Translate this blog into your language

Friday, February 20, 2015

More Info On Canon EOS C300 Mk II Camera

Canon Cinema EOS C300 video camera

The Canon Cinema EOS C300 camera received a firmware upgrade in November, 2014. All indications are the Mk II model, expected to be announced around the time of the NAB 2015 Show (April 11) in Las Vegas will come with 4K video. In addition, the upcoming EOS-5D Mk IV is also expected to be equipped with 4K technology as well.

The new camera's price is expected to be aggressive (around $7500) and state of the art features will surpass the Sony FS7 model. Special emphasis will be placed on dynamic range, color rendition, codec and functionality. Expected a new type of motor to power the zoom lens, perhaps an advanced shoulder mount system and an improved Dual Pixel CMOS AF system.

Wildlife Photography - My Passage To India

I am off to India for a wildlife photo shoot. Will be visiting a few Indian Rhino, Elephant and Tiger reserves and doing some travel photography as well. Modes of transportation include jeeps and elephants looking for Tigers, Rhinos, Elephants plus small boats photographing Gharials, a fish eating crocodile native to the Indian sub-continent. This adds another level of experience to an exciting safari journey in Incredible India. 

Bringing and testing 3 pieces of new Canon gear extensively again - EOS-7D Mk II , EF 100-400mm f/4.5-5.6L IS II and EF 400mm f/4 DO IS II lenses.  In addition, I will be bringing the old favorites - EOS-1D X , EOS-1D Mk IV and EF 200-400mm f/4L IS USM 1.4x Extender lens.

My Indian friend informed me recently there is an upgrade in the count of Tigers in the national parks. Looking forward to finding out more about how these magnificent animals are fighting to avoid the relentless slaughter from poachers and smugglers with the help of the National Tiger Conservation Authority. It will be difficult for me to keep in touch because there are few Internet access in the jungles and countryside but I will do my best. Have to wait till I return in mid March to reconnect and write my blog again.

In the meantime, visit my website to see photos and read stories from my previous wildlife trips around the globe. Wish me luck on my trip. My Southern Oceans photo shoot last month was just average. I need a break to get some spectacular sightings and encounters.   

Thursday, February 19, 2015

Canon USA Newest Quick Tips Videos

Adobe Lightroom 6 Available In March

Adobe Lightroom 6 will be shipping on March 9, 2015. The following is the Product Overview.

Master your digital photography workflow : Ranking, optimization and sharing – Lightroom together in one fast, intuitive application all tools dedicated to digital photography.

Bring out the best of each photo : Test your ideas freely with non-destructive tools – your original pictures remain intact. Lightroom lets you optimize every pixel of your photos, they were taken with a professional digital SLR camera or mobile phone.

Key features of Adobe Photoshop Lightroom 6

Environment nondestructive : Unleash your creativity in a nondestructive editing environment that allows you to test your ideas freely. The originals remain intact and you can easily cancel your edits or save multiple versions of a cliché.

Advanced conversion feature black and white : Monitor closely the tonal qualities so essential to the black and white photos. Combine precisely the information of eight color layers in the grayscale conversion.

Development predefined settings : Save time by instantly applying the desired effect to your images. Just save develop settings as a preset and apply them to other photos in a click. If Lightroom includes dozens of presets, thousands more are offered by third parties.

Face Recognition : Quickly find pictures of loved ones, even without metadata tags. You select a face on the photo, Lightroom and search the person it belongs to all of your other shots. Sort and group your photos by faces.

Sophisticated Healing Brush : Get best pictures with one touch. Set the brush size and move it according to specific plots. Unwanted items and other imperfections, including irregular shapes son type, magically disappear.

Upright (Vertically) : Straighten skewed images with a single click. The Upright tool (Vertically) analyzes the image and detects horizontal or vertical lines inclined. It can even recover images without horizon.

Merge to HDR : Create realistic or surreal images from high-contrast scenes. By merging HDR, you can easily combine photos with different exposures into a single HDR image.

Fusion panoramas : Import and refine your photos in record time. Lightroom leverages compatible graphics process to get you better performance, especially when you edit your images in the Develop module.

Sophisticated video slideshows : Create stunning slideshows combining still images, movies and music, and supplement them with pan and zoom effects, for example.

Optimized web galleries : Present your work in the most elegant web galleries, more attractive and interactive. The new models of HTML5 compatible galleries are supported by many browsers and mobile devices work stations.

Integration of online sharing : Easily publish images on social networks and sites for such as Facebook and Flickr. On some sites, you can even view the online comments on your images directly from Lightroom Library.

Creating photo books : Create beautiful photo books. Lightroom includes a large number of user-friendly catalog templates that you can now customize. Load them then printing a few clicks.

Wednesday, February 18, 2015

Canon EOS-5D Mk III DSLR Camera - $2000

Canon EOS-5D Mk III DSLR camera

There is a top-rated merchants on eBay selling the Canon EOS-5D Mk III camera for $2,000 including free shipping. Hurry, it won't last. This is an excellent deal and my pick as the best value in full frame DSLR camera two years in a row. This camera is on its way to have a 3 year replacement cycle in the second half of 2015. You can read the latest post here. Canon has also announced the EOS-5Ds and EOS-5Ds R 50MP megapixel full frame camera on February 6.

You will not find a link to this eBay item because I do not accept any ad or commissioned link on my Blog or website. I am completely unbiased in my recommendation and have no conflict of interest. You can see travel and wildlife photos taken with this camera on my worldwide photo shoots on

Canon Unveils HJ24ex7.5B HD Lens

Canon HJ24ex7.5B HD broadcast lens

London, UK, 18 February 2015 – Canon today unveils a new addition to its HD broadcast lens range – the HJ24ex7.5B. A successor to the hugely popular HJ22ex7.6B, the lens has been updated using customer feedback and includes a number of new features, including a wider and longer focal range with enhanced image quality, as well as an improved design and user handling. A truly versatile lens, the HJ24ex7.5B is perfect for a diverse range of broadcast environments, including studio sets, live production and news gathering, thanks to the unique combination of a high quality 24x zoom – the longest zoom in this class available today¹ – an impressive 7.5-180mm wide-angle view and a lightweight, portable design.

Advanced optical performance, both wide and far

Created specifically for the world of TV production, the HJ24ex7.5B’s enhanced optical design allows broadcasters and producers to go both wider and closer on their shoots, with the new 24x zoom giving added freedom whilst on set or on location. Demonstrating Canon’s expertise in optical design, the lens’ 7.5-180mm focal range surpasses that of its predecessor and removes the hassle of mounting different lenses, enabling users to switch seamlessly between long distance, fast action shots, to close ups. The HJ24ex7.5B’s revised optics also produce a sharper, more refined image throughout the entire zoom range, with the quality and clarity that’s required for HD productions.

Exceptional portability and professional performance in one

An enhanced ergonomic design and revised optical structure ensures operators can quickly and comfortably shoot on the go. The weight of the lens has been reduced down to just 1.78kg, allowing shooters to freely move around sets and locations, as well as easily keep pace with subjects. The lens has been engineered to be both lighter and better balanced than its predecessor, with an improved centre of gravity – thanks to the weight reduction and optimisation of the optical layout and body structure. The lens can also be easily handled when shoulder mounted, with access to settings easily accessible in the palm of the hand, ensuring operators don’t have to move away from the camera’s viewfinder.

Designed to provide the best possible performance for broadcasters, the HJ24ex7.5B features the same Digital Drive Unit found in the latest HD High-end ENG lens line-up, which enables camera operators to select repeatable zoom positions and speeds, as well as focus and iris settings as they wish. An absolute value encoder, built into the Digital Drive unit, also allows operators to quickly commence shooting without any initialisation, ideal in news gathering and sports environments. Also suited to virtual applications, the absolute value encoder improves the lens’s power consumption, helping operators to shoot for longer, as well as enabling the lens to automatically detect lens positions so the chromatic aberration compensation function on cameras works instantly.

The HJ24ex7.5B will be available from May 2015.

Canon - Gold Sponsor of Tokyo 2020 Olympics

TOKYO, February 18, 2015 – Canon Inc. and Canon Marketing Japan Inc. announced today that the Company will support the Games of the XXXII Olympiad and the Tokyo 2020 Paralympic Games (Tokyo 2020) as a Tokyo 2020 Gold Partner in the category of Still Cameras and Desktop Reprographic Hardware which include desktop printers.

Canon has entered an agreement with the Tokyo 2020 Organizing Committee, making the Company a Tokyo 2020 Gold Partner. In this capacity, Canon will contribute to the delivery of the Games of the XXXII Olympiad and the Tokyo 2020 Paralympic Games, which will be held in 2020 in Tokyo, and in addition, will provide support to the Japanese national Olympic and Paralympic teams competing from 2016 to 2020.

Tokyo 2020 Gold Partners are positioned as the highest tier of the Tokyo 2020 domestic Sponsorship Programme. As a sponsor of Tokyo 2020, Canon products and services in the still cameras and desktop reprographic hardware categories, which include desktop printers, will be designated as Official Products of the Games.

Canon will provide behind-the-scenes support to members of the press covering the Games, including camera and lens maintenance services and product loans. Drawing from the Company’s experience and know-how cultivated to date, Canon will improve on-site media support for cameras during Tokyo 2020, including on-site camera service and support centers to assist the numerous journalists and sports photographers from various countries and regions across the world.

Canon will continue contributing to the advancement of sports through the use of Canon still cameras and desktop reprographic hardware which include desktop printers.

Tuesday, February 17, 2015

Canon USA Project Imagination with Ron Howard

NEW YORK, N.Y., February 17, 2015 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced that actor, Josh Hutcherson, star of The Hunger Games franchise, has partnered with Canon U.S.A. Inc. and Ron Howard for Project Imagination: The Trailer, and for the first time ever, anyone’s life moments can become a movie trailer and inspire a Hollywood film. The user-generated experiment invites consumers of all skill levels to create and submit trailers of their everyday life moments, resulting in one winning trailer selected by Ron Howard and Josh Hutcherson, which will ultimately inspire a short film in which Hutcherson will star and produce.

“Josh Hutcherson is going to be a great addition, empowering a whole new generation to pick up a camera and realize they are far more creative than they give themselves credit for in their everyday life moments,” said Ron Howard. “I encourage people to really have fun with their storytelling; who knows, the kid’s birthday party might end up looking like a horror film or a trailer for a fantastic thriller that could truly captivate us.”

“I’m fascinated by filmmaking and recently sat down with Ron Howard to hear about the history of Project Imagination,” said Josh Hutcherson. “The creative process truly excites me, as does officially joining the cast of Canon’s Project Imagination: The Trailer. I’m really looking forward to starring in a film inspired by user-generated trailer submissions.”

Submissions will open on February 25 at Until then, consumers can visit the website and get inspired by watching “The Trailer of Your Life” – a 45-second trailer about the project, leveraging everyday footage from everyday consumers. The site also includes Ron Howard’s tips for creating trailers.

Project Imagination: The Trailer marks Ron Howard’s third time partnering with Canon, a brand that aligns with his conviction that people’s everyday lives are visually and cinematically worth recording.

“We’re delighted to continue our great partnership with Ron Howard and welcome Josh Hutcherson to the project,” said Yuichi Ishizuka, president and COO Canon U.S.A.

Canon Cameras Dominate 2014 World Press Photo Award

Mads Nissen, using Canon equipment, won the 2014 World Press Photographer award.
Hastalosmegapixeles put together an interesting graphic showing the breakdown of cameras used by press photographers for the World Press Photo 2014 awards. There are few surprises here. Canon is clearly preferred by the majority of users, who used predominantly DSLR cameras.

The Canon EOS- 1D X is the clear favorite, followed by the EOS-5D MK II and Mk III cameras. Nikon made a good showing with their D4, D700 and D800 DSLR bodies but came in a distant second. The remaining camera models came from manufacturers such as Canon, Nikon, Sony, Leica, and Mamiya.

Overall, Canon is the preferred equipment used by 58% of the photographers, followed by Nikon with 28%, Leica at 7%, Sony at 5% and Mamiya with 2%. The remainder are divided into various manufacturers, medium and formats. There are a small number of medium format and film camera users in the statistics as well.

My own observation is there are many things that contribute to a great photo. First and foremost is the perfect chance encounter. The old adage of 'the right time and the right place' is never truer. Then comes the skill and experience of the photographer. Next comes the quality and capability of the camera equipment.

Canon Q&A at CP+ 2015 - Full Frame Mirrorless and EOS-5Ds Cameras

Canon Inc. headquarters in Tokyo, Japan

Dave Etchell (DE) from Imaging-Resource interviewed a few Canon executives from the Image Communication Products Operations division at the 2015 CP+ Show in Yokohama, Japan a few days ago. On hand to answer his questions were Yasuhiko Shiomi (YS) - Senior General Manager, ICP Development Center 2, Yoshiyuki Mizoguchi (YM) - Group Executive, ICP Group 3, and Naoya Kaneda (NK) - Senior General Manager, ICP Development Center 1. The translator was Richard Berger (RB) - Manager, Global Public Relations at Canon Inc.

The following is the interview covering a wide range of topics, including mirrorless full frame cameras, the new EOS-5Ds and EOS-5Ds R cameras and the EF 400 f/4 DO IS II lens.

Dave Etchells/Imaging Resource: My first question is on autofocus technology: The most recent generation of Hybrid CMOS AF is much faster than the previous one. Can you tell us what technical advances led to that improvement? Also, how would you compare the new Hybrid CMOS AF III's performance to that of Dual Pixel CMOS AF, in terms of speed and accuracy?

Yasuhiko Shiomi/Canon Inc.: Compared with conventional models, first of all the number of pixels has increased significantly, and the pixel density has also increased. So we've incorporated Hybrid CMOS AF across the board with all of the models [that don't already use Dual Pixel CMOS AF]. We've also improved the algorithms used to calculate AF, which has improved speed. However, with regard to Dual Pixel CMOS AF, the conditions that are required for applying this technology are different. It's not really an apples to apples comparison.

DE: You can't really compare them.

YS: There are a lot of conditions involved, such as the shooting scene and the lenses that are used. So depending on these factors, you're going to get different results. However, compared with the earlier versions of Hybrid CMOS AF, we have realized an improvement of three to four times faster AF speed.

DE: So what specifically has allowed that increase in speed? Is it the chip readout, or processing, or both? It's such a dramatic change. It seems like there's some kind of a revolutionary or very significant technology development involved.

YS: With previous versions of Hybrid CMOS AF, it made use of both phase-difference AF and contrast AF. With the current generation of Hybrid CMOS AF III, it leans more toward phase-difference AF, and it makes very little use of contrast AF method.

DE: So most of the time, if there's enough light or something… Is its choice of phase-detect or contrast-detect dependent on how much light there is? I mean, if it's bright enough, is it only phase-detect? Or is it always phase-detect, with just a little bit of contrast at the end?

YS: Brightness is a factor. However, another factor is the difference in contrast between the center of the imaging area and the surrounding peripheral areas of the imaging area. So when focusing on something that is located in the center of the imaging area, it gets much easier for phase-difference AF to acknowledge that. The farther you get away from the center of the imaging area, it becomes more difficult to establish proper focus with phase-difference AF.

DE: Oh yeah. You're not getting the whole light cone, just part.

YS: Yes. Also, in dark shooting environments, it's easier for contrast AF to handle focusing responsibilities.

DE: Ah, very good answers, thanks. Do you think there’ll always be a separation in performance between on-chip hybrid or dual-pixel AF and SLRs with dedicated AF sensors? Will SLRs always win out? If not, at what point do you think there’ll be parity between the two technologies in terms of performance?

YS: When it comes to still photography with super-telephoto lenses that pros will make use of, I think it's safe to say that SLRs will win out. However, that difference is going to be reduced when we talk about entry-level models that don't have a dedicated AF sensor. That gap is closing. But as far as covering a wide range of shooting situations and super-telephoto lenses, while the other approach is kind of closing the gap, I think it'll probably be a while before they actually line up, or one takes over the other. It will be hard to predict if and when that will happen. So for a while, the advantage, I think, will rest with the separate sensor. [as in DSLRs]

DE: So they actually could catch up someday, but… it sounds like maybe not really?

YS: That's right… [laughter]

DE: It sounds like there's a fundamental advantage in the separate sensor.

YS: You're right. With EOS AF, the camera can establish focus even when the scene is extremely out of focus. So there's the first-stage image formation, second-stage image formation.

DE: Right.

YS: ...and the EOS AF, because of its dedicated nature, can handle that.

DE: Ah, it can handle extreme out of focus, whereas on-chip has a hard time with that?

YS: There's a shift, it falls out of alignment.

DE: Oh, I see: In the EOS AF, are there separate optics so that one set of optics will be able to see if it's far-focus?

YS: Yes.

DE: Ah, okay. So there are some optics, say if it's way out of focus too far, one set of optics can recognize that, and another set can say, 'Oh, it's way out of focus too close.' And then once it gets in range…

YS: It's not quite exactly like that, but it's the focusing lens group is what's moving within the lens. If the image is too extremely out of focus, then it doesn't generate an AF signal.

DE: Yeah.

YS: So when it gets within the focal range, the proper focal range, then there's an AF signal that it can acknowledge and handle.

DE: Got it, thanks. ...I just realized I need to move more quickly through the questions. I asked two questions, and I have only 25 minutes left. [laughter]

So, let me move to the new EOS models, the Rebel T6s and T6i. They both have low-pass filters in them, which we actually think is a good idea. But there's a general move away from low-pass filters in recent years. Consumers seem to be favoring designs with no low-pass filter. Does Canon feel the pressure to explain to the consumer why you've got low-pass filters, and how do you answer that question?

YS: With our EOS lineup of cameras, first of all we assume, we are working from the basis that they will be used with high-performance lenses, with high resolving power. If you're going to be using lenses that don't offer that level of resolution, perhaps you can get away without a low-pass filter. However, based on the assumption that our users will be using high-performance, high-resolution lenses, we feel it's essential that the cameras have the low-pass filters.

DE: Yes. For some manufacturers, the lens is effectively the low-pass filter, right?

YS: [lots of laughter] The lenses run the gamut. There's high-end and there's more... shall we say -- cost-competitive.

 DE: Okay. Switching to the EOS 5DS and 5DS R, the EOS 5D Mark III is the best SLR we've ever seen when it comes to avoiding moiré in video. Will the new full-frame 5DS and 5DS R have the same pixel re-sampling technology as the 5D III, or are there just too many pixels to cope with to do that, even with dual DIGIC 6 processors?

YS: The method is a little bit different. Essentially, as you know, the pixel count is higher in the cameras [than in the video stream]. So for that reason we wanted to improve the resolving performance in the videos that these cameras are capable of taking. For that reason, we went with a method that was more appropriate for those needs. So with 5D Mark III, in terms of resolving power resolution, it's not quite where we wanted it to be, or where we thought it should be. So to kind of resolve that issue, we took steps to address that in the new cameras.

DE: Ah, right. And so for video resolution, the 5D III is very good at anti-aliasing and no moiré, but you felt it could be sharper.

YS: Yeah. We were confident that the moiré would be suppressed. However, we felt the clarity, or the resolution maybe wasn't where it could have been.

DE: So the new one…

YS: There's a Japanese expression that translates as "sleepy": The image was maybe a little on the sleepy side. So you might be sleepy because you just traveled in from the USA…

DE: Yeah, different sleepy. I do feel sort of fuzzy, you know, but… [laughter] Okay, good. So the 5DS, it shouldn't have moiré but it should be sharper.

YS: Yes, there is an increase in resolution.

DE: Switching to mirrorless: Where do mirrorless systems fit into Canon's longer-term strategy? Does Canon view mirrorless as primary or exclusively a sub-frame platform? Or do you see it as being more broadly applicable, and appropriate for both sub-frame and full-frame systems? And then the second half of the question is will we see the EOS M line evolve further, or will there be a completely new platform at some point?

Yoshiyuki Mizoguchi/Canon Inc.: Okay. In terms of how we view the role of mirrorless, first it's within the EOS framework that we're talking about. There was obviously the need to pursue smaller products that were more lightweight. So we kind of view the EOS mirrorless cameras from that perspective to begin with. It's not just looking in terms of solely as a mirrorless product, but within the interchangeable lens camera segment. We kind of view it as playing a role within that ... sort of an extended view, as a means of achieving a more compact, lightweight product. There was obviously the question of whether or not, within the regular DSLR format, there was a demand for lighter, smaller products. You know, there are various approaches on that, but this is a means for us to address that issue within sort of the EOS universe.

DE: Right. So you see it as being a case of... That's how you get compact. If someone's willing to accept larger size, then you go for the existing...

YM: With regard to 35mm full-frame cameras, we're looking at the advanced amateur user segment, and demand for that level of performance is high among those. But then you begin to say, what features can you do away with [to reduce the size]? Like say, an optical viewfinder or EOS AF. It becomes sort of a search to see where demand falls, and to what degree users are willing to do without certain features [for a smaller camera]. Then there's the APS-C size frame [where users may accept different trade-offs]. So it depends if users are willing to accept a degradation of image quality [to achieve a smaller size], and where the demand falls. [That is, to what extent are consumers willing to give up some image quality in exchange for a smaller sensor, to have a smaller camera?] So it was through that means for us to respond to the demand within this sort of step-ladder of different users.
DE: Oh, I see.

YM: I can't go into detail, obviously, about our future plans. But our aim, if the demand is there, is to boost imaging performance while maintaining a compact, lightweight design, to satisfy even higher-end users, or to create demand at a higher level within the same sort of compact format.

DE: Right. So it'll depend somewhat on the market.

YM: So if there's no demand, then it doesn't make sense for us to…

DE: Obviously, right.

YM: So it will depend on whether the demand is there, we will do our best to meet it.
[Ed. Note: My conclusion from all this is that, while Canon would never say "never" to a full-frame mirrorless body/lens system, their current thinking is that "compact" and "full-frame" really don't belong in the same sentence together. Who knows what the distant future might bring, but for now, I won't be holding my breath waiting for a full-frame mirrorless system from Canon any time soon.]
DE: So a question on lenses now. This is more just about your organization. You obviously have an enormous investment in lens development. I was curious, and I thought our readers might be too: How large is the division which does lenses? Are you able to tell us how many people you have working on lenses?

Naoya Kaneda/Canon Inc.: That's top secret! [laughter]

DE: Okay. Maybe you can tell me, has that division grown in the last five years?

NK: It's of the highest priority that we boost and strengthen our lens line up. We're doing our best to put out high-quality lenses to meet market demand. So while we can't go into specific details, we are boosting, in various respects, our ability to do that. That includes our R&D environment. So it wouldn't necessarily be limited to just increasing numbers of people working there. Unfortunately we can't go into details, but we're doing everything that is required for us to boost our optical performance.

DE: The people, the tools, the manufacturing, yes.
Another lens question, this has to do with IS. When we tested the new 400 mm DO II lens, we found the stabilization system to be extremely good. We were even able to get a small number of handheld shots as slow as 1/8th of a second. We were just amazed; we'd never seen anything like that before. In another briefing, we heard that part of why the IS is so good is that apparently it has to do with a low-friction, ceramic ball-bearing mechanism for smoother operation. Is that in fact a significant part of why the IS is better? And if it is, is that technology able to come down to smaller, less expensive lenses?

NK: That's not the reason for the improved performance: This isn't the first time that the ceramic ball system has been deployed.

DE: Oh, really?

NK: Yeah. It's not really thanks to the ceramic ball-bearing system that performance is where it is. It's multiple factors; there are improved algorithms, it's the system design overall, and also just basically the day to day hard work and effort to improve performance [over time].

DE: Yeah. I think there has been a significant advance in the gyro sensors in recent years, though right?

NK: Over the past few years there have definitely been improvements in the gyro sensors, but that's not something that significantly comes to play with this particular model.

DE: Oh, really? So it's not so much a change in sensor performance, but other aspects.

NK: The gyro sensor used here isn't an all-new gyro sensor.

DE: Ah...

NK: It's been used in previous lenses. If you really have to kind of pick something, probably it would be leaning more toward the algorithms.

DE: The algorithms, ah. Yes, very interesting! I am almost out of time. Maybe I can do one more question. I think I'd prepared maybe five hours of questions though! [laughter]
[Ed. Note: This was particularly interesting to me. There have, in fact, been some significant improvements in gyro sensors in the last several years, and other manufacturers have pointed to that as a significant part of advances in IS performance. I do know, though, that there's another class of micromechanical gyro sensors with considerably higher performance that has been available for quite a while now. To my knowledge, they haven't been used for lens or camera IS systems previously, simply because they cost too much. Given the selling price of the 400mm (and possibly other lenses using the same sensor), though, maybe Canon was able to afford that much higher-performance technology? Whatever the case, IS performance on the EF 400mm f/4 DO IS II USM lens is pretty downright amazing. If you can ever get your hands on one to play with at a trade show or camera store, I expect you'll be as amazed as we were.]

DE: Perhaps another question about mirrorless cameras and the EOS M-series, specifically the EOS M3. The EOS M series in its third generation now, but only the original came to the US. In our view, its main issue or problem was slow AF, but now you have the new, much faster Hybrid AF available. Do you think that will overcome resistance in the US?

NK: In terms of AF performance compared with the original EOS M and M2, we believe that we've realized a significant improvement in AF performance with the M3. Now the question is, will that satisfy all users in terms of performance? That's something that remains to be seen. Looking at the various markets, we see quite a variation in which markets are embracing mirrorless cameras and which aren't. At the moment we don't really see very strong demand in the US market. We've discussed it with our national sales organizations, and it's in discussion with them to decide whether or not to launch them in the various regions. Either way, through our EOS-series and the EOS M-series, we will do our best to satisfy the demand that is there in terms of smaller and lighter-weight cameras.

DE: OK, I'm really more than out of time now, need to hurry to my next appointment. Arigatou gozaimasu, thank you very much to all of you for making time in your very busy schedules to meet with me!

Monday, February 16, 2015

Canon EF 11-24mm f/4L USM Lens Available In Asia

The Canon EF 11-24mm f/4L lens was announced on February 5 and is now available in Asia. Shipment should start commencing the last week of February in North America and Europe.

Canon EF 11-24mm f/4L USM lens in box

Canon EF 11-24mm f/4L USM lens with EOS-1D X camera

MELVILLE, N.Y., February 5, 2015 – Canon U.S.A., a leader in digital imaging solutions, is proud to introduce the superb new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens designed to deliver high quality, minimally distorted images throughout the entire zoom range. Featuring the widest angle of view (126º05’ diagonal) ever achieved for a rectilinear full-frame Digital SLR lens*, and a minimum focusing distance of 11 inches (at 24mm), this new lens is ideal for professionals who want the ultimate in creative image expression with sharp, crisp detail whether shooting entire buildings from a close position, entire stadium shots from a high-vantage point, large group photos at a scenic wedding or even astrophotography. Cinematographers will be equally as impressed with the lens’ ability to retain straight lines.

Fully compatible with all EOS cameras, but particularly effective with full-frame cameras such as the new Canon EOS 5DS and EOS 5DS R Digital SLR cameras also announced today, this new L-series lens features newly developed optics comprised of 16 elements in 11 groups with a three group zoom system and rear focus. The new optical design utilizes four aspherical lens elements to help minimize distortion from the center of the image to the periphery, across the entire zoom range. This new optical array provides straight lines with minimal curve throughout the zoom range, ideal for architectural, event, and forensic photography. The lens also features one Super UD element and one UD lens element to help significantly reduce chromatic aberration and deliver sharp images with high resolution. Canon’s advanced lens coating technologies are also liberally employed to help minimize ghosting and flare, while simultaneously enhancing accurate color balance and maximum light transmission efficiency.

“Canon is very proud of its optical heritage. The creation of this new lens continues our tradition of providing photographers with unique image-making solutions that are not only thoughtfully designed but precisely engineered and manufactured,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “The new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens features newly developed optics and an unprecedented combination of Canon optical technologies. We are very eager to see the beautiful images that photographers will create using this new lens with Canon EOS DSLR and Cinema EOS cameras.”

The new Canon EF 11-24mm f/4L USM lens’ impressive 11mm starting focal length and 9-blade circular aperture help deliver beautiful, high-quality, detailed images. The new lens accurately reproduces straight lines in the subject with minimal distortion, ideal for architectural and landscape photographers looking to create images with tremendous depth and strong perspective.

Wide-angle lenses are especially prone to flare and ghosting. To help reduce these effects, the new Canon EF 11-24mm f/4L USM lens features Canon’s proprietary Sub-Wavelength Structure Coating (SWC) and Air Sphere Coating (ASC). SWC is applied to the rear surface of the first and second aspheric lens elements, while ASC is used on the front of the fourth element. The SWC coatings are particularly effective for combatting flare and ghosting caused by light rays entering the lens at a large angle of incidence, while the ASC coating helps mitigate the same problems for light rays entering the center of the lens. The new lens also employs Canon’s Super Spectra Coating (SSC) to enhance light transmission while at the same time optimizing color reproduction accuracy.

The Canon EF 11-24mm f/4L USM lens features a meticulously designed inner focusing system and zoom ring, as well as a built-in petal type lens hood with light-shielding grooves. Along with a high-speed CPU and optimized AF algorithms, this lens enables fast and accurate autofocusing, while its full-time manual focus feature allows manual focus adjustment even in AF mode. As with all L-series lenses, this durable new lens is highly resistant to dust and water — ideal for outdoor photography even when conditions are harsh. In addition, a fluorine coating on the front and rear surfaces of the lens helps reduce smears and fingerprints and makes the lens easier to clean.

Pricing and Availability

The Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens joins the robust line up of Canon f/4L USM zoom lenses including 16-35mm, 17-40mm, 24-70mm, 24-105mm, 70-200mm, and 200-400mm + 1.4X Extender models. It is scheduled to be available in late February 2015 for an estimated retail price of $2,999.00. For more information please

Canon Patent : External Image Stabilization Unit

Egami, the Japanese photography blog has uncovered a Canon patent, showing an optional image stabilization unit that is external to a lens, without changing its focal length.

Patent Publication No. 2015-28555 (Google Translated)

  •     Published 2015.2.12
  •     Filing date 2013.7.30

Example 1a (master lens only)

  •     Focal length 392.50
  •     F-number 2.92
  •     Half angle of 3.16
  •     Image height 21.64
  •     Overall length of the lens 379.64
  •     BF 41.57
  •     Effective diameter of the front lens 135.72mm
  •     Lens configuration 8 groups nine

Example 1b (anti-vibration converter mounted state)

  •     Focal length 392.50
  •     F-number 2.92
  •     Half angle of 3.16
  •     Image height 21.64
  •     Overall length of the lens 379.64
  •     BF 41.56
  •     Effective diameter of the front lens 135.72mm
  •     Lens construction 12 groups 15 sheets

Canon Patent

  •     3-group configuration of positive and negative positive
  •     Inner focus (the second group)
  •     The anti-vibration converter can be inserted on the object side of the third group

Saturday, February 14, 2015

Polaroid Portrait Of Photographers And Their Photos

We all have favorite photographs in our lives, whether they are taken by ourselves or others. But how many of us know who is the photographer behind that image?  

Tim Mantoani embarked on a project a few years ago to highlight iconic photographs with their makers, in order to preserve and introduce us to the people behind the camera. Beginning in 2006, Mantoani captured Polaroid portraits of photographers holding their photos using a hefty 20 x 24 Polaroid camera. There are only a few of these amazing cameras left.

CPN - Canon EF-L Series Lens Are Different

Canon Professional Network explains why their EF-L series lenses are different from other glass. You can read my recommendation for Canon wildlife and landscape photography lens.

Fluorite elements

Fluorite is a naturally occurring crystal that has three special properties that make it eminently suitable for use in lenses ? it transmits infrared and ultraviolet light well, has a very low refractive index and low dispersion.

What does this mean for your images? When light passes through a lens, it refracts. That is, it bends. It also breaks up into its constituent colors, just like light passing through a prism. The lower the refractive index of the lens material, the less it bends and the sharper it can be focused. Similarly, the lower the dispersion ratio, the less the light is broken up, which makes it easier to correct chromatic aberration. Unfortunately, fluorite in nature grows in very small crystals and is not suitable for use in photographic lenses, although even back in the 19th century, natural fluorite crystals were being used in microscope lenses.

To overcome these problems, Canon set about growing its own synthetic fluorite crystals in large enough quantities to create photographic lenses from them. The next hurdle was to grind the fluorite into lenses ? another challenge since fluorite is so fragile. The engineers at Canon developed a new grinding technique to ensure flawless fluorite lens elements. The downside is that it takes four times longer to grind a fluorite element than a glass element ? one of the reasons for the increased cost of an L-series lens. The results, though, are lenses that all but eliminate chromatic aberration, resulting in sharper images since the light is recorded as a point rather than a blur of colors.

The first Canon lens to contain a fluorite element was the FL-F300mm f/5.6, produced in 1969.

Aspherical lens elements

In the early days, all lenses were spherical. They are the easiest lens shape to make, but are not best suited to rendering a sharp image as they cannot make parallel rays of light converge at the same point. This causes a problem called spherical aberration. Canon designers discovered that an aspherical (non-spherical) lens shape would eliminate these spherical aberrations, because the curvature of the lens could be used to converge the light rays to a single point. But knowing the theory is one thing ? achieving it in practice is quite another.

The degree of asphericity is so minor that special manufacturing processes were created to stay within the 0.1micron tolerance. Measuring the curvature requires even greater accuracy. It was not until 1971 that the first SLR camera lens with an aspherical lens element was produced. But it was not perfect. In fact, it took another two years before manufacturing techniques reached the levels required to really achieve large gains in image sharpness.
 Aspheric lens elements manufactured today are so accurately ground and polished that if the degree of asphericity is even 0.02micron (1/50,000mm) away from ideal, the element is rejected.

Aspherical lens elements help to compensate for distortion in wide-angle lenses, and compensate or eliminate spherical aberrations in lenses with a large maximum aperture. They also allow the Canon to produce more compact lenses than was previously possible using only spherical lens elements.

Ultra-low Dispersion glass

The emergence of UD glass and Super-UD glass came after Canon had successfully incorporated fluorite into some of its lenses. Using optical glass, rather than fluorite, to correct chromatic aberrations, is more cost-effective, so Canon directed its research into high-performance lenses manufactured from ordinary optical glass.

 UD glass is similar to fluorite in that it features a low refractive index and low dispersion. Although it is not quite as good as fluorite, its performance is significantly better than ordinary optical glass. So by using UD glass Canon has been able to manufacture a range of lenses with superior performance and at a lower cost than before.

In several L-series lenses, both UD glass and fluorite lens elements have been combined to produce optimum results. With the continued increase in resolution of digital cameras, demands on lenses are increasing. It is likely, therefore, that UD and fluorite elements will be incorporated into a greater number of lenses, from wide-angle to super-telephoto.

Thursday, February 12, 2015

Canon Buys Axis AB, Video Surveillance Company

Although Canon is the largest photographic company in the world and a big conglomerate, they have decided to branch out in other growth areas and announced their acquisition of Axis, the Swedish security camera and surveillance company. The consumer camera market has been declining for a few years now with the advent of more sophisticated smartphone cameras.

TOKYO/STOCKHOLM, Feb 10 (Reuters) – Canon Inc made a 23.6 billion-Swedish-crown ($2.83 billion) offer for network video surveillance leader Axis AB on Tuesday — the biggest purchase ever for the Japanese firm trying to expand beyond a shrinking camera market.

Canon said it had launched a bid to buy all the Swedish company’s shares at 340 crowns apiece, a premium of nearly 50 percent to their closing price of 226.90 on Monday. At 1126 GMT, shares of Axis were up 48 percent at 336.50 crowns.

Axis said its board of directors unanimously supported the offer, and that three of its top shareholders representing around 40 percent of total shares will accept it.

Canon already sells surveillance cameras and sees the sector as a growing market, although it has not disclosed how much it earns from such products.

The deal will make Canon a top player in the video surveillance market, which was worth an estimated $15 billion at the end of last year, according to researcher IHS.

Within that market, there is a $3.86 billion segment for network-connected security cameras which is led by Axis with a 17.5 percent share as of 2013.

Greger Johansson, analyst at research firm Redeye who had a bull case scenario of 250 crowns per share, said he thought the main owners had been unwilling to sell below 300 crowns as Axis had high revenue growth and was the No. 1 player in its market.

“We think some of the bigger players like Panasonic, Sony and Pelco could be interested… although the likelihood is relatively low considering the high bid.”

The deal comes after Canon late last month reported a slight increase in fourth-quarter profit, as a weaker yen and rising sales of office equipment offset weakness in a camera division competing with smartphones capable of high-quality imaging.

The company, which earned over 80 percent of its revenue overseas in 2014, said it would pay in cash.

Axis’ is targeting average annual growth of at least 20 percent and a profit margin of at least 10 percent. The company reported a fourth-quarter operating profit of 199 million crowns, slightly below analyst forecasts but up from 166 million a year earlier.

Around half of its sales come from the Americas, 40 percent from Europe, the Middle East and Africa, and the rest from Asia.

Axis said it will remain as a separate legal entity within Canon, and that its current management team will stay. ($1 = 8.3486 Swedish crowns) (Reporting by Ritsuko Ando,Chris Gallagher and Olof Swahnberg; Editing by Miral Fahmy, Christopher Cushing and Crispian Balmer)

Canon Files Patent For New Auto-Focus System

A new patent from Canon involving a new type of auto-focus system has been uncovered by Egami, the Japanese photography blog. Canon is a huge conglomerate and is one of the most prolific companies in research and development. Many patents are filed to protect their intellectual properties and may never end up as a marketable product or technology in the end.

Explanation self interpretation of patent literature

  • Patent Publication No. 2015-22264
  • Published 2015.2.2
  • Filing date 2013.7.23 

Canon patent

  • Phase difference detection method to be received by the AF sensor can be reflected incident light from the imaging lens
  • The phase difference detection by the image plane phase difference AF
  • The phase difference detection by external light AF sensor 

Wednesday, February 11, 2015

Man Behind Canon EOS-5Ds / EOS-5Ds R Cameras

Canon EOS-5Ds and EOS-5Ds R megapixel full frame cameras

Canon announced the EOS-5Ds and EOS-5Ds R cameras on February 6. Canon Professional Network recently interviewed the man behind this pair of megapixel DSLR bodies. The excerpt below is from CPN.

I will not be purchasing this camera because my needs as a wildlife photographer do not include a megapixel camera with a 5 fps burst rate. Instead, I will wait for the EOS-1D X Mk II and EOS-5D Mk IV, expected to be announced later this year.

Inside story : the man behind the EOS 5DS and EOS 5DS R

CPN recently got the unique opportunity to meet and talk to Tsunemasa Ohara - Senior General Manager of Camera Research and Development at Canon Inc. - who is the key man behind the development of the revolutionary 50.6 Megapixel Canon EOS 5DS and EOS 5DS R DSLRs. In an exclusive interview he reveals how he came up with the concept for the cameras and how and why some of the key technologies contained within them were developed...

Canon Professional Network (CPN): Who came up with the idea and vision for EOS 5DS and EOS 5DS R?

Tsunemasa Ohara (TO): “It was my idea to develop this product as I knew from my past research that more megapixels could be achieved from the EOS 5D Mark III sensor. Once I advised that such a product would be achievable I brought together a team to work with me, many of whom were the same people who had worked with me before on other EOS DSLR projects.” 
 CPN: What are the key technical advantages of the cameras compared to existing competitor high-resolution DSLRs and medium format cameras?

TO: “In terms of megapixels, the EOS 5DS and EOS 5DS R are almost the same as a medium format camera and offer the same levels of image quality too. The key advantage from an EOS perspective is that handling and mobility is much better than a medium format camera. This is a major advantage with our product because it is smaller and lighter and can be used in a wider variety of situations.”

CPN: What criteria did you place on developing this new sensor?

TO: “The first criteria – as with all EOS cameras – was high image quality. To achieve this was our first priority. From a development point of view it was possible to increase the megapixel size even more but, from an image quality perspective, to do that alone was not good. Therefore achieving the optimum balance between high megapixels and high image quality was our most important objective at all times.”

CPN: Will this significant sensor advance and technology be limited purely to EOS 5DS and EOS 5DS R, or will it find its way into more EOS cameras during the next few years?

TO: “To achieve this high-megapixel CMOS sensor we developed many new technologies for this sensor to be used in the EOS 5DS and EOS 5DS R bodies. We can’t reveal what we will do next, but certainly some of the technology will find its way into future cameras.”

CPN: The Dual DIGIC 6 processors make these very quick cameras in terms of image processing. But how far can you go with DIGIC architecture in terms of speed?

TO: “We have not reached the end of the development of the DIGIC processor yet. We are aiming for higher levels of processing speeds all the time and continue to do so.”

CPN: Please explain how you arrived at this version of a low-pass filter on the EOS 5DS and why did you choose to deploy a cancellation filter on EOS 5DS R?

TO: “Our main camera is the EOS 5DS which, like all EOS DSLRs, has a low-pass filter fitted to avoid moiré. As you know, [the] EOS 5DS is a high-megapixel model and to use this sensor we had to find a way to use it most effectively to prevent moiré. Of course if we remove the filter, then moiré appears in pictures of certain subjects and this is not good for image quality. But, on the other hand, in some cases where the subject has no patterns or straight edges then moiré does not appear. For these cases, we developed the EOS 5DS R with a low-pass cancellation filter which allows for the ultimate in resolution for organic subjects.”

CPN: The crop ratios are an interesting feature. Why did you feel the need to offer these in-camera?

TO: “We realise that certain photographers shoot in a certain style, or with a certain crop, and knew that our new CMOS sensor would allow for these crop ratios to be utilised in-camera. We feel that by adding these, it increases [the] EOS 5DS and EOS 5DS R functionality and usability.”

CPN: There is some superb micro-engineering here, especially the Mirror Vibration Control System. Please explain why and how this was developed?

TO: “We developed this system originally for the EOS 7D Mark II and have re-designed it slightly for the larger sensor and mirror combination of EOS 5DS. The difference in sensor size between the APS-C and the full-frame sensor means we have to control the mirror differently because it is bigger. Using cams to operate the mirror means we can control, much more precisely, its operation with the objective to cause no vibration in the camera.”

CPN: We are curious as to why the EOS 5DS and EOS 5DS R cameras lack headphone sockets when they can record HD movies… Why is this?

TO: “We ran out of room! By equipping the EOS 5DS and EOS 5DS R with USB 3.0 – which was important to transfer such high levels of image data – unfortunately we didn’t have any space left for headphones in the existing EOS 5D Mark III body shell used for these cameras.”

CPN: What do you see as the potential future for Canon high-resolution cameras? Where might the technology be in five years time?

TO: “There is a demand for high-megapixel [cameras] and high-resolution and, of course, we will continue on this quest in the future and to try to satisfy this demand. As you know, in August 2010, we announced a 120-million pixel APS-H CMOS sensor... so we have shown that we have the technology to produce even higher resolution sensors, but we must also focus on high image quality, too. So DIGIC processing, and all the other algorithms that contribute to high image quality, we need to work on too. It is the overall package that makes Canon EOS digital cameras so successful.”

Tuesday, February 10, 2015

Canon EOS C300 Mk II Camera With 4K

The Canon Cinema EOS C300 camera received a firmware upgrade in November, 2014. All indications are the Mk II model, expected to be announced around the time of the NAB 2015 Show (April 11) in Las Vegas will come with 4K video. In addition, the upcoming EOS-5D Mk IV is also expected to be equipped with 4K technology as well.

Sigma Announed 24mm f/1.4 DG HSM Art Lens

Sigma 24mm f/1.4 DG HSM Art lens

YOKOHAMA, Japan — February 10, 2015 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses, cameras and flashes, today announced the new Sigma 24mm F1.4 DG HSM Art lens, the ninth Global Vision lens to join the company’s iconic Art line-up. The announcement comes at the start of the CP+ Camera and Photo Imaging Show 2015, which begins on Feb. 12 in Yokohama, Japan.

The much anticipated 24mm F1.4 Art wide angle lens is designed for full-frame DSLRs, and when used on digital cameras with an APS-C size image sensor, it effectively becomes a 38mm. The lens is ideal for capturing a variety of photography subjects, including cityscapes, mountain ranges, astrophotography and weddings and is great for videography work as well. The 24mm also excels at indoor photography in low illumination thanks to the combination of exceptional focal plane sharpness, and gorgeous bokeh rendered by nine rounded aperture blades. The lens achieves a maximum magnification of 1:5.3 with a minimum focusing distance of 9.8 inches. The 24mm incorporates both “F” Low Dispersion (FLD) glass and Special Low Dispersion (SLD) glass in a design of 15 elements in 11 groups to minimize chromatic aberration of magnification especially in the edge of the image field. Moreover, the optimized power layout includes aspherical elements that are positioned in the rear of the lens for improved wide open performance. This helps to ensure minimal distortion through the correction of axial chromatic aberration and sagittal coma flare. The new lens element design also delivers excellent peripheral brightness.

“The Sigma Art lenses are recognized by photographers for world-class performance, and the new 24mm F1.4 DG HSM will be a significant contribution to our selection of fast aperture prime lenses which is quickly becoming a strong force in the industry” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “Sigma is redefining the expectations of fast-aperture full-frame prime lens performance, especially wide-open, and the results the 24mm F1.4 will deliver will be up to the exacting standards set by the 35mm F1.4 DG HSM and 50mm F1.4 DG HSM .”

Other updates to this lens include a new full-time manual focusing mechanism that switches to manual focusing, simply by rotating the focus ring, even when AF is being used, first introduced on the 50mm Art. This allows the photographer to make focus adjustments quickly and easily. As with all new lenses under the Global Vision categories, every 24mm will be tested using Sigma’s own MTF measuring system, “A1,” in the company’s factory in Japan.

Other lenses in the Art line include 35mm F1.4 DG HSM, 30mm F1.4 DC HSM, 18-35mm F1.8 DC HSM, 24-105mm F4 DG OS HSM, 50mm F1.4 DG HSM, 19mm F2.8 DN, 30mm F2.8 DN and 60mm F2.8 DN.

The 24mm F1.4 is compatible with Sigma’s USB dock, allowing photographers to update the lens’ firmware and change focus parameters as well as manual focus over-ride using Sigma’s Optimization Pro software. It is also compatible with Sigma’s Mount Conversion Service. The lens will be available in Canon, Nikon and Sigma mounts, and timing, pricing and availability will be announced at a later date.

Saturday, February 7, 2015

Canon EOS-M3 Mirrorless Camera Hands-on Videos

Canon EOS-M3 mirrorless camera with EF 11-24mm f/4L super wide angle lens

* * *  EOS-M3 camera goes on sale in Japan  * * *

Canon announced the EOS-M3 mirrorless camera on February 6. This is their third attempt to make this line of camera popular outside Asia. Although the EOS-M is selling well in Asia, it never caught on with the photography crowd in Europe and North America. Like the EOS-M2, the camera is not scheduled to be exported to North America but one can easily buy it through Amazon in the United Kingdom and Germany or DigitalRev in Hong Kong. Click here to see sample images taken in Japan with the pre-production camera.

United Kingdom, Republic of Ireland, 6 February 2015 – Canon today reveals the EOS M3 – a powerful Compact System Camera created for enthusiast photographers who demand premium performance. Fusing Canon’s unrivalled image quality and DSLR-levels of control in a compact body, the EOS M3 offers the ability to capture the world around you in exceptional detail. At the heart of the EOS M3 is Canon’s first 24.2 megapixel APS-C CMOS sensor and its most advanced image processor, DIGIC 6, delivering premium quality stills and Full HD Movies. Combined with super-fast AF performance, thanks to a new Hybrid CMOS AF III and 49-point AF System, this camera gives you the freedom to capture the beauty of movement. As an advanced photographer you’ll find everything you need at your fingertips, with intuitive DSLR-like dials and control, as well as the flexibility to change your lens, all shrunk down into a compact, ergonomic body to take with you wherever you go.

Beauty and power in the palm of your hand

From city skylines and enchanting landscapes, to urban art and eye-catching portraits, the EOS M3 delivers clarity, rich colour and distinctive detail, with every image, using the 24.2 MP sensor. As light starts to fade and dusk descends, the EOS M3 excels, with the sensor’s vast 100-12,800 ISO range providing vivid, realistic and low-noise shots in even the most challenging of light situations.

Constructed for speed, whether you’re shooting an elusive animal on safari, or street performers on a city break, the subject of your shot will be in focus, with the EOS M3’s 49-point AF system and innovative new Hybrid CMOS AF III technology delivering lightning fast performance; focusing up to 6.1x faster than the original EOS M.

Putting you in control – iconic EOS design and controls

The EOS M3 incorporates the quintessential EOS design DNA and is instantly comfortable in the palm of your hand thanks to the fluid design grip. Direct access to a range of controls, including an exposure compensation dial, main control dial and customisable buttons, let you adjust the camera’s settings to suit your shooting style.

For complete framing versatility, the large 7.5cm (3.0”) LCD touchscreen tilts up 180 degrees and down 45 degrees, to help you shoot from all angles, while also making multi-touch gestures a finger tap away. The screen also gives you access to Canon’s intuitive touch menu system found on EOS DSLRs.

The EOS M3 is a camera to make your own, with customisable controls, a hot shoe for Canon’s Speedlite flashes and optional tilt-type electronic viewfinder. Compatibility with EF-M lenses, including a choice of pancake and zoom lenses, means you can shoot any situation. Plus, with Creative Assist, the EOS M3 can be controlled from the touch screen interface, and the effects previewed in real time as you shoot. Settings such as brightness, background blur, vividness of colour, contrast, warmth and filter effects can be altered, and combinations can be saved to be called upon again when you need them, helping you shoot like a pro every time.

Movies worth remembering

Budding movie makers can shoot precious moments in Full HD quality, with a choice of 24p, 25p and 30p frame rates, and MP4, for easy sharing. You can be sure that your favourite people and places will always be in focus, with advanced Hybrid CMOS AF III providing continuous AF. For more experienced shooters, Touch AF gives you the flexibility to select AF points on the LCD even with moving subjects, and create professional-looking pull focus effects. For full control, Manual Movie puts you in the director’s seat, with complete aperture, shutter and ISO control, for stunningly creative results.

Power to control and share

With the power to capture beautiful stills, comes the flexibility to remotely control the camera and transfer images, using integrated Wi-Fi and NFC connectivity. Ideal for shooting in unusual situations and positions for unique perspectives, remote shooting via the new Camera Connect app lets you control the camera’s key functions. Dynamic NFC enables single touch image transfers to smart devices while the auto-sync functionality means you can upload all your images to Canon’s cloud storage service, irista, for instant back-up and peace of mind.

EOS M3 camera key benefits :
  •     Performance and creativity, in an EOS you can take everywhere
  •     Be spontaneous. Enjoy fast, responsive focusing
  •     Take control of your photography and watch your creativity grow
  •     Be as imaginative with movies as you are with photos
  •     Remote camera control and image sharing via Wi-Fi

Pricing and availability

The EOS M3 will be available from April 2015 with a RSP of £599.99 / €769.99.

Friday, February 6, 2015

Canon EOS Rebel T6i / T6s Hands-on Reviews

Canon EOS Rebel T6i and T6s cameras

MELVILLE, N.Y., February 5, 2015 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the addition of two new DSLR cameras to its popular EOS Rebel lineup: the EOS Rebel T6s Digital SLR camera, and the EOS Rebel T6i Digital SLR camera. Featuring a newly developed 24.2 megapixel Canon CMOS imaging sensor, both cameras deliver the highest resolution available amongst EOS models with an APS-C format sensor. Additionally, the cameras feature built-in Wi-Fi® and NFC™ capabilities – a first for the Canon EOS Rebel system – making snapping and sharing high-quality, treasured images seamless.

“The Canon EOS Rebel series is one of the most popular lines of DSLR cameras on the market, and we are proud to continue to innovate and upgrade this line with features such as wireless connectivity and improved image capture capabilities,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “As the popularity of this line grows with consumers, we’re excited to launch the EOS Rebel T6s as our new flagship camera in the Rebel line, as well as have another budget-conscious offering in the line with the Rebel T6i.”

With multiple features most commonly found in advanced amateur cameras, the EOS Rebel T6s is designed for photography enthusiasts, or those who are already experienced with entry-level cameras who want to take high-quality photos and videos, and look for more advanced features and functions. For more casual photography needs, or for users looking to purchase their first DSLR camera, the EOS Rebel T6i camera prioritizes affordability, without sacrificing basic SLR performance attributes like quick shutter response, and compatibility with Canon’s impressive line of interchangeable lenses and accessories.

Outstanding Image Capture Features

The new EOS Rebel cameras have an extensive ISO range of 100-12800 (expandable to 25600) to accommodate shooting situations ranging from bright sunny days at the beach to dimly lit indoor dance recitals. The high-performance DIGIC 6 image processor helps provide outstanding image quality and speed, so pictures are clear and sharp.

Building on the image capture functionality of their predecessors, the EOS Rebel T6s and EOS Rebel T6i cameras feature Canon’s new Hybrid CMOS AF III image sensor-embedded autofocus system, which allows for high levels of speed and accuracy when capturing Full HD video or high-resolution photos in Live View. This is particularly useful when capturing children playing sports, or animals in the wild, when it’s imperative to get the shot at the exact moment action is happening. Helping photographers capture those special moments, the cameras have high-speed continuous shooting up to five frames-per-second (fps). For photographers who prefer to compose their images through a viewfinder, the new EOS Rebel T6s and EOS Rebel T6i cameras have a 19-point all cross-type AF system that allows for superb autofocus, as well as focus area selection modes.

Brand-new to the EOS Rebel line, the cameras feature built-in wireless capabilities, which allow users to wirelessly transfer images and videos with ease to compatible smartphones and tablets through Canon’s newly updated and free Camera Connect app.2 Images and videos can also be shared wirelessly to a wide range of popular social networking sites through Canon iMAGE GATEWAY. 3 The camera’s built-in NFC (Near Field Communication)4 allows quick and simple pairing to a compatible Android device, or devices that support NFC like the new Canon Connect Station CS100 photo and video storage and sharing device. The built-in Wi-Fi functionality also allows users to wirelessly print their images to any compatible printer, like the PIXMA MG7520 or PIXMA iP8720.

With an intuitive design that allows for an optimal photographic experience, the new EOS Rebel cameras have a three-inch Vari-Angle Touch Screen Clear View LCD monitor with approximately 1,040,000 dots. This design enables flexible positioning for high or low framed shots, as well as clear viewing even when outdoors in the sunlight. Additionally, the cameras feature the latest version of Canon’s EOS scene analysis system, which helps photographers capture beautiful images in a wider range of situations by detecting near-infrared light and flickering light sources. Also new to the entire EOS system, both models feature color tone detection, which helps ensure individuals in photographs are properly focused and/or exposed by adjusting both autofocus and exposure metering.

Full HD Video Capture

The EOS Rebel T6s and EOS Rebel T6i cameras feature EOS Movie mode which captures Full HD 1080p resolution video up to 30 fps in MP4 format for high quality shooting and easy movie sharing on select social networking sites. Manual exposure control, digital zoom and an external stereo microphone jack are provided for advanced users using the EOS Rebel T6s.

Expanded Creative Functionality

Allowing for full creative control, the new EOS Rebel cameras offer creative filters available as presets for photos and movies. These filters can be displayed in real time during Live View shooting, providing an easy way for users to enhance their creative work. Users can further expand their artistic abilities right from the camera with Creative Filters such as Fisheye Effect, Toy Camera Effect and Monochrome mode.  Fisheye Effect gives images a panoramic look and feel, Toy Camera Effect adds a grainy look to soften photos, illustrating a vintage appearance and with Monochrome mode, photos can either have black-and-white, blue or sepia tones, to display a more classic appearance.

Advanced Features & Capabilities

For photographers who desire more advanced features, the EOS Rebel T6s is the first EOS Rebel class DSLR camera to feature a top LCD panel, Quick Control Dial, Horizontal Level and built-in HDR movie capabilities. The new camera is also the first model in the EOS Rebel series to feature Servo AF in Live View, allowing continuous tracking of moving subjects during burst mode shooting sequences.


The EOS Rebel T6s Digital SLR camera and EOS Rebel T6i Digital SLR camera are scheduled to be available at the end of April 2015. The estimated retail price of the EOS Rebel T6s is $849.99 for the body only, and $1,199.00 bundled with an EF-S 18-135 STM lens. The EOS Rebel T6i has an estimated retail price of $749.99 for the body only, $899.99 bundled with an EF-S 18-55 STM lens, and $1,099.00 bundled with an EF-S 18-135 STM lens.