CanonメーカーEOS-1の使用説明書/サービス説明書
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C GET TING THE MO ST FROM Y OUR E O S-1 CLAS S DIGIT AL SLR TIP S AND TE CHNIQUES: CAMERA HANDLING & MAXIMUM IMAGE QU ALIT Y J C .
OVERVIEW 2 Canon’s EO S-1 class digital SLRs (E OS-1D, E OS-1Ds, E OS-1D Mark II and EO S-1Ds Mark II) are clearly the compan y’s highest quality and mo st powerful digit al SLRs t o date.
QUICK REFERENCE GUIDE 3 Camer a Operation Tip s Select foc us ing point s m anua l ly: Selecting the focus ing point manually speeds up the autof ocus system bec ause the camer a does not have t o decide which focu s point or points to use. M anual focusing point selection also allo ws you to c ontrol exactly where the c amera is foc using.
QUICK REFERENCE GUIDE 4 Image Qua lity Optimization Tip s A v oid unintention al motion b lur: As suming an ac curately f ocused subject, you c an maximiz e image quality by eliminating u nw anted motion blur. T o reduce the effects of camer a shake, use a tripod when pos sible.
I CAMERA FEA TURES AND OPERA TION 6 The 45-point AREA AF Sensor 6 The E vo lution of AF S peed & Predictiv e AF C ontr ol 7 AF Mode s 8 AF Point Sel ection M ethod s 8 AF P erf ormanc e Acc ording to S ub j ect C ontr ast & D etai l 9 AF P erf ormanc e Acc ording t o Light Lev el s 9 Shutt er R el ease Tec hni que s: Half -Pr ess v s.
I. CAMERA FEA TURES AND OPERA TION 6 I. CAMERA FEA TURES AND OPERA TION EO S-1 class digital SLRs u se an improved vers ion of the 45-point Area AF CMOS sensor unit th at was origin ally introduc ed in 1998 with the EOS-3.
I. CAMERA FEA TURES AND OPERA TION 7 The E O S-1D and EOS-1Ds had the f astest AF syst ems availabl e among EOS SLRs when they were introduc ed, but the EO S-1D Mark II no w has the most powerful AF system of an y E OS c amera relea sed to date (2004).
I. CAMERA FEA TURES AND OPERA TION 8 One- Shot AF: Thi s mode is intended for u se with stationary subjects. It locks f ocus upon c ompl etion of lens drive, al lowing the photographer to r ecompose if desir ed. One- Shot AF is al so recommended for maximum perform ance in extreme low-light s ituations.
I. CAMERA FEA TURES AND OPERA TION 9 AF Perform ance Ac cordin g to Subject C ontrast & Detail AF Perform ance Ac cordin g to Light L evels When the c amera i s set for MFPS, the m anually selected focu sing point illumin ates in the viewfinder di splay when the shutter b utton is pres sed half way .
I. CAMERA FEA TURES AND OPERA TION 10 Shutt er R el ea se T ec hni que s: Ha lf-Pr ess v s. Mash f ocus manually until you are “in the bal lpark,” then tr y us ing AF for fine-tu ning. Ad ditionally , this is an in stance where the di stance r ange selector swit ch on “white” l enses like the EF 70-200mm f/2.
I. CAMERA FEA TURES AND OPERA TION 11 Autofocu sing T echni ques: Off-C enter F ocusing Points vs. “Focus Loc k and Recompo se” Fine- T uning Y our Camera w ith C u stom and P er son al Fu nction .
I. CAMERA FEA TURES AND OPERA TION 12 shutt er relea se simply by pressing or lifting the thumb off the AE Loc k butt on. • C.Fn 4-2 keep s AF st ar t on the shutter butt on, but allows the phot ographer to stop AF t emporarily by pr essing the AE L ock button.
I. CAMERA FEA TURES AND OPERA TION 13 f ocus ing points results in f aster manual selection, and linking s pot metering to the m anually selected focu sing point comes in handy under c er tain circ umstances, p articularly w ith off-center sub jects. • C.
I. CAMERA FEA TURES AND OPERA TION 14 • C.Fn 18-0 is the def ault setting. The camera can “r egister” (memorize) a u ser-specified f ocus ing point or even automatic f ocusing point selection, then sw itch immediat ely to the r egis tered focusing point by pre ssing the focus ing point selector button and the As si st Button.
I. CAMERA FEA TURES AND OPERA TION 15 phot ography when another subject or o bstacle tempor arily bloc ks the original subject. The def ault setting is 0.5 sec onds, but with thi s Cust om Function it c an be tweaked f a ster or slower acc ording to the photographer’s personal preferenc e.
I. CAMERA FEA TURES AND OPERA TION 16 C ombining C u stom Functions: Adv anc ed Oper ations P er sonal Fu nction 15 di sables the AF-Assi st beam of c ompatible EX -series Speedlit es. Thi s c an be helpful when workin g with other photographers, to prevent your AF-Assi st be am from appe aring in their photos.
I. CAMERA FEA TURES AND OPERA TION 17 E vent C ombo U se the normal method for c hoosing either a specific focusin g point or AFPS. When y ou’ve m ade your selection, hold in the As sist Butt on and simultaneously pr ess the FEL b utton near the Shutter Relea se.
I. CAMERA FEA TURES AND OPERA TION 18 B ac kgrou nd T raditional ly photographers h ave used the FLR (focus, loc k, recompose) method when int erfacing w ith their camera and their subj ect . This is ho w it had to be done with m anual f ocus camera s and the early auto-f ocus models with a s ingle focusin g point .
I. CAMERA FEA TURES AND OPERA TION 19 Action C ombo the m ain subj ect is the closes t and most prominent object in the fr ame and, in One- Shot, this is where AFP S works best. The Bonu s F eature is th at the QCD is now part of your focusing sy stem rather than y our e xposure c ontrol.
I. CAMERA FEA TURES AND OPERA TION 20 B ac kgrou nd Both AFP S and Sin gle Point AF are usef ul in shooting sports. A single point i s generally be st in te am sports like footb all, basket ball, socc er, and hoc key . AFPS i s good for sports lik e ba seball, some trac k and fiel d, and many individual sports like sk iing, skating, etc.
I. CAMERA FEA TURES AND OPERA TION 21 Gener al Purpose C ombo Bac kgrou nd M an y photogr aphers are more comfortab le using the shutter rele ase to initiate aut ofoc u s, b ut some s till want the ability to c hang e focusing methods quic kly .
I. CAMERA FEA TURES AND OPERA TION 22 and l et y ou experiment knowledge ably with other c ombinations th at might be better s uited to your specific needs. Per sonal Fu nction 00 Onc e you get a c ombination of Cu stom Functions that works bes t for you, it can then be saved (along w ith any other C.
II. LENS IS SUES 23 AF Speed Acc ording to EF Lens Vint age EF Ext ender Is s ue s Just a s EOS cameras have impro ved over time in terms of AF calc ulation speed, EF lenses have impro ved in terms of len s drive speed.
III. IMAGE QUALIT Y SETTINGS 24 RAW vs. JPEG JPEG Qua lity EO S-1 class digital SLRs allow photogr aphers to shoot RAW files, in-c amera JPEGs, or RAW p lus JPEG simu ltaneously .
III. IMAGE QUALIT Y SETTINGS 25 In-Camer a Sharpness, C ontrast, Sat uration & C olor T one C ontrol The L evel 10 settin g for JPEG quality produc es the highest image quality level for in-c amer a JPEGs, while Level 1 yields the highes t compress ion ratio.
III. IMAGE QUALIT Y SETTINGS 26 im age det ail as pos sible with in-c amera JPEGs. (In-c amera sharpness settings do not ap ply to RA W files bec ause they can be o verridden during conver sion.) The def ault “no sh arpening” setting al lows maximum l atitude for post-proc essin g.
III. IMAGE QUALIT Y SETTINGS 27 the in-c amer a setting at Level 0 and app ly sharpening during post -process ing in a c omput er. See Un sh arp M a sk . C ontrast & Satur ation: W ith EOS-1 cla ss digital SLRs, Contr ast and Saturation can be a djusted on a 5 s tep scale from -2 to +2, w ith the default setting at 0 (mid-scal e).
IV . SHARPNESS EV ALUA TION 28 Review ing Images on the Camer a’s L CD Monitor Monit or E v aluation V s. Print ed Outp ut The first s tep in evaluating image quality for most E OS Digital SLR users is c heck ing the L CD monitor during Review or Pl aybac k.
IV . SHARPNESS EV ALUA TION 29 Motion Blur Camer a or Subject Movement After Focu s Lock Diffraction bou nd to look softer than it would at greater view ing distanc es or lower magnific ation.
V . SHARPENING METHODS IN POST -PROCESSING 30 Adobe Photoshop’s Unsharp Ma sk Filt er If little or no in-c amera sharpening ha s been applied prior to view ing an EOS-1 c lass Digital SLR image at 1.
V . SHARPENING METHODS IN POST -PROCESSING 31 3rd P ar ty Sharpening Sof tware finely -detail ed landscapes and architectur e, etc. usually need mor e sharpening) and noi se levels.
V . SHARPENING METHODS IN POST -PROCESSING 32 RAW C onver t ers V endor: Noel Carboni Sof tware Title: dSLR Fr act al Sharpening W eb Page: http://actions.home.att.net/dSLR_Fr actal_Sh arpen.htm l V endor: www .thep luginsite.c om Sof tware Title: F oc alBlade W eb Page: http://www .
VI. EQUIPMENT CALIBRA TION ISSUES 33 AF Syst em Calibration L en s Ca libr ation T esting Y our Own Camer as & Len ses If the c amera and lens are being oper ated correctly , but imag es remain con sistently out of focus, ther e is alway s the possibi lity that the camer a or lens is not performing acc ording to factory spec ifications.
VI. EQUIPMENT CALIBRA TION ISSUES 34 SLR s.) If y ou are using an IS Lens, turn off the Im age Stabi lizer. 3. Select a focusin g target w ith adequate detail from c enter to edge. A newsp aper page i s a g ood choic e. 4. Mak e sure that the t arget is totally flat and a s parallel as possib le to the camera.
35 C anon, E OS and DIGIC ar e trademarks of Canon Inc. Adobe Photoshop is a register ed trademark of Adobe S ystems Incorpor ated and its subsidiaries in eac h country. The other product and brand n ames appearing in this doc ument are trademarks or registered tr ademarks of their respective owners.
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