canon 5d mark ii lcd screen pricelist

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Amstelveen, The Netherlands, 17 September 2008: Canon announces the full frame, 21.1 Megapixel EOS 5D Mark II: the first EOS with full High Definition video capability.

Compact, lightweight with environmental protection, EOS 5D successor boasts a newly designed Canon CMOS sensor, with ISO sensitivity up to 25,600 for shooting in near dark conditions. The new DIGIC 4 processor combines with the improved CMOS sensor to deliver medium format territory image quality at 3.9 frames per second, for up to 310 frames.

The integration of HD movie capability into a high-end 21.1 Megapixel camera opens a multitude of new possibilities for photojournalists and news photographers. With its full frame CMOS sensor and outstanding ISO performance, the EOS 5D Mark II will appeal to any photographer in search of the finest camera equipment available – from studio and wedding to nature and travel photographers.

“Professional photojournalists and wedding photographers already choose the EOS 5D for its discrete size and outstanding image quality,” said Mogens Jensen, head of Canon Consumer Imaging. “The addition of HD movie recording opens a new chapter for EOS. It creates new possibilities for EOS photographers to capture and share their stories and to stay relevant in a rapidly changing digital landscape.”

The EOS 5D Mark II’s newly designed full frame 21.1 Megapixel CMOS sensor features ISO sensitivity from 100-6400, expandable to 50, 12,800 and 25,600. Large 6.4µm2 pixels have been redesigned to capture more light and yield a better signal to noise ratio to ensure lower noise images throughout the ISO range. The full frame sensor has the same dimensions as a frame of 35mm film. This means that wide-angle lenses stay wide, without the change in angle of view associated with smaller sensor cameras. As well as benefiting from finer control over depth of field, photographers moving up to the EOS 5D Mark II’s full frame format will find the newly designed wide, bright 98% coverage viewfinder on a joy to work with.

A new DIGIC 4 processor combined with 14-bit analogue to digital conversion provides smooth gradations in mono-tonal areas such as skies, and highly accurate colour rendition. As well as HD movie shooting, DIGIC 4’s high speed provides for long uninterrupted continuous bursts of large JPEGs, near-instant start-up times and immediate and fast review after shooting. DIGIC 4 also provides for improved noise reduction algorithms, complementing the already low noise images from the EOS 5D Mark II’s CMOS sensor.

The EOS 5D Mark II is Canon’s first D-SLR to incorporate full HD 1920x1080 video capture. Once filming is started from Live View mode, photographers can fire off either single of continuous stills, with video capture continuing after the final frame is captured.

A new 3.0” VGA resolution LCD provides a wide 170º angle-of-view, providing plenty of clarity for accurate focus checks in playback. The screen brightness can automatically adjust to suit viewing conditions, extending battery life in low light and improving viewing in bright conditions. A new dedicated Live View button switches modes to display a real-time image on the LCD. This allows EOS 5D Mark II photographers to enjoy simplified shooting from awkward angles. Simple connection to a PC provides easy remote shooting.

The EOS 5D Mark II’s redesigned menu system includes a new Quick Control screen, for instant access to the most commonly changed settings. A new Creative Auto mode allows photographers to cede control of key settings to the camera, while retaining control over creative variables such background blur, drive mode and image brightness. Custom user settings allow photographers to switch between two completely different camera setups. This is ideal for changing quickly between two different environments, such as switching from working inside a church without flash to outdoors with fill-flash at a wedding.

Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.

Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased.

Image data captured by the CMOS sensor is processed by Canon’s purpose-built DIGIC image processors before being written to the camera"s memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times.

Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

• Canon Speedlites (220EX, 380EX, 420EX, 430EX, 430EX II, 550EX, 580EX, 580EX II, Macro-Ring-Lite, MR-14EX, Macro Twin Lite MT-24EX, Speedlite Transmitter ST-E2)

Note the following sample files were provided to us by Canon, these are unmodified Quicktime MOV files directly from the camera. These samples are very large (over 200 MB each) so please treat our download bandwidth with respect.

For Canon shooters with older 5D models, the Canon 5D Mark IV is a pleasant upgrade, with its improved AF system, slightly wider ISO range and faster capture rate – and that’s why we rate it as one of the best DSLR cameras. It’s particularly excellent in low light conditions, which makes it useful for astrophotographers, and the new Wi-Fi capability allows it to seamlessly transfer images and shoot remotely.

Pushing out more megapixels in each image, the quality is improved and video resolution even reaches 4K. For photographers looking to add a bit of good looking 4K video footage to their output, the Canon 5D Mark IV delivers – but pure videographers, on the other hand, may find it a mixed bag as the fize sizes are ridiculously large and you can’t send 4K video via the HDMI.

Enthusiasts will be impressed by the “pro” body and features, making it a great introduction to full frame photography, though the Sony a99 II(opens in new tab) could be a good (and more wallet friendly) contender. But professionals and 5D users will find it a great bit of kit to add to their arsenal – the Canon 5D IV is often referred to as a “workhorse” thanks to its sturdy build and its versatility (to be used for lots of different purposes).

Unlike its predecessors, the 5D Mark IV is blessed with a full touchscreen interface – the 8.1 cm LCD touchscreen (similar to the 1D Mark II) is brilliantly responsive and sensitive. The touchscreen is particularly useful when it comes to playback – you can pinch with your fingers to zoom to check your photos are in focus. The handgrip and thumb rest on the Canon 5D Mark IV body have been designed to be deeper than the EOS 5D Mark III, but in reality the difference is hardly noticeable. The weather sealing has been enhanced slightly though it lacks the comprehensive weather sealing of the 1D X Mark II.

When it comes to the button layout, it’s very similar to the Mark III, the only key differences being that the AF joystick has a textured finish (very similar to the EOS-1D X Mark II), and there’s a new push button on the back of the body – designed by default to control the autofocus area and switch autofocus points when the camera is still held to your eye – but this can be customised to your preferences. On that note, if you are one of those people who likes your custom function buttons, you have the ability to customise 10 of them.

The 50g weight saving on the 5D Mark IV isn’t exactly obvious when comparing it to the 5D Mark III, and it’s a big and relatively heavy piece of tech for those with smaller hands. What may annoy those who already have the 5D Mark III is that the BG-11 battery grip isn’t compatible with the Mark IV, which only supports the BG-E20. The twin card slots (CF and SD) are handy for those who want a real time backup (or extra storage). The "rate" button is good to know about too – you can use it to rate an image during playback. These ratings are brought over into software, like Adobe Bridge, so you can quickly whittle down your images for processing. As with the rest of the 5D series, you won’t be surprised to know that this model has no in-built flash.

The Canon 5D Mark IV boasts enhanced autofocus performance thanks to its new 61-point AF system (taken from the Canon EOS 1D X Mark II). The points in the autofocus system cover a larger area of the frame than the Canon 5D Mark II. Couple this with the new AF area push button and the process of acquiring focus is made easier and faster. The AF system has more customisation options than the Nikon D810, for example, but doesn’t beat the 151-point AF system in the Nikon D5 or D500. Still, switching between focus modes is quick and simple, even for a novice. The multidirectional joystick remains brilliant for controlling focus points, particularly when reframing a shot.

If the idea of the new Dual Pixel Raw shooting format impresses you, don’t let it be the sole reason you upgrade. Described as a "unique post-shooting treatment" that lets you maximise sharpness and bokeh shift, it lets you take a more detailed RAW file so you have a bit more to work with in post processing. But unfortunately the amount of change seen when experimenting is minor; it doesn’t warrant the pain of dealing with doubled file sizes or downloading Canon’s somewhat clunky digital processing software.

The addition of Wi-Fi to the 5D models is a gamechanger for transferring images seamlessly to a smartphone and tablet. It means the Canon 5D Mark IV connects quickly to the Canon Camera Connect app, making remote live shooting a possibility (great for self portraits!). The app gives you the ability to remotely control the camera – you can adjust things like the aperture, ISO and focus point. But do note not to leave the camera with the Wi-Fi switched on when you’re not using it to maximise your battery life. The body also has a USB 3.0 connection so the camera can undertake quick file transfers without needing a card reader.

The 8-megapixel increase in resolution of the Canon 5D Mark IV over its predecessor produces sharp levels of detail and well saturated images. The gigantic RAW image files preserve so much detail that can be manipulated in post processing – perfect for pro togs. The sensor also performs well at high ISO, making it better than the Mark III when shooting in low light conditions and bringing detail back to shadowed areas in an image. This also means the camera can shoot faster than its predecessor, although only by 1fps. Combine this with its new AF system and the faster performance is well noticeable in live view. The live view focus system is excellent in low light settings – touch the screen to focus where you want and it’ll take the shot. Silent continuous shooting remains at 3fps, as it was on the Mark IV. The Canon 5D Mark IV also comes with the metering system of Canon EOS 5DS models.

In a studio environment the Canon 5D Mark IV is a superstar – pumping out brilliant quality images with no noise and great color. When out and about, the Canon 5D Mark IV does not have an in-built image stabilization feature – so there’s a possibility that handheld shots at a low shutter speed will be shaky unless you’re using a lens with image stabilization built in. Bear in mind that you should get the fastest memory cards available in order to get the most from this camera. In terms of noise, when shooting between ISO 100 and 800, the results are mostly clean and free of noise. Get closer to ISO 1600 and there’s definitive noise visible. Still, when shooting in low light the improved dynamic range in the Canon 5D IV helps bring back shadows, and even out the contrast, though the low light performance is still not as good as other models like the Nikon D850(opens in new tab) and the Sony a7R III(opens in new tab).

Beginners may be better off starting with an entry level DSLR like the Nikon D3500, with its more basic level interface and wallet friendly price. For pro togs looking for a model that beats the Canon 5D Mark IV, the Canon EOS R5(opens in new tab) – a 45-megapixel full-frame mirrorless camera – could be a great option. It fuses the form of the EOS Rs, the function of the EOS 5Ds, and the pro-level autofocus built into the Canon EOS-1D X. Enthusiast and pro videographers might be drawn to the Sony A7S III(opens in new tab) – one of the few cameras that can shoot 4K at full frame with no crop. And photographers who purely capture action like sport might be better off with the Canon 7D Mk II(opens in new tab)or 1DX Mk II.Today"s best deals on alternate models

Announced just over 3 years since its popular predecessor, the long-awaited Canon EOS 5D Mark II digital SLR camera has finally arrived. The original EOS 5D was the first full-frame 35mm DSLR available at an "affordable" price point, appealing to the enthusiast and professional user looking to maintain the true focal length of their lenses. Now the 5D Mark II is here, and although it looks very similar from the outside, there have been some major improvements on the inside. The twin headline features are the 21.1 megapixel, full-frame CMOS sensor, and the ability to record video at 1080p high-definition. Yes, you read that correctly - the Canon 5D Mark II can shoot HD movies, making it the second DSLR after the Nikon D90 to offer video recording (the D90 records at the lower resolution of 720p). Other new and improved features include an expanded ISO range of 50-25600, surpassing the original 5D (50-3200) and matching the likes of the Nikon D3 and D700, a larger 3 inch LCD screen with 920k dots and Live View, built-in dust prevention system and continuous shooting at 3.9 frames per second. Slightly cheaper than the original 5D on launch (�2299 vs �2539 body only), is the new Canon EOS 5D Mark II a worthy successor to the best-selling original model, and can it compete with its main rivals, the Nikon D700 and Sony A900?

"It if ain"t broke, don"t fix" it seems to have been the key aim of the Canon engineering team when designing the 5D Mark II. It"s outwardly almost identical to its predecessor, sharing exactly the same dimensions (152 x 113.5 x 75mm), and same weight (810g), making it very slightly bigger and heavier than the next Canon model down the range, the EOS 50D. The 5D Mark II has the same magnesium alloy body as the original 5D Mark I, which should make it more

durable in the longer term than plastic-bodied cameras, but it doesn"t add any serious level of weather-proofing. Other than the larger LCD screen, slightly chunkier handgrip, bigger top LCD display, and tweaked control layout, you"d be hard-pushed to tell the difference between the Mark II and Mark I if they were put side by side with the name-badge blanked out. The most serious design flaw on the 5D Mark II is the rubber cover for the extension system terminal on the bottom of the camera, which will take you about five minutes to lose as it"s completely unsecured.

There"s a textured area on both the deep hand-grip and around the thumb-rest on the rear of the camera, and unlike the cheaper 450D and 1000D models, the 5D Mark II is perfect for everyone with normal to large-sized hands. Like

but it"s not as positive or as easy to use as a conventional four-way controller. On the 5D Mark II, Canon has extended the joystick"s capabilities; pressing it in opens the new Quick Control screen. Depending on which shooting mode you"re using, this lets you set various parameters via the LCD screen, using the joystick to move around the various options. First featured on the EOS 50D and similar to the system that Sony Alpha DSLRs have used for a while, the Quick Control screen is particularly well-suited to beginners and tripod work.

to turn, not helped by the fact that when compared to the original 5D, the same six settings have been moved between buttons, which is will initially confuse upgraders. The 5D Mark II now also shows the settings on the main LCD screen as well as the status LCD. There"s also a smaller fourth button which activates the status LCD display light so that you can use it in the dark.

use, and also helps to extend the battery life. The main LCD screen has been significantly improved, now offering a fantastic VGA resolution with 920K dots, so you may find yourself using it more often than you thought. Importantly it brings the 5D Mark II in line with its main competitors, and it also allows you to judge the critical sharpness of your photos using the LCD screen, which has been a long-standing issue on Canon"s entry- and mid-range DSLRs, including the original 5D. The viefinder has also been upgraded, now offering an improved 98% coverage to its predecessor�s 96%, better than the D700 (95%) but not quite as good as the Sony A900 (100%).

auto shooting modes aimed at beginners - Full Auto (the green mode) and Creative Auto (CA). The latter was first featured on the cheaper 50D model, and is targeted at beginners who have grown out of using the Full Auto mode, allowing you to change a few key settings using the LCD screen, with a simple slider system for changing the aperture and exposure compensation, or Background and Exposure as the camera refers to them.

conditions without having to resort to using flash, which is good news as the 5D Mark II doesn"t actually have a built-in pop-up flash (you"ll need to budget for an external flashgun). The EOS 5D Mark II offers a range of three Auto

balance options. The viewfinder displays all key exposure information including ISO speed, and the 5D Mark II uses exactly the same 9-point auto-focus system with 6 Assist AF points as the 5D. There are four metering modes including a 4% Spot metering mode, useful in tricky lighting conditions as an alternative to the excellent and consistent Evaluative metering system.

The menu system is now the same as on most EOS cameras, utilising a simplified tab structure that does away completely with scrolling, and is a big improvement on the original 5D"s menu. There are 9 colour-coded horizontal tabs and up to 7 options in each one, providing quick and easy access to the various options. You can even setup your own customised menu page for instant access to frequently used settings via the My Menu tab. Only the complex Custom Functions menu detracts a little from the overall usability. The documentation that

I tested the EOS 5D Mark II with the popular EF 24-105mm f/4L IS lens, which is offered as a kit lens in some regions. This combination offered fast, positive autofocus,

near-silent, and I"d recommend that you buy this kit if you"re buying into the Canon system for the first time. The 24-105mm lens also crucially features image stabilisation. This is important for Canon, as the Sony A900 offers image stabilisation that"s built-in to the camera body. The difference between Canon (and Nikon) and the other manufacturers is that Sony (plus Olympus and Pentax) have opted for stabilisation via the camera body, rather than the lens, which therefore works with their entire range of lenses. Canon"s system is obviously limited by which lenses you choose, but it does offer the slight advantage of showing the stabilising effect through the viewfinder. Canon and Nikon also claim that a lens-based anti-shake system is inherently better too, but the jury"s out on that one.

The EOS 5D Mark II is the second Canon DSLR to feature the new DIGIC 4 processor, which produces noticeably faster image processing, start-up and image review times than the 3-year old 5D (as you"d expect), and better noise reduction in high-ISO images (jump to the Image Quality page for ISO samples). DIGIC 4 also allows the 5D Mark II to shoot a little faster than the previous 5D model, obtaining a speed of 3.9fps for up to 78 full-sized JPEGs or 13 RAW images (the 5D could shoot at 3fps). If you use a UDMA (Ultra Direct Memory Access) Compact Flash memory card with the 5D Mark II, the number of JPEGs increases to 310 images (no increase in the actual burst speed, or the number of RAW files), and it supports transfer speeds up to 133 MB/sec.

The 5D Mark II has a very similar Live View system to the 50D and 450D, additionally offering a new Live AF with Face Detection mode. If you"re new to DSLRs and don"t understand the terminology, basically Live View allows you to view the scene in front of you live on the LCD screen, rather than through the traditional optical viewfinder. This is an obvious attraction for compact camera users, who are familiar with holding the camera at arm"s length and composing via the LCD screen. It"s also appealing to macro shooters, for example, as it"s often easier to view the screen than look through the viewfinder when the camera is mounted on a tripod at an awkward angle.

Live View is annoyingly difficult to actually turn on, as Canon have inexplicably buried it deep within the menu system. Once enabled, Live View is activated by pressing the Print button on the rear of the camera to the left of the viewfinder. A grid line display and very useful live histogram can be enabled to help with composition and exposure, and you can zoom in by up to 10x magnification of the image displayed on the LCD screen. Focusing is achieved via the new AF-On Lock button, rather than half-pressing the shutter-button. Live View can also be controlled remotely using the supplied EOS utility software, which allows you to adjust settings and capture the image from a PC.

So who does the EOS 5D Mark II"s Live View mode most appeal to? Well, it attempts to satisfy both the consumer and more technical user, with three types of focusing system on offer. The first, Quick AF, works by physically flipping the camera mirror to engage the auto-focus sensor, which then momentarily blanks the LCD screen and causes a physical sound, before the image is displayed after about 1 second. The other methods, Live AF and Live AF with Face Detection, use an image contrast auto-focus system, much like that used by point-and shoot compacts, the main benefits being the complete lack of noise during operation, and no LCD blackout. Unfortunately these are much slower than the Quick AF mode, taking over 3 seconds to focus on a clearly-defined subject in bright light, which I think will put off most users that are attracted by the promised point-and-shoot experience. On a more positive note, you can move the AF point around the screen, and the 5D Mark II successfully detected faces in most situations.

Live View is also used for the feature that has arguably generated the most interest in the Canon EOS 5D Mark II: its movie mode. This is the second DSLR camera to shoot video, and the first that supports full 1080p HD quality (the Nikon D90 records lower-resolution 720p video). The 5D Mark II records high-definition, wide-screen video in 1920 x 1080 pixel resolution, at a frame rate of 30fps, in MOV format using the H.264 codec. The maximum size of a single video clip is either 4 gigabytes or one second below 30 minutes, much longer than the D90"s 5 minute limit. You can also take either single or continuous stills during recording, with video capture continuing after the final still frame has been taken. Audio is recorded in linear PCM format without any compression. There"s a built-in microphone on the front of the camera for mono recording, and also a socket on the side for connecting an external stereo microphone. It also has an HDMI port for playing back 1920 x 1080 still images on a HD TV. It uses the industry-standard HDMI mini-out connection, but note that you"ll need to purchase a suitable cable separately. You can also still connect the 5D Mark II to a standard TV set via NTSC/PAL. By offering video capture in a DSLR, Canon has made it possible for filmmakers to play with depth of field the way they never could, taking advantage of the relatively big 35mm sensor and the wide assortment of Canon lenses.

There are, however, some notable drawbacks to the Canon EOS 5D Mark II"s video mode. Immediately apparent is the complete lack of a dedicated video button. On the D90, shooting video is as easy as pressing the correct button on the back of the camera. On the 5D Mark II, you have to set the correct options in the Live View menu, then press the Print button on the rear of the camera, then AF-On to set focus, then the Set button to actually start recording. Although you can autofocus during movie recording, the camera uses the painfully slow contrast-AF mode, and even the user guide warns against trying to auto-focus "since it might momentarily throw the focus way off or change the exposure". Focusing manually is a much better idea, although most AF lenses have MF rings with very little "travel" between their close-focus point and infinity (the EF 24-105mm f/4L IS is quite good in this regard), and in a quiet environment it"s also possible to hear the sound of the focusing ring.

You can"t set the aperture from the camera in movie mode, so you will want to use lenses that have an aperture ring or just stick with your chosen aperture throughout the movie. The shutter speed cannot be set by the user in movie mode either, so you will have to rely on the camera"s auto-exposure system while filming, although exposure compensation and AE-Lock can, thankfully, both be used. You can take a single/sequence of still shots whilst shooting video, but this causes a 1 second delay which you"ll need to edit out later. Handholding the EOS 5D Mark II and shooting video is very difficult, with the DSLR form factor not lending itself well to controlled shooting at arm"s length. It"s a much better idea to mount the camera on a dedicated video tripod. Having said all that, I"ve no doubt that experienced videographers will be writing our their cheques for the 5D Mark II right now, having seen all that glamorous Vincent Laforet footage. More casual users hoping to grab some quality footage of the kids may be put off by the inherent difficulties of shooting video using the relatively alien SLR format.

sensor cleaning or the wrong kind of solvent. The 5D Mark II also inherits the internal Dust Delete Data system from the 50D, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the supplied Digital Photo Professional software.

Peripheral Illumination Correction is a new feature that"s actually a lot simpler that it initially sounds. Basically it corrects the unwanted effects of vignetting, typically seen in wide-angle photos in the corners of the frame. The 5D Mark II contains a database of correction data for 26 Canon lenses and, if Peripheral Illumination Correction is enabled, automatically applies it to JPEG images. For RAW images the correction is applied later in the Digital Photo Professional software. Up to 40 lenses can be programmed into the 5D Mark II, with over 80 currently available to choose from. Peripheral Illumination Correction is a useful and effective addition, particularly for JPEG shooters, and can safely be left turned on all of the time.

Even more useful, especially if you have a number of older lenses, is the AF Microadjustment feature that has trickled down from the pro Canon EOS-1D Mark III. Very similar to the Pentax K20D"s AF Adjustment custom function, it allows you to alter the focus of each lens, then use a focusing target to test if the lens focuses correctly, and if it doesn"t, alter it slightly using the AF Adjustment option, then test again until perfect focus is achieved. With most other DSLR systems you"d have to send the camera and lens off for calibration (and maybe even have to pay for it), but with the 5D Mark II, you can calibrate all of your lenses in the comfort of your own home (up to 20 lenses can be stored in the camera).

camera with a no-fuss design that"s aimed firmly at serious photographers. At first glance very similar to the previous 5D Mark I model, the new EOS 5D Mark II offers some important feature upgrades and some subtle but effective handling improvements.

I called out of curiosity I called again and a 2nd person confirmed that the LCD protector is integrated and unlike the Mark II the protector cannot be replaced without a new unit. However she did say a new LCD was something like $106 if I recall, i was surprised at how cheap it was. Of course installing it may double that still $200 + change is not bad considering I was expecting a lot more.

I went ahead and got a screen protector, if"s funny I had my old 40D for years and never scratched it and so I thought I never needed a protector because the Mark III has a scratch resistant piece of glass. I have my 5D Mark III for less than a year and have already scratched the rear and there"s also a scuff on the top LCD (which can be replaced and costs like $11 for the part according to Canon, not sure how much labor would be). I agree the prices are very reasonable, I may wait until to see if something else occurs and then may just add it in if I"m already performing other repairs.

Canon"s EOS 5D Mark III may not be the most recent DSLR, but it is a classic full-frame camera. What"s more there are savings to be made if you know where to look on this older model.

We’ve searched all the major retailers to find the best Canon EOS 5D Mark III price, so you can be sure you’re getting the most bang for your buck. Read on for today’s best Canon EOS 5D Mark III camera deals(opens in new tab).

The Canon EOS 5D Mark III is a weather-sealed, high-spec, full-frame DSLR that"s capable of capturing 22.3MP photos and Full HD video. It is not the most recent model in the range, but it can be found significantly cheaper than the more recent EOS 5D Mark IV - if bought secondhand.

Type:DSLR | Sensor:Full Frame | Megapixels:22.3MP | Lens mount:Canon EF | Screen:3.2-inch LCD, 1,040,000 dots | Viewfinder:Optical | Max burst speed:6fps | Movies:1080p | User level:Enthusiast/professional

Further assets include 61-point AF, with 41 cross-type points for added accuracy, and 6fps burst shooting, which is solid if unspectacular. That said, when shooting handheld, be aware there’s no in-body anti shake, so you’ll want to twin the Mark III with a lens with this feature – especially for video.

Sporting one DIGIC 5+ processor, the Mark III very obviously follows on from the Mark II, on which it much improves, with its core sensitivity range being expandable from a maximum ISO 25,600 to an equivalent to 102,400. We also get a Live View/movie switch on the rear plate and a headphone socket for monitoring audio recording when shooting moving footage with sound.

For visually monitoring the latter there’s the backplate LCD display, with the same 3.2in proportions and 1,04million-dot resolution as that on the Canon EOS-1D X. There are also two card ports this time around, one for CompactFlash and the other for SD-type media.

In terms of picture quality, the EOS 5D Mark III is extremely capable, producing impressive results in low light. Best to avoid the expansion settings, though, which introduce noticeable noise and a posterised appearance, although the same is true for most cameras here.

Given that this is no longer the current model, the EOS 5D Mark III can be snapped up for a price that makes it something of a steal compared to the more recent, the EOS 5D Mark IV.