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I opted to go crazy and go the full 8mm with the Sigma 8-16mm f/4.5-5.6 on the Sigma SD1 Merrill (equates to 12mm on full frame).

For me, the Sigma SD1 Merrill is the perfect backup camera for the Nikon D800e (more on that later).

Years ago I shot real estate with a Sigma SD14 but quickly migrated to a Canon 5D (original).  Mainly due to the SD14 being a quirky camera that would over heat and lockup if used for bracketing over and over again at a real estate shoot.  The image quality was amazing and I still have my SD14 bodies which I shoot with for landscapes and fun stuff around town.

The biggest limiting factor to the SD14 was the bracketing was only 3aeb, but it did allow it to bracket up to 3EV stops between each.  And one major benefit the SD14 had over Canon/Nikon cameras that were out in 2007-2008 was the SD14 had a larger dynamic range per shot.  But alas…  3EV is too big a stretch between shots for interiors.  You lose window frames and the dynamic range of shooting interiors makes outdoor high contrast scenes seem like a joke.

Fast forward to the SD1.

Still not perfect, but it does allow a 5aeb with up to 1.7EV between each frame.  If you choose 3aeb you can however have it do up to 3EV between each frame.  That’s a bit wider than a 3aeb maxed out at 3EV steps between.  It sill is shy of most dynamic range scenes I deal with day in and day out.  For example the shot above was tonemapped using 10 shots spaced 1EV apart using only natural light from the scene (well…. mixed lighting… but that is another topic all together).  The point is that I had to take two brackets to get all the highlight and shadow data needed.

Even though I had to touch the camera twice, that is something I always had to do with Canon in the past so I got used to being nimble and careful with the dials, etc.  For that shot I set it to manual mode and had it shoot the fastest shutter speeds first.  I had already taken some test frames to make sure the fastest shutter speed had perfect window data and no blown highlights.  So when I set the SD1 to bracket 5aeb, I started the bracket at that fastest shutter speed and had the SD1 options to shoot under to over exposed.  I already knew based on having done this so long what the final shutter speed would be and what I would need to change the camera to for the second bracket… especially because I was just doing 1EV steps so the shutter speed just gets cut in half each frame.

I have a cable release for the SD1, but I could have just as easily have used the 2 or 10 second timer that is right on the top dial.  But I had it set to continuous mode and just held down the release cable’s shutter (button).  It shoots at 5fps.

After that I used the controls on the system to set the next shutter speed to be half that of the final frame from that last 5aeb series.  I had to wait a few second before firing off the second series because the SD1 writes 40+mb files and only has a buffer of 7 shots.  So I had to wait a few seconds before firing off the next 5aeb.

There are two comments about that wait time.  The first one is not as critical, but an FYI of sorts.  First of all, in this case the lighting from the last frame of the first 5aeb to the first frame of the 2nd 5aeb is in no mans land.  Meaning, that’s about where outside detail that is sun lit (ocean/beach/pool) is blown out and where detail of shadows inside are beginning to perk up.  Those middle frames for my line of work are more important for window/door frames and spill areas across a glass table or marble floor.  So if people were moving outside the windows, 9 times out of 10, they are blown out in that second series of shots so it won’t kill the tonemapping in post.

However.

Light moves quickly.  Faster than you realize unless you’ve done this kind of work before.  We’ve all seen timelapses and yes that sun is always moving.  So my little two separate AEB series captures can be quite the challenge when shooting before 9-10am and in the later hours of the afternoon.  Both scenarios where the sun is lower on the horizon and its movements mean that shadows move faster in just seconds time, not minutes.  This can be an issue with tonemapping if you take too long to get the second series taken… with any camera.

Some of you that know me well might be asking why in the world I bought a Sigma SD1 (actually the newly priced SD1 Merrill to be accurate… which is the same as a SD1, but different name so they could save face that they initially mis-priced the SD1 last summer… but I digress).  Again… why would I get a SD1? ….

Well for one thing.  It is very good resolution.  Sigma calls it a 46mp camera, but it’s really a 15mp camera that captures red, green and blue on every pixel.  Sigma multiplies it by 3 because bayer cameras only have one color on each pixel.  Other people have done scientific tests that state it is equal to a bayer camera of 2x the Sigma pixel count (meaning it renders as sharp as a 30mp bayer sensor camera).  No matter how you add or multiple,..  it is a deliciously sharp 15mp.  But the MAIN REASON for me getting the SD1 Merrill is that it is a backup camera for the Nikon D800e (once it is shipping), but currently the backup camera for my Nikon D3 which I had the AA filter removed a few years back.

Moire

Dirty word.  Tougher to fix in post than you know.  Photoshop hell in fact.  That said, I’ve only had about a dozen or so shots in the last 3 years that were ruined by moire.  But I could see it on the back of the LCD right after taking the first frame with my modified D3.  BTW, the pixel sharpness was way better once I got rid of the AA filter.  More importantly, white balance was AMAZINGLY more accurate than the D3 was in AUTO mode prior to removing the AA filter.  Don’t ask my how that works… it just does.

Back to the dirty word.  Moire.

I spent enough hours fixing that crap in post that I realized it would be great someday to not have to deal with it again by simply having a backup camera without the issue.  So the timing of the arrival of my SD1 Merrill could not have been better.  It arrived the day before I shot this gulf front home (1st picture at top of post).  I had framed and shot the first shot with the D3 from the same angle, but man of man did those brown couches freak out the sensor.  Moire everywhere.  So I immediately put the SD1M on the same tripod and proceeded with that shot with it.  No moire.  The foveon sensor somehow deals with it even though it does not have any AA / blur filter over it.

So… when the Nikon D800e is shipping I will be upgrading to it.  Yes I insist on that extra pixel sharpness and that is why I removed the AA filter from my D3 years ago (my clients love it because many of them are builders or architects and they print portfolios to show prospective clients their end product).  So… if I hit a scene with moire with the D800e, enter the SD1M to the rescue.  I bought so many lenses over the years for my Sigma SD14 bodies, I already had what I needed in focal lengths for the SD1M.

I prefer Nikon’s 9aeb for sure, but the SD1 Merrill is a workable solution for me.  That and the fact that the SD1 body is smaller than a 5D and the 8-16mm lens is lighter than Canon’s 17-40mm.  So they don’t hog up a ton of extra space in my one bag solution.

I didn’t buy the SD1M solely as a backup camera.  I have clients that want to do art reproduction for their paintings and the pixel clarity of the SD1 is astounding.  And when using Sigma’s infamous 70mm f/2.8 Macro with the SD1… sharpness and resolution are redefined.

Below is a more tame dynamic range scene taken at that same home with the SD1M.  Again because moire reared it’s ugly head with the D3.  Twice in one shoot.  That never happened before.  Thankfully I had the SD1M.  This image was taken at 12mm on the SD1M which equates to 18mm on a full frame sensor.

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I’ve done several of these before.  I usually price things out below  what you’d pay on eBay.  This time I’m going to just list the gear without hard pricing. Email me if you are interested in any of the following items.

Lenses for Sale:

Canon EF-S 15-85mm f/3.5-5.6 IS USM + (I bought a 3rd party lens hood for it)

Nikon 24mm f/2.8 Ai-s (Manual Focus)

Nikon 28mm f/3.5 Ai-s E series (Manual Focus)

Nikon 50mm f/1.4 Ai-s (Manual Focus)

Nikon 55mm Micro-Nikkor f/2.8 Ai-s (Manual Focus)

Email me at:  digitalcoastimage@gmail.com if you want to purchase any of the above.  First come, first serve.  Paypal for payment.

—- ITEMS BELOW HAVE ALREADY SOLD —-

Canon 580EX II Speedlite  -  2 available

Canon 430EX II Speedlite  - 2 available

Canon ST-E2 Wireless Transmitter

Canon T3i kit with 18-135mm IS lens f/3.5-5.6
(warranty card & receipt not yet submitted so that you can yourself)
Extra 3rd party battery and also a 3rd party battery grip

Canon T3 + 18-55mm IS Lens

Canon T1i with Canon Battery Grip

Canon Mount Sigma 10-20mm f/4-5.6 lens bought a few months ago (mint)

Canon Mount Sigma 8-16mm f/4.5-5.6 lens in mint condition

Canon G12

Pentax K-x with AD adaptor to power into a wall

The 5D Mark III multiple exposure mode explained

Here is the link to download the Canon 5D Mark III user guide.

I’ve already been hammered by the question of whether or not the final file from the multiple exposure mode is a JPEG or other.  I’m thrilled to report that the final composite is a Canon RAW file!!!

Unfortunately you cannot go and bracket a shoot and then later use those shots you took to then work through the multiple exposure mode and get results you would prefer. You may ask why this matters to an architectural photographer.  Well,… things move.  Trees, sunlight, etc.  So the best of all circumstances would have been that you could have set the camera up for a bracket of say 9 images and then blast off the series at the camera’s 6fps rate.  Then when time permits you could sit down with the camera and select that series to then choose various modes to run thru for the multiple exposure mode.  But that is not the way it works.  You can choose any image as your starting frame, but you then need to keep shooting to add to the series/sequence.  So you can’t do this in post (per se).

As limiting as I made that sound in the prior paragraph, the fact that you can shoot up to 9 images and use the various options to blend them together is beyond amazing.  I can tell you right now that this camera will forever change the field of Architectural Photography.

Here is a page tear right from the 5D Mark III user guide that hits on the file types.

As I said in a prior blog post, the Canon 5D Mark III is as far as I can tell to be the best current day tool for shooting Architectural Interiors.  Here are some screen shots of the user manual that clearly state features that exist in no other full frame DSLR (other than the 1DX) to date.  The creative abilities between this and the HDR Mode are endless.

The Yen vs Dollar exchage can’t be ignored

I’ve been saying for years now here and on Twitter that Canon and Nikon have been forced to raise prices simply due to currency exchanges.  I’ll give you a small example.  In 2007 a lens I bought for $1400 now sells for $1900.  Did it get better?  No.  But the exchange rate changed.  So Nikon had to raise the prices in order to still maintain the same profit margin.

It sucks… but here were are in the biggest recession of our lifetimes and Nikon and Canon are forced to stiffen or raise prices so they can maintain a profit.  It’s a double whammy for USA folks.  Lower wages, less jobs…. and higher prices.

What amazes me is that the photographers solution is to try and stay competitive by LOWERING prices for their services.  I don’t get it.  I’ve been raising rates by 5-10% annually for 7 years now and yes I lose some clients that are cheap, but most stick with the quality.

5D Mark III HDR Mode Review

More details are emerging. The video linked below is Chuck Westfall reviewing the HDR mode of the 5DM3.  This HDR Mode is different from the AEB capabilities which are said to be 2, 3, 5, 7 aeb which has existed in the 1D/1Ds series bodies for many years now. FINALLY they trickle down to the 5D series!!!

But before I touch on the extended AEB features, the stills and video below showcase the HDR Mode and the options you have in that menu system.  What Pentax and Sony (and Canon until now) failed to do is KEEP the original shots that were used to do the in camera processing.  I’m assuming that if you shoot raw as your option, then you’ll have the three raw files PLUS the final in camera processed image on your CF/SD card. YES!!!  Finally!  This is so incredibly important.  Why?

By allowing one to keep the original raws, one could correct for white balance in post with one or more of the raws if the HDR Mode is in fact fully automatic as it relates to the camera guessing at the White Balance (more on that on a future blog post).  Also, one could reprocess the raws in post and then use the in camera choice and one that you tonemap manually to then layer in photoshop and then adjust opacity to taste to give you the best of both worlds.

Canon’s DIGIC 5+ is HDR Voodoo

Granted the part I’m referencing is the “multiple exposure” mode, but I’ve already figured out how to use this for Architectural Photography based on how it is described in the second bullet point below…

DIGIC 5+ processor The 5D Mark III contains a single DIGIC 5+ processor. The latest generation of Canon image processing unlocks new capabilities, including:

1. Chromatic Aberration Correction The new filtering is implemented in a manner similar to Canon’s vignette-reducing Peripheral Illumination Correction: profiles of Canon lens characteristics are loaded into the camera for the glass you use most, and then the correction is turned on in a menu. Chromatic Aberration Correction is applied to both stills and video, and addresses both lateral and axial aberrations.
2. Multiple exposure mode Up to nine individual exposures can be combined, with a buffet of frame blending options including four different compositing methods – Additive, Average, Bright and Dark – and two different ways of capturing the source frames.The first way involves shooting one frame at a time, watching the blended image build to completion on the rear LCD as each new frame is shot. You can undo the last frame and retake it, you can optionally use a previously-captured RAW frame as your starting point for the multiple exposure and you can choose to save each individual frame as well as the composite frame to the memory card. The second way is simpler: shoot a multiple-frame continuous burst at up to 6fps and the 5D Mark III will blend them.
3. In-camera RAW converter Conversion settings that can be adjusted prior to conversion include software exposure compensation, white balance, Picture Style, colour space, Auto Lighting Optimizer, High ISO NR, Peripheral Illumination Correction, Chromatic Aberration Correction and the output dimensions and quality of the converted JPEG.

5D Mark III does 2, 3, 5, 7 AEB

I’ve seen this show up on many sites that got hands on demos with the 5DM3. For those of you not familiar, there are options you can enable on the 1D/1Ds series bodies that take the default 3aeb to extended options of 2, 3, 5, 7 aeb with steps of either 1/2 to 1/3EV between frames.  However, you could increase the steps to be as large as 3EV between each frame.  This meant you could do a massive mind blowing 7aeb with 3EV steps between each frame.  (more on this in a future blog post)

Stills from the 5D Mark III Review of HDR Mode

——————————————————————————————

Canon 5D Mark III Video Review HDR Mode

I haven’t yet found a video review of the AEB extended options being shown.  If you find a youtube clip or otherwise showing the 2, 3, 5, 7 aeb being enabled on the 5DM3, please email me or leave a comment below with the link. I’ve found that the early news on AEB is often reported incorrectly for more than just Canon DSLRs.

In the past I’ve trusted Dpreview.com and I’ve quoted what they have under the AEB options and have later found out their initial posting of AEB specs were incorrect.  I’ve also seen both Bhphoto.com and Adorama.com do the same and then later update their pages to reflect the correct aeb options.  For example, BHPhoto.com was showing 9aeb for the 5DM3 on launch day. I’m not sure if they’ve corrected that or not, but I’ve emailed them about it.

For more info about HDR and as it may relate to the 5DM3, check back to HDRLabs.com often.  Specifically check out the great new info about JPEG-HDR at Christian’s latest post: http://hdrlabs.com/news/index.php?id=4371133769309610897

Canon 5D Mark III HDR

Canon 5D Mark III available for Pre-Order!
Canon EOS 5D Mark III Digital Camera (Body Only)

The most up to date Canon 5D Mark III info is now posted on this blog post:
http://www.hdriblog.com/2012/03/03/canon-5d-mark-iii-review-hdr-mode/ 

Canon’s DIGIC 5+ is HDR Voodoo

Granted the part I’m referencing is the “multiple exposure” mode, but I’ve already figured out how to use this for Architectural Photography based on how it is described in the second bullet point below…

DIGIC 5+ processor The 5D Mark III contains a single DIGIC 5+ processor. The latest generation of Canon image processing unlocks new capabilities, including:

1. Chromatic Aberration Correction The new filtering is implemented in a manner similar to Canon’s vignette-reducing Peripheral Illumination Correction: profiles of Canon lens characteristics are loaded into the camera for the glass you use most, and then the correction is turned on in a menu. Chromatic Aberration Correction is applied to both stills and video, and addresses both lateral and axial aberrations.
2. Multiple exposure mode Up to nine individual exposures can be combined, with a buffet of frame blending options including four different compositing methods – Additive, Average, Bright and Dark – and two different ways of capturing the source frames.The first way involves shooting one frame at a time, watching the blended image build to completion on the rear LCD as each new frame is shot. You can undo the last frame and retake it, you can optionally use a previously-captured RAW frame as your starting point for the multiple exposure and you can choose to save each individual frame as well as the composite frame to the memory card. The second way is simpler: shoot a multiple-frame continuous burst at up to 6fps and the 5D Mark III will blend them.
3. In-camera RAW converter Conversion settings that can be adjusted prior to conversion include software exposure compensation, white balance, Picture Style, colour space, Auto Lighting Optimizer, High ISO NR, Peripheral Illumination Correction, Chromatic Aberration Correction and the output dimensions and quality of the converted JPEG.

3aeb still sucks for high contrast scenes

CANON’S MARKETING INFO:
Multiple exposures are possible in-camera and up to 3 exposures can be recorded onto a single file using 4 distinct settings for control. When in Additive mode, this closely resembles making multiple exposures on film and layers each exposure; manual exposure compensation is required. Average mode layers the images and automatically compensates for the final exposure, eliminating the unintended possibility of gross under or overexposure. Bright mode is specifically designed for photographing in uniformly dark scenes with a bright subject, such as a studio environment. Dark mode functions inversely, and helps to eliminate overly bright sections of the image including reflections and highlights.

That paragraph above is canon’s explanation. How it works in the field remains to be seen, but I’m VERY interested in more than one possible way this could be useful for my line of work.  My brain is spinning with ideas already.  However only 3 exposures blended is not very useful for architectural work… at least not useful for 70+% of scenes I shoot daily.

Possible 3, 5, 7 AEB options for HDR on the 5D Mark III

I was listening to the Planet5D.com live call today and heard that Barry Andersson and Mitch interviewed Chuck Westfall about the 5D Mark III. Specifically, they asked him a question about what AEB options it will have.  Barry said (and Mitch confirmed) that Chuck said it would do 3, 5 or 7 aeb.

Unless Chuck Westfall is uninformed (highly unlikely), then that means the advanced option settings from the 1D/1Ds series bodies has finally trickled down into the 5D Mark III. And it’s about time. Nothing on Canon’s site indicates 3, 5, 7 aeb… it only shows 3aeb. So until I get my hands on one and test it out it’s all speculation.

High Dynamic Range (HDR) mode

CANON’S MARKETING INFO:
A High Dynamic Range (HDR) mode is also incorporated and allows for the creation of HDR images in-camera, reducing the time needed to manually overlay images in post-production. When using this mode, a series of bracketed exposures are made of the same image, then automatically integrated into the same frame, resulting in a photograph without blown highlights or blocked up shadows and a long middle range of tones. This mode is especially useful when photographing scenes with a great deal of contrast.

That paragraph above is canon’s explanation.  I’m afraid that might be the G12 method of fully auto settings. Auto ISO, auto shutter speed, auto aperture, auto white balance.  Works fine in consistent daylight, but not too great for mostly every other scene.

New Canon Speedlite 600EX-RT announced

Canon Speedlite 600EX-RT Available for Pre-Order!
Canon Speedlite 600EX-RT

Canon’s new Speedlite 600EX-RT is engineered to provide a new level of performance and reliability for professional flash photography with today’s most advanced DSLRs. With wireless two-way radio communication, the Speedlite 600 EX-RT allows photographers to expand their creativity using wireless speedlites with the reliability of radio triggering.

The Speedlite 600EX-RT offers an expanded zoom range and a higher guide number, plus a number of improvements over its predecessor in both operation and feel. It features a new dot-matrix LCD panel for display of all pertinent shooting information, backlit controls plus an internal sound generator. Reliability is ensured with improved hot shoe contacts, improved flash head durability and the most comprehensive dust and water sealing system ever on a Canon Speedlite flash. A new color filter holder helps maintain accurate color in a variety of ambient light conditions.

Speedlite 600EX-RT Key Features

• New wireless multiple flash system using radio wave communication
• Zoom flash head covers wide range of 20-200mm; Max. Guide No. 197 ft./60m at ISO 100
• Redesigned contact construction, improved flash head durability, and exceptional dust and weather resistance
• 18 Custom and 3 Personal Functions for creative flexibility

New Canon Speedlite Transmitter ST-E3-RT Announced

For sophisticated wireless flash techniques, there’s nothing like the new Speedlite Transmitter ST-E3-RT*. Facilitating radio controlled, two-way wireless transmission up to 98.4 feet, among up to five groups or fifteen individual Speedlites, the ST-E3-RT represents the next generation in wireless flash systems.

Speedlite Transmitter ST-E3-RT makes complex lighting setups easy

With operational controls similar to the new Speedlite 600EX-RT, including diverse flash metering options, and a number of flash modes, the Speedlite Transmitter ST-E3-RT makes complex lighting setups simple. With a compact design and highly reliable construction, combined with a clearly laid-out information panel and buttons with back lighting and more, the Speedlite Transmitter ST-E3-RT is an indispensible tool for advanced, professional flash photography.

*Because it does not have an optical transmission function, the Speedlite Transmitter ST-E3-RT is not compatible with earlier Speedlite models such as 580EX II.

Speedlite Transmitter ST-E3-RT Key Features

• Newly designed wireless system uses 2-way radio wave communication for enhanced communication among master and slave units
• Achieves a transmission distance of up to 98.4 ft. / 30m, all at a 360 degree angle
• Up to 5 groups, or 15 individual flashes can be controlled via 1 transmitter
• Supports E-TTL II flash, manual flash, stroboscopic and external flash metering

Canon Speedlite Transmitter ST-E3-RT has no optical transmission function

*Because it does not have an optical transmission function, the Speedlite Transmitter ST-E3-RT is not compatible with earlier Speedlite models such as 580EX II.

5D Mark III Full Spec List has emerged

Just hours before the big Canon events worldwide, spec lists and images of the 5D Mark III are spreading over the net like wild fire. Some are complaining about the 22.3 Megapixels not being enough while others are upset about speed. Personally, the specs look really solid to me.

The most up to date Canon 5D Mark III info is now posted on this blog post:
http://www.hdriblog.com/2012/03/03/canon-5d-mark-iii-review-hdr-mode/ 

Canon’s DIGIC 5+ is HDR Voodoo

Granted the part I’m referencing is the “multiple exposure” mode, but I’ve already figured out how to use this for Architectural Photography based on how it is described in the second bullet point below…

DIGIC 5+ processor The 5D Mark III contains a single DIGIC 5+ processor. The latest generation of Canon image processing unlocks new capabilities, including:

1. Chromatic Aberration Correction The new filtering is implemented in a manner similar to Canon’s vignette-reducing Peripheral Illumination Correction: profiles of Canon lens characteristics are loaded into the camera for the glass you use most, and then the correction is turned on in a menu. Chromatic Aberration Correction is applied to both stills and video, and addresses both lateral and axial aberrations.
2. Multiple exposure mode Up to nine individual exposures can be combined, with a buffet of frame blending options including four different compositing methods – Additive, Average, Bright and Dark – and two different ways of capturing the source frames.The first way involves shooting one frame at a time, watching the blended image build to completion on the rear LCD as each new frame is shot. You can undo the last frame and retake it, you can optionally use a previously-captured RAW frame as your starting point for the multiple exposure and you can choose to save each individual frame as well as the composite frame to the memory card. The second way is simpler: shoot a multiple-frame continuous burst at up to 6fps and the 5D Mark III will blend them.
3. In-camera RAW converter Conversion settings that can be adjusted prior to conversion include software exposure compensation, white balance, Picture Style, colour space, Auto Lighting Optimizer, High ISO NR, Peripheral Illumination Correction, Chromatic Aberration Correction and the output dimensions and quality of the converted JPEG.

5D Mark III HDR Mode

Probably the most interesting spec to me is the referenced High Dynamic Range (HDR) Mode.  I’m hopeful that is not a fully auto mode like in the Canon G12 where you have no way to control white balance, ISO or aperture.  I would hope that Canon wouldn’t take controls away a professional would want to use.  I’m guessing that the HDR Mode is taking a 3aeb given that is how they currently have it implemented with the G12.  I haven’t seen any reference to the number of shots the camera’s auto bracketing has.  Hopefully Canon didn’t cripple it again to only having 3aeb.

Canon 5D Mark III available for Pre-Order!
Canon EOS 5D Mark III Digital Camera (Body Only)

Unsurpassed Image Quality
22.3 Megapixel Full Frame CMOS sensor
DiG!C 5+ Image Processor
ISO 100-25600 (expandable to L:50 H1:51200, H2: 102400
Full HD Movie (ISO 100-12800 (H:25600)

High Performance Operation
61-point high-density reticular AF (up to 41 crosstype points)
6.0 fps for high continuous shooting
Intelligent viewfinder with approx. 100% coverage
3.2-type, approx.1.04m dot (3:2 wide) Clear View LCD II
iFCL metering with 63-zone dual-layer sensor
Shutter durability of 150,000 cycles

High end features
Silent & low vibration modes
Dual card slots (CF & SD)
High Dynamic Range (HDR) Mode
Multiple Exposures
Comparative Playback function
Improved durability & water and dust resistance

SPECIFICATIONS
Available Colours – Black
Megapixels – 22MP
Sensor Size – 36 x 24mm
ISO/Sensitivity – 100 – 25600
Autofocus Points – 61 points
Lens Mount – Canon
LCD Size – 3.2″
Liveview – Yes
Viewfinder – Optical TTL
Min Shutter Speed – 30 sec
Max Shutter Speed – 1/8000 sec
Continuous Shooting Speed – 6 fps
Self Timer – 10 sec, 2 sec
Metering – Centre-weighted, Spot, Evaluative, Partial
Video Resolution – Full HD 1080
Memory Type – Compact Flash
Connectivity – USB 2, HDMI, Mic Input, Wireless (optional)
Battery – LP-E6
Battery Type – Lithium-ion
Charger – Includes Li-Ion Charger
File Formats – AVI, RAW, H.264, MOV, MPEG-4
Dimensions – 152 x 116 x 76mm
Box Contents – Battery Pack LP-E6 .. Battery Charger LC-E6 .. AV Cable AVC-DC400ST ..
Interface Cable IFC-200U .. Eyecup Eg .. Wide Strap EWEOS5DMKIII .. CR1616 Lithium Battery+

All in all a very solid spec list for the 5D Mark III

Until Canon actually releases the specs themselves, this list is unconfirmed.  But in the past these pre-announcement lists have been very accurate when leaked the day before or day of the actual announcement.

Canon 5D Mark III available for Pre-Order!
Canon EOS 5D Mark III Digital Camera (Body Only)

Canon 5D Mark III announcement?

Canon is clearly setting up for a launch of some sorts. I can’t imagine it is just for their powershot series, but who really knows. If this is in fact an announcement of the anticipated 5D Mark III then the web will be nuts on friday.

If they announce the 5D Mark III or new DSLR body, then I am hopeful for two things in particular.

1. More than a 3aeb in camera for auto bracketing.
2. Better dynamic range on the sensor.

Canon has been lagging Nikon for years now when it comes to dynamic range of their sensors. However, the reports by folks who have worked with their new C300 have commented on how remarkable the dynamic range is of that sensor.  I’m hopeful that this will trickle into any new DSLR they announce this week or at Photokina 2012.

3aeb sucks

And it always will. Canon only has good in camera bracketing on the 1D/1Ds series bodies. I assume the 1DX as well, but I’ve not looked.  Nikon cripples their entry level DSLRs as well, but at least their mid range for APS-C and Full Frame (nikon calls that DX and FX accordingly) both have 9aeb whereas Canon’s mid range APS-C and Full Frame options only have 3aeb.

I would love to see a 5D Mark III or whatever they name it as well as any future followup to the 7D to have better options than 3aeb.

Canon’s March 2nd Event

Regardless of what is announced, clearly they are gearing up for it. Here’s some photos that an overseas blogger posted for the asia event (there is rumored to be one in France as well).

HDR Video test footage from Canon T3i

Below is a youtube clip of some test footage that has been post processed and some of the landscapes sped up to be viewed as a timelapse.  The final two clips are normal speed and simple pans of bedrooms from a recent real estate shoot.

The raw footage was shot with a Canon T3i with Magic Lantern’s firmware enabled. That allows the T3i to shoot over/under exposed frames every other frame. There is a base frame and then an over exposed frame that is essentially an ISO boost to give an over exposed frame. From the settings you can choose for the difference to be from 1 to 5 EV steps apart.

All that said. I’m just beginning to toy with this and I must also say that I’m not very excited about the video footage from the T3i compared to my 5D Mark II I sold last year. Had I known Magic Lantern was going to release this firmware, I’d have held onto my 5D Mark II.

Shooting HDR Video with the Canon T3i

Even though you can shoot 1920×1080 with the T3i, I’d recommend shooting at 1280×720 to access the 60 frames per second mode. That’s because you can shoot at 60fps and then in post when you blend the over/under exposed frames together, you’re left with a clip that is 30fps. If you decide to shoot at 30fps or 24fps just realize your frame rates after you have merged your footage will drop in half unless you use optical flow.

As shown in a prior blog post, the raw video will give you alternating frames of over/under exposed.  Below is a graphic showing the over/under exposed frames on the left/right likewise, with the middle frame showing what was the merged result that I used to create the sequences.

Stills showing over and under exposed frames with the tonemapped frame in the middle

Processing the HDR Video shot with your Canon T3i

There are several different post production solutions out there right now and I’ll touch on some of them next week. If you are in a rush to get some shots processed right away you can always use a video program to export JPEG or TIFF stills and then tonemap them via batch processing using HDR applications that have that feature.

I know it’s been a long time.  But I’ve been extremely busy.  I’ve been shooting real estate daily and in almost what feels like non-existent spare time I’ve been working on multiple projects.  Firstly finishing more HDR Training Videos for my Beta Group… and recently obsessing over a good post production workflow for the Canon HDR Video via the Magic Lantern Firmware.

Here are some video frames I pulled from the video of the Canon T3i with the Magic Lantern firmware enabled.  Basically, the firmware allows video to be shot so that frames alternate under exposed to over exposed via a boost in ISO.  Technically there is the base exposure and then a boosted ISO exposure that is the over exposed frame.

It’s not adjusting shutter speed, but rather ISO for the over exposed frame.  If you watch a video recording or playback when the HDR Video is enabled,.. it looks insane.  It flickers up and down every other frame.  So the video needs to be processed in post and there are a variety of post production solutions out there right now which I’ll touch on in a future blog post.

What I’m showing here is the over and under frames of the video on the left and right accordingly with the middle frame showing the two merged together.  Some of these were 2EV apart and some 3EV apart.  You can actually tell the camera to alternate frames via ISO boost in 1E, 2EV, 3EV, 4EV or 5EV steps.  The larger the EV step, the more the ISO is bumped higher to get the over exposed frame.  I found 4EV and 5EV to be really pushing it on the ISO and noise so I tried to keep it around 2-3 EV for testing.

I’m sure the fact I’m using a T3i influences that as well.  I’m pretty sure the results using a full frame 5D Mark II would result in a cleaner and less noisy file due to sensor differences.

If you click on the thumbnails below the full image is 1208 pixels wide so prepare your browsers accordingly.

Click on Photo to view the full size version

To break down each of those shots individually, here are the photos.  Again, clicking on the thumbnail launches the full res still at 1208 pixels wide.

Click on Photo to view the full size version

Click on Photo to view the full size version

Click on Photo to view the full size version

I’ll have more examples up in the coming days and at some point I’ll explain which process for post production I’m using.