Canon EOS R3 Definitive Review | DA

[Music] hi i'm dustin abbott and i'm here today to give you my definitive review of the new canon eos r3 this is the first of their mirrorless bodies to come in a 1d style integrated battery grip design and so obviously it is thus you know kind of putting itself into a certain niche and that along with the headline new 24 megapixel cmos sensor 30 frames per second means that in many ways this is kind of a more professional version of something like a sony um alpha 9 series camera and that it's really pitching itself you know designed mostly around an electronic shutter you can get 12 frames per second in a mechanical shutter but it's that 30 frames per second with the electronic shutter that is really what this is really all about and obviously going to a mirrorless body allows them to up you know kind of unlock a little bit more potential than what was available maybe they're peeking out when it came to the dslr performance found in the 1dx mark iii which already was giving you a faster burst rate in live view mode which is the closest thing the mirrorless that dslrs have relative to you know through the viewfinder traditional dslr type autofocus and so this is allowing you to go to the next level though as we'll see in a few moments when we look at it in detail it's kind of an integration between some of the 1dx controls and style and then a camera like the eos r5 and also the size is somewhere in between the two though obviously this is a much physically larger body than what the eos r5 or any kind of other esr body has been to this point it's also the most expensive of the new canon mirrorless system full-frame mirrorless system and so at about 6 000 u.s dollars that is you know this is 3 900 for the eos r5 so you're talking about 2100 additional dollars though i will point out that even though it's got the big professional grade body it is cheaper than the sony alpha one which retails at 6 500 so quickly here some of the headline features that are included as a part of it i detect af this is the first of the digital cameras although canon had a similar technology back in the film era very briefly this is the first implementation of an eye detect af and that's not detecting the eye of the subject that's actually detecting the eye of the photographer and so where you look autofocus moves too and it's a really cool feature that we'll talk more about in just a moment unlike the 1dx we have got the canon's excellent in-body image stabilization which when paired with the in lens stabilization of some other good lenses gives you some really exceptional hand-holding stability and so obviously that's a great implementation we have got which we never saw on the 1d series the very angle viewfinder and now at a higher resolution we also see higher end video specs to where while you don't get the ak 8k recording that you get with the r5 you do get up to a 6k recording and that at up to 60 frames per second or at 4k 120 frames per second and a really nice thing here is that there's now no impose record limit so you can record until you fill up that memory card now of course if you're going to film with say you know raw footage that memory card's going to fill very very quickly but if you're shooting at a maybe a more reasonable codec and a file size bit rate you're going to be able to record long long session recording if necessary they've added on to the auto focus system a new vehicle tracking capability so again with the eye towards sports that motorsports are a a major thing for some sports photographers and so you have that vehicle tracking it's also going to look for a helmet for example in someone that is driving that car there is a new newly developed 24 megapixel sensor that we'll talk about in detail there is the higher grade of weather sealing like the 1dx series body more customizable buttons the hot shoe is upgraded to be a digital interface built-in gps smart controllers from the 1dx series and more and we'll dive into all of that in detail in just a moment but first a word from our sponsor today's episode is brought to you by phantom wallet the minimalist modern wallet that sets you free from a bulky traditional wallet while also making it easy to access your cards and money when you need them thanks to their unique fanning mechanism visit phantomwallet.com to check out their unique sizes styles and finishes that span from aluminum to wood to carbon fiber you can even customize your wallet with new accessories like a money clip cache holder id display and even the chipolo tracking integration if you're the kind of person who loses their wallet use code dustin 15 for 15 off when you're ready to check out now before we dive in today i do want to acknowledge that now about a month ago that one of my fellow reviewers actually here in ontario canada where i live gerald undone really graciously gave me a shout out and helped to boost my channel by sending some of you here for the first time and i just want to acknowledge the kindness of what gerald did i also want to point out that i consider his channel to be an excellent compliment to my own uh he is an excellent video centric reviewer whereas for me i am kind of photography first and so if you like detailed deep dive reviews which i assume that you do since you're here and you like video then you're going to love gerald style where he does a much better job than what i do in terms of hammering out the performance for video of both cameras and lenses and other accessories so be sure to check out his channel it is well worth your while and he does a fantastic job in fact i think that this eos r3 that i was loaned i've got to send it back as quickly as possible because i think it's going on to gerald and so if you want to see the master get more out of this in terms of video check out gerald's channel we're going to dive in today and give you a closer look at the physical features here and physical design of the camera let's take a closer look so obviously the biggest thing relative to a camera like the r5 that's going to visually catch your eye is the integrated battery grip style body and they are they can use the larger capacity lpe19 batteries that we see in the 1dx series so obviously that battery grip style integrated battery grip style is one that's favored by some and probably for the mainstream despised and i tend to fall a little bit more in that latter category it's just more grip than what i personally need or want but of course as a byproduct of that you do end up with redundant controls to allow you to not only have a grip in either portrait or horizontal mode but also the redundant controls that allow you to control the camera equally though you know the flying ointment's always going to be the position of the viewfinder that is set up for a horizontal style as a pour as opposed to a vertical style grip a few things here and that is that obviously this is the first mirrorless body to get the 1dx uh 3 style body or 1dx style body in general though while it looks large relative to the eos r5 it's actually considerably smaller than what the 1dx 3 is and so it is about 8 millimeters narrower it's 25 millimeters shorter it weighs 425 grams lighter so about 19 smaller overall and so while it looks big relative to the other eos r bodies it's actually a little bit more modest in its dimensions and that might appeal to someone that is maybe considering an upgrade from a 1dx series body and have considered going mirrorless and that you get you know the features that you like and the weather stealing this is weather sealed to a 1d series level so you get all of those things but with a little bit lighter and smaller body now another thing that's different relative to the 1d series is of course the integration of the very l very angle lcd as they call it m this is a really really nice lcd we have a higher amount of resolution than what we have previously seen and in fact this is the highest resolution lcd that i've ever actually tested on a camera body 4.15 million dots and so that's a really really high resolution compares to about 2.1 million dots and this is one area that i will say that really differentiates between this particular body and say the the sony alpha one which its um touch screens resolution was really a one of the major disappointments there other headline feature obviously is the fact that you have 30 frames per second from this or 12 frames per second if you're using the mechanical shutter now i will say just as a feature that the position of the actual power button here is one that i don't really like i don't find that it falls easy to hand in any kind of configuration so i don't love that i also don't necessarily love that by the time you get the grip you're trying to reach around to access these custom buttons here which are great to have obviously but they're not necessarily all that easy to grip if you're holding more traditionally onto the camera means you're going with that finger and maybe being able to reach these top two but going to have a hard time reaching to the bottom two you may learn how to do it better over time but it's you know just the thickness of the grip does make that a little bit harder to access another thing that's changed here is that underneath this protective cover which you can slide off the hot shoe is now designed to where it also allows you to have digital input and so it's kind of a multi interface port kind of like what we saw on the alpha one another thing that is inherited here from the 1dx series is on the af on button it is also what's called a smart controller you can use that to move around an autofocus point for example and it's in a redundant position down here so we have kind of a blend between the r5 type controls and the 1dx type controls including some different button positions up here to the left of the viewfinder and then a more similar design to something like the eos r5 when it comes to the top mounted lcd screen one other thing that i do like here is that you have a switch right here an actual physical switch that allows you to toggle between stills and video i prefer that to having to go through the mode button up on the top of the r5 i just prefer a more direct visceral connection between those two features so i do like that aspect of it and then of course we've got a great viewfinder here with the killer feature hidden inside of the eye detect af now that's something that has to be calibrated so you have to go through a process calibrating through the menu because it needs to kind of learn the behavior of your eye and you may find that there are some limitations if you wear glasses certain kind of prescriptions or contact lenses they might obstruct that your mileage may vary i had a very good performance with it it's a feature that i actually really enjoyed myself you've got a fairly typical complement of ports over here though the one kind of main kind of change you have from a body like the r5 is that you do have an integrated ethernet port which obviously is going to be useful in a camera that's more sports oriented it might be used by a sports journalist that is going to have a wire connection you also do have a little bit better connectivity when it comes to wireless connections here as well all told the ergonomics are canon excellent which you know is designed with really good feeling switches and controls and of course the lcd is nice and responsive in terms of touch and so there's just a lot of things that feel good you've got this almost carbon fiber looking grip and the grip does feel good in the hand as per usual the grip is never quite identical when you switch between the portrait and then the you know the typical horizontal type grips and when you go to that portrait grip it does feel a little bit different in the hand but the grip does feel good it's a nice physical size although if you have smaller hands it's going to feel you know probably too large for you but very likely you're not going to be interested in a camera like this anyway i do like as always with canon that you do have this shutter that comes down to cover the sensor when it's not in use here and of course you know having the ability to choose fairly quickly between the 30 frames per second in the shutter or 12 frames per second which is a little bit faster than the alpha one in the mechanical shutter is very very nice so all told i think that the features in the ergonomics work and if you're interested in this style of body this is something that canon has a lot of practice in doing and it shows in the implementation and so as you can see this is a nice blend of features from the 1dx series and then combined with some of the new mirrorless features from the eos r5 and if you like the larger integrated battery grip style body then canon has long proven that they know how to do ergonomics right and i suspect that you'll enjoy this body very much so let's talk autofocus and a camera that is sport centric that's really kind of the probably most important thing obviously we want a good sensor and we want it to handle well but autofocus is where the rubber meets the road for a sports oriented camera like this and so in some ways we have a similar autofocus system to that found on the eos r5 we continue to have a dual pixel cmos autofocus system with a 1053 different af areas that has basically 100 coverage both vertical and horizontal all across the frame you have very good coverage with sensitivity uh down to minus 7.5 which is a little bit better than what we have seen previously and uh it's a far cry from what we saw just a few years ago back when a minus 3 ev autofocus was considered excellent we have moved several stops further into darkness essentially to where you can autofocus in extremely dim conditions and of course the you know the better you're going to do depending on the kind of lens and how large of a maximum aperture it's going to have but sensitivity is fantastic as is the performance where you can still autofocus though with a few less autofocus points available we can still autofocus at a maximum aperture combination as small as f 22 which is really really small and of course that's very very impressive and it's what allows lenses like the f11 600 millimeter and 800 millimeter f11 lenses to be used even if you throw a teleconverter on them and still get some autofocus and so obviously that's really really impressive but what has changed for the better here is that you have even more tracking capabilities and that is aided by a few things first of all in the viewfinder itself we now have no blackout even at the 30 frames per second and so that allows you to be really engaged with tracking action and in real life use i use this side by side by side with the eos r5 and the sony alpha one and of those three cameras i definitely felt like i was more visually engaged with the autofocus process in using the eos r3 it just had a really engaging process to where you were never kind of jarred out of just tracking the action and obviously if this is kind of your job or your passion that's really going to help a lot because it allows you to stay connected visually with what's going on and thus more of your brain power can go in trying to track the action and frame the shot as you as you like as opposed to getting lost in the weeds with some kind of of camera glitch and so it gives you a really natural and i also liked just kind of the whole engagement of the process of being able to see where autofocus was happening though in a positive and non-distracting kind of way and so it just really really worked in that kind of setting and as you can see here 30 frames per second in electronic mode and so that's just going to drill them drill them off very very quickly and you can buffer up to 540 full-size jpegs and you can get as many as um 150 raws so if you're shooting in compact raw or c-raw you can get up to 420 shots and you know frankly c-raw is kind of the sweet spot for me when it comes to these most recent canon cameras i find that i really can't visually tell the difference between the full raw and then the lossless you know compacted raw and so uh if you're you know concerned and you want to shoot raws you want that kind of headroom for editing shooting that c-raw 420 frames per second of buffer death should be enough to get you the shot and if you haven't got it in that kind of buffer depth then you're probably not going to get it so how does that compare to some of the other cameras for example the eos r5 you can get up to 350 jpegs there so almost 200 more and you can only get 87 full size raw or 180 compact raw so you can more than double what's available on the eos r5 and so obviously it's a little bit more of a sports oriented camera not only giving you that faster burst rate of 30 frames per second versus 20 frames per second but it also is going to give you that deeper buffer depth the sony alpha 1 another maybe primary competitor if you're in the mirrorless space you can get 400 jpegs so about 140 less and 230 lossy raws and and so you know again less than that overall and so this is obviously giving you buffer depth and speed and i will say in terms of real world use i shot you know burst of 140 frames i never saw any kind of buffering at all gone are the days like back with you know sony and the third generation cameras to where you know you could shoot a nice burst but then you had to sit and watch while it emptied the buffer i didn't observe any of that at all by the time i looked at the camera it was ready to shoot again and um i the only thing i will say as a takeaway as far as looking at the actual results even when i was looking at jpegs i still like the results from the r5 a little bit more but as you can see uh you get really really amazing results when it comes to tracking action and you can see from the playback here i basically programmed in all of these uh when i you know went into my editing software i basically did it like it was a a time lapse and so i'm doing six frames uh per second of these and so you can see that you're just you know you have a much smoother look and so there's that many more moments that are captured at 30 frames per second relative to 20 frames per second on the eos r5 and so if action is your thing obviously this is going to be a killer camera for that and i also will say as far as from my personal use i really enjoyed the eye detect af um to where it actually is tracking where you look in the frame i just found it to be a really natural way to do autofocus and that you know very often in times past if autofocus didn't grab what i liked initially i would be overriding with the thumb and moving a focus point around now i'm doing that with my eye and so it's just that much faster and you know a little bit more intuitive and there was only a few moments where i wanted the camera to focus on a foreground object to where it just kind of got stuck and just even if i kept looking at what i wanted to do much like if i was trying to slide a thumb over that area still you know there's going to be limitations where it doesn't always grab every single thing that you want but we are getting closer and closer to perfection when it comes to autofocus and so this is very likely the best autofocusing camera that i have used to this point i even like it a little bit better than the alpha one though the alpha one is amazing for tracking i just found the as far as maybe the results may not be better with the r3 but the process was just a little bit more refined in capture and of course the deeper buffer depth makes this the killer combination the sensitivity and low light makes this kind of the camera to beat right now when it comes to autofocus so let's talk for a moment about the newly developed 24 megapixel back illuminated stacked cmos sensor that kind of basic design reminds me a lot of the sony a9 series though when you start to design that kind of sensor which is designed specifically for high speed recording and so it does certain things really well it helps you to get a lot of information through the pipeline it helps you with things like rolling shutter as you pan either with video or in maybe a panning motion tracking a subject even for photography there's a lot of things that it does well but it is proven at least with the a9 series that that 24 megapixel sensor isn't quite as good in some metrics as the you know the 24 megapixel sensor that is found in the much cheaper uh you know sony a73 or a7c bodies and so those ones had both better dynamic range and better high iso performance and so in some ways i think what canon has done is taken kind of giving you the best of both of those sony type sensors and that you've got the you know the ability to control rolling shutter you've got a sensor that is able to process a lot of information and run them through the processors quickly but you've also got very good dynamic range and high iso performance and when it comes to the dynamic range it's definitely every bit as good as what we saw on the eos r5 which is a big step forward for canon and when it comes to high iso performance you've also got an excellent performance that compares well with some of the the best out there in fact already i have seen that dxo has rated this particular sensor as being canon's best and those of you that are familiar with dxo know that they don't always love canon sensors or treat them very well but they gave this a very high rating and so it goes to show you that this is a very very good sensor so we're going to dive in and we're going to look at how it actually performs when it comes to dynamic range and high iso performance and capturing detail though it's at a lower resolution obviously than cameras like the you know not only the you know the r5 but even the eos r with a 30 megapixel sensor but we see that it's able to do a lot with what it has and so let's dive in and let's take a look at that sensor performance so let's start by taking a look at our base iso here and with a properly exposed image so you can get a little bit of look at the color checker checker chart here to see the various swatches and how that they should look and so you can see first of all by the way i'm going to use as to standardize the lens and all this i use the canon ef 35 millimeter f 1.4 l mark ii all at f 5.6 so in all these cases it's being used via adapter whether it's on a canon or a sony body and that helps to standardize things you can see however that at base iso lots of detail everywhere colors look really good you know a typical canon type performance so we're going to start by over exposing and so here you can see this is a stop overexposed and here's the image recovered and so you can see that the colors on the color swatches are recovering nicely some area of information that was lost here has been recovered and if we zoom in here for a second you can see kind of like some blown out spots there recover nicely and so nothing is lost here in terms of information it all recovers nicely now at two stops of overexposure we can see that everything obviously is much more blown out in the original but for the most part we're still recovering quite well here in the timer face we've returned the right color information in the kind of blown out spots here all of that has been recovered and we can see that for the most part the color swatches are all recovering properly so you can see that there's just a slightly the slightest bit of unnatural quality to some of the colors but still an acceptable performance here at this point now it's at three stops of overexposure that things start to fall apart so and that's pretty typically the case from what i have seen so the timer face you can see that we haven't gotten all the color back so it's a little bit discolored looking we can see in this blown out spot that there is some information that is just unrecovered and we can see looking at the color swatches that there are some colors that we're starting to lose that are not recovering properly as they did before and at four stops of overexposure you can see that it's just a lost cause it's not a natural looking image at all lots of information has been lost and i've never yet seen a camera that can fully recover a four-stop overexposure so how does that compare to something like the sony alpha one now the alpha one has a slightly different sensitivity so you'll see that the the timing as far as the shutter speed is not exact but the exposure is exact between them and so we can see here that the sony has maybe recovered a bit of the color swatch information just a little bit better though frankly there's not a whole lot to be seen there if we zoom in on this spot right here there's maybe a little bit more recovered here on the alpha one relative to the r3 but really not a whole lot to take away they're pretty much similar which means that canon has come a long way it used to always be that sony was much better in this regard and if we compare to the r5 we can see that they're really performing really quite similarly i don't really see a whole lot of difference between the two there's obviously a difference in the amount of resolution that is there and so thus the size of the image but in terms of recovering highlights and lost color information i would say that the two cameras look more similar than different and and so overall a pretty consistent performance with what we've been seeing from canon recently so if we start to go the opposite direction in terms of shadow recovery we can see here that starting at a couple of stops of under exposure that everything is recovering really nicely and we'll take a quick peek here like in the shadows you can see that there's no banning that's being introduced no color noise everything looks nice and clean here at this point if we move on to three stops of under exposure you can see that that's looking pretty dark but you can see even here in this area where noise would really start to show up or in the shadow information that everything still looks really really nice the contrast is being retained really really nicely despite this significant recovery uh that's taking place four stops of under exposure to where you know it's all blacked out we can see that that information is recovering pretty nicely here and we can see that there's still really no visible noise and even here in this area you can see just a little bit of pattern noise but overall it's recovering everything really really nicely and i don't really see anything negative to point to there now five stops of recovery is where we kind of hit our limit you can see that now we're starting to see some blotchiness that's there in the shadows and you know even in the grip here you can see some you know color noise that is being introduced some visible noise here on the mirror inside but there's your limit but really getting to four stops of under exposure shows that dynamic range here is really quite good if we come back to the alpha one this is the four stop comparison of uh under exposure here and we can see that the two are pretty similar um you know both of them show a little bit of pattern noise out there uh just a tiny bit of roughness i will say that the sony blacks look a little bit more inky to me by comparison and again that's a sony strength but overall here i think that the sensor is performing really really well if we compare that of the r5 i do think that the r3 sensor is keeping a little bit more accurate color balance here uh the colors have shifted just a little bit to the magenta side with the r5 recovery here and while the shadows look pretty good in terms of smoothness i don't think that the color accuracy is quite as good in its recovery and so i think that there's maybe a tiny bit better performance from the r3 relative to the r5 now while i pointed out that the r3 didn't look fantastic when it comes to the five-stop recovery it does look better than what the r5 does the r5 has that even more strong magenta cast that is coming into everything and while the you know the shadows have gotten rough here on the r3 what we can see is that it is kept a little bit better contrast but definitely kept better color fidelity in general so all that adds up to a sensor to where you're going to be able to easily recover shadow information and as you can see here that information has been recovered in this real world image and it looks good it looks natural and so i've recovered both some information in the shadows and then also not lost anything up in the sky as well so a good performance here when it comes to dynamic range so how about high iso performance so starting off here at iso 1600 you can see everything looks clean shadows look clean here in the mirror everything looks really nice colors look good uh moving up a stop to iso 3200 we can see that basically nothing has changed there's almost no visible noise to be seen anywhere we move on up to 6400 you can see just a little bit of roughness there but again looking here at the mirror and the textures of anything that's not just kind of shadow information everything looks very clean iso 12800 almost no visible change there and so very very usable jumping back to the global level image looks great at iso 12 800. we are now on to we are now on to iso 25600 and so it used to be that that's where sensors just fell apart you can see that that couldn't be further from the truth there's just a little bit of noise roughness out there at this point but again the image looks really really clean overall moving all the way up to 51 200. one thing i can see is there's a little bit of weirdness that's in just the shadows and um you know almost like a whirling like a fingerprint that is taking uh taking place there and there's some pretty obvious noise in this area looking at the you can just see it now down there in the sensor in the mirror and on the color swatches and all of that becomes really really obvious as we jump on to 102 400 where you can see that banding obvious even on a global level and you can see noise even at a global level of course this is a higher natural limit than what most cameras can achieve but you can see i don't consider that to be a usable end result at 51 200 you might be or 600 you might be able to get away with that so if we take a look at 12 uh comparing to the alpha one we can see that the alpha one has more visible noise though it's you know it's more than double the resolution 50 megapixels and so everything looks a little bit more obvious if you down sample to the same size it would be probably pretty similar in performance but we can definitely see that you know just using the bare image that the r3 does look cleaner overall jumping onto 25600 taking a look in the shadow area you can see that you know definitely i would favor the look in the shadows and of this you know kind of patchwork look um from the r3 compared to the alpha one and looking in here at the mirror everything is looking cleaner and you can see that the sony is starting to drift a little bit towards the green uh cast to things whereas colors are staying nice and neutral on the r3 now if at 51 200 you can definitely see that green cast that has come into the sony image where everything is kind of shifting towards that and the biggest thing for the r3 as you get up this high is this kind of weird banding that is taking place up there you can also see though that the sony is really really rough at this point and so if we come back actually on to the textures of the subject i would favor the look of the r3 for its color accuracy and just less color blotchiness that is here relative to the sony now if we jump over to the r5 comparison we can see that at 12 800 both of them are fairly clean you can definitely see that the levels are inkier from the r3 and there's less visible noise in this area if we jump up to 25 600 look back in this area it's pretty obvious that the r5 is falling apart compared to the r3 which is much darker the r5 has got some of that color banding and we can see that the contrast levels are better with the r3 and there's just less visible noise though that will equalize a little bit when you down sample but this this kind of stuff is not going to equalize the r3 definitely has an advantage there and at 51 200 the r3 definitely has the advantage you can see that color accuracy is better there's much more shadow information that remains it's cleaner with less noise and better contrast and now both of them have this kind of color whirling banding here but you can see that the overall impression is blacker from the r3 which just points to cleaner and better contrast it's holding up better climbing higher up the ladder than what the r5 does finally at 24 megapixels um you know it's not as high of resolution but you can see that there is really nice detail that the sensor is picking up and kind of regardless of the different subjects that i shot i was able to get nice information the cat should not be on the table and so he did make for a good subject matter there you can see really nice detail in loki's fur and at least he misbehaves in style and finally outside for landscapes you can see that there is nice detail that is captured here good contrast we've seen that this is a very good sensor so at the end of the day you can see that this is a camera that is really competitive on a lot of levels amazing autofocus a very good sensor there are a few things that i don't love you know first of all as you may have figured out i i'm not personally partial to the integrated battery grip design myself i find it limiting when it comes to how i carry camera equipment how i store it and i just prefer the more traditional body size like this and i am actually i really really like the size of the r5 and the way that it feels in the hands a few other things that i don't like i don't like the position of the on off button i just don't find that there is a really natural way for me to access it you kind of would do it with a thumb but i just don't find that it's a natural thing for me i do prefer when you have you know for example here on off over here i know that they use that real estate for a couple of other buttons but i would still have preferred them to do things a little bit differently when it comes to the power button and of course you know lock is a part of that which you know reminds you more of dslr style bodies i also found as we saw earlier on that the custom buttons are a little bit hard to reach and has become all too common whenever canon brings out a new camera and its mirrorless system i found that out of the three auto focusing third-party lenses that i had on hand it kind of bricked two out of three of them and what i mean by that is that um the the samyang af 85 millimeter f 1.4 seems to work just fine the samyang af 14 millimeter f 2.8 didn't hardly work at all it didn't uh didn't register what the what the aperture was i had no autofocus it just didn't work right at all and then for whatever reason when i put on the new viltrox um 85 millimeter f 1.8 rf lens that i recently reviewed it recognized it as a 50 millimeter lens and that's what even shows up in the xf data and i had no control over aperture and autofocus was iffy and so as is typical canon it's not really all that kind to third-party lenses and that's one of my chief gripes on the eos r mirrorless system at this point obviously size and price are going to be a limiting factor for other people as well not everyone wants or needs a camera that is either this big or this expensive and i certainly recognize that as a part of my review this is more of a specialized camera for more of a specialized audience it is designed for a sports photographer and and particularly for that kind of person and in some ways it is less flexible than what say the sony alpha 1 is where sony designed the alpha 1 to kind of be the one in their language to work kind of did a little bit of everything really really well this is really designed more around sports photography when it comes to the size when it comes to the integration the grip moving to that lower resolution sensor it is obviously a more specialized kind of camera so my takeaway is that this is an amazing auto focusing camera probably the best that i have ever used the sensor is good but i don't find it revolutionary and at this stage i'm mostly shooting with higher resolution bodies and frankly while i think 24 megapixels is enough in many situations there are certainly situations where i'm going to miss higher resolution so maybe a little bit less for me in that regard and so for me still on canon front the eos r5 is kind of the sweet spot it does a lot of the similar things to the r3 maybe not as quite as good when it comes to autofocus though this is still an amazing camera definitely not maybe as quick when it comes to the burst rate but it does a lot of the good things in a smaller body you know for two thousand dollars less so that certainly is relevant at this point so at the end of the day i do think that canon has achieved their mission this is a camera that i think will be the one that will allow a lot of 1d shooters to migrate into mirrorless maybe for the first time to finally have what they're looking for but i think for many photographers this will be something that is a curiosity where they say oh that's cool but very likely have no ambition to own some of you will fall in the former category a lot of you in the latter category and i hope that this review as always helps you make a more informed decision about what camera is going to work best for you i'm dustin abbott and if you look in the description down below you can find linkage to my text review you can also find linkage to an image gallery check out some of the photos that i took as a part of this review process there are bang links if you'd like to purchase one for yourself and i do want to say a big big thank you to camera canada who provided me a loaner of this camera and so that i could actually do this review for you they're fantastic i buy a lot of my gear from them and so if you're in canada check them out beyond that there is linkage to follow me on social media to become a patron to purchase merchandise and of course if you haven't already please click that subscribe button right here on youtube thanks for watching have a great day and let the light in [Music]

Channel: Dustin Abbott

Views: 13,972

Keywords: Canon EOS R3, EOS, R3, EOS R3, mirrorless, full frame, EOS R3 Review, Canon R3 Review, Canon EOS R3 Review, Dustin Abbott, Real World, Comparison, Handling, Dynamic Range, Tracking, Focus, Burst Rate, Sports, Portraits, Resolution, High ISO, Image Quality, Sample Images, Photography, Dogs, Ergonomics, 24Mp, Sony a9, Sony Alpha 1, Canon EOS R5, RF 70-200mm F2.8L IS, RF 15-35mm F2.8L IS, Canon Letthelightin

Id: OvYrb6xTSPA

Length: 39min 42sec (2382 seconds)

Published: Mon Dec 13 2021