Canon 1ds mark iii đánh giá

Canon 1Ds Mark III Imachạy thử Results

We routinely use Norman Koren"s excellent "Imatest" analysis program for quantitative sầu, thoroughly objective analysis of digicam demo images. I highly recommkết thúc it khổng lồ our technically-oriented readers, as it"s far & away the best, most comprehensive analysis program I"ve sầu found khổng lồ date.

Bạn đang xem: Canon 1ds mark iii đánh giá

My comments below are just brief observations of what we see in the Imathử nghiệm results. A full discussion of all the data Imathử nghiệm produces is really beyond the scope of this review: Visit the Imademo web site for a full discussion of what the program measures, how it performs its computations, & how khổng lồ interpret its output.

Here"s some of the results produced by Imademo for the Canon 1Ds Mark III:


sRGB Accuracy Comparison
*

Canon1Ds Mk III
Canon5D Mark II
NikonD3X
SonyA900

The Canon 1Ds Mark III showed excellent color accuracy overall. Hue accuracy was exceptional, with only small shifts relative lớn mathematically correct colors Average saturation was 104% (oversaturated by only 4%, mostly in the deep blues and reds, with just a little in some greens). Average "delta-C" color error was only 4.37 after correction for saturation, which is very low, and one of the best scores of the group (the 1Ds Mark IIIwas bested only by the 5D Mark II). All in all, an excellent color response for an SLR. Mouse over the links below the illustration above sầu lớn compare results with competing models.


Adobe RGB Accuracy Comparison
*

Canon1Ds Mk III
Canon5D Mark II
NikonD3x
SonyA900

Using the Adobe RGB color space (which provides a much wider gamut, or range of colors that can be expressed), the Canon 1Ds Mark III delivers more highly saturated color, with an average saturation of 113.2% and average saturation-corrected hue error of 6.74 "delta-C" units. These are fairly good results, but not as good as sRGB. (We very commonly see some over-saturation in SLRs when shooting in the Adobe RGB space.) Again, mouse over the link below the illustration above khổng lồ compare results with competing models.

 


Canon 1Ds Mark III Color Analysis

*


This image shows how the Canon 1Ds Mark III actually rendered the colors of the MacBeth chart, compared to lớn a numerically igiảm giá khuyến mãi treatment. In each color swatch, the outer perimeter shows the color as actually captured by the camera, the inner square shows the numerically igiảm giá color, after correcting for the luminance of the photographed chart (as determined by a second-order curve sầu fit khổng lồ the values of the gray swatches), & the small rectangle inside the inner square shows the numerically ideal color, without any luminance correction. This image shows the 1Ds Mark III"s very good hue accuracy, as well as a gamma curve sầu that results in an overexposure of some colors, notably cyans, reds, blues and some greens. (We"ve seen this in a wide range of cameras, increasing the "punch" of images by brightening saturated colors a little, while actually keeping both the hue & saturation màn chơi very close to lớn technically accurate values.)

 


Canon 1Ds Mark III Noise Analysis

*


There"s a lot in this particular graph, a lot more than we have room khổng lồ go into here. (This set of plots has also changed a little in the more recent versions of Imademo. Some of the plots that were shown here previously are now shown in other Imatest output. Since we largely focus on the Noise Spectrum plot, we"ll only show the graphic above, which includes that plot.)


In comparing these graphs with those from competing cameras, I"ve found that the Noise Spectrum graph at lower right is the most important. Cameras that manage to shift their noise spectrum to higher frequencies have much finer-grained noise structures, making their noise less visually objectionable. In the graph above sầu, this would show up as a noise spectrum curve sầu that remained higher on the right side, representing higher noise frequencies. The champion at this was (và still is) the Canon EOS-1Ds Mark II, which produced remarkably fine-grained image noise, even at very high ISOs.

Here, we see the results at ISO 50, which is as a low extension of the normal ISO range for the 1Ds Mark III. The luminance curve sầu isn"t as flat as you might expect, và the color channels exhibit higher noise values, especially at lower frequencies. Still, overall noise levels are so low that the chroma noise was not noticeable except with extreme px peeping.


*


Here are the results at the 1Ds Mark III"s base ISO of 100. The luminance curve is flatter than at ISO 50 & so here the 1Ds Mark III does a better job of keeping plenty of the noise energy at high frequencies. The RGB channels are however much higher than the luminance, especially the xanh channel. Still, the Canon 1Ds Mark III noise levels are very low at low ISO (as you can see in the lower left graph, which shows noise levels vs target brightness), with a frequency spectrum that has more energy on the higher frequency (right-hand) side of the curve than do most cameras. Enabling the 1Ds Mark III"s High ISONoise Reduction would likely reduce the chrominance noise, even at low ISOs (the default is Off however, which explains the higher chrominance noise we"re used to seeing).


*


Above sầu is the same set of noise data at ISO 1,600, the 1Ds Mark III"s normal maximum range. Here, the luminance channel of the Noise Spectrum graph has a shift toward the left-hand, lower-frequency side than at ISO 100, coarsening the "grain" of the image noise patterns, but is still relatively flat for such a high ISO. The color channels follow the luminance much more closely, except at the very low kết thúc of the frequency spectrum, no doubt due to the default noise reduction taking place. At this ISO, we see the red-channel noise becoming dominant at the lowest spatial frequencies, manifesting in the images (in combination with the blue channel noise) as red- lớn purple-colored splotchiness. Overall noise is still pretty low, however.

Xem thêm: Nên Mua Gì Để Được Lợi Ở Cửa Hàng Miễn Thuế Là Gì ? Các Tín Đồ Mua Sắm Nên Biết

 


*


Above is the same phối of noise data at ISO 3,200, the high extension of the 1Ds Mark III"s range. Here, the luminance channel of the Noise Spectrum graph has a more dramatic shift toward the left-hvà, lower-frequency side than at ISO 100, coarsening the "grain" of the image noise patterns further. Again, the color channels follow the luminance much more closely, except at the very low end of the frequency spectrum, no doubt due to the default noise reduction taking place.


This chart compares the Canon 1Ds Mark III"s luminance noise performance over a range of ISOs against that of other current, 20+ megapixel full frame cameras, using mặc định settings. While we continue khổng lồ show noise plots of this sort because readers ask for them, we each time point out that the noise magnitude is only a small part of the story, the grain pattern being much more important. In the case of the Canon 1Ds Mark III, the magnitude of the image noise starts out about the same as the competition at ISO 50, then remains competitive sầu at all ISOs except when compared to lớn the 5D Mark II, where it"s slightly higher above ISO 400. Keep in mind these are at mặc định settings, so the shape & positions of the curves will be influenced by your settings. For example, the 5D Mark II has 4 levels of high ISOnoise reduction versus the 1Ds Mark III"s simple On/Off setting, so the default for the 5D Mark II applies a higher amount of noise reduction than the Mark III"s default of Off. Also keep in mind this graph plots luminance noise, which explains why the Sony A900 seems lớn perform very similarly, even though it has higher chrominance noise.

 


Canon 1Ds Mark III Dynamic Range Analysis


A key parameter in a digital camera is its Dynamic Range, the range of brightness that can be faithfully recorded. At the upper over of the tonal scale, dynamic range is dictated by the point at which the RGB data "saturates" at values of 255, 255, 255. At the lower over of the tonal scale, dynamic range is determined by the point at which there ceases to be any useful difference between adjacent tonal steps. cảnh báo the use of the qualifier "useful" in there: While it"s tempting to lớn evaluate dynamic range as the maximum number of tonal steps that can be discerned at all, that measure of dynamic range has very little relevance to real-world photography. What we care about as photographers is how much detail we can pull out of the shadows before image noise becomes too objectionable. This, of course, is a very subjective sầu matter, & will vary with the application & even the subject matter in question. (Noise will be much more visible in subjects with large areas of flat tints và subtle shading than it would in subjects with svào, highly contrasting surface texture.)

What makes most sense then, is khổng lồ specify useful dynamic range in terms of the point at which image noise reaches some agreed-upon threshold. To this kết thúc, Imatest computes a number of different dynamic range measurements, based on a variety of image noise thresholds. The noise thresholds are specified in terms of f-stops of equivalent luminance variation in the final image tệp tin, & dynamic range is computed for noise thresholds of 1.0 (low image quality), 0.5 (medium image quality), 0.25 (medium-high image quality) and 0.1 (high image quality). For most photographers and most applications, the noise thresholds of 0.5 và 0.25 f-stops are probably the most relevant khổng lồ the production of acceptable-quality finished images, but many noise-sensitive sầu shooters will insist on the 0.1 f-stop limit for their most critical work.

The image below shows the chạy thử results from Imakiểm tra for an in-camera JPEG tệp tin from the Canon 1Ds Mark III with a nominally-exposed mật độ trùng lặp từ khóa step target (Stouffer 4110), và the 1Ds Mark III"s default settings.


*

These are very good results for in-camera JPEGs, near the top of the results from other recent SLRs we"ve tested. The tone curve shows excellent gradation in highlights, but the shadow kết thúc trails off a bit more abruptly.

*

The tone curve sầu looks very good with Highlight Tone Priority enabled, but because of the additional noise at ISO 200 (see the lower left plot) the Imademo score is only slightly higher than with it disabled. Still, this is a testament of the low levels of noise at ISO200. (We normally see the Imatest score drop as ISO increases.)

*

With a little manual tweaking, our standard RAW converter (Adobe Camera Raw, version 4.5) was able to lớn extract a bit more dynamic range (over 50% f-stop) than any of the in-camera JPEGs, with a score of 8.84 f-stops at the highest unique màn chơi. These are excellent results, as the Canon 1Ds Mark III"s dynamic range score really benefits from ACR"s mặc định noise reduction. (Do note, though, that the cấp độ of manipulation done lớn achieve sầu the results above sầu will result in severe color artifacts on color images: This level of dynamic range is really only achievable on monochrome images.)


Dynamic Range, the bottom line:

The net result was that the 1Ds Mark III JPEGs came in at the top of most other DSLR models we"ve sầu tested recently, & results from ACR processed RAW files were even better, only surpassed by a handful of others the highest chất lượng màn chơi. An excellent performance.

To get some perspective, here"s a summary of the Canon 1Ds Mark III"s dynamic range performance, & how it compares to lớn other digital SLRs that we also have sầu Imademo dynamic range data for. (Results are arranged in order of decreasing dynamic range at the "High" quality màn chơi.):

Dynamic Range (in f-stops) vs Image Quality(At camera"s base ISO)(Blue = RAW via ACR, Yellow=Camera JPEG, Green=Current Camera)
Model1.0(Low)0.5(Medium)0.25(Med-High)0.1(High)
Nikon D700(Adobe Camera Raw 4.5)12.111.610.69.51
Sony A900(Adobe Camera Raw 4.6b)--12.110.79.36
Nikon D90(Adobe Camera Raw 4.6b)12.111.810.79.27
Fujifilm S3 Pro(Adobe Camera Raw 2)12.111.710.79.00
Nikon D40x(Adobe Camera Raw 4.1)12.010.910.38.90
Canon 5D Mark II(Adobe Camera Raw 5.2)--10.810.08.89
Canon EOS-1Ds Mark III(Adobe Camera Raw 4.5)11.510.79.968.84
Nikon D3(Adobe Camera Raw 4.5)11.711.010.08.75
Canon EOS-1D Mark III(Adobe Camera Raw 4.5)11.710.79.998.73
Pentax K20D(Adobe Camera Raw 4.5)11.410.69.828.56
8.5 Stops
Nikon D300(Adobe Camera Raw 4.3.1)11.410.99.878.45
Sony A200(Adobe Camera Raw 4.3.1)11.610.49.828.43
Nikon D60(Adobe Camera Raw 4.4.1)11.610.59.748.31
Nikon D40(Adobe Camera Raw 4.1)11.910.99.898.30
Canon EOS-1Ds Mark III(Camera JPEG, HTP=On)11.210.39.578.27
Canon EOS-1Ds Mark III(Camera JPEG, HTP=Off)10.910.29.718.23
Pentax K100D(Adobe Camera Raw 3.6)11.310.39.518.23
Pentax K200D(Adobe Camera Raw 4.4.1)--10.59.548.19
Pentax K10D(Adobe Camera Raw 3.7)10.610.09.298.19
Sony A100(Adobe Camera Raw 3.4)11.310.59.698.16
Canon EOS-1Ds Mark II(Adobe Camera Raw 3)11.210.39.408.14
Canon EOS 50D(Adobe Camera Raw 4.6)11.210.59.498.06
Nikon D40x(Camera JPEG)10.810.09.428.04
Canon Rebel XSi(Camera JPEG)(ALO on by default)11.310.19.348.01
8.0 Stops
Fujifilm S3 Pro(Camera JPEG)--9.909.407.94
Sony A350(Adobe Camera Raw 4.4)11.610.59.617.89
Canon EOS-1D Mark III(Camera JPEG)--10.29.707.88
Canon Rebel XS(Adobe Camera Raw 4.5)--10.39.277.88
Nikon D3(Camera JPEG)------7.87
Canon Digital Rebel XTi(Adobe Camera Raw 3.6)10.89.889.187.84
Canon EOS 5D(Adobe Camera Raw 3)11.010.49.217.83
Canon EOS 50D(Camera JPEG)(ALO Off )--9.649.177.83
Nikon D90(Camera JPEG)------7.77
Canon EOS 40D(Adobe Camera Raw 4.2)11.210.19.267.72
Canon Rebel XSi(Adobe Camera Raw 4.4.1)10.69.959.107.68
Canon EOS 50D(Camera JPEG)(ALO STD by default)----8.907.68
Nikon D700(Camera JPEG)----9.057.67
Canon 5D Mark II(Camera JPEG)(ALO STD)10.69.688.987.66
Canon EOS-5D(Camera JPEG)10.29.688.827.65
Olympus E-3(Adobe Camera Raw 4.3)10.310.19.297.64
Canon 5D Mark II(Camera JPEG)(ALO Off)--9.678.967.62
Nikon D60(Camera JPEG)10.59.628.897.62
Nikon D200(Adobe Camera Raw 3)10.69.658.967.61
Nikon D80(Adobe Camera Raw 3.6)11.110.49.427.51
7.5 Stops
Olympus E-500(Adobe Camera Raw 3)10.79.978.907.46
Olympus E-510(Adobe Camera Raw 4.1)10.09.438.647.46
Pentax K10D(Camera JPEG)--9.498.887.44
Nikon D300(Camera JPEG)----8.707.44
Nikon D2Xs(Adobe Camera Raw 3.6)10.69.908.937.42
Canon EOS 40D(Camera JPEG)10.69.528.787.42
Nikon D50(Camera JPEG)10.79.938.707.36
Panasonic DMC-G1(Adobe Camera Raw 5.2)10.79.788.707.32
Sony A900(Camera JPEG)(DRO off by default )10.29.758.497.31
Sony A200(Camera JPEG)(DRO on by default)10.49.438.917.29
Canon EOS 20D(Camera JPEG)10.39.668.857.29
Canon EOS 30D(Camera JPEG)10.39.508.577.29
Nikon D40(Camera JPEG)10.49.808.897.28
Sony A900(Camera JPEG)(DRO on)10.19.768.477.26
Canon Rebel XS(Camera JPEG)10.39.48.617.22
Sony A350(Camera JPEG)(DRO on by default)10.39.558.857.19
Nikon D80(Camera JPEG)10.19.438.487.12
Canon Digital Rebel XT(Camera JPEG)10.39.518.617.11
Nikon D200(Camera JPEG)--9.078.367.11
Panasonic DMC-G1(Camera JPEG,iExposure = Low)--9.298.507.09
Panasonic DMC-G1(Camera JPEG,iExposure = Standard)--9.308.547.07
Olympus E-300(Camera JPEG)10.89.268.487.07
Olympus E-410(Adobe Camera Raw 4.1)10.29.408.247.05
Olympus E-500(Camera JPEG)10.09.148.167.05
Canon Digital Rebel XTi(Camera JPEG)9.839.108.277.04
Canon EOS-1Ds Mark II(Camera JPEG)10.39.388.607.04
Panasonic DMC-G1(Camera JPEG,iExposure = High)10.39.238.547.04
Panasonic DMC-G1(Camera JPEG,iExposure = Off)--9.338.527.03
Pentax K200D(Camera JPEG)--9.508.307.01
7.0 Stops
Canon Digital Rebel(Camera JPEG)10.19.118.476.97
Nikon D2Xs(Camera JPEG)9.828.988.236.97
Panasonic DMC-L10(Adobe Camera Raw 4.2)10.49.348.486.91
Sigma DP1(Camera JPEG)--8.958.136.91
Pentax *istDs(Camera JPEG)10.210.08.876.90
Sony A100(Camera JPEG)10.29.248.396.89
Pentax K100D(Camera JPEG)10.39.308.396.73
Pentax K20D(Camera JPEG)10.29.218.096.66
6.5 Stops
Nikon D2x(Camera JPEG)--8.937.756.43
Olympus E-3(Camera JPEG)9.329.068.506.42
Panasonic DMC-L10(Camera JPEG)--8.948.006.38
Olympus E-420(Camera JPEG)9.188.827.936.37
6.0 Stops
Olympus E-410(Camera JPEG)----7.605.99
Nikon D70s(Camera JPEG)9.848.697.465.85
Nikon D70(Camera JPEG)9.818.767.585.84
Olympus E-510(Camera JPEG)7.707.165.873.55

The results shown in the table are interesting. One of the first things that struck me when I initially looked at demo data for a wide range of d-SLRs, was that here again, purely analytical measurements don"t necessarily correlate all that well with actual photographic experience. There"s no question that the Fuji S3 Pro deserves its place atop the list, as its chất lượng "SR" công nghệ does indeed deliver a very obvious improvement in tonal range in the highlight portion of the tonal scale. I was surprised lớn see the analytical results place the Olympus E-300 as highly as they did, given that our sense of that camera"s images was that they were in fact noisier than those of many other d-SLRs that we looked at. In the other direction, I was quite surprised lớn see the Nikon D2x place as low on the listings as it did, given that we found that camera"s shadow detail khổng lồ be little short of amazing.

One thing that"s going on here though, is that we tested each camera at its lowest (base) ISO setting, which should produce best-case noise levels. This is in fact what many photographers will be most interested in, but it does perhaps place some of the Nikons (like the D40) at a disadvantage, as their lowest ISO setting is 200, as compared lớn the ISO 100 settings available on most other models.

Xem thêm: Tìm Hiểu Về San Storage Là Gì, San Vs Nas: Câu Chuyện Về 2 Giao Thức Lưu Trữ

With the preceding as caveats, what we can say about the Canon 1Ds Mark III"s dynamic range is that it"s quite good, but perhaps two-thirds of a stop or so below the current best of the field. This roughly matches what we felt we were seeing in its images - It does a very good job, particularly with highlights, but plugs the very darkest shadows somewhat. - But keep in mind that we"re splitting hairs, and talking about very deep shadows indeed.


Chuyên mục: Kiến thức