Color Matrix

Just as traditional photographers choose their film based upon considerations of light, saturation and color temperature, the EOS-1Ds Mark IIs Color Matrix function allows the photographer to change characteristics as if they were changing films or filters. There are 5 preset color matrixes and 2 customizable color settings, allowing photographers to fine-tune the color space to their specifications. Whether using the cameras preset color spaces, or customizing color settings for the shoot, photographers can expect precise, natural color, every time.
Canon Digital Camera Color Space
Camera: EOS-1Ds Mark II Lens: EF 70-200mm f/2.8L IS USM
2005 Melvin Sokolsky All Rights Reserved
Commercial Studio Photography

Michel Tcherevkoff

DIGIC II: Faster, Smarter Operation from Start to Finish.
Heres what I like about the Canon EOS system: Fast shooting, instant feedback,
instant changes in the color temperature, instant change of ISO. No more changing of film from B&W to tungsten to daylight and everything in between, its all right there. No more grain with high-speed film, no more need to shoot at low ISO to accommodate slow tungsten film. Plus, you keep only the best shots! I love the high-resolution sensor, and the big new LCD monitor is the best! Few corporations today have a commitment to innovative research and development based on the demand of its customers. Canon does. Pretty forward thinking!
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.

Since I started using the EOS-1 system, Ive witnessed
Canons continual commitment to providing the most advanced, adaptable, and highest quality equipment to the professional photographer. Why did I switch to, and continue to use, Canon EOS cameras and EF Lenses? Durability, functionality and flexibility. As a sports photographer, my equipment needs to be as tough and adaptable as the athletes I cover. They dont accept excuses for second place and neither do my photo editors. The Canon EOS-1D Mark II Ns fast and accurate
auto-focus, high frame rate, plus the incredible sharpness of Canons bright telephoto lenses were all critical to my capturing the power and grace of Maria Sharapova. The high quality files, the larger buffer, the 2.5 inch LCD screen and improved playback all helped to make everything faster and easier.
Camera: EOS-1D Mark II N Lens: EF 70-200mm f/2.8L IS USM
2005 Peter Read Miller All Rights Reserved

Wedding Photojournalism

Denis Reggie
Canons Most Advanced Flash Metering System: E-TTL II.
The EOS-1D Mark II Ns advanced features are complemented by Canons proven E-TTL II flash metering technology. Unlike older systems, E-TTL II weighs and averages the flash metering, capturing the subject as a plane and not as a point. E-TTL II incorporates distance information from compatible EF Lenses for more versatile flash exposure control, rendering consistent flash exposures even if the subject contains various colors and levels of reflection. E-TTL II also eliminates underexposure that can occur with straight reflections by ignoring sensor areas that report abnormally high levels of light from the calculated reading. In addition, E-TTL II prevents overexposure when photographers lock focus and recompose the shot. In this case, E-TTL II calculates the flash output level according to the distance information, not simply the reading off of the subject. This means more consistent flash exposure results, no matter where the photographer chooses to focus.
A telling, gleeful moment is there for an instant and then gone. A cameras
ability to focus instantly and perfectly control flash exposure is often the difference between a moment lost and one captured forever. In dark reception halls, I often twist the head of my Speedlite flash to bounce off distant walls and ceilings, trusting Canons remarkable E-TTL II system to handle the tricky exposure challenge effortlessly. Whether that wall is yellow or blue, any color cast is instantly eliminated by the celebrated automatic white balance system. Difficult shots are now routine thanks to Canons industry-leading technology. I use Canon equipment with full confidence that I am using the finest photographic tools available in the world today.
Masked Focusing Screens (Ec and Ee versions available)
Ideal for portrait and wedding photographers, two new sets of focusing screens, featuring crop lines or black mask, help frame an image in a traditional 4 x 5 or square format. Compatible sets are available for the EOS-1 series cameras as well as the EOS 5D.

Long before I switched to Canon digital SLRs, I made
a list of features that I required in a digital camera. Canon was the first (and remains the only) manufacturer to meet my requirements: full frame sensor, high pixel count, bright LCD review, rapid operation and superlative image quality. I bought one of the first EOS-1Ds cameras available, and every iteration since has only improved upon its versatile, intelligent and reliable design. Now with the EOS 5D I've got another great option. A higher resolution full-frame camera in a compact, lightweight body that affords me more versatility than ever before. The high resolution, wide tonal range sensor made this kitchen image possible. Note the extreme density rangefrom bright chrome to dark woodand the mixed lighting. The Canon sensor takes mixed light sources in stride, allowing faithful image capture without supplemental lighting.
Camera: EOS 5D Lens: TS-E 24mm f/3.5L
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.

Create lab quality, long-lasting 4" x 6" photos with the touch of a button no computer required. Paper and Ink for 4" x 6" photo print are as low as 28 per print* and come in one convenient package. High quality, water resistant prints last up to 100 years.** Print directly from PictBridge enabled digital camera or from your memory card via card slot. Preview your images on the 1.5 inch LCD monitor, or use a computer. Print images from your Bluetooth enabled camera phone with an optional Bluetooth adapter.
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.

E-TTL II: Smarter Flash Performance
Canons Pro digital SLRs employ E-TTL II, the most advanced flash metering technology, to solve problems encountered by photographers. Occasionally, if you lock focus and recompose your shot, this could result in a non-optimal exposure with previous systems. E-TTL II remedies this by ignoring the active focusing point, considering distance information and evaluating pre-flash information immediately before the exposure occurs. Sometimes in flash photography, mirror-like objects in the image cause the sensor to register localized, abnormally high levels, and would result in underexposure. E-TTL II knows to ignore those levels, resulting in the correct exposure. This feature is useful when shooting a subject with a highly reflective object in the background, or if the subject itself is highly reflective. Metered areas with large discrepancies between ambient and pre-flash readings are excluded or down-weighted because they are assumed to contain a highly reflective subject. These readings are weighted, averaged and compared with the ambient light reading and the main flash output is then set and stored in memory, ensuring consistent flash output through a number of shots. Speedlite 580EX Approx. 25% faster recycling time compared to previous 550EX. Superior evenness of exposure, center to corner of frame. Slightly higher max. guide number at 105mm setting (GN 190-feet at ISO 100). Auto conversion of flash coverage with compatible digital SLRs. White Balance info communicated instantly to compatible digital SLRs. Full swivel, 180 in either direction (first TTL flash with this ability). AF-assist beam now compatible with all AF points on every EOS SLR. Select Dial for easy inputs and user control. Macro Twin Lite MT-24EX Attaches to all Canon EF and EF-S Macro lenses (EF 180mm f/3.5L requires Macro Macro Ring Lite MR-14EX Twin-tube ring lite designed for close-up photography with EF and EF-S Macro lenses; Flash tubes can fire together or independently. Supports E-TTL and E-TTL II Wireless Autoflash in conjunction with one or more compatible EX Speedlites. Incandescent focusing lamps and two forms of modelling flash permit preview of lighting effects. Illuminated LCD panel for easy flash settings in any lighting condition. Lite Adapter 72C). Twin flash heads can be rotated over 80 angle around lens in 5 increments. Heads can be swiveled or bounced and can be removed from mounting ring for added control. Powerful Guide Number of 78 (feet, at ISO 100), full E-TTL/E-TTL II control and advanced features including FEL, Hi-speed sync, and FEB. Full E-TTL/E-TTL II automatic flash control with compatible EOS bodies, including EOS-1Ds Mark II, 1D Mark II N, 5D, 20D, and Digital Rebel XT digital SLRs. Incandescent focusing lamps, and two different types of 1-second modeling flash allow easy focusing and previewing of lighting effects.

For Sports Photojournalism
Wireless File transfer has already found a home with sports photographers and photojournalists, who benefit from the speed and ease of transferring images while they shoot: by transmitting images to a local computer, an assistant manages and transmits image files immediately. This way, the photographer can meet any deadline and can even get feedback on images while shooting. And, since they are transmitting their files, photographers dont have to worry about changing memory cards. Whether capturing the winning serve, or the handshake at the net, the photographer will never miss a minute of the action.

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

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

Special Features

Autofocus System No. of Focusing Points Autofocus Sensitivity Shutter Shutter Speeds Maximum Flash Synchronization Speed Storage Media Frames Per Second
TTL-AREA-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. Forty-five (Area AF Ellipse) Seven central high-precision cross-type AF points. EV 0-18 (at ISO 100). Vertical-travel, focal-plane shutter with soft-touch electromagnetic release, all speeds electronically controlled. 301/8,000 sec. & Bulb; manually selectable in 1/3 stop increments. 1/250 sec.; high-speed sync. available with EX-series Speedlites. Digital images are stored on removable CompactFlash (Type I & II) or SD memory card. Single, 4.0 fps. (Can be altered in 1 fps increments with Personal Function) TTL full-aperture metering: 21-zone evaluative metering 8.5% partial metering 2.4% center spot metering 2.4% spot metering (linked to user-selected focusing point) Single, 3.0 fps, 8.5 fps (Can be altered with Personal Function) TTL full-aperture metering: 21-zone evaluative metering 13.5% partial metering 3.8% center spot metering 3.8% spot metering (linked to user-selected focusing point)

Metering System

Multi-Spot metering (up to 8 spot readings) Center-weighted average metering Pre-flash metering (E-TTL II)
Metering Sensitivity Exposure Compensation Flash Exposure Compensation AE Lock Exposure Modes White Balance Auto White Balance Color Temperature Compensation* Viewnder Viewnder Coverage
EV 020 for all patterns (at ISO 100 with f/1.4). 3 stops in 1/3 or 1/2-stop increments. 3 stops in 1/3 or 1/2-stop increments. Yes. Shutter Speed-priority AE Intelligent Program AE Manual Flash Metered Manual Aperture-priority AE with variable shift E-TTL II Flash AE Bulb Settings: Auto, Daylight, Shade, Cloudy, Tungsten Light, Fluorescent Light, Flash, Custom, Color Temperature, Personal White Balance (total 10 settings). image sensor. White Balance bracketing: 3 stops in full-stop increments. White Balance correction: 9 stops in full-stop increments. * Blue/Amber bias or Magenta/Green bias possible. Fixed eye-level pentaprism. 100% horizontal and vertical at 0.7x. 100% horizontal and vertical at 0.72x.
Settings: Auto, Daylight, Shade, Cloudy/Twilight/Sunset, Tungsten Light, White Fluorescent Light, Flash, Custom, Color Temperature (total 9 settings). image sensor. White Balance bracketing: 3 stops in full-stop increments. White Balance correction: 9 stops in full-stop increments. * Blue/Amber bias on Magenta/Green bias possible. Fixed eye-level pentaprism. 96% horizontal and vertical at 0.71x. Inside the picture area: Nine focusing points, 3.5% Partial metering circle. Displayed at the bottom of the viewing area: Shutter speed Exposure level scale FP mode indicator Aperture value Flash status (high-speed sync) AE Lock Flash expsure compenstion Remaining frames in burst FE Lock AF-in-focus indicator Red-Eye reduction

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
switch to also be e=ective for
Quick Control Dial only Both dials Exposure compensation is done with + and When the Quick Control Dial switch is OFF, both For use with Data Verication Kit DVK-E2. will be disabled.

C. Fn-20

C. Fn-21 C. Fn-00
Add original decision data

C. Fn-00

With P. Fn-31 on, card writing takes longer than with P. Fn-31 off.
* P. Fn-11, 12, 13, 14, 22, and 29 have been excluded.

SYSTEM CHART

EOS 50/50e Elan II/IIe Operators Manual
prepared by Jim Strutz, updated by Niloy J. Mitra 9th August 2002
http://eosdoc.com/manuals.asp?q=ElanII

Contents

1 Introduction 2 Camera Top Controls 2.1 Shutter Button. 2.2 Main Dial. 2.3 Command Dial. 2.4 Metering Mode. 2.5 Self Timer / Remote Control 2.6 Focus Mode Switch. 2.7 Film Advance Switch. 2.8 Built In Flash. 2.9 Custom Functions. 22 22
3 Other Camera Controls & Features 3.1 Auto Exposure Lock Button. 3.2 Auto Focus Point Selection Button 3.3 Quick Control Dial. 3.4 Function Button. 3.5 Film Rewind Button. 3.6 Film Window. 3.7 Camera Back Release. 3.8 Lens Release Button. 3.9 Auto Focus Assist Light. 3.10 Remote Release Port. 3.11 Battery Compartment.
4 LCD and Viewnder Information 4.1 Liquid Crystal Display. 4.2 Viewnder Display. 5 Flash 5.1 Built In Flash. 5.2 Flash Metering. 5.3 E-TTL Features. 5.4 Flash Exposure Modes. 5.5 Auto Fill Flash Reduction 5.6 Other Flash Options.
6 Lenses 6.1 EF Mount Lenses. 6.2 Other Lenses.
7 Optional Equipment 7.1 Battery Packs / Grips. 7.2 Remotes. 7.3 Viewnder Options. 7.4 Off Camera Shoe Cord 2
8 Known Problems 8.1 Battery Compartment. 8.2 Lens Incompatability. 9 Specications

1 Introduction

Elan II/IIe (North American designation) is the same camera as the EOS 50/50e (international designation). The "e" in the name refers to the "eye control" option that is used to quickly select autofocus points as well as depth of eld (DOF) preview. EOS, by the way, stands for Electro Optical System. In writing this instruction manual for the Canon EOS 50/50e and Elan II/IIe, I have assumed that the user has a basic understanding of lens focal length, lens apertures, focusing, shutter speeds, exposure, lm type and speeds, as well as SLR cameras and photography in general. If you need instructions with these basics, you will have to nd them elsewhere. However, for the most part, this manual will often give you more advice and information than is available in the ofcial Elan II/IIe manual. The Elan II/IIe is a 35mm, Single Lens Reex (SLR) camera. This allows the operator to look through the same lens that is used for picture taking. It uses Canons exclusive Electro Focus (EF) bayonet lens mount. It has no mechanical linkages other than the mounting anges themselves. All communication between lens and camera body is done electronically. Several of the electrical connectors are used for power and grounding and others are used to pass information and data in a serial buss fashion. This has allowed Canon to bring several upgrades to their lenses and cameras while still allowing complete compatibility with their older EOS equipment. It is a very versatile system that is also being used in Canons newer digital SLRs.

2 Camera Top Controls

2.1 Shutter Button
The Elan II/IIe camera has several dials and buttons that you will need to familiarize yourself with. The most important button on the camera is the Shutter Button. Its in the typical position on the front, right corner of the camera near the top. Your right index nger usually falls right to it as you hold the camera. If you press the shutter button part way down until a slightly increased resistance is felt, the camera comes to life. The cameras usual response is that the exposure meter and auto focus (AF) are activated, but this half press is also used for several other functions as well. Pressing it all the way down usually res the shutter to expose the lm, depending on what mode the camera is in.

2.2 Main Dial

On the right side, just behind the shutter button is a vertical dial called the Main Dial or sometimes the Electronic Input Dial. Depending on the mode the camera is in, it is used to set the aperture or shutter speed and select different functions. This may sound confusing but actually its very logical in practice. If you need to make a value change, chances are the Main Dial does it.

Figure 1: Top View

2.3 Command Dial
On the top left of the camera you will nd the Command Dial. It selects the cameras exposure modes and other functions. The red L position is Lock, or the camera off position. To turn the dial from the L position, press in the metal tab on the front of the dial. The green square is full auto mode. The four small symbols to the right are the PIC (Programmed Image Control) modes; portrait, landscape, macro, and action. Basically they bias the shutter/ aperture combinations to favor longer exposures and smaller apertures for landscape and macro modes and the other way around for portrait and action modes. Portrait & macro modes as well as full auto mode will also raise the ash when the camera thinks its appropriate. The major restriction with full auto and PIC modes is that you cannot shift the relative values of the shutter and aperture like you can in P mode. Nor can you bias the exposure up or down like you can in P mode. The camera picks what it thinks is appropriate without allowing any further advice from you. Now that you know what they are, ignore them. Using them will just retard your education of photography as well as learning about the camera. The other positions of the Command Dial are generally more useful. P is for Program mode. It sets both the shutter speed and the aperture. Its not much different than full auto but one thing it wont do is it wont raise the ash for you. This can be a useful mode when you need to grab the camera and shoot without much think-
Figure 2: Command Dial ing. The primary advantage of P mode over full auto mode is that in P mode you can use the Main Dial to shift the relative values of the shutter and aperture selection. This is called Program Shift and it provides a way for you to bias the exposure towards faster shutter speeds or smaller apertures while the camera insures accurate exposures. You can also use the Quick Control Dial (QCD) on the camera back, to bias the exposure up (lighter images) or down (darker images) depending on the effect that you want. This is called Auto Exposure Compensation (AEC), and is only the ambient exposure bias. It does not effect ash exposure. Tv is for time value mode, also called "shutter priority." You set the shutter speed with the Main Dial, based on the need to freeze action or portray subject movement or simply for hand hold ability. The camera then selects an appropriate aperture for correct exposure. While in Tv mode you can also use the QCD to change the exposure up or down (AEC). This is only ambient exposure bias and it does not effect the ash exposure. Any shutter speed can be set between 1/4000 second to 30 seconds. Below 30 seconds the shutter goes into Bulb mode where it will stay open as long as you hold the shutter button down or until the battery goes at. The remote controller, RC-1 and the remote switch, RS-60E3 both have methods to manually hold the shutter open as long as you like. Av is for aperture value mode, also called "aperture priority." You select the aperture with the Main Dial, based on the need to limit or expand depth of eld/focus, and the camera selects a shutter speed to provide the proper exposure. Av mode can also be used when you want to select the fastest shutter speed possible and still maintain proper exposure in changing light. To do that you just set the aperture to the largest setting 6

2.8 Built In Flash

Just in front of the Focus Mode switch there is a button that when pressed will raise the built-in ash. To get the ash to go back down you just push it down. The builtin ash is fairly weak and its also close enough to the lens to cause red eye in many situations. Its primary benet is when you have to have ash and didnt bring along a real one with you, and also when you need ll ash outdoors. As long as your distance isnt too great and your aperture isnt too small, it will work.

2.9 Custom Functions

CF mode is used to set the eleven available Custom Functions. These are used to customize the camera to your particular shooting style and to change the way the camera works for a particular situation. To use them, turn the Command Dial to the CF position, turn the Main Dial to select the custom function you want and then press the "*-cf" button to change its value. Custom Functions only work in the non-PIC modes. The custom functions are: 1) Rewind Speed 0 = quiet, 1 = fast 2) Film leader 0 = rewind it in, 1 = leave it out 10
3) Auto DX lm speed setting 0 = on, 1 = off 4) Use of * button 0 = AF start with shutter button, exposure lock with "*" button 1 = AF start with "*" button, exposure lock with shutter button 2 = same as 0, plus DOF check with "*" button 5) Mirror lock with self timer 0 = normal ten second self timer, 1 = mirror locks up and the self timer becomes two seconds 6) Second curtain ash sync 0 = off, 1) = on 7) AF assist beam 0 = off, 1) = on 8) Spot & FEL to focus point 0 = Partial meter & Flash Exposure Lock at center point only 1 = Partial meter and FEL follow the active AF sensor 9) Force 1/125 sync in AV mode 0 = In Av mode with ash provides full ambient exposure 1 = In Av mode the shutter is locked at 1/125 second 10) AF indicator lights 0 = off, 1) = on 11) Eye control DOF preview 0 = off, 1) = on (Elan IIe only)
3 Other Camera Controls & Features
3.1 Auto Exposure Lock Button
Just behind the top mounted LCD are two thumb buttons. The one on the left is the AE Lock button. Its marked with a "*-cf" symbol. The "cf" part of the symbol is to denote that it is used to set the values of the custom functions, explained above. When the camera is not set to the CF mode on the Command Dial, the AE Lock button can do several things. Its primary purpose is to set the exposure for one scene and then recompose the picture. This works particularly well with partial metering where you want to meter a subject but compose the scene with the subject off center. Normally pressing the shutter button half way activates autofocus, and pressing the AE Lock button locks the exposure value that is determined by the cameras metering system. This is called Auto Exposure Lock (AEL). However, if custom function #4 is set to "1" the functions are reversed. The primary reason you might want this is to move your auto focus away from the shutter button. That way you would only reactivate AF when you wanted to, not every time you press the shutter. If you couple this with Canons USM lenses that allow Full Time Manual focusing (FTM), you can autofocus by the push of the "*" button, and manually focus by turning the focus ring on the lens, all without switching the AF/MF switch on the lens. This may not sound like a big deal, but for many photographers this is the primary reason to buy Canon equipment. The low end line of Canon lenses use a micro motor USM that does not allow FTM, so pay attention to what youre putting your money down for. USM stands for UltraSonic Motor. They are nearly silent and the mid and upscale ones are fast! Nikon has recently started selling a few Silent Wave lenses that are essentially the same thing as USM. Only some of the high-end lenses have this "S" designation and

Figure 4: Back View they only work with the latest Nikon Camera bodies, but the competition on this front is heating up. Also Sigma has some similar HSM lenses that are made in both Canon and Nikon mounts.
3.2 Auto Focus Point Selection Button
The other thumb button back here is the AF Point Selection button. You press it and then use the Main Dial to select the particular AF point you want, or to select eye control AF. Or you can select all the AF points, which will then allow the camera to automatically select the AF point it thinks you probably want for the scene, usually the closest subject with sufcient contrast. When you have selected what you want, either press the AF Point Selection button again or press the shutter button half way down to conrm your selection.

3.3 Quick Control Dial

The large dial on the camera back is the Quick Control Dial (QCD). Most previous EOS cameras did not have a QCD. That forced the Main Dial to do too many functions depending on what button you had pushed. The QCD allows you to bias the exposure while in P, Av or Tv modes and in Manual mode it sets the aperture while the shutter is controlled by the Main Dial. There is also an on/off switch, above and to the left of 12
the QCD. This simply activates the QCD when in the "1" position. I usually leave it on. Others complain that the dial gets moved accidentally, so they keep it turned off.

3.4 Function Button

On the camera back near the left side is the Function button. Repeated presses of the button cycle you through several different options. There is no xed starting point in this cycle so the rst press may be anywhere in the cycle of options. Ill start with the ISO selector. Press the Function button repeatedly until you get there, and then turn the Main Dial until you get the lm speed you want. Press the shutter button half way to conrm your selection. Unless you have custom function #3 set to "1", this EI (Exposure Index) or "rated" ISO will only apply to the roll of lm you have in the camera. As soon as you put another lm canister into the camera it will select the lm speed that is imbedded into the DX coding. Obviously custom function #3 is for when you want to "rate" a lm and have several rolls of it you want to burn right away. Wedding photographers frequently do this with some professional lms. Another press of the Function button will get you to Auto Exposure Bracketing (AEB). By turning the Main Dial you will see the single exposure point, on the exposure scale, in the LCD, turn into three points. As you turn the dial further the exposure points will separate more. Each click of the dial separates the exposure points an additional 1/2 exposure stop away from each other. If you want AEB to be three separate exposures, 1 stop apart, set the scale so the outside points are at -1 and +1 with the center point in the center of the exposure graph. Press the shutter half way to conrm your selection. The next three shots will be; 1) at the selected exposure, 2) one stop under exposed, and then 3) one stop over exposed. You can do this same thing without AEB by using Auto Exposure Compensation for each exposure, but AEB provides an easy way to do this for several different shots in a row. Maybe even the whole roll. If you want more or less than a 3 shot AEB, you would have to do it with AEC or just use Manual mode. The next press of the Function button brings the camera to Red Eye Reduction mode. Use the Main Dial to select "0" for off, or "1" for on. Press the shutter button half way down to conrm your selection. This only works with the built-in ash in the up position. You probably wont need it with an external ash as it sits farther away from the lens axis. This mode provides you with several seconds of a bright white light to help reduce the iris of the subjects eyes. Just press the shutter button half way down for three seconds and then take the picture. This will annoy your subjects to no end, and in my opinion this is a nearly worthless feature, but other cameras have them, so Canon had to do it too. The next press of the Function button brings the camera to the beep control feature. Use the Main Dial to select "0" for off, or "1" for on. Press the shutter button half way down to conrm your selection. I dont normally like cameras beeping at me, but I leave this one on because it conrms when the focus has locked on, and its quiet enough not to be a real bother. The next press of the Function button brings the camera to the Multi-Exposure mode. Use the Main Dial to select the number of exposures you will want on this frame of lm. Nine is the maximum. Press the shutter button half way down to conrm your 13

selection. The exposure counter in the LCD will now display the remaining exposures to be taken on this frame instead of the usual frame number. If you decide you dont want to use all the Multiple Exposures you selected, simply press the MF button again and then turn the Main Dial until the numbers remaining disappear. Press the shutter button half way to conrm this selection. Getting more than 9 exposures on a single frame is also possible; before you get to the last exposure for this frame, press the MF button until you get back to the Multi-Exposure mode and turn the Main Dial to add more exposures. Press the shutter button half way to conrm this selection. The next press of the Function button brings the camera to the Flash Exposure Compensation (FEC) feature. This works for both the built-in ash and any attached dedicated ash units. Use the Main Dial to select + or - FEC. Press the shutter button half way down to conrm your selection. With Canon EOS cameras, ash exposure is totally separate from the regular ambient exposure. Applying the regular Auto Exposure Compensation will not effect the ash exposure, and using FEC will not effect AEC. There are many times you would want to adjust one or the other but not both, however resetting the lm ISO will effect both. Often using -0.5 to -1.0 FEC is desired for additional ll ash reduction. Keep in mind that Canon already applies up to -1.5 stops of auto ll ash reduction depending on light levels.

3.5 Film Rewind Button

Just below the Function button is the Film Rewind button. You can use this to rewind the lm early. It will also increase the speed of the rewind by pressing it again. Normally the Elan II/IIe auto rewinds when it comes to the end of a roll. It does this in the silent rewind mode. You can speed this up by pressing the rewind button after it starts to auto rewind. The Elan II/IIe uses an Infrared (IR) frame counter that allows you to remove a roll of partially used lm by pressing the rewind button, and with custom function #2 set to "1" the lm leader will be left out. You can then mark on the canister how many frames have been used. When you reload it into the camera to use the remaining unused frames, set the Command Dial to M, the shutter at 1/4000, put the lens cap on, set the focus switch on the lens to MF, and re the shutter until you get back to the same frame number you had when you removed the lm. There is no need to waste an extra frame to guarantee that you wont overlap the last exposure. The IR frame counter will place you back to the same exact position every time without frame overlap.

3.6 Film Window

The dark little Film Window on the left side of the camera back allows you to see what type and speed of lm you have loaded.

3.7 Camera Back Release

On the left side is the Camera Back Release. Canon made two backs for the camera, one with a date feature and one without, but they are not interchangeable. With the back open you can see where the lm is to be loaded. Put the lm canister into the 14
space on the left side and pull the lm leader out until it lines up with the orange mark on the right side of the open camera, and close the back. If the camera is not already on, turn it on now, and the lm will wind to the rst frame. Cant get much easier with 35mm lm.
Figure 5: Inside View You can see the IR frame counter near the top of the lm rail on the right side. This might fog some infrared type lms, but most IR lm users report that it is actually not a problem in spite of Canons cautions against using IR lms with the Elan II/IIe.

3.8 Lens Release Button

To the left of the lens mount is the Lens Release button. Push it in and turn the lens counter clockwise to remove it.
3.9 Auto Focus Assist Light
Also on the front of the camera is the red Autofocus Assist Light. It emits a patterned near infrared light that will allow the camera to autofocus in otherwise complete darkness. This light comes on automatically and very briey when the camera is autofocusing in low light situations. Its range is up to 21 feet for center AF point and 13 feet for side AF points. This will depend on the lens being used. If you have an external Speedlite ash unit attached the camera will usually use the AF assist light in the external ash instead of the one built into the camera body. This will save the camera battery power and the external lights are usually more powerful. Some external ash
Figure 6: Front View units do not cover the side AF points however, so with those ashes, the camera will use its own AF assist light when a side AF point is selected. When using some large diameter lenses the left side AF assist light may be blocked by the lens barrel. The dark red circle that houses the AF assist light, close to the shutter button, also houses the receiver for the optional IR remote control, RC-1.

3.10 Remote Release Port

On the left side of the camera is a small hole that is actually the plug in port for the RS-60E3 Cord Remote. Just plug it in and you can trip your shutter without touching your camera. This makes for much steadier shots when using a tripod.

To the right is the exposure graph. Most of the time the indicator is under the 0 mark, but if you have set Auto Exposure Compensation (AEC) the indicator will move to the - or the + side to show how much compensation you are using. It has a +/- 2 stop range. This graph is also used to show Auto Exposure Bracketing (AEB). As you set AEB you will see the single indicator become three indicators showing how much AEB you have selected. You will also see a numeric indication of the AEB amount in the upper right hand of the display. You can combine AEB with AEC, but you are still limited to the 2 stop maximum range. The graph also is used as a short count down indicator for the red eye reduction lamp. The exposure graph is also used when metering in manual mode. Setting the indicator to 0 is what the cameras meter recommends. Of course one of the prime reasons for using manual mode is disregard what the meter says, but it still gives you an indication of how far you are from the recommended exposure.

4.2 Viewnder Display

The viewnder also shows much of the same information as the LCD so that you can see necessary data without removing your eye from the viewnder. The screen is called a New Laser Matte screen and it is fairly bright, but it is accused of sacricing contrast for brightness. This would be bad, if true, in a manual focus camera but isnt much to complain about with autofocus. You can see three autofocus squares that light up as they come into focus, indicating which AF point is active. The actual AF area is slightly larger than the small squares show but accurately indicate the spot. There is also an AF indicator dot in the line of lights below the screen. These AF squares will also light up when you manually focus your EF (EOS) mount lens. But if you are using a manual focus lens with a lens adapter they will not work. The central AF point is a cross type sensor and is sensitive to contrasting lines in any direction. The outer AF points are linear and are sensitive to horizontal contrasting lines. They wont work if the only lines are completely vertical. In practice this isnt much of a issue and you can always tip the camera a bit for vertical lined subjects. Also on the screen is a small square in the upper left. This is what you look at to activate the DOF preview when using eye control on the Elan IIe. To use it you have to have the camera in One Shot focus mode, lock the focus on something using eye control to select the AF point, then look at the little square. The lens will then stop down to the taking aperture and you will see the screen get darker and the depth of eld get deeper. Of course you have to have selected an aperture smaller than the lenses maximum for this to do anything. When you press the shutter button half way down the meter is activated and the viewnder data display is lit up. At the bottom of the view screen, starting on the left, there is an eye control indicator. Next to it is the * of the Auto Exposure Lock (AEL) indicator, followed by a ash ready indicator that is also used to indicate invalid Flash Exposure Lock (FEL) warning. The numeric display is for the shutter speed, eye control calibration, and FEL lock indication. The next numeric display is for the aperture value. Followed by the Flash Exposure Compensation (FEC) indicator. Then there is the exposure graph like the one on the LCD and is used for the same purposes. The 18

farthest right, bottom indicator is a dot to show that the camera has found something to focus on.

5 Flash

5.1 Built In Flash
The Elan II/IIes Built In Flash is TTL only. Like all such built in ash units, it is limited by its low power. It is also very close to the lens axis, and this frequently causes the dreaded red eye effect in your pictures, which is really just the ash lighting up the back side of the subjects eyeball. Moving the ash farther above your lens is the best solution. This will also cause any shadows on the wall behind your subject to fall below the image of your subject where it will either not be seen or not be as objectionable. The built in ash unit also houses a bright white light that acts as a red eye reduction lamp. With the ash up and red eye enabled, press and hold the shutter button until the graph indicator at the bottom of the viewnder (as well as the one in the LCD) centers itself. Then take the picture. What happens is the bright light shines in the eyes of the subject and causes the iris of the eye to contract, reducing the red reection from the back of the eye. Most people nd this totally annoying, so now that you know how to do it, turn the thing off! There are better ways of dealing with red eye. Including red eye removal pens for your prints. When using some larger lenses the built in ash may be partially blocked by the lens barrel. This will cause a rounded shadow at the bottom of the picture. This is most pronounced at wide zoom settings and close distances. The cure is to use an external ash since it is mounted higher above the lens.

5.2 Flash Metering

The Elan II/IIe is capable of Through The Lens (TTL) and Advanced TTL (A-TTL) ash metering with external Canon E and EZ series Speedlites. It is also capable of Evaluative TTL (E-TTL) ash metering with external Canon EX series Speedlites. For several reasons, E-TTL is generally the preferred metering method. With TTL and A-TTL, the cameras built-in ash meter senses the light Through The Lens (TTL) and reected Off The Film (OTF). When enough light has reached the lm the camera signals the ash to stop its ash pulse. This all takes place in less than 1/1000 second. On the Elan II/IIe this exposure is metered by a four area, three zone ash meter and metering is biased toward the general area of whatever autofocus point is active at the time. With E-TTL mode, the ash exposure control is determined before the shutter opens by means of a pre-ash that is metered by the same meter as the cameras regular, ambient light, evaluative meter. This pre-ash occurs about 1/20 second before the main ash and you can usually see it in the viewnder just before it blacks out for the exposure. This system compares the ambient light reading with the ash reading and adjusts both the ambient exposure and ash exposure to, hopefully, provide the optimal

exposure. E-TTL also biases the ash exposure towards the area surrounding the active AF point. E-TTL usually works better than TTL and A-TTL when the lighting is difcult such as a backlit or small nearby subject with a distant background, or an off-center subject. E-TTL is also an improvement with daylight ll ash, providing a more natural look.

5.3 E-TTL Features

Canons E-TTL system allows the pre-ash to be red up to 16 seconds before the main ash, so you can have Flash Exposure Lock (FEL) by pressing the AE Lock button. This allows you to point the camera at the subject, determine and set the ash exposure for the subject, and then recompose to shoot. It is very similar to Auto Exposure Lock (AEL) but for the ash exposure. FEL normally biases the exposure to the area surrounding the central AF, but if custom function #8 is set to "1" the ash is biased to the active AF point if the AF point is either manually chosen or selected by eye control. E-TTL also provides a method of metered high speed sync (FP Flash) to allow you to use an EX series Speedlite at a shutter speed faster than the normal top sync speed of the camera (1/125 sec.) This will allow you to use faster lm and wider apertures when using daylight ll ash. Canons FP Flash mode works in E-TTL mode so it automatically calculates ash exposures. Wireless E-TTL Flash can also be done with some Canon Speedlites. You need a master mounted on camera (or attached to an Off Camera Shoe Cord 2) and at least one slave. The 550EX works best as a master and you use either a 420EX or another 550EX as the slave. The wireless mode only works in E-TTL or wireless manual modes, and only with the Speedlites that have this feature built in. At the time of this writing, this limits you to the 420EX, 550EX, or one of Canons two E-TTL ring ashes. The STE2 has no ash built in, but can be used as the shoe mounted master instead of using another ash for this. The Sigma EF-500 Super is a third party 550EX clone and can also be used as either a slave or a master. Second Curtain Sync with custom function #6 set to "1", is a feature that effects ash exposures with relatively long shutter speeds. Its primary purpose is to get light trails to follow the ash instead of leading it. In normal sync mode the ash res at the beginning of the exposure. If the exposure is long and the subject moves, some of that movement might be recorded on lm, and it will look like its in front of the ash exposure. Scenes like moving cars with headlights on will appear to be moving backwards. Setting the sync to the second curtain makes the trailing movement appear behind the subject. Second curtain sync can usually be left on without any negative results and it works with the built-in ash. There will be a multi headed arrow symbol that shows on the LCD of an external Speedlite when second curtain sync is on. Second Curtain Sync works with all of Canons E, EZ and EX series Speedlites.

5.6 Other Flash Options

Other Flash Options: The Elan II/IIe does not have a ash PC connector to use with studio lights and other manual ash units, but you can use a generic hot shoe to PC adapter. Nikons AS-15 is a good quality one, but there are lower cost versions as well. With a manual or studio ash you will need a ash meter to get consistent ash exposure. Published guide numbers cant always be trusted. The Elan II/IIe can also use auto ash units like the venerable Vivitar 283/285 or Sunpak 383. This is a way to get a more powerful ash without breaking the bank to do it. There are several big limitations however. The meter is in the ash unit and it will not take into account the lenss eld of view. This can give inaccurate exposures. 21
You will also have more things to set on the ash (ISO, aperture, zoom) and on the camera you will have to manually set the lens aperture to what the ash says, and you will have to make sure that your shutter doesnt exceed 1/125 second. Still, with all that, auto ash is a bargain if power and versatility are the main considerations. But if speed & ease of use are a priority get an EX series Speedlite. The most important consideration with non-dedicated ash units is the sync voltage. You must test this with a good volt meter (at least 20,000 ohms per volt). With the ash charged up & ready to re, lay one lead across the contact at the side of the ash foot and the other on the center pin. Canon says it has to be 6 volts or less, although up to 10 volts is probably close enough. Some ash units like the older models of the Vivitar 283 have more than a 200 volt sync trigger. These can fry your camera in one pop, and accumulated use of even a 20 volt sync could damage your camera. The most complete information about Canon ash technology, metering and theory can be found at: http://teladesign.com/photo/eos-ash/

6 Lenses

6.1 EF Mount Lenses
All lenses that are designed for EOS cameras have an EF mount on them. They all should work with the Elan II/IIe. Some older third party lenses are known to cause the camera to temporarily lock up due to an incompatibility problem that is discussed below. All Canon EF mount lenses will work ne. The better grade of Canon USM lenses (28-105 USM, etc.) use a ring type AF motor that allows Full Time Manual (FTM) focusing without selecting MF on the lens switch. FTM allows you to auto focus and then quickly touch up your focus manually. Used with custom function #4 to move the AF start to the AE Lock button, these lenses will change the way you take pictures. Or at least the way you focus. Before you buy one of Canons cheaper lenses try one of the better versions. Be warned that cheaper USM lenses (28-90 USM, 75-300 USM) will not allow FTM. In my opinion there are no good reasons to buy a cheap third party lens with any Canon EOS camera. There are too many incompatibility problems and they are no better than Canon lenses of equal price. However there are quite a number of better third party lenses that can save you money over Canons good but pricey selection of better lenses. Keep in mind that you get what you pay for. At least sometimes you do.

7.2 Remotes

The RC-1 Infra Red Remote is also available and will trip the shutter from up to 15 feet in front of the camera. You can also use it to trip a tripod mounted camera from directly overhead if you are close enough, so it can be used for macro and long lens use as well. With custom function #5 set to "1" and the shutter set to bulb, a quick press of the RC-1 will raise the mirror, wait two seconds, then open the shutter and hold it open until you press the RC-1s button again. The RS-60E3 Cord Remote is short, but convenient for tripod use. It plugs into the small connector at the lower right side of the camera. It uses a small mini-plug and some stereo audio extension cords can be used with it to extend its range. It has a two position switch just like the camera shutter button. Half a press to activate AF and a
full press to re the shutter. It also has a switch lock to keep the lens open in bulb mode without having to hold the button.

7.3 Viewnder Options

Dioptric Corrective Lenses ED are available to correct vision problems. The Elan II/IIe has 19.5mm of eye relief. Normally people with glasses or contacts have no problem with the viewnder of the Elan II/IIe but glasses wearers may have to move their eye around some to see all of the image or the data display at the bottom of the screen. For this and other reasons some people prefer to take their glasses off while shooting. For these people and others that have a hard time seeing the viewnder image sharply Canon makes Dioptric Corrective Lenses (DC lenses) for the Elan II/IIe. The viewnder has a -1 built in making the image appear about 1 meter away. The DC lenses are marked to take this into account so a 0 DC lens is actually a +1 to compensate for the built in -1. If your normal distance prescription is -4, buy the Canon -4 DC lens. But you may want to try them out before you buy. The Eyecup Ec II is standard but the optional larger Eyecup Ed-E can also be used. The viewnder attachments, Angle Finder B and Magnier S can be used but you have to use the Adapter Ed to mount them to the larger than normal viewnder of the Elan II/IIe.
7.4 Off Camera Shoe Cord 2
The Off Camera Shoe Cord 2 (OCSC2) is used to get an external Speedlite ash mounted off the cameras hot shoe. It provides about 2 feet of easy extension and if you pull on the coiled wire you can stretch it to about 3 feet. Canon recommends against it, but you can extend this by adding two OCSC2s together, end-to-end. Check this out thoroughly before you need to make sure you dont have any impedance induced exposure errors.

8 Known Problems

8.1 Battery Compartment
Not all 2CR-5s are exactly the same dimensions. Some are just a wee bit short and this can cause problems with the Elan II/IIe. The usual problem is the camera will lock up when you take a picture and the battery indicator in the LCD will blink. (There are other problems that can also cause this same symptom however.) This can be easily remedied by putting a small piece of cardboard between the bottom of the battery and the battery door. This will press the battery farther into it compartment, insuring better contact. You can also reach into the battery compartment with a small hook and raise the battery contacts as they seem to bend down too far with use. For what its worth, Sanyo 2CR-5 are reported to work best with the Elan II/IIe. The battery door hinge is just a thin piece of plastic that bends when you open it. With a lot of use or abuse this can fail. Canon USA sold me one for cheap although
the repair process was a bit tricky. Fortunately this hasnt proven to be as frequent a problem as many people expected that it would be.

8.2 Lens Incompatability

Other than problems with the battery compartment, the most frequently reported trouble seems to be an incompatibility with some third party lenses. They sometimes cause the camera to lock up with the battery indicator ashing in the LCD. Some lenses will simply not work at all with the Elan II/IIe and others will lock up only if you use it with the motor drive set on continuous. Some third party lenses will not cause this symptom but the aperture will not work or it will display some other malady.

9 Specications

The EOS Elan II/IIe is a great camera with plenty of features for the enthusiast. It has proven to be reliable and easy to use. It has been upgraded to the EOS 30/Elan 7/7e which has a few more AF point, a bit faster operation and a few other improvements, but the Elan II/IIe isnt far behind. Viewnder coverage: 90% vertical and 92% horizontal with 19.5mm of eye relief Metering system: 6 zone evaluative, 9.5% partial and center weighted Metering range: EV1 to EV 20 with 50mm f/1.4 lens and 100ISO lm Film Speed range: ISO 6 to ISO 6400, or ISO 25 to ISO 5000 with DX coding AF working range: EV 0 to EV18 with ISO 100 lm AF assist beam: Near infrared, up to 21 feet for center AF point and 13 feet for side AF points Shutter: Electronically timed, 30 seconds to 1/4000 second, top ash sync at 1/125 sec. Film advance: 2.5 frames per second max. Built in ash: GN of 42 feet with ISO 100 lm, coverage for 28m lens Dimensions & weight: 152.5mm (W) x 104.4mm (H) x 71mm (D), 590 grams