Canon and Sony News and What's New (Excluding Deals) (Page 5)
Canon RF 100-300mm F2.8 L IS USM Lens firmware update version 1.0.8 is available for download.
Firmware Version 1.0.8 incorporates the following fixes and enhancements:
- Improves AF tracking performance during zoom operations in still photography when used with specific cameras1
- Enhances smoothness of AF tracking during zoom operations in video recording.
- Fixes an issue that, in rare instances, may cause Err 60 to occur when the camera is turned on or resumes operation from the [Auto Power Off] state.
1 Applicable cameras (as of February 20, 2025): EOS R1/EOS R5 Mark II If the lens's firmware is already version 1.0.9, it is not necessary to update the firmware.
Get the Canon RF 100-300mm F2.8 L IS USM Lens at B&H.
Canon RF 24mm F1.4 L VCM Lens firmware update version 1.0.3 is available for download.
Firmware Version 1.0.3 incorporates the following fixes and enhancements:
- Adds support for Canon Virtual Production System functions. Lens metadata suitable for virtual production is output to a camera compatible with the Canon Virtual Production System1.
1 Canon Virtual Production System compatible cameras (As of February 20, 2025):EOS C400/EOS C80 Please refer to the camera's user manual for detail.
Get the Canon RF 24mm F1.4 L VCM Lens at B&H.
Canon RF 50mm F1.4 L VCM Lens firmware update version 1.0.2 is available for download.
Firmware Version 1.0.2 incorporates the following fixes and enhancements:
- Adds support for Canon Virtual Production System functions. Lens metadata suitable for virtual production is output to a camera compatible with the Canon Virtual Production System.
1 Canon Virtual Production System compatible cameras (As of February 20, 2025):EOS C400/EOS C80 Please refer to the camera's user manual for detail.
Get the Canon RF 50mm F1.4 L VCM Lens at B&H.
The new DJI RS 4 Mini is in stock at B&H.
From DJI:
DJI Launches All-New Compact and Lightweight Gimbal for Cameras and Smartphones
DJI RS 4 Mini Delivers Efficient and Seamless Filming Experience for Content Creators
February 20, 2025 – DJI, the global leader in civilian drones and creative camera technology, today launched the DJI RS 4 Mini, an all-new compact and lightweight gimbal for cameras and smartphones that weighs just 890g (less than 2 pounds) and can carry payloads up to 2kg (4.4 pounds). Designed for the quick-filming needs of creators, the RS 4 Mini offers the automated axis locks first introduced in DJI’s flagship gimbals, allowing for faster setups, transitions, and breakdowns. Other features that deliver a more efficient and seamless filming experience include a new intelligent tracking module, faster switching to vertical shooting, and Teflon™ coating for a smoother balancing experience. "The Ronin Series continues to push the imaging industry forward as we bring new innovations to our ecosystem and democratize technology to more applications. Specifically, the DJI RS 4 Mini continues to feature our Emmy® Award-winning three-axis gimbal stabilization, offering seamlessly smooth and steady footage," says Ferdinand Wolf, Product Experience Director at DJI. "In adding the DJI RS 4 Mini to our offering, we have rounded out this generation of stabilizers to cater to every level of creator, from professional filmmakers to independent commercial videographers and content creators.”
Next-Gen design for a more efficient workflow
The RS 4 Mini incorporates many proven features from DJI’s flagship gimbals, allowing creators to work more efficiently. With the 2nd-Gen auto-axis locks, creators can unlock the gimbal’s three-axis locks in one second, speeding up the filming, transition, and storage processes. The 3rd-Gen Native Vertical Switch offers the fastest switch experience in the RS series1. With the meticulous upgrades to Teflon™ interlayers1 and a fine-tuning knob, the RS 4 Mini can achieve smoother and more precise millimeter-level balancing when installing a camera.
Intelligent filming for stunning results
The RS 4 Mini Combo comes standard with the new DJI RS Intelligent Tracking Module1 for intelligent framing and composition1. Enabling ActiveTrack on any camera system or phone with or without the DJI Ronin app, it can keep a human subject in frame up to 10 meters, even in complex environments. Tracking can be enabled with one push of the trigger or an open-palm visual command.
In the new Responsive mode, the gimbal responds faster to hand movements upon start or stop, designed to suit fast-moving subject circling shots. Meanwhile, the classic Smooth follow mode provides a fluid gimbal response, ideally for normal subject following shots.
Other notable features include:
- Upgraded with 4th-Gen Stabilization: The RS 4 Mini strikes a superior balance between stabilization strength and camera movement's tactile feel, delivering excellent performance and an enhanced user experience. It also offers significantly improved stability when shooting vertically.
- Improved Battery Life: Compared to the DJI RS 3 Mini, the charging speed and battery life have increased by 30%1, extending the operating time to 13 hours1. It also supports fast charging, allowing 5 hours1 of use after a 30-minute charge.
- Lightweight Build, High Payload1:Weighing only 890 g (2 lbs), RS 4 Mini boasts a payload capacity of up to 2 kg (4.4 lbs). It supports a wide range of mainstream mirrorless cameras and lens combinations, delivering powerful performance.
- Next-gen RS Briefcase Handle1: Designed especially for the RS 4 Mini, this new handle is 20%1 smaller and 28 g lighter1 than the current DJI RS Briefcase Handle.
- Quick-Release Magnetic Mount: The tracking module features a magnetic quick-release design, allowing it to attach to the tilt axis in just one second. The magnetic locking design will stay securely in place without loosening or falling off, ensuring a more reliable filming process.
Price and Availability
DJI RS 4 Mini will be available for purchase today from authorized retailers, including B&H with two purchase options available.
The standalone DJI RS 4 Mini retails for $369 and includes one Gimbal, Quick-Release Plate, RS 4 Mini Tripod, L-Shaped Multi-Camera Control Cable, USB-C Charging Cable and one Screw Kit.
The DJI RS 4 Mini Combo retails for $459 and adds an RS Intelligent Tracking Module and RS 4 Mini Briefcase Handle.
1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.
Tamron 35-150mm f/2-2.8 Di III VXD Lens firmware update version 5 is available is available for download via the Tamron Lens Utility app.
Firmware Version 5 incorporates the following fixes and enhancements:
- Improved AF performance when zooming (AF-C used)
- Supports continuous shooting at up to 120 frames per second when the focus mode is set to AF-S / DMF / MF on the a9 III
Get the Tamron 35-150mm f/2-2.8 Di III VXD Lens at B&H.
Canon RF 70-200mm F2.8 L IS USM Z Lens firmware update version 1.0.6 is available for download.
Firmware Version 1.0.6 incorporates the following fixes and enhancements:
- Canon Virtual Production System functions are supported. Lens metadata suitable for virtual production is output to a camera compatible with the Canon Virtual Production System.1
1 Canon Virtual Production System compatible cameras (As of February 20. 2025):EOS C400/EOS C80 Please refer to the camera's user manual for detail.
Get the awesome Canon RF 70-200mm F2.8 L IS USM Z Lens at B&H.
Canon Global has announced the PowerShot V1. However, the announcement is regionally targeted, including only Japan, Korea, China, Hong Kong, and Taiwan. While the limited region for this announcement is disappointing (likely for the CP+ show), this camera is expected to reach the rest of the world at a date yet to be determined or announced.
Canon PowerShot V1 Features
- 22.3 megapixel 1.4" (18.4 x 12.3mm) CMOS imaging sensor for high image quality (not stacked, 18 megapixel for video)
- 8.2-25.6mm (16-50mm full-frame equivalent) F2.8-4.5 integrated wide-angle zoom lens with 5-stop optical IS
- Dual Pixel AF II for PowerShot with speed and tracking inherited from the EOS R6 Mark II (outstanding)
- DIGIC X processor
- Up to ISO 32000 (expandable to 51200) for stills, up to ISO 12800 (expandable to 25600) for video
- Up to 30 fps high-speed continuous shooting
- Up to 1/16000 with electronic shutter, 1/2000 with mechanical
- 4K 60P video (1.4x crop), 4K 30P (uncropped, 5.7k oversampled), FHD 60P, Canon LOG 3
- Cooling fan for extended video recording (greater than 2 hours record time with Auto Power Off set to High)
- Smartphone integration via USB cable, Wi-Fi (2.4GHz 802.11b/g/n), or Bluetooth 4.2 via Canon Camera Connect app.
- Video calls and live streaming support
- Internal 3-stop ND filter, tally lamp
- Movie shooting moods, including "Smooth skin movie", "Movie for close-up demos" (tracks the product instead of eyes when the item is held forward), "Movie IS mode"
- Multi-function shoe, X sync to 1/2000 sec
- Mic and headphone jacks, stereo mic and mono speaker
- Dead cat windscreen is provided
- Subject tracking IS, with crop position determined by camera shake and subject position (not available with 4k 60P)
- 3" vari-angle 1,040,000 dot LCD
- UHS-II SD card slot
- Canon LP-E17 Battery Pack
- Stills/video switch
- Compact 4.65 x 2.68 x 2.09" (118 x 68 x 53mm) size
From Canon Japan (translated)
Release of the flagship model of the "PowerShot V Series," the "PowerShot V1"
Full-fledged video and still image functions meet the wide range of needs of creators
Canon will release the PowerShot V1, a compact digital camera that enables easy, professional video and still image shooting, in late April 2025.
The PowerShot V1 is the second compact digital camera in the PowerShot V series, which allows users to enjoy full-scale video shooting, following the Vlog camera PowerShot V10 (released in June 2023). Compared to the 1.0-type sensor installed in a normal compact digital camera, the 1.4-type CMOS sensor is about twice the area, achieving high image quality and high sensitivity. In 35mm equivalent, it covers a zoom range equivalent to a focal length of about 16mm to 50mm1, and is compatible with a wide range of scenes such as selfies with multiple people, snapshots, and Vlogs. In addition, it combines the functions required by creators, such as high-performance AF and a variety of shooting modes, with a compact body, making it easy to shoot full-scale videos and still images. Canon will continue to expand its models that can both shoot full-scale videos and still images to meet the needs of a variety of users.
Main features
An integrated lens camera that combines professional photography performance with a compact body
The combination of a 1.4-inch CMOS sensor with a maximum effective pixel count of approximately 22.3 million pixels2, the first Canon compact digital camera to be equipped with the DIGIC X image engine, achieves a maximum standard ISO sensitivity of 32,000 (when shooting still images). Canon's proprietary AF system, Dual Pixel CMOS AF II for PowerShot3, also achieves high-speed, high-precision AF. Furthermore, the inclusion of the Eye Detection4 function makes it possible to detect the eyes of animals, whose movements are difficult to predict, in addition to people, making it easy to focus when shooting. With full-fledged shooting performance packed into a compact body, you can carry it around with you on trips and enjoy shooting.
Video recording functions that allow for greater freedom in video expression, including the incorporation of a cooling fan
The camera is equipped with a cooling fan inside, which efficiently releases heat, reducing the impact of temperature rise on video recording time. In addition to realizing 4K crop/60P video recording, it supports "Canon Log 3", allowing recording with rich 10-bit gradation and excellent color reproduction. Furthermore, shooting modes such as "Review Video", which is suitable for product reviews, and "Image Stabilization Video", which is effective for handheld shooting5, make video recording comfortable.
High-speed continuous shooting at up to 30 frames per second ensures you never miss a subject, and still image shooting functions enable a wide range of creative expression
When using the electronic shutter, continuous shooting at up to 30 frames per second is possible, making it possible to capture fast-moving subjects. In addition, the camera automatically recognizes the scene and supports difficult scenes such as night scenes and backlit scenes with the "Advanced A+" mode, and "Creative Filters" allow for impressive shots such as diorama and toy camera style shots, and many other functions that enable rich photographic expression.
1 When shooting video, the focal length is equivalent to approximately 17mm to 52mm in 35mm format.
2 When shooting still images. When shooting video: Maximum effective pixel count approx. 18.7 million pixels. The number of effective pixels may decrease due to image processing.
3 The maximum measurable area is approximately 90% horizontal x 90% vertical.
4 The subject that can be detected is the eyes of people and animals (dogs and cats). Birds and horses cannot be detected.
5 When "Auto Horizon Correction: On" is set, the "Image Stabilization Video" setting cannot be set.
As I mentioned before, I was blessed to photograph an all-out over-8-minute battle between two whitetail bucks in Shenandoah National Park. I'm sharing another moment from that fight.
As shared in the last battle shot, the Canon EOS R5 Mark II and RF 400mm F2.8 L IS USM Lens get credit for the photos.
A larger version of this image is available here.
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I can't think of anything that saturates the landscape like rain, which, in this case, exaggerated the fall foliage color. Fall foliage arrives during the summer in Denali National Park, but I suppose the meaning supersedes that technicality.
The big ram alone makes a great subject, but the background takes the image to the next level, making it stand out for selection over a vast number of alternative choices.
As often happens these days, the Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens made it in the pack, and this combination left no regrets.
A larger version of this image is available here.
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In case you were watching the game and not the sidelines. From Canon USA:
Canon Lenses and Professional Digital Imaging Solutions Support Live Broadcast at the Big Game in New Orleans
Majority* of credentialed photographers utilized Canon equipment, including the EOS R1 mirrorless camera
MELVILLE, N.Y., February 13, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that the vast majority* of lenses utilized on the FOX live broadcast for the Big Game between Philadelphia and Kansas City on Sunday were on Canon.
More than 95 percent of the lenses used by FOX during the championship tilt in New Orleans were Canon, including 62 broadcast lenses for the live game broadcast and 29 of the 30 total lenses deployed for the pre and postgame shows.
Canon was also a ubiquitous presence for many of the credentialed photographers at the event, increasing its overall estimated market share of lenses used from 2024, including the extensive utilization of the EOS R1 mirrorless camera.
Canon’s footprint in the Big Easy for the title game included the Canon Professional Services (CPS) team on site to offer photographers technical support, equipment loan opportunities and clean-and-check services. As in years past, the CPS team brought in loaner gear to supplement cameras and lenses owned by Canon professionals, and Canon broadcast lens technicians were also in attendance to provide cleaning and maintenance services for Canon broadcast lenses to help ensure optimal image quality.
For the live broadcast, a total of 16 Canon UJ122x8.2 lenses were deployed in the stadium.* Three of those lenses featured new, on-demand optical units that helped extend the focus range with a fast aperture that provided a shallow depth of field at a distance requiring a BCTV telephoto field lens.
The CJ20ex5B IASE S, a versatile broadcast electronic news-gathering (ENG) camera, was used in the high SkyCam position, capitalizing on its telephoto reach without sacrificing wide-angle capability. Additionally, the C300 Mark III provided high 50-yard line shots.
“We are very proud that Canon’s equipment and service support could contribute to the Big Game, which remains one of the world’s most prestigious sporting events,” said Kiyoshi Oka, executive vice president and general manager for Canon U.S.A., Inc. “Helping to provide the tools for photographers and broadcasters to document such an important moment for the culture is a privilege that means so much to us at Canon, and contributing to the enjoyment that millions of people derive from watching the game is a source of pride for our company.”
For still photographers, the EOS R1 camera – geared toward professionals that brings together Canon’s cutting-edge technology and combines top-class performance with the strong durability and high reliability sought in a flagship model – again played a major role for a signature sporting event.
“With more than 30 years of experience using Canon cameras, I couldn't be more pleased with the quality and reliability of their products, especially the new EOS R1,” said Steve Sanders, Kansas City’s team photographer. “As a professional who relies on all types of Canon gear every day, the versatility and outstanding quality of their equipment make Canon the clear choice for my team.
“Whenever we need assistance, the team at Canon Professional Services is always there for us, whether it’s for a cleaning, a loaner, or a repair,” he added. “The turnaround is so fast that we barely notice the gear is gone. As a professional, I can’t imagine working with any other brand. With Canon’s support, I always feel confident that I can take any project to the next level.”
Added Jamie Squire, Getty Images’ Chief Sports Photographer: “This was the first time using the new Canon R1’s during the Big Game and they performed beautifully. Even in lower lighting, shooting wide open at 2.8, the autofocus was fast and the images were crisp and razor sharp. The built-in ethernet port and transmission technology allowed me to send images to our team of editors and out into the world within moments of the capturing the action. Additionally, the customization of the buttons and controls allowed for a seamless experience while working, especially during a big event like this when there is no time to be messing around. The Canon system and the knowledge of how to use it provided me with the confidence to perform at my best.”
For more information about Canon’s extensive lineup of professional imaging products, please visit www.usa.canon.com/pro.
Get your Canon gear at B&H.
###
* Based on Canon U.S.A., Inc., survey and data, as of February 10, 2025.
Zeiss posted a teaser on their Instagram page, hinting at a new Otus lens.
"Get ready for owlsome news! ZEISS Otus 1.4/85"
Get your Zeiss lenses at B&H.
Sony's 2024 Q3 financial results are available on the Investor Relations page.
Presentation
(track ET&S for the Entertainment, Technology & Services Segment, I&SS for the Imaging and Sensing Solutions segment)
Speech Transcript
Financial Statements
Supplementary Information
Webcast
Supplemental Information
Television sales continue to decline, impacting the ET&S results. Also mentioned was "Impact of deterioration of the product mix of digital cameras".
In the recently shared Bull Elk Among the Pines image, I suggested that thinking like a landscape photographer should be a top priority, seeing and capturing the environmental wildlife photo option when the right scenario unfolds. Still, I can't resist the in-your-face shot when it is availed.
The Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens teamed for this image. The compact size and light weight of this combination made it ideal for the long hike required to get to this enormous bull, the focal length range enabled fast adjustment to quickly capture a wide range of compositions, and the delivered image quality is outstanding.
A larger version of this image is available here.
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Image quality test results from a second lens are now available in the Canon RF 14-35mm F4 L IS USM Lens Review.
The first lens was tested on the EOS R5, and the second lens was tested on the EOS R5 Mark II, but the camera difference does not influence these results.
Here is the comparison between the two lenses.
Primarily at question were the first lens's 35mm results. The second lens delivered sharper center of the frame results at 35mm, but the periphery results are not quite as good. The first lens was sharper in the periphery at 20, 24, and 28mm.
Please share!
Support this site by ordering the Canon RF 14-35mm F4 L IS USM Lens (or anything else) from B&H | Adorama | Canon USA | Amazon (all available countries) | WEX | Camera Canada
Rent the Canon RF 14-35mm F4 L IS USM Lens from Lensrentals.
Tamron shared the Full Year 2024 Financial Results.
The report shows strong numbers and a positive outlook. However, the "Photographics Products (Own-Brand)" increases are not coming from America or Europe.
Just posted: Kondor Blue 501 Arca-Type Pivot Camera Plate Review.
John Reilly shares the solution to his fluid head mounting problem.
Support this site by ordering the Kondor Blue 501 Arca-Type Pivot Camera Plate (or anything else) from B&H | Adorama | Amazon (all available countries)
"Your Ultimate Camera Companion" [Lowepro]
Learn more about the Lowepro ProTactic Lite SLX 120 AW III Sling Bag (Black, 5L) at B&H (in stock, used model available at huge savings).
From Sony Electronics:
Sony Electronics Enhances Creators’ Cloud with Addition of Direct Transfers to Google Drive or Adobe Lightroom
SAN DIEGO, CA – Feb. 4, 2025 – Sony Electronics Inc. has made updates to its Creators’ Cloud platform, enhancing the Creators’ App1 to streamline content management for creators with new automated cloud transfer options. Based on feedback from the creative community, this latest update simplifies workflows by enabling direct uploads from select Sony cameras2 to Google Drive or Adobe Lightroom, empowering creators to seamlessly integrate their work into widely used editing and storage solutions.
This release of version 2.6.0 of the Creators’ App marks another step forward in Sony’s ongoing commitment to supporting the creative process with practical, user-driven enhancements, that give creators powerful, intuitive tools to move from shooting to sharing with minimal steps, with fewer technical barriers.
Overview of Creators’ Cloud System Capabilities:
The Creators' Cloud platform enhances flexibility, control, and efficiency for photographers and videographers by offering an all-in-one platform for remote camera operation, content management, and seamless media transfer. This comprehensive ecosystem empowers modern content creators with a suite of innovative apps designed to streamline every stage of the creative process.
From capturing footage to editing and finalizing projects, the platform offers specialized tools that cater to the unique needs of photographers and videographers. The Monitor & Control (M&C) app provides real-time, mobile-based control over camera settings, ideal for complex shooting environments, while the Creators' App acts as a central hub for connectivity, facilitating camera-to-phone transfers, live streaming, and cloud uploads3. Then, for postproduction, the Catalyst Prepare Plugin accelerates workflows with metadata-driven tools for fast, precise edits, compatible with DaVinci Resolve and Adobe Premiere Pro, simplifying the editing process while delivering professional-grade results.
What’s New:
The recent updates brought further optimized workflow with features like a USB connection for stable monitoring, a Shutter Angle Display, improved iris control, and enhanced smartphone transfer options. In addition, upgraded live streaming capabilities streamline YouTube integration for faster setup and operation.
Key Feature Highlights of Creators’ App v2.6.0:
- Automatic Cloud Transfer to Google Drive or Adobe Lightroom: In response to creator requests for a faster, more seamless workflow, this new feature allows users to automatically transfer images and videos to external cloud storage providers, offering immediate accessibility for collaborative editing and organization across platforms.
- Enhanced Smartphone Transfer and Efficiency Options: The latest smartphone transfer feature enables creators to move content to their devices while shooting, ensuring uninterrupted productivity. With “differential transfer,” only new or unsent files are transferred, maximizing efficiency and reflecting Sony’s commitment to streamlining repetitive tasks.
- Expanded Storage Options Tailored to User Needs: Creators’ Cloud now provides four cloud storage plans, including a free 5GB for all Creators’ Cloud users (25GB free for Sony camera owners), and premium tiers up to 500GB, addressing the storage demands of both casual users and professionals4. This flexible structure responds to feedback for scalable, affordable storage solutions.
- Enhanced Remote Control via Smartphone: With advanced control options, users can now adjust camera settings directly from their5 mobile devices, enhancing creative flexibility. This feature continues to evolve based on the needs and insights of the Sony creator community.
These updates are available immediately and continue Sony’s mission of fostering an inclusive ecosystem that grows in response to the needs of the creator community.
To download the latest Creators‘ Cloud updates and for further details on compatibility, please visit:
https://creatorscloud.sony.net
To download the latest version of the Creator’s App, please visit: https://creatorscloud.sony.net/catalog/en-us/creatorsapp/index.html
Notes:
1 Download app at Google Play and the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.
2 Creators’ App supported cameras include FX3, FX30, a1 II, a1, a9 III, a7R V, a7S III, a7 IV, a7CR, a7C II, a6700, ZV-E1, ZV-E10 II, ZV-1 II, ZV-1F, ILX-LR1. For other models not listed, Imaging Edge Mobile app is available. Monitor & Control App supported cameras include BURANO, PXW-Z200/HXR-NX800, FX6, FX3, FX30, a1, a9 III, a7R V, a7S III, a7 IV, ZV-E1. App compatibility may require a camera firmware update. See sony.com/electronics/support/downloads to download the latest camera firmware.
3 Download app at Google Play and the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.
4 A portion of which is used for data management functions.
5 Creators’ App supported cameras include FX3, FX30, a1 II, a1, a9 III, a7R V, a7S III, a7 IV, a7CR, a7C II, a6700, ZV-E1, ZV-E10 II, ZV-1 II, ZV-1F, ILX-LR1. For other models not listed, Imaging Edge Mobile app is available. App compatibility may require a camera firmware update. See sony.com/electronics/support/downloads to download the latest camera firmware.
Entire careers are made around photographing vehicles, so most of us will not go beyond dabbling in this genre. Still, dabbling is great fun (and could generate a profit if you get good at it).
To get started, you need a vehicle subject. Fortunately, these are plentiful and available nearly everywhere. Find something old, new, special (such as because you own it), or just for sale. The car can be yours, a friend's, a client's, or someone willing to trade car time for pictures.
Next, you need a place to put the car, and the background matters. Even with the car filling the width of the image (with some breathing room on both sides and the bottom), the background (and some foreground) is often a huge percentage of the image. A supportive background will minimally be nondistracting, especially void of strongly contrasting lines intersecting the perimeter of the vehicle that compete for attention. Even if blurred, the background should be void of clashing colors. Mow the grass and remove leaves and other distractions/detractions.
Even small cars are large, so a large space is optimal, and that option is often outdoors, including in yards, parking lots, etc. For inside shoots, find a large garage (including a commercial parking garage), warehouse, airplane hanger, etc.
Clean the car. Of course, one of Bryan's Laws of Photography is that if you wash the car, it will rain. Still, give it a go.
Show love to the wheels and tires as they are the car's soul and have a primary role to play. Tire shine will give the tires a deep, rich, better-than-new look, but understand the penalty. The tire shine I've used holds dirt and makes the tires virtually uncleanable, creating an always-dirty look. The easiest way to get them clean is to replace them.
In some locations and times of the year, insects landing on the vehicle can be problematic, and they seem to be attracted to a clean vehicle. Usually, they are easy to remove in post-processing, but when they start accumulating in greater numbers or land on features that are not easily replaced by the healing or cloning brush tools, chasing them away is a better idea.
Cars (most, at least) are reflective, so consider what is reflecting in the body and windows. A large open space often works well, leaving primarily the sky to reflect. Also, consider using a circular polarizer filter.
Lighting a large subject is challenging. The easiest high-quality lighting is a broad sky immediately after the sun sets or, for those preferring to get started early, before the sun rises. A cloudy day and a low sun at your back also work well. Light painting the exterior at night provides a different look and, potentially, a different look to every image.
Especially if shooting at dawn or dusk, turn on the car lights to add life to the vehicle. Adding a touch of interior light can work well.
Camera selection is easy. Unless the car is in motion, even entry-level cameras can perform this job well.
Lens selection is more critical, but there are many good options depending on the desired look.
The basics always apply, and perspective plays an especially big role for big subjects that are easy to get close to. 2x farther from the camera means 2x smaller in appearance. If the camera is close to the front of the car, the back of the car will be rendered considerably smaller. That size difference is OK if that is the look you want.
Shooting from a high position, such as from a ladder, enables a top view with reduced perspective distortion (and a different looks at the vehicle's shape). Shooting at car level from the front, back, or side and not too close can reduce visible perspective distortion, and moving back is always certain to reduce perspective distortion.
Select the focal length or focal length range that supports the desired perspective and composition within the working space. Select the aperture for thedesired depth of field and background blur.
This BMW image was captured just after sunset on a clear day, with the car strategically positioned to show only sky reflection in the windows. The 85mm f/1.2 combination yielded a strong background blur despite the relatively distant subject. The slightly forward of straight on camera position meant that most of the visible portion of the car was within the plane of sharp focus.
A larger version of this image is available here.
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Just posted: Canon RF 16-28mm F2.8 IS STM Lens Review.
This lens is a great addition to the RF lineup.
Support this site by ordering the Canon RF 16-28mm F2.8 IS STM Lens (or anything else) from B&H | Adorama | Canon USA | WEX | Camera Canada
Rent the Canon RF 16-28mm F2.8 IS STM Lens from Lensrentals.
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