Canon News (Page 23)
A wind storm hit Death Valley National Park the previous day, leaving Mesquite Flat Dunes filled with untracked ripples. It was the kid-in-the-candy-store scenario.
The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 was an optimal choice for the dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
Of course, the 52mm focal length selected for this composition is not optimal for keeping near-to-far details in focus. The R5's focus bracketing feature was the solution to that problem.
With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (except when I impatiently picked up the tripod before the stack was finished to hurry on to the next composition).
With that strategy implemented, my task was easy. Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release with the 2-second self-timer enabled.
My first focus stacking pass for this image was in Photoshop. This process is easy. Here is how to focus stack using Photoshop:
- Open the set of images with sharp details covering the entire depth of field as layers in Photoshop. To do this using Bridge, select the images (click on the first image, and shift-click on the last image), then menu > Tools > Photoshop > Load file into Photoshop layers.
- Select all layers in the Layers panel (click on the top layer, and shift-click on the bottom layer).
- Menu > Edit > Auto-Align Layers, select Auto in the dialog, then click OK.
- Menu > Edit > Auto-Blend Layers, select Stack Images in the dialog, then click OK.
- If the result looks good, select all layers in the Layers panel, and press control-E to consolidate the result into a single layer.
That mindless process usually works great. However, I wasn't satisfied with the result in this case, so I manually stacked the images using layers masks.
A larger version of this image is available here.
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My family and I wish you a very Merry Christmas! As always, we hope that your Christmas season is filled with great meaning, great memories, and of course, great images.
The Christmas tree is a core of our family's traditions, and it seems that our Christmas tree adventure always has a story.
After putting the tree up, I always vowel to get a smaller tree the next year. By the next year, the tall tree issues are forgotten, but the space available for the tree is remember, and the girls pressure to go big. After getting away from carrying the tree behind the SUV, moving it to the roof, hitting things alongside of the road are no longer an issue.
However, hitting the garage door when returning home is a concern. That risk didn't materialize, but making the tree stay upright was a real concern.
This year, the girls picked a tree with about 4 or 5' of the bottom branches trimmed off (likely sold for greens, such as for wreaths). That meant I couldn't clearly discern the tree's height above the bare trunk. And, it seemed to grow a couple of feet on the ground.
When trees get that tall, the trunk becomes thick, which equates with heavy. With help, I managed to get the tree upright and moved into position.
Hours later, my daughter said "Oh!" "Oh!!!" OOOh!!!!! The extra exclamation points reference the decibel level of her exclamations.
Yep, the tree fell over. Fortunately, no decorations were yet attached. Unfortunately, about 2 gallons of water dumped onto the floor. Fortunately, a large piece of plastic caught a lot of that water.
The tree you see here is tied to the wall with fishing line. It is 20lb test line for those of you who are fishermen. It is also about 20 years old, probably the same age as the tree.
Our Christmas tree represents a huge amount of work (mostly for my girls), and the results of their effort deserve preservation in a high-quality image. After photographing the annual Christmas tree in the same location for over 25 years (I unsuccessfully lobbied for a new location this year), I have a few go-to shots dialed in.
An ultra-wide-angle focal length usually gets the selection. In addition to fitting the tree and surrounding space in the frame, this angle of view makes the room appear big, creating a more dramatic look.
There seems to be an outstanding ultra-wide-angle lens choice introduced each year, and I seldom capture the tree photo with a lens previously used for that task. The Sony FE 14mm f/1.8 GM Lens got the call in 2021. Sony FE 12-24mm f/2.8 GM Lens captured the Christmas 2020 tree, the Canon RF 15-35mm F2.8 L IS USM Lens captured the 2019 tree, and, going a bit narrower for a different look, the Canon RF 28-70mm F2L USM Lens took in the 2018 tree.
I didn't look at my lens choice from prior years before choosing this year's lens, had the new Sony Alpha 7R V to work with, and the Sony FE 14mm f/1.8 GM Lens was the perfect match for this year's job.
At this time of the year, I know that I need to take pictures between 5:15 and 5:25 PM to have a touch of dark blue sky color showing through the windows with the exposure balanced for the Christmas lights inside. No, I can't remember this time from year to year, but a calendar item reminds me (and EXIF information from the prior year's photos can be referenced).
F/16 images from any current digital camera, and especially from cameras with ultra-high pixel density, show a slight softness due to diffraction. However, I like the starburst effect that narrow apertures, such as f/16, create from point light sources, such as the candles in the windows. Because the a7R V pixel density is so high, I opted to open up to f/11 this year. The FE 14 still creates nice diffraction spikes from the point light sources at this aperture, and the a7R V produces noticeably sharper details at f/11 than at f/16.
With only the tree and other decorative lights on, the exposure needs to be long — 25 seconds at f/11 and ISO 100. The exposure duration means that only a few images can be captured during the perfect deep blue sky time.
Long exposures also mean that the tree ornaments must be still to avoid motion blur, and the floor vibrates when walked on, making the ornaments swing. One person walking across the room at the wrong time could eliminate one or two exposures from that short period. Thus, the photo day is (usually) selected for when I am home alone at the right time.
The vertical lines in the windows (or sometimes a wall unit) on the right side of the frame look best when running parallel to the edge of the frame. Thus, a camera position leveled for both tilt and roll is usually selected. In this case, the Sony FE 14mm f/1.8 GM Lens especially impresses with its lack of geometric distortion (no correction was applied to this image), rendering the vertical lines straight.
I am fortunate to have a range of tripods to work with, and holding the Sony Alpha 7R V and FE 14mm f/1.8 GM Lens combination steady indoors is not a support challenge. However, when shooting on carpet, I prefer a tripod with some weight (or spikes) to press into the carpet fibers, decreasing movement. The Really Right Stuff TVC-34L Mk2 Tripod and BH-55 Ball Head handled this job nicely.
With that, another Christmas tree photo is in the archives.
A larger version of this image is available here.
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Just completed: Canon EOS R6 Mark II Review
At some point, I have to call this review finished. Still, I'll likely continue to update it.
Please share!
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Lensrentals has shared their always-interesting annual top rented cameras and lenses list.
Let me introduce you to your new favorite event, portrait, and indoor sports lens, the Canon RF 135mm F1.8 L IS USM Lens.
There are several reasons for this prediction.
The first is the focal length. The 135mm angle of view is narrow enough to encourage subject distances that create pleasing portrait perspectives, even for full-frame headshots. This angle of view also keeps the lens out of their personal space, staying distant enough for subjects to remain comfortable.
The ultra-wide aperture is another reason for this lens to be a favorite. The F1.8 aperture combined with high-performing image stabilization keeps shutter speeds up and ISO settings down for sharp, low-noise results. F1.8 combined with the medium telephoto focal length can create a strong background blur that makes the subject stand out from an otherwise distracting background.
If those two reasons are not sufficient for you, the image quality delivered by this lens will be. Even the preproduction lens produced outstanding image quality.
This mariachi band member performing at a low light event was a perfect subject for this lens and the Canon EOS R6 Mark II behind it.
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"Lightweight and ideal for journalism, audio for video, and documentary applications, the M3 MicTrak from Zoom is a camera-mounted, combination shotgun microphone and recorder, with two internal shotgun mics that can switch between hyper-focused supercardioid (90°) or wider bidirectional (180°) modes at the press of a button. Thanks to dual AD converter circuits inherited from the pro F-Series recorders, no gain adjustment is necessary, and the M3 captures quality audio in 48 kHz / 32-bit floating point for crisp sound without clipping."
Get rest of the new Zoom M3 MicTrak Stereo Shotgun Microphone and Recorder details at B&H. The M3 is in stock and only $199.99.
The Zoom M2 and M4 MicTrak Stereo Microphone and Recorder are also just available.
Sharing a favorite image from my late summer and early fall elk photography here. The colors in this image are right out of the camera using Lightroom's default settings — I didn't create this 7x7 bull's unique orange antler color during post-processing.
The great lighting (and water drop streaks) is curtesy of a rainy day. When photographing wildlife, I always keep a LensCoat rain cover on my camera and lens. With a quality rain shell on me, moderate rain does not hinder the pursuit, and it often enhances the photos.
A larger version of this image is available here.
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Noise test results (high ISO noise – not audible sounds) are now available for the Canon EOS R6 Mark II in electronic shutter mode, including exdposure variance results.
The R6 II shifts from 14-bit to 12-bit capture in electronic shutter mode. While the noise in 12-bit images appears similar to that of 14-bit images at the exposed brightness, 12-bit image noise levels are increased in brightened images.
Get the Canon EOS R6 Mark II at B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon EOS R6 Mark II from Lensrentals.
On page 267 in the owner's manual, Canon reveals that the EOS R6 Mark II supports focus breathing during movie recording. The RF lens firmware updates released today support this feature.
Canon RF 14-35mm F4 L IS USM Lens firmware update version 1.0.3 is available for download.
Canon RF 15-35mm F2.8 L IS USM Lens firmware update version 1.0.8 is available for download.
Canon RF 24-70mm F2.8 L IS USM Lens firmware update version 1.0.8 is available for download.
Canon RF 70-200mm F2.8 L IS USM Lens firmware update version 1.1.4 is available for download.
Canon RF 70-200mm F4 L IS USM Lens firmware update version 1.1.1 is available for download.
These firmware updates incorporate the following enhancement:
- Adds the ability to correct focus breathing during movie recording.
* Compatible with cameras that support focus breathing correction.
From Tamron Japan (translated):
[Update] Firmware update for 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Canon
Thank you for your continued patronage of Tamron products.
On our website dated October 25, 2022, when using our lens 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) with Canon EOS R7 / EOS R10 via an EF-EOS R adapter, we posted a notice that the problem occurred, but we would like to inform you that it has been improved by updating the firmware.
Points to be improved
A phenomenon in which AF may not operate properly when the shutter button is half-pressed, depending on the timing of the camera's power ON/OFF.
How to update
It is possible to update with the TAP-in Console (sold separately). If you do not have a TAP-in Console, we will update the firmware (free of charge).
Click here for details >>>
Learn more: Tamron 18-400mm f/3.5-6.3 Di II VC HLD Lens Review
Get the Tamron 18-400mm f/3.5-6.3 Di II VC HLD Lens at B&H.
Canon EOS C70 firmware update version 1.0.5.1 is available today, as promised.
From Canon USA:
Canon Introduces Multi-Feature Firmware Update for EOS C70 4K Digital Cinema Camera
MELVILLE, NY, November 16, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today a multi-feature firmware update for the EOS C70 4K Digital Cinema Camera. The batch of feature upgrades coming via a firmware update will help to improve workflow and functionality for the content creation, live production and documentarian markets. The firmware update will be available as a free download on December 8th, 2022*. Top upgrades include:
- Eye Detection Auto Focus (AF), Face Detection AF, and Subject Tracking AF During Slow and Fast Recording (24-120p)
Canon’s Eye AF, Face Detection AF, and Subject Tracking AF allows for more accurate auto focus performance at accelerated frame rates, helping to ensure you don’t miss that crucial shot. - XF-AVC 4K Intra-frame 60p
Newly added XF-AVC Intra-Frame 60p records at a bit rate of 600Mbps and offers users a lightweight, high-quality codec that helps to minimize storage costs and speed up file transfers. This new file format allows for easier handling of files and the capability to record to an SD card. - Canon’s IP-based XC Protocol
XC Protocol enables multi-camera remote control of camera settings via the Canon RC-IP100 remote controller or other third-party XC Protocol-enabled remote control panels. - Canon 709 Custom Picture Profile
The Canon 709 Profile has the same dynamic range as the current Wide DR profile setting with great contrast. This provides a rich, cinematic look to your footage right out of the box, without the time-consuming need for color grading. - CMT 709 “Viewing Assistance”
Allows the video output of the camera to be viewed on a REC.709-compliant monitor when recording in Canon Log 2 or Canon Log 3. CMT 709 is a great starting point for any color grading and assists in making adjustments while shooting, reducing the time needed to edit the file in post-production. - Full Communication with EF-Mount Flex-Zoom 45-135mm and CINE-SERVO 15-120mm Lenses
Communication features include T-stop display, chromatic aberration correction, Dual Pixel CMOS AF, and Dual Pixel Focus Guide.
Additional upgrades of the firmware update include:
- Maintaining camera settings when switching between normal and slow & fast recording modes.
- Audio 4 channel display now viewable in the level meter display on the camera’s LCD display.
Canon EOS R5 firmware update version 1.7.0 is available for download.
Firmware Version 1.7.0 incorporates the following fixes and enhancements:
- Corrected the phenomenon that, on rare occasions, the camera would not operate normally while shooting a small subject.
- Fixed minor bugs.
Get the Canon EOS R5 at B&H.
Canon EOS R6 firmware update version 1.7.0 is available for download.
Firmware Version 1.7.0 incorporates the following fixes and enhancements:
- Corrected the phenomenon that, on rare occasions, the camera would not operate normally while shooting a small subject.
- Fixed minor bugs.
Get the Canon EOS R6 at B&H.
Think Tank Photo has launched the Speedtop Crossbody Series Shoulder Bags featuring a convenient magnetic lid closure.
Don't forget that you'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).
Noise test results are now available for the Canon EOS R6 Mark II.
Again, no surprises here. The results look great.
Here is a comparison with the 20 megapixel EOS R6 (the higher resolution R6 II sample is the larger background image).
Get the Canon EOS R6 Mark II at B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon EOS R6 Mark II from Lensrentals.
Usually, heavy cropping of a full-frame image is required to fill the frame with the moon. Not so when using the Canon RF 1200mm F8 L IS USM Lens with an RF 2x Extender behind it.
At the magnification provided by 2400mm, keeping the moon in the frame (without a tracking mount) is problematic. The moon must be led by the right amount to be centered in the frame after the vibrations settle out.
Fortunately, it is easy to precisely center the moon during post-processing – as long no edges are clipped. The black border is easy to extend on any side.
Is this full-sized image sharp? Not especially so. The wide-open f/16 aperture has some diffraction impact, 2x extenders magnify aberrations, and worse is the atmospheric distortion.
Would I buy a $20,000 lens to photograph the moon? While the 2400mm focal length is difficult to obtain otherwise, no, I'm not that serious about photographing the moon. But if you have the lens, the moon makes a fun subject.
A larger version of this image is available here.
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The Canon EOS R6 Mark II is here, and it is time to set up this camera for use. Following are the 44 steps taken to prepare an out-of-the-box R6 II.
- Record serial number and add camera to the insurance policy
- Open the box, find the battery, place it in the charger, and plug it in.
- Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I include in the install.
- Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
- The date, time, and time zone setup screen will show at the first startup. Use the rear control dial and set button to update this information.
- Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options) and press the menu button.
- Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear control dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
- Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
- Shooting Menu, Tab 4: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
- Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction)
- Shooting Menu, Tab 5: High ISO speed NR: Off or Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
- Shooting Menu, Tab 7: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
- Shooting Menu, Tab 8: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
- Shooting Menu, Tab 9: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
- Shooting Menu, Tab 9: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (the default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
- Shooting Menu, Tab 9: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
- Shooting Menu, Tab 9: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
- Shooting Menu, Tab 9: Disp performance: Smooth (select Smooth if shooting fast action and battery life is not a concern, and Power saving otherwise.)
- AF Menu, Tab 1: Subject to detect: Select Auto, People, Animals, Vehicles, or No priority as makes sense for your current shooting scenario
- AF Menu, Tab 4: Touch & drag AF settings: Touch & drag AF: Enable (allows the thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
- AF Menu, Tab 4: Limit AF methods: enable Spot AF, Single Point, and Whole area AF
- AF Menu, Tab 4: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
- AF Menu, Tab 5: MF peaking settings: On
- AF Menu, Tab 6: RF lens MF focus ring sensitivity: Linked to rotation degree
- Playback Menu, Tab 5: Magnification: 10x (allows one button press during playback to zoom deeply into the image)
- Playback Menu, Tab 7: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
- Playback Menu, Tab 7: Highlight Alert: Enable (overexposed pixels will blink during image review)
- Set-up Menu, Tab 1: Format card (always format a memory card in-camera before using it - all data on the card will be lost)
- Set-up Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
- Set-up Menu, Tab 2: Mode guide: Disable
- Set-up Menu, Tab 2: Feature guide: Disable
- Set-up Menu, Tab 3: Beep: Disable (probably no one wants to hear your camera's beep)
- Set-up Menu, Tab 3: Power saving: Screen dimmer: Disable (I found the dimmer to be highly annoying — the LCD is as useful off as dimmed)
- Set-up Menu, Tab 6: Custom shooting mode (C1, C2, C3): Auto update set: Enable (see Configuring Custom Shooting Modes)
- Set-up Menu, Tab 6: Copyright information: enter as desired
- Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
- Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly getting the first frame)
- Custom Functions Menu, Tab 3: Customize buttons: Multi-function button: Dial function and press info to set details: Top row: 1. Drive mode, 2. One Shot - Servo, 3. Exp. comp, 4. Off, 5: Off; Bottom row: 1. ISO, 2. AF area, 3. Flash exp. comp, 4. Off, 5: Off
- Custom Functions Menu, Tab 3: Customize dials: Control ring: OFF (consider using this dial for a function logical for your needs)
- Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe, but one less button press required to delete an image)
- Custom Functions Menu, Tab 4: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
- My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, IS (Image Stabilizer) mode, Expo. simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
- My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., RAW burst mode, Focus bracketing, Shutter mode, Number of bracketed shots, reorder menu items as desired
- With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do – including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are re-established. If you purchase another same or similar camera, setup will be fast and identical.
More Information
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Resolution test results are now available for the Canon EOS R6 Mark II.
No surprises here. The results look great.
Here is a comparison with the 20 megapixel EOS R6.
Support this site by ordering the Canon EOS R6 Mark II from B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon EOS R6 Mark II from Lensrentals.
From Rode:
The VideoMicro II is a professional-quality microphone that will instantly elevate the audio of your camera or smartphone. Ultra-compact, lightweight and easy-to-use, it is perfect for run-and-gun filmmaking, content creation, or if you simply want to record better audio for your videos.
Key Features:
- Professional-quality on-camera shotgun microphone
- Ultra-compact and lightweight – just 39g
- Annular line tube technology for natural, full-bodied audio
- Supercardioid polar pattern for highly directional, focused sound
- No battery required and no complicated switching – incredibly easy to use
- HELIX™ isolation mount system for superior protection from knocks, bumps and handling noise
- Deluxe foam and furry windshields and cables for connecting to cameras and smartphones included
- Rugged all-metal construction
- Designed and made in RØDE’s state-of-the-art manufacturing facilities in Sydney, Australia
Get the full details on the just-announced, affordable Rode VideoMicro II Mic, and preorder it at B&H.
I've probably purchased a Canon 24-105 F4 L IS Lens a dozen times. This series of lenses, including the Canon RF 24-105mm F4 L IS USM Lens, Canon EF 24-105mm f/4L IS II USM Lens, and Canon EF 24-105mm f/4L IS USM Lens, are professional-grade, high-performing, relatively compact and lightweight, and affordable. That combination, along with the versatile 24-105mm focal length range, make these lenses ideal for many uses, including family, travel, and hiking.
So, why do I keep rebuying them, aside from the new models becoming available? Well, I try to keep the kit trimmed to the gear that is most important to me. I sometimes shoot moving subjects in low light, such as at indoor events, and in these scenarios, an aperture wider than f/4 is desired. Thus, there is always a 24-70mm F2.8 L lens in the kit.
With a significant general-purpose focal length range covered, it seems that 24-70mm lens should be adequate for all needs. When there is some time space since the last 24-105 F4 need, the 24-105 gets sold to finance seemingly more important needs.
Then, a need arises that reminds me that I really do need that lens, usually for its size, weight, and focal length range, and I re-buy it. And, the story repeats – more often than it should.
The second Canon RF 24-105mm F4 L IS USM Lens arrived in my kit earlier this year. With some long hikes on the schedule, the need for this lens again became apparent. I bought it to keep this time (unless I forget the reasons again), and it performed impressively.
One location that the RF 24-105 was perfect for was Badlands National Park.
Few elements make a prairie more photogenic than a good storm with a rainbow, and the first thing I grab when a rainbow shows up is a Breakthrough Photography circular polarizer filter.
A larger version of this image is available here.
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