Folks at LensRentals.com had a chance to disassemble both an original and a “fixed” Canon 5D Mark III and they discovered that Canon used a black tape over the camera components, which essentially takes care of the problem completely. Here is a picture of the black tape covering the components:

For more information, see this article on LensRentals.com.

I am currently working on the Canon 5D Mark III review and I am planning to publish it by the end of next week. Aside from the above issue (which is really not that big of a deal), I really like the camera so far. I was really hoping to get a sample of the new Canon 24-70mm f/2.8L II lens, but it is nowhere to be found. Once the review is published, I will be working on reviewing the Canon 50mm f/1.2L lens, along with the Canon 24mm f/1.4L. Expect some comparisons to the Nikon 50mm f/1.4G and Nikon 24mm f/1.4G.

The Nikon and the Canon experience was very similar, both were stellar in terms of color, sharpness and autofocus accuracy. The Fuji X-Pro 1 produced beautiful images with great-looking skin tones, but was rather disappointing in terms of autofocus – it just could not seem to lock well to my subject in indoors environment. I will be writing about my overall impressions of the Fuji X-Pro 1 soon, but to give you a short version, I am rather disappointed by it. To be honest, I was more excited about the Fuji X-Pro 1 than I was with the Canon and Nikon cameras, because I was really hoping for a mirrorless camera that could be a great alternative to the higher-end APS-C sensor DSLRs. The Fuji X-Pro 1 just seemed to have so much potential… I guess it will be a while until we see something that good. Perhaps the second or third generation of the X-Pro? Or the upcoming Canon mirrorless?

Here is a fun game for you – all three of the below images were shot with either the Nikon D800, the Canon 5D Mark III or the Fuji X-Pro 1. Care to guess which one is which?

These are pretty much straight out of each camera.

Update: The Fuji X-Pro1 Review has been posted!

Here is the official press release:

CANON EXPANDS CINEMA EOS SYSTEM WITH NEW EOS-1D C DIGITAL SLR SUPPORTING 4K VIDEO CAPTURE

London, UK, 12 April, 2012 – Canon today announces the introduction of the new EOS-1D C, a digital single-lens reflex (SLR) camera targeting the motion picture, television and high-resolution production industries. Delivering outstanding video quality, advanced low light performance and film-like dynamic range, the compact and lightweight EOS-1D C supports in-camera 4K (4,096 x 2,160) video recording with 4:2:2 colour sampling, offering greater creative freedom for video professionals.

The first SLR camera of its kind, the EOS-1D C offers a unique and highly portable package optimised for high-quality video recording. Advanced creative flexibility is provided with support for a range of resolutions and variable frame rates. 4K video is recorded using 8-bit Motion JPEG compression at 24p, and Full HD (1920 x 1080) video capture is available at frame rates up to 1080/60p. The camera supports internal recording to CF cards at all resolutions up to and including 4K, offering enhanced mobility. Video can also be output to external recorders1 via an integrated HDMI terminal using an uncompressed YCbCr 4:2:2 signal.

The EOS-1D C also features Canon Log Gamma, which facilitates the capture of high quality video rich in exposure latitude and dynamic range. Ideal for video professionals who want to retain the maximum amount of information without huge file sizes, Canon Log Gamma offers a dynamic range uniquely comparable to film, minimising shadowdetail loss and highlight-detail loss to provide greater grading freedom for colourists in post-production.

“The EOS-1D C is a fantastic addition to the Cinema EOS System,” said Kieran Magee, Marketing Director, Professional Imaging, Canon Europe. “Since the introduction of Cinema EOS we’ve had an excellent response from professionals who are hugely excited by the image quality and creative freedom the system offers. The new EOS-1D C will expand those creative options further – it’s a unique camera, supporting 4K video recording in a highly compact body that can be used in a number of different ways. We’re very excited to see what the professional community can achieve with it.”

Advanced performance meets creative flexibility

Based on the core specifications of the EOS-1D X, the EOS-1D C provides exceptional image quality and versatility, with an 18.1-megapixel full-frame CMOS sensor. Optimised for high quality video capture, the sensor provides video professionals with the freedom to adjust image resolution to suit a subject or desired output. During 4K shooting pixels are cropped to an area equivalent to an APS-H sensor, preventing the need to resize or scale the image, ensuring maximum image quality. Additionally, a Super 35mm crop in Full HD recording caters for cinematographers who typically work in the Super 35mm field of view.

The sensor provides high quality performance in all conditions, delivering advanced creative blurring and light capturing abilities when used in combination with Canon’s EF Cinema prime lenses. Its size enables professionals to achieve an extremely shallow depth of field with beautiful background blur, and sensitivity up to ISO 25,600 provides excellent quality and reduced noise in low-light situations.

In addition, support for 24, 25, 30, 50 and 60p frame rates in Full HD resolution shooting provides additional flexibility, satisfying the shooting needs of professionals across the industry. Industry-standard timecode and codec support and a choice of compression methods provides compatibility with established workflow processes, facilitating easy editing and grading immediately after shooting.

The EOS-1D C ships with an exclusive software package, including a suite that allows 4K/Motion JPEG and Full HD/60p video shot on the camera to be output on an external monitor2 with no loss of image quality. It also enables video shot with Canon Log Gamma to be output on a monitor with standard video gamma applied.

Additional advanced applications, including Picture Style Editor and EOS Utility, also enable adjustments to various camera settings to be conducted from a PC. Real-time procedures, such as the editing and registration of picture styles or checking results on a monitor, can be conveniently performed on-set using a PC or Mac – allowing users to promptly carry out adjustments, and ensuring efficient shooting and post-production procedures.

EF lenses and EF Cinema Lenses – freedom to explore

As part of the EOS system, the EOS-1D C is compatible with more than 60 EF lenses, all of which offer high resolutions to support 4K image capture. The EF lens series offers exceptional creative freedom, with focal length options ranging from 8mm to 800mm. Over 70 million EF lenses have been manufactured since the EOS system launched in 1987 – a measure of its unparalleled quality and popularity. As part of the Cinema EOS System, Canon has also introduced a range of 4K EF Cinema Lenses, utilising the company’s unique optical heritage to produce leading-quality lenses optimised for high-quality video capture.

Canon EOS-1D C – key features:

4k movies
1080p at 50/60fps; Canon Log Gamma
Uncompressed HDMI output
18 MP Full Frame CMOS
Up to 12fps stills; 14fps mode
61 point AF system
ISO range 100-25600
Dual DIGIC 5+ processors
Clear View II 8.1cm (3.2″) LCD
EF lens compatible

Today, almost all current DSLR cameras offer some sort of video capabilities. For a long time, the standard set by Canon (Full HD 1080p at 30/25/24 frames/second and 720p at 60/50/30/25/24 frames/second) wasn’t pushed forward by any competing manufacturers. Nikon, until recently, stayed behind with their 720p limitation on the Nikon D90 and the D3s. However, is back in the game with uncompressed video offered by the flagship D4, and the D800 also promises to be a very respectable HDSLR as well.

Sony also joined the video club when it introduced the Sony A-560 in the summer of 2010. Ever since Sony acquired Minolta, Alpha-series cameras somewhat lagged behind the two DSLR giants, Canon and Nikon. Fortunately, Sony understood that playing by the rules set by the leading DSLR manufacturers was not going to work very well in this technological segment. The best way to build their reputation as a worthy DSLR manufacturer was to offer more for the money than the competition, and so they decided to focus on what they do best – electronics. Today, not only do we have the great NEX mirrorless system, but also the SLT (Single Lens Translusive – cameras, featuring static, see-through mirrors and EVFs) Alpha line-up, of which all cameras at this moment offer slow-motion Full HD (1080p 60/50 frames per second) video recording. Thanks to the SLT design, one can record videos while looking through the built-in EVF (a limitation on regular DSLRs that must have their mirrors up for live view/video record to work), which leads to better stability while hand-holding the camera, further improved by the in-camera stabilization system.

With all the attention the biggest DSLR manufacturers have been giving to the video recording capability of their cameras, it is safe to assume DSLR video is here to stay. Even the skeptics seem to be less sure of their arguments against such a trend. A new wave of short films hit the broad horizon of the Internet – vimeo.com is now full of short DSLR-filmed movies, and plenty new videos are added every day. The Canon 5D Mark II was even used to film some big-screen movies, such as “Act of Valor” and popular series, such as “House M.D.“.

Up until now, while filming some footage with a Canon 550D DSLR camera with a couple of my friends, I had to choose between the highest quality and the possibility of a need for slow-motion during editing. It was either one or the other (1080p at 30 fps or 720p at 60 fps). Sony SLT cameras now offer both in one, and I’m sure plenty of people will find it a great feature to have. Looks like all the new cameras from Nikon and Canon (Nikon D4, D800, Canon 1D X, 5D Mark III) missed the mark on high quality 1080p slow motion video opportunities. Even though it may take another year or two for us to get faster than 30 fps at 1080p from Nikon/Canon, by which time Sony might already offer 120 fps to stay on the competitive edge, we all benefit from their attempts to improve.

I’m glad the possibilities of video in current DSLRs and DSLTs are moving forward, allowing young students like me with a knack for cinematography learn and do what we love for a lot less money than was possible just a few years ago. While not everyone needs this capability, there are plenty of people who will gladly use it.

Things are looking good for videographers. Now the question is – what’s next in the horizon?

Here is some more information from this announcement:

In a brand war traditionally fought between Nikon and Canon, it appears that Canon now has the upper hand, with 33 percent of consumers indicating it as their preferred camera choice according to online consumer buying trends drawn from Sortable’s partner, Snapsort, a web site that allows people to analyze, compare, and recommend digital camera options. Nikon falls to second place with 26 percent, followed by Sony at 15 percent, Panasonic with 7 percent, Fujifilm at 5 percent, Olympus at 4 percent and Pentax at 3 percent. Other manufactures make up the final 7 percent.

With a range of camera options available, survey data shows consumers remain split in their preference between Point and Shoot and DSLR cameras. Data shows 36 percent of consumers are searching for both. Most surprising in the survey was the rising popularity of Mirrorless cameras, a relatively new technology in the camera market. Mirrorless cameras stuff a DSLR size sensor into a small portable package, with interchangeable lenses for greater flexibility. Sortable’s survey identified that 22 percent of consumers are searching for Mirrorless camera options, leaving the leading brands in a bit of a deficit position. Canon has yet to enter the Mirrorless market, and Nikon has just entered. Sortable believes this emerging trend gives Sony, Panasonic and Olympus the opportunity to take brand share.

That’s an interesting analysis, given the large number of respondents. Mirrorless is on the rise, and we know it. Canon historically has been dominating the DSLR market, so no surprises here, although Nikon has been catching up pretty quickly ever since the Nikon D3 came out.

I say that folks at Sortable are just trying to bring attention to their websites with such a headline. Canon winning camera war? I did not know there was one. With so many new innovative and wonderful products from all manufacturers, there is room for everyone. What do you say?

I am a wedding photographer and I love what I do – it wouldn’t be quite as exciting and rewarding without digital photography. The speed, flexibility and quality I can get out of it in almost any situation is a must and has to go without saying in this kind of business today. Every year feels like a leap – better cameras, better lenses and even when it seems there’s no way forward anymore, manufacturers surprise us again and again. But there’s still something missing. With all the advances and new technologies, new ways of making our photographs more technically perfect than ever before, with all the new cameras every year, it always seems to me as if there’s something vital missing. What is it?

I remember buying my first ever camera – it was about 5 years ago. A cheap, rather bulky even by older standards, it was a very basic point-and-shoot, Canon Powershot A430. I loved it. Every bit of it. Those 4 megapixels were amazing (you still think that the D700 has low resolution?)! I was thrilled. Took it everywhere I went. It even did video, which was just as great.

The next time I was thrilled was when I decided to buy my first DSLR and retire the point-and-shoot (I really only now understand how much I miss it). I bought myself a used D80. Suddenly those 4 megapixels were almost nonexistent. I left my point-and-shoot and never looked back. The realization of what quality and speed is hit me so hard I could never believe I was satisfied with the point-and-shoot I used to have. I didn’t quite know at that time I was slipping away from photography as a form of art and expressing myself into technological abyss, where the point of everything was to shoot with better equipment just because it was better. Not because I loved photography or needed that equipment. Thrilled. I guess I was in the very far left of the “Stages of a photographer” chart, where everything I shot was pretty, just because the camera was better:

The D80 was great, but lacking something. I realized that my need for higher quality, no matter the circumstances, was growing rapidly – I pixel-peeped instead of concentrating on composition and visual content of my photographs, my emotional attachment. And I wasn’t happy with the noise I was getting above ISO 400. It sounds silly now. I saved up – it took a while – and bought myself my first lens (apart from the kit) – the Nikkor AF-S 50mm f/1.4G, my most used lens today in both my daily photography and wedding photography business.

When I bought it, I expected a quality leap once again – the same kind I had when I switched to the D80. It never came in the form I thought it would, and there was one simple reason for it… At that time, I don’t remember myself stopping down below the lens’ widest aperture, f/1.4. Not once. It was a revelation. It stayed there, glued, a constant, as if there were no other settings I could ever use. I then thought it was what I wanted. The quality was fine and I was able to use lower ISOs even in difficult light, but the best part was the shallow depth of field. “This is it”, I thought. “This is my big break. I’m now ready for a masterpiece of my own”. And I shot. I shot my first wedding with this duo. And looked at reviews I’ve already read before. And pixel-peeped. Same as before – I was thrilled. Same as before – I was thrilled by the wrong thing, and because of that I failed to see why I needed it in the first place. Why I truly needed a camera and a lens.

Quality matters, don’t get me wrong. I wouldn’t go far in my business – won’t go far – without understanding that, and that’s why digital is great. The thing is – the important thing is – quality doesn’t matter as soon as you get that piece of gear into your hands. You have it. If you have it – it’s good enough, or you have to make it good enough. Then, only photography matters. Only the composition, the visual content and emotional attachment. The context. The story or lack of one. I failed to see it. I failed to see the difference between my work and my personal projects.

Then I bought a used D300. Now, I thought I’d be in love with its amazing autofocus system. I was. I thought, too, I’d be in love with its speed, and ergonomics, and build quality. And, again, I was. I knew I’d be in love with its better sensor and better high ISO performance (I even tried to measure it against the D80, how silly I was!). But none of this mattered. Not a single thing. What I liked the most – and I mean the most – was the color. One would think – “Color? Get a RAW converter, you mug.” No. The color made all the difference. For the first time since the Powershot I had, I enjoyed my camera for my own projects. For capturing my day, my family, my friends, my art, even – not just work, which goes without saying. And I didn’t pixel-peep – I wanted the see the whole picture, literally. I then found myself shooting the D80 at ISO 1600, which, for my business, wasn’t very nice. But I didn’t care – not at weddings, at least. I shot that D300 at ISO 3200. And also didn’t care. For the first time since the Powershot, I was thrilled by the right thing – by photography, and not the gear. By the aesthetical part, and not the technical one.

Lets get certain things straight. For wedding work, D300 at ISO 1600 is bad. And I mean bad. There’s basically not that much detail to speak of, nor dynamic range. It’s true that, with careful exposure and quality light, the shot might look a stop better than it is in your everyday situation, but weddings don’t usually give you the luxury. At ISO 3200, in real life situations, shooting at f/1.4 in terrible light, it is dreadful. But there’s this simple question that puts everything into places – is it better, for personal work and sometimes weddings, to have an image with poor technical quality than not have one at all? I’d choose the poor quality simply because sometimes (more often than not for personal photography), it works. I’d choose aesthetics over technical stuff any day.

This shot was made using the Nikon D300, AF-S 17-55mm f/2.8G at 17mm, f2.8, 1/50 at ISO 1600. There was no light. And I really mean no light, only a couple of those disco lights you can get, very direct and focused, and it also was colored, very vivid too – it alone was enough to smear the detail. I had to use a lot of fill light and some exposure compensation in Lightroom later on. The AF, as can be seen with closer inspection, missed somewhat. Yet I chose to not use the flash. It’s terrible, technically. But works. I gave this particular image to the clients with full confidence, although only this time – I wouldn’t push my D300 so far very often.

I used flash for this next shot; I liked the slightly club-like light it gave me. ISO 800, f/2.8, 1/60th of a second, same body and lens. I like both shots even though the second one is of better technical quality. They are both, in my opinion, just as valuable – the first one just for the moment of it alone.

Let me give you another example, one that concerns my personal life and not my business. This shot was made using… I don’t really know what. It may have been an old soviet Zenit-E SLR with an Industar-50 50mm f/3.5 lens. The technical quality is, frankly, barely a match for some mobile phones. While the dynamic range is much better in a printed (enlarged in a darkroom, I mean) version and the color is not shifted nearly as much (I only scan/reshoot the negatives for preview purposes before printing, and this one was done using a very old Fujifilm super-zoom), there’s still lots of grain and not that much detail in there. But that’s my father! Would I only take a 36 MP image from the D800 of this moment or none at all? No. Any day, I will choose this. And that won’t change anytime soon. In this case, technical quality is irrelevant. Completely. In our memories, we don’t count eyelashes of our friends and wives and fathers – we see lines, shapes, smiles. Not exactly detailed or accurate in color, or anything at all. I want the photographs of my life, of my family to mirror what I remember. I want my memories to mirror my photographs.

I started out as a photographer, a beginner, with a budget Canon Powershot. I then became a pixel-peeper with a D80. Only a couple of years later I, again, started to become the photographer I wanted to be in the first place. I lost two years. Have you lost any? From the D300 I moved to the D700. It’s amazing, and yet again, while it gives me great technical quality in all kinds of situations, I mainly chose it because of the aesthetics. I didn’t get better as a wedding photographer, because it gave me 1.5-2 stops better high ISO performance over the D300, although it helped a lot – I got better because I tried to learn my gear. Because I learned photography, and not pixel-counting. I was thrilled by the right thing. My passion, finally, was photography – the very point of having a camera and a lens.

That’s me and my work. I strive for quality – I need it, I will take it whenever I can. And my clients need it, too. The thing is, they need less of it than one would think. And thus it’s not my primary goal. I don’t spend countless hours reading and reading and reading about gear I may never have, simply because I may never really need it. Shooting and thinking the way I do gives me the pleasure I work for. It’s fun to work. You should have fun photographing, too. If you’re thinking about reviews and what others said while you should be looking through the viewfinder, there’s a slight chance, dare I say, that you’re doing something wrong.

Be thrilled by the simple things. Pursue your passion.

With the introduction of the Canon 600EX-RT flash unit and the Canon ST-E3-RT transmitter, Canonites no longer have to rely on third party radio triggers for reliable communication between flashes. Now you can use all flash features, including TTL flash and trigger up to 15 wireless flash units at a range of 30 meters, without worrying about potential communication issues. Considering that Nikon has had a lead on the flash technology for many years, it is surprising to see Canon release a radio flash first. The bad news for Nikonians is that Nikon has recently updated its high-end flash line with the Nikon SB-910, so we might not see a Nikon flash with radio capability any time soon…

Where I believe Canon goofed up, is they did not include the capability to trigger these radio flashes through the newly announced Canon 5D Mark III. It would have been nice to be able to trigger flashes via radio, even without a built-in flash unit on the camera.

Below are the Canon Speedlite 600EX-RT features, along with the press-release:

Canon Speedlite 600EX-RT Key Features

1. Guide number 60 (m, ISO 100, at 200mm)
2. Radio triggering with 30m range
3. Use up to 15 units together
4. Infra-red wireless functionality
5. Remote camera triggering
6. Bounce-and-swivel head with zoom control
7. White-balance correction filters
8. Fast, quiet recycling

Canon Speedlite Transmitter ST-E3-RT Key features

1. Radio frequency remote flash trigger
2. Fire selected Speedlites from 30m away
3. Controls up to 15 flashguns
4. Remote camera triggering
5. Weather sealed against dust and moisture.

London, UK (March 2, 2012) – Canon today extends its range of acclaimed accessories, unveiling a number of new models designed to offer enhanced flexibility and new creative control to its professional and mid-range EOS Digital SLRs.

Sitting at the top of Canon’s range, the Speedlite 600EX-RT is Canon’s first flash unit to feature inbuilt wireless radio connectivity and replaces the advanced Speedlite 580EX II. Partnering with the new Speedlite Transmitter ST-E3-RT , this new model offers enhanced opportunities for photographers wishing to explore creative lighting techniques. In addition, Canon is also launching the BG-E11 battery grip, Wireless File Transmitter WFT-E7 and GPS Receiver GP-E2, which complement the newly-announced EOS 5D Mark III – offering increased versatility across a range of shooting situations – from studio portraits to field-based shoots – with a compact lightweight and affordable configuration.

Speedlite 600EX-RT: Taking creative flash further

The Speedlite 600EX-RT is a high-performance TTL flash unit designed to meet the expanding creative needs of modern professionals. Integrated radio frequency triggering, in addition to standard infra-red wireless flash control, allows photographers to achieve exciting results with complex on-and-off-camera lighting set- ups. Using one master 600EX-RT or the new ST-E3-RT radio-frequency wireless Speedlite transmitter, up to 15x 600EX-RT flash units, positioned up to 30m away, can be remotely triggered – offering great potential to experiment with more creative lighting techniques and effects. EOS cameras with a connected Speedlite 600EX-RT can also be triggered remotely by either model, allowing photographers to explore more extreme shooting angles to produce surprising and inspiring creative results.

Subjects over a wide range of distances can be lit creatively or evenly exposed, thanks to an increased guide number of 60m*1 and wide lens coverage of 20 – 200m. For wide- angle shots, a diffuser adapter can also reduce the focal length to 14mm and the bounce-and-swivel flash head creates more flattering, shadowless effects. Ideal for shooting portraits, a catch-light panel produces natural catch-lights in the eyes of a subject when shooting with bounce flash. Additionally, custom flash coverage options provide more creative scope by using guide number priority to light the subject, while creating slightly darker edges to the frame.

Like its predecessor, the Speedlite 600EX-RT communicates white balance settings to the camera through the hot shoe connection. However, to further balance flash and ambient light, a new colour filter adapter and two supplied colour gels can be fitted to balance the temperature of the flash and create a more natural effect when shooting around tungsten or mercury lighting. When shooting in dark conditions, photographers can also employ the AF-assist beam for accurate autofocus with lenses of 28mm or longer, ensuring the subject remains in focus when the flash fires.

Designed for professionals, the Speedlite 600EX-RT and Speedlite Transmitter ST-E3-RT feature a robust, weatherproof design matching that of the EOS-1D X, with a clear LCD display making it easy to select settings and switch between normal flash mode and wireless modes. Powered by four AA/LR6 batteries for added convenience, the Speedlite 600EX-RT offers fast, silent recycle times, allowing photographers to keep shooting and exploring creative lighting effects in all conditions.

Pre-Order Canon 5D Mark III and Accessories

Here are the pre-order links for the Canon 5D Mark III and Canon 600EX-RT Speedlite:

1. B&H Photo Video – Canon 5D Mark III for $3,499 (body only)
2. B&H Photo Video – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
3. B&H Photo Video – Canon 600EX-RT Speedlite for $629.00
4. Adorama – Canon 5D Mark III for $3,499 (body only)
5. Adorama – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
6. Adorama – Canon 600EX-RT Speedlite for $629.00

Please keep in mind that the below images are taken in JPEG format, straight out of the camera. No other editing has been done, including sharpening!

Link to download the image | Shutter Speed: 8 sec, Aperture: f/2.8, ISO: 800, Lens: EF35mm f/1.4L USM

Link to download the image | Shutter Speed: 0.6 sec, Aperture: f/2.8, ISO: 6400, Lens: EF24mm f/1.4L II USM

Link to download the image | Shutter Speed: 1/400, Aperture: f/3.5, ISO: 100, Lens: EF300mm f/2.8L IS II USM

Link to download the image | Shutter Speed: 1/250, Aperture: f/16, ISO: 100, Lens: EF24-70mm f/2.8L USM

Link to download the image | Shutter Speed: 1/80, Aperture: f/7.1, ISO: 3200, Lens: EF50mm f/1.2L USM

Link to download the image | Shutter Speed: 1/80, Aperture: f/11, ISO: 100, Lens: TS-E90mm f/2.8

Link to download the image | Shutter Speed: 1/4000, Aperture: f/5.6, ISO: 200, Lens: EF17-40mm f/4L f/2.8

Link to download the image | Shutter Speed: 1/400, Aperture: f/8, ISO: 3200, Lens: EF400mm f/2.8L IS II USM + Extender EF2x III

Link to download the image | Shutter Speed: 1/400, Aperture: f/8, ISO: 100, Lens: EF50mm f/1.2L USM

Link to download the image | Shutter Speed: 1/320, Aperture: f/8, ISO: 200, Lens: EF70-200mm f/2.8L IS II USM

Link to download the image | Shutter Speed: 1/160, Aperture: f/11, ISO: 200, Lens: EF17-40mm f/4L USM

Link to download the image | Shutter Speed: 1/2500, Aperture: f/2.8, ISO: 100, Lens: EF85mm f/1.2L II USM

Link to download the image | Shutter Speed: 1/50, Aperture: f/2.2, ISO: 800, Lens: EF85mm f/1.2L II USM

Link to download the image | Shutter Speed: 1/125, Aperture: f/11, ISO: 100, Lens: EF24-70mm f/2.8L II USM

Link to download the image | Shutter Speed: 1/400, Aperture: f/4, ISO: 200, Lens: EF400mm f/2.8L IS II USM

All images copyright of Canon.com

Pre-Order Canon 5D Mark III and Accessories

Here are the pre-order links for the Canon 5D Mark III and Canon 600EX-RT Speedlite:

1. B&H Photo Video – Canon 5D Mark III for $3,499 (body only)
2. B&H Photo Video – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
3. B&H Photo Video – Canon 600EX-RT Speedlite for $629.00
4. Adorama – Canon 5D Mark III for $3,499 (body only)
5. Adorama – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
6. Adorama – Canon 600EX-RT Speedlite for $629.00

Please note that neither B&H, nor Adorama will charge your credit card until the camera ships.

1. B&H Photo Video – Canon 5D Mark III for $3,499 (body only)
2. B&H Photo Video – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
3. B&H Photo Video – Canon 600EX-RT Speedlite for $629.00
4. Adorama – Canon 5D Mark III for $3,499 (body only)
5. Adorama – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
6. Adorama – Canon 600EX-RT Speedlite for $629.00

Here is the full press release:

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:

1. 22.3 Megapixel full-frame sensor
2. 61-point autofocus
3. Up to 6fps continuous shooting
4. Native ISO 100-25,600 sensitivity
5. Full HD video with manual control
6. 14-bit DIGIC 5+ processor
7. Enhanced Weather sealing
8. 8.11cm (3.2-inch) 1,040,000-dot screen
9. HDR mode with presets

And a Youtube marketing video:

Official Canon 5D Mark III page

Pre-Order Canon 5D Mark III and Accessories

Here are the pre-order links for the Canon 5D Mark III and Canon 600EX-RT Speedlite:

1. B&H Photo Video – Canon 5D Mark III for $3,499 (body only)
2. B&H Photo Video – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
3. B&H Photo Video – Canon 600EX-RT Speedlite for $629.00
4. Adorama – Canon 5D Mark III for $3,499 (body only)
5. Adorama – Canon 5D Mark III with Canon 24-105mm f/4L for $4,299
6. Adorama – Canon 600EX-RT Speedlite for $629.00

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