Canon EOS 5D Mark III
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| Canon EOS 5D Mark III | |
|---|---|
 | |
| Name | Canon EOS 5D Mark III |
| Type | Digital single-lens reflex camera |
| Maker | Canon Inc. |
| Sensor | 22.3 × 14.9 mm full-frame CMOS |
| Res | 22.3 megapixels |
| Lens | Interchangeable (EF mount) |
| Storage | CompactFlash, SD |
| Shutter | Electronically-controlled focal-plane |
| Viewfinder | Optical pentaprism |
| Announced | 2012 |
Canon EOS 5D Mark III
The Canon EOS 5D Mark III is a professional full-frame digital single-lens reflex camera introduced by Canon Inc. in 2012. It succeeded models in the Canon EOS 5D series and joined products alongside bodies from Nikon Corporation and Sony Corporation in a competitive market dominated by the Nikon D800 and Sony A99. The camera targeted working photographers covering events such as Wimbledon, Super Bowl, and assignments for outlets like National Geographic and Time (magazine).
Design and Build
The body adopted a magnesium alloy chassis similar to the one used by Canon EOS-1D X and shared ergonomic cues with cameras used by photojournalists at events like the FIFA World Cup and the Olympic Games. Controls and dials were positioned to accommodate users familiar with earlier models such as the Canon EOS 5D Mark II and the Canon EOS 7D. Weather sealing referenced professional standards observed by manufacturers like Nikon Corporation and Pentax Ltd. for models such as the Nikon D4 and Pentax K-3. The top LCD, rear multi-controller, and Quick Control Dial reflected design languages seen in cameras used by staff photographers at The New York Times and Reuters. The pentaprism optical viewfinder incorporated a coverage comparable to bodies used by photographers at Getty Images and Agence France-Presse.
Specifications
Sensor and processor choices aligned the model with full-frame offerings from Sony Corporation and Nikon Corporation, featuring a 22.3-megapixel full-frame CMOS sensor and the DIGIC 5+ image processor, a successor to processors used in cameras sold to agencies like Associated Press and publications such as Time (magazine). Storage supported both CompactFlash and Secure Digital formats, paralleling workflow options employed by staff at BBC News and Al Jazeera. Shutter specifications and flash sync performance echoed features sought by wedding photographers working for studios represented by Vogue (magazine) and Condé Nast. Connectivity and control ergonomics matched expectations set by bodies from Leica Camera AG and Hasselblad used by commercial studios of brands like Nike, Inc. and Apple Inc..
Performance and Image Quality
Image quality benchmarks compared favorably with contemporaries such as the Nikon D800 and the Sony A99, delivering tonal gradation and dynamic range valued by landscape photographers who shoot locations like Yosemite National Park and Banff National Park. Low-light performance and high-ISO noise control were evaluated against results from bodies used by photo staff at BBC Sport and CNN. Color rendition and skin-tone response made the camera a choice for portrait photographers working for houses like Harper's Bazaar and GQ (magazine). Output from this camera was used in commercial campaigns for companies such as Adidas and Samsung Electronics where resolution and color accuracy were critical.
Autofocus and Metering
Autofocus improvements built on systems found in earlier Canon models and competed with focus modules from Nikon Corporation and Sony Corporation. The 61-point AF system with 41 cross-type points offered tracking performance useful for sports events including the UEFA Champions League and motorsport coverage like Formula One. Metering and exposure control derived lineage from meters used by photojournalists covering summits such as the G20 Summit and conferences at institutions like United Nations headquarters. Customization of AF settings appealed to wildlife photographers working in reserves such as Serengeti National Park and avian specialists associated with organizations like the Royal Society for the Protection of Birds.
Video Capabilities
Video features placed the camera into workflows alongside cinema-oriented stills cameras from Panasonic Corporation and Sony Entertainment Television branches, enabling Full HD recording used by independent filmmakers at festivals like Cannes Film Festival and Sundance Film Festival. Manual exposure options and audio control supported short-form productions commissioned by studios including Warner Bros. and Universal Pictures. The video mode informed documentary shooters from outlets like VICE Media and public broadcasters such as PBS.
Accessories and Lenses
The EF lens mount provided compatibility with a broad ecosystem from Canon Inc. and third-party manufacturers such as Sigma Corporation and Tamron Co., Ltd., covering primes and zooms used by portraitists shooting for Elle (magazine) and landscape shooters for National Geographic. Battery grips, wireless remotes, and GPS units followed standards similar to accessories used with models from Nikon Corporation and boutique manufacturers like RRS (Really Right Stuff). Lighting and flash integration aligned with systems produced by Profoto and Godox, often used on sets for brands like Estée Lauder and Chanel.
Reception and Impact
Critics compared the model to rival bodies including the Nikon D800 and hailed its balance of speed and image quality in reviews by publications such as DPReview, Photography Week, and American Photo. Photo agencies and wedding studios adopted the camera for assignments for clients like TIME (magazine) and National Geographic, while filmmakers used it for indie productions screened at festivals such as SXSW and Tribeca Film Festival. The camera influenced subsequent Canon designs and remained in service with professionals at outlets like Associated Press and Reuters for years following its introduction.
Category:Canon cameras