Canon EOS-M3 Camera Review - How Good Is It?

Canon EOS-M3 mirrorless camera with EF-M 18-55mm f/3.5-5.6 STM lens

* * *  Read the latest post on the EOS-M3 camera  * * *

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 Canon in Hong Kong. Click here and here to see sample images taken in Japan with the pre-production camera.

As of now, the EOS-M3 will be available in Europe only with the EF-M 18-55mm IS STM lens. You can see sample images and get a detailed description of the camera from Canon Professional Network Europe and download the User Manual from Canon Asia.

The world of mirrorless camera is getting crowded. There are at least six other major competitors out there - Olympus, Panasonic, Sony, Nikon, Samsung and Fujifilm. Although the EOS-M3 is one of the more expensive cameras, some may find the extra cost justified because of the extensive lineup of interchangeable lens and excellent accessories like the electronic viewfinder. 

Ephotozine did a very good review on the EOS-M3 camera and I find it quite helpful for those who may be looking to add a mirrorless camera to their Canon inventory but reluctant to mix brands. Although I have considered buying the EOS-M3 myself for general purpose use because of its ability to work with all my EF lenses via an adapter, it is really no substitute for a high quality DSLR. Click here to see more reviews of the camera from Europe.   

EOS-M3 Main Features :

•     24.2 megapixel APS-C CMOS sensor
•     Canon EOS EF-M mount
•     DIGIC 6 image processor
•     3inch tilting touch screen, 1040k dots
•     49 point Hybrid AF III 
•     FullHD video recording, 30/25/24fps, stereo sound, mic socket
•     ISO100 to ISO12800 (expandable to ISO25600)
•     4.2fps continuous shooting
•     Wi-Fi and NFC connectivity
•     14-bit RAW shooting
•     HDR mode

Canon Full Frame AstroPhotography Camera

Canon announced the EOS-20Da and EOS-60Da in past years. It was two cameras designed for astrophotography. Now Nikon is ready to announce their own version with the Nikon D810a, a full frame camera for astrophotographers.

Depending on how successful the Nikon model will be and how well the EOS-5Ds and EOS-5DsR cameras are selling, Canon may release their own version of a full frame camera for astrophotography as well, perhaps some time in 2016. 

Canon Celebrates EOS-5D Line 10th Anniversary

* * *  Interview with the developers of the EOS-5Ds and EOS-5DsR cameras   * * *

TOKYO, May 28, 2015 - Canon Inc. announced today the celebration this year of the 10th anniversary of the introduction of the Company’s EOS 5D series of digital single-lens reflex (SLR) cameras. Launched in September 2005, the EOS 5D enabled advanced-amateur users to take advantage of the impressive high-image-quality performance and photographic expression unique to digital SLR cameras equipped with a 35 mm full-frame sensor, which, at the time, primarily targeted only professional-level users.

At the time of its launch in September 2005, full-frame CMOS sensors were only made available in professional-level models. In addition to being the first advanced-amateur digital SLR camera to incorporate a sensor of this size, the EOS 5D was offered at a competitive price, contributing to the popularization of full-frame-sensor cameras.

Furthermore, in November 2008, Canon launched the second-generation model in the series: the EOS 5D Mark II. The camera, which was the first in the EOS series to include a function enabling the capture of Full HD video, facilitated the widespread adoption of digital SLR cameras as a tool for capturing video. The EOS 5D Mark II made big waves in the motion picture and video production industries by delivering the exceptional image quality and impressive subject background blur unique to SLR cameras, while also allowing users to take advantage of Canon’s rich interchangeable EF lens lineup spanning over 64 models, enabling a wide spectrum of imaging expression possibilities.

In March 2012, Canon introduced the EOS 5D Mark III, featuring dramatic improvements in still-image and video quality as well as enhanced AF precision and a faster maximum continuous shooting speed. Since its launch, the EOS 5D Mark III has garnered high acclaim in the market and, as the Company’s core advanced-amateur digital SLR camera, has come to serve as a driving force for the EOS series.

Canon, through the in-house production of all key parts for its EOS series digital cameras, has made possible a highly robust lineup, ensuring that each and every model within the series, including EOS 5D-series models, is equipped with the optimal sensor. To support the diverse needs of users, Canon will further strengthen its entire EOS-series interchangeable-lens camera lineup, including the EOS 5D series, which enjoys the widespread support of professional and advanced-amateur users alike, with the aim of contributing to expanding the photographic and video imaging culture.

Canon Developing New Slower Super Telephoto Lens?

Recently, I came across a post with the headline, 'Canon developing a new, slower Super Telephoto lens'. It read as follows :


We’re told that Canon is developing a new supertelephoto lens that is slower than f/4. One immediately thinks about an update to the EF 400mm f/5.6L, but we’re told that is not the case and it’ll be a new lens altogether.

While the source couldn’t nail down the exact focal length, speed or even if it was going to be a L lens, they did say the hope was to have such a lens to be announced some time in 2016 and that it would be “affordable”.

Frankly, that does not make sense to me. Yes, Canon is planning to introduce a replacement to the venerable EF 400mm f/5.6L some time in the future but this is technically a "L' lens with a long focal length in my book, not a Super Telephoto lens. Canon already had a slower, Super Telephoto lens, the EF 500mm f/4.5L. It was replaced by the EF 500mm f/4L IS in 1999.  Currently, only 2 companies offer affordable, super telephoto wannabe zoom lens, like the Tamron 150-600mm f/5-6.3 Di VC USD lens and the Sigma 150-600mm f/5-6.3 DG OS HSM lens.

Of course, these lens are more affordable for a reason. They are slower, less well-built and do not have the same image quality as the top-of-the-line Canon or Nikon lens. In my opinion, Canon already has a winning technology on their hands. It is the Diffractive Optics lens, the latest model is the EF 400mm f/4 DO IS II. This is my favorite Super Telephoto lens in my equipment bag. 

Diffractive Optics technology helps Canon lower the weight of the lens without sacrificing image or build quality. It also keeps the price of the lens quite 'affordable'. They should be developing more lens with DO technology in different focal lengths. The ultimate glass of course, would be a DO version of the EF 200-400mm f/4L IS USM 1.4x Extender lens but I am not holding out hope for that any time soon.  

Tips On Shooting HD Videos With Canon STM Lens

Canon introduced Dual Pixel CMOS AF technology with the EOS-70D camera back in August, 2013. This technology has since been introduced in high end video cameras like the EOS C100 Mk II and EOS C300 Mk II plus the EOS-7D Mk II DSLR body.

They have also announced a series of EF lens equipped with STM technology. These lens are especially adept in taking video when mated to cameras equipped with the Dual Pixel CMOS AF feature. Below are 4 Canon videos explaining the ease and pleasure of shooting HD videos and short movies.

Canon EOS-5Ds and EOS-5DsR Developers Interview

Canon EOS-5Ds and EOS-5DsR 50MP full frame DSLR cameras

Canon announced their new camera on February 5, 2015. Delivery is scheduled to commence the end of June. If you have decided to move up to the Canon EOS-5Ds and EOS-5DsR cameras from the EOS-5D Mk III, the article here from Canon Digital Learning Center highlights how to take advantage of the 50MP files the cameras are capable of capturing. If you are still trying to decide, read this post on the added features of the new camera.

Canon Asia put out a detailed interview with the team of engineers who designed the new camera. The interview is broken into two parts. Part One is about achieving Speed, Comfort and Quality while Part Two talks about the technology behind the ultra high resolution 50MP sensor. It is quite an interesting interview and it may help those who are still sitting on the fence.

I am not going to get this camera. It is too slow for wildlife photography. Waiting for the EOS-5D Mk IV and EOS-1D X Mk II to come later this year. You can see how this camera compares to the EOS-5D Mk III and Nikon D810.

Wildlife Photography - Tales By Light Trailer

Interesting trailer for the new TV program, Tales by Light, follows 5 wildlife photographers as they travel the world and share their photographs with us. You can see my wildlife photography on MichaelDanielHo.com

Smartphone Cameras vs. DSLR Cameras

A bit of humor from Canon. Personally, I find the camera on my smartphone very handy but limited in capabilities and image quality. Therefore, my rule of thumb is, if the images mean a lot, I will reach for the real camera in my equipment bag, provided I have it with me. If not, the smartphone will have to do and let's hope for the best.

World's Largest Photo - 365 GB of Mont Blanc

Italian photographer, Filippo Blengini produced the largest panoramic photo ever made, with a Canon EOS-70D camera, EF 400mm f/2.8L IS II lens, and a 2X Extender III. The previous world record holder was a 320GB panoramic photo of London, taken with the Canon EOS-7D and EF 400mm f/2.8L IS II lens.

The new photo took 2 weeks to capture. The team worked in altitudes of around 3.500 meters (about 11.500 ft) and temperatures of below -10 degree Celcius (14 degree Fahrenheit). They took 70,000 photos of Europe's highest mountain, Mont Blanc. The 365 gigapixel, high resolution photo can be viewed here. 

Getting The Most Out Of Canon EOS-5Ds and EOS-5DsR 50MP Files

Canon EOS-5Ds and EOS-5DsR 50MP full frame DSLR cameras

Canon announced their new camera on February 5, 2015. Delivery is scheduled to commence the end of June. If you have decided to move up to the Canon EOS-5Ds and EOS-5DsR cameras from the EOS-5D Mk III, the article below from Canon Digital Learning Center highlights how to take advantage of the 50MP files the cameras are capable of capturing. If you are still trying to decide, read this post on the added features of the new camera.

I am not going to get this camera. It is too slow for wildlife photography. Waiting for the EOS-5D Mk IV and EOS-1D X Mk II to come later this year. You can see how this camera compares to the EOS-5D Mk III and Nikon D810.

We’re nearing the actual start time of delivery to dealers for the EOS 5DS and EOS 5DS R cameras (June 2015), and a lot of anticipation greets the start of sales to working pros and serious DSLR enthusiasts. Up close and personal, so to speak, I’ve seen prints as large as 4x6 ft. from files with pre-production versions of these cameras — and the results are stunning. We can go on and on about the amount of detail and texture that becomes possible at large output sizes from these files, but I’ll leave the superlatives to actual camera owners. I’m sure they’ll have plenty to say once the cameras hit dealer shelves.

For starters : EOS 5DS/5DS R is at home for many types of photography!

One of the most impressive aspects of these cameras is how adaptable they are to so many different types of assignments. Since their announcement earlier in 2015, many users have tried to pigeonhole them as “only for landscape shooters” or call them “just a studio camera.” Nothing could be further from the truth. I’m sure the incredible pixel resolution the EOS 5DS and 5DS R provide and the output potential they offer will be of great interest in a whole spectrum of photographic genres:

Sports and action :

Think about the detail potential in magazine cover shots, double-page spreads, and even banner display potential at stadiums or for marketing purposes. Either camera shoots at up to 5 fps. Put that into perspective: that’s faster shooting than the original Canon EOS-1 camera, which revolutionized sports photography when it was introduced.

Wildlife :

There’s potential detail in anything from a lion’s mane to the feathers of a bird, in full-frame files, and also the ability to crop into an image when you simply can’t get close enough to wildlife, yet still have information for a great final picture.

Weddings and events :

For those vital images that mean sales to a working pro (anything from posed formal shots to large group photos), you can work with full 50.3 million pixel RAW or JPEG images and know you have incredible detail for even the largest prints. And when quantity counts more than large file size, switch to smaller resolution files (RAW images, for instance, can be 12.4 or 28 million pixel files, at the s-RAW and m-RAW settings, respectively).

On-location fashion :

Use features like the 61-point AF system to track even a fast moving model and know you have the potential to capture all the detail and texture in his or her garments and accessories. If shooting moves into the studio, the same virtues instantly come into play there.

The point is simple: with up to 5 fps shooting, tremendous AF performance, and the same industry-leading E-TTL Speedlite capability (including compatibility with Canon’s radio-transmission wireless flash system), the EOS 5DS/5DS R has the responsiveness and performance to be a lot more than just a static, tripod-mounted camera in the studio.

With high-resolution, any and all flaws become visible

This doesn’t just mean flaws in a person’s complexion during a portrait or beauty shoot, but minor hiccups in our technique as photographers. The 50.3 million actual pixels in an EOS 5DS/5DS R high-resolution file make it easy to spot the tiniest of errors. This may not matter much to the sports photographer using an EOS 5DS for a great magazine cover shot or a wedding shooter shooting group photos at a wedding. But to the super critical landscape photographer, who is expecting every blade of grass to be visible in that scenic shot if it’s printed with a 44-inch wide-format printer, or the studio shooter who wants every last bit of detail in that product shot, there are ways to get those results.

You’re entitled to wonder why we have any concern about high-resolution files and their quality. If we got good results with ordinary photographic technique with previous DSLRs, why should an EOS 5DS or 5DS R be any different?

High-resolution brings with it several possible visual landmines, in addition to its fantastic detail in large output :

• The slightest amount of camera shake or vibration becomes markedly more visible.
• Diffraction from small lens apertures (like f/16, f/22, etc.) shows up as a more noticeable loss of sharpness.
• Even slight focus errors — from something as simple as leaning slightly forward or back, after locking focus in a hand-held shot — become much more evident. This can be noticeable even if the aperture has been stopped down for more depth-of-field.
• No lens is perfect and shots taken at less-than-optimum apertures will need post-processing help to show optimum sharpness, especially near the corners of the image.
• Even the finest tele-extenders produce slight optical losses versus a lens alone… these will be more visible upon close inspection with high-resolution files.

And we view high-resolution images a lot more critically

There are two reasons that high-resolution cameras produce these challenges. First, with markedly reduced pixel size (to accommodate so many pixels on a full-frame sensor), tinier degrees of changes in light impacting pixels become noticeable. A very small amount of camera shake that might not really be noticeable at a 100% view with 18 or 20 million pixels can suddenly become much more visible with the finer pixel pitch of a 50 million pixel sensor.

And the very fact that we have more pixels means that if we simply magnify part of a scene at 100%, we’re looking at a much smaller area than we would be with a lower-resolution file. In effect, it’s as if we’re magnifying the image more. Figuratively speaking, at typical computer monitor resolution (which of course varies; let’s assume roughly 120 dpi as a general average for today’s monitors), consider the following :

EOS 5D Mark III (22.1 million pixels; 5760 x 3840 resolution)
At 100% view, this is similar to viewing a 48x32 in. print from a distance of about 2 feet away (or whatever distance we tend to view our computer monitors from)

EOS 5DS (50.3 million pixels; 8688 x 5792 resolution)
100% view — similar to viewing a 6x4 ft. print, again, from a viewing distance of roughly 2 feet away

Either figure puts things into perspective. For those old enough to remember the days of shooting with film and initially judging image sharpness by magnifying our negatives or slides on a light box with a 10x or similar magnifier, this is stunning. Could you imagine “proofing” your film by having 6x4 ft. prints made of each image you took? Figuratively speaking, that’s what we’re doing when we click to get a 100% view of an EOS 5DS or 5DS R file. It’s no wonder that the slightest imperfections become visible!

Getting the most out of EOS 5DS or EOS 5DS R files

All this said, there’s no question that the EOS 5DS and EOS 5DS R will produce terrific files, even in rapid action situations that preclude things like tripods and totally vibration-free shooting. But for those who shoot in more deliberate fashion and really want to get the utmost out of the resolution potential of the EOS 5DS and 5DS R models, here are a few things to definitely practice whenever possible :

Use faster minimum shutter speeds

The old “1/lens focal length” rule of thumb is out the window. Where possible, particularly in a hand-held situation, use speeds of at least a full stop or two faster than whatever you considered your previous minimum “safe” speeds to be. This applies to both with and without Image Stabilization.

Use Image Stabilization, if you’re hand-holding or monopod-mounted

You’ll still want to raise your speeds faster than any previous comfort levels when using Image Stabilization (IS), but IS is an asset any time the camera is not locked down on a solid tripod. Don’t let the presence of IS lull you into a false sense of security when using an EOS 5DS or EOS 5DS R. However, if low light means you must use slower speeds, you gotta do what you gotta do. Otherwise, crank them up a notch or two. Bottom line: If you’ve got Image Stabilization in a lens, use it!

Use a tripod wherever possible

And we mean a good-sized, high-quality one too. Sure, it slows things down a bit and is more to carry on location, but the payback will be sharper images. Shooting moving subjects? Look into those sophisticated gimbal-type heads that allow for long-lens movement, while preserving steadiness. This may be the biggest step you can make to supremely sharp EOS 5DS images.

Minimize any slight vibrations from mirror movement

Canon engineers have taken the first step here with a mirror system that’s now motor driven and cushioned at the upper and lower ends by a sophisticated mechanical system (not a simple foam pad or similar “solutions”). Regardless, especially at those critical slower shutter speeds like 1/125th down to perhaps 1/2 or 1 full second, EOS 5DS and 5DS R users can help. Consider trying Live View (especially with Silent Shooting Mode 1 or 2 active).

Or, use conventional Mirror Lock, ideally with a Remote Control switch (electronic cable release). Mirror Lock now also has delay settings, from 1/8th to 2 full seconds, for shooters who want to continue to use the eye-level viewfinder, but achieve the benefits of letting the camera “settle down” from any fine harmonic mirror vibrations before the shutter opens. These are set in the camera’s 4th Shooting Menu (red menu tab area).

When possible, set optimum lens apertures

The super-high pixel resolution of the 50.3 million pixel sensor in these cameras means that the softening from lens diffraction becomes much more visible, if you go looking for it. Bottom line — if you habitually stop your lenses down to small apertures “just to get a little more sharpness,” you’ve got to stop doing that. Even with super-sharp macro lenses, you’re going to get better final sharpness at apertures like f/8 or f/11 (and lower, such as f/5.6, etc.) than you will by stopping down. Sure, there are times you have to balance that against the need for more depth-of-field. But understand this, pure and simple: if you shoot with an EOS 5DS or 5DS R at apertures like f/22 or f/32, you will not get the best sharpness your lens is capable of producing. End of story.

Likewise, almost all lenses perform slightly better if they’re stopped down at least a bit from wide-open. It’s obvious that some situations simply demand full aperture (sports pictures indoors or at night, for instance), but for less demanding scenarios, consider stopping the lens down a stop or two if you’re looking to really pull the best detail you can out of EOS 5DS or 5DS R files. This is especially true if you want or need the edge sharpness to be close to center sharpness… not a huge factor for a portrait or fashion photographer most of the time, but likely a big concern for a landscape shooter.

Strongly consider using DPP’s Digital Lens Optimizer technology

Many users “don’t want to like” Canon’s Digital Photo Professional (DPP) software for processing RAW image files. But if you work with an EOS 5DS R or 5DS, I strongly recommend you at least try using DPP on a few RAW images files and applying the Digital Lens Optimizer tool to compatible images. This is a very lens-specific sharpening algorithm, that is aperture- and distance-sensitive for each image, and applies critical sharpening that can counter certain optical issues (like softening from diffraction, when stopping the lens is set at small apertures). There isn’t space here to fully describe what we call DLO technology within DPP software, but it’s there for certain compatible Canon lenses. And if you’ve shot a RAW image with one of these lenses, it really does optimize the image as you process it. Again, try it!

Use the Fine Detail Picture Style

This is another feature that comes into its own if you process RAW images in Canon’s Digital Photo Professional software. But even if you don’t, the new Fine Detail Picture Style will treat your review images on the LCD monitor and anything you output on-screen for quick client review and so on, to an enhanced sharpening that optimizes what the 50.3 MP sensor delivers. Similar to Adobe Photoshop’s™ Unsharp Mask function, this allows the camera to use finer settings for “Fineness” (similar to Adobe’s Radius) and “Threshold” settings than the Standard or Neutral Picture Styles would. Additionally, it cuts contrast and delivers a slightly more workable file than the very snappy defaults of the Standard Picture Style. Obviously, Picture Style becomes very important for critical users who may need to shoot in-camera JPEG files and/or HD Video files.

Focus carefully

An entire book could be written about Autofocus, but that’s not our purpose here. But just remember: the slightest focus errors will become extremely evident when shot at 50.3 million pixels, if you then output it to large prints or magnify it to 100% or more on a monitor. Learn to use the AF system and its different tools… just because “I’ve always used the center AF point” before doesn’t make it optimum for every situation you may encounter with an EOS 5DS. The on-line Canon Digital Learning Center has some very useful information about different aspects of the camera’s AF system, including the superb AF Settings Guidebook from Canon’s engineers in Japan, which you can download free of charge. Even though it’s written for EOS-1D X users, the vast majority of its information translates directly to EOS 5DS and 5D Mark III AF operation.

Are you one of those super-critical users who work off a tripod and lock everything down? Seriously consider using Live View and magnifying the view on the camera’s LCD monitor to fine-tune focus. The 6x or 16x magnified view, likewise, gives a real-life impression of any camera shake, even if you’re tripod-mounted. (Note that if you try to use AF during Live View, it’s always the “off-the-sensor” contrast-type viewing; there is no option to revert to the 61-point AF system with a Quick Mode AF option in EOS 5DS Live View.)

Summary:

That note about using the same AF settings and techniques you always have, because up to now they’ve been “good enough,” speaks volumes to the light this article attempts to shed on those who may be interested in the EOS 5DS and EOS 5DS R cameras. Since these cameras so clearly are marketed at the experienced, high-end user, many of those potential customers are rather set in their ways — and often, with good reason.

But understand that if you are that type of user who’s going to magnify every good image to 100% or 200% view and be left awake nights if you don’t see the detail and sharpness you hoped for, there definitely are ways to get the most out of what this camera can deliver.

Be realistic in the way you shoot and in what you expect. The person who uses this camera hand-held or on a monopod for action shots alongside their EOS-1D X can’t expect quite the same levels of critical details that the landscape shooter might, who’s totally locked-down on a full-size tripod, shooting everything at f/8, critically focusing using a magnified view in Live View, and using an electronic cable release to fire the camera.

But no matter what your technique, here are two new cameras that will indeed reward the experienced DSLR user, especially anyone who wants or needs to produce large printed output. The rewards are even greater if some or all of the steps mentioned here are put into regular practice when using the EOS 5DS or EOS 5DS R.

Switching From Canon EOS-5D Mk III to EOS-5DsR

Canon EOS-5Ds and EOS-5DsR 50MP full frame DSLR cameras

Canon announced their new camera on Februrary 5, 2015. Delivery is scheduled to commence the end of June. If you are thinking of moving up to the Canon EOS-5Ds and EOS-5DsR cameras from the EOS-5D Mk III, the article below from Canon Digital Learning Center highlights the added features in the new cameras. If you have decided to buy the new camera, read this article on how to get the most out of the 50MP files.

I am not going to get this camera. It is too slow for wildlife photography. Waiting for the EOS-5D Mk IV and EOS-1D X Mk II to come later this year. You can see how this camera compares to the EOS-5D Mk III and Nikon D810.


Current EOS 5D Mark III shooters, who may be considering moving to the new high-resolution EOS 5DS (or the EOS 5DS R, which removes the effect of low-pass filtration), may wonder if anything changed on these new cameras because the new models look practically identical to the proven Mark III camera. Rest assured, there are some new rewards waiting to greet 5D Mark III owners who step up to the new cameras. We can’t touch on every single one, but we’ll try to give an overview of many of the new details.

Obviously, the biggest is the move to a 50.6 million pixel CMOS image sensor – more than doubling the pixel count from the Mark III model. You’ve no doubt seen discussion of this, so we’ll go a bit more beneath the surface. Everything we discuss here applies to both the EOS 5DS and 5DS R models.

Pick the new EOS 5DS/5DS R up…

The same body design, control layout, and dimensions may lead you to think it’s just an EOS 5D Mark III with a high-resolution sensor. Even though the body looks the same, it has a few differences. Most notable is something you can’t see — a stronger baseplate and tripod socket, to minimize the impact of vibration. If you shoot with shorter lenses on a tripod, this is a good thing.
Look into the viewfinder…

Shooting Information icons

Touch the shutter button and icons displaying current settings for battery condition, white balance, drive speed, and more appear along the bottom of the finder. These can easily be toggled on and off in the EOS 5DS Set-up Menu.

Electronic Viewfinder Dual-axis Level

A dedicated display at the top of the focus screen indicates side-to-side and up-down tilt, in 1 degree increments. Again, turn it on or off in the EOS 5DS Set-up Menu under “Viewfinder Display.”

AF point illumination in AI Servo AF

New to the EOS 5DS is its ability to briefly illuminate the AF point(s) during AI Servo AF shooting. It’s activated in the 5th AF Menu screen (“VF Display Illumination” > “AF point during AI Servo AF”)

Exposure Compensation icon appears any time it’s active

The same analog Exposure Compensation scale appears below the EOS 5DS viewfinder as in the EOS 5D Mark III. But any time it’s active, the “+/-” Exposure Compensation icon also appears, both in the finder and on the top LCD panel. It’s a thoughtful addition to remind users that compensation is set somewhere other than the “zero” setting; the scale continues to indicate the exact level of compensation applied. This is for ambient exposure compensation only.

The shooting information icons can be really useful for changing settings with the camera up at your eye — with a little practice, it’s easy to press one of the top buttons and then turn either the top or back dial to quickly change White Balance, drive speed, switch to Spot metering, or whatever. It’s something every EOS 5DS user should try. And anyone who leverages the camera’s great AF system and 5fps shooting speed for moving subjects will appreciate the illumination of AF points in AI Servo AF mode, if they’re working in dim light.

Metering and AF

150,000 pixel RGB metering sensor
You won’t see this in the viewfinder, but it’s one of the most significant improvements in the EOS 5DS versus the Mark III models. It’s a supremely accurate new metering system, now with the ability to make subtle adjustments for subject (and lighting) color. The metering sensor can even detect human faces and emphasize them during Evaluative metering, instead of clothes or surrounding areas. And this same color metering sensor is used for E-TTL flash metering with Canon EX-series Speedlites.

Flicker Detection

This is another benefit of the 150,000 pixel RGB meter. It’s fast enough to detect the rapid on-off cycling of certain types of artificial lights (think of fluorescents, etc.) and, when necessary, alter shutter timing to capture each shot when the ambient light is at its peak brightness. If you use the EOS 5DS for location shooting, this is a feature you’ll come to appreciate.

EOS iTR AF (Intelligent Tracking and Recognition)

As the first EOS 5D to have this ability, the EOS 5DS can use its 150,000 pixel RGB metering system to assist the AF system in locating and rapidly changing AF points to keep up with subjects moving across the frame. This works with continuous AI Servo AF when all AF points are active (Automatic AF point select mode), as well as during Zone AF.

Metering during Live View shooting :

EOS 5DS now adds options to set Center-weighted, Partial, or Spot metering when shooting with Live View active, as well as Evaluative metering. (Note that this applies only to Live View shooting; video recording with the EOS 5DS is with center-weighted metering only, as it is with the EOS 5D Mark III.)

Big potential gains in metering capabilities with the switch to RGB color metering in the EOS 5DS. Maybe the biggest improvement will be in flash exposure consistency when shooting with E-TTL flash. Any nature, wildlife or sports shooters who has been frustrated with Automatic AF point selection in AI Servo AF will likely see improvements with EOS iTR — color metering that teams up with the AF system to give it more information about subject size and location.

Images and image control :

The switch to 50.6 million effective pixels — and all the potential detail at large output sizes — is the grand highlight here. We’ll look past that, into details the serious EOS 5D Mark III user may want to know:

Auto White Balance (AWB) — White Priority

Canon AWB has always been tuned to deliberately emphasize warm ambient tones when shooting in artificial light, such as tungsten and similar sources. The EOS 5DS is the first EOS model to give photographers who use Auto White Balance a choice: “Ambience Priority,” which is the traditional EOS flavor, and “White Priority.” The latter aims for a truly neutral color rendition in tungsten light situations. It’s set in the 2nd Shooting Menu.

Fineness and Threshold added to each Picture Style setting

Similar to Adobe Photoshop’s™ “Unsharp Mask” function, the EOS 5DS now provides independent control for each Picture Style setting for “Fineness” (similar to the “Radius” setting in Photoshop, it adjusts the pixel amount that sharpening will impact) and “Threshold” (changes the brightness difference before pixel areas will be sharpened… higher values will lessen the sharpening impact on any digital noise in an image). These are for still-image shooting only and not for EOS 5DS video.

New: Fine Detail Picture Style

Taking full advantage of the detail that 50.6 million effective pixels provide, EOS 5DS adds a new Picture Style choice called “Fine Detail.” It emphasizes precise sharpening with pre-defined low settings for Fineness and Threshold (both user-adjustable, if you desire), along with fairly strong sharpening (pre-set to level 3 of 7). What’s really nice is that while it’s a sharper file, contrast and color saturation are backed off from what the Standard Picture Style provides, so in many ways, it’s a more user-friendly file.

Even if you always shoot RAW images, initially setting a good white balance means a better starting point when it’s time to process them in the computer. And the new Picture Style options mean a few things: sharper rendering even during playback on the LCD monitor (or an external monitor), and certainly the potential of greater inherent sharpness if and when you do shoot JPEG images in-camera.

Operations

The mirror

It may look the same, but the entire mirror box and movement system in the EOS 5DS is completely new. Mirror movement is now motor-controlled, rather than largely powered by springs, and the mirror’s movement is cushioned at the up and down positions by a clever cam drive system. The biggest difference the EOS 5D Mark III user may notice? The sound when the shutter is fired.

Mirror lock options

Any vibration from mirror or shutter movement is a potential problem with ultra high resolution cameras. The new, motorized mirror movement (above) minimizes this to a great degree. But mirror lock has new possibilities, too. Set in the Shooting Menu, you have options for traditional Canon mirror lock (press shutter button once to lock-up mirror for up to 30 seconds; press again to fire shutter within that 30 seconds.) But EOS 5DS adds options to delay shutter firing, anywhere from 1/8th second after the shutter button is pressed to two full seconds later. This allows time for any vibrations to settle down before an image is actually captured.

Bulb timer; Interval timer

These are the first EOS 5D series models to have built-in timers for long-exposures in Bulb mode and interval timer capability. Pre-set long exposures, anywhere from one second thru 99 hours, 59 minutes, 59 seconds long when in Bulb mode… with an optional remote switch, just lock the shutter open, and walk away. Interval timer lets you shoot from 1 to 99 shots, or an unlimited number at the “00” setting, at timed intervals from 1 second to 99:59:59 between each image. While Canon’s long-established Timer Remote Control accessory can be used with the EOS 5DS these built-in timers minimize the need for that device.

Custom Quick Control Menu

EOS 5D Mark III owners may have seen the benefit of the Quick Control Menu (press the “Q” button to access it) — it allows multiple setting changes from one location. With the new EOS 5DS, users can thoroughly customize what appears on that menu, speeding up the series of setting changes even more.

USB 3.0 connectivity

Big files need fast transfer to get from point A to point B. EOS 5D Mark III owners who move up to the EOS 5DS will see that their old USB cables won’t work for computer connections with the new camera. EOS 5DS uses a significantly faster USB 3.0 system, with a new connector at the camera, and an included cable protector to ensure the USB and mini-HDMI cables stay positioned securely and correctly.

My Menu: Create additional menu screens

 This is another way to streamline changes to different settings, all in one place. EOS 5D Mark III has this handy menu option, allowing users to store up to six commonly used menu commands on one menu screen. With the new EOS 5DS, up to five separate My Menu screens can be created. That means up to 30 different menu items can be set here for faster access or different menu commands for specific situations can be collected and stored here. For instance, users could have a My Menu screen for still images and another for HD video shooting.

Some cool new capabilities have found their way into the EOS 5DS. Some make setting up the camera faster and more transparent (such as the Custom Quick Control Menu and new My Menu system). The new mirror system, combined with new mirror lock options, allow for smooth operation in normal hand-held shooting and especially when things slow down during tripod-mounted shooting. While much has stayed the same from EOS 5D Mark III to the EOS 5DS, these and other operation features make the camera even more flexible and streamline its operation in some circumstances.
Video shooting

Movie Servo AF

Active by default, Movie Servo AF means AF is continuous during the EOS 5DS’s “awake” state before and during video recording — without pressing a button to activate AF. If the shutter button or rear AF-On button is pressed, AF will lock at its current position. It’s important to understand that the EOS 5DS’s Movie Servo AF is intended more for continuous AF as the camera is moved through a scene and not so much as a tool to track and follow-focus moving subjects. When movie servo AF is disabled, any AF is activated only when the shutter (or rear AF-On) button is pressed… there’s no risk of focus drifting during recording if the camera or subject moves.

Time-lapse Movie

This is a frequently requested feature, which makes its EOS debut in the EOS 5DS camera. First and foremost: this is entirely separate and in addition to the Interval Timer feature mentioned above (which is selectable when the camera is set for still image shooting only). For Time-lapse Movie to be selectable, the EOS 5DS must be set to its video shooting mode. This new feature enables users to determine an interval between shots. Once a total number of frames is set, the camera calculates how long it will take to record these and how long a resulting movie file will be when played back at 30 fps. Time-lapse Movie shoots the still images and then processes them in-camera into a finished video file, which can be up to two minutes in total playing length (again, at 30 fps playback speed).

Customize shutter button

This is a new menu setting when the EOS 5DS is set to video mode. This adds AF activation at the shutter button to the EOS 5D Mark III’s “Movie Shoot Button” menu options:

  -Shutter button for still-image shooting (in video mode)
  -Start-stop video recording with shutter button, with option for AF

Shutter Button Function is in the EOS 5DS’s 5th shooting menu, when the Live View/Video switch is set to the video setting.

While it’s true that the lion’s share of innovation in the EOS 5DS and 5DS R are aimed at the critical still-image shooter, these new video features will be of interest to some users. In particular, the Time-lapse Movie function greatly simplifies a task that may be of occasional interest even to professionals who shoot still images, making it easy to document a shooting situation or set-up in a way that’s easy to produce (entirely in-camera) and ready to upload to web sites or social media.

Summary :

This report can’t fully document every change that the EOS 5D Mark III user may uncover when using the 50.6 million pixel EOS 5DS, but we’ve touched on different ones that may be of interest once this new camera is put into a shooter’s hands. As with any listing of new features, some will be of more interest to a given photographer than others based on their shooting style, subject matter, and the conditions they shoot in. But what we want to emphasize, again, is that even though the EOS 5DS may look almost identical on the outside to the 22 million pixel EOS 5D Mark III, a lot more has changed than just the CMOS imaging sensor.

Finally, everything we mention here applies to both the EOS 5DS and the companion EOS 5DS R cameras. The only difference between those models is the removal of the effect of low-pass filter on the “R” version. Files from the EOS 5DS R will often have a bit more sharpness, but with an added risk of moire patterns with some subjects. The EOS 5DS, therefore, provides that 50.6 million effective pixel resolution in a slightly more user-friendly image.

Canon EOS Rebel T6i vs Nikon D5500 Comparison

Canon Rebel T6i vs Nikon D5500 size comparison

Canon announced the Rebel T6i and T6s (750D and 760D) cameras in February, 2015. Below is a comparison of the two Canon cameras vs the Nikon D5500. Click here to see more hands-on video reviews of the two Rebels. You can read my Canon camera recommendation here.

Canon EOS-7D Mk II Camera Tips and Tricks

Canon EOS-7D Mk II APS-C camera

* * *   See what a Canon EOS-7D Mk II camera looks like in a tear down   * * *

Canon announced the EOS-7D Mk II on September 15, 2014. I have owned the camera for about seven months now and have taken it on real world photo shoots from the sub Arctic to the Southern Ocean and many places in between, often under extremely harsh environment. You can read my comprehensive review of the camera and see many works on MichaelDanielHo.com

I have chosen the EOS-7D as the best APS-C camera 4 years in a row for wildlife photography and the Series II successor is beginning to head that way. Canon has released a new firmware, Version 1.0.5 on September 9, 2015 to address some technical issues. Below are some quick tips and tricks and tutorial videos from Canon on how to get the most out of this new camera. Take a look because it will be worth your while.


Built-in flash Stroboscopic mode

The EOS 7D Mark II built-in flash allows you to shoot stroboscopic multi flash without external Speedlites. If you plan on doing this, you will find the maximum power of your flash is not as high as in normal shooting. In fact, the maximum flash power you can set is quarter power. This is because the flash needs to fire several times and does not have time to recycle fully between each burst. If you need more flash power, then you should use additional Speedlites in a multiple flash setup.

Flash control

To quickly access the flash menu settings when using an external Speedlite, you can press the Flash button that is normally used to raise the built-in flash. This gives you access to most of the flash controls. However, there are three that are missing: Flash Firing, ETTL metering and Flash Sync Speed in Av mode. If you need to access these settings, you should instead reach the flash menu from the main menu settings and select Flash Control.

Full-power flash

When using an external flashgun, you may find the flash fires at full power, possibly over-exposing the subject regardless of the flash power required. This can happen for two reasons: firstly, check the Speedlite’s Custom Function setting for “Flash metering mode” – if this is set to TTL, the flash will always fire at full power. Simply change it to ETTL to get accurate flash exposures again. The second reason is the flash model – if the Speedlite is not an EX series, but perhaps an older EZ series model, the flash will always fire at full power – switch to an EX series Speedlite to gain accurate flash metering.

Multiple exposure RAW shooting

The EOS 7D Mark II features a multiple exposure option to allow you to composite up to nine images into one, directly in-camera. If you have the camera set to ‘M(RAW)’ or ‘S(RAW)’, then be aware that the composited image capture on the memory card will actually be a full RAW image rather than one which matches your image recording settings. You will need to resize the image on your computer after shooting if you want a smaller file.

Using Live View with flash

When shooting with Live View and using Speedlite flash, you may hear the shutter sound twice. This is not the camera taking two images, but simply the shutter closing to be able to carry-out flash metering. Because of this, the time between pressing the shutter button and the image being taken will be slightly longer than when shooting without flash. If you need the shortest lag possible between pressing the button and the image being taken, you should turn Live View off and shoot using the viewfinder.

Making timelapse editing easy

When using the built-in intervalometer of the EOS 7D Mark II to capture timelapses, it can be a challenge to sort out images afterwards as you will undoubtedly capture a large number of images. To help keep the images organised on your card, before starting each timelapse sequence, create a new folder. That way, all the images from that timelaspe sequence will be together in one folder, separate to any other sequences or images, and it will make processing them on the computer much easier.

HDMI output with sound

When shooting HD movies with the EOS 7D Mark II, it is possible to record your footage to an external recorder via the HDMI output port. This output port will send both video and audio to the external recorder. Because of this, if you need audio you should always make sure Sound Recording is set to On otherwise the footage recorded on the external recorder will have no audio with it, making syncing with sound recorded elsewhere very challenging.

Auto Power Off when mirroring

When using the HDMI output to record movies to an external device, you should check your Auto Power Off settings for the camera. By default, the camera will Auto Power Off after the time elapses. Even if you set the Auto Power Off to disable but you are using the Mirroring setting, the HDMI output will stop if you don’t touch the camera for 30mins. To prevent this, simply make sure you touch a button on the camera to keep it alive – a half press of the shutter button, for example.

Shutter button function in movies

When shooting movies on the EOS 7D Mark II, you can adjust the function of the shutter button both when pressed halfway or fully during movie recording. If you set the shutter button to start or stop movie recording, then you will be unable to take a still photo during movie shooting. If you have made any changes to the function of the shutter button through the Custom Controls, then the ‘Movie Shooting’ setting will override them while you are shooting movies.

HDMI output mirroring

When recording HD movies over the HDMI output to an external recording device, if you are outputting the data with no information overlay (in other words a clean HDMI signal out), then you should be careful when selecting Mirroring or No Mirroring. If you have No Mirroring set, then any camera warnings (for example remaining card capacity, battery capacity or internal temperature warning) will not be shown on the external device or on the camera’s rear LCD display. If you wish to see the warnings, then make sure you select Mirroring so the warnings are shown on the camera’s LCD display.

HDMI output and stills

Like several other cameras in the EOS range, the EOS 7D Mark II can output a clean HDMI signal allowing external recording of movies. If you are shooting movies and recording to an external device, you should avoid capturing a still image during video recording. If you do, you may find the timecode or audio is no longer synchronised with the video. Instead, you should stop video recording, capture the still and then go back to recording video.

Shutter button function in movies

When shooting movies on the EOS 7D Mark II, you can adjust the function of the shutter button both when pressed halfway or fully during movie recording. If you set the shutter button to start or stop movie recording, then you will be unable to take a still photo during movie shooting. If you have made any changes to the function of the shutter button through the Custom Controls, then the ‘Movie Shooting’ setting will override them while you are shooting movies.

Movie Servo AF area modes

When shooting movies with the EOS 7D Mark II, you can select from three different AF area modes: Face Tracking, Flexizone-Multi and Flexizone-Single. If you move between then for different situations, while making use of the Movie Servo AF tracking sensitivity setting within the menu, you should remember that unless you use Flexizone-Single, whatever setting you make in the tracking sensitivity, will function as if it is set to 0, ie: a balanced setting between locked on (-2) and responsive (+2).

Movie Servo AF tracking sensitivity

Within the EOS 7D Mark II menu system you can adjust the AF tracking sensitivity for movie shooting AF. This allows you to tailor the AF function so that it is either more stable in tracking a subject – for example less likely to jump to a new subject if an obstacle passes between you and the main subject – or more responsive so it will focus faster on any subject passing through the AF point. There are a range of five settings, from -2 to +2. To make use of this function properly, you should ensure the AF function is set to FlexiZone-Single.

Movie Servo AF speed and lenses

The EOS 7D Mark II features the ability to adjust the AF Servo speed for tracking focus in Movie shooting. If you have made changes to this setting but find there is no difference in the Servo speed, check the lens you are using; this function is only enabled when using USM lenses marketed in 2009 or later, or when using the STM range of lenses. If you are not using a lens in one of these categories, the AF speed will be the same as the Standard setting.

Movie Servo AF speed

The EOS 7D Mark II features a menu setting to adjust the Movie Servo AF speed in one of five levels from Standard speed to Slow speed. This will adjust the transition speed between points of focus so you can tailor the AF response for a natural result. When using this setting you may find that the AF speed seems no different to normal even though you have adjusted the speed. If this is the case, check the AF Method you are using as the AF speed adjustment will only take effect when using the ‘FlexiZone – Single’ setting. In Face Tracking or ‘FlexiZone – Multi’, the AF speed will be the same as the Standard speed setting.

Movie Servo AF setting

When using the Movie Servo AF setting on the EOS 7D Mark II to track a moving subject, you may notice a change in the magnification of the movie when you play it back. This can be caused by one of two reasons: either the camera was panned or tilted quickly, or a subject moved towards the camera or away from the camera quickly. If this happens, the video may momentarily expand or contract as the focus changes to compensate. To avoid this, switch off Movie Servo AF when you intend to pan or tilt the camera quickly.

Timecode and Free Run option

The EOS 7D Mark II features a timecode setting like several other cameras within the EOS range. One of these options is Free Run, where the timecode will continue to count up whether you are shooting a movie or not. Because the Free Run timecode setting is controlled by the camera’s time setting, if you change the time, time zone or daylight saving time setting, the Free Run timecode will change too. If you are working with several cameras, either change all of them or none of them, otherwise you’ll find your timecodes do not match up.

Timecode function

Like other cameras in the EOS range, the EOS 7D Mark II features a timecode function that makes it easier to match up clips when shooting with several cameras. If you make use of the timecode setting and then take a still picture during movie recording, you will find that the timecode and the actual time no longer match up, making it hard to sync up clips. If you are planning to use the timecode function, then try to avoid shooting stills during movie recording.

Headphone audio level

When shooting HD movies with an EOS 7D Mark II, you may use the headphone jack on the camera to allow you to live monitor the audio being captured. When using headphones there might be times when you need to adjust the volume coming into them to make it easier to hear the audio. If so, press the Q button and hold down the rate button while toggling the multi-controller up or down to increase or decrease the volume. Note that this only adjusts the headphone level, not the audio recording level.

Audio in A+ mode

When shooting HD movies with the EOS 7D Mark II, you can make use of the A+ mode to control the camera settings for you. In this mode, audio recording can be set to On or Off. If set to On, then the audio recording level will also be set automatically depending on the audio level in the scene. This may work well on occasion, but if you are filming in a windy environment, you will need to switch out of A+ mode so you can manually adjust the audio level and, crucially, make use of the Wind Cut filter.

Audio noise reduction

When shooting movies on the EOS 7D Mark II, you can use the Noise Reduction setting for the internal microphone to help reduce wind noise and distortion. If you are also using the headphone port to allow you to monitor the audio you are recording, you may find the audio sounds like there is wind noise or distortion. This is normal as the camera does not apply the noise reduction to the headphone port audio so what you hear will be a little different from what is recorded on the camera.

Matching frame rates at 24.00P

The EOS 7D Mark II allows you to set a recording frame rate of 24.00fps so you can match footage from other cameras shot at this frame rate. When using this setting, you will find that the HDMI frame rate option cannot be set. This is because the camera locks it to 24.00p to match the footage being recorded. If you need to output over HDMI at a different frame rate, you will need to select a different recording frame rate too.

24.00P shooting mode

The EOS 7D Mark II features a menu option to record movies at 24.00fps. While this may seem very similar to the 23.976fps (aka 24p) also available, they are for separate uses. In general use, you should select the 23.976fps option. The 24.00p setting is only for movies where you must shoot at precisely 24.00p to match your footage to other footage shot at 24.00p on film cameras. If this is not what you are doing, then stick to the 23.976fps option.

Using f/8 autofocus

While some EOS DSLRs can focus with lenses or lens and extender combinations that give a maximum aperture of f/8, others cannot. If you really need to try and use autofocus at f/8 then provided your subject is not moving, you may find switching to Live View and focusing with the Live Mode AF may work. While it still requires a reasonable amount of light to be able to detect sufficient contrast to focus, it can help you when otherwise you’d be forced to focus manually.

Capturing stills in Movie mode

Usually when shooting Movies on an EOS camera, it is possible to capture a still image at the same time simply by pressing the shutter button. This causes the movie to pause for about a second and then continue. If you find you can’t capture a still image while shooting movies on the EOS 7D Mark II, it is most likely due to your frame rate settings. If you are shooting at 59.94fps or 50fps, the camera is unable to capture a still and so the shutter will not be released. If you need to capture a still, change the frame rate to one of the other settings.

Frame rate options

The EOS 7D Mark II offers a range of frame rate options when shooting Full HD movies, including 59.94fps and 50fps for slow-motion effects. When setting either 59.94 or 50fps in Full HD Movie shooting, you will find that the Movie Servo AF using the Dual Pixel CMOS AF system no longer functions and the camera makes use of contrast detection AF instead. This may result in either jumpy or slow AF in Movie mode. To avoid unnatural AF switch instead to using manual focus at those frame rates.

Movie recording formats

When shooting HD movies on the EOS 7D Mark II, there are two options for recording format – either MOV or MP4. Previous EOS cameras produce MOV based movie files and these are the best option if you want to edit your footage afterwards and produce the highest video quality. If you want to share your videos with a wider range of devices, the MP4 format is a better choice, as it is a more widely accepted format on devices like mobile phones, tablets and smart televisions.

iTR AF and focus point selection

The EOS iTR AF system in the EOS 7D Mark II allows the camera to track moving subjects more accurately by using data from the metering sensor to track both faces and colours. With the EOS iTR AF setting enabled, you may find the camera is not picking up faces or colours to track. This is most likely due to your AF point selection method. To ensure the EOS iTR AF functions, the camera needs to be set to Zone AF, Large Zone AF or 65-point auto selection. In any of the other focus point selection modes, the EOS iTR AF will not function regardless of the menu setting.

EOS iTR AF

Like the flagship EOS-1D X, the EOS 7D Mark II features EOS iTR AF, which improves autofocus tracking by recognising faces and subject colours in addition to looking for subject contrast. When shooting with the EOS iTR AF function enabled, you may find the AF is actually slightly slower and the maximum shooting speed in continuous high speed AF is slower than expected. This is especially likely in low-light shooting and is due to the extra data being processed from the metering system before a subject can be tracked. If you need the fastest AF possible and want to achieve the maximum frame rate and do not need to make use of the colour and face tracking, switch the EOS iTR AF setting to ‘disable’.

AF point orientation

Using the AF point orientation function allows you to switch quickly and easily from portrait to landscape shooting and vice versa and have the camera automatically change the focus point and even focus point selection method for you. If you’ve set up different settings for landscape and portrait shooting but find that the camera is not switching the AF points or modes for you as you turn the camera, it may be because you have attached a lens from ‘Group G’ – these are lens and extender combinations where the maximum aperture drops to f/8 or lower. Using one of these may clear the orientation linked AF point setting. If you use one of these lenses, remember to re-check your linked orientation point settings prior to shooting again.

AF point selection settings

The EOS 7D Mark II features a large number of AF modes to allow you to choose exactly the right AF points for the subject you are photographing. Within the camera menu you can select exactly which AF modes are selectable based on your personal preferences. If you are shooting and find you are unable to select Zone, Surround Expansion or Auto Select AF points, check your lens. Lenses that belong to Group G can only be used with single point Spot AF, Manual AF point selection and the first of the AF area expansion settings. The Group G lenses are those that when an EF2x Extender is used, it causes the maximum aperture to drop to f/8 or smaller. If in doubt, you check the manual for the camera where a complete list can be found.

AF Tracking sensitivity

If you move to an EOS 7D Mark II from either an EOS 7D or EOS-1D Mark III/IV or EOS-1Ds Mark III, you will find the AF feature for AI Servo tracking sensitivity is no longer there. In the EOS 7D Mark II, the setting has been renamed as simply “Tracking Sensitivity”. Beyond the name change though, the setting has exactly the same function as in the previous models.

Viewfinder information

The viewfinder of the EOS 7D Mark II is able to display a variety of shooting information such as shooting mode, white balance, drive mode and image quality among others. By default, only the flicker detection setting will be displayed. Should you wish to see the extra information, to help you keep on top of the camera settings without taking your eye from the viewfinder, the settings can be enabled from the “Viewfinder display” option in the second yellow menu tab. Even if you leave the displays turned off, when pressing the WB/Metering mode or Drive/AF buttons, or when you change the position of the AF switch on the lens, this information will still be shown in the viewfinder so you can see what is being altered.

Anti-flicker shooting

When shooting with the EOS 7D Mark II in continuous shooting, you may find the frame rate does not sound as fast as you expect it to be. Assuming that the shutter speed is fast enough to enable you to shoot at 10fps, you should check the anti-flicker shooting setting. When anti-flicker shooting is enabled, you may find the frame rate drops slightly as it tries to avoid flicker. If you are not shooting under lighting that flickers, such as a fluorescent tube, simply disable the anti-flicker mode and you will maximize the speed of continuous shooting.

Canon EOS-5DsR vs EOS-5D Mk3 vs Nikon D810

Canon EOS-5Ds and EOS-5DsR 50MP full frame cameras

Canon officially announced the EOS-5Ds and EOS-5Ds R cameras on February 6. The camera is widely available now. Click on the links below to see sample photos and videos from the two DSLRs and download the Owner Manual. You can read my comparison between the EOS-5Ds and EOS-5D Mk III here.

EOS-5Ds detailed specifications and technical information

EOS-5Ds sample photos and videos

EOS-5DsR sample photos and videos

EOS-5Ds/EOS-5DsR camera review

EOS-5Ds Owner Manual in your language

Canon EF 1200mm f/5.6L Lens For Sale

There are only about 20 copies of the very rare Canon EF 1200mm f/5.6 L USM lens in the world. Canon made only a handful of them to test its viability. By the way, this is not the only 1200mm lens Canon had manufactured. They had also experimented with the FDn 1200mm f/5.6 lens, with a built-in extender during the 1984 Olympic Games in Los Angeles. This was the ancient forerunner to their current EF 200-400mm f/4L IS 1.4X Extender USM lens that went on sale last year. I love this amazing Super Telephoto lens.

The people at MPB Photographic is selling a copy of the EF 1200mm f/5.6L USM lens for 100,000 Pound Sterling or about US $ 166,000. In order to drum up some excitement for the sale, they have decided to shoot some photos in the heart of London, right on the Mall, leading straight to Buckingham Palace. All of the photos below were taken with a Canon EOS-1D X camera.



The folks at B&H Photo in New York is also selling their EF 1200mm f/5.6L USM copy for $180,000. If you have some spare cash lying around, you may be interested in these 2 lens.

Canon EF 50mm f/1.4 USM @ 50mm

Canon EF 100-400mm f/4.5-5.6L IS USM @ 400mm

Canon EF 1200mm f/5.6 L USM @1200mm

Canon EF 1200mm f/5.6L USM @ 1200mm with 1.4X Series III extender

Canon EF 1200mm f/5.6L USM @ 1200mm with 2.0X Series III extender

Brooklyn Bridge from about half a mile distance

New Patent - Canon EF 16-35mm f/2.8L III Lens

Canon EF 16-35mm f/2.8L II lens

I reported on Monday Canon is working on a replacement for the EF 16-35mm f/2.8L IS II lens. Now Egami, the Japanese photography blog has discovered a new patent for the Series III version of this lens. The current lens is my favorite wide angle zoom because of its speed and performance. It is always in my equipment bag when I go on photo shoots.

Patent Publication No. 2014-206674

• Published 2014.10.30
• Filing date 2013.4.15

Example 1

• Zoom ratio 2.06
• Focal length f = 16.49-23.74-33.94mm
• Fno. 2.91
• Half angle of view ? = 52.69-42.35-32.51 °
• BF 38.74-48.38-63.65mm

Canon EOS-150D / Rebel SL2 Camera Coming

Canon Rebel SL1 vs Rebel T5i size comparison

Canon announced the Rebel SL1 / EOS-100D camera back in May of 2014. This camera is quite a bit smaller than the EOS Rebel T5i. I am not a fan of this model. It is another example in my opinion of too many models cluttering the space of a decent model line.

Now Canon is planning to announce the Rebel SL2 / EOS-150D some time in the early part of the second half of 2015. The new camera will probably share the same 24MP sensor as the Rebel T6i and T6s cameras. In fact, many of the specs and features will probably be the same, except it will be packaged in a smaller body.