Canon EOS 1D mark III

APS-H AF digital SLR camera

Canon EOS 1D mark III

Specification

Production details
Announced:February 2007
System: Canon EOS (1987)
Imaging plane
Maximum format:APS-H
Mount and Flange focal distance:Canon EF [44mm]
Imaging plane:28.7 × 18.7mm CMOS sensor
Resolution:3888 × 2592 - 10 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:1155g
Dimensions:156x156.6x79.9mm

Manufacturer description #1

The EOS-1D Mark III boasts a newly developed large APS-H-size (28.1 x 18.7 mm) 10.1-megapixel CMOS sensor that supports an ISO range from 100 up to 3200*, which in combination with Canon’s new Dual “DIGIC III” high-speed image-processing system, realizes a truly exceptional level of image quality. Coupling superlative image quality with speed, the new flagship model enables continuous shooting of high-quality (JPEG large/fine) images at around 10 frames per second for up to approximately 110 consecutive shots. Moreover, a new high-speed, high-precision Area AF with 19 cross points plus 26 assistance points, and a newly developed viewfinder offering 100-percent coverage further contribute to the camera’s outstanding performance capabilities.

Designed to meet the rigorous demands of professional news, sports and studio photographers, the EOS-1D Mark III offers outstanding resilience with a shutter durability capable of withstanding 300,000 cycles, marking a dramatic 150-percent increase over its predecessor, the EOS-1D Mark II N, released in September 2005.

Moreover, the combination of Canon’s EOS Integrated Cleaning System, which helps prevent the accumulation of dust inside the camera, a durable dust- and water-resistant Canon EF lens, and three new EOS-system accessories designed specifically for use with the EOS-1D Mark III enables the camera to deliver unfailing performance under even the most grueling conditions.

Manufacturer description #2

Canon today sets new standards for professional photography with the launch of the EOS-1D Mark III. Delivering 10 frames per second at 10.1 Megapixels for a maximum burst of 110 Large JPEG images (30 in RAW), the EOS-1D Mark III replaces the EOS-1D Mark II N as the world’s fastest digital SLR. Dual “DIGIC III” processors drive the camera’s high speed, high resolution performance, and bring 14-bit image processing to the EOS series for the first time.

A ground-up redesign introduces a host of new features and advancements to Canon’s flagship EOS-1 series, including a 3.0” LCD with Live View mode, EOS Integrated Cleaning System, new auto focus system with 19 cross-type sensors, and 63-zone exposure metering. The camera’s APS-H size (28.1 x 18.7 mm) CMOS sensor enables a wider 100-3200 ISO range as standard, expandable to L:50 and H:6400.

“The EOS-1D Mark III represents a complete reappraisal of everything Canon has learned over the past 20 years of EOS development,” said Tsunemasa Ohara, Senior General Manager, Camera Development Center, Canon Inc. “In building this camera, we started with a blank canvas. Every facet of the photographic process has been refined, every design decision re-evaluated to bring us to this point: a camera that combines familiar EOS ergonomics with a vastly enhanced specification. Our engineers are overjoyed with the result.”

Key features

  • 10.1 Megapixel APS-H CMOS sensor
  • 10 fps continuous shooting for up to 110 frames
  • Dual “DIGIC III” processors
  • New auto focus system with 19 cross type sensors
  • EOS Integrated Cleaning System
  • ISO 3200 (expandable to H:6400)
  • 3.0” LCD with Live View mode
  • Wider, brighter viewfinder
  • Picture Style1

The choice of professionals

The EOS-1D line has enjoyed massive popularity among the world’s leading sports, reportage and wildlife photographers, with international wire agencies AFP, Getty and Reuters choosing Canon for their photographers. “The people at Canon are great to work with because they listen to photographers. It’s their attention to detail and the pace of innovation that makes EOS the system of choice,” explained Stephen Munday, Director of Operations – Editorial, Getty Images.

Exceptional image quality

Canon’s dual “DIGIC III” processors deliver unprecedented levels of speed, responsiveness and image quality. Ready to shoot within 0.2 seconds of power on, the EOS-1D Mark III can capture and process over 100 Megapixels of image data per second, rapidly clearing the image buffer to allow up to 110 frames in one burst. Images are processed at 14 bits for a total colour depth of up to 16,384 tones per pixel, compared to 4,096 tones from 12 bit images.

The third generation CMOS sensor incorporates a new pixel design that works together with on-chip noise reduction circuitry to ensure high image quality at ISO 3200. The option to expand to H:6400 will benefit professionals working in news and sports locations where the use of flash is not permitted or desired.

Greater precision, more control

Canon has redesigned its auto focus system to include 19 cross-type sensors with sensitivity up to f/2.8, spread out across the AF area to better accommodate off-centre subjects. An additional 26 AF assist points are used to aid AF tracking for improved accuracy.

Responding to professional photographer requests, a dedicated AF button on the back of the camera allows users to instantly switch auto focus on or off while keeping their eye on the viewfinder. The viewfinder is now brighter and offers a wider angle of view. The camera’s new 63-zone metering system gives photographers greater level of control over exposure.

New LCD with Live View

The bright 3.0” LCD monitor provides 230K pixels resolution for precise framing and reviewing of shots. New to EOS, Live View mode enables photographers to frame without having to look through the viewfinder – particularly useful for shooting from awkward positions.

The menu system on the EOS-1D Mark III has been completely redesigned to take advantage of the LCD size – menus are easier to read and use. A choice of 57 custom functions gives photographers more options for customising camera settings to their daily working requirements. A new My Menu option allows photographers to store frequently used settings on a separate menu for faster access. Settings for new accessories such as the Speedlite 580EX II and Wireless File Transmitter WFT-E2 – also released today – can be controlled directly from the LCD.

Total reliability

The EOS-1D Mark III incorporates a range of practical enhancements for the working photographer. Shutter durability has been increased by 50% to 300,000 cycles. The body is protected by a magnesium alloy casing with dust and moisture resistant seals. The EOS Integrated Cleaning System provides further reliability by reducing sensor dust, minimising the need for manual cleaning on assignment. To avoid corruption of captured images, a warning appears on the LCD and an alarm sounds if the memory card door is opened while images are still being written. Interfaces include video out (for display in both NTSC and PAL formats) and USB 2.0.

Compatibility and accessories

Canon is marking today’s launch with the release of several additions to the professional EOS system:

  • EF 16-35mm f/2.8L II USM – A fast, ultra wide-angle zoom lens delivering exceptional image quality throughout the aperture range.
  • Speedlite 580EX II – An update of the Speedlite 580EX that offers weather resistance when attached to the EOS-1D Mark III.
  • Wireless File Transmitter WFT-E2 – Smaller, lighter and more versatile than its predecessor, the WFT-E2 speeds up workflows by allowing photographers to transmit images wirelessly during the shoot.
  • Original Data Security Kit OSK-E3 – Verifies the authenticity of images taken with the camera and supports image encryption for additional security.

Software

The EOS-1D Mark III is supplied with a comprehensive software suite to help the photographer’s workflow. This includes Digital Photo Professional (DPP), a powerful RAW converter that provides complete RAW image processing control.

DPP integrates with cameras features such as the Dust Delete Data and Picture Style. The camera also comes with EOS Utility, ImageBrowser/Zoom Browser and Photostitch.

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35mm full frame

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

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.