Canon EOS M3

APS-C AF digital mirrorless camera

Production details

Production details
Announced:February 2015
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:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 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:366g
Dimensions:110.9x68x44.4mm

Manufacturer description

United Kingdom, Republic of Ireland, 6 February 2015 – Canon today reveals the EOS M3 – a powerful Compact System Camera created for enthusiast photographers who demand premium performance. Fusing Canon’s unrivaled image quality and DSLR-levels of control in a compact body, the EOS M3 offers the ability to capture the world around you in exceptional detail. At the heart of the EOS M3 is Canon’s first 24.2 megapixel APS-C CMOS sensor and its most advanced image processor, DIGIC 6, delivering premium quality stills and Full HD Movies. Combined with super-fast AF performance, thanks to a new Hybrid CMOS AF III and 49-point AF System, this camera gives you the freedom to capture the beauty of movement. As an advanced photographer you’ll find everything you need at your fingertips, with intuitive DSLR-like dials and control, as well as the flexibility to change your lens, all shrunk down into a compact, ergonomic body to take with you wherever you go.

Beauty and power in the palm of your hand

From city skylines and enchanting landscapes, to urban art and eye-catching portraits, the EOS M3 delivers clarity, rich colour and distinctive detail, with every image, using the 24.2 MP sensor. As light starts to fade and dusk descends, the EOS M3 excels, with the sensor’s vast 100-12,800 ISO range providing vivid, realistic and low-noise shots in even the most challenging of light situations.

Constructed for speed, whether you’re shooting an elusive animal on safari, or street performers on a city break, the subject of your shot will be in focus, with the EOS M3’s 49-point AF system and innovative new Hybrid CMOS AF III technology delivering lightning fast performance; focusing up to 6.1x faster than the original EOS M.

Putting you in control – iconic EOS design and controls

The EOS M3 incorporates the quintessential EOS design DNA and is instantly comfortable in the palm of your hand thanks to the fluid design grip. Direct access to a range of controls, including an exposure compensation dial, main control dial and customisable buttons, let you adjust the camera’s settings to suit your shooting style.

For complete framing versatility, the large 7.5cm (3.0”) LCD touchscreen tilts up 180 degrees and down 45 degrees, to help you shoot from all angles, while also making multi-touch gestures a finger tap away. The screen also gives you access to Canon’s intuitive touch menu system found on EOS DSLRs.

The EOS M3 is a camera to make your own, with customisable controls, a hot shoe for Canon’s Speedlite flashes and optional tilt-type electronic viewfinder. Compatibility with EF-M lenses, including a choice of pancake and zoom lenses, means you can shoot any situation. Plus, with Creative Assist, the EOS M3 can be controlled from the touch screen interface, and the effects previewed in real time as you shoot. Settings such as brightness, background blur, vividness of colour, contrast, warmth and filter effects can be altered, and combinations can be saved to be called upon again when you need them, helping you shoot like a pro every time.

Movies worth remembering

Budding movie makers can shoot precious moments in Full HD quality, with a choice of 24p, 25p and 30p frame rates, and MP4, for easy sharing. You can be sure that your favourite people and places will always be in focus, with advanced Hybrid CMOS AF III providing continuous AF. For more experienced shooters, Touch AF gives you the flexibility to select AF points on the LCD even with moving subjects, and create professional-looking pull focus effects. For full control, Manual Movie puts you in the director’s seat, with complete aperture, shutter and ISO control, for stunningly creative results.

Power to control and share

With the power to capture beautiful stills, comes the flexibility to remotely control the camera and transfer images, using integrated Wi-Fi and NFC connectivity. Ideal for shooting in unusual situations and positions for unique perspectives, remote shooting via the new Camera Connect app lets you control the camera’s key functions. Dynamic NFC enables single touch image transfers to smart devices while the auto-sync functionality means you can upload all your images to Canon’s cloud storage service, irista, for instant back-up and peace of mind.

EOS M3 key benefits:

  • Performance and creativity, in an EOS you can take everywhere
  • Be spontaneous. Enjoy fast, responsive focusing
  • Take control of your photography and watch your creativity grow
  • Be as imaginative with movies as you are with photos
  • Remote camera control and image sharing via Wi-Fi
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Copyright © 2012-2022 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

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.