Canon EOS 6D Mark II | Dynamic Range Examination | 4K

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Hi, I'm Dustin Abbott and I'm here today to take a closer look at what has become kind of the hot
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topic item on the new 60 Mark II from Canon and that is of course the dynamic range issue. Now
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there's been a lot of controversy already with people claiming that the dynamic range is poorer
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than Canon's recent APS-C cameras, certainly much worse than the 5D Mark IV. But at the same time
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most of you come to me because I do my best to be as objective as possible and a little bit more
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balanced in my reporting, and I'm going to attempt to do the same thing here. Now, in this particular
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episode that you're watching, I'm doing the detailed breakdown, and we're going to look at
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detailed comparisons against the 80D and the 5D Mark IV. A lot of information, a lot of detail here
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to help you to decide this issue for yourself. If you would prefer the quicker overview
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I'd encourage you to take a look at this video here, where in this video, I'm going to give you more of an overview
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give you a few comparisons and my conclusions, and without all of the fine detail in between
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Now, if you want to continue in looking at the detail, what we're going to do is we're going to jump in
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and look at a set of real-world images. And I approach this not from some kind of lab
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where you're trying to do something extreme to kind of create a scenario where a camera can fail
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But I'm more interested in how it's going to perform in the type of shooting that I might do
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and the type of post-processing that I might do. And so we are going to push images a bit
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but we're going to do it in a real-world scenario. So let's jump in and let's take a look together
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So what we're going to do is run through the ISO settings and then I'll just quickly show you in the develop module
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what I'm going to do with these. And so we'll take a virtual copy here
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And so here you can see I'm using just basically three different sliders here
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Bringing down the exposure, highlights and shadows To see if I can create a balance result without any loss of detail anywhere
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And so at ISO 100 here with this scene No problem in recovering the sky
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I don't see any blown out hot spots here And of course we've got a lot of shadow information
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And so also no problem there Here is ISO 200 and then with similar steps to recover the sky
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Now, I'm not suggesting this is an end result. I'm more just looking at the practical real-world editing here
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Now at ISO 400 and you can see in the native image, the sky is completely blown out here
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And then we can recover. We've got a bit of a hot spot here that's starting to develop
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Moving on here, this would be ISO 800. And then here we can see that we've been able to actually recover fairly well here at ISO 800
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Okay, now at ISO 1600, we're moving up a little bit here
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But we can see that we're still able to expose and get a pretty balanced result here
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And as far as our actual noise, there's definitely some noise there in the shadows that we have pushed a fair bit here
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Particularly in this kind of darkest area But there's no question that we still have a very usable image here
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If we move on to ISO 3200 And then once again we are going to push things a little bit
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And you see we were able to recreate sky And so this is a pretty once again a pretty balanced in result
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However at the cost of some increased noise particularly in our deeply shadowed areas
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now finally we're going to go to ISO 6400 and this is as far as I took this particular series, you know, just kind of for practical purposes here and
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and so once again We were, as far as the dynamic range, we're able to get a pretty broad range of light here
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but at the cost now of some pretty heavy noise at ISO 6400
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So now we're going to see what happens when we begin to push it in either direction in terms of exposure value
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And so here we are going to move towards positive values and then try to recover sky, to recover highlights here
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And so here, you know, it's very easy because we've exposed really for the sky
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And so it's an easy job to recover it. If we go and just changing the EV mode, moving it up one stop
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Here we see that now we're starting to expose a little bit more of the shadow information
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And however, we are still able to recover the sky fairly effectively
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and and so certainly I would say at one stop you don't have a problem there
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moving on to two stops now you can see we're starting to see a pretty pronounced
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overexposure here and so let's see what we can do with this and so you know
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really not terrible for that degree of overexposure we've got you know
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obviously pretty clean shadows here because everything was exposed well for shadows and and surprisingly however we were able to get back a fair bit of the
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sky with just a few hot spots but not in any kind of ugly or obvious way now
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finally we push it three stops of overexposure and as you can see we really overexposed at this point and When we try to recover here we come up against the limitations of the camera
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And so you can see that a large portion of that sky is now
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It's just you can't recover any longer and so only the darker portions of the sky have remained
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So now we're going to push it the other direction here. And so we're going to go towards under exposure
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So here's underexposed by one stop and and so obviously our sky fair is fine here because we're exposing more for highlights
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So we can definitely see a little bit more noise in the shadows than what we did when we were exposing going the opposite direction and
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here is underexposed by two stops and Again, of course no problem to you know to get sky. There's lots of sky to deal with there
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but as we play with our shadows here we can certainly see that you know we've dialed back
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in that two stops of exposure and so we see we can recover shadows um you know quite completely
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but at the cost of a lot fair bit of increased noise here and finally if we move up a third
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so this is now this is under exposed by three stops so once again of course we've got plenty
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of latitude in the sky. The sky is now, you know, very well exposed for, but here in the shadows
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you can see that it comes at a pretty high magenta cast cost here of recovering those shadows and
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also a pretty coarse grain result here. And so bottom line is that if you're underexposed or
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overexposed a stop, stop and a half in either direction, even two stops, I think you can recover
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images. But anything beyond that, both in overexposure or underexposure, you're going to pay a
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pretty serious cost in either a completely blown out sky. And we'll just, we'll set those side by
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side to show you the two extremes here. And so, you know, here we have the result of pushing three
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stops of underexposure and so pretty high magenta you know kind of shading here tends that has come
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to it and so you can see the original you know where we've overexposed and are exposed for the
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shadows here that's a pretty huge difference right there and then however if we look up here in the
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sky we see you know the opposite result that we have lost at three stops we have lost all of this
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sky information and and so we have just kind of a blown out mess there unfortunately at higher isos
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and you're seeing the symptom of that there that there is a fair bit of noise that comes into play
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here now here at this is iso 6400 in the kind of darker shadow area here there's a little bit of
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magenta color cast but watch as we stop down to 25,600 you see how much more that magenta cast
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has come into play and then pushing the limited ISO 40,000 here you can see there is a really
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strong magenta cast that enters into and here in our shadows it's it's very pronounced and of course
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the noise pattern has become quite coarse there so we're not dealing with this in a vacuum so I
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thought you might take a look at let's say the Canon 5D Mark IV and so similar kind of series
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here and so here we're starting at a base exposure of ISO 100 and of course you know no problem
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shadows highlights and a you know a clean result everywhere 5D Mark IV has a great sensor and so
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you know we've got good shadow information there so now we're going to start to push it I've jumped
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ahead here to the two stop exposure and so you can see here that you know we're able to because
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it's you know we're exposing for the building here and and so everything's clean there but as far as
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the sky goes everything is as it should be we've got obviously we've got a lot of latitude to play
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with with that and then here in the shadows we've got a lot of information there as well
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Now, if we go a little bit further in our exposure, and so now we're down to the three-stop exposure, and so we can see pushing ahead that we do have some hot spots here. There's not a 100% ability to recover that sky, and if you push it in either direction, you start to get a little bit of weirdness up there
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And so, you know, and then shadow information, there's lots of shadows are not a problem here, but definitely our highlights as we brought that back down three stops. It's clearly a lot better than the 6D Mark II in terms of a lot more sky has been preserved, but at the same time, you're going to have similar type issues there. It's just, you know, it's less pronounced with the 5D Mark IV because of its superior dynamic range
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Now here, if we start to go towards negative values, and so here is dialing in 1, so a 1 recovery, you can see there is a little bit of noise here in the shadows, a little bit here, but it's definitely in a very easily tolerable range, and sky information, of course, is great, and just to give you an idea of how much you've got to play with there
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And I'm really looking at this more from a processing perspective, kind of a real world
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And so here pushing it or bringing it down underexposed two stops And so now we added in two stops we pulled the shadows up a lot so again highlights you know no lack of information there shadows we going we can go
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from completely crushed to bringing those up fairly strong still and you know there is some increased
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noise here but still a very clean result not really loss of detail and most importantly i think
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there's not really a lot of color banding information that's been introduced now we'll
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We'll push it to the extreme here. This is the three-stop under exposure
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We can see here obviously a superior result on this end for sure
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And so the 5D Mark IV does a much better job in recovering shadows without getting
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a huge amount of color cast. Not to say that there isn't any magenta cast there
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There's maybe a little bit of magenta and I would say that there's a little bit
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of some green banding, cyan banding that's there. But here if we compare the results of recovering this image at three stops
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you can see there's a huge, huge difference in the just, well, everything
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Quality of the color that is retained and there's a lot of color cast that is there on the 6D Mark II image
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that, frankly, just isn't there on the 5D Mark IV. And it's a huge difference
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There's no doubt about it and recovering it from underexposure. So pushing shadows, I think, is actually probably a bigger difference than pushing highlights with the 5D Mark IV
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So just to give you an idea, as we push up a little bit more with the 5D Mark IV
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here is the difference between ISO 800 here. And so, no problem. That's nice and clean in terms of recovery
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Moving up to ISO, this is just jumping right up to ISO 6400 here
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So we're at our upper limit of where we were before. And here's our recovery here
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And so we can see if we take a look here that just the amount of grain or noise here, it's certainly there
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So here if we stick the two ISO 6400 result recoveries side by side
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we can see that the you know there is a difference there there's certainly a you know there's the
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the shadows are darker and you know there's just nicer contrast here the grain is a little less
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pronounced here but at the same time it is i wouldn't call these results hugely different
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looking at them globally i do favor that from the 5d mark 4 but um it's not a massive difference
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there. So just for the fun of it, let's do some of the similar things here with the ADD, which a
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lot of people are saying that the dynamic range is not even as good as APS-C. So let's take a look
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and find out. ADD was a huge step forward for Canon when it comes to dynamic range. And so here
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if we're recovering at basic base ISO, no problem there. Nice, clean looking result
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So if we start to overexpose here, so we're going to bring it back down
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So we've overexposed a stop. We're going to bring it back down. And we're looking mostly at sky here
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Sky recovery is clean. Bumping it up now to a two stop of overexposure
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And we can see once again, I would say that none of those look like hot spots
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That looks fairly natural. This part is trending toward it maybe. Now the three stop overexposure
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here we see the a similar kind of limitation to the 6D Mark II and so here
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is is one of these worse than the other in terms of recovering here and you know
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if anything the the 6D was at a bit of a disadvantage in that it metered and
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exposed just a a little bit brighter than what the the ADD did and so neither one
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of these results are really all that fabulous and I don't know that they're
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really all that much different now if we run the other way and we start to go
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down stops of under exposure here bringing it back up two stops taking a
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look here you know to stop recovery I would say you know no big deal here I
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mean there's definitely some increased noise patterning there but it doesn't look too bad and the image recovers fine if we move up to a three-stop
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under exposure I got a really weird result here where I actually got a
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banding a magenta banding that came in kind of a clear line something I've not
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seen before then again I'm not in the habit of you know having to recover I'm
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a good photographer and so I'm not having to recover terribly like
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underexposed or overexposed images but I would say that here I'm not crazy about
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the result here for the obvious reason that we've introduced a defect here an
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artifact as a part of that process now just moving ahead looking at iso 800 here and and so once again
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we'll just take a quicker look we see it iso 800 you know there's some noise there but it's nice and
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clean it's not blown apart 6400 this is kind of just jumping right to and here we're going to see
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i would say something that is a little bit more akin to the result we got from the 60 mark ii
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just that there is a little bit of a color cast that's been introduced
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certainly not a strong magenta. And maybe detail has held up a little bit more
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We'll put them side by side and take a quick look at that
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So putting these two results side by side where we had to push shadows I would say here that the 6D2 sensor is a little bit superior to me I think
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that it's just kind of held up a little bit better. There's a little bit more heavier grain
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noise in the 80D's image. And just looking at the image globally, this looks like a higher ISO
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shot than what does on the 62. So of course the superior full frame, that's one of the advantages
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for full frame. So for my final image here, I just wanted to shoot kind of a typical backyard type
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scene. And so exact same settings, just to kind of show you the different way that both these
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cameras handle this exact same lens. I used the new 24-70 art lens from Sigma, mounted on both of
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them. And so you can see up here in the corner, there was a little bit of sun that leaked through
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and leaked through a little bit more prominently on the framing of the 60 shot. But all of that
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aside, we won't look at this so much. We're going to look at the, looking here in the shadow area
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we can see definitely there's been a little bit more detail that's resolved by the 5D Mark IV
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But more importantly, we're looking at dynamic range here. And so as you can see, the shadows are darker and the bright points are just a little bit better handled by the 5D Mark IV
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Now, at the same time, they're not hugely different. And so for the fun of it, we'll just use the sliders and try to pull them both up
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So here what I've done is I've brought the shadows up 100% on the slider and brought down the highlights about 55% here
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And so obviously there's not a lot of clouds. It's just a blue sky to recover there
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But we can see that there's a little bit, you know, the highlights have brought down a little bit more darkness on the 5D Mark IV
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and looking in kind of like this area here, you can just see that it's produced a cleaner result in pushing those shadows
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There's some noise that's been introduced. The contrast has remained really great on the 5D Mark IV sensor
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And then if we look at, you know, kind of this dappled area of light
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we see once again, here's the difference, even with things pushed, that there's just a little bit better contrast that has been retained by the 5D Mark IV
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And so in real world processing, I would say that processing 5D Mark IV images is a little bit more satisfying in the end result that you can produce
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So as you can see, the conclusions are a bit of a mixed bag
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When it comes to saying that the dynamic range is poorer than, say, the Canon 80D APS-C camera
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I don't know that that's necessarily true, at least in any kind of real usable sense
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I think that when it comes to processing images, that the 6D Mark II is no poorer than what it is for the Canon 80D
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and in fact, at higher ISO settings, I would say that I prefer the Canon 6D Mark II, mostly because of the nature of full frame
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That being said, there certainly are some disappointing trends there when you look at it compared with the 5D Mark IV
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and of course having owned a couple of Canon original 6Ds for a number of years
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I can say that there are also a few points that I would consider regression there
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Maybe not so much in dynamic range, but more in the areas, say, when you move into higher ISO settings
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where there is more tendency towards a magenta color cast, whereas the original 6D was quite remarkable in that you could push it to the very limits of its range
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or at least its normal range of ISO 25600 and really retained fairly clean results
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Certainly not with a lot of introduction of any kind of color artifacts or color banding
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And that's really just not true with the 6D Mark II. And while they took the native range up past that of the 5D Mark IV
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in this case I wouldn't say that it's necessarily justified because certainly at equivalent ISO settings, the 5D Mark IV delivers cleaner settings
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And I would say even at equivalent settings, the original 6D delivers slightly cleaner results
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Although at an actual noise level of the pixels, I would say that they are roughly equal
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particularly when you downsample the larger image, 26.3 megapixel compared to the 20 megapixel image from the original 6D
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So bottom line is that if you shoot as I do within kind of typical tolerances in most scenarios, I think the dynamic range is good enough
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Other than on paper, it is good enough for actual real world use
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However, I don't like the processed results as well as I do the 5D Mark IV
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But now that you've absorbed a lot of this information for yourself, you can make a determination as for your own buying choice whether or not the image quality and particularly the dynamic range is good enough for you on the new 16 Mark II
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I'm Dustin Abbott and if you look in the description down below you can become one of my patrons in my patreon account
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You can follow me on social media and of course if you haven't already you can start checking out the
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Image gallery and looking at the images that i'm taking on an ongoing basis with the 60 mark ii in a variety of lenses
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If you haven't already, please click that subscribe button. Thanks for watching. Have a great day
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Thank you

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Canon EOS 6D Mark II | Dynamic Range Examination | 4K

Dustin Abbott