Timmy & the Entourage from Brad Walton on Vimeo.
This amazing video with gorgeous was taken with a simple Canon 60D using a Sigma 30mm f/1.4 and processed with Adobe Premiere CS5. I thought the song that the soundtrack choice was brilliant too, so it’s Restless by Unkle if you were wondering.
Enjoy!
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Canon G1X has gorgeous auto white balance color
Recently I took the new Canon G1X out for some real-world shooting the way I would use this camera – with my family. I shot with it and my wife (who is your typical “mom” user) shot with it the way normal people would use this camera. I prefer to test this way because it always annoys me when I see a review of shots from a point and shoot camera that look like they belong in a magazine. When I hand a camera of to my wife it needs to “just work” and get great shots, and let’s face it – most cameras disappoint when you shoot this way. Shooting around the house without any aids beyond what the camera comes with is rarely impressive, so honestly I think it’s the best “real test” of what a camera can do.
Shutter Priority at 1/1000 (f/5.8 @ ISO 250) made this possible,
but it’s a tough shot for any camera
These aren’t choreographed or staged shots that are designed to make the camera look it’s best. They are literally real-world shots where you live your life and say “hey honey, hand me the camera so I can get a shot of that”. They are in-camera JPEG’s that are shown as they came out of the camera with no edits, and in most cases are shot using the in-camera default settings. In short, these are shots anyone can get and if you put any effort into it you can probably do a lot better than this!
Click the images to view their originals or on my smugmug gallery. All images are copyright Ron Martinsen and may be viewed for personal use, but many not be used otherwise without expressed written permission.
Not sure what my wife was thinking with his shot, but I loved the detail in the branches.
The G1X certainly has a nice sensor – no doubt!
Using the in-camera ND filter mode , ISO 100, and f/16 (max f-stop) I was able to get to 1/6 sec
Not perfect, but pretty good for P&S on a bright day with no real ND filter
The dynamic range of the G1X is well beyond any previous Powershot
This was a manual exposure where I wanted to go closer,
but the minimum focus distance stopped me
f/2.8 on bigger sensor makes shots like this possible
Minimum focus distance issues makes shots like this tough to get,
but when you do you are rewarded with decent bokeh for a point and shoot
You have to be arms length away from your subject to get focus,
but shallow DOF is quite possible
Newer cameras coming out with built-in HDR are hot, but you wonder if it really works. Well Canon Powershot shooters know that with support this feature works okay, but without it you’ll be frustrated by blurry shots. While the G1X has more dynamic range to give you a much better final result, the algorithm for blending the images remains unchanged from the s100 so you’ll need to check out my tripod recommendations or pick up a Flip Cage Pro if you want a usable end result. Without support the shots are unusable and sadly you can’t choose a shutter speed range that is fast enough to help compensate with this issue. Here’s an example:
You can click the image above to see the original, and it turned out quite nice. The shadows are a bit dark which the in-camera HDR addresses (hover over to view), but the resultant shot is blurry as you can see here.
Mouse over to see the normal exposure
Mouse out to see the HDR exposure
Once again the HDR version gets the best exposure as you might expect, but it’s a totally useless image due to poor merging issues (click for the original HDR version).
These aren’t the only head-to-head shots I will do, but they are the only ones from this past weekend that are apples to apples enough to compare. If you compare my G1X gallery to my X10 gallery you’ll see other shots that seem similar, but they were done by two different shooters from points of view so they aren’t similar enough to draw a fair comparison.
I snapped a shot of my wife with my iPhone that I really liked, so I decided I’d try again using the point and shoots. While I got a horrible expression on my wife’s face here, this was the best technical result I could muster with the G1X. This camera hates being up close, so out of 6 attempts this was the only shot that was in focus:
G1X f/2.8 1/640 sec @ ISO 800 (Program Mode, AWB)
The X10 allows me to get in as close as I want without any focusing issues (unlike the X100), so I got a more pleasing composition using the EXR Auto mode (which detected the portrait scenario and compensated for that). What you see by her head is good old fashion (and intentional) lens flare from the sun shooting directly into the camera. For those paranoid about white disks with the X10, look above or click here to see how the G1X handles a direct shot into the sun.If that’s the infamous “white disk”, then I think it’s sexy and I know it! <g>
X10 f/2.5 @ ISO 100 (EXR Auto)
The X10 just nailed this one. Now some may find the color wonderful and others may hate it, so the downside to the X10’s EXR mode is that you don’t get a RAW image so you’ve gotta live with the color it gives you. Sure you can adjust it some or go to B&W, but RAW is more flexible that way. However, I can totally live with X10 result without doing anything else to it. I’d delete the G1X shot even if the composition was better because I hate the up close distortion I got in that shot.
Now this is an impossible exposure, so the results you see below from the G1X are about what you’d expect. The image itself is super crisp and it might be saved in RAW, but it’s going to be a lot of work. I also don’t think there’s going to be enough detail in the raw to bring back the blown areas, so odds are this is a lost cause.
G1X f/16 1/30 sec @ ISO 800 (Aperture Priority & AWB)
The X10’s EXR mode loves tough exposures, but this is a rare case where even EXR can’t fix this in one shot. Sure the grass in the back is way better but the rocks are still pretty blown. Since there is no RAW (in this mode – available in other modes) you’d be stuck with this:
The X10 EXR mode does a better job, but is still overblown in the back
F/11 1/10 sec @ ISO 100
The G1X’s HDR mode nails the exposure, but despite getting the identical support as the previous two shots the image is totally useless due to motion blur.
G1X HDR mode – Camera held identical to the others
Much better exposure, but motion blur make the photo unusable
Go to my Canon G1X gallery to see more shots and check out my X10 gallery to see some shots taken the same day. Keep in mind that while some shots are similar they may have been shot from different lighting angles (i.e., glass sculptures) so a fair side by side comparison isn’t possible.
The G1X gallery contains some compositionally horrible personal shots (like the flash test shots), but hopefully you’ll get a feel what this camera is really like.
I updated the gallery of real world photos on 3/19/2012 - click here to see the latest shots (and be sure to read the captions).
So far my first impressions haven’t changed much. The G1X has great glass and a nice sensor, but it’s really an overweight regression from the G12’s size and feature wise is basically an s100 inside. I think point and shoot users and pros alike will find it too bulky & heavy. The minimal focus distance is horrible – simply unusable for close up scenarios like cross-table photos of dinner guests, so that’s a big regression from the s100 and G12 which had good minimum focus distances. The AI focus seems to be lacking and overall, I think the focus system is just messed up.
Despite the GX1 having a battery that is twice as thick as the s100 or X10, it suffers from the same problem as the s100 where it can’t survive the day without a recharge. If you get a G1X you must own a second (and charged) battery to get in a full day of shooting.
The bar for this class of camera has gone up quite a bit, and so far I personally think the Fujifilm X10 is a much more livable camera on a daily basis. Stay tuned though to see if I change my mind after more hours behind the G1X.
I’ve tinkered with video a bit and the G1X is awesome, but I have only taken personal videos of my son. Again, the AF system sucks but the IQ rivals a HDSLR.
Order your G1X now from B&H where I got mine or if they are out of stock then consider Adorama too.
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Yesterday among all of the anticipation of the 5D Mark III release I was jazzed to find that my order for the Canon PowerShot G1X from B&H had arrived. Until I fell in love with the magic of the Fujifilm X10, I had been a loyal G series user dating back to the G9. My G12 (click for review) had started to collect dust so it was good to see what its replacement would finally be.
X10, G1X and G12 – Thickness Comparison
With a bigger sensor in the G1X comes bigger weight it seems as the already bulky G12 now gets super-sized to be come the heaviest “point and shoot” I’ve ever held. It’s heavier than the X100 and Nikon 1 V1, so right off the bat I was a little concerned about its bulk. I’ve defended the size of the G series for years because I liked the control layout and the weight was tolerable to me, but the new glass in this body definitely brings the bulk. In fact, the picture here makes them look close, but in your hands it seems to be in a weight/size class of its own compared to the other cameras here.
LCD’s seem roughly the same size and all perform about the same
From the rear screen the all look about the same when turned off. Performance-wise the X10 and G1X appear to be the same to my eyes with perhaps a little better contrast ratio for the G1X. The G12 is about the same but seems slightly less crisp, but in practice I’d call this an even draw.
Head on you see the lens/sensor difference
Head-on is where you really notice the big lens and sensor that goes behind it for the G1X. The cool thing though is that this seems like a nice piece of glass compared to the others here, so it feels like the stud of the group. It certainly seems to have a more justified price compared to the other cameras.
At full zoom, the G1X feels like a mini-DSLR
Zooming in and out is where you notice that the G1X is a big boys toy designed for much better image quality than you typically get out of something this size. In fact, in my early testing I’ve been very impressed the with the ability for this camera to conjure up a shallow depth of field on command – something the others (especially the G12) have a little more challenge doing.
As previously mentioned, this thing is heavy! Features-wise it feels like a s100 that needs a diet, but the image quality on the G1X is a ton better than the s100. The control layout is familiar for previous G series and S series owners, so only thing I found myself needing to get used to was the pop-up flash (the G12 has a built-in, but the X10 pops up too).
The biggest change I noticed was the addition of a lens cap instead of the self-enclosed design of the G12 and s100. The Fuji X10 and X100 have one and I keep losing them, so I’m bummed that there’s another cap to keep track of. The good news is that I can manage to get it work with my Hufa Lens Cap Holder, so hopefully I won’t lose it as easily as the X10’s which won’t fit in the clip.
This was unboxing day, but with all of the stuff related to launching the 5D Mark III, I really only had a chance to fire off a few frames with this camera. I decided to test it in a room that was nearly pitch black (only a trio of lights above the kitchen island were on) to see how it did. Here’s the results:
G1X 15mm f/2.8, 1/2 sec, ISO 3200 Custom White Balance (using an envelope)
Click for original unedited in-camera JPEG
I was pretty pleased with the result. The exposure is dark, but given the fact that this room was near pitch black this is a lot better than what I could see with my eyes. I did use the table as support and the timer to avoid shake, but overall it did ok here.
A quick test of the flash proved it was pretty powerful, but I didn’t tinker with flash exposure compensation which was sorely needed in this case:
G1X 15mm f/2.8 1/60 sec (handheld), ISO 12,800 Flash White Balance and Auto Flash
Click for original unedited in-camera JPEG
I was impressed that even with a flash I was able to clearly make out some OOF bokeh which is something you don’t typically see in a shot like this for a camera of this side. With more background separation you see that it’s actually a quite pleasing bokeh (something totally new for the G series!):
G1X 29mm f/4.5 1/5 sec ISO 1600 AWB
Click for original unedited in-camera JPEG
Click for original unedited in-camera JPEG
The G1X quite honestly sucks for close-up work. The shots you see above are literally the minimum focus distances for the respective zooms – BOOOOOOOO!
Overall the image quality was way better than the G12, but other than the pleasant bokeh I’m not feeling like I made a bad choice to get the X10. Granted these are crappy unboxing test shots so time will tell how I like it when I put it into practice for real shooting.
Here’s a shot from the X10 which has a great minimum focus distance (and it can get much closer than this but I wanted to show its bokeh by comparison):
X10 7mm f/2.0 1/15sec ISO-640 AWB Velvia Film Simulation
Click for original unedited in-camera JPEG
You definitely lose the sweet bokeh found from the bigger sensor in the G1X, but the dynamic range and out-of-camera result of the X10 still impresses the hell out of me. I also still think that Fujifilm’s EXR is the greatest thing since sliced bread – all cameras should have it!
After doing some basic experiments I’ve got to say that my first quick impression is that I’m underwhelmed. Of course for me this is a secondary camera to complement my big glass, so if I want sweet bokeh I use the real cameras. However, if I want grab and go then this heavy monster seems a little too big for that. The X10 and G12 really do fit in my jeans pocket and are totally toteable, but the G1X just feels too big quite honestly. I never thought I’d say that either as I’m happy to haul a 1D Mark IV with a 70-200mm lens all day long and not complain about the weight. However, the quality of images I get from that pair justifies the bulk.
I’m extremely disappointed with the minimum focus distance and quite honestly I think there is a serious front-focus issue with the unit that I have (at least when using the user-selectable AF point). As a result I had to manual focus for the two shots of the X10 above to get the camera to do what I wanted, and again I had to be too far back to get the composition I wanted.
The good news is that the glass seems to be great and the weight makes you feel like you’ve really bought something special. The case material still seems to be the same as the G12 which makes me worry about what would happen if I dropped the G1X (something that the G12 and X10 experience regularly). The X10 definitely feels like it has a better case and is a more solid product, but it’s lens looks cheap compared to the nice glass on the G1X.
I’ve always loved the G series usability so this is much of the same. I’ve grown used to some of the features in the X10 (i.e., EXR mode and the best pano feature on the planet) so for the first time I’d say G series design feels dated.
After using the G1X for a while I’ve concluded that it’s a s100 in an overweight body (way more so than the G12) with a nice lens and a welcome bigger sensors. Sadly it’s weight is just too much as it feels like you are carrying Canon’s 24-105mm lens in your pocket rather than a point and shoot. I loved the G series so generally speaking I’m not one who needs tiny cameras because if I really want tiny I’ll just use my iPhone 4s. However this camera is a beast whose motorized zoom ruins the sound and picture what are otherwise good videos, and the benefits of the bigger sensor never really shine through. Here’s my other articles for this review:
My advice is to get a Fujifilm X10, unless you have a diehard loyalty to Canon. If you do then I’d say go for the s100 or G12. If you really want the better image quality and are comfortable with the added weight, get a T3i. Sadly, I have to rule this camera as my disappointment of the year.
Order your G1X now from B&H where I got mine or if they are out of stock then consider Adorama too.
****** Fujifilm X10 & X100 Sale (limited time) ******
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PREORDER INFO at the end of this article
Sample Photos taken with a 5D Mark III
Today Canon finally announced the long anticipated successor to the most successful camera they have ever released – the 5D Mark II. This camera has big shoes to fill, but it appears that it will easily do that with the following great improvements:
The EOS 5D Mark III is now on their website as well as the Speedlite 600EX-RT, Speedlite Transmitter ST-E3-RT, Wireless File Transmitter WFT-E7A and GPS Receiver GP-E2. Pre-order information coming soon (cameras will be shipping in 2 weeks, so no long wait this time).
5D Mark III – Front with Battery Grip
5D Mark III - Rear:
5D Mark III - Top
5D Mark III - Back
5D Mark III – Left Side
5D Mark III – Right Side
Now the new price does suck, but when you compare this price side by side for the outgoing 1Ds Mark III you'll find that it pretty much beats that camera in every category except for battery life. This is now a TRUE Pro body built for heavy duty pro use thanks to features like weather-sealing, dual memory card support, and a proper auto focus system. If I would have invested $6999 in a 1Ds Mark III I'd be pretty depressed right now as this camera just dropped the value of those to about $2000 - at best. Still, there’s lots of cool features including:
600EX-RT Flash
Another big announcement is the arrival of a new flash, this time with more power and radio-control support (i.e., no more Pocket Wizards / Radio Poppers required). This is about 5 years overdue, so it's a welcome addition. Of course this is just more money to blow this year, but hey that's the price of progress!
While my wallet can’t handle all of these cool product announcements, Bill Me Later will be glad to see me coming!
For sophisticated wireless flash setups, there's nothing like the new Speedlite Transmitter ST-E3-RT*. Facilitating radio controlled, two-way wireless transmission up to 98.4 feet, among up to five groups or fifteen individual Speedlites, the ST-E3-RT represents the next generation in wireless flash systems. With operational controls similar to the new Speedlite 600EX-RT, including diverse flash metering options, and a number of flash modes, the Speedlite Transmitter ST-E3-RT makes complex lighting setups simple. With a compact design and highly reliable construction, combined with a clearly laid-out information panel and buttons with back lighting and more, the Speedlite Transmitter ST-E3-RT is an indispensible tool for advanced, professional flash photography.
*Because it does not have an optical transmission function, the Speedlite Transmitter ST-E3-RT is not compatible with earlier Speedlite models such as 580EX II.
Canon's new WFT-E7A makes wired and wireless data transfer setups simple and easy. Compatible with the EOS 5D Mark III DSLR camera, it supports IEEE 802.11 a/b/g/n for fast and secure connections over a LAN connection and supports Gigabit Ethernet for wired connections, too. For even more versatile connectivity, the transmitter has a built-in Bluetooth function that allows it to handle high-volume data wireless transfers. Its lightweight design makes the WFT-E7A a great addition to the professional photographers wireless workflow.
For simple and accurate recording of time and location information, Canon's compact GPS Receiver GP-E2 is the perfect complement to the EOS System. The GP-E2 records location information such as longitude, latitude, elevation, direction and Universal Coordinated Time (UTC) as EXIF data, while also serving as an electronic compass on camera or off. Versatile connectivity options include USB and hot shoe connections with the EOS 5D Mark III and the EOS-1D X (USB connection only with the EOS 7D); smart design and rugged construction ensures reliability plus the ability to be used as a standalone GPS recorder. The newest GPS system designed specifically for the EOS system, the GP-E2 is an ideal tool for photographers on the move.
LAKE SUCCESS, N.Y., March 2, 2012 – On the 25th anniversary of its world-renowned EOS System, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce its latest model, the new EOS 5D Mark III Digital SLR Camera. Positioned between the extremely popular EOS 5D Mark II and Canon's top-of-the-line professional EOS-1D X model, the EOS 5D Mark III delivers superb image quality, thanks to a new 22.3-megapixel full-frame Canon CMOS sensor, a high-performance DIGIC 5+ Imaging Processor, a 61-point High Density Reticular Autofocus (AF) System and six frames-per-second (fps) continuous shooting speed. Building upon the trailblazing success of the EOS 5D Mark II, the EOS 5D Mark III also incorporates enhanced video features for professionals in the fields of cinematography, television production and documentary filmmaking, including better noise reduction, longer recording times and a built-in headphone jack for audio monitoring. The EOS 5D Mark III is Canon's answer to hundreds of thousands of advanced amateurs and emerging professionals looking for a compact, high-quality camera system to help them achieve their artistic vision, whether it be through still or video imagery. The EOS 5D Mark III introduction coincides with Canon's 25th anniversary celebration of the EOS camera system. Canon's award-winning EOS system first debuted in March of 1987 with the introduction of the EOS 650 SLR camera and three EF lenses.
"We are extremely excited to announce the highly anticipated follow-up to our EOS 5D Mark II, a camera which has been called a 'game-changer' in most professional photography and videography circles. The EOS 5D Mark III will carry on that tradition, delivering better and more advanced features, helping our customers achieve excellent image quality for stills and video," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.
The EOS 5D Mark III inherits many features from Canon's recently announced flagship DSLR, the EOS-1D X, including a DIGIC 5+ Imaging Processor and a high-performance 61-point High Density Reticular AF array with up to 41 cross-type points and five dual cross-type points available, depending on the lens in use. The enhanced processing power enables fast continuous shooting of up to six fps, exceeding the speed of the EOS 5D Mark II model by more than 50 percent, and with improved weather resistance the EOS 5D Mark III is a serious option for sports and wildlife photographers.
EOS 5D Mark III Video: The Legacy Continues
The EOS 5D Mark II blazed the trail for EOS cameras and Canon to enter the professional video and cinema markets, paving the way for Canon's recent introduction of the Cinema EOS system of cameras and lenses. Now, the EOS 5D Mark III continues Canon's commitment to these new markets with new and requested features from cinematographers, television production professionals and independent filmmakers. This new model captures 1080p Full HD video at 24p (23.976), 25p, and 30p (29.97) fps; 720p HD recording at 60 (59.94) and 50 fps; and SD recording at 30 (29.97) and 25 fps, giving cinematographers and videographers more flexibility and options for video capture.
The EOS 5D Mark III includes new H.264 video compression formats to simplify and speed up post-production work: intraframe (ALL-I) compression for an editing-friendly format and interframe (IPB) compression for superior data storage efficiency, giving professionals options to help achieve their ideal workflow. Like the EOS-1D X, the 5D Mark III also includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing video footage from multiple cameras and separate audio recordings to be synced together in post production.
The new full-frame CMOS sensor and DIGIC 5+ processor have enhanced the camera's image processing performance over the 5D Mark II, significantly reducing moir‚ and color artifacts in scenes with horizontal lines. The video footage produced will exhibit less moir‚ than seen in previous DSLR models, resulting in a significant improvement in HD video quality. Accommodating documentary filmmakers, and event videographers using EOS DSLR cameras, the 5D Mark III includes the ability to record video continuously up to 29 minutes and 59 seconds across multiple 4GB files. Long-form filmmakers will enjoy the camera's automatic file splitting in combination with the extended memory capacity offered by dual card slots.
The Canon EOS 5D Mark III also includes manual audio level control with 64 levels, adjustable both before and during movie recording. There is also an automatic audio level setting, or sound recording can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input. Notably, the EOS 5D Mark III is the first EOS Digital SLR to feature a built-in headphone jack for real-time audio monitoring during video capture.
Newly Developed Canon CMOS Sensor
With its completely new 22.3-megapixel full-frame Canon CMOS image sensor, the EOS 5D Mark III becomes the highest resolution Canon Digital SLR released to date. It is eminently suitable for a wide variety of assignments including weddings and portraits, nature and wildlife, travel and landscapes as well as commercial and industrial photography. With a gapless microlens design, a new photodiode structure and improved on-chip noise reduction, the new sensor achieves higher sensitivity and lower noise levels for both RAW image data as well as in-camera JPEGs and EOS Movies compared to the 5D Mark II. The result is outstanding image quality in all shooting conditions, even low light. An eight-channel readout doubles the speed of image data throughput from the sensor to the DIGIC 5+ processor, resulting in better video image quality as well as six fps for still photos.
The low-light capability of the EOS 5D Mark III is evident in its incredible ISO range and image quality in poor lighting conditions. Adjustable from ISO 100 to 25,600 within its standard range, the new model also offers a low ISO 50 setting for studio and landscape photography and two extended ISO settings of 51,200 and 102,400, well suited for law enforcement, government or forensic field applications.
The new 5D Mark III is also equipped with Canon's EOS Integrated Cleaning System, featuring a Self Cleaning Sensor Unit with a fluorine coating that repels dust and dirt particles.
Canon-Exclusive DIGIC 5+ Imaging Processor
The EOS 5D Mark III's new DIGIC 5+ Imaging Processor is 17 times faster than the DIGIC 4.The EOS 5D Mark III uses that extra speed not only for improved image quality, but also to add no less than nine new features that do not exist on the 5D Mark II. These new features include six fps continuous shooting, HDR and Multiple Exposure modes, in-camera RAW processing, a comparative playback function, Scene Intelligent Auto mode, two forms of movie compression, and support for high-speed UDMA 7 Compact Flash memory cards.
Another extremely valuable feature enhanced by the DIGIC 5+ Imaging Processor is the EOS 5D Mark III's choice of reduced resolution M-RAW (10.5 megapixel) and S-RAW (5.5 megapixel) recording modes. These settings are particularly useful to wedding photographers for candid photos that do not require the EOS 5D Mark III's 22 megapixel full resolution, because they take up less space on the memory cards and speed up post-processing without losing the critical benefits of RAW image data, such as highlight and shadow control as well as white balance adjustment. M-RAW and S-RAW also preserve the full field of view rather than cropping the image or resorting to JPEG mode to reduce resolution.
High-Performance 61-Point High Density Reticular AF
For still photographers, Canon has included its new 61-point High Density Reticular AF System, originally introduced with the top-of-the-line EOS-1D X professional camera. A significant advancement over previous 5D-series AF systems, the new 61-Point High Density Reticular AF included in the EOS 5D Mark III is the most sophisticated SLR AF system Canon has ever released. All 61 points are manually selectable and sensitive to horizontal contrast with maximum apertures larger than or equal to f/5.6. The camera's twenty one focusing points in the central area are also standard precision cross-type and effective with maximum apertures larger than or equal to f/5.6. The center five points are ultra-high-precision diagonal cross-type points for maximum apertures larger than or equal to f/2.8. The 20 outer focusing points function as high-precision cross-type points with maximum apertures larger than or equal to f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low-light sensitivity to EV -2, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)
All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.
The EOS 5D Mark III uses the same high-performance AI Servo III AF tracking algorithm as the flagship EOS-1D X professional DSLR. This new feature works together with the 61-point High Density Reticular AF system to provide superb tracking performance that blends very well with the new camera's 6 frames-per-second high-speed continuous shooting capabilities.
Similar to the AF point selection options offered in the EOS 7D and EOS-1D X camera models, the EOS 5D Mark III offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.
iFCL Metering
Complementing the EOS 5D Mark III camera's 61-point AF system is Canon's 63-zone iFCL dual layer metering system. The 'FCL' stands for 'Focus, Color and Luminance,' and references the fact that the metering system not only measures color and luminance data, but also analyzes the data provided by each point of the AF system. Canon's iFCL metering keeps exposure levels stable from shot to shot, even as the light source changes. The camera's autofocus information is also used to help determine which area of the scene is of greatest importance in determining exposure.
HDR Mode
The EOS 5D Mark III camera features a built-in HDR mode, merging three images at various exposure levels into a single image, in-camera, for stunning photographs of landscapes and architecture with enhanced tonal gradation beyond the range of the naked eye. The exposure levels in the camera's HDR mode can be set to cover a range of up to ñ3 stops, in a choice of five settings: Natural, Art Standard, Art Vivid, Art Bold and Art Embossed providing unique visual effects. Individual source images can be saved as separate files, and the HDR mode has an optional automatic alignment function that can be useful for hand-held shooting. The EOS 5D Mark III's standard Auto Exposure Bracketing function has been upgraded to allow for up to seven exposures per sequence, and exposure compensation can now be set for up to +/- 5EV.
Multiple Exposure Mode
The EOS 5D Mark III is the second EOS Digital SLR after the EOS-1D X to feature Multiple Exposure capabilities with the ability to combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera's LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS 5D Mark III camera's Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image, or shoot continuously when photographing moving subjects.
Comparative Playback
A new feature seen for the first time in the EOS System on the 5D Mark III is Comparative Playback allowing photographers to display two images side by side on the camera's 3.2-inch LCD screen. The images can be displayed with a histogram to check exposure levels, or magnified to check for focus or facial expressions.
Durability, Reliability and Other Features
The EOS 5D Mark III features a rugged camera body with magnesium alloy body covers and a stainless steel lens mount. The new camera also has dust- and moisture-resistant design with improved gaskets and seals. Although not quite as weatherproof as an EOS-1D-series camera, the EOS 5D Mark III does feature improved weather resistance over the EOS 5D Mark II model. The EOS 5D Mark III's newly developed shutter unit has a durability rating of 150,000 exposures, and shutter release lag time has been reduced to 59 milliseconds, making the shutter button very responsive. Canon's locking mode dial is standard on the new model and a new custom function allows photographers to shut off other dials to prevent inadvertent operation.
The EOS 5D Mark III uses the same LP-E6 lithium-ion battery pack as other popular EOS cameras like the 5D Mark II, 7D and 60D. Battery life is estimated at 950 exposures at normal temperatures, an improvement of 100 exposures more than the EOS 5D Mark II. The EOS 5D Mark III body weighs approximately 33.5 oz. with a battery installed, and the dimensions are approximately 6.0 x 4.6 x 3.0 inches.
The EOS 5D Mark III incorporates Silent shooting modes, available for low-speed continuous shooting as well as single exposures. This feature is ideal when photographing in quiet environments. For better file management especially when working with multiple cameras, the new model also supports custom file names. There is also a new image rating feature that lets photographers rank their photos from 1 to 5 stars for quick editing.
The EOS 5D Mark III features a 3.2-inch Clear View II LCD screen with 1,040,000 dot resolution. This is the same screen that's used in the top-of-the-line EOS-1D X. The camera's optical viewfinder has been upgraded to approximately 100 percent coverage, and it features an Intelligent Viewfinder display with an optional grid on demand. The EOS 5D Mark III also has a built-in Dual Axis Electronic Level that can be displayed on both the LCD screen and the optical viewfinder.
The EOS 5D Mark III accepts both Compact Flash Type 1 and SD/SDHC/SDXC memory cards in a dual card slot configuration. Three recording methods are supported: Record the same data to both cards, record different file sizes or types to each card, or automatically switch to the second card when the first card is full.
Accessories
The EOS 5D Mark III DSLR also has a number of new optional accessories, including the new Canon Wireless File Transmitter WFT-E7A featuring wireless LAN support for 802.11 a/b/g/n signal protocols for various network environments. The WFT-E7A connects to the camera through its USB port and includes a built-in gigabit Ethernet connection, time syncing for multiple cameras on the same network, FTP mode, EOS Utility mode, WFT Server mode and Media Server mode. With this new WFT model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.
The EOS 5D Mark III also has an optional Canon GPS Receiver GP-E2, which can be connected to the camera via the accessory shoe or a USB cable. With a GPS logging function built-in, the GP-E2 will log latitude, longitude, elevation, and the Universal Time Code - and allow viewing of camera movement on a PC after shooting. With its built-in compass, the GP-E2 receiver will also record camera direction when shooting, even when shooting vertically. The Canon GPS Receiver GP-E2 is compatible with the EOS-1D X and EOS 7Di as well as the EOS 5D Mark III.ii
Battery Grip BG-E11 is an optional accessory for the EOS 5D Mark III that accepts one or two LP-E6 lithium-ion battery packs or a set of six AA-size batteries. This new grip has a multicontroller and a multifunction (M.Fn) button together a with a full set of grip controls for easy operation when shooting portraits or other vertical format photos. The BG-E11 is made from sturdy magnesium alloy and has the same degree of weather resistance as the EOS 5D Mark III.
Speedlite 600EX-RT
In addition to the EOS 5D Mark III, Canon is also announcing the first professional Speedlite on the market with a built-in wireless radio transmitter, the new Speedlite 600EX-RT. The new Canon Speedlite 600EX-RT is the flagship model in the Speedlite line, ideal for wedding portrait and photojournalism. Compatible with all EOS Digital SLRs, this new model eliminates the need for accessory radio slave units and their inherent limitations. Speedlite 600EX-RT features Master-Slave two-way transmission, letting the photographer control the Speedlite settings directly from the "Master" camera.
Radio-based Wireless E-TTL can be performed with up to 15 Speedlite 600EX-RT "slave units", used off-camera up to 98.4 feet (30m) away, and triggered by either a "Master" 600EX-RT on-camera, or the optional new Speedlite Transmitter ST-E3-RT. Used with the EOS 5D Mark III or EOS-1D X, up to five groups of flashes can be completely controlled, independently, off-camera. And, it remains fully compatible with Canon's legacy optical-based Wireless E-TTL technology, for users already committed to existing EOS Speedlites. The Speedlite features enhanced weather-resistant construction - matching that of the EOS-1D X camera body - and a more reliable electrical contact. The flash head zoom range now reaches from 20mm to 200mm.The Speedlite also allows remote shutter release of a single EOS camera, or Linked Shooting (simultaneous firing of up to 15 cameras, when one "Master" camera is fired), and includes gelatin filters and a dedicated filter holder to help photographers match ambient light.
Speedlite Transmitter ST-E3-RT
Canon is also introducing the new Speedlite Transmitter ST-E3-RT. Providing full support of Canon's new radio-based wireless flash technology, the new ST-E3-RT can control up to five groups of flashes, up to 98.4 feet (30m) from the camera. The remote shutter release capability enables photographers to either fire a single camera remotely (by pressing a button on the ST-E3-RT), or to fire up to 15 EOS cameras with Canon's Linked Shooting feature. Making it easy to control and adjust, all of the Speedlite Transmitter features are accessible through the Flash control menu of the EOS-1D X and EOS 5D Mark III cameras.
Pricing and Availability
The Canon EOS 5D Mark III Digital SLR camera is expected to be available at the end of March 2012 and will be sold in a body-only configuration at an estimated retail price of $3,499.00. The EOS 5D Mark III will also be available with the EF24-105mm f/4L IS USM zoom lens in a kit for an estimated retail price of $4,299.00. The Wireless File Transmitter WFT-E7A is scheduled to be available by the end of April 2012 at an estimated retail price of $849.99. Availability for GPS Receiver GP-E2 is expected by the end of April 2012, with an estimated retail price of $390.00.Battery Grip BG-E11 is scheduled to be available at the end of April 2012 for an estimated retail price of $490.00. The Speedlite 600EX-RT and Speedlite Transmitter ST-E3-RT are also scheduled for end of March 2012 availability at estimated retail prices of $629.99 and $470.00 respectively.
Canon EOS-5D Mark III Body Only & Kit with 24-105mm
Canon 5D Mark III Body Only and Canon 5D Mark III 24-105mm Kit, Canon Speedlite 600EX-RT from B&H and
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