Canon EOS-1Ds Mark III Review
Our new Dynamic Range measurement system involves shooting a calibrated Stouffer Step Wedge (13 stops total range) which is backlit using a daylight balanced lamp (98 CRI). A single shot of this produces a gray scale wedge from (the cameras) black to clipped white (example below). Each step of the scale is equivalent to 1/3 EV (a third of a stop), we select one step as 'middle gray' and measure outwards to define the dynamic range. Hence there are 'two sides' to our results, the amount of shadow range (below middle gray) and the amount of highlight range (above middle gray).
To most people highlight range is the first thing they think about when talking about dynamic range, that is the amount of highlight detail the camera can capture before it clips to white. Shadow range is more complicated, in our test we stop measuring values below middle gray as soon as the luminance value drops below our defined 'black point' (about 2% luminance) or the signal-to-noise ratio drops below a predefined value (where shadow detail would be swamped by noise), whichever comes first.
Highlight Tone Priority
In common with most of the latest generation of EOS SLRs the Mark III sports Canon's new Highlight Tone Priority, designed to deliver more highlight range. It's available via C.Fn II-3 and, once enabled, the usable ISO range becomes ISO 200 - 1600 (ISO 100 is no longer available). In this mode the camera must be applying slightly less gain than normal combined with a different tone curve to deliver almost a whole stop more highlight range. The difference is subtle in most real world cases, but as there doesn't appear to be any penalty for using it (beyond the reduced ISO range) it's worth leaving it on if you're shooting JPEG.
As we have previously seen the various Picture Styles use either one of two tone curves, the first more contrasty curve for Standard, Portrait, Landscape and Monochrome Picture Styles and a slightly flatter curve for Neutral and Faithful Picture Styles. Neither curve delivers more dynamic range and they both clip highlights at the same point.
The graph below shows how the camera's tone curve and dynamic range is affected by the wide range of contrast settings. The lowest contrast setting (-4) is almost linear for at least two thirds of the range and offers the widest dynamic range, but only by a whisker.
ISO Sensitivity and Dynamic Range
The EOS-1Ds Mark II has an indicated base sensitivity of ISO 100 and the top setting by default is ISO 1600 (ISO 50 is indicated as 'L', ISO 3200 is indicated as 'H'). As you can see from graph below the compromise at ISO 50 is highlight range which falls nearly a stop (0.9 EV) short of the highlight range seen from ISO 100 upwards.
Using the default JPEG settings the Mark III delivers somewhere in the region of 8.6 stops of dynamic range from ISO 200 to 800, dropping slightly at ISO 1600 and by more than a stop at ISO 3200.
|Sensitivity||Shadow range||Highlight range||Usable range|
|ISO 50*||-5.1 EV||2.7 EV||7.7 EV|
|ISO 100||-5.1 EV||3.5 EV||8.6 EV|
|ISO 200||-5.1 EV||3.5 EV||8.6 EV|
|ISO 400||-5.1 EV||3.5 EV||8.6 EV|
|ISO 800||-5.0 EV||3.8 EV||8.5 EV|
|ISO 1600||-4.7 EV||3.5 EV||8.2 EV|
|ISO 3200*||-3.7 EV||3.6 EV||7.3 EV|
* Non-standard sensitivities
Dynamic Range compared
There's a not a lot of difference between any of the cameras near the top of the market; all offer somewhere in the 8.5 stops region, with Canon's slightly harsher tone curve clipping highlights a little earlier. The older EOS 5D doesn't do quite as well in the shadows as the Mark III, but considering it was launched over two and a half years ago there's no shame in that.
|Canon EOS 1DS Mk3 (ISO 100)||-5.1 EV||3.5 EV||8.6 EV|
|Nikon D3 (ISO 200)||-4.7 EV||3.9 EV||8.6 EV|
|Canon EOS 5D (ISO 100)||-4.7 EV||3.5 EV||8.2 EV|
The wedges below are created by our measurement system from the values read from the step wedge, the red lines indicate approximate shadow and highlight range (the dotted line indicating middle gray).
Experience has told us that there is typically around 1 EV (one stop) of extra information available at the highlight end in RAW files and that a negative digital exposure compensation when converting such files can recover detail lost to over-exposure. As with previous reviews we settled on Adobe Camera RAW for conversion to retrieve the maximum dynamic range from our test shots.
As usual the default Adobe Camera RAW conversion delivers less dynamic range than JPEG from the camera (the same contrasty tone curve and very little noise reduction in shadows). Simply switching to 'Auto' in the ACR conversion dialog reaps huge rewards, increasing the dynamic range to around 10.5 stops. The very best we could get out of a raw file manually was around 11.3 EV, which is pretty good (though not quite up to the standard set by the Nikon D3 or the Fujifilm S5 Pro).
- ACR Default: Exp. 0.0 EV, Blacks 5, Contrast +25, Curve Medium
- ACR Auto: Exp. -0.1 EV, Recovery 33, Brightness 0, Contrast 0, Curve Linear
Although it won't bring back grossly overexposed shots the Mark III's sensor gives you more than a stop of usable headroom to play with if you shoot raw. As the examples below show, even at -2.0 EV you'll often get something usable (though if you look closely at the second example you'll see areas where the highlight are completely clipped). Note: all the samples below have been converted from raw at a reduced file size to speed up downloads.
|Adobe Camera RAW default conversion||Adobe Camera RAW with -1.5 EV digital comp.|
|Adobe Camera RAW default conversion||Adobe Camera RAW with -2.0 EV digital comp.|
Once you start to really push the files you start to see channel clipping but even so it's pretty impressive to be able to get even this much tonal detail out of a sky so heavily over exposed.
|Adobe Camera RAW default conversion||Adobe Camera RAW with -4.0 EV digital comp.|
- 18 Software & Raw
- 19 Photographic tests (Noise)
- 20 Photographic tests (Noise)
- 21 Photographic tests (DR)
- 22 Vignetting/Shading
- 23 Photographic tests
- 24 Compared to
- 25 Compared to (JPEG)
- 26 Compared to (JPEG)
- 27 Compared to (JPEG)
- 28 Compared to (RAW)
- 29 Compared to (RAW)
- 30 Compared to (RAW)
- 31 Compared to (Resolution)
- 32 Conclusion
- 33 Samples
Aug 18, 2008
Aug 20, 2007
Aug 17, 2011
Aug 17, 2011
|.....the ROYAL LOTUS 2017/08/25-NEW YORK..... by Chiwat|
from Wild flowers
|Coffee and Mango cake by clicker88|
from Another cup of coffee
A Craigslist poster has discovered the worst possible way to photograph a car: taking pictures of pictures displayed on a cracked and scratched up smartphone screen.
With the iPhone X coming out soon, the title probably won't last, but the iPhone 8 Plus is officially the best smartphone camera DxOMark has ever tested, and the iPhone 8 is second.
Kodak's new Facebook Messenger chatbot is trying to bring back the 'Kodak Moment' by digging up your old social media photos and trying to sell you prints and custom coffee mugs.
Affinity Photo for iPad was touted as "the first full blown, truly professional photo editing tool to make its way onto the Apple tablet." This update makes it that much more convenient.
Yashica has released a new teaser video, and this one claims they'll be releasing an "unprecedented camera" in October on Kickstarter. Ready... set... speculate!
Storage solutions company Synology has just released its very first 6-bay NAS tower. Combined with the DX1215 expansion units, it can hold and control up to thirty drives.
We're always expanding our collection of product overview content, and we've just added videos for the Canon EOS 6D Mark II, the EOS Rebel SL2 and EOS M6.
The venerable Canon PowerShot G1 was announced seventeen years ago this week, marking the start of a line of enthusiast-focused compacts that's still alive and kicking.
Super macro photographer Can Tuncer captured these incredible close-ups of a single peacock feather using a special setup and three different microscope lenses.
After successfully crowdfunding the Biotar 75mm F1.5, Oprema Jena is at it again. This time they're bringing back the Biotar 58mm F2: the world's only lens with a 17-blade aperture.
Adobe's move to a subscription model is treating it very well indeed. The company has posted record revenue for the second quarter in a row, hauling in a mind-boggling $1.84 billion.
More details have emerged about the potential sale of Blackstone's 45% stake in iconic camera brand Leica.
Popular mobile editing app Snapseed just got a major update that includes a new interface and 11 new presets for both Android and iOS, as well as adding the Perspective tool to the iOS version.
It might sound like a strange idea, but taking macro photos of boiling water can actually result in some really cool photographs. A good photo experiment for a rainy day.
The database was created to "break with the narrow lens through which history… has been recorded" by equipping those who commission photography with "the resources to discover photographers of color available for assignments.
Lensbaby has released two new optics for their special "optic swap system." The Lensbaby Sweet 80 Optic gives you that trademark sweet spot of focus, while the Creative Bokeh optic gives you 9 different drop in aperture plate options to play with.
TechCrunch has already posted their review of the upcoming iPhone 8 (not yet the iPhone X), and they're calling it "a look into the augmented future of photography."
Affinity Photo is a $50 photo editing software with no subscriptions. That's it – pay for it once and you're done. And we think it's actually pretty darn good.
Instagram is currently testing a major change to the app's profile layout: replacing the 3-photo across grid with a 4-photo grid... and some users are NOT taking the news well.
A report by USSRPhoto is shedding some light on the return of the famed Zenit camera brand. It seems the full-frame mirrorless camera they're working on will be made in part by Leica using components from the Leica SL.
According to a reliable Korean report, Samsung is developing a smartphone sensor that's capable of super slow motion. Translation: Samsung's next batch of Galaxy smartphones may be able to shoot 1,000fps.
This simple photograph of a seahorse and Q-tip has taken the internet by storm. We spoke to photographer Justin Hofman about how it was captured, and what it means to him.
After a massive leak last week, Profoto has officially debuted the Profoto A1: the company's first on-camera flash system that they're calling "the world's smallest studio flash."
"When the first hyperfocal distance charts were designed, someone decided that an acceptably sharp background contained some blur — enough to notice in a medium-sized print [...] After that point, nearly every other hyperfocal chart followed suit."
The Canon EOS Rebel SL2 (also known as the EOS 200D) is the company's impressively compact entry-level DSLR. Packing a 24MP APS-C sensor, DIGIC 7 processor and Dual Pixel AF, it promises a lot of bang for the buck. And while not mind-blowing, it handles most tasks very well.
Correct these four common composition mistakes and your photos will be more balanced, tell a better story, and lead your viewer's eye where you want it to go.
The rugged, compact 360° action camera Kodak unveiled at Photokina in 2016, the Kodak PixPro Orbit 360, is finally available in the United States.
iOS 11 launches tomorrow, and it'll save all of your pictures in a new high efficiency image format called HEIC. Fortunately, there's now a converter that will let you turn those photos back into JPEGs.
Photo protection company ImageRights recently released a new service that lets non-subscribers take advantage of their streamlined copyright registration system that checks for errors and fills out all the required forms for you.
What's the difference between a $200 circular polarizing filter and a $100 circular polarizing filter? Roger Cicala at Lens Rentals put six different filters through a few tests to find out.