Thoughts on Canon eos3 vs. Nikon F100
Lawrence
own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my lenses,
can anyone offer insight as to what makes either of these cameras better
than the other?
TIA,
Lawrence
GT
Gordon
Lawrence wrote in message ...
is...@execpc.com
wrote:
> The EOS3 has multi-spot metering which I find very useful , does the F100 ?
Yes it does. I chose the F100 over an EOS 3 (I shoot a 1N)
---
Andy White
Fox Cities Newspapers
Staff Photographer
e-mail: is...@execpc.com
Steve
Lawrence <thefou...@csi.com> wrote in article
<rl1A3.4954$w6.1...@typhoon.nyroc.rr.com>...
> I'm thinking of one or the other of these cameras to purchase. I already
> own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my
lenses,
> can anyone offer insight as to what makes either of these cameras better
> than the other?
Here's some reviews that you might find informative:
<
Canon EOS 3: Setting New Standards
by Jonathan Kwok
By mid 1998, rumors were rife that Canon would soon unleash a replacement
for the aging Eos 5/A2E (launched in 1992). Many speculated that the long
awaited newcomer would be christened the Eos 5N -- a camera built on the
success of the widely acclaimed Eos 5 plus a few technical bells and
whistles of its own. Sure, the Eos 5 was a capable performer, perhaps even
a legend in its own right, but it had several shortcomings which serious
Eos users were hoping would be addressed by the newcomer.
Adding to the intense expectation was the success of the award winning
Nikon F5. For the first time, the "dark side" had not only caught up but
had also superseded Canon's flagship -- the Eos 1N -- in terms of autofocus
(AF) speed and performance. For about a decade, Eos cameras with their
warp-speed ultrasonic (USM) lenses, reigned supreme as the "fastest guns"
in town. In fact, Canon's AF speed and accuracy, excellent user interface
and outstanding L lenses converted hordes of Nikon pros to the Canon camp.
However, the recent expiry of Canon's patents on USM technology meant that
the competition could now come up with their own versions of high-speed USM
lenses.
Nikon did exactly that! Coupled with several new ultra-fast (and
ultra-expensive) Silent-Wave AF-S lenses, a tank-like construction and a
mind-boggling specification, the devastating F5 quickly became what many
considered "the camera to beat." There were also reports that a new F100
would soon debut -- a scaled-down version of the F5 that would fill the gap
between the Nikon flagship and the F90x.
With the competition between the two arch-rivals reaching fever pitch, the
ball was now in Canon's court to respond to the Nikon challenge. A new Eos
flagship was not yet due, so all eyes were on the so-called Eos 5N as Canon
would usually test out the latest technology on its advanced amateur
cameras before implementing it in their top-of-the-line bodies. Like many
others, I seriously wondered what Canon could possibly offer to face the
challenge and maintain its lead.
The answer came quickly enough.
There would be no Eos 5N, nor would the Eos 5 be replaced. Instead, Canon
unveiled a radical new camera on Sept 16 at the Photokina World Imaging
Fair '98 in Cologne, Germany -- the EOS 3!
This was no simple upgrade of the Eos 5. In fact, the latest Eos
thoroughbred from the Canon stable caught almost everyone by surprise with
a breath-taking specification that blew the Eos 5 out of the water and made
even the Eos 1N seem rather obsolete by comparison.
Radical? You bet!
The Eos 3 marks a unique and significant milestone for Canon. For the first
time, the company has a professional AF camera in terms of specification,
performance and construction, which is not a top-of-the-line model. Canon
has repeatedly insisted that the "top dog" is still the flagship Eos 1N and
has relegated the Eos 3 to second position in its Eos line-up -- right
between the Eos 1N and the Eos 5.
This seems strange. Why second in line when a perusal of the Eos 3's
capabilities indicates that it can take on and even surpass the 1N in
numerous departments? The reason is simple. The 6-year-old Eos 1N will NOT
remain Canon's flagship for long as a replacement (Eos 1X ??) is expected
to debut before the year-end or early next year at the latest. Based on the
Eos 3's specifications and exceptional performance, Canon users are already
excitedly speculating that the successor will be a real "killer" that may
well blow every other professional AF SLR in existence, including the F5,
out of the water. Well, we will just have to wait and see. In the meantime,
the Eos 3 will serve as Canon's fastest and most advanced camera. It is
certainly in a league of its own. Well, let's check it out!
Feature Overview The Eos 3 was not meant to replace the 1N, but it is so
jammed packed with new groundbreaking features that I seriously wonder why
anyone would pay extra for a new Eos 1N (In Malaysia where I live, the 1N
still costs a bit more than the Eos 3). In fact, the Eos 3 has just about
everything the Eos 1N has except for five features.
Firstly, the 1N has a 1/250-sec max flash sync speed, while the 3's x-sync
is 1/200 sec. However, unlike the 1N, the 3 will flash sync with full TTL
capability at ALL shutter speeds with the 550EX and 380EX speedlites,
although you lose some power when you switch into high-speed FP flash mode.
Secondly, the 1N has a 100% viewfinder while the 3 has a 97% viewfinder.
This is frankly the only major feature missing on the Eos 3 which denies it
full marks as a top of the line professional camera. However, that said, I
must add that unless you do very critical, high precision work such as
close-ups or copying, the 3 % loss will probably not be missed. Take note
that many high-end cameras like the Leica R8 and the Nikon F100 also have a
97% and 96% viewfinder respectively. For many, the 97% viewfinder may even
turn out to be a blessing as photofinishers and plastic slide mounts
typically crop out about 3% to 5% of the picture edges. So in the final
print or slide -- what you saw in the viewfinder is still what you get.
Thirdly, the 1N will not fog the edges of infrared (IR) film while the 3,
which uses an IR LED sprocketless film detection system, will fog a very
small portion of the edges of certain IR films including Kodak HIE
Highspeed Infrared & Ektrachrome Infrared film. Admittedly not a great loss
to most photographers, but a point worth noting if you do IR photography.
The Konica 750 Infrared and Ilford EXR-200 infrared films can be used
safely.
Fourthly, the 1N has a built-in variable diopter switch on the viewfinder
for eyesight correction, whereas the 3 does not. Canon engineers apparently
decided to omit this feature because one would have to recalibrate the Eye
Controlled Focusing (ECF) each time the user messed around with the diopter
settings. I do not buy this excuse and wish they had included this feature.
However, separate eyepiece correction lenses can be installed while
allowing ECF to function perfectly.
Fifthly, the 1N has an eyepiece shutter on the viewfinder to block out
stray light when you are taking exposure readings with your eye away from
the opening. On the 3, a special eyepiece cover on the camera strap is
supplied to slip over the viewfinder. Don't even bother using it -- way too
slow and fiddly. Instead, either use your hand or simply hang your lens'
rear cap over the rubber eyepiece to block out unwanted light.
These five missing features, especially the 100% viewfinder, are sadly
missed but is no great loss compared to the plethora of exciting new
features offered by the Eos 3 that are not found on the 1N. Consider these
18 advantages:
1.The Eos 3 has 45 AF sensors within an ellipse covering a massive 23% of
the viewfinder compared to the 1N's smaller linear horizontal array of 5 AF
points. Seven of the 45 sensors are cross-type high precision sensors and
all 45 sensors are selectable by eye movement (Eye Controlled Focusing).
The camera also offers more choices than any other SLR to customize its AF
system to your shooting needs. 2.World's fastest AF speed with a single AF
point selected and a 25% improvement in focus tracking ability over the 1N.
The Eos 3 is now Canon's fastest, but how does its AF compare with the
mighty F5? Well, read on and find out in my EOS 3 VS NIKON F5 AF SHOOTOUT.
3.Ability to autofocus lenses with a maximum aperture of f/8. A major
technological breakthrough that enables you to attach a 2x converter to
lenses like the EF300 f/4L and EF600 f/4L and get a whopping 600mm or
1200mm f/8 lens respectively that will still autofocus! All previous Eos
cameras could only autofocus lenses with maximum apertures of f/5.6 or
faster. However, my experience with the Eos 3 shows that the camera can
actually autofocus certain lenses with apertures as small as f/9 and f/11.
(More on this later). 4.Increased AF tracking and film advance speed with
the PB-E2 booster. Use the new NiMH battery NP-E2 and the Eos 3 has a top
speed of seven frames per second (fps) vs. the 1N's 5 fps in AI Servo mode
with both cameras using their boosters. Without boosters, the Eos 3 has a
healthy shooting speed of 4.3fps vs. the 1N's 3 fps (One Shot AF mode)
while in AI Servo mode, the Eos 3's continuous tracking rate is 3.3 fps vs.
the 1N's 2.5 fps. The Eos 3 with booster has the fastest drive speed of any
AF camera in its class. 5.Ability to use wireless multiple TTL flash units
off camera with ratio control using the new 550EX speedlites. No more messy
wires or non-TTL slaves to set up your own portable "mini studio." 6.New
21-segment evaluative metering which also incorporates ETTL flash metering
for higher precision and reliability over the 1N's 16-zone evaluative and 3
zone ATTL flash system. 7.TTL Flash sync at all speeds -- up to 1/8000 sec
with the EX series speedlites with extra functions like flash exposure lock
(FEL) and flash exposure bracketing (FEB) for spot-on flash exposures even
in tricky situations. 8.Multi-spot metering-- the Eos 3 is the only AF SLR
in existence that can take up to 8 spot meter readings and automatically
average out the exposures to provide excellent accuracy in complex lighting
situations. The Eos 3's 2.4% spot meter is also linkable to 11 AF points
and selectable either manually or by eye. On the 1N, only the 3.5% "fat
spot" meter is linkable to the 5 AF points while the fine 2.3% spot meter
is fixed to the center AF point. Simply enhanced metering flexibility.
9.New repositioned remote socket and the new quick release RS 80N3 remote
switch. One of my biggest complaints with the Eos 1n and Eos 5 is the
position of the dreadful T3 socket on the right-side grip that is the bane
of all Eos users. Try screwing in that pesky remote switch when it's dark
or reposition your camera mounted on a ballhead tripod with the T3 release
sticking out between your fingers and you will realise why the new
arrangement is a prayer answered! The 3's remote socket is now on the left
side of the camera and attaching or removing the switch is effortless
simplicity. Old T3 releases can still be used with the Eos 3 via the RA-N3
Remote Switch Adapter. 10.New rotary magnet shutter with improved
reliability (guaranteed to 100,000 cycles) and dramatically lower power
consumption permitting ultra-long exposures of over 1000 hours. A close
friend tested the Eos 5 (with a new 2CR5 battery) and found out that it can
only keep its shutter open for about six hours before exhausting the
battery. 11.Full camera controls in vertical orientation with the PB-E2
booster. With the 1N's Booster E1, there are no controls to allow the user
to change focusing points or adjust exposure settings in vertical
orientation. 12.Faster rewind speed of 6.5 sec vs. 8 sec in the 1N for a
roll of 36-exposure film. 13.Ability to toggle between high-speed or silent
rewind mode while the film is still rewinding by simply pressing the rewind
button. Great for situations like a classical music concert where you
forgot to switch into silent mode and the camera starts rewinding at high
speed. A quick press switches the camera to silent mode while another press
would re-engage the high-speed rewind. 14.Shortest viewfinder blackout time
of any Eos camera with swing-up mirrors. Mirror operation time has been
shortened by 20% and viewfinder blackout time reduced by 25% over other Eos
models. This enables the photographer to better follow focus fast action at
high framing rates. 15.New "safety shift" ability in TV and AV modes via CF
16. This ensures properly exposed shots when the scene's brightness
suddenly changes by automatically altering the exposure settings to obtain
the correct exposure if the initial user-selected settings were unsuitable.
16.Better viewfinder information including a new flash exposure bar graph
and two-digit
film counter that can either count up or count down. 17.The Eos 3's
viewfinder is contrastier and seems about one stop brighter than the 1N's,
making manual focusing easier while offering better viewing. In my opinion,
the Eos 3 has the best viewfinder of any Canon SLR -- super bright with
reasonably good eye relief. 18.Improved ergonomics and control layout. Most
of the important controls are now accessible without having to open the
small palm wing door. There are also a host of new Custom Functions (CF)
that enhances the camera's flexibility, allowing the user to change various
settings to suit his/her needs.
Add to that a construction and build quality that is almost on par with the
rugged 1N and you will realise why the Eos 3 is a camera to reckon with. To
put it simply, the Eos 3 is a revolutionary camera that combines all the
great features of previous Canon cameras from the legendary T-90, Eos 5 to
the Eos 1N, while adding a number of nifty innovations that is guaranteed
to give a "techno-high" to Eos junkies.
Like the Eos 1N, the Eos 3 has similar shooting modes: Program AE with
Shift (P), Shutter priority (TV), Aperture priority (AV), Depth-of-Field AE
(DEP), Manual exposure (M) and bulb mode. As befits a pro camera, there are
no amateurish PIC modes found on all lower-end Eos cameras.
Okay, so the Eos 3 definitely looks impressive on paper, but how good is
the new kid on the block in real shooting conditions? How well does it
perform out in the "battlefield," especially when stacked up against tried
and tested cameras like the Eos 5, 1n and the Nikon F5?
Well, read on and find out!
Reviewer's note:
To review each and every feature on the Eos 3 would take up too much space.
As such, I will only cover the major features, while providing a totally
frank user report of the camera's performance. The Eos 3's complete spec
sheets can be found at these links:
http://www.usa.canon.com/camcambin/cameras/35mm/slr/eos3spec.html
http://www.usa.canon.com/camcambin/cameras/35mm/slr/eos3comp.html
http://www.picture-perfect.net/Eos3-F100comp.shtml
I've used the Eos system for about a decade and have extensively handled
most Eos cameras and lenses ever produced. This includes the early Eos 650
to the Eos 1N/1N RS and an entire raft of lenses from the EF14 f/2.8L to
the EF600 f/4L. My present arsenal consists of an Eos 3 with PB-E2 booster,
an Eos 5, EF17-35L lens, EF28-70L, EF70-200L, EF2x teleconverter, two 550EX
speedlites, one 540EZ speedlite, an Ikelite TTL slave sensor, off-camera
shoe cord 2, compact battery pack and a whole gamut of accessories I won't
care to mention. I used to own two Eos 100, two EF 28-105 f/3.5-4.5, the
EF100-300 USM, a 430EZ speedlite and a number of Sigma and Tamron lenses.
As a journalist, I also get to use other exotic Eos goodies in my press
office including the many Eos 1N's, EF35-350L, EF300 f/2.8L, macro lenses,
etc. Besides that, I am also quite familiar with the Nikon and Minolta AF
systems and will be making occasional references to these systems during
the review.
I make no apologies for the length of this review -- this is after all, an
in-depth report for those who really want to understand this camera. A
special thanks goes to Picture Perfect for running this long review, the
Eos mailing list and Eos 3 mailing list for their huge information
resource, staff at Canon Marketing Malaysia and individuals who helped me
conduct field tests or gave invaluable feedback. Last but not least, a
heartfelt thanks to my lovely wife Cally who has supported me all the way
in my crazy passion to paint with light and bearing with me during the many
late nights it took to write this review.
Now, let's get back to the Eos 3!
Auto Focusing
Let's start by checking out the Eos 3's most exciting feature -- its
revolutionary Area AF system. While all other professional SLRs in
existence have a maximum of only five AF sensors, Canon engineers did the
seemingly impossible by packing in not 10 or even 20, but count 'em -- 45
AF Points within an ellipse covering 23% of the viewfinder. This gives the
Eos 3 the largest and most flexible AF coverage of any SLR without "dead
spots" as the sensors are packed extremely close to one another.
With such a large AF area, tracking subjects both vertically and
horizontally are a breeze -- liberating users from the limitations imposed
by the single row of five AF sensors on the 1N or 5. With the 1N for
instance, tracking subjects in vertical composition can be a pain as the
row of sensors is located down the central portion of the viewfinder. If
your subjects are two people running side by side (about two feet apart)
towards the camera, the 1N's row of sensors (in vertical orientation) will
be right between them -- making it impossible to focus track the subjects
unless you change your composition. Such limitations are history with the
Eos 3's area AF system. With the new area AF system, your subjects need not
be centered within the limited coverage of five linear sensors in order to
be tracked, freeing the photographer to focus on composition and "the
decisive moment."
Not only that, the Eos 3 takes Canon's exclusive Eye Controlled Focusing
(ECF) into a whole new realm by ensuring that all 45 sensors are selectable
by eye both horizontally and vertically at record speeds. Compared to the
Eos 5 where ECF was first seen, the Eos 3's ECF response is now 3.3 times
faster, taking only 67ms compared to the Eos 5's 220ms. It is also way
faster then the Eos 50/Elan IIE's ECF response time of 120ms. (Data
according to Canon Inc.)
All 45 focusing points are sensitive to horizontal and diagonal lines with
f/5.6 or faster lenses. However, six of the seven central AF points have
cross sensor capability (the ability to detect subjects with horizontal,
vertical and diagonal lines) with f/2.8 or faster lenses. The center AF
sensor is the most useful of all, providing high-precision cross-type
performance with f/4 and faster lenses while maintaining standard AF with
lenses of maximum apertures as small as f/8!
All AF sensors are operational in light levels as low as EV0. That is light
so dim it will require an exposure of 8 seconds at f/2.8 using ISO 100 film
-- conditions where manual focusing would be very difficult, if not
impossible for most people. In reality, I noticed that the center AF sensor
could still focus on high contrast subjects in light levels requiring an
exposure of 10 seconds at f/2.8 using ISO 100 film…not bad at all! The Eos
3's AF sensors are also among the most sensitive I have ever seen -- being
able to focus even on remarkably low contrast targets that my Eos 5 was
absolutely unable to focus on. The difference in focusing sensitivity
between the two cameras is quite startling when compared.
At the core of the Eos 3's AF system is a new high-speed 32-bit RISC
(Reduced Instruction Set Computer) microprocessor dedicated only to
processing AF and ECF. (Another 16-bit processor controls AE calculations,
display and sequence while an 8-bit CPU controls AF data memory.) Canon
claims that the Eos 3's new AF processor packs in four times the processing
power of the AF CPU on the Eos 1N, while a new high-speed algorithm boosts
processing speed and improves focus tracking capability.
For the technically inclined, here are some figures to chew on. The Eos 3's
32-bit CPU runs at 24.576MHz and has a fastest calculation time of
0.04microseconds. In comparison, the 1N uses an 8-bit CPU running at 12MHz
with a fastest calculation time of 0.17microseconds. The new processor
ensures that the AF speed is on par with the 1N's five-point AF system
despite having a ninefold increase in AF points. When using only one
focusing point, Canon claims that the Eos 3 has the fastest AF speed in the
world (as of Sept 1998). My own tests and experience verifies this claim to
be true.
The Eos 3 is also reported to have a 25% improvement in focus tracking
ability over the 1N. When used with an EF300mm f/2.8L USM lens, it can
track a subject moving at 50km/h (31mph) to distances as close as 8m (26ft)
-- incidentally, this is also exactly the same AF tracking performance
claimed by Nikon for the new F100 with an AF-S 300mm lens.
The Eos 3 features a CMOS AF sensor. While other AF SLRs use conventional
CCD sensors, the Eos 3 utilises a new CMOS (Complimentary Metal Oxide
Semiconductor) sensor that is capable of handling roughly forty to sixty
times the pixel count of the BASIS (Based Stored Image Sensor) it replaces.
This allowed Canon to cram in 45 focusing sensors. The use of a large
concave secondary mirror and a longer Z-shaped light path also improves
focusing accuracy while enabling AF with lenses as slow as f/8.
Some have wondered why the AF sensors are not spread out over a larger
area? A senior Canon official I spoke to said this was due to current
limitations in technology combined with a need to ensure the camera retains
a high accuracy and relatively compact size. He said future Eos cameras
would no doubt feature bigger AF coverage and even greater speeds. But for
now, 45-point AF is the best they can do and offers bigger coverage than
anything out there on the market.
Many have also questioned if the presence of 45 AF points in the viewfinder
would be a huge distraction. The answer is NO. Look through the viewfinder
and all you will see is the ellipse and a partial metering circle in the
middle. The focusing points are invisible and will only be superimposed
onto the viewfinder using a sophisticated LED projection system when the AF
point/points are used. The active focusing point/points light up brightly
in red and remains dimly lit until the shutter is fired. CF 10 allows the
user to either switch off the AF point flashing, or just allow it to flash
momentarily and then disappear, or flash brightly and remain brightly lit
until the moment of exposure.
The sophisticated projection system also enables the user to change
focusing screens and still see the AF points. Even better is the fact that
the Eos 3 can use all existing focusing screens for the 1N. The lighted
focusing points will also vary its brightness according to the scene's
light level. In bright light, the AF points will glow a bright red for
higher visibility while in darker scenes, they will glow dimly.
One Shot AF and AI Servo AF
Before we go on, it's important to understand the Eos 3's two different AF
modes. In One-Shot AF, the focus is locked on the subject as soon as
focusing is completed. The camera is in "focus priority", meaning the
shutter will not fire if the subject is not in focus, preventing out of
focused shots. When using One-Shot AF in continuous film advance, once
focus is achieved, it is locked in for subsequent frames unless you release
the shutter button and restart the AF sequence. As such, One Shot AF is
recommended for stationary subjects. However, although primarily designed
for stationary subjects, I noticed the Eos 3 in One Shot AF automatically
activates focus tracking if the subject moves at a sufficient velocity
towards or away from the camera. Very useful indeed for times when the
subject suddenly starts moving.
In AI Servo AF, the camera continually refocuses and tracks moving
subjects. The "AI" stands for Artificial Intelligence, referring to the
camera's ability to detect the direction and speed of subject movement. If
the camera determines the subject is moving towards or away the camera at a
constant speed, "predictive focus" is engaged. The lens is continually
refocused to track the subject, with the ability to set the focus to the
point where the subject is anticipated to be at the moment of exposure,
taking into account the camera's release time lag. The Eos 3 uses "release
priority" in AI Servo AF, meaning the photographer can fire the camera at
any time, regardless if the subject is in or out of focus. It is also
recommended to start tracking the subject for a few seconds with the center
AF point before firing away for increased tracking accuracy.
<Picture>
The EOS's Eye Control sensor. Eye Controlled Focusing (ECF)
I believe the reason why Canon packed so many sensors into the ellipse was
to provide a seamless ECF system. With the Eos 5, one needs to consciously
look at one of the five AF sensors in order to activate it. However, with
the 3 and its numerous AF sensors, one need only look at the subject and
not be conscious of the focusing points. In theory, the camera would be
intelligent enough to know where your eye was looking at and select the
respective AF point that covered the subject -- both in vertical and
horizontal framing.
Despite so many AF points, the Eos 3's focusing is the fastest ECF system I
have ever used. I stopped using ECF on the Eos 5 as its response time was
too slow for me while eye detection was not fully reliable. On the Eos 3,
the ECF function responds very fast while accuracy has been greatly
improved. When you press the shutter release, focus commences within 1/30
sec, instead of 1/8 sec as with the Eos 5. In fact, using ECF on the 3
attains focus about as fast as an Eos 5 with a single AF sensor activated.
All you need to do is calibrate your eye using a simple procedure. There
are 3 channels for calibration. I would suggest using separate channels
when you wear glasses, contacts or without any eye correction. The ECF has
a learning function where repeated calibrations under various conditions
(outdoors, indoors, bright light, at night, etc) will improve its accuracy.
To ensure that ECF works correctly, you have to learn how to hold the
camera correctly with the same posture each time. When calibrating the
camera, relax your shoulders, hold the camera as if you were shooting it,
and look steadily past the lighted focusing point onto the subject ahead of
it. Don't gaze directly at the blinking focusing point. If you wear
glasses, put them squarely against your face. If you are calibrating over a
channel previously used by someone else, press the AE lock button (*) and
Focusing point selection button simultaneously to clear the channel of past
calibrations.
So, how well does ECF work? Frankly, I must admit that I have not had much
luck with 45-point ECF with my glasses on. Despite countless calibrations,
the camera often gives me a point that is slightly off or sometimes way off
from the subject I am looking at. Perhaps this is due to the fact that I
wear high indexed multicoated glasses. I do notice that when I use contact
lenses, 45-point ECF improves dramatically and achieves an 80% to 90% hit
rate. However, since I hate wearing contact lenses, that's not much help.
On a positive note, ECF works very well for me with Custom Function (CF)
13-1 activated. This limits the number of points selectable either manually
or by eye to 11 points and links spot metering to the active AF sensor. For
me, reducing the number of selectable points improves ECF accuracy and
speed, resulting in a hit rate that is very close to 100%. With the Eos 3,
ECF is finally fast enough for practical daily use (especially when limited
to 11 points), but there is still room for Canon to improve its
eye-detection accuracy.
I'm really not too sure if 45-point ECF is a practical feature for press
photographers who often need to jostle with others for position. In such
tight quarters, I seriously doubt if the user has time to perfectly center
his eye in order for ECF to work accurately. The good news is the automatic
focusing point selection immediately takes over if eye detection fails.
To be fair, there are many users who have testified that 45-point ECF works
perfectly for them, especially after repeated re-calibration. My suggestion
is to try and try again to make the ECF work for you before you pass it off
as an impractical feature. Try out CF 13-1 if 45 point ECF does not seem
accurate enough. For those who find it works for them, it really helps
speed up composition, as very little reframing is needed. It will also
allow the camera to provide the most accurate flash exposures as the Eos
3's flash metering is heavily weighted to the focusing point being used.
AF tracking with ECF
Can ECF be used to track subjects moving across the frame while in AI Servo
AF? Well, that depends. Let me explain. When using ECF in AI Servo, the
initial focusing point selected by eye remains active during continuous
focusing. However, once the focus point is selected, you are unable to
select other focusing points by eye to track the subject across the
viewfinder while the shutter button is pressed halfway. The initial focus
points remains locked, so if the subject moves out of that AF point's
coverage, you will be unable to track the subject even if you looked at
another AF point. In order to change focus points, you have to let go of
the shutter button and run the entire ECF sequence again. So, in this
sense, no, the camera will not track subjects across the frame with ECF. I
know this is limiting. How I wish Canon would allow the Eos 3 to track the
subject anywhere in the frame as long as I was looking at it. However,
there is an alternative.
Tech tip: Want to use ECF with AI Servo focus tracking? A fellow Malaysian
photojournalist provided an interesting suggestion. Here's the scenario:
You have a car moving across the viewfinder. With ECF on, look at the
subject, partially press the shutter button and nail the focus. If the
subject starts to move out of the selected AF point's coverage, you must
quickly release the finger pressure on the shutter button (without actually
lifting your finger from the button) and change your eye's concentration to
the next AF point where the subject may be on. Releasing pressure means
cancelling the halfway stage of the shutter button's activation while
pressing it again activates AF start and meter reading.
Once you press shutter button again, AF tracking will immediately change to
the next point in a split second and continue tracking the subject with the
newly selected point. In between those spilt-seconds, the previous AF point
is still active and will continue to track whatever is left of the subject
before the new point takes over. In the case of the car, the previous point
may still be locked onto the tail section of the car before you reactivate
the next point that is nearest to the front or middle section of the car.
The procedure may sound complex but becomes quite easy with practice. The
trick is learning to quickly release and reapply pressure on the shutter
button without actually lifting your finger from it. Some users will find
this method more effective if they transferred the AF activation from the
shutter button to the rear AE lock button via CF 4-1. This way, you don't
have to release finger pressure off the shutter button's halfway stage but
only have to release thumb pressure on the AE Lock button that is now used
to activate AF. Try this out on your EOS-3 without film loaded and see if
it works for you.
Automatic Focusing Point Selection (AFPS)
In this mode, the camera chooses the appropriate AF point for subjects
within the ellipse. The camera will always select the nearest object or the
object with the highest contrast. When using AFPS, the camera will always
choose from 45-points, even with CF 13-1 activated. Using CF 13-1 will only
reduce the number of focusing points to 11 when you use manual selection or
ECF.
Those unfamiliar with the Eos 3 will be impressed at the viewfinder "light
show" as over 10 AF sensors may light up simultaneously. This happens when
the camera detects multiple subjects within the same plane of focus. The
AFPS mode is useful when you want grab shots and do not have much time to
recompose. It will also prove invaluable when you hand the camera over to
someone unfamiliar with the Eos 3 to take your pictures. No more out of
focused shots of you and your girlfriend in the foreground while the
distant horizon is tack sharp. Be careful though, if you use this mode for
high precision work like shooting portraits at very large apertures. You
may discover that your portrait's nose may be perfectly sharp while the
eyes are out of focus as the camera will latch on to the nearest subject!
AFPS is particularly useful with AI Servo AF when the subject is moving
erratically. When using AFPS in AI Servo mode, first cover your subject
with the central AF sensor. Once the center sensor "nails" the subject, it
will be able to automatically pass the focus to other sensors if the
subject moves out of the center sensor's coverage. When the camera passes
the subject to other sensors, these sensors will not light up. You just
have to trust that the camera is doing its job.
As for One Shot AF performance in AFPS, I must say it is quite fast --
about equally fast as the 1N with all its 5 AF points activated. 45-point
AF seems marginally faster than the Eos 5 with all its 5 sensors activated.
In bright light, even with the 70-200L and 2x converter and 45 points AF,
focusing is faster than the Eos 5 with a similar lens combo using single
point AF. Incredible but true! With 45 sensors on, the 3 locks onto its
subjects with amazing confidence, with hardly any hunting or raking the
lens back and forth. Despite the huge focus area and multiple points, the
camera usually does a good job of guessing the photographer's intentions by
selecting the correct subject to lock on unless I purposely try to fool it.
I noticed that 45-point AF works fastest in bright light and high contrast
scenes. In low light situations or where the subject is confusing with many
items in the same plane of focus, the camera seems to take a short pause to
"think" before deciding on which points to focus on. This "pause" in
reality takes only milliseconds, but can seem a long time when the shooting
gets fast and furious. If you want maximum AF speed, switch the Eos 3 to
single or double point AF. Double point AF? Yes, I'll explain it in a
moment.
Manual Focusing Point Selection (MFPS)
This is my preferred mode as it puts me in total control of the subject to
focus on. By default, to manually select a focusing point, press the
focusing point selection button with your thumb and scroll to the sensor
you want by using either the Main Dial or Quick Control Dial (QCD). You
need not hold down the focusing point selection button while scrolling the
focusing points -- just press it once and scroll freely. The Main Dial
allows selection of points to the left and right while the QCD scrolls up
and down through the sensors. Using CF 13-1 limits the number of points you
can select to 11, thus speeding up the selection process.
My all time favourite way of focusing is to use CF 11-2. This enables me to
rapidly select the focusing point to the left or right by simply spinning
the QCD with my thumb, without having to first press the focusing point
selection button. Using this CF, those with good co-ordination will even be
able to manually track a subject horizontally across the viewfinder during
continuous shooting in AI Servo AF just by spinning the QCD and holding
down the shutter button.
The fabulous thing is that you can instantly switch to automatic focusing
point selection by just pressing the AF selection button while
autofocusing. To revert back to MFPS? Simple. A quick spin on the QCD will
reactivate manual point selection. To scroll up and down through the AF
points, press the +/- button and use the QCD/Main Dial to select the sensor
you want. I know all this sounds terribly confusing, but if you were to
have the camera in your hands, it is easy to understand and quickly becomes
second nature. It's fast, flexible and allows rapid selection focus points
in both horizontal and vertical orientation.
Tech tip: For those who find it a little difficult to press the light
button or +/- button since they are almost flush with the camera body,
here's a simple tip. Take a thin, black rubber mat and cut out a small
ellipse that is exactly the size of each of those two buttons. Use double
sided tape to stick the small patches to the tops of the buttons and viola!
You have "pop-up" buttons for quicker access.
Tech tip: Double Point AF. Did you know that you can actually activate two
adjacent AF points simultaneously for a slightly larger AF sweetspot in
manual focusing point selection? Here's how. Make sure CF 13 is set to "0"
so that you can scroll through all 45 points. Manually select the central
AF sensor. Press the focusing point selection button and use the QCD to
select the focusing points immediately above or below the central AF point.
You will notice that two AF sensors are now selected and ready for use.
Sometimes, a single sensor's coverage may seem a bit small, so this option
lets you use two AF sensors simultaneously for a slightly larger AF
sweetspot. The central double sensors have cross-type capability with f/2.8
or faster lenses and AF speed is just as good as single point AF. They are
so closely positioned to one another that they act like a single large AF
sensor. The double points can also be used in AI Servo AF for a slightly
bigger AF point for tracking subjects. Pretty cool huh? Double point AF
will also work with CF-17-1 in both One Shot AF and AI Servo AF. This will
allow additional AF points immediately around the two selected AF points to
also be used along with the double points in focusing a subject if
necessary.
With a bit of experimenting, you will be able to activate double AF points
just about anywhere in the ellipse for a slightly enlarged AF sweetspot.
You may notice that manually scrolling up or down AF points with the QCD
will show an interesting pattern. The first "click" on the QCD will select
double AF points while the next click will select only one AF point.
Practice a bit and you will soon get the hang of how to quickly alternate
between one and two AF points.
Another feature Eos cameras are famous for is the ability to provide
independent AF operation and shutter release through CF 4. In the Eos 3, CF
4-0,1,2 &3 allows this feature to be further enhanced for greater
flexibility. For instance, using CF 4-1, the user can separate the AF
function from the shutter button, transferring AF activation to the rear
<*> button while pressing the shutter button halfway activates the AE lock.
This is a big improvement over the Eos 5 as users can now activate
autofocus using the rear AE lock button without having to lock the exposure
simultaneously. One can now lock focus, then point the camera at a
different area to lock the exposure using the shutter button before firing.
CF 4-3 is a new custom function that is not found even on the 1N. It
enables AF and AE operation with the rear AE Lock button while the shutter
button fires the camera. AE lock cannot be activated. This mode is useful
for subjects that keep moving and stopping repeatedly, or in cases where
there are many obstructions which may come between you and your subject. To
lock focus, just release the AE Lock button while pressing it again will
start the AF. The exposure is set at the moment when the picture is taken.
As such, focusing and exposure are always set correctly and all you do is
wait for the decisive moment to fire away.
CF 17-1 and CF17-2
This has got to be the Eos 3's most confusing function, as the instruction
manual is pretty vague on its usage and operation. Let me try to clarify
things. CF 17 is actually designed to give users more precision and
flexibility in tracking moving subjects in manual focus point selection.
Although the EOS-3 has 45 AF points, using all of them in AI Servo AF mode
may not often be the best method to track erratically moving subjects as
the periphery sensors may sometimes lock onto the background or the wrong
subject. These are the times when 45-point AF coverage is simply too big.
On the other hand, using a single sensor may also prove a bit tricky for
erratically moving subjects as it's difficult to constantly keep one small
sensor nailed onto a moving target.
The solution? CF-17.
Using CF 17-1 will enable the camera to activate six of the adjacent AF
points surrounding any manually selected AF point to help track a moving
subject should it move slightly out of the selected point's coverage. This
CF results in an enlarged AF "sweetspot" that is about the size of the
partial metering circle. I find it very useful in tracking high-speed
erratic subjects. My tests with CF 17-1 showed a very high success rate
(about as high as when using single point AF) for focus tracking even at
continuous framing rates.
CF 17-1 will work in both One Shot AF and AI Servo AF. In One Shot AF, you
will notice that when pointing the camera at certain subjects, one of the
AF points beside the one you selected manually may occasionally light up --
proof that CF 17 also works in One Shot AF. CF 17-1 will also work with any
manually selected AF point and is not just limited to the center AF point.
As such, you can use CF 17-1 with CF 11-2 in AI Servo AF to track subjects
moving horizontally across the viewfinder. The enlarged sweetspot will
ensure a higher hit rate as you manually dial in the AF point with the QCD
to track your subject's movement. However, please note that CF 17-1 & CF
17-2 will not work if you limit the camera to activate only 11 AF points in
manual focus point selection or ECF.
For CF 17-2, the automatic activation of the adjacent AF points is expanded
to 12 points, six more than CF 17-1. It's like having a smaller ellipse of
AF sensors within the large ellipse. With this mode, the camera
automatically sets the focusing point selection range to suit the focal
length and the subject's movement during predictive AF. This simply means
it's up to the camera to choose which of the 12 adjacent AF points to use
-- depending on the focal length in use and subject movement. This mode is
supposed to be useful in tracking subjects with unpredictable movement.
To me, CF 17-2 is somewhat like a larger version of CF 17-1. However,
unlike the latter, CF 17-2 will only work in AI Servo AF and with the
center AF point manually selected. To use it, start by focusing the subject
with the center sensor. If the subject momentarily moves out of its
coverage, the periphery sensors should be able to lock on to it and
continue tracking the subject. However, remember that you still need to
keep the subject basically focused with the center AF point. If the center
AF point remains away too long from the subject, it will focus on the
object beneath its coverage and lose tracking the original subject.
Frankly, I see very little reason to use CF 17-2. Firstly, it's hard to
really estimate the coverage of the additional 12 sensors. Secondly, one
needs to keep the center point primarily focused on the subject and that
seems to defeat the purpose of a larger AF sweetspot.
I would recommend just using 45-point AF for really erratic subjects. With
45 point AF, you can rest in peace that once the subject moves out of the
center AF point's coverage, the other points will pick it up and continue
tracking it. You don't need to constantly keep the center point on the
subject.
If your subject is very very fast and requires pinpoint tracking precision
-- then use a single AF point. If that subject is slightly erratic, use
single point with CF 17-1 which gives you more control since there is less
chance of the periphery points locking onto the background. Remember that
with CF 11-2, you can track a subject moving across the frame by moving the
single AF point manually with the QCD.
CF 17--1& 2 works on the simple logic that reducing the amount of incoming
AF data for the CPU to process will improve AF performance. Compared to
45-point AF, the reduction of AF points activated using CF 17 means AF
calculations can be greatly speeded up, giving the camera a higher chance
of success in tracking very fast moving subjects.
However, for absolute maximum speed and tracking performance, nothing beats
a single AF point -- not surprising as there is less incoming data while
all of the computer's processing power can be concentrated on just one AF
point. So, if you can keep a very fast moving subject covered with just one
sensor, you should have a higher hit rate compared to if all 45 sensors
were activated.
<Picture>
The EOS 3's 45 point AF layout. Focusing at f/8
For most photographers, it is this ability to use lenses as slow as f/8
that really sets the Eos 3 apart from all previous Eos cameras. Now you can
attach the 2x converter to lenses like the EF300 f/4L and EF600 f/4L and
get a 600mm f/8 and 1200mm f/8 that can still AF. Attach the 1.4x converter
to the EF1200 f/5.6L and you'll get the longest AF lens in the world -- a
1680mm f/8 with full AF capability. The new EF100-400mm f/4.5-5.6L IS with
1.4x converter will result in a 140-560mm f/6.3-8.0 that will still AF
while retaining full Image Stabilisation. I also had the opportunity to
check out a 600L with 2x converter on the Eos 3 and found that although the
AF was now slower, it was still surprisingly fast and very accurate. The
focus tracking works at such slow apertures too! All previous Eos cameras
would cut off AF capability with lenses slower than f/5.6.
While Canon rates the Eos 3's AF system to be functional only with f/8 or
faster lenses, I found out that the camera will actually AF with lenses as
slow as f/9 and even f/11. Attach the Eos 3 to the EF500 f/4.5L with
Canon's 2x converter (resulting in 1000mm f/9) and the camera will still
happily AF from minimum focusing distance to infinity with its central AF
point. I AM NOT KIDDING! I have personally tried out this lens and
converter on the Eos 3 and will testify that the AF works, and works very
fast and accurately too at f/9.
The results from this combo are strikingly sharp, contrasty and definitely
of professional quality. Just take good care to minimise vibrations. With
all previous Eos cameras, the EF500L could not be used with teleconverters,
not even the 1.4x, as it would result in a maximum aperture of f/6.3 --
beyond the capability of all previous Eos SLR which could only AF at f/5.6
or faster. For wildlife and nature photographers who want the reach of
superteles without their massive weight, the 3kg EF500L with 1.4x or 2x
converter on the Eos 3 may well be the long-awaited answer.
Another Eos 3 user reported to me that his camera could AF with an EF400
f/5.6L with a Vivitar 2x converter attached. He said that while autofocus
for the resulting 800mm f/11 lens was a lot slower, it still worked and was
reasonably fast in bright light. Apparently, non-Canon converters do not
inform the camera of the effective focal length, so the camera will still
"think" the lens attached has a f/5.6 aperture and will try to autofocus
accordingly. Other independent manufacturers' teleconverters may also work
at such slow apertures -- give it a try.
When a lens slower than f/5.6 is attached to the Eos 3, the camera defaults
to the central AF sensor. You will not be able to manually select any of
the other 44 sensors. Yes, you lose cross-type sensor capability, but the
camera still autofocuses! I'm not sure if other AF cameras can also do the
same, although I have heard that the Nikon F100 and F5 can still use all of
their five AF sensors with certain AF-S telephotos with Nikon 2x
converters, resulting in lenses having maximum apertures as slow as f/8.
Nikon however, officially rates their AF systems to be functional only with
lenses having maximum apertures of f/5.6 or faster.
AF speed and performance
Ok, so the Eos 3's AF system looks impressive, but how well does all this
technological razzmatazz perform in actual field conditions?
Just let me say here that one reason I fell in love with this camera was
because of its remarkable AF system. Frankly, it is nothing short of
inspiring. Prior to the Eos 3's arrival, I was getting frustrated with the
Eos 5's poor AF tracking performance, especially in low light conditions.
The Eos 5's AF speed and accuracy in One Shot AF was excellent, but not in
AI Servo. I had problems tracking models pacing the catwalk in dim light,
vehicles moving at high speed and football players running around the
field. Picking up the Eos 3 and seeing its AF speed and unerring accuracy
simply gives a surge of renewed confidence.
On one occasion, I used the Eos 3 with 45 point AF to photograph a couple
walking briskly towards the camera firing away at Continuous High. It was
in the evening and the light was fading, but every frame in the sequence of
seven shots came out tack sharp. I know from experience that the Eos 5
would have yielded a far lower hit rate under similar shooting conditions.
The large coverage offered by the 45 sensors, the ability to quickly select
AF points either by eye, manually or simply leave it to fuzzy logic offer
fantastic creative freedom. The near instantaneous response and AF accuracy
frees me to concentrate on my subject, instead of swearing under my breath
and trying to touch up focus manually as I had to do previously with
certain cameras whose AF habitually failed when the going got tough.
I did several comparisons with an Eos 1N using the EF28-70L and EF70-200L
and noticed that the Eos 3 locked onto subjects noticeably faster than the
1N with similar lenses attached. The difference in speed is not much, but
noticeable nevertheless.
With my f/2.8 lenses, focusing sensitivity is also much better than the Eos
5. I noticed the Eos 3 could focus on very low contrast targets like a
light blue line on a white towel and the faint fluffy edges of a distant
cloud whereas the Eos 5 could not do so. Despite having a claimed similar
operating range of EV 0 to EV 18, the Eos 3's AF is more sensitive and
responsive than the Eos 5's. My Eos 3 could easily obtain focus in light
levels so low it would need an exposure of 10 seconds at f/2.8 using ISO
100 film (i.e. slightly lower than EV0). However, my Eos 5 could only focus
on high contrast targets down to light levels no lower than an exposure of
8 seconds at f/2.8 using ISO 100 film (EV 0).
I also noticed the Eos 3's AF system would continue searching a lot longer
for a subject before "giving up." The Eos 3's increased sensitivity and
accuracy over the Eos 5 is really obvious when you use lenses longer than
200mm. The Eos 3 can detect focus much faster and has very little tendency
to hunt while the Eos 5 may sometimes overshoot or take longer to lock. I
tried both cameras on the EF600L and was amazed at the huge difference in
AF speed. At focal lengths below 200mm, the difference between the two
cameras in AF speed in One Shot AF is marginal.
The choice of lenses also makes a difference in AF performance. Not all USM
lenses are equal. Use USM driven primes or L lenses with f/2.8 or larger
apertures and you'll see the AF speed and sensitivity improve tremendously
compared to when using slow consumer zooms. The cross sensors are hungry
for light and their true potential is only unleashed with fast (and
expensive) f/2.8 lenses or faster. I sure wish Canon would make the cross
sensors usable even with lenses as slow as f/5.6.
In order to maximise the AF system, one has to thoroughly understand each
AF mode and custom function and know when to apply them in different
situations. This will take time and lots of experimenting. Spend time with
the instruction manual and play with the AF system. Find out which mode
suits you best and master it. There is nothing worse than fumbling with
custom functions and focusing selector buttons while the subject escapes.
The Eos 3 is clearly the fastest Eos to date, beating the 1N by a
noticeable margin in both One Shot and AI Servo AF. It is also way ahead in
terms of autofocus flexibility and customisability. But how does it fare
against the Nikon F5? To find out, please read my article EOS 3 VS NIKON F5
AF SHOOTOUT. Here, in a nutshell, are my findings.
Stationary subjects AF performance
When pitched against the F5 (both cameras using their respective AF-S
80-200/EF70-200L USM), the Eos 3 with single AF point and One-Shot AF mode
is definitely faster. However, when the Eos 3's 45-point AF is used, the F5
in Single Servo AF may have the edge depending on the subject and light
level. The difference, I might add, is pretty marginal -- milliseconds at
most. In One Shot AF, the Eos 3 also achieves focus with more confidence
and less hunting than the F5. However, the F5 has slightly better low light
AF performance, being able to AF down to light levels of EV-1 compared to
the 3's EV 0.
Moving subjects AF performance
<Picture>
The Eos 3 is able to track moving subjects with its'
45 point AF grid. The test involved having a motorcycle approach the
cameras head-on at 80km/h and seven "runs" were conducted. In focus
tracking, the Eos 3 with single point AF had a significantly higher success
rate compared to the F5 in either Single or Dynamic AF. The Eos 3 also had
a higher "initial hit rate" than the F5, which seemed to have constant
difficulty getting the first two or three frames of a sequence in perfect
focus. For moments where the first few shots are meant to nail the
"decisive moment," the Eos 3 may have an advantage over the F5.
When using the telezooms with their respective 2x converters, the clear
winner is the Eos 3, with an almost perfect hit rate at 400mm f/5.6
compared to the dismal performance of the F5. The Nikon lens and
converter's results were noticeably softer than the results from the Canon
combo which were sharper and had more "snap." I believe the Canon combo has
a better optical performance wide open at the tele end.
The results of my test also indicates that the fewer AF points activated on
the Eos 3, the faster and more accurate its AF becomes, both in AI Servo
and One Shot AF. When the Eos 3's massive processing power is concentrated
on one or just several AF sensors, the camera is faster than the F5 -- both
in One Shot AF and focus tracking. However, the F5 will probably be faster
and more accurate in tracking subjects than the Eos 3 in 45-point AF mode.
The lens selection also makes a lot of difference. The Eos 3 with its USM
lenses is clearly faster than the F5 using older non-AF-S lenses.
Currently, the AF-S lenses are only limited to several very expensive
superteles and two zooms, the AF-S 80-200ED and AF-S 28-70.
So, in the final analysis, which camera has better AF performance? The F5
or Eos 3? Well, that depends on the lenses used, the focusing mode, the
user's experience and other factors. Let me clarify that I did not do the
tests to help escalate the raging Nikon-Canon war. I think both cameras are
excellent and represent the best in cutting edge AF technology. The point
I'm making is that although the Eos 3 was not designed to take on the F5,
it clearly holds it own in the AF department and even beats the F5 in some
ways. Despite its second in line position, the Eos 3 is now the yardstick
by which other SLRs' AF systems will be judged.
I've read many comments from non-Eos 3 users that the 45-point AF is
actually more a gimmick to "show-off Canon's technological prowess" rather
than to be of any real practical use. I beg to differ. The use of 45 points
packed very closely together enables a seamless Eye Controlled Focusing
system. It also allows efficient "passing on" of subjects between the focus
sensors in 45-point focus tracking, enables "Double Point AF" and an
expanded AF sweetspot via custom function 17 -- 1 & 2. It's only when you
take time to understand the Eos 3's AF system that you realise Canon has
really put in a lot of thought into making it exceptionally fast and
flexible.
Personally, I think the Eos 3's has one of the best, if not the best AF
system on the market right now. In the months I've used it, the AF system
has not ceased to amaze me. True, it's not perfect (no AF system is) and I
may not get a 100% score every time with very fast or erratic subjects. But
it's truly Canon's best AF system to date and it is very swift, very
accurate and highly customisable.
Handling
I'll say it right away -- I have never used any other camera that feels as
good or comfortable in the hands as the Eos 3. Attach the newly designed
PB-E2 booster and I dare say it is the most ergonomic and best handling Eos
camera to date. (And in case you're wondering, I have small hands).
While some say the Eos 1N looks sexy with its rounded curves, I think the
Eos 3 with booster attached looks ruggedly handsome. Finished in a matt
black, the Eos 3 is sleek, the unique sloping pentaprism adds a futuristic
touch while the clearly marked and uncluttered controls give a very clean
appearance. Like the 1N, a rubberised textured grip plus Canon's unique
groove for the right forefinger ensures a comfortable "non-slip" hold on
the camera even when using heavy L lenses. Add the handstrap E1 and the
camera really fits the hand like a glove, allowing comfortable one-handed
operation even with a heavy EF70-200L lens attached.
The 1N has long been regarded as one of the most ergonomic cameras ever
built. Thus, it is not surprising that the Eos 3 retains an almost
identical control layout and user interface. However, Canon designers have
taken the Eos 3 a step further by reconfiguring several key controls. The
more frequently used Drive (controls film advance rate and self timer) and
Auto Exposure Bracketing (AEB) switches have come out of the palm door and
placed on the top deck while the rarely used Multiple Exposure switch has
been relocated under the palm door. Users will undoubtedly find this new
arrangement much more convenient.
<Picture>
The EOS 3's shutter release button. The three-button cluster on the top
left "shoulder," when used in conjunction with the main dial, now controls
the Mode (P, AV, DEP, M, TV, bulb), AF, Metering pattern, Flash Exposure
Compensation, ISO setting, Drive and AEB. Some have complained this layout
demands two-handed operation to change modes -- one to hold down the
buttons on the left top deck while the right hand turns the main control
dial. In actual use however, the clearly marked controls and logical layout
makes it a breeze to switch modes. Once your shooting mode is set,
adjusting shutter speeds, aperture, exposure compensation, flash exposure
compensation (FEL), changing focusing points and activating the AE lock is
one handed simplicity. I actually like the main controls to be clustered on
the left top deck. This removes the need to scan the entire camera body or
having to look under small hatches etc, in order to search for a particular
important control. It's all up there -- visible at a glance.
The AE lock and AF point selection buttons have been made bigger and more
comfortable while the On/Off switch is now slightly enlarged, making it
less fiddly to turn the camera on. You still have to open the palm door to
access the Battery Check, Custom Function, Multiple Exposure and Clear
buttons located underneath. Pressing the Clear button will reset the camera
to its original factory settings while retaining all selected custom
functions -- a useful "panic button" in case you get confused with the
numerous settings. Users will also notice the new FEL (Flash Exposure Lock)
button conveniently positioned next to the shutter release and the Eye
Control Focus (ECF) and Calibration switch next to the viewfinder.
Having an independent depth of field preview button beside the lens mount
is excellent. On the Eos 5 and Eos 50, using the DOFP was frustrating as it
shared the same button as the AE lock. Pressing the DOFP also meant
activating the AE lock. Not only that, if I used either cameras' AE lock
button to activate autofocus, I also lost the ability to use DOFP. The Eos
3's electronic DOFP can be used with all modes at all times. It needs only
a soft pressure with my left pinky or ring finger to activate and operates
quietly, without the loud "click" of mechanical DOFP of certain Nikon and
Minolta cameras.
The biggest improvement in the ergonomics must be the relocation of the
remote switch socket to the left side of the camera and the use of a new
quick release switch -- the RS 80N3. The old threaded T3 socket on the Eos
1N and 5 was an ergonomic nightmare that haunted Eos users for years. Not
only was it difficult to attach, its position on the right grip prevented a
proper hold on the camera.
The little threaded plastic cap on the socket also jammed too easily and
often required brute strength to remove. With the Eos 3, such problems are
over! Attaching and removing the new RS 80N3 or the timer remote control
TC-80N3 is a breeze and the rubber plug-in cap over the socket can be
speedily taken on and off. The TC-80N3 also offers a built in self-timer,
interval timer and long-exposure timer and has a backlit panel for easy
confirmation of settings in pitch darkness. The controller even has a
compartment to store the little socket cap.
The EOS 3's LCD. Gripes? Only two. I wish Canon had put a permanent battery
level indicator on the LCD screen so users need not access the palm door to
check the battery condition. Countless pros who forgot to check the battery
level have found their Eos 1Ns grinding to a halt in the heat of shooting
with the "bc" (battery check) indicator flashing alarmingly. Surely a small
battery indicator on the LCD can't be that difficult to include? In the
meantime, Eos 3 and 1N users should always check the battery level before a
major assignment and carry a spare battery magazine.
Canon should also include a separate external switch to activate the mirror
lock instead of having to access it through CF-12. A typical exercise to
activate the mirror lock would go like this: - open the palm door, press
the tiny CF button, cycle through the CFs with the main dial until you find
CF12. Then press the CF button to select mirror lock and tap the shutter
button to confirm your selection. Come on Canon, there must be a better
way! However, besides these two complaints, the Eos 3 handles like a dream.
Like the 1N, the Eos 3 offers a true mirror lock. The first click on the
shutter release locks up the mirror and the second click (anytime within
the next 30 seconds) fires the shutter. If the user does not fire the
shutter within 30 seconds, the mirror returns to its original position and
the process must be repeated. This is to prevent the remote possibility of
light focused through the lens from burning a hole through the delicate
shutter blades. The 2-second or 10-second self-timer can also be used with
the mirror lock.
The "Eos logic" that runs through both the 1N and 3 ensures that existing
1N users need not waste much time adapting to the new camera. The "system
synergy" is also crucial for users who intend to use both cameras side by
side out in the field. The similarity in controls ensures minimal
interruption of a user's shooting style when alternating between the two
cameras. Other manufacturers often overlook this vital factor where one
model operates so differently from another model you sometimes wonder if
they were of the same brand.
As befits a professional camera, the 3 does not have a built-in flash to
avoid compromising the camera's rugged construction. Built-in flashes are
also of limited use in pro cameras as they are low-powered and typically
cast a shadow on the bottom half of the picture when used with huge, large
aperture lenses -- the very lenses pros are most likely to use. There is
also no AF illuminator on the camera body. Again the designers probably
thought a built-in AF aid light would be of limited use sine since most L
lenses would partially block the beam anyway.
The good news is that the Eos 3 will activate the powerful AF illuminator
on any Canon speedlite, including the 550EX, 540EZ, 380EX and 430EZ -- even
with all 45 sensors on. One major complaint with the Eos 5 was that it
would not activate the speedlites' AF aid-light. Consequently, Eos 5 users
like me who use large L zooms, found the camera often hunting in low light/
low contrast situations as the camera's AF light would be blocked while the
flash's illuminator could not be activated. Very frustrating indeed!
On the Eos 3, when the single central AF sensor is used, a narrow,
long-range near infra-red AF aid light on the 550EX is fired -- effective
up to 10 metres. When other AF sensors are activated, a broad beam is
thrown -- effective to a range of about 5 metres with coverage for all 45
sensors. The patterned AF light even enables the camera to focus on a blank
wall in pitch darkness.
Power Booster PB-E2
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The PB-E2 booster allows the Eos 3 to shoot up to 7 frames
a second. I will put it this way -- unless you have tried out the PB-E2
booster, you have not experienced the Eos 3's fullest potential. The new
booster not only augments drive speeds but also improves balance and
handling tremendously, both in vertical and horizontal framing.
The PB-E2 has a much broader base and more comfortable contours than the
1N's booster E1. Attach it and you will realise that the Eos 3 feels better
in the hands than even the 1N. Coupled with its own shutter button, a main
dial, AE lock button, focusing point selector and a Flash Exposure Lock
(FEL) button, shooting verticals never felt so good. I'm not kidding --
pick up the Eos 1N or even the Nikon F5 and tell me if they come close to
the 3's ergonomics in vertical position. (By the way, the 1N's booster only
has a shutter release and exposure lock button.)
The PB-E2 removes any "plasticky" feeling you may get when using the Eos 3
without it. The booster's casing, including the entire grip, is made from
tough magnesium alloy which is finished in a double-coating of double-baked
crinkle-textured paint while the grip is covered with a thick layer of
textured rubber. It's probably just as tough or even tougher than the 1N's
polycarbonate E1 booster. The PB-E2's forefinger groove is also much deeper
compared to the groove on the standard plastic grip, thus providing
increased comfort and security. The booster screws on very firmly to the
body -- absolutely no play at all, unlike the Eos 5 which wobbles slightly
in its VG-10 vertical grip no matter how tightly you screw it on.
The Eos 3 is powered by two coreless motors -- the first one (M1), located
right underneath the LCD screen, advances the film while the second motor
(M2), on the left side of the mirror box, primes the shutter and mirror and
rewinds the film. When the PB-E2 is attached, its powerful coreless motor
(M3) takes over M2's job of cocking the shutter and mirror. The M2 is now
dedicated to only film rewinding. The booster's M3 motor is able to operate
the shutter and mirror mechanisms with almost the same timing as the M1
advances the film, enabling the camera to fire at up to 6 fps in One Shot
AF mode and 5fps in AI Servo AF using 8 alkaline batteries. With the NiMH
battery is used, the booster shifts to high-speed gear train which delivers
a maximum speed of 7fps in both One Shot AF and AI Servo AF modes.
Tech Tip: Want to marginally speed up the drive speed without using the
Nickel Metal Hydride NP E2 battery? Try AA lithiums instead of alkalines.
Although the instruction manual is silent on this, I found that the use of
AA lithiums actually increases the drive speed to slightly over 6fps
compared to when using only AA alkalines. Sure, the lithiums are costly,
but you will notice that the camera now feels lighter, firing sounds much
more "crisp" and film advance is noticeably faster. This is probably
because the AA lithiums have a higher voltage of 1.7V compared to 1.5V in
conventional alkalines. Note that for maximum framing rates of 7fps with
full focus tracking, one still needs to buy the expensive NP-E2 battery.
Canon claims you can get up to 120 autofocused 36-exposure rolls with a set
of 8 AA lithiums compared to about 85 rolls with a set of alkalines and
approximately 70 rolls with the NP-E2 battery pack. Frankly, I would reduce
the estimate by about 1/3 in real shooting conditions but that is still
very good mileage. Much better than the power hungry Nikon F5 where one
rarely gets more than 25 autofocused rolls of film per set of 8 alkaline
batteries. (According to three of my friends who own and use the Nikon F5).
I have fired off about 60 rolls now with the Eos 3 loaded with lithium AAs,
and the battery indicator is still showing full strength.
Attach the booster and fire the camera. You will be amazed at the change in
the camera's sound and drive speed. Without the booster, the camera sounds
relatively sluggish but once the booster motor takes over, the camera
recycles at a blistering rate and sounds very much like the 1N. However,
after being accustomed to the quietness of the Eos 100 and Eos 5, the Eos 3
sounds rather loud. I am not saying that the Eos 3 is noisy, but it is
noticeably louder than its lower-end siblings. As a consolation, the camera
sounds quite pleasant while the shutter is very smooth. I did direct
comparisons with several Eos 1Ns and would say the Eos 3 has the about same
sound level as the 1N but film advance operates at a slightly higher pitch
than the 1N.
The addition of the booster makes the Eos 3 the biggest and tallest Eos of
all time (excluding digital Eos cameras). Even the Nikon F5 looks compact
beside it, reaching up only to the Eos 3's "shoulders." Beware, the Eos 3
with booster may not fit into certain camera bags designed for conventional
sized models. For instance, my Lowepro Off-Road bag which used to fit the
1N or Eos 5 is now unable to accommodate the 3. In an upright position or
with a lens attached, it will also not fit my Lowepro Omni Traveller bag.
However, it comfortably fits into my Billingham 335, Lowepro Elite AW and
Lowepro Mini Trekker.
The unique thing about the PB-E2 is that it can also be used with the Eos
1N. However, only the shutter button and AE lock button will work.
Likewise, the Eos 1N's E1 booster will also work with the Eos 3. Superb for
existing 1N users who want to upgrade to the 3. The cross compatibility
helps lighten the load as photographers with both Eos 1N and 3 need only
take one booster into the field. However, take note that the Ni-MH pack
NP-E2 cannot be used when the PB-E2 is attached to the Eos 1/1N as it has a
higher current output which may fry the camera's circuits.
Without batteries, the Eos 3 weighs 780g. Add the PB-E2 and the camera
weighs 1,215g -- 85g lighter than the Eos1n with booster (1,300g). Below
are the actual operational weight figures for the Eos 3, 1N and 5. Yes, I
actually weighed all 3 cameras.
Eos 3 + 2CR5 battery (Energizer) + film (Fuji Provia) 830g. Eos 3 + PB-E2 +
8 AA alkalines (Energizer) + film 1,430g Eos 3 + PB-E2 + 8 AA lithiums
(Energizer) + film 1,330g Eos 1N + 2CR5 battery + film 880g Eos 1N + E1 + 8
AA alkalines + film 1,520g Eos 1N + E1 + NiCd Pack E1 + film 1,490g Eos 1N
+ E1 + 8 AA lithiums + film 1,420g Eos 5 + 2CR5 battery + film 710g Eos 5 +
VG10 grip + 2CR5 battery + film 910g
There is no denying that with the booster, the Eos 3 is heavy. In fact, it
weighs just as much as the Nikon F5. However, I find the weight, heft and
balance to be just right, especially when using it with heavy L telephoto
lenses. If the weight bothers you, using the lithium AAs will make it
noticeably lighter. One thing I really like about the Eos 3 is that you can
always remove the heavy booster when you need a light, portable camera for
hikes, backpacking, travelling or situations where you don't need blazing
fast framing rates.
For those considering the Eos 3, don't give this camera a pass until you
have tried it out with the PB-E2. It makes a world of difference! For
existing Eos 3 owners … well, give it a try and see if you can resist not
buying it.
Construction
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The Eos 3 uses flexible curcuits and several stainless steel
and aluminum parts for its construction. Pick up the Eos 3 and you will
realise this camera is solidly put together -- grip it tightly, press the
back cover, tap the head -- you won't hear the cheap plasticky creak you
often get with other amateur polycarbonate cameras. Unlike its cheaper
siblings, the Eos 3's solid feel gives me the assurance that I can attach a
heavy 70-200L lens to it and casually sling it from my shoulder without
fear that it may rip out the lens mount.
The Eos 3 is tough, featuring a heavy duty glass-fibre reinforced
polycarbonate resin body while all major sub-assemblies such as the mirror
box, lens mount and film rail guides are made of solid die cast aluminium
or stainless steel. Its polycarbonate armour is just as thick as the one
used on the 1N and all inner surfaces are copper-plated to provide
electromagnetic shielding.
In the hands, the Eos 3 feels about as solid as the 1N. However, talking to
Canon officials, I was told that the 1N is still marginally tougher than
the Eos 3 as it has a few additional metal inserts which the Eos 3 lacks.
This accounts for the slightly lighter weight on the Eos 3. However, in all
practicality, you would be hard pressed to find a situation where the Eos
1N would survive but not the Eos 3. If the 1N were to rate 10 points for
its tough body construction, the Eos 3 would score a close second with
about 9 points. Strap on the PB-E2 booster with its tough magnesium alloy
shell and you have additional protection against knocks and impact. The
booster acts like shield around the base and grip area for the camera.
To me, a camera's ability to withstand harsh elements is even more
important than its resistance to impact. Modern cameras with their
electronic CPUs and circuits are extremely vulnerable to environmental
hazards such as dust, sand, grit and moisture. In harsh environments, a
camera may not suffer any falls but will still die in your hands if it is
not adequately sealed against the elements and corrosive agents.
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The EOS 3 is sealed against water and dust. Kudos to Canon for ensuring
that the Eos 3 inherited the same water-resistant and dust-proof
capabilities of the Eos 1N. The Eos 3 boasts the same waterproof top plate
as the 1N. All push buttons and dials use rubber gaskets and "O rings" to
seal out water and dust. Even the main dial is waterproof and has a
"water-wheel" feature to scoop out drops of water that make their way
inside the cavity.
To ensure its survivability, the Eos 3 has double sets of gold-plated
contacts for all critical circuits to ensure that even if one set of
contacts fails, the camera will still be able to operate using another set
of contacts. For enhanced DX coding reliability, there are also double sets
of gold-plated DX contacts.
The Eos 3 is not waterproof, but it will withstand a reasonable amount of
rain and dust, heat or cold. Canon claims the camera will operate
flawlessly in temperatures of between -20 °C and 45 ° C and humidity levels
of up to 85%.
It may seem strange that Canon has literally abandoned the use of mode
dials for the Eos 3 and used push buttons instead. The reason is simple.
Dials are much more difficult to seal against water and dirt compared to
push buttons. The use of well-sealed pushbuttons was partly responsible for
the Eos 1's high survival rate in harsh desert conditions during the Gulf
War. It is learnt that many agency photographers using the Nikon F4, with
its numerous dials, knobs and levers, found their cameras literally
grinding to a halt in the dusty deserts.
Apparently, the sand which is as fine as powder, made its way into the
dials' cavities and gradually caused the F4s to jam up. The Eos 1, with its
electronic interface and fully sealed pushbuttons, reportedly survived much
longer under such conditions. Photographers like George Lepp have also
tested the Eos 3 in icy sub-zero conditions and the camera performed
brilliantly. No winterisation needed at all.
The only Achilles heel I could find on the Eos 3's (and 1N's) sealing is
the attachment knob for the PB-E2 / E1 booster. The knob, which is used to
screw the booster onto the body, is actually sitting above the gear train
for the PB-E2's motor. If you look carefully into the knob's cavity, you
may see the gears underneath it. This can be a potential weak spot as dirt,
sand and salt water can easily find their way into the metal gears and
cause damage over time. My advice: if you are shooting in very harsh
conditions, use black electrical tape to seal the attachment knob. Just
tape it right over that knob, back and front and it should help keep the
dust and dirt at bay. Many pros also use cellophane tape to give additional
protection to the pushbuttons on the top deck and the shutter button.
As for the durability and strength of polycarbonate versus metal -- much
has already been said about it. The battle proven hybrid construction of
the 1N is a clear testament that polycarbonate is able to take the daily
abuse of professional photographers without compromising its structural
rigidity and integrity. The cold hard feel of metal cameras like the F100
certainly feels more solid in the hands but does not necessarily mean it is
actually stronger or offers better protection than their hybrid
polycarbonate counterparts. All I will say is that polycarbonate absorbs
shock very well and is a better insulator against heat and cold compared to
metal. The Eos 3 is built for the long haul and should see many years of
trouble free service.
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The Eos 3's rotary magnet shutter. Shutter
The Eos 3's new rotary magnet shutter (single shading) deserves special
mention. The new design apparently solves the problem of shutter blades
sticking or oiling up. Such problems were rather common with cameras such
as the Eos 1000FN, Eos 100, Eos 10, Eos 50 and 500N. Not anymore with the
Eos 3's new unit.
In addition, the new shutter requires no power to hold the 2nd curtain open
during long exposures. Canon claims the unit is able to deliver up to 1000
hours of exposure in bulb mode -- a point worth noting for those into
astro-photography. In use, the shutter is rather loud, but very smooth and
well damped.
After repeated comparison tests, I concluded that the 1N's mirror and
shutter vibrations seem very slightly better dampened than the Eos 3's.
However, the Eos 3 still operates very smoothly and internal vibrations do
not seem to be a problem. A professional wildlife photographer friend of
mine recently used his new Eos 3 with an EF500 f/4.5L with 2x converter
(1000mm at f/9, tripod mounted) to shoot birds. He was pretty surprised
that an entire series of over 10 frames shot at speeds of about 1/160sec
without mirror lock were absolutely tack sharp. At such an extreme focal
length and low shutter speed, image degradation due to internal camera
vibrations are common but the Eos 3 passed the test with flying colours. In
contrast, my friend reported that he often got slightly soft results with a
similar lens combo using a high-end camera of another make due to mirror
slap and shutter vibrations. The point I am making here is that while the
Eos 3's shutter may sound rather loud, it works very smoothly and
precisely.
As far as reliability is concerned, the Eos 3 has one of the toughest and
most durable shutters of any SLR Canon guarantees it will accurately
deliver at least 100,000 cycles (on par with the 1N). The French magazine
Chasseur d'images, in its April '99 edition, performed a "torture test"
comparing the Minolta Dynax 9, Nikon F100 and Canon EOS 3's shutter
reliability and accuracy. The results were pretty shocking!
The test was conducted with an average of 10,000 cycles fired daily, day
after day, while sophisticated instruments monitored the shutters for
repeatability and accuracy. The Dynax 9's shutter fired 82,586 times before
failing, the F100 did 130,847 cycles while the Eos 3 beat the two by a huge
margin -- 424,477 cycles before packing up. That's 11,791 rolls of
36-exposure film! I seriously doubt if the 1N's conventional shutter can
even achieve such a feat. Not many people shoot that many rolls in their
entire lifetime. The test also evaluated the shutters' accuracy and all 3
cameras reportedly performed very well and the shutters worked almost
flawlessly until they failed.
Viewfinder
Like I've said earlier, I believe the Eos 3 has the brightest viewfinder of
any Eos camera. It offers adequate eye relief and even with spectacles, I
have no problems seeing the entire viewfinder although some spectacle users
have reported they have to shift their eye position in order to see the
entire screen. Looking through the bright viewfinder is a real joy. If you
are a Nikon F5 user, pick up the Eos 3 and you will realise that the F5's
screen suddenly seems relatively dark and gloomy. On the 3's screen,
contrast is excellent making manual focusing much easier compared to the
Eos 5, which although the screen is very bright, is not as snappy.
On the focusing screen's colour rendition, I must say it tends to have a
slightly cool bias. According to Eos 3 user Patrick Chase on the Eos
mailing list, the camera's viewfinder has a slight tendency to desaturate
red colours as there is an infrared (IR) reduction filter integrated into
one of the pentaprism surfaces. The reason the filter is there is to
prevent infrared light from the scene entering and interfering with the eye
control operation which relies on IR to work.
"The IR-reduction filter tends to reach down into the visible spectrum a
little, which is why the presence of such a filter causes reds to appear
less saturated than in reality,'' Chase explained.
The viewfinder LED display offers full information readout -- except for
flash confirmation. You still need to look at the speedlite's flash
confirmation lamp for flash exposure confirmation. This means having to
take your eye off the viewfinder and glance at the speedlight. Fortunately,
the pilot light on the Speedlight 550EX lights up for an additional two
seconds longer than the 540EZ's confirmation light.
What I really like is the new flash exposure compensation scale just beside
the ambient light exposure compensation scale. Now, at a glance, I can
easily see the flash exposure setting relative to the ambient light
exposure. It enables the user set the flash ratio in relation to the
scene's available light.
A Problem With Off Centered Focusing Points?
It was reported that a small number of early production Eos 3 models did
not project the focusing points where they should be onto the screen. In
some models, the points were reported to be slightly off center either to
the right or left by about a millimetre or so. The problem is not with the
focusing point projection mechanism but the positioning of the focusing
screen. If you find your Eos 3 does not have a perfectly centered screen,
don't worry, the camera is not faulty and it can be easily remedied. Chuck
Westfall of Canon USA's Camera Division gave an explanation in the
Compuserve Forum.
"The position of the mechanism that projects the outline of the EOS-3's 45
AF frames is fixed and separate from the focusing screen. (The projector is
above the screen and at right angles to it.) Because the mechanism is
essentially locked in place, it's possible to ensure that it's perfectly
centered and aligned with the position of the actual focusing points
themselves, which are located on a CMOS chip in the base of the camera's
mirror chamber.
"On the other hand, EOS-3 focusing screens are designed to be
user-interchangeable parts. Every effort has been made to ensure that the
frame holding the screen positions it precisely and consistently in the
geometric equivalent of the focal plane, no matter how many times the
screen is exchanged. However, to make it easier to exchange the screen,
Canon Inc. allows a very slight tolerance (approximately 0.3 to 0.5mm) in
the left-right positioning of the screen, even during initial installation
at the factory. It has absolutely nothing to do with shock or shipping. The
fact that users are able to make a slight adjustment to the left-right
positioning of the screen is a by-product of the camera's design.
Ultimately, it's no big deal," said Westfall.
So, what do you do if you find the screen slightly off centered? David
Thoresen gave clear, concise instructions on the Eos mailing list on how to
fix the problem.
"Read all the instructions first! Lay your camera on a flat table with a
lot of light (Dust free area). Looking at your Eos 3 from the front without
a lens or lens cap you will see a small "latch" in the front middle upper
part of the opening, right below the red dot. If you take your fingernail
or very small straight head screwdriver and pull the latch *VERY GENTLY*
towards you, the gate will open easily and the focusing screen will pop
down."
"If it does not pop down you might be pulling at the wrong place. BE
CAREFUL NOT TO TOUCH THE SCREEN! When it does pop down do not remove the
focusing screen, because it's very difficult to clean the screen. NOTE:
Sometimes just by releasing the focusing screen and pushing it back into
place will center it automatically. You will see a very small 2mm piece of
the focusing screen sticking out on the gate and move this part either
slightly to the left or right depending on which way your rectangle problem
is. This is less than a ½ mm of movement."
"To replace the screen, touch the metal part only and gently push the gate
back into place. It should make a small "click" when it pops back into
place. Don't touch the mirror when you are doing this. Look through your
camera and it should all be lined up correctly. If not try again..." --
David Thoresen, Hawaii, USA.
In case you are wondering, my Eos 3 has a perfectly centered focusing
screen. The center AF point is smack in the middle of the partial metering
circle. None of my other Eos 3 user friends had any problems with
off-centered points either, but just in case yours does, don't worry, like
Chuck said -- it's no big deal. It can be easily remedied and will not
affect focusing accuracy in any way.
Exposure Metering
The biggest worry of many Eos 3 owners is that their camera might be
underexposing. Apparently, a small number of Eos 3s, especially those in
the early production runs were producing results that were consistently 2/3
stop underexposed. The problem probably affected only a small handful of
Eos 3s, but since bad news always travels faster and wider than positive
ones, it sparked off a fear among many users and potential buyers. Some
users even became so paranoid that any shots that were slightly dark were
quickly concluded to be a result of a faulty camera meter.
I must admit that the underexposure paranoia got to me as well. In fact,
the first thing I did when I got my Eos 3 was to run thorough exposure
tests with it, from 18% grey card readings to side-by-side comparisons with
the Eos 5 and Nikon F5. I also shot lots of slides under various lighting
conditions, all properly bracketed and exposure diligently recorded.
The Eos 3 features a 21 segment evaluative meter. My fears were unfounded.
In fact, my Eos 3 convinced me time and again that it had a far superior
metering system than even the Eos 5 in difficult lighting conditions -- and
I have the slides to prove it! The 21-segment evaluative meter in
particular continued to amaze me with its accuracy, producing a very high
success ratio even with difficult high contrast subjects. On evenly lighted
middle toned subjects, it matched exposure readings from the Eos 5 and
Nikon F5 almost perfectly.
The 21-segment evaluative meter has gradually taught me to trust it when
the going gets hot and furious. When there is little time to think or
change settings, I know I can depend on it to deliver a good set of
results. In fact, my experience shooting slides with the camera in
evaluative mode without exposure compensation, consistently resulted in
success rates of over 95%. In the months that I have used the Eos 3, the
dozens of beautifully exposed slides I have are a testimony of the camera's
metering prowess. It certainly gives a higher yield than my Eos 5 in terms
of exposure accuracy.
That said, let me just say that no camera has a perfect exposure meter. Not
even the F5 with its sophisticated 1,005 pixel RGB meter is foolproof. The
F5 has problems handling very bright scenes or scenes with predominantly
white or dark subjects and many F5 pros will admit they still carry a
hand-held meter. When I was using my Eos 5, one Nikon F5 user friend was
surprised that I often got better exposures than him with my cheaper
camera. The secret is simple -- you have to understand your camera's meter
inside out. Anyone who is absolutely dependent on the in-built meter to the
point of being afraid to dial in exposure compensation will sooner or later
be badly disappointed.
The Eos 3's exposure meter is no exception. To me, it has the best metering
system of any Eos camera but you still need to know what you are doing,
know when the camera's judgement can be trusted and when to override the
recommended settings. But in order to really understand the meter, you must
shoot slides and evaluate the results carefully, taking note of its
tendency in different lighting conditions. I am always amazed at how some
photographers can tell how many stops a camera is overexposing or
underexposing just by looking at the negatives. Those are guesstimates at
best. I cannot stress it enough -- shoot slides if you want to understand
your camera meter, regardless of the model and make.
Any photographer worth his/her salt will tell you that a camera's
recommended metering is just a starting point, a reference from which the
final exposure setting will be derived. My Eos 3 is superb in this sense.
The readings, whether in spot, evaluative or partial metering are
consistent -- it renders subjects 18% grey tones with perfect accuracy.
That, I believe is a good reference point.
So, for instance, if I meter off a bright white subject, I know I have to
increase the exposure by at least one stop in order to get an accurate
rendition of the image on film. I have read reviews that rave on and on
about how infallible a particular camera's exposure system is in all
lighting conditions and subjects. Absolute hogwash! That is why you will
not hear me rave about how infallible a camera's metering system is. No
camera meter is perfect. Neither is the Eos 3's. However, I will say that
it's very consistent and accurate for middle toned subjects while the
evaluative meter can be relied on when time is of the essence.
For a comprehensive guide on how to make full use of Canon Eos cameras'
Evaluative metering, please check out:
http://camera.canon.com.my/photography/art/art14/index.htm
For those who have run proper tests and discovered their camera is
underexposing, don't worry, I talked to a senior Canon official and he
reassured me that the Eos 3's metering -- both flash and ambient light
meter can be quickly and easily tuned to the user's liking at authorised
Canon Service centers. You can recalibrate the meter to +2/3 stop if you
discover that is the amount it is underexposing and it will operate just
fine after that. Canon will do it free of charge if it's within the
camera's warranty period. The company is apparently aware of the
underexposure bug in certain early models (although you won't hear them
admitting it) and the problem has been rectified for recent production
models.
As for its metering modes, the Eos 3 has six -- 21-zone Evaluative
metering, partial metering, spot metering, multi-spot metering,
center-weighted metering and focusing point-linked spot metering. The spot
meter takes a reading from the center point, about 2.4% of the image area.
Using CF 13-1 will link the spot meter to 11 AF points for enhanced
flexibility -- perfect for those times when your camera is tripod mounted
and you want to take a spot reading from an off centered subject. Partial
metering takes a reading from five zones contained within the partial
metering circle, covering about 8.5% of the image area.
The Eos 3 is Canon's first AF SLR to have multi-spot metering. It was last
seen on the T-90. I find this mode particularly useful for scenes with a
high tonal contrast. By simply pressing the FEL button, I can take up to 8
spot meter readings which will be automatically averaged out for the final
exposure. The differences in exposure between each spot reading will be
shown on the exposure graph bar in the viewfinder. Used properly, the user
is able to get excellent exposures in just about any kind of lighting
situation. It's not suitable when shooting speed is paramount, but for
landscape or still life photographers who have the time to take careful
meter readings, this meter is unbeatable.
What I really like about the Eos 3's metering graph bar is its ability to
show the differences in exposure values when using the AE Lock. For
instance, if I lock the exposure for a particular subject in the scene, the
graph bar will show me the exposure difference of my locked exposure
compared to the evaluative meter reading in real time. I also love the
ability to check the difference between flash exposure level and the
ambient light exposure level at one glance in the viewfinder.
Users must remember that the 21-zone meter is linked to the AF points. The
exposure is weighted on the metering zone corresponding to the active
focusing point, with secondary importance given to adjacent zones and less
importance on the remaining zones. This is based on the logic that the
active focusing point would also mark the location of the main subject.
Therefore, where the user chooses focus is very important, as it would
affect the final exposure. As far as possible, try to avoid focusing on
subjects which are either very bright or very dark as it may trick the
meter into under or overexposing. For instance, if shooting a bride wearing
a long, white gown, it's better to focus on her face instead of the white
dress, which may cause the meter to underexpose.
So, if you sometimes get results that are less than optimum when shooting
slides, don't be so quick to conclude that the camera meter is faulty --
check if you were focusing on very bright or dark subjects. If the scene
has a high tonal range, remember you have the multi-spot meter at your
disposal. Alternatively, you could choose a medium toned subject to meter,
or meter a bright/dark area and add the appropriate exposure compensation.
When using automatic focusing point selection, the camera will average out
the meter readings for the multiple AF points in use. By default, the
camera locks the exposure the moment focus is achieved, so you can reframe
the composition while maintaining the correct exposure for the subject. The
Eos 3 also permits exposure compensation of +/- 3 stops and users can
change compensation values in either 1/3, ½ or full stops.
I notice the camera tends to err (even so, very rarely) towards
underexposure. So when I am shooting print film and have no time to think
about exposure, I just dial in either +1/3 stop or +2/3 stop to the ISO
value and leave the camera on evaluative mode to do its thing. The results
are always superb. Remember that most print films have an exposure latitude
of about plus 3 stops and minus 1 stop so a slight overexposure is never a
problem and helps maintain detail in shadow areas.
I also like the ability to use safety shift for TV and AV mode via CF-16.
Using this custom function, the camera will shift or readjust your initial
aperture or shutter speed selected to ensure correct exposure. For
instance, if I am shooting outdoors where there is bright sunlight, I might
set a speed of 1/500 sec on TV mode. Say in the midst of shooting, I
suddenly go indoors where the light level is actually about 1/60 at f/2.8,
but I forgot to change the speed setting on my camera. With previous camera
models, the camera would still continue to fire at the initial setting of
1/500 sec -- guaranteed to ruin my indoor shots. With safety shift however,
the Eos 3 will automatically shift the speed to 1/60 indoors to ensure that
my exposures would be fine. It would automatically shift back to 1/500 if
the light level permits. A nice touch indeed.
British magazine Practical Photography in its Jan 1999 issue ran a test on
the Eos 3 and sang lavish praises for the camera's exposure accuracy,
claiming that its "multi-zone metering system is as good as it gets." In
fact, the Eos 3 was the first camera the magazine gave a perfect overall
rating of 10/10.
In the magazine's April 1999 edition, the reviewer Daniel Lezano (when
testing the Dynax 9), made a comparison between the exposure metering
system between the Dynax 9, Eos 3 and Nikon F100. He had this to say: "Now
on to the (Dynax 9's) 14-segment Honeycomb metering. Testing in a wide
variety of different lighting conditions and with different types of
subjects, I'm left in no doubt that the Dynax system is excellent. It's
almost on a par with the Eos 3 and certainly better than the Nikon F100 I
tested last month."
In other words, the reviewer was of the opinon that the Eos 3 had the best
metering system among the 3 cameras tested.
Flash System
The Eos 3 with Canon's 550EX flash. If there is one feature that eclipses
the Eos 3's AF system, it must be the camera's flash performance using the
new 550EX speedlite. After spending much time with my two 550EX speedlites,
I'm just simply amazed at its accuracy and the new photographic
possibilities it has opened up which were previously impossible or
difficult to achieve.
The Eos 3's E-TTL (Evaluative Through The Lens) flash system uses the
21-zone evaluative meter to control flash output. While the Eos 1N's A-TTL
(Advanced Through The Lens) flash system in Program mode puts emphasis on
maximising depth of field, the Eos 3's E-TTL system strives to strike a
perfect balance between flash and available light.
Since the multi-zone flash meter is linked to the camera's multiple
focusing points, obtaining excellent flash exposures even for off-centered
subjects is easy. With EX series speedlites, the flash fires a pre-flash
just before the mirror goes up and the reflected light is analysed by the
evaluative meter together with ambient light readings and the flash's
output is calculated and stored in memory. The main flash then fires with
uncanny accuracy a split second later and exposure is confirmed on the
speedlite. The result? Far more perfect flash and fill-flash at all subject
distances, even for off center subjects.
For a comprehensive understanding on the using E-TTL and EX Series
Speedlites for flash photography, please check out:
http://www.camera.canon.com.my/photography/art/13lighting/08.htm
Speedlite 550EX
Attach the new (and very expensive) 550EX speedlite and you will be able to
maximise the Eos 3's extensive flash capabilities. The 550EX has the same
dimensions as the 540EZ, so flash accessories such as the Sto-Fen
Omnibounce which fit the 540EZ will also be usable with the 550EX. This
baby is arguably the most feature laden shoe-mount flash ever made. It will
take users quite some time just to fully explore and try out each and every
feature.
The flash has a guide number of 55m at its maximum zoom position of 105mm
(at ISO 100.) The AF assist light covers all 45 AF points, while other main
features include FP flash (high speed sync), FE Lock (flash exposure lock)
and FEB (flash exposure bracketing).
The zoom head offers coverage for lenses from 24mm to 105mm while a
pull-down diffuser panel provides coverage down to 17mm. The diffuser also
doubles as a catchlight panel. Flash exposure compensation can be set to
+/- 3 stops in 1/2 or 1/3-stop increments depending on the camera used.
Other interesting features include second curtain sync, stroboscopic flash
(able to fire up to 199 times per second!), ability to support external
battery packs and 6 custom functions. A modelling lamp fires at about 70Hz
for one second when the Depth of Field preview button is pressed to check
for shadows and reflections.
The 6 custom functions include the ability to enable/disable modelling
flash, FEB cancellation after completion, change of FEB sequence, choose
between E-TTL or TTL mode, slave unit save energy (SE) mode activation and
slave unit SE mode cancellation.
Despite its overwhelming features, the 550EX is easy to use and understand.
In the months that I have used the flash system, I must say that the Eos 3
and 550EX produces much more natural flash exposures than the Eos 5/1N and
540EZ speedlight. Flash both indoors and outdoors were very well balanced
and fill-in flash was very subtle -- powerful enough to fill in the shadows
while maintaining a very natural look. Simply beautiful! During these few
months, I have used the Eos 3 for several weddings, assignments to
photograph a marine park, huge crowds swarming and fighting their way into
McDonald's to purchase some teddy bears, sports, fashion models,
assignments covering numerous major functions for the state authorities,
etc and I can whole heartedly say that the Eos 3's flash system has
continually amazed me.
In the underwater marine park, I had a scene where a lady was looking
through the glass portal admiring the fish. Light levels were low, the
glass dome where the light was streaming in was relatively bright while the
lady on the right corner, was in a dark shadow. Using AV mode, I just fired
away with the 550EX attached with a Sto-Fen Omnibounce diffuser. The proof
was in the slides -- perfect balance between the contrasting ambient light
and the lady in the shadows. Impressive.
I did several comparisons with my Eos 5 and 540EZ attached vs the Eos 3
with 550EX and noticed that flash fill for the Eos 3 was more subtle, while
the Eos 5 had a much stronger and prominent effect. In Program mode the Eos
5 uses A-TTL which always tries to choose a small aperture, resulting in
dark backgrounds and bright subjects while the Eos 3 would opt for larger
apertures, resulting in a better blend of ambient and flash lighting.
Backgrounds tend to come alive while subjects are not washed out.
The Eos 3 recently earned me a front-page picture in my newspaper of
thousands storming a McDonald's outlet in a rush to buy the McTeddy Bears
on sale. Caught in the crowd, I simply raised my camera (with the EF17-35L
wide-angle lens attached) over my head and fired away at the stampede. Used
with the Omnibounce, the flash balance between the people in front and all
the way to the back was lovely. Flash coverage was very even and there were
no central hot-spots.
Tech Tip: If you find your 550EX underexposing or overexposing, it could
well be due to the fact that you did not use the focusing point nearest to
your subject. The cardinal rule for using the Eos 3's E-TTL (and even
A-TTL) flash system is to remember to select the focusing point closest to
the subject when you fire the camera. In situations where you use a
particular focusing point that is far away from the main subject after
locking focus and recomposing your shot, you should use the flash exposure
lock (FEL). You have to do all this because the camera biases its flash
metering to give the most emphasis on the selected AF point, based on the
logic that that would be where your main subject is.
I had a few underexposed shots when I failed to observe this simple rule.
In one case, I was photographing a group of people sitting in a semicircle
at a large round table. The people were dressed in black suits, being a
wedding dinner function, while the tablecloth was a glittering gold fabric.
At that time, I was using the central AF sensor for my camera which was
positioned right smack on the gold fabric while the main subjects were
seated around the sides of the table. The result? Underexposure for my
subjects, while the gold glittering cloth was perfectly exposed. In such
cases, I should have either used a corner AF sensor to lock focus on the
people seated at the sides or used FEL on the main subject before
recomposing, so that the flash exposure would not have been fooled by the
highly reflective gold fabric.
There have also been times when my main subject was actually at one corner
of the frame, but I was using the central AF sensor with the conventional
method of locking focus, recomposing and firing the shot. In such cases,
the subject at the corner would come out overexposed as the flash would try
to expose for the center portion which was the background far away.
So, remember, if your subject is off center and you use the central AF
sensor -- use FEL to get correct flash exposures. Alternatively, use ECF to
nail focus, or manually select a point that is near to your main subject.
Automatic flash reduction control
The Eos 3 has a built-in programme that automatically varies the flash
exposure level according to the ambient light. It applies standard flash
exposure (no compensation) in dark conditions and reduces flash exposure in
bright conditions for natural looking fill-in.
If the user applies any flash exposure compensation on the speedlite or
camera, this is applied on top of, not instead of, automatic flash
reduction control. As such, in outdoor situations, I find that dialling in
flash exposure compensation of just -1/3 stop or -2/3 stop at most, is
usually more than enough to provide very subtle fill-in as this is in
addition to the automatic flash reduction control set by the camera. If you
want full control over your results, the automatic flash reduction control
can be cancelled via CF 14 --1. You will now get standard flash exposures
in all shooting modes. Any reduction/addition to flash exposure
compensation will have to be dialled in manually on the speedlite or
camera.
Also note that for Eos cameras, changing the exposure compensation will
only affect ambient (background) exposures. Adding exposure compensation
brightens the background while setting negative exposure compensation
darkens the background. Meanwhile changing the flash exposure compensation
will only affect the flash exposure for your main subject. Unlike Nikon
cameras, changing exposure compensation on Eos camera bodies will not
affect the flash exposure at all. Both flash and ambient light exposures
will only be affected simultaneously if you change the ISO setting.
Multiple wireless TTL flash
The ability to use multiple speedlites off camera with full E-TTL or TTL
ratio control is simply a dream come true for Canon users. Previously, only
Minolta users had this option and Canon users could only look on enviously
as they effortlessly achieved complex lighting set-ups without cumbersome
wires and slaves. The only way Canon users could have multiple TTL wireless
flash was by using the expensive Ikelite TTL slave sensors. I have one and
I must say it works very accurately. However, the problem with this slave
unit is that there is no ratio control while my flash would constantly be
triggered by other people's flash bursts.
The 550EX and Eos 3 solves all these problems. With multiple speedlites,
wireless flash photography is fully automatic -- you now have a very
flexible portable studio in your bag. Up to three slave groups A, B and C,
(consisting of any number of speedlites) can be set-up. The flash ratio for
groups A and B can be set with the master 550EX speedlite or Speedlite
Transmitter ST-E2. The A:B ratio can be set from 8:1 to 1:1 or from 1:1 to
1:8 for a total of 13 steps in ½ -stop increments. In terms of stops, the
flash ratio can be adjusted from 3:1 to 1:1 or from 1:1 to 1:3.
Slave group C operates independently from groups A and B and can be set by
the master speedlite for flash exposure compensation of up to +/- 3 stops
in ½ stop increments -- useful as a background light or accent light for
studio portraits.
The ability to control all slave settings from the master flash is very
convenient while the wireless flashes have an operation range of up to 15m
(33 ft) indoors and 10m (50ft) outdoors. All flash functions from E-TTL,
high-speed FP sync, second curtain sync, stroboscopic flash, manual flash,
etc are fully retained even with multiple speedlites.
My current set-up consists of two 550EX speedlites and one 540EZ speedlite
with the Ikelite TTL slave sensor. It allows me endless creativity for my
work, be it food shots, cheque presentations, portraits, product shots etc.
For food shots, I can have one flash on camera or slightly off camera with
my off camera shoe cord 2 to provide fill-in, while the second 550EX
provides the main light from the side by bouncing the light from a
reflector.
For shots of products or people, I love the ability to quickly fire the
modelling light from all the speedlites with a simple press of the DOF
preview button. This allows me to check for shadows, reflections from glass
panels, spectacles, and the angle of light. Very useful indeed.
With multiple speedlites, no longer am I restricted to harsh direct
on-camera flashes. I can bounce the on camera master flash while the main
light can come from a 45 degree angle to the side, bounced off a reflector
for soft, beautiful side-lighting.
The set-up also allows me to give a professional lighting quality even for
simple group portraits with 3 speedlites. One 550EX is used to bounce light
from the ceiling for the overall illumination, one to the side for the main
light (bounced from a reflector or an umbrella) while the 540EZ and Ikelite
combo provides either the background or hair light. You have to experiment
with the flash ratios to get the effect you want -- through experience, you
will find out what works and what doesn't.
Even for weddings, I have used an additional 550EX on a stand to bounce the
light from the ceiling while my on camera unit with the Omnibounce
attached, provides frontal fill as the couple say their vows. I have also
tried the 540EZ together with the 550EX to bounce the light from the
ceiling. This provides very even illumination while the extra light allows
me to use smaller apertures for increased depth of field.
Without any wires to get in the way, I can freely move around to get into
position while there is no fear that some pesky wanderer may just trip over
wires laying around. Even if some enthusiastic relative comes with his
compact camera, I won't have to fear that his flash would trigger my 550EX
set-up. There are four channels to choose from as the 550EX speedlites
communicate via high-speed optical pulse. The four channels also lower the
possibility of someone with a similar set-up from triggering yours. Users
also have the option of preventing the on-camera master flash from firing,
while still triggering the other speedlites with ratio control.
Another option is to mount a second 550EX on a bracket to the side of the
Eos 3 so that you have two flashes. The on-camera speedlite should have a
Sto-Fen Omnibounce to widen the spread of its optical pulse so that the
flash on the bracket would be able to synchronise with it. Using ratio
control, the flash on the bracket can be used for bounce lighting, while
the other unit provides subtle frontal fill-in. The extra power of two
flashes will permit the use of smaller apertures.
To confirm that all speedlites are communicating, just press the test pilot
button on the master flash and each of the speedlites (if they are within
range and ready) will emit a small burst in succession, according to their
assigned slave groups. Exposure confirmation on the master flash will only
light if all the speedlites provide adequate lighting. Pretty impressive
huh?
All I can say is that the new found freedom with the wireless function is
nothing short of amazing, It allows me to think up lighting set-ups I
previously would not have attempted to do. I remember the time when I had
to lug around heavy studio flash units, set them up, check the exposure
with a flash meter, etc. Now, for location shooting, I can just simply
bring my compact mini studio. The results so far are excellent. With
multiple speedlites, flash exposures are very accurate, even with slide
film. You can even do flash exposure bracketing as "insurance" for really
important shots.
Each 550EX comes with a really cute mini stand which has a tripod socket
built in. For me, I simply screw on the mini stand (with the 550EX
attached) to a small ball head on a light stand. This allows me to position
the flash at any height and direction I want. I am also figuring out a way
to attach an umbrella to the ball head to allow easy lighting set-ups for
portraiture and product shots on location.
The only disadvantage is that the wireless E-TTL set-up with ratio control
will only work with the Eos 3. With other A-type cameras like the Eos 50/
Elan IIE, Eos 500N, Eos IX and Eos IX7/IX Lite, only one slave group can be
used for wireless E-TTL autoflash control. You will not have ratio control
capabilities.
With B-type cameras like the Eos 1n, Eos 5 and all previous models that use
the older A-TTL flash system, only wireless manual flash can be used. This
means you lose E-TTL or TTL capability and the ability to use ratio
control. While multiple 550EX speedlites can be triggered, all flash
exposures will have to be calculated manually.
As for the Speedlite Transmitter ST-E2, it is nothing more than a small
unit that works just like a master 550EX to trigger the slave units. It
does so by transmitting pulsed light with a built-in, modified electronic
flash that's covered by a near-IR filter. Personally, I'd rather pay a
little more and get another 550EX unit for added flexibility instead of the
ST-E2.
Another nice feature of the EX series speedlites is the use of high-speed
sync (FP flash) with full E-TTL exposure control. Switching into this mode
allows the camera to synchronise with the flash at all speeds
automatically. However, since the flash has to actually pulse the light,
you lose quite a lot of power. This mode is useful as fill-in flash for
outdoor portraits where you want high speeds and the resulting wide
apertures to throw the background out of focus. There was once when I
forgot to switch off FP flash and used the Speedlite indoors (with the
Sto-Fen Omnibounce) for a group shot. Needless to say, my shots were
underexposed as there was insufficient power. I'd advise users not to
activate this mode unless they really need it. At other times, normal flash
sync of up to 1/200 sec is usually more than enough while you get the
advantage of full flash power.
The 550EX is well built, provides lots of power while recycling times seem
marginally faster than the 540EZ. However, the use of pre-flash for E-TTL
and FEL will undoubtedly chew through batteries much faster. I average
about 3 to 4 rolls per set of four 700mAh NiCd rechargeable AA batteries
before recycling times become exceedingly slow. Just remember to bring
along lots of spare batteries. I know the 550EX units are expensive. Each
speedlite costs even more than an Eos 50! But for those who need its
capabilities, I believe they are worth saving up for as they expand one's
photographic horizons tremendously.
Warning! Lens Incompatibality Problems
The Eos 3 is a fussy camera. It will not work with many 3rd party
manufacturers' lenses. The Eos 3 uses the latest propriety software to
achieve its amazing AF capabilities. Many 3rd party manufacturers do not
have access to this latest software and as such their lenses may NOT work
with the camera. This is no fault of Canon's as they develop their cameras
and lenses to be compatible with one another and not with other
manufacturers' products.
I did a quick check at several shops and discovered that the entire series
of professional Tokina lenses, including the newest AT-X Pro lenses are
incompatible with the Eos 3. The lenses which I personally tried on my Eos
3 were the Tokina AT-X Pro 80-200 f/2.8, AT-X Pro II 28-70 f/2.6-2.8, AT-X
28-70 f/2.8 and AT-X Pro 20-35 f/2.8. These lenses would not even try to
autofocus while with the AT-X Pro II 28-70, I managed to fire the shutter
but the mirror refused to come down and the "bc" warning started to flash
alarmingly, signifying an error. With other Tokina lenses, the camera
refused to even fire the shutter!
Tamron lenses seemed to fared better. I could get the 70-300 f/4-5.6 and
200-400 f/5.6 to comfortably AF with the Eos 3. However, for compatibility
with other Tamron lenses, please do individual checks.
Sigma lenses on the whole also fared badly with the Eos 3. The Sigma 50mm
f/2.8 EX macro refused to work on the camera. Other Sigma lenses like the
28-200 f/3.8 -- 5.6 UC, 18-35 f/3.5 -- 4.5 ASP, 28-80 f/3.5 -- 5.6 macro
also went dead when mated to the Eos 3. The lenses would not AF while other
functions like depth of field preview were also non-functional. On a
positive note, I was very surprised to find that the Sigma 70-200 f/2.8 EX
HSM would happily work on the Eos 3. AF was fast and accurate, although it
was nowhere as fast as the EF70-200L, but at least it works. Other
functions like DOFP was also fully functional
Eos 3 users had better stick to marque lenses for total compatibility.
There are absolutely no compatibility problems with any Canon lenses, even
with old non-USM lenses. I know there are rumours that Tokina may re-chip
their lenses, while others say that the Eos 3 will be made compatible with
these 3rd party lenses. I don't know, I have yet to see it happen. In the
meantime, those who wish to buy 3rd party lenses for their Eos 3 must check
and double-check for absolute compatibility before making a purchase.
System Support
When you buy any SLR camera, you are buying more than just a camera, you
are investing into a system. In this respect, the Canon Eos system offers
one of the best system support and accessories available. There are over 50
lenses to choose from, while other specific accessories for the camera
include nine user-interchangeable focusing screens, a new anti-fog
eyepiece, wireless controller LC-4, battery packs, angle finders and the
date back DB-E2.
The only accessory the Eos 3 seems to lack is a proper data back as seen on
the Nikon F5 and Minolta Dynax 9. Eos users have been hollering for a good
data back with capability to imprint important data between frames. So
common Canon -- at least make sure that the upcoming Eos 1N's replacement
comes with a decent data back!
Conclusion
In the months that I have spent with the Eos 3, I have only this to say:
"To know this camera is to love this camera." It offers users the latest in
cutting-edge technology that seriously expands one's photographic horizons
while making the picture-taking process a real delight. It's fast,
accurate, rugged and feels intuitive. The camera is built for the long haul
and can take the daily punishment of professional use and still be up and
ready for more. Sure, there are some minor quibbles here and there, but I
dare say this is the closest that Canon has reached thus far in its quest
to create a perfect camera. It is certainly the best camera I have ever
used.
How does it fare against its rivals especially the newly launched Nikon
F100 and Minolta Dynax 9? While I have not actually run direct comparisons,
based on the spec sheets, the Eos 3 offers a lot more features and will
certainly be able to hold its own against its rivals. The CMOS AF system is
incredibly fast and accurate, easily superseding the Eos 1N's and even
surpassing the top-of-the-line F5's AF performance in some ways. The new
exposure and flash system is inspiring while handling is nothing short of
dreamy.
Coupled with an exciting range of super-fast USM lenses, some with image
stabilisation and the ability to AF with apertures as small as f/9, I
believe the Eos 3 is a worthy contender to any other camera in existence.
In Malaysia, the good news is that the Eos 3 is significantly cheaper than
the Nikon F100, Dynax 9 and Eos 1N.
The Eos 3 will probably not convert users who are already heavily invested
in their respective Nikon or Minolta systems. For such users, the Nikon F5,
F100 or Dynax 9 are more relevant options. However, for those who are not
particularly committed to any SLR system, the Eos 3's exceptional
performance and features may just sway them towards joining the Canon camp.
Many have asked if they should buy the 1N or the Eos 3? Frankly, the Eos 3
is a major step forward, featuring many radical features that expand one's
photographic horizons. Having used both cameras extensively, I would say
that unless the Eos 1N is selling for a much much lower price, I would go
for the Eos 3 any day.
For budding photographers on a tight budget, I know the Eos 3 looks really
tempting, but my advice is to invest in a really good set of lenses first
and use bodies like the Eos 50 or Eos 5 which have more than enough
features to grow with your needs.
As for the Eos 3, I believe this incredible picture tool is destined to
achieve a cult status among advanced amateurs and professionals alike.
World-wide demand has been so hot after its launch that supply has been
unable to keep up even at this point of writing. Despite its "second in
line" position, the Eos 3 is still very much a professional camera that
will give all other professional SLRs in existence (especially the Eos 1N)
a serious run for the money while setting new industry standards. In fact,
a good number of Canon pros (including American wildlife photographer
George Lepp) prefer using the Eos 3 as their main workhorse while their
trusty 1Ns serve as backups.
Based on the Eos 3's impressive specs, one can only imagine the glorious
goodies just waiting to be unleashed in the soon-to-come Eos 1N's
successor. But that will be another story.
For additional info on the Eos 3, check out the Eos 3 mailing list at
http://www.eGroups.com/group/eos3
F100: A Lighter, Cheaper F5
by Nelson Tan
Thanks to special arrangements, I picked up the hot new Nikon F100 for a
review. After drooling over the camera, I managed to take the camera out
for a test drive. Three weeks and many rolls of film later (not to mention
many sleepless nights of typing), you'll get to read the technical
specifications, hear the opinions about the actual usage in the field, and
see images by the F100.
First Impression
Most people have seen the pictures of the F100, and the general comment is
that it looks like a baby version of the Nikon F5. So taking it out of the
box isn't much of an event by itself. But what is unexpected is that the
resemblance doesn't end with the looks. The F100 feels like a F5, totally
solid and fits the hand like a glove. You really have to handle it to
appreciate the styling and the form. The F100 feels well-balanced in the
hand (at least for Nikon and Contax users), and it instills enough
confidence in you to use it as your only camera. In short, this is the kind
of camera that inspires you to go out and take pictures !
Design, Handling and Ergonomics
After I got over the thrill of holding the camera in my hands for five
mintues, I rampaged through the box for the manual. Guess what ? They
forgot to give me the manual for the test unit. Wow... now I can really
find out if the camera is user-friendly huh ? So now I have Nikon's second
most advanced SLR without any manual; this is a real acid test for
user-friendliness I must say.
So did it pass the test ? Well, I managed to guess and operate 90% of the
camera after fiddling with it for 15 minutes, so a typical user shouldn't
have any problems at all. I use a Nikon F90X, but I've never used a F5
before. So I'd say that the F100 is well-designed and definitely more user
friendly than your typical VCR. The only function you are likely to have
problem figuring out is the custom functions. There are a total of 22
custom functions, and without a documentation you are probably unable to
use the customized functions in the field, except those that you use
frequently. However, Nikon did include a small plastic laminated card with
all the functions imprinted on it, so you can easily check the custom
functions even when you are out shooting.
If the F100 outperforms the F5 in any area, it would be with the
illuminated red focusing squares. Unlike the focusing squares of the F5
which are displayed in black and difficult to see in anything other than
the most ideal situation, the selected focus squares of the F100 are
illuminated in red for around 0.5 secs when activated. It is pretty easy to
spot which square is selected. The focusing screen is one of the brightest
of any Nikon SLRs, even outshining (forgive the pun) the F5. The viewfinder
LCD screen is bright and legible, and provides comprehensive info without
being too cluttered. The display is dark green and illuminated, making it
viewable in all lighting.
The external LCD screen features a bold and clearly defined readout, and
can be illuminated for reading in total darkness. A bonus over the F90X is
that the F100 displays the frame number even when the camera is turned off,
so you know the frames shot without having to turn on the camera to check.
The F100's shutter button is sure and decisive, without being oversensitive
to the half-depress. The release lag is reasonably fast, and the operation
is smooth. Like the F5, the On-Off operation is a collar switch. I actually
prefer the sliding switch on the F90X, because the collar switch needs two
hands (one to hold the camera) to turn it on to prevent dropping the
camera. The aperture (front) and shutter dials (back) are within
comfortable distance of thumb and fingers, and clicks are distinct and
smooth.
The F100 provides diopter adjustments for eyesight, although I'm slightly
apprehensive about this feature. It allows compensation so that people with
eyesight problem do not need to wear spectacles while shooting. If you are
near-sighted, how on earth are you going to spot potential photographic
subjects if you are not wearing specs and not looking through the
viewfinder. Okay, it works only if you walk around with a F100 stuck to
your face. However, a professional photographer pointed out that the
diopter feature is very useful for photographers with far-sighted vision,
since it allows them to see the image in the viewfinder clearly without
having to put on their reading glasses.
The Nintendo (C) joystick pad lookalike is the device built into the camera
back for shifting the focus boxes. It is pretty easy and fun to use, and it
is lockable to prevent accidental changes to the selected focus squares. By
the way, the selected focus squares light up in red in the viewfinder, and
you can check the top panel LCD display for the selected squares too.
<Picture>If there is one feature which I really like on the F100 over the
F90X, it must be the great electronic depth-of-field preview button. As
someone who does macro work frequently, the DOF preview button on the F90X
really leaves me with sore fingers, not to mention accidentally shifting
the tripod while pressing the button. The F100's electronic DOF preview, in
contrast, is a delight to use. A slight press, and the aperture stops down
to the pre-set f-stop. No fuss at all !! This picture was taken with the
Micro Nikkor 105mm f/2.8 AF-D.
Other than the custom functions which I was unable to operate without the
manual, the other function which racked my brain was the bracketing
feature. I was not able to figure out what the cryptic display was trying
to tell me, so I guess I'll just have to wait for the manual to arrive. But
I am glad they included the auto-bracketing function into the camera. You
are able to take 2 to 3 frames in 1/3 to 1 EV difference, and the best
feature is that you can use custom function #11 to set the bracketing for
either the background exposure or for flash exposure, something which they
claimed is a Nikon exclusive. Pretty cool I'll say...
The AE-L and AF buttons at the back of camera are well designed and
well-positioned. They are slightly studded to provide better friction and
for easier location in the dark. All the buttons are clearly marked and
spread out on the F100, kudos to Nikon's designers for that. Best of all,
there are no excessive buttons. But a gripe I have is that the F100 does
not have a viewfinder curtain. I know that not everyone uses it. But when
the lower model of F90X has it as a standard feature, it's really
disappointing that Nikon chose to leave it out of the "mini-F5". It affects
those who do closeup work and night photography the most.
Saying that the F100 has a great construction is akin to saying that Volvos
are slightly tougher than Japanese cars. In case you didn't catch my drift,
I'm saying that it is a understatement. It is difficult to find another
camera which is built as tough as this little cookie, aside from the Nikon
F5 and Minolta Dynax 9. The metal chassis gives the F100 a tough exterior,
but the surprise comes from knowing that the F100 weigh only 30 grams more
than the F90X !! The battery compartment lock is improved, with a flip-key
design rather than the coin-slot design on the < A HREF =
"N90sreview.shtml">F90X. And the F100's grip is incredible - in fact, the
camera feels like a stone covered in rubber. But the right-hand section is
slightly bulky, so users with shorter fingers may not like it as much. I
love the handling.
Functions and Specifications
Rather than bore you with specifications of the camera, why don't you check
out the specification chart of the end of article ?
Real-world performance
So how does the F100 perform in the real world ? Does it live up to its
hype ? After a trial of three weeks, I will say that the F100 ranks easily
among the best SLRs in the world, and will withstand challanges from any
current camera in the market.
In any review of modern SLRs, most people would want to know the speed of
the autofocusing and the accuracy of the metering. Compared to the F90X,
the F100's autofocusing is significantly faster, and less prone to hunting.
It is also considerably quieter and more precise in focusing. The only
blight in the focusing scheme is that the two squares at the top and bottom
does not focus on horizontal lines ! I am not sure if this is documented
anywhere, but I tried it on various subjects with horizontal lines, it
simply does not catch on. I wonder if it is a deliberate design by Nikon so
that you will not be focusing on horizons when you compose a landscape
using the rule of thirds. Like what they say folks, it's a feature not a
bug !
<Picture>This picture of the orchid is taken with the right focusing point
activated. When taking such still-lifes or portraiture where a focusing
point is dominant, it is extremely useful.
So far so good, for stationary objects. Even very low contrast subjects
like the fur on my stuffed yellow duck caught focus using the squares. The
same subject posed difficulty to the F90X, so that's definitely an
improvement. So I moved on to moving subjects to check out the dynamic
autofocus mode and test the accuracy of the focus tracking. I chose the
fountain at Bugis Junction because I knew there were always small kids
playing there. Those little angels rank only below basketballers and soccer
players in hyperactivity. When fooling around the spurting jets of water,
they can get throughly wild and their movements can be really erractic (to
avoid being hit by the water jets). Also, the spurts of water also serve as
a obstruction to the AF tracking. Nikon claims that the AF tracking ignores
temporary blockages to the subject and will hold focus. So I aim to take
that claim to task.
<Picture>The Dynamic AF mode is pretty impressive. I locked on the kid
dashing everywhere in the fountain, and the focus held on like glue. The
kid really jerked and skidded around the fountain, and the tracking was so
smooth that it was difficult to tell if it was working at all. Then came
the interupting spurts of water jets... the F100 had no problem holding
focus on the kid. So I'd say the F100 passed the test with flying colors.
To make the best use of the F100's AF, you have to understand the workings
of the two modes. The Dynamic AF uses closest subject as focus, and will
actively track the subject with any of the five focusing points. The
single-point selectable AF is great for off-center compositions such as for
portraiture or landscape.
The viewfinder has a higheye-point design, meaning that spectacled users
can view the entire viewfinder area without having to flatten your nose
into your face. It works great, and the LCD readout is sharp and clear, so
no complaints about that. When the aperture dial is used, the aperture ring
on the lens must be set to the minimum f-stop. Like a kid discovering a new
feature on his new toys, I was delighted to find that I could now set my
aperture in 1/3 stops ! Wow ! That is... until I found that it was quite a
chore to keep spinning the dial to get to the stop that I wanted. Fine. So
I decided that I want to set full stops using the aperture ring on the
lens. When I turned the ring to other apertures, the LCD display read F--.
After some cross-checks with the Nikon F100 catalog, I figured out that
setting custom function #22, I could use the aperture dial on the lens to
set the aperture in full stops. I'm glad that there is a choice - spinning
2 dials to choose aperture and shutter speeds in 1/3 stops could get pretty
tedious after a while.
<Picture>Now for the exposure. Unlike the top-of-the-line F5, the F100 does
not sport a colour matrix meter. The literature does not mention anything
about an improved meter, so I took it to mean that the meter is the same
one on the F90X. One of Nikon's claim to fame as a professional brand is
the unparalled accuracy of its Matrix metering. Using multi-segmented
sensors and a database of stored situations, the Matrix metering is capable
of providing pin-point accuracy in exposing up to 90% of the pictures
taken. My experience with the Nikon F90X supports this claim. The tricky
10% which may lead to inaccurate exposure is mainly very bright AND very
reflective subjects which take up a large portion of the image. The F90X
consistently underexposes such subjects by one stop, which I will allow
compensation for. However, with most subjects, even with half body
portraits with white walls as background, the F90X gives spot-on exposure.
That speaks very highly of a reflective-reading meter.
<Picture>The F100, like the F90X provides very accurate reading, which is
really to be expected. I put the F100 through a variety of situations, and
compared the readings with a Minolta IV F lightmeter, and the variances for
most situtations (I'd say around 95% of the time) were within 1/3 stop.
Pretty amazing stuff. But what I want to know most is whether the F100 has
the same tendency to underexpose bright and reflective subjects as the
F90X, or perhaps overexpose black subjects. Again, a series of situations
with bright highlights were chosen, and the F100 did considerably better.
For example, skylines with bright overcast skies occupying 2/3 of the image
area were underexposed by 1/2 stop. This is perhaps a good thing
considering that the clouds retained some details rather than blown out
highlights with a correct exposure. Reflective subjects like a polished
bonnet of a silver Rolls Royce was correctly exposed, maybe slightly (1/3
stop) underexposed. It seemed to have slightly more trouble with yellow,
underexposing by 1/2 stop. If you are using print films, you should have no
problems at all with the matrix metering. If you are using slide films, the
underexposure is really insubstantial for most purposes, and serves to
saturate the colour if anything. For predominately black subjects, I
photographed a black cloth with a small film box on it (for reference to
judge exposure). The results were acceptable - just 1/2 stop overexposure
with a completely black cloth. I feel that although it is undocumented, the
F100's meter is slightly more accurate than the F90X's.
As for flash exposure, I could not get hold of a Speedlight SB-28, so all
the tests were conducted with a SB-25. Is it accurate ? Very. With some
trials, you could virtually expect every single flash-exposure shots to
come back with spot-on exposures. I was one of the doubting photographers
about the Distance technology, but my own tests convinced me that the
distance information enabled the flash to ignore any obstructions between
the camera/flash setup and the subject, or backgrounds, and expose
correctly for the subject using Distance data as the extra measure. All the
tests of exposure (ambient and flash) were conducted using Fuji Astia 100
film.
The mirror movement is fast and precise, with little vibration or slap.
This refinement is really what differentiates the F100 from the F90X. The
sound and feel of the F100 is simply inspirational. The mirror movement is
still audible, although it is quieter than the F90X. But the film transport
is nearly silent. If you can get hold of the F100, try to differentiate
between the mirror movement and the film advance. It has one of the most
silent film transport in any Nikon. The film rewind speed is nothing to
phone home and tell your mom, but the sound is significantly dampened
compared to the whirl of the F90X. And imagine the surprise when I opened
up the back after rewinding the film for the first time - the film leader
is left out ! Great if you need to change films mid-roll. To fully rewind
the film, just depress the rewind buttons again. But it seems that standard
models of F100 does not do that. And if you use custom function #1, you can
program the F100 to rewind the film automatically at the end of the roll.
It's a small convenience feature which you might like to activate.
What really irked me was that the switch for switching between autofocus
and manual focus (M/S/C switch) is too small. I had to actively search for
the switch to change it, unlike the F90X which has a bigger switch. Almost
all the buttons on the F100 are big, except for this tiny switch which can
really bug you if you are in a hurry. As said before, most functions are
easily comprehended, so no need to bring manual. Nikon, how about a printed
plastic card for the custom functions ? Finally, I found that there is
still a slight overdose of locking devices on the F100, even though there
are significantly less locks compared to the pro-calibre F5. The F100 is
designed to emulate the handling of the F5 in most aspects, so that pros
can have both cameras in the bag and not feel uncomfortable about switching
between the two.
System Accessories and Compatibility
Nikon is favoured by professional users because of its system accessories
and backward compatibility. As you might expect, the Nikon F100 offers a
excellent backup of system accessories, so you can adapt the camera for
various purposes. Many of the general Nikon system accessories can be used
on the F100. Some other accessories such as the cable release and Ni-MH
batteries are for specific cameras only. The F100 can also be connected to
the computer via a cable for you to customize your settings on the F100, or
to download shooting data (e.g. aperture, shutter speed etc.).
The MB-15 is a auxillary grip that attaches to the base of the F100, and it
functions as a film advance booster as well. The MB-15 improves the
handling of the F100 pretty much, especially when you are shooting vertical
compositions (eg. portraiture). Also, when you are using long lenses such
as the 80-200 f/2.8 AF-D, it provides a better leverage for the wrist,
enabling you to hold the camera more comfortably and more steadily. The
MB-15 features a secondary shutter button, command dial and AF start
button. It takes 6 lithium or alkaline AA-size batteries, or the
rechargeable Ni-MH battery MN-15 from Nikon. When the MB-15 is attached, it
boosts the maximum film advance rate from 4.5 to 5 frames/second.
The F100 can use the AF Nikkors, AI-P type Nikkors, as well as the AI and
AI-S type manual focus Nikkors. Backward compatibility is ensured by the
legandary Nikon F-mount, unchanged even as Nikon moves to the AF-S age. The
new Silent Wave motor lenses (AF-S) is Nikon's answer to Canon's Ultrasonic
Motor (USM) lenses. With Nikon outfitting its pro lenses with the AF-S
motors, it is hoping to lure back professional users with its tough bodies
and high-speed AF.
Here are the lenses that can be used on the F100 and their limitations :
•AF, AF-D and AF-S Nikkor : Autofocus and all functions possible •AF Nikkor
other than D-type: All functions except 3D Matrix Metering possible •AI-P
Nikkor: All functions except 3D Matrix Metering and autofocus possible
•Non-CPU: Useable in Aperture-Priority or Manual exposure mode,
Center-Weighted or Spot Metering. Electronic Rangefinder usable with lens
with maximum aperture of f/5.6 or faster
Value
At a price that is twice that of the F90X and slightly less than F5, the
F100 is indeed in a tough spot. The lower end users would flinch at paying
a price at which they can buy two F90X bodies, given that the F100's
performance is not exactly twice that of the F90X. The higher end users
will be thinking why on earth would they buy a F100 when they could spend a
few hundred more and get a top-of-the-line F5 instead.
So is the F100 a justifiable camera ? Or is it a misfit which is totally
out of place in the Nikon system ? Based on the specifications, the F100 is
a perfect fit between the F90X and the F5. It lacks the professional
refinements such as removable prism, mirror-lockup etc. But it also took
the best of the F5's design, such as the body structure, and in some cases
even improved on them (such as the red-indicator boxes in the viewfinder).
Compared to the F90X, the F100 addressed the "short-falls" of the
predecessors by including features such as multiple-exposure, exposure
bracketing, customizable functions and removing unneeded functions like
Vari-Programs. The F100 can be called a miniature F5, or a F90X on
steroids.
Perhaps the only blunder Nikon has made is with regards to the pricing.
Being so much more expensive than the F90X and close to F5 in price, most
would think that people would give it a miss. But surprisingly, the sales
of the F100 are doing very well. Most customers are photographers who
already have a F5, and want a smaller version to carry around or as a
backup camera. Or photographers who wants the newest toy in town. All in
all, the F100 is not the camera for the best value. But it's impressive
specification does make it worth a consideration for many.
Rivals
The F100's deadliest rival comes in the guise of the Canon challenger - EOS
3. The EOS 3 was launched a few months before the F100, and both fall into
the same category of being the second-best-in-line. Indeed, both cameras
are very highly specified, and it is unlikely that the majority of users
will find them deficient in terms of specifications and functions.
The Canon EOS 3 is priced slightly higher than the Nikon F100, and matches
the F100 in terms of features. Both are modern AF cameras packed to the
brim with electronics and modern technology. However, the F100 is better
constructed and feels more substantial. As the EOS 3 has just been
launched, I have never used it and thus could not compare the two of them
side by side. Like the F100, there have been some minor glitches like some
users being unable to use the eye-focus control even after repeated
calibration, or complaining about the number of lighted squares in the
viewfinder.
The Minolta 800si is another rival for the F100. Minolta has been known for
giving the best value for money, so it is hardly surprising that the
Minolta 800si is the cheapest of the trio, and yet offers enough features
to pose a challenge to the Nikon and Canon. However, the Minolta 800si is
also the oldest of the three and thus could not serve up the same
advancement as the rest, but it is still a highly capable camera for the
money. The new Minolta flagship camera Minolta 9 falls into the
"pro-calibre" catagory with the Canon EOS 1n and Nikon F5, so it will not
be fair to compare it with the F100.
Conclusions
As usual, Nikon has upped the ante with Canon closing in on the
professional end of the market. Canon has always offered very capable
cameras for the amateurs, and they are now developing the higher end models
such as the EOS 3 and EOS-1n. Nikon has always been the professional's
camera, and they have revamped their lower line such as the F60 to
recapture the market share lost to Canon, while striving to improve the
top-range cameras. The ceaseless battle between the two giants has led to
continuing improvements in the development of photographic equipment.
The F100 is undoubtedly the best example of such improvements. With
technology gleaned off the professional F5, and with Nikon's long
experience in making cameras, the F100 represents Japanese technology at
its best. There is no doubt that the F100 is amongst the best 35mm cameras
in the world today. The hefty price tag is a consideration, but photography
is never cheap. If you love modern cameras, the F100 is definitely a
irresistable buy.
So would I buy a F100 instead of a F90X? Yes, if my budget allows. The F100
has included many important options left out of the F90X, such as multiple
exposure, electronic DOF preview and exposure bracketing. And the
construction and ergonomics are considerable better than the F90X. Even
then, the F100 is at least a $500 more than the F90X. But if I had enough
money lying around, I'd go for the F100.
The new Silent Wave Motor (AF-S) Nikkor lenses are another reason why Nikon
is attracting the professionals. Nikon has always been known for its tough
and rugged bodies, but it's AF performance in the past has never been noted
for its speed and silence. Canon on the other hand, based its reputation on
the superiority of their Ultrasonic Motor (USM) lenses, with their silent
and swift performance. However, with the launch of the AF-S lenses which
works exactly the same way as the USM lenses, Nikon is now able to offer
the benefits of tough camera bodies, great system accessories, and
incredibly fast and quiet autofocusing. Now, EOS users may be laughing at
this so-called "innovation" which Canon users already had years ago. But
the fact is, now Nikon has both bodies and lenses - tough, fast and quiet.
That alone is reason enough for many professional users to consider a
switch.
Would I buy a F5 instead of a F100 ? If it is going to be my only camera,
I'd think the F100 is a better choice. The F5's hefty weight and size is
something to consider while choosing the camera, although the F5 offers
even more features than the F100. But the newer F100 is better designed,
has less locks, better AF indicator boxes (important), and it is much
lighter than the F5. If I could choose a combination of systems, I'd get
the F5 and the F100. But if I can only buy one body, I'd say go for the
F100.
Editor's Note: The article published here is actually available on the
author's own web site. With the permission of the author, the article was
corrected for grammar and re-published in Picture Perfect.
Click here for the full specifications for the F100 (in comparison to
Canon's EOS 3).
<Picture>
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Visitor Comments:
I've used both the F5 and the F100 through a 2-3 months field test and if
you know anything about the F5 you'll know that it has the 1,005-pixel
COLOR RGB (red-blue-green) metering system (the first) with its
individually sensitive pixels covering the entire picture area instead of
the 10 segmented silicon cell. Yeah the F100 has the better AF indicator
boxes and about half the weight of the F5's. But compare to the F5's 8fps
and better metering system, would you pay the extra $5-600? like you said
the F100 is also about $500 more than the N90s. you can do almost all the
things the F100 does with the N90s with little set backs but nothing
serious. over all if you can't afford it (like me) the N90s is the way to
go but if you want to spend the big bucks the F5 no questions about it and
out ranks all 35mm cameras with some cons.
Anonymous (April 12, 1999)
It will be good to propose a magnesium made back in option to complete this
so marvellous camera !!
a.be...@dial.eunet.ch) (May 27, 1999)
Once you have decided to spend over 700 dollars on a camera - you aren't
going to end up with a dud! I just bought an F100 and love the way it
handles. The reason for buying it was simply because I didn't want to buy a
plastic body!
I wouldn't buy an F5 because I'm not a professional photographer! I bought
the F100 because it's rugged, offers everything I'll ever need and
hopefully won't need to be replaced for 15 years (the life of my old
camera, a Canon A-1 which I bought second hand in 1984!). For a total
investment of 1600 dollars (including a 2nd hand 50mm/1.8 and
35-135/3.5-4.5 Nikkor Zoom), that works out at 100 dollars a year!
An inexpensive investment for those passionate about photography rather
than obsessed with hardware!
A...@post1.amcham.be (June 8, 1999)
Behruz Nassre
can also use for auto foucsing.
behruz...
GT <gor...@gtrain.freeserve.co.uk> wrote in message
news:7qqn54$ogm$1...@news7.svr.pol.co.uk...
> The EOS3 has multi-spot metering which I find very useful , does the F100
?
>
> Gordon
>
> Lawrence wrote in message ...
> >I'm thinking of one or the other of these cameras to purchase. I already
> >own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my
> lenses,
> >can anyone offer insight as to what makes either of these cameras better
> >than the other?
> >
> >TIA,
> >
> >Lawrence
> >
> >
>
>
Keith Hollister
>I'm thinking of one or the other of these cameras to purchase. I already
>own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my lenses,
>can anyone offer insight as to what makes either of these cameras better
>than the other?
>
Assuming that the EOS lenses you own are something you wish to
continue using (i.e. not the cheap, consumer zooms) I would think
awfully hard about switching. While I am a nikon user (F5 & FM2n) and
think Nikon has some really great technology, a lot of this comes down
to subjective feel. If you like the feel and control layout of the
Eos-3, buy it. At the risk of starting a war my condensed take on
Nikon & Canon's advantages:
Nikon - TTL flash system, wide angle lens designs, macro system and
more traditional body control layout, ability to use legacy manual
focus lenses (big deal with me - I had several classic AIS lenses)
Canon - IS lenses, reasonable cost USM lenses (as opposed to Nikon
AF-S), big telephoto stuff (400mm and up), more useable low cost
bodies.
Everything else is mostly personal preference. I think you need to
consider your photographic interests, budget and current lens
inventory in making this decision. A feature by feature comparison of
a EOS3 and F100 is not productive. Both have pretty much everything
you will ever need, really good AF performance, good evaluative meter
systems (I do recall hearing some complaints early on about the EOS3
meter) and construction quality probably good enough for 99% of the
users.
______
Keith Hollister
kei...@mindspring.com
Jansen98
it can take multiple spot readings and then AVERAGE them. Even though I own
the F-100, I have to concede the Canon is therefore superior in this
respect.
wes jansen: jans...@gte.net
Joel Lefebvre
Lawrence wrote:
> I'm thinking of one or the other of these cameras to purchase. I already
> own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my lenses,
> can anyone offer insight as to what makes either of these cameras better
> than the other?
>
> TIA,
>
> Lawrence
I went through the same exercise a few months back ( didn't have the canon lens
collection though ). In the end, I felt that either camera would be just fine,
so it came down to holding each of them and choosing the one that felt best in
my hands. For me, this was the EOS-3. The Nikon had a ridge on the grip that
fell in the wrong spot in my hand. The EOS-3 was easier for me to hold and the
controls fell in convenient locations. As far as EOS-3 features that I like, the
EOS can be set to leave the leader out ( so can the F-100 by a service center ),
the EOS has multi-spot metering, and I like the semi auto depth of field control
using the eye controlled focus.
Joel
Andie
>
>
> Everything else is mostly personal preference. I think you need to
> consider your photographic interests, budget and current lens
> inventory in making this decision. A feature by feature comparison of
> a EOS3 and F100 is not productive. Both have pretty much everything
> you will ever need, really good AF performance, good evaluative meter
> systems (I do recall hearing some complaints early on about the EOS3
> meter) and construction quality probably good enough for 99% of the
> users.
The F100 is sorely missing any kind of MLU or pseudo-MLU, unlike the EOS3.
Sean Chan
It has (single) spot metering that can be shifted to
any of the 5 focussing points, but that's not multi-spot
metering (which is the *averaging* of spots metered at
various parts of a scene).
This is the primary reason why I bought the EOS-3, for
it's multi-spot capability.
Sean
P.S. Remove NO.SPAM when replying
--
Sean H.Y. Chan ICQ# 28162308 se...@tsm.com.au
IT Consultant http://www.tsm.com.au/~sean
DSM Group Pty. Ltd. +61 (0)500-888-117 (W)
PO Box 1493, West Perth, 6872, WESTERN AUSTRALIA
<is...@execpc.com> wrote in message news:7qr517$q...@newsops.execpc.com...
> On Sat, 4 Sep 1999 09:01:23, "GT" <gor...@gtrain.freeserve.co.uk>
> wrote:
>
> > The EOS3 has multi-spot metering which I find very useful , does the
F100 ?
>
> Yes it does. I chose the F100 over an EOS 3 (I shoot a 1N)
>
>
> ---
> Andy White
> Fox Cities Newspapers
> Staff Photographer
> e-mail: is...@execpc.com
>
*AND*
Behruz Nassre <bna...@earthlink.net.NOSPAM> wrote in message
news:7qr8j9$ivr$1...@fir.prod.itd.earthlink.net...
Sean Chan
(single) spot metering that can be shifted to any of the 5
metering (where it's the averaging of spots metered at
various parts of a scene). On top of that, the EOS-3's
spot metering can be shifted to 13 of the 45 various
focussing points.
The multi-spot capability is the main reason why I bought the
EOS-3.
Chuck Ross
<se...@tsm.com.au.NO.SPAM> wrote:
> Actually, no the F100 doesn't have multi-spot metering.
> It has (single) spot metering that can be shifted to
> any of the 5 focussing points, but that's not multi-spot
> metering (which is the *averaging* of spots metered at
> various parts of a scene).
>
> This is the primary reason why I bought the EOS-3, for
> it's multi-spot capability.
Actually, the F100 -DOES- have multi-spot metering. What you're
talking about is multi-spot focussing points. In "matrix" metering mode,
the F100 has a 10-segment Matrix 3-D metering ability, with a database
of 30,000 value scenes to compare metering results with.
>
> Sean
> P.S. Remove NO.SPAM when replying
> --
> Sean H.Y. Chan ICQ# 28162308 se...@tsm.com.au
> IT Consultant http://www.tsm.com.au/~sean
> DSM Group Pty. Ltd. +61 (0)500-888-117 (W)
> PO Box 1493, West Perth, 6872, WESTERN AUSTRALIA
>
> <is...@execpc.com> wrote in message news:7qr517$q...@newsops.execpc.com...
> > On Sat, 4 Sep 1999 09:01:23, "GT" <gor...@gtrain.freeserve.co.uk>
> > wrote:
> >
> > > The EOS3 has multi-spot metering which I find very useful , does the
> F100 ?
> >
> > Yes it does. I chose the F100 over an EOS 3 (I shoot a 1N)
> >
> >
> > ---
> > Andy White
> > Fox Cities Newspapers
> > Staff Photographer
> > e-mail: is...@execpc.com
> >
>
> *AND*
>
> Behruz Nassre <bna...@earthlink.net.NOSPAM> wrote in message
> news:7qr8j9$ivr$1...@fir.prod.itd.earthlink.net...
> > Yes it does. You can move the spot meter to one of the same five spots you
> > can also use for auto foucsing.
> >
> > behruz...
--
http://www.enteract.com/~ckross/
Digital and Film-Based Photography
remove "MYPANTS" to reply
Chuck Ross
<se...@tsm.com.au.NO.SPAM> wrote:
> Actually, the F100 doesn't have multi-spot metering. It has
> (single) spot metering that can be shifted to any of the 5
> focussing points, but that's different from multi-spot
> metering (where it's the averaging of spots metered at
> various parts of a scene). On top of that, the EOS-3's
> spot metering can be shifted to 13 of the 45 various
> focussing points.
No, no, no! The spot is shifted to any of the 5 positions for
focus point, NOT metering point! The F100 has a choice of 10-segment
multi-spot 3D matrix metering, center-weighted or spotmetering.
>
> The multi-spot capability is the main reason why I bought the
> EOS-3.
Didn't read carefully enough, I guess.
Richard Waddington
wrote:
>I'm thinking of one or the other of these cameras to purchase. I already
>own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my lenses,
>can anyone offer insight as to what makes either of these cameras better
>than the other?
>
>TIA,
>
>Lawrence
>
Neither is better than the other really !
I depends on what you intend doing with it, And how it feels/handles
in you hands !
At the moment i own and use Nikon F5, Nikon F100, And a Canon EOS-3,
Which do i use most ? Well that would be the F100 (I just enjoy using
it the most)
But there are times when i reach for the EOS-3 (I got it to take
advantage of the "IS" lenses)
When you start talking "Top o the line" bodies like these, They are
all pretty well match when it comes to delivering the goods, Sure you
may find a feature on one that isn't found on the other, But generally
there speed of AF is within milliseconds of each other, They are all
pretty reliable when it comes to metering, They are all pretty
durable, And so on
The thing that will split them is YOU !
It really depends what you want out of (Or in) the body !
Richard Waddington
>On Sat, 4 Sep 1999 09:01:23, "GT" <gor...@gtrain.freeserve.co.uk>
>wrote:
>
>> The EOS3 has multi-spot metering which I find very useful , does the F100 ?
>
>Yes it does. I chose the F100 over an EOS 3 (I shoot a 1N)
>
No it doesn't !
By multi-Spot the poster means the EOS-3 enables you to take up to 8
spot readings from a scene and average them !
I think that by multi-spot metering you mean that the F100 has more
than 1 AF/spot metering indicator (Am i correct ?)
es...@my-deja.com
"Lawrence" <thefou...@csi.com> wrote:
>
No. But I would strongly put the formidible Minolta Maxxum 9 in the
list as a viable contentder. You just may surprise yourself. I did!
Edward
I'm thinking of one or the other of these cameras to purchase. I
already
> own 4 canon lenses and no nikon lenses. Beyond the sunk costs of my
lenses,
> can anyone offer insight as to what makes either of these cameras
better
> than the other?
>
> TIA,
>
> Lawrence
>
>
Sent via Deja.com http://www.deja.com/
Share what you know. Learn what you don't.
Chuck Ross
Doesn't Nikon's Matrix 3d metering system do that automatically?
Ball
metering point as the sensitivity of the spot id shift to that particular
point.
Ben
Richard Waddington
Ross) wrote:
>In article <J6sA3.7309$1E2....@ozemail.com.au>, "Sean Chan"
><se...@tsm.com.au.NO.SPAM> wrote:
>
>> Actually, the F100 doesn't have multi-spot metering. It has
>> (single) spot metering that can be shifted to any of the 5
>> focussing points, but that's different from multi-spot
>> metering (where it's the averaging of spots metered at
>> various parts of a scene). On top of that, the EOS-3's
>> spot metering can be shifted to 13 of the 45 various
>> focussing points.
>
>No, no, no! The spot is shifted to any of the 5 positions for
>focus point, NOT metering point! The F100 has a choice of 10-segment
>multi-spot 3D matrix metering, center-weighted or spotmetering.
When in spot metering mode the spot metering point coincides with the
selected AF point (Read the manual)
The F100 does NOT have multi-spot metering (Like in the EOS 3)
The F100 cannot average various spot readings like the EOS 3 !
It can only spot meter from various points but will only enable one
reading to be used ! (The user most average the readings out as the
camera cannot (When in spot mode !))
Sean Chan
> > (single) spot metering that can be shifted to any of the 5
> > focussing points, but that's different from multi-spot
> > metering (where it's the averaging of spots metered at
> > various parts of a scene). On top of that, the EOS-3's
> > spot metering can be shifted to 13 of the 45 various
> > focussing points.
>
> No, no, no! The spot is shifted to any of the 5 positions for
> focus point, NOT metering point! The F100 has a choice of 10-segment
> multi-spot 3D matrix metering, center-weighted or spotmetering.
Chuck, you're not understanding the definition of Multi-Spot
Metering correctly. Multi-Spot Metering means you can take
spot readings from various parts of a scene and *average*
out those readings. For example, in a typical scene where
you may have shadows and highlights that vary by a few
F-stops, you can spot 2 shadow areas, spot a highlight,
etc. and the camera will then work out an average of the
3 spot readings you have made. The EOS-3 can take up to 8
spot readings and average them. The Olympus OM-3/4Ti can
take 9 spot readings before cycling through them again
and averaging them.
The F100's Spot Metering can only handle *ONE* spot reading
at the photographer's preferred AF point.
With regards to my comment on the EOS-3's spot metering being
shifted to 13 of the 45 focussing points, that's with CF13-1
enabled, you can use ECF or manually dialed selection to pick
1 of the 13 points for spot/multi-spot metering.
> > The multi-spot capability is the main reason why I bought the
> > EOS-3.
>
> Didn't read carefully enough, I guess.
Incorrect, I read it very carefully. There are only a handful of
current SLR's that support Multi-Spot Metering. As mentioned, of
the EOS-3 and Olympus OM-3Ti and OM-4Ti, the old Canon T90, and
one of the Minolta Dynax SLR's which accept "software cards" are
the only ones I am aware of in the past 2 decades that support
Multi-Spot Metering.
Chuck Ross
<se...@tsm.com.au.NO.SPAM> wrote:
Ok, sorry. But, I'll tell ya, Nikon's 3d matrix metering on the F-100
is awesome! I suppose there is more than one road to Rome. Or more
than one way to skin a cat.
What makes you so dead-set on mult-spot averaging metering? If you
meter several light-grey areas and average the readings, you'll still
have to compensate by adding more exposure. I just let the matrix
metering figure it out, and I'm more than happy with the results.
Dag
wrote:
>> No it doesn't !
>> By multi-Spot the poster means the EOS-3 enables you to take up to 8
>> spot readings from a scene and average them !
>> I think that by multi-spot metering you mean that the F100 has more
>> than 1 AF/spot metering indicator (Am i correct ?)
>
>Doesn't Nikon's Matrix 3d metering system do that automatically?
No.
Nikon's Matrix meter just meters 10 (i think, it could be more) fixed
points and avg. them.
The Canon will let you use the spot meter to choose which points of the
scene you want to meter, and then avg. only your chosen points. The
Canon also has a metering system that works much like Nikons Matrix
meter.
Dag
Sean Chan
> is awesome! I suppose there is more than one road to Rome. Or more
> than one way to skin a cat.
>
> What makes you so dead-set on mult-spot averaging metering? If you
> meter several light-grey areas and average the readings, you'll still
> have to compensate by adding more exposure. I just let the matrix
> metering figure it out, and I'm more than happy with the results.
My first multi-spot metering camera is the OM-4Ti. When I use the
multi- spot metering, I have yet to see an *unexpected* result from
it. i.e. I have *always* gotten the results I expected...and I've
taken hundreds and hundreds of shots from it.
Note, I'm not saying perfect exposures to everyone's eyes, but I'm
saying correct exposure to *what I want*, nor am I saying that
multi-spot metering its flawless and the answer to everyone's
desire/dreams 'cos if you don't know how to use it, yes it can end
up with in unexpected results too.
Unfortunately I cannot say the same for the EOS-3's 21 segment
evaluative nor the Nikon F100's 10 segment 3D matrix metering.
Don't get me wrong, the evaluative/matrix mode suffices 95% to
99% of general shooting, but you do get the odd shots that are
either under or over exposed...and anyone can demonstrate that
if they'd like.
But with multi-spot, *I* have *no* problems at all. If you search
through the DejaNews archives, I have made that claim before with
the OM-4Ti's multi-spot and this is merely a confirmation.
Richard Waddington
Ross) wrote:
>In article <37d2c39a...@news.dabsol.net>, Dick...@arsole.com wrote:
>
>> On 4 Sep 1999 12:58:15 GMT, is...@execpc.com wrote:
>>
>> >On Sat, 4 Sep 1999 09:01:23, "GT" <gor...@gtrain.freeserve.co.uk>
>> >wrote:
>> >
>> >> The EOS3 has multi-spot metering which I find very useful , does the F100 ?
>> >
>> >Yes it does. I chose the F100 over an EOS 3 (I shoot a 1N)
>> >
>>
>> No it doesn't !
>> By multi-Spot the poster means the EOS-3 enables you to take up to 8
>> spot readings from a scene and average them !
>> I think that by multi-spot metering you mean that the F100 has more
>> than 1 AF/spot metering indicator (Am i correct ?)
>
>Doesn't Nikon's Matrix 3d metering system do that automatically?
Sort of !
When using multi-spot metering (Like in the EOS-3) The user tells the
camera which area to spot meter (By pointing it at it) the camera will
then average these reading out (Up to 8 individual reading can be
used),
But in Nikon's matrix metering it is the camera which chooses where
the reading are taken from (Or which to give higher priority to) (Sort
of !!!)
Geir Eivind Mork
gor...@gtrain.freeserve.co.uk says...
> The EOS3 has multi-spot metering which I find very useful , does the F100 ?
<wonders what this fuzz is all about and looks at his multi-spot capeable
Minolta camera> :)
--
[ http://Geir.Eivind.Mork.com ]-[ Namsos/Norway ]
* Minolta 700si / Autocord user
Shrike
So , if you average several spots, are you then assured that your
exposure is off + or - on every spot you chose? I assume that the
reason for averaging a bunch of spots is because you are not sure what
to do because your subject(s) are not mid tone?
Richard Waddington
Mork) wrote:
>In article <7qqn54$ogm$1...@news7.svr.pol.co.uk>,
>gor...@gtrain.freeserve.co.uk says...
>> The EOS3 has multi-spot metering which I find very useful , does the F100 ?
The F100 has "Cross Type" AF sensors out to f/5.6 which i find useful,
Does the EOS 3 ?
Me's thinks this could develop in to another "Tit for Tat" match !
(Again !!!)
Sean Chan
news:37dc47fb...@news.dabsol.net...
That's right Richard. The key word here is "I". Different photographers
have different needs. Each camera should be tried and handled to find
which suits your needs.
Richard Waddington
<se...@tsm.com.au.NO.SPAM> wrote:
>Richard Waddington <Dick...@arsole.com> wrote in message
>news:37dc47fb...@news.dabsol.net...
>> On Sun, 12 Sep 1999 14:37:27 +0200, Geir....@Mork.com (Geir Eivind
>> Mork) wrote:
>>
>> >In article <7qqn54$ogm$1...@news7.svr.pol.co.uk>,
>> >gor...@gtrain.freeserve.co.uk says...
>> >> The EOS3 has multi-spot metering which I find very useful , does the
>F100 ?
>>
>> The F100 has "Cross Type" AF sensors out to f/5.6 which i find useful,
>> Does the EOS 3 ?
>>
>> Me's thinks this could develop in to another "Tit for Tat" match !
>> (Again !!!)
>
>That's right Richard. The key word here is "I". Different photographers
>have different needs. Each camera should be tried and handled to find
>which suits your needs.
100% right Sean !
Bill
> >> >> The EOS3 has multi-spot metering which I find very useful , does the
> >F100 ?
> >>
> >> The F100 has "Cross Type" AF sensors out to f/5.6 which i find useful,
> >> Does the EOS 3 ?
Hmmm, the Maxxum 9 has all of the above... plus a whole lot more! Oops,
wait, that's just a Minolta and not a "real" camera like a Canon OR
Nikon. ;-)
--
William Rainey
Modern Images
wra...@hiwaay.net
http://fly.hiwaay.net/~wrainey/
Sean Chan
>>>F100 ?
>>
>> The F100 has "Cross Type" AF sensors out to f/5.6 which i find useful,
>> Does the EOS 3 ?
>
> Hmmm, the Maxxum 9 has all of the above... plus a whole lot more! Oops,
> wait, that's just a Minolta and not a "real" camera like a Canon OR
> Nikon. ;-)
Hmm...I didn't think the Minolta Maxxum 9 had multi-spot metering!!??
Bill
> Hmm...I didn't think the Minolta Maxxum 9 had multi-spot metering!!??
You're right and I was wrong. I went back and double-checked, and what I
was thinking of when making that statement was the camera's ability to
show the EV difference between the spot metered area and other areas of
the scene via the metering scale within the viewfinder. It doesn't
actually store and calculate the average of several spots, but the way
it's system DOES work does basically the same thing for someone who
knows how to calculate and average exposures in their head.
My apologies for the misleading and technically incorrect post... (as I
slink away with my tail tucked between my legs). ;-)
Richard Waddington
<se...@tsm.com.au.NO.SPAM> wrote:
>>>> The EOS3 has multi-spot metering which I find very useful , does the
>>>>F100 ?
>>>
>>> The F100 has "Cross Type" AF sensors out to f/5.6 which i find useful,
>>> Does the EOS 3 ?
>>
>> Hmmm, the Maxxum 9 has all of the above... plus a whole lot more! Oops,
>> wait, that's just a Minolta and not a "real" camera like a Canon OR
>> Nikon. ;-)
>
>Hmm...I didn't think the Minolta Maxxum 9 had multi-spot metering!!??
>
>Sean
>P.S. Remove NO.SPAM when replying
Good point Sean !