7 Tips for Using the Canon 5D Mark III



This week marks the release of my latest book: Canon 5D Mark III: From Snapshots to Great Shots. Producing the book involved me delving into the inner workings of a camera in a way that I haven't had to do in the past. Or more accurately, I would do it at a more leisurely pace.

One of the benefits of that was not that I discovered some hidden secrets of the camera, but that I learned how to utilize the camera to fit my particularly needs as a photographer. I know that's an old photographic mantra, "Photographer! Know thy camera!", but that's quite a challenge when you have manuals so thick, you'd think Tolstoy had penned it. So, writing this book provided me the opportunity to get to know the camera well enough that I feel it's part of my process rather than something that can interfere with it. So with that in mind here are 7 tips that might prove helpful to those of you who have the 5D Mark III or even some of you that don't.

Tip 1: Access Main Controls via the Quick Control button.
Though the 5D Mark III offers independent controls for ISO, Autofocus, white balance, metering and exposure compensation, I have found that hitting the Quick Control button on the camera, located to the right of the LCD screen provides a better option. When pressed, I gain access to all those features which I can quickly navigate to using the Multi-controller. This makes it quite easy to change those controls that I frequently adjust such as white balance, ISO and exposure compensation. An added plus is that because the screen is illuminated, I can more easily make adjustments under low light far more easily.

Tip 2: Disable the Image Review
I know that "chimping" or reviewing each image as it's shot is very tempting, but I have found it to be a big distraction. Instead of focusing on what's happening and changing in front of my lens, I have my head buried in my screen, trying to feel pleased with myself. While the screen can provide some important information with regards to exposure and white balance, after the initial image, I need to focus more on the process of shooting. With street photography things are constantly changing and I can easily miss a moment if I constantly keep looking down at my screen.



Tip 3: Enable Highlight Alert
Exposing for the highlights is another one of those photographic mantra's that's worth repeating. With digital, you want to make sure that you don't overexpose your image, because if the highlights's are blown out that means that there is no image data, no pixels there to recover or work with. Though shooting raw does provide you a little latitude there, nailing the exposure in-camera has been a normal part of any photographer's process. That's why I enable the 5D Mark III's Highlight Alert to create a warning that the image is at risk of overexposure. If the image is, during playback you will see that area of the image wink in and out, between black and white. Often referred to the techies among us as the "blinkies", it's a clear indication that the exposure has to be adjusted.

Tip 4: Consider UDMA Compact Flash Cards for best performance
Though the 5D Mark III accommodates both a CompactFlash and an SD memory card, my unscientific evaluation of the camera seems to reveal that I get the best write speed performance with CF cards, particularly UDMA rated cards. Now, this likely only makes a big difference when I am shooting action or sports, where I the camera is shooting at continuously at its highest burst rate. If I am shooting portraits or still life, I am shooting at a more leisurely pace. If I am using both types of cards, I will often designated the CF card for raw files and the SD for jpegs.

Tip 5: Enable the Viewfinder Grid Display
There was a time when if you wanted a grid display in your camera, you would have to physically replace the focusing screen. Now, it's a menu option. How cool is that? I enable this feature to help me to keep my horizon lines straight when making my compositions. For some reason, my eyes and brain are refusing to cooperate and allow me to do this just by eyeballing it. I seem to be seeing everything off-kilter...and I'm not even a drinker. In any case, enabling this feature provides me the reference lines I need to make the slight adjustments needed, so I don't have to rotate and crop into my image later in Lightroom.



Tip 6: Register Your Battery
The 5D Mark III provides the ability to register individual batteries not only to assess the remaining charge, but also to provide a shutter count and measure recharge performance. This can be invaluable information for those of us that do a lot of shooting. I own two batteries, which provides me ample power for an aggressive day of shooting and having this additional data on the performance of each battery provides me a level of security that I'll have a viable and fully charged battery when I need it most.

Tip 7: Input Copyright Information
As photographer, we own the copyright to an image, the moment we depress the button and make the photograph. Though protecting your rights includes registering your copyright with the Copyright Office, including your contact information is still an important part of protecting your rights to your images. As part of this, I choose to enable the 5D Mark III's feature to include my copyright information, specifically my name with each image. Though, I can do and more when importing my image in Lightroom, it's a good idea to know that the data is embedded at the moment of creation.




Photographing with Limitations

Copyright Jared RL
A couple of weeks ago, I held the first Chasing the Light workshop in Downtown Los Angeles at the Hatakeyama Gallery. It was a small, but passionate group of photographers, each of whom in a very short time discovered a different way of seeing and shooting, based on being aware of the light.

The most interesting part of teaching is having the opportunity to encourage and witness a change in a photographer's work as a result of what I shared. It was no less the case on this day, which started with an exercise in which the students go out and look for subjects which possess 1 or more of the elements: color, contrast or pattern. The limitations where:

1. You only have twenty minutes
2. No chimping - You can't review the image even for the purposes of checking your exposure
3. You can only shoot up to 7 images.

Those limits can be jarring and even uncomfortable, but that's the point. We all have our way of shooting, some of which may include some really bad habits. Working with limitations forces you not only to pay more attention to what you choose to photograph, but also makes you confront some of those bad habits such as being to preoccupied with what the camera is doing or not doing, making judgements on the worth of an image while you are shooting and worst of all...rushing.

The exercise forced everyone to slow down and to really pay attention not only to the subjects they were considering photographing, but also to observe their process and how they "felt" while shooting.

copyright Larry Marotta
It was after demonstrating to them how I wanted them to respond and photograph that I was able to introduce them to the concept of looking for subjects based on observing the light. It was then that I could begin to reveal to them  how the light can and does make a huge difference in their photography.

A big part of this was critiquing their 7 images and pointing out how they were already responding to the light. With many of their photographs, I could see that they were often reacting to the light, though they weren't always aware of it. With each image, I was able to tap into each of them was already seeing and helped them to consider how to be more in-tune with that when they were out shooting, especially when it came to staying aware of the quality of the light.

Most importantly, I repeated the concept of "owning the frame", being completely responsible for every single element they chose to include in the composition. This was important, because it not only eliminated distractions, but allowed them to build compositions that really took advantage of how they were seeing and responding to the light.

So, when they went out for their second round of shooting, their images were not only better, but also more thoughtful. Where the earlier images felt unsure and tentative, these second round of images not only reflected a greater awareness of light, but more importantly, greater consitency.

Copyright Jared RL

It was particularly interesting to see photographers who revisited subject matter they had photographed in the morning. These new images revealed the color, contrast and pattern of the subject or scene all informed by their observations of how the light shaped their perception. You could often feel and here the difference as the students reacted to the new set of images that popped on the screen.

I can't help but feel that working with the limitations of the first exercise really set the foundation for images they produced in the afternoon. Though, they were freshly pollinated by the information I shared about light, it was also about how they were more aware of not only how they photographed, but how they were feeling when they were doing so.

There is nothing better than being completely in the moment when photographing. You are observing, reacting and shooting, hopefully in a seamless and interrupted flow. Though they were still a bit self-conscious, the image reflected a shift in their perception and technique that was really gratifying to see.

Copyright Paul Edward


Surf's Up: Hands on with the Olympus OM-D E-M5


You would think that living in Southern California during the summer, I wouldn't need much reason to head out to the beach and  enjoy all that it has to offer. The weather combined with the energy of the crowds can make for a great time outdoors, especially for the photographer. 

The reality is that I've not hit the shores, much less the water this season, which is why I was excited about an invitation from Olympus to use some their latest cameras during the Surf City competition in Huntington Beach. 

I had about three hours to go out shooting with the OM-D E-M5 as well as  the TG-1 iHS, their waterproof compact camera. So, this isn't an exhaustive and detailed review. That's something for another day if and when I can use the camera for a longer period of time. But for those curious about this model, I thought it would be interesting to share my experience with it and some of the images that I produced that day. 

Now, I have been a big fan of the Olympus Pen-series of camera, particularly the Olympus PEN EP-3, which is the first digital camera in my experience with fast enough autofocus to make it viable as a definitive street photography camera. The shutter lag/ focus delay in many cameras even the highest end DSLR made spontaneous and instantaneous street shooting a challenge, if not frustrating. So, when I heard that the the OM-D E-M5 had improved on that autofocus system, but in a design more in line with a DSLR, my curiosity was peaked. 
Within moments of getting the camera in my hand, I knew that the autofocus response that I had come to enjoy with the EP-3 was being delivered here. My ability to recognize the potential of a scene, compose my shot and make the photograph was not hampered in the least by the camera hunting for focus or even the slightest lag. I didn't have to slightly depress the shutter button halfway to detect focus before hand as I often have to do with many other cameras in order to ensure I capture that critical moment and produce a sharp, in-focus photograph. 

Unlike many of the current breed of mirror-less cameras, the OM-D E-M5 features an OLED viewfinder as well a LCD display. Now, I'm never been a fan of these, having a been so accustomed to a traditional optical viewfinder. But I have to admit, I really liked that image I saw looking through the viewfinder. It's as close to the "real thing" as anything I've seen thus far in the form of an EVF. 

After a short time getting familiar with the controls of the camera including how to toggle back and forth between the EVF and the LCD, I got to shooting, focusing on a variety of subject primarily the people that were enjoying the venues at the Surf City event. For me, it was opportunity to shoot street, but with a lot more sand and less clothing that I am usually accustomed to seeing on the streets of Los Angeles. 

The compact size of the camera particularly with the Olympus 12mm f/2 lens (24mm equivalent) made it a stealthy and compact alternative to the what now seems like a beast of a DSLR. This afforded me the ability to get in closer to my subject than I normally would feel comfortable when using a bigger camera, but which is especially important when using a wide angle. 

I found myself quickly winding through the crowds capturing the ever-changing scenes around me. Despite the high contrast lighting , the camera's metering handled exposure well, which was particularly important because I was recording jpegs rather than raw files to get a real sense of what this camera was capable of. 

The camera also delivered when it came to capturing action in the form of skateboarders doing acrobatics that made my body ache just watching it. It was also the right tool when it came time to make a portrait. In each shooting situation, I didn't find myself wanting for my DSLR with respect to certain features or controls. 



The camera features a set of art filters, which some people find gimmicky, but which I have come to really enjoy, particularly the Dramatic Tone filter which provides a grungy HDR look. But when I was shown that I  could now combine filters, I quickly discovered the Pinhole and the Dramatic Tone filter in combination produced some wonderfully unexpected results. 

You have to know that when it comes to Photoshop, I am not the kind of photographer who works on achieving this look using software. I'm often pretty conservative with the degree of image manipulation I use. So, the use of these filters allowed me the opportunity to play and experiment in a way that I don't think I'd ever consider in front of my computer. So, I actively shot with the Art Filter bracketing feature enabled which allowed me to not only capture my "straight" image, but also images that received the benefit of these special looks. 

Though I wish I'd had more time to spend the day shooting, I found that the OM-D E-M5 was a mirror-less camera that really delivered on the promise of a compact, stylish design that didn't sacrifice in terms of performance. Though I'm sure that a more exhaustive review might reveal some things that I might dislike, none such issues were immediately revealed to me as I was shooting and producing these images. 

When reading other reviews, there is such a focus on what feature or control a camera doesn't have in comparison to another and while I can understand the importance of that for certain types of photography or a photographer, I am primarily concerned with whether camera will allow me to make the kinds of images I'm striving to get. I'm pleased to say that not only did the OM-D E-M5 allow me to do that, but that the resulting images were shots that I was very pleased with. It certainly made my photography that morning very, very fun. 





The Candid Frame #149 - Mike Moats

Mike Moats is an award winning, professional nature photographer from Sterling Heights, Michigan. Her started as a hobbyist in 2001 but it quickly grew into a full time business. He  has published articles and images in Outdoor Photographer Magazine, PC Photo Magazine, Natures Best Magazine, Nature Photographer Magazine, Photolife and Tamron’s “Angle of View” Blog. He has won numerous local and international awards, and in 2006 was asked to join the Fuji Pro Talent Team and in 2009 was added to the Tamron Lenses website as one of their ”Macro Masters”. In 2006 he started offering Close-Up/Macro Photography Workshops. He is also a moderator of the macro gallery at www.naturephotographers.net. He also offers personal one on one online macro workshops, and has released five e-Books. You can find out more about his photography by visiting his galleries or blog

Mike Moats recommends the work of John Shaw and Art Wolfe.


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The Candid Frame #148 - Jay Patel

Jay Patel is an exceptional landscape photographer whose passion for the outdoors began with his family travels in his country of origin,  India. Since picking up a digital camera a little more than a decade ago, he has developed both a keen eye and a mastery of the technical to create stunning images of the natural world. Along with his wife, Varina, another passionate photographer, they share their experience and extensive knowledge of photography and the natural world through workshops, e-books, blogs and an active presence in various social networks.  To discover more about Jay and his work visit his website and blog.

Jay Patel recommend the work of Varina Patel.

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The Candid Frame #147 - Mathieu Young


Mathieu Young is a commercial photographer as well as a socially conscious photojournalist whose work has taken him all over the world. His entertainment work includes production images for such popular programs such as So You Think You Can Dance? and Glee. His journalistic and personal projects have focused on deforestation in Cambodia as well image capturing the personalities that make up the Tea Party Movement. His work has been published in numerous newspapers and magazines. He is a good example of a photographer who uses the funds earned by his commercial work to help fund his personal projects, which not only satisfy his desire to make a difference with a camera, but at times can also earn him greater professional opportunities. You can discover more about him and his work by visiting his website and blog.

Mathieu Young recommends looking into the Eddie Adams Photographic Workshop.

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The Candid Frame #146 - Bruce Smith


Bruce Smith is a fashion photographer who has been working professionally for over three decades. In this second conversation with the Liverpool-based photographer, we discuss what's involved in sustaining a long-term career as a photographer. His commercial and advertising work has been published in publications throughout the world. His sensitivity and rapport with his models extends to his clients, which reflects one of the reasons for his continued success in the highly-competitive field of fashion photography. He is also a generous teacher and offers his years of experience and talent though his international series of photographic workshops. You can find out more about him and his work by visiting his website.

Bruce Smith recommends the work of Richard Avedon.

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To listen to our first conversation with Bruce, listen to Episode 16.

The Candid Frame #145 - Rebecca Jackrel


Rebecca Jackrel is a freelance photographer based in San Francisco, California, who shares her love of wild creatures and places through her photography. In the last few years she has been involved in using her photography to help environmental causes and organizations like the Ethiopian Wolf Project and has raised funds to finance this project through KickStarter.

Rebecca has been honored with several awards including the 2010 Nature's Best Photography Awards and the 2008 Art Wolfe International Conservation Photography.

Rebecca is a member of NANPA (North American Nature Photography Association), ASMP (American Society of Media Photographers) and PPA (Professional Photographers of America) and lectures on nature photography and environmental issues. You can discover more about her and her work by visiting her website and blog

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On Vacation

The Candid Frame is enjoying a long deserved vacation under the Tuscan sun. So, well be back to our regular schedule in July. See you soon.

The Candid Frame #144 - Dana Barsuhn




Dana Barsuhn is a young LA-based photographer who honed his skill on the streets of Los Angeles and used what he has learned to serve his early work as a professional photographer. Within a short period of time, he has developed a very personal visual sensibility with his street photography, which has not only allowed him to create distinct imagery in this popular genre, but has also helped him to create unique photographs. His growth as a photographer has recently inspired him to make the leap into a full-time professional photographer, with the hopes of achieving both financial and creative success. You can find out more about his work by visiting his website and blog.

Dana Barsuhn recommends the work of Stanko Abadzic.

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The Candid Frame #143 - Rinzi Ruiz


Rinzi Ruiz is a Los Angeles-based street photographer who picked up a camera only two years ago. In that brief time, he has developed a keen eye for capturing beautiful and poignant images on the street. His rapid development as a photographer is informed from a commitment to make time for his art, as well as developing a critical eye for what works and what doesn't. Inspired by both contemporary and master photographers, his understanding of the tradition of street photography is helping him to develop a distinct voice in the genre.  You can discover more about Rinzi and his work by visiting his website and his blog.

Rinzi Ruiz recommends the work of Dana Barsuhn.


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The Candid Frame #142 - In Conversation #2


In this episode, the table is turned on Ibarionex as the show's editor Martin Taylor takes control of the microphone to ask the questions of the host of The Candid Frame. In this follow-up to a conversation that aired last year with Jeffery Saddoris, this episode discusses photography, podcasting and the continuing challenges of leading a creative life.

Recorded in San Francisco, the conversation provides a glimpse where Ibarionex is today, but provides him the opportunity for him to discuss how the show has changed his life and his photography.

Ibarionex Perello recommends the work of Zoe Strauss.

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The Candid Frame #141 - Lauri Lyons



Lauri Lyons is  a photographer who's photographic range has enabled her to shoot celebrity portraits, ad campaigns and documentaries. She has worked in Africa, Australia, Brazil, Europe, Mexico and the United States. Her photographs have appeared in such publications as The London Observer, Stern, The Fader and Art Forum. She is the first Black woman to shoot the cover of Fortune magazine.
Lauri is the author of two acclaimed books; Flag:An American Story (2001) and Flag International (2008). She was the commissioned portrait photographer for the book INSPIRATION: Portraits of Black Women Changing Our World (2012).
Lauri is the Publisher & Editor in Chief of the online publication Nomads Magazine. She is also a contributing writer for The Huffington Post and her essays have also appeared in The Wall Street Journal.com and U.S.A Today.com. You can find out more about Lauri and his work by visiting her website
Lauri Lyons  recommends the work of Ernesto Bazan.

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The Candid Frame #140 - Barbara Bordnick


Barbara Bordnick is a renowned photographer recognized for her fashion, portrait and fine-art work. Her career began in Europe, but quickly began to be recognized around the world when she began being published in Harper's Bazaar. She has been the recipient of many awards including Clios for film and print, Missouri School of Journalism Award and the International Film Festival Gold Medal. Her fine-art photography has built on her unique sensibility and her approach in photography and has made her a popular instructor. You can discover more about her and her work by visiting her website.

Barbara Bordnick recommends the work of Bob Richardson and Richard Avedon.

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The Candid Frame #139 - Bill Frakes





Bill Frakes is a Sports Illustrated Staff Photographer based in Florida. He has worked in more than 100 countries for a wide variety of editorial and advertising clients. His advertising clients include Nike, CocaCola, Champion, Isleworth, Stryker, IBM, Nikon, Kodak,Canon, and Reebok. 

Editorially his work has appeared in virtually every major general interest publication in the world. Bill won the coveted Newspaper Photographer of the Year award in the prestigious Pictures of the Year competition. He was a member of the Miami Herald staff that won the Pulitzer Prize for their coverage of Hurricane Andrew . He has also been honored by the Robert F. Kennedy Journalism Awards for reporting on the disadvantaged and by the Overseas Press club for distinguished foreign reporting. 

He was awarded the Gold Medal by World Press Photo. He has received hundreds of national and international awards for his work. You can find out more about Bill and his work by visiting his website and his blog

Bill Frakes recommends the work of Jeanloup Sieff.

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The Candid Frame #138 - Gerd Ludwig


photo: Anthony Friedkin
Gerd Ludwig is a National Geographic photographer who is best known for his long-term work documenting the impact of the Chernobyl nuclear accident in the former Soviet Union. This personal project has allowed him to the tell the story of the human toll on the people decades after the initial, dramatic events of the accident itself. For decades, he has also been working on assignments focusing on Russia and Eastern Europe, which has held a personal fascination for him. His book, Broken Empire: After the Fall of the USSR is an incredible visual telling of a country struggling to redefine itself.

He has recently released an iPad App which showcases his work on Chernobyl with still, video and audio commentary. The Long Shadow of Chernobyl provides a unique method for telling the 25-years story of the accident and its long term impact on a country and a people. 

You can discover more about Gerd and his work by visiting his website. He is represented by the Institute for Artist Management

Gerd Ludwig recommends the work of Lauren Greenfield.

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