A semi-pro mirrorless camera tuned for action photos
Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.
The Canon EOS R7 brings the heat to competing APS-C cameras with its fast and accurate autofocus and flexible video tools, making it a fine choice for photographers and videographers alike.
The Canon EOS R7 ($1,499, body only) is the spiritual successor to the company's well-regarded and long-running sports-and-wildlife specialist, the EOS 7D Mark II. The R7 swaps an optical viewfinder for an EVF, expands autofocus coverage across the entire frame, and boosts its accuracy with intelligent subject recognition for people, animals, and vehicles. A high-resolution sensor with 5-axis IBIS and support for 4K60 video rounds out its feature set. Although its image sensor doesn't wow us like the high-end EOS R3, from which the R7 derives its autofocus acumen, nearly everything else about the camera does; it's the model to get if you've been waiting for a mirrorless update to the 7D Mark II. In light of all its strengths, the R7 displaces the Fujifilm X-T4 as our Editors' Choice winner in the premium crop-sensor class.
Canon's EOS R system started with full-frame models, but the company recently expanded into the APS-C space with the more consumer-friendly EOS R10 and R7. The smaller sensor supports lighter lenses—two zoom lenses, the RF-S 18-45mm F4.5-6.3 IS STM and the RF-S 18-150mm F3.5-6.3 IS STM, launched alongside them—and retains compatibility with full-frame RF lenses. You can also use legacy EF and EF-S SLR lenses via an adapter.
The EOS R7 sports all the hallmarks of an enthusiast camera, with a dust-and-moisture protected chassis that uses a mix of magnesium alloy and engineering-grade plastic. You also get plenty of on-body controls, dual memory card slots, and a fast burst rate for action photography.
The R7 is an average-sized enthusiast camera at about 3.6 by 5.2 by 3.6 inches (HWD) and 1.3 pounds without a lens. The Fuji XT-4 weighs the same, but is slightly slimmer (3.7 by 5.3 by 2.5 inches) because its designers made the handgrip less ample than on the Canon. We prefer the R7 here; the deeper grip is a perfect match for the heftier telephoto lenses many enthusiast photogs will use with the camera.
There are a few alternatives to consider in the space. Canon's best-known rival, Nikon, doesn't make a similar mirrorless camera, but the Fujifilm X-T4, Sony a6600, and OM System OM-1 are all natural competitors with stabilized image sensors, snappy autofocus, and similar durability.
Canon markets the EOS R7 as body-only. but you can also buy it in a bundle along with the RF-S 18-150mm F3.5-6.3 IS STM ($1,899). It's a good lens for starting out, though it does not feature weather protection like the camera. We expect more R7 customers to shop for weather-sealed L series lenses, especially for telephoto work. I tried the camera with several and leaned on the RF 100-500mm L for wildlife, in particular.
The RF lens line is still a work in progress, but Canon offers several full-frame lenses that make loads of sense for EOS R7 customers. We expect many to look at lenses like the RF 100-500mm, RF 70-200mm F2.8, and RF 14-35mm F4 L. There are also high-end telephoto primes for wildlife specialists, macro lenses for nature and studio work, and extra-bright F1.2 primes for portrait and shallow depth-of-field images.
We're pretty happy with the state of the RF lens system because there are affordable options for both creators on a budget and pro glass for working photographers. And, if you're already invested in the Canon EOS SLR system, you can use EF lenses via an adapter. Speedlite flashes work just like on your current camera, too.
What's missing is support from the major third-party lens makers: Sigma and Tamron. The two companies are making superb lenses for Sony, Fujifilm, and L-Mount cameras, but not for the EOS R platform. A spattering of third parties, such as Venus Laowa, 7artisans, and Meyer-Optik Gorlitz, make boutique manual focus lenses, including macro and cinema specialty glass, however.
The R7 is a mirrorless camera, but it takes design cues from SLRs, centering its viewfinder behind the lens mount. If you prefer a rangefinder-style camera with a corner viewfinder, the Sony a6600 and Fujifilm X-Pro3 are options, though you may have to look on the used market because both are out of stock at press time.
I don't mind a corner EVF for slimmer lenses, but telezooms and hefty F1.2 primes in Canon's RF lineup are a better match for the R7's centered finder and sizable handgrip. I tried the camera with a few bigger lenses and enjoyed the experience. One note: There was only a little bit of clearance between the barrel of the RF 100-500mm and my fingers when I tried that lens. You may feel a little cramped if you have big hands or are wearing gloves while you handle larger lenses.
Canon puts the AF/MF toggle in between the grip and mount. A slim top plate houses all of the controls on the right side and omits any type of information display panel. That said, few models in this price range have one—the Fujifilm X-H2S is an exception but it's also a lot more expensive at $2,499.
Top plate and rear controls favor the right side of the body. I'm happy to see this extend to the power switch, a control that sits on the left-hand portion of the body on other models like the EOS R5. The right-hand position makes it easier to turn the camera on as you bring it up to your eye in one motion. It's not quite an ideal implementation, however.
The power switch has a three-stage design, with Off, On, and Movie positions. I often knocked the camera into movie mode when I meant to take stills; it's a little too easy to move it over two clicks instead of one. I would have preferred a simple On/Off toggle and a separate control to switch the R7 into video mode.
Aside from that, the top plate is standard fare for a Canon camera. The shutter release is off by its lonesome at the top of the handgrip, set at a slight, ergonomically sound angle. It's backed by the multi-function (M.Fn) button, front command dial, Record button to start and stop video, and an ISO control button.
The top plate also houses the Mode dial and a Lock button that prevents unintended changes to exposure settings. The control lock is a welcome option for sports and events photogs who may have exposure settings locked in for a specific situation. Surprisingly, the Mode dial does not have any sort of lock button, so make sure to check that you didn't inadvertently change modes before you start a photo session.
The rear controls take a similar right-side biased approach, except for the Menu button; it sits alone in the top left corner. The R7 puts the buttons you typically use when making images in the expected place for longtime Canon owners—the exposure lock (*) and focus area select buttons are on the raised ridge that forms the rear thumb rest, while the AF-ON button is nearby. A four-way directional controller, the Q overlay menu access button, and sundries (Delete, Info, and Play) sit below.
Although most of the R7's controls are familiar, Canon's design team opted to try something new with the rear command dial. Instead of putting it on the rear by itself, as it is on other Canons like the EOS 7D Mark II, 90D, and mirrorless R5, the company integrated the dial with the eight-way joystick you use to set the active area of autofocus. It's a concept that makes sense—the rear wheel is the easiest way to dial in EV compensation in shutter (Tv) or aperture (Av) priority modes, as well as adjust the shutter in Manual mode—and I like its easy access. I find EV compensation to be an invaluable tool to nail exposure when I work with backlit or other tricky conditions, and mirrorless cameras have the additional benefit of showing a preview of the exposure in the viewfinder.
Some have complained that the wheel-and-joystick combination is a little clumsy and leads to unwanted nudges to EV. I didn't find this to be a real problem; there's enough room for my thumb to adjust the focus joystick without jostling the surrounding wheel. However, photographers with larger hands may feel differently and it's a potential concern for use in cold weather with gloves. I tried my go-to Carhartt touch-sensitive gloves with the R7 and had a harder time making discrete adjustments to focus or EV. That said, I often fumble with the finer points of camera control when wearing heavier gloves, but that's a trade-off I'll take for warm hands.
Canon isn't averse to trying new control surfaces on flagship products, sometimes to its detriment, as was the case with the maligned Touch Bar from the original EOS R. I'm generally more positive on the melding of the focus joystick and control wheel because I really appreciated having both right under my thumb and didn't find them to be too cramped, gloves notwithstanding. I can see it being a love-it-or-hate-it design choice, though.
If there's a complaint here it's more about inconsistency from model to model; the EOS R10, which debuted at the same time, puts its secondary dial on the top plate, in a similar position to the EOS R3, R5, and R6. This is more of a concern for pros who may carry both an R7 and a full-frame camera.
Like most mirrorless cameras, the R7 has both a rear LCD and an eye-level electronic viewfinder (EVF). The LCD is 3 inches across, sports a very sharp 1.6-million-dot resolution, and offers excellent viewing angles and adjustable brightness for outdoor viewing. The hinge-mounted screen swings out to the side and faces forward for vlogging and selfies, though full-time EVF fans can turn it around and hide it away so it doesn't distract from photography.
All of Canon's current-generation EOS R cameras use a vari-angle display. This design is useful for hybrid creators (videographers can monitor footage from in front of or behind the lens), tripod work, and photos at off-kilter angles. However, if you like to make images of architecture, landscapes, or other subjects in which keeping the camera plum and parallel to your subject is paramount, you may prefer a camera with a simpler, tilt-down display, such as the Fujifilm X-T30 II and Sony a6400.
The eye-level viewfinder is capable, but not quite a standout. The OLED panel shows faithful color and refreshes smoothly at either 60 or 120fps. Picture quality is the same at either setting, but the 120fps option drains the battery more quickly. As for size, the 0.71x magnification and 2.36-million-dot resolution lag behind the best-in-class Fuji X-T4 EVF (0.75x, 3.69 million dots), but the difference is not huge in practice. We've yet to see a truly game-changing EVF, like the one in the $6,500 Sony a1 (0.9x, 9.4 million dots), in this class of camera.
An LP-EN6NH battery, the latest edition of the long-running LP-EN6, powers the EOS R7. The EN6NH supports in-camera charging via USB-C and should power the R7 for 660 images using the LCD and 380 using the EVF. You can use the previous-generation LP-EN6N, and the original LP-EN6 works too, but at the expense of fewer shots per charge and no in-camera charging, respectively. Generally speaking, mirrorless cameras are more power-hungry than SLRs; the EOS 7D Mark II has an official rating of 670 photos with an LP-EN6 battery.
A CIPA rating is a good benchmark for comparing the R7 against other cameras but isn't always indicative of real-world results. You can get far more photos per charge if you lean on the 15 or 30fps burst capture modes. On the other hand, recording a lot of 4K footage and using the in-camera Wi-Fi to send photos to your smartphone will cut it. Compared with similar models, the R7's battery life is a bit below average; the Fujifilm X-T4 is rated for 500 LCD/500 EVF shots per charge, and although it's not currently available at retail, the Sony a6600 remains the class leader with an 810/720-shot battery rating.
In practice, I never worried about battery life while testing the R7; I topped off the battery after studio sessions and charged it about once a week to keep it going for daily photo walks. If you're a heavy volume photographer or tend to use your camera for all-day outings, a spare battery is a good idea. On-the-go charging is also available via USB-C. You get a wall charger in the box, too.
Onboard Wi-Fi and Bluetooth radios are notable upgrades from the 7D Mark II, one of the final SLRs released without integrated smartphone connectivity. The EOS R7 works with the Canon Camera Connect app which lets you copy photos over to your phone or tablet for editing and sharing, as well as to use your phone as a remote control and viewfinder. The camera also talks directly to Canon printers, can upload photos to the image.canon(Opens in a new window) cloud service, and works with Bluetooth remote shutter releases, but we didn't test those features.
Both of the camera's memory card slots support the speediest type of SD, UHS-II SDXC. Dual slots are handy for pros who want to make a real-time backup of images—memory cards can fail, after all. And because both slots support UHS-II cards, there's no slowdown or bottleneck in the write process. It is a little surprising that Canon went with this arrangement, but it means EOS R7 owners won't have to invest in pricey CFexpress cards to take advantage of all of the camera's features, a necessary step with higher-end models like the EOS R3 and R5.
Wired connections are positioned on the left side: a micro HDMI port, a USB-C port, a 3.5mm microphone port, a 3.5mm headphone jack, and a 2.5mm wired remote port. We're a little disappointed to see the micro HDMI connection here; vloggers who rely on external recorders for higher-quality video codecs can attest to its poor durability. That said, no in-class competitors offer a full-sized HDMI port.
Canon has totally dropped the PC Sync connection from the R7, a choice that might surprise veteran photographers who still rely on wired sync cables to fire off-camera lights. But for creators who've swapped over to wireless TTL monolights from brands like Profoto, Godox, and Flashpoint, there's no loss. Unlike the more consumer-friendly EOS R10, the R7 does not have an in-body flash.
Creators who livestream will also appreciate the ability to use the R7 as a webcam. It works with the Canon Webcam Utility (available for macOS and Windows), plus can send video to OBS for streaming or apps like Google Meet and Zoom for meetings.
Canon's SLRs were lauded for their autofocus, with the 7D series slotting in as the best pick for action photography and subject tracking at the time of its release. Mirrorless cameras have an inherent advantage when it comes to autofocus, though, and an exceptional focus system drives the EOS R7, one that derives its tracking intelligence and subject recognition from the company's speediest high-end model, the EOS R3.
The two cameras operate differently on a technical level, however. The R3 uses a Stacked CMOS sensor for silent, blackout-free capture at 30fps with tracking performance you expect from a $6,000 camera body. The EOS R7 also supports silent capture at 30fps, but the electronic shutter readout from its basic CMOS imager isn't as suitable for freezing subjects in motion, so its quickest burst rate isn't ideal for every situation. The 15fps mechanical shutter, on the other hand, freezes subjects in motion, can fire at 1/8,000-second, and syncs with strobes for exposures as short as 1/320-second.
Canon eschews the typical masked phase pixel approach to focus, instead relying on its proprietary Dual Pixel AF system, an approach that splits each pixel into two halves for phase detection. It's a reliable and speedy focus system that has benefited from refinements over its several generations. With the EOS R7, the focus spread covers the entire height of the sensor and nearly its full width. It works effectively in practice and is quick enough to support AI Servo focus tracking at up to 30fps (e-shutter) or 15fps (mechanical shutter).
Speed is one thing, but it does you no good if pictures aren't in focus. Thankfully, the EOS R7 is fantastic about keeping subjects in focus. Its tracking system has discrete subject recognition modes for people, animals, and motorsport vehicles, and, generally speaking, can pick out and track subjects based on their shape and color. Subject recognition is effective in practice. The EOS R7 jumps right to the faces and eyes of people and wildlife, including dogs, deer, cats, and even birds partially obscured by branches. Focus locked on reliably in all kinds of light, including difficult backlit situations. You must select a subject type manually, but it's easy to switch modes via the on-screen Q touch menu and check the current mode via an on-screen icon (person, cat, or car).
The focus system is tunable, too, and supports Canon's useful Case modes. The four preset Cases are suitable for different types of action, for example, when you want to stick with a single subject despite obstructions or when you want the camera to prioritize subjects closer to the lens. You can pick a Case setting manually or let the R7 choose. I didn't find it necessary to get that granular with focus control, but specialists should appreciate the customizability.
I tested the R7's buffer with a 64GB Sony Tough SDXC UHS-II card rated for 299MBps write speeds. The camera manages about 30 images per burst if you use Raw or around 40 for C-Raw, regardless of whether you use the 15 or 30fps drive mode. If you're working in JPG, you can get more photos at 15fps (70 exposures) than at 30fps (50 exposures). With a fast memory card, it doesn't take too long for the buffer to clear fully to the card (between about 6 and 12 seconds), and you can start making images again as soon as it clears.
Overall, the autofocus system is best-in-class, with subject recognition and tracking that are a cut above what you get with the Fujifilm X-T4 or Sony a6600.
We would have liked an e-shutter that's a bit better for freezing action shots, but the 30fps option is workable for many subjects and 15fps is there if you're photographing sports with high-speed subject motion—think tennis balls coming off of the racket or a golf swing.
I used the e-shutter exclusively for a hike with the R7 and found it to be perfectly usable for birds in branches, landscape scenes, and similar subjects without worry. I caution against using it handheld with long lenses; although I had no problems with the RF 70-200mm at its 200mm setting, I noticed some distended tree branches in scenes made at close distance with a 400mm prime, no doubt due to jostling the camera during exposure. For long lenses, the mechanical shutter is a safer choice for preventing motion artifacts.
The EOS R7 is the first APS-C model from Canon to include a 5-axis stabilized image sensor. It's a useful addition that we've come to appreciate (or even rely on) from other camera makers. The most recent spate of full-frame Canon models, including the R3, R5, and R6, all include 5-axis IBIS as well.
Putting the onus of stabilization on the sensor is a real benefit for wide and standard lenses, and is a plus for handheld video too (more on that in a bit). Many Canon RF lenses also include optical stabilization and work in conjunction with the stabilized sensor for up to seven stops of compensation. In practice, I was able to make sharp handheld images at speeds of as long as 1 second and consistently good results at 1/2-second. I didn't have an XT-4 on-hand to test side-by-side but, from my impressions of the Fuji, the IBIS here seems at least as competent.
Canon says the sensor is a new version of the 32.5MP CMOS imager from the EOS 90D and M6 Mark II. Although there may be technical differences, the real-world differential is not obvious. The R7 covers the same ISO 100-51200 sensitivity, and both Raw and JPG images hold up to scrutiny. JPG photos show excellent detail and color through ISO 3200, and capture good results through ISO 12800. Raw is there if you prefer more texture and fine detail in dim light, though it introduces some grain.
The R7 puts more pixels on the chip than the Fujifilm X-T4 and offers competitive noise and detail performance through ISO 6400, despite not using a BSI CMOS chip like the X-T4's 24MP one. For Raw test images, Fujifilm has a slight edge at ISO 12800-25600, but neither camera delivers professional results at ISO 51200. That shouldn't be a problem for most applications, as the ISO 51200 is available only when you set it manually—the R7's Auto ISO does not go above ISO 32000.
It's not necessarily a bad thing that results from the EOS R7 are in line with models that are now a few years stale. The camera market hasn't leaped forward in terms of high ISO performance and the X-T4's advantages at high ISOs are slight.
In practice, the real hindrance of Canon's choice to stick with a vanilla CMOS imager, rather than a newer-generation BSI or Stacked design, is the sensor's readout speed. It's not quite good enough to freeze subjects in action, so you can't rely on its silent, fully electronic shutter for every situation. It's important to remember the EOS R7 is a $1,500 camera. The most affordable Stacked CMOS cameras with similar capabilities are the OM System OM-1 ($2,199) and Fujifilm X-H2S ($2,499).
The R7 still offers some distinct advantages over the M6 Mark II and 90D, however. For instance, the EOS R7 can snap HDR photos using the HEIF file format as an alternative option to JPG capture. In-camera Raw processing is an option too, which means you apply a creative look to a photo after capture, assuming you turn on Raw capture first.
As with other Canon cameras, this model does not include a high-res multi-shot mode. But it does offer an in-camera, multiple-exposure mode (such as for film double exposures) as well as a bracketing one for macro work, which first appeared on the EOS RP.
You can also edit Raw images using desktop or tablet apps. PCMag relies on Adobe Lightroom Classic to evaluate images for camera reviews. After I imported my R7 photos to Lightroom, I enjoyed ample editing flexibility to pull in highlights, open shadows, and fine-tune color and white balance to taste.
The EOS R7 boasts an impressive set of video specs. It supports full-width 4K60 recording with several built-in looks, including standard, black-and-white, and vivid options. You can swap to C.Log3 for neutral, low-contrast footage suitable for color correction, or to an HDR profile for delivery to Rec.2020 displays. For slow-motion, 1080p120 is an option.
Video is 10-bit 4:2:2, so you have some flexibility when editing C.Log3 footage, and several bit rates are available, though everything is HEVC. We've seen ProRes recording on higher-end models like the Panasonic GH6 and Fujifilm X-H2S, but it's not an option here. If you want to use an external recorder, the micro HDMI port sends out a clean 10-bit 4:2:2 signal.
The footage looks good and the quality holds up to color correction. With Canon's LUT applied, the color-corrected footage shows wider, more dynamic range than the R7's standard color profile, even without any additional editing. Handheld work is boosted by the stabilized sensor; I found it effective for wide lenses and workable for telephoto lenses, too. It's a bit much to ask it to deliver perfectly smooth results for walk-and-talk videos, at least without a digital boost. A slightly cropped digital mode aids the IBIS system and is useful if you're seeing some jumpiness in handheld video. You can see it in action below, along with a comparison with the R7 on the DJI RS3 gimbal.
Autofocus works well, though not quite as perfectly as with stills. In most situations the R7 did a good job finding a subject—the same recognition modes for stills make their way into the video toolkit. But I noticed some focus drift when recording vlog-style videos, most often when the light shifted from bright to shady. The R7 does not include a limiter to reduce flutter for vloggers who present to the camera.
The in-camera mic is adequate for quick clips, but not up to snuff for professional use. We've seen a couple of ILCs with high-quality built-in mics (the Nikon Z 30 and Sony ZV-E10), but they are video-first designs without EVFs. The R7 supports external microphones via a standard 3.5mm input and has a 3.5mm headphone port for monitoring.
The Canon EOS R system is a return to form for the company that stumbled out of the gate with its move from SLRs to mirrorless. Our favorite cameras in the lineup have been expensive, full-frame models thus far. At around $1,500, no one will accuse the EOS R7 of being entry-level, but it's certainly an easier pill to swallow than the EOS R6 at $2,499.
The R7 is a different type of camera, though, with a pixel-rich APS-C sensor that gets more reach out of telephoto lenses than any other R camera. The autofocus system is the real star here and makes the R7 an excellent fit for wildlife and sports specialists who want a camera that focuses with accuracy, speed, and acumen. We wish the e-shutter was a little more usable for action, but that's the only real knock there.
Otherwise, the R7's CMOS sensor is competitive with the Fujifilm X-T4's BSI CMOS imager, delivering more pixels at the expense of a bit more noise. We're also happy to see 10-bit 4:2:2 recording and a stabilized sensor.
Put it all together and you can see why we're naming the Canon EOS R7 our new Editors' Choice winner in this class. It competes with (and betters) many types of enthusiast-geared mirrorless cameras, including video specialists like the Panasonic GH5 II and the rangefinder-style Fujifilm X-Pro3. Another Fuji camera, the X-T4, is the closest in form and function to the EOS R7, and our most recent Editors' Choice in this category. We like the EOS R7 a bit better; its autofocus is a couple of steps beyond the X-T4, for instance, something that really matters for use with long lenses and subjects that aren't posing for photos.
The Canon EOS R7 brings the heat to competing APS-C cameras with its fast and accurate autofocus and flexible video tools, making it a fine choice for photographers and videographers alike.
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Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.
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