Canon and Nikon vs. Everyone Else: Buying Your First DSLR

To the beginner, there’s a bewildering array of cameras out there these days. They advertise a multitude of features often wrapped up in technical jargon and sales-speak. How do you sift through it all to find the camera that’s right for you? Well, that’s what I’m going to discuss today.

Due to their overwhelming dominance in the professional and high-end amateur markets, most people go for Canon or Nikon, even at their higher price points. Is this necessary, or are there other options on the table which may be better suited to your individual needs?

Before we take a look over all the options, let’s consider what decisions and requirements need to be considered before researching camera systems.

What Do You Need? Why?

The number one consideration when investing in a camera system should be the lenses. Modern digital bodies are ultimately disposable. You’ll likely go through many over the years. On the other hand, time has little effect on well-maintained lenses, and this is where the bulk of your available money should go.

Why should the lenses come first? Well, first of all, image quality among DSLR sensors is fairly comparable these days. Color accuracy, resolutions and noise levels don’t significantly differ across manufacturers. The number one factor in the quality of images now is the glass that goes in front of the sensor.

---

Lenses

What does it mean when buying into a system? You need to consider what are you intending to do with your camera. The lenses you’ll need may dictate the manufacturer options you have available.

If you’re aiming to shoot professional sports, sooner or later you’re likely to need a range of high quality fast telephotos, which limits you to Canon or Nikon. If you’re aiming to shoot portraiture locally as a paying hobby, you don’t necessarily need the crazy lenses and have a wider range of options available.

Maybe you’re looking to get into video, and your main interest is in older lenses with manual focus and iris, and/or you like the soft, uncoated look of the older glass (me too!). If this is your main use case, your options are wide-open with the range of adaptors available.

Basically, consider your aspirations and decide what lenses you’re likely going to need in the end, and if you can afford those prices. It makes sense to invest in the same manufacturer to begin with that you’ll end up using, so you’re not attempting to relearn controls later on.

---

Camera Layout

Speaking of controls, schemes for button layouts, menu arrangements, zoom and focus ring directions differ between manufacturers. You need to find one that makes sense to you and is comfortable to use.

You may feel more at home in the Canon menus, or your hand may naturally rotate in the same direction as the Nikon lenses. The Sonys may feel the most comfortable in your hand. The only way to find out is by getting hands-on.

Now, on to the manufacturers themselves. Just keep in mind your thoughts from above, and read on. First up, Canon.

---

Canon

The Canon T3i is a good choice for most beginners.

Canon, offering the largest range of lenses of any manufacturer, seems the obvious choice if either you have no idea where you’re trying to go, or conversely are looking to go into something fairly specialized.

From the 65mm MP-E Macro to the 800mm f/5.6L monster, you’re almost certain to find the lens you need in their range. The L (for “luxury”) series lenses are extremely high quality, especially in their latest iterations, and represent the pinnacle of image quality for many users. They’re the everyday workhorse for many working professionals out there, complete with weather sealing.

Their ability to offer this huge lens range may stem from their lion’s share of the DSLR market, at around 30%. This also means that a vast range of aftermarket accessories and third party lenses are also available.

In the filmmaking sphere, their dominance since the Canon 5D MkII started revolutionising filmmaking at all levels in 2008 has meant that the majority of third-party filmmaking lenses and accessories are designed for compatibility with Canon products.

It’s entirely possible to start out relatively cheap with Canon too. A Canon Rebel T3i (EOS 600D) body and anifty-fifty (50mm f/1.8) lens will set you back somewhere around the $700 mark when new. There are four series of models at varying price points, and a healthy used market.

---

Nikon

The Nikon D5200 comes in at under $900 with a lens.

Nikon are next in line in the market share wars at around 25%, and are Canon’s biggest competitor. This allows them to get all the same third-party lenses from companies like Sigma and Tamron, which offer good image quality for around half the price of the high-end first party ones.

Nikon’s own lens offerings seem rather complex with a big list of suffixes behind most lenses (the 18-55mm f/3.5-5.6G ED II AF-S DX? What?), but realistically are sortable and comparable to other manufacturer’s offerings through the focal length, aperture and price point.

Nikon has a long history of optical equipment manufacturing and unlike Canon has used essentially the same lens mount for their cameras since the 1950s. This means that many old Nikon lenses work on new Nikon cameras. If your work allows you to use manual focus, this opens up a huge range of lenses for very affordable prices.

Nikon offers a similar upgrade path and price points on the bodies as Canon, from the entry-level to the professional monsters. Unless you’re going to be heavily into video, where for the time being it’s best to go Canon, the choice between the two manufacturers is really personal preference.

Sony

The Sony A57 offers many features only found in much more expensive models from other brands.

Sony are a relatively new player in the SLR game, but they’ve made professional camcorders and cinema cameras for quite some time. They know their stuff when it comes to imaging. This relative newness to the market is an advantage, however, because it allows them to take risks and add features that the bigger players are unwilling to do.

For example, due to their translucent mirror technology where the mirror stays fixed in place during shooting, the $700 Sony A57 can shoot 10fps stills at full resolution. The equally-priced current-generation Canon, the Rebel T4i/EOS 650D, manages only 5fps, a moderate boost from the Rebel norm of just 3.7fps.

Because Sony make Nikon’s sensors, resolution and image quality in-camera is on par with the top two as well. Image stabilisation is achieved at the sensor too, as it floats on gyroscopically stabilised mounts. Since lenses then don’t need IS in them, they can be made smaller and lighter than their competition.

Quality of the lenses is very good too; not quite up there with the high-end Nikkors and L glass, but comfortably above the equivalent Sigmas and Tamrons. If you don’t feel that you’re going to need the uncompromising quality of the expensive Nikon/Canon glass, Sony are a strong contender for those who want feature-laden cameras on a budget.

There is a potential issue with using Sony cameras for strobist photography, however. Sony are big fans of keeping everything as proprietory as possible, and so their hotshoes aren’t always compatible with other brands of flashgun. Something to look into of if you’re heading in that direction. Check the compatibility with strobes and PocketWizards when you’re testing cameras in the store.

---

Pentax

The Pentax K30 offers excellent value for the cost.

Pentax seemed to disappear for a while after the switchover to digital SLRs, but have been steadily working under the rader, putting out excellent bodies at reasonable prices. The Pentax K5 puts out beautiful images from its Sony sensor, and now there’s a Pentax K5 II and a Pentax K5 IIs without a low-pass filter.

They have a strong feature set including 7fps burst rate and accurate low-light autofocus and still retail for only around $1100. The Pentax K-30 is even more impressive, with the same sensor as the K5, on-sensor image stabilisation and 6fps burst at only around $650, less than half the price of an equivalent Canon or Nikon camera.

Value isn’t even the biggest strength of the Pentax DSLRs. That’s reserved for, well, strength. Built like tanks, with full steel and magnesium-alloy bodies and total weather sealing across the entire price range, it’s no surprise that Pentax is the preferred brand of many combat and military photographers.

Not only this, but like Nikon, Pentax didn’t change their “K” lens mount with the introduction of autofocus, meaning a huge array of lenses and adaptors are available for the system. This is great if you’re an old-lens enthusiast.

---

Sigma

The Sigma SD15, like all Sigma SLRs, using the interesting Foveon sensor.

Last up is Sigma, who make a solid third-party lens range for the above manufacturers, but their DSLRs are something of a wildcard. Using a three-layer “Foveon” sensor, they dispense with the need for a Bayer filter altogether.

While this should make for extremely high colour accuracy since there’s no algorithmic averaging involved, no tests I’ve seen have noticed a particularly overwhelming difference between the Foveon sensors and standard Bayer-type ones.

At 12-14 megapixels, they’re also have oddly low resolution for modern SLRs. Sigma have an unfortunate tendency to triple the real resolution of the sensor in their spec sheets and advertising by pretending that the three-layer sensor has three pixels for each actual pixel.

Perhaps to their undoing, they currently use a proprietory “SA” lens mount which restricts the choices of lenses to only Sigma. This is unfortunately as Sigma has made DSLRs for a long time that use a Nikon lens mount.

With such a small market share, third-party equipment is minimal.

---

Conclusion

It seems to me that there’s an option for everyone out there. Canon and Nikon make up the top of the field with the features and accessories available, but due to the names these come at a higher price.

Sony puts out an impressive performance and novel features at a competitive price if you’re willing to sacrifice some compatibility. Pentax offers extreme durability and excellent value with the native fit of cheap K mount lenses stretching back decades. Unfortunately, while Sigma is interesting, it doesn’t seem to be a wise system to start a long-term investment in.

I hope this round-up helped those of you looking to make your first DSLR purchase or even those wondering what other options are out there.

Comments? Questions? Hit up the comments below!

Continue Reading

CANON EOS 5D MARK III

Overview

The Power to Create.
Canon is proud to present the highly anticipated EOS 5D Mark III. With supercharged EOS performance and stunning full frame, high-resolution image capture, the EOS 5D Mark III is designed to perform. Special optical technologies like the 61-Point High Density Reticular AF and an extended ISO range of 100–25600 (expandable to 50 (L), 51200 (H1) and 102400 (H2) make the EOS 5D Mark III ideal for shooting weddings in the studio or out in the field, and great for still photography. Advanced professional-level high definition video capabilities (that includes a host of industry-standard recording protocols and enhanced performance) make it possible to capture beautiful cinematic movies in EOS HD quality. A newly designed 22.3 Megapixel full-frame Canon CMOS sensor, Canon DIGIC 5+ Image Processor, and shooting performance up to 6.0 fps provide exceptional clarity and sharpness, even when capturing rapidly-unfolding scenes. Additional technological advancements include an Intelligent Viewfinder, Canon's advanced iFCL metering system, High Dynamic Range (HDR), and Multiple Exposure mode-all of which that help make the EOS 5D Mark III the perfect multimedia tool.  

In response to user requests, Canon has released a firmware update that expands the versatility and functionality of the EOS 5D Mark III. This update enables the camera to export clean, uncompressed HDMI output to an external recorder, while still being able to record to internal CF or SD cards and monitor the video on the rear LCD display. In addition, this update improves autofocus performance by allowing cross-type support at f/8 (center point). Please click here to learn more.

Features

• Newly designed 22.3 Megapixel full-frame CMOS sensor, 14-bit A/D conversion, wide range ISO setting 100-25600 (L:50, H1: 51200, H2: 102400) for shooting from bright to dim light and next generation DIGIC 5+ Image Processor for enhanced noise reduction and exceptional processing speed.
• New 61-Point High Density Reticular AF including up to 41 cross-type AF points with f/4.0 lens support and 5 dual diagonal AF points (sensitive to f/2.8) and cross-type AF support at f/8 (center point)*.
• iFCL Metering with 63 zone dual-layer metering sensor that utilizes AF and color information for optimizing exposure and image quality.
• EOS HD Video with manual exposure control and multiple frame rates (1080: 30p (29.97) / 24p (23.976) / 25p, 720: 60p (59.94) / 50p, 480: 30p (29.97) / 25p with 4 GB automatic file partitioning (continuous recording time 29 minutes 59 seconds), selectable "All i-frame" or IPB compressions, embedded timecode, manual audio level control while recording, headphone terminal and uncompressed HDMI output*.
• Outstanding shooting performance: up to 6.0 fps continuous shooting using a UDMA CF card.
• Magnesium-alloy body with shutter durability tested up to 150,000 cycles, enhanced dust-and-weather resistance, and updated EOS Integrated Cleaning system for improved vibration-based dust removal.
• Intelligent Viewfinder with superimposed LCD display with approximately 100% field of view, wide viewing angle of 34.1°, and 0.71x magnification.
• 3.2-inch Clear View II LCD monitor, 170° viewing angle, 1,040,000-dot VGA, reflection resistance with multi coating and high-transparency materials for bright and clear viewing.
• High Dynamic Range (HDR) and Multiple Exposure modes expand creative possibilities.
• Improved handling with the addition of new customizable controls, enhanced recording options with Dual Card Slots for CF and SD cards, Dual Axis Electronic Level, and compatibility with optional Canon Wireless File Transmitter and GPS Receiver.
• Other Features.

Brilliant Sensor, Supercharged Processors.

22.3 Megapixel full-frame CMOS sensor

The EOS 5D Mark III features a newly developed Canon full-frame 22.3 Megapixel CMOS sensor that's designed from the ground up to create high resolution, perfectly detailed images with unprecedented speed and clarity. A full 24 x 36mm, the sensor captures 5784 x 3861 large individual 6.25 µm pixels and has a much-improved S/N ratio resulting in better images from the start. A new photodiode structure with an increased photoelectric conversion rate increases the sensor's sensitivity by approximately 2 stops over previous models, meaning higher ISOs with the lowest noise of any EOS digital camera. And a 2-line 8-channel simultaneous signal readout means speeds of up to 6.0 fps (RAW + JPEG) are possible!

---

14-bit A/D conversion, wide range ISO setting 100-25600 (L: 50, H1: 51200, H2: 102400) 

The EOS 5D Mark III not only offers 14-bit signal processing for excellent image gradation, it delivers higher standard and expanded ISOs, and a score of new options to enhance shooting in varied and fast-changing lighting situations. With a standard range of ISO 100-25600, the EOS 5D Mark III represents a 2-stop increase in sensitivity over previous cameras. Thanks to the improved signal-to-noise ratio of the new sensor and powerful noise reduction, the EOS 5D Mark III can shoot at expanded sensitivities down to ISO 50 (L) and up to 51200 (H1), and even 102400 (H2)! Beyond the obvious advantages of its wide ISO range, the EOS 5D Mark III has automatic ISO settings, found on the dedicated ISO menu. Minimum and maximum ISO settings can be specified, as can a user-defined range, plus full auto and manual.

---

DIGIC 5+ Image Processor for enhanced noise reduction and blazing processing speed 

For a whole new level of performance, the EOS 5D Mark III uses a DIGIC 5+ Image Processor. Working with two 4-channel A/D converter front-end processing circuits, and delivering speeds of up to 6.0 fps (RAW + JPEG), and the DIGIC 5+ Image Processor improves data processing performance and features new algorithms that promote greater noise reduction at higher ISOs. In addition to conventional image processing functions the DIGIC 5+ Image Processor offers real-time compensation for chromatic aberration in both still and motion images. With the power of this processor, speed improvements are noticeable from the instant the camera is turned on and the stunning results speak for themselves.

Specifications

Type
Digital, AF/AE single-lens reflex, camera

Recording Media
CF Cards (Type I); Compatible with UDMA CF cards; SD, SDHC, and SDXC Memory Cards

Image Format
Approx. 36 mm x 24mm (35mm Full-frame)

Compatible Lenses
Canon EF Lenses (excluding EF-S Lenses)

Lens Mount
Canon EF mount

Image Sensor

Type
High-sensitivity, high-resolution, large single-plate CMOS sensor

Pixels
Effective pixels: Approx. 22.3 megapixels

Pixel Unit
6.25 µm square

Total Pixels
Total pixels: 23.4 megapixels

Aspect Ratio
3:2 (Horizontal: Vertical)

Color Filter System
RGB primary color filters

Low Pass Filter
Fixed position in front of the image sensor

Dust Deletion Feature
(1) Self Cleaning Sensor Unit

·Automatic Sensor Cleaning

·Removes dust adhering to the infrared- and ultraviolet-blocking glass.

·Self-cleaning executed automatically when power is turned on or off. Manual execution also possible.

·Low-pass filter has a fluorine coating.

(2) Dust Delete Data acquisition and appending

·The coordinates of the dust adhering to the infrared- and ultraviolet-blocking glass are detected by a test shot and appended to subsequent images.

·The dust coordinate data appended to the image is used by the provided software to automatically erase the dust spots.

(3) Manual cleaning

Recording System

Recording Format
Design Rule for Camera File System 2.0 and EXIF 2.3

Image Format
Still Image: JPEG, RAW (14-bit Canon Original), M-RAW, S-RAW, RAW+JPEG, M-RAW+JPEG, S-RAW+JPEG

Video: MOV (Image data: H.264/MPEG-4 AVC; Audio: Linear PCM)

File Size
(1) Large: Approx. 22.10 Megapixels (5760 x 3840)

(2) Medium: Approx. 9.80 Megapixels (3840 x 2560)

(3) S1 (Small 1): Approx. 5.50 Megapixels (2880 x 1920)

(4) S2 (Small 2): Approx. 2.50 Megapixels (1920 x 1280)

(5) S3 (Small 3): Approx. 350,000 Pixels (720 x 480)

(6) RAW: Approx. 22.10 Megapixels (5760 x 3840)

(7) M-RAW: Approx. 10.50 Megapixels (3960 x 2640)

(8) S-RAW: Approx. 5.50 Megapixels (2880 x 1920) Exact file sizes depend on the subject, ISO speed, Picture Style, etc.

Recording Functions
1. Standard

* Records to either the CF card or SD card.

2. Auto switch card

* When the current card becomes full, the camera switches to the other card automatically.

3. Record separately

* The CF card and SD card record the same image at a different image recording quality (L, M, S1, S2, S3, RAW, M-RAW, S-RAW)

4. Record to multiple

* Both the CF card and SD card record the same image at the same image recording quality. (Also applies to RAW+JPEG, M+JPEG, and SRAW+JPEG)

Backup Recording
Images recorded in a card can be copied to the other card

File Numbering
The following three types of file numbers can be set:

(1) Continuous numbering

* The continuous numbering of captured images will continue even after you replace the camera's card. (The numbering continues even when the folder changes.)

(2) Auto reset

* When you replace the camera's card, the numbering will be reset to start from 0001. If the new card already contains images, the numbering will continue from the last recorded image in the card.

(3) Manual reset

* Resets the file number to 0001, and creates a new folder automatically.

RAW + JPEG Simultaneous Recording
The image-recording quality can be selected in any combination of the three RAW and eight JPEG recording quality settings.

Color Space
Selectable between sRGB and Adobe RGB

Picture Style
Auto, Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Defined 1-3

* Scene Intelligent Auto will set [Auto] automatically.

* [Standard] is the default setting for [User Def. 1-3]

White Balance

Settings
(1) Auto (AWB)

(2) Daylight

(3) Shade

(4) Cloudy

(5) Tungsten light

(6) White fluorescent light

(7) Flash

(8) Custom (Custom WB)

(9) Color temperature

* With an EX-series Speedlite having the color temperature information transmission feature, the color temperature setting changes to match the color temperature when the flash is fired. Set to approx. 6000K if the flash unit does not have the color temperature communication feature.

Auto White Balance
Auto white balance with the image sensor

Color Temperature Compensation
Blue/amber bias: ±9 levels

· Magenta/green bias: ±9 levels

* Corrected in reference to the current WB mode's color temperature.

Color Temperature Information Transmission
Provided

Viewfinder

Type
Eye-level pentaprism

Coverage
Approx. 100% vertically and horizontally (At approx. 21mm eyepoint)

Magnification
Approx. 0.71x / Angle of view 34.1° (with 50mm lens at infinity, -1 m-1 (dpt))

Eye Point
Approx. 21mm (At -1m-1 from the eyepiece lens center)

Dioptric Adjustment Correction
-3.0 to +1.0m-1 (diopter)

Focusing Screen
Fixed

Mirror
Quick-return half mirror (transmission: reflectance ratio of 40:60)

Viewfinder Information
·AF information

AF point, focus confirmation, AF status indicator

·Exposure information

Shutter speed, aperture, ISO speed (always displayed), AE lock, exposure level, exposure warning

·Flash information

Flash ready, flash exposure compensation, high-speed sync, FE lock, red-eye reduction light

·Image information

Highlight tone priority (D+), maximum burst (2-digit display), card information

·Battery check

·Composition information

Grid, electronic level

·Warning symbol

Displayed if any of the following is set: Monochrome, white balance correction, One-touch recording quality switch, expanded ISO speed, or spot metering.

Depth Of Field Preview
Enabled with Depth-of-field preview button

Autofocus

Type
TTL secondary image - registration, phase detection

AF Points
61-point (up to 41 cross-type points)

* One to five cross-type AF points at f/2.8, 10 to 20 cross-type AF points at f/4, and 15 to 21 cross-type AF points at f/5.6. (The number of cross-type AF points will differ depending on the lens.)

AF Working Range
EV -2 - 18 (at 73°F/23°C and ISO 100)

Focusing Modes
(1) Autofocus

·One-Shot AF

·Predictive AI Servo AF

   -For automatic AF point selection, the AF point to start the AI Servo AF operation can be selected.

   -For automatic AF point selection, the active AF point can be displayed.

·AI Focus AF

   -(Switches between One-Shot AF and AI SERVO AF automatically)

   -Automatically set in A+ Auto Mode

(2) Manual focus (MF)

AF Point Selection
1. Single-point AF (Manual selection)

2. Auto selection 61-Point AF

3. Single-point Spot AF (Manual selection)

4. AF point expansion (Manual selection, 4 points: Up, down, left, and right)

5. AF point expansion (Manual selection, surrounding 8 points)

6. Zone AF (Manual zone selection)

Selected AF Point Display
Displayed in viewfinder with transparent LCD and on LCD panel

Active AF Point Indicator
AF area used in horizontal/vertical (grip up or down) shooting and the manually-selected AF point position can be set separately

AF Assist Beam
(1) Enable

With an EOS-dedicated Speedlite, AF-assist beam is emitted automatically when necessary.

(2) Disable

(3) IR AF assist beam only

* No AF-assist beam with flash bursts.

Exposure Control

Metering Modes
Max. aperture TTL metering with 63-zone SPC with the following selectable modes:

(1) Evaluative metering (linked to all AF points)

(2) Partial metering (center, approx. 7.2% of viewfinder)

(3) Spot metering (center, approx. 1.5% of viewfinder)

·AF point-linked spot metering not provided.

(4) Center-weighted average metering

a. The selectable metering modes can be limited with a Custom Function.

Metering Range
EV 1-20 (at 73°F / 23°C with 50mm f/1.4 lens at ISO 100)

Exposure Control Systems
(1) Scene Intelligent Auto

(2) Program AE (shiftable)

(3) Shutter-priority AE (Safety shift possible)

(4) Aperture-priority AE (Safety shift possible)

(5) Manual exposure

* The metering mode can be specified with a Custom Function.

(6) Bulb

(7) E-TTL II autoflash program AE

* Evaluative metering, Averaged metering

ISO Speed Range
For Stills:

ISO 100-25600 (in 1/3-stop or whole-stop increments)

·ISO speed expansion possible to ISO 50, 51200, and 102400.

·For [Highlight tone priority], the settable ISO speed range will be 200-25600.

·ISO speed safety shift possible with Custom Function.

Auto Setting
Shooting Mode	ISO Settings
A+	100-12800
P/Tv/Av/M	100-25600
B	ISO 400 fixed
With Flash	ISO 400 fixed∗

∗If fill flash will result in overexposure, minimum ISO 100 is set.
∗For bounce flash, ISO 400-1600 is set automatically depending on the light level.

ISO Speed upper and lower limits:

(1) Manual setting range

* ISO speed expansion is set with this option.

(2) Auto ISO range

* ISO speed expansion not settable.

Shutter speed and automatic ISO speed control in P and Av Modes:

In the P and Av shooting modes with Auto ISO set, the ISO speed is set automatically so that a shutter speed slower than the one set with [Minimum shutter speed] (1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 0"5, 1") is not set.

Exposure Compensation
Manual: ±5 stops in 1/3 or 1/2-stop increments

AEB: ±3 stops in 1/3 or 1/2-stop increments

* Indicated up to ±3 stops on the LCD panel and in the viewfinder.

AE Lock
(1) Auto AE lock

·In the One-Shot AF mode with evaluative metering, AE lock takes effect when focus is achieved.

(2) Manual AE lock

·With AE lock button. (AE lock is updated each time you press the button.) Enabled in all metering modes.

Shutter

Type
Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled

Shutter Speeds
1/8000 to 30 sec., bulb (Total shutter speed range. Available range varies by shooting mode.)

X-sync at 1/200 sec.

Shutter Release
Soft-touch electromagnetic release

Self Timer
10-sec. or 2-sec. delay

Shutter Lag Time
1) During SW-1 ON, time lag between SW-2 ON and start of exposure:

- Approx. 0.059 sec. (With the shutter-release time lag is shortened with the Custom Function, it will be approx. 0.036 sec.)

2) Time lag between simultaneous SW-1/SW-2 ON and start of exposure: Approx. 0.2 sec.

- Time lag with the aperture stopped down by 3 stops or less. Excludes AF operation time.

External Speedlite

EOS Dedicated Speedlite
E-TTL II autoflash with all EX Series Speedlites

Zooming to Match Focal Length
Provided

Flash Exposure Compensation
±3 stops in 1/3- or 1/2-stop increments

FE Lock
Provided

External Flash Settings
The camera can set the following with Speedlite 600EX-RT, 580EX II, 430EX II, 320EX, 270EX II, or 270EX:

(1) External flash control

* Flash mode, sync setting, FEB (not possible with 270EX II/270EX), flash exposure compensation, E-TTL II, zoom, wireless master flash (not possible with 430EX II/ 270EX), and clear settings.

* With the Speedlite 600EX-RT, radio wireless control is possible.

(2) Flash Custom Function setting

PC Terminal
Provided (no polarity)

Drive System

Drive Modes
Single, High-speed continuous, Low-speed continuous, Silent Single Shooting and Self-timer (10 sec. self-timer/remote control, or 2-sec. self-timer/remote control)

Continuous Shooting Speed
High-speed: Maximum approx. 6 shots/sec.

Low-speed: Maximum approx. 3 shots/sec.

Silent continuous shooting: Maximum approx. 3 shots/sec.

Maximum Burst
·JPEG Large/Fine: Approx. 65 shots (approx. 16270 shots)

·RAW: Approx. 13 shots (approx. 18 shots)

·RAW+JPEG Large/Fine: Approx. 7 shots (approx. 7 shots)

*Figures are based on Canon's testing standards (ISO 100 and Standard Picture Style) and a 8 GB card.

*Figures in parentheses apply to an UDMA mode 7, 128 GB card based on Canon's testing standards.

Live View Functions

Shooting Modes
Still photo and video recording

Focusing
(1) Autofocus (One-Shot AF)

·Live mode

·One-point, contrast AF. Switching to another AF point possible.

·Face detection Live mode

·Face detection, contrast AF. Face selectable.

·Quick mode

61-point, phase-difference AF, same as normal shooting.

(2) Manual focus

* Magnify the image by 5x or 10x and focus manually.

Metering Modes
Real-time Evaluative metering with the image sensor

Metering Range
Real-time evaluative metering with image sensor:

·Metering range: EV 0 - EV 20 (At 73°F/23°C, 50mm f/1.4 lens, ISO 100)

·AE lock possible

·The active metering time can be changed.

Grid Display
Three grid display provided

Exposure Simulation
Provided

Silent Shooting
Provided (Mode 1 and 2)

Video Shooting

File Format
MPEG-4 AVC / H.264

Variable (averaged) bit rate

File Size
Recording Sizes:

1920 x 1080 (Full HD), 1280 x 720 and 640 x 480

Frame Rates
[1920 x 1080]: 30 fps / 25 fps / 24 fps

[1280 x 720]: 60 fps / 50 fps

[640 x 480]: 30 fps / 25 fps

Continuous Shooting Time
Based on 8GB Card:

[1920 x 1080]

30 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min (235 MB/min.)

25 fps ALL-I: 11 min (685 MB/min.) / IPB: 32 min. (235 MB/min.)

24 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min. (235 MB/min.)

[1280 x 720]

60 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.)

50 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.)

[640 x 480]

30 fps IPB: 97 min. (78 MB/min.)

25 fps IPB: 97 min. (78 MB/min.)

* If the recording time reaches 29 min. 59 sec., the movie shooting stops automatically.

* Movie shooting does not stop when the file size reaches 4GB.

Focusing
Same as focusing with Live View shooting

* During movie shooting or if movie cropping has been set, the image cannot be magnified for manual focusing.

Range
ISO Range

·P, Av, and Bulb: Automatically set within ISO 100 - 12800, expandable to H (equivalent to ISO 25600)

·A+ and Tv: Automatically set within ISO 100 - 12800

·M: Auto ISO (automatically set within ISO 100 - 12800), ISO 100 - 12800 set manually (in 1/3- or whole-stop increments), expandable to H (equivalent to ISO 16000/20000/25600)

* If Highlight tone priority is set to enable, the settable ISO speed range will be ISO 200 - 12800.

Exposure Control
(1) Program AE for movie shooting

* For shooting modes other than manual exposure and bulb.

* Shutter speed (1/30 - 1/4000 sec., signal accumulation time), aperture, and ISO speed automatically set.

(2) Manual exposure

* For manual exposure.

* Shutter speed (signal accumulation time), aperture, and ISO speed (auto/manual) manually set. The shutter speed (signal accumulation time) is limited to 1/4000 sec. at the maximum and to 1/30 sec. at the minimum for 24/25/30 fps or 1/60 sec. or higher for 50/60 fps.

Exposure Compensation
Up to ±3 stops in 1/3-stop increments

* For movies, even if exposure compensation has been set beyond ±3 stops, exposure compensation up to only ±3 stops will be applied.

* For still photos, exposure compensation up to ±5 stops can be applied.

LCD Monitor

Type
TFT color, liquid-crystal monitor

Monitor Size
3.2-inches

Pixels
Approx. 1.04 million dots

Coverage
Approx. 100%

Approx. 170° vertically and horizontally

Brightness Control
Auto: Brightness adjusted automatically by the light sensor

* Adjustable to one of three levels: Darker, Standard, Brighter

Manual: Adjustable to one of seven brightness levels

Coating
Clear View LCD II

* Glass surface has an anti-reflective AR coating.

Interface Languages
25 (English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Czech, Hungarian, Romanian, Ukraine, Turkish, Arabic, Thai, Simplified/Traditional Chinese, Korean, Japanese)

Tilt Display

On LCD Monitor
Electronic level indicates up to 360° roll and ±10° pitch in 1° increments.

In Viewfinder
The AF point display is used to indicate up to ±6° horizontal tilt and ±4° vertical tilt in 1° increments (During vertical shooting, up to ±1° horizontal tilt and ±6° vertical tilt).

Playback

Display Format
Single image, Single image + Image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approx. 1.5x-10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), two-image comparative display, slide show (all images/selected by date/folder), star rating

Highlight Alert
With single-image display (Info.) and single-image display, overexposed highlight areas will blink

Quick Control Function

Items
The following functions can be set:

Shutter speed, aperture, ISO speed, exposure compensation, AEB, flash exposure compensation, AF point selection (including AF area selection modes), Picture Style, White Balance, WB Correction, metering mode, Auto Lighting Optimizer, recording function switching, image-recording quality, AF mode, drive mode, and Custom Controls (camera controls/buttons customization).

Image Protection and Erase

Protection
Erase protection can be applied or canceled for a single image, all images in a folder or all images in the card

Erase
Erase a single image, selected images, all images in a folder, all images in a card or erase only unprotected images

Direct Printing

Compatible Printers
PictBridge-compatible printers

Printable Images
RAW and JPEG images complying to Design rule for Camera File System

·Movies cannot be printed

DPOF: Digital Print Order Format

DPOF
Version 1.1 compatible

Direct Image Transfer

Compatible Images
JPEG and RAW images and movie

For RAW+JPEG, only the RAW or JPEG image or both images can be transferred

Customization

Custom Functions
13 Custom Functions settable with the camera

Custom Controls
The following camera controls can be customized by assigning the desired function: Shutter button halfway pressing, AF-ON button, AE lock button, Depth-of-field preview button, lens AF Stop button, Multifunction button, SET button, Main Dial, Quick Control Dial, and Multicontroller

Camera User Settings
Current camera settings can be registered to C1, C2 and C3 on the Mode Dial (Automatic registration update is possible)

My Menu Registration
Up to six top-tier menu options and Custom Function settings can be registered

Interface

USB Terminal
For personal computer communication and direct printing (USB 2.0 Hi-Speed)

Video Out Terminal
(1) Video OUT terminal: NTSC/PAL selectable

(2) mini-HDMI OUT terminal

Extension System Terminal
For connection to WFT-E7A (WFT) and GP-E2 (GPS)

Gigabit-Ethernet
The RJ-45 jack is not built-in and is only available via the Wireless File Transmitter WFT-E7A

Power Source

Battery
One Battery Pack LP-E6

AC power can be supplied with the AC Adapter Kit ACK-E6

Battery Life
1) Camera body only:

Shooting Method	Temperature	Possible Shots
Viewfinder Shooting	At 73°F/ 23°C	Approx. 950
	At 32°F/ 0°C	Approx. 850
Live View shooting	At 73°F/23°C	Approx. 200
	At 32°FF/ 0°C	Approx. 180

2) With Battery Grip BG-E11:

Shooting Method	Battery	Temperature	Possible Shots
Viewfinder Shooting	LP-E6 x 1	Same as (1)
	LP-E6 x 2	At 73°F/ 23°C	Approx. 1900
		At 32°F/ 0°C	Approx. 1700
	Size AA/LR6 alkaline batteries	At 73°F/ 23°C	Approx. TBA
		At 32°F/ 0°C	Approx. TBA
Live View shooting	LP-E6 x 1	Same as (1)
	LP-E6 x2	At 73°F/ 23°C	Approx. TBA
		At 32°F/ 0°C	Approx. TBA
	Size AA/LR6 alkaline batteries	At 73°F/ 23°C	-
		At 32°F/ 0°C	-

∗Based on CIPA testing standards

Battery Check
Automatic battery check when the power switch is turned on:

Displayed in 6 levels:

·Battery level displayed on LCD panel and in viewfinder.

·Battery information can be checked with the [Battery info.] menu

·If Battery Grip BG-E11 is used with size AA/LR6 batteries; the battery level is displayed in four levels instead.

Power Saving
Power turns off after the set time (1, 2, 4, 8, 15 or 30 minutes) of non-operation elapses.

Date/Time Battery
CR1616 lithium battery

Start-up Time
Approx. 0.1 sec

Dimensions and Weight

Dimensions (W x H x D)
Approx. 6.0 x 4.6 x 3.0 in. (152.0 x 116.4 x 76.4 mm )

Weight
Approx. 33.5 oz. / 950g (Based on CIPA standards)

Approx. 30.3 oz./ 860g (Body only)

Operating Environment

Working Temperature Range
32-104°F/0-40°C

Working Humidity Range
85% or less

Continue Reading