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We've only had the 5D Mark IV for a couple days, but that hasn't stopped us from taking it out for a bit of shooting. Take a look at some sample images from Canon's latest full-frame DSLR.
*Raw conversions have been performed with a very early beta build of Adobe Camera Raw. Image quality may not represent the final shipping version.
It's been more than four years since the launch of the Canon EOS 5D Mark III, and just head of this year's Photokina trade show in Cologne we finally have a successor: the EOS 5D Mark IV.
While externally similar to the 5D III, and the higher-resolution 5DS/5DS R, the new EOS 5D Mark IV offers some significant internal improvements. We got our hands on a pre-production camera recently, and in this slideshow we'll be giving you a quick overview of the key features.
The EOS 5D Mark IV will come in three kits: body only ($3499), with the 24-70 IS USM lens ($4399) or with the 24-105 IS II USM lens ($4599).Canon EOS 5D IV: What you need to know
The Canon EOS 5D Mark IV offers a roughly 30% increase in pixel count over its predecessor, and sits midway in terms of resolution between the EOS 5D III and the EOS 5DS/R, currently 'best in class' at 50MP. Nikon’s current 'resolution' flagship, the 36MP D810, offers a few more pixels but practically speaking the difference between 30MP and 36MP is likely to be pretty much academic.
The 5D Mark IV’s native ISO sensitivity span extends a touch higher than that of the EOS 5D III, covering ISO 100-32000. Its extended ISO sensitivity span, however, is identical to that of its predecessor, at 50-102400. Both cameras offer greater nominal low light sensitivity than the Nikon D810, which is capped at ISO 12800 natively, and can be extended to 51200.Canon EOS 5D IV: What you need to know
New (and currently exclusive) to the EOS 5D IV is what Canon is calling ‘Dual Pixel Raw’. This mode uses the sensor’s Dual Pixel photo sites (more on that below) to effectively create two 30MP files from a single exposure. The resulting file can be adjusted in Canon’s Digital Photo Professional Software to slightly shift the point of critical focus.
The technology behind this feature is complex – it isn’t light field imagery, although the user experience is similar – and we’ll be digging into it more when we receive a fully reviewable camera, but for now we'd caution you not get your hopes up too high with respect to 'image microadjustment': the degree of re-focusability is miniscule, and this feature isn't a replacement for proper AF microadjustment of your lenses.Canon EOS 5D IV: What you need to know
Something old, something new, something borrowed… the EOS 5D Mark IV’s AF system is very closely related to that of the EOS 5D III, which itself inherited the 61-point AF array from the (then) flagship EOS-1D X. Vertical coverage has been expanded up to 24% though, and all points focus down to F8 with proper lens/teleconverter combos. Like the 5DS/R and 1D X series, there's now a completely 'auto' AF point selection mode in AI Servo, which can be made to prioritize faces, thanks to the addition of Canon’s iTR (Intelligent Tracking and Recognition) system. iTR incorporates data from a 150,000-pixel metering sensor, to assist subject recognition and tracking.
In theory this should make the 5D IV better at identifying and maintaining focus on moving subjects, but from our (admittedly limited) use so far it seems to offer roughly the same performance as the EOS 5DS/R. Which is to say: not bad, but not great. The EOS 5D IV might prove somewhat more useful for fast action photographers than its predecessor, but when it comes to tracking, the Nikon D810 probably still offers the most capable autofocus system in this class. Obviously though, this is something we'll be testing as soon as possible.Canon EOS 5D IV: What you need to know
One key area where the EOS 5D IV outshines pretty much all DSLRs today is autofocus in live view and video. The Mark IV’s Dual Pixel AF system brings rapid and consistently reliable focus in both modes, and unlike the flagship EOS-1D X II, the 5D IV can offer continuous tracking in live view mode for stills, in addition to the incredible capable movie servo AF during video recording. Based on the time we've spent with preproduction Mark IV's, we are very impressed with just how responsive the Dual Pixel system is - take a look at how easy it is to select subjects and track them reliably in our video here.
That sort of subject tracking outclasses the camera's own viewfinder AF in some ways, not to mention the far greater frame coverage and accuracy of on-sensor AF. Frankly, Dual Pixel AF is so good we'd often prefer it over viewfinder AF (for anything but sports), but alas using a DSLR at arm's length isn't very practical.
By comparison, the contrast-detection live view and video AF system of most DSLRs, like the 5D III and all Nikon offerings, is slow, prone to hunting, and cannot offer any kind of reliable continuous focusing.Canon EOS 5D IV: What you need to know
As far as handling is concerned, the EOS 5D IV offers a broadly similar experience to its predecessor. This is simple common sense on Canon’s part (minus the fact that all top shelf buttons have had their associated dials reversed), but the new camera isn’t just a re-heated version of the same old 5D-series ergonomics. For one thing, the 5D IV features a touch-sensitive, 3.2" rear screen which, unlike the EOS-1D X II, is tightly incorporated into all key areas of the camera’s feature set.
From touching to focus in live view and video to quickly tapping to zoom into images after a shoot, the EOS 5D IV’s touchscreen makes a real - and very positive - difference to the camera’s handling compared to both the EOS 5D III and also competitive cameras like the Nikon D810 and Sony a7R II.Canon EOS 5D IV: What you need to know
In classic Canon style, for all of the brand new features that the EOS 5D IV brings to the table, it inherits a few, too. One of the more welcome additions is an iteration on the EOS 7D II's AF area selection toggle, just below and to the right of to the AF joystick on the rear of the camera. As with the 7D II, this button can be customized to fulfill one of various other functions, depending on the preferences of the photographer, albeit limited only to a set of options Canon thinks you should assign to it.Canon EOS 5D IV: What you need to know
Hiding inside that comfy grip are dual slots for SD and CompactFlash media. As usual, media can be configured so that when two cards are installed, one acts as overflow storage, backup storage, or can be dedicated to either stills or video. Bear in mind though that the SD card slot is limited to UHS-I speeds (so you can't use it to record 4K video).
That molding line on the EOS 5D Mark II's pentaprism might look like the camera boasts a built-in flash, but it doesn't. The very top of the pentaprism is polycarbonate, to accommodate the requirements of built-in WiFi and GPS. The EOS 5D IV is fully weather-sealed, and when paired with one of Canon's L-series lenses, it should withstand shooting in tough conditions.Canon EOS 5D IV: What you need to know
There are plenty of holes in the EOS 5D IV, but fortunately they're physical, not figurative. As well as microphone and headphone monitoring sockets you'll also find HDMI out, USB 3.0 and a conventional flash sync socket. Just under our hand model's thumb is the port for a wired remote shutter release.
Speaking of video, the EOS 5D Mark IV becomes only Canon’s third DSLR to offer 4K video capture, in addition to a solid HD video feature set. As we’ve come to expect from 4K-capable DSLRs there is a crop factor at play in 4K video mode, though, and it's fairly aggressive. At around 1.74x - it's more aggressive than the Super 35mm format - which means that, at best, the field-of-view and noise performance will still be worse than some APS-C offerings like the Sony a6300. There's also significant rolling shutter, more so than the 1D X II.Canon EOS 5D IV: What you need to know
Neither the EOS 5D III nor Nikon D810 offer 4K, of course, and the EOS 5D IV’s combination of high-resolution video, full-time touchscreen interface and Dual Pixel AF make it one of the most capable DSLRs for video at this point in time. Which makes the lack of proper video tools - like zebras, peaking, or Log gamma modes - all the more frustrating.
Clean HDMI out is possible in HD, but not for 4K. Like the EOS-1D X Mark II, 4K recording is only possible in the highly inefficient Motion JPEG format, but according to Canon, this is deliberate, as it offers easy stills extraction from a 4K timeline - essentially enabling 30 fps 8.8MP JPEG capture (assuming favorable shooting conditions, considering the rolling shutter). Still, the option for a more efficient codec for video use would have been useful.
The Canon EOS 5D Mark II uses the very familiar LP-E6N battery, rated at 900 shots per charge (CIPA).Canon EOS 5D IV: What you need to know
A new dedicated grip, known as the BG-E20 ($349), doubles your battery life and offers additional controls for shooting in the portrait orientation.Canon EOS 5D IV: What you need to know
The EOS 5D IV is launched alongside a brand new 24-105mm F4 IS L II USM kit zoom, and a Mark III version of the 16-35mm F2.8 (pictured above). These lenses retail for $1099 and $2199 respectively, and both are scheduled for October availability.Canon EOS 5D IV: What you need to know
Compared to its predecessor, the EOS 5D IV is improved in virtually every way. Compared to the EOS 5DS/R, while the Mark IV can’t quite match their resolving power, it outpaces them in terms of speed, and of course a much richer video feature set.
Nikon’s D810 is the EOS 5D Mark IV’s most obvious competitor, but although it’s been on the market for quite some time, it’s still very competitive in several areas. Where the EOS 5D IV scores over the D810 is video specification (obviously) and some aspects of handling. Thanks to Dual Pixel AF, the EOS 5D IV much more fun to use in video and live view modes, but the addition of a touchscreen makes some operations – like focus in live view and image review – quicker and easier than they are with the D810’s more traditional button-based ergonomics.
Let us know what you think of Canon’s new EOS 5D Mark IV in the comments.
Stalkers or photojournalists? On the job with a pair of Hollywood paparazzi as they chase down celebs
The Canon EOS M10 is the most beginner-friendly camera of that manufacturer's mirrorless family, doing away with many physical controls and embracing touchscreen functionality. Its 18MP APS-C sensor, built-in Wi-Fi and compact size help make it a compelling go-everywhere camera, especially when you add Canon's svelte 22m F2 to the mix.
We've had it on hand for strolls through the neighborhood, shows in dim bars and in the stands watching some world-class tennis. Take a look at the samples we've gathered so far.
Maybe it's unreasonably hot where you live, like it is here. Maybe you just smashed your phone screen on a sidewalk (and you KNEW you should have paid for that Apple Care). It's none of our business why, but if your troubled mind needs soothing, we found just the thing for it: this video of the Northern Lights shot from a drone soaring over Iceland.
The footage comes from OZZO Photography and a Sony a7S II with Sigma 20mm F1.4 strapped to a DJI Matrice 600 (that's a $4600 pro-grade drone, for those keeping score at home). It all adds up to one sweet, nerve-calming minute and a half.
Much of the initial concern about the EOS 5D Mark IV's video has been about its substantial 1.64x crop (relative to the full width of the sensor, 1.74x compared to the 3:2 region) and its use of the inefficient Motion JPEG compression system (which limits the ability to use SD cards with any dependability).
However, upon shooting with the camera we found it to have significant rolling shutter. We've demonstrated the effect alongside the EOS-1D X Mark II, which reads out its sensor fast enough to exhibit pretty low levels of rolling shutter, and the Sony a6300, which shows a relatively high level of rolling shutter at 24p, albeit less so at 30p.
Obviously we've panned faster than you ever sensibly would, to make the difference clearer. If you're careful with the way you move the camera, this rolling shutter effect may not be too apparent however, for some kinds of shooting, it can be distracting. Furthermore, this level of rolling shutter may affect your ability to effectively use 4K Frame Grab to shoot action at 30 fps - a feature we were particularly excited about given it can be used with AF - since fast action shooting will particularly be negatively affected by the poor rolling shutter.
Firmware Friday: Sony A7R II, Canon 1DX II get new features, fixes; Nikon updates distortion control data
Nikon D500 Review: This versatile, professional DSLR is the D300S successor you have been waiting for
Ansel Adams' name is synonymous with landscape photography, but a new interview with Adams' daughter-in-law Jeanne reveals more about a lesser known side of his work. The long-time CEO of the Ansel Adams Gallery talks with Advancing Your Photography's Marc Silber, discussing the legendary photographer's portraiture and architectural imagery, and shares some stories of Adams' interactions with his workshop participants.
A new bar called ‘The Darkroom’ is planned for construction on Florida Ave. in Washington D.C., according to a local news report, and it’ll cater specifically to photographers. The bar's nature was revealed in a liquor license application submitted to the Alcoholic Beverage Administration in D.C.
According to the application, 'The Darkroom' will include a functional darkroom, photo studio, bar, and art gallery. The application also indicates the bar would be used to host classes, lectures, screenings and art shows. Those classes would be ‘designed to preserve the history and explore the future of the medium.’ The individual who filed the application, however, hasn't issued any comments on the plan.
One technique digital photography has made easily accessible is time-lapse photography. By now we’ve all seen enough time-lapse sequences that they may not be as novel as they once were, but every now and then an artist comes along with one that still makes us go ‘Wow!’
Such is the case with Vimeo user Jansoli, who recently published a video called “8K Colors of NewYork 2016.” It’s a beautiful short that captures the beating pulse of New York City, built around technicolor imagery, and which should prove inspirational and aspirational to time-lapse and hyper-lapse photographers everywhere.
Have a favorite time-lapse or hyper-lapse sequence you’ve shot? Share it in the comments below!
It's been over ten years since DPReview published the review of the Canon EOS 5D. With the Mark IV version launching today, we decided to take a look at the 5D 'Classic' (as it is now known) as part of our Throwback Thursday series.
It's easy to forget, now, what an important camera the original 5D was. It was the first 'affordable' full-frame DSLR, costing a mere $3500 at a time when just about the only other full frame model on the market was the $8000 1Ds Mark II.
By modern standard, its specs look antiquated. A 12.8MP CMOS sensor and 9-point AF system sound disappointing next to the Mark IV's 61 AF points and 30.4MP. However, the ability to use EF lenses with their full field-of-view was revelatory, as was that CMOS chip: at a time when most of the rivals were using APS-C sized CCDs, the low light capability of the 5D was amazing, despite its upper limit of ISO 1600 (expandable to 3200).
That chip was the camera's main appeal, though. Although the sticker price was the same as the Mark IV's, that $3500 would now be the equivalent of $4300 in today's money. Despite this, the original 5D had no weather sealing, a viewfinder with 96% coverage and a relatively modest 2.5" LCD with 230k dots (that's 320 x 240 pixels, compared with the 900 x 600 you'll get from the Mark IV's). Should you want to capture the moment, the 5D would let you shoot at a whole 3 frames per second. And, of course, there was no live view or video, no Wi-Fi, no GPS...
From these comparatively modest beginnings, the 5D series has evolved to be one of the most refined and versatile cameras.Over more than a decade, a lot of 5Ds have seen hard service. The shutter may have been rated to 100,000 cycles but heavy use and wear-and-tear mean there are ever fewer 'classics' still in use.
A lot has changed since the original, and for the better. The 5D Mark II brought the new 21.2MP CMOS sensor that revolutionized the industry by bringing 1080p Full HD video capability to a DSLR (the D90 was the first DSLR to offer video, but with only 720p and a simpler feature set, it didn't revolutionize much). Before that, there wasn't even Live View, which we were desperately missing while fine-tuning the 5D's focus on our test chart.
The first two 5Ds didn't exactly push the boundaries of autofocus, with the Mark II still sporting a now laughable 9-point autofocus system with a sole cross-type point. It wasn't until the Mark III that the AF system got much more serious. The 5D III was also the first in the series to get a 100% coverage viewfinder!
Unlike the later models, the 5D isn't complicated... at all. The basic feature set means the menu is just one long page and takes only a couple minutes to run through and check.
To find out how the sensor performance has changed over time, we found an old 5D that still had a mirror left in it (one of the most common failures), and ran it through our much younger studio test scene.
So with the knowledge of today’s technology and the possibility that Canon may no longer repair them, are 5D Classics worth the bargain prices they are not selling for? Let’s find out!
In honor of the National Parks Centennial birthday celebration, Google has partnered with the National Parks Service to bring a unique and exciting virtual immersion experience to your fingertips. The Hidden Worlds of National Parks is a new exhibit that is part of Google's larger Arts and Cultures Exhibit and Documentary series. In this new series, users will be able to visit and interact with some of the more obscure National Parks in the United States, such as the Dry Tortugas in Florida and the Kenai Fjords in Alaska through VR and 360 degree video tours.
In the video experience a National Parks service ranger will guide you through one of the five park options. Users will be taken on unique guided tours such as a hike through the lava flows in Hawai'i, a kayaking trip through the Fjords in Alaska or a snorkeling trip through the coral reefs in the Dry Tortugas of Florida.
DJI has launched the Osmo+, an upgrade to its iPhone-controlled Osmo gimbal camera, offering a range of improvements including zoom. The Osmo+ comes with 3.5x optical zoom that can be combined with a 2x digital zoom for an overall 7x range. When recording video in 1080p resolution the digital zoom is 'lossless', but that's not the case in 4K mode.
The equivalent focal range covers approximately 22-77mm and apertures vary from F2.8 at wide angle to F5.2 at the maximum tele setting. Like its predecessor the Osmo+ captures 12MP JPEG and Raw images or records up to 4K video on a 1/2.3" Sony Exmor sensor. A 1080p 120fps slow-motion mode is available as well.
Also new on the Osmo+ is a timelapse feature that lets you set start and end points for the moving camera head. DJI says the 3-axis image stabilization system has been improved as well, especially for still image mode. The Osmo+ is available at the DJI Store for $649. A tripod, bike mount and an extension rod are some of the wide range of accessory options.
Fujifilm has announced an upcoming price increase that will be applied to photographic papers starting this October. The company says it expects the price increase will be ‘of at least [a] double digital percent,’ though a specific percentage has not been provided at this time. The price change will be implemented across the globe.
The company cites a decrease in demand for photographic papers as the cause, saying that while it has made changes to its production to deal with a 'rising expense ratio,' it expects that demand will continue to decrease in the future, necessitating a price increase.
Finally: The Canon 5D IV is a ground-up redesign with goodies for photographers and videographers alike