This is a photography blog for professional and amateurs alike. Share your tips and knowledge with other 'shutter bugs' out there. Improve your own skills. Find ways to make money with photography.
Whether you use a smart device like an iPhone or an Android, or a
more compact cell phone, chances are that you have a camera in your
pocket right now. Not very long ago, the optical quality of these
cameras was very poor, especially in low light situations. Yet today,
thanks to continued technological developments, a growing number of
users are beginning to realize the power of the latest cell phone
cameras. In fact, the International Telecommunications Union estimates
that "4.6 billion mobile phones are in use at the moment." If this is
any indication of what the future holds, cell phone cameras may very
well replace smaller point-and-shoot cameras altogether.
Rather than carrying a phone, a camera, and an MP3 player, many
consumers look for one electronic device that does it all. Some shoppers
simply search for "best camera phone" and make their purchase solely on
the quality of the camera. Manufacturers are taking notice, and they're
adding more capable cameras to their phones. For example, the Nokia
PureView 808 features a staggering 41 megapixels of resolution along
with full HD 1080p video recording and audio recording at CD quality.
The affordable Sony Xperia has an 8.1 megapixel camera with autofocus,
16x digital zoom, LED flash, and a maximum aperture of f/2.65.
One of the best parts about camera phones is the ability to share the
image with others right away. You can post your photos to a variety of
social media outlets such as Facebook, Twitter, and more. You can even
post videos to YouTube directly from your phone. This type of content
sharing has become incredibly popular. Facebook alone receives more than
2 billion photo uploads each month! On Twitter, many photographers
share their "Twitpics" with their followers. These can range from "look
where I am" to beautiful fine art imagery. If another user appreciates
an image, it's often retweeted, and shared with even more people. It's
possible to upload a photo at 10:15, and have several hundred or more
views by 10:30.
Camera phones don't have the speed or advanced functionality of the
more full-featured DSLRs. Yet, the benefit of having a small, quiet
camera in your pocket at all times outweighs any of its technical
limitations. When a professional photographer arrives on the scene with
two DSLRs, telephoto lenses, and flash units, everyone immediately
notices. In certain situations, this can hinder the pro from doing his
or her job, as people are more guarded and aware of the cameras. With
small cell phones, however, a photographer can get the needed shot and
leave the scene virtually undetected. In addition, there are some places
where professional-looking cameras are absolutely prohibited.
Thankfully, camera phones are more discreet, and don't generally draw
attention to the user.
For iPhone and Droid users, there are an overwhelming number of
photo-related applications (just called "apps") to help edit, enhance,
and share pictures. In fact, Adobe Photoshop has an inexpensive app
called Photoshop Touch with many impressive features including the
ability to adjust curves. While in-phone editing can be convenient and
fun, some users prefer to edit the "old fashioned" way, on their
computers. Cell phone images are typically JPEGS, and can be downloaded
into a full version of Adobe Photoshop, or other editing software. This
opens up many possibilities like layer masking, unsharp mask, noise
reduction, and more. Here are two popular apps you'll want to look into
for serious cell phone photography.
Hipstamatic soon became a household name
infiltrating its way into the fabric of our society. Not a day went by
where our Facebook wall wasn't filled with photos that looked like they
were taken 50 years ago. Still, despite being overused at the peak of
its popularity, there was an authenticity to the images that ordinary
phone snaps were lacking. What some may have initially written off as a
fad appeared to have staying power. This shift was first evident after New York Times
photographer Damon Winter used the app to document war in Afghanistan.
Winter is a Pulitzer Prize winning photographer whose work we've long
admired for its creativity and technical brilliance. Yet, when his photo
story "A Grunt's Life" was awarded third place in the Pictures of the
Year International contest, a flood of naysayers took to the Internet to
bash the ethics of his camera selection. In his thoughtful response,
Winter said, "I will always stand behind these photographs and am
confident in my decision that this was the right tool to tell this
particular story." In studying the series of twelve photos, it's
difficult to envision them any other way. The quiet, introspective
moments he captured coupled with vintage aesthetics make for a telling
look at life behind enemy lines.
The Instagram app, acquired by Facebook in 2012
boasts over 40 million users, and that number is growing fast,
especially after adding support for Android devices. These two apps have
paved the way for a landslide of similar options, many of which are
free to download.
Other photo-editing apps you might want to investigate include
PhotoForge2, Camera+, and Filterstorm. And don't forget to download the
free app from The New York Institute of Photography. You can access
ongoing photography and business tips and videos. Tune in to informative
tweets and view photos from NYIP students and graduates.
Taking your compact camera with you on holiday? Here our top tips to get the best out of it.
Your compact camera may be small, but it can still take some pretty good
holiday snaps. Compacts are often easier to carry around than DSLRs as
they are lighter and smaller which means it's easy to pop one in your
bag and that way, you'll always have it on you, so that you never miss a
shot if an opportunity arises. With this in-mind, here are our top 5
tips for compact camera holiday photos.
Settings
Most compacts will have some kind of beach setting that'll stop your
shots looking underexposed when taking photos in bright sunlight at the
coast. This will most likely be under the scene mode or equivalent on
your camera. The Beach scene mode will increase the exposure slightly to
compensate but also adjusts the white balance to make the sand look
more natural.
When shooting portraits, if you find that the sun is causing harsh
shadows, particularly under the nose and chin, use your camera's
built-in flash to put detail back into shadow areas and as an added
bonus, it can add catch-lights to eyes too. Some cameras let you reduce
the output of the flash so it isn't as harsh. Check your camera's manual
if you're unsure if you can do this with yours.
Fun Effects
Most compacts have some quirky effects (digital filters) that will work
well with holiday photos. For example, use of the miniature mode from
high viewpoints can create some great images. Be creative, and you can
produce some fun holiday shots that show your skills off too.
Try going off the beaten track to get some good vista and panorama shots
of your destination that will be completely original. For example. If
you're in a coach party and the coach stops, walk up the road and see
if there's a better viewpoint rather than standing with the crowd. Go
for something that you can't find on a post card – perhaps a macro or
close up shot, something a little different that'll make your shots
stand out from the rest.
Self-Timer
By using your camera's self-timer you'll be able to be in group shots
rather than always hiding behind your camera lens. After all, it's your
holiday too! You should be able to set your timer to various intervals,
usually 10, 20 and 30 seconds as well as minute intervals.
Horizons
Using a tripod will help ensure the horizons straight but if you aren't
planning on taking one with you, a quick check of the viewfinder or
screen just before you take the shot will help prevent wonky horizons
spoiling your shot. Look for other distracting objects such as rubbish
as well as lamp posts and trees growing out of people's heads. Make sure
your fingers aren't sitting over the lens, or flash if you're using it,
too.
Digital photography enables us to recreate most filters effects that
we used to produce using optical attachments on our cameras. But
there's one filter that should still be in every photographer's gadget
bag. Let's forget the crazy world of multi-images, the colourful
starbursts and the dreamy diffusers - the essential item you should own
is a polarizing filter. A genuine polarizing filter can have a dramatic
effect on your photographs, but it won't ruin them, which is one
common criticism of special effects filters, such as spot colours and
multi images.
The classic effect a polarising filter has on the sky. Left
shows a non polarised photograph and right with a polariser attached.
Notice the saturation in the sky, making it vivid blue, but also the
improved detail in the foliage and blooms, that give the picture more
clarity.
How they work
Polarising filters work by suppressing surface reflections from
non-metallic objects, by blocking the rays. The amount of suppression
depends on the angle of the reflected light, the rotation of the filter
and the amount of polarisation. You also see an increase in colour
saturation, as the glare caused by the surface reflections often
lightens the subject.
Polarsing filters are perfect for landscape photography. Here a warm
tone version was used which has made the picture look more like a
summer's day.
Some image editing software suggests it can offer the same results
as a polarizing filter, but it misses the mark. A digital polarizing
filter can enhance contrast and colour saturation, but it can't remove
the reflections caused by light - well not yet anyway!
Here sunlight has caused glare on the varnished wooden sign which can be reduced when a polarising filter is used.
Photos of non-metallic surfaces aren't the only subjects that benefit
from the use of a polariser. Light reflected from water and glass is
also polarised and using a polariser enables the photographer to see
through the glass or water.
A polarising filter used on water kills reflections, allowing you to see below the surface.
Another essential use of a polariser is for
creating those rich blue skies that are normally seen in travel
brochures and on postcards. Light scattered from a blue sky is
polarised, making many blue skies look drab, add a polariser to the
equation and you will produce a lovely dramatic blue sky.
How they attach
There are three types of polarizing filter. The most basic is a sheet
of polarizing gel, which you would need to cut to size and hold over
the lens or mount in a gelatin holder. Then we have precut and mounted
versions, made by the likes of Jessops and Cokin, that slot into a
filter holder and mount onto the front of the lens. The third option is
the round type that has a sheet of polarising material sandwiched
between two pieces of optical glass. The screw-in variety has a rotating
front ring so you can adjust the filter while looking through the
viewfinder until the reflections are reduced. The holder variety is
usually round and can be rotated in the holder.
Ten top tips on using polarising filters
When shooting to prevent reflections, it's best if you are at an angle of around 35 degrees to the reflective surface.
A polariser can be attached on top of an existing UV protective
filter, but if you do so, be aware that the depth of the filter rims may
cause a small amount of vignetting (darkening of the edges) on
wider-angle lenses. And as there are more glass to air surfaces the
image quality could be degraded. So where possible it's better to remove
any other filter and just attach the polariser.
When shooting skies ensure you shoot at the best angle - for
rich blue skies move around so that the sun is at 90 degrees to the
subject - anything more or less and the saturation is reduced.
Avoid using a polarising filter on a lens wider than 28mm as
the effect can look false because only a proportion of the sky will be
deeply polarised.
Watch the exposure. A polariser has a neutral grey look, which
won't affect colour, but does reduce the amount of light reaching the
film/CCD. If your camera has through-the-lens metering it will
calculate the exposure difference automatically, which is roughly two
stops.
Use two polarisers together as variable neutral-density filter with between two and nine stops light reduction.
Use two polarisers one over the light source behind a plastic
subject and one on the camera for a cross polariser effect. There's a
technique how to do that here: Cross Polarisation
Cross polarisation is a colourful technique that makes use of one of the polarising filters more creative features.
When using a polarising filter on an older camera that doesn't
have TTL viewing hold it up to your eye and rotate until the filter is
showing the best effect. Then mark the uppermost point of the rim with a
china graph pencil or tape, screw it onto the lens and rotate so that
the tape or mark is at the uppermost position. Some filters have a
white line mark already printed on the rim which can be used as a
gauge.
Buy a slim version for use on a wide-angle lens to prevent the mount causing vignetteing
Don't use a polariser when shooting through an aircraft window, you will record distracting patterns in the window.
There's one incident when a polariser should not be used. Here I
increased the colours in the sky and made the ground look more
saturated by using the polariser (left), but look at the rainbow
pattern. This is caused by the material used in the windows and has
produced the cross polarised effect.
A Guide to buying a polarising filter
Buying a polarising filter - You may be aware that a polarising filter
is one of the most useful additions to your camera kit, but there are a
few things you need to decide before buying one. First thing you should
know is that there are two varieties - linear and circular. Although
they're both physically round, a linear variety can have an effect on
the autofocus or metering accuracy of any camera that uses a
semi-silvered mirror or prism to split the light entering the
viewfinder.
You may be aware that a polarising filter is one of the most useful additions to your camera kit, but there are a few things you need to decide before buying one.
Linear or Circular?
First thing you should know is that there are two varieties - linear
and circular. Although they're both physically round, a linear variety
can have an effect on the autofocus or metering accuracy of any camera
that uses a semi-silvered mirror or prism to split the light entering
the viewfinder. This is known as a beam splitter and is used by most
modern SLRs to calculate exposure and focusing distance.
As a rule use a circular filter if you have an autofocus camera or a
manual focus model with a spot meter such as the Canon T90 or any
modern digital SLRs.
Screw-in or System filters?
Next thing to decide is whether to buy a round, screw mount filter or a
system version that slots into a filter holder. Round ones are often
easier to adjust and feel better built. They're also more compact to
carry around. The disadvantage is larger sizes are more expensive and,
if you have two lenses with different filter thread sizes, you may need
to buy two filters, whereas a system type would just need another
adaptor ring for the filter holder.
The filter holder type can also cause vignetting when used on some
larger thread wide-angle lenses. Equally, a larger filter holder may
prevent vignetting when used on a smaller thread wide-angle.
Features to look for
If you have a camera without through-the-lens viewing look for a
filter that has an index mark printed on it. This will help you align
the filter correctly.
Some filters have a small screw-in arm to help rotate the
filter, which is useful if you intend using the filter when wearing
gloves in cold weather.
Filters with thick rims can cause slight vignetting when used on wide-angles. The latest Pro1 D versions from Hoya have slim rings.
Check whether the filter is circular or linear. It will often
say PL CIR if it's circular, while linear often just has polariser or PL
marked on the rim.
Polarising filters for square system holders are still round so they should rotate easily in the holder.
Who makes them?
Screw-in filters
Screw in filters attach to your lens' filter thread and are the least
bulky option. If you have a number of lenses with different filter
threads it can be an expensive option.
B+W
A brass mount with solid ring and deep filter thread make this a heavy
filter that feels substantial compared with its Japanese competition.
Extremely neutral throughout the range with plane parallel polariser
material that the German makers, Schneider, say will guarantee optimal
image results. The one to choose if your budget can stretch to the
hefty price tag in sizes from 46 to 95mm.
Hama
Suppliers of one of the largest accessory ranges made, with thousands of
items for video, stills and audio markets. Recently they have
introduced a range of silver finish filters that match the modern
styles seen with newer compact digital cameras and AF SLRs, This range
includes the HTMC Circular polariser in sizes from 25.5mm to 77mm. In
conventional black rimmed options there's a Linear in sizes from 49mm
to 82mm, Circular in sizes from 27mm to 82mm and a HTMC circular in
sizes from 37mm to 86mm. Hama also produce an slim mounted circular
version for wide-angle lenses in sizes from 49mm to 77mm.
Heliopan
Ksemannn polarising are very expensive, but different in that the after
the sandwiching of the polarising layer the filters are polished plane
parallel and the edges are thoroughly sealed and mounted in a precision
rotating mount with numerical scale. The special seal helps if you're
using it in difficult climates such as sub tropical. They are available
in linear or circular versions along with a linear warm polariser all
in sizes from 39mm to 105mm along with Hasselblad and Rollei bayonet
mounts.
Heliopan linear and circular polarisers are made from top quality
Schott glass (made by the Zeiss group) and come in black anodised brass
mounts in sizes from 39mm to 105mm.
Hoya
Super HMC Pro Multi-coated circular polarisers are difficult to make
because the heat needed to multi coat the outer surfaces can damage the
polarising sheet that's sandwiched between the glass. Hoya have managed
that with this version available in sizes from 49mm to 82mm and it's
ultra thin and lightweight. Hoya also make a normal circular polariser
in sizes from 27mm to 86mm and linear in sizes from 39mm 95mm.
Jessops
Produce a wide range of low cost screw-in filters including linear
options in sizes from 46mm to 72mm and circular varieties in sizes from
27mm to 77mm.
Kood
Have a range of screw fitting polarisers in sizes from 39mm to 86mm for
the linear variety and 27mm to 86mm for the circular versions. They also
produce 84mm linear and circular versions for use in Cokin P series
holders.
Sigma
The company that makes lenses also has a range of circular polarisers
with slim mounts for their lenses. They range in sizes from 46mm to 82mm
for normal coated versions and there's also a multi-coated version in
sizes 86mm, 95mm and 105mm.
System filters
Square filters fit onto your lens with removable adaptor rings. You
only need one holder and one filter which can be attached to a variety
of lenses using different size adaptor rings.
Cokin
French manufacturer Cokin was the originator of the special effects
system with A (amateur) and P (professional) sizes. The A series are
67mm square and designed for use on 35mm cameras while the 84mm square P
series are more suitable for larger medium-format systems and also come
in handy when you use wide-angles to helps prevent cut-off.
More recently a larger Z-Pro and X-pro range were added to accommodate
those lenses with large filter threads, especially suitable for the
modern ultra wide-angle lenses.
Both linear and circular polarisers are available, which are very
neutral in colour. Unlike other resin Cokin filters these are mounted in
glass making them much heavier. They fit into the filter holder's back
slot so you can rotate them easily.
Cromatek
A British brand with a unique box shaped filter holder that holds the
76mm filter in place while acting as a lens hood. The filter fits into
the back slot of the box holder and you have to flip down the cover of
the box to rotate the filter. This can slow you down, but you do gain
the benefits of a superb light tight hood. A 100mm version is also
available and both are glass mounted with circular or linear options.
Hi-tech
An 85mm system with an option of attaching a 105mm screw thread Kaesemann polariser to the front of the 100mm holder.
Jessops
Jessops make a range of budget priced filters for their effects filter
system which are, like Cokin, available in two sizes Standard (67mm
slot) and Professional (83.5mm slot). Linear and circular polarisers
are available in each system.
Lee
A system originally developed for the professional photographer who
needs the very best quality. The filter holder is larger and accepts
100mm square filters. Their linear polariser is made from Butyrate and
is less than 1mm thick so needs to be mounted in a gelatine holder for
the best support. It's available in 75mm, 100mm and 150mm square
versions.
Hoyarex
Square system from the popular maker Hoya. A wide range were made and
the system had a useful rubber hood that attached to the outside of the
filter holder. Several of the filters in this range were glass. The
system was 75mm square and excellent quality. You can pick these up
second-hand Used Hoyarex Filters and they're well worth the investment.
Let’s face it, we all come across a great shot which was
taken at a unique moment in time but for some reason, it just isn’t
sharp enough. “What did I do wrong?” we often say to ourselves. Sharp
images aren’t that elusive! In fact, they are dead easy if you know how.
This particular article gives you many insights to sharpness that
aren’t that obvious, in fact, it’s a strategic approach to the issue in
many ways. I think you’ll enjoy this one…
When you are faced with having to sharpen a noisy digital photography
image you’ll find that some photos are easier to sharpen than others.
This might be caused from having a too high ISO. The usual way of
adding sharpness to a digital image has it problems too; it can actually
increase the noise in your image quite a bit. To clarify this point,
what is actually happening is the noise isn’t being increased as such,
it’s being enhanced.
There is a way to sharpen noisy digital photo images without going into the noise itself.
To begin with its important to understand colour modes in Photoshop.
The easiest way we remember colour modes is when we think of RGB mode.
This is a “channel” of colours which are Red, Green and Blue. As I was
taught by my good friend Lyndie Jeffry, there are more colour modes
where your digital photo can be altered, adjusted and sharpened.
When I was first learning about digital photography Lyndie taught me
that you can involve the CMYK mode which uses four colour channels. This
stands for Cyan, Magenta, Yellow and Black. (Yes I know, “Black doesn’t
start with a “K”.)
Lyndie explained to me that the best one to use for this purpose is
the L-A-B mode. LAB mode really just related to the 3 channels it uses.
In a nutshell Lab stands for the individual channels. The “L” really
means “luminance”, “A” the green-red aspect “B” the blue-yellow aspect.
When working in LAB mode you can modify the brightness of your digital
photo and keep the saturating and colours the same. The way this is
possible is because practically no image information is depleted or lost
when you convert to Lab mode. It also stays good when you convert back
again, which is extremely handy. (Especially with highly valuable photos
such as other peoples wedding photos.) Not everyone uses this, but it’s
a neat trick with some digital images.
In some digital photography images you can simply choose to sharpen
the L channel in LAB mode. By doing this much of the noise in the image
is in the other channels that are usually not affected by this
sharpening effect.
Now this may not work for every single noisy digital photography
image you have. But in some situations it works very well. I suggest you
try it to see the effect you give. I’ve used it a few times and it’s
saved my ‘you-know-what’. So if you’re in a tight spot with a noisy
image, give this a go, you might be surprised with the results!
Published here by Roy Barker. You should look closely at this device, very handy indeed – instantly improved photo images(also comes with a trial) **It will be very handy when time is not on your side!“
It is easy to end up buying a tripod that is so heavy or impractical
that it never leaves your house. It is all very well thinking that the
tripod is lovely to use and portable in the shop or when you're looking
at it online, but the reality can be very different when you're actually
walking with it.
Tripods come in all sizes, styles and budget levels. Aluminium tripods,
for example, are cheaper than carbon-fibre models, however they are
heavier and tend to be colder to the touch. If you do really want to
travel light, you could always consider investing in a monopod. There
are plenty of styles out there but one popular type are those found in Manfrotto's 190 series. There's a wide range of models available which makes them a popular choice for hobbyists right up to pro level.
Tip Number 2 - What To Look At When Buying A Tripod
The Legs
Extend them fully and make sure they go to the height you need or if
you're shopping online, look for this information in the specifications.
The Head
Not all tripods come with one, but most do. Optional heads
are made by Manfrotto. Look at how the camera locks into position. Are
the locks positive? Is the head as good shooting vertical-format images
as it is with horizontal ones? Etc.
The Quick Release System
Many tripod heads have a quick release system with a plate
that you can leave permanently in position on the camera. Check how
solid the quick release system is and how easy it is to use. Metal ones
offer greater stability but regardless of the material, make sure the
plate securely fixes to your camera.
The Leg Locks
Legs locks should be comfortable and quick to use as well as secure.
There are two main types: twist grip or lever lock. Twist grip locks can
be slightly uncomfortable to use but are very secure while lever locks
are fast to use but may need checking every so often to make sure they
lock tight.
The feet
Most tripods have rubber feet, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one.
Other Points To Consider:
Cost
Weight
Construction material
Height (folded, minimum and maximum)
Maximum supported weight
Tip Number 3 - How To Carry Your Tripod
This can be done either by strapping it to your photo rucksack, in a bag with a strap or with a tripod strap. Manfrotto offers bags and carrying straps, but if you own a photo rucksack you might find that it came with the appropriate accessories.
Tip Number 4 – How To Keep Your Remote Release Secure
If you use a cable remote release get some Velcro fastening and use it
to hold the control unit in place during long exposures. It is better
than the remote just hanging down which might cause tension on the
connections or, if the wind is strong, cause the release to bang against
the tripod and blur your images. This arrangement is only for temporary
holding of the remote release during exposure and is not advised to
hold the release in place when you're carrying the tripod around.
Tip Number 5 – Setting Up Your Tripod
Before setting up, make sure you are completely happy with your location
as if you change your mind about the composition once you've set your
tripod up, it can take you some time (and be rather annoying) to have to
put it away again to move positions.
When setting up, extend the legs before extending the centre column.
Extending just the centre column is quick but it is not good technique
and won't offer as much stability as adjusting the legs first will.
Extend the fattest leg section first then if you really need the height,
extend the thinner parts of the legs.
For extra stability, hang your camera bag or another heavy object from
the centre column. Many tripods actually come with hooks fitted so you
can hang items from it. If it's a really windy day, however you may find
the object moves too much and actually knocks your tripod, causing
shake, instead of helping support it.
Many tripods and tripod heads, such as those found in Manfrotto's 055 Series,
have built-in spirit levels to help you keep the tripod level. If yours
hasn't buy a spirit level to fit into the camera's accessory shoe.
Today, after three years of rumour and speculation Canon has officially announced the Canon 5D Mark III. Building on the 5D Mark II the new camera (we’re told it’s not going to replace the mark II), the 5D Mark III closes the gap between the 5D and 1D series cameras.
Today, marks another mile stone in the photographic industry with yet another highly specified machine to join the Canon EOS range. More than three years have passed since the announcement of the ever-popular Canon 5D Mark II (Sept 08), which in the photographic world is an absolute lifetime! Today, the suspense has reached an end and Canon has confirmed what we have all been waiting to hear, but will it live up to our expectations? Let’s have a look at the specs.
Specifications
22.3 megapixel CMOS sensor (36 x 24 mm)
A standard ISO range of 100-25,600 (expandable 50-102,400)
Next-generation DIGIC 5 image processing engine
Full HD 1080p movie capability
3.2″ 1,040,000-dot LCD screen
Dual card slots: one for CF cards and one for SD cards
Up to 6 frames per second
61-point AF system (41-cross type sensors)
£2999**
The Canon 5D Mark III holds onto the impressive level of specification as the respectable and legendary Canon 5D Mark II but with a boost of technological enhancements in all the right directions.
22.3 Megapixels
With only but a little nudge in megapixels, Canon has chosen not to enter the 5D Mark III into the race of “who has the most megapixels” and focus more on what is essential to users looking to upgrade.
The revolutionary DIGIC 5+ Processor
Wildlife and Sports photographers who require a fast burst rate will be pleased to see Canon have increased the frame rate from 3.9fps (found in the Canon 5D Mark II) to 6fps. Working together with the CMOS sensor, the DIGIC 5 processor ensures fast continuous shooting and provides exceptional image quality in low light and is designed to be six times faster than the DIGIC 4 and create 75% less noise, previously found in the Canon 5D Mark II.
61-point Autofocus System
While the Canon 5D Mark II was everything and more, the obvious and headline improvement would be that of the AF system – Canon has hit the nail on the head with this one! The Canon 5D Mark III now features an impressive 61-point AF system including 41-cross type sensors, the same found in the Canon 1D X. Like the 1D X, the 5D Mark III can also detect a subject that is completely out of focus by utilising the entire sensor, rather than just a single AF point, thus ensuring rapid and effective AF control at all times.
Night capability, ISO 50-102,400
The standard ISO ranges from 100-25,600 which is impressive in itself but the ISO performance doesn’t stop there, the Canon 5D Mark III’s ISO can reach down to as low as 50 and expand to a remarkable 102,400.
Get the full view
The new viewfinder as been upgraded to offer 100% coverage (98% on the Canon 5D Mark II), on par with the 1D X.
Movie mode
With a quick press of the dedicated movie button, the Canon 5D Mark III offers Full HD 1080p recording with manual control over depth of field, exposure, shutter speeds and in a selection of frame rates – 30, 25 and 24, with 60 and 50 available at resolutions of 720p.
Design and Weather Sealing
The button arrangement is a similar feel to the Canon 7D, so it is designed to suit all needs for anyone looking to upgrade from this older cousin. The Mark III also gets some improved weather resistance, with extra sealing throughout the body – around the buttons, LCD, battery and more importantly the memory compartment.
Dual card slot
The Canon 5D Mark III now includes dual card slots, one for Compact Flash and the other for SDHC.
*approximate body only weight (without battery or memory cards)
**Prices as of today (2nd March) and are subject to change
Final thoughts
When the Canon 5D Mark II first hit the market, it was priced at £2299.99, so that’s £699.01 more to save. Whilst not exactly cheap, the Canon 5D Mark III is still within reach of many semi-professional photographers and with this set of impressive features there will be many clamouring to buy one. Watch this space for more specifications and important updates on this impressive full frame DSLR.
If you're photographing in color you show the color of their clothes - if you use black and white, you will show the color of their soul. - Author Unknown
Profitable Photography
How to easily start up your own profitable photography business from home, just like I did - and make $720 in just 3 hours per week part time! Digital Photography Business
Features to look for
