these two cameras, check out the EOS M6 Mark II vs. M5 specification comparison. Here are some of the highlight EOS M6 Mark II vs. EOS M5 differentiators:
Now you understand why many of us are questioning the M5's relevance in the EOS M lineup. The price and built-in EVF are the two primary advantages I see for the M5.
The M6 Mark II was introduced in the same press release as another optimal general-purpose camera, the Canon EOS 90D DSLR camera. The Should I Get the Canon EOS 90D or the Canon EOS M6 Mark II article tackles that decision.
Here is the Canon EOS M6 Mark II vs. Canon EOS 90D Comparison from a specifications perspective.
Does a Lamborghini Huracan (pronounced "Hu rockin" and that is fun to say) make the background too distracting?
It definitely vies for attention.
A very long day that started with a very significant flight delay that turned into a $385, 120 mile cab ride (definitely a personal record — fortunately paid for by the airline) to another airport. Late that day in the hotel, I was handed a Canon EOS M6 Mark II and an EVF along with an EOS 90D. I immediately went back to the room and set up both cameras in preparation for a full day of shooting. It was nearly midnight when this task was wrapped up and I went straight to bed. In the morning, aptly-named Formula Drift driver Dustin Miles melted some tires for us, immediately putting the M6 II to the test without a critical lookover first.
Fortunately, the acclimation process was short and the camera performed very well.
If you have been waiting to jump into a Canon MILC and an APS-C sensor format works for you, the EOS M6 Mark II is a great choice. This camera is also a superb choice for those wanting to step up from earlier models of this series.
While one may feel a tendency to treat a camera of this size as a point and shoot model, using it only for those still-important snapshot opportunities that pop up (it works extremely well for these) would mean underutilizing a highly-capable camera. The M6 II has a very impressive AF system (intelligent, quickly controllable, and with good speed) and an impressive set of features and controls that complement the 14 fps continuous shooting rate very nicely. While a complete beginner can use this camera to capture high-quality images with little effort, the advanced user who takes the time to learn this camera's features will have great control over their imagery. Whether it is tucked into a pocket, in a camera case for backup purposes, or used as a primary camera, the M6 Mark II is a little camera that deserves serious attention.
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