There is no secret a successor to the venerable Canon EOS-1D X Mark II camera is coming in 2019. The Tokyo 2020 Olympics is the perfect event to highlight Canon's dominance in Mirrorless and DSLR cameras.
The EOS-1 line of cameras has been my equipment of choice since 1989 and the current EOS-1D X Mark II body is my workhorse since its introduction in February 2016. Although the Mark II is a very capable camera, I like to see the following incremental improvement in the Mark III :
A new sensor with mid 20MP rating
Maintain 12 - 14 fps without mirror lockup or Live View
First in class high ISO performance
First in class 4K video performance
New AF system with around 100 AF points. More dual cross-type and cross-type points
New LCD monitor with 3.0 million dots
Built in WiFi (Not for myself. For photo journalists meeting their deadlines)
I expect the new camera to be announced some time in Q4 of 2019 or earlier. Please bookmark this site and check back for the latest news and development.
The following article is an excerpt from Canon explaining the larger RF mount on the recently announced EOS-R camera. It is translated into English from Japanese by Google and may not read like an article written in English originally.
In 2018, a 35 mm full size mirrorless camera attracted a lot of attention. Nikon and Canon have entered so as to follow independent Sony, and it is now clear that Panasonic and Sigma, which received L mount license from Leica next year, will introduce their own full size mirrorless camera. The companies that are new entrants this year appealed were the physical structure of the lens mount. In addition to the short back focal length unique to mirrorless cameras, the word "large aperture" was repeatedly heard. It does not mean that the open F value of the lens is bright, it means that the opening of the mount part is large. Increasing the opening of the mount is not a zakkori story that "big is a good thing", it is nothing other than having a merit to pursue lens design. In this paper, we will deliver the content of technical briefing sessions that Canon made for stakeholders. The optical designer reads the lens composition diagram (cross section) and reads how the light passes through the lens, saying that it is "beautiful" not "beautiful." According to the optical designer of Canon, it is said that the following three points are the main judgment criteria because "it is optically good" in what "beautiful" is said. · The symmetry of the optical system is high before and after the diaphragm · The refraction of the light is gentle · the large ball and the small ball are lined up in good balance Perhaps there are a few who viewed other companies' lens designers as well as Canon in the same way as interview articles in small journals. Anyway, this viewpoint becomes the basis for considering the merit of the large diameter mount. Let's look at an example that a large aperture mount will help with good lens design. From the previous three points, please keep in mind that "If you bend the light a lot, strong aberrations will occur".
First, set up 3-piece configuration as a reference lens. Instead of having a long back focus, there is no mount opening to disturb the light flux. The vertical bar at the right end of the figure is the imaging surface (film / image sensor) and the left is the subject side. Below is an image of a case where design was advanced with a small caliber mount. A mount with a small diameter obstructs the light flux, and it is necessary to put the concave lens in the rearmost portion so that the light reaches the periphery of the imaging surface. First, this sudden spreading method generates aberration. And it will be necessary to adjust the lens on the front side to balance. Then, the number of components increases, the lens barrel becomes longer and longer, and in the first place the lens configuration is not good because of the above reason. It is said that it is in a "vicious cycle". The image using the large diameter mount is below. If the third lens from the front of the reference lens is lowered to the imaging plane side and the diameter is increased, aberration correction can be corrected straightforwardly. Many lenses are made up of 10 or more existing products rather than 3, so I think that the actual story is not so simple. Nonetheless, it would be felt that it would be easier to design optically straight lenses if the mounting aperture was adequate.
Subsequently, as an example of Canon, it is a configuration diagram of "EF 35 mm F 2 IS USM" for single lens reflex cameras and "RF 35 mm F 1.8 MACRO IS STM" for mirrorless cameras. In the above EF lens, the lens was placed on the front side with respect to the reference lens. In the lower RF lens, since there is no mirror box, we placed a lens with the same effect at the end. As a result, the RF lens has a shorter overall lens length from the imaging surface. Until the RF mount is determined to have an inner diameter of 54 mm Initially, Canon also considered to realize a 35 mm full size with the EF-M mount of the APS - C mirrorless "EOS M" series, but satisfactory results were not obtained, such as no performance aimed at . And since the system becomes large when unnecessarily increasing the mount diameter, we actually designed multiple lenses, decided to 54 mm while looking at the balance of optical merit and size, the strength of the camera and so on. Then the numerical value of 54 mm inside diameter resulted in the same inner diameter as the single lens reflex EF mount, and the designer of the RF mount felt "There was a foresight ahead of 30 years before the birth of EOS". Oh yeah, it is now Canon that appeals the value of 54 mm like this, but at the product release of "EOS R" we did not announce the concrete numerical values (54 mm inner diameter, 20 mm flange back) on the stage. Before that half a month ago rival Nikon announced the full size mirrorless Z system, it would not be unrelated to the extensive appeal of the numerical value "mount inner diameter 55 mm · flange back 16 mm". However, the merit of "large aperture mount + short back focus (short flange back)" that two companies appeal is that the degree of freedom of lens design will increase to the last. The idea is basically common. Also at the press conference of Photokina following the announcement of the two companies, Sony, which is five years ahead of the full size mirrorless market, says, "Do you need a large-diameter mount for large aperture high performance lens?" → "The answer is" No "There is also a scene that rewards one arrow in hot topics. However, in this context, Sony refuted because it was pre-introduction to introduce the high-end super telephoto lens "FE 400 mm F 2.8 GM OSS" that Sony α Mirror less will sport coverage of sports! And it seems not to be able to receive simply. However, when I heard this, the inner circle was excited that in the 21st century again "sparks falling down" may be seen. So at the end we got off to some extent from the topic of Canon, but like this, the full size mirrorless market in 2018 was an opportunity to remember that it was hot and humorous.
Many photographic companies choose to announce their new products just before the Photokina Show to maximize exposure and hype their new equipment. Canceling the show for one year will make no difference to them and the announcements will just come as their marketing department find the most propitious time to release their statements.
Following a successful Photokina 2018, the German Photo Industry Association (PIV), as conceptual sponsor of the trade fair, and the event’s organiser Koelnmesse have agreed not to organise the next leading global trade fair in May 2019, as initially planned, but in May 2020. From Wednesday 27 May 2020 to Saturday 30 May 2020, all the market leaders in the imaging industry are expected once again in Cologne. The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry. “photokina 2018 clearly exceeded our already optimistic expectations with groundbreaking innovations and 180,000 visitors from 127 countries,” explained PIV’s CEO Rainer Führes. “As a result, we set the bar very high for the next event. It is therefore unlikely that, in May 2019 after just over seven months, we will once again be able to create the same enthusiastic atmosphere that characterised photokina 2018. This is why we have decided to start the planned annual cycle in 2020. The Photoindustrie-Verband would like to thank Koelnmesse for its willingness to quickly comply with this request. This shows once again the great professionalism and excellent customer orientation that has characterised our trusting partnership for decades now.” “We understand that even the most powerful technology companies cannot ensure that they will once again be able to bring such innovative strength to the exhibition halls as we experienced at photokina 2018 within an extremely short lead time of just seven months,” added Koelnmesse’s CEO Gerald Böse. “It is precisely these innovations, however, that shape the character of photokina as the world’s leading trade fair – as does the presence of all the leading suppliers in the industry as well as important users, retailers and service providers worldwide. In order to make sure we can continue to fulfil this requirement in the future and meet the expectations of exhibitors and visitors with every event, we have responded flexibly to PIV’s wishes. This will ensure the continued unique impact and public appeal of one of our flagship trade fairs in the future.” This year, photokina had successfully presented itself with a new concept, which included the increased involvement of new exhibitors from innovative areas such as mobile, imaging analytics, digital workflow and moving images, as well as a stronger focus on experience for visitors. This combination of experience and product presentation, which was very well received by younger target groups in particular,
Amateur Photographer (AP) editor Nigel Atherton recently interviewed three top Canon executives to discuss the new EOS R camera system. Mr. Shingo Hayakawa (SH) is the Deputy Group Executive, ICB Optical Business Group, Image Communications Business Operations. Mr. Masato Seita (MS), is the Manager, ICB Products Development Dept 11, Image Communication Business Operations, and Mr. Minea Uchida (MU) is the Manager, ICB Integrated Business Design Dept. 333, Image Communication Business Operations.
Below is an excerpt from the AP interview with the three Canon executives. If and when Canon brings out a full frame mirrorless version of the EOS-1D X Mark II camera(something I have been advocating for years), I will be the first photographer to put in my buy order.
What do you think are the most important technologies in the Canon system? SH: The distance between the lens and the sensor is much shorter. With EF lenses the space taken up by the mirror in the body imposes certain restrictions. The EOS R opens up all kinds of possibilities for lens design because of the shorter back focus. By removing the mirror we are able to use the space that it occupied for optics, which enables us to make more compact lenses. As for the mirrorless structure, we chose a large diameter for the mount because of the flexibility this offers for lens design. If we want to achieve smaller lenses, we can put the whole focus on making the lens compact. If we want a high quality, or wide aperture lens we can put the focus on that. This is key for us. AP: You have to prioritise, so which one of those types of lens do you think the typical EOS R customer is more interested in: compact or high quality? SH: Our target user of the EOS R is the advanced amateur, who is using maybe the 5D Mark IV or something like that. This user has a lot of different needs so we thought it was important to show straight away what’s possible with this system. Our strategy was to offer, at launch, two high spec lenses, one comfortable kit lens, and one compact lens. AP: When you decided to make a full frame mirrorless camera what were the main priorities for the system? SH: We started out thinking about the lenses we wanted to make and what the ideal lenses would be. That gave us the mount specifications and flange distance we needed. Only then did we start to consider how Canon could improve the main body. We decided that we wanted to make a completely new body, and to reconsider the ergonomics and operation so that it would be different from previous models. Our task is to give our customers more choice and then let them choose. AP: The response to the M Fn bar has been mixed. Some people don’t like it. How do you feel about that? MS: We expected that response, and guessed that would be the case. Our customers’ feelings about it vary, and different customers offer different criticisms, but the new technology has a value that we would like to offer to those of our customers who like it. AP: Will this technology be on all R-system cameras? Will it also go on DSLR cameras in the future? MS: We don’t know yet, but it depends on the features of each of the cameras that we have to consider. AP: Why did Canon not include an exposure mode dial on the EOS R? MS: When you have a mode dial on the left hand side your shooting mode is fixed, and it becomes fiddly to change while shooting. With the design of the EOS R it is easier to switch between modes, or between video and stills, with just the right hand without taking the eye from the camera. AP: The new Fv exposure mode is very clever. Is this something you came up with specially for the EOS R or is it something you have been thinking about for a while but saved for this camera? MS: We had the idea before and we thought it was good, and had been considering implementing it. Then we decided to introduce it on the EOS R. AP: So it could appear on future Canon DSLRs? MS: It could but it depends on what we want to prioritise on each individual camera. AP: The low light auto-focus performance is very impressive. How did you achieve that? MU: Thanks to our Dual Pixel CMOS AF technology, a greater number of pixels can be utilised for autofocus. In addition, the EOS R’s image processor has enabled faster data processing. This combination achieves the low light performance. AP: There has been some criticism that the camera only has one card slot. Did you consider having two? And did you think about going with the XQD card, like Nikon? MS: To have two card slots, as well as the DSLR battery that we decided to use, the camera would need to be bigger, or the battery would have to be smaller. As for the type of card, we have always understood the demand for high speed. We thought SD would be the best choice overall for the EOS R when we considered the size, speed, familiarity and cost of the cards. AP: Some other manufacturers publish a road map for future lenses. Will Canon consider that? SH: If we publish a roadmap to the public then we are telling our customers what we are going to give them and we just have to focus on that alone, But we prefer to be more responsive to the market, and find out what our customers want and prefer. Technology is also advancing and evolving. AP: So now, you have four lens systems. Are you going to continue all four of them in the foreseeable future? SH: Yes AP: And if you’re an EOS M user, can you expect new lenses as well? SH: If there is a demand for such lenses, then we will release them. AP: Do you think that in five years time, Canon will still be making new DSLR’s? SH: Of course the situation is always changing and in the future, DSLRs will most likely experience a decline in popularity compared to mirrorless cameras, , but the optical viewfinder still has some advantages and we will continue to offer a choice for as long as our customers want it. AP: If there was a mirrorless version of the EOS- 1D X, do you think people would still buy the EOS- 1D X? SH: We would guess that a mirrorless camera like that would be popular, and have already analysed which technology will be required in a camera in five years time. AP: The EOS R does not have a number. What will future models be called? Are they all going to be EOS R plus a number? SH: We have not decided the numbering convention of future models yet. AP: Could you say how many cameras you expect to have in this system by this time next year? How long will people have to wait for new models? I’m guessing that perhaps the EOS R will be the middle camera in your range and there will be cheaper one, and a more expensive one? SH: That is a good idea! (joke) AP: The EOS R is quite expensive for what it is, compared to other mirrorless cameras… SH: We think the camera is not expensive or inexpensive, it is average. Let’s see what the customers think. In the system as a whole, we are working on a wide variety of attractive lenses. AP: One more question, what design feature of this camera are you most proud of? SH: The new mount system. Of course the design itself is brand new, but also the high-speed communication. That is part of the new system.
Canon has applied for two new Diffractive Optics (DO) lens patent. They are the 300mm f/2.8 DO and 400mm f/2.8 DO. My readers know I have owned the EF 400mm f/4 DO IS II since its announcement in 2014 and its predecessor, the Series I lens.
This is an excellent lens for sports and wildlife photography and new DO lenses are rumored to be on next year's Canon's EOS-R camera lineup announcement.
Japan Patent Application 2018-189878
Focal distance: 392.58
F number:2.91
A half field angle: 3.15
Image height: 21.64
Length of the lens: 363.53
BF: 59.15
Focal distance: 293.40
F number: 2.91
a half field angle: 4.22
Image height: 21.64
length of the lens: 274.00
BF: 59.35
Japan Patent Application 2018-180203 contains some new Canon Super Zooms lenses for both EF and RF mounts.
EF mount optical formulas included in this patent :
EF 35-350mm f/3.5-5.6
EF 35-400mm f/4.5-5.6
RF mount optical formulas included in this patent :
RF 25-300mm f/3.5-5.6
RF 30-350mm f/2.8-4.5
My current Canon EF 28-300mm f/3.5-5.6L IS Super Zoom is one of my favorite lenses but it's heavy and a bit dated. I would like to upgrade to a newer model and prefer it to be a bit longer, perhaps 50-500mm.
The following registered Canon camera models are expected to be announced some time in the first half of 2019. I also expect the EOS-7D Mark III and the professional model of the EOS-R to be announced, perhaps around the middle of next year.
The recently announced EOS-R is designed to appeal to a mass, prosumer market. When the pro model of the EOS-R is announced, I expect advanced features like a high burst rate with focus-tracking (similar to the EOS-1D X Mark II), in-body image stabilization, dual memory card slots and ultra-high resolution to be included. If that proves to be the case, I will give the EOS-R a second look and I expect to be invited to a VIP hands-on preview again.
DS 126751 (EOS 90D?)
Digital camera (single lens reflex or RF mounting machine)
MELVILLE, N.Y., November 13, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced two new Canon Native 4K Laser LCOS Projectors – the REALiS 4K6020Z and 4K5020Z. Compact and lightweight, both new projectors measure 18.8in (W) x 7.1in (H) x 21.4in (D) and weigh a mere 41.8 pounds, making both units the world’s smallest and lightest projectors in their class at less than half the weight of competing Native 4K laser projectors.[i] In addition, both projectors offer peace of mind with an impressive Five-Year (or 12,000 Hours) Laser Limited Warranty[ii]. Canon is also adding to the company’s lineup of RS projector lenses with the introduction of the RS-SL07RST 4K Standard Zoom Lens. The RS-SL07RST projector lens is the seventh in the lineup and features Canon’s trademark red line around the barrel of the lens, signifying the highest level of Canon optical engineering and quality. All seven RS projector lenses are compatible with the two new projectors.
“As the demand for 4K projection continues to grow, Canon understands that we need to offer customers a variety of options that best suit each individual installation,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Not all 4K is created equal, which is why Canon is so excited that both new models feature true Native 4K resolution producing outstanding image quality with robust colors and high contrast.”
Canon REALiS 4K6020Z and 4K5020Z Native 4K Laser LCOS Projectors
The new 4K6020Z and 4K5020Z Native 4K Laser LCOS Projectors are ideal for a variety of applications, including art galleries, museums, schools and medical institutions. They are also suitable for product design and simulation use where both high-quality imaging and accurate color reproduction are a must. Both projectors feature LCOS panels and Canon’s proprietary AISYS optical system that helps to deliver 6000 and 5000 lumens respectively. This technology, when combined with true Native 4K (4096×2160) resolution, helps both projectors to produce a cleaner and more robust image with virtually no grid lines.
The laser-light source for both projectors can achieve up to 20,000 hours of operation in typical use or up to 40,000 hours when in Long Duration Mode 2[iii]. The laser-light source allows the projectors to start up in as little as two seconds while in Fast Boot mode[iv], as compared to conventional lamp projectors that may require additional time to light up and stabilize brightness. In addition, users are able to create presets to be set-up to their specific preferences and needs.
The HDR technology of both projectors increases the dynamic range ability, expanding not only the color-gamut range but also the overall brightness, resulting in a more realistic and lifelike image. Additionally, the projectors support HDR10 and Hybrid Log-Gamma (HLG), which produce broadcast-quality HDR images. HLG is becoming widely popular in broadcast industry use.
Additional Features of the 4K6020Z and 4K5020Z Projectors Include :
Compatible with seven optional genuine Canon interchangeable lenses for a wide variety of applications
High dynamic contrast of up to 22,000:1 in the 4K6020Z and 20,000:1 in the 4K5020Z is achieved by the combination of a powerful image engine that analyzes the contrast of each frame and a double-door type shutter system which allows the iris to operate fast — tracking scenes instantly and reducing light leaks.
Covers 99.9 percent of the sRGB color space
Supports HDMI, HDBaseT, Wi-Fi® technology and other various interfaces
Compatible with Canon Service Tool for PJ App
Six preset Image modes provide different variations of color reproduction characteristic suitable for the type and projection environment, includes DICOM[v] Simulation mode and additional five customizable modes that can be stored
Canon RS-SL07RST 4K Projector Lens
The new RS-SL07RST 4K Standard Zoom Lens features the distinguished red line around the barrel, indicating the highest level of Canon design and superb image quality. The lens can project images up to 600 inches and can even project onto curved surfaces; maintaining focus in the center of the image when peripheral focus has been adjusted.
Additional Features of the RS-SL07RST Projector Lens Include :
Unique Marginal Focus feature which allows incremental focus adjustment on peripheral areas of image, designed for concave and convex surfaces
Substantial lens shift of vertical ±73 percent and horizontal ±11 percent
Powered lens shift, zoom and focus
Equipped with a UD lens to help reduce color shift and bleeding
Minimal luminance difference from wide to tele position as F value exhibits minor change from 2.1 to 2.4
Deep focal length of 22.67mm up to 37.79mm
Large zoom ratio of 1.76x
Weighing in at 4.1 pounds, the easy-to-install lens can be conveniently secured in place or quickly taken out to be replaced with only one touch, using the spigot-type lever
Pricing and Availability
The Canon 4K6020Z, 4K5020Z Native 4K Laser projectors and RL-SL07RST Standard Zoom Lens are all scheduled to be available in late November 2018 for a suggested retail price of $45,799.00, $43,499.00 and $8,000.00 respectively*. For more information, please visit usa.canon.com/projectors.
Canon USA has reintroduced the CarePAK Plus service. Most recent Canon DSLRs as well as the new EOS R, and 13 lenses are covered. CarePAK offers 13 months free accidental damage protection and up to two Canon Maintenance Services.
Canon CarePAK includes :
Protection against Accidental Damage
Coverage from Normal Wear and Tear
Free two-way shipping (NEW)
$0 Deductible
Camera Maintenance and Sensor Cleanings (NEW)
Transferable
Priority Service
Canon CarePAK is free with every eligible camera purchased between October 21, 2018 and January 5, 2019. Valid only for purchases from Canon USA. More information on Canon USA’s page.
When I read parts of the interview below, I had sympathy for the engineering team. They were given an impossible task. Satisfy millions of current Canon DSLR users and attract millions more new mirrorless buyers and innovate. Oh, by the way, you are limited to a much smaller body to work with.
All the EOS-R innovations mentioned below can be applied to current DSLR if the engineers are given the same money and time to work on the present and future models. Considering Canon is the largest photographic company in the world and the last to announce a full frame mirrorless camera, the result is nothing to write home about, especially for serious and professional photographers.
Like I said before, why be a Johnny-come-lately follower, when one can be a real innovator. All the current full frame mirrorless cameras from the Big 3 look alike. They all use a separate line of lenses. There is No technical reason why a full frame mirrorless camera need a new mount different from a full frame DSLR mount. It is a marketing decision to have the new full frame cameras be smaller to appeal to a larger user base. Faced with a new size limitation, all features and functions have to adapt to the new reality.
The engineering team tasked with developing the EOS-R full frame mirrorless camera system gave an interview to DP Review recently. Below is an excerpt of their discussion.
The launch of Canon's EOS R gave us a chance to talk to a group of the engineers involved in the project. The company put forward an engineer from each of the main parts of the development process: physical design, optical design, UI design and overall product design. They talked of being given more freedom than ever before but also of the need to build on the EOS system's strengths.
A new, short and wide mount
Canon has been consistent across its launch, when it's said that the important announcement isn't the EOS R, specifically, or the fact that there's no mirror, but in what the RF mount allows them to do.
Manabu Kato sums up the freedom they've gained in terms of optical design: "people who've been working on lenses for a really long time have, with this new system, been able to make lenses like the 28-70mm F2 comparably easily, compared to how they had so many challenges in the past."
"By having [more] data being transferred between the camera and lens...you can improve the autofocus, metering and image stabilization performance"
As well as allowing more ambitious optical designs, the RF mount also adds data bandwidth, moving from eight communication channels to twelve. "During shooting there's a massive amount of data going between the lens and the camera, so making sure that was smooth was another challenge," says Kato. "By having that huge amount of data being transferred between the camera and lens, you can improve the general performance in relation to autofocus, metering and image stabilization. And you can also add features such as the control rings on the lenses."
"You can also use DLO without any problems," he said. Digital Lens Optimizer - Canon's name for digital lens corrections - previously required that the camera look up the data in a database, meaning that camera firmware needed to be updated to accommodate new lenses. It's now supplied in real time by the lens itself, so there's no need for a look-up step.
Video, as well as stills
This real-time data flow allows the use of Digital Lens Optimizer and distortion correction in video for the first time. And it's clear that, despite the EOS R's comparatively modest specs in that area, Canon has done a lot of thinking about the needs of video shooters.
"Getting rid of [the mode dial] was a big decision that required a lot of consideration"
"In relation to the optical system, we gave consideration to focus breathing*, and also aperture control: you can change the aperture in 1/8th stops," says Kato. "also the Nano USM, it's very quiet and quick: the first time in an L lens."
Difficult decisions
Trying to accommodate the needs of video shooters ended up leading the removal of the camera's mode dial, says Koji Yoshida :
"if you have a mode dial then the [exposure] settings will be the same for both stills and movies."
The decision not to offer a mode dial on the EOS R was not taken lightly.
"We consulted with a lot of different people and talked about this a lot, and decided to have different settings this time," he says. But it's clear this isn't a decision made lightly: "[The mode dial] is a function that's been common in the past, so getting rid of that was a big decision that required a lot of consideration," said Shintaro Oshima.
"There was a lot of internal discussion about this point," concurs Yoshida.
The challenge of legacy
This tension between novelty and legacy is a constant theme of our conversation. "Our aim was to carry on the traditional parts of EOS but then bring in new innovation at the same time," says Hironori Oishi :
"our biggest challenge was making this look like an EOS camera with just a single glance, you can see that it's an EOS camera, based on the traditional styling of the EOS cameras. And also the feeling, when you hold the camera - as soon as you hold it in your hand, you know it's an EOS."
This extended to the user interface, says Yoshida:
"the challenge we faced in terms of the software or the interface was making sure that it's got the same basic controls as an EOS: to carry on that operability that EOS users are used to, then also implementing new elements into that design at the same time."
The answer was to blend features from Canon's existing live view and DSLR experience:, he says :
"We used the mirrorless AF modes but we also also included features from the 5D Mark IV AF, like Expand AF area and large zone AF: this is the first time this has been introduced in a live view camera from Canon."
Opportunity for innovation
The solution to these tensions seems to have been to look for opportunities to innovate while maintaining continuity: something made clear in the challenges of maintaining EF lens compatibility. Despite the EF mount already being fully electronic, Kato says :
"it was difficult ensuring that compatibility. But we think that's a big plus for the system."
Tellingly, the team looked for ways to add new features. "We also achieved the control ring adapter which brings additional value to EOS lens users," says Kato: "The same applies to the drop-in filter adapter: it gives added value to those who already have EF lenses. We wanted to make sure that we looked after our current users of our EF lens system."
"The control ring adapter brings additional value to EOS lens users...the same applies to the drop-in filter adapter"
Oshima stresses that the need for continuity didn't hold the new camera back, though :
"another focus was the low light limit performance. That's a point of evolution from the EOS cameras."
"Another focus was the low light [autofocus] limit performance"
This eye for an opportunity to innovate is perhaps most clearly seen in the way the EOS R, unlike any other mirrorless camera, closes its mechanical shutter when shut down. "we wanted to protect the sensor as much as possible from dust and light hitting the sensor," explains Oshima :
"The light coming through the lens affects the sensor in the long term. The color filter array and microlenses and also the photodiodes can all be damaged by light [if the sensor is always exposed]."
To then protect the shutter blades, the camera stops its lens down and displays a warning not to leave it facing towards the sun, without a lens cap. "The aperture cannot be closed completely, so that message is kind of a safeguard," explains Kato: "We're kind of proud of the fact that with a simple idea, we've been able to increase value for customers."
Just the beginning
As usual, no one was able to discuss future products. When asked whether there was any chance of an APS-C RF-mount camera, Oishi was suitably non-committal: "we're thinking about it, but we can't answer in detail," he says. But the individual engineers did all discuss what they were looking forward to.
"We want to surprise and astonish you, so please expect big things"
"It gives more structural freedom in terms of design, because it doesn't have a pentamirror", says Oishi. "I'm excited about improvements in Digic image processor and functions that create more value and make easier to use," says Yoshida. But it's optics specialist Kato who seems most enthused:
"This is just the start of the system," he says, talking about F2.8 zooms and other possibilities, before settling on a broader-reaching point: "We want to surprise and astonish you, so please expect big things."
01:20: Misconception: Everyone Thinks Contrast Detection is Bad
02:04: How Phase Detection Autofocus Works
02:55: How Contrast Detection Autofocus Works
03:50: Ways Contrast Detection Is Better Than Phase Detection
04:45: Ways Phase Detection Is Better Than Contrast Detection
04:54: The Pulsing You See with Contrast Detection
05:43: How Mirrorless Cameras Handle This Differently
06:43: How Camera Makers Decided to Solve These Problems
06:51: Solution #1: Hybrid AF & How It Works
07:30: Solution #2: Dual Pixel CMOS AF & How It’s Different
08:28: Shortcomings of Canon’s Dual Pixel AF
08:47: How the EOS R Addresses These Issues
09:10: Why Dual Pixel Is the Best for Video
09:42: Why the Modern Hybrid AF Systems (Sony) Are My Favourite
10:10: But the Panasonic G9 Is Still Faster because of DFD
10:20: Solution #3: What is Depth from Defocus & How It Works
11:42: The Limitations of Depth from Defocus
12:33: Why Some Lenses Perform Better Than Others
13:00: The Importance of Autofocus Points & Coverage
14:13: Why You Shouldn’t Use Focus & Recompose
15:42: Practical Applications: Which AF System to Use When
17:22: Final Thoughts: Most Autofocus Systems Are Great
Canon has released Digital Photo Professional Express for Apple's iPad. The software can import and process .CR3 files on any iPad running the iOS operating system. You can download DPP Express at the App Store. It is currently not available for devices running the Andriod system.
“For portable and wireless digital photography workflows, Canon’s Digital Photo Professional Express (DPP Express) brings the powerful features of Canon’s DPP software to your compatible iPad. Working with Canon’s Camera Connect app*, DPP Express streamlines the processing of JPEGs and .CR3 RAW files with an intuitive and powerful interface. View images and adjust settings right on your mobile device, and save files to the cloud, a computer or your camera. With DPP Express, it’s incredibly easy to maintain a wireless RAW workflow on the go."
"To create and compare different versions of the same image, DPP Express enables Multiple Editing Histories. Helpful in differentiating and comparing effects or setting changes on the same image, this feature creates up to four editing histories to view and save. To apply the same set of corrections to different photographs, Edit Histories can even be copied and pasted among images using the DPP Express Copy and Paste adjustment functions.”
Since the EF 300mm f/2.8L IS II and EF 500mm f/4L IS II should be announced by mid 2019. Do not expect the same level of weight reduction, as those two lenses are significantly lighter than their 400mm and 600mm counterparts to begin with. I expect a weight reduction of about 1/3 to a little more than 2/3 of a pound, respectively.
The one lens I am most interested to purchase is the EF 600mm f/4 DO BR. Canon showcased it during the Canon Expo in September of 2015 in New York City. This will be the ideal Super Telephoto lens for wildlife photography for me. My current EF 400mm f/4 DO IS II can be a bit short on occasion.
As you know Wildlife Photography is very different from other forms of photography. It is tough enough to find and keep up with the wildlife. There is no time to fumble around with camera buttons while trying to keep one's eyes on the action once it is located.
Sadly, the EOS-R does not do fit any of my requirements except the feel and EVF of the camera is good. As expected, the pro model of the EOS-R will be announced some time in the first half of 2020 to compete with the Sony A9, Nikon Z7, Panasonic S1 R, etc.
My question to Canon is - Why be a Johnny-come-lately follower rather than an industry leader?
There is NO technical reason why Canon cannot make a full frame mirrorless camera that resembles the EOS-1 body and uses the EF native mount. It is totally doable. The compromise is made because the marketing department thinks more photographers will prefer a lighter, smaller camera - one of the main selling points of the mirrorless camera to begin with.
In a recent interview with the French photography site, Lens Numériques, Messrs. Mineo Uchida, Masato Seita and Shingo Hayakawa, (the people in charge of the EOS-R camera development) replied, when asked about IBIS (In Camera Image Stabilisation), one card slot and cropped 4K video :
"Yes, we are aware that mechanical stabilization is an important demand from the users, but considering the positioning of the EOS R, we decided not to integrate the IBIS […] because our priority was compactness. The compactness we wanted to have was not compatible with such a system. But of course, in the future, we will be able to answer them. This is our first model. We still have room for improvement. For the memory location, it is a question of compactness and priority for the photographers covered by the EOS R. We believe that one location is enough. And for the video, it’s the same answer. We believe that the intended target will be satisfied with the proposed modes."
Canon knows it is playing catch up to Sony in the high end mirrorless space. I hope they will not be distracted in spending too much time and money on beefing up the EOS-R line and delay some of their DSLR and EF lens upgrade. After all, the big prize - 2020 Olympics in Tokyo is just round the corner. How many pro photographers around the world do you think will be using the EOS-R to capture images of the game?
Over the next couple of years, one will hear all the wonderful new features and performance of the EOS-R and other full frame mirrorless cameras from the paid and 'unpaid' pundits, like superior 4K/near 8K video, in body image stabilization (IBIS), low light performance, unmatched ergonomics and mobility from a lighter body, etc.
The truth is many features and functionalities of high end DSLRs and Mirrorless will converge in the future until there is a almost a difference without a distinction. The real question is, how many photographers are ready to trade in or add another camera/lens combo to their current DSLR/lenses inventory.
The use of an adapter and the small size of the EOS-R prevent the new camera from functioning like the tradition EOS high end models. For those who like good performance and compactness wrapped in a small package, high end mirrorless cameras may be your solution. Personally, I am not willing to make this trade off to gain compactness and a little weight reduction.
Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.
Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.
Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.
Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.
Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.
Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $1999 USD.
MELVILLE, N.Y., September 20, 2018 – It’s a common saying that good things come in small packages and today, Canon U.S.A., Inc., a leader in digital imaging solutions, demonstrates this with the introduction of the new PowerShot SX70 HS compact digital camera. Featuring a 65x Optical Zoom Lens (equivalent to 211-1365mm), 20.3 Megapixel CMOS imaging sensor and 4K video capabilities, the PowerShot SX70 HS camera is an ideal fit for anyone who wants powerful optical performance in a compact package. With a minimum focusing distance of 3cm and a zoom up to 2730mm (with ZoomPlus), the PowerShot SX70 HS allows users to create beautiful close-ups and stunning wide shots without changing lenses.
PowerShot SX70 HS highlighted specs :
20.3MP CMOS Sensor
DIGIC 8 Image Processor
65x Zoom Lens
2.36m-Dot OLED Electronic Viewfinder
UHD 4K Video Recording, 4K Time-Lapse
Image Stabilization
Built-In Wi-Fi and Bluetooth
Continuous Shooting up to 10 fps
Zoom Framing Assist
“In this day and age, cameras are becoming smaller while the desired list of features continues to grow,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon continues to be committed to incorporating the latest features in our compact cameras and the new PowerShot SX70 HS is our very latest version, providing the dynamic combination of a compact body, powerful zoom and robust features that photo and video enthusiasts alike will love.”
The PowerShot SX70 HS features a 0.39-inch, approximately 2.36-million dot, high-definition OLED Electronic Viewfinder (EVF) for clear, crisp representation of what the lens is seeing. This camera also features 4K video shooting and frame grabbing,4 and is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3). With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye. Additionally, the inclusion of built-in Wi-Fi®5 and Bluetooth®6 technology offers quick and easy sharing, making the switch from smartphone photography to the PowerShot SX70 HS camera simple and fun.
The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS). Even during handheld shooting, IS allows users to take pictures with minimal worry about camera shake. The camera also features high-speed continuous shooting at up to 10 fps. A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting. With a large grip for comfortable, stable shooting and an EOS-like user interface, the PowerShot SX70 HS will make it easy for artistic vision to come to life in the hands of photographers at any level.
I attended an invitation only Canon EOS-R event last night in California and had a hands-on session with the production camera, all the RF lenses and adapters.
The feel of the body with the BG-E22 grip is reassuring for those who are used to grips on their EOS-5D and EOS-1 bodies. The LCD rear panel is super sharp but unfortunately, those are the only two things that impressed me.
The layout of the buttons and functionalities on the EOS-R are so different from the EOS DSLR series and the new features are not enough for me to spend time and money learning, adjusting and building a new line of lenses for my equipment bag.
For those who are willing to build up another line of lenses and like to keep their present EF glass, the EF - EOS-R adapter is simple and straight forward to use but the other two adapters with control ring and drop in filter features are 'solutions' to an non-existent problem and a waste of money.
I am waiting to upgrade my EOS-1D X Mark II and EOS-7D Mark II bodies to the Mark III models. They should be announced by the middle of 2019 or before. Below are some upcoming Canon announcements discovered through their certification applications.
K433
Mirrorless camera (a cheaper EOS-R model?)
Full size
Wi-Fi · Bluetooth installed
Maximum image size of test machine: 6240 x 4160
Probably will be released within 1 year
K435
Single lens reflex camera (Rebel T7i replacement?)
APS-C
Wi-Fi · Bluetooth installed
Battery level indication is displayed in 4 levels (same as 9000 D etc.)
Maximum image size of test machine: 6000 × 4000
Probably released in 2019
K436
Single lens reflex camera (EOS-80D Mark II or EOS-90D?)
APS-C
Wi-Fi · Bluetooth installed
Battery level indication is displayed in 4 levels (same as 9000 D etc.)
Maximum image size of test machine: 6000 × 4000
Probably released in 2019
K437
Single lens reflex camera (EOS-7D Mark III?)
Wi-Fi · Bluetooth installed
Battery level indicator is displayed in six levels (same as 5D Mark IV etc.)
MELVILLE, N.Y., September 12, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the new flagship model for the Company’s XF-series professional camcorders, the XF705. The camcorder features 4K (3840 x 2160) video shooting enabling users to record high-image quality at 60p/4:2:2/10-bit/HDR1 video to on-board SD cards. Ideal for broadcast and video production applications in addition to capturing video content at events and concerts, the 4K camcorder meets the needs of users who require high-quality video capture and more efficient video production workflows.
“The ability to capture high-quality video on-the-go in a compact and lightweight form factor is extremely valuable to videographers of all skill levels,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “This camcorder was designed to help professionals take their productions to the next level with 4K video recording and a wide-range of advanced features.”
The XF705 features an L-Series 15x optical zoom lens (35 mm film equivalent: 25.5 mm–382.5 mm), 1.0-inch CMOS sensor and a Dual DIGIC DV 6 image-processor providing greater image quality and performance. In addition, users can easily choose between two HDR formats—Hybrid Log-Gamma (HLG), ideal for such scenarios as broadcasting and live video transmission and Perceptual Quantization (PQ), which is well-suited during web transmission and film production. The camcorder features Canon’s newly developed XF-HEVC video format that enables users to record HDR video to SD cards while delivering a high compression ratio. It also allows HDR (internal SD card) and SDR (external recorder) simultaneous recording. Delivering smaller file sizes allows for more efficient workflows across various stages of the production process, from shooting to editing.
When shooting 4K video, focusing precision is vital, the XF705, featuring Canon’s revolutionary Dual Pixel CMOS AF2 enables users to maintain smooth autofocus operation through enhanced touch-panel operations. The XF705 meets a wide range of professional demands, with Canon Log 3, 12G-SDI, Built-in Wi-Fi, 4-channel audio, 3 density ND filter and 5 axis image stabilization for its 15x optical zoom lens. It is also compatible with the current leading non-linear editing software, as well as Canon XF Utility, a software that supports the new XF-HEVC video format, as well as XF-AVC and XF-MPEG, and is used for import, playing back and managing video data as well as cropping still-image data.
Availability and Pricing
The Canon XF705 professional camcorder is scheduled to be available in December 2018 with a suggested retail price of $6,999.00*. Additional CA-CP200 L power adapters are available for purchase as well with a suggested retail price of $285.00*. For more information, please visit usa.canon.com.
MELVILLE, N.Y., September 5, 2018 – Most professional photographers need to carry multiple lenses in their camera bags. Helping to lighten their load, Canon U.S.A. Inc., a leader in digital imaging solutions, introduces two new super-telephoto lenses, the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM. Both lenses possess a dramatic weight reduction and high-image quality, making it ideal for shooters to easily transport and capture images during action-driven scenarios, such as sports and wildlife. Both lenses now hold the title of world’s lightest in their respective focal length*. The weight of the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM lenses has been reduced by 2.2 lbs. (more than 25 percent) and 1.9 lbs. (more than 20 percent) respectively.
“When developing updates to some of Canon’s most popular legacy lenses, one common question that is asked by photographers was ‘can they be lighter,’” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The significant reduction of weight in these two lenses addresses this customer need and delivers thoughtfully designed, high-quality optics .”
The new lenses are must-haves for advanced and professional photographers shooting wildlife, aviation, sports and news with Canon’s new EOS R full-frame mirrorless camera (with use of one of the three new Canon mount adapters), as well the EOS 1D and 5D series of DSLR Cameras. Both lenses feature two of Canon’s most advanced propriety lens technologies - Air Sphere Coating (ASC) and Super Spectra Coating (SSC), helping to reduce flaring and ghosting, and suppressing the reflection of light, leading to vivid images. These updated lenses inherit the excellent overall build-quality and ruggedness photographers have come to expect and admire from the Canon EF L series of lenses. In addition, the minimum focusing distance has been improved for both lenses, from 2.7m to 2.5m (8.8ft to 8.2ft) for the EF 400mm f/2.8L IS III USM and 4.5m to 4.2m (14.8ft to 13.8ft) for the EF 600mm f/4L IS III USM.
Additional noteworthy features of the lenses include:
Upgraded Optical Image Stabilization from three-and-a-half stops to five shutter speed stops1 of correction over the previous f/2.8 lens
Improved, flexible focus control with a customizable electronic-focus ring
Two fluorite lenses and one super UD lens, helping to provide high image quality
Circular nine-blade aperture
17 lens elements in 13 groups
Heat-shielding paint helps prevent lens temperature from rising during excessive exposure to sun
Fluorine coating on front and rear optical elements, helps to reduce smears and fingerprints
Inner focusing system with Ring Ultrasonic Motor
Availability and Pricing
The Canon EF 400mm f/2.8L IS III USM is scheduled to begin shipping in December 2018 with an estimated retail price of $11,999. The Canon EF 600mm f/4L IS III USM is scheduled to begin shipping in December 2018 for an estimated retail price of $12,999.
MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next revolution in the company’s long history of innovative and award-winning camera systems, the EOS R system featuring the newly designed RF mount. You can download the whitepaper on this new camera here.
Recognizing the need to advance optical design, the Company sought to create a versatile and powerful new system that supports all current EF, EF-S, TS-E and MP-E lensesi, and also provides the optical advancements and engineering flexibility to build upon for years to come.
When Canon set forth to develop a new interchangeable lens camera system, they focused on three core optical principles: high-image quality, high-specification performance, and compact design. Recognizing that optics is the foundation for any camera system, the RF mount was conceived to open new doors in optical design. Canon’s new RF mount features the same size diameter as the EF mount (54mm) and shorter back focus distance. This allows for lenses to sit closer to the sensor (the focal plane) and allowed Canon optical engineers to reimagine lens design utilizing larger rear lens elements to produce an image on the full-frame sensor. This new optical formula has paved the way for higher performing lenses. In addition, the Canon RF mount features a high-speed 12-pin communication system that provides faster and more in-depth communication between the camera and lens over existing Canon mount systems.
The EOS R system is designed for full, uninhibited compatibility with all existing EF, EF-S, TS-E and MP-E lenses through the use of mount adaptersii. In addition, through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter these lenses, in fact, gain functionality.
“There has never been a time in history in which visual expression has been so prolific. Imaging, both still and video, are the communication mediums of today’s society. Much in the same way we learned to type in the past, today’s youth are skilled in shooting, editing, and visual storytelling in ways that only the masters of each craft were decades ago,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Knowing this, we needed to step back and design a system that delivers all the creative expression and functionality today’s youth crave, now and in the years to come.”
The First in a New System: The EOS R
The new Canon EOS R full-frame mirrorless camera features a 30.3 megapixel CMOS sensor that is powered by the Company’s latest image processor, DIGIC 8, enabling shooting at up to 8.0 frames per secondiii. The new camera inherits a lot from Canon’s legacy in both EOS and Cinema EOS. Video storytellers can capture stunning 4K UHD video up to 30fps and record in 10-bit 4:2:2 (with an external recorder). The EOS R also comes with the ability to shoot Canon Log, providing 12 stops of dynamic range, minimal loss of detail in shadows and highlighted areas and an increased range of choices when color grading. Users with an existing collection of Canon lenses will be excited to know that all EF and EF-S lens are compatible with the camera. In order to do so, photographers and videographers can choose between using one of three new mount adapters, each uniquely designed to meet the individual needs of the user.
The new Canon EOS R camera features Dual Pixel CMOS Auto Focus with 5,655 manually selectable AF pointsiv, supporting AF at up to f/11 with a 384 zone (24x16) real-time metering system. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as EV-6. When using the RF 24-105mm F4 L IS USM lens with the EOS R, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AFv, making it the fastest autofocus speed in the worldvi. These features provide photographers and videographers with Canon’s most advanced AF system to date. The EOS R also features a silent shutter setting when shooting in single-shot mode; an important feature for those who need to capture imagery without disrupting the scene. An upcoming free firmware update will enable silent shutter in continuous shooting mode as well.
“The EOS R system is not just a new camera or a new lens mount, it is a new design that will allow us to produce visual tools that were previously impossible, and allow our customers to tell their stories with greater depth, richness of color, and creative flexibility, in optically stunning ways.” states Kazuto Ogawa.
Thoughts From the First Users
“I think every camera system has its place and it’s all about having the right tool for the job,” reported acclaimed outdoor photographer and Canon Explorer of Light Jimmy Chin. “The new EOS R system for me in particular is very useful for the kind of shooting that I do in the mountains, where I need to worry about the size and weight. Having the option to use the new RF lenses or the EF lenses is really great.”
“I was instantly impressed with how quickly the EOS R was able to focus,” remarked celebrated fashion photographer and Canon Explorer of Light Lindsay Adler. “Whether my subject was moving or I was shooting in near-complete darkness, I had no problem getting tack-sharp focus in every shot. It was a relief to know my gear wasn’t going to hold me back from executing my vision, but instead it would really help me to execute this vision.”
“For us, it's all about getting the shot no one else can get, and a lot of this has to do with the camera,” says Devin Graham, director and filmmaker behind YouTube’s DevinSuperTramp. “The new EOS R will become one of our main cameras. It has a very small footprint, yet is able to create amazing images. As for the lenses, the new RF 28-70mm F2 has just become one of my all-time favorites. I’ll be bringing it on every project.”
Conveniently placed just to the right of the EVF, Canon has introduced a new Multi-Function Bar that will allows users to more easily access their customizable settings, such as AF, ISO and White Balance. Users will have the option to either slide or tap the bar to gain access to the settings and adjust on-the-go as they deem necessary depending on each particular shooting situation.
Answering the demand for enhanced mobile editing of RAW image files, Canon is also announcing a new application, Digital Photo Professional Express (DPP Express). In combination with an updated Canon Camera Connect App, DPP Express enables users to send, view, edit and process CR3 RAW files on their iPadvii. A free download of the app will be available October 2018.
Additional noteworthy features of the EOS R Camera include:
RF Mount Compatible with RF Lenses and EF/EF-S Lenses
Built-in EVF with 3.69 Million Dots, Vari-angle Touchscreen LCD and Dot-matrix LCD Panel
ISO range of 100-40,000, expandable to 102,400
USB 3.1 in-camera charging support
Built-in Bluetooth and Wi-Fi providing easy sharing to compatible smart devices and social media sites
Single UHS-II SD card slot
CR3(RAW/C-RAW) and Dual Pixel RAW Support
Dust and weather resistant
New Firmware update will include the following features :
Eye detect AF in continuous shooting. The EOS R launches with the ability to do this in one shot.
Additional touch bar functionality added.
Continuous shooting in silent shutter mode. The EOS R only allows this feature in single shot at launch.
A “few tweaks” to video functionality. The 4K crop will not be changed, nor will the maximum frame rate in 4K.
Bug fixes
Availability and Pricing
The Canon EOS R full-frame mirrorless camera is scheduled to be available in October 2018 for an estimated retail price of $2299 for the body only. It will also be sold as a body-and-lens kit with the new RF 24-105mm F4 L IS USM lens for $3399.
MELVILLE, N.Y., September 5, 2018 – Helping to rewrite the rules of visual expression, Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a variety of new RF lenses and accessories to accompany the newly announced EOS R Full-Frame Mirrorless Camera System. The four new RF lenses are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. The new RF mount enables new possibilities in optical design and lens formulation, allowing for faster and lighter lenses with higher performing optics.
The four new lenses, the Canon RF 28-70mm F2 L USM, RF 50mm F1.2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM capitalize on the robust optic foundation of Canon’s new EOS R system. The design behind Canon’s new EOS R camera and RF lens system started with the concept of the optimal rear lens element diameter and shorter distance (back focus) for a Full-Frame image sensor.
With over 130 million EF lenses in circulation since Canon launched the mount in 1987*, the Company is enhancing the possibilities for its loyal customers who own and love their EF glass. Canon is introducing three RF Lens Mount Adapters that expand the capabilities of existing EF lenses when paired with the EOS R camera. The Canon Mount Adapter EF-EOS R allows photographers to utilize the full breadth of Canon’s EF, EF-S, TS-E, and MP-E lenses on the newly introduced EOS R camera system. The Control Ring Mount Adapter adds a customizable control ring via the adapter that provides photographers with added functionality to their fingertips. The Drop-in Filter Mount Adapter now easily places circular polarizing or variable neutral density filters behind the lens, opening up new options for lenses such as the EF 11-24mm where using optical filters were previously not an option.
“Knowing exceptional optics are a vital tool in shaping the image a photographer captures, Canon designed the EOS R camera system from the ground up with optics as the starting point,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is very excited about the world-class optics we have developed to marry with the new RF mount. With our rich history and more than 130 million EF lenses being used across the globe, Canon optics will continue to be at the forefront of our digital imaging development now and into the future.”
New Canon RF Series Lenses
Three of the newly announced Canon RF lenses are counted among Canon’s top-of-the-line L-series optics; incorporating rugged, dust and water-resistant construction. All four new RF lenses feature a customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.
The Canon RF 28—70mm F2 L USM lens, the world’s first standard zoom lens with an f/2 aperturei is excellent for capturing landscapes, weddings and portraits with its large aperture for stunning bokeh. Initial testing within Canon has shown this new lens to produce better optical image quality and sharpness over similar focal length EF-series lenses, including the extremely popular and highly regarded EF 24-70mm f/2.8L II USM.
A portrait photographer’s must-have, the Canon RF 50mm F1.2 L USM lens sports an ultra large-diameter f/1.2 aperture and Canon’s Air Sphere Coating (ASC) technology to dramatically reduce flares and ghosting. This amazing new lens is capable of rendering subjects life-size on the full-frame sensor with its minimum focusing distance of only 0.59 inches.
Photographers seeking an all-around utility lens for the new EOS R camera system need to look no further than the Canon RF 24-105mm F4 L IS USM lens. Coming in nine percent shorter in length than the EF 24-105mm f/4L IS II USM, this compact lens employs a CIPA standard of 5 stops of IS and is equipped with NANO USM technology, the first L-series lens with the technology. This small chip-shaped ultrasonic motor is engineered to help deliver high-speed, smooth, precise and near-silent operation, plus full-time manual focus (when using one-shot AF).
A fast, wide-angle single focus lens, the Canon RF 35mm F1.8 MACRO IS STM lens is an excellent option for photographers looking for an affordable compact lens. Featuring a maximum shooting magnification of 0.5x, the lens can easily shoot macro photography of subjects such as flowers, food and even insects. The lens also utilizes a CIPA standard of 5 stops of IS and is compatible with Hybrid IS, compensating for both angular and shift camera shake.
Enhanced Capabilities for Canon EF Lenses
Thanks to its large lens mount design, Canon’s new EOS R series camera system delivers new capabilities in both design and function, but for existing Canon lens owners it does something incredible. It enhances the capabilities of existing EF and EF-S lenses with full compatibility and in some cases, enhanced functionality when paired with one of three RF mount adapters.
Canon lenses are historically top-rated, and the Company is looking to help customers gain even more value in their investment with three new RF mount adapters.
The Canon Mount Adapter EF-EOS R is a standard adapter that provides full compatibility with EF lenses. Autofocus, metadata, and Optical Image Stabilization on EF lenses all continue to work seamlessly with the new EOS R camera through this adapter.
The Control Ring Mount Adapter EF-EOS R continues full EF lens compatibility with the addition of a customizable control ring. Functions that can be assigned and adjusted by the control ring include aperture, shutter speed, ISO speed and exposure compensation.
In addition to full EF lens compatibility, the Drop-In Filter Mount Adapter EF-EOS R allows for lens filters to be used behind any EF lens and help photographers conveniently utilize variable ND and circular polarizing filters with any EF lens.
New Speedlite Series
Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.
Additional Features of the Canon Speedlite EL-100 include:
Maximum Guide Number of Approx. 85 ft./26m at ISO 100
24mm Wide-angle Coverage
Optical Wireless Flash Function (Sender and Receiver)
Flash Exposure Control Including Support for Stroboscopic Flash and Continuous Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
Mode Dial with AUTO Position
Availability and Pricing
The Canon RF 50mm F1.2 L USM will be available in October 2018 for an estimated retail price of $2299. The Canon RF 28-70mm F2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM will all be available for purchase in December 2018 for an estimated retail price of $2999, $1099 and $499.99 respectively.
The Canon Mount Adapter EF-EOS R and Control Ring Mount Adapter EF-EOS R will be available for purchase in October 2018 for an estimated retail price of $99.99 and $199.99 respectively. The Drop-in Filter Mount Adapter EF-EOS R will all be available for purchase in February 2019 for an estimated retail price of $399.99 with a variable ND filter or $299.99 with a circular polarizing filter.
The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $199.99.
