Canon EOS 1Ds mark II

35mm AF digital SLR camera

Specification

Production details
Announced:September 2004
System: Canon EOS (1987)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Imaging plane:36 × 24mm CMOS sensor
Resolution:4992 × 3328 - 17 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:1215g
Dimensions:156x157.6x79.9mm

Manufacturer description #1

The Canon EOS-1Ds Mark II, replacing the 11.1-megapixel EOS-1Ds, is a professional digital AF SLR camera developed primarily to meet the needs of portrait and studio photographers, who demand the highest image quality. Featuring a newly developed full-frame 35 mm CMOS sensor (36 x 24 mm) boasting 16.7 million effective pixels, the world’s highest pixel count among digital SLR cameras*, the EOS-1Ds Mark II realizes superlative image resolution, rich color gradation and a wide ISO sensitivity range (ISO 100-1,600, L:50, H: 3,200). The 35 mm sensor size also allows users to fully utilize the angles of view offered by the entire range of Canon EF lenses**, permitting unrestricted lens performance for a shooting feel on par with film SLR cameras.

The EOS-1Ds Mark II incorporates Canon’s proprietary DIGIC II image engine to maximize the performance potential of the CMOS image sensor. Performing detailed processing of large-volume data at extremely high speeds, the DIGIC II image engine realizes the ultra-fine detail and natural color reproduction demanded by professional users. Also enabling outstanding responsiveness, DIGIC II makes possible continuous shooting of high-quality (JPEG large) images at up to four frames per second for up to 32 consecutive shots, the high-speed writing of image files to the card media, and a fast startup time of just 0.3 seconds.

Canon’s EOS-1Ds Mark II professional digital SLR camera offers a range of new features, including a greater choice of image-quality settings, with four JPEG sizes and ten compression levels in addition to a RAW file setting. Additionally, two customizable color-matrix settings, in addition to five preset modes, enable image optimization according to the requirements of the subject or output device. Moreover, dedicated card slots for CompactFlash and SD memory cards enable simultaneous backup or selective recording to either card, while a video output terminal enables users to view images on a television screen. The model also incorporates a two-inch 230,000 dots LCD monitor which, nearly doubling the resolution of that offered by the previous model, enables magnification up to 10x to effectively check image focus during playback.

The EOS-1Ds Mark II offers outstanding resilience, boasting improvements such as dramatically increased shutter durability capable of withstanding 200,000 cycles. A lightweight, heavy-duty magnesium alloy exterior provides exceeding rigidity as well as electromagnetic shielding, while thorough water- and dust-resistant sealing in 70 locations, including all switches, body seams and memory-card slots, ensures users of unfailing reliability under even the most grueling conditions.

Other advanced features include a maximum shutter speed of 1/8000 second; Canon’s proprietary 45-point area autofocus, which makes photo composition quick and easy by eliminating the need to position the subject at the center of the picture; a 21-Zone Evaluative metering sensor to ensure ideal exposure performance; an advanced full-frame viewfinder; and Custom Function control, which allows users to tailor camera operations to their individual preferences. Moreover, the new EOS-1Ds Mark II features Canon’s E-TTL II flash metering system which, when used with the company’s EX-series Speedlite flashes, utilizes distance information provided through the lens for more precise and stable direct-flash exposure than ever before.

Manufacturer description #2

Amstelveen, the Netherlands, 21 September 2004. Canon, a world leader in photographic and imaging technology, today announces its new flagship camera: the 35mm full-frame 16.7 Megapixel EOS-1Ds Mark II Digital SLR. The camera is expected to appeal to professional studio and commercial photographers.

Featuring a full-frame 36 x 24mm 16.7 Megapixel CMOS sensor, the EOS-1Ds Mark II produces images with outstanding colour rendition and dynamic range. It has sufficient resolution to produce files which convert to 50MB uncompressed TIFF at 24 bit colour depth, now considered standard acceptable size by leading international photo agencies and stock libraries.

Replacing the award winning 11.1 Megapixel EOS-1Ds, the camera is powered by Canon’s second generation DIGIC II image processor and is capable of firing at 4 fps for bursts of up to 32 frames in JPEG, or 11 frames in RAW. An optional wireless adaptor (also released today) delivers high speed IEEE802.11b/g wireless LAN and 100 Megabit per second wired LAN support.

Besides the inherent advantages of digital, such as immediate turn-around and elimination of film costs, it is the flexibility of the EOS 35mm SLR format which Canon expects to appeal to many studio photographers. For the first time, medium format image quality combines with access to the world’s most extensive range of professional lenses, spanning from 14mm to 1200mm.

“The EOS-1Ds Mark II is a tremendous achievement, it represents the pinnacle of Canon’s digital camera technology,” said Mogens Jensen, Head of Canon Consumer Imaging Europe. “With its resolution, image quality, immediacy of wireless and the power and flexibility of SLR, the EOS-1Ds Mark II offers the first real digital alternative to medium format, which has so far been the choice for mainstream commercial studio and location work.”

Canon expects the camera to be adopted in areas such as fashion, car, calendar, advertising and architectural photography.

Key camera specifications include:

  • 16.7 MP full frame 36 x 24mm CMOS sensor
  • 0.3 second start up and 4fps performance
  • ISO 100-1600, expandable to L:50 and H:3200
  • Digital Photo Professional v1.5 RAW processing s/ware with support for sRGB, Adobe RGB and wide gamut RGB colour spaces plus various European, North American and Japanese standard CMYK separation simulations
  • Hi-Speed FireWire, & Video out i/face for complete connectivity
  • Dual high performance SD and CF/CF-II card slots (supports cards greater than 2GB)
  • Complete compatibility to all EF lenses & EX-series Speedlites
  • 2.0” LCD screen with 230,000 pixels, 1.5-10x playback zoom
  • Simultaneous RAW & JPEG shooting
  • Battery life – approximately 1200 shots @ 20C, 800 at 0C – in accordance with CIPA testing standards

Unsurpassed image quality

The full frame 16.7 Megapixel resolution sensor has a built in low-pass filter to reduce false colour and moiré effects, which can appear when shooting subjects with fine regular detail, such as textiles. The second generation DIGIC II processor delivers 0.3 sec start up time, fast continuous shooting and simultaneous RAW and JPEG recording. It also features advances in the image processing algorithms to improve white balance, auto exposure and overall image quality. Photographers can choose between four resolutions and 10 quality levels for JPEG images. Within the camera, the EOS-1Ds Mark II supports sRGB and Adobe RGB colour spaces with user settable colour saturation and tone levels, and provides five preset and two user-definable colour matrices. When using the Digital Photo Professional software and RAW image files, Wide Gamut RGB is also available. White Balance (WB) bias is correctable by +/- 9 levels for both blue/amber and magenta/green bias and the camera supports WB bracketing up to +/- 3 levels.

Flexibility of SLR in the studio

Photographers switching to Canon’s EOS system open up access to over 60 EF lenses, including tilt-shift, macro, super telephoto and Image Stabilizer lenses. The EOS-1Ds Mark II is compatible with the entire range of EX-Series Speedlite flash units, including two macro set ups and a range of wireless master/slave flash solutions. For photographers comfortable with the vertical orientation viewfinders of some medium format cameras, the camera accepts an optional Angle finder C right-angle viewfinder.

The immediacy of wireless image transfer

With the optional Wireless LAN adapter plugged into the camera’s IEEE1394/Firewire connection, photographers can work untethered as huge full-frame RAW files transfer automatically to the studio LAN in seconds . “A London publisher can now lay out a production-ready front cover of a magazine with a photograph taken literally seconds beforehand in a Milan studio,” observes Jensen. “Once this level of immediacy becomes commonplace, it is hard to imagine anyone accepting the risks and costs associated with the delays of film developing.”

The Wireless LAN adapter supports both IEEE802.11b, IEEE802.11g wireless network standards and also includes a 100 Megabit wired ethernet connector for automatic and immediate transfer to any wide or local area network. The system supports a comprehensive range of major wireless network encryption and security features.

The CMOS advantage

The EOS-1Ds Mark II’s CMOS sensor offers lower noise levels and a superior dynamic range (capacity to capture subtle tonal gradations in shadow, midtone and highlight areas) to that of sensors found in other digital cameras and camera backs. Canon is the only camera manufacturer with a history of significant research and development investment into image sensors. The resulting CMOS sensor technology found in its digital SLR range is key to the company’s competitive advantage. CMOS sensors have formed the basis of a long line of award winning cameras including the EOS-1Ds, EOS-1D and EOS 10D. Such is the strength of Canon’s sensor development that this is the third new CMOS sensor Canon has commercialised this year. Canon’s first commercialised sensor technology formed the basis of the 1987 EOS auto focus system, with CMOS technology first appearing as an image sensor in the 2000 EOS D30.

RAW processing

Digital Photo Professional v.1.5 image processing software is provided for high-speed processing of lossless RAW files. Processing with Digital Photo Professional is approx. 6 times faster than the File Viewer Utility supplied with the EOS-1Ds. It allows real-time display and immediate application of adjustments to images and includes a wide array of RAW, TIFF or JPEG image editing functions, which give control over variables such as white balance, dynamic range, exposure compensation and colour tone. sRGB, Adobe RGB and Wide Gamut RGB colour spaces are supported, and an ICC (International Colour Consortium) profile is automatically attached to RAW images that have been converted to TIFF of JPEG formats. This allows images to be displayed in their faithful colours in software applications that support ICC profiles, such as Adobe Photoshop. Image processing of various parameter changes can now be batched rather than carried out sequentially, vastly increasing the efficiency of applying a number of changes to the same images. The new version of Digital Photo Professional adds the ability to simulate the CMYK separation of images based on regular Japanese, European and USA printing industry practices.

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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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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.