From Canon USA: Canon Professional Services (CPS) Supports Professional Photographers Urgently in Need of Replacement Equipment MELVILLE, N.Y., August 29, 2016
– Canon U.S.A., Inc., a leader in digital imaging solutions, announced today that from August 6 to August 20, nearly 70 percent of professional photographers on assignment in Brazil were Canon shooters. In addition, Canon brought a team of more than 70 highly trained technicians and support staff to Brazil this month to help maximize the uptime and performance of its professional broadcast and EOS imaging equipment users. Canon HDTV field lenses were ready on the evening of August 5 bringing viewers worldwide approximately 80 percent and nationwide 100 percent of the images they saw on TV.
"It is humbling to know that such a large number of the world's most talented sports photographers relied on Canon equipment to capture this historic sporting event. Their iconic images from so many different events have been and will be seen by millions of people around the world for years to come. To support the needs of our customers and help them accomplish their goals, Canon Professional Services is always set up and ready at major sporting events throughout the year to assist by providing comprehensive equipment maintenance and repairs, extensive equipment loans and expert technical support," said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.
During the events, a photographer that had equipment stolen was quickly assisted by CPS staff so he could get back on assignment. According to Brett Costello, News Corp. Australia photographer, "The CPS team in Brazil was amazing. I was very upset at having my gear stolen on August 4 at a café and thought my ability to cover the coming events were over. When I told the Canon staff there what had happened to me, they didn't hesitate in helping with the loan gear I required. Thanks to Canon I put the event behind me and was able to complete my assignments."
The CPS team also:
- Averaged a 12 hour turnaround time for products needing repair
- Loaned 8,163 products with the EOS-1D X Mark II DSLR camera and EF 200-400MM F/4L IS USM Extender 1.4X being the most requested product loans
- Had in stock 950 cameras and 1,500 lenses
- Communicated with photographers in 12 languages
Canon Professional Services proudly attends to photographers at major sporting, auto racing, Hollywood, and political events throughout each year.
For more information about CPS: http://www.cps.usa.canon.com/ B&H
carries the Canon EOS-1D X Mark II
With the arrival of the Canon EOS 5D Mark IV
, many questions are being raised. Recently, we answered the Should I get the Canon EOS 5D Mark IV or the 5D III?
question. Here, we're going to compare the 5D Mark III's successor to the ultra-high resolution 5Ds and 5Ds R models in attempt to answer the "Should I get the Canon EOS 5D Mark IV or the 5Ds/5Ds R? question.
It seems logical to start such a comparison by showing a chart of the specification differences. For the purposes of this post, we'll lumping the 5Ds and 5Ds R models together as they are identical except for the low-pass cancellation feature found in the "R" model.
|5D Mark IV||5Ds/5Ds R|
|Image Processor||DIGIC 6+ plus iTR/AF processor||Dual DIGIC 6|
|Continuous Shooting / Buffer||7 fps / 21 RAW||5 fps / 14 RAW|
|AF Working Range||EV -3 - 18||EV -2 - 18|
|AF points @ f/8||61||5|
|Metering Range||EV 0 - 20||EV 1 - 20|
|Sensor AF||Dual Pixel CMOS AF||Contrast AF|
|ISO Sensitivity||Auto 100-32000 (L:50, H1: 51200, H2: 102400)||Auto 100-6400 (L: 50, H1: 12800)|
|LCD||Touch panel 3.2-inch (3:2) / 1,620K dots||3.2-inch (3:2) / 1,040K dots|
|Video Recording||4K (17:9) 4096 x 2160 (29.97, 25, 24, 23.98 fps) Motion JPEG |
Full HD (16:9) 1920 x 1080 (59.94, 50, 29.97, 25, 23.98 fps) intra or inter frame
Full HD (16:9) 1920 x 1080 HDR ( 29.97, 25 fps) inter frame
Full HD (16:9) 1920 x 1080 (29.97, 25) lite inter frame
HD (16:9) 1280 x 720 (119.9, 100 fps) intra frame
|FHD (16:9) 1920 x 1080 (29.97, 25, 23.976 fps) intra or inter frame|
HD (16:9) 1280 x 720 (59.94, 50 fps) intra or inter frame
SD (4:3) 640 x 480 (59.94, 50 fps) inter frame
|Wi-Fi / NFC / GPS||Built-in||GPS / Wi-Fi via accessories|
|Battery Life||Approx. 900||Approx. 700|
|Weight||31.4 oz (890g)||32.8 oz (930g)|
Here is the full EOS 5D Mark IV vs. 5Ds specifications comparison
Obvious from the table above is that the EOS 5Ds/5Ds R has one notable advantage over the EOS 5D Mark IV – resolution. The 5Ds R model, specifically, also has a slight sharpness advantage on the 5D IV as the latter features a traditional low-pass filter without the R's cancellation feature. Here is a resolution test chart comparison between the 5D IV and the 5Ds R
Just as I noted in the 5D IV vs. 5D III post, if you're interested in creating 4K content, or otherwise need the benefits of Canon's Dual Pixel CMOS AF, the choice is clear – get the Canon EOS 5D Mark IV.
If you're a landscape, wildlife or studio photographer who requires the ultimate in resolution for making big prints, the 5Ds/5Ds R models offer 40% more resolution compared to the 5D IV. Aside from big prints, the additional pixels allow for more leeway in cropping while maintaining still-manageable resolutions. To put that into point perspective, the 5Ds/5Ds R's 1.6x crop feature (simulating the field of view realized by using an APS-C sensor camera) results in a 19.6 megapixel image. This difference is noticeable. To obtain the same APS-C field of view with a 5D IV base image, the end result would be 11.7 megapixels.
Does that make the EOS 5Ds/5Ds R a better camera for those interested in wildlife? Maybe, but not necessarily. There are a lot of factors that go into creating a compelling wildlife image. The ability to crop an image heavily is just one of them.
Other factors like burst speed, buffer depth, high ISO noise results and AF capability/performance also play significant roles. That the 5D IV allows for two additional frames-per-second in burst shooting may not seem like much, but it can definitely help. The greater buffer capacity is always welcome. As hinted to by the increased standard max ISO setting (to 32000), the 5D IV performs better in the noise department than its predecessor, the 5D Mark III, and the 5D IV also performs better than the 5Ds
at the pixel level in this regard.
Downsize the 5Ds image to 5D IV dimensions and the comparison becomes considerably closer
. The 5D IV is still the better performer, but the equivalent comparison shows this attribute being less of a decision factor. The 5Ds/5Ds R's standard max ISO tops out at 6400.
The 5D IV also features a vertically expanded AF point spread to its benefit. This is a feature that wildlife (and many other) photographers will appreciate. If a subject is moving, AI servo is needed and if AI servo is in use, a focus point must be held on the subject (usually their closest eye). Having a larger AF point spread sometimes permits better subject framing in these situations (I provided an elk photo example in the 5D IV review).
So, which body is best for you? If you want the most versatile, general purpose DSLR, the 5D Mark IV's feature set will likely make it the best overall choice. At their introduction, the ultra-high resolution 5Ds and 5Ds R were marketed more as specialty cameras rather than a camera for everyman. And their place in Canon's camera lineup hasn't changed; the only difference is that the everyman camera has a "IV" in its name and packs a great new feature set to go with it.
Get your Canon 5D Mark IV
and/or EOS 5Ds/5Ds R
Accodring to c|net
, Adobe is planning to add Dual Pixel RAW support in Photoshop CC and Lightroom CC.
While no time table was specified, it's promising news for those who don't want to be limited to using Canon's Digital Photo Professional for taking advantage of the new feature.
Read the entire article on c|net
has the 5D Mark IV
available for preorder and carries Adobe Photography Plan
The Canon Professional Network
** has published an article featuring fashion and beauty photographer John Swannell. It it, Swannell recounts a story of a bag he purchased from a thrift store for a couple of pounds.
We pause to reflect on Helmut Newton, an abrasive character to many, but to Swannell a bit of a diamond in the rough. “I once spent four days with Helmut on a shoot in the south of France and he took a shine to my camera bag.”
“I’d found the bag in a charity shop in London for a couple of quid and really loved it because it had lots of pockets. But Helmut wanted it and wouldn’t take no for an answer. He kept on offering me money for it during the shoot and went up to $500 and still I wouldn’t sell it to him.”
Swannell laughs at the recollection: “This made him really grumpy with me and on the last day, as we were walking across the tarmac to board the aircraft, he turned round to me and said ‘there must be something of mine you want, I have to have that bag!’ so I replied ‘OK, sign me a print from the cover of your book White Women’ and you can have it. He said ‘you must be mad, that’s about $3000!’
“He was so mean, was Newton, and wouldn’t have it. But I held my ground and said that was the price of the bag. And then suddenly, in front of everybody, he took my bag off me and tipped all my stuff onto the tarmac, and marched off with it. I turned to his wife Alice [Springs] and said ‘you are my witness!’ And a few days later, a signed print arrived. Ten years later I sold that print for £32,000. So that old bag wasn’t a bad investment...”
From Canon Professional Network
. ** Because the gallery showcase images featured in this article contain nudity, we have chosen not to link directly to the article.