Canon EOS R6 Definitive Review | 4K

[Music] hi i'm dustin abbott and i'm out on a cold day taking one for the team so that i can bring you my definitive review of the canon eos r6 full-frame mirrorless camera now a about six to seven weeks ago i did my review of the eos r5 and of course that is the camera that in many ways got a lot of the headlines it was the camera that i personally was most interested in because i actually was looking for the higher resolution for you know the kind of work i do in the course also as a gear reviewer to have you know one of canon's highest resolution bodies to you know actually do reviews on so i really challenge gear at the same time however i recognize that a lot of people just don't need either a camera with 45 megapixels of resolution nor do they need a price tag of nearly four thousand us dollars or whatever it cost you in your country i paid well over five thousand dollars here in canada uh to purchase one and so i mean it's it's just maybe a little too much camera for a lot of consumers either for their budget or for their actual needs fortunately the r6 has a lot of the special sauce that makes the r5 good while having some of its own unique strengths though in a less expensive uh 20 megapixel camera body that has a lot of the versatility of the r5 but maybe a little bit less of its extremes both good and bad as we'll highlight today now if you don't want all of the information that i put in my definitive review then i recommend that you check out the standard review where it's going to be shorter and more to the point today however we're going to explore things in detail today's episode is brought to you by ridge the wallet redefined give your aching rear a break and ditch that bulky old wallet full of stuff you don't need and move to a sleek aluminum titanium carbon fiber or even their new 18 carat gold ridge wallet it takes up little more room than a credit card has rfid blocking technology to protect your valuable information and comes with a lifetime warranty visit ridge dot com forward slash dustin and use code dustin to get ten percent off your order along with free shipping worldwide we'll start off by taking a look at the feature set and how and you know and in what ways this camera actually differs physically from the r5 so let's jump in and let's go close up hands on and let's take a look now for many aspects the r6 looks almost identical to the r5 there are some really subtle physical differences that you can see the primary differences are really more internal than anything the construction here is more of the you know magnesium alloy in the r5 a little bit more polycarbonate in the r6 but really you don't really see the distinctions very much looking at them initially one of those differences on the front is up front here you do have a full kind of shutter release port there that is missing on the r6 looking to the side the differences here are fairly subtle um not a lot to distinguish them but you can see that there is a little bit more of the textured pattern here and so this particular door on the r6 is a just it's a you know there's a little bit more maybe space in there because it runs more the full width of the camera whereas here we can see that those two things are which is the atm and usbc they're a little closer together and then in this second port area we can see that this is more similar we've got our mic and our headphone jack which is similar to what we see on the uh the r5 but the difference here is because the r5 has that you know sync port on the front it now here has a flash release port here and what we have here is we have the remote release here on the r6 instead and it's the smaller 2.5 millimeter now if we look to the back there is a subtle difference here and that is that the lcd screen on the r5 is slightly larger it's 3.2 inches rather than three inches on the r6 it also has a bit higher of resolution the r5 is 2.1 million dot compared to 1.68 million dot on the rs r6 viewfinders don't look a whole lot different looking at them but looking inside there is a difference the r5 has a higher resolution 5.7 6 million dot compared to a more standard 3.68 million dot that still makes it competitive by the way it is the r5 that really has a higher spec than a lot of competitors and so you know what compared to for example the sony a7 iii this is still actually the higher resolution of the two and so anyway it's it is competitive in that metric everything else looks pretty much the same here at the back moving to the side there is a little bit of a different design the r5 has a little uh it's different than other canon cameras that i've seen this is a little bit more traditional and of course also a little more traditional as you've got two sd uhs two compatible slots here on the r6 it doesn't really need that additional speed because of the lower resolution whereas the r5 has one sd you know uh s2 but the other is the cf express card slot there that you know allows it to have you need to accommodate when you're really recording either 8k or 45 megapixel images when you're running through them now on top is where the biggest physical difference is visible so the r5 utilizes similar to the eos r or eos r it has the top lcd screen and the multi-purpose mode dial we've got a more standard mode dial here and you know unless you're really really you know clued into looking at this top thing you know i i think that a lot of people are going to be content with that i i frankly don't find it to be a big deal now we are missing up here the um the ability to light up the screen obviously that button is unnecessary on the r6 since there is no lcd screen there but the lock button and then the record buttons video record buttons are are here everything else here as far as the dial the mfn button and then the shutter button very very similar and the bottom plate also you know looks pretty similar and of course we are utilizing the same battery pack in both of them so physically their overall dimensions are pretty close to identical almost no difference between the two however because the r5 utilizes as i've said more of the magnesium alloy it comes in at a little bit heavier so just the camera body itself without memory cards and or battery it comes in at 598 grams for the r6 versus 650 grams for the r5 and you know surprisingly i can feel the difference um the r5 just feels a little bit denser and it may be too just the feel of the materials but it does feel a little bit heavier in hand and so that is one difference the other difference that you really can't see from the outside is that the r6 level of ceiling is supposed to be similar to that of the 6d series and so good but not like top to your professional grade the r5 is to have similar levels of ceiling to like the 5d series 5d you know mark iv for example and so a higher grade of internal seals and so between those two things you end up with a little bit different weight but really for practical use there is not a whole lot of difference in terms of the ergonomics both of them feel really great in the hand and i just i think that cameron cannon's ergonomics on these camera bodies really really fantastic and i would say the best of any current cameras that i'm using one other thing that i do want to highlight that i didn't note there but has become you know more and more evident as the weather gets colder and i'm spending more time outside shooting in you know cold winter type conditions and that is that there is a little bit of a physical difference in the way the way that the um video record button is situated and uh and so it's a little bit lower level a little real like quite a little bit under flush here where there's a top plate that comes apart there's a little cut out for it but it requires you to kind of shape your fingertip down a little more directly to depress it it's not as easy to just kind of hit with a flat you know finger as you would naturally do but of course if you're wearing gloves as i am it becomes very difficult to access that so i would recommend as a workaround if you are a winter shooter like myself and you're doing video work there is a setting that is off by default but if you'll go into the menus you can select the behavior of the shutter button during video recording and so what is on by default is the half depress which is fine you know that can help you to do metering to you know activate focus but if you depress it all the way there's a second switch or a second setting i should say that will enable you to begin or to stop video recording by fully depressing the shutter button i would recommend making that little tweak you know just considering this you know minor issue that is as at play here now of course another thing that is a a part of this design is the uh you know excellent embody image stabilization that canon has developed for its you know full-frame mirrorless cameras that we've seen on the r5 and now on the r6 you actually get a while all of you know all things being equal the rating of the m-body image stabilization is still the same and so there are certain lenses for example you know with this 24 to 70 millimeter f 2.8 l is attached you know the combination of the in lens and the in body image stabilization is supposed to give you up to eight stops of stabilization uh i'm not seeing that myself of course your mileage may vary i think that that's that's a little bit of hyperbole i did find that i was able to reasonably successfully you know hand hold over five stops you know five and a third maybe five and two-thirds maybe approaching six on a good day with a little bit more distant subject if you're at a you know if you start with a baseline of let's say 180th of a second 170th of a second is not really a thing but if you start with a baseline of 180th of a second eight stops get you down to hand holding a 3.2 second exposure at 70 millimeters that is not happening in my experience and so again your mileage may vary but what i do find is you know the upside is that the image stabilization is very effective uh and and more so than what i've seen from competing systems it's just you feel just a little bit more stabilization the as you're looking through the viewfinder everything in the viewfinder is just a little bit more stable there's just a lot of good that is going on there and so you know the byproduct of that is i just feel a lot of confidence whether doing video or um you know or doing stills work and for video i i find it particularly effective if you're just trying to basically either you know hold a stable shot or do a a very slow pan movement is still it's still a little bit stilted i it's not going to be you know gimbal-like smoothness you just feel like there's moments where you know the um the ibis is kind of grabbing and releasing at moments that are just not entirely natural looking and so i i still recommend gimbal use for that kind of work but if you're just doing like you know little pans around things like i did a fair bit of footage for a review that i recently did of a godox light and so i use the r6 for that i feel like my results are actually pretty good for being handheld in some of these video clips you can see here the video footage itself looks great from the camera you don't have as much flexibility when it comes to you know your options for for codecs and even for resolutions no 8k here no 4k 120. however you do get 4k 60 and relative to the actual competition for this camera you know if you're looking at you know the nikon z6 or the sony a7 iii neither one of those has really given you as many options when it comes to 4k and so i think that it's competitive on that front there's actually very few of canon's tendency to just make these really weird head scratching limitations on some of its lower model cameras and fortunately there is relatively little of that however one of those things that is there is that for some reason they decided to just arbitrarily limit you for your video recording modes of going to the two extremes and so you either have program everything automatic or you go to fully manual so no av mode you know none of these kind of just you know other very commonly used modes in between it just kind of seems like a weird and arbitrary thing to to limit and so i will point that out but i'll also say that while that is a limitation here there's fortunately fewer of those kinds of things at play and so i'm i'm very appreciative of that beyond that i did i did find video footage looks very good it's very nice it's very crisp as far as the overheating issues a lot of those overheating issues that you know people are reporting on the r5 tend to be involved with uh the you know the higher resolution um you know modes either an ak obviously very limited there a lot of heat generating and then of course in the the 4k 120 though you know frankly that's a little bit less of an issue because most people are it's only slow motion so people aren't doing long you know long shots just don't even work for that and so you're mostly going to see any kind of of limiting principle here at 4k 60 but you know if you're just doing the full you know resolution not doing crop you know you've got 30 minutes which i think for most people is probably going to be enough the biggest problem i think that most people who shoot a lot of hybrid video and photos are finding is that the heat build up can be cumulative even if you're shooting stills and so you may not get that full 30 minutes when you go to shoot that and so um you know unless you actually need the faster footage for you know slowing it down uh i recommend that you just shoot at 4k 30 or you know 29.97 because they they have no overheating issues on the r6 there's no limit that's shown for that and so you know and that's that's the way that i typically use it most the time and so i haven't run into any issues myself and obviously i'm not living in the hottest natural environment right now to set that off anyway so your mileage may vary i have not seen any of the overheating issues myself with the r6 but as i noted in my r5 review i'm filming on the r5 right now i haven't really run into it there either so you know for me video is good however i will point out you are just a little bit more limited it's not just the two modes i mentioned you don't have you know the option of shooting dci you don't have the option of the all-i you know codex and so fewer options i'm okay with that you know that is a natural market distinction but limiting to program and manual as video you know modes just seems kind of weird to me so as far as the autofocus goes there is there is so much good here to to point to i mean you know these days we we get so many focus points you know i think that their figure is somewhere around 6 000 focus points on this that becomes a little bit meaningless because there's no way you're selecting that many points what i do find you know important here is that you have a hundred percent coverage and so you can track action all across the frame focus points everywhere and it's not where like it used to be where you have to keep it right near the center to get the sensitivity you have great sensitivity across the frame in fact you've got a little bit more sensitivity with the r6 and you do even with the excellent r5 and so where the r5 is rated down to a minus 6 ev you know with an f 1.2 lens here it's minus 6.5 and also it's down to -5 even for video as opposed to minus 4 on the r5 and so obviously very good focus in low light you know probably the best that we have seen and and certainly i i just don't hardly see slow downs with autofocus and of course on the other end you're able to to shoot at extremely small maximum aperture combinations i mean down to things like f 22 you know which is using one of the new weird you know say 600 millimeter f11 lenses with a you know you put a two times teleconverter on there and you're like a maximum aperture of f 22 which is ludicrous but you can still autofocus with it so pretty incredible on that that that front ief is really fantastic i mean it just you know it's just effortless the way that it moves around it keeps track of the eye just does a really really great job with with all of that for either video or for or for stills and then you know most importantly to me when i went out to do tracking now in this case i you know kind of my rf lens that i have that i'm reviewing is the 24 to 70. so i didn't have like the 70 to 200 that i had on hand for the eos r5 review but i what i did use is just my ef 100 to 400 l mark ii which by the way has never worked better than what it works right now on these new r5 and r6 bodies even though it's adapted it is just so good and and i'm loving using it on these new bodies but even using an adapted lens quote unquote the tracking was just effortless and i mean very sony a9 and a92 territory is what it felt like in that it just locks on it stays on and as you can see in these sequences it didn't matter if i used you know the mechanical shutter 12 frames per second or i went to the electronic shutter at 20 frames per second i found that tracking was just equally exceptional and it's pretty amazing you know like i go through these you know it takes a while i go through them frame by frame and i kind of rate them as to the quality of focus and it's astounding to go through a burst of 50 or 60 shots you know in these quick running sequences with the dog and to actually have every one of them perfectly focused and that's just something that i have rarely seen in times past and so i mean this is a focus machine right here and i think that probably the biggest advantage relative to its competitors is going to be that amazing focus system you also get even deeper buffers here and and so you're you're basically in many cases you're getting about a 30 increase of buffer depth um compared to the the r5 you know makes sense because even though you only have uhs two sd cards in here you're also moving 20 megapixels versus 45 megapixels and so obviously that's going to be a factor and and so i just i found that the there was never any buffer issues no matter how long i shot i just i didn't have an issue and i looked down and the camera would be ready to go it's no clearing the buffer in fact if you're shooting jpegs you basically don't even hardly have a limit you can just stand there and you know shoot until you you fill your memory card that's what floats your boat and so i mean just really really great for action here and so definitely a strength i mean for those of you that have always longed to have a you know 1dx camera and just couldn't afford it this is a remarkably affordable way to get both the sensor and very much the autofocus performance of a camera like that it's it's quite exceptional and so i give it incredibly high marks for autofocus i think that is really the standout here in this so speaking of that sensor let's talk about the image quality as i noted this is the sensor 20 megapixel sensor that has previously been in the 1dx mark iii and so canon made a choice to um to repurpose that sensor here as opposed to developing an all-new sensor like they did in the r5 and so as we're going to see i you know it's 20 megapixels is is something that you know probably won't get a lot of people excited in terms of the resolution you know point but i i am glad that they utilize this sensor as opposed to the 24 megapixel sensor and the rp or the 6d mark ii because frankly this is a better sensor and we'll see why let's jump in let's take a look the canon eos r6 has a very large iso range from 100 all the way up to 102 400 and so we're going to see whether or not that is justified so quick look here at our you know basic base iso's uh 100 and 200 i mean wouldn't expect to see any difference here and of course we don't but i want to give you a quick peek kind of around the image to see what everything kind of should look like as you can see here everything looks nice and clean now these days i don't think you really need to worry about anything underneath iso 1600 at all and so i'm not even going to waste your time with that we can see even at 1600 that really it's it's indistinguishable there's not really any more obvious noise anywhere at a pixel level so no problem there at 3200 you can see the finest amount of pattern noise and the area where i find in this particular setup i see things start to pop up the most obviously is right in this kind of shadow area where there's kind of a grid gradation where here it's very smooth at base eye so you can see a little bit more of just a pattern noise in there but again i just i don't think that anybody would really pick up on this if i wasn't showing it to you side by side jumping on up to 6400 we can see that things still look really really clean there is a very fine amount of pattern noise that is there but i mean it's really nothing to get bent out of shape about and you can see that shadow area is still really nice and clean now if we jump on up to 12800 you can see that the pattern noise is becoming a little bit more obvious but it really is still manifesting itself you know more like a light film grain not particularly obvious not destructive contrast levels still look pretty good and our you know kind of color saturation levels are also similar there's just a little bit more of that you know kind of noise there that keeps everything from being not quite as smooth at 25 600 you can see that it's just basically more of the same but what you won't see is any kind of destructive noise you know in terms of discoloration or banding that's affecting the shadow areas our colors are still relatively true the contrast still looks pretty similar you know truth be told other than just the pattern noise there's really not a lot of negative impact here at twenty five thousand six hundred now typically at fifty one thousand two hundred you would really start to see things falling apart um i don't know that i've hardly ever seen a camera where i wasn't starting to see some you know some discoloration some banding and you know the truth of the matter is is that there is really very little of that yes the uh you know the noise has become rougher still and i think we've lost a little bit of contrast you can see that shadows are now they're not really as deep because they've got this noise that is kind of lifting shadows giving a little bit of a look but if you look at the image overall i would say that for many applications that's actually still very usable and just to give you some perspective on this i have down sampled from the r5 which i praise for being very good for a high resolution camera but you can see there is a notable difference between the r6 and the r5 here at iso 51200 which is actually the end of the native range for the r5 and so you can see that there's definitely more of a tent to this area here a little bit of a green shift you can see that if we look into the shadow areas that the uh the r5 has a little bit of a banding look whereas we've still got an even look on the the r6 and so i i do i do believe that in some settings 51 200 is actually still a usable iso setting on this camera my typical rule of thumb is that the last stop of iso is really more for marketing on basically any camera and i'm going to abide by that here while i do think that the camera is good the r6 is good all the way up to 51 200 you can see that things are falling apart at one hundred and two thousand four hundred um you definitely have completely lost contrast shadows are gone because of the noise you can also just see some discoloration in there it's just not nearly as credible as fifty one thousand two hundred which now by comparison looks pretty fabulous you know even if you jump into a pixel level it really doesn't look too bad whereas this is looking washed out and the shadows obviously are not shadowed at all and so i would avoid 100 100 2 400 and frankly there's probably not too many situations you're going to end up where you would need that high of iso i mean we started off with a base shutter speed of 1 20th of a second we're now up to you know we're past the 1 8 000th limit as you can see and so anyway um i i just think that you've got plenty up to 51 200. so we'll take a look here at dynamic range as well so we're going to start by under exposing images so again this is our base iso this is how i wanted things to look exposure wise and so we're going to start where i have underexposed and then in post i have brought back that exposure and and so in this case we've got one stop we can see shadow information looks perfectly fine no problems in recovering those shadows at two stops of shadow recovery we can see that we are retaining good contrast uh information is there i'm not seeing noise that's been reintroduced by doing this so we continue to recover those shadows cleanly here now at three stops uh recovered you can see that everything continues to look very good inside the slr here i'm not seeing any new noise and down in this area where it's one of the most common areas for noise not really visible and even here in this gradation still looks nice and clean and even here at a four stop recovery we can see we've retained good contrast in the areas of shadow that have been recovered and no real noise being introduced and just for perspective this shows you how deep the shadows were how underexposed the image was and this is the recovered image and so you can see it's really done a fabulous job of recovering those shadows with very very little negative impact to the image and so again that remains a strong suit for many canon sensors including this one so now we're going to start to go the other direction and so here again this is our base iso shot and here is a one stop of overexposure that has been recovered so a few areas to watch for here anywhere where there's kind of a highlight you know that's going to be a difficult place to recover this veneer book i use because yellow is often a difficult color to retain in highlights and so we're going to watch how that is impacted in areas like this and so with the one stop of recovery we can see we have no problem there two stops of recovery we also see that everything looks natural looks normal no real loss of information to highlights that you know have been blown out and then information has been unrecovered now at three stops you can see just a little bit of highlight information having been lost there but everything still looks pretty good on the surface here you can see a little of that yellow color starting to slip in terms of its you know actual saturation and a little bit more of a hot spot here on the spine information that's been lost and you can also tell that just a little bit of information has been kind of lost here in this section where it was always kind of a hot spot but you can see that it's becoming a little bit unnatural as it tries to recover that information there so you can see that overall globally it looks pretty good you can just see though that in a few key areas we're losing a little bit of information so a quick comparison with a down sampled r5 image in the same setting and so you can see that the r5 is just ever so slightly better on the highlight area in terms of retaining the yellow color on the veneer you can see there it's retained just slightly more but i mean not a meaningful difference i think that there's a little less width of uh highlight loss here you know we're kind of looking at real world things and i think that it's maybe been a little bit more natural in this area but truth be told overall there's there's little difference i do think that the r5 shows a little bit better contrast that's retained in some of this so i think a little bit more highlight information but overall the two of them are very close now we can see at the four stops of overexposure we have reached a point where the sensor just can't do it and so you can see that it's not a natural recovery that yellow has almost entirely been lost you can just see that everything kind of looks dull and flat and information has been irreparably lost that makes the image no longer credible so that's the outer limit there that you need to keep it under that point in terms of shadow recovery there's one final thing that i will point out and that is that uh just to kind of explore canon has a you know highlight priority mode and so it moves you out of your base iso so in this case we're up to iso 200 and so what we can see here is that this you know because of a higher iso value this is actually a four-stop over exposure just like i showed you but what's happening here is that a canon is actually sampling the highlight information from the base iso iso 100 and so what we get is basically an additional stop here and so what this looks like even though it's four stops of overexposure to the original image as far as the highlights go it's just three stops and so you can see that we've been able to retain more highlight now canon warns that you know there could be some additional noise in shadows but as we've seen the camera is really exceptional at recovering shadows and so i don't see that as an issue so if you are in a you know a situation where you you want that extra little bit of dynamic range you know maybe a land state or landscape type scene if you go into the the highlight priority mode you can actually find a little bit extra latitude there due to some software trickery now there's two levels of that frankly i in my test didn't really see much of a desirable difference between what they call either um d plus or d plus two modes and preserving the highlights and so you know you can play around with it but that is an option if you're in a situation where you want a little extra finally there is a little bit of controversy obviously with a lower uh resolution range like 20 megapixels which is beneath that of many cameras so i'm showing you a screen capture from a 4k monitor so obviously a high resolution monitor but as you can see that in most cases you've actually got still you've got a great deal of detail here and uh these images taken with the 24 to 70 millimeter f 2.8 you can see across the frame there is great detail i actually find images to be really sharp and highly detailed the limiting factor i think here is the fact that obviously you're not going to be able to crop all that deeply before you start to run into lower amounts of you know leftover pixels to play with but in terms of what's actually captured you know in the images it's it's a beautiful sensor lots of detail i definitely prefer this performance to the 24 megapixel uh sensor found on either the rp or the 6d mark ii so takeaways there iso performance really fantastic very close to the best that i've seen and in dynamic range if not quite as good as the r5 which is canon's best then it's it's not too far behind you know trails the a7 iii a little bit in that metric a little bit better than the nikon nikon z6 and so i you know it's competitive bottom line and as far as the resolution goes i always say you need to choose the right tool for the job and so i own a number of cameras different resolution points and i try to just grab the camera that suits my needs and so you may not have the budget to have multiple cameras but you just need to be realistic about what your budget is what i would say is my takeaway is that if you are you know if you're shooting with lenses to where you can basically frame the scene that you want in camera 20 megapixels is typically enough if you want to do a lot of cropping however that's where it falls apart for me and certainly the aps-c mode where you're only getting 7.7 megapixels because of the canon 1.6 crop that's not going to excite anybody right there not nearly as usable as the 17 megapixels you get in the r5s aps-c mode and so you know that might be a factor for you but if if resolution is not really a concern for you and for many people unless you're printing large prints or sharing your work in some kind of highly detailed way i mean 20 megapixels is is serious overkill for most most social media sharing sites or the way that images are displayed on the internet and so right now i don't know that that's a true limiting factor but of course your mileage may vary as i've said a number of times in this you're gonna have to make that determination for yourself so at the end of the day it's it's interesting to me that you know both of these camera models were released at the same time obviously the r5 is considerably more expensive nearly four thousand dollars u.s and that's probably the you know the best priced market compared to other markets around the world but at this right now we continue to see the r5 being almost constantly sold out while the r6 is pretty readily available and so i think that the big challenge canon has is not so much on the merits of this camera this is an excellent camera but i think the challenge is is that a lot of its chief competitors they've been out for a while and so market you know factors have driven their prices down and so whereas this is coming to market at 24.99 2500 us dollars you can get most of its competitors like the a7 iii for example well under 2 000 at this point in the u.s market and so that you know becomes a serious consideration if you're on a tight budget and so i i will say this it's your money you're gonna have to spend it the way that you deem best but i will say this this is an incredibly complete camera it feels great in the hands it's ergonomically head and shoulders above the a7 iii it does a lot of things as well or better than the a7 iii and definitely when it comes to tracking action if you want an action camera this is a pretty fantastic option and so whether or not that's worth the extra money to you i don't know you're gonna have to make that determination for yourself but i think that any major criticisms i would have of the of the eos uh r6 is more so the fact that it is a little expensive relative to its competition but in terms of the merits of the camera it is a very very good camera i'm dustin abbott if you'll check out the description down below you can find linkage to my full text review also linkage to an image gallery so you can check out some of the photos that i've taken in the frosty world that i live in beyond that you can also find purchase links there for yourself and also linkage to follow me on social media to become a patron to sign up for my newsletter and of course if you haven't already please click that subscribe button right here on youtube thanks for watching have a great day

Channel: Dustin Abbott

Views: 72,834

Keywords: Canon EOS R6, EOS, R6, EOS R6, mirrorless, full frame, EOS R6 Review, Canon R6 Review, Canon EOS R6 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, 20Mpx, Sony a9, RF 70-200mm F2.8L IS, RF 24-70mm F2.8L IS, Canon

Id: h5zYzdsgBMc

Length: 36min 34sec (2194 seconds)

Published: Wed Dec 09 2020