After weeks of rumors and speculation, Canon has finally confirmed that the megapixel monster known as the 5Ds/5Ds R is real, and coming to stores here soon. Boasting 50.6MP full frame sensor, Canon has surpassed Nikon and Sony, offering us the highest resolution to date for a DSLR camera system. Alongside the new cameras, is the 11-24mm f/4L, finally bringing an updated ultra wide angle to the Canon lineup.
Rumors, leaks and speculations have been thrown around on these camera systems for weeks now, with no confirmations from Canon or other credible sources. Many of these rumors have been met with questions like "Who is the camera system for?" and "Is this their new flagship?". However seeing the specs on the systems, it's believed that this camera system is tailored to commercial photographers who need the resolution over the ISO capabilities, and that a flagship system tailored for the everyman is still on its way. Specs of the systems are below --
Canon EOS 5Ds --
- CMOS sensor effective pixels 50.6MP (total number of pixels: 53MP)
- RAW (50MP), M-RAW (28MP), S-RAW (12.4MP)
- Media CF (UDMA7), SD / SDHC / SDXC (UHS-I)
- Dual DIGIC6
- Crop 1.3x and 1.6x
- 100% field of view, magnification 0.71 times, the eye point is 21mm
- Electronic level
- Grid display
- AF 61 points (41 points cross type), EV-2 support
- ITR AF
- Anti-flicker
- Time-lapse movie
- Bulb timer
- Live View, the contrast AF (face recognition)
- 150,000 pixel RGB-TR metering sensor. 252 zone TTL metering
- EOS iSA system
- ISO100-6400 (extended with ISO50 and ISO12800)
- The shutter speed is 30 seconds -1/8000 seconds. Synchro is 1/200 sec
- Continuous shooting 5 frames / sec.
- Video 1920x1080 30fps (ALL-I or IPB)
- LCD monitor 3.2 inches 1.04 million dot
- Mini HDMI output terminal. External microphone terminal
- Battery LP-E6N / LP-E6
- The size 152 x 116.4 x 76.4mm
- Weighs 930g (CIPA guidelines). 845g (body only)
Canon EOS 5Ds R --
- Same Specs as Above, but with Low-Pass Filter Cancelled.
Canon EF 11-24mm f/4L USM --
- Lens design 16 elements 11 groups
- 4 aspherical lens (large diameter grinding aspheric single, large-diameter glass molded aspherical one, two glass mold aspherical)
- One Super UD lens, one UD lens
- SWC coating (two-sided)
- ASC coating (one side)
- The fluorine-coded rear and front lens
- 9 diaphragm blades, circular aperture
- Minimum aperture is f/22
- In the shortest shooting distance is 24mm 0.28m, 0.32m in 11mm
- 0.16 times at the maximum photographic magnification is 24mm, 0.06 times in 11mm
- AF motor ring USM
- Full-time manual focus
- Dust and water sealed
- Rear gelatin filter holder
- Total length 132mm, maximum diameter 108mm
- Weight 1180g
Press Release
Canon revolutionises resolution with the EOS 5DS and EOS 5DS R
London, UK, 6 February 2015 – Canon today transforms the EOS system with the arrival of the EOS 5DS and the EOS 5DS R – a new breed of ultra-high resolution full-frame DSLRs.
Breaking the boundaries of 35mm sensors,the new cameras offer the highest megapixels ever seen in a full frame sensor, an astonishing 50.6MP. Delivering unparalleled quality, the cameras provide an exceptional combination of resolution, responsiveness and durability, whether shooting landscapes, architecture, high fashion or portraiture, either personally or professionally. When nothing but the sharpest image is expected, the EOS 5DS R also features a low pass cancellation filter to maximise the sensor’s resolution and visible image quality.Alongside the new DSLRs, Canon also introduces the EF 11-24mm f/4L USM, the world’s widest-angle rectilinear zoom lens(1), the perfect companion for landscape and architecture photographers.
Establishing new standards for full-frame DSLRs
Setting a new benchmark for full-frame cameras, the EOS 5DS and EOS 5DS R combine fast, instinctive DSLR handling with the newly-developed 50.6MP CMOS sensor, providing the flexibility to shoot a wide range of scenes and subjects, making it ideal for large format mediums, such as advertising billboards and magazine covers, where every pixel matters. The sensor’s advanced architecture provides
ISO 100-6400 sensitivity, further expandable to 50-12800, ensuring high quality images with low noise, accurate colours and wide dynamic range.
For added flexibility, the cameras’ resolution enables three new in-camera crop shooting modes–1.3x, 1.6x and 1:1. Visible through the viewfinder, the crop modes deliver outstanding results, with stills at 19 MP even when cropped to 1.6x. Built to withstand the most demanding shoots, the EOS 5DS and EOS 5DS R’s dual DIGIC 6 processors provide the rapid performance and responsiveness required to deliver first-class images with exceptional colour reproduction. Both processors are designed to comfortably manage huge levels of image data from the 50.6MP sensor, whilst simultaneously reducing image noise and providing the freedom to shoot at five frames per second.Automatically exceptional
Created to ensure every detail of your exquisite landscape or high-fashion studio shoot is in focus, the EOS 5DS and EOS 5DS Rfeature an advanced 61-point AF system, with 41 cross-type points, delivering incredible levels of image sharpness and accuracy across the frame.
Both cameras comfortably maintain focus with moving subjects, using EOS Intelligent Tracking and Recognition AF (iTR) to track both faces and colour. To reduce image blur, Canon’s Mirror Vibration Control System uses cams to drive the cameras’ mirror up and down in a highly controlled fashion, avoiding all sudden stops and softening the shutter-release sound. Additionally, the EOS 5DS and EOS 5DS R’s 150k pixel RGB+IR metering sensor with Flicker Detection ensures images can be captured with consistent and accurate exposures under varying lighting scenarios, including florescent.Incredible detail and unrestricted creativity
Putting unrivalled image quality at your fingertips, the EOS 5DS and EOS 5DS R include a number of customisable modes and settings to ensure stunning results every time. A new Fine Detail Picture Style maximises the level of detail that can be achieved from the sensor, enabling advanced sharpness adjustment without the need for edit ing software. Popular creative modes, including Multiple Exposure and HDR, provide instant, in-camera creativity, while a built-in timer allows you to shoot over long periods and create stunning time lapse videos, without being tied to the camera or needing advanced software and excessive kit.
First-class professional construction, customisable features
The EOS 5DS and EOS 5DS R have been expertly constructed to allow you to operate quickly, regardless of the environment you’re shooting in. The 100% viewfinder with electronic overlay makes framing vital shots easy and can be customised to your preferred style. The large, 8.11cm (3.2”) Clear View II LCD screen, with an anti-reflective structure, minimises reflection or glare when reviewing shots and also acts as a visual and accessible dashboard of the most commonly used settings. The cameras’ new Custom Quick Control
screen means that the type, size and position of icons are also easily customisable to the user or shooting scenario. Both cameras utilise Canon’s iconic design DNA–a highly durable body constructed from high-grade magnesium alloy to provide weather resilient shooting – ideal for landscape photographers who are dedicated to getting the perfect shot, whatever the weather.
EOS 5DS R: Engineered for the ultimate in DSLR image quality
When nothing but the absolute maximum level of detail possible will do, the EOS 5DS R features a low pass cancellation filter to ensure the sharpest possible results. Great for landscape photographers, where patterns are very often organic, the camera’s low pass cancellation filter produces the stunning level of detail required to turn agreat shot into an incredible shot.
Optical Expertise: Introducing the EF 11-24mm f/4L USM
The EOS 5DS and EOS 5DS R are compatible with Canon’s extensive EF lens range, spanning 71 models(2). Today Canon unveils the world’s widest-angle retilinearzoom lens (1), the EF 11-24mm f/4L USM. Perfect for photographers shooting landscape and architecture, the EF 11-24mm f/4L USM is designed to open up an entirely new world of creative opportunities, thanks to its super wide 11-24mm focal range. Boasting a newly designed optical structure, the lens features three aspherical lenses including a ground aspherical element, which maximises image quality and delivers minimal levels of distortion, while the body is rugged and robust enough to be employed in extreme weather conditions.
As for prices, they're not cheap. The Canon 5DS comes in at $3699, Canon 5DS R is $3,899, and the 11-24mm f/4L is $2,999.
Source: http://www.cambridgeincolour.com/tutorials/diffraction-photography.htm
I recommend to read this article if you are interested about the subject.
I understand your point and that is an interesting link. Yes format size is an element of diffraction limitations. Being that the sensor size is part of the equation, it isn't simply the lens limiting resolution, but rather how it interacts with the sensor/film format size. Thus diffraction is a function of the lens/sensor system, not solely an issue with the lens. However saying that resolution is limited by diffraction is different than saying resolution is limited by the optical quality of your lens (which is what most of the above comments regarding lens quality refer to).
All lenses experience a drop in resolution once you close the aperture down to a certain point (format dependent as you mention). That's not really the lens limiting the resolution of the sensor (although I see how you could make that argument in a round about way). I see it more as a physical property of any lens that gradually degrades resolution of the lens/sensor system from it's maximum capabilities. It's is more dependent how the lens is used as opposed to how well it is made/designed. If I shoot my lens directly at the sun I will get less resolution and technically you could say the lens is limiting resolution. However, that is something I can control to maximize resolution (ie: don't shoot into the sun). I think most people would realize that if they shot every image at f/32 and got consistently soft images or less than optimal sharpness that it isn't the optical quality limiting resolution but rather them utilizing the lens/sensor system at settings which hinder the resolution of any lens. What the posters have been commenting on regarding a 50MP camera is that the quality of current lenses is not sufficient to resolve such levels of detail, not that diffraction is limiting the resolving of detail.
The point of using other formats as an example wasn't to discuss diffraction limitations which apply to all lenses, but rather to point out that lower quality, less resolving glass coupled with high resolving sensors/film can and will out-resolve excellent lenses coupled with significantly lower resolution sensors. All very interesting topics and I agree with what you say about diffraction. I was just addressing the issue of the quality (good or bad) of modern lenses couple with high MP sensors.
First I never said that lens limits sensor's resolution. It will however limit the resolution of the image and more pixels won't help. As you said: "Most of that notion is founded in a misunderstanding of how resolution works."
I think you didn't flip to 2nd page in the article I linked before. ( http://www.cambridgeincolour.com/tutorials/diffraction-photography-2.htm )
The film in 4x5 is not "high resolving film". It is the same film that you will have in 35mm. Except that the same detail will cover larger area of film when photographing on 4x5; thus, more grain (comparing to pixels) will be used to resolve that detail on final image. If someone would really care to compare and cut out a 35mm crop from that LF film and enlarge it, one will find the same limits of lens resolution that other 35mm lenses have.
Older lenses, good example is 24-70L ver.1, did not resolve details effectively, so there was a need for newer version for newest cameras. If you will look into large format photography you will find that new lenses are made specifically for digital sensors so that higher resolution will be utilized.
From www.schneideroptics.com: "As a result, the imaging capabilities of Digitar lenses are so great that they meet the highest resolution requirements of today's CCD imaging sensors"
Again, I don't know how each lens will perform on new 50mp CMOS, but it is possible that some lenses will not be able to resolve the details utilizing full resolution (as a pixel count) of the new sensor.
Ok, I think we are debating sematics at this point. All of the links and info you posted says what I am trying to say and I think what you are saying as well. (The lens and sensor work together to determine the final resolution of the image) I still stand by my original argument that any lens you have been using on something like a 5D MKIII will give you higher resolution if you use it on the new 50MP 5D unless it is total junk or defective.
"The film in 4x5 is not "high resolving film". It is the same film that you will have in 35mm."
Yes, but the point is that the medium recording the image has considerably higher resolving power. By the same token, if the lens quality and format remains the same (35mm for example) but one image is shot on Techpan and the other Tri-X, the Techpan shot will resolve more detail with any lens. Again, my argument is that a good lens increases resolution with any format but you don't need to spring for thousands of dollars in lenses in order to see a resolution increase with a higher MP camera. My argument is contrary to statements such as "waste of time, lenses can't even resolve that much detail."
"From www.schneideroptics.com: "As a result, the imaging capabilities of Digitar lenses are so great that they meet the highest resolution requirements of today's CCD imaging sensors"
There is a little bit of marketing that goes into statements like this. I'm sure the lenses are great but it also helps Schneider's bottom line to inject a sense of "necessity" into advertisements. It's similar to Nikon's release of a list of lenses that were deemed "worthy" of the D800, but which also happened to be their most expensive versions. A handful of them are easily bettered (in terms of resolution) by models costing a fraction of the price (which weren't included in the list) so it's best to take that with a grain of salt.
My 24-70 mk2 barely takes advantage of my 5d mk3. Fortunately I use it for portraits and I don't need that high resolution. 50mp sensor will not make it work any better. Even though there will be many more pixels, the image resolution will stay at the same level. It will only make blur smoother at 100% zoom ;)
lol well Roman while I disagree with that statement it is definitely an interesting topic to discuss and I enjoyed the conversation. Either way, both lenses and sensors seem to be improving everyday which is a good thing for everyone!
I definitely can agree with that ;)
I do agree that oversampling the image will give more detail to the shot, no matter what lens is being used. However, with soft lenses, I believe you are getting seriously diminishing returns at 50Mpx. Have you looked at the sample shot of the Tokyo skyline? That poor 24-70 f/4 L didn't stand a chance. On top of that, we're seeing the sacrifices on DR due to the high pixel count.
I'm sure this camera will make several studio shooters very happy. Those samples with the 70-200 are stunning. But this is a very specialized camera. IMHO you're not getting your money's worth other than if you're shooting very nice glass in controlled lighting. - It doesn't seem to necessarily be an upgrade over the 5dmkiii for landscape.
But th Tokyo picture can't be used as a referendum on the camera as a landscape shooter. That picture reflects the exact expected lens behavior based on the settings, no camera is going to change that. Stop the lens down to f/8, put it on a tripod so you can shoot ISO 100, and THEN we can scrutinize it. The Tokyo picture is a really odd sample.
I have experienced resolution problems with my d810, paired with certain lenses. With lenses that are not as sharp as they need to be for 36mp, the image is almost identical to images from the d750, with almost no noticeable difference in detail. (with an older sigma 70-200mm). Where the d810 can bend a bit to the mercy of a less sharp lens, it has an unbelievable dynamic range, that provides the 'detail' over other models even with the same lens. If the canon can provide the proportional DR equivalent of the Nikon/sony 36mp sensors, I think it will still be a winner. Wish it was going to be better for video though.
Medium format cameras are starting to look too expensive for what they are offering
The Dynamic Range is supposed to be the same as the 5Dmk3... yawn
First they shift their focus from stills to video, then they put out something like this. I don't know what Canon is thinking, but their product line is definitely moving in the opposite direction from what interests me. I saw the JPG samples that were put out. They obviously did not address any dynamic range issues with their sensors.
This camera pretty much kills my hopes of Canon really shaking things up and going medium format. Sony has been ahead of Canon in the sensor space for a while now. The pseudo MF 50MP sensor Sony made is like a larger version of their D800/D810 chip. I'm sure there 50MP FF will be of similar quality. I'll wait and see what they do.
I do like the price on these Canon models, though butchering the video aspect of the cameras seems a little excessive.
I don't think they are going to make MF cameras or are indeed interested in making them. They have fantastic lens lineup in EF, EF-S and EF-M (not mentioning third party EF lenses). Plus FD you can use easily with EF-M. None of those lenses are made for MF though. I guess sticking to that is a better option than going for making MF cameras (or any sensor size cameras if we're at this) without any lenses to use on them. As for video, many photographers (including me) don't care that much about video capabilities and need a really good stills camera. In such a camera full HD is enough, at least for the next few years. I'd rather have 5DsR with good dynamic range, colour reproduction and level of details. If I really wanted 4k on a budget, I would just get one of the Lumix morrorless cameras. If I were serious about doing 4k video and wanted to spend money on that, I would spend another $4k and get a dedicated Sony video camera. There is no tool to do every possible job and do it well.
It doesn't hurt them to keep the video functionality they've had in their cameras since 2012. You're looking at the same chassis as before with better image processors/sensor on board. There is no reason to remove the headphone jack and HDMI out. It doesn't cost them anything. It's silly.
4K would have been tough to implement on this camera anyway. That's a lot of downscaling to do on the fly.
For those who say they expected more and etc. please note that this is not "Mark IV", this is new camera in the Canon lineup. High megapixel cameras usually are not so good at low light, so i can imagine that people will use this cameras at situations where you can work with low ISO and using a tripod. Also new introduced lens (11-24mm) fits well this new cameras. This is a niche camera and i assume that it will be used by fashion, landscape and commercial photographers. For those who need all purpose work horse will need to wait a bit more for the release of Mark IV with lower MP count, better ISO handling and better video (maybe even 4K).
Finally! I'm interested to see how this compares to Medium Format .If the image quality is on par with MF, I'm a happy man. This is exactly what I need for the work I do now! :)
OK, so the autofocus system 5DS will (on paper) be similar to the 1DX, but the 5DS is cheaper and has a much higher resolution. Won't this put the 1DX in an awkward spot? I do realize that the 1DX is almos three times as quick when it comes to burst photos, but still. It feels like I'm missing something, can someone please enlighten me?
Completely different purpose for each of these cameras. 1DX is for press photography, high framerate, better low light performance, etc, while 5DS/R are, like somebody above mentioned, for fashion and commercial photographers, who shoot in controlled conditions with the intention of printing it in large formats. At least this is how I see it, but I may be wrong.
1DX will drive AF motors faster, so it still has a reasonable edge in the AF department.
I think canon hasn't any lens which can handle this resolution :) :) :)
I think this camera is a real great milestone for Canon especially considering the path Nikon has taken the past two or so years. Real pros printing big etc will have a huge leap forward.
However, I do have to giggle just a little in anticipation in what will become of nearly any online forum dedicated to Canon. Much like Nikon forums you may just see folks claiming that they just can't shoot with anything less than 50MP and any camera with less MP is somehow inferior :)
isnt it too much for FF sensor?
It is just me that dislike the ISO performance?
Sony has done a fantastic job on this area. This is not something to be ignored. I have a couple of friends that changed systems from Canon to Sony because this.
I wonder if that lower resolution 5D3 replacement comes in two sensor versions. I'm scheduling an upgrade this year and so far it seems I will go for EOS M3 to have an APSc, portable camera with some video capabilities (and I don't need 4k) and then go for 5DsR when it gets released for stills. The question is how am I going to budget this, especially that I will need a stronger PC to handle the files... This is going to be a tough year...
Two things... only 5 FPS continuous shooting? and what is a low pass filter?
Anyone else diggin' that gold type? Kind of reminds me of those special edition Toyotas.
As a mk3 owner I'm not all that excited for this announcement. I don't have any gear lust for the 5DS(r) and I feel pretty solid in my current cameras. If the mk4 is going to grab my attention, it'll be because of improved dynamic range, hopefully in the form of a Sony sensor. The 5DS(r) feels like a camera I may rent when the job and budget call for it.
I'm STILL excited about the sheer detail in my D800. Crazy as it sounds, I still play with zooming way, way in just because I can. Canon users will have a great time.
Here's a peek at a recent natural light shoot with my Nikon D800: (I believe I used only the 85mm 1.4 and the 100mm 2.8 macro)
http://lifeascinema.blogspot.com/2015/01/popeyes-spinach.html
845g for the body, with that many MP I would think it would weight more.
The beauty of Nikon's D800/D810 series isn't just the high resolution, it is the dynamic range, the color depth and the nearly supernatural shadow recovery when shooting in raw. The Canon 5DS is being marketed towards landscape and studio photographers who really need that dynamic range and color depth along with the extra detail of high res. The 5D Mark III has a dynamic range of 11.7 EVs. The D800 and D810 respectively have 14.4 and 14.8 EVs. That is a very big difference. If Nikon enlarged the sensor of the D7200 to full frame they would have a 50 megapixel sensor. That smart phone makers cram 8-10 megapixels on a tiny spec of a sensor is unremarkable. Those sensors have terrible dynamic range, color depth and low light performance. Even though I am a D800e shooter, I was initially excited by the 5DS announcement until I learned that the performance that means the most to my work when shooting on my high resolution camera might not be there on the 5DS. I am excited when any manufacturer moved tech forward but a little disappointed that unlike Nikon Canon didn't want to push the DR and color depth to truly compete with medium format instead of just bumping up pixel density.
Also before people get too excited over gear porn, these high resolution cameras eat up SD Cards like potato chips. You need to buy SD cards with a larger capacity and faster right speed, meaning much more expensive cards.
So.... What happened to having 60 FPS available for videographers? I understand that they probably don't want to compete with their C series, but I don't feel it's the same consumers investing in both cameras.