Latest sample galleries
Latest in-depth reviews
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
Here you can see a generated GretagMacbeth ColorChecker chart, place your mouse over any of the labels below it to see the color reproduction in that mode. Select a camera/setting combination from the 'Compared to' drop-down to comparative boxes inside each patch.
As we've noted in most recent reviews there is now a fairly consistent response across all competing models and the 5D Mark II is no exception. Canon has now standardized the output of the entire EOS range using Picture Styles, and as you can see by choosing any recent model from the Compared to drop-down menu below, the results are remarkably similar from the top to the bottom of the range.
|Canon EOS 5D MK2||Compare to:|
The EOS 5D Mark II's automatic white balance performance is fairly similar to that of its predecessor (and basically every other current EOS DSLR). It is very good in natural light, almost acceptable in fluorescent light, and rather poor in incandescent light. Even using the incandescent light preset does not help much. It is worth carrying a gray card around for those times when tungsten lights are around.
Incandescent - Auto WB
|Incandescent - Incandescent Preset WB
Red:8.0%, Blue: -12.4%
|Fluorescent - Auto WB
Red: 5.4%, Blue: -8.2%
|Fluorescent - Fluo Preset WB
Red: 4.7%, Blue: -4.2%
The EOS 5D Mark II has the usual 'dark frame subtraction' noise reduction for exposures of one second or longer, enabled or disabled via C. Fn II-1. Dark frame subtraction NR works by taking a second equal exposure immediately after the first but with the shutter closed, any hot pixel noise in this second exposure can then be subtracted from the first to produce a cleaner image. Our 30 second exposure in this test produced no visible hot pixels.
|Noise reduction Off||Noise reduction On|
|ISO 100, 30 sec, F14||ISO 100, 30 sec, F14|
|(Brightness boosted by 50% in these crops)|
The 5D Mark II has the Auto Lighting Optimizer feature that is present in virtually all current Canon cameras. In real use and in the studio this feature is very hard to provoke into doing anything worth commenting on. Here is an example of a very high dynamic range situation, and the effect of having ALO off and switched on to 'strong'. Looking at the detail inside the tunnel, there is a difference, but it is subtle. We have only included the off and strong settings here, as the standard and low settings have such a subtle difference that they are almost indistinguishable from off.
|Auto Lighting Optimizer Off||Auto Lighting Optimizer Strong|
|ISO 200, 1/60, F8||ISO 200, 1/60, F8|
|50% crop||50% crop|
The EOS 5D Mark II features the same 'Highlight tone priority' option that's found all current generation EOS cameras. It is activated by C.Fn II-3 and according to the user manual "Improves the highlight detail." The measured effect on dynamic range (in our studio) is about 2/3 to 1 stop. In the real world it produced a subtle improvement, allowing the user to retain some detail in highlight areas where they would otherwise have been lost.
|Highlight tone priority off||Highlight tone priority on|
|ISO 200, 1/25 sec, F4||ISO 200, 1/25 sec, F4 (Highlight tone priority)|
The 5D Mark II has the same pixel count and the same sensor size as the flagship 1Ds Mark III. While it lacks some of the more robust professional features from the 1Ds, such as weather sealing and the more advanced AF system, it gives up little in terms of image quality. Images up to ISO 3200 retain plenty of fine detail and the high ISO performance is actually slightly better than the older 1Ds Mark III. With so much resolution to play with, it's quite easy to get usable images even at the higher ISO settings, as long as you're not looking to produce poster prints.
Images at lower ISO settings are typical Canon; punchy, and very clean, and the increase in resolution over the original 5D is obvious once you start to enlarge the output. There's no doubt that 5D upgraders will be more than happy with the improvement in image quality. Viewed at 100% the images are a little soft, and you may be surprised how much sharpening raw files need, but there's plenty of detail in there if you use a good enough lens.
The matrix metering on the 5D Mark II gets it right most of the time, but in bright backlit situations it can have problems, with clipped highlights not unusual. Here is an example where the highlights in the hair and some of the stone in the background are completely overexposed. In this case, even when working from the RAW file it was not able to recover the lost detail.
In other conditions the matrix metering behaves much like any other camera, requiring positive compensation in mostly white conditions, and negative compensation if mostly black subject matter is being photographed. In low light and indoor situations, the 5D Mark II tends to underexpose slightly, which is the same as the original 5D. In challenging lighting situations, the use of spot metering would be the best solution, as the spot meter is very accurate.
The weather sealing in the 5D Mark II, while not as good as some other cameras in its class (the Nikon D700 is better, for example), never presented a problem in use. We used the 5D Mark II in moderate rain and for 3 hours with snow falling continuously, and while the photographer was pretty miserable, the camera did not miss a beat. The biggest problem in adverse conditions is keeping the snow and rain out of the viewfinder and the front of the lens. In daily use, it is unlikely that the 5D Mark II will have problems due to its lack of true weather sealing.
|This image illustrates the kind of snow conditions the 5D Mark II survived without any problems.|
We did not get an opportunity to shoot any sports or fast moving action with the 5D Mark II, but it seemed to have the same issues as the original camera, in that it was more accurate and faster using the center focus point than the other non-cross type ones. In low light conditions, with any lens F2.8 or slower, the camera had difficulty focusing with anything but the center focus point. But overall the focus system felt the same as it did in the original 5D - hardly surprising since it is, as far as we know, unchanged in this model.
We did spot a touch of mild banding at ISO 25,600 (and only at that setting), though it was neither prevelant nor strong enough to be considered an issue (and you can more or less get rid of it entirely using chroma noise reduction when working from raw. The examples below show the extent of the problem (you'll need to download the full res files to see it):
|ISO 25,600, 1/30 sec||ISO 25,600, 1/80 sec|
Full frame cameras (or more accurately, lenses) tend to have more problems with edge sharpness and chromatic aberration towards the edges of the frame than crop sensor cameras, something that becomes more and more of a problem as the resolution of sensors increases. The 5D Mark II is no worse than the 1Ds Mark III in this regard, but if you want to get the most of the sensor, you'll need to use high quality primes, or 'L' Zooms.
Canon has wisely continued to offer the 5D Mark II in a kit with the EF 24-105mm F4.0 L IS USM (introduced with the original 5D). This lens does suffer from distortion at both the wide end and the long end, but resolution and sharpness-wise it is very well matched to the 21 Mp sensor (not to mention that it has a good range and is perfect as a everyday standard lens). Canon has in the past had problems with wide angle lenses on full frame cameras, but have addressed the situation in the last couple of years with the introduction of the EF 16-35mm F2.8 L II USM, the EF 14mm F2.8 L II USM and the EF 24mm F1.4 L II USM. One of the strengths of the 5D Mark II is the wide range of both high quality (and expensive) 'L' lenses, and of more moderately priced and lighter lenses that cover most applications.
Feb 13, 2009
Dec 1, 2010
Oct 10, 2008
Sep 17, 2008
DPR regular Steve Badger says that there's 'no excuse to be bored' when there's a camera at hand. His love of photography began when he borrowed a friend's superzoom, and eventually invested in a DSLR system. His home on the east coast of Australia provides plenty of spectacular scenery, but he's eager to travel and grow as a photographer. See gallery
Canon has updated its Digital Photo Professional 4 (DPP) software to version 4.1.50. The update brings support for a couple of new lenses and several camera models, improvements to multiple functions, and compatibility with 64-bit native environments, among other things. The newest version, says Canon, incorporates feedback from both APS-C and older full-frame owners eager for 'the very latest Raw workflow solution'. Read more
A multimedia journalist by trade, Tim Matsui's still photography projects have taken him from native Alaskan villages to Brazilian Air Force training facilities. Matsui shares with us his journey in creating his latest documentary work, from its beginnings in still photography to the adaptations he made to turn it into a video production. Learn more about his work on 'The Long Night,' a documentary debuting this week that looks into human trafficking in Seattle. Read our Q&A
'What's in your bag?' is a question we ask a lot of photographers, because, well, we're nosy that way. Asking the very same question, photographer Thom Atkinson posed it (figuratively) to centuries of British soldiers. He's assembled what would have been the belongings and clothing of a dozen combatants, ranging from medieval to modern-day soldiers. Take a look and learn how it all came together in our Q&A. See gallery
George Probst has been fascinated with sharks his whole life, but it wasn't until he found himself newly single with some extra money in savings that his dream of diving with and photographing sharks became a reality. He hopes his photos will inspire others to see sharks in a light unlike their typical portrayal in movies and pop culture. Find out about his process and see his work. See gallery
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|Abstract bokeh by Minas_Eye|
from Your City - Bokeh in the City (Rerun)
|Green Tree Frog by BruceRH|
|Custom Red Roadster by Mitchmeister|
from Car Shows 2018
At Sony's press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years. In addition, the company is working to utilize artificial intelligence in its technologies, with one application being Eye AF trained to detect animal eyes.
Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. It will be able to adapt or convert SA mount lenses to the L mount, for existing users.
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced give new lenses at Photokina, including a 'Sport' series 70-200mm F2.8 and a 56mm F1.4 for Micro Four Thirds and Sony E mounts.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.