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John Kraus has directed photography for commercials and documentaries and is a longtime expert in still photography for editorial, advertising, and corporate event work. He is also a gifted and creative wedding photographer. His work can be viewed at www.johnkrausphotography.com and johnkrausweddingphotography.com.

The Canon EOS-1Ds Mark III is a serious camera with the powerful

features that sports and portrait photographers and photojournalists

need. Here, professional photographer John Kraus shows you how to take

full advantage of the camera’s full-frame sensor, navigate its controls, get

creative with its modes and settings, and use it with confidence for every type of

shoot. The more you know about your camera’s capabilities, the better the results

you can achieve.

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• Become familiar with the operating speed, lenses, large-file imagery, improved viewing system, and more

• Learn to choose the best settings when preparing for a shoot

• Explore tethered shooting options and effective use of EOS Speedlites

• Get in-depth guidance for advertising, editorial, or architectural shots; portraits; and event and landscape photography

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Canon®

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Canon® EOS-1Ds Mark III

Digital Field Guide

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Canon® EOS-1Ds Mark III

Digital Field Guide

John Kraus

Canon® EOS-1Ds Mark III Digital Field Guide

Published byWiley Publishing, Inc.10475 Crosspoint BoulevardIndianapolis, IN 46256www.wiley.com

Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-40949-7

Manufactured in the United States of America

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No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, or online at http://www.wiley.com/go/permissions.

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Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affi liates. Canon is a registered trademark of Canon, Inc. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book.

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About the AuthorJohn Kraus is a freelance photographer working out of San Francisco, California, where he moved in 2000 after growing up and enjoying a diverse career in New York City. His career includes many years as both a Photographer and a Director of Photography shooting for national and global clients such as MCI, Coca-Cola, General Foods, and McDonald’s. Many of these dense global, cultural and cinematic infl uences form the foundation for the work he creates today.

John works in several photographic fi elds — advertising, editorial, corporate and event work. It’s his belief that in all these fi elds he pursues a common vision — to show people and places in their best light through capturing moments that are beautiful, authentic and often quirkily unique.

John’s work can be viewed on several sites, including www.johnkrausphotography.com and johnkrausweddingphotography.com. He invites one and all to visit them.

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Technical Editor

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Senior Marketing Manager

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Vice President and Executive Group

Publisher

Richard Swadley

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Credits

To all the photographers both living and gone

who have ignited within me my passion for photography,

I thank you all.

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Acknowledgments

I’d like to thank photographers Jon Roemer, James Russell, Steve Niedorf, Cameron Davidson and Tim Griffi th who were all gracious enough to share their insights and/or

allow work of theirs to be shown in this book. And, as always, special thanks to the lady in red.

Acknowledgments ix

Introduction xix

Part I: Exploring the Canon EOS-1Ds Mark III 1

Chapter 1: The Basics of Your Canon EOS-1Ds Mark III 3

What’s New at a Glance 3Navigating the Camera: Buttons

and Dials 5Top of the camera 6

Mode button 6AF-Drive button 6Using the AF-Drive and

Mode button together 8Metering Mode/Flash

Exposure Compensation button 8

Exposure Compensation/Aperture button 8

ISO button 8Main Control dial 8FE Lock/Multi-spot

metering button 8Back of the camera 8

Menu button 9Info button 10AF start button 10AE Lock/Reduce button 10AF Point Selection/

Magnify button 10Multi-controller 11Quick Control dial 11Quick Control dial Set

button 11Off /On switch 11Playback button 11Erase button 11Function button 11Protect/Sound Recording

button 12Bottom-right buttons 12

Side connections 12Setting up Memory Cards 14

Types of fi les 14RAW and sRAW fi les 14JPEG fi les 15

Viewfi nder Readout 16Live View 18

Advantages of Live View 18Challenges of using Live View 18Activating Live View 19

Contents

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Chapter 2: The Canon EOS-1Ds Mark III Menu Systems 21

How Menu Items are Selected and Organized 21

Selecting your menu item 22How menus are organized 22

Shooting Menu 1 23Shooting Menu 2 27Playback Menu 1 28Playback Menu 2 30Set-up Menu 1 31Set-up Menu 2 33Set-up Menu 3 34Custom Functions Menu 35

Clear All Custom Functions 40C.Fn setting register/apply 40

My Menu Settings 41

Chapter 3: Choosing Settings When Preparing for a Shoot 43

Prepping Your Equipment for a Shoot 43

Focusing Modes 45One Point Auto Focus 45Al Servo Auto Focus 46Automatic Focus 47Improving autofocus 48Manual focus 48

Exposure Metering Modes 48Modifying exposure 52Exposure bracketing 52

Flash Modes 55Drive Modes 56ISO Choices 57

Types of digital noise 58Noise reduction techniques 58

White Balance Modes 60Image Quality Modes 62Picture Style Modes 62Registering Settings 63

Part II: System Components 65

Chapter 4: Tethered Shooting 67

Tethered Shooting Pros and Cons 67Pros 67Cons 68

Software 69Capture One Pro 4.6 70Canon software 71

Improving USB Capture Rate with Macintosh Systems 75

Computer hardware and capture speed 75

Sending only small JPEGs to the computer 75

Using Lightroom 2.0 for quick RAW tethering 76

Troubleshooting in Tethering Environments 77

General troubleshooting 78Specifi c troubleshooting for

tethering issues 78One fi nal note 79

Chapter 5: Making Smart Lens Choices 81

Canon Lens System and Terminology 81

Lens choices 81Lens terminology 83

Prime versus Zoom Lenses 84Prime Lenses 85Tilt-shift lenses 90 Zoom lenses 92

L Lenses versus Standard Lenses 94My Ideal Lens List 95Specialty Lenses and Accessories 100

EF extenders 100Extension tubes 101Macro lenses 101

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Chapter 6: Working with Canon Speedlites 103

Canon Speedlites 103580EX II 106

430EX II and 430EX 107Exposing with Speedlites 108

Exposure considerations with a Speedlite 108

E-TTL II 110FEL 110Manual exposure 111

Add-On Modifi ers for Speedlites 111Gary Fong Lightsphere 111

Big Bounce 111Sto-Fen modifi er 112

Portable ring lights 112Off -camera setups 113

Using Speedlites in Various Lighting Situations 113

Daylight 113Low light 115Dim interiors and exteriors 115

Remote Triggering with Speedlites 115

Part III: In the Field with Your Canon EOS-1Ds Mark III 119

Chapter 7: Lighting Decisions 121

Planning a Lighting Setup 121Available Light 123Strobe Systems 127

Types of strobe systems 127Power packs 127Monolights 128

Strobe modifi ers 128Softboxes 128Sotftbox control 128Umbrellas 129Umbrella control 129Refl ectors 129Refl ector control 130

Lighting comparisons 131Special units 132

Fluorescent and HMI Systems 134Fluorescent lighting systems 134HMI systems 136

Tungsten Lights 138Portable Power 140

Battery units 140Gasoline generators 141

Chapter 8: Advertising and Editorial Photography 141

Advantages and Limitations 143Advantages of the EOS-1Ds

Mark III 144Limitations of the EOS-1Ds

Mark III 146Avoiding Downtime 147Tethering for Advertising 148Lens Choices for Advertising and

Editorial Photography 149Processing and Post-Production

Work 151

Chapter 9: Photo graphing People 151

The 1Ds Mark III for Portraiture 153Portraits 153

Formal portraits 154Informal portraits 155Working with the subject 155Lighting diff erent subjects 156

Lens Choices 158Photographing People on

Location 161Photographing People in the

Studio 166Beauty and Fashion 168

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Chapter 10: Wedding and Event Photography 169

Considerations 173Know Your Client 178Event Challenges and Limitations 179

Be ready 179Have backups close by 179

Wedding Specifi cs 180Other Event Tips 186

Educational events 186Corporate event challenges 186

Chapter 11: Architectural Photography 189

Initial Requirements of Architectural Photography 189

Using the EOS-1Ds Mark III in Architectural Photography 191

Canon 1Ds Mark III realities 193Jon Roemer and the 1Ds

Mark III 195Architectural Shooting Techniques 198Architectural Post-Processing

Techniques 100

Chapter 12: Landscape and Nature Photography 203

The EOS-1Ds Mark III System for Landscapes 203

RAW versus JPEG 204Maximizing Dynamic Range 206

Multi-point spot metering 206HDR merge 207Highlight/Shadow

adjustment 207Stitching Images 208Vibrationless Shooting 209

Lenses 209Filters 210Post-Processing Work 212

Part IV: Appendixes 215

Appendix A: Maintaining the Canon EOS-1Ds Mark III 217

Cleaning the Sensor 218The EOS Integrated Cleaning

system 218Manual cleaning of the

sensor 219Updating the Firmware 221Calibrating Lenses 222Sending Your Camera in for

Repair 225

Appendix B: RAW Processor Choices 227

Overview 227Canon Digital Photo Professional 228Capture One Pro 229Iridient Digital RAW Developer 230Adobe Lightroom 2.2 231Adobe Camera Raw 232Aperture 2 233

Appendix C: Specifi cations 235

Type 235Image Sensor 235

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Recording System 236White Balance 236Viewfi nder 236Autofocus 236Exposure Control 237Shutter 237Drive System 237External Speedlite 237Live View Function 238LCD Monitor 238Image Playback 238Image Protection and Erase 238Sound Recording 238Direct Printing 238Customization 238Interface 239Power Source 239Dimensions and Weight 239Operating Environment 239

Appendix D: Traveling System Example 241

Camera Case 242Lighting Case 243Stand Case 244Power Cable and Sandbag Case 245Extras You May Need 245

Glossary 247

Index 253

Introduction

Whether you’re a professional photographer or advanced amateur who already owns the Canon EOS-1Ds Mark III or rents one for assignments, this book is

designed to get you up and running as quickly as possible, as well as provide a thorough reference whether on location or in the studio.

At this point in time there are many digital camera systems to choose from. In the profes-sional market it’s a major decision of which system to purchase — in terms of your image needs, your budget, shooting style, and personal preferences. And with choices that range from $2500 to $50,000 and more, it’s truly a major fi nancial decision and investment as well.

Because the EOS-1Ds Mark III possesses both medium format as well as what are tradition-ally considered 35mm abilities, it functions extremely well, for the most part, in whatever aspect of photography you’re involved with. The medium format qualities include the ability to produce large fi les of tight detail and rich color. The 35mm abilities refer principally to the quick handling of the camera as well as its ability to photograph in very low light. The large fi le size of 21.1 eff ective megapixels covers most advertising and editorial assignments, and is more than enough for wedding and event assignments. Allowing print sizes up to 16 × 20 inches at 300dpi before any type of upsampling is needed, the image fi les off er a great deal of information to work with. Image richness particularly at ISOs between 100 and 400 is very close if not equal to medium format back results, especially when printed.

The camera off ers smooth highlight transitions as well as cleaner shadows, noise-wise, than earlier 1Ds models — an impressive achievement. However, beyond the rich image quality in the ISO 100 to 400 ranges, the camera produces excellent and useable large-fi le imagery through ISO 1600 — professional results over a wide ISO range. And a few photographers are creating strong work at ISO 3200 as well, although this certainly includes the need for noise reduction either in RAW image conversion or in post work.

For technical photography, such as architectural work, the improved image quality com-bined with some of Canon’s lenses, such as the 14mm 2.8L II, as well as Canon’s tilt-shift lenses, off ers a viable alternative to view camera solutions for many assignments. Although view cameras still hold a strong edge in terms of detail, lens adjustments such as swings and tilts, and lens choices, the 1Ds Mark III can produce beautiful architectural work.

Why do I photograph most of my assignments with the Canon EOS-1Ds Mark III and why might you? It’s been my personal experience that many factors come into play in discover-ing which camera and system work best for you and the particular work you do — operating speed, quality of lenses, quality of the view on the LCD screen for checking the lighting and feel of a shot, battery life, aspects of tethered shooting, etc. Do you shoot handheld mostly

xx Introduction

or on a tripod? Do you use available light or mostly strobe? Do you shoot action, portraiture, landscapes, events, products, fashion, or architecture? All these elements come into consid-eration and aff ect how well you can work in your chosen area with a particular system.

As many of you know, image quality is just part of the equation. Reliability and operational speed are equally important for many of us, and here the EOS-1Ds Mark III shines. With speeds up to 6 frames per second, it’s fast, has an improved viewing system (both looking through the eyepiece as well as viewing image playback on the rear LCD screen), and a shutter-release system that off ers minimal mirror-bounce vibration. It’s not perfect, but it’s very, very good. If you shoot solely in the studio, a Medium Format digital back and system might make more sense, and if you shoot solely available-light, then other options abound, such as the Canon 5D Mark II and the Nikon D3. The beauty of the 1DsIII is its fl exibility — not King of any one shooting situation, perhaps, but Prince to all.

As a people photographer who has worked with medium format digital systems, I fi nd it a pleasure to shoot with the 1Ds Mark III — it’s fast, it’s not temperamental, it’s quiet, shoots in low light, can shoot hand-held with slow shutter speeds, and more. It works well for me, and I hope it works equally well for you.

The start of the Canon EOS-1Ds Mark III Digital Field Guide demonstrates how to navigate controls of the camera — where they are, what they do, and the choices that are there for you. A strength of the camera is that while you can, in fact, just about pick one up and start shooting away, there are many choices and gems you might not be aware of that could be most useful in helping to improve your work, workfl ow, and shooting style. My own experi-ence has taught me that it’s worth the time to know your camera’s capabilities as thor-oughly as you know your own.

The book then focuses on how to take advantage of the EOS-1Ds Mark III’s various modes and settings to signifi cantly aid you in obtaining the imagery you’re looking for.

The guide goes on to explore tethering, lighting decisions, plus the strengths and weak-nesses of the camera in various shooting situations, including photographing people, adver-tising, events, architecture, and landscapes.

At the end you’ll fi nd information on maintenance, RAW processors, specifi cations, and a glossary with terms used throughout the book.

I hope you’ll read the book in the order that works best for you. Whether from start to fi nish, during focused sessions (like getting the menus down) or as an in-the-fi eld aid when you need to troubleshoot a problem or look for options to help you make the best use of the camera during a particular shoot.

Happy Shooting!

Exploring the Canon EOS-1Ds Mark III

IIP A R T

✦ ✦ ✦ ✦

In This Part

Chapter 1The Basics of Your Canon EOS-1Ds Mark III

Chapter 2The Canon EOS-1Ds Mark III Menu Systems

Chapter 3Choosing Settings When Preparing for a Shoot

✦ ✦ ✦ ✦

11C H A P T E RNavigating the Canon EOS-1Ds Mark III

The object of this chapter is to answer the initial ques-tions you would have regarding how to operate the

main controls of the camera, learn about new changes to the 1Ds Mark III system, and quickly gain the ability to begin oper-ating the camera confi dently and professionally.

The 1Ds Mark III (along with the 1D Mark III) has a number of features that are new to the 1Ds/1D series. I’ll describe some of these, as well as off er a road map identifying and explain-ing all the buttons and dials on the camera beyond the obvi-ous ones, such as the Menu Light button and the Shutter button.

The 1Ds Mark III continues to use a control system that usu-ally combines pressing a button with turning one of the two control dials on the camera. Once you learn and understand this system, it becomes an interface that’s easy and fast to work with.

What’s New at a GlanceAlthough a revolutionary new camera design is often more exciting initially, there’s something to be said for the evolu-tionary approach Canon has taken in designing new genera-tions of the 1Ds-series cameras. Canon’s designers and engineers have methodically been updating the EOS-1Ds series (along with the EOS-1D series) through three generations,

✦ ✦ ✦ ✦

In This Chapter

What’s new at a glance

Navigating the camera: buttons and dials

Setting up memory cards

Viewfi nder readout

Live View

✦ ✦ ✦ ✦

4 Part I ✦ Exploring the Canon EOS-1Ds Mark III

✦

✦

✦ Additional autofocus points. Autofocus points have increased from 7 to 19 cross-type sensors for enhanced focusing sensitivity, retaining a total of 45 focus points.

✦ New Multi-controller. Located on the rear of the body, this serves various functions from choosing focus points to navigating various settings.

✦ Dual Digic III Image Processor. The move from the Digic II proces-sor has increased processing speed, as well improved image tonality with better detail and color reproduction.

Later generations of Canon cam-eras, including the 21.1-megapixel 5D Mark II, are now utilizing the Digic IV processor with visibly bet-ter high-ISO low-noise characteris-tics.

✦ Self-cleaning sensor. I fi nd this a huge step up from the 1Ds Mark II. The sensor automatically cleans itself whenever the camera is turned on or off , utilizing ultrasonic vibration to shake dust off the infra-red absorption glass — the outer-most layer in front of the sensor. You can activate this cleaning man-ually, and in the rare times that dust remains despite the cleaning cycle, you can append Dust Delete data to an image in order to auto-matically remove dust in Canon’s DPP software.

See Appendix A for more informa-tion about maintaining the 1Ds Mark III.

While I often had to clean the sen-sor as well as remove dust on images captured in earlier 1Ds models, I’ve yet to do either with the 1Ds Mark III.

each time making the cameras better and easier to navigate, with larger fi le sizes, less digital noise, and more options.

Aside from the many subtle improvements and the larger 21.1 eff ective megapixels sensor compared to the 1Ds Mark II, here are some of the major changes you’ll dis-cover as you explore the 1Ds Mark III:

✦ New mode — Highlight Priority. This new menu setting that nicely improves highlight details and tonal transitions.

✦ Extended battery life. The new lithium-ion battery seems to shoot forever, and is rated to 1,700 exposures.

✦ Live View. This new feature allows you to view the scene live on the rear LCD and take the photo. This also allows a live view on a com-puter screen when tethered by a USB cable to your computer.

✦ Improved Playback. Playback qual-ity is better on the rear LCD in my opinion, which has been enlarged from 2 inches to 3 inches, with seven brightness levels to choose from.

✦ Improved image richness. Image capture has gone from 12 bit to 14 bit; this brings the richness of the imagery much closer to the 16-bit digital backs, particularly at ISO 100 to 400.

✦ Increased continuous shooting (burst buffer). The number of images the camera can capture before slowing down has increased from 32 Large/Fine JPEGs to 56, or 10 RAW frames. In my work, it’s rare when I’ve had to wait on the 1Ds Mark III to shoot the next image. 1.1 A

Chapter 1 ✦ Navigating the Canon EOS-1Ds Mark III 5

Navigating the Camera: Buttons and DialsTo get you up to speed navigating the 1Ds Mark III buttons and dials, one thing you want to learn right away is the diff erence between the Main Control dial and the Quick Control dial — it’s easy to get them confused. The Main Control dial is the small dial just behind the Shutter button on the top of the camera. The Quick Control dial is the large

✦ Better menu access organization. The Menu system now utilizes bet-ter organization for easier naviga-tion and thus faster selection of menu choices.

✦ Improved tethered shooting. This has gone from a FireWire to USB 2.0 connection, which is one area that I consider a drawback, at least if you tether using a Mac.

In Chapter 4, you’ll fi nd more detailed information as well as workarounds to tethering problems.

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6 Part I ✦ Exploring the Canon EOS-1Ds Mark III

✦

exposure value (either aperture or shutter) you want to set and which exposure value the camera will automatically set.

Press the Mode button and turn either con-trol dial to choose your preferred setting:

✦ A (Aperture Priority). You set the aperture while the camera sets the shutter.

✦ M (Manual). You set both shutter and aperture values.

✦ Tv, or time value (Shutter Priority). You set the shutter while the camera sets the aperture.

✦ Bulb. You set the aperture, and the shutter remains opened with sen-sor exposed as long as the Shutter button is pressed or locked in place with a cable release. You should use a cable release with the Bulb mode setting. Seconds and min-utes can be read from the top LCD. Be sure to shut the rear eyepiece in these scenarios, as well as raise the mirror before beginning.

See Chapter 2 for details on how access and to control mirror lockup.

✦ Program. (P) The camera automat-ically sets aperture and shutter speed, and also adjusts when an EOS Speedlite is attached to the camera, all according to internal programming.

AF-Drive buttonThe AF-Drive button, located just below the Mode button, allows you to control various ways that autofocus can be set to work, as well as how the motor drive works. You press the AF-Drive button while turning either the Main Control or Quick Control dial.

dial located on the back of the camera. Canon uses the symbols shown in fi gures 1.2 and 1.3 for each dial in the manual, so get to know them.

The settings de-scribed in the fol-lowing sections are the combinations of buttons and a particular control dial typically used; however, you can choose which dials to use for particular

functions within the Custom Functions menu page. This overview is your principle intro-duction to the controls of the 1Ds Mark III.

These control operations are designed very well — it’s harder to describe them than to actually use them. Once you learn how the con-trol system works and where the controls are located, for the most part, settings can be made quickly and easily and without a lot of thinking, meaning the system gets out of the way of shooting.

Top of the cameraThe controls on top of the 1Ds Mark III are arranged in familiar order for those who have experience with either the 1D or 1Ds series. What follow are details on how the controls work in conjunction with either the Main Control dial or Quick Control dial.

Mode buttonLocated at the top-left corner of the camera, the Mode button allows you to choose which

1.2 Main Control dial symbol

1.3 Quick Control dial symbol

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Chapter 1 ✦ Navigating the Canon EOS-1Ds Mark III 7

✦ With the Quick Control dial. This controls the motor drive, allowing you to choose between Silent mode, single exposure, slow con-tinuous motor drive, and fast con-tinuous motor drive.

Silent mode is a particularly useful mode in quiet or sensitive locations, and one that many photographers forget about. It is useful inside places of worship, with sensitive subjects, at high-pressure focused board meetings, and so on.

✦ With the Main Control dial. This controls focus, allowing you to choose between One-shot and AI focus mode. One-shot focus mode chooses and locks the focus once the Shutter button is pressed half-way. AI focus mode continuously checks the focus of the chosen focus point (or the automatically chosen focus point) and adjusts continuously as the camera-to-subject distance changes.

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1.4 Top view of the Canon EOS-1Ds Mark III

8 Part I ✦ Exploring the Canon EOS-1Ds Mark III

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exposure compensation, if desired, from –3 to +3 stops. However, I much prefer to set the Quick Control dial to perform the same func-tion (Custom Function IV, Item 3, Choice 0).

ISO buttonLocated on the top-right corner of the cam-era above the Shutter button, the ISO but-ton allows you to set the ISO by turning either the Main Control or Quick Control dial. You can set ISO between 100 and 3200.

Main Control dialLocated on the top right corner between the Shutter button and the ISO button, when used by itself, the Main Control dial controls whatever mode you’ve set with the Mode button. For example, if you set the camera to A (Aperture Priority), the dial controls the aperture. If you set it to Tv (Shutter Priority), the dial controls the shutter speed.

As noted, the Main Control dial is used in conjunction with buttons that you press to obtain the settings you want.

FE Lock/Multi-Spot metering buttonThe Flash Exposure Lock, or FEL, button works in conjunction with EX Series Speedlites. It’s used to lock the fl ash expo-sure at the desired point of the subject. Pressing the FEL button activates a prefl ash, after which you take the picture along with a second fl ash burst. This method provides a more accurate fl ash exposure, although at the risk of being less spontaneous.

Back of the cameraThe back of the camera contains both but-tons, 2 LCD screens, and the memory card storage area. Once you learn the location of

Using the AF-Drive and Mode button togetherBy pressing the AF-Drive button and the Mode button and holding (or pressing and then releasing these two buttons but begin-ning within six seconds), you can turn either the Main Control dial or Quick Control dial to set auto-exposure bracketing, which is initially set for three images. You can bracket from plus or minus 1/3 stop to plus or minus 3 stops. The exposures are initially taken in this sequence: prime exposure, under-exposed, over-exposed.

You can control the number of exposures and the exposure sequence with Menu Page 6, Custom Function 1, Items 5 and 6.

Metering Mode/Flash Exposure Compensation buttonDepending on which control dial you turn while pressing this button, you can make your choice for the metering type you want, as well as for the Flash Exposure Compensation you want — that is, how much under or over the initial setting you want fl ash exposure to be.

✦ With the Main Control dial. Press the Metering Mode/Flash Exposure Compensation button and turn the Main Control dial to choose between Evaluative Metering, Partial Metering, Spot Metering, and Center Weighted Average metering.

✦ With the Quick Control dial. Adjust exposure compensation for EOS fl ash, from –3 to +3 EV.

Exposure Compensation/Aperture button With either control dial, this button, which is located on the top right of the camera, sets

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