Canon does not list the Canon Macro Twin Lite MT-24EX and MR-14EX II flashes as being eligible for rebates in the current program, yet B&H has the two flashes discounted with the previous instant rebate through the end of today.
Many lenses still qualify for a mail-in rebate (which were also extended through April 1) if you purchase more than one qualifying lens. If planning to fill multiple spots in your kit, be sure to check out the mail-in rebates to see if you can save even more with your purchase.
Lightroom provides a complete workflow solution that enables photographers to organize, optimize, and share their photographic images. In this informative and entertaining presentation, Tim Grey shares his tips for best practices for a workflow in Lightroom that will work best for your specific needs. You'll gain a better insight into how Lightroom works, get tips on how to best configure Lightroom, learn how to define your own optimal workflow, and much more.
The video above demonstrates that being able to think on your feet – utilizing all of the availble tools at your disposal – can make all the difference in overcoming less than optimal photography conditions.
I thoroughly enjoy visiting new destinations and reveling in the photographic inspiration that the unfamiliar scene inevitably engenders. My yearning for exploration is often the result of being blind to the beauty of the all-to-familiar locations I've photographed before.
There is a way to help tame the bordem with often visited locations, though. Have you ever heard the phrase, "Absense makes the heart grow fonder?" I'm not altogether sure how true the concept is in relationship terms, but the phrase seems perfectly applicable to locations I've visited and photographed numorous times.
For instance, I've photographed this Spanish moss-covered Oak several times primarily because it is only a short walk from my home. However, I hadn't photographed it for quite some time when, a couple of days ago, I decided to take a walk with my IR-converted EOS 7D and EF-S 24mm f/2.8 STM lens.
I've photographed this tree under similar, cloudy circumstances with the very same gear and shared the results here before. While I preferred a tighter framing before, I found that the freshly-cut field aided in isolating the tree in the scene thereby allowing a looser framed image to have more impact. It was a minor difference, but one that made a definitive impact on my framing preference. One could also argue that having photographed the tree from a closer perspective meant that I was subconsciously looking for a reason to find/utilize a new perspective, and that would be a fair point. But seeing a familiar scene with fresh eyes helps to get one's creative juices flowing, and being familiar with a location means you're better able to seek out and capitalize on those minor differences that can have positive impacts on your already-photographed location imagery.
For the shot above, the exposure settings were f/2.8, 1/2000 second and ISO 100.
During post processing, I first inverted the red and blue color channels in and then desaturated the yellow hues to achieve the traditional IR white foliage look while maintaining the blue color captured by the Super Color IR sensor. Click on the image above for access to a higher resolution version.
As the promise of brand new foliage fills the warming seasonal air, now is the time to send your (older, seldom used?) camera in for an infrared conversion to take advantage of the IR photography opportunties that lie ahead.
SIGMA ELECTRONIC FLASH EF-630 F/CANON is scheduled to start the shipment in MARCH.
The SIGMA ELECTRONIC FLASH EF-630 is a multifunctional clip-on type flash, which offers a greater output of light with a guide number 63. Among the diverse features loaded on this flash is TTL exposure control as standard as well as high-speed sync, rear-curtain sync and wireless flash functions. The Auto zoom function which is designed to work with focal length 24-200mm, bounce-flash function, Wide Panel and Catch-light Panel of the EF-630 are perfect for various kinds of photography. The rear LCD offers an intuitive user interface for fast and easy operation. For instance, the new dot matrix liquid crystal display ensures improved visibility of setting status and menu function, and D-Pad and dial on the side of the flashgun make changing settings easier than ever.
Intuitive user interface for ease of use
The new dot matrix liquid crystal display is incorporated for this flash. Moreover, the D-Pad and dial on the side of the flashgun make changing settings, such as TTL auto exposure system, wireless flash, FP flash and rear-curtain sync, on the main screen and setup menu displayed on the LCD easier than ever. The flash is designed to disengage easily by one-click on the shoe lock lever. In addition, a flash sync terminal and notification beep sound when the flashgun is fully charged improves ease of use.
Guide Number 63 offering a greater output of light
The maximum guide number is 63 for a high light level (when the focal length is 200mm). It is possible to change the illumination angle from 24mm wide to 200mm telephoto. It also covers an angle of a 17mm when used with the built-in Wide Panel.
Three light distribution modes
The flash is designed to work in three light distribution modes. Normal emission mode has basic light distribution for general photography, and another mode prioritizes guide number to obtain an even larger output. Flat light distribution mode has a characteristic of uniform light distribution by reducing the fall off of peripheral light. It is possible to select the mode in accordance with the purpose.
Bounce-flash function with movable flash head
The flash head of the EF-630 can be tilted up by as much as 90°and can swivel both left and right by 180°. Bounce photography, where light is reflected off a white wall, ceiling or a reflector increases the range of photographic expression. The flash head can also be tilted down by 7°for close-up shots.
Wireless TTL Flash Function
The wireless TTL flash function will adjust the desired flash exposure automatically by flash light even if the EF-630 is detached from the camera. Remote control operation is possible between the camera and flash. When multiple flash units are used, the camera calculates the correct exposure automatically.
Slave Flash Function
Slave Flash can be used with all camera models and it allows the flash to be fired away from the camera by the master unit though it is not possible to set flash exposure automatically. The Designated Slave function for EF-630 allows the photographer to use two or more EF-630 flash units simultaneously. It is possible to designate flashguns by using different channel settings. In the Normal Slave mode, it is also possible to use the camera's built-in flash or another flash unit as the Master.
FP Flash function for high shutter speeds
Cameras with flash focal plane shutters cannot perform flash photography at shutter speeds faster than the fixed synchronization speed as it is usually limited to coincide with the fully open shutter. The FP flash function makes flash photography possible at shutter speeds greater than the fixed synchronization speed. When the lens diaphragm is set to larger apertures to limit depth of field in synchronized daytime shooting, high shutter speeds can be used to balance the daylight and the flashlight at any shutter speed.
Rear-curtain Sync flash function for natural representation of motion
When photographing a moving subject, the Rear-curtain Sync mode allows the flash to be triggered immediately before the rear-curtain of the shutter closes. Unlike Front-curtain Sync, this mode records blurred trails behind a moving subject rather than in front for a more natural expression of motion.
Multiple Flash Photography
In a single frame it is possible to capture the frozen-in-motion image of a subject by a series of light bursts.
AF assist light for accurate auto-focus in low light conditions
Accurate AF may not be possible in dark conditions. However, the AF assist light of the EF-630 allows effective AF between approximately 0.7m and 10m.
Manual flash power level control
The flash power level of the EF-630 can be set manually from 1/1 to 1/128 in 1/3 EV increments to meet the photographer’s needs.
Modeling Flash function to check for shadow
The EF-630 also offers a modeling flash function, enabling the user to check for reflections and shadows before taking a photograph.
Custom Mode Function
The Custom Mode Function is available to register two settings with the photographer’s preference. It is easy to set it with D-Pad and dial on the side of the flashgun.
Notification beep sound
When the notification beep sound is turned on by the switch at the front of the flash, it is possible to check the status of flash such as whether it is fully charged, exposure is ok, as well as error alert only by the sound without looking at the LCD display.
Auto Power-Off function prevents power waste
To conserve battery life, the EF-630 will automatically turn off after a certain period of time of inactivity.
Catch Light Panel
This flash is equipped with a built-in catch light panel, which can highlight the eyes of the subject when the bounce flash mode is activated.
The EF-630 is equipped with a Synchronization Terminal to connect a camera with the commercially available synchronization cable.
Regular firmware updates
Photographers can update the firmware via the newly developed optional FLASH USB DOCK FD-11(Sold separately). The firmware can be updated by attaching the EF-630 to the FD-11 and then connecting the FD-11, via a USB cable, to a personal computer on which the exclusive software SIGMA Optimization Pro has been installed.
Power source : Four AA Alkaline or AA NiCd or Ni-MH (Nickel Metal Hydride) batteries
Guide Number : 63 (200/fit) ISO100/m (with the zoom head at 200mm)
Illumination angle : Automatically set in accordance with the focal length of the lens, in a range from 24mm to 200mm. Also covers the angle of a 17mm lens when used with the built-in Wide Panel.
Bounce angle (Up) : 0, 60, 75, 90 degrees
Bounce angle (Right) : 0, 60, 75, 90, 120, 150, 180 degrees
Bounce angle (Left) : 0, 60, 75, 90, 120, 150, 180 degrees
Bounce angle (Down) : 0, 7 degrees
Dimensions (W X H X D) : 79.4mm×148.4mm×121.5mm / 3.1in. X 5.8in. X 4.8 in.
Weight : 490g/17.3oz. (without battery)
Corresponding cameras : SIGMA, CANON, NIKON
Barcode:SIGMA 0085126 932923, CANON 0085126 932909, NIKON 0085126 932916
Optional Accessory – FLASH USB DOCK FD-11
This accessory is used to dock EF-630 and update its firmware in the exclusive SIGMA Optimization Pro software. The dock is connected to a personal computer via a USB cable.
It has been a while since we took a look at the oldest Canon lens list and I was wondering what that list was looking like today.
Since I was wondering, I thought perhaps some of you might also want to see the list.
So, here it is:
At 30 years of age, the 50mm macro is older than many in this audience!
However, I'm guessing that there is another lens in this list that you would more-prefer to see an update of.
We don’t have any specific inside information on what’s coming down Canon’s development pipeline, but I'm guessing the prospect of an updated EF 50mm f/1.4, 85mm f/1.8, or 135mm f/2 might seem especially enticing to you.
Or, perhaps adding IS to the 400mm f/5.6L or 180mm f/3.5L Macro (or any of the other non-IS lenses) sounds appealing to you.
Which lens updates would you most like to see hit the market in the not-so-distant future?
Which of these lenses no longer has a purpose and should simply be discontinued without a replacement?
For much of the history of photography, practitioners were limited to black and white. But digital cameras allow you to choose on a frame-by-frame basis whether you are creating a color or black and white image; in fact, this choice is often best made in post-production.
In this presentation, acclaimed photographer Harold Davis addresses how to pre-visualize black and white in a color world, how to find subjects that work well monochromatically, how to tell a story or "write" a poem with black and white, and the best-practices workflow for black and white conversion. Along the way, Harold presents his black and white work, shows creative approaches such as digital solarization and LAB inversions, and discusses black and white printmaking.
Note: One point that Harold Davis makes about black and white photography mirrors my sentiments on infrared photography. He mentions that landscape photographers typically shoot during the golden and blue hours to capture their best imagery. However, black & white photography benefits from strong shadows, opening up the rest of the day for creative and unique image opportunities. Infrared photography is benefitted by the flip side of the coin (strong sunlight), but with the same result of increased opportunities for great images. [Sean]
The current round of Canon Camera and Lens Rebates is scheduled to end March 4. While rebates are often extended, there's no guarantee that an extension will materialize. Also, new rebate programs (even when extended) often result in changes to product rebate amounts or overall eligibility.
To see the current rebate information, check out our February rebate announcement here.
We recently spoke with a high-level Canon representative about the benefits of using image stabilization when high shutter speeds are being utilized to stop fast action. While the information below should not be considered official Canon guidelines, they do represent the experiences of a person who has had a substantial amount of experience with Canon lenses and their IS systems.
Question: Is there a shutter speed above which image stabilization should be turned off? Should IS be turned off when shooting action under bright light with short shutter speeds, perhaps 1/1600 – 1/2500 using a 400 f/2.8L IS II or 600 f/4L IS II, as the benefits of stabilization may be reduced substantially?
It's definitely true that there's a point, as shutter speeds get progressively faster, that the shake-prevention qualities of Image Stabilization really have little or no added effect. In other words, if you take a 600mm f/4L IS lens, mount it on a monopod (definitely NOT a totally stable platform, obviously!), and shoot at 1/8000th of a second, it's absolutely arguable that I.S. has no direct benefit in terms of minimizing camera shake. I think we can agree that with or without I.S., most users could get consistently shake-free pictures with that monopod-mounted 600 at 1/8000th of a second.
Turning I.S. off in situations like that (maybe not at 1/8000th, but perhaps at 1/2000th or thereabouts) will save a small amount of camera battery power... probably a minor consideration to most users, but perhaps a bit more relevant to someone working with a camera like an EOS Rebel or the new EOS 77D, which have smaller batteries with less capacity than, say, an EOS-1D X Mark II. Definitely a potential consideration for anyone shooting with a mirrorless camera like an EOS M5, which *always* have less battery life per charge, since they use more power-hungry LCD monitors or electronic viewfinders.
For sports, action, wildlife and so on, keep in mind the potential benefits of a more stable image in your viewfinder. Even if your shutter speed pretty much precludes any problems with camera shake, if I.S. is active and set to Mode 1 or Mode 2, you see a steadier, more stable view in your finder when working on a monopod or a gimbal-type tripod mount. This can be beneficial in a number of ways, from subtle benefits in frame-to-frame composition when following moving subjects, to being able to keep an AF point solidly upon a detailed area of a moving subject.
For those who consider the effect of visible stabilization during shooting to be an annoyance (for instance, it may seem to delay rapid lens movements to follow a moving subject), there is Mode 3 on lenses like the 400/2.8 II or 600/4 II. This is a specialized I.S. mode that does provide the shake-prevention effects, but ONLY when the shutter button is **fully** depressed, and a shot is actually being taken. Otherwise, at all other times, the effect of I.S. is disabled, although stabilization detection is continually taking place between shots, and the lens's moveable stabilization optical elements are held in a non-locked, "ready" position. In other words, in Mode 3, you don't SEE the effect of stabilization, but it still is there when you actually shoot each picture.
Here's one that never gets discussed among sports, action and wildlife shooters, but which our engineers HAVE said is a benefit of Image Stabilization, even at the fastest shutter speeds. Because Canon's I.S. is optical, if you do have your stabilization set to Mode 1 or 2, where it's continually active, the viewfinder isn't the only place where a steady, stabilized image is seen. The FOCUSING SYSTEM also gets the same benefit of a clean, steady and stabilized look at the subject, too. This matters, especially during fast, high-speed sequences, and even more so if/when you're shooting subjects that are (a) moving aggressively, and (b) may not have tons of detail, contrast and texture to them. The AF point or points being used must see some detail, and during a fast, AI Servo AF sequence, have less than 1/10th of a second in cameras like an EOS 7D Mark II, or certainly an EOS-1D X model, to read the subject between each frame. By using I.S., regardless of how fast the actual shutter speed is, the AF system gets a cleaner, steadier look at the subject during that interval between each frame, and is more likely to be able to read subject detail and provide continuous AF where most or all frames in a sequence are sharp (in terms of FOCUS).
I know there's a body of thought out there among some sports shooters that since they're already at fast shutter speeds, I.S. isn't needed, but they should contemplate what I just said. And, there's a body of thought that I.S. being active can slow down AF... I've directly asked our leading engineers that, and been told emphatically that this is NOT true, regardless of anecdotal "evidence" some shooters may feel they've experienced.
Bottom line, my basic suggestion would be to leave it on, unless you absolutely have deliberate reasons for not doing so. Consider the above points; remember the potential impact of Mode 2 (panning mode, so to speak) and Mode 3 (stabilization, but without visible effects in the viewfinder); and we do still suggest turning I.S. off if you know you'll be mounted to a completely rigid, locked-down position.
Question: Extending your engineering discussion … I understand the benefit of IS to the AF system. What about when the subject is moving rapidly and IS is trying to hold the image still? It seems to me that the AF system would be better having the exact subject framing present at the moment it is making its decision. And, isn’t the addition of Mode 3 supporting this concept?
Like I said, if you have distinct reasons for shutting I.S. off, go for it. But, in the VAST majority of action-type situations, especially with human-subjects (football and similar sports), the likelihood the movement would be SO sudden that what I.S. projects into the viewfinder and the subject's actual composition at the same time or an instant later would be extremely different is probably pretty slim. At least, in my experience. Might be a little different for someone photographing small birds in flight with a big lens, from relatively close distances.
The addition of Mode 3 *might* bring some benefits if and when you feel this difference in what you see vs. what you shoot is happening, but it's not the sole reason for its existence.
Most of the time, I'm very comfortable to suggest using I.S. Mode 1 or 2, even at fast shutter speeds, and with nearly all moving subjects. But I repeat, if for whatever reasons you feel it's hindering your ability to compose in real time, either switching to Mode 3, or turning I.S. off completely, remain options as well.
So, there you have it. Even when using shutter speeds fast enough to negate camera shake, leaving image stabilization "On" is generally a good idea. If nothing else, it's providing a stable viewfinder scene for you and the AF system, allowing for easier tracking of moving subjects.