Canon Review

CANON 7D MARK II REVIEW
When Canon announced the 7D Mark II in September of 2014, I got quite intrigued by the camera
and really wanted to try it out. Like many others, I have been getting pretty tired of waiting for
Nikons Pro DX refresh to replace the D300S, which came out back in 2009 (almost 6 years ago!),
so I wanted to see whether such a tool would still make sense for Nikon to release based on
specifications, performance and price. Sporting a high-end autofocus system with 65 cross-type focus
points, insanely fast 10 fps continuous shooting speed, dual image processors, -3 EV light sensitivity,
magnesium alloy construction and weather sealing, the Canon 7D Mark II is specifically tailored at
sports and wildlife photographers. And with its price tag of $1799 MSRP, the 7D Mark II sounds much
more appealing to budget-conscious photographers who do not want to pay close to 4x more for the
much heavier and bulkier EOS-1D X.
Since there is currently no direct competitor to the 7D Mark II from Nikon, I will be comparing the
camera to the enthusiast-level D7100, as it is the most capable APS-C camera today from Nikon.
Keep in mind that a lot of what I say about the Canon 7D Mark II is from the standpoint of a long
time Nikon shooter.
1) Canon 7D Mark II Specifications
Main Features and Specifications:
1. Sensor: 20.2 MP APS-C CMOS sensor, 4.1m pixel size
2. Sensor Size: 22.4 x 15.0mm
3. Resolution: 5472 x 3648

4. Native ISO Sensitivity: 100-16,000
5. Boost High ISO Sensitivity: 25,600-51,200
6. Sensor Cleaning System: Yes
7. Image Processor: Dual DIGIC 6
8. Autofocus System: 65-point all cross-type AF system with EV -3 sensitivity
9. Lens mount: Canon EF
10. Weather Sealing/Protection: Yes
11. Body Build: Magnesium Alloy
12. Shutter: Up to 1/8000 and 30 sec exposure
13. Storage: 1x CF and 1x SD (SD/SDHC/SDXC compatible)
14. Viewfinder Type: Pentaprism with 100% coverage
15. Speed: 10.0 FPS
16. Exposure Meter: 150,000-pixel RGB+IR Metering Sensor
17. Built-in Flash: Yes
18. LCD Screen: 3.0 inch diagonal Clear View II LCD screen with 1,040,000 dots
19. Movie Modes: Up to 1920 x 1080 @ 60p
20. Movie Output: H.264/MPEG-4 in MOV and MP4 formats, Uncompressed HDMI out
21. In-Camera HDR Capability: Yes
22. GPS: Built-in
23. Battery Type: LP-E6N / LP-E6
24. Battery Life: 670 (CIPA)
25. USB Standard: 3.0
26. Weight: 820g (excluding battery)
27. Price: $1,799 MSRP
Canon EOS 7D Mark II + EF 400mm f/5.6L USM @ 400mm, ISO 640, 1/2000, f/8.0
A detailed list of camera specifications is available at Canon.com.
Lets take a closer look at how the Canon 7D Mark II compares to its predecessor and the Nikon
D7100.
2) Canon 7D Mark II vs Canon 7D vs Nikon D7100
Camera Feature
Canon 7D Mark II
Canon 7D
Nikon D7100
Sensor Size
22.4 x 15.0mm
22.3 x 14.9mm
23.5 15.6mm
Sensor Resolution
20.2 MP
18.0 MP
24.1 MP
Sensor Pixel Size
4.1m
4.3m
3.9m
Image Size
5,472 x 3,648
5,184 x 3,456
6,000 x 4,000
Viewfinder Type and
Pentaprism, 100%
Pentaprism, 100%
Pentaprism, 100%
Coverage
Camera Feature
Canon 7D Mark II
Canon 7D
Nikon D7100
Built-in Flash
Yes
Yes
Yes
Storage Media
1x CF, 1x SD
1x CF
2x SD
Continuous Shooting
10.0 FPS
8.0 FPS
6.0 FPS
Buffer Size (RAW)
31
25
Continuous Shooting
3.1 sec
3.1 sec
1.5 sec
Shutter Durability
200,000 cycles
150,000 cycles
150,000 cycles
Native ISO Sensitivity
ISO 100-16,000
ISO 100-6,400
ISO 100-6,400
Boosted ISO
ISO 25,600-51,200
ISO 12,800
ISO 12,800-25,600
65-point all cross-type
19-point all cross-type
51-point AF with 15
AF
AF
cross-type sensors
AF Detection
Up to f/8
Up to f/5.6
Up to f/8
Video Maximum
19201080 (1080p) @
19201080 (1080p) @
19201080 (1080p) @
Resolution
Up to 60p
Up to 30p
Up to 60i
LCD Size and
3.0, 1,040,000 dots
3.0, 921,000 dots
3.2, 1,228,800 dots
Yes
No
No
Speed
Duration
Sensitivity
Autofocus System
Resolution
Built-in GPS
Camera Feature
Canon 7D Mark II
Canon 7D
Nikon D7100
Built-in Wi-Fi
No
No
No
Construction
Full Magnesium Alloy
Full Magnesium Alloy
Partial Magnesium
Alloy
Battery Life
670 shots (CIPA)
800 shots (CIPA)
950 shots (CIPA)
Weight (Body Only)
820g
820g
675g
Dimensions
148.6 x 112.4 x
148.2 x 110.7 x
135.5 x 106.5 x 76mm
78.2mm
73.5mm
When compared to its predecessor, the 7D Mark II shows improvements in many areas. First, the
autofocus system is drastically better, with 65 AF points, all of which are cross-type. The 7D Mark II
is clearly a better choice for use with teleconverters, since it can now autofocus at up to f/8. There is
a slight bump in resolution from 18 MP to 20.2 MP. Next, maximum native ISO is increased to 16,000
from 6,400. The 7D Mark II adds a dual card slot for both CF and SD card types. The continuous
shooting speed has increased from 8 to 10 FPS and the buffer size has also been slightly increased to
keep the camera shooting for about the same duration. The 7D Mark II comes with a new shutter
mechanism rated to 200K cycles compared to 150K on the 7D. Movie shooting has been improved
with up to 60p @ 19201080 resolution. There is also now a built-in GPS on the 7D Mark II and the
LCD screen resolution has been slightly improved too. The only downgrade is battery life the 7D
Mark II is CIPA-rated at 670 shots vs 800 shots on the original 7D. So in pretty much every way, the
7D Mark II has improved over its predecessor.
Canon EOS 7D Mark II + EF-S17-55mm f/2.8 IS USM @ 18mm, ISO 100, 1/2, f/5.6
The comparison to the D7100 is a bit tricky, because we are dealing with a different brand and a
different class camera. To start off, the D7100 has a physically larger sensor and there is a 4 MP
difference in image resolution. The autofocus systems are quite different, with the 7D Mark II having
a 65-point all cross-type AF system vs the 51-point AF system with only 15 cross-type sensors,
putting the 7D Mark II ahead of the D7100, at least on paper. Where the 7D Mark II clearly shines is
the continuous shooting speed of 10 fps vs 6 fps on the D7100 and a larger buffer that allows for
twice longer continuous shooting. The shutter mechanism is also rated higher on the 7D Mark II at
200K vs 150K on the D7100 and it sounds quieter in comparison. The 7D Mark II has a built-in GPS,
while the D7100 does not. Where the D7100 comes out on the top is its bigger rear LCD screen with
more dots, better battery life, lower weight and smaller size. The most important differences here are
autofocus system, continuous shooting rate, buffer and image quality. Aside from image quality (refer
to the camera comparisons page of the review), the 7D Mark II is certainly a more capable camera
for capturing fast action. Like I pointed out earlier, the D7100 is not a direct rival to the 7D Mark II
and there is a pretty big difference in price too, so these differences are expected
1. Overview and Specifications
3) Camera construction and handling

When it comes to build quality and construction, the Canon 7D Mark II is as good as it gets, thanks to
its full magnesium alloy shell and much improved weather sealing over the original 7D that can easily
withstand dust, rain and extreme humidity. Canon describes the 7D Mark II to be closer to the 1D X
in terms of construction and weather sealing, so you do not have to worry about abusing this camera
in the field, as it is designed to be.
The camera feels very solid in hands and truly does feel like a professional camera when compared to
other DSLRs like the Nikon D7100. I have been using the 7D Mark II in very cold, below freezing
conditions (weve had our share of very cold days in Colorado this winter) and pretty much got it
soaked in rain several times the camera performed flawlessly afterwards as if nothing had
happened.
Handling-wise, the Canon 7D Mark II is superb. It definitely feels more comfortable to hand-hold than
the D7100, pretty close to what the Nikon D810 feels like. The large grip is very nice and comfortable
and the controls of the camera very much resemble the Canon 5D Mark III. In fact, aside from the
added lever under the multi-controller, the slightly repositioned LOCK switch and the minor
differences in shape of the camera, there is virtually no difference between the 7D Mark II and 5D
Mark III on the top or the rear of the camera (Left: Canon 7D Mark II, Right: Canon 5D Mark III):
The camera is extremely customizable and many buttons on the camera can be set to perform
different functions, which is expected from this class of a camera. From the Nikon shooter
perspective, the toughest thing to get used to was the lack of a rear dial. I am very used to the dual
dial setup on Nikon DSLRs (with one on the front and one on the back), which makes it easy to
change aperture, shutter speed and other camera settings. On the Canon 7D Mark II, the top rotary
dial changes its behavior depending on what mode you are in. For example, in aperture priority
mode, the dial changes the lens aperture; in shutter priority and manual modes, it changes the
camera shutter speed. The big rotary dial on the back of the camera is used for exposure
compensation in aperture and shutter priority modes and switches to changing aperture in manual
mode. It usually takes me some time to get used to this behavior when switching to Canon, but it is
not bad and you can get used to this behavior rather quickly if you shoot often.
The left back side of the camera has a similar layout as Nikons higher-end DSLRs, except some of
the buttons serve different purposes. I like the button placement, except for the Rate button. The
good news is that if you choose to rate your photographs in your camera, the information is carried
over to Lightroom and Aperture when the images are imported. On the other hand, why would you
want to rate pictures on your camera looking at the tiny LCD screen in the first place? I sort through
and rate my photographs in Lightroom and if there is something wrong with a picture I took, I simply
delete it. When working in the field, I do not have the time to sit and look through images on the
camera I import them into my computer as soon as possible. I really wish the Rate button was
swapped with another zoom button, just like on Nikon DSLRs: one button would be used for zooming
in and another for zooming out. I prefer using two buttons to zoom in/out instead of pressing a
button, then changing zoom levels with a rotary dial on the top of the camera. At the same time, you
can program the zoom button to jump to 100% view, just like you can program the OK button in
Nikon DSLRs to show 1:1 magnification, which is very nice and useful for assessing sharpness
images.
Canon EOS 7D Mark II + EF400mm f/5.6L USM @ 400mm, ISO 1250, 1/1000, f/8.0
Another huge annoyance that Canon has had in its DSLRs forever is image review after capture. For
some strange reason, once you capture a single image, or a sequence of images, you cannot use the
rotary dial on the back of the camera to see previous images (with image preview turned on). You
have to press the Play button first and only then you can scroll back to previous images. This wastes
time and I wish Canon finally addressed this bug in a firmware release.
By default, the multi-controller / joystick on the back of the camera is programmed to do nothing
when looking through the viewfinder, so it cannot be used for moving AF points. In contrast, on
Nikon DSLRs, the AF focus point is moved by the multi-function joystick. Having to constantly press
the AF selector button in order to change my focus point slows me down quite a bit, so I had to
change the behavior of the camera, so that the joystick moves the AF points. If you want to change
this behavior, here is what you need to do: Press the Q button, then navigate to Custom Controls
with the joystick, scroll down to the very last option Multi-controller AF point direct selection and set
it to AF point direct selection instead of the default OFF. Once you do this, you will be able to
change the AF focus point with the joystick.
The above setting change, along with other camera menu recommendations are provided in my
recommended Canon 7D Mark II settings article.
The menu system on the Canon 7D Mark II closely resembles that of the Canon 5D Mark III. There
are 6 main icons and dots underneath that represent sub-menus. Although everything is grouped
together by function, the menu system on the camera is quite extensive and can be difficult to
understand, especially for a beginner or someone who has never shot with a Canon DSLR before. I
would recommend to take a look at the above-referenced recommendations article to get a better
understanding of the menu system.
2. Camera Construction and Handling
4) Image Sensor, Dynamic Range and AF Performance

The Canon 7D Mark II sports a 20.2 MP APS-C sensor (1.6x crop factor), with a native ISO sensitivity
of 100-16,000, which can be pushed further up to ISO 51,200. Unlike Nikon, which often buys
sensors from other manufacturers like Sony and Aptina, Canon develops and manufactures its own
sensor technology for its cameras. Although the 20.2 MP APS-C sensor sounds a lot like the sensor
from the 70D, Canon claims that the sensor technology was not reused in the 7D Mark II and that the
sensor was newly developed for the camera. While I have not compared the two cameras side by
side to see what differences there are in performance, folks at DxOMark performed their analysis of
both cameras and here is their conclusion on high ISO performance and dynamic range:
Indeed, it seems like Canon has made changes to the sensor on the 7D Mark II, since both noise /
SNR and dynamic range appear to be a bit different. However, it is important to note that the
changes are not drastic and only appear to be noticeable at higher ISOs, particularly in regards to
SNR. Whats particularly disappointing is how little the change is in dynamic range. As you can see
from the graph above, there is practically no difference at ISO 100 and at other ISO levels, dynamic
range improvements do not exceed half a stop. To understand how far Canon is behind its main rival
Nikon, lets go ahead and add the Nikon D7100 to the mix:
Now this right here is the reason why Canon gets so much heat for its proprietary sensor technology.
Look at how far up the Nikon D7100 is at lower ISO levels, reaching close to 14 stops of dynamic
range, while the 7D Mark II struggles to reach 12. If you do not believe in numbers, see my post
comparing Canon and Nikon in Dynamic Range, where I show how much worse Canon is in both
overexposing and underexposing images.
And here is a summary of the comparison of the 7D Mark II to the 70D and Nikon D7100:
Based on what DxOMark shows, the 7D Mark IIs sensor is inferior to the sensor on the Nikon D7100
in every way, from color depth and dynamic range to high ISO performance. However, do not be
confused with the low-light ISO scores above having a score of 1082 compared to 1256 does not
represent 16% inferior performance. DxOMark claims that a difference of 25% represents only 1/3 of
a stop difference, so the 7D Mark II is not significantly worse in handling noise when compared to the
D7100. In fact, as you will see from the camera comparisons page of this review, the 7D Mark II
performs similarly at high ISOs and there is little difference between noise levels on the two cameras.
Overall, although the 7D Mark II does quite well in handling noise, its dynamic range performance is
rather disappointing when compared to other modern APS-C sensors.
5) Autofocus Performance
Although it might seem like the 7D Mark II might have the same autofocus system as on the 5D Mark
III and 1D X cameras, the Canon 7D Mark II actually has a newly developed AF system that is better
than all other current Canon DSLR cameras, including the top-of-the-line EOS-1D X. First of all, there
are 65 focus points available, all of which are cross-type, compared to 61 focus points, 41 of which
are cross type on the 5D Mark III and 1D X. Here is a comparison of the viewfinders between the 7D
Mark II with the 1D X:
Notice how much more overlaid information the 7D Mark II has in its viewfinder when compared to
the 1D X. The focus point coverage is also wider in comparison.
In contrast, the Nikon D7100 has 51 focus points and only 15 of them are cross-type. As explained in
my autofocus explained article, cross-type focus points are much more accurate when compared to
regular / one dimensional ones, so having that much precision in every single focus point helps a
great deal in obtaining more in-focus images when using different focus points. With the 7D Mark II,
the flexibility to pick any of the focus points without worrying too much about potential focus errors is
a great relief when shooting any kind of subject.
On top of this, the 7D Mark II has a low-light sensitivity rating of -3 EV and it is a more suitable tool
to be used with teleconverters (focuses at up to f/8 range with the center focus point). Both the 5D
Mark III and the 1D X are rated at -2 EV.
Where the 7D Mark II is inferior when compared to 5D Mark III and 1D X is high-precision dual crosstype AF points: the 7D Mark II only has one of those, while the other two cameras have 5 of them.
Please note that only some of the latest generation Canon lenses with apertures of f/2.8 or faster are
able to take advantage of these dual cross-type AF points, so it is not necessarily an advantage when
using older glass and slower lenses.
But all these numbers can be just numbers if the AF system is unreliable. I have been shooting with
the latest Nikon DSLRs like the Nikon D750 with Advanced Multi-CAM 3500FX system and I love the
reliability of the autofocus system. It is both fast and accurate, especially when shooting in low-light
conditions. When assessing the autofocus performance of the 7D Mark II, I wanted to get a feel for
how it compares to the Nikon AF system and compare the two, as objectively as possible.
When shooting with the two AF systems side by side, I found the 65-point autofocus system on the
7D Mark II to be very strong when compared to Nikons Advanced Multi-CAM 3500DX / FX. The main
advantage is the all cross-type AF system. Where Nikon can struggle at obtaining focus outside the
central focus area in Single Servo / AF-S mode, the 7D Mark II just nails focus pretty much every
time, making it a more versatile setup when using outer focus points for everyday photography. For
shooting fast action in AI Servo / AF-C mode, both systems have their pros and cons and it is hard to
say which one is a clear winner. Shooting the 7D Mark II using AF Point Expansion with 9 points gave
me pretty similar results to what I typically get with Nikons 9-point dynamic AF. The hit ratio was
very good and the number of keepers was high. Sadly, Canon does not have the ability to pick more
focus points for its dynamic focusing, so I could not compare performance with more focus points. I
did not do a lot of testing with Canons intelligent Tracking and Recognition (iTR), as I do not like to
let my camera pick what to focus on. From what I gather, it works similarly as Nikons 3D autofocus
mode.
What I liked about the Canon 7D Mark II focus system is its fine tuning options. Nikon cameras
usually have only one setting that allows fine tuning AF and it is called Focus tracking with lock-on.
Basically, this setting allows you to specify how long the camera will wait before adjusting focus on a
subject you can specify short to long values, depending on what you are photographing. In
comparison, the Canon 7D Mark II has three configuration settings: Tracking sensitivity,
Acceleration/deceleration tracking and AF point auto switching. By using different combinations of
these settings, one can really adapt the AF system to practically any situation. Canon even provides
cases or templates that are basically different combinations of these three settings:
Overall, the autofocus system on the 7D Mark II is very solid and deserves high praises for its
performance. Lets now take a look at the buffer capacity of the camera and compare it to the Nikon
D7100.
6) Buffer Capacity
The Canon 7D Mark II has impressive continuous shooting speed of 10 fps, but how good is fast
shooting speed if a camera does not have a big enough of a buffer to accommodate all those images?
Lets take a look at the buffer capacity of the Canon 7D Mark II and compare it to both its
predecessor and the Nikon D7100:
Camera Feature
Canon 7D Mark II
Canon 7D
Nikon D7100
Continuous Shooting
10.0
8.0
6.0
3.1 sec
3.1 sec
1.5 sec
JPEG Large
1090
110
33
RAW
31
25
Speed
Continuous Shooting
Duration (RAW)
It is pretty clear that the Canon 7D Mark II is way ahead of the other two cameras in both continuous
shooting speed and buffer capacity. But how does 10 fps really compare to say 6 fps and how does
the buffer capacity impact the continuous shooting duration? To answer these questions, I shot a
video where I demonstrate the difference between the 7D Mark II and the Nikon D7100:
Without a doubt, the Canon 7D Mark II is a much better choice for photographing fast action than the
Nikon D7100
7) Metering
In addition to the brand new autofocus system, Canon also bundled a brand new metering system
with a 150,000 pixel RGB and IR sensor, which puts the 7D Mark II ahead of both 5D Mark III and 1D
X, which have older metering systems. The new metering system is capable of recognizing 252 zones
and it is also capable of reading full color, which results in superior exposure metering performance.
When photographing different scenes in varying lighting conditions, I found the metering sensor to be
fairly accurate when shooting in Aperture Priority mode. All metering modes (evaluative, center
weighted, partial and spot metering) worked as expected and when I did have exposure problems in
some rare situations, taking care of the exposure issues with the 3-step exposure compensation using
the big rotary dial on the back of the camera was pretty easy.
8) Battery Life
As for battery life, the Canon 7D Mark II is rated a bit below its predecessor at 670 shots versus 800,
most likely due to more demanding processing requirements for handling so much more data. With a
dual processor architecture, more advanced AF and metering systems, it is expected that the camera
will yield less shots per charge. However, keep in mind that these figures are CIPA estimates that
take into account flash, live view and image preview use. If you do not use flash, sparingly use live
view and turn off image preview, you should be able to yield over 1000 images per battery charge.
Make sure to turn off GPS when you dont need it, as it will eat up the battery pretty quickly. Also,
keep in mind that the battery performance degrades when temperatures are very low. The battery
indicators on the top LCD and in the camera menu seem to be pretty accurate, so it should be a
pretty good indicator of both charge potential and battery health.
9) Live View
Canons implementation of Live View is excellent. No interpolation at 100% zoom and superb clarity
at all zoom levels. I love the way Canon designed the Live View/Movie switch with the Start/Stop
button that changes in functionality depending on whether you are in movie or live view mode.
Changing the switch to video mode automatically flips the mirror up and starts the video mode and
the Star/Stop button is used for recording video. This is a great feature for videographers, since you
can keep the setting on movie mode when powering the camera on or off and the mirror will
automatically lift up or down without the need to press anything.
10) Movie Mode
Although there is still no 4K video support, the 7D Mark II has superb HD movie recording
capabilities, allowing up to 60 fps at full HD resolution of 19201080. Canon obviously does not want
its DSLR line to compete with high-end dedicated video recording cameras like the EOS 1D C, which
is why there are some limitations. Personally, I look at video recording as a nice to have, since I
rarely ever shoot video
11) GPS
The GPS capability also works quite well, which is a huge plus for travel and landscape
photographers. The camera obviously needs a clear sky to locate satellites initially, but once it is
done, the tracking works quite well when traveling. I experimented with the GPS feature a few times
and it seemed to track location fairly well. However, I had GPS mostly turned off when traveling in
California, since I only had a single battery and wanted to preserve battery life as much as possible.
Setting up GPS is easy. Locate the GPS/digital compass settings option in camera menu under the
wrench menu, then set GPS to Enable. Next, go to Set Up and set other options. I set up Auto time
setting to Enable, Position update intvl to Every min, enabled Digital compass (I
recommended to calibrate the compass after enabling it) and disabled GPS logging. Keep in mind that
updating of position frequently drains battery fairly quickly, so if you want to save power, set
Position update timing to a longer interval.
<img src="https://cdn.photographylife.com/wp-content/uploads/2015/01/Canon-7D-Mark-II-Image-
Samples-2-640x960.jpg" alt="Canon 7D Mark II Image Samples (2)" width="640" height="960"

class="size-medium wp-image-100638" />
See the next page to see more examples of Canon 7D Mark IIs ISO performance, along with
comparisons to Nikon D7100 on the following page.
3. Image Sensor, AF and Metering Performance
12) ISO Performance at low ISOs (ISO 100-800)

Some technical information:
1. White Balance: Custom Temp 4850, Tint: +42
2. EXIF information is preserved in the images
3. Focusing was performed through Live-View Contrast Detect
4. Long exposure NR: Off
5. High ISO NR: Off
6. Image Format: RAW
7. Lightroom export: sRGB JPEG Quality 80
Lets take a look at how the Canon 7D Mark II performs at low ISOs. Here are some crops at ISO
100, 200, 400 and 800:
<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-100-300x200.jpg" alt="Canon 7D Mark II ISO 100"

width="300" height="200" class="size-thumbnail wp-image-100580" />
<img src="https://cdn.photographylife.com/wp-
content/uploads/2015/01/Canon-7D-Mark-II-ISO-200-300x200.jpg" alt="Canon 7D Mark II ISO 200"



As expected, performance at low ISO levels is quite good. There is a little bit of noise added at ISO
400 and ISO 800 shows a bit more noise, but it is perfectly acceptable.
13) High ISO Performance (ISO 1600-16000)
High ISO performance is a very important measure of DSLR sensor quality for low-light photography.
Here is how the Canon 7D Mark II performs at high ISO levels between ISO 1600 and 16000:
<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-1600-300x200.jpg" alt="Canon 7D Mark II ISO

1600" width="300" height="200" class="size-thumbnail wp-image-100584" />

ISO 1600 adds more visible grain, but it is not bad. ISO 3200 on the other hand significantly
increases the amount of noise in comparison and we are now seeing way more noise throughout the
image, especially in the shadows. There is visible loss of color and a slight loss of detail as well.


As we push ISO to 6400, the amount of noise increases significantly. There is a heavy loss of colors,
particularly in the darker areas of the image and there is visible loss of details at pixel level. ISO
12800 looks much worse in comparison, with colors mixing together in some areas of the image.
There is a huge loss of dynamic range and detail.

The last native ISO level is 16000 and this one looks pretty bad with way too much noise, heavy loss
of both colors and details. I did not bother with providing higher ISO samples, because they are
completely unusable.
14) ISO Performance Summary
As expected from an APS-C sensor, the Canon 7D Mark II starts out quite well at base ISO, but its
noise levels increase significantly with each stop. Images up to ISO 3200 look quite good, but
anything pushed beyond that shows quite a bit of noise and there is visible loss of both colors and
dynamic range. Personally, I would not want to push ISO beyond 3200, unless I resized images to
very low resolution for the web. Overall, the noise levels look pretty decent, but it is hard to say
whether they look good enough when compared to other cameras. Select the next page below to see
comparisons to Nikon D7100 and Fuji X-T1 cameras.
4. ISO Performance
Please note that the camera comparisons are only based on image quality. Also note that
all images were down-sampled / normalized to the camera with the lower resolution.
15) Canon 7D Mark II vs Nikon D7100
The Nikon D7100 with its 24 MP APS-C sensor delivers impressive results, with exceptionally high
dynamic range and excellent handling of noise. Lets take a look at how the 7D Mark II compares to
the D7100:

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-100-300x200.jpg" alt="Nikon D7100 ISO 100"







Aside from color differences (which is normal), there is practically no difference in ISO performance at
low ISOs. Both cameras perform very well and there is no clear winner here.




The same trend continues up to ISO 3200, where both cameras look quite similar.


As we push to ISO 6400 however, we can see that the Nikon D7100 preserves colors better look at
the red area under the ship and you can see that the D7100 is not mixing colors and the details look
slightly better in comparison.


And at ISO 12800, the Nikon D7100 still looks better, even in terms of noise. Still, the difference is
not drastic perhaps about 1/3 or less of a stop.


Although ISO 25600 is already past the native ISO range of the D7100, it is interesting to see how it
fares against ISO 16000 on the 7D Mark II. Although ISOs are not equivalent, the 7D Mark II clearly
looks cleaner in comparison.
16) Canon 7D Mark II vs Nikon D7100 Summary
Despite slight differences in sensor size in favor of the D7100, it looks like Canon 7D Mark II does
indeed perform quite well in terms of handling of noise at high ISOs. There is practically no difference
between the two cameras up to ISO 3200 and only after ISO 6400 it becomes apparent that the
Nikon D7100 leads the game with better color and detail preservation. Overall, the noise performance
of the 7D Mark II looks very impressive. My only gripe is dynamic range which you cannot really see
here if only Canon was able to push the dynamic range at base ISO by two stops to match the
D7100, it would make the Canon 7D Mark II fully equivalent in sensor performance
17) Canon 7D Mark II vs Fuji X-T1
Lets see how the Canon 7D Mark II compares to the Fuji X-T1 mirrorless camera. Since the X-T1
cannot shoot RAW at ISO 100 and above ISO 6400, I am only going to provide comparisons from ISO
200 to 6400 range. Since the Fuji X-T1 has a lower resolution 16 MP sensor, I down-sampled images
from the Canon 7D Mark II to match this resolution for a proper comparison. When performing lab
tests, I noticed that the images from the Fuji X-T1 were coming out a bit darker by about 2/3 of a
stop, so I had to compensate the difference by adjusting the shutter speed on the X-T1:
<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-200-DS-300x200.jpg" alt="Canon 7D Mark II ISO

200 DS" width="300" height="200" class="size-thumbnail wp-image-100607" />
<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-200-300x200.jpg" alt="Fuji X-T1 ISO 200" width="300"

height="200" class="size-thumbnail wp-image-100623" />




Interestingly, while the performance of both cameras is similar up to ISO 400, the Fuji X-T1 shows
cleaner output at ISO 800.


The same thing happens at ISO 1600, where the Fuji X-T1 looks a bit cleaner in comparison.


At ISO 3200, the Fuji X-T1 is looking cleaner still, particularly in the shadows.


And lastly at ISO 6400, the X-T1 still comes out on top with less grain throughout the image and
better color preservation.
18) Canon 7D Mark II vs Fuji X-T1 Summary
Unlike the Nikon D7100 that looked pretty similar to the Canon 7D Mark II in noise performance at
most ISOs, the Fuji X-T1 looks cleaner starting at ISO 800. There is less grain and the shadows
contain less noise in comparison. So one could argue that the Fuji X-T1 indeed performs better in
noise performance. However, others will argue that Fuji cheats its way to victory by providing darker
images. If I had not adjusted the shutter speed on the X-T1 and increased brightness in postprocessing, the X-T1 would look very similar to the 7D Mark II, which I do agree with
5. Camera Comparisons
19) Summary
With both Canon and Nikon sitting quietly for almost 6 years and not releasing updates to their highend APS-C DSLRs, many thought that demand for such market was dead and neither company would
release such a camera. However, Canon was the first to break silence in September of 2014, when it
finally revealed its Canon 7D Mark II, a significant and worthy upgrade to its predecessor. The
camera was greeted with both fanfare and skepticism from many Canon shooters, because it made
sense for some and no sense at all for others. While sports and wildlife photographers welcomed the
camera and fully understood the benefits of having such a camera in their arsenal (namely its super
fast 10 fps capture rate, a solid buffer rate, a professional-grade build and reach potential), other
photographers were puzzled by the release of the camera, especially at its $1799 MSRP price, when
they could easily get the full-frame 6D for less money. The thing is, the 7D Mark II is not an everyday
camera and it was never meant to be. So if you are still wondering why you would ever need such a
camera, you probably simply dont.
The Canon 7D Mark II is a specialized tool aimed at sports and wildlife photographers that shoot fast
action. True, the camera cannot really compete with other sensors in terms of dynamic range, but it
is not a landscape or a portrait camera, so its dynamic range performance is not that important or
relevant. Despite having a smaller sensor size than other APS-C sensors on the market, it does really
well at high ISOs and looks pretty similar to the Nikon D7100 at up to ISO 3200 and thats all that
matters, as you would rarely be pushing an APS-C sensor beyond ISO 3200 anyway.
<img src="https://cdn.photographylife.com/wp-content/uploads/2014/11/Ferruginous-Hawk-1960x640.jpg" alt="Ferruginous Hawk (1)" width="960" height="640" class="size-medium wp-image96634" />
So as a wildlife and sports camera, the 7D Mark II makes a lot of sense to me. As you have seen
from the video posted in the buffer capacity section of this review, 10 frames per second is insanely
fast when compared to 6 fps on the D7100. The larger buffer is amazing and quite sufficient for
capturing fast action, especially if you use faster memory cards and pause for a second or two
between bursts. Ask any wildlife photographer who shoots with a fast camera like the Canon 1D X or
the Nikon D4S and they will tell you that there is a big difference in results between 10 fps and
slower cameras. The more frames one can capture in fact action sequences, the more choices one
has when picking the winner image. Whats better, a predator with fully spread wings about to
catch its pray, or the same bird with partially spread wings? A football player scoring a touchdown in
the air with the ball on the tip of his hand, or the same player holding the ball with both hands after
he has already caught it? The answer is pretty clear capturing fast action with more speed is always
preferred. Canon also did an amazing job with the autofocus system on the 7D Mark II its 65 point
all cross-type AF system is very fast and accurate. With its EV -3 rating, the 7D Mark II can be used
effectively in low light situations and with its f/8 focusing capability, teleconverters will couple great
even with slower lenses. Featuring Canons most advanced 150,000-pixel RGB+IR metering sensor,
dual DIGIC 6 image processors and a dual pixel CMOS AF technology, the camera can track moving
subjects while providing accurate exposures from shot to shot.
Yes, $1799 is quite a bit of money for a camera with an APS-C sensor, but when you compare it to
something like the 1D X or the D4S, you will quickly realize that it sounds like a bargain in
comparison, given how fast and capable the camera is. It would be nice if Canon and Nikon made
similarly specd full-frame cameras at budget prices, but we know that it will never happen, as it
would completely kill off sales of their top-of-the-line DSLRs. And lets not underestimate the reach
potential of such cameras. Although we have written quite a bit about this topic at Photography Life,
it is always good to remind that sensors with smaller pixels magnify images more, giving better reach
and cropping options (see my article on crop factor and equivalence for more details).
<img src="https://cdn.photographylife.com/wp-content/uploads/2015/01/Canon-7D-Mark-II-ImageSamples-4a-960x640.jpg" alt="Canon 7D Mark II Image Samples (4a)" width="960" height="640"

Overall, I am very impressed by the Canon 7D Mark II as a sports / wildlife camera. With Nikon
heavily pushing full-frame cameras during the past few years, it is hard to say whether the company
still believes there is a market for high-end cameras based on APS-C sensors. But based on what I
have seen from the Canon 7D Mark II, Nikon is only losing its potential sales by not releasing a
D300S replacement. We all have said it many times by now: Nikon, it has been too long, it is time for
you to unleash the beast! Release that D400 (or whatever it will be called) it is still not too late!
20) Where to buy and availability
B&H Photo Video is currently selling the Canon 7D Mark II body only for $1,799.
Canon 7D Mark II
Features
Build Quality
Focus Speed and Accuracy
Handling
Value
Image Quality
High ISO Performance
Size and Weight
Metering and Exposure
Movie Recording Features
Dynamic Range
Speed and Performance

Photography Life Overall Rating
4.6
21) More image samples
<img src="https://cdn.photographylife.com/wp-content/uploads/2015/01/Canon-7D-Mark-II-ImageSamples-1-960x640.jpg" alt="Canon 7D Mark II Image Samples (1)" width="960" height="640"
















All Images Copyright Nasim Mansurov, All Rights Reserved. Copying or reproduction is not
permitted without written permission from the author.
7. More Image Samples
Canon EOS 7D Mark II Review
Resolution
Noise
Sample Pictures
Specifications
Owner's Manual
Press Release
$100.00 - $350.00 Rebate!
The Canon EOS 7D was, at its introduction, without question, the best APS-C sensor-sized DSLR
Canon had ever produced. While that camera remains a strong contender even today, 5 years after
its introduction, the Canon EOS 7D Mark II is a huge upgrade from this model. At a summary level:
Stuff a Canon EOS 1D X into a 7D-sized APS-C body with an APS-C-sized sensor, add a few
enhancements (and remove a few), cut the price by 74% (as of review time) and you get a 7D Mark
II. This camera is a bargain-priced, professional-duty-ready DSLR waiting to tackle your world.
The 7D was the first model in what is now a series of cameras. Under Canon's current EOS camera
model naming scheme, the number of digits in front of the "D" provides the first clue to where the
camera fits into Canon's lineup. The fewer digits present in front of the D, the higher the camera line.
Once a single numeric digit is reached, the lower the number, the higher-end the camera is in the
lineup (this is reversed for the **D, ***D, ****D and Rebel lines). The ranking gets less clear
between the 6D and the 7D lines (the 6D is a full frame model, but the 7D is more feature-filled), but
Canon's current 1D-Series model remains the best camera available.
Single numeric digit camera models are given a "Mark" roman numeral when upgraded. So in the
case of the 7D II, we have a second-edition single digit line (the best), but with a higher number
within the single digit lineup. While Canons naming scheme places the 7D II just below the 6D in the
higher-end camera lineup, youll notice that the naming scheme doesnt tell the whole story in many
instances, the 7D Mark IIs feature set makes it the clear winner over its full-frame cousin.
The original 7D was in Canon's lineup longer than any other EOS camera before being upgraded and
the 70D had most of the 7D's features along with some significant new ones (including Dual Pixel
CMOS AF) at a lower price point, bringing Canon's product segmentation into question. The 7D II
solidly clears up that issue. The 7D II is today at least what the 7D was when it was introduced: "...
the ultimate step-up camera for serious photographers or a second camera for professionals in the
field." [Canon] While it may be a second camera for many professionals, the feature-to-price ratio of
this camera is going to make it the first choice camera for many professionals.
As is frequently the case with a new camera model, never-before-seen features are introduced with
the 7D II.
Summary of EOS 7D Mark II Features
20.2 Megapixel CMOS APS-C Sensor supporting next generation Dual Pixel CMOS sensor-based AF
10.0 fps continuous shooting for up to 130 JPG/31 RAW frames
Dual DIGIC 6 Processors
Highly customizable AF system featuring 65 All Cross Type AF Points with f/8 center point sensitive to
-3 EV extreme low-light conditions
ISO 100-16000 with expansion to 51200
Built-in GPS receiver with a digital compass records location information (longitude, latitude,
elevation, direction and UTC time) to EXIF
Improved custom controls with built-in Intervalometer and bulb timer
60 fps 1080p video, speed and sensitivity-customizable Movie Servo AF, MOV and MP4 recording
formats and uncompressed HDMI out
Magnesium alloy body, shutter durability rated up to 200,000 cycles and enhanced dust and weather
resistance
EOS Scene Detection System features a new 150,000-pixel RGB+IR Metering Sensor for improved
precision
3.0-inch Clear View II LCD monitor (approximately 1,040,000 dots)
Flicker Mode adjusts shutter release timing to avoid flickering light issues
Dual Memory Card Slots supporting one CF (UDMA Mode 7) and one SD/SDHC/SDXC (UHS-I) memory
card
100% view, 1.00x magnification Intelligent Viewfinder II
Distortion correction joins Canon's previously introduced in-camera chromatic aberration and
peripheral illumination correction
New LP-E6N Battery and Battery Grip BG-E16
Sensor and Image Quality
Reading through the Canon EOS 7D Mark II specifications will give you a great deal of information
about this camera, but starting at the top, the 7D II gets a new 70D-matching, EOS APS-C categorytopping 20.2 megapixel APS-C-format (1.6x FOVCF) imaging sensor. The 20.2 MP resolution is not
enough of an increase over an 18.0 MP model to drive an upgrade for most people (no worry as there
are many other upgrade-compelling features), but more resolution is usually better with all other
aspects remaining equal. Here is a comparative look at some of Canon's more recent and/or
comparable models:
Model
FOVCF Sensor
Pixel Size Pixels/Megapixels Viewfinder DLA*
Canon EOS Rebel SL1 / 100D 1.6x
22.3 x 14.9mm 4.3m
5184 x 3456 18.0 .87x 95% f/6.8
Canon EOS Rebel T5i / 700D 1.6x
22.3 x 14.9mm 4.3m
5184 x 3456 18.0 .85x 95% f/6.8
Canon EOS Rebel T5 / 1200D 1.6x
22.3 x 14.9mm 4.3m
5184 x 3456 18.0 .80x 95% f/6.8
Canon EOS 70D
1.6x
22.5 x 15.0mm 4.1m
5472 x 3648 20.2 .95x 98% f/6.6
Canon EOS 60D
1.6x
22.3 x 14.9mm 4.3m
5184 x 3456 18.0 .95x 96% f/6.9
Canon EOS 7D Mark II
1.6x
22.4 x 15.0mm 4.1m
5472 x 3648 20.2 1.0x 100% f/6.6
Canon EOS 7D
1.6x
22.3 x 14.9mm 4.3m
5184 x 3456 18.0 1.0x 100% f/6.9
Canon EOS 6D
1.0x
35.8 x 23.9mm 6.54m 5472 x 3648 20.2 .71x 97% f/10.5
Canon EOS 5D Mark III
1.0x
36.0 x 24.0mm 6.25m 5760 x 3840 22.3 .71x 100% f/10.1
1.0x
35.8 x 23.9mm 6.4m
5616 x 3744 21.1 .71x 98% f/10.2
Canon EOS 1D X
1.0x
36.0 x 24.0mm 6.9m
5184 x 3456 18.1 .76x 100% f/11.0
Canon EOS 1D Mark IV
1.3x
27.9 x 18.6mm 5.7m
4896 x 3264 16.1 .76x 100% f/9.1
1.3x
28.1 x 18.7mm 7.2m
3888 x 2592 10.1 .76x 100% f/11.5
Canon EOS 1Ds Mark III
1.0x
36.0 x 24.0mm 6.4m
5616 x 3744 21.1 .76x 100% f/10.2
* Learn more about DLA (Diffraction Limited Aperture)

View the full Canon EOS 7D Mark II specifications to compare additional cameras.
With the highest density DSLR sensors available, the EOS 7D II along with the 70D lead the Canon
pack for "reach". When you are lens focal length limited, a more-dense sensor can deliver more
resolution in your final crop (bird photographer alert). Of course, the considerably-smaller-than-fullframe APS-C format sensor gives your lenses a narrower angle of view, making them appear to have
a 1.6x longer focal length than the numbers printed on them (also welcomed by bird photographers).
That shorter focal length lenses are generally less expensive, smaller, lighter and possibly available
with a wider aperture is welcomed by all.
With the 7D Mark II in the lab and tested on our enhanced ISO 12233 chart, we see that the 7D Mark
II is equivalent to the 70D in image quality and sharpness and that the 7D II shows higher resolution
and increased sharpness in the 7D Mark II vs. 7D comparison. There are no surprises here. More
surprising is the 7D Mark II's high ISO noise performance.
I have created an extensive image quality comparison between the 7D Mark II and many other Canon
EOS DSLR Cameras, but because of the large bandwidth requirements to load these images in their
entirety, the comparison is hosted on a page separate from the review. Click on the color block image
below to open this comparison in a new browser tab. Simply close the tab to return here.
If you followed the link and read the commentary on the image quality comparison page, jump down
to the File Size and Media section as much of the following will be repetitive.
Prior to the arrival of the Canon EOS 7D Mark II, the EOS 70D was the image quality leader of
Canon's APS-C format cameras. The 7D II arrived not too long after the 70D landed in the
warehouses. As already mentioned, the 7D II shares the 70D's resolution and, with the current rate
of image quality improvement combined with the fact that no image quality improvement claims were
capitalized on in the 7D II press release and other marketing materials, I predicted that the 7D II's
image quality would be at least as good as the 70D but not significantly better. The 7D II vs. 70D
image quality comparison was the first I wanted to make as this would set the bar for the rest of the
comparisons able to be made.
The color blocks, having areas of solid color, make ISO noise very apparent. If you can't see a
difference in noise when comparing the color blocks between cameras, you are not likely to see any
difference in your images. If the difference is tiny, there are likely other camera features that will be
more influential in your decision making process.
Truth is, I expected to see practically no difference between the 7D II and 70D results until at least
ISO 1600 or 3200. Canon's recent camera releases have shown most of their noise improvements at
the upper range of their available ISO settings. However, after looking at this comparison many
times, I see very slightly cleaner results from the 7D II starting at the base ISO of 100 with the
advantage growing with ISO setting increase. This difference is slight through ISO 400.
At ISO 800 and 1600, the difference, while still not huge, is more easily recognized. The 7D II's
advantage grows stronger at ISO 3200 and 6400. I have typically avoided these ISO settings on prior
APS-C models, but I'm pleased to see ISO 3200 looking this good. At ISO 12800, I can almost read
the numbers on the test chart ruler. As you probably expected to hear at this point, improvements
are also seen at ISO 25600.
Going where no Canon APS-C DSLR has gone before, the Canon EOS 7D Mark II brings us the foundonly-in-full-frame-models-until-now ISO 51200 setting. It is no surprise to me is that ISO 51200
produces a very ugly image with noise overpowering image detail and color. Perhaps ISO 51200 will
be useful for nighttime surveillance and law enforcement, but I think that Canon marketing will make
the most use of this bragging-rights setting.
Note that ISO settings are available in 1/3 stop settings from 100 through 16000 (1/3 stop over the
even 12800 setting). The extended H1 (25600) and H2 (51200) settings are available in addition (1/3
stops settings are not available between ISO 16000 and 51200).
Overall, I see more image quality improvement from the 7D II than I expected. I love when my
expectations are exceeded.
A comparison that I am sure is on many people's minds is the 7D Mark II vs. 7D comparison. When
comparing the 7D Mark II to the 5 year older original 7D, we must keep in mind that Canon has
turned the in-camera sharpness level up a notch (equivalent to about a +1 "sharpness" increase).
This practice started with the T4i and has been followed with all APS-C bodies released since
(including the T5i, 70D and EOS M). The 7D Mark II is now included among the increased default
sharpness models. I think that this is a positive change. I found the original 7D images to be
somewhat soft without increasing sharpness slightly higher than I normally do, so I think Canon
made the right decision here.
Increasing sharpness generally causes an increase in visible noise levels and the difference was
visible when Canon first made this change. With the increased resolution factored in, a significant
improvement in image quality would be shown if the 7D Mark II had noise levels similar the 7D. The
good news is that the 7D Mark II has cleaner image quality at comparable ISO settings along with
having a higher resolution and slightly sharper image details.
I would have been shocked if the 7D II's noise levels would have been lower than those from the full
frame sensor format 1D X, 6D and 5D III models. As expected, they are not; however, it is hard to
discern the difference at ISO 100 and even ISO 200 results are rather close. The differences increase
as ISO settings increase. With their larger sensor advantage, full frame DSLRs have noticeably better
image quality including better detail resolution, especially in low light/high ISO situations. Cost is, for
most, the biggest downside to the full frame models (aside from the 6D).
I looked at the 7D II's image quality from many other angles. The results of some of these tests are
included on the comparison page.
The "w/ USM" samples were processed using the default Unsharp Mask sharpness settings in DPP's
Standard Picture Style. When these examples are compared with the test's standard processing
examples, a significant difference in sharpness is seen. The reason why I do not use the standard
sharpening most of the time is also seen. The color blocks should not have halos around them. One
positive aspect of the USM sharpening is that the sharper results do not show increased noise levels.
Another set of samples show images processed in the Neutral Picture Style with a sharpness setting
of "1". I use the Neutral PS in-camera because it applies a lower contrast tone curve to images,
providing a better picture of the camera's available dynamic range on the histogram shown on the
LCD. These results appear more dull/less exciting. There is a time and place for the use of this
setting, but I usually change my RAW images to the Standard PS immediately after importing them.
In the comparison, four sets of noise reduction samples are provided. As always: in-camera noise
reduction is available (the 7D II offers 3 levels) and noise reduction is available during post
processing (with far greater control). The Multi-shot Noise Reduction (MSNR) is another in-camera
option.
The first noise reduction sample set was captured in RAW format using the standard noise reduction
level set in camera (high and low settings are also available). The standard setting is the default outof-the-box setting for this and many other Canon DSLRs. The "w/DPP NR" set allowed DPP to apply a
default amount of noise reduction to the RAW images captured with NR turned off in-camera. These
settings were slightly different than the settings that the standard NR in-camera generated. That DPP
applies noise reduction to images captured with noise reduction turned off in camera appears to be
either a bug in the software or an attempt to protect me from myself. To avoid this problem, I
instruct DPP to set noise reduction levels to 0 for all images via the preferences.
The third row of noise reduction results, "JPG w/ STD NR", shows images with standard noise
reduction being applied to the in-camera created JPG images.
The first three rows of noise reduction results show slightly different amounts of noise, but I don't see
a compelling reason to use in-camera noise reduction over post-processing-added noise reduction
aside from perhaps a small amount of time savings.
Because noise reduction generally impacts image sharpness (often noticeable even at ISO 100) and
because image details are degraded by this processing, I always turn off noise reduction in the
camera by default. I generally do not add noise reduction at low and medium ISO settings and add
noise reduction only sparingly to high ISO images.
The fourth row results, captured using Multi-Shot Noise Reduction, shows a marked improvement in
noise levels. MSNR merges information from multiple (four) exposures taken in a full-frame-rate burst
into a reduced noise image. The concept makes a lot of sense. I see at least 1 stop of improvement
and, at the higher ISO settings, I see closer to two stops of improvement over conventional noise
reduction.
While MSNR has been available in EOS DSLRs for quite some time now, I still have not found use for
this feature. The downsides to Multi-Shot Noise Reduction include: MSNR is currently available only
with JPG output (I would like to see this feature added to Canon's Digital Photo Pro software for RAW
capture processing - perhaps as another HDR preset). Multi-Shot Noise Reduction is not so useful
with moving subjects (or with a moving camera). Long exposure NR, Dust Delete Data, Multiple
Exposure and HDR Mode must be set to off to enable MSNR. The 7D II reverts back to Standard NR
in Auto/Basic zone modes, during video recording, in Bulb mode and when the camera is powered
off. Flash is not supported in MSNR mode. After the 4 shot burst is captured, the camera remains
"busy" for a relatively brief period of time while processing the merged image. So, while this feature
is a nice idea, its limitations make it less useful in real-world applications.
The second set of test results on the image quality/noise comparison page utilizes a fabric subject.
The fine details in the fabric better-hide high ISO noise and favor larger and higher resolution
sensors.
The Canon 1D X has slightly fewer pixels than the 7D II and it shows details in a correspondingly
smaller size. But, the 1D X results are sharper and cleaner. The 6D and 7D II sensors are similar in
megapixel count, but again, the 6D's full frame sensor provides a cleaner result. The 5D III, having
the highest pixel count combined with the larger sensor size, rules the resolution challenge. The
advantage of all three of these full frame cameras increases as the ISO settings are increased.
I don't see many surprises from the fabric results after reviewing the color block set, but ... I continue
to be impressed with the 7D II's improvements over prior Canon APS-C bodies. The 7D II shows off
its noticeably higher resolution against the 7D and shows some high ISO noise level improvements.
Though very similar to the 70D at ISO 100, the 7D II shows progressively cleaner results as ISO
settings are increased. It remains unlikely that I will use the ultra-high ISO settings for any serious
purposes.
The default USM sharpening example at ISO 100 shows strong over-sharpening that I find hard to
look at and the Neutral PS shows a low contrast that I find most useful for creating the in-camera
histogram that shows available dynamic range.
As I mentioned already, reduction of image detail is typically the collateral damage to using noise
reduction algorithms. The 7D II's noise-reduced images do not appear too negatively impacted until
ISO settings are increased to around 1600 (using the standard noise reduction setting), but ... ISO
1600 is also where the noise reduction becomes especially useful. Being aware of the price to be paid
for using noise reduction will make you better able to determine how much noise reduction to dial
into your images. If cleaner images are more important to you than detailed images, turn up NR!
Going into this review, I was thinking that there was little chance that I was going to be replacing my
70D with a 7D II. With a 1D X and a pair of 5D III bodies currently in my kit, I need APS-C cameras
primarily to test EF-S and similar lenses. After seeing 7D II image quality exceed my expectations,
and knowing the huge array of other 7D II feature advantages over the 70D, I began having serious
second thoughts at this point in the review process. Overall, the Canon 7D Mark II looks impressive
from an image quality perspective.
File Size and Media
The size of the files generated by the 7D II are very similar to those from the resolution-matching
70D. The following table shows comparative RAW file sizes for a photo of a standard in-studio setup
with a moderately-high amount of detail taken with the referenced Canon EOS DSLR body.
Model / File Size in MB @
ISO:
Canon EOS Rebel SL1
Canon EOS Rebel T4i /
T5i
(MP) 100 200 400 800 1600 3200 6400 12800 25600 51200 102400 204800
(18.0) 23.7 24.2 24.8 25.8 27.1 28.7 30.8 33.4 37.2
(18.0) 24.1 24.5 25.2 26.1 27.6 29.0 31.1 33.7 37.4
Canon EOS Rebel T5
(18.0) 25.4 25.9 26.6 27.5 28.8 30.2 32.5 35.1
Canon EOS 70D
(20.2) 25.1 25.7 26.5 27.7 29.3 31.1 33.3 35.9 39.5
Canon EOS 7D
(18.0) 24.1 24.5 25.3 26.2 27.3 28.6 30.7 33.2
(20.2) 25.5 25.9 26.7 27.7 28.9 30.6 32.7 35.1 37.9 41.0
Canon EOS 6D
(20.2) 25.3 25.6 26.0 26.7 27.9 29.2 30.9 33.1 35.3 38.6 42.5
(22.3) 28.6 29.0 29.5 30.3 31.6 33.1 35.3 37.8 40.6 44.7 49.2
Canon EOS 1D X
(18.1) 23.7 23.9 24.3 24.8 25.7 26.7 27.9 29.7 31.8 34.5 37.4
(16.1) 22.0 22.2 22.8 23.4 24.3 25.3 26.7 28.5 30.8 34.2 35.9
(10.1) 13.0 13.3 13.8 14.5 15.3 16.4 17.8
41.3
Canon EOS 1Ds Mark III (21.1) 25.6 26.5 27.4 29.0 31.0 33.4
Canon RAW file sizes increase with: 1. Resolution 2. Bit Depth (14-bit is better/larger) 3. Detail (noise
adds detail, so high ISO file sizes increase). Memory and disk are cheap - buy more. :)
The EOS 7D II benefits from dual memory card slots a first for Canon's APS-C sensor cameras.
Image files can be written to a CompactFlash (UDMA Mode 7) memory card and/or a SD/SDHC/SDXC
(UHS-I) memory card. Files can be written to both cards simultaneously (for redundancy) or
sequentially (for increased capacity).
Don't downplay the increased capacity option. This camera can create a huge number of images in a
very short timeframe you might be filling a pair of high capacity cards in a short time span. A CF
card with a 30 MB/sec. or faster write speed is recommended for full functionality including ALL-I
movie recording. An SD card with a 20 MB/sec. or faster write speed is recommended.
Frame Rate, Buffer Depth, Shutter Sound
With a "newly developed mirror mechanism [that] uses motorized control to help reduce impact and
enhance camera performance during high-speed continuous shooting" [Canon], the Canon EOS 7D
Mark II can capture images at a rate that was not-long-ago max for the top-of-the-line EOS 1-Series
DSLRs: 10 frames per second (approx. 9.5 fps when iTR AF is operating and other conditions can
affect the max frame rate). With this fast frame rate combined with a 130 JPG or 31 RAW file buffer,
the 7D II can capture the perfect moment of your action.
Model
FPS
Max JPG Max RAW Shutter Lag VF Blackout
Canon EOS Rebel SL1 / 100D 4.0
28/1140 7/8
75ms
Canon EOS Rebel T5i / 700D 5.0
22/30
6/6
75ms
Canon EOS Rebel T5 / 1200D 3.0
69
Canon EOS 70D
7.0
40/65
15/16
65ms
97ms
Canon EOS 60D
5.3
58
16
59ms
100ms
Canon EOS 50D
6.3
90
16
59ms
100ms
10.0
130
31
55ms
Canon EOS 7D
8.0
110/130 23/25
59ms
100ms
Canon EOS 6D
4.5
73/1250 14/17
<60ms
6.0
65/16k
13/18
59ms
125ms
3.9
78/310
13/14
73ms
145ms
Canon EOS 5D
3.0
60
17
75ms
145ms
Canon EOS 1D X
12/14 180
38
36-55ms
60ms
10.0
121
28
40-55ms
80ms
10.0
110
30
40-55ms
80ms
5.0
56
12
40-55ms
80ms
If capturing a subject in motion, shutter lag matters to you. You want the camera to respond very
quickly to your shutter release press, enabling your shots to be perfectly timed. Canon has been
shortening the lag time in their non-1-Series bodies and now the 7D II spec matches the normal
shutter lag of the high-end 1-Series cameras. Compare the specs of the Canon EOS 7D II to the very
impressive 1D IV for example. The 7D II is very responsive and ready for your fast action from a
frame rate perspective.
Canon's DSLRs historically have tested very close to their specified frame rates, and with a fast
memory card, often exceed the specified buffer capacities. To test the Canon EOS 7D Mark II's 10 fps
drive mode and 31 RAW file buffer specs, I configured the camera to use ISO 100, a 1/8000 shutter
speed (no waiting for the shutter operation), a wide open aperture (no time lost due to aperture
blades closing) and manual focus was selected. The lens cap remained on (insuring a black file) and a
freshly-formatted fast memory card was loaded.
Using a Sony 32GB Class 10 UHS-I (SF32UX) SDHC Card (Max. Read/Write Speed: 94/45 MB/s), the
7D II captured 30 frames in 2.9 seconds to match the rated drive speed and come within 1 frame of
the rated buffer depth. After .3 seconds, two additional frames were captured .27 seconds apart and
then a repeating pattern of two similarly spaced frames were captured every .5 seconds.
Put a Lexar 64GB Professional 1066x UDMA 7 Compact Flash Card (Max. Read/Write Speed: 160/155
MB/s) in the slot and the 7D II captured between 46 and 49 frames in 4.7 seconds (or less) to again
match the rated speed but far exceed the rated buffer depth. With this Lexar card installed, two
additional frames were captured .1 second apart every .2 seconds for a post-buffer-filled performance
of 14 frames in 2.27 seconds or about 5.7 fps. This rate is faster than some cameras shoot with an
empty buffer and I'm guessing that this rate continues until the card is filled. Shoot in JPG format and
this card and camera combo can shoot at 10 fps for a very long period of time.
These frame rates should be considered best-possible for the referenced cards and your in-the-field
results will likely vary, but a fast memory card definitely makes a difference with this camera. Note
that there are faster SD cards available than the Sony I tested with and that I'm not saying that CF
cards are faster than SD cards in general, but the speed of the card does matter.
A (usually minor) concern that I have for using CompactFlash cards in this camera is the ease in
which an improperly-oriented card can be inserted into this camera (more easily than a 5D III for
example). The concern is due to the potential damage that can be caused by an improperly inserted
CF card. <="" ii".="" mark="" 7d="" the="" of="" sounds="">
<="" ii".="" mark="" 7d="" the="" of="" sounds="">Canon EOS 7D Mark II One Shot Mode
Canon EOS 7D Mark II Burst Mode
Canon EOS 7D Mark II Silent Mode
Canon EOS 7D Mark II Silent Burst Mode
Burst Comparison: 70D, 7D, 7D II and 1D X
Camera sounds are recorded using a Tascam DR-07mkII Portable Digital Audio Recorder with record
levels set to 50% at -12db gain and positioned 1" behind the rear LCD.
Live view shooting can also be used to further minimalize the 7D II's audibility.
Perhaps even more beneficial for understanding what can be done with this frame rate is to look at a
visual example. Drag your mouse over the labels under the following image for a visual look at the 10
fps rate. Drag your mouse completely across all of the labels in 1.3 seconds to get an idea of the
speed of the approaching American Quarter Horse approximately 35-40 mph (56-64 kph). I know,
the labels are a bit small for that mouse move, but this approach happened very fast.
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13
As with action capture of many subjects, there are specific positions of the horse that I like best. My
favorite is all four hooves off of the ground at the same time to leave no question about the speed of
the horse. That horse position is best-timed with the horse and rider nearly filling the frame.
Even at 10 fps, I do not have many captures of the ideal pose in this entire burst example. True, I
have the opportunity to shoot this particular approach over and over again, meaning that I might be
able to get the same image with a 5 fps camera if twice as many passes were made. But, not all
subjects give you a second chance (sports and wildlife are two such examples). Also, it takes twice as
much time to shoot two passes and time is a precious resource for all of us.
Here is another example showing wing positions captured in a 10 fps burst. Shown is a juvenile bald
eagle chasing an adult (the adult has a fish in its talons).
1 | 2 | 3 | 4 | 5 | 6
Certain wings positions are more photogenic than others and in this case, there are roughly 2 frames
per wingbeat in which to capture the ideal positions. A 20 fps rate would not be too fast for this use.
A 10 fps rate is twice as likely to capture ideally positioned subjects than a 5 fps rate.
Autofocus
Of critical importance for most photographers, and especially for sports/action and wildlife
photographers, is autofocus accuracy. A camera's image quality doesn't matter if the subject is out of
focus. The first 7D received what Canon at that time called "... the most advanced AF system ever
seen in an EOS SLR." While that 19 cross-type AF point system was groundbreaking, the 7D II breaks
a lot of new ground.
The 7D II receives the 1D X's AI Servo AF III along with an enhanced version of the EOS 1D X's EOS
iTR (Intelligent Tracking and Recognition) AF system, featuring viewfinder-based face and color
detection along with a newly-developed wide-area 65-cross-type-point AF system.
Cross-type points are sensitive to lines of contrast in two directions instead of just one for
potentially significantly better focusing performance. The 1D X and 5D III both have nearly as many
AF points as the 7D II (61), but at most, only 41 of their AF points function as cross-type points. The
7D II's center AF point has dual cross-type functionality with an f/2.8 or wider aperture lens.
As with the 1D X and 5D III cameras, the 7D II's AF Configuration Menu permits configuration of the
AF system's tracking sensitivity, acceleration/deceleration tracking, and AF point auto switching.
An AF first for a Canon APS-C DSLR is that, like the 5D III and 1-Series bodies to date, the 7D II will
autofocus with lens and extender combinations with max apertures as narrow as f/8. In this case,
only the center AF point acts as a cross-type point and only the four neighboring AF points function in
addition. Those pursuing bird and wildlife photography, two of the most common uses for extenders,
will especially appreciate this feature.
Another eye-catching spec is the 7D II center AF point's low light performance. Only the EOS 6D
matches this camera's -3 EV center AF point spec.
The EOS 7D Mark IIs AF Area options are Single-point AF, Spot AF (reduced size single point), AF
Point Expansion w/ 4 points (single point plus 4 surrounding points in "+" configuration), AF Point
Expansion w/ 8 points (single point plus all 8 surrounding points), Zone AF (one of 9 preconfigured
zones), Wide Zone AF (new a large group of center, left, or right AF points) and Auto AF point
selection (all 65 AF points active). These options are illustrated below.
Spot AF | Single | 4pt Expansion | 8pt Expansion | Zone AF | Wide Zone AF | Auto AF
While I expect most photographers to favor only a small subset of these options, there is a focus
configuration available for your needs. Especially notable: the large percentage of the viewfinder
covered by Canon EOS 7D Mark II AF system is a big deal, at least when shooting in AI Servo AF
mode and when there is no time to recompose after focusing. Here is an example:
The horse gallops toward the camera fast. I want the rider to be in focus, but the horse's ears and
mane strongly compete for the top AF point's attention as the animal quickly moves up and down.
The shallow depth of field does not allow both to be in reasonable focus at the same time. Having an
AF point so close to the border of the frame allows me to (better) avoid the AF point's attention
moving from the rider to the horse.
Good examples of situations requiring a wide-positioned AF point include any sports that involve
running (track, baseball, soccer, football, field hockey, etc.). When a person is running fast, they lean
forward and the head leads the lean. If the subject's eyes are not in focus, the shot is likely a throwaway. To keep the runner's eyes in focus requires an AF point placed on them and at the oft-desired
near-frame-filling distances, an AF point positioned close to the frame edge is required. The 7D II has
you covered here.
Cameras with a lower percentage of the viewfinder covered by AF points require similar subjects to
be captured from a longer distance and/or with a wider focal length, meaning cropping is required to
achieve the same desired frame-filling result. Cropping of course reduces final image resolution. The
Canon EOS 7D Mark II's wide area AF system has you covered in these situations, allowing you to
fully utilize its 20.2 MP sensor. There is little remaining need to focus and recompose and in-motion
subjects are more easily captured in their final-cropped framing this capability is a big deal.
An apparently undocumented attribute of the outer AF points (at least in single AF point mode) is that
they all can use contrast information under the next AF point toward the center, causing the adjacent
AF point to functionally appear as a focus assist-like point. When contrast becomes weak (or even
non-existent) on a selected outer AF point and the next point down/up (for top/bottom AF points) or
left/right (for right/left AF points) has good contrast, the 7D II will auto focus using the position of
that particular assist point. Here is a pair of examples:
No Contrast | Low Contrast

I created a white canvas in Photoshop and then created two vertical bars spaced to fall under the
rightmost AF point and the next point to the left. The camera is unable to focus on the white canvas
(no contrast available), but can easily lock focus onto the black bars. I then reduced the opacity of
the right bar until the stronger-contrasting bar under the adjacent focus point took over the camera's
attention. The 7D II was tripod-mounted and positioned at an angle to the display to better discern
the camera's selected point of focus. Shown in the examples is a screen capture from DPP showing
the selected AF point and the area where the LCD display's pixels are most in-focus. The bar under
the right-most AF point is still visible in the "Low Contrast" example, but the camera focuses similarly
on the strongly contrasting bar to the left.
Corner AF points (including the corner points in the slightly enlarged center section of AF points)
utilize contrast information under the two adjacent points.
Whether the outer AF points are simply larger than the point indicator or the adjacent AF point is
actually being used, I cannot say. Whether this feature is beneficial or problematic is dependent on
the situation you are shooting in. It was somewhat problematic in the horse example I've been
showing as the bouncing ears and mane did get the 7D II's attention sometimes. The 5D Mark III's
AF system does not exhibit this behavior, but the 5D III's outer AF points are farther from the borders
than even some of the 7D II's next-to-outer AF points. I should also note that I could have adjusted
the 7D II's AF tracking parameters to ignore the temporary interference of the ears (the default
tracking settings were in use).
When the 7D Mark II was announced, the big question on my mind has been "How does the 7D Mark
II AF system compare to the best-ever-prior AF system found in the 1D X and 5D Mark III?"
The 1D X and 5D Mark III AF systems are easily the best I've ever used and my in-focus hit rate
when using these cameras, especially with subjects in motion, has never been higher. Then the 7D
Mark II was announced with even more focus points (including a higher number of cross-type AF
points) and many of the same or even improved AF features found in the 1D X/5D Mark III.
In response to my question, Chuck Westfall (Advisor, Technical Information, Canon USA) was
gracious enough to prepare a detailed technical comparison for us. Chuck's information is a mustread for anyone choosing between these three DSLRs:
Chuck Westfall Compares the 7D Mark II AF System to the 1D X and 5D III AF System
I found the 70D to be Canon's best-focusing APS-C format DSLR prior to the 7D II's release and
based on initially available information, expected the 7D II to easily surpass this competence.
When design meets reality is of course the real test and I've been paying very close attention to 7D
Mark II auto focus performance. It is easy to measure and compare image quality, but autofocus
performance and especially AI Servo AF performance is very difficult to evaluate. Multiply the infinite
combination of lighting (amount, size and spectrum) and subjects (color, contrast, size, shape, speed
and direction) possible by the wide range of configurable AF settings and it becomes clear that
exhaustive testing of AF performance is simply not a realistic endeavor.
Predicting the point of perfect focus on a fast-moving subject at the precise moment the shutter
opens in AI Servo AF mode is one of the biggest challenges for AF technology and AI Servo AF
accuracy testing is one of the most-difficult camera tests to perform. Shooting a challenging scenario
that is familiar to me is the best method I've found to at least get a baseline comparison and having
one of the kids gallop their horses straight at me is one of the best baseline tests I've found. The 10
fps example shown earlier in the review is an example from the 1,500-or-so images captured on two
different days under different lighting conditions (full clouds and direct sunlight).
In the galloping horse shoots, the 7D II performed extremely well. This camera, behind a fastfocusing Canon EF 300mm f/2.8L IS II USM Lens, had no trouble keeping up with the horses down to
close distances. As I already mentioned, the camera liked to focus on the horse's mane instead of the
rider on occasion, but that the 7D II's AF could switch between the two at such a fast rate (between
frames) shows the camera's incredible AF speed. Otherwise, the 7D II appears to stay focused on this
challenging subject as well as the 1D X and 5D III. And again, I could have adjusted the tracking
parameters to avoid this issue completely.
A few indoor soccer matches and a running event were included in my 7D II AI Servo action testing
with good results observed. The soccer matches were under terrible lighting conditions with strong
light flicker and the AF hit rate was decent. The running event was outdoors and AF tracking
performance was excellent.
"How well does the Canon EOS 7D Mark II perform when shooting birds in flight?" has quickly
become a frequently asked question. The Canon EOS 7D Mark II, especially because of its high
performance AF system, high density imaging sensor, fast frame rate and modest-for-what-you-get
price, is quickly finding favor with bird photographers. And, one of the biggest challenges faced by
bird photographers is maintaining focus on birds in flight. Thus, the question is getting asked.
I had the privilege of spending the larger part of a day shooting bald eagles below the Conowingo
Dam in northern Maryland with the 7D II this week. My goal was to discern how well this AF system
could track the often-erratic movement of these beautiful birds in flight (and to hopefully come away
with some nice images).
The day's moderate-to-heavy cloud cover eliminated any harsh shadow issues, but made the sky a
white canvas (white sky is OK, but is not my favorite) and provided low light to further challenge the
AF system. The bottom line is that I'm really impressed with my success rate from this day.
I was using the Canon EF 600mm f/4L IS II USM Lens with and without a Canon EF 1.4x III Extender
behind it. Tracking these fast and erratic-moving birds with such a narrow angle of view was quite
challenging, but when I kept the selected center AF point or one of the 4 neighboring AF points
(based on the AF area I was using) on or even close to the bird I was tracking, most of the images
were properly focused. Especially impressive was the ability of this camera to maintain focus on the
birds even with backgrounds that the birds visually blended into and even more impressive was this
camera's ability to maintain focus on the birds even with high contrasting backgrounds including
electrical line towers and bare tree branches against a bright sky. I was using the AF Case 2 to
instruct the camera to be slow to leave a tracked subject due to obstacles.
After catching its dinner, this eagle in the above picture flew directly toward the camera. I began
tracking and shooting at 10 fps. I have numerous good images of this eagle, but this was the mostframe-filling that did not cut off any significant amount of the bird. This image is essentially right out
of the camera. I extended the canvas slightly to the bottom, added the extreme tip of the two
bottom-most feathers and removed imperfections from a couple of other feathers. I changed the
Picture Style to Standard (in DPP), changed saturation to "1", white balance to "Cloudy" and added a
touch of noise reduction.
This camera is a great choice for bird photography. The consensus that I'm hearing from the other
photographers frequenting Conowingo Dam is that their 7D Mark II experiences mirror my own.
I expected to have no problems with the 7D II's One Shot AF mode I rarely do with any Canon EOS
DSLR cameras and my expectations have proven true. Simply place your selected AF point on a
point of adequate contrast on your subject and the camera very quickly gets the job done. One shot
AF works very well even under very low light levels. From a dimly lit room, looking through a slightly
cracked door into a very dark basement, the 7D II was able to auto focus on the edge of a barelyvisible reflection using the center AF point when the camera's meter was selecting a 30 second
exposure at f/2.8. This is a very impressive capability and event photographers shooting in cave-like
venues will especially appreciate this feature.
Another AF feature I'm impressed with is EOS iTR AF (Intelligent Tracking and Recognition). Using
color along with face recognition technology to help track subjects within the selected AF Area while
in AI Servo AF mode, iTR definitely makes a difference when trying to track specific subjects including
people's faces, yellow tennis balls and other subjects. Perhaps the biggest downside to enabling iTR is
a possibly slightly reduced max frame rate. The iTR technology is not available in Live View mode
(the raised mirror blacks the iTR sensor in the viewfinder), but Live View has its own face tracking
technology that also works very well.
The bottom line is that I have to declare the 70D (and 7D) dethroned as king of APS-C AF. The Canon
7D Mark II is now the best-focusing APS-C DSLR available (as of review time).
The 7D II is more-directly competing with the extraordinary AF system found in the 1D X and 5D III.
I'm not ready to declare the 7D II better than the 1D X and 5D III for AF performance, but I have
spent a lot more time with these two bodies and there are some differences (as Chuck pointed out)
between these AF systems with both sides having advantages. In use, I'm not seeing a big difference
in accuracy.
Conventional DSLR phase detection AF relies on light passing through the semi-transparent main
mirror and reflecting from a sub-mirror into the AF sensor below. The AF sensor, in connection with
the dual DIGIC 6 processors (the most processing power ever in a Canon DSLR), performs phase
detection AF with incredible speed. The extremely fast and very accurate phase detection AF system
has been reason alone to select a DSLR over any another type of camera.
When the mirror is raised for Live View shooting or Movie mode, the primary phase-detection AF
system becomes unavailable. Typical for recent DSLR models is that sensor-based contrast-detection
AF then becomes available and that sensor-based contrast AF has been painfully slow.
Groundbreaking with the recent introduction of the EOS 70D was Canon's innovative Dual Pixel CMOS
AF (DAF) system. Each pixel on an imaging sensor in a DAF implementation is dual purposed with
phase detection AF being the secondary purpose. Since the imaging sensor pixels are able to perform
both imaging and fast phase-detection focus measurement simultaneously, continuous AI Servo-like
AF is available in Movie mode. Canon calls this feature "Movie Servo AF".
Click on the above image to learn more about Canon's Dual Pixel CMOS AF.
The Canon EOS 7D Mark II is the second DSLR to arrive with DAF technology and this implementation
is referred to by Canon as the "... next generation of Dual Pixel CMOS AF ...". "New DAF features
include user-selectable adjustments for Movie Servo AF Speed and Movie Servo AF Tracking
Sensitivity. Additionally, overall focusing speed, face detection performance, and performance in low
light and with low-contrast subjects have been improved over previous Canon models." [Canon]
Live View/Movie focusing modes include what has become the Canon standard: Face Detection with
Tracking, FlexiZone Multi with 31 AF zones, and FlexiZone Single. Note that some older lenses are
incompatible with Dual Pixel CMOS AF here is the list provided when the 70D was introduced:
Dual Pixel CMOS AF Limited Compatibility Lenses
EF 14mm f/2.8L USM
EF 35-70mm f/3.5-4.5
EF 24mm f/1.4L USM
EF 35-70mm f/3.5-4.5A
EF 100mm f/2.8 non-USM Macro EF 35-80mm f/4-5.6

EF 400mm f/2.8L USM
EF 35-80mm f/4-5.6 PZ
EF 500mm f/4.5L USM
EF 35-80mm f/4-5.6 USM
EF 600mm f/4L USM
EF 35-80mm f/4-5.6 II
EF 1200mm f/5.6L USM
EF 35-80mm f/4-5.6 III
EF 16-35mm f/2.8L USM
EF 35-105mm f/3.5-4.5
EF 35-105mm f/4.5-5.6
EF 20-35mm f/2.8L
EF 35-105mm f/4.5-5.6 USM
EF 24-85mm f/3.5-4.5 USM
EF 35-135mm f/3.5-4.5
EF 35-135mm f/4-5.6 USM
EF 28-70mm f/3.5-4.5
EF 70-210mm f/3.5-4.5 USM
EF 28-70mm f/3.5-4.5 II
EF 70-210mm f/4
EF 28-80mm f/2.8-4L USM
EF 75-300mm f/4-5.6
EF 28-80mm f/3.5-5.6
EF 80-200mm f/2.8L
EF 28-80mm f/3.5-5.6 USM
EF 80-200mm f/4.5-5.6
EF 28-80mm f/3.5-5.6 II
EF 80-200mm f/4.5-5.6 USM
EF 28-80mm f/3.5-5.6 II USM
EF 80-200mm f/4.5-5.6 II
EF 28-80mm f/3.5-5.6 III USM
EF 90-300mm f/4.5-5.6
EF 28-80mm f/3.5-5.6 IV USM
EF 90-300mm f/4.5-5.6 USM
EF 28-80mm f/3.5-5.6 V USM
EF 100-200mm f/4.5A
EF 28-105mm f/3.5-4.5 USM
EF 100-300mm f/4.5-5.6 USM
EF 28-105mm f/3.5-4.5 II USM
EF 100-300mm f/5.6
EF 28-105mm f/4-5.6
EF 100-300mm f/5.6L
EF 28-105mm f/4-5.6 USM

There is likely an issue with the CPU capability in these lenses, preventing them from being fully
compatible with the Dual Pixel CMOS technology. The more-conventional Live View contrast detection
AF method will likely be reverted to with one of these lenses mounted. I do not currently have any of
the listed lenses (though, again, that 1200 L is always calling me), so I've done no testing in this
regard.
Another compatibility issue that you need to be aware of is that the Movie Servo AF Speed (focus
transition) feature is enabled only for STM lenses USM lenses marketed in 2009 or later (and only in
FlexiZoneAF). STM lenses are also strongly-advantaged in Movie Servo AF focusing smoothness and
quietness concerns. With a Canon EF 24-70mm f/2.8L II USM Lens mounted, Movie Servo AF steps
are made in somewhat-disturbing-to-watch quick jumps with very-audible-to-the-camera-mic
clicking/clunking occurring during focus changes. The STM lenses silently and very smoothly adjust
focus in your choice of speed for ideal cinematic transitions from one subject to another. Note that an
exception is that the EF 40mm f/2.8 STMs focusing sound could be picked up by the in-camera mic
during very large transitions (min focus distance to max), especially if the camera was set to
something other than a slow transition (meaning the AF motor was working as fast as it could for a
long duration of time). However, relatively speaking, the sound was minimal compared to non-STM
lenses.
My own kit has been light on STM lenses because I am generally favoring higher grade models, but
having a set of STM lenses makes a lot of sense if recording video while making use of Movie Servo
AF.
Prior to Movie Servo AF and STM lenses, nearly all DSLR video was recorded using manual focus.
Cinema-grade video generally involved careful focus pulling that typically utilized follow focus
accessories. Not all video will be recorded using Movie Servo AF, but this feature along with the
built-in image stabilization found in many of these lenses greatly simplifies quality video capture.
Especially because the focus changes are so smooth and pleasing, impressive DSLR video is now
much easier to capture by the masses.
The 7D II's sensor-based AF includes benefits over conventional phase-detection AF. First, the AF
coverage area encompasses a full 80% of the frame (measured horizontally and vertically) with no
limit on a "number" of focus points to select from or include in auto AF. Second, no AF Micro
Adjustment calibration is needed because the actual imaging sensor is being used for AF. And, AF can
function with camera and lens combinations having an f/11 or wider aperture (vs. f/8 with the 7D II's
conventional center AF point) again, using 80% of the frame.
Live View AF modes include Face Tracking, Flexizone - Multi, Flexizone - Single and Quick mode.
Canon's EOS cameras are very effective at locating a subject's face and tracking that person around
the frame in Face Tracking mode. FlexiZone-Multi allows one of 9 zones for auto AF to work within
similar to Zone AF mode. FlexiZone-Single allows selection of one AF point similar to One Shot AF
mode. The remaining Live View AF mode is also the oldest Quick mode. Quick mode closes the
mirror temporarily to allow conventional phase detection AF to do its job. For obvious reasons, Quick
mode is the only option not allowing selection of the continuous focusing Live View menu option.
As I found with the EOS 70D, the EOS 7D Mark II's Dual Pixel CMOS AF is very fast not so far from
the speed of conventional phase detection AF.
Video
As I have already begun discussing the 7D II's video capabilities, I'll dive deeper into this feature.
Incredible video quality for a low price has become standard with Canon DSLR cameras. But, the
primitive AF performance in movie mode (if the camera even has AF in video mode only recent
ones do) has been a barrier to enjoyment of this feature for many. What I saw with the 70D was
that, while still not as high performing as the DSLR's conventional phase detection predictive AF, Dual
Pixel CMOS AF is capable of tracking anything short of high speed action. DAF made DSLR video
capture as easy as with a consumer grade camcorder with far superior video quality. As expected, the
7D II performs at least as well as the 70D.
Overall, the Canon EOS 7D Mark II has received a superset of all prior EOS DSLR video features and
becomes the first Canon DSLR to feature 60 fps 1080p recording. Available NTSC and PAL recording
sizes and frame rates are:
1920 x 1080 (60, 50, 30, 25, 24 fps) (actually 59.94, 50, 29.97, 25, 24, 23.98 fps)
1280 x 720 (60, 50 fps) (actually 59.94, 50 fps)
640 x 480 (30, 25 fps) (actually 29.97, 25 fps)
Note that Movie Servo AF is not available when recording 1080p at 60 fps.
Once again, with the ability to start new video files during filming, the 4GB /12 min HD Movie clip
limit has been surpassed. "Legal reasons" (to fall below the EU's higher tax rate video camera
designation) limit the maximum total HD clip length to 29 minutes and 59 seconds (generating three
files). The 7D II " ... automatically splits files greater than 4GB (FAT specifications) for extended
recording without interruption." [Canon]
The typical .MOV file format (H.264, Linear PCM Audio) is now joined by a .MP4 option (H.264, AAC
Audio) that is compatible with a much larger range of playback systems. IPB (Bi-directional
compression) or ALL-I (Intra-coded Frame) compression methods are selectable. IPB offers a higher
compression rate by compressing multiple frames together while ALL-I compresses each frame
individually allowing for more precise editing. ALL-I compressed footage will be about three times
larger than IPB compressed footage, but ALL-I requires less computing power. IPB Light (vs.
Standard) is selectable when .MP4 is the recording format. The mini HDMI port can be used to record
uncompressed Full HD video (4:2:2) to external recorders.
Video exposure control is via Program AE or fully Manual exposure. ISO settings of Auto and 100
through 25600 are available (the expanded ISO range is not available in video mode) as well as 5
stops of exposure compensation in 1/3 or 1/2-stop increments.
Audio recording options are the internal microphone capturing stereo sound or the 3.5mm stereo
input jack. Manual audio level control is available (64 steps) as is a wind filter/attenuator. The 7D II
has a headphone jack for monitoring recorded audio.
Both chromatic aberration and peripheral illumination correction are available in 7D II video as well as
the new distortion correction. The correction features require a supported lens, but most recent
Canon lenses are on the compatibility list.
If you can leave the camcorder at home, this camera will save a significant amount of
bulk/size/weight and more easily justifies the DSLR camera purchase in the first place.
Exposure/Metering System
New with the original Canon EOS 7D was a 63-zone iFCL (Intelligent Focus, Color, Luminance)
Metering System that took focus, color and illumination into account when establishing the proper
exposure. The 7D Mark II receives a substantial upgrade to this system, with an "improved EOS
Scene Detection system [that] features a new 150,000-pixel RGB+IR 252-zone metering sensor for
enhanced precision" [Canon], surpassing even the EOS 1D X's approximately 100,000 pixel RGB
metering system. In addition, the 7D II metering system has not-seen-before infra-red and, especially
intriguing to me, flickering light sensitivity.
If you have ever photographed under flickering lights, such as the sodium vapor lamps especially
common at sporting venues, you know what a problem that type of lighting can cause. One image is
bright and the next is significantly underexposed with a completely different color cast. The bigger
problem occurs when using fast/short action-stopping shutter speeds under these lights.
In the top half of the following example are 8 consecutive frames captured in 10 fps burst with a
1/1000 second shutter speed. The subject is a white wall and the lights are fluorescent tubes (I had
to go all the way to my basement to find these two sets of four 4' fluorescent tube lights). All images
were identically custom white balanced from the center of an optimally-timed image. What you see is
the frame capture frequency synching with the light flicker's frequency to cause a different result in
almost every frame.
The killer problem for post processing is that the entire frame is not evenly affected. Correcting this
issue is a post processing nightmare. The cause of this problem is that, at fast/short shutter speeds,
the flicker happens while the shutter curtain is not fully open.
Because the shutter opens and closes only in the up and down directions (with camera horizontally
oriented), the area affected runs through the frame in the long direction regardless of the camera's
orientation during capture. When the flicker-effected area is fully contained within the frame, the
amount of area affected is narrower at faster shutter speeds and wider with longer shutter speeds.
At significantly longer shutter speeds, the effect from the flickering lights is better averaged in the
exposures. At 1/25 second, a reference image I captured during the same test looks very nice.
In this light flicker test, I shot at 1/500, 1/1000 (as shown) and 1/2000 seconds. The 1/500 second
test showed approximately 2/3 of the frame severely affected at most, but the 10 frames captured
around the most-effected frame had various amounts of one frame edge strongly affected. As you
would expect, the 1/2000 second test showed an even narrower band of the flicker's effect running
through the image (a smaller slit of fast-moving shutter opening being used), but ... I'm guessing
that there are not many venues with flickering-type lighting strong enough to allow use of this shutter
speed at a reasonable ISO setting. The 1/500 and 1/1000 settings are more real world settings.
The bottom set of results show off the Canon EOS 7D Mark II's awesome new Anti-flicker mode. The
only difference in the capture of the second set of images was that Anti-flicker mode was enabled.
These were a random selection of 8 consecutive frames, but the results from all Anti-flicker mode
enabled frames were identical regardless of shutter speed tested. I'm not going to say that these
results are perfectly-evenly lit, but ... they are dramatically better than the normal captures and you
will not see the less-than-perfectly-even lighting in most real world photos without a solid, lightcolored background running through the frame.
When enabled (the default is disabled), Flicker Mode adjusts the shutter release timing very slightly
so that the dim cycle of the lighting is avoided. In single shot mode, the shutter release lag time is
matched to the light flicker cycle's maximum output. In continuous shooting mode, the shutter lag
and the frame rate are both altered for peak light output capture. In my tests above, the frame rate
was reduced by 1-2 fps and shutter lag can be affected, making the camera feel slightly less
responsive.
The 7D II is able to work with light flicker occurring at 100Hz and 120Hz frequencies. When such
flicker is detected but flicker mode is not enabled, a flashing Flicker! warning shows in the viewfinder.
The FLICKER warning shows solid when a flicker is detected and the cameras setting is enabled.
Flicker detection has been working very well for me. From my own basement to an indoor sports
venue to a trade show floor, I've seen the flashing "Flicker!" warning and enabling the Anti-Flicker
mode has resulted in optimal image capture.
Since the viewfinder's metering system is required for flicker detection, this feature is not available in
Live View mode (due to the mirror being locked up). The mirror lockup feature is also disabled when
Anti-flicker mode is enabled. The owner's manual indicates that Flicker mode is not going to work
perfectly in all environments.
In the test I shared above, flicker avoidance was perfect 100% of the time. I shot a soccer match at
an indoor sporting venue with a complicated economy lighting system. In that shoot, the Anti-flicker
mode was successful about 98% of the time in the about-350 images I captured. The post processing
work required for this shoot was exponentially lighter than any of my many prior shoots at this venue.
Sean's experience shooting an NCAA Division 1 football game under the lights was very good, but
perhaps not as good as my 98% experience.
Canon's new Anti-flicker mode is a game changer it is going to save the day for some events. This
feature alone is going to be worth the price of the camera for some photographers.
Also enhanced is the 7D II's Auto minimum shutter speed with Auto ISO set. Previously, the default
1/(lens focal length) was used, not accounting for image stabilization and/or subject motion. New
with the 7D II is the ability to dial in +/- 3 stops of shutter speed adjustment in full stop increments,
allowing compensation for the current situation.
If the light on my scene is stable/unchanging, my camera is probably in manual mode with the
settings I determine to be correct from the camera's histogram. If the light on my subjects is
changing, such as under a partly-cloudy sky, I am probably relying on the camera's auto exposure
system. As AE systems continue to advance, I am far more comfortable on this reliance and I
frequently make use of AE in Manual exposure mode via the Auto ISO feature. I select the aperture
and shutter speeds I need while the camera determines the final image brightness by adjusting the
ISO setting. A great feature introduced to the 1D X via a firmware update and now present on the 7D
II is exposure compensation in Manual exposure mode with Auto ISO.
Two days before I wrote this section of the 7D II review, I was shooting a soccer match under a
partly cloudy sky with deep shade in the background. I knew the shutter speed I needed to stop the
action and I wanted a wide open aperture for maximum background blur. This meant using manual
mode with auto ISO adjusting for the changing light conditions. The black background was causing
my subject to be overexposed by nearly 1 stop in most cases. I was able to set manual mode
exposure compensation to correct this issue.
Full Information | Basic Information

Viewfinder
It is hard not to love the 7D II's new viewfinder. This large pentaprism viewfinder shows a bestavailable full 100% field of view at a 1.00x magnification. Those coming from a Rebel/**D or **D
model are going to especially love the 7D II's big view on the world and will especially love not having
to guess where the frame edges really are.
As seen in the image above, this viewfinder, via the translucent LCD, can optionally be configured to
show many framing and focusing aids along with a vast array of camera settings and warnings. While
the full information view appears a bit overwhelming, not all information shown is displayed at the
same time and the information shown is highly configurable with the basic view being an option. My
7D II viewfinder is configured to show only the active focus point(s)/area, the grid, the level indicator
and the bottom right notices.
I have long relied on viewfinder grid lines and have purchased many specialized focusing screens to
get this feature in older Canon model DSLRs. Now, Canon's higher end cameras have grid lines
optionally available via their translucent viewfinder LCD. The 7D II takes this feature one step further
with lines that continue completely through the center of the viewfinder. I would like to see Canon
improve the grid line feature even further by allowing horizontal grid lines to be placed on the oftengreat-for-composition 1/3 frame locations in addition to the 1/4 horizontal positions provided (the 1/6
vertical line positions include the 1/3 composition lines and a 3x3 grid is available in Live View mode).
An analog exposure meter is now shown on right side and the display includes ambient compensation
and flash compensation in effect.
The 7D II is compatible with interchangeable focusing screens for a further customized setup. The
currently available Canon 7D II focusing screen is the Eh-S Super Precision Matte focusing screen that
aids in manual focusing of large aperture lenses.
Another Canon DSLR feature that I've grown to rely on (and sorely miss when using a camera
without the feature) is the electronic level. I struggle to keep the camera level and adjusting image
rotation in post-processing is destructive at the pixel level. Not all images require a level camera and
tilting can provide great effect for portraits, but landscape and architecture are two subjects that
most often look best when photographed level. People are going to notice a tilted ocean on the
horizon. Aligning a camera in low light or at night is a challenge that the electronic level completely
removes.
The 7D II has received the best electronic Level ever featured in an EOS body with the big
improvement being the dedicated viewfinder dual-axis level LCD indicator accurate approximately
from 1-4 for pitch and from 1-7.5 for roll. Canon's early electronic viewfinder implementations relied
on AF points or the exposure scale at the bottom of the viewfinder to be used to show levelness. The
problem is that these indicators reverted back to their primary purpose when the shutter release was
half pressed. I am then required to maintain the camera's levelness as I focus, adjust framing and
then shoot. To compensate, I often focus, switch to manual focus mode, frame, turn on the level
indicator and then take the shot. I of course need to remember to turn AF back on before shooting
the next scene.
A dedicated viewfinder level indicator resolves this problem and the EOS 70D was the first Canon
DSLR to provide this feature. The 7D II takes the dedicated viewfinder level indicator feature to
another "level" by providing dual-axis indication with a more precise scale.
With it's always-on (when metering is live), easy-to-see, dedicated, superimposed viewfinder level
indicator, the EOS 7D II helps keep image level problems to a minimum. This feature is available
during AI Servo full frame rate burst shooting, but using it during fast action capture requires another
level of brain power. While this feature seems minor and insignificant, small improvements such as
this can make a big difference in the quality of your images and can save many hours of work after a
big shoot. A dual-axis level is also available on the rear LCD.
In dim light, red LEDs light the viewfinder LCD display for easy visibility. These red LEDs can
optionally be set to always be on or off using the menu.
The 7D II, like the original 7D, has a larger-sized, more comfortable eyecup as found on the 1 and 5Series models. These eyecups are larger than those found on the 70D and lower end models.
Tour of the Camera
Canon's 5-Series and 7-Series bodies are similar in size and only smaller than the 1-Series models.
Add a battery grip and all of these models are similar in size.
70D | 7D II | 7D | 6D | 5D III | 1D X | 7D II w/ BG-E16 | 7D w/ WFT | 5D III w/ BG-E11

For many more comparisons, go to the Camera Back View Comparison page.
At first glance, the back of the 7D Mark II appears to have changed little from the 7D. The 7D II's
button and switch layout remains largely unchanged, but some of the functions are different. With
even a long glance, you will see that the back of the 7D II appears nearly identical to the 5D Mark
III.
The two notable changes to the back right side of the 7D II are the addition of the "Q" button and
the not-seen-before AF Area selection lever. The AF Area selection lever, surrounding the joystick,
allows quick changing of, as you would expect, the AF Area selection. This lever is easy to find
without taking the camera from your eye and is fast to use. Of initial concern to me was that this
lever would impact use of the joystick it surrounds, but ... it does not affect joystick use. You can
enable/disable the AF Area modes that are cycled through when using this lever. I suggest changing
AF Area Selector Lever to direct select in the Custom Controls menu option (change the joystick to
direct select while you are in that option).
The "Q" button, as seen on most recent Canon DSLR cameras, has arrived on the 7D II. Pressing the
Q button while in shooting mode will bring up the Quick Control Screen where camera settings can be
accessed and adjusted quickly and easily without having to use the menu or look at the top LCD
panel. Pressing the Q button while in playback mode will present an overlay with applicable options
including those for RAW processing. Brightness, White Balance, Picture Style, Auto Lighting Optimizer,
High ISO NR, Image Quality, Color Space, Peripheral Illumination Correction, Distortion Correction,
Chromatic Aberration Correction and the output dimensions and quality of the converted JPEG are
selectable prior to processing.
As we have seen recently featured on other models, a touchpad present within the Quick Control Dial
can used for silently changing settings (only) while in video recording mode. No "click" of the dial is
required a simple touch of the sides of the dial will affect a change. Still, keeping the camera
completely motionless through this process requires a strong tripod (or very steady hands with a soft
touch).
Though the back left-side buttons again appear similar to those on the 7D, more changes are present
on this side. The 7D's info button has been replaced by the 7D II's magnifying glass button, while the
top right two buttons, missing their blue "-" and "+", no longer zoom in and out during image
playback (this removal is a mistake in my opinion). Zooming in and out is now accomplished by rolling
the top dial after pressing the magnification button. This feature works fine, but I still often prefer to
be able to press and hold the "+" button while zooming to 100%. This change brings the 7D II's
zoom function in line with Canon's current pro DSLR models, but again, I'm not a big fan of this
change.
The 7D's Picture Style button becomes the 7D II's Rate button. I view this as a positive change as I
never used the Picture Style button (I shoot using the Neutral Picture Style in-camera for a
better/lower contrast histogram and change to Standard when processing the RAW files). Although I
use a rating to mark a file or the start/end of a sequence of files occasionally, I do not rate images incamera very often, so this button remains largely unused by me. Others love this button (including
Sean, who uses it heavily), so make your own decision on the usefulness of this feature.
Each press of the rate button adds a star (up to 5 stars) to the image. The rating is recognized even
by non-Canon applications that include Adobe Photoshop Lightroom.
The next button up is the Creative Photo button. Repeatedly pressing this button displays menus with
Picture Style, Multiple exposure and HDR Mode selections available. The HDR mode is one that I find
very useful.
The 7D II's Menu and Info buttons have been moved up to the now-standard-for-Canon top left
location. The menu button is one of my most-used and having it in this convenient-for-the-leftthumb, easy-to-find location is perfect. Being the first button to the left of the viewfinder makes the
also-frequently-used (by me at least) info button easy for me to find.
As usual, consuming the most space on the back of the camera is the LCD. With a full set of camera
models introduced since Canon originally released the Vari-Angle LCD, it now becomes clear that the
70D is the highest model in the lineup to get this display. Canon's reason for not including the Variangle LCD on the 7D II is for build robustness the Vari-angle LCD is a weaker design than the fixed
LCD as implemented on the 7D II.
Also notably missing is the capacitive touch feature that has also not yet moved up into the higherend Canon DSLR model lines again stopping at the 70D. The higher end cameras have more
controls, and those using the higher end cameras often have more understanding of their camera
settings and more familiarity of how to change them, placing less importance on the touch feature.
Again, the Canon-provided reason for not including the touch feature is build strength the capacity
touch LCD is not as robust as the LCD implemented in the 7D II.
The 7D II, like the 5D III, receives the fixed, non-touch version of the Canon's best-at-review-time
Clear View LCD II. Canon's Clear View II LCDs have no gap between the protective glass cover and
the LCD unit, eliminating air-glass interface, reducing refraction and reflection, while the antireflective coating on the glass LCD cover further improves visibility of the display. The benefit is less
glare, enhanced clarity (especially in a bright environment), better color and increased strength.
I've used this LCD a very significant amount on the 5D Mark III and love it. The 7D II implementation
is just as good. That I can clearly see the histogram even in direct sunlight is of critical importance to
me and the 7D II covers this requirement.
Canon's nicely-upgraded, very-easy-to-use tabbed menu layout, initially introduced with the 1D X,
continues to make its way into all new EOS camera models and the 7D II is the latest to get this
upgrade. The new, customization-option-laden 7D Mark II menu features multiple tabs, each with a
number of submenus. Each submenu has a series of options and some of these options contain
another level of sub-submenus. Press the Q button to jump from tab to tab and use the top dial to go
from submenu to submenu. The Main Dial is used to navigate the menu options and the Set button is
used to make a selection. New is that the My Menu feature (I use this extensively) has also been
expanded to optionally allow 5 additional tabs of user selected menu options. My mind is still spinning
with ideas for the new tabs, but ... I have not programmed a second tab as of review time.
Overall, the back of the 7D II is very nicely upgraded and I absolutely LOVE that the 5D III and 7D II
have so much similarity in their control and button layout. I very frequently am using multiple
cameras at the same time. Being able to move from one body to another without having to figure out
a new set of controls is a very positive feature.
Next, we will take a look at the top of the camera.
70D | 7D II | 7D | 6D | 5D III | 1D X
For many more comparisons, go to the Camera Top View Comparison page.
The top-of-the-camera differences between the 7D II and the 7D are not going to generate a very
long conversation. A new bulge has appeared in front of the hot shoe (more about the GPS feature
later), slight changes in body shape can be seen near the shutter release and the right-side button
labels have been reversed.
The other change is the addition of the now-standard center lock button on the mode dial, preventing
inadvertent changes. Lacking the SCN (Special Scenes) and other creative modes, the Mode dial
shows the enthusiast/pro orientation of this camera, including the presence of 3 custom-programmed
modes (I use these modes very frequently). That said, complete beginners should find this camera
very easy to use as well.
Scene Intelligent Auto mode (the green square+ mode) combines point and shoot simplicity with
powerful artificial intelligence to deliver excellent results. "... Scene Intelligent Auto mode analyzes
the image, accounting for faces, colors, brightness, moving objects, contrast, even whether the
camera is handheld or on a tripod, and then chooses the exposure and enhancements that bring out
the best in any scene or situation." [Canon] The 7D II also implements the new light flicker avoidance
capability in this mode when such is detected.
The following Canon graphic provides a glimpse into the Scene Intelligent Auto mode as implemented
on the 7D II. These icons are shown in Live View mode when Auto mode is in use.
Once again, the top of the 7D II is nearly identical to the top of the 5D III. Canon's great ergonomics
are just one of the many reasons I use Canon brand cameras in the first place. That the 7D II does
not depart significantly from other recent body designs is a positive feature.
Here is a look at the left side of the 7D II along with a collection of other recent Canon EOS models
to compare with.
70D | 7D II | 7D | 6D | 5D III
For many more comparisons, go to the Camera Side View Comparison page.
The following image shows the 7D II's port covers open for a better look at the connectivity options
provided by this camera.
Starting at the top-right, we find a USB port. While Canon cameras have long had USB ports, the big
news is that the 7D II, FINALLY, gets a USB 3.0 port. The USB 3.0 standard is MUCH faster than USB
2. If you have ever downloaded a large number of images from an EOS camera using the USB port
prior to this one, you know the definition of slow. The 7D II's USB port allows fast image downloads
and also faster control from a computer such as when using EOS Utility to control camera functions.
This upgrade to any EOS camera is long overdue.
Below the USB port is the HDMI mini port (Type C, HDMICEC compatible). While this port has
become common on EOS DSLRs, output of uncompressed YCbCr 4:2:2, 8-bit for video streaming is
newly possible. Also new is that sound can be output via HDMI.
At the top-left is the external microphone port (3.5mm Stereo mini jack) and next-below is a
headphone jack. Next down is a PC Port (commonly used with studio lighting) and an N3 type port
(for a remote controller) rounds out the available ports. Note that the N3 port is used on higher-end
1-digit series Canon DSLRs, while the E3 port is used on the **D/Rebel/***D lines.
New is that the Canon EOS 7D Mark II ships with a cable protector that attaches to a small port
under the HDMI Port. That link will explain the cable protector and its installation, but here is an
image of the protector in use:
As mentioned, the 7D Mark II's size remains similar to the original 7D's size. This size is also a nearmatch to the 5-Series bodies. The table below shows the specifications.
Model
Body Dimensions
CIPA Weight
Canon PowerShot G1 X
4.6 x 3.2 x 2.6" (116.7 x 80.5 x 64.7mm)
18.8 oz (534g)
Canon EOS Rebel SL1 / 100D 4.6 x 3.6 x 2.7" (116.8 x 90.7 x 69.4mm)
14.4 oz (407g)
Canon EOS Rebel T5i / 700D 5.2 x 3.9 x 3.1" (133.1 x 99.8 x 78.8mm)
20.5 oz (580g)
Canon EOS Rebel T5 / 1200D 5.1 x 3.9 x 3.1" (129.6 x 99.7 x 77.9 mm) 16.9 oz (480g)
Canon EOS 70D
5.5 x 4.1 x 3.1" (139.0 x 104.3 x 78.5mm) 26.7 oz (755g)
Canon EOS 60D
5.7 x 4.2 x 3.1" (144.5 x 105.8 x 78.6mm) 26.6 oz (755g)
Canon EOS 50D
5.7 x 4.2 x 2.9" (145.5 x 107.8 x 73.5mm) 29.1 oz (826g)
5.9 x 4.4 x 3.1" (148.6 x 112.4 x 78.2mm) 32.1 oz (910g)
Canon EOS 7D
5.8 x 4.4 x 2.9" (148.2 x 110.7 x 73.5mm) 32.2 oz (914g)
Canon EOS 6D
5.7 x 4.4 x 2.8" (144.5 x 110.5 x 71.2mm) 26.6 oz (755g)
6.0 x 4.6 x 3.0" (152 x 116.4 x 76.4mm)
33.5 oz (950g)
6.0 x 4.5 x 3.0" (152 x 113.5 x 75mm)
31.9 oz (904g)
Canon EOS 1D X
6.2 x 6.4 x 3.3" (158 x 163.6 x 82.7mm)
54.0 oz (1530g)
6.1 x 6.2 x 3.1" (156 x 157 x 80mm)
48.5 oz (1374g)
6.1 x 6.2 x 3.1" (156 x 157 x 80mm)
47.6 oz (1349g)
6.1 x 6.3 x 3.1" (156 x 159.6 x 79.9mm)
49.5 oz (1404g)
The 7D II is a high-quality, solidly-built, modestly-sized DSLR camera that feels very comfortable in
my hand. This camera is large enough to provide adequate control over the larger professional-grade
lenses a super telephoto lens is not too large to comfortably mount on this camera.
Durability
That the Canon EOS 7D Mark II qualifies for points toward membership in Canon Professional
Services (in regions available) shows Canon's perspective on the performance level of this camera.
This camera is designed for professional use, starting with the magnesium alloy chassis it is built
upon.
Professionals need to get the job done, regardless of the working conditions and weather often plays
a role in such. According to Chuck Westfall (Canon USA), "Canon considers the weather resistance of
the EOS 7D [version I] to be slightly better than the EOS 5D Mark II and 50D cameras, but not as
robust as the EOS-1D series." The EOS 70D received similar weather sealing. Mr. Westfall describes
the EOS 7D Mark II weather sealing as 4x better than the 7D. While "4x" is a hard figure to qualify,
sufficient is to know that this camera is a much better choice in wet and dusty conditions than the
original 7D or the 70D. Roger Cicala, in a 7D II tear-down, verified that the improvements are
significant. Canon told me that the 1D X remains a better-sealed camera, but ... there does not seem
to be much room for improvement over the 7D II's level of weather sealing.
While no one is going to guarantee how long your DSLR will last, a higher shutter durability rating is
certainly a positive attribute. Increase the frame rate and shutter life becomes a bigger issue. The 7D
II's 50,000 shutter actuation rating increase over the 7D's 150,000 spec will more than cover the %
increase in frame rate.
Model
Shutter Durability Rating
Canon EOS 70D
100,000
Canon EOS 60D
100,000
Canon EOS 50D
100,000
200,000
Canon EOS 7D
150,000
Canon EOS 6D
100,000
Canon EOS 5D Mark III 150,000

150,000
Canon EOS 1D X
400,000
300,000
Canon EOS 1D Mark III 300,000

Canon EOS 1Ds Mark III 300,000
Additional Features
The 7D Mark II becomes Canon's highest-end camera model to receive a GPS receiver in-camera (the
aforementioned bulge in front of the hot shoe houses the antenna). The built-in GPS receiver with a
digital compass can record location information including longitude, latitude, elevation and time (UTC)
to an image's EXIF information. The 7D II can provide geotag information logs to trace the route the
camera has traveled in addition to recording image capture locations. A feature I love is that the
camera's time can be automatically set from the GPS signals.
Have you seen one of the TV shows filmed with a DSLR camera? One of the easiest ways to tell is by
an imaging sensor dust spot showing against the sky or other evenly-light-colored surface. Sensor
dust is one of the easiest ways to turn a high quality video clip into something low end. The sensor
has to stay clean. While still images are more-easily touched up, sensor dust can cause time
consuming post processing that I find frustrating and not a good use of my time.
Canon has been making advances in self-cleaning sensor technology over the years and I'm seeing
the 5D III's truly amazing level of performance repeated by the 7D II. I rarely have to clean my 7D II
sensor and when I do, a Rocket Blower is usually all that I need. The benefit I have received from the
sensor sensor staying clean amounts to at least days and probably weeks of my life. With several
thousand shutter actuations and many lens changes, I do not even have a single tiny speck of dust
showing on the sensor. That is a great start.
Especially noticeable when panning through an image hunting for specs of dust is that everything this
camera does is fast. I can pan through an entire zoomed image very quickly.
In Dec 2013, I posted a "What I Want for Christmas from Canon" list. Canon has been whittling down
my list throughout 2014. Earlier this year, with DPP 4.0, an attempt was made to deliver the "Canon
Digital Photo Professional (DPP) Improvements" and the Canon EF 16-35mm f/4L IS USM Lens
effectively took down the "Canon EF 16-50mm f/5.6L IS USM Lens" line item.
With the EOS 7D Mark II, three more line items have been addressed. I already talked about
"Exposure Compensation in M mode with Auto ISO" and the "Viewfinder Electronic Level that
Remains Available During AF". The third line item that is now crossed off comes from the why-wasn'tit-always-there department, the "Built-in Intervalometer". The 7D II has built-in Intervalometer
(interval timer) and bulb timer functionality. While many of us are questioning why 99 is the upper
limit for the number of images that can be captured in a series (a potentially short time lapse), that
an unlimited number of images can also be captured by setting the number of images to 00 greatly
reduces this issue. Interval timer shooting can be combined with AEB, WB bracketing, multiple
exposures and HDR mode, but Live View shooting, bulb exposures and mirror lockup are not
supported. I would like to see mirror lockup with a 2 second self-timer implemented.
Flash
The 7-D series cameras remain Canon's highest EOS model line to offer a built-in pop-up flash.
As with all of Canon's other recent DSLR cameras, flash settings can be controlled from the menu
which includes an extensive range of controls for built in, hot-shoe-mounted and remote flashes.
Simply double-press the camera's flash button (or single press the flash button with an external
Speedlite mounted) for instant access to the Flash Function Setting Screen. The 7D II is also fully
compatible with Canon's incredible RF remote flash system including the Canon Speedlite 600EX-RT
Flash and Canon ST-E3-RT Speedlite Transmitter.
Like the 70D and most of Canon's other recent DSLR cameras featuring a built-in flash, the 7D II
includes an Integrated Speedlite Transmitter for optical (not RF) wireless control of multiple offcamera EOS Speedlites. No 600EX-RT, Canon 580EX II Flash, Canon ST-E2 Speedlite Transmitter or
similar accessory master flash is needed to completely control as many remote flashes as desired.
Using one of 4 available channels, take complete control of up to 3 groups of flashes (A,B and C) with
ratios of up to 8:1 including 3 stops FEC. Having a built-in Speedlight Transmitter is a big deal. It
not only saves a significant cost associated with the other Speedlight Transmitter options, but it
reduces the size and weight of the camera when using remote flashes.
The Integrated Speedlite Transmitter feature alone, if needed, will save you the purchase of a device
with a significant cost and the convenience factor of having this feature built-in is huge. But the
best part is the image quality that off camera flash delivers.
Battery
I was disappointed when I read that the 7D II was featuring a new battery model. The previouslyfeatured Canon LP-E6 lithium ion battery pack has been used in many DSLR models and I greatly
appreciate the simplicity of being able to share batteries and chargers. Fortunately, the LP-E6 and the
new LP-E6N lithium ion battery packs are both forward and backward compatible including
compatibility with the same LC-E6 and LC-E6E chargers. The advantage of the new LP-E6N? An
increase in storage capacity from 1800 mAh to 1865 mAh.
Note that the 7D II owner's manual states that "The [LC-E6] charger cannot charge any battery other
than Battery Pack LP-E6N/LP-E6", meaning that third party batteries may require a third party
charger.
The LP-E6N battery form factor is great (you can easily fit several of these small batteries in most
pockets), but they still provide a rating of up to 800 shots in the Canon EOS 7D Mark II. Battery life is
always highly variable based on factors such as drive mode, flash use, live view/video use, GPS
logging and temperature. Shoot in the high frame rate drive mode and you can expect to far exceed
the factory rating. Shoot with 100% flash output while using live view in below-freezing temperatures
and the 800 shot rating will appear to be a fantasy.
My first and second full LP-E6N charges provided 1,347 and 1,173 shots respectively with 18% and
21% battery life remaining for an estimated 1,464 and 1,448 shot total capacity. My camera use was
very mixed during this time, with Live View and burst mode being favored most heavily.
The 7D II provides a 6 level battery indicator on the top LCD and a specific percent remaining value
in the Battery Information menu. This menu also provides a shutter count and a recharge
performance rating for the installed battery.
Need twice as much battery capacity? Optional for the 7D Mark II is the Canon BG-E16 Battery Grip
(shown installed above). The battery grip accepts two LP-E6 or LP-E6N batteries (or optionally 6x AA
batteries), doubling the shot-per-charge capacity of this camera. Better yet is the vertical grip that
the BG-E16 provides. Like the 5D Mark III's BG-E11, the BG-E16 includes a vertical grip-dedicated
joystick. Unlike any battery grip before it, the BG-E16 has an AF area selector lever.
The downside to using the battery grip is the additional size and weight, but with the grip being easily
removable, you can choose the best option for your current circumstances. Sean suggested that I
pass on a word of warning: "Once you try shooting with a battery pack, you may never want to shoot
without it." Here is one more look at the back of the 7D II with the BG-E16 battery grip installed.
Accessories
I say it in each Canon EOS DSLR review, but the statement remains timeless. When you buy a Canon
DSLR, you are buying into an incredible family of lenses, flashes and other accessories. The camera
body (or multiple bodies as is more frequently the case today) is the base your system is built on and
a lens is the next essential piece of kit.
The Canon EOS 7D Mark II is available as a body-only or in a kit with the Canon EF-S 18-135mm
f/3.5-5.6 IS STM Lens. This lens, shown mounted on many of the product images on this page, is a
good value with a long focal length range and good support for video recording. DSLR camera image
quality is only as good as the weakest link in the imaging system and the weakest link is often the
lens. The quality of the lens makes a big difference in the image quality realized by any camera.
Review the Canon general purpose lens recommendations page to find the most up-to-date list of
best lens options. Then add, minimally, a telephoto zoom lens and a wide angle zoom lens to your kit.
The Canon EOS 7D Mark II is compatible with the small, inexpensive Canon wireless remotes
including the Canon RC-6 Wireless Remote. Want to be part of your own family picture? Or just don't
want to deal with a remote release cord? This is the accessory you want. The 7D II is also compatible
with Canon's N3 wired remotes including the Canon Timer Remote Controller TC-80N3 and Canon
Remote Switch RS-80N3.
Want more-complete remote control of your 7D II? Add the Wireless File Transmitter WFT-E7A
Version 2 as shown below.
The WFT-E7A mounts under the camera and plugs into the side port. Note that WIFI was not
featured on the Canon EOS 7D Mark II primarily due to the metal body construction's incompatibility
with this technology, but Eye-Fi cards are supported.
Browse the reviews section of the site to find many more compatible accessories including flash
systems, tripods & heads, cases, additional batteries and much more.
Price
When compared to Canon's other APS-C DSLRs, the 7D II has a very high price tag. But with the
features and capabilities of this camera, the 7D II is a bargain compared to cameras such as the 5D
III and especially the 1D X. I expect that this camera's great features-to-price ratio is going to drive a
huge sales volume and initial sales are supporting this expectation. Those not able to afford the 1D X
but needing high performance AF and high speed frame rates are going to find the 7D II the perfect
option.
Wrap Up
Keeping a review of the incredibly-feature-laden 7D II concise but complete is a difficult balance to
find and this review is not a complete description of every 7D II feature available. Canon has
published an intimidatingly-huge 548 page owner's manual (a link to the manual is be provided with
this review) that highlights all of the features found on this camera and explains their use. The
manual tells you all about a huge array of features including Auto Lighting Optimizer, Distortion
Correction, Chromatic Aberration Correction, Peripheral Illumination Correction, remote control via a
USB-connected computer, flash setup and control, High ISO Noise Reduction, Long Exposure Noise
Reduction, Highlight Tone Priority, HDR, Multiple Exposure ... and many, many other topics. Read the
manual, go use your camera, repeat.
Owning a Canon product gives you access to Canon support and the support provided by Canon's
USA division is excellent (sorry, I have no experience with the other Canon divisions). When I call for
support, I get an intelligent person who sincerely wants to help me with whatever my question or
problem is. Canon repair service, though I seldom need it, is fast and reliable. Those residing the USA
with a 7D II in their kit along with a nice lens or two will qualify Canon CPS membership and the
additional support benefits this membership provides.
The 7D II used for this review was ordered online/retail.
Alternatives
Is the EOS 7D II the right camera for you? The answer to this question is going to be yes for a
considerable volume of people. For someone considering the EOS 7D II purchase, the other current
EOS models that should be considered include the EOS 70D, EOS 5D Mark III and EOS 1D X.
I currently consider the Canon EOS 70D to be the best Canon general purpose DSLR available, but
the 7D II gets my pick for most professional camera per dollar. The 70D's primary advantages are
price (significantly lower) and the articulating Vari-angle LCD. Check out the Canon EOS 7D II vs. 70D
specification comparison to fully compare these cameras, but here are some of the 7D II vs. 70D
differentiators:
Dual DIGIC 6 processors vs. DIGIC 5+
65-point cross-type AF vs. 19-point cross-type AF
EV -3 - 18 AF working range vs. EV -0.5 - 18
Additional AF point selection options and AF Area lever
Next generation of Dual Pixel CMOS AF vs first generation
ISO 100-16000 with expansion to 51200 vs ISO 100-6400 with expansion to 12800
EV 0 20 exposure metering range vs. EV 1 20
150,000-pixel RGB+IR 252-zone metering sensor vs 63-zone RGB-only
100% 1.00x viewfinder vs. 98% 0.95x
More advanced viewfinder information provided
Higher shutter durability rating
Anti-Flicker mode
Improved EOS Scene Detection system
.MOV and .MP4 movie file formats vs. only .MOV
1080p video at 60 fps vs. 30 fps max
Dual memory cards vs. single
PC terminal vs. none
USB 3.0 vs USB 2.0
3 Custom modes vs 1
Accepts focusing screens vs. does not
More ruggedly built and better weather sealed

670 frame battery life rating vs. 920
70D has built-in WIFI
70D LCD has Vari-Angle and Touch features
70D has Special Scene modes
70D is slightly smaller and lighter
The 7D II's noticeably higher price ($600.00 USD at review time) is going to push many casual
photographers to choose the 70D.
Those looking for a small and/or less-expensive model should also consider at this time the Canon
EOS Rebel T5i and the Canon EOS Rebel SL1. These two cameras give up little in image quality, but
do give up features and performance.
Those looking for the ultimate pro sports/action camera are going to choose the Canon EOS 1D X.
Here is the Canon EOS 7D II vs. 1D X specification comparison. Price is the easy 7D II advantage, but
Dual Pixel CMOS AF and built-in GPS are among the additional 7D II advantages.
While the Canon EOS 5D Mark III will compete against the 7D II for a place in some kits, these two
cameras will also make excellent kit partners. The 5D III, with its higher resolution full frame sensor,
has better image quality especially in low light. The 5D III's frame rate is rather slow for
sports/action photography and for someone not specializing in photographing these events, it could
make sense to pull out a 7D II for situations needing speed. Here is the Canon EOS 7D II vs. 5D Mark
III specification comparison.
Summary
I expected that the 7D II would be greeted with high demand (and it was), but that prediction was
not hard to make. "Building on the class-leading performance of the iconic EOS 7D, and harnessing
technologies found in the flagship, professional EOS-1D X ..." [Canon UK], the Canon EOS 7D Mark II
is assured of ready acceptance by enthusiast and professional photographers.
My 70D is on the porch waiting for the brown truck as I write this. I sold it to B&H Photo's Used
Department to help fund the 7D II acquisition. Many 7D II features combined to sell me on this
upgrade, but standing out to me were the new AF system and the 1D X and 5D Mark III-similar
controls. Holding a 7D II is indeed like having a baby 1D X in your hand.
The 7D Mark II leaves no doubt about its rule of the Canon APS-C sensor lineup. With an advanced
and extremely capable AF system, fast burst rate, Dual Pixel AF and customizable Movie Servo AF,
the EOS 7D Mark II is going to find its way into a wide range of photographers kits where its use will
be either as a primary camera or secondary to an EOS 5D Mark III or 6D. Its speed-oriented feature
set is especially well-suited for wildlife and sports action photography, yet anyone wanting to step up
from an ***D/Rebel or **D series camera should seriously consider the 7D Mark II because of its
great versatility, solid ruggedness and excellent value.
Bringing you this site is my full time job (typically 60-80 hours per week). Thus, I depend solely on
the commissions received from you using the links on this site to make any purchase. I am grateful
for your support! - Bryan

Canon Review

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Canon Review

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CANON 7D MARK II REVIEW

3. Resolution: 5472 x 3648

Sensor Pixel Size

Viewfinder Type and

Buffer Size (RAW)

Native ISO Sensitivity

65-point all cross-type

19-point all cross-type

LCD Size and

3.0, 1,040,000 dots

3.0, 921,000 dots

3.2, 1,228,800 dots

Full Magnesium Alloy

Full Magnesium Alloy

670 shots (CIPA)

800 shots (CIPA)

950 shots (CIPA)

Weight (Body Only)

135.5 x 106.5 x 76mm

1. Overview and Specifications

3) Camera construction and handling

2. Camera Construction and Handling

4) Image Sensor, Dynamic Range and AF Performance

Samples-2-640x960.jpg" alt="Canon 7D Mark II Image Samples (2)" width="640" height="960"

3. Image Sensor, AF and Metering Performance

12) ISO Performance at low ISOs (ISO 100-800)

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-100-300x200.jpg" alt="Canon 7D Mark II ISO 100"

content/uploads/2015/01/Canon-7D-Mark-II-ISO-200-300x200.jpg" alt="Canon 7D Mark II ISO 200"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-400-300x200.jpg" alt="Canon 7D Mark II ISO 400"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-800-300x200.jpg" alt="Canon 7D Mark II ISO 800"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-1600-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-3200-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-6400-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-12800-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-16000-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-100-300x200.jpg" alt="Canon 7D Mark II ISO 100"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-100-300x200.jpg" alt="Nikon D7100 ISO 100"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-200-300x200.jpg" alt="Canon 7D Mark II ISO 200"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-200-300x200.jpg" alt="Nikon D7100 ISO 200"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-400-300x200.jpg" alt="Canon 7D Mark II ISO 400"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-400-300x200.jpg" alt="Nikon D7100 ISO 400"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-800-300x200.jpg" alt="Canon 7D Mark II ISO 800"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-800-300x200.jpg" alt="Nikon D7100 ISO 800"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-1600-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-1600-300x200.jpg" alt="Nikon D7100 ISO 1600"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-3200-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-3200-300x200.jpg" alt="Nikon D7100 ISO 3200"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-6400-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-6400-300x200.jpg" alt="Nikon D7100 ISO 6400"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-12800-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-12800-300x200.jpg" alt="Nikon D7100 ISO 12800"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-16000-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Nikon-D7100-ISO-25600-300x200.jpg" alt="Nikon D7100 ISO 25600"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-200-DS-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-200-300x200.jpg" alt="Fuji X-T1 ISO 200" width="300"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-400-DS-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-400-300x200.jpg" alt="Fuji X-T1 ISO 400" width="300"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-800-DS-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-800-300x200.jpg" alt="Fuji X-T1 ISO 800" width="300"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-1600-DS-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-1600-300x200.jpg" alt="Fuji X-T1 ISO 1600" width="300"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-3200-DS-300x200.jpg" alt="Canon 7D Mark II ISO

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Fuji-X-T1-ISO-3200-300x200.jpg" alt="Fuji X-T1 ISO 3200" width="300"

<img src="https://cdn.photographylife.com/wpcontent/uploads/2015/01/Canon-7D-Mark-II-ISO-6400-DS-300x200.jpg" alt="Canon 7D Mark II ISO