KNOW HOW

1-800-OK-CANON www.usa.canon.com
Canon U.S.A., Inc. One Canon Plaza Lake Success, NY 11042 U.S.A. Canon Canada Inc. 6390 Dixie Road Mississauga, Ontario L5T 1P7 Canada Canon Latin America 703 Waterford Way, Suite 400 Miami, FL 33126 U.S.A. Canon Mexicana, S. de R.L. de C.V. Blvd. Manuel vila Camacho No. 138, Piso 17 Col. Lomas de Chapultepec C.P. 11000 Mxico, D.F. Mxico www.canon.com.mx
0054W868 8/CANON U.S.A., INC. PRINTED IN U.S.A.
Photography by Canon Explorers of Light.
Intuitive Speed, Massive Resolution and Perfect Operation.
Presenting the next generation of EOS professional digital SLRs. A stunning combination of performance, resolution and ease of use, this trio of cameras is ready for anything. All Canon EOS digital SLRs combine Canon designed high-resolution sensors with the blazingly fast DIGIC II Image Processor, for nearly instant response across the board. Canons renowned build quality ensures perfect operation no matter the situation. Compatibility with over 50 EF Lenses and wide variety of accessories, plus new technologies, like the Wireless File Transmitter WFT-E1A and Canons wide-format printers, ensures that the EOS system is the most advanced today and is ready to be compatible with whatever tomorrow brings.
The Worlds Fastest Digital SLR* Refined Canons new EOS-1D Mark II N can record at 8.5 fps for up to 48 frames in one burst. It features Canons proven 8.2 Megapixel CMOS sensor with a 1.3x conversion factor, combined with the speed and intelligence of the DIGIC II Image Processor, all in a rock-solid, magnesium alloy body.

* As of August 2005

Widen Your Horizons The new EOS 5D has a full-frame 12.8 Megapixel CMOS sensor combined with Canons DIGIC II Image Processor, a high-precision 9-point AF system with 6 Supplemental points, and Picture Style color control to deliver images of superior quality with enough resolution for any application, all in a compact lightweight body.
Unparalled Resolution and Performance The EOS-1DS Mark II is a must have for those looking to capture huge, beautiful images fast. With a full-frame 16.7 Megapixel sensor, the EOS-1DS Mark II captures up to 32 consecutive frames at speeds up to 4 fps, rendering the largest file in Canon Digital SLR history.

Commercial Applications

Gil Smith
The Ultimate in Resolution.
My main concern with any camera system is having a wide array of lenses available
that are manufactured to professional standards. I love using extreme wide-angle lenses and the full frame chip on the EOS-1Ds Mark II allows me to utilize all of the EOS lenses to their full potential. The creation of this particular photograph was immeasurably faster than previously possible thanks to Canons superior use of emerging technology. We were in a studio in a controlled lighting situation, wired to the internet with the art director hundreds of miles away. We were able to capture and send shots instantly, and the art director evaluated and approved the image in minutes. The Canon EOS-1Ds Mark II connected to a computer or a network is a remarkable platform for photography in this digital age.
The EOS-1Ds Mark II captures more pixels than the competition, quickly delivering a high-resolution photograph without equal. The 1Ds Mark IIs 16.7 Megapixel full-size CMOS sensor captures 4992 x 3328 pixels, enough resolution for almost anything. In addition, with ISO ratings of 50-3200, combined with Canons noise reduction technology for an incredibly low signal to noise ratio, theres almost nowhere this sensor wont perform. The 1Ds Mark II can take full advantage of Canons array of EF lenses, as its sensor is the same size as a traditional film SLR, meaning no focal length conversion factorlenses will have the same view they would on a 35mm camera. The 1Ds Mark II can also be shot at lower resolutions to conserve space on memory cards if large images are not the priority of the shoot.

Canons DIGIC II Image Processor turns information captured by the CMOS sensor into images of exceptional clarity and resolution. Photographers can expect precise, natural colors with smooth, lifelike gradations, spot-on white balance and speed in any number of lighting situations. By handling larger volumes of image data, the DIGIC II Image Processor also contributes to lower power consumption: about 1,200 shots can be taken on a full battery under normal conditions. Photographs can be recorded as JPEG images, RAW images, or both simultaneously with unprecedented control over image quality. Canon's newly developed proprietary CR2 RAW type compression method offers tremendous image quality, with rich 12-bit gradation and lossless image compression. Perfect for critical applications, amazing results can be achieved when processing Canons RAW images on a computer.
Camera: EOS-1Ds Mark II Lens: EF 50mm f/2.5 Compact Macro
2005 Michel Tcherevko= All Rights Reserved

Photojournalism

Vincent Laforet
EOS-1D Mark II N: You Spoke, We Listened.
The successor to the amazing EOS-1D Mark II, the EOS-1D Mark II N refines every facet of the photographic process, resulting in a faster, more fluid experience for the photographer. Retaining the EOS-1D Mark IIs 1.3x conversion factor and 8.2 Megapixel CMOS sensor, sophisticated 45-point AF, 21-zone Evaluative Metering, superb build quality and instant 0.2 second startup time, the EOS-1D Mark II N incorporates userrequested improvements such as an optional changeable focusing screen for critical focus in low light and a larger 2.5 inch LCD screen which provides a bigger image for playback, and can be viewed at 170 from all angles. ISO values can now be changed in the viewfinder, allowing photographers to change settings without taking the camera from their eye. The 1D Mark II N features these improvements, plus, all the shooting modes of the EOS 1 line and shutter speeds from 1/8000 to 30 sec.
In Photojournalism there is no such thing as a second chance - every moment is
unique and can never be reproduced. Therefore I need a camera system that is incredibly reliable, one that does not stand in between me and a photograph. I've come to rely on Canon cameras to not only capture the decisive moments but also to make photographs that I could not have otherwise. After five solid days of bad weather, and with a looming deadline, we finally got a clear sunset. I needed to capture a dramatic shot of the Chrysler Building but did not want to isolate it as its a vital part of the city and rooted to the streets below. Since the surrounding buildings are lower, they appeared in shadow while the Chrysler appears to be in spotlight. Flying high above New York in a helicopter banking at 45, with one chance to get the shot that will tell your story, you need confidence in your equipment, and thats why I use Canon.

In a lot of ways you are only as good as the tools you
uselearn to use the best tools properly and your advantage is miles high. As such, I believe that having my Canon cameras and lenses is critical at every job I photograph. Beautiful files, speedy focus, fast lenses, Image Stabilization, high ISOs, easy exposure compensation, and excellent dynamic range are critical to capturing moving moments in life and its those moments that I earn my living from. There can be no compromise. Photographing three little girls at sunset in this remote setting required all the elements that are important to my work. Having a compact, lightweight camera with the imaging power of the EOS 5D made this shoot possible. Without the right tools this shoot would not have been possible.
Camera: EOS 5D Lens: EF 70-200mm f/2.8L IS USM
2005 Michele Celentano All Rights Reserved

Nature Photography

George Lepp

The Result Is Clear.

The EOS 5D has been designed to provide the photographer with instant feedback, saving valuable time when reviewing images. A new 2.5 inch LCD screen with approximately 230,000 pixels not only displays more information, it can also be viewed from a far greater angle than many other conventional LCD screens (170). The full-featured shot information screen provides an RGB histogram, and displays the AF frames used. Magnification to check exposure and critical focus has never been faster, and it is now simple to jump quickly in image intervals up to 100. Menus are easily accessed at the touch of a button, and feature larger, easier-to-read text than previous models. Whether changing color parameters, setting up custom functions, organizing folders, setting white balance, or any other feature, the new screen is designed with the professional in mind. Photographers get to their information quickly, so they never lose a shot. Wrapped in magnesium-alloy, the BG-E4 adds buttons for vertical shooting, and takes either BP-511A batteries or AAs.
Every time I go into the field my Canon EOS digital
system allows me to capture precisely what I see. I need a camera that will solve the photographic problems that are inevitable in outdoor photography. Will the cameras functions assist me, or be an obstacle to overcome? Will it focus quickly enough? Stand up to the weather and terrain I frequently find myself in? Most importantly, will the image quality be up to the standards that my clients and I demand? Canon has always been interested in what those of us in the field have to say, and the improvements made over the years reflect that input. If not for the fullframe sensor on the EOS 5D, for example, this dramatic fisheye shot would not be possible. Occasionally theyll even think of something I didnt even know I needed!
Camera: EOS 5D Lens: EF 15mm f/2.8 Fisheye
2005 George Lepp All Rights Reserved
Actual Size (Shown with optional Battery Grip BG-E4)

2005 Gerry Kopelow All Rights Reserved
Rugged Build Quality, Total Flexibility
Digital Solutions and Connections
Photographers have come to expect stellar images from Canon digital SLRs. And along with excellent optics, powerful processors and smooth sensors, Canon digital SLRs are complemented by renowned build quality for ergonomic and reliable operation, whether in the studio or the field. EOS-1 series cameras have rigid, well-coated magnesium alloy bodies, as well as being dust-proof and weatherresistant for shooting in even the most inclement conditions. In addition, the shutters are designed to endure 200,000 cycles (100,000 for the EOS 5D). With newly strengthened accessory shoes, electromagnetic shielding to help reduce noise, all in elegant, durable bodies, these SLRs are a pleasure to hold and use.
Reflecting the range of viewing and image transfer possibilities available today, the EOS-1Ds Mark II, EOS-1D Mark II N and EOS 5D have a video OUT terminal, perfect for viewing images on a television screen. And in addition to a standard professional IEEE1394 (FireWire) port on the 1Ds Mark II and 1D Mark II N, all three include a USB 2.0 port (Hi-Speed USB on the EOS 5D) for connection to computers or direct connection to compatible printers. Once transferred to a computer, Canons EOS Digital Solution Disk (Ver. 11.0 as of September 2005), and Digital Photo Professional (Ver. 2.0), add a combination of powerful, easy to use tools designed to seamlessly transform data captured by the cameras into spectacular digital files, perfect for any application the photographer may have in mind.
Digital Photo Professional (Version 2.0) Digital Photo Professional is a RAW image processing application featuring a newly designed, dedicated image processing engine which is optimized to streamline the workflow demands of professional digital photographers. It enables high-speed RAW image processing and preview, support for sRGB, Adobe RGB and Wide Gamut RGB color spaces, and is CMS (Color Management System) compatible. In addition to numerous controls for exposure and color settings, it also includes a cropping tool, a navigation tool, CMYK printer simulation, batch conversion, multiple image download and download to applications other than Photoshop.
EOS Solution Disk (Version 11.0) The EOS Solution Disk includes ZoomBrowser EX 5.5 and ImageBrowser 5.5, which provide dedicated support for downloading and simple RAW image adjustment, EOS Capture 1.5, a remote capture tool, which offers improvements in both speed and usability over previous programs.

imagePROGRAF W8400 44" wide, for tremendous prints High-density, 6 color print head totaling 7,680 nozzles and resolution of up to 2,400 x 1,200 dpi Canons PG pigment-based ink set for detailed prints, with enhanced longevity, and enhanced color gamut Print longevity of up to 75 years under glass Intuitive operation with newly-designed control panel

i9900 Photo Printer

6,144 nozzles for exceptional speed. 8 color ChromaPLUS ink system for expanded color gamut. 2 Picoliter droplets for virtually grain-free photos up to 13" x 19". Direct printing from PictBridge compatible digital cameras and DV camcorders.

PIXMA iP6600D

Color Chroma Life100 ink system for expanded color gamut. 3,072 nozzles for exceptional photo speed, borderless 4" x 6"photographs in approx. 46 seconds. Microscopic 1 picoliter droplets for virtually grain-free photos. Direct photo printing from PictBridge compatible digital cameras and DV camcorders.
* Based on Color Ink/paper Set KP-108IP and manufacturers suggested retail price as of 9/01/05. ** Based on accelerated dark storage testing by Canon under controlled lighting, temperature and humidity conditions. Canon cannot guarantee the longevity of the prints; results may vary depending on printed image, display/storage conditions and environmental factors. 30
EOS: The Most Comprehensive Digital SLR System
Canon's world-renowned lineup of EF Lenses includes over 50 models ranging from 14mm ultra-wide-angle to 600mm super-telephoto. Through Canon's advanced optical know-how and sub-micron precision engineering, EF Lenses offer unprecedented capabilities that meet wide-ranging needs. Leading features include a high precision Ultrasonic Motor that silently drives the AF mechanism, an Image Stabilizer that automatically compensates for camera shake, aspherical optics, Fluorite lenses, Ultra Low Dispersion (UD) lenses, and Super UD lenses. No other line of lenses carries the reputation of Canons renowned L-series. Easily recognized by the bold red ring around the outer barrel, these lenses utilize the best in Canons cutting-edge technology, and feature superior durability and resistance to the element, enhancing performance without compromising ease of use. One of the greatest challenges in the design of a telephoto lens has been the minimization of color fringing, or chromatic aberration. So, some L-series lenses use Canons Ultra Low Dispersion glass to help minimize this effect. The design of the UD glass provides outstanding contrast and sharpness and minimizes the splitting of colors as they pass through the elements. In certain super- telephoto lenses, Fluorite elements are used, as they are even more effective in minimizing these characteristics, enabling more compact lens design with no compromise in performance. Wide angle and fast standard lenses often suffer from another optical problem: Spherical Aberration. This occurs when the point of focus of the light ray coming through the center of the lens does not align with the point of focus of the light ray coming through the lens edge. Since there is no sharp point of focus, the image looks blurred. Canons Aspherical elements change the curvature from center to edge to align the points of focus of the incoming light rays so that the entire image plane appears focused.

Publish

For Commercial Studio Photography
Studio photographers can transfer images automatically, either immediately or after the shooting session. In immediate mode, the art director, client, and assistants can be working, even off-site, giving feedback during the session for greater spontaneity and efficiency. In operation, images transfer to an FTP server via wireless or wired LAN. Wirelessly, the antenna supplied allows a 200 ft. range, more than sufficient for most studios. In wired mode, a port on the side of the unit connects, with an appropriate Ethernet cable, to a computer or other Ethernet device.

Layout

For Wedding Photography
Wedding photographers can have one less thing to worry about with the WFT-E1A attached to their camera. Free to roam about the ceremony and reception, photographers can feel confident knowing their images are being transferred to their computer as they shoot. They wont run out of memory cards or lose important shots while offsite downloading images to the computer. They can shoot either vertically or horizontally, transferring their images without worry of getting tangled up in wires. Results can be shared and orders can be taken on the spot, from clients and guests; showing photographs in print or on screen.
* Canon USA does not provide support for configuring TCP/IP, encryption or FTP on your computer and/or network. You should consult with your IT specialist or computer systems integrator to congure your computer and/or network for these services.
NOMENCLATURE for EOS-1Ds Mark II/EOS-1D Mark II N

VIEWFINDER INFORMATION

Spot Metering Circle Laser-matte Screen AF Point Area AF Ellipse Correct Exposure Index Exposure Level Increments : 1 stop : 1/3 stop Overexposure Flash Overexposure Exposure Level Flash exposure Level Flash Underexposure Underexposure Max. burst for continuous shooting JPEG Mark Shutter Speed Bulb AF Point Selection Mode ([ ], SEL) FE Lock Busy ( ) Aperture AF Point Selection Mode (AF, [ ], HP) Memory Card No. (1,2) Exposure Compensation Flash Exposure Compensation In-focus Indicator Remaining Shots ISO Speed Self-Timer Countdown ISO Speed Icon White Balance Compensation
Self-Timer Lamp Shutter Button Grip
PC Terminal Lens Release Button Remote Control Terminal (N3 type) Video OUT
High-speed sync (FP flash) Flash-ready Blinks when FE lock cannot be achieved * AE Lock AEB in-progress Multi-Spot metering M Manual Exposure
Depth-of-Field Preview Button

Digital Port

Vertical Grip Shutter Button
Direct Printer Port Battery Release Knob
Vertical Grip Main Dial Battery Hand Strap Eyelet Battery Release Button Tripod Socket Quick Control Dial Switch Viewfinder Eyepiece Eyecup LCD Monitor Protect/Sound Recording Button MENU Button SELECT Button DISPLAY Button Memory Card Selection/Enlarge Button Rear LCD Panel ERASE Button CLEAR Button Image Recording Quality Selection Button White Balance Button White Balance Bracketing Button Recording Microphone LCD Panel Illumination Button AEB Button Shooting Mode Selection Button AF Mode Selection Button Metering Mode Selection/Flash Exposure Compensation Button ISO Speed Button Drive Mode Selection Button Dioptric Adjustment Knob Flash-sync Contacts Hot Shoe Eyepiece Shutter Lever Vertical FE Lock/Multi-Spot Metering Button Vertical Operation ON/OFF Switch Vertical Assist Button/White Balance Compensation Button (WB button pressed simultaneously) Power Switch FE Lock/Multi-Spot Metering Button Quick Control Dial Assist Button/White Balance Compensation Button (WB Button pressed simultaneously) AE Lock/Reduce Button AF Point Selector/Enlarge Button Memory Card Slot Cover Memory Card Slot Cover Knob Access Lamp Vertical AE Lock/Reduce Button Vertical AF Point Selector/ Enlarge Button
TOP LCD PANEL INFORMATION
Shooting Mode P : Program AE M : Manual Exposure T : Shutter-priority Ae V : Aperture-priority Ae Aperture AEB amount AF Point Selection Mode (AF, [ ], HP) Memory Card No. (1,2) Metering Mode Evaluative Metering Partial Metering Spot Metering Center-weighted Average Metering Battery Level Mark Shutter Speed Bulb Bulb Exposure Time (Min.:Sec.) AF Point Selection Mode ([ ], SEL) FE Lock Busy ( ,PC ) Error ( )
Shots Remaining ISO Speed Self-timer Countdown Bulb Exposure Time Error Code Remaining Images to Record AF Mode One-Shot AF AI SERVO AF Drive Mode Single Continuous Shooting* High-speed Continuous Shooting** Low-speed Continuous Shooting** Self-timer (10 sec.) Self-timer (2 sec.) Exposure Level Scale Exposure Compensation Level AEB Amount Flash Exposure Compensation Level
Personal Function Mark Flash Exposure Compensation
REAR LCD PANEL INFORMATION (EOS-1Ds Mark II)

White Balance Auto Daylight Shade Cloudy Tungsten Light Fluorescent Light Flash Custom Color Temperature Image Quality Large Medium1 Medium2 Small RAW RAW+Large RAW+Medium1 RAW+Medium2 RAW+Small Blue/Amber/ White Balance Correction Folder No. White Balance Bracketing Level File No. Color Temperature Personal White Balance Green/Magenta/ White Balance Correction Data Transfer Mark
CF Card Selection Indicator SD Memory Card Selection Indicator
REAR LCD PANEL INFORMATION (EOS-1D Mark II N)
Shutter Button Main Dial Exposure Compensation/ Aperture Button Strap Mount Top LCD Panel
White Balance Auto Daylight Shade Cloudy Tungsten Light Fluorescent Light Flash Custom Color Temperature SD Memory Card Indicator SD Card Selection Icon CF Card Indicator CF Card Selection Icon RAW Image-recording Card Slot Indicater White Balance Bracketing Level
* EOS-1Ds Mark II Only ** EOS-1D Mark II N Only
Blue/Amber/ White Balance Correction Green/Magenta/ White Balance Correction Image-recording Quality Large Medium1 Medium2 Small RAW RAW+Large RAW+Medium1 RAW+Medium2 RAW+Small
Data Transfer Icon Monocrome Shooting Folder No. File No. Color Temperature Personal White Balance

NOMENCLATURE for EOS 5D

Self-timer Lamp Strap Mount
Spot Metering Circle AF Points (with Superimposed Display)
Lens Release Button PC Terminal Digital Terminal Remote Control Terminal (N3 type) CF Card Slot Cover Video OUT Terminal

Focusing Screen

Grip (Battery Compartment)
Depth-of-field Preview Button Battery Compartment Cover Release Lever Battery Compartment Cover Tripod Socket DC Coupler Cord Hole
* AE Lock/AEB in-progress Flash-ready High-speed Sync (FP flash) FE Lock Flash Exposure Compensation Shutter Speed FE Lock ( ) ) CF Card Full Warning ( CF Card Error Warning ( No CF Card Warning ( Aperture ) ) ) Focus Confirmation Light Maximum burst White Balance Correction Exposure Level Exposure Compensation Amount Flash Exposure Compensation Amount AEB Level

Eyecup

Multi-controller

Busy (

AE Lock/FE Lock Button/ Index/Reduce Button Viewfinder Eyepiece Direct Print Button MENU Button INFO/Trimming Orientation Button Quick Control Dial JUMP Button Setting Button Playback Button Erase Button
White Balance Auto WB Correction ISO Speed
AF Point Selection/Enlarge Button CF Card Slot
Shutter Speed Busy ( ISO Speed ) AF Point Selection ( CF Card Full Warning ( CF Card Error Warning ( No CF Card Warning ( Error Code ( Aperture Shots Remaining Shots Remaining During WB-BKT Self-Timer Countdown Bulb Exposure Time ) ) Cleaning Image Sensor ( ) ) ) )

LCD Screen

Power/Quick Control Dial Switch
Daylight Shade Cloudy Tungsten Light White Fluorescent Light Flash Custom Color Temperature Battery Level Mark
AF Mode Selection/White Balance Selection Button LCD Panel Illumination Button
Drive Mode Selection/ ISO Speed Button Metering Mode Selection/ Flash Exposure Compensation Button Shutter Button Main Dial

Drive Mode Single Continuous Self-Timer
Beeper Custom Function Recording Quality Large/Fine Large/Normal Medium/Fine Medium/Normal Small/Fine
Monochrome Shooting Metering Mode Evaluative Partial Spot Center-weighted Average Exposure Level Exposure Compensation Amount AEB Level Flash Exposure Compensation Amount AF Mode ONE-SHOT AF AI FOCUS AF AI SERVO AF
* Manual focus when none is displayed

Mode Dial

Strap Mount LCD Panel

Small/Normal RAW

Flash-sync Contacts Hot Shoe Dioptric Adjustment Knob
Flash Exposure Compensation

CF Card Writing Status

SPECIFICATIONS EOS-1Ds Mark II
Image Sensor 16.7 MP CMOS Full-frame 36 x 24mm Maximum continuous shooting speed of 4 fps (approximate) Built-in 2.0 inch color monitor Custom Functions (20 custom functions with 65 settings) Simultaneous RAW and JPEG image capture Depth-of-Field Preview Mirror Lock IEEE 1394 Compatible

EOS-1D Mark II N

8.2 MP CMOS APS-H 28.7 x 19.1mm Custom Functions (21 custom Maximum continuous functions with 69 settings) shooting speed of 8.5 fps Simultaneous or separate (approximate) RAW and JPEG image capture Built-in 2.5 inch wide viewing angle color monitor Depth-of-Field Preview Mirror Lock IEEE 1394 Compatible

EOS 5D

12.8 MP CMOS Full-frame 36 x 24mm Maximum continuous shooting speed of 3 fps (approximate) Built-in 2.5 inch wide viewing angle color monitor Custom Functions (21 custom functions with 57 settings) Simultaneous RAW and JPEG image capture Depth-of-Field Preview Mirror Lock TTL-CT-SIR CMOS Sensor. One-Shot and AI Servo AF with Focus Prediction. Manual focusing conrmation possible with EF Lenses. Automatic or manual focus point selection. Nine (plus 6 Assist AF points) Center-AF point is cross-type Hybrid high and standard precision. EV-0.5-18 (at ISO 100). Vertical-travel, focal-plane shutter with soft-touch electromagnetic release, all speeds electronically controlled. 301/8,000 sec. 1/200 sec. Digital images are stored on removable CompactFlash Type I & II. Single, 3.0 fps. TTL full-aperture metering: 35-zone Evaluative metering 8.0% Partial metering 3.5% Center spot metering Center-weighted average metering Pre-flash metering (E-TTL II) EV 120 for all patterns (at ISO 100 with f/1.4). 2 stops in 1/3 or 1/2-stop increments. 2 stops in 1/3 increments. Yes. Program AE Shutter Speed-priority AE Aperture-priority AE Full Auto Manual E-TTL II Flash AE

Image Playback Sound Recording Direct Printing Body Dimensions (W x H x D) Weight (Body Only)
Single Image, Single Image (INFO.), 4-image index, 9-image index, Magnified zoom (approx. 1.5x 10x), Rotated image can be displayed. Highlight alert is displayed in Single Image and Single Image (INFO.) formats, any overexposed highlight areas blink in the image display. Voice annotation recorded with the built-in microphone and attached to the image in WAVE format. Compatible printers: SELPHY Compact Photo Printers, CP Direct, PictBridge compatible printers. 6.1 x 6.2 x 3.1 in. / 156 x 157.6 x 79.9mm 43.0 oz. / 1,220g 43.2 oz. / 1,225g
CUSTOM FUNCTION CHART (EOS-1 series)
Custom Function No. C. Fn-01 C. Fn-02 C. Fn-03 C. Fn-04 Function Description Setting Finder display during exposure EOS-1Ds Mark II EOS-1D Mark II N
0 No viewnder display 1 Finder display on 0 Possible without card Shutter release without CF card 1 Not possible None (ISO Speed extension moved to menu) 0 AF/AE lock 1 AE lock/AF Shutter button/ AE Lock button 2 AF/AF lock, no AE lock 3 AE/AF, no AE lock Tv= Av= 0 Tv= Av= 1 Manual Tv/Av set. for M exp. Tv= Av= w/o lens Tv= Av= w/o lens 0 1/3-stop set, 1/3-stop comp Exposure level 1 1-stop set, 1/3-stop comp increments 2 1/2-stop set, 1/2-stop comp 0 Turns on after One-Shot AF USM Lens 1 Turns o= after One-Shot AF electronic MF 2 Always turned o= Disabled in AF mode 0 Remaining Shots/File No. 1 ISO/Remaining Shots Top LCD panel/ Back LCD panel 2 ISO/File No. 3 Shots in folder/Remaining Shots +/Auto cancellation +/No cancellation Auto bracketing sequence/cancel 2 0 +/Auto cancellation 3 0 +/No cancellation 0 On 1 O= AF point illumination On without dimming Brighter 0 = + = + 1 = + + = + + AF point selection method 2 = only = + 3 = + = + 0 Disable Mirror lockup 1 Enable 0 45/Center AF point 1 11/Active AF point Number AF points/ 2 11/Center AF point Spot metering 3 9/Active AF point 4 N/A 9/Center AF point 0 Evaluative flash metering E-TTL II 1 Averaged flash metering 0 1st-curtain synchronization Shutter curtain synchronization 1 2nd-curtain synchronization 0 Disable Safety shift in Av or Tv 1 Enable 0 Single AF point AF point 1 Expand (TTL. of 7 AF points) activation area 2 Automatic expand (max. 13) + 0 Switch to registered 1 AF point 2 Only while pressing 0 AF stop 1 AF start 2 AE lock while metering Lens AF stop button function 3 AF point: M Auto/Auto Ctr. 4 AF mode: ONE SHOT AI SERVO 5 IS start 0 Standard 1 Slow AI SERVO 2 Moderately slow tracking sensitivity 3 Moderately fast 4 Fast 0 N/A Disable Drive speed priority AI SERVO 1 N/A Enable 0 N Ec-N, R 1 L Ec-A, B, C, CII, CIII, D, H, I, L Focusing Screen 2 N/A P Ec-S

CUSTOM FUNCTION CHART (EOS-5D)
Custom Function No. Function Description Setting
PERSONAL FUNCTION CHART * (EOS-1Ds Mark II and EOS-1D Mark II
Personal Function No. P. Fn-00 Function Description

Regist. Apply.

Default (No Function) Change quality Change Picture Style Menu display Image replay Off Auto On Auto 1/200 sec. (Fixed) AF/ AE lock AE lock/ AF AF/ AF lock, no AE lock AE/ AF, no AE lock Emits Does not emit 1/3-stop 1/2-stop Fires Does not fire Off On 0,,+/ Enable 0,,+/ Disable ,0,+/ Enable ,0,+/ Disable On O= Previous (top if power off) Previous Top Disable Enable Normal Multi-controller direct Quick Control Dial direct Evaluative Average 1st-curtain sync. 2nd-curtain sync. Disable Enable Standard Expanded With Shutter Button only Also with * etc. AF stop AF start AE lock while metering

EOS-1Ds Mark II

P. Fn-00-1/2/3 P. Fn-00-1/2/3 OK/ Cancel OK/ Cancel
Set Custom Function groups

C. Fn-01

SET function when shooting
P. Fn-01 P. Fn-02 P. Fn-03 P. Fn-04 P. Fn-05 P. Fn-06
Disable shooting modes Disable metering modes Specied M exp. metering modes Set max. shutter speed Set max./min. aperture Preset shoot./ metering mode Repeat continous bracketing Number of bracketed shots C. Fn-09-2,3 bracketing: +, 0, Program shift retained
Usable modes P/Tv/Av/M/Bulb Usable modes 5 Evaluative 6 Partial 7 Spot 7 Center-weighted averaging 5 Evaluative 6 Partial 7 Spot 7 Center-weighted averaging 1/8000-30 sec. Max. 1/8000-1/250 sec. According to lens Registers and switches exposure mode, metering mode, exposure setting and exposure compensation amount. Max. f/1.0-72/ Min. f/91-1.4 Register: Press + button, then press button. Select: Press button. buLb cant be registered.

C. Fn-02

Long exposure noise reduction Flash sync. speed in Av mode

C. Fn-05

C. Fn-03

C. Fn-06

C. Fn-04

Shutter/ AE lock button

C. Fn-07
P. Fn-07 P. Fn-08 P. Fn-09 P. Fn-10
While shutter button is held down, bracketing repeats continuously in the current drive mode. Sets length of bracketing sequence to 2, 3, 5 or 7 shots. Bracketing with C. Fn-09-2,3 Bracketing seq. is plus-, 0-, and minus-compensation. Normally, any program shift amount is cancelled after one picture. P. Fn-10 retains the program shift amount. When autofocus cant be achieved, the lens is normally driven to search for the correct focus. P. Fn-14 cancels searching under this condition. Disables the external Speedlites built-in AF-assist beam. Takes a picture automatically when the subject comes to the preset focusing distance. Camera normally switches to automatic AF point selection when user dials past peripheral AF points. P. Fn-17 prevents this. Enables standard horizontal AF point selection together with automatic AF point selection with C. Fn-11-2. Adjust continuous shooting speed in 1 fps increments. High-speed continuous shooting: 8.5/7/6/5/4/3/2 fps Low-speed continuous shooting: 7/6/5/4/3/2/1 fps

C. Fn-05 C. Fn-06 C. Fn-07 C. Fn-08
AF-assisst beam Exposure level increments Flash firing ISO expansion

C. Fn-08

C. Fn-09

P. Fn-14

Lens focus search turned o=

C. Fn-10

Bracket sequence/ Auto cancel
P. Fn-15 P. Fn-16 P. Fn-17 P. Fn-18
AF-assist beam turned o= Camera shoots when in focus AF point auto sel. turned o= C. Fn-11-2: Auto AF point sel. Set continuous shooting speed Number of continuous shots Quiet, delayed shutter cocking Time length for timers LCD panel illumination ON during B

C. Fn-11

Superimposed display Menu button display position

C. Fn-12

C. Fn-13

Mirror lockup

P. Fn-19
C. Fn-14 C. Fn-15 C. Fn-16 C. Fn-17
AF point selection method

P. Fn-20 P. Fn-21

Depending on quality, number of continuous shots might be smaller than set number. In single-frame shooting mode, mechanical movement for next frame is done quietly after shutter button is returned to halfway point from fully depressed position. 6 sec. timer: 0 to 3600 sec.
C. Fn-14 C. Fn-15 C. Fn-16 C. Fn-17 C. Fn-18
E-TTL II Shutter curtain sync. Safety shift in Av or Tv AF point activation area LCD display Return to shoot

P. Fn-23

16 sec. timer: 0 to 3600 sec. Post-shutter release timer: 0 to 3600 sec. After bulb exposure starts, press LCD panel illumination button to illuminate LCD panel until bulb exposure ends. Shooting mode, metering mode, image-recording quality, AF mode, AF point selectio, drive mode, WB, picture style, color space.

P. Fn-24

C. Fn-18

P. Fn-25

Default settings when cleared
Exposure, metering, drive, AF, AF point selection, WB, image size, processing parameter [STD]/1/2/3, color matrix.

C. Fn-19

P. Fn-26
Shortened release time lag
The shutter release time lag becomes shorter than 55 ms when the aperture stops down by fewer than 3 stops (40 ms at maximum aperture). Main Dial only
Lens AF stop button function
AF point: ManualAuto/AutoCenter ONE SHOT AI SERVO IS start Off On Ee-A Ee-D Ee-S
P. Fn-27 P. Fn-28 P. Fn-30 P. Fn-31
Reversed direction of dials Exposure compensation canceled Set

Using the Canon EOS 5D Digital Camera for Manuscript Digitization
August 2, 2007 Wayne Torborg, Director of Imaging, Hill Museum & Manuscript Library The Hill Museum & Manuscript Library (HMML) is using the Canon 5D digital single-lens-reflex camera as a primary tool in the digitization of manuscripts. This document outlines the camera settings and workflow procedures for the photography of manuscript pages.

Note to User

The Canon 5D is a complex piece of photographic equipment designed to handle a wide variety of tasks. This guide is not intended to be a replacement for Canon's comprehensive user manual (supplied with the camera). Users who desire to know and understand all the controls and settings of the 5D should read the Canon user manual.
Getting to Know the Canon 5D
The 5D is a digital single-lens-reflex (SLR) camera resembling a conventional film camera. It can be fitted with a huge array of interchangeable lenses and other accessories. It also offers the user a bewildering array of menus, buttons, switches and settings. These are explained in detail in the camera's user manual. Fortunately, HMML camera technicians need only concern themselves with the controls needed for manuscript photography, many of which are set using computer software. In preparation for digitization projects, HMML generally sets up the camera prior to sending it to a project location. In any case, it is good for users of the camera to know how to do this themselves.
Canon EOS 5D Digital SLR Camera. Shown with 50mm macro lens.
Choice of Lens The Canon 50mm macro lens is the standard camera lens used by HMML to photograph manuscript pages. It is a fixed-focal-length lens (sometimes referred to a prime lens) of very high quality that can focus on object ranging from infinity to about 20cm from the focal plane of the camera. In practice, this means that

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the lens can focus on and fill the frame with an object measuring 7cm in length. This allows it to be used for general page photography as well as close-up pictures of small page details. The lens has an aperture range of f2.5 to f32. In practice HMML recommends photographing manuscript pages using an f-stop ranging from f8 to f16 in order to obtain proper depth-of-field. Setting the aperture is done using the camera's controls or (more likely in photographing manuscripts) the remote capture computer software that HMML uses to control the camera. Autofocus (AF) or Manual Focus? The user can choose to manually focus the pictures taken with the 5D or rely on the camera's autofocus system. This selection is made by sliding a small switch on the lens. Moving the switch to the MF position engages the rubber focusing ring on the lens. The user focuses the camera by turning this rubber ring while examining the image through the camera viewfinder. Sliding the switch to the AF position disengages the focusing ring and allows the camera's internal sensors to focus the lens automatically just before the picture is taken.
Focus Mode Switch on Canon Lens. Switch is shown in the AF position, allowing the autofocus mechanism to function.
Selecting the Autofocus Mode
page 74 of the Canon User Manual
The Canon 5D can operate in a number of autofocus modes. The user chooses the mode that best suits the type of photography being done (static shots, sports, whatever). For the sort of studio work being done by HMML, set the autofocus mode to ONE SHOT mode. The other AF modes are mostly suited for the photography of moving subject matter. Selecting the Autofocus Points page 77 of the Canon user manual
The Canon has a series of nine autofocus (AF) points; these can be seen by looking through the viewfinder. The user can choose to have the camera use all these points or a single point that can be selected. The camera is set up by HMML to use all the focus points; this will cause the camera to focus on a wide portion of the middle of the image, averaging the setting to obtain the best overall focus on the page. Using an small aperture (mentioned above) will provide the depth of field to produce a sharp image across the entire page. Manually Focusing the Camera page 80 of the Canon user manual
There are times when autofocus mechanisms don't work well. In dim light or when the subject matter contains certain patterns or lacks contrast, the autofocus can fail, causing the lens to focus in and out

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(hunting) to find proper focus. In such cases, I would recommend focusing the camera by eye. To use manual focus, switch the lens to the MF setting and look through the viewfinder, rotating the rubber focusing ring until the image is sharp. Once the image is as sharp as it can be, adjust the viewfinder dioptric adjustment (page 44 of the Canon User Manual) to fine-tune the viewfinder display to best match your personal eyesight.
Dioptric Control. This is located at the upper right of the viewfinder eyepiece. Use this dial to fine-tune the viewfinder to match your eyesight.
Other Camera Settings Sensitivity (ISO Equivalence) page 60 of Canon user manual
In the old days of film, users purchased film with different ISO "speed" ratings. Higher ISO numbers meant that the film was more sensitive to light and the user could obtain photos in dim situations. The drawback of higher-speed films was that they usually had a coarser grain structure. "Slow" films with low ISO ratings had finer grain, but using them often meant that the camera would have to be used on a tripod. Digital cameras have the same sort of situation. The Canon 5D has ISO sensitivity settings ranging from 100 to 1600. The lower the ISO setting used, the less noise will be produced in the digital image. In digital imaging terms, noise is essentially non-image information produced by the camera's sensor and image processing circuitry that ends up in the final image. It usually takes the form of random color specks and a general coarseness in the image, generally visible in the darker areas. It's the digital equivalent of grain in film. HMML strives to get images of the highest quality possible in its preservation projects. For this project, I would recommend using the lowest ISO that is practical given the lighting conditions encountered. For situations with sufficient amounts of controlled light (as is the case with flash lighting equipment), the lowest ISO setting of 100 should be used. Drive Mode page 82 of Canon user manual
The Canon camera can be operated in a number of different drive modesthat is, the number of frames taken when the shutter release is actuated. Single shooting, continuous shooting and self-timer shooting are the choices. For HMML's work, the single shooting setting is used. With this setting, one photograph is taken each time the camera is actuated. White Balance page 61 of Canon user manual
In the days of film, a photographer purchased a particular type of film based on the kind of lighting that the pictures were to be taken under, usually "daylight" or "tungsten." Making the right choice ensured that the color balance of the photographs would be correct.

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With digital cameras, this color rendition setting is called "white balance." The user can set the camera to any one of a number of built-in white balance settings, including one called "auto" where the camera attempts to interpret the lighting conditions and produce an average white balance on the fly. For HMMLs projects, we strive for precise control of color balance. Generally, the white balance setting is set to color temperature (K setting). Then, during testing, different color temperature settings (degrees Kelvin) are tested to find the one that produces the most neutral gray balance. This procedure is described in the next section of this guide. Image Size page 50 of Canon user manual
The 5D can produce digital images in a variety of formats, pixel sizes, and levels of image compression. In working in the field, there's always a trade-off in the quality of images desired and the storage capacity of the flash cards, hard disks, etc. needed to store the image files. In our studios, we bypass the camera storage media and transfer images directly to the computer, so we can opt for the highest quality possible. This would be a "RAW plus JPEG" workflow as described in other HMML documents. Canon's RAW files have a filename in the format filename.CR2. This is the actual, unprocessed data directly from the camera's image sensor. These files are much larger than JPEG images (these have names such as filename.JPG), but have a number of advantages:
The image data is uninterpolatedit's the most original form of the image data, sometimes called the "digital negative." The image data is encoded at 12 bits-per-pixel. Processed image files usually have 8 bits per pixel of color level encoding. This allows greater manipulation of the image in post-processing if necessary. The image data is unsharpened. Upon post processing, different levels of sharpening can be applied to different files to achieve optimal results. The image data, while it carries the stamp of the white balance chosen at the time of photography, can be reassigned any other white balance if the user decides that the original white balance was not correct. This is a huge advantage over a JPEG produced in camera, which carries the white balance as part of the data. RAW files can be batch-processed en masse with any new (or finetuned) white balance chosen in post-processing. This gives the user total control over color after the fact.
In addition to the RAW file, we produce a JPEG file of each shot as well. There are a number of different settings for JPEG files on the 5D. For this project we will use: Large Size Fine Compression 4368x2912 pixels The lowest amount of compression (fewest compression artifacts)

The reasons to use a RAW+JPEG workflow can be summarized as such:
The JPEG files are small, easy to copy, view, and store. Users can view these files without the need of any specialized software. For almost all purposes, they are ideal. The RAW files can be used to generate custom-processed versions of images for special purposes, such as posters, large printed reproductions, etc. If a manuscript was photographed with an improper white balance or less-than-optimal exposure, the RAW files can be reprocessed into better working files. Having two files of each image serves as a sort of built-in backup system. If the RAW and JPEG images are stored in separate folders, the chances of losing any images due to corrupt files, etc. is minimized.

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Cleaning the Canon Image Sensor
page 42 of the Canon user manual
Unlike a film camera, the sensor element of the 5D is fixed in place behind the shutter. If dust gathers on the sensor, it will affect every picture taken. These dust spots usually take the form of out-of-focus dark spots in the digital image. The Canon user manual describes the procedure for cleaning the image sensor (actually, the filter in front of the sensor). The kit supplied by HMML also contains special cleaning swabs sized for the 5D along with cleaning fluid (use sparinglya couple of drops on the swab are plenty). HMML's advice, though, is to leave the lens on the camera body to avoid having to do this in the first place. If the lens stays attached to the camera, dust shouldn't get in. Choosing the Camera's Auto power off Setting page 39 of the Canon user manual
When turned on, all digital cameras use battery power even if the user isn't taking pictures. Because of this, most cameras have an Auto power off setting that can be set to turn the camera off after a chosen interval of non-activity. This is handy for saving battery power in the field, but isn't as useful in a controlled studio situation where the camera often turns itself off while the user is working on other things. HMML has turned this setting to off, so that the camera never shuts itself down during work. Choosing the Camera's Communication Setting page 123 of the Canon user manual

The Canon 5D has two communications modes for sending data from the camera via the USB port. This setting needs to be set to PC connect. in order for images to be sent from the camera to the PC software HMML uses to control the camera and store the photographed images. The other setting, Print/PTP is used for printing directly from the camera to a USB-equipped printer. Setting the Canon's Mode Dial page 90 of the Canon user manual
The Canon 5D can operate in a number of automatic exposure modes. In HMML's studio projects, complete user control is desired, so set this dial to the M position (manual control).
Mode Dial set to Manual. Aperture and shutter speed are now completely controllable by the user.

Cords and Connections

A digital camera like the 5D works well as a hand-held camera for all sorts of live-action photography. The rechargeable battery provides power for hundreds of photographs and the camera can be fitted with all sorts of portable flash units if extra illumination is needed. In HMML's projects, the situation is a bit different. The camera is mounted on a sturdy copy stand to allow precise framing of the subject matter. External flash

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lighting units are used to illuminate the book pages and a computer controls the camera and gathers the image files. This requires the camera to be connected to external devices. There are three electrical connections needed on the digital camera. They are:
Connection to the A/C power supply (eliminating the need for batteries) Flash synchronization connection between camera and flash lighting units USB data connection to send image data to the PC computer page 26 of the Canon user manual
Canon ACK-E2 AC Power Adapter
Rather than rely on battery power, HMML uses regular AC household electricity to provide power for the camera. The Canon ACK-E2 adapter replaces the camera's battery and can be plugged into line voltage ranging from 100V to 240V AC, making it usable worldwide with the proper plug adapter.
AC Power Adapter for Canon 5d. This is inserted into the 5D's battery compartment. A small door at the bottom of the body grip accommodates the electrical cord.

Flash Synchronization Terminal
page 102 of the Canon user manual
To synchronize the action of the camera's shutter with the external flash lighting units, a sync cord needs to be connected between the camera and the flash unit. This cord will generally have a PC style camera plug; this plugs into the flash terminal on the Canon camera. This terminal is located on the side of the camera behind a movable rubber flap.
PC Style Flash Terminal on 5D. This is the round port with the lightning symbol next to it. Plug the flash synchronization cord into this port on the camera; the other end is plugged into the flash unit. The second flash unit is fired by means of a built-in optical sensor that reacts to the flashing of the first unit and fires the second unit simultaneously.

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USB Data Connection
page 124 of the Canon user manual
The camera comes with a USB data cable measuring about a meter in length. Generally, this isn't long enough to reach the computer when the camera is mounted on the copy stand, so a three-meter USB extension cable is also supplied. Plug the small end of the data cable into the port marked Digital on the side of the 5D (this is also located under a rubber flap). The other end of the extension cable is plugged into the USB port of the computer.
USB Port on Camera. The cable connecting the camera to the computer allows the computer to control the camera and store the photographic images.
Getting Ready to Take Photographs
The camera settings described here have been made by HMML prior to the installation of the camera at the studio location. The instructions outlined here should only be needed if the camera's settings have been changed for any reason. It is good to verify a few things before starting:
The camera should be connected to the AC power supply using the ACK-E2 adapter The flash synchronization cable should be in place between th camera and flash unit The USB data cable is plugged into the camera and computer The mode dial on the Canon is set to M The USB communication mode is set to PC Connect. The Canon is turned on using the on/off switch on the back of the camera

Using the Canon EOS 5D with EOS Utility and Digital Photo Professional
In HMMLs digital studios, images are captured using special Canon software on a personal computer running Microsoft Windows XP as its operating system. Instead of manipulating controls on the Canon camera, the operator controls things using this software. This is actually easier for users who are unfamiliar with the Canon's rather complex set of controls.

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A Word About Microsoft Windows XP The computers supplied by HMML for use in manuscript photography have been set up with all the necessary software needed. Familiarity with Microsoft Windows is always a good thing for the user to have. This is beyond the scope of this manual, but many sources are available for Windows training.
Windows XP Desktop Display. Icons called shortcuts have been placed on the Windows desktop to allow instant access to the applications and folders needed by the user. Note the gray desktop background; this gives the user a neutral viewing environment for evaluating the color of the captured images.
Windows XP works well, but it does has some quirks. One of the things Windows does quite frequently is display little messages to the user. For example, when plugging in a camera, flash drive, or whatever, a message balloon will usually appear in the lower right portion of the screen. Generally, these can be ignored and they usually go away by themselves. Sometimes the user has to click on the x to get rid of them.
Windows Notification Message. These pop up all the time when using Windows. Simply click on the x in the balloon's upper right corner to make them go away.
When devices are attached to a Windows computer, message windows often pop up with various choices for the user. In particular, when the Canon camera is turned on after being plugged into the computer, the user will see a message like this:

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None of the choices presented by this pop-up are what is needed for manuscript photography, so simply click the cancel button to close this window. The user will be launching the proper software applications to use the digital camera. With all the annoying pop-up messages out of the way, the user can set up the computer and software to take pictures. It's a step-by-step process that, for many of the steps, only needs to be done once. Step 1: Create a Place for the Images to be Sent To The first order of business is to specify where the photographic images are to be stored when the camera is operated. Under the My Documents folder on the computers hard disk, a folder titled Canon has been created as the destination for incoming images. This folder has to exist before the software can be directed to place images there.

Folder Canon Opened. Screen shot shows the empty folder titled Canon next to the desktop shortcut icon that opens it.

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HMML has already created a folder titled Canon within the My Documents folder. The software for remote photography has also been set up to send pictures to this folder. The user can, of course set up whatever folder scheme is desired. Step 2: Launch the Canon Software Applications Needed for Photography There are two software applications that work together to allow the user to take pictures remotely using the computer. Shortcut icons for these programs are on the computer desktop to give the user easy access to them.
Desktop Icons for Launching Camera Software. Canon's EOS Utility is the application that controls that camera remotely. Canon's Digital Photo Professional is the application that allows the user to view and evaluate the images taken.
When the application Digital Photo Professional (DPP) is launched, it will appear as a window with a folder tree diagram indicating which folder it is set to. In this case, it is set to look at the folder titled Canon.
Digital Photo Professional Set to Show Contents of Canon Folder. Since there are no pictures in the Canon folder, the workspace is empty at this time.

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Double-clicking on the icon for the EOS Utility application brings up a starting screen with various choices for the user. Roll the mouse over the text that reads, Camera settings/Remote shooting (it will glow when the mouse cursor is on it) and click on it.
Opening Screen of EOS Utility. Choose the Camera settings/ Remote shooting option to begin work.
After clicking, the opening screen is replaced by a small control panel on the desktop. This is sort of a remote control for the Canon camera. It allows the user to set many of the camera's controls from the computer and to take pictures by clicking a button or pressing the computers space bar.
EOS Utility Remote Photography Window. Camera settings are in upper part of window. Button with image of camera on it is clicked to take a picture. The small icon that resembles a computer is clicked to bring up the preferences window.

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Step 3: Set the Preferences for the EOS Capture Utility Clicking on the little computer icon on the capture control panel brings up a multi-tabbed preferences window. From here, the user can set a number of options. Many of these only have to be set once; the user usually won't have to change these from that point on. Rather than explain all the choices presented by the various tabs, the user can simply refer to the screen shots that follow and make sure that their settings are the same. The tabs are shown in the following images:
Basic settings. This setting allows the user to set the software to do various things when the software is started up. Choose the settings depicted above. This preference setting only has to be made once; as long as the system isn't altered, there's no need to have to set this after the user completes the initial setup.

Destination Folder. This has been set by HMML to send the images to the folder titled Canon inside the My Documents folder. The user can set the software to any folder chosen as long as the folder has been created prior to launching the EOS Utility.

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File Name. This is the one preference panel the user will be changing often. At the beginning of photography for each manuscript, the user will create a new File Prefix based on the identifying code for the particular manuscript being photographed. An example would be UCU_00001. The software will automatically create a sequence number after this prefix, starting with whatever number is chosen as the starting point (1 in this case). Pages photographed in order will thus have proper sequencing numbers assigned to the files.
Download Images. Set this control to look like this screen shot.

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Remote Shooting. Set this control to look like this screen shot. Make sure that the images aren't saved to the camera's memory card. If this box is checked, the card will quickly fill up with image files and the process will be stopped when the card is full.
Linked Software. The EOS Utility is set to use Digital Photo Professional to view and evaluate the images captured (this is the software that was launched previously).
Step 4: Choose Settings for the Canon Camera's Controls With the preliminary settings made, the user now must set the various camera controls for manuscript photography. Some of these settings are standardized by HMML and are described here. Other settings will have to be fine-tuned by the user on site to create optimal photographs of the manuscripts in a given situation.

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EOS Utility Remote Photography Window. The user can see the camera's settings at a glance and make changes by clicking a control and then using the arrow buttons in the center of the window.
Left to right, top to bottom, here are explanations of the controls:
Camera Mode: This indicates M, for manual control. This is set by turning the dial on the camera itself and can't be changed from the computer; that's why the control is grayed out. If you change the setting on the camera, this display will change to inform the user of the mode status. Shutter Speed: This is the control that is currently active, as is indicated by the dark rectangle around it. Aperture: The values available here will depend what f-stops are available for the particular lens used. White Balance Setting: Right now, the white balance is set for color temperature (the K refers to degrees Kelvin). Degrees Kelvin: If the white balance is set to K, this control become active, allowing the user to choose a precise color temperature in increments of 100 degrees Kelvin. This allows the color balance of the photographs to be finely tuned. ISO Setting: In this instance, the ISO is set to 100, the slowest setting available. This produces images of the highest quality. Metering Mode: For studio photography with flash units, the setting of this control is irrelevant. (It's set to matrix metering in this case) Image Quality: In this case, it's set to Large/Fine JPEG Preferences Menu: Clicking this little computer icon brings up the preferences window previously described.

Operating any of these controls is easy using this software control panel. First, the user clicks on the control she or he wishes to change. The dark rectangle will move to the control chosen to indicate it is active. Then, the user clicks on the arrow buttons to change the selected control up or down. The order in which these settings is made isn't critical; the following screen shots depict some good preliminary settings:

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Setting the White Balance and Color Temperature. Note that a white balance setting of other than K causes the color temperature control to disappear (left image). Set the white balance to K, then adjust the temperature setting to around 5400 (this will be fine-tuned later).
Setting the ISO and File Quality Settings. The ISO range of the Canon 5D is 100 to 1600. HMML advises the use of the lowest setting (100) in order to obtain the finest quality images. In the second screen shot here, the user has chosen the raw+jpeg file quality settings described earlier.

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F-Stop and Shutter Speed Settings. Generally, manuscript images are taken at a f-stop between f8 and f16. The shutter speed isn't as critical since flash lighting is used to illuminate the pages. A setting of 1/160th of a second will allow synchronization with the flash lights and be fast enough to negate the effects of typical ambient room lighting conditions.
Step 5: Take Test Pictures and Fine-Tune Color and Exposure Finally you get to take a picture! After framing a picture by looking through the camera, positioning the grayscale card in such a way that it is included in the image, you can click the camerabutton on on the EOS Utility control panel. The camera will click, the flash lights will flash (did you plug in the synchronization cord?), and a pair of images will appear in the Digital Photo Professional window after a moment.
Test Shot in Digital Photo Professional Window. Note that two images appearthe RAW file and the JPEG file. The JPEG file is smaller in byte weight than the RAW file, so it's usually used to evaluate the exposure and color balance.

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Getting the Color Balance Corrected The user can double-click on a small JPEG image in Digital Photo Professional, causing a new, larger view of the image file to appear in a new window. Once the image is visible in the new window, the user can make certain judgments about the quality of the image. The first and most basic thing is to check the framing and composition of the image. HMML strives for well-framed, square (not crooked) manuscript images that make full use of the cameras frame (we dont want to waste pixels!). Equally important is that the small grayscale calibration bar, with white, black, and gray patches (and centimeter scale), is visible in the frame but not overlapping or touching the manuscript itself. Then, if the user moves the mouse cursor over any area of the image, the red, green, and blue (RGB) values for that particular spot will be displayed at the bottom of the window. The first thing to do is to check the RGB values of the gray patch. Ideally, this should have identical values for red, green, and blue, resulting in a perfect neutral gray tone. In practice, HMML advises its technicians to try to keep the RGB values within a spread of 5 units.

Gray Patch Reading. Moving the mouse over the gray patch causes its RGB reading to appear at bottom of window. Here the reading is R:124 G:131 B:142. Since Blue is the highest reading the gray value is too blue. The goal is to get all three readings within a 5-unit span.
If the RGB readings are too far apart, the user must try a different color temperature setting. Then, a new picture is made and its gray patch metered. Heres a hint: if the B (blue channel) reading is too high, set the color temperature (degrees Kelvin) setting to a higher number and try again. If the R and G channels are higher than the B channel, set the temperature to a lower number. It only takes a couple of tries to get an image with a very accurate RGB color balance.

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Good Gray Balance. The color temperature setting is adjusted, and more test shots are made and evaluated for RGB readings. Here, the color temperature setting has been raised to 5700 degrees. The resulting test shot shows a gray patch reading of R:167 G:165 B:166. This is a very tight gray reading, resulting in a nearly perfect neutral gray tone.
Getting the Exposure Fine-Tuned In RGB color codes, a reading of R:0 G:0 B:0 is pure black, no light at all. A reading of R:255 G:255 B:255 is pure white. If the lighter tones in an image are overexposed, they will be pure white, and the tonal information is gone (blown away) If we can ensure that the calibration scales white patch is a clean white tone without being pure white (over the top), the rest of the tones in the photograph should fall nicely into place. To get the correct exposure, the user checks the white test patch in the image. This is generally the brightest object in the photograph. The main idea here is that if the white patch isn't overexposed, nothing in the manuscript image will be blown out either. Move the mouse cursor over the white patch on the grayscale and note the RGB reading at the bottom of the window.

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White Test Patch Too Bright. This reading has values of over 250 for red, green and blue. Decrease the exposure by either using a smaller f-stop or decreasing the intensity of the lighting units.
What values are correct for the white patch? Generally RGB brightness numbers of between 235 and 240 units are considered ideal. With these readings, nothing is going to be so bright as to lose valuable detail. The user can adjust exposure by:
Changing the camera's aperture. Larger f-stop numbers let less light into the camera lens, smaller fstop numbers increase the amount of light gathered. Change the intensity of the light falling on the subject matter. This can be done by changing the power settings on the flash units or physically moving the lights closer or farther away from the subject.

Keeping in mind that HMML generally photographs manuscripts at an f-stop of between f8 and f16, it may be necessary to adjust both the aperture and the lighting intensity to arrive at the proper exposure.

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Proper White Patch Reading. The RGB values for red, green and blue are between 235 and 240.
Checking the Image Using the Canon software, the photographer can also view enlarged images of the photograph taken to check the focus and overall quality of the image recorded. Under the View menu of the image viewing windows, the user can choose to view the image at 100%. In this view, each individual pixel of the digital image takes up one pixel of the viewing device (the computer monitor). This is the most accurate way of evaluating the sharpness, focus, and overall quality of the digital image. At this viewing setting, the image should be quite large and have a very sharp, clean appearance.
Viewing the Image at 100%. This will magnify the image so that each image pixel takes up a single viewing pixel on the display monitor.

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100% View in Image Window. Each pixel of the image is now displayed with one pixel of the computer monitor. The user must scroll around the image window to see all of the picture. This view is handy for checking critical focus and image quality.
After checking the image at 100%, the user can revert to the fit to window view to again see the entire page in the viewer. Under the View menu there is also an option to see grid lines superimposed over the image. This can be useful in getting the image straight and square. Note that it generally isn't necessary (or desired) to have the user check each image like thisit's something done to confirm that all is going well or to check on things at the beginning of each photography session.

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Work Progressing. Screen shot shows Canon folder filling up with images, Digital Photo Professional in the background with thumbnail images of the files, and EOS Utility camera control panel.
Step 6: Proceed with Photography When the color balance and exposure are set correctly, the user can proceed with manuscript photography. All of this preparation seems somewhat time consumingin reality, the exposure and white balance tests are usually done only once per workstation. If the camera and lighting setup arent changed, there should be no changes in these settings. The settings are stored in the Canon camera even after the power is turned off, so the camera remembers the settings from day to day. Generally, once all this is done, the user only has to check a few things at the beginning of each photo session:

Check the file-naming scheme. This will change for each manuscript, and for manuscripts where the rectos and versos are photographed separately. Make sure that the capture folder is ready to accept more images. Generally, the days work is copied to an external hard disk, so the Canon folder stays uncluttered. Make a test shot to verify that the gray balance and exposure hasnt changed for any reason. Proceed with the work.
Other HMML documents outline the workflows and file-naming schemes used by our projects.

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