Canon 90D vs 6D Mark II vs 5D Mark IV: The Ultimate 2025 DSLR Showdown

In an era dominated by mirrorless cameras, do Canon’s mid-2010s DSLRs still hold their own in 2025? Despite the mirrorless boom, DSLRs aren’t extinct yet – Canon’s EOS 90D, EOS 6D Mark II, and EOS 5D Mark IV remain on the market and continue to serve photographers with robust performance. This comprehensive comparison will evaluate these three popular DSLRs side-by-side, covering everything from image quality and video features to autofocus, build, battery life, lens ecosystems, pricing, and the impact of Canon’s mirrorless R-series on their future. By the end, you’ll know which model (if any) is the best fit for your needs – or whether it’s time to jump to mirrorless.

At a Glance: Key Specifications

Let’s start with a quick spec rundown comparing the APS-C sensor Canon EOS 90D against the full-frame EOS 6D Mark II and EOS 5D Mark IV:

Table: Quick specs comparison of the Canon EOS 90D, 6D Mark II, and 5D Mark IV. The 90D is APS-C format, while the 6D2 and 5D4 are full-frame DSLRs. All three use the same LP-E6N battery and support Canon’s EF lens mount (90D also works with EF-S lenses).

Image Quality and Sensors

Sensor & Resolution: The three cameras differ fundamentally in sensor format. The EOS 90D uses a 32.5-megapixel APS-C sensor, delivering extremely high resolution for its class. In contrast, the 6D Mark II has a 26.2MP full-frame sensor, and the 5D Mark IV sits at 30.4MP full-frame. In good light, all three can produce excellent images, but their character varies. The 90D’s smaller APS-C sensor has a 1.6× crop factor, which extends reach for telephoto shots (great for wildlife or sports) but makes achieving ultra-wide angles or very shallow depth-of-field a bit more challenging compared to full-frame. The 6D2 and 5D4 full-frame sensors excel at background blur and low-light performance, capturing a wider field of view and more light per pixel, which generally means cleaner high-ISO images.

Dynamic Range & Color: One key image quality metric is dynamic range (the ability to retain detail in shadows and highlights). Here, the 5D Mark IV clearly leads – its sensor was a big step up for Canon, offering improved base ISO dynamic range on par with competitors for the first time petapixel.com. Professional reviewers noted the 5D4 can handle high-contrast scenes “without the need for workarounds” that plagued earlier models. The 6D Mark II, however, was criticized for “sorely lacking” dynamic range at low ISOs. In fact, tests showed the 6D2’s shadow noise and recoverable detail fell behind even Canon’s own 80D/90D APS-C sensors at base ISO. This means if you shoot scenes with bright skies and dark foregrounds on a 6D2, you have less flexibility to brighten shadows in post-processing before quality degrades. By comparison, the EOS 90D’s newer sensor holds up well – it offers excellent RAW image quality and dynamic range that actually exceeds the 6D2 at low ISOs. One Canon user noted it was “shocking how bad the DR of the 6DII is” at base ISO versus the 90D, even though the 6D2 regains an edge at very high ISOs. Color depth and tonality are pleasing from all three (Canon is known for attractive color science). The 5D4 and 90D, with their more advanced sensors, deliver slightly better fine detail and color gradation than the 6D2, especially if you shoot RAW and push the files in editing.

Low-Light Performance: In dim conditions and high ISO, sensor size starts to matter more. The full-frame 6D Mark II and 5D Mark IV maintain cleaner images at high ISOs than the crop-sensor 90D, simply by gathering more light. The 6D series in particular has been loved by astrophotographers for its low-light capabilities – the 6D2 can shoot at ISO 3200–6400 with relatively low noise, whereas the 90D’s dense 32.5MP APS-C sensor will show more noise at those ISOs (you may prefer to keep it at ISO 1600 or below for critical work). The 5D Mark IV strikes a great balance: its 30MP full-frame sensor, assisted by the DIGIC 6+ processor, produces clean, detailed files in low light – wedding and event photographers relied on the 5D Mark IV for its dependable high-ISO performance and improved dynamic range in shadows petapixel.com. In summary, the 90D offers the highest resolution (useful for cropping or large prints) and very good base ISO image quality, but the 5D Mark IV yields the most overall image quality (with the best dynamic range and high ISO results), and the 6D Mark II, while capable of beautiful images (especially in modest lighting), has the least raw file latitude for shadow recovery and slightly more noise in low-contrast details.

Video Features Comparison

In the realm of video, these DSLRs span from basic to quite advanced – but bear in mind, none of them offer features like in-body stabilization (IBIS) or the cutting-edge autofocus of Canon’s latest mirrorless cameras for video work. That said, the EOS 90D stands out as the most video-friendly of the trio. It can record 4K UHD video at 30p using the full sensor width (no crop) – a first for Canon DSLRs in this class. This means with the 90D you can shoot 4K footage without any field-of-view penalty, yielding crisp video and easy wide-angle shots. It also offers 1080p at up to 120fps for slow-motion, albeit without sound. Video autofocus on the 90D is excellent thanks to Dual Pixel CMOS AF – it provides smooth, fast focus and even offers Face and Eye Detection AF during video, which vlogging and casual video shooters will appreciate for keeping subjects sharp. Combined with its fully articulating touchscreen (great for monitoring yourself while filming) and both mic and headphone jacks, the 90D is a very versatile hybrid shooter for its price.

The Canon 6D Mark II, by contrast, is the most limited for video. Notably, it lacks 4K recording entirely. The 6D2 tops out at 1080p Full HD at 60 fps, which was already starting to lag behind the times when it launched in 2017. You can still get good 1080p footage from it (and 60p allows for half-speed slow-motion), and it does have Movie Servo AF via Dual Pixel AF for smooth focus changes. However, the absence of 4K is a major drawback in 2025 if you intend to future-proof your videos. The 6D2 does include a Digital IS (electronic stabilization) option for video to reduce shake, but the quality trade-off means serious videographers would likely use an external gimbal or lens IS. It has a microphone input for better audio, but notably no headphone jack for monitoring sound. Overall, the 6D Mark II can capture decent casual video (its fully flip-out screen is handy for creative angles or vlogging), but it’s not aimed at heavy video use – at launch even Canon fans were disappointed by its “poor video specifications” and lack of 4K.

The Canon 5D Mark IV sits in between but leaning toward high-end. It does offer 4K recording – specifically DCI 4K (4096×2160) up to 30p – which was big news in 2016, making the 5D4 one of the first DSLRs with 4K. However, there are caveats: the 5D4’s 4K video is recorded with a significant 1.74× sensor crop. This crop means your field of view is narrowed (your 24mm lens behaves like ~40mm in 4K), which can be frustrating for wide-angle shots. Additionally, Canon chose a high-bitrate Motion JPEG codec for 4K on the 5D4. This yields excellent individual frame quality (you can grab 8.8MP stills from 4K footage), but the trade-off is enormous file sizes and inefficient compression. You’ll need lots of card space, and editing Motion JPEG footage can tax your computer. There’s no 4K/60 or 10-bit output – those looking for cinema features eventually hacked in C-Log or moved to Canon’s EOS R series for better video specs. On the bright side, the 5D4 shoots lovely 1080p up to 60p (with Dual Pixel AF making focus pulls easy) and even offers 720p at 120fps for slow-motion, though at lower HD resolution. It has both mic and headphone jacks, a necessity for pro video work. Videographers often praised the 5D4’s image quality and reliable focusing in video, but also pointed out its shortcomings – by today’s standards, its video feature set is outdated (no log profile out of the box, no 4K60, heavy crop). Indeed, at the time of its release the 5D Mark IV’s video was seen as underwhelming relative to competitors and even “already behind the times” in some ways.

Rolling shutter (jello effect) and overheating are not severe on any of these DSLRs due to their conservative video specs. All three use the older H.264 codec for 1080p, and only the 5D4’s 4K uses Motion JPEG. If your primary goal is video shooting, a Canon mirrorless (like the EOS R7, R6 Mark II, etc.) will offer far more modern capabilities (4K60/120, IBIS, etc.). But among these three, the Canon 90D is clearly the best choice for video thanks to its uncropped 4K, high-speed 1080p, and overall “fast and versatile” shooting designed to appeal to hybrid shooters. The 5D Mark IV can serve in a pinch for professional video (some filmmakers paired it with an external recorder or used the unique Dual Pixel AF and color for projects), but you’ll work around its limitations. The 6D Mark II is fine for occasional clips or behind-the-scenes footage, but if video is a focus, it’s the weakest option of the bunch.

Autofocus and Performance

When it comes to autofocus systems and shooting speed, the Canon 5D Mark IV takes the crown – not surprising given its pro pedigree – but the 90D and 6D Mark II hold their own for most everyday scenarios.

Autofocus Systems (Viewfinder): The EOS 5D Mark IV inherits a 61-point phase-detect AF module very similar to the one in the flagship 1D X series. These 61 AF points (41 of them cross-type) are spread across a good portion of the full-frame viewfinder. Paired with Canon’s iTR (Intelligent Tracking & Recognition) and a 150K-pixel metering sensor, the 5D4 can detect faces/colors and intelligently track subjects moving across the frame. In practice, this means fast, reliable focus for sports, action and wildlife – DPReview found the 5D IV’s revamped AF “able to track moving subjects extremely well” through the viewfinder, whether it was a cyclist or an erratically running dog. Even in very low light, the center point is sensitive down to -3 EV, and with f/8 lens combinations many points still function (helpful for telephoto+teleconverter setups). Simply put, the 5D Mark IV’s viewfinder AF is the most advanced and consistent here, suitable for professional action shooting.

The EOS 90D and 6D Mark II share a similar viewfinder AF system: both have 45 AF points, all of them cross-type for better accuracy. These points are clustered toward the central area (more so on the full-frame 6D2, since the same AF module covers a larger sensor area). The 45-point system was inherited from the earlier 80D, and is a solid mid-range autofocus – snappy and accurate for general use, with options for zone AF, single-point, etc. It also works down to -3 EV, allowing autofocus in dim environments (the 90D and 6D2 can autofocus under moonlight according to Canon). However, action shooters will notice a difference between these and the 5D4: the 45-point array and tracking algorithm in the 90D/6D2 aren’t as sophisticated at sticking to fast or erratic subjects. In burst mode, the 90D can shoot up to 10 fps but only 7 fps with continuous AF engaged – and at those speeds, its hit rate on moving targets may drop. In fact, one reviewer noted that while the 90D’s 45-pt AF and 10 fps handled cars and moderate action well, using the automatic “Focus Tracking” mode on very fast subjects was “a bit dodgy,” yielding fewer keepers – they sometimes resorted to pre-focusing for better results. The 6D Mark II’s 6.5 fps burst is a tad slower, so it’s less likely to outrun its AF system, but it also lacks the sophisticated subject tracking of the 5D series. Neither the 90D nor 6D2 have the extra AF case settings or customizability that the 5D4 (and 7D Mark II/1D X) offer for tuning tracking sensitivity. Bottom line: For single-shot and basic continuous AF, all three are fast and accurate (more than sufficient for portraits, landscapes, candids, and everyday shooting). But for demanding action photography, the 5D Mark IV’s autofocus will be noticeably more dependable in tracking moving subjects across the frame. The 90D can certainly capture action (especially with its speedy bursts), but you may get a slightly lower hit rate of perfectly focused shots on, say, birds in flight or athletes running directly toward you, compared to the 5D4’s pro-grade AF. The 6D Mark II, with the same 45-point AF and a slower burst, is capable of sports in a pinch (especially with center-point focus and tracking by reframing), but it’s not the first choice for a dedicated action shooter.

Live View & Mirrorless-esque Focusing: All three DSLRs feature Canon’s Dual Pixel CMOS AF for focusing in Live View (using the LCD) and during video. This on-sensor phase detection system is a game-changer for DSLR Live View – it allows near-instant, smooth autofocus across essentially the entire frame, much like using a mirrorless camera. In Live View mode, the 90D actually offers an astounding 5,481 AF points to pick from (spread over ~88% of the frame horizontally) when using touch focus. Both the 90D and 6D2 can do face detection AF in Live View; notably the EOS 90D even adds Eye Detect AF in Live View still shooting, thanks to the newer DIGIC 8 processor. This means if you’re composing via the rear screen, the 90D will find and focus on a subject’s eye – a feature borrowed from mirrorless models. The 6D Mark II’s Live View AF is very fast and reliable for stationary or slow subjects, but it does not have eye detection, only face tracking. The 5D Mark IV, being older, also has excellent Dual Pixel AF (it was actually Canon’s first DSLR with DPAF in live view), but lacks the eye-detect refinement. Moreover, one downside on the 5D4 is its screen is fixed in place – so using Live View at odd angles is harder, and you can’t touch-and-drag AF points while looking through the viewfinder as you can on some newer cameras. Meanwhile, the articulated screens on 90D/6D2 make high- or low-angle Live View shooting much easier, leveraging the Dual Pixel AF for creative perspectives. In summary, through the optical viewfinder the 5D Mark IV wins for complex motion tracking and AF coverage, while the 90D/6D2 are perfectly fine for general use but less sophisticated. In Live View, all perform like competent mirrorless cameras for static or slow subjects; the 90D edges ahead with Eye AF and a snappier processor, making it the best of the three for Live View shooting of people or unpredictable focus points.

Burst Shooting & Buffer: The trio also differ in continuous shooting speed and buffer depth, which matter for capturing fast action or shooting large sequences. The EOS 90D can fire at up to 10 fps (frames per second) in one-shot AF, or ~7 fps with continuous autofocus tracking. This high burst rate, combined with its 32MP resolution, was a highlight – it even rivaled the 7D Mark II’s legacy as Canon’s speed king APS-C DSLR. The 90D’s buffer can handle around 25–30 RAW shots before slowing (and far more JPEGs), especially if using a fast UHS-II SD card (which it supports). The EOS 5D Mark IV tops out at 7 fps continuous. While slower than the 90D, 7 fps is still respectable and plenty for weddings, events, and moderate action (the previous 5D III was 6 fps). The 5D4’s buffer is deeper – it can write around 18–21 RAW files in a burst, and with dual card slots, many pros set RAW to the fast CF card to maximize burst depth. The EOS 6D Mark II manages 6.5 fps, the slowest here, and its buffer is more limited (about a dozen RAW frames). For context, 6.5 fps is fine for capturing the occasional sports shot or wildlife moment, but if you hold the shutter down on the 6D2 you’ll fill the buffer within ~2 seconds shooting RAW, after which it will slow down. The 90D can sustain bursts a bit longer, and the 5D4 sits in between. Another performance aspect is shutter and mirror blackout: the 90D has a new mirror mechanism and even offers an electronic first-curtain shutter up to 1/16,000s, which can reduce shutter shock. Its viewfinder blackout at 10 fps is very brief, making it easier to track subjects. The 5D4’s mirror action is robust and fast as well (it was designed for heavy pro use up to 150,000+ shutter cycles). The 6D2, being a smaller body, has a more basic mirror mechanism and max shutter of 1/4000s (versus 1/8000s on 90D and 5D4), which is one limitation for freezing very fast action or using fast lenses wide-open in bright light. All three have Canon’s reliable exposure metering systems that handle most scenes well (the 5D4’s RGB+IR 150k-pixel metering also aids its iTR AF and flash exposure). For most enthusiasts, any of these cameras will feel snappy and responsive in general shooting. But if you’re a sports/wildlife shooter, you’ll appreciate the 90D’s extra fps or the 5D4’s superior AF tracking – whereas the 6D2 might feel a little sluggish and less surefooted in those demanding scenarios.

Build Quality and Handling

Canon has a reputation for solid camera construction and ergonomic layouts, and these models are no exception – though they target different tiers.

Materials and Weather Sealing: The EOS 5D Mark IV is a professional-grade build, with a magnesium alloy chassis and extensive weather sealing (dust and moisture resistance) at the seams, buttons, and compartment doors. It’s designed to withstand heavy use and tough conditions, from humid jungles to dusty deserts – many photojournalists and landscape pros have dragged their 5D4 through it all. The camera’s heft (around 890 g) contributes to a feeling of durability and stability. The EOS 6D Mark II has a mixed construction: parts of the chassis are aluminum alloy and polycarbonate, and it is also weather-sealed against the elements, though generally considered a step below the 5D4 in ruggedness. It can handle rain or snow with pro lenses attached (and it even has built-in GPS which suggests the top plate might be polycarbonate for signal, similar to the original 6D’s design). The EOS 90D, while a “mid-range” body, is impressively robust and weather-sealed as well. It feels very solid in hand; Canon rated the 90D’s shutter for 200,000 cycles, which is as high as some pro models and indicates confidence in its durability. It uses a polycarbonate exterior over a metal frame and has a deep, grippy rubberized handgrip. In essence, all three cameras can handle outdoor shooting and moderate rough use, but the 5D Mark IV instills the most confidence for extreme use (and has a few pro-oriented touches like a PC sync port for studio strobes, and a top LCD illumination light). The 6D2 and 90D are very well built for their class – they’re not “plastic cheap” by any means – but as lighter bodies, you’d notice a bit more flex if you really squeeze, and their weather sealing, while effective, is probably not intended to survive a torrential downpour quite as unscathed as a 5D4 paired with an L-series lens.

Ergonomics and Controls: Canon DSLRs are famed for comfortable handling, and here your personal preference might decide. The 5D Mark IV is the largest of the bunch (especially with its chunky grip and pentaprism housing), and at ~890 g it’s nearly 200 g heavier than the 90D. For some, that weight and size actually improve stability – on long lenses or in big hands, the 5D4 feels balanced and steady. It has the most external controls: dual command dials (front and rear) plus a dedicated joystick (AF multi-controller) near the thumb rest for selecting focus points quickly. It also features extra pro buttons like a Drive mode dial under the Mode dial, a flash PC socket, and a customizable “Rate” button for tagging images. The 90D and 6D Mark II are mid-size bodies – noticeably lighter, with slightly smaller grips (though both grips are still satisfyingly deep). Both have Canon’s typical two-dial interface (main dial by the shutter and a rear quick-control dial), making manual exposure adjustments quick. They lack a few pro buttons the 5D has – for example, neither 90D nor 6D2 originally had a dedicated AF joystick. Interestingly, Canon added a small AF joystick on the 90D (doubling as an 8-way controller) which is extremely useful for moving AF points when looking through the viewfinder. The 6D Mark II does not have an AF stick; you must use the rear D-pad or tap the touchscreen in Live View to select points. Both the 90D and 6D2 have a locking mode dial (to prevent accidental mode changes, just like the 5D4). The button layout on all three is familiar Canon: ISO, drive, AF mode, etc., clustered on the top plate near the LCD, and playback/delete on the back left. One minor quirk noted on the 90D is that its Menu and Info buttons are on the left top of the back, meaning you often need a second hand to press them while shooting – a small ergonomic nitpick in an otherwise well-designed control scheme.

Viewfinder and Displays: Optical viewfinders are a selling point of DSLRs, and each of these has a bright pentaprism finder. The 5D Mark IV’s viewfinder is the largest – offering 100% frame coverage and 0.71× magnification, which on full-frame gives a big, clear view. Looking through it, you see a wide field and it’s easy to manually focus if needed due to the brightness. The 6D Mark II’s viewfinder is also a pentaprism but with ~98% coverage – meaning a tiny bit of your final image might not show up at the edges. Its magnification is the same 0.71×, so effectively just a hair smaller in coverage than the 5D’s. Most users won’t notice the 2% coverage difference much, but technically the corners of your shot might include something you didn’t see in-viewfinder on the 6D2. The 90D’s viewfinder is impressively 100% coverage despite being APS-C, and about 0.95× magnification which translates to ~0.59× equivalent once you factor the crop sensor. In plain terms, the 90D’s finder is large for an APS-C DSLR and shows the whole frame, but the apparent size of the image is smaller than the full-frame cameras’ view (as expected). Still, many appreciate that Canon gave the 90D a true pentaprism and full coverage – it makes it arguably the best optical VF experience in any APS-C DSLR from Canon. All three viewfinders can display a variety of info: grid lines, electronic level, shooting settings, and AF points lighting up (the 5D4 even has a translucent LCD overlay to show various focus patterns and a dual-axis level).

The rear LCD screens are an area where the 90D and 6D Mark II shine with versatility. Both feature a 3.0-inch fully articulating touchscreen that can flip out and rotate 270°, including facing forward for selfies/vlogging or folded inward for protection. This Vari-Angle design is fantastic for composing shots from creative angles – low to the ground or above your head – and for video work. The touch interface on both is responsive, allowing you to navigate menus, pinch-to-zoom during playback, and touch-to-focus in Live View. By contrast, the 5D Mark IV has a fixed 3.2-inch touchscreen. It’s a gorgeous display (higher resolution ~1.62 million dots, and slightly larger), and you can use touch for menus and focus as well, but it does not tilt or swivel. Some pros don’t mind the trade-off (fewer moving parts means one less point of weather ingress, and it maintains a solid feel), but others wished the 5D4 had at least a tilting screen for waist-level shooting. In bright sunlight, all three screens are reasonably visible, though articulating the 90D/6D2 screens can help avoid glare. It’s worth noting that Canon’s interface and menu system is very user-friendly on all three models – and having a touchscreen makes it even faster to change a setting or swipe through photos. As an example of user-friendliness, all three DSLRs retain an optical viewfinder plus an always-on top LCD panel for quick glance at settings (shutter, aperture, ISO, shots remaining, etc.). Mirrorless cameras often lack this secondary display or require powering on the rear screen, so DSLR users appreciate the quick info at hand.

Other Build/Handling Notes: The 90D is the only one with a built-in flash unit (pop-up flash). It’s handy in a pinch for fill light or as a master to optically trigger off-camera flashes. Neither the 6D2 nor 5D4 have a pop-up flash (in higher-end Canon bodies, that space is used for the prism and stronger construction). All three have a hot shoe for external speedlites. In terms of shutter sound and feel, the 5D Mark IV has the most dampened “thunk” – confident but not too loud. The 6D Mark II’s shutter/mirror is slightly louder and “slap-ier” (some have noted the 6D2 sounds clappier than the original 6D’s quiet shutter). The 90D, despite its speed, has a relatively controlled sound; plus it offers a silent shooting mode in Live View (electronic shutter) for completely quiet operation at up to 11 fps, which the others do not (a big plus for situations like weddings or wildlife).

Ergonomically, anyone familiar with Canon will feel at home with these cameras. The grip sizes are comfortable for medium hands, button placement is logical, and customization options are ample (you can reassign many buttons to suit your workflow). Viewfinder shooting vs Live View: with an optical finder you get zero lag and a real-time view – many photographers still prefer this direct optical experience, calling it more “organic” and connected to the scene (no electronic granularity or lag). As one article put it, “There’s no laggy EVF, no screen blackouts – just pure optical clarity…and tactile control with real buttons and dials” on a DSLR. If that resonates with you, the 5D4 and 6D2’s full-frame finders and the 90D’s crisp APS-C finder will be a joy to use. On the other hand, if you frequently use the rear screen to compose, the 90D and 6D2’s articulating touchscreens provide modern flexibility that the 5D4 can’t match.

In summary, the 5D Mark IV feels every bit a “pro” body – substantial, highly durable, with extensive direct controls – whereas the 6D Mark II and 90D offer a lighter, slightly more compact shooting experience while still being tough and weather-protected for travel. The 90D in particular marries ruggedness with convenience, given its high shutter rating and weather sealing in a mid-size form factor. Each camera upholds Canon’s famed handling: intuitive, comfortable, and reliable in operation.

Battery Life and Storage

One often-overlooked advantage of DSLRs over mirrorless is battery life, and here all three cameras excel. They coincidentally share the same Canon LP-E6N lithium-ion battery pack (7.2V, ~1865 mAh), which is great if you have multiples or are upgrading within Canon – they’re cross-compatible. When using the optical viewfinder, DSLRs sip power very efficiently (no power-hungry electronic viewfinder to drive). According to CIPA standardized tests, the EOS 90D can achieve around 1,300 shots on a single charge dpreview.com. The EOS 6D Mark II is rated about 1,200 shots per charge, and the EOS 5D Mark IV around 900 shots dpreview.com. In real-world use, all three can often exceed those numbers (CIPA tests include flash firing and lots of image review). For example, photographers report comfortably getting 1500+ shots on a 90D or 6D2 in a day of moderate shooting, and 5D4 users might get ~1200 in practice – but even the lowest of these, ~900, is far above typical mirrorless counts (many mirrorless are 300–600 shots per battery). So for event shooting or travel, these DSLRs offer excellent endurance. You can shoot all day without anxiety, and spare batteries are readily available (including the higher-capacity LP-E6NH which is backward compatible).

Bear in mind, heavy Live View or video usage will cut battery life significantly on all three, since that activates the sensor and screen continuously like a mirrorless camera. For instance, the 90D might drop to a few hundred shots if you do everything in Live View mode. But using the optical finder most of the time, you’ll love the longevity – you might only need to change batteries once at a multi-day event, whereas a mirrorless shooter would be swapping packs multiple times a day.

Moving to storage, there are differences aligned with the camera tiers. The 5D Mark IV has dual memory card slots: one CompactFlash (Type I) and one SD. This is a hallmark of pro cameras – you can configure the 5D4 to write RAW to one card and JPEG to the other, or record the same files to both for instant backup, or use the second card for overflow when the first fills. Many wedding and commercial photographers value this redundancy to safeguard images. However, note that the 5D4’s SD slot supports UHS-I speeds only (not the faster UHS-II). Its CF slot (UDMA7 compatible) is actually faster in use. In practice, the 7 fps burst doesn’t overwhelm either slot too badly, but if you use a UHS-II SD card in the 5D4, it will work but at UHS-I speed. The EOS 6D Mark II and 90D each have a single SD card slot. The 6D2’s slot is UHS-I as well. The EOS 90D’s slot supports UHS-II cards for faster write speeds and downloads. This is a welcome improvement, as it helps the 90D clear its 32MP image buffer more quickly (and is one reason the 90D can sustain 10fps bursts with a good UHS-II card). With one card slot, it’s important to use reliable, high-quality SD cards in the 6D2 and 90D to avoid any chance of card failure – while failures are rare, professionals sometimes worry about that single point of failure. The 5D4’s dual slots mitigate that risk by allowing instant backups.

All three models accommodate high-capacity SDXC cards (no issues using 64GB, 128GB, etc.). If you plan to shoot a lot of 4K video on the 5D Mark IV, you’ll likely need large and fast cards – the Motion JPEG at 4K/30p runs at about 500 Mbps, meaning roughly 4 GB per minute of footage! A 64GB card holds only ~16 minutes of 4K video. The 90D’s 4K IPB video is much more storage-efficient, and a UHS-II SD ensures smooth recording.

Connectivity and Extras: Each camera has various ports – all provide a Micro USB port (USB 2.0 on 90D/6D2, and faster USB 3.0 on 5D4 for quicker file transfers), an HDMI-out (Type C mini HDMI on 6D2/5D4, Micro on 90D), a 3.5mm microphone input, and a remote shutter release port. The 5D4 and 90D also include a headphone jack for monitoring audio, useful for videographers (the 6D2 lacks this). All three have built-in Wi-Fi and Bluetooth for connecting to Canon’s Camera Connect app to transfer images or use your phone as a remote – convenient for social media or self-portraits. The 6D Mark II and 5D Mark IV go a step further with built-in GPS receiver units. This will embed location coordinates in your images – a fantastic feature for travel and landscape shooters who want to track where shots were taken. (Be aware: leaving GPS on will increase battery drain on those models.) The 90D does not have its own GPS, but you can geotag via Bluetooth tethering to a smartphone if needed.

Storage durability: The 5D4’s CF cards are physically robust, but SD cards (used by all three cameras to some extent) are more fragile – always handle and store them carefully. None of the cameras have dual SD slots except the 5D4’s combo, so if dual-slot backup is critical for your work, the 5D4 is the only option here that provides it.

In summary, for power management, these DSLRs are champs – far outlasting mirrorless on a charge. The 90D and 6D2 have slightly better stamina than the power-hungrier 5D4, but all will shoot hundreds upon hundreds of photos without a battery swap dpreview.com dpreview.com. For storage, the 5D4’s dual slots offer peace of mind and flexibility that the single-slot 90D/6D2 lack, although the 90D at least gives you a speed advantage with UHS-II support. Each model reflects its class: the enthusiast 90D and budget full-frame 6D2 keep things simple with one card, whereas the 5D4 caters to pros with the expected dual-slot setup.

Lens Compatibility and Ecosystem

One of the greatest strengths of the DSLR era is the huge ecosystem of lenses, and here all three cameras benefit from Canon’s EF mount legacy – but with a small twist for the 90D.

• Canon EOS 6D Mark II and 5D Mark IV are full-frame EF-mount DSLRs. They can use the entire range of Canon EF lenses, which includes decades worth of optics – from affordable nifty-fifty primes to elite L-series zooms and supertelephotos. EF lenses are designed for full 35mm frame coverage, and on 6D2/5D4 they behave exactly as intended in focal length. You cannot mount Canon’s EF-S lenses (made for crop-sensor bodies) on the 6D2/5D4; the camera’s mirror would hit the rear of an EF-S lens, and Canon’s mount physically prevents it. Essentially, full-frame Canon DSLRs use EF lenses exclusively. This is not a limitation in practice, because the EF catalog is enormous: over 150 native EF lens models existed (from Canon and third-parties), covering every conceivable need – ultra-wide, tilt-shift, macros, fast primes, telephoto, you name it.
• Canon EOS 90D is an APS-C DSLR with an EF-S mount, which is essentially Canon’s EF mount with added support for EF-S lenses. The 90D can use both standard EF lenses and EF-S lenses. EF-S lenses are smaller, lighter, and generally more affordable lenses crafted for APS-C sensor coverage. For example, the popular EF-S 10–18mm f/4.5-5.6 IS STM gives an ultra-wide field on a 90D (equivalent to ~16–28mm full-frame) at low cost – something not possible on the full-frames without investing in a pricey L-series ultra-wide. The 90D thus enjoys the broadest compatibility: it works with every EF lens (just with a 1.6× crop effect, so a 50mm behaves like 80mm field of view) and also all EF-S lenses (which the full-frames cannot use). If you’re an enthusiast on a budget, the ability to use EF-S glass is great – Canon’s EF-S 24mm “pancake” ($150) or EF-S 17-55mm f/2.8 (a classic APS-C fast standard zoom) are fantastic options that have no direct full-frame equivalent at the same price point. The downside for the 90D is that wide-angle options require EF-S specialty lenses to get truly wide views, and depth-of-field is inherently deeper for a given framing compared to full-frame (so you won’t blur backgrounds quite as much as a full-frame can, unless you use very wide apertures). But you can absolutely achieve professional results with the 90D’s ecosystem – many EF lenses, especially telephotos and primes, will perform extraordinarily well on it, often using the “sweet spot” of their image circle (center) for great sharpness.

Lens Ecosystem Considerations in 2025: Canon’s EF mount had over 30 years of active development (1987–2018+). That means a massive used market exists, allowing DSLR users in 2025 to pick up superb lenses at bargain prices. From Canon’s own stalwarts (24-105mm f/4L, 70-200mm f/2.8L, 16-35mm f/4L IS, etc.) to third-party gems (Sigma Art series, Tamron stabilized zooms), there is no shortage of glass. Each of these cameras can use those lenses without any adapter, maintaining full autofocus and metering. Notably, the EF mount is now a stable, mature system – Canon ceased developing new EF lenses after 2019 to focus on the RF mirrorless lineup. In fact, Canon has gradually discontinued some EF lens models (especially lesser-selling ones) in recent years. But: there are over 130 Canon EF/EF-S lenses out there (and many more third-party models from Sigma, Tamron, Tokina, etc.), so any focal length or quality level you need is available. Unlike the relatively newer RF mirrorless mount, you can readily find affordable used EF lenses. This makes a DSLR system potentially cost-effective for newcomers – e.g. picking up a used 6D Mark II with a pre-owned 24-105mm lens and 50mm prime could be significantly cheaper than a new mirrorless kit, yet yield excellent results.

The choice of lenses can also be tailored to the camera’s strengths. For the high-resolution 90D, using sharp L-series primes or macro lenses will let you maximize that 32MP detail (great for wildlife or macro where you might crop). For the 6D Mark II, pairing fast primes (e.g. 85mm f/1.8 or 50mm f/1.4) takes advantage of full-frame shallow depth of field and low-light capability, producing beautiful portraits with smooth backgrounds – one PetaPixel guide even notes the 90D is “particularly good for portraiture” when combined with Canon’s great portrait lenses (though that quote was about 90D, it applies likewise to using nice glass on any of these). The 5D Mark IV, being a versatile workhorse, was often sold in kit with a 24-105mm zoom – its files “have exceptional flexibility in post” and take full advantage of premium lenses’ resolving power.

Autofocus compatibility: All three cameras can autofocus with any EF lens having a focus motor. The 5D4/6D2 will autofocus even at f/8 apertures (useful for teleconverters on telephoto lenses); the 90D does too, but typically APS-C users don’t push that as often. Image stabilization in lenses (Canon’s IS) works equivalently on these DSLRs.

Ecosystem Beyond Lenses: The DSLR ecosystem includes Speedlite flashes (all three have standard hot shoes and support Canon’s E-TTL II flash system for on-camera or wireless flash). The 90D’s pop-up can act as a commander for optical wireless flash with compatible Canon flashes – a handy trick to trigger off-camera flash without additional transmitters. All three cameras can use battery grips (BG-E21 for 6D2, BG-E22 for 90D, BG-E20 for 5D4) to double battery life and add a vertical grip with extra controls – useful for portrait orientation shooting comfort. They also work with countless accessories like remote releases, GPS (5D4 has built-in though), Wi-Fi adapters (again built-in on these), and of course tripods, filters, etc. which are universal.

One forward-looking consideration: if you invest in these DSLRs and EF lenses now, and later decide to move to a Canon EOS R-series mirrorless, all of your EF lenses can come along. Canon’s EF-EOS R mount adapter (or the control-ring variant, or drop-in filter variant) makes EF and EF-S lenses work on RF-mount bodies seamlessly – with full AF, IS, and no optical degradation. This means buying good EF glass is not a dead-end; your lenses remain useful even as Canon’s future cameras are all RF. In contrast, the camera bodies themselves cannot use the new RF lenses (RF lenses physically don’t mount on EF DSLRs). So, an EOS R mirrorless owner can adapt old lenses, but a 5D4/6D2/90D owner cannot use Canon’s latest RF-only designs (like the RF 15-35mm or RF 85mm f/2) on their DSLR. This isn’t a huge issue given the back-catalog of EF options, but it’s worth noting that no further EF lens innovations are expected, whereas the RF lineup is where Canon is pouring new tech (e.g. ultra-fast f/1.2 apertures, optical formulas taking advantage of mirrorless flange distance).

For now, in 2025, EF lenses remain plentiful and often more affordable than their RF counterparts. If you’re choosing one of these DSLRs, you’re also choosing access to that rich ecosystem of DSLR lenses and accessories. For many hobbyists and even pros on a budget, that’s a compelling reason DSLRs still make sense – you can assemble a complete kit (camera and multiple lenses) for the cost of a single high-end mirrorless body alone. For example, as mirrorless shooter lament, “Canon focused all of its lens efforts on RF instead of EF in 2019” and has been winding down EF development, but that also means lots of EF glass in circulation that mirrorless shooters are selling off. It’s a buyer’s market for DSLR lenses.

In summary, the lens ecosystem for the 6D Mark II and 5D Mark IV is the full-frame EF lineup, offering top-tier image quality and selection, while the 90D can leverage both EF and EF-S lenses, adding flexibility (and cheaper wide-angle options for APS-C). Going forward, Canon’s emphasis is on RF mirrorless lenses, yet EF users in 2025 are certainly not left high and dry – the tools available are mature and excellent. Just be aware that you’re investing in a legacy mount; thankfully, it’s one with a robust legacy.

Price and Value for Money

As of 2025, the prices of these DSLRs have dropped significantly from their launch MSRPs, making them attractive in terms of value – especially compared to new mirrorless models. Let’s break down current pricing and what you get for your dollar:

• Canon EOS 90D: This camera originally launched at $1,199 (body only) in late 2019. Today, the 90D body can be found for around $999 new (and often on sale for less). For roughly one grand, it offers a really strong feature bundle: high-resolution 32.5MP stills, 10 fps burst, uncropped 4K video, an articulating touch LCD, and compatibility with inexpensive EF-S glass. It’s widely regarded as one of the best value DSLRs remaining. In PetaPixel’s 2025 ranking, they even named the 90D the “Best DSLR for Most People,” citing its combination of features and affordable price point. If you’re an enthusiast on a budget of ~$1000 for a body, the EOS 90D is arguably the most camera you can get for the money in Canon’s DSLR lineup. It’s a great value for hybrid shooters (stills & video) and those upgrading from entry-level Rebels. Plus, if you already own some EF-S lenses from an older Rebel or XXD, the 90D lets you reuse them and squeeze out maximum quality.
• Canon EOS 6D Mark II: The 6D2 launched at around $1,999 (body) in 2017, but it has seen steep price cuts as well. In 2025, the 6D Mark II body sells for approximately $1,199 new, and we’ve seen it dip near $1,000 during holiday sales. That pricing is similar to the 90D’s, which can put buyers in a dilemma: APS-C flagship vs full-frame entry model for roughly the same cost. The value proposition of the 6D Mark II lies in it being one of the cheapest new full-frame cameras you can buy from Canon. For about $1.2k you get the larger sensor with its low-light and depth-of-field advantages, and a very user-friendly DSLR with dual-pixel AF and that lovely vari-angle screen. It’s a fantastic deal for genres like portraiture, where full-frame truly shines and you may not need advanced AF or 4K video. On the other hand, given its feature limitations (no 4K, single card, older sensor performance), some enthusiasts might question its value relative to the 90D or even used 5D4. If you specifically want full-frame image quality on a budget, the 6D Mark II is still a good buy in 2025 – often bundled with a kit lens for around $1,600 total. And used ones can go for $800 or so, making it a great first full-frame for students or hobbyists stepping up. In Canon’s lineup, only the EOS RP mirrorless rivals it on price for full-frame. A general sentiment is that the 6D2 is “a cheaper full-frame DSLR for enthusiasts” who don’t demand the absolute latest tech. So, value-wise: if your priority is that big sensor look and you shoot mostly stills, the 6D2 offers a lot of full-frame bang for your buck.
• Canon EOS 5D Mark IV: As a high-end model, the 5D4 was expensive at launch ($3,499 body only). But years later, it too has come down. Brand new, the 5D Mark IV now hovers around $2,199 (often listed at ~$2,499 with a $300 instant rebate bringing it to ~$2.2k). We’ve even seen special deals as low as $1,899 at major retailers like B&H during events – remarkable for a camera that once cost as much as a decent used car. This puts the 5D4 in an interesting spot: around $2k, which is similar to the newer Canon EOS R6 Mark II (a 2023 mirrorless), and less than an R5. The value-for-money of the 5D Mark IV depends on what you need. For pure still photography, $2k for a flagship-caliber DSLR with proven performance is quite fair. You’re getting a legendary workhorse that, as one outlet phrased it, “represents the pinnacle of DSLR engineering before the world turned mirrorless”. It’s still the reliable choice for many pros who don’t require mirrorless features – it can do weddings, studio, sports, you name it. For perspective, a Nikon D850 (its mirrorless-era rival) also still sells around $2,500 in 2025, so the 5D4 undercutting that is a decent value. That said, if your $2k budget is flexible, you might cross-shop the 5D4 with Canon’s own EOS R5 (mirrorless) which offers higher resolution and far superior video but costs more (around $3,300 new in 2025, less used). Canon refurbished 5D Mark IV bodies are often available around $1,800, and used ones even around $1,200 in good condition – a steal for what the camera can do (at that price it challenges many mid-tier mirrorless in cost). For a professional who already has EF lenses and prefers OVF, investing ~$2k in a 5D4 in 2025 can be seen as very cost-effective: you get a proven platform with no learning curve and immediate compatibility, and you save potentially thousands compared to switching systems. On the flip side, someone starting fresh with $2k to spend might lean mirrorless for more future-proof tech. But there is certainly still a market of buyers who see the 5D4 as worth every penny in 2025 – the camera “still competes with newer systems in terms of both durability and output”, and its current price reflects a mature, depreciated value rather than early-adopter premium.

Hidden Costs and Savings: One must factor lenses into “value.” A $1,000 90D or $1,200 6D2 is an entry point – to actually shoot, you need lenses. And this is where DSLRs can save you money: excellent EF lenses can be had cheaply on the used market. For instance, a portrait kit might include a $100 used EF 50mm f/1.8 STM and a $300 used EF 85mm f/1.8 – together less than a single new RF 85mm f/2 for mirrorless. Likewise, many enthusiast photographers are offloading EF lenses to move to RF, so deals are abundant. Thus, the system cost for a DSLR setup in 2025 is often far lower than an equivalent mirrorless setup. On the other hand, if you specifically want features like IBIS (in-body stabilization) or the latest eye-tracking AF, no lens savings will give a DSLR those abilities – you’d have to invest in mirrorless bodies.

Reputable Retailers and Availability: All three models are widely available new from major retailers like Amazon, B&H Photo, and Adorama (as well as directly from Canon’s online store, often in refurbished form). Here are some current listings as reference:

• Canon EOS 90D: ~$999 (body only) at B&H, Amazon, etc., often bundled with an 18-55mm kit lens for a bit more.
• Canon EOS 6D Mark II: ~$1,199 (body) at B&H; frequently on sale or in a kit with a 24-105mm f/4-7.1 IS STM lens around $1,699.
• Canon EOS 5D Mark IV: ~$2,199 (body) at B&H; sometimes seen for $1,999 on Amazon or $1,899 during special sales. Kits with the EF 24-105mm f/4L II lens run ~$2,799–$2,999.

Given that Canon has not released new DSLR models since 2020, these cameras often see aggressive discounts to clear inventory. It’s possible as stock dwindles, prices could even rise (though that hasn’t happened yet, except for collectors buying the last new units of certain models).

Value Summary: The EOS 90D is arguably the best value for an all-around shooter, delivering performance that in many respects outclasses the 6D Mark II (except sensor size) at a slightly lower cost. The EOS 6D Mark II is the lowest-cost route into full-frame DSLR photography in Canon’s lineup – great value if full-frame is your priority, but less so if you could be satisfied with an APS-C (since the 90D or even mirrorless EOS R7 might offer more features for similar money). The EOS 5D Mark IV, while the priciest, offers professional value: there’s a reason many call it “the last great DSLR” – it’s a proven tool whose price has finally become accessible to enthusiasts who lusted after it years ago. If you need its rugged build, dual slots, and don’t mind older tech for video, it returns tremendous value via the images it produces and the jobs it can handle.

One must also weigh future value: DSLRs likely won’t appreciate, and their resale prices may continue to drop as more people transition to mirrorless. But at these lower current prices, you’re getting a known quantity. In other words, you’re buying a refined, debugged model at the end of its lifecycle, rather than a brand-new model with an early-adopter tax. For many, that equation – mature product + lower price = high value – is very appealing.

The Mirrorless Shift: Canon R-Series and the Future of DSLRs

No evaluation of DSLRs in 2025 would be complete without addressing the elephant in the room: mirrorless cameras. In the past few years, Canon (and the industry at large) has pivoted strongly toward mirrorless technology, namely the EOS R-series with the RF lens mount. This has major implications for anyone considering a DSLR today, from longevity to lens strategy. Let’s unpack the current state and rumors:

Canon’s Official Stance: Canon’s top executives have made it clear that mirrorless is their future. In late 2021, Canon’s CEO Fujio Mitarai confirmed that the EOS-1D X Mark III (released 2020) will be Canon’s last flagship DSLR. He stated that market needs “are rapidly shifting to mirrorless” and Canon will “steadily shift” resources accordingly. This was a watershed moment – essentially Canon saying no new 1D-series DSLRs, and by extension, a strong hint that other DSLR lines (5D, 7D, etc.) would not continue either. Indeed, Canon “has not announced a new EOS DSLR since the Rebel T8i in Feb 2020”, and industry watchers widely believe we’ve seen the last of new Canon DSLRs. Canon even explicitly said in 2020 that it was done developing new EF lenses unless demand truly required it – all new lens designs are for the RF mount now.

Discontinuation of DSLR Lines: There have been credible reports and rumors that, for instance, the EOS 5D line is discontinued with no Mark V coming. Canon Rumors (a typically reliable source) reported “there will not be a Canon 5D Mark V and no direct successor to the 5D Mark IV” – effectively marking the end of that storied line. The 5D series had hugely influential models (the Mark II brought video to DSLRs), so ending it was symbolic of the mirrorless transition. Similarly, the EOS 7D line (APS-C flagship) was quietly ended; Canon merged that segment by creating the EOS 90D, which, as DPReview joked, “fits between the EOS 77D and the ‘yes, it still exists’ EOS 7D Mark II”. In mirrorless land, the new EOS R7 (2022) now serves as the 7D/90D successor with 32.5MP APS-C at 15 fps and modern AF – essentially what a “Canon 7D Mark III” might have been if DSLR, but it came as a mirrorless RF-mount body. On the entry-level end, Canon’s Rebel/xxxD line appears to have stopped with the EOS Rebel T8i/850D in 2020. Canon did release a curious DSLR, the EOS 2000D/Rebel T7 refresh, in some markets around 2021, but that was a very minor update. Overall, the writing is on the wall: Canon is not planning new DSLRs, focusing development on mirrorless bodies.

Mirrorless R-Series Advances: Meanwhile, Canon’s EOS R mirrorless system has flourished. Since 2018’s debut of the EOS R, they’ve launched multiple bodies: EOS R5 (45MP pro/high-res, 8K video), EOS R6 and R6 Mark II (20MP then 24MP, high-speed full-frame), EOS R7 (32MP APS-C, effectively mirrorless 90D successor), EOS R8 (24MP compact full-frame, akin to a mirrorless 6D in some ways), EOS R3 (24MP flagship sports camera with an innovative eye-control AF and 30 fps, which in many ways supersedes the 1D X Mark III’s role), and several entry models (R10, R50, etc.). They even have EOS R5 C (a cinema-oriented variant). Canon has poured tech into these: incredible Eye/Face/Animal AF tracking in the viewfinder, in-body stabilization (up to 7-8 stops on R5/R6 series), blackout-free shooting up to 30 fps, massive dynamic range sensors (the R3’s stacked sensor for minimal rolling shutter, or the rumored upcoming high-MP R5 variant). Importantly, Canon’s RF lens lineup is rapidly expanding – from 14mm ultra-wides to 800mm super-tele primes, plus unique stuff like an 85mm f/1.2, 28-70mm f/2 zoom, etc. Canon’s clearly betting on mirrorless for innovation; as one report said, “Canon sees its RF mirrorless mount as its future”, and indeed “there has been a steady stream of popular EF lenses being discontinued since” that shift.

Upcoming Releases and Rumors: Looking ahead, the Canon EOS R1 is anticipated as the mirrorless flagship (the mirrorless equivalent of a 1D series). While not released as of August 2025, rumors peg the EOS R1 to be an “all-out flagship, jack of all trades, master of everything” by Canon. It is expected perhaps in late 2024 or 2025, potentially with the Olympics on the horizon (manufacturers often target pro flagships around Olympic years). Such a camera would likely make any remaining DSLR holdouts (like the 1D X III users) consider jumping ship. There are also hints of a higher-resolution RF body (an R5s or an R5 Mark II with more megapixels). In fact, the mention in a Digital Camera World piece about an “R5 Mark II drops to lowest price ever” and “flagship R1 sees discount” suggests some Mark II models might already be out by mid-2025 – indeed the EOS R6 Mark II launched in late 2022, and an EOS R5 Mark II was expected around 2023-24. By 2025, it’s likely the R5 II is either released or imminent, with improvements over the original R5’s heat-limited 8K and maybe a new sensor.

Impact on DSLR Purchases: So, what does all this mean if you’re eyeing a 90D, 6D Mark II, or 5D Mark IV now? A few key points:

• No new DSLRs means what you buy is the “last of its kind.” The 90D, 6D2, and 5D4 are mature products with no direct DSLR successors. They will continue to function perfectly for years (a camera doesn’t stop taking great photos just because newer ones exist!), but you won’t see a “Mark II” to any of these in OVF form. This can actually be a positive – you know the quirks and can master the tool without FOMO of an imminent replacement. But it also means any technological improvements Canon comes up with will bypass DSLR users. For example, Eye-AF through the viewfinder – an impossible feature for DSLRs – is already a standard on mirrorless. Subject-detection autofocus (people, animals, vehicles) is a game-changer in mirrorless bodies (like the R6 II, R7, etc.), letting the camera automatically find and track subjects. DSLRs cannot perform this advanced recognition when using the optical viewfinder (they can do some face detect with iTR, but it’s rudimentary by comparison). If you shoot a lot of action or birds, the benefit of something like Canon’s animal eye AF on the R7/R6II is huge – DSLR users would have to use Live View (slower) or rely on skill and luck.
• Lens Strategy: With Canon focusing on RF lenses, we’ve already seen EF lens inventory shrinking. As mentioned, Canon stopped making new EF glass, and some models have been discontinued or become hard to find new (for instance, certain tilt-shifts or specialty lenses). However, the used market is saturated with EF lenses. In the near term (next 5 years), DSLR users can probably find any lens they need second-hand or remaining new stock. Over a longer horizon, third-party lens makers might reduce support for EF in favor of RF. But many third-party lenses are out there already in EF mount. If you invest in EF lenses now, know that they’re essentially a dead-end on new DSLRs – but they can be adapted to mirrorless RF easily. So if you transition later, your lenses have life. Conversely, RF lenses cannot be used on DSLRs at all, so if you see a stellar new RF lens, you’d have to switch systems to use it. One bit of future-proofing: if you think you’ll eventually go mirrorless, investing in high-quality EF lenses now isn’t a bad idea – they’ll serve you on the DSLR and transition with you. But investing in a lot of DSLR-only accessories (like proprietary battery grips, etc.) might have shorter utility if you change systems.
• Support and Repair: Canon typically supports camera models for many years. The 5D Mark IV and 6D Mark II are still within a reasonable support window (less than 10 years old). You can expect Canon to service them for at least a few more years (usually 7-10 years after discontinuation is a rule of thumb for parts availability). The 90D is even newer, so it’s fine. However, eventually, as with film cameras, support will wane. This is likely a decade+ out – there are still people getting their 5D Mark II’s serviced today. So short-to-mid term, you’re safe buying a DSLR in 2025; just don’t expect firmware updates or any improvements.
• OVF vs EVF Experience: Some photographers still prefer the optical viewfinder experience – the instantaneous, lag-free viewing of the scene. In fact, a Rangefinderonline article on Canon’s flagship DSLR last stand noted many pros simply enjoy the optical finder and rugged build of cameras like the 1D series. If you are among those who find an EVF (electronic viewfinder) uncomfortable or fatiguing for long shooting, a DSLR remains appealing. As one commenter put it, there’s a certain joy in the direct optical view and the simplicity of a DSLR that can be lost in the layers of tech in mirrorless. This subjective value shouldn’t be ignored. On the flip side, EVFs now have benefits: live exposure preview, focus peaking for manual focus, being able to review images in the viewfinder in bright light, etc. The latest mirrorless EVFs (like the 5.76-million-dot OLED on an R5 or 9.44M-dot on a Sony A1) are extremely detailed – far better than earlier mirrorless. Some even have options for OVF-like simulation (Canon R3 has an OVF sim mode). The gap is closing, but die-hards will say it’s not the same. So, part of the “impact” of mirrorless is a cultural and ergonomic choice: Do you want the DSLR optical experience or the mirrorless digital experience? This is a personal preference that will affect how happy you are with either.
• Performance Gap: With each mirrorless generation, the performance gap widens. For example, Canon’s EOS R6 Mark II can shoot 40 fps with electronic shutter, essentially impossible with a mirror and mechanical shutter. The R7 (priced around $1,499) can do 30 fps RAW burst (with some limitations) and has subject-tracking that makes the 90D feel old-school. In low light, mirrorless can use on-sensor metering to focus in conditions as low as -6 or -7 EV in some cases, better than most DSLRs’ -3 EV. And features like In-Body Image Stabilization (IBIS) on R5/R6/R7 give you 5–8 stops of shake reduction with any lens – something no Canon DSLR has (they rely on lens IS only). If you do a lot of handheld low-light or video, IBIS is a godsend. None of the DSLRs we’re discussing have IBIS (only a few DSLRs ever did, Pentax aside).
• Mirrorless Transition Considerations: If you buy a DSLR now, you might wonder about switching later. The nice thing is Canon’s ecosystem has made that relatively painless when you’re ready – as mentioned, all your EF lenses adapt to an EOS R body essentially as if native (often better AF performance than on DSLR, actually, due to more AF coverage). We’ve seen many professionals gradually do this: e.g. a wildlife shooter might keep their 5D4 or 1DX for a while, but start using an EOS R5 with adapter alongside it; eventually they might fully switch to R5 + RF lenses as they get comfortable. Some have done it the other way: use an EOS R with their old lenses to try out mirrorless, then commit. As a new buyer in 2025, you have to weigh starting with a DSLR system vs jumping directly into mirrorless. If you already have a bunch of EF glass, grabbing a 5D4 or 90D now could be cost-effective. If you’re brand new with no lenses, many would advise looking at mirrorless options first, because that’s where future development lies (and things like eye-AF and IBIS can genuinely help beginners get more keepers). But mirrorless can be more expensive, and some entry RF bodies (like EOS RP or R10) have compromises.

Rumors and Final Thoughts: The rumor mill suggests that Canon is fully committed to fleshing out the RF lineup. We’ve heard of possible APS-C RF models (the R7 and R10 are out; perhaps an even more affordable R100 was released for beginners). Also, possible high-megapixel RF body for studio folks (maybe an “R5S” with 80–100MP). Another rumor is an EOS R8 (which indeed came out in early 2023 as a full-frame below R6II, essentially replacing the RP), and an EOS R9 or R50 for entry level – indeed the R50 launched in 2023 as a successor to Rebel cameras. What’s clear is Canon’s camera roadmap is entirely mirrorless-focused. Nikon has taken the same route (they formally discontinued the D500, D5600, D3500, etc., and rumors say the Nikon D6 was the last flagship DSLR for them too). Sony of course went all-mirrorless a decade ago. Pentax remains the lone company adamant about continuing DSLRs, appealing to a niche of OVF loyalists (they launched a K-3 Mark III DSLR in 2021). But Canon has shown no such intent to keep DSLRs alive except to “continue production for the time being” on lower models until demand truly dries up. This means we may see the 90D, 6D2, etc. remain on sale a couple more years but eventually they’ll be marked discontinued as stock sells out. Canon already “retired” the 7D line and 5D line as mentioned, and even the 90D doesn’t seem to have a direct successor (its role partly taken by the mirrorless R7).

Impact on your purchase decision: If you buy a DSLR now, you are essentially buying into a sunset system in terms of new bodies – but not in terms of capability. For many use cases, these DSLRs will produce just as great photos in 2025 as they did when new. A Canon 5D Mark IV image file shot in 2025 is indistinguishable from one shot in 2017 – which is to say, it’s still excellent. What has changed is what other cameras around it can do. For instance, a Canon R6 II might nail focus on an eye in action more easily, or a Nikon Z8 might shoot 20 RAW fps silently where the 5D4 can’t. But at base ISO and careful technique, a 5D4’s 30MP still rivals newer 30MP full-frames. Photography is ultimately about the photographer and the glass – these DSLRs give you the core tools needed (big sensors, good focusing, great lenses). The mirrorless systems give more automation and new conveniences. It’s similar to how autofocus was a convenience over manual focus – it didn’t make older cameras unable to take good photos, but it made achieving certain shots easier. Now eye-detect AF is doing the same relative to older AF.

Resale and Longevity: If you’re worried about your camera becoming obsolete, remember that even in 2025 people are happily shooting cameras from 2010 or earlier for many tasks. There’s a sizable community still using 5D Mark IIIs, or even 40D/50Ds for fun. The 90D/6D2/5D4 will be usable for many years. They might not get firmware updates adding features, but they don’t need them much (most bugs are long sorted). Their value in the used market may slowly decline as more folks move to mirrorless – but interestingly, we’ve seen a bit of a resurgence in interest for DSLRs among hobbyists who started on mirrorless and are curious about the DSLR experience. Also, rental houses and news agencies that bought lots of 5D4 and 6D2 units might release them as they upgrade to R5s, so used supply is plentiful. If you think you’ll resell in 2-3 years, consider that mirrorless might further lower demand for used DSLRs (meaning lower resale prices). But at current prices, you’ve already avoided the huge depreciation hit (e.g. the 5D4 lost ~$1500 value from new; buying now used could mean it only loses a few hundred more over your ownership).

In conclusion, Canon’s mirrorless R-series is the future and is rapidly innovating, which will make DSLRs increasingly feel like legacy tech. However, DSLRs like the 90D, 6D Mark II, and 5D Mark IV are fully mature tools that can absolutely deliver professional results in 2025 and beyond. The decision comes down to what you value: If you prize optical viewfinders, long battery life, and tried-and-true handling, these DSLRs still satisfy in a way some mirrorless cameras do not. If you crave the latest AF performance, video specs, and want a system that will see new product releases, mirrorless is the way to go. We are in a transition period where both can be viable. Canon has promised to continue some DSLR production as long as demand exists (particularly in certain overseas markets or for certain users), but essentially no new R&D is going into them. So buying a DSLR now, you should do so with eyes open that it’s likely the end of the line model – you won’t get a Mark III with new features in a couple years. If that suits you, you could actually save a lot of money and still get amazing shots with these cameras while others chase the latest gear.

Final Verdict and Recommendations

Choosing between the Canon 90D, 6D Mark II, and 5D Mark IV really comes down to identifying your needs and user profile, as each model caters to a slightly different photographer. Here’s our take on who each camera is best suited for, and some parting advice:

• For Beginners / First-Time DSLR Buyers: Canon EOS 90D is arguably the best choice. It offers a friendly learning curve (with excellent Auto modes and touchscreen interface) but tons of room to grow into advanced photography. You get modern features like 4K video and fast Live View AF, so you can experiment with vlogging or creative angles easily. The 90D’s sensor resolution is very forgiving for cropping, meaning if you’re new and can’t always “zoom with your feet,” you can crop in later and still have usable quality. Its price (around $999) is reasonable for the performance it delivers. Importantly, a beginner will appreciate the 90D’s versatility – you can shoot a bit of everything (landscapes, sports, portraits, macro) and the camera will keep up. The kit EF-S 18-135mm lens often bundled with it makes a great starter one-lens solution. By contrast, a beginner on the 6D Mark II would gain full-frame quality but lose a lot of flexibility (no built-in flash, no 4K, etc.), and the 5D Mark IV is likely overkill (and too expensive) unless you’re very serious from the get-go. So, for someone just stepping in, the 90D hits the sweet spot of being user-friendly yet powerful. (A side note: Canon’s Rebel T8i or mirrorless EOS R50 are other beginner-friendly options if you’re open to smaller sensors or different systems, but among these three, the 90D wins for newcomer appeal.)
• For the Enthusiast / Advanced Amateur: This is a bit of a split decision based on what you shoot:
  • If you’re a wildlife or action enthusiast, the EOS 90D might actually be the better fit than the 6D2. Its 10 fps burst and 1.6× crop reach (turning a 300mm lens into equivalent 480mm field of view) are assets for birds, sports, and distant subjects. You’ll also enjoy that high pixel density – you can crop a 90D image heavily and still have decent detail (great for small birds or far-away athletes). Many hobbyist wildlife shooters have called the 90D a “budget birding champ,” even bettering some older pro APS-C cameras in resolution. It also has that silent electronic shutter mode for critters that spook easily. So, an enthusiast focused on nature, telephoto work, or general fast subjects will get a lot from the 90D. Save money on the body and invest in good telephoto glass (e.g. EF 70-300mm, 100-400mm, or even the RF 100-400 on an adapter) – the results will impress.
  • If you’re an enthusiast focused on travel, portrait, or landscape, you might lean towards the EOS 6D Mark II IF you crave the full-frame look and low-light edge. For instance, a landscape hobbyist will appreciate the wider field of view with full-frame – your 16-35mm lens is truly 16mm on the 6D2, capturing expansive vistas. And if you often shoot astrophotography or night scenes, the 6D2’s high ISO noise is a tad cleaner than the 90D’s (though its dynamic range at base ISO is weaker). Portrait lovers will enjoy the shallower depth of field – a 85mm f/1.8 on 6D2 gives beautifully blurred backgrounds that an APS-C can’t quite match with the same lens. The 6D2 is also lighter than a 5D4, making it a bit easier to carry around city streets or on hikes. It has the fully articulating screen and a very comfortable grip, which travelers love for shooting at odd angles or taking the occasional selfie with a scenic backdrop. Basically, the 6D Mark II is ideal for the enthusiast who prioritizes image aesthetics (full-frame shallow DOF, etc.) over bleeding-edge specs. It’s an “entry-pro” camera: you get a taste of Canon’s pro image quality without the pro price. As one reviewer noted, if you mostly shoot in conditions where dynamic range isn’t pushed to the extreme (or you shoot JPEGs that look good out-of-camera), the 6D II produces gorgeous results. Just be aware of its limits: for action or video-heavy use, it’s not the strongest.
  • If you’re an enthusiast who wants the best of the DSLR world and is willing to spend more, the EOS 5D Mark IV can be a rewarding choice even for non-professionals. Its price is higher, but as of 2025 it’s within reach for some serious hobbyists (especially used). What you get in return is top-tier autofocus, build, and a sensor that’s excellent at everything – landscapes, portraits, you name it. Many advanced amateurs get a 5D Mark IV as their “grail” camera because of its legacy and all-around prowess. It can feel heavy and you’ll want to pair it with quality lenses to do it justice, which adds cost. But if photography is your passion and you love the idea of owning a camera that’s historically been used to shoot magazine covers and award-winning shots, the 5D4 is a fine choice. It will give you confidence to try any genre. You won’t outgrow it easily; rather, you’ll likely hit your own skill limits before the 5D4’s limits. Enthusiast landscape shooters will appreciate the weather sealing and that extra dynamic range over the 6D2, and wedding/portrait hobbyists will value the dual card slots and robust focus for capturing important moments. The 5D4 is kind of an “aspirational” camera for the serious enthusiast – if that’s you and the budget allows, you’ll likely fall in love with its results and feel, even if it’s a bit overkill at first.
• For Professionals: Among these three, the Canon EOS 5D Mark IV is the clear recommendation for professional use. It’s the only model here truly designed to meet the demands of working photographers day in and day out. Pros require reliability, and the 5D4 provides that: the weather-sealing, the 900-shot battery life, the fast dual card writing (use CF + SD for instant backups), the full suite of AF micro-adjust and fine-tuning options, the compatibility with Canon’s pro software (like tethering in studio). It’s a proven workhorse for weddings, events, portraits, journalism, and even sports (7 fps with excellent AF isn’t far off from flagship speeds). Many professionals used the 5D Mark IV as their primary body for years, and some continue to do so in 2025 because it’s so dependable. Image quality holds up well against newer cameras, especially for print and editorial work – editors and clients care more about your lighting and composition than if your dynamic range is 14 or 15 stops. The 30 MP resolution is still plenty for large prints or cropping as needed. Also, the 5D4’s versatility is key for pros: you can shoot a bridal portrait in the afternoon, a sports game at night, and record a 4K promo video the next day, all with one body if needed. The other two cameras have more specific niches and a few handicaps that a working pro might find limiting or risky (like a single card slot on 6D2/90D – many pros insist on dual slots to avoid catastrophic card failures). That said, there are specific scenarios a pro might choose a 90D or 6D2 as a secondary tool: e.g. a wildlife pro might use a 90D as a lightweight backup with extra reach; a travel pro might stow a 6D2 as a second body because it’s light and has GPS tagging for locations. But if it’s your primary money-making camera, the 5D Mark IV is the safe bet. What about mirrorless for pros? – It’s true that many professionals are transitioning to the EOS R series (the R5 and R6 II are very popular among wedding and portrait shooters now, and sports shooters eye the R3). If you’re a pro buying fresh in 2025, you should strongly consider those unless you have a compelling reason to stick with DSLR (e.g., you’re heavily invested in EF glass and on a tight budget, or you specifically need the optical VF for your shooting style). However, for some veteran pros, the 5D Mark IV still hits a sweet spot of familiarity, reliability, and “good enough” features. It’s also a common rental and widely supported if something goes wrong while traveling on assignment, etc. So it remains a sensible pro kit cornerstone if mirrorless isn’t mandatory for you yet.
• For Hybrid Shooters (Stills+Video): If you equally need strong video and stills, among these three the Canon 90D is the most well-rounded choice. Its uncropped 4K and Dual Pixel AF make video shooting much easier and more modern than the 6D2’s or 5D4’s offerings. So, if you’re, say, a content creator who primarily shoots photos but also needs to produce YouTube videos or client video clips, the 90D will serve you better. It can handle 4K30 and slow-motion 1080p, and you can compose using the articulated screen for vlogging or tricky angles. The 5D Mark IV does have gorgeous 4K output, but the file management and crop factor make it a niche solution (you’d need lots of cards and storage). Meanwhile, the 6D2’s video is fine for basic 1080p, but definitely not up to today’s expectations for quality or features (no 4K, no headphone jack, etc.). So, for a true “hybrid” workflow, the 90D provides the best balance – plus it’s cheaper, meaning you could invest in good microphones or a gimbal with the savings.
• For Those Who Already Own Canon Gear: Your current gear can sway the decision. If you have a collection of EF-S lenses, the EOS 90D allows you to keep using them at full field-of-view (they can’t be used on full-frame 6D2/5D4). It would be a natural upgrade from, say, a Rebel T5i or 80D, giving you familiarity but a boost in resolution and features. If you own some nice EF full-frame lenses but maybe an older body (like a 5D Mark II/III or original 6D), then stepping up to the 5D Mark IV will feel like coming home, just with everything refined – your lenses will likely resolve more detail on the 30MP sensor and you’ll get better AF and dynamic range than your older body provided. If your EF lenses are not that great or you only have a couple, you might also evaluate if moving to mirrorless and adapting them is a better long-term strategy. However, for many existing Canon DSLR users, grabbing one of the last DSLRs new at a discount is a comfortable way to extend the life of their kit without jumping platforms immediately.
• For the Nostalgic or Optical Viewfinder Enthusiast: If you simply love optical viewfinders and the DSLR experience, you might pick the camera that gives you the most joy in that regard. The 5D Mark IV’s big, bright viewfinder can be a pleasure to use if you’ve never experienced full-frame optical before – it’s immersive, especially with a beautiful lens attached. The 6D Mark II also gives that full-frame view at a more attainable price, which many find alluring for everyday photography – composing through the finder of a 6D2 with a 50mm f/1.4 and seeing the world with that shallow depth is a distinct experience. The 90D’s optical finder, while smaller in magnification, is one of the best you’ll get on APS-C and has 100% coverage; it’s great for those who want an OVF on a crop body. If you’ve tried mirrorless EVFs and found them not to your taste, rest assured these DSLRs continue to provide that direct optical connection to your subject that some photographers can’t live without. There is something to be said about the tangible, uncluttered process of using a DSLR – many feel it keeps them in the moment more than chimping on screens and navigating menus. If that is you, grabbing one of these DSLRs now (especially the 5D4 or 6D2 which might not be available new for much longer) could be a satisfying decision that rekindles your passion or maintains your preferred workflow.

Final Thoughts: Canon’s EOS 90D, EOS 6D Mark II, and EOS 5D Mark IV each come from the peak era of Canon DSLR development – they are refined tools that, despite not being the latest, can produce outstanding results in the right hands. In a way, they represent the culmination of Canon’s decades of DSLR expertise: the 90D squeezing maximum tech into the APS-C format, the 6D2 making full-frame approachable and fun, and the 5D4 being the professional gold standard of its time.

• The 90D is a fantastic all-purpose camera for enthusiasts and advanced amateurs, offering cutting-edge (for DSLR) features at a mid-range price. It’s the best choice when you need speed, reach, or video on a budget – great for budding sports shooters, wildlife hobbyists, family documenters who also shoot video, and anyone upgrading from an older Rebel/XXD who wants a big jump in capability. It was even labeled the “best DSLR for most people” in 2025 by PetaPixel for its balance of performance and price, a sentiment we echo.
• The 6D Mark II is ideal for enthusiasts who prize image quality and simplicity over specs. It’s the camera you pick for the love of full-frame photography – landscapes with rich depth, portraits with dreamy bokeh, and clean low-light shots. It doesn’t tick every feature box, but it gives you what matters for creating beautiful images: a great sensor (within its dynamic range limits) and Canon’s color science in a lightweight, approachable package. It’s especially attractive if you find a good deal or kit bundle. Just go in knowing it’s not for heavy action or 4K video – it’s for the joy of capturing stills with that classic Canon full-frame look. For many hobbyists who don’t need pro bells and whistles, the 6D2 remains a satisfying and inspiring camera that can last them for years.
• The 5D Mark IV, even in 2025, earns its keep as a top recommendation for semi-pro and professional photographers, or enthusiasts who simply want the best DSLR Canon ever made (arguably). It offers a level of confidence and capability that can handle paid work and challenging assignments. If you’re a pro still using older Canon bodies, the 5D4 will feel like a significant upgrade in autofocus, resolution, and dynamic range, and it slots right into your workflow (same batteries, similar controls). If you’re considering switching to mirrorless but aren’t quite ready, the 5D4 can serve as a robust bridge for the next few years – you won’t be held back in most photographic scenarios. As Digital Camera World put it in mid-2025, the 5D Mark IV truly represents the “end of an era” and the “pinnacle of DSLR engineering” – and owning one gives you a piece of that history, with the practical benefit of a damn good camera in your hands.

A Note on Mirrorless: We’d be remiss not to remind prospective buyers that Canon’s mirrorless lineup (EOS R series) is now the primary focus of innovation. If you’re heavily invested in future-proofing and can afford the mirrorless bodies, you should weigh them in your decision. For example, an EOS R6 Mark II outperforms all of these DSLRs in autofocus and matches or exceeds them in image quality (and isn’t far off the 5D4’s price). The EOS R7 provides an APS-C alternative to the 90D with even faster bursts and next-gen AF, albeit with an EVF. Canon’s RF ecosystem will continue to grow, whereas EF is static. However, mirrorless isn’t inherently “better” at producing a stunning photo – it just can make the process easier or open new possibilities (like silent shooting). If you prefer the DSLR experience or have a budget that fits these models plus lenses better, you can absolutely continue creating award-worthy images with a 90D, 6D Mark II or 5D Mark IV for years to come. The camera is a tool – and these remain very capable tools.

Final recommendation in one line:

• Choose the Canon EOS 90D if you want the best blend of performance, modern features, and value – it’s perfect for enthusiasts who shoot a bit of everything, and especially those leaning toward action or video.
• Choose the Canon EOS 6D Mark II if you’re an image-quality enthusiast on a budget – you want that full-frame look and a fun, lightweight DSLR for travel, portraits, and everyday creativity, without venturing into pro price territory.
• Choose the Canon EOS 5D Mark IV if you demand professional reliability and versatility – you’re a working photographer or a very serious hobbyist who needs a camera that excels across the board and is built to withstand rigorous use (and you’re willing to invest accordingly).

In the final analysis, all three of these DSLRs are still relevant in 2025 for the right user. They each offer a slightly different recipe of Canon’s renowned color rendition, ergonomics, and image quality. Whether you’re capturing your child’s soccer match, the majesty of a mountain range, or a once-in-a-lifetime wedding, there is a DSLR here that can rise to the occasion. As one seasoned photographer reflected, “the images these cameras create today will look just as beautiful in 10 years”. So, pick the one that fits your shooting style and goals, grab some great EF glass (there’s never been a better time to find deals on lenses), and get out there. Mirrorless may be the future, but there’s plenty of life – and photography – left in these DSLRs. Enjoy the process, and happy shooting!

Sources: Canon USA product specs, DPReview analyses, and expert reviews were referenced for factual details and performance evaluations in this comparison, along with insights from PetaPixel and others on the broader DSLR vs. mirrorless context. Each camera’s strengths and weaknesses were cross-verified with multiple professional reviews to ensure an accurate and up-to-date portrayal.