Why I love my 100-400mm lens: Richard Pohle

For news photographers, the lens is everything. You need the reach to be able to frame your subjects, you need the speed to be able to freeze the action in all conditions, you need the build that means that carrying the lens all day isn’t going to give you chronic back problems (though some are willing to compromise on that last one). Which lens you end up favouring will depend on the precise nature of your discipline – many photographers who work in all sorts of conditions will favour the workhorse 70-200mm, while those who find themselves needing pin-sharp image quality at a distance will plump for a 500 or 600mm prime.

Some, however, prefer the best of both worlds. At Fixation we’ve long rated the 100-400mm lens as the ideal jack-of-all-trades lens for a working press photographer, and someone who firmly agrees is Richard Pohle, staff photographer at The Times. Winner of the 2019 Arts and Entertainment Photographer of the Year at the UK Picture Editors’ Guild Awards, Richard is a familiar and highly respected face in the industry

Richard’s lens has covered a huge range of the news sphere, from political party conferences to state visits by foreign leaders and huge military ceremonies, and he swears by his Canon EF 100-400mm f4.5-5.6 L IS II USM Lens as the tool to get the job done in a huge number of situations. We were intrigued, so we got in touch to find out why this lens works so well for what Richard does…

EF 100-400mm ƒ/4.5-5.6L IS II USM


Thanks for talking to us, Richard. So how did you get started using the 100-400mm lens for press work?

I cover a lot of events – things with the royals, a lot of military ceremonies. I always used to have to carry around the 400mm f/2.8 and then also have the 70-200mm by my side. And the 400mm f/2.8 especially was always so lumbering and heavy, it was very unwieldy. I saw some of the royal-photography guys use the 100-400mm when it first came out, and I thought, “Wow, what an absolutely practical lens for the type of thing that I need to do.” 

That scope, from 100mm to 400mm in one lens, was exactly the thing that I needed – one, to cover royals, and two, to cover what I especially like doing: military ceremonies and state occasions. 

I’m one of these photographers who doesn’t always necessarily have my camera pointed at the main event – I’m always looking off to the side to see what’s happening there. And when you suddenly turn a 400mm f/2.8 lens away from the main subject to something you’ve seen on the side, you’re knocking out three photographers next to you, and getting a load of abuse for it! So the 100-400mm lens just allows me to be more flexible in where I’m pointing, and means I’m able to go from middle distance to reasonably far distance no problem.

That’s definitely evident from your portfolio – you have a real eye for the moments that are happening a little away from the main action.

When I’m doing state ceremonies or military ceremonies, I arrive early, and I walk around trying to find the moments of people getting ready, which for me always makes for a better picture than the actual event! So I like to wander around and look a bit incognito, but with a large 400mm or a 600mm lens, you can’t do that. With a 100-400mm lens, you can quite easily stand off to the side, and when you see something happening, happily shoot away. You can have it dangling on one shoulder and another camera on another shoulder

Have you seen other photographers making the jump? From the way you describe it, it sounds like a no-brainer!

It does – from the point of view of a practical news photographer, which is what I am. If you’re, say, a royal photographer, you will want to stick with your 600mm or 800mm prime lens, because they’ve got more reach. Also, while it’s less of a problem these days with digital cameras, the f/5.6 aspect of it puts some people off. It’s an incredibly sharp lens all the way through, but if there is a degradation, it would be at the f/5.6 end. For me as a news photographer, it doesn’t matter – for a magazine photographer, it might. 

It’s been a wrench to move away from the 70-200mm, absolutely, and I still find myself going to the 70-200mm when I know I’m not using it for big occasions, but the 100-400mm is the go-to lens when I’m doing state ceremonies or events like that.

What body do you use with it?

Canon EOS 5D Mark IV. 

Okay, so that’s a setup that’ll do basically anything.

Yes, if I’ve got a 100-400mm lens on one shoulder and my 24-70mm on the other – that’s it. I’m completely made up; I’ve covered everything from 24mm all the way up to 400mm in two bodies.

13th July 2008 The Queen and Donald Trump photography by Richard Pohle
Queen and Trump 13th July 2018 by Richard Pohle using the EF 100-400mm L mark II lens

Do you think about mirrorless at all? The RF mount has that nice-looking 100-500mm…

All the time. It’s the number-one source of conversation at the moment. It’s just the cost implications of moving over; you’ve got to think about these things carefully, financially speaking. But it is the future, there’s no question. The idea of being completely silent is very very appealing, especially for some of the things I have to photograph, and the tracking mechanism seems absolutely awesome. I’ve had a quick play with it and I was very, very impressed. It is the future, there’s no denying it.

Finally, is there a particular image taken on the 100-400 that you’re proudest of?

The picture that I think of as the best picture I’ve taken on the 100-400mm is when Donald Trump visited the UK and he inadvertently walked in front of the Queen. The Queen had to sidestep out from behind him because he suddenly stopped, and she nearly collided with him. I was the only photographer who got that, because I was on the 100-400mm and I could manage to get it framed and shoot it. And it’s gone on to be exhibited and things like that.

It was actually taken on a hire-in 100-400mm lens; my one was in for repair because I’d dropped it. I was so panicked about doing this event without the 100-400mm that I hired it in. And thank god I did!

Richard Pohle was talking to Jon Stapley. See more of his images at his website, www.richardpohle.com


Canon EOS 1DX mark III

Canon’s new full-frame flagship DSLR was launched in January 2020. This professional body is tough and designed for working at high speed, check out the full details below.

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Contact our sales team for a free quote. Offer ends 14/07/2021

The EOS 1DX mark III features technologies adopted from recent mirrorless releases, while it keeps the familiar form of a full-frame DSLR. Designed for professional photographers the EOS 1DX series have been the standard body for professional sports, wildlife and press photographers working across the world. The EOS 1DX mark III will help you push the boundaries of speed and low light in your photography.

The Canon EOS 1DX mark III is £6499 including VAT, initial deliveries scheduled early March. To place an order call us on 0207 582 3294 email our sales team on sales@fixationuk.com

Key technologies:

The EOS 1DX mark III will showcase the greatest technical developments from Canon to date. We set out the key features and comparisons to the 1DX mark II below.

Data transfer

Canon’s EOS 1DX series camera bodies are in the hands of sports photographers every day in stadia around the world. To compete in today’s digital imaging market, images from major events have to be sent to picture desks as quickly as possible to beat the competition. The 1DX mark III makes image transfer easy: The body can send images direct via the ethernet port at twice the speed of the EOS 1DX mark II using FTP transfer from camera. The EOS 1DX mark III has a built-in wifi transmitter for file transfer to local devices – ideal for news-gathering on the move and shooting for social. The new WFT-E9 wireless file transmitter boosts the wifi speed to double that of the EOS 1DX mark II. Canon states that the network setup has been simplified to enhance the professional workflow.


The EOS 1DX mark III autofocus system has been enhanced with a deep learning auto-focus algorithm trained on real-world examples of sport photography. The AF system can track athletes’ faces, even when obscured by masks and googles. The AF system can also identify when a subject is upside down, such as in diving competitions and extreme sports, to better maintain sharp tracking auto focus. The camera features phase detection pixels on the imaging sensor – a major technology from the world of mirrorless cameras – this allows the camera to track focus while shooting at continuous 20fps

AF Smart Controller

The AF-on button has been combined with the AF control joystick in both vertical and horizontal orientations, so you can move and activate your AF points from a single button. The “smart controller” uses a sensor instead of a moving joystick, making it more durable and enabling it’s operation even when wearing gloves. The camera automatically disables the vertical smart controller when in landscape orientation to reduce the risk of accidentally moving the AF point.

CF Express Cards

Another new card type. In fact, CFexpress is a new version of the XQD cards found in Nikon cameras since the Nikon D4. This does mean that existing CFast cards and Compact Flash cards are not compatible with the EOS 1DX mark III, but CFexpress cards are faster, allowing for 20fps rates without buffering, and 4K video recording. Canon are giving a free CFexpress card and reader with pre-orders while stocks last. Ask our sales team for more info.

Specification comparison:

Canon EOS 1DX mark III
vs Canon EOS 1DX mark II

To download the full specification PDF click here.

Sensor: 20.1 megapixel vs 20.2 megapixel
ISO: 100-102,400 vs 100-51,200
Continuous Shooting Viewfinder: 16fps vs 14fps
Continuous Shooting LiveView: 20fps with AF vs 16fps no AF
Shutter Life*: 500,000 vs 400,000 actuations
Weight: 1.44kg vs 1.53kg
Battery Life: 2850 vs 1210

AF Points Viewfinder: 191 vs 61
AF Points Live View: 3869 vs 0
Lowest EV for AF: -4 vs -3
Lowest EV for Live View AF: -6 vs N/A

Memory Cards: 2x CFexpress vs 1x CFast 1x CompactFlash
WiFi Transmission: Built in WiFi and Bluetooth with WFT-E9 optional vs Wifi via afaptoe WFT-E8 only
Ethernet: Hi-Speed Gigabyte Ethernet vs Gigabye Ethernet
USB: 3.1 Gen2 with Type-C port vs USB 3.0
GPS: yes, built in vs yes, built in

Movie & Video:
4k & more Res: 5.5K Raw(60P), 4K DCI (60P), 4k UHD(60P) vs 4K video (60P)
HD Video: Full HD (120P) vs Full HD (120P)
Movie Crop: Full Width DCI, 1.3x Crop vs 1.3x crop
RAW recording: Yes vs No

To place an order call us on 0207 582 3294 email our sales team on sales@fixationuk.com

*Shutter ratings are only guaranteed within the 1st year of use

Canon EOS 90D image

Canon EOS 90D

Today Canon has announced the EOS 90D, an impressive update to a popular series. The EOS 90D features a higher resolution for stills and video than its predecessor, the EOS 80D, and it borrows features from highly praised high end cameras, the EOS 7D mark II and EOS 1DX mark II.

Canon EOS 90D

The EOS 90D is the latest in a series of cameras that started with the 10D in 2003, in its time the 10D was a very advanced camera boasting a whole six megapixels. Designed for enthusiasts, the series continued to bring excellent imaging performance to Canon users throughout the years. In 2013, the seventh body in the range, the EOS 70D, became a favourite for vlogging as it combined HD video recording with dual-pixel AF for accurate focus tracking while recording.

Released today, the EOS 90D has improved the 10D’s pixel count sevenfold, brings improved high speed shooting up to 10fps and the option of 4K video recording. The series has always been an ideal starting point for photographic enthusiasts, or a step-up after learning with an entry-level DSLR; and the EOS 90D is also a worthy backup body for any professional kit bag.

Headline specs for the EOS 90D

• High Speed continuous shooting: up to 10fps
• 32.5 mega pixel APS-C (crop) CMOS sensor
• 45 cross type AF points with joystick AF point controller
• Intelligent Tracking and Recognition focus system (iTR)
• 4K filmmaking and Dual Pixel CMOS AF
• Maximum ISO 25,600 – expandable to 51,200
• Wi-Fi and Bluetooth® enabled
• 220,000-pixel RGB+IR metering sensor
• Variable-Angle touchscreen to shoot from all angles

Pro technology in a smaller body

The EOS 90D contains the latest DIGIC 8 processor that enables 4K video recording and a high-speed stills frame-rate of 10 frames per second in RAW or jpeg. The AF tracking technology uses 45 cross type AF points and an iTR focus system found in Canon’s flagship models, the EOS 1DX mark II and EOS 7D mark II. iTR uses the phase detection focus points and the 220,000 pixel rgb metering sensor to identify subjects and maintain consistent focus tracking. New to the series is a long awaited ergonomic feature, the AF point joystick control. Positioned close to the AF-ON button on the back of the body, it allows the thumb to flick quickly between moving the AF point and locking on to your subject, without taking your eye away from the viewfinder.

Affordable, better reach, compatible with the entire EF & EF-S lens range.

The APS-C sensor size is smaller than a “full frame” 35mm sensor as a result the sensor receives light from the best and sharpest central portion of any full-frame lens. This cropping has the effect of pulling the subject closer, ideal for shooting distant subjects for sport and wildlife photography. It also means the EOS 90D available at a more accessible price than its full frame counterparts. Also more affordable are EF-S lenses, designed specifically for crop-sensor cameras the optics do not have to be as large as lenses made for full-frame camera bodies making the kit smaller and lighter, as well as cheaper.

The EOS 90D body only is £1209.00 including VAT at release, there are also kits with lenses available. Please contact our sales team for the latest prices.

To order the camera or for more information from our expert sales team call us on 0207 582 3294 or email us at sales@fixationuk.com

Canon 5D Mark IV image

Close up | Canon 5D Mark IV 4K specs for video

Canon’s EOS 5D Mark IV lists video recording as one of its main features – we take a look at what it offers the videographer.

Canon EOS 5D Mark IV

The Canon 5D Mark IV 

Resolution and frame rate

The Canon EOS 5D Mark IV is currently one of only a handful of DSLRs that records 4K quality video. This is captured in the DCI 4K format, which records at a resolution of 4096 x 2160 pixels (as opposed to the more common UHD 4K format that records at 3860 x 2160-pixel resolution).

The 5D Mark 4 RAW video setting is made possible thanks to the Dual Pixel photodiode innovation. But with double imaging comes double the usual file size of usual RAW.

The camera offers the user a choice of 24fps (23.98fps), 25fps and 30fps (29.97fps), when recording 4K footage in the PAL format. The camera also offers Full HD (1920×1080) and HD (1280×720) options, at up to 50fps.

High speed shooting at up to 100fps is also possible, and this output at 25fps (a quarter of the speed).

When set to NTSC, frame rates on offer are 30fps (29.97fps), 24 fps and 23.98fps, with an additional 60fps option when recording in Full HD. High-Speed footage, meanwhile, is captured at 119.97fps and output at 29.97fps.

Crop factor

To record DCI 4K footage without pixel binning, the camera only uses a central portion of the sensor. This requires a crop factor of 1.64x, relative to the full-frame. So, using a 28mm lens when recording 4K footage will give you an effective angle of view that’s closer to that provided by a 46mm lens.

When recording HD or Full HD footage, the camera uses the entire sensor (without a crop being applied, and so that angle of view of whatever lens you’re using will be maintained). This also means that if you find yourself limited while shooting in 4K by this, you have the option of switching to Full HD (obviously at the expense of high resolution).

Canon EOS 5D Mark IV SensorThe EOS 5D Mark IV records 4K video using a central portion of its 30.4MP sensor.

Aspect ratio

As the horizontal DCI 4K resolution is slightly higher than that of UHD 4K, the aspect ratio of recorded footage is approximately 17:9 rather than the more standard 16:9 ratio. This changes to 16:9 when recording in either Full HD or HD options.


This Canon camera’s ISO range can be adjusted over a range of ISO 100-12,800 as standard when capturing 4K footage, and ISO 100-25,600 when capturing Full HD videos. In both cases this can be controlled in 1/3EV increments.

If you want the camera to automatically select higher ISOs, this needs to be enabled through the menu system beforehand. The options here allow you to set a range of ISO 100-Hi1 (51,200 equivalent) or ISO 200-Hi2 (102,400 equivalent).

This extended Lo setting, which is equivalent to ISO 50, is not available when recording 4K or HD footage. This means that in the particularly bright conditions in which you may want to use it, you will either need to stop down your aperture or use an ND filter.

Canon EOS 5D Mark IVThe camera’s ISO can be directly controlled from a button on its top plate.

File formats

The camera records in both MOV and MP4 formats and is one of only a handful with built in GPS. When recording 4K footage it employs the Motion JPEG codec, which records at a bit rate of approximately 500Mbps. When recording HD or Full HD footage, however, you have the option of choosing ALL-I and IPB compression options, with a further IPB Light option if recording using the MP4 setting.

As there is no way to record 4K footage at a different level of compression, Canon recommends using a CompactFlash memory card rated to UDMA 7 with a write speed of 100Mbps or faster. It also states that UHS-I Class 3 SD-format cards can be used, although these only guarantee a transfer rate of of 30Mbps.

If you use a slower-than-recommended memory card to record video, the camera may display a five-bar indicator as the card fills up, eventually stopping video recording. The camera will also notify you if the sensor becomes too heated through prolonged use.

Card formats

As with the Canon EOS 5D Mark III, the model is designed with dual card slots: one for SDHC and SDXC media and one for CompactFlash. The SDHC/SDXC slot supports UHS-I cards (but not UHS-II) while the CompactFlash slot supports cards conforming to the UDMA 7 specifications.

Canon EOS 5D Mark IVThe camera accepts both SDHC/SDXC and CompactFlash media.

Chroma subsampling

The camera records with YCbCr 4:2:2 chroma subsampling when shooting in 4K, and 4:2:0 when recording in HD and Full HD formats. When outputting HD footage via the HDMI output, this is set to 4:2:2.

Frame grabs

While it’s not possible to capture images while recording movies, the Canon EOS 5D Mark IV allows you to extract individual frames from 4K footage and save them as JPEG files in camera. This happens at a resolution of around 8.8MP – slightly higher than other 4K-enabled cameras on account of it recording in the DCI 4K format (rather then UHD 4K).


The Canon EOS 5D Mark IV follows the EOS 1D-X Mark II in offering a touchscreen on its rear, and this can be used for a variety of purposes when recording video.

At a basic level this can be used to select options on the screen, such as ISO and the Q menu that brings up the audio recording level and volume for external monitoring although, perhaps more usefully, this can also be used for focusing (explained below).

Canon EOS 5D Mark IVThe camera’s touchscreen can be used for a range of purposes, including shifting the focusing point while recording.


One of the advantages of the camera’s Dual Pixel CMOS AF system is that it can continue to focus using phase-detection AF (performed on the main imaging sensor) while recording videos. This also allows for continuous autofocus while recording, with control over tracking speed and sensitivity offered to better suit your subject.

The partnership of this technology with the camera’s touchscreen allows for two key things. First, you have the option of keying the subject on which you want the camera to focus on the screen, prior to recording. It has 61 AF points selectable distributed on the viewfinder. Here, it focuses it swiftly but fluidly, much more so than with a standard contrast-detect AF system. This also means that you can use it in live view while capturing stills.

Another benefit of this is that you can use this touchscreen functionality while the camera is recording videos, which means you can shift focus from one subject to another simply by touch. This means that you don’t need to physically pull focus using the lens.


The camera is equipped with a monaural microphone, which is positioned just beneath the camera’s name badge on the front plate, although any professional that wants to record sound at its best possible quality will no doubt use an external microphone. This can be connected to the camera though a 3.5mm stereo mic port at its side.

Both wind-cut and attenuator filters are selectable through the camera and control over audio levels can be set to manual (over 64 levels) or auto options. A headphone socket is also provided for monitoring audio, and the camera allows you to adjust volume here too.

Canon EOS 5D Mark IV

The EOS 5D Mark IV is compatible with external stereo microphones such as Canon’s own DM-E1 model.

HDR movie function

A feature that appeared on the recent EOS 760D and EOS 80D is HDR Movie Recording, and this has made the cut here too. The Canon 5DMK4 video specs is designed for the same kinds of conditions as you would use it when shooting stills – ie. scenes with a naturally broad dynamic range, which may exceed the sensor’s capabilities. This option records at 60fps and outputs footage at 25fps (PAL) and 29.97fps (NTSC), although only at Full HD resolution.

HDMI out

The camera is equipped with a Type C, HDMI mini port around its side, and this allows you to output clean (uncompressed) footage to an external recorder. The only caveat here is that this is only possible at a maximum full HD resolution, as opposed to 4K.

Canon EOS 5D Mark IVThe camera is fitted with a The Canon 5D Mark iv ports: The camera is fitted with a Type C HDMI mini port, along with USB 3.0, microphone, headphone and flash-sync sockets.

Time-lapse footage

You can also use the EOS 5D Mark IV to for time-lapse recording, with the individual frames stitched together in camera and output as Full HD files.

As with the HDR movie option, this is output at 25fps (PAL) and 29.97fps (NTSC), and control is provided over the interval between each frame and the number of images captured in total. Usefully, as the camera is stitching together the time-lapse video itself (rather than just capturing the individual images), it will also inform you of the length of time required and the length of the final movie in advance, as well as whether you have enough room on your card to achieve this.

Time limits

As with other DSLRs, the maximum length of footage than can be recorded without interruption is 29mins and 59 seconds. When using the camera’s High Frame Rate mode, this is reduced to 7 mins 29 seconds.


Canon EOS 5D Mark IV unveiled

The Canon EOS 5D Mark IV arrives with a new 30.4MP sensor and 4K video

Canon EOS 5D Mark IV

Canon has refreshed its successful EOS 5D DSLR line with the EOS 5D Mark IV.

Basic feature updates

The new model is a direct successor to the popular EOS 5D Mark III and whilst it shares that model’s form and build, Canon has furnished the new body with a wealth of new and expanded features – some seen in the recent flagship EOS-1D X Mark II.

The EOS 5D Mark IV debuts a 30.4MP full-frame CMOS sensor, which Canon claims has a wide exposure latitude. This works across a native sensitivity range of ISO 100-32,000, with extended settings either side to ISO 50- and ISO 102,400-equivalent options respectively. This is paired with Canon’s DIGIC 6+ processing engine, whose noise reduction algorithm has been enhanced over previous engines for better image quality.


Auto Focus and Metering

Perhaps the most interesting new addition is a Dual Pixel Raw mode. This uses the same technology behind the Dual Pixel CMOS AF feature (also included) to allow the photographer to adjust the point of sharpness after the images have been captured. It’s also possible to shift out-of-focus highlights and to reduce ghosting effects when using Canon’s Digital Photo Professional software program.

As with the EOS 5D Mark III, the camera features a 61-point AF system (above, bottom right) that includes 41 cross-type points, with five of these dual cross-type with a sensitivity of fƒ/2.8. The points themselves are said to occupy a broader area of the frame than before, with sensitivity down to -3EV as standard and -4EV when using live view. 21 of these remain cross-type at f/8, which means they are still as effective when using certain telephoto lenses in conjunction with Canon’s Extenders.

A 150k-pixel RGB+IR metering sensor, which appears similar to the version included in the EOS 5DS and 5DSR but works with its own DIGIC 6 processing engine, has also been included. This uses 252 separate zones for scene analysis and is said to help the camera better detect subjects and track them more effectively as they move around the frame.


The 5D mark IV is the third Canon EOS DSLR to date to offer 4K video recording, after the EOS-1D X Mark II announced earlier in the year and the EOS 1DC which was built on a 1DX chassis and part of the Cinema EOS lineup. This release makes 4K from a Canon system much more affordable, in a lighter body, than any previously available from Canon.

The 5D mark IV records DCI 4K (4096 x 2160) footage at frame rates of 24, 25 and 30fps, with 4:2:2 chroma subsampling and 4:2:0 subsampling when recording in one of the camera’s HD formats (which record at up to 120fps). It’s also possible to output uncompressed footage through the camera’s HDMI mini port, although only at a full HD resolution, while individual frames at an 8.8MP resolution can also be extracted from 4K footage.


Display & Controls

Canon has upgraded the camera’s rear LCD from the 3.2in, 1.04million-dot version found on the EOS 5D Mark III. While the display maintains the same dimensions as before, it sees its resolution jump to 1.62million dots. Not only that, but touchscreen functionality has also been incorporated to facilitate focus-point selection and more.

As with previous models, the user is also able to customise the Quick Control Screen to their liking, and it’s also now possible to adjust the tone of the LCD in addition to its brightness.

The pentaprism viewfinder, meanwhile, has been left unchanged from the EOS 5D Mark III, with frame coverage of approximately 100% and a 0.71x magnification, together with an eyepoint of 21mm.

Build and Connectivity

The camera, which has been constructed principally from magnesium alloy and polycarbonate, boasts dust and moisture protection and is equipped with two memory card slots, one for CompactFlash cards and the other for SD, SDHC and SDXC media. Wi-Fi and NFC has also now been included, as has a GPS system that records longitude, latitude and elevation. Canon has also now made it possible to embed IPTC metadata into images.

The EOS 5D Mark IV has been designed with a USB 3.0 port at its side, together with HDMI mini and flash-sync ports, while sockets for headphones and microphone are also included alongside. The remote port, which was previously included among these, has now been repositioned to the camera’s front plate.

Two new lenses have also been announced alongside the new model. The EF 24-105mm f/4L IS II USM is a second-generation version of the existing EF 24-105mm f/4L IS USM, with a four-stop Image Stabiliser on board and a weather-resistant construction, while the EF 16-35mm fƒ/2.8L III USM updates the nine-year-old 16-35mm fƒ/2.8L II USM. Additionally, Canon has announced the BG-20 battery grip. This has been constructed with the same level of weatherproofing as the camera, with duplicate vertical shooting controls and space for an additional LP-E6N or LP-E6 battery.

Canon EOS 5D Mark IV: Specifications

  • 31.7MP full-frame CMOS sensor, 30.4MP effective, with optical low pass filter
  • DIGIC 6+ processing engine
  • ISO 100-32,000 (exp. to ISO 50 and 102,400)
  • Dual Pixel Raw mode
  • 61-point wide-area reticular AF system, including 41 cross-type points and 5 dual cross type points at fƒ/2.8
  • AF Area Selection control
  • 30-1/8000sec shutter speeds plus bulb
  • Approx. 150k-pixel RGB+IR, 252-zone metering sensor
  • 7fps burst shooting, up to 21 Raw frames or unlimited JPEGs
  • 3.2in Clear View LCD II, 1.62million dots and touch sensitivity
  • Pentaprism viewfinder, approx. 100% field of view, 0.71x magnification
  • DCI 4K video (4096 x 2160), 30, 25, 24fps. Full HD up to 120fps
  • 8.8MP Frame Grab from 4K footage
  • Anti-flicker technology
  • Wi-Fi and NFC
  • GPS
  • SuperSpeed USB 3.0
  • Magnesium alloy body with polycarbonate, glass fiber prism cover
  • Dual CompactFlash (up to UDMA 7) and SD/SDHC/SDXC (inc. UHS-I) slots
  • Rechargeable LP-E6N battery (supplied), compatible with LP-E6
  • Approx. 900-frame battery life
  • 890g (including battery and memory card)
  • 150.7 x 116.4 x 75.9mm


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