Saturday, 1 August 2026

Upgrading a 2013 Mac Pro: CPU

Back in 2022 I bought a second-hand 2013 Apple Mac Pro. When it was new Apple sold it as a state-of-the-art 4K video editing machine, stuffed into a shapely metal corset, but it had problems. The cooling system struggled to evacuate the heat of its internal components, and as the years rolled on there was no way to upgrade the internal graphics hardware without a major internal redesign.
 
And so the launch models of the 2013 Mac Pro remained on sale completely unchanged for six years. In 2017 Apple discontinued the basic four-core model and cut the machine's price, simultaneously announcing that they were working on a replacement model, but they didn't upgrade the hardware. A twelve-core Mac Pro bought in 2013 was exactly the same as a twelve-core Mac Pro bought in early 2019, by which time it very a very poor deal.
 
The new Mac Pro finally came out in June 2019. It reverted back to the tower case design that had been used for the 2006-2012 models. On the upside it was state-of-the-art, but on the downside it was very expensive. And so the 2013 model had a second life on the used market as a relatively cheap video editing machine, especially when combined with an external GPU enclosure.
 
As of 2022 the 2013 Mac Pro is available cheaply second-hand. It's totally obsolete, but it's cute, and just as importantly it's feasible to send it through the post, so it has a certain amount of liquidity. At £2999 it was obnoxious, but for £199 it has charm. It doesn't make a lot of rational sense in 2026, but if you want a cheap all-in-one gaming PC that can run XCOM: Enemy Within and Fallout: New Vegas at max settings, comma, and you're prepared to fiddle with Bootcamp or hacky Windows installers, comma, it's an interesting choice. It's decent as a kind of left-field Mac mini as well. The humblest Apple Silicon-powered Mac mini is much more powerful, but the Mac Pro has ports, lots of ports.
 
 
The 2013 Mac Pro has a lot of ports. Ten ports. That's a lot of ports. The 2013 Mac Pro embodied two bold ideas. Firstly it did away with internal expansion in favour of a lot of high-speed ports. 4xUSB3, 6xThunderbolt 2, plus dual Ethernet and a HDMI port. It will drive six external monitors at 1080p without breaking a sweat, or alternatively three monitors at 5K.
 
On the downside it did away with PCI card support. Users who had hardware that connected to a PCI card were left in the cold, unless they bought an external PCI enclosure. A related problem is that the 2013 Mac Pro inevitably ended up with a spaghetti morass of cables coming out the back. The mass of cables took up less space than a 2005-2012 Mac Pro case, but it looked awful. And it didn't have FireWire, but that wasn't specific to the 2013 Mac Pro. Apple generally dropped FireWire with their 2012 models, and they did sell an adapter dongle.
 
The Pro came with a pair of graphics cards. That was its second big idea. One of the cards worked as a regular graphics card and the other was used as a general-purpose maths accelerator. The regular GPU is pictured on the right, with the maths accelerator on the left:
 
 
Sadly the dual-GPU idea was a disaster. Almost no software used the accelerator card. Final Cut apparently used it to speed up the preview display of some effects, but not video rendering. Civilization 5, the video game, apparently used it to speed up terrain generation. Despite the passage of thirteen years I can't find any other concrete examples of an application that used the card. Apple has a long history of coming up with technical solutions that fail to attract developers, such as the DSP chip in some of the Macintosh Quadra AV models, or the 64-bit processor in the PowerPC G5 range, or the Afterburner accelerator card that was an option for the 2019 Mac Pro. All of those things were great on paper, but almost nothing used them, so they were pointless.
 
The irony is that Windows actually can use the Mac Pro's second card to speed up graphics. AMD has a technology called CrossFireX that gangs the two cards together, SLI-style, but it only works with Windows. In my experience the aforementioned Civilization 5 - one of the few games I own that runs on Windows and MacOS - is smoother under Windows.
 
The dual GPU setup had some unfortunate side-effects. The two cards have to be arranged in a certain configuration - GPU on the right, maths accelerator on the left, as pictured above - and they both have to be present, so in practice if one card fails the other card can't be used as a spare. There were only three options (2gb-per-card D300, 3gb D500, 6gb D700), and they weren't sold separately. If you wanted to upgrade your D300 model to a D700 model you couldn't simply buy replacement cards from Apple, you either had to find them on the used market, or buy a complete new Mac Pro.
 
Both the form factor and the connector are unique to the Mac Pro, and no-one in China or anywhere else ever reverse engineered the design, so there were no alternatives. As of 2026, if one or other card fails the only practical solution is to replace the entire Mac Pro. In a twist of fate the base-level D300s are popular nowadays because they generate the least amount of heat and thus last longer. They're unimpressive, but the same is true of the other two cards. "They are all equal now."
 
But isn't that true of people? Aren't we similarly fragile? No, it is not true of people. If one of my lungs fails, I could survive with the other lung. Ditto my kidneys and testicles. God intended for the human animal to dominate this planet. Apple should have paid attention. Instead Apple strayed. Apple strayed from God's light.
 
About the one part of the 2013 Mac Pro that can be upgraded easily, beyond the RAM, is the CPU. 
 

I bought my Mac Pro purely so I could run Logic. I have an old FireWire audio interface, which connects seamlessly to the Mac Pro with a Thunderbolt-FireWire adapter cable. When I bought the cable it was £29, which seemed exorbitant. But then Apple discontinued it, at which point the price quintupled. It seems that there are still FireWire hold-outs in the world.  FireWire gives me a warm, pleasant feeling.
 
My Mac Pro is the basic, D300 model. It has a quad-core Intel Xeon E5-1620 v2, running at 3.7ghz, with 16gb of RAM, and the original 512gb SSD. With Open Core Legacy Patcher it runs MacOS Sequoia, and it does pretty much everything I want, but in a fit of boredom I decided to upgrade it.
 
The machine will take a maximum of 128gb of RAM, although beyond 64gb the RAM slows down from 1866mhz to 1066mhz, so 64gb is the sweet spot. Given the price of RAM nowadays I decided to stick with 16gb. My machine has 4x4gb memory sticks, taking up all four slots, so an upgrade to 64gb would involve throwing the original memory away and buying 4x16gb sticks instead, which as of mid-2026 would cost around £80. Would I notice a difference? Probably not.
 
This is how it benchmarks in Geekbench 6:
 

Before doing all of this I really should have rendered a video. Then I would have a real-world example. But alas I didn't. 
 
The 2013 Mac Pro is compatible with the E5 16XX and 26XX V2 Xeons, so I popped over to eBay and picked up a 10-core, 3ghz Xeon E5-2690 V2 for £13.06. It's clocked slower than the original CPU, but it has more cores. Apparently the 8-core model had the best balance between high-speed single-core execution and parallel multi-core execution, but £13.06 has a quality all its own.
 
The 2690 looks like this, on the right, next to the original 1620:
 
 
As you can see it has more capacitors. Because it's better. Here's what it looks like when photographed with an infrared camera, because I had an infrared camera lying around. Do you remember when this blog was about photography? It still is, but it used to too.
 


It was packaged in Malaysia. Where was it actually made? I have no idea.
 
Upgrading the 2013 is frustrating. The machine can be stripped down to its component parts with a set of Torx screwdriver bits, and all the components can be replaced. But there were never any third-party options, so the only replacements were direct from Apple, at great expense. I've said it before, but the 2013 Mac Pro is like those LEGO kits that use masses of custom parts and custom stickers. You can replace them, but only with the same thing, and only by purchasing the exact same LEGO kit. The CPU is however one of the few parts that can be upgraded with a non-standard replacement. I mention this because Apple never sold a ten-core Mac Pro, only four, six, eight, and twelve-core.
 
I followed iFixIt's handy guideThe mightiest shall be the first to fall. Where did that come from? The mightiest shall be the first to fall. It's from Zoids. That's where it's from. Why did that come to me. Why. You'll need a T5, a T8, and a T10 Torx screwdriver, plus some thermal paste. And ideally a soft brush and a blower to get rid of thirteen years of dust. As you brush away the dust, think of all the life choices that brought you to this point. Brushing away thirteen years of dust from an obsolete old computer, instead of sitting at a cafe in Venice sipping a lemonade, or resting your head on the firm buttocks of a thirty-five-year-old fitness instructor. There are some things that money can't buy. A sincere smile. And perhaps money can buy even that. I hope not.
 
Step one is to take off the fan. Technically step one is to accept that you can't always get what you want, and the best you can hope for is to salvage some happiness from what remains of this world. And then you have to take off the fan. The fan is held on with five Torx screws. The central heatsink resembles Darth Vader's mask. Some of the screws have anti-tamper blue paint, but the 2013 Mac Pro's warranty expired long ago and Apple no longer services it. I intend to tamper.
 

 
Look at all that dust. The central heat tunnel was the 2013 Mac Pro's other big idea. The designers attempted to cool the CPU, the two GPUs, and the SSD with a single heatsink that had one fan sitting on top of it. Air flowed up through the Mac Pro's central heat tunnel, and also between the metal case and the outside-facing parts of the machine, thus making two thermal zones. The heatsink was an elegant solution that worked well in 2013, but it doomed the machine's long-term prospects.
 
Think of a modern high-end graphics card. They're huge, chunky things with their own fans and separate power connectors. You can't fit anything like that into a 2013 Mac Pro, which is why the machine remained on sale unchanged for so long. Apple quickly realised that the design was a dead end. Towards the end of its life some users took to attaching external graphics cards - eGPUs - to the Mac Pro with a PCI enclosure, but it wasn't cheap. As of 2026 there's no point.
 
After cleaning up the fan, here's what it looks like in infrared:
 

The next to come off is the base, also held on with Torx screws:
 

The interconnect board pops out of the bottom:
 

The board slots into the motherboard. It acts as a bridge between the two graphics cards, the ports, and the motherboard.
 
The next thing to come off is the power supply cage, at which point I realised that I didn't have a T5 Torx bit. So I ordered one from the internet, and while it was in transit I took the opportunity to do some other work. I have in my possession a Doepfer A-112 sampler module. It's a simple 8-bit Eurorack sampler:
 

It has 128kb of memory arranged in two banks of 64kb. Each bank can store a sample, for a total of two samples. The memory is backed up with a rechargeable battery that tends to corrode after a while. Mine was corroding a little bit so I bought a replacement. It's the little green thing pictured here:
 

Fitting the new battery involves a little bit of soldering, but it's not particularly hard. You have to unsolder the three legs here:
 

Then pop out the old battery and insert the replacement. In practice I melted the solder a bit, popped off the old battery, popped in the new battery, and let the solder resolidify. Here's what the PCB looks like in infrared. Infrared tends to penetrate the surface a little bit, which makes the PCB traces stand out:
 


The end result isn't pretty, but it works. The battery is only used to store samples in memory, but in practice unless you use it as a wavetable synthesiser the A-112 is only really useful for short, bassy notes, which are easy to re-sample if the memory fails.
 
It also has a MIDI sample import function, albeit that this relies on arcane knowledge of MIDI SYSEX, or a DOS / Windows 3.1/95 utility that was written in 1999 and hasn't been updated since. A bit of tinkering with DOSBox actually got this working, almost, but it was flaky.
 

Back to the Mac Pro. After carefully pulling off the power supply brick the next thing to go was the port enclosure:


To be fair, it was nice of Apple to make the ports replaceable. Most PC motherboards have the ports soldered directly to the motherboard. After years of plugging and unplugging things the solder can break, which either requires some work to fix the motherboard, or a completely new board.
 
Taking out the port enclosure reveals the brackets that keep the CPU clamped to the motherboard:

 
Firstly you must unscrew the outermost four screws, at which point the motherboard separates from the heatsink. This revealed thirteen-year-old thermal paste, which was starting to solidify and flake off:
 
 

Apple didn't spare the paste. That's real Apple paste, right there. The next step is to unscrew the innermost quartet of screws. At this point the CPU brackets, plus the CPU itself, may or may not fall off the motherboard. Actually replacing the CPU is easy, although you have to make sure that the little round hole in the corner is opposite the edge connector.
 
Reassembling the CPU bracket is by far the hardest part of the process. The problem is that you have to do it upside down, with the CPU facing downwards, screwing the screws through the motherboard from the back. You have to hold the CPU in place otherwise it just falls out. My suggestion is that you reassemble it all before you add fresh thermal paste, and rest the upside-down motherboard against something smooth, with a bit of give - such as the book pictured above - while you screw in the screws. 
 
The first time I tried the result didn't look right, and after dismantling it I realised that the CPU was misaligned slightly. It's a good job I didn't screw the screws in tightly. The second time looked perfect, so I screwed the screws all the way in. Then I applied thermal paste. I have to admit that I just washed my finger with warm soapy water, dried it off, then used my finger rather than a spudger.
 
Reassembly goes in reverse. Thankfully the process is designed so that it's difficult to mix up the screws. Off the top of my head the Mac Pro uses 2x5xT10 (top and bottom), 4xT10 (wide, for the CPU bracket), 2xT5, 2xT8 (black), and 4xT8 (silver), and it's obvious from the context which goes where. Putting the top back on was surprisingly hard, though. Every screw except one fit neatly into place. I had to squeeze the case to make the last screw fit, but perhaps it was designed that way, in order to keep the heatsink firmly pressed against the CPU.
 
After reassembling the machine I was expecting it to fail. I was expecting a string of angry beeps followed by nothing. Or a screen of text telling me that there was an error in subsystem X. But no, it booted first time.
 


The Macintosh recognised the new CPU. Activity Monitor showed twenty cores, because the Xeon uses hyperthreading, so each core can run two processes. After using it for an hour in order to give the thermal paste some time to settle, I ran Geekbench 6 again:



The original score was 801/2666, so the ten-core upgrade is about 6% slower at single core-tasks but around 85% faster at multi-core tasks. Does this help me on a practical level? After using the machine a bit more it didn't feel any faster, but I haven't edited any video with it. The temperatures seem lower, but whether that's because I cleaned out all the dust, or because the machine isn't pushing as hard, I don't know.
 
In terms of benchmarks the 2013 Mac Pro was overtaken even before the switch to Apple Silicon. Purely in terms of CPU power my souped-up Mac Pro is almost, but not quite, as powerful as one of the last-generation of Intel-powered i5 and i7 Mac minis. The Silicon-powered Macintoshes trounce it. The hot-off-the-presses MacBook Neo is around twice to four times more powerful. The performance differential is even more impressive when you consider power consumption. At idle the 2013 Mac Pro draws 43w, whereas the Neo draws around 9w, topping out at around 33w while under load.
 
The new CPU works just as well with Bootcamp-ed Windows 10, although I learn that CrossFireX is now called MGPU. I have no idea if it actually does anything to make games run faster, but as mentioned previously Civ 5 felt smoother under Windows. That might be because Windows has better drivers in general. Furthermore XCOM: Enemy Within and Fallout: New Vegas are smoother under Windows by default, because they don't work on MacOS at all. At the very least Windows appears to be doing something with the second GPU:
 
 
Can you make money from this? No. There might have been a small window of time when you could buy a four-core Mac Pro, upgrade the CPU cheaply, then sell it on for a profit. The problem is that Ivy Bridge Xeons were overpriced for much of their life, and now their time has been and gone.
 
There's a famous internet porn star called Mistress T (not her real name). Imagine Mistress T wearing latex stockings, standing over an Ivy Bridge Xeon, laughing at it, while poking it with high-heel boots. It's a powerful mental image. Powerful and distracting. If you plan to make money fixing old Mac Pros by replacing the CPU, the problem is that the CPU generally doesn't break. It's the GPUs that break, and they're worth more than the Mac Pro.
 
Still, that is how I upgraded my 2013 Mac Pro in the Year of Our Lord, 2026. At first it was a four-core machine that was thirteen years out of date. Now it's a ten-core machine that is about eight years out of date, saddled to a graphics card that's thirteen years out of date. On the other hand the work only cost me £13.06 (for the CPU) plus £9.99 (for a new set of Torx bits) and a couple of afternoons. Conceptually the process just involves unscrewing things, blowing out dust, and applying thermal paste. Then you screw it all together again, although some of the screws, particularly the CPU bracket, are quite tough the end.

Wednesday, 1 July 2026

TankFest 2026 + Canon 7D

Let's pop off to TankFest 2026. Technically it's called TANKFEST, all capitals, but I'm not typing that. Life's too short. TankFest.
 
I visited back in 2019, when Britain was at peace, and COVID hadn't happened yet, and then again in 2023, when Britain was still at peace and COVID had happened. Now, in 2026, COVID is a distant memory, and Britain's biggest foe is the sun. We did it no harm, but it wants to kill us. Thanks, the sun!
 
 
 
TankFest began in 2000, with some of the same tanks featured today, including the Matilda I pictured above. Back then it was a low-key affair, but now it attracts around 24,000 visitors over three days in a space only slightly larger than a telephone box. I went on Friday, and I skipped the afternoon display because I've never died of heatstroke before and I don't want to start. The arena was very dusty, and when I say "dusty" I mean "cinematic".
 

Back in 2019 and 2023 you could stand right next to the tank arena, but now there are so many attendees the arena is mostly seating only, so I needed a longer lens with a bit more reach in order to photograph the tanks.
 
In 2019 I took along a Canon 5D with a 300mm f/4L IS, which was mighty fine, but beyond 300mm the price shoots up, so for TankFest 2026 I did a bit of lateral thinking. Why not use an APS-C camera instead? It would be like having a permanent 1.6x teleconverter.
 
 
Furthermore I was always curious about the Canon 7D. Have a look at this: 

I call this image Desire and Depreciation. On the left, a Canon 5D MkII, from 2008. It represents Desire. It's a full-frame digital SLR. Purely as a camera it's mediocre. It was mediocre in 2008. It has the body and autofocus of a 2005 Canon 5D MkI, but with a 21mp sensor and a larger screen on the back. As a camera it came in for criticism at the time for its conservatism.
 
 
But it had one killer feature. It could shoot 1080p hi-def movies. It wasn't the first digital SLR that could capture video, but it was the first with a full-frame 35mm sensor. The sensor is much larger than a digital camcorder sensor, even larger than a frame of 35mm motion picture film. The result is video footage that has a degree of depth separation only previously attainable with 70mm film.
 
The 5D MkII quietly revolutionised the television and movie industries. I bought one brand-new shortly afterwards for what was a painful sum of money. Why did I spent that money? Desire. Desire clouds the minds of men. It clouded my mine. I wanted to possess the secret of fire. Other tribes possessed the secret of fire. I wanted to possess it myself.
 
 
I still have it! It's there, in the picture, up there, on the left. 37,000 photographs, sixteen years, and countless hours of video later, it still functions. Canon replaced the 5D MkII a few years later, and 21mp is paltry in comparison to the 45mp R5 MkII, but it's still pretty good as a stills camera and total overkill for the internet.
 
On the right, depreciation. The 7D was launched about a year after the 5D MkII, in 2009. At the time there was a perception that Canon was weak in the mid-range. The company had a popular series of professional digital SLRs, but the mid-range 50D and 5D felt weak in comparison to the Nikon D200 and D300. Nikon's not-quite-pro cameras had a degree of polish that Canon didn't match.
 
 
Thus the 7D, which was an attempt to compete with the Nikon D300. It essentially took the multi-point, multi-area autofocus system of the 1D / 1Ds and squeezed it into a newer body that had some, but not all, of the 1D's weather sealing. In the hand it feels more solid than the 5D MkII. The 5D's card and battery doors flop open and dangle back and forth, whereas the 7D's doors pop open on little springs, as if they want you to use them. The back has a deeper thumb relief than the 5D and the rubber feels like rubber instead of pleather. The 5D's shutter has a big hollow whirring sound whereas the 7D has a 1D-style CLACK, and the button feels more responsive.
 
The viewfinder has 19 autofocus points, all of which are cross-type. They can focus on horizontal and vertical edges equally well. In contrast the 5D MkII only has 9 autofocus points, clustered in the middle of the frame, and only the central point is cross-type. TankFest wasn't a great test of the 7D's autofocus, because the tanks moved quite slowly, but looking through the images it appears that the camera didn't miss a shot.
 
In continuous shooting mode the 7D will capture 110 JPGs at a rate of 8fps, or 23 RAW files. Movie mode has 1080p at 24/25fps, 720p at 50fps, and 640x480 at 50fps (PAL), or alternatively 1080p at 24/30fps, 720p at 60fps, and 640x480 at 60fps (NTSC). Irritatingly there doesn't appear to be a way to set the movie parameters unless you're already in live view mode. I haven't tested it thoroughly, but live view autofocus seems to be more hit and miss than the same feature in the 5D MkII.
 
 
The 7D was popular, but I avoided it because I already had a 5D MkII. Eighteen years later the two cameras have plummeted in value on the used market, although the 5D MkII has depreciated slightly less on account of its larger sensor. In the intervening years Canon has launched several generations of replacement, plus a digital rangefinder line that has pushed the old flip-mirror SLRs to one side. In addition 4K video is now a thing, and of course a year after the 7D was released Apple launched the iPhone, and thus the modern age.
 
There was a time when SLR cameras were aimed at the enthusiast market, but in the 2000s digital SLRs crossed over into the mainstream, and for a while in the 2000s they were a popular holiday accessory. This was back when the high street still existed. I can remember seeing digital SLRs for sale in high street shops. People nowadays don't believe me, but it happened. Smartphones slowly killed that off, and SLRs have receded from the mainstream again. In fact even within the enthusiast market old-fashioned flippy mirror SLRs are a dying breed, as they are rapidly being replaced with mirrorless cameras.
 
Did I mention drones? Drones are a thing nowadays. TankFest had live aerial footage from a drone, which seemed strangely apt given the course of the war in Ukraine. The 5D MkII and 7D share batteries and chargers, which is nice. The 5D MkII has the edge in terms of resolution, but there's not much in it. Contemplate the following image:


Ruff in the jungle. In the jungle. In the jungle. In-the-in-the jungle. Ruff!
 
That had nothing to do with cameras. I'm just flashing back to my youth. I think the heat got to me. The Prodigy's debut album has aged in a fascinating way. The sequencing is crude, but on the other hand Liam Howlett understood dynamics. The drum programming on "Ruff in the Jungle Bizness", for example, is simple but clever. There's four bars of intro, and then you'd expect the drums to come in, and they do, but they don't quite take off for another four bars. The rest of the tune is basically a series of four-bar segments jammed together with crude transitions, but it never gets boring because Howlett always changes something up. He sticks in a fill or a little melody line, and at least twice the track changes completely.
 

He didn't have to bother. He could have half-assed it. There were an awful lot of generic rave and jungle tracks in the early 1990s that set up a groove but didn't go anywhere, but The Prodigy sounded as if the whole band was on amphetamines. Good amphetamines. I'm tempted to say "that is enough of The Prodigy", but it is not possible to have enough of The Prodigy.
 
Contemplate the following image:


It's an uncropped, 21mp image taken from a Canon 5D MkII and a 300mm lens. The thin orange line represents 18mp. As you can see, the difference isn't huge. The thick green line represents the APS-C crop factor, which in this case is equivalent to a 480mm lens. That's awkwardly long for Bovington.
 
 
I was curious to see whether using an 18mp 7D would give me more detail than using a 21mp 5D MkII and just cropping the images, and the answer is yes. If you crop a 21mp image down to APS-C resolution the end result is about 8mp, which is 10mp less than the 7D.
 
 
Both the 5D MkII and the 7D had new-generation sensors with less shadow noise than earlier digital SLRs. The following image, for example, is mostly a black silhouette straight from the camera, but with dodging there is detail in the shadows.
 

The 7D still struggles with blown-out highlights. The 5D MkII and 7D coincided with the Nikon D3, which had a terrific low-noise sensor. The D3 didn't have movie mode, and the sensor only had twelve megapixels of resolution, but it was possible to expose for the highlights and boost the shadows without the image becoming a noisy mess. You can do that with the 7D, but there are limits. Let's have a look at the high-ISO performance of this seventeen-year-old camera:
 
 
It bothers me that the right edge of the yellow and green boxes don't line up. These are RAW files converted with Photoshop with the noise reduction turned off. At the top, ISO 100. Note the tiny little black hair coming out of the bottom-right corner of the MUTE button. It's almost invisible to the naked eye, but it's there. Note also the little speck of dirt on the yellow-green border, in between the U of MUTE and the P of PITCH.
 
At ISO 3200 (middle) and ISO 6400 (bottom) those two tiny details are still visible, but only just. There is an emergency ISO 12800 setting, but there's too much misery in the world already without me adding more. Scaled down from 18mp the images look fine on the internet, but the 7D is no Nikon D3.
 
Moving swiftly on, this is a FAMAS. I remember looking left and right in case Ian McCollum of Forgotten Weapons was hovering nearby. And in a way he was. He was hovering in my head.


For almost all of the images in this post I set the camera to ISO 400, f/4, and used my venerable old Canon 70-200mm f/2.8L IS, which is even older than the 7D. It was interesting to compare the 7D with my old Canon 1Ds. The original 1Ds is a full-frame digital SLR from 2002. Camera-wise they're very similar. They both have a 100% viewfinder, but the 7D has a much simpler autofocus system, with just 19 points versus 45 in the 1Ds. The 1Ds also has weather sealing and a hair-trigger shutter button. Nonetheless the 7D feels a lot like a baby 1Ds, which just makes me respect the 1Ds even more. It took Canon's non-professional line seven years to almost catch up with it.



Controls? Did I mention the controls? They're almost the same as the 5D. The only big difference is a combination button/turny thing that switches on live view and then switches between movie mode and stills mode. As mentioned up the page you can only select the movie options if live view is activated and set to movie mode. Otherwise the option doesn't appear in the menu system.
 
There's a peripheral illumination correction option that reduces vignetting with JPGs. The camera has a bunch of profiles loaded into its memory, but it didn't have one for my 100mm f/2. The only way to load new profiles is via Canon's EOS Utility 2, but annoyingly this is no longer available. For Windows 11 I had to download an updater utility from Canon's Hong Kong website, then apply this registry tweak. EOS Utility 2 is still available for MacOS, but it doesn't appear to work with Sequoia, or at least I couldn't get it to work. Sadly it didn't have correction data for my ancient 100-300mm f/5.6L, perhaps because it's too old .
 
 

EOS Utility 2 also sets up tethered shooting, and it can be used to turn your 7D into a makeshift webcam. Fortunately Canon still hosts firmware updates for the 7D. Unlike the 5D MkII, firmware updates don't add anything to the movie mode, but they do fix a few bugs, and add an option to process RAW files into JPGs. There is an option to apply different picture styles to the image, plus noise reduction and lens correction, but it's surprisingly slow, and it appears that you can only process one image at a time, which is unfortunate. You can't select a whole folder and have the camera dump a bunch of JPGs. Perhaps that was too professional for Canon.
 
Still, the 7D is widely available on the used market for around £180 or so in good condition, which is actually cheaper than the MkIII version of the Canon 1.4x Extender. A lot of them were thrashed by professional photographers, but they were built to take punishment. The 7D suffers a lot from not really meaning anything - the 5D MkII revolutionised video, the D3 could see in the dark, the 7D just existed - but it feels a shame to just pack it away into the back of a desk drawer.
 
BONUS BEATS: A couple of weeks later I visited Middle Wallop's Wings and Wheels show. I took along the very same 7D, plus an old 100-300mm f/5.6L lens that I wrote about a few years ago. Some of the images I took at Bovington look washed-out, because I was facing into the sun, but Middle Wallop was much more open.







Britain is still in the midst of a heatwave, and once again I didn't fancy dying of heatstroke, so I left before the afternoon displays. But there was a nice breeze.