It is the MkIV after all!! Includes Vincent LaForet footage



EDIT: We now have it confirmed that the name MKV is nonsense.  MKIV it is!


Spec wise we are not looking at full frame but APC-H which is a 1.3 x crop. Not as much as the 1.6x crop of the 7D but not the full frame of the 5dmkII. Also the megapixel count is lower at 16mp.


If you can get to NY this week then go take a look. I wish I could go as SNL DP Alex Buono will be there talking about why he is shooting using the 7D for the show and also my 7D training DVD will be on sale there at the Zacuto booth where Den Lennie will be. Unfortunately my schedule doesn’t permit me to be there as am on the West Coast. Very disappointed. So close…but so far! Just too tight for me to get there after this RE:FRAME gig which finishes on Thursday. I can almost go, if I did it would only be for the last day so not sure it is worth it…Should I go?Screen shot 2009-10-18 at 22.20.23Don’t expect this camera to be cheap. The MKIII goes for just under 4k, the MKV could well be more expensive. Will this be the perfect video camera/ DSLR? Not sure. I hope to get my hands on it soon and will let you know!!


This is what we have now heard. The leaks were almost spot on!

Picture 4

Here is some 6400 ISO footage from Vincent LaForet. Click on the image below to see it on Smugmug.

Screen shot 2009-10-20 at 09.14.58Really gorgeous footage. I want one.

Official Canon Press Release

The EOS-1D Mark IV Features a Completely Redesigned 45-Point Autofocus System, Fast 10 fps Continuous Shooting, 16-Megapixel Resolution, Outstanding ISO Sensitivity, and Full HD Video Recording at Selectable Frame Rates

LAKE SUCCESS, N.Y., October 20, 2009 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce the next evolution in the EOS 1D series of cameras: the Canon EOS-1D Mark IV Digital SLR camera. The EOS-1D Mark IV is a high-speed multimedia performance monster with a 16-megapixel Canon CMOS sensor, Dual DIGIC 4 Imaging Processors, and 14-bit A/D data conversion, all at 10 frames-per-second (fps), with the widest ISO range Canon has produced to date. This new camera also features 1080p Full High-Definition video capture at selectable frame rates packaged in Canon’s most rugged and durable professional camera body.

The crowning achievement of Canon’s 1D Mark IV Digital SLR is its new autofocus system that starts with 45 AF points including 39 high-precision cross-type focusing points capable of tracking fast moving athletes or wildlife accurately at speeds up to 10 frames per second. With greater subject detection capability than ever before plus a newly redesigned AI Servo II AF predictive focusing algorithm, the Canon EOS-1D Mark IV camera sets new standards for autofocus performance among professional digital SLRs. Whether shooting for the six o’clock news or the front page, the EOS-1D Mark IV Digital SLR is the quintessential camera to freeze fast-moving action with high-speed stills or capture stunning HD video with dynamic color and image quality. To accompany the new EOS-1D Mark IV Digital SLR camera, Canon is also announcing a new accessory, the WFT-E2 II A wireless file transmitter providing photographers with a wide range of professional digital connectivity options.

“Canon works hard to be the imaging leader in all our business endeavors. This goal has fueled our innovation and R&D efforts to engineer the most advanced autofocus system Canon has ever produced. We are proud to announce the camera that will deliver the ultimate in imaging quality to professionals working in all areas of multimedia imaging, whether it’s action photography, photojournalism or HD video and cinematography,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The Canon EOS-1D Mark IV camera will intrigue professional photographers in virtually every category from photojournalism and sports through nature, wedding, portrait and fashion to commercial, industrial and law enforcement. What makes the EOS-1D Mark IV camera different from its predecessors, in addition to numerous focusing system and image quality improvements, is its exceptional Full HD video capture capability. With this new level of functionality, the 1D Mark IV Digital SLR is destined to appeal not only to professional still photographers but also to a diverse market of professional videographers and filmmakers who are looking for exceptional Full HD video quality, amazing low-light performance, outstanding portability and a level of durability unheard of in most HD video cameras in this price range.

New 45-Point Autofocus System
The new EOS-1D Mark IV Digital SLR camera features Canon’s most advanced Autofocus system to date. It is equipped with a newly developed 45-point AF sensor featuring 39 high-precision cross-type AF points, and an all new AI Servo II AF mode that gives still photographers the power and performance to track and focus a fast-moving subject at speeds up to 10 frames per second. With more than twice as many cross-type focusing points as the EOS-1D Mark III and a new AF sensor construction that improves performance in low light and with low contrast subjects, the EOS-1D Mark IV has greater subject detection capabilities than any previous EOS model. To complete the range of AF improvements, Canon has developed a new AI Servo II AF predictive focusing algorithm that significantly improves responsiveness and stability by making better decisions on focus tracking in a variety of shooting conditions.

Amazing High ISO Performance
Wedding and event photographers shooting in low light without the benefit of a flash can take advantage of Canon’s widest ISO range and highest performance ever. The EOS-1D Mark IV camera’s ISO speed settings range from 100 up to 12,800 in 1/3 or 1/2 stop increments with ISO Expansion settings of L: 50 for bright light or H1: 25,600, H2: 51,200, and H3: 102,400 for even the most dimly lit situations. Photographers and documentary filmmakers working in available light will be impressed by the low-noise image quality of the 1D Mark IV, capturing amazing still images and video footage even at speed settings as high as ISO 12,800. High ISO, low light still images are further enhanced by Canon’s adjustable High ISO Noise Reduction feature, now a default setting in the camera.

The EOS-1D Mark IV, EOS HD Video Powerhouse
Over the past year, Canon’s EOS HD Video technology has changed the way users capture 1080p HD video and opened new doors for multimedia journalists and Hollywood cinematographers alike with full manual exposure control, selectable frame rates, and interchangeable lenses on some of the largest and most sensitive image sensors on the market. Canon continues this innovation trend with the new EOS-1D Mark IV Digital SLR with Full HD capture and full manual exposure control, plus selectable frame rates on an all-new APS-H-sized image sensor that’s similar in size to a Super 35mm motion picture film frame. The large sensor allows filmmakers to achieve shallow depth-of-field just as cinematographers have traditionally done using much higher-cost motion picture equipment.

The more than 50 Canon EF lenses compatible with the EOS-1D Mark IV give videographers incredible creative options, including an impressive selection of large-aperture professional L-series primes as well as zoom lenses, macro, Tilt-Shift and Fisheye optics. The Canon EOS-1D Mark IV allows for three video recording resolutions – 1080p Full HD and 720p HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio. The camera will record Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards. Sound is recorded either through the internal monaural microphone or via optional external microphones connected to the stereo microphone input. The camera also provides an in-camera video editing function allowing users to remove the start or ending of a video clip directly in the camera to eliminate unwanted footage and speed up post-production.

Image Quality and Performance
The heart of the EOS-1D Mark IV camera’s outstanding image quality is a newly developed 16.1-Megapixel CMOS sensor featuring Canon’s latest and most advanced proprietary technologies. These technologies include improved photodiode construction to enhance dynamic range and gapless microlenses that are positioned closer to the photodiodes for improved light gathering efficiency. The transmissive quality of the color filter array has been enhanced to improve sensitivity. Canon has also upgraded the sensor circuitry to improve noise reduction before the image data is exported from the CMOS sensor to the rest of the image processing chain.

With 60 percent more pixels than the EOS-1D Mark III, the EOS-1D Mark IV Digital SLR employs Dual DIGIC 4 Image Processors with approximately six times the processing power of DIGIC III for full 14-bit A/D conversion at 10 fps. High-speed continuous shooting up to 121 Large JPEGs is possible using a UDMA CF card. This camera also features three RAW shooting modes for versatility with Full RAW (approx. 16 million pixels), M-RAW (approx. nine million pixels), and S-RAW (approx. four million pixels). Three additional JPEG recording formats (M1, M2 and Small) are also available.

The 14-bit per channel conversion facilitated by the dual DIGIC 4 Processors provides smoother tonalities in final images capturing all 16,384 distinct tones in each channel (red, green and blue) at the full 10 fps frame rate. RAW images shot on the new Canon EOS-1D Mark IV use the entire 14-bit space when converted to 16-bit TIFF files in Canon Digital Photo Professional (DPP) software, which is supplied with the camera at no extra charge. The 14-bit A/D conversion is also the foundation for Canon’s Highlight Tone Priority feature that takes maximum advantage of the camera’s extensive dynamic range to preserve detail in highlight areas of the image. Canon’s new EOS-1D Mark IV Digital SLR also features an improved white balance algorithm making colors more accurate when shooting under low color temperature light sources such as household tungsten lamps.

The EOS-1D Mark IV Digital SLR features Canon’s Peripheral Illumination Correction function which corrects darkening that can occur in the corners of images with most lenses when used at their largest apertures. When activated, it is automatically applied to JPEG images and video clips as they are shot. For RAW images, it can be applied in DPP software.

Other new features include a large three-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution and a wide 160-degree viewing angle for enhanced clarity and more precise color when reviewing images and shooting video. The new in-camera copyright information feature helps professionals secure control over images by setting copyright data directly into the camera and appending that information to each image file in the Exif metadata. Additional features include a fluorine coating on the Low Pass Filter to further repel dust and enhance the EOS Integrated Cleaning System.

Minimize Post-Production with Enhanced Canon Auto Lighting Optimizer
Action photography truly is all about speed, capturing a fast subject with fast focusing and fast frame rates. However, all this speed might be wasted if it is slowed down by lengthy post-production procedures to adjust image quality. The EOS-1D Mark IV Digital SLR helps reduce post-production work with a powerful new Auto Lighting Optimizer (ALO) system. When enabled, Canon’s ALO automatically adjusts the image for optimal brightness and contrast on the fly during in-camera image processing, reducing clipped highlights while keeping shadowed areas as clear and detailed as they actually appear. By optimizing brightness and contrast in-camera, Canon’s ALO system significantly reduces the need for post-production image optimization, and gives photographers image quality they can take directly to press. Demanding professional photographers who tested ALO clearly stated that this one feature will reduce their post-production image optimization process by more than 75 percent. Canon’s ALO works with both RAWi and JPEG images as well as video recording.

Rugged Reliability
Canon has taken every measure to ensure that the EOS-1D Mark IV Digital SLR camera has the highest degree of weather resistance in the EOS line. The 1D Mark IV camera incorporates a wide range of design features that enhance its durability and reliability for professional assignments. For example, the 1D Mark IV’s body, chassis and lens mount are completely weather-resistant and 76 gaskets and seals surround all buttons and seams. The body covers and internal chassis, including the mirror box, are constructed with magnesium-alloy, one of the strongest and rigid metals available for its weight. For added strength, the lens mount is constructed with stainless steel. In fact, when used with Canon’s Speedlite 580EX II and/or most current L-series lenses, the entire camera system remains fully weather resistant, so professionals can concentrate on getting the shot instead of worrying about protecting their gear.

New Wireless Connectivity
Canon is announcing the availability of the new WFT-E2 II A* wireless file transmitter exclusively for the EOS-1D Mark IV Digital SLR camera. The WFT-E2 II A wireless transmitter is an extremely small and versatile device that offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. In addition to adding the ability to connect to wireless networks over 802.11a, the new WFT-E2 II A adds a wealth of new professional features to the photographer’s tool kit. The new Camera Linking feature allows a single photographer to simultaneously fire up to 10 cameras remotely; and the updated WFT Server mode lets you remotely use Live View, control settings, and fire the EOS-1D Mark IV over the internet from anywhere in the world using a standard Web browser or many Web-enabled smart phones. Additionally, geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

Pricing and Availability
The Canon EOS-1D Mark IV Digital SLR camera is scheduled to be delivered to U.S. dealers in late December, and will be sold in a body-only configuration at an estimated retail price of $4,999.00ii. Final pricing and availability for the Canon WFT-E2 II A wireless file transmitter will be available later this year.

This is from Vincent LaForet’s blog

In 2008 we witnessed the birth of HD-DSLR Cameras.

In 2009 you will be introduced to cameras that can see in the dark better than the naked eye.

Just a little over a year ago my jaw dropped when I stumbled upon the 5D MKII and saw 1080p video coming off of a full frame chip for the first time.

Just a little over two weeks ago my jaw dropped even harder when I took a prototype of the Canon 1D MKIV outdoors to test it at night.  I was on the road, it was late and I had just rushed back to my hotel to get to the unit.  I was expecting a 1D body, with 24p, a 1.3 crop factor sensor, 10 fps for stills, a new AF system – 60 fps at 720p – and of course 1080p video.

Nothing prepared me for what happened next.

I set the ASA to high – and I pointed it towards an area lit by a single flood light.  The image was overexposed by 4-5 stops.  I then started to play with the settings, pointing my light into an area in complete shadow (my eye saw nothing but black) but on the rear of the LCD I saw sharp, green leaves as crystal clear as if it were shot in daylight.

I think it’s safe to say that every single filmmaker and photographer has always dreamed of cameras that can see what our naked eyes can see.  This time these cameras can actually see more.   Sure – they may not have the dynamic ranges of our eyes just yet – but they see more than my naked eyes can see in low light.


And that’s qualifies as a paradigm shift in my book.

The next few years will see photography and filmmaking redefined by technology.   While there is no substitute for exquisite lighting – artists will now be able to explore areas once thought impossible to photograph.

Think of all of the images you’ve missed throughout your career.   Think of all of the places you didn’t even consider going to film – because they were too dark.   Those days are now but a distant memory.  Even if you don’t need to go into the shadows – imaging photographing at f 5.6 or at f 8 at some point soon in areas you are struggling to capture at 1/50th, f 2.8 at 1600 ASA currently…

In many ways these past two weeks felt like Reverie all over again.   I had not expected to get the 1D MKIV until after the Photo Plus Expo.    When I got a voicemail letting me know in a very unceremonious way that two units were waiting for me to try  ”we need your shipping address” the message said – I was surprised.  Canon did not have any plans to have me or anyone shoot anything this year in time for the announcement.

When I saw what this camera did at night, I pushed the all hands on deck button – calling my friends and colleagues to engage in an “interesting project” that I could not elaborate on.   They pretty much had to trust me that it might be worth their time and commit to it blind.

Once again – we had very very little time to prepare.  Just under 72 hours.  And we were ALL busy working on other jobs as this economy seems to be awakening again.

What you will see below – is what we were able to pull together under a pretty ridiculous deadline.  Once again there were no film permits (no time… no time to location scout and apply) no fancy anything.  But I did have some incredibly talented people out here in LA willing to help on such short notice – we shot over two nights in downtown Los Angeles.  Most of the cast and crew had worked a 10-12 hour day shift.  We all worked close to 48 hours straight last weekend.  Everyone was bitten by the bug if you will – once they saw what this camera could do. I was incredibly fortunate to work with one of the best group of people out there -period.

Here is the main point that I hope you take into account: the short film you are about to watch was shot in pretty much the very worst light that I could possibly find in an evening urban landscape.  I did not chose “pretty lighting” in a mall or under neon signs.  That would have been cheating in my book.

The short was shot near East 6th and Mateo St. in Los Angeles – in an industrial part of the city.   If you live in the area – go check out the area – you won’t believe the video you see below came from the poor lighting in that area.   Sodium and mercury vapor lights.   That’s it.  Really awful lighting.

Not a single external light source was used / added.  In other words I did not use a single flashlight, LightPanel, flood light – nothing.   For one shot only I pulled out a silver reflector… just to say we did it really.  And yes it worked (see the shot of the young girl.)

The ISO stayed locked in the 6400 ASA range – with a very few shots hovering 1 stop above and one or two set to 3200 ASA because we had TOO MUCH depth of field…(on the bridge.)  At one point I found myself shooting at 12,800 ASA by mistake – and I didn’t even notice any noise on the rear LCD in the skies… 6400 ASA is the new 1600 ASA – maybe even the new 800 ASA.  Stop to ponder that for a second  – and what it can mean to the way you approach your craft.

In the upcoming days I will share more details, behind the scenes, post workflow etc. A huge thanks goes out to my co-directors Stu Maschwitz, David Nelson and our incredibly resourceful Uber Producer Michele Abbott – and every single member of the cast and crew.  For now – if you even made it this far – take a look into the shadows:



  1. Very exciting! The 1D line is in need of a refresh, and smacking Nikon with an 11fps beast would be awesome. Also, the number 4 in Japanese is pronounced ‘Shi’, which has a few meanings besides 4, one of which is ‘death’. so… yeah, a bit unlucky 🙂 And it’s fun when superstition is acknowledged by a major company.

    1. So how do you explain the Nikon F4 a very nice camera in its with a lot longer life that the current crop of dslr’s. The last time Canon used the v was the Eos 1v for victory is you believe some of the reviews of the time.

      Whilst I don’t believe we’re at the end of the DSLR development yet in term’s of mega pixels the 21 of 5D m2 and the 1D m3 realy push the current range of L series zooms to the limits. 90% of photo don’t get printed above A4 is the a real need for more than that.

      11 fps when’s the mirror going to be down so you can see what your shooting.

      So maybe if this is the 1D v it will be a while before its replacement is out.

      My Bank manager will like that.

  2. A faster sensor would likely improve rolling shutter. That it’s smaller than full frame also helps that issue. There is also a rumour that improvements in the DiGiC chip featured in the 1DMKV (DiGiC V) will address aliasing as it will scale the 16MP image to 1080p better. But Jim at RED things aliasing is due to Canon skipping lines of pixels on the sensor to achieve 24fps, since the sensor is only capable of 11fps. So we’ll have to wait and see what tricks Canon have up their sleeve before knowing if the video mode will be better than on the 7D / 5D.

    1. ‘sensor is only capable of 11fps’

      Thats a misnomer.

      The sensor outputs limits are not in correlation with its stills fps.

      That is entirely restricted by moving a large mirror assembly for each exposure.

      It is that mechanical link that keeps stills fps down, not just physically moving that mirror up and down so many times a second, but doing it reliably for upwards of 300k exposures that pro stills demands.

      What the sensor itself can output is entirely different, I beleive current canon cameras update the liveview much faster,showing the sensor and associated electronics are not fps tied, this new one will no doubt be the same.

      1. Noggin, the theory is that the sensor can’t output all it’s resolution at once, at 24p. So it has to skip lines to achieve video. This is why you get jello – because it’s an electronic shutter which scans from top to bottom as quickly as it can, 24 times a second. Also, the current image processor isn’t powerful enough to scale 16 megapixels to 1080p, 24 times a second even if the sensor was capable of outputting it’s whole resolution fast enough in the first place. The sensor is capable of full 16MP output at 10fps in stills mode, that may or may not be mirror restricted but if it was capable of 24fps, then video mode would not have aliasing or have to skip lines.

        We’ll have to wait a little longer for a aliasing / rolling shutter free EOS video mode in my view. But for now the higher low light performance of the Mk IV is a great addition.

  3. Oooh, Nikon D3 was doing 11FPS on cropped format in 2007. 11 FPS on small sensor ain’t nothing new. But I’d rather shoot full frame and have the option to shoot crapped, eh, I mean, cropped format, when I *have* to.

  4. Somehow I doubt it will be the perfect video DSLR simply because of the price. Part of what makes vDSLRs so attractive is that the price is so much lower than a prosumer camera + 35mm adapter combo. At a price point as high as it’s at, the D3s didn’t need to include many video features. Similarly if this camera is $4,000-$5,000 I don’t think they’re going to be selling it to the same video people who bought the 5D, the GH1, the 7D, etc, because for $5000 you could easily get an HMC-150 and a Letus, and have a really nice setup without any of the SLR limitations.

  5. Its sort of on the way. If your ticket will let you I would decide when you hear the final spec. I still feel that these pro beasts sort of defeat the object for VDSLRS’s if you add a lot of weight without real killer extra features on the video side. The main appeal is then only those people who need a 1D for their kind of stills.

  6. At twice the price of the 7D, a 1.3x crop vs 1.6x crop and 11fps vs 8fps does not sound like a particularly compelling upgrade.

    In practice, even for sport shooters, how big is the operational difference between 11 and 8fps?

    I’d hope for video recording/scaling/shutter improvements, but I’d imagine that Canon already included their latest video tech into the 7D and a pro still camera like the 1D is unlikely to focus so heavily on video improvements.

    1. Film makers will be willing to pay for the 1D if it has a codec with 16 bit color/4:2:2 subsampling. Other than a camcorder body, the codec is the last hurdle.

      Canon would be more willing to release a broadcast codec at a higher price point.
      I am sure that they are very cautious about cannibalizing their prosumer and even broadcast video camera line.

      Pure speculation but it would be a natural progression from the 5D introducing full HD. The 7D introducing refinements and multiple, common frame rates. The 1D with a broadcast codec. Then finally a camcorder body?

      Canon’s problem is that their DSLRs are killing their video cameras…I mean, who’s buying an XLH1S for $8000. And you even have to think twice about shelling out $3500 for the XH A1.

  7. The codec is still a big issue for me, assuming nothing has changed. H.264 is good overall, but it’s not even close to ideal as an acquisition codec.

    I’d like to see Canon adopt SMPTE VC-3 (aka DNxHD) personally. It’s ratified standard, well suited to editing and pretty easy to support.

    Also – 25/50 dammit!

  8. I just saw this film of Vincent Laforet on SmugMug. I am very impressed with the quality of the night shots. But also I think there is a serious improvement concerning this ongoing rolling shutter issue of the 5DmkII and the 7D. Not sure, but after watching this film several times, I think there is just no such issue anymore. Very impressive.

    1. Could that be because of the smaller pixel count? It may have just been careful editing as this film is more of a showcase than a test. It’s still digic 4 so not much new on the codecs. Wonder what will be the first thing to get digic 5?

  9. There are a couple of reasons why this is more appealing for video over the 7D and the 5D:

    (1) Low-light abilities are a incredible.
    (2) Rolling shutter issues are GREATLY improved.
    (3) 1.3 crop strikes me as the perfect size for video

  10. not surprised they’re calling it the mkIV. I’m going to S. Korea this friday to shoot some work with the 7D. Last time I went, none of the hotels or buildings I rode an elevator in had a fourth floor (or button). That’s because the number 4 looks similar to the Chinese character for death. I’m sure Roman numerals don’t apply.

  11. Ok, here is a slight rant…

    Yes, these cameras are awesome, and the images are beautiful.

    If Canon make these chips/sensors this size and put them in still cameras, why aren’t we seeing these in chips in video cameras? Ones that can use Canon lenses? Similar to the EX 3?

    If Canon could do that…now that would indeed be something!

    All the goodness of Canon glass, real audio, longer record times, perhaps even a way to record to some outboard device (i.e. Firestore)

    That’s what I want!

  12. Has anyone found out what the HDMI port outputs? in either live view mode or record mode.

    It could be the holy grail when teamed up with a nano flash.

  13. Ya,,,But after all still camera must still camera moving camera must be a moving camera… all of that equipment now is going down,,, Actually I owned 2 1D but I’m happy of it,,,The credibility of those equipment, is now dropping down because of the technology it self,,and the professionalism of it…look? we are now like a cellphone fanatics,,,

  14. Any news on the HDMI output yet or the mb/s? I have spoken to the media village at the BBC and they will not accept any of the video dslrs as true HD. Firstly because their cut off is 50mb/s and secondly because they have invested in the panasonic HDX 900 tape based workflow and can only handle one fully tapeless production at a time. Consequently, they actively discourage the use of any tapeless acquisition and will continue to do so for at least another year. By special arrangement, the 5d has been used but it can only be used in the 25% of an HD programme allowed to be non HD.The only hope is through the nanoflash to boost the mb/s and get out of the h264 codec which the beeb do not like either (which has on occasion been done with the ex3).
    The low light capabilities look amazing on the 1D but if no broadcaster accepts it as HD, what’s the point?

    1. lots of broadcasters do. It’s just some are more picky than others. BBC HD and SKY HD in UK have the highest bar, but many others take it. After all am going to Lucasfilm on Saturday to push the 7D to it’s limits to see if it can be used for their feature film production

      1. Its really frustrating speaking to the mbs bean counters! Im off to Norway this weekend to try and film the northern lights with the hdx (fat chance!) – how much easier would that be on the 1D!? Instead of grain free awesomeness its all going to be a bit pants. I’ve also been using the letus for a while and the BBC really like it but I could get the same if not better results with the 5D and they wouldn’t have to pay excess baggage and it would give my back a rest. Ho Hum. Know any rumours about the 1Ds?
        See you at the

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