Iso test 5d mark iii

Canon 5D II vs. Download high res image. Download high res here. Buy Nikon D4 from Amazon. Images src — imaging-resource. Om eerlijk te zijn vind ik de 5d mark iii tot net wat beter dan de d4. De iso waarden hoger zijn toch niet bruikbaar, dus die vergelijking is niet relevant. Als je de images op imaging-resource bekijkt zeker gezien de 22 mp en de prijs van de 5d, vind ik deze de betere.

To be honest I think the 5d mark iii to just a little better than the d4. If you are viewing images on imaging-resource especially considering the 22 mp and the price of the 5d, I find this the better. Xin tiep tuc gui den cong chung nhugn tin tuc quy gia Vietnamese.

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Nikon Rumors Latest Nikon Rumors. Sony Rumors Latest Sony Rumors. We prefer the slightly pinker skin tones from the Manual white balance setting above left, but Auto WB is pretty close. The Canon 5D Mark III performed about average in terms of exposure, requiring the typical amount of positive compensation we're accustomed to seeing among digital cameras. The Canon 5D Mark III's default contrast is a little high, as most users prefer, producing some washed-out highlights and dark shadows under the deliberately harsh lighting of our "Sunlit" portrait test shown above left, though the camera's contrast, Auto Lighting Optimization and Highlight Tone Priority settings do help with this difficult lighting quite a bit.

See below for examples of this. The Far-field shot above right is also a touch cool, and default exposure a touch dim, though very few highlights are blown. Shadows in the trees and shrubs however are very deep and plugged. See full set of test images with explanations See thumbnails of all test and gallery images.

Our laboratory resolution chart shows strong detail with distinct line patterns down to about 2, lines per picture height horizontally and to about the same vertically from in-camera JPEGs. Extinction of the pattern occurred just past 3, lines horizontally and vertically. Adobe Camera Raw converted. CR2 files show slightly more resolution than the in-camera JPEGs, perhaps lines more in both directions, but complete extinction of the pattern was extended to the limits of the chart in the horizontal direction, and to about 3, lines in the vertical direction.

Use these numbers to compare with other cameras of similar resolution, or use them to see just what higher resolution can mean in terms of potential detail. Some minor detail loss to noise reduction processing even at base ISO. The Canon EOS 5D Mark III's megapixel sensor captures excellent levels of image detail when coupled with a good lens, though some edge-enhancement artifacts such as sharpening halos are visible around high-contrast edges at default settings, as shown in the crop above left.

Pros shooting JPEGs may want to turn in-camera sharpening down a few clicks, and sharpen in post. Edge enhancement creates the illusion of sharpness by enhancing colors and tones right at the edge of a rapid transition in color or tone. The crop above right shows some minor detail loss due to noise suppression at base ISO. You can see some smudging of lower contrast and darker strands of hair, but performance here is still very good given the resolution.

Noise-suppression systems in digital cameras tend to flatten-out detail in areas of subtle contrast. The effects can often be seen in shots of human hair, where the individual strands are lost and an almost "watercolor" look appears. Raw vs In-Camera JPEGs As mentioned above, the Canon 5D Mark III does an excellent job of capturing sharp, detailed JPEGs when coupled with a sharp lens, but as is usually the case, slightly more detail can be preserved while producing fewer sharpening artifacts by carefully processing its raw files.

In the table above, mousing over a link at the bottom will load the corresponding crop in the area above, and clicking on the link will load the full resolution file. Canon's DPP software produced images similar to in-camera JPEGs, perhaps with a touch more detail but also showing obvious sharpening halos. Raw images processed through ACR and then moderately sharpened in Photoshop contain improved detail compared to in-camera and DPP-processed images, with less obvious sharpening halos.

Users wanting to extract the most detail from their 5D Mark III will definitely want to shoot raw and use a good raw converter. Sure, there's a slight loss of detail to noise reduction already at base ISO, and a gradual loss of fine detail as ISO increases, but remaining detail is still very good to ISO 1, At ISO 3, we begin to see some moderate detail loss as stronger noise reduction blurs subtly contrasting detail, as well a touch of chroma noise in darker areas, but results are still quite good.

At ISO 6, noise grain becomes coarser, blurring stronger, and chroma noise more apparent, but there's still a lot of detail left to work with. Noise and the effects of noise reduction really become apparent at ISO 12,, with much stronger blurring and more noticeable grain. At ISO 25, and above, fine detail really deteriorates quickly, with obvious chroma blotching and high pixel noise exacerbated by relatively strong sharpening, especially at ISO , Saturation also drops off above ISO 12,, probably in an attempt to mitigate chroma noise.

Overall, though, a very good performance. To insure that the hair detail we use for making critical judgements about camera noise processing and detail rendering is in sharp focus at the relatively wide aperture we're shooting at, the focus target at the center of the scene is on a movable stand.

This lets us compensate for front- or back-focus by different camera bodies, even those that lack micro-focus adjustments. This does mean, though, that the focus target itself may appear soft or slightly out of focus for bodies that front- or back-focused with the reference lens. If you click to view the full-size image for one of these shots and notice that the focus target is fuzzy, you don't need to email and tell us about it; we already know it.

Extremes: Sunlit, dynamic range and low light tests Very high resolution with strong detail, though somewhat limited dynamic range. Highlight Tone Priority, Auto Lighting Optimization, and contrast adjustment options do a good job of dealing with harsh lighting. Excellent low-light performance. This still resulted in some clipped highlights in the shirt and flowers, though, an indication of somewhat limited dynamic range compared to recent APS-C and full frame competitors.

Noise is fairly low in the shadows in all but the deepest tones, though detail is a bit soft indicating some active noise reduction is taking place in the shadows. Because digital cameras are more like slide film than negative film in that they tend to have a more limited tonal range , we test them in the harshest situations to see how they handle scenes with bright highlights and dark shadows, as well as what kind of sensitivity they have in low light.

The shot above is designed to mimic the very harsh, contrasty effect of direct noonday sunlight, a very tough challenge for most digital cameras. You can read details of this test here. In actual shooting conditions, be sure to use fill flash in situations like the one shown here; it's better to shoot in open shade whenever possible.

Contrast Adjustment We really like it when a camera gives us the ability to adjust contrast and saturation to our liking.

It's even better when those adjustments cover a useful range, in steps small enough to allow for precise tweaks. As was the case with its saturation adjustment, the Canon 5D Mark III's contrast setting meets both challenges very well.

At its lowest contrast setting, the Canon 5D Mark III did a good job of preserving highlight detail by allowing a lower exposure for our "Sunlit" portrait, while maintaining fairly natural-looking skin tones, and bringing out shadow detail. It also helped with the dark shadows in our Far-field shot. Overall, very good results here, with the contrast adjustment working on both highlights and shadows.

The Canon 5D Mark III's contrast-adjustment control offers a very broad range of control in usefully fine gradations, and does a good job of adjusting contrast without affecting color saturation in the process. As noted earlier regarding saturation adjustment, something that not all cameras manage to do. Mouse over the Off and On links to load the corresponding thumbnail, histogram and crops. The result is evident in the histograms and crops above, clearly showing the superior highlight preservation when HTP is enabled, while shadows were only minimally impacted.

As you can see from the shadow crops, an increase in noise is however the price you pay when ISO is boosted from to Note that levels were highly boosted in the shadow crops to reveal the increase in noise. Except in the very deepest shadows, though, overall noise is low enough at ISO that this is really a negligible tradeoff. All four shots below were taken with the same default exposure settings. Mouse over the links on the left to load the associated thumbnail and histogram, and click on the links to load full resolution images.

As you can see, ALO has the effect of shifting shadows and mid-tones in the histograms to the right, brightening shadows and indeed most of the image without clipping too many additional highlights, making it a useful feature for high contrast shots like this.

ISO is not boosted for ALO so increased noise is not an issue, though it may be slightly more visible in shadows that have been boosted significantly.