Canon 60Da Announced For Astronomy

NEW CANON EOS 60Da DSLR CAMERA FOR ASTRONOMY ENTHUSIASTS CAPTURES THE TRUE COLORS OF THE COSMOS

LAKE SUCCESS, N.Y., April 3, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the EOS 60Da Digital SLR Camera, a long-awaited successor to the EOS 20Da that is optimized for astrophotography. This DSLR caters to astronomers and hobbyists who enjoy capturing the beauty of the night sky by offering a modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity. These modifications allow the camera to capture magnificent photographs of “red hydrogen emission” nebulae and other cosmic phenomena.

“The EOS 60Da is a testament to the constant desire to meet the needs of every customer, including those in specialized fields,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., “This new camera enables an accurate depiction of a part of our solar system which is hard to achieve with conventional cameras but should be enjoyed and celebrated.”

The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects, a major enhancement over the EOS 20Da model’s 8.2-megapixel sensor. The improved infrared-blocking filter is a modification suited specifically toward astronomy enthusiasts to achieve a hydrogen-alpha light sensitivity that is approximately three times higher than that of a normal Canon DSLR camera. This produces a 20-percent higher transmittance of Hydrogen Alpha line, or Hα wavelength, allowing astronomers to capture crisp, clear images of reddish, diffuse nebulae.

Enhanced Features
Crisp images of the stars and planets can be viewed on the EOS 60Da’s improved 3.0-inch Clear View LCD screen with 1,040,000 dots for detailed focusing. The flip-out Vari-angle screen allows photographers to adjust the screen for easy viewing without straining even while the camera is mounted to a telescope via a third-party T-ring adapter. Optimized for stargazing with friends or in an educational setting, astronomy enthusiasts can connect the camera to a TV with the provided AVC-DC400ST Stereo AV Video Cable and display the night sky on a TV monitor using the camera’s Live View mode. Moreover, the EOS 60Da’s Live View mode is equipped with a Silent Shooting feature that eliminates shutter-induced vibration for maximum camera stability when the camera is mounted to a telescope or super-telephoto EF lens.

Enhanced noise reduction on the EOS 60Da sensor offers photographers the ability to experiment with the wide array of ISO settings and increased ISO speeds up to 6400 expandable to 12800. Other features include an intelligent nine-point autofocus system, full manual controls, and RAW, JPEG, and RAW+JPEG image recording capabilities.

Accessories
The EOS 60Da helps capture the wonders of the night sky with its use of Canon’s award-winning EF and EF-S lenses along with other EOS accessories. Additionally, the EOS 60Da is packaged with Canon’s RA-E3 Remote Controller Adapter, providing the ability to connect a Canon Timer Remote Control such as the TC-80N3 (optional accessory). The TC-80N3 is ideal for controlling time exposures longer than 30 seconds as well as capturing a series of consecutive time exposures that can be composited during post-processing for improved image quality. This is especially useful when the camera body is connected to a telescope[i] or an EF super telephoto lens.

Canon has also included an AC adapter kit with the EOS 60Da, allowing the camera to be powered through an AC wall outlet or a battery-powered inverter, ideal for long exposure image or video capture at home or in the field.

Availability
As a specialized product, the EOS 60Da is only available to order from select authorized dealers. The estimated retail price is $1,499.00 and it is expected to be available this month.



Using Multiple AF Points On The Canon 1D X And 5D III

The new 61-point, High Density Reticular AF system used in both the EOS 5D Mark III and the EOS-1D X allows tremendous flexibility and control, and ability to set it up to capture nearly any type of subject matter. One of the biggest advantages this wide-area AF system provides is the ability to use more than one single AF point at a time. And, this can be done in a multitude of ways.

We've discussed AF Area Selection settings in a separate article for the EOS-1D X here on the Canon Digital Learning Center; the options for the new EOS 5D Mark III are the same. But we'd like to explore the possibilities in a more application-based way, and hopefully simplify the options and where they can be utilized to their fullest. There will certainly be times where using a single AF point will deliver the optimum focus results in a given situation. But by understanding how to exploit the advantages of a true Area AF system, users will be to adjust to the situation, and get even better results.

Why not just use a single AF point?

With 61 available AF points, any time you're using one single AF point, you're dealing with a relatively small area of AF coverage. Even though the actual area covered by an AF point does extend beyond the area you see in the viewfinder, it remains a very small portion of the entire focus screen – and with many subjects, a small part of the subject you're trying to focus upon. Sometimes, this is fine. Especially with a stationary subject, when you want to get precise sharp focus on one small part of a subject or scene, using a single, manually-selected AF point is often the way to go. And for users who want to take this to the next level, you can choose Spot AF, which further reduces the size of an AF point, allowing focus on an even more precisely-chosen part of a scene.

Precise focus sounds great. But in some cases, focusing on just a small part of a subject can be a problem, or lead to focus errors and soft pictures.

Even with an AF system as advanced as that in the EOS 5D Mark III and EOS-1D X, the system still demands that the active AF point(s) see some detail or texture at the subject in order to be able to assess focus properly. This is vital: if using a single AF point, and that point falls upon a part of a subject that doesn't have much of detail, texture or contrast, it's entirely possible for the AF system to either hunt back and forth (if it's set to One-Shot AF mode), or to allow soft frames to sneak into a sequence of shots in AI Servo AF. This may not be a problem when shooting a finely-detailed, non-moving subject. But it can become a significant issue when photographing anything that's moving – it can sometimes be hard to keep the active AF point on the subject itself, let alone to keep it steadily on a detailed area of that subject.

The sample here is very typical: with little detail in the young man's shirt, the AF system is forced to look at a small area of his mid-section for folds in the shirt, texture and so on to try to ascertain sharp focus. Not always easy – and the problem is compounded if the subject is moving!

When more than one AF point becomes active, the AF system suddenly can look around for extra help whenever it needs it.

AF Point Expansion – the pro's first option

Many serious enthusiasts and professionals are used to manually selecting one AF point and working exclusively with that. Nothing wrong with this approach, although as just mentioned, you need to find a way to have the active AF point see real detail at the subject for best results.

One way is to move off-center, and manually select an AF point that's going to fall more upon a detailed part of the subject. The obvious example is to move it upward toward the face of a human subject, and this is often a good strategy.

But another option is to expand the size of the active AF point area. The 61-point AF system in the EOS 5D Mark II and EOS-1D X is especially well-suited for this, and the first method is via AF Point Expansion. This process calls upon the shooter to manually select an AF point, but the point is now surrounded by either four or eight additional "assist points". Using this AF Area selection type, the photographer initially focuses using the central, principal AF point that he or she has selected – the "larger box" of the ones visible in the finder, and in the accompanying illustrations here. But with surrounding AF points also active an on stand-by, if the principal AF point either loses track of the subject, or encounters an area without sufficient contrast and detail, one or more of the surrounding AF points immediately become active and will continue to read and track the subject.

With AF Point Expansion active, it's important to remember that the AF system still expects to perform most AF tasks using a single AF point – that is, the principal point the user has manually selected (again, it's indicated on-screen with the larger, central AF point visible, surrounded by smaller AF point icons). The remaining points in the expanded area are usually waiting to be called into action, but only if the principal point has trouble continuing to track or find the subject you're shooting.

Expanding the size of an AF point can also be useful when tracking relatively small objects (an obvious example is birds in flight), where it may be very difficult to keep one AF point continuously upon the subject. With a larger "cluster" of active points, if the subject suddenly leaves the principal AF point, the surrounding points instantly kick-in to try to locate and continue to hold focus on that subject.

Controlling how quickly the system changes AF points

There's a built-in algorithm in the AF system that's designed to smoothly move AF points from one to the next when multiple AF points are active. But in an example like the figure skaters illustrated here, it may be prudent to speed-up the system's responsiveness. That can be easily done in the AF menu, in a couple of different ways:

• Using the AF Configuration Tool (first AF menu), select either Case 5 or Case 6. The difference is that Case 5 presumes a subject like the figure skaters, who aren't rapidly moving toward or away from the camera. Case 6 would be preferable for something like a bird in flight, that's both hard to keep upon one AF point, and that that's moving at a high rate of speed, too.
• Using the same Menu screen (with any of the six AF Cases active), refine the AF pt. auto switching setting. Press the RATE button to access the Detail Settings, and scroll to AF pt. auto switching. Moving this setting from "0" towards the "2" setting increases the speed and responsiveness the system will apply when it needs to change AF points. Keep in mind: the "0" setting is intended to be optimal for most everyday uses; simply changing it to level 1 or 2 just because they're "faster" may make the AF system seem more nervous during ordinary shooting.

Zone AF – keep sharpness on the nearest subject

Another AF Area option in the EOS-1D X and EOS 5D Mark II is Zone AF. First seen in the EOS 7D, it's been refined in the 61-point AF system to allow the user to pick any of nine possible locations within the AF array. So it certainly doesn't have to be used in the center area only! Depending on the location you select, either 9 or 12 points are active in each zone (it's not possible to increase or decrease the size of a given zone, other than to change its location).

With Zone AF, you're using an active cluster of AF points where all the points are active and ready to go. Whether you're using One-Shot AF or tracking a moving subject with AI Servo AF, the Zone AF option always seeks to focus upon the nearest subject visible within the active zone of AF points. It can be ideal when you have more than one subject – especially if they're moving – and you want to insure that the nearest one to the camera is the one that's held in sharpest focus. And even when you have only one subject, Zone AF makes it a lot easier to keep it within the AF system's field of view, and insure at the same time that the nearest part of the subject is what will be focused upon. While it's true that the most critical of professional bird shooters, for example, might prefer to keep a single AF point upon the eye of a flying bird, the difficulty of this technique with a bird in flight makes Zone AF a welcome alternative for many photographers.

The point or points within the zone that correspond to that nearest subject (or nearest part of a subject) are the ones that will be used; when in AI Servo AF and tracking a moving subject, the points will continuously be updating their information, and active points within the zone will change as needed. Normally, you'll see this happening in the viewfinder, but if you find it annoying, it can be hidden from view (5th AF menu screen > AF point display during focus).

Again, Canon's new 61-point AF system allows the user to tailor just how quickly these changes of active AF point occur during a shooting sequence. The AF pt. auto switching option (see above) can be used to either speed-up or slow-down the system's tendency to change which AF points within the Zone you've chosen will be used to keep focus on the nearest subject in a scene.

Zone AF isn't for every situation. The main thing to remember is its goal of keeping the sharpest plane of focus upon the nearest thing within the zone of active AF points. Even with something as ordinary as a speaker at a podium, for instance, Zone AF might well try to put sharpest focus on the podium, rather than the speaker's face, if it's used without care. But applied in the right conditions, Zone AF can be a terrific option when you feel the need to move beyond a single AF point.

Automatic AF point selection – use the entire 61-point AF area

From time to time, even the most critical EOS shooters may want to consider this AF Area setting, when simply pin-pointing focus with a single AF point isn't right option for a given situation. It's not new to the EOS 5D Mark III or EOS-1D X... Automatic AF point selection has been in the EOS system, in one way or another, for more than two decades. But with the power of the new 61-point AF system, and recent improvements in how it works when in AI Servo AF, it's worth re-visiting.

The first thing to make clear is that Automatic AF point selection is not the same as Zone AF or AF Point Expansion. Those AF Area settings rely on restricting AF operation to a limited area of the 61-point AF array. You can move that area up and down, and/or left and right, but it's a limited area for focus (albeit larger than a single AF point). But with Automatic AF point selection, the entire 61-point area becomes potentially available for focus.

The next thing is that unlike AF Point Expansion or Zone AF, Automatic AF point selection works differently depending upon whether you're in One-Shot AF mode (locking focus on non-moving subjects) or using AI Servo AF to focus-track a moving subject.

• One-Shot AF mode: 
  Camera focuses upon the nearest subject taken-in by the 61-point AF array; the point or points that are used to actually focus on that nearest subject will be highlighted in the viewfinder momentarily, so the shooter knows what the camera has decided upon. (This behavior is essentially identical to all previous EOS models when Automatic AF point selection is combined with One-Shot AF.)
• AI Servo AF mode: 
  Photographer selects any ONE AF point to begin focus-tracking a moving subject; if subject then moves away from that first point, any of the remaining 60 AF points are called-in to find and continue to track its movement. Unlike either Zone AF or Automatic AF point selection with One-Shot AF active, this combination of settings won't simply try to focus on the nearest subject – once it's identified a main subject, it attempts to stick with it.
  With most previous EOS cameras, Auto point selection with AI Servo required the user to start focus-tracking a moving subject initially with only the center AF point. The new EOS 5D Mark III, EOS-1D X and EOS 7D allow the user to manually pre-select any available AF point, and use this as the starting point to begin tracking a subject.

Automatic AF point selection is often looked down upon by critical, experienced shooters, who often prefer to be in direct control of where their cameras focus. But from time to time, it can be a real asset and time-saver. Refinements to the EOS 5D Mark III (and EOS-1D X) make it even more worthwhile to think about for use with solo moving subjects and AI Servo AF.

In One-Shot AF mode, Automatic AF point selection can be perfectly viable for run-and-gun candid shooting at events, where you typically are trying to focus on the nearest subject and want to insure no inadvertent focus is set on the background. When you're working quickly, it can also be useful when you know you'll be shooting fairly close to a primary subject (that you want to foucs upon), but want to include a lot of background info in the shot... think of on-location fashion shots with a model, taken from fairly close with a wide-angle or standard lens, with the model positioned well off-center.

In AI Servo AF, the new system will be very useful to try in situations where a moving subject is expected to move across the frame, and composition is as important as sharp focus. In other words, anyone can simply use the center AF point and move the camerato keep a moving subject sharp as it moves side-to side across the frame, but each shot will have pretty similar composition. With the ability to pre-set an active AF starting point, and let the camera take care of shifting AF points as the subject moves away from the first point, users can maintain better composition with a sequence of shots, and often still maintain good, sharp focus... even with long telephoto lenses.

One important difference between the EOS 5D Mark III and the EOS-1D X: while both share the same 61-point AF system and essentially the same AF optics and supporting electronics, only the EOS-1D X has the 100,000 pixel RGB metering system, and ability to activate "EOS iTR" – Intelligent Tracking and Recognition. This system uses not only AF information, but information about an initial subject's color, size and location (from the RGB metering sensor) to help guide the AF system to continually update AF points when Automatic AF point selection is combined with AI Servo AF. With the EOS 5D Mark III, this automatic switching of points to follow a moving subject is done strictly using info from the AF system, not the metering system as well.

Summary:

AF Point Expansion. Zone AF. Automatic AF point selection.

All are valid and valuable tools to have when pin-pointing focus with a single focus point may not be the best route to take. We've seen these options in the EOS 7D, with its 19-point AF system, but the new 61-point AF used in the EOS 5D Mark III and EOS-1D X underscores the power of using more than a single AF point.

The first key is understanding how each operates – since they're not identical – and then being able to apply their respective benefits to the type of shooting and types of subjects you're likely to encounter. These aren't necessary AF Area settings you'll use every day, all the time (although some shooters may do just that). But they are very valuable assets you can turn to when conditions call for it.

There's no such thing as one AF setting that will be perfect for every situation, but the beauty of the new Canon High Density Reticular AF system is the flexibility and options it offers to the working photographer, along with its blistering performance when shooting rapidly-moving subjects. We've outlined some examples of how multiple AF points can be applied to get better results, but most shooters will be able to come up with their own scenarios where it may be helpful to them.

Maybe the most important key point is understanding why using a single AF point and acquiring focus upon a small area of a subject or scene can sometimes be a risky proposition. Knowing how important detail, texture and contrast are to an AF sensor, it begins to make a lot more sense to occasionally open up the Canon tool box and at the very least experiment with using multiple AF points.

Carl Zeiss Distagon T 15mm F2.8 Announced

Carl Zeiss has announced the Distagon T* 2,8/15, a super-wide-angle lens for Canon EF and Nikon F mounts. The lens can focus from just 25cm (10") and offers a 110 deg; field of view when mounted on a full-frame camera. It uses aspherical elements and abnormal partial dispersion glass in order to control distortion and chromatic aberration. It features an integrated lens hood and accepts 95mm threaded filters. It will be available from May for an MSRP of: €2,148 or US$2,948.

Carl Zeiss brings out a new super wide angle lens in May 2012. The super wide angle Distagon T* 2,8/15 will be available with an EF (ZE) or F bayonet (ZF.2). With an extra-large angle of view of 110 degrees in combination with a fast f/2.8 aperture, the lens enables the features for dramatic perspectives and performance demanded by the most ambitious landscape and architectural photographers. With a unique ability to capture events in a natural and extraordinary manner, it is also an ideal companion for advertising, journalism and commercial photography.

Thanks to the extreme angle of view of the lens, the fore- and background can be creatively emphasized in landscape and architecture photography. These applications will also benefit from the large depth-of-field, which provides a wide range of image sharpness from close-up up to infinity. With a close focus of 0.25m (10”) – combined with a wide angle view – photographers can work in tight spaces, while also allowing focus on close-up details. Distortion is extremely well controlled, producing naturally proportioned photographs which are not typical of many other super wide angle lenses. "With the Distagon T* 2,8/15, Carl Zeiss sets the standard in super wide angle photography," says Dr. Michael Pollmann, Consumer Lenses Program Manager in the Camera Lens Division of Carl Zeiss AG. "Even at full aperture it achieves outstanding detail rendition and opens up room for extremely imaginative design."

The Distagon T* 2,8/15 incorporates two aspheric lenses and special types of glass material with abnormal partial dispersion to provide an extraordinary correction of chromatic aberration. A floating elements design guarantees high image quality from close-focus through infinity. Like the other SLR lenses in the ZE and ZF.2 series, stray light and reflections are well controlled by the Carl Zeiss T* anti-reflective coating and the sophisticated treatment of the lens element edges with special light absorbing paint.

The robust all-metal barrel of the Distagon T* 2,8/15 is designed for decades of reliable service. A long focus rotation and buttery-smooth action is perfect for photographers who want to take control of their picture making, as well as for filmmakers looking for superior focus control. A nine blade aperture provides a nearly circular opening, producing natural looking out of focus details.

The lens shade is integrated into the design and helps to protect the lens surface from unintentional damage. The 95mm filter thread accepts all standard filters, including the recently released Carl Zeiss T* UV and POL filters.

The lens will begin shipping in May 2012 at a recommended retail price of €2,148 or US$2,948 (excluding VAT)*.

Canon Announces The 5D III

London, UK, 2nd March 2012 – Canon today announces the latest addition to its worldfamous EOS range with the launch of the new EOS 5D Mark III. The EOS 5D Mark IIIbuilds on the performance of the legendary EOS 5D Mark II, offering improved speed,greater resolution, enhanced processing power and extended creative options for bothstills and Full HD movies – providing unparalleled artistic freedom for the most demanding photographers.

Incorporating feedback from photographers worldwide, the EOS 5D Mark III offers improved performance in virtually every area. A new 22.3 Megapixel (MP) full-frame sensor offers the ideal balance of resolution for stills and HD movies and up to 6 frames per second (fps) shooting, whilst a 61-point AF system and 63-zone metering provide greater speed, flexibility and accuracy. Powered by the latest DIGIC 5+ processing technology, the EOS 5D Mark III also features enhanced video functions, offeringimproved image quality alongside greater audio control – redefining creative possibilities for photographers and amateur videographers alike.

"The EOS 5D Mark III represents a big step forward for the EOS 5D series" said Kieran Magee, Marketing Director, Professional Imaging, Canon Europe. "The EOS 5D Mark II is an exceptional camera and we've listened carefully to feedback from its passionate community of users to improve performance in every area. This camera has been designed to meet virtually any creative challenge – it's faster, more responsive and features the tools to adapt to everything from studio photography to creative videography, while producing results of the highest quality."

Enhanced performance

With its comprehensively upgraded specification, the EOS 5D Mark III is the ideal toolfor the growing number of photographers shooting both stills and movies. It incorporates a number of the features launched with Canon's revolutionary EOS-1D X,providing vastly improved performance, flexibility, handling and durability.

The camera's newly-developed 22.3MP full-frame sensor provides increased resolution and finer detail, enabling the capture of a wide range of scenes, from sweeping landscapes to beautiful portraits. Higher speed continuous shooting also offers expanded creative possibilities. With an increased 8-channel read out, the camera comfortably handles a maximum full resolution speed of up to 6fps in bursts of 18 RAW images or over 16,000 JPEGs1, without the need for additional accessories. Additionally, the sensor's advanced architecture offers a huge native ISO range of 100-25,600, expandable to 102,400, making it possible to capture clean, high quality pictures, even in extreme low-light conditions.

The EOS 5D Mark III utilises the same 61-point wide-area AF system as the flagship EOS-1D X, providing exceptional sensitivity, precision and speed. One of the most advanced AF systems currently available, it features an impressive 41 cross-type points and five dual cross-type points, providing unsurpassed accuracy across the frame. The customisable AF pre-sets introduced in the EOS-1D X are also available, helping the capture of traditionally challenging subjects, and providing additional reliability in ituations where subject movement can be unpredictable.

Highly accurate exposures are provided by Canon's acclaimed iFCL metering system, which incorporates a 63-zone Dual-Layer sensor linked to each point of the AF system. Focus information gathered from the AF system is analysed alongside colour and luminance signals measured by the metering sensor itself, enabling the EOS 5D Mark III to deliver consistently accurate skin tones and excellent results in a wide range of shooting situations.

Creative performance without compromise

The EOS 5D Mark III features Canon's latest DIGIC 5+ image processor, which powers a range of new functions without affecting the camera's performance. 14-bit A/D conversion provides smoother tonal gradation and transitions between colours, while in-camera HDR shooting combines three different exposures and allows one of five preset tone maps to be applied, enabling photographers to capture all the detail in high contrast scenes. With in-camera RAW processing and editing capability, photographers also have the option to immediately begin post-processing their images while still on a shoot.

The increased power of DIGIC 5+ also enables a range of tools which contribute to higher image quality. Lens peripheral illumination correction, Lens chromatic aberration correction (lateral and axial) and high ISO noise reduction are all performed in-camera without affecting performance, allowing photographers to continue shooting without any camera lag. Additionally, in-camera image rating via a dedicated button makes it easy for photographers to organise images ahead of post-production.

The EOS 5D Mark III features a new Creative Photo button, which enables users to quickly select Picture Styles and capture multiple exposures, as well as offering direct access to the HDR shooting mode. In playback, pressing the Creative Photo button displays a new comparative playback function, displaying two images side-by-side to allow photographers to view, magnify and compare the quality of different exposures mid-shoot.

For situations where photographers want to avoid being noticed, such as weddings, the EOS 5D Mark III also features a new silent shooting mode that dramatically reduces the sound of the shutter and mirror, ensuring they can work quietly in the background. A continuous silent mode is also available, enabling photographers to capture fastermoving subjects without attracting attention.

Next generation EOS Movies

The EOS 5D Mark III builds on the reputation of the EOS 5D Mark II, with a range of new features introduced following feedback received from photographers to provide even better Full HD video performance. As well as offering the depth-of-field control loved by video professionals, the new full-frame sensor combines with the vast processing power of DIGIC 5+ to improve image quality by virtually eradicating the presence of moiré, false colour and other artefacts. The addition of a movie mode switch and a recording button also offers greater usability, enabling videographers to begin shooting immediately when movie mode is engaged.

Additional movie functions include manual exposure control and an enhanced range of high bit-rate video compression options, with intraframe (ALL-I) and interframe (IPB) methods both supported. Variable frame rates range from 24fps to 60fps, and the addition of SMPTE timecode support provides greater editing flexibility and easier integration into multi-camera shoots. Users can also check and adjust audio during recording via the camera's Quick Control screen and a headphone socket enables sound level monitoring both during and after shooting. Enhanced processing power provided by DIGIC 5+ also makes it possible to conveniently trim the length of recorded movies in-camera.

Professional build, easy operation

The EOS 5D Mark III has been built to offer photographers easy-handling and robust build quality. Its lightweight, high-grade magnesium body offers advanced weather proofing for protection against the elements, while the construction of the shutter has also been reinforced, with 150,000-cycle durability making it ideal for repeated, everyday use. An enhanced version of the Intelligent Viewfinder featured in the EOS 7D offers approximately 100% coverage, as well as an on-demand grid display via the builtin transparent LCD.

The same reinforced 8.11cm (3.2") Clear View II LCD screen as used by the EOS-1D X provides high quality framing and playback in all conditions. 1,040k-pixels provide the resolution to accurately check image sharpness and focus, while the gapless structure design introduced with the EOS-1D Mark IV prevents reflections and protects against dust or scratches. A headphone socket and locking mode dial have been included, while the inclusion of a UDMA 7-compatible CF card slot plus an SD card2 slot enables shooting to both cards simultaneously, auto switching when the one in use becomes full and the option to copy images from one card to the other in-camera.

Digital Lens Optimizer – new in Digital Photo Professional v3.11

The EOS 5D Mark III comes complete with the most advanced version of Digital Photo Professional (DPP) yet – Canon's free, in-box software enabling high-speed, high quality processing of RAW images. New in DPP v3.11 is Digital Lens Optimizer – a revolutionary new tool designed to drastically improve image resolution.

Digital Lens Optimizer (DLO) precisely imitates lens performance, with a series of complex mathematical functions replicating each stage of the journey of light through the optical path. Using this information DLO can correct a range of typical optical aberrations and loss of resolution caused by a camera's low pass filter, by applying an inverse function to each shot to take the image nearer to how the scene appears to the naked eye. This creates exceptionally detailed, high-quality images with highly manageable file sizes, providing photographers with maximum image quality and greater flexibility.

EOS System compatibility

As part of the EOS System, the EOS 5D Mark III is immediately compatible with over 60 EF Lenses, including the EF 24-70mm f/2.8L II USM – the new, essential wide-angle zoom lens from Canon's famous L-series. The camera is also compatible with a newlyannounced range of accessories designed to offer extended creativity, including the Speedlite 600EX-RT – a high performance TTL flash with wireless radio connectivity. Additionally, the new Battery Grip BG-E11 offers greater handling flexibility alongside the ability to double the camera's battery life.

Canon EOS 5D Mark III – Key features:

• 22.3 Megapixel full-frame sensor
• 61-point autofocus
• Up to 6fps continuous shooting
• Native ISO 100-25,600 sensitivity
• Full HD video with manual control
• 14-bit DIGIC 5+ processor
• Enhanced Weather sealing
• 8.11cm (3.2-inch) 1,040,000-dot screen
• HDR mode with presets

Nikon Announces The D800

TOKYO - Nikon Corporation is pleased to announce the release of the Nikon D800 FX-format digital SLR camera. The D800 offers the world's highest* effective pixel count of 36.3-million pixels, and is equipped with the new EXPEED 3 image-processing engine and a 91K-pixel (approximately 91,000 pixels) RGB sensor for overwhelming definition and image quality. Nikon will be exhibiting the D800 at the CP+ CAMERA & PHOTO IMAGIING SHOW, to be held Thursday, February 9 through Sunday, February 12 in Yokohama, Japan. This exhibition is open to the public.

The D800, a new FX-format model offers a noteworthy effective pixel count of 36.3-million pixels. At its core is superior image quality equal to that achieved with medium-format digital cameras. The D800 is also equipped with a number of new functions for a high level of added value, all in a compact and lightweight body.

In addition to a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine, specifically optimized for Nikon digital SLR cameras, the D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor that supports the Advanced Scene Recognition System with its noteworthy advances in scene recognition performance. The camera is also equipped with a number of new functions, including Multi-area mode Full HD D-Movie that enables movie recording using either the FX-based movie format or the DX-based movie format.

For users who demand an even greater sense of definition, Nikon also releases the D800E, a model that offers increased resolution for images with more dimension.

D800 Development Background

Reflecting Nikon's efforts to respond to a number of demands, including those for a higher pixel count, better image quality, and a smaller and lighter camera, the D800 is a digital SLR camera developed to capture still images with the superior resolution and record movies with the true high-definition picture quality demanded not only by advanced amateur photographers but also by professionals.

Nikon is responding to the needs of users who demand more from photographs and movies with the recently announced D4, a flagship model that combines excellent definition and image quality with superior high-speed performance, and the D800, a model that offers the ultimate in resolution demanded for nature and studio photography.

D800 Primary Features

1. New Nikon FX-format CMOS image sensor

   The D800 is equipped with a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine for Nikon digital SLR cameras. This new image-processing engine is faster and offers greater performance. The camera also offers the world's highest* effective pixel count of 36.3-million pixels. When combined with the sharp rendering of NIKKOR lenses, images exhibiting resolution equal to that achieved with medium-format digital cameras are possible.

   The D800 also responds to the demands of professional photographers with a standard sensitivity range of ISO 100–6400, and additional support for equivalents of ISO 50 (Lo 1) and up to ISO 25600 (Hi 2), for superior image and picture quality in dimly lit situations, such as just before sunrise and just after sunset, with shooting of still images as well as movie recording.

   • *Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012
2. New 91K-pixel RGB sensor for the more accurate Advanced Scene Recognition System

   The D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor. When a human face is detected in the frame, 3D Color Matrix Metering III bases exposure control on the brightness of that face so that the face is optimally exposed even with backlighting. In addition, the superior resolution of the metering sensor, which makes full use of an incredible 91,000 pixels, enables extremely precise analysis of the scene for more accurate control over autofocusing, auto exposure, i-TTL flash control, and auto white balance.

   • *There is no display in the viewfinder that shows when a face or faces have been recognized.
3. Multi-area mode Full HD D-Movie for movie recording using one of two movie formats

   The D800 records movies exhibiting superior resolution with optimal processing of information acquired from the 36.3-million pixel image sensor. Recording of 1920 x 1080p/30-fps full-HD movies is supported, and users can choose to record using the FX-based movie format or the DX-based movie format according to recording conditions. The FX-based movie format offers a shallow depth-of-field with an emphasis on blur characteristics while the DX-based movie format enables recording of movies that bring subjects closer when lenses with short focal lengths are used. The D800 is also equipped with a headphone jack and supports precise adjustment of microphone sensitivity. In addition, it supports simultaneous display of movies or the movie live view display in the camera monitor and on an external monitor. Further, the D800 responds to the needs of professionals who require uncompressed movie files with the ability to record movies directly to an external HDMI recorder in movie live view mode. The D800 also offers a time-lapse photography function that captures images at a selected interval and then combines the images to create a time-lapse movie that shows the changes in a particular scene that occur over time.

4. Viewfinder frame coverage of approximately 100%*¹ and a lightweight and durable water- and dust-resistant body

   The viewfinder built into the D800 supports a frame coverage of approximately 100%*¹ and magnification of approximately 0.7x*². Adoption of a magnesium alloy for the body gives the camera the same level of durability as the D700 with a weight approximately 10% less.

   • *1With FX-format image area
   • *2With 50-mm f/1.4 lens at infinity, -1.0 m^-1
5. Support for high-speed continuous shooting and a variety of battery types with the Multi-Power Battery Pack MB-D12 (optional)

   The MB-D12 supports the Rechargeable Li-ion Batteries EN-EL15 and EN-EL18, common AA batteries, and the AC Adapter EH-5a/b (with Power Connector EP-5B). When the MB-D12 is mounted on the D800, high-speed continuous shooting at approximately 6 fps* using the DX-format image area is possible. The MB-D12 also offers the added convenience of controls, including shutter-release button, AF-ON button and multi-selector, for vertical shooting. What's more, the same seals as those used for the D800 with its magnesium body offer superior resistance to dust and water.

   • *When powered by the AC adapter, or AA batteries or Rechargeable Li-ion Battery EN-EL18 with the MB-D12. Measured according to CIPA guidelines.
6. Other D800 Functions and Features
   • A 51-point AF system for improved subject acquisition and focus performance under dim lighting. In addition, 11 focus points (five at center with an addition three to each side) are fully functional when lenses with a maximum aperture of f/8 are used.
   • A 3.2-inch, approximately 921k-dot LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle
   • A virtual horizon that shows the degree to which the camera is tilted sideways (roll), or forward or backward (pitch) with display in the monitor and viewfinder
   • A new shutter unit that has passed testing for 200,000 cycles and supports a maximum shutter speed of 1/8000 s and flash sync speed of 1/250 s
   • Continuous shooting at 4 (FX-format/5 : 4 image area) or 5 (DX-format/1.2x image area) fps*
     • *When powered by a Rechargeable Li-ion Battery EN-EL15
   • CompactFlash and SD dual memory card slots
   • Support for SuperSpeed USB (USB 3.0)

The D800E with specifications for even greater resolution with an effective pixel count of 36.3-million pixels

In-camera disabling of the aliasing and moiré pattern reduction operation performed by the optical low-pass filter built into the D800E allows light passing through a NIKKOR lens to strike photodiodes directly for even greater resolution. This makes this model optimal for landscape and artistic photography with which higher resolution and clear definition is demanded. With the exception of the modification indicated above, all other functions and characteristics are the same as with the D800.

• Aliasing and moiré patterns may be more noticeable in images captured with the D800E with some subjects, scenes or shooting conditions.
• Optical low-pass filter IR coating and anti-reflection coating performance is the same with both the D800 and the D800E.