Darksiders Peliculas Completas En Espa EGG or its derivatives, such as yolk, egg white, egg protein isolates, albumin, etc. NONE: MILK or its derivatives, such as whey, casein, caseinates, yogurt, cheese, butter, etc. NONE: PEANUTS or its derivatives. Search for symbols, signs, flags, glyphes and emblems matching the query: and. Theoretical Accounts of Compassion. Three alternative theoretical approaches to compassion can be discerned in the literature (see Table 1), and yield contrasting predictions that we will assess in our empirical review. Furk.net is your personal secure storage that fetches media files and lets you stream them immediately You can use it to stream video or listen to your music from PC, smartphone, HTPC or even a game console (XBOX, PS3). An Evolutionary Analysis and Empirical Review. The publisher's final edited version of this article is available at Psychol Bull. See other articles in PMC that cite the published article. Abstract. What is compassion? And how did it evolve? In this review, we integrate three evolutionary arguments that converge on the hypothesis that compassion evolved as a distinct affective experience whose primary function is to facilitate cooperation and protection of the weak and those who suffer. Our empirical review reveals compassion to have distinct appraisal processes attuned to undeserved suffering, distinct signaling behavior related to caregiving patterns of touch, posture, and vocalization, and a phenomenological experience and physiological response that orients the individual to social approach. This response profile of compassion differs from those of distress, sadness, and love, suggesting that compassion is indeed a distinct emotion. We conclude by considering how compassion shapes moral judgment and action, how it varies across different cultures, and how it may engage specific patterns of neural activation, as well as emerging directions of research. Keywords: Compassion, Empathy, Sympathy, Prosocial Behavior, Altruism. Compassion is controversial. Within studies of morality, theoretical claims about compassion reach contrasting conclusions: some theorists consider compassion to be an unreliable guide to judgments about right and wrong, whereas others view compassion as a source of principled moral judgment (Haidt, 2. Nussbaum, 1. 99. 6, 2. Pride Signs Of Purity RarestWithin debates about the nature of altruism, researchers have sought to document that a brief state like compassion is a proximal determinant of prosocial behavior (Batson & Shaw, 1. Eisenberg & Miller, 1. Hoffman, 1. 98. 1). Within evolutionist thought, controversies have swirled around whether compassion and sympathy are the products of evolutionary processes, as Darwin assumed, or tendencies too costly for the self to align with the tenets of evolutionary theory (Cronin, 1. These debates highlight the question that motivates the present review: What is compassion? Ironically, despite pervasive theoretical claims and numerous studies of a state- like episode of compassion, it is largely absent from traditional emotion taxonomies and research (e. Boucher & Brandt, 1. Ekman, 1. 99. 9; Izard, 1. Roseman, Spindel, & Jose, 1. Smith & Ellsworth, 1. Tomkins, 1. 98. 4; for an exception, see Lazarus, 1. Instead, compassion has been described as a vicarious experience of another's distress (e. Ekman, 2. 00. 3; Hoffman, 1. Shaver, Schwartz, Kirson & O'Connor, 1. Post, 2. 00. 2; Sprecher & Fehr, 2. Underwood, 2. 00. Although recent authors have treated compassion as an emotion (e. Batson, 1. 99. 1; Haidt, 2. Sober & Wilson, 1. What is compassion?”The central goal of this paper, therefore, is to present a functional analysis of compassion, and to review the evidence related to what is known about the appraised antecedents, experience, display behavior, and physiology associated with compassion. Before delving into our own theoretical account, we clarify our definition of compassion and distinguish it from related states. Definitions of Compassion and Levels of Analysis of Affective Experience. We define compassion as the feeling that arises in witnessing another's suffering and that motivates a subsequent desire to help (for similar definitions, see Lazarus, 1. Nussbaum, 1. 99. 6, 2. Table 1). This definition conceptualizes compassion as an affective state defined by a specific subjective feeling, and differs from treatments of compassion as an attitude (Blum, 1. Sprecher & Fehr, 2. Post, 2. 00. 2; Wisp. This definition also clearly differentiates compassion from empathy, which refers to the vicarious experience of another's emotions (Lazarus, 1. Theoretical Positions on Compassion as Emotion. Other researchers have referred to this kind of other oriented state with different terms (see Wisp. For example, Batson defines empathy as a family of responses to another “that are more other- focused than self- focused, including feelings of sympathy, compassion, tenderness, and the like” (Batson, 1. Similarly, Davis's empathic concern scale “assesses . Eisenberg and colleagues (1. Darwin, 1. 87. 1; Eisenberg, Michalik, Spinrad, Hofer, Kupfer, et al., 2. Feather, 2. 00. 6; Post, 2. Wisp. The term pity is sometimes used to describe a state close to what we conceptualize as compassion (Aristotle as discussed in Nussbaum, 1. Weiner, Graham, & Chandler, 1. Weiner, Perry & Magnusson, 1. Pity, however, involves the additional appraisal of feeling concern for someone considered inferior to the self (Ben Ze'ev, 2. Fiske, Cuddy, Glick & Xu, 2. We prefer the term compassion because it encompasses a slightly broader set of states than sympathy (Nussbaum, 1. We would place the states labeled with terms like “sympathy,” “pity,” and “empathic concern” into a family of compassion- related states that center upon a concern for ameliorating the suffering of another individual (for discussion of the concept of emotion families, see Ekman, 1. As part of an emotion family, these states likely share central features with compassion: similar antecedents, key appraisal components, core action tendencies, and similar physiological responses and signal behaviors. They likely differ from compassion in terms of peripheral appraisals (for example appraised dominance in the case of pity) and certain display behaviors (Keltner & Lerner, 2. Empirical studies support this emotion- family approach to compassion and closely related states. Lexical studies of emotion terms in English (Campos, Shiota, Gonzaga, Keltner, Goetz & Shin, 2. Shaver et al., 1. Indonesian (Shaver, Murdaya, & Fraley, 2. Chinese, and Italian (Shaver, Wu, & Schwartz, 1. In our own laboratory, participants' sorting of 1. Campos et al., 2. A study of both positive and negative emotion terms, however, found that sympathy and pity were sometimes placed in a positive emotion category with compassion, but more often placed in a category of sadness- related terms (Shaver et al., 1. Several self- report studies lend further credence to the claim that compassion and sympathy are closely related, and plausible members of an emotion family. These studies consistently reveal that ratings of compassionate and sympathetic load on a common factor (Batson, Fultz, & Schoenrade, 1. Fultz, Schaller, & Cialdini, 1. Many studies aggregate self- reports of more than one term, but others use only single- item measures or terms that are more appropriate to children's vocabulary (see Table 2 for a summary). In light of these findings, in the present review we synthesize what is known about compassion, pity, and sympathy, with an eye towards possible distinctions within this family. A critical need is for further research on the distinctions between compassion, sympathy, and pity. Antecedents, Appraisals, and Subjective Experience of the Compassionate Response. Empirical studies of compassion can also be organized according to a levels of analysis framework for studying affective experiences (Kahneman, 1. Rosenberg, 1. 99. Emotions represent a first level of analysis, and are brief, context- specific responses focused on a clear cause (Ekman, 1. Although compassion is listed in few emotion taxonomies, numerous studies have examined the characteristics of brief experiences of compassion, or related states such as sympathy or empathic concern, which we synthesize in this review. At a second level of analysis, moods or sentiments are assumed to be longer lasting than emotions, less focused on a particular cause, and less context- bound than specific emotions (Watson & Tellegen, 1. In a later section we will consider how brief experiences of compassion might develop into enduring sentiments. Finally, emotional traits refer to general styles of emotional responses that persist across context and time (Larsen & Ketelaar, 1. Mc. Cullough, Emmons, & Tsang, 2. Shiota, Keltner, & John, 2. Studies of people prone to feeling compassion, or related states like empathic concern, are relevant to an understanding of what compassion is, given the supposition that emotional traits share core appraisals and action tendencies with the associated emotional state. Numerous studies of compassion, which we consider here, have examined trait- like tendencies towards briefer experiences of the state. Later we will consider how brief experiences of compassion might interact with the trait- like tendency to experience compassion. Theoretical Accounts of Compassion. Three alternative theoretical approaches to compassion can be discerned in the literature (see Table 1), and yield contrasting predictions that we will assess in our empirical review. A first account holds that compassion is another name for empathic distress (e. Ekman, 2. 00. 3; Hoffman, 1. People often mirror the emotions of those around them and vicariously experience others' emotions (Hatfield, Cacioppo, & Rapson, 1. From the empathic distress perspective, compassion is simply a label that people apply to their vicarious experience of distress in response to another person's suffering. The clear implication is that the state of compassion should be associated with the expressive behavior, physiological response, and underlying appraisals of the state it is mirroring, most likely distress, pain, sadness, or fear. A second account holds that compassion is not its own emotion, but rather a variant or blend of sadness or love (e. Post, 2. 00. 2; Shaver et al., 1. Sprecher & Fehr, 2. Underwood, 2. 00. In English, lay conceptions of compassion often intermingle with conceptions of sadness and love (Shaver et al., 1. In Shaver and colleagues' influential prototype analysis of emotion terms, U. S. Participants categorized the word compassion most often with love, tenderness, and caring.
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D Mark III - Canon Canada Inc. Features. Newly designed 2. Megapixel full- frame CMOS sensor, 1. A/D conversion, wide range ISO setting 1. L: 5. 0, H1: 5. 12. H2: 1. 02. 40. 0) for shooting from bright to dim light and next generation DIGIC 5+ Image Processor for enhanced noise reduction and exceptional processing speed. New 6. 1- Point High Density Reticular AF including up to 4. The Canon EOS-1D X takes the blazing fast 10 fps frame rate of the 1D IV and adds 2 fps to that number for an incredible 12 fps frame rate. The sound of a 12 fps is.
22.3 Megapixel full-frame CMOS sensor The EOS 5D Mark III features a newly developed Canon full-frame 22.3 Megapixel CMOS sensor that's designed from the ground up to.AF points with f/4. AF points (sensitive to f/2. FCL Metering with 6. AF and colour information for optimizing exposure and image quality. EOS HD Video with manual exposure control and multiple frame rates (1. GB automatic file partitioning (continuous recording time 2. The Canon EOS 5D MkII is Canon’s latest full frame DSLR. Externally it is very similar to the Canon EOS 5D. The only really obvious difference is the larger LCD. A full 2. 4 x 3. 6mm, the sensor captures 5. A new photodiode structure with an increased photoelectric conversion rate increases the sensor's sensitivity by approximately 2 stops over previous models, meaning higher ISOs with the lowest noise of any EOS digital camera. And a 2- line 8- channel simultaneous signal readout means speeds of up to 6. RAW + JPEG) are possible! A/D conversion, wide range ISO setting 1. L: 5. 0, H1: 5. 12. H2: 1. 02. 40. 0) The EOS 5. D Mark III not only offers 1. ISOs, and a score of new options to enhance shooting in varied and fast- changing lighting situations. With a standard range of ISO 1. EOS 5. D Mark III represents a 2- stop increase in sensitivity over previous cameras. Thanks to the improved signal- to- noise ratio of the new sensor and powerful noise reduction, the EOS 5. D Mark III can shoot at expanded sensitivities down to ISO 5. L) and up to 5. 12. H1), and even 1. 02. H2)! Beyond the obvious advantages of its wide ISO range, the EOS 5. D Mark III has automatic ISO settings, found on the dedicated ISO menu. Minimum and maximum ISO settings can be specified, as can a user- defined range, plus full auto and manual. DIGIC 5+ Image Processor for enhanced noise reduction and blazing processing speed For a whole new level of performance, the EOS 5. D Mark III uses a DIGIC 5+ Image Processor. Working with two 4- channel A/D converter front- end processing circuits, and delivering speeds of up to 6. RAW + JPEG), and the DIGIC 5+ Image Processor improves data processing performance and features new algorithms that promote greater noise reduction at higher ISOs. In addition to conventional image processing functions the DIGIC 5+ Image Processor offers real- time compensation for chromatic aberration in both still and motion images. With the power of this processor, speed improvements are noticeable from the instant the camera is turned on and the stunning results speak for themselves. All new 6. 1- Point High Density Reticular AFThe newly designed 6. Point High Density Reticular AF features an Offset Array Sensor (with staggering AF point arrangement) to deliver greater accuracy, no matter the situation. It offers multi- zone wide- area AF for better tracking, has 5 central dual cross- type points (f/2. EV- 2 for a central point with a f/2. The EOS 5. D Mark III has a dedicated AF menu tab, so AF can be controlled without having to go through custom function menus. It also has 6 AF point selection methods (Spot, Single Point, Single + Adjacent 4 Points, Single + Adjacent 8 Points, Zone Selection, and Automatic AF Point Selection), plus a dedicated AF configuration tool for control of AI Servo AF III tracking parameters (tracking sensitivity, acceleration/deceleration tracking, and AF point auto switching). Intelligent Metering, Fast. FCL Metering with 6. The EOS 5. D Mark III features Canon's multi- layer 6. FCL (intelligent Focus Colour Luminance) Metering System that integrates the cameras AF system into its readings. By taking into account the colour and luminosity surrounding the chosen AF point(s), this new system delivers an entirely new level of accuracy, especially in situations where the light changes quickly. The metering sensor enables evaluative, center weighted, partial and spot metering, plus offers 5- step exposure compensation for perfectly exposed images, every time. Brilliant HD Recording on Demand. EOS HD Video with manual exposure control, multiple frame rates and selectable All i- frame or IPB compression. Addressing the requests of the pros and building on the unprecedented success of its namesake, the EOS 5. D Mark III captures HD video with a level of sophistication on par with professional movie cameras offering phenomenal performance on a DSLR. It offers both All- I and IPB compression, supports H. MPEG- 4 AVC High Profile, and automatically splits files greater than 4. GB (FAT specifications) for extended recording without interruption. It offers the option of timecoding during recording only (Rec Run) or at all times (Free Run), useful for multi- camera shoots. It also features improved sound recording adjustment capabilities, offering 6. Quick Control screen during video shooting, plus a dedicated headphone jack for convenience in shooting. The CMOS sensor's new drive system significantly increases image processor performance, reducing colour artifacts and moir. Although the file size is larger than IPB, each frame is not affected by the previous and next frames, making it suitable for editing and extracting frames. IPBCompresses the movie frame by referencing the previous and next frames. High compression is used, making it suitable for recording long movies. Recording Time based on 8. GB Memory Card. Maximum Record Time. ALL- I Record Time. Ideal for fixed focus situations, the EOS 5. D Mark III can shoot up to 6. RAW + JPEG). Phenomenal Performance in Any Condition. Magnesium alloy body with shutter durability and dust- and weather- resistance. For professionals who demand nothing less than the best, the EOS 5. D Mark III is designed to perform superbly, even in the most treacherous environments, every time. The body is constructed of rigid, high- strength magnesium alloy for rugged performance and features a new grip design for easier finger placement and reduced hand fatigue. Its newly redesigned shutter has lightweight and carbon- fiber blades, and is rated to maintain up to 6. The EOS 5. D Mark III and accessories like the new Wireless File Transmitter WFT- E7. A and GPS Receiver GP- E2 have extensive gasketing for improved dust and water resistance, even at their connection points. Self Cleaning Sensor Unit. The Self Cleaning Sensor Unit featured in the EOS 5. D Mark II has been optimized for the new EOS 5. D Mark III to deliver even greater dust removal for clearer images. To prevent dust accumulation, the system removes particles adhered to the surface of the infrared absorbing/ultraviolet- blocking glass in a frontward direction by vibrating the glass with ultrasound. The particles are then absorbed by an adsorbent at the bottom of the unit; the unit itself is completely sealed for protection against external contaminants, and its front face of the low- pass filter 1 is treated with an anti- dust fluorine coating making it easier to remove damp or sticky dust particles. Sophisticated Composition, Simply. Intelligent Viewfinder with Superimposed LCDThe EOS 5. D Mark III's Intelligent Viewfinder offers a sharp, bright approximately 1. With a new construction featuring aspherical lens elements, the viewfinder displays less distortions and colour aberrations than previous models. It uses a transparent LCD to superimpose a customizable combination of focus points and gridlines directly over the image. The AF status indicator can even be directed to display within or outside of the viewfinders image area. With the intelligent viewfinder, unlike with other cameras, the photographer has the choice of seeing shooting information or looking only at the scene in front of the camera. The ability to effectively erase all shooting data and turn it back on with the touch of a button gives the photographer the opportunity to concentrate simply on looking and composing the photograph without distraction, a great advantage in numerous shooting situations. A Screen with A View. It's ideal for reviewing settings and images, as well as for shooting in Live View mode. In Live View, grid lines can be displayed in 9 sections, 2. For image review, the EOS 5. D Mark III has a new, dedicated Magnify/Reduce button. While pressing the button, zooming in or out (up to 1. Main Dial. Images can be protected or erased quickly, individually or in batches, and slideshows can be created with some or all images and can be sequenced by date, folders, movies, stills or rating. A feature guide can be accessed for the selected menu, providing detailed reference information whenever needed. Expanding Creativity, Simply. New High Dynamic Range (HDR)With its new High Dynamic Range (HDR) mode, the EOS 5. D Mark III can merge 3 images of varying exposure, in camera, capturing a broad range of shadow and highlight detail and delivering an image with stunning tonal range. Adjustable to cover a range of . It offers 4 different compositing methods for proper exposure and composition: additive, average, bright, and dark. Multiple exposure shots can be taken in both RAW and JPEG shooting modes, previously captured RAW images can be used as a starting point, and cumulative results can be observed and corrected in real time on the camera's LCD screen. For multiple exposure captures of quickly moving subjects, the EOS 5. D Mark III even has a specific continuous shooting multiple exposure mode. More Control with More Controls. Improved handling with addition of new customizable controls. Reconceived based on the experience and feedback of professional users, the EOS 5. D Mark III's new ergonomic design is more comfortable and intuitive than ever. With a refined and intelligent layout of all control buttons and dials, shooting settings can be made with just the right hand, and quick image check and image processing operations with just the left. The grip has been redesigned for easy holding both when shooting and when carrying the camera. The rubber skin coating is designed for all day comfort in the hand, and coats the cameras card slot cover as well. Canon 5. D Mark II Review: Full Review. D Mark II Summary. The Canon EOS- 5. D Mark II raises the standards of the entire EOS line, as it is the first EOS digital SLR camera to offer both still and video capture. The Canon 5. D Mark II also includes most of the hardware and software upgrades that the company introduced on the Canon 5. D. Imaging Resource rating. Canon 5. D Mark II Overview. Reviewed by Shawn Barnett, Dave Etchells, and Zig Weidelich. Review Date: 0. 1/2. The Canon EOS- 5. D Mark II raises the standards of the entire EOS line, as it is the first EOS digital SLR camera to offer both still and video capture. The Canon 5. D Mark II also includes most of the hardware and software upgrades that the company introduced on the Canon 5. D. Its upgrades are welcome, because though the Canon 5. D leads the race for overall image quality for many photographers, it lags behind in a few key areas, most of which improve with the 5. D Mark II. Though no one at Imaging- Resource. D. Sony's latest digital SLR, the A9. SLR performance, at least in terms of resolution, and the Canon EOS 5. D Mark II indeed outperforms that camera in terms of its noise- to- detail ratio at high ISO. Canon also takes on the Nikon D3 and D7. D Mark II also offers an expanded ISO range from 5. While the former two cameras achieve 1. Canon has also included the new DIGIC 4 processor, capable of handling the extremely large 1. RAW images at the new high speed of 3. The new 9. 20,0. 00- dot LCD introduced on the Canon 5. D also makes it over to the new Canon 5. D Mark II, something the new 5. D's competitors also have in their arsenal. The 5. D Mark II also shares the Live View features found on the 5. D, complete with contrast- detect autofocus and silent shutter modes. Many of the other features that debuted on the Canon 5. D are included in the 5. D Mark II, but one major new feature that probably should have made it into the 5. D makes its stand instead in the 5. D Mark II: HD video capture. That's right, this high- end digital SLR can capture movies at 1. We'd have expected them to have this in the 5. D simply to go up against Nikon's D9. The Canon 5. D Mark II is quite a camera, one that seems to trump the other two full- frame digital SLR cameras in this price range. Indeed, the fact that its expected body- only pricing will be $2,6. Sony A9. 00 and Nikon D7. D Mark II that much more appealing. The Canon EOS- 5. D Mark II is slated to ship at the end of November 2. Canon will also offer a kit that includes a 2. Canon L lens for a price tag of $3,4. See the User Report below for the full story. Canon 5. D Mark IIUser Reportby Shawn Barnett, with Mike Tomkins. Called a Premium digital SLR at its introduction, the original Canon EOS 5. D has aged significantly over the last three years. Nevertheless, it's still regarded by many as the best image- maker on the market in its class, with a remarkably smooth tone curve. Indeed, I said that images from the EOS 5. D had an intangible quality that was difficult to quantify. Everything has a more ? So much has changed in the market since 2. Nikon has thrown down the gauntlet in several areas of image quality, especially in terms of high ISO performance, that it would be understandable if Canon had to abandon the surprisingly good tone curve exhibited by the 5. D. Since there is no way to measure the unmeasurable, I'll have to leave it to you whether the Canon 5. D Mark II maintains the same level of magic, but what's sure is that Canon's attention to the high ISO issue has produced a camera whose high resolution images stand up to substantial enlargement even at the highest settings. The 5. D Mark II also gives you plenty of freedom to play confidently with ISO settings, moving with confidence up to ISO 8. The Canon 5. D Mark II is aimed at the high end of the enthusiast market, less so at the . It's also aimed at the professional photographer looking for a smaller body. Today there are far more photographers willing to pay for a serious digital SLR camera, and the Canon EOS 5. D delivers. The Canon 5. D Mark II is also a pleasure to use, feeling every bit a premium digital SLR, yet with the ease of a Canon 5. D. The appearance of the Canon EOS 5. D Mark II is all business, just like the rest of the cameras in this enthusiast lineup. Controls are almost perfectly placed, and will be familiar to owners of just about any Canon camera in its class dating back to the Canon 2. D. The body- only weight of the 5. D Mark II is 1. 7. These measurements are essentially identical to the original Canon 5. D. The camera is substantial, but not so bulky that it's hard to hold for those with medium- sized hands. The heft definitely adds to the 5. D Mark II's stability when shooting, and the big grip has a notch to help guide your hand to the perfect position every time. Those with smaller hands might find the 5. D Mark II a bit cumbersome. From the front, the 5. D Mark II has a slight redesign, with less of a nod to the 1. D aesthetic, particularly around the pentaprism housing. Three new elements stand out, though. The first is the new infrared remote control sensor that appears right below the self- timer light (between the grip and the lens mount). This feature has been missing from all of Canon's high- end digital SLRs until now, confined to the Rebel series. So instead of purchasing a rather limiting cable or an expensive remote control unit, you can buy an RC- 1 or RC- 5 remote control for under $3. Just beneath the 5. D badge are three holes for the Movie mode's monaural microphone. Below that is the Mark II logo that clearly distinguishes this model from the last. I also like the grippy surface on this side of the camera, combined with a flat front, which makes it easier to hold the camera with the left when checking images or making settings. One other item to consider when looking at the front of the Canon 5. D Mark II is that big mirror inside. It's a full frame camera, equal in size to 3. As great as that is, existing owners of more recent Canon hardware will have to leave their EF- S lenses out of the equation when considering a Canon EOS 5. D Mark II as their next camera, because EF- S lenses won't even mount on the Mark II. Their short back focus design sticks into the camera body so much that it would get hit by the large mirror; as such, the camera won't accept the lenses at all. Notably missing from the Canon 5. D Mark II is a pop- up flash, something we were happy to see on the Nikon D7. SLR. Even for pros, a small flash in a pinch is a welcome option. The larger 3- inch LCD pushed only a few items around on this decidedly large camera: the four buttons to the left have moved closer to the edge, and they're joined by the delete button (marked by a trashcan icon). The power switch, too, got nudged right a bit. Just right of the optical viewfinder are four holes for the speaker, where you can listen to audio recorded in Movie mode. The Print/Share button just left of the optical viewfinder also serves as the Live View mode toggle button. And the AF- ON button that first appeared on the Canon 4. D arrives on the 5. D Mark II. Also note the seal around the hot shoe, designed to mate with the Canon 5. EX II to keep water out. One bit that puts the Canon 5. D Mark II into the premium category is the small light sensor that appears just right of the power switch, which adjusts the LCD brightness based on the ambient light. The thumbgrip on the back is also large and textured for an excellent hold. From the top we get a view of the finest kit lens Canon has ever bundled with a camera, the image- stabilized Canon EF 2. L IS zoom lens. The Canon 5. D, like its competitors, has no Scene modes, though it does have three custom modes where you can store your own settings. Another new addition from the Canon 5. D is the new Creative Auto mode, which allows the user to adjust the Flash, resolution, drive mode, and Picture Style, as well as shoot RAW. A special menu lets you adjust aperture settings in terms of desired background blur, and exposure times in terms of whether you want the image darker or brighter. The control buttons to the right, appearing above the Status LCD have been reshuffled and regrouped from their positions on the original 5. D, with Metering and White balance bundled on the first button, AF and Drive modes on the second button, and ISO and EV compensation on the third button. The Status LCD light button has been moved from first position near the pentaprism to fourth. It might be that the larger pentaprism inside made this move necessary, as the Canon 5. D's illumination button didn't move. Larger viewfinder. Click for callouts. Viewfinder. The viewfinder in the Canon 5. D Mark II has a bigger pentaprism, and now offers 9. Owners of the original Canon 5. D will also need to know that along with the viewfinder improvements comes a change to a newer series of interchangeable screens. I still find that the 5. D Mark II's viewfinder vignettes somewhat when I look through it, but it is indeed larger than the original 5. D. It's also surprisingly larger than the Nikon D7. D7. 00's viewfinder is more comfortable to use. Finally, the 5. D Mark II's viewfinder is smaller than the 1. Ds Mark III and Sony A9. The Canon EOS 5. D Mark II's LCD display has also been upgraded to the same unit used in the Canon 5. D, which has a resolution of 9. Canon's triple coatings that aim to reduce glare, smudges, and scratches. Though at first the blue reflection is unfamiliar, it is superior in sunlight to some other displays on the market, including the original 5. D's clear LCD glass. Extra AF points. Autofocus system. The autofocus sensor from the original Canon 5. D has been carried over in the new 5. 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