The Canon EOS R6 Mark II is packed with features. Here are five settings you can customize for a better experience. Photo: John Greengo
The Canon EOS R6 Mark II is a versatile mirrorless camera that excels in many areas of photography and videography. While it may not be the absolute best in any specific genre, it is a highly capable all-rounder for photographers who need a versatile tool. In this article series, Five Tweaks, I will discuss underrated or overlooked options and explain their functions and intended users. Although this article focuses on the Canon EOS R6 Mark II, similar features can be found on other cameras. Keep in mind that these features may have different names and operate differently on cameras from different brands.
1. Digital tele-con [Shoot Menu1]
Setting options:
One of the most important lessons in digital photography is to be cautious when using anything labeled “Digital Zoom.” It usually means cropping the image within the camera. “Digital tele-con” is Canon’s term for digital zoom with a slight twist. Digital zoom allows you to get closer to the subject by using digital manipulation instead of relying on the lens’s optical elements. The main advantage of digitally zooming in is to have a larger subject in the frame and viewfinder, which can result in more accurate focus, exposure, and composition. Canon’s “Digital tele-con,” short for digital telephoto converter, magnifies the center of the image by 2x or 4x and then increases the resolution up to 24 megapixels. The 2x image is upscaled from 12 MP to 24 MP, and the 4x image is upscaled from 6 MP to 24 MP.
ISO 800 | 1/500 sec | F11 | Canon RF 100-500mm F4.5-7.1 L IS USM | 500mm | Digital tele-con – Off
Photo: John Greengo
ISO 800 | 1/500 sec | F11 | Canon RF 100-500mm F4.5-7.1 L IS USM | 500mm | Digital tele-con – 2.0x
Photo: John Greengo
ISO 800 | 1/500 sec | F11 | Canon RF 100-500mm F4.5-7.1 L IS USM | 500mm | Digital tele-con – 4.0x
Photo: John Greengo
It’s important to note that digital zoom is not as good as using a longer focal length lens or physically getting closer to your subject. Additionally, this feature only works with JPEG or HEIF format options and not with Raw images. However, it can be useful if you have exhausted your optical options, want a 2x or 4x crop frame, and are satisfied with JPEG images. It may also appeal to photographers who prefer minimal post-production and value quick results straight out of the camera.
2. High frequency anti-flicker shooting [Shoot Menu 3]
Setting options: HF anti-flicker shooting, Manual, Auto detecting
This feature is designed to prevent banding, which are light and dark horizontal streaks that can occur when shooting under LED light sources. It should not be used in traditional lighting situations without LED lights. HF stands for High Frequency. LED lights emit rapid pulses of light, which are fast enough to go unnoticed by the human eye. However, the electronic shutter’s process of scanning light onto the sensor can reveal the inconsistent nature of LED lights. LED lights have become popular due to their energy efficiency, affordability, and versatility. Unfortunately, the majority of LED lights in real-world situations have some flicker, especially when dimmed.
Side note: “Anti-flicker shoot,” listed above this feature in the menu, is for avoiding flicker caused by fluorescent lights, which pulse at lower speeds compared to LEDs. Make sure to select the correct option for your lighting needs.
Canon EOS R3 | ISO 25600 | 1/8000 sec | F2.8 | Canon EF 300mm F2.8 L IS USM
Photo: John Greengo
Most cameras capture a series of slices of time rather than a single moment. Since LEDs flicker at a fast rate, some of these slices may capture more “on” or “off” phases of the LED, resulting in dark bands across the image. This is especially noticeable in electronic shutter mode, where there is more lag. However, it can also occur at fast shutter speeds in mechanical shutter mode. HF Anti-flicker allows you to adjust the shutter speed in small increments to find an exposure time that captures complete on/off cycles, ensuring consistent brightness throughout the image. You can manually adjust the shutter speed to find a suitable exposure duration or use the camera’s “Auto detecting” mode, which analyzes the scene and selects an appropriate fractional shutter speed. To use manual adjustment, you need to be in an exposure mode that allows manual selection of the shutter speed, such as M (Manual) or Tv (Time value/Shutter priority). For video shooters, LED light flicker can result in fluctuations in brightness and possibly banding. In the video shooting menu (Video) Shoot Menu 2, you will find “HF anti-flicker shooting,” which functions in the same way to reduce or eliminate flicker in videos.
3. Orientation linked AF point [AF Menu 4]
Setting options: Same for both vert/horiz, Separate AF pts: Area+pt, Separate AF pts: Pt only
Have you ever focused on a specific area of the frame, only to rotate the camera for compositional purposes and find the focus point misplaced? If this is a source of frustration for you, linking the focus point to the camera’s orientation can solve the problem. This is particularly useful for sports and portrait photographers who frequently switch between horizontal and vertical formats but want consistent subject placement and focus point location. With separate focus areas for horizontal and vertical orientations, you can ensure that your chosen focus point is in the right position for maintaining a consistent composition.
Photos: John Greengo
The default setting for this feature is “Same for both ver/horz,” which keeps the focus point in the same location within the frame regardless of camera orientation. This is suitable for basic operation or when shooting straight up or down, as the camera cannot detect the desired orientation. When set to “Separate AF pts: Pt only,” the camera utilizes its orientation sensor to determine the upright direction and remembers the focus point’s location for that orientation. Start by orienting the camera horizontally and moving the focus area to the desired location. Then, rotate the camera vertically with the grip on the top side and adjust the focus point to your preferred position. Next, rotate the camera vertically with the grip on the bottom side and set a second focus point position for vertical shooting. As you rotate the camera between horizontal and vertical positions, the camera’s orientation sensor will activate and reposition the focus point to the last chosen location for that specific orientation. If you select “Separate AF pts: Area+pt”…