Canon EOS M

APS-C AF digital mirrorless camera

Production details

Production details
Announced:July 2012
Production type:Mass production
System: Canon EOS M (2012)

Specification

Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Canon EF-M [18mm]
Imaging plane:22.3 × 14.9mm CMOS sensor
Resolution:5184 × 3456 - 18 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:60 - 1/4000 + 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:298g
Dimensions:108.6x66.5x32.3mm

Manufacturer description

London, UK, 23 July 2012 – Canon today expands its award-winning EOS range with the launch of the new EOS M. The company’s first ever compact system camera (CSC), the EOS M is designed for those who use photography to share their everyday passions – from food, to fashion and culture, music and art. Offering DSLR-quality imaging, creative features and Full HD movie creation in a compact and easy-to-use model, the EOS M is the perfect, take-anywhere partner for a new breed of enthusiasts who chronicle their lives through images, without necessarily considering themselves to be ‘photographers’.

The EOS M is available in sleek black, glossy white, stylish silver or bold red colours, and condenses Canon’s renowned EOS imaging heritage into a stylish, compact design. The model launches alongside two new lenses, the EF-M 22mm f/2 STM pancake and the EF-M 18-55mm f/3.5-5.6 IS STM standard zoom, as well as a new compact EX Speedlite – the Speedlite 90EX – providing everything you need to capture stunning images every day. For those who want to push their images even further, the EOS M can also utilise Canon’s extensive range of EF lenses with the new Mount Adapter EF-EOS M, for even more creative freedom.

The quality of a Canon DSLR

Print your favourite moments in poster-size or crop your image for maximum impact – whether shooting the atmosphere of your favourite club or the intricate stitching of the latest must-have handbag – thanks to the EOS M’s high-resolution, 18 megapixel APS-C hybrid CMOS sensor. The large sensor also allows you to artistically blur the background for beautiful portraits, or for close-ups with impact.

With the inclusion of Canon’s DIGIC 5 processor, colours ‘pop’ and skin tones are beautifully natural, whilst a super-fast shutter allows you to capture split-second action. The atmosphere of evening shoots and challenging night-time scenes are also easily recorded in stunning detail thanks to the EOS M’s sensitive native ISO range of 100- 12,800 (extendable to 25,600).

For pin-sharp shots and professional-looking footage, this new design features a Hybrid AF System that supports super-fast, accurate AF when shooting stills and movies – allowing you to record any moment with confidence.

Shoot what you see and easily express your creative vision

Every aspect of the EOS M has been designed to make it simple to capture beautiful, creative, high-quality images. From the very first swipe across the bright, high- resolution, 7.7cm (3.0”), Clear View LCD II Touch screen, the EOS M gives you as much or as little control over your photos as desired. Simply select different shooting modes and settings via the on-screen icons, or let Scene Intelligent Auto adjust the camera settings according to the subject and shooting conditions, leaving you free to focus on composition and selecting the perfect moment to hit the shutter release button.

EOS M users can shoot with the confidence that comes from having the world's most comprehensive photographic system behind them. Whether you want to capture every detail of a close-up or zoom in to frame a subject in the far distance, any one of Canon’s extensive range of EF lenses can be connected via the new Mount Adapter EF-EOS M for photographic flexibility.

With one of Canon’s Speedlite flash units, you can also explore creative lighting techniques to add an extra level of interest to your shots. Alternatively, create unique images with a range of Creative Filters like Toy Camera effect, Grainy B&W or even a filter that mimics the distortion of a fish-eye lens. The filters can be applied before the shot is captured, with the result previewed in Live View, allowing you to experiment with different effects before selecting the perfect treatment for your final image.

Turn film-maker with EOS Movie and Video Snapshot

When a moment calls for more than a still image, the EOS M lets you switch easily to Full HD video with stereo sound for superb results. Video Snapshot mode also helps family and friends avoid long home movie viewing sessions, guiding you to create exciting movies in-camera, with a professionally edited feel.

Extending the EOS System with dedicated accessories

In addition to compatibility with Canon’s existing EF lenses1, accessories and Speedlites, the EOS M launches with its own bespoke range of compact accessories. Two new EF-M lenses offer portability and high performance when using the new model – the EF-M 18-55mm f/3.5-5.6 IS STM standard zoom and the EF-M 22mm f/2 STM pancake lens. Both feature new Stepper Motor technology for exceptionally smooth AF performance, as well as precision Canon optics, while their compact designs offer the perfect form-factor to complement the camera’s pocket-sized body.

Additionally, the EOS M will ship with the new Speedlite 90EX flash unit as standard. Lightweight and highly-compact, it offers a maximum guide number of nine and supports wide-angle lenses, making it an ideal general-purpose flash for everyday use. A wireless master function also allows the control of multiple flash guns wirelessly, allowing more advanced users to experiment with a range of creative lighting effects.

EOS M – key features

  • The quality of a digital SLR in a compact body
  • Scene Intelligent Auto
  • Be versatile with interchangeable lenses
  • Create out-of-focus backgrounds for high impact
  • Easy-to-use touch-screen
  • Atmospheric photos in low light
  • Full-HD video with Video Snapshot Mode

1 Via Mount Adaptor EF-EOS M

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35mm full frame

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

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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.

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.