In Summary

      When the Canon EOS 5D Mark II was announced in September 2008, just ahead of that year’s Photokina trade show, it immediately attracted a flurry of attention for its 21.1-megapixel sensor and Full HD video capability. Its successor, the 22.3-megapixel EOS 5D Mark III, provides some incremental improvements on its predecessor’s specifications for still photographers. But for video shooters, it’s a great leap forward, as outlined below.

      Full Review

      When the Canon EOS 5D Mark II was announced in September 2008, just ahead of that year’s Photokina trade show, it immediately attracted a flurry of attention for its 21.1-megapixel  sensor and Full HD video capability. Its successor, the 22.3-megapixel EOS 5D Mark III, provides some incremental improvements on its predecessor’s specifications for still photographers. But for video shooters, it’s a great leap forward, as outlined below.


      The new EOS 5D Mark III with the recently-released EF 24-70mm f/2.8L II USM lens.


      Back and top views of the EOS 5D Mark III. (Source: Canon.)

      Like its predecessors, the new camera boasts a magnesium alloy chassis with professional-looking black polycarbonate cladding. Canon has improved the durability of the new model with the addition of water and dust resistant seals on buttons dials and strap hooks, as shown in the illustrations below.


      The illustrations above show the positions of the seals and reinforced seams to provide water and dust resistance. (Source: Canon.)


      A cut-away view of the water-resistant sealing around the main control dial. (Source: Canon.)

      Build and Ergonomics
      Canon says the new camera represents a complete redesign but, physically, there’s not a huge difference between the EOS 5D Mark III and EOS 5D Mark II, although the Mark III is slightly larger and heavier. The table below compares key physical features of both cameras.


      EOS 5D Mark III

      EOS 5D Mark II


      152 x 116.4 x 76.4 mm

      152 x 113.5 x 75 mm

      Weight (body only)

      860 grams

      810 grams


      Pentaprism with approx. 100% FOV coverage; -3 to +1 dpt adjustment; non-interchangeable focusing screen

      Pentaprism with approx. 98% FOV coverage; -3 to +1 dpt adjustment; interchangeable focusing screen

      LCD monitor

      3.2-inch Clear View LCD II with approximately 1.04 million dots (3:2 aspect ratio)

      3.0-inch TFT LCD with approximately 920,000 dots (3:2 aspect ratio)

      Locking mode dial




      Hi-Speed USB 2.0, HDMI/VIDEO, MIC, Gigabit-Ethernet, PC terminal, N3 terminal (for remote controller), Wireless remote control,  WFT-E7 wireless file transmitter

      Hi-Speed USB 2.0, HDMI, AV out, MIC, N3 terminal (for remote controller), Wireless remote control, WFT-E4/E4A wireless file transmitter

      Storage media

      Dual slots for CompactFlash and SD/SDHC/SDXC cards

      Single CompactFlash card slot (UDMA-compatible)


      LP-E6 Rechargeable lithium-ion battery; 7.2 V DC,  1800 mAh


      Electronically-controlled, focal-plane shutter

      Shutter speeds/rating

      30 seconds to 1/8000 second plus Bulb; sync speed 1/200 sec./ Approx. 150,000 cycles

      Shutter release time lag

      59 milliseconds

      73 milliseconds

      Max. burst speed

      Approx. 6 shots/sec.

      Approx. 3.9 shots/sec.


      The general appearance of the two cameras is similar, as shown in the comparison pictures below, although the Mark III has a more rounded styling like the EOS 7D. Little has changed on the front panel, save for the addition of a rosette of microphone holes just above the EOS 5D label. The depth-of-field preview button has also been enlarged and moved to the grip side of the lens mount.


      Front views of the EOS 5D Mark III (left) and the EOS 5D Mark II. (Source: Canon.)

      The same is true for the top panel where, the refinements are mainly cosmetic and include rounding off the grip and viewfinder housing. The main addition is a M-Fn (Multi-function) button between the shutter button and main control dial.

      The power on/off switch has been relocated from the rear panel to the top panel and now lies just behind the mode dial. The Creative Auto setting has been removed from the mode dial, which now includes a locking button.


      A close-up view of the left hand side of the top panel on the EOS 5D Mark III showing the locking mode dial and power on/off switch. (Source: Canon.)

      Like other models in the EOS range, the 5D III has three Custom shooting modes on its mode dial. The C1, C2 and C3 modes enable users to register frequently-used clusters of settings for quick recall. When a setting in a cluster is changed, it is updated automatically.

      There are a few new buttons on the rear panel, one of the most significant being the Movie start/stop button and surrounding stills/movie lever switch, which is located to the right of the viewfinder eyepiece. A new Quick menu button sits between the multi-controller joystick and the touch pad.


      A close-up view of rear panel on the EOS 5D Mark III showing the revised control buttons. (Source: Canon.)

      The menu button has been moved up to be level with the viewfinder housing and the Info button sits to its right. This leaves three of the five buttons ranged down the left side of the monitor free to handle new functions.

      The top button in this line-up accesses the Creative Photo settings and two-image display mode and also supports the direct printing facilities. Below it sits a Rate button that enables users to rate and/or protect image files on the go. Further down sits a magnify button, which frees up the buttons on the top right corner of the camera for their designated functions (AE Lock/FE lock and AF point selection).


      New control buttons on the rear panel of the EOS 5D Mark III. (Source: Canon.)

      The Joystick multi-controller is slightly larger in the new camera but operates the same way as the previous model’s. The control dial has been replaced by a touch pad. The LCD monitor is slightly larger (3.2-inches diameter) and has higher resolution (1.04 million dots vs 920,000 dots).

      It also features the Clear View screen construction introduced on the EOS-1D Mark IV. With no gap between the protective glass cover and the LCD, refraction and reflection are reduced providing clearer viewing. Anti-reflective coatings have been applied to the surface of the glass cover.

      Aside from these changes, another noteworthy change is the larger, brighter viewfinder, which now provides 100% field-of-view coverage, enabling users to frame shots precisely as they would with a professional camera. Otherwise its specifications are similar to the 5D II’s viewfinder, with a comfortable 21 mm eyepoint and 0.71x magnification (50mm lens at infinity) plus dioptre adjustment of  -3 to +1 dpt.


      The illustration above shows the structure of the EOS 5D Mark III’s viewfinder, which includes a transmissive LCD panel for display overlays. (Source: Canon.)

      As well as displaying the AF points plus standard icons covering battery status, focus confirmation, AE  and FE lock, shutter speed, lens aperture and selected ISO, the viewfinder in the 5D III includes a translucent LCD panel that enables the camera to display more essential information. This system was introduced in the EOS 7D and consumes very little battery power so there is no significant effect on battery life.


      Information displayed in the EOS 5D Mark II’s viewfinder. (Source: Canon.)

      Users can also select which warnings will be displayed in the viewfinder to alert them when the camera settings might produce results that differ from the desired outcome. The options available are shown in the screen grab below.


      Warning options. (Source: Canon.)

      The 5DIII also introduces dual memory card slots (CF and SD) and an expanded suite of the interface ports (shown in the table above). Users can set the camera to record to either card, to switch automatically to the unused card when the first is full, to record different file types separately to different cards and to use the second card as a back-up for the first by recording to both cards.


      Recording options for the two memory cards. (Source: Canon.)


      You can also copy images from one card to another. (Source: Canon.)

      The interface ports have also changed in the new model. Whereas the 5D Mark II had separate sockets for A/V Out and USB, since the EOS 7D, cameras have had a combined USB terminal,  which is also the case on the 5D III. Other ports include jacks for a headphone and external microphone as well as a wired remote control.

      Existing EOS 5D Mark II users will welcome the fact that both camera bodies use the same battery. A new BG-E11 Battery Grip, designed for the 5D III, can house two LP-E6 or six AA batteries for extending shooting/recording times. It features an additional multi-controller and M-Fn button for quick and convenient operation.
      Also announced with the new camera is a new Speedlite 600EX, successor to the Speedlite 580EX II and the WFT-E7 Wireless Wireless File Transmitter, which enables the camera to interface with 802.11a/b/g and n networks or high speed wired Ethernet networks.

      Sensor and Image Processing
      A new 36 x 24 mm CMOS sensor provides an effective resolution of 22.3 megapixels from a total of 23.4 million photosites. It has a pixel pitch of approximately 6.25 microns. The step-up in effective resolution from 21.1 megapixels in the 5D II  is negligible but Canon claims a new photodiode construction method provides an improved photoelectric conversion rate to yield higher light sensitivity.

      Like the 5D II, the 5D III’s sensor is designed and manufactured by Canon and features Canon’s gapless microlens technology, which directs more light into each photosite than normal microlenses.


      The diagram above shows how gapless microlenses direct the maximum amount of available light into each photosite. (Source: Canon.)

      New CMOS circuits enable the sensor to capture a wider dynamic range, so more detail is retained in both shadows and highlights than in previous cameras. As a result of these improvements, the EOS 5D III supports a native sensitivity range of ISO 100 to ISO 25600 and is able to support each-way extensions to ISO 50 and  ISO 51200 (H1) and  ISO 102400 (H2).

      Like other EOS DSLRs, the 5D III has a low-pass filter array in front of the image sensor. This array consists of five components: a dichroic mirror to reflect infrared and ultraviolet light, a low-pass filter that operates horizontally and a low-pass filter with vertical separation. These are separated by infrared absorbing glass and a phase plate that transforms linear to circular polarisation. The diagram below shows the structure of the filter array.


      The infrared-blocking low pass filter array in the EOS 5D III. (Source: Canon.)

      Canon’s integrated sensor cleaning system vibrates the low-pass filter array to remove particles of dust that may collect on the sensor when lenses are changed.  The system in the new camera has been improved to dislodge not only large dust particles but also smaller and lighter particles that become visible with small lens aperture settings.

      The DIGIC 5+ processor is approximately 1.3 times faster than the processor in the EOS 5D II. It also introduces new functions, such as support for multiple exposures (where several images are ø¢â‚¬Ëœstacked’ on top of each other) and a new High Dynamic Range (HDR) mode, which comes with four new in-camera special effects (Art Standard, Art Vivid, Art Bold and Art Embossed).


      Examples of the Art Bold (top) and Art Embossed (below) in-camera effects. (Source: Canon.) 

      The new processor also enables the camera to use UDMA 7 memory cards enabling fast write speeds for continuous stills shooting and supporting Full HD video recording (details below) with reduced moirøƒ © and colour artefacts. Continuous shooting is supported a frame rates of up to six frames/second (fps) and Canon claims a release time lag of approximately 0.59 milliseconds.

      Autofocusing and Metering
      Under the hood, the evidence of the redesign is clearly seen in the new autofocusing and metering systems, along with some functions that make their debut in the 5D III. The autofocusing system is essentially the same as in the EOS-1D X, which has yet to be released.


      The diagram above shows the  position of the optical elements in the EOS 5D III’s focusing system. (Source: Canon.)

      Featuring a new 61-point array with 41 cross-type sensors in the centre, it covers nearly 53% of the horizontal width of the imaging area, compared with 41% on the 5D II. As in the EOS 7D, the AF points are displayed in the viewfinder using a transparent LCD overlay.


      The AF sensor array in the EOS 5D III. (Source: Canon.)

      The new AF system is more sensitive than the system in the 5D II and better able to  detect extreme defocus and correct it. Using the whole AF sensor, where every point is vertical line sensitive at f/5.6 or greater, enables the lens to be refocused much more quickly, particularly in dim lighting. AF tracking is also more stable.

      In addition, the size of the area used for focusing can be changed to provide:
      – Single-point AF with manual selection of the AF point. 
      – Spot AF using a reduced-size AF point where high focusing precision is required.
      – AF  point expansion, which enables the user to expand the focusing area by four or eight points surrounding the selected focus point.  This gives a larger, moveable cluster of active AF points.


      The diagram above shows how AF  point expansion can be used. (Source: Canon.)
      – Zone AF, which enables photographers to select fixed clusters of AF points, with either nine or 12 points grouped together. Within the zone, the camera will automatically focus on the nearest detected subject, provided it contains adequate detail. This setting is useful for photographing groups of moving subjects when you wish to focus on one of them.
      – Automatic selection makes all 61 points active. In One-shot AF mode, the camera will focus on nearest subject with adequate detail. In Ai Servo AF mode, the user selects one point as the starting point to track a moving subject. The viewfinder continually updates to show which AF points are active in this mode.


      This sequence of six shots shows how AF tracking works in the Ai Servo AF mode. (Source: Canon.)

      The 5D III will give users the first chance to try the AF configuration tool that was developed for the EOS-1D X. As well as providing manual settings for adjusting the focus response times for moving subjects and speed of AF point auto-switching, it also provides six presets designed for different scenarios to help photographers select appropriate settings for different shooting situations.

      The camera provides an icon and usage example within the menu display to make selecting the correct option easy. The default setting ø¢â‚¬ËœCase 1′ is for general purpose shooting and provides fast and accurate focusing for a wide range of shooting situations.


      The Case 1 settings in the AF configuration tool. (Source: Canon.)

      ø¢â‚¬ËœCase 2′ is designed for focusing on subjects than may move away from the selected AF point. It ensures the camera will continue to track the subject, even if it moves off the AF point or behind an obstacle and is ideal for shooting sports.


      The Case 3 settings in the AF configuration tool. (Source: Canon.)

      ø¢â‚¬ËœCase 3′ is designed to lock onto new subjects quickly and switch between subjects rapidly and also has applications in sports photography. ø¢â‚¬ËœCase 5′ is designed for use with automatic AF point selection, Zone AF and AF Point expansion and subjects that move erratically, up and down or left and right.


      The Case 5 settings in the AF configuration tool. (Source: Canon.)

      ø¢â‚¬ËœCase 6′ combines features of ø¢â‚¬ËœCase 4′ and ø¢â‚¬ËœCase 5′ and suits subjects that change speed abruptly and move erratically. This setting is most useful when shooting sports like basketball or gymnastics, where speed and direction changes are common.

      Pressing the Rate button and rotating the control dial allows users to fine-tune the settings in each of the Case sub-menus. Like the 5D II, the new camera supports AF microadjustment via a setting in the Custom menu and the camera has a ‘library’ of preset profiles for Canon’s lenses. 

      The iFCL (‘intelligent’ Focus, Colour and Luminance) metering system  has been developed from the 63-zone dual-layer sensor system used in the EOS 7D. Because the metering sensor captures RGB data, it is able to utilise colours in the scene and provide colour-tracking information to the AF system and face detection data for both AF and Auto Scene detection.

      The sensor has increased sensitivity to green and yellow as these colours can bias exposure readings and cause over-exposure or under-exposure, respectively. It also enables the metering system to detect where a subject is in the frame and bias the exposure accordingly.

      Metering patterns are essentially unchanged, with Evaluative (linkable to any AF point), Partial (approx. 8% of viewfinder at centre), Spot (approx. 3.5% of viewfinder at centre) and Centre-weighted average modes. However, the colour and face detection system can be utilised for E-TTL II flash metering to provide better balanced flash exposures.

      New Functions
      Multiple exposures are new to the 5D series and the 5D III provides a similar level of support to the EOS 1-D X. Between two and nine frames can be combined to create one signal final image. This feature is available for both RAW and JPEG images, though if M-RAW or S-RAW are set, the recording quality will automatically switch to RAW.

      Two modes are available: Function and Control Priority and Continuous Shooting Priority. The former is used with Live View when you require precise control over composition and layering, while the latter suits situations when exposures are captured in the continuous shooting mode to capture subject motion. Examples are shown below.


      Examples of applications for the multiple exposure modes available in the EOS 5D Mark III. (Source: Canon.)

      Exposure settings can be adjusted to suit different end results. Four pre-sets are available: Additive, Average, Comparative Bright and Comparative Dark. The Additive exposure control combines the total exposure times so each exposure should be under-exposed to achieve the correct end result.


      The multiple exposure pre-sets. (Source: Canon.)

      The Average setting averages the exposure values from the entire set of exposures. Comparative Bright is used when photographing uniformly dark scenes with bright objects superimposed on top. Comparative Dark only overlay the dark areas of each frame in the set and is handy for eliminating reflections and specular reflections.


      An example of the use of the Comparative Bright setting for multiple exposures. (Source: Canon.)

      The Multi-function (M.Fn) button can be programmed to control one of the following camera settings: FEL, AE Lock, One-touch image quality settings, Dual-Axis electronic level activation, instant movie recording and C-Mode access. The Quick Control button brings the EOS 5D III into line with other recent EOS models, providing a display of camera settings that can be accessed and adjusted quickly without having to enter the camera menu.

      The 5D III builds on the Silent Shooting functions provided in the 5D II (and introduced in the EOS 40D) by providing additional damping of the reflex mirror to minimise the effects of mirror bounce and shuddering during fast continuous shooting. The same two modes are available. In Mode 1, an electronic shutter is used for the first curtain, while in Mode 2, the shutter isn’t re-cocked until the shutter release button is pressed. (Only Mode 1 is available for continuous shooting.) 


      The illustrations above show the revisions to the mirror mechanism to provide additional damping. (Source Canon.)

      The integration of HD movie capability into a pro-sumer DSLR triggered some exciting experimentation as photographers learned to master the 5D II’s video functions. The results from photographers like Vincent Laforet set the standards for future integrations of HD video into DSLRs.

      The new EOS 5D Mark III takes the 5D II’s video capabilities to the next level by introducing most of the functions promised in the coming EOS 1-D X and delivering them before the professional camera’s release. Accordingly, while utilising the H.264 codec for encoding movie files, it provides photographers with a choice between the high-quality, high-compression IPB format and the ALL-I compression format. The table below shows the options available.

      Recording size

      File size

      Frame rates

      Compression method

      Recording speed

      Full HD




      Approx. 685 MB/min.


      Approx. 235 MB/min.





      Approx. 610 MB/min.


      Approx. 205 MB/min.





      Approx. 78 MB/min.

      The IPB format uses  Bi-directional compression, which is carried out by predicting the content of future frames on the basis of frames that have already been recorded and subsequent frames. As in previous EOS DSLRs (which used the IPP compression method), some data is stored collectively in a Group Of Pictures (GOP). Consequently, clips can only be trimmed in one-second increments and frame-by-frame editing will result in lower image quality.


      The diagrams above show how the different video compression methods work. (Source Canon.)

      The ALL-I format is more suitable for editing and in situations where individual frame grabs are required. ALL-I stands for ø¢â‚¬ËœIntra-coded Frame’, in which all frames captured are treated as Intra-frames or key frames, although each frame is still compressed. However, each frame is seen as a discrete image.

      File sizes in ALL-I format are roughly three times larger than files recorded in the IPB format. Interestingly, the compressed footage actually  requires less computer processing power than IPB or IPP. Playback is also smoother as no rendering is required to extrapolate data from the GOPs used in IPP and IPB.

      The maximum total clip length when shooting HD is 29 minutes and 59 seconds. Once 4GB of movie data is accumulated, the camera will create a new file without interrupting the movie recording.


      A view of the Quick Control screen for video recording. (Source: Canon.)

      Many of the controls available for shooting stills are also supported in movie mode both via the standard user interface and the Quick Control screen, albeit with some restrictions. Users can access the P, Av, Tv and M shooting modes but metering options only include evaluative and centre-weighted average metering and exposure compensation is reduced to +/- 3EV  in 1/3EV steps.

      The native ISO range for movies is limited to between ISO 100 and ISO 12800, although it can be expanded to ISO 25600. Focusing modes are the same as for Live View shooting and you can display any of the three types of grid to aid shot composition. The Dual-Axis Electronic Level display is also available as an overlay.


      The screen grab above shows how the Electronic Level display is used during Live View shooting. (Source: Canon.)

      The touch pad on the camera’s rear panel can be used to adjust camera settings silently when shooting video clips. As shown in the illustration below, tilting the pad up or down enables users to select which items to adjust, while tilting it to left or right changes the settings within the selected control.


      Using the touch pad to adjust camera settings silently while shooting video clips. (Source: Canon.)

      In-camera time-coding is available following the industry standard format of Hour:Minute:Second:Frame as defined by the Society of Motion Picture and Television Engineers (SMPTE). The frame count runs from 00 to 29 frames and the time code can be set in four ways:  Count Up (the default), Start time setting,  Movie Rec. Count Movie play count.


      Time code options in the EOS 5D Mark III’s menu. (Source: Canon.)

      Time codes are displayed on the monitor while recording when the Movie Rec. Count is selected and the time code will flash for around 30 seconds before the file size reaches 4GB. Each 4GB file has to be played back individually and, if Movie play count is selected, the  associated time code for the recording is displayed during playback.
      The EOS 5D Mark III also provides jacks for a microphone and headphone, enabling external microphones to be used while recording video clips. The headphone jack  enables users to monitor video soundtracks by displaying a live audio level meter on the monitor. Recording levels can be adjusted while filming without interfering with the soundtracks using the Silent Control Function.

      When filming at 30fps or 60fps, the actual frame rate is 29.97fps and 59.94fps respectively. By using the drop frame menu setting, you can select whether to count the number of frames recorded as if you were filming at a round figure of 30 or 60fps, or whether you want to compensate for the difference in the actual number of frames and the counted number of frames.

      Choosing the latter can introduce time coding errors when shooting longer video clips. Enabling Drop frame allows users to prevent these errors by dropping two frames every minute from one to nine minutes so the number of frames counted is the same as the actual number of frames.

      For the tenth minute, the counter will treat the minute as if there were 1800 frames in the minute (rather than the 1798 there actually are) and drop two frames. In this way, the actual frames recorded and the frame counter will match exactly every tenth minute, so the playback time and time code will match exactly.

      All the standard playback settings are provided, with a few new options to provide users with more flexibility and choice. One of the new functions is two-image playback, which enables two shots to be compared side-by-side. It’s accessed via the top button on the left hand side of the LCD monitor.


      Two-image playback is useful for comparing shots taken at different times – or sequentially. (Source: Canon.)

      Users can also opt to display single frames with or without info. (basic info, shooting info, histogram) or call up four- or nine-image index displays. The 5D III also provides a highlight alert setting that causes overexposed highlights to blink, along with three types of grid and the ability to display selected AF points.


      Grid display options in playback mode. (Source: Canon.)

      Played-back stills can be magnified up to ten times and you can jump through collections of images in increments of 10 or 100 frames or browse by shooting date, by folder, by movies, by stills or by rating. Slideshows can be played containing all images or by date, by folder, movies, stills or by rating.


      Playing slideshows of images selected by rating. (Source: Canon.)

      Post-processing of CR2.RAW files into JPEGs is available and users can adjust brightness, white balance, Picture Style and the Auto Lighting Optimiser settings. Changes can also be made to the settings for High ISO speed noise reduction, JPEG image-recording quality and Color space and corrections can be applied for peripheral illumination, distortion and chromatic aberration. 


      Some of the in-camera settings for processing raw files. (Source: Canon.)


      The EOS 5D Mark III is scheduled be available through Canon dealers from late March 2012.
      In Australia, it will be offered as a body-only for an RRP of $4399 and in two kits: the Premium Kit, containing the EF 24-105mm f/4L IS USM lens (RRP: $5,499) and the Pro Kit, containing the EF 24-70mm f/2.8L II USM lens (RRP: $6,899). 
      The MSRP in the USA for the body only is listed as $3499, while European prices are ø¢”š ¬3299 and ø‚ £2999.99.  Several online sites in the USA have listed the Premium Kit  at $4300 and are accepting pre-orders.
      Details of the new camera and accessories can be found on the EOS Digital website at


      Until Sony updates its SLT Alpha series to include a model with a 36 x 24 mm sensor, Canon and Nikon are the only manufacturers offering cameras with ‘full frame’ sensors and features to appeal to professional and semi-professional photographers and videographers. Comparisons between the EOS 5D Mark III and the recently-announced Nikon D800 are, therefore, inevitable.

      To make an objective comparison easy, we’ve prepared a comparison of key features of both camera and presented it in the table below.


      Canon EOS 5D Mark III

      Nikon D800

      Effective megapixels



      Native ISO range



      ISO  expansion

      L:50, H1:51200, H2:102400

      L: 50; H: 25600

      ISO range for video

      100-12800 (H:25600)


      Max. burst speed at full resolution

      6 fps

      approx. 4 fps

      AF points (total)



      AF cross sensors



      X-synch speed

      1/200 second

      1/250 second

      LCD monitor

      3.2-inch Clear View LCD II, 1.04 million dots

      3.2-inch TFT LCD, 921,000 dots

      Video compression

      MPEG-4/H.264 with IPB or ALL-I

      MPEG-4/H.264 with  B-frame

      ‘Uncompressed’ video from HDMI



      Video time coding



      Interface terminals

      Hi-Speed USB 2.0, HDMI/VIDEO, MIC, Gigabit-Ethernet, PC terminal, N3 terminal

      USO 3.0, HDMI (Type C Mini); stereo mini-pin jacks for audio in/out; 10-pin remote terminal


      152 x 116.4 x 76.4 mm

      Approx. 146 x 123 x 81.5 mm


      860 grams

      Approx. 900 grams

      RRP (body only)


      see footnote *

      * We asked Nikon’s PR company for RRPs for the D800 and D800E but were told Nikon Australia was not releasing RRPs. Accordingly, we did a Google search on local prices for the D800 and discovered the following: Ted’s at $3799, Camera Action at $3689, Gerry Gibbs at $3531.12, Digi Direct and Georges at $3431, European Camera Specialists at $3425, DDP at $2999.95, eGlobal at $2950 and Dirt Cheap Cameras at $2841. For our overseas readers, the camera is being sold through B&H at US$2999 (which seems to be the official RRP). Jessops in the UK has it listed at ø‚ £2399.95, while the Euro price appears to be approximately ø¢”š ¬2424.


      Image sensor: 36 x 24 mm CMOS sensor with 23.4 million photosites (22.3 megapixels effective)
      Image processor: DIGIC 5+
      A/D processing: 14-bit
      Lens mount: Canon EF
      Focal length crop factor: 1x
      Image formats: Stills – CR2.RAW (with M-RAW and sRAW CROPS), JPEG (Exif 2.3), RAW+JPEG; Movies – MOV (MPEG-4 AVC/H.264), Variable (average) bit rate
      Image Sizes: Stills – JPEG: 5760 x 3840 (L), 3840 x 2560 (M), 2880 x 1920 (S1), 1920 x 1280 (S2), 720 x 480 (S3); RAW: 5760 x 3840, 3960 x 2640 (M-RAW),  2880 x 1920 (sRAW); Movies: 1920×1080 (Full HD) at 30p/25p/24p, 1280×720 (HD) at 60p/50p, 640×480 (SD) at 30p/25p
      Image Stabilisation: Lens based
      Dust removal: Canon Integrated Cleaning System; Auto, Manual, Dust Delete Data appending
      Shutter speed range: 30 seconds to 1/8000 second plus Bulb; sync speed 1/200 sec.
      Shutter ratings: Approx. 150,000 cycles; 59 ms shutter-release time lag
      Exposure Compensation: +/- 5EV in 1/3 EV or 1/2EV steps
      Bracketing: +/- 3EV AEB in 1/3 EV or 1/2EV steps (can be combined with manual exposure compensation); WB bracketing
      Self-timer: 2 or 10 seconds delay
      Focus system: TTL secondary image-registration, phase detection AF system with 61 points (up to 41 cross-type points); available AF points and cross-type points vary depending on the lens
      Focusing brightness range: EV -2 – 18 (with centre f/2.8 AF point, 23ø‚ °C/73ø‚ °F, ISO 100)
      Focus modes: One-Shot AF, AI Servo AF, AI Focus AF, Manual focusing (MF); AF Microadjustment possible; AF area selection modes include Single-point Spot AF (manual selection), Single-point AF (manual selection), AF point expansion (manual selection; up, down, left, and right), AF point expansion (manual selection; surround), Zone AF (manual selection), Auto selection of 61 AF points; AF Configuration, AF Microadjustment
      Exposure metering: 63-zone TTL full-aperture metering with Evaluative (linked to all AF points), Partial (approx. 6.2% of viewfinder at centre), Spot (approx. 1.5% of viewfinder at centre), Centre-weighted average modes
      Shooting modes: Program AE (Scene Intelligent Auto, Program), shutter-priority AE, aperture-priority AE, manual exposure, Custom (x3), bulb exposure
      HDR shooting: Auto, +/-1 EV, +/-2 EV, +/-3 EV dynamic range adjustment; Natural, Art standard, Art vivid, Art bold, Art embossed effects, Auto image align
      Image processing during shooting: Picture Style (Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Def. 1 – 3); Noise reduction (long exposure and high ISO available); Auto Lighting Optimiser, Highlight tone priority, Lens aberration correction (Peripheral illumination, chromatic aberration)
      Colour space options: sRGB, Adobe RGB
      Custom functions: 13; C1/C2/C3 custom shooting modes (registration of settings), My Menu registration, Copyright embedding
      ISO range: Auto; ISO 100-25600 (expansions – L:50, H1:51200, H2:102400); ISO 100-12800 (H:25600) for movies
      White balance: Auto  Preset (Daylight, Shade, Cloudy, Tungsten light, White fluorescent light, Flash), Custom, Kelvin  (2500-10000K); White balance correction  and white balance bracketing possible
      Flash: External flash only; E-TTL II Autoflash control available
      Flash exposure adjustment: Yes; +/-2 EV in 1/3- or 1/2-stop increments
      Sequence shooting: Max. 6.0 fps high speed continuous shooting; Burst capacity:  65 JPEG (Large/Fine), 13 CR2.RAW, 7 RAW+JPEG; multiple exposures supported
      Storage Media: Dual slots for CompactFlash and SD/SDHC/SDXC cards; UDMA-compatible
      Viewfinder: Pentaprism with fixed focusing screen; approx. 100% FOV coverage; 21 mm eyepoint; approx. 0.71x magnification (-1 m-1 with 50 mm lens at infinity); -3 to +1 dpt adjustment; electronic level, grid display and AF status indicator  displays
      LCD monitor: 3.2-inch Clear View LCD II with approximately 1.04 million dots (3:2 aspect ratio); brightness adjustment – Auto (Dark, Standard, Bright), Manual (7 levels), electronic level display, feature guide displayable
      Live View: Yes;  Quick with phase-difference detection, Live & Live face detection AF Modes (contrast detection); Manual focusing (Approx. 5x / 10x magnification possible); Silent shooting (Mode 1 and 2); Grid display (three types)
      Data LCD: Yes
      Playback functions: Single-frame, Index (2, 4 or 9 frames), Enlarge (1.5x  to 10x), Slideshow, Picture rotation (auto mode available), Histogram (independent luminance/RGB available), Shooting information, over-exposure alert (highlights blink), jump by single image, 10 or 100 images, by shooting date, by folder, by movies, by stills, by rating; Movie playback (LCD monitor, video/audio OUT, HDMI OUT) with audio via built-in speaker; image protect, image copy; In-camera processing of raw files; image transfer (JPEG, RAW, RAW+JPEG images & movies)
      Interface terminals: Digital terminal (analog video NTSC/PAL plus Hi-Speed USB 2.0, Wireless File Transmitter WFT-E7, GPS Receiver GP-E2 connection), HDMI mini OUT Type C (Auto switching of resolution), 3.5 mm MIC stereo mini-jack,  3.5 mm Headphone stereo mini-jack, N3 terminal (for remote controller);  Wireless remote control; Eye-Fi card compatible
      Power supply: LP-E6 rechargeable lithium-ion battery; CIPA rated for approx. 950 shots/charge with viewfinder, approx. 200 shots/charge with  Live View shooting; approx. 1 hr. 30 min. movie recording
      Dimensions (wxhxd): 152 x 116.4 x 76.4 mm
      Weight: 860 grams (body only without battery and memory cards)