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Showing posts with label Equipment Analysis. Show all posts
Showing posts with label Equipment Analysis. Show all posts

Monday, October 20, 2014

CDLC Explains 'Rattling' Sound From IS Lens




You just removed a Canon lens equipped with Image Stabilization from the camera and mounted another one. But as you start using the combo, you hear a slight rattling sound coming from inside the lens. You give it a gentle shake and sure enough, something is loose inside. It happened to me with the EF 500mm f/4L IS II Super Telephoto lens out in the field. Is there something wrong with the lens? Should I stop using the lens and call Canon’s Service department? Not necessarily! Let Canon Digital Learning Center explains why.

Normal operation : Image Stabilization turns itself off

Canon Image Stabilized lenses perform their “magic” by having a group of lens elements that are held together and can be very precisely moved up, down, left or right. With most (but not all) IS lenses, a device called a “coil” (not a coil spring!) holds these elements and responds almost instantly with these tightly-controlled movements to commands from the IS detection sensors and circuits in the lens. It’s this ability to move these lens elements — in direct response to any detected camera movement — that allows the optical image stabilization within a Canon IS lens.

When IS is not active in the lens, these correction elements need to be held in a centered position, to allow best optical quality when shake-correction is not needed. Normally, when you use IS, it’s activated along with the camera’s light meter when you press the shutter button half-way down and a few seconds after you remove your finger from the shutter button, you’ll often hear a soft “click” coming from the lens, as the IS system locks the moveable elements in the coil in a centered position. You can think of this as a “parked” state for these moving correction elements.

During typical operation, when the camera’s meter system turns off, the IS system is signaled by the camera to lock and center the correction elements and using power from the camera, the IS system performs this task. If you were to remove the lens at this point, you’d hear no noises from the IS correction elements because they’re physically locked in that centered, “parked” position.
So why is there sometimes a rattling sound?

If you were to physically remove a lens from the camera body immediately after you shoot a picture, with the IS still active, the correction elements are still in a free state and ready to move in any direction as commanded by the IS detection system. But as you twist the lens to remove it from the lens mount, power from the camera suddenly stops.

If this happens, the IS correction optics have not been locked and centered and are loosely contained by the coil which holds them. They can and will bump into surrounding mechanisms within the lens barrel if you, for instance, were to move or shake the lens deliberately — and this is exactly the rattling you hear.

Nothing is wrong with the lens and under normal circumstances, this won’t damage anything (obviously, it’s not the recommended state to store the lens in long-term!). All that’s happened is that IS did not get the chance to turn itself off normally and, thus, the correction group of elements are not physically locked in their normal, centered position. Don’t panic if you hear this soft rattling sound in the lens; it’s easy to correct.

Correcting the rattling sound in an IS lens

All that’s needed is to re-mount the lens, turn the camera on, and then tap the shutter button halfway down to start Image Stabilization again. Now, just remove your finger from the shutter button, wait a few seconds for the camera’s meter to turn off automatically (IS simultaneously turns off), and you’ll hear the IS system lock and center the elements with a familiar soft “click” sound within the lens. Now, remove the lens normally and, assuming the lens is otherwise in proper operating condition, you won’t hear the rattle any more!

Avoiding this problem with certain IS lenses is simple: just wait for the IS system to lock and center the elements before you remove a lens from the camera body. Normally, this happens six seconds after you remove your finger from the shutter button (if you haven’t just taken a picture) or two seconds after taking the most recent picture. Turning the camera OFF via its main On-Off switch will also allow the IS system to properly “park” the correction optics.
Will this happen with my IS lens(es)?

Canon has utilized different Image Stabilization mechanisms within the range of IS lenses that have been produced since the first IS lens (the EF 75–300mm f/4–5.6 IS lens, which was introduced in 1995). The majority of Canon IS lenses use the type of IS mechanism described in this article and are susceptible to the correction elements not being properly “parked” if the lens is removed improperly.

Some recent IS lenses use a slightly different mechanism, which in non-technical terms automatically returns the correction elements to a centered position, regardless of how power to the IS system is halted. Thus, lenses like the popular EF-S 18-55mm f/3.5–5.6 IS USM and similar recent lenses don’t go through the same lock-and-center process as IS is deactivated and are not susceptible to having loose correction elements rattle inside a lens.

Of course, there are now third party and independently produced lenses that can be used on Canon EOS cameras, which have optical-type shake-correction as well. We cannot speak to their operation, nor whether they may be susceptible to any specific issues if attachment or removal procedures aren’t precisely followed – consult the instructions of any third-party stabilized lens or contact the manufacturer, if you have questions or concerns.

Summary :

It’s natural to be concerned if a lens that had been operating perfectly suddenly sounds like something is very loose and rattling around inside the lens. While in theory, a lens with a physical defect can certainly exhibit the same traits, try the procedure described directly above and see if that doesn’t correct the issue before concluding that any Canon-brand Image Stabilized lens is defective. In most cases, it’s not a defect at all, but a natural characteristic of Canon IS lenses that happened to be removed too quickly from the camera.

Monday, August 25, 2014

How To Find Out Canon Cameras Shutter Count




Dave Dugdale of Learning DSLR Video has put out a helpful clip on how to find out the actuation counts of your Canon DSLR camera. First, you download the free software from ShutterActuations.com. It is only available for Windows based PCs. The following Canon DSLRs are supported : 1000D, 1100D, 450D, 500D, 550D, 600D, 650D, 40D, 50D, 60D, 7D, 5DMkII, 5D MkIII, 1D MkIV, 1D X.

There is a competing product from Dire Studio called ShutterCount. It also displays the number of shutter actuations for Canon EOS digital cameras only. The shutter count is read directly from a USB-connected camera, and provides more accurate numbers than with the simple EXIF-based methods.

ShutterCount can display only the shutter count for still photos, not video clips.Only Canon Service Center can provide an accurate mirror movement reading that includes videos. For the best compatibility with your camera, it is recommended to upgrade the camera’s firmware to the latest available version.

The following cameras are supported :

  • Canon EOS-1D C (requires firmware 1.1.3 or later for correct serial number display) 
  • Canon EOS-1D Mark IV 
  • Canon EOS-1D X 
  • Canon EOS 5D Mark II 
  • Canon EOS 5D Mark III (requires firmware 1.2.1 or later for correct serial number display) 
  • Canon EOS 6D 
  • Canon EOS 7D 
  • Canon EOS 50D 
  • Canon EOS 60D 
  • Canon EOS 70D 
  • Canon EOS 100D / Rebel SL1 / Kiss X7 
  • Canon EOS 500D / Rebel T1i / Kiss X3 
  • Canon EOS 550D / Rebel T2i / Kiss X4 
  • Canon EOS 600D / Rebel T3i / Kiss X5 
  • Canon EOS 650D / Rebel T4i / Kiss X6i 
  • Canon EOS 700D / Rebel T5i / Kiss X7i 
  • Canon EOS 1000D / Rebel XS / Kiss F 
  • Canon EOS 1100D / Rebel T3 / Kiss X50 
  • Canon EOS 1200D / Rebel T5 / Kiss X70

Mac OS X ($2.99) – Current version is 1.2, Requires OS X 10.6.8 or later, 64-bit processor
Windows ($2.99) – Current version is 1.0, Requires Windows 7 SP1 or later, 32-bit or 64-bit processor

Friday, July 18, 2014

Canon Video On Understanding White Balance




Canon has released more Tutorial Series videos. The above video deals with understanding White Balance and how to set them. You can also view other videos on Prime lens and DSLRs ;  Transfer between WiFi enabled cameras ; WiFi setup and remote capture ; Using filters and tripods ; External monitoring options and cinema rigs and learn about how a Canon Image Stabilizer lens works.

I have been a wildlife photographer using Canon equipment for 25 years. You can see my wildlife lens  and camera recommendations and see my works on MichaelDanielHo.com

Wednesday, July 16, 2014

Canon Videos On Prime Lens And Cameras






Canon has released more Tutorial Series videos. The above videos deal with using Prime lens and Full and Cropped frame cameras. You can also view other videos on How to set White Balance ; Transfer between WiFi enabled cameras ; WiFi setup and remote capture ; Using filters and tripods ; External monitoring options and cinema rigs ; How to build a follow focus rig and learn about how a Canon Image Stabilizer lens works.

I have been a wildlife photographer using Canon equipment for 25 years. You can see my wildlife lens  and camera recommendations and see my works on MichaelDanielHo.com

Canon Videos On Using Filters And Tripods






Canon has released more Tutorial Series videos. The above videos deal with using Filters and Tripod systems. You can also view other videos on transfer between WiFi enabled cameras ; WiFi setup and remote capture ; Using filters and tripods ; External monitoring options and Cinema rigs and learn about how a Canon Image Stabilizer lens works.

I have been a wildlife photographer using Canon equipment for 25 years. You can see my wildlife lens and camera recommmendation and see my works on MichaelDanielHo.com

Canon Videos On External Monitoring And Cinema Rigs






Canon has released more Tutorial Series videos. The above videos deal with External Monitoring Options and Cinema Rigs. You can also view other videos on transfer between WiFi enabled cameras and WiFi setup and remote capture ; Prime lens and cameras ; Using filters and tripods and learn about how a Canon Image Stabilizer lens works.

I have been a wildlife photographer using Canon equipment for 25 years. You can see my wildlife lens and camera recommmendation and see my works on MichaelDanielHo.com

Friday, July 11, 2014

How A Canon Image Stabilization Lens Works


A line of Canon EF lenses some equipped with Image Stabilization 




I have been a wildlife photographer for 25 years using Canon gear and can attest to the real benefits of Image Stabilization lens technology, especially the latest generation, with a 4 stop advantage. You can read my FAQs on equipment and see my works on MichaelDanielHo.com. Below is an excerpt from Canon Professional Services, explaining how their IS equipment work.

"Camera shake is the thief of sharpness. If you are hand-holding a camera and lens, they will move as you press the shutter release. Movement during exposure blurs the image.

Much of the time, you will not notice the effects of camera shake. If you are shooting with a fast shutter speed or a wide-angle lens, the blurring may not be significant? but it will still be there, and might appear if you have a big enlargement made from the image.

The only way to overcome camera shake is to eliminate the movement of the camera and lens during the exposure. The obvious way to do this is by taking the camera out of your hands and fixing it to something that will not move, such as a photographic tripod. However a tripod is only effective if it is sturdy, which usually means heavy.

Fortunately, Canon offers another method of reducing, if not eliminating, the effects of camera shake. Image stabilization lenses, first seen in 1995, approach the problem laterally. Rather than trying to stop the movement of a hand-held camera, they seek to introduce an opposing movement within the lens. The aim is to keep the image static on the sensor or film, despite the movement of the camera.

How image stabilization works

Image stabilization was available for camcorders long before it was introduced in EF lenses. Both electronic and optical systems were available, but size or weight constraints meant that neither was suitable for EOS cameras. So Canon went back to the drawing board and took a fresh look at the problem.

Its solution is a group of elements inside the lens that moves perpendicular to the lens axis. The movement of this special lens group is controlled by an on-board microcomputer and counteracts the shaking of the camera.

The following sequence of events takes place when the camera shutter release button is partially depressed :

  • The special stabilizer lens group, which is locked in a central position when not active, is released.
  • Two gyro sensors start up and detect the speed and angle of any camera movement.
  • The sensor data is passed to a microcomputer in the lens that analyses it and prepares an instruction for the special stabilizer lens group.
  • This instruction is transmitted to the stabilizer lens group that moves at a speed and direction to counteract the camera movement.

This complete sequence is repeated continuously so that there is an instant reaction to any change in the amount or direction of the camera shake.
When the first EF IS lens was introduced, it was the first time that a high speed 16-bit microcomputer had been incorporated in a lens. The computer simultaneously controls the Image Stabilizer, ultrasonic motor (for focusing the lens) and the electromagnetic diaphragm (for setting the lens aperture).

Image stabilization is effective with movement from 0.5Hz to 20Hz (1Hz is one movement cycle per second). This will cope not only with situations from simple camera shake (0.5Hz to 3Hz), but also the engine vibrations encountered when shooting from a moving vehicle or helicopter (10Hz to 20Hz).

There is no reduction in the optical performance of the lens. Power for image stabilization lenses comes from the camera battery, so there will be fewer exposures per battery charge when an image stabilization lens is attached to the camera and switched on.

  • Camera shake is detected by two gyro sensors in the lens one for yaw and one for pitch. The sensors detect both the angle and speed of the movement.
  • When the camera is static, the rays of light pass through the lens and form an image on the film or digital sensor.
  • When the camera moves, the rays of light from the subject are bent relative to the optical axis and the image shifts slightly on the film or digital sensor. You can see this effect in the camera viewfinder if you gently shake the camera while viewing a subject.
  • With an IS lens, the gyro sensors detect the camera movement and pass the data to a microcomputer in the lens. This instructs a special group of lens elements to move at right angles to the lens axis. The amount and direction of this movement is just enough to counteract the amount and direction of the camera shake. The result is that the paths of rays of light passing through the lens are adjusted so that the image remains stationary relative to the film or digital sensor.

Image Stabilizer modes

One problem with the first two EF IS lenses produced is that the system regards panning as camera shake, and tries to overcome it. This causes the viewfinder image to jump about, making it difficult to see and frame the subject accurately.

On the later lenses, you have the option of two IS modes. Mode 1 is the same as before and is used when you are shooting static subjects.

Mode 2 can be set when following a moving subject with the camera (panning). The lens detects the sweeping movement and switches off the IS correction in that direction (horizontal or vertical). IS correction in the direction perpendicular to the panning movement continues as normal to help give a sharper image.

When panning the camera to follow a moving subject, use Mode 2, if available. This switches off the Image Stabilizer in the direction of camera movement to avoid confusing the image stabilisation system. Image stabilisation for movement at right-angles to the direction of panning is not affected.

IS Mode 3

IS Mode 3 was announced with the EF-300mm f/2.8L IS II USM and EF-400mm f/2.8L IS II USM lenses, and is also in the EF-500mm f/4L IS II USM and EF-600mm f/4L IS II USM telephoto lenses. IS Mode 3 takes the benefits of standard IS (effective for both horizontal and vertical camera motion) but, instead of it being active all the time, it only activates when you fully press the shutter button to take an image. It is especially useful for sports photography where you are likely to be moving between subjects quickly.

In IS Mode 1 this can create a bump or jump within the viewfinder as the IS motor races to keep up with extensive lens movements. Instead, by not activating until the shutter button is fully pressed it saves the system trying to compensate for random, rapid lens motion and only compensates at the point you are taking an image.

Hybrid IS

Introduced with the EF-100mm f/2.8L Macro IS USM lens, Hybrid IS takes the image stabilization concept and applies to it to macro photography. When using longer lenses or for general purpose shooting, any camera shake appears to be rotational - i.e. an up and down or side-to-side movement around a point - that point being the camera. This is effectively corrected by the IS motors contained in the lenses. However, when you move in close for macro photography the camera shake motion appears to be less rotational and more shift based - as if the whole frame is shifting up and down or side-to-side parallel to the subject. This is what Shift IS found in the Hybrid IS system of the EF-100mm f/2.8L Macro IS USM lens aims to correct.

How effective is image stabilization?

The earliest IS lenses give a gain of about two shutter speed steps. This means, for example, if you shoot with a shutter speed of 1/60th of a second with IS, it will be the equivalent of 1/250th of a second if you shoot without the Image Stabilizer switched on. Or if you can obtain a sharp image without image stabilization at a shutter speed of 1/60th of a second, you will produce results of similar sharpness at 1/15th of a second with image stabilization, other factors staying the same.

One of these factors is focal length. Increasing focal length not only magnifies the subject ? it also magnifies the effects of camera shake. A useful guide is that you should use a shutter speed at least equal to the reciprocal of the focal length when holding the camera and lens by hand. So if the focal length of the lens is 200mm, the shutter speed should be at least 1/200th of a second.

More recent IS lenses have improved their effectiveness, giving a three-step, or even a four-step gain. A four-step gain means that shooting with a shutter speed of 1/15th of a second with image stabilization gives the same image sharpness as shooting at 1/250th of a second without image stabilization.

Recent lenses also have the IS system up and running within 0.5 second of partial pressure on the shutter button, rather than the 1 second delay with earlier lenses.

Keep in mind that image stabilization only reduces the effect of camera shake ? it has no effect on subject movement.

Camera compatibility

IS lenses work with all EOS cameras, regardless of when they were introduced. The IS system ? gyros, microcomputer and special lens group ? is part of the lens, not the camera. However, there is some communication with the camera and there are some operational differences between the EOS SLR models.

  • If you are using the EOS 10, 1000-series, 600, 620, 650 or RT, you will see the viewfinder image shake a little immediately after an exposure. This does not affect the sharpness of the exposed image.
  • If you are using the built-in flash of early EOS models (EOS 10, 100, 1000-series, 700, 750), you will see the viewfinder image shake while the flash is recycling. This will not affect the sharpness of an exposed image.
  • There is some shaking of the viewfinder image after exposures in the DEP mode with the EOS-1, 1N, 10, 100, 5, 600, 650 and RT. This does not affect the sharpness of the exposed image.
  • When an extender is attached to the lens, image stabilization does not operate with the EOS 1, 10, 100, 1000-series, 5, 600, 620, 650, 700, 750, 850 and RT cameras.
  • During a bulb (B) exposure, image stabilization does not operate with most EOS models. It continues with the EOS 1000-series, 5, 500 and 700. It stops immediately after the exposure starts with the EOS 1, 10, 100, 600, 620, 650 and RT. In all cases, image stabilization is unlikely to be effective with long exposures. Canon recommends that the Image Stabilizer is switched off for bulb exposures.
  • With the EOS 3, 50, 50E, IX and IX7, image stabilization does not work when the self-timer is used.
  • With the EOS 10, 5, 600 and RT set to AI Servo, and with the film advance mode set to continuous, autofocusing will not resume after the AF Stop button has been used until partial pressure is reapplied to the camera shutter button. This also applies to the EOS 5 and 10 set to Sports mode.

We do not have full data for every IS lens/EOS camera combination. Before taking a picture, look through the viewfinder to check that the IS system is operating correctly (remember to allow up to 1 second for the system to start up after the shutter button is partially depressed). If there does not appear to be any increase in the steadiness of the image, or the image is jumping around in the viewfinder, there is probably an incompatibility. Movement of the image in the viewfinder immediately after an exposure is not usually a problem and will not affect the sharpness of the exposed image.

Accessories for IS lenses

IS lenses work well when used with accessories. Add an EF extender and you can increase the effective focal length of the lens by 1.4x or 2x. Increased focal length means that the effects of camera shake are also magnified, so the image stabilization is very useful. EF extenders are compatible with L-series and DO lenses of focal length 135mm and greater, and a small number of wide-aperture telephoto zoom lenses.

Image stabilization also remains effective when extension tubes or close-up lenses are used. An extender can be used with many IS lenses. Image stabilization remains effective with most recent EOS camera models.

Keep a tripod

Although an IS lens gives more opportunities for hand-held shots, there will still be times when the support of a tripod is needed ? with exposure times of several seconds, for example, or when working with heavy EF-500mm or EF-600mm lenses.

With some of the earlier lenses, you need to switch the IS off when using a tripod. The lack of movement confuses the system and the image starts to jump around the viewfinder. However, using a tripod in high wind or with super telephoto lenses, often results in some camera movement, and the IS system can be invaluable. Later IS models are able to sense the use of a tripod and automatically disable the IS, if necessary.

You should also leave the Image Stabilizer on when using a monopod, as it is unlikely you will be able to keep this type of support perfectly still."

When and How to use a Polarizer Filter




There are very few situations in wildlife photography that call for the use of a polarizer filter. I am not a proponent of using software to apply filtering effects after the image has been taken. I prefer to do it right in the first place and use a thin Hoya and B&W circular polarizer for my travel and landscape photography needs. You can see my works on MichaelDanielHo.com 

Saturday, June 21, 2014

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.

Monday, May 26, 2014

Canon EOS-5D Mk III - Switching AF Points Rapidly




Canon Digital Learning Center has put out a short post on how to switch AF points rapidly on the EOS-5D Mk III. The article is posted below and you can see the original here. I have picked this camera as the best value in full frame DSLR bodies three years in a row. You can read my review of the camera and see photos taken with it on worldwide shoots - MichaelDanielHo.com


Everyone has a method of getting critical focus for a shot. There are no right or wrong ways to do it. If you can get the focus you are looking for, then you are doing it the right way for you. 

Canon’s engineers have included a plethora of tools in recent EOS cameras to aid the photographer in getting that perfect focus. They have included great features such as more autofocus points, smaller Spot type focus points, three options for expanding the size of an AF point, and even a joystick to control them. While each AF Area setting has its place in different shooting situations, what if you want to use two interchangeably from shot to shot without slowing down? 

In a portrait session situation, you may be shooting both tight and wide shots of one or more people at a time. For more than one person in the frame, I personally like to set the camera to AF Point Expansion in the EOS 5D Mark III — single point plus eight surrounding points or Zone AF, since it is most likely a wider shot. This gives me a fair bit of flexibility to get the focus I need while keeping fast and fluid during a session. 

When shooting tight on a single subject, the sharpness in the eyes becomes very important. To ensure that the eyes are sharp, I’ll switch the camera to single-point Spot AF mode and move my AF point to the subject’s eye. 

Switching AF Area settings isn’t usually a big deal. The default method is to press the AF point selection button (button to the right of the AE lock or “star icon” button) then press the Multi-function button next to the shutter (M-Fn) until your desired AF Area appears in the viewfinder. While this doesn’t take that long, Canon’s engineers have created a shortcut. As with most buttons on the EOS 5D Mark III body, you are able to reassign buttons to your liking. I made the decision to reassign the depth of field preview button to make it switch the AF Area at my AF point from an expanded setting to single-spot AF. I chose the depth of field preview button because it was easily accessible to press with my ring finger when I’m holding the camera using Rudy Winston’s technique. Actual AF activation can be at the shutter button, or from one of the two “back-buttons” — whichever you prefer. 

To change the function of the depth of field preview button, there are two methods that will do the same thing. You can use either the quick menu (press the Q-button, on the rear of the camera), or the Custom Functions menu. 

Highlight AF Area selection mode (be sure there’s a check-mark next to it), and using the Multi-controller, highlight the name instead of the check-box. Press SET. Now, select the AF Area you want to use… Spot AF in my example above. Press SET again. (The other functions on this list, such as “Tracking Sensitivity” and so on, impact how the AF system behaves when in AI Servo AF, if you press this same depth-of-field preview button. If you shoot portraits using One-Shot AF, you can leave them un-checked)

If you are wondering what else you can remap, check out the section on the topic starting from page 327 in the EOS 5D Mark III’s instruction manual.

One caution I would have when remapping buttons is that if you hand your camera to a friend, they might have issues operating it if you have remapped a lot of the functions.

Saturday, May 24, 2014

Canon Macro Ring Lite MR-14EX II Technical Report


Canon Macro Ring Lite MR-14EX II


From the Canon Camera Museum :

This month's technical report brings you technical information about the Macro Ring Lite MR-14EX II. The MR-14EX II is the follow-up model to the MR-14EX. It provides more effective lighting for macro photography of flowers and insects as well as for shooting photos of products and people. The MR-14EX II offers a remarkable improvement in operability over its predecessor. The "NEW" beside headings indicates a functional improvement over the MR-14EX.

Technical Report Index

What is the Macro Ring Lite?
Continuing and improving on the Macro Ring Lite's outstanding basic performance
Improved operability
Better reliability
System accessories

Tuesday, May 6, 2014

Canon Professional Network On WiFi Workflow




Until fairly recently, the ability to send and receive data wirelessly was the stuff of science fiction. Now it is widely available and being used by a growing number of photographers in various fields to change the way they capture and communicate their work. CPN writer Mark Alexander looks at ways to make your workflow wireless in a special technical guide...

The underpinning technology of WiFi rests upon radio waves that create wireless local area networks over which data can be exchanged. In the real world that means we can send images and operate cameras as if through the air. The stress and strain of downloading images from cards has been replaced by invisible communication with automatic transfers. You don’t even need to be in the same room as your camera to take a shot.

There is, of course, plenty of new kit to make the magic happen, and at the camera end this comes in two forms; wireless file transmitters and built-in systems such as the WiFi capabilities of the Canon EOS 6D. At the other end of the set-up, away from photography, there are a host of wireless-related terms that are worth getting to know. Networks, routers and infrastructure configurations are just some.

The exciting possibilities of wireless technologies are far-reaching and game-changing. Whether you’re setting up your own studio, working in someone else’s, on location or covering an event; going wireless could fundamentally change the way you shoot, edit and manage your workflow.

In this special technical article, we look at some of the key components that make WiFi work and, more importantly, how you can get the best out of them for your photography.

NETWORK CONFIGURATIONS

Getting connected is what WiFi is all about. Broadly speaking, there are two ways of doing it.
An ad hoc network configuration – where you do not actually need a router – is designed to link directly from a camera to a computer in a dedicated one-to-one connection. This is especially relevant when working with a single camera and a computer which isn’t connected to a network. Easy to set up and implement, ad hoc configurations are best suited to small, one-man studios or location shoots where quick communication is not a priority. Indeed while ad hoc networks are convenient, they offer slower transfer rates, use more power and have a smaller range than the more powerful and versatile alternative.

Infrastructure configurations are more complex, more versatile and enable you to connect to a computer or a network via a wireless network router. These multifaceted set-ups have the ability to connect several WFT devices, provide faster transfer rates and achieve greater stability. With these features, it is easy to see the merits of infrastructure configurations, but they come at a cost. The downside of the added complexity of infrastructure networks is that they require additional time and effort to implement and are certainly not a make-do solution.

In short, ad hoc networks are used when no access points are available, perhaps on location in a remote area, while infrastructure configurations are best for studio work where a permanent networking solution is required.

In With The Band

Routers are available in either single or dual-band models and deciding between the two can be tricky. Let’s start with the basics. Wireless communications operate within the 2.4 and 5GHz bandwidth frequencies. Some routers use the 2.4GHz band (such as 802.11a and g devices) while others can use both 2.4GHz and 5GHz (802.11n units). Some of the latest routers only use 5GHz which might seem restrictive but since less equipment runs on 5GHz, it is less crowded and therefore better equipped and faster for intensive work like streaming large files. The downside of 5GHz is that it struggles to sustain signals over longer distances. It is worth weighing up these points before making your choice.

There may also be compatibility issues to consider, although the latest wireless file transmitters (such as Canon’s WFT-E7) offer maximum flexibility through 802.11a/b/g and n technology.

The need for speed

A few years ago, 300Mbps was the standard speed of most WiFi routers. These days, 1900Mbps routers are available, although you will probably never experience these speeds in everyday use. These theoretical figures are clocked in laboratory conditions, far removed from the clutter of a typical office or studio. In reality, reaching speeds of half that is impressive.

It is also worth noting that router speeds relate to the performance of your network – rather than the speed of your Internet connection. The former influences how quickly you can send and receive files on your network while the latter indicates how quickly you can transmit them.

Key wireless terminology

Internet Protocol (IP) address: This is a unique sequence of numbers that is used to identify a device on a network. IP addresses are written as a set of four numbers with a dot between each. Examples of IP addresses are 192.168.1.2 or 10.10.10.200

Service Set Identifier (SSID): This is often called ‘the network name’ and is used to identify the WiFi network that’s being used for communication.

Domain Name Server (DNS): In networks connected to the internet, the DNS enables the use of names to identify ftp servers, for example ftp.canon-europe.com instead of 192.168.1.2.

Router technology

Understanding some of the principles of WiFi is a must if you want to send images or work remotely. To do this properly, it is often best to put your camera to one side and consider the technology behind jargon.
A good place to start is the access point, which is often referred to as a router. These magical units provide the all-important connection to the network and often the Internet. As a result, routers typically form the hub of your data flow, connecting a series of devices either through hard-wired Ethernet cables or, more importantly, wireless connectivity.

Often routers provide additional capabilities, such as USB ports, for attaching external drives or printers that are then shared by the devices on a network. Built-in firewalls can also protect against Internet threats and some WiFi routers allow you to set up limited access for guests.

All this functionality means routers are a vital piece of kit and can form a vital wireless 'bridge' between your cameras and peripherals, both in the studio and on location.

Saturday, May 3, 2014

Canon EOS-1D X Camera Menu Review


Canon released the latest Firmware 2.0.3 for the EOS-1D X in January. It is a major piece of software and improved the camera's features and capabilities. You can see some tips and tricks from Canon and read my review here. To see my work and photos taken with the camera from worldwide photo shoots, visit my website MichaelDanielHo.com

Below is a video walk through and brief explanation of the Canon EOS-1D X's extensive menu system.  


Thursday, May 1, 2014

Canon EOS-1D X Camera Settings Guidebook For Smartphones




Canon has released a new version of their AF Setting Guidebook for the EOS-1D X camera, designed for smartphones and tablets. You can download it here. This new guidebook includes the latest enhancements found in Firmware Version 2.0.3  You can read my review of the camera here and see photos taken with it on MichaelDanielHo.com


EOS-1D X AF Setting Guidebook : Smartphone & Tablet version

The 1D X was the first camera to feature menus which described the AF functions in detail, including example uses for each function, thus making the complicated task of setting up the AF easier. The 138-page guidebook explains all of these menu settings and is packed with illustrations, menu screen images, photographs and AF point overlays, so it’s an invaluable guide for photographers who want to get the most out of the sophisticated and customizable autofocus system within the EOS-1D X. Now you can take it everywhere with you on your smartphone or tablet.

The in-depth guidebook offers detailed explanations of how to use the various high performance features of the camera’s 61-point AF system, including introductions to the features of the AF system of the EOS-1D X and AF setting operability.

The guidebook is also separated into dedicated ‘click-through’ chapters (and sub-chapters) for: AF Configuration Tool (Presets), AF Configuration Tool (Parameters), AF area selection modes, EOS-1D X 61-point high-density reticular AF cross-type points, Release property settings during Servo AI, Utilizing the AF point setting and registration and Using ISO Auto.

Wednesday, April 30, 2014

Canon Digital Learning Center On Auto ISO




Photographer Jack Reznicki wrote an article on Canon's Digital Learning Center, explaining how Auto ISO enabled him to greatly improve his "keeper" rate when shooting street photography. He elaborated on the usefulness of Auto ISO and how it provided him " with maximum control over his camera in situations where the light changes dramatically and extremely quickly."

I am a wildlife photographer and do very little street photography. Auto ISO is not something I use often because the shutter speed assigned by the camera is generally not fast enough for me to get a sharp image of moving wildlife. I use the Aperture Control shooting mode and adjust my ISO before shutter release if conditions call for a change. You can see my work on MichaelDanielHo.com

Below is the article on CDLC on Auto ISO :

"One of the things I love to do when traveling is to do street shots when riding in a car. As a long time commercial photographer, I am usually working in a studio with an art director, crew, models, and tight layouts and parameters. So shooting out of a vehicle window while speeding down the road is very liberating and exciting. It’s the complete opposite of shooting in a studio. What I really love is that it helps your “visual muscles” and your shutter finger reflexes. When the car is moving 40 to 60 miles per hour, you either get the shot or miss the shot. And when you get it, you get great drive-by, slice of life shots. Like this shot below, which I took from a fast moving SUV in the Philippines.

After leading a workshop in Panama, my class thought I was crazy when they heard the click, click, click of my camera as our bus sped along the road. They all started doing the same after they saw the images at the evening review. In the old film days, and still in the digital age, I always knew that along with this type of shooting, I would have to accept great misses. I’d capture a great shot.... except for the fact that it was out of focus because of a slow shutter, too shallow of a depth of field, or the wrong exposure because we jumped from sunlight to shade too fast. Some of those missed shots just burn into your mind. When photographers get together to trade stories, one of the things they can all talk about is a great shot that they missed. Usually with film, if I “got” the shot then 30% to 50% of the time I’d be relatively happy. On a recent trip to Africa, I used my new favorite feature on both my EOS 5D Mark II and my EOS-1D X to get a greater percentage of hero shots with very few misses. I was not just relatively happy, I was deliriously happy as I got 90% or more “keeper” street shots on that trip.

The feature that changed it? Glad you asked. Auto ISO. In this day and age when the cameras are built like fine computers, we can have a lot more control over our cameras and how they work. Auto ISO gives me maximum control over my camera in situations where the light changes dramatically and extremely quickly. With Auto ISO, I have several options. And I used them all to get these photos you see here. The fact is that I don’t worry about shooting at a high ISO if I need to get the shot. In the film days, ISO 800 (or “ASA” 800 for real old timers) was about as great as we could get. Oh, we could also shoot at ISO 1000 if we wanted the “fine art” affect of golf ball sized grain in our shots. 

With digital, I have shots that were done at ISO 1600 with “noise” that looks like a low ISO captured image. And that was the earlier digital days. Today, the technology allows us to photograph at ISOs that were simply unimaginable in the film days. Yes, I sometimes have to use noise reduction software in Canon’s DPP (Digital Photo Professional), Adobe Lightroom, Photoshop, or some other 3rd party software, but the results blow my mind. Canon’s capture technology, with their modern sensors and processing software, takes our shooting abilities to a higher level than ever before.

The photo below was shot not from a speeding car, but rather in a very dark classroom with a Maasai schoolgirl in Tanzania. I shot it at ISO 25,600. That’s ISO 25,600, not ISO 256! If you look close, you can see the fly on her face above her left eye. Remarkable. Did I know I was shooting at ISO 25,600? Nope. I was shooting outside in bright sun and I quickly ducked into this schoolhouse. I shot first, looked at my settings second. But I got the shot with the background kids in a great position because the Auto ISO saved me. It’s there, the great elements in a photo altogether for one moment, and then it’s gone forever. If I stopped to readjust my settings, I would have missed the shot. Either you get it or you don’t. Luckily, my camera was set to Auto ISO.

Outside, I had set my camera to manual with the shutter speed and aperture at set values and my ISO to Auto before I walked into the classroom. That’s just one of three modes I can shoot in with Auto ISO. On Manual, I set the shutter speed and aperture to the values I want and I let the ISO “float.” With AV or aperture control, I can set the aperture at the value I want and tell the camera the minimum shutter speed, up to 1/250th of a second. With the TV setting or shutter priority, I can set the shutter where I want it and the camera will set the aperture, usually the widest value in dim light. But in drive-by car shots, I want a very fast shutter speed like 1/1500th or faster and a decent aperture like f/8 or more. With the varying light that I get while traveling in a car, I get ISO speeds of 200 to 6400. But usually it falls in the ISO 800 to 1250 range, as are the images shown here. Love it, love it, love it.

If you want to read in more detail about this feature, Eduardo Angel wrote a great article, “Taking advantage of Auto ISO.” For me, Auto ISO is a hidden gem in my camera’s features and the most impactful, lately, along with the incredibly better noise at higher ISOs. As we say and demonstrate on the Canon In Action Tour, the technology today is expanding our abilities as photographers, enabling images that weren’t possible before. Better photos through better technology."

Sunday, April 27, 2014

Canon PowerShot G1 X Mk II Camera Review




DigitalRev reviewed the Canon PowerShot G1 X Mk II and the Canon Camera Museum has put out a detailed technical report on the new camera as well. This is my favorite non DSLR camera from Canon and I may do a review on it when time permits.

The Mark II camera comes with a 12.8 megapixel, 1.5-type CMOS sensor and a 5X zoom lens with a lens-shift image stabilizer (35mm-film equivalent focal length range : 24 - 120 mm). The Owner's Manual for the new camera is available for download

The following topics are covered :



Friday, April 25, 2014

Canon Digital Learning Center Quick Tip Videos




Canon Digital Learning Center has put out a series of short videos for their DSLR and Cinema cameras. Each video features a Canon Technical Advisor offering a helpful imaging tip, sharing a unique product insight, or explaining a key technology. New videos will be added regularly, so check on this Blog to keep expanding your Canon knowledge base.  MichaelDanielHo.com

Click on the link to see each Quick Tips Videos :

Tuesday, April 8, 2014

Canon XF200 and XF205 Camcorders At NAB 2014


Chuck Fadely interviewed Chuck Westfall from Canon at the NAB 2014 Show about the new XF200 and XF205 professional camcorders. The new camcorders are priced at $3,499 and $3,999 respectively and will be available in July, 2014.



from

Monday, April 7, 2014

Canon EOS-1D X vs. Nikon D4s Comparison


Those who are familiar with DigitalRev's style of reviews will find this light-hearted video of the Canon EOS-1D X vs. Nikon D4s camera 'tame'. Those who are not may find it vacuous or perhaps even offensive. Take a look and decide for yourself.

My readers know I have picked the EOS-1D X as the best wildlife camera two years in a row. You can see my work at MichaelDanielHo.com