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Canon EOS-1 Tips And Techniques

Eos-1 series digital slr camera.
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J
C
C
GETTING THE MOST
FROM YOUR EOS-1
CLASS DIGITAL SLR
TIPS AND TECHNIQUES:
CAMERA HANDLING
& MAXIMUM IMAGE
QUALITY

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   Summary of Contents for Canon EOS-1

  • Page 1

    GETTING THE MOST FROM YOUR EOS-1 CLASS DIGITAL SLR TIPS AND TECHNIQUES: CAMERA HANDLING & MAXIMUM IMAGE QUALITY...

  • Page 2

    We have intentionally provided detailed explanations to clarify the reasoning behind our recommendations, but at the beginning of the document there is also a brief summary of the main points for your convenience. Thank you for using Canon products! We want you to know that we sincerely appreciate your patronage.

  • Page 3: Quick Reference Guide

    For maximum AF Speed, use current USM lenses and avoid Extenders: Current USM lenses such as the IS super-telephoto series are optimized for maximum AF speed when used with EOS-1 class digital SLRs. In exchange for increasing focal length, EF Extenders reduce lens drive speed and maximum apertures.

  • Page 4

    Apply post-process sharpening effectively: Canon EOS digital cameras have an anti-aliasing filter installed on the image sensor. This filter improves color rendition and practically eliminates moiré. The liability is a slight reduction of sharpness. To reduce the softening effect of the anti-aliasing filter we ®...

  • Page 5: Table Of Contents

    CONTENTS I CAMERA FEATURES AND OPERATION The 45-point AREA AF Sensor The Evolution of AF Speed & Predictive AF Control AF Modes AF Point Selection Methods AF Performance According to Subject Contrast & Detail AF Performance According to Light Levels Shutter Release Techniques: Half-Press vs.

  • Page 6: I Camera Features And Operation

    AND OPERATION 45-point Area AF Sensor EOS-1 class digital SLRs use an improved version of the 45-point Area AF CMOS sensor unit that was originally introduced in 1998 with the EOS-3. The pixel density and layout of sensor elements together with the patented design of the camera’s sub-mirror and separator lenses gave rise to the name “Area AF”...

  • Page 7: The Evolution Of Af Speed & Predictive Af Control

    EOS camera released to date (2004). The EOS-1D Mark II was the first Canon camera to feature two dedicated CPUs for AF: one for detection and calculation, and another to control lens drive. EOS-1 class cameras prior to the 1D Mark II used a single dedicated CPU for all AF operations.

  • Page 8: Af Modes

    One-Shot, the focus indicator still blinks when the subject can't be focused, but it lights up continuously when focus has locked. AF Point Selection Canon provides two AF point selection methods: Automatic and Manual. The details of Methods each method are described below.

  • Page 9: Af Performance According To Subject Contrast & Detail

    AF Performance According The 45-point AF sensor used in current EOS-1 class cameras has been engineered to to Subject Contrast & perform as well as possible with low-contrast subjects. However, the sensor is part of a...

  • Page 10: Shutter Release Techniques: Half-press Vs. Mash

    focus manually until you are “in the ballpark,” then try using AF for fine-tuning. Additionally, this is an instance where the distance range selector switch on “white” lenses like the EF 70-200mm f/2.8L USM can reduce the length of time the AF system spends hunting for focus, if your subject distance happens to be beyond the range stated on the lens switchboard.

  • Page 11: Autofocusing Techniques: Off-center Focusing Points Vs

    C.Fns and P.Fns according to individual camera models, most of them are consistent across the product line. For the purposes of this document, we will concentrate on C.Fns and P.Fns that affect AF performance with EOS-1 class digital SLRs.

  • Page 12

    shutter release simply by pressing or lifting the thumb off the AE Lock button. • C.Fn 4-2 keeps AF start on the shutter button, but allows the photographer to stop AF temporarily by pressing the AE Lock button. AE Lock is unavailable in this mode, but it doesn’t make any difference when the camera is set for manual exposure as it often is for professional sports photography.

  • Page 13

    focusing points results in faster manual selection, and linking spot metering to the manually selected focusing point comes in handy under certain circumstances, particularly with off-center subjects. • C.Fn 13-2 also reduces the number of manually selectable focusing points to 11, just like C.Fn 13-1, except that spot metering is fixed at the center of the frame.

  • Page 14

    • C.Fn 18-0 is the default setting. The camera can “register” (memorize) a user-specified focusing point or even automatic focusing point selection, then switch immediately to the registered focusing point by pressing the focusing point selector button and the Assist Button. •...

  • Page 15

    photography when another subject or obstacle temporarily blocks the original subject. The default setting is 0.5 seconds, but with this Custom Function it can be tweaked faster or slower according to the photographer’s personal preference. • C.Fn 20-0 is the camera’s standard setting. It programs the AF to remain at the most recently focused distance for up to 0.5 seconds while an obstacle is blocking the original subject.

  • Page 16: Combining Custom Functions: Advanced Operations

    As you can see from reading the section on Custom Functions, there are a great many Custom Functions: C.Fns that relate to the navigation of the EOS-1 class 45-point Area AF sensor. Used Advanced Operations individually they can go a long way towards simplifying and easing the operation of the camera.

  • Page 17

    Use the normal method for choosing either a specific focusing point or AFPS. When you’ve made your selection, hold in the Assist Button and simultaneously press the FEL button near the Shutter Release. The LCD panel on the top of the camera should now confirm the registration of that focusing point by displaying the letters HP until you’ve taken your finger off the FEL button.

  • Page 18

    Background Traditionally photographers have used the FLR (focus, lock, recompose) method when interfacing with their camera and their subject. This is how it had to be done with manual focus cameras and the early auto-focus models with a single focusing point. Almost everyone knows how to use FLR, but it can cause problems.

  • Page 19

    the main subject is the closest and most prominent object in the frame and, in One-Shot, this is where AFPS works best. The Bonus Feature is that the QCD is now part of your focusing system rather than your exposure control. The exposure controls are relocated to the AF Point Selection Button. Hold the selection button in and turn the Main Dial on top of the camera to adjust exposure compensation in AE modes, or f/stops in Manual mode.

  • Page 20

    (as if you were in One-Shot). And with Canon EF lenses that have Full-Time Manual focusing, including all USM lenses with distance scales, you now have manual focus… all three focusing options available without having to take your eye from the finder.

  • Page 21

    General Purpose Combo This isn’t really a combination, except that we included C.Fn 17-1 as an option so it’s a little more reliable when you’re using a single focusing point in poor lighting. But, it is a very useful combination of settings because it gives more versatility to the photographer.

  • Page 22

    and let you experiment knowledgeably with other combinations that might be better suited to your specific needs. Personal Function 00 Once you get a combination of Custom Functions that works best for you, it can then be saved (along with any other C.Fns you use) as a Custom Function Group by registering it with Personal Function 00.

  • Page 23: Ii. Lens Issues

    IS, 500mm f/4L IS and 600mm f/4L IS), autofocus noticeably faster than the non-IS versions they replaced when used with an EOS-1 class digital SLR. Therefore, if you want to experience the maximum performance of your EOS-1 class digital SLR in terms of AF speed, you must use a recent lens.

  • Page 24: Iii. Image Quality Settings

    III. IMAGE QUALITY SETTINGS RAW vs. JPEG EOS-1 class digital SLRs allow photographers to shoot RAW files, in-camera JPEGs, or RAW plus JPEG simultaneously. The RAW file setting records image data directly from the image sensor at maximum resolution without JPEG compression artifacts, thus resulting in maximum image quality at the expense of relatively large file sizes on the memory card.

  • Page 25: In-camera Sharpness, Contrast, Saturation & Color Tone Control

    On the other hand, the default setting for sharpness level on EOS-1 class Digital SLRs is 0 on a scale from 0 to 5. This lack of in-camera sharpening was intentionally chosen by Canon to preserve as much...

  • Page 26

    image detail as possible with in-camera JPEGs. (In-camera sharpness settings do not apply to RAW files because they can be overridden during conversion.) The default “no sharpening” setting allows maximum latitude for post-processing. In commercial printing for example, sharpening is best applied after the image is converted to CMYK. However, photographers who wish to reduce the need for post-processing of in-camera JPEGs should explore the use of higher in-camera sharpness settings.

  • Page 27

    See Unsharp Mask. Contrast & Saturation: With EOS-1 class digital SLRs, Contrast and Saturation can be adjusted on a 5 step scale from -2 to +2, with the default setting at 0 (mid-scale). Although neither of these settings directly affects the sharpness of an image, they can very significantly affect its apparent sharpness and overall appearance.

  • Page 28: Iv. Sharpness Evaluation

    EOS-1Ds Mark II Clearly, there is a tremendous difference between image dimensions on screen at 100% magnification and image dimensions at 300 ppi. EOS-1 class digital SLRs produce images so large that viewing them at 100% magnification is like viewing a poster-sized print.

  • Page 29: Motion Blur

    bound to look softer than it would at greater viewing distances or lower magnification. Therefore, if printed output, especially at 8.5" x 11" or less, is the final objective, it’s best not to rely completely on monitors to judge image quality. To prove this point, we encourage you to compare your printed images to the on-screen versions.

  • Page 30: Sharpening Methods In Post Processing

    V. SHARPENING METHODS IN POST-PROCESSING Adobe Photoshop’s If little or no in-camera sharpening has been applied prior to viewing an EOS-1 class Unsharp Mask Filter Digital SLR image at 100% magnification, especially with the EOS-1D Mark II, most photographers will agree that the image looks soft, even if it has been properly focused and exposed.

  • Page 31: 3rd Party Sharpening Software

    Sharpener Pro, operate within Photoshop and other plug-in compatible programs. Others, such as Digital Domain’s popular Qimage software are standalone applications. Although Canon does not officially endorse 3rd-party products, we encourage users to explore the available options in image sharpening software. Here is a partial list of current sharpening filters and applications: Vendor: nik multimedia, inc.

  • Page 32: Raw Converters

    RAW converters also vary significantly in conversion speed, color management capabilities and other workflow-related issues. We encourage you to explore the various offerings to find your own favorites. Canon offers a detailed, animated Web tutorial on Digital Photo Professional (DPP) from well-known photographer and Photoshop expert Eddie Tapp here: V.

  • Page 33: Equipment Calibration Issues

    2. Place the camera on a sturdy tripod and use a remote switch when firing the shutter. For maximum quality, consider the use of mirror lock. (C.Fn 12 on EOS-1 class Digital VI. EQUIPMENT CALIBRATION ISSUES ISSUES...

  • Page 34

    SLRs.) If you are using an IS Lens, turn off the Image Stabilizer. 3. Select a focusing target with adequate detail from center to edge. A newspaper page is a good choice. 4. Make sure that the target is totally flat and as parallel as possible to the camera. 5.

  • Page 35

    Howard Wallach. Last but not least, we acknowledge Hitoshi Doi, Peter Tvarkunas, Kelly Blok and Rudy Winston from Canon U.S.A.’s Technical Marketing Dept. as well as S-Plus Inc. and PhotoWorkshop.com for their assistance in getting this document formatted appropriately and posted online.

This manual also for:

Eos-1d, Eos-1ds, Eos-1d mark ii

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