|Live View shooting||Live View touch control|
|Live View Face detection AF||High-speed shooting in Live View|
|Flash and Silent Live View shooting||Silent shooting|
|Live View Exposure simulation||Exposure simulation in low light|
|Live View on a television||Electronic Level and Face Tracking|
|GPS log data||MOV, MP4 and 4K|
|GPS logging||EOS battery life|
|Manually updating clock||Shooting in cold temperatures|
|GPS and time setting||Shooting in hot temperatures|
|GPS signal frequency||AF in low temperatures|
|GPS and EOS Movies||Hot cards|
|GPS notifications||New batteries|
|Movie Servo AF Speed||Battery calibration|
|Movie servo AF when magnified||Battery compatibility|
|Line Input||AF point illumination|
|Movie Servo AF track sensitivity||MP4 and MOV|
|Movie Servo AF focus pull||4K video frame grabs|
|Movie and Custom Controls||CF and CFast 2.0 cards|
|FlexiZone and Face Tracking||4K video|
|Caring for touchscreen||f/8 focusing|
We pause to reflect on Helmut Newton, an abrasive character to many, but to Swannell a bit of a diamond in the rough. “I once spent four days with Helmut on a shoot in the south of France and he took a shine to my camera bag.”From Canon Professional Network.
“I’d found the bag in a charity shop in London for a couple of quid and really loved it because it had lots of pockets. But Helmut wanted it and wouldn’t take no for an answer. He kept on offering me money for it during the shoot and went up to $500 and still I wouldn’t sell it to him.”
Swannell laughs at the recollection: “This made him really grumpy with me and on the last day, as we were walking across the tarmac to board the aircraft, he turned round to me and said ‘there must be something of mine you want, I have to have that bag!’ so I replied ‘OK, sign me a print from the cover of your book White Women’ and you can have it. He said ‘you must be mad, that’s about $3000!’
“He was so mean, was Newton, and wouldn’t have it. But I held my ground and said that was the price of the bag. And then suddenly, in front of everybody, he took my bag off me and tipped all my stuff onto the tarmac, and marched off with it. I turned to his wife Alice [Springs] and said ‘you are my witness!’ And a few days later, a signed print arrived. Ten years later I sold that print for £32,000. So that old bag wasn’t a bad investment...”
Photographer, conservationist, activist and Canon Master Michael ‘Nick’ Nichols, bowed out from National Geographic in suitably impressive style this year. His final photo essay – a grand finale involving teamwork, logistical hurdles and the occasional stray bear – was perhaps his biggest career challenge yet, as he reveals to CPN Editor David Corfield...See the entire article on the Canon Professional Network.
As Laci Perényi prepares for his tenth summer Olympic Games, CPN writer Mark Alexander spoke with the celebrated sports photographer and Canon Explorer about his relationship with one of the greatest shows on earth...Read the entire article on the Canon Professional Network.
Laci Perényi's boundless energy is matched by seemingly endless experience, giving the German photographer an unbeatable temperament that inspires confidence. He has witnessed Olympic history first-hand, capturing moments of heroic success and failure in stunning detail and beautifully timed observation. He is a staple of the sports photography industry and a character to boot.
When planning their next IMAX 3D film ‘A Beautiful Planet’ about the International Space Station, Director Toni Myers and Cinematographer James Neihouse soon realised they would have to make the move from film to digital. Since their last Space Station film together in 2002, the Space Shuttle had been withdrawn from service, removing the option to shift weighty film canisters in and out of orbit. CPN writer James Morris asked Neihouse how the 4K quality of Canon’s EOS C500 and EOS-1D C digital cinema cameras helped reveal space in all its three dimensional glory...See the entire article on the Canon Professional Network.
Top wildlife photographer Thorsten Milse recently took a trip to Madagascar to capture the beauty of the island's nature and many of its endemic species with the new EOS-1D X Mark II DSLR. In an exclusive interview he spoke to CPN writer Steve Fairclough to reveal how the camera performed for him in the field...See the entire article on the Canon Professional Network.
Photographer John Dibbs has a passion for classic aircraft and turned a boyhood dream of flying with iconic warbirds into an incredible career. He reveals to CPN Editor David Corfield the challenges involved in capturing those mighty legends of the skies and how his Canon DSLR system gives him that all-important creative and technical edge...See the entire article on the Canon Professional Network.
“I never take this job for granted. Never.” John Dibbs is at pains to point out that while his day job is up there on most people’s bucket lists, it’s a job he takes extremely seriously. “It’s because of the amount of preparation, paperwork and co-ordination that goes into every flight of a classic aircraft,” he says. “People might say that I have the easy part, just taking the picture; but let me tell you, the pressure to photograph these aircraft from another aircraft, just a wingtip away, is immense because you know you’re not just facing your own set of technical challenges, but you’re also representing everybody else on the ground who worked so hard to make these shoots happen.”
Since early 2016 Marc Aspland has been working with the 20.2 Megapixel EOS-1D X Mark II DSLR, covering many of the major events in the sporting calendar and shooting portraits of top sports celebrities in his role as Chief Sports Photographer of The Times newspaper. In an exclusive interview he spoke to CPN writer Steve Fairclough on how he uses the camera and how it has helped to push the boundaries of his photography...Read more on the Canon Professional Network.
Having an EOS-1D X Mark II is the only major change in Marc Aspland’s kitbag this year as he currently uses: “…all of the same EF lenses that I used with the 1D X – ranging from my 15mm f/2.8 Fisheye all the way through to the 70-200mm f/2.8L and the 200-400mm f/4L IS USM EXTENDER 1.4x. In fact, at the [English] FA Cup Final I used a 2x Extender on it so I had an 800mm [focal length]. So, it’s anything from 15mm all the way up to 800mm, which is probably the stock choice of any sports photographer.”
Marc has been a lifelong user of Canon cameras but his style of sports photography is usually more about capturing the essence of an event, often in a creative way, rather than the key single ‘action moment’. He explains: “I don't need to be constantly pressing that ‘send’ button on the back of my camera to send everything – as the agency guys might do because their market is so vast. I know what my sports editor is after and I know what players the writers in the press tribune are specifically writing about – a manager or a player – so I can be a great deal more selective about the pictures I send. I don’t need to plug my camera into the ethernet… obviously I can but it's not a difference in speed to me – it’s a quality rather than quantity issue with my photography.”
Few wildlife photographers have made a bigger splash than Andy Rouse. CPN writer Mark Alexander finds out how this Canon Explorer is using the new EOS-1D X Mark II to reach even greater heights...See the entire article on the Canon Professional Network.
In the realm of image-making, Andy Rouse is one of those rare individuals to achieve almost celebrity status. His name has become inextricably linked with the world of wildlife photography with demand for his unique views never seeming to wane. The 50-year-old photographer’s images have graced the covers of magazines across the world and he has picked up a clutch of prestigious awards for his efforts. As professional photography goes, Rouse is a success story. And yet, despite his prominence in the wildlife arena, you get a sense that the Englishman has come to a crossroads in his career. As he packs for his next expedition to India to photograph tigers, he reveals his latest venture into aviation photography is as much to do with changes at home as it is about trying something new.
Liz Kreutz is a photographer with a big reputation for capturing the essence of her subjects. CPN writer Mark Alexander finds out how the latest Canon technology is helping the documentary sports photographer develop her unique style...Read the entire article and see the image gallery on the Canon Professional Network.
Liz Kreutz loves the sport of boxing. The emotional accessibility of it and the action inside the ring gives her a buzz. Throw in some frenetic action and tricky lighting and the US-based photographer is in her element.
“My heart is in my throat the entire time,” says Liz. “It’s an experience unlike any other. That’s why I like it. You’re anticipating that moment. You’re waiting; you’re ready for it. That’s the kind of photography I like to do. I love the unpredictability of that. I have a knot in my stomach the whole time.”
Camera shake is the thief of sharpness. If you are hand-holding a camera and lens, they will move as you press the shutter release. Movement during exposure blurs the image.Check out the entire article on the Canon Professional Network.
Much of the time, you will not notice the effects of camera shake. If you are shooting with a fast shutter speed or a wide-angle lens, the blurring may not be significant- but it will still be there, and might appear if you have a big enlargement made from the image.
The only way to overcome camera shake is to eliminate the movement of the camera and lens during the exposure. The obvious way to do this is by taking the camera out of your hands and fixing it to something that will not move, such as a photographic tripod. However a tripod is only effective if it is sturdy, which usually means heavy.
Fortunately, Canon offers another method of reducing, if not eliminating, the effects of camera shake. Image stabilised lenses, first seen in 1995, approach the problem laterally. Rather than trying to stop the movement of a hand-held camera, they seek to introduce an opposing movement within the lens. The aim is to keep the image static on the sensor or film, despite the movement of the camera.
Don McCullin is one of the world’s greatest photographers and now, aged 80, is working on a project that he hopes will serve as a lasting legacy of a life well-lived. But, as CPN Editor David Corfield discovers in this exclusive interview, some truths will never be fully reconciled...See the entire article on the Canon Professional Network. If interested, don't miss seeing the video Don McCullin – Seeking the Light, also on CPN.
“I’m on the edge of the volcano. I’m standing on the precipice looking into the lava...” admits Don McCullin metaphorically, remarking on how he sees this latest chapter of an extraordinary life. A special three-volume retrospective of his work is due to be released soon. It’s taken two years to complete and, for McCullin, represents the very best of his photography. Called ‘Irreconcilable Truths’ the title is a nod to the soul-searching that went into the project as recollections of atrocities resurfaced in his darkroom as he reprinted many hundreds of images. It’s not been an easy journey, reliving some of those memories...
“There are some images that I will never print again, because I don’t think I’m able to,” he explains, citing one image in particular – of the starving albino boy taken in Biafra nearly 50 years ago. The memory, and the image, haunts him to this day.
Belgian filmmaker Matthew Vandeputte is rapidly emerging as one of the leading exponents of motion timelapse photography. CPN Editor David Corfield caught up with him to find out how technology, social media, and Canon’s high-resolution EOS 5DS R have helped take his work to exciting new heights...See the entire article on the Canon Professional Network.
Canon Explorer and travel photographer Joel Santos makes the most of every adventure he organises. As CPN writer Mark Alexander finds out, a recent trip to Namibia with the EOS 7D Mark II and the new EF100-400mm telephoto zoom was no different...Read the entire article on the Canon Professional Network and be sure not to miss the beautiful 25-image gallery.
AF Microadjustment - image qualityOr did you know that a lens's image stabilization is always activated in Live View on the 5Ds/5Ds R, not just when you press the shutter button half-way? (assuming that IS is not switched off on the lens)
Several EOS models feature the ability to adjust the focus of the lens to ensure it is in perfect registration with the camera. When performing microadjustment, make sure you set the camera recording quality to large JPEG, even if you normally shoot in RAW, as this will help identify focus issues more easily.
EOS 5DS and EOS 5DS R: Live View and IS lensesOther recently added topics include:
When using an Image Stabilizer (IS) lens in Live View on the EOS 5DS and EOS 5DS R, you will find that the IS is always activated when Live View is turned on, even if you don’t half-press the shutter button. This will shorten the camera’s battery life, so unless you need to use the IS, you should manually switch it off on the lens to preserve power.
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