Canon EOS M6 Image Quality

Above we compare the M6 to its predecessor, the M3. Both use 24-megapixel APS-C sensors but the M3 uses a previous generation sensor and processor. The M5 image has somewhat lower noise as well as slightly more accurate colors, and our tricky red-leaf swatch shows some moiré patterns that the M3's images does not (which could indicate a slightly weaker anti-aliasing filter on the newer model), but otherwise image quality is very similar here at ISO 100.

The Canon M6 and M5 share the same image sensor and processer, so it's no surprise image quality is essentially the same from these two siblings, with just minor differences in color which is likely due to slightly different custom white balance.

Here we compare the M6 to another 24-megapixel APS-C mirrorless, the Fuji X-T20. The X-T20 uses Fujifilm's proprietary X-Trans color filter, though, while the Canon uses a traditional Bayer filter. When looking closely at the images, you can see than the X-T20 image has higher luma noise than the M6 in the shadows, but keep in mind its higher base ISO. The X-T20 image however has lower chroma noise. Both images show noticeable sharpening halos, however the X-T20 image is crisper overall. Resolving power is similar as you'd expect given the identical pixel counts, however the X-T20 doesn't do quite as well with certain types of detail such as the fine text in the beer bottle label or the green fabric swatch, likely because of its more "random" color filter array and the more complex demosaicing it requires. Contrast is much higher from the Canon in our tricky red-leaf swatch and subtle detail is a bit better too, which may be the result of the Fuji's stronger chroma noise suppression. Both cameras produce pleasing color but the Canon pumps reds a bit more.

Above we compare the M6 to a 16-megapixel Micro Four Thirds camera, the Panasonic G85. With a smaller, lower-resolution sensor and a higher base ISO, we might expect the M6 to easily trounce the G85, and it does in sheer resolving power, but the G85 otherwise competes quite well producing a crisper image with more refined sharpening. However if you look very closely, you can see signs of its area-specific noise reduction already here at ISO 200. The G85 also does better with reproducing fine detail in our troublesome red-leaf swatch, however the M6 produces more accurate colors and has a more pleasing tone curve as well.

In this comparison, we pit the Canon M6 against Sony's popular 24-megapixel APS-C mirrorless, the A6300. It has either a very weak or no AA filter which helps maximize sharpness and detail, and Sony's processing produces a crisper, more detailed image without the obvious and unsightly sharpening halos produced by the Canon's default settings. However we do see stronger aliasing artifacts from the A6300, especially in the red-leaf fabric. Color is noticeably better from the Canon, though.

Here at ISO 1600, we can see a greater improvement in image quality from the newer M6, as its image contains slightly lower noise yet still manages to hold onto much more detail in our tricky red-leaf swatch. Color continues to be slightly more pleasant and neutral from the newer model as well.

As expected, there is virtually no difference in image quality between these two closely related siblings at ISO 1600.

The Fuji X-T20 still comes out ahead here at ISO 1600, with a crisper image, finer detail and less smearing by noise reduction. Luma noise is however a bit higher and less consistent, and while subtle detail in our troublesome red-leaf swatch is better than the M6's, contrast is still much lower.

The Panasonic G85 does surprisingly well here at ISO 1600 against the M6. The G85 image is crisper, has lower noise in the shadows that is more finely grained, and fine detail is better in our mosaic crop with less smudging due to noise reduction. The G85 image does however look a bit more processed with some rectilinear artifacts in flatter areas and along some edges. Both cameras smudge our red-leaf swatch about equally, but the Canon holds onto a touch more detail there. Colors are still much better from the Canon.

The Sony A6300 continues to deliver a sharper image with better detail at ISO 1600, though aliasing artifacts are still more visible. Noise levels are comparable, however the noise "grain" from the Canon is more consistent and film-like, while the Sony's noise reduction processing produces some darker pixels and other artifacts which give flatter areas a less natural look. Color is still better from the Canon.

The Canon M6 still comes out ahead of its predecessor here at ISO 3200, though both cameras begin to struggle with noise and noise reduction artifacts. Noise levels are similar but perhaps just a touch lower from the M6. Both cameras smear fine detail in the mosaic crop with the M6 producing a slightly softer rendition but with fewer noise reduction artifacts. The M6 continues to do noticeably better with our red-leaf swatch, retaining much more of the leaf pattern than the M3.

Once again, virtually identical image quality from the M6 and M5 here at ISO 3200, as expected.

Here at ISO 3200, the Fuji X-T20 pulls farther ahead of the M6 with a much crisper, more detailed image. Noise is also lower and more tightly grained from the X-T20, though some edges look smoother and a bit more natural from M6. The Canon still produces higher contrast in our red-leaf swatch though the Fuji still manages to hold onto more subtle detail.

In the crops above at ISO 3200 we can see the Panasonic G85 is working very hard to keep pace with the M6. Noise is still lower and fine detail is less smudged than the Canon, but the G85's image looks more processed and digital with a slightly unnatural-looking noise grain and some rough edges. Both smudge our tricky red-leaf swatch quite a bit, but the Canon holds onto a bit more detail there while the G85 retains more detail in the pink fabric. Color and contrast are still better from the Canon.

The Sony A6300 continues to produce a crisper, more detailed image than the M6 at ISO 3200, however its area-specific noise reduction generates more artifacts in flatter areas and along edges than Canon's more traditional approach to noise reduction. The M6 blurs our tricky red-leaf fabric heavily at ISO 3200, but much of the Sony's apparent detail in that fabric is false. Overall, though, we continue to give Sony the advantage here.