Canon EOS-5D 10th Anniversary Celebration in San Francisco

Celebrate 10 years of Canon EOS-5D Cameras. September 2015 will be the 10th anniversary of the launch of the original EOS-5D. The EOS-5D series cameras have been landmarks in DSLR photography.

The original EOS-5D brought full frame DSLR photography to the consumer and advanced amateur market. The EOS 5D Mark II raised the bar to 21.1 MP resolution while being the first DSLR to capture 1080P HD video. Hollywood has never been the same with TV shows and major motion pictures shot using the EOS-D Mk II.

The EOS-5D Mk III again pushed the limits with a combination of high resolution, amazing high ISO performance and six frames per second. The EOS-5D Mk III also brought the EOS 5D series to new levels with 61 AF points (similar to the EOS-1DX).

Now Canon has added the EOS-5Ds and EOS-5DsR cameras that push the envelope to 50.6 MP resolution. There is a top-rated merchant on eBay selling the Canon EOS-5Ds and EOS-5DsR cameras for $2,949 and $3,499, respectively, including free shipping. Hurry, it won't last. This is an excellent deal for those who want the highest mega pixel camera on the market and crave super high resolution photography.

I will not be buying this camera since it is not the right wildlife photography tool for me. I am waiting for the EOS-5D Mk IV and EOS-1D X Mk II, coming out later this year or early 2016. For those thinking of upgrading from the EOS-5D Mk III to either model, take a look at my comparison between the cameras.

Join Canon at Live Learning San Francisco on August 22, 2015 to celebrate the anniversary of this amazing line of EOS cameras. The address is : 201 California St., San Francisco, CA 94111
Email Canon for more info - SanFranciscoCanon@cusa.canon.com


EOS Camera and Lenses Display and Hands-On Demonstrations

See the latest Canon EOS cameras and lenses including all of the current and past EOS 5D cameras. Canon Live Learning Instructors will be on hand to answer your questions on equipment choices or photographic techniques.

EOS 5D History Presentation (1:30 pm)

A short history of the EOS 5D line of cameras, followed by the cutting of the cake.

Anniversary Celebration (1:45 pm)

Help us cut the anniversary cake and celebrate the 10 years of the EOS 5D camera line. Door Prize drawing follows.

“Bending the Light” (3:00 pm – 4:00 pm)

We will be showing the documentary “Bending the Light,” a Michael Apted documentary that honors the artisans and craft of still and motion photography and, in particular, the glass that captures it all.
EOS 5DS and EOS 5DS R Images

Talk with Canon Live Learning instructor, Dave Henry, about his experiences with the EOS 5DS and EOS 5DS R. Dave has shot over 22,000 images with these cameras. You will also be able to examine his 35 – 24’’ X 36” gallery prints, complete with descriptive metadata.

What is provided:

    Free Canon lens cloth to all attendees
    Free prints from Canon PIXMA printers (as time allows, bring your image on a flash drive)
    Free Anniversary Cake
    Door Prizes

Free Adobe Photography Plan with Canon EOS-5D3, EOS-6D, EOS-7D2

Canon USA is offering one year free subscription to Adobe Photography Plan and Kelby One training videos with the purchase of a EOS-5D Mk III, EOS-6D or EOS-7D Mk II camera. The offer expires October 3, 2015. Claims must be submitted between July 5 and November 7, 2015. 

The offer includes a 12 month subscription to the full version of Adobe Creative Cloud Photography Plan software, including the mobile version of Adobe Photoshop and Adobe Photoshop Lightroom plus 12 months access to KelbyOne Online Training in Adobe Photoshop and Adobe Photoshop Lightroom.

My readers know I have picked the EOS-7D Mk II as the best APS-C camera in sports and wildlife photography and the EOS-5D Mk III as the best value in full frame photography. For those willing to wait, the EOS-5D Mk IV may be announced later 2015 or early 2016.

Canon Videos Celebrate 10th Anniversary of EOS-5D Camera

* * *  Celebrate EOS-5D 10th anniverary with Canon  * * *

* * *  Review of the EOS-5Ds and EOS-5DsR cameras * * *

* * *  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 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 Europe Launches City Guide Series

Bodiam Castle, East Sussex, England

United Kingdom, Republic of Ireland, 6th May 2015 – Today Canon announces the launch of a series of downloadable and app based city guides that offer fresh and unique perspectives of six cities across Europe – London, Paris, Madrid, Berlin, Milan and Amsterdam. The curated guides invite consumers to explore the world around, look deeper and seek out the fascinating and beautiful stories that unfold everyday.

The introduction of the city guides is part of Canon’s continuing ‘Come and See’ brand campaign, the latest iteration of which features two freeclimbers who explore cities around the world from unique perspectives and breathtaking vantage points. The city guide series offer a more everyday look at cities, inviting people to take a fresh look at familiar landscapes and encouraging the discovery of hidden locations from unexpected angles.

To curate each exclusive guide, Canon has collaborated with six sets of influencers, local to each selected city. Each personality brings their passion, creative flair and area of expertise to offer their unique perspective on the tour stops mapped out :

    UK, London – Professional Parkour athlete and photographer, Scott Bass
    Spain, Madrid – Fashion and street style blogging duo, Mike & Gabriel of Cup of Couple
    Netherlands, Amsterdam – Professional photographers, Andres & Joyce of On a Hazy Morning
    Germany, Berlin – Graphic designer and blogger, Nina of Smaracuja
    Italy, Milan – Visual street artist, Alice Pasquini
    France, Paris – Photographer, Saúl Aguilar

Nigel Taylor, Consumer Imaging Marketing Communications Director, Canon Europe, commented, “In a world full of fascinating stories, breath-taking views and hidden gems, it’s natural that in the hustle and bustle of life we overlook and at times take our surroundings for granted. At Canon, we want to help consumers enjoy cities across Europe in all their unique glory. We hope that people will relish the opportunity to seek out new perspectives and in turn capture that beauty on camera or video to cherish forever”.

Downloadable City Guides

All six city guides will be available for download via Canon’s dedicated ‘Come and See’ website from May 1st 2015, inviting consumers to discover European cities as they’ve never experienced them before. In addition, the website provides consumers with insight into the ‘Come and See’ campaign, including videos featuring the influencers, as well as technology stories and product information.

City Guides via Canon Companion Apps

Each city guide will also be featured as part of Canon’s new EOS 760D & EOS 750D, and EOS M3 Companion apps, compatible with iOS and Android, consumers can download and use the app regardless of whether they own the product or not. Users will be able to navigate their way through guides and city maps and gain handy photography tips and advice to inspire and support them in their journey of exploration around each city¹.

Share your travel story with us!

City guide users are encouraged to share their favourite travel photos and experiences with the hashtag #comeandsee.

Advice On Buying Your First Canon DSLR Camera

Well, let us start with some hilarity on buying your first DSLR camera with the guys from DigitalRev. My readers know I have been a wildlife photographer using Canon equipment for 25 years. I started out with Minolta cameras before settling on Canon. There are many reputable camera manufacturers out there and I try to be brand agnostics. The best camera is the best camera and the best value is just that, best combination of performance and price, regardless of the manufacturer.

In the world of DSLRs, owning a camera body means buying into a proprietary lens system and most photographers are very reluctant to sell their old gear and acquire new ones just to change to a new manufacturer.

Canon's current lineup of DSLRs range in list prices from about $400 to $6,799. Some models are released recently while others are a few years old. I have picked four recommended Canon cameras for four different categories. You can also read my recommended list of Canon travel and wildlife lenses and see my work on MichaelDanielHo.com.


The best DSLR camera on the market - Canon EOS-1D X

Ever since the introduction of the Canon EOS-1 series camera in 1989, I have made this body my main piece of equipment and have upgraded to almost every new model through the decades. I am not the type who craves the 'latest and greatest' gear but once in a while, a new camera introduction can fill a gap in my equipment lineup. So when the EOS-1D X was announced, it seems to be the camera I am looking for so I placed my order and anxiously waited for the delivery.

The camera arrived last summer and I have put it through some real world, wildlife photo shoots all over the globe, from Alaska and the high Arctic to Africa, Europe and Asia using the Lexar 1000X UDMA 7 memory cards to take full advantage of the 12-14 fps burst rate. Read my review above to get the full details. After the release of Firmware 2.0.3 in January, the camera is even better than before.


The best value Canon APS-C DSLR for advanced users - EOS-7D Mk II

Canon announced the EOS-7D about 4 years ago. Although it does not have the 'latest and greatest' technology, it is still my pick for the best in class. It has an APS-C 18 megapixel CMOS sensor and Dual DIGIC 4 Image Processors, with ISO range from 100 - 12800 and speeds of up to 8 fps. It comes with the new, all cross-type 19-point AF system with improved AI Servo II AF subject tracking and user-selectable AF area selection modes.

It also has an Intelligent Viewfinder, an entirely new technology, provides approximately 100% coverage and displays user-selected AF modes as well as a spot metering circle and on demand grid lines. Read my review above to get the details and performance of this camera. The EOS-7D Mk II was announced September 15, 2014. I have taken delivery of this camera and wrote an extensive review on it after a rigorous field test in the sub Arctic photographing Polar bears.


The best value Canon full frame DSLR for advanced users - EOS-5D Mk III

Canon announced the EOS 5D Mark III in March 2012. It is a full frame camera and comes with a new 22.3 Megapixels sensor. The newest member of the EOS-5D family features a DIGIC 5+ Imaging Processor, 61-point High Density Reticular Autofocus (AF) System, 6 fps continuous shooting speed (50% more than 5D Mark II), dual memory card (1 CF and 1 SD) slots, enhanced video features with better noise reduction, longer video recording times, a built-in headphone jack for audio monitoring and an improved weather-sealed body.

The 5D Mark III shares many features of the Canon EOS-1D X, including the DIGIC 5+, 61-point AF array with up to 41 cross-type points and five dual cross-type, plus the ability to AF @ f/8. The only non EOS-1 camera capable of this feat in Canon's lineup.

The EOS-5D Mark III is well designed for cinematographers and independent filmmakers. It can capture 1080p Full HD video and 720p HD recording. It also has the new H.264 video compression formats for data storage efficiency. The camera can also double up as a Travel and Wildlife body with its ample megapixels for cropping and adequate 6 fps for action shots. Check out my post on the EOS-1D X vs. EOS-5D Mk III comparison.


The best value Canon APS-C DSLR camera for beginners - EOS Rebel T4i/T5i

The EOS Rebel T4i is not Canon's latest body but is an excellent choice for those who wish to leave the point-n-shoot camera behind and enter the DSLR world. The plastic body makes it lighter than higher-end cameras, but the feel is solid. It comes with the APS-C 18 megapixel hybrid CMOS sensor, DIGIC 5+ processor with a 9-point AF system and ISO range from ISO 100 - 12800.

In addition, it is the first DSLR camera to feature a side-hinged, articulating touchscreen LCD monitor. When mated to the Canon EF-S 18-135mm f/3.5-5.6 IS and EF 10-18mm f/4.5-5.6 IS STM lens, it can focus with almost complete silence, a feature many videographers love. It is a camera with the proper mix of performance and price for the beginner/amateur DSLR market and therefore is my pick. Check out my post on the Rebel T5i vs. Rebel T4i comparison.

Canon EOS-7D Mk II vs EOS-6D Comparison

The Canon EOS-7D Mk II and EOS-6D cameras were announced in September (2014) and September (2012) respectively. I have picked the EOS-7D as the best APS-C camera four years in a row and I eagerly waited for the 7D Mk II's arrival. I took the new camera to the sub Arctic for some vigorous field testing last month and wrote an extensive review on it.

Over the last few years, I have been asked by photo enthusiasts which is a better camera, the Canon EOS-7D or the EOS-6D, and now the EOS-7D Mk II. In the interest of full disclosure, I am not a fan of the 6D. The 6D is a good camera for those who want to get into full frame photography on a limited budget. It has an older sensor of roughly the same megapixel as the 7D Mk II. The native ISO range (64-5600 vs 100-16000) and burst rate (4.5 fps vs 10 fps) are quite a bit less than the 7D Mk II. The 7D Mk II is equipped with Dual Pixel CMOS AF technology and can take excellent videos, especially when paired with the STM lenses.

The big difference is the EOS-7D Mk II has a much bigger buffer (31 vs 16 RAW) and better AF system (65 vs 11 AF cross-type points). This will be crucial when one is primarily interested in sports and wildlife action photography. On the other hand, the EOS-6D is a good choice and value for those who would like to get into more serious landscape photography. For my money, I would look into a good used EOS-5D Mk III camera first before buying a new EOS-6D. You can see my works on MichaelDanielHo.com

Canon EOS-5D Mk III DSLR Camera - $2400 Shipped

Canon EOS-5D Mk III DSLR camera

There are two top-rated merchants on eBay selling the Canon EOS-5D Mk III camera for $2,400 including free shipping. Hurry, it won't last. This is an excellent deal and my pick as the best value in full frame DSLR camera two years in a row. This camera is on its way to have a 3 year replacement cycle in the second half of 2015. You can read the latest post here.

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

Canon EOS-5D Mk III Camera - $2500 Shipped

Canon EOS-5D Mk III camera

There is a top-rated merchant on eBay selling the Canon EOS-5D Mk III camera for $2,500 including shipping. Hurry, it won't last. This is an excellent choice and my pick as the best value in full frame DSLR camera three years in a row.

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

Canon Offers Autumnal Foliage Photo Tips

 

Wood Duck bathing in a cornucopia of Autumnal colors

Canon Digital Learning Center put out an article with tips on how to photograph Autumnal foliage.  You can see more of my works on MichaelDanielHo.com. The following is the article in its entirety.

Autumn begins around late September, bringing with it a seasonal change that inspires photographers across the nation: Fall foliage. Autumn’s dramatic landscapes are stunning to behold and the challenge is how to preserve the impact in a still photograph that captures the unique quality of this season.

An autumn-colored tree is a subject unto itself. It is a time where a photograph of a simple tree can stand on its own and, in most cases, break all the rules of composition. There’s just something special about a tree (or landscape full of trees) turning brilliant colors this time of year. However, if you take it a step further — give the tree some dramatic lighting, throw in a compositional aid such as a creek or road, make use of color filter effects, and think carefully about framing and composition — then you’re on the right track to making a great photo that doesn't just rely on pretty colors.

Location, location, location
In New England, most scenes will include scenic structures such as a picket fence or a quaint steepled church. The mid-Atlantic states and mid-west regions will have large areas of rolling hillsides, with possibly some farming composition opportunities. The West has grand mountain landscapes with pockets of color and majestic mountain peaks. The color starts up north and works its way south like an ocean wave. There are many helpful web sites that chronicle foliage progress and colors through the country, for example: The Foliage Network, The Weather Channel, and the US Forest Service, to name but a few — and countless others that are specific to regions, states, and even neighborhoods.

Out west, the colors seem more influenced by altitude than latitude. At the 10,000 ft. level foliage can be in full color by September 21st, most years. Foliage in the 4,000–5,000 ft. altitudes will usually see color the end of October.

Get Closer

The temptation of wide shots, of entire forests or mountainsides may be hard to resist. However, variety is important. Shoot the panoramic landscapes, but also remember that beauty can be found in the details.

Macro photography is a great way to explore the colors and textures of autumn, while also using unique points-of-view.

Another way to get closer is simply switching to a longer telephoto lens, or zooming to a longer focal length with a zoom lens. Telephotos are great for isolating parts of subjects, and they usually will throw your backgrounds beautifully out of focus. Try focusing close with that telephoto lens — with many of today’s zoom lenses, you can fill the frame with a single large leaf.

Out-of-focus backgrounds are a photographic effect you can heighten, or reduce, by controlling your aperture: wider apertures will result in a shallower range of focus, and softer backgrounds. Smaller apertures will increase the range of focus, resulting in sharper backgrounds. You’ll need to make the creative choice depending on what, and how much of the background you want to see in the image. This is a perfect reason to switch to your camera’s Av (aperture-priority) exposure mode, if you’ve been using fully automatic exposure up to now.

Take the time to consider the background, and experiment with more dynamic ways to make your main subject stand out.

Don’t forget the power of wide-angle lenses. A standard zoom lens, such as an 18–55mm lens, can produce some spectacular results — especially if you move in close at its widest setting and focus upon one object in the foreground. A low-hanging branch with leaves can suddenly become a broad burst of color and detail, if you move in and focus upon the nearest leaf.

Lighting

Most photographers will agree that lighting is the most important ingredient in a photograph; with foliage it really is, because understanding how to use sunlight to your best ability will make those fall colors as bright and vivid as you want them.

One of the ideal times to shoot is during the ‘magic’, or golden hour, generally during the first half-hour right after the sun rises in the morning, and the last half hour just before the sun sets at the end of the day. During these times, the quality of light is ideal for autumn landscape photography: the sunlight is naturally warm, rich, and golden-hued — further enhancing the colorful leaves. The angle of the sunlight is lower and more directional, helping create enhanced textures and shapes using it as side-light, or increased depth if used as a backlight.

The quality of magic-hour sunlight is more diffused, with a pleasing contrast that is less likely to overexpose in the highlights, or underexpose in the shadows.

Hazy and overcast lighting bring a completely new set of opportunities. These forms of lighting are diffused, or non-directional, and will produce shadowless subjects and render your colors in soft pastel shades. On overcast days you only have to remember to keep as much white sky out of your frame as possible. Fall showers can inspire beautiful photo opportunities, as well. Fall colors can look even more saturated during or right after a rainstorm, and moody skies can offer that perfect contrast to the colored foliage. Use a macro lens and look for details such as raindrops clinging to the leaves.

Shoot some back-lit pictures, with the sun coming toward the camera and shining through leaves. Back-lighting can really increase the rich color of fall foliage. Move the camera to use other leaves to block the sun and shade the lens in order to reduce or eliminate the lens flare.

Bright sunlight toward the middle of the day can have its own benefits, even though the character of clear sunlight from overhead is often less flattering to foliage than when the sun is lower in the sky. One thing that can really enhance sunlight pictures in mid-day is a circular polarizing filter, to cut reflections off the surfaces of the foliage, and deepen its color. We’ll discuss filters in a moment.

Exposure

The secret to metering any lighting situations is to fill the frame with the light you’re trying to photograph. This can be accomplished three ways: first, you can move closer to the subject to fill the frame — but this can be difficult if you’re framing some trees with a distant mountain in the background.

The second solution is to use the longest focal length on your zoom lens, or a long telephoto prime lens, to crop your frame tightly onto your main subject, and meter it in isolation from distracting elements in the scene that may otherwise confuse your meter. Use Auto Exposure Lock (press once on the rear button with the asterisk icon on Canon EOS DSLRs) to hold that exposure in-place. Then, reposition the lens/zoom out to the correct focal length for the best composition, and shoot the picture.

Finally, Spot or Partial metering can help you isolate exposure on one critical area of a scene, and you can then lock it in with one press on the rear AE Lock button (with asterisk icon). Be sure your camera is in a Creative Zone exposure mode (P, Tv, Av, or M), and you can change metering to either Spot or Partial. Place the center area of your viewfinder upon the part of the scene you want to meter from, and then press the AE Lock button to hold that reading. Using Manual exposure mode, and simply adjusting aperture/shutter speed until the analog meter scale in the viewfinder reads proper exposure is another great feature to combine with Spot or Partial metering, since once you set exposure, it won’t change as you move the camera around.

Even though this isn’t directly exposure-related, if you’re working in bright sunlight (even early or late in the day) with a Canon EOS camera, consider activating the camera’s Highlight Tone Priority. This can really help take some of the edge off of bright specular highlights, giving you more detail in shiny areas of leaves and foliage, and helping to enhance overall detail — without simply darkening the entire scene. Highlight Tone Priority is usually activated in the Custom Function area of the menu for most Rebel models, and in the Shooting menu for most mid-range and high-end EOS cameras.

Playing With Color

Once you find the perfect scene for your photos, consider how to not just capture the colors, but how to really make the most of them in a way that compliments your overall image.

The camera's white balance settings will help create different tonal effects. Simply switching from Automatic White Balance (AWB) or Daylight to the Shade or Cloudy modes will add a warm, golden hue to your image. Also try to shift your camera’s white balance towards amber or amber/magenta to add warmth to the image. (You can easily do this with the White Balance Shift/Bracket feature, a menu option on most recent EOS digital SLRs).

Take a custom white balance (such as with an ExpoDisk Portrait, or blue WarmCard White Balance Reference) to create a golden cast to your photos. In your RAW images, if there is something white or neutral grey, try using the “click” white balance feature when you view the images in the DPP.

Remember that contrast can help colors to “pop” — for example, the warm tones of autumn leaves will be enhanced with the subtle inclusion of something cool (blue, or blue-green) in the frame. For example, a vivid sliver of sky, or a blue-painted automobile or house strategically placed in the foreground.

As a reminder, White Balance settings are “locked in” to JPEG images, but can always be changed when processing a RAW file.

Picture Style, and Other Enhancements

Canon's Picture Style can help create just the look and feel you want in your fall foliage shots. You can select one of the preset styles, such as Standard, Portrait or Landscape. For fall foliage, Landscape gives the greatest default level of saturation, emphasizing blues and greens. It also boosts yellow objects with added saturation. The added sharpness and saturation even adds vividness to foggy/overcast scenes.

Another Picture Style you may want to try is Canon’s “Autumn Hues.” This one isn’t pre-set in cameras right out of the box, but can be downloaded free of charge from Canon’s web site and uploaded into your camera. You can find this, and several other specialized looks at the Canon Picture Style Special Site. You can also create your own Picture Style, using Canon’s Picture Style Editor software, and store it in the camera's memory for future use. If you prefer to shoot JPEG images, whatever Picture Style you choose will be “locked in” to the image file — so make your Picture Style selections in your camera’s Shooting menu thoughtfully.

If you shoot in RAW images, you can always adjust or completely change your Picture Style in Canon’s Digital Photo Professional (DPP) Software. With any of the pre-installed Picture Style choices (except Monochrome), you can further adjust Contrast, Color Saturation, Color Tone, and Sharpening; this can be done in DPP and even on the camera’s Picture Style menu before shots are taken. And, in DPP, you can download one of the special Picture Style files, apply it from DPP, and experiment with settings like the afore-mentioned Autumn Hues Picture Style.

The Canon Digital Learning Center has a series of instructional video tutorials on the features and functionality of Canon's Picture Style Editor, a free application bundled with every EOS camera, used to selectively modify any existing picture style or even create your own, found here: Picture Style Editor Tutorials.

High Dynamic Range (HDR)

Another technique to try is High Dynamic Range imaging (HDR). There are two HDR methods :

    Multi-image (learn more with the tip series HDR: From Capture to Post)
    Single-image (learn more with the tip series Single Image HDR)

Multi-image HDR is created by combining several images of different bracketed exposures, taken at the same time in rapid sequence. This is the traditional method, and depending on the number of bracketed images your camera can take, offers the widest range of exposure and tonal detail to create your HDR image. However, for multi-image HDR to work effectively, there has to be zero movement in the scene during the sequence of bracketed shots. The challenge with foliage is the amount of movement from frame to frame with wind blowing the branches, leaves moving, clouds passing across the sky, and other uncontrollable elements.

Where subject motion is possible, as with landscapes, the single-image process may be preferable. It starts with a single RAW image — from there, you process it several times with software such as Canon’s Digital Photo Professional; processing is varied to create intentionally light, dark and neutral renditions of the single RAW exposure. Then, use a editing program with HDR capability, such as Photomatix™ or Adobe® Photoshop® to combine those images and create an expanded dynamic range. You can create HDR effects that range from subtly increasing detail in the highlights and shadows, to much more dramatic effects that surreally exaggerate the colors and tones in your scene.

As of September 2014, the EOS line includes four DSLRs with in-camera HDR processing: the EOS 5D Mark III, EOS 6D, EOS 7D Mark II and EOS 70D. This allows for the capture and creation of bold HDR imagery, without the need for any additional software or editing time. To learn more about how to use this creative feature in the EOS 5D Mark III, click here. (The basic operation is similar in the EOS 6D, EOS 7D Mark II and 70D, albeit with fewer finishing options.)
Thinking Beyond Color

The most difficult part of fall foliage photography for most people is simply finding the right subject. Ironically, it’s easy to be distracted with the color, so that actual subject content and scene composition are less important that the leaves. The secret to overcoming this challenge is to start by getting rid of the color — that way, you can concentrate on finding the perfect subject, composition, and lighting, to “hold” the color. To do this, try using the Monochrome Picture Style mode.

How will Monochrome Picture Style help you? Your images will appear in B&W on your camera’s LCD, and without the distraction of color, you will be better able to find that perfect combination of scenic composition, point of focus, angle of light, subject texture, etc. These are the elements that will make your photos really powerful.

Please note that if you shoot JPEG images in-camera, your Picture Style is locked in — so the Monochrome image you capture in camera will ALWAYS be a monochrome image. If you shoot RAW images, however, you will preserve all the original color information in the photo, allowing you to produce a finished color or B&W photo — even if you originally shot it with the Monochrome Picture Style.

If you prefer shooting in Monochrome Picture Style, EOS cameras also allow you to simulate the effect of applying traditional yellow, orange, red, or green filters used with B&W photographic film. When using the color filter effects, the B&W tones are portrayed differently, depending on the color. Basically, each filter will lighten its own color tones, and darken their complimentary tones. For example a green filter will lighten green grass and darken reds or yellows, such as warm skin tones. The red filter will lighten the deep reddish or golden tones of autumn leaves, and darken a blue sky, resulting in a very dramatic effect.
Filters

Although there are many different creative filters you can put on a camera lens, three stand out with digital SLRs for foliage, scenic and landscape images :

The Circular Polarizer

This popular filter performs functions that still, to this day, cannot be achieved in the same manner with even the most advanced image-editing software. It can enhance colors in non-metallic subjects by reducing or even eliminating glare and reflections from their surfaces. And, it can deepen clear blue skies (particularly when the camera is aimed at about 90° from the direction of sunlight). Finally, for distant shots on sunny days, it can help to minimize atmospheric haze. On clear days, the effect of a circular polarizing filter can be vivid enough to change the look of your images.
 
Neutral Density filters

Available in various strengths, this is simply a light-reduction tool to allow use of slower shutter speeds (and/or wider lens apertures) in brightly-lit conditions. Gray to the naked eye, good ones have no impact on color — and unlike a Circular Polarizer, Neutral Density filters don’t have any impact on reflections or color saturation. Neutral density filters come in several calibrated levels, often rated as .3, .6, .9 and ND 1.2 , with each .3 rating representing one stop of light. Therefore the .6 ND filter would reduce light by two stops, the .9 ND filter reduces light by three stops and the 1.2 will reduce by four stops of light. These filters can be stacked in any combination to achieve the desired amount of light reduction needed in brightly lit circumstances or when used for longer exposures.

Graduated Neutral Density filters
 
The graduated neutral density filters come in the same ratings, but are clear on the bottom and slightly opaque on the top, with either an abrupt (hard edge ‘grad’) or a gradual shift (soft edge ‘grad’) in the middle. They are used to darken the brighter part of a scene so that it falls within the dynamic range of the camera.

Steadiness and Stabilization

One way to improve the overall quality of your photographs is to use a tripod. A tripod accomplishes a few very important goals: It allows you to shoot at slower shutter speeds than you would normally get away with, even with an Image Stabilized (IS) lens. It permits using significantly smaller lens apertures, for greater depth-of-field or simply for greater sharpness at one area of a scene. Perhaps even more importantly, shooting on a tripod tends to make photographers more aware of their horizontal and vertical level, and you will notice right away if the horizon is not perfectly straight or if your subject looks off-balance in the frame. Lastly, even the fairly minimal effort it take to set up and level a tripod makes you work slower and more deliberately, which can help photographers to notice imaging possibilities they may have otherwise missed with faster, hand-held shooting.

If you’re not using a tripod and you’re using a lens with Image Stabilization, our suggestion is simple: turn the I.S. on. In hand-held situations, it’s an easy route to clear, sharp pictures. In general, the only time we suggest turning the I.S. off is when you are mounted on a solid, steady tripod.

Summary

Autumn is a great opportunity for all photographers to make some really colorful and outstanding photographs. There are few subjects as universally inspiring as fall foliage. Remember to look for different ways to shoot familiar subjects, whether it’s up-close, down low, with filters, after dawn, or during a storm — and you will find it pays off in many wonderful, dynamic shots that capture the spirit of the season. You can see more of my works on MichaelDanielHo.com

Canon EOS-5D Mk III vs. Nikon D810 Comparison

Nikon announced their D810 camera about 3 months ago. This is a follow on model to their highly successful D800. The D810 comes with a new FX-format CMOS sensor with no optical low-pass filter, the latest EXPEED 4 image-processing engine, and a 36 MP sensor with a standard range of sensitivities from ISO 64 to ISO 12800 and a burst rate of 5 fps.

By the way, Nikon issued a service advisory for the newly-released D810. It seems some models were experiencing a ‘thermal issue’ when long exposures could cause bright spots to appear on the images. If you own the D810, check the serial numbers here, but if you are planning to buy one, look for the Blue Dot sticker on the box like the photo below. It indicates the problem has been addressed.

The Canon EOS-5D Mk III was launched about two and a half years ago. It comes with a 22MP CMOS sensor, DIGIC 5+ Image Processor, 61-Point High Density Reticular AF and an extended ISO range of 100–25600 and a burst rate of 6 fps.

Many pundits have put forth their own analysis of Canon vs. Nikon comparison over the years with charts and graphs on many different models but I like to point out in today's camera technology, a two year+ difference in launch dates can represent an almost entire new generation in technology sometimes. So any side by side comparison should take this into account because the other company will always come out with another follow on model later, incorporating the latest improvements.

Canon EOS-5D Mk III $2,570 Including Shipping

Canon EOS-5D Mk III camera

There is a top-rated merchant on eBay selling the Canon EOS-5D Mk III camera for $2,570 including shipping. Hurry, it won't last. This is an excellent choice and my pick as the best value in full frame DSLR camera three years in a row.

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

Canon 'Used' EOS-5D Mk III Magic Lantern RAW Footage

The above video apparently contained a few seconds of footage shot with the Magic Lantern hack of the Canon EOS-5D Mk III software to produce video quality much higher than the compressed H.264 files. Does Canon know about this when they released the video or is it just an oversight?

New Canon Prime 'L' Lenses coming in 2015

Canon EF 'L' prime lenses

I am still on a wildlife photo shoot in Alaska. You can follow my travel on Facebook and Twitter. Visit my website MichaelDanielHo.com to see photos from my previous shoots.

Canon is expected to be busy the last half of 2014. The EOS-7D Mk II and EF 100-400mm f/4.5-5.6L IS II are two announcements expected to come the first week of September.

There is a chance Canon may even announce their Mega Pixel camera at the end of 2014 or early 2015. Then the EOS-5D Mk IV and EOS-1D X Mk II are expected to debut in the first half of 2015. In addition, Canon is also expected to update their EF prime 'L' lens lineup around the same time, perhaps to coincide with the 5D or 1D replacement. The models most likely to be announced are the 35mm and 50mm models.

Sigma has been giving Canon and others a run for their money by introducing a very good line of prime and zoom lenses. The new Canon 'L' lenses are expected to be smaller and lighter than their predecessors and come with the latest coatings and optics.

Canon EOS-5D Mk III Camera For $2,559

Canon EOS-5D Mk III camera

There is a top-rated merchant on eBay selling the Canon EOS-5D Mk III camera for $2,559 including shipping. Hurry, it won't last. This is an excellent choice and my pick as the best value in full frame DSLR camera three years in a row.

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

Canon EOS-5D Mk III Product Advisory - LCD Illumination

UPDATE :

Please see the changes to the “Identification Procedure” section below regarding criteria for affected serial numbers. The identification method has been enhanced to include the first digit in the identification procedure in order to more precisely identify affected products.

Thank you for using Canon products.

Concerning the EOS 5D Mark III digital SLR camera, when the LCD panel illuminates in extremely dark environments, the displayed exposure value may change. Canon has concluded the investigation of this phenomenon, and this announcement informs you of our findings as described below.

Phenomenon

In extremely dark environments, if the LCD panel illuminates, the displayed exposure value may change. However, based on the results of extensive testing this change in exposure value will not noticeably affect the captured image.

Affected Product

The phenomenon described above may occur in Canon EOS 5D Mark III Digital SLR Cameras whose first and sixth digits of the serial number are as set forth below.

Identification Procedure :

Serial Number: [XnnnnNnnnnnn]
"X"="0" and "N"="1" or "2"
"n" represents any digit.
Examples of affected serial numbers are: "0nnnn1nnnnnn" or"0nnnn2nnnnnn"

Support

Under almost all shooting conditions (including dark environments) this phenomenon will not affect your captured images. However, if you would like Canon to inspect your camera, we will provide this service free of charge upon request beginning in mid-May. Please contact Canon using the information below to request service.

This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.

Please register the EOS-5D Mk III. By registering, we will be able to notify you via email when service updates are available. If you already registered, please ensure you are opted-in to receive the notification.

Thank you,
Customer Support Operations
Canon U.S.A., Inc

Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-800-OK-CANON, 1-800-652-2666
TDD: 1-866-251-3752
Email : carecenter@cits.canon.com
For additional support options : www.usa.canon.com/support

Canon EOS-6D Auto Exposure Bracketing Tutorial

Canon USA has put out a tutorial video on how to use Auto Exposure Bracketing on the full frame EOS-6D camera. I am not a big fan of this camera although it can be a good value for those who are limited in their equipment budget. See the other videos on multiple exposures and in camera HDR as well.

Read my post on the EOS-5D vs. EOS-6D comparison and my guide to the best Canon DSLR cameras. You can see my works on MichaelDanielHo.com 

Canon Quick Tips - Photographing Fireworks

4th of July is just around the corner. Canon Digital Learning Center has put out an article on how to photograph fireworks. Keep experimenting and happy shooting. Below is the article in its entirety.

Fireworks are one of the most inspiring and photogenic, yet challenging subjects, to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, a few accessories and a willingness to experiment, you'll capture amazing fireworks photos this Fourth of July!
Setting up for fireworks

Try to arrive early enough to scout out a good location to take pictures from. You don’t necessarily need to be close to where the fireworks will be launched from, but you want to be sure you’ll have a clear, unobstructed view of open sky where you expect them to explode. The closer you are to the fireworks, the more you’ll have to aim the camera upward to capture them, and the wider a lens you’ll generally need to get them into the frame without cutting part of the fireworks out of the picture.

Be aware of factors like wind. Fireworks produce smoke and if you’re downwind from where they’re launched from, you’ll be shooting through a veil of smoke that’ll interfere with your color, sharpness and exposure after the first few bursts.

And of course, try to find a location where you won’t be partially blocked by other people viewing the fireworks and, likewise, where you won’t be an obstruction to others in attendance. You won’t be able to avoid crowds completely — but by arriving early, you hopefully can find a location that combines a clear view and is a bit offset from crowds of people.

Bring a few things to keep you comfortable: a portable lawn chair, mosquito repellent and perhaps a lightweight long-sleeve shirt to minimize problems with biting insects on summer nights. Since you may be waiting around for a while for the show to start, don’t forget things like water. A small, clean hand towel can be helpful on hot nights to prevent sweat from getting onto the camera or your lens. And while it’s not a comfort item, a small flashlight can be invaluable for changing camera settings after dark.

Camera Settings: Exposure modes

Get out of AUTO! With near-black nighttime skies and the illumination from bright, thin streaks of fireworks, this is one instance where your camera’s automatic exposure system simply can’t be expected to deliver proper results. In all likelihood, Evaluative Metering and auto exposure in an EOS camera will try to render the dark skies to a middle shade of gray and, in doing so, grossly wash-out your fireworks. There’s a better answer:

Turn your camera’s mode dial to “M” for Manual and manually select a shutter speed, aperture and ISO. Or, set the camera to its “Bulb” setting — more on that in a moment.

Even though we speak at length about dialing-in your own specific shutter speeds, this is one instance where (usually) shutter-priority (the Tv mode) on your camera won’t be an ideal choice. Like any form of automatic exposure, the Tv mode can be fooled by broad expanses of dark sky and end up over-exposing the fireworks you’re hoping to capture.
Camera Settings: Shutter speeds

Long exposures at slow shutter speeds are the norm for photographing fireworks. Most shooters experiment with long shutter speeds anywhere from one full second to 30 seconds or longer for fireworks. These relatively long exposures will allow the burst from the fireworks to produce moving streaks, which can be stunning against a dark sky. There’s no “right” shutter speed here, so many users will try different speeds to get a feel for the sorts of fireworks pictures that result. With the camera set to Manual exposure mode, simply turn the Main Dial on top of the camera to set the speed you want to use.

Since many digital SLR shooters rarely venture into the range of slow shutter speeds, it’s helpful to remember that with all Canon EOS cameras, any shutter speed of one full second or longer is indicated by two “quote marks” after the number displayed in the viewfinder and on the body’s information panel. In other words :

    5" = five full seconds shutter speed
    0' '5 = one half-second shutter speed
    5 = one fifth-second (1/5) shutter speed

When manually dialing-in shutter speeds for fireworks, most users will want to see speeds with the two digital quote marks displayed after the number. Remember, the longer the shutter speed, the longer the trails of light for each fireworks burst will be in your images.
Multiple fireworks bursts in one image:

At longer shutter speeds, such as 10 seconds or more, it’s sometimes possible for two or more fireworks to be captured in one single exposure. How multiple bursts of fireworks will line up in a picture is unpredictable, but it’s definitely something to experiment with. You can dial-in timed shutter speeds as long as 30 seconds with all Canon EOS cameras. But for shutter speeds longer than 30 seconds, you’ll need to switch to the BULB setting, where you can hold the shutter open for as long as the shutter button is kept in its fully depressed position.

BULB with EOS Rebel models :

Set camera to Manual (M) mode; turn top Main Dial to progressively slower shutter speeds, until “BULB” is displayed

Most other EOS models :

Turn Mode Dial to “B” setting. With EOS-1D and 1Ds series models, press MODE button and turn top Main Dial until “bulb” appears on top LCD info panel

Camera settings : Lens apertures

Manual exposure mode requires you to set an appropriate lens aperture, as well as shutter speed. Here are a few points to keep in mind:

There is no “correct” aperture for fireworks shooting! In general, especially at longer shutter speeds (such as eight seconds or longer), you’ll want to stop the lens down to smaller apertures, such as f/11 or thereabouts, to ensure the fireworks aren’t over-exposed and washed-out.
Smaller lens openings (higher f-numbers, such as f/16) will tend to give you thinner fireworks streaks with richer color saturation and less tendency to wash-out (especially if more than one burst of fireworks appears in the same image). 

If you do use shorter shutter speeds (such as 1 second), this is an instance where you should start out at wider lens apertures, such as f/4 or f/2.8. Adjust as needed after shooting and viewing the first few fireworks shots you take.

Don’t pay attention to the metering scale in your viewfinder! Normally a reliable tool when setting exposure in Manual mode, this scale will read the dark sky and try to guide you into a middle-gray rendering of this dark expanse — exactly what you don’t want in fireworks pictures. Set an initial shutter speed and lens aperture in Manual mode, shoot a picture or two and look at them on your LCD monitor. Adjust shutter speed and/or lens aperture as needed but, again, fireworks are an unusual type of photographic subject, so ignore that metering scale!

Be sure you know how to set lens apertures in Manual or Bulb mode with your camera. With EOS Rebel models, press the Av/± button (hold it in) and turn the top Main Dial. For other EOS models, turn the large Quick Control Dial on the back of the camera to adjust aperture when in Manual and Bulb mode.
Camera settings: ISOs

Even though you’re shooting the nighttime sky, fireworks are generally a situation where you want low ISO settings. Unless you’re trying to use shutter speeds faster than perhaps 1/8 or 1/4 of a second, we normally would suggest manually dialing-in low ISOs such as 100 or 200.

Once again, we usually suggest that you bypass the Auto ISO settings in your camera. They are a potentially valuable asset in “normal” daylight shooting conditions, but fireworks represent an unusual type of lighting that doesn’t lend itself well to most types of automatic exposure control.
Image Controls in EOS cameras

Aside from the exposure control settings we recommend above as good starting points for fireworks, there are a couple of other settings you may want to consider which can impact the image quality of your fireworks pictures:

Highlight Tone Priority

This can be a big benefit in fireworks pictures — helping to add color and vitality to streaks of fireworks, and minimizing that washed-out look to bright highlight areas. It can be set with nearly any recent EOS camera, and works at any shutter speed. About its only limitation is that when it’s active, the lowest available ISO speed is now 200, rather than ISO 100. Regardless, this is a setting that should be strongly considered.

Neutral Picture Style

This will similarly tend to reduce contrast, expand your dynamic range, and give you color in bright fireworks streaks that might have been rendered as a washed-out, bordering-on-white tone at factory-default settings. Fireworks pictures are rarely about increasing detail in dark sky tones — we usually want them to be dark in the finished pictures — but anything that can enhance bright highlights in your fireworks is helpful.  These two features are worth trying the next time you shoot fireworks images.

Supporting and firing your camera

There’s no getting around it: a firm support (ideally, a tripod) is mandatory for satisfactory results when shooting fireworks. Even if you’re using an image stabilized lens, the likelihood that you can hand-hold that and the camera completely steadily at slow shutter speeds, like one second or longer, is pretty slim.

Once the camera is mounted on the tripod, you’re still faced with firing it without the risk of having the camera shake from your finger pressing the shutter button. Anything you can do to minimize the impact from physically pressing the shutter button is helpful. Here are some of your options:

Use the self-timer

Activating the camera’s self-timer still requires you to press the shutter, but gives either a 2-10 second delay before the shutter actually fires — giving the camera a few moments to “settle down” from any shaking after the camera was touched. The problem is that you no longer can precisely time your shots to match when a fireworks rocket is launched upward. But at longer speeds, when you expect to have the shutter open to capture multiple bursts, the self-timer may be a viable option.

Use an accessory Canon Remote Controller

An electronic remote control switch (sometimes generically referred to as an “electronic cable release”) is a short cable that connects to the camera and has its own shutter button. By pressing this button, you can trigger the shutter without directly transferring shake to the camera and lens. One huge benefit of the Remote Controllers is that their shutter button can be physically locked in its fully depressed position with a sliding lock switch, allowing the camera’s shutter to remain open steadily for long Bulb exposures.

Here is a list of which Canon Remote Controllers work on which EOS cameras :

Canon Remote

EOS Digital Rebels (all); EOS 60D; EOS 70D :  Remote Controller RS60-E3

EOS 5D series (all); EOS 6D; EOS 7D; EOS 10D - 50D : Remote Controller RS80-N3, Timer Remote Controller TC80-N3

EOS-1D, EOS-1Ds (all versions) : Remote Controller RS80-N3, Timer Remote Controller TC80-N3

Use an accessory wireless infrared remote control

Canon also makes cordless remote controllers, which fire an infrared beam to trigger the shutter on compatible EOS cameras. The compact and affordable RC-1, RC-5 and RC-6 remote controllers work with specific EOS models, allowing them to be fired up to about 15 feet from the camera. The professional-grade LC-5 remote controller is a set with a separate transmitter and receiver for cameras compatible with the “N3” type remotes listed above. The shooter can be up to about 300 feet (100m) from the camera with the LC-5.

Unlike the cord-type remote controllers, the infrared cordless ones cannot hold the shutter open in Bulb mode. They can, however, be used when you manually set a shutter speed, down to 30 seconds.
    
Use your Android or iOS mobile device to remotely fire select EOS cameras

The EOS 6D is the first Canon EOS model to have built-in Wi-Fi capability. One option with this system is to download Canon’s free “EOS Remote” app to your phone, connect the camera and phone, then remotely fire the camera from the phone. You can even see a live view of the scene through the lens of the camera on the phone before you fire it, then see the finished image after it’s taken. The phone can be up to about 100 feet (30m) from the camera. Bulb mode can be used with EOS Remote and your mobile device, with the camera’s shutter remaining open as long as you keep the button on the phone’s LCD screen depressed (there is no separate locking switch for long bulb exposures). To check out other features the EOS 6D is capable of, check out our on-camera tutorials.

Techniques for taking fireworks pictures

Option 1: Bulb mode for one fireworks burst

With the camera pre-positioned and set to Bulb mode, watch for a fireworks shell to be launched upward. Press the shutter button to open the shutter and keep it open for the burst to occur. Wait a few moments after the initial burst to record the streaks and any secondary bursts that may occur. Then remove your finger from the button to end the Bulb exposure.

Option 2: Bulb mode for multiple bursts

Same as above, but after the first burst, keep the shutter open for another burst or two. Don’t go overboard, because as multiple bursts on one image build-up, you can easily run into over-exposure. Depending upon where each appears on the image, the beauty of individual bursts can become more of a jumble of random streaks. Two or three bursts can be effective, but don’t feel like you have to keep the shutter open for a minute or longer — you’ll likely just over-expose the scene.

Option 3: Bulb mode for long exposures — the “Baseball hat technique”

Leaving the camera’s shutter open for long periods in Bulb mode to capture multiple bursts can be effective when they occur in quick succession, but (especially early on in a fireworks show), some time may occur between each shell launch. If you’re looking to get multiple bursts in this situation, bring an opaque baseball cap to cover the lens in between each burst while the shutter remains open in Bulb mode. This is especially easy if you’re using an accessory electronic remote switch with a locking shutter button.

Let the camera capture the first explosion, then immediately (and gently) drape the baseball hat over the lens, to cover it. Leave the shutter open, with the remote’s button still in its locked position. When the next bursts go skyward, remove the hat to expose the imaging sensor and after it’s completed, “cover” the lens with the hat again. Don’t mix too many fireworks bursts this way, but experiment with different numbers of them. When you’ve got enough for one picture, slide the locking switch to unlock the remote’s shutter button and the exposure ends. You’re ready for the next bulb-timed picture. If you don't have a baseball hat, any solid object large enough to fully cover the front of the lens should work fine (such as a piece of cardboard).

Option 4: Use faster shutter speeds to “freeze” a fireworks burst

Unlike many shooters who use long shutter exposures, Canon Product Educator Jim Dicecco has had great success using shorter speeds.

Jim explains: “Fireworks are much easier to shoot than most people expect. However, you do need to plan ahead. Here is my usual equipment: a digital camera, a wide-angle zoom lens (my favorite focal length for shooting fireworks with a full-frame camera is about 24mm, or a 15mm lens on cameras like an EOS Rebel or 70D), a remote shutter release and a small tripod.

“My camera settings are usually:  ISO 100, Bulb mode (generally held open for about half a second to two seconds) and the aperture all the way open (usually around f/2.8, f/3.5 or f/4 depending on the lens). Focus is usually set to infinity but the first few fireworks can help establish focus. I prefer using cameras with Live View so I can watch while I'm shooting. When the shot is taken, it is all about timing. I look for the rockets to take off and try to time the explosion. I use the remote release so not to move the camera and hold down the button watching as the fireworks expand to the point where I want to stop the exposure. It’s all about timing the expansion of the display in the air. Post-production consists mostly of cropping since composition was difficult to control under these circumstances (one reason for the wide angle lens).

“Finally, don’t even think of trying to use flash! It won’t help capture distant fireworks though it will help illuminate objects or people in the foreground if you want to take portraits with fireworks in the background.”

Focusing the lens

Now, turn the focus ring until you’re set at infinity focus. Some Canon lenses have a distance scale printed on them for this purpose, but others (like the popular EF-S 18-55mm kit lens) do not. If you don’t have a distance scale, with the lens set to “MF” and the front of the lens facing you (as if you’re staring into the lens), turn the focus ring with your fingers clockwise until it stops. Now leave it there and do not set it back to “AF” until you’re done shooting fireworks.
Digital “noise” in long exposures

Any time a digital camera’s shutter is held open for longer than a few seconds, for technical reasons, it’s possible to see an increase in visible digital “noise” in the picture. This is sort of like film grain or the “snow” you might see on a TV screen with weak reception. As shutter speeds get progressively longer (10 seconds, 30 seconds, 1 minute and so on), this noise can build up and become increasingly apparent. Most Canon EOS digital SLRs have an available feature called “Long Exposure Noise Reduction,” which can be activated by either a Custom Function or menu setting.

Some users wonder why this noise reduction feature isn’t always on at all times. The answer is that using it can slow down your shooting of one picture after another. To do its job, Long Exposure Noise Reduction has to re-energize your imaging sensor and take a “blank” exposure, after your actual picture is taken, for the same length of time. During this time, you cannot shoot another picture — the red card “busy light” on the back of the camera stays on until the process is completed. If you shoot a 30 second exposure, the camera has to be tied-up for an additional 30 full seconds to process before your next picture can be taken. This can be a problem during rapid repeating bursts of fireworks.

As a practical matter, the noise build-up at shutter speeds of 30 seconds or shorter (10 seconds, 1 second and so on) is so minimal that you’re usually better off leaving this noise reduction off for fireworks shooting. But if you do anticipate using the “baseball hat” technique and utilizing longer bulb exposure times, you may find a noticeable quality boost if this feature is set to on. Long Exposure Noise Reduction only applies to images taken at shutter speeds of one second or longer and is ignored at shorter speeds like 1/2 second, 1/60th and so on. Finally, don’t confuse this with “High ISO Noise Reduction” on your camera’s menu. They’re two separate and independent things.
Your camera’s battery life during long exposures

Generally, the battery in an EOS digital SLR can power the camera for hundreds of pictures in ordinary daylight conditions. But longer shutter speeds require more battery power to hold the shutter open and build-up exposure on the imaging sensor. If you shoot a series of long exposures, you definitely need to be aware that batteries won’t last as long. For long exposures, camera makers rate the battery power in terms of total length of time a freshly charged battery can hold the shutter open. Here are a few examples supplied by Canon’s engineers at 73°F/23°C — keep in mind that these don’t factor-in use of the LCD monitor, such as Live View shooting, or playing-back images during shooting:

    EOS Rebel series: Approx. 2 ~ 2.5 hours
    EOS 60D: Approx. 6 hours
    EOS 70D: Approx. 4 hours
    EOS 7D, EOS 50D: Approx. 2.5 hours
    EOS 5D Mark II and Mark III: Approx. 4 hours

Most Canon EOS digital SLRs accept an optional Battery Grip, which does allow the photographer to install one or two rechargeable batteries. With two batteries installed, any of the above figures would be doubled. Battery grips with an extra battery pack can be a great accessory for extensive shooting of fireworks displays.

Composition in fireworks shots

No matter what kind of subjects or photography we’re speaking of, great pictures begin with great composition — that is, the placement and arrangement of subjects in the image.

Fireworks pictures are no different, but they present a challenge since you can’t see your final subject until it explodes in the night sky and you’re actually capturing it.

You don’t always want to be among the spectators closest to the fireworks themselves. By backing off and occasionally using a telephoto lens, it’s sometimes easier to get good, sharp images of a burst of fireworks, compared to looking upward with a wider-angle lens.

Look at the first burst or two to judge how much of the sky they take up, how high they go and what lens(es) will be appropriate for the types of shots you’re looking for. Remember, you can back-off with a wide-angle lens and incorporate more of the surrounding area (possibly a powerful technique near a city skyline) or you can zoom in with more of a telephoto lens to emphasize the colors from the fireworks themselves with less emphasis on the surrounding sky.

Just as when you’re shooting pictures of people, consider whether to use horizontal or vertical composition. Try to look through the viewfinder during the first burst or two to judge what will most effectively fill the frame and the amount of background information you want. Also, don’t let your eyes play tricks on you when you look through your viewfinder or use the Live View feature on your camera: it’s easy to concentrate visually on the fireworks’ burst as it happens and lose sight of the fact that there may be large black areas of surrounding sky that you’re not taking into account. Always try to judge the position and size of the subject in the context of the entire picture area, from corner to corner. The Live View feature of many recent EOS models can be useful to get an idea from the first burst or two of how the frame will be filled.

Try mixing things up as you shoot the show. Change lens apertures, alter the number of bursts you capture on a single frame, vary your zoom setting, shoot some pictures with foreground details and others where you’re zoomed in more on the sky. The more you shoot, the better the chances of some really exciting pictures.

Canon Patent - EF 400mm f/4 DO IS

Canon EF 400mm f/4 DO IS lens

* * *  Read the latest post on EF 400mm f/4 DO IS II lens  * * * 

A new patent for the Canon EF 400mm f/4 DO IS has been uncovered by Egami of Japan. The current EF 400mm f/4 DO IS is my favorite prime Super Telephoto lens but its design and technology is 'aging' after the initial introduction in late 2001. The current lens is in my equipment bag on all my photo shoots. You can see my works on MichaelDanielHo.com

 Patent Publication No. 2014-109700

•         Publication date 2014.6.12
•         Filing date 2012.12.3

 Example 1

•         Focal length f = 392.00-381.59-332.99mm
•         Fno.
•         Half angle ? = 3.16-3.10-2.81 °
•         Image height Y = 21.64mm
•         The overall length of the lens 292.02mm
•         BF 105.64mm