Canon EOS 5D Mark III 9781781450628, 9781907708930

Citation preview

CANON EOS 5D MK III THE EXPANDED GUIDE

David Taylor

CANON 5D MK III CH 1 001-025.indd 3

15/8/12 14:37:35

CANON 5D MK III CH 1 001-025.indd 2

15/8/12 14:37:34

CANON EOS 5D MK III THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 1

15/8/12 14:37:31

First published 2012 by Ammonite Press an imprint of AE Publications Ltd

166 High Street, Lewes, East Sussex, BN7 1XU, UK

 Text © AE Publications Ltd, 2012 Images © David Taylor, 2012 Product photography © Canon, 2012 Copyright © in the Work AE Publications Ltd, 2012   Print ISBN 978-1-90770-893-0 Amazon ISBN 978-1-78145-134-2 ePub ISBN 978-1-78145-062-8 PDF ISBN 978-1-78145-135-9   All rights reserved   The rights of David Taylor to be identified as the author of this work have been asserted in accordance with the Copyright, Designs, and Patents Act 1988, Sections 77 and 78.   No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of the publishers and copyright owner.   While every effort has been made to obtain permission from the copyright holders for all material used in this book, the publishers will be pleased to hear from anyone who has not been appropriately acknowledged, and to make the correction in future reprints.   The publishers and author can accept no legal responsibility for any consequences arising from the application of information, advice, or instructions given in this publication.   British Library Cataloging in Publication Data: A catalog record of this book is available from the British Library.  Series Editor: Richard Wiles Design: Richard Dewing Associates  Typeface: Giacomo Color reproduction by GMC Reprographics

CANON 5D MK III CH 1 001-025 NEW.indd 4

«

PAGE 2 Lindisfarne Castle, Northumberland, UK.

28/08/2014 15:20

» CONTENTS Chapter 1

Overview

6

Chapter 2

Functions

26

Chapter 3

Lenses

146

Chapter 4

Flash

164

Chapter 5

Accessories

184

Chapter 6

In the field

196

Chapter 7

Close-up

214

Chapter 8

Connection

226

Glossary

242

Useful web sites

245

Index

246

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 5

5

15/8/12 14:37:37

» CANON CAMERAS

8–10

» MAIN FEATURES OF THE CANON EOS 5D MK III

12–13

» FULL FEATURES AND CAMERA LAYOUT

14–17

» VIEWFINDER

18

» SHOOTING INFORMATION / QUICK CONTROL SCREEN

19

» LCD PANEL

20

» MENU DISPLAYS

CANON 5D MK III CH 1 001-025.indd 6

21–25

15/8/12 14:37:37

Chapter 1

OVERVIEW

CANON 5D MK III CH 1 001-025.indd 7

15/8/12 14:37:38

1

OVERVIEW The original Canon 5D is seen as the first affordable full-frame camera. The 5D MK III builds on the strengths of its predecessors, making it the most refined 5D to date.

» CANON CAMERAS The Precision Optical Instruments Laboratory was opened in Tokyo in 1933 by Goro Yoshida, Saburo Uchida, Takeo Maeda and Takeshi Mitarai. The company was formed with the aim of producing photographic equipment that could successfully compete against European products. In 1934, the company produced their first camera prototype, the Kwanon, named for the Buddhist Goddess of Mercy. The prototype led to the Hansa Canon camera, which went on sale in 1935. The Hansa Canon was a 35mm focal-plane shutter rangefinder camera similar to contemporary Leica cameras. It is now regarded as the first high-quality 35mm rangefinder made in Japan.

In 1947, the company name was changed to Canon Camera Co., Inc., and output steadily began to increase despite postwar shortages. Over the following decades, Canon steadily gained market share around the world thanks to a range of innovative products. In 1987, Canon announced the Canon 650, a camera with a newly developed lens mount that allowed autofocus (AF). The 650 was the first EOS (Electro Optical System) camera to use the EF lens mount—the same lens mount used on all of Canon’s D-SLR models today, including the 5D MK III. In 2000, Canon released the D30, the first “consumer” digital SLR produced by the company. Canon developed the sensor used in the D30 in-house, a policy the company still follows today.

« CANON EOS LOGO

8

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 8

15/8/12 14:37:39

CANON EOS 5D MK II

«

Digital sensors are created on 8in (20.3cm) wafers of silicon. The larger the sensor, the fewer can be fitted onto one wafer of silicon. This helps to push up the price of full-frame sensors in comparison to the smaller sensors found in APS-C and compact cameras. However, full-frame cameras have proved desirable—despite the cost—for two main reasons. The first is image quality: photosites tend to be larger on full-frame cameras, allowing them to gather more “information” during an exposure. The second is that the angle of view of lenses is the same as when used on 35mm cameras. For professionals who switched from film to digital, this latter advantage made the transition far easier than it might have been. Canon’s first full-frame camera was the EOS-1Ds in 2002. The camera was aimed at professional or well-heeled amateur photographers, the cost putting it out of reach of most other photographers. In 2005, however, Canon released their first “consumer” full-frame camera, the EOS 5D. This camera did not have the build quality of the 1D range, but it was a groundbreaking product. In fact, so good was the 12.8mp full-frame sensor that many 5Ds are still in use today, and the

camera still fetches reasonable sums on the secondhand market. The 5D was superseded by the imaginatively named 5D MK II in 2008. This camera addressed many of the criticisms aimed at the original camera. The 5D MK II had a higher-resolution sensor (22.1mp), it was weather-sealed, the viewfinder was improved (98% coverage instead of 96%), frame rate was increased (3.9 frames per second [fps] compared to 3), and a larger LCD was used (3in. instead of 2.5in.). The headline feature of the 5D MK II was the addition of video capture. The 5D MK II wasn’t the first DSLR with this capability— the Nikon D90 beat it to this distinction. However, this feature has proved immensely popular, and the 5D MK II has been used to shoot footage suitable for use in broadcast TV and feature films.

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 9

OVERVIEW » CANON CAMERAS

› Full-Frame

9

15/8/12 14:37:39

1

› 5D MK III Despite the improvements made to the 5D MK II, Canon still came in for some panning when the camera was released. Top of the list was criticism of the autofocus (AF) system, which was essentially the same as that used in the original 5D. The 5D MK III was therefore keenly anticipated, with rumours flying around the Internet for months ahead of its release. On 2nd March, 2012, the waiting was finally over when Canon issued an official press release introducing the 5D MK III. The first surprise was the resolution of the digital sensor, which at 22.3mp is not a great increase, compared to the 5D MK II.

«

CANON EOS 5D MK III

However, this is no bad thing as it is the quality of the pixels—not their number— that determines the effectiveness of a sensor. The sensor used in the 5D MK III is a gapless microlens design with improved on-chip noise reduction. This allows a higher sensitivity with lower noise levels compared to the sensor used in the 5D MK II. The practical benefit of this is an increased ISO range, with less-noisy still images and video at all ISO levels compared to the 5D MK II. The 5D MK III also features a DIGIC 5+ image processor that helps to speed up camera operations. It was the overhauled AF system that grabbed the headlines when the 5D MK III was announced. The 61-point AF system is the same as that used in the EOS-1D X camera also announced in 2012. This is arguably the most powerful AF system seen in any Canon DSLR to date and it turns the 5D MK III into a powerful sports-action camera. This is aided by an increase in the frame-rate to 6 fps. Other improvements compared to the 5D MK II are the 100%-coverage viewfinder, improved weather sealing, better build quality and a better integrated video shooting system. The 5D MK III is a mature iteration of a camera line that has proved popular for more than seven years. WISE MOVE « With its new AF system, the 5D MK III is a match for any situation.

10

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 10

15/8/12 14:37:40

CANON 5D MK III CH 1 001-025.indd 11

15/8/12 14:37:40

1 » MAIN FEATURES OF THE CANON EOS 5D MK III 1 Body Dimensions (W x H x D): 6 x 4.6 x 3in. (152 x 116.4 x 76.4mm). Weight: 30.3oz. (860g)—body only. Body material: Magnesium-alloy chassis. Lens mount: Compatible with EF lenses. Caution: Operating environment 32–104°F (0–40°C) at 85% humidity maximum. Sensor and processor Sensor: 1.42 x 0.94in. (36 x 24mm) CMOS. Aspect Ratio: 3:2. Resolution: Approximately 22.3 megapixels. Dust deletion: Self-cleaning with the option of manual cleaning and recording of Dust Delete Data for software dust removal in Digital Photo Professional (DPP). Image Processor: DIGIC 5+ with 14-bit output. Still image file types and sizes JPEG can be shot at five different resolutions: 5760 x 3840 (L), 3840 x 2560 (M), 2880 x 1920 (S1), 1920 x 1280 (S2), or 720 x 480 (S3). Compression can be set to either Fine or Normal quality (Fine is used when S2 or S3 are selected). RAW files are recorded at 5760 x 3840 (RAW), 3960 x 2640 (M-RAW), or 2880 x 1920 (S-RAW) using Canon’s proprietary .CR2 format. There is also the option of shooting RAW + JPEG.

12

Shutter The 5D MK III has an electronically controlled, focal-plane shutter capable of speeds between 1/8000 and 30 seconds, plus bulb (shutter speed range is mode dependent). Drive options include continuous shooting at 6 fps using Highspeed continuous or 3 fps using Lowspeed continuous. Maximum burst rate is 65 shots approximately with JPEG set to Large/Fine, or 18 shots when using RAW. LCD Monitor The rear LCD is 3.2in. (8.1cm) diagonally TFT color unit with a resolution of approximately 1.04 million pixels. There are seven user-selectable levels of brightness. Live View mode is selected using a dedicated button. During Live View, the image can be magnified 5x and 10x, and scrolled in all directions to assist focusing. As an aid to composition, three grid types can be overlaid on the display. The 5D MK III also features an electronic level for vertical and horizontal alignment of the camera. Viewfinder An eye-level pentaprism with approximately 100% coverage. The viewfinder eye point is 21mm and has a built-in diopter adjustment of -3 ±1 m-1.

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 12

15/8/12 14:37:42

Focusing (Live View) Three different focusing modes: Live mode, Face detection Live mode (both using contrast detection), and Quick mode (using phase-difference detection). The lens can also be set to manual focus (MF) for adjustment by the photographer. Both AF and Manual focusing can be used with 5x and 10x magnification of the Live View image. Movies Movies are recorded employing the .MOV format, using H.264 compression for the image data and Linear PCM for the audio. The resolution can be set to 1920 x 1080—full HD (30p, 25p and 24p); 1280 x 720—HD (60p and 50p); 640 x 480—SD (30p and 25p).

Exposure The 5D MK III uses a 63-zone TTL metering system. There are four modedependent exposure types: Evaluative, Partial metering (approximately 6.2% of the viewfinder at center), Spot (approximately 1.5% of viewfinder at center), and Center-weighted. Automatic exposure bracketing up to ±5 stops in ¹/₃- or ½-stop increments, and exposure compensation is available up to a maximum of ±5 stops in ¹/₃- or ½-stop increments. ISO can be set manually between 50 (Lo) and 102400 (Hi 2). Flash A hotshoe is available for mounting compatible EX-series Speedlite flashguns. Flash control is via the 5D MK III’s menu system or control buttons. Flash controls include flash exposure compensation of ±3 stops in ¹/₃-stop increments, highspeed synchronization, and first- and second-curtain shutter synchronization. Memory Card The 5D MK III is compatible with Compact Flash (CF), Secure Digital (SD), SDHC and SDXC memory cards. Eye-Fi compatible media is also supported. Software PC and Mac: Digital Photo Professional, PhotoStitch, ImageBrowse EX, EOS Utility, Picture Style Editor

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 13

OVERVIEW » MAIN FEATURES OF THE CANON EOS 5D MK III

Focusing (Viewfinder) Three different autofocus (AF) modes are available, all using phase difference detection: One-Shot, AI Servo AF, AI Focus AF. One-shot is more suited to static subjects, AI Servo to moving subjects. AI Focus switches the AF mode automatically depending on the subject. There are 61 AF points (of which 41 are cross-type points) visible in the viewfinder. The AF points can be selected individually or grouped together in zones. In low light situations, an external Speedlite can be used as an AF assist beam. The lens can also be set to manual focus (MF) for adjustment by the photographer.

13

15/8/12 14:37:42

1 » FULL FEATURES AND CAMERA LAYOUT FRONT OF CAMERA

6

5

7 4

8

3 9 10 11 2

12

1

FRONT OF CAMERA

14

1

DC Coupler cord hole

9

Lens release button

2

Depth-of-field preview button

10

Lens lock pin

3

Remote control sensor

11

Reflex mirror

4

Self-timer lamp

12

Lens electrical contacts

5

Shutter-release button

6

Microphone

7

Lens mount index

8

Lens mount

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 14

15/8/12 14:37:42

21

22

23

24

25

26

27

28

20

19 18

29

17 30 16

31

15

32 33

14 13

34 36

35

OVERVIEW » FULL FEATURES AND CAMERA LAYOUT

BACK OF CAMERA

BACK OF CAMERA

13

Speaker

21 LCD Monitor

30 Quick control button

14

Delete button

22 Viewfinder eyepiece

31 Quick control dial

23 Eyecup

32 Setting button

24 Live View / Movie

33 Touchpad

15 Playback button 16

Index / Magnify / Reduce button

17 RATE button 18

19

shooting switch

35 Multi-function switch 36 Light sensor

Creative Photo /

26 AF-ON button

Comparative Playback /

27 AE Lock button

Direct print button

28 AF-Point selection

MENU button

20 INFO. Button

34 Access lamp

25 START / STOP button

button 29 Multi-controller

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 15

15

15/8/12 14:37:42

1 » FULL FEATURES AND CAMERA LAYOUT RIGHT SIDE OF CAMERA

TOP OF CAMERA 38

39

40

41

42

43 44 45 46

47

52

48

37

51

50

49

TOP OF CAMERA

37

ON / OFF switch

46

Main dial

38

Left strap mount

47

ISO speed setting / Flash exposure

39

Mode dial lock release

40

Mode dial

48

LCD panel illumination button

41

Hotshoe

49

Right strap mount

42

Focal plane mark

50

LCD panel

51

Diopter adjustment dial

43

Metering / White Balance button

44

AF auto focus mode / Drive mode button

45

16

AF area / M-Fn multi-function button

compensation button

RIGHT SIDE OF CAMERA

52

Memory card cover

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 16

15/8/12 14:37:43

53

OVERVIEW » FULL FEATURES AND CAMERA LAYOUT

LEFT SIDE OF CAMERA

BOTTOM OF CAMERA

54

59

61

56

55

58

57

60

LEFT SIDE OF CAMERA

BOTTOM OF CAMERA

53

External microphone terminal

59

Tripod socket

54

Headphone terminal

60

Information panel

55

Flash PC terminal

61

Battery cover

56

Audio/Video out / Digital terminal

62

Battery cover lock release

57

HDMI mini out terminal

58

N3-type remote control terminal

62

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 17

17

15/8/12 14:37:43

1

» VIEWFINDER 1

2

4

3

5

6 18

7

17

12

11 10 9

8

1

Grid lines

11

Highlight tone priority

2

Focusing screen

12

Exposure level indicator / Exposure

3

Spot metering circle

compensation amount / AEB range /

4

AF frame area

5

Spot AF point

13

Aperture setting

6

Warning indicator

14

Shutter speed / Other shooting

7

Focus confirmation indicator

8

AF status indicator

15

Flash exposure compensation

9

Maximum burst indicator

16

High-speed sync / FE lock

10

18

16 15 14 13

ISO Speed

Flash compensation amount

information

17

AE Lock

18

Battery level indicator

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 18

15/8/12 14:37:43

1

3

2

4

5

6

7

8

20

9

19

10

18

11

17

16

15

14 13

12

Shooting mode

12

Shots remaining

2

Current white balance setting

13

Maximum burst indicator

3

Shutter speed

14

Memory card indicator (SD memory

1

4

White balance compensation

5

Aperture

15

Drive mode

6

AE Lock

16

Metering setting

7

Flash exposure compensation

17

Battery charge status

card shown)

8

ISO speed

18

Focus mode

9

Custom control

19

Picture Style

10

Auto Lighting Optimizer

20

11

Image quality setting

Exposure level indicator / AEB range / Exposure compensation

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 19

OVERVIEW » VIEWFINDER / SHOOTING INFORMATION DISPLAY / QUICK CONTROL SCREEN

» SHOOTING INFORMATION / QUICK CONTROL SCREEN

19

15/8/12 14:37:44

1 » LCD PANEL 1

2

3

4

5

6

7

8

9

10

11 26 12 25

13 14

24

1 2

22

21 20 19 18 17 16 15

White balance correction

15

Auto Exposure Bracketing (AEB)

Shutter speed setting / Other

16

Flash exposure compensation

shooting information

17

JPEG image quality setting (SD memory card)

3

GPS-device connection

4

Auto Lighting Optimizer

18

RAW setting (SD memory card)

5

Mirror lockup

19

SD memory card

6

Aperture setting

20

JPEG image quality setting

7

Monochrome

8

Multiple exposure shooting

9

20

23

(CompactFlash memory card) 21

RAW setting (CompactFlash memory card)

Shots remaining / Other shooting information

22

CompactFlash memory card

10

HDR

23

ISO setting

11

Focus mode

24

Exposure level indicator / AEB range /

12

Drive mode

Exposure compensation / Flash

13

Metering setting

compensation

14

Battery charge status

25

Highlight tone priority

26

White balance setting

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 20

15/8/12 14:37:44

OVERVIEW » LCD PANEL / MENU DISPLAYS

» MENU DISPLAYS

Shooting 1 › Image Quality › Image Review › Beep › Release shutter without card › Lens aberration correction › External Speedlite control › Mirror lockup

Shooting 2 › Exposure Compensation / Auto Exposure Bracketing › ISO speed settings › Auto Lighting Optimizer › White Balance › Custom White Balance › WB Shift / Bracket › Color space

Shooting 3 › Picture Style › Long exposure noise reduction › High ISO speed noise reduction › Highlight tone priority › Dust delete data › Multiple exposure › HDR Mode

Shooting 4 › Live View shooting › AF mode › Grid display › Aspect Ratio › Exposure simulation › Silent Live View shooting › Metering timer

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 21

21

15/8/12 14:37:45

1

22

Autofocus 1 AF › AF configuration tool

Autofocus 2 AF › AI Servo 1st image priority › AI Server 2nd image priority

Autofocus 3 AF › USM lens electronic manual focus › AF-assist beam firing › One-Shot AF release priority

Autofocus 4 AF › Lens drive when AF impossible › Selectable AF point › Select AF area selection mode › AF area selection method › Orientation linked AF point

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 22

15/8/12 14:37:45

Playback 1 › Protect images › Rotate image › Erase images › Print order › Image copy › RAW image processing

Playback 2 › Resize › Rating › Slide show › Image transfer › Image jump with

Playback 3 › Highlight alert › AF point display › Playback grid › Histogram display › Movie play count › Magnification (approximate) › Control over HDMI

OVERVIEW » MENU DISPLAYS

Autofocus 5 AF › Manual AF point selection pattern › AF point display during focus › Viewfinder display illumination › AF Microadjustment

23 CANON 5D MK III CH 1 001-025.indd 23

15/8/12 14:37:46

1

24

Setup 1 › Record func+card / folder select › File numbering › File name › Auto rotate › Format card

Setup 2 › Auto power off › LCD brightness › Date / Time / Zone › Language › Viewfinder grid display › GPS device settings

Setup 3 › Video system › Battery information › Sensor cleaning › INFO button display options › RATE button function

Setup 4 › Custom shooting mode (C1–C3) › Clear all camera settings › Copyright information › Firmware version number

CANON EOS 5D MK III

CANON 5D MK III CH 1 001-025.indd 24

15/8/12 14:37:47

Custom functions 2 › Warnings in viewfinder › Live View shooting area display › Dial direction during Tv/Av › Multi function lock › Custom Controls

Custom functions 3 › Add cropping information › Default Erase option

Custom functions 4 › Clear all Custom Functions

OVERVIEW » MENU DISPLAYS

Custom functions 1 › Exposure level increments › ISO speed setting increments › Bracketing auto cancel › Bracketing sequence › Number of bracketed shots › Safety shift

i

THE EXPANDED GUIDE

CANON 5D MK III CH 1 001-025.indd 25

25

15/8/12 14:37:47

» CAMERA PREPARATION

29–30

» POWERING YOUR 5D MK III

33–32

» BASIC CAMERA FUNCTIONS

33

» THE MENU SYSTEM

34

» QUICK CONTROL MENU

35

» TOP LCD PANEL / SETTING THE TIME

36–37

» MEMORY CARDS

38–42

» THE SHUTTER-RELEASE BUTTON / DRIVE MODE

43–44

» FOCUSING / EXPOSURE

45–53

» ISO / USING LIVE VIEW

54–57

» ELECTRONIC LEVEL

58

» IMAGE PLAYBACK

60–64

» MOVIES / MOVIE PLAYBACK & EDITING

65–73

» THE MODE DIAL

74

» SHOOTING MODES

76–87

» MENU SUMMARY

88–94

» SHOOTING 1, 2, 3, 4

95–113

» AUTOFOCUS 1, 2, 3, 4, 5

114–121

» PLAYBACK 1, 2, 3

122–128

» SETUP 1, 2, 3, 4

129–137

» CUSTOM FUNCTIONS 1, 2, 3, 4

138–143

» MY MENU

144

CANON 5D MK III CH 2a 026-073.indd 26

15/8/12 14:38:35

Chapter 2

FUNCTIONS

CANON 5D MK III CH 2a 026-073.indd 27

15/8/12 14:38:37

2

FUNCTIONS The Canon 5D MK III is unsurprisingly the successor to the highly regarded 5D MK II. Although the resolution of the new camera isn’t significantly higher than its predecessor, there are a large number of improvements that make the 5D MK III a significant upgrade. If you are familiar with Canon’s design philosophy, you’ll find the 5D MK III an easy camera to pick up and use immediately. Probably the closest relation to the 5D MK III is the Canon 7D. Ergonomic improvements that first made an appearance on the 7D are found on the 5D MK III. These include the useful Quick Control and Multi-Fn buttons as well as a Live View / Movie shooting switch. However, the most significant improvement to the 5D MK III is the highly customizable AF system. This has brought the 5D line, which has never been rated for its AF system, into line with

Canon’s professional 1D range of cameras. The comprehensive range of features found on the 5D MK III makes it a powerful photography tool. This chapter will begin by explaining the basics of using your 5D MK III, before moving on to describe the more advanced features and how to make the most of them.

«

5D MK III With Canon’s 24-105mm L USM lens.

28

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 28

15/8/12 14:38:38

› Attaching the strap Attaching the supplied strap will allow you to wear your 5D MK III around your neck, or keep it secure when handholding by wrapping the strap around your wrist. To attach the strap to your 5D MK III, pull one end of the strap out of the attached buckle and plastic loop, and then feed it through either the right or left strap mount on the side of the camera. Feed this end back through the plastic loop and then under the length of strap still in the buckle. Pull the end of the strap so that it is fitted snugly in the buckle. For safety, allow at least 2in. (5cm) of strap to extend beyond the buckle. Repeat the process on the opposite side of the camera.

› Using the viewfinder Although the 5D MK III has Live View, for most shooting situations it is advisable to use the optical viewfinder. This is partially to eke out battery power and also because it is easier to hold a camera steady when it is against your face than when held at arm’s length. The 5D MK III’s viewfinder shows 100% of the scene and can be set to display helpful compositional tools such as overlaid grid lines (see page 132). If you don’t have perfect eyesight, you can adjust the focus of the viewfinder to suit. The adjustment range is -3–+1 m-1. To adjust the diopter, look through the viewfinder and move the wheel to the right of the viewfinder up or down until the exposure information panel at the bottom of the viewfinder looks crisp. Adjusting the diopter will not affect the focus of the camera.

FUNCTIONS » CAMERA PREPARATION

» CAMERA PREPARATION

Note: The strap has an eyepiece cover that is used to cover the eyepiece during long exposures (see page 86).

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 29

29

15/8/12 14:38:39

2

› Fitting a lens Switch off your 5D MK III before adding or removing a lens or body cap. Hold the camera with the front facing toward you. Remove the body cap by pressing in the lens release button fully and then turning the cap to the left until it comes free easily. Remove the rear protection cap from your lens. Align the red index mark on the lens barrel with the similar mark on the camera lens mount. Holding the solid part of the lens (not the focus or zoom ring), gently push the lens into the lens mount until it will go no farther and then turn the lens to the right until it clicks into place. Reverse the procedure to remove the lens. If you are not fitting another lens immediately, replace the body cap on the 5D MK III and fit the rear cap onto the lens you’ve just removed.

30

Tips No matter how careful you are, dust will always fi nd its way inside the camera. The 5D MK III has a dust removal facility (see page 134), but it’s still better to try to minimize the time that the interior of the camera is open to the elements. If you are in a dusty environment and you need to change the lens, try to shelter the camera with your body as much as possible. Using your lens’s smallest apertures (so maximizing depth of fi eld) will make more dust apparent. Try to use precise focusing and the largest aperture possible for the required zone of sharpness.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 30

15/8/12 14:38:39

› Battery charging The supplied LP-E6 battery must be fully charged before you first use it in your 5D MK III. Remove the cover from the battery and slide it in and then down into the supplied LC-E6 or LC-E6E charger so that “Canon” is in the same orientation on both the charger and battery. Connect the LC-E6E charger to the AC power cord and plug into a wall socket, or plug the LC-E6 charger directly into a wall socket after flipping out the power terminals. The charge lamp will blink orange once a second. As the battery is charged, the rate of blinking will increase. At three blinks per second, the battery will be about 75% charged. When charging is complete, the charge lamp will glow green. When the battery is charged, unplug the charger and remove the battery by pulling it up and out of the charger using the tab on the right of the battery. A normal charge for a depleted battery will take approximately 150 minutes. The amount of charge left in a battery is shown on the top LCD. See the table on the following page. When fully charged, the battery should power your 5D MK III for about 950 shots when using the viewfinder to compose, or 200 when using Live View (though these figures will be lower when shooting in near-freezing conditions).

› Inserting and removing the battery To insert the battery, switch the camera off and turn it upside down. Push the battery cover release lever toward the center of the camera. The cover door should then open easily. With the battery contact terminals facing down and to the center of the 5D MK III, push the battery into the compartment with the side of the battery pressing against the white lock lever as you do so. When the battery has clicked into place, close the cover. To remove the battery, push the lock lever away from the battery and gently pull it out.

Tips The battery charger can be used abroad (100–240v AC 50/60hz) with a suitable plug adapter and does not require a voltage transformer. The LP-E6 is the same battery supplied with the 5D MK II, Canon 7D and 60D. If you need a second camera body, this battery compatibility will simplify the carrying of spare batteries and chargers. Replace the orange cover on the battery when it is not in use.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 31

FUNCTIONS » POWERING YOUR 5D MK III

» POWERING YOUR 5D MK III

31

15/8/12 14:38:39

2

› Battery life The LP-E6 battery supplied with the 5D MK III is a rechargeable Lithium Ion unit. Lithium Ion, or Li-Ion, batteries are remarkably small and lightweight for their power capacity. However, the 5D MK III’s battery will inevitably deplete when used, and also slowly over time, even if it is removed from the camera. BATTERY CHARGE INDICATOR

100–70% charged 69–50% charged 49–20% charged 19–10% charged 9–1% charged Battery depleted

The more efficiently you use your 5D MK III, the longer the battery will last. Using the rear LCD to constantly check your images (known as “chimping”) is particularly power draining, so try to keep the use of the LCD to a minimum. Using Live View compounds the matter, since it requires the sensor to be permanently active as well as the LCD, so putting a further strain on the battery. Keeping IS switched on, if a lens has this feature, will also cause the battery to deplete more quickly. The ambient temperature will affect the efficiency of a battery, too. Cold

32

conditions will cause your battery to deplete more quickly than usual. It’s a good policy to carry a fully charged spare battery with you on days when the temperature is close to freezing.

› Using AC electricity Your 5D MK III can also be powered by the ACK-E6 AC adapter kit (sold separately). This is particularly useful if you are using your camera to display images or movies on a TV, or when transferring a large number of files to your computer or printer (see chapter 8). To use the adapter, turn the 5D MK III off and then plug the power cord of the AC-E6 adapter into the DR-E6 coupler. Open the battery cover on the camera and slide the coupler into the camera as a replacement for the standard battery. The coupler should click into place. Close the battery cover, slotting the power cord into the DC Coupler cord hole. Plug the power cord into the AC adapter and then connect to a convenient wall socket. Turn the camera on and use as normal. Turn the camera off and reverse the process to remove the AC adapter.

Note: The 5D MK III also uses a CR1616 lithium battery to maintain the date and time when the main battery is removed. The C1616 will only need replacing every five years or so.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 32

15/8/12 14:38:39

screens of useful shooting information. If you are using Live View mode, pressing 05-6 repeatedly will display a similar range of useful shooting information over the Live View image. How much information you need will depend on how cluttered or otherwise you prefer the screen to be. Pressing the 05-6 button in playback mode will also cycle through a series of screens showing shooting information about the currently displayed image. To use your 5D MK III effectively, you will have to become familiar with the use of the various controls arranged around the camera body. Throughout the rest of this book, we’ll be referring to these controls by using shortcut symbols. The controls you’ll be using the most are the Main dial just behind the shutterrelease button and the Quick Control dial to the right of the rear LCD. The 5D MK III also has a multi-way controller that can be used to select options on menu screens. The dial encircles the Set button, which will be shown as SET . Any words in bold type you see in this book are options visible on a menu screen. Buttons on the camera will be referred to by their name or relevant symbol. Pressing 05-6 repeatedly when in shooting mode will switch between several

› Switching the camera on The power switch is found below the Mode dial. When switched to Off, the 5D MK III is entirely inactive. When the camera is switched On, the Access lamp will briefly flicker, automatic sensor cleaning will be activated and the top LCD will display the current shooting settings.

Tip By default, the 5D MK III will automatically power down after one minute if no controls are pressed. Auto power off mode can be turned off or 2 menu. the time altered on the Lightly pressing the shutter-release button will reactivate the camera when it has powered down automatically.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 33

FUNCTIONS » BASIC CAMERA FUNCTIONS

» BASIC CAMERA FUNCTIONS

33

15/8/12 14:38:40

2 » THE MENU SYSTEM Changing menu options 1) Press MENU. or press left or right to 2) Turn jump between the different sections and their sub-screens.

The 5D MK III’s menu system lets you set the various functions of your camera. The menus are divided into six sections: Shooting , AF AF , Playback , Set up , Custom functions , and My Menu . Each of the sections is distinguished by a unique color scheme and by a tab displaying the relevant icon shown above. Each section is then subdivided into a number of separate screens, each identified by a number shown near the top right of the screen.

Tips Fewer menu options will be available + when shooting in A mode.

3) When you reach the required menu screen, turn or press up or down to highlight an option on that menu screen. Press SET when the option you want to alter is highlighted. 4) Highlight one of the choices for your chosen option and press SET once more. Pressing MENU will take you back up a level to the previous menu screen without altering an option. Some options will require you to confirm the choice by either selecting OK to continue or CANCEL to reject the choice. Highlight the required option and press SET . 5) Press MENU or lightly down on the shutter-release button when one of the main menu screens is displayed to return to shooting mode.

If 05-6 Help is visible on a menu screen, pressing and holding 05-6 will display a hints screen for the available options.

34

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 34

15/8/12 14:38:41

Rather than wading through scores of menu screens, you can use the Quick Control menu to set a variety of camera functions. QUICK CONTROL OPTIONS

The Quick Control menu can be called up by pressing the 8 button. The options that are shown will vary depending on whether you are in Shooting or Playback— and, if in Shooting mode, whether you are shooting still images or movies and where the mode dial is set. To use the Quick Control menu, push the to highlight the required option and then either turn or to change the option, or press SET to view the option sub-menu and make alterations there.

COMMENTS

IN

+

A MODE?

Tv/ M modes only Av/ M modes only

No

Aperture ISO

-

No (Auto ISO only)

Shutter speed

M mode

Exposure compensation

Not

Flash exposure compensation

Only when Speedlite is fitted

Custom controls

Set button / dial custom controls

No No No No

A

Picture Style

-

No (

White balance

-

No (AWB only)

White balance shift

-

No

Auto Lighting Optimizer

Disabled when Highlight tone priority is activated

AF mode

only)

No

MF only when lens is set to manual

No

Metering mode

-

No (Evaluative only)

Rec function/Card selection

-

Yes

Image quality

-

Yes

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 35

FUNCTIONS » THE MENU SYSTEM / QUICK CONTROL MENU

» QUICK CONTROL MENU

35

15/8/12 14:38:42

2 » TOP LCD PANEL

» SETTING THE TIME

The 5D MK III allows you to set some of its many functions a number of different ways. Which you choose is therefore largely a matter of preference. The information about the settings can be viewed several ways too. The top LCD panel is information rich and it’s easy to get all the shooting information you need without resorting to the rear LCD at all. In many ways, this is a good way to work, since the top LCD requires far less battery power than the rear LCD. To change shooting settings using the top LCD, press the required button from the set arrayed along the top of the LCD panel. Each button controls one of two settings—shown by a relevant icon. To change the metering mode / AF mode / ISO setting, turn ; to change WB / Drive mode / Flash exposure compensation , turn . You don’t need to keep your finger on the button as you turn either or , since the ability to change the setting is available for five to six seconds until cancelation. To illuminate the panel, press .

36

Setting the correct time and date on your 5D MK III is the first task you will be prompted to do when you first use your camera. Setting the right time and date is important, since this information is embedded into the image file when it is created. When it comes to keeping track of your photos, the time and date information can be a valuable method of sorting your images into order, or of finding a particular image.

Note: If you want to alter your date and time settings again, press MENU and navigate to the 2 menu. Highlight Date/Time/Zone and then press SET . Repeat steps 2–7 on the opposite page.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 36

15/8/12 14:38:43

FUNCTIONS » TOP LCD PANEL / SETTING THE TIME

Setting the date and time

London GMT Paris GMT +1hr Cairo GMT +2hr Moscow GMT +3hr Tehran GMT +3:30hr Dubai GMT +4hr Kabul GMT +4:30hr Karachi GMT +5hr Delhi GMT +5:30hr Kathmandu GMT +5:45hr Dacca GMT +6hr

1) Turn on your 5D MK III.

Yangon GMT +6:30hr

to highlight the date or time 2) Use value you want to alter and then press SET . to alter the date and time 3) Turn value displayed and then press SET again. 4) Continue working along the date and time value options, altering as required. 5) Set Daylight saving time to advance the time by one hour.

to

6) Set Time Zone to the nearest city to your present location. See the table at right for the full list of options. 7) Highlight OK and press SET to save your new settings, or highlight Cancel and press SET to exit without saving.

Bangkok GMT +7hr Hong Kong GMT +8hr Tokyo GMT +9hr Adelaide GMT +9:30hr Sydney GMT +10hr Solomon Islands GMT +11hr Wellington GMT +12hr Chatham Islands GMT +12:45hr Samoa GMT +13hr Honolulu GMT -10hr Anchorage GMT -9hr Los Angeles GMT -8hr Denver GMT -7hr Chicago GMT -6hr New York GMT -5hr Caracas GMT -4hr Santiago GMT -4hr Newfoundland GMT -3:30hr São Paulo GMT -3hr Fernando de Horonha GMT -2hr Azores GMT -1hr

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 37

37

15/8/12 14:38:43

2 » MEMORY CARDS The 5D MK III can use either a CompactFlash or SD memory card to store movies and images. The two types of cards have different advantages and disadvantages. CompactFlash is far larger than an SD memory card, though whether this is a good or bad thing will depend on the size of your hands. CompactFlash connects to a set of pins inside the camera. Insert the CompactFlash roughly and it is possible to bend these pins. SD cards don’t use pins, so arguably they are more robust. SD cards have a locking switch so that it’s easier to avoid accidentally deleting images; CompactFlash cards can’t be locked. SD cards are also available as Eye-Fi. Eye-Fi SD memory cards have a built-in Wi-Fi transmitter so you can copy files from your camera to a PC wirelessly. The 5D MK III is compatible with Eye-Fi (see chapter 8).

38

› Memory card speed The higher the read/write speed of a memory card, the faster files can be written to and from it—and the more expensive it usually is! Whether you need a fast card will depend on your style of shooting. If you regularly shoot video or use your camera to shoot sports, then a fast memory card is recommended. If your photography is more leisurely, a fast card may not be as important (though the images and video on a fast card will be copied to a PC more quickly, so it’s not just the card’s use in-camera that you have to think about). The speed of SD memory cards is often shown as a class rating. The higher the class rating, the faster the read/write time. Speed is sometimes also shown as a figure followed by an “x.” This figure refers to the speed of the card in comparison to the read/write speed of a standard CD-Rom drive.

SPEED

READ/WRITE SPEED (MB/S)

CLASS RATING

13x

2.0

2

26x

4.0

4

40x

6.0

6

66x

10.0

10

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 38

15/8/12 14:38:44

Inserting and removing a CompactFlash memory card

1) Ensure that your 5D MK III is switched off and then open the memory card cover on the side of the camera.

1) Ensure that your 5D MK III is switched off and then open the memory card cover on the side of the camera.

2) If your memory card has a writeprotect tab, slide the tab to the unlocked position. If the card is locked, Card 2 is write-protected will appear on the LCD and you will not be able to take photos.

2) Hold the memory card so that the pinholes face into the slot and the label faces toward the rear of your 5D MK III. Push the card gently into the slot until the gray memory card release button pops out fully.

3) Hold the memory card so that the contacts face into the slot and toward the front of your 5D MK III. Push the card gently into the slot until it locks with a click. Close the memory card cover. 4) To remove the memory card, gently push it slightly farther into the camera until you hear a click. The card should now come free. Pull it out and close the memory card cover.

FUNCTIONS » MEMORY CARDS

Inserting and removing an SD memory card

3) To remove the memory card, push in the gray memory card release button. The card should move out of the slot slightly. Pull it out gently and close the memory card cover.

Warning! When the access lamp on the back of your 5D MK III is flashing, it means the camera is either reading, writing, or erasing image data on the memory card. Do not open the memory card cover door, or remove the card or the battery when the lamp is flashing. Doing this may cause data on the card to be corrupted and potentially damage your camera.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 39

39

15/8/12 14:38:44

2

› Preparing a memory card 3) Press SET with Cancel highlighted to return to step 2 without formatting. Otherwise highlight OK and then press SET to format the card. 4) As the card formats, Busy…Please wait is displayed. When formatting is complete, the camera returns to the 1 menu.

Most memory cards come preformatted. However, it is advisable to format a memory card the first time it’s used in your 5D MK III. It’s particularly important to do this if the card has been used in another camera previously. Any files saved by another camera may not be visible to the 5D MK III and so you may have less space on your card than you realize.

Formatting a memory card 1) Press Menu and turn to highlight 1. Turn or push down to highlight Format card. Press SET . 2) If both memory card slots are occupied, turn to highlight the memory card that you want to format. The CompactFlash card is shown by a 1 symbol, the SD card by 2 . If only one memory card is fitted, the icon for that card will be highlighted; the other will be grayed out and inaccessible. Press SET to continue.

40

5) Press lightly on the shutter-release button to return to shooting mode.

Notes: The SD memory card has a Low Level Format option. When a memory card is formatted, usually only the list of contents is erased. The original files remain, but the camera can’t “see” them. They are gradually overwritten as you create more images. If you accidentally format a memory card, it is often possible to recover your files with file-recovery software. When Low Level Format is selected, everything on the card is erased. This takes more time than a standard format, but is worth doing every so often. To use low level formatting, press when you enter the Format screen at step 3. A  will be displayed next to Low Level Format to show that you’ve chosen this option. If no memory card is fitted, you can still shoot photos by setting Release shutter without card to Enable on the 1 menu. However, your photos won’t be saved (see page 96).

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 40

15/8/12 14:38:44

Finally, you can record the same image file using different quality settings to both cards (Rec. separately). So, for example, if you need JPEGs for immediate assessment, but RAW files for final image quality, record one setting to one card, and the other to the second card.

Setting up If you have two memory cards fitted into your 5D MK III, there are several ways you can use them. You can record images or movies to one memory card only and then manually switch to the other card when the first is full (Standard). This strategy is useful if you intend to shoot large numbers of images in a single photographic session and don’t have a single card large enough to cope with the volume of images generated. Switching can also be done automatically when the first card is full (Auto switch card). Another way of working is to record images and movies to both cards simultaneously (Rec. to multiple). Memory cards are robust and because they have no moving parts, it’s rare for them to fail. However, they can fail, so this strategy has the benefit of providing peace of mind.

1) Press Menu and highlight 1. Highlight Record func+card/folder sel. and press SET . 2) Highlight Record func. and press SET . Highlight your required option and press SET .

Selecting the primary memory card 1) Press Menu and highlight 1. Highlight Record func+card/folder sel. and press SET . 2) Highlight Record/play and press SET . Highlight the memory card you want to set as the primary memory card and press SET . You need to set the primary memory card when switching between cards manually. If you selected Auto switch card, the primary card will be used first until it is full.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 41

FUNCTIONS » MEMORY CARDS

› Using memory cards

41

15/8/12 14:38:45

2

› Folders value between 100 and 999. The last five characters can be any alphanumeric character. If you create a new folder using your 5D MK III, the final five characters will be EOS5D. You can create new folders on a memory card with DCIM using your PC. They will be recognized by the 5D MK III as long as they follow the three-digits/five alphanumeric characters convention. After you’ve formatted a memory card, several folders are created on the card. There are two top-level folders: DCIM and MISC. Two more folders are created inside the DCIM folder: 100EOS5D and EOSMISC. 100EOS5D is the main folder used to save image files. You can create other folders inside the DCIM folder, however, and save image files to these folders instead. You can create up 999 folders. If you need to go several days without emptying a memory card or are carrying out a variety of shooting assignments, creating a new folder for each day or shoot is a good way of keeping images separate. It’s much easier to keep notes about images (if you need to keyword images later for example) when they are neatly divided into discrete folders. A folder can hold 9999 images. When you’ve reached this figure, a new folder will be created automatically and subsequent images saved there. The first three characters of a folder can be any

42

Creating and selecting a new folder 1) Press Menu and highlight 1. Highlight Record func+card/folder sel. and press SET . 2) Highlight Folder and press SET . Highlight Create folder and press SET . On the Create folder xxx screen, highlight OK and press SET again. 3) Once back on the Select folder screen, turn to highlight the folder you want to use and press SET . The number of images saved to the folder is shown to the right of the folder name.

Note: All the images inside a folder can be deleted without deleting images in other folders (see page 63).

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 42

15/8/12 14:38:46

When the drive mode is set to Single shooting, the shutter will fire only once. To take another shot, the shutter-release button must be released fully and then pressed down again. Set to Continuous shooting, the 5D MK III will continue firing at the maximum possible frame rate until either the memory card or the image buffer is full or you release the shutter button.

FUNCTIONS » THE SHUTTER-RELEASE BUTTON

THE EXPANDED GUIDE

43

» THE SHUTTER-RELEASE BUTTON The shutter-release button on the 5D MK III has two separate stages. Pressing the button lightly down halfway activates the AF system and camera metering. If the camera is in Playback mode, this will be canceled automatically. If set to One Shot AF, the camera will focus, and both the exposure and the focus point will be locked until you either release the shutter button or you press it down fully to take the shot. In AI Servo AF mode, neither exposure nor focus is locked until the shutter is depressed fully and the photograph taken. AI Focus is a hybrid of the two systems: focus is locked initially when the shutter-release button is pressed

CANON 5D MK III CH 2a 026-073.indd 43

down halfway; if the subject begins to move, the focus will begin to track the movement. When the shutter button has been pressed down fully, the 5D MK III will fire the shutter or begin the self-timer countdown if self-timer is activated.

15/8/12 14:38:46

2 » DRIVE MODE The 5D MK III has five frame advance modes, three self-timer settings, and exposure and white balance bracketing. The shooting mode you use will determine which drive modes are available. Set to High Speed Continuous, the 5D MK III has a maximum shooting speed of 6 frames per second (fps). However, this is the maximum frame rate, and depending on the write speed of your memory card and the ambient lighting conditions, the achievable shooting speed could be less than this. Both Low Speed Continuous and Silent Continuous shooting allow a shooting speed of 3 fps. The two Silent shooting modes (Silent Single and Silent Continuous) are new features on the 5D MK III. They are far quieter than the equivalent “standard” shooting modes, with only a slight penalty

in frame rate when using Silent Continuous. At a wedding—when nearsilence is preferable—the Silent shooting modes are ideal. The 5D MK III has a built-in frame buffer in which images are temporarily stored until they have been written to the memory card. If you shoot continuously, the frame buffer may gradually fill to the point where the camera can no longer continue shooting. This is most likely to happen when you’re shooting RAW+JPEG, since the camera needs to process large amounts of data. When the frame buffer is full, the maximum burst indicator in the viewfinder will show 0, and buSY will flash up. When this happens, you won’t be able to shoot any more images until the frame buffer is sufficiently clear and the queue of files written to the memory card.

DRIVE MODE

ACTION

SYMBOL

Single shooting

One shot per shutter-release button press

High speed continuous

Shutter fires at 6 fps (max.)

Low speed continuous

Shutter fires at 3 fps (max.)

Silent single

One shot per shutter-release button press

S

Silent continuous

Shutter fires at 3 fps (max.)

S

Self-timer: 10 seconds

Shutter fires after 10-second delay

H

Can be used with Remote control Self-timer: 2 seconds

Shutter fires after 2-second delay

2

Can be used with Remote control

44

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 44

15/8/12 14:38:47

Canon paid particular attention to the autofocus (AF) system of the 5D MK III compared to the previous generation of cameras in the 5D line. The AF system is highly customizable—almost too customizable. Essentially, there will be a way to configure the AF no matter what the situation—whether you’re shooting landscapes or sports. More details about how to customize the AF system can be found on pages 114 to 121. All Canon EOS lenses have an AF/MF switch on the lens barrel that allows you to switch between AF and manual focus (MF). There are often situations where MF is the preferred method of focusing, particularly in conjunction with Live View (see page 56), when critical focus can be adjusted using Live View’s zoom function. AF systems aren’t infallible, either. They can

fail when light levels are low—and if you are using filters or a lens with a relatively small maximum aperture—or when there is insufficient contrast in a scene. In these situations, the lens may start to “hunt” and be unable to achieve focus lock. The 5D MK III uses two different methods to achieve AF. When you use the viewfinder, the camera switches to phase detection AF. This method of AF is fast and generally accurate—for action photography, it’s ideal. Use Live View, however, and the camera switches to contrast detection AF. This method is far slower than phase detection, though it is arguably more accurate.

› Using MF With the lens set to MF, hold the shutterrelease button down halfway and rotate the focusing ring on the lens to focus. When the subject is in focus, the green confirmation light is displayed in the viewfinder.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 45

FUNCTIONS » DRIVE MODE / FOCUSING

» FOCUSING

45

15/8/12 14:38:48

2

› Autofocus Modes The 5D MK III has three AF modes to choose from when you use the viewfinder. To choose the AF mode, set the lens to AF and either press the AF / Drive button or press 8 and use the Quick Control screen. One-Shot One-shot AF is best employed when you’re shooting static subjects. After you’ve pressed down halfway on the shutter-release button, focus will be locked and confirmed by and the AF status indicator showing green in the viewfinder. If Beep is enabled (see page 96), the camera will also beep to confirm focus. Exposure is locked at that point (when using Evaluative metering—see page 50). Keeping the shutter-release button partially depressed will keep the focus and exposure locked, allowing you to recompose your photo if required. If focus cannot be confirmed, and will blink and you will not be able to fire the shutter.

point will be used to begin focusing. Focusing will then switch automatically to the other points as movement is tracked (provided your subject stays within the Area AF frame. does not light in AI Servo AF. AI Focus AF This mode is a combination of One-Shot and AI Servo. AI Focus AF starts in One-Shot AF mode, but then switches to AI Servo AF if the subject begins to move—as long as you keep the shutter-release button pressed down halfway. When focus has switched to AI Servo AF, the beeper will continuously sound very softly as focus is tracked.

Note: The AF mode is selected automatically + when the camera is set to A mode.

AI Servo AF For fast action, AI Servo is the mode to choose. As you hold down the shutterrelease button, the 5D MK III’s AF system tracks your subject, keeping it in focus until you press down the shutter-release button fully to take the shot. Exposure is not set until the shutter fires. If the AF selection point is set to 61-point automatic selection, the first manually selected AF

46

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 46

15/8/12 14:38:48

When you’re using the viewfinder to compose, you can select one of up to 61 AF points to focus. These points can be selected individually or as areas. Focusing is slightly different in Live View mode (see page 57 for + more details). When shooting in A mode, 61-point automatic selection AF is used. This and the following page describe the AF areas and how they can be employed.

Choosing the AF Area Selection mode and moving the AF point / Zone 1) In Shooting mode, press . Look through the viewfinder and then press M-Fn. Press it repeatedly until you reach the desired AF Area Selection mode. 2) Press again. Still looking through the viewfinder, push to move the AF point / Zone around the AF frame area.

FUNCTIONS » FOCUSING

› AF Area

Single Point Spot AF (Manual selection) There is one focus point with this mode and it is superficially similar to Single Point AF described below. However, the AF point is far smaller and therefore it has to be placed far more precisely to achieve sharp focus (the focus area is only the size of smaller box inside the main manually-selected AF point). It is most useful when you have a subject surrounded by other elements in the scene and you want to be able to focus precisely on your subject without the focus being thrown out by these other elements. Because the AF area is so small, however, there is more likelihood that it will be lacking in the detail necessary to achieve sharp focus. If the AF begins to hunt in this mode, switch to Single Point AF. Single Point AF (Manual selection) that can be moved There is one focus point manually around the AF Frame area. This is ideal for off-center subjects or when you need to focus on one particular element in the scene only. A good example is when shooting portraits and you want to focus on your subject’s eye—the focus point could be moved precisely to the eye to ensure it was pin-sharp.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 47

47

15/8/12 14:38:49

2

AF point expansion (Manual selection ) This mode also uses one AF point that can be moved around the AF frame area. However, the also have an influence and surrounding AF points can be used to aid the main AF point. If you’re shooting a moving subject, using this mode will help the AF system to keep track of the direction of the movement. AF point expansion (Manual selection, surrounding points) Similar in principle to AF point expansion (Manual ), but with a greater number of selection surrounding AF points used.

Zone AF In this mode, the AF area is divided into nine zones. All of the AF points in a zone are used for focusing, the 5D MK III focusing on the nearest point to the camera in the selected zone. Essentially, each zone is a very large AF point, which can make it difficult to focus precisely on one particular subject (unless that subject is the closest thing to the camera). It’s most useful for shooting action images, particularly when you can be confident that your subject will enter the selected zone and will also be the closest element in the image. 61-point automatic selection AF Set to this mode, the 5D MK III uses all the AF points to determine focus. Focus is usually set to the nearest point in the image that provides enough detail for focusing. When One-Shot focus is used, the AF point(s) that achieve focus will light. When AI Servo focus is chosen, the first manually selected AF point will be used to begin focusing. Focusing will then switch automatically to the other points as movement is tracked.

48

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 48

15/8/12 14:38:49

required. The slower the lens, the less efficient the AF system will be.

The 5D MK III’s 61 AF points aren’t all equal. Some require more light than others to operate effectively, though with plenty of light these sensors are extremely accurate. Grouped together, the sensors form patterns. The shapes of the patterns and the lens you use have a bearing on the accuracy and speed of the AF system. For maximum accuracy, an f/2.8 lens is

Note: Cross-type sensor patterns are created at the points of intersection where a horizontal line meets a vertical line. These are more accurate than patterns where there is no intersection, but less accurate than the diagonal cross-type sensors at the center of the AF point grid.

FUNCTIONS » FOCUSING

› AF Sensor Patterns

The diagonal cross-type sensor pattern used at the center of the AF points grid is the most accurate of all the AF patterns—both in terms of tracking and locking focus. However, the pattern requires the use of a lens with a maximum aperture of f/2.8 or larger.

The ten horizontal lines represent a sensor pattern that is accurate with lenses that have a maximum aperture of f/4 or larger. The orientation of the pattern means that it is better at focusing on vertical lines than on horizontal ones.

The seven horizontal lines at the center of the AF points grid represent a sensor pattern that is accurate with lenses that have a maximum aperture of f/5.6 or larger. The orientation of the pattern means that it is better at focusing on vertical lines than horizontal.

Finally, the eleven vertical lines that cover the entire AF points grid represent a sensor pattern that is accurate with lenses that have a maximum aperture of f/5.6 or larger. The orientation of the pattern means that it is better at focusing on horizontal lines than vertical ones.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 49

49

20/8/12 14:36:15

2 » EXPOSURE › Metering modes

Notes:

There are four different metering modes that can be selected on the 5D MK III. The metering modes can be selected either from the Quick Control screen or by using the relevant top LCD panel button.

The metering mode is set to + A mode.

in

The exposure that is chosen can be overridden by using exposure compensation, except in Manual, Bulb, + and the A modes.

Evaluative metering Evaluative is the default metering method and works by splitting the image into 63 zones. Each zone is metered separately and the exposure calculated by combining these results, taking into account the position of the focus point. This system is very accurate and generally can cope even with unusual lighting situations. Partial metering Rather than assess the entire image, partial metering evaluates the exposure from 6.2% of the center of the image frame. You would use this mode if you wanted to measure a wider area of the image than Spot metering (see below). Center-Weighted Average metering This metering mode has largely been superseded by Evaluative metering. As with Evaluative metering, the 63 zones are used to read the exposure, but the exposure is biased heavily toward the center of the image frame. If you are shooting subjects that are always in the center of your image, filling the frame, this mode will prove very accurate. Spot metering A more precise variant of Partial metering, Spot metering reads the exposure from 1.5% of the center of the image frame.

50

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 50

15/8/12 14:38:50

FUNCTIONS » EXPOSURE

› Exposure compensation Notes:

Exposure compensation allows you to override the camera’s suggested exposure in P , Tv, and Avmodes in steps of ½or ¹/₃-stops up to ±5 stops. This means you can adjust for any exposure errors the camera may make, or for creative effect. As with most aspects of the 5D MK III, there are several ways to set exposure compensation. The simplest way is to turn after pressing halfway down on the shutter-release button to activate the camera’s metering. Exposure compensation can also be set using the Quick Control screen and by selecting Expo.comp./AEB on the 2 menu. Once the Exposure compensation screen is displayed, turn to the left to apply negative compensation (making the final image darker) or to the right to apply positive compensation (making the final image lighter). Press SET to confirm the new setting.

When the drive mode is set to , S , the bracketed H , or sequence will be shot automatically if you keep your finger on the shutterrelease button. When the drive is set S , you need to press to or the shutter-release button again to take each subsequent shot. Set to or 2 , the sequence will be shot automatically when the timer counts down. AEB can be used in conjunction with Exposure compensation. To turn off AEB, turn to the left until only the standard exposure bar is shown. If you apply exposure compensation as well as AEB, the bracketing values will be centered on the compensated exposure value. You can alter the number of images shot during AEB and alter the bracketing sequence (see page 139 for details).

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 51

51

15/8/12 14:38:50

2

›

› Auto Exposure Bracketing Bracketing is the shooting of two or more images at different settings (most often exposure, though the 5D MK III also allows bracketing of white balance). The first shot is usually “correct”; the others are variations of it. With Auto Exposure Bracketing (AEB), the shots are darker and lighter versions of the first. Bracketing is useful if you’re uncertain about the chosen settings. It also helps if you intend to create HDR images in postproduction. On the 5D MK III, the bracketing sequence may differ by ±3 stops from the first image. AEB is set on the exposure compensation screen using . Turning it to the right will increase the difference in the exposure of the bracketed sequence; turning it to the left will decrease it. Press SET to confirm the new setting.

Notes: AE Lock is applied to the center AF point if the lens is set to MF. You can’t set AE Lock if you’re using + or A mode.

Metering Mode

)

AE Lock It’s more than likely that the exposure set by the 5D MK III will be correct. However, there may be times when the exposure needs to be set and then the shot recomposed. AE Lock allows you to do just that. A good example of when you may need to do this is when your subject is spot-lit against a dark background. You could use the spot meter to correctly expose the subject, lock the exposure, and then compose the shot.

Activating AE Lock 1) Press the shutter-release button down halfway to activate the exposure meter in the camera (changing the metering mode if necessary). 2) Press . will light in the viewfinder or, if you’re using Live View, will be displayed on the LCD to show that AE lock has been activated.. 3) Recompose and press the shutterrelease button down fully to take the shot. 4) AE Lock is canceled after you’ve taken the shot, or if you press .

AF Point selection method Automatic

Manual

Exposure is determined and

Exposure is determined and

locked at the AF point that

locked at the selected AF point

achieved focus /

52

Exposure is determined and locked by the center AF point

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 52

20/8/12 14:36:50

Bracketing is most useful when a scene has a high dynamic range. In this sequence, the bracketing was -1 ⅔ (top right) and +1 ⅔ (bottom left) from the original exposure of 3.2 seconds at f/11 (top left). The resulting three images where then blended using HDR software in postproduction (bottom

right). Even though the underexposed image was -1 ⅔ lower than the original, the windows at the bottom right of the image are still burnt out. The difference in this instance was too great, and I should have increased the number of images shot and used ±3 stops.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 53

53

15/8/12 14:38:52

2 » ISO

The 5D MK III offers you the choice of either selecting a specific ISO value or choosing an ISO automatically depending on the lighting conditions. There are several ways to set the ISO on the 5D MK III. The two simplest ways are to press the ISO / next to the top LCD panel and then turn to adjust the ISO value or to change the ISO setting on the Quick Control screen. However, the ISO speed settings menu on 2 offers by far the most comprehensive way to alter the ISO settings and their behavior under certain shooting conditions. The standard ISO range is ISO 100 to 25600, changeable in ¹/₃-stop increments (see page 138). However, the 5D MK III also has three extended ISO settings: L (50) and H1 (51200), and H2 (102400). The latter two options are not recommended, since image quality is extremely low at these settings. However, L (50) can be useful if you need to employ an exposure setting that can’t be achieved at ISO 100 (such as a

54

longer shutter speed or wider aperture). Unfortunately, the 5D MK III “cheats” to achieve L (50). The image captured at ISO 50 is actually a 1-stop overexposed image that has had the exposure adjusted back to normal. Setting the ISO to 100, using an exposure compensation of +1, and then correcting the exposure in postproduction will achieve the same effect. The drawback to using L (50) is that dynamic range is compromised. This makes it more likely that highlights will be blown out. It is a good idea to use L (50) only when the light is relatively soft with no bright highlights.

Setting an ISO value 1) Press MENU and highlight ISO speed settings on 2 menu. Press SET . 2) Highlight ISO speed and press SET . Turn to highlight the required ISO speed and then press SET once more to return to the main ISO speed settings menu.

Note: If you select Auto ISO, the ISO range will depend on the shooting mode used. In P, Tv, Av, and M, the range is 100–25600 (depending on the Minimum and Maximum settings in + Auto ISO range). In A , it is 100– 12800. When the 5D MK III is set to ) or when a Speedlite is fitted, Auto ISO is fixed at 400.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 54

15/8/12 14:38:53

1) To constrain the available ISO range, press MENU and highlight ISO speed settings on 2 menu. Press SET .

FUNCTIONS » ISO

ISO speed range

2) Highlight Auto ISO range and press SET .

2) Highlight ISO speed range; press SET .

3) Follow steps 3–4 above to set the minimum and maximum values the 5D MK III will use when Auto ISO is set.

3) The Minimum value will be shown surrounded by a red box. Press SET and turn to choose the lowest ISO value you want to be able to select. Press SET .

4) Turn to highlight OK and press SET to save the settings, or highlight Cancel to return to the main ISO speed settings without saving.

to move the red box to the 4) Turn figure under Maximum. Press SET and turn to choose the highest ISO value you want to be able to select. Press SET . to highlight OK and press 5) Turn SET to save the settings, or highlight Cancel to return to the main ISO speed settings without saving.

Minimum Shutter speed when using Auto ISO 1) To set the lowest shutter speed that you want to maintain as long as possible (ISO is adjusted to maintain this shutter speed), press MENU and highlight ISO speed settings on 2 menu. Press SET .

Auto speed range 1) To set the available Auto ISO range, press MENU and highlight ISO speed settings on 2 menu. Press SET .

2) Highlight Min. shutter spd. and press SET . to highlight the required 3) Turn shutter speed and press SET .

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 55

55

15/8/12 14:38:56

2 » USING LIVE VIEW Using Live View allows you to dispense with the viewfinder for composition. When handholding a camera, it’s not an ideal way to work. Using the viewfinder—with the camera against your face—is a far more stable way of holding a camera. Live View is very useful when the camera is mounted on a tripod. The one big advantage with using Live View is that any changes you make to the exposure or image settings are immediately apparent. As with shooting using the viewfinder, pressing 8 displays the Quick Control options. These are overlaid on the Live View image. You can also choose how much, or how little, shooting information is shown on screen by pressing 05-6 . You can view information such as a live histogram or an electronic level. When composing, it’s a good idea to show as little shooting information as possible so that no important detail is missed, and then refine the exposure, etc., by displaying the relevant information. The Live View image can be magnified either 5x or 10x. This is particularly useful for checking critical focus in the scene. Press to magnify the Live View image 5x and then push to pan around the image if desired. Press SET to center the magnified image. Press again to view the Live View image 10x, or twice more to return to the standard view.

56

Using Live View 1 ) With the Live View / Movie shooting switch set to , press Start/Stop. The mirror inside the camera will lift and the Live View image will be displayed on the LCD. 2) Move the white focus point rectangle around the LCD by pushing . Press

Notes: When Exp. SIM is displayed in white on the LCD, the final exposure will be similar to the image on the LCD. When Exp. SIM blinks, final exposure may not reflect the Live View image because of the ambient lighting conditions. When the camera is set to bulb, or flash is used, Exp. SIM will be grayed out. The Live View display will reflect the exposure settings, so the screen may be darker or lighter than anticipated. You can keep the brightness consistent regardless of exposure (see page 112). To disable Live View, see page 111.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 56

20/8/12 14:38:23

FUNCTIONS » LIVE VIEW

down on

to recenter the focus point.

3) Press the shutter-release button halfway down to focus, and then fully when focus has been achieved to take the shot.

› Live View Autofocus There are three AF modes available when Live View is used. The default (using contrast detection), Live , is the simplest and is described above. Live View AF, using Live , will be slower than AF when using the viewfinder, and you may find that it takes the AF system a few seconds to focus on your subject (see page 111). Face Detection is the second method. As the name suggests, it is used when shooting portraits. When activated, the camera will automatically detect a face and draw a white focus frame around it. If there are a number of faces in the shot, the focus frame will change to . Move this frame to the target face by pushing . Press the shutter-release button down halfway to focus. When focus has been achieved, the target box will turn green as confirmation. Press the shutter button down fully to take the shot. If focus cannot be achieved, the focus frame will turn orange and focus will be set to the center of the screen.

Quick Mode uses the 5D MK III’s standard AF sensors to achieve focus. To do this, Live View is temporarily turned off. To use Quick Mode, first press to view an overlay of the 61-point AF sensors. Use to select the desired AF point. Press down on the shutter-release button halfway to focus. The Live View image will briefly disappear while the camera focuses. When focus has been achieved, the Live View image reappears and the focus point that achieved focus will turn green. Press the shutter-release button down fully to take the shot. If focus cannot be achieved, the focus point will turn orange and blink.

Tip If the lens is completely out of focus, Face Detection will be less effi cient. Turn your lens to MF and adjust to achieve a rough focus, then switch back to AF.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 57

57

15/8/12 14:38:59

2 » ELECTRONIC LEVEL camera not being parallel to a building when the image was captured. Fortunately your 5D MK III can help you avoid both these errors by displaying an electronic level on the LCD and in the viewfinder.

There are a lot of subjects where it isn’t critical if your 5D MK III is not perfectly level when an image is created. However, there are subjects that require a far more disciplined approach to keeping your camera straight. Landscape and architectural subjects are two styles of photography that often require you to take this approach. In landscape photography, any scene that involves water has to be straight. An image of a body of water that slopes is immediately apparent and looks distinctly odd. Water should be horizontal and not appear to be running out of the side of the image. A slightly different problem— known as converging verticals—is often seen in sloppily-shot architectural photography. This is the visual effect whereby buildings appear to be falling either forward or, more commonly, backward in a photographic image. Converging verticals are caused by a

58

Press 05-6 until the electronic level appears on the LCD screen. The long bar across the screen outside the central circle shows the horizontal angle of the camera. When it is red, the 5D MK III is not horizontal. When the camera is perfectly horizontal, the line will turn green. The smaller white bar in the center of the circle shows the vertical angle. Tip the camera upward and the vertical angle bar drops lower; tip the camera down and the vertical angle bar rises. When the vertical angle is correct, the bar will be centered in the circle and the line on either side will turn green.

Notes: To display the electronic level, set Electronic Level to  on the 3; 05-6 button displays options screen. The electronic level displayed in the viewfinder uses the AF points and can be switched on using a custom control (see page 142).

STILL AS A STATUE One shot AF should be used when shooting static subjects.

«

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 58

15/8/12 14:38:59

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 59

59

15/8/12 14:39:00

2 » IMAGE PLAYBACK › Playback Quick Control

If you press 8 during Playback, you can set the following functions: Protect images (see page 64); Rotate (see page 64); Rating (see page 122); 9(> 17,. Raw to JPEG conversion—RAW only (see page 123); Resize—JPEG only (see page 124); iON Highlight alert (see page 127); ON AF point display, or Jump method. Options in gray are not available when viewing movies. ..... ..... ..... ...... ....

By default, the 5D MK III will automatically display the last image shot when the shutter-release button has been released. The length of time the image is displayed can be changed on the Shooting 1 menu by altering the Image review settings (see page 96). To view still images or movies after shooting, press . This will display the last still image or movie viewed. You can skip backward or through your still images and movies by turning either or . Pressing 05-6 repeatedly toggles between four different ways of viewing still images and movies. The default is a simple display showing only the still image or the first frame of the movie. The second shows the still image or movie with a restricted amount of shooting information. The third screen shows detailed information with a brightness histogram. The final screen removes some of the shooting information to display both a brightness and RGB histogram.

Notes: Setting Highlight alert to Enable on menu is a useful the Playback 3 and quick way to see which areas of a still image are overexposed. When this mode is enabled, overexposed areas will continually alternate between white and black. Playback will only show images on the currently selected memory card.

60

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 60

15/8/12 14:39:01

You can magnify images in Playback up to 10x. To change how the image initially magnifies, see page 128. 1 ) In single image Playback mode (movies can’t be magnified), press and then turn to the right to zoom into your image (turning it to the left to zoom back out). Push to move around the zoomed display. Your position in the image will be shown by a white box within a small gray box in the bottom right corner of the LCD. 2) Press again to restore your image to normal magnification.

› Image Index Up to nine images can be shown on screen at any one time to help you quickly scan through the images on your memory cards. 1 ) In single image Playback mode, press and then turn to the left until Image Index is displayed (turning it to the right will eventually take you back to single image Playback).

3) When the image you want to view is highlighted, press SET to revert to single image display.

FUNCTIONS » IMAGE PLAYBACK

› Magnify Images

› Filtering The images on the 5D MK III ‘s memory card can be filtered so that only specific images are displayed. See page 126 for more information.

Tip You can still switch between images even at maximum magnifi cation by turning .

2) The image you initially viewed will be highlighted with a blue frame. Push or turn to highlight other images.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 61

61

15/8/12 14:39:03

2

› Rating Images

The RATE button allows you to rate your images from 1 to 5 . This information is then embedded into an image’s metadata. The rating you give an image can be used to filter images for viewing using Image Jump (see page 126), or later when the images are on your PC and you are viewing them in Canon Digital Picture Professional or similar. Rating is a good way of sorting images. The most obvious use is to select which images you prefer and which are less successful. However, you can use it more subtly than that. One use would be to divide your images into categories when you’re on a day out. So 1 could be close-ups, 2 could be wide-angle shots, and so on.

› Comparing images

The 5D MK III can display two images at once. This is a useful function for comparing two similar images, for focus or composition for example. To compare two images, press / in Playback mode. The image surrounded by a blue frame is the active image. Press SET to switch between the two images. To change the active image, turn to skip through the images on your currently selected memory card. The active image can be magnified by pressing and then turning . Press SET to switch to the other image and then press 8 to set the magnification to the same as the original active image. Press / to return to single-image view, or press to temporarily view the active image full screen.

Using Rating In Playback mode, press RATE once to add 1 , twice to add 2 , etc. Pressing RATE six times cancels the rating and sets it back to 0 .

62

Note: The Rating button can be reassigned to set protection on images instead (see page 134 for details).

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 62

15/8/12 14:39:04

5) When you’re done, press to erase all the marked images. Highlight OK and press SET to continue, or highlight Cancel and press SET to go back a step to add or remove images marked for deletion.

After an image has been shot, it can be immediately erased by pressing , highlighting Erase, and pressing SET . The same method of erasure can be used when reviewing pictures shot previously, unless the image is protected.

Selecting a range of images for deletion 1) Press MENU. Highlight the

1 tab.

2) Highlight Erase images by turning and then pressing SET . 3) Highlight Select and erase images and press SET . Turn to skip through the images on the memory card. 4) Press SET to toggle the erase marker for the displayed image. A  will be displayed above the image thumbnail to show that the image has been marked for deletion. The number of images marked for deletion is shown to the right of the  icon in the top left corner of the LCD. Mark more images for deletion as needed.

Other deletion options 1) Follow steps 1 and 2 at left. 2) Highlight All images in folder and press SET . Turn to choose the folder you wish to erase images from and press SET once more. Highlight OK and press SET to continue, or highlight Cancel and press SET to go back to the main All images in folder screen. 3) To erase all the images on the memory card, except those that are protected, highlight All images on card and then press SET . Highlight OK and press SET to continue, or highlight Cancel and press SET to return to the main Erase images menu.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 63

FUNCTIONS » IMAGE PLAYBACK

› Erasing Images

63

15/8/12 14:39:05

2

› Protecting images

Protecting an image will prevent it from being accidentally erased. When an image has been protected, the only way to erase it is to unset protection or to format the memory card (which will also erase everything else on the card).

Selecting a range of images for protection 1) Press MENU and highlight the tab.

1

2) Highlight Protect images by turning and then pressing SET . 3) Highlight Select images and press SET . Turn to skip through the images on the memory card. 4) Press SET to toggle the for the displayed image.

marker

5) When you’re done, press MENU to set protection and return to the main Protect images menu.

64

Other protection options 1) Follow steps 1 and 2 at left. 2) Highlight All images in folder and press SET . Turn to choose the folder of images you wish to protect and press SET once more. Highlight OK and press SET to continue, or highlight Cancel and press SET to go back to the main All images in folder screen. To remove protection, highlight Unprotect all images in folder and repeat the process. 3) To protect all the images on the memory card, highlight All images on card and then press SET . Highlight OK and press SET to continue, or highlight Cancel and press SET to return to the main Protect images menu. To remove protection, highlight Unprotect all images on card and repeat the process.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 64

15/8/12 14:39:07

The data from a movie is compressed as it’s shot, otherwise a card would soon be filled. Despite this, movies do make demands on a memory card. The 5D MK III allows you to use one of two types of compression. IPB compression generates approximately 235 megabits per minute (MB/min.), ALL-I compression can peak at 685 MB/min. However, this is just an approximation. Video is compressed as it is shot. The less the camera is able to compress the video, such as when there is a lot of movement from moment to moment, the more room on the card the video will take. See the table below for the recommended speed of memory card for shooting movies.

5D MK III movies are recorded in MOV format using the H.264 video encoding standard. This is used in a wide variety of applications from Blu-Ray players to YouTube. MOV is supported by movieediting software such as Final Cut Express for Mac OS X and Adobe Premiere Elements 9 for PC and Mac.

Warning! Do not touch the microphone at the front of the 5D MK III during recording, since this will create extraneous noise.

SPEED The very fastest memory cards are recommended when shooting movies.

«

› Memory Cards

› H.264

© SanDisk.

Every Canon DSLR release since the 5D MK II has been equipped to shoot movies. The 5D MK III has refined the process further and has a few unique tricks up its sleeve. You’d think that shooting stills and shooting movies would require similar skills, but in fact successfully shooting movies requires a different way of thinking.

COMPRESSION METHOD

COMPACTFLASH

SD

IPB

10 MB/sec. or faster

6 MB/sec. or faster

ALL-I (I-only)

30 MB/sec. or faster

20 MB/sec. or faster

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 65

FUNCTIONS » MOVIES

» MOVIES

65

15/8/12 14:39:08

2

› Shooting a Movie

1) Turn the Live View / Movie shooting switch to . Your 5D MK III will switch to Live View—movies cannot be composed by looking through the viewfinder. 2) Press the shutter-release button halfway to focus. Adjust the focal length of your lens, too, if necessary. 3) Press START/STOP to begin recording a movie. A red mark will be displayed in the top right of the LCD to show that recording has started. 4) Press START/STOP once more to stop recording.

› The mode dial and movies The amount of control you have over aspects of your movies will depend on the position of the mode dial. When the mode + dial is set to P , A , or ) , the 5D MK III will alter the exposure during recording to match any changes in brightness. If Tv is used, you can set the shutter speed employed during recording, and the 5D MK III will alter the aperture and ISO if necessary to maintain a standard exposure. Shutter speed can be altered before and during recording by turning . The available range of shutter speeds will depend of the frame rate of the movie you shoot. When the frame rate is  ,  , or  , you can use 1/4000–1/30; when the frame rate is  or  , you can use 1/4000–1/60. When the mode dial is set to Av, you can alter the aperture both before and during recording by turning . The shutter speed and ISO will alter if necessary to maintain a standard exposure. Finally, M gives you the greatest control over the exposure of your movies, allowing you to alter the ISO setting, aperture, and shutter speed. As with Tv, the range of shutter speeds available is dependent on the frame rate you choose.

« DEPTH OF FIELD Movies shot with a 5D MK III can be made to look far more cinematic than with a domestic camcorder.

66

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 66

15/8/12 14:39:08

One of the big benefits of a camera with a full-frame sensor is being able to shoot video using lenses with large maximum apertures. This means being able to shoot very cinematic-looking footage, with a shallow depth of field. This is most applicable when shooting using Avand M, since you have more control over the aperture in these modes. However, a shallow depth of field (particularly when shooting close-ups) requires accurate focusing. Professional cinematographers use tape measures to ensure accurate focus. Although there’s no need to be quite so obsessive, it’s still important to be as careful as possible when setting up a shot. The longer the lens you use, the more accurate you will need to be. If your subject is a person, focus on their eyes and try to persuade them not to move around too much during the recording process. The shutter speed you choose has an

impact on the look of your movie, too. A movie is shot at a certain frame rate. Your 5D MK III allows you to choose between  ,  ,  ,  , or  . However, the shutter speed does not necessarily have to match the frame rate. You could, for instance, use a shutter speed of 1/400. If your frame rate is 60 fps, this means that a frame is recorded every sixtieth of a second at 1/400th of a second. However, using such a fast shutter speed produces very staccato movie footage that has a stroboscopic feel to it. It can be very effective visually when shooting action sequences, but it’s not comfortable to watch for any period of time.

Notes:

FUNCTIONS » MOVIES

› Aperture and shutter speed

+

When using A , the auto ISO range is 100–12800. In all other modes except Tv and AF , you can set the minimum and maximum auto ISO range required (see page 54). +

In every mode except A and Tv , you can lock the exposure by pressing , and to unlock. You can also apply exposure compensation by turning . Although you can alter exposure controls during recording, this is not recommended, since any noise generated in doing so will be picked up by the 5D MK III’s microphone.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 67

67

15/8/12 14:39:10

2

› Movie recording size

› Movie menus Although there are no specific menu screens devoted entirely to shooting movies, options can be found in the menu screens that are only visible when . Live View / Movie shooting is set to

Note: The maximum movie clip size you can record is 4 GB. When a clip reaches this size, a new clip is started automatically without interruption. The maximum length of a clip (or clips) you can record is 29 minutes and 59 seconds. When you reach this maximum, recording will stop automatically.

Found on 4 (or 2 when using + A ), Movie recording size lets you set the resolution of movies, the compression method, and the frame rate. The options are shown below, though availability of the options will depend on the region where your 5D MK III was purchased.

Resolution

  (1920 x 1080)  (1270 x 720)  (640 x 480)

Full HD recording with an aspect ratio of 16:9 HD recording with an aspect ratio of 16:9 Standard definition recording with an aspect ratio of 4:3. Suitable for analog TV and Internet use.

Frame rate

 / 

For use in NTSC TV standard areas (North America / Japan)

 / 

For use in PAL TV standard areas (Europe / Australia)



For conversion to motion picture / film standard

Compression

IPB

ALL-I

68

Compresses multiple frames at a time. This increases the efficiency of the compression allowing more movie footage to be fitted onto a memory card. Compresses each frame individually. Less footage can be fitted onto a memory card, though the footage is more suitable for editing in postproduction.

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 68

15/8/12 14:39:12

is set to Enable, the 5D MK III will try to eliminate wind noise from the movie’s soundtrack during recording. However, it’s not perfect and mustn’t be used indoors or in calm conditions, since this could degrade the quality of the recorded sound. If you’re not shooting in wind, set this option to Disable.

FUNCTIONS » MOVIES

› Sound recording

› Silent Control Found on 4 (or 2 when using + A ), Sound recording lets you set the volume of a movie’s soundtrack, through either the built-in microphone or an external microphone. When Sound rec. is set to Auto, the soundtrack volume is adjusted automatically as it is recorded. Manual puts you in control, allowing you to set the volume level between 1 and 64. When Manual is selected, highlight Rec. level and turn to set the sound level. You should aim to have your peak (or loudest) sound level reach the -12 dB level. Any higher and sound may be distorted. When Sound rec. is set to Disable, no sound will be recorded. When Wind filter Controllable Functions Shutter Speed Aperture ISO Exposure Compensation Sound recording level

Silent control 5 allows you to set movie functions during recording by pressing 8 and then touching . This helps cut unwanted noise that may be picked up by the microphone. Setting it to Enable provides control of the functions listed below by touching the relevant part of .

Shooting mode

P / )

Tv

Av

M

Yes Yes

Yes Yes Yes

Yes Yes Yes

Yes Yes Yes Yes

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 69

69

15/8/12 14:39:13

2

› Time Code A Time Code ( 5 or 4 when + using A ) is a sequence of numbers. When you’re shooting movies, you can add a code to the clip, which then can be used as reference when you’re editing, logging, or organizing the clip or synchronizing sound. The code is recorded as hours, minutes, seconds, and frames. Time Code Options Count up

Rec run Time code counts up when you record a movie.

Free run Time code counts up even when movie is not being recorded.

Start time setting

Manual input setting Allows you to set the hours, minutes, seconds, and frames.

Reset Time set by Manual input setting and Set to camera time is reset to 00:00:00:00.

Set to camera time Sets hours, minutes, seconds to the 5D MK III’s internal clock.

Movie rec count

Rec time Shows the elapsed time from the beginning of movie recording.

Movie play count

Time code Shows the time code during movie recording. Rec time Shows the recording and playback time from the beginning of playback.

Time code Shows the time code during movie playback.

Drop frame (When  and  . are used)

Enable Automatically corrects for any discrepancy caused by skipping time code numbers.

Disable Does not correct for drop frame errors.

70

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 70

15/8/12 14:39:14

Playing Back a Movie 1) Press to enter Playback mode. Navigate to the movie you wish to view by turning . Movie files are distinguished SET in the top from still images by a left corner of the LCD.

Although it’s easier to view and edit movies on a PC, the 5D MK III has tools to do both in-camera.

2) When you’ve found the movie you want to view, press SET to display the movie Playback panel. 3) The play symbol, is highlighted by default when you first view the Playback panel. Press SET to play the movie. 4) When the movie finishes, you will be returned to the first frame of the movie.

FUNCTIONS » MOVIE PLAYBACK AND EDITING

» MOVIE PLAYBACK AND EDITING

Movie Playback Panel

/

Exit playback panel Movie Playback Slow motion—Use

to decrease / increase speed

Jump back to the first frame of the movie Move back one frame every time SET is pressed Hold down SET to skip backward Move forward one frame every time SET is pressed Hold down SET to skip forward Jump forward to the last frame of the movie Edit movie

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 71

71

15/8/12 14:39:15

2 › Other Playback control panel options

› 5D MK III Editing Suite

As well as , there are other options on the Playback control panel. See the table on the previous page for an explanation of these options.

The 5D MK III has a built-in editing facility so your movies can be trimmed if they’re too long. However, the results will be coarser than if you used movie editing software on your PC.

1) Follow steps 1–2 in Playing Back a Movie on previous page.

1) Follow step 1 in Playing Back a Movie on previous page.

2) Turn to highlight the desired option on the Playback control panel and press SET .

2) Highlight on the Playback control panel and press SET .

When you are viewing an index display, movies will be denoted by a perforated left edge to the thumbnail. During movie playback, press SET to pause, and turn to increase or decrease the volume.



Notes:

 



 

3) To cut the beginning of the movie, highlight ; to cut the end, highlight and then press SET . Push to the left or right to set the trimming point backward and forward a frame respectively. Turn for frame-byframe playback. The blue portion of the time bar at the top of the LCD shows you how much of the movie will be left when it is edited. Press SET when you’ve set the edit point.

4) Highlight and press SET to view the edited movie. 5) If you’re happy with the edited movie, highlight to save the movie to the memory card. Highlight New File if you want to create a new movie file with edit applied, Overwrite if you want to save

72

CANON EOS 5D MK III

CANON 5D MK III CH 2a 026-073.indd 72

15/8/12 14:39:16

FUNCTIONS » MOVIES

› Live View over the original movie or Cancel to return to the editing screen. Press SET .

/

6) At any point in the editing process, selecting and pressing SET will take you back to the movie Playback control panel. Highlight OK and press SET to exit without saving your changes, or Cancel to return to the editing screen.

› Quick Control The movie Quick Control screen is controlled in the same way as the Quick Control screen in Live View when shooting still images. Press 8 to alter any or all of the following before movie recording: Auto Lighting Optimizer, card selection, recording function, image recording quality (still images only), movie recording size, and sound recording level.

Notes: Movies are edited in one-second increments, so the edit may be less precise than anticipated. If there is not enough room on the card to save a new movie, New File will not be selectable.

Movies are only shot in Live View. Pressing 05-6 toggles between screens with different levels of shooting information. The picture displayed before and during recording reflects the following functions that you or the camera have set automatically: Auto Lighting Optimizer, Picture Style, white balance, peripheral illumination correction, exposure, Highlight tone priority, and depth of field.

› Shooting Stills Pressing the shutter-release button during movie record will temporarily pause movie record to shoot a still image. The pause is approximately 1 second in length. Shooting stills in movie record may cause errors in the movie’s time code.

THE EXPANDED GUIDE

CANON 5D MK III CH 2a 026-073.indd 73

73

15/8/12 14:39:18

2 » THE MODE DIAL Mode Dial

The mode dial allows you to choose between six separate shooting modes and three custom shooting options. The shooting modes can be roughly divided into three types: two automatic exposure modes; two semi-automatic exposure modes; and two manual exposure modes. This allows greater control over the final exposure. To select the desired mode, press down the Mode dial lock button and then turn the mode dial until the appropriate icon is aligned with the white mark to the right of the mode dial.

+

Scene Intelligent Auto

A

Program

P

Shutter Priority

Tv

Aperture Priority

Av

Manual

M

Bulb

)

Custom Shooting 1

C1

Custom Shooting 2

C2

Custom Shooting 3

C3

Note: Tv stands for Time Value, another way of describing shutter speed, and Av stands for Aperture Value.

« ACCURACY The closer you focus, the more issues such as frontfocus and backfocus become apparent. Fortunately the lens used to shoot this image doesn’t need adjusting.

74

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 74

15/8/12 14:40:07

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 75

75

15/8/12 14:40:09

2

› Scene Intelligent Auto A

+

Scene Intelligent Auto puts your 5D MK III in the driving seat when it comes to exposure and other shooting functions. All you have to worry about is composing the picture and pressing the shutter-release

button. The one big drawback to this is that most of the creative aspects of photography are taken out of your hands. However, Scene Intelligent Auto is ideal if you need to shoot without being concerned about the technical aspects of photography. This includes situations such as social or sporting events. Options like ISO are set automatically to try to ensure that your images are sharp by biasing the shutter speed so that you can hold the camera steady without causing camera shake. Basically, all you have to do is shoot.

Tips Switch on image stabilization if your lens has this facility. This is a further aid to keeping your camera steady. Even though the camera is on automatic, don’t rush your photography. Think about the composition of your shots. It’s the one thing your camera can’t do for you!

« EVENTS Fast-paced events—particularly when the participants look as though they want to make a run for it—are ideal times to use Scene Intelligent Auto.

76

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 76

15/8/12 14:40:11

Focus Settings AI Focus AF; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative Tone Settings White balance (AWB only); Lens aberration correction Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto

Using Scene Intelligent Auto A mode

+

+

1) Turn the mode dial to A . 2) Press 8 to change the drive mode if required. 3) If using the viewfinder, press lightly halfway down on the shutter-release button to focus. Once focus has been achieved the active focus point(s) will flash red, the camera will beep and the focus confirmation light will be displayed (One-shot AF). 4) If using Live View (AF Live) the focus point can be moved by using . Press lightly halfway down on the shutterrelease button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. 5) When focus has been achieved press down fully on the shutter-release button to take the shot. 6) The captured photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 77

FUNCTIONS » SHOOTING MODES / SCENE INTELLIGENT AUTO MODE

SCENE INTELLIGENT AUTO SETTINGS

77

15/8/12 14:40:11

› Program AE (

P)

Program AE is similar in concept to Scene Intelligent Auto in that your 5D MK III automatically chooses the shutter speed and aperture. However, there the similarity ends because you can step in and adjust the exposure if necessary, by using exposure compensation, or selecting an ISO or Program Shift. You are also free to use the full range of options such as Picture Style. Think of Program AE as a halfway point between Scene Intelligent Auto and modes such as Aperture Priority and Manual described on the following pages.

78

Although Program AE sets both the shutter speed and aperture, you don’t have to use the combination suggested. Program Shift allows you to shift the combination so that either the aperture is wider and the shutter speed faster, or the aperture smaller and the shutter speed longer, than the original settings selected by the camera. To set Program Shift turn . Once you’ve taken your shot, Program Shift will be canceled.

«

2

OUT FOR THE DAY Program is ideal for days out, but where you still want the option to override the camera’s settings.

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 78

15/8/12 14:40:12

Focus Settings One-Shot AF; AI Servo AF; AI Focus AF; AF point selection; AF-assist beam; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative; Partial; Spot; Center-weighted average Settings: Program shift; Exposure compensation; AEB; AE Lock; DOF preview Tone Settings White balance (AWB; Preset; Custom; Correction/Bracketing); Auto Lighting

Using Program AE (

P

) mode

1) Turn the mode dial to P . 2) Press 8 to change the desired shooting settings. 3) If using the viewfinder, press lightly halfway down on the shutter-release button to focus. Once focus has been achieved the active focus point(s) will flash red, the camera will beep and the focus confirmation light will be displayed. 4) If using Live View (AF Live) the focus point can be moved by using . Press lightly halfway down on the shutter-

FUNCTIONS » SHOOTING MODES / PROGRAM AE MODE

PROGRAM AE (P) SETTINGS

Optimizer; Lens aberration correction; Highlight tone priority; Color space (sRGB; Adobe RGB) Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto; Manual selection (L(50)– H2(1023400)); Auto ISO range; High ISO speed noise reduction; Long exposure noise reduction External flash settings Flash firing enable; E-TTL II metering (Evaluative; Average); First/Secondcurtain synchronization; High-speed synchronization Creative Photo settings Picture Style; Multiple exposure; HDR

release button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. to alter the shutter speed 5) Turn and aperture combination or turn to apply exposure compensation if required, and then press lightly halfway down on the shutter-release button again. 6) When focus has been achieved press down fully on the button to take the shot. 7) The photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 79

79

15/8/12 14:40:13

2

› TV-Shutter Priority AE ( Tv ) Shutter priority is typically used if the shutter speed required is a more important factor in your image than the depth of field. If there is no movement in a scene then the shutter speed is relatively unimportant. An exposure could be for 1/4000 or 30 seconds and there would be little difference visually. However, once there is movement the shutter speed you choose becomes critical to how the movement is recorded in the final image. Fast movement requires a fast shutter speed if you want to “freeze” the movement. However, there are other factors that need to be considered too. The distance between you and your moving subject is also important. The closer the subject to the camera the faster the shutter speed will need to be. A subject moving across the image frame will also need a

faster shutter speed than one moving toward or away from the camera. Slowing the shutter speed down will make your moving subject look more blurred and soft. This is not necessarily a bad thing. A certain amount of softness will help to convey a sense of movement more effectively than pin-sharp detail. With a sufficiently long shutter speed a moving subject may even disappear entirely from the subject—this can be an effective way to “remove” people from a scene, particularly when an extreme ND graduated filter is used. The slower the shutter speed, the more necessary a tripod or other support will become.

Note: If the maximum aperture figure blinks in the viewfinder or in Live View your image will be underexposed. You’ll need to use a longer shutter speed (or increase the ISO). If the minimum aperture figure blinks the image will be overexposed, and you’ll need to use a faster shutter speed (or decrease the ISO).

« ACTION Using a fast shutter speed means using a large aperture (or increasing the ISO). Large apertures can mean limited depth of field so focusing needs to be precise.

80

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 80

15/8/12 14:40:14

Focus Settings One-Shot AF; AI Servo AF; AI Focus AF; AF point selection; AF-assist beam; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative; Partial; Spot; Center-weighted average Settings: Exposure compensation; AEB; AE Lock; DOF preview Tone Settings White balance (AWB; Preset; Custom; Correction/Bracketing); Auto Lighting Optimizer; Lens aberration correction;

Using Shutter Priority ( Tv ) mode

1) Turn the mode dial to Tv and set the required shutter speed by turning .

2) Press 8 to change the shooting settings if required. 3) If using the viewfinder, press lightly halfway down on the shutter-release button to focus. Once focus has been achieved, the active focus point(s) will flash red, the camera will beep and the focus confirmation light will be displayed (One-shot AF).

Highlight tone priority; Color space (sRGB; Adobe RGB) Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto; Manual selection (L(50)– H2(1023400)); Auto ISO range; High ISO speed noise reduction; Long exposure noise reduction External flash settings Flash firing enable; E-TTL II metering (Evaluative; Average); First/Secondcurtain synchronization; High-speed synchronization Creative Photo settings Picture Style; Multiple exposure; HDR

4) If using Live View (AF Live) the focus . Press point can be moved by using lightly halfway down on the shutterrelease button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. 5) When focus has been achieved press down fully on the shutter-release button to take the shot. 6) The captured photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 81

FUNCTIONS » SHOOTING MODES / TV-SHUTTER PRIORITY AE MODE

TV-SHUTTER PRIORITY AE SETTINGS

81

29/8/12 10:19:26

2

› Aperture Priority AE ( Av) The aperture in a lens controls how much light passes through into the camera. However, the size the aperture is set to also controls the amount of acceptable sharpness in an image. The focus point is always the sharpest part of an image. By decreasing the size of the aperture a zone of sharpness extends out from the focus point. This zone of sharpness is known as “depth of field.” Depth of field always extends further back from the focus point than it does in front. The extent of the achievable depth of field is influenced by three factors. The first

is the available aperture range on a lens (although there is good reason not to use the smallest apertures on a lens—see page 210). The second factor is the focal length of the lens. Depth of field is always greater at any given aperture when using a shorter focal length lens than a longer focal length. The third factor is the camera-to-subject distance. The closer you focus (and so the shorter the camera-to-subject distance) the less depth of field you will be able to achieve, even when using a lens at minimum aperture. This is a particular problem when shooting using the Macro mode (see chapter 7). When you look through the viewfinder or when viewing a Live View image you are seeing the scene at maximum aperture (and so at minimum depth of field). However, by pressing and holding the depth of field preview button you close the aperture to the one selected. If you’ve selected a small aperture the viewfinder will go dark, but you should see a difference in the depth of field and so have a more accurate guide to how your final image will look. Live View will compensate and show a correctly exposed image.

« SOFTLY DOES IT Landscape images are often shot with smaller apertures to maximize depth of field. However, using maximum aperture and focusing precisely on your subject can be just as effective.

82

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 82

15/8/12 14:40:15

Focus Settings One-Shot AF; AI Servo AF; AI Focus AF; AF point selection; AF-assist beam; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative; Partial; Spot; Center-weighted average Settings: Exposure compensation; AEB; AE Lock; DOF preview Tone Settings White balance (AWB; Preset; Custom; Correction/Bracketing); Auto Lighting Optimizer; Lens aberration correction;

Using Aperture Priority AE ( Av )

1) Turn the mode dial to Av and set the required aperture by turning .

2) Press 8 to change the shooting settings if required. 3) If using the viewfinder, press lightly halfway down on the shutter-release button to focus. Once focus has been achieved, the active focus point(s) will flash red, the camera will beep and the focus confirmation light will be displayed (One-shot AF).

Highlight tone priority; Color space (sRGB; Adobe RGB) Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto; Manual selection (L(50)– H2(1023400)); Auto ISO range; High ISO speed noise reduction; Long exposure noise reduction External flash settings Flash firing enable; E-TTL II metering (Evaluative; Average); First/Secondcurtain synchronization; High-speed synchronization; Flash sync. speed Creative Photo settings Picture Style; Multiple exposure; HDR

4) If using Live View (AF Live) the focus . Press point can be moved by using lightly halfway down on the shutterrelease button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. 5) When focus has been achieved, press down fully on the shutter-release button to take the shot. 6) The captured photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 83

FUNCTIONS » SHOOTING MODES / APERTURE PRIORITY AE

APERTURE PRIORITY AE SETTINGS

83

15/8/12 14:40:15

2

› Manual Exposure mode ( M) Manual Exposure mode puts you fully in control of the exposure of your images by letting you adjust the shutter speed and the aperture independently. If the light level changes during a shoot, you won’t be able to blame the camera for any errors if you don’t change the exposure. However, this is also one of the joys of Manual Exposure mode. Because you are in complete control you can deliberately ignore your camera’s meter and use an exposure that captures the image precisely as you visualize it. In many respects there is no such thing as the “correct” exposure. Technically there is, but exposure is also a creative element and there is no need to be a slave to being technically correct all the time.

High-key images are those that could be considered overexposed. However, for certain subjects high-key exposure is perfectly valid. High-key images have a light, airy feel with few dark tones and open shadows. Portraiture, particularly when conveying a romantic feel, works well when high-key exposure is used. Low-key images have the opposite feel. Low-key exposure means few highlights, and dark, dense shadows. This makes low-key images more dramatic, brooding and atmospheric.

Note: Manual Exposure mode is best used with a definite ISO value rather than using Auto ISO.

« MOON Astronomical photography is a good example of when to use Manual mode. By using a Live View histogram and Manual Exposure, I was able to assess and adjust the exposure very precisely.

84

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 84

15/8/12 14:40:16

Focus Settings One-Shot AF; AI Servo AF; AI Focus AF; AF point selection; AF-assist beam; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative; Partial; Spot; Center-weighted average Settings: AEB; DOF preview Tone Settings White balance (AWB; Preset; Custom; Correction/Bracketing); Auto Lighting Optimizer; Lens aberration correction;

Using Manual ( M) mode 1) Turn the mode dial to M and set the shutter speed by turning and aperture by turning . The correct exposure is set when the exposure level mark is centered in the viewfinder or on the top LCD. 2) Press 8 to change the shooting settings if required. 3) If using the viewfinder, press lightly halfway down on the shutter-release button to focus. Once focus has been achieved the active focus point(s) will flash red, the camera will beep and the

Highlight tone priority; Color space (sRGB; Adobe RGB) Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto; Manual selection (L(50)– H2(1023400)); Auto ISO range; High ISO speed noise reduction; Long exposure noise reduction External flash settings Flash firing enable; E-TTL II metering (Evaluative; Average); First/Secondcurtain synchronization; High-speed synchronization Creative Photo settings Picture Style; Multiple exposure; HDR focus confirmation light displayed (One-shot AF).

will be

4) If using Live View (AF Live) the focus point can be moved by using . Press lightly halfway down on the shutterrelease button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. 5) When focus has been achieved press down fully on the button to take the shot. 6) The photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 85

FUNCTIONS » SHOOTING MODES / MANUAL EXPOSURE MODE

MANUAL EXPOSURE MODE SETTINGS

85

15/8/12 14:40:17

› Bulb (

))

Bulb mode allows you to keep the shutter in your 5D MK III open for extended periods of time by holding down the shutterrelease button, or by using the lock facility on a remote switch (a far more practical way of working!). The length of time you use will depend on the ambient light conditions. Correctly exposed images using shutter speeds longer than 30 seconds are generally only possible in very low light or when extremely dense ND filters are used. Dimly lit interiors or night scenes are good situations for using Bulb. There are a few practical considerations to consider when using Bulb. By using Bulb you are keeping the camera running constantly. This will obviously drain the battery. It’s recommended that you use a freshly charged battery when shooting Bulb

86

images, to avoid proceedings coming to a crashing halt. Another factor to consider is image noise. Noise will become more visible the longer an exposure. The 5D MK III has a long exposure noise reduction facility (see page 107). This takes the same length of time as the original exposure. If you’re using very long exposures, it is worth switching it off. This will increase noise— which can be dealt with in postproduction—but it does reduce the risk of the battery dying, and therefore losing the image, before the process has completed.

«

2

HEAVENS ABOVE Bulb is ideal for shooting exposures that require minutes or even hours. This star-trail image took ten minutes, though it could easily have been longer for a more pronounced effect.

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 86

15/8/12 14:40:17

FUNCTIONS » SHOOTING MODES / BULB MODE

BULB MODE SETTINGS Focus Settings One-Shot AF; AI Servo AF; AI Focus AF; AF point selection; AF-assist beam; Manual Focus Live View only: AF Live; Face Detection; AF Quick mode Quality Settings JPEG (Fine / Normal compression; L; M; S1; S2; S3); JPEG+RAW; RAW; ;6 0 Exposure settings Metering: Evaluative; Partial; Spot; Center-weighted average Settings: DOF preview Tone Settings White balance (AWB; Preset; Custom; Correction/Bracketing); Auto Lighting Optimizer; Lens aberration correction;

Using Bulb ( ) ) mode

1) Turn the mode dial to ) and set the required aperture by turning . 2) Press 8 to change the shooting settings if required. 3) If using the viewfinder, press halfway down on the shutter-release button to focus. Once focus has been achieved, the active focus point(s) will flash red, the camera will beep and the focus confirmation light will be displayed (One-shot AF). 4) If using Live View (AF Live) the focus point can be moved by using . Press

Highlight tone priority; Color space (sRGB; Adobe RGB) Drive Mode Single; High speed continuous; Low speed continuous; Silent single shooting; Silent continuous shooting; Self-timer (2; 10 seconds) ISO Settings ISO Auto; Manual selection (L(50)– H2(1023400)); Auto ISO range; High ISO speed noise reduction; Long exposure noise reduction External flash settings Flash firing enable; E-TTL II metering (Evaluative; Average); First/Secondcurtain synchronization; High-speed synchronization Creative Photo settings Picture Style; Multiple exposure lightly halfway down on the shutterrelease button to focus. Focus lock will be confirmed by the focus box turning green and the camera beeping. 5) When focus has been achieved, press down fully on the button to take the shot. Keep the button pressed down until the required exposure is achieved. The length of the exposure—in seconds—will be shown on the top LCD during exposure. 6) The photograph will be displayed on the LCD by default for 2 seconds unless the review time has been adjusted.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 87

87

15/8/12 14:40:18

2 » MENU SUMMARY SHOOTING 1

(Red)

Options

LLarge Fine LLarge Normal; M M Medium Normal; S1 Small 1 Fine; S1 Small 1 Normal; S2 Small 2; S3 Small 3 ;0 M RAW; 6 S RAW; RAW: RAW

Image Quality

JPEG:

Medium Fine;

RAW + JPEG Image review

Off; 2 sec.; 4 sec.; 8 sec.; Hold

Beep

Enable; Disable

Release shutter without card

Enable; Disable

Lens aberration correction

Peripheral illumination and Chromatic aberration (Enable [with compatible lenses]; Disable)

External Speedlite Control

Flash firing (Enable; Disable); E-TTL II metering (Evaluative; Average); Flash sync. speed in Av mode (Auto; 1/200–1/60 sec. auto; 1/200 sec. fixed); Flash function settings; Clear flash settings; Flash C.Fn settings; Clear all Speedlite C.Fn’s

Mirror lockup SHOOTING 2 Expo. comp. / AEB

Enable; Disable

(Red)

Options Exposure compensation (±5 stops in ¹/₃-stop increments); Exposure bracketing (±3 stops in ¹/₃-stop increments)

ISO speed settings

ISO speed; ISO speed range (minimum; maximum); Auto ISO range (minimum; maximum); Min. shutter spd. (Auto; 1/250; 1/125; 1/60; 1/30; 1/15; 1/8; 1/4; 0”5; 1”

Menu settings in gray are not available in

88

A

+

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 88

15/8/12 14:40:19

Options

Auto Light Optimizer White balance

Disable; Low; Standard; High ; ;

; ;

;

;

;

; Specific Kelvin value

Custom White Balance

Manual setting of white balance

WB Shift / BKT

White balance correction; White balance bracketing

Color space

sRGB; Adobe RGB

SHOOTING 3

(Red)

Picture Style

Options

FUNCTIONS » MENU SUMMARY

SHOOTING 2 cont.

Auto; Standard; Portrait; Landscape; Neutral; Faithful; Monochrome; User Def. 1; User Def. 2; User Def. 3

Long exposure noise reduction On; Auto; Off High ISO speed noise reduction Standard; Low; High; Disable Highlight tone priority

Disable; Enable

Dust Delete Data

Image capture for automatic dust removal in Digital Photo Professional

Multiple exposure

Multiple exposure (Disable; On: Func/Ctrl; On: ContShtng); Multi-expose ctrl (Additive; Average; Bright; Dark); No. of exposures (2–9); Save source images (All images; Result only); Continue Mult-exp (1 shot only; Continuously)

HDR Mode

Adjust dyn range (Disable HDR; Auto; ± 1EV; ±2 EV; ±3 EV); Effect (Natural; Art standard; Art vivid; Art bold; Art embossed); Auto Image Align (Enable; Disable); Save source imgs (All images; HDR img only)

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 89

89

15/8/12 14:40:20

2

SHOOTING 4

(Red)

Options

+

In A this menu is shown as Shooting 2 Live View shoot.

Enable; Disable

AF mode

Live mode /

Live mode / Quick mode ; 6x4

; 3x3+diag

Grid display

Off; 3x3

Aspect ratio

3:2; 4:3; 16:9; 1:1

Expo. simulation

Enable; During

Silent LV shoot.

Mode 1; Mode 2; Disable

Metering timer

4 sec.; 16 sec.; 30 sec.; 1 min.; 10 min.; 30 min.

AUTO FOCUS 1

AF (Purple)

Af config. tool AUTO FOCUS 2

; Disable

Options Case 1–6

AF (Purple)

AI Servo 1st image priority

Options Prioritize between Release and Focus for 1st image shot

AI Servo 2nd image priority

Prioritize between shooting speed and Focus for 2nd image shot

AUTO FOCUS 3

AF (Purple)

USM lens electronic MF

Options Enable after One-Shot AF; Disable after One-Shot AF; Disable in AF mode

AF-assist beam firing

Enable; Disable; IR AF assist beam only

One-Shot AF release prior.

Prioritize between Release and Focus

AUTO FOCUS 4

AF (Purple)

Options

Lens drive when AF impossible On; Off Selectable AF point

61 points; Only cross-type AF points; 15 points; 9 points

90

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 90

15/8/12 14:40:21

Select AF area selec. mode

Options Manual selection: Spot AF; Manual selection: 1 point AF; Expand AF area; Expand AF area: Surround; Manual selection: Zone AF; Auto selection: 61 point AF

AF area selection method Orientation linked AF point AUTO FOCUS 5

> M-Fn button;

> Main dial

Same for both vert/horiz; Select separate AF points

AF (Purple)

Options

Manual AF pt. selec. pattern

Stops at AF area edges; Continuous

AF point display during focus

Selected (constant); All (constant); Selected (pre-AF,

FUNCTIONS » MENU SUMMARY

AUTO FOCUS 4 cont.

focused); Selected (focused); Disable display VF display illumination

Auto; Enable; Disable

AF Microadjustment

Disable; All by same amount; Adjust by lens

PLAYBACK 1

(Blue)

Protect images

Options Select images; All images in folder; Unprotect all images in folder; All images on card; Unprotect all images on card

Rotate

Rotate images by 90–270° clockwise

Erase images

Select and erase images; All images in folder; All images on card

Print order

Selection of images for printing

Image copy

Copy images between memory cards

RAW image processing

Convert RAW files to JPEG

PLAYBACK 2

(Blue)

Options

Resize

Reduce the resolution of compatible images

Rating

Rate images (Off; 1–5

Slide show

Select images for automatic slide show

)

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 91

91

15/8/12 14:40:22

2

PLAYBACK 2 cont. Image transfer

Options Select images for transfer to your PC Jump by 1; 10; 100 images; Display by date; folder;

Image jump w/

movies only; stills only; image rating PLAYBACK 3

(Blue)

Options

Highlight alert

Enable; Disable

AF point disp.

Enable; Disable

Playback grid

Off; 3x3

Histogram display

Brightness; RGB

Movie play count

Rec time; Time code

Magnificatn (apx)

1x (no magnification); 2x (magnify from center); 4x

; 6x4

; 3x3+diag

(magnify from center); 8x (magnify from center); 10x (magnify from center); Actual size (from selected pt); Same as last magnify. (from ctr) Ctrl over HDMI SET UP 1

Enable; Disable

(Yellow)

Record func+card/folder sel.

Options Record func. (Standard; Auto switch card; Rec. separately; Rec. to multiple); Record/play ( 1 ;

2 ); Folder (Select; Create folder) File numbering

Continuous; Auto reset; Manual reset

File name

Choose file naming convention for your images

Auto rotate

On

Format

Format memory card(s)

Eye-fi settings

Settings for Eye-Fi card use (only visible when an

; On

; Off

Eye-Fi card is used)

92

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 92

15/8/12 14:40:22

(Yellow)

Auto power off

FUNCTIONS » MENU SUMMARY

SET UP 2

Options 1 min.; 2 min.; 4 min.; 8 min.; 15 min.; 30 min.; Disable

LCD brightness

Auto; Seven levels of brightness

Date/Time/Zone

Sets date and time/time zone

Language

English; German; French; Dutch; Danish; Portuguese; Finnish; Italian; Ukrainian; Norwegian; Swedish; Spanish; Greek; Russian; Polish; Czech; Hungarian; Romanian; Turkish; Arabic; Thai; Simplified Chinese; Chinese (traditional); Korean; Japanese

VF grid display

Enable; Disable

GPS device settings

Settings available when GPS unit GP-E2 is fitted

SET UP 3

(Yellow)

Options

Video system

PAL; NTSC

Battery info.

Register battery; Remaining capacity; Shutter count; Recharge performance

Sensor cleaning

Auto cleaning (Enable; Disable); Clean now; Clean

05-6 button display options

Displays camera settings; Electronic level; Displays

manually shooting functions RATE btn function

SET UP 4

(Yellow)

Rating; Protect Options

Custom shooting mode (C1-C3) Register settings; Clear settings; Auto update set. (Enable; Disable) Clear all camera settings

Resets camera to factory default settings

Copyright information

Display copyright info.; Enter author’s name; Enter

Firmware Ver.

Currently installed camera firmware

copyright details; Delete copyright information

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 93

93

15/8/12 14:40:23

2

CUSTOM FUNC.1

(Orange)

Options

Exposure level increments

¹/₃-stop; ½-stop

ISO speed setting increments

¹/₃-stop; 1-stop

Bracketing auto cancel

Enable; Disable

Bracketing sequence

0 - +; - 0 +; + 0 -

Number of bracketed shots

3 shots; 2 shots; 5 shots; 7 shots

Safety shift

Off; Tv/Av; ISO

CUSTOM FUNC.2 Warning

(Orange)

i in viewfinder

Options

When monochrome

M

set; When WB is

corrected; When one-touch img qual set; When ISO expansion is used; When spot meter. is set Live View shooting area

Masked; Outlined

display Dial direction during

Tv / Av

- +; + ;

Multi function lock Custom Controls CUSTOM FUNC.3

;

Customize control button operation (Orange)

Options

Add cropping information

Off; 6:6; 3:4; 4:5; 6:7; 5:6; 5:7

Default Erase option

[Cancel] selected; [Erase] selected

CUSTOM FUNC.4

(Orange)

Options

Clear all Custom Func. (C. Fn) Reset settings on Custom function menus MY MENU

(GREEN)

My Menu Settings

Options Choose your most commonly used menu options for easy accessibility

94

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 94

15/8/12 14:40:24

› Image Quality You can set your 5D MK III to shoot either RAW, RAW+JPEG or JPEG only. JPEG can be shot at two different quality settings, Fine and Normal, as well as at five different pixel resolutions—Large, Medium, Small 1, Small 2 and Small 3. JPEG Fine will create an image with a higher image quality than Normal, with fewer JPEG artefacts, but will take up more memory card space. Another way to save space on a memory card is to lower the pixel resolution. However, you may find that this limits your printing options later.

Choosing RAW will give you the most scope postproduction. However, RAW files take up more space on a memory card than a JPEG. The 5D MK III allows you to save RAW files with different pixel resolutions. As with JPEG, using a low-resolution RAW file will limit your print options. However, RAW files do not suffer as badly when scaled up compared to JPEG. If you’re in a situation where card space is tight but you still want RAW, using 0 or even 6 is better than running out of space and missing opportunities for shots.

QUALITY

RESOLUTION

POSSIBLE SHOTS (1)

PRINTABLE PRINTABLE SIZE: CM (2) SIZE: IN (3)

5760x3840

2020

58x39

23x15.3

5760x3840

3860

3840x2560

3720

39x26

15.3x10.2

3840x2560

6860 29x19.3

11.5x7.6

JPEG

L L M M S1 S1

S2 S3 RAW

0 6

2880x1920

5620

2880x1920

10480

1920x1280

10060

19.3x13

7.7x5.1

720x480

39040

7.2x4.8

2.9x1.9

5760x3840

520

58x39

23x15.3

3840x2560

740

39x26

15.3x10.2

2880x1920

960

29x19.3

11.5x7.6

FUNCTIONS » SHOOTING 1

» SHOOTING 1

(1) With a 16Gb memory card installed. (2) Approximate size when printed at 99 pixels per centimeter. (3) Approximate size when printed at 250 pixels per inch.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 95

95

15/8/12 14:40:26

2

› Image review

After you’ve created an image, the 5D MK III will display it for a set period of time. The default is 2 sec. but this can be altered to Off, 4 sec., or 8 sec. When set to Hold the image will remain onscreen until you press any of the controls or until the camera powers down. The LCD is a big drain on the battery, so use a setting that is as energy efficient as possible but that is still useful.

› Beep When set to Enable, the camera will beep to confirm focus lock and when the selftimer is activated. Set to Disable, beep is set to mute and you can shoot in silence.

96

› Release shutter without card

With this option set to Enable you will be able to fire the shutter of the 5D Mk III without a memory card installed. Although the image you shoot will be displayed briefly on the LCD it will not be saved. When set to Disable you will be warned that there is no card in the camera and the shutter will not fire. Enable should only be used when you connect your 5D MK III via a USB cable to a PC so that the camera can transfer any images shot directly to the PC. This technique is known as tethered shooting and is most useful in studio setups, though it is also possible on location with a suitable laptop. You will need to install Canon’s EOS Utility software to enable tethered shooting, as well as image-editing software such as DPP or Adobe Lightroom to view and process the captured images (see page 233).

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 96

15/8/12 14:40:27

There is no such thing as the perfect lens— all lenses have optical defects no matter how slight. The two most common defects are vignetting and chromatic aberration (there is a third—distortion—but this cannot be cured in-camera). Fortunately, these defects are quantifiable for a particular lens design and can be removed either in-camera using Lens aberration correction or later in post-processing. This correction process requires a lens profile that specifies the defects of a lens and how they should be corrected. Built into the 5D MK III are profiles for 26 Canon lenses. If the lens you use is supported by a profile you can use the two options below to correct lens defects. Set both options below to Disable if a lens is not supported. Peripheral illumin. Vignetting is the darkening of the corners of an image compared to the center. Most lenses will display a certain amount of vignetting at maximum aperture, but this is

usually reduced as the lens is stopped down. Wideangle lenses are more prone to the effects of vignetting than telephotos. Set Peripheral illumin. to Enable to reduce vignetting. One potential downside to using this function is the increase of noise in the corners of your images. Noise is often made more visible when all or part of an image is lightened—precisely the process applied to the image corners when Peripheral illumin. is enabled.

Notes: These functions are only applied when you shoot JPEG. If you shoot RAW, defect reduction must wait until postproduction. Both Peripheral illumin. and Chromatic aberration correction can be applied to RAW files using DPP. Canon’s EOS Utility allows you to change which lens profiles are registered with your 5D MK III, and to register other lenses not supported by default. The higher the ISO setting the less adjustment will be made to the corners of the image when Peripheral illumin. is set to Enable. Canon does not (and probably never will) supply profiles for third-party lenses.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 97

FUNCTIONS » SHOOTING 1

› Lens aberration correction

97

15/8/12 14:40:27

2 › Chromatic aberration Chromatic aberration (or achromatism) is caused by the inability of a lens to focus the various wavelengths of colored light to the same point. This results in colored fringing along the boundaries of light and dark areas of an image. There are two types of chromatic aberration: axial and transverse. Axial chromatic aberration is visible across the entirety of an image when a lens is used at maximum aperture. By stopping the aperture down, axial chromatic aberration is reduced; it disappears entirely when the aperture is set a few stops smaller than maximum. Transverse chromatic aberration is seen only at the edges of an image and is not reduced by stopping the aperture down. It is transverse chromatic aberration that is reduced by setting Chromatic aberration to Enable.

Lenses support by default EF 14mm f/2.8 L II USM EF 16–35mm f/2.8 L II USM EF 17–40mm f/4 L USM EF 24mm f/1.4 L USM II EF 24–70mm f/2.8 L USM EF 24–105mm f/4 L IS USM EF 28–300mm f/3.5-5.6 USM EF 35mm f/1.4 L USM EF 50mm f/1.2 L USM EF 70–200mm f/2.8 L IS II USM EF 70–200mm f/2.8 L USM EF 70–200mm f/4 L IS USM EF 70–200mm f/4 L USM EF 85mm f/1.2 L II USM EF 70–300mm f/4.5-5.6 DO IS USM EF 70–300mm f/4-5.6 L IS USM EF 100–400mm f/4.5-5.6 L IS USM EF 200mm f/2 L IS USM EF 300mm f/2.8 L IS II USM EF 300mm f/4 L IS USM EF 400mm f/2.8 L IS II USM EF 400mm f/4 DO IS USM EF 400mm f/5.6 L USM EF 500mm f/4 L IS II USM EF 600mm f/4 L IS II USM EF 800mm f/5.6 L IS USM

98

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 98

15/8/12 14:40:27

See chapter 4 for more detail.

›

Mirror lockup

blocked. Therefore, Mirror lockup is only really suitable when you’re using a tripod and there’s no chance that your composition will change accidentally. The most effective way to use Mirror lockup is in conjunction with a remote release or by setting the drive mode to self-timer (see page 144). Set Mirror lockup to Disable to return to normal shooting.

FUNCTIONS » SHOOTING 1

› External Speedlite Control

Notes: When Live View is used the mirror is moved up so Mirror lockup will not be required.

There are many causes of camera shake, such as holding the camera incorrectly. Rather ironically, another potential cause of camera shake is the camera itself, specifically that caused by vibrations from the reflex mirror as it is swung upwards when an exposure is made. When Mirror lockup is set to Enable, pressing the shutter-release button once will lock the mirror into the up position—without taking the shot. It’s only when the shutter-release button is pressed again that the final exposure will be made. After the exposure has been made the mirror will return to the down position as normal. The big drawback to Mirror lockup is that the view through the viewfinder will be

If the shutter-release button hasn’t been pressed again within 30 seconds, the mirror will return to the down position automatically.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 99

99

15/8/12 14:40:28

2 » SHOOTING 2 › Expo. comp./AEB

› Auto Lighting Optimizer

Exposure compensation allows you to override your 5D MK III’s suggested exposure and shoot a bracketed sequence of images (see page 51 for details).

› ISO speed settings These settings allow you to set the ISO speed to be used by your 5D MK III, the ISO and Auto ISO range and minimum shutter speed for Auto ISO (see page 51 for details).

«

OVERCAST Heavy cloud cover produces a cool blue light that needs correcting to look natural.

Auto Lighting Optimizer can be used to correct your JPEG images at the time of capture if they appear too dark or low in contrast (similar adjustments can be made to RAW files using Digital Photo Professional). Choose between Low, OFF Off, Standard and Strong. Strong has the greatest effect on shadow detail but increases the visibility of noise in the image—you may also find your highlights blowing out more quickly too.

Notes: Auto Lighting Optimizer cannot be used at the same time as Highlight tone priority (see page 108). Press 05-6 when setting Auto Lighting Optimizer to allow its use when shooting in M mode (when Disable is unchecked).

100

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 100

15/8/12 14:40:28

Most light sources have a color bias—usually either a red bias (resulting in the light being “warm”) or blue (or “cool” light). Our eyes usually adjust so that we don’t realize that the light is not neutral in color. It’s only when the color bias is extreme (such as the warmth of candlelight) that we really notice the difference. This variation in the color bias of light is known as a variation in the color temperature, measured using the Kelvin Scale (°K).

A camera will faithfully record the color bias of light if you don’t intervene, producing images that may look too warm (when tungsten lighting is used) or too cool (the ambient light of open shade). White balance is the technique of adjusting for this color bias so that any white in an image is perfectly white. You can choose to set the correct white balance for a particular light source using one of the presets built into the camera, create a custom white balance, or specify a Kelvin value if you know the color temperature of the light under which you’re shooting.

FUNCTIONS » SHOOTING 2

› White balance

Setting white balance 1) Highlight White balance on the Shooting 2 menu and press SET . to highlight the required 2) Turn white balance setting and press SET again.

White balance settings White balance is set automatically Daylight/5200°K—sunny conditions Shade / 7000°K—shadow conditions Cloudy / 6000°K—overcast light Tungsten / 3200°K—domestic lighting White fluorescent lighting / 4000°K Flash / 5200°K Custom white balance Specific Kelvin Value

-

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 101

101

15/8/12 14:40:29

2

› Custom White Balance

For the most accurate white balance it is recommended that you create a custom white balance. This will be specific to the light source used in the creation of the custom setting. The custom white balance

will no longer be accurate as soon as you use a different light source to shoot with. To set the custom white balance you must first take a photo of a neutral white surface, within the spot metering circle, that is lit by the same light as the scene that you’re shooting. Switch your lens to MF (it doesn’t matter whether the white surface is in focus or not) and adjust the exposure so that the white surface is almost (but not quite) clipping the right edge of the histogram.

Setting the custom white balance 1) Highlight Custom White Balance on the Shooting 2 menu and press SET . 2) The image you’ve just shot should be displayed (turn if it’s not, or you want to use a different image to create the custom white balance). Press SET . 3) Highlight OK and press SET again to create the custom white balance or highlight Cancel to return to step 2. 4) Once you’ve created your custom white balance, you need to select the Custom White Balance preset using the steps described on the previous page.

YOUR CHOICE « A white balance may be technically correct, but that doesn’t mean that it’s aesthetically correct. You wouldn’t want to correct the warm light found at the ends of the day, for instance.

102

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 102

15/8/12 14:40:30

Setting WB shift 1) Highlight WB Shift / BKT on the Shooting 2 menu and press SET .

The white balance presets are a good starting point for correct white balance but they are blunt instruments. If they aren’t accurate enough for your needs, you can modify them by using WB Shift / BKT and adding in more green, magenta, blue, or amber (red) to the mix. You can also bracket white balance, so that three shots are taken using different white balance settings.

Notes: When WB bracketing has been set the WB icon will blink on the top and rear (when in Live View) LCD. When WB Shift has been set WB  will be displayed on the top LCD.

to move the white balance 2) Use adjustment point around the grid. Moving the point to the right adds more amber (making the white balance warmer), to the left adds more blue (making it cooler). Moving the point up and down adds more green and magenta respectively. These latter two adjustments are most useful when shooting under fluorescent lighting, which often has an odd green/magenta color bias.

FUNCTIONS » SHOOTING 2

› WB Shift / BKT

3) If you wish to bracket your white balance adjustment, turn . Turning to the left sets the green/magenta bracketing. Turning to the right sets the blue/amber bracketing. If you choose to bracket white balance, the next three shots that you take will use the white balance of the preset, then the preset with a blue bias and then an amber bias, or the white balance of the preset, then the preset with a magenta bias and then a green bias. 4) Press SET to select the white balance adjustment and return to the main Shooting 2 menu screen or press to cancel WB Shift and Bracketing.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 103

103

15/8/12 14:40:31

2

› Color space

A color space is a mathematical model that specifies the range and brightness of colors that a digital file or device can either display or print. All color spaces commonly in use today are a subset of an international standard known as the CIE standard. The 5D MK III allows you to

record your images using one of two color spaces: sRGB or Adobe RGB. The sRGB color space is approximately 35% of the size of the CIE standard, Adobe RGB 50%. So Adobe RGB encompasses a richer range of colors than sRGB. It’s logical to think, therefore, that more is better and that Adobe RGB is the option to choose. Generally that’s correct, unless you’re specifically shooting images for use on the Internet or to be printed directly without post-processing. If this is the case, sRGB would be the better option. However, this only really applies to JPEG. RAW files will be tagged with your chosen color space but this can be altered when they are imported for postproduction.

Note: The first character of file names of images captured using Adobe RGB is an underscore: _.

COMPARISON « Utilities such as ColorSync (Mac OS X) allow you to compare color spaces. In this image, the size of the sRGB color space (the colored area) is shown compared to Adobe RGB (the light gray outer area).

104

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 104

15/8/12 14:40:31

› Picture Style

+

chapter 9). When shooting in A mode, A is automatically selected. The Picture Style you select will be applied to both JPEG and RAW files, though if you are using RAW you can alter the image style in postproduction without loss of image quality.

Setting Picture Style

FUNCTIONS » SHOOTING 3

» SHOOTING 3

1) Highlight Picture Style on the Shooting 3 menu and press SET . One of the pleasures of shooting with film was choosing a particular film for a specific color or contrast rendition. Picture Style is the closest digital photography gets to that particular pleasure. Picture Style allows you to set the visual style of your images using presets suitable for a range of subjects. You can also create your own Picture Style presets, either in camera or using EOS Utility (see Presets

A Automatic

2) Highlight the required Picture Style. Press SET to return to the main Shooting 3 menu.

Note: Picture Style can also be set via the Quick Control screen and by pressing in Shooting mode.

Description Picture Style is automatically modified depending on the shooting situation

S P L N F M 1

Standard

Suitable for general photography

Portrait

Sharpness is set lower than Standard

Landscape

Greens and blues are more saturated

Neutral

Natural colors with lower saturation

Faithful

Lower saturation still

Monochrome

Converts images to black and white

User Defined 1–3

-

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 105

105

15/8/12 14:40:32

2

Detail Settings You can modify each Picture Style by altering one or all of four detail settings: Sharpness, Contrast, Saturation and Color tone (with the exception of Presets Sharpness

Description 0: No sharpening applied 7: Maximum sharpening

Contrast

- Low contrast + High contrast

Saturation

- Low color saturation + High color saturation

Color tone

- Skin tones more red + Skin tones more yellow

Monochrome When you modify the Monochrome Picture Style the Saturation and Color parameters are replaced by Filter effect and Toning effect. The Filter effect

106

Monochrome—see below). To adjust these settings highlight the Picture Style you wish to alter, using the instructions on the previous page, and then press 05-6 . Highlight the desired detail setting by turning and then press SET . Turn or push to the left to decrease or turn or push to the right to increase the effect of the setting. Press SET when you’re happy with your adjustments and then repeat as required, or press MENU twice to return to the main Picture Style menu without making any adjustments.

mimics the use of colored filters when shooting black and white film. Toning effect adds a color wash to your monochrome images. Choose between N: None, S: Sepia, B: Blue, P: Purple, or G: Green.

Filter effect

Description

N: None

No filter effect applies

Ye: Yellow

Blues are darkened, greens and yellows lightened

Or: Orange

Blues darkened further, yellows and reds lightened

R: Red

Blues very dark, reds and oranges lightened

G: Green

Purples darkened, greens lightened

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 106

15/8/12 14:40:33

This option allows you to modify up to three Picture Style presets and save them as User Def. 1, 2, and 3. To create a customized Picture style highlight User Def. 1, 2, or 3 and press 05-6 . Highlight Picture Style and press SET . Turn to select the Picture Style you wish to modify and then press SET again. Highlight and alter the four parameters below Picture Style as shown on the facing page. Press MENU to return to the main Picture Style menu once you’re done.

You can still use your camera during this time as long as the maximum burst indicator in the viewfinder is higher than 1. With Disable Off set, no noise reduction will be performed. Your camera will operate more quickly but you may need to perform noise reduction in post-processing.

› High ISO speed noise reduction

FUNCTIONS » SHOOTING 3

User Defined Picture Style

› Long exposure noise reduction

Noise gradually builds up in an image the longer the exposure. Set Long exp. noise reduction to Auto and your 5D MK III will perform noise reduction when exposures are one second or more, if necessary. With Enable On set, noise reduction will be performed for exposures of one second or more. The big drawback to Long exp. noise reduction is that the operation will take the same length of time as the original exposure.

Noise also becomes increasingly noticeable as the 5D MK III’s ISO setting is increased. This function allows you to set the behavior of the 5D MK III’s noise reduction system at all ISOs, though it will be most noticeable at higher ISO speeds (see page 54). The greatest noise reduction is applied when set to High. However, selecting this option may remove fine details in your images. Standard and Low are a better compromise between noise and loss of detail. Set to Disable, the 5D MK III will not perform any noise reduction at all, so this will need to be done in postproduction.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 107

107

15/8/12 14:40:35

2

› Highlight tone priority priority can be removed in postproduction. However, if you’re shooting RAW you can achieve the same effect of Highlight tone priority by underexposing your images by one stop. In postproduction you would then adjust the tone curve to increase the overall exposure without losing highlight detail.

› Dust Delete Data High contrast situations can prove problematic. Often there’s a compromise between retaining detail in the highlights or the shadows. Highlight tone priority, when set to Enable, attempts to rescue highlights so that they aren’t overexposed. However, there’s always a trade-off with features like this. In this instance it’s the risk of increased noise in the shadow areas. If you’re a wedding photographer, however, Highlight tone priority will prove invaluable since the contrast range at weddings, from the bride’s dress to the groom’s suit, is often considerable. Highlight tone priority restricts the ISO range to 200–12800. When set to Enable, + will be displayed in the viewfinder and top LCD. Auto Lighting Optimizer cannot be used at the same time as Highlight tone priority. Highlight tone priority can be used when shooting JPEG or RAW, but is better suited to JPEG as there is less leeway for reclaiming highlight detail using JPEG. When shooting RAW, Highlight tone

108

Dust building up on your sensor will be seen on your images, particularly in areas of even tone such as skies. Dust Delete Data allows you to capture a reference image that will be analysed for dust to create Dust Delete Data. This is then appended to subsequent images. Digital Photo Professional can then use the Dust Delete Data to remove dust automatically in postproduction. However, it’s not foolproof and you may find important details in your images are also removed.

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 108

15/8/12 14:40:36

You can set your 5D MK III to merge from two to nine exposures together to create an image when Multiple exposure is set to On: Func/Ctrl (so you can check the results as you shoot), or On: ContShtng (so you can shoot continuously and view the results at the end). The way the images are merged is controlled on the Multi-expos ctrl submenu. There are four options: Additive, Average, Bright, and Dark. Additive adds

the exposures together. Allow about 0.5 stops underexposure for each multiple image that you shoot. Average takes the hard work out of calculating the exposure, and applies exposure compensation automatically. Bright and Dark take the brightest and darkest part of the first image respectively. They compare each pixel in subsequent images shot, and blend the brightest or darkest part of each image to produce the final image. The number of exposures merged is set by No. of exposures. You can choose to save All images shot or Result only by selecting Save source image. Finally, the safest option to avoid accidents is to select Continue Multexp: 1 shot only. If you select Continuously you will continue to shoot multiple images until you switch off your 5D MK III.

FUNCTIONS » SHOOTING 3

› Multiple exposure

Note: You can choose an image already saved to the memory card as the first image by highlighting Select image for multi. expo. at the bottom of the Multiple Exposure menu screen.

ARTY « Take a trip to the wild side of photography with Multiple Exposure.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 109

109

15/8/12 14:40:37

2

› HDR Mode

The dynamic range of a camera is its ability to record usable detail in both the shadows and the highlights. The greater the dynamic range of a camera, the better able it is to cope with high-contrast scenes. HDR is a technique that increases the dynamic range of the camera (though more often in postproduction) by shooting a number of frames at different exposures and then blending the results. The 5D MK III blends three images together to create a final JPEG image. Because a sequence of frames is shot, it’s a good idea to shoot using a tripod—the 5D MK III can Auto image align (when set to Enable) if necessary, but this will require more time to process the image.

Note: HDR can also be selected by pressing in Shooting mode.

Art Standard Art vivid

Art bold

Art embossed

Average

High

Highest

Lowest

Bold outline

Average

Weak

Strong

Strongest

Brightness

Average

Average

Average

Darkest

Tone

Flat

Flat

Flat

Flattest

Saturation

110

Begin shooting your HDR image by setting Adjust dyn range to either Auto (where the 5D MK III will determine the exposure range) or to ±1 EV, ±2 EV, or ±3 EV. The greater the contrast range, the higher the ± EV value should be. Set Adjust dyn range to Disable to stop HDR shooting (you can also set the 5D MK III always to shoot HDR by setting Continuous HDR to Every shot or limit the shooting to 1 shot only). The way the images are merged is controlled by Effect. There are five options: Natural (which, unsurprisingly, produces the most natural looking images), Art Standard, Art vivid, Art bold, and Art embossed. See the table below to see their effect on an image. Finally, you can choose to save All images shot as separate files or just the HDR merge by selecting HDR img only.

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 110

15/8/12 14:40:38

FUNCTIONS » SHOOTING 4

» SHOOTING 4 › Live View shooting

When Live View shooting is set to Enable, pressing START/STOP in still image Shooting mode will activate Live View. When set to Disable START/STOP is deactivated and composition must be achieved entirely through the viewfinder.

› AF mode This mode lets you choose how your 5D MK III autofocuses when Live View is activated (see page 57 for more information).

› Grid display The Grid display function overlays three different types of grid on LCD in Live View. These grids can be used as an aid to composition or as a visual check that elements in the scene are straight relative to the camera.

3x3 divides the screen into nine equal rectangles by the use of two vertical lines and two horizontal ines. This creates a display that can be used to compose according to the “Rule of Thirds.” The rule suggests that an image is more pleasing if the subject is placed on or at an intersection of two of the lines. However, the Rule of Thirds isn’t actually a rule, more a guide. Repeated use in your images will make them begin to look formulaic. 6x4 divides the screen into 24 squares. This is useful when shooting architectural subjects that need to be square to the camera. 3x3+diag adds two diagonal lines running from the top to bottom corners to the 3x3 grid. These lines are useful for composition. Diagonals in an image— whether real or implied—add energy to a composition. Off turns the grid function off entirely.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 111

111

15/8/12 14:40:38

2

› Aspect Ratio

The aspect ratio of an image is the ratio of the width of the image to the height. The 5D MK III offers the option of creating JPEG images with an aspect ratio of 3:2, 4:3, 16:9, or 1:1. The default setting is 3:2, which matches the aspect ratio of 35mm film. The 16:9 aspect ratio is more “panoramic” and matches the standard aspect ratio used for HD video. 4:3 is the standard shape of an analog television and the Four Thirds camera system. Finally, 1:1 is square—a difficult shape to compose for, but a commonly used in medium format film photography. When shooting in any aspect ratio other than 3:2, the full resolution of the sensor is not used. Shooting at 3:2 and cropping in postproduction will achieve the same effect as using any of the other aspect ratios. You can use Aspect ratio when shooting RAW files, but the image will not be cropped, (although the cropping information will be appended to the RAW file so that cropping is made easier in postproduction using DPP).

112

› Expo. simulation

The truly wonderful thing about Live View is that you can see a reasonable representation of your final image before exposure (though any effects on movement due to shutter speed will not be seen). When Expo. simulation is set to Enable ( Exp. SIM will be displayed on the LCD in Live View) the brightness of the Live View display will reflect the exposure settings you use. If you deliberately underexpose, the display will darken; overexpose and it will lighten. If you’d prefer the Live View display to remain a constant brightness (so that exposure is not simulated) you can either Disable Expo. simulation ( DISP. will be displayed on the LCD in Live View) or you can elect only to show Expo. simulation when the depth of field button is held down: During .

Tip Although Expo. simulation is useful, for total accuracy it should be used in conjunction with a Live View histogram.

CANON EOS 5D MK III

CANON 5D MK III CH 2b 74-113.indd 112

15/8/12 14:40:39

Silent shooting is a boon when you’re in a situation where you don’t want to draw attention to yourself. Live View is usually more quiet than standard shooting because the mirror is permanently raised—the mirror flipping up and down is one of the main causes of noise when shooting. However, Live View isn’t totally silent because the 5D MK III still relies on a mechanical shutter that has to be recocked every time it’s fired. The 5D MK III offers two types of silent shooting when using Live View. Mode 1 allows you to shoot continuously at a quieter level than normal (slightly quieter than when Disable is selected). However, Mode 2 does not recock the shutter until you release the shutter button. This means that you can’t shoot continuously, but it does mean that the minimum amount of noise is made when a shot is taken. It is then up to you whether you leave the scene—holding down the shutter-release button—to find somewhere that the shutter recocking noise made by the 5D MK III won’t disturb anyone.

FUNCTIONS » SHOOTING 4

› Silent LV shoot.

› Metering timer

Sets the length of time that AE lock is held after it has been selected. The options are 4, 16, 30 seconds, and 1, 10, and 30 minutes. + Metering timer is not available in A mode.

Tip If you set Silent LV shoot. to either Mode 1 or Mode 2, don’t ruin the eff ect by setting AF Mode to Quick Mode (see page 57). Quick Mode requires the mirror to be fl ipped down to meter the scene —creating quite a noise.

THE EXPANDED GUIDE

CANON 5D MK III CH 2b 74-113.indd 113

113

15/8/12 14:40:40

2 » AUTOFOCUS 1 AF › AF config. Tool

This is a very useful way to create a configured AF system to suit your own needs. Canon has created six case studies with three variables set to suit each particular case study (turn to view the different case studies). The three variables are Tracking sensitivity, Accel./decel. tracking, and AF pt auto switching. Tracking sensitivity sets how sensitive AI Servo is to tracking a subject when an obstacle gets in the way or when the Case

114

Icon

subject moves away from AF points. Set to a minus value, Tracking sensitivity will try to track the subject as long as possible; set to a positive value the focus will start to track other objects in the scene more quickly. Accel./decel. tracking sets how sensitive the AF system is to sudden acceleration or deceleration in the speed of your subject. Finally, AF pt auto switching sets the readiness of the AF system to switch to different AF points as your subject moves around the AF area. To adjust any of the variables, press RATE on the relevant case study and then turn to highlight the required variable. Press to make the SET and then turn adjustment. Press SET again to save the changes or MENU to return to AF 1 without saving. Press to restore the variables to their default settings.

Description

1

Multipurpose setting

2

Maintain tracking on subject, ignoring obstacles

3

Focus instantly on subjects suddenly entering AF area

4

Subjects that tend to suddenly accelerate or decelerate

5

For erratic subjects moving in any direction

6

For subjects that change speed or move erratically

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 114

15/8/12 14:41:13

› AI Servo 1st image priority

This setting lets you prioritize between shutter release and focus for the 1st image shot when using AI Servo. Equal priority is not biased to either. When set to Release priority the exposure will be made immediately after the shutter-release button has been pressed, regardless of whether focus has been achieved. Focus priority makes you wait until focus has been locked on the subject before the shot can be taken.

› AI Servo 2nd image priority

This setting lets you prioritize between shooting speed and focus for the 2nd image shot when using AI Servo. Equal priority is not biased to either. When set to shooting Speed priority the shooting speed will be maintained at the expense of focus accuracy. Focus priority makes you wait until focus has been locked on the subject before the shot can be taken.

FUNCTIONS » AUTOFOCUS 1 / AUTOFOCUS 2

» AUTOFOCUS 2 AF

«

AIR SPEED Shooting fast moving subjects is as much a test of the photographer as the cinema.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 115

115

15/8/12 14:41:14

2 » AUTOFOCUS 3 AF › USM lens electronic MF

If you have one of the lenses in the table below you can choose whether or not you can focus it manually in AF mode (see page 150) for an explanation of USM lenses). When Enable after One-Shot AF is set, you can focus manually after the lens is focused if you keep your finger lightly pressed on the shutter-release button. If you choose Disable after One-Shot AF you cannot focus the lens manually once focus has locked. Finally, Disable in AF mode prevents you from focusing manually unless the lens is physically set to MF.

116

› AF-assist beam firing

This option allows you to set whether a fitted Speedlite fires an AF-assist beam (Enable) or whether it is switched off (Disable). Certain Speedlites can emit an infrared AF-assist beam. If you have this type of Speedlite select IR AF assist beam only for a more discreet AF assist beam.

EF 50mm f/1.0 L USM

EF 300mm f/2.8 L USM

EF 600mm f/4 L USM

EF 85mm f/1.2 L USM

EF 400mm f/2.8 L USM

EF 1200mm f/5.6 L USM

EF 85mm f/1.2 L II USM

EF 400mm f/2.8 L II USM

EF 28-80mm f/2.8–4 L USM

EF 200mm f/1.8 L USM

EF 500mm f/4.5 L USM

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 116

15/8/12 14:41:15

› One-Shot AF release prior.

The 5D MK III’s AF system is good but you may find yourself in a situation where it’s more important to be firing shots than waiting for the AF system to sort itself out (precise focus may be less important if you have sufficient depth of field to ensure reasonable image sharpness). When using One-Shot AF, this option allows you to prioritize between Release—the shutter will fire regardless of whether focus has locked— and Focus, where the shutter will only fire once focus has been achieved.

› Lens drive when AF impossible

It can be frustrating when a lens tries to focus and fails, and then keeps on trying and trying and trying…This is precisely what the lens will do in this situation when this option is set to On. Set to Off the lens will stop trying if focus cannot be locked. At this point, it is good policy to switch the lens to MF and try can get as close to focus as you can. Switch AF back on to refine the focusing.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 117

FUNCTIONS » AUTOFOCUS 3 / AUTOFOCUS 4

» AUTOFOCUS 4 AF

117

15/8/12 14:41:15

2 › Selectable AF point

You can simplify your photography by choosing to restrict the number of AF points you can choose from when manually selecting AF points. Select 61 points and all the AF points will be available. If you choose Only cross-type AF points, only the crosstypes will be available—their number depending on the maximum aperture of the lens you use (see page 49). More simply you could choose 15 points or 9 points, which will give you less AF accuracy but a quicker manual selection process.

118

› Select AF area selec. mode

This option allows you to limit the range of AF area selection choices you have. You can select just one, all or a mixture of the following: Manual selection: Spot AF, Manual selection: 1 point AF, Expand AF area, Expand AF area: Surround, Manual selection: Zone AF, Auto selection: 61 point AF

Note: AF is less effective when dealing with areas of flat color or low-contrast. In these situations, it’s often easier to switch to MF and set the focus yourself.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 118

15/8/12 14:41:16

This option lets you choose how the AF area selection is chosen. By default, the area selection is chosen by pressing M-Fn button ( followed by repeated presses of the M-Fn button). However, you can choose to select the AF area selection method by Main dial ( followed by turning ). The latter is arguably ergonomically easier, but this is purely a matter of personal preference.

FUNCTIONS » AUTOFOCUS 4

› AF area selection method

› Orientation linked AF point

When set to Same for both vert/horiz, the same AF point(s) or AF zone are used whether your 5D MK III is held vertically or horizontally. Set to Select separate AF points can be set separately for three camera orientations: horizontal, vertical with the camera grip to the bottom and vertical with the camera grip to the top. Whenever you switch the camera’s orientation it will switch to the AF Point / AF Zone settings for that orientation.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 119

119

15/8/12 14:41:16

2 » AUTOFOCUS 5 AF › Manual AF pt. selec. pattern

› AF point display during focus

.

You can choose whether the Manual AF pt. selection Stops at AF area edges when it reaches the edge of the AF frame area, or is Continuous, so that it jumps to the opposite side of the AF Frame. As with a lot of aspects of the 5D MK III this is very much a personal choice. Stops at AF area edges is arguably more precise—you won’t find your AF point unexpectedly on the opposite side of the AF frame area. However, it will make it slower to move back and forth across the AF frame area as you can’t take a useful short cut.

120

With the viewfinder grid switched on and all those AF points, the viewfinder can become cluttered and visually distracting. You can take charge of the AF points, deciding when they are displayed during focus. Selected (constant) always displays the selected AF point(s) or zones before and after focusing. All (constant) displays all of the AF points, regardless of whether they are selected or not. The AF points are displayed when you select them, before you begin to focus and when focus is locked when Selected (preAF, focused) is selected. The AF points are only displayed when you select them, and when the camera locks focus if you choose Selected (focused). Finally, Disable display will only display the AF points when you choose them. After that they will not be displayed even when focus is locked.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 120

15/8/12 14:41:16

Very much a personal preference option, this allows you to set whether the AF points and grid light red when focus is achieved (Enable) or not (Disable). Set to Auto, the AF points and grid only light when focus is achieved in low-light conditions.

Note: Lens problems are less easy to spot when using the viewfinder. Using the zoom function in Live View allows you to check critical focus more easily.

FUNCTIONS » AUTOFOCUS 5

› VF display illumination

› AF Microadjustment

Modern camera lenses are high-precision instruments. However, that doesn’t mean that they are infallible. For most situations, critical focusing accuracy is relatively unimportant. However, there are times when focusing has to be exact. It’s then that flaws in AF become apparent. There are two potential problems. Backfocus occurs when the AF system focuses slightly behind the intended focus point. Frontfocus occurs when the AF system focuses slightly forward of the intended focus point. This option allows you to correct these problems for up to 40 lenses, so that each time you fit a fixed lens, back- or frontfocus problems are compensated for. The difficulty with adjusting the AF is knowing how much adjustment to make. Fortunately two tools will help: the first is free and can be viewed at photo.net/learn/ focustest; the second, LensAlign, is a commercial solution created by Michael Tapes Design (michaeltapesdesign.com).

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 121

121

15/8/12 14:41:17

2 » PLAYBACK 1 › Protect images This mode allows you to set or unset protection on images to avoid accidental erasure (see page 64 for more information).

› Rotate

› Erase images Select and erase unprotected single images, or all images in a folder or on a memory card (see page 63 for more information).

› Print order Sets the print order for your images to control how they are printed when your 5D MK III is connected to a PictBridge printer, or when the memory card is taken to a photo lab for image printing (see page 239 for more information).

› Image copy This option allows you to correct your images if they are in the wrong orientation. After selecting Rotate, turn to find the image that you want to rotate. Press SET when that image is displayed. The image will rotate 90° clockwise. Press SET again to rotate a further 180°. Pressing SET a third time restores the original orientation.

This mode enables you to copy single images, groups, or folders of images between memory cards installed in your 5D MK III. This is useful either as a backup of a memory card, or if you need to supply images to someone on a different type of memory card than the one you’ve used.

Tip A good way to assess whether an image’s composition has worked is to view it upside-down. If the balance still looks right, you’ve succeeded. If not, it’s often easier to see why this way.

122

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 122

20/8/12 14:38:55

Converting RAW files 1) Highlight RAW image processing on the 1 menu and press SET . to find the RAW file you wish 2) Turn to convert (JPEG images will not be displayed) and then press SET .

You don’t have to wait to copy your RAW files to a PC before you can convert them to JPEG. Your 5D MK III can do this in-camera. The tools aren’t as comprehensive as you’d find in halfway decent RAW conversion software but they are useful if you really, really need JPEGs from RAW in a hurry.

Symbol

to highlight the required 3) Use image adjustment tool and press SET . Turn to make the adjustments for that tool. Press SET when you’re satisfied with the adjustments.

FUNCTIONS » PLAYBACK 1

› RAW image processing

4) Highlight L Image quality and press SET to adjust the quality of the final JPEG image if required. 5) Once you’re happy with your adjustments, highlight at the bottom of the LCD and press SET . Highlight OK and press SET to save the JPEG, or highlight Cancel and press SET to continue altering your image.

Image Adjustment Adjusts image brightness by ±1-stop in ¹/₃-stop increments Alter white balance using presets or Kelvin value Sets Picture Style

OFF

Applies Auto Lighting Optimizer High ISO speed noise reduction

L sRGB 

JPEG image quality Sets color space Applies peripheral illumination correction Correct lens distortion Chromatic aberration correction

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 123

123

15/8/12 14:41:17

2 » PLAYBACK 2 › Resize 4) Highlight OK and press SET to save the new file, or highlight Cancel and press SET to return to step 3. 5) When you’re finished, press MENU to return to the 2 menu.

› Rating

Resize allows you to resize JPEG images, saving them as a new file. You can only shrink an image, you can’t increase its size (this can be done later in postproduction if necessary). The size of the original image will also determine the resize options available. Original Sizes available for resizing Size M S1 S2 S3 L

Yes

Yes

Yes

Yes

M

No

Yes

Yes

Yes

S1

No

No

Yes

Yes

S2

No

No

No

Yes

See page 62 for a full description of the concept of rating images.

Selecting the rating 1) Highlight Rating and press 2) Turn

Selecting an image for resizing 1) Highlight Resize and press 2) Turn

SET

.

to skip through the images.

3) When you reach an image that you want to resize press SET . Turn to highlight your chosen size option and then press SET .

124

SET

.

to skip through the images.

3) When you reach an image to which you wish to add a rating, press SET to begin setting the rating. 4) Turn press SET .

to set the rating and then

5) Press MENU to return to the main 2 menu screen.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 124

15/8/12 14:41:18

FUNCTIONS » PLAYBACK 2

› Slide show

This option turns your 5D MK III into a fullyfunctioning “slide projector” that can display a slideshow of your images on the rear LCD screen, or on a TV.

Using Slide show 1) Highlight Slide show and press

SET

.

2) On the Slide show screen highlight All images and press SET . Turn to change this to either Date, Folder, Movies, Stills, or Rating as required and then press SET once more. If the 05-6 symbol below is white, press 05-6 to view and alter the options for the chosen function. If the 05-6 icon on the LCD is greyed out no changes can be made. The images that are displayed during the slideshow will be dependent on the choices that you make at this stage. Press SET when you’re finished.

3) Highlight Set up and press SET . Highlight either Display time or Repeat and press SET to choose how long each image will remain on screen and whether the slideshow repeats. Press MENU when you’ve made your choices to return to the main Slide show screen. 4) Highlight Start and press the slideshow.

SET

to start

5) The slideshow will pause and restart when you press SET . Press MENU to stop the slideshow and return to the main Slide show screen.

Note: The images in the slideshow will be displayed according to how you have Playback set up. Press 05-6 to change the display mode during the slideshow, if necessary.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 125

125

15/8/12 14:41:19

2

This option allows you to set up how you jump through images when turning in single image playback.



Display one image at a time





This mode enables you to select images for transfer to your PC. See page 232 for instructions on how to connect your 5D MK III to a PC via a USB cable. Image transfer requires that Canon’s EOS Utility software is installed on your PC. Individual images, or groups of images, can be selected for transfer. If you’ve shot RAW+JPEG you can also specify whether the JPEGs, RAW files, or both are transferred.

› Image jump w/





› Image transfer

Jump 10 images at a time Jump 100 images at a time Display images by date



Display images by folder Display movies only



Display still images only

126

Display by rating

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 126

15/8/12 14:41:20

FUNCTIONS » PLAYBACK 3

» PLAYBACK 3 › Highlight alert

When Highlight alert is set to Enable any areas of an image where the highlights have blown will blink. This is a useful—if crude— way to determine whether an image is overexposed. The one disadvantage to having Highlight alert switched on is that it can prove distracting, since part of the image will be obscured by the highlighting and you will not be able to see the full image as it was shot. You can Disable this option if it proves to be a nuisance to you.

› AF point disp.

AF point display (when set to Enable) shows the AF point that was used to achieve focus, when you view an image in Playback. The focus point is shown in red as an overlay on the image. As with Highlight alert it can be a useful, but crude, way to check that all is right with your image—in this instance, that the AF point is where you intended it to be. However, as with Highlight alert it can prove distracting as part of the image will be obscured. If this is not useful to you, switch this option to Disable.

› Playback grid › Histogram display You can display the same grid patterns in Playback over your images as you can when using Live View: Off (no grid), 3x3 , 6x4 and 3x3+diag . As with the Live View grid this is a useful tool to check your compositions, this time after the fact.

The 5D MK III can display either a Brightness or RGB histogram when showing detailed shooting information in Playback mode— and then both together with the loss of some useful shooting information. Choose which histogram you’d prefer to see with detailed shooting information.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 127

127

15/8/12 14:41:22

2 › Movie play count

This option shows either the recording time of a movie or the time code in movie Playback (see page 70).

from center) starts at the selected magnification level at the center of the image. Actual size (from selected pt) displays the image at 100% (so you won’t see the entire image). The starting point is based on the AF point used to achieve focus. If MF was used, image is displayed at 100% from the center. Same as last magnif. (from ctr) displays the image using the last magnification factor used when magnified view was exited by pressing or .

› Ctrl over HDMI

› Magnificatn (apx)

This option allows you to choose the initial magnification and starting point when you press in Playback mode. 1x (no magnification) displays the entire singleimage on the LCD. 2x (magnify from center), 4x (magnify from center), 8x (magnify from center), and 10x (magnify

128

When your 5D MK III is connected to a CEC HDMI compatible television setting, setting Ctrl over HDMI to Enable allows you to use the TV’s remote control to control certain aspects of the camera’s Playback functions. If your television is not compatible, set this option to Disable.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 128

15/8/12 14:41:22

› Record func+card/folder sel.

Selecting Auto Reset forces the camera to reset the count to 0001 every time an empty memory card is used. Finally, if you select Manual Reset, a new folder is created on the memory card and the count is reset to 0001.

› File name

FUNCTIONS » SETUP 1

» SETUP 1

Set how memory cards are used and add folders (see page 41 for more information).

› File numbering

The first four characters of an image file name are also alphanumeric characters. By default they are unique to your camera and assigned at the time of manufacture. You can, however, change the characters to ones of your own choosing.

Every time a file is written to the memory card it is assigned a file name. The last four characters before the file type suffix are numbers—a count of the number of images you’ve created starting from 0001. If you select Continuous the count continues up to 9999 and then reverts to 0001, even if you use multiple folders and memory cards.

Changing the file name convention: setting 1 1) Highlight File name and press

SET

2) Highlight Change User setting 1 and press SET . By default the first four characters are set to IMG_. Press to delete these characters and then press 8 to jump down to the character entry box below.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 129

129

15/8/12 14:41:23

2 3) Turn to highlight the desired character and then press SET . Repeat until you’ve added your four characters. If you make a mistake press again.

› Auto rotate

4) When you’re finished, press MENU to continue or 05-6 to return to the main File name menu without saving the new settings.

Changing the file name convention: setting 2 1) Highlight File name and press

SET

2) Highlight Change User setting 2 and press SET . By default the first three characters are set to IMG. The fourth is reserved for use by the camera. Press to delete the three characters and then press 8 to jump down to the character entry box below. 3) Repeat steps 3 and 4 in Changing the file name convention: setting 1 on the previous page. In setting 2, the fourth character changes depending on the image quality setting of the image. Using L, L and adds an “L.” M , M, and 0 adds an “M.” adds an “S.” S2 S1 , S1 , and 6 adds a “T” and S3 adds a “U.” When setting up your customized filenames you cannot use an underscore (_) as the first character.

130

This option allows you to choose whether vertical images are rotated so that they are in the correct orientation on the 5D MK III’s LCD, or whether they remain horizontal so that they fill the LCD entirely. Selecting On rotates the images so that they are vertical on both the LCD and on your PC. On rotates the image for your PC only. Off does not rotate the images at all.

› Format Lets you format your memory cards ready for use (see page 40 for more details).

› Eye-Fi settings Used for Eye-Fi memory card control. Only visible when an Eye-Fi card is installed (see page 234 for more information).

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 130

15/8/12 14:41:23

FUNCTIONS » SETUP 2

» SETUP 2 › Auto power off

There are seven options for the length of time before Auto power off is activated, the LCD switches off and the camera enters “sleep” mode: 1, 2, 4, 8, 15, 30 minutes and Disable. When the camera powers down it can be woken by lightly pressing on the shutter-release button or rear control buttons. When set to Disable the camera will not enter sleep mode, though the LCD will switch off after 30 minutes of inactivity.

› Date/Time/Zone For more details, see page 36.

› LCD brightness

When LCD Brightness is set to Auto the 5D MK III uses the light sensor below the LCD to measure the ambient light and adjust the brightness of the LCD so that it’s easy to see (it’s important not to cover the sensor up for this reason). You can override Auto to a point by turning on the LCD Brightness screen. Selecting Manual by turning and then allows you to set the brightness of the LCD between 1 (when the LCD is at its darkest) and 7 (at its brightest). Ideally you should be able to distinguish all eight of the gray bars on the right of the screen. No matter how dark or bright the LCD, don’t use this as a guide to the exposure of your images. A better—and far more objective—method is to use the Live View or Playback histogram (see page 203).

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 131

131

15/8/12 14:41:25

2

› Language

The 5D MK III can display the menu and shooting options in the following languages: English; German; French; Dutch; Danish; Portuguese; Finnish; Italian; Ukrainian; Norwegian; Swedish; Spanish; Greek; Russian; Polish; Czech; Hungarian; Romanian; Turkish; Arabic; Thai; Simplified Chinese; Chinese (traditional); Korean; Japanese. Although it can be fun to set the language to one other than your own, be careful that you can find this option again to restore the menu system to a more familiar language.

matter of personal preference. There is certainly a use for a grid if you shoot architecture or if you want to ensure that something is straight within the image frame. .

› GPS device settings

› VF grid display The viewfinder in your 5D MK III has a transparent LCD panel built into it. This allows you to switch a grid display on (Enable) or off (Disable). This is an advance on the previous 5D models that required the physical fitting of a custom viewfinder screen with a grid etched on to it. As with a lot of the Setup options this is purely a

132

Settings available when a GPS unit GP-E2 is fitted. See page 193 for more details about the GP-E2.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 132

15/8/12 14:41:26

› Video system There are two main television standards in use around the world. If you want to connect your 5D MK III to a TV you should select the standard relevant for your location. The NTSC standard is used in North America and Japan. The PAL standard is mainly used in Europe, Russia, and Australia.

› Battery info.

use 25% of the charge in the battery, recharge it, and repeat four times, you would have completed one charge cycle. Recharging frequently this way before reaching the point of complete depletion will actually prolong the life of your battery. If you find your battery does not hold power, it is coming to the end of its useful life. When the Recharge performance bar shows only one (red) bar, the battery should be replaced.

FUNCTIONS » SETUP 3

» SETUP 3

Registering a battery 1) With the Battery info. screen selected press 05-6 . 2) With Register highlighted, press SET . Press OK to continue or Cancel to go back one step. 3) Press MENU to return to the main Battery info. screen. Up to six LP-E6 batteries can be registered to your 5D MK III so that you can keep an eye on their performance history over time as they are repeatedly charged and depleted. Every LP-E6 has a unique serial number, that can be written onto a label and fixed to the battery. The LP-E6 is rated for approximately 500–600 charge cycles. A charge cycle is when 100% of the battery’s power is used and then recharged. This does not mean that the battery needs to be discharged completely before recharging. If you were to

Note: To delete registered battery information, highlight Delete at step 2 instead of Register, and follow the onscreen instructions. A battery does not need to be in your 5D MK III for you to be able to check or delete its performance history.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 133

133

15/8/12 14:41:27

2

› Sensor cleaning

moisture or lubricants. These need to be cleaned off using a commercial sensor cleaning system. Clean Manually raises the mirror and exposes the sensor to allow you to do this. It should only be attempted with a freshly-charged battery and only if you know what you’re doing.

› 05-6 button display options

Dust was once the enemy of digital photographers. Sensors generate an electrical field that attracts dust. Once dust sticks to the sensor (or at least the low-pass filter in front of the sensor) it will be visible in any image shot subsequently. Fortunately things move on and the 5D MK III uses a proven method of removing dust. Every time you turn your 5D MK III on or off the lowpass filter is vibrated to remove dust. It’s very effective, but there’s no reason to get complacent. With this option you can Disable or Enable Auto cleaning so that the low-pass filter is no longer vibrated automatically. Setting the option to Disable may gain you a few seconds each time you turn your camera on or off, but you’ll lose that time (and more) if you need to clone out specks of dust from your images. If you notice specks of dust in your images as you shoot, you can force the camera to Clean now. One type of dirt the camera can’t remove automatically are specks caused by

134

Sets what information is displayed on the LCD when you press 05-6 in Shooting mode. Choose between: Displays camera settings, Electronic level, and Displays shooting functions.

› RATE btn function The RATE is a “soft” button that can be assigned to either apply a Rating or to Protect an image when pressed in Playback mode. If you select Rating press 8 to choose which rating values can be applied to images.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 134

15/8/12 14:41:28

› Custom shooting mode (C1–C3) 3) Highlight Register settings and press SET again. 4) Highlight the Custom shooting mode to which you wish to assign the settings (C1, C2, or C3) and press SET once more. Highlight OK and press SET to continue.

There’s nothing worse than being in the wrong mode when a once-in-a-lifetime photographic opportunity arises. To avoid these situations, you can configure your 5D MK III to suit a particular shooting situation—a sporting event, say—and save those settings so that they can be instantly called up again. This is achieved by assigning the way you’ve set your camera up to one of the three Custom shooting mode positions on the mode dial.

Setting a Custom shooting mode 1) Configure your camera as required— the shooting mode (and exposure setting if relevant), drive mode, exposure compensation, ISO speed etc. Many of the menu options can be configured and saved too.

FUNCTIONS » SETUP 4

» SETUP 4

5) Press down lightly on the shutterrelease button to return to Shooting mode and turn the mode dial to the Custom shooting mode number you selected at step 4.

› Clear all camera settings Resets camera to factory default settings

Notes: To erase your settings highlight Clear Settings on the Custom shooting mode (C1–C3). Highlight the Custom shooting mode you wish to erase, press SET , highlight OK and then press SET once more. When Auto update set. is set to Enable any changes you make when using C1, C2 or C3 will be automatically applied to Custom shooting mode.

2) Press Menu and navigate to the 4 menu. Highlight Custom shooting mode (C1–C3) and press SET .

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 135

135

15/8/12 14:41:28

2

› Copyright information

An issue facing photographers today is the concept of the “orphan” image. These are digital images that apparently belong to no-one because information about ownership has been lost. This can lead to the images being used without attribution and, more importantly, without recompense to the original photographer. One way to reduce the possibility of this happening to you (though it can’t entirely eliminate the risk) is to embed copyright details into the metadata of your images. Copyright information allows you to do this automatically with every image shot.

Note: It is likely that you’ll set the same information in Enter author’s name and Enter copyright details. However, you can assign copyright in an image (or any created work) to anyone you wish. In this instance you would set another person’s name or even a company (if you were shooting images as an employee) as the copyright owner.

136

Setting copyright information 1) Highlight Copyright information and press SET . 2) Highlight either Enter author’s name or Enter copyright details and press SET once more. 3) On the text entry page press 8 to jump to the box of alphanumeric characters. Turn to highlight the required character and then press SET to add it to the copyright information box at the top. If you accidentally enter in the wrong character press to delete it. 4) Press MENU when you’ve completed the text entry, to save the details and return to the main Copyright Information menu, or press 05-6 to return to the main Copyright Information screen without saving.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 136

15/8/12 14:41:29

Selecting Display copyright info. displays the currently set copyright information. If no copyright information is set, the option is grayed out and cannot be selected. Selecting Delete copyright information removes the copyright information set on the camera (but not from the metadata of any images already saved on the memory card). Again, if no copyright information is set, the option is grayed out and cannot be selected.

› Firmware Ver.

Canon will announce when an update to the firmware is available on their web site as well as by email to registered users. This information is also generally relayed via photography news sites such as www. dpreview.com. Full instructions on how to update your camera will be included with the firmware update. If you’re not confident about updating the firmware you can also have it updated for you at a Canon Service Center—though you will be charged a fee for this. At the time of writing, Canon have issued one firmware update for the 5D MK III (v.1.1.2). This fixes certain bugs in the operation of the camera and makes it compatible with the GP-E2 GPS receiver.

FUNCTIONS » SETUP 4

Other Copyright information settings

Note:

Your 5D MK III is an astonishingly complex device, a masterpiece of electronics and engineering. Ensuring that every aspect of the camera functions as it should is built-in software known as “firmware.” Unfortunately, no camera is flawless and there are always aspects of a camera that can be improved. For this reason Canon will occasionally release updates to 5D MK III’s firmware to either enhance the operation of the camera or to fix problems and bugs.

One thing firmware updates can’t cure is mechanical issues. One of the big news stories shortly after the release of the 5D MK III was the “light leak” phenomenon. This occurred in low light conditions when the LCD panel was illuminated and affected the camera’s metering—indicating that there was extraneous light leaking into the camera. If your 5D MK III has a serial number where the sixth digit is a 1 or a 2, your local Canon customer support center will inspect your 5D MK III free of charge and make repairs where necessary.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 137

137

15/8/12 14:41:30

2 » CUSTOM FUNC. 1 The Custom Functions menus allow you to configure your 5D MK III to suit your personal shooting style. There is no right or wrong way to set the Custom Functions. You can revert to the factory default at any point, though, of course, you will need to reset any functions that you prefer not to set to the default.

› ISO speed setting increments

› Exposure level increments The same applies to the ISO speed setting increments, though the difference of ¹/₃-stop or 1-stop is greater. You’ll have finer control over exposure when you can choose ISO values in ¹/₃-stop increments, so that this is marginally preferable.

› Bracketing auto cancel Allows you to set either ¹/₃-stop or ½-stop increments for exposure operations such as shutter speed, exposure compensation etc. When set to ½-stop, the exposure controls will be more coarse and it will be less easy to get the exact exposure, but selection will be speeded up a fraction as there will be a smaller range of options to select.

138

If you shoot a lot of images for postproduction HDR, setting this option to Disable will make sense. When Bracketing auto cancel is disabled, bracketing (both exposure and WB) will not be canceled when you switch your 5D MK III off (it will be temporarily canceled if you switch to movie shooting or when a Speedlite is set to fire). Set to Enable, bracketing will be canceled when your 5D MK III is switched off, when you switch to movie shooting and when a Speedlite is set to fire.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 138

15/8/12 14:41:30

This option sets the order in which exposure and white balance bracketed images are shot. By default the correctly exposed image is shot first, followed by the negatively corrected image and then finally the positively corrected image (0 - +). However, you can choose to shoot the negatively corrected image first, and then the “correct” image followed by the positively corrected image (- 0 +), or positive, correct, and negative (+ 0 -). There is no real advantage to any setting, although it’s possibly more comforting to know that the correct image has been exposed first.

The default number of bracketed exposure and white balance shots is 3 shots, but you can also select 2 shots, 5 shots, or 7 shots. Typically you would increase the number of bracketed shots for creating HDR images in postproduction so that you had a greater sequence of exposures. When the bracketing order is 0 - + (see left) the sequence shot will be in the order shown in the table below. When 2 shots is selected you can choose either + or - when setting AEB.

FUNCTIONS » CUSTOM FUNC. 1

› Number of bracketed shots

› Bracketing sequence

› Safety shift Sometimes you need a safety net when exposing images. Safety shift provides just that. When set to Tv/Av, Safety shift will alter the manually selected exposure setting in Tv and Av modes if the scene brightens or darkens to the point that the correct exposure can’t be set. When set to ISO, the selected ISO setting in P , Tv , and Av will alter to achieve the same result. If you set this function to Off under- or overexposure may result if the brightness of the scene can’t be adjusted for automatically.

1st Shot 2nd Shot 3rd Shot 4th Shot 5th Shot 6th Shot 7th Shot 3 shots

0

-1

2 shots

0

±1

+1

5 shots

0

-2

-1

+1

+2

7 shots

0

-3

-2

-1

+1

+2

+3

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 139

139

15/8/12 14:41:30

2 » CUSTOM FUNC. 2 › Warnings

i in viewfinder

When looking through the viewfinder you can be warned by for the following options: When monochrome M set, When WB is corrected, When one-touch img qual set, When ISO expansion is used, or When spot meter. is set. To activate or deactivate any of these warnings, highlight the required warning and press SET . When a particular warning is activated a  will be shown to the left of the warning and removed when it is deactivated. If you’re shooting RAW, your image can be converted back to color from monochrome during postproduction. However, if you’re shooting JPEG, once an image is in monochrome, it stays in monochrome. This is also true of white balance, which can be corrected more easily if incorrect when shooting RAW.

i

140

› Live View shooting area display

When you use Live View and set the aspect ratio to any setting other than 3:2, the display will be Masked, showing only the area that will be captured. This makes the screen “cleaner” and the composition easier to see. However, if you are waiting for your subject to move into the composition, you will not see them until they do so. This makes it difficult to anticipate when to fire the shutter-release button. In this instance Outlined is the better option.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 140

15/8/12 14:41:31

This function allows you to set the direction that exposure is altered in Tv/ Av modes when the dial is turned. This is largely a matter of preference, though you may find it difficult to get used to other cameras if you change from the default.

FUNCTIONS » CUSTOM FUNC. 2

› Dial direction during Tv / Av

› Multi function lock

When the LOCK switch is moved to the right the , and controls are locked. This can be used to prevent accidental setting of the wrong function. You can stop all three or choose none, one or two controls being locked. Highlight the control you want to set as lockable, or protected from locking, and press SET . When a particular control is lockable a  will be shown to the left of the control and removed when it is protected from locking.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 141

141

15/8/12 14:41:32

2

› Custom Controls Custom Controls allows you to customize control button operation to your own personal tastes. The customizable controls can be assigned the following functions:

Metering and AF Start; Metering start; AE lock (keeping shutter-release button pressed down) Metering and AF Start; AE lock; AF Stop; FE Lock; AE lock hold); No function AE lock; Metering and AF Start; AF Stop; FE Lock; AE lock Button hold); No function DOF preview button Depth of field preview; AF Stop; AE lock; One shot AI Servo; IS Start (with compatible lens); Switch to registered AF function (AF area selection mode; Tracking Sensitivity; Accel./decel. tracking; AF pt auto switching; Servo 1st img priority; Servo 2nd img priority); One-touch image quality setting; One-touch image quality (hold); FE Lock; Viewfinder electronic level; Switch to registered AF point (Switch only when button is held; Switch each time button is pressed); AE lock (hold); No function LENS Lens AF stop button AF stop; Metering and AF Start; AE lock; One shot AI Servo; IS Start; Switch to registered AF function (as above); (on compatible lenses) AE lock (hold); Switch to registered AF point (as above) FE Lock; AE lock; One-touch image quality setting; M-Fn button One-touch image quality (hold); VF electronic level; AE lock (hold) No function; Image Quality; Picture Style; Menu; Playback; SET Magnify/Reduce; Set ISO speed Shutter speed setting in M mode ( Tv / Av ) Aperture setting in M mode ( Tv / Av ; ; Set ISO speed) No function; Shutter butt. half-press AF-ON AF-ON button

142

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 142

15/8/12 14:41:33

› Add cropping information

Medium-format film cameras use “120” roll film. However, unlike 35mm, there was never a standard shape for medium-format images. Cameras could shoot 6 x 6cm images, 6 x 4.5cm, 6 x 7cm, or (in panoramic cameras) 6 x 17 cm (and a few other variations besides). Add cropping information helps you compose using some of the popular shapes used when shooting medium-format film, as well as large-format sheet film. When one of the options (other than Off) is selected, crop marks are shown on the Live View image. This cropping information is then appended to the image (which is not cropped in-camera) and is read by DPP. DPP can then be used to crop the image in post-production. The aspect ratio has to be set to 3:2 (see page 112) before any of the options other than Off can be selected.

› Default Erase option

With [Erase] selected, when you press the option to Erase will be highlighted first, so all you have to do is press SET to delete the image. With [Cancel] selected, Cancel will be highlighted, which means that you have to turn first to highlight Erase before pressing SET to delete the image. The first option is quicker, though riskier. It would be easy to accidentally delete an image without thinking.

» CUSTOM FUNC. 4 › Clear all Custom Func. (C. Fn) Resets your settings on Custom function menus.

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 143

FUNCTIONS » CUSTOM FUNC. 3 / 4

» CUSTOM FUNC. 3

143

15/8/12 14:41:34

2 » MY MENU 5) Continue to add functions as required and then press MENU to return to the My Menu settings menu.

Other My Menu settings

My Menu allows you to compile a list of six of your most commonly used menu settings and keep them in a convenient place for easier accessibility.

Adding options to My Menu 1) In Shooting mode press MENU and navigate to the tab. 2) Highlight My Menu settings and press SET . Press SET again with Register to My Menu highlighted. 3) Turn to move up and down the function list. 4) When you highlight an option you want to add to My Menu, press SET and then highlight OK on the confirmation screen and press SET once more. Highlight Cancel and press SET to return to the Register to My Menu screen without adding the function. When a function has been added to My Menu it will be grayed out and can no longer be selected.

144

Sort: Rearranges the order of items registered to My Menu. Follow steps 1 & 2, highlighting Sort, and then press SET . Highlight the item you want to move and press SET . Turning will now move the item up or down the list. Press SET when you’re done, and then press MENU to return to the main My Menu screen. Delete item/items & Delete all items: Deletes all or some of items from the list. Follow steps 1 & 2, highlighting Delete, and then press SET . Highlight either Delete item/items or Delete all items and press SET . If you chose the former, highlight the item that you want to delete and press SET . Highlight OK and press SET to delete. Continue to delete items if required and then press MENU to return to the main My Menu screen. If you chose the latter, highlight OK and press SET to delete all registered items. Display from My Menu: Selecting Enable will make the My Menu screen the first to be shown when MENU is pressed. When Disable is selected the last viewed menu screen used will be displayed when MENU is pressed.

« EYE FOR COMPOSITION Successful photography is often about breaking the rules as much as following them.

CANON EOS 5D MK III

CANON 5D MK III CH 2c 114-145.indd 144

15/8/12 14:41:35

FUNCTIONS » MY MENU

THE EXPANDED GUIDE

CANON 5D MK III CH 2c 114-145.indd 145

145

15/8/12 14:41:37

» LENS TECHNOLOGY

149–151

» LENS PROPERTIES

152

» ANATOMY OF A LENS

153

» LENS TYPES

154–158

» TELECONVERTERS

159

» CANON EF LENSES

160–163

CANON 5D MK iii CH 3 146-163.indd 146

15/8/12 14:42:11

Chapter 3

LENSES

CANON 5D MK iii CH 3 146-163.indd 147

15/8/12 14:42:13

3

LENSES The Canon lens range is extensive, with lens types to suit all pockets and styles of photography. Canon produce everything from highly regarded super-wide-angle lenses to weighty and extremely long telephoto lenses. Canon’s AF lens system—EOS (or ElectroOptical system)—was introduced in 1987. Up until 2003 all lenses produced for the EOS system were designated as EF lenses. It is Canon’s EF lens range that the 5D MK III uses. In 2003 the first EF-S lens was released. EF-S lenses are designed solely for use with Canon’s range of APS-C sensor cameras. These lenses do not physically fit on fullframe cameras such as the 5D MK III, so it’s important when choosing a lens to avoid those designated EF-S.

«

CANON 24-70MM L USM II

There are (at the time of writing) 58 EF lenses produced by Canon that are compatible with the 5D MK III. The EF lens range can be neatly divided into two types, the “consumer” lenses and the “professional” L-series lenses. The L-series lenses have a superb reputation for quality, and use technology such fluorite glass lens elements and diffraction optics. Many L-series lenses also use image-stabilization, though this feature is gradually spreading through the entire range as lenses are updated. This attention to detail in an L-series lens is reflected in the price. You’ll pay far more for an L-series lens than an equivalent consumer lens.

Note: There are many lenses in Canon’s “consumer” range that are optically the equal of equivalent L-series lenses. Often it’s only the build quality that distinguishes the two types. That’s not to say that consumer lenses are flimsy, more that L-series lenses are designed to lead a more punishing life. It’s therefore often a matter of personal choice as to whether the extra cost of L-series lenses is justifiable.

148

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 148

15/8/12 14:42:14

Canon employs a number of technologies to improve the handling, focusing speed, and optical performance of its lenses. The following pages list and explain these technologies, as well as some of the problems that are overcome by them.

the more circular the aperture (and the more complex the mechanism). Circular apertures help to make the out-of-focus areas in an image look more aesthetically pleasing. This is often referred to as the bokeh of a lens.

Autofocus stop feature (AF-S)

Dust and water resistance (DW-R)

If a lens has an AF-S button you can press it down to temporarily stop autofocus. Autofocus does not resume again until the button is released.

Some of Canon’s lenses are fitted with thin rubber seals around the periphery of the lens mount. This creates a dust and watertight seal when the lens is attached to a camera. DW-R is typically found on L-series lenses.

Arc form drive (AFD) An AFD is a conventional motor that fits within the lens barrel to drive the AF system. This is a system that has largely been superseded by USM, but is still found on some older EF lenses. Compared to USM, AFD motors are relatively slow and noisy.

Aspherical lens This is a lens element specially shaped to reduce or eliminate spherical aberration. This is achieved by ensuring that light rays at the periphery of the image circle converge at the same focal point as those at the center. This helps to create uniform sharpness across the entire image and reduce color fringing.

Circular Aperture (CA) The aperture in a lens is composed of a number of blades. The more blades used,

Diffractive Optics (DO) DO lenses are smaller and lighter than an equivalent conventional lens yet still boast a high optical quality. This is achieved through the use of special—and expensive —glass elements. To date there are only two DO lenses produced by Canon, a 70–300mm zoom and 400mm prime. Both can be distinguished by a green band around the lens barrel.

Floating-focusing Image quality is often reduced by astigmatic aberration and curvature when a conventional lens is brought close to minimum focus. This particularly affects wide-angle lenses. A lens with floatingfocusing corrects for this problem by

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 149

LENSES » LENS TECHNOLOGY

» LENS TECHNOLOGY

149

15/8/12 14:42:15

3

adjusting the gaps between certain lens elements as the lens is focused, thereby maintaining maximum image quality.

Focus Preset (FP) This feature allows you to set a focus distance as a preset so that the lens can be quickly switched from any focus distance to the preset.

Full-time manual focusing (FT-M) FT-M allows you to override the autofocus at any point without switching AF off permanently. Canon achieves this one of two ways: by using either electronic manual focusing or mechanical manual focusing on its various lenses. The first detects that the manual focus ring is being moved and uses the focusing motor to move the lens elements. The second relies entirely on the manual focus ring being moved to adjust the focus.

Fluorine coating Fluorine is used to provide a micro-thin, anti-static coating on the external glass elements of some Canon lenses. The coating is water repellent and makes cleaning the glass easier.

Fluorite glass Fluorite glass is unsurpassed as a way to control chromatic aberration. In an ideal world it would be used to produce all lens elements. However, it takes four times as

150

long to grind a fluorite glass lens than a lens element made of standard glass. For this reason, fluorite glass is currently only found on L-series lenses, and then not on every one.

Ghosting Ghosting is a secondary image caused by light reflecting from the surface of the glass elements within a lens. Ghosting is reduced considerably by the use of antireflective coating on the lens elements.

Image Stabilization (IS) There are two image stabilization systems currently employed by camera manufacturers. The first is a sensor-based system, which is used by the likes of Sony and Pentax. Canon use the second approach, which is to build image stabilization into lenses. This is achieved by the use of tiny gyros that detect movement. Shifting the optical system compensates for this movement. The most up-to-date iteration of Canon’s IS system, Hybrid IS, can compensate for shutter speeds that are 5-stops slower than would normally cause camera shake. It can also compensate for angular velocity and shift. IS should be turned off when the camera is mounted on a tripod.

Internal / Rear focusing A lens with internal focusing can focus without the need to extend its physical

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 150

15/8/12 14:42:15

and flare that is caused by internal lens reflections.

Super UD glass (S-UD) S-UD is used in a number of L-series lenses to help reduce chromatic aberration. It is twice as effective as UD glass, and only marginally inferior to Fluorite elements.

Micro USM A Micro USM motor is a variant of the Ultrasonic Motor (USM) used in some Canon EF lenses. Like its cousin, Micro USM increases AF performance compared to standard lens AF motors.

Resolution A lens can resolve a certain level of detail. How high this level is depends on the resolution of the lens. Higher resolution lenses are more expensive to design and manufacture, so typically the highest resolution lenses in the Canon range are L-series lenses.

Ring–type USM Another variant of the Ultrasonic Motor (USM) used in most Canon EF lenses. The big advantage of the ring-type USM is that it allows full-time manual focusing in autofocus mode.

Sub-wavelength structure coating (SWC)

Tripod collar When a long, heavy lens is mounted to a camera, the center of gravity is shifted forwards away from the camera. When the camera is then attached to a tripod, this places a strain on the camera lens mount and makes the entire system less stable. Attaching the entire assembly to the tripod using a collar around the lens reduces this risk by making the camera-lens combination better balanced.

LENSES » LENS TECHNOLOGY

length. Rear focusing is similar, but in this instance only the lens elements near the rear of the camera are moved. A benefit with both systems is that the front lens element does not rotate during focusing. This is useful when using filters that need to be set in a certain orientation.

Ultra–low Dispersion glass (UD) UD glass is used to reduce chromatic aberration. It is inferior to Super UD and Fluorite lens elements for this purpose, but far superior to standard glass.

Ultrasonic Motor (USM) An autofocus motor built into the lens that allows for fast, quiet but accurate focusing. Canon uses two types of USM—ring-type and micro.

SWC is the latest anti-reflective microcoating used by Canon to reduce ghosting

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 151

151

15/8/12 14:42:15

3

» LENS PROPERTIES › Focal length The focal length of a lens is the distance in millimeters from the optical center of the lens to the focal plane when a subject situated at infinity is in focus. The sensor in the 5D MK III is placed at the focal plane— symbol on the shown by the pentaprism housing. The focal length of a lens never alters— it is the same whether it is mounted on a 5D MK III or its APS-C cousin, the 7D. What does change is the angle of view. A lens

can have a fixed focal length—referred to as a “prime”—or have a variable focal length, also known as a “zoom.”

› Angle of view The angle (or field) of view of a lens is essentially a measurement, in degrees (°), of the extent of a scene that is projected by the lens onto the film or sensor. The angle of view can refer to either the horizontal, vertical, or diagonal coverage. However, if just one figure is used, it is generally safe to assume that it’s the diagonal measurement that is being referred to. Short focal length lenses are commonly referred to as “wide-angles.” These lenses reduce the size of the image projected onto the sensor, so more of the scene is captured. Or to put it another way, the angle of view is wider—hence the name. The longer the focal length of a lens, the more the image is magnified and so less of the scene is captured because the angle of view is reduced. This is why telephoto lenses appear to bring distant objects closer to you.

« ANGLE OF VIEW This image was shot with a 28mm lens. The area in red would be the angle of view from the same position if I’d used a 70mm lens.

152

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 152

15/8/12 14:42:15

LENSES » LENS PROPERTIES / ANATOMY OF A LENS

» ANATOMY OF A LENS 3

4

5

6

1 7

2

8

9

16

10

15

14 11 13 12 Focal length

9

AF / MF switch

2

Maximum aperture

10

Lens mount index

3

Focus ring

11

Tripod collar

4

Focus distance

12

Image stabilization switch

5

Zoom ring

13

Stabilization mode

6

Focal length index mark

14

Lens front element

7

Lens mount

15

Filter thread

Focus range limiter switch

16

Lens hood mount

1

8

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 153

153

15/8/12 14:42:15

3

» LENS TYPES › Primes vs. Zooms

154

TIP If you regularly use a zoom lens but are considering buying a prime lens, it’s a good idea to look at the metadata of your images—in particular the focal length fi eld. The prime to buy is the one that most closely matches the focal length that you’ve used most frequently on your zoom.

NEXT GENERATION The EF 24mm f/2.8 IS USM is the latest prime lens from Canon and features IS.

«

A prime lens is one with a fixed focal length, such as 35mm, 50mm, or 100mm. The big drawback to prime lenses for some is that the camera must be physically moved to arrange a composition, rather than altering the focal length, as with a zoom lens. However, this is not as much of a drawback as it first appears, as it quickly becomes easy to “see” compositions that suit a particular prime lens when you’re used to its field of view. Another drawback to using primes is that several must be carried in order to cover a decent range of different focal lengths; something that is easily achieved with just one zoom lens. However, prime lenses do have some advantages over zooms. By their very nature, zooms are mechanically and optically more complicated than primes. Although modern zooms are generally excellent, they still can’t match a good prime for ultimate image quality. Prime lenses often have faster maximum apertures than zooms, unless you’re prepared to pay for a fast L-series zoom such as Canon’s f/2.8 24–70mm. This is particularly advantageous if you regularly shoot in low-light conditions, or if you like to use minimal depth of field for aesthetic reasons.

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 154

15/8/12 14:42:16

The definition of a standard lens is one with a focal length that approximately matches the diagonal measurement of the digital sensor in the camera to which it is mounted. On the 5D MK III this equates to 43mm, the closest equivalent to which is the 50mm lens (unless you count the specialised 45mm TS-E lens). Canon produce four 50mm lenses, an inexpensive f/1.8, a faster and more costly f/1.4, a macro variant, and an L-series lens with a maximum aperture of f/1.2, the most expensive of the four. These lenses are aimed at different market segments, though they all do essentially the same job. The 50mm lens is

a relatively easy lens to design and produce, so all of the Canon 50mm lenses are highly regarded optically. The big difference is in the build quality and the maximum aperture. Unless you really need an f/1.2 lens—and can justify the expense —you’ll find the f/1.8 a more than adequate alternative. The 50mm lens is appealing because it creates images that have a pleasing, natural perspective. This does mean that images won’t have the same immediate impact as those shot with a wide-angle (or even a telephoto) lens. However, when an unfussy and more documentary style of shooting is required, the standard lens can’t be beaten.

LENSES » LENS TYPES

› Standard lenses

« STANDARD Landscape images don’t always require the wideangle approach.

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 155

155

15/8/12 14:42:17

3 › Wide-angle Lenses A wide-angle lens is generally thought of as any lens with a wider angle of view than a standard lens. Before digital, most photographers would have 35mm and 28mm lenses to cover their wide-angle needs. Thanks to improvements in lens technology, ultra-wide-angle lenses can be produced that are optically excellent, with very little distortion. The 17–40mm and 16–35mm L-series lenses are a good example of ultra-wide-angle lenses that are more than usable on a daily basis. The wider the focal length of a lens, the more unnatural the perspective of an image will look. Spatial relationships

between elements in a scene are stretched, and distant objects will look far smaller in the image than they would do if you were looking at the scene in question. The most extreme wide-angle lenses are “fisheye” lenses, which typically have a 180° angle of view. Landscape photographers frequently use wide-angle lenses as their optical properties do help to create a sense of space in an image. However, wide-angle lenses are not flattering portrait lenses: the increase in apparent distance between elements in an image will apply equally to a person’s facial features as to a landscape. .

« WIDE-ANGLE Wide-angle lenses help to emphasize the recession of lines into the distance in a landscape image.

156

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 156

15/8/12 14:42:17

If we’re being pedantic, a telephoto is a very specific type of lens—one that has a physical length shorter than its focal length due to the way that the light path is extended within the lens. However, the term has now become a synonym for any focal length lens longer than a “standard lens” (it’s also often thought of as a zoom lens, whereas a telephoto—strictly speaking—was originally a type of prime lens). However, we’ll take telephoto here to mean any long-focal length lens. A telephoto lens magnifies the image on the sensor, appearing to bring distant objects closer. This makes longer telephoto lenses popular with wildlife photographers who need to keep a distance from their subject, but who also need the subject to be relatively large in the frame. Shorter telephoto lenses work well as portrait lenses as they have a more pleasing

perspective for facial features than a wideangle lens. One limitation with a telephoto lens is that depth of field is often limited: the longer the focal length, the bigger the problem. It’s often necessary to use very small apertures to achieve front-to-back sharpness. However, this is not necessarily a drawback. Limited depth of field, in which only the subject is sharp, can be very effective to isolate the subject and simplify a composition. Telephoto lenses are often large and cumbersome, making them difficult to handhold. As the image is magnified, any movement will be exaggerated, increasing the risk of camera shake. Some Canon lenses are equipped with image stabilization, though you often pay a premium over a similar nonstabilized equivalent.

LENSES » LENS TYPES

› Telephoto Lenses

« CANON 800MM L IS The longest lens in Canon’s lineup.

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 157

157

15/8/12 14:42:18

3 Tilt-and-shift Canon produces four “tilt-and-shift” lens that can turn your 5D MK III into a mini view camera: a 17mm f/4L, 24mm f/3.5L II, 45mm f/2.8, and 90mm f/2.8. All these lenses are manual focus only and have the prefix T-SE. A tilt-and-shift lens can perform two very useful tricks compared to a conventional lens. The first is that the front element of the lens can be angled relative to the camera (tilt); the second is that the front element can also be moved up or down, left or right (shift). Tilting the front element of a lens allows you to control the plane of focus in an image. This technique can be used to either throw large areas of an image out-

of-focus—often referred to as a “miniature” effect, since the resulting images resemble macro shots in their lack of depth of field—or to increase sharpness throughout an image without resorting to using small apertures. Shifting the front element of a lens is useful to avoid “converging verticals.” This is an optical effect caused when a camera is tilted backwards (or forwards) to fit a vertical subject into a composition. This results in the vertical lines of a subject no longer appearing parallel to each other. Shifting a lens allows you to keep the camera parallel to the subject and adjust your composition to include the required elements of your subject.

«

TILT-AND-SHIFT Canon’s 17mm TS-E lens

158

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 158

15/8/12 14:42:18

A teleconverter (sold as “Extender” lenses by Canon) is a secondary lens that fits between a camera body and the main lens. The teleconverter increases the focal length of the main lens by a given factor. Canon currently makes two EOS teleconverters: the 1.4x model increases the focal length by a factor of 1.4; the 2x doubles the focal length. Teleconverters are a relatively inexpensive way of extending the usefulness of your lens collection. However, teleconverters have two drawbacks. Image quality is reduced in comparison to a nonextended lens of the same focal length.

Notes: Because of the light loss, AF will be less effective when using a teleconverter. Only a certain number of Canon lenses work with a teleconverter, and some can actually be damaged if used with one. See the lens chart at the end of this chapter for details.

«

«

EXTENDER EF 1.4X III

Also, the lens is made “slower,” as the teleconverter reduces the amount of light passing through the lens system. The 1.4x teleconverter loses one stop of light, the 2x two stops.

EXTENDER EF 2X III

TELECONVERTER

SPECIFICATIONS

DIMENSIONS (MM)

WEIGHT (G)

IPExtender EF 1.4x III

7 elements / 3 groups

72 x 27

225

Extender EF 2x III

9 elements / 5 groups

72 x 53

325

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 159

LENSES » TELECONVERTERS

» TELECONVERTERS

159

15/8/12 14:42:18

3» CANON EF LENSES Lens Name

Angle of view

Min. focus distance (m)

No. of aperture blades

EF 8–15mm f/4 L USM

180–175°

0.15

7

EF 14mm f/2.8 L II USM

114°

0.2

6

EF 16–35mm f/2.8 L II USM

108–63°

0.28

7

TS-E 17mm f/4 L

104°

0.25

8

EF 17–40mm f/4 L USM

104–57°

0.28

7

EF 20mm f/2.8 USM

94°

0.25

5

EF 24mm f/1.4 L USM II

84°

0.25

8

EF 24mm f/2.8

84°

0.25

6

EF 24mm f/2.8 IS USM

84°

0.2

7

TS-E 24mm f/3.5 L II

84°

0.21

8

EF 24–70mm f/2.8 L USM

84–34°

0.38

8

EF 24–70mm f/2.8 L USM II

84–34°

0.38

9

EF 24–105mm f/4 L IS USM

84–23°

0.45

8

EF 28mm f/1.8 USM

75°

0.25

7

EF 28mm f/2.8

75°

0.3

5

EF 28mm f/2.8 IS USM

75°

0.23

7

EF 28–135mm f/3.5-5.6 IS USM

75–18°

0.5

6

EF 28–300mm f/3.5-5.6 USM

75–8°

0.7

8

EF 35mm f/1.4 L USM

63°

0.3

8

EF 35mm f/2

63°

0.25

5

TS-E 45mm f/2.8

51°

0.4

8

EF 50mm f/1.2 L USM

46°

0.45

8

EF 50mm f/1.4 USM

46°

0.45

8

EF 50mm f/1.8 II

46°

0.45

5

EF 50mm f/2.5 Compact Macro

46°

0.23

6

MP-E 65mm f/2.8 1-5x Macro

18°

0.24

6

EF 70–200mm f/2.8 L IS II USM *

34–12°

1.2

8

EF 70–200mm f/2.8 L USM *

34–12°

1.5

8

* Indicates that a lens is compatible with Canon’s teleconverters.

160

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 160

15/8/12 14:42:18

Maximum magnification

Filter thread size (mm)

Dimensions (mm)

Weight (grams)

f/22

0.39x (at 15mm)

N/A

79 x 83

540

f/22

0.15x

N/A

80 x 94

645

f/22

0.22x (at 35mm)

82

88.5 x 111.6

640

f/22

0.14x

N/A

88.9 x 106.7

820

f/22

0.24x (at 40mm)

77

83.5 x 96.8

475

f/22

0.14x

72

77.5 x 70.6

405

f/22

0.17x

77

83.5 x 86.9

650

f/22

0.16x

58

67.5 x 48.5

270

f/22

0.23x

58

68.4 x 55.7

280

f/22

0.34x

82

88.5 x 106.9

780

f/22

0.29x (at 70mm)

77

83.2 x 123.5

950

f/22

0.29x (at 70mm)

82

88.5 x 113

805

f/22

0.23x (at 105mm)

77

83.5 x 107

670

f/22

0.18x

58

73.6 x 55.6

310

f/22

0.13x

52

67.4 x 42.5

185

f/22

0.18x

58

68.4 x 51.5

260

f/22–36

0.19x (at 135mm)

72

78.4 x 96.8

540

f/22–38

0.3x (at 300mm)

77

92 x 184

1670

f/22

0.18x

72

79 x 86

580

f/22

0.23x

52

67.4 x 42.5

210

f/22

0.16x

72

81 x 90

645

f/16

0.15x

72

85.8 x 65.5

590

f/22

0.15x

58

73.8 x 50.5

290

f/22

0.15x

52

68.2 x 41

130

f/32

0.5x

52

67.7 x 63

280

f/16

5

58

81 x 98

710

f/32

0.21x (at 200mm)

77

88.8 x 199

1490

f/32

0.16x (at 200mm)

77

84.6 x 193.6

1310

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 161

LENSES » CANON EF LENSES

Minimum aperture

161 161

15/8/12 14:42:18

3 Lens Name

Angle of view

Min. focus distance (m)

No. of aperture blades

EF 70–200mm f/4 L IS USM *

34–12°

1.2

8

EF 70–200mm f/4 L USM *

34–12°

1.2

8

EF 70–300mm f/4.5–5.6 DO IS USM

34–8°

1.4

6

EF 70–300mm f/4–5.6 IS USM

34–8°

1.5

8

EF 70–300mm f/4–5.6 L IS USM

34–8°

1.2

8

EF 75–300mm f/4–5.6 III USM

32–8°

1.5

7

EF 75–300mm f/4–5.6 III

32–8°

1.5

7

EF 85mm f/1.2 L II USM

28°

0.95

8

EF 85mm f/1.8 USM

28°

0.85

8

TS-E 90mm f/2.8

27°

0.5

8

EF 100mm f/2 USM

24°

0.9

8

EF 100mm f/2.8 Macro USM

24°

0.31

8

EF 100mm f/2.8 L Macro IS USM

24°

0.3

9

EF 100–300mm f/4.5–5.6 USM

8

24–8°

1.5

EF 100–400mm f/4.5–5.6 L IS USM * 24–6°

1.8

8

EF 135mm f/2 L USM *

18°

0.9

8

EF 135mm f/2.8 (Soft Focus)

18°

1.3

6

EF 180mm f/3.5 L Macro USM *

13°

0.48

8

EF 200mm f/2 L IS USM *

12°

1.9

8

EF 200mm f/2.8 L II USM *

12°

1.5

8

EF 300mm f/2.8 L IS II USM *

8°

2

9

EF 300mm f/4 L IS USM *

8°

1.5

8

EF 400mm f/2.8 L IS II USM *

6°

2.7

9

EF 400mm f/4 DO IS USM *

6°

3.5

8

EF 400mm f/5.6 L USM *

6°

3.5

8

EF 500mm F4 L IS II USM *

5°

3.7

9

EF 600mm F4 L IS II USM *

4°

4.5

9

EF 800mm f/5.6L IS USM *

3°

6

8

* Indicates that a lens is compatible with Canon’s teleconverters.

162

CANON EOS 5D MK III

CANON 5D MK iii CH 3 146-163.indd 162

15/8/12 14:42:18

Maximum magnification

Filter thread size (mm)

Dimensions (mm)

Weight (grams)

f/32

0.21x (at 200mm)

67

76 x 172

760

f/32

0.21x (at 200mm)

67

76 x 172

705

f/32-38

0.19x (at 300mm)

58

82.4 x 99.9

720

f/32-45

0.26x (at 300mm)

58

76.5 x 142.8

630

f/32-45

0.21x (at 300mm)

67

89 x 143

1050

f/32-45

0.25x (at 300mm)

58

71 x 122

480

f/32-45

0.25x (at 300mm)

58

71 x 122

480

f/16

0.11x

72

91.5 x 84

1025

f/22

0.13x

58

75 x 71.5

425

f/32

0.29x

58

73.6 x 88

565

f/22

0.14x

58

75 x 73.5

460

f/32

1x

58

78.6 x 118.6

580

f/32

1x

67

77.7 x 123

625

f/32–38

0.2x

58

73 x 122

540

f/32–38

0.2x (at 400mm)

77

92 x 189

1380

f/32

0.19x

72

82.5 x 112

750

f/32

0.12x

52

69.2 x 98.4

390

f/32

1x

72

82.5 x 186.6

1090

f/32

0.12x

N/A

128 x 208

2520

f/32

0.16x

72

83.2 x 136.2

765

f/32

0.18x

N/A

128 x 248 2

400

f/32

0.24x

77

90 x 221

1190

f/32

0.17x

N/A

163 x 343

3850

f/32

0.12x

N/A

128 x 232.7

1940

f/32

0.12x

77

90 x 256.5

1250

f/32

0.15x

N/A

146 x 383

3190

f/32

0.15x

N/A

168 x 448

3920

f/32

0.14x

N/A

163 x 461

4500

THE EXPANDED GUIDE

CANON 5D MK iii CH 3 146-163.indd 163

LENSES » CANON EF LENSES

Minimum aperture

163 163

15/8/12 14:42:18

» FLASH BASICS

167–168

» FITTING A SPEEDLITE

169

» EXTERNAL SPEEDLITE CONTROL MENU

170

» FLASH FUNCTION SETTINGS

173–176

» FLASH TECHNIQUES

178

» EXTERNAL FLASHGUNS

180–183

CANON 5D MK III CH 4 164-183.indd 164

15/8/12 14:42:44

Chapter 4

FLASH

CANON 5D MK III CH 4 164-183.indd 165

15/8/12 14:42:46

4

FLASH Flash is a useful tool when light levels are low. The 5D MK III does not have a built-in flash, but is compatible with all of Canon’s Speedlites and many other third-party alternatives. Flash is often seen as a black art, the secrets of which are known to only a few initiates who have obviously made great personal sacrifices to gain that knowledge. In fact flash is simpler than you might think. Once a few concepts have been grasped, illumination (often literally) soon follows. Flash has two big problems. The first is that it is a relatively weak light compared to other forms of illumination such as sunlight. This weakness limits the range of flash. Even the most powerful of Canon’s flashes can’t illuminate distant objects, such as a performer onstage at a concert.

The second problem, when a flash is fitted to a camera’s hotshoe, is that it is a frontal light. Frontal light isn’t the most flattering light for any subject. It flattens texture and reduces the sense that a subject has three-dimensions. Portraits shot with on-camera flash can look as though they’ve been shot for use in police records. They are often not a pretty sight. These two problems can be solved relatively simply. This chapter is an introduction to the world of flash with your 5D MK III, and a guide to how to take a few steps to improve your flash photography.

Note: Canon uses the word Speedlite as a synonym of flashgun. From this point on we’ll use the same convention, reserving the word flash to describe the concept of flash photography or the act of firing the Speedlite.

« FLASH Rather ironically, some of the best images shot with flash are those where you can’t see that flash was used.

166

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 166

15/8/12 14:42:48

There are two ways to use a Speedlite with your 5D MK III. You can either let the camera/Speedlite combination determine the correct exposure automatically, or you can set the Speedlite to manual and then adjust the flash exposure to suit. Canon’s current range of Speedlites uses the E-TTL II exposure system to automatically determine the correct exposure (see page 170). Generally E-TTL II is an accurate system, but it is not entirely foolproof. Using manual exposure means that results will be more consistent, though it does require some extra thought before the image is created. When a Speedlite is set to manual there are two main ways to control its effective distance (that is, the maximum distance that the Speedlite can

effectively illuminate a subject). The first control is the power output of the Speedlite. This is usually set on the Speedlite itself (see your Speedlite’s manual for details). At 1/1 the Speedlite is discharged at maximum power. Set it to 1/2, and the power output is halved; at 1/4 it is halved again, and so on.

FLASH » FLASH BASICS

» FLASH BASICS

The second control is the aperture you set on your camera. The smaller the aperture you use, the shorter the effective distance of the flash. If your subject is further than the effective flash distance for the selected aperture your subject will be underexposed. You would therefore need to use a larger aperture. Alternatively, if your subject is overexposed, you could remedy this by using a smaller aperture.

Notes: The shutter speed has no influence on the flash exposure. However, the shutter speed you use will affect the exposure of any area of a scene not lit by light from the Speedlite (see page 172). Increasing the ISO also increases the effective distance of a Speedlite.

CONTROL « The functions of compatible Speedlites can be set either on your 5D MK III or on the Speedlite.

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 167

167

15/8/12 14:42:48

4 › Guide numbers The maximum power of a Speedlite is referred to as its guide number or GN. The GN determines the effective range ofthe Speedlite in either metres or feet. If you increase the ISO on your camera, the GN increases and so to avoid confusion ISO 100 is the standard that camera and flash manufacturers use when quoting a guide number. The GN can either be used to determine the required aperture value for a subject at a given distance, or the effective range of the Speedlite at a specified aperture. The formula to calculate both is respectively:

Note: Speedlites can also be attached to your 5D MK III via the Flash PC terminal. This allows you to attached Speedlites that aren’t necessarily compatible with your camera. In this instance, using manual flash and calculating the correct exposure by hand becomes very important.

GN/distance=aperture GN/aperture=distance Using the mighty 600EX-RT Speedlite as an example (which has a GN of 60 meters at ISO 100), at an aperture setting of f/5.6 and at ISO 100, the effective flash distance is 10.71 meters. When the ISO is doubled the GN increases 1.4x. So, at ISO 200 and an aperture f/5.6, the effective distance of the 600EX-RT increases to 15.15 meters.

«

LONG LENSES Being aware of the effective distance of your Speedlite is important if you use a long lens and are therefore further back from your subject.

168

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 168

15/8/12 14:42:48

The 5D MK III has a built-in hotshoe to attach an external flash. Canon currently produces four Speedlites (see page 180). Although Canon recommends that thirdparty flashguns are not used with the 5D MK III, companies such as Sigma and Metz also produce compatible flashguns. Certain Speedlite functions can be set via External Speedlite Control on the 1 menu; otherwise functions are set on the Speedlite itself.

Note: It’s highly recommended to use the locking collar if your Speedlite has one. This will prevent the Speedlite from being knocked off the hotshoe accidentally.

Fitting an external flashgun 1) Make sure both the 5D MK III and external flashgun are both switched off. 2) Slide the Speedlite shoe into the hotshoe of the camera. If your Speedlite has a locking collar, press the locking button and slide the collar round until it clicks into the lock position. 3) Turn the Speedlite on first, followed by the 5D MK III. 4) A symbol will be displayed in the viewfinder of the 5D MK III, or on the LCD if you are in Live View (unless flash firing is set to Disable—see next page). 5) To remove the Speedlite, switch off the 5D MK III and flashgun, and reverse the procedure in step 2.

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 169

FLASH » FITTING A SPEEDLITE

» FITTING A SPEEDLITE

169

15/8/12 14:42:50

4

» EXTERNAL SPEEDLITE CONTROL MENU 5) Press MENU to return to the main 1 menu or press lightly down on the shutter button to return to Shooting mode.

› Flash firing

The External Speedlite Control menu lets you set the shooting functions of a compatible Speedlite.

Changing options on the External Speedlite Control menu 1) Fit your Speedlite as described on the previous page. Turn both your camera and the Speedlite on. 2) Press MENU on your 5D MK III and highlight External Speedlite Control on the 1 menu. Press SET to view the External Speedlite Control screen. Anything you change on this menu will by automatically applied to the Speedlite. 3) Highlight the function you want to change. Press SET . Set the option by turning and pressing SET . 4) The custom functions of the Speedlite can be altered on the Flash C.Fn settings sub-menu. The available custom functions will vary between Speedlites.

170

Set to Enable, the Speedlite will fire when a shot is taken. Set to Disable, it won’t fire, but the AF Assist beam on the Speedlite will still activate. The AF Assist beam is most useful in low light, where you need AF functionality but don’t require the Speedlite to fire—most likely when you’re using a tripod and are using ambient light only for the exposure.

› E-TTL II Metering E-TTL II stands for “evaluative through-thelens metering.” Unlike older systems, the exposure of the Speedlite is determined by the camera. This makes flash exposure more accurate, even if the flash is used off-camera and when filters are used. The system works by firing two bursts of flash. The first burst is used by the camera to evaluate the flash and ambient light exposure. The power of the second burst is then modified (if necessary) to the correct level for exposure. This happens so quickly that you or your subject won’t even be aware that there were two bursts of flash. If used with a compatible lens, the E-TTL II system uses the focus distance as another factor used in determining accurate exposure.

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 170

15/8/12 14:42:50

FLASH » EXTERNAL SPEEDLITE CONTROL MENU

See below for a list of E-TTL II compatible lenses. The 5D MK III allows you to use two methods of determining exposure using E-TTL II metering. The default is Evaluative. If

you’re using a lens that doesn’t supply focus distance information, Average may be preferable. However, experimentation will determine which is most suitable for you.

Fully E-TTL II compatible lenses that supply distance information (lenses in gray have been discontinued) EF 14mm f/2.8L USM EF 16–35mm f/2.8 L USM EF 16–35mm f/2.8 L II USM EF 17–35mm f/2.8 L USM EF 17–40mm f/4 L USM EF 20mm f/2.8 USM EF 20–35mm f/3.5–4.5 USM EF 24mm f/1.4 L USM EF 24–70mm f/2.8 L USM EF 24–85mm f/3.5–4.5 USM EF 24–105mm f/4 L IS USM EF 28mm f/1.8 USM EF 28–70mm f/2.8 L USM EF 28–80mm f/3.5–5.6 USM EF 28–105mm f/3.5–4.5 USM EF 28–105mm f/3.5–4.5 II USM EF 28–105mm f/4–5.6 USM EF 28–105mm f/4–5.6 EF 28–135mm f/3.5–5.6 IS USM EF 28–200mm f/3.5–5.6 USM EF 28–200mm f/3.5–5.6 EF 28–300mm f/3.5–5.6 L IS USM EF 35mm f/1.4 L USM EF 35–135mm f/4–5.6 USM EF 50mm f/1.2 L USM MP-E 65mm f/2.8 1–5x Macro EF 70–200mm f/2.8L IS USM EF 70–200mm f/2.8L USM

EF 70–200mm f/4 L USM EF 70–210mm f/3.5–4.5 USM EF 70–300mm f/4.5–5.6 DO IS USM EF 70–300 f/4–5.6 IS USM EF 85mm f/1.2 II L EF 85mm f/1.8 USM EF 90–300mm f/4.5–5.6 USM EF 90–300mm f/4.5–5.6 EF 100–300mm f/4.5–5.6 USM EF 100–400mm f/4.5–5.6 L IS USM EF 100mm f/2 USM EF 100mm f/2.8 Macro USM EF 100mm f/2.8 Macro L USM EF 135mm f/2 L USM EF 180mm f/3.5 L Macro USM EF 200mm f/2 L IS USM EF 200mm f/2.8 L USM EF 200mm f/2.8 L II USM EF 300mm f/2.8 L IS USM EF 300mm f/4 L USM EF 300mm f/4 L IS USM EF 400mm f/2.8 L IS USM EF 400mm f/4 DO IS USM EF 400mm f/5.6 L USM EF 500mm f/4 L IS USM EF 600mm f/4 L IS USM EF 800mm f/5.6 L IS USM EF 1200mm f/5.6L USM

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 171

171

15/8/12 14:42:50

4

› Flash Sync. speed in AV mode

The fastest shutter speed you can use with a Speedlite is 1/200 (referred to as the X-sync speed: see page 175 for an explanation and an exception). However, this does not mean that you are limited to using this shutter speed every time you use flash. If you are shooting in low light, 1/200 may be too fast to record details in the areas not illuminated by your Speedlite. Slow sync is the technique of using shutter speeds longer than the X-sync speed, to enable accurate exposure of a scene lit

Setting Flash Sync. In AV mode 1) Press MENU and highlight Flash Sync. In AV mode on the External Speedlite Control menu. Press SET . 2) Highlight the option you require (see below) and press SET . Press lightly on the shutter button to return to shooting mode and set the mode dial to Av.

Options

Result

Auto

The 5D MK III will use a shutter speed between 30 seconds and 1/200 to achieve correct exposure for non-flash lit areas. Hi-speed sync with a compatible Speedlite is still possible. To minimize the risk of camera shake, the 5D MK III will only use a shutter speed between 1/60 and 1/200. This may result in underexposed areas not lit by flash light. Only the sync speed of 1/200 is available. Non-flash lit areas may be underexposed, but the risk of camera shake will be minimized.

1: 1/200–1/60sec. auto

2: 1/200sec. (fixed)

172

only by ambient light. This technique is most effective at times of the day, such as dusk when ambient light is low, but usable, and where flash can be used to illuminate a foreground subject. The lower the ambient light levels, the longer the shutter speed and so the greater the risk of camera shake. As the ambient light level drops, the more need there is to use a tripod. Flash Sync. In AV mode lets you change how the 5D MK III sets the shutter speed in Av mode when using a Speedlite this way.

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 172

15/8/12 14:42:50

subject—and so leaving the area around the edge of the frame darker.

› Wireless

› Flash Mode You can either use your Speedlite using E-TTL II metering or switch to Manual exposure. Once set to Manual you must determine the flash exposure yourself, taking into account the guide number of the flash, the power output of the flash, and the ISO and aperture you’ve set on your 5D MK III.

› Zoom If your flash has a compatible Zoom head, selecting Auto will ensure that the zoom adjusts to match the focal length of the lens to ensure even coverage across the image frame. You can, however, choose to adjust the focal length of the zoom head on the flash yourself. You’d do this either because you were using a lens that didn’t supply the necessary focal length information for Auto zoom, or to focus the light from the Speedlite more on your

This option helps you to set up wireless flash when you want to use a Speedlite offcamera. You’ll need either two wirelesscompatible Speedlites or an accessory such as Canon’s ST-E2 wireless transmitter.

› Flash Exposure Bracketing Bracketing with a Speedlite is similar in concept to standard exposure bracketing. It’s not a feature you’ll find on every Speedlite—in fact it’s restricted to all but the high-end Speedlites such as the 580 EX II. Instead of the exposure for the ambient light altering, the Speedlite output is altered between shots. Bracketing can usually be applied in ½-, ¹⁄₃-, or 1-stop increments.

Note: The options available on the Flash function settings screen depend on the type of Speedlite you use. Depending on your Speedlite, there may be other options available when selecting Flash Mode.

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 173

FLASH » FLASH FUNCTION SETTINGS

» FLASH FUNCTION SETTINGS

173

15/8/12 14:42:51

4 › First- and Second-curtain synchronization as a blur in front of the subject.

The shutter in your 5D MK III is composed of two light-tight metal curtains, one in front of the other. When you press the shutter-release button down to take a shot, the first curtain begins to rise, exposing the sensor behind to light. Then, after a set period of time, the second curtain follows, stopping the sensor’s exposure to light as it does so. The set period of time between the first and second curtain rising is the duration of the selected shutter speed. When First-curtain synchronization is used, the flash is fired when the first curtain begins to rise. If your subject moves across the frame during the exposure, the movement will be frozen by the light from the flash at the start of the exposure. If the shutter speed is sufficiently long, the rest of the exposure will be lit by available light and any subsequent movement by the subject will be recorded

174

If you set your 5D MK III to use Second-curtain synchronization, the flash is fired immediately on pressing the shutter-release button and then again when the second curtain begins to rise. This means that the movement of your subject is frozen by the flash at the end of the exposure, resulting in the movement being recorded as a blur behind the subject. Of the two settings, Secondcurtain synchronization usually looks far more natural.

Setting First- or Second-curtain synchronization 1) Press MENU, highlight External Speedlite Control on the 1 menu and then pres s SET to view the submenu. 2) Select Flash functions settings and then highlight either or to select First-curtain or Second-curtain synchronization respectively. Press SET . 3) Press MENU to return to the main External Speedlite Control menu or lightly down on the shutter-release button to return to Shooting mode.

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 174

15/8/12 14:42:51

The sync-speed (or X-sync) on a camera is the fastest shutter speed at which the entire image is evenly lit by the short burst of light from a Speedlite. On older, mechanical cameras, using a shutter speed faster than the sync-speed would result in only partial exposure of the image by the Speedlite. The sync-speed of the 5D MK III is 1/200 and, to prevent partial exposure of the image, you cannot set a higher shutter speed when a Speedlite is attached and active. The sync-speed limit is usually not a problem. Flash is often used in low light when it’s likely that a slower shutter speed will be required anyway. However, if you want to use flash as a fill-in light in bright conditions it’s very easy to exceed the sync speed, particularly if you don’t want to use a small aperture. Fortunately all of Canon’s current Speedlites allow the use of a technique known as High-speed Sync. This enables you to use shutter speeds up to 1/8000, in combination with flash. High-speed sync works by pulsing the Speedlite output to “build up” the exposure as the shutter curtains travel across the sensor (effectively turning the flash into a constant light source during the exposure). This reduces the power of the flash—and therefore the effective distance—as the Speedlite discharges many times rather

than once. However, as long as you understand this limitation and keep your subject near to the camera, High-speed sync can prove invaluable.

Setting Hi-speed flash 1) Press MENU, highlight External Speedlite Control on the 1 menu and then press SET to view the submenu. 2) Select Flash functions settings and then highlight H to select High-speed sync. Press SET . 3) Press MENU to return to the main External Speedlite Control menu, or lightly down on the shutter-release button to return to Shooting mode.

Notes: It is not possible to select either curtain synchronization or High-speed + sync when A mode is selected. Second-curtain synchronization is only used when the shutter speed is slower than 1/25.

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 175

FLASH » FLASH FUNCTION SETTINGS

› High-speed Sync

175

15/8/12 14:42:51

4

› Flash exposure compensation Method 2 1) Press MENU, highlight External Speedlite Control on the 1 menu and then press SET to view the submenu. 2) Select Flash functions settings, highlight and press SET once more.

Your 5D MK III uses E-TTL II to correctly calculate the exposure for a fitted or wireless Speedlite. However, sometimes the camera gets it plainly wrong and you need to adjust the flash exposure. Flash exposure can be adjusted one of two ways on your 5D MK III.

to the left to add negative 3) Turn flash exposure compensation, to the right to add positive. Flash output can be adjusted by ± 3-stops. Press SET to set flash exposure compensation and return to the main External Speedlite Control menu.

Method 1

Notes:

1) In shooting mode press the ISO / button.

Although you can apply exposure compensation to your flash you will not be able to increase the effective flash distance for your chosen aperture unless you also increase the ISO.

2) Turn to the left to add negative flash exposure compensation, to the right to add positive. Flash output can be adjusted by ± 3-stops.

You may also be able to adjust the flash exposure compensation on the Speedlite (depending on the model).

3) Repeat steps 1–2 and reset flash exposure compensation back to zero when you are finished.

FILL-IN FLASH « High-speed Sync is most effective when you need to use flash as a fill-in light on bright days.

176

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 176

15/8/12 14:42:52

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 177

177

15/8/12 14:42:52

4

» FLASH TECHNIQUES › Bounce flash The light from a Speedlite mounted on your camera isn’t very flattering. Fortunately, all of the current Speedlites allow you to angle the flash head upwards (and sideways on some models) allowing you to use a technique known as “bounce flash.” The light from a flash is a point light source. A point light source is relatively small in comparison to the subject being lit. This creates high contrast with bright highlights and deep shadows, which have sharply defined edges. By bouncing the light off a surface—such as a low ceiling or white card—the area that the light appears to emanate from is increased. This has the effect of softening the light and reducing contrast. Softer light makes shadows less hard, and the transition from light to dark is more attenuated. There are two potential problems to be aware of when using bounce flash. The first is the risk of a color cast caused by the light picking up the color from the surface you

bounce it from. If possible, try to use a neutrally colored surface to bounce from— unless you deliberately want to add color to the light. The second problem is due to the fact that you are increasing the flash-tosubject distance by bouncing the light. Your image will be underexposed if your flash is insufficiently powerful or if you use too small an aperture, reducing the effective flash distance.

Tip Holding a big reflector above your Speedlite is also very eff ective, particularly when you don’t have a ceiling or wall nearby.

178

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 178

15/8/12 14:42:54

Slightly more sophisticated are box-type diffusers. Although they are larger, and can be cumbersome, they are very effective at softening flashlight. The largest type requires the use of a stand—which means using your Speedlite off-camera, either connected by a cord or using a wireless transmitter to fire it. The larger the diffuser the softer the flash light will be. Canon doesn’t produce diffusers for its Speedlite range, though there are plenty of third-party manufacturers who do. These include respected companies such as Sto-Fen and Lumiquest.

© Sto-Fen

Diffusers also help to soften flash light. As with bounce flash this is achieved by increasing the area from which the light appears to emanate. Diffusers come in a variety of sizes and shapes. The simplest are those the size of the flash head— which is where they are fitted. They are usually made of translucent plastic, though a similar effect can be achieved by taping tissue paper to the flash head. Because of their size they are only marginally better than naked flash light, but are usually cheap and worth keeping in a camera bag.

FLASH » FLASH TECHNIQUES

› Flash diffusers

«

BOUNCED This image was shot using a large piece of white card above the Speedlite—with the Speedlite head pointing upwards. Without using this bounce technique the shadows from the flash would have been too hard.

« STO-FEN FLASH DIFFUSER

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 179

179

15/8/12 14:42:54

4

› EXTERNAL FLASHGUNS: SPEEDLITE 270EX II The 270EX II is the smallest and lightest of Canon’s range of Speedlites. Although it is compatible with all Canon DSLRs, it is really only suitable for general-purpose use, where a relatively weak power output is sufficient. Although the 270EX II is small it still features a zoom and bounce head and rapid, near silent recharging. The 270EX II can also be used wirelessly as a slave flash in conjunction with a suitable master Speedlite.

Guide number (GN): 89ft / 27m (ISO 100) Tilt/swivel 90° up / No Focal length coverage 28–50mm AF-assist beam Yes Flash Metering E-TTL / E-TTL II Approximate recycling time 0.1– 3.9 seconds Batteries 2 x AA / LR6 Alkaline Dimensions (w x h x d) 2.5 x 2.6 x 3.0 in. / 64 x 65 x 72 mm Weight 5.1oz. / 155g (without batteries) Second-curtain Flash Sync: Yes Other information: High speed sync. available Included accessories Soft Case / Shoe Stand / Manual

180

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 180

15/8/12 14:42:55

A recent addition to the Speedlite range, the 320EX is a step up in size and power to the 270EX II. The 320EX also has a unique place in the range, being the only one with an integrated LED video light. This light, though not powerful, is useful as a means of illuminating your subject when shooting movies in low light. The 320EX also has integrated infrared wireless control so that it can be triggered off-camera by other infrared wireless compatible Speedlites.

FLASH » EXTERNAL SPEEDLITES: 270EX II / 320EX

› EXTERNAL FLASHGUNS: SPEEDLITE 320EX Guide number (GN) 104ft / 32m (ISO 100) Tilt/swivel 90° up / 180° left; 90° right Focal length coverage 24–50mm AF-assist beam Yes Flash metering E-TTL / E-TTL II Approximate recycling time 0.1–3.9 seconds Batteries 2 x AA / LR6 Alkaline Dimensions (w x h x d) 2.5 x 2.6 x 3.0 in. / 64 x 65 x 72 mm Weight 5.1oz. / 155g (without batteries) Second-curtain Flash Sync: Yes Other information High speed sync. available Included accessories Soft case / Shoe Stand / Manual

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 181

181

15/8/12 14:42:55

4

› EXTERNAL FLASHGUNS: SPEEDLITE 430EX II The Speedlite 430EX II is the smaller, less powerful sibling to the top-of-the-range 600EX-RT. The 430EX II can be used on its own or used to trigger other Speedlites as part of a portable and effective “lighting studio.” The 430EX II allows high speed, first- and secondcurtain flash synchroniztion, has comprehensive exposure compensation options, and nine custom functions.

Guide number (GN) 141ft / 43m (ISO 100) Tilt/swivel 90° up / 180° left; 90° right Focal length coverage 14 (with wide-angle panel) –105mm AF-assist beam Yes Flash metering E-TTL / E-TTL II Approximate recycling time 0.1–3.7 seconds Approximate number of fl ashes per battery set: 200–1400 Batteries 4 x AA / LR6 Alkaline Dimensions (w x h x d) 2.8 x 4.8 x 4.0 in. / 72 x 122 x 101 mm Weight 11.6oz. / 320g (without batteries) Second-curtain Flash sync Yes Other information: High speed sync. available Included Accessories Soft case / Shoe Stand / Manual

182

CANON EOS 5D MK III

CANON 5D MK III CH 4 164-183.indd 182

15/8/12 14:42:55

The Speedlite 600EX-RT was announced at the same time as the 5D MK III and replaces the 580EX II as the largest, heaviest and best-specified flashgun in the Canon range. The 600EX-RT has integrated radiotriggering as well as infrared wireless flash control, improved weather sealing, highspeed synchronization and 18 custom functions.

Guide number (GN) 196.9ft / 60m (at ISO 100) Tilt/swivel 90° up; 7° down / 180° left; right Focal length coverage 14mm (with wide-angle panel) –200mm AF-assist beam Yes Flash metering E-TTL II / E-TTL / TTL / Manual Approximate recycling time 0.1–5.5 seconds (0.1–3.3 seconds using quick flash) Approximate number of fl ashes per battery set 100–700 Batteries 4 x AA / LR6 Alkaline

FLASH » EXTERNAL SPEEDLITES: 430EX II / 600EX-RT

› EXTERNAL FLASHGUNS: SPEEDLITE 600EX-RT

Dimensions (w x h x d) 3.1 x 5.6 x 4.9 in. / 79.7 x 142.9 x 125.4mm Weight 315oz. / 425g (without batteries) Second-curtain Flash Sync Yes Other information: High speed sync. available Included accessories Soft case / Shoe Stand / Manual / Color Filters, case and holder

THE EXPANDED GUIDE

CANON 5D MK III CH 4 164-183.indd 183

183

15/8/12 14:42:55

» FILTERS

186–191

» SUPPORTING THE CAMERA

192–193

» OTHER ACCESSORIES

194–195

CANON 5D MK III CH 5 184-195.indd 184

15/8/12 14:43:31

Chapter 5

ACCESSORIES

CANON 5D MK III CH 5 184-195.indd 185

15/8/12 14:43:36

5

ACCESSORIES It’s perfectly possible to use your 5D MK III without fitting any other accessory apart from a lens. However, it’s probably fair to say that the use of certain optional accessories not only makes photography easier but often more fun. That’s not to say that this applies to all accessories! There are some that quickly lose their appeal and end up being pushed to the back of a drawer, never to be seen again. It pays to be critical when choosing an accessory for your camera. This involves being honest with yourself about your way of working and whether the accessory will genuinely help or enhance your photography.

» FILTERS A filter is a piece of glass, gelatin, or optical resin that is designed to affect the light that passes through it, be that subtly or more dramatically. Digital photography has made a certain number of filters, such as those used for color correction, essentially redundant. However, there are certain types that are still invaluable. These types are discussed on the following pages. Filters are most commonly found in two different forms, either round and threaded, enabling them to be screwed to the front of a lens, or square/rectangular, to be slotted into a holder attached to the lens. Round filters are usually made of high-quality optical glass with a metal or heavy-duty plastic surround. They are ideal if you only have one lens or have several lenses with the same size filter thread. However, life becomes difficult once you

Tip The fi lter thread size is shown on the front face of all Canon lenses. It can also be found inside the lens cap. Adding fi lters will degrade image quality. Avoid stacking too many fi lters if possible.

SCREW-IN 77mm screw-in cross screen filter.

186

«

CANON EOS 5D MK III

CANON 5D MK III CH 5 184-195.indd 186

15/8/12 14:43:38

› UV and Skylight filters

LENS HOLDER My (well used) Lee filter holder.

«

UV and Skylight filters absorb ultraviolet light, typically found at high altitude and on hazy days. UV light can cause a distinctive blue cast in an image. Skylight filters have a slightly pink tint to them, helping to warm up the image (though the 5D MK III’s AWB function may counteract this). UV filters are more neutral. Neither filter will affect overall exposure, and because of this they are often used to protect the front elements of lenses

ACCESSORIES » FILTERS

have two (or more) lenses with different filter thread sizes. You will then need to buy another filter of the same type or buy an adapter ring to use the same filter on your various lenses. Filters that fit into a holder are typically made of optical resin or gelatin. There are a number of companies that produce filter holders. Probably the most well-known is Cokin, which produces four sizes of filter holders: the A-system, which takes 67mm filters; the 84/85mm P-system; the 100mm Z-Pro system; and the 120mm X-Pro system. The larger the system, the more expensive the filters for it are. However, smaller holder systems can cause vignetting in the corners of images, particularly when using wide-angle lenses. Lee is another company that makes a filter holder system and a series of wellrespected filters. The holder system takes 100mm filters, and Lee filters are compatible with Cokin’s Z-Pro system and vice versa. Both systems use inexpensive adapter rings that allow you to use the same filter holder on your various lenses.

Note: Some lenses require the use of drop-in filters. This type of filter is relatively uncommon and is dropped into a compartment in the lens.

THE EXPANDED GUIDE

CANON 5D MK III CH 5 184-195.indd 187

187

15/8/12 14:43:38

5

› Polarizing filters Light is scattered randomly when it is reflected from a nonmetallic surface. This causes glare and a reduction in color saturation. Light scattered in this way has been polarized. A polarizer cuts out polarized light from every plane but one, restoring color saturation and reducing glare. Polarizers are made of glass mounted in a holder that can be rotated through 360°. This allows you to vary the strength of the effect by rotating the holder. The most commonly known effect of a polarizer is the deepening of blue sky. This effect is strongest when the polarizer is pointed at 90° to the sun. Move away from this angle and the effect diminishes. At 180° a polarizer has no effect on the sky at all. The height of the sun will also affect how strongly the polarizing filter appears to work.

Another effect of a polarizer is controlling the glare reflected from nonmetallic surfaces. This includes water, shiny paint, even wet or glossy leaves on trees. The effect is noticeable even on overcast days and not just when the sun is shining. A polarizer is slightly opaque and will reduce the amount of light reaching the sensor. Your 5D MK III’s exposure meter should automatically compensate when a polarizer is fitted—unless you’re shooting in Mmode, in which the exposure compensation must be set manually. The amount of compensation required will vary, but two stops is a good starting point.

Tip Polarizing fi lters are available as either linear or circular, which has nothing to do with the shape. For technical reasons linear polarizers are only really suitable when using a lens set to MF or when using Live View AF.

« POLARIZED A polarizer was used for this image to reduce the glare on the glass of the building and make it more transparent.

188

CANON EOS 5D MK III

CANON 5D MK III CH 5 184-195.indd 188

15/8/12 14:43:39

The 5D MK III is very capable in low light when a high ISO is required, but it is often more difficult to set a low enough ISO where there’s too much light for the desired combination of shutter speed and aperture. You could use L (50) setting, but there’s often a good reason not to (see page 54). The use of a neutral density (ND) filter is one solution to this problem. ND filters are semiopaque and reduce the amount of light that reaches the sensor. They do this without adjusting the color of the light, hence the name. ND filters are available in variety of strengths, from 1-stop (which is equivalent to halving of the ISO speed) to very dense 10 or 12-stop filters. As long as the ND filter isn’t too dense, the 5D MK III’s exposure and AF system should be able to cope when the filter is fitted. If the AF system struggles—and this is

inevitable when a 10- or 12-stop filter is used—focus before fitting the filter and then switch to MF so that focus doesn’t shift when the filter is fitted. If there is plenty of light, Live View AF is sometimes able to cope even when very dense filters are used, though having a lens with a large maximum aperture is helpful.

ACCESSORIES » FILTERS

› Neutral density filters

Tips Because a polarizer cuts out light it can also be used as an ND fi lter. ND fi lters are often sold using an optical density fi gure. A 1-stop ND fi lter has an optical density of 0.3, a 2-stop 0.6, and so on.

WATER FILTER « ND filters are particularly useful when longer shutter speeds are required to create a sense of movement in an image.

THE EXPANDED GUIDE

CANON 5D MK III CH 5 184-195.indd 189

189

15/8/12 14:43:39

5

› Graduated ND filters An ND graduate is related to the ND filter, the difference being that the bottom half is transparent and shades to a semiopaque top half. ND Graduate filters are used to balance the exposure of a scene when one part (most often the sky) is far brighter than the other and exceeds the camera’s dynamic range.

As with ND filters, ND graduates are sold in a variety of strengths, most often as 1-stop, 2-stop, and 3-stop filters (1.5- and 2.5-stop filters are also available, though they are less common and are often made to order). The greater the difference in exposure between the two parts of a scene, the stronger the ND graduate you would use. The transition from clear to semi-opaque can be soft, hard or very hard. Hard-transition ND graduate filters are easier to place successfully though they are more difficult to use when the horizon is less than straight. ND graduates work best when used in a filter holder, as this allows you to move the filter up and down, placing the transition of the filter at the point where the required exposure changes.

« GRADUATED This scene was high in contrast—I could either expose for the foreground successfully or the sky, but not both (left). The use of a 3-stop ND graduate filter over the sky allowed me to retain detail across the entire image (facing page).

190

CANON EOS 5D MK III

CANON 5D MK III CH 5 184-195.indd 190

15/8/12 14:43:39

THE EXPANDED GUIDE

CANON 5D MK III CH 5 184-195.indd 191

191

15/8/12 14:43:40

5

» SUPPORTING THE CAMERA › Tripods With the 5D MK III’s ability to shoot usable high ISO images you’d be forgiven for thinking that tripods are no longer necessary. In fact, unless you’re shooting documentary-style photos that require a more spontaneous style, tripods are just as relevant as they’ve ever been. The use of long shutter speeds is one technique where it would be impossible to work without a tripod, and there are many others. Tripods also force you to slow down and consider how a shot should be composed and exposed. It’s all too easy to rattle off a number of images in the hope that one will turn out all right. With a tripod, editing happens at the shooting

stage, because a more self-disciplined approach is required. The 5D MK III isn’t a particularly heavy camera, but it’s still important to choose a tripod that will be stable. This means choosing a tripod that can be raised to a reasonable height without the use of the center column. That said, you don’t want to pick a tripod that’s so heavy you’re discouraged from using it. There’s a definite compromise between weight and stability. Carbon fiber tripods generally offer the best weight to stability compromise. However, they are usually far more costly than a plastic or aluminium equivalent.

Tip If you’re using a tripod and your lens has image stabilization, turn IS to off.

DUSK « Tripods are a necessity when light levels are low.

192

CANON EOS 5D MK III

CANON 5D MK III CH 5 184-195.indd 192

15/8/12 14:43:41

ACCESSORIES » SUPPORTING THE CAMERA

Tripods can be bought either with an attached head or require the fitting of a separate head. The latter option, though more expensive, will allow you to choose the head that best suits your needs. There are three main types of tripod head. Ball heads are light but strong, though they can be fiddly when small adjustments are required. Three-way heads are simple to use, the head being adjustable in three different directions. Geared heads are the easiest to make fine adjustments to—though the geared mechanism generally makes them heavier than either ball or three-way heads.

Tip Tripods are most useful when paired with a remote release. If you don’t have a remote release, using mirror lockup combined with self-timer will help to reduce the risk of camera movement during an exposure.

› Other supports Monopods are a light and useful alternative to the tripod. They are less stable than a tripod, but they still offer far more support to a camera than handholding alone. Some monopods can also be used as walking poles—useful if you’re a landscape photographer who climbs hills regularly. Beanbags are useful items to keep in a kit bag. They allow you to rest your camera on a flat surface such as a wall, and help to prevent scratches to the base of your camera, as well as damping down vibrations.

« STEADY 5D MK III mounted on a Manfrotto 410 geared head and Giotto’s MTL8271B carbon fiber tripod.

THE EXPANDED GUIDE

CANON 5D MK III CH 5 184-195.indd 193

193

15/8/12 14:43:42

5

» OTHER ACCESSORIES › Remote switches A remote switch allows you to fire the shutter-release button without touching the camera. They’re not suitable for all types of photography—you wouldn’t use one for sports photography—but they are almost essential if you use a tripod. Canon currently sells two types of remote switch with a cable, and two wireless types. The RS-80N3 is the simplest cable type and allows you to fire the shutter as well as lock it open when using bulb. The more complex (and more expensive) TC-80N3 adds an intervalometer and timer functions.

«

BATTERY GRIP BG-E11

194

The RC-6 is the simplest of the wireless remote switches, with functions limited to firing the shutter immediately or after a two-second delay. The RC-6 does have limited range. The LC-5 is a different matter altogether. With a range of 100mm, it is suitable for use in large open spaces. Both the RC-6 and the LC-5 use an infrared beam to communicate with the camera and so line-of-sight between the camera and the remote switch must be maintained.

› Battery grip BG-E11 The BG-E11 turns your 5D MK III into a 1-series lookalike. Controls are mirrored on the grip allowing you to use your camera effectively whether held horizontally or vertically. The grip allows you to use two LP-E6 batteries together for extended shooting sessions or use AA batteries instead. The latter option is particularly useful if you’re away from home, can’t recharge the LP-E6 batteries and have to rely on batteries on sale locally.

CANON EOS 5D MK III

CANON 5D MK III CH 5 184-195.indd 194

15/8/12 14:43:42

› Wireless file transmitter WFT-E7

The GP-E2 fits to your 5D MK III’s hotshoe and records the location information (longitude, latitude, elevation, and direction) of your images to the EXIF metadata. This information can be read by software such as Adobe Lightroom 4, so that your images can be quickly sorted by location and shown on a world map. The GP-E2 will also automatically update the clock in your 5D MK III so that it is accurate.

The WFT-E7 allows you to wirelessly transmit images from your camera directly to a computer. It is compatible with the 802.11a/b/g and WiFi standards and also features Bluetooth. The WFT-E7 is principally aimed at studio photographers, though with a suitable laptop or WiFi connection it could be used on location too. A cheaper alternative is fitting an EyeFi card into your 5D MK III (see chapter 8).

ACCESSORIES » OTHER ACCESSORIES

› GPS receiver GP-E2

«

GPS RECEIVER GP-E2

› Headphones and microphones If you use your 5D MK III to shoot movies, it’s a good policy to invest in a good quality pair of headphones and microphones. A pair of headphones will allow you to monitor the sound recorded during and after movie capture. An external microphone can be positioned away from the camera (and out-of-range of any noises made by the camera) and closer to your subject. If the microphone has a foam cover this will help to reduce the effect of wind noise as well as protecting the microphone head itself.

THE EXPANDED GUIDE

CANON 5D MK III CH 5 184-195.indd 195

195

15/8/12 14:43:42

» CARING FOR THE EOS 5D MK III

198–199

» EXPOSURE

200–207

» OTHER TECHNIQUES

208–211

» SOFT: APERTURE

212

» SOFT: SHUTTER

213

CANON 5D MK III CH 6 196-213.indd 196

15/8/12 14:44:14

Chapter 6

IN THE FIELD

CANON 5D MK III CH 6 196-213.indd 197

15/8/12 14:44:17

6

IN THE FIELD The 5D MK III will appeal to amateur and professional photographers alike. Its abundance of features makes it suitable as a tool in the creation of any type of photographic imagery. The key is learning to use it well and to get to grips with how it operates.

» CARING FOR THE EOS 5D MK III Your 5D MK III is a well-designed, robust camera with weather-sealed controls, but that doesn’t mean you should be complacent. If you’re shooting in heavy rain, keep your camera covered when not in use. If it gets wet, wipe it dry as best you can before covering it up again. The one vulnerable area is the lens mount. Some lenses (typically L-series lenses) have rubber gaskets to prevent water entering the camera via the lens mount. However, a lens that doesn’t could let water seep through. Once you’re back indoors, check the camera thoroughly, and dry it again if necessary.

The lens will also need to be checked. Remove any moisture on the lens surface with a lintfree lens cloth. Take special care if you’re shooting near salt water. Salt is very destructive to electronic components and metal generally. Dry your camera immediately if it is splashed with salt water and wipe it down again when you get home. The ambient temperature that you shoot is a potential source of problems too. Canon recommend 104°F (40°C) as the maximum operating temperature of your 5D MK III. Try to avoid using your camera in temperatures hotter than this—or at least keep the camera

«

FINAL CUT EXPRESS Wild seas are photographically dramatic, but they require respect so that neither you nor your camera is damaged.

198

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 198

15/8/12 14:44:18

cool in the shade when not in use. Cold can affect a camera too—lubricants in the camera can freeze in extremely cold conditions, and batteries become far less efficient. When you return indoors let your camera slowly return to room temperature and check that condensation hasn’t built up on the lens or LCD. Keeping a big packet of silica gel in your camera bag will help to stop excessive moisture building up.

The 5D MK III has a very efficient dustremoval system on the sensor, so dust is no longer the problem it was once for the digital photographer (I’ve used a 7D, which has a similar sensor dust-removal, for more than two years and have never had to physically clean the sensor). Leaving the sensor to clean itself when the camera is switched on or off is generally all that is required. If you do get dust on the sensor it will be seen as a fuzzy blob, usually in areas of light, even tone such as sky. One way to minimize the appearance of dust is to use the largest aperture you can to achieve the required depth of field. Smaller apertures make dust sharper and more prominent (see page 210 for more details about choosing an aperture). That said there’s no need to be complacent about dust. A fine coating of dust on a lens will increase the risk of flare. If you’re shooting in dusty conditions, keep your 5D MK III inside a bag when it is not in use. If you need to change lenses, try do so as quickly as possible, using your body to shield the camera from any breeze. If you do get dust or sand on the front element of the lens, use a blower to avoid touching—and potentially scratching—the glass.

IN THE FIELD » CARING FOR THE 5D MK III

› Dust

«

SAND BAR If you drop any equipment in sand blow the sand off rather than brushing it off.

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 199

199

15/8/12 14:44:18

6

» EXPOSURE To make an image requires the sensor in your 5D MK III to be exposed to light. Exposing the sensor to too little light will result in underexposure; too much and the image will be overexposed. There are two ways to control the amount of light that reaches the sensor. The first is controlling the length of time that the shutter is exposed to light. This is achieved by varying the shutter speed. The second way of controlling light is by reducing or increasing the size of the aperture in the lens. A shutter speed is a measure of time. The 5D MK III has a maximum shutter speed of 1/8000 and a minimum of 30 seconds or, when set to Bulb mode, indefinitely with the shutter-release button held down. The shutter speeds are varied by set amounts, such as between 1/1000, 1/500, 1/250, 1/125, and so on. The

difference between each of these values is referred to as one “stop.” Each stop’s difference represents either a halving (as the shutter speed gets faster) or a doubling (as it gets slower) of the amount of light that reaches the sensor. For example, a shutter speed of 1/125 lets through twice as much light as 1/250 but half that of 1/60.

Note: On the 5D MK III both the shutter speed and aperture can be adjusted in either ¹⁄₃- or ½-stop increments (see page 138). When set to ¹⁄₃-stop increments, 1/100 and 1/80 come between 1/125 and 1/60, and f/4.5 and f/5.0 come between f/4 and f/5.6. When set to ½-stop increments the difference is 1/90 and f/4.5 respectively.

«

SUNRISE The combination of shutter speed and aperture you can successfully apply will depend on the ambient light levels, unless extra lighting such as flash is used.

200

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 200

15/8/12 14:44:19

The aperture is an iris inside a lens that can be varied in size to control the amount of light that reaches the sensor. The size of the aperture is measured in f/stops, represented by f/ and a suffix number. A typical range of whole f/stops on a lens is f/2.8, f/4, f/5.6, f/8, f/11, and f/16. The greater the value of the suffix numbers, the smaller the aperture. As with shutter speeds, each whole f/stop value on a lens represents either a doubling or halving of the amount of light. So f/8 will allow in half as much light as f/5.6, but twice that of f/11. Different lenses have different maximum and minimum apertures (when the aperture is at its largest and smallest respectively). The 24–105mm L IS USM commonly supplied with the 5D MK III has a maximum aperture of f/4 and minimum aperture of f/22.

The shutter speed and aperture have a reciprocal relationship. If one is altered, the other must be too if you want to maintain the same exposures (this is easily seen when using Program Shift in P mode). So for example, if the suggested exposure is 1/60 at f/11 and you change the shutter speed to 1/125, the aperture must be altered to f/8. Tv , Av and modes offer the most control of the shutter speed and aperture you use. The combination you choose to use is an important factor in the creativity of your photography.

IN THE FIELD » EXPOSURE

› Shutter speed & aperture

M

Shutter Speed / Aperture Shutter speed (seconds) ¼ ½ 1 2

4

Aperture (f-stops) f/5.6 f/8 f/11

f/22

f/16

«

HARDRAW FORCE For this image I used an exposure of 1 second at f/11 but I could have used any one of the shutter speed / aperture combinations in the table on this page.

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 201

201

15/8/12 14:44:19

6

› Metering The exposure meter in your 5D MK III is a reflective meter, so called because it measures the light reflected from the scene being metered. This can cause problems unless carefully monitored. In its simplest form, a reflective exposure meter assumes that the scene being measured is a mid-tone. Good examples of mid-tones are green grass and rock. However, if the scene being measured is darker or lighter than average, the camera meter will create a reading that is over- or underexposed respectively. It is often necessary to apply exposure compensation in certain situations to obtain the correct exposure. A good example of this is when shooting snow scenes. Snow is obviously far lighter than a mid-tone and often requires 1or 2-stop positive compensation. The metering system used in the 5D MK

III is Canon’s 63-zone iCFL system. Although it works on the basic principles described above, it also uses color information to determine exposure. More significantly it also takes account of where the lens is focused, biasing the exposure to the focus point (the idea being that this is where your subject is). This is easily seen in Live View (in P mode using ). Moving the focus point will alter the exposure, often by extreme amounts if the scene is high in contrast. If the area under your focus point isn’t a mid-tone, be prepared to apply exposure compensation.

Tip If you use ND graduated fi lters, place the focus point in the clear area for more accurate metering.

«

METERING The difference in exposure can be large when moving the focus point from a lit area of a scene to an unlit area. In the image on the left the focus point was set to the patch of blue sky below the leaves. In the image on the right the focus point was moved up into the leaves, altering the exposure by 2 stops.

202

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 202

15/8/12 14:44:20

A histogram is essentially a visual representation of the distribution of tones in an image. They are used to assess whether the image is correctly exposed, and if not whether positive or negative exposure compensation needs to be applied. Your 5D MK III can display a histogram in Live View, allowing you to assess the exposure before shooting, and then in Playback when you review the image. Using a histogram this way is far more precise than using a simple onscreen image of a scene to judge whether exposure is correct. Once you understand what a histogram is telling you it’s possible to interpret the information quickly, allowing you to work more effectively.

The extreme left edge of a histogram shows the tones in the image that are pure black. As you move left to right, the histogram progressively shows the range of tones in the image that are lighter than black. Halfway across are the mid-tones in the image. The extreme right edge shows the tones in the image that are pure white. The vertical axis of the histogram shows the number of pixels in an image of a particular tone. If a histogram is skewed to the left, this is an indication that the image is underexposed; if skewed to the right, it may be overexposed. If a histogram is squashed against either the left or right edge it is referred to as being “clipped.” Clipping means that there is no usable image data in those pixels.

HISTOGRAM With practise it becomes easy to see where elements of a scene will fall on the histogram’s tonal range.

«

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 203

IN THE FIELD » EXPOSURE

› Histograms

203

15/8/12 14:44:20

6

› Exposing to the right The 5D MK III’s sensor captures more usable image data in the highlight areas of an image than it does in the shadows. In postproduction this means that any lightening of the shadow areas of an image will increase the visibility of noise; the more shadows are lightened the worse the problem. The solution is to expose an image so that it is the lightest it can be without the highlights clipping. This is known as “exposing to the right” (ETTR), so called because the histogram is skewed to the right when an image is exposed this way. Shooting ETTR images often means ignoring the exposure recommended by your 5D MK III and applying positive exposure compensation. How much you apply will depend on the contrast of the scene. A low contrast scene will allow greater scope for using ETTR than a high contrast scene. After an ETTR image has been shot, the image in Playback will look washed-out and lacking in contrast. This is normal and is

nothing to worry about. The histogram is the key to assessing whether ETTR is successful, ensuring that the highlights aren’t clipped. Adjustments to exposure and contrast can then be made in later DPP (or in the RAW converter of your choice). Before you use this technique, set Picture Style (see page 105) to Neutral. The histogram you see in Playback is not generated from the RAW file but from a JPEG created using the selected Picture Style. Using a Picture Style such as Landscape or Portrait will generate a less accurate histogram compared to the RAW data.

Notes: Shooting ETTR is more relevant when using RAW than JPEG. RAW converters such as Adobe Lightroom 4 allow the recovery of a certain amount of clipped highlight data. However, it’s not a good idea to rely too heavily on this facility.

«

EDITED The image on the left was converted directly from a RAW file shot using the ETTR technique. The image on the right is the processed result, with the tonal range normalized.

204

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 204

15/8/12 14:44:20

Your 5D MK III can display two types of histograms in Playback (see page 60). The first type is a luminance histogram. This shows the brightness levels across the image as though the image were composed entirely of shades of gray. The second type is the RGB histogram that shows the relative mix of red, green, and blue in an image. Each pixel in an image is composed of varying amounts of red, green, and blue. A pure red pixel only has red in it, with no green or blue added. A pure magenta pixel, on the other hand, is

an equal mix of red and blue. If you have a white pixel there is an equal mix of red, green, and blue at their maximum values of 255. A black pixel has the red, green, and blue components set to 0. The RGB histogram is a useful tool for checking that the white balance for a particular scene is set correctly. First you need to take a photo of a neutral gray surface, so that it fills the entire frame (or use a tool such as the ExpoDisc). If your white balance setting is correct, the red, green, and blue histograms should be identical. If they are different it’s a good indication that the white balance is incorrect. If the red histogram is more skewed to the right than green or blue it’s likely that the white balance is too warm. If it’s the blue histogram that’s skewed to the right, then the white balance is too cool. Creating a custom white balance is the most accurate way to remedy the situation (see page 102).

IN THE FIELD » EXPOSURE

› White balance and histograms

«

CUSTOM WHITE BALANCE The wrong WB preset was used when shooting the top image, resulting in too warm an image. Creating a custom white balance corrected the red bias.

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 205

205

15/8/12 14:44:21

6

› ISO The third exposure control available on the 5D MK III is ISO. The ISO setting you use determines how sensitive the sensor is to light: the higher the ISO setting, the more sensitive the sensor. The higher the ISO the easier it is to use smaller apertures or faster shutter speeds even when ambient light levels are low. One of the benefits of using a full-frame sensor is that a greater range of useable ISO settings is generally available and this is certainly the case with the 5D MK III. The usual penalty for using a high ISO setting is the appearance of noise in an image. Noise in an image makes it look coarser. There are two types of noise: luminance and chroma. Luminance noise adds a distinctive “grain” to a picture, whereas chroma noise is seen as random

splashes of color across the image. Of the two, luminance noise is usually less objectionable and is usually dealt with effectively either by the 5D MK III’s noise reduction functions (see page 107) or in postproduction. Chroma noise is more difficult to remove and for that reason any ISO setting that exacerbates chroma noise is best avoided unless there is no other option. Noise reduction is a mixed blessing, however. If it’s applied too heavily it can smear fine details and texture, and make an image look too smooth and artificial.

Notes: Shooting RAW will give you more control over noise reduction in postproduction. JPEG images with in-camera noise reduction applied can suffer from a loss of fine detail, detail that is visible in an equivalent RAW file. There are several commercial noise reduction packages available that arguably do a better job than the inbuilt camera routines. Software such as Noise Ninja and Neat Image are available as standalone packages or as plug-ins for Adobe Photoshop.

NOISE NINJA www.picturecode.com

206

«

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 206

15/8/12 14:44:21

altering the ISO. Say you had an image that was shot at ISO 100 and was 1-stop underexposed. If you then increased the exposure in postproduction by 1-stop, it will produce a similar effect in terms of noise as if you’d shot the image at ISO 200. For maximum image quality, therefore, it’s better to shoot at the correct exposure, or even use a technique such as ETTR (see page 204).

IN THE FIELD » EXPOSURE

Image noise is virtually undetectable at the 5D MK III’s base ISO of 100. Without using in-camera noise reduction, ISO values up to 1600 are very useable, though there is inevitably some reduction in image quality the higher the ISO. Between 1600 and 12800 ISO, the choice of whether to use in-camera or postproduction noise reduction is a personal choice. Without noise reduction more fine detail is retained, though noise is of course more prominent. Above ISO 128000 in-camera noise reduction is necessary to avoid prominent noise in your images. The two extended settings (H1-51200 and H2-102400) are definitely only to be used when there is no alternative. They are very much there because they could be, not because you’ll be able to shoot particularly useful images with them. If you underexpose an image and then lighten it, you are effectively

Tip Reducing the size of your images in postproduction will lessen the appearance of noise. If you only intend to print or reproduce an image at a small size you can generally use higher ISO values effectively than if the image was to be reproduced larger.

«

ISO EXTREMES There’s a big difference in the image quality between ISO 100 (left) and ISO 102400 – H2 (right).

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 207

207

15/8/12 14:44:21

6

» OTHER TECHNIQUES › Black and white roughly similar shades of gray. This can lead to very flat looking images. This is when the filter effects are needed. Colored filters block out colors on the opposite side of a standard color wheel to the filter. So, for example, a red filter blocks out blue-greens. Using a red filter causes reds in an image to lighten in B&W, while blues and greens are darkened. This helps to separate the tonal values in an image, thereby adding interest. Landscape photographers often use yellow, orange, or red filters to darken blue skies (with red having the greatest effect). Portrait photographers are more likely to use green filters, which help with skin tones. If your black and white images do look flat, it’s well worth experimenting with filter effects.

«

You can set your 5D MK III to shoot in black and white by setting Picture Style to Monochrome. In the detailed settings for this option are filter effects. The filter effects mimic the use of colored filters that are often necessary when shooting in black and white. A black and white image is composed of shades of gray, with black at one end of the tonal range and white at the other. The brightness of a particular gray tone in an image is determined by the reflectivity of the subject. The more light the subject reflects, the brighter the gray tone. Unfortunately, this can cause an aesthetic problem that does not occur in color photography. In color photography it is color that helps to define the elements in an image. However, if elements in the scene reflect similar amounts of light (even if they’re radically different in color) when converted to black and white they will be

PORTRAIT Light and shadow are also important when shooting black and white. This portrait was shot using the light from a window to the left of the figure.

«

COLOR This color image (far left) shows the effect of using different filters. Without a filter (left), with a red filter applied (right) and a green filter (far right).

208

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 208

15/8/12 14:44:21

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 209

209

15/8/12 14:44:22

6

› Diffraction and maximizing depth of field The aperture in a lens controls the depth of field in an image. It’s tempting therefore to shoot using the smallest aperture available to maximize depth of field. Theoretically this is logical but in practise it is not a good idea. Optically a lens is at its best two or three stops from the maximum aperture. Once past this point image quality will drop noticeably. This is due to an effect known as “diffraction.” When light enters a lens it is randomly scattered, or diffracted, as it strikes the edges of the aperture blade. This causes the resulting image to look softer; the smaller the aperture, the greater the softening. Ironically, you may find your image looks far softer when shooting with using a lens’s

minimum aperture than if you’d used a smaller aperture. To achieve maximum image quality it’s therefore important to avoid using smaller apertures if possible. Unfortunately, using a smaller aperture means reducing the depth of field available. However, there is a way to optimize the depth of field for a particular aperture by focusing the lens to a point known as the Hyperfocal Distance. By setting the lens to the Hyperfocal Distance, the image will be sharp from half that distance in front of the focus point to infinity beyond. By focusing precisely, and using the largest aperture that will comfortably cover the required depth of field, you will reduce the risk of diffraction. On the facing page are Hyperfocal Distance tables that cover the focal length of the most common lenses sold with the 5D MK III, the 24–70mm and 24–105mm. However, the tables can also be used for any lens with a focal length that falls between 24 and 105mm.

«

HYPERFOCAL DISTANCE There are a number of apps available for iOS and Android Smartphones that enable you to calculate hyperfocal distance. I used an app to calculate the aperture needed to ensure front to back sharpness for this image.

210

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 210

15/8/12 14:44:23

conservative so, if in doubt, set the aperture slightly smaller than that specified in the table. Depth of field will stretch from the Near point to Infinity (∞). Note that all distances are in metres.

24mm: Hyperfocal distance f/2.8

f/4

Near

HD

Near

3.4

6.9

2.4

f/5.6

HD 4.8

Near 1.7

f/8

HD 3.4

f/11

f/16

Near

HD

Near

HD

Near

HD

1.2

2.4

0.9

1.7

0.6

1.2

35mm: Hyperfocal distance f/2.8

f/4

Near

HD

Near

7.3

14.6

5.1

f/5.6

HD 10.2

Near 3.6

f/8

HD 7.3

f/11

f/16

Near

HD

Near

HD

Near

HD

2.5

5.1

1.9

3.7

1.3

2.5

IN THE FIELD » OTHER TECHNIQUES

To use the tables, first set the lens to the right focal length. Once you’ve set the focal length, move the focus distance to the Hyperfocal Distance (HD). Finally set the required aperture. It pays to be slightly

50mm: Hyperfocal distance f/2.8

f/4

f/5.6

Near

HD

Near HD

Near

14.9

29.8

10.4

7.4

20.8

f/8

HD 14.9

f/11

f/16

Near

HD

Near

HD

Near

HD

5.2

10.4

3.8

7.6

2.6

5.2

70mm: Hyperfocal distance f/2.8

f/4

f/5.6

Near

HD

Near HD

29.1

58.3

20.4

40.8

Near 14.6

f/8

HD 29.1

f/11

f/16

Near

HD

Near

HD

Near

HD

10.2

20.4

7.4

14.8

5.1

10.2

105mm: Hyperfocal distance f/2.8

f/4

f/5.6

Near HD

Near

Near

HD

65.6

131.2 45.9

91.9

32.8

f/8

HD 65.6

f/11

f/16

Near

HD

Near

HD

Near

HD

23

45.9

16.7

33.4

11.5

22.9

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 211

211

15/8/12 14:44:24

» SOFT: APERTURE In this image, the background behind the subject has been thrown completely out of focus through the use of a 70mm lens set to f/2.8. The lack of depth of field has simplified the composition, and helps to direct the eye to the leaf in the top left corner of the image.

Settings › Lens: 24–70mm lens (at 70mm) › Aperture Priority Mode › Shutter speed: 1/400 sec. at f/2.8 › ISO: 100

212

CANON EOS 5D MK III

CANON 5D MK III CH 6 196-213.indd 212

15/8/12 14:44:24

This image has a softness too, though in this case it is through the use of a long shutter speed when shooting a moving subject. There is no “correct” shutter speed to use when shooting moving subjects. The shutter speed you use will depend ultimately on the effect you are trying to convey.

IN THE FIELD » SOFT: APERTURE / SOFT: SHUTTER

» SOFT: SHUTTER

Settings › Lens: 24–70mm lens (at 30mm) › Aperture Priority Mode › Shutter speed: 4 sec. at f/18 › ISO: 100

THE EXPANDED GUIDE

CANON 5D MK III CH 6 196-213.indd 213

213

15/8/12 14:44:24

» MACRO OR NOT?

216–217

» CLOSE TECHNIQUE

218–220

» MACRO SOLUTIONS

221–223

» MACRO LENSES

224–225

CANON 5D MK III CH 7 214-225.indd 214

15/8/12 14:44:53

Chapter 7

CLOSE-UP

CANON 5D MK III CH 7 214-225.indd 215

15/8/12 14:44:58

7

CLOSE-UP Many lenses purport to have a macro facility. However, technically there is a distinct difference between a lens that allows you to focus closely on a subject, and a macro lens.

» MACRO OR NOT? A lens should be able to project an image onto the 5D MK III’s sensor that is life size or larger, to be a true macro lens. A life-size image would have a reproduction ration of 1:1 (twice life-size would be 2:1 and so on). Canon’s popular 24–105mm lens is advertised as having macro focusing. However it only has a 1:4 reproduction ratio (or quarter life-size). This is excellent for a general-purpose lens but, if we’re being pedantic, it’s not strictly macro. The reproduction ratio is one way to show the macro capabilities of a lens; the

other is the magnification figure. Slightly confusingly, lens manufacturers use one or the other but rarely both. To convert a reproduction ratio to a magnification figure, divide the number on the left of the reproduction ratio by the number on the right (so 1:4 would give a magnification figure of 0.25x). To convert in the other direction, divide one by the magnification to get the figure that should be placed on the right side of the reproduction ratio.

«

Macro This image was shot using a reversing ring (see page 222) to produce a close-to-life-size image on the camera’s sensor.

«

Tulip Just because a lens isn’t a true macro doesn’t mean you can’t shoot striking close-up images.

216

CANON EOS 5D MK III

CANON 5D MK III CH 7 214-225.indd 216

15/8/12 14:45:00

CANON 5D MK III CH 7 214-225.indd 217

15/8/12 14:45:00

7

» TECHNIQUE Macro photography is the art of capturing the very small. This can be challenging and often requires patience and a willingness to solve problems.

› Working distance The working distance of a macro lens is the distance from the lens to the subject needed to achieve the required reproduction ratio. Longer focal length macro lenses have greater working distances. A 50mm macro lens has half the working distance of a 100mm lens at a 1:1 reproduction ratio, for example. The greater the working distance, the further back you can be from your subject. This is particularly useful if you want to avoid disturbing your subject, either by knocking it accidentally or, if it’s an insect or animal, frightening it into moving off. Unfortunately, there is a downside to using longer focal length macro lenses. They are inevitably heavier, more cumbersome to use and far more expensive than shorter focal length macro lenses. What lens you buy will therefore depend on what you can afford and what you think your primary subjects will be.

«

BLURRED BACKGROUND Using longer focal length lenses makes it easier to achieve out-of-focus backgrounds behind your subject.

218

CANON EOS 5D MK III

CANON 5D MK III CH 7 214-225.indd 218

15/8/12 14:45:01

Achieving front-to-back sharpness is generally difficult when shooting macro images, even when using minimum aperture (which brings its own problems— see page 210). As depth of field is so limited, accurate focusing is paramount. The key is deciding where the sharpest part of the image should be. With insects or small animals

this would most often be the eye. Flowers are more difficult but a good starting point is the tips of the stamens. If your subject is a flat plane, depth of field is less critical, though it’s important to have the subject exactly parallel to the camera. If it is at a slight angle the subject may not be critically sharp across the entire image.

CLOSE-UP » TECHNIQUE

› Depth of field

Macro photography benefits from the use of Live View. Partially because the focus point can be moved over a greater area of the image, but mainly for the ability to zoom into the Live View image to check focus. Macro subjects that move can be problematic. It doesn’t take much movement for focus to be lost. If movement is caused by wind use the 5D MK III’s Continuous Shooting facility to expose a number of frames and edit the sequence later, deleting those images that don’t have critical sharpness. A lack of depth of field is not necessarily a bad thing. When looking at an image we don’t like to linger over areas that aren’t in focus. If only one part of an image is sharp, the eye will be naturally drawn there.

«

DEPTH OF FIELD At f/2.8 (top) there is very little sharp in this macro shot. Even at f/16 (bottom) there are still areas of the image that are unsharp.

THE EXPANDED GUIDE

CANON 5D MK III CH 7 214-225.indd 219

219

15/8/12 14:45:02

7 › Illuminating your subject If there’s a chance your subject will move it’s a good idea to use the fastest shutter speed you can. This means using a wide aperture, which of course will reduce the available depth of field. Another option is to use a high ISO. However, for maximum image quality, using as bright a light source as possible is the better option.

The placement of the light is critical. On-camera flash can be problematic as the lens can cast a shadow on your subject. Canon sell two dedicated macro-flashguns, the Macro Twin Lite MT-24EX and Macro Ring Lite MR-14EX. These two lights fit around the camera lens and provide a subtle and soft illumination for macro subjects. If you just use one light there may be problems with contrast, particularly if it’s a point light source. Placing a sheet of white card or a commercial reflector on the opposite side of the subject to the light will help to throw light back into the shadows and reduce contrast. Sheets of card are also useful to help shade your subject from the effects of wind. Working outdoors can be challenging. The soft light of an overcast day works well for a lot of subjects, particularly softer organic subjects such as flowers. The light on overcast days will be biased toward blue, so it is worth creating a custom white balance to correct for this tendency.

«

SOFT This image of a primula was shot on an overcast day. However, I still used a reflector below the flower heads to reduce contrast still further.

220

CANON EOS 5D MK III

CANON 5D MK III CH 7 214-225.indd 220

15/8/12 14:45:02

It’s not strictly necessary to buy a macro lens to shoot close-up images as it’s possible to extend the focusing capabilities of any lens with the addition of a few pieces of equipment. Although this won’t give you the image quality of a true macro lens, it can be a relatively inexpensive entry to the world of close up and macro photography.

› Close-up attachment lenses The easiest method of adding a macro capability to any standard lens is to fit a close-up attachment lens. Close-up attachment lenses screw onto the filter thread on the front of the lens. They are essentially a magnifying glass for a lens, reducing the minimum focusing distance

of the lens. Because they do not interfere with the autofocus or exposure system, they are easy to use and are an inexpensive route into macro photography. Close-up attachment lenses are available in a variety of strengths, shown by the diopter value—the higher the diopter value, the greater the strength. It’s possible to stack close-up attachment lenses to increase the strength of magnification, though image quality will take a noticeable drop. For optimum image quality it’s better to use one close-up attachment lens with a prime lens, rather than a zoom. Canon currently produce two close-up attachment lenses: a +2 diopter (Type500D) and a +4 diopter (Type 250D) to fit 52mm and 55m filter threads, and a +2 (Type 500D) for 72mm and 77mm filter threads.

CLOSE-UP » MACRO SOLUTIONS

» MACRO SOLUTIONS

«

CAT’S NOSE It is possible to handhold a camera and shoot macro. It’s often easier to move backward and forward to achieve focus than to use the lens’s focusing ring.

THE EXPANDED GUIDE

CANON 5D MK III CH 7 214-225.indd 221

221

15/8/12 14:45:02

7 › Reversing ring A reversing ring allows a lens to be mounted backwards on a camera, so that the rear element is pointing toward the subject. A reversing ring is a very simple device. One side is shaped to fit the lens mount of your camera; the other side is a thread that allows you to screw the lens to the ring. You therefore need to buy the correct reversing ring for the filter thread of the lens you want to use. Reversing rings allow you to focus the lens closer than its normal minimum focus. However, they do not usually carry a signal from the lens to the camera so AF will be disabled. Another drawback to using a reversing ring is that there is no way to set the aperture of the lens. The easiest way to

overcome this is to use a manual lens with an aperture ring such as a Canon FD lens (the lens mount used before Canon introduced the EOS mount). These lenses are in plentiful supply secondhand and can be bought very cheaply. Switch your 5D MK III to M, once the lens has been fitted to the camera. Then set the shutter speed as normal and adjust the aperture ring until the correct exposure has been obtained.

› Extension tubes Extension tubes (also known as extension rings) are hollow tubes that are fitted between the camera and a lens. This decreases the minimum focusing distance of the lens and increases the magnification. As there is no glass in the extension tube there is very little loss of image quality.

«

OLD AND NEW A reversing ring with a 58mm thread allows me to use an old Minolta 50mm manual focus lens with my EOS cameras.

222

CANON EOS 5D MK III

CANON 5D MK III CH 7 214-225.indd 222

15/8/12 14:45:03

› Bellows Bellows are similar in concept to extension tubes, and work on the same principle. However, bellows can be extended or compressed along a guide rail, so it’s easier to set the desired amount of magnification. Once this is achieved, the bellows are locked into position ready for shooting. The downside of using bellows is that they are far more heavy and cumbersome than extension tubes. Most bellow systems are used in studios and with the set-up mounted on a tripod. Bellows are far more expensive than extension tubes too. Canon doesn’t make bellows for the EOS system, but compatible systems can be bought from companies such as Novoflex.

«

KENKO EXTENSION TUBE SET Providing 68mm of extension when the tubes are combined or 12, 20, and 36mm extension when used individually.

extension tubes. Kenko’s extension tubes retain full autofocus and metering capability. Canon produces two extension tubes: EF 12II and RF/25II. The first extends the lens by 12mm, the second by 25mm. These tubes also retain full autofocus and metering capability.

THE EXPANDED GUIDE

CANON 5D MK III CH 7 214-225.indd 223

CLOSE-UP » MACRO SOLUTIONS

Extension tubes by third-party manufacturers are often sold in sets of three rings of different lengths. These rings can be detached and used separately or combined to create the maximum magnification. However, cheaper extension tubes often don’t have a connection between the lens and the camera and do not allow AF or automatic metering. Kenko produce probably the most popular third-party

223

15/8/12 14:45:03

7

» MACRO LENSES The equipment described on the previous pages offers an inexpensive route into macro photography. However, to achieve the highest image quality there is no better solution than a dedicated macro lens. Canon currently produces five macro lenses for the EF lens mount that are compatible with the 5D MK III. All of the lenses are fixed focal length, all but one offer a 1:1 or better reproduction ratio and all but one can be used as a conventional lens for non-macro photography.

The least expensive of Canon’s macro lens range is the EF 50mm f/2.5 Compact Macro. Arguably it’s not a true macro lens as it only has a reproduction ratio of 1:2. However, it’s still a good introduction to the world of macro photography. Note that this lens does not have a USM drive so AF cannot be fine-tuned manually—unless the lens is switched to MF. The quirkiest of Canon’s macro lenses is the MP-E 65mm f/2.8 1-5x Macro. This lens has a 5:1 reproduction ratio allowing you to capture macro images that are five times life size. This lens is manual focus only, though it is often easier to mount the lens-camera assembly to a rail system and move the setup backwards and forwards to achieve critical focus. Canon recently updated their 100mm macro lens by improving the optical system and adding image stabilisation. Apart from that, the specification of the EF 100mm f/2.8L Macro Hybrid IS USM is very similar to the older model. The new Hybrid IS system is designed to be effective when shooting macro, something that rarely applies to older IS systems. Both the original and updated 100mm lenses are currently available.

EF 100MM f/2.8L Macro IS USM

224

«

CANON EOS 5D MK III

CANON 5D MK III CH 7 214-225.indd 224

15/8/12 14:45:03

The final, and most expensive, Canon macro lens is the weighty EF 180mm f/3.5L Macro USM. With the longest working distance of all the Canon macros, this is the perfect lens for dealing with flighty subjects that benefit from you keeping your distance.

Of course you don’t necessarily need to stick with Canon when contemplating a macro lens as there are many, perfectly acceptable, third-party alternatives. The table below shows the current range of lenses produced by Tamron, Sigma, and Tokina for the Canon EF lens mount.

Tamron Lens

Minimum focus distance (cm)

Reproduction Filter Dimensions ratio thread (diameter x size (mm) length; mm)

Weight (g)

60mm f/2 Di II LD SP AF

23

1:1

55

73 x 80

390

90mm SP f/2.8 SP Di

29

1:1

55

71.5 x 97

405

180mm f3.5 SP Di

47

1:1

72

84.8 x 165.7

920

Lens

Minimum focus distance (cm)

Reproduction Filter Dimensions ratio thread (diameter x size (mm) length; mm)

Weight (g)

50mm f/2.8 EX DG

19

1:1

55

71.4 x 66.5

320

70mm f/2.8 EX DG

25

1:1

62

76 x 95

527

105mm f/2.8 APO

31

1:1

62

78.3 x 126.4

725

38

1:1

72

79.6 x 150

1150

CLOSE-UP » MACRO LENSES

› Third-party Lenses

Sigma

EX DG OS HSM 150mm f/2.8 EX DG OS HSM

Tokina Lens

Minimum Reproduction Filter Dimensions focus ratio thread (diameter x distance (cm) size (mm) length; mm)

Weight (g)

35mm f/2.8 AT-X PRO DX

14

1:1

52

73.2 x 60.4

340

100mm f/2.8 AT-X

30

1:1

55

73 x 95.1

540

THE EXPANDED GUIDE

CANON 5D MK III CH 7 214-225.indd 225

225

15/8/12 14:45:04

» COLOR CALIBRATION

228

» CANON SOFTWARE

229–231

» CONNECTING TO A COMPUTER

232

» TETHERED SHOOTING

233

» EYE-FI

234

» CONNECTING TO A TV

235–236

» USING A PRINTER

237–240

CANON 5D MK III CH 8 226-241.indd 226

15/8/12 14:46:03

Chapter 8

CONNECTION

CANON 5D MK III CH 8 226-241.indd 227

15/8/12 14:46:05

8

CONNECTION To get the most out of your 5D MK III you will ultimately need to connect it (or the memory cards) to an external digital device such as a computer, printer, or even a television. This will enable you to archive, review, edit, and print your images.

» COLOR CALIBRATION

© LaCie

There’s an old saying in computing that states that garbage in means garbage out. This applies to a certain degree to photography too, particularly when you’re trying to maintain accurate colors from a digital image through to final print. There’s only one way to achieve this and that’s through the use of a color-calibration system. The first piece of the jigsaw involves using a hardware color calibrator to accurately calibrate your PC’s monitor. These devices are now reasonably priced

228

and available from most good retail and online electronics stores. Good imageediting software should use the monitor profile created by the calibrator to ensure that you’re viewing accurate colors onscreen. If you’re making prints from your images you’ll need the second piece of the jigsaw. This means having an accurate profile for the particular type of paper you want to use with the printer. A profile specifies how the printer needs to modify its output so that a particular paper type receives the correct amount of ink in the right proportions, so that an image’s colours are correctly reproduced. Most paper manufacturers supply profiles for their papers for popular printers. However, a specially created profile for your personal printer and paper combination will be far more accurate.

LACIE BLUE EYE PRO

«

Hardware Monitor Calibrator.

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 228

15/8/12 14:46:07

Your 5D MK III is bundled with Digital Photo Professional, ImageBrowser EX, PhotoStitch, EOS utility, and Picture Style Editor. It’s not obligatory to use this software—there are commercial alternatives such as Adobe Photoshop—but the various packages do offer an easy way into getting your 5D MK III connected. There is not enough space in this book to give an in-depth guide to all this software, but Canon do supply comprehensive manuals in .PDF format on the disk that came with your 5D MK III. To install the software, follow the instructions, right.

Warning! The software is only compatible with Windows 7, Vista and XP (SP3) and Intel Mac OS X v10.6–v10.7.

1) Log on as normal (or as Administrator if required to do so to install software). 2) Insert the Canon CD-ROM disk into the CD-ROM drive. 3) The Canon software installation screen should appear automatically. Click on Easy Installation to automatically install all the software. Click on Custom Installation to select which of the programs you want to install. Follow the onscreen instructions to continue. 4) When the installation is complete click on either Finish or Restart as required. 5) Remove the CD-ROM.

«

PHOTO STITCH

If using Windows:

CONNECTION » COLOR CALIBRATION / CANON SOFTWARE

» CANON SOFTWARE

Running on Mac OS X.

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 229

229

15/8/12 14:46:07

8 If using Mac OS X: 1) Log on as normal (or as Administrator if required to do so to install software). 2) Insert the Canon CD-ROM disk into the CD-ROM drive. 3) Double-click on the CD-ROM icon on your Mac’s desktop. 4) Double-click on the application installer icon (Setup). The Canon software installation screen should now appear. Follow the onscreen instructions. On the Selecting an Installation Type screen, click on Easy Installation to automatically install all the software.

230

Click on Custom Installation to select which of the programs you want to install. Follow the onscreen instructions to continue. 5) When the installation is complete click on Finish. 6) Remove the CD-ROM. 7) The installed software can now be found in the Applications folder of your Mac hard drive.

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 230

15/8/12 14:46:07

PhotoStitch PhotoStitch allows you to merge a series of images shot in sequence while panning your camera, to create a panoramic image.

images and movie files. You can also rate them using a star system or join the online Canon Image Gateway to post your images for others to view.

EOS Utility This nifty utility enables you to import your images from your 5D MK III onto your PC or Mac, or organize the images on the memory card. It can also be used to capture images directly onto your computer when you camera is attached (see page 233).

CONNECTION » CANON SOFTWARE

Digital Photo Professional Digital Photo Professional (or DPP) is most useful for editing and converting your 5D MK III’s .CR2 RAW files and then allowing you to save them as either a JPEG or TIFF, or transfer the files directly to Adobe Photoshop.

ImageBrowse EX ImageBrowser EX is used to sort your images on your Window’s PC or Mac. The simple interface allows you to quickly copy, duplicate, move, rename, or delete your

Picture Style Editor Picture Styles can be edited and saved and then copied to your 5D MK III for use when shooting JPEGs.

DIGITAL PHOTO

«

PROFESSIONAL Running on Mac OS X.

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 231

231

15/8/12 14:46:07

8

» CONNECTING TO A COMPUTER Connecting to a PC 1) Attach the USB cable to the A/V OUT DIGITAL connector underneath the rear terminal cover on your 5D MK III. 2) Insert the other end of the USB cable to a USB (2.0) port on your computer. 3) Turn on your 5D MK III. 4) On Windows PCs click on Downloads Images From EOS Camera using Canon EOS utility. Canon EOS utility should now automatically launch. Check Always do this for this device if you want to make this a default action when you connect your 5D MK III. On Mac OS X Canon EOS Utility should run automatically when the camera is attached. 5) Follow the onscreen instruction on Canon EOS Utility.

6) Quit from Canon EOS Utility when you’re finished, turn off your 5D MK III and unplug it from your computer.

Canon Image Gateway Owning a 5D MK III (or any other Canon camera) makes you eligible to join the Canon Image Gateway. This is a free service that allows you to post your images and videos online for other members to view. As well as this facility there are technique articles to read and benefits such as free shipping when products are bought through the Canon online store.

Warning! Before connecting your 5D MK III to your computer, install the Canon software and ensure that the camera is switched off and that the battery is fully charged.

«

USB CONNECTION The USB cable supplied with the 5D MK III is a reasonable length, which is useful for use in tethered shooting (see facing page).

232

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 232

15/8/12 14:46:07

Once your 5D MK III has been connected to a PC, you can either copy images from the memory or use the connection to save images directly to your PC as they are captured. This technique is known as “tethered shooting.” It is most useful in a studio, though there’s no reason—with a laptop—not to use the technique outdoors too. The main advantage of tethered shooting is that you can see exactly what you’re shooting on a far bigger screen than the LCD on your camera. You’ll also be less likely to run out of storage space on your PC’s hard drive. The one drawback is that you’re limited to shooting within a USB cable’s range of a PC. Tethered shooting requires the installation of EOS Utility onto your PC.

Enabling tethered shooting 1) Connect your 5D MK III to your PC as described on the previous page.

2) Launch EOS Utility (if it doesn’t automatically launch) and click on Camera Setting/Remote Shooting. 3) Click Preferences and select Destination Folder from the pop up menu (Mac) or tab (Windows) at the top of the dialog box. Select the folder that you want your images to be saved to. Alter the other settings as desired. 4) Select Linked Software from the pop up menu (Mac) or tab (Windows) at the top of the dialog box. Select the software that you want to use to edit the capture images. 5) Click OK to continue. 6) Click the Live Shooting button to see the camera’s output on your PC. 7) Alter settings as White Balance [1] and Focus [2]—found to the right and below the Live View window—as required. 8) Click on the shutter-release button [3] to capture and image (if the panel showing the button is hidden click on [4]).

CONNECTION » CONNECTING TO A COMPUTER / TETHERED SHOOTING

» TETHERED SHOOTING

9) When you’re done, disconnect your 5D MK III from your PC as described on the previous page.

CANON EOS UTILTY Running on Mac OS X.

«

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 233

233

15/8/12 14:46:08

8

» EYE-FI Eye-Fi is an SD memory card with an inbuilt Wi-Fi transmitter, allowing you to transfer files between your 5D MK III and Wi-Fi enabled PC or hosting service. To set up the Eye-Fi card, check the manual that came with your card before use. For more information about Eye-Fi go to www.eye.fi.

Enabling Eye-Fi 1) Press MENU and highlight Eye-Fi 1 menu. Press SET . Settings on the 2) Highlight Eye-Fi trans. and set to Enable. 3) Shoot a picture. The Eye-Fi symbol turns from a gray to one of the other icons below. When an image has been transferred will be displayed on the shooting information screen.

Checking an Eye-Fi Connection 1) Press MENU and highlight Eye-Fi Settings on the 1 menu. Press SET . 2) Highlight Connection info and press SET . The connection information screen will be displayed. 3) Press MENU to return to the main Eye-Fi Settings menu.

Notes: File transfer speeds are dependent on the speed of your wireless connection. The 5D MK III’s battery may be depleted more quickly than usual. Eye-Fi settings only appear on the 1 menu when an Eye-Fi card is installed. Ensure that the write-protect tab on the Eye-Fi card is set to unlocked.

Displayed Symbol (gray)

Status

Auto power off is disabled during file transfer.

Not Connected

(blinking)

Connecting

(solid white)

Connection to access point established Transferring

234

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 234

15/8/12 14:46:08

The 5D MK III is supplied with a standard RCA video cable for use with analog TVs. However, it does not come with the necessary Type C mini-pin HDMI cable for connection to an HDTV set. Fortunately these cables can be found readily in good consumer electronics stores.

connectors are color-coded: yellow for video, and white, and red, for the left and right audio inputs respectively. Match the correct color plug to the correct connection. If the connectors on your TV are not color-coded, check the TV’s instruction manual before proceeding.

Connecting the 5D MK III to an analog TV

4) Turn on your TV and switch to the correct channel for external devices.

1) Ensure that both your 5D MK III and TV are switched off. 2) Open the 5D MK III’s rear terminal cover and plug the AV cable plug into the correct slot.

PANASONIC P42 GT50

«

3) Plug the three RCA plugs to the relevant connections on your TV. The

5) Turn on your 5D MK III by pressing the button. The image from the 5D MK III should now be displayed on the TV rather than the LCD. 6) When you are finished turn off the 5D MK III and TV before disconnecting.

CONNECTION » EYE-FI / CONNECTING TO A TV

» CONNECTING TO A TV

Notes: Set Video System on 3 to the correct setting for your region (see page 133). Set Ctrl over HDMI on 3 to Enable (see page 128) if you want to use your HDTV’s remote to control your camera.

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 235

235

15/8/12 14:46:09

8 Connecting the 5D MK III to an HDTV 1) Ensure that both your 5D MK III and TV are switched off. 2) Open the 5D MK III’s rear terminal cover and connect the HDMI cable plug into the correct slot. 3) Plug the other end of the HDMI cable into a free slot on your TV. 4) Turn on your TV and switch to the correct channel for external devices. 5) Turn on your 5D MK III. Press PLAY on your camera to view your images on the HDTV.

HDMI TV Remote Control If your TV is compatible with the HDMI CEC standard, you can use the TV’s remote to control the Playback function on your 5D MK III. 1) Follow steps 1 to 5, left, to connect your 5D MK III and TV. 2) Use the remote’s / buttons to select the desired option displayed on the TV. If you select Return and then press Enter you will be able to use the remote’s / buttons to skip through images on your 5D MK III.

6) When you are finished turn off the 5D MK III and TV before disconnecting. Menu options

/

Return Image index Play movie Slide show

05-6

Show image shooting information Rotate

236

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 236

15/8/12 14:46:09

The 5D MK III was designed to connect straight to a PictBridge-compatible printer, so that images can be printed without the need to copy them to a PC first. The 5D MK III is supplied with a USB cable, and connection is easy. Some printers also have slots for SD memory cards, again bypassing the need for a computer. Both JPEG and RAW files can be printed when the camera is directly connected to a printer.

Connecting to a printer 1) Check that the camera battery is fully charged before beginning 2) Ensure that both the camera and printer are switched off. Insert the memory card of images you want to print into the 5D MK III if it is not already installed.

5) Turn on the printer followed by the 5D MK III. Press PLAY on the 5D MK III. The PictBridge icon will be displayed in the top left corner of the LCD to show that connection has been made. 6) Turn to find the image you want to print and then press SET . 7) The print options screen will now appear. Set the required options, highlight Print and press SET once more. The printing should now begin. 8) Repeat steps 6 and 7 to print out more images. 9) Turn off the 5D MK III and printer, and disconnect the USB cable.

«

3) Open the 5D MK III’s rear terminal cover and connect the supplied USB cable to the camera’s USB socket.

4) Connect the cable to the printer, following the instructions in the manual supplied with the printer.

CONNECTION » CONNECTING TO A TV / USING A PRINTER

» USING A PRINTER

CANON PIXMA PRO 1 High-end inkjet printer capable of A3+ printing.

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 237

237

15/8/12 14:46:10

8

› Printing options Presets

Description

On

Print will be made using the printer’s standard setup

Off

No automatic correction applied

Vivid

Greens and blues are more saturated

NR

Image noise reduction is applied before printing

B/W B/W

Black and white image is printed with pure blacks

B/W Cool tone

Black and white image is printed with bluish blacks

B/W Warm tone

Black and white image is printed with yellowish blacks

Natural

Prints an image with natural colors

Natural M

Finer control over colors than Natural

Default Date & file number imprinting Number of Copies Trimming

Printer dependant. See your printer manual for details Choice between overlaying the date, file number or both on the print Specify the number of prints to made Allows you to trim and rotate your image before printing

Paper Settings Paper size

Select the size of the paper loaded in the printer

Paper type

Select the paper type

Page layout

Select how the image will look on the printed page

Page Layout

Description

Bordered

The print will be made with white borders

Borderless

The print will go to the edge of the page if your printer supports this facility

Bordered

i

Shooting information will be imprinted on the border on prints 9x13cm or larger

xx-up 20-up

Print 2, 4, 8, 9, 16, or 20 images on a single sheet

i

35-up

20 or 35 images will be printed as thumbnails on A4 or Letter size paper. 20-up

i

will have the shooting

information added Default

238

Your printer’s default settings will be used

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 238

15/8/12 14:46:11

CONNECTION » USING A PRINTER

› Digital Print Order Format (DPOF) The 5D MK III can tag printing instructions to images on the memory card for use by a compatible printer or by a photographic printing service. The instructions use the

Digital Print Order Format (DPOF) standard. DPOF instructions can only be applied to JPEG images on the currently selected memory card.

Setting (DPOF)

Marking all images in a folder for printing

1) Press MENU and navigate to the Playback 1 tab. Highlight Print order and press SET . 2) Highlight Set up and press SET once more. 3) Set the Print type (select Standard for a normal print, Index for a sheet of thumbnails or Both). 4) Set Date to On for the date to be imprinted on your prints, Off if you don’t want the date added. 5) Set File No. to On for the image file number to be imprinted on your prints, Off if you don’t want this.

1) On the Print order screen highlight By . Press SET . 2) Highlight Mark all in folder and press SET . Select the folder and press SET . A print order for one copy of each compatible image in the folder will be set. 3) To clear the print order highlight Clear all in folder and press SET . Select the folder and press SET . 4) Press MENU to return to the Print order menu.

6) Press MENU to return to the Print order menu screen.

THE EXPANDED GUIDE

CANON 5D MK III CH 8 226-241.indd 239

239

15/8/12 14:46:11

8

Marking all images for printing

Print ordering individual images

1) On the Print order screen highlight All image and press SET .

1) On the Print order screen highlight Sel. Image. Press SET .

2) Highlight Mark all on card and press SET . A print order for one copy of each compatible image on the memory will be set.

or to skip 2) Turn either between the images on the memory card

4) Press MENU to return to the Print order menu.

Direct Printing If your 5D MK III is connected to a PictBridge printer (see page 237) highlight Print on the Print Order menu screen and press SET . Follow the onscreen instructions and the printer will print according to the DPOF instructions you have set.

4) If you selected Index on the opposite page press SET to add an image to the DPOF instructions to be printed in Index form. A in the box next to the PictBridge icon indicates that the image has been selected. Press SET to deselect it. 5) Repeat as required and the press MENU to return to the main Print order menu screen.

LIGHT QUALITY It is the quality of light you use that often determines the success—or otherwise—of an image.

240

«

3) To clear the print order highlight Clear all on card and press SET .

3) If you selected Standard in the Setting DPOF menu on the opposite page, press SET and then turn to set the number of prints to made from the currently displayed image.

CANON EOS 5D MK III

CANON 5D MK III CH 8 226-241.indd 240

15/8/12 14:46:12

CANON 5D MK III CH 8 226-241.indd 241

15/8/12 14:46:15

» GLOSSARY Aberration An imperfection in the image caused by the optics of a lens. AE (autoexposure) lock A camera control that locks in the exposure value, allowing an image to be recomposed. Angle of view The area of a scene that a lens takes in, measured in degrees. Aperture The opening in a camera lens through which light passes to expose the sensor. The relative size of the aperture is denoted by f-stops. Autofocus (AF) A reliable through-the-lens focusing system allowing accurate focus without the user manually turning the lens. Bracketing Taking a series of identical pictures, changing only the exposure, usually in half or one f-stop (+/-) differences.

Chromic aberration The inability of a lens to bring spectrum colors into focus at one point. Color temperature The color of a light source expressed in degrees Kelvin (˚K). Compression The process by which digital files are reduced in size. Compression can retain all the information in the file, or ‘lose’ data usually in the form of fine detail for greater levels of file-size reduction. Contrast The range between the highlight and shadow areas of an image, or a marked difference in illumination between colors or adjacent areas. Depth of field (DOF) The amount of an images that appears acceptably sharp. This is controlled by the aperture: the smaller the aperture, the greater the depth of field. DPOF Digital Print Order Format.

Buffer The in-camera memory of a digital camera. CMOS (Complementary metal–oxide– semiconductor) A microchip consisting of a grid of millions of light-sensitive cells— the more cells, the greater the number of pixels and the higher the resolution of the final image. Center-weighted metering A way of determining the exposure of a photograph placing importance on the lightmeter reading at the center of the frame.

242

Dioptre Unit expressing the power of a lens. Dpi (dots per inch) Measure of the resolution of a printer or scanner. The more dots per inch, the higher the resolution. Dynamic range The ability of the camera’s sensor to capture a full range of shadows and highlights. Evaluative metering A metering system whereby light reflected from several

CANON EOS 5D MK III

CANON 5D MK III ENDMATTER 242-245.indd 242

15/8/12 14:46:48

Exposure The amount of light allowed to hit the sensor, controlled by aperture, shutter speed and ISO. Also, the act of taking a photograph, as in “making an exposure.” Exposure compensation A control that allows intentional over- or underexposure. Fill-in flash Flash combined with daylight in an exposure. Used with naturally backlit or harshly side-lit or top-lit subjects to prevent silhouettes forming, or to add extra light to the shadow areas of a well-lit scene.

Hotshoe An accessory shoe with electrical contacts that allows synchronization between the camera and a flashgun (or other compatible device). Hotspot A light area with a loss of detail in the highlights. This is a common problem in flash photography. Incident-light reading Meter reading based on the light falling on the subject. Interpolation A way of increasing the file size of a digital image by adding pixels, thereby increasing its resolution. HDMI High Definition Multimedia Interface.

Filter A piece of colored, or coated, glass or plastic placed in front of the lens.

ISO (International Organization for Standardization) The sensitivity of the sensor measured in terms equivalent to the ISO rating of a film.

Focal length The distance, usually in millimetres, from the optical center point of a lens element to its focal point.

JPEG (Joint Photographic Experts Group) JPEG compression can reduce file sizes to about 5% of their original size.

fps (frames per second) A measure of the time needed for a digital camera to process one image and be ready to shoot the next.

LCD (Liquid crystal display) The flat screen on a digital camera that allows the user to compose and review digital images.

f-stop Number assigned to a particular lens aperture. Wide apertures are denoted by small numbers such as f/2; and small apertures by large numbers such as f/22.

Macro A term used to describe closefocusing and the close-focusing ability of a lens.

Histogram A graph used to represent the distribution of tones in an image.

Megapixel One million pixels equals one megapixel.

THE EXPANDED GUIDE

CANON 5D MK III ENDMATTER 242-245.indd 243

GLOSSARY

subject areas is calculated based on algorithms.

243

15/8/12 14:46:49

Memory card A removable storage device for digital cameras. Noise Colored image interference caused by stray electrical signals. PictBridge The industry standard for sending information directly from a camera to a printer, without having to connect to a computer. Pixel Short for “picture element”—the smallest bits of information in a digital image. Predictive autofocus An autofocus system that can continuously track a moving subject. RAW The file format in which the raw data from the sensor is stored without permanent alteration being made. Red-eye reduction A system that causes the pupils of a subject to shrink, by shining a light prior to taking the flash picture. Remote Switch A device used to trigger the shutter of a tripod-mounted camera at a distance to avoid camera shake. Also known as a ‘cable release’. Resolution The number of pixels used to capture or display an image. RGB (red, green, blue) Computers and other digital devices understand color information as combinations of red, green, and blue.

244

Rule of thirds A rule of thumb that places the key elements of a picture at points along imagined lines that divide the frame into thirds. Shutter The mechanism that controls the amount of light reaching the sensor, by opening and closing. Tele-convertor A lens that is added to the main lens, increasing the effective focal length. Telephoto A lens with a large focal length and a narrow angle of view. TTL (through the lens) metering A metering system built into the camera that measures light passing through the lens at the time of shooting. TIFF (Tagged Image File Format) A universal file format supported by virtually all relevant software applications. TIFFs are uncompressed digital files. USB (universal serial bus) A data transfer standard, used by the Canon PowershotG12 when connecting to a computer. Viewfinder An optical system used for composing, and sometimes for focusing the subject. White balance A function that allows the correct color balance to be recorded for any given lighting situation. Wide-angle lens A lens with a short focal length and consequently a wide angle of view.

CANON EOS 5D MK III

CANON 5D MK III ENDMATTER 242-245.indd 244

15/8/12 14:46:49

GLOSSARY / USEFUL WEB SITES

» USEFUL WEB SITES CANON Canon Worldwide www.canon.com Canon US www.usa.canon.com Canon UK www.canon.co.uk Canon Europe www.canon-europe.com Canon Middle East www.canon-me.com Canon Oceania www.canon.com.au

GENERAL David Taylor Landscape and travel photography www.davidtaylorphotography.co.uk Digital Photography Review Camera and lens review site www.dpreview.com Photonet Photography Discussion Forum www.photo.net

EQUIPMENT Adobe Photographic editing software such as Photoshop and Lightroom www.adobe.com Apple Hardware and software manufacturer www.apple.com/uk Sigma Independent Sony compatible lenses and flash units www.sigma-imaging-uk.com Tamron Independent Sony compatible lenses www.tamron.com Tokina Independent Sony compatible lenses www.tokinalens.com

PHOTOGRAPHY PUBLICATIONS Photography books & Expanded Camera Guides www.ammonitepress.com Black & White Photography magazine Outdoor Photography magazine www.thegmcgroup.com

THE EXPANDED GUIDE

CANON 5D MK III ENDMATTER 242-245.indd 245

245

15/8/12 14:46:49

» INDEX A accessories 184–195 AC electricity 32 Accel./decel. tracking 114 achromatism 98 adding cropping information 143 AE lock 52 AF 61-point automatic selection 10, 48 Area 47 area selection method 119 -assist beam firing 116 config. tool 114 face detection 57 Microadjustment 121 mode 111 point 47, 48, 120, 127 pt Auto switching 114 quick mode 57 sensor patterns 49 zone 48 AI Servo 115 angle of view 152 aperture and shutter speed 201, 212 Aperture Priority AE mode 74, 82–83 arc form drive (AFD) 149 aspect ratio 112 aspherical lens 149 auto exposure bracketing 52 Autofocus 1 22, 90, 114 Autofocus 2 22, 90, 115 Autofocus 3 22, 90, 116 Autofocus 4 22, 90, 117–119 Autofocus 5 23, 91, 20–121 autofocus modes 46 stop feature (AF-S) 149 system 45 Auto Lighting Optimizer 73, 100 power off 131 rotate 130 B battery charging 31 grip 194 info 133 inserting and removing 31

246

life 32 registering 133 beanbags 193 beep 96 bellows 223 black and white 208 bounce flash 178 bracketing auto cancel 138 sequence 139 Bulb mode 74, 86–87 C camera care 198–199 functions, basic 33 preparation 29–30 supporting the 192–193 Canon EF lens charts 160–163 Image Gateway 232 software 229–231 center-weighted average metering 50 chromatic aberration 98 circular aperture (CA) 149 clear all camera settings 135 custom func. 143 clipping 203 close-up 214–225 color bias 101 calibration 228 space 104 tone 106 connecting to a computer 32, 232 to an analog TV 235 to an HD TV 32, 236 to a printer 32, 237 Continuous Shooting 219 contrast 106 copyright information 136 Ctrl over HDMI 128 Custom Func. 1 25, 94, 138–139 Custom Func. 2 25, 94, 140–142 Custom Func. 3 25, 94, 143 Custom Func. 4 25, 94, 143 custom controls 142 Shooting mode 74, 135 white balance 102

D date/time/zone, setting the 36, 131 default erase option 143 depth of field 82, 212, 219 maximizing 210 dial direction 141 diffraction 210 diffractive optics (DO) 149 Digital Photo Professional 231 Digital Print Order Format (DPOF) 239 direct printing 240 Drive mode 44 dust and water resistance 149 removal system 199 Dust Delete Data 108 dynamic range 110 E editing suite 72 electronic level 58 EOS Utility 231 erase images 122 E-TTL II compatible lenses 171 evaluative metering 50 Expo. comp./AEB 100 Expo. simulation 112 exposing to the right (ETTR) 204 exposure 50–53, 73, 200–207 compensation 51 level increments 138 extension tubes 222 external flashguns 180–183 Eye-Fi 234 F file name and numbering 129 filter effects 106 filtering images 61 filters 186–190 colored 208 graduated ND 190 neutral density (ND) 189 polarizing 188 skylight 187 UV (ultraviolet) 187 first- and second-curtain flash synchronization 174 flash 164–183 basics 167 bounce 178 diffusers 179

CANON EOS 5D MK III

Untitled-1 246

20/8/12 14:31:20

G ghosting 150 GPS device 132, 195 grid display 111 guide numbers 168 H H.264 video encoding standard 65 HDMI TV remote control 236 HDR mode 110 headphones and microphones 195 high ISO speed noise reduction 107 highlight alert 60, 127 tone priority 73, 108 High Speed Continuous mode 44 high-speed flash sync 175 histogram 127, 203 luminance 205 RGB 205 hyperfocal distance (HD) 210–211 I image copy 122 index 61 jump 126 playback 60–64 quality 95

review 96 stabilization (IS) 150 transfer 126 ImageBrowse EX 231 images comparing 62 erasing 63, 122 filtering 61, 126 magnifying 61, 128 protecting 60, 64, 122 rating 60, 62, 124 resizing JPEG 60, 124 rotate 60, 122 internal/rear focusing 150 ISO 54–55, 100, 138, 206–207 J JPEG images 95, 124 K Kelvin scale 101 L language 132 LCD brightness 131 panel 20, 36 lens aberration correction 97 anatomy of a 153 drive when AF impossible 117 fitting a 30 properties 152 resolution 151 technology 149–151 types 154–158 lenses 148–165 close-up attachment 221 EF range 148 extender 159 fisheye 156 L-series 148, 198 macro 224–225 prime vs. zoom 154 standard 155 telephoto 157 third-party 225 tilt-and-shift 158 wide-angle 156 level, electronic 58 light and color bias 101 Live View 56–57, 73, 202, 203, 219 Autofocus 57

shooting 111 long exposure noise reduction 107 Low Speed Continuous mode 44 luminance histogram 205 M macro 216, 218 flashguns 220 illumination 220 lenses 224–225 mode 82, 217 solutions 221–223 magnification figure 216 magnificatn (apx) 128 magnify images 61 Manual AF pt. selec. pattern 120 Manual Exposure mode 74, 84–85 memory cards 38–42, 65 memory card 38, 40, 42 CompactFlash 39 inserting and removing a 39 menu displays 21–25 options 34 summary 88–94 system 34 metering 202 center-weighted average 50 evaluative 50 modes 50 partial 50 spot 50 timer 113 Micro USM motor 151 mirror lockup 99 MF, using 45 mode dial 74 mode Aperture Priority AE 82–83 Bulb 86–87 HDR 110 Program AE 78–79 Manual Exposure 84–85 Scene Intelligent Auto 76–77 TV-Shutter Priority AE 80–81 monopods 193 MOV format 65 movies 65–70 movie clip size 68 menus 68 playback and editing 71 play count 128

THE EXPANDED GUIDE

Untitled-1 247

INDEX

E-TTL II metering 170 exposure bracketing 173 compensation 176 firing 170 function settings 173 guide numbers 168 high-speed sync 175 mode 173 wireless 173 flashgun 169 Flash Sync. In AV mode 172 floating focusing 149 fluorine coating 150 fluorite glass 150 focal length/plane 82, 152 focusing 45–49 full-time manual (FT-M) 150 focus preset (FP) 150 frame advance modes 44 f/stop 201 full-frame 9 full-time manual focusing 150

247

20/8/12 14:31:21

recording size 68 resolution 68 shooting a 66 silent control 69 Multi-Fn button 28 multi function lock 141 multiple exposure 109 My Menu 94, 144 N noise chroma 206 luminance 206 reduction 206 high ISO speed 107 long exposure 107 O one-shot AF release priority 117 orientation linked AF point 119 overview 6–25 overexposure 203 P partial metering 50 peripheral illumination 73, 97 PhotoStitch 231 PictBridge printer 237, 240 Picture Style 73, 105, 204 Detail Settings 106 Editor 231 Monochrome 106 User Defined 107 Playback 1 23, 91, 122–123 Playback 2 23, 91, 124–126 Playback 3 23, 92, 127–128 playback control options 72 grid 127 quick control 60 Precision Optical Instruments Laboratory 8 prime lenses vs. zooms 154 printer connecting to a 237–240 PictBridge 237, 240 printing direct 240 options 238 print order 122 Program AE mode 74, 78–79 Program Shift 78 protect images 122

248

Q Quick Control button 28 menu 35 movie 73 options 35 screen 19 R rating images 60, 122 RAW 95 files, converting 123 image processing 123 to JPEG conversion 60, 123 Record func+card/folder sel. 129 release priority 115 shutter without card 97 remote switches 194 reproduction ratio 216, 218 resize images 60, 124 reversing ring 216, 222 RGB histogram 205 ring-type USM 151 rotate images 60, 122 S safety shift 139 saturation 106 Scene Intelligent Auto mode 74, 76–77 Selectable AF point 118 Select AF area selec. mode 118 sensor 10 cleaning 134 patterns 49 Setup 1 24, 92, 129–130 Setup 2 24, 93, 131–132 Setup 3 24, 93, 133–134 Setup 4 24, 93, 135–137 sharpness 106 Shooting 1 21, 88, 95–99 Shooting 2 21, 88, 100–104 Shooting 3 21, 89, 105–110 Shooting 4 21, 90, 111–113 shooting information 19 stills 73 Shutter Priority 74 shutter-release button 43 shutter speed 80, 200, 201, 213, 220 and aperture 201 Single-point AF 47

Silent LV shoot. 113 shooting mode 44 slide show 125 Speedlites 169, 180–183 Control Menu 169, 170 spot metering 50 standard lenses 155 stop 200, 201 strap, attaching the 29 sub-wavelength structure coating (SWC) 151 super UD glass (S-UD) 151 T teleconverters 159 telephoto lenses 157 tethered shooting 233 time code 70 Time Value (Tv) 74 Tracking sensitivity 114 tripod 192 ball head 193 collar 151 geared head 193 three-way head 193 TV-Shutter Priority AE mode 80–81 U ultra-low dispersion glass (UD) 151 Ultrasonic Motor (USM) 151 lens electronic MF 116 underexposure 203 USM drive 224 V VF display illumination 121 grid display 132 video system 133 viewfinder 10, 18, 29 vignetting 97 W warning in viewfinder 140 white balance 73, 101–103 custom 102 WB Shift/ BKT 103 wireless file transmitter 195 working distance 218 Z zoom lenses 154

CANON EOS 5D MK III

Untitled-1 248

20/8/12 14:31:21