If you're ready to step up from smartphone photography to one of Canon's entry-level DSLRs, you may be asking yourself "Which might be a better option for me? The Canon EOS Rebel T7i or the Rebel T7?"
If so, you're in luck. Today we're going to take a close look at these two Canon Rebel cameras to see which might be the better fit for your needs. First, let's take a look at what they have in common.
Canon EOS Rebel T7i/800D and Rebel T7/2000D Shared Primary Features:
Primary Advantages of the Canon EOS Rebel T7i/800D:
Primary Advantages of the Canon EOS Rebel T7/2000D
If you glance at the specifications comparison found on this site, you'll likely notice that the Rebel T7 features a faster pop-up flash recycling time compared to the Rebel T7i (2 sec vs. 3 sec), which would seem to indicate an advantage. However, the T7 has a faster recycling time because it has a lower power flash. When fired at the T7's full power level, the T7i's recycling time will likely be similar.
Who Should opt for the Canon EOS Rebel T7i/800D?
When describing the customers who may be best served by the cameras in one of our comparisons, we typically start with the higher-end option as its versatility will make it an overall better option for most consumers. In this case, the feature difference between the cameras is so substantial and the advantages so one-sided that there is really only one reason to choose the Canon EOS Rebel T7 over the Rebel T7i – a lower price tag.
The Rebel T7i's Dual Pixel CMOS AF sensor, more advanced/sensitive AF system, higher burst rate/larger buffer and longer battery life could all be considered justification for the camera's higher price tag when considered individually. Put all those features together and the value you receive for the T7i's incremental price over the T7 is monumental.
Who Should opt for the Canon EOS Rebel T7/2000D?
As previously mentioned, the primary reason to opt for the EOS Rebel T7/2000D is for its lower cost. The Rebel T7 will be more than adequate for capturing high quality imagery under normal / not-so-challenging conditions, and those stepping up from smartphone photography will certainly appreciate the benefits of a significantly larger sensor and the ability to change lenses. And speaking of lenses, for the price of a Rebel T7i + EF-S 18-55 IS STM kit, you could get a Rebel T7 + EF-S 18-55 IS II, EF 50mm f/1.8 STM and EF-S 24mm f/2.8 STM lens.
Beginner/novice photographers aren't the only groups that will appreciate the Rebel T7's lower price tag. Advanced photographers wanting to capture images in high-risk-of-damage situations can more easily justify the sacrificial cost of a Rebel T7. Such photographers can mount the T7 to a car, motorcycle, bicycle, boat, etc. to capture dynamic imagery without risking damage to their primary camera(s).
Few camera comparisons are a clear-cut as this one. The Canon EOS Rebel T7i's superset of features will make it a more versatile imaging platform for those who can afford its price difference over the Rebel T7. But for those whose budgets don't extend that far, especially beginner/novice photographers, the Rebel T7 offers a solid step-up for those currently shooting with smartphones and/or point-and-shoot cameras who want to experience the benefits of interchangeable lens camera photography first-hand.
The Canon USA Store is the exclusive North American retailer of the Canon EOS Rebel T7 (so far). The Canon EOS Rebel T7i can be found at B&H | Adorama | Amazon (for more retail links, see the bottom of the T7i Review).
From Nikon USA:
World Leader in Motion Control Debuts New Tools for Broadcasters and Sports Clubs
MELVILLE, NY – Experts in camera robotics, MRMC, a Nikon company, announced today a variety of automated image capture solutions that will debut at the NAB 2018 tradeshow. These new offerings provide more angles and creative control of image and video capture at sports venues, providing cost effective and reliable solutions.
Nowhere else is the cutting edge of capture technology on display more than solutions for live sports. Broadcasters and sports clubs need high-speed precision, flawless control and unquestionable reliability. MRMC has therefore created solutions that can deliver on the increasing demands for alternate multi-view perspectives and analysis systems.
“MRMC has a strong history of making bespoke solutions for major broadcasters and many other types of productions,” said Assaff Rawner, Managing Director at MRMC. “Together with Nikon, we have the resources to introduce new innovative technologies to the wider sports and traditional broadcasting market, effectively giving creative people the creative control.”
For broadcast in-stadium, MRMC’s new Polycam Chat solution simplifies and augments the small-scale studio environment with AI, while minimizing footprint and production costs. The system uses face detection in combination with limb recognition for unrivaled accuracy and stability. The Polycam Chat automates the camera operation for up to four presenters and guests in one studio and can easily track a talking head with maximum stability within the frame. The simple interface makes it easy for operators to use, while the flexible platform means it can be used with a number of different broadcast camera solutions including Nikon DSLR cameras.
Clubs, leagues and venues know that an automated, high-mounted and wide-angle video analysis solution gives the advantage at game time. The Polycam Player is a robotic video capture system that offers an unbeatable level of automation, flexibility and low-light image quality. Using ChyronHego’s TRACAB player tracking solution, Polycam Player physically moves the camera and adjusts the zoom and focus to automatically keep the team or the player in the frame. Unlike other systems which pan and scan footage from very wide-angle camera arrays, the Polycam Player mimics the natural movement of a camera operator from locations which would be impossible to physically put a human. This technology gives clubs the ability to analyze opponents, monitor players and strategize with unprecedented information, all while providing broadcasters with additional low-cost camera angles to enhance content. Four camera positions are available at launch; two high end zone cameras (high behinds), a high center-line camera (tactical) and a player tracking camera. The individual player-tracking solution also offers live composition control. This technology feature lets the operator tightly frame the player, yet dynamically adjust the framing while continuing to automatically follow the player, resulting in higher quality editorial style output.
To give broadcasters complete control of their content, MRMC is releasing new software updates to MHC (Multi Head Controller). The Multiviewer Skin is a new feature in MHC, and will be available to clubs and broadcasters who want the ability to remotely control up to 12 multiple cameras straight from a single multiviewer touch interface. Additionally, MRMC will be offering the first ever remotely controlled full-live color adjustment for the Nikon D5 DSLR camera. The new Color Control Panel will give MHC users true customization on-the-fly. For the first time, integration of a DSLR into a mixed broadcast camera production is easy with a wide range of remote functions and adjustments including color, white balance and other image setting parameters. Also announced, Live Skin is a new full-screen touch control solution which allows a remote operator to physically move the robot into position using the interface. Live Skin is designed to be user-friendly, letting operators physically engage with the live image stream while maintaining their focus on the subject.
For more information on these and other MRMC automated capture solutions, please visit: https://www.mrmoco.com/NAB2018.
From the Canon USA YouTube Video:
The 120MXS is an ultra-high resolution CMOS sensor with 13280 x 9184 effective pixels(approx. 60x the resolution of Full HD). It has a size equivalent to APS-H (29.22mm x 20.20mm), and a square pixel arrangement of 2.2µm x 2.2µm with 122 million effective pixels. Ultra-high-resolution is made possible by parallel signal processing, which reads signals at high speed from multiple pixels. All pixel progressive reading of 9.4fps is made possible by 28 digital signal output channels. It is available in RGB or with twice the sensitivity, in monochrome.
What is the Sensor Change Service?
Canon’s sensor change service offers EOS C700 & EOS C700 PL owners the opportunity to convert their standard sensor for the Global Shutter sensor. The Global Shutter sensor offers incredible performance at 4.2K Resolution with 14 stops of resolution at its base ISO.
|C700||$3,700||The cost of the conversion from EF to PL lens mount is included in the $3,700 price|
Customer Support Operations
Canon U.S.A., Inc.
*If you would like to reverse to the original mount, please include the returned parts with the camera to our service facility.
|Service Options for EOS C300 Mark II & EOS C700 PL|
|Mount Replacement Service **Includes Mount kit, Shim Kit, and laborEF Mount with Cinema Lock||$2,170|
Customer Support Operations
Canon U.S.A., Inc.
Proven Design at a Powerful Price $199 HERO Joins $299 HERO5 and $399 HERO6, Making GoPro Life-Capture Accessible to All
SAN MATEO, Calif., March 29, 2018 – GoPro, Inc. (NASDAQ: GPRO) has added a new HERO camera to the family. On sale now, HERO is a $199, go-anywhere, capture-anything camera that makes it easy to share experiences that would be difficult to capture with a phone. GoPro launches entry-level HERO at the powerful $199.99 price.
HERO features a 2-inch touch display, is waterproof to 30 feet and is extremely durable, making it the perfect GoPro for kids, adventurous social sharers and travelers.
"HERO is a great first GoPro for people looking to share experiences beyond what a phone can capture," says Meghan Laffey, GoPro's VP of Product. "HERO makes it easy to share 'wow' moments at a price that's perfect for first-time users."
Sharing cool experiences with HERO is simple. It offloads your photos and videos to the GoPro app which creates fun, shareable videos for you, automatically. No more fumbling with your SD card or plugging your camera into a computer. HERO makes it simple.
HERO is available today at retailers around the world. Key features include:
I have a Canon EOS M50 in my hands and just completed preparing the camera for use. Following are the 31 steps I took to make an out-of-the-box M50 ready to use.
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 goes in for a service visit, the camera will be returned in a reset-to-factory state (unless you request otherwise). Your list will ensure that you do not miss an important setting when putting the camera back into service.
Canon is apparently releasing firmware updates for several its Cinema cameras; unfortunately, the udpates aren't available just yet at Canon USA (but I expect they will be soon). To read about the firmware updates, check out this article on the Canon Digital Learning Center.
Listed below are the notable changes.
EOS C300 Mark II / C300 Mark II PL v.188.8.131.52.00
EOS C200 / EOS C200B v.184.108.40.206.00
XF405 / XF400 v.220.127.116.11.00
EOS C700 / EOS C700 PL / EOS C700 GS PL v.18.104.22.168.00
From Canon USA:
MELVILLE, N.Y., March 28, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the launch of a new addition to the Cinema EOS System: the CN-E20mm T1.5 L F lens - a full-manual 20mm Cinema Prime Lens for EF Mount cameras. A popular focal length, the 20mm lens delivers exceptional optical performance in a compact form factor. With the introduction of this new lens, Canon further enhances its EF Cinema Lens family to meet a diverse range of cinematic and video-production needs, further contributing to the world of cinematography.
“As Canon continues to expand its reach in the cinema space, we are thrilled to introduce the CN-E20mm T1.5 L F lens, further expanding a robust line up of Cinema Prime lenses,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “This new lens will provide users with an option in-between our 14mm and 24mm lenses, giving greater flexibility for their scene framing. Canon is excited to see the projects our users create with this lens and Canon Cinema cameras.”
The new CN-E20mm T1.5 L F lens can provide 4K resolution from the center of the images to the periphery, providing high image quality for Canon cameras that feature full-frame sensors such as the new EOS C700 FF digital cinema camera. In addition, the 11-blade aperture diaphragm alongside a T number1 of 1.5 allows the lens to provide beautifully soft bokeh. Like all Canon Cinema Prime lenses, the CN-E20mm T1.5 L F lens features warm, natural-looking tones, 300 degrees of focus ring rotation, and minimized focus breathing.
Since the launch of the Cinema EOS System and EF Cinema Lenses in November 2011, Canon has greatly expanded the EF Cinema Lens offerings. The lineup—which includes the Prime, Zoom, Compact Zoom, CINE-SERVO and COMPACT-SERVO series of lenses—has become very popular for a wide range of users. With the introduction of the CN-E20mm T1.5 L F lens, the lineup now boasts a total of 21 lens models. This expansive line of lenses provides cinematographers with even more options to choose from, which can support enhanced content creation for a variety of uses and shooting scenarios.
The CN-E20mm T1.5 L F lens is scheduled to begin shipping in fall 2018.
From Canon USA:
MELVILLE, N.Y., March 28, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the EOS C700 FF, the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.
Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). The camera is being shown publicly for the first time at the Canon booth (C4325) at the NAB Show 2018 in Las Vegas from April 9-12.
“Since the launch of Canon’s Cinema EOS line of products in November 2011, the goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major Hollywood productions, and Canon met that goal with the introduction of the EOS C700,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “After listening to our customers and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, we are very excited to see the C700 FF in the hands of industry professionals as they shoot their latest projects.”
Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*. Authorized Canon facilities such as Canon Burbank are ready to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.
The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.
The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the Oversampling 4K Processing that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.
To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).
The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.
For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.
Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.
The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.
The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018 for an estimated retail price of $33,000.00. For more information on the EOS C700 FF please visit, usa.canon.com/provideo.
Just posted: Canon EF-M 28mm f/3.5 Macro IS STM Lens Review.
Again we have John Reilly to heartily thank for his effort in creating this review.
Do you need something soon (camera, lens, battery, memory card, etc.)? Now's the time to add the item to your cart and go through the checkout process at B&H before the superstore closes for the Passover holiday.
Online ordering will pause during the following holiday observance periods:
Orders placed before 4pm ET Thu Mar 29 will be processed prior to the holiday closing.
Orders placed after this time will be processed when we reopen on Sun April 8.
A full review of this lens should be available very soon.
From the Adorama YouTue Channel:
David Bergman shows you how to get the best color out of your flash gels.
Note: Dark gels (especially red) absorb more light and will deform/melt when the gel is taped directly to the flash head and high/continuous flash pulses are used. If taping a dark gel to the flash head, it's best to use a lower flash power and/or slower paced shooting combined with a higher ISO setting in camera to avoid damaging your gel. [Sean]
Changes from “C” Firmware Version 1.20 to 1.21:
Download: Nikon D5 Firmware v.1.21
Changes from “A”/“B” Firmware Version 1.21 to “A” Firmware Version 1.22/“B” Firmware Version 1.21:
Download: Nikon 1 V2 Firmware v.1.22A / 1.21B
Changes from “C” Firmware Version 1.11 to 1.12:
Download: Nikon 1 V3 Firmware v.1.12
Just posted: Canon TS-E 50mm f/2.8L Tilt-Shift Macro Lens Review.
Like the other two TS-E L lenses simultaneously introduced, the Canon TS-E 50mm f/2.8L Tilt-Shift Macro Lens has been hard to find in stock, but Amazon and eBay have this lens at the moment. Orders are being taken at B&H and Adorama.
While the full moon is a great and highly-popular photo subject, I'm just as big of a fan of photographing the small crescent phase.
Just after the new moon phase, the moon starts trailing the sun into the western horizon and very soon after the new moon, the brightly-visible shape of the moon is a tiny crescent and it descends into sunset colors. The opposite is also true. Just before the new moon, catch the waning crescent moon on the east horizon just before sunrise.
On this day at this time, the moon was 2.4% visible. The night before, I could not locate the .2% moon as it set due to its too-close proximity to the sun. The 7.2%-visible moon also looked great the next night, but the higher the moon is, the farther it is from the greatest likelihood of sunset color.
Photographing the moon is easy, but to get the moon in a photograph requires the moon to be visible. For the waxing crescent phase, a clear view of western sky just after sunset, or the eastern sky just before sunrise, is minimally required. Clouds can provide some interest and add color, but they can block the key subject. A clear sky nearly assures a visible moon and a bright orange horizon.
While the weather is long-term unpredictable, moon phases are highly predictable. The moon takes 29 days, 12 hours, 44 minutes and 3 seconds to complete a lunar month. If this subject interests you, set a calendar appointment. If one attempt does not work out, just wait for the next opportunity to come in about a month.
A consideration for a moon photograph is the foreground. Moon photos can work well with only sky in them, but in this case, I went for a clean mountain range as the base of the image. Something interesting silhouetted in front of the sky also works very well (consider the depth of field required for this). Artificial lighting can be used to change the silhouette to a fully-lit subject.
Which focal length should be used to photograph the moon? That depends on how big you want the moon to be. The longer the focal length, the larger the moon will be rendered in the frame. A 1200mm full frame angle of view renders the moon only about 1/3 of the narrow dimension of the frame. Use wider focal lengths to include more sky color and additional elements in the frame. The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is an excellent choice for this purpose, providing a nice range of focal length options.
Remember that lunar photography is not extreme low light photography – the illuminated portion of the moon is in direct sunlight. Avoid overexposing the moon. Balancing the brightness of the sky with the brightness of the moon simply involves timing. Start photographing prior to the optimal time and continue until the lighting is past your desired result.
I opted to slightly crop the original capture during post processing, making a minor adjustment the overall balance. From a white balance perspective, I warmed the bottom of the frame, cooled the overall balance and added some saturation to pull out the colors. Overall, this is a simple image to capture and having Venus available (that is not a white dust spec on your screen) was a bonus on this particular evening.
A larger version of this image is available on Flickr.
Fifty mm lenses are useful for many subjects and one of the great uses for tilt-shift lenses is architecture.
From a previous Philadelphia visit, I knew where this focal length would work well with plenty of architecture in the frame.
The procedure for capturing this image is a rather standard one for me. Scout the location (already had this step done). Show up before sunset with a pair of cameras, lenses and tripods. Set up both using two significantly different focal lengths (cropping can effectively handle smaller differences in focal length, especially when using a 5Ds or 5Ds R camera) and begin photographing the city using a level-on-both-axes camera and a sharp f/8 aperture as the sun sets.
When the lights come on, I adjust the aperture to f/16 to gain the starburst effects from the lights. This aperture is not as sharp as f/8 due to the effects of diffraction, but details remain sharp enough (ideal would be to merge the areas of an f/8 image with the star effects of an f/16 image). Also, soon after the lights come on, I begin capturing an underexposed frame periodically so that I could later use it to pull the brightness of some of the lights down (the gridded triangle roof top was especially bright). I adjust the exposure as necessary as the sky darkens and when there is nearly no color left in the sky, I usually pack up and head home.
In the end, I usually archive most of the earlier-captured images as the images captured within the ideal 5 minutes of the blue hour are usually my most-preferred. Usually, the perfect timing exposure is f/16 for 30 seconds at ISO 100.
A larger version of this image is available on Flickr.
Adobe's Photoshop Lightroom CC has so many features that quickly accessing certain tools can be an issue at times. In this video, Benjamin Warde demonstrates some techniques for making Lightroom's user interface a little less cluttered.
Want a good laugh to start your Friday morning? Press the "Play" button, sit back and relax while watching what a typical marriage proposal looks like these days.
From the Canon Digital Learning Center:
The term “cross-type AF” has been used since the late 1980s in the camera industry, but perhaps not always with supporting information to clearly define what is meant by it. In this article, we’ll attempt to explain more clearly what the term means, and why it remains an advantage in SLR AF systems to this day.Read the entire article at the Canon Digital Learning Center.
Want to know how many cross-type AF points your camera has? Check out our Camera Specifications Comparison Tool to find out!
By Sean Setters
Take a look at the picture above and try to guess which color gels were used to create the in-camera effect. Then read on.
Last week, Patrick, a friend of the site, emailed us asking for advice on how to photograph school children, in costume, for an upcoming performance of Peter Pan. Patrick said that he would be photographing about 70 kids and would be creating formal portraits in a gymnasium before the kids' initial performance. He had all the necessary equipment, but he simply wanted some guidance on the lighting setup.
During our email exchange where we discussed different ideas and setups, I suggested that Patrick might use 2 CTO (orange) gels on his main light and set his camera's white balance to a very cool Kelvin value to get a warm main light against cool (ambient or ungelled flash) fill and/or background light that might simulate theatrical lighting, the same technique that I described in a post from last year.
In the end, Patrick decided to go with a more traditional lighting technique that yielded great results. But the email exchange got me thinking about how opposite colors, like orange and blue, can be used to create intriguing images.
With a single (or stacked) CTO gel(s), you can vary the color intensity of the gelled light – even to white – in-camera by how much you shift your camera's white balance to blue (for example, using a low Kelvin white balance setting). That means you may be able to neutralize any color by shifting the white balance opposite direction (that's exactly what Auto White Balance does). But that also means that we can shift the color spectrum of our image to the opposite color of any gel by telling the camera that a neutral color target lit by the gelled light is actually neutral with Custom White Balance.
With that in mind, take a look at the image atop this post again. What gel (or gels) were used to create the in-camera color effect?
Gelling a Flash to Produce the Opposite Color
To test out this idea, I flipped through my collection of color gels until I found one that intrigued me – dark green (not the much lighter Plus Green). I honestly couldn't remember what the opposite of green was on the color spectrum and had to ask Google to help me out. The answer, of course, was red. I set up a tripod-mounted Canon EOS 5D Mark III and EF 100mm f/2.8 Macro USM, a couple of Canon Speedlites and a mottled gray background for a self-portrait.
The first thing I needed to do was photograph a neutral target using the gel. But instead of gelling the flash, I decided to gel the lens. Why the lens? Because my gel was big enough to cover the front element of the lens I was using and, if I had to illuminate a large [white] color target with multiple lights (for example), it would be easier to gel the lens rather than each individual light. I had never tried gelling a lens before, but it seemed to make sense for this purpose. I photographed a white target that filled the frame, illuminated by a bare Speedlite (very low power), using the green-gelled lens. I then used the image to set a Custom White Balance in-camera.
I put a flash grid on a Speedlite and pointed it at the background. A few test shots proved I was on the right track; the illuminated areas of the background were red. Now it was time to tackle the main light. I decided to use a gridded 24" collapsible soft box (similar to this) and positioned the soft box so that its light didn't contaminate the background (camera right, slightly behind me, pointed slightly toward the camera). I attached two gels to this flash, the green gel that I had used to create the custom white balance (in essence, turning the flash's output white) and a full CTO to provide some warmth.
As for the fill light, I decided to simply open the curtains on the windows behind the camera and let the daylight ambient light left the shadow areas. I reasoned that the indirect sunlight would be close enough in color to my bare flash that the effect would be similar, and even if they weren't, exact/precise color balance wasn't necessarily the point of this exercise. As long as the result looked interesting and illustrated the concept sufficiently, I was going to be happy. However, a few test shots confirmed that the color of the fill light looked similar to the light on the background, at least as far as this colorblind photographer was concerned. I also know that adding the additional CTO to the main light likely caused a less pronounced difference between its color and that of the background, but I thought the less dramatic color shift would make the image look a little more organic. After it was all said and done, I had a portrait with a red background and a red fill light with a much-less-red-tinted main light – in camera – without using a single red gel. EXIF for the image was f/4, 1/160 sec, ISO 800. In hindsight, I could have easily used a slower shutter speed and a lower ISO, but I was so used to using 1/160 second when using off-camera flashes with radio triggers to kill the ambient that I didn't think to adjust the shutter speed when I actually wanted the ambient to play a supporting role in the lighting.
When might this concept come in handy? Well, if you wanted your overall scene to be a certain color, but you didn't have that color gel in our kit, you could use the opposite color to shift your white balance to get similar results. Or, if you simply don't have enough gels for a multiple light setup, you could again shift the color spectrum of all your lights using a gel of the opposite color. This won't likely be a technique that gets you out of a jam, but... it can certainly be a fun technique to experiment with, and thinking about color balance and how to manipulate it in different ways may prove beneficial down the line.
From Venus Optics:
Featuring a 113° Angle of View, Ultra-fast f/2.8 aperture, close-to-zero distortion, 49mm filter thread & less than 0.5 pounds in weight, this is a perfect ultra-wide option for still & videographers.
Anhui China, Mar 21, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce the world’s widest rectilinear f/2.8 lens for mirrorless APS-C cameras, Laowa 9mm f/2.8 Zero- D.
Laowa 9mm f/2.8 Zero-D is the third member of the Laowa ‘Zero-D’ line-up and they all feature an excellent control of the optical distortion which is commonly appeared in ultrawide angle lenses. This new lens is an ultra-wide & ultra-fast prime lens with a 35mm equivalent focal length of around 13mm. Despite the extreme specifications, Venus Optics has successfully minimized the weight of the lens to less than 0.5 pounds (215g) and 2-inch (53mm) long. This compact and light lens comprises of 15 elements in 10 groups with 2 pcs of aspherical elements and 3 pcs of Extra-low dispersion elements. This optical design successfully minimizes the distortion and chromatic aberrations to its lowest but at the same time, delivers a superb optical performance from corners to corners.
The extreme 113° angle of view and ultra-fast f/2.8 aperture allows photographers to create impressive astro-photography shots with ease. It also gives photographers a fast and wide-angle option for landscape photography and low-light shooting. For videographers, the compact size of this lens is friendly to the use of gimbals or even handheld shooting without much of shaking. The lens is designed with a 49mm filter thread which gives additional portability for screw-in filters. It comes with both Sony E, Fuji X & EOS-M mounts.
|Angle of View||113°|
|Lens Structure||15 elements in 10 groups|
|Min. Focusing Distance||12cm|
|Dimensions||60 x 53mm|
|Mounts||Fuji X, Sony E, Canon EF-M|
The Laowa 9mm f/2.8 Zero-D is currently available to pre-order at authorized resellers. Recommended Retail Price in US (without tax) is USD $499.00. Pricing may vary in different countries.
The first 100 orders will get a set of Laowa 49mm filters for FREE (CPL + UV + ND1000). Shipping is expected to start from early April.
by Sean Setters
I spent this past Saturday morning at the Savannah National Wildlife Refuge with the hopes of photographing a few birds while I was there. Unfortunately, opportunities to photograph my intended subjects were few and far between as it's just past the peak season for waterfowl in the area.
And that got me thinking. When photographing birds, it's often ideal to photograph them from ground or water level, which means you will likely be positioned near the water's edge and in a rather defenseless, prone position. Unfortunately for us photographers, that's the same area where alligators find their easiest meals.
Of course, you may find yourself in the same situation as me where the alligators prove to be the most interesting subjects available at the time. By staying away from the water's edge, remaining alert and minimizing use of your viewfinder, you can relatively safely photograph alligators using the same equipment ideal for bird photography; that is, a very long telephoto lens.