The Canon EOS R10 arrives in the entry-level position in the Canon EOS R mirrorless interchangeable lens camera series. This camera and the simultaneously introduced Canon EOS R7 are the first camera models to feature APS-C (1.6x field of view crop factor) imaging sensors behind an RF mount.
While the R10 is distinguished by small size, light weight, and low price, it remains a high-performing camera — similar to the EOS Rebel cameras' relationship to the order EOS DSLR cameras (it's a bit surprising that the extremely successful Rebel name has not yet migrated to mirrorless). Despite the entry-level position within the R series, the R10 has advanced capabilities and handles and operates much like its high-end siblings.
Powered by the DIGIC X processor, the R10 inherits the current flagship Canon EOS R3's AF options and outstanding subject detection and tracking algorithms/capabilities. The Rebel series cameras typically featured slow max continuous shooting speeds, but the R10 even shares the R3's 15 fps maximum mechanical shutter capability and the 23 fps electronic shutter trails only the R3 and R7.
Because of its small size, light weight, low cost, and high performance, expect the Canon EOS R10 to immediately become a best-selling camera.
The last bullet mentions the lens mount. While the lens mount for an interchangeable lens camera may seem a basic necessity, this one is worth mentioning. The About Canon RF Lenses and the RF Mount page goes into an in-depth discussion. Still, the basics are that the RF lens mount retains the large 54mm inner diameter advantage of the EF mount (for reference, the Nikon Z mount has a similar 55mm diameter, the Nikon F-mount is only 44mm, and the Sony E mount is 46.1mm), keeping the rigidity, durability, strength, and ultra-wide aperture support the large-diameter mount provides while reducing the flange back distance (distance from the back of the lens's mount to the imaging sensor) from 44mm to 20mm.
The RF mount design supports optical designs that are smaller than possible with the EF mount and often include large-diameter rear-positioned elements that can feature reduced angle of light rays in the image circle periphery. Bending light to a lesser degree can lead to improved image quality, including better-corrected aberrations. The larger rear-element design of RF lenses also lends to a comfortable shape and weight balance. Improved camera-lens communication also increases performance, including instant feedback for enhanced in-lens image stabilization.
The lens makes a huge difference in the camera's overall performance, and Canon's RF lenses have proven impressive, reason alone to buy into the Canon EOS R-series cameras.
The Canon EOS R10 gets a new Canon CMOS APS-C (1.6x field of view crop factor) imaging sensor featuring 24.2 megapixels of resolution.
While numerous other Canon EOS APS-C cameras share this resolution, the R10's imaging sensor is different. Also, note that the R10's imaging sensor is not backside-illuminated (BSI) and is not stacked.
|Canon EOS Rebel T8i / 850D||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.1||.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 R3||1.0x||36.0 x 24.0mm||6.00µm||6000 x 4000||24.1||.76x||100%||f/9.7|
|Canon EOS R5||1.0x||36.0 x 24.0mm||4.39µm||8192 x 5464||45.0||.76x||100%||f/7.1|
|Canon EOS R6||1.0x||36.0 x 24.0mm||6.56µm||5472 x 3648||20.1||.76x||100%||f/10.6|
|Canon EOS R7||1.6x||22.3 x 14.9mm||3.20µm||6960 x 4640||32.5||1.15x||100%||f/5.2|
|Canon EOS R10||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.2||.95x||100%||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 M6 Mark II||1.6x||22.3 x 14.9mm||3.20µm||6960 x 4640||32.5||opt||100%||f/5.2|
|Canon EOS M50 Mark II||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.1||100%||f/6.0|
|Canon EOS M200||1.6x||22.3 x 14.9mm||3.72µm||6000 x 4000||24.1||n/a||n/a||f/6.0|
Optional aspect ratios are 3:2 (6000 x 4000), 4:3 (5328 x 4000), 16:9 (6000 x 3368), and 1:1 (4000 x 4000).
The 24 MP resolution matches the EOS R3, a camera deployed primarily by professionals and serious amateurs at the top of their game. This resolution is easily adequate for full- and double-page magazine spreads.
The R10's ISO range is 100-32000 in 1/3 stop increments along with the extended H(51200) setting. Especially for an APS-C sensor, I dismiss the highest options, assured that they will have a too-low SNR (Signal-to-Noise Ratio).
With the latest technology in the new Canon CMOS imaging sensor and a DIGIC X processor, I expected that this camera would modestly surpass the image quality of all other EOS cameras with 24 MP APS-C imaging sensors. With the camera in the lab, we can go beyond expectations.
The Canon EOS R10 resolution test results show very sharp image details with a bit of moiré beginning to show.
Notice the R10's image quality advantage in the EOS R10 compared to the Rebel T7i/T8i.
Here are some additional interesting comparisons:
Another revealing image quality test is our color block noise test. Sensor technology improvements (including onboard circuitry) implemented by sensors seldom appear on a specification chart, but they do appear in pictures of a Kodak 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.
Another critical factor in the prominence of noise is sharpening. Noise appears as details to sharpening algorithms that typically sharpen the noise along with subject details, making the noise more apparent. Our Canon RAW image processing for this test utilizes a sharpness = 1 setting that is usually ideal for a good camera and lens combination.
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 more apparent than most real-life subjects, as detail in a scene will far better hide the noise. If you can't readily see the difference in a color block comparison, it is unlikely that you will 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. However, not all situations accommodate ISO 100, noise increases as ISO settings go up, and all current EOS cameras deliver great image quality at significantly higher settings.
At ISO 400, slight noise graininess becomes perceptible in smooth colored areas of the image. By ISO 1600, you will notice some noise in most images. Still, I find ISO 1600 very usable.
Noise levels at ISO 3200 are becoming more troublesome, but these images are still decent with some noise reduction added, especially 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 ugly at 12800. Results from settings over ISO 12800 have low usability. Just because the feature is present doesn't mean that you should use it.
A large number of other noise test results are available for the R10.
Lossy-compressed CRAW format results are available, and these results 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 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 low 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 R10. MSNR merges image data from multiple (four) exposures taken in a full frame rate burst into a reduced noise image. The concept makes a lot of sense. MSNR remarkably provides between one to 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 or HDR PQ Mode must be set to off to enable MSNR. MSNR is not available with AEB, WB bracketing, focus bracketing, creative filter shooting, or RAW burst mode. The camera reverts 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 becomes "busy" 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.
MSNR might be a good option when handholding the camera in very low light levels.
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 increased or highlight details recovered, and they demonstrate the camera's 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, and there is a benefit to being able to pull out highlight and shadow details even in a properly exposed image.
The R10 results show that underexposing produces only modest additional noise when brightness is adjusted even without noise reduction applied. That is, modest additional noise when the RAW files are processed in software other than DPP. In DPP, the underexposed results appear cleaner than the properly exposed results, hinting at some software help 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 at the desired final brightness, 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 setting is needed for a particular scene). Exposures are corrected in post-processing and, with the high SNR, resulting 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. If shooting JPGs in-camera, the proper final exposure should be selected.
While the +3 EV results show highlights being lost, the still very overexposed +2 EV results are looking reasonable, even at ultra-high ISO settings.
This comparison shows that the R7 has slightly more highlight recoverability than the R10.
One Canon EOS camera aspect I appreciate greatly is the color science. Getting the proper color balance is one of my biggest post-processing challenges, and I find Canon colors easy to dial in.
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 R10 during image capture are peripheral illumination, distortion, chromatic aberration, and diffraction, along with a DLO (Digital Lens Optimizer) feature.
As first seen in the Canon EOS 5D Mark IV, the EOS R10 includes Dual Pixel RAW technology. The Canon Dual Pixel RAW page covers this in more depth.
Like the 1D X Mark III, R3, and R5, the R10 supports HDR PQ HEIF 10-bit recording. Often, the first question is likely, "What is HDR PQ?" HDR PQ (Perceptual Quantization) is a new gamma curve based on the characteristics of human eyesight. It supports HDR recording at ITU-R BT.2100 standard (PQ).
Your next question is likely, "What is HEIF?" HEIF stands for "High Efficiency Image File Format," a standard created by the MPEG group. As with JPEG, HEIF is a file format used to store image data after the image development process is complete. While JPEG files use an 8-bit YCbCr 4:2:2 lossy compression scheme, HEIF uses a 10-bit YCbCr 4:2:2 HEVC compression algorithm (also lossy), complying with the ITU-R BT.2100 HDR standard. HEIF provides up to 4x more precision in image data gradation and a wider color range than sRGB and Adobe RGB can store.
HEIF files are containers, able to store multiple images (typically compressed with a codec such as HEVC (H.265)) along with image derivations (cropping, rotation), media streams (timed text, audio), depth information, image sequences (like a burst of images, supports animation), image data (EXIF), and more. Huge is that, thanks in part to computing power improvements, HEIF files are compressed to a significantly smaller size than JPEG files, about 50% smaller at similar quality levels. Along with all of the other benefits, Apple migrating to HEIF from JPEG means we can expect this standard to take hold in the industry.
Per Canon, "HEIF files are intended to be viewed on HDR-compliant displays and monitors."
The Activate HEVC codec option is available in the DPP help menu, and once selected, the Canon HEVC Activator is downloaded (serial number required). Once that app was installed, DPP understood the .HIF file format and the HDR PQ images look remarkably good (including those captured in RAW format). I was not planning to share the results of this testing, and the scene is of low photogenic quality with unstable lighting, but I thought the camera's performance warranted sharing with you. The following are downsized screen captures (at review time, Photoshop could not open .HIF files). Look closely at the outdoor brightness while the indoor blacks retain detail (that detail is even more obvious in the full-size images) as illustrated by the 1D X III.
The bottom line is that the R10 produces excellent image quality. Those used to phone camera image quality will especially be impressed.
The following table shows comparative RAW file sizes for a photo of a standard in-studio setup featuring a moderately-high amount of detail.
|Model / File Size in MB @ ISO:||(MP)||100||200||400||800||1600||3200||6400||12800||25600||51200||102400||204800|
|Canon EOS Rebel T8i||(24.1)||29.3||30.1||31.2||32.5||34.1||36.0||37.8||39.5||41.8||44.0|
|Canon EOS Rebel SL3||(24.1)||29.6||30.5||31.6||32.9||34.4||36.2||38.2||40.0||42.7||45.3|
|Canon EOS Rebel SL2||(24.2)||30.6||31.3||32.2||33.4||33.4||35.0||37.0||39.5||42.4||47.0||50.9|
|Canon EOS R3||(24.1)||29.3||30.3||30.8||31.9||32.7||33.8||35.2.||36.9||38.8||40.9||44.2||44.5|
|Canon EOS R3 CRAW||(24.1)||16.1||16.8||17.2||18.2||18.8||19.7||19.9||19.3||18.9||18.7||19.8||18.2|
|Canon EOS R5||(45.0)||51.6||53.1||53.6||55.6||57.7||60.1||63.0||66.4||70.5||75.1||79.5|
|Canon EOS R5 CRAW||(45.0)||28.1||29.3||29.9||31.5||33.3||35.5||36.2||35.9||36.0||36.9||37.7|
|Canon EOS R6||(20.1)||24.1||24.7||24.9||25.6||26.4||27.3||28.4||29.8||31.4||33.3||35.5||35.9|
|Canon EOS R6 CRAW||(20.1)||13.8||14.2||14.5||14.9||15.6||16.4||16.4||16.0||15.7||15.8||16.1||14.8|
|Canon EOS R7||(32.5)||40.0||40.1||41.3||42.6||44.3||46.0||48.0||50.3||52.6||55.0|
|Canon EOS R7 CRAW||(32.5)||21.5||22.5||23.5||24.7||26.3||27.9||28.4||27.9||27.5||27.0|
|Canon EOS R10||(24.2)||29.0||29.8||30.8||31.8||33.3||34.9||36.0||37.7||39.7||41.8|
|Canon EOS R10 CRAW||(24.2)||16.5||17.0||17.8||18.7||19.9||21.4||21.3||20.8||20.7||20.7|
|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 R CRAW||(30.4)||23.1||23.5||24.5||25.2||26.5||28.0||29.4||31.6||33.8||49.6*||35.3*||**|
|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 M50 Mark II||(24.1)||30.4||31.3||32.4||33.7||35.3||37.0||38.9||40.6||43.2||45.9|
|Canon EOS M200||(24.1)||29.4||30.2||31.4||32.7||34.2||35.9||37.8||39.5||42.1||44.7|
The R10 has a single SD/SDHC/SDXC (UHS-II) memory card slot, aiding in the compact size, light weight, and low cost principles.
Utilizing the highest R10 movie recording formats and framerates requires fast memory cards. For 6k oversampling movie recording, a V90 SDXC memory card is suggested.
This camera formats memory cards quickly.
Introduced with the Canon EOS M50 was the .CR3 RAW format, and the Canon EOS R10 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 (an impressive 43% in the ISO 100 file sizes shared above) over Canon's already efficient RAW file format size. The saved space adds up quickly, significantly impacting 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.
In this case, achieving the target light weight, small size, and low-cost required foregoing in-camera image stabilization.
However, a large percentage of the RF lenses feature image stabilization, and all (both) RF-S lenses available at review time feature IS.
The entry-level Canon EOS R10 can shoot up to 15 fps with a mechanical shutter and up to 23 fps in full electronic shutter mode.
Let those impressive numbers sink in. That a camera this affordable can reach those speeds is remarkable.
The R10's mechanical shutter frame rate is only 1 fps slower than the professional-grade Canon EOS-1D X Mark III's max capability, and the electronic shutter surpasses the 1-series camera by 3 fps. The 15 fps number matches Canon's current flagship R series camera model, the R3, and the 23 fps number is higher than the R5 and R6 cameras' capabilities.
Of course, there are factors in play with those rates, with 12-bit capture vs. 14-bit capture being a 23 fps downside.
Daunting is selecting the best images from a shoot involving significant use of the 23 fps capability. A one-minute duration of 23 fps shutter release pressed creates 1,380 images (23 frames x 60 seconds).
Does everyone need 23 fps? No. However, with the extreme number of images captured today, creating imagery that stands out is challenging. Using the 23 fps rate enables the capture of the perfect moment of action that makes an image rise above the rest. Bat on ball, ball leaving foot, ball leaving hand, shot put leaving the thrower's hand, hurdler in perfect jump pose, perfect wing flap pose, peak of a dog's leap, steeple chase crash are a small number of examples that benefit from the fast frame rate.
I needed a fast-moving subject, and I knew where to find one. The Canon RF 70-200mm F2.8 L IS USM Lens was mounted on the R10 for a horse chase.
Tacking up the horse provides opportunities for portraits, and while a fast frame rate is not necessary for shooting during this time, it can be advantageous. In this case, the horse's ears perked up during this short burst, differentiating this shot from the others.
The path from the barn during the warm-up took the horse and girl through warm light. While the warm light was great, the extremely warm temperatures were not ideal for fast riding. Thus, we headed for the woods.
The sun was setting, and the deeply shaded woods meant a high ISO 6400 setting was needed for motion-stopping shutter speeds. While R10 images get noisy at this level, a dark environment added some stress to the AF testing. The examples below illustrate 23 fps capture:
In case 23 fps is not fast enough for you, the R10 features RAW burst mode. When RAW burst mode is enabled (a menu option), the R10 will capture approximately 13.6MP (4512 x 3008px) images at up to 30 fps for up to approximately 30 maximum shots (per Canon). Note that a fast memory card is recommended.
Do you ever press the shutter release too late? Are you ever stressed about the potential of missing the bird taking flight shot? Did you ever wish you could capture a lightning strike (without a lightning trigger)? The R10 has your back in this regard.
With both RAW burst mode and preshooting enabled, 30 fps image capture is available for up to 0.5 seconds BEFORE the full shutter button press. That means up to 15 pre-shutter release shots are recorded (during shutter release half-press).
The R10's total RAW burst mode and preshooting maximum image count vary greatly. A detailed scene took the count to 37, 56, 70, 83, 115, and 118. An underexposed scene yielded 202 images. Put the lens cap on, and the R10 turns in burst counts like 361 and 456. Positive is that all numbers exceeded Canon's estimate.
Expect several second write times for a maximum burst.
Note that Canon software is (currently) required to select and process RAW burst mode and preshooting images from the single .CR3 file created. Also, note that the camera turns off RAW burst mode when powering off.
H+, H, and Low continuous frame rates are available. These settings yield:
|1st Curtain Elec||15||7.7||3|
Here is a frame rate and buffer depth comparison table:
|Model||FPS||Max JPG||Max RAW||Shutter Lag||VF Blackout|
|Canon EOS Rebel T8i / 850D||7.0/7.5||170/Full||40|
|Canon EOS Rebel SL3 / 250D||5.0||Full||10||75ms|
|Canon EOS R3||12/30||540||150||20-76ms||0ms|
|Canon EOS R5||12/20||350||87/180||50ms||n/a|
|Canon EOS R6||12/20||1,000+||240||n/a|
|Canon EOS R7||15/30||224/126||51/42||50-99ms||n/a|
|Canon EOS R10||15/23||460/70||29/21||50-100ms||n/a|
|Canon EOS R||2.2-8||100||34/47||50ms||n/a|
|Canon EOS RP||4||Full||50/Full||55ms||n/a|
|Canon EOS M6 Mark II||14/30||54||23||53ms||n/a|
|Canon EOS M50 Mark II||7.4/10||33/47||10||n/a|
|Canon EOS M200||4/6.1||1120||13||n/a|
The R10's JPG buffer capacity is good, but those shooting sports sequences may find the just-under 1-second capture timespan a touch short.
Does a fast memory card make a difference in Canon EOS R7 performance?
Let's create some data points.
The Canon EOS R10 15 and 23 fps H+ continuous shooting modes were tested using 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 image was black for the smallest file size, the battery was near full charge, and the specified freshly-formatted fast memory card was loaded.
In the table below, the V90 and V60 indicate the minimum write speed specifications for the memory cards used in the test. You care about the minimum write speed when photographing (or during movie capture), and fast card reading is always associated with fast writing.
Specifically, these tests used the Lexar 256GB Professional 2000x V90 300 MB/s UHS-II SDXC (high-performance option) and Lexar 256GB Professional 1667x V90 250 MB/s UHS-II SDXC (great value, still fast option) memory cards. The first two sets of tests were so fun that I added a reasonably fast UHS-I V30 card to the chart.
The numbers indicate the image count at buffer full — the first pause in continuous shooting.
|1st Curtain RAW||65||35||30|
|1st Curtain CRAW||>780||>340||165|
|Sec to write buffer||2-3||5-6||4-10|
Breaking it down — what do those numbers tell us?
With few exceptions, the faster card provides more images before the buffer full pause and a shorter time until the buffer is clear.
I became bored after capturing a huge number of V90 and V60 1st curtain electronic shutter CRAW format images and didn't complete those tests. The camera appeared to support that frame rate indefinitely.
The CRAW file format is made attractive by these numbers, and those shooting in JPG format will enjoy a considerably higher number of images captured before the buffer full condition.
A vast number of memory cards are available, and they have varying speeds, but these tests give us a look at this camera's performance. Note that the black images used for the above tests will maximize the resulting numbers.
The R10 has a responsive shutter release. With no shutter (or mirror) to get out of the way, the 1st curtain electric and electric shutter lag specs are short, half that of the somewhat slow full mechanical shutter — 50ms vs. 100ms.
The mechanical shutter is a bit loud and somewhat obnoxious in H+ continuous shooting mode.
Listen to the Canon R10 in one shot and H+ continuous mode.
With the full electronic shutter selected, this camera does not make any sound during image capture. The ability to shoot in complete silence is of great value, ideal for use during quiet events such as weddings, when skittish wildlife is the subject, and any time movies are simultaneously being recorded with audio. Selecting the full electronic shutter has advantages and disadvantages.
Let's start with the positives. At the top of the list is that the full electronic shutter enables the fast 23 fps drive mode. With no mechanical shutter used, there are no moving parts, there is no shutter vibration, shutter failure is highly unlikely, and again, the camera operates in silence.
With no sound or other haptic feedback, knowing precisely when the image is being captured can be problematic, and adding a "beep" is counter to the goal of the silent shutter. Canon handles this issue nicely with a white frame appearing in the viewfinder the instant the image is being captured. A slight click provides additional haptic feedback in the shutter release press.
Features disabled when the full electronic shutter is selected continue to be reduced. Dual Pixel RAW, Anti-flicker shooting, Bulb timer, Shooting creative filters, High speed display, and flash (minimally) are not compatible with the EOS R10's silent shutter, but long exposure noise reduction, multiple exposure mode, HDR mode are now supported. Also, the longest exposure possible in-camera when using the electronic shutter is now 30 seconds vs. 0.5 seconds in most earlier R series cameras.
Additional downsides of an electronic shutter are related to the current technology line-by-line reading of the imaging sensor. Fast side-to-side subject or camera movement can result in an angular-shifted image with vertically straight lines becoming noticeably slanted (with the camera in horizontal orientation). Understand that the second curtain of a mechanical shutter chasing the first curtain can produce the same effect, but the difference between mechanical shutter (with electronic first curtain shutter) and electronic shutter performance in this regard has historically been quite big.
We saw the R3's fast imaging sensor readout drastically reducing this effect, but keeping the R10 affordable means a slower readout, with angular effect present in action images. This sensor performs OK in this regard (as seen above), but subjects moving across the frame at high speed will show some of this effect (below).
The horse was moving across the 70mm frame at high speed. Portions of its head moved into already read areas of the image sensor during the sensor readout.
Check out this table of tested imaging sensor readout speeds.
|Model (times in ms)||Electronic||1st Curtain Mechanical|
|Canon EOS R5||16.3||3.5|
|Canon EOS R6 Mark II||14.5||3.4|
|Canon EOS R7||29.2||2.4|
|Canon EOS R8||14.5||3.4|
|Canon EOS R10||35.0||2.8|
|Canon EOS R50||35.3||2.4|
Certain light pulsing can influence electronic shutter-captured results, creating very troublesome banding. Defocused highlight bokeh circles can become clipped or truncated when using an electronic shutter.
As discussed, with the full electronic shutter enabled, this camera is not audible during image capture.
The R10's available shutter speeds are: Mechanical: 30-1/4000 sec (1/2 or 1/3 stop increments), Electronic: 30-1/4000 (note the 30 sec. capability), Bulb (available range varies by shooting mode).
Flash X-Sync is 1/200 sec. with the mechanical shutter and 1/250 sec. using electronic 1st curtain. Again, flash photography is not available with the electronic shutter.
The EOS R10 has a built-in Intervalometer (interval timer) and bulb timer functionality.
Canon's latest AF systems are outstanding performers with incredible subject tracking and eye detection. Because this camera has the DIGIC X processor, the same software algorithms running on the R3 are accessible.
While the R10 inherits the AF performance of the R3, the imaging sensors are not shared; therefore, the AF performance is not completely identical. However, in use, it is challenging to tell the difference.
Canon's outstanding AF performance was the primary reason I migrated fully to mirrorless cameras. Especially with subject tracking and eye detection, getting properly focused images is unbelievably easier than it was not very long ago.
The EOS R10's Dual Pixel CMOS AF system features 651 AF Areas (4503 selectable AF positions available for stills, 3713 for Movies) covering up to approx. 100% x 100% of the frame. Those coming from a DSLR will find the ability to maintain continuous focus with a point in the periphery of the image game-changing. Here is a sample showing that benefit and a bit of discussion from the R5 review.
Notice where the rider's head is positioned within the frame (an R5 capture), and notice where the auto-selected AF point is? If the eye is not in focus, the image will probably be deleted immediately. The eye AF feature of the latest EOS cameras works incredibly well, tenaciously keeping eyes in focus with no significant effort on the photographer's part, even when the subject rapidly changes position in the frame — and even through brush or a fence. This feature is incredible.
I put the R5's eye and face (and helmet) detection AF, the predecessor to the newer R10 system, to one of the most challenging tests I encounter: a quarterhorse cantering/galloping toward the camera at frame-filling and closer distances with the shallowest depth of field available provided by the Canon EF 600mm f/4L IS III USM Lens. This shoot was timed for the warm late-day sunlight, but the forecast changed in the afternoon. Instead of having warm light bathing the subject, late evening heavy cloud cover added to the AF challenge. Camera settings started at ISO 4000, 1/1600, f/4 and ended with ISO 6400, 1/1250 resulting in 1-stop underexposed images (essentially yielding ISO 12800). The near-latest-captured images are shown in the frame rate illustrations earlier in the review.
In addition to having a fast closing speed, the horse rapidly goes up and down — faster than I can adjust the camera to maintain an AF point on the rider's head. As the horse gets closer, its ears begin to bounce up into the selected AF point, causing AF confusion with the closer contrast usually causing the camera to adjust focus to the horse's head, considerably forward of the rider. Focusing on the horse is only fine if it, not the rider, is your subject. When using a DSLR, the top focus point (when shooting in vertical orientation) is not high enough in the frame to enable use of the entire field of view, with the top of the resulting images often requiring cropping for the subject to fill the frame.
With the R5 set to people eye priority and that camera's 20 fps continuous high speed+ mode selected, the AF system accurately tracked the rider's head (when very far away) and eye (when closer) incredibly well as it rapidly bounced up and down, using nearly the entire frame — at distances as close as I could keep the head in the frame.
I'm blown away at how easy it now is to maintain proper focus in this challenging situation. Especially reassuring is seeing the red AF square rapidly tracking the subject's eye while shooting. The images below are cropped and reduced examples from the R5's 20 fps electronic shutter illustration above (ISO 12800-equivalent), representing under 0.6 seconds.
When the rider turned back for another pass, the R5's head detection showed its prowess, accurately determining that a helmet was in the frame and tracking it.
The primary challenge remains for me to direct the camera for proper subject framing. Additionally challenging was selecting down the keepers from a huge number of mostly in-focus frames captured in a short time. Some mental retraining is required to delete great images.
I was especially excited by the addition of animal tracking. Initially introduced with the R5, the Canon AF system identifies and steadfastly holds focus on most animals' eyes. In the field, I find animal eye AF as game-changing as people eye AF. One of the biggest challenges of photographing wildlife is keeping the proper AF point selected, such as when a swimming duck instantly changes direction. Now, in many cases, the camera takes care of that challenge for you, and that feature alone is worth the price of the camera.
The above image is greatly reduced but notice the red AF indicator square precisely on the eye (look closely). Even the eyes of frogs covered in duckweed are readily detected (again, look for the red AF square).
That was the initial EOS R5 AF experience, but now the EOS R3, R7, and R10 AF systems feature a new level of subject tracking capabilities. Included are people, animal, and vehicle subject detection options.
For people, eye, face, head, and body detection are featured in that priority order based on detectability. When more than one eye is in the frame, the camera selects the closest eye and provides an option to switch to the other eye(s) — press the joystick in the other eye's direction, and that eye will be tracked.
The R10's animal priority detection is the same as that of the R3. Dogs, cats, and birds are specifically listed for animal detection, but this feature works exceptionally well for many other species on these cameras. For example, they readily recognize deer eyes.
While the above target may not seem overly challenging for eye detection, the example below shows one of the game-changing aspects of this feature. Read the Can Your Camera Focus on an Eye Behind Brush? page for more information, but autofocusing on an eye in thick brush is an outstanding capability.
Eye, face, and body detection is available for animals.
New on the R3 and now available on the R10 is vehicle priority, adding detection of the other primary in-motion subject. This mode targets motorsports (automobile, motorcycle), formula car, GT car, rally car, and on- and off-road motorcycles, targeting the whole or spot (when no roof is present) subject. Deep learning technology is used, and helmet detection is featured.
The subject-tracking feature in the R5 was available only with the entire available AF area active. In the R5 review, I mentioned that it would be helpful to be able to limit the area that the camera has to select the subject within. The R3 and now the R7 and R10 bring us that feature, with all AF area options having tracking capabilities. Tracking can be independently turned on or off.
For example, enable tracking, put a spot AF point near a subject, and half-press the shutter release. The R10 will pick up the subject and track it throughout the frame (in servo AF mode). This is an extremely useful feature.
For much of a kids' event I photographed with a 50mm f/1.2 lens set to f/1.2, I used servo (continuous focus) mode with a spot AF point selected and tracking enabled. Placing that point near a subject's eye and half-pressing the shutter release maintained the camera's focus while I recomposed for optimal composition. The eye very reliably stays in sharp focus.
In case your friends ask, the R10's AF tracking feature is named EOS iTR (Intelligent Tracking and Recognition) AF.
With the extreme number of focus points available on this camera, moving between individual focus points can become a challenge, including significant repetitive button pressing or holding. However, this camera has multiple excellent AF area selection options.
The joystick multi-controller, nearly ubiquitous on pro-grade cameras, is an easy and well-understood option welcomed on the R10. This controller is Canon's very responsive 8-way type, as it should be. It works well, but it does not avoid the pressing or holding needed for more significant AF area changes.
The tap, touch, and drag AF touchscreen interface introduced initially on the EOS M5 is a fantastic Canon EOS focus point selection option. That feature has been included in all EOS mirrorless interchangeable lens cameras since — except the EOS R3. Fortunately, the Touch and Drag feature is back with the R10.
While the R7 has adequate focus area selection options, I don't use manual AF area selection nearly as frequently because the subject detection technology performs so well.
The R10 can AF at EV -4 – 20 (at 23°C & ISO100). While -4 is not Canon's lowest light-capable AF spec, that is a very dark environment.
That performance is with the AF assist lamp covered.
Located on the right side of the camera is a bright LED focus assist lamp that extends AF capabilities into complete darkness within its very good range. The focus assist lamp typically clears the hands holding the camera, a notable feature because some camera models have a left-side AF assist lamp that shines directly into the left hand when using a normal shooting position. A lens hood can partially block this light, and sometimes hood removal may be optimal, depending on the focus point selected and the amount of reflected assist light available for the selected point.
The R10's supported AF areas are similar to the R3. Featured is Automatic selection (651 Available AF areas) or Manual selection: 1-point AF (AF frame size can be changed with 4503 AF positions available stills (3713 Movies)), AF point Expansion 4 points (up, down, left, right), AF point Expansion surrounding (all surrounding points), Flexible Zone AF 1-3 (all AF points divided into minimum 9 to 513 maximum focusing zones), Whole Area AF (entire focusing area with 651 maximum focusing zones). Note that, when enabled, subject tracking in Servo AF mode will take over the AF point selection once the subject is established. Turn off tracking to lock AF to the selected point or area.
The R10's AF system is fast and high-performing.
For those choosing between Sony and Canon MILCs, note that the Canon does not defocus before focusing in One Shot AF mode. Especially because of this design difference, the Canon's One Shot AF lock time is faster than the current Sony models.
Most review-time-current sensor-based AF systems, including that of the R10, do not provide cross-sensitive AF point technology. This camera may struggle to focus on only perfectly horizontally oriented lines of contrast. That said, I don't often encounter this issue with any of the R-series cameras. Rolling the camera slightly until focused will usually resolve AF lock-on issues.
AF calculations made directly on the imaging sensor (vs. on a separate sensor in a DSLR), AF calibration becomes a greatly reduced issue. EOS R10 AF accuracy is especially excellent, very reliably precisely focusing shot after shot. With imaging sensor-based AF, this camera can be expected to focus consistently accurately even with third-party lenses. Using the imaging sensor for AF enables the mirrorless advantage features such as the precise eye and subject tracking just discussed.
Canon's AF Case settings are provided. AF tracking sensitivity, acceleration/deceleration tracking, One-Shot AF release priority, and AF point auto switching can be independently adjusted, enabling autofocus performance to be dialed in to your needs. Similar to the 1D X Mark III and R3, the previous Case 5 and 6 are omitted, and AF Case A (Auto) is included, instructing the camera to analyze the scene and optimize the settings in real-time. This AF system performs superbly in the Auto setting for most uses, leaving another challenging setup to the camera's judgment.
Focus Peaking and Focus Guide manual focusing aids are available.
With RF-mount lenses utilizing electronic focus only, a variable adjustment rate manual focus ring can be implemented. Turn the focus ring quickly, and focus distances change very fast. Turn the ring slowly, and very precise focusing becomes available. The variable rate manual focusing can be advantageous if properly implemented. Still, I often find the difference in rotation rates to be too similar, and the variable speed becomes a frustration, making rocking the focus ring into precise focus a challenge. An R10 menu option enables linear manual focus adjustments.
A very useful feature first provided in the Canon EOS RP and then on the R5 (source of this sample picture) was Focus Bracketing. Now found in the R7, this feature has more details to be understood, and the Canon Focus Bracketing page delves into this topic.
The R10 features 4K 30P recording with 6k oversampling and 4k 60p cropped (a strong crop when starting with an APS-C format imaging sensor). Full HD 120p and vertical video are supported.
The R10 supports recording for up to 2 hours. As expected, recording stops when the card capacity is exceeded, but note that movies are finished on the card after batteries are reported drained.
MP4 Movie types are:
4K UHD, Full HD (16:9) (with 8.3 MP still image frame grab)
4K/ Full HD: H.265 / HEVC, Audio: AAC / Linear PCM
4K/ Full HD: H.264 / MPEG-4 AVC, Audio: AAC / Linear PCM
Movie sizes are (inter frame and light inter frame unless otherwise specified):
4K UHD Fine (16:9) 3840 x 2160 (29.97, 25, 23.98 fps)
4K UHD Crop (16:9) 3840 x 2160 (59.94, 50 fps)
4K / Full HD Time-lapse (16:9) 3840 x 2160 / 1920 x 1080 (29.97, 25 fps) intra frame
Full HD (16:9) 1920 x 1080 (119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps)
Full HD (16:9) 1920 x 1080 HDR (29.97, 25 fps) inter frame
Color sampling (internal recording) is YCbCr4:2:0 8-bit or YCbCr4:2:2 10bit (when HDR PQ is enabled). Canon Log is not supported.
The built-in stereo microphone records at 48 kHz, 16-bit x 2 channels.
Clean HDMI output is available. Dual Pixel CMOS AF II with Eye/Face Detection and Tracking AF (people, animals, and vehicles) is available.
Fully manual, fully auto, or HDR are the available exposure modes.
Helpful is that the camera remembers video settings separately from still settings. The settings stick when jumping between the two recording types.
The R7's video quality is excellent, and the 4k fine output is especially good. R10 movies exhibit a surprisingly low rolling shutter effect.
The EOS R10's high-performing metering system features 384 zones (24x16), and the metering range specification is good: EV -2 – 20 (at 23°C, ISO100, with evaluative metering).
EOS R10's metering modes include Evaluative metering (AF point-linked), Partial metering (approx. 5.9% of the area at the center of the screen), Spot metering (approx. 2.9% of the area at the center of the screen), and Center-weighted average metering. Exposure compensation is +/-3 stops in 1/3- or 1/2-stop increments.
AEB (Auto Exposure Bracketing) uses those same numbers with 2, 3, 5, or 7 shots available.
I am increasingly impressed by EOS cameras' metering capabilities, and the R10's metering system is very reliable. While I still use manual mode 95% of the time, I rely on the camera's metering via Auto ISO an increasing percentage of the time.
Related to metering is Canon's Anti-flicker mode (mentioned before), a feature that has migrated to the EOS R10. This mode is a game-changer when photographing under flickering lights, especially when photographing fast action.
The EOS R10's viewfinder appears small relative to that of the R7, but it also has a 0.39" (9.9mm), approximately 2.36 million dots OLED electronic viewfinder (EVF) (the same specs as the EOS RP) looks good, and the 59.94 fps "Power Saving" and 119.88 fps "Smooth" refresh rates perform well. I found it easy to keep moving subjects properly framed.
The EOS R10's EVF has a 0.95x magnification and a 22mm-high eyepoint, with dioptric adjustment (approx. -3.0 to +1) facilitating viewfinder use without eyeglasses. Brightness is adjustable in 5 steps, along with auto adjustment based on perceived ambient brightness. EVF color tone is adjustable in two levels (2 each blue/amber or green/magenta).
An EVF makes a configurable vast amount of information available for display (including the focal length) and also makes that information rotatable when shooting vertically. A quality EVF makes viewing images easy, especially when zooming in for sharpness verification, especially in bright daylight, and especially for eyes that otherwise require corrective optics (if you don't need glasses now, you will need them at some point).
The R10's non-removable eyecup is substantial in size relative to the camera and EVF size and flexes easily to aid in blocking light as well as helping to avoid eyebrow bruising. According to Canon engineers, the non-removable eyecup design allowed "... increasing the EVF magnification slightly, and allowed moving the rear-most optics in the EVF farther backward." [Canon]
I was a big fan of optical viewfinders, but the latest EVFs converted me. The OVF simulation view assist provides an OVF-like HDR view of a scene if that is your preference.
The EOS R10's rear LCD is a 3.0" (7.62cm) Clear View LCD II TFT, approx. 1.04M dot (again, similar to the EOS RP), Vari-angle Touchscreen LCD with a 59.94fps refresh rate (slower in low light levels and when magnification is in use). Video display refresh rates correspond to the selected movie frame rate (except for High Frame Rate 120p video).
The Vari-angle feature of this LCD permits rotation of 170° horizontally and 270° vertically, making hard-to-get shots and unique perspectives (including selfies) easy to capture. This feature has especially great appeal for vlogging.
Anti-smudge coating is applied, making the LCD easy to clean. Anti-reflection coating has not been applied.
The proximity detector (outside the viewfinder on the right) allows the camera to automatically select the optimal display.
Canon's touchscreens make changing camera settings easy, including via the always excellent Canon menu structure and the handy "Q" button (showing the Quick Control screen).
A programmable depth of field preview button is positioned inside the AF/MF switch, and exposure simulation can be enabled or disabled.
Canon R-series cameras provide a significant number of logically positioned controls. Those familiar with any of the other Canon R-series cameras will feel immediately at home with the R10 in their hands. Those familiar only with the DSLR controls will require a bit of acclimating, but the change is easily worth the small effort. After settings up the camera to my preference, I was immediately ready to shoot in a wide range of circumstances.
To visually compare the Canon EOS R10 with many other camera models, use the site's camera product image comparison tool. Opening that link in a separate tab or window will be helpful for following along with the product tour.
Note that this camera is extremely configurable. If you prefer a control to provide a different feature, it can probably be changed.
The Canon EOS standard location for the menu button is on the top-left of the camera's back, which is where it landed on the R10.
Moving to the right, we find a modestly-sized (non-removable) eyecup that extends nicely behind the LCD screen, along with the eye-detection sensor. I appreciate the nose relief that this design affords. The diopter control is under the EVF and not especially easy to access while looking through the viewfinder.
Moving farther to the right, we find the easy-to-reach joystick. As mentioned earlier, the joystick is an especially useful feature for AF point and area selection (though this camera's AF system is so good that selecting a specific AF point or area is a less-utilized feature) that was not featured on Canon's entry-level Rebel DSLR cameras.
The top-right three buttons are AF-ON, Exposure lock, and AF point/area selection (magnify during playback). The latter two buttons are vertically stacked to fit into the small space. Without a dedicated magnify button (or a button programmed for this function), zooming the live view image requires pressing the lower button and then the info button (twice for 10x).
The multi-function controller to the right of the LCD has 4-way cross keys functionality, similar to that found on the EOS M cameras. Unfortunately, this controller is missing the surrounding dial, but it is otherwise very easy to use with the raised nubs assisting. Numerous settings are accessed with this control, including the center button functioning as the "Q" Quick control button in addition to "Set."
Dedicated Info and Trash buttons are conveniently located above and below the 4-way cross keys controller. These buttons (along with the AF-ON button) are flush with the back of the camera, requiring an intentional press to activate (and possibly a look to locate). That only one button is in each location avoids inadvertent function selection.
The top of the R10 features similarities to other Canon EOS cameras.
The shutter release, M-Fn button, Main/top dial, and movie record button retain their current Canon standard locations.
I appreciate the slight haptic feedback the shutter release provides in the form of a light click feel at shutter release. Most shutter releases offer no indication of sufficient button press depth aside from the camera's image capture sounds.
Pressing the M-Fn button enables the last-used function to be changed using the Main (top-front) dial. Repeatedly pressing M-FN steps through the settings enabled for this feature, with again, the Main dial being used to change the setting selected.
The red Movie shooting button provides instant access to video recording. I prefer the top position of this button vs. the rear position design often used.
The nicely-raised Lock button prevents settings changes as configured in the Tools menu Multi-function lock option. I don't use the lock feature, but unfortunately, this button is one of few that is not programmable.
Near the far right (from the back of the camera perspective) of the top is the 2-position power switch, easy to access with the grip hand.
Beside the power switch is the main dial, providing control of settings.
R-series camera models without a top LCD continue to have a dedicated mode dial, and this dial is loaded with options. The fully automatic point-and-shoot mode is a requisite member of the dial. Complete beginners can open the box, charge and install the battery, insert a memory card, and select the green A+ fully-automatic Scene Intelligent Auto mode to have a camera ready to go, taking care of everything for point and shoot simplicity. This mode is simple to use from the user's perspective. Still, it is far from simple from a technological standpoint as it uses powerful artificial intelligence algorithms to deliver excellent results across a wide range of situations.
Fv, Flexible-priority AE mode has become a standard option on the R-series cameras.
Canon's standard P, Av, Tv, M, Bulb mode, and two convenient custom modes are included. Also included on the R10 are the special scene (such as Portrait, Group, Landscape, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control, and Silent) and creative filter modes. Video retains a mode dial position in this design.
Moving farther to the left, we find the viewfinder bulge, again showing plenty of nose relief on the camera back. Canon's new multi-function shoe is provided, and the RF lens mount shows itself prominently on the front.
The left side of the EOS R10 (as viewed from behind) features HDMI (HDMI Micro out Type D, HDMI-CEC not supported), USB (Hi-Speed USB 2.0 USB Type-C connector also used for computer communication/smartphone communication/USB power), RS-60E3-type remote control terminal (Canon 2.5 mm Sub-mini), and External Microphone In (3.5mm Stereo mini jack) ports. A headphone port is not provisioned.
With the memory cards loading in the battery compartment, the camera's right side lacks excitement, featuring only a neck strap holder.
The front view of the camera shows the usual shutter release, AF assist LED, and lens release button.
New for the R-series is the AF/MF switch.
Minimally the first two RF-S lenses omit all buttons and switches, and the switch I miss the most on such lenses is AF/MF switch. Canon takes care of this omission by providing a conveniently located AF/MF switch on the front of the camera.
Without releasing the grip on the camera, the switch can be toggled with one finger.
By default, the button within the AF/MF switch is programmed for the depth of field preview function. However, many other functions can be assigned to this button.
The bottom of the R10 features the standard tripod threaded insert and a battery/memory card combo door with a spring-loaded release. While this design is space-saving, accessing the memory card from the bottom is not especially convenient, with some tripod plates and head clamps blocking access.
Is battery grip available for the Canon EOS R10? Unfortunately, no, and the grip positioning holes are not provided, nor is the battery door easily removable.
The Canon EOS R10 is an impressively small and lightweight — under a pound — camera.
|Model||Body Dimensions||CIPA Weight|
|Canon EOS Rebel T8i / 850D||5.2 x 4.0 x 3.0||(131.0 x 102.6 x 76.2mm)||18.2 oz (515g)|
|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 R3||5.9 x 5.6 x 3.4"||(150 x 142.6 x 87.2mm)||35.8 oz (1015g)|
|Canon EOS R5||5.5 x 3.8 x 3.5"||(138.0 x 97.5 x 88.0mm)||26.0 oz (738g)|
|Canon EOS R6||5.5 x 3.8 x 3.5"||(138.0 x 97.5 x 88.4mm)||24.0 oz (680g)|
|Canon EOS R7||5.2 x 3.6 x 3.6"||(132.0 x 90.4 x 91.7mm)||21.6 oz (612g)|
|Canon EOS R10||4.8 x 3.5 x 3.3"||(122.5 x 87.8 x 83.4mm)||15.1 oz (429g)|
|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 3.4 x 2.8"||(132.5 x 85.3 x 70mm)||17.3 oz (485g)|
|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 M50 Mark II||4.6 x 3.5 x 2.3"||(116.3 x 88.1 x 58.7mm)||13.7 oz (387g)|
|Canon EOS M200||4.3 x 2.6 x 1.4"||(108.2 x 67.1 x 35.1mm)||11.3 oz (320g)|
The R10 with a battery and memory card (no strap) weighs 15.0 oz (425.4g) on my scale. In the EOS lineup, only the EOS M series models are small and lighter.
When small size is paramount, the grip is an easy target.
Primarily, the space between the R10's grip and the lens mount is shortened from the previous R-series cameras, and it is shorter than that of the R7. Expect some knuckle contact when using the largest lenses, but this grip is outstanding for its size. The grip depth, shelf above the grip, surface grip material, and overall ergonomics are excellent.
As with the Digital Rebels camera models, the R10 does not have weather sealing specified.
Similarly, Canon does not specify a shutter durability rating for these models.
Note that the R10's shutter does not close when the camera is powered down. Use extra caution when changing lenses, and always keep the mount cap in place when no lens is mounted (this is a best practice with all cameras).
Magnesium alloy and high-strength engineering plastic are the R10's primary structural materials.
While steps were taken to make the R10 affordable, the build quality is still very good.
The R10 can be directly plugged into a phone using a MiFi-certified cable.
Wireless LAN (IEEE802.11b/g/n) (2.4 GHz) and Bluetooth 4.2 support is provided. Connect to EOS Utility or a Smartphone, Upload to image.canon, or print wirelessly.
The Canon EOS R10 has a first for the R series — the first built-in flash.
Manually raise the flash housed in the front of the viewfinder box when this feature is desired. The pop-up flash is especially useful for fill light.
The R10 does not feature "Master" or "Sender" optical wireless capabilities (without an accessory).
The R10 utilizes the same small Li-ion battery pack found in the M6 II, M5, and Rebel T8i, T7i, and T6i, the LP-E17 Battery. In the R10, with the flash disabled, the LP-E17 is rated for 290 shots using the EVF, 450 shots using the rear LCD screen, approx. 2:40 of Bulb exposure time, and approx. 2 hours of Full HD video recording (less for 4K).
Normal use typically provides a significantly higher shot count than the ratings, especially during continuous shooting. Still, the 290 EVF number is rather low. Drop an extra LP-E17 or two in your pocket before heading out.
The battery info menu option provides four levels of remaining capacity along with three levels of recharge performance.
The LP-E17 is charged via the included Canon LC-E17. This compact charger plugs directly into the wall.
Optional is powering the camera directly from the wall using the AC Adapter AC-E6N or from the car using the DC Coupler DR-E18.
A lens can make a big difference in a camera's overall performance and resulting image quality, and the growing, directly compatible Canon RF Lens lineup is impressive.
The EOS R10 is available in a body-only kit, in a kit with the Canon RF-S 18-45mm F4.5-6.3 IS STM Lens, or in a kit with the Canon RF-S 18-150mm F3.5-6.3 IS STM Lens.
The two RF-S lenses available in the kits are ideally paired with the compact, lightweight, and inexpensive EOS R10. I especially like the RF-S 18-150mm option for its zoom range, though the RF-S 18-45 is more compact.
For those who want to step up to a professional-grade lens, my choice for an R10 standard zoom lens would be the Canon RF 15-35mm F2.8 L IS USM Lens, Canon RF 24-70mm F2.8 L IS USM Lens, or Canon RF 24-105mm F4 L IS USM Lens. These lenses offer an ideal general-purpose focal length range, wide apertures, image stabilization, a high-performing AF system, professional-grade build quality, and excellent image quality. However, none is especially compact like the R10.
Again, the Canon RF Lens lineup is very impressive, featuring many options for varied needs.
Via one of the Canon Mount Adapter EF-EOS Rs, ranging from relatively low to rather high-priced, Canon EF, EF-S, TS-E, and MP-E lenses become compatible. These adapted lenses perform as native.
Canon's EF-M lenses are not compatible with the RF mount, even with the adapter, and because of their shorter flange back distance (18mm vs. 20mm), it is unlikely that we will see a Canon option to support this combination. Note that when using some third-party manual focus lenses on the adapter (Rokinon/Samyang, for example), the camera may not take a photo unless "Release shutter without lens" is enabled in the menu.
Next, minimally add a telephoto zoom lens to the kit. The Canon RF 100-400mm F5.6-8 IS USM Lens is a nice match to the R10, and the Canon RF 70-200mm F2.8 L IS USM Lens is an outstanding choice.
The R10 hits the streets with the lowest R series camera price. While it holds the record, it is only $20.00 less than the full-frame RP, and that number detracts from the low price significance. Still, the R10 is a considerably newer model with more advanced features, especially the AF system. It is a great value.
Keeping a review of the incredibly-feature-laden EOS R10 concise but complete is a difficult balance to find, and this review is not a complete description of every EOS R10 feature available. The owner's manual highlighting all of the features found on this camera and explaining their use is 919 pages. A link to the manual is provided at the top of this review. Read the manual, use the camera, and repeat. Or, turn the mode dial to the green A+ mode and don't worry about the rest.
Owning a Canon product provides access to Canon support, and the support Canon USA has provided me is excellent (sorry, I have no experience with the other Canon divisions). When I call for support, I get an intelligent person who sincerely wants to help with the question or problem. Canon repair service, though I seldom need it, is fast and reliable.
The two production EOS R10 cameras used for this review were on loan from Canon USA.
The simultaneously announced Canon EOS R7 and Canon EOS R10 are the first APS-C imaging sensor format cameras in the Canon R-series.
With identical era technology, they provide an interesting comparison: Canon EOS R7 Compared to Canon EOS R10.
Here is the Canon EOS R7 vs. EOS R10 specification comparison.
While announcing the R10, promoting it as the least expensive R-series camera option seemed logical. However, the Canon EOS RP was only $20.00 more expensive. That price differential is meaningless to anyone investing in a camera at the quality level we are discussing.
Here is the full comparison: Canon EOS R10 Compared to Canon EOS RP.
Here is the Canon EOS R10 vs. EOS RP specification comparison.
The Canon EOS R10's combination of features, including light weight, compact size, low price, and performance, including the fast frame rate and outstanding AF system, creates a remarkable package.
The R10 is a strong contender for the ultimate starter camera designation, but its capabilities make it suitable for advanced photographers chasing challenging subjects.
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