ISSUE 126
40 / GEAR
TESTED: CANON EOS R6 III AND EOS C50
that prioritises speed and intuition for stills work. Canon’s C50 is unapologetically a cinema camera, with a boxy body, tally lights, multiple mounting points and a layout that is ready for rigs, accessories and extended recording sessions. There is no EVF, however, so you have to rely on external monitors or the rear screen. That compromise will work for video crews, but not photographers. For many, the lack of an EVF will be the key reason to go for the R6 III. Spend 24 hours switching between the two, and the differences begin to compound. The R6 III is quicker to deploy, easier to travel with and far less intimidating in sensitive environments. For documentary photographers, travel shooters or anyone working discreetly, that matters. The C50, by contrast, feels at home on a video set. Everything is where experienced video shooters expect, and nothing feels compromised for the sake of compactness. It is portable, but also clearly designed to be built upon. However, Canon deserves credit for making both of the new cameras
Canon’s each-way bet
looks, but two approaches to handling data, stabilisation and workflow. The C50’s sensor is fixed in place – something that many hardcore cinema users actively prefer when mounting cameras onto rigs, gimbals or stabilised platforms, so it doesn’t cause the two systems to combat each other. Canon also makes the case that its electronic stabilisation is optimised for video use. The R6 III, however, takes a more photographer-friendly route, combining sensor-based stabilisation with lens IS to deliver up to 8.5 stops of compensation. For stills shooters working handheld in poorly lit conditions, that alone is a decisive advantage. Especially given how many solo video shooters rely on IBIS, too. Ergonomics are the difference You only need to handle both cameras to know where Canon draws the line. The R6 III looks and feels like a traditional modern mirrorless camera. It has a deep grip, a high-resolution electronic viewfinder, familiar EOS menus and controls, plus a layout
£2799/£3299 canon.co.uk By putting its money on two different cameras that share the same sensor, Canon lets image makers decide which way they want to play it
Canon has quietly reached a pivotal moment in its camera
creators more options regarding how they want to work – and not just what resolution or frame rate they need. Both cameras are built around Canon’s new full-frame CMOS sensor, which delivers around 33 megapixels of resolution. On the EOS C50, this is listed as a 34.2-megapixel sensor with a 7144x4790 pixel readout, while on the EOS R6 III, it is rated at 32.5 megapixels (6960x4640 pixels). In practice, these figures are so close that the real-world contrast is negligible; image character is strikingly similar between the two. It is in their processing methods that the cameras start to differ. While the C50 uses the Digic DV7 processor, the R6 III is powered by the newer Digic X. The result is not two image
launch strategy. With the EOS R6 III and EOS C50, the company is offering two cameras that are very different yet built around the same imaging core: a new full-frame sensor and 7K imaging pipeline. The camera bodies, however, are designed for completely different creative priorities. This is a big move because both models will compete in the lucrative enthusiast market, where there is loads of competition and every bit of spec matters. But spend time shooting with both, and it becomes clear that Canon’s thinking isn’t about creating overlap or internal competition. It is about giving photographers, filmmakers and hybrid
Both cameras are built around Canon’s new full- frame CMOS sensor, delivering 33 megapixels of resolution
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