When Canon an­nounced the re­lease of the 5DS, it came in two ver­sions, the EOS 5DS, and the EOS 5DS R, the lat­ter be­ing one with­out a low-pass fil­ter for op­ti­mum re­solv­ing power. The head­lin­ing fea­ture for both cam­eras is of course a new 50-megapixel sen­sor, which es­sen­tially puts medium for­mat level re­solv­ing ca­pa­bil­i­ties in a 35mm for­mat DSLR.

Com­pared to the Nikon D810 and the Sony A7R II, the EOS 5DS R feels a bit more solidly built, but is ac­tu­ally a bit lighter and smaller over­all than the D810. The in­ter­face will be very fa­mil­iar to Canon users, and while slightly less in­tu­itive than that on both the D810 and A7R II due to the ex­tra num­ber of presses needed, of­fers the handy Q menu that lets you eas­ily ad­just all the main set­tings.

Canon has in­cluded ‘M-RAW’ and ‘S-RAW’ cap­ture for­mats that es­sen­tially give you a down-sam­pled ver­sion of what’s cap­tured by the cam­era. How­ever, it doesn’t seem as though shoot­ing in th­ese for­mats speeds up the cam­era in any way. The top con­tin­u­ous shoot­ing frame rate re­mains at 5.0 fps re­gard­less, so there doesn’t seem to be an ad­van­tage to shoot­ing in either of the smaller RAW ver­sions other than the fact that you’ll gain more stor­age space on your card if needed.

The Auto ISO func­tion is now sim­i­lar to what’s in the 7D Mark II, so you can pre-set a min­i­mum shut­ter speed to al­low be­fore the ISO is in­creased, or set it to Auto and bias the se­lec­tion to pick a faster (or slower speed). The cam­era uses the 1/fo­cal length for­mula for choos­ing shut­ter speeds, so we’d rec­om­mend ad­just­ing that in the set­tings if you go with Auto.

You’ll also find a slightly dif­fer­ent slew of con­nec­tors on the side of the cam­era from the pre­vi­ous 5D Mark III, as the 5DS R gains a USB 3.0 port at the ex­pense of a head­phone socket. This prob­a­bly af­fects movie mak­ers more, but you do gain the abil­ity to take time-lapse movies thanks to the im­ple­men­ta­tion of an in­ter­val­ome­ter.

The M-Fn but­ton can be a lit­tle dif­fi­cult to reach with­out look­ing.

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