even with high ISO settings, you still need great light

Still having fun with the new Canon 5D Mark III (B&H), I met up with Elmira again in New York. Elmira is the model I used in my initial tests of the Canon 5D Mark III high-ISO performance. Being a delightful model to work with, I decided to use her again as a subject.

New York was cold on this day, so shooting indoors just seemed a lot more attractive. We went to Grand Central Station – a grandiose building, but with light levels quite low. Low enough that I was glad that I brought the Canon EF 35mm f1.4L (B&H) along.

camera settings: 1/100 @ f/2 @ 3200 ISO
Even with a high ISO like that, I had to use a fast aperture.

An approach that I strongly believe in though, is that “using the available light” is not random decision. It needs consideration of what your light is actually like, and whether it is flattering. What I did here was to pull Elmira towards a light source, so that the light would come in from an angle over her shoulder …

With the fluorescent light coming through the frosted glass on the door, I knew I had a large light source there .. and I used it. This way, I purposely controlled the available light falling on her. It’s a conscious choice.

Hopefully with the medium-wide angle of 35mm, and the fast aperture, it lends the image a certain cinematic look.

I did crop the image slightly to remove an unwanted highlight in the top right-hand corner. If anyone wants to look at the photo close-up, along with the other images from the Canon 5D Mark II high-ISO test, the high-resolution JPG is available as a download.  The photo is the JPG generated from the RAW file, via DPP.  Therefore it is as close to an in-camera JPG as you will get, while still allowing me to adjust the WB of the RAW file.

camera settings: 1/80 @ f/1.6 @ 3200 ISO
Canon 5D Mark III (B&H);  Canon EF 35mm f1.4L (B&H)

The same idea was applied here in using the available light. I scouted around until I had a place where the light fell on her in a flattering way.

I did play with the image a bit, using the RadLab action set. (Therefore the high-rez file isn’t available, since it won’t be a representative image of what the camera can do.) You can order the RadLab or the Totally Rad action sets, via this affiliate link. The discount code 1086NEILVN will save you 15%

You can order a Canon 5D Mark III via this B&H affiliate link.

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initial impressions: Canon EOS 5D Mark III – high-ISO noise performance

I have to confess something first – whenever an important camera is announced, I have just a cursory interest in the specification sheet. The difference between 40 AF sensors and 70 AF sensors … you know, that’s just a number on the paper. It never really tells you how the camera performs. And with the announcement of the details of the Canon 5D Mark III (B&H), there were a number of websites eager to list the detailed specs. Yay! Well, not really.

There might be some interest in the nomenclature, but what does it really mean that the 5D Mark II has the DIGIC 4 proce­ssor, but there’s a new DIGIC 5+ on the 5D Mark III. Those are just names to me. I can’t get excited about it, or even feign interest in the actual name. I’m much more interested in how the camera will actually perform. You can name it anything you want … but does the camera deliver?

Details for the photo at the top:
camera settings:  1/160 @ f2.8 @ 6400 ISO
Canon 5D Mark III (B&H);  Canon EF 70-200mm f/2.8L IS II (B&H)  at 170mm

There is real excitement about the Canon 5D Mark III (B&H), since everyone is curious if it is that much of an improvement over the 5D Mark II. I have to say, I really think it is. It’s a massive improvement. The AF is more responsive. The camera *feels* better in my hands. The controls are better laid out … although the right forefinger still does too much work, stretching here and there, all over the top plate.

The first thing that I was curious about, was the high-ISO performance. As a wedding photographer here in the New Jersey / New York area, I often deal with low-light situations. In using cameras that allow for superb high-ISO performance, you can really get results that look far more natural than just 5 or 6 years ago. You can shoot with just the ambient light, or blend a touch of flash with the available light, and still have it look natural. The technique is now really much more flexible … all due to the improvements in camera and sensor design.

I met up with a model, Elmira, in Times Square last night to see how the Canon EOS 5D Mark III fares in low light / high-ISO settings.  In short, beautifully.

Times Square has an incredible mix of light sources. It can be surprisingly bright there, depending on the billboards that are flashing. But this also means the lighting is erratic. So, with that, keep in mind that this is not a studio test, nor a controlled test. This is just a real indication of how the camera performs in mixed lighting that isn’t all that bright.

We rained out a little bit and had to take shelter under an awning.  There were Incandescent style lights, and I adjusted the WB as well as I could via the Kelvin setting.

The image at the top was shot shot there … at 6,400 ISO. The White Balance of the RAW file was slightly adjusted in DPP. The lighting was pretty funky though.
Camera settings:  1/160 @ f2.8 @ 6400 ISO
I used the Canon EF 70-200mm f/2.8L IS II (B&H)  at 170mm

When the rain eased up, we went back to the open areas of Times Square, and I took this photo of Elmira, with the rain spattered street in the background. But this time, just for fun, I cranked the ISO up to 12800 ISO.  I used the Canon EF 70-200mm f/2.8L IS II (B&H)  at 85mm

I was shooting at 1/400 @ f/4 at this point because of the bright lights there. So I didn’t actually need that shutter speed, and could’ve used a lower ISO if this was a real photo session. But I was curious about that insanely high ISO:

camera settings:  1/400 @ f/4 @ 12800 ISO
Canon 5D Mark III (B&H);  Canon EF 70-200mm f/2.8L IS II (B&H)  at 85mm

I think it looks quite good!

But this is how the image looks as it was resized for web use … and this easily masks the lack of detail that is a side-effect of noise reduction.

Instead of showing 100% crops of various parts of the images, I decided to make the high-resolution JPG files available as a download from this link.  Right-click and save-as will get you the file.

Keep in mind:
- these are the JPGS from the RAW files as processed with Canon’s DPP software. Both images had the WB tweaked a bit. Since DPP follows the camera picture settings, this as close to an in-camera JPG as you’ll get, while still having the flexibility of the RAW file.
- these images had noise reduction applied to it at the default settings in DPP. (See screen-capture below.)
- the images had sharpening applied at the default settings in DPP. (See screen-capture below.)
- I used the Healing Brush in Photoshop to remove a few skin blemishes. (I don’t think it would be fair to anyone to have 22 megapixels show every slight flaw.)

These two high-resoluton files should make it quite apparent – Canon has a winner on their hands with the Canon 5D Mark III (B&H). We have a camera that gives surprisingly good results at ISO settings that would’ve been regarded as insanely high, just a few years ago.

You can order a Canon 5D Mark III via this B&H affiliate link.

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the Best Camera in the World ..

.. will be the one where the camera manufacturers allow me some input into the matter.  If only Nikon and Canon (and Pentax and Fuji and everyone else) would just gather around a table and listen to me.  If only …

When I get to handle a new camera, I often wonder why the manufacturers designed a camera the specific way they did.  It might be the strange placement of a button or control; or the omission of a feature, or even the deliberate hampering of features in the non-pro bodies.  Sometimes I just wish they would bring in a feature that I love on another camera.

Here are the gear-head musings on what I would insist the Best Camera in the World would be like, if I had any say in it.  (Sorry, but that means this posting will have a lot of words and no images this time around.)

Firstly, the Best Camera in the World would have to be a modern full-frame digital SLR camera (D-SLR)  for the combination of accessibility, versatility and image quality.

I recently moved from using Canon 1D mkIII bodies to using Nikon D3 bodies.  Personally, I think the Nikon D3 is the best camera that has ever been made to date.   But there are a number of pros and cons, and not everything falls in favor of the Nikon D3.  Therefore most of this post is a comparison between these two cameras, and which things from either camera I would want to see in the Best Camera in the World.

But before we even get there, I have to touch on something - Exposure Modes.  Both these cameras fall down sorely when it comes to how the exposure modes are accessed.  Pentax’s ingenuity here towers over them in this regard.

Exposure modes:  Hyper-Program and Hyper-Manual

When Pentax brought out the Pentax Z-1 / PZ-1 in the early 90′s, they had re-thought the way a camera’s exposure modes should to be implemented, in a most inspired way.  They had the usual range of exposures modes we all know, such as Shutter Priority (Tv) and Aperture Priority (Av).   But Program mode became Hyper-Program; and Manual mode became Hyper-Manual.  Sure this sounded gimmicky, until you handled the camera and realized what they achieved.

Hyper-Program worked like Program mode, except that if you dialed the shutter button, it would immediately change to Shutter Priority (Tv), as you change to specific shutter speeds.  Similarly, if you dialed the Aperture dial, then the camera instantly changed to Aperture Priority mode (Av), as you set the aperture.  No need to switch mode dials on the top of the camera.  You just turned either the aperture dial or shutter speed dial to change between the modes at will. And if you wanted to return to the usual Program mode, you just hit the * (star) button.   Intuitive and simple.   (And no, this is completely different than Program Shift.)

Hyper-Manual worked a similar elegant magic in how you controlled the camera’s manual exposure mode.  Let’s say you rely on your built-in meter in this scenario.  If you use any other camera in manual exposure mode, you have to dial the shutter button and aperture button to get to the correct combination for proper exposure.  With Hyper-Manual, you just hit the * button, and the camera entered a combination of settings for you, depending on where you pointed your camera.  This combination of settings could be according to a Program-mode line, or according to the shutter speed your camera happened to be at; or the aperture your camera happened to be at.  (This was set deeper in the menu according to your preference.)

Let’s say you knew you’d be working at f2.8 .. then you’d just hit the * button and the appropriate shutter speed was entered for you.  Perfect for working with the camera’s spot-meter.  If you’ve ever tried to spot-meter with a long lens on your camera while hand-holding it, AND looking at your metering display .. then you know how tough it is.  But with Hyper-Manual mode, you just hit the * button while looking precisely where your spot-meter is aiming.  Much faster.  You just hit one button with your thumb, and you’re set.

Now, should you decide you have the correct exposure, but want to change your shutter speed or aperture, then you hit the Exposure Lock button, and change either the aperture or shutter speed .. and the other setting will follow in relation to the metering value that was entered.

With any other camera, let’s say you have 1/500th @ f2.8 but you want 1/200th @ f4.5 .. then you’d have to turn both dials by the same amount of clicks.  But with Hyper-Manual mode, you lock the exposure combination, and just change the one dial. Either one.  Doesn’t matter.

The way these two modes work is such an incredible stroke of genius, that any camera that doesn’t have those two modes, is severely hampered already.  The Best Camera in the World needs to have Pentax’s Hyper-Program and Hyper-Manual modes.

Now for the rest of the handling, features, buttons and dials …

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The Best Camera in the World also needs …

As mentioned earlier, I’ve used the Canon 1D mk3 bodies extensively, and have now moved to using Nikon D3 bodies.  As wonderful as the Nikon D3 is (and I certainly have strong reasons for the move), the D3 could be improved upon further:

Things that the 1D mk3 has, but are (sadly) lacking on the D3:

• flash exposure compensation on the body.
• flash exposure compensation read-out in the viewfinder.  Another big plus for the Canon.
• being able to select which card I am writing to, and looking at.  You can’t do that with the D3. This is far better thought-out and implemented on the 1D mk3.
• the way you can speedily flick through images with the rear dial. I loved that.
• I preferred the more sensible layout of the AF sensors in the viewfinder of the 1D mk3. (Nikon fans are going to kill me for even saying this.)
• the mk3 has a mode where the shutter noise is quieter. Not quite silent, but definitely quieter.
• the 1D mk3 sensor is self-cleaning .. and it works!  The D3 has nothing. :-/

Things that are better on the D3 …

• AF speed and accuracy, especially in low light.  Seriously, the Nikon D3 is better here.
• high-ISO noise is better with the D3 than the 1D mk3. It’s not a huge jump, but higher ISOs look cleaner on the D3.
• I can select flash OFF with a simple touch of a button on the front of the D3.
• I can program the DoF button for other functions, such as changing to spot-metering momentarily.
• custom function d7 allows the LCDs to light up any time I touch any button.   This is a big deal for me. I hated how the LCD light button was implemented on the 1D mk3 and Canon 5D.
• the feel of the Nikon D3.   It just wants to be gripped in your hands.

Things I hate about the D3 ..

• the positioning of the lever on the front of the camera where you select between Single / Continuous / Manual focusing.  It can easily be knocked out of position.  The way Canon implements this is much better.
• the image type button (raw/jpg) is riiiiight next to the ISO button and WB button.  It’s just begging for you to switch to small JPG instead of RAW during some important point during a shoot.  This is a huge oversight in the controls of the D3.  There should be massive separation between controls which are often adjusted such as ISO and WB … and settings that are crucial, but not adjusted that often, such as selecting the image type and quality (raw/jpg).

Things I loooove about the D3 ..

• I can use Nikon zooms.  The Nikon 24-70mm f2.8 (B&H), is the best mid-range zoom I have used, and the Nikon 14-24mm f2.8 (B&H), is a thing of unparalleled beauty.

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That about covers it as a comparison between these two cameras here.  Some pros and cons to both these top-of-the-line bodies.  From these lists of things I love and hate about either of those two cameras, you can immediately see what I would like to be included for the Best Camera in the World.  I want a hybrid between these two cameras … with Pentax’s Hyper-Program and Hyper-Manual modes.

Ideally, all the camera manufacturer would come together and ask my input on designing their next camera.  So if any of the designing engineers at Canon and Nikon are reading this .. give me a call.  I’m waiting.

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One of the advances that the Canon EOS-1 D Mark III  bodies made over the previous generation 1-series D-SLRS, is in an easier menu system – especially the ‘My Menu settings’.  So while the menu system of the mk3 makes it easier to adjust settings, My Menu settings allow you to change a few of them on-the-run without having to delve into different parts of the mk3 menu.

Here is how I had my cameras set up:

• E-TTL II flash metering

This allows you to change between Evaluative Flash metering and Average Flash metering.  In general, I get better fill-flash results with the camera set to Evaluative Flash metering.  Where my flash dominates as the light source, or if I am shooting in back-lit situations, I change to Average.  (Although you could also just crank up the flash exposure compensation wildly when using Evaluative Flash Metering in a back-lit situation.

• Highlight Alert

The highlight alert is an essential part in seeing whether you have correct exposure.  If your subject has white areas, (eg, a model wearing white clothing), then it is a very useful and immediate confirmation that you have trouble with your exposure .. or not.  So I always keep Highlight Alert enabled.  As a wedding photographer however, I often want to show my client what we’re achieving during a portrait session, and then the Highlight Alert would be distracting and confusing to them.  So keeping this setting quickly accessible, I can turn it off before showing the client the image on the back of my LCD.

• Selectable AF point

I frequently switch between the simpler layout of the ‘Inner 9 Points * ‘  (the 4th option on this setting), and the 3rd option – ’19 Points * ‘

• External Speedlight Control

Because the menu system of the 580EX II speedlight is so spartan (why Canon, why why why?), it is very useful to be able to actually understand what each custom function is that you’re changing on your speedlight.

• Record func+media / folder sel

I use an 8 Gb SD card in the second slot of the mk3 body, to record M1 size JPGs to this card as a back-up of the RAW files that are being recorded on the (main) CF card.  Being able to have a redundant recording of your files as you shoot is very reassuring.  I haven’t had a CF card go down on me yet, but if I ever have that snag, then I would have the 8 Mpixel JPG as a back-up.  With this menu setting, I can flip between recording modes, and also flip between the cards, and see which folders there are. 

• Format

It is useful to have this setting immediately available when formatting numerous cards.  (Although I have to say that due to my paranoia, I never format a card while on a shoot. Always before the time as part of the preparation for a shoot.)

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Other settings on the Canon 1D mk3:

I use the Standard Picture Style as a default, with Contrast at 1, and Saturation at 1.  However, since I only shoot in the RAW format, these settings can always be changed while editing the RAW file in Canon’s DPP software.  (If you edit in another RAW program, then these settings have no impact at all.)

Review Time is set to Hold.
I like having the image on the LCD for as long as I want, without having to hit play.  Simply tapping my shutter button puts the camera back into shooting mode.

No Beep!

Shoot w/o Card is set to OFF.  This is very important, since I don’t even want to think of the possibility of shooting without a card in the camera.  If you shoot tethered, then it’s a different story of course.

C.Fn I-9 : Manual, Av, Program
I only have these three exposure modes enabled, to simplify my options.  Although I very very rarely go out of manual exposure mode, I like having the other two modes available, but really don’t need shutter priority or Bulb for my photography.

C.Fn II-2 : High ISO noise reduction – On

C.Fn III-10 : Switch to registered AF point – On

C.Fn IV-1 : Shutter button - 1:Metering + AF start / AF stop
I prefer using the shutter button to focus, lock & hold when shooting in One Shot mode.

C.Fn IV-4 : Set Button – 1:White Balance
I love this feature, having the WB setting just a quick thumb push away on the rear Set button.  I can see how using this button to have instant access to ISO settings would also be useful.

C.Fn IV-8 : WB + media/image size - 1:LCD monitor
It is just so much simpler making these changes on the large LCD screen than the smaller LCD panel.

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