Speedlite 600EX-RT: auto assist beam firingI suggest bookmarking the Tips and Tricks page and checking it periodically. Even if you're very familiar with your camera gear, you will likely find a useful gem.
Within the camera menus of several EOS models, there is an option to enable or disable the AF assist beam when shooting in low light. If you enable the function on the camera menu, but the AF assist beam on your external Speedlite does not fire, check the Speedlite’s custom function settings. If the custom functions in the Speedlite are set to not fire the AF assist beam, this will over-ride any setting made in the camera menu. To re-enable the AF assist beam, simply switch the Speedlite custom function to allow the beam to fire.
EOS 7D Mark II: EOS iTR AF
Like the flagship EOS-1D X, the EOS 7D Mark II features EOS iTR AF, which improves autofocus tracking by recognising faces and subject colours in addition to looking for subject contrast. When shooting with the EOS iTR AF function enabled, you may find the AF is actually slightly slower and the maximum shooting speed in continuous high speed AF is slower than expected. This is especially likely in low-light shooting and is due to the extra data being processed from the metering system before a subject can be tracked. If you need the fastest AF possible and want to achieve the maximum frame rate and do not need to make use of the colour and face tracking, switch the EOS iTR AF setting to ‘disable’.
"Blood Brother is one of those films that lingers with you for a long time after the credits roll. In part, of course, this is due to the truly heart-wrenching, soul-searching and thought-provoking content. But also present in the mind’s eye are the images – truthful, sad, scary, and yet uplifting and enlightening.See the entire article on the Canon Digital Learning Center.
“The artistry in Blood Brother is one of the things I'm most proud of,” says Blood Brother’s cinematographer John Pope. 'It might not be the most classically beautiful film. From a cinematography standpoint, it’s sloppy at times, it has such a raw edge to it, but I like that. Those moments of rawness are beautiful. They lend themselves perfectly to the character and human element of the film.'"
|Canon EF||SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014|
|Canon EF||SIGMA 150-600mm F5-6.3 DG OS HSM S014|
|Canon EF||Tokina AT-X 116 PRO DX-II 11-16mm f/2.8|
|Canon EF||Zeiss Otus 1.4/85 ZE|
|Nikon F||Nikon AF-S NIKKOR 20mm f/1.8G ED|
|Nikon F||Nikon AF-S NIKKOR 400mm f2.8E FL ED VR|
|Nikon F||SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014|
|Nikon F||SIGMA 150-600mm F5-6.3 DG OS HSM S014|
|Nikon F||Tokina AT-X 116 PRO DX-II 11-16mm f/2.8|
|Nikon F||Voigtlander SL 40mm F2 Ultron ASPHERICAL|
|Nikon F||Voigtlander SL 40mm F2 Ultron ASPHERICAL Close-up Lens|
|Nikon F||Zeiss Otus 1.4/85 ZF.2|
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