The EOS M5 is a very welcome addition to Canon’s product line-up and arrives at a time when many photo enthusiasts were starting to doubt whether Canon would ever produce a mirrorless camera that caters for their needs.
Although the M5 doesn’t tick all the boxes (the limited buffer memory being a case in point), it is streets ahead of the previous EOS M models. It seems Canon finally has a serious contender in the burgeoning mirrorless market.
When Photokina opens in Germany next week, a highlight in Canon’s display will be the EOS M5, the company’s first mirrorless camera for photo enthusiasts. It’s been a long time coming but, having handled the camera at a media briefing, we believe it’s a potential game-changer. Equipped with a similar APS-C sized CMOS sensor to the EOS 80D1 plus the DIGIC 7 processor introduced in the PowerShot G7 X Mark II2 it’s a neat little unit that looks and handles like the flagship models in the popular PowerShot G line-up.
The new Canon EOS M5 with the EF-M 15-45mm f/3.5-6.3 IS STM lens, one of the kit options that will be available with the camera from mid-November. (Source: Canon.)
Build and Ergonomics
Although thebody of the EOS M5 is made from polycarbonate, it looks and feels solid and a bit like a ‘grown-up’ PowerShot G5X. It’s somewhat larger because its sensor is significantly bigger and, unlike the PowerShots, it accepts interchangeable lenses. Sadly, it’s not weather-sealed.
Front view of the EOS M5 with no lens fitted. (Source: Canon.)
The control layout will be familiar to users of Canon’s cameras (both PowerShots and DSLRs) and most will also appreciate the modifications introduced in the new camera. The grip is generous making the camera comfortable to hold, regardless of the size of your hands, and there’s a moulding to accommodate your middle finger.
Top view of the EOS M5 with no lens fitted. (Source: Canon.)
Like the PowerShot G5X, the top panel of the EOS M5 has a large mode dial on the left side and an exposure compensation dial on the right. Between them is the pop-up flash housing with a hot-shoe on top. The shutter button sits forward on the top panel between the EV dial and the grip moulding, with a M-Fn (programmable function button) to its right and a flash pop-up button to its left. All pretty standard so far. Located in the right side cluster is a new multi-function dial with a central button that provides quick access to key shooting controls. Pressing the button toggles through different functions (white balance, focus, drive, exposure parameters), while turning the surrounding dial wheel lets you choose individual settings within the selected function. It’s quick to use, since you can see what you’re selecting in the EVF or on the monitor screen.
Rear view of the EOS M5. (Source Canon.)
Controls on the rear panel are also arranged in a conventional fashion, most of them to the right of the monitor screen. However, the power on/off switch is inset into the left side of the top panel below the mode dial and accessible from the rear of the camera. Right of the monitor is a conventional arrow pad with directional buttons that access the ISO, flash, delete and white balance sub-menus. Above are the Info and movie buttons, with buttons for the Starry Sky focus/ single-image erase and AF frame selection functions arranged vertically in the top right hand corner of the rear panel. Below the arrow pad are the playback and menu buttons.
The EOS M5 in ‘selfie’ mode with the monitor flipped down. (Source Canon.)
The monitor tilts up through 85o and down through 180o to allow the camera to be used for low-angle shooting or set to capture the ubiquitous ‘selfie’. It has a 3.2-inch diagonal measurement, which is on the large side of average and a more than acceptable resolution of 1,620,000 dots.
Best of all is its touch-panel overlay, which covers the entire screen. Users gain full access to the camera’s controls, including touch AF and touch shutter functions. A new touch-and-drag function allows your thumb to be moved across the screen to change the focus while you’re composing shots through the EVF. This enables smooth and seamless focus pulling while movie clips are being recorded. The EVF is a major step forward for the EOS M line-up and one of the key features that makes the M5 attractive to serious photographers as well as anyone who shoots video. It’s a 0.39-type OLED screen with a high resolution of 2,360,000 dots and a fast 120 frames/second (fps) refresh rate and it’s positioned mid-way along the top panel. A 22mm eyepoint provides comfortable eye relief for photographers who wear glasses, while dioptre adjustment is also provided. Like the PowerShots, the EOS M5 houses its battery and memory card in a single compartment in the grip, accessed via a hatch on the base plate. This is more characteristic of snapshooters’ cameras and one of the few downsides of the M5 because it prevents you from swapping battery or memory card when the camera is tripod mounted.
The metal-lined tripod socket is in line with the optical axis of the lens, which is welcomed. Also on the base plate is the contact point for the NFC (near field communication) function. A USB socket and microphone jack sit beneath hard plastic covers on the left side panel, while the HDMI port is on the right hand side. Below it is the Wi-Fi/Bluetooth antenna. Metal strap lugs sit high on each side of the camera body.
Who’s it For?
In brief: just about any photographer who wants a lighter, more compact camera, either as an adjunct to a DSLR or an alternative. There are now seven EF-M lenses to choose from if you want the smallest, lightest optics. Or you can use EF lenses with the EF Mount Adapter.
The EOS M5, shown with the new EF-M 18-150mm f/3.5-6.3 IS STM lens that was announced concurrently with the camera as well as the body jacket and neck strap accessories. (Source: Canon.)
The EOS M5 will be particularly welcomed by video shooters because it has an electronic viewfinder, even though it doesn’t support 4K movie recording. As well as making it easier to compose shots, it also lets you see the camera settings on the periphery of the frame and shows what you are recording with accurate detail and colour reproduction.
The 24.2-megapixel CMOS sensor in the EOS M5 is essentially the same as the sensor in the EOS 80D, although it’s actually marginally smaller (but not enough to signify). It has a 3:2 aspect ratio and can produce images with a maximum resolution of 6000 x 4000 pixels (the same as the 80D). The pixel pitch is approximately 3.7 microns. The DIGIC 7 processor has so far been used only in the PowerShot G7 X Mark II3, where it provided improvements to noise handling across the camera’s ISO range, face registration and subject detection and tracking. It also increased battery life by just over 25%.
The EOS M5 also benefits from the new processor, enabling it to support a sensitivity range of ISO 100-25600 and add a new panning mode to the Scene presets. Other welcome additions include HDR (high dynamic range) and time-lapse recording modes, the latter producing a slow-motion movie. Aside from the EVF, the autofocusing system is one of the main features that separate the EOS M5 from its predecessors. This is the first time Canon’s Dual Pixel CMOS AF has been used in an EOS M camera, where it delivers a DSLR-level of focusing speed and accuracy as well as superior tracking performance when shooting in Live View mode for both bursts of still shots and movie recordings. The system operates across more than 80% (both vertically and horizontally) of the sensor area and includes 47 sensor points arranged in a 7 x 7 grid. Users can select AF zone focusing and use a block of nine points in a 3 x 3 grid or single-point focusing and each of these blocks can be moved freely via the touch screen. Depth AF support, a new feature, can detect whether a subject is moving towards or away from the camera and adjust focus accordingly.
In manual focus mode, you can magnify the area around the focus zone by 5x or 10x and a peaking display (which outlines areas that are in-focus) is available. Manual focus over-ride in AF mode is supported. The M5 can support continuous shooting at up to 9 fps when focus and exposure are locked with the first frame or 7 fps with continuous autofocusing. Unfortunately, the buffer memory isn’t overly generous, holding a maximum of 26 JPEG frames. No information has been provided on raw frame capacity but we assume it’s substantially lower. Although designed primarily for taking still pictures, the M5 can also record Full HD movies and supports frame rates of 50, 25 and 24 fps for PAL system users (60 and 30 fps for NTSC). HD movies can be recorded at 50 (60) fps and VGA clips at 30 or 25 fps. The maximum clip length is 29 minutes and 59 seconds or up to 4GB.
Digital stabilisation is available in movie mode. It covers five axes – up, down, pitch, yaw and roll, in the process cropping the frame slightly. Since the frame is already cropped for movie recording, reducing resolution at the same time, this isn’t a major issue as the EVF and monitor will each show the area that will be recorded. You can overlay a grid (3 formats to choose from) and/or an electronic level to help you keep horizons level while recording both still pictures and movie clips. Histogram displays are also available and you can choose from brightness only or brightness plus RGB. Connected photographers are well catered for with integrated Wi-Fi and NFC as well as a low-power Bluetooth connection, which provides an always-on link between the camera and a smart device. Powered by the Canon Camera Connect App, it lets you operate the camera from the connected smart device, view images and upload them to sharing and/or storing websites.
Finally, like Canon’s DSLR cameras, the EOS M5 supports in-camera raw file conversion, enabling users to shoot raw files and quickly convert them into JPEGs for sharing. A new addition is support for batch conversion of multiple raw files. In-camera re-sizing is also available.
The EOS M5 is a very welcome addition to Canon’s product line-up and arrives at a time when many photo enthusiasts were starting to doubt whether Canon would ever produce a mirrorless camera that caters for their needs. Although the M5 doesn’t tick all the boxes (the limited buffer memory being a case in point), it is streets ahead of the previous EOS M models. It seems Canon finally has a serious contender in the burgeoning mirrorless market. Today’s photographers have moved on from the DSLR vs mirrorless battle and it’s no longer a case of choosing one or the other. Most serious enthusiasts use both, and often the mirrorless camera will be favoured for its portability and functionality, while the DSLR will be chosen for its imaging performance particularly for still shots. Because of their EVFs, mirrorless cameras are much more suitable for movie recording than DSLRs, which is why so many manufacturers are offering models with 4K capabilities. Sensor size and resolution are less important for movies because the frame is always cropped.
Today, manufacturers like Fujifilm, Olympus, Panasonic and Sony have carved out sound reputations among serious enthusiasts and professional photographers in a market where formerly DSLRs ruled. When you can get the same (or better) resolution and imaging performance in a smaller, lighter camera with an EVF that can be used while shooting movies, why wouldn’t you opt for mirrorless?
So thanks, Canon, for adding another mirrorless brand for us to choose from and adding the benefits of the Canon heritage. Let’s hope the company’s designers continue to push the EOS M range further. We look forward to reviewing a camera once they are released locally in November.
Image sensor: 22.3 x 14.9 mm CMOS sensor with 25.8 million photosites (24.2 megapixels effective); fixed low-pass filter
Image processor: DIGIC 7
A/D processing: 14-bit
Lens mount: EF-M (EF and EF-S lenses compatible via Mount adapter EF-EOS M)
Focal length crop factor: 1.6x
Image formats: Stills: JPEG (Exif Ver.2.3), CR2.RAW(14-bit Canon original RAW 2nd edition), RAW+JPEG; Movies: MP4 AVC/H.264; AAC-LC stereo audio
Image Sizes: Stills 3:2 aspect: 6000 x 4000, 3984 x 2656, 2976 x 1984, 1920 x 1280, 720 x 480; RAW – 6000 x 4000, M-RAW – 4500 x 3000, S-RAW – 3000 x 2000; Movies: 1920×1080 (Full HD) at 50p/30p/25p, 1280×720 (HD) at 50p/25p settings
Image Stabilisation: Lens based for still shots; in-camera 5-axis Digital IS available in movie mode
Dust removal: EOS integrated cleaning system
Shutter (speed range): Electronically controlled focal plane shutter (30 to 1/4000 seconds plus bulb, X-sync at 1/200 sec.
Exposure Compensation: +/- 3EV in 1/3EV steps
Exposure bracketing: +/-2 EV in 1/3EV increments (can be combined with manual exposure compensation)
Self-timer: 2 or 10 seconds delay plus Custom and Remote settings
Focus system: Dual Pixel CMOS AF with 49 focus points (7×7 grid) via auto selection; manual positioning – 1 point or 1 AF zone (9 points, 3×3 grid)
Focus modes: One-Shot AF, Servo AF, Face + Tracking, Smooth Zone AF, 1-point AF, manual focusing with peaking and magnification (5x or 10x)
Exposure metering: Real-time metering from the image sensor with Evaluative, Centre-weighted average, Partial at centre and Spot metering; metering range EV 1-20 (23oC/ISO 100)
Shooting modes: Scene Intelligent Auto, Hybrid Auto, Creative Assist Special scene Self-Portrait, Portrait, Landscape, Close-up, Sports, Food, Panning, Handheld Night Scene, HDR Backlight Control, Creative Filters, Program AE, Shutter-priority AE, Aperture-priority AE, Manual exposure, Bulb exposure, Custom (x2)
Picture Style/Control settings: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Def. 1 – 3
Image Processing: Highlight Tone Priority, Auto Lighting Optimiser (4 settings), Long exposure NR, High ISO NR, Lens peripheral illumination and chromatic aberration correction, diffraction correction, Creative Assist background blur – 5 settings; brightness – 19 levels; contrast, saturation, colour tone, monochrome, filter effects – Ye, Or, R, G plus Sepia, Blue, Purple Green toning
Colour space options: sRGB and Adobe RGB
Custom functions: 12
ISO range: Auto, ISO 100-25600 (in 1/3- or whole-stop increments); Movie ISO 100-6400
White balance: Auto, Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom (1 setting can be registered), Colour temperature setting, WB compensation B/A and M/G: +/-9 levels
Flash: Built-in pop-up flash GN approx. 5 (ISO 100, in meters), coverage to 15mm lens angle of view; integrated hot-shoe
Flash modes: Auto (E-TTL II), manual flash on/off, 3 flash power output settings, red-eye reduction lamp is available
Flash exposure adjustment: +/-2EV in 1/3EV steps
Sequence shooting: Max. 9 shots/sec. (7 fps with AF tracking)
Buffer capacity: Max. 26 Large/Fine JPEGs
Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 compatible
Viewfinder: 0.39-type 2,360,000-dot OLED EVF with 100% coverage, 22mm eyepoint, eye sensor, dioptre correction
LCD monitor: 3.2-inch TFT LCD with 1,620,000 dots, electrostatic capacitative touch screen capabilities, tilts up 85o and down 180o
Playback functions: Single image display, Single image + Info display (8 options), index (6, 12, 42, 110 thumbnails); rotate, delete, zoom (2x – 10x magnification), jump by 1, 10 or 100 images, by shooting date, by folder, by movies, by stills, by rating, movie playback, slideshow (all images, by date, by rating), movie playback, slideshow with transition effect (fade); in-camera raw image processing, PictBridge direct printing supported
Interface terminals: Micro USB 2.0, HDMI micro (Type D connector), 3.5 mm stereo mic jack
Connectivity: Bluetooth (low energy), Wi-Fi (IEEE 802.11b/g/n, 2.4 GHz only), Dynamic NFC support
Power supply: LP-E17 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 295 shots/charge
Dimensions (wxhxd): Approx. 115.6 x 89.2 x 60.6 mm
Weight: Approx. 427 grams with battery and card
The Fujifilm X-T2 is a compact system camera featuring a 24 megapixel X-Trans III sensor, high-performance X Processor Pro image processing engine, 2.36m dot resolution OLED electronic viewfinder, three-direction tilting LCD screen, a robust weather-resistant body, 4K video recording, 14fps continuous shooting, a focal plane shutter with a top speed of 1/8000 sec. and flash sync up to 1/250 sec, silent-operating electronic shutter with a maximum speed of 1/32,000 sec, 91 auto-focus points, and support for dual SD memory cards. The Fujifilm T2 body-only costs 1399 / £1599 and the Fujifilm X-T2 with the XF18-55 lens will cost 1649 / £1899.
Ease of Use
At first glance the new Fujifilm X-T2 looks almost identical to its 2-year-old predecessor, the X-T1, which was released back in early 2014. A closer look, though, reveals a number of subtle design tweaks, and it’s all change “under-the-hood”, with a new 24 megapixel sensor, faster X Processor Pro image processing engine, improved Auto-focus system and enhanced video recording. The Fujifilm X-T2 sports a DSLR-look rather than the classic rangefinder design of the X-Pro series, a move that proved very popular when the X-T1 was launched, broadening the appeal of the X-series to potential customers that wanted a DSLR, or at least a camera that looked like one. “If it ain’t broke, don’t fix it” seems to have been the mantra of the X-T2 design team, with this new camera once again resembling a miniature DSLR. Once again the X-T2 is weather-proof, with 80 points of weather sealing offering dust-resistance, water-resistance and freeze-resistance down to -10 C. The optional Vertical Power Booster Grip (VPB-XT2) offers the same levels of weather-proof-ness, along with a growing number of weather-resistant lenses that Fujifilm have launched since the original X-T1 was released.
The X-T2 dispenses with the range-topping X-Pro2’s innovative Hybrid optical/electronic viewfinder, replaced instead by a high-resolution OLED electronic viewfinder. Although sharing the same 2.36m dot resolution as the X-T1, Fujifilm have clearly been hard at work on making the X-T2’s electronic viewfinder even better, boasting brightness levels 2x better than on the X-T1 along with an automatic brightness adjustment function and a faster 100fps frame rate. With a magnification of 0.77x, it narrowly beats the Olympus M-D E-M1 to the title of “EVF with the world’s highest magnification”, while it has a lag-time of just 0.005 sec, in practice answering one of the most common complaints about electronic viewfinders. By default, the EVF refreshes at a rate of 60fps, but in the new Peformance Boost mode this jumps to 100fps, smoothing out fast-moving subjects. The viewfinder has the same stunning Graphic User Interface as the X-T1, which no optical viewfinder could ever hope to emulate. The default Full mode does what its name suggests and displays an uninterrupted view of the scene with all the settings information displayed outside the frame so that you can really concentrate on your subject. Normal provides an optimum view, including the shooting settings. The very clever Dual mode takes advantage of the EVF’s size to display a split view of the scene before you, with the full frame on the left and a smaller 100% manual focus area on the right, complete with either focus peaking or Fujifilm’s digital split image function. Finally, the displayed settings in the Full and Normal modes automatically rotate when the camera is held in a portrait orientation (although sadly not for the Dual view). You can also now customize the shooting information that’s displayed in the viewfinder.
Front of the Fujifilm X-T2
The Fujifilm X-T2 is a very well-built X-series camera, with absolutely no flex or movement in its chassis thanks to the die-cast magnesium alloy body and machined control dials. At the same time, it’s actually a little lighter than a first glance might suggest, weighing in at 507g body only with the battery and memory card fitted, 67g more than the X-T1. Measuring 132.5mm (W) x 91.8mm (H) x 49.2mm (D), it’s slightly taller and deeper too. The X-T2 has a deeper hand-grip at the front and a prominent rest at the rear for your thumb, with your grip helped in no small part by the textured faux-leather surface that runs around the full width of the camera. Two small metal eyelets on either side of the body are used for connecting the supplied shoulder strap. A metal tripod mount is positioned in line with the centre of the lens and next to the battery compartment, which means that you’ll no longer have to remove the camera from the tripod to change the battery, as with the X-T1.
Two memory card slots are located on the right-hand flank of the camera when viewed from the rear. The X-T2 is the latest camera to offer compatibility with Ultra High Speed UHS-II SDXC memory cards, which has the main benefit of increasing the data writing speed in continuous mode to about twice that of a conventional UHS-1 card. The X-T2 offers a continuous shooting rate of 14fps for 42 JPEGs or 28 compressed RAW files if you use a UHS-II SDXC card and the electronic shutter, making it one of the fastest compact system cameras on the market. If you prefer to use the mechanical shutter, the rate drops to a still impressive 11fps with the VPB-XT2 grip fitted, and 8fps without. At the heart of the X-T2 is the brand new 24.3 megapixel APS-C sized X-Trans III CMOS sensor, with APS-C being a size that’s more commonly used by the majority of DSLR cameras than by compact system cameras. Fujifilm actually claim that the X-T2’s sensor will deliver image quality that surpasses most APS-C DSLRs and even some full-frame ones, thanks to the unique sensor which has a type of colour filter array that mimics film grain and no optical low-pass filter for higher resolution images, and as our test photos and sample images on the next two pages show, the X-T2 actually does live up to those claims. We won’t say any more at this point other than to recommend that you take a look at our Sample Images for yourself. Helping to keep the image quality high is the 18-55mm standard zoom kit lens that we predominantly tested the X-T2 with. This offers fast maximum apertures of f/2.8 at 18mm and f/4 at 55mm, with the added benefit of built-in optical image stabilisation to help keep your images sharp. There are aperture and manual focus rings on the lens barrel, which in conjunction with the shutter speed and exposure compensation dials on top of the camera body makes it straight-forward to set the exposure. We did find though that the aperture ring is easily moved, particularly when taking the lens on and off the camera, so watch out for an incorrectly set aperture. The XF 18-55mm f/2.8-4 OIS is a really nice standard zoom that’s certainly a cut above the kit lenses that ship with most interchangeable lens cameras.
Front of the Fujifilm X-T2
The 18-55mm lens’ fast maximum apertures in conjunction with the large APS-C sensor make it easy to throw the background out of focus and achieve some really nice bokeh effects. The combination of the fast apertures and the extensive ISO range of 100-51200 makes the X-T2 very well suited to low-light shooting, allowing you to hand-hold the camera in places where you’d usually be reaching for a tripod (if allowed) or other support. The clever ISO Auto Control setting allows you to set a maximum sensitivity (now up to 12800) and a minimum shutter speed (1/30th is a good starting point), with the camera over-riding your ISO choice if it thinks you’re being too ambitious whilst maintaining a shutter speed that won’t introduce camera shake. With its new focal-plane shutter, the X-T2 has a more adaptable top shutter-speed limit of 1/8000th second in all shooting modes than the X-T1’s 1/4000th speed. This allows you to select a faster aperture even in bright conditions or when shooting with flash during the day, although as there’s no built-in ND filter as on the X100-series cameras, if you want to use, say, the 35mm lens at f/1.4 in very bright sunlight then it’s still a good idea to buy an actual glass ND filter. The X-T2 utilises a focal-plane shutter rather than the leaf shutter that the X100-series have, much like a regular DSLR camera. This results in slightly noisier operation and a much slower flash-sync speed of 1/250th second (versus the X100’s 1/4000th second). To make the camera less obtrusive there’s a Silent menu option which turns off the speaker, flash, AF-assist lamp and most importantly the shutter-release sound, instantly making the X-T2 perfectly suited to more candid photography. The X-T2 also has an electronic shutter in addition to the mechanical one, which provides a much faster top shutter speed of 1/32,000th second. This allows you to continue shooting wide-open with fast aperture lenses in the brightest of conditions without having to resort to fitting a glass ND filter or using external flash and lights. There are some important caveats with the electronic shutter – the ISO range is restricted to 200-12800, you can’t use the flash at all, and the slowest shutter speed is only 1 second, but overall it’s a great addition that makes the X-T2 more versatile than its predecessor. It’s also possible to set the electronic shutter in 1/3 steps from a range of 1sec to 1/32000sec.
The X-T1 was no slouch when it came to auto-focusing, but Fujifilm have made the X-T2’s AF system even better. It can auto-focus in as little as 0.06 seconds and offers an increased number of AF points – 91 versus the X-T1’s 49 – again laid out in a 7 x7 grid, with a lot more of the imaging area covered by fast and precise phase detection AF pixels ( approx. 230% more compared to the X-T1).
Rear of the Fujifilm X-T2
If you want even more control, you can select the 325 points option which splits the same area of the frame into a 13×25 grid of smaller AF points, of which the central 77 are phase-detection points. The X-T2 is the latest X-series camera to offer Zone and Wide/Tracking modes which utilise the larger 325-point area to capture moving subjects. In Zone mode, you can select a 3×3, 5×5 or 7×7 zone out of the 325-point AF area. During AF-C focus, the X-T2 continually tracks the subject, positioning it at the centre of the zone. The centrally positioned 3×3 and 5×5 zones in particular deliver fast focusing thanks to the on-sensor phase detection AF. The Wide/Tracking mode combines the Wide mode (during AF-S), in which the X-T2 automatically identifies and tracks the area in focus across the 325 point AF area, and the predictive Tracking mode (during AF-C), which uses the entire 325-point area to continue tracking the subject. This feature enables continuous focusing on a subject that is moving up and down, left and right or towards and away from the camera. Fujifilm have drastically improved the AF-C algorithm to make the X-T2 better able to track moving subjects. You can now determine how the camera reacts to the way the subject moves within the frame, how fast the subject moves and where in the frame the camera prioritizes focus, with five AF presets offered and the ability to create up to 6 of your own. The AF-C system is so complex behind-the-scenes that Fujifilm have created a special microsite to explain it in more detail (http://fujifilm-x.com/af/1). The X-T2 also offers Eye Detection AF, which as the name suggests automatically detects and focuses on human eyes You can also define the area of priority focus, for example the right or left eye, or the eye closer to the camera.
There’s also the continued ability to change the size of the focus point via the rear command dial to achieve more precise focusing. As well as the extra AF points, one of the positive effects of the high-performance X Processor Pro image processing engine is much faster AF speed – about 2x quicker than the processor used on the X-T1 camera – making the X-T2 the joint-fastest AF performer in an X-Series camera with the X-Pro2. Also borrowed from the X-Pro2, the X-T2 now has the fantastic Focus Lever joystick, used mainly for setting the AF point. This is a real boon to anyone who changes the AF point a lot, making it simple to change even when holding the camera at eye-level.
Top of the Fujifilm X-T2
Manual focusing is activated by setting the focusing switch on the front of the camera to Manual and using the ring that encircles the lens to focus. In terms of focusing aids, the Standard option offers a distance scale along the bottom of the viewfinder (both the OVF and EVF) and on the LCD screen if you’re using that for composition, with a white bar indicating the the focusing distance and a blue bar showing the depth of field, which actually changes in line with the current aperture – very handy. The X-T2 has another trick up its manual focusing sleeve in the shape of the rear command control (the dial which sits under your right thumb). You can press this in to magnify the view in the electronic viewfinder or LCD screen. Furthermore, if you hold down the rear command control dial, the manual focusing aid then switches to Digital Split Image, and then to Focus Peaking – a very neat way to quickly change between the three modes. The second manual focusing method is the Digital Split Image feature. Harking back to film cameras of the past, this displays dual images on the left and right which then need to be lined up together for accurate manual focusing, enabling accurate focusing especially when shooting wide-open or for macro shooting. It’s much easier to understand in practice than written down. The third and final method is the Focus Peak Highlight function, which displays a white line (the colour and strength are customisable) around the subject when it’s in focus. In addition to the class-leading electronic viewfinder, the X-T2 has a high-resolution 3 inch LCD monitor on the back, which offers 100% scene coverage and 1.04 million dots, and can be usefully tilted up and down by about 90 degrees when in landscape mode and upward when shooting in portrait mode by releasing a small switch on the edge of the screen. The LCD screen has a handy Info view which presents all of the key settings at once, or you can switch to the Standard or Custom Live View modes, with the latter offering 14 customisable options (these are also used for the electronic viewfinder). The X-T2 has a built-in eye sensor so that you only have to hold the camera up to eye-level to switch between the rear LCD and the electronic viewfinder (or you can press the View Mode button on the side of the pentaprism).
In terms of operational speed, the Fujifilm X-T2 is very satisfying to use. Shutter lag is virtually non-existent on this camera (0.045 second), so once you have set the focus, you’ll never miss the moment because the camera can’t fire the shutter quickly enough. The shot-to-shot time is just 0.17 second, and it starts-up in only 0.3 seconds. The write speeds from pressing the shutter button to recording to the SD / SDHC / SDXC memory card are fast too. Shooting a single RAW + Fine JPEG takes less than half a second to record to a UHS-II card, a big improvement on the already speedy X-T1. Continuous shooting speeds have been improved too, as we’ve already explained above. Thankfully the camera doesn’t lock up completely for a long time if you shoot the maximum number of images in a burst, allowing you to continue shooting after just a few seconds. The X-T2 also offers interval timer shooting for time lapses, with intervals of 1 second to 24 hours and up to 999 frames.
Tilting LCD Screen
The Fujifilm X-T2 continues to excel in its handling, thanks in no small part to the numerous external controls that make changing the key settings a breeze, especially when holding the camera at eye-level. Surrounding the 18-55m lens is a circular aperture ring, although it has no markings due to the variable aperture. This dial also allows you to choose third-stop apertures. On top of the X-T2 is a large, tactile, lockable control dial for setting the shutter speed, with settings ranging from 1 second to 1/8000th second, an Auto option, a T setting for longer exposures (2 to 30 seconds, set via the circular command wheel) and a Bulb mode for exposures up to a whopping 60 minutes in length. Alongside the shutter speed dial is another tactile dial for changing the exposure compensation, with a range of +-3EV and a new Custom setting, and on the left-hand side is a third, lockable dial for setting the ISO speed, with settings ranging from Auto to H (either 25600 or 51200). Together these three controls make it extremely easy to set the exposure. Underneath the ISO Speed and Shutter Speed dials are two more dials, the first for setting bracketing, burst, multiple exposure, advanced and panorama functions, and the second for setting the metering mode. Cleverly, unlike the dials that sit on top of the them, these two dials are not locked in place. Four other controls complete the X-T2’s top-plate. The small but responsive shutter release button is encircled by the On/Off switch, and there’s now a thread for a traditional mechanical cable release. Alongside is the Fn button, which by default provides quick access to the Face-Eye Detection options, but can be customised to suit your own needs from 12 different settings. Further customisation is available via the 7 Custom Menu options, which let you create, save and recall up to 7 sets of user-defined settings, and no less than 6 configurable function buttons.
There’s an external flash hotshoe for suitable dedicated external units, into which fits the supplied EF-X8 flash that ships in the box. This small but handy flash unit has a guide number of 11 at ISO 200, which goes some way to compensating for the fact that it’s not built-in to the camera.
The Fujifilm X-T2 In-hand
The X-T2 features enhanced built-in wi-fi connectivity, although there’s now no dedicated button to access it (you have to configure one of the Fn buttons or access it via the menu system). Install the Fujifilm Camera Remote App and you can transfer your pictures immediately to a smartphone or tablet PC and then edit and share them as you wish, transfer stills and video onto the camera, and embed GPS information in your shots from your smartphone. You can also control the camera remotely, with the list of available functions including Touch AF, shutter release for stills and movies, shutter speed, aperture, exposure compensation, ISO sensitivity, Film Simulation modes, White Balance, macro, timer and flash. The built-in wi-fi also provides a simple means to backup your photos to your home PC. The Fujifilm X-T2 can now record 4K video, the first X-series camera to do so, with 24/25/30p frame rates on offer. What’s more, Fujifilm have introduced the concept of “Quick 4K”, where the camera can be set to apply one of the built-in film simulation modes to your footage to avoid having to grade it during post-processing. The X-T2 actually records at close to 6K (5120x2880pixels), then downsamples to 4K. There’s a 10-minute in-camera limit, which can be extended to 30 minutes by fitting the VPB-XT2 vertical power booster grip. This grip also adds a 3.5mm stereo headphone port to the 3.5mm microphone that’s in the camera body, there is uncompressed 4:2.2 8-bit HDMI output, and log gamma “F-log”. If you don’t need 4K, the X-T2 can also record Full HD 1080p movies at 60p / 50p / 30p / 25p / 24p for up to 14 minutes with stereo sound. There is a HDMI port for connecting the X-T2 to a high-definition TV, and you can adjust the level of the internal microphone and attach an external mic for better sound quality via the Mic and Remote ports. Strangely, despite the increased emphasis on video recording, the X-T1’s one-touch Movie Record button has completely disappeared (it’s now been assigned to the drive mode dial). The X-T2 has a logical enough rear control layout. Above the LCD screen and to the left of the viewfinder are two buttons for choosing image deletion or playback, while on the right is the AE-L button, rear control dial and the AF-L button. Beneath those is the Quick Menu button, which provides quick access to lots of frequently used shooting settings including the ISO speed, White Balance, File Size and File Quality, with either the new focus lever or the 4-way controller and the command dial used to quickly change them. In the middle of the controller is the Menu button, which accesses the eight Shooting and Set-up menus. Underneath is the Disp/Back button which is used for changing the LCD display or going back.
We don’t normally mention accessories in our camera reviews, but the X-T2’s new battery grip is so important that it needs mentioning here. The catchily named VPB-XT2 isn’t just any old battery grip, though – as the first three initials suggest, it’s a “vertical power booster” grip which, as well as including 2 extra batteries, increases the speed of the X-T2 in a whole host of different ways. The burst shooting speed increases from 8fps to 11fps, the shooting interval decreases from 190msec to 170msec, the release lag drops from 50msec to 45msec, and as mentioned above, the recording time in 4K goes from 10 to 30 minutes. As well as adding a 3.5mm headphone socket, it also acts as a twin battery charger, so that you can effectively charge 4 batteries at once – 2 in the VPB-XT2 (only taking 2 hours), 1 in the X-T2 camera via USB, and 1 in the supplied battery charger. The VPB-XT2 also helps Fujifilm’s longer lenses balance better on the X-T2 – we’d go so far as saying it’s something of a must-buy accessory.
Next Page Image Quality
Photo Review 9
User Rating: 0/10 (0 votes cast)
Thank you for rating! You have already rated this item, you can only rate it once! Your rating has been changed, thanks for rating!
Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. Add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions. Add to that comfortable handling, fast autofocus, and strong performance in our image quality testing and you’ll see why we’ve awarded 5D Mark IV an Editor’s Choice in the Pro DSLR category.
Since publishing a detailed First Look at the new EOS 5D Mark IV last week, we have been able to carry out our standard suite of technical and user tests. This report has been prepared to complement the initial review, adding comments about our experiences using the new camera plus the results of our standard tests. Links have been provided to enable readers to jump between the two reports.
Angled view of the EOS 5D Mark IV with the new EF 24-105mm f/4L IS II lens. (Source: Canon.)
As outlined in our initial report, the 30.4-megapixel EOS 5D Mark IV, provides some significant improvements on its predecessor for both still photographers and video shooters. Since the 5D IV was announced, we have been able to find out what readers could expect to pay if they decide to invest in the new camera. Because no lens was supplied with the camera, we have reviewed it with our own EF 24-105mm f/4L IS USM lens, which is the same lens we used for our review of the 5D Mark II4 and the 5D Mark III5 cameras.
As a 5D Mark II owner, we found the new body s handling comfortably familiar. The two camera bodies are identical in weight and 50 grams lighter than the 5D III (surely a good thing when weight can be critical in many situations).
We were delighted with the small changes to the user interface that have been made over two generations of the camera and welcomed the fact that the 5D IV uses the same LP-E6N battery as recent Canon DSLRs. The camera is also backwards-compatible with the slightly lower-capacity LP-E6 batteries used in the 5D III and 5D II (also a definite plus). Another welcome feature is the LCD monitor, with its new touch-screen controls that can be interchanged seamlessly with manual adjustments. This often eliminates the need for time-consuming menu diving, particularly when the Quick Menu function is used. It’s a pity the 5D IV’s monitor wasn’t articulated as that would have made it easier to overcome some of the limitations of having to frame shots using the monitor screen for movie recording. Adjustable monitors enable you to position the screen for optimal viewing and are a real advantage when shooting video, including when it’s on a tripod without a separate HDMI monitor that can be placed where you want it. With a fixed screen, there’s only one way to hold the camera and your back and shoulders can suffer during long shoots when using the camera hand-held.
The new ‘Intelligent’ viewfinder in the 5D IV is more efficient to use and being able to see the sensor’s full field of view with overlaid icons showing camera settings and warnings made it easier to change settings without constantly having to resort to the monitor. It’s comfortable to use, thanks to a decent 21 mm eyepoint and provides 0.76x magnification with a 50mm lens at infinity. We’d have liked a slightly wider dioptre adjustment range, although the -3.0 to +1 adjustment should be adequate for most potential users. We noticed some impressive improvements to autofocusing performance, particularly in Live View mode when recording movie clips, where our tests set out to gauge the camera’s ability to track moving subjects. We also assessed the system’s ability to focus upon small, fast-moving subjects at close distances to the lens with the lens at a wide aperture setting. We couldn’t fault the AF system’s tracking ability when we recorded movies of skateboarders; even when someone passed between the camera and the subject, the camera was quick to lock on again and follow the subject faithfully. For close-ups, AF performance wasn’t quite as good, although it was still impressive.
There were a few times when the camera jumped focus between foreground and background when recordings were being made close to the near limit of the lens. This was most likely to occur when there were bright objects in the background to ‘distract’ the sensors and when focus was not established initially by half-pressing the shutter button at the start of a recording. Memory card speed is a critical issue when you want to record movies with 4K resolution. For SD cards, the 5D IV’s instruction manual states clearly that you need a UHS-I Speed Class 3 (U3) card which supports up to 90MB/s read and 80MB/s write speeds. Sadly, the 5D IV is not able to ‘read’ the latest UHS-II SDXC cards, an unfortunate omission in our opinion. Slower cards either won’t record the movie or, if it is recorded, you’ll only get a second or two of footage. For CF cards, UDMA 7 transfer speeds of at least 100 MB/second are required.
By default, when you’re recording onto two memory cards, slot 1 indicates the CF card while slot 2 is for the SD card. In the default Standard mode, images are recorded to Card 1 by default, although you can change this to Card 2 by diving into the menu and selecting the Record func+card/folder set item from the settings menu. If the Auto switch card mode is selected, the second card takes the overflow when the first card is full. Selecting Rec. separately causes each card to record the same still image but in different formats; for example you can record JPEGs to one card and CR2.RAW files to the other. You can set image sizes and quality options individually for each card. Movies can’t be recorded simultaneously to both cards but will be automatically recorded to the card selected for Playback in the menu. This cannot be changed. The Rec. to multiple mode records each image simultaneously to the CF and SD cards with the same size and quality settings, acting as an in-camera backup.
One factor that has come to light since the 5D IV was announced concerns the way it records movie files. According to an article on the Canon USA website, the 5D IV uses the same Motion JPEG compression method as used by the EOS-1D X Mark II and EOS-1D C. This codec produces a separate JPEG image for each frame of video.
Since MJPEG uses the same kind of compression as JPEG does for stills, an extremely high bit-rate is required to maintain image quality. This means recording at approximately 500 Megabits per second, compared with up to 100 Mbps for competing cameras that use the more efficient H.264 4K codecs and record with the consumer-level 3840 x 2160 pixel resolution. And whereas competing cameras capture the full width of the image frame in 4K movie mode, in the 5D IV, the 4096 x 2160-pixel 4K movie area is extracted from the centre of the frame, effectively cropping the full-frame view in order to eliminate the need for pixel binning. This helps to prevent the reduction in image quality and potential for moir and aliasing that occurs with pixel binning as well as constraining image noise in low light levels. Full HD and HD movies are not cropped. Because of the pixel density on the 5D Mark IV s 30.4-megapixel sensor, the 4K crop factor is equivalent to using a lens with approximately 1.74x the indicated focal length. The view would be similar to what you would see when shooting with a camera with an APS-C sized sensor. This cropping makes shooting wide angles rather challenging, depending upon which lens you use. However, you gain a small telephoto advantage, which can be helpful for close-ups.
In another video-related issue, the 5D IV doesn’t include the Canon LOG function, which is provided in the video-orientated EOS-1D C, and allows recorded footage to be graded and colour corrected with professional software. You don’t even get a flat picture profile, which is the consumer-level equivalent and is provided in 4K enabled cameras from Fujifilm, Nikon, Panasonic and Sony. So users planning to integrate footage recorded with the 5D IV into a current professional video workflow will probably encounter a few problems. Professional video shooters need to be aware that you can’t record 4K clips to an external drive via HDMI out. The only option available is Full HD (1920 x 1080), which doesn’t have high enough resolution for grabbing still frames for printing (one of the main reasons for including 4K video in this camera). These issues aside, thanks in part to the AF performance improvements, we were quite impressed by the overall quality of the clips we recorded with the 5D IV, particularly in the 4K mode, cropping notwithstanding. Even though it can be difficult using the screen to frame subjects in bright outdoor lighting, the combined Still/Video switch and Live View/movie start-stop button made it easy to switch between stills and movie capture and keep the camera steady while recording.
We were keen to follow-up a report by the Amazon-owned DPReview website that claims the 5D IV suffers from ‘significant’ rolling shutter effect. This occurs where each frame is captured by scanning across the scene and can introduce predictable distortions of fast-moving objects. We found no signs of distortions in our recordings of the skateboarders moving across the field of view but did notice some slight vertical skewing when focusing close-ups, as shown in the enlarged sections from three frames, below.
Soundtracks from the built-in microphone were nice and clear in the default auto mode and the manual mode provides 64 levels of adjustment to control sound levels by turning the Quick Control dial. Audio recordings can be monitored as you shoot when you connect a set of headphones via the standard 3.5mm jack. A wind filter/attenuator is available. Time coding is similar to the options found on the 5D Mark III, allowing users to select between rec run and free run, synch the time code to the camera’s internal clock or pre-set a starting time code. It can be applied to movies recorded on the memory card and also appended to movies that are output via HDMI to an external recorder. HDR movie recording is also supported. Selecting the High Frame Rate movie mode in the Movie rec. quality section of the menu, lets you shoot movies with HD (1280 x 720 pixel) resolution and a frame rate for the PAL system of 100 fps (the NTSC frame rate is 119.9 fps). When clips recorded in this mode are played back the action will be slowed to 1/4 normal speed. Focus is locked on the first frame and no audio is recorded.
We found the High Frame Rate mode produced disappointing results and not only because the resolution was low (the ALL-I Intra frame recording mode is used to preserve as much data as possible). The locked focus meant we could only use this setting for subjects that maintained a constant distance from the camera so we haven’t provided a sample frame grab. In addition, we found multiple skipped frames within the relatively short clips we shot. Recordings are limited to seven and a half minutes in this mode.
Dual Pixel RAW
The new Dual Pixel RAW function utilises the image sensor’s dual photodiode construction, which allows the sensor to pick up two separate signals from each photodiode pair and detect phase differences between the two signals. The camera’s Dual Pixel AF system combines these signals to achieve sharp focus. During Dual Pixel RAW shooting, two images one containing data from only one photodiode and the other with combined data from both photodiodes in each pair are saved as a single raw file. This file, which is roughly double the size of a normal raw file, contains both the normal image and also any parallax information picked up through the phase difference detection.
Opening the Dual Pixel RAW Optimizer function in Digital Photo Professional.
Dual Pixel data has to be decoded with the Dual Pixel RAW Optimizer function in Digital Photo Professional software. But, once decoded, it enables three types of fine-tuning to be applied to raw images: focus microadjustment, bokeh shift and ghosting reduction.
The user interface in the Dual Pixel RAW Optimizer showing the three adjustments available.
Because they work at pixel level, the adjustments offered through the Dual Pixel RAW Optimizer are tiny. The focus microadjustment can’t replace the AF microadjustment control in the camera’s menu, which works with an installed database of Canon’s lenses. The Dual Pixel RAW adjustments also depend on the camera’s exposure parameters. According to Canon, the best results will be obtained with lens focal length of at least 50mm and an aperture of f/5.6 or lower plus an ISO value lower than 1600.
We found it difficult to obtain images that would demonstrate each of these adjustments and our samples show just how small they are. Don’t expect to be able to correct anything beyond the smallest deviations from the desired state. But, if your exposure is very close to the mark and a small amount of fine-tuning is required after an image has been captured, as long as you have set the camera to capture Dual Pixel Raw files, they could minimise the need to re-shoot. Examples are shown below.
Focus microadjustment. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. This image has been adjusted in Digital Photo Professional.
Bokeh shift. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. The red rectangle outlines the area selected for adjustment.
Ghosting reduction. The image on the left is the original JPEG image. On the right is the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode and subjected to ghosting reduction.
This pair of flare-affected images demonstrates that the Dual Pixel RAW Optimizer adjustments are unable to correct gross defects. Once again, the image on the left is the original JPEG image while the one on the right has been tweaked with the Dual Pixel RAW Optimizer’s ghosting reduction adjustment.
While images from both cameras are more than adequate for printing at A3+ size, with a resolution roughly 30% higher than the 5D III’s, shots taken with the 5D IV will fit more comfortably on larger A2 paper providing more scope for photographers who like to make large prints. However, even greater gains will come from the new camera’s superior image quality, particularly with moderately high ISO settings. JPEG files straight from the camera with the default Standard Picture Style setting were very clean although somewhat subdued in colour rendition across most of the available sensitivity range. Saturation was slightly lower than we normally see in JPEGs, setting up shots very well for post-capture editing. Colour fidelity was generally very good and detail was finely rendered, although most images benefited from a little unsharp masking in post production.
Since CR2.RAW files are not yet supported in Adobe Camera Raw, our preferred raw file processor, we had to convert them into 16-bit TIFF format with Canon’s Digital Photo Professional software, Version 126.96.36.199 of which is supplied with the camera. This application is superior to most proprietary raw converters and we were able to extract the expected level of resolution from the test files. Imatest showed the review camera to be capable of almost meeting expectations when JPEG files were analysed and slightly exceeding them with raw files. Resolution held up well across the camera’s ISO range, with the expected gradual decline as ISO sensitivity was increased, as shown in the graph of our test results below.
In our after-dark test shots, the first evidence of image noise appeared between ISO 6400 and ISO 12800, with increased softening as noise-reduction processing was applied. Softening was noticeable at ISO 25,600 and increased gradually thereafter. Interestingly, the ISO 102,400 setting delivered images that would be usable at modest output sizes after unsharp masking, even though resolution had been significantly reduced. Like the Mark III, the Mark IV was capable of recording a wide range of tones in subjects with extended brightness ranges, although it didn’t cope well with extreme differences between shadows and highlights. Nevertheless, blown-out highlights were rare in JPEGs, when the Highlight Tone Priority setting was selected.
Unlike the Mark III, the Mark IV provides two auto white balance settings: ambience priority and white priority. The former is the ‘normal’ auto mode, while the latter aims to keep white areas in the subject as close to white as possible. We found the ambience priority setting came very close to producing neutral colour rendition under fluorescent lights, while the white priority setting delivered a high level of correction. Under incandescent lights, neither setting was able to correct the orange cast but the white priority setting reduced the orange cast to a noticeable degree. Pre-sets are provided for 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. We found the tungsten and fluorescent pre-sets tended to over-correct, although not excessively.
For our timing tests we used a 16GB SanDisk Extreme Pro UDMA 7 CF card, along with a 32GB SanDisk Extreme Pro SDHC U1 card. The review camera powered-up ready for shooting almost instantaneously, taking less than 0.1 seconds. When the viewfinder was used, we measured an average capture lag of 0.1 seconds. This delay was eliminated by pre-focusing the lens. The average delay times were similar in Live View mode, which is unusual as they tend to be slower in most DSLR cameras we’ve tested. The dual pixel AF system is a likely explanation for such good performance since capture lag is largely a result of autofocusing lag. In both modes, it took an average of 2.5 seconds to process a single JPEG file and 2.6 seconds for a raw file and 2.8 seconds for a RAW+JPEG pair, regardless of which card the images were recorded on. Shot-to-shot times with both cards averaged 2.65 seconds because in single-shot mode, the camera can’t record a shot until the previous one has been processed.
We couldn’t get the review camera to operate in the high-speed continuous shooting mode when the viewfinder was used but it worked perfectly in Live View mode. With the CF card, we were able to record 45 Large/Fine JPEGs in 6.5 seconds, which equates to 6.92 frames/second, just a whisker below the specified frame rate. It took 4.9 seconds to process this burst. For raw file capture, the camera also recorded 19 shots in 2.6 seconds, again, matching specifications. It took five seconds to process this burst.
Swapping to the SDHC card, we recorded 56 Large/Fine JPEGs in eight seconds, which equates to exactly seven frames/second. It took 8.2 seconds to process this burst. Seventeen raw files were recorded in 2.3 seconds, a frame rate of 7.4 fps. It took 13.6 seconds to complete the processing sequence.
Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. To these you can add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions.
Currently, there are three other cameras that might compete with the 5D IV in this market sector, although they don’t provide the full array of benefits: Canon’s 50.6-megapixel EOS 5Ds and 5Ds R6 pair and the-megapixel Nikon D8107. We’ve reviewed two of these three cameras. Local pricing for the EOS 5Ds and Nikon D810 cameras is lower than the current p8
Based on JPEG files:
Based on CR2.RAW files converted into 16-bit TIFF format with Digital Photo Professional:
Auto white balance ambience priority mode with incandescent lighting.
Auto white balance white priority mode with incandescent lighting.
Auto white balance ambience priority mode with fluorescent lighting.
Auto white balance white priority mode with fluorescent lighting.
ISO 100, 58mm focal length, 30 second exposure at f/4.
ISO 200, 58mm focal length, 30 second exposure at f/4.5.
ISO 800, 58mm focal length, 20 second exposure at f/4.5.
ISO 3200, 58mm focal length, 20 second exposure at f/9.
ISO 6400, 58mm focal length, 13 second exposure at f/10.
ISO 12800, 58mm focal length, 8 second exposure at f/11.
ISO 25600, 58mm focal length, 5 second exposure at f/18.
ISO 102400, 58mm focal length, 1 second exposure at f/9.
ISO 200, 105mm focal length, 1/250 second exposure at f/9.
ISO 100, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 58mm focal length, 1/125 second exposure at f/8.
ISO 100, 50mm focal length, 1/200 second exposure at f/11.
ISO 200, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 70mm focal length, 1/250 second exposure at f/7.1.
ISO 100, 92mm focal length, 1/100 second exposure at f/8.
ISO 100, 105mm focal length, 1/500 second exposure at f/9.
ISO 400, 105mm focal length, 1/500 second exposure at f/6.3.
ISO 100, 45mm focal length, 1/200 second exposure at f/13.
ISO 400, 92mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 100mm focal length, 1/500 second exposure at f/10.
ISO 200, 70mm focal length, 1/500 second exposure at f/11.
ISO 200, 105mm focal length, 1/320 second exposure at f/8.
ISO 100, 47mm focal length, 1/125 second exposure at f/11.
ISO 200, 90mm focal length, 1/80 second exposure at f/5.
ISO 200, 105mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 105mm focal length, 1/1000 second exposure at f/4.
Still frames from 4K video clip taken with MJPEG format.
Still frames from Full HD 1080 video clip taken with 50p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 50p, IPB compression.
Still frames from Full HD 1080 video clip taken with 25p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 25p, IPB compression
RRP: AU£5699; US£3499 (body only)
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Image quality JPEG: 8.7
- Image quality RAW: 8.9
- Video quality: 9.0
- ^ Log in (www.photoreview.com.au)
- ^ create a user account (www.photoreview.com.au)
- ^ First Look at the new EOS 5D Mark IV (www.photoreview.com.au)
- ^ 5D Mark II (www.photoreview.com.au)
- ^ 5D Mark III (www.photoreview.com.au)
- ^ 5Ds R (www.photoreview.com.au)
- ^ Nikon D810 (www.photoreview.com.au)
- ^ www.canon.com.au (www.canon.com.au)