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Canon announces full-frame EOS 5D Mark IV with 30MP sensor and Dual Pixel AF

26 Aug

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Canon has officially announced the EOS 5D Mark IV, the fourth generation of its full-frame DSLR for enthusiast and professional photographers. Built around a 30MP Dual Pixel AF sensor, it significantly extends the still and video capabilities the series has become known for.

The 30MP Dual Pixel CMOS sensor allows for fast phase-detection autofocus in video and—for the first time in a Canon full-frame body—continuous focus for stills shooting in live view. Video can be captured in the DCI (4096 x 2160) 4K format at up to 30p (and up to 60p in 1080, and 120p in 720). 4K video is captured in the high quality but inefficient Motion JPEG format.

The camera’s AF coverage, sensitivity and lens compatibility has been expanded in-line with the EOS-1D X Mark II and the maximum frame rate boosted to seven frames per second. The 5D IV also becomes the first model to capture separate data from the dual photodiodes that make up each pixel, enabling some innovative post-processing options to correct for minor focus errors or remove lens ghosting.

The EOS 5D Mark IV will go on sale in early September with an MSRP of $ 3499. Kits with the 24-70mm F4L IS will ship at around the same time for $ 4399, while a 24-105mm F4L IS II USM kit follows in late October for $ 4599.

Press Release

It’s Finally here: Canon u.s.a. announces the highly anticipated EOS 5D Mark IV DSLR camera and new L-Series Lenses

Developed for Professional Wedding, Portrait, and Nature/Wildlife Photographers as well as Filmmakers, the EOS 5D Mark IV Delivers Excellent Image Quality and 4K Video Recording

MELVILLE, N.Y., August 25, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce the EOS 5D Mark IV DSLR camera, the next generation of the popular and versatile 5D series of Canon professional DSLR cameras. Building on this legendary legacy, the EOS 5D Mark IV propels the series forward with a fusion of features and enhancements targeted to please even the most discerning creative eyes. The camera’s 30.4 megapixel 35mm Full Frame Canon CMOS sensor offers stunning image quality while the DIGIC 6+ Image Processor delivers 4K 30P video and up to and seven frames per second (fps) continuous shooting. To make video shooting even easier, the camera also features Canon’s propriety Dual Pixel CMOS AF, even when shooting 4K to help ensure sharp focus and subject tracking.

In addition, Canon is also introducing two new L-series EF lenses – the Canon EF 16-35mm f/2.8L III USM Ultra-Wide Zoom Lens and EF 24-105mm f/4L IS II USM Standard Zoom Lens– offering fantastic edge-to-edge sharpness across the imaging plane, as well as improved durability and performance.

“Canon’s EOS 5D series of DSLR cameras has a history of being at the forefront of still and video innovation. And today, we add to this family of cameras the EOS 5D Mark IV– the first in our 5D series to offer 4K video and built-in Wi-Fi and NFC connectivity,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “In developing this new DSLR camera, we listened to the requests of current EOS users to create for them a modern, versatile camera designed to help them create and share beautiful still and video imagery.”

“Outdoor photographers will really appreciate the new EOS 5D Mark IV, as it offers more resolution, better detail in the shadows, and improved speeds in autofocus and frame rate,” reported acclaimed nature photographer and Canon Explorer of Light George Lepp. “With the fabulous resolution of 4K video and the ability to make beautiful prints from a frame of that video as an added bonus, this camera sets a new mid-range standard for nature photography.”

EOS 5D Mark IV DSLR Camera Specifications:

  • New 30.4 Megapixel full-frame CMOS sensor for versatile shooting in nearly any light, with ISO range 100–32,000; expandable up to 50–102,400.
  • 4K Motion JPEG video (DCI cinema-type 4096 x 2160) at 30p or 24p; in-camera still frame grab* of 4K 8.8-Megapixel images; multiple video options include Full HD up to 60p, and HD up to 120p.
  • Superb Dual Pixel CMOS AF for responsive and smooth AF during video or Live View shooting; LCD monitor has full touch-screen interface, including selection of AF area.
  • Excellent performance — up to 7.0 fps** continuous shooting speed with high performance DIGIC 6+ Image Processor for improved speed and excellent image quality.
  • 61 AF points with expanded vertical coverage with 41 cross-points, and AF possible at all 61 AF points with many lens + extender combinations effective at f/8.
  • 150,000-pixel RGB+IR metering sensor helps provide precise exposure metering, helps detect flickering lights and allows for enhanced scene recognition and face detection capabilities.
  • Dual Pixel RAW***, in-camera Digital Lens Optimizer during JPEG shooting and Diffraction Correction technologies.
  • Built-in Wi-Fi®1 and NFC2 connectivity provide easy sharing to compatible smart devices, select social media sites and the Canon Connect Station CS100 device.
  • Built-in GPS3 provides geotag information including auto time syncing with Universal Time Code (UTC) via satellites.

“I have owned every camera in the 5D line, so the new EOS 5D Mark IV feels like an old friend in my hands, only better” exclaimed renowned wedding photographer and Canon Explorer of Light Clay Blackmore. “It has everything a professional photographer needs to create outstanding, quality images every time. Between its ability with still images and video capture, it is the complete package and—in my opinion—the best wedding camera on the planet.”

“When working with macro beauty photography, I need fast and precise autofocus. With each breath of the subject I need to be able to check the exact placement of focus, whether on the tips of the eyelashes, the pupils or other detail of her face. The EOS 5D Mark IV gave me exactly the speed and precision required to capture the detail and stunning color that is a signature of my beauty work,” remarked celebrated fashion and beauty photographer and Canon Explorer of Light Lindsay Adler. “I’m always looking for ways to create visuals that help me stand out from the competition. Cinemagraphs, also known as ‘living images,’ allow me to combine still frames and video to create captivating images. Because of the EOS 5D Mark IV’s 4K and slow motion capabilities, I now have the ability to create high quality and visually compelling cinemagraphs without having to invest in an expensive cinema camera!”

The Next Generation of EOS 5D Cameras

In addition to the new Full Frame sensor, the new EOS 5D Mark IV includes a 61-point High-Density Reticular AF II system, similar to the one found in the flagship EOS-1D X Mark II, with all AF points selectable by the user (and up to 41 cross-type points depending on the lens in use). The AF system, improved over previous Canon 5D series models, includes expanded coverage across the frame that supports AF at maximum apertures up to f/8 with all 61 points for high-precision autofocus even when using EF super-telephoto lenses with an EF extender. Standard ISO range for the EOS 5D Mark IV is ISO 100-32,000 and is expandable to 50-102,400.

The EOS 5D Mark IV also introduces a new 150,000 pixel RGB+IR metering sensor with enhanced precision and performance compared to its predecessor, improving upon facial recognition and tracking as well as nature and sports scenes with fast-moving action. AF sensitivity in low light is EV-3 and EV-4 when in Live View mode. The EOS Scene Detection System can detect and compensate for flickering light sources that are often used in gymnasiums and swimming pools. When enabled, this anti-flicker system automatically adjusts shutter release timing to help reduce disparities in exposure and color especially during continuous burst shooting.

Following the groundbreaking video recording capabilities introduced in the EOS 5D Mark II and EOS 5D Mark III, the EOS 5D Mark IV takes the next leap forward offering DCI 4K video recording. Adding to the versatility of capturing 4K video, is Canon’s Dual Pixel CMOS AF. This proven autofocus system allows for continuous focus tracking of subjects, and can be customized by the user for optimal performance. Dual Pixel CMOS AF technology not only enhances 4K video recording, but also helps create crisp focus for 4K Frame Grab extraction of 8.8 megapixel still JPEG images, all done in camera.

Mobile Connectivity

For the first time in an EOS 5D series DSLR camera, the EOS 5D Mark IV features built-in Wi-Fi®1 and Near-Field Communication (NFC)™1 providing for the easy transfer of images and MP4 movies to compatible mobile devices, as well remote shooting when using the Canon Camera Connect App2. The EOS 5D Mark IV also includes a built-in GPS3 receiver with compass for precise geo-tagged information of latitude, longitude, and elevation. This is especially valuable to wildlife photographers and photojournalists who need to track their locations, as well as providing sports and wedding photographers the ability to sync a multiple-camera setup with extreme accuracy and precision. The camera’s built-in GPS can also be used to sync the camera’s time to the atomic clock, an invaluable feature when multiple photographers are covering the same event.

Pricing and Availability

The Canon EOS 5D Mark IV DSLR is currently scheduled to be available in early September 2016 for an estimated retail price of $ 3,499.00 for the body only††. It will also be sold as part of body-and-lens kits with the EF24-70mm f/4L lens ($ 4,399.00, scheduled to be available early September)†† and the EF24-105mm f/4L IS II USM lens ($ 4599.00, scheduled to be available late October)††.

For an exclusive, hands-on preview, the camera will be available at the customer support centers shown below. Visitors can experience the camera firsthand while Canon technical experts demonstrate new product features, answer questions, and spotlight the benefits of Canon products and service.

Footnotes

1Compatible with iOS® versions 7.1/8.4/9.0, AndroidTM smartphone and tablet versions 4.0/4.1/4.2/4.3/4.4/5.0/5.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

2Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

3In certain countries and regions, the use of GPS may be restricted. Therefore be sure to use GPS in accordance with the laws and regulations of your country or region. Be particularly careful when traveling outside your home country. As a signal is received from GPS satellites, take sufficient measures when using in locations where the use of electronics is regulated.

* Saving a still image from a single movie frame does not result in the same image quality as a normal still image.

** Continuous shooting speed may vary depending on the shutter speed, the aperture, the lens being used, the battery charge and various camera settings.

*** When lens diaphragm setting is fully open, adjustment volume and compensation effect are emphasized. Sufficient adjustment volume and compensation effect may not be achieved, depending on lens in use and shooting conditions. Adjustment volume and compensation effect vary depending on camera position (landscape or portrait). Sufficient adjustment volume and compensation effect may not be achieved depending on the shooting conditions.

††Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon EOS 5D Mark IV specifications

Price
MSRP $ 3499 (body only), $ 4399 (w/24-70 F4L lens), $ 4599 (w/24-105 F4L IS USM lens)
Body type
Body type Mid-size SLR
Body material Magnesium alloy
Sensor
Max resolution 6720 x 4480
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 30 megapixels
Sensor photo detectors 32 megapixels
Sensor size Full frame (36 x 24 mm)
Sensor size notes sRaw suppoorted in all aspect ratio. Size between 5 and 7.5 megapixel.
Sensor type CMOS
Processor Digic 6+
Color space sRGB, AdobeRGB
Color filter array Primary color filter
Image
ISO Auto, 100-32000 (expands to 50-102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 6
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v.2.3)
  • Raw (Canon CRW, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 61
Lens mount Canon EF
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fixed
Screen size 3.2″
Screen dots 1,620,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Optical (pentaprism)
Viewfinder coverage 100%
Viewfinder magnification 0.71×
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
  • Bulb
  • Scene Intelligent Auto
Built-in flash No
External flash Yes (via hot shoe or flash sync port)
Flash X sync speed 1/200 sec
Drive modes
  • Single shooting
  • Continuous hi/lo
  • Silent single shooting
  • Silent continuous
  • 2/10 sec self-timer / remote control
Continuous drive 7.0 fps
Self-timer Yes (2 or 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
  • Partial
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±3 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Resolutions 4096 x 2160 (29.97p, 24p, 23.98p), 1920 x 1080 (59.94p, 29.97p, 24p, 23.98p), 1280 x 720 (119.9p)
Format MPEG-4, Motion JPEG
Videography notes 8.8MP stills can be grabbed from 4K video; camera supports ALL-I, IPB and IPB Light compression.
Microphone Mono
Speaker Mono
Storage
Storage types CompactFlash + SD/SDHC/SDXC card (UHS-I enabled)
Connectivity
USB USB 3.0 (5 GBit/sec)
HDMI Yes (mini-HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11b/g/n + NFC
Remote control Yes (wired, wireless, or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description LP-E6N lithium-ion battery & charger
Battery Life (CIPA) 900
Weight (inc. batteries) 890 g (1.96 lb / 31.39 oz)
Dimensions 151 x 116 x 76 mm (5.94 x 4.57 x 2.99″)
Other features
Orientation sensor Yes
GPS Built-in

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS 5D Mark IV First Impressions Review

26 Aug

The Canon EOS 5D series is arguably one of the most recognizable camera lines of the digital age and the Mark IV is designed to appeal to the same wide range of enthusiasts and professionals. Nearly identical-looking to its predecessor, it receives substantial upgrades under the hood, including: a higher-resolution sensor with Dual Pixel autofocus, 4K video capture, an upgraded AF system, a touchscreen, improved weather-sealing, built-in Wi-Fi/NFC and GPS. All this adds up to a camera that fits into Canon’s product line nicely as the all-around full-frame option.

It is built around a new 30.4MP CMOS sensor and uses the Digic 6+ processor. The AF system is from the flagship 1D X Mark II and contains 61 AF points (41 of which are cross-type) with up to 24% expanded vertical coverage compared with the system in the Mark III. The center point is sensitive to -3EV in One Shot (AF-S) mode (in Live View the sensor is sensitive to -4EV with a fast lens).

4K video capture is a welcome addition to this camera and users can record in either 24 or 30p, albeit with a 1.64x crop. All footage is captured as Motion JPEG. Additionally, the camera allows for 4K Frame Grabs, effectively giving users 30 fps stills shooting with (Dual Pixel) AF. The usefulness of this may depend on how well-controlled the camera’s rolling shutter is, and how acceptable 8.8MP, ~17:9 JPEGs are to you, but we’ve been impressed by how effective 4K/60p video capture on the 1D X II has been for capturing the decisive moment still.

While developing the IV, Canon says it sought feedback from 5D-series users and found that dynamic range, resolution, AF precision and AF speed were the four most important areas improvements were requested. On paper, the Mark IV seems to address these aspects nicely:

Canon 5D Mark IV Key Specifications

  • New 30.4MP CMOS full-frame sensor with Dual Pixel AF
  • DCI 4K 30/24p video using Motion JPEG + 4K Frame Grab
  • 61-point AF system with 41 cross-type sensors (center point sensitive to -3 EV)
  • Dual Pixel AF (sensitive to -4EV) for continuous Servo AF in stills (first for a full-frame Canon camera) and video
  • ISO 100-32000 (expandable to 102400)
  • 7 fps continuous shooting
  • Dual Pixel Raw (image microadjustment, bokeh shift, ghosting reduction)
  • 150,000-pixel RGB+IR metering sensor
  • 1.62M-dot 3.2″ full-time touchscreen
  • Wi-Fi w/ NFC + GPS
  • Built-in bulb timer interval timers
  • Improved weather-sealing

The 30.4MP chip offers a decent jump in resolution over the 22.3MP chip in 5D III. And judging from the improved dynamic range in Canon’s other recent DSLRs (the 80D and 1D X II), we expect Raw dynamic range in the IV to be much improved over its predecessor, which had some of the worst shadow noise and banding we’d seen in a modern full-frame digital camera. The improvement is thanks to the recent move to a design that uses on-chip analog to-digital-conversion, resulting in lower downstream read noise and therefore less shadow noise and better overall dynamic range at lower ISOs.

In terms of AF, the increased coverage area is definitely a big deal: after all, it’s the exact same AF system found in the company’s flagship sports camera. The 150,000-pixel RGB-IR metering sensor, which feeds scene information to the AF system, is borrowed from the original 1D X, bringing enhanced subject identification (including faces) and tracking (‘iTR’), as well as improved metering and flicker detection. Unfortunately, we’ve found iTR to be too situation dependent to be generally relied upon, and our initial impressions from our brief time with the Mark IV leave us similarly unimpressed at the camera’s ability to automatically shift AF points to stick to your specified subject.

Our impressions of Dual Pixel AF in live view are exactly the opposite though, with the Mark IV being incredibly good at sticking to the original subject (or face) you initiated focus on. What’s more, it’s incredibly easy to specify your subject: just tap on it on the touchscreen in ‘Face Detect+Tracking’ mode, and the camera will stick to it like glue, no matter where it moves to in the frame. The 5D Mark IV is Canon’s first full-framer that can continuously focus in Live View during stills capture, and because of the way Dual Pixel AF works, focus is incredibly accurate, even with fast lenses.

The 5D Mark IV also has some new tricks up its sleeve including Dual Pixel Raw, a nifty option that can prove useful in specific shooting scenarios. It works by recording two 30MP images, one from each of the ‘left-looking’ and ‘right-looking’ photodiodes at each pixel. Previous Canons have combined these two signals at each pixel, but Dual Pixel Raw gives you the option of keeping them separate. This results in a file that’s twice as large, but one that allows for ‘image micro-adjustment,’ ‘bokeh shift’ and ghosting reduction (more on this on our Features page) in Canon’s supplied Digital Photo Professional software.

Compared to its peers

Canon now offers a range of full-frame models. On the high end you have the Canon’s sports and action-oriented 1D X Mark II, with its 20.2MP sensor and 14 fps continuous shooting (with AF). The 5DS (and ‘R’ variant), with their 50.6MP sensors, are the company’s high resolution options. The 5D Mark IV splits the difference in terms of resolution and is positioned as Canon’s all-rounder. For those on a budget, the compact EOS 6D soldiers on, four years after its introduction.

So how does the 5D Mark IV stack up against its closest sibling and predecessor? Take a look for yourself:

  Canon EOS 5D IV
 Canon EOS 5D III
 Canon EOS 5DS
MSRP $ 3499 $ 3499 $ 3699
Sensor 30.4MP 22.3MP 50.6MP
ISO range
(expanded)		 100 – 32000
(expandable 50-102400)		 100 – 25600
(expandable 50-102400)		 100 – 6400
(expandable 50-12800)
AF points 61 (41 cross-type)
over expanded region		 61 (41 cross-type) 61 (41 cross-type)
Live view/video AF ‘Dual Pixel’ phase detection Contrast detection Contrast detection
RGB metering sensor resolution 150k pixels 63-zone dual-layer 150k pixels
LCD 3.2″ 1.62M-dot touchscreen 3.2″ 1.04M-dot 3.2″ 1.04M-dot
Burst rate 7 fps 6 fps 5 fps
Video DCI 4K/30/24p 1080/30p 1080/30p
Headphone socket Yes Yes No
Card format 1x Compact Flash
1x SD

1x Compact Flash
1x SD

 1x Compact Flash
1x SD
Built-in Wi-Fi/NFC Yes No No
 GPS Yes No No

Obviously if you need the resolution, the Canon EOS 5DS is the more sensible choice. But in just about every other regard, the Canon EOS 5D Mark IV is the far more versatile camera and a worthy upgrade from the 5D Mark III.

Pricing and availability

The Canon EOS 5D Mark IV ships this September and will cost $ 3499 body only, $ 4399 with the 24-70mm F4L IS USM lens and $ 4599 with the 24-105mm F4L IS II USM lens.

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: Canon EOS 5D

26 Aug

It’s been over ten years since DPReview published the review of the Canon EOS 5D. With the Mark IV version launching today, we decided to take a look at the 5D ‘Classic’ (as it is now known) as part of our Throwback Thursday series.

It’s easy to forget, now, what an important camera the original 5D was. It was the first ‘affordable’ full-frame DSLR, costing a mere $ 3500 at a time when just about the only other full frame model on the market was the $ 8000 1Ds Mark II.

By modern standard, its specs look antiquated. A 12.8MP CMOS sensor and 9-point AF system sound disappointing next to the Mark IV’s 61 AF points and 30.4MP. However, the ability to use EF lenses with their full field-of-view was revelatory, as was that CMOS chip: at a time when most of the rivals were using APS-C sized CCDs, the low light capability of the 5D was amazing, despite its upper limit of ISO 1600 (expandable to 3200).

That chip was the camera’s main appeal, though. Although the sticker price was the same as the Mark IV’s, that $ 3500 would now be the equivalent of $ 4300 in today’s money. Despite this, the original 5D had no weather sealing, a viewfinder with 96% coverage and a relatively modest 2.5″ LCD with 230k dots (that’s 320 x 240 pixels, compared with the 900 x 600 you’ll get from the Mark IV’s). Should you want to capture the moment, the 5D would let you shoot at a whole 3 frames per second. And, of course, there was no live view or video, no Wi-Fi, no GPS…

From these comparatively modest beginnings, the 5D series has evolved to be one of the most refined and versatile cameras.

Over more than a decade, a lot of 5Ds have seen hard service. The shutter may have been rated to 100,000 cycles but heavy use and wear-and-tear mean there are ever fewer ‘classics’ still in use.

A lot has changed since the original, and for the better. The 5D Mark II brought the new 21.2MP CMOS sensor that revolutionized the industry by bringing 1080p Full HD video capability to a DSLR (the D90 was the first DSLR to offer video, but with only 720p and a simpler feature set, it didn’t revolutionize much). Before that, there wasn’t even Live View, which we were desperately missing while fine-tuning the 5D’s focus on our test chart.

The first two 5Ds didn’t exactly push the boundaries of autofocus, with the Mark II still  sporting a now laughable 9-point autofocus system with a sole cross-type point. It wasn’t until the Mark III that the AF system got much more serious. The 5D III was also the first in the series to get a 100% coverage viewfinder!

Unlike the later models, the 5D isn’t complicated… at all. The basic feature set means the menu is just one long page and takes only a couple minutes to run through and check.

To find out how the sensor performance has changed over time, we found an old 5D that still had a mirror left in it (one of the most common failures), and ran it through our much younger studio test scene.

So with the knowledge of today’s technology and the possibility that Canon may no longer repair them, are 5D Classics worth the bargain prices they are not selling for? Let’s find out!

Articles: Digital Photography Review (dpreview.com)

 
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Video: Getting our hands dirty with the Canon EOS 5D Mark IV

26 Aug
 
Want to learn about the highlights of the Canon EOS 5D Mark IV in 138 seconds? We certainly thought you might, so we put together a video with everything you need to know.

Read more about the 5D Mark IV

Articles: Digital Photography Review (dpreview.com)

 
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Canon applies to patent double-sided micro lenses designed for better edge performance

23 Aug

Canon engineers have developed a new design for the micro lenses it uses on imaging sensors that it claims will reduce vignetting and false coloration at the edges of the picture. The new designs have a bi-convex lens that uses the upper surface to collect light and the lower to channel the light more effectively to the photodiode. The patent application shows the lower face of the micro lenses with a convex surface featuring an off-center vertex. Canon says these would be placed at the edges of the sensor to direct light approaching from a steeper angle. The idea is to direct more of the light toward the photodiode than can be achieved with standard single-micro-lens designs.

As pixels have depth it can be difficult to channel light from the camera’s lens down the ‘well’ to reach the photodiode unless it approaches straight-on. When a pixel is positioned at the edge of the sensor array it becomes more difficult because light approaches from an extreme angle and can miss the photodiode, as the refractive index of the micro lens isn’t high enough to bend it directly down the well. Since certain colors experience different refractive indices, some wavelengths of light don’t make it to the photodiode either. Thus, pixels outside the central area can report less light – and false colors – compared to those in the middle of the sensor.

Canon’s new dual micro lens design aims to take more control of the light as it enters and exits the micro lens, and to channel it in a more vertical direction down the well so that less is lost. This should in theory improve both vignetting and false coloration nearer to the edges of the image.

For more information see Canon’s full patent application.

Extract from the patent:

The lower surface 102 of the microlens 103 has an asymmetrical shape with a position nearest to the photoelectric conversion device 104 (a position at which the thickness from a center plane 130 of the microlens 103 is the maximum) shifting from the center position of the microlens 103 to the central side of the pixel array 110A. The lower surface 102 of the microlens 103 has a convex shape with respect to the photoelectric conversion device 104.

Each microlens 103 is formed from a material having a higher refractive index than a material in contact with the lower surface 102 at a position between the microlens 103 and the photoelectric conversion device 104. The microlens 103 is formed from, for example, a color filter material.

The upper surface 101 of each microlens 103 has a convex shape with respect to the incident side of incident light. The incident light 111, incident light 121, and incident light 131 entering the microlens 103 from the same direction as that of the straight line 115 each are refracted by the upper surface 101 of the microlens 103 and focused onto the photoelectric conversion device 104. In this case, if the upper surface 101 of the microlens 103 lacks in refractive power with an increase in curvature radius, the lower surface 102 of the microlens 103 compensates for the refractive power to cause the incident light 111, 121, and 131 to enter the photoelectric conversion device 104. At this time, the refractive power of the lower surface 102 of the microlens 103 is larger than that of the upper surface 101 of the microlens 103. As described above, the microlens 103 can focus incident light onto the photoelectric conversion device 104 by using the upper surface 101 having a convex shape extending upward and the lower surface 102 having a convex shape extending downward with respect to the center plane 130.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS-1D X Mark II: What you need to know

22 Aug

Introduction

The Canon EOS-1D X Mark II is Canon’s flagship DSLR aimed at pro photographers, with a lineage dating all the way back to 2001’s EOS-1D. As usual, this iteration of the line is full of new and updated technologies designed to make it one of the top performing cameras in the world.

A quick glance through the headline features will tell you that this is a pretty amazing camera, and unsurprisingly that’s pretty much what our review uncovered. But let’s take a look at what impressed us most, what surprised us, and maybe even what disappointed us a little bit.

Touch screen innovation – conservative UI

The EOS-1D X II gains a touchscreen, which we’ve seen work well in conjunction with the excellent live view focus that Canon’s Dual Pixel AF can bring. Sadly, and presumably in the name of backwards compatibility, its use is extremely limited.

Thus, you can customize the arrangement of the Q.Menu but can’t operate it by touch. You can use the touchscreen to specify the AF position in live view mode, but the camera can’t then track the subject and, unlike its Nikon counterpart, you can’t double-tap to zoom nor swipe to switch images.

In fairness, the 1D X II is designed as the zenith of what the conventional DSLR can do. It’s a traditional, sports-shooting super camera that will be immediately familiar to existing users of the series. But is that a reason to limit the utility of a feature that its new owners are having to pay for?

Autofocus needs careful configuration

The EOS-1D X II’s autofocus is excellent, as you’d expect for a camera whose first major outing was to cover the multitude different sporting challenges of the Rio Olympics.

Configuration is easier than on the likes of the EOS-1D IV: you now need only choose from six preset use cases, then adjust them if they’re not giving you the results you want, rather than just being confronted with the 75 different combinations that the settings allow.

However, in our testing, we found that it needed a bit more of a hand than Nikon’s D5 for it to anticipate the type of movement it needed to shoot. And that, once suitably configured, it was less adaptable to other shooting situations. Which isn’t to suggest it’s not up to the job, just that it requires a little more user input.

We were also hoping the higher resolution metering sensor would increase the accuracy, of the camera’s iTR focus tracking system. Sadly, the system still felt imprecise and tended to jump off the subject entirely. It works, but it’s not as effective as the 3D autofocus on the Nikon D5, which may leave many users shooting their 1D X II the same way they always have.

Quick, easy video

The 1DX II can shoot DCI 4K video at 60 frames per second. It’s the first stills camera we’ve seen that can do this and we were very impressed with the quality, detail and how little rolling shutter it exhibits. So, while we don’t expect many people to buy this camera for video shooting, it does put very good quality video into the hands of photojournalists and sideline shooters (so long as TV rights deals don’t prohibit it, of course).

And, beyond thinking of it as video, this means the 1D X II can shoot 8MP JPEGs at 60 frames per second with the camera refocusing as you shoot. Suddenly, rather than just using the touchscreen to rack focus between subjects, you can ask it to track subjects as you record and have a great chance of capturing your decisive moment.

Huge files, dual formats

High frame rate 4K isn’t an unalloyed benefit, though. The 1D X II doesn’t (or can’t) compress video into a compact video format, instead taking the unusual route of using the huge, inefficient Motion JPEG format.

It’s true that Motion JPEG gives slightly higher quality individual frame grabs even than All-I H.264 (where each frame is recorded individually), but the size cost for that gain is tremendous.

And this draws attention to the 1D X II’s decision to use two different memory card formats. You’ll need to use a CFast card to capture video at the camera’s highest rate, just as you will to maximize the camera’s buffer when 14 fps shooting. In which case, what do you use the second slot for? Even choosing to record JPEGs to the physically similar Compact Flash format while shooting Raw to a CFast risks slowing the camera down. Perhaps Canon should have been brave and made a dual CFast camera, even if that meant also offering a slower dual CompactFlash version.

Image Quality

The area we had least concern about was image quality (though the JPEGs seemed a little muted, by default.) Despite splitting every pixel in two and increasing the amount of circuitry, the 1D X II outperforms its predecessor in low light. That’s not enough to quite match the best sensors we’ve seen but hey, you also gain that simple autofocus in video.

The other area in which the Mark II gains an edge over the original model is dynamic range. A move to on-sensor analog-to-digital conversion means that you get Raw files will more processing latitude at low ISOs. You can push, pull and manipulate your Raw files more than before without having to worry about noise becoming visible. Which is especially useful in unexpected or challenging light the X is likely to encounter.

Take Home Message

The EOS-1D X II exceeds its predecessor in just about every way, though not without a few compromises along the way.

We love the additional dynamic range we get out of the Raw files on this camera; it makes it a much more flexible tool in challenging lighting. We also love the CFast card slot, though we kind of wish Canon had gone all the way and just put in two of them. Also, while AF is blazing fast, there are enough customization options to make you dizzy at times; practice and familiarity will pay off.

Our biggest surprise was how much we liked the 1D X II as a video camera. Thanks to Dual Pixel autofocus, it’s really easy to capture beautiful footage, even for someone who’s not a video pro. This could be a real game changer for photographers who need to capture both stills and video from the same event.

What’s your experience? Have a favorite feature or surprise from this camera? Tell us in the comments below?

Articles: Digital Photography Review (dpreview.com)

 
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Rebel in your pocket: Canon EOS M3 Review

17 Aug

Unbeknownst to many, Canon has been selling mirrorless cameras since 2012, in addition to SLRs and point-and-shoots. Marketing for the EOS M system is starting to pick up – at least in the U.S. – with two models to choose from: the entry-level EOS M10 and step-up EOS M3, which we’ll be covering here.

The EOS M3 (left) with its cheaper sibling, the EOS M10.

The EOS M3 is very much like a Rebel T6s stuffed into a compact body that resembles the company’s PowerShot models. It uses the same Hybrid CMOS AF III 24.2MP CMOS sensor as the T6s as well as a Digic 6 processor, touchscreen LCD and Wi-Fi with NFC. Unlike the Rebel and EOS DSLRs in general, EOS M bodies use the EF-M lens mount, though EF lenses can be used via an optional adapter.

Trying to figure out where the EOS M3 fits into the mirrorless landscape is tough. Its closest peers, based on price and features, are the Fujifilm X-A2, Olympus E-M10 II and Sony a6000 (we’re leaving Nikon 1 cameras out of the list, as we believe the series is no longer being developed.) Like the EOS M3, the Fujifilm lacks a built-in EVF and has an LCD that flips upward 180°. The Olympus E-M10 II and Sony a6000 offer EVFs but don’t have the ‘selfie’ LCD.

Compared to EOS M10 and Fujifilm X-A2

Below is a spec comparison pitting the EOS M3 against its cheaper sibling, the EOS M10, as well as the Fujifilm X-A2, which is one of its closest competitors.

  Canon EOS M3 Canon EOS M10 Fujifilm X-A2
Sensor 24MP APS-C CMOS 18MP APS-C CMOS 16MP APS-C CMOS
Lens mount Canon EF-M Canon EF-M Fujifilm X
Crop factor 1.6x 1.6x 1.5x
Hybrid AF Yes Yes No
LCD type Tilting
(180° up/45° down)		 Tilting
(180° up)		 Tilting
(175° up)
LCD resolution 1.04M-dot 1.04M-dot 920k-dot
Touchscreen Yes Yes No
Electronic VF Optional No No
Control dials 2 1 2
Burst rate 4.2 fps 4.6 fps 5.6 fps
Video 1080/30p/24p 1080/30p/24p 1080/30p
Mic input Yes No No
Hot shoe Yes No Yes
In-camera Raw conversion No No Yes
Battery life 250 shots 255 shots 410 shots
Dimensions 111 x 68 x 44mm 108 x 67 x 35mm 117 x 67 x 40mm
Weight 366 g 301 g 350 g

The features that differentiate the M3 vs the M10 are pretty obvious – the M3 offers one more control dial and another for exposure compensation plus a hot shoe (to which you mount the optional EVF), an LCD that can angle downward and superior build quality. All of which suggest Canon has a more committed photography audience in mind. Comparing the M3 versus the X-A2 is a bit more complex, as there are clear tradeoffs for both cameras. One thing is for certain, though: Canon needs to work on battery life – badly.

The EOS-M system

The six currently available EF-M lenses from Canon

Despite being around for over four years, there are just six EF-M lenses available from Canon. They include four zooms (11-22 F4-5.6, 15-45 F3.5-6.3, 18-55 F3.5-5.6, 55-200 F4.5-6.3) and two primes (22mm F2 and 28mm F3.5 macro). There are lenses from third party manufacturers such as Tamron and Samyang/Rokinon (which are manual focus).

The EF to EF-M adapter lets you use giant lenses like this 70-200 F2.8L II.

To get access to the full collection of Canon EF and EF-S lenses, you can use an optional adapter, which sells for about $ 80. As it turns out, there are adapters for nearly every lens mount you can think of, from Micro Four Thirds to Olympus OM.

Articles: Digital Photography Review (dpreview.com)

 
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Canon and Sony dominate EISA awards for photographic equipment

16 Aug

The European Imaging and Sound Association (EISA) has awarded Canon and Sony four titles each from the 19-strong list of photography products it has held up as the best of the year. The European DSLR Camera award, which is the main photography title, went to the Canon EOS 80D, while the EOS-1D X Mark ll won the European Professional DSLR category. Canon also picked up awards for its EF 35mm F1.4L II USM lens (Professional Lens of the Year) and for its imagePROGRAF Pro-1000 printer.

Sony’s awards came in the Premium Compact  for the Cyber-shot RX1R II, Professional Compact System Lens for the FE 85mm F1.4 GM, Prosumer Compact System Camera  for the a6300 and Photo & Video Camera for the a7S II categories.

Sigma collected the DSLR Zoom Lens title for its 50-100mm F1.8 DC HSM Art lens, while Tamron won the overall DSLR Lens award for the recent SP 85mm F1.8 Di VC USD. Other notable awards are Prosumer DSLR of the Year for the Nikon D500 and Fujifilm’s X-Pro2 collecting the Professional Compact System Camera title. The Photo Innovation award went to Panasonic’s DUAL IS system as demonstrated in the GX80.

The EISA Awards have been running since 1982 when the only title was Camera of the Year – which went to the Minolta X700. Today’s awards are decided by the 14 editors of the Photography Experts group who represent weekly, monthly and bi-monthly photography magazines from 14 countries across Europe.

For more information visit the EISA website. 

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS 80D vs Sony a6300: vying for the stills/video hybrid crown

15 Aug

Introduction

The Sony a6300 and Canon EOS 80D are visually very different cameras. One looks like Canon DSLRs always have, the other looks a lot like Sony’s original NEX line of mirrorless cameras.

Yet, despite their clearly distinct roots, dig a little deeper and you find hints of convergent evolution. The on-sensor phase detection of the a6300 helps it offer autofocus that can compete with DSLRs, while the dual-pixel design of the EOS 80D helps it offer better live view operation and focus than any previous Canon DSLR.

What’s true of both is that they’re their maker’s offering for the stills enthusiast who might want to try their hand at video. In many respects they’re still as different as they are similar, but their relative strengths and weaknesses aren’t necessarily quite as you’d expect. All of which can make it hard to know which one to choose…

DSLR vs Mirrorless

Some of the differences between the cameras come down to the fact that one is a DSLR while the other is mirrorless. No matter how much technology closes the gap in performance between the two systems, the DSLR structure allows the provision of a TTL optical viewfinder, while a mirrorless camera is more likely to include an electronic viewfinder.

Many people, in part as a consequence of familiarity, prefer an optical viewfinder, but there are advantages to each approach. The a6300’s viewfinder is able to show a corrected preview when working with the super-flat S-Log gamma profiles, as well as being able to overlay focus peaking and exposure warnings into its viewfinder, in a way that can’t be done with an optical viewfinder. This is on top of the ability to visualize the exposure and white balance of the final image.

Finally, an electronic viewfinder need not be constrained by the size of the sensor format, as the optical view of a DSLR’s mirror is. In this instance, the a6300’s finder is around 20% larger than that of the Canon. Its fast refresh means it’s better able to help you follow the action than ever before.

DSLR vs Mirrorless

However, one of the traditional advantages of a mirrorless camera is that they can be smaller and the a6300 certainly has the edge in that respect. Its kit zoom may not be the best-loved or most consistent lens on the market, but it does a great job of keeping the size of the overall package down.

There’s a well worn adage that the best camera is the one you have with you and all but the most dedicated photographers are likely to find the a6300 much more convenient to carry with them. Disregarding macho nonsense about carrying the weight of a DSLR, the a6300’s much smaller form factor may well be the difference between you keeping a camera with you and only bringing it along when you expect to need it.

That said, the 80D’s optical viewfinder means it doesn’t have to have its screen on all the time. This certainly helps towards it having a CIPA battery rating 2.4x greater than the Sony (960 shots per charge, vs 400 on the Sony or 350 through the electronic viewfinder).

Handling

Some of the differences between the two cameras don’t directly stem from the DSLR/mirrorless distinction. There are plenty of mirrorless cameras that offer DSLR-like control points, but the a6300 doesn’t follow that path.

While Sony has increasingly stepped away from its innovative but simplistic NEX interface, the a6300 doesn’t offer the level of at-your-fingertips control that you’d usually get for this much money. There are two command dials but both of them are operated with the same digit, and the one on the rear face of the camera requires you to move your hand out of a shooting grip (which makes it unnecessarily fiddly). The camera does at least give plenty of customization of its buttons and Fn menu, so you can choose which options to get fast and semi-fast access to, but there remain features we want access to that are unassignable, and we’ve sometimes found ourselves running out of assignable buttons. I don’t think even its most strident supporter would consider the a6300’s handling to be amongst its strengths. 

By contrast, the Canon does a great job of blending its well-worn stills control layout with a simple but effective level of touchscreen control, making the 80D a much more engaging and direct-feeling camera to shoot with. Yes, it’s very traditional approach, but it works well for stills and has been adapted pretty well for shooting video, too. And I doubt many people would have guessed that it’d be Canon, rather than Sony, that brought touchscreens to its enthusiast cameras first.

Autofocus

The days of being able to simply say ‘DSLRs are better at focusing’ is long gone, but that isn’t to say that all cameras are now equal – different technologies have different areas of strength.

The EOS 80D’s through-the-viewfinder focus is generally good when shooting approaching subjects but seems to struggle at the camera’s highest frame rate. The hit rate falls further if the camera has to track subjects moving around the frame. Like most DSLRs, it can also exhibit some focus imprecision on close-up, shallow depth-of-field photos.

By comparison, the a6300 offers excellent autofocus in a lot of circumstances. Its subject tracking is generally very good and will follow a single, clearly defined subject around the frame as it moves, though it’s not reliable enough to use in lieu of manually positioning the AF point over a subject. This is a pity because, without a touchscreen or joystick, the manual positioning of an AF point is rather slow and clunky.

Eye AF, which you’ll need to assign to a custom button to gain access to, is superb though. Point the camera at your subject, hold down the Eye AF button and the camera will generally stick to its target well, even as you and your subject move around. It’s particularly good with fast primes where you can be fairly confident of your subject’s eye being perfectly sharp. That said, it’s not without its limitations, jumping off to other subjects from time to time.

However, the EOS 80D is based around a Dual Pixel AF sensor, which means it can offer depth-aware phase detection autofocus across much of its sensor if you’re willing to use the rear LCD and shoot in Live View. This is especially good at identifying and following faces (or other objects) within the scene, meaning it can compete pretty effectively with the a6300’s Eye AF mode, even with a fast prime lens.

a6300 – the videographer’s choice

What really sets the two cameras apart is their approach to video. Not just in terms of specifications, but how you shoot. The Sony has the upper-hand on paper, since it can shoot 4K video, but it’s not as simple as all that.

The a6300 is very well equipped when it comes to video. It can shoot UHD 4K at up to 100 Mbps. It includes adjustable zebra patterns for helping you set exposure. It also includes focus peaking and during-capture magnification to help you confirm and adjust focus, and it also offers a huge variety of video-centric gamma responses including Log curves and a mode that gives an ITU 709 preview while shooting log. 

Which is lovely, if you know how to make use of all of those things. And knee, and master pedestal. But, while it can be fun to learn, it’s a little daunting at first. Of course you can ignore these options and shoot autofocus if you want but, while good, AF is not immune from refocusing off to infinity. And, without a touch screen, moving the focus point is impractical.

The Sony can sometimes, especially in warm conditions, overheat before reaching its 29:59 limit. This and the more involved shooting technique needed to get the very best from the its frankly stunning 4K quality means isn’t suited to every type of shooting. Its 1080 is also oddly disappointing. But if you put in the work, it’s sensational.

EOS 80D – the still photographer’s video cam

The EOS 80D is a really interesting camera, when it comes to video, and its limitation to 1080 shouldn’t see you write it off. The Canon can’t compete with the Sony’s video quality or its laundry list of support features. But what it does offer are simple autofocus and ease-of-use.

The 80D’s dual pixel autofocus really comes into its own for video shooting. Touch on the screen and the camera will refocus with absolute confidence. Set a target and the camera will keep your subject in focus. You can dictate the focus speed and be confident that the camera will do what you want, without the constant wobble or occasional catastrophic mis-focus that most of its rivals will deliver.

Of course, being a DSLR, you can’t resort to using the viewfinder when it’s bright outside.

The footage isn’t great, even by the standards of 1080 video, but it’s more than usable and is just so easy to shoot. The lack of exposure monitoring tools is also a pain, but overall, the 80D a great camera for stills shooters who want to shoot video without having to learn how.

Lens choice

While Canon’s APS-C lineup isn’t quite as comprehensive as its offerings for full frame, it’s still pretty comprehensive, especially when you include those full frame lenses that remain useful on the smaller format. The native APS-C range includes a variety of zooms at different price levels, an a 24mm F2.8 STM prime if you’re trying to keep the overall size down.

The same can’t be said for Sony’s E-mount lineup. There are some useful lenses, including stabilized 35 and 50mm primes for APS-C and a 28mm F2 that makes an effective normal, but it’s certainly worth checking that the lenses you need exist, affordably, in the Sony range before you commit to the system.

That said, the short flange-back distance of the E-mount means that all sorts of lenses can be adapted to work on the Sony (some of them with AF), which is especially valuable for video work.

Overall

It might seem tempting to draw the conclusion that you buy the Sony for video and the Canon for stills, but it’s not quite that clear-cut. The ease of shooting video with the Canon, along with the very capable autofocus of the Sony mean that both cameras have something to offer in what  you might otherwise assume to be the other’s areas of strength.

The a6300 has a slight edge in terms of image quality and huge advantage in terms of video quality. However, the EOS 80D is undeniably a more enjoyable camera to shoot with. It would be hard to choose a winner in terms of autofocus (heretically it’s the 80D’s live view AF that keeps it in the hunt), meaning a lot of it comes down to personal priorities.

If you want probably the most capable camera that’s easy to keep with you, then the Sony is the easy choice. But if you want a more traditional or hands-on shooting experience and still want some of that stills/video flexibility, then the Canon might be the better choice.

Yet again, the simple idea that most modern cameras are great is true. But that doesn’t mean they’ll all be equally good for you.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS M3 real-world sample gallery updated

10 Aug

It’s the height of summer in Seattle, which is a brief but glorious window of time filled with shooting opportunities. Lately we’ve had the Canon EOS M3 in hand with a couple of lenses to spare. Since they fit in your pocket, why not carry a few?

We thought we’d share an update to our real-world sample gallery featuring some summer highlights like baseball games and a visit from the Blue Angels. And stay tuned, we’ve have a full EOS M3 review ready in a hot minute. In the meantime, enjoy some new samples and pass us the SPF 30.

Canon EOS M3 real-world sample gallery

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