This free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. The Fuji XT-2 adds a few nice touches, like a cable release socket and dual card slots, to the already excellent Fuji X-T1 of 2014. This Fuji X-system is the first serious system designed from the ground-up as digital camera system with no ties whatsoever to film.
The XT-2 has a huge, live electronic finder with eye control, about 15 years ahead of LEICA's plastic EVF on the M typ 240.
Fuji is actually advancing the state-of-the-art in photography, while other brands are just sitting around selling the same old thing.
When you use the Fuji, you'll see how they've actually been thinking about how to rethink what a camera should be and add new features that help us get the shot, as opposed to throwing more junk features in our way to help sell more cameras. The X-T2 has a very different sensor from other brands, and its images look very different. The X-T2 just shoots, and the results are always super-sharp and well exposed — better than I get from DSLRs, whose exposure and focus aren't always dead-on as they are with the X-T2.
The X-T2 has a wonderful OLED finder, which also doubles for through-the-finder menu setting and playback. It drives me nuts shooting a DSLR or LEICA when I can't see my image pop up instantly in the finder after I've shot it — as I do with my X-T2. The X-T2 can use LEICA and other brands of lenses cave-manually with a Lens Adapter, but don't use anything other than the Fuji XF lenses if you want to get the performance of which this system is capable. When used with random lenses on an adapter, the XT2 has manually-set controls to correct distortion, color edge shading and falloff correction. Unique non-Bayer color array that eliminates the need for an anti-alias filter and yields much sharper images compared to other camera, but limits what software can open the RAF raw files. Not only do I love shooting in the square, square icons grow to be much larger than rectangular icons in most image sorting and Finder applications. I prefer my X100T to the X-T2, which is bigger, heavier, has no built-in-flash, and has an inferior focal plane and electronic shutter system that gives much poorer flash results than from the X100T. The Sonys have better electronic finders and better color rendition (picture quality) for nature and landscape shots. The reason to look at mirrorless cameras is mostly for small size and weight, but this is a big mirrorless camera, bigger than the previous model.
I prefer a small DSLR like the Nikon D3300 or Canon SL1 to this X-T2, and each weighs and costs less.
While this Fuji's color is all about people, if you also do landscapes and nature, you'll do better with a DSLR. The X-T2 is a fraction the price, size and weight of a Canon 5DS R or Nikon D810, and it's a very serious camera.
If you've found the significant time and expense I've incurred to research and share all this information for free, this website's biggest source of support is when you use those links to it or any of these links to approved sources when you get anything is what helps me keep adding to this free website for everyone's benefit — but I receive nothing for my efforts if you take the chance of buying elsewhere. The biggest help is when you use any of these links when you get anything, regardless of the country in which you live. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use.
Canon definitely has the bragging rights (for now), but rumors of even higher resolution bodies already swirl.
My review will focus primarily on whether or not having that massive amount of pixels is worth the inevitable trade offs. The only real noticeable difference from the 5D3 is that the bottom plate and tripod mount is significantly reinforced. What stands out here is that Canon has (surprisingly) managed to shave a few grams off the 5D3’s weight.
These specs are not going to be good enough for serious sports shooters and even some wildlife shooters, but they are good enough for many other applications.
Bottom line: if you are familiar with Canon’s 5 series you will find the 5DsR both familiar and satisfying to use…just don’t expect a lot of revolutionary improvements. A reinforced tripod socket to help really anchor the camera down to provide additional stability.
A specially tuned mirror mechanism that can reduces mirror slap and helps limit the vibrations that can cause blur. A built in intervalometer for shooting time lapses and the ability to combine them into a movie in camera. It also has the White Priority AWB mode like the 80D, which is a nice help when shooting under changing lighting conditions to get consistent white balance.  You don’t always get to control lighting conditions!
Canon has implemented a version of AF Servo focus during video (Movie Servo AF), though it pales in its performance when compared to the new 80D body and its advanced DPAF. A nice little list, but, let’s be honest: no one is paying nearly $4000 for these feature upgrades.
Live View will show the cropped image, but when you review images on the LCD screen after capture they continue to show the “mask” rather than the actual crop. The one advantage is that in APS-C mode there is enough AF point spread to cover almost the whole frame. When the images are downloaded to a computer they will show up in the cropped look, but you do have the option to recover the full coverage by using the crop tool (it will show the full image with the crop over the APS-C section that you can then expand it back to the full frame area). It’s always nice to have options, of course, but one has to wonder if they wouldn’t be better off just cropping in post.
Good autofocus is incredibly important in any camera, but even more so in a camera with enough resolution to reveal even the slightest miss of focus. The improved metering system is also going to produce more precise metering, and I can attest that the camera does a very good job metering in various modes. This AF system has been thoroughly covered by many journalists and photographers, so I won’t spend a lot of time on it. Birders will probably find it better to just shoot with the bare lens and have all 61 AF points available for tracking. I strongly recommend that you visit the image gallery here and check out a lot of different photos for yourself. There’s no getting around it…the 5DsR will cost you some money…and I’m not talking about the cash you will lay down to purchase one. I’ve reconciled myself to the fact that if were to add the 5Ds R to my personal kit I would also have to upgrade my workstation.
A secondary challenge of dealing with such massive files is that the 5DsR is very unforgiving of motion blur. If you are a tripod shooter, the 5DsR might be a natural fit for you, but if you shoot primarily handheld (as I do) you will find that you have to adjust your shooting style and settings. The full impact of how much information is in a 5DsR smacked me right between the eyes when working with this image. In this sense it is very like having a zoom lens even if you only have a prime.  You might find yourself choosing a slightly wider focal length than normal and cropping the difference in post. I’ve shot some images of large groups for either sports or in a business setting, and the ability to shoot a really big group while retaining a lot of sharpness on each face is very, very useful.

Combining the 5DsR with a good landscape lens is going to give you results that are currently unparalleled by any other 35mm camera. The 5Ds R really requires some additional thought in controlling the noise from the camera. One of the things that makes such a high megapixel body tempting to me is that you can have the full resolution available when needed but shoot at more reasonable sizes at other times. You have two ways you can transfer digital photos from your camera to your computer: The first is to send the photo files over a direct connection, either wired or wireless.
They are both what a Japanese camera should be: tiny, tight, precise, fast, quiet, easy-to-use and extremely well made out of all metal.
For instance, the lenses are designed knowing they'll be working with a digital system, and the system automatically works in concert with these lenses to correct lateral color, distortion, light falloff and even diffraction all automatically. This Fuji actually has dials and a control system that work together, not like the could-have-been-great dials on the Nikon Df.
Unlike most of the disposable plastic (but expensive) cameras I review today, the X-T2 is all-metal with engraved markings, and so are its lenses.
I don't use this on other cameras, but the X-T2's blinking highlight option works just fine instead. Each corner's color shift set can be set individually for use with lenses like the 12mm Voigtländer, but honestly, you're kidding yourself if using a $30 adapter to use a $500 lens on a $1,600 camera. Fuji's lenses are extraordinary; LEICA's are no better optically, and tend to be worse because the camera's DSP can't optimize them further. I'm not a fan of an optical finder for interchangeable lens cameras, so I'd pass on the X-Pro2.
Add the ludicrous EF-X500 flash, and it's just as big as a DSLR, but without the image quality and real-world speed. They don't feel as nice in-hand because they're plastic, but they work at least as well and their images are even better for nature and landscape due to their snappier color rendition. If you're not wanting to schlep a bunch of lenses around, just take your X100T with you instead. Likewise, for my most serious nature and landscape work, I prefer the color palettes of my Nikon and Canon DSLRs. The plastic gizmos on the LEICA strap that integrate so well with LEICA cameras may mar the X-T2's finish. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. In the previous generation of cameras Canon had boasted the highest MP counts in most of its bodies, but when the Canon 5D MKIII and the Nikon D800 were released the roles were reversed.
You will note far more screw heads that you are accustomed to seeing on the bottom of Canon DSLRs.
Unless you have extremely sensitive hands, you probably won’t notice the difference, but weight has a way of adding up, so every little bit helps.
This is more of a specialist camera, and not really designed to supplant the 5D3 as the everyday workhorse for many photographers. The 5DsR’s Movie Servo AF tends to hunt more, focus comes more slowly, and it is prone to completely drifting out of focus at times. You can mount third party APS-C lenses (Sigma, Tamron, etc…) as they actually come in an EF (rather than EF-S) mount. Your choice is to either have the area masked out or an overlay that shows the outline of the cropped area. Because the full frame image is actually being recorded the file size is not any smaller in crop mode. That may not be an option for some of you, though, particularly those who give the client the memory card at the end of a shoot. The 5D3’s AF system was a huge advance over previous systems, and has continue to be recognized for its excellence. The inclusion of the Anti-Flicker mode is one of the most useful new features to people like myself who shoot events. The camera tracks well, the outer points continue to be completely usable (though they prefer first party lenses over third party, for the most part), and my focus consistency has been very good. There’s a good chance that a few weeks with the files from the 5DsR will have you wishing for a more powerful computer. No, higher megapixel counts do not create motion blur, but the sheer amount of pixels makes existing blur more apparent.
Practice good steadying techniques, increase your expectations for minimum shutter speed, and learn to love lenses with good stabilizers! The ability to deeply crop results in often doubling the reach of the lens attached…with one significant difference. You can turn a nice a full length portrait into a still extremely high resolution head and shoulders or even tighter crop. Landscape photographers (particularly those who do large art prints) are going to love what 50MP can accomplish. I’ve been spoiled over the past four years by using a pair of Canon 6Ds as my primary event cameras, and I really feel that they sport one of Canon’s best sensors for overall image quality and particularly for high ISO performance. It’s a very useful resolution, but having that full 50MP on tap when needed is pretty fantastic.
If you don’t, then, to be blunt, you would be better off buying a Canon 5D MKIII (or even a 6D) and saving yourself some money. The second is to remove the memory card from the camera and insert it in a card reader connected to your computer. Most dedicated digital cameras and some mobile phones use one of several types of memory cards.
On the next page you'll read how the computer actually receives your photo files from the camera or memory card. It's trivially easy to set ISO, advance mode, aperture, shutter speed, exposure compensation and even the metering mode directly, because each of these functions has its own dedicated, single-purpose dial — just like a real camera! There's no way to shoot these lenses off the camera to see how they work without correction; they are intended to work with the camera as a complete system. It's better built than anything today from Nikon or Canon, and the same or better as LEICA — for a fraction of the price. I use electrical tape to protect my X-T2, more diligent people might use Fuji's provided strap lugs, tools and protectors with other straps instead.
These places have the best prices and service, which is why I've used them since before this website existed.
The button position is essentially identical, so 5D3 shooters will find everything falling to hand in a very familiar way.
I was able to get 14 50MP RAW shots in a burst before the buffer filled and the burst rate dropped. The end result is text a little larger than usual and easy navigation despite a number of additional menu options.
The center point isn’t quite as sensitive as the 6D’s (but I haven’t really seen it matched yet), but being able to compose with focus point groups definitely helps you in both the ease of composition and its speed.

I have a fast workstation that I run full wedding shoots through without wishing for more “grunt”, but waiting for Lightroom to generate a 1:1 preview to check critical focus on images frequently proved somewhat exasperating. At a pixel level the image quality isn’t really any better than the 6D, so at first I was underwhelmed. I love the compact size of the Voigtlander as well as its beautiful color, but, even at its best, it isn’t incredibly sharp. It will help with lenses like 85mm focal lengths that don’t have great maximum magnification.
In event work I feel that my shots even at the maximum normal range of ISO 25,600 are perfectly acceptable for event work and reportage, and I’ve actually sold some fine art prints taken at that setting.
The reality is that some photographers will take better pictures with 50MP; others will take worse pictures. If you enable Bluetooth on the camera, a Bluetooth-enabled computer can discover and connect to the camera. For example, if you have a lot of photos to move and want to preserve the battery life in your camera, you can remove the memory card and use a card reader.
My hope is to give you an informed opinion on this along with an assessment of who I think would benefit from ownership and who would not. That massive resolution will make motion blur and other defects more obvious, and Canon has designed this camera to help reduce that vulnerability. Some have asked if these figures improve when using MRAW or another lower resolution figure, but the answer is “no”. The 5DsR is capable of producing some beautiful video footage (like most of Canon’s DSLRs), but should not be seriously considered by those whose priority is video. I personally tried out the crop mode and decided for my purposes that I would rather crop in post where I can better see what I am doing. The system has been given some new tweaks, however, most noticeably in an improved 150,000-pixel, 252-zone RGB+IR Metering Sensor. My experience continues to be that you will get your most precise results with wide aperture lenses using single AF points or a single point supported by others, but I feel my focus results in most all modes are reliable (I don’t really use “all points active” mode).
I was able to run off a nicely focused series of a boy on a bike, though with a single point it is easier to track something moving towards you than across the frame.
But there are both pros and cons to that amount of resolution and they come in both expected and perhaps unexpected ways. Faster shutter speeds often mean higher ISO settings, and this isn’t really the strength of the 5DsR. But then I started cropping and realized that you can crop…and crop…and crop and still have a very credible image left over.
Cropping from 300mm to 600 or 800mm is not going to give a shot the subject isolation that shooting it with a longer lens would. The sheer amount of resolution from the 5Ds R results in noticeably sharper images from the little Voigt, particularly in the middle of the frame.
Also helpful is when shooting large groups or dealing with different crop ratios for prints.
When downsampling images to the same dimensions of the 5D3 the noise levels are similar or even slightly less.
That MRAW setting has become my “go-to” choice, and I find that A) 28MP is still plenty of resolution for most all situations and B) the file size is much more manageable. The 5DsR is capable of producing amazing results at most all of its resolution options; just choose what you want! There’s a right and wrong way to employ that amount of resolution, and using it wrong will actually result in pictures that are more blurry or noisy. You plug in your camera at one end, and plug the other end to an available USB port on your computer. Others require a card reader, typically plugged in to an available USB port on your computer. Along the way Sony pushed the bar a bit higher with is A7RII mirrorless body and it’s 42MP.
The thumbstick of the 5 series is very handy, though, and I would say it is the one handling feature that stands out as the most useful over Canon’s less expensive options. Things like the various autofocus “cases” were explained nicely and I found that I was usually able to quickly find the setting I was looking for. This is borrowed from the 7DII, and gives improved tracking performance through better AF point selection and face tracking. It will take a while to render them (and you can discard them later to free up buffer space), but it will save you a lot of frustration in dealing with the files. It has a much lower base maximum ISO setting (6400) than either the 5D3 or the 6D (25,600), and is only expandable to ISO 12,800.
But there is no disputing the value of being able to deeply crop while retaining a lot of resolution. Resizing those images to smaller dimensions can really help achieve images with much higher apparent sharpness.
Go ahead and frame more loosely in those situations and leave plenty of room for cropping while retaining high resolution.
The massive resolution of the camera is mostly wasted for video, as video resolution tops out at 1080P.
I have frequently shot up to ISO 25,600 with the 6D in event settings and find the files very usable (so long as you don’t need to tweak the levels much).
It allows you to put more pixels on your subject than any full frame camera before, and paired with some of Canon’s excellent lenses (and Canon shooters are blessed to have access to the finest collection of lenses in the world!), it is stunning how much resolution can be achieved. Ultimately the question of whether or not you need 50MP can only answered by you, but that is the key question.
Take for example the shot of this poodle.  I was limited by the lens in hand (a prime), but I can deeply crop and still have a very high resolution image (the crop was processed to the look I wanted). After spending more than a month with the 5DsR I’m still not sure of the answer for myself.
The only real advantage I could perceive is that the buffer (write) did clear up quicker with the smaller sizes and the camera was ready to shoot again faster.
I’ve found a lot of frustration in my typical workflow due to slowdowns where normally I encounter none. After years of shooting professionally I’ve never yet had a client complain that my images weren’t “big enough” or lacked resolution. The removal of this filter allows for more ultimate resolution though at the cost of more moire where repeating patterns occur.
But if you don’t really need 50MP, look elsewhere, as that amount of resolution comes with a cost.

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