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With a Canon EOS Rebel SL3 (EOS 250D, EOS Kiss 10, EOS 200D II) in hand, it is time to set up the camera for use.
Following are the 32 steps I took to make an out-of-the-box Canon EOS Rebel SL3 ready for use.
Open the box, find the battery, place it in the charger and plug it in.
While the battery is charging, unpack the other items you want from the box.
Download and install the
Canon Solution Disk software on your computer, gaining support for the latest camera(s).
Canon Digital Photo Pro (DPP) and EOS Utility are the options I manually include in the install.
Attach the neck strap.
Insert the battery (after charging completes) and power the camera on.
Insert a memory card.
Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
Scroll through all of the menu tabs to configure the camera as follows:
Shooting settings, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
Shooting settings, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
Shooting settings, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file, leaving this option enabled will burn you someday)
Shooting settings, Tab 1: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
Shooting settings, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
Shooting settings, Tab 4: Picture Style: Neutral with Strength = 1 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
Shooting settings, Tab 5: Long exp. noise reduction: Auto (when active, LENR captures a dark image that is used to correct the long exposure noise in the primary image)
Shooting settings, Tab 5: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post processing)
Playback settings, Tab 1: Histogram disp: RGB (I want to see the graph for individual color channels)
Function settings, Tab 1: Format card (always format memory cards in-camera — after all contained images are stored elsewhere of course)
Function settings, Tab 1: Auto Rotate: On computer (only) (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
Function settings, Tab 2: Date/Time/Zone: make correct for your location
Function settings, Tab 3: Beep: Disable (no one wants to hear your camera constantly beeping)
Function settings, Tab 5: Copyright information: enter as desired
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 2: ISO expansion: On (required for setting ISO to 51200)
Shooting settings, Tab 3: Photo ISO speed settings: ISO 51200 (this upper limit is only being used for testing, set to your tolerance)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 4: Exposure comp. auto cancel: Disable (I'll decide when exposure compensation should be canceled)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Operation/Others: 11: Retract lens on power off (avoids having a carefully-selected focus distance reset when camera auto powers off)
Display level settings, Tab 1: Shooting screen: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Menu displaye: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Mode guide: Disable (Enabled is useful for beginners)
Display level settings, Tab 1: Feature guide: Disable (Enabled is useful for beginners)
My Menu: Add the first tab; Register the following options for Tab 1: Format card, Mirror lockup, Date/Time/Zone (great for monitoring what time it is), Expo.comp./AEB, Long exp. noise reduction, Sensor cleaning
(nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
I of course 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 would mean that you intend to shoot similar to how I shoot - including shooting in RAW-only format.
While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea.
Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting.
If you purchase another same or similar camera, you will be able to quickly set it up.
This is my second-most-used tripod with only the Really Right Stuff TVC-34L Mk2 Tripod being used more frequently.
These two tripods are practically the same except for a smaller and lighter frame, a lower weight capacity, and a lower price.
Thus, a majority of the reviews are shared.
(New York, New York) May 13, 2019 – ROKINON has announced its new AF 45mm F1.8 Compact Lens for Sony E mount.
It is Rokinon’s third compact lens and seventh auto focus lens designed specifically for Sony mirrorless cameras.
The 45mm focal length provides a natural appearance, approximating how we perceive a scene with our own eyes.
It is actually closer to the human eye than a 50mm focal length is.
This focal length is great for general purpose use and can be readily used for portraiture, extreme sports, parties, lifestyle, architecture, landscape, street photography and more.
Optically, the lens is made up of 7 elements in 6 groups.
Two Aspherical plus one Extra-low Dispersion element and Ultra Multi-Coating are utilized to effectively control vignetting, distortion and chromatic aberration.
Additionally, the rounded nine-blade diaphragm and F1.8 bright aperture produce a pleasing out-of-focus quality when working with shallow depth of field techniques.
The minimum focusing distance is 17.7” and the 49mm non-rotating filter mount allows for easy use of polarizing and other filters that require precise positioning.
For Sony APS-C sensor cameras, the focal length is equivalent to a moderate telephoto of 67.5mm.
Construction has been optimized for portability, compactness, ergonomic handling, and the durability of a metal barrel.
Offering quiet and accurate autofocusing with enhanced speed and at 5.71oz in weight and 2.43” in length, it is the perfect lens to live on your Sony camera always.
Don’t miss that special and unique moment!
It is often said “The best camera (and lens) is the one you have with you”.
The ROKINON AF 45mm F1.8 Compact Lens for Sony E is expected to be available in early June with a street price of only $399.00.
It will include a lens hood, lens caps, and a custom fitted case.
F1.8 - 22
7 Elements in 6 Groups 2 Aspherical 1 Extra Low Dispersion
MIN. FOCUSING DIST.
1.48 ft” (0.45m)
Ultra Multi-Coating (UMC)
Full Frame (FX)
ROKINON AF 45mm F1.8 Compact Lens for Sony E - B&H | Adorama
In an unusual move earlier this year, Canon showed (some of) their cards in a development announcement.
Mock-ups of these new lenses were on display at a press event held just before that announcement and sharing some pictures from that event has been on my to-do list since.
Note that all of the images shared in this article can be clicked on to see a significantly larger version.
The lead image shows all of the 2019 RF lenses and R-series cameras.
From left to right in this image (new lens quotes are from Canon Europe) are the:
Canon RF 85mm F1.2 L USM Lens A large aperture mid-telephoto prime lens, offering the ultimate performance for advanced and professional portrait photographers.
Canon RF 85mm F1.2 L USM DS Lens (not shown, but looks identical to RF 85 non-DS): A unique high-performance lens offering a combination of beautifully smooth defocused background bokeh and a super faster aperture to produce breath-taking portraits.
Canon RF 15-35mm F2.8 L IS USM Lens Offering wide angle, fast aperture and high performance in a single package this lens is ideal for a range of uses including architecture, interiors or landscapes.
Canon RF 70-200mm F2.8 L IS USM Lens The must-have lens for any professional photographer shooting weddings, sport or wildlife. This high-speed medium telephoto zoom will be the daily go-to lens for numerous occasions.
Canon RF 24-240mm F4-6.3 IS USM Lens This compact, affordable 10x zoom is a multipurpose travel lens offering a versatile range of focal lengths and practical size and performance.
Not surprising is that the RF lenses show many similarities to each other.
The black L-zooms all feature an ideally-positioned (toward the rear of the lens, though not as far back as their EF counterparts) zoom ring and all but the RF 24-240mm lens feature a forward-positioned control ring.
The two or three rings on each lens have a differing tactile surface and the feel for each ring purpose is similar throughout the lineup with the control ring being knurled.
Notice that the RF 24-240 does not have a dedicated focus ring.
It is expected that the control ring will optionally be able to serve that function.
I was told to expect RF lens image quality to be as good or better than that of the nearest equivalent EF lens with reduced size being another benefit in some cases.
Note that the lenses shown on display boxes are lens mount-deep in their holders.
Still, we can discern some of the sizes.
I'll start with the RF 70-200 as I added a sizing prop next to it.
Canon USA was very protective of the new lens mockups the Canon Inc. engineers brought with them (we could not touch them and they used white gloves to move them), but with reluctance, I was permitted to place a phone next to the tiny 70-200.
The iPhone 7 measures 5.44" (138mm) in length.
If the phone were completely upright, it would about match the lens in length.
What if your 70-200 f/2.8 was nearly as small as your EF 16-35 f/2.8L III?
That is about the size difference we are looking at and here is a visual comparison.
I haven't seen a lens that wow'd me as much as the Canon RF 70-200mm F2.8 L IS USM Lens in a long time.
Where is the rest of the lens?
The size is so dramatically smaller that it will have an impact on the case or backpack this lens is carried in.
Interesting is that a tripod ring (hinge-removable) remains included.
Is this an indication that weight will be moving forward, justifying the ring for proper balance?
Or is the ring included because we expect a lens with these specs to have one, essentially checking the requirements box?
When the dust settles, I'll not likely care for the forward-positioned zoom ring and that this lens extends is not ideal.
But, the considerably smaller size (the smallest Canon white L lens ever) should easily make up for those downsides.
Note that this lens also has a rear-positioned control ring.
Here is a closer look at the new lenses.
Along with the RF 70-200, the RF 15-35 and RF 24-70 complete the RF f/2.8 lens "trifecta".
These two similar-sized lenses appear to be slightly longer than the RF 24-105 (the spec will likely land at around 4.5" or 114mm) and will have a width very similar to the RF 24-105.
Here is a current visual comparison with the RF 24-105.
The wide-angle lens gets a very-welcomed extra 1mm of focal length on the wide end, making 15mm available with filter threads.
It also adds image stabilization, a Canon first for full frame f/2.8 in this range.
Additionally welcomed is that this lens appears to be slightly reduced in length and perhaps even more reduced in width.
The standard professional zoom lens does not get a focal length adjustment and the size appears not dramatially reduced, but the long-awaited image stabilization feature has arrived (woo hoo!).
Only the second RF lens to be missing the red ring, the RF 24-240 relatively-affordably covers a huge range of focal length needs in a single lens, making it ideal for times when lens changes cannot be made, cannot be made quickly enough, or are simply not wanted to be made.
Still glaringly missing in the RF lineup is a value-priced general-purpose zoom lens.
The RF 24-240 is positioned to be a great lower-budget option for all-around use, but although thin, it has a length similar to the RF 15-35 and RF 24-70 which does not completely align with the compactness of the EOS RP.
Watch for at least one shorter-range option to arrive soon.
It makes sense.
Lenses are a critical component of a camera system and the right lens can make a huge difference in the results and also in the ease in which those results are captured.
Canon's new RF lens mount has obviously opened up new possibilities for lens designers and they are rolling out some of the best lenses ever.
It's a great time to be a photographer.
A great set of rebates (up to $500) makes now an ideal time to add an R-series camera to the kit.
The included Canon Mount Adapter EF-EOS R makes integration into an existing Canon kit easy.
While I have access to evaluation cameras, I decided that I wanted my own R and recently added one to the kit.
Shop Mother’s Day savings on an array of Sigma Global Vision Art and Contemporary lenses and its Mount Converter MC-11 for Sony shooters
Ronkonkoma, NY – May 9, 2019 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is celebrating Mother’s Day with a special promotion, offering incredible savings on 11 Global Vision Art and Contemporary lenses and its Mount Converter.
Renowned for its uncompromising performance, Sigma’s Art and Contemporary lenses and Mount Converter help the family storyteller capture the magic moments.
Sigma Ambassador, Meg Loeks, comments on the artistry and significance in the every day, “I can't emphasize enough how important it is to document my family's story.
The little things really are the big things and capturing these every day moments is easy with my Sigma lenses.
My go-to favorite, the Sigma 35mm F1.4 Art lens, captures the emotion and depth of these passing moments in a way smart phones are not capable of.
I can effortlessly document our days while being present and close to my children, enjoying moments that unfold before me.”
Through May 20th, 2019, shoppers can save up to $150.00 USD on some of Sigma’s magic-making lenses.
Shop the Sigma Mother’s Day Sale Now.
Most photography has with one thing in common...
all the photos are taken at eye height.
But if you want to give your portraits a new look consider mixing up your shooting height.
In this video Gavin Hoey shows you how getting down low or higher up then your model can radically change the look and emphasis of a portrait.
Low level shots can change the background and emphasize the foreground and high shots can be framed to completely remove the background that you see when shooting at eye height.
After Gavin has shared his shooting tips he goes on to try out all three shooting heights while taking portraits in a field of flowers.
Watch wedding photographer and Canon ambassador Félicia Sisco, as she talks about shooting bridal portraits with the newly-released Canon RF 85mm F1.2L USM lens.
What does she look for in the perfect prime for portraits?
One of Félicia’s secrets to getting a flattering look in her images is shooting at her favourite focal length, 85mm.
"With an 85mm lens, I can do everything, close-up portraits and full-length shots".
She enjoys the versatility to shoot both unposed, spontaneous images and editorial style setups make her appealing to brides-to-be.
Félicia likes to shoot with fast shutter speeds, ideally around 1/2000 sec, so in lower light increases the ISO setting to compensate.
“Every little girl looks in the mirror and wants to look beautiful, and on the wedding day, in her bridal dress, her dreams come true..."