Canon EOS 1D mark II N

APS-H AF digital SLR camera

Specification

Production details
Announced:August 2005
System: Canon EOS (1987)
Imaging plane
Maximum format:APS-H
Mount and Flange focal distance:Canon EF [44mm]
Imaging plane:28.7 × 19.1mm CMOS sensor
Resolution:3504 × 2336 - 8 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:1225g
Dimensions:156x157.6x79.9mm

Manufacturer description #1

Inheriting and expanding on the exceptional functionality of the EOS-1D Mark II, released in April 2004, the Canon EOS-1D Mark II N reaches new heights in both functionality and camera responsiveness. The camera incorporates a large APS-H-size (28.7 x 19.1 mm) CMOS sensor with 8.2-million effective pixels and, maximizing the performance potential of the sensor, Canon’s proprietary DIGIC II high-speed imaging processor. Designed to meet the rigorous demands of professional news, sports and studio photographers, the EOS-1D Mark II N delivers the world’s highest* continuous shooting speed of approximately 8.5 frames per second for up to a maximum 48 consecutive frames** in a sequence.

Canon’s EOS-1D Mark II N features a revolutionary new Picture Style function which consolidates and advances the processing parameters and color matrix settings. Users can achieve optimized images by simply selecting from six preset settings –Standard, Portrait, Landscape, Neutral, Faithful, and Monochrome– to match their shooting objectives, just as they would select the type of film according to the desired effect. Compared with previous models, the new function offers approximately double the adjustment range for sharpness, contrast, color saturation and color tone. Picture Style will also be incorporated in future Canon digital SLR cameras to ensure unified and consistent image characteristics across the EOS digital lineup.

The EOS-1D Mark II N sports a large 2.5″ LCD monitor with approximately 230,000 dots and a wide 170-degree viewing angle for optimum visibility during playback. Moreover, the camera offers such improved image playback functions as a magnified view to almost pixel-equivalent-scale from any selected AF point, enabling users to quickly check the focus before taking a shot. Users can also check the focus with a magnified view immediately after shooting using the Quick Review function.

In response to requests from professional users, Canon has included a host of new features in the EOS-1D Mark II N, including more complete information displays, simultaneous split recording of RAW/JPEG images, an automatic new-folder-creation function, and automatic noise reduction for long-exposures. Additionally, a new precision-matte focusing screen that enables the user to more easily pick the point of sharpest focus is available as an option.

Manufacturer description #2

Amstelveen, The Netherlands, 22 August, 2005 - Canon, a leader in photographic and imaging technology, today launches the EOS-1D Mark II N: an upgrade of the award winning EOS-1D Mark II. Still featuring 8.2 Megapixel performance at 8.5 frames per second, the upgraded camera has a higher performance buffer to deliver a 48 frame burst in JPEG and 22 frame burst in RAW. LCD monitor size increases from 2.0” to a 2.5”, and dual CF and SD memory card slots provide for separate RAW and JPEG recording. Colour Matrix and parameter settings are replaced with Canon’s new Picture Style – 6 pre-sets that simplify in-camera control over image optimisation and processing.

“The EOS-1D Mark II took photojournalism and sports photography by storm and was chosen by more than 70% of professional photographers at the 2004 Athens Olympics, ” reported Mogens Jensen, Head of Canon Consumer Imaging Europe. “Taking feedback from the professionals as their guide, Canon’s engineers have made a great camera even better.”

Exceptional image quality is assured with an APS-H size (28.7 x 19.1 mm) CMOS sensor and high performance DIGIC II processor. The EOS-1D Mark II N also features 45-point Auto Focus and a start-up time of 0.2 seconds. Its wide 100-1600 ISO speed range is expandable to L:50 and H:3200.

First choice of professional agencies

Launched in January 2004, the EOS-1D Mark II fast became Europe’s best selling professional D-SLR camera. It secured the major share of sports and photojournalism worldwide, with the world’s leading wire agencies such as Reuters, Getty Images and AFP choosing Canon professional products for their photographers. “One of the big pluses of working with Canon is the interaction we get as a ‘body’ of photographers,” explained Stephen Munday, Director of Operations – Editorial, Getty Images. “Canon consults with us about our wish list for new products. When they come to testing a new camera, most of the work has been done because they have listened to their clients – the photographers.”

New screen

For improved image review and menu readability, the EOS-1D Mark II N is fitted with a larger, brighter 2.5” 230K pixel poly-silicon TFT LCD monitor, giving photographers a significantly larger viewing area. The improved screen has twice the number of backlighting LEDs so that it retains brightness and visibility throughout a wide 170 deg. angle of view, both vertically and horizontally. This makes it easy to view images when camera is mounted in a fixed position. With image playback, the magnified view can now be viewed straight away on any selected AF point , and magnification is possible during the quick review immediately after image capture.

Meeting photographers’ needs, listening to the market

The EOS-1D Mark II N incorporates a host of improvements to enhance performance, operation and speed. To prevent shooting disruption, new folders are now automatically created when image number 9999 is reached in the current folder. A new memory card selection short cut makes it fast and easy to switch between card slots when choosing recording location. A Low Level Format option executes secure and permanent deletion of SD card data and increases SD card write speeds.

When shooting RAW and JPEG simultaneously, images can now be recorded separately onto a different memory card (CF or SD). In-camera file names are now customisable: users can decide the first four characters of the filename and the camera will append the 4 digit image number ¬– a feature particularly useful for agencies and photo libraries dealing with memory cards from multiple photographers.

Ready to use images as standard

New Picture Style pre-sets simplify in-camera control over image quality. The camera’s factory default configuration delivers more immediately usable JPEG images without need for additional menu settings. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each easily selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation.

The pre-sets include:

  • Standard – for crisp, vivid images that don’t require post-processing;
  • Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones;
  • Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines);
  • Neutral – ideal for post-processing;
  • Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K;
  • Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green).

Additionally, 3 user defined entries allows the possibility to create additional variations on the in-camera styles or install additional custom Picture Style files. Additional custom Picture Style files may be downloaded from Canon’s web site.

Picture Style replaces internal image processing previously controlled by setting processing parameters and colour matrix. Picture Style is also supported by the supplied Digital Photo Professional and RAW Image Task software.

Exceptional image quality, total reliability

Exceptionally high quality images are assured due to the combination of Canon’s DIGIC II processor and 2nd generation CMOS sensor, which features an on-chip noise elimination circuit to reduce the creation of fixed pattern and random noise. A low-pass filter placed in front of the sensor reduces false colour and moiré effects, while the infrared filter suppresses red fringing caused by sensor reflections and fog.

The EOS-1D Mark II N has a shutter durability of 200,000 cycles, and a weather resistant magnesium-alloy casing with over 70 dust and moisture resistant seals protects the camera.

A new Auto option is available on the Noise reduction menu screen, which offers automatic detection and correction when necessary of noise levels in images with exposures of 1 second or longer.

Compatibility and accessories

The EOS-1D Mark II N is compatible with all Canon EF lenses and the entire EX series Speedlite flash range. Canon's E-TTL II flash system optimises flash exposures by linking distance information from the camera/lens system to the 21-zone evaluative or averaged metering readings from the pre-flash.

The camera’s focussing screens are interchangeable; an optional new “Super Precision Matte” Ec-S focussing screen enables easier manual focussing with fast lenses.

With the optional Wireless File Transmitter WFT-E1, photographers can work cable-free as images transfer automatically through a wireless LAN to a computer in seconds . Interfaces include video out (for display in both NTSC and PAL formats), IEEE1394 (Firewire) and USB. The camera is PictBridge compliant for PC-less direct printing to any brand of compatible photo printer.

The EOS-1D Mark II N supports the optional Data Verification Kit DVK-E2 v2.2, which verifies the originality of images taken with the camera.

New software

The EOS-1D Mark II N is bundled with the EOS Digital Solutions Disk v11, which includes an upgraded version of Canon’s RAW image processing software Digital Photo Professional (DPP). DPP v2.0 now supports RAW images shot on all EOS digital cameras from the EOS D30 forwards, and includes support for Picture Styles. Improvements and additions are aimed at improving functionality and workflow efficiency for professionals, and include: easy image selection with three levels of check marks; real-time adjustment of sharpness; improved image correction (Copy Stamp); enhanced image transfer function – single image transfer to PhotoShop is possible; extended colour space support, now including Apple RGB and ColorMatch RGB; and an enhanced CMYK simulation function.

Also provided is on the solution disk is ZoomBrowser EX (PC) and ImageBrowser (MAC) v5.5 for managing images, EOS Capture v1.5 for remote shooting, PhotoStitch v3.1, PhotoRecord v2.2 (PC), RAW ImageTask v2.2 and CameraWindow v 5.3. EOS-1D Mark II N is compatible with CANON iMAGE GATEWAY providing a 100 MB online photo album.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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You are already on the page dedicated to this lens.

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Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.