It was quickly evident the 1Ds Mark III files could be pushed further than the 1Ds Mark II files. Pushing means (to me) editing in Photoshop and altering levels, increasing and or shifting saturation, shifting color balance and changing contrast. This can be highly destructive editing because the RGB values may be pushed outside of the color space. The main objective in “pushing” a file is to redistribute its dynamic range more towards the edges of the histogram. Reallocating dynamic range results in the upper mid-tones turning into intense highlights. Lower mid-tone become bolder deeper shadows. The relative contrast between the high and lows makes the image pop.

Before the editing starts there is data above and below the central dynamic range content, so pushing mid-range content possibly results in the upper  highlights blowing out and the lower tones blocking up. Like squishing a tube of toothpaste in the middle, some toothpaste is going to spill out at the ends. Also, the mid-tones are shifted, compressed and stretched in every direction - so their gradients are compromised. The raised levels make noise more apparent and transitions can look abrupt if the editing is too severe. So, this is delicate balancing act to add “pop” without turning the file into digital garbage.

With the original Canon 1Ds raws such editing was limited because the files quickly deteriorated - they could not withstand extreme shifting of the RGB values.  Granted, the 1Ds files had a great look in their default state, but pushing past those values was risky. With the 1Ds Mark II files could be pushed much further, thus opening up new frontier in post processing. The 1Ds Mark II files were cleaner, so there was less noise bubbling to the surface. The 16 MP sensor had more dynamic range, so there was appreciably more flexibility in the highlights. After the 1Ds Mark II, I used the Phase One P25 - and again - those files could be pushed to a whole new level beyond what the 1Ds Mark II offered, especially in the shadows and lower mid-tones.

I can confidently say the Canon 1Ds Mark III files can be pushed to a new level. It may not be P25 territory, but it is close. The 1Ds Mark III shadows are not cleaner than the 1Ds Mark II’s at ISO 100; however, the 1Ds Mark III shadows lighten up cleaner when their levels are boosted. The 1Ds Mark III sensor has ~2/3 of a stop less dynamic range than the 1Ds Mark II’s sensor, so highlights are tricky. But the highlights that the 1Ds Mark III does capture, those highlights handle post processing nicely due to their gentle roll-offs. Also, somehow Canon added a “twinkle” to the very high tones. It is hard to explain in words, but the highlights have a sparkle or vibrancy. The above picture attempts to illustrate that “sparkle”. Also the sunflower image in the Contax 18mm F4 Distagon Review (click here to see the review) has that trait too.

THE 1Ds MARK III COLOR PALETTE

The Canon 1Ds Mark II colors were slightly bolder - strong in the primary colors (red, green blue). The in between tones seemed reduced somehow. In contrast the 1Ds Mark III colors have more nuance. The colors are not as polarized as the 1Ds Mark II’s colors. The pictures in the Banff and San Francisco galleries are good representations of what I would say is stereotypical of 1Ds Mark II colors.

The 1Ds Mark III colors feel expanded - reds have added pinkish hues in the transitions; greens have more yellow undertones; blues (especially skies) pick up a baby blue transition; yellows have more golds; blacks have more color information; blown highlights tend to be only partially blown with one or two channels still holding data. Overall it is still a Canon look, but different. The picture of the oncoming train is good example of what the stereotypical 1Ds Mark III color looks like. The Canon 200mm L F2.8 II review has some more 1Ds Mark III images - and they have similar colors. Also the Zeiss 50mm F2 Makro-Planar review has some examples of those “sparkly golds” along with the green grass image above.

BUT, I’M CHEATING

You can build your own custom ICC profile, upload into the 1Ds Mark III and select it just like any other Picture Style. It’s a very cool function. If you don’t like “Canon reds”, open up the PIcture Style in Canon’s Picture Style Editor utility, edit the reds, save the newly edit style with a new name, and upload the new style into your 1Ds Mark III.  Result?  REDS FIXED! This is a powerful, but difficult to do. And that style goes with the 1Ds Mark III anywhere - just like any other Canon Picture Style.  C1 Pro users have this same ability via color preset editor.

I purchased the X-Rite Colorchecker SG and took pictures in the studio with Phase One P25 on white background under 5500 Kelvin lights. Then did the same with the 1Ds Mark III. By comparing those images and using the Canon Picture Style editor, I developed a studio profile to mimic the Phase One P25. Then I had my wife pose with the color chart indoors, outdoors, here, there, etc... Long story short - I have 3 profiles which mimic the P25 in a variety of lighting conditions. It is not perfect, but it gives me some extra “personalities” to load into the 1Ds Mark III and/or DPP. Previously people joked about color styles being consumer rubbish; if they took a second look at Canon’s new Color Style Editor utility - I think they would change their minds.

After two months I mostly use one of the custom profiles. The profile rolls off the reds, opens the deep shadows, tones down the yellowish-greens and puts some color in the deep shadows. It has proven to be a good “generic” profile. The custom profile does not produce a finished product; it produces a balanced CR2 file which yields a neutral file ready for abuse in Photoshop. The image to the right was taken with the 1Ds Mark III. The same spot was shot earlier this year with the P25 - click here. Overall they look consistent which is no small feat considering one camera is a Phase One P25 processed via C1 and the other is a 1Ds Mark III processed through DPP.

As preview Canon 1Ds and Canon 1Ds Mark II owner, I do feel the Mark III’s color has improved. There is certainly more character. And pushing the files around in Photoshop can be rewarding.  That’s it for now.