Canon has expanded its EOS 5D lineup by introducing two new cameras with a resolution of 50 megapixels each: the 5DS and the 5DS R. Both cameras have a full-frame sensor and a high resolution. They are designed with still photographers in mind.
The ‘S’ model has an optical low-pass filter, while the R model has a self-canceling filter (this is the same relationship that Nikon’s D800 and D800E models had). This is the sole variation between the versions.
The two cameras will reside alongside the EOD 5D Mark III, operating as specialized high-resolution cameras for studio, landscape, and wedding shots. This is in contrast to the present model, which has comprehensive capabilities. Furthermore, regarding maximum ISO and the number of photos that can be taken continuously, the Mark III is superior to both the S and the S R.
- 50MP CMOS sensor
- Continuous filming at 5 frames per second
- ISO 100-6400 (Extends to 12,800)
- 61-point autofocus module that receives data from a metering sensor with 150k pixels
- Dual Digic 6 processors
- 3.0″ 1.04M-dot LCD
- CF & SD slots (UHS-I compatible)
- 1080/30p video
- downsampled forms of M-Raw and S-Raw audio
- APS-H crop mode at 30 megapixels and APS-C crop mode at 19.6 megapixels
- interface with USB 3.0
Most of the significant new capabilities added to the high-resolution 5Ds are geared at making it possible for users to make the most of the other camera resolution. However, because of our experiences with the Nikon D8X0 series of cameras, we now know that merely possessing a sensor with a high resolution isn’t enough; to get the most out of it, you need to be very concerned about it the camera’s steadiness.
To do this, Canon has strengthened the tripod socket and the surrounding region, enabling a more robust engagement with a tripod. In addition, it has also utilized a motorized mirror mechanism that is more controlled, similar to the one found in the EOS 7D II. This mechanism enables a deceleration step before the mirror reaches a higher position, which helps to reduce the mirror slap.
The third modification is a revamped mirror lock-up mode that enables users to set an automated delay between the mirror’s raising and the shutter’s opening to initiate an exposure.
The user can select the lowest possible time that has enabled the mirror vibration to decrease. This maximizes sharpness while simultaneously limiting the amount of responsiveness that is lost.
A few of the capabilities exclusive to the EOS 5DS and S R were initially introduced with the EOS 7D Mark II. This includes the flicker detection function that alerts you when there is a change in the lighting as well as the ability to synchronize the camera’s continuous shooting so that it only shoots at the brightest periods to ensure a consistent exposure (rather than the constant variation you can otherwise get in such situations).
A built-in intervalometer and the capability to shoot time-lapse sequences are two more features from the 7D II that have debuted in the Canon 5D Mark III. In addition, as a first for Canon, these still images may be blended in-camera to produce a time-lapse video in 1080p/24p resolution.
Body & Design
The bodies of the EOS 5DS, 5DS SR, and 5D Mark III are all basically indistinguishable from one another and those of the 5D Mark III. The controls are located in the same places as they were on the 5D III, which is a natural extension of Canon’s time-honored commitment to ergonomics. Because of this, it is a camera that any person already familiar with the brand can pick up and begin using right away.
Because of this continuity with the 5D III, the high-resolution cameras will not receive the spring thumb switch included on the EOS 7D Mark II, which we found pretty appealing. Overall, though, these cameras have a robust and long-lasting feel consistent with the quality of retail products for this kind of money.
In the “body” part of our Canon EOS 5D Mark III evaluation, you will discover information regarding how these cameras are managed and handled that you may learn more about.
The consistency with the 5D Mark III is relatively high: the 5DS and the SR have the same buttons in the same placements. If you’ve been shooting with previous Canon bodies in the past, or if you’re already comfortable with shooting with an EOS 5D Mark III, this will make switching to a new Canon body a very natural transition for you.
The power switch, mode dial, menu, and info buttons are on the camera’s left shoulder. Because it is a locking mode dial, the exposure modes cannot be changed inadvertently. Instead, it would be best if you depressed the center button while spinning the dial for it to have any impact. While the ‘Info’ button allows you to toggle between the several display modes, the ‘Menu’ button does precisely what you’d expect it to do.
Most of the critical control points are in the camera’s upper right-hand corner. Three buttons with dual functions, a button that illuminates the LCD panel and the M-Fn button just beyond the front control dial, which can cycle between different AF point selection modes. When you push one of the camera’s control knobs, one of its three dual-function buttons will take over for it and perform its new role.
The primary shooting controls are located along the right-hand side of the camera, while the majority of the playback controls are located on the left. This layout is similar to that of the camera shoulders. Next to the viewfinder is where you’ll find the Live view/video switch, and to the right is where you’ll find the AF-On, AEL (*), and AF point selection mode buttons. It is important to note that the AF-ON and AEL buttons can be configured in various ways.
When the AF point selection button is pushed, the main dials may be repurposed to swiftly shift the selected AF point left/right and up/down and alter the AF area modes in combination with the M-Fn button. This is done by pressing the AF point selection button. Further down is the joystick, mainly used for AF point positioning (although this is not enabled by default) and menu navigation for some reason. Below the joystick is the Q.Menu button, and below is the camera’s second control dial.
The SET button that is located within this jog dial is programmable, and one of our favorite purposes for it is the immediate magnification of the AF point (to do this, you need to change the ‘Magnification (apx)’ option to ‘Actual size’ under the Playback settings menu).
The left-hand side of the camera is mainly reserved for playback controls; the only button on this site that has any impact during shooting is labeled “Picture Style” and may also be used to access HDR and multi-shot settings. The ‘Rate,’ zoom, play and delete buttons all function as you would expect them to, making it simple to evaluate and edit your pictures while you are on the move. Strangely, none of these buttons may be personalized in any way.
Mechanism for mirrors
Canon has overhauled the camera’s mirror mechanism to lessen the amount of vibration caused when the mirror is flipped up. It is operated by a motor rather than a spring and uses a tool similar to the one used in the EOS 7D II.
This indicates that its upward momentum may be slowed down as it nears the peak of its trip rather than crashing to a halt at full speed as it hits the limit of its travel. Even though the camera has a high resolution, this new design keeps the images relatively straightforward, especially when the camera is set to Silent Shooting mode. We are pretty confident in this assertion.
However, it is not entirely foolproof: the mirror actuation can still cause image-softening vibrations, covered in our article on mirror- and shutter-induced shock.
The problem with high ISO
The EOS 5DS and the SR have a maximum ISO setting of 6400, but an extension setting goes up to 12,800. Therefore, the declaration that the camera’s sensor produces the same noise at the pixel level as the EOS 7D Mark II, which has a top extended setting of ISO 51,200, contradicts this decision, which seems to contradict statement.
This full-frame sensor has a resolution of 50,6 million pixels, making it the highest-resolution full-frame sensor we have seen; yet, it is not the champion of high ISO.
If the images captured by the 5DS and SR are identical to those charged by the 7D II at the pixel level, then when those images are scaled down to a standard output size, the 5DS and SR should look approximately 1EV better than the 7D II because their sensors are so much more significant. However, this decision seems even stranger when you consider that. Based on this information, you may anticipate the cameras reaching their limit at an ISO of 102,400.
The fact that this is not the case can be explained in a few different ways, and these possibilities come to mind. First, Canon feels that the customer base for the EOS 5DS and SR has greater expectations than the audience for the EOS 7D II, and as a result, they would be unsatisfied with the camera if they purchased it. The second difference is that there are some shooting conditions in which the output of the 5D S and SR is not comparable to that of the 7D II at the pixel level. The most plausible, if the cynical, explanation is that Canon wishes to keep a clear separation between the high-pixel-count 5Ds and the existing 5D Mark III model.
Lock-up for the mirror
When using the mirror lock-up mode, the amount of delay you need to apply is partially determined by the mass of the attached lens.
The mirror lockup modes of the cameras have been upgraded. Rather than having to press the shutter button twice to lift the mirror and then push it once more to start the exposure, it is now possible to apply a pre-set delay before the shutter fires to let the mirror vibration dissipate before the shutter button is activated. The plan is for you to select the shortest time that is still effective, which will alter based on the focal length, how tightly you can clamp the camera down, and how hefty the lens that is attached to the camera is.
There is no way to combine this mode with an electronic first curtain shutter since doing so would create a delay between the mirror slap and any shutter wobble that may occur before the exposure begins. For whatever reason, there is no way to do this combination.
A metering sensor, as well as an autofocus system
Canon has recently begun equipping its professional-grade cameras with metering sensors that have full-color sensitivity and a high resolution. The metering sensor in the 5DS and SR has the exact 150,000-pixel resolution as the one used in the EOS 7D II.
A sensor has replaced the 63-zone, two-layer sensor utilized in the 5D III with sensitivity to blue, green, red, and infrared light. This allows the camera to build far more excellent knowledge of the scene. In addition, this sensor can have more precise metering than the 5D Mark III achieved due to its color information being divided into 252 different zones.
An odd omission considering the simplicity with which we assume it might be done now that the cameras have high-resolution metering sensors, is the fact that spot metering still cannot be connected to the AF point that has been picked.
These metering sensors are, in essence, image sensors with a low resolution, and the information they provide can be fed into the autofocus system for subject recognition and tracking. Canon first introduced the ‘iTR’ system in its EOS-1D X camera, known by the acronym (Intelligent Tracking and Recognition).
Even though it uses the same focus module as the EOS 5D III, this should, in theory, allow for far more accurate subject tracking throughout the frame (where the camera automatically finds the correct AF point to stay on your topic) than the camera’s predecessor.
Most of our experience with it comes from using the Canon 7D II, which performed noticeably better at following subjects than previous Canon cameras without it, but not entirely up to the level achieved by Canon’s own 1D X or by full-frame cameras from Nikon. Our experience with iTR comes primarily from our use of the 7D II (which has been using a similar approach for many years in its version of iTR: 3D tracking).
Although we only spent a short amount of time with the 5DS, it seemed that the iTR technology performed just as well as the 7D II, and Canon verified that both cameras used the exact ITR mechanism.
When it comes to recording movies, the EOS 5DS and SR deliver quite contradictory information. When you compare them to the EOS 5D III, you get a confusing tale about how certain features have been added while others have been eliminated.
On the good side of the ledger, the 5DSs acquire continuous AF during video shooting (what Canon refers to as Movie Servo AF). They also provide higher preview magnification to ensure ideal manual focus. However, these features are not available in all models.
The EOS 5D III does not have a headphone connector because there is not enough area for the higher USB 3.0 connection. However, this means that you can transfer data off the camera more quickly.
However, these improvements are somewhat mitigated because the EOS 5D III lacks a headphone connection. Additionally, the new cameras cannot provide a “clean,” menu-free signal through the HDMI port. Finally, compared to the 5D III, their ISO ranges have been reduced, the same thing that happened with still images.
Aside from this, both cameras have the same capture and compression choices. For example, one camera may record 1080 videos at 30 frames per second, 25 frames per second, or 24 frames per second, and it has two primary compression settings.
These compression algorithms are the now-familiar 87Mbps ALL-I mode and a more compressed 34Mbps IPB mode. The former keeps complete information about all frames, while the latter only keeps complete information on infrequent “key” frames and the changes between them.
Autofocus Focus Module
Variations of the 61-point autofocus module seen in the EOS-1D X and 5D Mark III are included in the Canon EOS 5DS and SR digital SLR cameras. This boasts a class-leading 41 cross-type AF points that can fix focus on horizontal and vertical edges, enhancing the in-focus rate even in challenging lighting circumstances. In addition, these AF points can set focus on both edges horizontally and vertically.
This is because in tough, low-contrast illumination (such as low light or backlit environments), it is simply preferable to have an AF sensor “searching” along many axes for detail to make measurements. Even when combined with somewhat slow lenses, such as f/5.6 lenses (or lens/teleconverter combos that yield an f/5.6 maximum aperture), 21 of the camera’s primary cross-type points continue to function as intended.
Pay particular attention to the five centers’ AF spots, shown in blue with an X below. When these points are used in conjunction with lenses with an aperture of F2.8 or faster, they transform into dual-cross-type, enabling them to detect diagonal cross-sensitivity in addition to the standard cross-sensitivity (visualize an X superimposed on a plus sign).
When combined with fast lenses, the diagonal cross-type sensors at those five center places have longer baselines. As a result, they display a high degree of focus accuracy. Combined with Canon’s most recent lenses, we discovered that the camera’s accuracy was virtually on par with mirrorless cameras, even when set to an aperture of 1.4.
Roger Cicala, who works for LensRentals, speculates that this may result from a feedback system included in more recent lenses. This mechanism collaborates with high-precision sensors to provide improved focus precision. As a result, after you have performed the necessary micro-adjustments to some of your lenses, you may anticipate extremely high focus repeatability with these central AF spots. However, before making these adjustments, you will still need to do so.
The high-resolution twins offer a set of options that are comparable to those found on other Canon models. These options include the capability to use only particular focus points or zones, as well as single AF (One Shot), continuous AF (AI Servo), and a mode that tries to automatically switch between the two types of AF (AI Focus).
Like virtually every other camera we have ever evaluated, this auto mode has the propensity to be overly sluggish in registering motion. As a result, it is not always that useful.
Picking the appropriate AF point
There is a wide variety of options available on the cameras to choose from or restrict the focus points the camera will utilize. Spot AF, Single AF, Expand AF area +, Expand AF area Surround, Zone AF, and Autoselect 61 point AF are the available settings, going from more particular to least specific as you go outside from the center. It is possible to restrict the camera to utilize cross-type or a 15- or 9-point array to make the manual point selection process faster.
With this camera, you can select the AF region with up to six different degrees of accuracy. In AI Servo mode, you specify the starting focus point or part for any of these area modes; however, in single AF and 61-point area modes, the camera will select the subject physically located in the center of the frame.
You can disable any of these features that you don’t often use using a menu choice, making it easier for you to navigate between the ones you use.
When combining continuous autofocus with continuous shooting, other settings let you choose whether you want the camera to prioritize the speed of the shots or the focus. A different priority setting may also be specified for the first Shot taken in a burst, another choice provided by it.
The parameters for continuous AF behavior
The use-case-based AF behavior settings initially released on the 1D X are available on both the 5DS and the 5DS R. These presets were aimed to clear up some of the uncertainty and simplify the process.
When set to AI Servo mode, the EOS 5DS and SR offer the same focusing choices introduced in Canon’s professional sports camera, the 1D X.
These take the three options already available for determining how tolerant the camera should be of changes in the subject’s distance and location within the frame and combine them into a series of presets geared toward certain sorts of subject movement.
The purpose of this guide is to make it simpler for you to pick the appropriate location for the topic you’ve decided to photograph.
The default settings of the six preset can be changed if the results they produce are not precisely what you are looking for; however, the presets already cover a reasonably wide variety of subject behaviors in their unmodified forms.
However, even though these options are the same as those available on the EOS 5D Mark III, the 5DS and SR have higher-resolution metering sensors to build up an understanding of the scene, meaning they should be better at identifying and tracking subjects as they move around.
The ‘Auto AF pt sell. : The EOS iTR AF setting can be found on the fourth page of the AF section of the main menu. This setting activates the ‘Intelligent Tracking and Recognition’ mode (ITR). As a result, the camera will only utilize the information from its phase-detection AF sensor to determine the subject’s depth if it is not engaged.
Focus with Low Light
Even though the autofocus is officially claimed to operate well down to -2EV, our testing revealed that the center point performed just as well as the Nikon D750, rated to perform well down to -3EV. You can view it in action at -2 EV by clicking this link, and you can also view our demonstration of the 5D Mark III’s AF module performing down to -3 EV with its center point in our competition against the Nikon D750, D810, and 7D Mark II by clicking this link.
It is important to note that the D810, Nikon’s closest competitor, frequently refuses to focus on light levels as bright as -1 EV when using its central point. This places it in a much worse position than the 5DS/R and the D800/E, which can all focus in four times darker conditions (-3 EV).
Continuous Aperture Focusing: Subjects at a Great Distance (Telephoto)
Unsurprisingly, the camera is very good at refocusing on a subject coming directly towards it while using a single AF point. This is true regardless of whether the issue is being shot at a long distance with a telephoto lens (below) or at a shorter length with a broad, fast prime lens (see here).
This is a task that DSLR phase detection autofocus is particularly good at, and Canon has a lot of experience creating algorithms that predict subject distance based on existing movement. Canon has a lot of experience creating algorithms that predict subject length, and it has a lot of experience.
Zone AF: Center (with it)
Through Zone AF, you can pick either a 3×3 core or 4×3 peripheral zone and then give the camera permission to choose whatever point from within that region to utilize. When it is challenging to maintain a single AF point over a moving subject, this might be of some use.
We put Canon’s Intelligent Tracking and Recognition (iTR), which is supposed to enhance this AF mode, to the test by photographing an approaching bike and seeing how effectively the camera followed him.
Unfortunately, even though the camera’s autofocus points were confined to a central zone (so that it couldn’t go too far wrong), the fact that the camera had to choose which AF point to use resulted in a lower hit rate than it had before. This was because the camera had to contend with an additional challenge.
iTR Multi Area AF (61-point mode, cross-type points only)
After that, we have our subject weave left and right while riding toward the camera, and we let it try to follow it across all of the camera’s 41 cross-type AF points while it does so. In this mode, we identify our topic by choosing the center AF point, positioning it over our subject, and starting the autofocus process.
As long as the shutter button is depressed halfway, the camera will try to identify the right autofocus point or points to maintain the subject in the frame regardless of where it travels.
The algorithm does a good job of figuring out which topic to follow. In general, we’ve discovered that this kind of subject tracking works quite well on Canon cameras as long as you have a subject that is quite well isolated in-depth (in this case, a single cyclist, with much of the rest of the frame containing distant objects distinctly behind our cyclist).
The camera, on the other hand, did not always do a very good job of keeping up with our weaving rider.
Case 1 and Case 6, which are set to anticipate more acceleration and deceleration and to be more eager to switch between AF sites, were both put through their paces so that we could determine the effect that the AF parameters would have.
With Case 1, we could capture a considerable proportion of images in focus but pictures that were not always as flawlessly in direction as those charged with more specific AF settings. Case 6 experienced an even more significant decrease in the frequency of sharply focused photographs for this particular shooting circumstance.
Interestingly, the autofocus (AF) point displayed in the viewfinder will frequently fall behind the subject. However, the camera will still hit focus in approximately the right place (possibly because it can better estimate the subject’s distance than it is to keep up with the subject’s position in the scene).
The EOS 5DS and the EOS 5DS SR provide users with the same video choices as the EOS 5D Mark III. ALL-I compression, in which each frame is compressed individually, and IPB compression, in which only the changes between crucial frames are kept, are available at resolutions of up to 1080/30p. However, recording at 60 frames per second is only feasible at a resolution of 720 pixels, reducing the possibilities available for video capturing back in slow motion.
Several critical video-centric functions, including focus peaking and zebra (highlight) alerts, are absent from the 5DS and 5R cameras. While it’s realistic to assume that professional videographers won’t use the 5DS cameras for video recording, similar functionalities are available on several of the 5DS’s mirrorless competitors.
Our video still is not, in and of itself, a test of video quality (since that cannot sensibly be assessed without seeing how the cameras reproduce motion). Still, it does provide some insight into how the sensor of the camera is being sampled and the degree to which it is being sharpened.
It is interesting to note that the 5DS R (and, by implication, the 5DS) appears to do its video differently than the 5D Mark III. The Canon 5DS R seems to be skipping readout lines to get down to the 1080 resolution, in contrast to the Canon Mark III, which groups its pixels into larger units (the giveaway for this is the asymmetrical rendering of moiré on the Siemens stars around the scene’s central target). Despite this, its results appear to be slightly more detailed than those produced by its brother with a lesser resolution.
The results appear to be extremely close to those of the Nikon D810 in terms of detail and capture artifacts, although with slightly more harsh sharpening on the Nikon when compared to its two most prominent competitors. The footage captured by the 5DS looks more capable of handling aliasing and moiré than that charged by the D810. When filmed at 1080 utilizing the nearly full-width crop of its sensor, the Sony Alpha 7R II appears to be of higher quality in both of these regards. However, even though this video was undoubtedly pixel-binned, it can still produce substantially superior results if it is shot in 4K from the Super 35 area and then downsized (which you can read more about in the a7R II review).
Good Light vs. Nikon D810
In this comparison test, the Canon EOS 5DS R and the Nikon D810, its closest DSLR competitor, take pictures side-by-side. Although both cameras’ manufacturers claim their products’ video capabilities, the reality is not particularly video-friendly. For example, both cameras do not have a focus peaking feature, which would make manual focusing easier. In addition, while the Nikon only provides a few options for compression and bitrate, the Canon does not offer any zebra alerts to help determine exposure.
The film captured by the Canon looks to have a little less detail than that charged by the Nikon in this movie (with the difference looking like a slight difference in sharpening). If anything, the editing stage benefits from the increased flexibility afforded by this reduced sharpness. The only way to film at 60 frames per second on the Canon is to go to 720p, which, as you might assume, produces footage that is substantially less impressive visually than the 1080/60p footage produced by the D810.
In general, the quality of the film is decent, but it is not especially impressive considering the camera’s price. This lends credence to the notion that the 5DS and SR are primarily geared toward photographers interested in capturing still images.
Compared to the Sony a7R II in terms of Low Light Performance
Despite being set to ISO 12,800, the EOS 5DS R can still produce films that may be utilized in many contexts. Although there is no evidence of temporal noise (such as dancing patterns in the shadows, like those seen in the film captured by Sony’s Super 35 1080), there is also relatively little information in the image.
The noise reduction that keeps everything clean also gives the subject’s skin on the darker side of his face a rather over-smoothed and waxy look. But, again, this is because of how noise reduction keeps everything clean.
In general, the results are comparable to those of most of the a7R II’s output modes in terms of noise, except the a7R II’s very best-performing 4K Super 35 mode, which outperforms the vast majority, if not all, of the relevant categories. Despite this, none of the 4K settings on the a7R II provide the film with quite the same level of detail as the footage captured by the camera.
The 5DS and SR contain many capabilities that videographers may use, although many additional options are unavailable. However, it does not feature a headphone port for audio monitoring, even tho having bitrate options like the EOS 5D Mark III. In addition, it lacks features like peaking, zebra warnings, and flat gamma profiles, which are rapidly appearing on competitor models (such as weandn’s Cinema EOS cameras). This is a characteristic shared by all Canon DSLRs.
You can see here how the video focus stacks up against the Sony a7R II and the Nikon D810, first with a pretty basic motion going back and forth, then with a slower, more erratic movement tracked using Face Detection.
The contrast detect-only autofocus (CDAF) mechanism of the 5DS implies that it cannot compete with the depth-aware, on-sensor phase-detect AF system of the Sony a7R II while shooting video. Because the 5DS R spends most of its time trying to catch up as our subject moves, the vast majority of the film is, in all likelihood, out of focus. Compare this to the minimal hunting displayed by the a7R II, which allows our moving subject to remaining essentially in direction throughout most of the film.
Compared to the Nikon D810, Canon has done a great job settling at a focus point without excessively bouncing back and forth for confirmation. This is especially noteworthy, considering Canon’s AF system is limited to CDAF only. As a result, the Nikon will only sporadically correct the focus of the image. When it does so, it will hunt significantly, resulting in an unsettling experience for the user.
The results produced by Canon would not be acceptable to commit and discriminating filmmakers, but they are not unduly disturbing for projects being done at home. Note that the enlarged live view is your best option for correct manual focus because there is no focus peaking. If you don’t have access to a higher-resolution monitor, you may also try focusing on a live HDMI stream.
Overall, that is the tale of the Canon EOS 5DS and SR: it is fully usable as a video camera, but it hasn’t been developed with professional filmmaking in mind.
In a nutshell, that’s the tale of the Canon EOS 5DS and SR: it’s useable as a video camera, but it hasn’t been developed with professional filmmaking in mind. The video quality and the degree of support resources offered are better suited to photographers who primarily work with stills but are more interested in experimenting with video than anyone with severe goals in the video realm. One cannot help but understand that Canon would much rather have those consumers purchase a camera from its Cinema EOS series. This isn’t easy to deny.
When it comes to the picture quality, many people will be questioning which model is better: the 5DS or the 5DS R. The latter, as one might expect, provides a higher resolution than the 5DS, but doing so comes at the expense of increased aliasing.
Although we seldom encountered aliasing difficulties in the real world, which is not unexpected considering the excellent resolution of these sensors, people who consistently shoot high-frequency patterns may have fewer aliasing artifacts with the 5DS. This may be the case for those who are shooting in RAW format. However, even the 5DS is susceptible to aliasing on occasion.
JPEGs have the appealing hues that we have come to anticipate from Canon cameras, especially regarding human flesh tones. Compare this to the few minutes I spent on each of the model photos on this page; I spent numerous hours playing around with Nikon and Sony Raw colors to achieve the skin tones I wanted for these photos.
I wish lush vegetation were portrayed as lovely and warm as Nikon’s, but they’re very close. Regarding detail, sharpening with a big radius might cause halos around the edges. Since the 5D Mark III, noise reduction has been turned down considerably;
nevertheless, it is still very unsophisticated compared to the balancing act of effective noise filtering and detail retention that Sony has achieved in their most recent JPEG engine in the a7R II. Learn more about JPEG by reading this in-depth analysis.
And although the 5DS and 5DS R feature the best-performing Canon sensor in the Raw dynamic range, rivals haven’t been standing still, which means that the most current full-frame Nikon or Sony camera will much outperform what the 5DS and 5DS R have to offer.
It’s a shame that this is the case, considering that the 5DS and 5DS R cameras are ostensibly designed with landscape photographers in mind, many of whom place a high value on dynamic range.
And it’s not just landscapes that come out poorly; the picture below has a difficult-to-manage background scene with a lot of contrast, and because the exposure was set to keep the sky in focus, the brightening of the shadows makes the foreground anything other than a sea of black resulted in noise and banding. Again, this was the result of exposure to the sky.
Canon EOS 5DS Specifications
|8688 x 5792
|Image ratio w:h
|Sensor photo detectors
|Full frame (36 x 24 mm)
|Sensor size notes
|Contrast Detect (sensor)Phase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousFace DetectionLive View.
|Dual DIGIC 6
|sRGB, Adobe RGB
|Color filter array
|Primary color filter
|Auto, 100-6400 (expandable to 50-12800)
|Boosted ISO (minimum)
|Boosted ISO (maximum)
|White balance presets
|Custom white balance
|JPEG quality levels
|JPEG (Exif v2.3, DPOF v2.0)Raw (Canon CR2, 14-bit)
|Optics & Focus
|Autofocus assist lamp
|Number of focus points
|Focal length multiplier
|SingleHigh-speed continuous low-speed continuous silent single shootingSilent continuous shooting self-timer
|ClearView II TFT-LCD
|Minimum shutter speed
|Maximum shutter speed
|Scene Intelligent AutoProgram AEShutter Priority AEAperture Priority AEManualBulbCustom
|Yes (via hot shoe and PC sync port)
|Flash X sync speed
|Yes (dust and water-resistant)
|Yes (2 or 10 secs)
|±5 (at 1/3 EV, 1/2 EV steps)
|±3 (3 frames at 1/3 EV, 1/2 EV steps)
|1920 x 1080 (30p, 25p, 24p), 1280 x 720 (60p, 50p), 640 x 480 (30p, 25p)
|Supports ALL-I and IPB compression
|SD/SDHC/SDXC (UHS-I compatible), CompactFlash
|USB 3.0 (5 GBit/sec)
|Yes (Wired and wireless)
|Yes (dust and water-resistent)
|LP-E6 lithium-ion battery & charger
|Battery Life (CIPA)
|Weight (inc. batteries)
|930 g (2.05 lb / 32.80 oz)
|152 x 116 x 76 mm (5.98 x 4.57 x 2.99″)
Canon EOS 5DS Price
Canon EOS 5DS FAQs
Is the Canon 5DS a professional camera?
The Canon 5DS is regarded as a professional camera because of its high resolution and sophisticated features developed with professional photographers in mind.
Is the Canon 5DS good in low light?
Due to the high resolution of its sensor, the Canon 5DS is not as effective in low light as some of the other cameras available on the market. Higher ISO settings can cause the sensor to generate more noise.
What is the price of Canon EOS 5DS?
Although the Canon EOS 5DS fluctuates depending on the merchant and any accessories that come bundled with it, the camera was initially launched with a price range of approximately $3,700.
Is the Canon 5DS good for portraits?
Because of its high-resolution sensor and sophisticated autofocus system, the Canon 5DS is an excellent choice for portrait photography. These features allow the camera to capture minute details and provide accurate focus.
Is the Canon 5DS full frame?
The Canon 5DS is known as a “full frame” camera, which indicates that its image sensor is the same size as that of a frame of 35mm film.
Does Canon 5DS have WIFI?
Although the Canon 5DS has no WiFi connectivity, it is compatible with Canon’s WFT-E7A Wireless File Transmitter, which can be purchased separately and used for wireless picture uploading.
Is Canon 5DS a DSLR?
The Canon 5DS is, in fact, a single-lens reflex camera (DSLR), which indicates that it employs a reflector to refract light into an optical viewfinder.
Is Canon 5DS good for wildlife?
Because of its high-resolution sensor and sophisticated autofocus system, the Canon 5DS can be an excellent option for wildlife photography. These features allow the camera to capture minute details and keep up with moving subjects.
Is Canon 5DS medium format?
As that description would imply, the Canon 5DS is not a medium-format camera. Full frame sensors are typically more compact than those in medium format cameras. This camera has a full-frame sensor.
Is The Canon 5DS waterproof?
Unfortunately, the Canon 5DS is not weather-sealed or watertight in any way. ProTherefore, itecting it against water infiltration and damage caused by dampness is essential.
How do I connect my Canon 5DS to Wi-Fi?
To link the Canon 5DS to a WiFi network, you must use the WFT-E7A Wireless File Transmitter, which is sold separately, and adhere to the procedures outlined in the owner’s handbook.
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