Over the past several months I've been bolstering my video-specific kit, and those acquisitions have made a big impact on the overall quality of the home movies I'm able to produce.
And each time I create one of these movies, I'm immediately reminded of the home movies my parents shot with their VHS (and then MiniDV) camcorder – shaky, with terrible sound quality, and completely unedited – the catalyst for my desire to produce videos my family will actually enjoy watching a decade (or two) from now.
That's my hope, at least.
To be perfectly frank, I'm not sure if our current situation will become the "new normal" in the years ahead or if this is a once-in-a-generation type of event.
Regardless, now seemed like a great time to shoot another "Day in the Life of Olivia Jane" video (previously produced version here) to document our family's life while in social isolation.
To record the video embedded above, here's the gear I used:
To film video, a camera is of course required.
Not long after my daughter was born, I added a Canon EOS R to my kit to gain the advantages of eye-detect AF, and it has proven to be a great investment from both a stills and video perspective.
All of the gimbal shots were filmed with the EOS R +
EF 40mm f/2.8 STM with the Deity V-Mic D3 Pro Microphone +
windscreen in the hot shoe.
Of course, the windscreen wasn't necessary indoors, but I opted to balance the setup with the windscreen on and leave it there so I wouldn't have to rebalance the gimbal when adding it for any outdoor shooting.
The tripod-based shots were captured with the Canon EOS 7D Mark II and EF 300mm f/4L IS USM +
1.4x II Extender (outdoors) or EF-S 24mm f/2.8 STM (indoors).
Speaking of the tripod, the Benro A373T Tripod and
Manfrotto 502AH Video Head proved to be an excellent choice for this video and my overall filming needs in general.
Note that I attached the SMALLRIG DBC2506 Quick Release Clamp so that I could quickly affix my camera to the tripod when desired,
and an extra clamp with a plate attached to the bottom of it (which in turn is clamped into the SMALLRIG clamp) provides the ability to use a tripod foot plate that's turned 90-degrees from the camera's while also allowing for enough vertical camera clearance to properly balance the rig using the fluid head's mounting plate.
This setup was particularly handy when switching between the EF 300mm f/4L IS USM and 1.4x II Extender combo and shorter lenses.
In terms of audio capture, I previously mentioned that I used the Deity V-Mic D3 Pro on the EOS R. In addition to that (and the cameras' built-in microphones),
I also used two Tascam DR-10L Portable Audio Recorders –
paired with tiny Polsen PL-5 microphones that were hidden on my wife and myself – to capture audio while using the telephoto lens + extender or when
I wanted to include myself in the scene (we started using the Tascam recorders just after the planting scene).
Also listed in the gear list above is the Zoom H2n, which I used to record an outdoor track (with birds singing) which I used as ambient sound for the scene where my wife
and child are walking down the sidewalk (the lav mic didn't seem provide enough ambient context).
For editing the video, I used Adobe Premiere Pro.
So that's my current setup for recording home movies.
Are there any other pieces of gear you find vital for such projects?
Strongly prefer a different video accessory than what I'm using? Let us know in the comments.
At a time when many of us need quality webcams for video conferencing and quality webcams and video capture devices are out of stock everywhere, Canon delivers us an awesome gift!
From Canon USA:
New Canon U.S.A., Inc. Software Solution Allows Select EOS Interchangeable Lens Cameras to Function as High-Quality USB Webcam
MELVILLE, NY, April 28, 2020 – As virtual meetings and gatherings become the new norm, you don’t want to be caught in the dark with a low-quality webcam.
Fortunately, a new solution – EOS Webcam Utility Beta software** -- was unveiled today by Canon U.S.A. Inc., a leader in digital imaging solutions, for select EOS Interchangeable Lens Cameras (ILC) and PowerShot cameras.
To help bring you into the light, this beta version solution converts your compatible EOS ILC and PowerShot camera through a simple USB connection into a webcam.
Built by Canon software developers, this beta version software helps consumers to improve their video appearance while using popular video conferencing applications in the market, delivering clarity and high-image quality.
The EOS Webcam Utility Beta software solution requires one single USB plug (which may need to be purchased separately) to connect the camera to a Windows* operating systems computer.
Once the software is downloaded and the camera is configured within a video conferencing application, the user will be ready to go.
“In unprecedented times, it’s imperative for Canon to provide our customers with useful, simple and accessible solutions to assist them in whatever imaging needs they have,” said Tatsuro “Tony” Kano, executive vice president of the Canon U.S.A., Inc. Imaging Technologies & Communications Group.
“Our goal is that the EOS Webcam Utility Beta software can help reduce some of the remote workday stress for employees who are tasked with video conferencing and virtual meetings.”
To learn more, including whether your Canon EOS ILC or PowerShot camera is compatible, and to download the EOS Webcam Utility Beta software, visit canon.us/livestream.
If you’d like to ask questions or provide feedback pertaining to the EOS Webcam Utility Beta software, please visit our forum, Canon.us/forum-eoswebcamutility.
* EOS Webcam Utility Beta software is compatible for Windows operating system only at this time. Versions for additional operating systems may be available at a later date.
** EOS Webcam Utility Beta software is a Beta version and it may contain errors. This Software is for use in the United States of America only, and will not be supported outside that area.
Canon EOS Webcam Utility Beta software can be downloaded here.
Here is the list of Canon EOS DSLR Cameras currently supported by this software:
"What Canon has not talked about is the potential for increased dynamic range being available from Dual Pixel RAW files.
It seems that, if partial exposures are being captured by the Dual Pixel RAW system, the potential exists for very significant highlight recovery beyond what is already available."
Did you notice that the Canon EOS C300 Mark III Cinema Camera "... features a new Dual Gain Output (DGO) sensor ..."?
In the press release, Canon goes on to explain the Dual Pixel CMOS sensor:
"The newly developed 4K Super 35mm DGO imaging system captures high dynamic range content by reading out each pixel through two separate gains.
One gain prioritizes saturation in highlight areas while the other suppresses noise in the shadows.
The result is an image with up to 16+ stops of dynamic range, clean rich shadows and vibrant highlights in up to 4K/60p."
"... that expands the dynamic range to over 16 stops.
How does it do that?
Each pixel on the sensor is split into two different diodes.
Those diodes are always taking two frames of the exact same image.
Now for Dual Pixel autofocus, it's using those two frames for phase detection.
However, the Canon engineers realized that they can use those two different frames and value them at different gains in order to expand the dynamic range.
And so what is happening here is that off of diode A you have one image that is low gain and low noise.
Off of diode B you're getting a frame that is of higher gain, but it satisfies the pixel's need for saturation.
So, these two separate frames that are of the same image of the exact same point in time but at two separate gains are combined and then dumped out of the sensor.
Because these frames are of the exact same point in time and of the exact same image, there is absolutely zero temporal artifacting happening in this.
What the Dual Gain Output sensor gives is a lower noise floor and hence a much wider usable latitude.
Now, this is especially true in the shadow region."
Again, that the Canon EOS R5 will have a Canon Dual Gain Output (DGO) Sensor is pure speculation, but it certainly seems viable – and desirable.
Act very fast: B&H has a 10-rated (like new) used
Canon EOS-1D X Mark III in stock for only $5,718.95. Save $780.00 over new.
A free CFexpress card and reader are included and free next day delivery is offered.
How fast can you check out? This camera should be sold in minutes.
If you're looking for a simple stay at home photo project then Gavin Hoey has the perfect technique for you to try.
All you need is a glass or two of filled with water and some of Gavin's custom made backgrounds.
The technique uses a little bit of simple science.
When a curved glass is filled with water it becomes a basic lens and will reverse anything seen through it.
Which means if you place it in front of an object, the image seen through the water will the backwards to the real world.
When that object is a bold, graphic background you have the potential for some amazing photos.
In this video, Keith Alexander gives us a quick overview of Audacity, a free audio editing program that's amazingly capable.
I've been using Audacity for several years and it's been my go-to choice for quick audio editing (I used it yesteray, in fact).
Speaking of audio, I've recently pieced together a studio audio recording kit that's been working very well for voice-over/narration work. Here are the components:
If you don't need the vesatility of the Senal SCM-660's multi-pattern [selectable] pickup, you can save a little money by getting the Senal SCM-600 instead.
So far, using the gear above (and Audacity) I've recorded several audio books or my 19 month-old daughter and an IVR (Interactive Voice Response) phone tree for a local company and all have been very pleased by the sound quality produced (although my daughter probably isn't the most discerning listener).
Portland, OR -- Lensbaby – makers of award-winning DSLR & mirrorless lenses, optics and accessories announces today the availability of its newest lens, the Velvet 28, a 28mm, f/2.5 all-metal, hand-crafted art lens that, at its brightest apertures, captures tack-sharp detail beneath a layer of radiant glow.
Velvet 28 also features exceptional 1:2 macro capabilities.
Built with landscape, adventure, travel, street photographers & videographers in mind, the Velvet 28 offers Lensbaby’s popular variable glow effect at a wide 28mm focal length, with a design that makes flat light interesting and harsh light more pleasing.
“With this solid, beautifully crafted lens, every hour is magic hour.
There’s no need to take the day off from shooting between dawn and dusk,” says Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.
“The amount of effect in your image is up to you.
Add as much or as little variable glow as you like by changing your aperture.
The Velvet 28 offers more effect at brighter apertures - then stop down for corner-to-corner sharpness.”
Lensbaby’s Velvet effect lenses add an ethereal mood to scenes.
This unique, in-camera creative effect elevates imagery with depth, dimension and soulful expression.
The Velvet 28’s close-focus capabilities, combined with effects varying from impressionistic to just a touch of velvety smoothness, provides a set of visual tools that will help creative shooters expand their vision of the world.
Velvet 28’s 1:2 macro capability makes it an ideal in-camera effects lens for photographers & videographers who like to shoot wide, while also offering the versatility to capture closer details.
The lens allows image makers to move seamlessly from shooting street scenes or capturing landscape, adventure & travel images to capturing details such as a subject’s clothing or wildflower blooms and butterflies in an alpine meadow.
The Velvet 28 comes in standard lens mounts, including Canon EF, Nikon F, Canon RF, Nikon Z, Sony E, Fujifilm X and Micro Four Thirds.
It will be available for order on April 21, 2020 for $549.95.
Velvet 28 Product Specifications
Focal Length: 28mm
Aperture Range: f/2.5 - 22 with bonus 1/3 stop of light (indicated by + on aperture dial) beyond 2.5
Superb Combination of Focal Range, Compact Size and Light Weight Makes it Ideal for a Range of Broadcast and Cinema Productions
MELVILLE, NY, April 20, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions today announced the CINE-SERVO 25-250mm T2.95-3.95 (CN10x25 IAS S), a new CINE-SERVO cinema lens designed for use with 4K cameras.
The new lens, which is available in both EF and PL mount, features 10x optical zoom, a built-in 1.5x extender and a powerful and removable servo motor drive unit, providing broadcast-friendly shoulder operation for ENG/EFP and documentary style shooters.
The lightweight design of the lens (6.7 lbs.) is remarkable given the zoom range and feature set, especially when compared with other lenses of similar focal lengths.
This outstanding model, as well as the Sumire Prime Lenses announced in 2019, have further strengthened Canon’s robust lineup of Cinema Lenses.
“As the lines between broadcast, cinematic and commercial productions continue to blur, it becomes more important to have a seamless product line that can provide solutions across a broad scope of applications,” said Tatsuro “Tony” Kano, executive vice president of the Canon U.S.A., Inc.
Imaging Technologies and Communications Group.
“The CINE-SERVO lens family combines outstanding performance and an unmatched focal range from 17mm up to 1500mm in the three-lens family.
The new CINE-SERVO 25-250mm lens adds a great deal of versatility to the lineup, and will soon be a favorite of productions large and small.”
Similar to the existing award-winning 17-120mm and 50-1000mm lenses, the CINE-SERVO 25-250mm offers outstanding 4K optical performance thanks to its ultra-low dispersion glass and a large-diameter aspherical lens.
Combined with Canon’s unique optical design technology, these components work to help correct color fringing and limit chromatic aberration during operation.
The lens features Canon’s renowned warm color science and an 11-blade aperture that produces a beautiful, smooth bokeh.
The new lens is ideal for cameras with a Super 35mm sensor.
While the 10x zoom covers a focal range of 25-250mm, the built-in extender stretches that range to an impressive 375mm with an added benefit of allowing for full-frame sensor coverage with only a stop of difference in light loss.
The servo drive unit included with the 25-250mm lens can be easily removed to allow for manual operation, and the gear pitch is compatible with standard cinema controls of zoom and focus.
The EF mount version of the lens allows for the utilization of Canon’s proprietary Dual Pixel CMOS AF, which provides users with smooth AF operation and high-speed tracking performance, and the PL mount version supports Cooke/i Technology.
In addition, like the 17-120mm, the 25-250mm lens also features a macro function to enable close-up shooting.
Pricing and Availability
The Canon CINE-SERVO 25-250mm T2.95-3.95 (CN10x25 IAS S) is scheduled to be available later in 2020 for an estimated retail price of $29,999.00.
Equipped With a Newly-Designed 4K Dual Gain Output (DGO) Sensor and DIGIC DV 7 Image Processor, the Camera Also Features Internal Cinema RAW Light Recording
MELVILLE, NY, April 20, 2020 – Adding to its robust and expansive line up of Cinema EOS digital cinema cameras, Canon U.S.A.
Inc., a leader in digital imaging solutions, is excited to announce the EOS C300 Mark III.
The next-generation Super 35mm workhorse features a new Dual Gain Output (DGO) sensor and, like the full-frame EOS C500 Mark II digital cinema camera, employs a modular design and an interchangeable lens mount optional accessory that allows users to easily customize the camera according to the needs of each project, making it an ideal tool for a wide range of video content production.
The introduction of C300 Mark III, alongside the already announced C500 Mark II, signal Canon’s equal and high attention to the two important constituencies of Super 35mm and full-frame content creation.
“Creativity should never be hampered by a lack of choice.
Canon understands that, which is why we continue to expand and build upon our award-winning lineup of Cinema EOS cameras,” said Tatsuro “Tony” Kano, executive vice president of the Canon U.S.A., Inc.
Imaging Technologies and Communications Group.
“The EOS C300 Mark III is the latest finely engineered cinema camera from Canon that will seamlessly integrate into a creator’s toolbox, providing users with an imaging solution that delivers a myriad of possibilities and potential.
We look forward to seeing the visionary content created with the EOS C300 Mark III camera.”
The newly developed 4K Super 35mm DGO imaging system captures high dynamic range content by reading out each pixel through two separate gains.
One gain prioritizes saturation in highlight areas while the other suppresses noise in the shadows.
The result is an image with up to 16+ stops of dynamic range, clean rich shadows and vibrant highlights in up to 4K/60p.
In 2K recording mode, the EOS C300 Mark III camera features recording speeds up to 180p.
Equipped with Canon’s latest video imaging processor, the DIGIC DV 7, the camera achieves more fluid and efficient recording of 4K and HDR and can process high-speed video recording, including 4K at up to 120p.
The EOS C300 Mark III camera utilizes Cinema RAW Light [i], a very powerful and useful tool for helping to cut the data size of a file to about one-third to one-fifth of a similar Cinema RAW file, without losing grading flexibility.
In addition to being able to record 4K and 2K RAW data internally without using an external recorder, the camera also supports XF-AVC (with a choice of Intra or LongGOP), offering flexible options in recording durations.
The EOS C300 Mark III camera is modular and customizable, just like the EOS C500 Mark II camera.
Included with the camera are 13 accessories, such as a 4.3-inch LCD monitor and the GR-V1 grip.
Users can also choose from a wide range of additional optional accessories that allow them to configure the EOS C300 Mark III camera to their preferences.
Optional accessories include the EVF-V70 electronic viewfinder, SU-15 shoulder support unit and EU-V1 and EU-V2 expansion units.
The EU-V1 expansion unit allows for gen-lock, sync out, remote use and ethernet connection; while EU-V2 expansion unit features those functions plus a V-mount battery connection, two analog XLR audio ports and 24v DC Out.
Additionally, the mount kits (sold separately) allow users to exchange the EF mount with an EF cinema lock mount or PL mount.
Additional features of the Canon EOS C300 Mark III camera include:
4K DCI/UHD up to 120 fps and 2K/HD up to 180 fps — with 4:2:2 10-bit XF-AVC recording
2 CFexpress media card slots
Compatibility with EF and PL lenses (with optional mount kit) as well as anamorphic and spherical lenses
Dual Pixel CMOS AF, up to 120fps
5-axis electronic image stabilization, which can be utilized even without the use of a lens with IS functionally
Support for Canon Log 2 and 3
Four-channel recording that supports 4 XLR inputs with the use of the EU-V2 expansion unit
User LUT allowing users to upload and apply custom LUTs
The camera body is approximately 6 in (width) x 5.8 in (height) x 6.6 in (depth) with a bodyweight of approximately 3.9 lbs., making it compact and lightweight.
Pricing and Availability
The Canon EOS C300 Mark III Cinema Camera is scheduled to be available later in 2020 for an estimated retail price of $10,999.00.
New Updates Include XF-AVC 4K 30p Recording on XF705 Professional Camcorder, as well as Improved Full-screen Black Level to .001 Nits on Select 4K Reference Displays
MELVILLE, NY, April 20, 2020 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced upcoming firmware updates for several professional imaging products, such as XF-AVC 4K 30p recording on the popular XF705 Professional Camcorder.
These firmware updates provide improved workflow, ease-of-use, file editing compatibility with popular NLE systems, and creative flexibility for products in the Cinema EOS, Professional Camcorder, and 4K Reference Display lines.
Firmware updates for the EOS C300 Mark III, EOS C500 Mark II, EOS C700, EOS C700 FF, EOS C700 GS, EOS C200, and EOS C200B Cinema Cameras will allow for support of the new CINE-SERVO 25-250mm T2.95-3.95 (CN10x25 IAS S) Cinema Lens.
Additional free firmware updates are as follows:
The XF705 Professional Camcorder update will include the addition of several recording formats, such as XF-AVC 8-bit 4:2:0 up to 4K 30p and MP4 8-bit 4:2:0 up to FHD 60p. Other updates include pull-down 60p signal to 24p/30p recording, browser remote use for both Wi-Fi and Ethernet connections, and HDR high-frame shooting support.
The EOS C300 Mark III Digital Cinema Camera update will now show the chosen resolution and color sampling settings on the onscreen display by default.
The EOS C500 Mark II Digital Cinema Camera update will allow for support of XF-AVC Long GOP and XF-AVC Proxy format, 3 or 5 seconds pre-recording ability, pull-down 60p signal to 24p/30p recording, “magnify” assignable button change, and user ability to give two files an identical name when recording from both card slots.
The EOS C700, C700 FF, and C700 GS Digital Cinema Cameras will update the Slow & Fast Motion display, including changing “REC” and “STBY” notification colors from white to red and green respectively.
The EOS C200 and C200B update will allow for support of pull-down 60p signal to 24p/30p recording and the simultaneous use of both HDMI and SDI ports.
The DP-V1710, DP-V1711, DP-V2410, DP-V2411, DP-V2420, DP-V2421, and DP-V3120 4K Reference Display updates include support for the reading of 3D-LUT/1D- LUT files in .cube LUT file format and tracking of errors to USB memory. Other updated support includes HDR monitoring assist functions such as the ability to check XY chromaticity value of pixels, area markers will be simultaneously displayed in two locations, expansion of the safety zone/grid markers, and the ability to highlight the areas above the desired luminance range. Also, the update will support enhanced ease-of-use and workflow with third party cameras.
The DP-V2411, DP-V1711 and DPV-1710 4K Reference Displays update will improve full-screen black level all the way down to .001 nits. This is a major upgrade over the previous specification of .005 nits.
Paid Firmware Updates Details Are as Follows:
The DP-V1711 and DP-V1710 4K Reference Displays paid firmware updates will offer an upgrade license and will raise full-screen peak luminance from 600 to 1000 nits. Also, full-screen peak luminance is now supported by a local dimming algorithm from 300 to 600 nits. The combined updates/upgrades listed here (both paid and free) for these reference displays would completely overhaul the image quality, which would be an impressive 1,000,000:1 full-screen contrast ratio.
THE EXCITEMENT BUILDS: CANON ANNOUNCES ADDITIONAL IN-DEMAND SPECIFICATIONS OF THE EOS R5 FULL-FRAME MIRRORLESS CAMERA
MELVILLE, N.Y., April 20, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, today is sharing additional specifications of the highly anticipated Canon EOS R5 full-frame mirrorless camera currently in development.
The newly released information divulges further details on the 8K video recording capability, IBIS and more.
Newly Announced Details of The Canon EOS R5 Full-Frame Mirrorless Camera include:
8K RAW internal video recording up to 29.97 fps
8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265).
4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). 4K external recording is also available up to 59.94 fps.
No crop 8K and 4K video capture using the full-width of the sensor.*
Dual Pixel CMOS AF available in all 8K and 4K recording modes.
Canon Log available in 8K and 4K internal recording modes.
A Canon first, the EOS R5 will feature 5-axis In-Body Image Stabilization, which works in conjunction with Optical IS equipped with many of the RF and EF lenses.
High-speed continuous shooting up to approximately 20 frames-per-second (FPS) when using the silent shutter and up to approximately 12 FPS when using the mechanical shutter.
The Live view AF technologies seen in the EOS-1D X Mark III flagship camera are used as a basis with "Animal Detection" auto focus technology implemented. The AF technology will help users steadily track animals such as dogs, cats and birds by detecting the body, face, or eye of the subject.
High-resolution still images can be extracted from the 8K video footage.
Automatic transfer of image files from the device to the new image.canon cloud platform is supported.
From the product images, we know that the R5 shares much resemblance with the Canon EOS R including the vari-angle display but there are some significant differences.
The R5 replaces the R's Multi-Function Bar with a joystick.
The R5 has a dial surrounding the set button vs. cross key functionality.
The R5's top-right three buttons have a horizontal layout to provide space for the larger dual memory card slot door.
On the front, the R5 has an additional port and an additional button.
The viewfinder diopter dial has moved to the right side of the viewfinder.
The R5 has additional buttons for "Q" and magnify functions.
The R5 gets a microphone/rate button alongside the menu button on the top-left.
The R5's power button appears to be deeper recessed.
The R5's eyecup has a different shape.
The R5 has a PC port.
Note that the "5" in the model name is significant, relating to the previous much-loved 5-series models.
When will the Canon EOS R5 arrive?
What is the still image resolution of the EOS R5's new CMOS imaging sensor?
Canon is not revealing any additional information at this time, including those two answers.
Regarding the latter, a conjecture is that, based on 8k DCI being 8,192 pixels wide and a 3:2 aspect ratio placing the vertical pixel dimension at 5,461 pixels, the R5's minimum possible resolution should be 44.7 MP.
CANON U.S.A TO HOST VIRTUAL PRESS CONFERENCE FOR NEW PROFESSIONAL IMAGING PRODUCTS AND TECHNOLOGIES
MELVILLE, N.Y., March 30, 2020 –– Canon U.S.A., Inc., a leader in digital imaging solutions, announced today that they will be hosting a Virtual Press Conference to unveil the company’s new professional imaging products and technologies.
The Virtual Press Conference, which will be streamed on the Canon U.S.A. website at usa.canon.com/VPC2020, is scheduled to air on Monday, April 20, 2020, at 1:00 PM EDT/10:00 AM PT.
“As Canon continues to monitor the global response surrounding the spread of COVID-19, the effects of which have impacted every aspect of our lives, we would like to thank everyone for their understanding and ongoing support during this challenging time,” said Kazuto Ogawa, president,
and chief operating officer, Canon U.S.A., Inc “The road ahead is long and filled with uncertainty, but when the broadcast and cinema industries are ready to resume ‘normal’ activities, Canon wants them to know we will be there to continue to support professionals with new products
and technologies that meet their needs.”
The new Canon broadcast and cinema products featured during the Virtual Press Conference are aligned with the current and growing needs of the respective industries such as 4K UHD and HDR, as well as evolving technologies.
Canon Ambassador Ulla Lohmann would normally be out in the world.
Now, spending time at home, she explains how to create the same sense of adventure and narrative, shooting the people and places nearest to you.
She says: "Since I left school, I never spent this time at home."
Get an insight into how she is using her time at home to tell her own story, and how you can tell stories that are close to your heart.
Are you ready to share yours?
We'd love to see it. #CanonConnected
This old buck has its eyes on the doe it is pursuing.
I like some animal leg positions better than others.
In this case, the lifted-high front leg and corresponding raised back leg show that the deer is in motion.
When I have the mental wherewithal to time image captures with the ideal leg positions, I do.
When I don't, that is what a fast frame rate is for.
While the beautiful early morning sunlight gives the image a warm look, the frost-covered whiskers indicate the true scenario.
This was a very cold day.
While I was functionally challenged by the heavy gloves (and my breath freezing on the camera), the Sony a7R IV worked flawlessly in these low temperatures.
It only takes a short amount of time with a great subject in a great scenario to generate a large selection of good images.
Selecting a single image to share from such a situation becomes the next challenge.
I opted to share two images (for now) of this buck, the other illustrating the lip curl behavior.
Sometimes it’s the little things that can be the most rewarding to photograph and in this video Gavin Hoey shows you how to capture the hidden beauty contained within a tiny drop of water.
Using nothing more than the gear he would normally use to light portraits and a few everyday items from around the house and garden, Gavin shows you how to set up and use a miniature splash studio.
Once you’ve watched the video, grab your towel and tripod and have a go yourself.
You don’t need the exact same kit to achieve similar images and making use of what you have around you is actually a great way to create images that are similar but also unique to you.
Don’t forget to share your best shots and remember to use the tags #createnomatterwhat #adorama
Want to create dramatic results more consistently? The Miops Splash Kit makes it easy to capture splash patterns with up to 4 drops released at precisely the intervals you specify.
A colorful image requires a colorful subject. Where do you find a colorful subject? Look no further than your local candy store (or candy aisle in the supermarket). As a generalization, candy not sold in individual wrappers is brightly colored – eye candy inviting consumption. Another benefit to this subject is that it is usually not expensive – and that you get to eat it after you are done photographing it is a benefit that cannot be overlooked.
To arrange the candy, I simply dumped it into a large dish and pressed the top level. Finding the right composition of the randomness was a bit more challenging. Most options worked, but in general, I liked when the candy not fully contained in the frame was mostly out of the frame. The color of the eggs could have been arranged, but I went with the default as-they-landed pattern.
Lighting this subject was easy. Rogue FlashBender Softboxes were mounted on a pair Canon Speedlite 600EX-RT flashes that were sitting on the floor on opposite sides of the dish. The flashes were supported by their shoe stands and their heads were directed straight up. A hot shoe-mounted Canon ST-E3-RT triggered the flashes. The result of this setup was an even, soft light across the entire dish. I was able to move closer or farther away and could photograph at various angles with no change to the lighting.
I originally shared this image many years ago, but with the just-passed Easter holiday potentially providing this subject and with the candy isle likely full of discounted options, I am re-sharing to illustrate one of our
Stuck at Home Ideas for Photographers.
No special equipment such as a macro lens is required to create an image like this and lighting options abound.
The kids may not be happy to see you take their candy, but just ensure them that flash does not hurt candy (use caution with hot lights) and that you will return it soon.
Water in the shade with a reflected subject in the sun is a great photographic scenario.
Add maple trees in their peak fall color to that background and the opportunity value increases significantly.
That is the scenario that can be found in the fall at The Tarn in Acadia National Park.
The number of composition opportunities at this location is a bit overwhelming and changing continuously as the sun rises and the wind ebbs and flows.
Selecting an image to share from the hundreds captured is the resulting challenge.
This is an example of telephoto lens being ideal for landscape photography.
Most often a 100-400mm lens is in my landscape kit and on this day it was the excellent Sony FE 100-400mm f/4.5-5.6 GM OSS Lens.
Many of my favorite landscape images have been captured within the range offered by this lens.
Sony has made a9 II firmware version 2.00 available for download.
Benefits and Improvements from the latest update
Adds the Hi Frequency flickerfunction, which allows you to reduce the impact of flickering of artificial light sources (e.g. digital signage, electronic signboards, LED lights, etc.), by more finely adjusting the shutter speed NOTE: The Imaging Edge Remote, Imaging Edge Mobile, and Remote Camera Toolsoftware will not be supported after April 9th, 2020
Improves the Face/Eye Priorityin the AF function:
When set to a custom key, the Face/Eye Priority in the AF function can be activated or deactivated each time the custom key is pressed
If Face/Eye Priority is already set to custom key, this improvement will be available after the camera is updated
Improves the Remote Camera Tool function by adding support for displaying Focus Frame for almost all scenes NOTE: Version 2.00 (or later) of the Remote Camera Tool is required. Please update to the latest version.
Improves the FTP transfer function
Allows the camera's MAC address to be displayed as a QR code
Adds a function to close the shutter when you turn off the camera to prevent dust or debris from adhering to the image sensor when you change lenses
Allows you to save or load the customized camera settings to My MENU