Part III In the Field with Your Canon EOS-1Ds Mark III in .NET

Drawer barcode data matrix in .NET Part III In the Field with Your Canon EOS-1Ds Mark III
144 Part III In the Field with Your Canon EOS-1Ds Mark III
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8.1 Hockey family. A combination of studio strobes and Kino Flo uorescent xtures help create a soft light look with impact. ISO 200, 1/30 second at f4.
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Advantages of the EOS-1Ds Mark III
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Just some of the system s advantages for advertising, in my opinion, are listed here:
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High ISO/big les. The combination of high ISOs, along with big les, is quite appealing. Depending upon the assignment, I could certainly see ISO 800 working if it o ered a unique advantage, such as beautiful low-light ambience. Just make sure you have a properly exposed image and histogram.
Reliability. The 1Ds Mark III tends
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to be very solid and reliable, which is an important consideration. It has a very tough build, its batteries last forever, it s weather resistant, and tethers well.
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Operating speed. The 1Ds Mark III
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is faster in all respects than medium-format systems. It generally o ers faster autofocus, as well as multi-point autofocus and six frames per second shooting rate.
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8 Advertising and Editorial Photography
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Non-posed subjects. Due to the
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faster setup and capturing, I nd it a better choice for people in motion, lifestyle settings, children and babies, and animals whatever moves.
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On location. Due to all the reasons
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in this list, I d give the nod to the 1Ds Mark III for much non-posed location work. For posed images, more factors come into play in choosing the appropriate system.
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Mixed lighting. The 1Ds Mark III
tends to do better in mixed light.16-bit digital medium format systems tend capture excellent color in single color temperature environments whether daylight or tungsten, such as strobe only, sun, or sun with strobe. However deep shade and daylight/ uorescent/ tungsten mixes have proven to be better handled well by the 1DsIII s 14 bit sensor.
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Live View. The Live View system
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o ers a huge advantage when taking product shots, at least for me. To be able to arrange with a live view is wonderful, not to mention a live view on a big screen, if you want. Certainly, with a locked-o frame in a position that is di cult to view through (such as straight down and high up), to be able to see the image live and on a big screen is a fantastic advancement.
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8.2 Lab doctor. This shot was challenging because the right person to play the doctor needed to be cast (the client wanted someone both attractive but not too model looking a real-person look), and the lab was a working lab and could only be used for a limited time. ISO 400, 1/60 second at f/4.0.
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146 Part III In the Field with Your Canon EOS-1Ds Mark III
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Limitations of the EOS-1Ds Mark III
No camera is perfect; however, the 1Ds Mark III comes very close as it is versatile and gets great shots in a variety of situations, especially advertising and editorial type work. Not without its limitations, here are a few things to consider when working with your camera:
RAW images through the Aperture software from Apple. And, at ISO 100 it s very hard to tell the di erence between 14 and 16 bit.
Tethering. The 1Ds Mark III is currently tethering very well, particularly when using Capture One Pro. Tethering is much more stable and less error free than it once was. However I still personally believe that the quickest and most stable tethering occurs with a Phase One Digital Back tethered to Capture One Pro. The bottom line is that the Canon EOS-1Ds Mark III works very well in many, if not all, advertising and editorial assignments. You do have to consider client and agency production manager preferences and biases some photographers add matte boxes to their Canon setups principally to have the camera look more impressive. I ve found that, for the most part, it s the photographers who think the impressiveness of the camera system matters. Normally I ve observed that clients don t know or care what system is being used, as long as they get the images they re paying for and the shoot goes smoothly with minimal downtime. Four-color CMYK o set printing tends to be the great equalizer; a le that is noticeably richer or more detailed on the monitor or on a photographic print won t show its higher quality when printed on an o set printer and reproduced in most magazines and newspapers. I d say one exception is the more expensive and usually smaller-run magazines or brochures that use high-gloss paper and higher-end printing. In these situations, perhaps the advantage of a medium-format back and lens system will be visible for example, in large, glossy car advertisements, or advertisements with diamond and other jewelry with many details and highlights.