Canon EOS-1D X Mark II
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| Canon EOS-1D X Mark II | |
|---|---|
 Harrison Jones · CC BY-SA 4.0 · source | |
| Name | Canon EOS-1D X Mark II |
| Maker | Canon Inc. |
| Type | Digital single-lens reflex camera |
| Sensor | Full-frame CMOS |
| Announced | 2016 |
| Lens mount | Canon EF |
| Storage | CF, CFast |
| Release date | 2016 |
Canon EOS-1D X Mark II
Introduction
The Canon EOS-1D X Mark II is a professional Canon Inc. digital single-lens reflex introduced in 2016 and succeeded by later Canon EOS-1D X Mark III models; it sits in a lineage including the Canon EOS-1D X and earlier Canon EOS-1D Mark IV, serving sports, news, and wildlife photographers covering events like the Olympic Games, FIFA World Cup, and Super Bowl. It was unveiled amid competition from rivals such as Nikon Corporation's Nikon D5 and mirrorless contenders from Sony Corporation including the Sony Alpha 9, appealing to photographers working for outlets like Associated Press, Reuters, Agence France-Presse, and Getty Images.
Features and Specifications
The camera features a 20.2-megapixel full-frame CMOS sensor paired with a dual DIGIC 6+ processor, enabling up to 14 fps continuous shooting with full AF/AE tracking, a specification compared to Canon EOS-1D Mark III and strategic rivals like Nikon D4S; storage accommodates CompactFlash and CFast cards. It offers ISO sensitivity from 100 to 51200 expandable to 50–409600, dynamic range performance assessed alongside sensors in models from Sony Alpha 7R II and Nikon D810, and metering systems evaluated in reference to standards set by X-rite calibration practices. Connectivity includes GPS integration, Ethernet for newsroom workflows like those at BBC News and CNN, and compatibility with accessories from third-party makers such as Profoto, Sachtler, and Rode.
Design and Build
The magnesium-alloy body, weather-sealed to professional standards familiar to users of Nikon D5 and Pentax K-1, incorporates a large optical viewfinder derived from the Canon EOS-1D X lineage and ergonomic controls favored by staff photographers at organizations like The New York Times and The Washington Post. Buttons and dials echo design language seen in Canon EOS 5D Mark IV while robust construction compares to Leica M10 and military-grade equipment used by photojournalists in conflict zones such as Aleppo and Donetsk.
Image Quality and Performance
Output from the sensor emphasizes color science associated with Canon Inc. and is often compared to skin tone rendering in Fujifilm X-T2 and high-ISO performance seen in Sony Alpha 7S II. Laboratory testing by institutions like DxOMark and publications such as Digital Camera World and DPReview measured dynamic range, noise, and resolution, placing the Mark II favorably for sports and low-light news assignments at events like Wimbledon and Tour de France. The in-body processing supports workflows used by photo editors at National Geographic and Time (magazine).
Autofocus and Metering
Autofocus is powered by a 61-point AF system with 41 cross-type points and enhanced tracking algorithms echoing developments in Canon EOS-1D X predecessors and parallel advancements in Nikon AF-S systems. AF performance underpinned assignments for agencies including AFP and magazines such as Sports Illustrated and was tested against AF implementations in the Sony Alpha 9 and Nikon D5. Metering integrates RGB+IR sensors and predictive exposure linked to techniques used by studio photographers working with brands like Vogue (magazine) and GQ.
Video Capabilities
The Mark II introduced 4K (DCI) internal recording at 60p with motion JPEG and options for 1080p at high frame rates up to 120 fps in crop modes, attracting cinematographers exploring DSLR workflows alongside cameras like the Panasonic Lumix GH5 and Blackmagic Pocket Cinema Camera. Video features were adopted by creators for documentary projects screened at festivals such as Sundance Film Festival and used in broadcast segments on networks including NBC and CBS. External recording via HDMI and compatibility with LUT workflows tied it into postproduction pipelines used by houses like Technicolor.
Reception and Impact
Critics in outlets like The Guardian, The New York Times (video) review channels, and trade journals such as Rangefinder (magazine) praised its shutter durability, AF consistency, and buffer performance for editorial sports coverage at events such as UEFA Champions League matches. It influenced procurement decisions at newsrooms including The Wall Street Journal and major sports organizations such as NBA team photographers. The model also affected mirrorless adoption discussions in forums like Photo.net and influenced feature sets in later models from Canon Inc. and competitors like Nikon Corporation and Sony Corporation.
Variants and Related Models
Related cameras include the predecessor Canon EOS-1D X and successor Canon EOS-1D X Mark III, sibling models like Canon EOS 5D Mark IV and Canon EOS R series mirrorless bodies, and competitor DSLR models such as Nikon D5 and Nikon D850. Third-party accessories and firmware ecosystems from companies like Magic Lantern and manufacturers such as SanDisk, Lexar, Hoya, and Tiffen support professional workflows, while rental houses such as Panavision and ARRI Rental included the Mark II in kits for news and sports shoots.
Category:Canon cameras