In summary
With the EOS 5D Mark III remaining in the market, shoppers looking for a sophisticated, pro-quality Canon DSLR camera now have three choices: the 5D III, the 5DS and the 5DS R.
The 5DS R will especially suit landscape, architectural, wedding and studio photographers. The 5D III’s faster continuous shooting and higher ISO settings may be preferable for action and wildlife photographers and is also slightly better equipped for shooting movies.
The difference in resolution between the 5D III and the two 5DS models is small, but could be significant, particularly if you do a lot of image cropping.
It’s also enough to show up differences in performance between the best-performing lenses and those a step or two below them, although even kit lenses should be able to deliver improved performance with the two 5DS cameras.
There’s no doubt that having more pixels to play with can be useful and the two 5DS are fine performers in our tests (see full review).
If you plan to buy any of these cameras, our research shows it will be cheaper to shop locally than to import a camera from an off-shore re-seller, particularly when accounting for the currency conversion rates and shipping and insurance costs. And the camera will be in your hands much quicker.
Full review
Announced by Canon on 6 February 2015, the EOS 5DS R is one of two DSLR cameras with 50-megapixel, ‘full-frame’ sensors that are targeted at professional photographers and serious enthusiasts. The only difference between them is the low-pass cancellation filter in front of the image sensor in the 5DS R to maximise image sharpness (at the risk of producing moirø©). This isn’t provided in the slightly less expensive 5DS, which has a regular low-pass filter.
Angled view of the EOS 5DS R with the EF 24-70mm f/2.8 L II USM lens. (Source: Canon.)
Both cameras were announced well in advance of their scheduled release date in June and we’re delighted to receive a review unit shortly after the first cameras arrived in Australia. The camera was supplied with the EF 100mm f/2.8 L Macro IS USM lens, which we reviewed in February 2010 and which was used for our Imatest testing. Test shots have also been taken with the EF 24-105mm f/4L IS USM lens, which was originally designed to complement the EOS 5D.
Who’s it For?
Although the EOS 5DS R and its sibling support movie capture, both cameras are designed primarily for stills photographers. The 5DS R, in particular, will suit those for whom recording maximum detail and sharpness is more important than a potential risk of moirø© and aliasing.
The new models will sit alongside the EOS 5D Mark III and provide a higher-resolution alternative for landscape, architectural, wedding and studio photographers. This leaves the 5D III with the advantage of faster continuous shooting and higher ISO settings, which may be preferable for action and wildlife photographers. It is also slightly better equipped for shooting movies.
What’s New?
The 5DS R and its sibling introduce a potentially faster USB 3.0 computer interface, which uses a larger socket than the previous USB 2.0 port. A cable protector for connecting an interface cable to the USB 3.0 terminal is included. It should be used to safeguard the camera’s circuit board.
The space occupied by the larger USB 3.0 port has meant the removal of the 5D III’s headphone socket. This, along with no support for sending uncompressed HDMI output to an external recording device makes the 5DS cameras a bit less suitable for shooting movie clips than the 5D III.
Canon has introduced a new Mirror Vibration Control System to reduce the vibration that occurs when the mirror flips up. Instead of conventional, spring-driven SLR mirrors, the mirror is driven by a small motor and cams, which slow it down as it nears the top of its travel, suppressing its impact and any associated effects that might have on the image. The shutter release also becomes quieter.
A new Time Release Lag setting in the camera’s menu offers added protection against camera shake by delaying the actual exposure until after the impact of the camera’s mirror has diffused. Users can adjust the delay time to suit different lens focal lengths and whether the camera is tripod mounted.
Features ported across from the EOS 7D II include the150,000-pixel metering sensor, which supports full-colour metering, using blue, green, red and infrared data from 252 metered zones. The results are more accurate than the 5D III’s two layer, 63-zone sensor. Like most EOS cameras, the new models support evaluative, centre-weighted average, partial and spot metering patterns. Unfortunately, spot metering can’t be linked to a selected AF point.
The metering system is also used by the ‘iTR’ (Intelligent Tracking and Recognition) AF system, which enables subject recognition and tracking. This system originated in the EOS-1D X and was also used in the EOS 7D II. In AI Servo AF mode the camera ‘remembers’ the colour at the position it focused upon first and continues to track and focus on the subject by switching AF points to track that colour. This ensures more accurate subject tracking across the frame.
Also from the 7D II comes an expanded ability to pre-set shutter speed limits before ISO gets increased. As well as being able to select the minimum shutter speed for auto ISO, users can bias this setting with a slider to select speeds faster or slower than the default option. Three settings are available on either side of the default zero setting.
For movies, the 7D II’s Anti-flicker function has been added, enabling the camera to detect the frequency and phase of the flicker created by cycling lights, such as fluorescent lighting, where a fast shutter speed may produce fluctuating exposure levels. When enabled, this function captures images near the point of peak brightness, which the light is optimal.
Also from the EOS 7D II is the built-in intervalometer which supports time-lapse fixed-point shooting and long exposures without the need for a remote control. The interval timer can record between one and 99 shots at preselected intervals (from one second to 99 hours 59 minutes 59 seconds, or unlimited) and combine them to make an HD movie. The Bulb setting can be used for all types of long exposure photography.
Build and Ergonomics
Like the EOS 5D Mark III, the bodies of the EOS 5DS R and its sibling are made from high-grade magnesium alloy with a black polycarbonate cladding. For some reason, the new cameras are slightly lighter, although their dimensions are exactly the same (152.0 x 116.4 x 76.4 mm). Like the 5D III, they have dust-and moisture-resistant sealing and feature a shutter durability rating up to 150,000 cycles.
Front view of the EOS 5DS R with no lens fitted. (Source: Canon.)
Except for its model label, the front panel of the 5DS R is identical to the 5D III with a generous grip moulding and depth-of-field preview button to the right hand side of the lens mount and the lens release button to the left. The same rosette of microphone holes sits just above the EOS 5DS R label.
A DC coupler cord socket is located below a lift-up rubber cover on the bottom inside edge of the grip moulding. It’s used to connect the camera to mains power via the optional ACK-E6 adapter kit.
Top view of the EOS 5DS R with no lens fitted. (Source: Canon.)
The top panel is also essentially the same, with an identical mode dial and LCD data panel plus the same layout for the button and dial controls. No changes have been made to the rear control layout, either, and both the viewfinder and monitor have the same specifications as those on the 5D III.
However, the viewfinder display has been upgraded to provide the same text information as the EOS 7D Mark II plus framing guides for the new crop modes. It also offers AF point illumination in the AI Servo AF, a feature ported across from the EOS-1D X.
The rear panel of the EOS 5DS R. (Source: Canon.)
As in the 5D III, the new 5DS R and 5DS cameras come with dual card slots, one CompactFlash and the other for SD/SDHC/SDXC cards, both compatible with UHS and UDMA standards. Users can set the camera to record to either card, to switch automatically to the unused card when the first is full, to record different file types separately to different cards and to use the second card as a back-up for the first by recording to both cards.
The left hand side of the EOS 5DS R body showing the interface terminals. (Source: Canon.)
The opposite side panel has two rubber covers that lift up to reveal the interface ports. Like the 5D III, the 5DS R and 5DS cameras include microphone and remote control terminals and a flash PC socket as well as an HDMI mini out port and a digital terminal. The latter uses the latest USB 3.0 format, instead of USB 2.0 on the 5D III.
The battery is the same as used in the 5D III and housed in a compartment within the grip moulding. It’s accessed via a lift-up panel in the base plate. Also in the base plate is a metal-lined tripod socket, which is centrally located on the optical axis of the lens.
Sensor and Image Processing
Since resolution is the key difference between the new models and the 5D Mark III, we’ll devote a bit more space than usual to the new sensor. With approximately 53 million photosites crammed onto a 36 x 24mm CMOS chip, it offers an effective resolution of 50.6 megapixels, the highest so far in a regular DSLR camera ““ and slightly more than the latest Sony α7r II model, which has an effective resolution of 42.4 megapixels.
Cramming so many photosites onto a ‘full frame’ chip has consequences. Whereas the 22.3-megapixel EOS 5D Mark III had photosites measuring 6.25 microns squared, in the EOS 5DS models, each photosite measures 4.14 microns squared, a 2.28x reduction in their surface area.
The reduced light-gathering capabilities have led Canon to restrict the native ISO range to a maximum of ISO 6400 (with extension to ISO 12800), whereas the 5D III supports a native range of ISO 100 to 25600, with extensions as high as ISO 102400. The 5DS models include an L expansion setting equivalent to ISO 50, which has a slightly reduced dynamic range.
The very high resolution of the 50-megapixel sensor provides much greater scope for crop-zooming, a practice we would normally frown upon. However, given the high resolution, it can be handy for some users, provided they can manage with the reduced resolution.
Three in-camera cropped modes are available for viewfinder shooting: 1.3x having a maximum resolution of 6768 x 4512 pixels (~30.5MP) and a 1.6x crop with 5424 x 3616 pixels (~19.6MP). Each crop increases the effective focal length of any lens fitted by the magnification factor. An additional 1:1 crop has 5792 x 5792 pixels, equivalent to around 33.5MP.
Like other Canon DSLRs, there are also 4:3 and 16:9 aspect ratio options available when shooting in Live View mode with maximum resolutions of 7717 x 5792 and 8688 x 4888 pixels, respectively. The camera also provides M-RAW (28MP) and S-RAW (12.4MP) settings. Typical image file sizes and burst shooting capacities are shown in the table below.
|
Image Quality |
Pixels Recorded |
File Size |
Shots/8GB card |
Max. burst* |
|
|
JPEG |
L/Fine |
50M |
14.1MB |
510 |
31 (510) |
|
L/Normal |
7.0MB |
1030 |
1030 |
||
|
M1/Fine |
39M |
10.9MB |
660 |
45 (660) |
|
|
M1/ Normal |
5.5MB |
1310 |
1310 |
||
|
M2/Fine |
22M |
7.1MB |
1010 |
1010 |
|
|
M2/ Normal |
3.5MB |
2030 |
2030 |
||
|
S1/fine |
12M |
4.5MB |
1590 |
1590 |
|
|
S1/ Normal |
2.3MB |
3120 |
3120 |
||
|
S2 |
2.5M |
1.2MB |
5600 |
5600 |
|
|
S3 |
0.3M |
0.3MB |
20380 |
20380 |
|
|
RAW |
RAW |
50M |
60.5MB |
100 |
12 (14) |
|
M-RAW |
28M |
44.0MB |
140 |
12 (14) |
|
|
S-RAW |
12M |
29.8MB |
190 |
14 (15) |
|
|
RAW+JPEG |
RAW+JPEG/L |
50M/50M |
74.6MB |
87 |
12 |
|
M-RAW+JPEG/L |
28M/50M |
58.1MB |
110 |
11 (12) |
|
|
S-RAW+JPEG/L |
12M/50M |
43.9MB |
14 |
14 |
|
* Using standard SD or CF card; figures in brackets are for UDMA 7 CF card when different from regular card.
Video
Video capabilities are similar to those in the EOS 5D Mark III and require the camera to be switched to the Live View Setting with the Movie mode (shown by a red icon) selected. The Scene Intelligent Auto, Program AE, Shutter-priority AE, Aperture-priority and Bulb modes can be used. Auto exposure control takes effect in the auto, P and Bulb settings.
Movie Servo AF has been introduced to provide continuous autofocusing while shooting movie clips. Other focusing options are the same as the 5D III’s.
The lowest recommended shutter speed for video is 1/30 second with the 30p, 25p and 24p frame rates and 1/60 second for 50p and 60p. When shooting moving subjects the maximum speed should not exceed 1/125 second to ensure the recorded motion remains smooth. ISO settings are adjustable but the L(50) setting can’t be selected.
Movies can’t be recorded to both memory cards. If Rec. separately or Rec. to multiple is selected, clips will be recorded to the card that is set for Playback. A limit of 4GB is imposed on movie clips.
Like the 5D III, the 5DS R records video using the MPEG-4 AVC codec with H.264 compression. It also gives photographers a choice between the general-purpose, high-compression IPB format and the ALL-I compression format, which is more suitable for editing. The table below shows the options available for PAL format users.
|
Recording quality |
Frame rates |
Compression method |
Recording time on 8GB card |
File size |
|
Full HD (1920×1080) |
25p/24p |
ALL-I |
Approx. 685 MB/min. |
654MB/min. |
|
IPB |
Approx. 235 MB/min. |
225MB/min. |
||
|
HD (1280×720) |
50p |
ALL-I |
Approx. 610 MB/min. |
583MB/min. |
|
IPB |
Approx. 205 MB/min. |
196MB/min. |
||
|
SD (640×480) |
25p |
IPB |
Approx. 78 MB/min. |
78MB/min. |
The built-in microphone records audio monaurally but an external microphone jack is provided for optional stereo microphones. Sound recording levels are adjustable automatically or manually and recordings can be switched off if desired. A wind filter and attenuators are available. The touch pad dial on the camera’s rear panel can be used to adjust camera settings silently when shooting video clips.
The 5DS R offers the same in-camera time-coding settings as provided in the 5D III, using industry standard format of Hour:Minute:Second:Frame as defined by the Society of Motion Picture and Television Engineers (SMPTE). This enables clips recorded with the camera to be integrated with professionally-shoot footage and edited on professional editing desks.
You can capture still images while recording movie clips, although doing so creates a break of roughly a second in the recorded footage. Their aspect ratio will be determined by the movie’s aspect ratio but image quality will be set to the quality setting established for the designated card on which the image is recorded. So, if you’re shooting FHD 1080p clips and the card is set for maximum resolution, the files will be 8688 x 4888 pixels in size.
Playback
All the standard playback settings are provided including single and index playback (four or nine thumbnails), erase, protect, rotate and rate. Images can be displayed with or without info. (basic info, shooting info, histogram) and there’s a highlight alert setting that causes overexposed highlights to blink, along with three types of grid and the ability to display selected AF points.
Played-back stills can be magnified up to 16 times and you can jump through collections of images in increments of 10 or 100 frames or browse by shooting date, by folder, by movies, by stills or by rating. Slideshows can be created with some or all images and sequenced by date, folders, movies, stills or rating.
Post-processing of CR2.RAW files into JPEGs is available and users can adjust brightness, white balance, Picture Style and the Auto Lighting Optimiser settings. Changes can also be made to the settings for High ISO speed noise reduction, JPEG image-recording quality and colour space and corrections can be applied for peripheral illumination, distortion and chromatic aberration.
Performance
It’s difficult to measure the true performance of very high-resolution cameras because so much depends upon the lens used for the test shots. Many lenses, particularly kit lenses, are simply not capable of displaying the resolution of a 50-megapixel sensor.
Fortunately, the EF 100mm f/2.8 L Macro IS USM lens Canon supplied with the camera was up to the task. The other lens we used, the EF 24-105mm f/4L IS USM lens fell slightly short but was usable for taking test shots. JPEG files taken with this lens were slightly soft straight from the camera and benefited from a little unsharp masking in Photoshop.
Otherwise, images shot with the default Standard Picture Style setting were very clean and colour accurate. Plenty of detail was recorded and saturation was maintained at a natural level, giving scope for subsequent adjustments.
Imatest showed the review camera to be capable of exceeding expectations for its 50-megapixel sensor with CR2.RAW files, which were converted into 16-bit TIFFs with Adobe Camera Raw. JPEGs recorded simultaneously came very close to meeting expectations, an excellent result for such a high-resolution camera. Resolution held up very well across the camera’s ISO range, as shown in the graph of our test results below.
Interestingly, the review camera handled high ISO settings surprisingly well when the smaller area of individual photosites is taken into account. In our night shots, little noise was visible up to ISO 3200 but thereafter edges became slightly softened as noise-reduction processing was applied.
JPEGs fared better than raw files, which contained a lot of visible colour noise and granularity at the two highest ISO settings. JPEGs recorded at ISO 12800 were printable at 5 x 7 inch size with little visible loss of quality. But they didn’t look as good when viewed on a computer screen.
The 5DS R appeared capable of recording a similar range of tones to the 5D Mark III in subjects with extended brightness ranges. Exposure levels were accurately metered and blown-out highlights were rare in JPEGs with the Auto Lighting Optimiser at the Standard setting and the Highlight Tone Priority switched off.
In general use, the review camera’s auto white balance delivered pleasing colours with a wide range of light sources, both indoors and out. Shots taken under fluorescent lighting contained no obvious colour cast. However, the camera failed to totally correct the orange cast of incandescent lighting in our standard tests.
Plenty of pre-sets are provided for dial-in corrections with daylight, shade, cloudy, tungsten, white fluorescent and flash or you can take custom measurements or use Kelvin temperature settings. Each setting can be fine-tuned in the camera with nine steps of amber, blue, green or magenta shift available. White balance bracketing across +/- three steps is also supported.
We recorded our video tests with the EF 24-105mm f/4L IS USM lens because it enabled us to test how the camera handled zooming. The overall quality of the clips we shot was fairly average, which isn’t surprising as this camera has been designed primarily for shooting stills.
Whereas autofocusing while shooting stills was fast and accurate in normal light levels, it could take a second or more for the lens to re-focus after zooming while a movie clip was being recorded in similar conditions. Autofocusing while panning was similarly sluggish.
Even while shooting stills, however, very low light levels and low contrast subjects could cause both lenses to hunt for focus. Correct use of the focus limiters on the 100mm macro lens reduced the hunting time to a degree, but it could still take a second or two to achieve focus. Manual over-ride, which is easy with both lenses, overcame this problem pretty smartly.
Our timing tests were carried out with a 32GB Kingston Ultimate 266x CF card, which is the fastest CF card we own and also with a 32GB SanDisk Extreme Pro SDHC U1 card. The review camera took roughly one second to power-up, with most of the delay caused by the automatic sensor cleaning.
We measured an average capture lag of 0.1 seconds when the viewfinder was used and 0.65 seconds with Live View shooting. When shots were pre-focused, the delay was eliminated for viewfinder shooting and reduced to 0.1 seconds with Live View.
It took an average of 1.8 seconds to process a single JPEG file and 1.9 seconds for a raw file with the CF card and 1.9 seconds and 2.0 seconds respectively with the SDHC card. For a RAW+JPEG pair, processing time extended to 3.1 seconds with the CF card and 3.2 seconds for the SDHC card. Shot-to-shot times with both cards averaged 0.3 seconds when the viewfinder was used and three seconds with Live View.
In the high-speed continuous shooting mode with the SDHC card, the test camera recorded 38 Large/Fine JPEGs in 9.2 seconds, which equates to just over four frames/second. It took 7.2 seconds to process this burst. For raw file capture, the camera recorded 16 shots in 3.7 seconds but it took 18.2 seconds to process this burst.
Swapping to the CF card, we recorded 62 Large/Fine JPEGs in 18 seconds before the camera showed any signs of slowing down. Processing of this burst was completed within a second of the last frame captured. For raw file capture, the camera recorded 20 shots in 4.8 seconds before pausing but it took only 12.2 seconds to process the burst.
When shooting RAW+JPEG pairs with both cards, we recorded 16 image pairs in 3.8 seconds before the camera hesitated. It took 16.2 seconds to complete the processing sequence.
Conclusion
With the EOS 5D Mark III remaining in the market, shoppers looking for a sophisticated, pro-quality Canon DSLR camera now have three choices: the 5D III, the 5DS and the 5DS R. The difference in resolution between the 5D III and the two 5DS models is small, but could be significant, particularly if you do a lot of image cropping.
It’s also enough to show up differences in performance between the best-performing lenses and those a step or two below them. However, even kit lenses should be able to deliver improved performance with the two 5DS cameras.
Photographers considering these cameras will need to ask whether they really need 50 megapixels. If you visit the World Wildlife Photographer of the Year Exhibition (which is on currently at the Australian Museum in Sydney and touring museums in the main capital cities) or check out the galleries at http://www.nhm.ac.uk/visit-us/wpy/gallery/2014/index.html you’ll see most of the winning images have been taken with older DSLRs from Canon or Nikon, all of which have lower pixel counts than the 5DS models.
That said, there’s no doubt that having more pixels to play with can be useful and the two 5DS are fine performers in our and other reviewers’ tests. DxO Mark recently published a comparison of the 5DS and 5DS R showing there’s little to choose between them (http://www.dxomark.com/Reviews/Canon-5DS-5DS-R-Review-New-top-ranking-Canon-EOS-sensor/Comparison-1-EOS-5DS-vs-EOS-5DS-R) and stating the low-pass cancellation filter on the 5DS R doesn’t have a significant impact on their scores. Nor is there a huge difference in performance between the 5DS and the 5D III.
Another site worth visiting is Lens Rentals, which recently published an interesting ‘teardown’ of the EOS 5DS at http://www.lensrentals.com/blog/2015/06/canon-5ds-teardown and a comparison of the 5DS and 5DS R with a range of different lenses at http://www.lensrentals.com/blog/2015/06/canon-5ds-and-5ds-r-initial-resolution-tests.
If you plan to buy any of these cameras, our research shows it will be cheaper to shop locally than to import a camera from an off-shore re-seller, particularly when accounting for the currency conversion rates and shipping and insurance costs. And the camera will be in your hands much quicker.
A visit to Canon’s online store will show you the EOS 5DS R is priced at AU$5899, while the EOS 5DS is AU$5499. The EOS 5D III is listed at AU$4199 but offered at a sale price of AU$3949, which looks like good value.
However, if you shop around the reputable online re-sellers you will almost certainly save more. The lowest prices we found were around AU$5000 for the 5DS R, $4400 for the 5DS and $2800 for the 5D III.
SPECS
Image sensor: 36 x 24mm CMOS sensor with approximately 53 million photosites (50.6 megapixels effective), 3:2 aspect ratio
Image processor: Dual DIGIC 6
A/D processing: 14-bit
Lens mount: Canon EF (incompatible with EF-S lenses)
Focal length crop factor: 1.0x
Image formats: Stills ““ JPEG (EXIF 2.3), CR2.RAW (14-bit Canon original), M-RAW (appr. 28MP, S-RAW (appr. 12.4MP), RAW+JPEG; Movies: MOV, MPEG-4 AVC / H.264
Variable (averaged) bit rate
Image Sizes: Stills ““ Full size: 8688 x 5792, 7680 x 5120, 5760 x 3840, 4320 x 2880, 1920 x 1280, 720 x 480; M-RAW – 6480 x 4320; S-RAW – 4320 x 2880; 1:1, 1.3x and 1.6x crops also available ; Movies: [Full HD] 1920 x 1080 at 30 fps / 25 fps / 24 fp; [HD] 1280 x 720 at 50 fps, [VGA] 640 x 480 30 / 25 fps
Image Stabilisation: Lens based
Dust removal: Self Cleaning Sensor Unit plus Dust Delete Data acquisition and appending
Shutter (speed range): Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled (1/8000 to 30 seconds plus Bulb), X-sync at 1/200 sec.
Exposure Compensation: +/- 5EV in 1/3EV or 1/2EV steps (+/-EV for movies)
Exposure bracketing: +/- 3EV in 1/3EV or 1/2EV increments
Other bracketing options: White balance and flash exposures
Self-timer: 2 or 10 seconds delay
Focus system: TTL Secondary image registration, phase detection with AF-dedicated CMOS sensor and 61-point High-Density Reticle AF; includes 5 dual cross-type AF points at f/2.8 and f/5.6, 20 cross-type AF points at f/4.0 + f/5.6, 21 cross-type AF points at f/5.6, 20 horizontal-line focusing AF points at f/5.6 and 1 cross-type AF point at f/8
Focus modes: One-Shot AF, Predictive AI Servo AF (For automatic AF point selection, the AF point to start the AI Servo AF operation can be selected. For automatic AF point selection, the active AF point can be displayed.), AI Focus AF (Switches between One-Shot AF and AI SERVO AF automatically), Automatically set in A+ (Auto) Mode plus Manual focus (MF)
Exposure metering: Approx. 150,000-pixel RGB+IR metering sensor, EOS iSA System with 252-zone (18 x 14) metering
Metering modes: Evaluative metering (linked to all AF points), Partial metering (centre, approx. 6.1% of viewfinder), Spot metering (centre, approx. 1.3% of viewfinder), Centre-weighted average metering; AF point-linked spot metering not provided.
Shooting modes: Scene Intelligent Auto, Program AE (shiftable), Shutter-priority AE (Safety shift possible), Aperture-priority AE (Safety shift possible), Manual exposure, Bulb, Custom (x3)
Picture Style Modes: Auto, Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Defined 1-3
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100-6400 with expansion to ISO 50 and ISO 12800
White balance: Auto, Daylight, Shade, Cloudy, Twilight, Sunset, Tungsten light, White fluorescent light, Flash, Custom, Colour temperature setting; Blue/Amber, Magenta/Green bias adjustments +/- 9 levels
Custom Functions: 16 Custom Functions covering Shutter button halfway pressing, AF-ON button, AE lock button, Depth-of-field preview button, lens AF Stop button, Multifunction button, SET button, Main Dial, Quick Control Dial, and Multi-controller; Current camera settings can be registered to C1, C2 and C3 on the Mode Dial, Up to six top-tier menu options and Custom Function settings can be registered in My Menu
Flash: External flash only
Flash Exposure Compensation: +/- 3 stops in 1/3- or 1/2-stop increments
Sequence shooting: Max. 5 shots/sec.
Buffer capacity: Max. 31 Large/Fine JPEGs, 12 RAW files or 12 RAW+JPEG pairs with standard cards
Storage Media: Dual slots for CF (Type 1 only) and SD, SDHC, SDXC cards (Compatible with UHS-I standard)
Viewfinder: Eye-level pentaprism with 100% frame coverage, approx. 0.71x magnification, approx. 21mm eyepoint; dioptre adjustment of -3.0 to +1.0 dpt, fixed focusing screen
LCD monitor: 3.2-inch TFT colour LCD with approx. 1.04 million dots, Clear View LCD II coating, 100% coverage and auto/manual brightness control
Playback functions: Single image, Single image + Image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approx. 1.5x-10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), two-image comparative display, slide show (all images/selected by date/folder), star rating; highlight alert with single-image display
Interface terminals: USB 3.0, Video OUT terminal: PAL/ NTSC selectable, mini-HDMI OUT, extension terminal for WFT-E7A (Version 2) and GPS Receiver GP-E2
Wi-Fi function: via the Wireless File Transmitter WFT-E7A (version 2)
Power supply: LP-E6 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 700 shots/charge with viewfinder or 220 shots/charge with Live View
Dimensions (wxhxd): Approx. 152.0 x 116.4 x 76.4 mm (body only)
Weight: Approx. 845 grams (body only); 930 grams with battery and cards
TESTS
Based on JPEG files.
Based on 14-bit CR2.RAW converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
30-second exposure at ISO 100; 100mm focal length, f/4.
10-second exposure at ISO 1600; 100mm focal length, f/7.1.
6-second exposure at ISO 3200; 100mm focal length, f/7.1.
5-second exposure at ISO 6400; 100mm focal length, f/9.
5-second exposure at ISO 12800; 100mm focal length, f/11.
EF 100mm f/2.8 Macro lens; ISO 100, 1/640 second at f/2.8.
EF 100mm f/2.8 Macro lens; ISO 100, 1/250 second at f/4.5.
EF 100mm f/2.8 Macro lens; ISO 100, 1/60 second at f/6.3.
Crop from the above image enlarged to 100%.
EF 24-105mm f/4 lens; 73mm focal length, ISO 100, 1/250 second at f/8.
Crop from the above image enlarged to 100%.
EF 24-105mm f/4 lens; 55mm focal length, ISO 100, 1/250 second at f/9.
EF 24-105mm f/4 lens; 73mm focal length, ISO 100, 1/320 second at f/8.
EF 24-105mm f/4 lens; 24mm focal length, ISO 100, 1/100 second at f/10.
EF 24-105mm f/4 lens; 70mm focal length, ISO 100, 1/320 second at f/8.
EF 24-105mm f/4 lens; 75mm focal length, ISO 100, 1/60 second at f/4.
EF 24-105mm f/4 lens; 35mm focal length, ISO 800, 1/250 second at f/5.
EF 24-105mm f/4 lens; 105mm focal length, ISO 3200, 1/640 second at f/4.
EF 24-105mm f/4 lens; 28mm focal length, ISO 6400, 1/30 second at f/5.6.
EF 24-105mm f/4 lens; 55mm focal length, ISO 1600, 1/60 second at f/5.
EF 24-105mm f/4 lens; 28mm focal length, ISO 3200, 1/8 second at f/8.
EF 24-105mm f/4 lens; 75mm focal length, ISO 400, 1/100 second at f/5.6.
EF 24-105mm f/4 lens; 88mm focal length, ISO 800, 1/125 second at f/5. 1:1 crop.
EF 24-105mm f/4 lens; still frame recorded while shooting FHD 1080p movie clip; 105mm focal length, ISO 800, 1/250 second at f/6.3.
EF 24-105mm f/4 lens; still frame recorded while shooting VGA movie clip; 93mm focal length, ISO 400, 1/160 second at f/5.
Still frame from video clip taken with Full HD 1080 / 25p, ALL-I compression.
Still frame from video clip taken with Full HD 1080 / 25p, IPB compression.
Still frame from video clip taken with HD 720 /50p, ALL-I compression.
Still frame from video clip taken with HD 720 /50p, IPB compression.
Still frame from VGA video clip at 25p, IPB compression.
Rating
RRP: n/a MSRP: AU$5899 (listed as a sale item for AU$5319); US$3899 (body only)
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 8.5
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 8.0
